s. antonio

4

Clara Bow, the “It” girl. 1927

(Clara with William Austin, Clara with Antonio Moreno, Clara with Elinor Glyn, and Clara on her own).

~ photos from Modern Screen, Screenland and (top)J.Willis Sayre Collection

Concerto No.5 in E minor, III. Allegro - RV.280
I Solisti Italiani
Concerto No.5 in E minor, III. Allegro - RV.280

Antonio Lucio Vivaldi (1678-1741).

The Italian Baroque composer, virtuoso violinist, teacher and cleric; Born in Venice, he is recognised as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. 

Vivaldi’s Op.6 concertos first appeared in print in Amsterdam in 1719. However, this edition was unreliable in the extreme. Scoring was incorrect, the number of works indistinct, random movements separated from their correct work, and a host of other errors. What is clear though is that these concertos are a decisive step forward from the works found in Op.3 and 4. For example, all follow the fast-slow-fast pattern of the three movement concerto. The solo violin has prominence, as Vivaldi is moving away from the concerto grosso style.

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On this day in music history: October 6, 1967 - “Wave”, the fourth album by Antonio Carlos Jobim is released. Produced by Creed Taylor, it is recorded at Van Gelder Recording Studios in Englewood Cliffs, NJ from May 22-24, 1967 and June 15, 1967. Sparking the international bossa nova craze in 1962 with “Desafinado” and in 1964 with “The Girl From Ipanema”, its writer musician Antonio Carlos Jobim begins to make a major name for himself outside of his native Brazil. Considered one of the most gifted songwriters of his generation, Jobim’s songs are covered by numerous jazz and pop musicians. Recording and releasing his US debut solo album “The Composer Of Desafinado Plays” for Verve Records in 1963, he follows it up with numerous collaborations with Dori Caymmi, Astrud Gilberto, Herbie Mann and Stan Getz. After recording two more solo albums for Warner Bros in 1965 and 1966, Jobim re-connects with producer Creed Taylor when he becomes one of the first artists signed to Taylor’s new label CTI Records, distributed by A&M. Having written several new songs, the composer flies to the US in the Spring of 1967 to work on the album. Recorded at famed engineer Rudy Van Gelder’s studio in Englewood Cliffs, NJ, Jobim is featured on piano, guitar and harpsichord, and is supported by a group of top flight musicians that include Ron Carter (bass), Claudio Slon, Bobby Rosegarden, Dom Um Romão (drums and percussion), Urbie Green, Jimmy Cleveland (trombone), Joseph Singer (french horn), Raymond Beckenstein, Romeo Penque and Jerome Richardson (flute, piccolo). The string arrangements are written by Claus Ogerman (Wes Montgomery, George Benson), conducting a group of violin players that feature Bernard Eichen, Emanuel Green, Gene Orloff, Harry Lookofsky, Irving Spice, Joseph Malignaggi, Julius Held, Leo Kruczek, Lewis Eley, Louis Haber, Louis Stone, Paul Gershman and Raoul Poliakin. The albums cover photo featuring a giraffe running along the African plains is taken by photographer Pete Turner, who becomes reknown for his distinctive cover photos for various releases on CTI, Verve and Impulse Records. Once released, “Wave” spins off several songs that become jazz standards including “Look To The Sky”, “Triste”, “Mojave” and the title track. In time, the album becomes regarded as one of Antonio Carlos Jobim’s greatest works, and a definitive bossa nova/Brazilian jazz album. Original copies of the LP feature Turner’s cover photo tinted in a red and purple hue. Later reissue pressings are printed in error in a green and bluish tint, and is not corrected for many years. First released on CD in 1986, “Wave” is remastered and reissued in Japan in 1992 and 2000 respectively, with the latter restoring the original 1967 cover artwork. It is also reissued as a 180 gram vinyl LP by Speaker’s Corner Records in 2004. “Wave” peaks at number five on the Billboard Jazz album chart, and number one hundred fourteen on the Billboard Top 200.