Thursday, May 17, 2012

Independent Album Review: CAMERA SOUL - 'Words Don't Speak" (Azzurra Music, Italy)

LISTEN and PURCHASE HERE:
Album:  EURO: 9,90 or USD: $12.50 
Individual Tracks: EURO: 0,79 or USD: $1.00


CAMERA SOUL - "WORDS DON'T SPEAK"
(2012)

Personnel
 
Serena Brancale – Vocals
Pippo Lombardo – Keyboards
Francesco Palmitessa – Guitar
Beppe Sequestro – Bass
Mimmo Campanale – Drums/Percussion
Luca Toso – Saxes
Stefano Cavallin – Trumpet

Music: Piero and Pippo Lombardo
Lyrics: Serena Brancale (English)
Arrangements: Pippo Lombardo

Recorded at Azzurra Music Studios (Verona, Veneto, Italy) 
and ODB Studios (Bari, Puglia, Italy)
Produced by Mr. Marco Rossi of Azzurra Music
 
_____________________________________________________________________________


If Words Don't Speak, it is evident that the music, arrangements, vocal expertise, engineering, and production from Italy's CAMERA SOUL most certainly do!  


The new album from the Bari- and Verona-based troupe is cleverly infused with professional songwriting, full horn line arrangements, intelligent soul, jazz, and blues soloistic ideas, and possesses the ability to appeal to a broad range of music fans, ranging from Pop, Disco, House, and Soul, to R&B and finally all the way to jazz. 


Produced by Mr. Marco Rossi of Azzurra Music, led by songwriter / musician / arranger powerhouse brothers Piero and Pippo Lombardo of Puglia, the southern "California of Italy", and all-English lyrics written and sung by the talented Serena Brancale, the album is the culmination of a ten year project that features eleven diverse tracks; only three of which are covers.  The remaining eight charts showcase original and complex songwriting, as well as thoughtful lyrics on par with the legends covered (Lionel Ritchie, Stevie Wonder, and Earth, Wind & Fire) and the production value of the album exposes the professional lineup of musicians to such transparency that there is nowhere to hide and no room for error. There is no need to worry about that though; every voice, even in the most layered and complex arrangements, is well-heard and holds its own to create a masterwork that brings 1970's soul directly to us in 2012.


The first three tracks on the album are Lombardo Brothers and Brancale originals, beginning with the title track ("Words Don't Speak").  This is a sunny and soulful jazz waltz that would likely appeal to fans of early 1980s smooth jazz and soul, heralded by Brancale's smoky, sultry vocals and accompanied later by the warm, delicious guitar of Francesco Palmitessa.   With the second track, "Again", Lombardo and Brancale step up the complexity of the songwriting, especially during the innovative bridge section, to create tension as Brancale pleads with her lover not to "cry again".  Both of these tracks would play very well on either soul, blues, or even smooth jazz radio stations.   With the third track, "Born to Be (Forever) Mine", Camera Soul winds down into a soft and intelligent slow jam, again featuring Palmitessa's luxurious guitar solo work and Pippo Lombardo's masterful horn arrangements (tightly delivered by Luca Toso, saxes and Stefano Cavallin, trumpet). 


Midway through the album, Camera Soul delivers a fantastic upbeat house/disco edition of Lionel Ritchie's classic, "Love Will Conquer All", followed by another Lombardo/Brancale original soul ballad, "All Dark", showcasing Brancale's wide vocal range and deep emotion as she tells the story of a love that is not being experienced the same way between two people.  Next, Camera Soul expertly takes on a tight and sublime rendition of Earth, Wind & Fire's seldom-heard chart, "Miracles", and through its many layers of instrumentation and accompaniment, does not disappoint.


Camera Soul keeps the funk train rolling on the eighth track, "I Am", featuring fun and well-written unison horn lines, and drives hard to my favorite track of the album, "Zigzags" -- the pulsating disco highlight of the party that spotlights (among all else!) the tightness of CAMERA SOUL's rhythm section.  Beppe Sequestro, ever flawless throughout the entire album, hits the 70s style on the head with his excellent slap bass; Francesco Palmitessa doesn't miss with his essential guitar rhythms and vamps, and drummer Mimmo Campanale drives the groove relentlessly, with Pippo Lombardo completing the section with a great (outside/inside) piano solo.  This track alone is a perfect example of the amazing songwriting, soloistic capabilities, masterful arranging, vocals, and harmonic complexity that this professional band of musicians brings to the table.


The album closes with first the classic Stevie Wonder track, "Whereabouts", well-arranged and executed by the group, and finally to the last Lombardo/Brancale original, a deeply emotional, bluesy ballad called "Suddenly".  Regarding Brancale's vocals, while her work on the entire project is tasteful and excellent, this final track allows us to hear deep emotion of her heartache.  To further set the mood and groove of the story, the Lombardo Brothers include a nice addition of Hammond B3 organ about a minute into the track.  The style of the tune reminded me of Lenny Kravitz's "The Difference Is Why" from Mama Said and is a good closer to a fantastic album.


CAMERA SOUL features a professional lineup from both north and south Italy, intelligent musicianship, songwriting, lyricism, and arranging, and is a must-own for fans of classic 1970s soul, disco, and R&B.   For more information, including US distribution opportunities/sponsorship, please contact Mr. Marco Rossi of Azzurra Music at marco.rossi@azzurramusic.it



My deepest thanks go to Mr. Piero Lombardo for having found TIMKAT on Twitter and for sending the album to me to review; it was truly an honor and delight to hear this work. I will enjoy it for times to come and look forward to future offerings from the Lombardo Brothers, Azzura, Serena Brancale, and the members of CAMERA SOUL.


