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Grusin and Rosen's time at Arista Records was coming to an end as Clive Davis and the label were seeing different visions for the success of the label. Davis wanted to concentrate on hit singles by the latest hot artists for extended airplay, while Grusin and Rosen were concentrated on great sound quality, performances and establishing a bigger audience for jazz at that point in time. Grusin and Rosen made an amenable parting with Arista and Davis in which they were able to acquire a few albums that they produced including bestsellers such as "Legends", "Browne Sugar", "The Hawk" (Dave Valentin's follow-up album to "Legends"), "Without Rhyme Or Reason" by Scott Jarrett (brother of jazz pianist Keith Jarrett), "Days Like These" by Hoggard and Grusin's own albums "Mountain Dance" and "Out Of The Shadows". They were also able to acquire other albums they were involved with from other labels that included Grusin's "One Of A Kind" from Polydor Records and Lee Ritenour's "On The Line" and "Rio" from Elektra Records, which was recorded in 1978 as a hybrid digital and analog recording that was recorded both in the US and in Brazil, while the former was a pure digital recording with no overdubbing whatsoever. | Other albums that they produced under their banner would stay with Arista, which is now owned by Sony Music Entertainment. This would also be true of artists such as Tom Browne and Angela Bofill, who was coaxed into leaving GRP by Davis for a more lucrative deal with the label that resulted in watered-down drum machine material much like Browne's. In later years, after her short-lived success under Grusin and Rosen's tutelage, Bofill would suffer some personal health-related setbacks. | 1 |
Grusin and Rosen's time at Arista Records was coming to an end as Clive Davis and the label were seeing different visions for the success of the label. Davis wanted to concentrate on hit singles by the latest hot artists for extended airplay, while Grusin and Rosen were concentrated on great sound quality, performances and establishing a bigger audience for jazz at that point in time. Grusin and Rosen made an amenable parting with Arista and Davis in which they were able to acquire a few albums that they produced including bestsellers such as "Legends", "Browne Sugar", "The Hawk" (Dave Valentin's follow-up album to "Legends"), "Without Rhyme Or Reason" by Scott Jarrett (brother of jazz pianist Keith Jarrett), "Days Like These" by Hoggard and Grusin's own albums "Mountain Dance" and "Out Of The Shadows". They were also able to acquire other albums they were involved with from other labels that included Grusin's "One Of A Kind" from Polydor Records and Lee Ritenour's "On The Line" and "Rio" from Elektra Records, which was recorded in 1978 as a hybrid digital and analog recording that was recorded both in the US and in Brazil, while the former was a pure digital recording with no overdubbing whatsoever. | Grusin would win his first Academy Award for Robert Redford's second film as a director, "The Milagro Beanfield War", which would be released a year later as part of his last album for the label of the decade, "Migration". | 0 |
Other albums that they produced under their banner would stay with Arista, which is now owned by Sony Music Entertainment. This would also be true of artists such as Tom Browne and Angela Bofill, who was coaxed into leaving GRP by Davis for a more lucrative deal with the label that resulted in watered-down drum machine material much like Browne's. In later years, after her short-lived success under Grusin and Rosen's tutelage, Bofill would suffer some personal health-related setbacks. | The Compact Disc Player and Compact Disc were introduced that year in Japan; Grusin and Rosen were intrigued by its audiophile sound and it was something they felt would be vital to the growth of the company. | 1 |
Other albums that they produced under their banner would stay with Arista, which is now owned by Sony Music Entertainment. This would also be true of artists such as Tom Browne and Angela Bofill, who was coaxed into leaving GRP by Davis for a more lucrative deal with the label that resulted in watered-down drum machine material much like Browne's. In later years, after her short-lived success under Grusin and Rosen's tutelage, Bofill would suffer some personal health-related setbacks. | Grusin then took a group of artists for a tour in Japan which was documented by the album "Dave Grusin And The GRP All-Stars In Japan" and featured many of the label's artists including Grusin and his brother Don Grusin, Tom Browne, Dave Valentin, Bobby Broom, Marcus Miller, Buddy Williams, and guest Japanese saxophonist Sadao Watanabe, which was recorded in fall of 1980 and would be the first of many GRP concerts that they would hold over the years there. | 0 |
Soon they would make a very important decision that would change the history of jazz, since both Grusin and Rosen both strongly felt that all of the albums they had produced for most labels were getting the "back of the bus" treatment without proper advertising or promotion. They were also disappointed that the albums they produced were not released or available at record stores on their release dates. Taking in all of these factors, Grusin and Rosen formed a record company because they wanted to be in control of all of these factors. This led to them signing established jazz stars such as Lee Ritenour, Billy Cobham, Chick Corea, Dizzy Gillespie, and Gerry Mulligan to go along with Dave Valentin, who joined Grusin and Rosen after leaving Arista Records along with newbies, guitarist Kevin Eubanks, the group Special EFX and Diane Schuur, a blind singer-pianist from Seattle, who was discovered by the late saxophonist Stan Getz and invited to the White House in 1982 to perform with Getz for First Lady Nancy Reagan on a special that aired on PBS. | The Compact Disc Player and Compact Disc were introduced that year in Japan; Grusin and Rosen were intrigued by its audiophile sound and it was something they felt would be vital to the growth of the company. | 1 |
Soon they would make a very important decision that would change the history of jazz, since both Grusin and Rosen both strongly felt that all of the albums they had produced for most labels were getting the "back of the bus" treatment without proper advertising or promotion. They were also disappointed that the albums they produced were not released or available at record stores on their release dates. Taking in all of these factors, Grusin and Rosen formed a record company because they wanted to be in control of all of these factors. This led to them signing established jazz stars such as Lee Ritenour, Billy Cobham, Chick Corea, Dizzy Gillespie, and Gerry Mulligan to go along with Dave Valentin, who joined Grusin and Rosen after leaving Arista Records along with newbies, guitarist Kevin Eubanks, the group Special EFX and Diane Schuur, a blind singer-pianist from Seattle, who was discovered by the late saxophonist Stan Getz and invited to the White House in 1982 to perform with Getz for First Lady Nancy Reagan on a special that aired on PBS. | The compact disc was vital to the label's exisistance and continued digital excellence throughout its history. After splitting from Arista Records to go on their own, Dave Grusin and Larry Rosen, the founders gambled on the format to bring out their spirited high quality recordings to life. From 1983 until 1987, all of their CD releases were pressed by JVC Japan which added impeccable sound and sonic clarity that made the CD's pretty much sell themselves even in audio stores that had to carry the discs to sell with the expensive CD players that were released during this time. The first official album produced and recorded for this purpose was "In A Digital Mood" featuring the music of the late big band jazz leader, Glenn Miller, which was a high end production recorded in January 1983 for two important reasons. The first was produce an album that would suit the format's sonic capabilities and the second was that the first people who would buy the first CD players would be audiophile fanatics that would be in the range of enjoying this type of music. Grusin and Rosen's intuitions were proven right as the album went on to Gold Record status within ten years of its release and had sold over a million copies. The label's original releases were albums that Grusin and Rosen bought or licensed from Arista Records as well as other label's such as Polydor, JVC Japan and Elektra from artists such as Dave Valentin (who was the label's first signing), Lee Ritenour, Tom Browne, Jay Hoggard, Scott Jarrett and Grusin himself. There were plenty of new and fresh album releases by jazz legends Gerry Mulligan and jazz's ambassador Dizzy Gillespie in new sonic, digital settings along with new talent being displayed by the likes of Diane Schuur, Kevin Eubanks, and Special EFX along with veteran drummer Billy Cobham, who would be joined later on by Ritenour, Chick Corea, Eddie Daniels, David Benoit, Gary Burton and Tom Scott to add more diversity to label's roster. The label would sign a distribution deal with MCA in 1987 and it was the final year that the label would have their CD titles pressed by JVC Japan for the US. All titles would be pressed in the US starting in 1988. | 0 |
The Compact Disc Player and Compact Disc were introduced that year in Japan; Grusin and Rosen were intrigued by its audiophile sound and it was something they felt would be vital to the growth of the company. | Grusin and Rosen's time at Arista Records was coming to an end as Clive Davis and the label were seeing different visions for the success of the label. Davis wanted to concentrate on hit singles by the latest hot artists for extended airplay, while Grusin and Rosen were concentrated on great sound quality, performances and establishing a bigger audience for jazz at that point in time. Grusin and Rosen made an amenable parting with Arista and Davis in which they were able to acquire a few albums that they produced including bestsellers such as "Legends", "Browne Sugar", "The Hawk" (Dave Valentin's follow-up album to "Legends"), "Without Rhyme Or Reason" by Scott Jarrett (brother of jazz pianist Keith Jarrett), "Days Like These" by Hoggard and Grusin's own albums "Mountain Dance" and "Out Of The Shadows". They were also able to acquire other albums they were involved with from other labels that included Grusin's "One Of A Kind" from Polydor Records and Lee Ritenour's "On The Line" and "Rio" from Elektra Records, which was recorded in 1978 as a hybrid digital and analog recording that was recorded both in the US and in Brazil, while the former was a pure digital recording with no overdubbing whatsoever. | 1 |
The Compact Disc Player and Compact Disc were introduced that year in Japan; Grusin and Rosen were intrigued by its audiophile sound and it was something they felt would be vital to the growth of the company. | With this turnover, LiPuma brought in some familiar faces and new artists that he felt would keep Grusin and Rosen's vision of the label alive while integrating his own musical ideals. These artists included Grammy Award winners George Benson, Al Jarreau, David Sanborn, Mindi Abair, Keiko Matsui, Marc Antoine, Rick Braun, Chris Botti, Rachel Z, Will Downing, and former New York Yankees outfielder Bernie Williams' debut album as a professional jazz guitarist. This established group of popular jazz artists were the perfect complements to those artists who survived the purge of the label. | 0 |
Now established as a record company, Grusin and Rosen were pushing forward and thinking of the future and how to make the label stand out with the evolving technology of the times. Grusin and Rosen figured that the compact disc with its optical and audiophile capabilities would be a very important part of what they were trying to do to make the label successful, which was to produce high-quality recordings with the best sound and production available to them including recording venues, musicians and orchestras. | Also in 1984 the film, "Falling In Love" starring Oscar winners Robert De Niro and Meryl Streep would be released by Paramount Pictures. Grusin provided the original musical score for the film, but the film had been tracked by music from Grusin's breakthrough digital album, "Mountain Dance" which became the main theme for the film despite writing a purely jazz score in the same vein. | 1 |
Now established as a record company, Grusin and Rosen were pushing forward and thinking of the future and how to make the label stand out with the evolving technology of the times. Grusin and Rosen figured that the compact disc with its optical and audiophile capabilities would be a very important part of what they were trying to do to make the label successful, which was to produce high-quality recordings with the best sound and production available to them including recording venues, musicians and orchestras. | Grusin and Rosen's time at Arista Records was coming to an end as Clive Davis and the label were seeing different visions for the success of the label. Davis wanted to concentrate on hit singles by the latest hot artists for extended airplay, while Grusin and Rosen were concentrated on great sound quality, performances and establishing a bigger audience for jazz at that point in time. Grusin and Rosen made an amenable parting with Arista and Davis in which they were able to acquire a few albums that they produced including bestsellers such as "Legends", "Browne Sugar", "The Hawk" (Dave Valentin's follow-up album to "Legends"), "Without Rhyme Or Reason" by Scott Jarrett (brother of jazz pianist Keith Jarrett), "Days Like These" by Hoggard and Grusin's own albums "Mountain Dance" and "Out Of The Shadows". They were also able to acquire other albums they were involved with from other labels that included Grusin's "One Of A Kind" from Polydor Records and Lee Ritenour's "On The Line" and "Rio" from Elektra Records, which was recorded in 1978 as a hybrid digital and analog recording that was recorded both in the US and in Brazil, while the former was a pure digital recording with no overdubbing whatsoever. | 0 |
Now established as a record company, Grusin and Rosen were pushing forward and thinking of the future and how to make the label stand out with the evolving technology of the times. Grusin and Rosen figured that the compact disc with its optical and audiophile capabilities would be a very important part of what they were trying to do to make the label successful, which was to produce high-quality recordings with the best sound and production available to them including recording venues, musicians and orchestras. | Compact discs were carried in limited supply in record stores but were available wherever CD player systems were sold at that time when they were first released. Knowing this, Grusin and Rosen produced CD Samplers (three in three different volumes from 1984–87) that showcased the artists on the label, the sound quality, and performances due to the lack of other record labels having joined the format at that time which lasted until 1987, when a lot of the record labels made the transition to the CD format. These CDs did help gain the label an audience with the audiophiles who first bought these machines and also, to expand the label in format. Their first batches of pressed discs from 1984 until 1987 came directly from Japan by the JVC Corporation, which are audiophile in quality and were quality produced recordings that truly displayed the dynamic range of the performances, unlike an LP or cassette. | 1 |
