GA Russell

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About GA Russell

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  • Birthday November 05

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  • Gender Male
  • Location Raleigh, NC
  • Interests eBook reading
    Canadian football

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  1. COVID-19 2.0: No Politics edition

    Uh oh. The doctors now think the re-infection rate is much higher than they had believed. (NB: This website allows real jerks to post comments.)
  2. A Covid-19 jazz joke.

    A man with suspected Chinese virus is lying in a hospital bed with a face mask on, waiting to be seen. A beautiful young trainee nurse comes to give the man a bed bath. The man asks, “Are my testicles black?" The nurse replies, “I'm here to give you a bed bath." The man asks again slightly more agitated this time, “Ok, but can you look to see if my testicles are black?” The nurse replies, “Sir, I'm only supposed to give you a bed bath - upper body and feet" The man, rather breathless by now, manages to ask one more time, “Please, are my testicles black?” The nurse looks at the man in sympathy, and not wanting the mans heart rate to increase or cause any more undue stress, she lifts up the man's gown, takes the man's member in one hand and his testicles in the other, leans in to inspect and says, “No, your testicles are not black.” The man sits up in his bed, removes his face mask, and says to the nurse... “Listen to me carefully. ARE MY TEST RESULTS BACK?”
  3. 2020 #CFL hot stove league

    Analyses Sask Winnipeg ***** But...Regardless of the contracts analyzed in the posts above, could everyone become a free agent if there is no 2020 season? ***** The league has postponed indefinitely the start of training camps. ***** Reports say that Calgary and Ottawa are reducing their people's pay. ***** Reports say Montreal and Edmonton are laying some of their people off. ***** All public events in Toronto and Calgary have been cancelled until June 30. ***** Here is an early prospect ranking. ***** Tim Petros has died at 58. RIP.
  4. Al Kaline R.I.P.

    RIP Al Kaline! He always appeared to me to be a real gentleman.
  5. Gerald Beckett - Mood

    Gerald Beckett "MOOD" Impacting: March 16 2020 Format(s): Jazz Artist Title Time Gerald Beckett Down Low 06:16 Gerald Beckett Spirit Song 06:23 Gerald Beckett Doom 05:24 Gerald Beckett Club Raven 06:50 Gerald Beckett Waterfalls 06:37 Gerald Beckett Shacktown 04:16 Gerald Beckett Minor Funk 05:12 Gerald Beckett Ode To Ray Wood 07:56 Gerald Beckett John Neely-Beautiful People 05:32 I was struck immediately by the beauty of your tone. I thought of Hubert and Kent Jordan. - Tom Schnabel, KCRW's Rhythm Planet. This new Gerald Beckett is killin'! - Dr. Brad Stone, The Creative Source, SoulandJazz ============================= Gerald Beckett’s latest release is not only showcasing finely played covers but also features four original compositions that reflect some of his life experiences. An ensemble cast of San Francisco’s finest musicians accompanies Beckett as together they explore hard post bop and other compositions that will get the listeners’ feet tapping. Down Low- Gerald Beckett Composing this song brought to mind the many “juke joints” once owned by relatives and family friends. In my youth, these were meeting places for old and young. This is where I got to hear live music played by some very fine local musicians, who inspired me to want to play. Spirit Song – Kenny Barron This is another of many great songs written by Kenny B. and recorded by him in 1999 on an album with the same title. With its driving bass line and syncopated melody, it will surely make you want to groove along. Doom – Ron Carter Doom was written by Ron C. but when it was first recorded in 1965 with Miles, on his ESP LP, the title was changed to Mood, maybe because Miles added his own melody over the original composition. On Ron’s second album as a leader, Uptown Conversation, in 1969 produced by Herbie Mann, he recorded it as Doom. This jazz waltz has a very simple but haunting melody. The title of my CD is a reflection of the songs two names. John Neely-Beautiful People – Harold Mabern This hard swinging song, recorded in 1970 on Mabern’s album Greasy Kid Stuff, in my opinion should be a jazz standard. I didn’t discover it until 1991, one day while driving. It is a song I wanted to record years ago and now I’ve finally gotten the chance. Club Raven – Gerald Beckett The Raven, a nightclub from bygone days, in my hometown of Beaumont, TX, was part of the “Chitlin Circuit” in the 50’s. Greats such as, B.B. King, Bobby “Blue” Bland, Muddy Waters, and many others performed there regularly. The now famous blues guitarist Johnny Winter, from Beaumont, used to sit in with B.B. King when he was young. My father, in his early 20’s, worked there part- time at night. Club Raven is a tribute to what must have been a great scene for music. Waterfalls – Wynton Marsalis A young Wynton, in January of 1982, performed this song live with Art Blakey at the famed Keystone Korner in San Francisco. Though originally written for trumpet, alto and tenor sax, I recorded with alto flute, C flute, and tenor. This song, written in 12/8, has a Latin feel with interesting harmonies and counter melody lines. The solos go from Latin to a fast double time swing feel. A very well thought-out song making it yet another of the many great ones written by Wynton. Shacktown – Gerald Beckett When I attended University of North Texas this was the name of a predominately African American neighborhood. To make a long story short, back in 1923 the city passed the “City Beautiful Movement” initiative which forced black inhabitants to move out of their neighborhood, called Quakertown, to an area near the city’s sewer disposal system so that people wouldn’t have to drive through Quakertown to get to the new and expanding Texas Women’s University. The city desire to turn this area into parks and land for college use, resulted in mass displacement. This song reflects my memory of Shacktown during my time at UNT. Minor Funk – Cyrus Chestnut This 14 bar fast swing song, which appears on the great pianist Cyrus Chestnut’s album Soul Food in 2001, gives the band a chance to stretch out at break neck speed. It also features the talented drummer Greg German. Ode to Ray Wood – Gerald Beckett Raywood, TX is named after a person named Raymond Wood. For me Raywood, located 35 miles from my home of Beaumont, TX, is a place where we frequently visited most of my mother’s relatives. Located off Hwy 90 at JCT FM 160 on a road about half a mile long as you crossed the railroad tracks, were homes of aunts, uncles, and cousins. After dark, with no street lights, all you could see were stars and all you could hear the deafening sounds of frogs, crickets, and the occasional trains going by. This song is dedicated to that memory.
  6. COVID-19 2.0: No Politics edition

