26 Results for : furthered
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Music for An Imaginary Italian Film
MUSIC FOR AN IMAGINARY ITALIAN FILM - JADCD 1120 An anthology of works by Australian composers in a wide range of styles and musical groupings ranging from baroque flute through duos for flute & harpsichord, flute & piano to mandolin ensemble, and solo piano works. Track 1 ROBERT ALLWORTH (b. 1943) MEMORIES OF RAIN (1988) for Baroque Lute, recorded, mixed and mastered, Shearwater Digital, by John Bushby. Baroque Lute by Michael Lowe, Oxford 2002, tuned A=392. Memories of Rain was written for Susan King in 1988, shortly after the Lute Concerto for Susan King was composed. The music in Memories of Rain uses the Twelve Note technique and is meditative in character and also uses colourful effects to create an atmosphere of memories of rain. Recorded in Wylam, Northumberland, U.K. 20/09/2008. Memories of Rain was performed by Susan King in the opening concert of the Belgium International Lute Festival. Tracks 2, 3, 4 & 5 ANN CARR-BOYD (b. 1938) SUITE FOR FLUTE AND HARPSICHORD (1992) Edgars Kariks Flute and Ann Carr-Boyd Harpsichord. - Prelude-Badinerie-American Dream-Toccata. The Suite was commissioned by Australian Harpsichord player Audley Green and first performed by her and flautist John Wion in Canberra. PRELUDE - A slightly tongue- in- cheek look at American academic music of the latter part of the 20th Century when the 12 Note system ruled. BADINERIE - A return to the music and ideas of J. S. Bach with the composer's own ideas about harmonies and quirky patterns added. AMERICAN DREAM - This music was written after the composer attended a meeting at a large theatre in Hartford, Connecticut, where a congregation of about 3000 people was commemorating Martin Luther King Day and as a result, Ann Carr-Boyd wrote the music whilst in the USA. The Flute represents the voices of the various preachers and the harpsichord the congregation. TOCCATA - A fast paced movement that speaks of the vitality of the American people and incorporates a theme that is now part of the America - FANFARE FOR THE COMMON MAN by Aaron Copland. 2MBS-FM recording 15/03/92 Sound Engineer Charles Barton. Recorded in the Summer Home of Rosemary Parle, Greenwich, NSW. Track 6 ANN CARR-BOYD (b. 1938) MUSIC FOR AN IMAGINARY ITALIAN FILM (1985) Music for an Imaginary Italian Film was originally performed and commissioned by the Australian Mandolin Society and the First Performance was at one of their music camps. The music was later recorded at Studios 301 in 1992 with the Large Ensemble of the Sydney Mandolins conducted by Adrian Hooper. Music for an Imaginary Italian Film has proved to be one of Ann Carr - Boyd's most popular pieces together with her FANDANGO (1982), also written for the Sydney Mandolins. This track is the new digitally mastered recording especially created for this compact disc. Track 7 ANN CARR-BOYD (b.1938) FANDANGO (1982) Fandango was composed in 1982 for Adrian Hooper's Sydney Mandolins and it was recorded with a dozen players or so. The bluesy character of the piece has made it Ann Carr-Boyd's most popular piece. Fandango was chosen to be included in the ABC Classic FM Classic 100 Chamber Music Countdown at No. 55. The ABC Classic FM Classic 100 Chamber Music Countdown contains 9 hours of music on 8 compact discs. Track 8 ROBERT ALLWORTH (b. 1943) REMINISCENCES OF PEOPLE I HAVE KNOWN (1992) Edgars Kariks Flute and Ann Carr-Boyd Harpsichord. Reminiscences of People I Have Known, written for Flute and Harpsichord is a short but effective atmospheric piece showing memories of people once known to the composer but are now no longer seen by him. Ann Carr-Boyd - Harpsichord and Edgars Kariks - Flute are ideal interpreters of this piece of music. Sound Engineer Charles Barton 2MBS-FM recording 15/03/92 made at the Summer Home of Rosemary Parle, Greenwich, NSW. TRACK 9 ERIC GROSS (b. 1926) SALLYMEDE OP.262 (2002) Composed as a tribute and gesture of thanks to the Australian pianist Sally Mays for her unstinting support of Australian composers. Sallymede commences with an endeavour to invoke an "English Countryside" atmosphere - in reference to the fact that Sally Mays now resides in England. The calm and serene mood of the beginning gives way to an agitated and busy section which is much more elaborate and intense than the musical material used previously. A somewhat whimsical transition passage leads back into the calm