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Music Newz!
Archived Newz
2002 !
Find
current, up-to-date info on
Notes & News!
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Newz! |
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Here's a new feature
forged from an old friendship ... jazzinorlando.com and WLOQ 103.1
FM are partnering to bring you the best in music and music news!
Now, here's an intro to the first article, with more to come in
the future. |
Saxophonist Paul
Howards is one of the most successful, if not the most successful
of Orlando's jazz musicians.
He's very modest, even humble about it. Still, there's no denying
it.He tours with one of the most
popular bands in the world ('N Sync) who can pick any musicians
they want ... and they picked Paul. He's released four of his own
CDs, all to positive reviews and airplay. He's a favorite of
Disney's Michael Eisner. In fact, Eisner often asks for Howards'
band to perform at functions he attends while in Orlando. And it
was Eisner who brought Howards onboard to play the inaugral voyage
of Disney's first cruise ship.
A 1999 interview with Howards was the first of many articles to
appear on the pages of jazzinorlando.com. So it seems only fitting
to bring him back for another first ... this first article in a
newly forged partnership between jazzinorlando.com and WLOQ 103.1
FM.
Future interviews ... with more of
Orlando's very best jazz musicians ... will appear bi-monthly on
the same publishing schedule as WLOQ's Smooth Jazz and Leisure
Magazine. So stay tuned to the WLOQ web site for updates and
information!
And, now, here's the article! |
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Paul Howards takes it all in stride
... and shares some of his experiences along the way!
Exclusive ...!
Paul
Howards and jazzinorlando.com have a little something for those of you who
were unable to join him for his recent
performance at the Largo Cultural Center.
It's cool, you'll like it ... so
...
get more info here!
Sorry ...
wallpaper is no longer available. |
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It goes without saying that a successful, professional
musician like Orlando-based saxophonist Paul Howards gets a lot of email
... a lotta, lotta email.
But one recent message stood out among the others. The message was from another
Orlando-based jazz saxophonist asking if Howards might be willing to act as a
mentor, or at least be willing to share some of his experiences for the benefit
of other musicians.
Although Howards says he appreciates the complimentary nature of the message,
his busy schedule (he's currently playing an exclusive out-of-town gig in luxury
surroundings) precludes following through on the request.
But the request struck a note (pun intended!) with jazzinorlando.com. Eventually
an idea evolved ... Howards could share his knowledge and experiences through an
article on the web site. When asked, he readily agreed to spend some time
talking through the voluminous information he's acquired and accumulated since
his professional start.
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Sax-man Paul Howards' start inspired him to write "Plastic Violation" ...
a tune from his first CD, "Into My Heart"
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"Well, first thing you do is max out all your credit cards
and get a second mortgage on your house!" Howards laughed when asked for the
short story on succeeding.
Truthfully, that was his approach in the beginning. The initial product was
Into My Heart, his first CD which was originally released in 1992, then
re-released in 1995. It's no coincidence that the CD includes a cut
titled Plastic Violation, "a tune written about a little credit card debt
I got into," Howards says. But it was the title cut from Into My Heart
that garnered his first radio airplay.
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"It was on my birthday, and I was in the shower when I heard
it [for the first time] on WLOQ," he says. "I was pretty excited, jumping around
and everything," he says smiling at the memory.
Howards credits WLOQ 103.1 FM for many memorable experiences and lessons since
his career began ... including one from the early days when he booked an
important gig at a downtown club.
Knowing radio promotion would help bring a big crowd for the event, Howards
says, "I asked Steve Huntington [a former Program Director at WLOQ] when they
were going to start announcing the gig, and he said they weren't because the
club hadn't bought a schedule." Howards didn't know it at the time, but a
"schedule" is radio-talk for advertising announcement spots. And, the way radio
works is no schedule, no announcements. Once he learned that, Howards went back
to the venue and convinced them to buy a small schedule. The gig went well, and
Howards gained a little business insight.
It's unfortunate, he says, that college curriculum neglects the business aspects
of being a professional musician. "They don't prepare you for that in college
... maybe academia doesn't understand it," he says contemplating the exclusion.
Regardless, Howards considers college an important step toward success.
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Howards' has played over 1,000
sessions for albums, films, television, and jingles.
He's toured
and performed with N'Sync, Gloria Estefan, Aerosmith,
and Britney
Spears.
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During his own college days ... first as a music education major at the
University of Michigan, and later, as studio music major at the University
of Miami ... Howards' goal was to tour with a big-name group, a goal he
achieved when he began touring with 'N Sync in 1999. "I really didn't
think I'd have my own band," he says.
Further back, before 'N Sync, and before having his own band, he taught
privately for a time but gave it up when it became obvious that his young
students were coming to lessons unprepared and without having practiced.
(Later, he realized he had done the same thing when he took private
lessons ... except he was good |
enough that his teachers never knew!)
After graduating college in 1988, he joined a Top 40’s show band in the
Miami area. Then, within a couple of years, he went along for the ride as
circumstances carried him to the ultimate dream of most musicians ...
having his own band.
The change meant moving from band member to bandleader. It also meant
moving to Orlando to take advantage of opportunities offered by a new
Disney venture ... Pleasure Island. The
entertainment complex had yet to open, so Howards audition consisted of
his performance at JazzMaTaz in Ormond Beach,
Florida. It landed him and his band the opening spot for the Jazz
Company and regular performances there and on the West End Stage.
After opening the club, the group settled into a routine of playing a few
single nights, and a few back-to-back, each month. But it was generally
less than Howards was satisfied with. Rather than look for work elsewhere,
or in addition to other gigs he was already doing, Howards asked for ...
and got ... what he wanted, full-time work at the Jazz Co. The band began
playing four or more nights consecutively in heavy rotation. It lasted for
several years before Howards traded bandleader for band member and went on
the road with 'N Sync.
If the story of Howards' experience makes success seem easy, be assured,
it's anything but. There were long road trips touring the Eastern United
States with five guys and a lone female (former band manager Kathleen
Richards) ... and their stuff ... crowded into one van. No cushy 'N Sync
tour buses here! There were also many times, long ago in pre-email days,
when Howards and Richards stuffed newsletters to his fans into envelopes
until the wee hours of the morning.
Howards also recalls a road-trip to Atlanta for a showcase performance at
a big music industry convention, "We took along all this gear, we thought
it was going to be a big venue. It turned out to be a pizzeria with a
seven-foot stage. My sound guy's like 'yeah, I think I can work with
that!'"
Experiences of the sort make for countless lessons along the way to
success.
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Dealing
with interviews, and sitting still for photographs, are signs of success.
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Success, of course, means dealing with the media. "All press is good
press!" is Howards' immediate response when asked how musicians deal with
negative reviews of their music.
He's quick to point out that what appears to be a bad review on the
surface usually has some good tucked away beneath. In one article, Howards
says, a reviewer referred to him as a watered-down version of David
Sanborn. "It was great, I got compared to one of my idols!" he says
contentedly. Both musicians have since changed
their style, but Howards says |
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the comparison to a jazz legend was fun while it lasted. "You can't let
that stuff get to you," he adds in reference to music review strife.
It may seem that reading the many articles published about himself and his
music would make Howards feel that he had "arrived" on the music scene. To
the contrary he comments, "I don't think you ever feel that way, you just
do what you do. Sometimes I stop and think ... I'm just really blessed."
Then he adds, "You always want to grow. Even if you're doing something
like 'N Sync you still want to grow."
He's grown ... and he's learned.
He's disappointed with some of the things he's learned about the music
business ... like, it's as much, or more, about money than talent. For
example, end-cap and bin positioning of CDs in stores is sold ... bought
and paid for. It's not based on music quality, talent, or even popularity.
Learning the details of how the music business works (i.e., there's a
price tag attached to everything) held the most surprises and
disappointments for Howards. "The music business is, collectively, the
largest business in the world," he says. Yet success, or just making a
living at it, remains an illusive dream for many.
Still, money is no guarantee of success. Neither is talent. "It's a lot of
work. You need to work hard, go to college, take private lessons, and
whatever else you can do to be successful." Howards says emphatically.
This provoked a related question ... how important is an agent or manager
in achieving success ... and how does a musician know when to hire one?
"That's a good question," Howards responds, "a lot of smooth jazz
musicians don't have either [an agent or manager] ... and, right now,
neither do I." So ... surprise! ... a musician who's good enough can be
successful even without an agent or manager.
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Howards is comfortable in his new studio, even
though finishing work is still in progress.
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In and among the surprises and disappointments,
Howards says he's had many rewarding and memorable moments. Hearing his
music on the radio for the first time ... on WLOQ, of course ... is one.
(He credits the station saying, "WLOQ's been absolutely awesome to me.")
Playing NBC TV's Saturday Night Live, especially the first time, ranks up
there. "I grew up watching that show ..." he starts before smiling and
letting the sentence trail off as he becomes lost in thought and memories. |
There are countless other memories ... like the memory of his band's first
gig as part of Roland's Brevard Jazz Series on Florida's East coast. (At
the time, the band included Ron Cangro, who's now percussionist for thom
chambers' band). Early in his career there were
live radio broadcasts from Orlando clubs ... one from Townsend's on New
Year's Eve, another from the Sapphire ... carried on WLOQ. Trumpeter Rick
Braun ... who was known at the time, just less so than now ... once opened
for Howards at a gig in Jacksonville.
One very memorable and defining moment was with 'N Sync in a live, HBO
television broadcast from New York's Madison Square Gardens. There were
lengthy close-ups of Howards as he took the musical lead several times.
