The MD/CD (produced by John P. Graboski) is multi-genre spanning compilation of songs relating to life in the state of Maryland, USA. I was fortunate enough to participate . . .
Other Ray Jozwiak Offerings
(To Access all Ray Jozwiak - Gonzo Piano music you can copy-and-paste this URL directly to
your browser: http://www.cdbaby.com/Artist/RayJozwiak)
1530s, "change of fortunes," from Middle French variété and directly from Latin varietatem (nominative varietas) "difference, diversity; a kind, variety, species, sort," from varius "various" (see vary). Meaning diversity, absence of monotony" is from 1540s; that of "collection of different things" is from 1550s; sense of "something different from others" is from 1610s. In reference to music hall or theatrical performances of a mixed nature, first recorded 1868, American English.
variation (n.) Look up variation at Dictionary.com
late 14c., "difference, divergence," from Old French variacion "variety, diversity" and directly from Latin variationem (nominative variatio) "a difference, variation, change," from past participle stem of variare "to change" (see vary). The musical sense is attested from 1801. Related: Variational.
I discovered musical variations at quite a young age as my formal music education began at the age of seven. It seems to follow that I would be attracted to (and I now dislike using the word) 'jazz.' I remember reading about (and from) established and up-and-coming musicians within the genre when I took an interest in the mid-seventies. Many expressed a similar dislike, preferring to call their music simply, 'the music.' At the time I did not quite fully grasp the subtlety of that concept. Now I realize that I actually possess a great dislike of categorization of musical styles, although I do understand the necessity of it for commercial purposes and for discussion of music among those that do not personally create music.
So, you may ask, variations on what? I fear that, irrespective of my answer to that, you still will not believe me. Nevertheless, I do hope that you will listen. . .
“. . . his unique and cutting edge jazz style in spades. Although very difficult to pigeon-hole and self-admittedly unique to any genre, his style is at once esoteric yet melodic and demands the listener to really pay attention. His writing takes you on jazz journeys that take you to places you never expected to go and make Ray an interesting listen. I like to call this “Brandy Music”, cause it goes so well with a snifter in hand. . . 3 of 4 Martinis!!”
OHO's "Ocean City Ditty," the CD single is now available at http://www.cdbaby.com/cd/oho4
(and, if you're in town, at Trax On Wax on Frederick Rd. in Catonsville, MD) OHO is Jay Graboski, David Reeve & Ray Jozwiak. Please Visit http://www.ohomusic.com
My latest solo offering, Just More Music by Ray Jozwiak, featuring original, instrumental piano music is now available at - Just More Music by Ray Jozwiak
(To Access all Ray Jozwiak - Gonzo Piano music you can copy-and-paste this URL directly to
your browser: http://http://www.cdbaby.com/Artist/RayJozwiak)
In the early 70s, the members of the wedding combo of which I was a member (Reflection, by name), thought our regeneration (after the comings and goings of members in different combos) would be more thorough with a name change and finally settled upon the catchy moniker FUL TREATMENT (yes, ONE 'L') which accurately captured our ability to navigate the crosscurrents of musical genre and essentially play ANYTHING that ANYBODY wanted. This gloriously selfless intention was more true in theory than practice, but our intentions were sincere, particularly at the start, although that facet of our existence did deteriorate somewhat in time.
Music, fun, abundant work and money were ours. Good times, as they now say. Our repertoire had evolved and developed during this period to include Bungle in the Jungle, You're So Vain, Games People Play (Jethro Tull, Carly Simon and The Spinners respectively). But then, in what seemed to be a not very long time later, Bruce (our drummer) resigned (abdicated his drum throne-pun intended). My sister, who at the time worked for the state government, had become acquainted with a young man at the office who, in addition to charming all the ladies there (including her), was a drummer. Not only was he a drummer, he was a drummer who was receptive to the idea of joining our little musical organization. His name was Jeff.
Jeff 'auditioned' and was quite impressive on many levels. He had a powerful touch, yet not without the ability to sensitively accompany a slow ballad. While not subtle, his drumming was strong, steady and something of a departure from his predecessor. We missed Bruce both personally and musically, but we welcomed Jeff and enjoyed the markedly different rhythm keeper and dynamic, debonair character that had become our drummer. I, more than the other members of the band, began spending additional amounts of personal time with Jeff, enjoying his captivating stories, his outrageous personality and his knowledge and appreciation of musical styles. Jeff and I visited many and varied drinking and eating places after gigs and I'd found that not only had the band acquired a fine new drummer, I had found a fun and fascinating new friend.
