出生于1925的Charlie Byrd对音乐事业有两项主要的贡献,一项是成功地将古典吉他的技巧转入爵士乐,另一项是将拉丁美洲音乐Brazilian music介绍给北美的乐迷。他的音乐风格清新怡人,能够聆听到他的现场演奏是一个愉快的经验。   他来自一个音乐家庭,二次世界大战时,他只有十几岁,就已经有机会与许多优秀的乐手共同演奏,像是他的偶像乐手Django Reinhardt,以及其他优秀的乐手Sol Yaged、Joe Marsala与Freddie Slack。1950年时曾向Sophocles Papas,还有1954年时向Andrés Segovia努力求教古典吉他的技巧。1958-59年与Woody Herman的乐团进行录制专辑的工作。1961年到巴西做演出的一段时间后,他便融入拉丁风格的bossa nova风格之中。回到美国之后,他便与同样热爱bossa nova的萨克斯风手Stan Getz合作许多经典的拉丁音乐,像是专辑《Jazz Samba》。1973年时他集合Herb Ellis与Barney Kessel两位吉他好手,组成吉他三重奏。1974年时加入Concord唱片公司,与Laurindo Almeida以及Bud Shank等人合作,此后25年里他再也没有离开过Concord直到1999年12月去世,这也是Concord旗下乐手签约时间最长的记录。   In 1957 Byrd met double bassist Keter Betts in a Washington, D.C., club called the Vineyard. The two began doing gigs together, and by October they were frequently performing at a club called the Showboat. In 1959 the pair joined Woody Herman's band and toured Europe for three weeks as part of a State Department-sponsored goodwill tour. The other members of the band were Vince Guaraldi, Bill Harris, Nat Adderley and drummer Jimmy Campbell. Byrd led his own groups that sometimes featured his brother Joe. Byrd was also active as a teacher in the late 1950s; he trained guitar students at his home in Washington, D.C., each required to audition before he agreed to be their teacher.   Byrd was introduced to Brazilian music by Felix Grant, a friend and radio host who had contacts in Brazil in the late 1950s, and who was well-known there by 1960 due to the efforts of Brazilian radio broadcaster Paulo Santos. Following a spring 1961 diplomatic tour of South America (including Brazil) for the State Department, Byrd returned home and met with Stan Getz at the Showboat Lounge. Byrd invited Getz back to his home to listen to some bossa nova recordings by João Gilberto and Antonio Carlos Jobim which he had brought back. Getz liked what he heard and the two decided that they wanted to make an album of the songs. The task of creating an authentic sound, however, proved much more challenging than either had anticipated.   Getz convinced Creed Taylor at Verve Records to produce the album. Taylor and Byrd assembled a group of musicians they knew. These early sessions did not turn out to either man's liking, so Byrd gathered a group of musicians that had been to Brazil with him previously and practiced with them in Washington, D.C. until he felt they were ready to record. The group included his brother Gene ("Joe") Byrd, as well as Keter Betts, Bill Reichenbach and Buddy Deppenschmidt. Reichenbach and Deppenschmidt were drummers, and the combination made it easier to achieve samba rhythm. Finally the group was deemed ready and Getz and Taylor arrived in Washington, D.C. on February 13, 1962. They recorded in a building adjacent to All Souls Unitarian Church because of the building's excellent acoustics.   Jazz Samba was released in April 1962, and by September it had entered the Billboard pop album chart. By March of the following year the album had moved to number one. The term "bossa nova" wasn't used until later. The album remained on the charts for seventy weeks, and Getz soon beat John Coltrane in a Down Beat poll. One of the album's most popular tunes was a Jobim hit, titled "Desafinado".   Following the success of Jazz Samba, Byrd signed with Riverside Records, which rereleased six of his albums recorded for the small Offbeat label, a subsidiary of Washington Records.   In 1963, Byrd toured Europe with Les McCann and Zoot Sims. Between 1964 and 1965 he appeared at the Newport Jazz Festival with Episcopal priest Malcolm Boyd, accompanying prayers from his book Are You Running With Me Jesus? with guitar. In 1967 Byrd brought a lawsuit against Stan Getz and MGM, contending that he was unfairly paid for his contributions to the 1962 album Jazz Samba. The jury agreed with Byrd and awarded him half the royalties from the album.   