Kim Clarke Trio at Jazz973 Clements Place Jazz for 2022 Women's History Month and Lady Got Chops Festival

By Gregory Burrus | Posted Tuesday, March 1, 2022

In its 20th year, the Lady Got Chops Festival Women’s History Month Music & Arts Festival presents some of the most notable women professionals playing Jazz in the industry. Since I love the concept of this festival, take a listen to our conversation between our fabulous interviewer Lynette Sheard with Bassist and Lady Got Chops Festival Founder Kim Clarke. Then, we write about Kim Clarke and her fabulous trio joining us at Clements Place Jazz for Women's History Month as part of the Lady Got Chops Festival. 

Lady Got Chops Festival 2022

Goddess on the tiger. Lady Got Chops 2022 calendar.

The Lady Got Chops festival, is an annual March Women’s History Month celebration which was conceived in 2003 by The Jazz Spot club owners Lillith Meyers, Tiecha Merritt and female bassist Kim Clarke. It was created to give women performers and bandleaders a chance to be recognized for their valuable contributions to the arts, and to globally elevate Women's History Month through the promotion of women's outstanding contributions (aka Chops), artistic and otherwise, during the month of March.

For seven years the festival was hosted at the legendary Jazz Spot in Brooklyn, New York until it closed its doors in 2009. The festival included a dance troupe in 2010 and had been renamed the Lady Got Chops Women’s History Month Music and Arts Festival. The festival has continued every March under the leadership of Kim Clarke. 

The Lady Got Chops Women's History Month Music & Arts Festival Inc. is a 501c3 nonprofit corporation. Check out the history and this year’s lineup at http://ladygotchops.com and on Facebook at https://www.facebook.com/ladygotchopsfestival.

Jazz973 Presents Kim Clarke Trio at Clements Place Jazz

For WHM2022, Kim Clarke is bringing with her some jazz industry heavyweights to perform at Rutgers-Newark Institute of Jazz Studies - Clements Place Jazz Club:

• Kim Clarke- Bass

• Iyayo Ikawa - Piano

• Luciana Padmore - Drums

Kim Clarke — Bass

Kim is a founding member of the Lady Got Chops Festival. According to her website:

“New York native Kim A. Clarke is a parent, bassist, composer, bandleader, website developer, educator and earring designer. She performs alternately on the Acoustic Bass, Electric Upright, four and five-stringed Electric Bass Guitar, as the situation demands.

As an acoustic bassist, Kim traveled most notably with the late Joe Henderson Quartet (1986-7) throughout Europe. Internationally, she is noted as “at home in the Ron Carter School of HardBop”, “a dynamic Woman in Jazz who supported the intense rhythm of the Henderson group with unsuspected vitality and melodic solo passages,” as noted in the bio of the famed bassist Larry Graham, a great early influence on her playing concept. As an electric bassist, she has toured most extensively with Joseph Bowie's Defunkt Downtown in the 80s & Millennium Lineups.

She has performed with: Art Blakey, Marylou Williams, Bertha Hope, Harold Ousley, Jimmy Heath, Leon Thomas, Sun Ra, Sam Rivers, George Braith and Space Island, Rashied Ali, Junior Cooke, Ed Pazant, Clifford Jordan, Richard Williams, Tommy Turrentine, Steve Coleman and Five Elements, Andy Bey, Lionel Hampton, Arturo O'Farrill, Dr. Billy Taylor, Olu Dara, Cindy Blackman, Marilyn Mazur, Gracian Moncur, Philly Joe Jones, Geri Allen, Johnny O’Neal, and vocalists: Evelyn Blakey, Dakota Staton, Sarah Vaughn, Sheila Jordan, Antoinette Montague, Nikita White, Vanessa Rubin, Cassandra Wilson, Adela Dalto: George Gee Big Band, Jean-Paul Bourelly, the Ghetto Fighters (background vocalists with Jimi Hendrix), Victor Jones and Black Velvet. She toured China, performing with Mark Zhu, Chuangye Liu, Ronnie Burrage and Wayne Esscofery at the Dalian University of the Arts and the new Beijing Blue Note.

She participated in the Black Girls Rock Orchestra of 2016. Prior to the COVID-19 pandemic, Kim hosted the Jazz Foundation Jam session at Local 802 for seven years. Post-pandemic, the Jazz Foundation and Steve Jordan hosted a tribute to Charlie Parker called "BIRD CALLS." Highlights of 2019 musical collaborations include performing with Bertha Hope's Elmo Hope Project for the 28th Annual Jazz Foundation of America Loft Party.

Her touring experiences include work with the Yusef Lateef Quartet, National Black Theatre, The Are and Be Ensemble, Teri Thornton Trio, Bertha Hope Trio, Robert Palmer, Kit McClure Big Band, Rachel Z Trio, Bigfood, Wallace Roney and Cindy Blackman Quartet, Rhonda Ross-Kendrick, Oliver Lake and Jump Up, James Blood Ulmer Experience, Jack Mc Duff Quartet, Rodney Kendricks Quartet, and Jazzberry Jam.

She is also a recipient of Louis Armstrong Performing Arts Award — ElmCor Ivan Bartowski mention on Jazz Family Tree.”

Yayoi Ikawa — Piano

“Yayoi is a wonder that comes along very rarely in each generation. A big intellect, with a big emotional spectrum, and a totally unique sound... She can do anything she thinks or feels” — Gil Goldstein (arranger/pianist)

According to her website:

“Born in Tokyo, Japan, but raised musically in New York, Yayoi is an experience in ingenuity and compassion. As an internationally acclaimed pianist, composer, arranger, and educator, Yayoi has worked in many countries. Being exposed to the diverse music scene in New York after moving from Japan, Yayoi quickly adopted herself in various styles of music such as Jazz, Gospel, R&B, Soul, Classical and World music. After completing her studies at New School where she received the Henry and Gill Block scholarship, Yayoi was a faculty member at the International Jazz and Dance Academy in Slovenia along with her mentor Reggie Workman in 2003 and 2004.

After recording a straight ahead jazz piano trio on the Nippon Crown release “Angel Eyes” in 2004, she self-produced “Color of Dreams” in 2005, displaying her original compositions. Yayoi has toured nationally as well as internationally with her groups and appeared at International Jazz festivals in Japan, Italy, Haiti, France, Slovenia, and Costa Rica. In 2008, Yayoi started “The Bridge Project” to create musical dialogue between New York and Tokyo musicians in an experimental environment. In 2009, the project toured in Costa Rica through a sponsorship of the U.S. Embassy. While working towards her master's degree at NYU, Yayoi’s orchestra work premiered at Lincoln Center in 2007. As a composer and arranger, Yayoi received commissions from the Modern Music Society of Tokyo, the Bill T. Jones/Arnie Zane Dance Company, and Montreal-based sculptor David Baumflek.

