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Taking America to America

At the conclusion of Neil Diamond's wildly successful 2001-2002 tour, his band scattered to their various homes and projects as usual. But pianist Tom Hensley had decided to set a task for himself. He planned to record a CD of songs based on humorous pieces from his on-tour newsletter, the PBI, which has been published on every Diamond show day since 1986. His original plan was to record it with just piano and vocal and burn enough copies for the band (Touroids, he calls them), but the first piece he did was about the Horndogz (Diamond's stellar horn section), and they volunteered to come in and play on the track. He was so pleased with the results that he began discreetly asking other band members to come in and take part in his project, and by the time it was finished this fall, almost everyone in the band had contributed something to the album, and his co-keyboardist Alan Lindgren and Diamond's recording engineer Bernie Becker had come aboard as co-producers. The modest little gift item turned into a serious album project, and 'Taking America to America' has turned out to be quite a peek into 'the scenes behind the scenes behind the scenes' of a major music tour in the 21st century. Besides the Horndog Victory Chant, there are songs about the Catgut Grrls (Diamond's string quartet on the 2001-2002 tour), the tour's accountants, the room in which the musicians eat their breakfast, the plane on which they fly, the mysterious alter ego of guitarist Hadley Hockensmith, the mythical genius behind their occasional poker games, the mysterious charges on their hotel bills, an imaginary fan letter from a smitten fan, and other peculiar aspects of the touring life. Hensley sings a few novelty songs and then let's the better singers in the band (including Linda Press, Julia Waters, Doug Rhone and King Errisson) step in to do the serious work. In it's 28 years of existence, the Neil Diamond band had never done an album of it's own. It still hasn't, but this is the closest thing to it.

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Price: 25.43 EUR excl. shipping

