| New Music USA - New Music Magazine - New Music Blog - New Music Promotion |
| New Music USA |
| New Music Magazine / Blog / Promotion |
| New Music: Jazz |
| Melody Gardot blends jazz and blues into a sultry mix, a stylish sonic expression of the place where music meets life. |
| Melody Gardot |
Every artist has a story. Melody's is at the heart of her music.
When she was 19, Melody was hit by a car. During her
recovery she used music as a form of therapy, even recording
and releasing tracks while still in the hospital. Once out, she
started playing around Philadelphia. Before long Universal
Records signed her. Her first full-length album, Worrisome
Heart, displayed her gift for transforming the traditions of jazz
and blues with her intimate and personal sound. It also set a
soulful artist with a small but strong following onto the world
stage.
After the critical acclaim that met her debut Melody was
ready. Ready to work with Grammy-winning producer Larry
Klein to create an album that would capture the subtleties of a
live performance in the studio. Ready to collaborate with
legendary composer Vince Mendoza, whose orchestral
arrangements she thought of as a secret weapon on her album.
Ready to grow as an artist. Ready to evolve her sound.
When she was 19, Melody was hit by a car. During her
recovery she used music as a form of therapy, even recording
and releasing tracks while still in the hospital. Once out, she
started playing around Philadelphia. Before long Universal
Records signed her. Her first full-length album, Worrisome
Heart, displayed her gift for transforming the traditions of jazz
and blues with her intimate and personal sound. It also set a
soulful artist with a small but strong following onto the world
stage.
After the critical acclaim that met her debut Melody was
ready. Ready to work with Grammy-winning producer Larry
Klein to create an album that would capture the subtleties of a
live performance in the studio. Ready to collaborate with
legendary composer Vince Mendoza, whose orchestral
arrangements she thought of as a secret weapon on her album.
Ready to grow as an artist. Ready to evolve her sound.
The new album from Israeli bass phenomenon, Alex Bershadsky promises more of Bershadsky’s own free-flowing compositions and astounding
bass work. Based just a few miles outside of Tel Aviv, Alex is already making waves on the International music scene following accomplished
performances as a sideman, composer and lyrical soloist. Hailed by Bass Guitar Magazine as a key player to watch this year, Anonymous presents
a set of beautifully diverse and varied musical ideas that combine Alex’s esteemed technical prowess with melodic improvisations played over
complex funk and R&B grooves.
Alex was born in Latvia, but moved to Israel at the age of two with his family. Once his music career took off, he became immersed with the
country's top musicians. Undoubtedly, this exposure to master musicians had a tremendous effect on Bershadsky’s development as a performer
and composer. Over the period of his career Alex performed alongside the crème de la crème of talent - both in television and radio. Bershadsky
also had the privilege to perform at prestigious Israeli events such as The Red Sea Jazz Festival, and Rigas Ritmi - the largest annual rhythmic
music festival in the Baltic region.
During the 90’s Alex successfully formed two bands; “RTZ” - a Jazz Fusion group who toured Europe and released an album, and “Zonzee” - who
released two albums; Time Flies (1999) which received great press and much acclaim, and Buzz (2005), featuring legendary guitarist Mike Stern.
Bershadsky penned most of the material for both groups, which gave him the opportunity to demonstrate his range and talent.
It wasn't long before Alex crossed the Atlantic to officially represent Israel under the auspice of the Israeli Ministry of Foreign Affairs to perform in
world famous Jazz venues such as The Blue Note in New York. While in Los Angelas, Bershadsky recorded sessions at Steve Vai's Mother Ship
Studio with famous Argentinean guitarist Carina Alfie and producer Neil Citron.
Today, Alex is one of Israel's top musicians; he has released his second solo album "Anonymous", he's endorsed by Zon Guitars & Aguilar
amplification, and working on his next project.
www.alexbershadsky.com
bass work. Based just a few miles outside of Tel Aviv, Alex is already making waves on the International music scene following accomplished
performances as a sideman, composer and lyrical soloist. Hailed by Bass Guitar Magazine as a key player to watch this year, Anonymous presents
a set of beautifully diverse and varied musical ideas that combine Alex’s esteemed technical prowess with melodic improvisations played over
complex funk and R&B grooves.
Alex was born in Latvia, but moved to Israel at the age of two with his family. Once his music career took off, he became immersed with the
country's top musicians. Undoubtedly, this exposure to master musicians had a tremendous effect on Bershadsky’s development as a performer
and composer. Over the period of his career Alex performed alongside the crème de la crème of talent - both in television and radio. Bershadsky
also had the privilege to perform at prestigious Israeli events such as The Red Sea Jazz Festival, and Rigas Ritmi - the largest annual rhythmic
music festival in the Baltic region.
During the 90’s Alex successfully formed two bands; “RTZ” - a Jazz Fusion group who toured Europe and released an album, and “Zonzee” - who
released two albums; Time Flies (1999) which received great press and much acclaim, and Buzz (2005), featuring legendary guitarist Mike Stern.
Bershadsky penned most of the material for both groups, which gave him the opportunity to demonstrate his range and talent.
It wasn't long before Alex crossed the Atlantic to officially represent Israel under the auspice of the Israeli Ministry of Foreign Affairs to perform in
world famous Jazz venues such as The Blue Note in New York. While in Los Angelas, Bershadsky recorded sessions at Steve Vai's Mother Ship
Studio with famous Argentinean guitarist Carina Alfie and producer Neil Citron.
Today, Alex is one of Israel's top musicians; he has released his second solo album "Anonymous", he's endorsed by Zon Guitars & Aguilar
amplification, and working on his next project.
www.alexbershadsky.com
| Israel's Alex Bershadsky |
| Music Genres: Jazz |
Jazz historian Leonard Feather once said Katrina Wreede has “extemporaneous mastery rate, perhaps unique, in the annals of the viola.” A prize-
winning composer and former violist with Turtle Island String Quartet, she has dedicated her career to expanding stylistic boundaries and helping
position the often maligned viola in its rightful place as a profoundly expressive instrument capable of evoking the totality of human emotion.
Wreede’s Add Viola and Stir is a satisfyingly complex sampling of those adventures.
Katrina Wreede’s “California Eclectic” style ranges from chamber and dance music to orchestral works and “Violaerbics-A Technical Workout for
Violists”. Her works have been performed by the Chamber Orchestra of Boston, Omaha Symphony, San Jose Chamber Orchestra, the Ahn Trio,
Pegasus Quartet, San Jose Quartet, Turtle Island String Quartet, Colorado Chamber Players, violist Karen Elaine, Mill Valley Philharmonic, Axis
Dance Company, David Parsons Dance Company, Argentina’s Orchestra Rosario, and soon the Northern California Viola Society. Based in the San
Francisco Bay Area, she also travels around the country with her unique interactive education workshops: “My Goldfish Died – Blues for Strings,”
and “Composing Together.”
Katrina Wreede’s works might fall into many categories, but they are all full of humor, with an occasional tinge of melancholy or twist of attitude –
just like the viola itself.
www.katrinawreede.com
winning composer and former violist with Turtle Island String Quartet, she has dedicated her career to expanding stylistic boundaries and helping
position the often maligned viola in its rightful place as a profoundly expressive instrument capable of evoking the totality of human emotion.
Wreede’s Add Viola and Stir is a satisfyingly complex sampling of those adventures.
Katrina Wreede’s “California Eclectic” style ranges from chamber and dance music to orchestral works and “Violaerbics-A Technical Workout for
Violists”. Her works have been performed by the Chamber Orchestra of Boston, Omaha Symphony, San Jose Chamber Orchestra, the Ahn Trio,
Pegasus Quartet, San Jose Quartet, Turtle Island String Quartet, Colorado Chamber Players, violist Karen Elaine, Mill Valley Philharmonic, Axis
Dance Company, David Parsons Dance Company, Argentina’s Orchestra Rosario, and soon the Northern California Viola Society. Based in the San
Francisco Bay Area, she also travels around the country with her unique interactive education workshops: “My Goldfish Died – Blues for Strings,”
and “Composing Together.”
Katrina Wreede’s works might fall into many categories, but they are all full of humor, with an occasional tinge of melancholy or twist of attitude –
just like the viola itself.
www.katrinawreede.com
| Jazz & Classical Viola from Katrina Wreede |
| Truly original, evocative and witty. Jazz, classical and sound collage music for viola. Rich, deep, and sometimes silly. |
| Music Genres: Jazz / Classical |
BOSTON, MA (02/20/11) – If you could use your GPS to find a place
where roots, blues, jazz and rock music collides – it would point you
towards B Street in Boston ... B Street Blues that is. This power-
packed band continues to accelerate in their latest release - Car
Won’t Go. With ten tracks firing on ten cylinders, their hard-driving
blues provides a finely-tuned, fuel-injected, “Blues Muse Machine.”
