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DK performs tonight in Berlin, Germany, @ Berliner Philharmoniker.Herbert-von-Karajan-Str. 1
10785 Berlin
Ph: (030) 254 88 0
Tix: €49.00-101.00
Monday, October 19, 2009
Diana Krall live in Berlin
DK performs tonight in Berlin, Germany, @ Berliner Philharmoniker.Herbert-von-Karajan-Str. 1
10785 Berlin
Ph: (030) 254 88 0
Tix: €49.00-101.00
CD of the Day - "Rita Reys sings Antonio Carlos Jobim"
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CD of the DayRita Reys: "Sings Antonio Carlos Jobim" (Philips) 1981
Just got this 1996 CD reissue of Rita's memorable Jobim songbook, with 10 great tunes lushly orchestrated (a la Claus Ogerman) by Rogier van Otterloo, with the Pim Jacobs Quartet providing the impeccable rhythmic support to the top jazz singer ever born in the Netherlands.
Highlights: "How Insensitive" (drummer/percussionist Peter Ypma uses the triangle to great effect, sounding reminiscent of the way Henry Mancini often employed such instrument), "This Happy Madness" (with the sensational English lyrics added by Gene Lees), "Song of the Sabiá" and "Meditation."
Coincidently, Pim Jacobs, who was married to Rita for 36 years, died in 1996, at age 61.
Rita, born on December 21, 1924, is now 84.
"An Evening with Linda Eder"
Linda Goes to The Movies With: Soundtrack
An Evening With Linda Eder
Saturday, November 28 at Berklee Performance Center, 8 PM
Tickets on sale now
HT Productions announces “An Evening With Linda Eder” Saturday, November 28 at 8:00 P.M. at Berklee Performance Center 136 Massachusetts Avenue, Boston. Tickets at $75 [golden circle], $50, $40, and $30 [including Berklee Performance Center $1.00 restoration fee] are on sale now at the Berklee Performance Center box office, at www.ticketmaster.com, all Ticketmaster outlets or by calling 800-745-3000. For more information, call: 617-747-2261. Berklee Performance Center is wheelchair accessible.
On Tuesday, October 13, 2009, vocalist Linda Eder released Soundtrack, the follow-up to her 2008 Verve Records debut, The Other Side of Me. Produced by Peter Collins, Soundtrack finds Eder going to the movies and adding new dimensions to an eclectic mix of themes from the silver screen.
The 12 tracks span roughly the last 50 years in cinema, from Henry Mancini’s “Charade,” the title tune of the 1963 movie starring Cary Grant and Audrey Hepburn, to “Falling Slowly,” the Best Original Song Academy Award® winner from Once, the 2007 Irish musical film.
Song selection for this collection was easy for the artist. She concentrated on familiar tunes that struck an immediate emotional chord with her. Songs like “(Everything I Do) I Do It For You” (the Bryan Adams smash from 1991’s Robin Hood: Prince of Thieves) and “Against All Odds” (the Phil Collins classic from the 1984 film of the same name) “. . . have always been favorites of mine,” said Eder.
Other highlights include an aching version Yvonne Elliman’s 1977 disco hit “If I Can’t Have You” from Saturday Night Fever, a faithful rendition of “Valley of the Dolls” (the theme of the 1968 flick that Dionne Warwick turned into a No. 2 pop hit), and a delightful take on “Accidentally in Love,” originally performed by Counting Crows for the animated blockbuster Shrek.
Eder brings her voice to Elvis Presley’s chart-topping “I Can’t Help Falling in Love” from Blue Hawaii and also interprets such classic movie songs as Nilsson’s “Everybody’s Talkin’” from Midnight Cowboy, “We Don’t Need Another Hero (Thunderdome)” from Mad Max Beyond Thunderdome, and The Beatles’ “Help!”
The originals may be familiar and beloved, but Eder and her band dramatically reworked the arrangements, rendering the songs in an intimate, fireside style. “We did most of the music in a jazzy pop version, which really worked for me. We wanted to find arrangements that were a little different and worked for my voice,” she says.
Throughout her two decades as a recording star, Linda Eder has garnered acclaim and healthy sales crooning and belting theatrical evergreens. “For most of my career, I was known for big Broadway tunes and ballads and standards and big-band kind of stuff,” the artist says. “But my tastes have always been very varied. My fans probably think I drive around listening to Barbra Streisand and Judy Garland all the time.”
On The Other Side of Me, her 2008 debut for Verve, Eder revealed an affinity for country-pop and blues-suffused rock. Perhaps her most ambitious set, the album also included wistful, graceful covers of classics by Joni Mitchell and the Indigo Girls. But for her sophomore Verve effort, the aptly titled Soundtrack, Eder goes to the movies.
She adds new dimensions to an eclectic mix of themes from the silver screen.
“Making the first album for Verve was a major, major departure for me,” Eder says. “This is sort of a middle ground between that album and what the fans know me for.”
.jpg)
The 12 tracks span roughly the last 50 years in cinema, from Mancini’s “Charade,” the title tune of the 1963 movie starring Cary Grant and Audrey Hepburn, to “Falling Slowly,” the Academy Award winner from Once, the 2007 Irish musical film.
“Aside from doing a tribute album to Judy Garland, I hadn’t had a themed record,” Eder says. “We kicked around different ideas. And I chose movie themes because I could think right off the top of my head different songs I could do.” Song selection was easy for the artist. She concentrated on familiar tunes that struck an immediate emotional chord with her.
“It comes to your mind pretty quickly the ones that have always been favorites, like ‘Everything I Do’ [the Bryan Adams smash from 1991’s Robin Hood: Prince of Thieves] and ‘Against All Odds’ [the Phil Collins classic from the 1984 film of the same name],” Eder says. “They have always been favorites of mine.” “Help!,” the 1965 Beatles cut was a particularly special choice: “Well, I wanted to do something from the Beatles, because I love the Beatles and because my 9-year-old son has been a Beatles fan since he was three,” Eder says.
The originals may be familiar and beloved, but Eder and her band dramatically reworked the arrangements, rendering the songs in an intimate, fireside style. “We did most of the music in a jazzy pop version, which really worked for me. We wanted to find arrangements that were a little different and worked for my voice,” she says. “I’ve been singing for a long time, so you get an idea of what your strengths are. When I hear a song, I tend to sing it if an idea of how to do it comes to me quickly. If I’m surfing around for an idea and can’t really hear it – well, it’s a lot better if it’s all organic.”
Other highlights include an aching version Yvonne Elliman’s 1977 disco hit “If I Can’t Have You,” from Saturday Night Fever and a faithful rendition of “Valley of the Dolls,” the theme of the 1968 flick that Dionne Warwick turned into a No. 2 pop hit.
The recording process for Soundtrack was unlike Eder’s previous albums.
“We rehearsed with my band and came up with arrangements a few weeks before we actually started working on the album,” Eder says. “We went up to Woodstock and had basically a rhythm section. It was drums, bass, two guitars and piano and the producer and I. We sat around Dreamland Studios – which is a cool place; it used to be an old church – and just played. The band would start with a tempo idea and I would start singing and we would adapt it. It was a cool way to work in those four days,” she says. “We took the weekend off and came back and tracked it live. Most of the vocals are one take, live with the band.”
Eder excels in such a laidback setting. Although on previous albums she often pushed her voice over sweeping orchestrations and dazzling big bands, Eder began her career singing in a largely unadorned style. “Most of my career, I’ve been singing live. I started out singing in clubs with just a guy who played keyboards,” the artist says. “So I’m used to that. The kind of music that I sing – if it’s a strong song it can stand on its own, even if you’re playing it with a kazoo. It felt good to record in that scaled-back style.”
Eder knew she wanted to pursue music early on while growing up in Brainerd, Minnesota. She was first inspired by Judy Garland’s legendary performance of “Over the Rainbow.” At 16, she won a local beauty pageant in which she sang an original song. Not long afterward, she made her professional singing debut in 1981 at a Holiday Inn in her hometown. After graduation, Eder and her pianist, high-school friend Paul Todd, started touring nationally, performing in clubs, cabarets and cocktail lounges.
Eder’s big break came in 1988 when she successfully auditioned for Star Search, the American Idol of its day. She went on to win the competition 12 weeks in a row. The exposure led to a meeting with Frank Wildhorn, co-writer of the Whitney Houston smash “Where Do Broken Hearts Go.” At the time, he was working on a musical adaptation of Dr. Jekyll/Mr. Hyde. Eder joined the production, which opened in 1990. The next year, she recorded her self-titled debut for RCA.
As Eder established herself as a force in the world of musical theatre and Broadway, she continued to record well-received albums, including 1994’s And So Much More and 1997’s It’s Time. She made a tentative break from show tunes on 2002’s Gold, where she covered pop gems by the Beatles, Dusty Springfield, Boz Scaggs and others. But after signing with Verve, Eder has pushed her artistry in bolder directions. The Other Side of Me may have been a bit jarring for fans used to her Barbra Streisand-like rendering of traditional tunes. But she meets them halfway with Soundtrack.
“It was fun to do,” Eder says. “These familiar songs are just a little different this time.”
An Evening With Linda Eder
Saturday, November 28 at Berklee Performance Center, 8 PM
Tickets on sale now
HT Productions announces “An Evening With Linda Eder” Saturday, November 28 at 8:00 P.M. at Berklee Performance Center 136 Massachusetts Avenue, Boston. Tickets at $75 [golden circle], $50, $40, and $30 [including Berklee Performance Center $1.00 restoration fee] are on sale now at the Berklee Performance Center box office, at www.ticketmaster.com, all Ticketmaster outlets or by calling 800-745-3000. For more information, call: 617-747-2261. Berklee Performance Center is wheelchair accessible.
On Tuesday, October 13, 2009, vocalist Linda Eder released Soundtrack, the follow-up to her 2008 Verve Records debut, The Other Side of Me. Produced by Peter Collins, Soundtrack finds Eder going to the movies and adding new dimensions to an eclectic mix of themes from the silver screen.
The 12 tracks span roughly the last 50 years in cinema, from Henry Mancini’s “Charade,” the title tune of the 1963 movie starring Cary Grant and Audrey Hepburn, to “Falling Slowly,” the Best Original Song Academy Award® winner from Once, the 2007 Irish musical film.
Song selection for this collection was easy for the artist. She concentrated on familiar tunes that struck an immediate emotional chord with her. Songs like “(Everything I Do) I Do It For You” (the Bryan Adams smash from 1991’s Robin Hood: Prince of Thieves) and “Against All Odds” (the Phil Collins classic from the 1984 film of the same name) “. . . have always been favorites of mine,” said Eder.
Other highlights include an aching version Yvonne Elliman’s 1977 disco hit “If I Can’t Have You” from Saturday Night Fever, a faithful rendition of “Valley of the Dolls” (the theme of the 1968 flick that Dionne Warwick turned into a No. 2 pop hit), and a delightful take on “Accidentally in Love,” originally performed by Counting Crows for the animated blockbuster Shrek.
Eder brings her voice to Elvis Presley’s chart-topping “I Can’t Help Falling in Love” from Blue Hawaii and also interprets such classic movie songs as Nilsson’s “Everybody’s Talkin’” from Midnight Cowboy, “We Don’t Need Another Hero (Thunderdome)” from Mad Max Beyond Thunderdome, and The Beatles’ “Help!”
The originals may be familiar and beloved, but Eder and her band dramatically reworked the arrangements, rendering the songs in an intimate, fireside style. “We did most of the music in a jazzy pop version, which really worked for me. We wanted to find arrangements that were a little different and worked for my voice,” she says.
Throughout her two decades as a recording star, Linda Eder has garnered acclaim and healthy sales crooning and belting theatrical evergreens. “For most of my career, I was known for big Broadway tunes and ballads and standards and big-band kind of stuff,” the artist says. “But my tastes have always been very varied. My fans probably think I drive around listening to Barbra Streisand and Judy Garland all the time.”
On The Other Side of Me, her 2008 debut for Verve, Eder revealed an affinity for country-pop and blues-suffused rock. Perhaps her most ambitious set, the album also included wistful, graceful covers of classics by Joni Mitchell and the Indigo Girls. But for her sophomore Verve effort, the aptly titled Soundtrack, Eder goes to the movies.
She adds new dimensions to an eclectic mix of themes from the silver screen.
“Making the first album for Verve was a major, major departure for me,” Eder says. “This is sort of a middle ground between that album and what the fans know me for.”
.jpg)
The 12 tracks span roughly the last 50 years in cinema, from Mancini’s “Charade,” the title tune of the 1963 movie starring Cary Grant and Audrey Hepburn, to “Falling Slowly,” the Academy Award winner from Once, the 2007 Irish musical film.“Aside from doing a tribute album to Judy Garland, I hadn’t had a themed record,” Eder says. “We kicked around different ideas. And I chose movie themes because I could think right off the top of my head different songs I could do.” Song selection was easy for the artist. She concentrated on familiar tunes that struck an immediate emotional chord with her.
