An Exclusive Interview with Blues Guitarist Demian Dominguez

Considered as the most promising Blues guitarist /singer from the Latin America, Demian Dominguez has captured the Blues music scene worldwide. A native of Buenos Aires, Demian's international tours have taken him to Europe and the Americas.

He recently released his second CD entitled “Devil By My Side” featuring world renowned Bernard Allison along with his own Demianband in the US and Europe. Ucombo Music Reviews editor Meg Dilts had the opportunity to interview him about his musical bringing, early career, and the releasing of his new CD.


Meg: Hi Demian, thank you so much to talk to us. The critiques have called you the most important Blue guitarist/singer who ever emerged from the Latin America and the Spanish cultures. People would think that you were a native of southern United States instead of a native of Buenos Aires if they just heard your playing. How did you get into the Blues?

Demian: I feel so fortunate and happy that the audience considers me this way and I'm very happy about the success that “Devil By My Side” is showing in commentary and reviews.

I arrived in Barcelona 8 years ago but I was born in Buenos Aires, Argentina. For me, places mean “the people” and not necessarily the countries so I didn’t feel as though I was pulling up roots in Argentina when I moved to Barcelona. If you are really into the Blues and Rock the South of the USA must be the best place to be since many of my musical heroes were born there and this is the place where the Blues history was written. Playing the Blues is not only about spending a lot of hours practicing but it is a deep understanding about the folklore, the life and the feeling of all of those people who lived in the Southern USA. I started to play the Blues when I was a child of 12 years old and I used to listen to the monster musicians like Johnny Winter, Stevie Ray Vaughan and many others and I was always into the Blues. When I would come home from school, I would sequester myself to play and studio for 8 or 9 hours each day.

Meg: You started your musical training early, what were your early musical training like? Are your parents musicians?

Demian: I always had my mother’s support, my grandmother used to play the piano and my father who was a guitarist, taught me to play the guitar. My father introduced me to really good music. I would practice and play for hours until it started to sound like music. During this period of time I didn’t have a lot of friends and for me it was the most fun to spend the time with my guitar.

Meg: Who do you consider to be the most influential musicians in your playing?

Demian: I give thanks to Stevie Ray Vaughn for being a major influence in my musical career. For me, what was so profound about Stevie Ray Vaughn is that you can hear that he took many influences of the old timers and he created his own style with those influences that evolved beyond and expressed his own individuality. It’s like when you are young and your family offers you advice. You must listen to them and then you take their suggestions and your own way of doing things grows out of that so you build your own thoughts and opinions. To me it is the most important thing to have my own musical “voice” and for that to keep on developing.

I usually listen to a lot of Blues music, Rock and Soul but my biggest influences are among 60′ and 70′ musicians. Those guys were inventing new stuff and they played with such energy and passion by contributing a piece of themselves to every song and every musical note that they played and this is something that I never forget.

Read more of the interview on Ucombo Music Review.

Charnett Moffett – a Man on a Mission

American jazz musician Charnett Moffett is a man on a mission. Throughout his 25 years on the scene, Moffett has been bringing people together on the planet through his music. “That’s part of my calling here in life,” according to Charnett Moffett. Charnett Moffett plays piccolo bass, double bass and bass guitar and is a current member of the Manhattan Jazz Quintet. The group was formed in 1983 at the suggestion of Japanese jazz magazine Swing Journal and the King Record label and became quite a success in Japan, earning the Gold Disk Award of Swing in 1984.

Charnett’s new CD release The Art Of Improvisation is his personal manifesto for the bass and one of his most eclectic outings to date. “I’m just trying to be true to form,” says Charnett. “All you can do is be who you are anyway, so you might as well go ahead and play all of the music that you enjoy.”

Ucombo music editor Meg Dilts interviewed Charnett Moffett this week about his early musical training, his career, and the release of the new CD entitled “The Art Of Improvisation”.

Meg: Hi Charnett, thank you so much for talking to us. A jazz musician on the scene for 25 years, you are truly living a life of every musician’s dream. There is a story that your first name was created as a combination of that of your father (Charles Moffett, the jazz drummer) and that of Ornette Coleman (the jazz saxophonist). Is that true? What was the exact story of making your name?

