#Carmell Jones

[pinkfloyd-musicartnaturelove]

A superior hard bop trumpeter, Carmell Jones. This is a lovely version of this tune by him.

[sinophonicjazz]

October 26, 1964 -- Pianist #HoraceSilver (with Joe Henderson on tenor saxophone, Carmell Jones on trumpet, Teddy Smith on bass & Roger Humphries on drums) records his classic "Song For My Father" in the Van Gelder studio.

[jazzdailyblog]

Song For My Father: A Timeless Jazz Masterpiece Celebrating Heritage and Soul

Introduction: Certain albums stand out from the rest in the history of jazz music, leaving a lasting impression on listeners and enthralling generations to come. Horace Silver, a renowned pianist and composer, released “Song For My Father,” a timeless classic, as one such album. This album, which was released in 1965, provides evidence of Silver’s extraordinary talent and demonstrates how deeply…

[jauntilyplacedcaps]

[picory]

if someone told me they hated jazz and thought it was boring i'd just kill them on sight. do NOT disrespect jazz ok.....

[nerds-yearbook]

Transformers the movie was released on August 8, 1986. Originally, G.I. Joe the movie was meant to be released first but was pushed back. Blowback from the Death of Optimus Prime (Peter Cullin) caused the producers to change the planned death of Duke (Michael Bell) in the G.I. Joe movie. Also, the commercial failure of the movie also down graded The G.I. Joe movie to straight to video/TV release. The movie was the final theatric roles of Orson Welles and Scatman Crothers. The human character Spike (Corey Burton) swore in the movie because they wanted a PG rating (The G.I. Joe movie had originally planned a scene of brief topless nudity to get their PG rating, but that was dropped somewhere in production). Seasons 1 and 2 were supposed to take place in the present, but the movie and season 3 were pushed forward 20 years in time to the year 2005. The movie not just killed off Optimus Prime, but also Ironhide (Cullen), Ratchet, Prowl (Michael Bell), Brawn (Burton), Wheeljack, Windcharger, Megatron (Frank Welker), Starscream (Christopher Collins/Chris Latta), Skywarp, Thundercracker, Shrapnel (Hal Rayle), Kickback (Clive Revill), Bombshell and (off screen) Huffer. The movie introduced Unicron (Welles), Galvatron (Leonard Nimoy), Arcee (Susan Blu), Ultra Magnus (Robert Stack), Hot Rod/Rodimus Prime (Judd Nelson), Springer (Neil Ross), Kup (Lionel Stander), Blurr (John Moschitta Jr), Wheelie, Cyclonus (Roger C Carmel), Scourge (Stan Jones), Kranix (Norman Alden), Arblus, Daniel Witwicky (David Mendenhall), the Lithones, the Shrikebats, the Sharkticons, the Quintessons, the Allicons, (the Mini-Cassettes) Eject, Rewind, (the Junkions) Wreck-Gar (Eric Idle), Junkyard, Scrapheap, Re-Cycle, Rubbish, Hazmat, Ashtray, Greasestain, Wasteoid Gamma, and Trashbin. The movie also included Astrotrain (Jack Angel), Scrapper, Swoop (both by Bell), Grimlock (Gregg Berger), Devastator (Arthur Burghardt), Shockwave (Burton), Jazz (Cruthers), Dirge (Bud Davis), Perceptor (Paul Eiding), Blitzwing (Ed Gilbert), Bumblebee (Dan Gilvezan), Blaster (Buster Jones), Cliffjumper (Casey Kasem), Laserbeak (Latta), Scavenger (Don Messick), Bonecrusher, Hook, Slag (all Ross), Soundwave, Rumble, Frenzy, and Ravage (all Welker). Leonard Nimoy would return to the Transformers franchise in the live action reboot as the voice of Sentinel Prime in Transformer's Dark of the Moon. The sound track was very eclectic including the iconic "The Touch" by Stan Bush and "Dare to Be Stupid" by Weird Al Yankovic. The score was by Rocky IV composer Vince DiCola. While it underperformed and was controversial upon its release, the movie has since gone on to be a cult classic. ("Transformers: The Movie", Movie, Event)

[fatsamsgrandslamspeakeasy]