“It comes to your mind pretty quickly the ones that have always been favorites, like ‘Everything I Do’ [the Bryan Adams smash from 1991’s Robin Hood: Prince of Thieves] and ‘Against All Odds’ [the Phil Collins classic from the 1984 film of the same name],” Eder says. “They have always been favorites of mine.” “Help!,” the 1965 Beatles cut was a particularly special choice: “Well, I wanted to do something from the Beatles, because I love the Beatles and because my 9-year-old son has been a Beatles fan since he was three,” Eder says.
The originals may be familiar and beloved, but Eder and her band dramatically reworked the arrangements, rendering the songs in an intimate, fireside style. “We did most of the music in a jazzy pop version, which really worked for me. We wanted to find arrangements that were a little different and worked for my voice,” she says. “I’ve been singing for a long time, so you get an idea of what your strengths are. When I hear a song, I tend to sing it if an idea of how to do it comes to me quickly. If I’m surfing around for an idea and can’t really hear it – well, it’s a lot better if it’s all organic.”
Other highlights include an aching version Yvonne Elliman’s 1977 disco hit “If I Can’t Have You,” from Saturday Night Fever and a faithful rendition of “Valley of the Dolls,” the theme of the 1968 flick that Dionne Warwick turned into a No. 2 pop hit.
The recording process for Soundtrack was unlike Eder’s previous albums.
“We rehearsed with my band and came up with arrangements a few weeks before we actually started working on the album,” Eder says. “We went up to Woodstock and had basically a rhythm section. It was drums, bass, two guitars and piano and the producer and I. We sat around Dreamland Studios – which is a cool place; it used to be an old church – and just played. The band would start with a tempo idea and I would start singing and we would adapt it. It was a cool way to work in those four days,” she says. “We took the weekend off and came back and tracked it live. Most of the vocals are one take, live with the band.”
Eder excels in such a laidback setting. Although on previous albums she often pushed her voice over sweeping orchestrations and dazzling big bands, Eder began her career singing in a largely unadorned style. “Most of my career, I’ve been singing live. I started out singing in clubs with just a guy who played keyboards,” the artist says. “So I’m used to that. The kind of music that I sing – if it’s a strong song it can stand on its own, even if you’re playing it with a kazoo. It felt good to record in that scaled-back style.”
Eder knew she wanted to pursue music early on while growing up in Brainerd, Minnesota. She was first inspired by Judy Garland’s legendary performance of “Over the Rainbow.” At 16, she won a local beauty pageant in which she sang an original song. Not long afterward, she made her professional singing debut in 1981 at a Holiday Inn in her hometown. After graduation, Eder and her pianist, high-school friend Paul Todd, started touring nationally, performing in clubs, cabarets and cocktail lounges.
Eder’s big break came in 1988 when she successfully auditioned for Star Search, the American Idol of its day. She went on to win the competition 12 weeks in a row. The exposure led to a meeting with Frank Wildhorn, co-writer of the Whitney Houston smash “Where Do Broken Hearts Go.” At the time, he was working on a musical adaptation of Dr. Jekyll/Mr. Hyde. Eder joined the production, which opened in 1990. The next year, she recorded her self-titled debut for RCA.
As Eder established herself as a force in the world of musical theatre and Broadway, she continued to record well-received albums, including 1994’s And So Much More and 1997’s It’s Time. She made a tentative break from show tunes on 2002’s Gold, where she covered pop gems by the Beatles, Dusty Springfield, Boz Scaggs and others. But after signing with Verve, Eder has pushed her artistry in bolder directions. The Other Side of Me may have been a bit jarring for fans used to her Barbra Streisand-like rendering of traditional tunes. But she meets them halfway with Soundtrack.
“It was fun to do,” Eder says. “These familiar songs are just a little different this time.”
Saturday, October 17, 2009
Diana Krall live in Cologne tomorrow, Oct 18
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Tomorrow night, October 18, at 8pm (doors pening at 6pm), Diana Krall performs once again in Germany, this time at the very modern Lanxess Arena which was inaugurated in 1998 in the beautiful city of Cologne (Köln) with 20,000 seats.Buy Tickets
This concert, part of DK's "Quiet Nights World Tour," is promoted by ACE Entertainment GmbH.
Tix from 56,50 to 91,00 EUR
ARENA Management GmbH
Willy-Brandt-Platz 3
50679 Köln
Ph: 0221-8021
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Seit der Veröffentlichung ihres Debütalbums im Jahre 1993 hat Diana Krall weltweit Millionen von Platten verkauft und die Spitzen der Charts sowohl im Pop als auch im Jazz-Segment erobert.Zu ihren Verehrern zählen prominente Stars wie der ausgewiesene Jazz-Kenner Clint Eastwood, Elton John oder die Schauspielerin und Sängerin Barbara Streisand. Das kommende Album der Streisand wird Diana Krall als Produzentin begleiten. Ihr eigenes Album “Quiet Nights”, das erste Studioalbum seit Kralls Grammy-nominierten Jazzalbum “From This Moment On“, wird am 27. März 2009 auf Verve veröffentlicht.
Trotz ihres weltweiten Erfolges und der gewaltigen Aufmerksamkeit, die ihr von den Medien entgegengebracht wird, bleibt sich die kanadische Sängerin und Pianistin auch auf ihrem zwölften Album treu und widmet sich dem Jazz. Auf “Quiet Nights” kombiniert sie brasilianischen mit West-Coast-Jazz. Im Mittelpunkt stehen drei Songs der Bossa-Nova-Legende Antônio Carlos Jobim. Erneut stellt sie auf “Quiet Nights” ihr wahres Talent und ihre Glaubwürdigkeit als wegweisende Jazz-Künstlerin unter Beweis. Es gibt Musik, die scheint eigens dazu erschaffen worden zu sein, romantische Szenen zu untermalen: etwa ein Kerzenlicht-Dinner in einem feinen Restaurant oder einen Spaziergang an einem mondbeschienen Strand. “Es ist eine sinnliche, geradewegs erotische Platte geworden”, bekennt Krall. “Und genau so wollte ich sie auch haben.“
In den frühen 80er Jahren besuchte Diana Krall die Berklee School of Music und zog danach nach Los Angeles, wo sie Privatstunden bei den Bassisten Ray Brown und John Clayton, Schlagzeuger Jeff Hamilton und Pianist Jimmy Rowles nahm. Rowles überzeugte sie auch davon, ihr gesangliches Talent nicht zu vernachlässigen. 1990 zog Krall nach New York, wo sie mit ihrem eigenen Trio auftrat. Ihr erstes Album “Steppin’ Out” veröffentlichte sie 1993 auf dem kleinen kanadischen Label Justin Time. Begleitet wurde sie bei der Einspielung ihres Debüts übrigens von John Clayton und Jeff Hamilton. Heute, fünfzehn Jahre später, kann die Kanadierin auf eine beispielhafte Karriere zurückblicken: 1999 unterschrieb sie einen Vertrag mit dem Label Verve Records, für das sie als erstes Album “When I Look In Your Eyes” aufnahm.
“When I Look In Your Eyes” brachte ihr nicht nur einen Grammy ein, sondern war auch das erste Jazzalbum in 25 Jahren, das in der Kategorie “Album des Jahres” nominiert wurde. 2002 folgte mit “The Look Of Love” ein Album, das in den USA und andernorts die oberen Plätze der Pop-Charts stürmte und in Kanada mit fünffachem Platin ausgezeichnet wurde.
Auf “The Girl In The Other Room” präsentierte Diana Krall 2004 erstmals eigene Songs (sechs Stücke schrieb sie gemeinsam mit ihrem Ehemann Elvis Costello). Das 2005 erschienene Weihnachtsalbum “Christmas Songs” erweist sich seit seiner Veröffentlichung alle Jahre wieder als saisonaler Bestseller (auch in Deutschland ist es gerade wieder in die Jazzcharts zurückgekehrt). Und mit dem von der Kritik gefeierten Album “From This Moment On” verabschiedete sich Diana Krall, die Zwillinge erwartete, 2006 in den Mutterschaftsurlaub, aus dem sie sich nun mit “Quiet Nights” endlich zurückmeldet.
Dass ihr neues Album “Quiet Nights” so ungemein sinnlich geworden ist, hat weniger mit Diana Kralls Faible für die Bossa Nova und Brasilien zu tun, als vielmehr mit ganz privaten Gefühlen: “Es ist eine Liebeserklärung an meinen Mann - einfach nur ein intimes, romantisches Album.”
"Brunettes Are Better" - Oct 19 in Vegas
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Don't miss the "Brunettes Are Better" party @ JET Mirage Nightclub, this next Monday, October 19, at The Mirage Hotel & Casino (3400 S. Las Vegas Blvd., Las Vegas, NV 89109, Ph: 702 -791-7111), from 10pm to 4am. It will be hot night!Get your tix now:
http://www.wantickets.com/affiliates/EventDetail.aspx?id=235&e_id=70873
Who says blonds have more fun? The hottest brunette wins $5,000 at JET. That's enough to make the blonds whip out some Clairol. Anyway, I love both!
For table reservations please call 702-693-8300.
Attire: Casual chic. No tank tops, athletic wear, track suits, jeans or shorts. Fashionable sneakers will be allowed. Dress code enforced. JET management reserves the right to refuse entry to intoxicated or aggressive guests.
JET combines 15,000 square feet of space with a modern multi-level environment. Meticulous attention to detail is evident throughout, setting a stunning scene for the ultimate nightlife experience. A one-of-a-kind light and laser grid, state-of-the-art cryogenic effects systems and the absolute best sound design technology available puts JET in a class of its own and on the leading edge.
Catering to a variety of tastes, JET features three distinct rooms, each a unique space with its own dance floor, DJ booth and sound system. The main room offers the best of rock, hip-hop and popular dance music. Another room is dedicated to house music spun by guest and international DJs while the other plays an eclectic mix of music ranging from 80s to rock. Four full-service libation bars offer creative specialty cocktails. European bottle service is featured in each room.
Eliane Elias starts four-concert tour in France
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Tonight, Eliane Elias, the acclaimed NY-based Brazilian pianist, starts a series of four concerts in France at the following venues:October 17 - La Maison des Arts, Thonon-les-Bains
October 19 - La Cigale, Paris
October 20 - L’Avant Seine, Colombes
October 21 - Nimes Metropoles Festival , Bouillarges
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Friday, October 16, 2009
Diana Krall: "Quiet Nights World Tour 2010"
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The dates for Diana Krall's "Quiet Nights World Tour 2010" in Australia & New Zealand were announced today. The marathon will continue... More details on DK's official site www.dianakrall.com
SF Entertainment Hearing Info
The Board of Supervisors Committee Chairman Bevan Dufty has moved the hearing on legislation designed to strengthen the Entertainment Commission to Monday, October 26 th at 1:00PM in room 263 of City Hall. There will NOT be a hearing on Monday, October 19th as announced earlier. This change works in our favor because it gives us another week to get the word out to our friends and supporters and more time to send emails to the Supervisors and the Mayor. We regret the confusion this change makes, it is not a decision that was in our control…..so let's use this time to our advantage. Spread the word far and wide!
As you may have heard, there have been recent attacks that threaten the future of entertainment in San Francisco. Anti-entertainment groups are pushing hard to “severely restrict music and shut down nightlife” and the fate of your favorite venue may be at risk. We need you to do two things: 1) send an email to the Mayor and Board of Supervisors, and 2) come to the hearing on Monday, October 26th at 1:00PM in room 263 of City Hall.
The October 26 th hearing at City Hall is regarding amendments to SF Police Code 1060 (Place of Entertainment) and SF Police Code 1070 (Extended Hours Premises). These are the two main laws that govern Entertainment Venues in SF and are administered by the Entertainment Commission.
The Entertainment Commission was created in 2002 to take responsibility for the granting and oversight of entertainment and late night permits. Before the Entertainment Commission, the granting, oversight, and enforcement of these permits were all done by the police. Separating the authority was seen as a way to give citizen stakeholders a place in the decisions around entertainment. Enforcement remained with the Police and the granting and oversight was given to the Entertainment Commission.
Two years ago the Mayor's office and the Entertainment Commission convened a “Nighttime Safety Summit” to hear recommendations from the entertainment community and the Police Department on how to strengthen the role of the Entertainment Commission in rewarding well managed venues and disciplining problem venues that were making the industry look bad. The legislation that is being heard on Monday Oct. 26 th comes from that summit and will give the Entertainment Commission emergency suspension powers to more quickly address a problem venue and the ability to write infraction tickets for lesser offences, like poorly managed lines in front to a venue or repeatedly leaving the door open causing a noise disturbance.