    Tom Dempsey has died from it.
  7. Sam Gendel - Satin Doll

    Artist Title Time Sam Gendel Afro Blue 03:16 Sam Gendel Saxofone Funeral 03:55 Sam Gendel Satin Doll 03:46 Sam Gendel Goodbye Pork Pie Hat 04:06 Sam Gendel Stardust 04:24 Sam Gendel The Theem 03:15 Sam Gendel O Ovo 02:37 Sam Gendel Cold Duck Time 04:59 Sam Gendel Freddie Freeloader 02:37 Sam Gendel Glide Mode 03:54 Sam Gendel In A Sentimental Mood 03:39 Sam Gendel Love Theme From Spartacus 03:10 Sam Gendel SXFN FNRL 01:05 Sam Gendel "Satin Doll" Format(s): Jazz “If all the saxophones in the world evaporated one day, I would be sad for a moment,” says Sam Gendel, matter-of-factly. “And then life would go on.” It’s an interesting thought from Gendel, the LA-based, world-class saxophonist, because it rings true on two different levels. Firstly, the fact that his musicianship extends way beyond the saxophone. His collaborations with artists as diverse as Vampire Weekend, Blake Mills, Ry Cooder, Moses Sumney, and Sam Amidon attest to this; it’s as much Gendel’s creative approach as his technique that is unique, and makes him a sought-after musical conspirator. But secondly, Gendel plays and processes his instrument in such a way that it sounds as if the saxophone were indeed melting before our very ears: drawn-out like treacle, harmonized and otherworldly, or floating wispily away. “Does the world need another jamming sax?” asks Gendel, with a laugh. “No. It doesn’t.” Accordingly, we now have Gendel’s debut for Nonesuch, Satin Doll—an album that both reinvents nine of the most beloved jazz standards, and redefines the sonic possibilities of the saxophone for a new era. “I think I may have created a sound on the instrument that hasn’t really been heard yet,” he says, lightly, adding, with a cheerful shrug, “I’m just me, doing my little thing.” Listen to the album, and you’ll discover such mind-melting treasures as a woozy take on Duke Ellington, Billy Strayhorn, and Johnny Mercer’s 1953 classic “Satin Doll” that shimmers like a sonic heat-haze, its fractured, languorous bossa beats slowed to the pace of a rubber ring floating in a swimming pool. Elsewhere, a joyful, reeling version of Hermeto Pascoal’s “O Ovo,” which practically cartwheels into earshot; and an incredibly intimate take on Alex North’s “Love Theme from Spartacus,” set to micro-beats and muffled squeaks that suggest diner booths being slid into. “These are chopped and screwed versions of old songs,” says Gendel, “out of full respect for the originals, but making them our own.” The best visual symbol for the record is, he says, the lowrider—as in, the customized cars you see cruising the parks and strips of California and beyond. “Chicano culture is really where this all stems from,” he says. “I grew up around it, and I always found it beautiful—that someone would take an overlooked vehicle no one would ever think would have anything beyond its face value, and turn it into the most striking piece of art.” You can see it in the video to Gendel’s version of “Afro Blue,” which features a cartoon lowrider cruising across sun-bleached, muzzy footage of Hama-Rikyu Gardens in Tokyo. It’s the perfect accompaniment to Gendel’s deliciously warped, electronic reading of Mongo Santamaría’s 1959 Latin-jazz classic—clearly inspired as much by the new as the old. Gendel’s own driving soundtrack ventures into realms of pop and hip-hop radio station Power 106, featuring artists such as Migos, Future, and Young Thug. “Young Thug is a visionary artist—it’s a kind of abstract, painterly sound,” he notes, as if describing his own music. Gendel himself was raised in California’s Central Valley, close to the Sierra Nevada mountain range and the wonders of Yosemite National Park. An outdoorsy kid whose parents played jazz and Joni Mitchell records around the house, the first album Gendel owned was a cassette of the Space Jam soundtrack, which, he says, he wore out from playing so much. As affable and mellow as you’d