​Sam & Julia maken frisse, hedendaagse Americana met een eigen twist. Op hun debuut EP ‘So Far, So Good’ laat het duo duidelijk horen dat ze een unieke sound te pakken hebben. Hun verschillende stemmen die bijzonder goed samengaan, rijke gitaarlijnen en verhalende songs maken van ‘So Far, So Good’ een bijzonder debuut. De EP komt op 22 februari uit via I Love My Label, het nieuwe platenlabel van Tim Knol.

Beluister 'So Far, So Good' via: https://fanlink.to/sofarsogood.
 
‘So Far, So Good’ is een tijdreis door de afgelopen vier jaar waarin Sam van Ommen en Julia Schellekens veel liedjes hebben geschreven en samen hebben opgetreden. Ze putten uit elkaars ervaringen en sparden met muzikale ideeën en teksten om zo uiteindelijk altijd tot de beste uitkomst te komen.
 
Sam & Julia beschrijven in hun teksten herkenbare situaties die ze allebei of los van elkaar meemaakten; het eeuwige onbegrip tussen man en vrouw, scheidende ouders, een goochelend broertje en diverse gebroken harten. De eerste single ‘Come Cry’ gaat over volwassen worden en de hobbels die je tegenkomt onderweg. Het is een troostliedje waarin Julia aan Sam laat weten dat het oké is om te huilen en je kwetsbaarheid te tonen. ‘Come Cry’ is meer dan 340.000 keer gestreamd op Spotify. ‘Two Track Station’ is een goudeerlijk liedje over hoe het is om tussen twee scheidende ouders in te leven. Afsluiter van de EP is ‘A Widow’s Lullaby’; het eerste liedje dat Sam & Julia samen schreven.
 
Toen Sam & Julia op zoek gingen naar een producer van de EP, kwamen ze al snel uit bij Tim Knol, die net was begonnen met bandjes produceren in zijn Mi5 Studio in Hoorn. Julia vertelt: “Bij de kennismaking was er meteen een klik. Hij is sindsdien een soort mentor voor ons geweest, niet alleen op creatief gebied maar ook op zakelijk gebied. Toen de EP klaar was besloot Tim om ons als eerste band uit te brengen op zijn nieuwe label, I Love My Label, wat voor ons een grote eer en steun in de rug is!” ‘So Far, So Good’ is gemixt door Jeroen Tenty, o.a. bekend van de band ‘Beans & Fatback’.
 
Sam & Julia zullen dit voorjaar het voorprogramma verzorgen van Judy Blank en een serie huiskamerconcerten doen om de release van ‘So Far, So Good’ te vieren. Hou de website www.samandjuliamusic.com in de gaten voor alle informatie.

​Met Christine And The Queens heeft Brussels Summer Festival één van de meest tot de verbeelding sprekende popartiesten van de laatste jaren weten te strikken. Haar tweede plaat Chris staat intussen al bijna een half jaar in de charts en werd door de Britse krant The Guardian uitgeroepen tot beste plaat van 2018: uniek voor een Franse artieste.
 
Ook mooi : de relatie tussen Christine en het BSF gaat terug tot 2013, toen de zangeres in onze Spiegeltent voor een paar honderd aanwezigen haar allereerste Belgische concert speelde. Nu keert Héloïse Letissier -zoals ze eigenlijk heet- terug als een internationale superster met een debuut onder de arm -Chaleur Humaine- waarvan wereldwijd 1,3 miljoen exemplaren werden verkocht. De thema’s die ze in haar nummers behandelt – sexualiteit, de schemerzone tussen man en vrouw- kleuren mooi af tegen de fijnzinnige electropop waar ze intussen een patent op heeft. Minstens even origineel zijn haar live shows, waar baanbrekende choreografieën en sprankelende visuals ervoor zorgen dat ze ook daar met niemand anders te vergelijken valt. Na haar met lof overladen passage in Vorst Nationaal komt ze op 14 augustus naar het Paleizenplein van Brussels Summer Festival voor een fel geanticipeerd concert. Dit wordt er ééntje om naar uit te kijken !
 
 
Al bevestigd :
14/08 CHRISTINE AND THE QUEENS, EIFFEL, COLLECTIF 13
15/08 BOOBA, CABALLERO & JEANJASS, GRAND BLANC
16/08 GIORGIO MORODER, HOOVERPHONIC, MANIC STREET PREACHERS
17/08 THE AVENER (dj set), SUAREZ
18/08 MUSTII, BLANCHE, ALICE ET MOI
 
Ticket 5 DAY pass : €75 (Early Bird)
Ticket 1 DAY pass : €35 (Early Bird)

TIERNEY SUTTON is one of the premier jazz vocalists in the country. She and her group of consummate musicians have been performing and recording together for over 20 years, crystalizing into a singular voice. An incorporated, truly collaborative unit that makes all musical as well as business decisions together, THE TIERNEY SUTTON BAND (TSB) stands alone among its peers. The band has received 8 GRAMMY® nominations and has consistently topped the US jazz charts. Sutton, whom the New York Times says has “a voice as pure and sparkling as mountain spring water,” has also been selected as JazzWeek’s Vocalist of the Year.
​
Now, The Tierney Sutton Band has set its sights on the wide-ranging panorama of film music by releasing an ambitious, 19-track collection of songs called ScreenPlay. It will be released by the multiple Grammy® winning label, BFM Jazz (www.bfmjazz.com).
ScreenPlay spans the first century of American film music and will be released in five “Acts” (each as a digital EP), once a month, beginning February 22nd. Each Act will comprise 3 to 5 songs and will be accompanied by a podcast and other behind-the-scenes material that explores the songs and the films that made them so iconic. In June, the complete ScreenPlay CD will be released worldwide, and will feature additional, unreleased material. Act 1 of ScreenPlay is “The Bergman Suite.” Subsequent Acts are “Technicolor,” “Golden Age,” “Montage,” and “The Sully Variations.” (The latter features music The TSB created for Clint Eastwood’s award-winning film Sully.)

The Tierney Sutton Band includes CHRISTIAN JACOB, the band’s formidable pianist who has also built a substantial career as a solo artist and leader, arranging and conducting around the world, as well as performing with big bands and symphonies. ScreenPlay includes two bass players, TREY HENRY, who has appeared on more than 200 recordings with various artists including Ray Charles, Maynard Ferguson, Sammy Nestico, Linda Ronstadt, and Gerald Wilson, to name just a few; and KEVIN AXT, who has performed with a Who’s Who including Natalie Cole, Hank Jones, Phil Woods, and Eddie Daniels, and has appeared on over 150 albums as well as in dozens of theater, film and television productions. Master drummer RAY BRINKER has worked with a wide variety of well-known artists across different genres, including Maynard Ferguson, Pat Benatar, Joe Cocker, Natalie Cole, Jack Sheldon, Anita O’Day, Willie Nelson and Randy Brecker, among many others.

“The Bergman Suite” includes five songs by perhaps the most influential film lyricists of all time, Alan and Marilyn Bergman. The suite opens with “The Windmills of Your Mind,” written by celebrated French composer Michel Legrand and arranged here by Sutton. The song, from The Thomas Crowne Affair, earned Alan and Marilyn the first of their three Academy Awards.
Michel Legrand’s songs are also featured on the next two tracks. “What Are You Doing the Rest Of Your Life?” is the Bergman’s supremely touching marriage-proposal-in-song form. The piece is presented here with a simple piano and vocal arrangement. The sweet lyrics and haunting melody need nothing more.

“How Do You Keep the Music Playing” was arranged by Trey Henry. Alan Bergman himself sings a duet with Sutton on the tune. Bergman’s sublime vocals are not to be missed, filled with the magic you might expect from the 93-year old master storyteller.
Tracks 4 and 5 feature music by legendary jazz pianist and composer Dave Grusin. “It Might Be You,” from Tootsie, was arranged by Trey Henry. Sutton approaches the song’s touching, yearning lyrics as an internal monologue.

The last track, “Ev’ry Now and Then,” is the least known song in this collection. The theme, written by Grusin, was featured in the 1996 film Mulholland Falls. The Bergmans took the stunning melody and created one of the most haunting songs of lost love imaginable.
The cinematic poetry of Alan and Marilyn Bergman has graced dozens of movies, television shows, and stage productions. The Tierney Sutton Band honors their work through the band’s perceptive interpretations and exquisite musicianship. This recording is another gem from one of the most creative and artistically satisfying bands on the jazz scene today.
Technicolor, Act 2 of ScreenPlay, will be released in March 2019.

Act 1, “The Bergman Suite,” will be available digitally at bfmjazz.com and everywhere on February 22, 2019.

Online:
tierneysutton.com/
tierneysutton.com/tierney-sutton-band/ facebook.com/TierneySuttonMusic/

De beste 60's-tribute ter wereld is terug
met een vernieuwde show!
 
Live in De Roma, ANTWERPEN op 28/02 &
Stadsschouwburg, BRUGGE op 31/03
​

​Wanneer Sir Elton John himself met opengevallen mond verklaart dat ze "just the best band of their kind in the world" vormen, hoef je niet te twijfelen: The Bootleg Sixties zijn onevenaarbaar straf. 

The Doors, Simon & Garfunkel, The Beach Boys, The Monkees, The Beatles, The Rolling Stones, The Who en zelfs het Nederlandse Shocking Blue: er is geen klassieker uit het rockende decennium dat de band schuwt. The Bootleg Sixties creëren niets minder dan live-interpretaties vol tomeloze energie en stomende passie.

Dit voorjaar komt de Britse formatie nog twee keer naar Vlaanderen met z'n swingende repertoire. Niet te missen!
​

Award-winning Canadian soul-bluesman Matt Andersen, announces an international tour, spanning across the US, UK, Europe and Canada, which will support his upcoming album release, Halfway Home by Morning (available worldwide March 22, 2019 on True North Records). The 13-song album (recorded in Nashville, TN) deftly captures the Canadian-native’s long-signature and internationally-celebrated sound: sweat-soaked soul meets incendiary rhythm and blues, with full doses of heartsick folk and Americana grit mixed in for good measure. 
 
Halfway Home by Morning will include a slew of pre-released singles, including “Free Man” and “Quarter On The Ground,” which have garnered 120,000+ streams on Spotify alone and numerous radio adds for “Free Man." The most recent singles, “Something To Lose,” (featuring Grammy Award-winning recording artist, Amy Helm) and “Better Than You Want,” were released Friday, February 15. 
 
“When it came time to select songs for the new album I knew I wanted this song and that I wanted to sing it with Amy,” Andersen says of “Something To Lose.” “Amy and I have been trying for a long time for the opportunity to write together. We ended being on a tour together and found ourselves with a day off and sat down to tackle a tune. It ended up being the last song we recorded for the album and it was definitely one of the highlights of my time in the studio. I’ll sing with Amy any time I can. She’s the real thing and always brings her own genuine and infectious joy into the room and into any song,” Andersen continues. 
 
