Clare Fischer - First Time Out

Styles: Piano Jazz
Year: 1962
File: MP3@320K/s
Time: 41:22
Size: 95,5 MB
Art: Front

(7:10) 1. Nigerian Walk
(4:42) 2. Toddler
(4:03) 3. Stranger
(4:10) 4. Afterfact
(7:33) 5. Free Too Long
(3:15) 6. Piece For Scotty
(5:12) 7. Blues For Home
(5:15) 8. I Love You

First Time Out is the debut album by American composer/arranger/keyboardist Clare Fischer, recorded and released in 1962 by Pacific Jazz Records. Aside from the overwhelmingly positive response that greeted Fischer's debut, the most pervasive reaction was sheer surprise; indeed, Down Beat's 5-star review dubbed it "the biggest surprise of the year." As jazz historian and critic Martin Williams observes, writing in The Saturday Review: First Time Out is from a rather unexpected source: it is a recital by a piano trio, led by Clare Fischer, a man previously known for his arranging and composing. Fischer's piano is not 'interesting,' as an arranger's piano is apt to be. It is much more accomplished than that." While struggling to pinpoint Fischer's pianistic forebears, finding elements of both Bill Evans and Dodo Marmarosa, critic Leonard Feather echoes Williams' essential point, noting Fischer's "complete command of the keyboard; unlike Gil Evans, Tadd Dameron, and other arrangers who are secondarily pianists, he can be judged entirely by a pianistic yardstick."

Gramophone's review praises "this superlative album," in part for preventing Fischer from "becoming one of the most neglected figures in jazz."[5] The Atlanta Daily World's Albert Anderson stops short of such hyperbole, but does acknowledge his own surprise: I knew well before reviewing this record that Fischer was a composer of note. What I didn't know, though, was that he is such an outstanding pianist. However, after listening to these tracks (five of which are Fischer originals), I was tremendously impressed by his facility with a tune - He plays with mastery, melody and perhaps, too, with his audience in mind. The latter is suggested clearly in shifting moods and tempos; there is never a dull moment. https://en.wikipedia.org/wiki/First_Time_Out_(album)

Personnel: Clare Fischer - piano, composer; Gary Peacock - bass; Gene Stone - drums

First Time Out

---

Donald Byrd - Donald Byrd With Strings + Byrd Blows On Beacon Hill

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 70:14
Size: 162,9 MB
Art: Front

(3:28)  1. Stardust
(2:46)  2. Indian Summer
(3:30)  3. I'm A Fool To Want You
(2:50)  4. Someday My Prince Will Come
(3:03)  5. Moon Mist
(3:47)  6. I Get Along Without You Very Well
(2:54)  7. The Touch Of Your Lips
(4:00)  8. Lazy Afternoon
(2:44)  9. Dear Old Stockholm
(2:51) 10. Love Is The Sweetest Thing
(2:59) 11. September Afternoon
(3:49) 12. Dearly Beloved
(7:03) 13. Little Rock Getaway
(7:19) 14. Polka Dots And Moonbeams
(4:39) 15. If I Love Again
(3:44) 16. Stella By Starlight
(3:38) 17. People Will Say We're In Love
(5:04) 18. What's New?

Donald Byrd and Clare Fischers 1957 New York studio collaboration is important for several reasons. For one, it marks Fischers first recording since January 1953, as well as his debut as the sole arranger for an album. It is equally important for Donald Byrd, as it remains the only album that the trumpeter ever made with string accompaniment.  Also included on this outstanding release is a New York, May 7, 1956 quartet session featuring the trumpeter backed by pianist Ray Santisi, bassist Doug Watkins and drummer Jimmy Zitano. Although this date varies greatly from Donald Byrd & Clare Fischers session with strings, we have decided to include it here in its entirety as bonus tracks, due to the dates equally unusual format. While Byrd recorded countless CDs in a quintet or sextet setting, the May 7, 1956 date is one of only two sessions that Byrd recorded as a leader in a quartet setting. https://www.freshsoundrecords.com/donald-byrd-albums/4340-with-strings.html