Now established as a record company, Grusin and Rosen were pushing forward and thinking of the future and how to make the label stand out with the evolving technology of the times. Grusin and Rosen figured that the compact disc with its optical and audiophile capabilities would be a very important part of what they were trying to do to make the label successful, which was to produce high-quality recordings with the best sound and production available to them including recording venues, musicians and orchestras. | GRP Records (Grusin-Rosen Productions) is a jazz record label founded by Dave Grusin and Larry Rosen in 1978. Distributed by Verve Records, GRP was originally known for its digital recordings that focuses on its jazz genre. | 0 |
Now established as a record company, Grusin and Rosen were pushing forward and thinking of the future and how to make the label stand out with the evolving technology of the times. Grusin and Rosen figured that the compact disc with its optical and audiophile capabilities would be a very important part of what they were trying to do to make the label successful, which was to produce high-quality recordings with the best sound and production available to them including recording venues, musicians and orchestras. | They followed up this best selling album with Gerry Mulligan's "Little Big Horn" and Grusin's "NY/LA Dream Band", which was a live concert from 1982 that was recorded in Japan and seen throughout the country. The label during this period would be known mainly for its fusion work, but two of the first three releases were the straight-ahead jazz albums by Glenn Miller Band and Mulligan. Another vital addition was recording the great Dizzy Gillespie, which helped the label even more as Grusin and Rosen teamed him up with the best of the young jazz musicians performing at the time, including saxophonist Branford Marsalis and pianist Kenny Kirkland for the album "New Faces". | 1 |
Now established as a record company, Grusin and Rosen were pushing forward and thinking of the future and how to make the label stand out with the evolving technology of the times. Grusin and Rosen figured that the compact disc with its optical and audiophile capabilities would be a very important part of what they were trying to do to make the label successful, which was to produce high-quality recordings with the best sound and production available to them including recording venues, musicians and orchestras. | Also in 1990, Cuban trumpet player Arturo Sandoval defected to the United States and the label immediately signed him and made his debut for the label in 1991 with the album "Flight To Freedom", his first five solo albums and several other appearances on the label with fellow recording artists such as Dave Valentin, Rene Toledo, Dave Grusin and a well received album dedicated to his best friend, the late Dizzy Gillespie "Dream Come True", which featured a collaboration with Oscar Winner Michel Legrand and albums such as "A GRP Christmas Collection", and the "GRP All-Star Big Band" to name a few until his final album, the critically acclaimed "Swingin" for the label in 1996. | 0 |
To accomplish this, they decided on a specific album that not only would introduce the best of what they were producing, but also an album that catered to those people who could afford the first CD players available for their homes, which cost $1,000 per unit at the time in 1983. After much research, the Glenn Miller Band was chosen to be the first album recorded for their company in January 1983. Members of the original band, as well as special guests like singer Mel Tormé, also participated in the ambitious project recorded in New York City. The album "In The Digital Mood" not only became a popular album after its release selling more than 100,000 units, but also one of the label's greatest selling albums to this day, and was recognized as such in 1992 with a "Gold Edition". | The label also recorded the first of three Christmas albums featuring artists from the label entitled "A GRP Christmas Collection" that included jazz interpretations of classic Christmas songs and some that are obscure arranged in diverse ways by the artist recording on it. The label would produce two more albums in 1991 and 1993, which was the final one under Grusin and Rosen's supervision before they departed from the label in 1994. The artists that participated in the album included the likes of Grusin, Lee Ritenour, David Benoit, Gary Burton, Tom Scott, Diane Schuur, Nelson Rangell, Arturo Sandoval, Chick Corea, Eddie Daniels, New York Voices, George Howard, Ramsey Lewis, B.B. King, Russ Freeman and The Yellowjackets among others. | 1 |
To accomplish this, they decided on a specific album that not only would introduce the best of what they were producing, but also an album that catered to those people who could afford the first CD players available for their homes, which cost $1,000 per unit at the time in 1983. After much research, the Glenn Miller Band was chosen to be the first album recorded for their company in January 1983. Members of the original band, as well as special guests like singer Mel Tormé, also participated in the ambitious project recorded in New York City. The album "In The Digital Mood" not only became a popular album after its release selling more than 100,000 units, but also one of the label's greatest selling albums to this day, and was recognized as such in 1992 with a "Gold Edition". | GRP Records (Grusin-Rosen Productions) is a jazz record label founded by Dave Grusin and Larry Rosen in 1978. Distributed by Verve Records, GRP was originally known for its digital recordings that focuses on its jazz genre. | 0 |
To accomplish this, they decided on a specific album that not only would introduce the best of what they were producing, but also an album that catered to those people who could afford the first CD players available for their homes, which cost $1,000 per unit at the time in 1983. After much research, the Glenn Miller Band was chosen to be the first album recorded for their company in January 1983. Members of the original band, as well as special guests like singer Mel Tormé, also participated in the ambitious project recorded in New York City. The album "In The Digital Mood" not only became a popular album after its release selling more than 100,000 units, but also one of the label's greatest selling albums to this day, and was recognized as such in 1992 with a "Gold Edition". | Now established as a record company, Grusin and Rosen were pushing forward and thinking of the future and how to make the label stand out with the evolving technology of the times. Grusin and Rosen figured that the compact disc with its optical and audiophile capabilities would be a very important part of what they were trying to do to make the label successful, which was to produce high-quality recordings with the best sound and production available to them including recording venues, musicians and orchestras. | 1 |
To accomplish this, they decided on a specific album that not only would introduce the best of what they were producing, but also an album that catered to those people who could afford the first CD players available for their homes, which cost $1,000 per unit at the time in 1983. After much research, the Glenn Miller Band was chosen to be the first album recorded for their company in January 1983. Members of the original band, as well as special guests like singer Mel Tormé, also participated in the ambitious project recorded in New York City. The album "In The Digital Mood" not only became a popular album after its release selling more than 100,000 units, but also one of the label's greatest selling albums to this day, and was recognized as such in 1992 with a "Gold Edition". | They were all successfully-produced albums, especially during the latter half of the decade, when disco had become a successful musical fad. They were also able to accomplish this with somewhat limited airplay before more radio stations that featured solely jazz would hit the airwaves, which eventually happened in later years throughout the US. Grusin and Rosen's albums were so well produced that radio stations did find a place for them, which would benefit them in the next couple of decades. | 0 |
To accomplish this, they decided on a specific album that not only would introduce the best of what they were producing, but also an album that catered to those people who could afford the first CD players available for their homes, which cost $1,000 per unit at the time in 1983. After much research, the Glenn Miller Band was chosen to be the first album recorded for their company in January 1983. Members of the original band, as well as special guests like singer Mel Tormé, also participated in the ambitious project recorded in New York City. The album "In The Digital Mood" not only became a popular album after its release selling more than 100,000 units, but also one of the label's greatest selling albums to this day, and was recognized as such in 1992 with a "Gold Edition". | They followed up this best selling album with Gerry Mulligan's "Little Big Horn" and Grusin's "NY/LA Dream Band", which was a live concert from 1982 that was recorded in Japan and seen throughout the country. The label during this period would be known mainly for its fusion work, but two of the first three releases were the straight-ahead jazz albums by Glenn Miller Band and Mulligan. Another vital addition was recording the great Dizzy Gillespie, which helped the label even more as Grusin and Rosen teamed him up with the best of the young jazz musicians performing at the time, including saxophonist Branford Marsalis and pianist Kenny Kirkland for the album "New Faces". | 1 |
To accomplish this, they decided on a specific album that not only would introduce the best of what they were producing, but also an album that catered to those people who could afford the first CD players available for their homes, which cost $1,000 per unit at the time in 1983. After much research, the Glenn Miller Band was chosen to be the first album recorded for their company in January 1983. Members of the original band, as well as special guests like singer Mel Tormé, also participated in the ambitious project recorded in New York City. The album "In The Digital Mood" not only became a popular album after its release selling more than 100,000 units, but also one of the label's greatest selling albums to this day, and was recognized as such in 1992 with a "Gold Edition". | GRP Records:1108785 | 0 |
They followed up this best selling album with Gerry Mulligan's "Little Big Horn" and Grusin's "NY/LA Dream Band", which was a live concert from 1982 that was recorded in Japan and seen throughout the country. The label during this period would be known mainly for its fusion work, but two of the first three releases were the straight-ahead jazz albums by Glenn Miller Band and Mulligan. Another vital addition was recording the great Dizzy Gillespie, which helped the label even more as Grusin and Rosen teamed him up with the best of the young jazz musicians performing at the time, including saxophonist Branford Marsalis and pianist Kenny Kirkland for the album "New Faces". | Grusin would win his first Academy Award for Robert Redford's second film as a director, "The Milagro Beanfield War", which would be released a year later as part of his last album for the label of the decade, "Migration". | 1 |
They followed up this best selling album with Gerry Mulligan's "Little Big Horn" and Grusin's "NY/LA Dream Band", which was a live concert from 1982 that was recorded in Japan and seen throughout the country. The label during this period would be known mainly for its fusion work, but two of the first three releases were the straight-ahead jazz albums by Glenn Miller Band and Mulligan. Another vital addition was recording the great Dizzy Gillespie, which helped the label even more as Grusin and Rosen teamed him up with the best of the young jazz musicians performing at the time, including saxophonist Branford Marsalis and pianist Kenny Kirkland for the album "New Faces". | The Compact Disc Player and Compact Disc were introduced that year in Japan; Grusin and Rosen were intrigued by its audiophile sound and it was something they felt would be vital to the growth of the company. | 0 |
They followed up this best selling album with Gerry Mulligan's "Little Big Horn" and Grusin's "NY/LA Dream Band", which was a live concert from 1982 that was recorded in Japan and seen throughout the country. The label during this period would be known mainly for its fusion work, but two of the first three releases were the straight-ahead jazz albums by Glenn Miller Band and Mulligan. Another vital addition was recording the great Dizzy Gillespie, which helped the label even more as Grusin and Rosen teamed him up with the best of the young jazz musicians performing at the time, including saxophonist Branford Marsalis and pianist Kenny Kirkland for the album "New Faces". | The label also recorded the first of three Christmas albums featuring artists from the label entitled "A GRP Christmas Collection" that included jazz interpretations of classic Christmas songs and some that are obscure arranged in diverse ways by the artist recording on it. The label would produce two more albums in 1991 and 1993, which was the final one under Grusin and Rosen's supervision before they departed from the label in 1994. The artists that participated in the album included the likes of Grusin, Lee Ritenour, David Benoit, Gary Burton, Tom Scott, Diane Schuur, Nelson Rangell, Arturo Sandoval, Chick Corea, Eddie Daniels, New York Voices, George Howard, Ramsey Lewis, B.B. King, Russ Freeman and The Yellowjackets among others. | 1 |
They followed up this best selling album with Gerry Mulligan's "Little Big Horn" and Grusin's "NY/LA Dream Band", which was a live concert from 1982 that was recorded in Japan and seen throughout the country. The label during this period would be known mainly for its fusion work, but two of the first three releases were the straight-ahead jazz albums by Glenn Miller Band and Mulligan. Another vital addition was recording the great Dizzy Gillespie, which helped the label even more as Grusin and Rosen teamed him up with the best of the young jazz musicians performing at the time, including saxophonist Branford Marsalis and pianist Kenny Kirkland for the album "New Faces". | GRP Records:1108785 | 0 |
