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Hbo real sex brazillian samba dancer

Hbo real sex brazillian samba dancer

He also studied piano and theory at an early age, and worked with English name bands from age eighteen. Colin lived in Australia in the late fifties and was staff drummer at T.

Channel 9 in Sydney. At that time he accompanied distinguished visiting jazz artists such as Dizzy Gillespie and Sarah Vaughan. In , Colin met the biggest influence in his life as a drummer. Colin was in the group that was opening for Brubeck. I knew he had tremendous chops, but when I saw and heard him play in person, I just had to have that technique. For two weeks, as soon as Joe woke up every day, there I was with the practice pad.

He was so gracious, showing me the George Lawrence Stone finger control technique. It changed my life. I put in many hours every day trying to get it down, I am still practicing mastering it!

I had a lot more control with volume, and could play quietly with intensity, something that is tough for a lot of drummers. Joe and I have been the best of friends ever since. Six weeks later he joined the Vince Guaraldi Trio, and played clubs in San Francisco, including several months at the Trident in Sausalito, and other well known clubs such as The Blackhawk and Jazz Workshop.

It became a huge No. This record played a big part in Colin's life. In January of , he got a call from Victor Feldman who asked if he would be interested in going to Los Angeles to play a steady gig with his trio. Victor had heard the record and wanted Colin to be a member of his group. He moved to L. The exposure of playing with Victor was tremendous. Local and visiting musicians would come into the club on Sunset Boulevard called The Scene to hear the trio play.

It was titled Surging Ahead and got 5 stars in Down Beat. Joe Pass had recently signed with World Pacific Jazz records. Over the next 32 years they worked on many recordings, T. Miles had spent several nights at The Scene the club that Colin was playing in with Victor Feldman because he wanted Victor to be the piano player in his new band.

Victor surprisingly declined, and Miles hired Herbie Hancock. When Miles and the Band got to the club for a sound check there were some people there from some kind of board that said Tony, who was only 16 at the time, was too young to play in such a place! Miles needed a drummer, and having heard Colin with Victor, he called him to fill in for a couple of nights until they could sneak Tony in.

It was a great show for jazz. In , Colin started a twelve year studio career in L. There were more jazz greats to play for on various shows: In Colin moved to Dallas to work in the jingle scene that was thriving there at that time.

He became a drum teacher at North Texas State University from He played most week-ends with Red Garland at a club in Dallas. It was tough because he was still doing the teaching job as well. In Colin moved back to California and presently lives in the San Francisco area where he plays with his good friend, Piano player Dick Hindman. They did seven recordings, and played the Blue Note clubs in Japan as well as venues in the U. January 26, Bob Bain earned his place as the number one guitarist for many Hollywood studios in the s and 60s.

He played on countless jingles, albums, and soundtracks for television and movies. There were also many years of live radio. In the 70s, a young, talented crowd of guitarists raised their axes and slowly began to dominate.

Bain continued to record, write, arrange, produce and for 22 years he held the guitar chair for one of the greatest television orchestras of all time The Tonight Show Band.

Through the years, Bains talent, respect, and generosity opened the doors for many other studio guitarists, arrangers, and musicians. Bain was playing with the Phil Moore band, when a record date for bebop.

Frank Sinatra wanted to record a bop record, so they decided Phils group was the one. Sinatra had a little trouble hitting the flatted fifth. When Phil worked there, Howard Hughes had the best table in the house, and it was reserved every night for him. Nobody ever sat at that table. No matter how crowded the place was, that table was empty.

One memorable night, about midnight, Hughes, wearing a sports coat, tie, and tennis shoes, sat at the table. Hughes stayed about 30 minutes, then left. The troupe toured England and North Africa, and spent time in Italy. George fell ill and returned home, but Bain and the ladies stayed. Bain eventually came home, and in late , he received a call from guitarist Dave Barbour. He also worked with xylophonist Red Norvo and his sextet. Barbour told Bain he was working with Tommy Dorsey at the Casino Gardens in Los Angeles, and that he was going to stay in town when the band went on the road.

Barbour arranged for Bain to sit in with the band one night and when Dorsey asked if he would like to play with the band, Bain responded with a resounding, Sure! He finished the remaining eight weeks at the Casino Gardens and went out on the road. I sat next to Buddy Rich for almost two years, Bain explains. He was the highest-paid member of the band, by far, and he had a feature spot in every stage show.

It would just break the place up. There was nobody like Buddy. But he and Tommy would get into personality clashes, especially if Tommy made a motion that the tempo was not right. Buddy would get really upset with him for that. He had a newspaper and hed put it on the tom tom and while reading it, he would look at Tommy. That left guitar, bass, piano, and this big band.