and serenity of an English countryside. Recorded by Kerry Joyner at 2MBS-FM. TRACK 10 DEREK STRAHAN (b. 1935) ET IN ARCADIA EGO (1990) Diodoru Siculus, writing in 1 BC on the Myth of the Atlantioi refers to a mountinous island of considerable size, lying in the deep off Lybia, which contains a fertile plain of surpassing beauty traversed by rivers. He refers to private villas of costly construction and banqueting houses in a setting of flowers. This cantata seeks to portray a Lovers' idyll on the balcony of a villa overlooking the ocean, on a moonlight night in Atlantis. Live recording of the First performance at Belinda Gough's Master's Degree recital, Joseph Post Auditorium, Sydney Conservatorium of Music 13/11/92. Sound Engineer - Robert Scott. TRACK 11 RAY LEMOND (b.1956) SUNLIGHT ON RUNNING WATER (1996) An impressionistic jazzy piece capturing the splash of colour as sunlight hits a stream rushing to form a waterfall. This music that sparkles and forms part of a new suite DOOLEY'S DELIGHT written in 1996 for Lorrae. Recorded by Kerry Joyner at 2MBS-FM. This compact disc is the 104th in the JADE SERIES OF AUSTRALIAN COMPOSERS. Compilation mastered by Steve Smart Studios 301 for the 5/01/2009 celebration. This is the 20th year of production of JADE compact discs of Australian Composers Cover Photo - Susan King with Baroque Lute 15/09/2008. Susan King studied with Robert Clancy and Tommie Andersson at The Sydney University Conservatorium of Music. Since then she has furthered her studies with Jakob Lindberg, Nigel North, Hopkinson Smith and Claire Antonini in Paris.- Shop: odax
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Naima
"...chamber jazz has found it's queen in Meg Okura." - Dan Bilawsky, All About Jazz "Okura has made a bold statement with Naima, ensuring her place among the top names playing chamber jazz."- Jon Neudorf, Sea of Tranquility "A confident collection of chamber jazz that is wide in scope and deep in feeling...features outstanding solos by Okura." "Meg Okura offers a clear sense of vision of her world of music. Okura's Naima goes to many places, speaks in many voices, and is often rich with surprises and admirable in it's aspirations." - Mark Hayes, EJazz News "...(Meg Okura ) is equally comfortable playing classical chamber music, rock and everything in between." - Stephen Holden, The New York Times "Ms. Okura's vibrant, Eastern-influenced, jazzy score and the playing of her musicians were the most sophisticated parts of the work" - Roslyn Sulcas, The New York Times "... (some of) the best jazz New York has to offer." - Elliot Simon, All About Jazz '... mixes a classically trained mastery of strings, piano and drums with quick-witted compositional twist performed with high energy.' - Jennifer Odell, Down Beat Magazine "The group delivers exactly what it's name promises... The group found a common ground in '60s-style modality, occasionally reminiscent of John Coltrane and McCoy Tyner's Eastern explorations." - Will Friedwald, The New York Sun "...elegantly intertwine(s) elements of classical, jazz and world folk into a new sound...by presenting precisely played ethnically inspired Playing everything from Paganini to Coltrane, violin virtuoso Meg Okura puts a certain sparkle into jazz. Formerly a classically trained concert violinist, the composer and jazz violinist has revolutionized the world of chamber jazz by artfully entwining her already colorful and moving pieces with inspirations from various cultures and countries to create a purely enchanting experience. Born and raised in Tokyo, Japan, the multi-faceted artist cultivated her musical talent at the Toho Gakuen School of Music at the age of five. Meg's artistic ability later led to her position as concertmaster and soloist of Asian Youth Orchestra, and eventually her United States debut with the late Alexander Schneider's New York String Orchestra at the Kennedy Center in her teenage years. She furthered her education at the Julliard School, earning both bachelors and masters degree in the study of classical violin. Soon, persuaded by her Juilliard professors' belief in her exceptional talent, Meg began to pursue a transition from the classical violin to something even more challenging-jazz. Studying jazz harmony and improvisation, Meg dedicated herself to mastering the tradition of jazz and soon, with her switch of genres and evolution into what she explains as "a more complete musician", Meg began to advance her career