expect a jazz-leaning Californian musician to be, Gendel is, in his own words, “a pretty slow-burn”, and his big musical epiphany arrived in his late teens—newly autonomous, with his own car, hanging with friends away from home. The musical connection fizzed into life; Gendel was having fun, thinking, “This is a playground where I can actually get good at something.” Gendel started playing the sax at eleven, when he was given the choice of joining the school band or the orchestra. “It opened up, little by little, and then I just woke up one day twenty years later and I can’t believe I’m still playing this thing,” he says, “It’s bizarre.” How does he relate to the saxophone now? “It’s a hunk of metal that got shaped in the right way?” he says, laughing. “Truly, it’s just a tool. I do love it, I like the way it expresses something within me, that I’m able to pull out of it.” If Satin Doll hits with a certain immediacy, that’s not surprising—the album was cut in two-and-a-half days, like an old-school jazz record, and “everything you’re hearing is live performances by three people in the same room,” says Gendel. “No headphones, no click track, no Ableton. Red light on, record, silence. Move on.” Gendel’s trio comprised bassist Gabe Noel and electronic percussionist Philippe Melanson—both long-time associates of Gendel’s, but who hadn’t met each other until recording began: “The track ‘Satin Doll’ is the first take of the first thing the three of us ever played together,” he says, with satisfaction. The common element in their musical approach, says Gendel, is a shared sense of humor. “That defines it, because from there, it takes away ego and any judgement or method. It makes us so open to the moment, every time we play.” While the musicians may not have taken themselves too seriously, Gendel’s goofiness falls away when he talks of his love for the original songs. “This album is completely sincere,” he says. “It’s not a joke, there’s no irony. When we play ‘Stardust’ That’s me thinking about Lester Young, straight up. Every song has meaning for me—it’s coming from a personal place but hopefully in a way that’s relatable. It’s popular music, after all.” Unusual pop music, but pop music, nonetheless. The second day of recording took place outside the studio—the trio performed at a friend’s wedding rehearsal dinner in Westlake Village, at the Four Seasons hotel. That’s the version of “Afro Blue” you hear on the album, today: “People were flipping and we got all the little kids dancing,” says Gendel. The experience was so fluid and fast that Gendel says there weren’t any sonic touchstones for the record: “I wanted to make it so quickly so that every movie and every book and every song would come through—so it feels like a culmination.” Certainly you can trace the outlines of his inspirations on the record; his version of Charles Mingus’s “Goodbye Pork Pie Hat” features the lyrics from Joni Mitchell’s reworking (albeit sung by a synthesized voice bank), bringing together his dad’s love of jazz and his mom’s love of Joni. But it’s also a version that sounds like nothing quite else. Pigeonhole this music at your peril. You may be reminded of a Duke Ellington quote (one that Gendel is fond of): “There are simply two kinds of music, good music and the other kind.” Asked who he imagines listening to the album, and where, Gendel laughs: “Anyone and everyone and everywhere.” As to the future, for this dissident musician who happens to play virtuoso sax? Gendel takes a moment to consider Rick Rubin: “The dude doesn’t even have to wear shoes, or touch anything,” he marvels. “He just floats around, and that is enough. I want to be laying on a couch with my eyes closed and just think something and then it happens sonically. I will never give up the tactile experience of playing music and improvising, but there’s somewhere I’m headed.” One senses, of course, that Gendel will do it precisely on his own terms. —Sophie Harris
