Accompanied here by tenor sax virtuoso Joe Lovano, The Scene offers something for everyone – from up-tempo urban jazz pieces to smooth, easy ballads – presented with the effortless style and grace that fans have come to expect from Stryker and Slagle. From the opening “Skee” to the concluding “Strikology,” all musicians are on the same wonderful page, exemplifying the kind of simple beauty that only contemporary jazz can accomplish. Certain to appeal to all types of listeners, The Scene is easy on the ears and soothing to the mind, infused with a level of musical joy that one rarely hears in modern music. Clearly, The Stryker/Slagle Band has succeeded in creating a whimsical ode to jazz’s unsung heroes.

A native Nebraskan, Dave Stryker has been a part of the New York City jazz scene for more than two decades, where he developed his legendary guitar-playing skills. Saxophonist Steve Slagle was born in Los Angeles but moved to New York in 1977, having already debuted his knack for the saxophone while playing with the Stevie Wonder Band. The Scene is their fourth release together as The Stryker/Slagle Band.

Visit Dave Stryker’s and Steve Slagle’s websites for more information, pictures, updates, and sound samples.

Company: Jim Eigo
Contact: Jazz Promo Services
Address: 269 S. Route 94, Warwick, NY 10990
Tel: 845-986-1677
Email
Website
Source Link

PR Created and Distributed By MuzikReviews.com

It’s a funny funky little tune wishing “you-know-who” a final farewell.

Stop by www.memshannon.com and listen to a clip.

I found this collection refreshing. The way Tuck & Patti present the songs of The Great American Songbook makes each one new and all their own. At times, the standards do not seem to hold that recognizable sound or reference, which again makes the entire listen a joy and something different even though it is the dreaded “cover” album. They escape all the traps and clichés and produce a beautiful album with two voices, the guitar of Tuck and the silky smooth vocals of Patti.

Tuck plays an electric guitar the way one would pluck an eight string acoustic and it sounds like an acoustic in a most convincing way, with the exception of times he uses the electric’s capabilities by inserting a fader effect that finds a place in most of the songs. It turns out to be pleasing without becoming a hindrance to the process the couple is adventuring to accomplish.

What more can be said about the 10 tracks that get the treatment here from Tuck & Patti? You will recognize the names but will be surprised how much different they all sound now thanks to the ingenuity and creative genius of this unwavering pair.

Artist: Tuck & Patti
Title: I Remember You
Genre: Jazz
Label: T & P Records
Tuck & Patti Website
Source Link

Tracks:
01. I Remember You
02. In a Sentimental Mood
03. Deed I Do
04. Very Thought of You
05. When I Fall in Love
06. Foggy Day
07. It Might as Well Be Spring
08. Old Devil Moon
09. Embraceable You
10. With a Song in My Heart

© MuzikReviews.com

Keith “MuzikMan” Hannaleck

Around 10:30, a group from Chicago called Liquor Boxx took to the stage, which I had been noticing before they’d even gone up because it looked, well…professional.. Though appearing to be effortlessly cool, someone in the band had obviously put a lot of thought into the look of it, with scarves on the mic stand, and a tiger-print looking drum kit and matching guitars, though it didn’t give the impression they were trying too hard.

They announced that they were on the East coast leg of their tour, dubbed “Inner Peace”, and started with a catchy up-tempo number. With the opening notes, their Hendrix and Zeppelin influences were plain to see, though they were coupled with the band’s own dramatic flair. It soon became clear that Kevin Mace the singer, is quite the frontman and before the night was over he literally had people moving on the dance floor and several women who actually invited themselves onstage. During their set, Patrick Creedon, the guitarist actually played guitar around a girl and then hoisted her on his shoulder-all the while doing a wicked guitar solo. The bassist, Marty Farrelly, was very solid and had a great quiet presence and Johnny Stoneking, their drummer, played a five minute solo that ended with him playing with glow-in-the-dark sticks and then just his hands!

