Sunday, August 31, 2008

Joyce Cooling live, tonight, in Tucson

Joyce Cooling on tour. And live, tonight, in Arizona, at 7PM.
The Tucson Jazz Society event at Loews Ventana Canyon Resort benefits NAMI of Southern Arizona Labor Day Weekend!

Tucson Jazz Society Show Benefits the National Alliance on Mental Illness Southern Arizona Chapter

Joyce and Jay Wagner will donate $5 for every CD and t-shirt sold and 100% of the purchase price for autographed photos to the Southern Arizona chapter of NAMI. The Tucson Jazz Society is offering their reduced member ticket pricing to NAMISA members.

NAMISA will staff a table at the concert. Members will be present to offer written information about the organization and answer questions.

Will you be in the Tucson area today, August 31st? If so, don't miss this event at 7PM. With special guest Matt Marshak.

Sunday, 7PM
Loews Ventana Canyon Resort
Tucson, AZ
Tour schedule
September 2008
Santa Clarita Jazz Festival
Valencia, CA

Tower Theatre
Fresno, CA

Bob Hope Theatre
Stockton, CA
October 2008
Washington, DC

Reno, NV
November 2008
Grove of Anaheim
Anaheim, CA

Labor Day weekend at S.O.B.'s, NYC

Celebrate your Labor Day Weekend with S.O.B.'s! As you may know, this Sunday, August 31st marks the Brazilian Day Parade in New York City. More than 1,000,000 people will take to the streets to celebrate the food, music, culture and indelible spirit of Brazil.

S.O.B.'s will celebrate the spirit of Brazil with live music and delicious food every Saturday, but they are really turning up the heat this weekend! All the music you hear at S.O.B.'s this weekend will be played by artists Direct from Brazil!

On Sunday, after the parade, they keep the party going at S.O.B.'s with the Official Brazilian Day Parade Afterparty, featuring Banda Eva, Silvana Magda and a dance show that will leave you mesmerized.

Brazilians will be out in full force in New York City this weekend! Make sure your their to witness the spirit at S.O.B.'s, The Heart of Brazil in the Streets of New York!


CD of the Day - "Carla Bruni: Comme Si de Rien N'Était"

CD of the Day
Carla Bruni: "Comme si de rien n'était" (Naïve/ST2) 2008
Top tracks: "La possibilité d'une ille", "You belong to me", "Je suis une enfant"

R.I.P.: Werner Burkhardt

Werner Burkhardt
(b: July 9, 1928, Hamburg/Germany;
d: Aug. 2008, Hamburg/Germany)

The German jazz critic Werner Burkhardt died in his hometown Hamburg, Germany, at the age of 80. Burkhardt was one of the major German cultural critics, writing mostly about opera, theatre, blues and jazz. He started his career writing a short notice about Count Basie for Die Welt in 1952. Later he worked for German public radio, translated Billie Holiday's autobiography as well as Nat Shapiro/Nat Hentoff's "Hear Me Talkin' To Ya" into German, wrote for Die Zeit, Stern and Süddeutsche Zeitung. He bequeathed his huge record collection to the Hochschule für Musik Hamburg 10 years ago on the occasion of his 70th birthday. Obituaries: Hamburger Abendblatt, Frankfurter Allgemeine Zeitung.

Thursday, August 28, 2008

Tanglewood Jazz Festival 2008, Aug 29-31

It is supposed to be a beautiful weekend in Tanglewood, and the line-up suits every musical taste. On Friday night, opening festivities begin with Colombian harpist, Edmar Castaneda, and his trio featuring vibraphonist, Joe Locke followed by pianist Eliane Elias who will be performing material from her highly acclaimed CD, "Something For You" which is a tribute to Bill Evans.

On Saturday, one of the main highlights is the celebration of Marian McPartland's 90th birthday and her 30th year of her award-winning NPR series: "Piano Jazz." If you can't make it to Tanglewood in person, please turn on your local NPR affiliate which carries "Piano Jazz" at 2pm EST to hear Marian and her special guests: Spencer Day, Nneena Freelon and Mulgrew Miller.

On Saturday evening is the pianist Donal Fox perfoming his "Scarlatti Suite" with special guest Christian Scott (also streaming on Innerviews is a special podcast with Donal) and you can preview some of his performances on JazzVision - the only videosharing site for jazz and blues videos. Donal and his group are followed by the incomparable Dianne Reeves.

And on Sunday - wow - a rare East Coast appearance by clarinetist and saxophonist, Eddie Daniels and his quartet. The concert continues with violinist, Mark O'Connor, with special guest vocalist Jane Monheit in a show titled "Hot Swing." Closing the festival on Sunday, August 31, at 8 p.m. will be a Tanglewood exclusive — a very special concert by trumpeter and composer, Terence Blanchard, with a 30-piece orchestra performing the material from this year’s Grammy winning CD, "A Tale of God’s Will (A Requiem for Katrina)."

To purchase tickets to any of the performances as well as a complete schedule, please visit Tanglewood Jazz Festival

Detroit Jazz Festival, Aug 29-Sept 1st

Hundreds of thousands of people will be gathering in Detroit this weekend for the biggest Labor Day Jazz party in North America. With 6 stages, and a whole host of other performance opportunities, Detroit Jazz Fest is truly going to be a "Love Supreme."

Billed as "A Love Supreme: The Philly/Detroit Summit," the 2008 festival will celebrate the storied jazz and soul traditions of these two great American cities. A Philly/Detroit jazz tribute to Marvin Gaye, curated and arranged by Christian McBride, will also bow that evening. McBride will present his own unique takes on Gaye's material with a big band of stellar Detroit-based musicians backing R&B vocalists Lalah Hathaway and Rahsaan Patterson. Joining the two veteran singers will be vocalist Jose James.

Throughout the weekend, legendary artists from Detroit and Philly will include Gerald Wilson(who turns 90 this year), Barry Harris, Benny Golson and Jimmy Heath. A gamut of guitar stylists will be showcased over three days with appearances by Stanley Jordan, Jim Hall, Pat Martino, Derek Trucks, Calvin Cooke, Grant Green Jr., and Mike Stern. But guitars won't be the only things that slide - trombones will also take center stage with appearances by Robin Eubanks, Slide Hampton, Bonerama, Trombone Shorty and the University of Michigan Jazz Trombone Choir.

A battle of the bands between the Count Basie and Gerald Wilson Orchestras promises to leave the audience breathless by the end of the night. Both bands will be on stage at the same time, along with Grammy award-winning singer Nnenna Freelon, Detroit legend Kenny Burrell, and other special guests (to be announced). The Dizzy Gillespie All-Star Jazz Band, with James Moody, Jimmy Heath, and Slide Hampton, will close out the festival on Labor Day, along with sensational vocalist Roberta Gambarini.

A Saturday Night Fish Fry will feature masters of the Hammond B-3 with Reuben Wilson's Godfathers of Groove, Robin Eubanks + EB3, and Joey DeFrancesco with Karriem Riggins and Christian McBride. A tribute to Alice Coltrane, led by her son Ravi, will feature jazz giants Charlie Haden, Jack DeJohnette, and Detroit's own Geri Allen.

As you can read from this partial line-up Christian McBride is playing a key role as Artist-in-Residence of this year's DJF. Lois Gilbert, Managing Director of Jazzcorner, had the pleasure of talking with Christian a few weeks ago, and the InnerView is streaming on Innerviews. He tells his story from funky and jazzy Philly through his learning and playing with the masters in New York and on the road. Please listen for yourself in this hour long special that is full of fun and virtuosity including his love affair for Marvin Gaye and James Brown. By the way, Christian's InnerView follows Marian McPartland's.

Lois Gilbert will be doing a special one on one interview with my dear friend (and longtime idol) Randy Brecker on Sunday in the Pepsi Talk Tent beginning at 1pm. Randy and Lois will be talking about everything from growing up in Philadelphia to his collaboration and memories of his brother Michael, as well as Randy's latest projects.

CD of the Day - "Pablo Held: Forest of Oblivion"

CD of the Day
Pablo Held: "Forest of Oblivion" (Pirouet CD PIT 3032) 2008
This is piano trio music that doesn't need to advertise itself; it is simply persuasive. The music isn't looking for a quick fix or flashy effect; it lives and breathes through it's intricate structure and deep meaning. This music has something secretive and mysterious about it; it shimmers and sparkles, and in its gentle way creates a unique sense of introversion. Yes, it's not a case of introspection. It's really an introverted effort.
Born on December 27, 1986, Pablo Held is just 21. He has won first prize three times at the Young Jazz Musicians competition in Nordrhein-Westfalen, Germany - in 1999, 2003, and again in 2005; the first time as a ten year old! He has already played with the WDR Big Band, Manfred Schoof, Paul Heller, and Niels Klein. He studied in Cologne with the outstanding German pianist Hubert Nuss. And here is Held's debut CD, in a trio with Robert Landfermann (bass) and Jonas Burgwinkel (drums).
Pablo Held wrote six of the ten tracks. "Interlude" was improvised by the trio, with Held's unfolding chords, Landfermann's droning bass, and Burgwinkel's shimmering brush work. But my favorite tracks are the "recreations": Wayne Shorter's bossa-tinged love letter to his (now late) wife "Ana Maria" (originally recorded on the legendary "Native Dancer" album from 1975), Tony Williams' "Hand Jive" (from Miles Davis' "Nefertiti" LP), and "Pájaro Triste", from "Impressiones Intimas" by the Catalonian composer Federico Mompou (1893-1987).
Held's tribute to Mompou is impressive. In his "Written Improvisations", this peculiar music mind from Barcelona found value in an economical musical language, a language that shies away from verbosity; not one note too many - only those that are necessary - and here is where Pablo Held hits the mark. A very European and introverted one, indeed.

R.I.P.: Peer Wyboris

Peer Wyboris
(b: 4.Nov.1937, Brandis, near Leipzig/Germany;
d: 27.Aug.2008, Barcelona/Spain)

The drummer Peer Wyboris, born in Brandis near Leipzig, Germany, died at the age of 71 in his adopted hometown of Barcelona. Wyboris had moved to Spain in 1960 and in Madrid had worked with many traveling-through musicians such as Dexter Gordon, Donald Byrd, Lee Konitz, Don Byas, Art Farmer, Ben Webster and others. He performed with Tete Montoliu with whom he also recorded, and also led his own trio with the Swiss bassist Eric Peter.