B Street Blues consists of lead vocalist/guitarist Norm Tiedemann,
Dave Schaefer on drums and vocals, and Chris "Chez" Chesna on
bass. However, Car Won’t Go was definitely a team effort that
stretches well beyond the band’s members to many other musical
professionals. Tiedemann explains, “Everyone brought with them the
mastership of their instrument – the whole greater than the sum of
its parts.” These artists are a true “carload” of talent. They include
Allman Brothers’ guitarist Jack Pearson, legendary saxophone
player Richie Cole, blues harmonica master James Montgomery and
guitarist Linwood Taylor. The album also features Tiedemann’s son
- guitar player Norm Tiedemann II, as well as the pianist Pete Previte
and guitar gurus Pete Early and Rich Forziati.
Car Won’t Go might be the title, but don’t be fooled – it not only
goes - it gets great mileage with a high-octane blend of classical and
modern blues. A finalist in the 2005 Boston Blues Challenge, B
Street Blues is known for their vivacious live performances, and
cutting-edge vocals. That tradition continues in the album which
reflects the emotion, feeling and unique sound of the original
compositions Tiedemann, Chesna and Schaefer offer. “We’re a
perfect meld of traditional roots blues and hints of jazz and classic
rock flavors,” says Chesna.
The first track on Car Won’t Go is “Big Blue Blues” – a composition
that shows off every aspect of B Street Blues’ trunk full of talent.
With highly-charged vocals, wailing guitar riffs, and Jack Pearson’s
amazing work on the Hammond B3 organ, it is an anthem that
primes the engine. “Live Bait” hooks the listener with its ZZ Top-ish
guitar and addictive southernroots style. A laid-back "Set a Spell"
where roots, blues, jazz and rock music collides – it would point you
towards B Street in Boston ... B Street Blues that is. This power-
packed band continues to accelerate in their latest release - Car
Won’t Go. With ten tracks firing on ten cylinders, their hard-driving
blues provides a finely-tuned, fuel-injected, “Blues Muse Machine.”
B Street Blues consists of lead vocalist/guitarist Norm Tiedemann,
Dave Schaefer on drums and vocals, and Chris "Chez" Chesna on
bass. However, Car Won’t Go was definitely a team effort that
stretches well beyond the band’s members to many other musical
professionals. Tiedemann explains, “Everyone brought with them the
mastership of their instrument – the whole greater than the sum of
its parts.” These artists are a true “carload” of talent. They include
Allman Brothers’ guitarist Jack Pearson, legendary saxophone
player Richie Cole, blues harmonica master James Montgomery and
guitarist Linwood Taylor. The album also features Tiedemann’s son
- guitar player Norm Tiedemann II, as well as the pianist Pete Previte
and guitar gurus Pete Early and Rich Forziati.
Car Won’t Go might be the title, but don’t be fooled – it not only
goes - it gets great mileage with a high-octane blend of classical and
modern blues. A finalist in the 2005 Boston Blues Challenge, B
Street Blues is known for their vivacious live performances, and
cutting-edge vocals. That tradition continues in the album which
reflects the emotion, feeling and unique sound of the original
compositions Tiedemann, Chesna and Schaefer offer. “We’re a
perfect meld of traditional roots blues and hints of jazz and classic
rock flavors,” says Chesna.
The first track on Car Won’t Go is “Big Blue Blues” – a composition
that shows off every aspect of B Street Blues’ trunk full of talent.
With highly-charged vocals, wailing guitar riffs, and Jack Pearson’s
amazing work on the Hammond B3 organ, it is an anthem that
primes the engine. “Live Bait” hooks the listener with its ZZ Top-ish
guitar and addictive southernroots style. A laid-back "Set a Spell"
| Blues, Jazz and Rock Collide on B-Street |
paints a perfect retro soundscape of a hot, lazy Louisiana day
with the amazing harmonica work of James Montgomery. Other
notable tracks are the instrumental and jazzy “Spinner.” Even
subtle hints of Clapton can be heard in the classic blues ballad
“Honesty.” Car Won’t Go has ten tracks that encompass a little
bit of everything for every blues fan. The key to this car’s ignition
is the team effort of professional musical masters. Turn on your
GPS, and take Car Won’t Go for a spin – you’ll love the hard-
driving blues of this “Blues Muse Machine.”
www.bstreetblues.com
with the amazing harmonica work of James Montgomery. Other
notable tracks are the instrumental and jazzy “Spinner.” Even
subtle hints of Clapton can be heard in the classic blues ballad
“Honesty.” Car Won’t Go has ten tracks that encompass a little
bit of everything for every blues fan. The key to this car’s ignition
is the team effort of professional musical masters. Turn on your
GPS, and take Car Won’t Go for a spin – you’ll love the hard-
driving blues of this “Blues Muse Machine.”
www.bstreetblues.com
| Music Genres: Blues / Jazz / Roots / Rock |
Provence, the southeastern region of France, is known for its painterly sunlight, mistral wind, scenery, wine, food and ambiance, and now it
serves as the title and inspiration for the fourth album by the German act Luna Blanca, which over the past decade has become one of the most
popular nouveau-flamenco groups in the world.--- Luna Blanca was founded by acoustic lead guitarist Richard Hecks, who has used a variable line-
up of musicians in the band. But the other mainstay of the group is pianist Helmut Graebe, who joined the second year, just before they recorded
the first album, and now co-writes the music with Hecks. Both on record and in concert they add other musicians as needed (drums and
percussion, bass, one or two acoustic rhythm guitars, organ, occasional vocalizing, etc.). On Provence, Hecks and Graebe are joined by rhythm
guitarist Bino Dola (a flamenco player much respected throughout Europe) and Clemens Paskert (who added bass, percussion and additional
keyboards). Paskert, who runs Capitol Sound Studios where the CD was recorded, also served as arranger and co-producer with Hecks. The band
is based in Bocholt, Germany.
“The quintessential Kings of Nuevo Flamenco” --- Provence lies in the south eastern corner of France right on the Mediterranean and is beloved by
painters who rave about the “soft light” it offers. Renoir, Matisse and Pablo Picasso have all spent time and painted here. Apart from the title,
another interesting thing about Luna Blanca is that they actually screen original artwork during their stage performances. The quintessential kings of
Nuevo Flamenco, Luna Blanca (founded in 2000) is the brainchild of Germany’s Richard Hecks and Helmut Graebe and features driving guitars,
lush arrangements and highly memorable tunes. Their latest work PROVENCE is a delightful 12-track ‘amuse-bouche’ with tunes titled in French
and Spanish. Favorites include “Driving,“ a fast paced road tune featuring guitars and flute, “Côte d’Azur” with brilliant vocals and Mediterranean
warmth and the sweet sound of “Crème Brûlée .” PROVENCE is a really evocative glimpse into the world of European New Age. (SmoothJazz.
com, by Stewart Coxhead)
http://www.lunablancamusic.com
serves as the title and inspiration for the fourth album by the German act Luna Blanca, which over the past decade has become one of the most
popular nouveau-flamenco groups in the world.--- Luna Blanca was founded by acoustic lead guitarist Richard Hecks, who has used a variable line-
up of musicians in the band. But the other mainstay of the group is pianist Helmut Graebe, who joined the second year, just before they recorded
the first album, and now co-writes the music with Hecks. Both on record and in concert they add other musicians as needed (drums and
percussion, bass, one or two acoustic rhythm guitars, organ, occasional vocalizing, etc.). On Provence, Hecks and Graebe are joined by rhythm
guitarist Bino Dola (a flamenco player much respected throughout Europe) and Clemens Paskert (who added bass, percussion and additional
keyboards). Paskert, who runs Capitol Sound Studios where the CD was recorded, also served as arranger and co-producer with Hecks. The band
is based in Bocholt, Germany.