To help insure that our community's support of the Entertainment Commission is heard please do one, or hopefully both, of the following:
1) We need folks to send an email to the committee members of the Board of Supervisors and the Mayor's office asking that they support the legislation strengthening the Entertainment Commission. The follow link will generate a pre-written email that you only need to fill in a few of blanks, including your name. Or, you can add more if you wish. If you would like to send your own email, suggested text and recipients are at the end of this message. Please click here to send an email to the Board of Supervisors' Committee and the Mayor.
And/or:
2) Please show up on Monday, October 26th at 1:00PM at room 263 in City Hall and speak for a minute or two in support of the Entertainment Community and the Commission that was set up to regulate it. Even if you do not want to speak, your attendance will make a statement.
Here are some talking points to start from:
a) Every Week San Francisco hosts regional, national and international tourists who support our local economy. Hundreds of thousands of people come and go enjoying the sights, food and entertainment that this city is famous for with few problems. Keep that success and give the Entertainment Commission the authority to regulate the few problems that we do have.
b) I go out to ______(favorite place)________ several times a month. I enjoy my time with friends listening to music and dancing. I feel safe and secure and thank the Entertainment Commission for doing its job. If there ever is a problem, I want the commission to act quickly to keep the city's venues safe.
c) I work at ___________ and have seen the positive work of the Entertainment Commission. An example is when this happened____________________. Keep the commission strong.
d) The Entertainment Commission gives venues enforceable steps to become good neighbors. The Entertainment Commission has mandated more soundproofing, plus fire, electrical and building safety upgrades than at any other time in the city's history. Subsequent employment of thousands of contractors has been an ancillary boon.
e) Entertainment Commission has the only staff in the city that can test for sound complaints and ensure both compliance of good neighbor policy and fairness to venues. If anything, the Entertainment Commission's staff should be augmented, not disbanded.
f) Fewer venues and fewer local jobs at a critical time in our economic history. Venues are labor-intensive, and almost completely locally staffed. Every dollar spent on labor in an entertainment venue returns over two dollars to the local economy.
g) San Francisco has more small and locally operated street fairs and festivals than any city in the US. They employ thousands, entertain hundreds of thousands and bring millions into city coffers, plus massive hotel and restaurant income. The Entertainment Commission is part of the success of street fair culture.
Thanks for making this hearing a success and showing the support for entertainment that is part of San Francisco life.
As you may have heard, there have been recent attacks that threaten the future of entertainment in San Francisco. Anti-entertainment groups are pushing hard to “severely restrict music and shut down nightlife” and the fate of your favorite venue may be at risk. We need you to do two things: 1) send an email to the Mayor and Board of Supervisors, and 2) come to the hearing on Monday, October 26th at 1:00PM in room 263 of City Hall.
The October 26 th hearing at City Hall is regarding amendments to SF Police Code 1060 (Place of Entertainment) and SF Police Code 1070 (Extended Hours Premises). These are the two main laws that govern Entertainment Venues in SF and are administered by the Entertainment Commission.
The Entertainment Commission was created in 2002 to take responsibility for the granting and oversight of entertainment and late night permits. Before the Entertainment Commission, the granting, oversight, and enforcement of these permits were all done by the police. Separating the authority was seen as a way to give citizen stakeholders a place in the decisions around entertainment. Enforcement remained with the Police and the granting and oversight was given to the Entertainment Commission.
Two years ago the Mayor's office and the Entertainment Commission convened a “Nighttime Safety Summit” to hear recommendations from the entertainment community and the Police Department on how to strengthen the role of the Entertainment Commission in rewarding well managed venues and disciplining problem venues that were making the industry look bad. The legislation that is being heard on Monday Oct. 26 th comes from that summit and will give the Entertainment Commission emergency suspension powers to more quickly address a problem venue and the ability to write infraction tickets for lesser offences, like poorly managed lines in front to a venue or repeatedly leaving the door open causing a noise disturbance.
To help insure that our community's support of the Entertainment Commission is heard please do one, or hopefully both, of the following:
1) We need folks to send an email to the committee members of the Board of Supervisors and the Mayor's office asking that they support the legislation strengthening the Entertainment Commission. The follow link will generate a pre-written email that you only need to fill in a few of blanks, including your name. Or, you can add more if you wish. If you would like to send your own email, suggested text and recipients are at the end of this message. Please click here to send an email to the Board of Supervisors' Committee and the Mayor.
And/or:
2) Please show up on Monday, October 26th at 1:00PM at room 263 in City Hall and speak for a minute or two in support of the Entertainment Community and the Commission that was set up to regulate it. Even if you do not want to speak, your attendance will make a statement.
Here are some talking points to start from:
a) Every Week San Francisco hosts regional, national and international tourists who support our local economy. Hundreds of thousands of people come and go enjoying the sights, food and entertainment that this city is famous for with few problems. Keep that success and give the Entertainment Commission the authority to regulate the few problems that we do have.
b) I go out to ______(favorite place)________ several times a month. I enjoy my time with friends listening to music and dancing. I feel safe and secure and thank the Entertainment Commission for doing its job. If there ever is a problem, I want the commission to act quickly to keep the city's venues safe.
c) I work at ___________ and have seen the positive work of the Entertainment Commission. An example is when this happened____________________. Keep the commission strong.
d) The Entertainment Commission gives venues enforceable steps to become good neighbors. The Entertainment Commission has mandated more soundproofing, plus fire, electrical and building safety upgrades than at any other time in the city's history. Subsequent employment of thousands of contractors has been an ancillary boon.
e) Entertainment Commission has the only staff in the city that can test for sound complaints and ensure both compliance of good neighbor policy and fairness to venues. If anything, the Entertainment Commission's staff should be augmented, not disbanded.
f) Fewer venues and fewer local jobs at a critical time in our economic history. Venues are labor-intensive, and almost completely locally staffed. Every dollar spent on labor in an entertainment venue returns over two dollars to the local economy.
g) San Francisco has more small and locally operated street fairs and festivals than any city in the US. They employ thousands, entertain hundreds of thousands and bring millions into city coffers, plus massive hotel and restaurant income. The Entertainment Commission is part of the success of street fair culture.
Thanks for making this hearing a success and showing the support for entertainment that is part of San Francisco life.
DJ Kim Savage tonight @ Flavours of the Soul
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My dear friend Kim Savage will be be DJing TONITE @ Flavours of The Soul (Live Complex) in Adelaide. Wish I could be there with PB & LM!
R.I.P.: Wilby Fletcher
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(Wilby during a Japanese tour with McCoy Tyner in 1975)(born Oct. 18, 1954 in Wilmington, Delaware, USA;
died Oct. 15, 2009 in Wilmington, Delaware, USA)
Wilbert B. Fletcher, Jr., better known as Wilby Fletcher, worked with such stars as Grover Washington Jr., McCoy Tyner, Tania Maria, Gary Bartz, Roberta Flack, Harry Belafonte, Herbie Mann, Woody Shaw, Ron Carter, Lonnie Liston Smith, John Blake, Barbara Montgomery, Michel Petruciani, Roy Ayers and The Stylistics, amongst others. He died of a heart attack at age 54.
I became familiar with Wilby's artistry through McCoy Tyner's "Atlantis" album (in a quintet completed by Azar Lawrence, Joony Booth and Brazilian percussionist Guilherme Franco), a fantastic 2-LP set (check out the title track and "Love Samba" to see what I'm talking about) produced by Orrin Keepnews for the Milestone label and recorded live @ Todd Barkan's Keystone Korner in San Francisco.
I also love his work on some Ron Carter's sessions as the "Parfait" album (available on CD in the "Songs for You" 2-in-1 compilation) and the "Django" LaserDisc (unfortunately, not yet reissued on DVD), both with a quartet featuring Ron on piccolo bass, Ted Lo on piano and Leon Maleson on acoustic bass.
In recent years, he was working with bassist Charles Fambrough's band. One of his final session was "Blessings," with Anthony Branker's Ascent group, released in 2009 by the Origin label.
Father of Jumbe, Jeffrey, Jermaine and Cheo Fletcher, Quinn Jackson, and Spencer Hill. Son of Betty Fletcher and the late Wilbert Fletcher. Brother of Anthony and Jamil Fletcher and Sharon Turner, Wilby is also survived by 2 grandchildren, Laila and Camille Jackson; 1 niece, 3 aunts, 2 uncles and a host of other family and friends. A memorial service will be at 10 am on Thursday, October 22, at the Congo Funeral Home, 2317 N. Market St. There will be no viewing.
Congratulations From The Recording Academy President/CEO
Dear Recording Academy Member:
Today the Senate Judiciary Committee considered our major legislative initiative, The Performance Rights Act. As I've written to you many times before, the bill closes the "corporate radio loophole" and makes terrestrial radio play by the same rules as Internet and satellite radio by compensating the performers of the music they play.
It's been a long road to get here, with many Academy members testifying before Congress, flying to Washington to lobby, and sending literally thousands of emails. Last week, we asked Academy members from the states of key Senators to weigh in with their support. Hundreds of you did, and your voices were heard loud and clear--the Committee voted to APPROVE the measure.
With May's successful House Judiciary vote behind us, today's vote was the final committee action before the bill can be considered by the full Congress. While there is much work left to get final passage, today's historic vote marks the most significant progress on a nearly 80 year quest for performance rights for artists. Congratulations on this important victory and a special thank you to the Recording Academy members who called their Senators in the past week.
Kind regards,
Neil Portnow
President/CEO
The Recording Academy
Today the Senate Judiciary Committee considered our major legislative initiative, The Performance Rights Act. As I've written to you many times before, the bill closes the "corporate radio loophole" and makes terrestrial radio play by the same rules as Internet and satellite radio by compensating the performers of the music they play.
It's been a long road to get here, with many Academy members testifying before Congress, flying to Washington to lobby, and sending literally thousands of emails. Last week, we asked Academy members from the states of key Senators to weigh in with their support. Hundreds of you did, and your voices were heard loud and clear--the Committee voted to APPROVE the measure.
With May's successful House Judiciary vote behind us, today's vote was the final committee action before the bill can be considered by the full Congress. While there is much work left to get final passage, today's historic vote marks the most significant progress on a nearly 80 year quest for performance rights for artists. Congratulations on this important victory and a special thank you to the Recording Academy members who called their Senators in the past week.
Kind regards,
Neil Portnow
President/CEO
The Recording Academy
Thursday, October 15, 2009
Amanda Carr & Kenny Hadley live @ Scullers, tonight
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Amanda Carr & Kenny Hadley Big BandLive at Scullers Jazz Club
Thursday, October 15, 2009
DoubleTree Guest Suites Hotel
400 Soldiers Field Road, Boston
TICKETS: $22 Shows: 8 & 10 PM
CD RELEASE PARTY!
Jazz singer Amanda Carr and big band leader Kenny Hadley have just released Common Thread, a stunning new CD featuring elegant big band arrangements of lesser-known but remarkable gems from the Great American songbook. In sync with the new release, Carr and the Kenny Hadley Big Band are set to appear at Scullers Jazz Club in the DoubleTree Guest Suites Hotel [400 Soldiers Field Road, Allston] for two shows, at 8:00 and 10:00 p.m., this Thursday, October 15.
Tickets at $22.00 can be purchased on line at http://www.scullersjazz.com or by calling, 617-562-4111. Scullers is wheelchair accessible. "Common Thread" has a street release date of October 20, however the CDs will be on sale at Scullers tonight.
In addition to the new CD, Amanda and Kenny have just launched American Big Band Preservation Society, Inc. a 501C3 non-profit organization whose mission is “to preserve and promote American big band music through the preservation and performance of the great American songbook with an emphasis on acquiring, preserving and making publicly available unpublished big band arrangements.” The website is: http://www.americanbigband.org.
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"Common Thread" features songs such as “I Could Have Told You,” “Small Hotel,” “They All Laughed,” “Time On My Hands,” and eight other delightful titles from composers such as Dizzy Gillespie, George Gershwin, Irving Berlin, Jimmy Munday, Joe Bushkin among other heralded songwriters of the 20th Century."Common Thread" is Hanover, Massachusetts-based Amanda Carr’s fifth CD, her third release with Kenny Hadley . . . but her first with the entire Kenny Hadley Big Band. Many of the arrangements on this release were done by Grammy®-winning jazz arranger Bob Freedman who has arranged for artists such as Sarah Vaughan, Ruth Brown, Wynton Marsalis, Dianne Reeves, Herbie Mann, Lena Horne, Billy Joel and many others over the years.
