Spheroe - 1978 - Primadonna

Spheroe 

1978 

Primadonna

01. Hep deliler bisi bulur (4:20)
02. Janata express (3:20)
03. Primadonna (5:10)
04. Cocorido (3:25)
05. Karin song (2:40)
06. Arlechino (7:50)
07. Chiaroscuro (2:17)
08. Jeff (4:45)
09. Matin rouge (3:08)
10. Violet (1:20)

- Michel Perez / guitars, synthesizer
- Gerard Maimone / keyboards, vibraphone
- Rido Bayonne / bass, percussion
- Patrick Garel / drums, piano

Second Spheroe album from 1978 entitled Primadonna is a step forward in their jazz rock sound. I've always liked this second album over the first. It's realy something strange that this band is so low rated here, the second album is not only low rated but aswell has no review, I wonder why. Still for me a very pleasent album with a lot to offer. Not necesarly an overblowing band from late '70's in jazz, but thie work, both albums are good and needs a better view if you are in this kind of musicc. I said this is more enjoyble than the first who was also a good one, but this time they are more confident in their skills and have better ideas than on first. Primadonna has the same ingredients as the previous one, jazz rock with some latino leanings, but not as DiMeola, they are more towards Iceberg and Return To Forever in places. All the pieces stands as good for me, in places even very good. I like very much the up tempo of the album with great interplay between musicians. A quite excellent parts , made to me to give easely 3.5 rounded up to 4. Pleasent all the way. One of those albums from the late '70's in jazz that are forgotten.

French jazz rock has a special smell. A subtle, refined aroma of an elite character, almost never intended for export. It is clear that the local musicians could not compete in number with the trendsetters - the Americans - there. They weren’t going to. They simply created to the delight of themselves and the discerning audience, who know how to appreciate the originality, quality and charm of the pieces performed.

Throughout the seventies of the last century, the instrumental quartet Spheroe enjoyed a reputation as one of the best European fusion bands. They were formed in 1972, after which they took a very successful start. However, for the entire subsequent five-year period, the team acted exclusively in the stage version. With the release of the first unnamed LP, the lives of the Spheroe members changed significantly. Critics proclaimed them the new heroes of the genre, and there were countless proposals for cooperation. In an attempt to make up for lost time, the ensemble grabbed at a lot: theatrical performances, festivals, the sound design of art exhibitions ... In addition, the easy-going Frenchmen had time to deal with material for the new disc. When the fresh compositions of Spheroe took on their proper form, the group put them in the basis of the concert program. Workshop light and music shows attracted the attention of the audience. And, of course, the profit from the sales of the debut release served as an additional element of joy for the artists. Feeling at the peak of their own technical capabilities, Spheroe went to the Swiss studio Aquarius, where, under the experienced guidance of sound engineer Jean Ristori (ex-leader of the Mainhorse proto-prog formation), they recorded the LP "Primadonna" ...

The disc opens with a playful (if not playful) sketch of "Hep Deliler Bisi Bulur" by organist Gerard Mehman. The dialogue he designed for guitar and keyboards is delivered in a fun and virtuoso way: Michel Perez's chiseled six-string parts are heavily powered by a vast analog arsenal, including Moog synthesizers, ARP strings ensemble and Hammond C3. In general, it is a lively, positive piece that sets the listener in the right mood. Etude "Janata Express" (written by drummer / keyboardist Patrick Garel) tends towards a more formatted, "commercial" variety of fusion rock; the center of attention here is the rhythmic component, even in pitch, decorated perhaps with Fender Rhodes piano chords and the callsigns of the Hi Fly guitar synthesizer. The title piece brings a lyrical note to the hitherto vigorous narration; the composer's alliance between maestro Meman and bassist Rideau Bayonne gave birth to a beautiful elegiac story, wrapped in an "art" veil. An expressive and heartfelt passage that deserves the warmest words. Drive, irrepressible enthusiasm and a motley string of sun glare reign supreme in the opus "Cocorido" saturated with entertaining specifics, from where a completely marvelous view of the magical electro-acoustic number "Karin Song" opens up, performed in the manner of fellow tribesmen of Spheroe - the symphonic sextet of Terpandre. An extremely pleasant kaleidoscope of melodic shades meets us in the canvas of the extended track "Arlecchino", harmoniously combining exquisite progressions with characteristic jazz-rock techniques. The palette of a short sketch of "Chiaroscuro" seamlessly coexists with abrupt synth-cosmisms and a colorful background that is absolutely earthy in spirit. The bottom line is two positions demonstrating various fusion spectra - from complex mid-tempo panoramas of a nostalgic sense ("Jeff") to standardized unpretentious themes ("Matin Rouge"), plus a pacified keyboard-percussion ending "Violet", rhythmically flowing with an impressionistic cascade ...

Spheroe - 1975 - Spheroe

Spheroe

1975

Spheroe

01. Black Hill Samba (12:00)

02. Contine (2:48)

03. Vendredo Au Golf Drouit (6:20)

04. Chattanooga (12:50)

05. Pu Ping Song (6:00)

06. Deconnection (3:10)

07. Ballade For Wendy (1:37)

- Patrik "Cactus" Garel / drums, percussion

- Gérard Maimone / Fender piano, vibraphone, synthesizer, piano

- Rido Bayonne / bass, percussion

- Michel Perez / guitars

Guest musician:

- Alain Mazet / bass (2)

Spheroe is a french jazz rock band from the late '70's. From the first listen I was impressed by the up tempo of the album, very energic and well played. I'm not agree with some of the reviewers from here that first album of this band is bad, not at all. Full of catchy interplays between the guitar and keys. They incorporated in their music some elements from jazz, latino jazz wraped under progressive passages. It can't be compared with DiMeola for ex for the latino part , they are more towards Iceberg from Spain, at if for the jazz moments they are realy good and well executed. While this album is entirely instrumental, the musicians had enough space to show that they are capable to create something worth investigate by jazz lovers and prog listners aswell. Every pieces stands for me as good, well ok, nothing groundbreaking here, but this is not bad , not by far. The best tracks are all with a plus on the two pieces over 12 min, great musicianship and up tempo compositions. Maybe Spheroe is a forgotten band from France and as well from jazz movement , but I think they deserve a better recognition. I will give 3.5 stars for sure, a good album all the way. Anyway Spheroe first from 1977 album and aswell the second one deserve some spins. Similar band Iceberg. The reissue of the both albums were made by Musea Records in 1998, so don't hesitate to give them a try.

