GAETANO DONIZETTI (1797 – 1848): Parisina – C. Giannattasio (Parisina), J. Bros (Ugo), D. Solari (Azzo), N. Ulivieri (Ernesto), A. Taylor (Imelda); Geoffrey Mitchell Choir; London Philharmonic Orchestra; David Parry [recorded in Henry Wood Hall, London, during December 2008; Opera Rara ORC40]
In his extensive liner notes accompanying this recording, typical of Opera Rara’s inimitably high standards of scholarship and presentation, Jeremy Commons suggests that Parisina’s failure to claim a permanent place in the international repertory can be attributed in part to ‘the fact that the great sopranos of the Donizetti revival, Maria Callas and Joan Sutherland [patroness of Opera Rara], did not include it in their repertories.’ For all her remarkable and unprecedented contributions to global understanding and acceptance of bel canto in general, Maria Callas’ exploration of the Donizetti canon was confined to three operas: Lucia di Lammermoor (hardly a forgotten score when Callas revitalized the dramatic profile of the title role), Anna Bolena (in which Callas was truly revelatory), and Poliuto. Dame Joan Sutherland took on a greater number of Donizetti heroines, but Parisina’s tessitura is slightly low to have been completely suitable for the Australian prima donna. Montserrat Caballé, Spain’s queen of bel canto, did sing Parisina, however, and her 1974 concert performance at Carnegie Hall is widely considered not only a great personal triumph but also one of the truly significant nights in the history of that venue. As Mr. Commons also notes in his article, Donizetti composed a number of meritorious scores that continue to slumber in obscurity, especially as the bel canto Renaissance has in the past two decades been mostly supplanted by a revival of interest in Baroque music. If, as Opera Rara strive to prove with this new studio recording, Parisina is an opera as satisfying and musically rewarding as, say, Partenope, the advocacy of an artist of Caballé’s ilk should have proved an important boost in the score’s fortunes. That Parisina remains largely unknown arouses curiosity about what has been missed – or, in a less flattering sense, what the opera itself is missing.
Despite having justly earned Donizetti’s exasperation with its long-delayed gestation, Felice Romani’s libretto for Parisina is among the finest of the bel canto period. Romani famously lamented that his verses for Parisina, the value of which he shrewdly sensed, were set by Donizetti rather than Bellini (for whom Romani provided seven libretti, including those for Norma and La Sonnambula). Opera Rara have provided Romani’s complete libretto, including passages that were not set by Donizetti. Reading the libretto both with and without Donizetti’s excisions, it is apparent that the composer’s judicious editing rendered Romani’s libretto both more dramatically effective and more ingratiatingly poetic. Metaphors likening human emotions to natural phenomena abound, providing Donizetti with ample and mostly creatively-seized opportunities for tone painting. In the scene in which Azzo (the aging, jealous husband who denounced a previous wife for imagined infidelity, with fatal consequences for the hapless bride) observes Parisina (Azzo’s current wife, faithful despite having loved another man since their shared youth) as she sleeps and hears her utter in the course of her dreams Ugo’s name (he being the requiting object of Parisina’s innocent passion), both Donizetti and Romani attained the zeniths of their respective arts. With music of thrilling tension and deceptive beauty, Donizetti fully revealed the brilliance of Romani’s verses and presaged the exhilarating and heart-wrenching final scene of Verdi’s Otello.
Despite many passages that are recognizably Donizetti at his finest and a duet for the lovers that resembles in structure, dramatic function, and thematic development Lucia’s and Edgardo’s ‘Verranno a te sull’aure,’ Parisina lacks the easily memorable tunes that have doubtlessly played a significant role in keeping Lucia di Lammermoor and L’Elisir d’Amore in the affections of audiences worldwide. Even if one loathes these scores and their heart-on-the-sleeve sentiments, melodies like the main themes of ‘Verranno a te,’ Lucia’s great Sextet, ‘Tu che a Dio spiegasti l’ali,’ and ‘Una furtiva lagrima’ are not easily expunged from the memory. Though possessing ensembles that rival the best in any of Donizetti’s scores and in ‘Sogno talor’ an aria as hauntingly beautiful as any solo number in nineteenth-century opera, Parisina ultimately impressed most with its grandiose but never vulgar drama and the dignity of its utterance. Parisina is a worthy sister to Anna Bolena, Lucia, and Maria Stuarda, her lines in some instances even more finely-crafted than theirs but wanting the melodic individuality that forever stamps the recollection of a character’s plight upon a listener’s mind.
Opera Rara make with this recording a persuasive case for Parisina, as indeed they do with virtually every score that they commit to disc. At the podium, David Parry adds another jewel to his crown of achievements in bel canto repertory, presiding over a performance that ideally blends grace with fire. Tempi are carefully judged with a masterful touch for shaping musical progression naturally, speeds in lyrical portions of the score expansive without languishing and those in the more overtly melodramatic passages wonderfully propulsive without leaving the singers gasping behind. Maestro Parry’s winning approach is magnificently abetted by the singers of the Geoffrey Mitchell Choir, under the direction of Renato Balsadonna, and the players of the London Philharmonic. The choristers give little evidence of being Britons, and the integrated tone they bring to both intimate and boldly extroverted passages is ringing and impressive. The Philharmonic players execute their music on a level that matches the work of the world’s best orchestras, playing with dash when required and, following Maestro Parry’s lead, accompanying the soloists with subtlety and attention to detail. More so than in some of Donizetti’s more celebrated scores, the orchestra in Parisina have a significant part in developing the opera’s drama, and this is vigorously realized. Maestro Parry again proves his idiomatic suitability for bel canto repertory and surpasses by a considerable margin the current international standard for what is thought to be ‘stylish’ conducting of bel canto scores.
The only ‘small’ role in Parisina is that of Imelda (Parisina’s confidante), though even she makes significant contributions to the drama. The role is cast from strength in Opera Rara’s recording with mezzo-soprano Ann Taylor, a fine singer whose varied experience ranges from Händel and Gluck to contemporary music. In this performance, Miss Taylor discloses a pleasing voice and a technique capable of facing the modest hurdles Donizetti set for her; that is, modest but debilitating to many underprepared singers who might sign on expecting only a few lines in recitatives and doubling of the top lines in choruses. Dramatically, Miss Taylor enacts all of Imelda’s concern for her mistress through coloration of the voice, darkening her vowels in moments of stress to underline Imelda’s terror and foreboding. Remembering all the poor singing that can be heard on recordings and in staged performances in a crucial supporting role such as Alisa in Lucia di Lammermoor, it is of great solace to hear an artist of Miss Taylor’s accomplishments as Imelda.
Ernesto, Ugo’s adopted father (it is revealed in the course of the opera that Ugo is none other than the unknown son of Azzo and his cast-off wife, Matilde), is a bass role cut from the same cloth as Raimondo in Lucia di Lammermoor. Ernesto’s roles as the distressed father-figure and voice of reason and conscience are shared with Raimondo, and their vocal lines are likewise similar. Ernesto is sung in this performance by bass Nicola Ulivieri, and – as with the Azzo and Parisina – it is beneficial to hear a native Italian singer in the role. Mr. Ulivieri is attentive to the innate profundity of Ernesto’s pronouncements and sings throughout the performance with firm and pointed tone, producing a superb high note in the scene in which he reveals to Azzo that Ugo is his natural son. Mr. Ulivieri’s singing produces the suspicion that his vocal center of gravity is at the higher end of the bass spectrum, however, occasionally compromising Donizetti’s intended effects in Ernesto’s lower register. Only rarely does this impede the resolution of a phrase, and Mr. Ulivieri minimizes the impact of the relative weakness of his lowest notes by leaning into the text as his vocal lines descend, compensating for lack of sheer heft with closely-judged dramatic emphasis. In Mr. Ulivieri’s performance, Ernesto’s concern for his adopted son’s predicament is palpable, his singing shaped by alertness to the meaning of the text. On the whole, Ernesto is a more interesting character, musically and dramatically, than Lucia’s Raimondo, and he is admirably portrayed by Mr. Ulivieri.
Azzo shares many similarities with Alfonso in Donizetti’s Lucrezia di Borgia (not least that both of them are Dukes of Ferrara) and Verdi’s Conte di Luna. A deeply insecure man whose almost psychotically jealous nature has already resulted in the repudiation of his first wife (Ugo’s mother), Azzo is consumed at the start of Parisina with suspicions of his current wife’s presumed infidelity. These suspicions are the dramatic core of the opera, and tragedy is precipitated by the reality that the devotion between Parisina and Ugo is born of a pure love, the product of their shared childhood. His unyielding menace notwithstanding, Azzo is the most vividly-drawn character in the opera, and Donizetti shaped the role with music of impressive range and vitality. That vitality is brought to the fore by the committed singing of Italian baritone Dario Solari. Mr. Solari reveals in this performance a solid voice of middle weight, the timbre dark without jeopardizing vowel placement or the clarity of his diction. In terms of vocal weight, Azzo is a step further than Lucia’s Enrico towards the towering baritone roles of middle-period Verdi. It is easy to suspect that a successful Rigoletto would likewise prove an effective Azzo. Combining a thoughtful but voracious approach to the role with a voice on good form, Mr. Solari is a thoroughly successful Azzo. If it is more difficult to imagine him proving a completely effective Rigoletto, this can be attributed in part to Mr. Solari’s possession of a good baritone voice of the modern sort; vowels open and on the breath and consonants rounded to minimize impact on legato. Dramatically, Mr. Solari convinces as a relentlessly threatening character whose few moments of lyricism are undermined by doubts. In a sense, the final scene in which Azzo has his son murdered and heartlessly reveals the corpse to Parisina represents a pre-Freudian psychotic break, and Mr. Solari rises to the challenges of both this scene and that in which Azzo overhears his sleeping wife utter Ugo’s name. Listeners familiar with Caballé’s Carnegie Hall concert performance of Parisina may have been spoiled by hearing the wonderful Québécois baritone Louis Quilico (a justifiably famous Rigoletto) as Azzo, but Mr. Solari brings off the full measure of the role on his own scale.
Ugo, the object of Parisina’s innocent affection, is sung by Catalan tenor and bel canto specialist José Bros. Mr. Bros has to his credit an impressive array of successes in bel canto in the world’s opera houses and on records, not least in the title role of Opera Rara’s recording (taken from a pair of concert performances at the Royal Opera House, Covent Garden) of Donizetti’s Roberto Devereux. Though heavier than some bel canto tenor roles, Ugo was composed for Gilbert-Louis Duprez, the first tenor known to have taken top C’s from the chest (and who, five years after the premiere of Parisina, created the role of Benvenuto Cellini for Berlioz), ensuring the role’s prominence and high tessitura. Ugo indeed has much distinguished music despite the lack of a set piece of the unforgettable impact of Edgardo’s Tomb Scene in Lucia or Roberto’s Prison Scene in Roberto Devereux. In theory, it could be argued that Mr. Bros possesses a voice that bears distinct similarities to contemporary accounts of Duprez’s. During the past few years, the bright patina of Mr. Bros’ voice has dimmed somewhat, but he retains an attractive, slender tone that can take on a metallic, somewhat nasal edge as he ascends into his highest register. As Ugo, he sings with no shortage of involvement and sensitivity to the text (though words containing the letter ‘z’ often receive a decidedly Castilian rather than a idiomatically Italian pronunciation). As ever, the reach and technical accomplishment of Mr. Bros’ singing are impressive, and there are many moments of beauty in Ugo’s lyrical passages. Ugo’s expressions of confusion with his adopted father, frustration and defiance with Azzo, and tenderness with Parisina are meaningfully contrasted. Mr. Bros endeavors manfully to avoid placing the voice under pressure unduly, raising the suspicion (as elsewhere among the cast) that a slightly larger voice would be more apt for the role, but he cleverly puts instances of stress to dramatic use. These qualities contribute to a sense that Mr. Bros has the role well in hand, and he easily outclasses his only recorded rivals in Ugo’s music.
Donizetti conceived the title role of Parisina for Caroline Ungher, the Austrian singer who was the contralto soloist in the first performances of Beethoven’s Missa solemnis and Ninth Symphony (and who, tradition would have it, performed the sad duty of turning the deaf composer to face the frenzied applause of the audience at the Symphony’s end). In addition to Donizetti’s Parisina and the aforementioned Beethoven parts, Ungher also created the roles of Isoletta in Bellini’s La Straniera, Antonina in Donizetti’s Belisario, and the title role in Donizetti’s Maria de Rudenz. The variety of these roles suggests that Ungher was, like her nineteenth-century counterparts Giuditta Pasta and Maria Malibran (and, in the twentieth century, Maria Callas), an artist whose voice could not be accurately assigned to any one Fach. In Parisina, she faced music of wide range, coloratura complexity, and lyrical richness. In twenty-first century performances, roles such as those composed for Ungher present casting challenges in that the tessitura is frequently too low for coloratura sopranos (as in the case of Dame Joan Sutherland, noted at the start) and uncomfortably high for modern mezzo-sopranos. In this regard, Opera Rara cast Parisina with a gifted singer whose voice is a seamless compromise between mezzo-soprano and soprano ranges, the Italian soprano Carmen Giannattasio (who also made a significant impression as Elena, a role with similarly uncertain tessitura, in Opera Rara’s concert-performance recording of Rossini’s La Donna del Lago). The timbre of Miss Giannattasio’s voice is not immediately identifiable, at least not in the manner in which a listener instantly recognizes the voice of Callas or Sutherland, but hers is a lovely, shimmering voice that survives Parisina’s music without audible distress. In moments of greatest emotional anguish, Miss Giannattasio covers the tone slightly, tempering the voice’s natural sheen without decreasing its beauty or purity. From the perspective of technique, Miss Giannattasio is a much better singer than many of the sopranos singing similar repertory throughout the world, and she makes a fascinating effect in Parisina’s great aria ‘Sogno talor di correre.’ Central to her dramatic suitability for the role, Miss Giannattasio displays the admirable acumen to convey the tragic maturity and weight of Parsinia’s sorrow while retaining an obviously youthful vocal profile. The incensed terror of her responses to Azzo’s eavesdropping on her slumbering utterance of Ugo’s name heighten the foreshadowing of the related scene in Verdi’s Otello and prove thrilling in the context of Parisina. Miss Giannattasio’s contributions to the final scene, in which she collapses in the arms of her ladies-in-waiting after being shown the corpse of the murdered Ugo, are wrenching, the tone both ethereal and febrile. In this performance, Miss Giannattasio proves – despite a less-imposing voice – a legitimate rival to Caballé as Parisina and gives further evidence of what seems a very promising career in bel canto.
Perhaps the single finest collective achievement of the cast (including chorus, orchestra, and conductor) of this recording of Parisina is that, in the long-standing tradition of Opera Rara, there is not even the faintest suggestion of condescension to what is, by twenty-first century standards, a blood-and-thunder melodrama ripe for parody. Every participant in this performance gives every appearance of complete dedication, not to a task but to the presentation of a neglected masterwork. Parisina deserves this luxury treatment far more than most of the Baroque and bel canto works unearthed during the past three decades, and Opera Rara have lavished on the score the resources and commitment major labels brought to the mainstream Verdi and Wagner operas a generation or two ago. Bel canto endures because its emphasis is (or should be) pure beauty: this recording of Parisina, preserving fine work from all its contributors, reveals that Opera Rara understand this as fully now as when their first recording was released thirty-two years ago.