BAT VILLAINS PART 2 OF 2

BATMAN (1966) TV SERIES STARRING ADAM WEST AND BURT WARD

Carolyn Jones as Marsha, Queen of Diamonds; Cliff Robertson as Shame; Maurice Evans as The Puzzler; Michael Rennie as The Sandman; Lesley Gore as Pussycat; John Astin as The Riddler 2; Van Williams and Bruce Lee as The Green Hornet and Kato (Guest Superheroes posing as Supervillains); Roger C. Carmel as Colonel Gumm; Tallulah Bankhead as The Black Widow; Eli Wallach as Mr. Freeze 3; Tim Herbert as The Killer Moth (only appearing in the unaired Season 3 pilot Enter Batgirl 1967); Joan Collins as The Siren; Ethel Mermen as Lola Lasagna; Milton Berle as Louie the Lilac; Anne Baxter as Olga, Queen of the Cossacks; Glynis Johns as Lady Penelope Peasoup; Rudy Valee as Lord Marmaduke Ffogg; Eartha Kitt as Catwoman 3; Barbara Rush as Nora Clavicle; Dina Merrill as Calamity Jan; Howard Duff and Ida Lupino as Cabala and Dr. Cassandra; Zsa Zsa Gabor as Minerva!!! (Whew!!!! That's all of them!)

Which was/were your favorites!!!!!??????

[projazznet]

Horace Silver – Song for My Father

Horace Silver — piano Carmell Jones — trumpet Joe Henderson — tenor saxophone Teddy Smith — bass Roger Humphries — drums

[abejamariposa]

Strictly Midnight Vol. 2

Harlem Nocturne (1957) - Illinois Jacquet Heavy Soul (1962) - Ike Quebec Minor Impulse (1962) - Ike Quebec Chitlin Con Carne (1963) - Kenny Burrell Somethin’ Strange (1961) - Baby Face Willette All Night Long (1964) - Freddie Roach Blue Monday (1959) - Ike Quebec Harlem Nocturne (1956) - Earl Bostic Track A - Solo Dancer (1963) - Charles Mingus Bahia (1962) - Eddie “Lockjaw” Davis Midnight At Minton’s (1961) - Eddie “Lockjaw” Davis & Johnny Griffin Quintet Night Tide (1961) - Carmell Jones Mox Nix (1958) - Art Farmer Blue Leo (1961) - Leo Parker Morris The Minor (1961) - Richard Holmes & Gene Ammons Angel Eyes (1965) - Gene Ammons Willow Weep For Me (1959) - Eddie “Lockjaw” Davis Cry Me A River (1955) - Dexter Gordon You Don’t Know What Love Is (1961) - Charlie Rouse Left Alone (1959) - Mal Waldron Round About Midnight (1962) - Don Byas Love Song From “Apache” (1963) - Coleman Hawkins Quartet Goodbye Pork Pie Hat (1959) - Charles Mingus Blues For Mr. Broadway (1965) - Oliver Nelson

Modern jazz classics for nighthawks. Cover: Ike Quebec

Compiled by Abeja Mariposa

[ulkaralakbarova]