Observare

Rebekka Fisher is unquestionably the resourceful type. When the Minneapolis jazz/funk musician found herself being treated as an ornament in a mostly-male band, she quit and formed her own band. Puzzled by the low number of female instrumentalists in the music industry, she started a networking organization for women artists and began publishing a newsletter. And just last July, after having a hard time getting a gig at a local club, she again took action. She teamed up with other female artists to hold a benefit concert there that wound up attracting over 300 people and raising $750 for the Family Violence Network. Fisher's strong sense of purpose has been evident since childhood when she began playing piano at age nine. She was the third of four girls. She inherited her father's gift of creativity - Ed Fischer's editorial cartoons are syndicated in over 100 newspapers nationwide and have won him many awards. (He altered the spelling of his last name for FischerToons to avoid being confused with another Ed Fisher.) When Fisher was 13 years old, she heard Carole King's 'Tapestry' album and knew what she wanted to do with her life. 'I also listened to Melissa Manchester,' she remembers. 'She has incredible vocal power. I saw her in concert. A couple of times during her show, she didn't even use a microphone, and everyone could still hear her.' The teenage Fisher was anxious to put her dream into action and tried to form a band. Unfortunately, she couldn't find the same commitment in her friends and had to settle for songwriting on her own and keeping a catalog of her work. The creative outlet also became a form of therapy when her parents began having difficulties in their marriage (they've since divorced). She took up guitar and drums and channelled her pain into her music. By the time she was fifteen, she wound up playing the piano at a resort where she'd taken a part-time job washing dishes. She abandoned the idea of forming her own band and joined an already established one. The format? Heavy metal. 'Yes, I played keyboards in a heavy metal band,' she laughs. 'I really wasn't sure what I was doing there!' She spent her adolescence moving from one band to another. Her first real gig, in keeping with the unusual turn her budding career was taking, was at a deaf school. 'Actually, it went over great,' she says. 'They danced to the vibrations of the music that they felt through the floor. The only glitch was when they started slow dancing to our cover of 'Wipeout.' I tried to tell them that it was a fast song, but they couldn't hear me!' Fisher went on to attend the University of Minnesota and earn a degree in Composition. As she began meeting other musicians and jamming with them, she noticed a difference in the professional behavior between men and women. 'When I'm jamming with women, they're more cordial and polite,' she says. 'I know it's a generalization, but so many times I've seen women jamming and saying, 'You do a solo,' 'No, you solo, it's your turn.' Meanwhile the song is almost over! Men I've jammed with, on the other hand, are more aggressive. They'll play right over you.' Fisher was initially intimated by the more aggressive playing style of the male musicians but still preferred jamming with them. Her determination to hold her own in a mostly-male jam led her to practice harder and sharpen her keyboard skills. Eventually, her more aggressive style of playing won her a nomination for Keyboardist of the Year by the Minnesota Music Academy. Unfortunately, stronger technical skills didn't solve all of her difficulties. 'When you're the only girl in the band, it's hard to feel like a part of the group no matter how well you play,' she says. 'I was left out of the 'guy talk,' which is an important part of band bonding. They just didn't want to talk that way with me around.' Fisher finally gave up the attempts at bonding when she formed the Rebekka Fisher Band. 'I'm more of the boss than a friend,' she says of her relationship with the three men who make up the rest of the band, 'and that's probably for the best.' The Rebekka Fisher Band's first CD was 1995's 'Dream World.' It was followed by a lucky break that led to 1998's 'Observare': an introduction to Matt Fink, formerly of Prince's band Revolution. Fink wound up producing 'Observare' in his home studio. 'I met him through a friend,' Fisher remembers. 'I needed a producer, so it worked out great. He's a nice guy. Since then, he's been a guest speaker at Music Tech, where I teach. He's running his own recording studio and writing music for publishing companies and commercials.' 'Observare' featured a wailing funk song called 'A Different Girl,' in which she recounts her experiences in a mostly-male band before quitting to form her own band: 'I was standing in a corner, behind the lights. I don't rock the boat, the leader gets so uptight. And I feel like I'm living in a vanity case. So get a different girl to take my place.' Not all her listeners were receptive. The press coverage of 'Observare' gave Fisher her first taste of negative reviews, which initially made her want to quit the business. 'That was really tough,' she acknowledges. 'This can be an awful business. But when those reviews came out, I was teaching a class at Music Tech about creating a positive environment, and that really adjusted my attitude. To teach something, you really have to know the material and believe in it.' As she rebuilt her confidence, she also joined the jobbing circuit, playing weddings, corporate events, jams, and fill-in situations. Again, she was struck by the differences between the sexes. She was often the only female instrumentalist. Most of the women artists were vocalists. 'It's hard to be that one person that stands out,' she says. 'I still don't completely understand why there are so few women instrumentalists and why they tend to focus on things like melody line instead of theory. That's mostly what led me to put together Women Sing.' Still in it's formative stage, Women Sing is the start of a networking and resource tool for female artists. The newsletter is written and distributed solely by Fisher and includes profiles of women musicians in history (the Fall/Winter 2000 issue features the 19th century composer Pauline Viardot-Garcia). Eventually, Fisher hopes to become more than a one-woman resource center. 'I'd love to turn the newsletter into a regular magazine covering schools, online classes and networking areas,' she says enthusiastically. 'The best thing would be to go around the country and do women artist showcases. I would love to do that!' She knows it will be a tough road. 'It's hard to promote women in music without coming across as male-bashing,' she says. 'That's not what I'm about, but sometimes the very act of focusing solely on women will be interpreted that way.' She once placed a bumper sticker on her car that read, 'In Goddess We Trust' and started finding pages from the Bible posted on her windshield. Still, she keeps looking for other people to contribute and help her make the organization grow. In the meantime, Fisher has other matters to attend to. She still teaches songwriting classes at Music Tech. She would like to do more benefit concerts. And she and her band recently found the time to release their fourth CD, a five-track collection called 'Inner Spaces.' The songs have an added, subtle electronica influence, adding more fire and intensity to the already powerful funk grooves. Her new work began attracting attention before it was even released. One of the songs, the cool and ominous 'Driving,' is being featured on the soundtrack of an independent film called 'Vixen Highway.' 'When I heard the title,' she says, 'I called to make sure it wasn't a porno film. What's funny is that one of my composition students turned out to be one of the film's directors, so I asked her what it was about. It's a dark comedy, something about a gang of women on the road who kill a lo

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Price: 18.89 EUR excl. shipping