Best wishes,
Kathryn Ballard Shut /shoot/
President
TIMKAT Entertainment, Inc. 
Denver, CO, USA

___________________________________________


LISTEN and PURCHASE HERE:
Album:  EURO: 9,90 or USD: $12.50 
Individual Tracks: EURO: 0,79 or USD: $1.00





Wednesday, May 16, 2012

TIMKAT Introduces PLG Music Group's 'THE TOUCH'


THE TOUCH Infuses Chicago Deep House Style To Create New Magic From Classic Jazz Standards
A powerful force has burst onto the worldwide stage from the Windy City's South Side Thanks To Music Industry Partnerships and Keen Social Networking Skills




Hear and Purchase:
CDBABY
(Direct from TIMKAT Now, only $1.50!)
Download from All Major Worldwide Sites Avail. Summer 2012

Artists:
Known as THE TOUCH 

Company:
PLG Music
Group
Chicago, IL, USA


Labels:    
House Candy Music, Star Child Music,
Celebrate Grace Recordings

Song:      
The TIMKAT Groove feat. THE TOUCH 
Star Eyes (Chicago Deep House Magic)

In Feburary 2012, Kathryn Ballard Shut (/shoot/) of Denver, Colorado-based TIMKAT Entertainment resurrected her tiny and dormant jazz entertainment company with a new vision of creating enduring industry partnerships and continuing to produce great music.  However, instead of working exclusively within jazz circles, Shut decided to see if there were also the possibility of creating a marriage of musical styles that she loved -- in this case, mixes of classic jazz standards from the Great American Songbook and Deep House -- to create fresh, soulful, modern, and infectuous new musical offerings for a wider global audience.



The result was the serendipitous discovery on Twitter of Chicago's PLG Music Group (Pathway Label Group or "PLG"), headed by William "Deephouse" Wilson, a Chicago native and House Music professional of over 30 years.  Under recording labels such as House Candy Music and Star Child Music, PLG, like TIMKAT, endeavors to produce world-class, inspiring, and positive music, as well as to foster such relationships within the music industry. The kindred meeting of the two companies was like love at first sight, especially in such a competitive, cutthroat, and deceptive industry.



PLG's soulful roots stem from founder Wilson's leadership and involvement in music ministry and devotion to various Christian churches in Chicago; therefore, the company was originally founded as a means to deliver "gospel house" music - music that transcends into one's soul and enables one to give joyful praise, a motive very similar to the deepest essence of jazz, blues, and soul music, of which ultimately have their roots in the African American church.  It was through this full-circle channel that TIMKAT and PLG found a common voice and a kindred spirit through connections online. 


Due to strong business and personal ethics, both companies share a commitment to partnership and support of each others' distinct goals.  TIMKAT, for instance, is dedicated to becoming a premier source of world-class jazz, soul, and R&B music, both in live performances and studio recordings, for sale online and beyond.  PLG in turn endeavors to continue growing as a premier, full-service, and full-scale entertainment company.


Regarding the partnership's latest release, THE TOUCH bring over 40 years' combined studio, Deep House production, and music experience. Together with Wilson's production and engineering expertise, combined with solid backing, marketing, and distribution of TIMKAT, the partnership has lit a veritable fire already with its first single, Star Eyes (Chicago Deep House Magic).  Inspired by the vocals of Tim Ballard on his album, Easy Does It the Chicago pair quickly delivered a tight, soulful, and infectuous track that starts in your ears, reaches through your soul, and ends up at your feet. 


This new creation on "Star Eyes" heralds only the beginning of collaborations for TIMKAT and PLG, but the fruits of that labor can be enjoyed and downloaded today on CDBABY for only $1.50 for the single (6:22 of pure Jazz and Deep House fusion pleasure!)  


To stay current on new music and projects, follow both companies on Twitter (@timkatent and @housecandymusic) and/or Facebook (TIMKATPLG).

Wednesday, April 18, 2012

Jazz: History's Healer In a Search for Meaning

By lovers of the art, jazz has long been thought of as a healing music. Steeped deeply in rural blues, field work songs, and church call and answer, it follows that within these influences come a necessary salve, especially in difficult social and economic times.

Ebony Magazine launched an article today called Rebirth of Slick: Jazz Returns to Black Popular Music and noted how young African-American artists such as Esperanza Spalding and Robert Glasper, two world-class artists often mentioned in this blog, have opened doors to jazz for a new generation of people.   Through its Twitter feed (@EBONYMag) and through feedback buttons on its website, I commented to the magazine that I thought its points were excellent and timely. However, the more I thought about jazz music's place in history, the more I realized that its emergence and awareness to popular culture -- black, white, all of us -- tends to surface at times when Americans are searching for deeper meaning. 

The birth of jazz coincided with not only the invention of sales of the RCA Victrola (1906) and radio (first AM broadcast, 1920), but also with the catastrophic conclusion of World War I in 1918.  At that time in history, the "war to end all wars" had been fought, with a worldwide total of more than 15 million dead and over 20 million wounded as a result.  Various intellectual movements, such as post-modernism in English-speaking countries and el vanguardismo in Latin America, seethed in the arts and carried an angry societal message that basically screamed:  if behaving in a civilized manner brought us to total World War, then what good is there in being 'civilized'?  A great example of this angst is captured in Edvard Munch's famous painting "The Scream".  In popular culture, partly because of this angst and fueled further by the 18th Amendment in America ("Prohibition"), the Roaring Twenties blazed ahead in earnest with devil-may-care abandon.

During the late Teens and early Twenties, even as a baby, jazz nursed wounded souls with the golden cornet sounds of Louis Armstrong, King Oliver, and Leon "Bix" Beiderbecke; in the affected blues of Bessie Smith and Ethel Waters; and in the next generation of Scott Joplin influences in stride piano via written compositions from Jelly Roll Morton.   With these giants at the helm and powered by the popularity of radio and RCA Victrola records, jazz became the official soundtrack of the Western world from the 1920s, 1930s, and even into the Swing Era of the 1940s.  It was a curative ointment that bonded a generation, from one World War, through the Great Depression, and into the next.

By September 1939, only a generation later, the world was again at war, led by Adolf Hitler of Germany and the Nazi party.  Jazz again sailed in as a salve to soothe frightened and wounded hearts.  This was evident in the fact that Swing music was outright banned in Germany, particularly if and when recorded by African Americans (on "race records") or Jews.  For example, Benny Goodman records continued to sell in Germany, but only under Goodman's drummer's name, Gene Krupa, a non-Jew.