“The quintessential Kings of Nuevo Flamenco” --- Provence lies in the south eastern corner of France right on the Mediterranean and is beloved by
painters who rave about the “soft light” it offers. Renoir, Matisse and Pablo Picasso have all spent time and painted here. Apart from the title,
another interesting thing about Luna Blanca is that they actually screen original artwork during their stage performances. The quintessential kings of
Nuevo Flamenco, Luna Blanca (founded in 2000) is the brainchild of Germany’s Richard Hecks and Helmut Graebe and features driving guitars,
lush arrangements and highly memorable tunes. Their latest work PROVENCE is a delightful 12-track ‘amuse-bouche’ with tunes titled in French
and Spanish. Favorites include “Driving,“ a fast paced road tune featuring guitars and flute, “Côte d’Azur” with brilliant vocals and Mediterranean
warmth and the sweet sound of “Crème Brûlée .” PROVENCE is a really evocative glimpse into the world of European New Age. (SmoothJazz.
com, by Stewart Coxhead)
http://www.lunablancamusic.com
| New Age Latin Jazz from Luna Blanca |
| "TOP 10 Recording! A Latin-oriented ensemble sound that makes the listener feel they are traveling to a warm climate to enjoy good times." |
| Music Genres: Latin Jazz / New Age |
| Music Genres: Smooth Jazz |
NATIVE NEW YORKER, NOW RESIDING IN SAN ANTONIO, TEXAS. ANTHONY, STUDIED
MUSIC AT ST PHILLIPS COLLEGE, IN SAN ANTONIO AND SOUTHWEST TEXAS STATE
UNIVERSITY. HIS LOVE FOR THE ART OF MUSIC HAS TAKEN HIM IN FULL CIRCLE FROM
CLASSICAL, POP,GOSPEL, AND CURRENTLY COMPOSED HIS DEBUT CONTEMPOARY
SMOOTH JAZZ CD " WITH ALL MY HEART"
With All My Heart cd composed by Anthony Pope has been number one in Austraila 24/7 jazz
chart and International. One Day At A Time has been #1 for 6 weeks along with 4 other great
songs such as Straight Up, Only You and Just Let Me Be.This Smooth Jazz cd is very popular
in the United States as well.
http://www.AnthonyPope.com
MUSIC AT ST PHILLIPS COLLEGE, IN SAN ANTONIO AND SOUTHWEST TEXAS STATE
UNIVERSITY. HIS LOVE FOR THE ART OF MUSIC HAS TAKEN HIM IN FULL CIRCLE FROM
CLASSICAL, POP,GOSPEL, AND CURRENTLY COMPOSED HIS DEBUT CONTEMPOARY
SMOOTH JAZZ CD " WITH ALL MY HEART"
With All My Heart cd composed by Anthony Pope has been number one in Austraila 24/7 jazz
chart and International. One Day At A Time has been #1 for 6 weeks along with 4 other great
songs such as Straight Up, Only You and Just Let Me Be.This Smooth Jazz cd is very popular
in the United States as well.
http://www.AnthonyPope.com
| Smooth Jazz from Anthony Pope |
Originally from Connecticut, Craig Pilo graduated from the University of North Texas College of Music in 1995 with a Bachelors
Degree in Music. In the fall of 1996 he moved to Los Angeles where he resides today. In 1997 Craig did the fall tour with
famed trumpeter Maynard Ferguson to promote his One More Trip To Birdland CD. Craig attributes his early success to some
of his private teachers, Alan Dawson, Ed Soph, Dave Weckl, and Jeff Hamilton.
From 1998 until 2002 Craig worked around Los Angeles and maintained a regular schedule with Player ("Baby Come Back"),
a few local artists, and did sessions for TV, Film, and local artists' CD’s. A partial list of credits from this period includes: Ally
McBeal, Boston Public, Sex and the City, CSI Miami, Malcolm in the Middle, Sabrina, The Osbornes, and the movies Basic and
Dirty Dancing II: Havana Nights. Some of the artists include: Billy Vera, Malo, Heatwave, Blue Magic, and Deniece Williams.
In the Spring of 2002 Craig began playing regularly with Pat Boone. He did several tours over the next few years and recorded
for a few of Pats CD’s. Craig played on the title cut “Under God” for the re-release of Pat’s American Glory CD released in
2002. In 2004 Craig broke away from his regular gigs and began playing with Angela Carole Brown and did a few tours with
the Red Elvises. Each project produced a CD that included Craig on the drums. The Red Elvises recorded and released a live
CD from one of the concerts in Russia, and Angela Carole Brown recorded and released The Slow Club. In the summer of
2005 Craig rejoined Pat Boone for his tour of Ireland. And in the summer of 2006 Craig played the Playboy Jazz Festival with
Angela Carole Brown and The Slow Club Quartet.
In October of 2005, Craig joined "Rock N Roll Hall-of-Fame" singer Frankie Valli for his touring band. Two years later, in 2007,
Craig continued touring with Frankie Valli and was also able to tour with Edgar Winter, and Player. In April of 2007 Craig
released a solo CD Just Play on Rue De La Harpe Records and it won Craig Jazz Artist of the Year at the Los Angeles
Independent Music Awards.
In November of 2008, Craig played on and produced Expressionism for the Slow Club Quartet. The CD recieved glowing
reviews and attained a global audience. Currently Craig continues touring with Frankie Valli, composing music, recording
drums for various projects, and working on putting together a touring band for his recent solo CD Unsupervised (March 2011).
For the most up-to-date information, stop by Craig’s Schedule Page and News Page.
For more information, visit www.craigpilo.com
Degree in Music. In the fall of 1996 he moved to Los Angeles where he resides today. In 1997 Craig did the fall tour with
famed trumpeter Maynard Ferguson to promote his One More Trip To Birdland CD. Craig attributes his early success to some
of his private teachers, Alan Dawson, Ed Soph, Dave Weckl, and Jeff Hamilton.
From 1998 until 2002 Craig worked around Los Angeles and maintained a regular schedule with Player ("Baby Come Back"),
a few local artists, and did sessions for TV, Film, and local artists' CD’s. A partial list of credits from this period includes: Ally
McBeal, Boston Public, Sex and the City, CSI Miami, Malcolm in the Middle, Sabrina, The Osbornes, and the movies Basic and
Dirty Dancing II: Havana Nights. Some of the artists include: Billy Vera, Malo, Heatwave, Blue Magic, and Deniece Williams.
In the Spring of 2002 Craig began playing regularly with Pat Boone. He did several tours over the next few years and recorded
for a few of Pats CD’s. Craig played on the title cut “Under God” for the re-release of Pat’s American Glory CD released in
2002. In 2004 Craig broke away from his regular gigs and began playing with Angela Carole Brown and did a few tours with
the Red Elvises. Each project produced a CD that included Craig on the drums. The Red Elvises recorded and released a live
CD from one of the concerts in Russia, and Angela Carole Brown recorded and released The Slow Club. In the summer of
2005 Craig rejoined Pat Boone for his tour of Ireland. And in the summer of 2006 Craig played the Playboy Jazz Festival with
Angela Carole Brown and The Slow Club Quartet.
In October of 2005, Craig joined "Rock N Roll Hall-of-Fame" singer Frankie Valli for his touring band. Two years later, in 2007,
Craig continued touring with Frankie Valli and was also able to tour with Edgar Winter, and Player. In April of 2007 Craig
released a solo CD Just Play on Rue De La Harpe Records and it won Craig Jazz Artist of the Year at the Los Angeles
Independent Music Awards.
In November of 2008, Craig played on and produced Expressionism for the Slow Club Quartet. The CD recieved glowing
reviews and attained a global audience. Currently Craig continues touring with Frankie Valli, composing music, recording
drums for various projects, and working on putting together a touring band for his recent solo CD Unsupervised (March 2011).
For the most up-to-date information, stop by Craig’s Schedule Page and News Page.
For more information, visit www.craigpilo.com
| Jazz Fusion from Craig Pilo |
| Music Genres: Jazz Fusion |
| In the vein of 1970's ECM Jazz, Craig Pilo has created a second solo CD called Unsupervised. Unsupervised is a follow up CD to Just Play (2007). |
Donna Greenberg, the Canadian singer, songwriter and lyricist is enjoying rave reviews from the UK to the USA, for Mav’rik,
her second CD. Mav’rik is an eclectic mix, boasting of 12 original songs composed by the chanteuse herself.
Mav’rik crosses boundaries by boldly jumping genres — salsa, lullaby, Celtic folk, tango, jazz, swing and bossa nova, all in one
album…and the radio industry is responding. Latin, jazz, country and gospel stations are playing her songs and singing her
praises! Greenberg’s recent accolades include being named Jazz Vocalist of the Month on Bob Birch Radio in England and
Montreal radio station, Planeté Jazz’s Discovery of the Week. Diana Broomfield compared her to singer Julie Andrews on
WDGP Radio Maryland in America.
