"Allison (song)" redirects here. For the Elvis Costello song, see Alison (song).

Bossanova is the third album by the American alternative rock band Pixies, released in August 1990 on the English independent record label 4AD in the United Kingdom and by Elektra Records in the United States. All of Bossanova's original material was written by the band's frontman Black Francis; it marked the point where his artistic control over the band became absolute. The album's sound, inspired by surf and space rock, complements its lyrical focus on outer space, which references subjects such as aliens and unidentified flying objects.

Because of 4AD's independent status, major label Elektra Records handled distribution in the United States; Bossanova reached number 70 on the Billboard 200. The album peaked at number three in the UK Albums Chart. Two singles were released from Bossanova, "Velouria" and "Dig for Fire"; both charted, at #4 and #11 respectively on the US Modern Rock Tracks chart.

Background and recording[link]

After the Pixies finished touring obligations for their second album Doolittle (1989) in 1990, band members Black Francis, Joey Santiago, and David Lovering moved from Boston to Los Angeles. Bassist Kim Deal did not initially move with the rest of her band mates due to tension within the band. Deal ultimately decided to travel out to Los Angeles with the rest of the group.^[1] Lovering stated that he, Santiago, and Black Francis moved to Los Angeles because that's where they intended to record. The three band members lived in the Oakwood apartments, along with comic Garett Morris and members of the band White Lion. Producer Gil Norton also moved into the apartment complex.^[2]

Pixies started recording material for Bossanova at Cherokee Studios, where the sessions ran into problems. Norton said that nothing could be recorded after six P.M. because the recording desk would pick up pirate radio stations. Norton decided to work at overdubs somewhere else for a few days until the problem was corrected, but when he returned to Cherokee, he found that any time something was plugged into a guitar amplifier it would generate "this incredible hum". Norton refused to tell 4AD owner Ivo Watts-Russell about the problem until he felt he could address the problems. One day while visiting a bar, Norton and Santiago met producer Rick Rubin, whom they informed of their situation. Rubin had his secretary find another studio for the group, and the band continued recording at Master Control.^[3]

In contrast to previous records, many songs were written in the studio and few demo recordings were created. Santiago said that the band only practiced for a two-week period, in contrast to previous practice in Boston where the group rehearsed constantly.^[4] Black Francis noted, "So I was writing [lyrics] on napkins five minutes before I sang. Sometimes it's good, sometimes not. That's just the nature of that songwriting."^[5]

Release[link]

The album was released in August 1990 on 4AD in the UK, and jointly by 4AD and Elektra in the USA. After 4AD re-acquired sole distribution rights for the Pixies' back catalog, a re-issued CD (although not remastered) appeared solely on 4AD in the USA in 2004. Mobile Fidelity Sound Lab released a version in 2008 that was remastered from the original analog master tapes.^[6]

	Velouria noicon "Velouria" from Bossanova
Problems listening to this file? See media help.

Critical reception[link]

Professional ratings
Review scores
Source	Rating
Allmusic	[7]
Blender	[8][dead link]
Robert Christgau	A[9]
Entertainment Weekly	A−[10]
Rolling Stone	[11]

The UK reviews of Bossanova were generally positive. Q's Mat Snow, in his September 1990 review of Bossanova, said "the Pixies are masters of the calculated incongruity," and commented that "they give other rockers an object lesson in the first principles of how it should be done."^[12] NME noted that the album's production "leans towards the harsh garage grunge of Surfer Rosa, although the songs retain the strong melodies of Doolittle," and said that "Bossanova is the composite Pixies LP."^[13]

Rolling Stone gave Bossanova three out of five stars. In comparison to the previous albums, reviewer Moira McCormick described Bossanova as "more of a straight-ahead rock album—by the Pixies' standards, meaning it's still safely off the mainstream".^[14]

UK magazine Select made Bossanova their album of the year for 1990.^[15]

Track listing[link]

All songs written by Black Francis, except "Cecilia Ann", which was written by Frosty Horton and Steve Hoffman.

1. "Cecilia Ann" – 2:05
2. "Rock Music" – 1:52
3. "Velouria" – 3:40
4. "Allison" – 1:17
5. "Is She Weird" – 3:01
6. "Ana" – 2:09
7. "All Over the World" – 5:27
8. "Dig for Fire" – 3:02
9. "Down to the Well" – 2:29
10. "The Happening" – 4:19
11. "Blown Away" – 2:20
12. "Hang Wire" – 2:01
13. "Stormy Weather" – 3:26
14. "Havalina" – 2:33

Personnel[link]

• Black Francis – vocals, guitar
• Kim Deal – bass guitar, vocals
• David Lovering – drums, vocals
• Joey Santiago – lead guitar
• Gil Norton – producer

Sales chart positions[link]

Album

Singles

References[link]

• Frank, Josh; Ganz, Caryn. Fool the World: The Oral History of a Band Called Pixies. Virgin Books, 2005. ISBN 0-312-34007-9.

Notes[link]

João Gilberto
Background information
Birth name	João Gilberto Prado Pereira de Oliveira
Born	(1931-06-10) June 10, 1931 (age 81)
Origin	Juazeiro, Bahia, Brazil
Genres	Bossa nova, Samba, Brazilian jazz, Latin jazz
Occupations	Guitarist, singer, Songwriter
Instruments	Singer, guitarist
Years active	1950–present
Notable instruments
Guitar

João Gilberto Prado Pereira de Oliveira, known as João Gilberto (Portuguese pronunciation: [ˈʒwɐ̃w ʒiwˈbɛʁtu];^[1] June 10, 1931), is a Brazilian singer and guitarist. His seminal recordings, including many songs by Antônio Carlos Jobim and Vinicius de Moraes, established the new musical genre of Bossa nova in the late 1950s.