They followed up this best selling album with Gerry Mulligan's "Little Big Horn" and Grusin's "NY/LA Dream Band", which was a live concert from 1982 that was recorded in Japan and seen throughout the country. The label during this period would be known mainly for its fusion work, but two of the first three releases were the straight-ahead jazz albums by Glenn Miller Band and Mulligan. Another vital addition was recording the great Dizzy Gillespie, which helped the label even more as Grusin and Rosen teamed him up with the best of the young jazz musicians performing at the time, including saxophonist Branford Marsalis and pianist Kenny Kirkland for the album "New Faces". | Grusin would celebrate his 1988 Academy Award win with another nomination for his score and important participation for the comedy-drama, "The Fabulous Baker Boys", starring Oscar Winner 7, Jeff Bridges, Academy Award Nominee Beau Bridges (Jeff's brother) and Academy Award Nominee Michelle Pfeiffer. The film would receive multiple nominations, including Best Picture and for Grusin's invaluable contribution for Best Original Score. The album would be a best seller for the label. | 1 |
They followed up this best selling album with Gerry Mulligan's "Little Big Horn" and Grusin's "NY/LA Dream Band", which was a live concert from 1982 that was recorded in Japan and seen throughout the country. The label during this period would be known mainly for its fusion work, but two of the first three releases were the straight-ahead jazz albums by Glenn Miller Band and Mulligan. Another vital addition was recording the great Dizzy Gillespie, which helped the label even more as Grusin and Rosen teamed him up with the best of the young jazz musicians performing at the time, including saxophonist Branford Marsalis and pianist Kenny Kirkland for the album "New Faces". | In later years, the label would take a more commercial direction signing artists like Sarah McLachlan, Ledisi and others to the label which has gone away from its jazz roots. | 0 |
Compact discs were carried in limited supply in record stores but were available wherever CD player systems were sold at that time when they were first released. Knowing this, Grusin and Rosen produced CD Samplers (three in three different volumes from 1984–87) that showcased the artists on the label, the sound quality, and performances due to the lack of other record labels having joined the format at that time which lasted until 1987, when a lot of the record labels made the transition to the CD format. These CDs did help gain the label an audience with the audiophiles who first bought these machines and also, to expand the label in format. Their first batches of pressed discs from 1984 until 1987 came directly from Japan by the JVC Corporation, which are audiophile in quality and were quality produced recordings that truly displayed the dynamic range of the performances, unlike an LP or cassette. | Now established as a record company, Grusin and Rosen were pushing forward and thinking of the future and how to make the label stand out with the evolving technology of the times. Grusin and Rosen figured that the compact disc with its optical and audiophile capabilities would be a very important part of what they were trying to do to make the label successful, which was to produce high-quality recordings with the best sound and production available to them including recording venues, musicians and orchestras. | 1 |
Compact discs were carried in limited supply in record stores but were available wherever CD player systems were sold at that time when they were first released. Knowing this, Grusin and Rosen produced CD Samplers (three in three different volumes from 1984–87) that showcased the artists on the label, the sound quality, and performances due to the lack of other record labels having joined the format at that time which lasted until 1987, when a lot of the record labels made the transition to the CD format. These CDs did help gain the label an audience with the audiophiles who first bought these machines and also, to expand the label in format. Their first batches of pressed discs from 1984 until 1987 came directly from Japan by the JVC Corporation, which are audiophile in quality and were quality produced recordings that truly displayed the dynamic range of the performances, unlike an LP or cassette. | However, the biggest coup for GRP was signing Grammy Award winning pianist and singer Diana Krall from Impulse!, which gave the label class and stability over the next decade or so. Her popularity had kept the label afloat for a long time (until she eventually signed with Verve in the mid 2000s), along with saxophonist Mindi Abair, who made her debut in 2003 and was an instant hit with smooth jazz fans until leaving the label after 2005, where she has become a major star. | 0 |
Compact discs were carried in limited supply in record stores but were available wherever CD player systems were sold at that time when they were first released. Knowing this, Grusin and Rosen produced CD Samplers (three in three different volumes from 1984–87) that showcased the artists on the label, the sound quality, and performances due to the lack of other record labels having joined the format at that time which lasted until 1987, when a lot of the record labels made the transition to the CD format. These CDs did help gain the label an audience with the audiophiles who first bought these machines and also, to expand the label in format. Their first batches of pressed discs from 1984 until 1987 came directly from Japan by the JVC Corporation, which are audiophile in quality and were quality produced recordings that truly displayed the dynamic range of the performances, unlike an LP or cassette. | To accomplish this, they decided on a specific album that not only would introduce the best of what they were producing, but also an album that catered to those people who could afford the first CD players available for their homes, which cost $1,000 per unit at the time in 1983. After much research, the Glenn Miller Band was chosen to be the first album recorded for their company in January 1983. Members of the original band, as well as special guests like singer Mel Tormé, also participated in the ambitious project recorded in New York City. The album "In The Digital Mood" not only became a popular album after its release selling more than 100,000 units, but also one of the label's greatest selling albums to this day, and was recognized as such in 1992 with a "Gold Edition". | 1 |
Compact discs were carried in limited supply in record stores but were available wherever CD player systems were sold at that time when they were first released. Knowing this, Grusin and Rosen produced CD Samplers (three in three different volumes from 1984–87) that showcased the artists on the label, the sound quality, and performances due to the lack of other record labels having joined the format at that time which lasted until 1987, when a lot of the record labels made the transition to the CD format. These CDs did help gain the label an audience with the audiophiles who first bought these machines and also, to expand the label in format. Their first batches of pressed discs from 1984 until 1987 came directly from Japan by the JVC Corporation, which are audiophile in quality and were quality produced recordings that truly displayed the dynamic range of the performances, unlike an LP or cassette. | Also in 1990, Cuban trumpet player Arturo Sandoval defected to the United States and the label immediately signed him and made his debut for the label in 1991 with the album "Flight To Freedom", his first five solo albums and several other appearances on the label with fellow recording artists such as Dave Valentin, Rene Toledo, Dave Grusin and a well received album dedicated to his best friend, the late Dizzy Gillespie "Dream Come True", which featured a collaboration with Oscar Winner Michel Legrand and albums such as "A GRP Christmas Collection", and the "GRP All-Star Big Band" to name a few until his final album, the critically acclaimed "Swingin" for the label in 1996. | 0 |
Compact discs were carried in limited supply in record stores but were available wherever CD player systems were sold at that time when they were first released. Knowing this, Grusin and Rosen produced CD Samplers (three in three different volumes from 1984–87) that showcased the artists on the label, the sound quality, and performances due to the lack of other record labels having joined the format at that time which lasted until 1987, when a lot of the record labels made the transition to the CD format. These CDs did help gain the label an audience with the audiophiles who first bought these machines and also, to expand the label in format. Their first batches of pressed discs from 1984 until 1987 came directly from Japan by the JVC Corporation, which are audiophile in quality and were quality produced recordings that truly displayed the dynamic range of the performances, unlike an LP or cassette. | By the end of 1989, GRP is named the number one jazz label in the world by voters. Radio stations like New York's CD 101.9 on the East Coast and WNUNA 95.5 in California were up and running under the "smooth jazz" format where a lot of the label's stars began to shine and the label would create samplers on behalf of the record stations to promote the label and the artist. Giving them considerably strong airplay over the radio. The label would have a successful year with albums by David Benoit, Lee Ritenour, Dave Grusin, Chick Corea, Gary Burton, Diane Schuur and Nelson Rangell that would propel them into the 1990s on a high note. | 1 |
Compact discs were carried in limited supply in record stores but were available wherever CD player systems were sold at that time when they were first released. Knowing this, Grusin and Rosen produced CD Samplers (three in three different volumes from 1984–87) that showcased the artists on the label, the sound quality, and performances due to the lack of other record labels having joined the format at that time which lasted until 1987, when a lot of the record labels made the transition to the CD format. These CDs did help gain the label an audience with the audiophiles who first bought these machines and also, to expand the label in format. Their first batches of pressed discs from 1984 until 1987 came directly from Japan by the JVC Corporation, which are audiophile in quality and were quality produced recordings that truly displayed the dynamic range of the performances, unlike an LP or cassette. | The music label was started and founded by Oscar-winning composer and Grammy Award-winning jazz musician Dave Grusin along with his best friend and former drummer turned engineer and co-producer/label runner Larry Rosen. Grusin and Rosen were originally members of singer Andy Williams' band during the 1960s and after both left Williams, Grusin established both his career as jazz musician with his debut album "Subways Are for Sleeping" for Columbia Records and as an established film composer with scores for "Divorce American Style" (his first film score ever written and a job obtained from his work with prolific film and television producer Bud Yorkin), "The Graduate", "The Heart Is A Lonely Hunter" (which is Grusin's favorite film score and would re-record the theme on many of his jazz albums in later years), "Candy" and "Winning" as well as working in television. Rosen would start his own commercial recording agency catering to record music for television commercials and other industry films, while personally learning the art of music engineering giving up playing professionally as a jazz drummer. He would build his own studio during this period that would be the first step of Grusin and Rosen's evolution of the eventual label in years to come. | 0 |
In 1984, Grusin would release his second purely digitally recorded album and his first one for his label, "Night-Lines", which used even more contemporary digital equipment and instruments not unlike his 1978 effort for Arista Records, "Mountain Dance". So would artist Billy Cobham and his purely digital album, "Warning", who recorded this album during the year. | The label also signed popular harpist, Deborah Henson-Conant to further diversify the label much like they had done in the late 1970s which got their label off and running. Signing her to a four-album deal in which her fourth album for the label in 1993 called "Budapest", was abruptly cancelled and released by another label. | 1 |
In 1984, Grusin would release his second purely digitally recorded album and his first one for his label, "Night-Lines", which used even more contemporary digital equipment and instruments not unlike his 1978 effort for Arista Records, "Mountain Dance". So would artist Billy Cobham and his purely digital album, "Warning", who recorded this album during the year. | The Compact Disc Player and Compact Disc were introduced that year in Japan; Grusin and Rosen were intrigued by its audiophile sound and it was something they felt would be vital to the growth of the company. | 0 |
In 1984, Grusin would release his second purely digitally recorded album and his first one for his label, "Night-Lines", which used even more contemporary digital equipment and instruments not unlike his 1978 effort for Arista Records, "Mountain Dance". So would artist Billy Cobham and his purely digital album, "Warning", who recorded this album during the year. | Compact discs were carried in limited supply in record stores but were available wherever CD player systems were sold at that time when they were first released. Knowing this, Grusin and Rosen produced CD Samplers (three in three different volumes from 1984–87) that showcased the artists on the label, the sound quality, and performances due to the lack of other record labels having joined the format at that time which lasted until 1987, when a lot of the record labels made the transition to the CD format. These CDs did help gain the label an audience with the audiophiles who first bought these machines and also, to expand the label in format. Their first batches of pressed discs from 1984 until 1987 came directly from Japan by the JVC Corporation, which are audiophile in quality and were quality produced recordings that truly displayed the dynamic range of the performances, unlike an LP or cassette. | 1 |
In 1984, Grusin would release his second purely digitally recorded album and his first one for his label, "Night-Lines", which used even more contemporary digital equipment and instruments not unlike his 1978 effort for Arista Records, "Mountain Dance". So would artist Billy Cobham and his purely digital album, "Warning", who recorded this album during the year. | After founders Dave Grusin and Larry Rosen left the label in early in 1995, famed producer Tommy LiPuma was given the reins of the label with a few of Grusin and Rosen's artists staying on board, including David Benoit, Arturo Sandoval (who would depart in 1997), Lee Ritenour (who would depart in 1996 and return in 2002), The Rippingtons featuring Russ Freeman (who would depart the label in 2000), Gary Burton (who would depart in 1996), Spyro Gyra (who would depart in the late 1990s), Diane Schuur (who would leave after 1997) Tom Scott (who would depart late in the 1990s), Nelson Rangell (who would depart in 1997), Joe Sample (who stayed with the label until his passing), Larry Carlton (who would go onto record with his regular group, Fourplay, and would sign with Warner Bros. Records after 1996), and Ramsey Lewis (who would leave after 1997). Many original or recently signed artists departed, including Dave Valentin (who had recorded fifteen albums for the label from the beginning until 1994), Chick Corea (who left for Concord Music during 1995 after his final release for GRP), Sergio Salvatore, The Yellowjackets, B.B. King, Michael Brecker (whose contract was transferred back to Impulse! Records where he had originally signed during the 1980s), Teodross Avery (who Grusin and Rosen signed in 1993 had his contract transferred to Impulse!), Eddie Daniels (had already left in 1994), Patti Austin, Urban Knights (who would leave for Narada Jazz after 1997) and John Patitucci (who would leave for Concord Music in 1996) among the many artists who were not brought back when their contracts expired. | 0 |