Tommy would be looking at me, and so the rhythm guitar had to move the band. It really got to be not funny. It was a constant bickering. Tommys gag was to walk off the stage while Buddy was playing his drum solo and walk next door to have a drink.

Hed come back and Buddy would still be playing his solo. Buddy would play until he dropped. Tommy had to bring the band back in to get Buddy to stop his solo. It was that kind of a thing. When Bain joined Tommy Dorsey, a recording ban was in effect. On August 1, , James Caesar Petrillo, the elected national president of the American Foundation of Musicians, ordered his musicians to stop all recording. His argument was that if the record companies could not create some system whereby musicians were paid for the use of their recordings on radio programs and in juke boxes, he wouldnt let them record at all.

Practically all the big band leaders disagreed. Thus, there were recording marathons scheduled to beat the ban deadline, and many arrangements were done on-the- spot.

For more than a year, no major company made any records with instrumentalists. Singers, however, were allowed to record, usually with chordal backgrounds. Peggy Lee and Nat King Cole would use vocal ground in the background to substitute for the band. Bain recalls a lot of illegal after- midnight recording happening with Hollywood big bands in Finally, in November , when the recording companies agreed to pay a union royalty, the strike ended.

Unfortunately, the singers had taken over and the recording field would never be the same for the big bands. These and many other songs and new arrangements in the book that had not been recorded were part of a studio marathon that lasted two weeks, two sessions per day, at RCA.

This was a more relaxed band, in contrast to the tight ship run by Dorsey. Crosby had a good book, a good band, and good arrangers working for him. And like his famous older brother, Bing, Bob sang ballads with the band. However, in these great bands, the guitar was restricted to rhythm parts.

Bain has always believed Les Paul was responsible for bringing guitars to the forefront. With two Ampex microphones in a room in Las Vegas, he and Mary Ford performed, and made records in their hotel room, going from one machine to the other.

He often drove by Pauls house on Sunset Boulevard. You could see Les garage from Sunset because it was right on the corner, he said. His light was always on and Id just pull into the driveway, go back, and thered be Les in his shirt sleeves, with two turntables, going back and forth, overdubbing. He was always wearing a short-sleeved shirt, and he was covered with solder burns. He was always tinkering with something. He was one of those guys, when you were talking to him, hed pick the scab off.

Id say, Les, that thing!

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Hbo real sex brazillian samba dancer

He also studied piano and theory at an early age, and worked with English name bands from age eighteen. Colin lived in Australia in the late fifties and was staff drummer at T. Channel 9 in Sydney. At that time he accompanied distinguished visiting jazz artists such as Dizzy Gillespie and Sarah Vaughan. In , Colin met the biggest influence in his life as a drummer. Colin was in the group that was opening for Brubeck.

I knew he had tremendous chops, but when I saw and heard him play in person, I just had to have that technique. For two weeks, as soon as Joe woke up every day, there I was with the practice pad. He was so gracious, showing me the George Lawrence Stone finger control technique.

It changed my life. I put in many hours every day trying to get it down, I am still practicing mastering it! I had a lot more control with volume, and could play quietly with intensity, something that is tough for a lot of drummers. Joe and I have been the best of friends ever since. Six weeks later he joined the Vince Guaraldi Trio, and played clubs in San Francisco, including several months at the Trident in Sausalito, and other well known clubs such as The Blackhawk and Jazz Workshop.

It became a huge No. This record played a big part in Colin's life. In January of , he got a call from Victor Feldman who asked if he would be interested in going to Los Angeles to play a steady gig with his trio.

Victor had heard the record and wanted Colin to be a member of his group. He moved to L. The exposure of playing with Victor was tremendous.

Local and visiting musicians would come into the club on Sunset Boulevard called The Scene to hear the trio play. It was titled Surging Ahead and got 5 stars in Down Beat. Joe Pass had recently signed with World Pacific Jazz records. Over the next 32 years they worked on many recordings, T. Miles had spent several nights at The Scene the club that Colin was playing in with Victor Feldman because he wanted Victor to be the piano player in his new band.

Victor surprisingly declined, and Miles hired Herbie Hancock. When Miles and the Band got to the club for a sound check there were some people there from some kind of board that said Tony, who was only 16 at the time, was too young to play in such a place!

Miles needed a drummer, and having heard Colin with Victor, he called him to fill in for a couple of nights until they could sneak Tony in. It was a great show for jazz. In , Colin started a twelve year studio career in L. There were more jazz greats to play for on various shows: In Colin moved to Dallas to work in the jingle scene that was thriving there at that time. He became a drum teacher at North Texas State University from He played most week-ends with Red Garland at a club in Dallas.