Biography[link]

João Gilberto was born in Juazeiro, Bahia. From an early age, music was a part of Gilberto's life. His grandfather bought him his first guitar at the age of 14. During high school, Gilberto teamed up with some of his classmates to form a small band. Gilberto, who led the band, was influenced by Brazilian popular songs, American jazz, and even some opera, among other genres. After trying his luck as a radio singer in Salvador, Bahia, the young Gilberto was recruited in 1950 as lead singer of the vocal quintet Garotos da Lua (Moon Boys) and moved to Rio de Janeiro. A year and a half later, he was dismissed from the group for his lack of discipline (he would often show up late to rehearsals or not at all).

João Gilberto's first recordings were released in Brazil as two-song 78-rpm singles between 1951 and 1959. In the 1960s, Brazilian singles evolved to the "double compact" format, and João would release some EPs in this new format, which carried 4 songs on a 45-rpm record.

For seven years, Gilberto's career was at a low ebb. He rarely had any work, was dependent on his friends for living quarters, and fell into chronic depression. Eventually, in 1955 he was rescued from this rut by Luiz Telles, leader of the vocal group Quitandinha Serenaders, who took him to Porto Alegre in southern Brazil. In this provincial town João Gilberto blossomed musically. Next he spent eight months with his sister in Diamantina, Minas Gerais,^[2] where he sequestered himself and played day and night in a little bathroom (because of the improved acoustic), forging a personal style for voice and guitar that would come to be known as bossa nova. The first bossa nova song, titled "Bim-Bom", was written as Gilberto watched passing laundresses on the banks of the São Francisco River balance loads of clothes on their heads.

Just after this time Gilberto's father, upset by João's bizarre singing style and refusal to take "normal" work, committed him to a mental hospital. In a psychological interview there, Gilberto stared out the window and remarked, “Look at the wind depilating the trees.” The psychologist replied, “But trees have no hair, João,” to which Gilberto responded, “And there are people who have no poetry.” He was released after a week. The next year (1956) he returned to Rio and struck up old acquaintances, most significantly Antonio Carlos Jobim, who was by then working as a composer, producer and arranger with Odeon Records. Jobim was impressed with Gilberto's new style of guitar playing, and set about finding a suitable song to pitch the style to Odeon management.

Bossa nova ("new style") is a refined version of samba, de-emphasizing the percussive aspect of its rhythm and enriching the melodic and harmonic content. Rather than relying on the traditional Afro-Brazilian percussive instruments, João Gilberto often eschews all accompaniment except his guitar, which he uses as a percussive as well as a harmonic instrument, incorporating the parts of different samba percussion instruments such as the tamborim and the surdo from a full batucada band. The singing style he developed is almost whispering, economical, and without vibrato. He creates his tempo tensions by singing ahead or behind the beat.

This style, which Gilberto introduced in 1957, created a sensation in the musical circles of Rio's Zona Sul, and many young guitarists sought to imitate it. It was first heard on record in 1958 in a recording of "Chega de Saudade", a song by Jobim and Vinicius de Moraes. Gilberto had first accompanied singer Elizeth Cardoso as her guitarist in a recording of this song, explaining his vision for the new style, but Cardoso would have none of his singing advice and sung it in the standard way. But shortly after this recording, João Gilberto made his own debut single of the same song, in the new style, followed by the 1959 LP, Chega de Saudade. The song () turned into a hit, launching Gilberto's career and the bossa nova craze. Besides a number of Jobim compositions, the album featured older sambas and popular songs from the 1940s and 1950s, all performed in Gilberto's distinctive style. This album was followed by two more in 1960 and 1961, by which time the singer featured new songs by a younger generation of performer/composers such as Carlos Lyra and Roberto Menescal.

By 1962, bossa nova had been embraced by North American jazz musicians such as Herbie Mann, Charlie Byrd, and Stan Getz, who invited Gilberto and Jobim to collaborate on what became one of the best-selling jazz albums of all time, Getz/Gilberto. Through this album, Gilberto's then wife Astrud -- who had never sung professionally prior to this recording session^[3] -- became an international star, and the Jobim/de Moraes composition "The Girl from Ipanema" became a worldwide pop music standard.

João Gilberto lived in the United States from 1962 until 1969, when he moved to Mexico for two years. There he recorded João Gilberto en México (1970). João Gilberto, aka the "White Album" (1973), featured hypnotic minimalist execution, limited to the singer, his guitar, and Sonny Carr on drums. 1976 saw the release of The Best of Two Worlds, a reunion with Stan Getz, featuring singer Miúcha, (sister of Chico Buarque), who had become Gilberto's second wife in April 1965. Amoroso (1977) backed Gilberto with the lush string orchestration of Claus Ogerman, who had provided a similar sound to Jobim's instrumental recordings in the late 1960s and early 1970s. As had been the case for all of Gilberto's albums, the album consisted mostly of Jobim compositions, mixed with older sambas and an occasional North American standard from the 1940s.