Commenting on the obvious pressure of a live performance, Howards says,
"If you mess up, you mess up ... there's no fixing anything!"
Actually, his first gig with 'N Sync was another live performance,
broadcast on Pay-Per-View, and he thinks the five singers may have been
more nervous that he was.
Personally, he says the most nervous he's ever been was at his sister's
wedding, three years ago, when he performed a song he wrote for the
occasion ... and that's even compared to the
nervousness of performing for
arena and stadium audiences of 50,000 to 275,000 people.
Nerves aside, huge audiences illicit their own particular response.
According to Howards, every venue and crowd has a different feel ... in
part because of their size and setting. "Rockin' Rio was 275,000 people.
There were people as far as the eye could see," he says of an 'N Sync
concert. And, he says, playing to a crowd of that size ... in a setting
like Rio ... is a rewarding experience.
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Relating to the audience
... and seeing 'em smile ... is Howards' biggest reward.
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Many of the rewards of his work are found in those and other performances.
But the biggest reward, he says, is the satisfaction of relating to the
audience and seeing them smile when they relate to his music. That makes
it easy to believe he's sincere when he says it doesn't really matter to
him if he's playing for five people, or 50,000 people.
That said, Howards pauses to reconsider the statement. After a moment he
amends it saying, "Actually, it's better playing smaller rooms |
because you can get close and get out in the audience." It must be
because, that way, he gets to see 'em smile.
Regardless of the size of the crowd, whether he's bandleader or band
member, Howards takes it all in stride and remains as easy going as ever.
"Who knows what's around the next corner? That would take all the fun out
of it!" was his reply when asked about his plans for the future. In
addition to his out-of-town gig, he's currently recording and producing a
bluegrass band, "I'd like to do more of that kind of stuff," he comments.
He also has a couple of proposals to do music education books. The project
may never materialize because, he says, "I'm not sure my methods would
work all that well for any other musicians."
The future may be a question mark, but Howards says he knows one thing for
sure about his career so far, "I wouldn't change anything about it!"
Check out photos from Paul Howards' performance at the Largo
Cultural Center.
This 333-seat theatre
was a perfect setting to
host Paul's up-close and personal style.
~December ,
2002
Presented by
jazzinorlando.com and WLOQ 103.1 FM
... now partnering to bring you the best in music and
music news! |
Newz!
Two new CD's from Michael
Andrew
... and another OMA nomination! |
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Months ago, singer
Michael Andrew was sincerely humble when talking about
his nomination in the jazz category of the
Orlando Music Awards (OMA's).
He admits to feeling
both honored and awkward being nominated alongside
musicians like
Orlando's jazz-great Sam Rivers. After all,
Rivers received a Grammy nomination in 2001.
When the OMA's took place in mid-October, Rivers took the award in the
jazz category ... and no one could be happier about it than Michael
Andrew. Well, except maybe Sam Rivers himself!
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Right along with
simultaneously releasing two
new CD's
, vocalist Michael Andrew had something else to celebrate
... his fifth
Orlando Music Awards (OMA's) nomination.
In the past five years the OMA’s, an annual event sponsored by the Orlando Weekly,
gave Andrew the
nod for five nominations ... and
Orlando music fans gave him four consecutive wins to date.
Earlier this year, when the
OMA nominations were
freshly announced, Andrew had precious-little time. He’d just returned
from a working vacation and was arranging multiple celebrations for the
simultaneous release of two new CDs ... one solo titled Michael Andrew Pays
Tribute to Frank Sinatra, and one with his big band, Swingerhead, titled
Destination Moon.
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Andrew's
recording studio.
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Still, he opened his newly
remodeled recording studio for a conversation about the new releases.
It’s unusual to release two CD's at the same time, and
Andrew says the diversity is both appealing and challenging.
The projects started two years |
ago when he played the Coconut Club
in Los Angeles regularly. Originally, he
planned to record live performances at the venue and release a diverse CD of
cha-cha, mumbo, and swing music. When reality got in the way
... in the form of the Coconut Club closing ...
Andrew adjusted his approach and moved forward with what became Destination
Moon.
Around the same time a fortunate event influenced the Tribute
project.
Andrew and Swingerhead recorded tracks for the movie Heartbreakers a year
before ... at a grueling pace of
12 songs in three days ... but the producer wanted to re-record some
tracks. Incredibly, the re-recording took place in Capitol Studio, the same
studio where Frank Sinatra, Nat King Cole, Johnny Mercer, and other music
legends recorded.
The idea for Tribute was
developing anyway ... so, in spite of the challenges
of working on two CD's at the same time, Andrew moved forward with Michael
Andrew Pays Tribute to Frank Sinatra.
Both Destination and Tribute have deep technical detail with
close attention given to beats, pitches, quarter notes, and style. Transitions
from instrument to instrument are sometimes so seamless it’s almost as though
one instrument actually becomes the other.
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Tribute also has some very special touches. Al
Viola, Sinatra’s guitarist in the day, plays on three tracks. "I used him as a
benchmark," says Andrew. Indeed, having an original Sinatra band member play on
the recording speaks of the level of quality of this tribute.
Of the quality challenge, Andrew says, "One of
the challenges is that I didn’t want to
be |
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One of two CD's.
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cliché. I wanted all the songs to have that element
of surprise where you go ‘oh, that’s Michael Andrew’s twist to it!’ ... I
wanted to put my signature on it."
Continuing, he adds, "This [style of music] is different from rock where
everyone’s trying to find things that have never been done before. This style
has to be handed down, that’s something a lot of guys neglect now and I think
it’s a big mistake."
Talking through the song selections Andrew says Goody Goody and Angel
Eyes are two of his favorites. He feels his rendition of Night and Day
sounds just like Sinatra, although he added bongos to change it up a little.
The House of Bamboo, on Destination, is the most kitschy and
produced. And then there’s My Way.
"My Way has kind of a punk, rock rhythm. Anyone can listen to it and not
be offended," Andrew comments. "But the horns are more like the original style
... loungy, big band," he adds.
Commenting on his choice of music style ... and of
singing instead of playing an instrument ... Andrew explains, "I was never
patient enough to master an instrument, and I didn’t
really find the style of music I love now until college. I love the feel of the
music, it’s [like today’s] popular music ... just from another era.
Continuing, Andrew says, "Swing is a predecessor to rock, but that concept seems
unnatural to players now." Expounding on the concept he says the sounds of Bill
Haley and the Comets, whose influences are still present in rock today, were
basically swing.
Even after finding his style, Andrew chose not to major in music in college, but
he still focused on the arts. "I was an artist, and I knew it," he says. He
started college with an undeclared major, was eventually drawn to theater, and
then added a self-declared minor in promotions ... knowledge
he's now able to use in his current work.
He still acts occasionally, appearing recently in Orlando’s Mad Cow Theater
production of As Thousands Cheer, and combines the best of acting
and music in his present work. "I wanted to be an actor or performer of some
sort, and being a bandleader combines that," he explains. "I have a kind of a
romantic view of being a singer, it’s easy to think of myself as an actor
playing the part of a singer," he adds.
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Destination Moon
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There’s another talent Andrew incorporates into his work. A
gifted graphic artist (he
considered majoring in art in college) Andrew
often does much of the design of his promotional material as well as some of the
artwork on his CD’s.
In fact, he created a spacesuit over a |
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photograph of himself for the cover of
Destination Moon.
It may be because he can incorporate so many other talents into it that music
remains his first choice. "Singing came more naturally
to me than any other instrument, I didn’t have the personality to sit in a room
and practice. With singing, I felt I could quickly express ideas through music
... and I was bold about it!" he says of his primary work.
With his two CDs out, and four OMA's on his mantle, Andrew reflects, "I’m proud
of Destination Moon and Tribute.
I worked hard for two years with some incredible
musicians. It’s not just about the vocals though, I enjoyed the process and that
they get the sounds they get from their instruments ... I’m just trying to
combine modern recording techniques and equipment with old style music. I tried
to put out two albums that appeal to the masses and are fun music."
So, here’s your invitation to give Destination Moon and Michael Andrew
Pays Tribute to Frank Sinatra, a listen. You’ll likely agree that Michael
Andrew achieves his goals!
~October, 2002 |
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Editorial!
A disappearing jazz scene
...
why listeners are staying away in droves!
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A frequent topic of conversation around
town is the limited selection of jazz music and venues in Orlando,
and it's getting more limited every day. The number of venues
featuring jazz is rapidly dwindling as new and established venues close
their doors for good, and others change their music format to something
other than jazz. There are as many opinions about why it's happening as
there are people talking about it, and jazzinorlando.com has an opinion as
well.
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A typical venue ... without
patrons
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Take a look at this photo representing a
typical Orlando-area venue, consider how it relates to the disappearance
of jazz in Orlando.
It shows who turns up ... and turns out ... to listen to jazz at the few
remaining venues. Oh, but wait, there aren't any people in this |
picture. That's right, there aren't any people
in this picture. Granted, this is an
exaggeration, but fewer and fewer listeners are getting
out to hear jazz.
When it first opened, the Black Fin Seafood Bar and Grill, in Winter Park,
partnered with WLOQ radio for Live-After-Five to bring live jazz
music to fans on Wednesday nights. The partnership lasted over a year, and
there was much complaining ... and many long,
loud wails ... all over town when it ended.
Even though the Black Fin still features jazz on
Wednesday nights (and, frequently, on Tuesday, Friday and/or Saturday
nights) the crowds who used to turn out in droves for Live-After-Five
have thinned considerably.
Obviously, the increased promotion and awareness ... a benefit of the
partnership with WLOQ ... helped boost attendance during the partnership.