In 1984, Grusin would release his second purely digitally recorded album and his first one for his label, "Night-Lines", which used even more contemporary digital equipment and instruments not unlike his 1978 effort for Arista Records, "Mountain Dance". So would artist Billy Cobham and his purely digital album, "Warning", who recorded this album during the year. | They also produced and released a similar project to that of the Glenn Miller Band dedicated to one of jazz's greatest legends, Duke Ellington. The album "Digital Duke" reassembled members of Duke Ellington's band under the direction of his son, Mercer, in a digital recording setting with the latest technology. The album was produced in conjunction to the United States Postal Office's official .22 cent Stamp dedicated to Ellington a year earlier commemorating his 87th Birthday. | 1 |
In 1984, Grusin would release his second purely digitally recorded album and his first one for his label, "Night-Lines", which used even more contemporary digital equipment and instruments not unlike his 1978 effort for Arista Records, "Mountain Dance". So would artist Billy Cobham and his purely digital album, "Warning", who recorded this album during the year. | The music label was started and founded by Oscar-winning composer and Grammy Award-winning jazz musician Dave Grusin along with his best friend and former drummer turned engineer and co-producer/label runner Larry Rosen. Grusin and Rosen were originally members of singer Andy Williams' band during the 1960s and after both left Williams, Grusin established both his career as jazz musician with his debut album "Subways Are for Sleeping" for Columbia Records and as an established film composer with scores for "Divorce American Style" (his first film score ever written and a job obtained from his work with prolific film and television producer Bud Yorkin), "The Graduate", "The Heart Is A Lonely Hunter" (which is Grusin's favorite film score and would re-record the theme on many of his jazz albums in later years), "Candy" and "Winning" as well as working in television. Rosen would start his own commercial recording agency catering to record music for television commercials and other industry films, while personally learning the art of music engineering giving up playing professionally as a jazz drummer. He would build his own studio during this period that would be the first step of Grusin and Rosen's evolution of the eventual label in years to come. | 0 |
Grusin and Rosen were approached by the JVC Corporation late in 1984 to represent them because of their standards for the highest quality in recording and for their well-regarded albums for the latest in their audio technology. So for the first time under their own banner, the label conducted its first live tour around Europe and the US during the Summer of 1985. Eventually, the label decided to have a "live session" which was videotaped at the Record Plant Recording Studio in Los Angeles, California as well featuring all of the members of that travelled that included Grusin, Ritenour, Valentin, Schuur and their GRP recording members. | The label also recorded the first of three Christmas albums featuring artists from the label entitled "A GRP Christmas Collection" that included jazz interpretations of classic Christmas songs and some that are obscure arranged in diverse ways by the artist recording on it. The label would produce two more albums in 1991 and 1993, which was the final one under Grusin and Rosen's supervision before they departed from the label in 1994. The artists that participated in the album included the likes of Grusin, Lee Ritenour, David Benoit, Gary Burton, Tom Scott, Diane Schuur, Nelson Rangell, Arturo Sandoval, Chick Corea, Eddie Daniels, New York Voices, George Howard, Ramsey Lewis, B.B. King, Russ Freeman and The Yellowjackets among others. | 1 |
Grusin and Rosen were approached by the JVC Corporation late in 1984 to represent them because of their standards for the highest quality in recording and for their well-regarded albums for the latest in their audio technology. So for the first time under their own banner, the label conducted its first live tour around Europe and the US during the Summer of 1985. Eventually, the label decided to have a "live session" which was videotaped at the Record Plant Recording Studio in Los Angeles, California as well featuring all of the members of that travelled that included Grusin, Ritenour, Valentin, Schuur and their GRP recording members. | With Grusin and Rosen flourishing in their respective careers as a film composer, jazz musician, engineer and commercial music producer in which Rosen had won numerous CLIO awards for background in commercial music, a chance recording session for a commercial would set up what would become the seeds of their eventual partnership. Rosen had just recorded a musician named Jon Lucien in 1972 in which Lucien would sing and play for the engineer and fledging producer. Rosen was excited about the prospects of recording him and then contacted Grusin to do the musical arrangements for the potential album. The album "Rashida" for RCA Victor released in 1973 was Grusin and Rosen's first producing job and they followed up their first collaboration with Lucien with "Song For My Lady" for Columbia Records in 1975. Grusin during this time would not only provide arrangements for the likes of Sergio Mendes and Peggy Lee but also began a prolific partnership in Hollywood with the late director Sydney Pollack, that would benefit both men as they worked together for more than three decades until Pollack's passing in the late 2000s. Their first film together "The Yakuza" for Warner Bros. would also feature one of Grusin's best friends and also a label mate in popular guitarist Lee Ritenour, who was around 19 years old at the time, and "Three Days of The Condor" starring Oscar Award winner Robert Redford, which is the most popular score and film of their decades-long collaboration. | 0 |
Grusin and Rosen were approached by the JVC Corporation late in 1984 to represent them because of their standards for the highest quality in recording and for their well-regarded albums for the latest in their audio technology. So for the first time under their own banner, the label conducted its first live tour around Europe and the US during the Summer of 1985. Eventually, the label decided to have a "live session" which was videotaped at the Record Plant Recording Studio in Los Angeles, California as well featuring all of the members of that travelled that included Grusin, Ritenour, Valentin, Schuur and their GRP recording members. | Grusin would celebrate his 1988 Academy Award win with another nomination for his score and important participation for the comedy-drama, "The Fabulous Baker Boys", starring Oscar Winner 7, Jeff Bridges, Academy Award Nominee Beau Bridges (Jeff's brother) and Academy Award Nominee Michelle Pfeiffer. The film would receive multiple nominations, including Best Picture and for Grusin's invaluable contribution for Best Original Score. The album would be a best seller for the label. | 1 |
Grusin and Rosen were approached by the JVC Corporation late in 1984 to represent them because of their standards for the highest quality in recording and for their well-regarded albums for the latest in their audio technology. So for the first time under their own banner, the label conducted its first live tour around Europe and the US during the Summer of 1985. Eventually, the label decided to have a "live session" which was videotaped at the Record Plant Recording Studio in Los Angeles, California as well featuring all of the members of that travelled that included Grusin, Ritenour, Valentin, Schuur and their GRP recording members. | Founder Dave Grusin did record a tribute album dedicated to the music of the legendary Henry Mancini entitled "Two For The Road" in 1996 and released in 1997. This would be the second to last album for the label, with "Dave Grusin: Now Playing", a solo piano album dedicated to his music from the films he had composed the music for recorded in 2003 and eventually released in 2004 being his last official release on the label. | 0 |
Grusin and Rosen were approached by the JVC Corporation late in 1984 to represent them because of their standards for the highest quality in recording and for their well-regarded albums for the latest in their audio technology. So for the first time under their own banner, the label conducted its first live tour around Europe and the US during the Summer of 1985. Eventually, the label decided to have a "live session" which was videotaped at the Record Plant Recording Studio in Los Angeles, California as well featuring all of the members of that travelled that included Grusin, Ritenour, Valentin, Schuur and their GRP recording members. | By the end of 1989, GRP is named the number one jazz label in the world by voters. Radio stations like New York's CD 101.9 on the East Coast and WNUNA 95.5 in California were up and running under the "smooth jazz" format where a lot of the label's stars began to shine and the label would create samplers on behalf of the record stations to promote the label and the artist. Giving them considerably strong airplay over the radio. The label would have a successful year with albums by David Benoit, Lee Ritenour, Dave Grusin, Chick Corea, Gary Burton, Diane Schuur and Nelson Rangell that would propel them into the 1990s on a high note. | 1 |
Grusin and Rosen were approached by the JVC Corporation late in 1984 to represent them because of their standards for the highest quality in recording and for their well-regarded albums for the latest in their audio technology. So for the first time under their own banner, the label conducted its first live tour around Europe and the US during the Summer of 1985. Eventually, the label decided to have a "live session" which was videotaped at the Record Plant Recording Studio in Los Angeles, California as well featuring all of the members of that travelled that included Grusin, Ritenour, Valentin, Schuur and their GRP recording members. | Soon they would make a very important decision that would change the history of jazz, since both Grusin and Rosen both strongly felt that all of the albums they had produced for most labels were getting the "back of the bus" treatment without proper advertising or promotion. They were also disappointed that the albums they produced were not released or available at record stores on their release dates. Taking in all of these factors, Grusin and Rosen formed a record company because they wanted to be in control of all of these factors. This led to them signing established jazz stars such as Lee Ritenour, Billy Cobham, Chick Corea, Dizzy Gillespie, and Gerry Mulligan to go along with Dave Valentin, who joined Grusin and Rosen after leaving Arista Records along with newbies, guitarist Kevin Eubanks, the group Special EFX and Diane Schuur, a blind singer-pianist from Seattle, who was discovered by the late saxophonist Stan Getz and invited to the White House in 1982 to perform with Getz for First Lady Nancy Reagan on a special that aired on PBS. | 0 |
Also in 1984 the film, "Falling In Love" starring Oscar winners Robert De Niro and Meryl Streep would be released by Paramount Pictures. Grusin provided the original musical score for the film, but the film had been tracked by music from Grusin's breakthrough digital album, "Mountain Dance" which became the main theme for the film despite writing a purely jazz score in the same vein. | In 1985, the label released their first-ever soundtrack to any motion picture for the drama, "American Flyers" starring Oscar winner Kevin Costner, which was composed and performed by Lee Ritenour and Greg Matheson, who were with the label exclusively at the time. The album was never released on CD until Varèse Sarabande finally released it in 2016. | 1 |
Also in 1984 the film, "Falling In Love" starring Oscar winners Robert De Niro and Meryl Streep would be released by Paramount Pictures. Grusin provided the original musical score for the film, but the film had been tracked by music from Grusin's breakthrough digital album, "Mountain Dance" which became the main theme for the film despite writing a purely jazz score in the same vein. | The compact disc was vital to the label's exisistance and continued digital excellence throughout its history. After splitting from Arista Records to go on their own, Dave Grusin and Larry Rosen, the founders gambled on the format to bring out their spirited high quality recordings to life. From 1983 until 1987, all of their CD releases were pressed by JVC Japan which added impeccable sound and sonic clarity that made the CD's pretty much sell themselves even in audio stores that had to carry the discs to sell with the expensive CD players that were released during this time. The first official album produced and recorded for this purpose was "In A Digital Mood" featuring the music of the late big band jazz leader, Glenn Miller, which was a high end production recorded in January 1983 for two important reasons. The first was produce an album that would suit the format's sonic capabilities and the second was that the first people who would buy the first CD players would be audiophile fanatics that would be in the range of enjoying this type of music. Grusin and Rosen's intuitions were proven right as the album went on to Gold Record status within ten years of its release and had sold over a million copies. The label's original releases were albums that Grusin and Rosen bought or licensed from Arista Records as well as other label's such as Polydor, JVC Japan and Elektra from artists such as Dave Valentin (who was the label's first signing), Lee Ritenour, Tom Browne, Jay Hoggard, Scott Jarrett and Grusin himself. There were plenty of new and fresh album releases by jazz legends Gerry Mulligan and jazz's ambassador Dizzy Gillespie in new sonic, digital settings along with new talent being displayed by the likes of Diane Schuur, Kevin Eubanks, and Special EFX along with veteran drummer Billy Cobham, who would be joined later on by Ritenour, Chick Corea, Eddie Daniels, David Benoit, Gary Burton and Tom Scott to add more diversity to label's roster. The label would sign a distribution deal with MCA in 1987 and it was the final year that the label would have their CD titles pressed by JVC Japan for the US. All titles would be pressed in the US starting in 1988. | 0 |