In stark contrast to Nazi aims, during World War II, jazz again emerged as the era's popular music, and its commercial name (swing) is often cited in literature and on Ken Burns' Jazz as the "true welcome" and "Golden Age."  Swing was the most popular music on the radio and its success offered hundreds of jobs to musicians in major cities such as New York, Chicago, Kansas City, New Orleans, and even new points out West, such as Los Angeles.  Many music jobs could also be found in various touring and territory bands that traveled the country.

During the next few decades, aided by the birth of jazz's cousin, rock and roll, the overt popularity of jazz music would disappear for most of the record-buying teenagers, starting in the mid-1950s.  However, for a small group of authors based first in New York, then in Denver, and finally in San Francisco and beyond, it would remain the only official music of their existence.  Once again, after yet another bloody world conflict ended, these writers were a part of a new generation of young people that rebelled against conventional wisdom.  Most of these "rebels" were actually middle-class intellectuals from the suburbs, urban universities, and various literary circles that were first termed as "beat", and by 1959, with the launch of the Soviet missile Sputnik, "beatniks."

Credited to writer John Clellon Holmes in November 1952 ("This is the Beat Generation" - New York Times Magazine), "beat" had nothing to do with music; it instead referred to rebellious young people who carried themselves as though they were "beaten" or "beat up" by life and circumstances and therefore had nothing to lose.  At that time, the term simply meant socially "worn out", or more accurately, "fed up."

The Beats reveled in driving fast cars, drinking and taking anything they could get their hands on, listening to bebop jazz, and were ultimately America's first "hippies".  Instead of tie-dye and beads, they were mostly clad in dark turtleneck sweaters, berets, and horn-rimmed glasses.  Like the post-modernists and Vanguard before them of the 1920s, this group of young people again observed the senseless, socio-hypocritical norms of 1950s America and thus decided to drop out and live life on their own terms.  The famous Beats (Allen Ginsberg, Jack Kerouac, William Burroughs, etc) opted to write about their experiences, usually while cranking bebop records during a Benzadrine-induced frenzy.  Most (black) jazz musicians were not amused at the time as the (white) Beats often attempted to emulate their troubles with heroin and speed, thinking that the drugs would improve their artistic abilities and free their minds, but in retrospect, these teenagers must be credited as jazz's biggest fans through the late 1940s to the early 1960s.  In addition to writers, artists such as the troubled Jackson Pollock angrily slung paint against a proverbial canvas in outright frustration at his times. 

The collective social kettle was slowly being turned up to a boiling point and urgently wafted the unspoken question -- how could we Americans fight for three long years against oppression overseas, European ethnic cleansing and racial inequalities, then respond by sending men of all races to war against it, and finally bear to continue with business as usual once we returned home?   The idea of "Separate But Equal" -- for blacks, whites, and women of all colors -- was a blatant and hypocritical agenda against minorities with which newly enlightened people could no longer abide.  Pandora's Box had been opened and there would be no closing it.

In addition to the Beats' professed devotion to both jazz and unfettered freedom to roam the continent, a more powerful sentiment of equality and freedom flowered in black communities, giving rise to the Civil Rights movements of the late 1940s, 1950s, and finally culminating in U.S. Federal law as Title VII of the Civil Rights Act of 1964.   Even though swing had long since left the radio by the late 1950s, jazz continued to heal via live music --- bebop and hard bop -- in the underground clubs and supplied the pervasive underpinning to new movements in popular music such as Rhythm and Blues and Soul. 

However, jazz music for its own sake was also never completely down for the count.  In the mid 1950's, jazz artists and composers Duke Ellington and Dave Brubeck (1956 and 1954, respectively ... a feat that while Brubeck was honored, was saddened to have hit the cover before Duke ... ) both graced the cover of Time Magazine.  Brubeck also scored a major instrumental hit on the pop chart with alto saxman's angular chart Take FiveWithin devoted jazz circles, however, led by Charlie Parker and Dizzy Gillespie, the music soared to even faster, more experimental, and crazier heights, embodying a collective social frustration and its longing to fly.

Now jazz beckons a new generation of young people in America who are searching for meaning in an otherwise plastic, boring, broke, uncertain, redundant, and hollow media world.  Many Americans today have expressed in interviews that they do not feel much different from what we learned of the 'Beat Generation' rebels above; we are often tired, used, overtaxed, stressed -- beat.   Furthermore, in terms of entertainment, how can we have thousands of channels on television that offer essentially nothing of value to watch or that feature more advertising time than actual show time ... or thousands of radio and Internet stations (owned by the same handful of corporations - the same ones that own the TV giants - getting the picture yet?) that broadcast the same 10 pop songs?   Certainly we can do better than this -- and some artists have -- by embracing the power of jazz influences into their work.

In this new age of seeking meaning (i.e. movements against the eradication of racism; living in a "greener planet"; celebration of cultural diversity) it is evident to me that jazz has poked its head around in the corner starting with talents such as Spalding and Glasper, and young people have noticed.  We noticed.  Vibe noticed.  Ebony noticed.  A lot of people are starting to notice and it's about damned time.  Per the Mayan Calendar, the world is ending on December 21 of this year, so enjoy this revolution while you still can!

Best wishes always,
Kathryn Ballard Shut /shoot/
President, pianist, jazz historian
TIMKAT Entertainment, Inc.
Denver, CO, USA

Website: http://about.me/timkatent
Twitter: @timkatent
Email:    timkatent@gmail.com

Sunday, April 15, 2012

2012 Rock and Roll Hall of Fame Induction Ceremony - April 14, 2012 - Adventures

Rock and Roll Hall of Fame on an overcast Cleveland day, April 14, 2012




Listing of 2012 Inductees


 
This year, the Induction Ceremonies for the Rock and Roll Hall of Fame sizzled on an overcast but otherwise pleasant day (Saturday, April 14, 2012 8 PM -?? AM) and returned to its home city of Cleveland, Ohio.   While the Induction Ceremony itself sold out within 15 minutes of tickets being offered for sale, I was one of more than 1,250 people who were fortunate enough to snag tickets to the Induction Simulcast Viewing, which took place at the actual Rock Hall last night.


The 2012 Induction Ceremony was held about 2 blocks down the street, at Cleveland's Public Hall Auditorium and boasted a crowd of 6,000 fans, fellow musicians, press officials, and even mounted police officers standing by on horseback!  Here are some great photos of the bands and all the coverage, courtesy of the Los Angeles Times.  
 
