Claus+ogerman

In some ways, this is a strategic retreat for Antonio Carlos Jobim after the classical departures of the '70s – a retrospective of past triumphs, including some of the most trod-upon standards ("Ipanema," "Desafinado," "One-Note Samba," etc.), with Claus Ogerman again at hand. But these are thoughtful retoolings, some subtle, some radical, ranging in backing from a lonely piano to elaborate yet sensitive Ogerman orchestral flights that cram more complexity than ever into the spaces (listen to his beguilingly involved take on "Double Rainbow") with only a few overbearing faux pas. Jobim's own vocals sound increasingly casual in temperament as he serves them up in an unpredictable mixture of Portuguese, English and scat.

All of a sudden, George Benson became a pop superstar with this album, thanks to its least representative track. Most of Breezin' is a softer-focused variation of Benson's R&B/jazz-flavored CTI work, his guitar as assured and fluid as ever with Claus Ogerman providing the suave orchestral backdrops and his crack then-working band (including Ronnie Foster on keyboards and sparkplug Phil Upchurch on rhythm guitar) pumping up the funk element.

This very evocative 1965 recording session was a cause for celebration not only among critics but among the bossa nova-crazed audiences of Brazil and the U.S, and it sold quite well. Donato is a jazz pianist first, and his allegiances in harmony and melody come from there first and foremost. But rhythmically and in his phrasing, he comes from the generation of Brazilian musicians who developed the bossa nova as an art form. His touch is light, his settings are lush and laid-back, and his playing is as much or more from his left hand as his right. Solos on these records are wonderfully improvised, but they reflect the sweet, gorgeous melodies on the front line of these tunes. As such, Donato comes across as an elegant pianist and ensemble player, establishing his individual touch as a leader in that left hand rhythmic bent where he loves those shaded keys.

Legendary jazz pianist Bill Evans is most often thought of as a "trio" player, as most of his albums have been piano/bass/drums, with the occasional solo or duo album. But he did record a select few albums with orchestras, and that's what makes SYMBIOSIS a special and unique entry in Evans' hugh catalog. Recorded in 1974, it was released in 1994 on CD for the first time. Further, this albums contains no standards or Evans originals–the title piece is a multi-part suite composed, arranged and conducted by Claus Ogerman (who also collaborated with Stan Getz and Frank Sinatra, among many others).

After the success of The Art of Tea, Michael Franks was able to more confidently move closer to the kind of music he wanted to make. Employing a more exotic Brazilian feel on Sleeping Gypsy, with lush orchestration (courtesy of veteran jazz arranger and conductor Claus Ogerman), Franks moved his acoustic guitar work to the background to create a romantic sound with no sappiness. With "Down in Brazil" and, particularly, "Antonio's Song," his ode to Antonio Carlos Jobim, Franks was doing with Brazilian music for the rock crowd in the '70s what Stan Getz did for the jazz crowd in the '60s. He again employed his witty wordplay and evocative storytelling ability on "B'wana-He No Home," a song about a time when Dan Hicks was staying at his house while Franks was away. A romantic, elegant and important album in bringing Brazilian music to a wider audience.

This particular Original Album Classics release contains five albums issued by George Benson through the Warner Bros. label: Breezin' (1976), Weekend in L.A. (1977), Give Me the Night (1980), Tenderly (1989), and Big Boss Band (1990). This is a rather arbitrary assortment; Benson made several other significant albums during the span covered here, and the stylistic differences between the earliest and latest sets are stark…

Few record labels can boast as glorious a legacy as Sony Classical. This lavish four-disc set chronicles the finest performances available on the label from the past ninety-five years. Eighty selections comprising over four hours of music are accompanied by two lavishly illustrated booklets highlighting Sony Classical's stellar history.