Mav’rik showcases Greenberg’s heartfelt, yet powerful lyrics in four languages with haunting melodies, brought to richness
with consummate musicians, producer and musical director, Jordan Klapman’s arrangements and the orchestrations of Tony
Quarrington.
In the tradition of the 20th century popular songwriters, Greenberg, the songwriter brings this musical craft full-circle for the
new millennium. This versatile artist disarms you with her warm, soothing voice, innate musicality and a dramatic flair that
captures the soul of any lyric — her own and others.
Prior to realizing her dream as a singer/songwriter, Greenberg was an accomplished choreographer, dancer and dance
filmmaker. Her early influences included jazz, opera, classical music, musical theatre, and liturgical music. She graduated from
The University of Toronto with a BA in English Literature. She continued her education with extensive musical training making
her a sought after classical solo artist who performed in five languages, a skillset reflected in Mav’rik.
Greenberg has been collaborating with arranger Jordan Klapman since her debut release, Stranger in 2009. Stranger hit the
Top 30 chart on Toronto’s CIUT and continues to be played on-air worldwide. A Tribute to Gershwin, Porter and Rodgers, was
Greenberg’s first foray into jazz, a one-woman show, for which she sang, danced and wrote. Now, jazz is the mainstay of her
live performances.
Donna Greenberg’s first love is performing and recording her fresh, original material, in addition to introducing audiences to
rare and unusual musical finds.
For more information, visit www.donnagreendberg.com
her second CD. Mav’rik is an eclectic mix, boasting of 12 original songs composed by the chanteuse herself.
Mav’rik crosses boundaries by boldly jumping genres — salsa, lullaby, Celtic folk, tango, jazz, swing and bossa nova, all in one
album…and the radio industry is responding. Latin, jazz, country and gospel stations are playing her songs and singing her
praises! Greenberg’s recent accolades include being named Jazz Vocalist of the Month on Bob Birch Radio in England and
Montreal radio station, Planeté Jazz’s Discovery of the Week. Diana Broomfield compared her to singer Julie Andrews on
WDGP Radio Maryland in America.
Mav’rik showcases Greenberg’s heartfelt, yet powerful lyrics in four languages with haunting melodies, brought to richness
with consummate musicians, producer and musical director, Jordan Klapman’s arrangements and the orchestrations of Tony
Quarrington.
In the tradition of the 20th century popular songwriters, Greenberg, the songwriter brings this musical craft full-circle for the
new millennium. This versatile artist disarms you with her warm, soothing voice, innate musicality and a dramatic flair that
captures the soul of any lyric — her own and others.
Prior to realizing her dream as a singer/songwriter, Greenberg was an accomplished choreographer, dancer and dance
filmmaker. Her early influences included jazz, opera, classical music, musical theatre, and liturgical music. She graduated from
The University of Toronto with a BA in English Literature. She continued her education with extensive musical training making
her a sought after classical solo artist who performed in five languages, a skillset reflected in Mav’rik.
Greenberg has been collaborating with arranger Jordan Klapman since her debut release, Stranger in 2009. Stranger hit the
Top 30 chart on Toronto’s CIUT and continues to be played on-air worldwide. A Tribute to Gershwin, Porter and Rodgers, was
Greenberg’s first foray into jazz, a one-woman show, for which she sang, danced and wrote. Now, jazz is the mainstay of her
live performances.
Donna Greenberg’s first love is performing and recording her fresh, original material, in addition to introducing audiences to
rare and unusual musical finds.
For more information, visit www.donnagreendberg.com
| Canadian Jazz from Donna Greenberg |
| Music Genres: Jazz / Eclectic |
| Sylvia Bennett's Album "Smile" |
| Music Genres: Jazz Standards / Vocals |
Sylvia Bennett is always looking for ways to keep the great standards alive. On her new album Smile,
Sylvia and her long–time producer, Hal Batt, knew they had something special brewing when they
decided to take love songs from the American songbook and give them a new twist. Smile is a
collection of wonderful standards, recognizable, but all with an international flair to appeal to a
broader audience. The flavors are bossa novas, boleros and a new hybrid merengue. Inspiration
came from a history of enjoying the styles of Sergio Mendez and Wes Montgomery.
The music is grooving with luscious percussion and masterful guitar. The richness of the beautiful
strings touches the heart. The tracks on the CD include classics like Smile, Witchcraft, Shadow of
Your Smile, and Make Someone Happy. It also includes two bonus tracks: a Spanish version of Smile
and a smooth pop version of Look of Love. The Italian born and American raised Bennett is a singer’s
singer, having sung on TV, in community theater, club dates, conventions and even the inaugurations
of presidents Ronald Reagan and George Bush.
Walking in the footsteps of her idols such as Barbra Streisand, Ella Fitzgerald, Barry Manilow and
Bette Midler, Sylvia has opened for artists as diverse as Bob Hope, Phyllis Diller, Jackie Mason, Dizzy
Gillespie, Barry Gibb and David Brenner. Her big break came in the 1980's, when legendary
vibraphonist (and National Arts Award Winner) Lionel Hampton took Sylvia under his wing and made
her the first female singer to record with him in thirty years. She recounts, “Lionel validated me as a
performer and inspired me to be the best singer I can be. He made me realize that the audience was
the most important thing and that all I needed to do was to sing from the heart and be honest.” Sylvia
worked with Hampton for ten years, touring and recording two albums together. The first, Sentimental
Journey, was nominated for a Grammy Award in 1987.
The second project, There Will Never Be Another You, was a CD/DVD tribute to “Hamp” from Sylvia,
and she furthered the honor to her mentor with the show, “The Lady and the Legend,” premiering in
Miami in 2007. In the wake of Sylvia's tribute to Hampton, Hal Batt suggested that she record timeless
love songs and standards, backed by a small band to convey the desired intimacy for her next album.
Songs From The Heart featuring the Three Tenors (tenor saxophone legends Boots Randolph, Ed
Calle and Kirk Whalum) was released in 2007. Smile was released on April 20, 2010 and is available
for purchase and download on CDBaby, Amazon.com, and iTunes. Sylvia Bennett has also fashioned
an intimate dinner show like those popular in New York where she creates a Supper Club atmosphere
at select venues. Each performance has a different theme and include selections from her various
CDs.
For more information, visit www.sylviabennett.com
Sylvia and her long–time producer, Hal Batt, knew they had something special brewing when they
decided to take love songs from the American songbook and give them a new twist. Smile is a
collection of wonderful standards, recognizable, but all with an international flair to appeal to a
broader audience. The flavors are bossa novas, boleros and a new hybrid merengue. Inspiration
came from a history of enjoying the styles of Sergio Mendez and Wes Montgomery.
The music is grooving with luscious percussion and masterful guitar. The richness of the beautiful
strings touches the heart. The tracks on the CD include classics like Smile, Witchcraft, Shadow of
Your Smile, and Make Someone Happy. It also includes two bonus tracks: a Spanish version of Smile
and a smooth pop version of Look of Love. The Italian born and American raised Bennett is a singer’s
singer, having sung on TV, in community theater, club dates, conventions and even the inaugurations
of presidents Ronald Reagan and George Bush.
Walking in the footsteps of her idols such as Barbra Streisand, Ella Fitzgerald, Barry Manilow and
Bette Midler, Sylvia has opened for artists as diverse as Bob Hope, Phyllis Diller, Jackie Mason, Dizzy
Gillespie, Barry Gibb and David Brenner. Her big break came in the 1980's, when legendary
vibraphonist (and National Arts Award Winner) Lionel Hampton took Sylvia under his wing and made
her the first female singer to record with him in thirty years. She recounts, “Lionel validated me as a
performer and inspired me to be the best singer I can be. He made me realize that the audience was
the most important thing and that all I needed to do was to sing from the heart and be honest.” Sylvia
worked with Hampton for ten years, touring and recording two albums together. The first, Sentimental
Journey, was nominated for a Grammy Award in 1987.
The second project, There Will Never Be Another You, was a CD/DVD tribute to “Hamp” from Sylvia,
and she furthered the honor to her mentor with the show, “The Lady and the Legend,” premiering in
Miami in 2007. In the wake of Sylvia's tribute to Hampton, Hal Batt suggested that she record timeless
love songs and standards, backed by a small band to convey the desired intimacy for her next album.
