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Clare Fischer | Rockin' In Rhythm

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Latin: Latin Jazz Jazz: Afro-Cuban Jazz Moods: Mood: Upbeat
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Rockin' In Rhythm

by Clare Fischer

Six voices and a Latin Jazz sextet combine to bring you the best in Brazilian/Cuban Jazz - a recording sure to bring you listening pleasure for years to come.
Genre: Latin: Latin Jazz
Release Date: 

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  Song Share Time Download
1. O Canto
8:07 $0.99
2. Speak Low
5:58 $0.99
3. O Pato Takes a Train
5:26 $0.99
4. Rockin' in Rhythm
5:50 $0.99
5. Blues At Play
6:30 $0.99
6. Donde
5:41 $0.99
7. Passarinho
4:38 $0.99
8. Sakura
6:38 $0.99
9. Dance the Samba With Me
5:00 $0.99
10. Baroque
12:12 $0.99
11. Moleque
3:55 $0.99
Downloads are available as MP3-320 files.


Album Notes
Born October 22, 1928 in Durand, Michigan, Clare Fischer is an uncommonly versatile musician, a master with many muses. Trained in the classics, inspired by jazz artists, healed by the rhythms of Latin and Brazilian music, his eclectic sound finds expression in every chart and instrument he touches.
A veteran studio musician and a composer of rare quality, Fischer began his studies in Grand Rapids, Michigan, at South High School with director of music, Glenn Litton. After receiving his master’s degree in composition from Michigan State University, where he studied with Dr. H. Owen Reed, he traveled extensively with “The Hi-Lo’s” as pianist-conductor for 5 years. About the same time, his musical ascension began with his critically acclaimed arrangements for Dizzy Gillespie’s “A Portrait of Duke Ellington.” Fischer’s influences, absorbed along the way, are as distinct as his music: Stravinsky and Shostakovich, Bartok and Berg, Dutilleux, boogie-woogie pianist Meade Lux Lewis, Nat “King” Cole, Duke Ellington, Bud Powell and early Lee Konitz - Fischer’s self-expression knows no boundaries.
“I relate to everything,” he explains. “I’m not just jazz, Latin, or classical. I really am a fusion of all of those, not today’s fusion, but my fusion.”
In 1983 classical concert artist Richard Stoltzman commissioned Fischer to write a symphonic work using Duke Ellington and Billy Strayhorn themes. The resulting composition, “The Duke, Swee’pea and Me,” features Stoltzman on clarinet and is performed with symphony orchestras around the world. More recently Fischer was commissioned by Stoltzman to write a “Sonatine for Clarinet and Piano” in three movements, which he has recorded with RCA on his album, “American Clarinet” and is being published by Advance Music in Germany.
In 1986 Clare won his second Grammy Award - this one for his album, “Free Fall,” the first having been won in 1981 for his album, “Salsa Picante plus 2 + 2.” Since that time he has spent more time as a jazz educator, performing solo piano concerts and conducting clinics and master classes in universities and music conservatories in Scandinavia, Europe and throughout the United States.
In the last few years Clare has appeared in Paris, Switzerland, Croatia, Finland, Norway, Germany with the WDR Big Band, Holland with the Metropole Orchestra, Austria in Graz and at the Vienna Konzerthaus and in Mexico City at the Ollin Yolítzli Concert Hall in a concert commemorating the music of Antonio Carlos Jobim on the anniversary of his death in December, 1996. In 1998 he also performed at the Choro Festival with Hélio Delmiro in Sáo Paulo, Brazil and returned in July, 2000 for a three-city tour in that country with Delmiro.
In addition to Dizzie Gillespie, Fischer has written for Cal Tjader, George Shearing, Diane Schuur, Natalie Cole, Prince, Chaka Khan and Rufus, The Jacksons, Earl Klugh, Prince, Robert Palmer, Paul McCartney, Michael Jackson, Spike Lee, João Gilberto, Paula Abdul, and most recently Brian McKnight, Regina Belle, J. Spencer, Norman Whitfield, Branford Marsalis, Tori Amos, a French group - “Charts,” a Japanese group - “Sing Like Talking,” Vanessa Williams, Brandy, Tony! Toni! Toné! and many others. His arrangements for strings are truly a revelation.
Since beginning his professional career, Fischer has recorded over 45 albums as leader and has arranged, composed and/or played on another 100 plus albums for other recording artists. His discography reads like a “Who’s Who” of the recording industry. Recent releases include “Clare Fischer’s Jazz Corps,” a big band album made up of 20 brass, 6 woodwinds plus rhythm; and “Symbiosis,” recorded with Hélio Delmiro on unamplified Brazilian guitar and Clare on digital piano. In January 2001 Fischer produced his first classical CD, “After the Rain,” made up entirely of his own symphonic works. This was followed by his latest recordings, “On a Turquoise Cloud,” in 2002 featuring a full clarinet choir, “Introspectivo,” a solo piano recording in 2005, and in 2006 his latest clarinet choir recording, “A Family Affair.”
In December 1999 Michigan State University School of Music conferred an Honorary Doctorate of Fine Arts Degree on Clare in recognition of his “creativity and excellence as a jazz composer, arranger and performer.”
Clare has three grown children; Lee, Brent and Tahlia. Of the three it is Brent who has developed into the composer to carry on in the writing tradition of his father, and he is also Clare’s regular bassist as well as his manager.
As for this particular album, Clare writes, “When most people think of Latin-Jazz, they invariably refer to rhythms from Cuba. Equally important are those from Brazil that make up a major portion of this album. However, I don’t consider that I play “Cuban” or “Brazilian” music, but that I use the feeling of both to my own ends. In light of this personal focus, you will find music in unusual settings.
“I consider that ‘Clare Fischer and Friends’ (six singers and all of the musicians) are part of one group. This is not considered a singers’ group with back-up musicians – we are all one. This is a jazz album and the voices become instruments in relationship to the group.
“I hope you enjoy this music. I had a wonderful time putting it together.”
---Clare Fischer