 
Johnny Cash Tour Bus, 1979


The event itself was a stunning, historic, and energy-filled memory that I will treasure for years to come.  I still have not grokked the fullness that I Was There and that the rest of the world will not be able to witness what the New York Times, Rolling Stone, the Los Angeles Times, and many other world magazines, blogs, and newspapers saw along with me last night until it airs on HBO next month.  Accompanied by friend and Cleveland-area native Kim Foster, we two ladies made our experience a day never to be forgotten.







9th Street aka "Rock and Roll Boulevard"
We arrived at the Hall at about 4 PM, as we wanted to avoid excessively long lines at the exhibits. In honor of the Induction, admission to the Hall was free to the public all day from 9 AM to 5:30 PM, and even at that time of day, patronage was still healthy. 


We strolled and viewed marvelous exhibits such as the exterior of Johnny Cash's 1979 tour bus (outside, shown above), Alex Van Halen's 1980 full drum kit (lobby), and further in, John Lennon's Yamaha upright piano and classic mellotron, Janis Joplin's psychedelic 60s Porsche, ZZ Top's bold red Eliminator, many of Stevie Nicks' famous gypsy-witch performance gowns, a full room of Elvis memorabilia, Michael Jackson's various glittery outfits and Grammy award for "Thriller" in 1984, marveled at "The Wall", a black-and-green back-lit veritable wall of artist autographs.



At every turn, we heard the music all around us, revelved in the costumes, videos, marquees, posters, and guitars, and soaked up the history of those various styles of music that blended over the past 60 years to create what Cleveland disc jockey Alan Freed termed in the 1950's as a "little something to make you rock and roll..." 



ZZ Top's famous "Eliminator"
We then headed over to the gift shop, as we learned that it would not be open all night, and grabbed swag for ourselves and family members that had pressed us to visit the Hall for so long: coffee mugs with the listings of the 2012 Inductees, postcards, a magnet to support music education, and a vibrantly-colored mouse pad.
 
 
  
At 5:30, the Rock Hall was closed to the public and security made a sweep of the seven-floor monstrosity to clear it for the Induction Simulcast Viewing Party 90 minutes later. During this time, Kim and I decided that this might be our only moment to grab a bite to eat, so we headed back out to the street. 


We met a new artist, named BRIK (aka "KRYME" ... a "Thug Food Production" .... ) who was selling his new hip-hop and rap CD for a "donation" of $5.  I figured that you only live once, and what happens if and when BRIK gets big?  I will have wanted to have a copy of the thing.   I bought one, chatted with the enterprising young man for a while, handed him my card, shook his hand, attempted to get his autograph (sort of did, his pen wasn't working well), and wished him a great weekend and career.  When we turned around to look for food, we noticed right away that Cleveland still has a little work to do in terms of making food accessible to both Rock Hall and adjoining Cleveland Browns fans (across the street), as there were no restaurants within sight or even a comfortable walking distance. 

 
 
We noticed that there were two police officers sitting in a cruiser nearby and Kim immediately headed over to their car as though it were an information booth.  We chatted with the officers and asked if they knew of any good places to eat.  They began to explain that the nearest restaurant row was easily 3 blocks down and a few over, and then, seeing our reactions at having to walk that distance, smiled and said, "Hop in!  We'll take you there."


We couldn't believe it - two of Cleveland's finest (and truly friendly officers) offered to shuttle us 100% free but taxi-style to a hip restaurant row a few blocks away.  We hopped into the cruiser, the officers shut the doors behind us, and we were off.  The entire ride, the jolly gents joked about how they were just kidding and that they were actually taking us to jail.  In actuality, they kept their word, took my last name down as a passenger (since they need to track who has been in their car), and drove us to a small restaurant area off of 6th Street.  Once there, we had to make a quick decision, spotted Sushi Rock and asked to be let off there.  The officers let us out of the cruiser, we shook their hands and thanked them tremendously for saving us a good 15-20 minute walk, took a few pics of them and the car, they drove off, and we stepped into the establishment.


My view from the back of the cruiser .
The officer had to take my last name as a casual passenger.




Our friendly driver from Cleveland's finest.
This officer should be a model!















Let me be the first to tell you that when you step out of a police cruiser and into a restaurant, the host might not be willing to seat you right away.  Two lovely hostesses were stationed at the door that were forced to do a double-take and asked if we just got out of a real police cruiser?  We explained that yes, we did; that we had just come from touring the Rock Hall, and that we managed to snag a ride. The hostesses were incredulous that the cops would offer to take absolute strangers to a restaurant, but thought that was the coolest thing that they had heard in a long time.  We agreed!


One of the hostesses whisked us to a table upstairs, where we were greeted again by another smiling server who also had seen us step out of the cruiser.  Once again, we explained how it happened, and she laughed and said she couldn't believe it.  Most people run away from the police; we ran right to them and look what happened.



Upscale dining at Sushi Rock
An excellent choice!

We had a fantastic dinner at Sushi Rock  (a pure coincidence as it seemed that everything "Rocked!") - a delicious assortment of tuna and salmon sushi, as well as Philadelphia roll and spicy tuna roll.  Kim also ordered a fantastic plate of "Beef Sushi", which was not raw fish at all; rather, slightly-spicy filet mignon strips soaked in a delightful marinade and served over rice.  Kim loved the fish and beef both and with my coaching, learned how to manipulate a pair of chopsticks. 

 


























Rear view of the cruiser from which Kim and I had just emerged!
At 6:30, we called for the check, because we needed to get back to the Hall in time for the 7:00 PM door opening to the Induction Viewing party.  Once outside, we regetted that we no longer had the police to shuttle us back to the Rock Hall; but no matter.  We walked the short distance down 6th Street, back out to Lakeside, and witnessed the throng of people awaiting their turn to enter Public Auditorium to see the actual Induction.  There again were officers on horseback, who graciously allowed us photos of them on their mounts, and a red carpet that adorned the Auditorium's front hall for the famous artists about to be inducted.  We snagged a few photos and then picked up the pace to get back to the Hall, as we were running a bit late, but also because it had started to sprinkle and we didn't want to be caught in the cold rain.