Fear not Gals With Goals readers! I haven’t given up on my August goal, I’ve simply been in Washington, D.C. for the National Flute Associations Annual Convention! After two rehearsals on Wednesday, I traveled to D.C. on Thursday with my teacher, Alison Brown Sincoff and the Ohio University Flute Choir to perform on a combined concert with the OSU Alumni of Katherine Borst Jones. We had beautiful weather and such a great time at convention. I had a chance to meet new members of the OU Flute Studio, reconnect with fellow OU grads who also studied with Catherine Keener in high school, hang out with my fellow Divertimento Flute Quartet members, and attend a University of Nebraska Alumni breakfast. I’m already looking forward to next year’s convention on San Diego!
I finished reading Making Music and Enriching Lives this past week for my August goal and wanted to share what I thought were the best highlights of the book. As students head back to school this week, many parents might be considering music lessons for their child. In the book, Bonnie Blanchard lists the advantages of starting lessons early, starting lessons later, and she also provides parents with ways to determine if their child is ready for music lessons. Hopefully these lists will help students and parents decide if private instruction is right for them this fall!
Some Advantages of Starting Early
1) May learn best before age ten, according to some studies.
2) Integrate music into their lives before extracurricular activities crowd it out.
3) Think of themselves from the beginning as musicians.
4) Learn by rote and quickly develop their listening and memorizing skills.
5) Enjoy the sense of belong and the role models group lessons provide.
6) Gain confidence when initially playing ahead of their peers.
7) Need more parental involvement, which brings the family together in music.
8) Develop more fluid and natural technique through years of lessons.
Some Advantages of Starting Later
1) Are better able to sit still and concentrate.
2) Have developed the needed fine motor skills.
3) Have the necessary breath capacity.
4) Base their learning on reading music instead of imitating, learning closer to “real life” music situations.
5) Better understand music theory as it presents itself through the music.
6) May choose to play their instrument, instead of it only being the parents’ idea.
7) Are less likely to “burn out” by adolescence.
8) Progress faster and in more exciting ways, requiring less patience from the child, parent, and teacher.
9) May, after a few years, catch up with their peers (especially in woodwinds), saving years of time and money investments.
Is Your New Student Ready to Start Lessons?
To determine a child’s readiness, ask:
1) Can the child sit still for twenty minutes?
2) Can he/she perform small motor tasks with both hands?
3) Are his/her hands big enough to hold the instruments? Does she have the necessary breath control for a wind or brass instrument?
4) Is he/she fairly organized? Does he/she take care of her belongings?
5) Does the child show an interest in music? Does he/she ask for favorite songs? Does he/she sing?
6) Does he/she feel comfortable talking with adults? Will he/she take direction?
7) Is he/she mature for his/her age?
Fellow teachers, I didn’t forget about you! Kick start your year, not just with music fundamentals but also with ideas for teaching musicality to your students. It’s easy to get caught up with the “nuts and bolts” of music making, but what about musicality? Here’s a short list for teaching, not just a technician but also a musician.
How Do You Teach Beginners to Be Musical?
1) Show the similarities between spoken speech and music
2) Create a musical attitude from the beginning
3) Listen to good music
4) Provide other tools
5) Musicality is many notes on one gesture
6) Music has a feeling of forward motion
7) Music is tension and release
I think most musicians would agree, one of the most rewarding aspects of being a musician is participating in chamber music with your friends and colleagues. Why not share that sense of community with our students? In Making Music and Enriching Lives, Bonnie lists the following reasons for providing and promoting chamber music for our students.
Why have your students play in ensembles?
1) Ensemble music, especially for strings and piano, is some of the best music there is.
2) Performing in an ensemble takes the pressure off each individual and is a great way to ease students into performance.
3) Learning to interact with ensemble members is a valuable growing and maturing tool for teenagers. It forces them to “get out of themselves” and communicate with the members of the group, the first step to communicating with an audience.
4) Ensemble playing is a great antidote for prima donnas. It forces players to think like a sports team and not like soloists.
5) It teachers leadership.
6) The skills students learn through ensembles make their solo performances better too.
7) It is valuable ear training as each member tries to listen to all the parts at once.
8) It’s an easy way for students to make friends and for parents to get to know each other too.
9) It beats the monotony and loneliness of playing by oneself all the time and adds to private lessons.
10) It’s a way to teach more than one child at once.
11) It’s tons of fun!
If you haven’t done so yet, please check out Bonnie’s website and book. I’ll have more to come next week as I begin reading Bonnie’s second book, Making Music and Having a Blast.