An affair between the second in line to Britain’s throne and the princess of the feuding Irish spells doom for the young lovers. Credits: TheMovieDb. Film Cast: Tristan: James Franco Isolde: Sophia Myles Marke: Rufus Sewell Donnchadh: David O’Hara Wictred: Mark Strong Melot: Henry Cavill Bragnae: Bronagh Gallagher Bodkin: Ronan Vibert Edyth: Lucy Russell Leon: JB Blanc Morholt: Graham Mullins Simon: Leo Gregory Orick: Dexter Fletcher Aragon: Richard Dillane Kurseval: Hans Martin Stier Kaye: Thomas Morris Anwick: Jamie Thomas King Rothgar: Wolfgang Müller Lady Serafine: Cheyenne Rushing Lady Marke: Barbora Kodetová Young Isolde: Isobel Moynihan Young Tristan: Thomas Brodie-Sangster Tournament Judge: Gordon Truefitt Young Melot: Myles Taylor Young Simon: Jack Montgomery Luther: Marek Vašut Irish Soldier: David Fisher Lady Aragon: Bronwen Davies Paddreggh: Philip O’Sullivan Tournament Crier: Nevan Finegan Coronation Priest: Jón Ólafsson Widseth: Todd Kramer Widseth’s Sister: Winter Ave Zoli Pict Guard: Miroslav Šimůnek Funeral Priest: Kevin Flood Film Crew: Director: Kevin Reynolds Music: Anne Dudley Editor: Peter Boyle Director of Photography: Artur Reinhart Executive Producer: Jim Lemley Casting: Kate Dowd Executive Producer: John Hardy Producer: Moshe Diamant Producer: Lisa Ellzey Producer: Giannina Facio Producer: Elie Samaha Executive Producer: Ridley Scott Executive Producer: Tony Scott Production Design: Mark Geraghty Set Decoration: Johnny Byrne Costume Design: Maurizio Millenotti Costume Supervisor: Hana Kučerová Writer: Dean Georgaris Executive Producer: Frank Hübner Executive Producer: Matthew Stillman Co-Producer: Anne Lai Co-Producer: Jan Fantl Co-Producer: Morgan O’Sullivan Co-Producer: James Flynn Stunt Coordinator: Nick Powell Unit Production Manager: John J. Kelly First Assistant Director: Robert Huberman Associate Producer: David Minkowski Associate Producer: Christian Frohn Associate Producer: Jennifer Leshnick Associate Editor: Pamela Power Associate Editor: Stephen Boucher Hairstylist: Stefano Ceccarelli Hairstylist: Jiří Farkaš Hairstylist: Alena Marečková Hairstylist: Mario Michisanti Hairstylist: Adéla Robová Hairstylist: Jaroslav Šámal Key Hair Stylist: Mirella Ginnoto Key Makeup Artist: Manlio Rocchetti Art Department Coordinator: Marketa Puzmanova Assistant Art Director: David Voborský Assistant Art Director: David Vondrasek 3D Animator: Ales Dlabac 3D Animator: Zbynek Travincky Visual Effects Supervisor: Jaroslav Polensky Title Designer: Anthony Wonsoff Visual Effects Coordinator: Jan Vseticek Visual Effects Producer: Vít Komrzý Visual Effects Supervisor: Marius Mohnssen Special Effects Supervisor: Pavel Sagner Special Effects Supervisor: Kevin Byrne Additional Still Photographer: Larry D. Horricks Camera Operator: Erwin Lanzensberger Camera Operator: Kacper Lisowski Second Unit Director of Photography: Miro Gábor Gaffer: Tony Devlin Key Grip: Helge Felgendreher Key Grip: Ivo Grešák Rigging Gaffer: Kriz David Still Photographer: Rico Torres Casting: Nancy Bishop Casting: Anja Dihrberg Casting: Kirsty Kinnear Assistant Costume Designer: Giovanni Casalnuovo Assistant Costume Designer: Mariano Tufano Costume Supervisor: Šárka Zázvorková Costume Supervisor: Sarka Zvolenska Key Costumer: Cathy Smith Seamstress: Larisa Šrámková Set Costumer: Rebecca Higginson Digital Intermediate: Mandy Rahn Assistant Editor: Geraint Huw Reynolds Music Editor: Sophie Cornet Music Editor: John Warhurst Script Supervisor: Catherine Allinson Script Supervisor: Peter J. Clark Choreographer: Lucie Samcova ADR Editor: Gareth Rhys Jones Boom Operator: Roman Rigo Foley: Jack Stew Foley Editor: Sefi Carmel Sound Designer: Samir Foco Sound Designer: Zeljko Lopicic-Lepierre Sound Effects Editor: Peter Crooks Sound Re-Recording Mixer: Howard Bargroff Sound Re-Recording Mixer: Graham Daniel Sound Re-Recording Mixer: Martin Schinz Sound Effects Editor: Srdjan Kurpjel Standby Art Director: Rory Bruen Movie Reviews:

[jonfucius]

Great Star Trek Rewatch - The Animated Series S1

Originally posted on Twitter 8 January 2021 - 11 January 2021

Star Trek: The Animated Series Season 1 is up next in my Great Star Trek Rewatch. As with ENT, DSC, STX, and TOS, mini-reviews will document my progress.