With the release of Soon, Carr’s 2007 CD, American historian, novelist and noted jazz critic Nat Hentoff took a strong interest and wrote an extensive story about the disc for the Wall Street Journal, saying “Amanda Carr, a true jazz singer in a time of wannabes -- after playing gigs around New England for years -- is now getting national and international recognition that will increase with the release of her new CD, Amanda Carr/Soon.” Carr performs frequently in the Greater Boston area but also sells out shows to ardent fans in New York City and Los Angeles. She has also appeared at Italy’s EuroJazz Festival alongside James Moody and George Mraz.
Kenny Hadley is one of New England’s most sought after drummers, arrangers and band leaders. Based just south of Boston in Braintree, Massachusetts and known primarily for his 16-piece big band and his trendy jazz elegance, his work also encompasses a diverse array of musical styles such as rock, funk and R&B.
Hadley has performed internationally and throughout the United States with artists such as Steve Lawrence & Eydie Gormé, Dizzy Gillespie, The Count Basie Orchestra, Rebecca Parris, Johnny Adams, Van Morrison, Peter Wolf and The Drifters, among others.
CD of the Day - "João Gilberto: Acesita 50 Anos"
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CD of the DayJoao Gilberto: "Acesita 50 Anos" (Acesita)
Wednesday, October 14, 2009
Ellen Johnson sings Mingus, Oct 15, in San Diego
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Called "superior jazz singing by an artist of the highest quality" by Jazz Journal International, Ellen Johnson - one of my favorite singers in the contemporary jazz scene - will be sharing her unique style and repertoire joined by San Diego jazz artists, pianist Rick Helzer and bassist Rob Thorsen. The concert is scheduled for Thursday, October 15 with one show at 9:00 PM at Tango Del Rey located at 3567 Del Rey Street, San Diego. The admission price is $15 General and $10 for students with an ID. For more information call 858-581-1114 or go to http://www.tangodelrey.com/ for tickets.The concert will feature the music of Charles Mingus along with a tribute to jazz vocal icon, Sheila Jordan. Ellen recently featured both of these artists’ music on her CD These Days, writing lyrics to Mingus compositions and doing a duet with Ms Jordan on her song “The Crossing.”
This concert reunites Ms. Johnson with her longtime musical partner, pianist Rick Helzer, Professor and Associate Director of Jazz Studies at San Diego State University and Rob Thorsen, whose current CD "Lasting Impression" was released this year on the San Diego based Pacific Coast Jazz label.
Ellen, who is currently working on an all Mingus project, has written the lyrics to three Mingus compositions and recorded five songs with the permission of Sue Mingus. This event is co-sponsored by the San Diego Jazz Musicians Guild whose goal is to support and encourage a higher quality of Jazz education, appreciation and understanding in the community. For more information contact President Karin Carson at http://www.sdjmg.org/.
This event is also part of “Daniel Pearl World Music Days,” an entire month of worldwide "Harmony for Humanity" concerts in memory of the death of Wall Street Journal Reporter Daniel Pearl reminding the world of the principles by which Danny lived, the universal power of music and our shared humanity.
Ellen has recorded three of her own renowned CDs, "These Days," "Chinchilla Serenade" and "Too Good To Title" and is featured on several compilation CDs including: "Illuminations," "From A Mother’s Heart," and "Jazz Improv Magazine." Her most recent release, "These Days," was called "one of the best albums to be heard from a no-nonsense jazz singer" in her feature article in Downbeat Magazine by Frank -John Hadley and a "sophisticated and successful album that raises the standard of modern jazz singing by at least one notch" by George Harris in All About Jazz. Just recently No Treble Magazine said that These Days, which features seven tracks of bass and voice duets with Darek Oles, "should be in every bassist's collection." It was also voted one of the Top 10 Jazz Vocal Releases of The Year by Arnaldo DeSouteiro on the Jazz Station blog and Press Tribune daily newspaper.
Ellen has performed, recorded and studied with many exceptional musicians including Charles McPherson, Louie Bellson, Bobby McFerrin, Roy McCurdy, Don Braden, Larry Koonse, John Clayton, Jay Clayton, Cameron Brown and her dear friend and mentor jazz icon, Sheila Jordan. Her amazing range, unique jazz phrasing, improvisational skills and imaginative vocal style delights audiences at concerts, festivals, colleges, and venues all over the world. Ellen, who enjoys wearing different hats, is a songwriter, lyricist, publisher, educator, creativity coach, writer, actress and the founder of Sound Visions Media Group which distributes, promotes and produces a roster of jazz artists and publishes educational CDs including "You Sing Jazz," "Vocal Builders," and "The Vocal Warm Up CD."
A former resident of San Diego, Ellen received her Master's Degree from San Diego State University, completed further studies at UCLA Extension Music Business Certificate program and has been on the faculties of California Polytechnic University at Pomona, University of San Diego (Old Globe MFA Program) and other colleges. She was one of the founding members and President of the Jazz Vocal Coalition (JZVOC), President of the San Diego Chapter of the National Association of Teachers of Singing (NATS), Vocal Representative for the California Chapter of the IAJE and the Jazz Editor for Singer & Musician Magazine. Besides her professional recording and singing engagements she teaches jazz vocal workshops and private vocal coaching. She can be reached through her website at http://www.ellenjohnson.net/ or http://www.soundvisionsmedia.com/
"What A Wonderful Bossa World" @ Virgin Radio 96 in Montreal
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Anna Ly & Marcio Correia - What a Wonderful Bossa World Virgin Radio 96 MontrealWhat a Wonderful Bossa World. Album Release Date: April 15, 2006.
Produced by Arnaldo DeSouteiro
Tuesday, October 13, 2009
Bar Fly Thursdays at Revolution Rock Bar with DJ Hevan, Oct 15
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Bar Fly Thursdays at Revolution Rock Bar with DJ HevanBrought to you by Dynamic Night Entertainment!
October 15, 2009, 10pm
Revolution Rock Bar
20 High Street
Boston, MA
Ph: (401) 2862086
E-mail: JonEganPromotions@gmail.com
This Thursday we are continuing Bar Fly Thursdays at Revolution Rock Bar! Our grand opening was a hit so come party with us again or for the first time!
With Boston's best DJ, DJ HEVAN! (www.djhevan.com) spinning the hottest dance music, hip/hop, top 40, mashups, remixes, and old school!
Guestlist is $5 until 1130 so RSVP and get there early to avoid lines.
All-girl parties of 10+: Message us for details, we have a phenomenal deal for you concerning VIP tables and bottles of champagne!!
Contact for guest list:
Mike P @ 508.965.5489 / MikeP.Promotions@gmail.com
Jon E @ 401.286.2086 / JonEganPromotions@gmail.com
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(Thx to my friend Katie Scarlett for the invitation)
Monday, October 12, 2009
Diane Hubka @ Charlie O's tonight!
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If you are in the California area this Columbus Day, don't miss singer Diane Hubka performing tonight at Charlie O's Jazz Club, promoting her latest CD, "I Like It Here," record live in Tokyo during a Japanese tour in December 2007. She will be backed by Joe Bagg (piano), Jeff D'Angelo (bass) & Ryan Doyle (drums).Monday, Oct. 12@ 8:00 PM - 12:00 AM
Charlie O's Jazz Club
13725 Victory Blvd
Valley Glenn, CA
Ph: 818.994.3058
CD of the Day - "Kobie Watkins: Involved"
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CD of the DayKobie Watkins: "Involved" (Origin) 2009
No jazz standards in the program. No household jazz stars on the credits. But it's not a problem on Kobie Watkins' debut solo album, "Involved," recorded in 2006 but only now released by the Origin label. It's a top-class 5-star rating project, full of great performances and fiery solos, mostly by saxophonists Jarrard Harris & Geof Bradfield.
From the opening tune, the stunning hard-bop "Spastic" (written by Harris), you know you are in for a treat. My two personal favorite tracks, both featuring excellent Fender Rhodes solos by James Austin and Ron Perrillo respectively, follow: "Expressions" (composed by Kobie himself) and "Sonny Like," co-written by the leader with the album producer, Harold Mims, who also wrote "Third Pew" and the explosive "Congo." Mims also appears as a keyboardist, adding strings sounds to a jazzy version of Stevie Wonder's "Taboo To Love."
Throughout the album, there's also impeccable work by bassists Clark Sommers, Dennis Carroll and Josh Ramos, as well as by trumpeter Pharez Whitted, trombonist Teris Ramson, pianist Ryan Cohan and veteran guitarist Bobby Broom. But, along with Watkins, the sax players are the ones who shine most of the time, with Jarrard Harris' silky tone on the soprano being featured on "Affectious" and "Movin' On," which closes the session with Kobie showcasing his talents as a percussionist, overdubbing multiple instruments.
The CD also includes an invigorating reading of trumpeter Kenny Dorham's “Short Story,” which shifts back and forth between Latin and swing grooves. “It’s a great drummer-friendly tune,” Watkins says. “It’s not too fast; it’s not too slow. It’s a fun tune for any jazz drummer to play.”
"Involved" represents a great sonic journey too, thanx to the bright engineering of Brian Schwab & Boris Strepacki. In all aspects, a brilliant album, destined to take the career of Sonny Rollins' current drummer to another level of international recognition.
Kobie is doing a CD release event at the Jazz Showcase in Chicago tonight, Oct 12, at 8pm & 10pm, with Bobby Broom, Pharez Whitted, Jarrard Harris, Ryan Cohan & Clark Sommers.
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One of the most versatile drummers on the planet, equally adept at playing jazz, gospel, and R&B, Kobie Watkins was for many years among the most in-demand drummers in Chicago. Guitarist Bobby Broom, pianist Ryan Cohan, vocalist Kurt Elling, and other Windy City greats kept the drummer in steady work before his moved to New Jersey in 2007, then to North Carolina in 2009, although he still returns home to play when he’s not busy touring the world with Sonny Rollins.Rollins first hired Watkins in 2006, as a substitute for his then-drummer Victor Lewis. Since 2008, however, Watkins has been the tenor saxophone titan’s regular drummer, and his percussive virtuosity has been experienced by audiences at festivals and in concert halls around the globe.
Watkins’s visibility in the jazz world is further expanded by the release of "Involved," his first CD as a leader. Recorded at three sessions in October 2006 during a visit to Chicago and issued by Origin Records, the label for which Watkins has also made three CDs as a member of the Bobby Broom Trio, the disc showcases the drummer’s command of a number of grooves, from the free-flowing, up-tempo swing of “Spastic” and the backbeat-anchored syncopations of “Sonny Like” to the Latin-tinged rhythms of “Expressions” and “Congo,” the time-signature shifts of “Affectious,” and the gospel-shout beat of “Third Pew.”
The drummer surrounds himself on "Involved" with some of Chicago’s finest players: soprano and alto saxophonist Jarrard Harris, soprano and tenor saxophonist Geof Bradfield, trumpeter Pharez Whitted, trombonist Terris Ransom, pianists James Austin, Ron Perrillo, and Ryan Cohan, and bassists Clark Sommers, Dennis Carroll, and Josh Ramos, as well as guitarist Bobby Broom, Watkins’s bandmate in the Sonny Rollins Sextet. Harold Mims, Watkins’s onetime classmate at Northwestern University, produced the CD and played the synthesized strings that underscore Broom’s reading of the Stevie Wonder ballad “Taboo to Love.” Watkins plays trap drums on all of the 10 selections, excepting “Movin’ On,” which highlights his hand-percussion artistry on congas, egg shakers, shekere, cabeza, and claves. He also overdubs egg and tubular shakers on “Expressions” and tambourine on “Third Pew,” a Mims composition that harks back to Watkins’s teenage years as a drummer at his father’s church.
Watkins wrote “Expressions,” “Affectious,” “Movin’ On,” and, in collaboration with Mims, “Sonny Like.” The melody of the latter song came to Watkins in a dream after he’d listened to some of Rollins’s recordings; Mims later put harmonic changes to it. Mims also penned the rhythm-charged “Congo.” Jarrard Harris wrote “Spastic,” of which Watkins says, “The melodic motif is everywhere all the time. It allows me to be free within a form.” Ryan Cohan composed “Gentle Souls,” a ballad feature for Geof Bradfield’s tenor saxophone.
Watkins, who has three brothers and four sisters, was born in Chicago on July 26, 1975. His interest in music was sparked at around age three when he first saw his father playing drums at a local Apostolic Overcoming Holy Church of God. Prior to devoting himself to religion, Alious C. Watkins Jr. had played trap drums and other percussion instruments with the Pharaohs, a now-legendary jazz-funk group in which Earth, Wind & Fire leader Maurice White had been the original drummer, and he also backed the Dells on local engagements. His dad’s drumming led Kobie and his brothers to bang on pots and pans around the house. Kobie took up trumpet in fourth grade, played it in the jazz band while attending Orr High School, and later used it in his work as an elementary school music teacher in Joliet, Illinois, where he also played oboe, flute, clarinet, trombone, tuba, and French horn in order to demonstrate them to his fourth- and fifth-grade students.