We arrived back at the Hall just after 7 PM and there were two long lines forming outside.  A line to the left of the entrance formed for "Will Call" ticket holders, while a line to the right queued for Internet/pre-printed tickets.  We jumped into the second line and miraculously found our way inside and to the viewing area.



Press, musicians, and fans queue at the Public Auditorium
Site of the 2012 Rock Hall Induction Ceremonies.
For the over 1,250 ticket holders to this exclusive viewing event, the Rock Hall did a super job of ensuring everyone had a decent seat and that peace and order, in spite of the rock and roll, were preserved. 


There were actually at least four viewing rooms established; one giant one with a 12-foot projection screen, right in the main lobby (and photographed here), which is where we chose to sit. 


(Side note: If you look carefully at the Plain Dealer's photo, you will see that there is a man standing near the windows, dressed in a black sweatshirt, and pumping his fist into the air.  This would have been taken near the beginning of the show, as the "GWEN" and "MOBY" lights above had been dimmed for the occasion.  My friend Kim and I were seated right behind that man and next to the picture windows that faced Lake Erie.  The man's name was also Kim (with wife: Vickie), who was attending along with his buddy Jeff (who allegedly knew many British Invasion people and even once slept at the Beatles' Abbey Road Studios - with wife: Maureen), and all four made the event even more fun, as they were true-blue music fans, fueled by the power of Budweiser and the elation of the evening.  To be fair, I don't think Maureen drank anything all night, which was good, because by easily midway through the simulcast, Kim, Jeff, and Vickie were completely soused.   The hardest thing either Kim or I drank all day was Coca-Cola.


I had to snag a picture of (male) Kim's sweatshirt and he was proud to model it.  He said that it was actually made by his mother-in-law as a gift to him and in tribute to Todd Rundgren. The shirt is a gorgeous hand-creweled work of art, showcasing Rundgren's visage on Hermit of Mink Hollow.)



Kim proudly models his Todd Rundgren apparel

As well as the back side...

 
Anyway, back to layout of the viewing area.  In addtion to the 12-foot big screen featured here and in Cleveland's "Plain Dealer" newspaper this morning, viewers could also catch all the Induction action on several other large, flat-screen televisions placed just below our viewing area, as well as in the Foster Theatre upstairs.  The Hall itself also stayed all night, allowing patrons VIP access to stroll through the exhibits at their own pace - completely unfettered by the large crowds seen earlier in the day.


Around 8 PM, the Induction Ceremony itself began and viewers in the Rock Hall were strongly admonished not to take any photographs or videos of the event.  HBO secured exclusive rights to the filming, which will air in May 2012, and luckily, it will be edited by then.  We, however, endured the unedited version of the event, which included plenty of profanity, but also incredibly long-winded speeches, first from the presenters of the inductees, among whom is a small listing:

  • Billy Gibbons and Dusty Hill (bearded guitar and bass guys in ZZ Top) for blues legend Freddie King.
  • Billy Joe Armstrong (Green Day) for Guns 'n Roses
  • Bette Midler for Laura Nyro
  • John Mellencamp for Donovan

Unlike most award shows that are custom made for live television and therefore impose a three-minute-or-less restriction on speeches, the Rock and Roll Hall of Fame did nothing of the sort.  Each inductee took easily 30-45 minutes apiece, followed by no more than a performance of 3 songs.  All told, considering the set changes and the amount of work that it takes to get changed from one artist to the next, the staff at the Rock Hall did a tremendous job to keep things moving along.


This year, however, as you may have already heard or read, the lead singer for metal music giant Guns n' Roses, Axl Rose, chose not to attend the ceremonies and also wrote a little to the Hall, asking not to induct him personally.  While the Rock Hall deliberately ignored this request and inducted the entire group, Axl was not in residence last night.  


When presenter Billy Joe Armstrong of the punk group Green Day introduced each member, and then finally landed on Axl's name for recognition, the thronging crowd at Public Auditorium booed, as well as a portion of the fans at our simulcast.  Billy Joe would have none of that and immediately -- and courageously -- barked at the clamor: "Shut the F*CK up!!  Shut up!!" and proceeded to defend not only Axl's talent as a brilliant vocalist but also possible reasons why, after so many years, there are times when musicians do not always appreciate a forced reunion with his bandmates and may choose to bow out of the pomp and circumstance.  Given the acrimonious history between Slash and Axl, this was probably not far from the truth; futhermore, as Rolling Stone reports, this was also not the first time in Rock Hall history that such a refusal occurred.  In any event, in the same letter, Rose thanked the Rock Hall for considering him, but "respectfully declined" the Induction.  The show went on with an unnamed stand-in for Axl; I found it a little annoying that the sub wasn't publicly recognized or even thanked for his work with the band last night.   For what it's worth, here it is:  To Miles Kennedy, great job, sir!  You took on a huge burden and kept the show alive! Thank you!


At about 12:30 AM, the Induction Ceremony was still going strong, but we were worn out.  After 4 1/2 hours of speeches and a general loss of hearing from the awesome sound system, we were ready to bug out, even before the Red Hot Chili Peppers (the closers) took the stage.  Apparently others felt as we did that it would be safer to leave a little ahead of the rest of Cleveland's drunks after 1 AM, so we graciously took our leave. 


In its 27th year, the Rock and Roll Hall of Fame is still going strong. With over 7 floors of the short history of this incredible art form, it has established itself with prominence in the music world, accepting not only traditional "rock" bands, but also blues, rhythm and blues, soul, songwriters, British Invasion, and countless other forms that have woven their song into the rock and roll story.  I was blessed to be a part of last night's Induction and look forward to perhaps attending again, either in Cleveland, or in the next city chosen for this momentous event.


Best always,
Kathryn Ballard Shut /shoot/
TIMKAT Entertainment, Inc.
Denver, CO by way of Cleveland, OH, USA
http://about.me/timkatent

Thursday, April 12, 2012

Review: Tony Monaco - "Celebration: Life, Love, Music"

Also featured on JazzTimes Community Pages at: http://jazztimes.com/community/articles/29875-tony-monaco-celebration-life-love-music

Visit Tony Monaco's website and purchase the album here.