  8. Artist Title Time Lakecia Benjamin Liberia 05:51 Lakecia Benjamin Prema 06:02 Lakecia Benjamin Central Park West 04:29 Lakecia Benjamin Walk With Me 07:06 Lakecia Benjamin Going Home (feat. Brandee Younger and Marcus Strickland 06:38 Lakecia Benjamin Syeedas Song Flute (feat. Ron Carter and Keyon Harrold) 06:37 Lakecia Benjamin Spiral (feat. Steve Wilson and Marcus Gilmore) 05:44 Lakecia Benjamin Om Shanti (feat. Georgie Anne Muldrow and Meshell Ndegecello) 05:28 Lakecia Benjamin Alabama 02:50 Lakecia Benjamin Acknowledgement (feat. Dee Dee Bridgewater and The Last Poets) 03:37 Lakecia Benjamin Pursuance (feat. Marc Cary) 03:17 Lakecia Benjamin Turiya and Ramakrishna 07:51 Lakecia Benjamin Affinity (feat. Greg Osby and Reggie Workman) 07:11 Lakecia Benjamin "Pursuance: The Coltranes" Impacting: March 27 2020 Format(s): Jazz Currently featured in the April 2020 editions of Downbeat and Jazzwise Magazines! Pursuance: The Coltranes. A cohesive walk through the lineage of the jazz artform, Benjamin’s third full-length release as a leader pays homage to two of the greatest musical innovators of the 20th century, John and Alice Coltrane. As Abiodun Oyewole iterates as part of Benjamin’s rendition of Coltrane’s classic “Acknowledgment” off of the groundbreaking album ‘A Love Supreme’, “John Coltrane was a vessel, taking us to the house of god, he spoke to god in the language god knew, in the language of sound.” With this release, Benjamin opens herself up as such a vessel, speaking timeless truths through her horn over the medium of Coltrane’s classic compositions alongside elders of this artform who bore witness to the conception of this material. Under the tutelage of jazz luminary and co-producer Reggie Workman whose supple bass lines underscored countless Alice and John Coltrane’s recordings, Benjamin has assembled an astonishing cross-generational ensemble of over 40 jazz heavyweights that includes Ron Carter, Gary Bartz, Regina Carter, Dee Dee Bridgewater, Meshell Ndegeocello, Steve Wilson, Marc Cary, Keyon Harrold, Marcus Strickland, Brandee Younger and Jazzmeia Horn — Three generations of musical titans gathered to celebrate and further the message of the great maestros of this improvisational artform, John and Alice Coltrane. There’s always been an undeniable mystical, enticing element to the music of the Coltranes and on Pursuance, Benjamin is mindful of retaining the underlying spirituality of these compositions – “they were writing songs to indian gods, to christian gods, to muslim gods – their whole idealogy was that every religion is one and we’re all one with god.” In this regard, Pursuance speaks to the unifying nature of the jazz artform. Every member of this cross-generational recording ensemble welcomed the opportunity to collaborate and pay homage to each other. “Music is a reflection of our times; a reflection of the spirit of our times,” Benjamin continues. “In our current social and political climate, we need music to heal the soul.” Just as the timeless compositions of the Coltranes connected with audiences of yesteryear, Pursuance brings this material into 2020 with carefully conceived modern arrangements. Each of the thirteen tracks on Pursuance are tunes that instantly resonated with Benjamin upon first listen – seven of which originally composed by John, with six credited to Alice. The selection includes “Liberia”, “Prema”, “Central Park West”, “Walk With Me”, “Going Home”, “Syeeda’s Song Flute”, “Spiral”, “Om Shanti”, “Alabama”, “Acknowledgement”, “Pursuance”, “Turiya and Ramakrishna” and “Affinity”. On the album’s opening track, “Liberia”, Benjamin conjures up every bit of intensity and fervor possible from her stellar lineup of legends. A regal rubato gives way to a bright-tempoed swing, over which both bandleader Benjamin and consummate saxophonist Gary Bartz take flight. Acclaimed vocalist Jazzmeia Horn shines on Benjamin’s stunning R&B-tinged rendition of John Coltrane’s classic “Central Park