The Drusilla Duffill Theatre School offers a fantastic dance education to all pupils providing a disciplined approach to physical exercise, a chance for young people to express themselves creativelyand an avenue for children to explore and contemplate a future in dance.
We have a reputation for being a professional, hardworking and friendly dance school providing outstanding dance classes in Ballet, Tap, Modern, Jazz and Street Dance to girls and boys from the agesof 2.5-18 years. We are proud of our 100% pass rate in ISTD examinations.
Sarah is the principal teacher & founder of "The Live Wire School of Dance" which was founded in 1996. Sarah started to dance at the early age of 2½ years and has been dancing ever since, obtainingan all round training in Ballet, Tap, Modern, Ballroom & Latin American. At the age of 5 years Sarah decided that her ambition was to run her own dance school and she has been working towards this ever since. She has been an ISTD/NATD qualified dance teacher since she was 21 years old.
We are a friendly dance school based in Burgess Hill, West Sussex and have been offering dance training to children aged 3 and upwards since 2008. School Principal, Karen Hollebon, is a highlyqualified dance teacher with over 30 years experience of teaching children and adults. We believe in helping all our children reach their full potential as dancers through training, examinations and performances but most of all we want to have fun! Our phone numbers and email address are on the Contact page.
Show businesses near Burgess Hill


«Selfie» is an impressive portrait of Catalan pianist-improviser-composer-educator Agustí Fernández, offering insights into what he thinks and feel nowadays about music and the piano. All the pieces, except the last one «Llimona», were recorded over the past year. Fernández recorded this album alone, in his studio, with his own piano and his own recording equipment. Every day he went to the studio, looked at the piano, and decided where to «attack» it. After a few takes, he left the piano, and in the afternoon he listened to the takes and decided which one was the «roundest» one, the one that had the most musical entity, and got closer to what he felt while playing.
The titles of the piece are simple. Fernández insists that he did not want to «tell a story with the music. There are no literary or landscape references, I don’t want to translate concepts or metaphors into music. I have nothing to explain but the music I make. I just want to play the piano, my own way». And in his unique way, he understands the piano as «a box with the potential to make all kinds of sounds … the essence of the piano is in the sounds that the vibrating strings emit, not the keyboard. You can make the strings vibrate in many ways, with different objects (as are the key hammers) or directly with the hands and fingers». The playing itself was a physical and metaphysical experience: «When I play, I am the sounds that I produce. I bring them to life and they give life back to me. When I play, I let the music penetrate me and say what it wants to say, and I try to put as few impediments as possible. I listen intensely to the different colors and I seek to capture each instance … Pure music».
In a way, «Selfie» tells about the never-ending struggle of Fernández with his beloved instrument. His imagination and rebellious spirit seek to liberate the piano, and at the same time to liberate himself from numbing, comfort-zones as a musician, improviser and composer. At the same time, he seeks to reach a deeper, even revolutionary, spiritual unity with the piano’s sounds. Fernández mentions that he believes in the «transformative power of sounds. When we listen to them carefully, they have a lot to tell us». This transformative power does not relate only to music or art at all but affects the way we see the world, ourselves, our society, and the times we’re living.
Fernández strips his music from any familiar convention, genre, or stylistic association, and opts for raw, abstract sounds with a rich array of extended techniques that employ the full body of the piano – keys, wooden body, and strings. He calls it pure and clean music. It is music of total commitment and constant search; music of resistance and refusal to accept common norms or the current state of affairs; music that no listener can be indifferent to it. It is demanding music, often urgent and chaotic, even unsettling music, but music that is colored with strong poetic veins; music that calls for action, emotional, cerebral, and political action, but most of all humane action. Great music from a true master with singular musical language. You should make this rare kind of music as part of your life too.
Agustí Fernández (p)


Personnel: Leon Redbone (vocals, guitar); Frank Vignola (guitar); Scott Black (cornet); David Boeddinghaus (piano).
Recorded at a Paris theater in 1992, LIVE presents Leon Redbone at his old-timey best, delighting an enthusiastic French crowd with his sauntering, anachronistic tunes. Redbone's sly, distinctive voice is backed only by guitar, cornet, and piano here, and the spare instrumentation serves to highlight the songs themselves, which range from originals that touch on blues and gypsy jazz to lively American standards.
To place an order or for customer service, call toll-free 1-800-336-4627 or outside the United States, call 1-610-649-7565
Open Monday - Friday: 7am-10pm, Saturday: 9am-9pm, Sunday: 10am-8pm (Eastern Time)


The Latin Jazz wave is old hat. There are too many hangers-on; too many copy cats and not enough original thinking musicians. But in contrast, the serious craftsmen and women are getting more skilled and penetrating the soul of the Latin ethos – some even growing something akin to “mi Alma Latina” actually. And, of course jazz is today’s “classical” music given us originally by the Afro-American musicians of past and present. And so in praising the art the keepers of its flame, many European musicians create rather wonderful works.
The Music has been embraced across the Atlantic pond for decades, with Europe embracing important musicians from Satchmo, Sidney Bechet and Ellington to Mingus, Bud Powell, Ben Webster and Dexter Gordon. Men like Boris Vian spread the gospel of The Music and artists like Mathias Ruegg and now Hamlet Fiorilli are faithful apostles. This record by the latter is one of the latest attempts to share the Latin Jazz experience with serious fans of this and The Music. And it is not only brave but shines with a catalogue of real gems.
Descarumbiando shows just how much this group has imbued the spirit of the music. And this is the best news and heralds the musical success of this project. Anyone virtuoso musician can play with great facility, but to play intelligently and thoughtfully – and every once and awhile – to come up with something surprising is a measure of just how the musicians “dig it” and therefore “get it.” That title track, for instance, is like an overture for the record. The jam comes roaring in with rhythms form Brasil and Cuba – samba and rumba – melding like steel, bending and frolicking with the “alegria.”
“Recuerdos” showcases the full intensity of the percussionists on this date. Their work is outstanding and compliments the inner clave of Hamlet Fiorilli’s piano work. Congas and drums combine sharply and there is a superb flamenco break and the handclaps accentuate the heat of the piece. “Suite Latina,” although short is a fine composition rooted in the valse mode but then soon traverses the gamut of rhythms with a dynamic harmonic crescendo, played by the piano almost mimicking a Gershwin roll at first then streaking ahead. “Ron Y Gin” is a classic Cuban mambo and son track that is played with swagger.
The rest of the program is anything but predictable. “El Fuego del Padre” explores the edges of tonal dissonance and also features some fine conga work. “Gospa” is a well-written authentic bolero. “Tocando Mi Oropel” is rendered as a chorinho and features a memorable dialogue between Fiorilli’s piano and Simon Pibal’s clarinet. In “Bluesambongo” the funky Afro-American and samba rhythmic dialects collide. The highlight of “Siete Camisas” is the fine sense of togetherness that exists in the band as they work each other in unison. And “Tranquilo” is a quiet closer for the date, but not before the quiet fire of Hans Lassnig’s trumpet burns through the bolero.
If there is one quirky slightly distracting aspect to the record it may be the song titles that are a tad contrived, but then the music that follows more than makes up for this. The result though is a surprisingly mature Latin+Jazz record.
Tracks: Descarumbiando; Recuerdos; Suite Latina; Ron Y Gin; El Fuego Del Padre; Gospa (Bolero Mayor); Tocando Mi Oropel; Bluesambongo; Siete Camisas; Tranquilo.
Personnel: Hamlet Fiorilli: acoustic piano; Victor Fiorilli: electric bass; Stefan Mortel: drums; Gianni Battilana: congas and percussion; Max Fiorilli: timbales and percussion; Hans Lassnig: trumpet and flugelhorn; Michael Erian: tenor and soprano saxophones (solo: 7, end solo 1); Robert Friedl: tenor saxophone (all other ts solos); Special Guests: Stefan Gfrerer: acoustic bass (7); Simon Pibal: clarinet (7).
Hamlet and His Latin Jazz Experience on the web: www.latinjazzexperience.com
Review written by: Raul da Gama
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Residents in Thanet are being encouraged to join a new choir launching this month, where singers can learn tunes from musical legends such as Elton John, Tina Turner and Aretha Franklin.
From January 8, people of all ages and abilities will be able to join the Margate Soul Choir, held at the Cliftonville Community Centre on Monday nights from 7.30pm.
Set up and run by award-winning Kent-based musicians and composers Abi Gilchrist and Ross Power, Soul Choirs already has ten branches across the South-East and London including in Tunbridge Wells and Whitstable.
The Margate Soul Choir is one of four new groups being set up for 2024, with other openings in Brockley, King’s Hill and London’s King’s Cross.
There is no need to audition or be able to read music to join a Soul Choir. Experienced choir leaders teach groups in a 90-minute session each week, with singers learning around seven songs per term.
At the end of each term, there is a chance for choir members to perform in concerts across Kent and London. Past concert venues have included Dreamland in Margate, Greenwich and Docklands Festival, the Southbank Centre and Camden’s Electric Ballroom (KOKO).
Some members have even had the chance to perform with soul legends such as Mica Paris, Lemar, Incognito, Alison Limerick and others appeared on last year’s M&S’ Christmas advert.
Abi Gilchrist, co-founder of Soul Choirs said: “We are thrilled to be opening four new branches of Soul Choirs in London and Kent and spreading the Soul Choirs joy for more people to make local friends, learn amazing songs and have some incredible performance opportunities. Our choir members always tell us that singing boosts their mood and helps their mental health too.
“If you’d like to have a try, sign up for a free taster session via our website. You’ve got nothing to lose and everything to gain!”
Rehearsals will be on Mondays at the Cliftonville Community Centre, St Paul’s Road, from 7.30pm until 9pm.
To sign up for a free taster session, visit soulchoirs.com