At Night It Is Particularly Lovely

Orchestraville went through many phases in their time. Formed in Athens, Ohio during the early 90s, they never fit into what was popular or trendy. But during their 15 years together, they matured from a quirky "alternative rock" band into a tight rock and roll outfit focused on songwriting instead of musicianship. In 1991, Christopher Forbes (guitar, vocals) and Dave Pascoe (bass) asked drummer Keith Hanlon to join them for demo recordings. They enjoyed the experience so much that they brought in guitarist Brendan McKay to complete the group. McKay's guitar playing, inspired by horn players like Ornette Coleman and John Zorn, fit well with Forbes' dense picking style. They quickly fell in with touring bands from New York's "Avante-Pop" Scene, opening shows for The Mommyheads, Beekeeper, Babe the Blue Ox and VPN. They spent a few years recording and playing shows along the east coast and midwest. McKay was diagnosed with Non-Hodgkins Lyphoma, and in 1997 he passed away. This affected the band considerably, but they continued as a trio and released their self-titled and self-released CD in 1998, culled heavily from recording sessions with McKay. They eventually relocated to Columbus, Ohio and began writing new songs. They asked guitarist Matt Duckworth (Lemdaro, The Original Onions) to join them. By 2001, they had a new CD ready, "At Night It Is Particularly Lovely." The album showcased their newer accessible songwriting and a more cohesive sound overall. Duckworth left the group shortly after it's release, but not before writing and recording more songs with the band. These sessions were finally released digitally in 2010 as the "Invent the Machine" EP. Regrouping in 2002, the band began writing new material with keyboardist Parker Paul (former member of Curious Digit and a solo artist on Jagjaguwar Records). The new songs were more straight-forward, with vocal melodies recalling Ray Davies and George Harrison. They proceeded to record the new material by themselves, and the album ("Poison Berries") was to be released by Columbus' Anyway Records. However, the band decided to disband in 2005. Pascoe moved to Denver, Hanlon went back to school and Parker Paul started a family. Forbes and Hanlon later joined The Black Swans and Parker Paul continued his solo career. In 2010, they began to re-release their past albums as digital downloads. This included material that was previously unreleased, such as the EP recorded with Duckworth, a full-length CD of tracks from the early 90s, and a single they were working on before disbanding.

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Price: 16.80 EUR excl. shipping