Still, when WLOQ partnered with a different venue to revive
Live-After-Five earlier this year, it lasted three weeks ... three
Wednesday's ... before the venue pulled their support. The reason they
gave, quite candidly, was poor turnout.
It's simply, understandably, a matter of economics.
No one suggests any venue be given a free ride to price-gouge patrons, but
there are costs involved in hosting and promoting these types of events,
and something's gotta give when the cost exceeds the return on investment.
The return on investment comes from you, folks. It's directly related to
how many of you show up, and how much money you spend while you're there.
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A recent evening at the Pleasure Island Jazz
Company, once a premier venue that now seems likely to close, epitomizes
the issue of spending. The Jazz Company serves cocktails and beverages in
glasses or bottles, they serve water in bright yellow plastic cups
emblazoned with the Pleasure Island logo.
There was one favorite drink on this night ... on
almost every
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A sign of the times outside
the Pleasure Island Jazz Company ... a
replacement sign says simply "Live Music" hinting at a change in format
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table in the somewhat empty room sat a bright
yellow cup, there was hardly a glass or a bottle in sight.
Very few
people spent very little money on beverages that
night, they drank water.
Okay, so maybe jazz listeners like water, or maybe they're avoiding
alcohol, or sugar, or the caffeine found in most sodas. Fair enough. Surely they'll
indulge in an appetizer or other food served at the Jazz Company.
But, oh, wait ... the Jazz Company no longer serves food.
Plus, they no longer allow musicians to sell their CDs
in the lobby ... all sales are now done on the sly and under the table.
So, now you know ... the venues aren't blameless in their own demise. In
fact, in this case, when they stopped serving food, the Jazz Company let a
cash cow walk out the door.
In fact, they seem particularly intent on giving that cow some company.
Some of the club's cost-cutting measures are doing more than showing a
cash cow to the door, they're showing it to the slaughterhouse door.
For example, since last year, the
Jazz Company has gone from presenting the best
local and national acts to an embarrassing calendar of solo acts.
The evidence that the calendar is embarrassing comes from some of the
musicians themselves. A few asked
for their solo appearances to
be
excluded from the jazzinorlando.com calendar (it isn't
the type of performance they want to be know for), and club management
was embarrassed enough that they stopped requesting the list of scheduled performers be posted way back in the
beginning of the year.
It's important to note here that the solo musicians are excellent
musicians, and they give very good solo performances. The point is that,
by slashing the talent to solo acts in an effort to cut costs, the Jazz
Company is likely contributing to their own downfall.
Over the years, many Orlando area jazz fans and listeners have patronized
the Jazz Company. But now, with Island admission over $20.00 bucks a pop,
both local and visiting patrons who're anticipating hearing a
nationally-known group feel cheated by a solo act ... regardless of the
quality of the performance.
Things change, clubs change. The lighted marquee sign
above the
entryway of the venue
offers a hint of the future of the Jazz Company. It used to read "Jazz Company" ... a replacement sign
reads simply "Live Music" ... a noncommittal way of allowing the
club to venture in any direction featuring any format.
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City Jazz
at City Walk
has a great roster of
soul and swing
musicians
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Not far from the Jazz Company another club, City Jazz
at Universal Studios' City Walk, has a great roster
of regular performers ... soul singer Sisaundra Lewis,
who has a home page on jazzinorlando.com, and another jazzinorlando.com favorite, swing
singer Michael Andrew. But note the descriptors
... soul and swing.
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City Jazz gave up on jazz long ago. Same thing, economics.
In fact, they were forced to boost the price of admission
slightly on
swing nights. They also sell bottled water, instead of serving iced tap
water for free (mine with lemon, please!), on those nights because swing
dancers rarely eat or drink alcohol when they dance. But they do get thirsty, so
they buy bottled water instead of cocktails or soda.
Lewis' soul sounds also get City Jazz patrons dancing
and using lots of energy (albeit in a less stomach-rattling way than swing
dancing), and that translates into food and beverage sales.
That's how City Jazz responds to the issue of dwindling
crowds.
In the midst of it all, the House of Blues is actually ramping up jazz on
their calendar, they're also becoming more attentive to jazz listeners.
(They're likely attracting disgruntled patrons of other venues too.) They
now offer additional seating where there was little before. The change is
in direct response to patrons saying they simply would not support the
venue without more seating. Of course, ticket prices went up accordingly.
So there ya go, full-circle, it's about economics
... cost vs. return on investment. The venues
have to make money in order to stay in business, and they have to be in
business in order to feature music.
At the moment, economics seem to be indicating the worst. So, get out and
enjoy listening to jazz in Orlando while you can. And, whether it's now or
after jazz music disappears from the scene completely, feel free to share
an opinion (or, hey, claim this one as your own if you'd like!) whenever
you hear complaints about the lack of jazz music and venues in Orlando.
Send your thoughts or comments to
editor@jazzorlando.com!
~JINO Editor
October, 2002 |
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Newz!
Dream Work
... WLOQ's Amy McGuire enjoys making a living! |
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This has been a busy year for WLOQ Marketing & Promotions Director Amy
McGuire.
The station is wrapping up a yearlong celebration of
their 25th year on the air, and Amy's been in the middle of it all. She's
still standing, and enjoying every minute of it!
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Everyone dreams of making a living doing what they
enjoy. Some, like Amy McGuire, actually do. McGuire,
Marketing and Promotions Director at WLOQ
103.1 FM in Orlando, plans and implements all of
the station’s events and promotions.
Listen to one of their Around Town announcements, or take a look at the
Around
Town page of the WLOQ web site, and it’s clear … this is no small task. There
are dozens of events coming and going from the calendar, last minute additions
and cancellations, large events, small events, and people … station and venue
staff, outside vendors and clients, artist’s, record label reps, and more … to
deal with.
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And McGuire’s right in the middle of it all.
She says event planning has always been natural for her, even in her high school
days, so it was a natural to choose Advertising and Public Relations as her
major at the University of Central Florida.
Earning the degree included an
internship requirement, and McGuire’s included promotion and event planning at
WOMX 105.1 FM (Mix 105).
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Amy McGuire
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After graduation, she continued working
at Mix 105 and, later, in promotion amd corporate event planning at WKMG
Channel 6 TV. Then, two years ago, a former co-worker told her about an
opening for the marketing and promotions
position at LOQ. McGuire jumped on the chance to land the job.
Part of the appeal was working in radio again. "Once you’re in radio you never
leave!" McGuire says of making the move from television back to radio. Working
at an independent station also appealed to her. "Being at an independent station
is nice, decisions are made here [instead of at a corporate level]," she
explains.
She says she also enjoys that, unlike other genres, the smooth jazz format
attracts people who are into the music, not the celebrity of it all.
In jazz, and smooth jazz, that seems to be true of
musicians and listeners alike. |
|
McGuire says WLOQ offers plenty creative opportunities too.
"Things are always changing, there’s a lot of creative freedom … which works
well at an independent station," she says. |
|
Even so, the job has as many challenges as appeals. "You have
to be detail oriented, and a little bit of a control freak … and you have to
follow-up on everything," McGuire says of the work.
And sometimes, she says, event attendees make unreasonable demands of the venues
and station. Sometimes area venues who want to promote their own events have
difficulty understanding why WLOQ asks the question "what’s in it for
our listeners?" before agreeing to get behind a
project.
Those infrequent challenges are quickly balanced by times when McGuire hears
positive comments from listeners. "Those times make you love your job all over
again, it’s when you know you’re doing your job well," she says. |
|
|
|
|
|
McGuire supports the station philosophy … the listener comes
first … because, she says, "Without the listener, we’re out-of-business." On the
flip side, she knows they also have to please their advertiser clients. It’s an
ongoing loop ... please listeners so they’ll listen so advertisers will buy
advertising that listeners will listen to. |
|
|
Wake up and
smell the pabulum!
Even at the start of a new television season,
LOQ is the only jazz station in the country playing
Joe McBride’s Woke Up This Morning, the theme song from the hugely
popular HBO series, The Soprano’s. The song is edgy and frank, but it’s
good music. WLOQ plays other good music that never gets
air elsewhere. Again, it’s good music. But other corporate-giant controlled
stations are force-fed play lists of music blended and homogenized into such
pabulum that it’ll never offend, but it’ll never inspire. Ironically, this is
the worst offense. The product that meets the corporate-giant criteria for
airplay is numbing the musicians and listeners … and bleeding the life out of
the entire genre.
~JINO Editor |
Asked about her favorite part of the job McGuire replies,
"That’s a tough one, … the artist’s are a big part." She says she also enjoys a
few other benefits ... like two trips to Jamaica for
live broadcasts!
Asked what she wants listeners to know about the station her reply was quick and
sure, "Internally, we all care so much about the product, not just the job. We
enjoy every minute of it, and each other."
Next time you’re listening, listen closely … can you hear that they care about
the product? You bet you can!
~September, 2002 |
|
Newz!
Rico Monaco & Sol Sons
... sweeping nominations and mapping a path to success! |
|
Countless loyal fans of
Rico Monaco & Sol Sons helped the group
sweep the 2002 JINO Awards.
They're also nominated in the World Music category of the Orlando
Music Awards, sponsored by the Orlando Weekly, for the second year.
Now, meet the man behind the band ... Rico
Monaco!
|
|
It’s a given that a talented guitarist could
own Orlando. Jazz music listeners all over town talk about it often.