In 1973 Byrd moved to Annapolis, Maryland, and in September of that year he recorded an album with Cal Tjader titled Tambú, the only recording the two would make together. That same year Byrd joined guitarists Herb Ellis and Barney Kessel and formed the Great Guitars group, which also included drummer Johnny Rae. Byrd collaborated with Venezuelan pianist and composer Aldemaro Romero on the album Onda Nueva/The New Wave.   From 1980 through 1996, he released several of his arrangements to the jazz and classical guitar community through Guitarist's Forum (gfmusic.com), including Charlie Byrd's Christmas Guitar Solos, Mozart: Seven Waltzes For Classical Guitar, and The Charlie Byrd Library featuring the music of George Gershwin and Irving Berlin. He also collaborated with the Annapolis Brass Quintet in the late 1980s, appearing with them in over 50 concerts across the United States and releasing two albums.   Byrd played for several years at a jazz club in Silver Spring, Maryland, called The Showboat II which was owned and managed by his manager, Peter Lambros. He was also home-based at the King of France Tavern nightclub at the Maryland Inn in Annapolis from 1973 until his death in 1999. In 1992 the book "Jazz Cooks"—by Bob Young and Al Stankus—was published by Stewart, Tabori & Chang, a compilation of recipes that include a few recipes from Byrd. He also authored the 1973 publication Charlie Byrd's Melodic Method for Guitar.   On March 13, 14, 15, 16, 1963 Byrd travelled two hours south of Washington, DC to the University of Virginia in Charlottesville to provide music for an original musical, “Lament For Guitar and Two Lovers.” The play was by Lee Devin of the UVa drama department, with music for 10-piece ensemble by Sidney Hodkinsom of the UVa music department. Two night’s later on March 18, the Byrd trio played a concert at Cabell Hall, the university’s acoustic auditorium.
  出生于1925的Charlie Byrd对音乐事业有两项主要的贡献,一项是成功地将古典吉他的技巧转入爵士乐,另一项是将拉丁美洲音乐Brazilian music介绍给北美的乐迷。他的音乐风格清新怡人,能够聆听到他的现场演奏是一个愉快的经验。   他来自一个音乐家庭,二次世界大战时,他只有十几岁,就已经有机会与许多优秀的乐手共同演奏,像是他的偶像乐手Django Reinhardt,以及其他优秀的乐手Sol Yaged、Joe Marsala与Freddie Slack。1950年时曾向Sophocles Papas,还有1954年时向Andrés Segovia努力求教古典吉他的技巧。1958-59年与Woody Herman的乐团进行录制专辑的工作。1961年到巴西做演出的一段时间后,他便融入拉丁风格的bossa nova风格之中。回到美国之后,他便与同样热爱bossa nova的萨克斯风手Stan Getz合作许多经典的拉丁音乐,像是专辑《Jazz Samba》。1973年时他集合Herb Ellis与Barney Kessel两位吉他好手,组成吉他三重奏。1974年时加入Concord唱片公司,与Laurindo Almeida以及Bud Shank等人合作,此后25年里他再也没有离开过Concord直到1999年12月去世,这也是Concord旗下乐手签约时间最长的记录。   In 1957 Byrd met double bassist Keter Betts in a Washington, D.C., club called the Vineyard. The two began doing gigs together, and by October they were frequently performing at a club called the Showboat. In 1959 the pair joined Woody Herman's band and toured Europe for three weeks as part of a State Department-sponsored goodwill tour. The other members of the band were Vince Guaraldi, Bill Harris, Nat Adderley and drummer Jimmy Campbell. Byrd led his own groups that sometimes featured his brother Joe. Byrd was also active as a teacher in the late 1950s; he trained guitar students at his home in Washington, D.C., each required to audition before he agreed to be their teacher.   Byrd was introduced to Brazilian music by Felix Grant, a friend and radio host who had contacts in Brazil in the late 1950s, and who was well-known there by 1960 due to the efforts of Brazilian radio broadcaster Paulo Santos. Following a spring 1961 diplomatic tour of South America (including Brazil) for the State Department, Byrd returned home and met with Stan Getz at the Showboat Lounge. Byrd invited Getz back to his home to listen to some bossa nova recordings by João Gilberto and Antonio Carlos Jobim which he had brought back. Getz liked what he heard and the two decided that they wanted to make an album of the songs. The task of creating an authentic sound, however, proved much more challenging than either had anticipated.   