West”. Horn’s beautiful performance of Benjamin’s original lyrics paired with Chris Rob’s organ playing delivers a soulful take on this ballad. Benjamin goes on to deliver an incendiary performances of “Syeeda’s Song Flute” and “Spiral” off of John Coltrane’s groundbreaking 1959 album Giant Steps. The bandleader is joined on “Syeeda’s Songflute” by bass legend Ron Carter. Carter is one of the only members of this lineup to have performed with both Alice and John Coltrane. To Benjamin, these particular musicians and their unique experiences contributed hugely to the articulation and delivery of this project – “the best part of creating this record was embracing this first-hand knowledge that these jazz heavyweights brought to the studio – they know the chords, the spirituality of the music, the mindset they were in when they first performed some of these tunes.” Benjamin then moves on to pay tribute to Coltrane’s classic A Love Supreme with her performance of “Acknowledgment” and “Pursuance”. Alongside the bandleader, several generations of musicians, all of whom moved by Coltrane’s masterwork, paying homage to the great master. Dee Dee Bridgewater sings lyrics she wrote to Coltrane’s “Acknowledgement”, adding her signature effortless elegance to the track. “Pursuance” features pianist Marc Cary who channels McCoy Tyner on this classic track. The final track on the album, “Affinity” was composed by Alice Coltrane and features special guests Reggie Workman and Greg Osby. This track’s passion and force ends the album on a high, displaying the stunning facility of each of the improvisers and the enduring power of these timeless compositions. With a final reflection on this project, the saxophonist and bandleader brings light to her utmost admiration for the Coltranes and their collaboration that, musically, spiritually and emotionally culminated in one, whole, complete unit – “as an artist, it’s difficult to balance your personal life and career. This is a perfect example of a couple who had the best of both worlds – they took care of themselves, took care of the music, worked together, played together and they exemplified a completely functional, amazing relationship. You don’t need to sacrifice your art or your love – you can be one complete whole individual.” Derived from liner notes by John Murph. More about Lakecia Benjamin Endorsed by Vandoren, Yanagisawa, Key Leaves, and Conn & Selmer, Lakecia Benjamin’s electric stage presence and fiery sax work has appeared on the work of Gregory Porter, Stevie Wonder, Alicia Keys, the Clark Terry Big Band, Reggie Workman, The Roots, Macy Gray, Talib Kweli, Anita Baker, Rashied Ali, the David Murray Big Band, Vanessa Rubin, James “Blood” Ulmer and Craig Robinson and the Nasty Delicious. Benjamin’s usual set up with her band, Lakecia Benjamin and Soul Squad, presents music that is immersed in the vintage sounds of James Brown, Maceo Parker, Sly and the Family Stone and the Meters, as well as classic jazz.
  9. Artist Title Time Suzanna Ross Haven't We Met 02:51 Suzanna Ross Bewitched 03:12 Suzanna Ross Dreamer 02:40 Suzanna Ross Ces Petits Riens 03:08 Suzanna Ross Mr Wonderful 03:00 Suzanna Ross Summer Me, Winter Me 04:13 Suzanna Ross Parlez Moi de Lui 02:18 Suzanna Ross My Favorite Things 02:23 Suzanna Ross Laura 05:54 Suzanna Ross For Me, Formidable 02:25 Suzanna Ross Come to Baby Do 02:29 Suzanna Ross Over The Rainbow 05:07 Suzanna Ross Boomerang Baby 02:03 Suzanna Ross There's a Kind of Hush 02:24 Suzanna Ross Live for Life 03:41 Suzanna Ross "Bewitched, Not Bothered, Not Bewildered" Impacting: March 31 2020 Format(s): Jazz, Smooth Jazz “Amazingly, this is the debut recording for Ross… she reworks these classics with her incredibly rich and imaginative vision,” Tom Haugen, Take Effects "The debut of a vocalist you'll love spending some time with… knows her way around a world of songs,” Chris Spector, Midwest Record Suzanna Ross has just released her debut recording – Bewitched, Not