To accompany “Something To Lose,” Andersen has released a studio video with Amy Helm -
https://www.youtube.com/watch?v=smWTDxA4N_k&feature=youtu.be
 
“For the video, we had an easy and relaxed day at the Henhouse Studio in Nashville with my producer, Steve Dawson, and the band,” Andersen says of the video. “I could have sung this song all day. I really like the stripped down vibe we had on these takes. Being able to sit across from and just sing into the open air with no headphones or monitors was as real as it gets. I love that we caught that moment,” Andersen says.
 
With over 18 million views on YouTube and nearly two decades into his storied career, Andersen’s room-shaking, heart-quaking voice has won him countless awards, including two European Blues Awards, seven Maple Blues Awards, an International Blues Challenge and a
 
With a staggering voice that is at intervals vulnerable and mighty, Andersen sings of love, loss, longing for home, and finding out about “the nails that hung (his) heroes to their crosses.” The songs are honest; they reflect the musings of a blue-collar kid trying to make sense of the wider world as he rolls through another town in an endless stretch of nightly gigs. His dedication to the road earned him the unique CIMA Road Gold certification.
 
Andersen is a singer of Herculean talent, a songwriter who isn’t afraid of introspection, and a guitarist with “the confidence of a fighter in his prime.” All of those facets of his artistry are on full display in his newest offering Halfway Home By Morning.
 

Monkees bassist and singer Peter Tork, who played with the group from their earliest days as a made-for-TV band in the Sixites through their recent reunion tours, died Thursday of unknown causes. He was 77. Tork’s sister, Anne Thorkelson confirmed the affable musician’s death to The Washington Post.
“I am told he slipped away peacefully,” his Monkee bandmate Michael Nesmith said in a statement. “Yet, as I write this my tears are awash, and my heart is broken. Even though I am clinging to the idea that we all continue, the pain that attends these passings has no cure.”
Tork played a lovable dimwit on the Monkees TV show, but in real life, he was an accomplished songwriter and guitarist/bassist that played on many of their key recordings and wrote numerous songs for the group, including “Can You Dig It?” and “For Pete’s Sake.” “I was hired to be an actor on a TV show,” he told Rolling Stone in 2016. “The producers did have hopes that something musical would come out of us when they cast the four of us. But if we couldn’t have done the music, they would have been alright with us just making the TV show.”

He was cast on the show along with Micky Dolenz, Michael Nesmith and Davy Jones. The Monkees was an enormous hit from the moment it hit the airwaves in September 1966 and it helped send early singles like “Last Train to Clarksville” and “I’m a Believer” up the charts. Almost overnight, Tork and his bandmates were huge celebrities stalked by screaming fans.

“Once in Cleveland we strayed from our bodyguards into the plaza where a train station, or some public transport hub, was letting out thousands of fans for the concert we were on the way to give,” Nesmith told Rolling Stone in 2012. “They spotted David and the chase was on. We were like the rabbit – fleeing in blind panic. We saw a police car and jumped in the back seat, blip, blip, blip, blip, – squashed together shoulder to shoulder in our concert duds, and slammed the door just as the tsunami of pink arms closed over the car’s windows.”

After two albums where they had minimal influence over the group’s music, Tork and the rest of the group seized control and recorded Headquarters largely by themselves. It reached Number One on the Billboard charts in May 1967, though just a week later it was knocked out by the release of Sgt. Pepper’s Lonely Hearts Club Band. This was the pinnacle of the Summer of Love, and unlike many of his more straight-laced bandmates, Tork reveled in the excesses of the era. His mansion in Studio City, on the north side of Laurel Canyon, became a gathering place for the likes of Jimi Hendrix, David Crosby, Mama Cass Elliott, Judy Collins and David Crosby.

Unlike his friends, Tork was never taken seriously by rock critics since his group began on TV and appealed to young kids. Shortly after the release of their psychedelic movie Head in 1968, Tork quit the band, citing exhaustion. It was the beginning of a rough chapter of his life where he faced major financial problems and limited career options. In 1972, he served four months in a federal prison after being caught with hashish. Four years later, however, he bounced back and became a teacher at Pacific Hills High School in Santa Monica, California.

Nostalgia for the Monkees fueled by MTV putting the old show back on the airwaves in 1986 caused the group (minus Nesmith) to reunite for a series of highly lucrative reunion tours. Tork stayed with them on the oldies circuit until 2001 when he abruptly vanished from a tour. “Honestly enough, I have to say that I kind of lost it myself and bolted towards the end of it,” he told Rolling Stone in 2011. “I ticked off the other guys good and proper. It was a serious mistake on my part. I was not in charge of myself to the best of my ability and I apologized to them.”

In the 2000s, Tork spent much of his time gigging with his side project Shoe Suede Blues. He was diagnosed with the rare tongue cancer adenoid cystic carcinoma in 2009, but he made a full recovery and in 2011 the Monkees made peace with each other and went back on the road for the first time in a decade. Jones died of a sudden heart attack the following year, but Nesmith soon rejoined the band and helped them resume their road work. They recorded the 50th anniversary album Good Times! in 2016 and released their first Christmas album last year. Tork only contributed one song to the collection, and rumors swirled that he was in poor health.

“While it is true that my health has required a little more attention these days, I’m feeling pretty good,” Tork wrote on Facebook in October. “I’m also cherishing this time with family and friends, and making music. Keep your eyes open for some possible web concerts with friends and other musicians; we’ll see what comes down the pipeline. As for the rest, thanks for your good wishes. This is a private time and I won’t be posting updates.”
“I can only pray his songs reach the heights that can lift us and that our childhood lives forever — that special sparkle that was the Monkees,” said Nesmith. “I will miss him — a brother in arms. Take flight my Brother.”

​Grammy-winning guitar legend Nile Rodgers ignites “State of Mine,” the explosive new single from The Allen Carman Project’s debut album dropping April 5.
 
TAMPA (21 February 2019): It started out as just a few friends having fun making music together but grew into a recording project that to date has placed three singles on the Billboard chart with a fourth, “State of Mine,” certain to follow suit, in part due to the distinctive rhythmic riffing of Grammy-winning guitar legend Nile Rodgers. Bassist Allen Carman shelved his music aspirations twenty years ago only to rekindle them after reconnecting with percussionist Gumbi Ortiz and keyboardist Philippe Saisse a couple years ago. Joined by drummer Luis Alicea, the quartet became The Allen Carman Project, a band scrapbooking contemporary jazz, R&B, Latin, Afro Cuban, funk and fusion with a bolt of added star power from prominent soloists: Rodgers, saxophonist Andy Snitzer, trumpeter Rick Braun and guitarist Marc Antoine. In the process, the “Carmanology” album, produced by Ortiz and Saisse and featuring eight original songs, introduces the sound of an exciting and creative collaborative that will drop their debut disc April 5 on the ACP Music label.      
 
When Ortiz convinced Carman to work on some new tracks with him and Saisse, expectations were modest. Saisse penned the premiere single “Groove Salad,” a nourishing blend of contemporary jazz tossed with generous servings of Snitzer’s zesty sax. The title track dropped next, defining the outfit’s sound palette as an inventive mix of future meets familiar on a cut that portrays a vividly-realized fantasy where kinetic go-go beats and horn-powered funk coexist with vibrant jazz piano and sax theatrics. On the third single, Snitzer rampages through “Hearsay,” stirring a maelstrom amidst taunting bass, cascading rhythms and exuberant harmonies. Fourth up, Braun’s muted trumpet lends atmospheric elements to “Morning After” while Snitzer’s bellowing saxophone testifies in emphatic support of Carman’s elastic basslines and Saisse’s rapturous keyboard vocalizations. Other highlights on the “Carmanology” collection include the breezy Latin-jazz oeuvre “Carisma” on which Antoine’s nylon guitar leads the exotic exploration; a sprawling aural adventure through “El Fanfaron” boosted by Carman’s boundless bass, Ortiz’s exhilarating percussion attack and the combustive horns of Don Harris and Bill Harris; and just when you think you’ve got the band’s sonic trajectory figured out, they augment “Bodega” with Evan Garr’s mind-blowing electric violin.  
 
“When Gumbi and I started talking about making a record, I was super excited. My only expectation was to make a great record with great musicians. This album has far exceeded those expectations. It has always been a dream of mine to make a record with top-quality musicians and good songs. I put that dream on hold many moons ago when I joined the ‘civilian’ world and became a lawyer. However, I always felt like a musician first and a lawyer second. I never gave up on my passion to play,” said Carman, a South Jersey native who first met Ortiz in the mid-80s on the Tampa music scene when they played in local bands.
 
Ortiz, Saisse and Alicea established their chemistry years ago while backing guitar great Al Di Meola. Garr was also part of that band. Before deciding to go to law school, Carman toured extensively, performing with an array of artists. He’s looking forward to touring with The Allen Carman Project during a spring trek in support of the record release.
 
“I can’t wait to get out on the road with these fabulous musicians and play for live audiences. It will be magical.”  
 
“Carmanology” contains the following songs:
 
“Groove Salad”
“Hearsay”
“Carisma”
“State of Mine”
“Morning After”
“Carmanology”
“El Fanfaron”
“Bodega”
“River”
 
For more information, please visit https://theallencarmanproject.com.

Sigrid trad in de schijnwerpers met een salvo aanstekelijke hits (“Strangers”, “High Five”, “Don’t Kill My Vibe”) en zet in 2019 haar veroveringstocht onverminderd verder. Op 8 maart onthult de jonge Scandinavische eindelijk haar debuut ‘Sucker Punch’! Op 20 november stelt ze het nieuwe album aan ons voor in de AB.

De Belgische fans mogen zich dus in de handen wrijven voor een nieuwe demonstratie van haar grote talent, generositeit en eenvoud, waarmee ze vorig jaar al scoorde op Rock Werchter en in La Madeleine. Tickets zijn verkrijgbaar vanaf 1 maart om 10u.

 
START TICKETVERKOOP
VRIJDAG 1 MAART, 10U

TICKETS VIA
PROXIMUSGOFORMUSIC.BE
LIVENATION.BE
​
TICKETPRIJS
26 EURO

(INCL. SERVICEKOSTEN & MOBILITEIT)

​The single, “Drop of Faith” featuring Nils, will pave the arrival of his fifth album, “Next Train Home,” arriving April 5.
 
NEW YORK CITY (20 February 2019): Severely dehydrated from the oppressive heat during his travels from Mali to Uganda, Reza Khan was hospitalized after collapsing in a United Nations office. To avoid the lengthy hospitalization prescribed by doctors, he convinced them that he would recover faster if he was ensconced in a hotel room instead. During that five-day stay, he broke out his portable guitar and wrote the title track for his fifth album, “Next Train Home,” which drops April 5.  
 