Liquor Boxx offered a live show that had something that I haven’t seen in a long time-substance. Not only do they actually play their instruments, but they play them exceptionally well, not only are they charismatic but they make you feel personally involved in, and responsible for, their rising stature on the indie scene; you’re rooting for these guys to succeed because they work so hard, put on a great show, entertain the crowd and they have that intangible something special. Already signed to Refugee Entertainment, LLC, a smart move by the indie record label, Liquor Boxx’s live show offers guitar contortionism, musical virtuosity, charisma, and passionate, bluesy alternative rock at its best.

Liquor Boxx upcoming “Inner Peace” tour dates:

08.28.08 10:00 PM New York City NY Arelene’s Grocery

08.30.08 8:00 PM Southbridge MA The Pump House

09.05.08 8:00 PM Pawtucket RI KC’s Tap

09.07.08 8:00 PM Barrington NJ The Roadhouse

09.11.08 8:00 PM Philadelphia PA Sweeney’s

09.13.08 8:00 PM New York City NY The Knitting Factory

09.20.08 1:15 AM Marietta GA Atlantis Music Conference

10.17.08 8:00 PM Raleigh NC Dive Bar

10.18.08 8:00 PM Fayetteville NC The Rock Shop

10.24.08 8:00 PM Hilton Head Island SC Riders Lounge

10.25.08 8:00 PM Hilton Head Island SC Riders Lounge

10.26.08 8:00 PM Hilton Head Island SC Riders Lounge

Liquor Boxx sites: http://www.myspace.com/liquornbooze

http://www.refugeeentertainmentllc.com

Label: AMAdea Records

Album: U

Genre: POP/Electronic

Buy CD

ARTIST DESCRIPTION

Founded in 2001, Gravity Co. started out as a side project, working on the soundtrack to the computer game Trans, side project turned to full-time and they haven’t looked back since.

In early 2002 Gravity Co. made their debut, releasing their first single ‘Away’ accompanied by an art-school style video directed by Gravity Co.’s Producer Georgi Stanev. The bands first try topped MM TV’s (Bulgaria’s most popular music television) International Airplay Chart, holding on to the #1 spot for three consecutive weeks. ‘Away’ would later be included in NovaXposure - the monthly compilation released by ‘Radio Ventures’ with songs by Elton John, Sarah Connor, Alcazar and others.

Gravity’s second single ‘Mr. No One’ would set the critics straight, as to the bands potential, taking a play-list space in BMG’s official weekly video compilation, alongside Carlos Santana and Christina Aguilera.

The band stretched the boundaries further when Bill Withers granted official permission to record and release a cover version of his all time classic ‘Ain’t No Sunshine.

‘Away’, ‘Mr. No One’ and ‘Ain’t No Sunshine’ all made the cut for Gravity Co.’s highly anticipated debut album ‘U’ released December 13th 2002. Gravity, have since been identified by an original electro pop sound, with warm vocal melodies over pumping electro beats.

An instant success, ‘U’ brought home the first music awards - ‘Best Debut’ and ‘Best Pop/Dance Album’, from MM TV’s annual awards (the Bulgarian equivalent of the Brits).

Having released two celebrated albums, known for their engaging stage antics - performing full capacity venues and supporting the likes of the Stereo MC’s, Fun Lovin’ Criminals and more recently Ladytron - Gravity Co. teamed up with a wide range of popular Bulgarian DJ’s to remix some of the band’s hits.

AWARDS

- ‘Best Debut’ and ‘Best Pop/Dance Album’, from MM TV’s annual awards (the Bulgarian equivalent of the Brits).
- Holding on to the #1 spot for three consecutive weeks in the MM TV’s (Bulgaria’s most popular music television) International Airplay Chart.
- ‘Wings’, the first video by a Bulgarian Artist with airplay on MTV! Boasting Giorgio de Chirico inspired 3D animation - courtesy of one of Bulgaria’s finest Alexander Sokerov - ‘Wings’ would be played 13 weeks running on MTV’s World Chart Express.
- ‘Best Band’ from the annual MM TV awards of 2005. An additional ‘Band of the Year’ award was presented by Melo TV Mania’s annual awards.
- ‘Best Rock/Alternative Song’ for ‘What I Want’ (‘Instinct’ 2005) from the annual MM TV awards 2006
- On the 25 of March 2007, minutes before taking the stage to contribute a mind-blowing ‘Empty World’ against a multi-media frenzy, on the night of the BG Radio Music Awards Ceremony, the boys were called to the stage to collect the ‘Best Band Award’.
- Gravity Co. are the uncontested winners at the MMTV Music Awards, with the record 4 statuettes:
Best Pop/Dance song - Empty World
Best Pop/Dance Album - Mixedup
Best Band
Best Music Video - Empty World /Directed by Valeri Milev/