Those same listeners know that owning Orlando takes more than just showing up
and playing a venue. That talented guitarist has to play
great shows consistently, put all of their energy into delivering entertainment,
be professional, have good business sense, work hard, and
appreciate their listeners and fans.
|
|
Rico Monaco
|
Folks, meet Rico Monaco, front-man for the
band Rico Monaco & Sol Sons (RMSS).
You may know their music already. If not, get to know
it because he’s the guy just described ... an amazing
and talented guitarist who plays great shows
consistently, puts all of his energy into delivering |
entertainment, is professional, has
good business sense, works hard, and appreciates his
listeners and fans.
RMSS either owns Orlando already ... or will soon.
Accomplishing that may be
made a little simpler for Monaco and
the eight-member band because of their broad appeal
and crossover style.
Monaco describes the group as Latin rock, but their sound is jazzy enough to
land a spot in the WLOQ 103.1 FM Jazz Jam series this summer. The station also
plays music from the self-titled CD,
Rico Monaco & Sol Sons.
|
You'll want to add
this CD to your collection.
The almost exclusively original material was written and composed by Monaco,
with the exception of one tune by Stevie Wonder and
another by Tito Puente ...
and Tito Puento, Jr. lends his talent as a featured guest on
that track.
Monaco’s goal extends beyond owning Orlando. "I’ve never felt so close to
|
|
The
group's self-titled CD, Rico Monaco & Sol Sons
|
|
[reaching] my dream, I’m
going for it ... no risk, no reward," he says emphatically.
His dream has already taken him to Paris where RMSS headlined, with Puente, Jr.
as their guest performer, at the Mundo Latino Festival. They’ve played San
Fransisco’s Black & White Ball.
Closer to home Monaco and RMSS played major events in Miami, Tampa, and
Jacksonville. Orlando venue performances include Hard Rock Live, House of Blues,
a Magic game halftime event, and Epcot’s New Year’s Eve 2001 and 2002
celebrations.
He and the band just returned from playing ... and packing the house ... at Le
Bar Bat and East Village’s Arlene Grocery, two premiere venues in New York City.
He'll spend the last eight
days of August playing
eight mid-West and East-coast cities as the special
guest guitarist for the Thrusters, a rock/surf/punk/pop band
(that, undoubtedly, will secure his place in genre crossover forever).
Monaco says the effort to reach his dream "comes from desire, and love of what I
do." That and more ... much, much more. More like hard
work, being a talented player and composer, a great
entertainer, seeking and heeding advice, studying
the music business, and mapping
his path to success.
So, if you’ve ever wondered what the path to success looks like, just watch Rico
Monaco as he makes the trip for himself and the Sol Sons!
Sample Tell Me
(55sec:646k:mp3) from
the CD, Rico Monaco & Sol Sons!
Visit Rico Monaco & Sol Sons' web site at
www.ricomonaco.com!
~August,2002 |
Newz!
Guitarist Peter White
... what more can be said?! |
|
Peter White
after the House
of Blues
show.
|
When guitarist
Peter White played the House of Blues recently he was as good as
he’s ever been. He was as good as you’d expect an excellent guitarist of
his caliber to be. He played, and he played well.
So, rather than offer up yet another glowing review repeating what
you’re likely to read about every Peter White performance, here’s a
story with a slight shift in focus ... it’s a little insight into one of
White’s band members, bass guitarist Andre Berry. |
|
Introducing bass guitarist Andre Berry!
... when he gets funky
he plays with
saxophonist Warren Hill, trumpeter Rick Braun, and guitarist Peter White
as well as his own band! |
|
|
|
Offstage, he’s quiet and unassuming . Onstage, he
becomes "Ninjabass" ... a very present bass guitarist who adds interest
to every show he plays. And he plays a lot of shows with a lot of musicians.
Primarily, Berry adds his talent to the performances of three separate players
... saxophonist Warren Hill, trumpeter Rick Braun, and guitarist Peter White. If
you’ve seen or heard music from any of the three, you’ve more than likely
noticed and appreciated Berry’s work.
What may’ve gotten by unnoticed is Berry’s solo work.
|
|
In fact, Berry has a new release with a huge collection of
his musician friends, Introducing ... The Deep Fried Funk Society, that
debuted in mid-July.
All songs are original, and Berry wrote all but one. One other was co-written.
Most are vocal tracks.
It’s guys like Berry who keep the wrinkle |
Introducing ...
The Deep Fried Funk Society
|
in the sheets of smooth jazz.
They rock, they’re funky, and they kick (hmm, it must be the kick that adds the
wrinkle) in their solo efforts ... many of which, unfortunately, may never see
enough air play to suit fans. |
|
Andre Berry
relaxing backstage after
the House of Blues show.
|
Just the fact that Berry, and others like him, put together
bands and play their own brand of music keeps their style fresh.
And that’s an important part of what keeps the jazz genre alive and ... well,
alive and kickin’.
They bring an essential |
|
freshness and style from their solo work to the Warren
Hill’s, Rick Braun’s, and Peter White’s of the genre.
This solo work is creditable. The Deep Fried Funk Society is funky, and
it’s good music that strikes a balance between influences. Besides funk, the mix
includes a flavor of rap, hip-hop, a little melodic pop, and a couple of ballads
of the quality you hear on WLOQ.
So, if you like jazz or smooth jazz ... but like a kick that puts a wrinkle in
it ... give Andre Berry’s The Deep Fried Funk Society a listen.
After all, who can help but love a song like Summertime
that raps "... headin’ to the party with a gansta stride, steppin’ with
my honey, grab a glass of wine ...". Rap and wine. Berry’s touch blend the two
in a very cool way.
Give it a listen and feel a
little Summertime
funk for yourself! Summertime
audio clip :: 44sec.865k.mp3)
Visit
The Deep Fried Funk Society web site!
~August,2002 |
|
|
jazzinorlando.com extends a huge ... absolutely huge ... thanks to Cindy Adams
for making this article, and the accompanying photos, possible! |
|
Newz!
Take a Dream Journey with Krystof
... his new CD provides the transportation! |
|
Pianist and keyboard player Krystof Sebrakowski
recently performed music from his new CD, Dream
Journey, in a unique setting ... the concert room of Steinway
Piano Galleries in Altamonte Springs. Close to one hundred people attended to
listen as he played the entire CD solo, with the balance of the music sequenced.
This is the first release for the Orlando-based musician whose name may be
familiar from his stints with Groove Logic and another Orlando musician,
guitarist Cristian Valenzuela. And, if you do know his music from his days with
these two, then you know how good a player he is. He’s just as good writing and
composing.
The music is quality. It has all the elements
necessary for good listening ... good rhythm and beat, plenty
of energy, outstanding musicians to back Krystof's
outstanding work, and more.
|
|
Dream Journey is the perfect name for this CD. Some
songs are contemplative at first, then they surge into
a take-a-deep-breath-and-smile
inspiration ... ah, life is good is the feeling that finishes
this journey into feeling fine.
Another song, Concerto, offers a different kind of journey. It’s a
journey through |
|
Dream Journey
|
|
musical styles. The composition starts
with a classical, style
changes to new age, and blends into jazz/smooth jazz
for the ending.
|
A couple of other things contribute to the appropriateness of
the title. For example, releasing his own CD was one
of Krystof’s dreams. Another dream is to perform music from
it with the Orlando Philharmonic Orchestra at the Bob Carr Theatre.
Now, here’s a journey through a few other songs from the CD.
The way Krystof introduces
one of the nicest songs, Words Unspoken, says as much as the song itself
says. "I play better than I talk. This song says something I can only say
by playing," he comments. |
|
Krystof celebrates the release of
Dream Journey by playing music from the entire CD in a performance
at Steinway Piano
Galleries.
|
Something to Say to You is dedicated to another
Orlando-based musician, the late
guitarist Steve Veale.
"He was a great person, a wonderful artist, and a good friend," Krystof says of
Veale.
Hawaiian Rendezvous, was inspired by trip to the island. Away in Paris
was written while his wife, Nina, was ... well, while she was away in Paris.
|
|
Krystof writes from life and it’s inspirations, even the
simple ones that get by others who are less creative
and talented.
But take your own journey to see, and hear, Krystof. He’ll be performing at
various venues around town soon. So,
go ... pick up your own piece of a dream
in Dream Journey.
~August, 2002
Check for
Krystof's performance dates in the Calendar! |
|
Meet Dave Kosh
...
Program Director for WLOQ! |
WLOQ 103.1, Orlando’s independent smooth jazz
radio station, has been very busy
celebrating its 25th anniversary
of broadcasting. Twenty-five years in radio ... with essentially one,
albeit finely tuned, format ... is big, it’s a very long time,
and a real accomplishment.
Dave Kosh, Program Director, kindly agreed to give an inside look at
how the station outlasts so many others, how they stay on top of their
market and please their listeners ... and just kind of how the whole
thing works.
Kosh started with some statistics and programming information.
Of the adult stations, whose listeners are 25 to 54 years old, LOQ is
ranked #4 in the metro-Orlando market. The active music library is
approximately a thousand songs at any
given time. Kosh receives around 300 CDs a week for
consideration for airplay. A song has about
eight to 12 seconds to present a good groove or a unique harmony
before it’s done.
Programming is a balancing act as the station strives to grow its
listener-base ...
while continuing to please core listeners and maintain a solid
foundation. There’s no formula, it takes a a lot
of experience mixed with a little
experimenting. |
"We’re able to be more experimental,"
Kosh says of being an independent station.
And this, he says,
is where it gets fun.
He continues ... adding that LOQ often plays
songs and artists that, unimaginably,
rarely show up on other smooth jazz stations.
He’s referring to some major players
too, like Dido and Ray Charles
for example.