as a jazz violinist. Touring with artists such as 13-time Grammy winner Michael Brecker and Steve Swallow, and recording with jazz artists Dianne Reeves, Lee Konitz, and Sam Newsome, Meg has performed at prominent venues such as Carnegie Hall, the Hollywood Bowl, the Lincoln Center, and London's Barbican Centre. In addition, she has collaborated and performed with Oscar nominee actor and Columbia recording artist Terrence Howard, as well as been featured in three Cirque du Soleil shows, exhibiting her remarkable talent as an improviser on the violin. In 2005, however, Meg embarked on a journey unlike one she had ever endured, challenging herself as both a violinist and composer, and starting her own group. Inspired by her experience in the various countries that comprise Asia, Meg composed and recorded a compilation of music that would soon lead to the birth of her latest project, the Pan Asian Chamber Jazz Ensemble. The works she composed comprised the seven-person ensemble's self-titled debut album, which won the group notoriety as a finalist for "Best Album" in the 2006 Independent Musicians Awards, and have made the Pan Asian Chamber Jazz Ensemble the rare gem of the jazz world. "Composing is the most natural thing for me to do-it's as though music just comes to me. Sometimes I can be composing complicated music in my dreams and thanks to my perfect pitch, I can hear music in my head and know exactly what notes I am hearing and can write them down," says Meg. The ensemble, which "mixes a classically trained mastery of strings, piano and drums with (a) quick-witted compositional twist" (Down Beat Magazine, Jennifer Odell), played to sold-out concerts in Japan in 2008 and has also performed at the NYC Winter Jazz Festival, Knitting Factory, and the Kaplan Penthouse at Lincoln Center. Now, Meg's Pan Asian Chamber Jazz Ensemble presents their second album, "Naima", named as a tribute to jazz icon John Coltrane, highlighting Meg's unique new arrangement of the classic. "The first album was the music that came naturally to me without any objective. This album is...more Asian, more jazz, and more chamber music. Touring Asia as a teen was really a life-changing experience, making music with musicians representing nine different Asian countries, working closely together and traveling together. I draw upon my memories of Asia and try to access my feelings toward the people, the culture, and the nature and sceneries of Asia (for inspiration)," Meg says. Featuring rare instruments the shinobue (Japanese bamboo flute) and the erhu (a two-stringed Chinese violin), which Meg plays in addition to the violin, the album is a "collection of original works that represent and symbolize the name of (the) group." The ensemble "...elegantly intertwine(s) elements of classical, jazz and world folk into a new sound...by presenting precisely played ethnically inspired original compositions in an exciting modern jazz context" (All About Jazz, Elliot Simon). This unique approach to music has earned her numerous grants and awards as a composer, making her to be one of today's leading voices in the world chamber jazz. Yet, Meg also offers two familiar tunes including the title cut "Naima." "The modal quality of Coltrane's 'Naima' echoes with the music of French Impressionist period," she says. In this unique new version, she creates fluidity in texture and colors by writing arpeggios moving towards different directions while slowly shifting the chords to encompass stillness within movements. "It's an Impressionist violin concerto meets modern Jazz with a hint of Japanese mode", Meg says. The other familiar piece on the album "Carpice", on the other hand, is a Latin jazz piece based on a theme from the famous Caprice No. 24 by the Italian composer and violinist, Nicolo Paganini. It features virtuosic cadenzas by Meg Okura herself and pianist Mamiko Kitaura. The album ends with a 25-minute through-composed suite entitled "Lu Chai"--music inspired by a poem of the same title by Wang Wei, a great poet from the Chinese Tang Dynasty. "To play chamber jazz, most, if not all of the players in the group must be jazz improvisers," Meg says. The suite showcases variety of solos including one by the veteran jazz flutist, Anne Drummond, as well as solos on instruments not typically associated with jazz, such as the cello and even the erhu. Today, Meg resides in New York City with her husband, soprano saxophonist Sam Newsome, and says she is living her life, fulfilling her dreams and relishing every day in new understandings and identity. "I take to heart the new challenges of being a composer, jazz violinist, Asian American, artist and wife, while at the same time, constantly reminding myself of the responsibility to do my absolute best to achieve foremost excellence in the arts..." Meg Okura (violin, erhu), Anne Drummond (flute), Jun Kubo (flute, shinobue), Rubin Kodheli (cello), Mamiko Kitaura (piano), Jennifer Vincent (bass), Willard Dyson (drums), Satoshi Takeishi (percussion), Dave Eggar (cello)- Shop: odax