MoonJune's summer sale

MoonJune Records is offering

Please check

Single cds:

following cds only:
SOFT MACHINE “Floating World Live”
SOFT MACHINE LEGACY “Soft Machine Legacy”
ELTON DEAN & THE WRONG OBJECT “The Unbelievable Truth”
JASON SMITH “Tipping Point”
ARTI & MESTIERI “First Live In Japan”
PHIL MILLER “Conspiracy Theories”
SimakDIALOG “Patahan”

Double cd special:
D.F.A. “Kaleidoscope” (2cd)

Next release: ALEX MAGUIRE SEXTET "Brewed In Belgium" (available from September 9, 2008)

Tuesday, August 26, 2008

Brian Lynch on Aug 28 @ "The Estate"

Don't miss Brian Lynch at The Estate, on August 28, 2008 at 9:30PM
One of my favorite trumpeters, Lynch will be appearing with his quartet at The Estate
(2428 N. Murray Ave, Milwaukee, WI 53211)

CD of the Day - "Getz/Gilberto Live at Carnegie Hall"

CD of the Day
Stan Getz & João Gilberto: "Getz/Gilberto Recorded Live at Carnegie Hall" (CTI CD 1129-2) 1994
Produced by Creed Taylor
Featuring: Helcio Milito, Keter Betts, Gary Burton, Gene Cherico, Joe Hunt
Engineers: Rudy Van Gelder, Val Valentin
Design: Plaid River Design, Inc. (Blacksburg, VA)
Distributed by Zyx Music

Vinyl of the Day - "Antonio Carlos Jobim: Tidal Wave"

Vinyl of the Day
Antonio Carlos Jobim: "Tidal Wave" (A&M/CTI 2-LP Set 45135/6) 1972

Produced by Creed Taylor
Featuring: Claus Ogerman, Eumir Deodato, João Palma, Ron Carter, Dom Um Romão, Claudio Slon, Bobby Rosengarden, Hermeto Pascoal, Joe Farrell, Hubert Laws, Jerry Dodgion, Urbie Green, Romeo Penque, Airto Moreira, Marvin Stamm et al.
Engineered by Rudy Van Gelder

R.I.P.: Frankie Tam

Frankie Tam
(b: New York;
d: 10.Aug.2008, Washington/DC)

The guitarist and bandleader Frankie Tam (pictured above with Bobby Hackett) died August 19th in Washington, D.C. at the age of 93. At the age of 5 he received first violin lessons, but switched to guitar during the 1920s and in the 1930s replaced Eddie Condon in the band trumpeter Bobby Hackett led at the New York club Nick's. Since 1940 he lived and worked in Washington, D.C., led his own big band and since the 1960s also taught acoustic and later electric guitar. Obituary: Washington Post

Mike Longo Trio live, tonight, @ the Gillespie Auditorium

Join us for a special concert “A Celebration of Jazz Piano: From Erroll Garner to Herbie Hancock” with the Mike Longo Trio featuring Paul West on bass & Ray Mosca on drums on Tuesday, August 26 at "Jazz Tuesdays" in the Gillespie Auditorium at the New York Baha'i Center at 53 East 11th Street (between University Place & Broadway). There will be two shows at 8:00 and 9:30 p.m.

Mike Longo has performed with a list of jazz legends that includes Cannonball Adderley, Henry Red Allen, Coleman Hawkins, George Wettling, Gene Krupa, Nancy Wilson, Gloria Lynn, Jimmy Witherspoon, Joe Williams, Jimmy Rushing, James Moody and many others. It was in the mid-60s when Longo’s trio was playing at the Embers West, that Roy Eldridge told Dizzy Gillespie about this new pianist he had heard. Dizzy came to hear him play and soon asked him to become his pianist. This started a life-long musical relationship and friendship.

From 1966 through 1975, Longo worked exclusively as Dizzy’s pianist and musical director. Mike left the Gillespie group officially in 1975 to venture out on his own, but continued to work for Gillespie on a part-time basis until his death in 1993. Since that time Mike has recorded numerous albums and CDs on various labels with some 45 recordings with artists such as Gillespie, James Moody, bossa nova queen Astrud Gilberto etc.

At present he has over 20 solo albums to his credit. The latest one is the outstanding "Float Like A Butterfly", one of the best jazz releases in 2007. It includes extraordinary renditions of originals by Wayne Shorter, Freddie Hubbard, Onaje Allen Gumbs, Dizzy Gillespie and Thelonious Monk, plus such standards as "Dancing in the Dark", "Tenderly" and "It Could Happen To You". Paul West, who'll be performing live tonight, is on the bass, with Jimmy Wormworth on drums.

Mike Longo is sought after as a music instructor and is in demand for jazz clinics and concerts at universities and music schools throughout the world, and has appeared at the Lincoln Center’s new jazz room “Dizzy’s Club Coca-Cola.” Longo is founder and President of Consolidated Artists Productions (CAP), an independent recording label, dedicated to allowing artists to pursue the types of projects that are in line with their career objectives. Longo’s latest venture, Jazz Tuesdays, is dedicated to allowing artists to retain creative control of their work and providing students and the general public with an opportunity to hear “world class jazz at affordable prices.”

Admission is 15.00, $10.00 for students.
Tickets will be sold at the door, or call 212-222-5159 for reservations and information.
Jazz Tuesdays
in the John Birks Gillespie Auditorium
The New York Baha'i Center
53 East 11th Street (between University Place & Broadway)
Two shows: 8:00 and 9:30 p.m.

Monday, August 25, 2008

CD of the Day - "Marcelo Campello: Projeções"

CD of the Day
Marcelo Campello: "Projeções" (TSVSC01) 2007
Produced by Igor Medeiros
Executive Producer: Katia Cesana; Assistant Producer: Mônica Cosas
An excellent solo album (recorded in Recife, Brazil) by Marcelo Morais Barreto Campello, who wrote and performed three suites for 7-string guitar solo: "Projeções", "Soturnos" and "Sonhos". Really sublime.

2009 Internartional Dance Competitions

C a l l f o r P a r t i c i p a t i o nInvitation for dancers, choreographers, directors, stage managers and performing arts educators.
International Dance Competitions 2009 for emerging & established Dance Schools/Companies from all over the World!
BARCELONA DANCE AWARD from 9th to 13th April 2009 in Barcelona (SPAIN) & DANCE GRAND PRIX ITALY from 18th to 22nd June 2009 in Italy
Designed to showcase/competition the work of approximately 50 emerging and established dance schools/companies from all over the World, in marathon-like performances. The 2009 DANCE COMPETITIONS is an integral part of the larger Annual Dance Awards curated by W.R Dancefestival Association the programming will represent the freshest and most original emerging contemporary dance artists.
with accommodation shared in twin room:
The fee covers your dance group registration performances, the attendance for chaperones of all events of the dance program, four nights of hotel accomodation shared in twin room (two persons share one room), three meals per day (breakfast, dinner and lunch). Please feel free to forward this information to your colleagues and students!
For more info, please write to:

R.I.P.: Jimmy Cleveland

Jimmy Cleveland
(born May 3, 1926, in Wartrace, TN, USA)
(died August 23, 2008, in Lynwood, Calf., USA)

A musician's musician, Jimmy Cleveland became associated with Brazilian music through his recordings on Antonio Carlos Jobim's debut Verve album in 1963 ("The Composer of Desafinado, Plays") as well as on João Donato's "The New Sound of Brazil" for RCA in 1965, for which Arnaldo DeSouteiro had the opportunity to produce CD reissues in Europe, Asia and Brazil. In 1970, Cleveland and Donato were reunited on the sessions for "A Bad Donato" (Blue Thumb).
Often labeled as a "studio cat", the trombonist took part on over 300 albums with Lionel Hampton (on whose big-band he toured from 1950 to 1953), Miles Davis, Oscar Peterson, Lucky Thompson, Oscar Pettiford, Cannonball Adderley, Art Farmer, Gene Krupa, Charles Mingus, Wes Montgomery, Sonny Rollins, Jimmy Rushing, Jimmy Smith, Kenny Burrell, Clark Terry, Dizzy Gillespie, James Moody, Gerry Mulligan, Friedrich Gulda, Michel Legrand, George Russell, Gil Evans, Oliver Nelson, John Coltrane, Milt Jackson, Maynard Ferguson, Tadd Dameron, Eroll Garner, Stanley Turrentine, Lalo Schifrin, Duke Pearson, Gary McFarland and countless others.

Cleveland eventually became a member of The Creed Taylor Orchestra, which recorded some albums for ABC-Paramount in the late 50s.
He also recorded with singers Billie Holiday, Sarah Vaughan, Helen Merrill, Betty Carter, Chris Connor, Dinah Washington, Patricia Scott, Aretha Franklin, Cleo Laine, Anita O'Day, Lena Horne, Esther Phillips, Mark Murphy, Joe Williams, Nina Simone, Diana Ross, Ray Charles, and even James Brown.
Influenced by J.J. Johnson, Cleveland was a member of Thelonious Monk’s 1967 octet and then joined the house band for The Merv Griffin TV Show.

The studio albums that he recorded as a leader during the 50s ("Introducing Jimmy Cleveland & His All-Stars", from 1955, was followed by "Cleveland Style" and "A Map of Jimmy Clevalnd", among others) mainly for the EmArcy and Mercury labels, never received special attention on the press.
Besides the reissues of João Donato's "The New Sound of Brazil", Arnaldo DeSouteiro produced several compilations and reissues which included Jimmy Cleveland's performances - from "A Trip to Brazil: 40 Years of Bossa Nova" (Verve, 1998) to "Summer in the City: The Soul Jazz Grooves of Quincy Jones" (Verve, 2007).