Yayoi has worked with such legendary artists as Reggie Workman, Michael Carvin, Howard Johnson, Michal Urbaniak, Butch Morris, Craig Harris, Lenny Pickett, Frank Lacy, Lonnie Plaxico, Fostina Dixon, Salim Washington, Emeline Michel, James Germain, Daniel Bernard Roumain, The Meditations, Kaissa, Blitz the Ambassador, and more. Yayoi is a Music Director at First Baptist Church in Piscataway, NJ, and a jazz piano instructor at City College of New York, Brooklyn College. She also holds a bachelor’s degree in International Studies from International Christian University in Tokyo, Japan.”

Her musical activities can also be seen on her website, www.yayoiikawa.net.

Lucianna Padmore — Drums

According to her website:

“Bronx native and New York-based drummer Lucianna Padmore has been praised by Modern Drummer magazine for “Deep grooves and serious fusion chops.” Lucianna's versatile drumming is featured with artists in the Jazz, Hip-Hop, Funk, Rock, Pop and Fusion genres. An alumnus of LaGuardia High School for Music and the Performing Arts and the New School University, she has received awards from Jazz at Lincoln Center and BMI for her jazz improvisation.

As an educator, she is active in drum instruction and jazz outreach in the NY Tri-State area and abroad. Lucianna's current live performance projects include residencies in and around the Tri-State area with the John Smith Trio, as a member of HotJazz Jumpers, drummer for singer-songwriter Alyson Murray, Bertha Hope's Nu Trio and Quintet, as well as leading her own Quartet.

Lucianna Is working on various compositions of her own, in which she has just independently released a single entitled “Life Long Love Affair” featuring the incredible saxophonist Mr. Gerald Albright on alto saxophone. “Life Long Love Affair” is now available for purchase on all major digital platforms.

Lucianna is featured in the book Sticks and Skins, endorses Soul-Tone Cymbals, and plays her signature Scorpion 3A drumsticks.”

You can learn more about this fabulous drummer here: https://www.luciannapadmore.com 

Closing Thoughts

In closing, know that Jazz973 Presents Kim Clarke Trio at Clements Place Jazz will take place at 15 Washington Street, Newark, NJ 07102 on Wednesday, March 2nd, 7-9:30pm as part of the Lady Got Chops Festival. Prepare for a fabulous night of jazz.  

Also know that the Lady Got Chops Festival runs for the entire month of March, so go support and prepare to hear some fabulous jazz all over the Tri-State area. There is a full calendar of events with some fabulous music every day. Check it out right here: The 20th Anniversary LADY GOT CHOPS Women's History Month Music & Arts Festival Calendar of Events. 

About the Author 

Gregory Burrus books bands, produces, promotes, captures, and records live music events along with various other community and private activities.

I love writing about it all. My mission is to help community groups, live music bands, and local nonprofits, reach their goals and accomplish their missions while enjoying the day-to-day process of life. 

https://www.jerseyindie.com/ji-blogger-gregory-burrus  
https://patch.com/users/gregburrus  

Interview with Ryan Hilsinger (Sleepy Rye)

By Sonia Schnee | Posted Tuesday, March 1, 2022

South Jersey drummer, songwriter, and studio owner Ryan Hilsinger, also known as Sleepy Rye, last month released the first single off of his upcoming debut EP. Blending together multiple influences, his EP A Bit of a Non-Person has a little something for everyone. In addition to getting ready to release his own music, Ryan is also working on a musical compilation via his studio AGL Sounds in Cherry Hill, NJ to benefit multiple charities (reach out to him to get involved). Be sure to check out his EP which drops tomorrow, March 2nd, and to learn more about Ryan and the ways you can collaborate with him, check out our interview below.

(Video and transcript have been edited for time and clarity.)

Thank you so much for taking some time out of your busy day to chat with me.

RYAN HILSINGER: Of course. Thanks for having me, I appreciate it.

First off, what's your name, where are you from, and what do you do?

My name's Ryan, or Sleepy Rye. I'm currently in Cherry Hill, NJ. I run AGL Sounds with Doug Gallo. I've been running this studio for almost five years now. I started recording people years and years before that and just recently decided to start working on my own stuff.

Congratulations on the release of your single "Nameless" which dropped on February 9th. What can you tell us about the inspiration behind that?

So, "Nameless" actually happened after a psychedelic trip, and I woke up the next morning really having no sense of myself at all. It felt like I was re-learning who I was and what I wanted, and I had to challenge everything that I thought I knew.

I actually started writing the lyrics for “Nameless” while I was going through that. So it starts off with "He rises covered in ashes and poison still in his veins." I was writing that covered in ashes. 

That's wild. Is that the first track off of your upcoming EP that you wrote?

I think it is the oldest, yeah. All four of these songs were written at different times, but "Nameless" is the oldest.

Cover art for Sleepy Rye’s upcoming EP, A Bit of a Non-Person.

Very cool. Let's talk about your upcoming EP, A Bit of a Non-Person, which is coming out on March 2nd. Very exciting. What can you tell us about that?

So I actually just officially announced the EP, and I said, "If you liked 'Nameless', listen to the EP.  If you didn't like 'Nameless', pre-save it anyways, so you can talk smack about it. It's not really the same as 'Nameless', but it's got the same kind of vibe. So if you liked 'Nameless', come along. If you didn't like 'Nameless', still come along because it's different enough where you might actually enjoy something.    

What would you describe as the genres you touched upon or the vibe or mood you were going for?

So, the first track off the EP is kind of this jaunty rock vibe. The second track is 'Nameless.' The third track is only bass guitar and vocals, and it's really choral and ethereal. Then the last song is kind of post-rock. It's a love song without the love song vibes. These songs were written so far apart, I was being influenced by something different each time.

Are you performing all the instruments? Did you bring in session musicians?

I did everything on the EP except for master it. It was mastered by Alberto de Icaza. I gotta plug him real quick because he's amazing at what he does. But yeah, everything else – the performance, the writing, the production, the recording, the mixing -- that was all me.

Wow. Is this your first-time kind of doing something like that? I mean, having a studio you had your hands in a bunch of different aspects of that. So what was that like doing that for yourself?

So actually, I released music for the first time under just my name, Ryan Hilsinger, back in 2009 I think. At the time, I was just recording in my parents' basement. I was in high school so I was still living with family. I recorded everything by myself then, but it was just acoustic guitar and vocals. This time around, it was a lot more in-depth. It was maybe more than I was ready to take on when I decided to take it on, but it just happened all of a sudden, and the timing felt right so I did it. 

Who would you describe as your musical influences?

Well, for sure, Incubus. Incubus has been since I was about nine years old when my older brother showed them to me and gave me a CD of theirs. On this album, there's some Minus the Bear in there. There's a little bit of Bayside. I personally love Snarky Puppy and a lot of "neo-soul" is what they're calling it these days, like Lianne La Havas, Tom Misch, and Esperanza Spalding. That's what I've been listening to a lot.

Your music, is a lot of it inspired by things that have happened to you personally? 

The four songs on the EP are all about things that I've experienced, but I have I don’t know how many dozens and dozens or hundreds of songs that will live and die on my hard drive, that I will write about absolutely anything.  