Also in 1984 the film, "Falling In Love" starring Oscar winners Robert De Niro and Meryl Streep would be released by Paramount Pictures. Grusin provided the original musical score for the film, but the film had been tracked by music from Grusin's breakthrough digital album, "Mountain Dance" which became the main theme for the film despite writing a purely jazz score in the same vein. | In 1984, Grusin would release his second purely digitally recorded album and his first one for his label, "Night-Lines", which used even more contemporary digital equipment and instruments not unlike his 1978 effort for Arista Records, "Mountain Dance". So would artist Billy Cobham and his purely digital album, "Warning", who recorded this album during the year. | 1 |
Also in 1984 the film, "Falling In Love" starring Oscar winners Robert De Niro and Meryl Streep would be released by Paramount Pictures. Grusin provided the original musical score for the film, but the film had been tracked by music from Grusin's breakthrough digital album, "Mountain Dance" which became the main theme for the film despite writing a purely jazz score in the same vein. | GRP Records (Grusin-Rosen Productions) is a jazz record label founded by Dave Grusin and Larry Rosen in 1978. Distributed by Verve Records, GRP was originally known for its digital recordings that focuses on its jazz genre. | 0 |
Also in 1984 the film, "Falling In Love" starring Oscar winners Robert De Niro and Meryl Streep would be released by Paramount Pictures. Grusin provided the original musical score for the film, but the film had been tracked by music from Grusin's breakthrough digital album, "Mountain Dance" which became the main theme for the film despite writing a purely jazz score in the same vein. | They also produced and released a similar project to that of the Glenn Miller Band dedicated to one of jazz's greatest legends, Duke Ellington. The album "Digital Duke" reassembled members of Duke Ellington's band under the direction of his son, Mercer, in a digital recording setting with the latest technology. The album was produced in conjunction to the United States Postal Office's official .22 cent Stamp dedicated to Ellington a year earlier commemorating his 87th Birthday. | 1 |
Also in 1984 the film, "Falling In Love" starring Oscar winners Robert De Niro and Meryl Streep would be released by Paramount Pictures. Grusin provided the original musical score for the film, but the film had been tracked by music from Grusin's breakthrough digital album, "Mountain Dance" which became the main theme for the film despite writing a purely jazz score in the same vein. | The music label was started and founded by Oscar-winning composer and Grammy Award-winning jazz musician Dave Grusin along with his best friend and former drummer turned engineer and co-producer/label runner Larry Rosen. Grusin and Rosen were originally members of singer Andy Williams' band during the 1960s and after both left Williams, Grusin established both his career as jazz musician with his debut album "Subways Are for Sleeping" for Columbia Records and as an established film composer with scores for "Divorce American Style" (his first film score ever written and a job obtained from his work with prolific film and television producer Bud Yorkin), "The Graduate", "The Heart Is A Lonely Hunter" (which is Grusin's favorite film score and would re-record the theme on many of his jazz albums in later years), "Candy" and "Winning" as well as working in television. Rosen would start his own commercial recording agency catering to record music for television commercials and other industry films, while personally learning the art of music engineering giving up playing professionally as a jazz drummer. He would build his own studio during this period that would be the first step of Grusin and Rosen's evolution of the eventual label in years to come. | 0 |
In 1985, the label released their first-ever soundtrack to any motion picture for the drama, "American Flyers" starring Oscar winner Kevin Costner, which was composed and performed by Lee Ritenour and Greg Matheson, who were with the label exclusively at the time. The album was never released on CD until Varèse Sarabande finally released it in 2016. | The label also recorded the first of three Christmas albums featuring artists from the label entitled "A GRP Christmas Collection" that included jazz interpretations of classic Christmas songs and some that are obscure arranged in diverse ways by the artist recording on it. The label would produce two more albums in 1991 and 1993, which was the final one under Grusin and Rosen's supervision before they departed from the label in 1994. The artists that participated in the album included the likes of Grusin, Lee Ritenour, David Benoit, Gary Burton, Tom Scott, Diane Schuur, Nelson Rangell, Arturo Sandoval, Chick Corea, Eddie Daniels, New York Voices, George Howard, Ramsey Lewis, B.B. King, Russ Freeman and The Yellowjackets among others. | 1 |
In 1985, the label released their first-ever soundtrack to any motion picture for the drama, "American Flyers" starring Oscar winner Kevin Costner, which was composed and performed by Lee Ritenour and Greg Matheson, who were with the label exclusively at the time. The album was never released on CD until Varèse Sarabande finally released it in 2016. | Soon they would make a very important decision that would change the history of jazz, since both Grusin and Rosen both strongly felt that all of the albums they had produced for most labels were getting the "back of the bus" treatment without proper advertising or promotion. They were also disappointed that the albums they produced were not released or available at record stores on their release dates. Taking in all of these factors, Grusin and Rosen formed a record company because they wanted to be in control of all of these factors. This led to them signing established jazz stars such as Lee Ritenour, Billy Cobham, Chick Corea, Dizzy Gillespie, and Gerry Mulligan to go along with Dave Valentin, who joined Grusin and Rosen after leaving Arista Records along with newbies, guitarist Kevin Eubanks, the group Special EFX and Diane Schuur, a blind singer-pianist from Seattle, who was discovered by the late saxophonist Stan Getz and invited to the White House in 1982 to perform with Getz for First Lady Nancy Reagan on a special that aired on PBS. | 0 |
In 1985, the label released their first-ever soundtrack to any motion picture for the drama, "American Flyers" starring Oscar winner Kevin Costner, which was composed and performed by Lee Ritenour and Greg Matheson, who were with the label exclusively at the time. The album was never released on CD until Varèse Sarabande finally released it in 2016. | Also in 1984 the film, "Falling In Love" starring Oscar winners Robert De Niro and Meryl Streep would be released by Paramount Pictures. Grusin provided the original musical score for the film, but the film had been tracked by music from Grusin's breakthrough digital album, "Mountain Dance" which became the main theme for the film despite writing a purely jazz score in the same vein. | 1 |
In 1985, the label released their first-ever soundtrack to any motion picture for the drama, "American Flyers" starring Oscar winner Kevin Costner, which was composed and performed by Lee Ritenour and Greg Matheson, who were with the label exclusively at the time. The album was never released on CD until Varèse Sarabande finally released it in 2016. | The music label was started and founded by Oscar-winning composer and Grammy Award-winning jazz musician Dave Grusin along with his best friend and former drummer turned engineer and co-producer/label runner Larry Rosen. Grusin and Rosen were originally members of singer Andy Williams' band during the 1960s and after both left Williams, Grusin established both his career as jazz musician with his debut album "Subways Are for Sleeping" for Columbia Records and as an established film composer with scores for "Divorce American Style" (his first film score ever written and a job obtained from his work with prolific film and television producer Bud Yorkin), "The Graduate", "The Heart Is A Lonely Hunter" (which is Grusin's favorite film score and would re-record the theme on many of his jazz albums in later years), "Candy" and "Winning" as well as working in television. Rosen would start his own commercial recording agency catering to record music for television commercials and other industry films, while personally learning the art of music engineering giving up playing professionally as a jazz drummer. He would build his own studio during this period that would be the first step of Grusin and Rosen's evolution of the eventual label in years to come. | 0 |
In 1985, the label released their first-ever soundtrack to any motion picture for the drama, "American Flyers" starring Oscar winner Kevin Costner, which was composed and performed by Lee Ritenour and Greg Matheson, who were with the label exclusively at the time. The album was never released on CD until Varèse Sarabande finally released it in 2016. | Grusin and Rosen were approached by the JVC Corporation late in 1984 to represent them because of their standards for the highest quality in recording and for their well-regarded albums for the latest in their audio technology. So for the first time under their own banner, the label conducted its first live tour around Europe and the US during the Summer of 1985. Eventually, the label decided to have a "live session" which was videotaped at the Record Plant Recording Studio in Los Angeles, California as well featuring all of the members of that travelled that included Grusin, Ritenour, Valentin, Schuur and their GRP recording members. | 1 |
In 1985, the label released their first-ever soundtrack to any motion picture for the drama, "American Flyers" starring Oscar winner Kevin Costner, which was composed and performed by Lee Ritenour and Greg Matheson, who were with the label exclusively at the time. The album was never released on CD until Varèse Sarabande finally released it in 2016. | With Grusin and Rosen flourishing in their respective careers as a film composer, jazz musician, engineer and commercial music producer in which Rosen had won numerous CLIO awards for background in commercial music, a chance recording session for a commercial would set up what would become the seeds of their eventual partnership. Rosen had just recorded a musician named Jon Lucien in 1972 in which Lucien would sing and play for the engineer and fledging producer. Rosen was excited about the prospects of recording him and then contacted Grusin to do the musical arrangements for the potential album. The album "Rashida" for RCA Victor released in 1973 was Grusin and Rosen's first producing job and they followed up their first collaboration with Lucien with "Song For My Lady" for Columbia Records in 1975. Grusin during this time would not only provide arrangements for the likes of Sergio Mendes and Peggy Lee but also began a prolific partnership in Hollywood with the late director Sydney Pollack, that would benefit both men as they worked together for more than three decades until Pollack's passing in the late 2000s. Their first film together "The Yakuza" for Warner Bros. would also feature one of Grusin's best friends and also a label mate in popular guitarist Lee Ritenour, who was around 19 years old at the time, and "Three Days of The Condor" starring Oscar Award winner Robert Redford, which is the most popular score and film of their decades-long collaboration. | 0 |
In 1986, Eddie Daniels would make his Grammy-nominated debut for the label with "Breakthrough", which was a fusion album of a different sort as Daniels' clarinet solos were mixed with a huge London Orchestra creating a very elaborate and popular album that melded both jazz and classical together. A year later, Daniels' follow-up album for the label "To Bird With Love", would be the very first "pure" jazz recording for the label dedicated to the late saxophonist Charlie Parker, gaining positive reviews. | Now established as a record company, Grusin and Rosen were pushing forward and thinking of the future and how to make the label stand out with the evolving technology of the times. Grusin and Rosen figured that the compact disc with its optical and audiophile capabilities would be a very important part of what they were trying to do to make the label successful, which was to produce high-quality recordings with the best sound and production available to them including recording venues, musicians and orchestras. | 1 |
In 1986, Eddie Daniels would make his Grammy-nominated debut for the label with "Breakthrough", which was a fusion album of a different sort as Daniels' clarinet solos were mixed with a huge London Orchestra creating a very elaborate and popular album that melded both jazz and classical together. A year later, Daniels' follow-up album for the label "To Bird With Love", would be the very first "pure" jazz recording for the label dedicated to the late saxophonist Charlie Parker, gaining positive reviews. | With Grusin and Rosen flourishing in their respective careers as a film composer, jazz musician, engineer and commercial music producer in which Rosen had won numerous CLIO awards for background in commercial music, a chance recording session for a commercial would set up what would become the seeds of their eventual partnership. Rosen had just recorded a musician named Jon Lucien in 1972 in which Lucien would sing and play for the engineer and fledging producer. Rosen was excited about the prospects of recording him and then contacted Grusin to do the musical arrangements for the potential album. The album "Rashida" for RCA Victor released in 1973 was Grusin and Rosen's first producing job and they followed up their first collaboration with Lucien with "Song For My Lady" for Columbia Records in 1975. Grusin during this time would not only provide arrangements for the likes of Sergio Mendes and Peggy Lee but also began a prolific partnership in Hollywood with the late director Sydney Pollack, that would benefit both men as they worked together for more than three decades until Pollack's passing in the late 2000s. Their first film together "The Yakuza" for Warner Bros. would also feature one of Grusin's best friends and also a label mate in popular guitarist Lee Ritenour, who was around 19 years old at the time, and "Three Days of The Condor" starring Oscar Award winner Robert Redford, which is the most popular score and film of their decades-long collaboration. | 0 |
In 1986, Eddie Daniels would make his Grammy-nominated debut for the label with "Breakthrough", which was a fusion album of a different sort as Daniels' clarinet solos were mixed with a huge London Orchestra creating a very elaborate and popular album that melded both jazz and classical together. A year later, Daniels' follow-up album for the label "To Bird With Love", would be the very first "pure" jazz recording for the label dedicated to the late saxophonist Charlie Parker, gaining positive reviews. | Grusin and Rosen were approached by the JVC Corporation late in 1984 to represent them because of their standards for the highest quality in recording and for their well-regarded albums for the latest in their audio technology. So for the first time under their own banner, the label conducted its first live tour around Europe and the US during the Summer of 1985. Eventually, the label decided to have a "live session" which was videotaped at the Record Plant Recording Studio in Los Angeles, California as well featuring all of the members of that travelled that included Grusin, Ritenour, Valentin, Schuur and their GRP recording members. | 1 |