R.I.P.: LeRoi Moore

LeRoi Moore
(born Sep. 7, 1961, Durham/NC;
died Aug. 19, 2008, Los Angeles/CA)

The saxophonist LeRoi Moore died nearly two months after a serious all-terrain vehicle accident at the age of 46. He cited jazz as the biggest influence on his music even though he didn't see himself as a jazz musician. Within the Dave Matthews Band in which he played since 1991 he had had enough room to improvise. Obituaries: Washington Post, New York Times.

Thursday, August 21, 2008

Jelly's Salsa Jam on Aug 24 in San Francisco

If you've never been to Jelly's, you're missing one of the best dance
clubs in the Bay! You'll feel like you're in Cuba, surrounded by
smokin' dancers who look like they just defected yesterday -- hmmm,
that has an unfortunate ring to it. Er, who look like they just left
the island yesterday. Anyway, lots of great dancers swinging in true
barrio style. And Edgardo Cambon and Candela will bring you trombone-
and percussion-fueled salsa you won't soon forget!
That's tonight, 5 to 9 pm! See below for detailed info...

Sunday, August 24th, 2008
Jelly's -
Jelly's Salsa Jam! - 5:00pm
295 Terry Francois Boulevard
San Francisco, CA 94158
Price: $10

With Edgardo Cambon and Candela!!! 21 and over only.
Edgardo Cambon y CANDELA is a 9-piece salsa band based in the San
Francisco Bay Area since 1987, boasting piano, bass, three trombones,
conga drums, bongo drums, timbales and vocalists. CANDELA has built
their 20-year reputation around bandleader/founder Edgardo's
impressive skills as a conga drummer and lead singer simultaneously
-which is a show in itself!

Saturday, September 6th, 2008
Sly McFly's -
Cannery Row Here We Go - 8:00pm
700 A Cannery Row
Monterey, CA 93940
(831) 372-3225

With San Jose's funky TYT!

Sunday, September 21st, 2008
El Rio -
Salsa con CANDELA! - 4:00pm
3158 Mission St (@ Cesar Chavez)
San Francisco, CA 94110
(415) 282-3325
Price: $8

With Edgardo Cambon and Candela!

Saturday, September 27th, 2008
Montero's -
Mas Salsa, Por Favor! - 10:00pm
1106 Solano Avenue
Albany, CA 94706
Price: $13

"Italian Electro Party", tonight, at Bypass

Although Arnaldo DeSouteiro will not be able to be there in person, tonight, the "Italian Electro Party" at Bypass will play many of DeSouteiro's dancefloor tracks produced for albums by Gazzara, Dom Um Romão, Ithamara Koorax and many others.
Both the 2-CD set compilation "Music for Cocktails: Beach Life" and the 5-CD box set "Milano Marittima", which include tracks produced by Arnaldo DeSouteiro and are being officially released this month all over Europe, will be featured in this exciting and super-hot party!
Bypass Genève
Carrefour de l’Etoile 1,
1227 Les Acacias Genève
Ph: 0022 300 6565

"Another Feeling" - All Music Guide review

Review published on All Music Gude about Thiago de Mello & Dexter Payne's "Another Feeling" CD, produced by Arnaldo DeSouteiro for JSR

Reviewed by Michael G. Nastos for
Rating: **** (4 stars)

Veteran Brazilian percussionist Thiago DeMello (then in his early 70s) long a neglected figure alongside younger more acclaimed players as Airto Moreira, Naná Vasconcelos, and Guillerme Franco, has finally hit resonant notes for the general public to hear on this beautiful recording, with clarinetist Dexter Payne as his main foil and accompanying pianists and occasional vocals. As you'd expect, there's a lot of authentic samba played, and it is done right. Basic sensual rhythms and melodies are the centerpiece for "Tal Como o Vinho," "Too Good Notes" (a play on "One Note Samba" with DeMello on acoustic guitar), the heavy-handed "Mar Aberto," and roomy "No Wolf at the Door."

The beautiful singing of Ithamara Koorax is heard on two ballads, but also on the night hymn "An Evening Prayer," as well as the excellent African highlife-flavored title track, dedicated to Che Guevara, which is very close stylistically to what Abdullah Ibrahim and Carlos Ward would do. Payne's playful clarinet empowers the trio, swinging lightly in jazz fashion à la Eddie Daniels during the lyrical "Kimbolian Dawn," he plays pretty during the neo-classical "Rede de Cabocolo," and switches to alto sax for the dancing 6/8 framework of "What About That?" (for Sharon Isbin).

The dance theme is further emphasized on "A Hug for Gil Evans," starting with DeMello on the berimbau, and then going for samba rhythms with a Native American chant tacked on. Haroldo Mauro, Jr. is the pianist on six selections, and he's one to pay attention to, while another three feature Richard Kimball, a longtime associate of DeMello. Fans of Brazilian music will want this, but it should also appeal to a broader base of world music lovers, as the diversity, bright spirit, and clear camaraderie between the musicians is evident from start to finish - Michael G. Nastos

Wednesday, August 20, 2008

Antoinette Montague live, tonight, at The Kitano-NY

Come out and hang out at The Kitano-New York, the city's first and only Japanese Hotel.
Celebrate a special evening in a special, intimate and cozy spot
Wednesday, August 20
8:00 pm and 10:00 pm

Antoinette Montague Quintet
Tommy James(piano), Hassan Shakur(bass),
Vince Ector (drums), and Bobby Lovelle (sax and flute)

The Kitano - New York
66 Park Avenue at 38th Street, NYC
No cover / $15 minimum (parking on 38th Street)
Reservations recommended: 212-885-7119

Born and raised in Newark, Antoinette Montague recently released her first CD, Pretty Blues but she has had many invaluable musical experiences. She worked in gospel and R&B ensembles after college, serves as the vice president of the International Women in Jazz, and considers Carrie Smith, Etta Jones, Della Griffin and Myrna Lake to be her mentors.

Lionel Loueke & Richard Bona at The Allen Room

Lionel Loueke & Richard Bona Kick Off
New Season of Duo Tones in
The Allen Room – Sept. 26-27

Guitarist/vocalist Lionel Loueke from Benin and bassist/vocalist Richard Bona from Cameroon are instrumentalists fluent in the folkloric music of their African homelands and contemporary American jazz vocabulary. These virtuosos will showcase their talents in a display of improvisational artistry in their Allen Room debut as part of the new Duo Tones series, produced by Jazz at Lincoln Center.

September 26-27, 2008, 7:30pm & 9:30pm
The Allen Room, Frederick P. Rose Hall, Home of Jazz at Lincoln Center, on Broadway at 60th St., NYC.

Tickets at $60 are available at the Jazz at Lincoln Center Box Office on Broadway at 60th St., by calling CenterCharge at 212.721.6500 or via
Box Office hours: Mon.-Sat., 10am-6pm, Sun. 12pm-6pm.

Pianist/vocalist Gail Jhonson on tour

Aug. 21-24/with Norman Brown

Aug. 27-28
Melbourne, FL/Gail Jhonson w/Lin Rountree
with Lin Rountree

Sept. 13
Kansas City, MO/SummerStorm
Midland Theatre

Sept. 19
Newport Beach, CA /SummerStorm
Hyatt Newporter Fest.

Sept. 20
San Diego, CA/Gail Jhonson w/JaZz in P!nk
JaZz in P!nk Concert

Sept. 21
Temecula, CA /SummerStorm
Thorton Winery

San Diego, CA KIFM Smooth Jazz Christmas
Show 4th & B
NBs Smooth
Jazz Xmas

January 31 - February 5, 2009
Smooth Jazz Music
Cruise Departing From Miami on the
beautiful and luxurious
Celebrity Century /Norman Brown

"Steppin' Out 2008"

Steppin' Out 2008
Launches Annual Steppin’ Out with the Stars Talent Search & Showcase
Finals Will be Held Monday, September 29 at Scullers Jazz Club

"Steppin’ Out for The Dimock Center", celebrating its 21st Anniversary this year at the Westin Boston Waterfront Hotel on Saturday, November 8, announces the launch of its annual Steppin’ Out with the Stars Talent Search & Showcase. Contestants will be judged on musical ability, presentation, creativity and style.

One hot new jazz, blues, Latin, reggae or R&B artist or group will have the opportunity to win $500, perform alongside internationally known artists and showcase their musical talents before attending press, major corporate heads and music industry professionals at Steppin' Out for The Dimock Center on Saturday, November 8.

Previous artists who have appeared at Steppin’ Out include George Benson, Roy Haynes, Eddie Palmieri, Roberta Flack, Marlena Shaw, Oleta Adams, Bobby Caldwell, Ramsey Lewis and many others.

Entry Requirements:
Entrants must be jazz, R&B, Latin, reggae or blues in style
All entrants must be 21 or older
Eligibility is limited to bands or individual performers that have never previously performed at Steppin’ Out

How To Enter:
Submit registration form with photo of band or individual artist; forms and full instructions are downloadable at
Submit demo with at least two songs [CD or DVD] to Debi Johnson, The Dimock Center, 55 Dimock Street, Roxbury, MA 02119
The deadline for receipt of materials is September 15, 2008.

Selection Process:
All finalists will be notified by September 24th, 2008
Four finalists will need to perform 10 minute sets at Scullers Jazz Club on Monday, September 29 at 7:00 p.m.
The winner will be selected by a panel of celebrity judges

The Winning Band Will:
Be featured in the Steppin’ Out 2008 entertainment lineup alongside national headliners
Be named on promotional materials for Steppin’ Out
Receive a publicity boost!
Be presented with a cash prize of $500 the night of Steppin’ Out

Other information:
Scullers Jazz Club is located in the DoubleTree Guest Suites Hotel at 400 Soldiers Field Road in Allston.
Steppin’ Out for Dimock is Boston’s liveliest and most highly anticipated annual gala fundraising event.
For more information, call: 617-442-8800 or go to
NECN is the official television network of Steppin’ Out for The Dimock Center 2008
WGBH FM is the official radio station of Steppin’ Out for The Dimock Center 2008
Originally founded in 1862 by Dr. Marie Zakrzewska as the New England Hospital for Women and Children, The Dimock Center is nationally recognized as a model for the integrated delivery of comprehensive health and human services in an urban community. From its historic nine-acre campus in Roxbury and satellite locations throughout Boston, The Dimock Center provides vital services and programs to thousands of Boston City residents and families annually. The Center’s 80 programs cover a range of services that include adult & pediatric medicine, eye & dental care, HIV/AIDS services, child & family development, behavioral health, and adult basic education. For more information about The Dimock Center, please visit

Free concert at Flushing Town Hall, Aug 22

"Besame Mucho" - Love Songs Under the Stars
Friday, August 22, 2008, 8:00PM
Tickets: FREE!