João Gilberto returned to Brazil in 1980. The following year saw the release of Brasil, with guests Gilberto Gil and Caetano Veloso, who in the late 1960s had founded the Tropicalia movement, a fusion of Brazilian popular music with foreign pop. The 1991 release João, with orchestrations by Clare Fischer, was unusual in its lack of even a single Jobim composition, instead featuring songs in English, French, Italian, and Spanish, plus old sambas and the solitary contemporary song "Sampa" (Caetano Veloso). Also released in 1991 was the album Canto do Pajé by Veloso's sister Maria Bethânia, on which Bethânia and Gilberto sing an intimate medley of "Maria" (Ary Barroso/Luiz Peixoto) and "Linda Flor"' (Henrique Vogeler/Luiz Peixoto/Marques Pôrto), accompanied solely by his guitar. João Voz e Violão (2000) was an homage to the music of Gilberto's youth as well as a nod to producer Caetano Veloso.

Evenly interspersed with these studio recordings have been the live recordings Live in Montreux; João Gilberto Prado Pereira de Oliveira; Eu Sei Que Vou Te Amar; Live at Umbria Jazz; and Live in Tokyo.

While all of Gilberto's albums since Getz/Gilberto have been released on CD, the first three domestic albums were released in 1988 by EMI on a single CD entitled The Legendary João Gilberto: The Original Bossa Nova Recordings (1958–1961). The disc also included three tracks from the singer's 1959 Orfeu Negro EP: "Manhã de Carnaval," O Nosso Amor, and A Felicidade, the latter two merged into a single medley track to fit within the recording time of a CD. After its release, Gilberto successfully sued to have the title removed from sale as an unauthorized release of his artistic works.

João Gilberto has long had a reputation as an artist who values his privacy. He lives in an apartment in Leblon, Rio de Janeiro, refusing interviews and avoiding crowds. He also has high standards for acoustics and noise control. He has been known to walk out on performances in response to audiences that interfere with the music by creating inappropriate noise, or out of theaters possessing poor acoustics; on several occasions he requested that the air conditioning be turned off at concert venues. During a recording session of the song "Rosa Morena" Gilberto insisted on 28 takes to get the pronunciation of the 'O' in "Rosa" just right.

He continues to perform, very occasionally, to sell-out crowds in Brazil as well as in Europe, North America, and Japan. His planned public performances in Madrid (2009) and New York (2010) were cancelled at short notice. He is the father of singer Bebel Gilberto (Isabel), via his marriage to Miúcha.

In 1997, João sued record label EMI over a reissuing of several of his early works which he contended were poorly remastered. According to The New York Times, "A statement by his lawyer at the time declared that the reissues contained sound effects that 'did not pertain to the original recordings, banalizing the work of a great artist.'" Following the incident, EMI ceased to manufacture the albums in question, and, as of 2008, the lawsuit is yet to reach a decision.

Eviction[link]

In January 2011, Gilberto was notified by the State Court to leave his apartment in Leblon, Rio de Janeiro, where he has lived for fifteen years. According to the property owner's lawyer Paulo Roberto Moreira Mendes, the property belongs to Georgina Brandolini d'Adda, who criticizes the eccentric behavior of the musician.^{[citation needed]}

Discography[link]

• 1951: Quando Você Recordar/Amar é Bom
• 1951: Anjo Crue/Sem Elal
• 1952: Quando Ela Sai/Meia Luz
• 1958: Chega de Saudade/Bim Bom
• 1958: Desafinado/Hô-bá-lá-lá
• 1959: Chega de Saudade
• 1960: O Amor, o Sorriso e a Flor
• 1961: João Gilberto
• 1961: Brazil's Brilliant João Gilberto
• 1962: João Gilberto Cantando as Musicás do Filme Orfeo do Carnaval
• 1962: Boss of Bossa Nova
• 1962: Bossa Nova at Carnegie Hall
• 1963: The Warm World of João Gilberto
• 1964: Getz/Gilberto
• 1965: Herbie Mann & João Gilberto with Antonio Carlos Jobim
• 1966: Getz/Gilberto Vol. 2
• 1970: João Gilberto en Mexico
• 1973: João Gilberto
• 1976: The Best of Two Worlds
• 1977: Amoroso
• 1977: Gilberto and Jobim
• 1980: João Gilberto Prado Pereira de Oliveira
• 1981: Brasil
• 1985: Interpreta Tom Jobim
• 1985: Meditação
• 1986: Live in Montreux
• 1987: Live in Montreux
• 1988: O Mito
• 1990: Stan Getz meets João & Astrud Gilberto
• 1991: João
• 1994: Eu Sei que Vou Te Amar
• 2000: João Voz e Violão
• 2002: Live at Umbria Jazz
• 2004: In Tokyo

-João Gilberto's first five records released from 1951-1958 were all 78 rpm single editions.

-The album João Gilberto released in 1970 is the same version as João Gilberto en Mexico in the same year but by different record companies.

-Live in Montreux from 1987 is the same version as the one released in 1986. The version in 1986 was released in Brasil whereas the 1987 one was released in USA. Both were recorded live.

References[link]

• [3], "João Gilberto's Pioneering Bossa Nova Records Are Caught In a Legal Limbo" by The New York Times
• [4], "The Man Who Invented Bossa Nova" by Daniella Thompson

Sources[link]

• Castro, Ruy (trans. by Lysa Salsbury). "Bossa Nova: The Story of the Brazilian Music That Seduced the World." 2000. 1st English language edition. A Capella Books, an imprint of Chicago Review Press, Inc. ISBN 1-55652-409-9 First published in Brasil by Companhia das Letras. 1990.
• McGowan, Chris and Pessanha, Ricardo. "The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil." 1998. 2nd edition. Temple University Press. ISBN 1-56639-545-3
• Gridley, Mark. Jazz Styles: History and Analysis. 9th. NJ: Pearson Prentice Hall, Print.