Live to Love Love to Live

LIVE TO LOVE, LOVE TO LIVE: This latest offering features the incredible musical talents of Ron Velosky on acoustic and electric basses, guitarists B.D. Lenz and Steve Girardi, and multi-instrumentalist Dave Edwards on piano, violin and electric and acoustic basses. Rounding out the group is composer Greg Federico on keyboards, drum kit, and percussion. Thirteen soulful musical portraits are beautifully arranged and performed in a generous program lasting over a satisfying 77 minutes! This recording features 9 compositions by Federico, 2 by B.D. Lenz, and 1 each by Steve Girardi and Ron Velosky. Says Federico: 'This record represents the highest level of writing, arranging and performing I've ever been associated with.' What the press have said about 'Live to Love, Love To Live': 'Federico's 'Live To Love, Love To Live'. . .is a collection of jazzy hybrids mixed with Midwestern folk impressionism, world, Latin, classical and pop. . .the album is astoundingly well constructed. It is a kind of musical motion picture, in which each track seems to tell it's own story before flowing easily into the next. And like a good movie, it is filled with wonder and surprise.' ~ Jack Florek (U.S.1) 'It is hard to express the mystical in music, yet Mr. Federico succeeds somehow.' ~ Susan Van Dongen (Princeton Packet) 'Federico's ('Live To Love, Love To Live') recording takes his listeners on an eclectic and geographical journey.' ~ Curt Yeske (Trenton Times) -------------------------------------------------- As much as Greg Federico would like to say that he chose in this life to express himself as a musician, in his heart of hearts he believes it was the other way around: That music, instead, chose him. . . Greg was born in the southern U.S. (Alabama) but was raised in the northeast (Maryland, and then New Jersey). Music has been in his blood for as long as he can remember, and his musical studies began in his childhood with the piano. As he progressed into his teens, his interests expanded to include the drums. Before recognizing that his vocation for the musical life was undeniably set in stone, Greg spent his college years on different paths of learning, eventually earning a Bachelor of Arts in Philosophy from Villanova University (in western suburban Philadelphia, PA). To this day Greg maintains that there is great value he obtained from this discipline and that he is the better for it as is the music he's created to date. Subsequent to his time at Villanova it became abundantly clear to him that music called and would continue to call him until he answered in the affirmative and gave himself over to it. He went on to study music education for two years at Trenton State College specializing in drums and percussion under the tutelage of Tony DeNicola [Harry James Orchestra] while further augmenting his studies outside of the classroom on drums and exotic percussion with Joe Mekler [Deborah Henson-Conant]. Greg's love of hearing live jazz eventually took him to New York City's famed jazz 'dive', The 55 Bar, where he met and subsequently studied with drummer Dick Weller, who had been performing with Atlantic recording artist and jazz guitarist Mike Stern. Shortly thereafter, Greg connected with drummer Richie Morales [Spyro Gyra, Grover Washington, Jr.] at another Mike Stern show and this proved pivotal to Greg's educational advancement. Studies with Morales led to studies with Greg's latest mentor, John Riley [Stan Getz, Dizzy Gillespie, Miles Davis, Quincy Jones], who authored such instructional books as 'The Art of Bop Drumming' and 'Beyond Bop Drumming'. Over time, Greg developed a diverse array of musical proficiencies, not only as a performer, composer, and recording artist, but also as a music transcriptionist and engraver. To the latter, he has worked behind the scenes with jazz guitarist, composer, and 19-time Grammy award winner Pat Metheny, assisting the legendary musician in scoring two songbooks published by Hal Leonard Publishing: 'Orchestrion - The Complete Score' (released in March 2011) and a revision of 'The Pat Metheny Songbook' (currently in production at this time). As a performer, Greg has had the good fortune to play with many notable jazz artists including mulit-keyboardist, composer/arranger Pete Levin, nationally acclaimed New York bassist Tony Cimorosi, Milwaukee guitarist Jack Grassel, New York pianist Eric Olsen, and the late, great bassist Ron Velosky. In addition to his work as a sideman, the philosopher-turned-musician has developed several of his own jazz ensembles over the past 19 years, each with their own unique sound, performing primarily in the Mid-Atlantic region of the U.S. Though 'home' for Greg is considered the New Jersey corridor between Philadelphia and New York City, he has also toured the Midwest to promote his CD recordings. As a composer, Greg has been awarded many accolades over the past decade from various songwriting competitions. These include such significant acknowledgements as: 1st Place in the Portland Songwriter's Association Song Contest for: • 'Pacific Coast Highway' (Instrumental category - 2006) • 'Beneath the Stars' (Instrumental category - 2005) • 'Here We Are' (Pop category - 2004) • 'The Promise' (Instrumental category - 2004) • 'Faith' (Instrumental category - 2003) 1st Place in the Mid-Atlantic Song Contest for: • 'Beneath the Stars' (Instrumental category - 2006) 1st Place in Composer's Guild Annual Composition Contest for: • 'Postcard' (Pop category - 2003) • 'Beneath the Stars' (Jazz/New Age category - 2003) Other noteworthy awards include: • An impressive Finalist showing for 'Pacific Coast Highway' in the Instrumental category of the 2006 UK Songwriting Contest (top 4% out of over 750 entries in this category alone), an important and highly regarded contest said to be 'the UK's leading songwriting event and one of the world's major international songwriting competitions' • 4th Place (out of over 600 instrumental entries) in the Instrumental/Jazz category of the 2004 Unisong International Song Contest for 'Beneath The Stars' When composing, Greg draws great inspiration from the positive, life-affirming experiences he's been gifted with, ranging from many of the wonderfully unforgettable places to which he has traveled over time to some of the beautiful, influential persons who have profoundly touched his life along the way. . . -------------------------------------------------- ADDITIONAL BUZZ: 'Greg Federico is a philosopher. He also is a musician. It's almost impossible to separate the two facets of who he is - and probably not necessary, because one enhances the other. Whether he's teaching, gathering in more academic knowledge, or composing, playing, or marketing his music, Greg Federico is constantly blending all those facets of who he is into one. It's just that blend of diversity that makes his music so interesting, entertaining and moving.' ~Janet Purcell Piggott (Hopewell Valley News) '. . .this man is very talented in a lot of areas. . .Federico. . .concentrates on the groove and creates support for the soloists. He avoids the cliché of playing predictable, repetitive rhythms. . .and his timing is flawless.' ~ Jack Grassel (Milwaukee City Edition) 'I can honestly say that (Greg Federico's) music is pleasantly surprising. While not invoking hard work for the ear to accept, it nevertheless provides an excellent mix of the expected and unexpected, rhythmically, melodically, and especially harmonically. I've often said that good music sets you up for the familiar, while consistently delivering the extraordinary. I found that to be true in (this) music.' ~ Fred Srock (Fredio.Com)