Dance lessons prior to each concert, at 7:15PMLimited seating available or bring a lawn chairRain location: Flushing Town Hall Theater
Refreshments available for sale

Puerto Rican born Latin vocalist Deborah Resto in Summer Garden Concert series finale. Resto performs a potpourri of popular and sensuous Latin music for your listening and dancing pleasure. Frequently seen at Lincoln Center and Latin venues abroad, Resto sings in Spanish, Portuguese and English.

This program is supported, in part, by the National Endowment for the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs, and Astoria Federal Savings.

Tuesday, August 19, 2008

Daniel Küng's new exhibtion

Donnerstag, 21. August 2008, ab 19 Uhr, Vernissage:
22.8. – 27.9.2008

Wandelnd mit der Kamera durch sein Atelier, den Hof in den Höhen über Luzern, zeichnet Daniel Küng mittels Ein- und Ausblicken die Problematik des künstlerischen Schaffens auf. Je weiter den Bildern gefolgt wird, um so unklarer wird das Verhältnis des Subjekts zum Objekt, stellt sich das Motiv dar, oder wird es dargestellt?
Eine Auflösung gibt es nicht, aber eindrückliche Variationen der Frage.
Freitag, 22. August 2008, ab 19 Uhr, Luzerner Museumsnacht
Ja, auch wir nehmen teil! Deswegen lassen wir unsere Tür extra lange offen, bis Mitternacht und freuen uns, dass wir folgendes Konzert ankündigen können:

MONSIEUR MO RIO & BAND aus Stuttgart
Platzkonzert vor dem Alpineum, ab 21 Uhr bis 22 Uhr

Monsieurs vielschichtige Musik sagt mehr aus, als wir es in Worten könnten, ein Zitat soll genügen: Monsieur Mo Rio ist der ,,Daniel Johnston der French-ploitation“.
Geniessen Sie mit uns eine Erinnerung an laue Sommernächte, wie wir sie dieses Jahr kaum hatten - an unserer Bar!

+41 41 410 00 25

Dorival Caymmi at NY Times

Dorival Caymmi, Singer of Brazil, Is Dead at 94
by Douglas Martin
New York Times, August 19, 2008

Dorival Caymmi, a Brazilian singer and songwriter who helped lay the foundations of bossa nova, wrote Carmen Miranda's first hit and gave legendary voice to the romance of the beaches, fishing villages and bathing beauties of his native Bahia, died on Saturday at his home in Rio de Janeiro. He was 94.

The cause was multiple organ failure, according to accounts in the Brazilian news media. Luiz Inacio Lula da Silva, Brazil's president, praised him as "one of the founders of Brazilian popular music."

Mr. Caymmi's career encompassed 60 years and about 20 albums, the last one released four years ago. But his influence transcended such measurable milestones and found enduring expression in the music of Brazilian greats like Antonio Carlos Jobim, Caetano Veloso and Gilberto Gil.

In an introduction to an anthology of Mr. Caymmi's work in 1994, Jobim, the driving force behind bossa nova, a sophisticated jazz style derived from samba, wrote: "Dorival is a universal genius. He picked up the guitar and orchestrated the world."

From the beginning of his career, Mr. Caymmi musically imbued his country with a rhythmic, romantic identity that went well with Brazil's enticing geography and sultry, bikini-clad women. His first and immediately popular song, written at 16, "O Que E Que a Baiana Tem?" ("What Is It About Brazilian Women?"), set the tone.

That song became the first hit of Carmen Miranda, whose well-displayed limbs, extravagant hats and exuberant voice made her a global sensation as the Brazilian Bombshell. In 1996, the publication News From Brazil said Mr. Caymmi taught Ms. Miranda to move her arms and hands with the music, which became her trademark.

Songs like "Marina" (1944) and "O Samba da Minha Terra" (1941) inspired the greats of bossa nova.

Mr. Caymmi's easygoing style was compared by some to that of Bing Crosby, not least because of his similar velvety baritone.

The laid-back Andy Williams and Perry Como sang Mr. Caymmi's "Das Rosas," translated as "And Roses and Roses" by the American lyricist Ray Gilbert.

Romero Lubambo, a Brazilian guitarist who lives and plays in the United States, said in an telephone interview on Monday that it was impossible to overstate Mr. Caymmi's public recognition in his own nation.

"Everybody who is alive in Brazil today has probably heard of him," he said.

Writing in The New York Times in 2001, Ben Ratliff said Mr. Caymmi was perhaps second only to Jobim "in establishing a songbook of this century's Brazilian identity." A large part of this was evoking the life and dreams of working-class people, particularly fishermen.

Dorival Caymmi was born on April 30, 1914, in Salvador, the capital of Bahia state. He had several jobs, including that of journalist, and won a songwriting contest in 1936 as part of Salvador's carnaval. Two years later he went to Rio de Janeiro to study law and perhaps look for a job as a journalist.

But he went into the music business, and firmly established himself with the song Ms. Miranda performed in the movie "Banana-da-Terra" (1939). He became a regular on Radio Nacional, and his fame grew. He recorded for five decades, both singing solo with his own guitar accompaniment and backed by bands and orchestras.

Mr. Caymmi married the singer Adelaide Tostes, who used the stage name Stella Maris. She survives him, along with their sons, Dori and Danilo, and their daughter, Nana, who are all also successful musicians.

News From Brazil reported that Mr. Caymmi's nearly 70-year marriage survived some carousing on his part. It told of his wife's finding him in a bar surrounded by women. She slammed a table, broke a glass, punched him, and left.

"He was a hard act to follow," she said, "but it was worthwhile."

"Miucha & Antonio Carlos Jobim" - 2008 digipak reissue

"Miucha & Antonio Carlos Jobim" (Sony BMG CD 88697320354) 2008

Reissue Produced by Arnaldo DeSouteiro (Jazz Station Productions) and distributed worldwide by Sony/BMG, on digipak format, as part of the "Bossa Nova 50 Anos" series, released on August 18, 2008

New Liner Notes written by Arnaldo DeSouteiro
Digitally Remastered by Carlos Freitas & Jade Pereira
Originally released as RCA LP 103.0213 (1977)
Original album produced by Aloysio de Oliveira
First official CD reissue had been produced by Arnaldo DeSouteiro for Jazz Station Productions and released worldwide by BMG in 2001, as part of the acclaimed "RCA 100 Anos de Musica" series (original CD Catalog Number: 864152)
In 2005, the CD reissue of "Miucha & Antonio Carlos Jobim" (produced by Arnaldo DeSouteiro) was printed in France by Sony-BMG Music Entretainment France and released all over Europe as part of the "RCA Victor Gold Series". Catalog number: 8287612592
1. Vai Levando (Chico Buarque/Caetano Veloso) 3:22
2. Tiro Cruzado (Nelson Angelo/Marcio Borges) 2:07
3. Comigo É Assim (Luiz Bittencourt/José Menezes) 3:11
4. Na Batucada da Vida (Ary Barroso/Luiz Peixoto) 2:49
5. Sei Lá (Toquinho/Vinicius de Moraes) 2:29
6. Olhos Nos Olhos (Chico Buarque) 4:10
7. Pela Luz dos Olhos Teus (Vinicius de Moraes) 2:42
8. Samba do Avião (Antonio Carlos Jobim) 2:53
9. Saia do Caminho (Custódio Mesquita/Evaldo Ruy) 4:07
10. Maninha (Chico Buarque) 2:40
11. Choro de Nada (Edmundo Souto Neto/Geraldo Carneiro) 2:38
12. É Preciso Dizer Adeus (Antonio Carlos Jobim/Vinicius de Moraes) 2:09

Antonio Carlos Jobim – Piano (Acoustic), Vocals, Flute, Arranger, Conductor, Liner Notes
Miucha – Vocals, Liner Notes
Aloysio de Oliveira – Producer, Liner Notes
Chico Buarque – Vocals, Liner Notes
Arnaldo DeSouteiro – Reissue Producer, Liner Notes
Ivan Klingen – Photography
Ney Távora – Art Direction
Mário Jorge Bruno – Engineer
Rubinho – Drums
Robertinho Silva – Drums
Novelli – Bass
Luiz Alves – Bass
Wilson das Neves – Drums
Edson Lobo – Bass (Acoustic), Arco Bass
Ariovaldo Contesini – Percussion
Paulo Jobim – Flute
Dori Caymmi – Guitar (Acoustic)
Franklin – Flute
Danilo Caymmi – Flute
Peter Dauelsberg – Cello

Monday, August 18, 2008

"Swing Club" subscription series

Swing Club: Jazz at Lincoln Center's Under 35 Subscription Series

Charm, tease and play in the most stunning & romantic setting in New York City - The Allen Room at Jazz at Lincoln Center!Jazz at Lincoln Center's Swing Club is a special concert subscription series for subscribers between the ages of 21 and 35. As a Swing Club member you receive prime seats at a discounted rate, invitations to private pre-concert cocktail parties, special meet-and-greets with concert artists and a fabulous gift bag.
Duo Tones Series (DUO) 3 concerts at The Allen Room, Fridays, 9:30pm
Lionel Loueke & Richard Bona September 26, 2008, 9:30pm
Roy Hargrove & Cedar Walton January 9, 2009, 9:30pm
McCoy Tyner & Ravi Coltrane May 15, 2009, 9:30pm

Join Today!

R.I.P.: Randy Kaye

Randy Kaye
(b: 20.May 1947, Brooklyn/NY;
d: 16.Aug.2008, Pittsfield/MA)

The drummer Randy Kaye died August 16th at the age of 61 in Pittsfield, Massachusetts. During his career he worked with Duke Ellington, Tony Scott, Perry Robinson and Sheila Jordan, and from 1969 was the drummer in the more experimental Jimi Hendrix band. Shortly thereafter he joined Jimmy Giuffre with whom he played for the next 25 years. Obituary: Berkshire Eagle.