MUSIC QUOTES

The debut album “U” by the most successive Bulgarian’s band Gravity Co. is from those releases that on the first listen, you knew something amazing was happening but didn’t quite grasp it. By the second listen, you are hooked. By the third, fourth, and fifth listens, you realized you had stumbled upon a rare gem. The album range somewhere, between pop and electronic music with eminent contemporary elements, which sometimes even goes beyond the expectations. But to those with patience and an ear for the sublime, this will become one of the most rewarding and satisfying electronica albums of the decade. The sheer talent in this record is staggeringly high. Not only these guys have reached a new tier of studio production and aesthetic precision, but on top of that, the vocals are truly incredible. More importantly, it’s noticeable in the sequencing and mastering of each perfectly-layered sound. Listen on a solid, high-end system, and all the textures will open up and dance across the room in perfect balance. “U” has achieved a new level of greatness and this is easily some of the best music albums you could have in your collection.
- AMAdea Records, BULGARIA

If you like you can check the CD here.

MOSCOW, RUSSIA - They’re dark and intense. Frontman is covered with tattoos. They play blistering heavy metal laced with throat-scalding vocals and string-shedding guitar. And they sing songs about : Gorbachev?

America has never seen a rock band quite like ANJ, which will be hitting U.S. shores imminently for a summer tour. Fronted by captivating frontman and mastermind Anatoly Zhuravlev (AKA ANJ), the band describes itself as “Megadeth after five bottles of Russian vodka” - and indeed, the group’s sonic attack stands up to the most celebrated American metal.

But ANJ lacks the gloomy self-seriousness that characterizes much of the genre, citing “Slavic folklore” as an influence alongside Metallica; listeners accustomed to the cold-fish attitudes of mainstream metal-mongers will find ANJ a delicious blast of Russian caviar. Indeed, they’re closer in spirit to the satirical animated band Dethklok from Cartoon Network’s Adult Swim series Metalocalypse. This is largely due to Anatoly’s Eastern charm, self-aware humor and flair for storytelling, which make ANJ’s songs about as animated as live action can be. The indefatigable performer is also a filmmaker, and is currently preparing an action-suspense flick.

The band recently traveled to Los Angeles to record their song “Gorbachev” in English, assisted by producer John Travis (Kid Rock, Buckcherry), guitarist Levon Sultanian and drummer Roy Mayorga. The video was directed by comedy ace Tom Stern, known for his work on such series as Crank Yankers, The Man Show, Jimmy Kimmel Live and That’s My Bush.

In addition to its lead singer’s cocky, compelling theatricality, ANJ features the frenetic fretwork of prodigy guitarist Oleg Izotov. The Moscow-born axeman began playing at 13; by 16 he was a busy session musician. He later took first prize at the all-Russian “Mnogolikaya Gitara” (”Multifaced Guitar”) contest, as well as the “School of Rock” showdown organized by Russian MTV and the East-West company. In 2005, Oleg became Russia’s first and only endorser of Schecter guitars.

Formed in 2003, ANJ gave its first performance at a local MTV studio - and though the network’s producers expected pop-rock, the band quickly unleashed its amp-melting barrage. They soon gathered a rabid local following, fueled by the hit ballad “The First Night.” Their debut disc, Under an Intent Target, followed in short order. In 2005 they mounted their first international tour, beginning at the MetalMania fest in Katowice, Poland, and concluding (after an eight-month, scorched-earth campaign) at Moscow’s Luzhinski Arena. Eastern Europe quickly fell before their onslaught, and they’ve subsequently been welcomed as such metal and biker gatherings as Krasnogorsk Open Air, Friday 13th fest, Hail To Russia fest and Victory Fest.