The New York City-based, Bangladesh-born Khan serves as program manager for the UN, contributing to peace and conflict operations throughout Europe, Africa and the Middle East. During the six-week trek abroad, he wrote the twelve songs for the album, recording the conceptual ideas on his laptop using a folding guitar and a simple keyboard that he travels with in his backpack. After experimenting with rock, pop, world music and soul-jazz over the course of his first four albums, Khan believes that composing the music for “Next Train Home” took him in a creative direction that led to his self-discovery as an artist in search of a “home.”  
 
“The title ‘Next Train Home’ represents a destination where I feel totally comfortable and at ease surrounded by familiar sounds, emotions and conviction as an artist. The ‘Home’ is testament of a destination as an artist looking for a signature in recognition, style and branding. After a long soul-searching exercise moving from genre to genre, I feel like I am finally settled as a writer, composer and stylist. Artistic direction found, the destination is identified thus I am ready to take the next train home,” said Khan, who produced the record.
 
Khan’s musical home is a richly-cultured composite of straight-ahead and contemporary jazz, global beats and rhythms, and a strong Brazilian jazz inflection. When he was deemed healthy enough to return home to New York, Khan enhanced the tracks with a full complement of noted contemporary jazz kingpins: guitarist Nils, saxophonists Jeff Kashiwa and Andy Snitzer, keyboardist Philippe Saisse, pianist Matt King, bassist Mark Egan, horn man David Mann (sax and flute) and percussionist Gumbi Ortiz. Mauricio Zottarelli and Graham Hawthorne shared the drum throne equitably.
 
“Next Train Home” is a multi-format collection that will be serviced to both jazz and smooth/contemporary jazz outlets for airplay. Khan co-produced the first single, “Drop of Faith” with Nils. It’s an inspirational offering showcasing Khan’s nimble nylon guitar gymnastics on the verses while Nils’s celestial electric guitar illumines the invigorating chorus.
 
“It’s a song about the courage I used to embark upon this new artistic journey with a smile on my face and sunshine in my eyes. I know I had to trust my instinct and follow my heart,” added Khan, who will celebrate the album release with a May 9 concert date at the City Winery NYC. 
 
Khan was reared in a musical household where the foundation of his musical palette was Indian classical music. Initially a percussionist (tabla), he then studied sitar and sarod before being exposed to - and subsequently falling in love with - pop-rock music (Peter Frampton, Eagles, Grand Funk and America). That’s when he switched to guitar, embracing the recordings of Pat Metheny and other contemporary jazz guitar greats. After forming a band called Yours Truly in Bangladesh where they sold more than 500,000 albums, Khan shelved his musical muse in favor of his fledgling path in international relations. In time, he found a way to indulge both passions, dropping his first solo disc, “Painted Diaries,” in 2008. Subsequent releases followed – “A Simple Plan” (2011), “The Dreamwalker” (2013) and “Wind Dance” (2016) – and a few years ago, Khan returned to the stage. Playing shows for sold-out crowds at venerable New York City venues and at a variety of festivals, his eclectic resume of gigs boasts playing in the Rock & Roll Hall of Fame, Las Vegas, San Diego, Dubai and Kuwait. Khan has cultivated a devout East Coast fanbase that he aims to spread west with the arrival of “Next Train Home.”               
 
“Next Train Home” contains the following songs:
 
“Drop of Faith” featuring Nils
“Gathering” featuring Jeff Kashiwa and Philippe Saisse
“Clear Skies”
“It’s About Time” featuring Jeff Kashiwa and Matt King
“Beyond the Trees” featuring Andy Snitzer
“Zero Tolerance” featuring Philippe Saisse and David Mann
“Club 368” featuring David Mann
“Plutonik” featuring Philippe Saisse
“The Way”
“Cloud Nine” featuring Andy Snitzer
“Under the Moon” featuring David Mann
“Next Train Home” featuring Mark Egan and Matt King  
 
For more information, please visit http://www.rezakhanmusic.com.

​-19, 20 en 21 april op terrein De Molenheide in Schijndel-

​Ook komend jaar kunnen liefhebbers van heavy & loud (en van aanverwante genres die rock, metal, punk en core hoog in hun naam dragen) hun hart weer ophalen. Sinds vanochtend staan namelijk ook Tusky; Blood Red Shoes; Ten Times A Million; DeWolff; Heavy Hoempa plays Iron Maiden; The Vintage Caravan en Ploegendienst op het steeds omvangrijker wordende affiche van Paaspop, dat van vrijdag 19 april tot en met zondag 21 april 2019 op terrein De Molenheide in Schijndel plaatsvindt.
 
Daarnaast zijn er vandaag nog flink wat andere acts bevestigd waaronder Abba Fever, De Kraaien, Fata Boom, Tape Toy en Ronnie Flex & Deuxperience (afsluiter op zondag in de Apollo).
De komende weken worden meer acts bekendgemaakt. Het programma tot nu toe staat hier.
Reguliere Tickets zijn te koop via http://www.paaspop.nl/tickets.
 
Programma HEAVY & LOUD tot nu toe (nieuwe namen volgen spoedig)
The All Star Gary Moore Tribute Band; Alex Agnew (stand-up comedy in Theatre); Comeback Kid; De Staat; DeWolff; Dropkick Murphys; For I Am King; Heavy Hoempa plays Iron Maiden; Heideroosjes; Louder Than Love (Soundgarden tribute); Nervana; Ploegendienst; Stahlzeit; Steel Panther; Ten Times A Million; The Vintage Caravan; Tusky; Within Temptation.
 
En ook deze acts zullen zeker in de smaak vallen bij liefhebbers van ruig gitaarwerk en decibellen: All Them Witches; Black Water County; Blood Red Shoes; Circus Brothers; Daddy Long Legs; The Devil Makes Three; The Dirty Daddies; Drunken Dolly en Plunder.
 
Eerder werden onder meer al Passenger, Oscar and the Wolf, Clean Bandit, 25 Years Charly Lownoise & Mental Theo, Brennan Heart, Camo & Krooked, Davina Michelle, De Jeugd Van Tegenwoordig, Donnie & Joost, Douwe Bob, Ilse DeLange, Kovacs, Kraantje Pappie, Kris Kross Amsterdam, Lukas Graham, Nielson, Novastar, Rowwen Hèze, Sam Feldt LIVE, Scooter  en White Lies aangekondigd.
De line-up tot nu toe; meer namen volgen
(de vetgedrukte acts staan dit jaar in de Apollo)
25 Years Charly Lownoise & Mental Theo • 4shobangers • 80’s Verantwoord • Aap uit de Mouw • Abba Fever • Alex Agnew • The All Star Gary Moore Tribute Band • All Them Witches • Amartey • Amyl And The Sniffers • Arie & Silvester • Atmozfears • Backstreet's Back • Bizzey • Black Water County • Blood Red Shoes • Braeff • Brennan Heart • Camo & Krooked • CH!PZ • Circus Brothers • Claw Boys Claw • Clean Bandit • Club Zeroos • Comeback Kid • D-Block & S-te-Fan • D-Sturb • Daddy Long Legs • DAISY • Davina Michelle • De Hofnar • De Jeugd van Tegenwoordig • De Kraaien • De Lievelings DJ's van je Zusje • De Staat • The Devil Makes Three • DeWolff • The Dirty Daddies • Disco Snolly • DJ Irwan • Donnie & Joost • Dopebwoy • Douwe Bob • Dr Phunk • Dropkick Murphys • Drunken Dolly • EAUXMAR • Ellen Allien • Ellen Ten Damme • Fab x Paans • Famke Louise • Fanfaraoke • FATA BOOM • Fiesta Macumba Soundsystem • Flonti Stacks • For I Am King • Freddy K • Freddy Moreira • Frenna • The Gaslamp Killer • Handrick • Hannah Williams & The Affirmations • Hé bah musicals. Nee joh, kei leuk! • Heavy Hoempa plays Iron Maiden • Hef • Heideroosjes • HENGE • Herrie met Gerrie • Ho99o9 • Idaly • IDLES • Ilse DeLange • Indian Askin • Jameszoo • Jarreau Vandal • Jiri11 • Jody Bernal • JoeyAK • Johnny 500 • Jordymone9 • Kovacs • Kraantje Pappie • Kris Kross Amsterdam • Lennart Wiehe • Levenslied Toppers en Tobbers • LNY TNZ • Loco Loco Discoshow • Louder Than Love (Soundgarden tribute) • Lukas Graham • MADUK hosted by Ben Verse • Mate Power • Merol • Mia More • Mike Krol • Mike Williams • Mr. Belt & Wezol • Mula B • Nadia Struiwigh live • NAFTHALY RAMONA • Nervana • Nicole Atkins • Nielson • Nona • Novastar • Octave One live • Ooostblok • Oscar and the Wolf • Papi Chulo • Partysquad • Passenger • Phuture Noize • Ploegendienst • Plunder • Poke • Prime • Puinhoop Kollektiv - The Final Weekend Tour • Puri • Que Pasa! • Rave van Fortuin • Raywell • Raywell • Resom • ROD • Ronnie Flex & Deuxperience • Rowwen Hèze • Russkaja • S10 • Sam Feldt LIVE • Sandrien • Scooter • Sevn Alias • Singlefeestje • Sir Reg • Sjaak • Sjannies • SMÈRRIG • SMP • Snelle • Son Mieux • Stahlzeit • The Stand-Up Club • The Stand-Up Club • Steel Panther • Stoepkrijtdisco met Keezus Christus • STUKFEST • T & Sugah b2b NCT • Tabanka • TAPE TOY • Ten Times A Million • Terry Alderton • Tusky • Vieze Vedi • The Vintage Caravan • Vinylfeestje • Waxfiend • Weekend Warriors • White Lies • Winne • Within Temptation • Yonaka • Young Ellens • YouTube Sterrenparadegala • Yung Felix • Yungblud • Zanger Kafke • Zer00’s Heroes
 
Prijzen (exclusief servicekosten):
 
* Vrijdag € 59,-
* Zaterdag € 69,-
* Zondag € 69,-
* Combi zaterdag + zondag € 109,-
* Combi 3 dagen € 129,-
 
* Camping € 25,-
* Young & Free 3 dagen € 85,-
* Young & Free 3 dagen + camping € 95,-
 
Ook verkrijgbaar: pendelbustickets, camper/caravantickets, Paradise City resort accomodaties, vriendenarea's. Alle soorten tickets, hun prijzen en de speciale voorwaarden (ook voor de Young & Free) staan op de website.
 
Website & Social Media
Volg de Paaspop website en social media (Instagram, Facebook) voor alle gedetailleerde festivalinfo over o.a. podia, bands en overige nieuws.
 

Vocalist BEVERLEY CHURCH HOGAN’s career was just on the verge of taking off when life decided it had different plans for her. But now, after a nearly 60-year detour, she’s finally releasing her debut CD, CAN’T GET OUT OF THIS MOOD. Despite her age – she recorded the CD when she was 83 years old -- her smooth-as-silk vocals and ability to swing and render a lyric with great sensitivity remain undiminished.