In 1986, Eddie Daniels would make his Grammy-nominated debut for the label with "Breakthrough", which was a fusion album of a different sort as Daniels' clarinet solos were mixed with a huge London Orchestra creating a very elaborate and popular album that melded both jazz and classical together. A year later, Daniels' follow-up album for the label "To Bird With Love", would be the very first "pure" jazz recording for the label dedicated to the late saxophonist Charlie Parker, gaining positive reviews. | Also in 1990, Cuban trumpet player Arturo Sandoval defected to the United States and the label immediately signed him and made his debut for the label in 1991 with the album "Flight To Freedom", his first five solo albums and several other appearances on the label with fellow recording artists such as Dave Valentin, Rene Toledo, Dave Grusin and a well received album dedicated to his best friend, the late Dizzy Gillespie "Dream Come True", which featured a collaboration with Oscar Winner Michel Legrand and albums such as "A GRP Christmas Collection", and the "GRP All-Star Big Band" to name a few until his final album, the critically acclaimed "Swingin" for the label in 1996. | 0 |
In 1986, Eddie Daniels would make his Grammy-nominated debut for the label with "Breakthrough", which was a fusion album of a different sort as Daniels' clarinet solos were mixed with a huge London Orchestra creating a very elaborate and popular album that melded both jazz and classical together. A year later, Daniels' follow-up album for the label "To Bird With Love", would be the very first "pure" jazz recording for the label dedicated to the late saxophonist Charlie Parker, gaining positive reviews. | They also produced and released a similar project to that of the Glenn Miller Band dedicated to one of jazz's greatest legends, Duke Ellington. The album "Digital Duke" reassembled members of Duke Ellington's band under the direction of his son, Mercer, in a digital recording setting with the latest technology. The album was produced in conjunction to the United States Postal Office's official .22 cent Stamp dedicated to Ellington a year earlier commemorating his 87th Birthday. | 1 |
In 1986, Eddie Daniels would make his Grammy-nominated debut for the label with "Breakthrough", which was a fusion album of a different sort as Daniels' clarinet solos were mixed with a huge London Orchestra creating a very elaborate and popular album that melded both jazz and classical together. A year later, Daniels' follow-up album for the label "To Bird With Love", would be the very first "pure" jazz recording for the label dedicated to the late saxophonist Charlie Parker, gaining positive reviews. | In 1994, the label would release the soundtrack to the hit and critically acclaimed documentary film "Hoop Dreams", which was nominated for Academy Awards and had fallen into a lot controversy about how the film was handled by the Academy voters branch. | 0 |
By 1987, the label was no longer independent as they signed a distribution deal with MCA Distributing, one of the six largest distribution companies in the US at the time. The deal was significant at the time because it helped the label reach the top of the Billboard Magazine charts as the number one jazz label in the world starting in 1988, according to the Billboard polls, as more people would have access to their recordings unlike before. | 1988 marked a couple of firsts for the label. Flautist Dave Valentin recorded his first "Live" album for the label and that for any solo artist, "Dave Valentin Live At The Blue Note", which was a two-night recording that took place on May 31 and June 1 of that year, which would mark the first of a series of "Live Albums" for the artists on the label which would follow in later years with Chick Corea ("Alive"), The Rippingtons ("Live In LA") and ""Dave Grusin Presents GRP All-Star Big Band Live!"" which was the follow-up album to the original GRP All-Star Big Band from the labels' 10th Anniversary. | 1 |
By 1987, the label was no longer independent as they signed a distribution deal with MCA Distributing, one of the six largest distribution companies in the US at the time. The deal was significant at the time because it helped the label reach the top of the Billboard Magazine charts as the number one jazz label in the world starting in 1988, according to the Billboard polls, as more people would have access to their recordings unlike before. | The Compact Disc Player and Compact Disc were introduced that year in Japan; Grusin and Rosen were intrigued by its audiophile sound and it was something they felt would be vital to the growth of the company. | 0 |
By 1987, the label was no longer independent as they signed a distribution deal with MCA Distributing, one of the six largest distribution companies in the US at the time. The deal was significant at the time because it helped the label reach the top of the Billboard Magazine charts as the number one jazz label in the world starting in 1988, according to the Billboard polls, as more people would have access to their recordings unlike before. | Grusin and Rosen were approached by the JVC Corporation late in 1984 to represent them because of their standards for the highest quality in recording and for their well-regarded albums for the latest in their audio technology. So for the first time under their own banner, the label conducted its first live tour around Europe and the US during the Summer of 1985. Eventually, the label decided to have a "live session" which was videotaped at the Record Plant Recording Studio in Los Angeles, California as well featuring all of the members of that travelled that included Grusin, Ritenour, Valentin, Schuur and their GRP recording members. | 1 |
By 1987, the label was no longer independent as they signed a distribution deal with MCA Distributing, one of the six largest distribution companies in the US at the time. The deal was significant at the time because it helped the label reach the top of the Billboard Magazine charts as the number one jazz label in the world starting in 1988, according to the Billboard polls, as more people would have access to their recordings unlike before. | They were all successfully-produced albums, especially during the latter half of the decade, when disco had become a successful musical fad. They were also able to accomplish this with somewhat limited airplay before more radio stations that featured solely jazz would hit the airwaves, which eventually happened in later years throughout the US. Grusin and Rosen's albums were so well produced that radio stations did find a place for them, which would benefit them in the next couple of decades. | 0 |
By 1987, the label was no longer independent as they signed a distribution deal with MCA Distributing, one of the six largest distribution companies in the US at the time. The deal was significant at the time because it helped the label reach the top of the Billboard Magazine charts as the number one jazz label in the world starting in 1988, according to the Billboard polls, as more people would have access to their recordings unlike before. | In 1985, the label released their first-ever soundtrack to any motion picture for the drama, "American Flyers" starring Oscar winner Kevin Costner, which was composed and performed by Lee Ritenour and Greg Matheson, who were with the label exclusively at the time. The album was never released on CD until Varèse Sarabande finally released it in 2016. | 1 |
By 1987, the label was no longer independent as they signed a distribution deal with MCA Distributing, one of the six largest distribution companies in the US at the time. The deal was significant at the time because it helped the label reach the top of the Billboard Magazine charts as the number one jazz label in the world starting in 1988, according to the Billboard polls, as more people would have access to their recordings unlike before. | GRP Records (Grusin-Rosen Productions) is a jazz record label founded by Dave Grusin and Larry Rosen in 1978. Distributed by Verve Records, GRP was originally known for its digital recordings that focuses on its jazz genre. | 0 |
They also produced and released a similar project to that of the Glenn Miller Band dedicated to one of jazz's greatest legends, Duke Ellington. The album "Digital Duke" reassembled members of Duke Ellington's band under the direction of his son, Mercer, in a digital recording setting with the latest technology. The album was produced in conjunction to the United States Postal Office's official .22 cent Stamp dedicated to Ellington a year earlier commemorating his 87th Birthday. | In 1986, Eddie Daniels would make his Grammy-nominated debut for the label with "Breakthrough", which was a fusion album of a different sort as Daniels' clarinet solos were mixed with a huge London Orchestra creating a very elaborate and popular album that melded both jazz and classical together. A year later, Daniels' follow-up album for the label "To Bird With Love", would be the very first "pure" jazz recording for the label dedicated to the late saxophonist Charlie Parker, gaining positive reviews. | 1 |
They also produced and released a similar project to that of the Glenn Miller Band dedicated to one of jazz's greatest legends, Duke Ellington. The album "Digital Duke" reassembled members of Duke Ellington's band under the direction of his son, Mercer, in a digital recording setting with the latest technology. The album was produced in conjunction to the United States Postal Office's official .22 cent Stamp dedicated to Ellington a year earlier commemorating his 87th Birthday. | The label would change its name and moniker to Great Records Period after 1995 under LiPuma's direction since Grusin and Rosen had sold the company in 1990. | 0 |
They also produced and released a similar project to that of the Glenn Miller Band dedicated to one of jazz's greatest legends, Duke Ellington. The album "Digital Duke" reassembled members of Duke Ellington's band under the direction of his son, Mercer, in a digital recording setting with the latest technology. The album was produced in conjunction to the United States Postal Office's official .22 cent Stamp dedicated to Ellington a year earlier commemorating his 87th Birthday. | To accomplish this, they decided on a specific album that not only would introduce the best of what they were producing, but also an album that catered to those people who could afford the first CD players available for their homes, which cost $1,000 per unit at the time in 1983. After much research, the Glenn Miller Band was chosen to be the first album recorded for their company in January 1983. Members of the original band, as well as special guests like singer Mel Tormé, also participated in the ambitious project recorded in New York City. The album "In The Digital Mood" not only became a popular album after its release selling more than 100,000 units, but also one of the label's greatest selling albums to this day, and was recognized as such in 1992 with a "Gold Edition". | 1 |
They also produced and released a similar project to that of the Glenn Miller Band dedicated to one of jazz's greatest legends, Duke Ellington. The album "Digital Duke" reassembled members of Duke Ellington's band under the direction of his son, Mercer, in a digital recording setting with the latest technology. The album was produced in conjunction to the United States Postal Office's official .22 cent Stamp dedicated to Ellington a year earlier commemorating his 87th Birthday. | In 1994, the label would release the soundtrack to the hit and critically acclaimed documentary film "Hoop Dreams", which was nominated for Academy Awards and had fallen into a lot controversy about how the film was handled by the Academy voters branch. | 0 |
They also produced and released a similar project to that of the Glenn Miller Band dedicated to one of jazz's greatest legends, Duke Ellington. The album "Digital Duke" reassembled members of Duke Ellington's band under the direction of his son, Mercer, in a digital recording setting with the latest technology. The album was produced in conjunction to the United States Postal Office's official .22 cent Stamp dedicated to Ellington a year earlier commemorating his 87th Birthday. | The label also signed popular harpist, Deborah Henson-Conant to further diversify the label much like they had done in the late 1970s which got their label off and running. Signing her to a four-album deal in which her fourth album for the label in 1993 called "Budapest", was abruptly cancelled and released by another label. | 1 |
They also produced and released a similar project to that of the Glenn Miller Band dedicated to one of jazz's greatest legends, Duke Ellington. The album "Digital Duke" reassembled members of Duke Ellington's band under the direction of his son, Mercer, in a digital recording setting with the latest technology. The album was produced in conjunction to the United States Postal Office's official .22 cent Stamp dedicated to Ellington a year earlier commemorating his 87th Birthday. | With Grusin and Rosen flourishing in their respective careers as a film composer, jazz musician, engineer and commercial music producer in which Rosen had won numerous CLIO awards for background in commercial music, a chance recording session for a commercial would set up what would become the seeds of their eventual partnership. Rosen had just recorded a musician named Jon Lucien in 1972 in which Lucien would sing and play for the engineer and fledging producer. Rosen was excited about the prospects of recording him and then contacted Grusin to do the musical arrangements for the potential album. The album "Rashida" for RCA Victor released in 1973 was Grusin and Rosen's first producing job and they followed up their first collaboration with Lucien with "Song For My Lady" for Columbia Records in 1975. Grusin during this time would not only provide arrangements for the likes of Sergio Mendes and Peggy Lee but also began a prolific partnership in Hollywood with the late director Sydney Pollack, that would benefit both men as they worked together for more than three decades until Pollack's passing in the late 2000s. Their first film together "The Yakuza" for Warner Bros. would also feature one of Grusin's best friends and also a label mate in popular guitarist Lee Ritenour, who was around 19 years old at the time, and "Three Days of The Condor" starring Oscar Award winner Robert Redford, which is the most popular score and film of their decades-long collaboration. | 0 |