Alious bought a toy drum set for Kobie when he was nine and a real one when he was 12. Kobie shared the set with his younger brother Asa (who remains active as a drummer in Los Angeles), and they began playing it in church, where their father had become pastor. The lessons learned from playing for a Pentecostal church choir continue to inform Kobie’s playing.
“The intuitive part that goes with gospel drumming is making sure your eyes and ears are in tune with whatever’s happening in front of you,” Watkins explains. “Those are probably the most important things that I have learned with music in general, especially in jazz. When people tell me that jazz is all you need, I’m, like, wow!
“A lot of times with gospel music, it had to be in the moment. You had to be there spiritually and musically. That was probably the hardest musical experience I feel I’ve ever had, especially as a kid. If you don’t play correctly, they will put you off the drums right in mid-song. They will point to someone else and tell them to get on the drums. It’s happened to me. If the shout beat is not right, they’ll throw you off. It’s one of the most devastating things that can happen to you as a kid, but you also learn and your skin toughens. It’s worse than being out in the jazz community, or being out in the world anywhere, because at least they give you a better chance.”
Watkins’s early heroes were all professional gospel drummers: Dana David with the Winans, Michael Williams with Commissioned, Joel Smith with the Hawkins family, and Kevin Brunson with the Thompson Community Choir. He also cites Chicago gospel, blues, and jazz drummer Kenny Coleman as an early favorite. It wasn’t until Watkins was in high school that he started listening to Buddy Rich, Art Blakey, Dave Weckl, Dennis Chambers, and other jazz drummers.
Watkins played his first professional engagement in 1997 with pianist Bethany Pickens and went on to play and record with her, her father Willie Pickens, trumpeter Orbert Davis, saxophonist Jarrard Harris, pianist Ryan Cohan, guitarist Bobby Broom, and other Chicagoans. Watkins also played reggae with James Cameron and the Sunshine Festival, gospel music with Kim Burrell, and R&B and neo-soul with Julie Dexter, Kendra Ross, and Javier. He balanced his gigs, which averaged three nights per week, with his studies at Vandercook College of Music (from which he earned a B.A. in music education in 1999), his three years as a elementary school music teacher, and his graduate studies at Northwestern University (from which he earned an M.A. in jazz pedagogy in 2003). He has also taught at Chicago State University, the Thelonious Monk Institute, and Christian Teen Camp in Lake Geneva, Wisconsin.
Recommended to Sonny Rollins by Bobby Broom, Watkins auditioned for the legendary saxophonist in February 2006 while in New York City attending a conference of the International Association of Jazz Educators. Besides Rollins, the musicians at the audition were trombonist Clifton Anderson and bassist Bob Cranshaw.
Watkins arrived an hour and a half early to the audition. “I was somewhat nervous and somewhat curious,” he recalls. “Once we started, there was no tension from anyone. Everyone was just playing like we had been playing for awhile. It was a very comfortable situation.
“Bob Cranshaw got off his stool and gave me a big hug. And then Sonny took me out into the hall and talked to me. He said I should work on the calypso and listen to his recordings. He said, ‘Keep thinking about the music.’ That was really inspirational. He was like, ‘I will be calling you.’ It seemed as if he was saying, ‘Wait by the phone.’”
The phone rang more than a half year later, and Rollins hired Watkins for two engagements in November 2006. There were a few more dates in 2007, until Rollins let him go in July of that year. “I didn’t leave on bad terms,” the drummer says. “It was like a musical decision he was making. He was able to explain what he was looking for.”
Then, in 2008, Watkins got “the call,” as he puts it, and he’s been Rollins’s regular drummer ever since. “It is very intense, very energetic,” he says of playing with Rollins. “You have to have a lot of energy. You should always come prepared to listen. You have to come in with intense, focused energy all the time. That way he knows that you’re on board.”
Watkins, who in January 2009 moved to Burlington, North Carolina, to be with his fiancée Allison, has over the course of a decade gone from being one of the most valuable players in Chicago to becoming a member of jazz’s major league. And, with the release of "Involved," he now emerges as a bandleader, composer, and recording artist of the first order.
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symphony syd has left a new comment on your post "CD of the Day - "Kobie Watkins: Involved"":
When not touring with Rollins, Kobie Watlins is a current member of the Bobby Broom Trio. In fact, he has been playing with guitarist Broom for 8 years and is on the last three Broom Trio recordings. Recently, they have been touring throughout the U.S. in support of their latest trio CD, "Bobby Broom Plays for Monk".
Michael Jackson - NY Times
New Michael Jackson Music Gets Midnight Release
By BEN SISARIO
Sony is releasing a version of "This Is It," one of Mr. Jackson's unfinished songs, in a fleshed-out arrangement.
http://www.nytimes.com/2009/10/12/arts/music/12michael.html?th&emc=th
By BEN SISARIO
Sony is releasing a version of "This Is It," one of Mr. Jackson's unfinished songs, in a fleshed-out arrangement.
http://www.nytimes.com/2009/10/12/arts/music/12michael.html?th&emc=th
Carly Simon - NY Times
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New York TimesSuing Her Label, Not Retiring: Carly Simon Won’t Go Gently
By Stephanie Clifford
Broken trust, men misbehaving, women trying to recover — these sound like themes pulled from a Carly Simon song. Maybe from all of Carly Simon’s songs.
But this time Ms. Simon was telling a story about her most recent record, a 2008 Brazilian-tinged album called “This Kind of Love.” She had signed with Hear Music, the Starbucks label that had made a hit of Paul McCartney’s “Memory Almost Full.” But five days before her album’s release, Starbucks scaled back its involvement in the music business and, Ms. Simon said in a lawsuit she filed on Friday, that her terrible sales were a result of Starbucks’s mismanagement.
A Starbucks spokeswoman, Sanja Gould, said the company had not seen Ms. Simon’s lawsuit. “We are disappointed to hear that she may be taking this action,” Ms. Gould said. “Starbucks has great respect for Ms. Simon and is hopeful that this matter can be resolved in an amicable manner.”
“This Kind of Love” was supposed to be Ms. Simon’s final album — “my last chance at bat,” she said — but she is in financial straits from other business problems and must keep working. And she is having trouble finding and paying producers. “All of a sudden you’re the ugliest girl at the prom, and you’re not picked,” Ms. Simon, 64, said in a recent interview at her West Village apartment.
Decades ago Ms. Simon wrote and recorded songs about the nervous fears of young women, about marriage and family life and the way women always heard things should be. Now her life seems to reflect a new anxiety of her generation: she can’t retire.
Her money issues make the Starbucks lawsuit partly about business. But Ms. Simon has always been driven by her life’s narrative. “Anticipation” is about her first date with Cat Stevens; “Hello Big Man” about how her parents met; “You’re So Vain” about — well, she still won’t say. And there is also a strong element of the personal in her entanglement with Starbucks and its chief executive, Howard Schultz. This time, rather than singing about a man who misleads her, she is suing him.
“Starbucks was so attractive to me because of what it offered, and Howard Schultz seemed to be such an attractive person,” she said.
The phone rang during the interview — the ringtone was the Rolling Stones’ “Angie” — and Ms. Simon loped upstairs singing “There ain’t a woman that comes close to you” in her trademark husky voice. When she returned, she paged through pictures on her laptop, pointing out ones of her daughter naked and pregnant, and others of her Martha’s Vineyard garden. The only time she seemed embarrassed was when the phone rang again — her boyfriend, a Massachusetts surgeon, was calling — and his ringtone was “Sexual Healing.”
Despite that openness, she seemed high-strung, and warned about her stutter. “What my son, Ben, says about me is that I wear my nervous system in a plume on the outside of my body,” she said.
That nervous system has been on display for decades. Ms. Simon grew up in New York, where her father was a founder of the publishing house Simon & Schuster.
“People think I’m an heiress,” she said, pointing out that she had inherited just $60,000 of the million dollars her father received for his stake in the company. “I was a working girl, and my parents did not give me a big allowance.”
Her first hit, “That’s the Way I’ve Always Heard It Should Be,” came out in 1971. Her marriage to James Taylor in 1972 (they later divorced) inspired “You Belong to Me”; by the 1980s her songs were more pop-driven, like “Coming Around Again” and “Let the River Run.” Albums of standards, which sold well, were mixed in.
She said she loved her 2000 album, “The Bedroom Tapes,” but an executive shakeup at Arista Records made her decide to buy it back after a few months. In 2005 she made an album of covers, “Moonlight Serenade,” which sold decently. But Ms. Simon said she wanted her final album to be one that she had written.
In spring 2007 Starbucks approached her about releasing an album on the Hear Music label. Ms. Simon said that the company discussed an advance of $750,000 to $1 million and wooed her with a marketing plan, promising to stack her album by the cash register and play it frequently. By the time her lawyer received the final contract that October, the advance had dropped to $575,000, and she had already spent about $100,000 of it on recording sessions in Martha’s Vineyard.
On April 24, 2008, Starbucks pulled back from the music business, handing day-to-day management of Ms. Simon’s album to a partner, Concord Music Group. Without Starbucks’s backing, Ms. Simon could not get the promotion and distribution she was promised, she said; the album was not stocked in some stores she visited, for instance.
Alan Mintz, who used to oversee artists and repertory for Hear Music, attended Ms. Simon’s release party on April 29. Along with some other executives, he was fired by Starbucks soon after.
“There was always a challenge at Starbucks in terms of getting the stores to focus on our entertainment ventures,” said Mr. Mintz, who is now Ms. Simon’s manager. “Once the word got out that we were shutting down the label, I think it put a message out to the field that this didn’t matter anymore.”
“This Kind of Love” had decent sales — 23,000 copies its first week — according to Nielsen SoundScan. After that, sales dropped. To date it has sold 124,000 copies, about a third of the sales for “Moonlight Serenade” and even less than those for “Bedroom Tapes.”
Reviews of the new album were mixed but, Ms. Simon said, “I always get mixed reviews.” The issue, she said, was “you can’t sell a product that’s not in stores.” (The album was not sold exclusively at Starbucks.) Starbucks did not address specification allegations in its statement.
Throughout the summer of 2008 Ms. Simon became more frustrated and more personal. Although she had never met Mr. Schultz, she began sending him handwritten messages, of which she kept copies. “Do you suppose I would have gone ahead with heavy and visible exposure if I had known I might be so dropped in the cracks?” she wrote.
Ms. Simon said she did not receive a response from Mr. Schultz, but kept drafting notes. By Oct. 14, her mood had shifted from the logical to the lyrical: “Howard, Fraud is the creation of Faith/ And then the betrayal. Carly.”
And her financial situation had worsened: she owed money on her Martha’s Vineyard house, had put her Village apartment on the market without success, and had lost money in the stock market. She did not receive the whole $575,000 advance, she said, and the usual lift in back-catalog sales that comes with a release did not happen, nor did increased royalties from radio play.
In January Ms. Simon contacted the lawyer David Boies, chairman at Boies, Schiller & Flexner, who has represented the Justice Department against Microsoft, and, with Theodore B. Olson, is challenging the same-sex marriage ban in California. “Instead of advising her as soon as they could that this was a problem, they kept it secret, and they tried to deceive her even after they made the so-called public announcement,” Mr. Boies said of Starbucks.
On Friday Mr. Boies filed a lawsuit in California seeking $5 million to $10 million from Starbucks, alleging “concealment of material facts,” “tortious interference” with Ms. Simon’s contract, and “unlawful, unfair and fraudulent business practices.”
Ms. Simon’s complaints seem more about feelings than tortious interference. She sounds like a woman who has been hurt and is taking that hurt as personally as she always has. “I refuse to go gently,” she said.
She is working on another album, scheduled for release this month, on her son’s label, Iris Records. It is a record of her hits, reworked. She may be older, but her tunes have not changed.
“I want to be somebody who faces things and who doesn’t get stepped on,” she said, “because I’ve been stepped on too much in my life and I don’t want my self-esteem to suffer. I feel that I’ve just about had enough.”
A version of this article appeared in print on October 12, 2009, on page C1 of the New York edition.
Saturday, October 10, 2009
CD of the Day - "Verve Today 2009"
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CD of the Day"Verve Today 2009"
Compiled by Sven Fobbe, with liner notes by Jörg Eipasch.
Highlights: Diana Krall ("Walk On By", magnificently arranged by Claus Ogerman), John Scofield ("Never Turn Back"), Sonny Rollins ("Tenor Madness"), Kristin Asbjornsen ("Afloat"), Bugge Wesseltoft ("Hands"), Nils Petter Molvaer ("Friction") and, the highlight of the highlights, Ketil Bjornstad on "Lucian," a haunting solo piano piece from his Emarcy album "The Rainbow".