External links[link]

• Plain João—The Man Who Invented Bossa Nova, a biographical profile by Daniella Thompson
• João Gilberto Discography by Laura Pelner McCarthy
• João Gilberto Discography by SomBras (meanwhile a dead link)
• Nos bastidores do legendario concerto da bossa nova 1962
• The Brazilian Sound: Brazilian Music & Culture Website
• Bossa Nova Guitar Transcriptions (Mostly of songs performed by João Gilberto)
• João Gilberto Discography on Slipcue.com
• Joao Gilberto: The Early Records a special on Gilberto at the blog Worlds of Wanwood

Lalo Schifrin
In concert with the Big Band of the Kölner Musikhochschule, 2006
Background information
Birth name	Boris Claudio Schifrin
Born	(1932-06-21) June 21, 1932 (age 80)
Origin	Buenos Aires, Argentina
Genres	Bossa nova, jazz, bebop, rock
Occupations	Pianist, composer, conductor
Instruments	Piano
Years active	1950 – present
Labels	Tico, Roulette, Audio Fidelity, MGM, Verve, Colpix, Colgems, Dot, Warner Bros., Paramount, EntrActe, CTI, Tabu, Palo Alto, Atlantic, Aleph

Lalo Schifrin (born June 21, 1932)^[1] is an Argentine composer, pianist and conductor. He is best known for his film and TV scores, such as the "Theme from Mission: Impossible". He has received four Grammy Awards and six Oscar nominations. Schifrin, associated with the jazz music genre, is also noted for work with Clint Eastwood in the late 1960s, 1970s and 1980s, particularly the Dirty Harry films.

Biography[link]

Schifrin was born Boris Claudio Schifrin in Buenos Aires to Jewish parents.^[2] His father, Luis Schifrin, led the second violin section of the orchestra at the Teatro Colón for three decades.^[1] At the age of six, Schifrin began a six-year course of study on piano with Enrique Barenboim, the father of the pianist and conductor Daniel Barenboim. At age 16, Schifrin began studying piano with the Greek-Russian expatriate Andreas Karalis, former head of the Kiev Conservatory, and harmony with Argentine composer Juan Carlos Paz. During this time, Schifrin also became interested in jazz.

Although Schifrin studied sociology and law at the University of Buenos Aires, it was music that captured his attention.^[1] At age 20, he successfully applied for a scholarship to the Paris Conservatoire. While there, he attended Olivier Messiaen's classes and formally studied with Charles Koechlin, a disciple of Maurice Ravel. At night he played jazz in the Paris clubs. In 1955, Schifrin played piano with Ástor Piazzolla and represented his country at the International Jazz Festival in Paris.

After returning home to Argentina, Schifrin formed a jazz orchestra, a 16-piece band that became part of a popular weekly variety show on Buenos Aires TV. Schifrin also began accepting other film, television and radio assignments. In 1956, Schifrin met Dizzy Gillespie and offered to write an extended work for Gillespie's big band. Schifrin completed the work, Gillespiana, in 1958^[1] (it was recorded in 1960). Later that year Schifrin began working as an arranger for Xavier Cugat's popular dance orchestra.

While in New York in 1960, Schifrin again met Gillespie, who had by this time disbanded his big band for financial reasons. Gillespie invited Schifrin to fill the vacant piano chair in his quintet. Schifrin immediately accepted and moved to New York City. Schifrin wrote a second extended composition for Gillespie, The New Continent, which was recorded in 1962. In 1963, MGM, which had Schifrin under contract, offered the composer his first Hollywood film assignment with the African adventure, Rhino!.^[1] Schifrin moved to Hollywood late that year. He also radically re-arranged the theme for the popular NBC-TV series The Man from U.N.C.L.E., altering original composer Jerry Goldsmith's theme to a jazzy melody emphasizing flutes and exotic percussion, which wound up winning the Emmy award for Best TV Theme in 1965.

One of Schifrin's most recognizable and enduring compositions is the theme music for the long-running TV series Mission: Impossible. It is a distinctive tune written in the uncommon 5/4 time signature.

Schifrin's "Tar Sequence" from his Cool Hand Luke score (also written in 5/4) was the longtime theme for the Eyewitness News broadcasts on New York station WABC-TV and other ABC affiliates, as well as National Nine News in Australia. CBS Television used part of the theme of his St. Ives soundtrack for its golf broadcasts in the 1970s and early 1980s.

Schifrin's score for Coogan's Bluff in 1968 was the beginning of a long association with Clint Eastwood and director Don Siegel. Schifrin's strong jazz blues riffs were evident in Dirty Harry and, although similar to Bullitt and Coogan's Bluff, the score for Dirty Harry stood out for the sheer fear it generated when released.^{[citation needed]}

Schifrin's working score for 1973's The Exorcist was rejected by the film's director, William Friedkin. Schifrin had written six minutes of difficult and heavy music for the initial film trailer, but audiences were reportedly frightened by the combination of sights and sounds. Warner Bros. executives told Friedkin to instruct Schifrin to tone it down with softer music, but Friedkin did not relay the message. Schifrin's final score was thrown out into the parking lot. Schifrin reported in an interview that working with Friedkin was one of the most unpleasant experiences in his life.^[3]

In the 1998 film Tango, Schifrin returned to the tango music he had grown familiar with while working as Ástor Piazzolla's pianist in the mid-1950s. He brought traditional tango songs to the film as well as introducing compositions of his own in which tango is fused with jazz elements.^[4]

In 1997, the composer founded Aleph Records.^[5]

He also wrote the main theme for Splinter Cell: Pandora Tomorrow.