Charnett: Yes that is true, my father Charles Moffett played drums for Ornette Coleman in the sixty’s, they grew up together in Texas, they became friends playing music together in school, so by taking the ‘char’ from Charles and the ‘nett’ from Ornette when put together you get Charnett. So I really had no choice but to become a musician.

Meg: In that case, then you were destined to play jazz music. It’s wonderful that you truly love it too. How old were you when you started taking lessons? What instrument did you play first?

Charnett: My first instrument was the drums, with my father being a drummer everyone in the Moffett family began playing on drums (smile) I was age two. I later moved to trumpet by the age of five, by the time I was seven I found myself playing bass. The following year in 1975, I was on tour performing with my half sized upright bass with The Moffett Family Jazz Band, we were touring Japan. At that time there was also another bass player on tour with us, his name is Patrick McCarthy, He taught me the technical positions of the instrument, my first bass teacher, at that time he was the principle bassist for the Oakland Symphony Orchestra. The Moffett Family Band consisted of two drummers, my father Charles and my brother ‘Cody’, two horns, my brother Mondre on trumpet and my brother Charles Jr. on sax and two upright basses, Patrick McCarthy, and me on my half sized bass. During the tour Patrick had to return to the Symphony so my career as a bassist had begun.

Yes Meg, I loved the music then and I certainly love it now.

Read more of the interviews with Charnett Moffett on Ucombo Music Reviews.

THE JASON PARKER QUARTET RELEASE THEIR SECOND ALBUM “No More, No Less” on October 24, 2009

The Jason Parker Quartet is releasing its second album, “No More, No Less” with a CD Release Party at Lucid Jazz Lounge on October 24, 2009 at 9:30pm. The JPQ is: Jason Parker (trumpet), Josh Rawlings (piano), EvanFlory-Barnes (bass) and D’Vonne Lewis (drums). They are joined on three tracks by special guestCynthia Mullis on tenor sax. “No More, No Less” is the follow-up to the JPQ’s self-titled debut album from 2007. The new CD documents the growth the band has gone through during the past two years and illustrates thecohesive, passionate playing that prompted Earshot Jazz to call them “The next generation of Seattle Jazz.” Songs include one original by Parker and fresh takes on compositions by a diversegroup of songwriters, including Wayne Shorter, Cole Porter, Sam Rivers, Nick Drake, George Gershwin, Duke Pearson and Tatum Greenblatt.

The addition of Mullis on three tracks adds fire and depth to the band, and she fits in perfectly with the exploratory nature of the core quartet. The JPQ prides itself on compelling original compositions and fresh interpretations of jazzstandards. With the inclusion of Nick Drake's “Three Hours” they have signaled a commitment to playing songs from outside the traditional jazz canon. And with Tatum Greenblatt’s “Mance’s Dance” they have shown a desire to play songs written by their peers. Greenblatt is a Seattle-born, NYC-based trumpet player currently studying for a Masters’ Degree at Juilliard School of Music.

The CD Release Party at Lucid Jazz Lounge will feature songs from the new CD and othergoodies as well, featuring Mullis joining the band for the evening. The CD will be available at theshow for a suggested donation of $15, but will be available to all attendees on a pay-what-you-can basis. Everyone paying $15 or more will also receive a free download of “Jason Parker andFriends – Live at Lucid”, which was recorded earlier this summer. The band is also planning aWest Coast tour for Winter 2009/2010.

For more information, including member bios and a sneak peek at the DVD, please visit jasonparkermusic.com. Show time for the Release Party is 9:30pm.

Lucid Jazz Lounge is located at 5241 University Way NE, Seattle. There is no cover charge and the show is 21+.

Living the Dream - A Conversation with Jazz Musician Jason Parker

Jason Parker, a jazz trumpet player from Seattle, has been living the dream of many independent musicians and paying the bills at the same time. Working in the music industry for over 20 years, Jason leads The Jason Parker Quartet, one of the busiest jazz bands in Seattle, and plays in a host of other bands, including Clave Nagila, Water Babies, The Nate Omdal Nonet and more.