Songs From The Heart featuring the Three Tenors (tenor saxophone legends Boots Randolph, Ed
Calle and Kirk Whalum) was released in 2007. Smile was released on April 20, 2010 and is available
for purchase and download on CDBaby, Amazon.com, and iTunes. Sylvia Bennett has also fashioned
an intimate dinner show like those popular in New York where she creates a Supper Club atmosphere
at select venues. Each performance has a different theme and include selections from her various
CDs.
For more information, visit www.sylviabennett.com
| DIG (Directions in Groove) |
| Music Genres: Jazz, Electronic Jazz, Hip Hop / Rap, Urban, Soul If You Like: Tortoise, Medeski Martin and Wood, The Headhunters, Portishead, Roy Ayers |
Acclaimed Australian acid-jazz / groove / funk band Directions In Groove (DIG) are back with the original DIG lineup - featuring
keyboardist and vocalist Scott Saunders, saxophonist Rick Robertson, guitarist Tim Rollinson, bassist Alex Hewetson and
drummer Terepai Richmond, alongside new guest vocalist Laura Stitt.
The band, which hailed from the suburbs of Sydney, honed their live set with a residency at Kinselas back in the early 90’s.
They self-financed their first EP, which at the time was the highest selling release of it’s kind, and with an ever growing audience,
set out to tour nationally. They released several distinctive acid-jazz / groove / funk albums through the 1990s, including the
much lauded "Speakeasy" and "Deeper" which both went on to achieve double platinum status. Tracks such as "The Favourite",
"Reinvent Yourself", and "Hip Replacement" were radio and television staples, the band garnering widespread critical acclaim,
including this from Rolling Stone magazine: "DIG are the future of Australian music. They know what to do and how to do it."
With extensive JJJ airplay, great press support and consistent touring, dig crossed over into the mainstream with their mix of
jazz/dance/old school funk and electronica, and evolved to incorporate new grooves, melding drum'n'bass and trip hop into the
mix. They took their unique style across the globe, touring Asia, North America and Europe including the Montreux Jazz Festival,
North Sea Festival, and Phoenix Festival on the same stage as Herbie Hancock, Bootsy Collins and The Roots. Dig also played
in the Acid Jazz scene supporting Us3, Galliano, The Groove Collective, Corduroy, The Young Disciples, appearing at club and
festival shows with Norman Jay and Giles Peterson.
www.directionsingroove.com
keyboardist and vocalist Scott Saunders, saxophonist Rick Robertson, guitarist Tim Rollinson, bassist Alex Hewetson and
drummer Terepai Richmond, alongside new guest vocalist Laura Stitt.
The band, which hailed from the suburbs of Sydney, honed their live set with a residency at Kinselas back in the early 90’s.
They self-financed their first EP, which at the time was the highest selling release of it’s kind, and with an ever growing audience,
set out to tour nationally. They released several distinctive acid-jazz / groove / funk albums through the 1990s, including the
much lauded "Speakeasy" and "Deeper" which both went on to achieve double platinum status. Tracks such as "The Favourite",
"Reinvent Yourself", and "Hip Replacement" were radio and television staples, the band garnering widespread critical acclaim,
including this from Rolling Stone magazine: "DIG are the future of Australian music. They know what to do and how to do it."
With extensive JJJ airplay, great press support and consistent touring, dig crossed over into the mainstream with their mix of
jazz/dance/old school funk and electronica, and evolved to incorporate new grooves, melding drum'n'bass and trip hop into the
mix. They took their unique style across the globe, touring Asia, North America and Europe including the Montreux Jazz Festival,
North Sea Festival, and Phoenix Festival on the same stage as Herbie Hancock, Bootsy Collins and The Roots. Dig also played
in the Acid Jazz scene supporting Us3, Galliano, The Groove Collective, Corduroy, The Young Disciples, appearing at club and
festival shows with Norman Jay and Giles Peterson.
www.directionsingroove.com
| Deanna Rueben |
| Genre: Jazz, Vocal Jazz, Easy Listening Comparison: Astrud Gilberto, Diana Krall, Jane Monheit, Barbra Streisand |
“The Look of Love” CD review: Deanna captures the essence of romance through her heartfelt
interpretation of our favorite songs. “The Look of Love” sends a message clearer than flowers or a box
of candy or dinner and a movie.”
Jim Santella for Allaboutjazz.com
“The Look of Love” CD review: No, it’s not Getz and Gilberto, but McKenna and Reuben. That’s the kind
of insinuating appeal Reuben seeks when she is choosing a song.”
Bill Donaldson for Jazz Improv Magazine
“She’s a great singer in my preferred style.”
Jerry Atkins KTXK-FM, NPR serving Northeast TX, Southwest AZ, and Southeast OK
“Deanna Reuben makes an instant emotional connection with her songs that it makes it hard not to be
moved when she sings.”
Bob Collins WRHU – The Jazz Café, Long Island, NY
Pick Yourself Up
For a singer, the most devastating injury is one to the vocal chords. For a versatile vocalist whose
repertoire includes opera and Broadway, such an injury is career threatening. Yet these are the issues
that faced Deanna Reuben back in 2003. Peripheral damage from surgery meant that her decorated
career as a soloist and as a member of such ensembles as the Paul Hill Chorale and the prestigious
Washington Singers was effectively over. Up to that point, Reuben had shared the stage with artists
such as Marvin Hamlisch, Yo Yo Ma and Itzhak Perlman, and performed in venues such as The Kennedy
Center, Carnegie Hall, the Mann Center and Wolf Trap.
Deanna Reuben fell in love with music at the age of seven, when she began taking piano lessons.
Reuben, who was named after vocalist and Judy Garland contemporary Deanna Durbin, found singing
at the age of fourteen, and never had a second thought about what she wanted to do with her life. Her
career as a singer has run the gamut from Broadway to madrigals to opera, but Reuben’s versatility has
been a key to her success. Aside from her vocal talents, Reuben is an accomplished pianist, composer,
arranger and teacher. So when tragedy struck, Reuben changed directions.
Dust Yourself Off
Deanna Reuben returned home to Wyomissing, Pennsylvania to be closer to her family, and in the
process remade herself as a performer. A long-time fan of the great American songbook, Reuben
began to find her new voice amongst ballads from the golden era of Broadway and from such
composers are Harold Arlen, Arthur Schwartz and Michel Legrand. Reuben was able to translate the
conversational style of operatic recitatives to the jazz and Broadway standards that became her new
forte, developing a distinctive and highly emotive style. Reuben doesn’t so much sing to a crowd as
engage in a musical dialogue with a voice that’s been compared to Barbra Streisand, Diana Krall and
Astrud Gilberto.
Start All Over Again
In 2005, Reuben released her debut album, The Look Of Love, celebrating with a performance at
Gerald Veasley’s Jazz Base. Critical acclaim and national airplay would follow, and encouraged Reuben
to stay the course. By 2008, she began making her own contributions to the great American songbook,
composing two haunting ballads with R. Martin Mellinger. “Here In the Night” and “How Do You Measure
Love” both appear on Reuben’s sophomore album, On Life And Love.
Reuben has shown an ability to combine the lyricism of Puccini with the panache of a stage performer
and a personality and vulnerability that are innate, creating a near-perfect musical conduit for personal
connections with her audience. Reuben’s third album, The Very Thought Of You, promises great things.
With a backing band who have collectively played with such artists as Woody Herman, Frank Sinatra,
Rosemary Clooney, Tony Bennett, Pat Martino and Phil Woods, among others, and Reuben’s
tremendous sense of style and vocal talent, it is hard to imagine Deanna Reuben not making the jump to
nationally known recording artist.
There are vocalists in the history of the Great American Songbook who have become iconic through
talent, time and a plethora of recordings. These are the singers who have become a part of our national
artistic conscience. Barbra Streisand. Frank Sinatra. Mel Tormé. Bing Crosby. Tony Bennett. There are
others, but the important nexus between them all is their ability to interpret and convey songs with an
authenticity and heart that is real. Deanna Reuben possesses this quality. She also has an incredibly
lyric voice and a warmth of tone that combine to create an earthy beauty that is compelling. It is that
sense of personal veracity, however, that touches an audience, whether from the stage or through a set
of speakers. Reuben still feels the exhilaration of performing after thirty years on stage, and that
enthusiasm shines through her performances.
Jazz and pop standards continually draw new performers, from unknowns singing in their living rooms to
established pop and rock stars looking to return to their roots. For such an established genre there is
no end of fresh approaches, yet the freshest approach these days involves getting in touch with the
roots of the music. Reuben understands where the music came from, and where it’s going.
Deanna Reuben may not be a household name. Yet.
But she is one of the finest interpreters of the Great American Songbook working today.