This CD also includes tracks by Melody Gardot, Teddy Thompson, Sophie Hunger, Jazzanova, Labelle, Maria João & Mario Laginha, and Italian pianist Stefano Bollani (backed by Marçalzinho, Zé Nogueira, Marco Pereira, Jorge Helder & Jurim Moreira) on Pixinguinha/Benedito Lacerda's "Segura Ele."
Charity Event: Mopars @ the Playboy Mansion
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October 17, 2009 at 7:00PM - Sunday, October 18, 2009 at 12:00AMLos Angeles, CA
PURCHASE TICKETS ONLINE AT http://www.mopartickets.com
Girls interested in being considered for a COPA Girl pass please REGISTER at http://www.copatalent.com
View past event pictures at http://www.tpgphotos.com
Another Prive Group Charity Event!!!
Girls interested in being considered for a COPA Girl pass please REGISTER at http://www.copatalent.com
View past event pictures at http://www.tpgphotos.com
Another Prive Group Charity Event!!!
Music by DJ ROXANNE DAWN!
Host of the event is The HemiGirl - Melissa Anne Teixeira! She is currently a Miss Howard TV and is a featured guest on Howard Stern's show talking about cars. http://www.TheHemiGirl.com
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Host of the event is The HemiGirl - Melissa Anne Teixeira! She is currently a Miss Howard TV and is a featured guest on Howard Stern's show talking about cars. http://www.TheHemiGirl.com
***********
MCG Publishing is proud to present its 4th annual "Mopars @ the Playboy Mansion" event benefiting the Lili Claire Foundation.
The event will be held on Saturday October 17th, 2009 at the Playboy Mansion in Los Angeles.
The Privé Group, a VIP entertainment management and production company will be co-producing the event.
The Lili Claire Foundation was established to enhance the lives of children living with Williams Syndrome, Down Syndrome, Autism, Fetal Alcohol Syndrome, and other neuro developmental conditions, while providing hope and resources to the families who love them.
Mopar Collectors Guide Magazine MCG...The last Great Independent American Muscle Car Magazine. Based out of Baton Rouge, LA.
MCG publishes a monthly magazine circulated to the *Mopar world. In 2008 Mopar Collectors Guide MCG celebrated their 20th anniversary. This monthly publication is now the world's largest Mopar magazine. In 2006 MCG introduced the Los Angeles Playboy Mansion to the Mopar world. The event titled Mopars at the Mansion includes a very high end display of vehicles. The MUSCLE CARS are parked on the front lawn of the Playboy
Mansion, where car enthusiasts from all over the world travel to participate in this exclusive car show. MCG leads the way in the collector car world now producing the most exclusive Mopar show in the country.
The event this year will feature a sexy fashion show produced by CopaWear International, guided tours of the mansion grounds by Playboy playmates, sexy body painted models, a live and silent auction produced by Bang The Gavel, and over 150 gorgeous COPA models from across the country in attendance.
I would like to give everyone a reminder that there is only ONE WEEK LEFT until this amazing party at the Playboy Mansion!!!
For those of you who are interested in attending this party, remember, not only will you have the time of your life but you will be benefiting a child in need and bettering the lives of many others who suffer from neurological disorders. And that in and of itself is a GREAT cause!
Charity events are tax deductible for those of you who are business savvy =)
The Lili Claire Foundation was established to enhance the lives of children living with Williams Syndrome, Down Syndrome, Autism, Fetal Alcohol Syndrome, and other neuro developmental conditions, while providing hope and resources to the families who love them.
Mopar Collectors Guide Magazine MCG...The last Great Independent American Muscle Car Magazine. Based out of Baton Rouge, LA.
MCG publishes a monthly magazine circulated to the *Mopar world. In 2008 Mopar Collectors Guide MCG celebrated their 20th anniversary. This monthly publication is now the world's largest Mopar magazine. In 2006 MCG introduced the Los Angeles Playboy Mansion to the Mopar world. The event titled Mopars at the Mansion includes a very high end display of vehicles. The MUSCLE CARS are parked on the front lawn of the Playboy
Mansion, where car enthusiasts from all over the world travel to participate in this exclusive car show. MCG leads the way in the collector car world now producing the most exclusive Mopar show in the country.
The event this year will feature a sexy fashion show produced by CopaWear International, guided tours of the mansion grounds by Playboy playmates, sexy body painted models, a live and silent auction produced by Bang The Gavel, and over 150 gorgeous COPA models from across the country in attendance.
I would like to give everyone a reminder that there is only ONE WEEK LEFT until this amazing party at the Playboy Mansion!!!
For those of you who are interested in attending this party, remember, not only will you have the time of your life but you will be benefiting a child in need and bettering the lives of many others who suffer from neurological disorders. And that in and of itself is a GREAT cause!
Charity events are tax deductible for those of you who are business savvy =)
Box Set of the Day - "Miles Davis: Complete Columbia Album Collection" 70 CDs!
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Box Set of the Day"Miles Davis: The Complete Columbia Album Collection" (Sony, 70-CD set) 2009
At Last, Comprehensive Super-Deluxe 70-Cd Box Set Containing 52 Miles Albums, Recorded 1949 To 1985
Plus Bonus DVD - Miles Davis Quintet: Wayne Shorter, Herbie Hancock, Ron Carter, Tony Williams / Live In Europe '67 - Only Video Of This Group Ever Commercially Released
All Albums - Most Recent Expanded Editions Of '90s And '00s With Bonus Material, Others Heard In Original Form - Packaged In Japanese Style Mini-Lp Cd And Double-Cd Jackets, Replicating Original Artwork
Isle of Wight - historic 1970 UK concert, first time official issue of full-length performance on any album (CD)
New expanded editions with rare or previously unreleased bonus tracks added to four albums: In Paris Festival International De Jazz May, 1949 (1949); Quiet Nights (1962); At Plugged Nickel (1965); and We Want Miles (1981)
250-page full-color book with 11,000-word biographical essay by Frédéric Goaty, annotations on every album and DVD written by Franck Bergerot, rare photography, memorabilia, discographical production notes, complete tune index
Amazon EXCLUSIVE specially priced at $364.98 (only $5.14 per disc!) - available in physical package ONLY starting November 24, 2009, through Columbia/Legacy
Coincides with "We Want Miles" - three-month exhibition on Miles' life and times, at the Museé de la Musique in Paris (October 16th through January 17th)
In all the annals of recorded modern jazz, there is nothing that compares to the 30-year association of Miles Davis and Columbia Records, from 1955 to 1985. Both in the scope of Miles' prolific output during the entire history of the 12-inch LP era, more than 50 distinct album titles in the U.S., Europe and Japan, as well as the primal influence that Miles - and his evolving group lineups - had on the course of jazz, there is simply no precedent. Miles at Columbia stands alone.
For more than two decades now, Miles Davis fans and aficionados, musicians and critics, collectors and configurationalists have wondered if the time would ever come that Miles' entire Columbia album output would be assembled in one total package. That time has finally arrived.
THE COMPLETE MILES DAVIS COLUMBIA ALBUM COLLECTION is an historic release event. The super-deluxe box set contains 52 CD and double-CD albums - which includes the previously unreleased full-length audio version of Isle Of Wight performance from 1970 - 70 CDs in all. (Rarities and other previously unreleased material still exist in the vast Miles Davis archive, and they are delineated below.)
The box set adds a bonus DVD, Miles Davis Quintet: Wayne Shorter, Herbie Hancock, Ron Carter, Tony Williams / Live In Europe '67. Here are two separate European concert performances by the groundbreaking 'second great quintet,' filmed in Stockholm and Karlsruhe, Germany, October and November 1967, respectively. This DVD represents the only video of this Miles Davis Quintet lineup ever to be officially commercially released.
Along with the discs comes a generous 250-page book whose centerpiece is an 11,000-word biographical essay by Frédéric Goaty, the most in-depth liner notes ever included in any Miles Davis package. Goaty is the director of the French Jazz Magazine and the co-author of the 1995 book Miles Davis. The essay is complemented by brief annotations (about 200 words each) written by Franck Bergerot, covering every single one of the 52 albums and the DVD. Bergerot is the Chief Editor of Jazz Magazine and the author of Miles Davis: Introduction à l'écoute du jazz moderne. Rare photography, full discographic production notes, and a complete track index are also included.
THE COMPLETE MILES DAVIS COLUMBIA ALBUM COLLECTION will be available starting November 24th through Columbia/Legacy, a division of SONY MUSIC ENTERTAINMENT. The box set will be for sale exclusively from Amazon in the physical package only, priced at $364.98.
The release of the MILES DAVIS COLUMBIA box set coincides with a three-month exhibition at the Museé de la Musique in Paris (October 16, 2009, through January 17, 2010) entitled "We Want Miles." The exhibition follows the evolution of the artist from his birth (May 26, 1926) and childhood in East Saint Louis to his final Paris concert in July, two months before his death on September 28, 1991.
The cornerstones of the MILES DAVIS COLUMBIA box set are the studio and live albums that were released during his tenure at the label, more than 40 titles that he recorded in the 1950s, '60s, '70s and '80s. The vast majority of these were released around the time of their recording or soon after; others appeared as historic discoveries years later. Since the critically acclaimed and multiple Grammy Award-winning Miles Davis Series was launched in 1996, the majority of all these albums have been reissued by Columbia/Legacy as expanded editions with bonus material. The expanded editions will be the ones utilized on this new box set. Since the original LP jacket artwork will be replicated, the bonus tracks will only appear as indexed in the book's discographical section.
They include: 'Round About Midnight (1957), Miles Ahead (1957), Milestones (1958), Miles Davis At Newport (1958), Porgy and Bess (1958), Jazz At The Plaza (1958), Kind Of Blue (1959), Sketches Of Spain (1960), Someday My Prince Will Come (1961), In Person: Friday Night At the Blackhawk (1961), In Person: Saturday Night At the Blackhawk (1961), At Carnegie Hall (1961), Seven Steps To Heaven (1963), In Europe (1963), My Funny Valentine (1965), 'Four' & More (1966), Miles In Tokyo (1964), Miles In Berlin (1964), E.S.P. (1965), Miles Smiles (1966), Sorcerer (1967), Nefertiti (1967), Miles In the Sky (1968), Filles De Kilimanjaro (1969), In A Silent Way (1969), Bitches Brew (1970), A Tribute To Jack Johnson (1971), Live/Evil (1971), On the Corner (1972), Big Fun (1974), Get Up With It (1974), Water Babies (1976), and Aura (1985).
Many other albums spanning the decades remain unchanged from their original releases (except for digital remastering). These include: Circle In The Round (1955 through 1970), 1958 Miles (1958), Directions (1960 through 1970), Live At The Fillmore East (March 7, 1970): It's About That Time (1970), Black Beauty: Miles Davis At Fillmore West (1970), At Fillmore (1970), In Concert (1972), Dark Magus (1974), Agharta (1975), Pangaea (1975), The Man With The Horn (1980-1981), Star People (1982-83), Decoy (1983), and You're Under Arrest (1984-85).
A third grouping of albums receive special attention on the new box set and are summarized as follows:
In Paris Festival International De Jazz May, 1949 (1949): Miles' first trip to Europe was a resounding critical and commercial success, but upon his return to the U.S., he went through a long purgatory before recovering that acclaim in the '50s. In 1977 (in the midst of Miles' 1975-80 hiatus from touring and recording), Henri Renaud, head of the CBS France Jazz Department, collaborated with Bruce Lundvall, then president of Columbia Records U.S., on the release of the 1949 concert at Salle Pleyel. It was actually billed on the LP as the Miles Davis-Tadd Dameron Quintet (with James Moody on tenor sax, drummer Kenny Clarke, and bassist Barney Spieler). This new CD adds two previously unreleased tracks: pianist-composer Dameron's "The Squirrel" and the classic ballad "Lover Man."
Quiet Nights (1962): In the summer 1962, at the dawn of the bossa nova craze, Miles experimented on some tracks with arranger Gil Evans, whose interest in South American music went back many years. In order to complete the Quiet Nights project, producer Teo Macero pulled a track from the West Coast sessions that yielded Seven Steps To Heaven. That same summer, Wayne Shorter made his first recordings with Miles and Evans, two years before Shorter joined Miles' quintet. One track was a bleak Christmas song called "Blue Xmas / To Whom It May Concern" (introduced on 1962's Jingle Bell Jazz). Another track was "Devil May Care" which features one of Miles' greatest recorded solos. Both are true rarities which only appeared together before on 1996's three-time Grammy Award-winning 6-CD box set, Miles Davis & Gil Evans: The Complete Columbia Studio Recordings.