"Saravá!" - 2008 digipak reissue

Carlos Lyra: "Saravá!" (Sony BMG CD 88697341922) 2008

Reissue Produced by Arnaldo DeSouteiro (Jazz Station Productions) and distributed worldwide by Sony/BMG, on digipak format, as part of the "Bossa Nova 50 Anos" series, released on August 18, 2008

New Liner Notes written by Arnaldo DeSouteiro
Digitally Remastered by Carlos Freitas & Jade Pereira
Originally released as RCA, S.A. DE C.V. (Mexico) LP MKL/S-1839 (1970)
Original album produced by Rubén Fuentes
Musical direction: Magallanes
Engineer: Carlos Castillo
Photo: L. Isaac
Texto de contracapa
(Text for back cover):
"Gravado no México em 1970, lançado agora pela primeira vez no Brasil, “Saravá” inclui algumas das mais belas canções de Carlos Lyra, como “Também Quem Mandou”, “Feio Não É Bonito” e “O Bem do Amor”, somadas a temas de maior swing como “Até Parece” e “Sambalanço”. Além de inspiradas recriações de “Tristeza”, clássico de Haroldo Lobo & Niltinho, e do “Samba da Benção”, de Baden Powell & Vinicius de Moraes, em uma versão em castelhano preparada pelo próprio Lyra."
Arnaldo DeSouteiro

1. Vacilada (Carlos Lyra)
2. Quien te Manda? (C. Lyra/Vinicius de Moraes)
3. Para No Decir Adios (C. Lyra/Walmyr Ayala)
4. Solo Tu No Vienes (C. Lyra/ Walmyr Ayala/Carlos F. Fortes)
5. Balanceo (C. Lyra/Walmir Ayala)
6. Tristeza (Haroldo Lobo/Niltinho)
7. El Jacal (C. Lyra/Gianfranceso Guarnieri)
8. Paz Sin Amor (C. Lyra/Nelson Lins e Barros)
9. Viene Del Amor (C. Lyra/Nelson Lins e Barros)
10. Lugar Bonito (C. Lyra/Chico de Assis)
11. Samba de La Bendición [Saravá] (Baden Powell/Vinícius de Moraes-vers: C. Lyra)

Carlos Lyra – Vocal, Guitar (Acoustic), Composer, Original LP Liner Notes
Mario Patron – Organ (Hammond), Harpsichord
Arnaldo DeSouteiro – Reissue Producer, Liner Notes
Rodolfo Sanchez – Flute, Sax (Alto)
Mario Ballina – Bass (Electric)
Rubén Fuentes – Original Producer, Artistic Director
Salvador Aguerrios – Drums
Julio Vera – Bongos
Enrique Okamura – Assistant Producer
Carlos Castillo – Engineer

Frankie Avalon set for Barry Price Center Fundraiser


The Barry L. Price Rehabilitation Center has just announced that greater Boston's 18th annual Barry Price Center Fundraiser and Concert will feature singer Frankie Avalon on Saturday, November 1 at the Holiday Inn Brookline. The Holiday Inn is located at 1200 Beacon Street, Brookline, Massachusetts; it is wheelchair accessible.

Funds raised will benefit the Barry L. Price Rehabilitation Center, Inc., a non-profit organization with facilities located in West Newton, Brookline, and Dedham, Massachusetts. The Price Center provides support services to adults with developmental disabilities. At the Center, individuals are provided with opportunities in community-based work as well as treatment and living environments aimed to enhance self confidence and to maximize independence.

Tickets starting at $150.00 each are available now by calling Franktix at (781) 239-1480 or The Barry L. Price Rehabilitation Center, Inc. at (617) 332-7477. Tickets may also be purchased by mail by sending a check or money order for the total amount of the tickets to be purchased, [made out to the Barry L. Price Center Fundraiser] to The Barry L. Price Rehabilitation Center, 38 Border Street, West Newton, MA 02165.

All Price Center donors will enjoy the show featuring Frankie Avalon at 7:00 P.M. in the hotel ballroom. A full buffet dinner featuring fine cuisines of all kinds, caviar, cocktails, wines, coffees, and delicious desserts will follow in the hotel lobby and atrium, beginning at 8:30 P.M. The rhythm & blues group The G Clefs will provide upbeat entertainment during the buffet.

For information and tickets, Call Franktix at (781) 239-1480.

Adeus a feras da guitarra

Adeus a feras da guitarra
Joe Beck, Hiram Bullock e George Russell deixam vasto legado
Arnaldo DeSouteiro

Digo sempre que não gosto nadinha de escrever artigos que pareçam obituários. Prefiro fazer os registros apenas no blog. Mas, às vezes, torna-se inevitável. Lembro de exceções para artistas com os quais tive grande ligação espiritual: Laurindo Almeida, Bobby Scott, Gaya, Dom Um Romão, Zé Bodega, Juarez Araujo, Michael Brecker e Joe Zawinul, entre outros. Agora, torna-se impossível escapar do impacto de algumas das perdas do mês passado.

No intervalo de apenas uma semana, lá se foram Hiram Bullock (no dia 25 de julho, aos 52 anos), Joe Beck (dia 22, aos 65) e George Russell (dia 19, aos 89). Todos eles guitarristas que faziam parte do meu mundo musical desde a infância. Disseram-me que suas mortes passaram em branco pela imprensa brasileira, geralmente sensível somente a artistas de maior ibope como Isaac Hayes e Johnny Griffin. Então, mais uma razão para quebrar a regra.

Além de serem guitarristas, Bullock, Beck e Russell possuem, em comum, o fato de nunca terem alcançado a popularidade de um Mike Stern, de um Stanley Jordan, de um Earl Klugh. Talento não lhes faltava. Mas também não viveram à margem do “mercadão”. Russell talvez tenha sido o mais low-profile de todos, mas por opção. Até porque, depois de um período de grande atividade nos estúdios de Los Angeles, dedicou-se prioritariamente à carreira de, vejam que ironia!, “record promoter”. Vivendo em New York, Bullock e Beck fizeram por merecer, mais ainda, os rótulos de “músicos de estúdio” – porque gravaram muitíssimo – e “músicos dos músicos”, por serem admirados pelos colegas.

Aliás, “admirados” é pouco. Eram amados pelos companheiros de gravina, figurando, há décadas, entre os “studio cats” mais solicitados de NY. Transcenderam a fronteira jazzística, obtendo grande destaque no pop. Mais um motivo para serem odiados pelos críticos puristas (argh!) que defendem a teoria absurda de que “músico sério”, além de ser preconceituoso, deve viver infeliz, na pobreza, desprezado por gravadoras e, se possível, morrer passando fome.

A pegada de Beck

Dos três, o primeiro que “conheci” foi Joe Beck. Tinha eu 11 anos de idade quando, em 1974, comprei “Penny arcade”, discaço de Joe Farrell para a CTI. Beck era o autor da faixa-título e arrasava em todo o LP, inclusive na versão jazzificada de “Too high”, de Stevie Wonder, inspiração fundamental para que eu selecionasse a música ao produzir, trinta e dois anos depois, o CD “Opus samba”, do Fabio Fonseca Trio. Na seqüência adquiri outros vinis de Farrell marcados pela presença de Beck (“Upon this rock”, “Canned funk”) e comecei a prestar mais atenção nas participações do guitarrista em dezenas de outros discos, como “Power of soul”, de Idris Muhammad.

Meses depois fui atingido pela recriação “disco” de Esther Phillips para “What a diff’rence a day makes”. A gravação, lançada lá no Brasil pela Top Tape, não chegou a estourar no eterno “país do futuro”, ao contrário do que aconteceu no resto do “mundo decadente”, mas tocou bastante na Rádio Mundial-AM. Mesma emissora que já tinha me apresentado “2001” (Deodato), “Rio” (Dom Salvador & Abolição) e “Il Guarany” (Azymuth disfarçado de Alan & His Orchestra). Neste sentido, a Mundial foi minha escola primária, depois do jardim da infância cursado na Tamoio (com os professores Mancini, Legrand e Francis Lai) e do primeiro grau na JB-AM, onde Simon Khoury programava Airto, Tamba Trio e Mario Castro-Neves da manhã à noite.

Pois bem. Ao comprar o LP de Esther Phillips, descobri a dimensão do talento de Joe Beck, que havia feito a excelente orquestração. Não somente daquele hit, mas de todo o disco, atuando também como regente. Pois, até então, para mim ele era apenas um excelente guitarrista. E como, naquela época, eu estava apaixonado por Gaya, Deodato, Legrand, Ogerman e Sebesky, estudando orquestração através dos trabalhos desses mestres - enquanto lia “Tratado de harmonia”, de Rimsky-Korsakoff, e o “Curso de instrumentação” de José Siqueira – minha admiração por Joe duplicou. Inclusive porque ele se aperfeiçoou ainda mais, como arranjador, em “For all we know”, o segundo encontro com Esther.

Comprei a edição importada de “Beck”, seu LP-solo no selo Kudu, embalado pela capa psicodélica de Abdul Mati Klarwein (o mesmo de “Bitches brew” de Miles Davis) com scores assinados por Sebesky, e jamais poderia imaginar que, em 2001, estaria produzindo o relançamento em CD daquele disco no Japão, fazendo a remasterização digital com as fitas originais nas minhas mãos, restaurando a mixagem original de Van Gelder destruida na reedição americana da CBS. A cada novo LP, mais o talento do guitarrista me fascinava, com atuações faiscantes em álbuns de Sebesky (“The rape of el morro”), Woody Herman (o Grammyado “La Fiesta”), Gil Evans (“Where flamingos fly”, tocando mandolin em “El matador” de Kenny Dorham) e no “Michel Legrand & Friends” (ao vivo no St. Regis Maisonette, de NY, em 75).