Personnel:  Donald Byrd (tp), Julius Baker (fl), Romeo Penque (cl), Clare Fischer (p, arr, cond), Milt Hinton (b), Osie Johnson (d), Harry Lookofsky, Gene Orloff (strings), Ray Santisi (p), Doug Watkins (b), Jimmy Zitano (d)

Donald Byrd With Strings + Byrd Blows On Beacon Hill

---

João Gilberto - Brasil

Bitrate: MP3@320K/s
Time: 28:12
Size: 64.6 MB
Styles: Brazilian jazz
Year: 1981/2006
Art: Front

[6:34] 1. Aquarela Do Brasil
[5:18] 2. Disse Alguem (All Of Me)
[5:12] 3. Bahia Com H
[4:49] 4. No Tabuliero Baiana
[4:56] 5. Milagre
[1:20] 6. Cordiero De Nana

Bass – Jim Hughart; Cello – Anne Goodman, Rober Lebon; Drums – Joe Correro; Flute – Bud Shank, Eddie Cainf, Glen Garrett, Harry Klu; Harp – Stella Castellucci; Keyboards – Clare Fischer; Percussion – Paulinho Da Costa; Performer – Caetano Veloso, Maria Bethânia; Synthesizer – Michael Boddicker, Milcho Leviev; Viola – David Schwartz, Helaine Wittenberg, Marilyn Baker; Violin – Bonnie Douglas, Harry Bluestone, Isabelle Daskoff, Israel Baker, Jerry Reisler, John Wittenberg, Joe Goodman, Nathan Ross, Paul Shure, Bob Dubow, Bob Lipsett; Violin, Concertmaster – Gerald Vinci; Vocals, Guitar – João Gilberto.

I'll just make this a brief review. I've been a professional musician for 35 years. In the 1970's when I discovered this album, I was traveling all over the country with a show. I would play this LP constantly; I never got tired of it. Until I heard this, I had always thought of "Brasil" as a raucous, lounge or marching-band sort of tune. Then I heard these artists perform it, and I finally realized what a marvelous song it really was. There must be 100's of recorded version of it, but you'll never find a more beautiful, sophisticated version than this. Of course, the rest of the album is equally good. Great tunes, great singing, and as an added treat, the brilliant orchestrations of the great Claus Oegerman.

I have listened to this record for years on trips to the mountains, the sea; everywhere. It always gives me a placid, serene feeling. Decades later, the music still gives me chills. I cannot recommend this record enough, and I truly hope that someone else will enjoy it half as much as I have over the years. ~BJNick

Brasil

---

Dee Dee Bridgewater - Prelude To A Kiss: The Duke Ellington Album

Styles: Jazz, Vocal
Year: 1996
File: MP3@320K/s
Time: 52:13
Size: 121,0 MB
Art: Front

(2:26)  1. Midnight Indigo
(5:02)  2. I'm Beginning To See The Light
(4:15)  3. Bli-Blip
(3:30)  4. Fleurette Africaine
(3:52)  5. Prelude To A Kiss
(4:29)  6. Caravan
(4:20)  7. Solitude
(4:27)  8. Mood Indigo
(4:16)  9. Night Creature: Fast
(7:28) 10. Night Creature: Andante Misterioso
(3:52) 11. Night Creature: Moderato - Faster Swing - Moderato
(4:11) 12. Come Sunday

This release is more properly identified as a various artists compilation, which includes the pop sounds of the Hollywood Bowl Orchestra. Most of the orchestrations and arrangements are pleasant, even if they're not blatantly original. Alto saxophonist Bobby Watson is superb on "Mood Indigo" and the exotic "Fleurette Africaine." 

The orchestra does a fine job with the rarely heard suite "Night Creature." Singer Dee Dee Bridgewater shines frequently; backed by a superb quartet including Wynton Marsalis, she delivers a delightful cover of "I'm Beginning To See The Light." But it is her hypnotic, chanting introduction, backed by Middle Eastern percussion and Steve Turre's conch shells, that gives this release an occasional freshness usually lacking in similar Ellington tributes. ~ Ken Dryden http://www.allmusic.com/album/prelude-to-a-kiss-the-duke-ellington-album-mw0000611119

Personnel: Dee Dee Bridgewater (vocals); The Hollywood Bowl Orchestra; John Mauceri (conductor); Robert Sadin, Slide Hampton, Alan Broadbent, Henry Martin, Clare Fischer (arrangers); Hassan Hakmoun (vocals, gimbra, percussion); Charles McPherson, Bobby Watson (alto saxophone); Wynton Marsalis (trumpet); Steve Turre (shells); Bruce Dukov (concertmaster); Cyrus Chestnut (piano); Robert Sadin (organ); Vincent Nguini (guitar); Ira Coleman (bass, drums); Jeff Hamilton (drums); Cyro Baptista (percussion).