At one point, LOQ was the only station in
the country playing Bonnie Raitt’s new tune, I Can’t Help You Now. |
|
Dave Kosh, WLOQ Program Director
|
And, even though Joe McBride's Woke Up This
Morning (the theme from HBO's
The Soprano’s), is
wildly popular, LOQ is one of the few
stations to put it on the air.
Speculating about the reason, Kosh says, "It’s pretty gritty."
Being an independently owned and operated allows WLOQ to determine
their own playlist, how often to play the songs,
when to play them, and when to pull
them off the list. It means they can respond to area listeners
preferences quickly and frequently.
But, more importantly, they actually listen to what listeners
want.
In fact, in 2000, Kosh established the
WLOQ Listener Advisory Board just for the
purpose of finding out what listeners want.
The Board gives listeners a vehicle to give the station their input.
The information is compiled and analyzed ... then it’s actually used
for things like determining the playlist, planning events ... and
deciding which musicians to bring to town
for those events.
Kosh says the Board also connects the station and listeners. It gives
listeners an important sense of ownership in the
music and music community, and it
gives the station a sense of responsibility to listeners.
|
The
station has played smooth jazz for 25 years.
|
|
While it’s important to gather and utilize this
type of internal research Kosh says it’s also critical to "know your
business and make decisions accordingly." (So, there you have it ...
listeners don’t get to run the station entirely after all.)
An important aspect of business is that little thing about growing the
listener-base.
The approach taken by LOQ is to play crossover music ... and there’s a
reason for that. |
Crossover music comes complete with vocals ... and
there’s a reason for that too. It’s easier to listen to music
with vocals, so most listeners like vocals. Vocals make it easier to
remember the music and song titles, so the
music becomes familiar and comfortable
quickly . Understandably, if a station wants to attract more
listeners, they play more vocal tunes.
Smooth jazz, with few exceptions, is instrumental. And
... as even core listeners
know ... without vocals,
there's nothing to conveniently hang a title on. It may take awhile
for a title to stick. Learning to recognize musicians by instrument
and musical style, instead of by voice, takes a bit longer ... but
it's a fun challange. Even so, once
you remember song titles, and begin to recognize
artists by their style, just exactly how do you remember
which goes with which?
Kosh and LOQ came up with something to help. It’s called
top-of-the-hour branding, and here’s how it works. At the beginning of
the hour (obviously ...)
a pre-recorded audio clip plays. An LOQ announcer
says "smooth jazz is ..." then a short music clip plays. Then the
announcer says the title
of the
song and the name of the artist.
This accomplishes two things ... it helps the listener relate
the songs with the titles and
artists. It also helps the station with product branding
that quickly let’s listeners know what music
the station plays. The stakes are high, listeners
may stay tuned ... or tune out ... based, in part, on product
branding. |
| |
|
In addition to product branding, another
thing that’s unique to
WLOQ (and good for
their listeners)
is that they always give the song titles and artists
for the music they play.
They may do that by announcing what music they’ll be playing next,
or what music they just played. Sometimes
they do both.
Apparently, this is another quality fairly
exclusive to independent stations, but uncommon for controlled
stations. It very simply connects the music to the musician and
the musician to the listener. It's also another way
listeners quickly become more
comfortable with the music and the station.
Kosh feels comfortable being with an independent station. He says
they try to play the songs listeners like often enough to keep
them happy, thereby keeping good ratings. Plus,
he adds, "It’s fun to come to work here!"
When asked about the future of WLOQ Kosh
says, "We’ll continue to be a mover, a trendsetter staying in
front of the curve.
And we’ll do the best we can not to get too
comfortable." |
|
|
50-something
... an editorial
Of the 50-something smooth jazz stations in the U.S., only six or
seven are independently owned and operated.
The rest are controlled, or otherwise
predominately steered, by companies like
Broadcast Architecture and Clear Channel Radio.
These controlled stations are assigned
playlists that sometimes have more to do
with money than talent. Programming
originates in centralized, corporate
locations. Then, the same playlist is broadcast
in various area markets
across the country.
Listeners in those area markets are
often unaware that
the station they listen to isn't local. The controlled stations
have minimum
personnel at their facility to
coordinate the syndicated feed ... and they
also do just enough announcing,
including locally recognizable fodder,
to mask the syndication.
Unlike WLOQ listeners, listeners in controlled
markets have exactly zero input into the playlists ... or anything
else about "their" station.
WLOQ is live 24/7 ... although they do
choose to carry a few
pre-recorded programs. For example, once
a week, they broadcast The Sounds of Brazil
and The Dave Koz Radio Show.
~JINO Editor |
|
|
|
Hmm, somehow, those seem to be
just the right words to keep WLOQ listeners
comfortable!
Let 'em know what you think ...
join the
WLOQ Listener Advisory Board
now!
Visit the
WLOQ web site.
~July,
2002 |
WLOQ celebrates it's 25th anniversary
...
and listeners get the benefit of more great music! |
It was twenty-five years ago this month that
WLOQ, Orlando’s independent smooth jazz radio station, began
broadcasting. And, of course, that calls for celebrations ... plural.
Celebrations ... a bunch of 'em!
|
|
And, as always, that’s great news for listeners ...
because whenever LOQ celebrates their listeners get the benefit.
The benefit this time is that the normally slow summer months
are bursting with music. |
|
 |
In May, LOQ brought saxophonist Joseph
Vincelli and guitarist Jeff Golub to the stage at Celebration. Then
sax-man thom chambers launched the first of
the summer Jazz Jam series at Central Park in Winter Park.
(Keyboardist/pianist Sunnie Paxson takes the middle spot in
July, and Rico Monaco & Sol Sons will wrap the series up in August.)
Plus, landing squarely in the middle of
all of that action, was a
little gig LOQ put on at Universal Studios CityJazz with singer
Sisaundra Lewis opening the show for Grammy winning
keyboardist Kevin Toney.
Maintaining a top-notch station, a solid market position, and
continuously planning and sponsoring music events is a tough gig. The
amount of effort involved can easily be overlooked and seemingly go
unappreciated.
So ... say it isn't so!
Send 'em a congratulations and thank you message
now!
amcguire@wloq.com
Congratulations, WLOQ, on your
silver-anniversary in broadcasting!
Visit the WLOQ web
site. Or find a little 70's nostalgia
... including their playlist ... on their special "Looking
Back" pages.
~ June,
2002 |
|
ewz!
Boom, you've got it
...
you're listening to Steve Oliver and you know it!
|
|
|
|
One thing about listening to jazz …
with all those instrumentals it’s tough to remember which song is
which and who plays them. And, without vocals to hang a title on, it’s
sometimes hard to tell one from another, at times they all sound
alike. Here’s how you can change that ... listen to guitarist Steve
Oliver. Boom, you’ve got it! You’re listening to Steve and you know
it!
Oliver has an attention grabbing, ear pleasing sound that’s simply
unmistakable. Yet, even though his style is instantly recognizable,
the songs are all unique … there’s no feeling of redundancy.
If you know Oliver’s name it may be because of his success with the
title cut from First View, his solo debut released in 1999.
Other familiar names … like Steve Reid, Jeff Kashiwa, Paul Taylor,
Dave Kochanski, and Kim Stone … play on First View. In fact,
Reid co-produced the CD and co-wrote a tune on the release. Oliver,
based in Studio City, California, records on the independent Native
Language label.
|
|
Positive Energy
|
Credits on his upcoming CD, Positive Energy …
slated for release on June 11th … also read like a "Who’s Who"
of jazz.
Many First View alumni are back for Positive Energy.
In addition, Brian Bromberg, Native Language label-mate Scott Wilkie, Spyro |
|
Gyra’s Tom Schuman, and Will
Donato join Oliver for this one. (Donato, a saxophonist who plays and
records with his own band as well as with Reid’s Bamboo Forest, is a name
that’s not known nearly as well as is deserved. So, good for Oliver for
recognizing and utilizing his talent.)
You know something’s up when so many of the biggest names in the business
work with another musician to this extent. What up with Oliver is that
he’s making his own brand of music that’s fun to hear. It’s a much needed
… and appreciated … refresher in the genre.
A formidable guitarist, Oliver is also an accomplished songwriter. But
there's another, very different talent that adds
kick to his music … vocal sounds. Not vocals (although he does sing on a
couple of cuts and has a wonderful, rich voice),
not background vocals … vocal sounds.
|
For example, on High Noon, the first cut on
Positive Energy, they start something like this … "Dah-da dah dah-da
dah. Sita dita dah-da. Sa dah-da …" which kind of makes it obvious, you’ve
got to hear this CD! That’ll clear up any lingering questions about vocal
sounds, what they are, and what they sound like.
|
|
Oliver plays the "mouth trumpet". Vocal sounds are a trademark of
his music.
|
|
The short story is, they sound good … great actually. They make the music
memorable … they make it feel good, they add energy in a way no other
musician has accomplished. They’re a big part of what gives the aptly
named Positive Energy CD its positive energy.
The energetic music as well as Oliver’s warm personality,
optimistic outlook on life, and caring attitude toward his fans are the
other parts.
In the introduction pages of the Positive Energy CD insert Jonathan
Widran, JAZZIZ Magazine, writes about how and why Oliver began
using vocal sounds.
Ah, now there’s a reason to buy the CD … to read that story! And another
reason … Oliver will be playing Florida again in September, so you’ll want
to know his music by then. You know, before you go to his concert. And
another … it’s kinda cool to have a pre-release copy of an upcoming
release. And, oh yeah, how about this one ... it's a
very good CD!
