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+.
Showing posts with label independent release. Show all posts
Showing posts with label independent release. Show all posts
Friday, October 9, 2009
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
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
Wednesday, September 9, 2009
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.
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.
Sunday, August 30, 2009
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 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.
Wednesday, July 23, 2008
"Full Metal Alchemist" - Independent New Release by Random Impulse
Genres are specific tools that artists choose to express their feelings, views, and visions. Some artists do not confine themselves into one genre instead they use a more crossing genre style to define their style thus making their music stand out among the many. It is apparent to say the least that 22 year old UK based Random Impulse is one of the great talents who is distinctively recognized for his unique genre-crossing concepts.
Hailed by listeners as "The only UK rapper I'd spend money on," Random Impulse's newest independent release "Full Metal Alchemist" truly shows his multi-faceted persona perfectly. Unlike many other artists of the same genre, his song concepts stretch across an unusually large spectrum.
Whether he's expressing fear from his unstable workaholic life with the dramatic piano driven "Suicide," forcing you to feel a deep sense of guilt and empathy as he speaks first person as an addicted mother on the soul rendering "The Heroine" Or simply captivating all of the senses with his dynamic story-telling abilities in the form of "Time Travel" where his descriptiveness reaches levels to the point where you could almost swear you can physically see the events in his epic tale.
From Goths and skaters to street and urban, the young artist Jovel Walker, otherwise known as Random Impulse is off to a fantastic start.
He was interviewed on June 6th, 2008 on Kiss FM in the UK to promote his newest independent release "Full Metal Alchemist".
Hailed by listeners as "The only UK rapper I'd spend money on," Random Impulse's newest independent release "Full Metal Alchemist" truly shows his multi-faceted persona perfectly. Unlike many other artists of the same genre, his song concepts stretch across an unusually large spectrum.
Whether he's expressing fear from his unstable workaholic life with the dramatic piano driven "Suicide," forcing you to feel a deep sense of guilt and empathy as he speaks first person as an addicted mother on the soul rendering "The Heroine" Or simply captivating all of the senses with his dynamic story-telling abilities in the form of "Time Travel" where his descriptiveness reaches levels to the point where you could almost swear you can physically see the events in his epic tale.
From Goths and skaters to street and urban, the young artist Jovel Walker, otherwise known as Random Impulse is off to a fantastic start.
He was interviewed on June 6th, 2008 on Kiss FM in the UK to promote his newest independent release "Full Metal Alchemist".
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