Despite having a stable career for almost the whole 70's decade, SPHEROE remained widely unknown to the public for a long time. The band was formed in 1972 and consisted of Patrik Garel on drums/percussion, Gerard Maimone on keys, Rido Bayonne on bass and Micheal Perez on guitars.        SPHEROE had a good live activity, but had to wait until 1977 for their first official release.The self-titled LP was originaly released on Cobra,later to be presented on CD format by Musea Records.

Obviously influenced by RETURN TO FOREVER and in a lesser extent BRAND X,the band delivers highly-energetic jazz/fusion rock with tight performances and impressive musicianship. Especially keyboardist Gerard Maimone had to be a great CHICK COREA fan, his electric piano work is very solid and professional, but he also delivers strong doses of moog solos.                                                                                                       

Apart from the typical groovy and filled with interplays parts of the album,there is also lots of space for Micheal Perez to show his talent with nice solos and decent melodies, while in some moments the music gets really dark with obscure guitar chords and massive ''in your head'' synths,                                             creating a haunting atmosphere.This is a quite good release from a lesser-known band with both enjoyable and well-arranged jazz/rock music,fine interplays and always an intensive delivery.Recommended, especially to the fans of the genre.

Spheroe's debut album opens with sustain guitar and heavy percussion, which should tell you the direction this fine album is headed. 12 minute 'Black Hill Samba' is one of the best Latin influenced fusion tracks there is, as it never sits still in one place, constantly moving about in a progressive rock manner. And it never lets up from there. Some of the shorter tracks provide mellow interludes, but overall this is a spirited affair that avoids most of the genre's negative trappings. If the fusion phase of Santana interests you, then be sure to pick up Spheroe.

Sergio Mendes & Brasil '66 - 1968 - Fool On The Hill

Sergio Mendes & Brasil '66

1968

Fool On The Hill

01. Fool On The Hill

02. Festa

03. Casa Forte

04. Canto Triste

05. Upa, Neguinho

06. Lapinha

07. Scarborough Fair / Canticles

08. When Summer Turns To Snow

09. Laia Ladaia (Reza)

Bass – Bob Matthews

Drums – Joao Palma

Guitar – John Pisano

Percussion – Jose Soares

Piano – Sergio Mendes

Vocals – Janis Hansen, Lani Hall

One of our favorite albums by Sergio Mendes & Brasil 66 – a perfect bridge between the simple pop of earlier records, and the group's expanding sound as the 70s approached! The warmly glowing Brasil 66 style is still very strongly in place, but the music here is all a bit hipper – tunes that show the growing sophistication of Brazilian music in the post-bossa years – picked up on by Sergio, and reworked for a larger audience in the US! The record's got some incredibly wonderful material – including a sublime cover of "Upa Neguinho", plus versions of "Casa Forte", "Canto Triste", "Lapinha", and "Laia Ladaia", a song that's a perfect fit for the group's unique style! Also includes the dreamy number "When Summer Turns To Snow", and the group's classic cover of "Scarborough Fair"!

Having hit upon another smash formula -- cover versions of pop/rock hits backed by lavish strings, a simplified bossa nova rhythm, and the leader's piano comping -- Sergio Mendes & Brasil '66 produced two more chart-busting singles, again turning to the Beatles for sustenance with the title track (number six) and Simon & Garfunkel for "Scarborough Fair" (number 16). But again, the bulk of the album was dominated by Brazilians, and by one in particular: the hugely gifted Edu Lobo, whose dramatic "Casa Forte" and infectious "Upa, Neguinho" were the best of his four songs. The tracks were longer now, the string-laden ballads (arranged by Dave Grusin) more lavish and moody, and Lani Hall emerged as the vocal star of the band, eclipsing her new partner, Karen Philipp (although Hall is upstaged on "Lapinha" by future Brasil '77 member Gracinha Leporace). Even though he had become thoroughly embedded in the consciousness of mainstream America, Mendes still managed to have it three ways, exposing first-class tunes from little-known Brazilian talent, garnering commercial hits, and also making some fine records. Cultural note: the striking foldout cover art, depicting Brasil '66 at sunset seated on top of a nude woman, somehow made it past the uptight censors of the day and no doubt boosted sales; it was Mendes' highest-charting album at number three.

Sergio Mendes & Brasil '66 - 1967 - Equinox

Sergio Mendes & Brasil '66

1967

Equinox

01. Constant Rain (Chove Chuva)

02. Cinnamon And Clove

03. Watch What Happens

04. For Me

05. Bim-Bom

06. Night And Day

07. Triste

08. Gente

09. Wave

10. So Danco Samba (Jazz 'N' Samba)

Bass – Bob Matthews

Drums – Joao Palma

Guitar – John Pisano

Percussion – Jose Soares

Piano – Sergio Mendes

Vocals – Janis Hansen, Lani Hall

The second album by Sergio and crew – and a real push forward for the group! The basic format of two-female harmony leads is still in place – but for some reason, this album gives a bit more of a nod to Brazilian roots than before, and really spices things up with an even more interesting array of songs! There's a bit less of the pop/cover style than before, and a bit more of a nod towards the hipper side of Brazilian music – especially the modernists of the bossa nova generation.

Equinox continues the scrumptiously winning sound that Sergio Mendes cooked up in the mid-'60s, this time a bit more fleshed out with John Pisano's guitar, a slightly thicker texture, and even an imitation sitar (this was, after all, 1967). Again, the mix of American pop tunes old and new and Brazilian standards and sleepers is impeccable (although it didn't yield any substantial hits), and the treatments are smooth, swinging, and very much to the point. While Mendes reaps a predictable harvest from Antonio Carlos Jobim -- he was one of the first to discover and record "Triste" and "Wave" -- he also likes to explore the work of other outstanding Brazilian writers like Jorge Ben, Joao Gilberto, and especially Edu Lobo (whose "For Me," with its bright flashes of combo organ, is one of the album's highlights). Lani Hall's star was just rising at this time, and it is her cool, clear voice that haunts the memory most often. Like its predecessor, Equinox is exceedingly brief in duration, yet not a motion is wasted.