Getz convinced Creed Taylor at Verve Records to produce the album. Taylor and Byrd assembled a group of musicians they knew. These early sessions did not turn out to either man's liking, so Byrd gathered a group of musicians that had been to Brazil with him previously and practiced with them in Washington, D.C. until he felt they were ready to record. The group included his brother Gene ("Joe") Byrd, as well as Keter Betts, Bill Reichenbach and Buddy Deppenschmidt. Reichenbach and Deppenschmidt were drummers, and the combination made it easier to achieve samba rhythm. Finally the group was deemed ready and Getz and Taylor arrived in Washington, D.C. on February 13, 1962. They recorded in a building adjacent to All Souls Unitarian Church because of the building's excellent acoustics.   Jazz Samba was released in April 1962, and by September it had entered the Billboard pop album chart. By March of the following year the album had moved to number one. The term "bossa nova" wasn't used until later. The album remained on the charts for seventy weeks, and Getz soon beat John Coltrane in a Down Beat poll. One of the album's most popular tunes was a Jobim hit, titled "Desafinado".   Following the success of Jazz Samba, Byrd signed with Riverside Records, which rereleased six of his albums recorded for the small Offbeat label, a subsidiary of Washington Records.   In 1963, Byrd toured Europe with Les McCann and Zoot Sims. Between 1964 and 1965 he appeared at the Newport Jazz Festival with Episcopal priest Malcolm Boyd, accompanying prayers from his book Are You Running With Me Jesus? with guitar. In 1967 Byrd brought a lawsuit against Stan Getz and MGM, contending that he was unfairly paid for his contributions to the 1962 album Jazz Samba. The jury agreed with Byrd and awarded him half the royalties from the album.   In 1973 Byrd moved to Annapolis, Maryland, and in September of that year he recorded an album with Cal Tjader titled Tambú, the only recording the two would make together. That same year Byrd joined guitarists Herb Ellis and Barney Kessel and formed the Great Guitars group, which also included drummer Johnny Rae. Byrd collaborated with Venezuelan pianist and composer Aldemaro Romero on the album Onda Nueva/The New Wave.   From 1980 through 1996, he released several of his arrangements to the jazz and classical guitar community through Guitarist's Forum (gfmusic.com), including Charlie Byrd's Christmas Guitar Solos, Mozart: Seven Waltzes For Classical Guitar, and The Charlie Byrd Library featuring the music of George Gershwin and Irving Berlin. He also collaborated with the Annapolis Brass Quintet in the late 1980s, appearing with them in over 50 concerts across the United States and releasing two albums.   Byrd played for several years at a jazz club in Silver Spring, Maryland, called The Showboat II which was owned and managed by his manager, Peter Lambros. He was also home-based at the King of France Tavern nightclub at the Maryland Inn in Annapolis from 1973 until his death in 1999. In 1992 the book "Jazz Cooks"—by Bob Young and Al Stankus—was published by Stewart, Tabori & Chang, a compilation of recipes that include a few recipes from Byrd. He also authored the 1973 publication Charlie Byrd's Melodic Method for Guitar.   On March 13, 14, 15, 16, 1963 Byrd travelled two hours south of Washington, DC to the University of Virginia in Charlottesville to provide music for an original musical, “Lament For Guitar and Two Lovers.” The play was by Lee Devin of the UVa drama department, with music for 10-piece ensemble by Sidney Hodkinsom of the UVa music department. Two night’s later on March 18, the Byrd trio played a concert at Cabell Hall, the university’s acoustic auditorium.
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