Beyond the Farthest Star: Immediately establishing the creative possibilities the animation format affords, this is a solid re-introduction to our live-action heroes. The alien's pleas at the end are truly pitiful and sad. 7/10

Yesteryear: The single best episode of TAS, bar none. Tightly scripted and well acted, it shows how TAS could be more mature and complex than its other cartoon contemporaries. 10/10

One of Our Planets is Missing: A nice callback to TOS with Bob Wesley, this episode is otherwise reminiscent of “The Immunity Syndrome.” Again, the animated format allows for expanded vistas and areas of the Enterprise we never got to see on TOS. 7/10

The Lorelei Signal: Uhura and Chapel get their moment in the proverbial center seat, but this episode is let down by the sexist reinterpretation of the Sirens from Homer’s epic. 5/10

More Tribbles, More Trouble: A direct sequel to a TOS classic, featuring the original Cyrano Jones himself, and the return of Koloth (sadly, not voiced by William Campbell), written by David Gerrold, this is a solid TAS entry with classic TOS energy. 8/10

The Survivor: A poignant love story crossed with Romulan intrigue outweighs the abrupt tonal shift of the tag, and the cliché of having Carter Winston’s fiancée coincidentally aboard the Enterprise. A great vocal performance by Ted Knight adds to the score. 7/10

The Infinite Vulcan: Walter Koenig’s script really takes advantage of the animated format: giant clones, plant-based life forms, etc. I’ve always had a soft spot for this one, from childhood. 7/10

The Magicks of Megas-tu: Besides providing Swear Trek with nigh-limitless material, this episode has a fairly provocative denouement. No other mid-70s animated show would tackle God, the Devil, and Salem in 25 minutes. Magic being real is inconsistent with TOS, however. 6/10

Once Upon a Planet: A sequel to TOS “Shore Leave,” we learn more about the mysterious planet, and Uhura gets some things to do besides operating the communication console. Kirk talks down yet another computer. I’m not a fan of “Shore Leave,” so I’m not high on this outing. 5/10

Mudd’s Passion: Harry Mudd on TOS is a mixed bag: expertly performed (here, once again by the late Roger C. Carmel), but gross and misogynistic. While I applaud bringing Carmel and writer Stephen Kandel back, I don’t like this one, except for its camp value. 5/10

The Terratin Incident: Only in animated format could our heroes be convincingly shrunk. This episode establishes that the transporter can reverse or cure most maladies, something seen again in TAS, and then several more times in the Berman era. 6/10

The Time Trap: Shades of “Day of the Dove,” wherein our heroes must work with the Klingons to get back to our reality. Wisely, the Bonaventure is more or less retconned out in First Contact. The starship graveyard and Elysian Council are great concepts. 7/10

The Ambergris Element: Another planetary disaster story so soon on the heels of “The Terratin Incident” feels repetitive. While it’s fun to see the aquashuttle and the scouter gig, I’m not sure what the point of this one was. At least it embraces the animation format. 4/10

The Slaver Weapon: The only official crossover with another franchise (Larry Niven’s Known Space) in Trek’s long history. A solid script and interesting backstory is only held back by the half-hour runtime. 8/10

The Eye of the Beholder: Shades of “The Cage,” though the unaired pilot did more with the criticism of incarceration than this TAS installment. It’s ultimately forgettable, which is an even worse fate than being memorably awful. 3/10

The Jihad: A problematic title for an episode that most closely resembles the excellent late TNG two-parter “Gambit.” Again, excellent use of the animated format, but constrained by the brief runtime. 5/10

And with that, Season 1 of TAS comes to an end in my Great Star Trek Rewatch. Final score: 6.25/10. Highest score(s): “Yesteryear.” Lowest score(s): “The Eye of the Beholder.”

[goalhofer]

2024 Pittsburgh Pirates Roster

Pitchers

#23 Mitch Keller (Cedar Rapids, Iowa)

#26 Bailey Falter (Chino Hills, California)

#27 Marco Gonzales (Ft. Collins, Colorado)*

#28 Josh Fleming (Columbia, Illinois)*

#35 Colin Holderman (Bourbonnais Township, Illinois)

#36 Dauri Moreta (Comendador, Dominican Republic)

#37 Jared Jones (La Mirada, California)**

#43 Ryan Borucki (Fremont Township, Illinois)

#45 Albertín Chapman (San Isidro De Holguin, Cuba)*

#48 Luis Ortiz (San Pedro De Macorís, Dominican Republic)

#51 David Bednar (Mars, Pennsylvania)

#54 Martín Pérez (Guanare, Venezuela)*

#59 Roansy Contreras (Peralvillo, Dominican Republic)

#61 José Hernández (San Felipe De Puerto Plata, Dom Rep)

#63 Hunter Stratton (Bluff City, Tennessee)

Catchers

#6 Yasmani Grandal (Miami Springs, Florida)*

#14 Joey Bart (Buford, Georgia)*

#32 Henry Davis (Bedford, New York)