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Silence
Diane Severson received the degree of Bachelor of Music in Vocal Performance (magna cum laude) from the University of Wisconsin, Madison. She furthered her studies in Germany with a specialization in early music from the Hochschule für Künste/the Academy for Early Music in Bremen. She remained in Europe, living mostly in Germany but also London and (most recently) Paris. Diane has worked as a soloist and member of various ensembles (vocal ensembles as well as with instrumentalists), including the world reknowned ensemble for medieval music Sequentia (CD - O Jerusalem, BMI 1997), her own vocal ensemble Elysium (CD - Auvergne Chants, Decca Records 2000) and Voices Found, Philadelphia (CD - Magdalene and the other Mary, Church Publishing 2006). Her repertoire ranges from medieval music through the baroque era to music composed especially for her. As a teacher of singing, she employs the method of Functional Voice Training based on the theories of Cornelius Reid (New York City). She has worked in conjuction with several voice and speech therapists. Meinhard Gerlach studied music (guitar and piano) at the Musikhochschule in Frankfurt am Main, Germany. After his studies he attended master classes with Manuel Barrueco. Later he studied renaissance and baroque lute with Sigrun Richter aat Dr. Hoch's Konservatorium in Frankfurt. He deepened his understanding of historically informed performance of guitar and lute music in master classes with Toyohiko Satoh, Hopkinson Smith and others. Meinhard Gerlach performs as a soloist and in chamber ensembles with guitar and lutes and is director of the guitar department at the city music school in Aschafenburg, Germany, where he lives with his wife and 2 children.- Shop: odax
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Espana
Carlo Pezzimenti-The truth behind the Man. 'I wish Carlo Pezzimenti the success he deserves for his young talent and will of working. - Andrés Segovia - Madrid, Spain/1980 "In his hands, the music made it's effect with reserved eloquence." - The New York Times " Pezzimenti is obviously a thinking and caring musician. He has a very lyrical approach to his instrument and performs with marked sensitivity and ease." - The Dallas Morning News " The original works by various composers and transcriptions by the versatile guitarist Carlo Pezzimenti, are a refreshing change from the usual guitar repertoire." - Gramophone ' Carlo Pezzimanti is a rare performer on the concert stage these days ... his technique is fluent and clear with a palette of dynamics and a sure skill in differentiating melody and accompaniment.' - The Cleveland Plain-Dealer BEST CLASSICAL MUSICIAN Carlo Pezzimenti " This man makes music with his guitar that can only be described as heavenly. Pezzimenti tackles complex arrangements with a vocalist's sense of timing." - D Magazine -------------------------------------------------------------------------------- Biography Since beginning his study of classical guitar in Florence, Italy at the age of thirteen, Carlo Pezzimenti has worked successfully to impart his wealth of knowledge to students of the guitar, to further develop his artistry, and to share his musical philosophy with audiences throughout the world. Summers, Pezzimenti attended Andres Segovia's 'Music in Compostela' festivals. Studying with the father of classical guitar, he laid a strong foundation for his musical career. Pezzimenti continued his studies at Loyola University in Rome with Sergio Notaro. Later, he acquired a degree in music from the prestigious Morlacchi Conservatory in Perugia, and furthered his studies with José Tomás in Alicante, Spain. After returning to the United States in 1974, he attended master classes with Jesús Silva, Oscar Ghighlia and Federico Moreno-Torroba. His private studies with Segovia continued from 1980 to 1985 during