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From the CD: "Devotion to Mary through the ages has inspired an outpouring of music in her honor. This compilation is a unique bouquet of sublime pieces from the 12th century to the present, most of them not found in other Marian collections, exquistely performed by some of the world's best artists."
This CD is an incredible project that features some of the most beautiful songs every performed for our Blessed Mother. The music is from the classical and world music genres, and features a variety of artists and groups.
Among my favorites, Schubert's "Ave Maria" peformed by Sweden's Elisabeth Andreassen and the late Jan Werner Danielsen; world music singer Ashana and her original composition of the "Ave Maria"; The King's Consort recording of Claudio Monteverdi's "Ave Maris Stella", and the University of Nevada, Las Vegas' Wind Orchestra's performance of Eric Whitacre's "Lux Aurumque". While these are my favorites, all of the songs on this CD are true masterpieces, as they should be to honor Mary.
1. "O Maria, Stella Maris", performed by Trio Mediaeval
2. "Ave Maria" by Franz Schubert, performed by Elisabeth Andreassen & Jan Werner Danielsen
3. "Viridissima" by Hildegard Von Bingen, performed by Jocelyn Montgomery
4. "Et Lidet Barn Saa Lystelig" by Anonymous, performed by Anne-Lise Berntsen & Nils-Henrik Asheim
5. "Magnificat" (excerpt) by J. S. Bach, performed by Miah Persson, Yukari Nonishita, Akira Tachikawa, and Bach Collegium Japan.
6. "Cavatina: Se D'un Dio Fui Fatta Madre" by G. F. Handel, performed by Anne Sofie von Otter & Musica Antiqua Koln
7. "Ave Maris Stella" by Claudio Monteverdi, performed by The King's Consort
8. "Pavan: The Cradle" by Anthony Holborne, performed by The Rose Consort of Viols
9. "Ave Maria" by Ashana, performed by Ashana
10. "Regina Coeli" by Nicolas Gombert, performed by Huelgas Ensemble
11. "Nesciens Mater" by Jean Mouton, performed by the Monteverdi Choir
12. "Lux Arumque" by Eric Whitacre, performed by UNLV Wind Orchestra
13. "Ave Maria" by Charles Gounod, performed by Anne-Maria O'Farrell & Aisling Drury Byrnie
LINKS for this review:
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Copyright 2010 Jim Logue
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Ultimate Air Guitar : Whip your phone out of your pocket and SHRED!
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Choose to rock with a live crowd and get the full atmosphere of a smokey blues club or massive stadium crowd, and listen to them cheer your air guitar skills!
Choose your favourite skin for the air guitar screen, such as a concert crowd or amp tube, and watch it glow as you rock!
You can even rock with a full band thanks to UK rockers 'A New Tomorrow', who have kindly provided their track 'What They Can't Steal From You' for you too play air guitar with and melt some faces!
More skins and guitar styles coming in future updates. What are you waiting for, its free! Grab it now and start rocking!
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I have to admit that film music isn’t normally be something I would choose to go and see, but my son had spotted the magic words ‘Star Wars’ on the programme, and (disclaimer!) a friend of mine was playing, so off we went to Elvet Methodist Church for the Durham University Hill Orchestra’s summer concert, conducted by Jonathan Packham.
The Hill Orchestra is a non-auditioned group, a vital part of the university’s musical make-up, that gives opportunities to everyone who wants to play. It’s relatively heavy on wind and brass, since obviously there are fewer places in the auditioned orchestras for these instruments. I thought the programme was very well chosen for the forces available, with pieces that gave the relatively small string section big soaring melodies that allowed them to shine and come through against the brass and winds.
Their hour-long programme swept through the big tunes of a number of popular movie scores, beginning with the theme from ‘The Magnificent Seven’, with Kweku Bimpong and Ryan Bunce creating an effective sound of galloping horses in the percussion. I thoroughly enjoyed the orchestra’s very stylish delivery of Eric Coates’s music for ‘The Dambusters’, which came across with just the right sense of lightness and swing, and the boy was very approving of ‘Star Wars: The Empire Strikes Back’, particularly the brass.
The concert was very much an ensemble performance, but special mention has to go to Ryan Kerr for a lovely oboe solo in Ennio Morricone’s famous theme ‘Gabriel’s Oboe’ from ‘The Mission’, and to all the lower instruments in one of the non-movie pieces of the evening, a fun-filled ‘Hall of the Mountain King’.


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With 60 watts of acoustic power at your disposal, the Loudbox Mini ensures that your sound will be heard loud and clear. It features two channels, each with Fishman’s renowned preamp and tone control designs. This means you have complete control over your instrument and microphone, allowing you to fine-tune your sound to perfection.
The Fishman Loudbox Mini goes above and beyond by offering built-in digital reverb and chorus effects for the instrument channel, as well as reverb for the microphone channel. These effects add depth and dimension to your sound, making your performances truly captivating. You can adjust these effects to suit your musical style and preferences, giving you endless creative possibilities.
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The Fishman Loudbox Mini is a game-changer in the world of acoustic amplifiers. Its impeccable sound quality, powerful performance, built-in effects, and convenient features make it a valuable addition to any musician’s gear collection. At Decibel Audio Kenya, we are thrilled to offer this exceptional amplifier to our customers, and we invite you to come and experience the Fishman difference for yourself. Elevate your acoustic sound to new heights with the Fishman Loudbox Mini – your audience will thank you.


Live entertainment rounded out a lunch at Roaring Brook School Thursday with a lesson on musical composition.
Larry Alan Smith, dean of the University of Hartford's Hartt School, accompanied by doctoral candidate Sue Black on the bassoon, serenaded students in the cafeteria with music the pupils helped him compose.
Smith asked the students, seated at long cafeteria tables as they munched on lunch, whether they would like him to compose a soft or loud piece, fast or slow, happy or sad.
During one lunch wave, one student chose a loud, slow, happy song.
Tough, but not impossible.
Smith immediately envisioned the tune in his head before jotting it down on sheet music and showing it on a screen with an overhead projector. He used sort of a majestic marching gesture, moving his arms raised high, to allude to the feel of the tune.
"This is wild," he said. "This is going to jump all over the place a little bit."
The notes are just "marks on a paper until a performer comes into the picture and translates what's on paper into sound," he said.
Smith and Black's presentation to the students was part of a weeklong "Celebration of the Arts."
The celebration included a display of the literary and artistic works by students in kindergarten through fifth grade, exhibiting the spectrum of growth through the elementary school years.
The week also included adult readers visiting the classrooms, a performance by a jazz band, and a play by fifth-graders called "Use Your Imagination."
Students, who all learned how to play the recorder, said they enjoyed the presentation. Some said they like to sing, write songs and play other instruments such as the keyboard, piano and pennywhistle.
"I like how he never erased things," Cayla Buettner said, referring to Smith's approach to a work in progress. "He just scribbled them out."
Buettner, who once wrote a nursery rhyme song at home, said it was good advice.
"That way if I'm writing anything . . . I may want it back in there," said the 9-year-old third- grader.
Tia Batson, who is 8 and also a third-grader, said she enjoyed Smith's advice. Batson said she composes and has written songs about her family. "I write a song down, then I find keys to play them."
Margaret Stacy, 8, and in the third grade, got Smith's autograph Thursday to put in her special notebook with other signatures she's collected. Why? "Because I wanted it," she said. "Because he teaches people how to play music."
Smith said he wanted students to remember that every time they sing, play music, or hear it that a real live person wrote it.
"The word composer actually comes from an old Latin word, which actually means to put things together," said Smith, who lives in town and has a son who attends Roaring Brook School. "It's almost like I'm a builder."
A composer "tries to capture their feelings and your feelings about the time in which they lived," he said.
"It's kind of a history whenever you sing or play music. You know that you're a partner with the composer who wrote the music."


I did end up finding the piano sheet music to Nothing Else Matters by Metallica and some other sheet music, including November Rain by Guns N Roses and Beth by Kiss. All last week I was having fun playing the piano. It feels good to play. I don’t play very well anymore but just doing something familiar reminds me of being younger and the creativity juices in me. I let it out by drawing, painting, dancing, playing the piano, writing…etc…it’s a good reminder to always try something new again to keep your brain working in different ways. I heard that it keeps you young too 🙂
You can add blogging to the list also 😉 It’s something new that I love to do!
Thanks for reading!!