Jason has released four of his own CDs and played on countless others. He is releasing the second CD with The Jason Parker Quartet, entitled “No More, No Less”, this month. It was recorded on April 8, 2009 at MOUSe Recording, Seattle, WA. Its official release date is October 24, 2009.

Ucombo Music Reviews editor Meg Dilts had a conversation with Jason Parker on his early musical training, the making of his first CD, and his career.

Meg: Hi Jason, thank you for taking the time to talk to us. You’ve been on the music scene for over 20 years. Have you always played in a jazz band?

Jason: Thank you for taking the time to speak with me! I appreciate the opportunity to tell your readers a bit about myself and my music.
I started playing the trumpet at 8 years old and my first exposure to jazz was in my high school big band. The teacher was really into old Basie charts, Sammy Nistico, Maynard Ferguson, etc. He really got me playing jazz. Then I attended the Interlochen Arts Academy for two summers during high school, which really help me progress as a musician. I entered college as a music major, but quickly realized that I didn’t have the drive that the other music students did. They spent all their waking hours in the practice rooms, but I just wanted to be a college freshman! So I played in a few rock bands and pick-up bands, but turned my attention to the radio station at the college, which played lots of jazz. It was a way for me to stay close to the music without all that practicing! After college I put the horn down, had a very successful career in radio, and didn’t think much about playing. It was only after I turned 30 and had a bit of a mid-life crisis that I went back to the horn. A Seattle bassist named Ev Stern has been leading a Jazz Workshop for years and convinced me to come try it out. I did, was hooked, and haven’t put the horn down since. That was 10 years ago.

Meg: When did you start your musical training? You are a trumpet player,
has it always been your instrument of choice since the beginning?

Jason: Growing up we listened to equal parts classical music (my dad’s choice) and folk music (my mom’s choice). From an early age I was taken with the cello, and that’s the first instrument I wanted to play. In 2nd grade, when they made everyone in my school choose and instrument, I chose the cello. But I was told I was too small and would have to settle for a violin. I wasn’t happy about it, but decided to give it a try. But about 2 weeks before the first music class, they called us all into the multi-purpose room and sat us down for a concert. I was right up front, and remember sitting at the feet of a man who looked like a giant, wearing a daishiki and a huge smile, and playing the heck out of a trumpet. I sat watching him mesmerize the whole room, and decided then and there that I wanted to be a trumpet player. That man: Dizzy Gillespie!

Meg: As a professional musician, do you teach besides performing? Do you
find teaching students musically rewarding?

Jason: I do a little bit of teaching. I’ve never enjoyed having a ton of private students, but I love teaching classes to groups of kids and do so for a few organizations in Seattle. I find working with groups and teaching them how to play as a band is very rewarding and inspiring. My favorite thing about jazz is that it is a conversation, and seeing young folks get that and actually start listening to each other is one of my biggest rewards.

Meg: Your quartet, The Jason Parker Quartet, is one of the busiest jazz
bands in Seattle. When was it formed? How did you meet the musicians in
your band?

Jason: I have been leading some form of the JPQ since 2001. The current group has been together for about 2 1/2 years and are the greatest human beings I’ve ever played with. I met Josh Rawlings, the piano player, when I hired one of his bands (Soul Kata) to open for my band Water Babies. We hit it off and when the piano chair in my group came open he was the only person I wanted. Luckily he said yes! He introduced me to Evan Flory-Barnes (bass) and D’Vonne Lewis (drums), who he plays with in a couple of different groups in Seattle (The Teaching and Industrial Revelation). I brought them in to help me record our first CD and we’ve been playing together ever since.

Read more of the exclusive interviews with Jason Parker on Ucombo Music Reviews

An Exclusive Interview with PAINTED ON WATER

The self titled debut album “Painted on Water” release in June 2009 by artists Sertab Erener and Demir Demirkan is a combination of traditional music and art from eastern culture with America's roots music, jazz and blues representing the culmination of a truly global vision. The group “Painted On Water” just completed a highly successful tour in the US.

Ucombo music editor Meg Dilts had the opportunity to interview both artists about their career, collaboration, and the making of this wonderful international music project.