Monaco and team blend outstanding sounds of classic Hammond B3 organ greats with modern and swanky sensibility to please a variety of jazz tastes


Hailed previously by JazzTimes as a "monster B3 player", Tony Monaco's "Celebration: Life, Love, Music" continues to showcase this Hammond heavy hitter at his finest and is his first studio album since 2006's "East to West."


This two-disc collection could have easily been split into two powerful and separate albums that each hold their own weight. However, Monaco and friends have graciously packaged their considerable talent into one roaring 133-minute, double-CD set, ensured that they tackled jazz in its various forms to please a wide audience, and delighted us with all original Monaco compositions.


Few jazz albums open with -- let alone include -- a bright jazz waltz, but "Celebration" does just that with "Daddy Oh!", featuring New York's Jason Brown as guest on the drums. It is his introductory cadence that kicks off the album and solidly sets a mood that decries us to hold on tight for a burning and fun ride.


From there, the album pleases with Monaco's dexterity at setting the right B3 organ moods, tones, coupled with his absolutely masterful left foot on the bass. That's right; there is no bass player on this album. In the 'amazing' tradition of Jimmy Smith, Monaco's mentor and great B3 organist, Monaco has the bass completely under control and no matter the tempo, locks solidly throughout with session drummers Jason Brown, Reggie Jackson, Byron Landham, Adam Nussbaum, Louis Tsamous, and Vito Rezza.


Each of the tracks offer a veritable festival of jazz styles that feature a wide variety of seasoned soloists on guitar, piano, trumpet, saxophone, and trombone. For instance, after "Daddy Oh", comes "Aglio e Olio", a searing, swinging, hard bop take over classic "I Got Rhythm" changes. However, by track three, the mood changes completely on "Indonesian Nights", a soulful, smooth funk made to cool you off after you've been dropped right on the sweltering streets of Jakarta at midnight. This chart would play well on both classic and smooth jazz stations, as well as a second smooth funk offering a few tracks later on "You Rock My World".


The album continues to blaze ahead with tasty Brazilian bossanovas ("Happy Sergio"), a pensive piece ("Unresolved") and shouts hallelujah at the Sunday Revival with vocalist Mary McClendon and gospel choir on "Just Give Thanks and Praise". After church, on "Bull Years", we arrive back in the heart of the city with a relentless medium swing that trades fours between organ and drums.



We cool down again for a spell on "Ninety Five", in early 1960's West Coast style, to a delicious bite of lead tenor sax from Philly-based Ken Fowser. "It's Been So Nice to Be With You" is a fun two-beat swing in which Monaco alternates between a biting traditional organ tone on the melody but quickly switches to a mellower diapason behind McCaslin as he lends his warm sax sound to the piece.


"I'll Remember Jimmy (2012)" is a reprise from the track that was on Monaco's 2006 album ('East and West'), but instead of featuring Bruce Foreman on guitar, we hear from Donny McCaslin on tenor sax. The recording quality also appears to be a bit crisper, as though we had the front row seats at Night Town in Cleveland, drenched in jazz all night long.


On "Called Love" (vocal), Monaco opens with an introduction that rings of the opening credits to a swarmy 1960's soap opera, but then changes that mood as he sings a rubato introduction that speaks of a relationship in which "time stands still". When paired with the B3, Monaco's vocal style is remniscient of a young Tony Bennett or Frank Sinatra, where the heartfelt message of the song is key. During the "A" section of the tune, even though it is an original composition melodically, I could definitely hear the changes of "Misty".


Disc One then ends the same way that an excellent live show or radio program would pause for a break - with a short bumper tune reprise of "You Rock My World (Asako)" now named "To Be Continued", designed to get one ready to hear Disc Two. 


Tony Monaco's "Celebration: Life, Love, Music" comes in a Limited Edition Two-Disc Set, white hot with 71 more minutes of outstanding music on the second disc. For the Columbus (Ohio)-based Hammond B3 organ master, this album is a true rendering of his immense talent, ability to collaborate with star professional, song craftsmanship, and ability to hold his own in league with fellow B3 masters such as Jimmy Smith, Joey DiFrancesco (who also appears on the album!), and Pat Bianchi. This is world-class jazz that blends classic sensibilites with modern grooves.


Tony Monaco: B3 organ, vocal; Jason Brown, drums / Joey DiFrancesco, organ / Derek Dicenzo, guitar / Ken Fowser, tenor saxophone / Asako Itoh, piano / Reggie Jackson, drums / Robert Kraut, guitar / Byron Landham, drums / Donny McCaslin, tenor saxophone / Mary McClendon, lead vocals / Sarah Morrow, trombone / Adam Nussbaum, drums / Ted Quinian, guitar / Kenny Rampton, trumpet / Vito Rezza, drums / Louis Tsamous, drums / Voices from Around The World.

Wednesday, April 4, 2012

Response: CDBABY/DIY Musician: Posting Cover Songs on YouTube: Music Licensing Law Explained

Since we produce a lot of covers, my response to a reader's question about selling music and rights for media outlets such as TV, movies, games, etc. 

From an excellent article titled Posting Cover Songs on YouTube: Music Licensing Law Explained by entertainment attorney Christiane Cargill Kinney -- DIYMusician.com (April 4, 2012)

--------

Yes, Christopher is right. That kind of arrangement is typically called a "Co-Publisher" agreement. I'm sure Christiane could fill you in legally, but the bottom line is that such an agreement usually allows a music supervision house (the people who were interested in buying and marketing your song to sell to a movie, TV show, game, etc) to enter into a direct contract with you to secure the "synch" rights to be paired with new media elsewhere.


A practical and real example from us: Tim Ballard recorded Irving Berlin's "Change Partners" (album "Easy Does It") many years ago, and therefore secured the mechanical rights to cover the song so that the songwriter (or the songwriters' estate -- note that copyrights can last for up to 75 years AFTER the death of the LAST surviving songwriter and can be renewed by an estate in perpetuity --- Christiane, correct me if wrong!) have already been paid. However, last month, a music supervision house selected the song for placement into its general catalogue for marketing to its potential entertainment industry clients.