I once went to visit a friend in Philly and I got my days mixed up and she had class the whole day. So I waited and waited and waited in a Starbucks and in different museums, and then when I finally ended up on a bench outside, I wrote a song about a cigarette butt that somebody flicked. So I'll write about whatever.

Do you ever write songs for other people do as a ghostwriter or a credited writer?

So I’m actually starting to do that with the benefit single series that I was talking about. I'm actually, next week, writing a song with Katie Miller, and I started doing collaborations with people in Philly. So I'm hoping to do more of that. I'm hoping to do more songwriting for other people.

And how do you know Katie Miller? You're a drummer, right? So, you've worked on one of her songs?

So actually, we met through the New Brunswick music scene. We just happened to cross paths. But we started working together a little more than two years ago, I think, was the first time that I played with her. I played a show at MilkBoy in Philly with Kate Dressed Up. That was my first show with them back in December, two years ago. Then we were supposed to go on tour and then COVID happened, and she was like, "I still want to work together. Let's keep on doing this music thing," and she asked me to be in the band.

Then after band practice one day, Kate was just like, "Ry, would you happen to be looking for a manager?" Meanwhile, me and my friend had just been talking about how good it would be to have a manager. I was, like "Funny, you should mention that." That's how that aspect of our relationships started. Now we're just super close and at this point she's just a great friend.

So she’s also your manager?

Yep.

Oh, that's so cool! I didn't know she did that. I had an interview with her a couple of weeks ago. She's so modest. She's very smart.

Yeah, she is. Oh my goodness, she is the best.

She knows a lot of things about a lot of things.

She really does, seriously! I am super lucky to have her.

I might have missed a little bit in the beginning (when we started recording our interview). Can you go back to the compilation that you're doing?

Oh, the benefit series?

Yeah, yeah.

So, it's going to be called “Sleep Numbers.”

I bring a band in for a day or two, and we record a single together. I did my first one last month, and I'm just wrapping up work on that.  

Every band is going to choose a charity, they'll come in, we'll either write a song together or just record it if they already have a song written, release it, and all the proceeds go to whatever charity they chose.

That's really cool. Have you done this before? Is this a tradition?

So, I want to turn it into a tradition. My studio, AGL, back when we were located in New Brunswick, we used to do monthly shows where we would record all the shows and run everything through the studio and have a bunch of videographers there. We don't charge anything. It's just for the sake of putting it together,and then the added bonus of the charity on top.

Oh, that’s cool.

Hopefully it becomes a tradition. I’ve already got three in the works.

You’re on a roll. Keep on doing what you're doing!

Where can people reach out if they want to be a part of this iteration or the next iteration?

You can reach out to me on Instagram @sleepyrye.wav, or you can email me at contact@SleepyRye.com.

What does “AGL” stand for? Is there a story behind the name?

So, Doug (Gallo) and I are both massive fans of Incubus. We were thinking of names. Doug threw out the name of this Incubus song, "Just a Phase" Studios. He wanted an acronym for the name, so I suggested Incubus has a song called “Summer Romance (Anti-Gravity Love Song).” So I suggested "Anti-Gravity Love Sounds." That's why the logo is three heart balloons because it’s “anti-gravity.”

Oh my gosh, I see it!

Yeah. So it's Anti-Gravity Love Sounds.

That's really clever. I like that.

We had to find some way to pay homage to Incubus.

How did you meet your co-founder of AGL? Did you guys know each other from high school?

Yeah, actually, we went to high school together, but only for a little bit because he moved and transferred high schools. We went to high school together for two years. During those two years, I was working at a show production company/record label, and we worked with Doug's band at the time, so that's how I started talking to him. Then eventually I joined that band, and then we became another band. Then I moved out to L.A. for a little bit and when I came back, Doug was like, "Hey, are you interested in starting a studio?" I was like, "Yeah, absolutely!"  

I just gave myself a tattoo.

Oh, I see it! Yes! That'll be the thumbnail for the video.

Perfect!

That is really cool. Is there a place that you recommend? Or did you actually sit there and give it to yourself?

I sat there and stick and poked myself.  

True story?

Yeah, actually.

Oh my gosh! OK. You’re multitalented! "He can mix and record everything for you and be your session drummer, and while he's doing that, he can also give you a tattoo on the spot. Anything Incubus-inspired." 

Actually, my friend Abigail just started doing stick and pokes. She’s already an incredible artist, but they just started doing stick and pokes. I was their first person.  

Oh, that's cool. Is that a mushroom?

It's a nice little mushroom. It's a little honey fungus.

That’s awesome!

So, actually, if you're in the Philly area and you're thinking of getting a tattoo, look up The Shape of Sanctum.

Shout-out to Abigail!

Hell yeah!

So, you have a lot of things going on. Aside from being a co-owner of AGL Studios, you're also a session/touring drummer. Of course, you have Sleepy Rye. You've been involved or associated with numerous bands.

Tell us about your musical journey. Do you come from a musical family? 

So it seems like all of my family has some kind of musical talent that they refuse to recognize. My dad was in high school band and had a lot of potential as a drummer. My mom has a beautiful, angelic voice, as does my sister. My sister also played the flute and the violin. My brother played the bass guitar and the trumpet. But it seems that after high school, no one chased it. So I guess I'm the one who chased it after high school. But that was always going to happen because I was banging on pots and pans and playing on toy acoustic guitars since I was five, so it seemed like that was always going to happen.  

I love that. That's a really interesting combination — the drums and the vocals.

What would you say, looking back, have been some of your career highlights or moments that really stand out to you?

Honestly, one of my favorite things is meeting all of the different people that I meet, just everyone that comes through the studio or different bands that hire me for one-offs. Like I just recently, last year, got hired to play drums for a pop artist, Zoe on Venus, exactly a week before the show, with no practice or anything. We just showed up and played the gig and it went great and we had a ton of fun. Just like things like that. I love moments like that and just being able to meet everybody that I meet.

Actually, I would say another highlight has been not necessarily related to my personal journey, whether it's AGL or Sleepy Rye, but I worked for a little while on something called The John Lennon Educational Tour Bus. It's a big tour bus, like that bands go on, and it was gutted and turned into a recording studio.

Oh wow.

Me and two other engineers, we just drove around the country -- well, we didn't drive the bus, there was a bus driver -- but the four of us went around the country teaching kids about music production and making music with the kids. That was the best job I ever had. That was great.

That’s wild! How long ago was that?

That was back in 2017, 2018-ish?

That is really cool.  It's nice to have been able to do that traveling before the pandemic and the world changed.

Yeah, seriously. That 2017, 2018 might be off. The pandemic has completely messed up my sense of time.

Same here. I always think every day is Wednesday. The days of the week don’t matter a whole lot anymore.

Right, seriously.

Is there anything in particular you're looking forward to in 2022, aside of course from releasing your debut EP?  