Prelude To A Kiss: The Duke Ellington Album

---

Clare Fischer - Out Of The Blue

Size: 164,8 MB
Time: 70:55
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Piano Jazz
Art: Front

01. Love's Walk (Feat. Brent Fischer & Peter Erskine) (5:48)
02. Tema Do Boneco De Palha (Feat. Mike Shapiro & Brent Fischer) (4:22)
03. When You Wish Upon A Star/Someday My Prince Will Come (7:56)
04. Starbright (Feat. Brent Fischer & Peter Erskine) (4:20)
05. Two For The Road (3:42)
06. Cascade Of The Seven Waterfalls (Feat. Brent Fischer & Mike Shapiro) (6:25)
07. Out Of The Blue (Feat. John Proulx, Peter Erskine, Brent Fischer & Denise Donatelli) (4:30)
08. Millbrae Walk (Feat. Brent Fischer & Mike Shapiro) (2:54)
09. Amor Em Paz (3:16)
10. Squatty Roo (Feat. Brent Fischer) (5:21)
11. Nuages (Feat. Peter Erskine & Brent Fischer) (5:48)
12. Novelho (4:09)
13. 49 (Larry Ford) [Feat. Brent Fischer & Peter Erskine] (4:20)
14. Carnaval/A Felicidade/Samba De Orfeu (Feat. Mike Shapiro & Brent Fischer) (7:58)

Dr. Clare Fischer – Keyboards, composer, arranger
Brent Fischer – Producer, arranger, all Percussion instruments, bass
Peter Erskine – drums on love’s Walk, starbright, out of the blue, nuages and 49
Mike Shapiro – drums on tema do boneco de Palha, cascade of the seven Waterfalls, Millbrae Walk, and carnaval / a Felicidade / samba de orpheu medley
Denise Donatelli – Vocals on out of the blue
John Proulx – Vocals on out of the blue recorded, edited and mixed by Matthew Brownlie and Brent Fischer

Album notes:
It’s an amazing experience when, unexpectedly, a wish suddenly comes true. if it happens repeatedly, then that’s just plain good luck. and so it began years ago when i started archiving the written music library of my father, dr. Clare Fischer. i had hoped to find buried treasure in the stacks—material previously not seen or heard by others—that could be added to his public output. it has been one great find after another and it’s still happening!

Getting most of the music he wanted to perform himself recorded, as opposed to leaving some for others to play, took right up until the end of his life. as with his final concerts, when he was recording, there was an absolute joy of spontaneity. throughout his life, he felt that emotional content was always strongest during the first or second take so we always recorded that way, even if it meant minuscule imperfections were kept for the greater good of a heartfelt performance. i continue that practice today.

During the process of recording his original material, i almost lost sight of another important aspect of my dad’s brilliance: his ability to re-develop the compositions of others into unmistakably personal statements that had the qualities of a new work while still retaining the character of the piece as it was known. i’m proud to present here a compendium of previously unreleased original material, different settings for some originals plus arrangements of great american, latin and european standards.

The latest surprise came while in the middle of a busy schedule wrapping up this and a few other albums; Pluto and it’s largest moon charon came into view—out of the blue. i had to stop and look, filled with childhood memories of peeking through my dad’s telescope at celestial bodies, always yearning for more detail. We shared our fascination with astronomy for decades, constantly delighting at new images sent from telescopes or spacecraft. We hope you’ll explore these new recordings with that same sense of joy.

The title for Love’s Walk came about from the morning walks my dad took with his wife donna. they were so happy together. i think it shows in this trio rendition of what had previously been a solo piano piece on his album Introspectivo.