to write a review

Simon Pilbrow

Lively Fischer Latin Vocal Recording
This is a Fischer recording for all who appreciate fine vocal harmonies and Latin jazz combined together in ways that only he could do – including the earlier Salsa Picante 2+2 recordings. It is a very lively recording, which showcases Clare Fischer’s brilliance at vocal arranging within the Latin rhythmical landscape that he has fashioned into his own. With his dedicated crew of six accomplished vocalists (two female and four male voices) and his Latin rhythm section of Brent Fischer, Walfredo Reyes and Michito Sanchez, Fischer powers his vocal-latin ensemble through his arrangements of a selection of his own compositions, several standards, as well as two by his Brazilian colleague Daniel Cytrynowicz. All the tunes feature the vocal frontline prominently - their extraordinary technique, discipline, feel and affinity for Fischer’s complex harmonies and rhythmic twists and turns – which is integrally woven with the rhythm section into the overall the ensemble sound.

Particular highlights are his re-working of ‘Speak Low’, the much loved Weill/Nash standard, which is given a relaxed 3/2 treatment with interludes in 5/4. Two Ellington transformations are featured –‘O Pato (A Duck)Takes “A” Train’ and the title track ‘Rockin in Rhythm’ – and take these places into areas that Ellington could never have imagined, with time-bending metamorphoses with plenty of Fischer humour, and the vocal frontline is more than up to the task, executing the challenging parts with great feeling and precision.Clare’s brother Dirk, a fine composer, contributed his composition ‘Donde’, a delightful, gently rocking bossa tune which is a mellow feature for the vocal group. Don Shelton, erstwhile Fischer collaborator over the decades since his Hi Lo’s days of the late 1950s, is both the singing tenor in the ensemble, and a woodwind section man on most tracks. He contributes a fine soprano saxophone solo on ‘A’ Train in which he quotes Ellington’s ‘I Got it Bad’, and a fine, swooping clarinet solo on ‘Blues at Play’. The eponymous ‘Baroque’ begins and ends with a lovely a capella chorale and then morphs into a gentle latin form over a familiar Autumn Leaves-ish chord progression, section featuring a fine solos from John Pisano on guitar, Clare Fischer and Don Shelton’s clarinet, each negotiating deftly the tricky alternating time signatures between two bars of 4/4 time with two bars of 3/4. The finale is the up-beat ‘Moleque’, composed by Cytrynowicz, and features a seven-horn brass section, including the great trombonist Bill Watrous, a fitting end to a lively album of very engaging, virtuoso vocal-latin ensemble music.