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Herbie Mann - Discotheque (LP Atlantic ATC 9577 - 1975). Editado pela TEAL Discos - Lourenço Marques/Moçambique.
Herbie Mann - Discotheque (LP Atlantic ATC 9577 - 1975). Editado pela TEAL Discos - Lourenço Marques/Moçambique.
Album:
Producer: Herbie Mann
Personnel:
Herbie Mann - Flutes
Pat Rebillot - Keyboards
Steve Gadd - Drums
Tony Levin - Bass
Jerry Friedman, Hugh McCracken and Bob Mann - Guitars
Ralph MacDonald, Armen Halburien, Ray Barretto and Ray Mantilla - Percussion
Barry Rogers and Sam Burtis - Trombones
Background vocals: Cissy Houston, Sylvia Shemwell and Eunice Peterson
Background voices in Guava Jelly by The PiÒa Colada Choir
Arranged and conducted by Pat Rebillot
Album Tracklisting:
Personnel:
Herbie Mann - Flutes
Pat Rebillot - Keyboards
Steve Gadd - Drums
Tony Levin - Bass
Jerry Friedman, Hugh McCracken and Bob Mann - Guitars
Ralph MacDonald, Armen Halburien, Ray Barretto and Ray Mantilla - Percussion
Barry Rogers and Sam Burtis - Trombones
Background vocals: Cissy Houston, Sylvia Shemwell and Eunice Peterson
Background voices in Guava Jelly by The PiÒa Colada Choir
Arranged and conducted by Pat Rebillot
Album Tracklisting:
1. Hi-Jack 5:16
2. Pick Up the Pieces 5:16
3. Lady Marmalade 5:15
4. Mediterranean 6:23
5. Can't Turn You Loose 3:20
6. Won't Last A Day Without You 2:50
7. High Above the Andes 6:30
8. Bird of Beauty 4:30
9. Guava jelly 3:20
2. Pick Up the Pieces 5:16
3. Lady Marmalade 5:15
4. Mediterranean 6:23
5. Can't Turn You Loose 3:20
6. Won't Last A Day Without You 2:50
7. High Above the Andes 6:30
8. Bird of Beauty 4:30
9. Guava jelly 3:20
Herbie Mann was born in Brooklyn, New York to Romanian and Russian parents. He attended Lincoln High School in Brighton Beach, failing a music class there. His first professional performance was playing the Catskills resorts at age 15. In the 1950's, Mann was primarily a bop flutist, playing in combos with artists such as Phil Woods, with occasional forays into bass clarinet, tenor sax and solo flute.
Mann was an early pioneer in the fusing of jazz and world music. He incorporated elements of African music in 1959 following a State Department sponsored tour of the continent, adding a conga player to his band, and the same year recorded Flutista, an album of Afro-Cuban jazz. In 1961 Mann took a tour of Brazil and returned to the United States to record with Brazilian players including Antonio Carlos Jobim and guitarist Baden Powell. These albums helped popularize the bossa nova. Many of his albums throughout his career returned to Brazilian themes. He went on to record reggae in London (in 1974), Middle Eastern (1966 and 1967) (with oud and dumbek), and Eastern European styles. In the mid-1960s Mann hired a young Chick Corea to play in some of his bands. In the late 1970s, early 1980s Mann played duets at New York City's Bottom Line and the Village Gate to sold out crowds with the late Sarod virtuso Vasant Rai.
Following the 1969 hit album Memphis Underground a number of disco-style smooth jazz records in the 1970s, mainly on Atlantic records, brought some criticism from jazz purists but helped Mann remain active during a period of declining interest in jazz. The musicians on these recordings are some of the best-known session players in soul and jazz, including singer Cissy Houston (mother of Whitney Houston), guitarists Duane Allman and Larry Coryell, bassists Donald "Duck" Dunn and Chuck Rainey and drummers Al Jackson and Bernard Purdie, these last from the Muscle Shoals studio in Alabama. In this period Mann had a number of songs cross over to the pop charts — rather rare for a jazz musician. A 1998 interview reported that "At least 25 Herbie Mann albums have made the top 200 pop charts, success denied most of his jazz peers."