Tema do Boneco de Palha (theme of the Straw Doll) is a vibrant Brazilian piece made famous in 1963 by guitarist Rosinha de Valença. We didn’t know that when we recorded it, only that the song had long been in my dad’s memory, probably from hearing it while in south america in the 1960’s. special thanks to Franklin de Flauta and Andrea Ernest in rio for identifying this masterpiece.

My dad’s love for spontaneously conjoining multiple works is evident next in his solo piano medley of When you Wish upon a Star and Someday My Prince Will Come. note how the layers of development relate the two songs together in a unified theme.

The song Starbright goes way back beyond its first appearance as a duo recording on the album of the same name. Written when my dad was a young man, he felt it was too adventurous and left it on the shelves for years until a gifted student asked to hear some of his early works. i was a teenager at the time and when we heard him play that song, we convinced him to record it. it is here in quartet form as we have played it live.

Those who know our recent orchestral album Music for Strings, Percussion and the Rest will recognize this solo piano version of two for the road as being based on dad’s symphonic version. it starts out almost literally as a piano reduction of the orchestra score but then develops beyond that as it modulates.

When my dad first heard Azymuth play Cascade of the Seven Waterfalls he was enchanted by it. We have played it many times over the years and i’m glad the last time was in a recording studio.

About 10 years ago i found an untitled manuscript and asked dad to play the tune. We both liked it so much, he gave it the title out of the Blue. this is another adventurous piece and I thank Denise Donatelli and John Proulx for bringing to life my vision to have it sung because the double melody lends itself so well to a vocal duo.

Dad used to take walks in the Millbrae area north of San Francisco whenever he’d visit or work with Cal Tjader. the song Millbrae Walk first appeared on the album Tjaderama made shortly after Cal’s death and in five part harmony on the Clare Fischer clarinet choir album A Family Affair. the version here is a more percussive setting in two part harmony as originally conceived. this, Starbright and out of the blue are some of my favorite Clare Fischer tunes.

Reflect on the genius of Clare Fischer at the piano as you listen to his rendition of Amor em Paz. he could always make even the slowest tempo full of interesting interaction and intense emotion.

Although we have a great version of Squatty Roo on the Clare Fischer clarinet choir album On a Turquoise Cloud, the one here is completely improvised by father and son playing together. i used to stand behind dad on stage watching his hands, listening and after decades of playing together, it meant that I could usually guess the general direction he was going next and be “inside his mind” to keep up with him no matter what he did.

Another standard he used to love playing extremely slowly for maximum emotional content was Nuages. at this tempo, every note of the melody becomes an opportunity for exploration and development.

Yet another unexpected bonus when assembling the tracks for this album was finding an unmarked and unreleased recording from what sounds like the early 1960's. dad would later develop this song into Novelho by adding a bridge and then asking me to arrange it for the clarinet choir. if you know that song, you’ll get a chance to hear the seed idea here, a great line in and of itself, with some classic free form improvisation.

There are many who have been honored by Clare Fischer writing a song for them when their lives ended too soon. this goes way back to Piece for scotty (Scott laFaro) on the first ever clare Fischer album and more recently, great jazz writer Francis Paudras. 49 was titled for the age at which my father’s good friend, musician Larry Ford, died.

Finally, we close with another spontaneous medley, this time of great Brazilian standards Carnaval, A Felicidade and Samba de Orpheu. Clare Fischer was one of the first musicians to bring Brazilian music to America more than 50 years ago so it’s fitting that he have the last word on it here.

I want to personally thank all of the superlative artists for lending their unique talents to this album and you, the listener, for deciding to own a physical work of art from clare Fischer instead of settling for the low resolution digital version without proper credits. I’m eagerly looking forward to showing you more new Fischer material when it appears out of the blue! —Brent Fischer

Out Of The Blue

---

Bud Shank - Brasamba!