SERTAB ERENER has been among the most acclaimed female artists on the Turkish pop music scene for over 15 years. A conservatory-trained coloratura soprano, Erener’s versatility in opera and pop styles has won her an army of devoted fans, and global sales of over four million records. In 2003, she represented Turkey at the Eurovision Song Contest in Riga, Latvia, and became the first Turkish singer to win the Eurovision first prize with “Every Way That I Can,” co-written with her partner in PAINTED ON WATER, Demir Demirkan.

Demir Demirkan is the songwriter, arranger, co-producer, guitarist, and singer for PAINTED ON WATER. Embarking on their world music and jazz/blues/rock fusion together after ten years of successful collaboration on Erener’s pop projects in Turkish and English, PAINTED ON WATER was co-produced in Los Angeles with Jay Newland, a nine-time Grammy-winning producer and engineer.

Meg: Hi Sertab and Demir, thank you so much for taking the time to talk us about making this wonderful global music project. Prior to Pained On Water, you had been collaborating for over a decade. You co-wrote “Every Way That I Can,” the song that helped launching Sertab’s international career. How did you two meet? What was your first collaborated project?

POW: Hi Meg, thanks for interviewing us.

We met in the summer of 1996, at a club where Sertab was singing. I had just relocated to Istanbul from Los Angeles and she had had her 2nd album released. My first thought was “she should be singing worldwide!” And honestly, I can say that was the moment I fell in love with her.

I started working on another singer’s debut album, meanwhile we got together with Sertab for some of her demos. We prepared a 2 song demo for Arif Mardin, he was in Istanbul at that time. That’s also the time we got together as a couple. The first project we worked on was Sertab Gibi, her 3rd Turkish release. We co-wrote songs and I did the production, arrangements and a lot of guitar playing :)

Meg: Sertab, your work in PAINTED ON WATER represents a new creative plateau in an already accomplished career, you said that “In this album, not so many variations, and big voice in the performance, but instead — soul. Expression.” Music is all about reaching out to the audience and igniting listeners’ emotions and passion. That’s every artist’s dream. Do you find yourself using different singing techniques? Since you were trained as an operatic soprano?

POW: When I was studying music and vocals at the Conservatory, I used to be very fond of some singers, musicians, and bands. During my education, I used to perform jazz, pop jazz , pop, with different bands as a lead singer. But of course, to create my own individual sound of voice was the most necessary and important thing in my career. So now I definitely am using different techniques when I am singing and enjoy it. it makes me free.

Read more of the interview on Ucombo Music Reviews with Painted On Water.

An Exclusive Interview with Elli Fordyce

A highly accomplished vocalist and actor, Elli Fordyce had an unusual musical journey. 30 years ago, after a devastating car accident that ended a successful year-long “Elli Fordyce And Her Favorite Things” tour, Elli took time away from her musical journey. Although it took 15 years to heal spiritually, music was not over for her. An unlikely inspiration helped to get her back to singing: Elli discovered that her ginger-colored Yorkie pup named Dindi (which is pronounced gingy and means little jewel in Portuguese) loved hearing her sing that song to her. Urged on by Dindi, Elli made a successful comeback, releasing her first CD, “Something STILL Cool,” at the age of 70. It became an overnight sensation with rave reviews.

Ucombo Music Reviews editor Meg Dilts interviewed Elli this week about her early musical career and her comeback.

Meg: Hi Elli, thank you so much for talking to us. You had a successful musical career before you stopped singing for 15 years. Can you tell us your early musical training? How did you get started?

Elli: We sang group folk songs daily in the elementary school I attended and I listened to top-40 radio in Jr. high school; than at 15, a boyfriend and his dad introduced me to jazz, which we heard often, both in-person and on our terrific local AM jazz radio stations. I took a few voice lessons at 16 in Greenwich Village. When I returned to college for two more years at 25, I studied music education. The rest was on-the-job training from the age of 18 when I briefly sang in public with jazz trios.

Meg: You were on a roll with your career when the car accident ended your successful one-year tour of “Elli Fordyce And Her Favorite Things.” You gave up singing soon after. Was it physically too painful to sing after the accident?