annual visits to Madrid. Carlo Pezzimenti's Carnegie Hall debut took place in 1982 to great acclaim. Subsequent performances included concerts with the Atlantic Symphony Orchestra, the Dallas Chamber Orchestra, and the Las Cruces Symphony Orchestra. Pezzimenti has gained the attention of the music world through performances in the United States, Europe, and Latin America. His appearances on the concert stage, as well as on radio and television, have received consistent, ever-widening acclaim. Carlo Pezzimenti is proving the promise of his early years through creative work with other instrumentalists, with orchestra, and in multi-media performances with dancers, sculptors, painters, and poets. On tour, he conducts master classes - his teaching facilitated by his fluency in English, Spanish, and Italian. Composers such as Federico Mompou, Manuel Ponce, Ernesto García de León, Brian Clement-Foreman, James Phelps, and Antonio Lauro draw him to works of the twentieth century. Pezzimenti's intuitive approach to the music conveys the emotional core of each composition and his flawless technique reaches beyond the mere mechanics of playing the instrument. Mr. Pezzimenti is a highly respected teacher of the guitar. Holding faculty positions at Brookhaven College in Dallas, Texas and at Texas Woman's University in Denton. Students benefit from the vast experience and wealth of knowledge shared by this caring musician. He makes his home in Dallas with his wife, Anita.- Shop: odax
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Solitude
Solitude is a collection of contemplative pieces composed by Ernesto Garcia de Leon and dedicated to various notable composers, musicians and friends of his. Danza en la Solidad was dedicated to Carlo Pezzimenti himself. This is definitely one of Carlo Pezzimenti's best recordings. Different clasical guitars ranging from Tezanos-Perez, Rozas, Fleta, to Manzanero, were used on different tracks (See track listing on CD for actual Guitars used on each track). The discerning ear may detect the subtle characteristic differences between the instruments. The recording itself was done in a live setting at the Little Chapel In The Woods on the Texas Womens University Campus in Denton, Texas. This is indeed a lovely recording from the beginning to the end. Preludio, the first track sets the tone for this wonderful collection of soothing, contemplative sonatas, nocturnes and study pieces. As the subsequent tracks unfold, you get transported to a pieceful garden full of various enchanting musical nuances and colors. This is pure magic! ERNESTO GARCIA DE LEON (1952- ) Ernesto Garcia De Leon can be considered as one of the most innovative, creative and imaginative composers alive today. His influences which range from The Beatles to Mahler, nature sounds to Mexican folk songs have shaped his harmonic language to bring to live a language as unique and distinct as those of Debussy and Scriabin. He has unique ability to bring to live music that can be described as otherworldly and totally inspired (not formulaic ), this music on repeated listening easily becomes intoxicating. CARLO PEZZIMENTI: Since beginning his study of classical guitar in Florence, Italy at the age of thirteen, Carlo Pezzimenti has worked successfully to impart his wealth of knowledge to students of the guitar, to further develop his artistry, and to share his musical philosophy with audiences throughout the world. Summers, Pezzimenti attended Andres Segovia's 'Music in Compostela' festivals. Studying with the father of classical guitar, he laid a strong foundation for his musical career. Pezzimenti continued his studies at Loyola University in Rome with Sergio Notaro. Later, he acquired a degree in music from the prestigious Morlacchi Conservatory in Perugia, and furthered his studies with José Tomás in Alicante, Spain. After returning to the United States in 1974, he attended master classes with Jesús Silva, Oscar Ghighlia and Federico Moreno-Torroba. His private studies with Segovia continued from 1980 to 1985 during annual visits to Madrid. Carlo Pezzimenti's Carnegie Hall debut took place in 1982 to great acclaim. Subsequent performances included concerts with the Atlantic Symphony Orchestra, the Dallas Chamber Orchestra, and the Las Cruces Symphony Orchestra. Pezzimenti has gained the attention of the music world through performances in the United States, Europe, and Latin America. His appearances on the concert stage, as well as