Sergio Mendes & Brasil '66 - 1966 - Herb Alpert Presents Sergio Mendes & Brasil '66

Sergio Mendes & Brasil '66

1966 

Herb Alpert Presents Sergio Mendes & Brasil '66

01. Mais Que Nada (Ma-sh Kay Nada) 2:37

02. One Note Samba / Spanish Flea 1:46

03. The Joker 2:37

04. Going Out Of My Head 3:00

05. Tim Dom Dom (Chim Dome Dome) 1:51

06. Day Tripper 3:09

07. Agua De Beber (Agwa Gee Bebérr) 2:28

08. Slow Hot Wind 2:32

09. O Pato (O Pawtoo) 1:58

10. Berimbau 3:15

Bass, Vocals – Bob Matthews

Drums – João Palma

Percussion, Vocals – José Soares

Vocals – Janis Hansen

Vocals – Lani Hall

Vocals, Keyboards – Sérgio Mendes

Producer, Presenter, Liner Notes – Herb Alpert

After bouncing around Philips, Atlantic, and Capitol playing Brazilian jazz or searching for an ideal blend of Brazilian and American pop, Sergio Mendes struck gold on his first try at A&M (then not much more than the home of Herb Alpert & the Tijuana Brass and the Baja Marimba Band). He came up with a marvelously sleek, sexy formula: dual American female voices singing in English and Portuguese over a nifty three-man bossa nova rhythm/vocal section and Mendes' distinctly jazz-oriented piano, performing tight, infectious arrangements of carefully chosen tunes from Brazil, the U.S., and the U.K. The hit was Jorge Ben's "Mas Que Nada," given a catchy, tight bossa nova arrangement with the voice of Lani Hall soaring above the swinging rhythm section. But other tracks leap out as well; the obvious rouser is the Brazilian go-go treatment of the Beatles' "Day Tripper," but the sultry treatment of Henry Mancini's "Slow Hot Wind" and the rapid-fire "Tim Dom Dom" also deserve mention.

The start of a legend – and the very first album by Sergio Mendes' Brasil 66 group, proudly brought to the world through the godlike talents of a young Herb Alpert! Sergio was no stranger to the recording studio by the time of this set, but the record marked a real shift in his music – a change from the mostly-instrumental bossa modes he first forged back in Brazil, and a shift to warmer, sweeter pop with a nice sunny California finish – done through unique production techniques and the group's trademark two-lady lead vocals! The sound is tremendous, and is possibly heard in its purest form here – simple, focused, and given that near-perfect A&M sound through Herb's production skills.

Sergio Mendes & Brasil '65 - 1965 - In Person At El Matador

Sergio Mendes & Brasil '65

1965 

In Person At El Matador

01. Reza 4:54

02. O Morro 2:32

03. Samba Do Astronauta 2:57

04. Tem Do De Mim 2:34

05. Jodel 3:34

06. Samba De Jose 1:52

07. Noa Noa 2:56

Black Orpheus Medley 6:13

        08. Manha De Carnaval

        09. Batuque De Orfeu

        10. Samba De Orfeu

        11. A Felicidade

-

12. Arrastao 3:52

13. Vai De Vez 2:56

14. Caminho De Casa 2:46

Bass – Sebastiao Neto

Drums – Chico Batera

Guitar – Rosinha De Valenca (tracks: 3, 6, 10)

Lead Vocals – Wanda De Sah (tracks: 2, 4, 9)

Percussion – Paulinho Magalhaes

Piano – Sérgio Mendes

Presenter [Introduction] – Leonard Feather

Producer – Nesuhi Ertegun

Recorded live at the nightclub 'El Matador' in San Francisco Bay area, California, US.

Comes in mini LP replica with OBI & Japanese insert.

A great little live set from Sergio Mendes and his Brasil 65 group – a pre-Brasil 66 combo that features Wanda De Sah on vocals and Rosinha De Valenca on guitar! The style here is more traditionally Brazilian bossa than Sergio's later work on A&M – a fluidly jazzy groove captured with a good sense of intimacy despite the live setting – and issued by Atlantic as a nice antidote to some of the more watered-down bossa work on the US market! The vocals are wonderful – often spare and a bit more fragile than the two-voiced sound of A&M

The best, authentic live bossa nova record from the classic era. Way more interesting than Getz a Go Go. This is the Mendes band before Brazil ‘66, the label change to A&M and the addition of vocalist Lani Hall. This is the band we are most familiar with—which found international popularity—and whose recordings still dominate the genre.

Nevertheless, this record with Wanda de Sah on vocals had a lot going for it. The group recorded for both Capitol and Atlantic—with very consistent and exciting results. Purists might prefer it to the later iterations of Mendes’ musical path.

Recorded at the once legendary El Matador nightclub in San Francisco, this set consists mostly of Mendes-penned tunes, laid back, played in a style without string arrangements and other pop trappings that came later. A few tunes like “Caminho de Casa” veer pleasantly in the direction of west coast jazz. The tempi are similar and the intense, beautiful playing. There is a very Vince Guaraldi-like vibe on several songs, especially “Jodel”.

As bossa nova pianists go, Mendes set the mark for most listeners north of Rio. His instrument is at the front of the mix along with the rhythm and occasionally de Sah’s very pleasant vocals. Rosinha de Valenca adds terrific guitar parts to several tracks, elevating the entire program.

Taken together, this record has everything to recommend it and might easily become your favorite live bossa nova record all time. It is mine.

Wanda De Sah - 1965 - Softly

Wanda De Sah

1965

Softly

01. Ho Ba La La 2:25

02. Sweet Happy Life 2:32

03. Quiet Nights 2:05

04. Aruanda 1:50

05. The Dreamer 2:37

06. So Danco Sambo 2:14

07. Once I Loved 2:09

08. Who Knows 1:43

09. Tem Do 1:50

10. With Feeling 2:13

11. Agua De Beber 2:0

Although she was already a veteran songwriter and recording artist, Wanda de Sah was pegged as "the new thing" by American marketing executives during her stint in Sergio Mendes' first pop incarnation, Brazil '65. Although that group wasn't popular -- it was actually a new collective, Brazil '66, that gained fame -- she was soon signed by Capitol for a record and assigned to arranger Jack Marshall (who had played guitar on many sessions and written the chart for Peggy Lee's "Fever" as well as The Munsters theme). The material came from the Brazilian songbook, at least the parts of it already familiar to Americans (including some Brazil '65 songs as well as Jobim and Getz/Gilberto standards). Although Astrud Gilberto is a touchpoint for Wanda de Sah, she didn't have the same candle power; her singing is more subdued and slightly more intricate, but no more melodic or winsome. The arrangements are about as good as could be expected from a Capitol studio group in the mid-'60s -- cool and professional, and surprisingly in-tune with the Brazilian "touch."