At Plugged Nickel (1965): Sony Music in Japan caused a sensation in 1976, when they released two LPs worth of highly-edited music from the December 22-23, 1965 appearance at this Chicago club by the Shorter-Hancock-Carter-Williams quintet. Columbia received similar raves when they eventually released the double-LP in the U.S. in 1982. Thirteen years later, the entire unedited program of performances from the Plugged Nickel was issued by Columbia/Legacy as an 8-CD box set (long out-of-print). This new double-CD version for MILES DAVIS COLUMBIA is the best of both worlds - retrieving the original track sequence of the classic LPs, but in their full unedited versions as heard in the 1995 box set.
Isle Of Wight (1970): The chaos of the third annual Isle Of Wight Festival is well-documented, as dissidents burned down and trampled as much of the place as they could on the final night, leading the powers-that-be to ban the gathering for more than three decades. Miles' set on the fourth (and next-to-last) night was no less revolutionary on the bill he shared with Joni Mitchell, Ten Years After, Emerson Lake & Palmer, the Doors, the Who, and Sly and the Family Stone, among others. Here is the same general 1970 rhythm section (Chick Corea, Dave Holland, Jack DeJohnette, and Airto Moreira) that Miles used on his 1970 double-LPs Black Beauty: Miles Davis At Fillmore West and At Fillmore. The Isle Of Wight additions are Keith Jarrett (who also played on At Fillmore) and Gary Bartz replacing Steve Grossman on sax. This box marks the first official release of the full-length Isle of Wight 1970 concert on any album (CD).
We Want Miles (1981): At the end of Miles' five-year 1975-80 hiatus, he came back with a vengeance, releasing The Man With The Horn in '81 and hitting the road with most of that album's players: Bill Evans (saxophones), Mike Stern (guitar), Marcus Miller (bass), and Al Foster (drums), adding Mino Cinelu on percussion. Columbia recorded them live in Boston, New York and Tokyo, and numbers from all three cities comprised the original double-LP We Want Miles. CBS/Sony Japan followed up with additional performances from Tokyo on Miles!, Miles!, Miles!, whose impossibly rare LP and subsequent CD are both out-of-print. Three of those tracks, "Ursula", "Aida" and "Fat Time," transform We Want Miles into the newest expanded edition for the release of THE COMPLETE MILES DAVIS COLUMBIA ALBUM COLLECTION.
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THE COMPLETE MILES DAVIS COLUMBIA ALBUM COLLECTION
(Columbia/Legacy 88697 55852 2)
# Title Rec. Rel. Catalog
01. In Paris Festival Int'l De Jazz May, 1949 - 1949 1977 SRCS 9724
02. 'Round About Midnight - 1955-1956 1957 CK 85201
03. Circle In The Round - 1955-1970 1979 C2K 46862
04. Miles Ahead - 1957 1957 CK 65121
05. Milestones - 1958 1958 CK 85203
06. 1958 Miles - 1958 1974 C6K 65833
07. At Newport 1958 - 1958 1964 CK 85202
08. Porgy And Bess - 1958 1959 CK 65141
09. Jazz At The Plaza - 1958 1973 CK 85245
10. Kind Of Blue - 1959 1959 CK 64935
11. Sketches Of Spain - 1959-60 1960 CK 65142
12. Directions - 1960-70 1981 SRCS 9761/2
13. Someday My Prince Will Come - 1961 1961 CK 65919
14. In Person Friday Night At The Blackhawk, 1961 - 1961 C2K 87097 San Francisco - Complete
15. In Person Saturday Night At The Blackhawk, - 1961 1961 C2K 87100 San Francisco - Complete
16. At Carnegie Hall - 1961 1962 C2K 65027
17. Quiet Nights + "Blue Xmas (To Whom It May Concern)" and "Devil May Care" - 1962 1963 CK 65293
18. Seven Steps To Heaven - 1963 1963 CK 93592
19. In Europe - 1963 1964 CK 93583
20. My Funny Valentine - 1964 1965 CK 93593
21. "Four" & More - 1964 1966 CK 93595
22. Miles In Tokyo - 1964 1969 CK 93596
23. Miles In Berlin - 1964 1965 CK 93594
24. E.S.P. - 1965 1965 CK 65683
25. At Plugged Nickel - V. 1 1965 1976 18AP 2067
V. 2 1965 1976 18AP 2068
26. Miles Smiles - 1966 1967 CK 65682
27. Sorcerer - 1967 1967 CK 65680
28. Nefertiti - 1967 1968 CK 65681
29. Water Babies - 1967-68 1976 CK 86577
30. Miles In The Sky - 1968 1968 CK 65684
31. Filles De Kilimanjaro - 1968 1969 CK 86555
32. In A Silent Way - 1969 1969 CK 86556
33. Bitches Brew - 1969 1970 C2K 65774
34. Big Fun - 1969-72 1974 C2K 63973
35. A Tribute To Jack Johnson - 1970 1971 CK 93599
36. Live At The Fillmore East (March 7, 1970): It's About That Time - 1970 2001 C2K 85191
37. Black Beauty: Miles Davis At Fillmore West - 1970 1973 C2K 65138
38. At Fillmore - 1970 1970 C2K 65139
39. # Isle Of Wight - 1970 2009 -
40. Live/Evil 1970 - 1971 C2K 65135
41. On The Corner - 1972 1972 CK 63980
42. In Concert - 1972 1973 C2K 65140
43. Dark Magus - 1974 1977 C2K 65137
44. Get Up With It - 1972-74 1974 C2K 63970
45. Agharta - 1975 1976 C2K 46799
46. Pangaea - 1975 1975 C2K 46115
47. The Man With The Horn - 1980-81 1981 CK 36790
48. We Want Miles + 3 bonus tracks from Miles!, Miles!, Miles! - 1981 1982 SICP 1235/6
49. Star People - 1982-83 1983 CK 38657
50. Decoy - 1983 1984 CK 38991
51. You're Under Arrest - 1984-85 1985 CK 40023
52. Aura - 1985 1989 CK 45332
DVD
Miles Davis Quintet: Wayne Shorter, Herbie 10-11/67 2009 - Hancock, Ron Carter, Tony Williams / Live In Europe '67
Plus Bonus DVD - Miles Davis Quintet: Wayne Shorter, Herbie Hancock, Ron Carter, Tony Williams / Live In Europe '67 - Only Video Of This Group Ever Commercially Released
All Albums - Most Recent Expanded Editions Of '90s And '00s With Bonus Material, Others Heard In Original Form - Packaged In Japanese Style Mini-Lp Cd And Double-Cd Jackets, Replicating Original Artwork
Isle of Wight - historic 1970 UK concert, first time official issue of full-length performance on any album (CD)
New expanded editions with rare or previously unreleased bonus tracks added to four albums: In Paris Festival International De Jazz May, 1949 (1949); Quiet Nights (1962); At Plugged Nickel (1965); and We Want Miles (1981)
250-page full-color book with 11,000-word biographical essay by Frédéric Goaty, annotations on every album and DVD written by Franck Bergerot, rare photography, memorabilia, discographical production notes, complete tune index
Amazon EXCLUSIVE specially priced at $364.98 (only $5.14 per disc!) - available in physical package ONLY starting November 24, 2009, through Columbia/Legacy
Coincides with "We Want Miles" - three-month exhibition on Miles' life and times, at the Museé de la Musique in Paris (October 16th through January 17th)
In all the annals of recorded modern jazz, there is nothing that compares to the 30-year association of Miles Davis and Columbia Records, from 1955 to 1985. Both in the scope of Miles' prolific output during the entire history of the 12-inch LP era, more than 50 distinct album titles in the U.S., Europe and Japan, as well as the primal influence that Miles - and his evolving group lineups - had on the course of jazz, there is simply no precedent. Miles at Columbia stands alone.
For more than two decades now, Miles Davis fans and aficionados, musicians and critics, collectors and configurationalists have wondered if the time would ever come that Miles' entire Columbia album output would be assembled in one total package. That time has finally arrived.
THE COMPLETE MILES DAVIS COLUMBIA ALBUM COLLECTION is an historic release event. The super-deluxe box set contains 52 CD and double-CD albums - which includes the previously unreleased full-length audio version of Isle Of Wight performance from 1970 - 70 CDs in all. (Rarities and other previously unreleased material still exist in the vast Miles Davis archive, and they are delineated below.)
The box set adds a bonus DVD, Miles Davis Quintet: Wayne Shorter, Herbie Hancock, Ron Carter, Tony Williams / Live In Europe '67. Here are two separate European concert performances by the groundbreaking 'second great quintet,' filmed in Stockholm and Karlsruhe, Germany, October and November 1967, respectively. This DVD represents the only video of this Miles Davis Quintet lineup ever to be officially commercially released.
Along with the discs comes a generous 250-page book whose centerpiece is an 11,000-word biographical essay by Frédéric Goaty, the most in-depth liner notes ever included in any Miles Davis package. Goaty is the director of the French Jazz Magazine and the co-author of the 1995 book Miles Davis. The essay is complemented by brief annotations (about 200 words each) written by Franck Bergerot, covering every single one of the 52 albums and the DVD. Bergerot is the Chief Editor of Jazz Magazine and the author of Miles Davis: Introduction à l'écoute du jazz moderne. Rare photography, full discographic production notes, and a complete track index are also included.
THE COMPLETE MILES DAVIS COLUMBIA ALBUM COLLECTION will be available starting November 24th through Columbia/Legacy, a division of SONY MUSIC ENTERTAINMENT. The box set will be for sale exclusively from Amazon in the physical package only, priced at $364.98.
The release of the MILES DAVIS COLUMBIA box set coincides with a three-month exhibition at the Museé de la Musique in Paris (October 16, 2009, through January 17, 2010) entitled "We Want Miles." The exhibition follows the evolution of the artist from his birth (May 26, 1926) and childhood in East Saint Louis to his final Paris concert in July, two months before his death on September 28, 1991.
The cornerstones of the MILES DAVIS COLUMBIA box set are the studio and live albums that were released during his tenure at the label, more than 40 titles that he recorded in the 1950s, '60s, '70s and '80s. The vast majority of these were released around the time of their recording or soon after; others appeared as historic discoveries years later. Since the critically acclaimed and multiple Grammy Award-winning Miles Davis Series was launched in 1996, the majority of all these albums have been reissued by Columbia/Legacy as expanded editions with bonus material. The expanded editions will be the ones utilized on this new box set. Since the original LP jacket artwork will be replicated, the bonus tracks will only appear as indexed in the book's discographical section.
They include: 'Round About Midnight (1957), Miles Ahead (1957), Milestones (1958), Miles Davis At Newport (1958), Porgy and Bess (1958), Jazz At The Plaza (1958), Kind Of Blue (1959), Sketches Of Spain (1960), Someday My Prince Will Come (1961), In Person: Friday Night At the Blackhawk (1961), In Person: Saturday Night At the Blackhawk (1961), At Carnegie Hall (1961), Seven Steps To Heaven (1963), In Europe (1963), My Funny Valentine (1965), 'Four' & More (1966), Miles In Tokyo (1964), Miles In Berlin (1964), E.S.P. (1965), Miles Smiles (1966), Sorcerer (1967), Nefertiti (1967), Miles In the Sky (1968), Filles De Kilimanjaro (1969), In A Silent Way (1969), Bitches Brew (1970), A Tribute To Jack Johnson (1971), Live/Evil (1971), On the Corner (1972), Big Fun (1974), Get Up With It (1974), Water Babies (1976), and Aura (1985).
Many other albums spanning the decades remain unchanged from their original releases (except for digital remastering). These include: Circle In The Round (1955 through 1970), 1958 Miles (1958), Directions (1960 through 1970), Live At The Fillmore East (March 7, 1970): It's About That Time (1970), Black Beauty: Miles Davis At Fillmore West (1970), At Fillmore (1970), In Concert (1972), Dark Magus (1974), Agharta (1975), Pangaea (1975), The Man With The Horn (1980-1981), Star People (1982-83), Decoy (1983), and You're Under Arrest (1984-85).
A third grouping of albums receive special attention on the new box set and are summarized as follows:
In Paris Festival International De Jazz May, 1949 (1949): Miles' first trip to Europe was a resounding critical and commercial success, but upon his return to the U.S., he went through a long purgatory before recovering that acclaim in the '50s. In 1977 (in the midst of Miles' 1975-80 hiatus from touring and recording), Henri Renaud, head of the CBS France Jazz Department, collaborated with Bruce Lundvall, then president of Columbia Records U.S., on the release of the 1949 concert at Salle Pleyel. It was actually billed on the LP as the Miles Davis-Tadd Dameron Quintet (with James Moody on tenor sax, drummer Kenny Clarke, and bassist Barney Spieler). This new CD adds two previously unreleased tracks: pianist-composer Dameron's "The Squirrel" and the classic ballad "Lover Man."