Well, actually, I have a lot of work that I did this past year that is slated to come out this year, and I'm really, really excited for people to hear it. One of the songs just recently came out. I recorded a 17-piece jazz big band called the Grace Fox Big Band. Amazing. The first song, "I Just Found Out About Love", just came out and it's amazing. I've got a bunch of different projects that I did coming out this year that I'm really excited for.

And, I turned 30.

Ayy! A milestone! How does it feel now being in your 30s?  

Well... we'll see. Haha! I'll give it some time.

To be determined…

Yeah.

It's so interesting how things have changed. A generation ago, it was like 30 was older, but now your 30s are a continuation of your 20s and everything's just gotten pushed back a decade in terms of milestones and things.

Yeah, I like the way my dad described it: Your 30s are the chance to do everything you wanted to do in your 20s, but with more knowledge and more money.

I love that!

That's the energy I'm taking into my 30s.

So, you already mentioned one person. Is there anyone who you'd like to give a shout-out to?

Well, obviously Katie. We talked about her. Shout-out Katie Miller! She's amazing. She's absolutely incredible.

I want to shout-out, actually, my parents. My parents really help keep me grounded long enough to do something like record and mix songs by myself. Thank you, Mom and Dad. I love you both.   

Good son.

Haha! Eh… I'm a sweet son. I don't know about a good son.

There is a distinction!

Do you have any music videos planned?

No. Music videos, to do well, you either need a grand mind or a lot of money, and I don't know if I have either, but I do actually have a canvas video that is paired up with the fourth track on my EP, "Never”, done by KXB Studio. They took my idea and they brought it to life exactly the way I wanted, so that'll be fun. That'll keep you occupied on that four-and-a-half-minute song.

Where can people find you online if they want to listen to your music, if they want to send you a  message? What's the best way to find you, or all the ways to find you?  

So Bandcamp is obviously the quickest and best way to see everything that I've got, and you can contact me through there. That goes straight to my email.

You can stream me on Tidal and Apple Music and Spotify and Deezer. I'm everywhere.

And Instagram, is that your preferred social media?

Yeah. On Instagram, I'm @sleepyrye.wav. @SleepyRye on Twitter. @SleepyRye on Facebook. Sleepy Rye pretty much everywhere.

Nice.  This has been awesome. Thank you again so much.

Of course, of course. Thank you. I really appreciate it. This is my first interview. I had no idea what to expect, but I really, really enjoyed myself. Thank you.

Interview - Flashing Back and Recapping Ife Basim’s Women's History Month Celebrations (Part 1)

By Gregory Burrus | Posted Sunday, February 27, 2022

9 years ago, Ife Basim (Joy Topping-Mann) started a Women's History Month Celebration because she felt that the accomplishments of many local women go unnoticed. Ife feels that bringing attention to these everyday heroes, applauding them for their excellence and recognizing them now helps build the bonds of sisterhood. By staying true to the mission, the annual WHM event has become a vehicle that encourages and helps women unite, share their gifts, talents, accomplishments and the event also motivates the young and old to share their gifts with the world. 

Also in today's environment, we figure why not applaud these local important figures while they can still appreciate it. Recent events like the worldwide pandemic clearly pointed out the need to use time wisely and appreciate each other even more.  We are all still adjusting to our “new normal” world and true to form WHM switched from all in-person in 2019, to all online in 2020 and now in 2021 our new normal is a hybrid approach for 2022. The message and objective has not changed, which is to get the word out that we have all made it this far through the many challenges of the pandemic and we are still here. Ife Basim’s WHM platform is now in it’s 9th year and these events continue to grow our spirit. 

Today, in Part 1, we take a look back over the years and understand the WHM spirit as we prepare for WHM2022.  We talk with the founder and gain a first-hand view of WHM's past and a little bit about its future.  Take a listen.

Gregory Burrus Productions Interviewer, Lynette Sheard, Singer Interviews Founder Ife Basim on the History of Women's History Month Celebrations.

Through the Years of Ife Basim’s Women’s History Month Events

Reflecting upon the 9 years of WHM events, we discuss the highlights of the first 8 years, view the beautiful poster artwork, and who performed, with links to all the fun we had.     

2014

1st Annual Women's History Month Celebration

Year 2014 

Date: March 7, 2014

Theme: "Women in Jazz"

Featured vocalists: Jackie Jones and Cynthia Holiday 

Special Tribute: Amira Baraka, Yvette Glover, Denise McCoy, Barbara Kukla, wrote The Encyclopedia of Newark Jazz and Dorthaan Kirk, NEA Jazz Master and Newark's First Lady of Jazz.

Live Music: Girl Talk Jam Session

View more — a taste of 2014: https://www.gregoryburrusaroundtown.com/Ife-Basim-Masterpieces/20140303-1st-Annual-Womens-History-Month-Celebration/ 

2015

2nd Annual Women's History Month Celebration

Year: 2015 

Date: March 13, 2015

Theme: “Weaving the Stories of Women's Lives”

Featured Vocalists: Joy Elaine and Jacque Harmon Johnson 

Special Tributes: Kathy L. Spivey, Inez McClendon, Jaklyn DeVore

And Gwen Moten, ED, Mayor's Office of Arts, Cultural Development and Tourism 

Live Music: Brandon McCune, Vince Ector, Calvin Jones

View more — a taste of 2015: 20150303 2nd Annual Womens History Month - Gregory Burrus Around Town

2016

3rd Annual Women's History Month Celebration

Year: 2016 

The Date: March 11, 2016

Theme:  "Her Story"

Featured Vocalists Joy Elaine, Patricia Walton, Joy F Brown, PJ Parker, Phyllis Blandford and and Omisanye Karade 

Special: Vendors and After Party

View more — a taste of 2016: https://www.gregoryburrusaroundtown.com/Ife-Basim-Masterpieces/2016-3rd-Annual-Womens-History-Month-Her-Story/ 

2017

4th Annual Women's History Month Celebration

Year: 2017

Date: March 31, 2017

Theme: "Protect Your Peace"

Featured Vocalists: Phyllis Blandford, Lynette Sheard, Patricia Walton, Jackie Gilliam, Dana F. Hawkins 

Special: Vendors  

Live Music:  Brianne Ford, Kim Clarke, Whisper McCray, Sheryl Bailey, Debra Kreisberg

View more — a taste of 2017: https://www.gregoryburrusaroundtown.com/Ife-Basim-Masterpieces/20170331-4th-Annual-Womens-History-Month-Celebration 

2018

5th Annual Women's History Month Celebration

Year: 2018

Date: March 30, 2018

Theme:  "I'm Every Woman"

Featured Vocalists Joy Elaine, Patricia Walton, Joy F Brown, PJ Parker, Phyllis Blandford and and Omisanye Karade 

Special Acts:  "I'm Every Woman" program ad booklet, a donation to Sierra House, a safe haven for at-risk youth and young adult women and Sierra House representative Marcia Dash, beautiful balloon stilettos by the Balloon Lady Jacqueline Harmon Johnson, Dwight West and Anthony Avent, James (A-Natural) tribute song, “Diaspora to African American,” Gregory Burrus Around Town for your fabulous photography, support, wisdom, direction, promotions, Ami Brabson of "Phenomenal Women” & Dr. Stephanie D. Burroughs Inspirational Speaker/Trainer/Business & Thought Therapy Coach, artist Cathleen McCoy Bristol, and Nettie Forman. Hosted by Norman Mann.