A lost bossa classic from Wanda De Sah -- aka Wanda Sa, the wife of Edu Lobo, and a singer who worked with Sergio Mendes in his pre-Brasil 66 days! The album's got a wonderfully laidback feel -- languid, yet jazzy, with the feel of some of Astrud Gilberto's best work on Verve, yet with vocals that are possibly better -- thanks to Wanda's pedigree in Brazilian pop. Recordings were done in California, not Rio -- and arrangements are handled by the great Jack Marshall -- who's got a strong ear for keeping things interesting with a mix of strings, Latin rhythms, and Capitol pop shadings.

Sergio Mendes - 1965 - Brasil '65

The Sergio Mendes Trio Introducing Wanda De Sah With Rosinha De Valenca\

1965 

Brasil '65

01. So Nice = Samba De Verão 2:12

02. Favela 2:54

03. Berimbau 3:17

04. Tristeza Em Min 2:44

05. Aquarius 2:23

06. One Note Samba = Samba De Uma Nota So 2:20

07. She's Carioca 3:24

08. Muito A Vontade 2:56

09. Let Me = Deixa 2:50

10. Consolação 3:09

11. Reza 3:03

Bass – Sebastião Neto

Drums – Chico Batera

Guitar – Rosinha De Valenca

Piano – Sérgio Mendes

Vocals – Wanda De Sah

1st Edition as "Brasil '65" in 1965.

Also released as "So Nice" with a few less tracks.

Reissued as "In the Brasilian Bag" in 1966.

That's Brasil 65, not Brasil 66 -- a distinction that marks a key early stage for the great Sergio Mendes -- heard here on one of his first albums to mix together bossa jazz and vocals! The approach here is a bit more like vintage bossa dates from Brazil -- or a bit like some of the Verve bossa records too -- as Sergio's core trio is at the heart of every tune, playing with a great jazzy approach -- then augmented in different ways by alto and flute from Bud Shank, guitar from Rosinha De Valenca, and vocals from the lovely Wanda De Sah! Production is perfect -- really in a classic Elenco Records mode.

Sergio Mendes - 1968 - Sergio Mendes' Favorite Things

Sergio Mendes

1968

Sergio Mendes' Favorite Things

01. My Favorite Things 2:52

02. Tempo Feliz (Happy Times) 2:34

03. Ponteio 2:26

04. Veleiro (The Sailboat) 3:21

05. A Banda (Parade) 2:30

06. I Say A Little Prayer 2:08

07. Comin' Home Baby 3:00

08. Boa Palavra (The Good Word) 3:08

09. O Mar É Meu Chão 3:24

10. So What's New 3:01

Bass – Joe Mondragon

Bass [Fender] – Larry Nechtel

Drums – Dom Um Romao

Flute, Soprano Saxophone, Saxophone – Tom Scott

Guitar – John Pisano

Percussion – Joao Donato

Percussion – Moacir Santos

Piano, Harpsichord, Electric Piano – Sergio Mendes

Producer – Nesuhi Ertegun

As Sergio Mendes reached the peak of his first A&M period with Brasil '66, his old company, Atlantic, continued to release new instrumental Mendes albums, of which this was the last. As on the Brasil '66 recordings of the time, Mendes exposes fresh material from the '60s bumper crop of great Brazilian songwriters: Edú Lobo, Dori Caymmi, Baden Powell, Chico Buarque, and Caetano Veloso. Dave Grusin returns with his swirling, ambitious orchestral arrangements; John Pisano is back on rhythm guitar (along with a lounge-like bossa nova take of his "So What's New"); and Mendes continues to toy with the Fender Rhodes electric piano and electric harpsichord on a number of cuts. Yet this album has an entirely different sound than Mendes' A&Ms, with a typically trebly Nesuhi Ertegun production and more varied rhythm tracks (only on the title track does the rhythm section sound like that of Brasil '66). Buarque's "A Banda" -- which Herb Alpert and the Tijuana Brass took to the singles charts in the fall of 1967 -- conjures the effect of a ramshackle marching band in a Brazilian parade, and Caymmi's "The Sea Is My Soil" is an evocative mood-swinging tone poem. Ertegun gives Mendes a shot at one of his own favorite things, "Comin' Home Baby," perhaps hoping for hit lightning to strike yet again on this tune (it didn't). Ultimately, this comes off as a pleasant side trip from Mendes' prime period.

In 1968, Sérgio Mendes released Sérgio Mendes' Favorite Things. It was not titled “Sérgio Mendes & Brasil '66” like his other releases released between 1966 and 1970, only his own name. Does this tell us anything about the music? I think so. There are fewer tunes here that were well-known to the US target audience than they'd gotten accustomed to at the time, but significantly more Brazilian songs. There's also almost no singing. The excellent team of musicians was given the opportunity to add tiny little improvisations here and there, Dave Grusin provided the album with tasteful arrangements where maestro Mendes wished, and the recording quality is good. Overall, Sérgio Mendes' Favorite Things feels closer to the things Antônio Carlos Jobim was releasing back then. I admit that I could've done without A Banda (I always thought this track was one of the very few silly tunes penned by Chico Buarque). But otherwise, I've nothing to criticize about the song selection. It was still that refined easy listening typical for Sérgio Mendes, but since it was 1968, when the musical possibilities were open in all directions, it's fair to assume that he drew from the full and that Favorite Things was, and still is, an enjoyable and entertaining release.

A sweet little pairing of the keyboards of Sergio Mendes and the early arranging styles of Dave Grusin – and a set that's quite different than some of Sergio's vocal albums with Brasil 66! The style here is all instrumental – and Mendes plays both piano and electric piano, plus a bit of harpsichord too – working with a hip LA group that features Grusin on organ, Tom Scott on flute and soprano sax, and John Pisano on guitar – plus a bit of Brazilian percussion from Joao Donato and Moacir Santos! The result is a heavenly 60s groove – some slight larger backings, plus great work from the jazzy group at the core.