on radio and television, have received consistent, ever-widening acclaim. Carlo's understanding of the classical guitar is phenomenal, on the guitar he is like Van Gogh or Eghone Schille, creating music that is sweet and intensely colorful, a balm for the human psyche. Mr. Pezzimenti is a highly respected teacher of the guitar. Holding faculty positions at Brookhaven College in Dallas, Texas and at Texas Woman's University in Denton. Students benefit from the vast experience and wealth of knowledge shared by this caring musician. He makes his home in Dallas with his wife, Anita. TECHNICAL INFO: Recording Engineer: Brian MacDonald Mixing and Mastering: Brian McDonald Venue: Little Chapel In the woods" Texas Women University Denton Recording date: Winter 2003/2004 This was marketed under Elba Records before but now available from Vadanrecords.- Shop: odax
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View from the Edge
David Leonhardt bio -Career Highlights Twenty year with saxophonist David "Fathead" Newman: arranging and playing on four CDs, international tours. 1988-2008 Four year as musical director for jazz vocalist Jon Hendricks: international tours, jazz festivals, radio and TV broadcasts. 1983-1987 President and founder of Big Bang Records with eighteen CDs as a leader. 1993 to present. Fifteen years leading The David Leonhardt Jazz Group a concert ensemble with hundreds of performances: theaters, Universities, Colleges, festivals, arts organizations US, Canada and Europe. 1993-2008 Twelve years freelance experience in New York City. Broadway to the Today Show, jazz clubs to dance halls, Bar Mitzvahs and weddings to cabaret clubs and Lincoln Center, jingles to jazz records. 1980-1992 Twenty years performing with legendary Tap Dancers. Musical director for Manhattan Tap and The Shelley Oliver Tap Dancers including National and European tours, television and DVDs. 1987 to 2008 Decades of experiences as a jazz educator in universities, colleges, clinics and workshops. Ten years of presenting "Jazz For Kids" an interactive children's program. First jazz experience playing piano as a teenager with jazz educator Jamey Aebersold in concerts, clubs and school presentations in Louisville, KY. 1974-1980 First professional engagement at the age of 14 in a teenage rock band. First road experience with a southern rock band touring Dixie age 16. 1970-1976 David Leonhardt, jazz pianist and composer, is a highly skilled and versatile artist. His thirty seven years of professional experience has included recordings, T.V. and radio, concerts and festivals, night clubs and stage shows. He has appeared internationally throughout North and South America, Europe, the Middle and Far East with some of the biggest names in jazz. He leads his own concert ensemble The David Leonhardt Jazz Group and is the founder and president of Big Bang Records with fifteen CDs as a leader. Recently Mr. Leonhardt arranged and recorded a jazz CD with saxophonist David 'Fathead' Newman, and released the CDs 'I'll Be Home For Christmas' and 'In The Moment'. Mr. Leonhardt is on the roster of The Pennsylvania Arts On Tour and gives educational clinics worldwide. Performing and studying as a teenager in Louisville, Kentucky with noted educator Jamey Aebersold, Mr. Leonhardt acquired his skills backing such diverse jazz talents as Buddy Defranco, Dave Liebman, and Buddy Tate. After moving to New York City in his twenties Mr. Leonhardt established himself as an international performing artist when he toured for four years as musical director for jazz legend Jon Hendricks, accompanying vocalists such as Diane Reeves and Bobby McFarren. Joining The David 'Fathead' Newman Quintet he furthered his reputation as a burning jazz pianist and made his name familiar on the New York jazz scene. He went on to form his own band performing in the U.S., Japan, and Europe. In 1991 he founded Big Bang Records and released his first CD 'Departure' to great critical acclaim as well as his popular CD 'Reflections'. Mr. Leonhardt has produced, arranged, and performed on numerous recordings with jazz stars Stan Getz, Slide Hampton, Jon Hendricks, Eddie Henderson, Robin Eubanks, Ray Drummond, and Lewis Nash. His compositions have been recorded by such jazz greats as Stanley Turentine, David 'Fathead' Newman, Hank Crawford, and Claudio Roditi. He has written arrangements for The Art Blakey Big Band and been guest conductor and arranger for The Benny Carter Orchestra. At