SCIOTO COUNTY- This year the Scioto County Honors Music Festival will celebrate its 80th Anniversary with a performance by local High School Band, Jr. High Band, and High School Choir students at the Vern Riffe Center for the Arts, at Shawnee State University in Portsmouth, Ohio, on Tuesday, February 28.
166 local music students in grades 7-12 from Clay, East, Green, Minford, New Boston, Northwest, Oak Hill, Portsmouth, South Webster, Valley, West and Wheelersburg will perform in the music festival this year. Students were required to audition to become members of the Honors Music Festival.
Students will be performing in one group concert. There are 46 members of the Scioto County Junior High Honors Band, 59 members of the Scioto County High School Honors Band, and 61 members of the Scioto County Honors Choir.
The Guest Conductor for the Jr. High Honors Band is Ms. Carol Dunevant, Director of Learning for the Cincinnati Symphony Orchestra. She has conducted throughout the United States as well as internationally, including two tours of Japan and as Festival Conductor of the Luhansk Philharmonic for the Luhansk International Music Festival. Her work with the Cincinnati Symphony Youth Orchestras and Nouveau Program provides access to educators and students from 50 schools in a 120 radius.
The Guest Conductor for the High School Honors Band is Ohio musician, music educator, and composer, Dr. Nicole Piunno. Her music has been performed by the Principal Brass Quintet of the New York Philharmonic, Athena Brass Band, The United States Coast Guard Band, Wind Symphony of Clovis, the University of North Texas Wind Ensemble, and at many other universities and conservatories around the country. Her chamber music has also been performed at the Orvieto Musica TrumpetFest in Orvieto, Italy, the International Trombone Festival, and multiple International Trumpet Guild Conferences. In honor of the 80th Anniversary of the Scioto County Honors Music Festival, Dr. Piunno was commissioned to create an original arrangement to be performed by the High School Honors Band and Choir at this year’s concert.
The Guest Conductor for the High School Honors Choir is Mrs. Jeanne Wohlgamuth who currently serves as the Artistic Director of the Columbus Children’s Choir. She serves as President-Elect of the Ohio Choral Director’s Association and Vocal Affairs Chair for the Ohio Music Education Association. She has served as a guest clinician for numerous state and national honor choirs and in 2023 will lead her first choral residency at Carnegie Hall. Ms. Wohlgamuth is proud to have received the Professor Veneta Vicheva International Conductor’s Mastery Award, the Best Conductor award of the Rimini International Choral Competition. She was also awarded the 2020 National Teacher of the Year from the Organization of Kodaly Music Educators.
Music scholarship awards will be announced during the festival.
Sponsors for the Music Festival are: William & Barbara Burke, Mike and Teresa Canter, Marc & Jennifer Cottle, Dr. Paul & Mrs. Carolyn Crabtree, DESCO Federal Credit Union, Glockner Enterprises, Rosalee Greene, Lowell & Nikki Howard, Dr. Robert & Mrs. Chris Knox, Drs. Michael and Mary Martin, Arnold & Wanda McCoy, Debbie McGinnis, Ohio Arts Council, Portsmouth Area Arts Council, PALS, Portsmouth Rotary Club, Scioto Foundation, Shawnee State University, SOMC, and Southern Ohio Rheumatology.
The concert begins at 7 p.m. on February 28. Reserved seating tickets are $10.00 each and are on sale now at the McKinley Box Office, inside the Shawnee State University Vern Riffe Center for the Arts. The box office phone number is 740-351-3600, and its hours are 10 a.m. to 5 p.m. Monday through Friday, and one-hour prior to the concert.


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J Dilla + Snoop Dogg + Kokane – Gangsta Boogie | New Music
It turns out there is more unreleased J Dilla. Super rap producer, Dr Dre, just premiered the previously unreleased song, titled “Gangsta Boogie”, on the latest episode of his radio show.
It is to be the first single from Dilla’s long lost 2002 effort, The Diary, featuring Snoop Dogg and Kokane, with production by Hi-Tek. The album is set for release on PayJay/Mass Appeal Records on Friday, April 15 and is available for pre-order.
It has that bottomless bass you associate with the West funk side of things. Chords of synthesiser ring through now and again, as if to convey the threat of gangsta repercussions.
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Over the years I have seen some awe inspiring do-it-yourself entertainment. It is my hope that my list of favorites will inspire you to incorporate some special DIY entertainment on your wedding day.
Bride’s six-year-old nephew plays the violin for the wedding ceremony. I’ll be honest, I was expecting a musical child prodigy, but what I got was “Twinkle, Twinkle Little Star” played squeakily, over and over until the entire sixteen-person wedding party was down the aisle. It was absolutely adorable and truly memorable.
Groom plays piano for the wedding ceremony. Just before the parents’ processional, the groom took his place at the white baby grand at the front of the ballroom. He played traditional classical music for the wedding party and the bride. It was beautiful. The truly awe-inspiring moment was during the ceremony when the minister was about to start the vows, the groom went to the piano again and played a song he had written and composed just for the bride. There wasn’t a dry eye in the room.
Gregarious friend of the couple emcees wedding reception. Wouldn’t it be nice if everyone had a charming, funny and fearless close friend who could entertain wedding guests with whit and wisdom all night? Well, one of my lucky couples had just that. They were able to combine the talents of a great professional DJ who had a cadre of musical selections with a great host who really knew the couple. The reception was funny and moving and the guests danced all night.
Groom’s sister wows guests during the cocktail hour. One of my grooms had a very talented sister who wanted to give the couple a special wedding present. She gifted them her vocal and guitar talents for the cocktail hour. It was a great way to save the couple some money on entertainment while allowing the sister to enjoy the wedding reception.
These DIY moments were so successful because friends and family were able to contribute their talents without taking on so much that they weren’t able to enjoy the wedding. I really think that is the key to successfully managing wedding services given to you by family and friends. Whether it be decor or entertainment, wardrobe or photographs, you can save money by having people you are close to provide services for your wedding day, but you will save relationships by making sure those generous family and friends aren’t over committed.


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David Finckel / Wu Han / Philip Setzer Trio
In performances of the two Schubert trios at Spivey Hall and elsewhere, the masterful Finckel/Wu Han/Setzer Trio gave “an exuberant, eddying account of the B-flat, then turned the screws tighter for the E-flat, grabbing listeners, as it were, by the throats” (San Jose Mercury-News). This powerhouse ensemble returns for a highly dramatic work by Shostakovich, and more. Chamber music fans – red alert!
Friends of Spivey Hall Concert Sponsors: Jeffrey M. Adams & Susan M. Hunter
ProgramLudwig van BEETHOVEN Trio in E-flat major, Op. 1 No. 1
Dmitri SHOSTAKOVICH Trio No. 2, Op. 67
Felix MENDELSSOHN Trio in C minor, Op. 66


Come Work at a Vibrant, Growing School!
St. Charles Parish School, a premier school in the Waukesha County area, is searching for loving professionals who want to work in our vibrant and growing school community.
St. Charles School is seeking a part-time (60%) Elementary Music Teacher.
• The qualified candidate will have a passion for teaching music to elementary students through the use of best classroom practices.
• The qualified candidate will have a deep understanding of the Archdiocesan Music Standards and be able to implement them into the curriculum. Experience and training in music theory, instruments and performance preparation preferred.
• The qualified candidate will be able to teach 4K-8th grade in the fundamental principles of music, music theory and basic notation, plus other duties.
St. Charles is seeking a 3K Teaching Assistant. The qualified candidate:
• Assists teachers in planning, organizing and implementing of instruction for students.
• Assists in providing individual and small group instruction in order to adapt the curriculum to the needs of students’ intellectual abilities.
• Supports full class instruction and other main duties.
For more information about the jobs please visit the Archdiocese of Milwaukee website at www.archmil.org/Resources/Application-for-Parish-School-Employment.htm.


Free song download Aka Victory Lap Instrumental To start this download you need to click on [Download] Button. We have about 24 mp3 files ready to play and download. by downloading this song you accept our terms and conditions. Enjoy downloading Aka Victory Lap Instrumental mp3 for free
Smooth Hip Hop Instrumental (Rick Ross Type Beat) - "Victory Lap"


5th Grade After School Strings Program
TIME: 3:00 pm - 4:00pm
LOCATION: Designated NEISD Campuses
The After School Strings program at North East gives 5th graders the opportunity to join the Orchestra at their school. It meets twice a week after school from 3:00 until 4:00. Students may learn to play the violin, the viola, the cello, or the double bass.
Orchestra classes are taught by music teachers who love sharing their excitement for music with their students. The classes are free of charge. Local music stores are helpful and cooperate with students in their effort to find the instrument of their choice. There are easy-to-manage rental plans for every budget. The orchestra teacher at your school will help you find an instrument.
If you are in fifth grade and interested in joining your school's orchestra and learning to play a stringed instrument, please click on the link below, fill out the form and return to the music teacher at your campus. Your orchestra teacher will then be in contact with you.
For more information, contact Jody Noblett at firstname.lastname@example.org
Posted on August 10, 2016


Gautier Capuçon, © Julien Mignot
Gautier Capuçon has dedicated himself to the cello since he was only five years old, and is particularly enthusiastic about chamber music making. He records a great deal with his brother, renowned violinist Renaud Capuçon, and collaborates with numerous other celebrated artists such as Marta Argerich, Daniel Barenboim, Leonidas Kavakos, Mikhail Pletnev, Vadim Repin, Jean-Yves Thibaudet, Maxim Vengerov, etc.
Paris, Théâtre des Champs-Élysées
Budapest, Liszt Academy Concert Center


