. . . not only is Bourbon Street on the Beach (http://www.bourbonstreetonthebeach.com/) one of the best restaurants in Ocean City, and not only does it's clientele include many local (and national) musical celebrities, BUT in addition to these . . . Bourbon Street on the Beach is staffed by a number of talented musicians as evidenced by the jam posted below. . .
Deviled
OHO (duo) & Friends (Chuck & Colin[? I hope it's Colin] live in Ocean City MD September 2019
(from http://www.capitalbop.com/musician-profile-andrew-white-keeper-of-the-trane-is-a-living-legend-unknown-to-many/)
". . . Over the course of the twentieth century, D.C. was home to many significant jazz musicians, including such luminaries as Duke Ellington, Shirley Horn, and Jelly Roll Morton. But there’s one D.C. jazz figure who is the ultimate Renaissance man: a saxophonist and multi-instrumentalist who has been performing and recording here for 50 years; a collaborator who has played with countless jazz greats and soul artists; a scholar who is known as “Keeper of the Trane” for his meticulous transcriptions of 650 John Coltrane solos (virtually every one on record); and a producer who has released thousands of products, from recordings to transcriptions to books.
One would think that with all these accomplishments, this person would be the darling of D.C.’s music community, a poster child for jazz’s greatness in the nation’s capital. But for one reason or another, this has never happened.
Andrew White began his career as the leader of an innovative quintet on one of the world’s top jazz labels, then went on to record with McCoy Tyner and Weather Report and toured with Stevie Wonder. Nowadays, the 68-year-old seems destined to fade into obscurity.
A possible reason why White hasn’t been as celebrated as certain other D.C. musicians is his refusal to compromise with the music industry. In an age when so-called DIY music production and promotion were unheard of, he founded his own label, Andrew’s Music. From there, he recorded, produced, pressed and disseminated his own records – more than 40 in all. He also used the label as a vehicle for publishing his writing, which has ranged from essays and “treatises” on music and life to adult fiction to an 850-plus-page autobiography.
With the possible exception of Sun Ra’s El Saturn label, Andrew’s Music is the longest-lasting self-run, self-produced jazz record label in the world. . . "
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)
20 Top Ten singles, 12 Top Ten albums (five of which were #1), and sales of more than 120 million records . . . stylistic changes, I must admire the work ethic and perseverance of these musicians, the early work of which had [and still has] a tremendous influence on my music. . .
(from http://www.classicbands.com/chicago.html)
". . . "Baby, What A Big Surprise" sailed into the Top 5, and Chicago XI was certified platinum the month after its release. But only a few months later, the band would be devastated by a terrible loss. On January 23, l978, Chicago guitarist and singer Terry Kath died from an accidental gunshot wound. "Terry Kath was a great talent" says Jim Guercio, who worked with him on a solo album that was never completed. "Hendrix idolized him. He was just totally committed to this band, and he could have been a monster (as a solo artist)." Kath's death devastated Chicago, and the band considered breaking up. A short time after Terry's death, "Take Me Back To Chicago," was released as a single.
If the band was going to continue, it would need a new guitarist, and auditions began in earnest in the spring of 1978. "We felt that we were being left behind by the new music," says Cetera, "and we thought we needed a young guitar player with long hair. We sat through I don't know how many guitar players, but I'm sure it was 30, 40, or 50 guitar players. Toward the end, Donnie Dacus showed up. He played a couple of songs right and with fire, and that's how he was in the group."
Fast forward to 2014 - their new album . . .
(from http://chicagotheband.us/profiles/blogs/james-pankow-interview-chicago-trombonist-and-horn-arranger-leads)
" . . . includes 11 brand new songs, recorded on the road.
"We have some very exploratory stuff and music that is traditionally Chicago," Pankow said. "We have the signature horns and the identity that the music has always had, but we also have the fun of taking it places that was not possible before. The music is very daring in some ways. It is where we are now."
For this record, Chicago built a new "recording rig" that travels with the band.
"This new technology has allowed us to be extremely mobile," Pankow said. "The music is reported by us as we travel, as we get inspired. We can record in hotel rooms, on the bus, in the venue. We don't have to, like the old days, assemble in a traditional recording studio and track new songs and go through the protocol. We are now free to do whatever we want. We can push the limits."
They have even created an online collaboration portal that allows even more performances to be worked on around the clock from remote locations.
"For the first time since the beginning of the band, we are looking at not only a new way of making records, but a new way of manifesting those records," Pankow said. "We do business now essentially direct to fans through the Internet."
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' of original, instrumental piano music, can be downloaded digitally at:
(or you can copy-and-paste this URL directly to
your browser: http://www.cdbaby.com/cd/rayjozwiak4)
(from http://edwardwillett.com/2009/03/science-shows-musicians-really-are-more-sensitive/)
'Researchers at Northwestern University have found that the more years of musical experience musicians possess, and the earlier the age at which they began studying music, the better their nervous systems are at interpreting the emotional content of sound.
The study was led by doctoral student Dana Strait, who conducts her research in the Auditory Neuroscience Laboratory at the university (and who is herself a pianist and oboe player).
Strait points out that scientists already know that emotion in speech is carried less by the specific meanings of the words being used than by the sound of those words.
. . . Strait and her colleagues enlisted 30 right-handed men and women, with and without music training, between the ages of 19 and 35. The ones with music training were grouped using two criteria–their total years of music experience and whether their training began before or after the age of seven.
Participants watched a subtitled nature film to keep them entertained (“entertained” is apparently a loose term) while listening through headphones to a “scientifically validated emotion sound”–specifically, 250 milliseconds–a quarter of a second–of a distressed baby’s cry.