>>>For more info: www.deannareuben.com
interpretation of our favorite songs. “The Look of Love” sends a message clearer than flowers or a box
of candy or dinner and a movie.”
Jim Santella for Allaboutjazz.com
“The Look of Love” CD review: No, it’s not Getz and Gilberto, but McKenna and Reuben. That’s the kind
of insinuating appeal Reuben seeks when she is choosing a song.”
Bill Donaldson for Jazz Improv Magazine
“She’s a great singer in my preferred style.”
Jerry Atkins KTXK-FM, NPR serving Northeast TX, Southwest AZ, and Southeast OK
“Deanna Reuben makes an instant emotional connection with her songs that it makes it hard not to be
moved when she sings.”
Bob Collins WRHU – The Jazz Café, Long Island, NY
Pick Yourself Up
For a singer, the most devastating injury is one to the vocal chords. For a versatile vocalist whose
repertoire includes opera and Broadway, such an injury is career threatening. Yet these are the issues
that faced Deanna Reuben back in 2003. Peripheral damage from surgery meant that her decorated
career as a soloist and as a member of such ensembles as the Paul Hill Chorale and the prestigious
Washington Singers was effectively over. Up to that point, Reuben had shared the stage with artists
such as Marvin Hamlisch, Yo Yo Ma and Itzhak Perlman, and performed in venues such as The Kennedy
Center, Carnegie Hall, the Mann Center and Wolf Trap.
Deanna Reuben fell in love with music at the age of seven, when she began taking piano lessons.
Reuben, who was named after vocalist and Judy Garland contemporary Deanna Durbin, found singing
at the age of fourteen, and never had a second thought about what she wanted to do with her life. Her
career as a singer has run the gamut from Broadway to madrigals to opera, but Reuben’s versatility has
been a key to her success. Aside from her vocal talents, Reuben is an accomplished pianist, composer,
arranger and teacher. So when tragedy struck, Reuben changed directions.
Dust Yourself Off
Deanna Reuben returned home to Wyomissing, Pennsylvania to be closer to her family, and in the
process remade herself as a performer. A long-time fan of the great American songbook, Reuben
began to find her new voice amongst ballads from the golden era of Broadway and from such
composers are Harold Arlen, Arthur Schwartz and Michel Legrand. Reuben was able to translate the
conversational style of operatic recitatives to the jazz and Broadway standards that became her new
forte, developing a distinctive and highly emotive style. Reuben doesn’t so much sing to a crowd as
engage in a musical dialogue with a voice that’s been compared to Barbra Streisand, Diana Krall and
Astrud Gilberto.
Start All Over Again
In 2005, Reuben released her debut album, The Look Of Love, celebrating with a performance at
Gerald Veasley’s Jazz Base. Critical acclaim and national airplay would follow, and encouraged Reuben
to stay the course. By 2008, she began making her own contributions to the great American songbook,
composing two haunting ballads with R. Martin Mellinger. “Here In the Night” and “How Do You Measure
Love” both appear on Reuben’s sophomore album, On Life And Love.
Reuben has shown an ability to combine the lyricism of Puccini with the panache of a stage performer
and a personality and vulnerability that are innate, creating a near-perfect musical conduit for personal
connections with her audience. Reuben’s third album, The Very Thought Of You, promises great things.
With a backing band who have collectively played with such artists as Woody Herman, Frank Sinatra,
Rosemary Clooney, Tony Bennett, Pat Martino and Phil Woods, among others, and Reuben’s
tremendous sense of style and vocal talent, it is hard to imagine Deanna Reuben not making the jump to
nationally known recording artist.
There are vocalists in the history of the Great American Songbook who have become iconic through
talent, time and a plethora of recordings. These are the singers who have become a part of our national
artistic conscience. Barbra Streisand. Frank Sinatra. Mel Tormé. Bing Crosby. Tony Bennett. There are
others, but the important nexus between them all is their ability to interpret and convey songs with an
authenticity and heart that is real. Deanna Reuben possesses this quality. She also has an incredibly
lyric voice and a warmth of tone that combine to create an earthy beauty that is compelling. It is that
sense of personal veracity, however, that touches an audience, whether from the stage or through a set
of speakers. Reuben still feels the exhilaration of performing after thirty years on stage, and that
enthusiasm shines through her performances.
Jazz and pop standards continually draw new performers, from unknowns singing in their living rooms to
established pop and rock stars looking to return to their roots. For such an established genre there is
no end of fresh approaches, yet the freshest approach these days involves getting in touch with the
roots of the music. Reuben understands where the music came from, and where it’s going.
Deanna Reuben may not be a household name. Yet.
But she is one of the finest interpreters of the Great American Songbook working today.
>>>For more info: www.deannareuben.com
| Kenny Love |
| Genre: Contemporary Jazz, Jazz, World, Adult Contemporary Comparison: The Crusaders, Earth, Wind & Fire, George Duke, Stanley Clarke, Lenny White |
The multi-talented, multifaceted Kenny Love admits that he enjoys composing, recording and
producing equally because each contains its own unique and separate element and
experience. His choice of music for his own listening pleasure is jazz, and he describes his
personal genre as Jazz/World Hybrid, stating “My sound was developed after I discovered the
amazing 'coloring' that can be affected and executed via inverted 7th, 9th, and 11th chords
within a musical composition.”
Jazz/World recording artist Kenny Love has worn many hats in the musical arena --
international radio/video promoter, media publicist, composer, producer, multi-instrumentalist,
and vocalist. His foray into the world of music began at the tender age of four when, as he
recalls, “A miniature trumpet was casually removed from my grasp (and lips) during
preparation for a March of Dimes parade as a result of my having failed to cause it to transmit
sound, although I was huffing and puffing quite professionally.” This would later become the
first instrument for which he received formal training and ultimately mastered.
A native of Texas, Kenny received musical training from 1970-1976 while in elementary, junior
high, and high school, eventually adding the bass guitar, strings, piano, and an extensive
study of music composition to his repertoire. He also spent two years at Prairie View A&M
University in Texas as a Music Education Major. At the completion of his sophomore year, he
joined and spent four years in the Army, after which time he became an independent recording
artist.
Kenny performed with several bands in Texas and Germany over the years, including The
Lights of Soul (1976), Instant Function (1976-1978), Just Us & Duane (1982), High Rise (1984-
1985), Nightwynd (1987), and The Wall of Jazz (2009). In 1984, he was signed by the notable
major label R&B producer Aubrey "Skip" Gravatt, after Gravatt, also credited with having
discovered disco queen Evelyn Champagne King, heard one of Kenny’s studio recordings.
The major label deal never materialized, however, due to Mr. Gravatt's untimely death. Kenny
subsequently released several independent single recordings that received both international
radio airplay and print media coverage.
Kenny began his career as a radio/video promoter and media publicist in 1991 after
successfully marketing, promoting, and publicizing his first recording independently that year.
He formally retired in 2010 to return to his first loves of music composition and music
production.
Until 2011, Kenny had released no albums as a solo artist, but did release three R&B/Dance
singles as a solo artist, entitled "All Of My Love," and "Just Want To Dance (With You)," in
1991 and "Vampire Love" in 2003, all of which received international accolades. He is currently
releasing select original Jazz music tracks, with the first track titled, "Voyage to Serenity."
"Voyage to Serenity" will also be a selection on Kenny's upcoming full-length compilation
release entitled "cAsE sEnSiTiVe," which is slated for release this summer.
The multi-talented, multifaceted entertainer admits that he enjoys composing, recording and
producing equally because each contains its own unique and separate element and
experience. His choice of music for his own listening pleasure is jazz, and he describes his
personal genre as Jazz/World Hybrid, stating “My sound was developed after I discovered the
amazing 'coloring' that can be affected and executed via inverted 7th, 9th, and 11th chords
within a musical composition.”
Kenny’s musical influences include The Crusaders, George Duke, Stanley Clarke, Herbie
Hancock, Lenny White, and Donald Byrd. He readily admits that the best advice he’s ever
been given is “Don’t sign with a major label,” and says he is still assessing the worst advice.
Kenny attributes his longevity and success in the music industry to “Taking the next breath,
struggling, and survival – though not necessarily in that particular order.”
>>>For more info: www.kennylovejazz.com
producing equally because each contains its own unique and separate element and
experience. His choice of music for his own listening pleasure is jazz, and he describes his
personal genre as Jazz/World Hybrid, stating “My sound was developed after I discovered the
amazing 'coloring' that can be affected and executed via inverted 7th, 9th, and 11th chords
within a musical composition.”