Church Hogan grew up in Montreal, listening on the radio to all the wonderful tunes that have become part of the Great American Songbook. She was inspired to sing at a very young age by the likes of Frank Sinatra and Joe Williams. Even then, she knew she wanted to make those songs her own. She won an amateur show at the age of 12, which got her a weekly gig singing on the radio. By her late teens, she was doing club dates and singing in U.S.O type military shows. However, since she wasn’t fond of the winters in Montreal, she relocated to Los Angeles at the age of 21 and started to kick her music career into high gear. Soon after she arrived, she was offered a recording contract with Capitol Records. The contract required her to tour for 58 weeks, but by that time, she was married and had a one-year-old baby. To the record company’s great surprise, she turned down the contract, and for the next forty years, her focus was on being a mother, a wife, and a businesswoman. It was a decision she says she never regretted. Although she put performing aside, she remained an avid jazz fan and never mentioned to her many friends the road she did not take.

Then, in 2002, she found her way back to music, when she was invited to sing at Catalina Jazz Club in Hollywood. The night was a huge success. She sang beautifully and packed the house. The club was impressed by her performance and the crowd she brought in, so they invited her back to headline her own show. Thereafter, Church Hogan’s show became an annual event that has filled every seat in Los Angeles’ premiere jazz venue.
A dozen years after returning to singing, Church Hogan decided it was finally time to make her debut CD, so she enlisted JOHN PROULX to play on, arrange, and produce the project. Proulx is a popular singer, pianist, recording artist, and Grammy-winning composer. He’s been Church Hogan’s accompanist for ten years, and the two have developed a synergy and friendship born of mutual respect. “John’s dedication and support has
been very important to me,” says Church Hogan. “He’s so familiar with my sound and phrasing, that I just have to say three words, and he knows exactly what I want and what I need.”

Proulx, who has since moved to Michigan to pursue his educational goals, was a mainstay on the Los Angeles jazz scene and brought on board some of Southern California’s first-call, A-list musicians, including trumpet and flugelhorn master RON STOUT, guitarist GRAHAM DECHTER, reedman DOUG WEBB, bass player LYMAN MEDEIROS, drummer CLAYTON CAMERON, and percussionist KEVIN WINARD. Church Hogan also asked producer BARBARA BRIGHTON, who has finessed a number of Los Angeles vocalists, to help produce her vocals.
Although she’s not formally trained, through years of practice and close listening to her contemporaries and the great vocalists of the past, Church Hogan has developed deep musical instincts and has become a consummate storyteller. “I want to really connect to the listener, and I hope that the story I’m telling in song evokes memories and emotions that are meaningful to the audience.”

Church Hogan chose a mix of songs for CAN’T GET OUT OF THIS MOOD that resonate with her because they relate to people and events in her own life. The Great American Songbook is well represented with tunes by Jimmy McHugh and Frank Loesser (“Can’t Get Out of This Mood”), Rodgers and Hart (“Wait Till You See Him”), Matty Malneck and Gus Khan (“I’m Through with Love”), Kurt Weill and Ogden Nash (“Speak Low”), Sammy Kahn and Julie Styne (“Time After Time”), and Bobby Troup (“You’re Looking at Me”). But more contemporary composers are also represented, including Chris Caswell “((I Know You) By Heart)”, Rene Marie (“Take My Breath Away”), Stephen Sondheim (“Losing My Mind”), and a song composed by Proulx with lyrics by his frequent writing partner K. Lawrence Dunham (“Stuck in a Dream”).

Beverley Church Hogan isn’t a flashy singer. Her focus is on presenting a profoundly personal interpretation of the lyrics. When she sings, you have the feeling she is singing directly to you. Church Hogan is now 84 years old, and her plans for the future are simple: to keep singing well into her nineties. She says, “All dreams and goals are possible at any age.” Her voice is strong and resilient, and there’s no detour ahead.


WATCH THE VIDEO: https://www.youtube.com/watch?v=T4x5p8z4Vnk.

Webs:
www.beverleyhogan.com www.facebook.com/beverley.churchhogan

Music is about chasing a feeling - happiness, excitement, anger, sadness. Blues is the most intense combination of music and feeling. The power and emotion of the music transcends time and can be felt by people of all ages and ethnicities - the sole reason why the blues will survive and thrive for generations to come.

The blues, like all elements of life, is meant to grow, change and progress while retaining its essence. Kenny “Beedy Eyes” Smith and The House Bumpers accomplish just this with their latest album, “Drop the Hammer,” set for release March 15 on Big Eye Records.

Kenny honored the blues legends he admired by laying down a few traditional tracks. Much of his playing was molded by the teaching of his late father, Willie “Big Eyes” Smith, who was Muddy Waters' drummer for more than 18 years, and it was important to give him this nod of respect. To know who you are and where you're going, one must honor and acknowledge where you came from.

This album focuses on contemporary subject matter while using modern, innovative sounds. As much as Kenny loves and respects traditional blues, he was compelled to take his music to a new dimension. Kenny didn’t pick cotton in the fields; he's a native Chicagoan, so the inspiration for this album was drawn from the rhythm of footsteps on jagged pavement, the soulful, shadowy noise of the city at night, and the soundtrack from the eras he grew up in to become the man and musician he is today. This music is transgenerational. It is raw. It will grab you by your core and will feel familiar yet foreign at the same time.

The first three tracks offer an unexpected, electrifying, eclectic mix of music and a glimpse of what's to come. “Head Pounder” grooves from the very beginning, but picks up a head of steam, becoming hard-driving blues. The element that truly flavors this song, while also setting the tone, is the sitar. It adds something that's unique in blues but fits in surprisingly, incredibly well. This front porch style blues song combines undertones of the deep South with the grit of Chicago's South Side.

“Hey Daddy” is a beautiful song that anyone - but especially parents - can relate to. The message is sweet, sincere and light-hearted, in contrast to a great deal of subject matter used in many blues songs. Kenny incorporated the vocals of his own children, Mae, Clara and Teddy Smith, to melt listeners' hearts.

The title track, “Drop the Hammer,” changes direction 180 degrees. It’s fresh, funky and dark. Its bold title offers insight into the content of the song, and the music, which incorporates modern sounds and technology, is just as intense as the lyrics. For instance, Kenny used Roland V drums. The rhythm section is tight and powerful, and the edgy lead guitar work completes the mood and tone, with female vocals adding extra layers and depth.

“Moment of Silence” is a poignant instrumental featuring music that expertly pairs sound with emotion, taking listeners on a journey through the stages of grief - denial, anger, bargaining, depression and acceptance. The music brings buried emotion to light, is so real it hurts and leaves the listener with feelings of clarity and peace.

Collectively, the music just makes sense, with the musicians irrefutably providing the perfect feel for each song. Individually, each musician shines because of their talents and undeniable style. And the truth is, they had a blast making this music. The all-star cast of musicians features:

Greg Guy, the son of blues legend and Rock & Roll Hall of Famer Buddy Guy, adds an energetic touch on guitar.

Sugar Blue, courtesy of Bumble Music, a world-renowned harmonica player, recorded with the Rolling Stones and partnered with Louisiana Red.

Felton Crews, one of Chicago’s top bass players, toured with jazz great Miles Davis and blues musician Charlie Musselwhite.

Billy Flynn, on guitar, is an internationally acclaimed touring guitarist who contributed to the soundtrack to the movie “Cadillac Records.”

Guy King, on guitar, toured with blues great Willie Kent and is one of Chicago’s finest.

Ari Seder is an extraordinary musician and blazing hot guitarist.

Luca Chiellini, on piano, organ and keyboard, is one of the best, most versatile blues musicians.

Omar Coleman, from Chicago’s West Side, blows killer harmonica.

Nelson Strange, known for being a powerhouse guitarist, brings the fire with each guitar lick.

Andrea Miologos, Dana Gordon and Kim Johnson bring fierce, colorful vocals to every song.

Kenny “Beedy Eyes” Smith is recognized as one of the world's top blues drummers. He's a progressive musician and talented producer whose numerous prestigious awards include a Grammy in 2011 for “Joined at the Hip,” with the late Pinetop Perkins and his father, Willie “Big Eyes” Smith. This album is cold, hard proof, as Kenny displays great versatility in each song from writing, lyrical, vocal and drumming perspectives.

“Drop the Hammer” is a culmination of Kenny's true vision. The lyrics, arrangements, sounds and feel are a result of his life experiences as a musician and simply as a person who grew up in the same house in which Muddy Waters once lived in Chicago. Kenny is giving you his music on his terms - a piece of his being and soul. Sit back, relax and enjoy.

Earth and Fire-oprichter en toetsenist Gerard Koerts is woensdag op 71-jarige leeftijd in het Franse Perpignan overleden. Dit meldt zijn vrouw Ella op de Facebook-fanpagina van Earth and Fire.

Gitarist Hans Ziech bevestigt dit nieuws. Gerard kampte met longproblemen en lag sinds maandag in coma. „Hij was al een tijdje ziek, de laatste dagen ging hij hard achteruit”, laat Ziech aan het AD weten.
Op 14-jarige leeftijd begon Gerard samen met zijn tweelingbroer Chris The Swinging Twins, wat later Earth and Fire werd. Samen schreven ze meerdere nummers, waaronder de hit Weekend, gezongen door Jerney Kaagman.
Hoewel in 1979 zijn broer de band verliet, stopte Gerard pas in 1983. Daarna hebben de broers samen twee albums uitgebracht onder de naam Earth and Fire Orchestra en begonnen ze een muziekstudio.

De Pukkelpop-organisatie heeft een nieuwe lichting artiesten uit de elektronische muziekwereld bekendgemaakt. Zo voegt het festival Amelie Lens, Stephan Bodzin, Sigma, Jon Hopkins en nog 25 andere namen toe aan de affiche.Op zondag 18 augustus komt de Belgische dj Amelie Lens haar donkere plaatjes draaien op Pukkelpop. Zij speelde dit jaar al op Awakenings en staat ook op Sonar en het Amerikaanse Coachella. Tussendoor houdt Lens uitverkochte Exhale-feestjes in onder meer Londen, Madrid en Parijs. Daarnaast spelen zondag Pan-Pot, Jayda G, Sango, en CamelPhat, terwijl ook Jeff Mills en Tony Allen samen de plaatjes komen kiezen.

Zaterdag 17 augustus mag Stephan Bodzin zijn liveshow aan het publiek voorstellen. Bovendien zakt Chase & Status nog eens af naar Kiewit met hun project RTRN II JUNGLE, waarbij ze vergezeld worden door Brockie & Det en Kabaka Pyramid. Diezelfde dag spelen ook Ross from Friends, Palms Trax, Jeremy Underground, Honey Dijon, The Black Madonna, Hunee, Sam Paganini, SOHN en Meute. Voor het Oostenrijkse drum-'n-bassduo Camo & Krooked wordt het die zaterdag de derde passage op het festival.