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 35:56
Size: 83,3 MB
Art: Front

(3:54)  1. Brasamba
(4:05)  2. Otem a Note
(4:03)  3. Autumn Leaves
(3:40)  4. Sambinha
(3:59)  5. Gostoso
(3:00)  6. If I Should Lose You
(3:25)  7. O'Barquinho
(2:21)  8. Serenidade
(4:15)  9. Elizete
(3:09) 10. Samba de Orfeu

One of the greatest albums of Brazilian jazz that Bud Shank ever recorded done with a style that's a lot more like some of the best bossa albums from Rio at the time! Bud's recorded in other bossa settings before but there's something about this record that really gets the whole thing right as Shank's alto and flute come into play with a killer combo that includes Clare Fischer on piano, Larry Bunker on vibes and drums, Joe Pass on guitar, and Milt Holland and Chuck Flores on percussion. 

The added percussion really brings a lot to the set and gives it a strongly bossa-driven groove that really lets Shank take off on alto and flute solos. Fischer's piano is remarkably strong caught at that clear early point in his career when he was such a fresh voice on the scene. The whole thing's wonderful overall and if you think you might have it under another name, check the song listings because we bet you don't! Titles include "Sambinha", "Gostoso", "Elizete", "O Barquinho", "Brasamba", and "Otem A Note". https://www.dustygroove.com/item/655957

Personnel:  Bud Shank - alto saxophone, flute;  Clare Fischer – piano;  Joe Pass – guitar;  Larry Bunker - vibes, drums;  Ralph Pena – bass;  Milt Holland, Chuck Flores - percussion

Brasamba!

---

Clare Fischer - Machaca

Size: 105,5 MB
Time: 45:23
File: MP3 @ 320K/s
Released: 1980/2015
Styles: Jazz: Jazz Funk, Latin Jazz
Art: Front

01. African Flutes (8:06)
02. Gaviota (6:15)
03. Suddenly (5:18)
04. Clavo (3:13)
05. Machaca (9:38)
06. Cositas (3:25)
07. Novios (2:40)
08. Gentle Breeze (6:46)

Recorded May 1979 at Capitol Records Recording Studios, Hollywood, USA. Mixing June 12, 1979 MPS Studio, Villingen.

Personnel:
Bass – David Troncoso
Congas – Poncho Sanchez
Drums – Aaron Ballesteros
Drums, Percussion – Alex Acuña
Guitar – Rick Zunigar
Keyboards – Clare Fischer
Percussion – Hector Andrade
Saxophone, Flute – Gary Foster

“I wouldn’t be me without Clare Fischer. (He) was a major influence on my harmonic concept. I was in awe of him.” The praise for keyboardist, composer, arranger Fischer stems from no less than jazz great Herbie Hancock. Fischer’s (1928-2012) influence has spanned the gamut of modern music. Nominated for 11 Grammies, Fischer arranged for the likes of Dizzy Gillespie, Al Jarreau, Paul McCartney, and Michael Jackson. In 1985 he began a many-year collaboration with pop artist Prince, writing some 40 orchestral arrangements, including music for Prince’s movies Under the Cherry Moon, Graffiti Bridge, and Batman. Fischer is also known for his playing and composing Latin music. “Pensativa” and “Morning” have become Latin jazz standards; in 1981 won a Grammy for best Latin record.

A must for fans of Clare Fischer’s Latin side, Machaca is the second of his “Salsa Picante” period. All but one of the pieces are written by Clare. He describes Machaca as “food that combines different ingredients”, and with a bevy of Latino musicians, an admixture of Latin rhythms and melodies and European-influenced harmonies, it’s one delicious musical concoction. African Flutes mixes a piano tumbao (repeated vamp) with tribal chanting and Stravinsky-influenced chords. Then there is Gaviota (seagull) with its quasi bolero romanticism and Cuban folk rhythm base. Machaca offers up Latin-rock fusion with drummer Aaron Ballesteros and company supplying the groove, and Gentle Breeze, plays over a merengue rhythm as Fischer and Co. storm through with tempestuous solos. Machaca: a potpourri of Clare Fischer pieces with a tasty salsa flavor to savor.

Machaca

---

Clare Fischer - The Latin Side

Bitrate: MP3@320K/s
Time: 65:49
Size: 150.7 MB
Styles: Latin jazz, Piano jazz
Year: 1997
Art: Front

[6:16] 1. Como Come
[7:24] 2. Malibu Glide
[7:22] 3. C.P
[9:18] 4. Pensativa
[8:52] 5. Dancing Song
[5:50] 6. Memories Of You
[6:52] 7. Morning
[9:24] 8. Blues Bossa
[4:28] 9. Pajaro Loco

Clare Fischer, keyboards, with the Netherlands Metropole Orchestra conducted by Rob Pronk and Vince Mendoza.