Keith, our guitarist and one of the founding members, had by this time decided to leave the band, an event that was somewhat bittersweet, as we sometimes longed for a guitarist with a different style. But he certainly possessed many good qualities, was reliable and added musicality not infrequently. Jeff had oft-times mentioned his seminary-educated, guitar-playing brother Jay who was also a founding member of a different, uniquely original music-playing organization called OHO. Jeff indicated that Jay would be interested in joining our combo in order to make some money because then, as now, local, original musicians weren't reaping great sums playing their own compositions. I had no inkling at the time that this event would influence both my music and a substantial portion of my life. But it has.
Charisma evidently ran in Jeff and Jay's family, as Jay possessed possibly even more of it than his younger, drummer brother. Jay somehow was more in control of the charisma with a certain maturity added to it, along with an additional self-confidence that may have been attributable to his age. Similar as they would appear from my description here, they were actually quite different from each other in reality. But the musical combination radically changed the performances of Ful Treatment much for the better. Jay rocked. [And still does] And following his lead, Ful Treatment rocked as well, at least on some of our repertoire, which at the time included 'You Really Got Me', 'Wild Thing', 'Needles and Pins' 'Twist and Shout' and 'Heat Wave'. We were all young and relatively carefree, and more frequently than was wise, a gig would turn into a party. . . for the band.
After a period, as always occurs in such mini-organizations, Jeff decided to leave the band. Jay was able to recruit alternate (with Jeff) OHO drummer David and, viola, the rest is history. At least it's a big part of MY musical history. Ful Treatment, in the ultimate configuration probably only played together for several years. But they were fun years.
I kept somewhat in touch with Jay in the intervening years. He always treated me to an LP or CD of things he was working on musically. Then about 2003, I read in the Baltimore CityPaper that OHO was performing at a local venue and I was determined that I would patronize same. Various associations between Jay and myself (musical showcases at Gallery G in Hampden, Mystic I) transpired. Then in early winter of 2011 Jay, David and myself (sans any saxophonist) began rehearsing for Schlongtasm 29 (a showcase of musical acts brought together each year to celebrate Airiad Records' Dan Long's birthday.) The ex-Ful Treatment rhythm section were reunited after 32 years as the latest incarnation of OHO, playing substantial amounts of original music and covers of far greater integrity . . . and of course, now infinitely wiser,
Good Times INDEED.
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When I first read Samantha's review of my release ANOTHER SHOT, I was somewhat hurt. After all, when one spends considerable time, effort (and maybe even talent) on a particular project, one doesn't like to have it so easily and summarily dismissed. But on re-reading it, she really did have some nice things to say about the solo piano. I don't really feel so bad about it after reading it again. Well, you live and you learn. I'm willing to go on. I even hope Samantha will review another one of my releases. (Hell. I got 5 Golden Eggs - That doesn't sound bad. . .does it?)
(from "Buzzlegoose.com" by Samantha Hatfield)
"In all of my musical experiences there is a genre that has in some ways always evaded me. While I love old standards, there is something about jazz music that I just never really understood. When I was passed Ray Jozwiak’s latest album Another Shot I sat down, in an attempt to find the beauty in a musical art form that never totally made sense.
Ray Jozwiak is a Baltimore-based artist who performs what can be referred to as “fractured jazz”. His compositions are focused in piano performance. Jozwiak uses piano, keyboard, acoustic guitar, and electronic and acoustic percussion throughout the album to achieve a layering effect with much of his music. Much of his music is what can be called “fractured jazz” but his more classic piano compositions are much more enjoyable.
“Impressive”, the second track on the album is a more traditional jazz piano performance. Rather than getting weighed down by the combination of too many instrumental layers, Jozwiak uses just the piano to create a rather lengthy arrangement. It is pleasant to listen to containing many bluesy tones. “Pedantic Verdantic” is another soothing piano composition.
In much of the rest of the album, Jozwiak provides music that listens more as an instrumental jam band break a la Phish. However, this is a somewhat lame comparison because when you listen to a Phish record there is something about it that really jams ringing true with heart and feeling. Much of Jozwiak’s music has a fake electrical sound as though it were produced in a computer or through the stock sounds of an electric keyboard.
“Fred & Ginger” is a very strange track that sounds as though it was imported straight from a 70s couples cruise. This is the only track on the album that contains vocals and was intended to be a “tale of woe” but did not read this way at all. There is something extremely cheesy about the whole song that becomes muddled about halfway through getting lost in a mess of drum, tambourine, piano and vocals.
Jozwiak’s Another Shot certainly made me appreciate traditional jazz much more than I ever had in the past but his experimental, keyboard produced “fractured jazz” lacked heart and sincerity. His compositions seem strong, but he needs work on finding something truly inspiring and heartfelt.
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