Live Music: MPACK Music Clarence Conover, Brett Caulder, Joe Scarpetto, PatriciaWalton 

View more — a taste of 2018: 2018 5th-Annual-Womens-History-Month-Celebration - Gregory Burrus Around Town

2019

6th Annual Women's History Month Celebration

Year: 2019

Date: March 1, 2019

Theme:  "Representation Matters"

Featured Vocalist: Daria Jones

Special Activities:  Hosted by Celeste Bateman, Casual Wear and Islamic designs by Shadiyah Cobbertt-Hutchinson, "Women Who Matter" were acknowledged for their outstanding achievements, dramatic reading of an original play, "Storms Weathered".... written by Ife Basim, supported victims of domestic abuse, "Women Who Batter."

Live Music: Daria Jones Band

View more — a taste of 2019: https://www.gregoryburrusaroundtown.com/Ife-Basim-Masterpieces/20190301-6th-Annual-Womens-History-Month-Ife-Basim 

2020

7th Annual Women's History Month Celebration

Year: 2020

Date: March 1, 2020

Theme: "Living Life on Purpose"

Featured Vocalists: Sheba Jordan

Special: The 7th Annual Women's History Month Celebration (WHM2020) was dedicated to the memory of the unforgettable Yvette Glover. Skits on Mental Health Awareness were performed by the 'Mental Health Players' directed by Lynette Sheard. Mental Health Players: Lynette Sheard, Yvette Glover, Joy Elaine, Phyliis Blandford, Patricia Walton, Jacquelyn Harmond Johnson, Zakiyyah Zaimah, Omisanya Karade. 

Live Music: Clarence Conover, Eddie Belton, Norman Mann, Larry Greenberg, sitting in James Gibbs and guitar player.

Also, a special tribute to a woman who exemplifies Living Life on Purpose.

View more — a taste of 2020: https://www.gregoryburrusaroundtown.com/Ife-Basim-Masterpieces/20200306-7th-Annual-Womens-History-Month 

2021 

8th Annual Women's History Month Celebration

Year: 2021

Date: March 26, 2021

Theme: “Refresh in Progress" (COVID-19 pandemic, live-streamed)

Featured Vocalists: Joy Topping Man, Zakiyyah Zaimah, Phlyllis  Blanford and Patricia Walton

Special Performers: Comedian Tonya Agosto, Author Phyllis Vivens Hudson, ED readings from her book of recovery “Flying on Broken Wings”

Live Music: Pianist Brandon McCune

You can re-watch the “Refresh in Progress” show on:

Facebook at https://www.facebook.com/ifebasimproductions
Web at http://ifebasim.tv

View more — a taste of 2021: https://www.gregoryburrusaroundtown.com/Ife-Basim-Masterpieces/WHM2021-8th-Annual-Womens-History-Month-Celebration 

Coming soon: 2022 9th Annual Women's History Month Celebration

We hope you come join us Friday, March 4th and have some fun with us.

9th Annual Women's History Month Celebration

Year: 2022

Date: March 4, 2022

Theme:  “Just Us. Just Music”

Featured Vocalists: Joy Mann, Patricia Walton, Phyllis Blandford and and Omisanye Karade 

Special Venue:  Cricket Club Entertainment Complex

Live Music: Caylen Bryant, Iyonna Herbert, Lee Odom, Kate Cosco

Meet Your Producer: Joy Topping-Mann (aka Ife Basim)

Support Us GoFundme: http://ifebasimmasterpieces.com

Stay tuned right here for Part 2 as we review the March 4th WHM2022. Our coverage will provide details on the performers, the new venue, the Cricket Club Entertainment Complex, which we are very excited about, more quotes from the founder, and everything that happens. Check back right here: https://www.jerseyindie.com/ji-blogger-gregory-burrus

About the Author Gregory Burrus

Gregory Burrus is a local live music ambassador, producer, promoter, event planner, and community partner. Gregory Burrus combines his extensive corporate business and technology expertise with his love of live music and being a strong community advocate. 

I love writing about it all. My mission is to help community groups, live music bands, and local nonprofits, reach their goals and accomplish their missions while enjoying the day-to-day process of life. 

https://www.jerseyindie.com/ji-blogger-gregory-burrus  
https://patch.com/users/gregburrus 

John Lee and Friends Keeping Jazz Alive Since Dizzy Gillespie and More at South Valley BBQ and Lounge

By Gregory Burrus | Posted Monday, February 14, 2022

In today's series of Keeping Jazz Alive, we talk about a venue that has had jazz performances on a regular basis for years, and then due to Pandemic plus the venue was sold, jazz has been missing for way too long.  Well, SuzyQue’s is gone, and it's time to see if we can keep jazz alive at South Valley BBQ and Lounge. I say, let’s do it!!

John Lee and Friends at South Valley BBQ and Bar, formerly SuzyQue’s.

We’ll also review some Jazz Masters that have been performing there and are all about Keeping Jazz Alive. These musicians are notable not only because they play jazz music but because it has also become their life's journey. They have, in some cases, played with and had their careers moved forward by past jazz masters. Some of these musicians we have been listening to have been entrusted to keep the jazz legacy alive and they do so every day. Their journey in life is learning, teaching, and performing their original compositions but also the jazz music that has passed down through the generations. Today we tell this Keep Jazz Alive Story through the venue that has a wonderful history of jazz events, but first it’s about the musicians who have performed here and will again in upcoming performances, which is what it's all about. 

John Lee — Musician

Bassist, Grammy-winning record producer and audio engineer.

John Lee on Bass with Aretha Franklin. John Lee with 2019 Grammy. (Images: Matters Magazine)

Most folks around here don't know that the unassuming friendly bass player leaning on the window playing the smooth bass as the jazz flows has an incredible musical legacy. As a recent Maplewood Matters Magazine article, “From Dizzy Gillespie to Aretha Franklin, John Lee is a South Orange Jazz All-Star”, stated:

“John Lee won a Grammy in 2019 for the ‘Best Latin Jazz / Jazz Album’ as the recording engineer, producer, and mixer for “Jazz Batá 2” by Cuban pianist Chucho Valdés.” 

Around Dizzy Gillespie

John Lee with Dizzy Gillespie. (Images: Matters Magazine)

If you don’t know, John Birks "Dizzy" Gillespie is remembered by both critics and fans alike as one of the greatest jazz trumpeters of all time.  John Lee was Dizzy Gillespie's bassist for 10 years, from 1984 through 1993. He performed and recorded in the trumpet master's various bands, including the Dizzy Gillespie Quintet, Dizzy Gillespie Big Band, and Dizzy's Grammy Award-winning United Nation Orchestra.