Continuing its series of collaborations with well–known American Jazz musicians, the Netherlands Metropole Orchestra travels south of the border, figuratively speaking, for a program of Latin Jazz by one of its leading exponents, composer/pianist Clare Fischer. The eight studio tracks, conducted by longtime music director Rob Pronk, were recorded in 1991; the ninth, “C.P.,” was recorded in concert at The Hague in 1997 and conducted by Vince Mendoza. Fischer arranged every number and composed all but Eubie Blake/Andy Razaf’s ballad, “Memories of You,” which the two–time Grammy Award winner plays unaccompanied. If arranging for the relatively large and string–laden Metropole Orchestra presented a challenge, Fischer shows that he was up to the task, scrupulously dotting every i and crossing every t. The charts, in other words, are first–class. To further assure their success, the former director of the vocal group known as the Hi–Los brought with him one of its alumni, Don Shelton, who doesn’t sing but displays his superior talents on soprano saxophone (“Como Come?”), clarinet (“Pensativa,” a duet with Fischer) and flute (on five selections). Fischer also recruited his son, Brent, to play bass with the orchestra. Fischer plays acoustic piano on three numbers (“C.P.,” “Blues Bossa,” “Memories of You”), “digital piano” (which sometimes sounds like a harpsichord) on the others. It’s an acquired taste, but he’s such an accomplished musician that it charms more often than it annoys. “Pensativa” is perhaps Fischer’s best–known composition, but each of the others deserves comparable recognition. Shelton and Fischer are the principal soloists, with a handful of earnest but uncredited ad libs by members of the orchestra. Unlike some of the Metropole Orchestra’s recordings, this one is generously timed at 66:43, and is easily recommended to those who appreciate Latin Jazz, especially when written by a superlative composer and performed by a world–class orchestra. ~Jack Bowers

The Latin Side

---

Clare Fischer & Friends - Rockin' In Rhythm

Bitrate: MP3@320K/s
Time: 69:36
Size: 159.3 MB
Styles: Latin jazz
Year: 1997
Art: Front

[ 8:05] 1. O Canto
[ 5:58] 2. Speak Low
[ 5:24] 3. O Pato Takes A Train
[ 5:50] 4. Rockin' In Rhythm
[ 6:28] 5. Blues At Play
[ 5:38] 6. Donde
[ 4:34] 7. Passarinho
[ 6:35] 8. Sakura
[ 4:57] 9. Dance The Samba With Me
[12:08] 10. Baroque
[ 3:53] 11. Moleque

Ever-creative keyboardist-composer Clare Fischer is back with another great Latin-infused issue, full of strong melodies and infectious rhythms. The session features six singers who apply the Hi-Lo's voices-as-instruments sound to original charts and jazz hits.

Fischer's inventive merging of "Take the 'A' Train" with a Brazilian song "O Pato" that has the same opening changes creates a joyous groove on "O Pato Takes 'A' Train." The title track is played in Cuban 6/4 time, while the standard "Speak Low" is given a 3/2 signature. Every track is a jubilant celebration of Latin music, with Fischer's liner notes providing a valuable listening guide. The session's sextet includes Don Shelton, formerly with the Hi-Lo's and Singers Unlimited, who both sings and plays reeds; Fischer's son, Brent, on electric bass; guitarist John Pisano and percussionists Walfredo Reyes and Michito Sanchez. ~Patricia Myers

Rockin' In Rhythm

---

Clare Fischer - Just Me : Solo Piano Excursions

Styles: World Fusion, Piano Jazz
Year: 1995
File: MP3@224K/s
Time: 62:34
Size: 100,8 MB
Art: Front

(6:48)  1. Autumn Leaves
(4:45)  2. Pra Baden
(8:52)  3. 'Round Midnight
(5:29)  4. I'm Getting Sentimental Over You
(4:05)  5. I'd Do Anything For You
(7:45)  6. Liebesleid (Love's Sorrow)
(3:38)  7. After You've Gone
(4:03)  8. Guajira
(5:15)  9. Ill Wind
(7:21) 10. Pensativa
(4:30) 11. Topsy