Hurry, the June 11th release date is
right around the corner. Visit Steve’s web site at
www.steveolivermusic.com
and pick up your own Positive Energy today!
Hear a sample of
High
Noon!
Keep an eye out for
Steve’s Florida appearances on the Calendar!
~ May,
2002 |
|
Newz!
A look at the joy
of sax
...
two more reviews of thom chambers' new cd release! |
|
|
Thom Chambers
... The Joy of Sax |
by Rick
DeYampert
Daytona Beach News Journal |
Vital stats:
Deland Sax/flute player Thom Chambers performed at the renowned
Montreux Jazz Festival in Switzerland in 1998 and 2000.
The Music:
Fans of smooth jazz should be forewarned-put Chambers' independent CD,
The Joy of Sax, on your CD player, and your Spyro Gyra, Kenny G
and Boney James albums soon may rot from lack of use. With his alto
sax and occasional flute work, as well as his compositional smarts,
Chambers takes the A train to the A-list of smooth jazz guys.
Backed by a crackerjack band of guitars, Greg Pakstis, Piano, Mark
Mckee, and Percussion, Ron Cangro, Chambers will set romantic hearts a
flutter with the "quiet storm" moods of Botanica and Sandi,
as well as quiet storm-meets-Latin vibe of Midnight Miami.
Chambers shows off his funk gene with Plan B
as well as a cover of the Average White Band's Pick Up the
Pieces.
Pianist-singer Damien O'Shea guests on two ballads with his
sandpapery, Ray Charles-like voice providing a captivating yang to the
yin of Chambers' sax. |
Imagine yourself on Interstate 4, stuck
in a line of traffic clogged with motor vehicles whose drivers are all
eager to get where they are going. You are able to travel only 20 mph. A
car cuts in front of you, you hit the brakes, the truck driver to your
real lays on the horn, and the man in the next lane shakes his fist at the
first driver.
To what do you suppose such maniacal drivers are listening? Is irate
hip-hop, raging rock, or furious free jazz
creeping into their ears?
|
For a
smoother commute, I suggest a smoother sound. The new compact disc by a
local saxophonist of the smooth jazz genre would put folks in a friendlier
drive time mode.
The Joy of Sax, the latest release from Thom Chambers, will get you
wherever you are going in style. With the Joy of Sax, Chambers hits
his stride as a songwriter and introduces a new collaborator, singer
songwriter pianist Damien O'Shea.
|
|
the joy of sax ... the latest release from sax-man thom chambers |
Five of the
ten songs on the CD were written or co-written by Chambers. O'Shea, of
London, England, composed two of the tracks.
The CD opens with a cover of [the] Wayne Shorter
composition Footprints. The tune is usually played three beats to a
measure, kind of a jazz waltz. In Chambers’ Footprints, the bass
line sets out four beats to the measure giving
the tune a funky feel. The original melody is juxtaposed seamlessly over
the programmed bass.
|
thom chambers
|
Botanica
is a bluesy ballad composed by Chambers. Greg Pakstis’ guitar wa-wa (like
the guitar sound in Isaac Hayes’ Theme From Shaft) is rarely
audible until near the tune's end. The bass, keyboard, and a second guitar
fade, leaving Chambers euphonic sax, and Paksits’ guitar, to finish.
Co-written by Chambers and Russ Corvey, Just Before Midnight and
Midnight Miami are the high points among new songs offered on this CD.
|
Just Before Midnight is a prelude to Midnight Miami
that finishes on a suspended harmony. Midnight Miami has that
"Miami Sound", a melody of blues and greens, piano glistens like the
ripples on Biscayne Bay, and ever present Latin percussion.
|
Sandi is a samba composed by Chambers in which his flute playing is
featured. Sandi is based on a simple, elegant melody stated by
Chambers alto sax that must have been intended for listening whilst
lounging on a pool deck, watching the sun set. No vocal credit appears on
the CD sleeve for this tune but a fine piano solo by Mark McKee creates
the illusion of a vocal chorus midway through Sandi.
|
thom chambers hits his stride
|
Plan B is also written by Chambers and features
Ron Cangro in a percussion interlude. The bass drum marks each disco like
beat.
Damien O'Shea wrote, plays piano on and sings I'm Alright Now and
When You Smile. O'Shea's gravelly tenor pours out a tender lyric in
the love song When You Smile.
Chambers altos sax embellished O'Shea's vocals on I'm Alright Now.
|
O'Shea's voice has been compared to that of renowned rocker Joe Cocker.
Both singers have a raspy timbre and the ability to sing the high notes
and make them sound so natural. I'm Alright Now is crafted much
like a Van Morrison song.
Credit Chambers for including O'Shea on the Joy of Sax. O'Shea's
selections are a soulful contrast that complement Chambers selections
nicely.
Cristian Valenzuela on guitar, Miggy Barradas on drums also contribute
their talents on the Joy of Sax. The CD cover art was created by
Jan Herr, a Deland resident and an art teacher at Deland Middle School.
Chambers dedicates his CD to his dad, Ben Schwirtz whom he calls a great
listener of jazz and a major inspiration.
~ April, 2002 |
Newz!
A virtuoso player
... saxophonist Ed Calle also honors his Latin
heritage! |
When asked for an interview,
Miami-based saxophonist Ed Calle replied "I’m always
flattered when people want to interview me … I’d be honored to do an
interview with you." It was a refreshingly pleasant response. The
reference to feeling flattered and honored became the theme … a common
thread … throughout the conversation.
Holding one of his five-month old twin daughters … his seven-year-old
son played nearby … Calle talked about his upcoming performance at
JazzFest Kissmmee. "Orlando’s a fun part of Florida for us to play, we
enjoy it a lot," he says. Then, giving a
sneak-peek of what’s in store musically for the annual event he
adds, "We’ll be playing quite a bit of smooth jazz, quite a bit
of Latin jazz … and a lot from our last few records."
|
Born of Spanish parents in Caracas, Venezuela, Calle
says audiences are largely, and obviously, more attracted to his native
Latin sound. "It’s different, more energetic. We want to do more of that
kind of thing without loosing our [smooth jazz] sound," he says.
Calle says his live performances are less about showmanship and more
about playing the music and relating to listeners on another level.
"Music needs to be free and have an element of surprise, audiences react
to that in live performances. Pretty soon you’re talking |
|
Ed Calle
|
… communicating … with them," he explains.
With five solo CDs, somewhere between 70 and
90 original recordings with more artists than makes sense to list here
(see
What's in a name?
below), and another 24 original
songs in development for an upcoming release that he
says will be a "pretty serious Latin jazz record" Calle has
plenty of material to draw from.
|
|
One jazzinorlando.com visitor was |
|
|
curious about Calle’s inspiration to write such
beautiful music. Calle had an answer.
"It’s almost like it comes from thin air, it just comes. I’ll be
driving in the car [or doing anything that lets his mind wander] and
something comes to mind, usually as one streaming idea. Then I’ll go
home and work it out on the piano," he replies when asked about the
beginnings of his original material.
He says he writes everyday, a suggestion made by one of his
old teachers who does the same. "It reinforces the creative
process. You can get so caught up in daily life, and stressed, that you
loose touch with creativity," he says of the benefit of writing daily.
He says he goes off alone when he writes … and
he writes only when he
|
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|
|
What's in a name ...?
Even if Calle’s name is unfamiliar to you, it is guaranteed that you have
heard his music.
His fiery tenor has graced the work of Gloria Estefan from the earliest
days of the Miami Sound Machine, and he’s heard on Grammy-award-winning
recordings by Arturo Sandoval, Vicky Carr and pop singer Jon Secada. You
have also heard him with Julio Iglesias, Vanessa Williams, Bob James,
Frank Sinatra and many others, as well as on television and in motion
picture soundtracks.
The man is not only gifted, but versatile whether it be rock, jazz or pop.
Calle has done it all and done it well. |
|
feels good physically, emotionally,
|
|
|
and spiritually. Of the process he
says, "Writing is a very pure
process. It’s kind of a sacred,
positive place" his mind goes to when working on new
material.
Sometimes, when performing his original songs
onstage, he says he’ll look out at the
audience and think, "Look at the
great way these people are responding
to the music!" Then he thinks, "Wow, this [song] started as an
idea in my shower!"
Calle continues, "I love music. I play it the same way whether I’m in
front of an audience or in my bedroom. It’s a great honor to play my
music in front of an audience. It’s like being invited to someone’s home
for dinner."
On the flip side of feeling honored to play live performances for an
audience, Calle says, "It’s flattering when guys like Phil Ramone hire
you to play on their records." Other times, he says, "You play with one
of these [big name] pop groups and say ‘Wow, I just played with …’. Then
I get in my car and forget about it, I go home
and change a diaper."
Calle says he enjoys his family, and being a
Dad keeps him grounded. It also means he likes
playing gigs that keep him closer to home now. "I’m truly looking
forward to the concert in Orlando."
A virtuoso player, Calle is capable of playing
all styles of jazz from traditional ... or 'real'
... to smooth, to Latin. "People want to see
great performers, great players," he comments on his feeling of
responsibility to play superior quality music.
Now you can hear some of that great music for yourself,
just come to JazzFest Kissimmee. Saxophonist Thom Chambers opens
for Calle, Orlando-based singer Dawn Catron
takes the stage just before Chambers, and The
Center for the Arts Jazz Band kicks off the event.
Visit Calle's web site at
www.edcalle.com!
~ April,
2002 |
Newz!
Heating up the House (of Blues)
and a special backstage pass
...
jazz legends Joe Sample and David Sanborn are hot! |
Jazz legend Joe Sample played Orlando's House of Blues recently.
|
Sample
this!