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Price: 19.90 EUR excl. shipping

New England Memories

Experience the beauty of New England through this thrilling music created by keyboardist and arranger Gordon Wallin. From sunrise to sunset you'll find the essence of New England with music that includes "Loon Refuge", "Echo Lake", "River Rapids", the majestic "Northeast Kingdom", the shaker hymn "Simple Gifts" and five other impressionistic selections. New England Memories mixes environmental sounds recorded of the Northeastern U.S. with fully orchestrated compositions. •.

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Price: 26.65 EUR excl. shipping

Contemporay Keyboardist

No description.

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Price: 25.15 EUR excl. shipping

Under the Big Top

Kieran's 15 track effort, wraps us in riddles and tells it like it is. Under the Big Top is an imaginative pastiche of songs. It offers something both for listeners of alternative rock and the indie-elite. The musicality on her new album is worth it's weight in gold, as it is predominantly accompanied by world class musicians such as Ricky Lawson (Steeley Dan), Ian Walker, Danny Frankel, Aaron Sterling, and keyboardist, Patrick Warren, who has contributed to the works of The Red Hot Chili Peppers, Fiona Apple, Springsteen, Aimee Mann, and Neil Diamond. While many of her tracks fall left of pop, upon a closer listen, this is not music for the simple. Each track assumes it's own sonic landscape. What ties the songs on Under the Big Top together is Leigh's poignant honesty. "There were a lot of years of strife and walking the tightrope. In hindsight, that's where much of my music sprang from, so a cursed blessing in a way. I don't think anyone expected me to actually do it, but, here I am' On Under the Big Top, Kieran's vocal style ranges from smoky to shape-shifting folk melodies with surreal harmonies. The often off-kilter architecture of harmonies and choruses makes this album extremely intriguing. Kieran's songs are wrought with longing, create vivid images of commitment-phobes, and recreate somewhat bizarre auditory snippets she captured during sleep. Kieran Leigh is the third out of four children, and sister of movie Director, Peter Segal (Get Smart, 50 First Dates). Born in Manhattan, NY as Kieran Leigh Segal, her first generation American father, of Russian roots, found his way working in show business during the heyday at MGM, and her English born mother, of Irish decent, was a Top Ten fashion model. She recalls, 'My earliest memory was of Cecelia (Simon and Garfunkel) on the stereo as we drove through NYC. It is such a unique song, harmonies that pop in and out of nowhere building on each other, and a truly unique array of percussion. I loved it. That's when I recall wanting to be able to make music." They soon, moved to Southern Califronia where her sister used to play Elton John and Pink Floyd"...which then lead me to Zeppelin. As I grew up, I had discovered that they borrowed from the blues, so, I soused out Robert Johnson. His vocal phrasing and guitar playing sucked me in. He told a tale that got everyone's attention with as little as a three-chord progression. He wasn't polished nor pretty, but played and sang with unbelievable soul - what a guitarist. The Doors brought me to Morrison who brought me to Nietzsche, existentialism and the thought of eternal recurrence. I became more attracted to complex music, jazz and classical. Then, Phish, because they are irreverent, Dave Matthews, MMW, Radiohead, in terms of bands on the periphery of mainstream rock. My dad frequently had something like a Rhapsody In Blue blaring, or Ella with her incredible vocal abilities cooing us with Let's Call The Whole Thing Off, or, Louis singing A Foggy Day, and naturally Chet with The Thrill is gone. My dad really helped shape my musical interest." After the end of a relationship in 2004, Kieran began Under the Big Top. "I started dreaming music, vivid full-length songs. More out of curiosity I started working them out because they were so fantastic in my head - I mean, when they come in, they are broadcast via a pristine, pure, heaven-like stereo system.' About three weeks later, I had twenty songs. I gave them to a friend of mine, Jeff Gerst, and he, unbeknownst to me, brought them to a producer friend of his, Andrew Shapiro. Andrew called me and said, 'I want to make and album with you.' That was a life turning moment for me. We made the The Ep. Then, the ball was rolling. The songs kept coming to me, so I kept making them.' Andrew Shapiro and his wife had a baby, and Jeff moved to New York, leaving it up to Kieran if she wanted to continue. What she discovered, was the more she wrote, the more the music streamed in. 