Schifrin made a cameo appearance in Red Dragon (2002) as an orchestra conductor.

He is also widely sampled in hip-hop and trip-hop songs, such as Heltah Skeltah's "Prowl" or Portishead's "Sour Times". Both songs sample Schifrin's "Danube Incident", one of many themes he composed for specific episodes of the Mission: Impossible TV series.

On April 23, 2007, Lalo Schifrin presented a concert of film music for the Festival du Film Jules Verne Aventures (aka Festival Jules Verne), at Le Grand Rex theatre in Paris, France – Europe's biggest movie theater – that was caught superbly by Festival leaders for a 73 and a half minute CD named "Lalo Schifrin: Le Concert à Paris."

In 2010, a fictionalised account of Lalo Schifrin's creation of the Mission: Impossible tune was featured in a Lipton TV commercial aired in a number of countries around the world.^[6]

Alternative hip hop group Blue Scholars recorded at track entitled "Lalo Schifrin" on their third album Cinemetropolis (2011).

Awards[link]

To date, Lalo Schifrin has won four Grammy Awards (with twenty-one nominations), one Cable ACE Award, and received six Oscar nominations, and has a star on the Hollywood Walk of Fame.

Discography[link]

Albums[link]

• 1957: Spectrum (Epic)
• 1959: Piano Español (Tico) reissued as Lalolé: The Latin Sound of Lalo Schifrin (Roulette)
• 1962: Lalo = Brilliance (Roulette)
• 1962: Bossa Nova: New Brazilian Jazz (Audio Fidelity)
• 1962: Piano, Strings and Bossa Nova (MGM)
• 1963: Samba Para Dos with Bob Brookmeyer (Verve)
• 1963: Between Broadway & Hollywood (MGM)
• 1964: Explorations with Louis Bellson (Roulette)
• 1964: New Fantasy (Verve)
• 1965: Once a Thief and Other Themes (Verve)
• 1966: The Dissection and Reconstruction of Music From the Past as Performed By the Inmates of Lalo Schifrin's Demented Ensemble as a Tribute to the Memory of the Marquis De Sade (Verve)
• 1968: There's a Whole Lalo Schifrin Goin' On (Dot)
• 1971: Rock Requiem (Verve)
• 1976: Black Widow (CTI)
• 1977: Towering Toccata (CTI)
• 1978: Gypsies (Tabu)
• 1979: No One Home (Tabu)
• 1982: Ins and Outs (Palo Alto)
• 1992: Jazz Meets the Symphony (Atlantic)
• 1993: More Jazz Meets the Symphony (Atlantic)
• 1995: Firebird: Jazz Meets the Symphony No. 3 (Four Winds)
• 1996: Gillespiana (Aleph)
• 1998: Jazz Mass in Concert (Aleph)
• 1998: Metamorphosis: Jazz Meets the Symphony #4 (Aleph)
• 1999: Mannix (Aleph)
• 1999: Latin Jazz Suite (Aleph)
• 1999: Jazz Goes to Holywood (Aleph)
• 1999: The Fox (Aleph)
• 2000: Esperanto (Aleph)
• 2000: Bullitt (Aleph)
• 2000: Intersections: Jazz Meets the Symphony #5 (Aleph)

Soundtrack albums[link]

• 1964: Gone with the Wave (soundtrack) (Colpix)
• 1965: The Liquidator (soundtrack) (MGM)
• 1965: The Cincinnati Kid (soundtrack) (MGM)
• 1966: Murderer's Row (soundtrack) (Colgems)
• 1967: Cool Hand Luke (soundtrack) (Dot)
• 1967: Sol Madrid (soundtrack) (MGM)
• 1967: Music from Mission: Impossible (Dot)
• 1968: The Fox (soundtrack) (Warner Bros.)
• 1968: More Mission: Impossible (Paramount)
• 1968: Mannix (Paramount)
• 1968: Bullitt (soundtrack) (Warner Bros.)
• 1969: Che! (soundtrack) (Tetragrammaton)
• 1970: Kelly's Heroes (soundtrack) (MGM)
• 1973: Enter the Dragon (soundtrack) (Warner Bros.)
• 1977: Voyage of the Damned (soundtrack) (Entr'Acte)
• 1977: Rollercoaster (soundtrack) (MCA)

Albums featured[link]

With Cannonball Adderley

• The Cannonball Adderley Quintet & Orchestra (Capitol, 1970) - composer, conductor and arranger

With Maurice André

• Trompettissimo (Erato, 1994) - arranger and conductor

With Count Basie

• Back with Basie (Roulette, 1962)

With Louis Bellson

• Thunderbird (Impulse!, 1965) - arranger

With Luiz Bonfá

• Luiz Bonfa Plays and Sings Bossa Nova (Verve, 1963) - arranger

With Candido Camero

• Conga Soul (Roulette, 1962) - piano, composer, arranger

With José Carreras, Placido Domingo and Luciano Pavarotti

• The Three Tenors in Concert (London, 1990) - arranger
• The Three Tenors in Concert 1994 (Atlantic, 1994) - arranger
• The 3 Tenors - Paris 1998 (Atlantic, 1998) - arranger

