Gary Burton, the astonishing virtuoso of the vibraphone. A child prodigy who achieved renown among musicians who marveled at his dazzling technique and originality of conception. Throughout a long career that traversed Nashville, George Shearing, Stan Getz, psychedelia, improvisation, free jazz, jazz rock and fusion, he retained a creative disposition; looking always to broaden his musical horizon and to push the boundaries of musical convention. Burton's innovations include the revival and adaptation of the use of a four mallet technique which enabled him to significantly increase the scope of his sound.
This edition pesents the complete Gary Burton LP Who Is Gary Burton? (RCA Victor LSP-2665), appearing here for the first time ever on CD. It showcases Burton in a septet format accompanied by such stars as Clark Terry, Phil Woods, Tommy Flanagan, and the Dave Brubeck Quartet's drummer, Joe Morello. The only five quintet tracks from Joe Morello's LP It's About Time, recorded the previous year and also featuring Burton and Woods, have been added here as a bonus. Also are include the complete original LP Subtle Swing (Sesac PM3901/3902), featuring Burton in a quintet format with the leader of the album, guitarist Hank Garland.
Gary Burton has always been notable for his ability to recognize talent in young players. The first time he regularly featured a pianist with his quartet was in the mid-'80s, when he helped bring pianist Makoto Ozone to prominence. With electric bassist Steve Swallow and drummer Mike Hyman completing the group, Burton and Ozone explore originals by Carla Bley (including the title cut), John Scofield ("The Beatles"), Swallow, Ozone, and an obscurity, plus Duke Ellington's "Fleurette Africaine." The appealing group sound and the spontaneous yet tight ensembles and solos make this a worthwhile acquisition.
For his first album for the Concord jazz imprint, vibraphonist Gary Burton goes back: back to some of the most enduring compositions in the jazz lexicon, constructing the program on Departure completely from jazz standards, except for "Tossed Salads and Scrambled Eggs" (the theme from the television show Frasier). Along with guitarist John Scofield, drummer Peter Erskine, pianist Fred Hersch, and bassist John Patitucci, Burton also returns here to the quicksilver, porcelain sound of the George Shearing quintet, Burton's first job after graduating from the Berklee College of Music. For the uninitiated, Departure is a worthwhile introduction to Burton's style on vibes, with his strong sense of swing swaddled in a sound that's most often elegant yet sometimes surprisingly funky.
This cogent statement belongs to this extraordinary gifted musician - Gary Burton - who, through the years has been able to make enjoy the world as one of the most brilliant vibraphonists ever born since from my standpoint Lionel Hampton. As a matter of fact his flamboyant musicianship has always under the service of the music by itself. He has rejected the idea of settling back into comfortable patterns. He confess : "I began to pay more attention to the power of melody…" And that's a common feature among the greatest jazz musicians. His grandness and at the same time humbleness are more than evident.
Vibraphonist Gary Burton, one of the defining voices of ECM’s formative years, is worthily honored in this second “Works” series installment. His contributions as virtuoso and interpreter of the instrument are unparalleled, and on ECM both aspects of his career found ample space in which to flourish. This particular era of the 1970s, which followed his RCA blitz, showed him also to be a musician of great patience, as on The New Quartet. The 1973 classic dropped him into a studio with guitarist Mick Goodrick, bassist Abraham Laboriel, and drummer Harry Blazer for a set as gorgeously played as it was conceived. From it we are treated to Keith Jarrett’s “Coral,” of which every spindly leaf is accounted for, and Carla Bley’s “Olhos De Gato,” which waters a groove that is laid back but never subdued. Those chamber sensibilities give way to more luscious details in “Vox Humana,” another Bley tune that references 1976’s quintet outing, Dreams So Real.
Vibraphonist Gary Burton and bassist Steve Swallow had played together on a regular basis since 1967. This duet outing finds Burton switching between vibes, organ and marimba while Swallow doubles on occasional piano. As expected, the music is introverted, quiet, and occasionally swinging, but mostly floating. Burton and Swallow perform group originals (generally by Swallow), plus Carla Bley's "Vashkar" and Mike Gibbs' "Inside In." Thoughtful background music with no real surprises or excitement.
Features 24 bit digital remastering. Comes with a description. Because Gary Burton uses four mallets simultaneously, he has long been able to sound like two or three players at once. This remarkable solo set has three selections in which Burton overdubs vibes with piano, electric piano, and organ, but those are far overshadowed by three unaccompanied vibes showcased from the 1971 Montreux Jazz Festival and a slightly later (and very memorable) studio rendition of "Chega de Saudade (No More Blues)." The latter is one of the high points of Gary Burton's career. Wondrous music.
With longtime bassist Steve Swallow, the return of drummer Roy Haynes, and the debut of guitarist Jerry Hahn, Gary Burton's second quartet continued his open-minded policy toward other styles of music. In addition to both melodic and advanced jazz, Burton incorporates elements of country, rock, pop and even classical music on this fairly rare LP, Country Roads and Other Places. Whether it be a "Ravel Prelude," "Wichita Breakdown" or "My Foolish Heart," the music is full of logical surprises that foreshadow the eclectic nature of much of '80s and '90s jazz.
This eight track (52 minutes) album is from an '81 concert in Cannes, France. The sound is very good–crisp and clean sounding with a slight warmth that's very agreeable. Needless to say this is another live set of some great Burton playing. The tunes with Jamal give a nice foundation for Burton, and there's some audience clap-along in the beginning of "One" but that soon ends. "No More Blues" is another good solo spotlight for Burton and he does a very fine job on this tune. On "The Night…" the rhythm section is very good–both Michelot and Humair are very fine at setting a good foundation for Burton while subtly pushing the tune along. "Autumn…" is one of the better tunes here from this particular group with Jamal, with everything coming together nicely.