Op vrijdag 16 augustus zorgt het Britse drum-'n-bassduo Sigma voor de beats. Ook Jon Hopkins staat dan voor het eerst sinds 2009 opnieuw op Pukkelpop. Voorts staan Avalon Emerson, Volvox, Alison Wonderland, Job Jobse, Jauz en Ekali op het programma. Modestep speelt die dag voor de derde keer op Pukkelpop, terwijl Modeselektor en Agoria met een liveset langskomen.

Volgens de organisatie heeft elektronische muziek haar plaats op het festival. "In 1994 was Pukkelpop het eerste festival om iets te doen met dance. We hebben toen de Dance Hall in het leven geroepen, met Underworld als headliner", vertelt festivalorganisator Chokri Mahassine. "Moord en brand werd daarover geschreeuwd, maar het bleek een schot in de roos." (bron: proximus.be)

​dirk Blanchart is zondermeer één van de founding fathers van de Belgische rock. Meer dan 40 jaar op de teller, aanvankelijk met bands zoals Once More en Luna Twist maar die vooral als solo-artiest een indrukwekkende discografie opbouwde met zijn eclectische muziekstijl. Een vlag die zeker ook de lading dekt van de geïnspireerde collectie songs op A Boy Named dIRK, zijn 11e soloalbum. 

Van Elvis die treurt over zijn bij de geboorte gestorven tweelingbroer (Jesse Garon Was Buried in a Shoebox) tot de van tekst voorziene en tot 3' jazzpop vertimmerde classic 'Idle Moments' van Duke Pearson (Too Much of Everything). Van een emotioneel eerbetoon aan Bowie's immense artistieke nalatenschap (How Do We Feel?) tot scherpe zintuigelijke observaties vanuit de loopgraven in Ieper, 1917 (In Between Battles). Van een zeer persoonlijke State of the Union (Now Is The Time) tot een nachtelijke smeekbede aan Mevr. De Muze (Hail Mary of the Songs)... and then some. 

Mocht 'goed volk' niet zo'n tot op de draad versleten begrip zijn, we haalden het van stal om de zeer to the point bijdragen van PJ Seaux (Hydrogen Sea; bas, piano) en Karel De Backer (Dead Man Ray, Kowlier; drums & percussie) te onderlijnen, met wie dB de meeste basistracks live als trio opnam. Die werden verder van kleur en textuur voorzien door o.a. Simon Raman (lead guitar), Orson Wouters (Soldier's Heart, Transistorcake; synthesizers), Frank Deruytter (saxophones) en Ibernice McBean & Nina Babet (backing vocals). En uiteraard niet te vergeten dB zelf, die naast zijn baritonstem & eigen gitaarsignaturen met zowat alles aan de slag gaat op A Boy Named dIRK wat geluid maakt (en niet wegloopt). Het album werd gemixed door Koen Gisen.
 
dirk Blanchart is nog altijd onverminderd dezelfde 'boy' - muzikaal nieuwsgierig, ongeremd, gulzig, observerend, speels...- die hij altijd al was gedurende zijn ondertussen lange carrière. “A Boy Named dIRK” vormt een nieuw hoogtepunt in het rijke oeuvre van dirk Blanchart die daarmee als songwriter en performer bewijst nog lang niet uitgespeeld te zijn. De eerste single "How Do We Feel" was reeds te horen op Radio 1.
 
Live shows (more TBC)
22/2/19 GC De Kam – Wezenbeek Oppem
17/5/19 Costa – Antwerpen
3/6/19 Le Manoir – Souilac (FR)
29/6/19 Bierfeesten - Oudenaarde
 
www.dirkblanchart.com

During the mid-1980s Locate Your Lips made some of the most adventurous music heard in Milwaukee. They were a powerful trio but not a power trio in the classic rock sense. Built around the jazz-schooled yet rock ready drumming of Kenny Baldwin, the empathetic accompaniment of bassist Andy Cavaluzzi and fiery guitar playing by (ex - Shivvers guitarist) Jim Eannelli, Locate Your Lips emerged from the city’s punk rock scene—Kenny owned the Starship club that became its Downtown mecca—but was not confined by it. With the energy of punk and the sophistication of jazz and progressive rock Locate Your Lips broke ground and left audiences unable to pigeonhole them.
 
Working with tapes left from a live broadcast on WQFM and a previously unreleased album length studio recording, Jim Eannelli produced a Locate Your Lips album to be released in April, 2019. There was so much material that the project became a double CD with no slack moments.
 
A pre-release show on January 5th was the first chance to hear this batch of songs and performances that remain timeless—as riveting today as they were in 1985. The listening party, an overwhelmingly successful event, was a memorable night of fellowship where participants spoke about the life of Kenny Baldwin (who passed away from cancer in 2015).
 
Happy Growl Records will unveil the official world-wide release of the 2-CD set on April 5th, 2019 for both physical and digital product. 

Ally Venable is poised to release her breakout third album, 'Texas Honey' on the Ruf Records label March 22nd.

Tip a ten-gallon hat to a bandleader writing her own name onto Texas’ famed back pages. Ally Venable is poised to release her breakout third album, Texas Honey on the Ruf Records label March 22nd. Produced by another Texas guitar hero, Mike Zito, Texas Honey proves once again the soulful vocal, burn-it-down fretwork and heart-on-sleeve songcraft of Venable has made Texas hers for the taking.
She might only be hitting her twenties, but long-term fans will know this isn’t Ally’s first rodeo. Rewind to her childhood in the post-millennium and this rising star found her voice in church. It was the influence of fiery Texas guitar-slingers like Stevie Ray Vaughan, however, along with the melodic smarts of Miranda Lambert that showed her the path.
Venable first flew into our radar in 2016 with the release of No Glass Shoes. A year later she had made our list of 10 rising stars. Last June, Ally hit us with Puppet Show, and left no doubt. Now with a new label, and a new producer, Ally’s lineup of Bobby Wallace (bass) and Elijah Owings (drums) prove they’re a power-trio to rank alongside the best. On Texas Honey, Venable added Lewis Stephens (piano/wurlitzer), producer Zito (rhythm & slide guitar) and special guest Eric Gales (guitars and vocals on “Come and Take It”).
“Ally is the future of the blues and the crossover music of American roots-rock,” nods Zito. “She is Texas Honey.”
Of the video for the title track, Ally shared with us, “I’m excited for people to watch our new music video ‘Texas Honey.’ Everyone worked so hard on it and I’m so happy we could film the video in my hometown around my family and friends. Can’t wait for everyone to see this fun, rockin’ video for my new album!”
Wait no more – here it is – the World Premiere of the video for “Texas Honey,” by Ally Venable.

Het zijn hoogdagen in de Gentse bluesscene! Bluesgoeroe Roland Van Campenhout presenteert in het voorjaar zijn nieuw album "Folksongs from a Non-Existing Land", Tiny Legs Tim verrast en verwent met zijn album "Elsewhere Bound". En nu kondigt ook zijn spitsbroeder Guy Verlinde een nieuw album aan. Dat doet hij met de release van de titel track van het full album als eerste single.
 
Na 10 intensieve jaren met The Mighty Gators, nam Guy eind vorig jaar afscheid van zijn band met een spetterend concert in de Ancienne Belgique. Het verhaal was verteld en het werd tijd voor een nieuw hoofdstuk, dat hij zal inluiden met de release van het persoonlijk akoestisch album “All Is Forgiven” met o.a. Nils De Caster, Kathleen Vandenhoudt, Richard van Bergen (NL) en René Stock. Op het full album blijft het nog even op wachten tot half maart. Maar ter aankondiging, lost Verlinde de title track “All Is Forgiven” als eerste single. Voor dit nummers werd er ook een mooie artistieke videoclip gemaakt, waar het werk van Sainabou Van Raemdonck, die het artwork voor het album deed, centraal staat. 

videoclip: https://www.youtube.com/watch?v=WCXKrl_Atug&feature=youtu.be  

Op zijn nieuwe album graaft Guy Verlinde steeds dieper; puurt hij alles uit in een zoektocht naar de juiste woorden en klanken om zo tot de essentie te komen. Het nummer “All Is Forgiven” stelt vragen over hoe we omgaan met “vergeving”. We vergeven eerder met woorden, dan met ons hart. Het is ook veel complexer en vaak moeilijker dan de “7 maal 70 maal”, die we als kind nog moesten van buiten leren. Vergeven is loslaten. En daar gaat meestal een lang en hobbelig proces aan vooraf. Somethings take time. Maar op 42-jarige leeftijd is hij zover dat hij iedereen heeft vergeven, die ooit op zijn ziel heeft getrapt. En hopelijk kan dit de luisteraar de kracht geven om hetzelfde te doen.
 
De song klinkt als een traditionele delta blues song. De weemoedige klaagzang, symboliseert de moeilijke weg tot vergeving, die heviger worden naar het einde als de verlossing van onze zorgen nabij is. De gitaar riff en het repetitieve ritme werken meditatief, waardoor de inhoud extra tot zijn recht komt.
 

- website: https://guyverlinde.com/
- facebook: https://www.facebook.com/guyverlindemusic/

Verwacht je aan een electro tsunami op zaterdag 27 juli. Suikerrock kondigt namelijk de komst aan van The Prodigy en Goose!
The Prodigy zijn de pioniers van de electro dance. Al sinds de prille ninetees, veroveren ze podia over de hele wereld, ongenadig, snel en hyperactief. Met een nieuw album 'No Tourists' onder de arm, staat de band van Liam Howlett met die totaal geflipte frontman Keith Flint (geen bek is te gek) u deze zomer helemaal murw te spelen op het grote Suikerrock podium. Baanbrekend in de prille jaren negentig, snel opklimmend naar wereldfaam brachten ze rave klassiekers zoals ‘Out of space’, ‘Breathe’, 'Firestarter', 'No Good' en 'Smack my bitch up' naar de grootste festivalpodia, die nog uren na hun passage bleven natrillen.
Ze namen een korte pauze van ...7 jaar, en terwijl de mensheid dacht dat ze er het bijltje bij hadden neergegooid kwamen ze, alsof het de normaalste zaak van de wereld was, gewoon terug om precies hetzelfde te doen: Het producen van magistrale electropunk, en die live met een welgemikte uppercut opnieuw de wereld in te sturen. Eind vorig jaar brachten ze ook hun zevende album uit: 'No tourists'. De wijde omgeving van de Tiense Grote Markt zal dat laatste wapenfeit ook geweten hebben deze zomer.  Je krijgt een nog meer elektrisch geladen set van krioelende waanzin over je heen. We zien het nu al voor ons : Flint's verwrongen gezicht, 'I'm the firestarter' krijsend over een vol marktplein op een zomeravond. Hier zal je echt geen seconde van willen missen!
Er zijn gelijklopende lijnen met de tweede band die we vandaag aankondigen : het Belgische Goose pionierde zo ook eerst in eigen land met een unieke sound, en een energieke podiumperformance. Goose werd  heel erg sant in eigen land, maar slaagde er na hun tweede album 'Sinrise'  vrij snel in de Europese buitengrenzen op te zoeken.  Ze bouwden een gigantische live-reputatie op, en de nationale en internationale pers goot de superlatieven met emmers uit boven de hoofden van deze Kortrijkzanen. Die hielden gelukkig de voeten stevig op de grond en bleven (nu al bijna twee decennia) puike producten afleveren. Sinds hun Humo's Rock Rally winst in 2002 is het nooit meer bergaf gegaan, en telkens je ze op een affiche ziet staan weet je dat je een dik uur een pletwals over je krijgt. Goose laat je heel makkelijk uit je dak gaan met hun bijzonder intense, opzwepende en vooral heel erg gedreven electro-rock/punk geïnspireerde liveset.  Met ‘Goosenonstop’ hebben ze zichzelf anno 2019 heruitgevonden. Weg zijn de gitaren en het podium staat nu helemaal tjokvol met keyboards en computers. Ze remixen al hun eigen songs en classics in één grote wervelende rave. Dat wordt zweten, straks op Suikerrock !!
Als er één zomerfeestje is wat je niet wil missen, is het dit wel: Goose en The Prodigy, zaterdag 27 juli op Suikerrock 2019 ! Je tickets moesten al in je smartphone opgeslagen zijn!
 