'Oh, it would be sort of nice if I didn't have music and lyrics somewhat relentlessly running through my head, but I do. The only peace I find is making these little songs. So, it wasn't a case of, 'And today I want to be a star so I will reinvent myself and write an album.' That was not the goal, it was simply capture the sounds I heard, and write them to bring peace to my head and heart." "How I write varies. Really, I just have a knack for melodies, and lyrics incessantly run through my head." In 2007, she decided to find another producer, but found herself playing the waiting game. "I think for a lot of producers in L.A., if you, the artist, are not seventeen with a voice like an American Idol contestant and cash cow potential, they aren't interested. It was about that time that I came across more people trying to dissuade me than give encouragement. Everyone has their own ideas of what one should do, how they should behave, and how things should be. But, I feel those are unnecessary constraints. If I wasn't supposed to make music, why were the angels whispering songs to me in my sleep? That was my core belief. Giving up due to ney sayers was not an option." In the interim, she began to develop some of her songs with drummer, Bobby Breton. Soon, she was recommended to Producer, Andrew Bush. "We developed 14 of my tracks, bringing in some of L.A.'s leading session's musicians to record foundational instrumentation. I was slightly naïve about costs and protocol, and suddenly found myself the executive producer and sole financier of my project. Then, I didn't really care for the direction many of the songs were heading in, so I dropped about half of them. Of the ones I kept, only a few remained in the form that we recorded them in. I simply couldn't let go of where I wanted them to go. Nonetheless, Andrew Bush is incredibly knowledgeable, talented and a really nice guy. I enjoyed working with him." She chose to move on, rethinking the direction of her songs. "I recorded the quirky Mad as a Hatter parts of the chorus, wrote some other instrumental lines, set up my studio with the right equipment and recorded most all the vocals for the album." Then, Kieran met Dennis Moody, who recorded a few free form versions of her songs, "Catch Me, and Tear Me Down. I will probably release them at some point. Ian Walker, Danny Frankel and Aaron Embry and I did a live recording of those two, and then The Future Inside, which made it to the album." Soon, she landed at the doorstep of Patrick Warren. "He is the most talented and unassuming person I've ever met. He added to the songs, without trying to change them to a certain form or style. He just encouraged me to keep it fun. I remember wanting a snare part at the Top of Tear Me Down, so I drummed the pattern on my lap. Well, we didn't have any drums set up, but we did have his kitchen with wooden spoons. It was pretty funny. It's exactly that freedom of experimentation that you need when creating." This album is intimate, personal, and the kaleidoscopic images that come to mind make it eccentrically offbeat yet completely consuming, drudging the bottom of internal emotions, only to lift us back up to a point of inspiration (as evidenced in songs such as Rise Up). "Okay, yeah, so I've had a few rough patches in life. But, I try everyday to be a good person and to improve, to help others, and to connect with this great universe. If things go south, I try to remind myself and others that north is just a shift-of-the-gaze away." By - Maria Allen Nottingham, UK.