Elli: Although I’m still working on physically healing my back injury after 30 years, the injury didn’t directly effect my singing. After the accident, my band was so emotionally distraught and when we couldn’t get work until 6 weeks later and then at a much lesser level than we’d previously achieved, none of us handled it very well. We took our frustration out on each other and with no work coming through, I wound up disbanding the group and trying to start from scratch. When the next band I was in — over which I was thrilled and which had so much combined potential — disintegrated (this time, due to drug use by its leader), I threw my hands up in despair and decided to eliminate what it was that was magnetizing all this drama into my experience and to turn my life back around. At the time, I didn’t know I would leave the business and I dabbled in a couple of short-lived projects not long after, but found myself in situations which led very far from those dreams for the next 15 years. To me, everything is based in the spiritual/emotional, the physical parts being the final but more obvious outcome. I finally took a stand and became more proactive about life.

Meg: The very unlikely inspiration that got you back was your Yorkie pup, Dindi. She loved hearing you sing the song for which she was named. How did you discover she loved it? What did she do when you sang to her?

Elli: I began borrowing her from her litter up the block when she was 6-1/2 weeks old, in 1991. Carrying her in one hand, I’d sing Dindi to her and she’d snuggle and calm down. Several months later, Frank Sinatra came on the air singing her song and she literally did a double take at me, as if asking me why someone else was singing that song. (At least that’s how it seemed; maybe she just recognized her name.)

To read more, visit Ucombo Music Reviews.

An Exclusive Interview with Jerry Costanzo on His New Release "Destination Moon"

Considered one of the best and busiest singer/bandleaders on the scene today, Jerry Costanzo and his own big band – the Jerry Costanzo Orchestra, have gained popularity among audiences young and old.

The critiques have called his style of singing “brings a Sinatra-like quality as he leads”. Dedicated to the preservation of the American songbook, Jerry released his first CD entitled “Destination Moon”.

Ucombo Music Reviews editor Meg Dilts had the opportunity to interview him on his musical upbringing and the release of his first CD.

Meg: Hi Jerry, thanks again for letting us interview you. You were born into a musical family and you started listening to Jazz at an early age, how early?

Jerry: I grew up in the 60’s and 70’s and my parents were from the “Hey Day” of the “Jazz & Swing era”. They constantly had records playing and the radio on. As young kids, my brothers, sister and I were not allowed to listen to Rock & Roll when traveling with my parents in the car. We knew all the great standards before we were teenagers.

Meg: Your father started teaching you saxophone when you were in third grade, was that the instrument of your choice?

Jerry: No! My father was a reed player and so was my grandfather. So my first instrument was my grandfather’s alto sax that he played in the Army band during WWI. I wanted to play the piano but we never owned one and my father was not going to pay for lessons when he was perfectly capable of teaching me the sax. I always tell him, I might have found my voice much earlier in life if I didn’t have a mouthpiece plugging up my face!

Meg: You studied acting at the Herbert Berghoff studio in NYC after high school. So you were not thinking about pursuing a career in music initially?

Jerry: Nope! I didn’t start pursuing music/singing until I was in my 30’s. I was a jack-of-all-trades and a master of none before that. You name it! I was an Auto Mechanic, Salesmen, painter, electrician, plumber, and carpenter. My major trade was Communications lineman. I sang a lot of tunes hanging off of telephone poles. One time a lady yelled out her window. “Hey Mister. You missed your calling, you should be a singer. It wasn’t long after, that I took her advice LOL!!!

Meg: While you were attending the acting school you landed a job working for Al Pacino as his personal aid and chauffeur that must have been an interesting job. Did you get to meet some interesting people?

Jerry: Ok! Who did I meet? Let’s see… Francis Coppole, Robert DeNiro, Joe Pesci, Debra Winger, John Huston, Drew Barrymore, Martin Sheen, Mikhail Baryshnikov to name a few. That and a chocolate nickel got me nowhere. I was young and dumb, You know what they say “If I only knew then what I know now” Yikes!!

To read more of the interview, visit Ucombo Music Reviews

American guitarist Russ Spiegel is a musician who wears many hats.