With Dizzy Gillespie

• Gillespiana (Verve, 1960) - composer, piano and arranger
• An Electrifying Evening with the Dizzy Gillespie Quintet (Verve, 1961) - piano
• Carnegie Hall Concert (Verve, 1961) - piano
• A Musical Safari (1961) - piano
• Dizzy on the French Riviera (Philips, 1962) - piano, composer and arranger
• New Wave (Philips, 1962) - piano, arranger
• The New Continent (Limelight, 1962) - piano, composer and arranger
• Something Old, Something New (Philips, 1963) - arranger
• Dizzy Gillespie and the Double Six of Paris (Philips, 1963) - arranger
• Free Ride (Pablo, 1977) - keyboards, composer, arranger and conductor

With Eddie Harris

• Bossa Nova (Vee-Jay, 1962) - piano, composer, arranger

With Al Hirt

• Latin in the Horn (RCA Victor, 1966) - conductor and arranger

With Jimmy Smith

• The Cat (Verve Records, 1964) - conductor and arranger
• The Cat Strikes Again (LaserLight Records, 1980)

With Sarah Vaughan

• Sweet 'n' Sassy (1963 Roulette Records)

With Cal Tjader

• Several Shades of Jade (Verve Records, 1963)

With Paul Horn

• Jazz Suite on the Mass Texts (RCA Records, 1965)

Films scores[link]

• 1964: Rhino!
• 1965: The Cincinnati Kid
• 1965: The Liquidator
• 1965: Once a Thief
• 1966: Murderers' Row
• 1967: The Fox
• 1967: The President's Analyst
• 1967: Cool Hand Luke
• 1968: Bullitt
• 1968: The Brotherhood
• 1968: Hell in the Pacific
• 1968: Coogan's Bluff
• 1968: Where Angels Go, Trouble Follows
• 1969: Che!
• 1970: Kelly's Heroes
• 1970: WUSA
• 1971: THX 1138
• 1971: The Beguiled
• 1971: Dirty Harry
• 1971: The Hellstrom Chronicle
• 1971: Pretty Maids All in a Row
• 1972: Prime Cut
• 1972: Joe Kidd
• 1972: Rage
• 1972: The Wrath of God
• 1973: Magnum Force
• 1973: Enter the Dragon
• 1973: Charley Varrick
• 1973: Harry in Your Pocket
• 1973: Hit!
• 1974: The Four Musketeers
• 1976: The Eagle Has Landed
• 1976: Voyage of the Damned
• 1977: Rollercoaster
• 1977: Telefon
• 1978: Return from Witch Mountain
• 1978: The Cat from Outer Space
• 1978: The Manitou
• 1979: The Amityville Horror
• 1979: Escape to Athena
• 1979: The Concorde ... Airport '79
• 1979: Boulevard Nights
• 1979: Love and Bullets
• 1980: Brubaker
• 1980: The Big Brawl
• 1980: When Time Ran Out
• 1980: The Competition
• 1980: Serial
• 1980: The Nude Bomb
• 1981: Caveman
• 1981: Loophole
• 1982: Amityville II: The Possession
• 1982: The Seduction
• 1983: Sudden Impact
• 1983: The Osterman Weekend
• 1983: Doctor Detroit
• 1983: The Sting II
• 1984: Tank
• 1985: Bad Medicine
• 1985: The Mean Season
• 1986: The Ladies Club
• 1986: Black Moon Rising
• 1987: The Fourth Protocol
• 1988: The Dead Pool
• 1989: Return From the River Kwai
• 1991: F/X2
• 1993: The Beverly Hillbillies
• 1996: Scorpion Spring
• 1997: Money Talks
• 1998: Tango
• 1998: Rush Hour
• 1998: Something to Believe In
• 2001: Rush Hour 2
• 2003: Bringing Down the House
• 2004: The Bridge of San Luis Rey
• 2004: After the Sunset
• 2006: Abominable
• 2007: Rush Hour 3

Television scores[link]

• 1964: The Man from U.N.C.L.E.
• 1965: The Big Valley
• 1966: T.H.E. Cat
• 1967: Mission: Impossible
• 1967: Mannix
• 1969: Medical Center
• 1974: Planet of the Apes
• 1975: Starsky and Hutch
• 1976: Most Wanted
• 1982: Chicago Story
• 1984: Glitter
• 1987: Sparky's Magic Piano

References[link]

External links[link]

• Lalo Schifrin's official website
• Lalo Schifrin at the Internet Movie Database
• Cinema Retro attends Lalo Schifrin's London concert
• Aleph Records Discography - record label operated by Schifrin
• Two Interviews with Lalo Schifrin by Bruce Duffie (June 23, 1988, and October 9, 2003)
• Lalo Schifrin Interview for WeirdMusic.net / UKtop40Charts.com Magazine

Lionel Hampton
Lionel Hampton at the 1979 North Sea Jazz Festival
Background information
Birth name	Lionel Leo Hampton
Also known as	"Hamp", "Mad Lionel"
Born	(1908-04-20)April 20, 1908 Louisville, Kentucky, United States
Died	August 31, 2002(2002-08-31) (aged 94) New York City, New York, United States
Genres	Swing Big band Mainstream jazz New York blues
Occupations	Multi-instrumentalist Actor Composer
Instruments	Vibraphone Drums Piano Vocals
Years active	1927–2002
Labels	Decca
Associated acts	Benny Goodman, Teddy Wilson, Quincy Jones, Louis Armstrong, Gloria Parker

Lionel Leo Hampton (April 20, 1908 – August 31, 2002) was an American jazz vibraphonist, pianist, percussionist, bandleader and actor. Like Red Norvo, he was one of the first jazz vibraphone players. Hampton ranks among the great names in jazz history, having worked with a who's who of jazz musicians, from Benny Goodman and Buddy Rich to Charlie Parker and Quincy Jones. In 1992, he was inducted into the Alabama Jazz Hall of Fame.