The label also signed vibraphonist Gary Burton and saxophonist Tom Scott, who would make significant contributions to the label with well-received albums of their own in "Reunion" and "Born Again", which is Scott's first pure jazz recording for the label and the first in more than a decade at the time and "Them Changes", which was the music from the short-lived "The Pat Sajak Show" that ran on CBS from January 1989 to 1990, where Scott was the musical director on. | By the end of 1989, GRP is named the number one jazz label in the world by voters. Radio stations like New York's CD 101.9 on the East Coast and WNUNA 95.5 in California were up and running under the "smooth jazz" format where a lot of the label's stars began to shine and the label would create samplers on behalf of the record stations to promote the label and the artist. Giving them considerably strong airplay over the radio. The label would have a successful year with albums by David Benoit, Lee Ritenour, Dave Grusin, Chick Corea, Gary Burton, Diane Schuur and Nelson Rangell that would propel them into the 1990s on a high note. | 1 |
The label also signed vibraphonist Gary Burton and saxophonist Tom Scott, who would make significant contributions to the label with well-received albums of their own in "Reunion" and "Born Again", which is Scott's first pure jazz recording for the label and the first in more than a decade at the time and "Them Changes", which was the music from the short-lived "The Pat Sajak Show" that ran on CBS from January 1989 to 1990, where Scott was the musical director on. | Grusin and Rosen's success as producers led to a meeting with Arista Records chief Clive Davis, whose Novus Records jazz banner had produced solid albums that were not selling despite positive reviews. Davis offered Grusin and Rosen a deal that would make them producers for at least three jazz artists per year, which the pair was not interested in doing. Grusin and Rosen wanted a logo deal that would make them established, and Davis agreed to it. | 0 |
The label also signed vibraphonist Gary Burton and saxophonist Tom Scott, who would make significant contributions to the label with well-received albums of their own in "Reunion" and "Born Again", which is Scott's first pure jazz recording for the label and the first in more than a decade at the time and "Them Changes", which was the music from the short-lived "The Pat Sajak Show" that ran on CBS from January 1989 to 1990, where Scott was the musical director on. | 1988 marked a couple of firsts for the label. Flautist Dave Valentin recorded his first "Live" album for the label and that for any solo artist, "Dave Valentin Live At The Blue Note", which was a two-night recording that took place on May 31 and June 1 of that year, which would mark the first of a series of "Live Albums" for the artists on the label which would follow in later years with Chick Corea ("Alive"), The Rippingtons ("Live In LA") and ""Dave Grusin Presents GRP All-Star Big Band Live!"" which was the follow-up album to the original GRP All-Star Big Band from the labels' 10th Anniversary. | 1 |
The label also signed vibraphonist Gary Burton and saxophonist Tom Scott, who would make significant contributions to the label with well-received albums of their own in "Reunion" and "Born Again", which is Scott's first pure jazz recording for the label and the first in more than a decade at the time and "Them Changes", which was the music from the short-lived "The Pat Sajak Show" that ran on CBS from January 1989 to 1990, where Scott was the musical director on. | Also, by this time the label had produced several offshoots that included Stretch Records, Peak Records, and a partnership with MCA in which a few releases by artists such as Laima and Patti Austin were under the GRP/MCA partnership. This did not last long, however. | 0 |
The label also signed vibraphonist Gary Burton and saxophonist Tom Scott, who would make significant contributions to the label with well-received albums of their own in "Reunion" and "Born Again", which is Scott's first pure jazz recording for the label and the first in more than a decade at the time and "Them Changes", which was the music from the short-lived "The Pat Sajak Show" that ran on CBS from January 1989 to 1990, where Scott was the musical director on. | To accomplish this, they decided on a specific album that not only would introduce the best of what they were producing, but also an album that catered to those people who could afford the first CD players available for their homes, which cost $1,000 per unit at the time in 1983. After much research, the Glenn Miller Band was chosen to be the first album recorded for their company in January 1983. Members of the original band, as well as special guests like singer Mel Tormé, also participated in the ambitious project recorded in New York City. The album "In The Digital Mood" not only became a popular album after its release selling more than 100,000 units, but also one of the label's greatest selling albums to this day, and was recognized as such in 1992 with a "Gold Edition". | 1 |
The label also signed vibraphonist Gary Burton and saxophonist Tom Scott, who would make significant contributions to the label with well-received albums of their own in "Reunion" and "Born Again", which is Scott's first pure jazz recording for the label and the first in more than a decade at the time and "Them Changes", which was the music from the short-lived "The Pat Sajak Show" that ran on CBS from January 1989 to 1990, where Scott was the musical director on. | Valentin's debut album "Legends" would sell more than 70,000 copies, Bofill's debut album "Angie" would sell over 280,000 copies and Browne's debut album "Browne Sugar" would sell more than 700,000 copies, which surprised many and solidified Grusin's and Rosen's reputations as producers. | 0 |
1988 marked a couple of firsts for the label. Flautist Dave Valentin recorded his first "Live" album for the label and that for any solo artist, "Dave Valentin Live At The Blue Note", which was a two-night recording that took place on May 31 and June 1 of that year, which would mark the first of a series of "Live Albums" for the artists on the label which would follow in later years with Chick Corea ("Alive"), The Rippingtons ("Live In LA") and ""Dave Grusin Presents GRP All-Star Big Band Live!"" which was the follow-up album to the original GRP All-Star Big Band from the labels' 10th Anniversary. | In 1984, Grusin would release his second purely digitally recorded album and his first one for his label, "Night-Lines", which used even more contemporary digital equipment and instruments not unlike his 1978 effort for Arista Records, "Mountain Dance". So would artist Billy Cobham and his purely digital album, "Warning", who recorded this album during the year. | 1 |
1988 marked a couple of firsts for the label. Flautist Dave Valentin recorded his first "Live" album for the label and that for any solo artist, "Dave Valentin Live At The Blue Note", which was a two-night recording that took place on May 31 and June 1 of that year, which would mark the first of a series of "Live Albums" for the artists on the label which would follow in later years with Chick Corea ("Alive"), The Rippingtons ("Live In LA") and ""Dave Grusin Presents GRP All-Star Big Band Live!"" which was the follow-up album to the original GRP All-Star Big Band from the labels' 10th Anniversary. | They were all successfully-produced albums, especially during the latter half of the decade, when disco had become a successful musical fad. They were also able to accomplish this with somewhat limited airplay before more radio stations that featured solely jazz would hit the airwaves, which eventually happened in later years throughout the US. Grusin and Rosen's albums were so well produced that radio stations did find a place for them, which would benefit them in the next couple of decades. | 0 |
1988 marked a couple of firsts for the label. Flautist Dave Valentin recorded his first "Live" album for the label and that for any solo artist, "Dave Valentin Live At The Blue Note", which was a two-night recording that took place on May 31 and June 1 of that year, which would mark the first of a series of "Live Albums" for the artists on the label which would follow in later years with Chick Corea ("Alive"), The Rippingtons ("Live In LA") and ""Dave Grusin Presents GRP All-Star Big Band Live!"" which was the follow-up album to the original GRP All-Star Big Band from the labels' 10th Anniversary. | Also in 1984 the film, "Falling In Love" starring Oscar winners Robert De Niro and Meryl Streep would be released by Paramount Pictures. Grusin provided the original musical score for the film, but the film had been tracked by music from Grusin's breakthrough digital album, "Mountain Dance" which became the main theme for the film despite writing a purely jazz score in the same vein. | 1 |
1988 marked a couple of firsts for the label. Flautist Dave Valentin recorded his first "Live" album for the label and that for any solo artist, "Dave Valentin Live At The Blue Note", which was a two-night recording that took place on May 31 and June 1 of that year, which would mark the first of a series of "Live Albums" for the artists on the label which would follow in later years with Chick Corea ("Alive"), The Rippingtons ("Live In LA") and ""Dave Grusin Presents GRP All-Star Big Band Live!"" which was the follow-up album to the original GRP All-Star Big Band from the labels' 10th Anniversary. | With Grusin and Rosen flourishing in their respective careers as a film composer, jazz musician, engineer and commercial music producer in which Rosen had won numerous CLIO awards for background in commercial music, a chance recording session for a commercial would set up what would become the seeds of their eventual partnership. Rosen had just recorded a musician named Jon Lucien in 1972 in which Lucien would sing and play for the engineer and fledging producer. Rosen was excited about the prospects of recording him and then contacted Grusin to do the musical arrangements for the potential album. The album "Rashida" for RCA Victor released in 1973 was Grusin and Rosen's first producing job and they followed up their first collaboration with Lucien with "Song For My Lady" for Columbia Records in 1975. Grusin during this time would not only provide arrangements for the likes of Sergio Mendes and Peggy Lee but also began a prolific partnership in Hollywood with the late director Sydney Pollack, that would benefit both men as they worked together for more than three decades until Pollack's passing in the late 2000s. Their first film together "The Yakuza" for Warner Bros. would also feature one of Grusin's best friends and also a label mate in popular guitarist Lee Ritenour, who was around 19 years old at the time, and "Three Days of The Condor" starring Oscar Award winner Robert Redford, which is the most popular score and film of their decades-long collaboration. | 0 |
1988 marked a couple of firsts for the label. Flautist Dave Valentin recorded his first "Live" album for the label and that for any solo artist, "Dave Valentin Live At The Blue Note", which was a two-night recording that took place on May 31 and June 1 of that year, which would mark the first of a series of "Live Albums" for the artists on the label which would follow in later years with Chick Corea ("Alive"), The Rippingtons ("Live In LA") and ""Dave Grusin Presents GRP All-Star Big Band Live!"" which was the follow-up album to the original GRP All-Star Big Band from the labels' 10th Anniversary. | Grusin and Rosen were approached by the JVC Corporation late in 1984 to represent them because of their standards for the highest quality in recording and for their well-regarded albums for the latest in their audio technology. So for the first time under their own banner, the label conducted its first live tour around Europe and the US during the Summer of 1985. Eventually, the label decided to have a "live session" which was videotaped at the Record Plant Recording Studio in Los Angeles, California as well featuring all of the members of that travelled that included Grusin, Ritenour, Valentin, Schuur and their GRP recording members. | 1 |
1988 marked a couple of firsts for the label. Flautist Dave Valentin recorded his first "Live" album for the label and that for any solo artist, "Dave Valentin Live At The Blue Note", which was a two-night recording that took place on May 31 and June 1 of that year, which would mark the first of a series of "Live Albums" for the artists on the label which would follow in later years with Chick Corea ("Alive"), The Rippingtons ("Live In LA") and ""Dave Grusin Presents GRP All-Star Big Band Live!"" which was the follow-up album to the original GRP All-Star Big Band from the labels' 10th Anniversary. | They also produced albums for other artists, including Patti Austin's "Havana Candy" for CTI Records, Lee Ritenour's "The Captain's Journey" for Elektra Records, and Yutaka Yokokura's "Love Light" for Alfa Records Japan, which was a hit throughout the US despite being released only in Japan, where the album was considered a commercial failure, as well as Grusin's "One Of The Kind" for Polydor Records. | 0 |
The label also recorded the first of three Christmas albums featuring artists from the label entitled "A GRP Christmas Collection" that included jazz interpretations of classic Christmas songs and some that are obscure arranged in diverse ways by the artist recording on it. The label would produce two more albums in 1991 and 1993, which was the final one under Grusin and Rosen's supervision before they departed from the label in 1994. The artists that participated in the album included the likes of Grusin, Lee Ritenour, David Benoit, Gary Burton, Tom Scott, Diane Schuur, Nelson Rangell, Arturo Sandoval, Chick Corea, Eddie Daniels, New York Voices, George Howard, Ramsey Lewis, B.B. King, Russ Freeman and The Yellowjackets among others. | By 1987, the label was no longer independent as they signed a distribution deal with MCA Distributing, one of the six largest distribution companies in the US at the time. The deal was significant at the time because it helped the label reach the top of the Billboard Magazine charts as the number one jazz label in the world starting in 1988, according to the Billboard polls, as more people would have access to their recordings unlike before. | 1 |
The label also recorded the first of three Christmas albums featuring artists from the label entitled "A GRP Christmas Collection" that included jazz interpretations of classic Christmas songs and some that are obscure arranged in diverse ways by the artist recording on it. The label would produce two more albums in 1991 and 1993, which was the final one under Grusin and Rosen's supervision before they departed from the label in 1994. The artists that participated in the album included the likes of Grusin, Lee Ritenour, David Benoit, Gary Burton, Tom Scott, Diane Schuur, Nelson Rangell, Arturo Sandoval, Chick Corea, Eddie Daniels, New York Voices, George Howard, Ramsey Lewis, B.B. King, Russ Freeman and The Yellowjackets among others. | Founder Dave Grusin did record a tribute album dedicated to the music of the legendary Henry Mancini entitled "Two For The Road" in 1996 and released in 1997. This would be the second to last album for the label, with "Dave Grusin: Now Playing", a solo piano album dedicated to his music from the films he had composed the music for recorded in 2003 and eventually released in 2004 being his last official release on the label. | 0 |