present Mr. Leonhardt is leading his own band with successful appearances at the International Arts Festival of Shenzen in China, the Winnipeg Jazz Festival, The French Maison de Dance in Lyon, as well festivals and concerts throughout the United States. His all star group has been heard at The Apollo Theater, The Blue Note, and Birdland. He is the musical director for The Shelley Oliver Tap Dancers a popular all female dance group. Vol. 32 No. 3 March 2006 David Leonhardt Interview Taken and Transcribed by Ludwig Van Trikt CADENCE: What was your early beginning like? DAVID LEONHARDT: My first professional job was at the age of 14 in Louisville, KY. I was playing organ in a teen rock and roll band and that job was for a basement make-out party for teenagers when the parents were out of town. I knew from that moment I wanted to be a professional musician. What could be better than being the center of attention to all my peers? Having the girls think I was cool didn't hurt either. Also, I sensed from the start that when the music is playing and the best is happening, the moment has been lifted out of the ordinary. Even then that feeling of being part of something larger than myself was powerful and profound. That band went on to be popular in central Kentucky and we did a lot of high school dances or roller rink dances where the kids would roller skate for two hours then dance for two hours. We were so young that we could not even drive so our moms would load us into their station wagons with all our amps and PA equipment, they would take us all over Kentucky. We played every weekend for a few years. In those days we called it "playing". Later when I started playing with older musicians for more money, we called it "working". Somehow, that change in wording made us feel more grown up. My first girlfriend was a teenage groupie who would follow us around from gig to gig and my next girlfriend was the singer in the band. That pretty much set the pattern for the next twenty years of my life as far as relationships went. That band won a big local battle of the bands and we were awarded a big expensive PA system that was our downfall. Once we had assets we started to argue over them and eventually broke up. After that I joined a southern rock band that copied Allman Brothers songs. I was 16 and the other guys were in their 20's and we were playing Blues bars and nightclubs, playing till the wee hours of the morning. They nicknamed me "The Kid" and I had to lie about my age to play in the clubs. I was the only one in the band that could read music. I would say that sex, drugs, and Rock and Roll was their mantra so it gave me a real education. Back then my audience was bikers and drinkers and people looking to hook up and get high. A real discerning crowd. I loved every minute of it and moved out of my parents house when I was 17. By then I was playing a Wurlitzer electric piano and a Hammond organ. After a year of that I joined a roadhouse country and western band that played six nights a week for a couple years at a country dance hall. The bar owner was the worst. He hated the musicians and made our life hell. But that was where I learned to belly up to the bar and order a drink. We were playing for middle age country dancers who would crowd the dance floor all night long. The music was loud and fun. By this time I had a four keyboard setup adding a clavinet and a fender Rhodes. We lost that gig and went to a real country dive where we played for alcoholics, losers and prostitutes. The smoke was so thick that my eyes would water all night and I finally quit the gig over that. CAD: You must be very familiar with the chitlin circuit, having played for ten years with David "Fathead" Newman? D.L.: When I first started playing Jazz I was 17 years old and knew nothing but had heard two Miles Davis records. One was A Tribute to Jack Johnson, which is a fusion record of rock vamps that knocked me out, and a compilation that included "Seven Steps To Heaven" and "Four". I dug that as well but had no frame of reference to understand about the different styles in Jazz. Luckily for me Jamey Aebersold lived near me and I started hanging out with him at his house and he would show me things on the piano. Jamey is the number one Jazz education/clinic thing so it was great for me to be around that. There were no pianists in town then who would jam with him so he taught me- Shop: odax
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