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| Arabesque |
| John Klemmer |
| első megjelenés éve: 2008 |
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| (2008)
[ DIGIPACK ]
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CD |
| 3.726 Ft
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| 1. | Paradise
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| 2. | Arabesque
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| 3. | Love Affair
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| 4. | Nothing Will Ever Be the Same Again Forever
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| 5. | Desire
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| 6. | Falling
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| 7. | Walk in Love
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| 8. | Picasso
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| 9. | Mardi Gras
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Jazz
John Klemmer - Producer, Sax (Tenor)
Abe Laboriel Jr. - Bass (Electric)
Abraham Laboriel - Bass (Electric), Guitar (Bass)
Airto Moreira - Percussion
Alex Acuña - Percussion
Ian Freebairn-Smith - String Arrangements, Whistle (Human), Whistle (Instrument)
Lenny White - Drums
Oscar Castro-Neves - Caraquinho, Guitar, Guitar (Acoustic)
Pat Rebillot - Fender Rhodes, Keyboards, Piano, Piano (Electric)
Roger Kellaway - Piano, Soloist
Victor Feldman - Piano, Soloist
* Bernie Grundman - Mastering
* Billy Taylor - Remix Engineer, Remixing
* Harry Weinger - Reissue Supervisor
* Hollis King - Art Direction
* Isabelle Wong - Design
* Jurgen Reisch - Photography
* Kevin Reeves - Mastering
* Mike Salisbury - Art Direction
* Ritchie Schmidt - Engineer
* Stephan Goldman - Producer
* Tom Nikosey - Lettering
Saxophonist and composer John Klemmer was restlessly following some inner call in the late 1960s through the late '70s. Aside from his big-boned tenor sound and his trademark unique Echoplex on certain tunes, he was making music that crossed numerous jazz, pop, rock, soul, and Latin genres. 1977's Arabesque is a case in point. Co-produced by the saxophonist and Stephan Goldman, Klemmer used a pool of studio players on this date in addition to a small band. Drummer Lenny White and bassist Abe Laboriel made up his trio, while pianists Roger Kellaway, Pat Rebillot, and Victor Feldman alternately held down the piano chair. The most telling thing about this date is Klemmer's employment of some of the best Brazilian percussionists in the game in Airto Moreira and Alex Acuña. The brilliant guitarist Oscar Castro-Neves also appears on a couple of cuts. The musical fare here reflects the new urban jazz at the time -- which would eventually give way to smooth jazz. During this period, inspired by the breakthrough success of Herbie Hancock's Head Hunters, and Grover Washington's Feels So Good and Mister Magic albums, this new urban sound was polished, funky, breezy, and meaty. The tunes here walk an interesting line between deep melodic midtempo ballads such as "Paradise" and "Falling," that both make use of strings and shift dynamically from introspection to slightly more expressive forcefulness; airy, exotic, Latin-flavored workouts such as the title track and "Picasso"; and cooking full-scale workouts such as "Nothing Will Be the Same Forever" and "Mardi Gras," with funk backbeats and breaks. What ties such a seemingly disparate set of tunes together is rhythm. White in concert with Acuña, or Moreira -- or both on a couple of cuts -- lends a criss-crossing, very diverse set of Latin rhythms to virtually every track here, whether it be samba, light salsa, or Afro-Cuban rhumba. Klemmer, a wonderful melodic improviser who knows his way around the outside margins, keeps it focused and tight here, but his tone is so large and rich that the tunes can't help but soar when he's actually blowing. The album did very well upon its initial release, and served to spread Klemmer's ever-growing fan base while cementing the place of the new urban jazz on the radio as well as on automobile cassette decks.
---Thom Jurek, All Music Guide
John Klemmer
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Jul 03, 1946 in Chicago, IL
Genre: Jazz
Styles: Fusion, Post-Bop, Hard Bop, Contemporary Jazz, Crossover Jazz, Jazz-Rock, Smooth Jazz
An active composer and an innovator on the electrified saxophone (using echo effects quite effectively), John Klemmer was also a very strong Coltrane-inspired acoustic tenor saxophonist. His solo saxophone recordings preceded smooth jazz and new age and his variety of projects earned him a great deal of crossover appeal that includes his music sampled by hip-hop artists of the '90s. Over the course of his career, Klemmer collaborated with a number of jazz and pop artists and performed the albums by Steely Dan, John Lee Hooker, Lauren Wood, Roy Haynes, and Nancy Wilson, among others.
John Klemmer began playing music at a young age, starting with the guitar and switching to tenor sax by high school. In addition to private music lessons that continued up through college, he also attended Interlochen's music camp. In school, Klemmer studied a variety of arts including graphics and visual arts, writing, and puppeteering at schools that include Chicago's Institute of Art. Early on in his music career, Klemmer led his own groups at gigs around the East Coast and Midwest, and was also busy touring as a sideman with big bands. Among the people he worked with during this time are jazz musicians such as Chicago pianist Jodie Christian, tenor saxophonist Eddie Harris, rock guitarist Harvey Mandel (with whom Klemmer purportedly co-led a band for a time in the '60s), and producer James Guercio (who worked extensively with the band Chicago). Klemmer made his debut recording as a leader in 1967 and moved to Los Angeles the following year. There he became a key soloist with Don Ellis's innovative big band for the next two years, while also working with artists such as Tim Buckley and Oliver Nelson, with whom Klemmer went on a State Dept. tour of West Africa.
From this time, up through the early '70s, John Klemmer led fusion groups and recorded a number of albums, primarily for Cadet Records. After studying film composition with Albert Harris, Klemmer began recording for other labels: first Impulse, then ABC, MCA, and Elektra. He also worked as a producer for pop, jazz ,and R&B artists. Klemmer's own music gained cross-over appeal, as his work with manager's Bill Siddons (who worked with the Doors) and Gary Borman (who went on to work with Faith Hill) brought his music to a growing number of pop listeners. With his electrified horn (using an echoplex), Klemmer recorded popular albums for MCA and Elektra that were in the easy listening, pop vein from the mid-'70s through the late '80s. He enjoyed a hit record with Touch and went on to record solo sax albums such as Cry, which are considered by some to be direct predecessors of smooth jazz music.
Klemmer alternated the more pop-oriented projects with fiery efforts; his finest jazz album was the two-LP set Nexus (mostly reissued on CD), a set of duets and trios with drums and occasional bass. In 1989, Music came out on MCA and Klemmer went on sabbatical, choosing to stop touring and recording in order to focus more on composing. Although it was rumored that this sabbatical was due to health problems, this is not true; it was simply Klemmer's decision to take a break from the limelight.
John Klemmer has co-written pop songs (for other artists) with, namely, David Batteau (the two wrote the successful song "Walk in Love," made popular by Manhattan Transfer) and Danny O'Keefe; the music on Klemmer's own jazz albums is composed solo. The late '90s found Klemmer returning to the stage, often on the West Coast scene. He also returned to the studio, guesting on albums by such new age artists as 3rd Force, David Arkenstone, and Craig Chaquico. During this time, Klemmer also founded his own record label, Touch Records, on which he released the albums Simpatico and Making Love, Vol. 1 (1998). By 2000, most of John Klemmer's earlier recordings were still awaiting CD issue. His own website is at www.johnklemmer.com.
---Joslyn Layne and Scott Yanow, All Music Guide |
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