The label also recorded the first of three Christmas albums featuring artists from the label entitled "A GRP Christmas Collection" that included jazz interpretations of classic Christmas songs and some that are obscure arranged in diverse ways by the artist recording on it. The label would produce two more albums in 1991 and 1993, which was the final one under Grusin and Rosen's supervision before they departed from the label in 1994. The artists that participated in the album included the likes of Grusin, Lee Ritenour, David Benoit, Gary Burton, Tom Scott, Diane Schuur, Nelson Rangell, Arturo Sandoval, Chick Corea, Eddie Daniels, New York Voices, George Howard, Ramsey Lewis, B.B. King, Russ Freeman and The Yellowjackets among others. | In 1986, Eddie Daniels would make his Grammy-nominated debut for the label with "Breakthrough", which was a fusion album of a different sort as Daniels' clarinet solos were mixed with a huge London Orchestra creating a very elaborate and popular album that melded both jazz and classical together. A year later, Daniels' follow-up album for the label "To Bird With Love", would be the very first "pure" jazz recording for the label dedicated to the late saxophonist Charlie Parker, gaining positive reviews. | 1 |
The label also recorded the first of three Christmas albums featuring artists from the label entitled "A GRP Christmas Collection" that included jazz interpretations of classic Christmas songs and some that are obscure arranged in diverse ways by the artist recording on it. The label would produce two more albums in 1991 and 1993, which was the final one under Grusin and Rosen's supervision before they departed from the label in 1994. The artists that participated in the album included the likes of Grusin, Lee Ritenour, David Benoit, Gary Burton, Tom Scott, Diane Schuur, Nelson Rangell, Arturo Sandoval, Chick Corea, Eddie Daniels, New York Voices, George Howard, Ramsey Lewis, B.B. King, Russ Freeman and The Yellowjackets among others. | With Grusin and Rosen flourishing in their respective careers as a film composer, jazz musician, engineer and commercial music producer in which Rosen had won numerous CLIO awards for background in commercial music, a chance recording session for a commercial would set up what would become the seeds of their eventual partnership. Rosen had just recorded a musician named Jon Lucien in 1972 in which Lucien would sing and play for the engineer and fledging producer. Rosen was excited about the prospects of recording him and then contacted Grusin to do the musical arrangements for the potential album. The album "Rashida" for RCA Victor released in 1973 was Grusin and Rosen's first producing job and they followed up their first collaboration with Lucien with "Song For My Lady" for Columbia Records in 1975. Grusin during this time would not only provide arrangements for the likes of Sergio Mendes and Peggy Lee but also began a prolific partnership in Hollywood with the late director Sydney Pollack, that would benefit both men as they worked together for more than three decades until Pollack's passing in the late 2000s. Their first film together "The Yakuza" for Warner Bros. would also feature one of Grusin's best friends and also a label mate in popular guitarist Lee Ritenour, who was around 19 years old at the time, and "Three Days of The Condor" starring Oscar Award winner Robert Redford, which is the most popular score and film of their decades-long collaboration. | 0 |
The label also recorded the first of three Christmas albums featuring artists from the label entitled "A GRP Christmas Collection" that included jazz interpretations of classic Christmas songs and some that are obscure arranged in diverse ways by the artist recording on it. The label would produce two more albums in 1991 and 1993, which was the final one under Grusin and Rosen's supervision before they departed from the label in 1994. The artists that participated in the album included the likes of Grusin, Lee Ritenour, David Benoit, Gary Burton, Tom Scott, Diane Schuur, Nelson Rangell, Arturo Sandoval, Chick Corea, Eddie Daniels, New York Voices, George Howard, Ramsey Lewis, B.B. King, Russ Freeman and The Yellowjackets among others. | In 1985, the label released their first-ever soundtrack to any motion picture for the drama, "American Flyers" starring Oscar winner Kevin Costner, which was composed and performed by Lee Ritenour and Greg Matheson, who were with the label exclusively at the time. The album was never released on CD until Varèse Sarabande finally released it in 2016. | 1 |
The label also recorded the first of three Christmas albums featuring artists from the label entitled "A GRP Christmas Collection" that included jazz interpretations of classic Christmas songs and some that are obscure arranged in diverse ways by the artist recording on it. The label would produce two more albums in 1991 and 1993, which was the final one under Grusin and Rosen's supervision before they departed from the label in 1994. The artists that participated in the album included the likes of Grusin, Lee Ritenour, David Benoit, Gary Burton, Tom Scott, Diane Schuur, Nelson Rangell, Arturo Sandoval, Chick Corea, Eddie Daniels, New York Voices, George Howard, Ramsey Lewis, B.B. King, Russ Freeman and The Yellowjackets among others. | The label would change its name and moniker to Great Records Period after 1995 under LiPuma's direction since Grusin and Rosen had sold the company in 1990. | 0 |
Grusin would win his first Academy Award for Robert Redford's second film as a director, "The Milagro Beanfield War", which would be released a year later as part of his last album for the label of the decade, "Migration". | By 1987, the label was no longer independent as they signed a distribution deal with MCA Distributing, one of the six largest distribution companies in the US at the time. The deal was significant at the time because it helped the label reach the top of the Billboard Magazine charts as the number one jazz label in the world starting in 1988, according to the Billboard polls, as more people would have access to their recordings unlike before. | 1 |
Grusin would win his first Academy Award for Robert Redford's second film as a director, "The Milagro Beanfield War", which would be released a year later as part of his last album for the label of the decade, "Migration". | The music label was started and founded by Oscar-winning composer and Grammy Award-winning jazz musician Dave Grusin along with his best friend and former drummer turned engineer and co-producer/label runner Larry Rosen. Grusin and Rosen were originally members of singer Andy Williams' band during the 1960s and after both left Williams, Grusin established both his career as jazz musician with his debut album "Subways Are for Sleeping" for Columbia Records and as an established film composer with scores for "Divorce American Style" (his first film score ever written and a job obtained from his work with prolific film and television producer Bud Yorkin), "The Graduate", "The Heart Is A Lonely Hunter" (which is Grusin's favorite film score and would re-record the theme on many of his jazz albums in later years), "Candy" and "Winning" as well as working in television. Rosen would start his own commercial recording agency catering to record music for television commercials and other industry films, while personally learning the art of music engineering giving up playing professionally as a jazz drummer. He would build his own studio during this period that would be the first step of Grusin and Rosen's evolution of the eventual label in years to come. | 0 |
Grusin would win his first Academy Award for Robert Redford's second film as a director, "The Milagro Beanfield War", which would be released a year later as part of his last album for the label of the decade, "Migration". | They followed up this best selling album with Gerry Mulligan's "Little Big Horn" and Grusin's "NY/LA Dream Band", which was a live concert from 1982 that was recorded in Japan and seen throughout the country. The label during this period would be known mainly for its fusion work, but two of the first three releases were the straight-ahead jazz albums by Glenn Miller Band and Mulligan. Another vital addition was recording the great Dizzy Gillespie, which helped the label even more as Grusin and Rosen teamed him up with the best of the young jazz musicians performing at the time, including saxophonist Branford Marsalis and pianist Kenny Kirkland for the album "New Faces". | 1 |
Grusin would win his first Academy Award for Robert Redford's second film as a director, "The Milagro Beanfield War", which would be released a year later as part of his last album for the label of the decade, "Migration". | In 1975 when Rosen was visiting Los Angeles where Grusin was working at the time, he made a proposition to Grusin to form a company together since they had already been collaborating on several projects. Grusin agreed and as soon as that happened, Dr. George Butler, who was running Blue Note Records called them to produce an album by a young musician from Detroit who been playing with jazz and R&B star George Benson with CTI Records named Earl Klugh. They both agreed and Klugh's self-titled album released in 1976 would be the first official release under their newly formed production company, Grusin/Rosen Productions. They would produce two more Klugh albums for Blue Note, "Living Inside Your Love" and "Finger Paintings". | 0 |
Grusin would win his first Academy Award for Robert Redford's second film as a director, "The Milagro Beanfield War", which would be released a year later as part of his last album for the label of the decade, "Migration". | In 1986, Eddie Daniels would make his Grammy-nominated debut for the label with "Breakthrough", which was a fusion album of a different sort as Daniels' clarinet solos were mixed with a huge London Orchestra creating a very elaborate and popular album that melded both jazz and classical together. A year later, Daniels' follow-up album for the label "To Bird With Love", would be the very first "pure" jazz recording for the label dedicated to the late saxophonist Charlie Parker, gaining positive reviews. | 1 |
Grusin would win his first Academy Award for Robert Redford's second film as a director, "The Milagro Beanfield War", which would be released a year later as part of his last album for the label of the decade, "Migration". | The compact disc was vital to the label's exisistance and continued digital excellence throughout its history. After splitting from Arista Records to go on their own, Dave Grusin and Larry Rosen, the founders gambled on the format to bring out their spirited high quality recordings to life. From 1983 until 1987, all of their CD releases were pressed by JVC Japan which added impeccable sound and sonic clarity that made the CD's pretty much sell themselves even in audio stores that had to carry the discs to sell with the expensive CD players that were released during this time. The first official album produced and recorded for this purpose was "In A Digital Mood" featuring the music of the late big band jazz leader, Glenn Miller, which was a high end production recorded in January 1983 for two important reasons. The first was produce an album that would suit the format's sonic capabilities and the second was that the first people who would buy the first CD players would be audiophile fanatics that would be in the range of enjoying this type of music. Grusin and Rosen's intuitions were proven right as the album went on to Gold Record status within ten years of its release and had sold over a million copies. The label's original releases were albums that Grusin and Rosen bought or licensed from Arista Records as well as other label's such as Polydor, JVC Japan and Elektra from artists such as Dave Valentin (who was the label's first signing), Lee Ritenour, Tom Browne, Jay Hoggard, Scott Jarrett and Grusin himself. There were plenty of new and fresh album releases by jazz legends Gerry Mulligan and jazz's ambassador Dizzy Gillespie in new sonic, digital settings along with new talent being displayed by the likes of Diane Schuur, Kevin Eubanks, and Special EFX along with veteran drummer Billy Cobham, who would be joined later on by Ritenour, Chick Corea, Eddie Daniels, David Benoit, Gary Burton and Tom Scott to add more diversity to label's roster. The label would sign a distribution deal with MCA in 1987 and it was the final year that the label would have their CD titles pressed by JVC Japan for the US. All titles would be pressed in the US starting in 1988. | 0 |
The label also signed popular harpist, Deborah Henson-Conant to further diversify the label much like they had done in the late 1970s which got their label off and running. Signing her to a four-album deal in which her fourth album for the label in 1993 called "Budapest", was abruptly cancelled and released by another label. | They also produced and released a similar project to that of the Glenn Miller Band dedicated to one of jazz's greatest legends, Duke Ellington. The album "Digital Duke" reassembled members of Duke Ellington's band under the direction of his son, Mercer, in a digital recording setting with the latest technology. The album was produced in conjunction to the United States Postal Office's official .22 cent Stamp dedicated to Ellington a year earlier commemorating his 87th Birthday. | 1 |
The label also signed popular harpist, Deborah Henson-Conant to further diversify the label much like they had done in the late 1970s which got their label off and running. Signing her to a four-album deal in which her fourth album for the label in 1993 called "Budapest", was abruptly cancelled and released by another label. | After founders Dave Grusin and Larry Rosen left the label in early in 1995, famed producer Tommy LiPuma was given the reins of the label with a few of Grusin and Rosen's artists staying on board, including David Benoit, Arturo Sandoval (who would depart in 1997), Lee Ritenour (who would depart in 1996 and return in 2002), The Rippingtons featuring Russ Freeman (who would depart the label in 2000), Gary Burton (who would depart in 1996), Spyro Gyra (who would depart in the late 1990s), Diane Schuur (who would leave after 1997) Tom Scott (who would depart late in the 1990s), Nelson Rangell (who would depart in 1997), Joe Sample (who stayed with the label until his passing), Larry Carlton (who would go onto record with his regular group, Fourplay, and would sign with Warner Bros. Records after 1996), and Ramsey Lewis (who would leave after 1997). Many original or recently signed artists departed, including Dave Valentin (who had recorded fifteen albums for the label from the beginning until 1994), Chick Corea (who left for Concord Music during 1995 after his final release for GRP), Sergio Salvatore, The Yellowjackets, B.B. King, Michael Brecker (whose contract was transferred back to Impulse! Records where he had originally signed during the 1980s), Teodross Avery (who Grusin and Rosen signed in 1993 had his contract transferred to Impulse!), Eddie Daniels (had already left in 1994), Patti Austin, Urban Knights (who would leave for Narada Jazz after 1997) and John Patitucci (who would leave for Concord Music in 1996) among the many artists who were not brought back when their contracts expired. | 0 |
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