Sergio Mendes - 1966 - The Great Arrival

Sergio Mendes

1966

The Great Arrival

01. The Great Arrival (Cheganca)

02. Monday, Monday

03. Carnaval

04. Cancao Do Amanhecer

05. Here's That Rainy Day

06. Boranda

07. Nana

08. Bonita

09. Morning

10. Don't Go Breaking My Heart

11. Tristeza De Amar

12. Girl Talk

Arranged By, Conductor – Bob Florence (tracks: A1, A2, B1, B4), Clare Fischer (tracks: A3, A6, B3, B6), Dick Hazard* (tracks: A4, A5, B2, B5)

One of Sergio Mendes' most dreamy albums -- quite different than both his vocal work with Brasil 66, and his smaller combo sides from Brazil! There's still a strong bossa component to the record -- but the setting has Sergio's piano lines laid out over larger arrangements with a good jazz component -- soloing beautifully with a grace and charm he sometimes didn't have on other projects! Arrangements are by some hip American talents -- Clare Fischer, Bob Florence, and Richard Hazard -- and the set's filled with bright horns, lush banks of strings, and cascading rhythms -- all produced with exceptional sound, so that Sergio's piano goes gliding over the top in a manner that's similar to some of the Luis Eca albums in a similar format.

Sergio Mendes - 1965 - The Swinger From Rio

Sergio Mendes

1965

The Swinger From Rio

01. Maria Moita 3:37

02. Sambinha Bossa Nova 3:10

03. Batida Diferente 3:23

04. So Danco Samba 3:08

05. Pau Brazil 3:13

06. The Girl From Ipanema 2:51

07. Useless Panorama 3:26

08. The Dreamer 4:13

09. Primavera 2:39

10. Consolocao 3:19

11. Favela 5:21

Sérgio Mendes - piano

Art Farmer - flugelhorn (tracks 2, 6, 7) (recorded 7 December 1964)

Phil Woods - alto saxophone (tracks 1, 4, 8) (recorded 8 December 1964)

Hubert Laws - flute (tracks 3, 5, 9, 11) (recorded 9 December 1964)

Antônio Carlos Jobim - rhythm guitar

Tiao Neto - bass

Chico de Souza - drums

Tom Dowd - audio engineer

Recorded December 1964 in New York with Nesuhi Ertegun producing.

Sergio Mendes is definitely a swinger – especially on this jazz-based session that was recorded before his famous work with Brasil 66! This album was recorded in New York, at a time when Mendes was one of the hottest things brewing in the bossa scene in Brazil – and apart from the great Antonio Carlos Jobim on guitar, many of the other players are American jazz musicians – including Art Farmer on flugelhorn, Phil Woods on alto sax, and Hubert Laws on flute – all adding in some nice jazzy elements to the tunes! The music is all instrumental, and a great mix of jazz and bossa that really lets you hear the young Sergio's skills on piano.

Sergio Mendes - 1964 - Voce Ainda Nao Ouviu Nada!

Sergio Mendes & Bossa Rio

1964

Voce Ainda Nao Ouviu Nada!

01. Ela É Carioca
02. Amor Em Paz
03. Coisa Nº 2
04. Desafinado
05. Primitivo
06. Nanã
07. Corcovado
08. Nôa Nôa
09. Garota De Ipanema
10. Neurótico

Arranged By – Antonio Carlos Jobim, J.T. Meirelles, Moacir Santos, Sérgio Mendes

Bass – Sebastião Neto
Drums – Edison Machado
Piano – Sérgio Mendes
Tenor Saxophone – Aurino Ferreira (tracks: 5, 6), Hector Costita
Trombone – Edson Maciel
Valve Trombone – Raul De Souza

Original Brazilian LP released 1964.

Reissued as The Beat Of Brazil in 1967

Early bossa jazz from Sergio Mendes – recorded with his famous Bossa Rio combo, in the years before he moved to America! The album's a classic in Brazilian jazz – a tight album of bossa-inflected jazz tunes played with razor-sharp precision, handled with a style that went on to influence countless other Brazilian groups at the time. Mendes is in the lead on piano, and other players include Edison Machado on drums, Raul De Souza on trombone, and Hector Costita on tenor sax. The whole thing's great – a masterpiece of both jazz and bossa – and it's filled with classic tunes arranged by Jobim, Moacir Santos, and Sergio himself.

Cannonball Adderley - 1962 - Cannonball's Bossa Nova

Cannonball Adderley

1962

Cannonball's Bossa Nova

01. Clouds 4:49

02. Minha Saudade 2:20

03. Corcovado 6:42

04. Batida Diferente 3:25

05. Joyce's Samba 3:10

06. Groovy Samba 4:58

07. O Amor Em Paz 7:46

08. Sambop 3:32

Alto Saxophone – Julian "Cannonball" Adderley

Alto Saxophone – Paulo Moura (tracks: A2, A4, B1, B3, B4)

Bass – Octavio Bailly, Jr.

Drums – Dom Um Romão

Guitar – Durval Ferreira

Piano – Sergio Mendes

Trumpet – Pedro Paulo (tracks: A2, A4, B1, B3, B4)

Recorded at Plaza Sound Studios; New York City.

A pleasant date recorded in late 1962 with South American musicians the Bossa Rio Sextet of Brazil. Cannonball is heard alongside Sergio Mendes on piano, future Weather Report percussionist Dom Um Romao, and featured on five cuts is Paulo Moura on alto saxophone with Pedro Paulo on trumpet. Unfortunately this release contains little fire, as Adderley didn't get much rehearsal time with these musicians. Combined with the repetitious nature of the Bossa Nova these proceedings can get tedious. This session was originally released on Riverside, but Adderley took several master tapes (including this one) when he made his move to Capitol.

Bossa madness -- and a really hard to find pressing of this album! Cannonball Adderley recorded this nice little groover in 1962, when American musicans were just getting on the bossa tip, and still keeping things pretty authentic. The record was cut in New York with Sergio Mendes' early Bossa Rio group -- the legendary Brazilian jazz ensemble that featured Paulo Moura, Dom Um Romao, and Durval Ferreira. The mixture of tight bossa rhythms and Cannon's soulful sax is totally great -- and it's only because the Riverside label was folding at the time that the record never got bigger fame.

Sergio Mendes - 1961 - Dance Moderno

Sergio Mendes

1961

Dance Moderno

01. Oba-La-La 2:28

02. Love For Sale 3:00

03. Tristeza De Nos Dois 2:13

04. What Is This Thing Called Love? 2:33

05. Olhou Para Mim 2:50

06. Satin Doll 2:44

07. Tema Sem Palavras 1:59

08. On Green Dolphin Street 2:47

09. Outra Vez 2:24

10. Disa 2:40

11. Nica's Dream 2:47

12. Diagonal 1:28

Reissued as “Mas Que Nada” with bonus track.