There he was ... jazz
legend Joe Sample on-stage at Orlando’s House of Blues (HOB)
... seated ten, maybe 15,
feet away at a grand piano.
Plus, Sample’s performance precedes a
performance by another legend, David Sanborn
... but more on that later. (This story
should come |
with instructions saying to
insert a big grin here!)
Sample had a trio on this night, the other two instruments ... an
upright bass and drums. The audiences eyes danced between the three who
were obviously having fun losing themselves in the moment. It was
fun to see the drummer situated at the front of the stage providing
an unusual opportunity to get a good look at the action that’s usually
tucked away behind the band.
Sample opened with One-on-One, a song he co-wrote with yet
another legend, George Benson. Music during the rest of his set spanned
a career. Hippies on the Corner, Stormy Weather, Spellbound, and
Carmel by the Sea are just a few titles.
Seeing a player of Sample’s stature, and hearing the quality of
his music, is a treat in itself. Seeing a
legend up-close-and-and-personal is just plain cool ...!
|
Go backstage with Brandon Keller!
What were
the chances? Brandon Keller had no prior or
special arrangements, he had no inside connections. Still,
sax-man David Sanborn literally gave him
the nod for a backstage meeting after
his recent House of Blues (HOB) gig. |
Brandon Keller, music
student
and sax player, met Sanborn.
|
How’d it happen?
Keller, a music student at Rollins College in Winter Park, is a
sax player himself. He admires Sanborn’s work
... and style ... and was in the
audience for the show. He brought an old sax mouthpiece with him
on the outside chance of meeting Sanborn and getting him to
autograph it.
Who could help but think ... ‘yeah, like that’s gonna happen’ ...
but, sure enough, it did, and here’s
how! |
Even as he waited for
it to end (so he could meet Sanborn),
Keller enjoyed the show. Then, as
Sanborn and his band took the their final bows, Keller walked
stage-front, held up the boxed mouthpiece waving it left-to-right.
All around him his friends (and even some others from the audience
who learned of his plan before the show) also waved their arms
shouting ‘woo-hoo!’ and ‘over here!’ to get Sanborn’s attention.
It worked, the jazz legend took notice.
Looking in Keller’s direction, he
focused on the box for a moment, looked
at Keller ... then smiled, nodded, and jerked his head slightly
toward the backside of the stage.
As the band cleared the stage, and the
audience cleared the floor, Keller ... with jazzinorlando.com in
tow ... went to find Sanborn.
First, HOB security showed Keller to an
upstairs room that’s the equivalent of box seats at a sporting
event. Soon,
they came back to escort him deeper into
the private rooms in the back.
Sanborn was there and already talking
intently with a couple when
Keller entered the room.
As his conversation with them
ended, Sanborn
turned his attention to Keller and the
two began an intense conversation
of their own.
They talked about gear, playing styles, music theory, the quality
and variations of mouthpieces, and just how much something as
seemingly simple as a mouthpiece ... or even reeds (apparently you
can get more bad ones than good in a box of 500!) ... can affect
the sound.
It was a whole other language spoken as only two sax players can
speak it.
And Keller speaks it well, so keep an eye on this guy
... then one of these days you’ll be able to say you knew
him when ...! |
|
Ride
to the next level with Sanborn!
Sax-man David Sanborn earned the ‘legendary’ title that
usually accompanies his name ... as in the legendary David Sanborn.
He plays with other legends like Joe Sample
(see
Sample this! above). His friends, like sax-man
Ed Calle, are grateful for the work he’s done to move jazz music
forward. Young, up-and-coming sax players like Rollins College
music student Brandon Keller
(see
Go backstage with Brandon Keller! above)
admire his style. |
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David Sanborn
|
The good players emulate their favorite parts of his
approach to handling music, or his expression and treatment of it.
Through it all Sanborn remains grounded, down-to-earth, grateful for his
ability ... and appreciative of his fans. In fact, after his recent
performance at Orlando’s House of Blues, he spent a significant amount
of time talking with hordes of people in a meet-and-greet. During the
conversations ... usually with only two or three people at a time ...
Sanborn was focused, personable, and intense.
The same could be said for his on-stage presence and performance that
night. Even with a few audio glitches at the start of his set ... and
after a little hand-signaling to the audio engineers to work through the
issue ... Sanborn recovered gracefully and delivered an excellent show
that included favorite titles like Chicago Song, Relativity, Lisa,
and Savannah.
|
Sanborn is a master at fusing
a traditional style with his
more contemporary music.
|
He related
to the full house audience, and they responded giving him a standing
ovation and demanding an encore at the end of the set.
On this night Sanborn’s music had a somewhat straight-ahead, traditional
jazz feel that fused perfectly with the best features of his more
contemporary jazz music. Hearing such great live music in this style is
a reminder that the best stuff rarely gets good radio airplay in the
homogenized mediocrity of today’s commercial music market. |
Guys like Sanborn push the genre keeping it fresh and edgy. Their
challenge to elevate the style is the listener’s ride to the next level. The
challenge is also one the industry is largely uncomfortable with.
Luckily, it’s one musicians like Sanborn are very comfortable with.
Go ahead, take the ride ... move up to
a higher level with the music of
the legendary David Sanborn.
Sample this!
Go backstage with Brandon Keller!
Ride
to the next level with Sanborn!
~ April, 2002 |
Newz!
From chopsticks to drumsticks!
...
the choice belongs to percussionist Ron Cangro! |
Ron Cangro
is the likeable and talented percussionist for
saxophonist thom chambers’ band. In addition,
he often plays with
another saxophonist, Joseph Vincelli,
when
Vincelli's regular drummer doesn’t make the
road trip from Dallas to
play the Pleasure Island Jazz Company.
Although he handles a standard drum set just fine, Cangro’s gear is
anything but standard. Instead, it's a unique, hybrid mix of his
own design. The set-up is part percussion instruments and part drum
gear. He recently added an electronic drum piece to the mix.
Maybe exercising uniqueness of this sort comes from his unique
beginnings ... playing chopsticks as a 13-year
old. Yep, you read it right,
playing chopsticks.
|
Ron Cangro recently added this e-drum to his hybrid mix
of percussion gear.
|
|
Cangro tells the story of his start with a grin. When
he was a kid, he says, "Our family went to
dinner at a Chinese restaurant and my older brother was drumming with
his chopsticks." When dinner was done, he says,
"He
brought them home and gave them to me."
At home Cangro began to play along to tunes by
popular groups of the time, like the Marvellettes, on 45rpm records.
Soon, his
older brother began to
recognize Cangro's natural talent and bought him his first real
drumsticks ... and lessons to go along.
|
"I took to playing passionately ... like a fish to
water," he says. He started playing in a Long Island
band
(near his native
Brooklyn, New York) less than two years later.
In the years since he says he’s "done it all."
He had his own band, called The Right Stuff, for five years. A major
studio picked him for a band they assembled and named Cheese. He’s met
and played with famous ... and not so famous ... musicians in Canada,
Puerto Rico, and across the States. He’s even played for Bob Hope and
one U.S. President.
He’s played a variety of genres from disco, to pop, to rock. He only
began learning to play jazz after moving to Orlando in 1987 to work as a
musician at Disney theme parks.
The Disney gig has the lure of a steady income
from playing music full-time. It also offers the benefit of "exponential
growth by learning a variety of musical styles," says Cangro. At first,
playing jazz was part of the job. Now, it’s his music
of choice.
|
He’s since left Disney to pursue other interests and
now picks and chooses his gigs.
One choice was playing for about a year with Orlando’s Per Danielsson,
pianist, and Doug Mathews, bassist, at Peter Scott’s. (Unfortunately,
the trio no longer play the venue.)
Last year, he joined two other Orlando musicians, pianist Harold
Blanchard and bass player Chuck Archard (Groove Logic), to release
Three For All Jazz, a CD recorded
live-to-disk at Ed Krout’s Phat Planet
|
|
Cangro went from playing chopstick to playing drumsticks.
|
|
Studios. (Central Florida area music critic
Rick DeYampert rated the recording
four-and-a-half on a scale of five stars.)
Once a year, the three ... Blanchard, Archard, and
Cangro ... travel to Norfolk, Virginia to play a huge jazz
festival. They’ve also begun working with singer Suzy Parks ... of an
Orlando girl-group called, appropriately
enough, The Girlfriends ... and are
considering another CD with her providing vocals.
Another choice Cangro makes is to continue
playing percussion in the band with his buddy,
thom chambers.
Although he opts out of some gigs, you can usually catch him with
chambers’ group. So come on out and experience
Cangro's unique style and hybrid percussion
set-up soon!
Check for dates on the
Calendar!
~ March, 2002 |
Newz!
Sax-man
Joseph Vincelli's new release
...
it's all about This Life! |
When asked about the music style of his
upcoming CD release Dallas-based jazz saxophonist Joseph Vincelli
answered quickly and definitively,
"competitive smooth". If that’s an unfamiliar phrase, its meaning will
become clear after listening to the CD titled This Life.
So, what is competitive smooth? And what does it sound like?
|
Vincelli talked with jazzinorlando.com about that
... and made some pre-release copies available
... when he played the Pleasure Island Jazz Company recently.
Here’s what a sneak-peek listen revealed.
First, it’s a fat CD packed with twelve cuts that vary in rhythm and
emotion. And it’s passionate, feel-good music incorporating smooth,
tropical, African, and Brazilian samba beats.