American guitarist Russ Spiegel is a musician who wears many hats. Alongside performing – from solo guitar to running his ensemble The Russ Spiegel Jazz Orchestra, Russ is a commissioned composer, written music for film, TV, and musicals, taught college-level courses, ran workshops & seminars, given private instruction, and has copied music for Broadway shows and major-label recordings, as well as having appeared in a number of feature movies as both a musician and actor.

A prolific recording artist, Russ also released several CDs. Ucombo Music Reviews editor Meg Dilts had the opportunity to interview him this week about his early musical training and his recent CD release entitled “The Russ Spiegel Jazz Orchestra ~ Transplants”.

Meg: Hi Russ, thanks again for letting us interview you. You were born in Los Angeles, but moved to Germany with your family while you were in high school. Did you receive your earliest musical training in the US?

Russ: Hi Meg, great to talk with you. I grew up in a musical household. My father plays trumpet, my brother Victor, who is a pianist and composer, was always rehearsing his band at the house, my sister Shelah plays violin and my mother would sit down at the piano from time to time. I tried playing trumpet like my dad when I was about 9 years old until about 12 but I was never really motivated to practice. When I was about 14 I discovered a picture of Fender Strat in my father’s music catalog and was fascinated by it. I don’t know why, but I just had to get one. My father said I could play guitar but only if I took lessons. We went down to the local music store in Fountain Valley and they started me off on a classical guitar. I practiced every day and that summer I got a part-time job and saved up enough money to buy a Strat. I kept taking lessons but got into a couple rock bands and learned a bunch of tunes from my bandmates. Then, my junior year in high school my dad got a job in Germany and that was it for my lessons for the time.

Meg: While living in Germany, did you continue your music studies?

Russ: I don’t think so. At the time, I was just trying to emulate people like Jimi Hendrix, Jimmy Page, Ritchie Blackmore, and the like. I learned some solos and got some books and tried to work through some concepts, but it was really kind of half-assed, to tell the truth. I do remember a high school trip to Nuremberg for the Christmas Market. Pat Metheny had just released his groundbreaking 80/81 album and, I don’t know why, but I picked it up and listened to it a lot, but never really tried to play like that.

After a year in Frankfurt I moved down to Munich to go to college. It was funny, the place was the University of Maryland, Munich Campus! It was housed on an Army base in the southern part of the city. I was always on the lookout for new music, trolling the local record shops and discovered some recordings featuring Allan Holdsworth with Gong and Soft Machine, and later came across some Wes Montgomery records. I had a bass player friend named Jim Foitik who tried to get me to listen and play more jazz and who taught me a couple of standards. Another jazz-crazy friend of mine, Andy Heinze, dragged me to concerts around the city. I remember seeing Weather Report when they were at their peak, which was just an amazing show, and later we went up to the Northsea Jazz Festival for three days. I think at the time I was just listening to a lot of music, though I was always playing in different bands back then.

To read the entire interview, go to Ucombo Music Reviews.

An Exclusive Interview with David Bennett Cohen - the exceptional hippie who also cooks

A professional musicians for more than 3 decades, David Bennett Cohen “isn’t the average hippie gone Wall Street”. Best known for his innovative keyboard playing as an original member of the ’60’s rock band, Country Joe and the Fish, he is an equally accomplished guitar player who has been involved in numerous music scenes throughout his varied career.

Ucombo Music Review editor Meg Dilts had the opportunity to interview him on his long musical career and his latest CD release entitled “Cookin’ With Cohen” this week.

Meg: Hi David, thanks again for giving us the opportunity to talk with you about your long and prolific musical career. The critiques have called you “a certifiably smokin’ barrel house rumba boogie-woogie piano player”, but you were trained classically initially. How did it all start?