ANJ represented Russia at 2006’s Finnish Metal Expo in Helsinki and at 2007’s Download in the UK.
http://www.myspace.com/anjkill

This coincides with the release by MusicDish of Amy’s most memorable radio performances through a new downloadable MP3 album “Amy Speace - Live On Radio.” Gathering nine tracks from performances on Ft. Collins’ KRFC 88.9 FM, NY’s WFUV 90.7 FM and Boston’s WMBR 88.1 FM, as well as syndicated show The Art of Song, the album is available for download at http://www.musicdish.net/amyspeace/mp3/

John Platt’s three-hour tour of tunes strikes a balance between the “Joni Mitchells/Harry Chapins/Jackson Brownes” and “lesser-known but equally talented” singer/songwriters. Guests have ranged from icons like Pete Seeger, Joan Baez, Loudon Wainwright, and Judy Collins, to WFUV mainstays like Dar Williams, Bruce Cockburn, and Luka Bloom, to emerging artists like Richard Julian, Sonya Kitchell, and Ben Taylor. With his gentle probing John helps us to know more about the music - and who the artists are as people.

From the rustic rush of “Step Out of the Shade” to the bittersweet lilt of “Water Landing” to the gentle acoustic intimacy of “Two,” Songs for Bright Street’s 12 original compositions (plus a slyly countrified reading of the Blondie classic “Dreaming”) showcase Speace’s unique gifts, offering catchy Americana with indelible hooks, sharply observed lyrics and a gritty urban edge. Among those impressed by her sassy songcraft is legendary folk-pop songstress Judy Collins, who chose Songs for Bright Street to release on her new Wildflower label.

Amy Speace has already won a loyal grass-roots fan base, thanks in large part to live performances that merge warmth, humor and emotional immediacy, and to a tireless touring schedule that’s already taken her across the United States. She’s also won considerable critical acclaim, with The Village Voice observing that Speace is “taking her Americana away from twangy contemplation toward tangy confrontation” and noting that she’s “not another of those breathy would-be child poets, but a real singing writer of songs.” Time Out New York stated, “Amy Speace plays sweet, twangy folk music with a clear voice and an innocent vulnerability,” while The Nashville Scene noted that she “balances wry humor with open-hearted honesty.” And renowned Nashville critic Robert K. Oermann, writing in Music Row, dubbed her a “new star.”
http://www.amyspeace.com

Jimmy Bruno’s New Worldwide Reach
Although never his intent, Jimmy Bruno may now be the most influential jazz guitar teacher in history, with students from 40 countries around the world under his direct supervision. Additionally, the JBGI student-body includes a large number of guitar teachers, who with Mr. Bruno’s permission and encouragement are in turn teaching Jimmy’s method to their students. Also, guitarists from areas of the world where there is no jazz instruction at all are converging on the JBGI to learn to play jazz correctly from an American jazz master.

Capacity concerns
Rapid communication amongst the close-knit guitar community, as well as open access to Jimmy Bruno has created a very large influx of students to the JBGI. Addressing concerns that the JBGI may be nearing capacity, Mr. Butler said, “It is true that we reduced our advertising while we regrouped, but we are committed to making the JBGI experience very high quality and it will continue to be available to all motivated students until our new technology is maximized.”

Innovation To Enable Broad Expansion
Empowered by proprietary video technology from JBGI parent company Affiliated Artists, Mr. Bruno interacts continuously with the JBGI student-body. To keep pace with projected growth, a new generation video management system is in the late stages of development at Affiliated Artists, to be deployed later this month. “The new system automates much of the technical stuff, freeing me to spend more of my time with the students and focus on their progress,” said Mr. Bruno. Mr. Butler adds, “The new Student Video Management System will increase JBGI’s capacity to over 4000 students, roughly two years of projected growth.”