Natccu's voice soars over a bed of dirty guitars and tight rhythm, singing lyrics that are in turn cynical, angry, hopeful and beautiful. But no amount of hyperbole can properly explain the wonder of Natccu and her abrasive yet addictive music. You'll just have to listen for yourself. "Natccu is a Tokyo-based singer songwriter who effortlessly engages with all different styles of music, from acoustic folk, to twinkling piano and jazz-infused numbers, to sew a sonic patchwork of inner-city ideals." - NME Natccu plays a set of gutsy pop with hysteric vocal stylings that recall Kate Bush as much as anything Japanese... She delivers effortless and gorgeous grown-up music with a raunchy rock heart and beautiful doe eyes." - Drowned In Sound "Silken-voiced singer-songwriter" - The Japan Times "Natccu has an amazing voice, and a whole heap of great songs." – Breakthru Radio "It Came from Japan has just returned from its latest UK jaunt, with Tokyo singer-songwriter Natccu playing gigs across the country." – The Guardian "A very accessible and catchy style. Her vocals are incredibly powerful, and the raw emotion that shimmers through at all times may send shivers down your spine." – JaME "The kind of guitar-based melodies that resonate in your head for days." – Neo magazine // taken from the artist's official myspace page Read more on Last.fm.
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Description : made with love
Description : hope you guys love it ! heheh
Description : . . .
Description : the moment you're born , don't blink . . . everything flash before your very eyes, and before you know it . . . it's all gone
Description : Its hot, its dry and i am thirsty the only thing that is keeping me alive is singing
Description : close your eyes , and enjoy the ride
Description : I call this one Where RU , Spring is here, but the Winter Godess hasn't left , so where is Spring ? Where R U ?
Description : a song i made for my late mother , a little short imagination of me and her dancing in the cloud with this song playing in the background, warm. goosebumps and love
Description : something short i made i call it Hazel eyes
Description : did a little bit of music on Fl studio , and a little bit of vocal in autotune on magix music maker . Nothing professional about it . Just VERY simple basic editing. :P i have no skills or experience in the music world haha , Just fun as hobby :)
Description : Enjoy ^_^
Description : Made on Fruity loop
Description : Made with Magix Music maker hope you all enjoy
( IF YOU WANT A COPY OF THIS PLEASE EMAIL ME AND I WILL SEND IT TO YOUR EMAIL)
Description : so I made an instrumental on this one without the vocal but try to make a song out of this one see how that will work out for you and when your done send it to me so i can hear what you did :P GOOD LUCK!!
Description : so I made an instrumental with my vocal on this one but try to make a song out of this one see how that will work out for you and when your done send it to me so i can hear what you did :P GOOD LUCK!!
Description : this is just a tiny little intro that i made with my vocal and the instrumental belong to MINOR2GO
Description : made on magix music maker


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Location: San Francisco, CA
Stats: 199 fans / 2,957 plays / 0 plays today
Members: Jesse Serrano
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New music? Nov 22
i love it;) Feb 15
hey check out my band? www.purevolume.com/oceansview Feb 13
i love your guitar playing :) keep it up, man! Jan 25
I just heard your songs. They're good! (: Jan 21
hey. thanks for the message.
your music's so soothing i love it.
bo Jan 05
yay :) the new songs you emailed me before are up! I'm a fan :) Dec 29
love the music! it's really relaxing =p Dec 29
nice voice! really calm :) Dec 29
way cool dude!
Really unique and distinctive its like your guitar is telling a really awesome novel hahaha. Keep it up. :P Dec 28
Thnxs for the invite. Luv your sounds. Keep up the good work. --Will-- Dec 28
i love EET! thanks for the inspiration! Dec 09
love your music it is awesome and really gud, Dec 05
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Courtney is listening to: A Bitter Township by The Alchemy Index
murmi is listening to: We Can Glow by Royal Teeth
Max is listening to: Prepotencia Mundial by The Locos
PrettyViolence is listening to: A Beautiful Tradgedy by With Broken Wings
Jake Kilcoyne is listening to: See What You Want To by Western Scene


LE FIGARO, the French daily, recently paid an extravagant but by no means undeserved tribute to a French singer with a very un-French sounding name, Philippe Jaroussky.
At age 34, Jaroussky is today undoubtedly the most accomplished and most admired counter-tenor in the world. But for heaven’s sake, you might ask, what on earth is a counter-tenor? The word only came into use in the mid- 20th century and describes men who are able to sing in high notes typical of female vocal strings.
But that hardly means sweet-voiced male singers didn’t exist in the western musical tradition before. As a matter of fact, they were a very essential part of the Italian church music as women in the past were not allowed by the Vatican to join religious choirs. The popular expression that described such artistes from the 16th right up to the beginning of the 20th century was ‘castrato’ (or ‘castrati’ in its plural form).The miracle of making a man sing like a woman was achieved by castrating talented boy singers before they could achieve puberty; in other words in their 12th or 13th year. This prevented the ‘castrati’ from developing deeper, male voices and they retained for the rest of their lives this surgically preserved lighter timbre.
But then the ‘castrati’ had an advantage over women artistes who sang in soprano, mezzo-soprano and alto voices. Being born as males, they developed, as they grew up, bigger rib cages, stronger lungs and a higher breathing capacity and used these qualities to sing in a woman’s voice, but in a much more powerful way.
By the middle of the 17th century Italy had its own set of ‘castrati’ who could very easily be imagined as equivalents of today’s pop stars. Certainly they must have made a lot of money with their talent. Pacchierotti, Ferri, Farinelli and Senesino were the celebrities of the Italian opera in those days. The castrating practice only stopped when, given modern values, it was made illegal in Italy in 1870, but by that time women were being admitted to the religious singing groups in any case.
Curiously enough, a few recordings have survived of the last Italian ‘castrato’, Alessandro Moreschi, who had a long career and died in 1922. (You can reach Moreschi’s performance through YouTube. Of course it’s a falsetto voice and its quality belongs to the earliest stages of the recording technology, but it is instructive as well as fun to watch).
HAPPY DISCOVERY: By the middle of the last century came the happy discovery that by rigorous training a young boy can be taught to produce the voice of a female mezzo-soprano or even an alto and that there was no need to deprive the poor fellow of his masculinity, even for high art’s sake.
The vocal timbre of a counter-tenor, by the way, is not the same as the falsetto of a castrato whose performance makes it immediately evident that the singer is a man with a high-pitched voice. But when artistes like Philippe Jaroussky perform, their voices reach unattainable heights seemingly effortlessly simply because they are perfectly trained without need of any surgical intervention. Today classical music fans are discovering with stupor that many of the opera roles that they had always thought were originally written for women’s mezzo-soprano and alto voices by composers like Haendel, Verdi and Vivaldi were only taken over by female singers following the ban on castration. These roles are today increasingly being claimed back by the counter-tenors.
The most remarkable feature of Jaroussky’s success, as he himself explains, is not his own career but the way it has allowed many other talented young men to come into the limelight. “By singing professionally in 1999 for the first time at age 21 in Haendel’s opera Julius Caesar”, he told Le Figaro “I unwittingly ushered in a whole generation of counter-tenors.”
Today the word ‘castrato’ is a pejorative that can only mean a 'eunuch' or a 'sissy'. But the expression 'counter-tenor' is fast becoming a respected and highly admired genre in opera singing, thanks in large measure to Philippe Jaroussky.
Physically exhausted after a ruthless routine that has made him travel days and nights for opera performances all over the world for the past 13 years, Jaroussky is taking an eight-month break, thus willingly and generously opening the door to young competitors like Franco Fagioli, Yuriy Mynenko, David Qyu Lee and Bejun Mehta, nephew of the Indian-born orchestra conductor Zubin Mehta.
The writer is a journalist based in Paris (ZafMasud@gmail.com)


The pattern picking arrangement below is the one I played on the recording. As with all of the arrangements with this type of Melody & Accompaniment tablature, play either the top (for the melody) or the bottom (for the accompaniment).
The arpeggio arrangement below can be played with either your fingers or a flatpick.
This chord melody solo arrangement can be played as a guitar solo. It’s a little more advanced but straightforward.


Lost & Found: Can You Name Everyone in the Backbeat Band?
When director Iain Softley started working on the Beatles biopic 'Backbeat,' he made an unorthodox choice regarding the soundtrack. The film depicted the Beatles' formative years, focusing on their time in Hamburg, Germany. Instead of using recordings of the Beatles or rerecording the songs they played during that time, Softley enlisted the help of some outlier rock 'n' roll talent.
A veritable who's-who of indie-rock artists gathered to record the 'Backbeat' soundtrack. The band was comprised of Soul Asylum's Dave Pirner, Afghan Whigs' Greg Dulli, Sonic Youth's Thurston Moore, Gumball's Don Fleming, Mike Mills from R.E.M., Nirvana and Foo Fighters dude Dave Grohl and Henry Rollins even made a guest appearance for one song.
The Backbeat Band came together to perform three songs on the 1994 MTV Movie Awards. Even though the film's soundtrack doesn't contain any original Beatles songs (the film only used the songs the young Beatles used to cover), the Backbeat Band finished up their three-song set with the Beatles' 'Helter Skelter.'
The credits to the movie awards show started rolling while the band was playing the last song of their set, but the guys just kept going. The set eventually, as great rock shows sometimes do, devolved into mayhem and destruction as the musicians began pulling down gear and knocking into one another onstage. It's one of those magical music moments that will most likely never be seen again.
And if you've never heard of 'Backbeat,' it's not a bad film. You could certainly do worse when looking for something to watch if you're bored. The soundtrack is killer.