DBC: I took piano lessons when I was a kid. From about age 7 to 13 or so. I can honestly say that I hated them. My first piano teacher was a fellow named Ben. He essentially turned me off to the piano. We developed this routine after a while. He would put some music in front of me and I would struggle to read it. Really struggle. After a few very painful moments, I would say something like, “Ben, you play so beautifully, why don’t you show me how it goes?” He would puff out his chest and play it for me. After I heard it, I could play it fine. When I was about 12 or 13, I got an acoustic guitar, and that began a love affair. My High School days were spent this way – I would get home from school around 3:30, and play my guitar for about 6 hours, do, maybe, 15 minutes of home work and go to sleep. Somewhere in the middle of all this I would eat some dinner, but that was pretty much it for High School. When I decided to be a musician, it was as a guitar player. When I was about 16 or so, I heard some Boogie-Woogie piano on TV. I was hooked and started to learn as much as I could find. I listened to the Meade Lux Lewis, Albert Ammons and Pete Johnson album and that led to Otis Spann and Muddy Waters, Professor Longhair, Champion Jack Dupree, Jimmy Yancey, etc. This was in the ’50’s and I was part of the Washington Square Folk music scene, so even though I played a little piano, I was essentially known as a guitar player. When I got to CA in 1965, I got into the scene and played with several bands. Dylan’s Highway 61 had just come out and Country Joe was looking for an organ player. There was an old piano in the corner of the club we used to hang out at and every once in a while I would bang out some B-W or maybe play St Louis Blues. Barry Melton, who was playing with Joe at the time really liked the way I played the piano, so he told Joe, “Well, David can play organ.” So, I was asked to join the band. I had never played organ in my life and the only ones I had seen were the big theatre or church organs and I was really intimidated by them. But, I wanted the gig, so I joined and started out by playing guitar but then they bought me a Farfisa organ and I started to learn it. At first, I stole my guitar licks and applied them to the organ. Amazingly, I got these reviews that said things like, “What a unique style,” but I was really learning on the job. Eventually, I did learn how to play it properly and it rekindled my interest in B-W and Blues piano.

Meg: And when did you become fascinated by boogie-woogie piano?

DBC: Well, as I said, I was intrigued and started to learn B-W around 16. I saw Meade Lux Lewis on TV and I thought it was the most fun piano I had ever heard. I had a friend in college, Bob Fox, who played guitar and piano, too, and we would trade licks and such. But, mostly, I wanted to be a guitar player. Bob was also part of the Wash Sq scene. He passed away several years ago. After I left CJ and F, I played in several bands, one of which was the Blues Project. I learned early on that if I wanted to work steadily, I had to play piano. Everybody else, it seemed, was playing guitar. By this time, I was known as a keyboard player and I really began to appreciate the piano. It is an amazing instrument. The lowest note is lower than a bass and the highest, higher that a piccolo. Plus, with 10 fingers, you can play really big chords. Blues, to me, is the most joyful music there is. I think, maybe, that’s because it comes from so much suffering. But I really enjoy the feeling of release that happens when the Blues works.

Meg: What was the music scene like when you were growing up?

DBC: The Washington Square scene in the late ’50s and early ’60s was a moment in time that changed the history of music. People like Danny Kalb, John Sebastian, Happy and Artie Traum, Eric Weissberg, David Grisman and so many others were part of it. Then, in 1960, Dylan showed up and the evolution of Folk music took another leap forward. It was a magical time and I am so proud to have been a part of it. And, of course, behind it all and, in a sense, overseeing everything was Pete Seeger. He was the ideal that we all strove for. Not just musically, but poltically, socially and as a personal example to all of us.

To read the rest of the interviews, visit Ucombo Music Reviews.

Since I Ain’t Got You” – An Exclusive Interview with French Jazz Musician Pierre Sibille on His First North America CD Release

Began his career at the age of 14 in the clubs of the south of France,
French R&B/Jazz musician Pierre Sibille is releasing his first CD in North America, entitled “Since I Ain’t Got You.” Ucombo Music Reviews editor Meg Dilts had the opportunity to conduct an exclusive interview him this week.

Meg: We’ve had the pleasure listening to the 3 tracks on your newest release “Since I Ain’t Got You”. I’m very much impressed by your natural singing tone which must be essential to a great jazz singer. We heard that you are not only a singer, but also a pianist, a composer, and a harmonica player. This is unusual, can you tell us how you got your start in every aspect?