Sensitivity to the sound, particularly the more complicated part of the sound that contributes most to its emotional content, was measured through scalp electrodes, which allowed the researchers to track brainstem processing of the sound’s pitch, timing and timbre. . . '
(from www.wikipedia.com)
". . . Recording sessions took place at Columbia's 30th Street Studio over the course of three days in August 1969. [Miles]Davis called the musicians to the recording studio on very short notice. A few pieces on Bitches Brew were rehearsed before the recording sessions, but at other times the musicians had little or no idea what they were to record. Once in the recording studio, the players were typically given only a few instructions: a tempo count, a few chords or a hint of melody, and suggestions as to mood or tone. Davis liked to work this way; he thought it forced musicians to pay close attention to one another, to their own performances, or to Davis's cues, which could change at any moment. On the quieter moments of "Bitches Brew", for example, Davis's voice is audible, giving instructions to the musicians: snapping his fingers to indicate tempo, or, in his distinctive whisper, saying, "Keep it tight" or telling individuals when to solo.
Davis composed most of the music on the album. The two important exceptions were the complex "Pharaoh's Dance" (composed by Joe Zawinul) and the ballad "Sanctuary" (composed by Wayne Shorter). The latter had been recorded as a fairly straightforward ballad early in 1968, but was given a radically different interpretation on Bitches Brew. It begins with Davis and Chick Corea improvising on the standard "I Fall in Love too Easily" before Davis plays the "Sanctuary" theme. Then, not unlike Davis's recording of Shorter's "Nefertiti" two years earlier, the horns repeat the melody over and over while the rhythm section builds up the intensity. The issued "Sanctuary" is actually two consecutive takes of the piece.
Despite his reputation as a "cool", melodic improviser, much of Davis's playing on this album is aggressive and explosive, often playing fast runs and venturing into the upper register of the trumpet. His closing solo on "Miles Runs the Voodoo Down" is particularly noteworthy in this regard. Davis did not perform on the short piece "John McLaughlin". . . "
The Washington Area Music Awards recognize significant career achievements by area musicians. Nominations and balloting come from the WAMA membership. Past show participants include Emmylou Harris, Joan Jett, The Clovers, The Orioles, Bo Diddley, Jorma Kaukonen, Jimmy Dean, Mary Chapin Carpenter, Ruth Brown, LaVern Baker, Sweet Honey in the Rock and OHO.
Also announced at the Wammies are each year's inductees to the Hall of Fame. Deadline: Midnight, Friday October 25
The 28th Wammies Nomination Ballot is where WAMA members vote on who they want to see on the official 28th Wammies Ballot.
You can check out the Artist & Product Registry, for an glimpse of the accomplishments of some of our local musicians. However, an artist does not have to be listed on the Artist & Product Registry to be nominated, nor does being listed guarantee a place on the Nomination Ballot.
To enter your nominations for this year's Wammies by midnight on Friday, October 25, click Nominate.
You can nominate artists who are not WAMA members, but you do need to be a current WAMA member in order for your ballot to count. Not a member? Join or renew at Membership.
(from The New York Times)
“I was in a rock band, I played with a bunch of Brazilians, I played R&B with Parliament-Funkadelic and all of that,” he said in an interview before his most recent album, “DreamWeaver,” was released last month. “I mean, I’ve done jazz with Miles Davis and Cannonball Adderley. It’s a goulash. It’s a gumbo.
George Duke, who as a small boy begged his mother to buy him a piano after she took him to see Duke Ellington, began playing professionally at a time when many musicians were interested in blending genres. He played in a trio that backed the singer Al Jarreau while he was still a teenager, then accompanied Dizzy Gillespie and other jazz musicians at clubs in San Francisco. By the early 1970s he had performed and recorded with Adderley, the jazz violinist Jean-Luc Ponty and Zappa’s Mothers of Invention.
Zappa “told me one day that I should play synthesizers,” Mr. Duke wrote on his Web site. “It was as simple as that!” Urged by Zappa, he said, he experimented with a few types of synthesizers before settling on the ARP Odyssey, “purely to be different from Jan Hammer, who was playing the Minimoog.”
Critics sometimes said that Mr. Duke’s music was too smooth, not
challenging enough, and that he was too eager to court a broad audience.
He disagreed. “I really think it’s possible (and still do) to make good music and be
commercial at the same time,” Mr. Duke wrote. “I believe it is the
artist’s responsibility to take the music to the people. Art for art’s
sake is nice; but if art doesn’t communicate, then its worth is negated.
It has not fulfilled its destiny.”
. . . I started this blog, I said I would write everyday. With one or two early exceptions, I have been quite religious about it and now I see that I have 68 posts. SIXTY EIGHT POSTS. That's kind of hard to believe.
We, meaning a handful of dedicated 'amateur' (only in livlihood, not in skill) musicians are working hard on a piece of music entitled GONNA SMILE to which I referred a while back. The beauty of the thing is, we've never met face-to-face. We're doing the entire thing through the internet via a website called indabamusic.com.
As I said earlier, this is a great site for musicians with a little web/tech/virtual know-how. It's kinda like Fantasy Baseball for musicians.
Anyway, hopefully I can post the finished product for you to hear very soon. Meantime, if you're interested in making music on the web with people from all over the world, go to www.indabamusic.com. It's FREE. But if you're such a pro that you want lots of bandwidth, bells and whistles, you may upgrade.
Download your very own copy of ANOTHER SHOT by Ray Jozwiak
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