It was tough because he was still doing the teaching job as well. In Colin moved back to California and presently lives in the San Francisco area where he plays with his good friend, Piano player Dick Hindman. They did seven recordings, and played the Blue Note clubs in Japan as well as venues in the U. January 26, Bob Bain earned his place as the number one guitarist for many Hollywood studios in the s and 60s.

He played on countless jingles, albums, and soundtracks for television and movies. There were also many years of live radio. In the 70s, a young, talented crowd of guitarists raised their axes and slowly began to dominate. Bain continued to record, write, arrange, produce and for 22 years he held the guitar chair for one of the greatest television orchestras of all time The Tonight Show Band.

Through the years, Bains talent, respect, and generosity opened the doors for many other studio guitarists, arrangers, and musicians. Bain was playing with the Phil Moore band, when a record date for bebop. Frank Sinatra wanted to record a bop record, so they decided Phils group was the one. Sinatra had a little trouble hitting the flatted fifth. When Phil worked there, Howard Hughes had the best table in the house, and it was reserved every night for him.

Nobody ever sat at that table. No matter how crowded the place was, that table was empty. One memorable night, about midnight, Hughes, wearing a sports coat, tie, and tennis shoes, sat at the table.

Hughes stayed about 30 minutes, then left. The troupe toured England and North Africa, and spent time in Italy. George fell ill and returned home, but Bain and the ladies stayed.

Bain eventually came home, and in late , he received a call from guitarist Dave Barbour. He also worked with xylophonist Red Norvo and his sextet. Barbour told Bain he was working with Tommy Dorsey at the Casino Gardens in Los Angeles, and that he was going to stay in town when the band went on the road. Barbour arranged for Bain to sit in with the band one night and when Dorsey asked if he would like to play with the band, Bain responded with a resounding, Sure!

He finished the remaining eight weeks at the Casino Gardens and went out on the road. I sat next to Buddy Rich for almost two years, Bain explains. He was the highest-paid member of the band, by far, and he had a feature spot in every stage show. It would just break the place up. There was nobody like Buddy. But he and Tommy would get into personality clashes, especially if Tommy made a motion that the tempo was not right. Buddy would get really upset with him for that.

He had a newspaper and hed put it on the tom tom and while reading it, he would look at Tommy. That left guitar, bass, piano, and this big band. Tommy would be looking at me, and so the rhythm guitar had to move the band. It really got to be not funny. It was a constant bickering. Tommys gag was to walk off the stage while Buddy was playing his drum solo and walk next door to have a drink.

Hed come back and Buddy would still be playing his solo. Buddy would play until he dropped. Tommy had to bring the band back in to get Buddy to stop his solo. It was that kind of a thing. When Bain joined Tommy Dorsey, a recording ban was in effect. On August 1, , James Caesar Petrillo, the elected national president of the American Foundation of Musicians, ordered his musicians to stop all recording.

His argument was that if the record companies could not create some system whereby musicians were paid for the use of their recordings on radio programs and in juke boxes, he wouldnt let them record at all. Practically all the big band leaders disagreed. Thus, there were recording marathons scheduled to beat the ban deadline, and many arrangements were done on-the- spot.

For more than a year, no major company made any records with instrumentalists. Singers, however, were allowed to record, usually with chordal backgrounds. Peggy Lee and Nat King Cole would use vocal ground in the background to substitute for the band.

Bain recalls a lot of illegal after- midnight recording happening with Hollywood big bands in Finally, in November , when the recording companies agreed to pay a union royalty, the strike ended.

Unfortunately, the singers had taken over and the recording field would never be the same for the big bands. These and many other songs and new arrangements in the book that had not been recorded were part of a studio marathon that lasted two weeks, two sessions per day, at RCA. This was a more relaxed band, in contrast to the tight ship run by Dorsey.

Crosby had a good book, a good band, and good arrangers working for him. And like his famous older brother, Bing, Bob sang ballads with the band. However, in these great bands, the guitar was restricted to rhythm parts. Bain has always believed Les Paul was responsible for bringing guitars to the forefront.

With two Ampex microphones in a room in Las Vegas, he and Mary Ford performed, and made records in their hotel room, going from one machine to the other. He often drove by Pauls house on Sunset Boulevard. You could see Les garage from Sunset because it was right on the corner, he said.

His light was always on and Id just pull into the driveway, go back, and thered be Les in his shirt sleeves, with two turntables, going back and forth, overdubbing. He was always wearing a short-sleeved shirt, and he was covered with solder burns. He was always tinkering with something.

He was one of those guys, when you were talking to him, hed pick the scab off. Id say, Les, that thing!

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