Harris Theater for Music and Dance
The Joan W. and Irving B. Harris Theater for Music and Dance is a 1500-seat state-of-the art performance venue located in Chicago’s Millennium Park.
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It's going to be a very memorable evening, indeed. This Wednesday, December 28, 2011 we hold space for "Chrysalis," a live music and art event featuring IrRAdio, Subsurfer and The Amalgamated at the Casbah in San Diego.
In addition to three hot local bands, we also have live art and displays by Anna Zappoli, Lana Chromium, Nick Bahula, Terry Gillard, Tiffany Nakanishi and Jimmy Ovadia. So come on out and support local music and artists, celebrate the onset of a new season and the new beginnings that are only moments away.
Tickets are available in advance at www.casbahmusic.com for $8 in advance and $10 the evening of the show.
It has been a blessing and a pleasure to have worked throughout the 2011 year with so many talented people: wonderful artists, musicians and visionary venues who have helped to make these events possible. I am truly grateful to everyone who has supported these events in so many ways. Thank you so much for helping to make this work possible.


Before Chris Brown releases his sixth album, X, the singer has treated fans to a new offering, “Autumn Leaves” featuring Kendrick…
Posts Tagged: autumn
Disney Strange World
Maxo Kream @ The Echo Lounge @ Music Hall
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My Favorite Band from College Got Back Together
Last fall I traveled to San Francisco to see a band I followed in college perform a 10th anniversary show that turned into a mini-tour. The Matches were then inspired by the reaction of their fans, the band got together and wrote new music.
Full disclaimer, this is music that you have not heard me play on the radio. This is just a little 'behind the scenes' of what I listen to when I'm not jamming out to the radio station. Yes, I have eclectic taste. I'm a fan of music, and I love a great turn of lyrical phrase.
The Matches released two new songs, which fans could buy on a 7-inch vinyl, currently being pressed set for delivery in December. Check out the lyric video below for one of the new songs, "Life of Match."


The following sound clips are made available as WMA file and these can be played using your Microsoft Media player as is standard installed under Windows.These WMA files are near CD (or should it read near LP?) quality. Due to the copyright issue only 30 seconds is available.
- The following radioshows are made in co-operation with this website and can be played any time any moment, this using your mediaplayer. You can listen to 1 + 1 = 2 hours of the finest Jackie Davis music ! Selection and LP-to-CD transfer is done by your webmaster.
The Dutch radio station the ConcertZender did broadcast [Part 1, June 29, 2008] in cooperation with this website a podcast, you might like to check out the loudspeaker symbol next to the title of the program. PLAYLIST [206 KB]
Click here for link to Jackie Davis special Part 1, duration 1 hour.
The Dutch radio station the ConcertZender did broadcast [Part 2, November 30, 2008] in cooperation with this website a podcast, you might like to check out the loudspeaker symbol next to the title of the program. PLAYLIST [151 KB]
Click here for link to Jackie Davis special Part 2, duration 1 hour.
- Sound samples are available from the following LP's:
Round midnight taken from Easy Does It [1.539 KB]
To be added soon.
The following sound excerpt was recorded in the early 60s by Jackie Davis producers wife. He played on their Steinway in their livingroom not knowing that he was recorded.
What about this!
Jackie is playing You go to my head by Fred Coots/Haven Gillespie and is orginally approximate 17 minutes long, down here you can play some orginal Jackie Davis piano music. After hearing this you will be wondering why Jackie never released a record for solo piano.
Sound excerpt Jackie Davis - piano [839 KB]
Funky Organ Blues, 33RPM 7'' Pacific Jazz Stereo-115
The track on this single seems to be the same as 'Blowin' The Blues' featuring Harold Land and Jim Hall, however this is a different take or mix. For example Jim Hall's solo is different, recording comes in stereo and in 33 RPM.
Sound excerpt Funky Organ Blues [1.876 KB]
Jackie plays Buzz me Baby & Goombay taken from RCA Victor 20-4831
Buzz me baby [903 KB]
both tracks with vocal refrain by Jackie Davis.


Emery may have moved to Brooklyn, but you can still feel his high-altitude roots in everything he does. A Colorado native, Emery Major is an independent singer-songwriter who combines the folk melodies of his youth with modern pop to create music that’s just plain fun.
The self-described “funny guy” cites his songwriting inspiration as Ed Sheeran, James Taylor, John Denver, and Flight of the Conchords (among others). Listen to his music on Spotify, Apple Music, and other streaming platforms by searching for his name in the search bar!
Q: Which song would you like featured?
“Union Square Park”, the lead single off my debut EP “It’s okay to be sad”.
Q: How long have you been creating music?
In 4th grade I changed the words to Nickelback’s “Rockstar” for a book report and it’s been off to the races ever since. I played saxophone in school jazz bands and concert bands, did musical theater productions, and eventually formed some garage bands in middle and high school. I get so much joy out of marrying the right word with the right rhyme, all the while being able to tell a story within a musical phrase.
Q: Do you have a preferred genre?
I spent a lot of time listening to James Taylor and John Denver growing up, so when I finally got a guitar in my hands I naturally gravitated towards learning and writing those types of tunes. I love all types of music, but I’ve always been fascinated with the way 70’s folk artists were able to tell a story through a song. Then, Ed Sheeran exploded on the scene in my formative years, and I loved the way he meshed folk elements with pop. Nowadays I spend my time fluctuating between singer-songwriter, folk/Americana, and pop.
Q: Do you write your own music, or do you collaborate?
I started out writing songs on my own, but eventually I met some amazing folks in NYC that I consistently write and work with (shout out to my producer and collaborator Benny Levs). I’m always looking to write with more people, so hit me up on Instagram!
Q: Tell us about your latest song, EP, or album.
My latest/debut EP “It’s okay to be sad” tells the story of someone who, at the start, is hopeless and stuck. Eventually they work through their fears of loss and the state of the world and find their happiness. By the end, they’re looking hopefully towards the future. The 4 songs were written over the span of several years, but are all able to work together to tell a story. “It’s okay to be sad” and “Union Square Park” were inspired by what I was going through and missing when the COVID-19 pandemic hit in the Spring of 2020. The last track “Neverland” is about 7 years old — I wrote it for my high school graduation.
Q: What is the best song you ever released and why?
Oh man… that’s really up to interpretation I suppose. I think “Union Square Park” has some of the best imagery I’ve written and really evokes a specific time, place, and feeling, whereas my song “Warning Signs” has a really lovely melody and always lands well with an audience — especially live.
Q: Do you, or would you like to, perform live?
I love performing live, so that would be a resounding “hell yeah”.
Q: Which of your songs is, or do you think would be, fun to perform live?
Like I said earlier, I love to sing “Warning Signs”. Usually the room goes totally silent by the end. The most fun though is “Badu”, which is a very silly song I wrote when I first met my girlfriend. I liked her and she didn’t really feel the same way at the time, so all I could do was write a song. I even sent the demo to her, which is insane. When I play it live it features a kazoo solo and by the end the whole audience is singing along. It’s silly, but extremely honest.
Q: What is your favorite/best outlet to connect with your followers Instagram, Spotify, FB, Twitter, iTunes? How would you want them to follow?
Instagram please! Give me a follow and shoot me a message: @emajorminor. I’m working on getting better at TikTok-ing, but I’m honestly still intimidated by it. You can also sign up for my mailing list on my website: https://www.emerymajor.com/
Q: Are you currently working on any projects we should look out for?
Yes! I’ve just about finished recording a folk/bluegrass cover of Paramore’s “Only Exception”. I’ve got some Nashville musicians on the track playing lap steel, mandolin, fiddle, banjo, and more. I’m really excited about how it’s coming together. I’m hoping for a late April release, so keep your ears peeled and follow me on Spotify!


Program Learning Outcomes
The purpose of this program is to meet the training and experience needs of new college students, current industry professionals and artists who work with recording equipment, recording studios, and music technology equipment. The program also includes a robust emphasis on musicianship, including one year of music theory, lessons and performance experience.
This AAS degree covers essential skills used in the audio world and provides hands on experience with state of the art hardware and software. The experience and skills will allow graduates to more easily attain positions in the industry or assist them in starting their own small businesses. The foundation of musicianship and music theory will also allow motivated graduates to further their studies at a number of universities and colleges that offer music technology or electronic music undergraduate degrees, such as University of Oregon and Bushnell University.
Students who complete this program will be able to:
PLO 1 - Utilize MIDI networks and MIDI sequencers
PLO 2 - Utilize software and hardware for recording, editing, and processing music and audio for commercial and artistic purposes
PLO 3 - Communicate using technical vocabulary associated with MIDI, audio, and synthesis of sound
PLO 4 - Select appropriate microphones, preamplifiers, and other outboard signal processors for various recording techniques and microphone placement
PLO 5 - Analyze audio recordings in terms of frequency, stereo field, phase cancellation, and dynamic range
PLO 6 - Engineer and produce high quality recording sessions for music, advertising, voiceovers, video and film soundtracks, and other types of projects
PLO 7 - Do creative work through working with deadlines and scheduling time with clients and artists
PLO 8 - Apply knowledge of music theory and musicianship using keyboards, and/or other instruments, in the context of music making and/or the recording studio


Browse: Scriabin - Poème in F sharp major, Op. 32 No. 1
This page lists all recordings of Poème in F sharp major, Op. 32 No. 1 by Alexander Nikolayevich Scriabin (1872-1915).
Vladimir Horowitz (piano)
From the personal archives of his friend and former pupil, Pavel Lobanov, never-before-released recordings of the Russian Master's famed lessons
Vladimir Sofronitsky (piano/teacher), Pavel Lobanov (pupil)
A fascinating glimpse into the teaching methods of a Russian master pianist...Sofronitsky’s charisma, the fascination he held for so many musicians...shine[s] through...Sofronitsky’s spontaneity... — More…
Erica Morini (violin), Konstantin Igumnov (piano), Alfred Hoehn (piano), Sergei Rachmaninov (piano), Michael Zadora (piano), Vassily Sapellnikov (piano), Alexander Kaminsky (piano), Vladimir Sofronitsky (piano)
New York Philharmonic Society Orchestra, Stuttgart RSO, Danish RO, Berlin Staatsoper...
Walter Gieseking (piano)
Gieseking’s artistry, whether at its finest or least convincing repays constant consideration. He remains an artist with a permanent rather than temporary place in the pantheon of great pianists. — More…