Around the World

John Lee has performed on over 50 albums and performed with the likes of Paquito D’Rivera, Max Roach, Sonny Rollins, McCoy Tyner, James Moody, Jimmy Heath, Joe Henderson, Larry Coryell, Gregory Hines, Claudio Roditi, Arturo Sandoval, Joachim Kühn, Philip Catherine, Gerry Brown and the aforementioned Legendary Dizzy Gillespie, etc. 

Dizzy Gillespie Bands. (Image: dizzygillespie.org)

At the request of Dizzy’s family, John was asked to create an ongoing tribute to the great man and his music—and the concept for the Dizzy Gillespie All-Stars was born. John is the bassist and Director of the Dizzy Gillespie All-Stars, Dizzy Gillespie All-Star Big Band, and the Dizzy Gillespie Afro-Cuban Experience. The cast of musicians is an incredible list of great performers. These cats play some incredible music all around the world and are first-hand keeping jazz alive. (Read more at dizzygillespie.org.)

Around South Orange 

Artist Kevin O'Connell's "Giant Steps.” Read more on Gregory Burrus’s Instagram: https://www.instagram.com/p/19gFgMtOLv/?utm_source=ig_web_copy_link

John Lee supports, arranges, and organizes jazz events around the world, including the spectacular Giants of Jazz Concert at the South Orange Performing Arts Center. The Giants of Jazz Concert is an annual event that includes 70 fabulous worldwide musicians. John’s event was honored and captured in Artist Kevin O'Connell's "Giant Steps" giant mural in South Orange, NJ.

As the Grammy Award-winning record producer, audio engineer, and bass player who has produced over 100 recordings, John has a worldwide reach when it comes to the music business. When he performs, the band is always top-notch and you never know who might show up, as John always invites widely respected friends from all over the world to join in at our very local venue. Here’s a few upcoming friends that will perform with him in the upcoming performance:

John Lee’s Friends

Gerry Brown — Master Drummer

Gerry Brown.

Gerry Brown began playing the drums at the age of five, and since 2000 he has been the drummer for Diana Ross. Gerry is a ”Jazz drummer who has featured with bassists Stanley Clarke and John Lee and is an ex-member of Chick Corea's Return To Forever.” (Read more here.)

His musical journey started with fellow schoolmate, Stanley Clarke, who introduced Gerry as a "Master Drummer" and the "first musician I ever played with!" Gerry, along with Stanley, crafted the revolutionary “School Days” recording which continues to inspire drummers and bassists worldwide.

Gerry Brown with Stanley Clarke at Newport Jazz Festival. Watch the video here.

His long list of accomplishments has landed him on stages and recording studios with George Benson, Marcus Miller, Lionel Ritchie, John Lee, Sonny Fortune, Alfonso Johnson and Phillip Bailey. He also has worked with the NDR Big Band, Brothers Johnson, Roberta Flack, Joe Sample, Slide Hampton, Tom Harrell, Larry Coryell, Dave Samuels, Chuck Loeb and Chick Corea.

Gerry Brown has performed at numerous SRO events worldwide and also holds the distinction of holding the drum chair for the legendary Stevie Wonder for 14 years.

Stevie Wonder/Gerry Brown Duet

His versatility is obviously well known in the industry as has also toured with Diana Ross, Jeffrey Osborne, plus others, and he still performs with some of the top musicians of today. 

Gerry, formerly of Los Angeles, CA is lucky for us now residing in South Orange, NJ and continues to be a driving force in the industry. His first instructional drum video "R&B Drumming With Gerry Brown" was released to critical acclaim by numerous music publications. Gerry's insight as an educator and performer has established him as a sought after clinician for Yamaha Drums, Zildjian Cymbals & Drumsticks, and Evans Drumheads.

Steve Carrington — Saxophone

According to SOPAC’s website: “Born in East Baltimore, Maryland, Steve Carrington began playing the saxophone at age seven. After attending the Baltimore School for the Arts and Frederick Douglass High School (whose alumni include Cab Calloway), Carrington was awarded a scholarship to the Berklee College of Music in Boston, where he studied with saxophonist Bill Pierce. His early influences were John Coltrane, Charlie Parker, Grover Washington Jr., Hank Mobley, Dexter Gordon, and Freddie Hubbard.”

Steve Carrington on sax with John Lee Jazz on a Sunday afternoon at 100 Blanchard in South Orange, NJ.

“[In] New York, Steve sat in and performed with the likes of the late Elvin Jones, Joey DeFrancesco, Jeff “Tain” Watts, Wynton Marsalis, Wessel “Warmdaddy” Anderson, Eric Lewis (ELEW) and Chick Corea. He is close friends with his mentor Kenny Garrett. In a symbolic passing of the torch, Kenny gifted Steve with a saxophone in 2012. Long distances don’t prevent these two from sharing impromptu jam sessions via FaceTime, even when Kenny is on the road! […] In addition, Carrington has played with Charles Mingus, Dizzy Gillespie, Roy Hargrove, Milt Hinton, Frank Wess and Jimmy Heath, among many others.” (Read more here.)

“Just keep that big beautiful smile and that big beautiful sound.” – Chick Corea

“Steve’s music and robust sound demands that you take a listen.” – Kenny Garrett.

As leader of his quartet, Carrington has opened for Abbey Lincoln, Lionel Hampton, Stanley Turrentine, and Milt Hinton. He has been performing with Kool and the Gang. Currently, he is a member of Greg Bandy’s band, the Valery Ponomarev Big Band, and Cyrus Chestnut’s African Reflections band. Carrington’s recordings include his debut album A Caring Tone (2014) and Mind Traveler (2019). He is also on the faculty of the Jazz Mentoring Program at the Eubie Blake Cultural Center in Baltimore.

Alex Collins — Composer/Arranger/Pianist

Alex Collins is a New York City-based pianist, composer, arranger and vibraphonist. Alex made his debut at the Tanglewood Jazz Festival with the Brandon Wright Quartet in 2010.

Alex is a graduate of the Manhattan School of Music (M.M. Jazz Composition) and earned his undergraduate degree from the Eastman School of Music (B.M. Jazz Studies and Contemporary Media (Piano)).

He received the Wynton Kelly Jazz Foundation Award for Jazz Achievement (2003) and participated in the prestigious Betty Carter's Jazz Ahead program (2006).

Aside from leading his own trio, Alex has performed in the bands of Ronnie Burrage, Micelle Coltrane, Big Funk, Gerry Gibbs, Karl Latham, John Lee, Lonnie Plaxico, Lenny White, and the Dizzy Gillespie All-Stars. Alex has performed at prolific venues across the city, such as the Blue Note, The Plaza Hotel, Dizzy’s Club Coca Cola at Lincoln Center, Fat Cat and Smalls Jazz Club, just to name a few!

As you can see, it's an all-star cast, the jazz will be extraordinary, and now on to the venue that John Lee used to hang out in pre-Covid days and hopefully will again on a regular basis, once again. 