Some tunes will send you bopping across the dance floor,
or make you |
|
Joseph Vincelli
|
boogie in your desk chair at work,
and some will simply make you smile. Others are sultry and
perfect for listening to by the glow of candlelight, firelight, or
moonlight. There’s a beautifully done vocal cut, and a brief percussion
set-up for the rhythmic song that follows.
One song would sound just fine in a movie score or soundtrack. Another
conjures up mental images of music for a television or cable show so
convincingly that you’ll find yourself listening for its debut.
|
Vincelli wrote most songs on
his new release ... This Life
|
Vincelli wrote nine of the 12 songs and co-wrote two.
One cut, Al Green’s Let’s Stay Together, is a cover. Every song
is strong on it’s own, together this is quite a package.
Whether it’s on the radio or the Internet , listen for This Life
to get big air ... it’ll be on any station worth listening to.
But Vincelli, who’s outstanding ability earned him a scholarship to the
Berklee College of Music, doesn’t |
limit himself to writing and performing music.
He also wrote and published a series of three books delving into the
psychology of music. The books, more about music
appreciation than music education, are presented in levels. "I
was intrigued by Bach and the spirituality of music," he says about the
inspiration to write the books.
Vincelli calls the first, Intimacy with Music – Level I, food for
the mind, a combination of music and spiritually. This is a book for
anyone who enjoys music. The second, My Friend Music – Level II,
aquatints readers with the affects of music in all aspects of our life.
It’s audience is those who already know a little something about music.
The third book, My Friend Music – Text Book Version, is
a little more education-oriented and encompasses philosophies
from some of the world’s greatest thinkers.
All three books, plus several of Vincelli’s ten CDs, are available from
his web site at
www.josephvincelli.com.
His latest release, This Life, will be added soon.
But, if you just can’t wait to hear This Life, ... and you
shouldn’t ... send an email to info@josephvincelli.com and ask for
ordering information.
And, here’s a bonus for you, Vincelli will be back in Orlando to perform
on May 18th. He says the gig is set,
all that’s left to determine is the venue.
It'll be free and outdoors ... probably in a setting you’ve
been
to before ... and
the music is sure to be exceptional. So plan now to
be there then.
More information will be available soon, so keep an ear on the radio,
and an eye on the
Calendar!
~ February, 2002 |
Newz!
Richard
Elliot is well connected
... and
that’s not just being polite! |
What great connections saxophonist Richard
Elliot has with Florida and Orlando! Elliot, who was in town recently performing a
benefit concert for the Juvenile Diabetes Research Foundation at
CityJazz, recalled, "The very first concert I played as a solo artist
was in Orlando at the Peabody." With a little more thought he remembered
that it was in 1987 at the Sunset Jazz Series.
|
Elliot has another connection with Florida, it’s
where two core members of his band live. In fact, Elliot himself lived
in the Tampa Bay area for a couple of years in the early 90’s. It was
there he met his keyboard player, Ron Reinhardt.
A recommendation led Elliot to contact Reinhardt about the possibility
of joining the band. It was only after they talked that they realized
they lived within a few miles of each other. |
|
Richard Elliot
|
Reinhardt joined the
band. Then his brother, drummer Dave Reinhardt, who also lives in the
Tampa Bay area, joined a couple of years later.
During his stint as a Florida resident Elliot, who likes to fish,
visited the Keys often. "I went to Key West and Marathon a lot, probably
every other month. I would fly to Miami and drive the rest of the way, I
always enjoyed the drive," he says.From
those trips came what Elliot calls "a state of mind" song, Down to
the Keys. The cut is on his 1989 release, Take to the Skies
... and that leads to another Florida connection.
The Blue Angles pictured on the CD cover and insert are based in
Pensacola, Florida. As you may guess of a fan of the Blue Angles, Elliot
enjoys planes and flying ... he sometimes flies the band from gig to
gig. And, oh yeah, he restores jets too ... but that’s a whole other
story for another time!
He says it’s been about a year since his last trip
down to the Keys ... sorry, the pun is just too obvious to pass up! ...
and he’s due for a visit again soon.
|
Peter White and Richard Elliot
|
With all
that, what other area connections might Elliot have?
There’s one that’s
very special and personal to him. The one that brought him to town most
recently, a benefit performance for the Juvenile Diabetes Research
Foundation.
The concert has taken place at CityJazz, at Universal’s |
CityWalk, for
three years. Guitarist Peter White has joined Elliot for the
event for the past two years.
The annual event began when a (then) 8-year-old Orlando
girl, Katlin, with
juvenile diabetes wrote to Elliot. She explained that she had been going
to his concerts with her parents since she was a 2-year-old, so she
thought of him when thinking of how a benefit concert might help children
with diabetes through research.
Continuing to
talk of the beginnings of the benefit concerts, Elliot says Katlin
initiated other successful endeavors, including involving a past White
House Chief-of-Staff to help bring Russian children to the United States
for treatment. So, he says, when she asked him to help he said he’d be
glad to. "It’s nothing compared to what she’s doing," he says.
Having Richard Elliot and Peter White at a venue
like CityJazz works well for the event as well as
the audience. Special Golden Circle seating offers excellent sound and
sight right up close to the stage, and the higher ticket pricing adds to
the funds collection. This special seating also included a wine-and-cheese
meet-and-greet after both the early and late show.
|
At one meet
and greet, Elliot and White spent close to an hour making their way around
the Golden Circle. They autographed CD’s while talking with the fans and
listeners whose comments about the music were right on target ... it was
absolutely awesome!
The evening had to wrap up ... and so did the conversation with Elliot.
When asked if there was anything he wanted to add, Elliot thought for a
moment and said, "Orlando’s great. I always enjoy the audience’s |
|
Peter White, Richard Elliot sign
autographs.
|
responsiveness. They’re
very sincere, if they seem to like you they’re
not just being polite."
Just for the record, Richard Elliot and his music
are really great, and a favorite here in Orlando ... and that’s not just
being polite!
~ January, 2002 |
| |
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Elliot has 12
releases including his latest, Crush.
|
|
|
He has played, toured, or
worked with a unique variety of musicians including Natalie Cole, The
Pointer Sisters, Melissa Manchester, Rick Springfield, and the
Yellowjackets. No doubt one ... or some ... of them were your
favorites at one time! |
|
He's done session work at
Motown Records alongside The Temptations, The Four Tops and Smokey
Robinson. |
|
In 1982, he joined the
renowned horn section of the Tower of Power and credits the group with
helping him develop as an artist and performer. |
|
He released his first solo
CD, Trolltown, in 1986 and went solo as a performer in 1987 ...
his first gig was right here in Orlando at the Sunset Jazz Series at
the Peabody. |
Check out Elliot's other
releases at
www.richardelliot.com!
|
A Streaming Broadcast
Richard Elliot’s media company, Code Sonics, will provide live broadcast
of the National Smooth Jazz Awards in San Deigo, California, on |
Congratulations to Richard Elliot
on his National Smooth Jazz Awards nomination for Saxophonist of the
Year!
|
|
|
March 2nd. "This is very high quality
broadcast," says Elliot. Sixty stations across the nation will carry the
streaming Internet program.
Visit the
National Smooth Jazz
Awards web site for more information and to vote for your favorite
musicians!
~ January, 2002 |
Special Section
Jazz In History ...
|
Jazz In History!Modern Jazz
Early Jazz
Chicago Jazz
Big-Band Jazz
Early Jazz
Origins of Jazz
More
Elements of Jazz
Ken Burns 'Jazz'
Elements of
Jazz
Jazz In
History
Still To Come!
Comtemporary Jazz |
Modern
Jazz
During the 1940’s the alto saxophonist Charles Christopher (Charlie
"Bird") Parker developed a form of jazz variously called rebop, bebop,
and bop. |
|
Like the music of Lester Young in the Basie band,
Parker’s innovations included intricate rhythmical patterns.
Parker’s style also resembled that of the tenor saxophone Coleman
("Bean") Hawkins in his use of complex chord alterations and
substitutions. Other notable jazz musicians of the 1940’s included John
Birks ("Dizzy") Gillespie, Thelonious Monk, Oscar Pettiford, Earl
("Bud") Powell, and Max Roach.
Another cycle of jazz began to develop in the late 1940’s, when a
modified or "cool" version of bob appeared. Inspired by trumpeter Miles
Davis, it was adopted and refined by players like tenor saxophonists
John Haley ("Zoot") Sims and Stanley ("Stan") Getz and baritone
saxophonist Gerald Joseph ("Gerry") Mulligan. |
John
Birks ("Dizzy") Gillespie and Charles
Christopher (Charlie "Bird") Parker, notable 1940's
jazz musicians.
|
In the early 1950’s, the pianist David ("Dave")
Brubeck and the alto saxophonist Paul Desmond developed a form of bop
known as West Coast jazz.
Parker’s music continued to influence many jazz musicians of the 1950’s
and a number of jazz movements were largely derivatives of the Parker
style. |
Among them were soul jazz player by Horace Silver,
the brothers Julian Edwin ("Cannonball") Adderley and Nathaniel ("Nat")
Adderly, and Robert ("Bobby") Timmons; hard
bop developed by Art Blakey and the many young musicians who have played
with him; the experimental jazz of pianist Leonard Joseph ("Lennie")
Tristano and alto saxophonist Lee Konitz; and the polished neo-bop of
Clifford Brown.
As these players became accustomed to the complex harmonic and rhythmic
patterns of modern jazz, they began to return to the simultaneous
improvisation of several lines of melody by a whole group of musicians
which had characterized the earliest form of jazz.
July/August
2002
Read more about Jazz In
History!
Still to
come
... Contemporary Jazz! |
|