This rare solo piano set by Clare Fischer has plenty of variety and some surprises along the way. Fischer is best known for his work in Afro-Cuban and Brazilian jazz, and some of the music (including "a remake of his "Pensativa") falls into that genre. But there are bits of stride piano here and there, and also a variety of standards not associated with Fischer, including "Autumn Leaves," "I'm Getting Sentimental Over You," "I'd Do Anything for You," and "After You've Gone." This CD shows listeners that Fischer is even a more eclectic performer than expected. ~ Scott Yanow  http://www.allmusic.com/album/just-me-solo-piano-excursions-mw0000179725

Personnel: Clare Fischer (piano)

Just Me : Solo Piano Excursions

---

The Clare Fischer Voices - ...And Sometimes Instruments

Bitrate: 320K/s
Time: 70:57
Size: 162.4 MB
Styles: Vocal harmonies
Year: 2011
Art: Front

[3:48] 1. Tom Cat
[4:16] 2. Mood Indigo
[2:56] 3. America The Beautiful
[3:09] 4. Una Mañana
[1:55] 5. I Should Care
[3:36] 6. Chopin Etude Opus 10, Number 6
[6:07] 7. Bachi
[4:13] 8. If
[3:27] 9. You're My Thrill (Feat. Don Shelton)
[4:28] 10. Last Night When We Were Young
[3:57] 11. Waiting For Jack's Plane
[2:43] 12. The Boy Next Door
[4:23] 13. Happy Time
[2:38] 14. When Your Lover Has Gone
[2:19] 15. I'm Fine (Feat. Gary Foster)
[2:28] 16. So What Do I Care
[2:25] 17. Memories Of Gold
[2:47] 18. Manhã
[5:02] 19. Love At Home
[4:10] 20. Pan Pipe Dance

Pianist, arranger and composer Clare Fischer, who died at age 83 this past January, often described himself as the best-kept secret in jazz. In a career spanning six decades, he worked with myriad masters, among them Bud Shank, Joe Pass, Cal Tjader, Prince, Michael Jackson, Branford Marsalis and João Gilberto. He arranged for the Hi-Lo’s, the Singers Unlimited and Sergio Mendes and recorded 51 albums as a solo performer and bandleader.

...And Sometimes Instruments is a rather unusual olio, lovingly pasted together by Fischer’s son Brent, who also plays electric bass, vibes, marimba, shakers and rainstick. (Overachievement obviously didn’t skip a generation.) All 20 tracks are built around vocal arrangements, with four principal voices soprano Mary Hylan, alto Angie Jaree and tenors Gary Jones and David Joyce plus baritone/bass Bob Joyce on 17 tracks and several more scattered throughout.

Some of the arrangements date back decades; a couple tracks were lifted from tapes recorded in the ’90s; and the rest of the material existed in various stages of development. There are half a dozen standards, all strongly reminiscent of the Hi-Lo’s/Singers Unlimited, several Fischer compositions (including his dazzling “Morning,” presented in both Spanish and Portuguese), a bit of Chopin, some musical tomfoolery (one track, complete with meow choruses, pays tribute to a housecat), and even an august “America the Beautiful.” It’s a lot to take in, rather like an overly bountiful smorgasbord, but it serves as golden testament to the breadth of Fischer’s artistry. ~Christopher Loudon

...And Sometimes Instruments 

---

Joe Pass - But Beautiful

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 74:28
Size: 173,1 MB
Art: Front