South Valley BBQ and Bar — West Orange, NJ

The former SuzyQue’s, if you haven't heard, is under new ownership and is now a Black-owned restaurant. John Lee and Friends had a regular Jazz Night that we captured periodically on Facebook. As time progressed, things changed, and then COVID came along and stopped everything. 

Well, SuzyQue’s now the new South Valley BBQ and Bar and the new owners are looking forward to creating a wonderful and warm environment for all patrons to enjoy live music. Their first very visible modification was a newly remodeled Blue Room for events.

With an upgraded menu and an outside seating area, there’s still lots of free parking, and they currently have Karaoke nights, DJ spinning nights, football watch nights and more. Of course, we would love to add a Jazzy Night, and we would love for Jazz Fans to come on out.

Jazzy Nights 

Let's work together at keeping jazz alive right here in West Orange, NJ. 

Jazzy Nights Music with John Lee and Friends is coming to South Valley BBQ and Lounge, 34 S Valley Rd, West Orange, NJ 07052. 

Live swinging jazz “like you like it.”

John Lee — Bass
Alex Collins — Keys
Gerry Brown — Drums
Steve Carrington — Sax

Please join us for 2 Sets - 8-9:15 PM and 9:45-11 PM 

Limit Seating. To make reservations in advance, call (973) 736-7899.

Facebook: https://www.facebook.com/johnleeandfriends

Hope to see you at South Valley BBQ and Bar on Feb. 18th and beyond.  

About the Author 

Gregory Burrus books bands, produces, promotes, captures, and records live music events along with various other community and private activities.

I love writing about it all. My mission is to help community groups, live music bands, and local nonprofits, reach their goals and accomplish their missions while enjoying the day-to-day process of life. 

https://www.jerseyindie.com/ji-blogger-gregory-burrus 

https://patch.com/users/gregburrus 

Get Featured

So as you can see, these are some pretty cool places with awesome support groups and, more importantly, supportive venue owners, all hoping and helping to keep the Jazz Alive for a long, long time. If you want your favorite Jazz venue listed, let me know and I'll get you in on the next scheduled post.

http://gregoryburrusproductions.com/contact

Interview with Chelsea Carlson (Singer/Songwriter, Musician)

By Sonia Schnee | Posted Wednesday, February 9, 2022

NJ’s Chelsea Carlson has been keeping busy during the pandemic as a multi-genre singer/songwriter, member of the Renaissance Faire-inspired trio Bardy Pardy, and as a music teacher giving virtual and in-person lessons to students K-12.

On Friday, February 11, you can also see her perform live as she opens for the band The Wag at The Coffee House in Edison, NJ.

Chelsea has a ton of new music coming out later this year, as both a solo artist and through Bardy Pardy. So how has she been able to juggle all these creative endeavors while remaining so upbeat? Find out by watching our interview above, or by reading the transcript below.

(Video and transcript have been edited for time and clarity.)

Chelsea, thank you for joining me. It's good to see you here today.

CHELSEA CARLSON: It’s nice to see you, too.

So why don't you tell our viewers/listeners a little bit of background about yourself, who you are, what you do, where you're from?

My name is Chelsea Carlson. I am originally from Mount Olive, NJ, but right now I live in Brick, NJ. So, I'm enjoying the shore. I've been playing music forever, but I've been doing the whole singer/songwriter thing for about 12 years now, which is crazy to me. I also am in a folk trio called Bardy Pardy, so I've got some music going on there as well. I'm also a music teacher and a cat mom.

I, too, am a cat mom. Cat moms unite!

For first-time listeners, how would you describe your music? What genres would you say that you touch upon?  

I don't like to box myself into a genre because I listen to almost everything and so I kind of write almost everything, too. My music that's already out there is very much classic rock-inspired. So if you were to go online today and look me up, a lot of the stuff you'll find is very rock. My new music that I've been working on is a little bit more in the singer-songwriter/pop realm, kind of like Sara Bareilles/Adele style. I have a little bit of everything going on.

So you do solo work and you also have the trio. How did that come about? How do those two worlds interact?  

Well, I've been doing the solo thing for a long time. I've been in a number of different bands. I love being in bands, it's a lot of fun, but it can also be very hard with scheduling and stuff like that. So, sort of all along the way, when I've been in bands I've also done solo stuff. At some point, around 2013 or so, I just decided, you know what? I'm mostly going to do solo stuff, and that is mostly what I've done.

My trio Bardy Pardy (I know, it's a fun name), we actually met while we were on the cast of the New Jersey Renaissance Faire in 2017. We were just assigned to work with each other to put together a show for the Faire that year, but we ended up gelling so well that we were like, "We should just be a band." So we have been since then, and we actually just finished up in November recording our first album, so we're hoping to release that this spring.

Who are your bandmates in Bardy Pardy?

 Stephanie Krause and Hannah Ward. They're actually both from Pennsylvania, so we're an interstate band. 

Your new music — can you tease us a little bit? What are the songs about? How many tracks are there?

I've been bursting to tell people. I've kept it secret long enough, I feel like. I originally was going to record a new album, and I have recorded enough songs to make an album, but I think I'm probably going to release them as singles instead. So you're going to get a ton of singles over the next few months to a year. So there are 10 new songs. About half of them, I'd say, were written during the pandemic. So they're fairly new. So pretty much unless you've watched one of my livestream shows, you really haven't heard those songs, so that's pretty cool. And then some of them are a little bit older. I've got some what I would call "fan favorite" songs on there, including — this is the weirdest song I've ever written — "The Ballad of the Sausage King."

You'll definitely recognize some songs if you've listen to my music before, but I've got some new stuff as well, and kind of a lot of different genres. We're really playing around with different sounds and things. I have one song that I've put in the '90s rock Alanis Morissette zone, and then I have other ones that are very pretty singer-songwriter-y, and then "The Ballad of the Sausage King" is like a blues song. I have one song that's going to be very much more electronic that's called "No Superhero" which is really cool.

Content-wise, I try to not be too same-y with the topics I cover in my songs, so we've got a lot of different things going on. I have songs that are more story songs. I have songs that are definitely about the way the pandemic affected my mental health, and I'm sure a lot of other people's as well, and then everything in between. No breakup songs, though! I didn't write any breakup songs.

I'm looking forward to hearing the variety!

How would you describe your song creation process? Are you walking along and you get a melody in your head? Do you come up with the lyrics first? Are there any specific things that you like to draw inspiration from? Is it from your own life or do you get inspiration from movies?

It really depends on the song. In the past, I tended to write music first, or more or less do both at the same time and then just fine-tune it after the fact. A lot of my more recent songs, I found myself writing lyrics first, which is funny because it's something I have never, ever done in my entire life. So I was like, "Oh, this is new," and it seems to continue to happen.

There is one song that I wrote, and I actually released a demo of it in 2020, called "The Same Old Mind." I came up with the piano part and then months later wrote lyrics separately, not even thinking about that, and then was like, "Hey, I wonder if those will go together" and they did. So it really depends on the song for order of how I write things.