Groundbreaking Approach - Hundreds of “Virtual” Master Classes
A large part of the success of the JBGI is the result of jazz guitar master Jimmy Bruno’s “firsthand” interaction with JBGI students. Unlike static online sites, JBGI students receive direct and continuing guidance from Mr. Bruno through video interchanges, which keeps them on track. This interaction is in the form of “Master Classes”, an exchange of videos between students and Mr. Bruno. An added bonus is being able to watch him evaluate hundreds of fellow students via video. This combination brings a depth of knowledge unmatched in any other music instruction approach. There are currently over 450 Master Classes posted on the JBGI, with more added each week.

A Continuation of New Lesson Materials
Since the JBGI opened its door 10 months ago, the amount of lesson material has gone from around 70 formal lesson videos to well over 500 videos, including hundreds of “Master Classes”, and dozens of educational and entertainment videos. The JBGI recently added an adjunct faculty member, Philadelphia-based blues guitarist Johnny DeFrancesco, who created new JBGI course materials that focus on blues and blues-oriented rock.

The JBGI Sports A New Look
In addition to an under-the-covers technology overhaul, the Jimmy Bruno Guitar Institute has just been given a new look. Designed by Grammy-winning designer Jack Frisch, the new look enhances JBGI’s leading edge music instruction mission and signals yet another phase of continued growth for the Institute.

http://www.jimmybrunoguitarinstitute.com

Costello was born in Philadelphia in 1979, moved with his family to Atlanta at the age of 9, and soon afterward picked up the guitar. Within a few short years he’d won the Memphis Blues Society’s new talent award, and was on the road with his own band. At age 17 he released his first album, Call The Cops, acclaimed by Real Blues Magazine as “an explosive debut.” He soon joined forces with fellow blues guitarist Susan Tedeschi, with whom he toured and recorded, laying down tasteful lead guitar work on her Gold-certified Tone-Cool debut Just Won’t BurMN.

In 2000, Costello released Cuttin’ In on Landslide Records, which earned him critical acclaim as well as a prestigious W. C. Handy Award nomination for ‘Best New Artist Debut.’ With 2002’s “Moanin’ For Molasses, also on Landslide, came a Blues Revue cover story touting Costello as “the top contender to be the next blues star - and soon.” Costello’s hometown paper The Atlanta Journal-Constitution called his guitar playing “masterful” and of “remarkable maturity.” The paper also compared him to such legends as B. B. King, Eric Clapton, and Stevie Ray Vaughan.

In 2005, his self-titled fourth CD Sean Costello was released by Artemis Records. Produced by Steve Rosenthal (The Rolling Stones, Suzanne Vega, Freedy Johnston), it was an appealing blend of soul, funk, upbeat rock. He was joined by some very special guests: Levon Helm of The Band sits in on two tracks, as does his daughter, Amy Helm, with her group, Ollabelle. Steve Jordan, Willie Weeks and the Conan O’Brien horn section also appear.Sean’s Delta Groove debut CD We Can Get Together, just released in February, was produced by Costello himself. He was justly proud of “We Can Get Together”, calling it the best work he’d ever done, and the critics agreed, with excellent reviews from radio and press alike lauding it his most impressive and mature work to date.

Costello was fortunate enough to earn the respect and admiration of many of his own idols, and had the opportunity to perform with his mentors. He shared stages with B.B. King, Buddy Guy, James Cotton, Pinetop Perkins, and Bo Diddley among many others. He recently said, “All I’ve ever wanted to do was play the guitar well. I’ve been fortunate to be able to make a living doing it, and I plan to keep it up for the rest of my life.”

Rand Chortkoff and Robert Fitzpatrick, the CEO and President respectively of Delta Groove Music, issued the following joint statement: “Sean Costello was a genius. He was destined to go down in music history as a blues legend. His musical legacy will live on through his music forever. We at Delta Groove Music and all his fans everywhere are devastated by the untimely news of his death. Our thoughts and prayers are with his family, loved ones and friends and to all of his many fans around the world. He will not be forgotten.