 
TicketsDagtickets voor zaterdag 27 juli, alsook combitickets en drinks/food tickets zijn onmiddellijk beschikbaar via de Suikerrock ticketshop en Ticketmaster

Een innemende en oprechte persoonlijkheid, een krachtig stemgeluid, bakken talent als songwriter, betoverende ballades en een flinke snuif humor. Dat is de onweerstaanbare cocktail waarvan enkel Lewis Capaldi het recept kent. De jonge Schot timmert hard aan de weg sinds 2017 en de release van zijn debuutsingle “Bruise”. Na twee grootse optredens in de Botanique vorig jaar, zet Lewis zijn zegetocht verder en verwelkomt hij zijn Belgische fans opnieuw, op 24 oktober op het podium van La Madeleine in Brussel. Tickets zijn verkrijgbaar vanaf vrijdag 22 februari om 11u.
 
Op 21-jarige leeftijd is Lewis Capaldi de rijzende ster van de internationale popscene. Hij werkt zich in de kijker bij BBC en VEVO, die hem uitroepen tot één van de ‘Artists To Watch 2018’. En terecht, want de jongeman zit de allergrootsten nu al op de hielen. Zijn tweede langspeler kwam uit in november 2018 en maakte van hem één van de lievelingetjes in playlists over de hele wereld. Hij schopt het tot voorprogramma van onder meer Sam Smith en Bastille en speelt de pannen van het dak in de grootste concertzalen en op de meest prestigieuze festivals. Zijn singles “Bruises”, “Lost On You”, “Fade”, “Rush” (feat. Jessie Reyez), “Tough”, “Grace” en zijn jongste hit “Someone you Loved” zijn dagelijks goed voor luister- en streamingrecords. En met zijn tweede plaat ‘Breach’ gaat Lewis pas écht potten breken…

 
START TICKETVERKOOP
VRIJDAG 22 FEBRUARI, 11U

TICKETS VIA
PROXIMUSGOFORMUSIC.BE
LIVENATION.BE
​
TICKETPRIJS
24,70 EURO
(INCL. SERVICEKOSTEN)

Buscemi en El Rubio delen een grote voorliefde voor Spanje. El Rubio groeide op in Zuid-Spanje tussen de Gitanos (de lokale gypsies) en leerde er hun traditionele manier van gitaar spelen en zingen.
 
Beide heren doken samen de studio in. Het resultaat: een mix van Buscemi’s typische lounge beats gecombineerd met latin, flamenco en Spaanse lyrics.
 
Inhoudelijk gaat Sueños over het vervagen van het tijdsbesef tijdens een lange verre reis, en het onbeschrijflijk fantastisch gevoel van rust en vrijheid dat dat veroorzaakt.

BUSCEMI @ SXSW
Buscemi reist ook dit jaar weer af naar SXSW voor een optreden op het podium van Uncle Billy's samen met Tamino.

LUNA MISTERIOSA IN GREECE
In Griekenland heeft Buscemi al enkele maanden onafgebroken een hit met Luna Misteriosa. De single wordt er grijsgedraaid op de radio's en haalde zelfs de charts. Buscemi is Luna Misteriosa vorige week dan ook gaan promoten via enkele concerten in Athene met full band. 
 
Radio Pepper (de lokale Stu Bru) hield er zelfs een speciale Luna Misteriosa party.

“On The Sunny Side” is the third full-length album from the Interplay Jazz Orchestra.  The recording features 11 tracks from some of the best jazz musicians from Long Island, New York.  The IJO is currently the only Long Island big band performing original arrangements and compositions.  Several members of the band contributed to the writing on the album including Joey Devassy, Gary Henderson, Damien Pacheco, and Chris Scarnato.  The album was recorded at The Bunker Studios in Williamsburg, Brooklyn.

THE INTERPLAY JAZZ ORCHESTRA
                “[The Interplay Jazz Orchestra] serves as a fine example of the fact that impressive big band music is being created in all sorts of places. Interested parties just have to know where to look.”
  -All About Jazz  (Dan Bilawsky)

                Co-directed by trumpeter Gary Henderson and trombonist Joey Devassy, Long Island, New York's Interplay Jazz Orchestra performs original compositions and arrangements written by several members of the band.  
                The group has been performing a monthly residency at The Jazz Loft in Stony Brook, NY as well as a bi-monthly performance at Treme in Islip, NY.   Recently, the band performed in front of a SOLD OUT crowd at historic Birdland in New York City. The IJO has also performed at The Garage in Greenwich Village as well as several local jazz festivals.  Some of the band’s members can also be seen playing and subbing with some of the most famous big bands in the world including The Birdland Big Band, The Vanguard Jazz Orchestra, and The Maria Schneider Jazz Orchestra.
                The band's new album, "On The Sunny Side,” features writing from several members of the band including Joey Devassy, Gary Henderson, Damien Pacheco, and Chris Scarnato.  The album was recorded at The Bunker Studios in Williamsburg, Brooklyn.
                Interplay’s 2nd album, “Detour”, was recorded in the summer of 2015 at The Bunker Studios in Williamsburg, Brooklyn.  Dan Bilawsky at All About Jazz penned "The Interplay Jazz Orchestra...completely outdoes itself with Detour" giving it FOUR stars.  Detour peaked with a three week stint at #4 on the CMJ Jazz Radio Charts and climbed it's way to #35 on the JazzWeek Radio Charts.  The album placed at #9 for the 2016 calendar year according to the CMJ Jazz Radio Charts.  
                The IJO’s debut album “My Love You’re Free” was released in 2013.  All About Jazz wrote the band “delivers a debut album with plenty of flash, fanfare and, yes,swing.”  It includes arrangements of previously undiscovered melodies by Billy Strayhorn (“It Is Written in the Stars”) and Duke Pearson(“My Love You’re Free”) by Chris Scarnato.  He was commissioned to arrange these pieces for big band by curator Tommy Manuel of The Jazz Loft.  These are the only known recordings of these melodies from the two jazz masters.
“On The Sunny Side” is the third full-length album from the Interplay Jazz Orchestra.  The recording features 11 tracks from some of the best jazz musicians from Long Island, New York.  The IJO is currently the only Long Island big band performing original arrangements and compositions.  Several members of the band contributed to the writing on the album including Joey Devassy, Gary Henderson, Damien Pacheco, and Chris Scarnato.  The album was recorded at The Bunker Studios in Williamsburg, Brooklyn.
 
TRACKS:
1 SING BY JOE RAPOSO
(ARR. BY GARY HENDERSO N)
SOLO: A. GOULD
 
2 ON THE SUNNY SIDE OF THE STREET BY JIMMY MCHUG H
(ARR. BY J OEY DEVASSY)
SOLO S: J. M ARSHALL, D. PACHECO, D. LOBENSTEIN
 
3 CARAVAN BY JUAN TIZOL
(ARR. BY JOEY DEVASSY)
SOLOS: J. DEVASSY, A. GOULD, M. PORTUGAL
 
4 RENEW ED BY CHRIS SCARNATO
SOLO: J. MARSHALL
 
5 BROKEN BY J O EY DEVA SSY
SOLO S: J. ORIG, J. DEVASSY, J. MARSHA LL
 
6 TIME AFTER TIME BY J U LE STYNE
(A RR. BY G A RY HENDERSO N)
SOLO S: B. CHIARELLO, A. GOU LD
 
7 TANGERINE BY VICTOR SCHERTZINGER
(ARR. BY DAMIEN PACHECO)
SOLO S: D. PACHECO, C. DONOHUE
 
8 INVITATION BY BRONISLA UKAPER
(ARR. BY DAMIEN PACHECO)
SOLO: A. AVILES
 
9 EL GATO SU AVE BY J OEY DEVASSY
SOLO S: B. C HIARELLO, A. AVILES, S. HENRY
 
10 I’LL CLOSE MY EYES BY BUDDY KAYE
(ARR. BY GARY HENDERSON)
SOLO S: J. ORIG, G. HENDERSO N, J. DEVA SSY
 
11 LIGHTS DOWN LOW BY G A RY HENDERSON
SOLO: A. AVILES
 
PLAYERS & INSTRUMENT:
Players and Instruments:
Alto Sax
Andrew Gould (also Soprano Sax and Flute)
Chris Donohue (also Flute)
 
Tenor Sax
John Marshall
Alejandro Aviles (also Flute)
 
Bari Sax
Chris Scarnato
 
Trombones
Brent Chiarello
Joey Devassy
Justin Friedman
Eric Gottesman
 
Trumpets
Mike Rubenstein
Damien Pacheco
Steve Henry
Gary Henderson
 
Piano
Jay Orig
 
Bass
David Lobenstein
Drums
Mark Portugal 

RISE UP
Label: Arbor Lane Music
Set to Release: March 4, 2019
 
“Lively play, NOLA style, and solid songwriting make for most satisfying. The Huntsville-bred vocalist/saxophonist deals out both humor and heartsickness, consistently dosed with ear-grabbing lyrical savvy.”
-Duane Verh, Roots Music Report

“The ability to pull this off is off is a testament to the credibility and emerging strength of clever songwriter, vocalist, and saxophonist Scott Ramminger.
-Jim Hynes,Elmore Magazine

“growling vocals, sharp songwriting and vibrant saxophone playing….Good luck not singing along…Ramminger’s songs always manage to retain a contemporary feel, thanks primarily to his heartfelt vocals that highlight the heart he puts into his music.”
-Brian Passey, The Spectrum
 
Featuring: 
Scott Ramminger on vocals and tenor sax; Wes Lanich on piano and Hammond B3, Shane Theriot on guitar, Paul Langosch on upright bass, and Emre Kartari on drums.
Scott Ramminger has gone down a slightly different path on Rise Up, his March 2019 release -- his fifth record since 2011. Where his previous studio discs have been heavy on horn sections and backing vocals, Rise Up features only five players -- Ramminger on vocals and tenor sax; Wes Lanich on piano and Hammond B3, Shane Theriot on guitar, Paul Langosch on upright bass, and Emre Kartari on drums.