The music supervision house sent us a "co-pub" contract that basically said IF our song were chosen by one their clients, all royalties would result in a 50/50 split from there on out. In the deal, TIMKAT and the music supervision house are both considered "publishers" (hence the name "co-pub"), and the movie studio would then buy the rights to the song from the music supervision house directly in a separate agreement.


In any event, you should always be sure that the contract allows you to retain 100% control and rights over your recording and also of any masters. You should also ensure that the agreement is "non-exclusive" and that you can terminate the agreement in writing, should you be dissatisfied with the partnership. However, NEVER sign anything that gives away your master ownership rights to another authority!


Finally, we learned that music supervision houses will often alter song titles so that they track the co-pub version with a PRO agencies such as ASCAP, BMI, and SESAC. This to ensure that when the new name of the song ends up on a PRO report, everyone is paid according to contract for the version being used throughout the industry. As a further example, in our case, "Change Partners", which will forever be an Irving Berlin-written and copyrighted tune, will now be called "Switch Partners" within the music supervision house's catalogue. This title would be registered with ASCAP for royalties when used in other media.


Best wishes,
Kathryn Ballard Shut /shoot/
President
TIMKAT Entertainment, Inc.
Denver, CO, USA


Twitter: @timkatent
CDBABY: http://www.cdbaby.com/cd/timba...
Facebook :http://www.facebook.com/timkat...

Friday, March 30, 2012

Beyond Category

If you have been following this blog and posts that I've made here and there on the Internet, you'll know that I believe that the essence of jazz - and really music in general - revolves around freedom.  If you think about the best and most free-feeling times in your life, I would be willing to bet that there is a memorable soundtrack playing good time tunes on infinite repeat on the turntable, tape deck, CD player, or iPod of your mind.


Last month, as I was searching for ways to bring TIMKAT Entertainment back from a (way too) long hiatus, Robert Glasper's "Black Radio" was released.  I listened to a few of the tracks, actually expecting a trad jazz vibe, but instead was challenged by what is likely to be a truly groundbreaking album.  The more I listened, the more it occurred to me that Glasper had created something very fresh for a new audience.  Here is a pianist and vocalist that dared to mix break-beat, jazz rhythms, rap, soul, neo-Soul, Nu-Jazz, all these labels, to ultimately deliver a unique experience to the listener and meanwhile express his innermost feelings as an artist. 

What I like best about Black Radio is its daring musical and social spirit and most of all, you guessed it, its freedom to be, defying those confining labels. Duke Ellington often said that extraordinary people in his life were "beyond category" and that's a great way to describe many artists' inner creative urges to grow beyond conventional bounds.  It is often difficult to recognize art that will endure while enjoying it in the present, but I think Glasper and team are headed in that direction.  Time of course will either be a gentle or cruel judge, but usually one of the most fair.

Lately, it would appear that going beyond category shouldn't be too difficult for creative people to accomplish, as some of the most pervasive and powerful influences in media follow set formulas that have evolved over the past 15 years and therefore lulled us into a collective social slumber in its wake. Regardless, it continues to be an elusive treasure to possess.  

Take the "reality TV show" format, for example.  Whether or not most have noticed it, this show's format, like the classic sit-coms and variety shows of the past, follows a basic formula as follows:

  1. Introduce characters (...often filled with despair and woe ...)
  2. Create a conflict  (Host highlights said despair and woe ...)
  3. Rise the conflict to a semi-climax (Characters become upset that host highlighted their problems)
  4. Cut to commercials to keep suspense ... (... because why else would we keep watching?)
  5. Hit a breaking point (climax)  (Characters are now in total meltdown mode.)
  6. Resolve conflict, end show (Characters eventually see the light and are grateful that the host 'saved the day.'  Thank goodness.  Tune in next week and we'll do it all over again!) 

If you're not sure about this analysis, use these notes the next time that you watch shows like A&E's "Hoarders: Buried Alive" and Food Network's "Restaurant Impossible."  While completely different in subject matter and characters, the format of the show is the same and so far has been a recipe for ratings success.

Music is also not immune to having established a set formula; in fact, in composition and theory courses, we learn that there are many "song forms".   Here, I'll illustrate a traditional standard or pop song.  Start with a Verse - Repeat the verse with different lyrics - Move to the chorus or "hook" of the song - Rinse and repeat through verse and chorus again - Throw in a bridge for variety - Spin back through the final chorus hook - End song, coda out.  Or to music geeks, it's song form AABAABCB ... repeat B and fade out ...

As artists of all stripes, we were well-schooled in formulas.  What are scales and chords if nothing more than a convenient way to package the study of music into bite size pieces?  What are the blues if nothing more than a great formula of three chords that help to tell a story? 

I'm not knocking formulas - please don't misunderstand.  We need them as a basis when learning new skills, concepts, and patterns.  We need them to grasp the functions of the world around us.  However, when an artist "busts out of school" to weave new formulas and result in new ideas - together, this is extraordinary, this begins to stroll toward beyond category, and this is what most artists I've met yearn for, regardless of if they actually ever reach that goal.  The pursuit itself is more than worthy.

As usual I've slipped down the rabbit hole of rhetoric and so I'll get to my point.

TIMKAT is still a tiny jazz entertainment company, but lately, the mammoth drive to push outside of a (boring) comfort zone has challenged me to think in new and creative ways in order to swim upstream in a world that doesn't always rush out to buy jazz records.  This month, I am delving into the idea (thanks Mr. Glasper, though we may never meet!) of mixing and matching sounds that most would never say that they go together in order to grasp a new concept. 

One such light bulb went on for me a couple of weeks ago:  what if I dared to combine two things that I love into a potentially new and funky sound -- house music and classic jazz -- break-beat and smooth-jazz, for starters!  Unclassic the classic and un-smooth the smooth.  Could it be done?  Is it possible to take an Irving Berlin track such as "Change Partners" and turn it into a raving club anthem?  Is it possible to shift "Star Eyes" into a funky and irresistable beat that folks would love to crank in the car? I don't know, but like Glasper, I am willing to push some boundaries to find out.  As a result, I have started the investigation by opening conversations with folks outside of the jazz world (DJ Jason Wolfe: Basement Funk Vol 1 from House Candy Music is a bit of inspiration, for example) but still within the industry to pursue that dream. 