#55 Jason Delay (Johns Creek, Georgia)

Infielders

#2 Connor Joe (San Diego, California)

#3 Ji-Hwan Bae (Daegu, South Korea)

#13 Ke'Bryan Hayes (Tomball, Texas)

#15 Oneil Cruz (Nizao, Dominican Republic)

#19 Jared Triolo (Austin, Texas)

#25 Alexander Williams (San Diego, California)

#44 Ryan Tellez (Elk Grove, California)*

Outfielders

#10 Bryan Reynolds (Brentwood, Tennessee)

#18 Michael Taylor (Ft. Lauderdale, Florida)*

#22 Andrew McCutchen (Ft. Meade, Florida)

#38 Edward Olivares (Santiago De León De Caracas, Venezuela)*

#65 Jack Suwinski (Chicago, Illinois)

Coaches

Manager Derek Shelton (Warren Township, Illinois)

Bench coach Don Kelly (Mt. Lebanon, Pennsylvania)

Hitting coach Andy Haines (Louisville Township, Illinois)

Assistant hitting coach Christian Marrero (Miami, Florida)

Bullpen coach Justin Meccage (Billings, Montana)

Bullpen catcher Jordan Comadena (Normal, Illinois)

Bullpen catcher Raúl Hernández (Maturín, Venezuela)

Pitching coach Oscar Marin (Los Angeles, California)

1B coach Tarrik Brock (Goleta, California)

3B coach Mike Rabelo (New Port Richey, Florida)

Infield coach Mendy López (Santo Domingo, Dominican Republic)

Strategy coach Radley Haddad (Carmel, Indiana)

Assistant coach Stephen Morales (Mayagüez, Puerto Rico)

Assistant coach Jonny Tucker (Oakland, California)

[lightingelectratwo]

All of my cats OC's!

Achilles- Tumbl & Anomia's adopted son

Agrippina - old d's 5th wife and Murad's mom

Alice - Victoria & tezaer's daughter

Anomia -Tumbl's mate

Antoninus -Tugger's grate uncle

Augustus-Griddlebone's dad

Backus-Cass & Exotica's dad

Banana- Kock Le Mialu's mate

Beowulf - Mungo and Plato's adopted son

Bernadette - Grizabella's Mom

Bonnie Janet- Mungo and Plato's adopted daughter

Buster- Jones' uncle

Blue- Hesperia's dad

Canoley- Jones' Mom

Cheryl - Aumnet's Mom

Christopher- Jones' dad

Davey- Hathor's mate

Dorothy- Victor's I Mate

Exodus- old d's mom

Fraja - pouncival & Fiorella's adopted son

Fiorella- pouncival's mate

Ginger- Jenny's mom

Gingersnap- skimbl's dad

Gwenaver- Golden Alonzo's mate

Hathor- Kock Le Mialu's daughter

Helen- Tugger's grate Aunt

Hera- Cass, Exotica & Hesperia's mom

Ingrid- Alonzo,Misto & Victoria's mom

Jo- Tugger's grandma

Juliet- Old D's 9th wife also Tugger and Carmel's Mom

Kaguya- Sheena and Jemima's adopted daughter

Katja- Freddie's (nameless swing) mate

Kathren- Psyche & Socrates' daughter

Kiki De- Old D's 8th wife

Leviticus- Old D's dad

Lilly- Gus's Mate

Lucy- Old D's 1th wife

Marie - not related to anyone

Margrit- Buster's mate

Marybeth- Electra & Cettie's daughter

Mary Shelley- old D's

Maximilian- not related to anyone

Milly- old D's 2th wife and Macavity's mom

Nala- Old D's 7th wife

Nova- Cat Morgan's mate

Oberon- Gus's dad

Orange Blossom- skimbl's Mom

Pepper- Noilly prat's mate

Perseus- Tony Jr's mate

Pierre- Grizabella's Dad

Ram Tam Trassle - Gothenburg tugger

Sigrid- the Oslo kittens Mom

Sheena- Jemima's mate

Sophie- old D's 4th wife and Victor's mom

Tilly- Tony's mate

Tony- Tilly's mate and Juliet's cousin

Tony Jr - Tugger's second cousin

Willow- macavity's Hench cats Mom

[jauntilyplacedcaps]

[jpbjazz]

LÉGENDES DU JAZZ

GEORGE MRAZ, ‘’THE BOUNCE’’

‘’He plays the bass as though he invented it. Even when he’s doing nothing more than walking four to the bar, his choice of notes is so perfect, it’s like he’s telling a little story in back of the solist.’