Mann provided the music for the 1978 National Film Board of Canada animated short Afterlife, by Ishu Patel.
In the early 1970s he founded his own label, Embryo Records, distributed by Cotillion Records, a division of Atlantic Records. Embroy produced jazz albums, such as Ron Carter's Uptown Conversation (1970); Miroslav Vitous' first solo album, Infinite Search (1969); Phil Woods and his European Rhythm Machine at the Frankfurt Jazz Festival (1971); and Dick Morrissey and Jim Mullen's Up (1976), which featured the Average White Band as a rhythm section; and the 730 Series, with a more rock-oriented style, including Zero Time (1971) by TONTO's Expanding Head Band. He later set up Kokopelli Records after difficulty with established labels. In 1996, Mann collaborated with Stereolab on the song "One Note Samba/Surfboard" for the AIDS-Benefit album Red Hot + Rio produced by the Red Hot Organization. His last appearance was on May 3, 2003 at the New Orleans Jazz and Heritage Festival at age 73.
He died at age 73 on July 1, 2003 after a long battle with prostate cancer.
Mann was an early pioneer in the fusing of jazz and world music. He incorporated elements of African music in 1959 following a State Department sponsored tour of the continent, adding a conga player to his band, and the same year recorded Flutista, an album of Afro-Cuban jazz. In 1961 Mann took a tour of Brazil and returned to the United States to record with Brazilian players including Antonio Carlos Jobim and guitarist Baden Powell. These albums helped popularize the bossa nova. Many of his albums throughout his career returned to Brazilian themes. He went on to record reggae in London (in 1974), Middle Eastern (1966 and 1967) (with oud and dumbek), and Eastern European styles. In the mid-1960s Mann hired a young Chick Corea to play in some of his bands. In the late 1970s, early 1980s Mann played duets at New York City's Bottom Line and the Village Gate to sold out crowds with the late Sarod virtuso Vasant Rai.
Following the 1969 hit album Memphis Underground a number of disco-style smooth jazz records in the 1970s, mainly on Atlantic records, brought some criticism from jazz purists but helped Mann remain active during a period of declining interest in jazz. The musicians on these recordings are some of the best-known session players in soul and jazz, including singer Cissy Houston (mother of Whitney Houston), guitarists Duane Allman and Larry Coryell, bassists Donald "Duck" Dunn and Chuck Rainey and drummers Al Jackson and Bernard Purdie, these last from the Muscle Shoals studio in Alabama. In this period Mann had a number of songs cross over to the pop charts — rather rare for a jazz musician. A 1998 interview reported that "At least 25 Herbie Mann albums have made the top 200 pop charts, success denied most of his jazz peers."
Mann provided the music for the 1978 National Film Board of Canada animated short Afterlife, by Ishu Patel.
In the early 1970s he founded his own label, Embryo Records, distributed by Cotillion Records, a division of Atlantic Records. Embroy produced jazz albums, such as Ron Carter's Uptown Conversation (1970); Miroslav Vitous' first solo album, Infinite Search (1969); Phil Woods and his European Rhythm Machine at the Frankfurt Jazz Festival (1971); and Dick Morrissey and Jim Mullen's Up (1976), which featured the Average White Band as a rhythm section; and the 730 Series, with a more rock-oriented style, including Zero Time (1971) by TONTO's Expanding Head Band. He later set up Kokopelli Records after difficulty with established labels. In 1996, Mann collaborated with Stereolab on the song "One Note Samba/Surfboard" for the AIDS-Benefit album Red Hot + Rio produced by the Red Hot Organization. His last appearance was on May 3, 2003 at the New Orleans Jazz and Heritage Festival at age 73.
He died at age 73 on July 1, 2003 after a long battle with prostate cancer.
LP gentilmente cedido por Carlos Santos.
Ripado, digitalizado e masterizado do vinil (capas e áudio) por João Romão.
Ripado, digitalizado e masterizado do vinil (capas e áudio) por João Romão.
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