A Different Sonic Footprint
“I set out trying to make a record that had a slightly different sonic footprint, sort of a stripped down, more acoustic vibe. I hired a fine jazz drummer and upright bass player. And at one point, with my producer hat on, I asked them to play less like we were at Blues Alley (a famous DC jazz club) and more like we were playing in a Brooklyn strip club in about 1960,” Ramminger says, laughing. He adds that the another idea that drove the record was taking this more acoustic sound across a wide range of groves and song types.

Rise Up moves from the opening shuffle, “Thinking About You,” to the laid back funk of “Rise Up,” to the old school R&B of “Daisy” to the swing of “The Feeling When I’m Falling.” “Today you don’t hear a ton of funk tunes with an upright bass. It creates a different kind of groove,” Ramminger says of the title track. You could say the same for the R&B tune, “Daisy.” And frankly, you don’t hear all that many modern blues tunes with upright bass and acoustic piano way out front. The whole record is pretty woody and natural sounding -- a great sounding Yamaha Grand Piano, a real Hammond B3 & Leslie, killer upright bass, drums, my tenor sax, and a bunch of Shane Theriot’s cool old guitars and funky old tube amps. And we tracked the grand piano and the drums in the same room, so there’s some bleed, which adds to the vibe of the thing.’

Of "Rise Up," the title track, Ramminger says he was “bitching to a friend about the state of the world and wondering why I’m not hearing more songs about that” when he realized he should put his money where his mouth was. “It’s kind of outside of my usual thing. And it was somewhat daunting. Because when you think of the protest songs of years past, the songs that come to mind are great ones --- “This Land is Your Land,” “Blowing in the Wind,” “Say it Loud, I’m Black and I’m Proud,” Randy Newman’s “Rednecks” I could go on and on. A whole bunch of great songs in all sorts of genres. And when your staring at a blank piece of staff paper with songs like that going through your head, it can be tough. But I just tried to dig in and try to write something from my heart about waking up and taking a look around. And tried to make it funky…”

A Different Framework for His Songs
At eight songs, the record is shorter than any Ramminger has put out previously. “That was a conscious decision -- a nod toward the way folks are listening to music today. I grew up when you listened to whole album sides -- and usually whole albums. Sometimes double albums. . These days people are super busy. I still want to make records that people can listen to from start to finish. And I hope they will. But I wrote these songs. And I want people to listen to them. So I figure maybe the answer is to put out more smaller records. It’s kind of an experiment.” He adds that “Rise Up” is also an experiment in presenting his songs in a similar framework. “On a couple of the previous records, I had tracks where the song itself kind of got lost in the production. These songs seemed to want a simpler presentation.”
Ramminger moved to Nashville in 2017, where he performs regularly as a sax player and sometimes ventures out to perform his songs solo, accompanying himself on guitar. He also returns frequently to his previous home of DC to play band gigs, and has performed throughout the Southeast and Mid-Atlantic with his own band and as a sideman. Ramminger’s previous records have all received critical praise, in publications including “Downbeat,” “Elmore,” “Blues Matters,” “No Depression,” and many others. He has received significant airplay on blues and roots oriented radio, including Sirius XM’s Bluesville Channel 70. His February 2017 studio release, Do What Your Heart Says To reached Number 1 on the “Root Music Report” R&B Charts, and his double live CD, released in September of 2017, charted on the “Roots Music Report” Blues Album Charts. Ramminger has won the Gold and two Silver Awards in Blues/Jazz Category of the Mid-Atlantic Songwriting Contest. His 2011 initial release, Crawstickers, took a Washington Area Music Association WAMMIE Award as best debut CD.

Varied Player Backgrounds Help Create The Record’s Vibe
Ramminger contends that the varied backgrounds of the players juxtaposed against the variety of styles and grooves create an interesting effect on the record. “Basically Paul Langosch on bass and Emre Kartari on drums are mostly jazzers. Paul played with Tony Bennett for years. Wes, on keys who went to Berklee and can play all kinds of music, but is primarily a blues and rock guy.” Shane Theriot on guitar can play anything, but is best known for playing in the Neville Brothers and for currently serving as the musical director on “Live From Daryl’s House” and being the guitar man in Hall & Oates. I am mostly a blues, roots, old school R&B guy. So it makes for some interesting musical moments, I hope.”
 
TRACKS AND TIMES:
1 Thinking About You - 3:57
2 88 Reasons - 4:34
3 Lemonade Blues - 5:23
4 Rise Up - 5:50
5 Daisy - 3:12
6 The Feeling When I’m Falling - 3:09
7 Ice Cream - 3:26
8 All Done - 3:08
 
PLAYERS & INSTRUMENT:
Scott Ramminger: vocals, tenor sax
Wes Lanich: keyboard
Shane Theriot: guitar
Paul Langosch: bass
Emre Kartari: drums 

Tuomo Uusitalo releases a collection of original tunes inspired by his travels

Label: Fresh Sound New Talent
Set to Release July 1, 2019
Featuring: Tuomo Uusitalo: piano
Chris Cheek: sax (Tracks 1, 2, 4, 5, 8 & 11)
Myles Sloniker: bass
Itay Morchi: drums

Tuomo Uusitalo is a NYC-based award-winning pianist, composer, arranger and educator. Having released two albums as a leader, and appearing on numerous albums as a sideman, he has established himself in the New York jazz scene, and continues touring worldwide both as a leader as well as sideman. Born in Tampere, Finland, Tuomo Uusitalo started to play piano at the age of 6. As a teenager he played different types of music from classical to pop/rock, and soon became fascinated by jazz and the thrilling possibilities of spontaneous improvisation.  While studying music in Graz, Austria (University of Music and Performing Arts, the oldest jazz institute in Europe), Tuomo already had the chance to work and perform with many jazz legends including Bob Brookmeyer, Billy Hart, Curtis Fuller, Jimmy Cobb and Jim Rotondi, as well as many other well known jazz artists such as Steve Waterman, Riccardo del Fra, Wayne Darling, Juan Garcia-Herreros, Howard Curtis, Stjepko Gut, Charlie Miklin and many others.
 
After graduating with honors from University of Music and Performing Arts Graz (Austria) in 2012, Tuomo moved to New York City, and has been living in the city since. He is performing
regularly around the city at numerous venues including NYC's main jazz spots (Smalls, Mezzrow, Fat Cat, Zinc Bar, Cornelia Street Cafe, Minton’s Playhouse, ShapeshifterLab, Cleopatra's Needle, Garage, University of the Streets, Arturo's etc.). During his time in NYC he has worked with several legendary jazz musicians including Curtis Lundy, Tyler Mitchell, David Schnitter, Jeff Hirschfield, Johnny O'Neal, Greg Bandy and Philip Harper as well as many notable musicians in the scene such as Chris Cheek, Seamus Blake, Ulysses Owens Jr., Dayna Stephens, Obed Calvaire, Rich Perry, Justin Brown, Elliot Mason, Peter Slavov, Josh Evans, Brandon Lewis, Gerry Gibbs, Scott Tixier, Jason Brown, Luques Curtis, Tivon Pennicott, Troy Roberts, Russell Hall, Evan Sherman, Alexander Claffy and Kyle Poole, to name a few.
 
TRIO, was his sparkling 2012 debut CD. The album won the Downbeat Student Music Award in 2012 for the Best Small Jazz Group. At the same year he also won the same price for the Best
Latin Group (Marco Antonio Da Costa Group). 2013 he was the recipient of prestigious Sir Roland Hanna Award from City University of New York. 2013 Tuomo had a chance to bring his original compositions to the Montreal Jazz Festival (Canada), where he was a part of the Jazz Composers-Series.
 
Fall 2014 Tuomo was on the road with The One And Only Tommy Dorsey Orchestra, touring six weeks in The United States and Canada. After the first tour with the band, he has been working with the TDO ever since on a regular basis, touring all over The United States as well as in Portugal, Colombia, Panama, El Salvador, Costa Rica and Mexico.  In 2016 he also started his twice a month - residency at the world famous Smalls Jazz Club, performing his original music and hosting the jam session with his trio.
 
2015 Tuomo was commissioned to compose and perform as the headliner at the renowned Chelsea Music Festival in New York City, where he met drummer Olavi Louhivuori, one of the all-time leading drummers in the European Jazz Scene. From then on they created a project Northbound, that recorded its debut album which was released in 2017, featuring world famous Seamus Blake.
 
2016 Tuomo released his second album as a leader, Love Song, on Fresh Sound Records. The album has been extremely well received among critics and fans. In 2018, Tuomo was asked to join The Post Modern Jukebox for their 2018 European Tour, performing in Iceland, Portugal, Spain, France, Belgium, United Kingdom, Netherlands, Italy, Croatia, Serbia, Macedonia and Israel.  Tuomo’s 3rd album as a leader, Stories From Here and There, featuring the legendary Chris Cheek was recorded in NYC September 2018 and will be released on Fresh Sound New Talent July 1, 2019.
LINER NOTES: 
by bassist Myles Sloniker
 
I first met Tuomo sometime during the summer of 2014 at a “session” at the New School (for the uninitiated: a short and informal meeting of a few musicians to play jazz standards and one another’s original music) that was organized by a mutual friend of ours.  Due to my own lack of observation more than anything, I’m not sure I realized at that first meeting what an enormously talented and profound musician I was dealing with.  We bonded early on over my interest in the little-known Scandinavian island of Svalbard—I showed him a book of photographs I’d checked out from the NYU library which he in turn asked to borrow to show to his wife Una.  Before long we were playing regularly at friends' apartments, music school rehearsal spaces, and more than once at Smalls Jazz Club on weekday afternoons before it opened for the evening.  Over the years we’ve traveled, debated, cooked, shared our triumphs and tragedies, lent each other books, and most importantly forged a musical partnership that has been among the very most meaningful of my life.  I introduced Tuomo to Itay a few months later to record an audition for a competition which I amusingly never even qualified and the three of us have been an inseparable unit ever since, often hosting the now-defunct "Afternoon Jam” sessions at Smalls every weekend, and touring and recording when our schedules permitted. 

            My hope is that these notes can illuminate some of what our lives were like and give a window into that specific time and place that this record was made.  