Talento versátil

Informações básicas: nascido em 29 de julho de 1945, na Philadelphia, Beck debutou no grupo de Paul Winter em 1964. Tocou com Gary McFarland, Charles Lloyd e Chico Hamilton. Foi o primeiro guitarrista a gravar com Miles Davis (em 1967, na música “Circle in the round”, lançada somente em 1979 na antologia homônima). Gravou com cantores de todos os estilos – de Sinatra a James Brown, passando por Paul Simon, Gloria Gaynor e Helen Merrill, no derradeiro reencontro de Helen com Gil Evans em 1987, no CD “Collaboration”. Fez as primeiras sessões para Creed Taylor em 1968 acompanhando a dupla J.J. Johnson & Kai Winding (“Betwixt & between”) e Paul Desmond (no belíssimo “Summertime”, tocando violão no arranjo bossa nova para “Struttin’ with some barbecue”, de Louis Armstrong, que inclui no volume inaugural da série “A trip to Brazil” em 1998).

Participou dos dois primeiros LPs de Dom Um Romão para o selo Muse e, quando a pressão do trabalho tornava-se sufocante, Beck dava uma desaparecida e ficava retirado em sua fazenda. “Tirar leite de vaca é uma terapia insuperável”, brincava. Nos anos 80, começou a gravar uma série de ótimos CDs para o selo DMP: “Relaxin’” (uma sessão straight-ahead incluindo “Berimbau” de Baden Powell), “I won’t be back”, “Friends” (trazendo uma das melhores composições de Beck, “Golf swing”, na qual brilham Steve Gadd e Don Grolnick) e “The journey”, este já de 1991. Exatamente o ano em que finalmente conheci Beck pessoalmente em New York, onde passei os meses de abril e maio gravando dois discos enquanto o guitarrista fazia temporada no clube “Zanzibar”, liderando Ronnie Cuber, Lew Soloff, Mark Egan e Danny Gottlieb.

Os últimos trabalhos saíram pelos selos Venus - entre eles, “Brazilian dreamin’” (2006), para o mercado japonês, com “Ela é carioca”, “Felicidade”, “Falando de amor”, “Vivo sonhando” e “O grande amor” no repertório – e Whaling city, por onde foi lançado, em fevereiro deste ano, “Coincidence”, seu duo com John Abercrombie, que gerou uma excursão pela Europa em dezembro de 2007, antes de Beck sucumbir ao câncer de pulmão.
O furacão Bullock

As lembranças das noitadas no “Zanzibar & Grill” são inesquecíveis. Sempre que conseguia sair mais cedo do estúdio, dava uma passada rápida no Gorham Hotel (na Rua 55 com Broadway Avenue) para trocar de roupa e rumava para o clube, que ficava na Terceira Avenida entre as Ruas 36 e 37. Como a cozinha era ótima, aproveitava para jantar lá, entre os sets, conversando com os músicos e o proprietário, David Corsun. Foi lá também que conheci Hiram Bullock, atração freqüente da casa. Tanto que fez o show de encerramento do Zanzibar, um ano depois (mais tarde, a casa reabriria no Greenwich Village). Casa lotada, público em delírio. Bullock, um showman nato, só faltava subir pelas paredes.

Assisti várias apresentações dele com David Sanborn e a Gil Evans Orchestra. No “Sweet Basil” ele até se comportava. Mas em locais maiores era comum descer do palco e, com um cabo gigantesco, sair tocando a guitarra pelo meio da platéia. Lembro que, no fabuloso show com Gil Evans no Free Jazz de 1987, Hiram terminou seu solo empoleirado em um camarote no segundo andar do Teatro do Hotel Nacional. Em um laser-disc de Sanborn para a série “Purely music”, filmada na Alemanha, Bullock apronta a mesma doideira e termina o “Samba de uma nota só” praticamente no colo de uma espectadora.

Nada supera, porém, sua performance no vídeo “Love & happiness”, de 1986, com canções do álbum “Straight to the heart”, de Sanborn. Relançado em DVD em 2006, no Japão, traz David, Hiram, Marcus Miller, Don Grolnick e Buddy Williams arrepiando. Descalço, vestindo calça jeans e camiseta sem manga no estilo “mamãe sou forte”, Bullock finaliza seu segundo solo na faixa “Lisa” tocando guitarra entre as pernas de Sanborn! Estiloso, cheio de ginga, malhadaço, fazia o maior sucesso com as mulheres. Era uma criança grande. E um gentleman.
Trajetória brilhante

Nascido na cidade japonesa de Osaka, onde seu pai servia como militar, cresceu em Baltimore e foi colega de Pat Metheny e Jaco Pastorius na Universidade de Miami. Chegou em NY com a cantora Phyllis Hyman e logo causou furor. Gravou duas centenas de álbuns como sideman de Paul Simon, Billy Joel, Sting, Barbara Streisand, James Taylor, Chaka Khan, Michael Franks, Al Jarreau, Eddie Palmieri, e os grupos Steely Dan e Brecker Brothers, entre muitos outros. Entre os meus discos prediletos estão “Dune" (David Matthews), "Turn This Mutha Out" (Idris Muhammad), "Hanalei Bay" (Lew Soloff), "Carla" (Steve Swallow), "Night-Glo" (Carla Bley), "Something You Got" (Art Farmer & Yusef Lateef), "Killer Bees" (Airto), "All Around the Town" (Bob James) e "We Belong Together" (John Blair).

Fez parte das formações originais das bandas dos programas de TV “Late night with David Letterman” e “Saturday night live”. Como líder, lançou mais de uma dezena de discos – entre eles, “Carrasco” (1997), uma aventura pelo latin-jazz, com “Amazonas”, de João Donato, no repertório, e o mais recente “Too funky 2 ignore” (2006). A última turnê aconteceu com a orquestra de Gil Evans (agora liderada por Miles Evans, filho do arranjador), tendo tocado dia 13 de julho no “House of jazz” em Roma. Morreria doze dias depois, em NY.

Violão classudo

Outro gentleman, o violonista George Russell levou uma vida bem menos agitada. A única “confusão” girava em torno de seu nome, sendo frequentemente confundido com o revolucionário maestro e band-leader homônimo, criador do “Lydian concept”, e também com o baixista Russell George, volta e meia erroneamente identificado em contracapas como George Russell. Se usasse o nome completo, George Harrison Russell, talvez a situação piorasse, pois alguém certamente iria confundi-lo com o ex-Beatle.

Fui apresentado a seu trabalho por João Palma, que fez várias gravações com George nos anos 60. Algumas delas relançadas, em 1992, no CD “George Russell, his guitar and music”, com as presenças de Shelly Manne, Victor Feldman, Palma e outro brasileiro, José Soares, percussionista de Sergio Mendes na fase “Mas que nada” do Brasil 65. Influenciado por Laurindo Almeida e Luiz Bonfá, escreveu obras sinfônicas e peças para balé (destaque para “Birthstone suíte”). Acompanhou o grupo vocal The Bachelors e integrou a orquestra de Nelson Riddle nos anos 50 e 60, mas aos poucos foi se dedicando prioritariamente ao trabalho como publicitário nos selos Mercury, Capitol e Columbia, mantendo longa associação com Johnny Matthis. Viveu 89 anos. Bullock e Beck mereciam o mesmo.

“Joe Beck liderando seu grupo no clube Zanzibar, em Nova Iorque” (foto de Arnaldo DeSouteiro)
“Hiram Bullock em um de seus últimos shows”

"Flora é M.P.M." - 2008 digipak reissue

Flora Purim: "Flora É M.P.M." (Sony BMG CD 88697320262) 2008

Reissue Produced by Arnaldo DeSouteiro (Jazz Station Productions) and distributed worldwide by Sony/BMG, on digipak format, as part of the "Bossa Nova 50 Anos" series, released on August 18, 2008

New Liner Notes written by Arnaldo DeSouteiro
Digitally Remastered by Carlos Freitas & Jade Pereira
Originally released as RCA LP BBL 1304 (1964)
Original album produced by Roberto Jorge & Paulo Rocco
Musical coordination: Dom Um Romão
Engineer: Alberto Soluri
Cover photo: Francisco Pereira
1. A Morte de Um Deus de Sal (Menescal/Boscoli) 3:32
2. Cartão de Visita (Carlos Lyra/Vinicius de Moraes) 2:47
3. Sabe Você (Lyra/de Moraes) 2:59
4. Definitivamente (Edu Lobo) 1:29
5. Se Fosse Com Você (Waldir Gama) 2:30
6. Maria Moita (Lyra/de Moraes) 2:34
7. Hava Nagila (A.Z. Idelsohn) 2:17
8. Reza (Edu Lobo/Ruy Guerra) 2:24
9. Samba do Carioca (Lyra/de Moraes) 2:05
10. Primavera (Lyra/de Moraes) 1:49
11. Borandá (Lobo/Guerra) 2:31
12. Nem O Mar Sabia (Menescal/Boscoli) 2:13
13. Preciso Aprender A Ser Só (Valle/Valle) 3:13
14. Gente (Valle/Valle) 2:06
15. Barquinho de Papel (Lyra/Boscoli) 2:31
16. Jeito Bom de Sofrer (Simonal/Oliveira) 2:51
17. Preciso Aprender A Ser Só – Alternate Take (Valle/Valle) 3:18
18. Gente – Alternate Take (Valle/Valle) 2:04

Flora Purim – Vocals
Dom Um Romão – Drums, Musical Coordination
Roberto Jorge – Producer
Arnaldo DeSouteiro – Reissue Producer, Liner Notes
Dom Salvador – Piano (Acoustic)
Jin Nakahara – Liner Notes
Osmar Milito – Piano (Acoustic), Arranger
Luiz Eça – Arranger, Conductor
Cipó – Arranger, Conductor, Sax (Tenor)
Manuel Gusmão – Bass (Acoustic)
Jorginho – Flute
Paulo Moura – Clarinet, Sax (Alto), Arranger
Rubens Bassini - Congas
Airton Lima – Basson
Macaxeira – Trombone
Hamilton – Trumpet
Rosinha de Valença – Guitar (Acoustic)
Francisco Pereira – Photography
J.T. Meirelles – Sax (Tenor)
Alberto Soluri – Engineer
Norato – Trombone
Jorge Arena – Congas
Sandoval – Sax (Baritone)
Formiga – Trumpet
Raul de Souza – Trombone
Aurino Ferreira – Sax (Baritone)
Macaxeira – Trombone
Netinho – Sax (Baritone)
Waltel Branco – Arranger, Conductor
Stanislaw Ponte Preta – Original Liner Notes
Jorge Ferreira da Silva – Flute, Sax (Alto)
Meirelles – Sax (Tenor), Flute