Biography[link]

Early life[link]

Lionel Hampton was born in Louisville, Kentucky, in 1908, and was raised by his grandmother. Shortly after he was born, he and his mother moved to her hometown Birmingham, Alabama.^[1][2][3] He spent his early childhood in Kenosha, Wisconsin before he and his family moved to Chicago, Illinois in 1916. As a youth, Hampton was a member of the Bud Billiken Club, an alternative to the Boy Scouts of America, which was off limits because of racial segregation.^[4] During the 1920s—while still a teenager—Hampton took xylophone lessons from Jimmy Bertrand and started playing drums.^[5] Hampton was raised Roman Catholic, and started out playing fife and drum at the Holy Rosary Academy near Chicago.^[6][7]

Early career[link]

Lionel Hampton began his career playing drums for the Chicago Defender Newsboys' Band (led by Major N. Clark Smith) while still a teenager in Chicago. He moved to California in 1927 or 1928, playing drums for the Dixieland Blues-Blowers. He made his recording debut with The Quality Serenaders led by Paul Howard, then left for Culver City and drummed for the Les Hite band at Sebastian's Cotton Club. During this period he began practicing on the vibraphone. In 1930 Louis Armstrong came to California and hired the Les Hite band, asking Hampton if he would play vibes on two songs. So began his career as a vibraphonist, popularizing the use of the instrument ever since.^[8]

While working with the Les Hite band, Hampton also occasionally did some performing with Nat Shilkret and his orchestra. During the early 1930s he studied music at the University of Southern California. In 1934 he led his own orchestra, and then appeared in the 1936 Bing Crosby film Pennies From Heaven alongside Louis Armstrong (wearing a mask in a scene while playing drums).^[9]

With Benny Goodman[link]

Also in November 1936,^[11] the Benny Goodman Orchestra came to Los Angeles to play the Palomar Ballroom. When John Hammond brought Goodman to see Hampton perform, Goodman invited him to join his trio, which thus became the celebrated Benny Goodman Quartet with Teddy Wilson and Gene Krupa completing the lineup. The Trio and Quartet were among the first racially integrated jazz groups to record and play before wide audiences,^[12][13] and were a leading small-group in an era when jazz was dominated by big bands.

Lionel Hampton Orchestra[link]

Lionel Hampton during a concert in Aachen (Germany) on May 19, 1977

While Hampton worked for Goodman in New York, he recorded with several different small groups known as the Lionel Hampton Orchestra, as well as assorted small groups within the Goodman band. In 1940 Hampton left the Goodman organization under amicable circumstances to form his own big band.^[14]

Hampton's orchestra became popular during the 1940s and early 1950s. His third recording with them in 1942 produced a classic version of "Flying Home", featuring a solo by Illinois Jacquet that anticipated rhythm & blues. The selection became very popular, and so in 1944 Hampton recorded "Flying Home, Number Two" featuring Arnett Cobb. The song went on to become the theme song for all three men. Guitarist Billy Mackel first joined Hampton in 1944, and would perform and record with him almost continuously through the late 1970s.^[15] In 1947 he recorded "Stardust" at a "Just Jazz" concert with Charlie Shavers and Slam Stewart produced by Gene Norman.

From the mid-1940s until the early 1950s, Hampton led a lively rhythm & blues band whose Decca Records recordings included numerous young performers who later achieved fame. They included bassist Charles Mingus, saxophonist Johnny Griffin, guitarist Wes Montgomery, vocalist Dinah Washington and keyboardist Milt Buckner. Other noteworthy band members were trumpeters Dizzy Gillespie, Cat Anderson, and Kenny Dorham, trombonists Snooky Young and Jimmy Cleveland, and saxophonists Illinois Jacquet and Jerome Richardson.

The Hampton orchestra that toured Europe in 1953 included Clifford Brown, Gigi Gryce, Anthony Ortega, Monk Montgomery, George Wallington, Art Farmer, Quincy Jones, and singer Annie Ross. Hampton continued to record with small groups and jam sessions during the 1940s and 1950s, with Oscar Peterson, Art Tatum, Buddy DeFranco, and others. In 1955, while in California working on The Benny Goodman Story he recorded with Stan Getz and Art Tatum for Norman Granz as well as with his own big band.

Hampton performed with Louis Armstrong and Italian singer Lara Saint Paul at the 1968 Sanremo Music Festival in Italy. The performance created a sensation with Italian audiences, as it broke into a real jazz session.^[16] That same year, Hampton received a Papal Medal from Pope Paul VI.

Later career[link]

President George W. Bush honors Lionel Hampton during a ceremony recognizing Black Music Month in the East Room of the White House on June 30, 2001.