The fab first album by Sergio Mendes -- very different than his later work! Sergio's more in a straight bossa mode here -- playing with a tight little combo that features saxophone and trombone next to his own firey work on piano -- tight and jazzy, and even with a few traces of US Latin grooves as well! The album's proof that Sergio was already at the top of his game in the early years -- and although released at the end of the 50s, the record's got a groove that would set the scene for countless bossa jazz albums to follow!

Led Zeppelin - 2019 - Ultimate Blueberry Hill (Moonchild)

Led Zeppelin
2019
Ultimate Blueberry Hill
(Moonchild Records)

101. Introduction By J.J. Jackson
102. Immigrant Song
103. Heartbreaker
104. Dazed And Confused
105. Bring It On Home
106. That's The Way
107. Bron-Yr-Aur
108. Since I've Been Loving You
109. Organ Solo
110. Thank You

201. What Is And What Should Never Be
202. Moby Dick
203. Whole Lotta Love
204. Communication Breakdown
205. Out On The Tiles
206. Blueberry Hill

Live at The Forum, Los Angeles, California, September 4, 1970

There are not many live Led Zeppelin shows available to purchase officially. For a band as important as Led Zeppelin, it’s very surprising that Atlantic Records, Jimmy Page, John Paul Jones and Robert Plant have not released more live shows to their fans. For years, all we had was the soundtrack to the motion picture The Song Remains the Same. It is only within the past twenty years that the vaults have opened just a bit with the release of The BBC Sessions , How The West Was Won and the bonus live CD on the remastered Led Zeppelin One album. Still, three official live albums of the original four members of Zep is very limiting for a band that many feel was the greatest rock and roll band to ever grace the stage.

Like all legendary classic rock artists, Led Zeppelin has always been a group that has been widely bootlegged. Most of the Led Zeppelin bootlegs that collectors have traded, shared and sold are audience recordings. There a just a handful of soundboards. The 1977 Soundboard that was released under the title Destroyer is usually thought of as the best Led Zeppelin bootleg ever released. The sound quality on Destroyer comes close to an official release. Nonetheless, there are some audience recordings from the late 1960s and early 1970s that define the brilliant musicianship and passion of the band wonderfully. The bootleg Live on Blueberry Hill is one such recording that showcased a band that was looking to prove just how great they were. They succeeded immensely on this one.

Live On Blueberry Hill is so fabulous because of the performances by all four members on that September 4, 1970 night at the Los Angeles Forum. The heart of a great Led Zeppelin performance was always led by the great Jimmy Page. If Page was on, Led Zeppelin was on. These guys listened to each other. All musicians have great nights and so so nights. That September 4th night in L.A. was a night in which Page was in complete tune and his solos were clean and exciting. Page solos right away as the night began in the opening number “The Immigrant Song.” However it’s in the set’s second song “Heartbreaker,” when Page lights it up with a solo in the middle of the song that stands as one of his best live performances of all time. 

At the L.A. show, Robert Plant’s vocals sound like he was in the studio. Plant hits every note in perfect tune. Robert Plant’s resonance is incredibly deep and strong. Robert Plant’s performance in “Dazed and Confused,” is to die for. Plant pulls out snippets of classic tunes like “Rock and Roll Is Here To Stay,” and scats perfectly with Jimmy Page through the middle instrumental break.

The performance of “Since I’ve Been Loving You,” will always stand as one of the highlights of that 1970 L.A. Forum show. Jimmy Page opens with that crying solo just before Robert Plant starts to sing low and deep. After the first verse, Robert Plant breaks into his higher register on the line “Everybody tells me.” and then lets it loose like no other rock and roll singer in history. Robert Plant finishes the line and Jimmy Page breaks into an immaculate solo that will leave you crying. It’s unbelievable how great these guys were. When Jimmy Page finishes his solo. Robert Plant returns with the line, “I said I’ve been crying,” singing the highest notes I have ever heard the man sing. It’s downright scary that a human can sing like that. It’s why Robert Plant was always thought of as the ultimate Rock God.

Jimmy Page and Robert Plant are not the only members of Led Zeppelin that had their brilliant solo moments. John Paul Jones takes center stage on his celtic inspired organ solo just before the performance of “Thank You.” John Bonham’ shines basically on every song. A Led Zeppelin show would not have been a Led Zeppelin show without a performance of “Moby Dick.”The song always gave Bonham his turn under the solo spotlight.

In the end, the band’s fiery and virtuoso performances were the ultimate reason why the L.A..Forums shows were one of the highlights of Led Zeppelin’s career. Furthermore, what made these shows even more special were the cover songs that Led Zeppelin performed. The bootleg Live On Blueberry Hill gets its name from the Led Zeppelin encore performance of the song “Blueberry Hill.” At first, fans may shake their heads wondering over the song choice, but anyone who has listened to interviews with Robert Plant would understand the lead singer’s love of the blues. Robert Plant has always been a fan of that music and Led Zeppelin has always been in essence a blues band. Interestingly, four years later at the LA Forum, all four members attended an Elvis Presley concert. They all went backstage and hung out with Elvis for a couple of hours talking about those same blues influences that they all shared

If you have never heard the LA Forum shows, we highly recommend that you check them out. The performances define a band looking to make their mark on history. You can hear it in every note and groove throughout the entire show.

Terumasa Hino - 1981 - Wheel Stone - Terumasa Hino Live In Nemuro Vol.2

Terumasa Hino

1981

Wheel Stone - Terumasa Hino Live In Nemuro Vol.2

01. Speak To Loneliness 19:18

02. Round Midnight 16:28

Bass – Tsutomu Okada

Drums – Motohiko Hino

Electric Guitar – Kiyoshi Sugimoto

Percussion – Yuhji Imamura*

Piano – Fumio Itabashi

Tenor Saxophone – Hideo Miyata

Trumpet, Flugelhorn – Terumasa Hino

Recorded live, April 8, 1975 at the Nemuro-Shi Kohmikan

A searing live performance from this brilliant Japanese trumpeter – working here at the height of his stretched-out, open-ended powers – but with a style that's a bit more inside than some of his work from the start of the 70s! Hino really shows himself to be a great leader here – working with a group that includes Hideo Miyata on tenor, Kiyoshi Sugimoto on guitar, and Fumio Itabashi on some especially great Fender Rhodes and piano – a wonderful player who really gives the album a solid grounding, which then allows the horn players to really soar! Hino's really finding his voice here – growing into one of the best trumpet talents of his generation – and this second volume features two long tracks, "Speak To Loneliness" and "Round Midnight".

