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Kérjen
árajánlatot! |
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| 1. | Gypsy Jam
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| 2. | The Last One to be Loved
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| 3. | Gypsy Queen
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| 4. | Yearning
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| 5. | Raga Doll
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| 6. | Mizrab
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| 7. | Lou ise
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| 8. | Space
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| 9. | The Dreamer
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| 10. | Rivergirl
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| 11. | Here I Am
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| 12. | Bloop Bleep
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| 13. | The Sting of the Bee
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| 14. | I Can't Get No Satisfaction
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| 15. | Spring Song
Szabó Gábor & Gary McFarland |
| 16. | Simpatico
Szabó Gábor & Gary McFarland |
| 17. | Winter Samba
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| 18. | Summer's Gone Away
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| 19. | Eye of the Devil Main Theme
Theme from 13 AKA One I Could Have Loved
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| 20. | Train Ride (Eye Of The Devil)
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| 21. | Thanks but No Thanks
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| 22. | Close Your Eyes and Follow Me
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| 23. | Runaway Heart
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Jazz
Though they came from radically different cultures and found their way into Jazz via widely divergent routes, Gabor Szabo and Gary McFarland formed an all - too brief working relationship that produced a spectacular range of solo and collaborative works spanning Jazz, Bossa Nova, Psychedelia, Indian Raga, Hungarian Folk, Orchestral and Film Music.
Focusing on the mid - sixties years with Prestige, Verve and Impulse, this edition comprises highlights from Gypsy 66, Spellbinder, Jazz Raga, The Sorcerer, Simpatico, The In Sound, Scorpio and Other Signs and McFarland's score for Eye of the Devil and includes such impossible rarities as Gary'scharacteristically serene performances of Margo Guryan's Rivergirl and The Dreamer by Antonio Carlos Jobim.
2008 compilation featuring recordings from these Jazz greats lifted fro their mid '60s releases. Though they came from radically different cultures and found their way into jazz via widely divergent routes, Gabor Szabo and Gary McFarland formed an all-too brief working relationship that produced a spectacular range of solo and collaborative works spanning Jazz, Bossa Nova, Psychedelia, Indian Raga, Hungarian Folk, orchestral and film music. This collection contains highlights from the albums Gypsy 66, Spellbinder, Jazz Raga, The Sorcerer, Simpatico, The In Sound, Scorpio and Other Signs and McFarland1s score for Eye of the Devil. It also includes such impossible rarities as Gary's characteristically serene performances of Margo Guryan's 'Rivergirl' and 'The Dreamer' by Antonio Carlos Jobim.
Tracks 1-8: Gabor Szabo
Tracks 9-14, 17-23: Gary McFarland
Gary McFarland
Active Decades: '50s and '60s
Born: Oct 23, 1933 in Los Angeles, CA
Died: Nov 03, 1971 in New York, NY
Genre: Jazz
Styles: Post-Bop, Hard Bop
Largely forgotten now, Gary McFarland was one of the more significant contributors to orchestral jazz during the early '60s. An "adult prodigy," as Gene Lees accurately noted, McFarland was an ingenious composer whose music could reveal shades of complex emotional subtlety and clever childlike simplicity. While in the Army, he became interested in jazz and attempted to play trumpet, trombone, and piano. In 1955, he took up playing the vibes. Displaying a quick ability for interesting writing, he obtained a scholarship to the Berklee School of Music. He spent one semester there and with the encouragement of pianist John Lewis, concentrated on large-band arrangements of his own compositions. He attained early notoriety and success working with Gerry Mulligan, Johnny Hodges, John Lewis, Stan Getz, Bob Brookmeyer, and Anita O'Day. McFarland began devoting more attention to his own career by 1963 when he released what is often regarded as his most significant recording, The Gary McFarland Orchestra/Special Guest Soloist: Bill Evans. He also recorded in small-group settings, which featured his clever vibes playing. The success of his instrumental pop collection, Soft Samba, allowed McFarland to form his first performing group. But his recordings thereafter, more often than not, featured an easy listening instrumental pop bent. McFarland went on to excellent work with Gabor Szabo, Shirley Scott, Zoot Sims, and Steve Kuhn, but only rarely featured his outstanding compositional talents (as in 1968's America the Beautiful). He formed the short-lived Skye Records label with Szabo and vibist Cal Tjader in the late 60s and continued to record prolifically. By the late 60s, though, he was forgotten by his initial jazz followers and he died in 1971 after being poisoned in a New York City bar.
---Douglas Payne, All Music Guide |
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