Bothered, Not Bewildered – and it’s receiving a wave of glowing reviews (see below) as well as radio play. Tracks include jazz, pop, French chansons, bossa novas, retro 60s, and movie themes. “These are the songs I heard growing up in my mother’s living room – the songs of her generation and her mother’s generation before her. They filled our living room with life, romance, a little mystery, and a lot of fun,” says Suzanna. “Suzanna Ross is someone to keep an eye on as a jazz artist who has performed at many of the tried and true rooms here in New York City and the metropolitan area,” says Theater Pizzazz. “You’re in for a treat… a song for every taste.” Jazziz Magazine has highlighted one of Suzanna’s tracks as Song of the Day, and Music Connections magazine is slated to review Suzanna’s upcoming CD release show at NYC’s Triad Theater on July 18, 2020. Suzanna’s tracks have been played on the UK’s The Jazz Lounge and in the U.S. on Nostalgia Radio Time and Golden Apple Cabaret Hour. “An enthralling collection," Anne Carlini, Exclusive Magazine “…with the lively engaging opener, Haven’t We Met...this kind of vocal jazz puts the "ultra" in ‘ultra-cool’… a MOST HIGHLY RECOMMENDED rating… fifteen superbly performed jazz vocals Suzanna presents for your jazz joy." Dick Metcalf, Contemporary Fusion Reviews “Suzanna Ross is heard in winning form… it is difficult not to be impressed by both her inviting voice and her versatility… and sings quite effectively in French. There are no throwaways on this set…” Scott Yanow, LA Jazz Scene "She had me at Bewitched! …a snappy, sexy, and swinging bass vocal-driven twist on the classic TV show theme... wonderfully fresh interpretations... A true master class in jazz eclecticism." Jonathan Widran, The JW Vibe “The absolute mellow vibe Suzanna creates on the lushly laid-back 2:39 Dreamer will make it a favorite for jazz DJ’s ’round the globe… it will be getting a LOT of spins. The 3:00 Mr. Wonderful you’ll find yourself listening to this one over and over again, I’ve no doubt! The upbeat and high-energy Summer Me, Winter Me won my vote for personal favorite...” David Metcalf, Contemporary Fusion SONG OF THE DAY – Ces petits riens -- “Suzanna’s winning voice and a full-bodied bass to boot,” Brian Zimmerman, Jazziz Magazine “…the bouncy fun of the glorious Come to Baby, Do! and the elegant Over the Rainbow. Live for Life ends the record on a high note, as Ross exits with a flawless execution and a timeless appeal. This CD travels nicely with Julie London’s Sophisticated Lady.” Tom Haugen, Take Effect “Ms. Ross gives one the impression that she could sing nearly anything and sound quite comfortable… Antonio Carlos Jobim’s Dreamer which is given a tender interpretation… The playful Ces petits riens, a dramatic Parlez-moi de lui, For me formidable, and even part of Over the Rainbow, have Suzanna Ross singing quite effectively in French… and the Australian rock song, Boomerang Baby, is given a vibe reminiscent of Fever… and she excels on My Favorite Things that alternates between ¾ and 4/4 time…” Scott Yanow, LA Jazz Scene “…the piano-led beauty Laura (a theme song from the 1944 film noir) is also one of my personal favorites and that's then backed by the late night, smoky club vibe of For Me Formidable, and the foot-tappin' jaunt Come to Baby Do!” Anne Carlini, Exclusive Magazine “…the playful upbeat jazz swing of Haven't We Met ... sultry Latin Flair is added to Dreamer ... Mr. Wonderful is a loving, gentle ballad that allows Suzanna's vocals to soar... and Suzanna's version of Over the Rainbow is filled with emotion, as she pours all her feelings into her French/English performance of the song... On Laura, Ross really gets creative with her art… she finishes with the uplifting ballad Live for Life." JPs Music Blog TICKET LINK HERE Contact: Suzanna Ross Attachments Live Show .. Promotion .. Promotion .. Original R.. Bewitched ..
  10. Roberta Piket - Domestic Harmony: Piket Plays Mintz