- Todd Barkan

Né le 9 septembre 1944 à Pisek, en Tchécoslovaquie, George ‘’Jiri’’ Mraz a d’abord commencé à étudier violon classique à l’âge de sept ans avant de passer au saxophone alto durant ses études secondaires. Mraz avait décidé de devenir contrebassiste  après avoir découvert Scott LaFaro, Paul Chambers et Ray Brown. Mraz avait commencé à jouer de la contrebasse un peu par hasard. Il poursuivait: ‘’I was playing some weekends big band jobs, and this bass player wasn’t very good. Either that or he was a genius [rires], because he seemed to always play the wrong notes. Every now and then you’d think he must play some of the right notes, just by accident. But, no. So I picked up the bass on a break and tried to find the notes. I thought, ‘It’s not that difficult.’’ So I got a bass and began playing a little bit.’’

Après avoir joué avec des groupes de son high school, Mraz s’était inscrit en 1961 au Conservatoire de Prague où il avait étudié le violon basse. Parallèlement à ses études, Mraz se produisait pendant la nuit avec avec les meilleurs groupes de jazz de Prague. C’est durant ses études au conservatoire que Mraz avait entendu pour la première fois Louis Armstrong sur l’émission de radio Voice Of America de Willis Conover dans laquelle le jazz côtoyait les opérettes et les pièces de musique classique. Décrivant sa découverte de la musique d’Armstrong, Mraz avait expliqué plus tard:

"The first jazz I ever heard was actually Louis Armstrong when I was about twelve years old. They had an hour of his music on one Sunday in between all these light operettas and stuff they played on the radio in the Czech republic (then Czechoslovakia). Then the strange voice of Satchmo singing was quite a shock. 'How can he get away with a voice like that?' I thought. But by the time the hour was over I decided I liked it better than anything I heard that day, so I started looking into jazz”.

Commentant l’influence que l’émission de Conover avait exercée sur lui, Mraz avait ajouté: "The Voice Of America came on midnight for an hour or so, and my listening equipment wasn't so great, and it was hard to make out the bass. So I was listening to all the instruments, and how it all worked together, rather than just focusing on the bass. I've really been influenced by everything I've heard, but of course I paid special attention to Ray Brown, Scott LaFaro, Paul Chambers, and Ron Carter."

DÉBUTS DE CARRIÈRE

Peu après avoir obtenu son diplôme en 1966, Mraz s’était rendu à Munich et avait joué à travers l’Allemagne et le centre de l’Europe avec de grands noms du jazz comme Benny Bailey, Carmel Jones, Leo Wright, Mal Waldron, Hampton Hawes, Jan Hammer et plusieurs autres.

Mraz s’était éventuellement installé aux États-Unis en 1968 après avoir obtenu une bourse pour étudier à la Berklee School of Music (aujourd’hui le Berklee College of Music) de Boston. Décrivant le processus qui l’avait conduit aux États-Unis, Mraz avait commenté: ‘’By some miracle I finished with school, and I began working in Munich with people like Benny Bailey and Mal Waldron. Meanwhile, I’d received a scholarship to Berklee, and when the Soviet tanks entered Prague, it seemed like the ideal time to use it.’’

Après avoir commencé à jouer dans les clubs locaux comme le Lennie’s, Mraz avait collaboré avec le Jazz Workshop de Charles Mingus dont faisaient partie à l’époque Carmen McRae, Clark Terry, Herbie Hancock et Joe Williams. Il avait également travaillé avec Ella Fitzgerald. À l’hiver 1969, Mraz avait reçu un appel de Dizzy Gillespie qui l’avait invité à se joindre à son groupe à New York.

Après avoir joué avec Gillespie durant quelques semaines, Mraz avait été recruté par le pianiste Oscar Peterson qui lui proposé de se joindre à son trio. Les enregistrements du groupe avec la compagnie de disques MPS en 1970 avaient contribué à démontrer que Mraz était toujours aussi agile et en parfait contrôle de son instrument. Le choix de notes approprié de Mraz avait d’ailleurs fait de lui le partenaire idéal pour établir les fondements des envolées lyriques de Peterson.