Contact: Chip Schutzman
Company: Miles High Productions
Address: 6622 Delongpre Ave. Los Angeles, CA 90028
Tel: 323-806-0400
Fax: 323-462-0829
Email
Sean Costello Website
Myspace

PR Distributed By MuzikReviews.com

Whatever one could say about Hills Rolling, the moniker of one-man band Trey McGriff, you can’t accuse him of having shallow roots. On his myspace page he lists as influences about one hundred or so bands and musicians. There are old schoolers (Otis Redding, The Beatles, Pink Floyd), new schoolers ( The Killers, My Morning Jacket), tweeners (Nirvana, Dinosaur, Jr.) electro types (The Cure, Depeche Mode) and eclecticians like him (Beastie Boys, Beck). No doubt this is in part a smart-ass commentary on the “what are your influences” question. It is also a list of people he has most likely listened to and is another way of saying that all the music he has heard, or for that matter, everything he has been through, is recorded by the brain, swished around by time, and reflected in his songs. Loves, hates, sounds, tastes, it’s all in your head. Musically and lyrically, this message comes through loud and clear on his CD Sweet Tea.

With all this in his musical blender, he has come up with a record that is like a meal with different foods, different flavors, and quite tasty. Sweet Tea is not an album with a theme or unified sound per say, but the strength of the songs and the individualism of his voice and musical palette steers the record clear of being a hodgepodge of stuff. He is not intellectually and intentionally going from style to style as if he’s searching for an identity, or flailing about hoping to catch the listener’s ear. The songs are well-crafted and come from his heart, making the music distinctly and honestly Hills Rolling. Not unlike a jazz artist who expresses his individual voice on an album by having a ballad, swing numbers, a blues and a song with a Latin flavor.

“Crazie” opens the record with a catchy bit of vintage hard rock that is the ‘08 answer to “Rock and Roll Hootchie Coo” by Rick Derringer. The macho stance of that song is replaced by the simple wonder of gettin’ down with a beautiful girl that’s made him so crazy that “I don’t know what to do / I’m gettin’ dizzy I’m shakin’ in my shoes.” The music works well with the song, alternating between hard bar chord guitar licks and trippy tremolo/vibrato-soaked guitar leads. His pop sensibility keeps everything tight, short and sweet like the tea. Hip hop drums open “Not Again”, then the song gives way to the kind of acoustic/electric guitar-based rock that never goes out of style. Percussion and a home boy chorus give the song a party feel despite the grimness of the song’s slice of life lyrics: “I just live day to day / barely keepin’ my head above the water / Not again got all these feelings trapped inside me / Not again can’t pay the bills I think I’m sinking your way . . . I’m so lonely / some day / we’ll ride the waves into the sun.”

This cut deftly combines a pleasant tune with grimness, humor, and hope all rolled into one. “Watching The Waves” is psychedelic rock by way of the Cure, with a beer soaked college kid trippin’ on playing some simple guitar chords and having a moment with his friends. The harmonica captures the feeling of timeless, be-here-now grooviness that puts you right there on the beach, as McGriff chants “Standing in the ocean watching the waves roll by, roll by.”

One of McGriff’s other musical projects is in the mode of experimental electronica and is called SomeWhere OutHere. The song “Middle of Nowhere” hints in this direction. Starting with an electronic drum pulse and droning bass with a spacey guitar riff ala New Order, this piece is a soundtrack to doing . . . whatever. Weird sounds come in and out of focus as the interlocking licks and drum beat march on. Whereas these elements might seem abstract on another record, here the music maintains a grassroots, funky, down home feeling.

In her October 2007 article in the New Yorker, author Sasha Frere-Jones, the best music writer around I must add, wrote that, unlike rock from the 50’s through the 80’s, twenty-first century indie rock is totally devoid of the blues and soul, the root-feeding soil of so much great music. This leaves indie rock and its offshoots, in his words, “full of lassitude and monotony.” No problem with that here. Hills Rolling McGriff is from Georgia or thereabouts, so the blues, soul and country are in his blood. Perhaps that is what helps blend the musical stew he’s cookin’ up on Sweet Tea. This CD is further proof that while commercial rock and pop are rotting and twisting in the wind, these are great days for music down here where just us folks are living.

http://www.myspace.com/hillsrolling