During the 1960s, Hampton's groups were in decline; he was still performing what had succeeded for him during the 1930s, 1940s, and 1950s. He did not fare much better in the 1970s, though he recorded actively on the Who's Who Record label.^[17]

Beginning in February 1984, Hampton and his band played at the University of Idaho's annual jazz festival, which was renamed the Lionel Hampton Jazz Festival the following year. In 1987 the UI's school of music was renamed for Hampton, the first university music school named for a jazz musician.

Hampton remained active until a stroke in Paris in 1991 led to a collapse on stage. That incident, combined with years of chronic arthritis, forced him to cut back drastically on performances. However, he did play at the Smithsonian National Museum of American History in 2001 shortly before his death.^[18][19][20]

Personal life[link]

On November 11, 1936, in Yuma, Arizona, Lionel Hampton married Gladys Riddle (c. 1910-1971).^[21] Gladys was Lionel's business manager throughout much of his career. Many musicians recall that Lionel ran the music and Gladys ran the business.

During the 1950s he had a strong interest in Judaism and raised money for Israel. In 1953 he composed a King David suite and performed it in Israel with the Boston Pops Orchestra. Later in life Hampton became a Christian Scientist.^[22] He had a love for puppies and in fact owned 30. He named half of them Bill and half Sharon. Hampton was a Thirty-third degree Prince Hall freemason in New York, also.^[23] In January 1997, his apartment caught fire and destroyed his awards and belongings; Hampton escaped uninjured.^[24]

The grave of Lionel Hampton

Lionel Hampton died from congestive heart failure on August 31, 2002 at Mount Sinai Hospital in New York City, and was interred in the Woodlawn Cemetery, Bronx, New York. His funeral was held on September 7, 2002 and featured a performance by Wynton Marsalis and David Ostwald's Gully Low Jazz Band at Riverside Church in Manhattan; the procession began at The Cotton Club in Harlem.^[25][26]

Charity[link]

Lionel Hampton Houses housing project in Harlem (far right). Photo by Jordan Davis

Hampton was deeply involved in the construction of various public housing projects, and founded the Lionel Hampton Development Corporation. Construction began with the Lionel Hampton Houses in Harlem, New York in the 1960s, with the help of then Republican governor Nelson Rockefeller. Hampton's wife—Gladys Hampton—also was very involved in construction of a housing project in her name—the Gladys Hampton Houses. Gladys died in 1971. In the 1980s, Hampton built another housing project called Hampton Hills in Newark, New Jersey.

Hampton was a staunch Republican and served as a delegate to several Republican National Conventions.^[27] He served as Vice-Chairman of the New York Republican County Committee for some years^[28] and also was a member of the New York City Human Rights Commission.^[29] Hampton donated almost $300,000 to Republican campaigns and committees throughout his lifetime.^[30]

Awards[link]

• 2001 - Harlem Jazz and Music Festival's Legend Award
• 1996 - National Medal of Arts presented by President Bill Clinton
• 1995 - Honorary Commissioner of Civil Rights by George Pataki
• 1995 - Honorary Doctorate from the New England Conservatory of Music
• 1993 - Honorary Doctorate from the University of Maryland Eastern Shore
• 1992 - Inducted into the Alabama Jazz Hall of Fame
• 1992 - "Contributions To The Cultural Life of the Nation" award from the John F. Kennedy Center for the Performing Arts
• 1988 - The National Endowment for the Arts Jazz Masters Fellowship
• 1988 - The National Association of Jazz Educators Hall of Fame Award
• 1987 - Honorary Doctorate of Humanities from the University of Idaho - UI's School of Music renamed "Lionel Hampton School of Music."
• 1987 - The Roy Wilkins Memorial Award from the NAACP
• 1986 - The "One of a Kind" Award from Broadcast Music, Inc.
• 1984 - Jazz Hall of Fame Award from the Institute of Jazz Studies
• 1984 - Honorary Doctorate of Music from USC
• 1983 - The International Film and Television Festival of New York City Award
• 1983 - Honorary Doctorate of Humane Letters from the State University of New York
• 1982 - Hollywood Walk of Fame Star
• 1981 - Honorary Doctorate of Humanities from Glassboro State College
• 1979 - Honorary Doctorate of Music from Howard University
• 1978 - Bronze Medallion from New York City
• 1976 - Honorary Doctorate of Humanities from Daniel Hale Williams University
• 1975 - Honorary Doctorate of Music from Xavier University of Louisiana
• 1974 - Honorary Doctorate of Fine Arts from Pepperdine University
• 1968 - Papal Medal from Pope Paul VI
• 1966 - George Frederick Handel Medal
• 1957 - American Goodwill Ambassador by President Dwight D. Eisenhower
• 1954 - Israel's Statehood Award

Discography[link]

Compilations

Filmography[link]

References[link]

External links[link]

• Lionel Hampton Library Collection, part of the International Jazz Collections at the University of Idaho Library
• Christopher Popa, "Lionel Hampton: Music Was His Fountain of Youth," Big Band Library
• Interview with Lionel Hampton by Felix Grant in 1982
• Lionel Hampton's Gravesite
• Lionel Hampton: His Life and Legacy at University of Idaho
• Lionel Hampton at Drummersworld
• Gene Krupa - What's New(s)
• Lionel Hampton Band - Midnight Sun 1947, Decca 28059 on YouTube
• Lionel Hampton Jazz Festival at University of Idaho
• Lionel Hampton at IMDB
• Official website of the Alabama Jazz Hall of Fame
• Photos at Jazzhouse.org