Terumasa Hino - 1975 - Wheel Stone - Terumasa Hino Live In Nemuro

Terumasa Hino 

1975

Wheel Stone - Terumasa Hino Live In Nemuro

01. Mocco 21:24

02. In The Darkness 15:35

Bass – Tsutomu Okada

Drums – Motohiko Hino

Electric Guitar – Kiyoshi Sugimoto

Percussion – Yuhji Imamura*

Piano, Electric Piano – Fumio Itabashi

Tenor Saxophone – Hideo Miyata

Trumpet, Flugelhorn – Terumasa Hino

Recorded live, April 8, 1975 at the Nemuro-Shi Kohmikan

A searing live performance from this brilliant Japanese trumpeter – working here at the height of his stretched-out, open-ended powers – but with a style that's a bit more inside than some of his work from the start of the 70s! Hino really shows himself to be a great leader here – working with a group that includes Hideo Miyata on tenor, Kiyoshi Sugimoto on guitar, and Fumio Itabashi on some especially great Fender Rhodes and piano – a wonderful player who really gives the album a solid grounding, which then allows the horn players to really soar! Hino's really finding his voice here – growing into one of the best trumpet talents of his generation – and this first volume features two long tracks – "Mocco" and "In The Darkness", both of which spin out for over 15 minutes!

Terumasa Hino - 1981 - Double Rainbow

Terumasa Hino

1981

Double Rainbow

01. Merry-Go-Round 14:58

02. Cherry Hill Angel 8:03

03. Yellow Jacket 4:40

04. Miwa Yama 6:18

05. Aboriginal 12:22

Bass – Anthony Jackson, Hassan Jenkins,Herb Bushler

Congas – Don Alias

Cornet – Terumasa Hino

Drums – Harvey Mason, Lenny White, Billy Hart

Electric Piano [Fender Rhodes] – Herbie Hancock, Kenny Kirkland, Mark Gray

Guitar – Butch Campbell, Lou Volpe,James Mason,Barry Finnerty, David Spinozza

Keyboards,Piano – Masabumi Kikuchi

Percussion – Airto Moreira, Don Alias, Manolo Badrena,Terumasa Hino

Soprano Saxophone – Steve Grossman

Lyricon – Sam Morrison

Harp – Emily Mitchell

Didgeridoo, Conch [Shell Horn] – Steve Turre

Double Bass – Eddie Gomez, George Mraz, Reggie Workman

Synthesizer – Kenny Kirkland

1st thing. Don't let your son design your record sleeve. Especially if he can't focus a camera. The music is excellent if you're in the mood, but that cover comes back to haunt. I covered mine with creosote. Now I can enjoy the music. This is not Jazz Fusion, don't be scared. It's almost slowcore .... find the right time.

An early 1980s recording with an assortment of former Miles Davis sidemen playing music in the style of early-1970s Miles, but with Terumasa Hino in the role of Miles, and without most of the tension that Miles was able to generate. It's not really bad, but remarkably uninvolving, and the music feels a bit like an anachronism (although I guess one has to be thankful that they didn't do a 1980s-style record à la Decoy or Tutu). Still, while this can serve as a nice reminder of things past, everyone involved here, including Hino, is capable of doing better.

Altogether interesting set. arranged by gil evans, players include miles-alumini airto, steve grossmann, don ailias and herbie hancock. sounds a lot like a straighter, more dancefloor-oriented take on miles mid-seventies works. not quite the masterpiece it might have been with this kind of cast, but a rewarding listen nevertheless.

Beautiful work from trumpeter Terumasa Hino -- an early 80s date that was issued in the US, but one that's got as much bold power and freewheeling soul as his Japanese releases from a decade before! The album's surprisingly open for the time -- not in the slicker mode that Columbia was hitting as they crossed over some of their 70s fusion players, but in spacious territory that has Hino blowing cornet, in larger arrangements from keyboardist Masabumi Kikuchi and Gil Evans -- the latter of whom seems to contribute a strong sense of color and tone to the album!

Terumasa Hino - 1976 - Hogiuta

Terumasa Hino

1976

Hogiuta

01. Gyohkoh 4:17

02. Hohjoh 5:11

03. Yuhwa 4:13

04. Hogiuta 4:23

05. Yuhkyu 1:39

06. The Good People 15:05

07. Conclusion 6:43

Acoustic Bass, Voice – Cecil McBee

Congas, Percussion, Voice – M'tume

Drums, Percussion, Voice – Motohiko Hino

Trumpet, Flugelhorn, Percussion, Voice – Terumasa Hino

Recorded May 18, 19 and 23, 1976 at Vanguard Studio, NYC.

One of the most striking mid 70s sessions from Japanese trumpeter Terumasa Hino – an extended suite of tracks performed by a very hip group that includes Mtume on congas and percussion, Cecil McBee on bass, and Motohiko Hino on drums! The approach here is almost in a mid 70s spiritual soul jazz mode – with lots of spare percussion and bass work at the beginning, building in mood and meaning as the set goes on and things heat up. Hino plays trumpet and percussion, and all players vocalize at parts of the performance – chanting along with the tunes in a way that really adds a soulful undercurrent to the record.

If you like the electric 70s period of Miles, as well as spiritual/cosmic jazz, there's a lot of great releases from the 70s and into the 80s from the Japanese jazz scene that is well worth investigating. This is one of the really great ones from the scene.

Recorded in 3 days in May, 1976, this is by one of Japan's best-known musicians, Terumasa Hino, who is a trumpeter. This is a really solid kosmigroov release, featuring Terumasa on trumpet, flugelhorn, percussion & voice, along with Cecil McBee (acoustic bass, voice), Motohiko Hino (drums & percussion, voice) & M'tume (percussion & voice).

Terumasa Hino - 1975 - Speak To Loneliness

Terumasa Hino

1975

Speak To Loneliness

01. Speak To Loneliness 18:10

02. Little Lovers 9:16

03. Hi-nology 10:37

Bass – Tsutomu Okada

Drums – Motohiko Hino

Piano – Fumio Itabashi

Tenor Saxophone, Soprano Saxophone – Hideo Miyata

Trumpet – Terumasa Hino

Recorded January 15, 1975 at PSC Recording Studiol, Tokyo.