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Price: 20.65 EUR excl. shipping

Full Circle

Over a span of twenty years, Petro Bass has earned the title, "World Class Percussionist". Petro is known for his high energy, versatility, precise and unique style of performance. On his newly released CD, "Full Circle", Petro returns to his musical roots that inspired him in the past ranging from R & B, jazz, Latin, African and other genres. Petro takes you on a musical journey featuring intriguing Artists accompanied by sounds of exotic instruments. "Full Circle" is a showcase of 10 groove-infused songs that transcends all global boundaries. The CD introduces a from Kenya and Japan, each singing in their native language. It also includes a unique blend of instruments - the didgeridoo, accordion, flute, seven string acoustic guitar, quad drum from Cameroon and the sound of the Rajah Sarod from India. "Full Circle" leads you on a path of vibrant sounds and rhythms with individual tracks reflecting a wide range of styles from easy listening fusion, to reggae, calypso and funky R & B beats. Each song is a gem, an expression of Petro's journey and a gift to those who have the pleasure to experience it. Petro believes that, "Music possesses the ability to touch the hearts of people and leave imprints of a lifetime." In that spirit Petro has dedicated his CD to a close friend, writer and keyboardist, the late Donnie Black. The song entitled, Donnie B. is a tribute to his special spirit. Petro Bass has come full circle ascending greater heights in musical space and time. He hopes you will enjoy "Full Circle" as much as he did in creating it.

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Price: 21.33 EUR excl. shipping

Opus 1

Renegade Express is operated solely by 18-year-old classically trained keyboardist David Rogers. The album features a good variety of piano, synths, samples, and even organ backed by plenty of chunky guitar drums, and bass--all performed by David. Influenced heavily by such artists as: System of a Down, Muse, Between the Buried and Me, Born of Osiris, and Killswitch Engage. Enjoy the dynamic contrast--the dark brutality, the quirky strangeness, the soft brilliance, the groovy energy-- of this experimental journey.

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Price: 17.28 EUR excl. shipping

Tell Me This Day Won't End

"Fabulous CD....as if the selection of these classics isn't enough, you will be seduced by the styling these two talented women give to each. What one does with her voice the other does with the piano. You'll be forced to choose a new favorite each time you listen. All I can say is 'How can they really top this?' We're already looking forward to their next collaboration." Jim Perry Carroll and Matthews started working together a little more than a year ago, combined their varied backgrounds and compiled a jazz album with a fresh take on several standards and brought back some rarely-recorded extraordinary tunes. They were elated when renowned bassist Steve Gilmore, who learned his trade from the likes of Ray Brown agreed to play on the album along with a stellar group of musicians including Steve Ferry on drums, Victor Payano on saxophone and Don Johnson on trumpet. Sharon Carroll is a classically trained vocalist and theatre actress who started dabbling in jazz in her college days with gifted pianist Jeremy Beck from New York City's Rural Free Delivery Band (also available on CDBaby). She spent a number of years doing professional theatre, on-camera work, directing and teaching. Sharon is a graduate of Troy University, was a finalist in the Savannah Onstage vocal competition and she is a member of Actor's Equity Association. Using her three octave range she has performed roles such as Maria in The Sound of Music at the Springer Opera House, the State Theatre of Georgia, Kathie in the operetta, The Student Prince in South Florida's Golden Apple, and Luisa in The Fantasticks at Seaside Repertory Theatre under the direction of Kim Moore from the Sullivan Street cast. Other favorite roles are Catherine in Proof, Olivia in Twelfth Night and Babe in Crimes of the Heart. She now performs in the Florida Panhandle with Ms. Matthews and a host of talented regional musicians. She also sings with the Swing Set Big Band and the Swing Shift Jazz Band. Amanda Matthews is from Atlanta, Georgia where she was a frequent guest with the Jerry Lambert Trio at the Ritz Carlton, she performed at Callenwolde, Atlanta Symphony Showhouse, Fox Theater, and was the keyboardist for the Atlanta Braves Band. In 2001, she made her European debut, performing both classical and jazz concerts in Bad Aussee, Austria. She has a degree in piano performance from Georgia State University. She moved to Panama City, Florida in 2005 and is the music teacher at Northside Elementary School. She is active in the Gulf Jazz Society, performs at local venues, and teaches jazz improvisation at the summer piano camp at Gulf Coast Community College. She has two solo piano CD's, 'Classical Piano' and 'Illumination.' Sharon and Amanda recently appeared at the annual Jazz By The Bay Festival and were honored when asked to perform with acclaimed Atlanta trumpeter and vocalist, Joe Gransden.

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Price: 19.90 EUR excl. shipping

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