Battles . . .

. . . of the bands


(from http://en.wikipedia.org/wiki/Battle_of_the_Bands)
". . . Third World Games have produced a Battle of the Bands card game, which takes a tongue-in-cheek look at the music business. The object is to recruit members into your band, equip them with instruments, win "gigs" and "hit singles" and earn enough "Superstar Points" to win. The game is also available for play on GameTable Online. There is also a Battle of the Bands video game and TV movie. In the music video game Guitar Hero World Tour and all games that followed, a "battle of the bands" mode is featured as an online gameplay mode. The "battle of the bands" concept has had a heavy influence on reality television. Shows such as the Idol series and The X Factor borrow the basic concept of a "battle of the bands" except with individual singers instead of whole bands, combining the concept with a serial elimination format. There was a brief American series in the vein, The Next Great American Band, that did use whole bands. In the 2011 Australian film Swerve, a battle of the marching bands serves as background to most of the scenes set in the small country town. In the 2014 animated film My Little Pony: Equestria Girls – Rainbow Rocks, the film's storyline centered around a high school Battle of the Bands competition. . ."

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Tell me at
http://www.rayjozwiak.com/guestbook.html  or at
http://www.ohomusic.com 


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)

Also, be sure to visit:
http://www.rayjozwiak.com

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Striving . . .

. . . for something . . . but not always being able to explain exactly what . . .



(from http://www.furious.com/perfect/ericdolphy2.html)
 . . . "Eric was a very, very gifted musician and a very nice guy on top of it," McCoy Tyner told me in a recent interview. "He had a very personal approach to playing and enjoyed expanding the limits of imagination. Eric played so many instruments, his pockets were bulging with all these mouthpieces," McCoy said chuckling at the memory. "He was the first guy to come on as a guest with the band. At the time he came along he was doing his own thing and made a tremendous impression. We felt that the quartet was self-contained. Jimmy, Elvin and I felt that we had built something and were still on that journey. We didn't exactly understand where John was going in terms of adding Eric. We were like little kids in a sense like this is our band and we want to keep it that way. But then again it wasn't like we didn't want to share our experience. John was the leader and he was the one that made the final decisions. He decided that maybe if I do this, this will cause something else to happen. And it did! They played so differently. Eric added another dimension to the sound. John never rested on his laurels. He was like a scientist in the laboratory always searching for something new or different. By adding Eric he was expanding the music. John and Eric had a very different type of life experience. Eric had a very academic approach. He studied a lot. John coming from the South had that real gutsy approach. His father was a minister and his grandfather was a minister. He spent a lot of time in church and you could hear that in the music. At the same time there were points where the two met and could make something very interesting happen."

"Eric added a very interesting component to the music," McCoy continued. "John believed in what Eric was doing. He wanted to help him. At the same time he wanted to open the music up. It was a very good experience for Eric as well, being surrounded by the quartet. Ole was one of the highlights of Eric's presence. He had his own approach to the bass clarinet. He had personal things he would do on the instrument and got sounds out of it that you normally didn't hear on a bass clarinet. He was very animated and very enthusiastic.". . . (Note:  Be patient. Eric's solo starts at about 4:07)

What do you think?
Tell me at
http://www.rayjozwiak.com/guestbook.html 

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)

My latest solo release, '2014', can be downloaded digitally at:

(or you can copy-and-paste this URL directly to
your browser:  http://www.cdbaby.com/cd/rayjozwiak4)

Also, be sure to visit:
http://www.rayjozwiak.com

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Today . . .

. . . is the day AMBIENCE & WINE goes on sale at www.cdbaby.com

Ambience & wine, two precious and plentiful elements of which I highly recommend consumption in mass quantities.  In this particular incarnation, music is provided to contribute to the 'ambience' portion of the equation.

Creative musician, Baltimore-based Ray Jozwiak offers recordings and performances of eclectic, instrumental solo piano (and piano-based) compositions that have been referred to as 'Fractured Jazz' laced with generous amounts of 'Improvisational Terror Tactics'. 

A local jazz pianist's music inspired the quick-moving 'L-Street' pitting left-hand call against right-hand response and opening the album in a sprightly manner.  'Ooh Bee Aah Bop' (from the not-too-distant past) is an improvised, sampled choir with percussion followed by a contemplative, solo outing called merely 'Foisfois'.  A sensuous, x-rated-movie-like 'My World'  throbs incessantly behind sampled electronic keyboards and instruments. 'LVJ's jazz-inflected variations follow, again solo, acoustic, pianoforte proceeded by 'McCafferty's Piano' which asks the musical question for which I'm still dying to know the answer.  A moody, ethereal 'Number One' exposition is next with 'Hope' wrapping up this aural delicacy.

'Hope' you do enjoy it and . . . please, tell a friend!

L-STREET (from AMBIENCE & WINE)
©2011 Raymond M. Jozwiak




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very own copy of
ANOTHER SHOT
by Ray Jozwiak

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The news. . .

 . . . recently contained such things as tubas . . .

. . . being stolen from southern California high schools for the black market providing the instruments to the latest craze in Latino music,  space junk left over from satellites and space missions orbiting the earth and not being cleaned up and federal immigration agents are shooting each other. . .

What do YOU think?
http://www.rayjozwiak.com/guestbook.html

 
Download your
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ANOTHER SHOT
by Ray Jozwiak

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A word or two. . .

. . . here about 'coolness' and musical instruments, the relation of one to the other quite relative but very important. The 'uncool'-ness of the accordion which had become, in essence a new appendage, had long since been a non-issue to me musically. But it was an issue for audiences of popular music, not to mention for bandmates of accordionists in groups that played popular music. In other words, okay to me-uncool to them. And in truth, I was enamored with the idea of a new, and much more widely acceptable to younger audiences, instrument which was a mainstay in a preponderance of musical groups professional and unprofessional, young and old- the electronic organ. I had previously graduated from my first very own 120 bass accordion to a 'mic-ed' acoustic/electric hybrid accordion (not as sophisticated nor as expensive as the Cordovox) which had its merits: additional volume and the mere characteristic of being 'electric'. But NOW, I was ready for the electronic organ.

Remember Paul Revere and the Raiders and Paul Revere himself (stage name, I'm sure) who stood, sang and danced while banging out those gloriously wheezing chords on his Vox electronic? Well that's what I wanted, only I couldn't dance and I didn't want the HAT.

Not surprisingly to me, electronic organs were expensive. At least for an adolescent earning about $10.00 a week delivering newspapers. A then you would of course, have to buy an amplifier through which to play this wonderful instrument. After some shopping, comparing and arranging finance with my parents, I decided upon the Farfisa Fast Four and a used Ampeg bass amp with two 24-inch speakers and nary a watt of output. I do exaggerate, but it was FAR from powerful. The organ itself was off-white with chrome folding legs and gray keys (naturals) with which sharps and flats with a little more than an octave of bass keys in black instead of gray. It was GRAND. It was downright COOL!




What do YOU think?
http://www.rayjozwiak.com/guestbook.html


Download your
very own copy of
ANOTHER SHOT
by Ray Jozwiak

Please Visit
http://www.rayjozwiak.com


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