A classic set from Japanese trumpeter Terumasa Hino – and a record that's filled with long, open-ended tracks that rank with his best work of the time! Hino's got all the boldness of his best early years here – none of the smoother sounds that marked some of his albums in the US, and a very spacious approach to trumpet that's clearly inspired by Miles and Freddie Hubbard, but which has all the sharp tones that we love in Hino's work too. The instrumentation is mostly non-electric, but there's an undercurrent of fusion-based ideas – with a lot of free-wheeling solos.

Terumasa Hino - 1975 - Live In Concert

Terumasa Hino

1975

Live In Concert

01. Logical Mystery 23:39

02. In The Darkness 11:23

03. Round About Midnight 11:05

Alto Saxophone – Sadao Watanabe

Bass – Tsutomu Okada

Congas – Yuhij Imamura

Drums – Motohiko Hino

Electric Bass – Akira Okazawa

Electric Piano – Fumio Itabashi

Guitar – Kiyoshi Sugimoto

Percussion – Masahiko Togashi

Tenor Saxophone – Hideo Miyata

Trombone – Shigeharu Mukai

Trumpet, Flugelhorn – Terumasa Hino

Live recorded on April 14, 1975 at Yuhbinchokin Hall, Tokyo, Japan.

A real lost treasure from trumpeter Terumasa Hino – a warm and wonderful live set, and one that's neither too free, nor too smooth – just perfectly set up right down the middle to open up on these beautiful long performances! The lineup is all Japanese – a great array of players that includes Shigeharu Mukai on trombone, Hideo Miyata on tenor, Sadao Watanabe on alto sax, Motohiko Hino on drums, and Fumio Itabashi on Fender Rhodes – part of a slightly larger ensemble who can be tight at times, but still allow plenty of room for open freedom on the solos. Hino's only part of the picture, as the other soloists get in some great space too –

Shunzo Ohno - 1979 - Quarter Moon

Shunzo Ohno 

1979

Quarter Moon

01. Fatback 4:47

02. May 6:17

03. Jeff 7:52

04. In The Sky

05. Autumn Rain 6:19

06. The Dawn 7:55

07. Quarter Moon 5:54

08. We Will 2:00

Backing Vocals – Ullanda McCullough, Vivian Cherry, Yvonne Lewis

Congas, Percussion – Sue Evans

Drums – Victor Louis

Bass – Marcus Miller

Bass – T.M. Stevens

Electric Guitar – Jeff Laton

Piano, Clavinet, Synthesizer – Onaje Allan Gumbs

Piano, Synthesizer – Kenny Kirkland

Trumpet, Saxophone – Carter Jefferson

Trumpet, Synthesizer – Shunzo Ohno

Recorded at Electric Lady Studio, N.Y., May 20-19, 1979.

One of the best Japanese trumpeters of the 70s – heard here in a great set of fusion that mixes his solo talents with a whole host of great American players too! The set was recorded in Electric Lady at the end of the 70s – and also features some great tenor and soprano sax from Carter Jefferson, keyboards from Kenny Kirkland, bass from Marcus Miller, and piano from Onaje Allan Gumbs – all working at a level that's almost tighter and more funky than most of their other records of the time! Ohno also plays a bit of mini moog next to his trumpet – giving some cuts an added electric punch – and a few spots feature work from a vocal trio with Vivian Cherry and Ullanda McCullough too.

Shunzoh Ohno - 1976 - Bubbles

Shunzoh Ohno

1976

Bubbles

01. Bubbles 11:03

02. Don't Get Down 9:57

03. Bullfight 11:17

04. Song For My Kid 9:05

05. Bubbles 6:15

Shunzo Ohno - Trumpet

Reggie Lucas - Guitar

Sam Johnson - Keyboards

Ronald Brockett Jr - Piano

Roy Haynes - Drums

Neil Clarke - Percussion

Recorded at Vanguard Studio, NYC, July 13&15, 1975

Born in Gifu Prefecture, Ohno found his musical calling at 13, beginning with his training on the trombone. By 19, he was Japan’s top jazz trumpeter.

Spanning five decades, Ohno’s fascinating career is a story of boundless talent and dogged determination, marked by seemingly insurmountable setbacks.

He had a chance meeting with bandleader Art Blakey, who invited him on a tour with the Messengers in Japan. At Blakey’s suggestion, he moved to New York City in 1974 to pursue his dream.

“When I told my mother and father in high school I was going to become a jazz musician, they said, ‘Oh God, a jazz musician! All they’re about is drinking, women and drugs. Forget it!’ ” recalls Ohno, who lives with his family in Westchester County, a suburb of New York City, in a recent interview with Kyodo News during his tour of Japan. “But I told my father, ‘I’m not that type of musician. I want to be a great, pure artist.’ ”

After getting his break with Blakey, Ohno turned his energies to Afro-Cuban jazz and recorded on the Grammy-Award winning album “Machito and His Salsa Big Band” in 1983. With master arranger and composure Gil Evans, who became a lifetime mentor, he played on the 1988 Grammy Award-winning recording “Live at Sweet Basil.”

He reached even loftier heights on a return to Japan with Super Sounds, a group that included jazz legends Herbie Hancock, Wayne Shorter and Larry Coryell.

But Ohno came hurtling back to Earth when he suffered serious injuries in a car accident in 1988.

His lips and teeth permanently damaged, Ohno says he immediately rejected the opinion of his doctors that he might never play again. But it meant a long road to recovery as well as finding a new way to play his instrument.

The second punch came in 1996. Ohno was diagnosed with aggressive fourth stage throat cancer. It was all but a death sentence. His doctors said that if he survived, playing the trumpet was again out of the question.

He underwent radical surgeries and radiation treatments for the next five years — a process in which 125 muscle structures, including tendons and nerves, had to be removed from his face, neck and shoulders. With no lip support, the battle to play began anew.

Ohno says because of the formidable circumstances he has faced he has gained a fresh perspective on how to reach the pinnacle other musicians might take for granted.

He is the first jazz musician to win the International Songwriting Competition’s grand prize for his composition of “Musashi,” inspired by 17th century samurai swordsman Miyamoto Musashi. He is also the only Japanese native to have won.

Ohno, who is also helping to raise donations for people affected by the Nepal earthquake, has done several benefit concerts under the banner “Hope and Courage for Japan.”

He arranged a performance to raise donations with other jazz musicians at a local school auditorium in Chappaqua, New York, on May 1, 2011. Since then, he has visited shelters, temporary housing, junior high schools and high schools in northeastern Japan twice a year to encourage communities through his music.