Leroy Burgess
is one of the most important afro-american producers of the last century. His work for acts like Inner Life, Aleem or Fonda Rae never topped the charts, but were very influential for their time, defining a whole genre, Disco Boogie. Together with Patrick Adams he recorded some of disco’s timeless classics (f.e. Phreek’s «Weekend»). Burgess’ immense output can be found on several compilations, also featuring him as a gifted singer.
An amazing piece used to introduce the nuances of the orchestra to young minds. I first heard it in Kindergarten and used to come home humming the melodies. My parents bought me my first record player that Christmas.. along with a copy of that record. I played it until I remembered every single note of the orchestration (driving my family crazy in the process, no doubt).
At Carnagie Hall. Dancing in the aisles at Carnagie is the coolest.
Don’t remember. Was drunk. Depends on my mood at the time... and how much liquor.
One of my loved ones used to get pretty wasted whenever this song was playing. Hearing it now brings all that back.
This is a tricky question... since I was mostly in love with all the music itself. What comes to mind however is «Passion Flower», from the «Mr. Magic» album. The reflective atmosphere set forth in this piece never failed to move me emotionally. It still does.
Definitely something from Johnny Mathis' early years. He was my mom's favorite singer and she used to play his albums incessantly, filling our home with his amazingly expressive voice and the brilliant musical arrangements of Percy Faith, Glenn Osser, as well as the remarkable Jazz arrangers on Johnny's first album. No wonder I started singing so early.
A constant favorite at our annual family picnics in August.
It was playing when I found (and later lost and found again) the greatest love of my life.
Most any song I actually did write, or sing on, or arrange, or...
As a present for my mom when I was eight.
Most any song I actually did write, or sing on, or arrange, or...
My top 5: The «West Side Story» score (by Leonard Bernstein & Jerome Robbins); The «Silver Streak» score (by Henry Mancini); The «Come Back Charleston Blue» score (by Donny Hathaway & Quincy Jones); The «Taxi Driver» score (by Bernard Herrmann); The «In The Heat Of The Night» score (by Quincy Jones).
Whatever is playing at the church that day. As long as it’s not screechy or too preachy.
The «Where’s The Beef» commercial series for Wendy’s, featuring Clara Peller.
Muzak to most people.. utter brilliance to me.
