Robert Wyatt was a founding member of the Soft Machine, who along
with Pink Floyd Helped to transform the late sixties psychedelic scene
in the UK into something more lasting. Through successive albums, Soft Machine soon moved toward a more
jazz-based fusion with rock music, punctuated by Wyatt's distinctive
drumming and vocals, attracting a massive following across Europe. After
extensive touring, Wyatt left intending to pursue a solo career, but
instead assembled Matching Mole who released two critically acclaimed
LP's before disbanding prematurely. In 1973, Wyatt fell from a third floor window during a party, leaving
him paralysed from the waist downwards. From that day onwards he has
concentrated his efforts into solo recordings, mixing simple and
effective keyboard melody lines with poignant lyrics, often filled with
personal and political references. The results have proved both haunting
and reflective, even producing two chart hits - his 1974 re-working of
'I'm a Believer', and the 1983 Falklands War indictment 'Shipbuilding'
written especially for him by Elvis Costello.
(from wikipedia.com)
Julian Edwin "Cannonball" Adderley (September 15, 1928 – August 8, 1975) was a jazz alto saxophonist of the hard bop era of the 1950s and 1960s. Originally from Tampa, Florida, Adderley moved to New York in the mid-1950s. His nickname derived originally from "cannibal," an honorific title imposed on him by high school colleagues as a tribute to his fast eating capacity.
His educational career was long established prior to teaching applied instrumental music classes at Dillard High School in Fort Lauderdale, Florida. Cannonball moved to Tallahassee, Florida when his parents obtained teaching positions at Florida A&M University. Both Cannonball and brother Nat played with Ray Charles when Charles lived in Tallahassee during the early 1940s.[ Cannonball was a local legend in Florida until he moved to New York City in 1955, where he lived in Corona, Queens.
By the end of 1960s, Adderley's playing began to reflect the influence of the electric jazz avant-garde, and Miles Davis' experiments on the album Bitches Brew. On his albums from this period, such as Accent on Africa (1968) and The Price You Got to Pay to Be Free (1970), he began doubling on soprano saxophone, showing the influence of John Coltrane and Wayne Shorter.[citation needed] In that same year, his quintet appeared at the Monterey Jazz Festival in California, and a brief scene of that performance was featured in the 1971 psychological thriller Play Misty for Me, starring Clint Eastwood.[citation needed] In 1975 he also appeared (in an acting role alongside Jose Feliciano and David Carradine) in the episode "Battle Hymn" in the third season of the TV series Kung Fu.
Joe Zawinul's composition "Cannon Ball" (recorded on Weather Report's album Black Market) is a tribute to his former leader.[3] Pepper Adams and George Mraz dedicated the composition "Julian" on the 1975 Pepper Adams album (also called "Julian") days after Cannonball's death.
Songs made famous by Adderley and his bands include "This Here" (written by Bobby Timmons), "The Jive Samba," "Work Song" (written by Nat Adderley), "Mercy, Mercy, Mercy" (written by Joe Zawinul) and "Walk Tall" (written by Zawinul, Marrow and Rein). A cover version of Pops Staples' "Why (Am I Treated So Bad)?" also entered the charts.
Adderley was initiated as an honorary member of Phi Mu Alpha Sinfonia fraternity (Gamma Theta chapter, University of North Texas, '60, & Xi Omega chapter, Frostburg State University, '70) and Alpha Phi Alpha (Beta Nu chapter, Florida A&M University).
Adderley died of a stroke in 1975. He was buried in the Southside Cemetery, Tallahassee, Florida. Later that year he was inducted into the Down Beat Jazz Hall of Fame. . ."
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One of the few producers to pursue a real
fusion of jazz and house music, Frenchman Ludovic
Navarre began recording in the early '90s using various aliases (Subsystem,
Modus Vivendi, Deepside)
for a range of French imprints. St. Germain
debuted in 1994 for Laurent
Garnier's F Communications label and Navarre
released his first album, Boulevard, in
1996. Featuring trumpeter Pascal Ohse,
the album worked as a hybrid of American R&B and jazz with the
growing French house scene exemplified by Garnier, la Funk Mob,
and Dimitri
From Paris. Tourist
took the concept further with Navarre
working post-production on a fuller complement of musicians and earned
release on Blue Note. Navarre has
also remixed such varying artists as Björk, Pierre Henry,
and the
Suburban Knight.
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. . . Way before I discovered the joys of jazz/rock fusion, my musical tastes took a turn that was probably pretty natural considering that the accordion pretty much started it all. My friend Joe - he of the red American Flyer and the hill at the elementary school in my neighborhood where we would sit (yes, on our bicycles) and discuss everything from soup to nuts and solve the problems of the world. . . well, at least our little world - had pretty eclectic tastes and what just the kind of personality I needed to gravitate toward at that time in my life. One of those tastes that rubbed off onto me was for a folk trio who had already been making music successfully for a number of years and of whom I knew some (Puff the Magic Dragon was a childhood anthem), Peter, Paul and Mary. And as is the case with much music that I loved in my early days, I couldn't then explain to you what attracted me to it, although now you would be sorry if you asked me to explain, I was enthralled by the simplicity, the intertwining harmonies and the contrast of the three voices when Peter, Paul and Mary performed.
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