Jazz/World recording artist Kenny Love has worn many hats in the musical arena --
international radio/video promoter, media publicist, composer, producer, multi-instrumentalist,
and vocalist. His foray into the world of music began at the tender age of four when, as he
recalls, “A miniature trumpet was casually removed from my grasp (and lips) during
preparation for a March of Dimes parade as a result of my having failed to cause it to transmit
sound, although I was huffing and puffing quite professionally.” This would later become the
first instrument for which he received formal training and ultimately mastered.
A native of Texas, Kenny received musical training from 1970-1976 while in elementary, junior
high, and high school, eventually adding the bass guitar, strings, piano, and an extensive
study of music composition to his repertoire. He also spent two years at Prairie View A&M
University in Texas as a Music Education Major. At the completion of his sophomore year, he
joined and spent four years in the Army, after which time he became an independent recording
artist.
Kenny performed with several bands in Texas and Germany over the years, including The
Lights of Soul (1976), Instant Function (1976-1978), Just Us & Duane (1982), High Rise (1984-
1985), Nightwynd (1987), and The Wall of Jazz (2009). In 1984, he was signed by the notable
major label R&B producer Aubrey "Skip" Gravatt, after Gravatt, also credited with having
discovered disco queen Evelyn Champagne King, heard one of Kenny’s studio recordings.
The major label deal never materialized, however, due to Mr. Gravatt's untimely death. Kenny
subsequently released several independent single recordings that received both international
radio airplay and print media coverage.
Kenny began his career as a radio/video promoter and media publicist in 1991 after
successfully marketing, promoting, and publicizing his first recording independently that year.
He formally retired in 2010 to return to his first loves of music composition and music
production.
Until 2011, Kenny had released no albums as a solo artist, but did release three R&B/Dance
singles as a solo artist, entitled "All Of My Love," and "Just Want To Dance (With You)," in
1991 and "Vampire Love" in 2003, all of which received international accolades. He is currently
releasing select original Jazz music tracks, with the first track titled, "Voyage to Serenity."
"Voyage to Serenity" will also be a selection on Kenny's upcoming full-length compilation
release entitled "cAsE sEnSiTiVe," which is slated for release this summer.
The multi-talented, multifaceted entertainer admits that he enjoys composing, recording and
producing equally because each contains its own unique and separate element and
experience. His choice of music for his own listening pleasure is jazz, and he describes his
personal genre as Jazz/World Hybrid, stating “My sound was developed after I discovered the
amazing 'coloring' that can be affected and executed via inverted 7th, 9th, and 11th chords
within a musical composition.”
Kenny’s musical influences include The Crusaders, George Duke, Stanley Clarke, Herbie
Hancock, Lenny White, and Donald Byrd. He readily admits that the best advice he’s ever
been given is “Don’t sign with a major label,” and says he is still assessing the worst advice.
Kenny attributes his longevity and success in the music industry to “Taking the next breath,
struggling, and survival – though not necessarily in that particular order.”
>>>For more info: www.kennylovejazz.com
| Erin Dickins |
| Music Genres: Jazz, Pop, Swing Comparison: Diana Krall, Jane Monheit, Norah Jones, Madeleine Peyroux, Melody Gardot |
After a decade plus hiatus from the music business, jazz vocalist Erin Dickins is back with a new album and a new attitude. A founding
member of the original jazz vocal group Manhattan Transfer, Dickins’ latest CD Nice Girls is a collection of beautifully recorded, exquisitely
performed and brilliantly chosen gems - from cool sultry ballads to swinging arrangements. The release is the perfect soundtrack to
Dickins’ comeback.
Though she began recording Nice Girls in 2009, one could say that the opus has been in the making for the better part of the last two
decades.
Having recorded with a virtual who’s who of musical geniuses— from James Brown and James Taylor to Leonard Cohen and Talking
Heads—Dickins quit the music business cold turkey. “I had not found my authentic voice as an artist, and it was time. I moved to Honolulu,
as far away from New York as I could get,” she says. “It was there that I finally learned that what matters is the gift of music I have been
given, and my willingness to share that gift.”
The highly accomplished singer/performer was lured back into making music after producing a show for Habitat for Humanity, a favored
charitable organization. Working with 200 amateur performers on the show sparked Dickins’ creative juices for the first time in a long time.
Soon thereafter, Dickins was invited to perform again and the ball began rolling from there. “It was meant to be. Everyone and everything I
needed—musicians, writers, producers, songs and support team—all arrived, as if on cue. I couldn’t have stopped this if I wanted to.”
As the child of artistic parents—Dickins’ mother was a Rockette at Radio City Music Hall and her father an amateur jazz pianist—she was
bound to return to her first love. Anchored by the single and video “Nice Girls Don’t Stay for Breakfast”—a remake of 1950’s starlet Julie
London’s song—Dickins’ first solo album on Champagne Records was carefully crafted over a two-year process by a stellar group of
renowned musicians including producer Jesse Frederick, pianist/ arranger Rob Mounsey (Natalie Cole, Elton John, Tony Bennett) and
bassist David Finck (Harry Connick Jr., Rod Stewart).
Having returned to her passion, Dickins now views herself as a “messenger of joy.”
”I consider it my honor and my responsibility to spread the joy that I experience every time I open my mouth to sing. Music is an instrument
of transformation, and I am wholly transformed when I sing. We all listen to music and attend concerts for that very purpose. I think that as
musicians we have a really unique gift,” says Dickins. “When I perform I give 200 percent. If I can be an instrument for joy, just for one
instance, then I have done what is asked of me. That’s how you heal the planet, right? One song, one person, one joyful encounter at a
time - it’s nice work if you can get it.”
Seeing Dickins perform with her live band is an experience you do not want to miss. Riding off of the success of her recent show at Avalon
Theatre in Easton, MD, Dickins will be performing several spot dates throughout the U.S in 2011.
Thankfully for fans of good music, Dickins’ return to jazz will not be short lived. She is currently in the early stages of writing and pre-
production for the follow-up to Nice Girls with Frederick. And the pair is even tinkering with the idea of a live album.
www.erindickins.com
member of the original jazz vocal group Manhattan Transfer, Dickins’ latest CD Nice Girls is a collection of beautifully recorded, exquisitely
performed and brilliantly chosen gems - from cool sultry ballads to swinging arrangements. The release is the perfect soundtrack to
Dickins’ comeback.
Though she began recording Nice Girls in 2009, one could say that the opus has been in the making for the better part of the last two
decades.
Having recorded with a virtual who’s who of musical geniuses— from James Brown and James Taylor to Leonard Cohen and Talking
Heads—Dickins quit the music business cold turkey. “I had not found my authentic voice as an artist, and it was time. I moved to Honolulu,
as far away from New York as I could get,” she says. “It was there that I finally learned that what matters is the gift of music I have been
given, and my willingness to share that gift.”
The highly accomplished singer/performer was lured back into making music after producing a show for Habitat for Humanity, a favored
charitable organization. Working with 200 amateur performers on the show sparked Dickins’ creative juices for the first time in a long time.
Soon thereafter, Dickins was invited to perform again and the ball began rolling from there. “It was meant to be. Everyone and everything I
needed—musicians, writers, producers, songs and support team—all arrived, as if on cue. I couldn’t have stopped this if I wanted to.”
As the child of artistic parents—Dickins’ mother was a Rockette at Radio City Music Hall and her father an amateur jazz pianist—she was
bound to return to her first love. Anchored by the single and video “Nice Girls Don’t Stay for Breakfast”—a remake of 1950’s starlet Julie
London’s song—Dickins’ first solo album on Champagne Records was carefully crafted over a two-year process by a stellar group of
renowned musicians including producer Jesse Frederick, pianist/ arranger Rob Mounsey (Natalie Cole, Elton John, Tony Bennett) and
bassist David Finck (Harry Connick Jr., Rod Stewart).
Having returned to her passion, Dickins now views herself as a “messenger of joy.”
”I consider it my honor and my responsibility to spread the joy that I experience every time I open my mouth to sing. Music is an instrument
of transformation, and I am wholly transformed when I sing. We all listen to music and attend concerts for that very purpose. I think that as
musicians we have a really unique gift,” says Dickins. “When I perform I give 200 percent. If I can be an instrument for joy, just for one
instance, then I have done what is asked of me. That’s how you heal the planet, right? One song, one person, one joyful encounter at a
time - it’s nice work if you can get it.”