Mraz avait joué avec Peterson durant environ deux ans, avant de se joindre au Thad Jones/Mel Lewis Orchestra avec qui il avait travaillé au cours des six années suivantes. Commentant sa collaboration Mraz, Peterson l’avait décrit comme ‘’[a] “deceptive bass player. His quiet nature and unassuming manner contrast sharply with his penetrating sound and acute, almost aggressive sense of timing”. Peterson avait ajouté: ‘’Even when he’s doing nothing but walking four to the bar, his choice of notes is so perfect; it’s like he’s telling a little story in the back of each soloist.’’ Même si Peterson n’avait jamais vraiment apprécié les solos de contrebasse, il avait rendu hommage à Mraz en ces termes: “George has a sound quality when soloing in this mode that sets him apart. There is a compelling continuity to his arco lines and sound that few other bassists possess.”

À la fin des années 1970 et durant les années 1980, Mraz était devenu un contrebassiste incontournable pour des musiciens et des improvisateurs comme les saxophoniste Stan Getz, Warne Marsh, Phil Woods et Zoot Sims, le trompettiste Chet Baker, le guitariste John Abercrombie et les pianistes Hank Jones, Bill Evans et Tommy Flanagan (avec qui il avait travaillé durant dix ans). Du milieu des années 1970 au début des années 1980, Mraz s’était joint au New York Jazz Quartet, aux côtés du pianiste Roland Hanna et du saxophoniste et flûtiste Frank Wess. Dans les années 1980, Mraz avait également été membre du groupe Quest.

DERNIÈRES ANNÉES

À partir des années 1990, Mraz a fait partie du trio Manhattan Trinity composé du pianiste Cyrus Chestnut et du batteur Lewis Nash. Même s’il n’était pas officiellement membre de la formation, Mraz avait aussi joué en tournée avec le groupe Directions in Music au début des années 2000. Le groupe, qui rendait hommage à Miles Davis et John Coltrane, comprenait également comme collaborateurs réguliers Herbie Hancock, Michael Brecker, Roy Hargrove et Willie Jones III.

Au cours des dernières années de sa vie, Mraz s’était surtout concentré sur son travail avec un trio composé de son épouse Camilia et du batteur Anthony Pinciotti.

Atteint d’un cancer du pancréas, George Mraz avait subi une longue intervention chirurgicale en juillet 2016. Malheureusement, l’opération s’était mal déroulée et avait entraîné plusieurs complications, dont une crise cardiaque qui était survenue durant son séjour à l’hôpital.

Après avoir effectué un retour sur scène en 2017, Mraz est mort le 16 septembre 2021 à l’âge de soixante-dix-sept ans. Même si la cause exacte de la mort de Mraz n’avait pas été dévoilée, il était probablement décédé des suites de son cancer du pancréas. Mraz laissait dans le deuil son épouse Camilla, qui était pianiste et chanteuse. Au moment de sa mort, Mraz projetait de faire une tournée au Japon.

Lauréat de nombreux prix, la carrière de Mraz avait été couronnée en 2009 par son pays natal lorsqu’on le président de la République tchèque,  Václav Klaus, lui avait décerné le Czech Republic Lifetime Achievement Award. C’est le pianiste Jimmy Rowles qui avait attribué à Mraz son surnom de ‘’The Bounce’’, pour commémorer son jeu ‘’flottant’’. Avec l’humour qui lui était caractéristique, Rowles avait ajouté qu’il avait aussi accordé ce sobriquet à Mraz parce qu’il était ‘’un mauvais Tchèque...’’

Énormément apprécié pour ses performances dans les clubs et comme musicien de studio, Mraz avait enregistré environ 1000 albums au cours de sa carrière, tant comme leader que comme accompagnateur. Parmi les albums de Mraz comme leader, on remarquait "Catching Up", “Mraz Jazz", "My Foolish Heart", "Bottom Lines”, "Duke’s Place”, ‘’Duke’s Place’’ (un hommage à Duke Ellington) et "Morava”. Les autres enregistrements de Mraz comprenaient un album live avec son quartet intitulé “Jazz at Prague Castle” et un duo avec le pianiste David Hazeltine qui a été publié sur CD sous le titre de “Your Story”.