Friday night, June 8th, introduced The Devil Makes Three. Their mixture of folky, blue grassy punk music and a helping hand of good old hillbilly made this eclectic trio a pleasure to experience. Guitarist Pete Bernhard, upright bassist Lucia Turino, and guitarist and tenor banjo player Cooper McBean hail from Santa Cruz, California, and have been honing their sound since their first album was released in 2002. Their unique style was the perfect choice to warm up the crowd for the main attraction.
The fans in St. Louis turned out in droves to see Flogging Molly tear up the stage at The Pageant. With the banner flying high behind the stage and the Irish hymn beckoning the crowd to their feet, this sold out show took a life of its own as the seven members took their respective places and set out to rock the night away. Right from the start, “Likes of You Again”, the crowd got what they came to see. Dave King was in a vocal groove so to speak, telling the screaming fans that he could see the Irish in the house through the darkness as they transitioned into “Swagger”.
What impressed most was the musical skill of the entire band. Not only does everyone but the drummer sing, but the array of musical instruments that they have mastered really sets them apart from the modern day touring band.
From the get-go, it was known that this show was going to top the two-hour mark and with a twenty song set list and a planned three song encore, one can’t imagine how they perform to this caliber on a nightly basis. Some of the songs included “Tenement Square”, “The Sun Never Shines”, “Times They Are a Changin'”, and “Seven Deadly Sins”. In case you are wondering what they saved for the encore, it was “Worst Day”, “Salty Dog”, and “Float”.
If you hurry, you can still catch the band before they make their trek overseas later in the month. Check out their website for tour details.


Anarcha-Queer-Feminist houseproject in Berlin-Friedrichshain.
Sunday: 8pm Küfa (Vegan) and Cinema
- anarcha queer feminist
Saturday 23 March
bar/cafe / exhibition / (free) shop/market08:00 to 16:00
bar/cafe / music / party / theater19:00
bar/cafe / music / partySat, 23 - 23:50 to Mon, 25 - 08:00
bar/cafe / exhibition / food / music / partyFri, 22 - 22:00 to Mon, 25 - 08:00


Core to Vail Jazz are its three educational programs: the Vail Jazz Workshop, Vail Jazz Goes to School, and Jammin’ Jazz Kids. Each year over 1,400 children and students take part in Vail Jazz educational programs, introducing the next generation to the fundamentals of America’s original art form: jazz.
In 2017 Vail Jazz was the recipient of the prestigious DownBeat Education Achievement Award, in honor of its impact on jazz education.
Together, our three educational programs have impacted over 20,000 students. The programs focus on two critical areas of jazz education: introduction to jazz music and achievement of mastery-level performance. Learn more about each program, below:
VAIL JAZZ WORKSHOP
This intensive Workshop immerses 12 of the most talented young jazz musicians in the nation in a curriculum of musical and professional development. It is a rigorous learning experience that is conducted exclusively, and uniquely, without any written music, emphasizing listening skills, improvisation, and playing by ear.
VAIL JAZZ GOES TO SCHOOL
Celebrating its 20th year in 2018, Vail Jazz Goes to School is an innovative educational program that integrates the study of jazz with social studies at the elementary level. The program, led by Tony Gulizia, provides every 4th and 5th grader at Eagle County schools with an in-depth experience of jazz, its history and its role in society.
JAMMIN’ JAZZ KIDS
Jammin’ Jazz Kids offers an engaging and fun learning experience for youngsters on Sundays at the Vail Farmers’ Market, through interactive, hands-on activities that teach the fundamentals of jazz and the art of improvisation.


Everyone has got to check out the newest single from Dehasse. This song called Sick in the Octave, is going to soon be a world wide track. Its unique and most importantly has an absolutely filthy drop. The song builds up into a heavy drop which transitions into a progressive house sound. The progressive part of the track really gives the song a nice edge and enables people listening to it to mellow out for a minute or so. But not to worry, as soon as you think the progressive part of the track is taking it over it then re-breaks into the hard hitting beat the song starts with. Remember the name Dehasse people because its going to become a household name very soon. This is the first of many tracks to come. Make sure to throw this onto your party playlist for the weekend and play this one at high volumes.


Let’s just start here: Dorrance Dance was sensational! The two-work program, presented by the New York-based company at the Segerstrom Center for the Arts, was a visual, auditory, and rhythmic delight from beginning to end. The company’s seven performers—Elizabeth Burke, Michelle Dorrance (Artistic Director/Choreographer), Sterling Harris, Luke Hickey, Addi Loving, Claudia Rahardjanoto, and Leonardo Sandoval—captivated the audience as their lightning-fast feet and intricate, jam-in-your-seat-inducing rhythms showed us just how much the ball, heel, toe, and sides of the foot could do.
The evening’s works, SOUNDspace and 45th & 8th, were created through a collaborative effort between Dorrance and her company members, with lighting design by Kathy Kaufman and costumes by Mishay Petronelli, Michelle Dorrance, Byron Tittle, and Dede Ayite.
SOUNDspace opens the show with Michelle Dorrance, Leonardo Sandoval, and Elizabeth Burke on platforms in pools of light against a green cyclorama (back curtain). The sound of their taps striking against the wood is rich and boisterous as it resonates through the cubed structures. The trio starts out with a simple rhythm that grows more and more complex, playing with polyrhythm and counterpoint as they layer shifting solos on top of an anchoring pulse. Amidst the denseness of the fast tapping, I am enthralled by the moments of funkiness that jump out in a syncopated phrase. In sheer delight, I am compelled to call out, “Ok!” In addition to the rhythmic layering that characterizes the evening, Dorrance Dance also plays with tonality and timbre created from different parts of the foot connecting with different surfaces using varying degrees of force. At some points you hear the booming deep bass produced by performers dropping their heels against the stage or hollow cubed platforms. Other times, you hear higher sounds created by the ball of their foot or edge of their heel hitting the floor. They even incorporate sounds created by scraping and sliding the metal plates on their shoes against the ground, hitting different parts of the body (body percussion), and—in a nod to the “Soft-Shoe” tradition—tapping with no metal on their shoes or completely barefoot, emitting a soft, pillowy sound.
SOUNDspace is performed acapella—except for a section between Luke Hickey and bassist Gregory Richardson—but, with the layered rhythms and tonal variety, it feels full and incredibly satisfying. The fullness is also accomplished through inventive staging and transitions between sections. One such moment happens in the transition between the first and second sections, where four performers emerge in the downstage left corner. What follows is cheeky and playful visual fun. The lighting is designed to only show the knees down. Anchored by an impressively enduring and fast 16th-note pulse, feet and knees travel horizontally across the downstage as they communicate with each other in fantastic layers and changing directions. Dorrance and Burke are exciting in their duet that closes this section.
Other standouts in SOUNDspace are soloist Claudia Rahardjanoto, duet Luke Hickey and Addi Loving, and soloist Leonardo Sandoval. Rahardjanoto dazzles in a soft-shoe-esque solo. She is beautiful to watch as she taps effortlessly across the stage. In one of my favorite sections, Luke Hickey is mesmerizing as he converses with bassist Gregory Richardson, who is formidable in his own right. As the piece progresses, the two transition between various ways of engaging. There is call and response (when Richardson plays and Hickey responds), trading bars (a type of call and response where each participant only “speaks” for a set number of bars), and accompaniment (where Richardson is playing alongside Hickey’s tap dancing). This shifting interaction is amplified when Loving joins the party. Loving and Hickey playfully chase each other around the stage and trade bars with Richardson before Loving leaves Hickey and Richardson to bring their conversation to a beautiful close. Sandoval is out of this world with his body percussion solo that draws upon his Brazilian heritage. Impressively performed in socks, his solo opens with animal calls. He then proceeds to take us on a fantastic foot-stomping ride that journeys through hip-hop, 6/8, and samba rhythms with the accompanying vocalizations. My mind is blown at one point when he is dancing the Samba with his feet while beating out other rhythms on his torso. Just incredible!
45th & 8th continued the amazingness with the addition of musicians Aaron Marcellus – vocals and keys; Kyle Everett – drums; Matt Parker – saxophone, flute, and clarinet; and Gregory Richardson – bass. The quartet performed original music composed by Marcellus in collaboration with Everett, Parker, and Richardson. These four musicians partnered beautifully with Dorrance Dance, bringing a totally different vibe from the first piece. Within the stunning ensemble work, Marcellus transfixed the audience with his heavenly vocals. As he layered melodies with his otherworldly voice, I imagined I was being awakened by music in King Joffer’s palace like Eddie Murphy in the fictitious African kingdom of Zamunda (Coming to America, 1988). Against lighting designer Kathy Kaufman’s vivid lighting (my favorite being the peachy sunset and royal blue against yellow designs), Dorrance and her crew of fantastic footmen brought the audience to our feet with enthusiastic praise for a stunning night of sound, rhythm, and music and a job splendidly done!
For more information about Dorrance Dance, please visit their website.
To access the full performance season at the Segerstrom Center for the Arts, please visit their website.
Written by Marlita Hill for LA Dance Chronicle.
Featured image: Dorrance Dance – SOUNDspace – Photo courtesy of the company.