            That week, Tuomo had just returned to New York from a lengthy time spent in Europe with his family who had relocated from New York to Riga earlier that year, and he planned to continue splitting his time between the two places for the immediate future.  For that reason, I don’t think we’d seen each other in at least three months which in all honesty, was a little tough on me at that somewhat-turbulent time in my life.  Since shortly after we met, we’d been extremely close—seeing one another several times a week for a gig or a drink and if not, nearly every day checking in with a short phone call.  Now the situation was reversed and although I knew he missed his family back in Europe, it felt good to play together and be in one another’s company again.  Itay was exhausted but happy, as he'd had been playing every night that week at some very expensive nightclub with a brass group; a gig that paid well despite the band only playing for five minutes each night.  This was on top of his work with the legendary pianist and singer, not to mention a mentor and hero to all of us: Johnny O’Neal.  Johnny was a big believer in dressing up for the gig; he used to say that both the audience and one’s peers could see you before they heard you, and that’s probably why Itay seemed to be perennially wearing a spotless suit complete with a pocket square.  That’s the scene as I remember it: Itay in his suit looking sleep-deprived but glad to be there, Tuomo with his signature red cap and colorful H&M jacket, me in a black T-shirt and ancient blue raincoat, each with a cup of black deli coffee close at hand.  We made this record in the exact same way that we made the one before it: meeting for two days in a row; four hours each day.  It being three years since we’d had an opportunity to make a record together, the content heard here is a mix of music that we’d been playing for years and of newer songs that Tuomo wrote specifically for this record.  “Be Good or Be Gone”, a seven-bar blues melody, is a reference to one of the mottos of McSorley’s Old Ale House in the East Village, one of the oldest bars in New York.  The other motto—evidently abandoned in 1970—is “good ale, raw onions, and no ladies” but Tuomo and I agree that that makes for a much less compelling song title.  “Altitude 5003ft.” is Tuomo’s tribute to my hometown of Fort Collins, Colorado; written on one of our tours there.  If you listen closely to Tuomo’s solo, you can hear part of the theme to “Many Mornings”, another song written shortly before it was recorded.  Largely, Tuomo’s music is what academics would call “absolute music”; that is to say that it stands alone and exists for its own sake, rather than being “about” anything in particular.  Titles are mostly given based on what he feels would fit the song’s mood, and although he certainly has a style that is unique to him, it’s also my understanding that Tuomo nearly always writes simply what he wants to hear.  In his own direct way of speaking, “I just write something”, as opposed to the pieces’ geneses being a compositional method or structure.  That isn’t to say that his music (compositions as well as his choice in others’ songs) is devoid of inspiration from sources ranging far and wide.  Apparently, one part of “Many Mornings’” melody was influenced by “Dance of the Knights” from Prokofiev’s Romeo and Juliet, a work both Tuomo and I have studied and cherished for some time.  “Tonight You Belong To Me” was shown to us by my then-girlfriend from an appearance that the Lennon Sisters made on the Lawrence Welk show in the mid 1950’s.  Our version of "Bouncin’ With Bud” is somewhat messy and raw, but I do feel it captures Bud Powell’s spirit on some level, and was taught to me by my father, a professional jazz pianist under whose tutelage I first learned to play music.  I don’t have a great deal of insight into why Poems 4 and 8 are titled as such or why Tuomo decided to call them poems in the first place.  It occurs to me to be a possible reference to the tone poems of the romantic period of European classical music, but all I know for sure is that they were written in the terminal of JFK on his way to Latvia for a recording earlier that year.  “In And Out Of The Frame” in particular includes space for free improvisation, which both as a listener and as someone who was present for the recording, came as a surprise to me when I learned such after the fact.  

            I’d be remiss if I didn’t mention the beautiful playing of Chris Cheek on this record as well.  I think he first came to Tuomo’s and my attention after we heard his work with Paul Motian’s Electric Bebop Band and with Charlie Haden’s Liberation Music Orchestra, particularly on the Bill Frisell composition “Throughout”.  As always seems to be the case on self-funded projects involving busy people, there really wasn’t time for Chris to rehearse with the band before the day of recording itself, and it’s my recollection that none of the three of us had ever met him before that day.  Needless to say, he was unbelievably sensitive and easy to work with, and his presence lends so much weight and spontaneity to the music.  It feels a little surreal to reflect that something as seemingly significant as a record that will outlive everyone on it was made just a few hours after we shook hands for the first time, but then again, I suppose that sort of thing happens all the time in music.

            More than anything, I believe this recording to be a document which accurately-if-abstractly chronicles and reflects the segmented and multifaceted life of its composer at that particular time and place, and perhaps of all of us as people taking part in its creation.  I was truly honored to help to make it, and I sincerely hope that you enjoy it.
 

TRACKS AND TIMES:
Tuomo Uusitalo
Stories From Here And There
Track List:
01           “Be Good Or Be Gone”                            4:50             T. Uusitalo
02           Poem No. 4 - In And Out Of The Frame    1:34              T. Uusitalo
03           Best Thing For You (Would Be Me)          2:28              I. Berlin
04           Altitude 5003 ft.                                      4:14              T. Uusitalo
05           Boo Boo’s Birthday                                 2:36              T. Monk
06           Between Things                                      1:42              T. Uusitalo
07           Solitude                                                 6:13              D. Ellington
08           Many Mornings                                      4:15               T. Uusitalo
09           Bouncin’ With Bud                                 3:51               B. Powell
10           Poem No. 8 - Crepuscule                        0:34               T. Uusitalo
11           Tonight You Belong To Me                       4:08                L. David

PLAYERS & INSTRUMENT:
Tuomo Uusitalo - Piano
Chris Cheek - Sax (Tracks 1, 2, 4, 5, 8 & 11)
Myles Sloniker - Bass
Itay Morchi - Drums
 
Recorded September 28 & 29 2018 @ Studio 42, Brooklyn NYC by Alessio Romano
Produced by Tuomo Uusitalo, Excecutive Producer: Jordi Pujol 

The electric entertainer captured his hit-filled Colors of Love Tour in Las Vegas for his first live concert video that dropped Valentine’s Day as a stunning Blu-ray and double CD.
 
LOS ANGELES (15 February 2019): Fans have been asking multi-instrumentalist hitmaker Brian Culbertson for years, “When are you going to put out a concert video?” As the dynamic performer rolled out his elaborate Colors of Love Tour on a 77-show, 14-week journey last year, he knew he had to capture the magic. Filmed during his stop in the neon city, “Colors of Love Tour – Live in Las Vegas” was released by BCM Entertainment on Valentine’s Day as a Blu-ray disc and two-disc CD through Culbertson’s site (www.BrianCulbertson.com). Amazon also has the CD set available now and will soon list the Blu-ray. Digital fans can obtain the audio version now from all major digital retail outlets.
  
“I’ve been aspiring to finally film a concert and for this tour, I knew we had an impressive-looking show and a great-sounding band. It’s the most visual show I’ve ever created in terms of the lighting, video elements and wardrobe. It’s stunning. Once the tour started, I knew we had to film it somehow,” said Culbertson about his first live concert video.
 
The 2018 spring/summer trek was mounted in support of the “Colors of Love” album, a romantic release that dropped last Valentine’s Day and was inspired by Culbertson’s 20th wedding anniversary. In addition to showcasing the bouquet of love songs from the intimate collection, Culbertson constructed a generous three-act set list comprised of more than two hours of music culled from his extensive catalogue of Billboard No. 1 hits and fan favorites. With the first and third acts centered on the amorous material from “Colors of Love” along with similarly-themed library cuts, the second act is a high-energy, get-down-tonight funk set. Culbertson holds down the keyboards, grand piano, trombone and vocals, sharing the stage and spotlight with his five-piece band – Marqueal Jordan (saxophone, vocals and percussion), Eddie Miller (keyboards, organ and vocals), Tyrone Chase (guitar), Joewaun Scott (bass) and Chris Miskel (drums). They are joined by special guest vocalist Noel Gourdin along with comedic bits from Sinbad that separate each act. 
 
Three video screens adorned the stage projecting Sinbad’s comedy sketches, a fun cartoon sequence that accompanies the performance of “Mile Sauce,” and photos of Culbertson’s wife, Michelle, and Culbertson’s collaborators, Maurice White (Earth, Wind & Fire) and Bootsy Collins. Helmed by award-winning television producer-director Scott Sternberg in his first full-length concert video, the production utilized ten cameras to film the concert that took place at the Aliante Casino last May. The two-and-a-half-hour performance was lensed in its entirety with the video offering 26 songs plus bonus features, including “BC Medley” from 2016’s Funk! Tour Live, an in-studio performance of “Through the Years,” a solo piano performance of “All My Heart” shot live at SiriusXM, the “Mile Sauce” cartoon, and a commentary track from Culbertson and Miskel.
 
“The ‘Colors of Love’ album is personal and intimate, so we set out to create a show and video that tells a more personal story. The videos and photos on stage, like the pictures of my wife who inspired the music I wrote, is part of that. Scott (Sternberg) and his crew used unique camera angles so that it feels like you’re on stage with the band when you watch the video. It’s much more up close and personal than most concert videos,” said Culbertson.
 
Although Culbertson knew early on that he wanted to film the production, what he didn’t know initially was the how and where. After financial backing arrived upon sharing his creative vision for the project, he looked at the itinerary and circled the two-night stand in Las Vegas.
 
“I earmarked the Vegas dates because I knew the venue has great in-house lighting that would look amazing on camera. We recorded the audio from both nights to have as a backup, but the film crew shot only the one show, so we had to nail it in one take,” said Culbertson.
 
The video opens with Culbertson walking the Vegas strip filmed overhead by a drone. “I wanted viewers to feel like they are in Las Vegas. It was important for the opening to establish that feeling and location,” said Culbertson. “After we shot the concert, I put on my silver-sequined jacket and we drove the strip at midnight to shoot additional footage for the opener. I can’t wait for people to see the video. It’s really exciting energy.”
 
To view the trailer for “Colors of Love Tour – Live in Las Vegas,” click https://bit.ly/2OFW1Kp.        
 
The songs included on the Blu-ray and CD are:
 
ACT 1
 
“Love Transcended”
“It’s On Tonight”
“Another Love”
“I Want You”
“Wear It Out”
“You’re My Music” featuring Noel Gourdin
“I Could Get Used To This”
“All About You”
“Hookin’ Up”
“Somethin’ Bout Love”
“Through The Years”
“Colors of Love”
 
Sinbad – “Kinda Pimpish”
 
ACT 2
 
“Feelin’ It”
“Funkin’ Like My Father”
“Always Remember”
“Been Around The World”
“Damn, I’m Hungry”
“Mile Sauce”
“Got To Give It Up”
“Hollywood Swinging”
“Play That Funky Music”
 
Sinbad – “I’m Black Dangit, 100%”
 
ACT 3
 
“Secret Garden”
“Michelle’s Theme”
“On My Mind”
“Colors of Love Reprise”
“Our Love” 
 
For more information, please visit http://www.brianculbertson.com.