    Stay safe and healthy Dear friends, I hope that you are all safe and healthy. In times like this, sending out promotional emails seems a trivial pursuit. But I did want to reach out to let you know that Billy and I are okay. We've been practicing for an upcoming trio recording. Of course, we don't know when that will happen now, but every day we practice the music and take walks in the (appropriately) sparsely populated streets of our suburban Teaneck neighborhood. I also want to tell you about an opportunity to get some music and help a great cause. If you purchase anything from the 13th Note Records web site through the month of April, we will donate the total proceeds to either Doctors Without Borders or the Jazz Foundation of America. This includes my new solo CD of Billy's compositions, Domestic Harmony, as well as any older CDs that are still in stock or available for download. We won't even subtract the shipping charges or taxes before sending in the money. We will donate those charges out of pocket. This offer applies to downloads as well as CDs. Please stay safe and healthy during these difficult times. If you are experiencing financial hardship as a 1099 worker, I'm sure you've received information about applying for unemployment. What you may not know is that you can also apply for an Economic Injury Disaster Loan offered by the SBA. 1099 workers and sole proprietors can apply; It takes 5 minutes to apply if you have the info gathered. Biz name / start date / contact info / gross revenues and COGs (cost of goods sold) from 2/1/19 through 1/31/20 You can use this to pay your vendors, suppliers, etc.or as working capital to run your business. You can use it for rent or mortgage payments or to pay off other debt. Payments are deferred for one year from the origination date. You have 30 years to pay it back so the payments will be manageable. There's also a box to check if you'd like to be considered for an advance of up to $10,000. Check this box. If you decide not to take the loan, you don't have to pay back the advance. "Domestic Harmony is a strikingly sensitive tribute from one brilliant artist to another." -Donald Elfman, NYC Jazz Record My first solo piano CD since 2015, my new recording features the music of my husband, composer and drummer Billy Mintz. Listen and Download! Here's a video we did back in 2011 that still makes me smile. I hope it brightens your day. Check out the Video EPK for Domestic Harmony Find me on social media and share jazz with your friends: ‌ ‌
  11. Swift Technique- Landlord featuring Lady Alma

    The release of LANDLORD has also been paired with a brand new animated music video. Created in collaboration with cartoon legend, Erik Horvitz of Smokey Toons (Aqua Teen Hunger Force, Mike Gordon), the band will release animated shorts throughout the year. Further, in March 2020, both the LANDLORD music video and ensuing Web Series have been officially selected for The Philadelphia Independent Film Festival. These videos can be viewed on Swift Technique's YouTube channel:
  12. COVID-19 2.0: No Politics edition

    Marianne Faithfull has it. ***** Brooke Baldwin of CNN has it. Chris Cuomo of CNN also has it. That makes me wonder if everybody at CNN's New York bureau has it.
  13. COVID-19 2.0: No Politics edition

    My favorite is Sheetz. Always look brand new and very clean.
  14. Bill Withers, R.I.P.

    RIP Bill Withers! I remember reading that when he was signed to his first recording contract, his full-time job was constructing passenger jet restrooms. I guess he was a carpenter.
  15. COVID-19 2.0: No Politics edition

    I ordered a mask from Amazon. It was made in China!