Seeing Dickins perform with her live band is an experience you do not want to miss. Riding off of the success of her recent show at Avalon
Theatre in Easton, MD, Dickins will be performing several spot dates throughout the U.S in 2011.
Thankfully for fans of good music, Dickins’ return to jazz will not be short lived. She is currently in the early stages of writing and pre-
production for the follow-up to Nice Girls with Frederick. And the pair is even tinkering with the idea of a live album.
www.erindickins.com
| ©2012 NewMusicUSA.biz |
| Music Genres: Jazz, lounge, female vocal |
Texas-based singer/writer Laura Ainsworth has a secret identity. By day, she is the co-creator of the Comedy
Wire radio service, providing witty one-liners and parody songs to top radio shows worldwide. It’s earned her a
reputation as one of the most-talented but least-credited women in the industry.
But by night, she dons her trademark satin gloves and sequined gowns, and with her beguiling, nearly-three-
octave voice, breathes fresh new life into the Great American Songbook. Her voice is sexy and seductive, yet
pure and pitch-perfect. She can hold a note seemingly forever; floating and caressing it, then letting it fade gently
away. It’s a sound so rare in these days of tortured oversinging that it inspired one critic to write a rhapsodic
tribute just to her “superb breath control.” Ms Ainsworth says that such elegant, supper club jazz is "in my
DNA," and she means it literally. Her late dad was renowned big band sax man/clarinetist/arranger Billy
Ainsworth, and she grew up watching him accompany such idols of hers as Ella Fitzgerald and Tony Bennett.
In 2003, Laura finally stepped out of the radio shadows and began creating her own live shows that usher
audiences into her enchanting world, a cocktail mix combining classic nightclub shows of the ‘30s and ‘40s with
a sophisticated modern musical sheen and just a twist of flirtatiously naughty humor. It’s an intoxicating blend
that has attracted some of the top jazz players in Texas to her side, including longtime partner Brian Piper, one of
the most sought-after jazz pianists/producers in the Southwest and this year's honoree as “Dallas Jazz Musician
of the Year.”
Now, the magic they create on stage has finally been captured in the studio with Laura Ainsworth's debut CD,
“Keep It To Yourself” (Eclectus Records, available at CDBaby.com and iTunes), produced and arranged by Mr.
Piper and featuring his ace jazz trio as the core band. Critic Matthew Warnock raved that it "blends the pop &
jazz worlds in a fresh and unique way” with “a very appealing sense of humor,” and could help reverse jazz's
dwindling fan base by enticing pop and AC fans to give jazz a listen.
The tunes range from the 1920s to today, like the hilarious female revenge fantasy title track. Thanks to timely
unintentional help from such famous cheaters as Tiger Woods and Arnold Schwarzenegger, that tune is already
getting airplay from Louisville to Barcelona. But Laura's mesmerizing voice, and her cream-of-the-crop sidemen
also put fresh new spins on standards such as “Love For Sale,” “Midnight Sun” (in tribute to her idol, Ella) and a
“La Vie En Rose” that begins as a lush, French ballad before lifting off into swinging, ‘30’s Parisian jazz,
complete with virtuoso violin by Milo Deering of the hot jazz/bluegrass fusion group, Beatlegras.
Then there are the delightfully obscure gems that only a musical archeologist like Ms Ainsworth would know.
Mr. Piper says, “Even I was unfamiliar with a few of the tunes she chose. But I loved every one of them, and
Laura captures them perfectly.” They include a swinging ditty about the woes of dating called “That’s The Kind
of Guy I Dream Of (You Should See The Kind That I Get),” last heard as a Betty Hutton B-side in 1952, and a
modern take on Helen Kane’s innocent 1928 hit, “He’s So Unusual.” Ms Ainsworth says, "The boyfriend's utter
disinterest in the girl takes on a much clearer and even funnier meaning in a modern context."
But perhaps the standout is Ms Ainsworth’s haunting rendition of the Hoagy Carmichael/Johnny Mercer classic,
“Skylark.” While the entire CD shuns modern studio wizardry, “Skylark” was truly recorded the one-fashioned
way: live in a single take with jazz guitarist Chris Derose, a favorite of Michael Feinstein and Willie Nelson. There
are no punch-ins or AutoTuning, no over-the-top vocal gymnastics to detract from the lyrics. There is just the
irresistible combination of a great singer, instrumentalist and song, all coming together to move the soul. One
commenter at the musical site Jango.com summed up "Skylark's" emotional impact best in a single word:
"WOW!"
When a singer can evoke a reaction like that, it's unlikely Laura Ainsworth will remain an anonymous radio voice
for much longer.
www.lauraainsworth.com
Wire radio service, providing witty one-liners and parody songs to top radio shows worldwide. It’s earned her a
reputation as one of the most-talented but least-credited women in the industry.
But by night, she dons her trademark satin gloves and sequined gowns, and with her beguiling, nearly-three-
octave voice, breathes fresh new life into the Great American Songbook. Her voice is sexy and seductive, yet
pure and pitch-perfect. She can hold a note seemingly forever; floating and caressing it, then letting it fade gently
away. It’s a sound so rare in these days of tortured oversinging that it inspired one critic to write a rhapsodic
tribute just to her “superb breath control.” Ms Ainsworth says that such elegant, supper club jazz is "in my
DNA," and she means it literally. Her late dad was renowned big band sax man/clarinetist/arranger Billy
Ainsworth, and she grew up watching him accompany such idols of hers as Ella Fitzgerald and Tony Bennett.
In 2003, Laura finally stepped out of the radio shadows and began creating her own live shows that usher
audiences into her enchanting world, a cocktail mix combining classic nightclub shows of the ‘30s and ‘40s with
a sophisticated modern musical sheen and just a twist of flirtatiously naughty humor. It’s an intoxicating blend
that has attracted some of the top jazz players in Texas to her side, including longtime partner Brian Piper, one of
the most sought-after jazz pianists/producers in the Southwest and this year's honoree as “Dallas Jazz Musician
of the Year.”
Now, the magic they create on stage has finally been captured in the studio with Laura Ainsworth's debut CD,
“Keep It To Yourself” (Eclectus Records, available at CDBaby.com and iTunes), produced and arranged by Mr.
Piper and featuring his ace jazz trio as the core band. Critic Matthew Warnock raved that it "blends the pop &
jazz worlds in a fresh and unique way” with “a very appealing sense of humor,” and could help reverse jazz's
dwindling fan base by enticing pop and AC fans to give jazz a listen.
The tunes range from the 1920s to today, like the hilarious female revenge fantasy title track. Thanks to timely
unintentional help from such famous cheaters as Tiger Woods and Arnold Schwarzenegger, that tune is already
getting airplay from Louisville to Barcelona. But Laura's mesmerizing voice, and her cream-of-the-crop sidemen
also put fresh new spins on standards such as “Love For Sale,” “Midnight Sun” (in tribute to her idol, Ella) and a
“La Vie En Rose” that begins as a lush, French ballad before lifting off into swinging, ‘30’s Parisian jazz,
complete with virtuoso violin by Milo Deering of the hot jazz/bluegrass fusion group, Beatlegras.
Then there are the delightfully obscure gems that only a musical archeologist like Ms Ainsworth would know.
Mr. Piper says, “Even I was unfamiliar with a few of the tunes she chose. But I loved every one of them, and
Laura captures them perfectly.” They include a swinging ditty about the woes of dating called “That’s The Kind
of Guy I Dream Of (You Should See The Kind That I Get),” last heard as a Betty Hutton B-side in 1952, and a
modern take on Helen Kane’s innocent 1928 hit, “He’s So Unusual.” Ms Ainsworth says, "The boyfriend's utter
disinterest in the girl takes on a much clearer and even funnier meaning in a modern context."
But perhaps the standout is Ms Ainsworth’s haunting rendition of the Hoagy Carmichael/Johnny Mercer classic,
“Skylark.” While the entire CD shuns modern studio wizardry, “Skylark” was truly recorded the one-fashioned
way: live in a single take with jazz guitarist Chris Derose, a favorite of Michael Feinstein and Willie Nelson. There
are no punch-ins or AutoTuning, no over-the-top vocal gymnastics to detract from the lyrics. There is just the
irresistible combination of a great singer, instrumentalist and song, all coming together to move the soul. One
commenter at the musical site Jango.com summed up "Skylark's" emotional impact best in a single word:
"WOW!"
When a singer can evoke a reaction like that, it's unlikely Laura Ainsworth will remain an anonymous radio voice
for much longer.
www.lauraainsworth.com
| Laura Ainsworth |