(3:58)  1. Autumn Leaves (feat. Bud Shank, Clare Fischer)
(4:00)  2. Ontem a Noite (feat. Bud Shank, Clare Fischer)
(3:36)  3. Sambinha (feat. Bud Shank, Clare Fischer)
(3:20)  4. Barquinho (feat. Bud Shank, Clare Fischer)
(2:39)  5. But Beautiful
(4:11)  6. Elizete (feat. Bud Shank, Clare Fischer)
(3:38)  7. Just Friends
(2:17)  8. Serenidade (feat. Bud Shank, Clare Fischer)
(3:55)  9. Gostoso (feat. Bud Shank, Clare Fischer)
(5:50) 10. Falling in Love with Love
(2:39) 11. Nancy Joe (feat. Gerald Wilson)
(5:10) 12. Projections
(4:23) 13. Moment of Truth (feat. Gerald Wilson)
(3:14) 14. Me & Groove (feat. Richard Groove Holmes, Les McCann Quartet)
(5:02) 15. It Could Happen to You (feat. Les McCann)
(5:48) 16. Black Groove (feat. Richard Groove Holmes, Les McCann Quartet)
(4:23) 17. Stay Loose
(6:16) 18. Offering Time (feat. Paul Bryant, Johnny Griffin)

Joe Pass did the near-impossible. He was able to play up-tempo versions of bop tunes such as "Cherokee" and "How High the Moon" unaccompanied on the guitar. Unlike Stanley Jordan, Pass used conventional (but superb) technique, and his Virtuoso series on Pablo still sounds remarkable decades later. Joe Pass had a false start in his career. He played in a few swing bands (including Tony Pastor's) before graduating from high school, and was with Charlie Barnet for a time in 1947. But after serving in the military, Pass became a drug addict, serving time in prison and essentially wasting a decade. He emerged in 1962 with a record cut at Synanon, made a bit of a stir with his For Django set, recorded several other albums for Pacific Jazz and World Pacific, and performed with Gerald Wilson, Les McCann, George Shearing, and Benny Goodman (1973). However, in general Pass maintained a low profile in Los Angeles until he was signed by Norman Granz to his Pablo label. 1973's Virtuoso made him a star and he recorded very prolifically for Pablo, unaccompanied, with small groups, on duo albums with Ella Fitzgerald, and with such masters as Count Basie, Duke Ellington, Oscar Peterson, Milt Jackson, and Dizzy Gillespie. Pass remained very active up until his death from cancer. Bio ~ Scott Yanow  http://www.allmusic.com/artist/joe-pass-mn0000209773/biography

But Beautiful

---

Clare Fischer Big Band - Pacific Jazz

Size: 172,4 MB
Time: 74:14
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Big Band
Art: Front

01. Cherokee (Feat. Andy Martin & Alex Budman) (7:40)
02. Jumping Jacks (Feat. Brent Fischer & Steve Huffsteter) (6:37)
03. Cotton Tail (Feat. Brent Fischer Orchestra) (7:21)
04. New Thing (Feat. Quinn Johnson, Alex Budman & Ron Stout) (5:50)
05. Passion (Feat. Scott Whitfield) (3:18)
06. Sad About Nothing Blues (Feat. Scott Whitfield & Carl Saunders) (6:03)
07. Mood Indigo (7:47)
08. Eleanor Rigby (Feat. Brent Fischer, Rob Verdi & Alex Budman) (3:37)
09. Blues Parisien (Feat. Steve Huffsteter) (5:19)
10. Son Of A Dad (Feat. Don Shelton, Francisco Torres, Ron Stout & Rob Verdiis) (3:42)
11. I Loves You Porgy (7:38)
12. All Out (Feat. Scott Whitfield & Quinn Johnson) (5:28)
13. Ornithardy (Feat. Bob Sheppard) (3:48)

Douglas Clare Fischer was an American keyboardist, composer, arranger, and bandleader. After graduating from Michigan State University (from whom, five decades later, he would receive an honorary doctorate), he became the pianist and arranger for the vocal group The Hi-Lo’s in the late 1950s. Fischer went on to work with Donald Byrd and Dizzy Gillespie, and became known for his Latin and bossa nova recordings in the 1960s. He composed the salsa standard, "Morning", and the jazz standard, "Pensativa". Fischer was nominated for eleven Grammy Awards during his lifetime, winning for his landmark album, Clare Fischer & Salsa Picante Present "2 + 2" (1981), the first of Fischer's records to incorporate the vocal ensemble writing developed during his Hi-Lo's days into his already sizable Latin jazz discography; it was also the first recorded installment in Fischer's three-decade-long collaboration with his son Brent). Dr. FIscher was also a posthumous Grammy winner for ¡Ritmo! (2012).

Pacific Jazz  

---