Pushing boundaries doesn't always win a creative person a warm and deserving welcome.  For example, some people (critics included) hated Charlie Parker with Strings in 1952, saying Bird had "sold out." Others couldn't get their minds around John Coltrane's A Love Supreme in 1964.   American audiences avoided Disney's Fantasia in November 1940. The movie was a flop then, but it is suddenly a masterpiece today.  We hear the same dismissals today when some posit that Esperanza Spalding's music isn't really jazz. 

[Begin Soapbox Aside:  If there is anything that needs to be dismissed, it is not their creative efforts; rather, it is our ingrained double-standards and narrow preconceptions on the art form itself.  Furthermore, it appears that as Spalding can be dismissed that her work isn't really jazz, Glasper can be hailed as having "one foot planted firmly in jazz and the other in hip-hop and R&B."  To each artist's credit, I think they are both doing the same thing -- pushing the envelope, challenging convention, and inviting us to indulge in that flight -- in delightful but different ways that fit their own personal styles best.   :End Soapbox Aside]


Because as I mentioned, isn't the essence of jazz about freedom?  Logically, it follows that if jazz is about freedom, then no one has the right to shackle an artist into a subjectively convenient category that arbitrarily dictates what's real and what's not.  And speaking of formulas, how's that one for a trusted method to how to approach music and life?  Be free.


Best always,
Kathryn Ballard Shut
President, pianist, idealist
TIMKAT Entertainment, Inc.
Twitter: @timkatent

Tuesday, March 20, 2012

LINER NOTES: Retrospective: Tim Ballard's Singing Positive to the People (2012)

I don't envy the job of people that sit down and choose to write a memoir. The task is daunting and full objectivity is impossible. How does one objectively recall facts about what happened during his or her life, as though that person were an innocent bystander, and still put the subjective heart, soul, memory, and feeling of what it was like to have personally experienced the events in the memoir? That's exactly where I find myself in writing these liner notes, as not only the surviving press agent for Tim Ballard, but also as his daughter, in introducing you to Tim's timeless soul album, Singing Positive to the People.


In late 1978, I turned six years old and remember my father giving me the vinyl 33 1/3 LP album to play on my Soundesign turntable. I listened to the nine tracks again and again in my room, not quite understanding that it was a “covers” album - that the tunes I was hearing had already been made very famous by legendary groups such as Lou Rawls, The Commodores, Full Moon with Buzz Feiten, The Stylistics, Hall and Oates, the Brothers Johnson, and Harold Melvin and the Blue Notes. My friends and I happily roller skated to it in the basement, oblivious to its deep and musical excellence. To me, it was my dad's band doing the killer job as they always did – so killer, that when I finally heard the original artists' versions many years later, I marveled at how truly talented and tight the entire Oklahoma City-based ensemble really was.


In fact, I felt a little guilty in admitting that I was slightly disappointed with the original versions in some cases. For example, when I later heard Buzz Feiten and Full Moon's easy groove on “Need Your Love”, I missed arranger David Powell's amazing Tower-of-Power-like original horn interludes and relentless, driving funk on the Singing Positive version. And when I heard “The Love I Lost” -- as excellent as Teddy Pendergrass is – and one of my all-time favorite vocalists -- I had to admit that regardless of if my father sang it or not, as a professional, master musician, Tim had given Ted a great run for his money. It was only as an adult that I realized that I had owned a gem of a recording for years, but most of the world had never heard it, and wouldn't for many, many more years. In fact, I could not have known then that the only way that the world would hear it, would sadly be after Tim passed away, through my actions alone, and thanks to the endless reach of the Internet.


Almost thirty-five years later, Singing Positive has the opportunity to experience a rebirth in the digital age and a chance to gain a new following. The master tapes have long since been lost (… given away, gambled in a poker game, traded for something else, who knows? It's all typical musicians' lore …), but I didn't let that stop me. I enlisted the incredible studio talents of Mr. Colin Chapman of Satori Systems and his connections in Boulder, Colorado to perform the cleanest digitization of vinyl that I've ever heard, and the talented Ms. Lynne Menefee of Menefee Creative in Baltimore, MD to refresh the cover art work. And if there is an occasional pop of the vinyl, it's the perfect way to send us nostalgic listeners right back to our Soundesign (or Marantz!) turntables of 1978, bulky black headphones on, lying on the floor, eyes closed, volume cranked.


The saying goes that what is old is new again, and I hope that you will feel the same way when you hear Singing Positive to the People for yourself. A great mix of Quiet Storm, driving Funk, heartfelt Soul, and the best of 1970's R&B, this album puts Tim's unique touch on the tunes that inspired him to thrill audiences during his days at Oklahoma City venues such as the Onyx and the Razz-Ma-Tazz. It's a testament that truly good music never goes out of style, and all of the tunes on the album deliver on that promise, including such rarely-heard classics as Hall and Oates' “Las Vegas Turnaround”, Paul Williams' “Sunday”, Bell and Creed's “Stop, Look, and Listen (To Your Heart)”, and Buddy Johnson's “Since I Fell For You”, all styled as I've never heard anyone else do.


Singing Positive is on CDBABY in digital format (June 2012) and CDs will be available after June 12, 2012. (http://www.cdbaby.com/artist/timballard).  It will also appear later in 2012 on all major media download sites, such as iTunes, Amazon, Rhapsody, and a new service – Amazon CD On Demand -- where customers can still order a physical compact discs to play anywhere they choose. (Regrettably, the album will no longer be available on vinyl, cassette, or 8-Track tape. That's the downside to the Internet Age!)

For more information about Tim Ballard and TIMKAT Entertainment, write us at timkatent@gmail.com, 'Like' us on Facebook (http://www.facebook.com/timkatent) and follow us on Twitter @timkatent.   May you enjoy this treasure every bit as much I have for the past 35 years.

Sincerely yours,
Kathryn Ballard Shut /shoot/
President, pianist, musical legacy
TIMKAT Entertainment, Inc.
Denver, CO, USA
Web Portal: http://about.me/timkatent