"O Trio 3-D Convida" - 2008 dipack reissue

Trio 3-D: "O Trio 3D Convida" (Sony BMG CD 88697320182) 2008

Reissue Produced by Arnaldo DeSouteiro (Jazz Station Productions) and distributed worldwide by Sony/BMG, on digipack format, as part of the "Bossa Nova 50 Anos" series, released on August 18, 2008

New Liner Notes written by Arnaldo DeSouteiro

Digitally Remastered by Carlos Freitas & Jade Pereira
Originally released as RCA LP BBL 1332 (1965)
Original album produced & annotated by Roberto Jorge
Engineers: Luiz Barata & Alberto Soluri
Album Design: Tide Hellmeister
Supervision: Paulo Rocco
Antonio Adolfo - acoustic piano, arranger
Carlos Monjardim - acoustic bass
Nelson Serra - drums
Raul de Souza - valve trombone
Edson Maciel - slide trombone
Jorginho (Jorge Ferreira da Silva) - alto sax
Paulo Moura - alto sax
J.T. Meirelles - tenor sax
Eumir Deodato - arranger, conductor (tracks 7 & 12)
1. Água de Beber (A.C. Jobim/V. de Moraes)
2. My Heart Stood Still (L. Hart/R. Rodgers)
3. Preciso Aprender A Ser Só (M. Valle/P.S. Valle)
4. Tamanco no Samba (Orlandivo/Helton Menezes)
5. Reza (Edu Lobo/Ruy Guerra)
6. Batucada Surgiu (Marcos Valle/Paulo Sergio Valle)
7. Só Tinha Que Ser Com Você (Antonio Carlos Jobim/Aloysio de Oliveira)
8. Minha Namorada (Carlos Lyra/Vinicius de Moraes)
9. Tema 3-D (Antonio Adolfo)
10. Bye Bye Blackbird (M. Dixon/R. Henderson)
11. O Passarinho (Chico Feitosa/Lula Freire)
12. Peter Samba (Durval Ferreira/Mauricio Einhorn)

"Bossa Nova 50 Anos" series being released today!

The "Bossa Nova 50 Anos" series is being released today, on August 18, 2008, by Sony BMG. It includes several reissues produced by Arnaldo DeSouteiro. All of them digitally remastered and released for the first time on digipack format, including liner notes also by Arnaldo DeSouteiro. The albums come from the RCA, CBS and CTI vaults, among other labels. One of the highlights is "Flora é M.P.M.", Flora Purim's debut solo album from 1964, sounding better than ever.

R.I.P.: Jerry Wexler

Jerry Wexler, a Behind-the-Scenes Force in Black Music, Is Dead at 91
by Bruce Weber
New York Times, August 16, 2008

Jerry Wexler, who as a reporter for Billboard magazine in the late 1940s christened black popular music with the name rhythm and blues, and who as a record producer helped lead the genre to mainstream popularity, propelling the careers of Ray Charles, Wilson Pickett, Aretha Franklin and other performers, died on Friday at his home in Sarasota, Fla. He was 91.

The cause was congestive heart failure, said his son, Paul.

Mr. Wexler was already in his 30s when he entered the music business, but his impact was immediate and enduring. In 1987, the Rock and Hall of Fame recognized his contributions to American music by inducting him in only its second year of conferring such honors.

Mr. Wexler actually didn't care for rock 'n' roll, at least as it evolved in the 1960s and '70s. Though he signed a British band called Led Zeppelin and eventually produced records by the likes of Bob Dylan, Carlos Santana, Dire Straits and George Michael, his main influence came in the 1950s and '60s as a vice president of Atlantic Records, working largely with black artists who were forging a new musical style, which came to be called soul music, from elements of gospel, swing and blues.

"He played a major role in bringing black music to the masses, and in the evolution of rhythm and blues to soul music," Jim Henke, vice president and chief curator for the Hall of Fame, said in an interview. "Beyond that, he really developed the role of the record producer. Jerry did a lot more than just turn on a tape recorder. He left his stamp on a lot of great music. He had a commercial ear as well as a critical ear."

Mr. Wexler was something of a paradox. A businessman with tireless energy, a ruthless streak and a volatile temper, he was also a hopeless music fan. A New York Jew and a vehement atheist, he found his musical home in the Deep South, in studios in Memphis and Muscle Shoals, Ala., among Baptists and Methodists, blacks and good old boys.

"He was a bundle of contradictions," said Tom Thurman, who produced and directed a documentary about Mr. Wexler in 2000. "He was incredibly abrasive and incredibly generous, very abrupt and very, very patient, seemingly a pure, sharklike businessman and also a cerebral and creative genius."

The title of Mr. Thurman's documentary, "Immaculate Funk," was Mr. Wexler's phrase for the Atlantic sound, characterized by a heavy backbeat and a gospel influence. "It's funky, it's deep, it's very emotional, but it's clean," Mr. Wexler once said.

Though not a musician himself, Mr. Wexler had a natural rapport with musicians, who seemed to recognize his instinct for how best to employ their gifts. In 1950, while he was still at Billboard, he encountered the young singer Patti Page and hummed for her a 1947 song he liked, "The Tennessee Waltz." Her subsequent recording of it sold three million copies in eight months.

A few years later he was a partner at Atlantic, presiding over the 1954 recording session of Ray Charles's breakout hit, "I've Got a Woman." He said later that the best thing he had done for Charles was to let him do as he pleased.

"He had an extraordinary insight into talent," Charles, who died in 2004, said in "Immaculate Funk."

Mr. Wexler wasn't always a mere listener. In the mid-1960s, at a recording session with Wilson Pickett, Mr. Wexler wanted more of a backbeat in the song "In the Midnight Hour" but couldn't explain in words what he wanted, so he illustrated it by doing a new dance, the jerk.

In the late 1960s and '70s, he made 14 Atlantic albums with Ms. Franklin, whose musical instincts had been less than fully exploited at her previous label, Columbia. Mr. Wexler gave her more control over her songs and her sound, a blend of churchlike spirituality and raw sexuality, which can be heard in hits like "Respect," "Dr. Feelgood" and "Chain of Fools."

"How could he understand what was inside of black people like that?" Pickett asked in the documentary. "But Jerry Wexler did."

Gerald Wexler was born in New York City on Jan. 10, 1917, and grew up in the Washington Heights section of Manhattan at a time before the building of the George Washington Bridge, when swimming in the Hudson River was a summer pastime.

His parents were mismatched. His father, Harry, was a Polish immigrant who spent his entire working life as a window washer. His headstrong mother, Elsa, had higher aspirations for herself and especially for Jerry, the older of her two sons: she wanted him to be writer.

Young Jerry didn't care for school much, however; he frequented pool halls and record stores instead, and he went to Harlem jazz clubs at night. In 1936, as something of a last-ditch effort to straighten out her wayward son, Elsa Wexler enrolled him at Kansas State College of Agriculture and Applied Science (known today as Kansas State University) in Manhattan, Kan. There he first encountered a rural musical sensibility, and 100 or so miles away, in the lively musical scene of Kansas City, Mo., he could immerse himself in the blues.

Mr. Wexler left college after two years, joined the Army, served stateside during World War II, then returned to Kansas State and finished his degree. By 1949 he was back in New York, married and working as a cub reporter for Billboard. At the time the black popular-music charts in the magazine were gathered under the rubric Race Records.

"We used to close the book on a Friday and come back to work on a Tuesday," Mr. Wexler recalled in an interview last fall with the Web site "One Friday the editor got us together and said, 'Listen, let's change this from Race Records.' A lot of people were beginning to find it inappropriate. 'Come back with some ideas on Tuesday.'

"There were four guys on the staff," he continued. "One guy said this and one guy said that, and I said, 'Rhythm and blues,' and they said: 'Oh, that sounds pretty good. Let's do that.' In the next issue, that section came out as Rhythm and Blues instead of Race."

His work at Billboard attracted the attention of Ahmet Ertegun of Atlantic Records, then a small independent label focusing on black music. When his partner, Herb Abramson, went into the Army, Mr. Ertegun asked Mr. Wexler to join the company in 1953.

Over the next decade Mr. Wexler's drive, his sales and promotion skills, and, according to the business practices of the day, his indulging in payola -- the bribery of disc jockeys to play a company's records -- helped make Atlantic a leader in the recording industry. In the 1950s the company produced records by the Drifters, the Clovers, Joe Turner, Ruth Brown and, in partnership with the songwriters Jerry Leiber and Mike Stoller, the Coasters.

In the 1960s, however, Mr. Wexler and Mr. Ertegun began to take different paths. Mr. Ertegun gravitated toward rock 'n' roll, while Mr. Wexler -- though he signed Led Zeppelin to Atlantic -- was drawn to the niche sounds he found in places like Memphis, where a small label, Stax Records, had gathered a mix of black and white musicians and produced a sound based on spontaneity and improvisation.

Mr. Wexler brought Otis Redding and Dusty Springfield, among others, to record at Stax's studio, which was in an old movie palace. Later, after hearing a recording Percy Sledge had made at Fame Studios in Muscle Shoals, he began producing records there as well, bringing singers like Pickett and Ms. Franklin to work with local musicians.

In his autobiography, "Rhythm and the Blues" (Knopf, 1993), written with David Ritz, Mr. Wexler wrote candidly and self-critically about a personal life that he acknowledged had been intemperate, replete with adulterous liaisons and profligate drug use.

Mr. Wexler's first two marriages ended in divorce. In addition to his son, who lives in High Bridge, N.J., he is survived by his wife, Jean Arnold, and a daughter, Lisa Wexler of Kingston, N.Y. Another daughter, Anita, died of AIDS in 1989.