Pierre: I have played the Harmonica ever since my mother found out that it was a nice way to stop me from crying when I was a baby. I have had a harmonica with me ever since. Then I started to play the piano at the age of 6. I wanted to play the Blues, I was fascinated by Ray Charles, Memphis Slim, Nina Simone. . . I started to learned Classical music but I always wanted to reach the feeling that I had when I was listening to the Blues. Even if I couldn’t understand a word, I was still catching the essence. Composing just became a natural way to reach that same feeling.

Meg: You got your start at 14 in the clubs of the south of France, what was it like to start a career at such a young age?

Pierre: Yes, at 14 it was in a couple of little concerts with friends . . . but I started to like the idea to practice a song, build an ambiance and perform. At the age of 15 I met a great American pianist-singer, Randy Bettis. I started to play the harmonica with him, he taught me all the left hands – the basslines. He also made me listen to different kinds of Blues. We were playing one or two times a week. At the age of 16 I was able to play piano solos with the harmonica, like Bob Dylan. I started to play every time that I could. My parents or my girlfriend, had to drop me at the clubs because I didn’t have my driver license yet.

To read more of the interview, go to Ucombo Music Reviews.

French jazz singer Pierre Sibille releases his first CD in North America

The music industry is embracing another gem of an artist in the person of Pierre Sibille, a French R&B/jazz singer/instrumentalist who just released his first CD in North America. “Since I Ain’t Got You” is the title of Sibille’s first record that is currently garnering rave reviews from critics and fans alike.

Sibille is a true child of art. He does not only sing but also plays the piano and harmonica. In his first musical effort, critics noted his uncanny ability both as a singer and a composer. Sibille sure has the talent and personality that match the character of a great R&B/Jazz musician. His husky voice is ethereal; he is always composed yet he can be fiery when on stage. Music fans love seeing Sibille perform as he is a true delight. He has the charisma that can drown all the negative energies in the world and just envelop you with good, relaxing music.

Jacques Perrin said that Sibille has three musical elements working in his favor: his husky voice, his skill as a pianist, and his sure touch as a harmonica player. Nova magazine praised Sibille’s songwriting skills. This guy is a complete package. You ain’t need anything else. He’s got it all and he can do it all beautifully in the name of great harmony.

Since I Ain’t Got You” neatly packaged Sibille as a promising musician. The touch of French Jazz combined with an American brass section is very catchy. It’s like Ray Charles and Stevie Wonder united in one sweet package as they say.

To read more, go to Ucombo Music Reviews.

"Nuance", the Bennett Studio Sessions by Lynne Arriale

American jazz pianist Lynne Arriale has captured the imaginations of jazz and mainstream music lovers with her outstanding CD and DVD recordings and  performances. She has been critically acclaimed as having a ‘singular voice’ as a pianist, leader, composer, arranger and for “putting the heart back into jazz” (London Times). Arriale’s consistently excellent recordings have topped every notable jazz chart. With back to back #1 Jazz Week radio hits, a #17 debut on Billboard’s Jazz Chart, the top ten “Best Of” lists for The New Yorker, United Press International and The German Record Critics Association, Arriale has earned her place among elite international jazz artists. Further evidence of her status includes her being featured on the PBS nationally televised program, Profile of a Recording Artist, and on multiple NPR programs including Weekend Edition, Jazz Set, and Piano Jazz with Marion McPartland.

Her new release album “Nuance” marks a pivotal turning point in distinctive career and launches her into the upper echelon of the jazz elite. As a pianist, leader, composer and arranger, she is without equal in her ability to convey a broad palette of emotional range, muscle, intimacy and depth in any format she chooses.  Arriale presented an extraordinary new lineup of iconic musicians who joined her on her new CD/DVD, “Nuance,” The Bennett Studio Sessions. In addition to Arriale as leader/composer/arranger, the remarkable band features jazz legend George Mraz on bass; Anthony Pinciotti on drums, whose work with James Moody and John Abercrombie has received high critical praise; and the great All-Star, Randy Brecker on trumpet / flugelhorn. The project was recorded at the multi-Grammy and Emmy Award winning BENNETT STUDIOS.... Read more about "NUANCE" on Ucombo Music Reviews. Listen to "Wrapped Around Your Finger" from "NUANCE".