Mais Mraz avait surtout travaillé comme accompagnateur. Parmi les faits saillants de la carrière de Mraz comme accompagnateur, signalons les albums Ephemera (1973) avec Pepper Adams, Time Stream (1984) avec Toshiko Akiyoshi, Ellington Is Forever Volume Two (1975) avec Kenny Burrell, My Man Benny, My Man Phil (1990) avec Benny Carter, Jazz Poet (1989) avec Tommy Flanagan; Voyage (1986) avec Stan Getz, Carmen Sings Monk (1988) avec Carmen McRae, Walking The Line (1971) avec Oscar Peterson, The Complete Village Vanguard Sessions (1995) avec Art Pepper, Warm Tenor (1979) avex Jimmy Rowles et Suite For Pops (1972) avec le Thad Jones/Mel Lewis Orchestra.

Lorsqu’on demandait à Mraz pourquoi il n’avait pas enregistré davantage sous son propre nom, il avait commenté: ‘’J'ai toujours voulu faire mes propres projets mais je n’en ai jamais eu l’occasion.’’ Grand admirateur de Duke Ellington, Mraz lui avait rendu hommage sur son cinquième album comme leader, ‘’Duke’s Place.’’ Enregistré avec des musiciens invités comme les pianistes Renee Rosnes et Cyrus Chestnut et le batteur Billy Drummond, l’album comprenait des versions de classiques comme ‘’Mood Indigo’’, ‘’Don’t Get Around Much Anymore’’ et ‘’Come Sunday.’’ Témoignant de son admiration pour Ellington, Mraz avait commenté: ‘’The music of Duke Ellington has touched everyone, not just jazz musicians. Just about every group that I have worked with during the past 40 years has included some of his compositions in their repertoire.’’

Musicien polyvalent caractérisé par une grande maîtrise technique, Mraz avait toujours su travailler dans une grande variété de contextes. Il était également caractérisé par son sens de l’humour et sa modestie. Particulièrement apprécié des pianistes, Mraz avait collaboré avec de nombreuses sommités du jazz au cours de sa carrière, dont Pepper Adams, Stan Getz, Michel Petrucciani, Stéphane Grappelli, Warne Marsh, Phil Woods, Zoot Sims, Mal Waldron, Tommy Flanagan, Toshiko Akiyoshi, John Abercrombie, Hank Jones, Bill Evans, John Hicks, Jimmy Raney, Slide Hampton, Dizzy Gillespie, Billy Hart, Oscar Peterson, Elvin Jones, Sir Roland Hanna, Hampton Hawes, Jan Hammer, Benny Bailey, Charles Mingus, Benny Carter, Chet Baker, McCoy Tyner, Joe Henderson, Lionel Hampton, Woody Herman, Carmen McRae, John Abercrombie, Steve Kuhn, Kenny Drew, Barry Harris, Tete Montoliu, Jimmy Rowles, Kenny Barron, Larry Willis, Joe Lovano, Grover Washington Jr., Archie Shepp, Dave Leibman, John Scofield, Kenny Burrell, Larry Coryell, Jimmy Smith, Art Pepper, Clark Terry, Herbie Hancock, Art Farmer, Lew Soloff, Helen Merrill, Jon Faddis, Jimmy Knepper, Bob Brookmeyer, Jon Hendricks et Richie Beirach, pour n’en mentionner que quelques-uns.

Mraz avait enregistré un total de dix albums comme leader. Lorsqu’il dirigeait ses propres groupes, Mraz avait l’habitude de laisser beaucoup de marge de manoeuvre à ses musiciens. Il expliquait: “You can never tell people exactly what to do. So you just try to find a way to work your concepts into the music, as well as their concepts, and just let them do what they do.”

Rendant hommage à Mraz, le pianiste Richie Beirach avait précisé: ‘’George always plays the exact right note you want to hear.’’ Le producteur Todd Barkan avait ajouté: ‘’He plays the bass as though he invented it. Even when he’s doing nothing more than walking four to the bar, his choice of notes is so perfect, it’s like he’s telling a little story in back of the solist.’’ Pour sa part, le batteur Billy Drummond avait déclaré au sujet de Mraz: “I remember vividly playing with him years ago with the pianist Steve Kuhn, and George’s bass solos had me so transfixed that I found myself forgetting to come back in to play.”

Grand amateur de pêche à la ligne, Mraz se rendait taquiner la truite dès qu’il en avait l’occasion dans les environs de New York. Il précisait: “I catch mostly trout and throw most of them back, though I keep one or two a year just to assure myself I’m not completely crazy. The biggest I’ve caught was two feet long, and I let him go – he was too beautiful.”

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