In the early 1970s Mr. Wexler helped resurrect the career of Willie Nelson with two albums for Atlantic, but he left the label in 1975. (It had been bought by Warner Brothers in 1967.) After the split he worked on his own, and in 1978 he produced Bob Dylan's album "Saved," a celebration of the singer's embrace of Christianity, for Columbia. When Mr. Dylan accepted his first Grammy Award for best male rock vocal performance, for the song "Gotta Serve Somebody," he first thanked God and then Jerry Wexler.

In the 1980s Mr. Wexler helped Linda Ronstadt with her career-changing album of Sinatraesque standards, "What's New," a project begun when she spent an afternoon with Mr. Wexler listening to records and for the first time heard the 1930s singer Mildred Bailey.

"When I said I wanted to sing like that, Jerry said the best way was to get a pianist and learn how those songs are done," Ms. Ronstadt told The New York Times in 1983. She added, "One thing Jerry Wexler taught me was that if you've got a sexy or torchy song, you mustn't attitudinize on top of it, because it sounds redundant."

Given the chance, Mr. Wexler would have produced to the end and beyond.

"I asked him once," said Mr. Thurman, the filmmaker, "'What do you want written on your tombstone, Jerry?' He said, 'Two words: More bass.'"

Jerry Wexler, 91: Influential Music Producer Coined 'Rhythm and Blues'
by Randy Lewis
Los Angeles Times, August 16, 2008

Jerry Wexler, the influential Atlantic Records producer who coined the term "rhythm and blues" before helping shape that sound into one of the most powerful musical forces of the 1950s and '60s, died Friday morning at his home in Sarasota, Fla. He was 91.

Wexler had suffered in recent years from congenital heart disease, said David Ritz, who was the co-author of Wexler's 1993 autobiography "Rhythm and the Blues: A Life in American Music."

As Atlantic co-founder Ahmet Ertegun's partner during that label's vital years from the 1950s to the '70s, Wexler co-piloted one of the most successful and influential independent record companies in history.

"Wexler's efforts at Atlantic helped bring black music to the masses, and in so doing built a significant and lasting bridge between the races," according to the Rock and Roll Hall of Fame, which inducted Wexler as a non-performer in 1987.

In the early 1960s, Wexler signed a gospel singer whose career had been languishing at another record label and unleashed her vocal talent, helping turn Aretha Franklin into the "Queen of Soul."

"He made a huge contribution to my career," Franklin told The Times on Friday, "one I'm most thankful for, one I'll always remember. Jerry was truly one of the great record men of all time."

He produced numerous hits for Ray Charles, Wilson Pickett, the Drifters, the Coasters and Big Joe Turner among dozens of others. He signed Led Zeppelin to the label and worked with other rock performers including Bob Dylan, Dr. John, Dire Straits, the B-52s, as well as producing recordings that salvaged Willie Nelson's career in the mid-1970s after he turned his back on Nashville.

Although Wexler's signing of Led Zeppelin led a new era for Atlantic in which it grew further with white rock acts including the Rolling Stones, Crosby, Stills and Nash and others, Wexler's heart remained in the music created by African Americans.

"He was one of the last of these record guys who grew up in the rough-and-tumble music business -- independents who had to bang it out, press them and get them out on the street because other people were stealing songs left and right," Ritz said Friday. "It was really a free-for-all."

For black musicians, Ritz added, "If you weren't Louis Armstrong or the Mills Brothers, the major labels didn't want to deal with you. They didn't want to deal with R&B because they didn't understand it. Jerry had the street toughness to survive in that environment, but he also had such wonderful taste, and a deep, deep appreciation for the artistry of Ray Charles and Solomon Burke and on, and on, and on."

In addition to producing hundreds of recordings for Atlantic, Wexler was known for his endless passion for promoting those records.

He "worked 24 hours a day to promote a record," soul singer Burke said Friday. "If he wanted a record to happen, it would happen.... If he made a record at 1 o'clock in the morning, at 2:30 in the morning he was on the phone waking up a DJ to tell him about it, and he'd have that record waiting at the station when the guy got there at 6:30."

Wexler provided the New York streetwise yang to the yin of Ahmet Ertegun's internationally cultivated sophistication and Wexler's expansive vocabulary could easily veer into profanity.

Unlike Ertegun, widely revered for his gentility, "Jerry didn't have a soft side," said Mike Stoller, who with longtime songwriting partner Jerry Leiber helped create or produce dozens of the biggest hits of the 1950s and early '60s for performers such as Elvis Presley, the Drifters, the Coasters and numerous others.

"We had run-ins with him from time to time over royalties, over publishing or putting our names on records we made," Stoller said Friday. "In spite of the friction, there was always a real warm relationship."

Gerald Wexler was born Jan. 10, 1917, in the Bronx, N.Y. His father, Harry, was a window cleaner who immigrated from Poland, and his mother, Elsa, was a German American who wanted to make Wexler into a writer.

He grew up in a tough Washington Heights neighborhood, where fights between rival ethnic groups were common and Wexler was usually happy to join the brawl.

"I was impervious to pain," he wrote in "Rhythm and the Blues." "You could bust my nose and I'd still fight like mad. It wouldn't take much, a wrong look or cross word, to provoke me into action -- the same terrible temper that, later in my life, damaged my family. But it also served as an engine and a defense."

His fiery tendencies were tempered to an extent while he served in the Army after being drafted in 1941. He remained stateside and was discharged in Midland, Texas, as a corporal. After the war, he earned a journalism degree from what became Kansas State University in Manhattan, Kan.

Scrounging for work as a reporter after returning to New York, he landed a job in 1947 with Broadcast Music Inc. (BMI), then a fledgling publishing-rights rival to the American Society of Composers, Authors and Publishers (ASCAP).

He next went to work for Billboard, the music industry trade magazine. Billboard's chart for black music was labeled "Race Records," but Wexler was offended by the term and suggested a change to "rhythm and blues."

"I liked the sound of 'rhythm and blues,'" he wrote in his autobiography. "It sung and it swung like music itself -- and I was happy when it stuck; it defined a new genre of music. The handle worked its way into our language and has managed to survive four decades."

Ertegun and partner Herb Abramson started Atlantic in 1947, specializing in the kind of jazz and rhythmic blues that also fired Wexler's imagination. It was one of hundreds of scrappy independent labels looking to exploit niches that majors such as Columbia and RCA were overlooking.

Wexler's Billboard articles caught Ertegun's attention, and he offered Wexler a job. Wexler declined unless he could be a partner, and in 1953, Ertegun made him a minor partner.

As he would later do with Franklin, Wexler also helped coax Ray Charles to new heights of success after he was signed to Atlantic. Wexler and Ertegun co-produced Charles' first No. 1 R&B hit "I've Got a Woman" in 1955. As record executives, they pioneered independent production, hiring Los Angeles-based Leiber and Stoller to bring them new recordings that they could distribute.

"They came up with the phrase 'produced by' to put on records," Stoller said. "Before that, nobody talked about records being 'produced.' We just made records."

Early on, Stoller recalled, Wexler called him in for a session with blues singer Big Joe Turner. "He asked me to come and play piano, which I did. But I thought it was nutty, because I played on this song 'Teenage Letter' and Ray Charles was in the studio and he played on the other side. Why would they have me play if they have Ray Charles in the studio? But he liked the way I played piano."

Wexler tried to sign a vibrant young singer making waves in the South in 1956, offering $30,000 to bring him to Atlantic, but RCA Records upped the bid and ultimately landed Elvis Presley.

In the 1960s, Wexler also pioneered the idea of immersing singers in appropriate and musically rich environments by having them travel to record in Memphis, Tenn., and Muscle Shoals, Ala.

In his book, Wexler praised Ertegun as "the savviest and suavest executive in the history of American recorded music.... Like a good rhythm section, we swung as a unit."

But there were times when they fell out of sync. He became estranged from Ertegun after persuading him in 1968 to sell Atlantic to Warner Bros. for $17.5 million, considered a steal by many in the music business. It was one of the first independent labels to be bought by a corporation.

Wexler soured many other friendships with his tactics outside the studio.

"He was behind the New Orleans music scene, ," Mac "Dr. John" Rebennack said Friday. "In that kind of setting, he was a good guy. On the business side of it, he was not a good guy. That was true of the whole company."

When it was time to roll the tape, however, the bare-knuckles business shark typically gave way to the awe-struck music fan, and Wexler prized his rapport with musicians. He was known more for getting out of the way of musicians' natural talents than for imposing his own musical vision on them, as Phil Spector did.

"He was a craftsman in the studio," Ritz said. "With Aretha, he knew how to deconstruct her in order to reconstruct her, and he reconstructed her based on her own fundamental elements, which were the church and gospel music. If you listen to Willie Nelson's 'Phases and Stages,' or Dusty Springfield's 'Dusty in Memphis,' what really comes across is the rugged individuality of the artist."

Franklin knew Wexler's reputation as a combative egotist whose temper often raged, but when they were in the recording studio together, she said, "We never, ever had a moment like that. We had a compatibility about the music. We were always on pretty much the same page.

"I was not unhappy at Columbia," Franklin noted. "I was very happy at Columbia. I'd never recorded before, it was the first time I was signed to a record label, my music was being played on lots of stations, I was winning a lot of polls in places like Down Beat and Billboard. But I was a lot happier at Atlantic."

She reconnected with Wexler in recent months for the completion of a long-abandoned film documentary about her 1972 Atlantic recording sessions that produced her highly praised "Amazing Grace" gospel album. The footage was shot by a young Sydney Pollack, and is planned for release next year, according to the film's co-producer, Alan Elliott.

"The secret of the music business, Jerry Wexler once told me, wasn't to go into the studio with a hit in mind, but with great music on your mind," Robert Hilburn, The Times' former pop music critic, said Friday. "He said, 'I've had my share of hits, thank God, but most hits are here today and gone tomorrow. Great music lasts forever. I wanted to make records that sounded as good 20 years from now as they did the day we went into the studio.' In retrospect, Jerry was being modest. His records still sound great after 50 years."

Wexler is survived by his third wife, playwright-novelist Jean Arnold; a daughter, Lisa; and a son, Paul. Another daughter, Anita, died in 1989 of AIDS complications. No funeral or memorial services have been announced.