Quiet Nights (1962): In the summer 1962, at the dawn of the bossa nova craze, Miles experimented on some tracks with arranger Gil Evans, whose interest in South American music went back many years. In order to complete the Quiet Nights project, producer Teo Macero pulled a track from the West Coast sessions that yielded Seven Steps To Heaven. That same summer, Wayne Shorter made his first recordings with Miles and Evans, two years before Shorter joined Miles' quintet. One track was a bleak Christmas song called "Blue Xmas / To Whom It May Concern" (introduced on 1962's Jingle Bell Jazz). Another track was "Devil May Care" which features one of Miles' greatest recorded solos. Both are true rarities which only appeared together before on 1996's three-time Grammy Award-winning 6-CD box set, Miles Davis & Gil Evans: The Complete Columbia Studio Recordings.
At Plugged Nickel (1965): Sony Music in Japan caused a sensation in 1976, when they released two LPs worth of highly-edited music from the December 22-23, 1965 appearance at this Chicago club by the Shorter-Hancock-Carter-Williams quintet. Columbia received similar raves when they eventually released the double-LP in the U.S. in 1982. Thirteen years later, the entire unedited program of performances from the Plugged Nickel was issued by Columbia/Legacy as an 8-CD box set (long out-of-print). This new double-CD version for MILES DAVIS COLUMBIA is the best of both worlds - retrieving the original track sequence of the classic LPs, but in their full unedited versions as heard in the 1995 box set.
Isle Of Wight (1970): The chaos of the third annual Isle Of Wight Festival is well-documented, as dissidents burned down and trampled as much of the place as they could on the final night, leading the powers-that-be to ban the gathering for more than three decades. Miles' set on the fourth (and next-to-last) night was no less revolutionary on the bill he shared with Joni Mitchell, Ten Years After, Emerson Lake & Palmer, the Doors, the Who, and Sly and the Family Stone, among others. Here is the same general 1970 rhythm section (Chick Corea, Dave Holland, Jack DeJohnette, and Airto Moreira) that Miles used on his 1970 double-LPs Black Beauty: Miles Davis At Fillmore West and At Fillmore. The Isle Of Wight additions are Keith Jarrett (who also played on At Fillmore) and Gary Bartz replacing Steve Grossman on sax. This box marks the first official release of the full-length Isle of Wight 1970 concert on any album (CD).
We Want Miles (1981): At the end of Miles' five-year 1975-80 hiatus, he came back with a vengeance, releasing The Man With The Horn in '81 and hitting the road with most of that album's players: Bill Evans (saxophones), Mike Stern (guitar), Marcus Miller (bass), and Al Foster (drums), adding Mino Cinelu on percussion. Columbia recorded them live in Boston, New York and Tokyo, and numbers from all three cities comprised the original double-LP We Want Miles. CBS/Sony Japan followed up with additional performances from Tokyo on Miles!, Miles!, Miles!, whose impossibly rare LP and subsequent CD are both out-of-print. Three of those tracks, "Ursula", "Aida" and "Fat Time," transform We Want Miles into the newest expanded edition for the release of THE COMPLETE MILES DAVIS COLUMBIA ALBUM COLLECTION.
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THE COMPLETE MILES DAVIS COLUMBIA ALBUM COLLECTION(Columbia/Legacy 88697 55852 2)
# Title Rec. Rel. Catalog
01. In Paris Festival Int'l De Jazz May, 1949 - 1949 1977 SRCS 9724
02. 'Round About Midnight - 1955-1956 1957 CK 85201
03. Circle In The Round - 1955-1970 1979 C2K 46862
04. Miles Ahead - 1957 1957 CK 65121
05. Milestones - 1958 1958 CK 85203
06. 1958 Miles - 1958 1974 C6K 65833
07. At Newport 1958 - 1958 1964 CK 85202
08. Porgy And Bess - 1958 1959 CK 65141
09. Jazz At The Plaza - 1958 1973 CK 85245
10. Kind Of Blue - 1959 1959 CK 64935
11. Sketches Of Spain - 1959-60 1960 CK 65142
12. Directions - 1960-70 1981 SRCS 9761/2
13. Someday My Prince Will Come - 1961 1961 CK 65919
14. In Person Friday Night At The Blackhawk, 1961 - 1961 C2K 87097 San Francisco - Complete
15. In Person Saturday Night At The Blackhawk, - 1961 1961 C2K 87100 San Francisco - Complete
16. At Carnegie Hall - 1961 1962 C2K 65027
17. Quiet Nights + "Blue Xmas (To Whom It May Concern)" and "Devil May Care" - 1962 1963 CK 65293
18. Seven Steps To Heaven - 1963 1963 CK 93592
19. In Europe - 1963 1964 CK 93583
20. My Funny Valentine - 1964 1965 CK 93593
21. "Four" & More - 1964 1966 CK 93595
22. Miles In Tokyo - 1964 1969 CK 93596
23. Miles In Berlin - 1964 1965 CK 93594
24. E.S.P. - 1965 1965 CK 65683
25. At Plugged Nickel - V. 1 1965 1976 18AP 2067
V. 2 1965 1976 18AP 2068
26. Miles Smiles - 1966 1967 CK 65682
27. Sorcerer - 1967 1967 CK 65680
28. Nefertiti - 1967 1968 CK 65681
29. Water Babies - 1967-68 1976 CK 86577
30. Miles In The Sky - 1968 1968 CK 65684
31. Filles De Kilimanjaro - 1968 1969 CK 86555
32. In A Silent Way - 1969 1969 CK 86556
33. Bitches Brew - 1969 1970 C2K 65774
34. Big Fun - 1969-72 1974 C2K 63973
35. A Tribute To Jack Johnson - 1970 1971 CK 93599
36. Live At The Fillmore East (March 7, 1970): It's About That Time - 1970 2001 C2K 85191
37. Black Beauty: Miles Davis At Fillmore West - 1970 1973 C2K 65138
38. At Fillmore - 1970 1970 C2K 65139
39. # Isle Of Wight - 1970 2009 -
40. Live/Evil 1970 - 1971 C2K 65135
41. On The Corner - 1972 1972 CK 63980
42. In Concert - 1972 1973 C2K 65140
43. Dark Magus - 1974 1977 C2K 65137
44. Get Up With It - 1972-74 1974 C2K 63970
45. Agharta - 1975 1976 C2K 46799
46. Pangaea - 1975 1975 C2K 46115
47. The Man With The Horn - 1980-81 1981 CK 36790
48. We Want Miles + 3 bonus tracks from Miles!, Miles!, Miles! - 1981 1982 SICP 1235/6
49. Star People - 1982-83 1983 CK 38657
50. Decoy - 1983 1984 CK 38991
51. You're Under Arrest - 1984-85 1985 CK 40023
52. Aura - 1985 1989 CK 45332
DVD
Miles Davis Quintet: Wayne Shorter, Herbie 10-11/67 2009 - Hancock, Ron Carter, Tony Williams / Live In Europe '67
Friday, October 9, 2009
Daoud-David Williams @ Gillespie Auditorium, Oct. 13
Swing with Daoud-David Williams & the Spirit of Life Ensemble when they return to "Jazz Tuesdays" next Tuesday, October 13 in the Gillespie Auditorium at the New York Baha'i Center at 53 East 11th Street (between University Place & Broadway). There will be two shows at 8:00 and 9:30.
Formed in 1975, Spirit of Life Ensemble (SOLE) is under the leadership of multi-percussionist Daoud-David Williams. The music of this captivating, diversified and a true reflection of the group's name. Their sound is soulful, passionate, and filled with infectious energy, while at the same time inventive and thought provoking in its concept, thereby capturing the spirit of artistic creativity. Although their music is deeply rooted in the jazz tradition, it has been strongly influenced by the myriad of musical styles found in the African Diaspora.
The rhythms of Latin America, the Caribbean Islands, Africa, and the African-American musical genres of rhythm and blues, gospel, funk, and the blues permeate the sound of this electrifying ensemble, whose "jazz with a world beat" approach leaves your heart dancing long after your feet have stopped. The collective experience of SOLE members includes performances and/or recordings with icons of jazz such as The Ellington Orchestra, The Basie Orchestra, The Hampton Orchestra, Clark Terry, Dizzy Gillespie, Kenny Barron, John Hicks, Nancy Wilson, Ahmad Jamal, Charles Mingus, Horace Silver, Buddy Rich, and many others. SOLE has recently released a new CD “Planet Jazz” on Rise Up Production, which will be available at this evening’s show. It can also be ordered from CDBaby.com or www.spiritoflifeensemble.com
Admission is 15.00, $10.00 for students.
Tickets will be sold at the door, or call 212-222-5159 for reservations and information.
*********
Jazz Tuesdays
in the John Birks Gillespie Auditorium
The New York Baha'i Center
53 East 11th Street (between University Place & Broadway)
Two shows: 8:00 and 9:30 p.m.
Formed in 1975, Spirit of Life Ensemble (SOLE) is under the leadership of multi-percussionist Daoud-David Williams. The music of this captivating, diversified and a true reflection of the group's name. Their sound is soulful, passionate, and filled with infectious energy, while at the same time inventive and thought provoking in its concept, thereby capturing the spirit of artistic creativity. Although their music is deeply rooted in the jazz tradition, it has been strongly influenced by the myriad of musical styles found in the African Diaspora.
The rhythms of Latin America, the Caribbean Islands, Africa, and the African-American musical genres of rhythm and blues, gospel, funk, and the blues permeate the sound of this electrifying ensemble, whose "jazz with a world beat" approach leaves your heart dancing long after your feet have stopped. The collective experience of SOLE members includes performances and/or recordings with icons of jazz such as The Ellington Orchestra, The Basie Orchestra, The Hampton Orchestra, Clark Terry, Dizzy Gillespie, Kenny Barron, John Hicks, Nancy Wilson, Ahmad Jamal, Charles Mingus, Horace Silver, Buddy Rich, and many others. SOLE has recently released a new CD “Planet Jazz” on Rise Up Production, which will be available at this evening’s show. It can also be ordered from CDBaby.com or www.spiritoflifeensemble.com
Admission is 15.00, $10.00 for students.
Tickets will be sold at the door, or call 212-222-5159 for reservations and information.
*********
Jazz Tuesdays
in the John Birks Gillespie Auditorium
The New York Baha'i Center
53 East 11th Street (between University Place & Broadway)
Two shows: 8:00 and 9:30 p.m.
LA Fashion Week - The Official After Party
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October 14, 2009, 9pmPlayhouse Hollywood
6506 Hollywood Blvd
Los Angeles, CA
Ph: (323) 3093711
E-mail: incout@gmail.com
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TERRY POISON & DJ FEMBOT WILL HOST THE "LA FASHION WEEK" AFTER PARTY- THE PARTY YOU WANT TO BE THERE!!!!21 & Over. Guests: Celebrities – Fashion and industry related, friends , models, designers, stylists, entertainment figures, press and media
Terry Poison, often described as the “Tarantino of Pop”, has risen from the sweaty underground to become Israel’s largest electro-rocknroll band. A true love child of samplers, guitar riffs, analogue synths and apocalyptic beats, Terry Poison’s sound is unique and completely contagious.
Beyond the music, a great emphasis is also put on staging and fashion, supported by two of Tel Aviv’s most renowned stylists. Live shows can be expected to be “highly sweaty and delicious,” high energy and tons of dancing.
Recently hitting the mainstream, Terry Poison has produced three hits that reached number one on Israeli National Radio charts, sharing a stage with acts such as CSS, Justice, Calvin Harris, as well as opening for Depeche Mode.
Performing relentlessly in Europe and Israel since 2005, Terry Poison, following the release of their first full-length album in May, is ready to bring their act to America for the first time and rock out from coast to coast."
LA-based Polish DJ Fembot, known for her sexy house, dirty electro, synthpop and beyond, is in hot demand at many different clubs and events. Her remix of the Ladytrons single “Runaway” hit top spots on Itunes, garnering her critical acclaim and her natural DJ abilities soon had her producing for celebrities such as Onch Movement from Paris Hiltons My New BFF. Dominating the turntables under the moniker affectionately known as "Fembot", As a leader among today’s female DJ’s, Marta has had the opportunity to play Paris Fashion Week, Coachella after parties as well as holding down residencies at some of the swankiest clubs and lounges and playing exclusive parties for Neve Campbell, SYTYCD, and Diesel Clothing.
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PRE-SALE TICKETS -$20 AVALIABLE FOR SALE NOW!!!!http://www.wantickets.com/?e_id=77970
PLEASE CALL:
Steve Gold- (323) 309-3711
David Bochris- (323) 428-4641
please hurry & make sure you have your tickets!!!! capacity is very limited....
@THE DOOR-$25- VERY LIMITED CAPACITY!!!!!
BOTTLE SERVICE AVAILABLE!!! PLEASE CALL!!!
BUY TICKETS ONLINE BY CREDIT CARDS GO TO THIS LINK
http://www.wantickets.com/Events/77970/LA-FASHION-WEEK-AFTER-PARTY.aspx
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