In terms of inspiration, pretty much always my songs are about myself or somebody close to me. Usually myself. I do have two songs on this new project I've been working on that are straight-up story songs that I got from other places, like "The Ballad of the Sausage King" of course is not a personal story. That's a story inspired by a True Crime documentary I watched. I have another song called "Oppy," which is about a Mars Rover. So those are not about me, but pretty much the rest of them are about me.

So you said you have one song that's inspired by the pandemic. What was your experience through the pandemic? How has that affected your songwriting? Are there any words of advice or encouragement that you have for people who are creative like yourself and could use a little boost?

Yeah, the pandemic definitely was hard on musicians because there were no shows. For 2020, especially, I had a lot of really exciting things lined up that when the cancelation started rolling in, it was very sad for myself and I know for a lot of other people. So at the beginning of the pandemic, I was very disappointed about a lot of things, but then I kind of settled in and was like, "Wow, I have a lot of time." Like back in the day, I spent so much time in my car because I was living half the week with my parents, half the week with my fiancee and I just never had time for myself.

When it was like, "Well, I'm working at home, I have no commitments," I just found myself becoming more creative, actually having time to be like, "Hey, let me write some songs and actually spend time on it and let me be creative about other aspects of my music career. Let me take new photos. Let me do all these things" because I actually had time. So in a way, it was kind of nice to not have a crazy schedule because it allowed me to focus more on my artistry.

The state of the world definitely found its way into my songs. One in particular, which I've been calling "Promise Me", I would have just called it "The 2020 Song." It kind of covers everything that happened, my feelings about it. It's definitely going to be the most rock and roll of my next 10 songs because that's just the feeling that was behind it.

The pandemic, I think, really forced a lot of people to think outside the box in how they could continue on their paths or maybe change their paths. So my advice for anyone who's still trying to find their way is just take it as an opportunity to reinvent yourself and find new places to do things and new avenues because there actually was a lot of opportunity for that over the past two years. Now that things are opening up again, I feel like I actually have a better sense of myself as an artist and where I want to go than I did before all of this happened.

Where have you been recording? Have you been doing things at home or have you been going to a studio? What's that process been like?  

I've been recording with my producer, Tommy Strazza, who I've played a lot of gigs with, like duo gigs and stuff. We've recorded at Volume IV Studios in New Brunswick, the majority of the stuff. Some of it we've done at home. It's been a really fun process getting to work with him. I've also been working with Joshua Van Ness, who played drums. It was just really nice because as a soloist I've heard my songs by myself with piano and guitar and nothing else, and so kind of hearing all of these other instruments bring my songs to life has just been really cool and they got my vision right away. So it's been really fun.

I haven't recorded in a studio for many, many years. My entire last album was done in a home studio. All the stuff I've recorded myself, obviously, was in a home studio. So actually going to like a real music studio again has been cool. It feels very official.

As for Bardy Pardy's album, we've been recording with Dave Pirrocco, who produced my debut album. His studio is JackedCat Productions. That's been a really fun experience, too, because this is actually the first time I've recorded with a band that wasn't just playing my music but we all collaborated on, so that was a lot of fun, too.

What would you say you're most looking forward to in 2022, aside from the pandemic going away and the world returning to "normal"?  

This is going to be the craziest year for me that I've had in a long time, and I feel like that's compounded by the fact that I haven't done anything for two years. But in my personal life, I'm getting married, so I'm very much looking forward to that. Of course, I have so much new music coming out. I'm just putting the finishing touches on my original music. I have some music video ideas lined up, so I'm very much looking forward to filming those and getting my own original music out.

I'm really, really looking forward to Bardy Pardy's album coming out because we did a Kickstarter to fund that album in December 2019 and then the pandemic happened, so it's been a long time coming, and I'm just excited that the world will finally get to hear it.

I have a lot of really exciting shows of my own coming up. My next gig is going to be at The Coffee House in Edison. I'm opening up for The Wag. It's going to be a lot of fun. That's on February 11th.

Bardy Pardy, we're mostly a Renaissance Faire act, so we're going to be playing at a lot of different Renaissance Faires. One really exciting one, which I'm not allowed to say yet because we haven't signed all of the paperwork, but we're going to be traveling quite far for one, so I'm very excited.

My fiance, Eric, started a nonprofit called the Artist Collective Troupe. We're based in Ocean and Monmouth County. It's to support the arts communities within our area, putting on theatrical shows, offering educational opportunities and different things, open mics. Our next show is going to be a musical revue, which is going to be on April 23rd. We're holding auditions, and I'm going to be Music Directing it. It's going to be all songs from your favorite animated movies. So I've got a lot of things happening that I'm very excited about.

I love that! Congratulations on your engagement!

The Artist Collective Troupe, is it a community group?

We're still in the process of becoming official, but we are a nonprofit organization. We had an open mic that we ran in October, and then we did Christmas caroling at several different things during the holidays to raise money for the Ashley Lauren Foundation, which is "Hope and help for children with cancer." So, our goal really is we want to support artists and children and teens who want to get into the arts in various different ways, but then use the events and things that we do to raise money for other local nonprofits. So we're hoping to have our next one go to Make-A-Wish. We're again in the paperwork for that, but we got a lot of good stuff going on. 

Where can people find you, both you as a solo artist and also Bardy Pardy and the new nonprofit?  

There's so many things, right? Well, you can find me on all of the social media — Facebook, Instagram, YouTube. The easiest way to get to it would be through my website, which is ChelseaCarlsonMusic.com.

You can also find us on all the social media for Barty Pardy as well. Our website is BardyPardy.com. As we were founded at a Renaissance Faire playing peasants you can't read, Bardy Pardy is misspelled, so "Pardy" is spelled with a "d", not a "t."

The Artist Collective Troupe, you can find at ArtistCollectiveTroupe.org.  

Is there anyone who you'd like to give a shout-out to?

Oh, there's so many people. I don't know how many I'm allowed to give shout-outs to.

As many as you’d like!

Well, of course, shout-out to Tommy Strazza, who's producing my album. He has a bunch of his own music and he's in a couple of different bands, so check him out.

Joshua Van Ness, who played drums on my album. He's also in The Wag.

I want to give a shout-out to two of my former students who have been releasing music. I've been teaching lessons for over a decade and two of my students who were with me for several years, they're now both in college, just released new music. One is Lauren Onufryk. She just released her debut single "Haircut" on Spotify a couple of weeks ago. Her stage name is Ren. Another one of my former students, Isabelle Tarran, just released her debut EP a few months ago on Spotify and everything, so check them out.

And then just two people that I love to listen to who are local New Jersey girls are Sof, who just released her debut album, "Dawn", and Gina Royal, who has just released a ton of fantastic music over the past year. So check them out.

Do you feel a pride, like a mom pride, of seeing your music students grow and take off?

Oh yeah, so much. One of my students, who's now a freshman in college, texted me last week a YouTube video of a benefit concert that she was in at her college, doing a song that I taught her in lessons like three years ago, and I literally was holding back tears. I was like, "Oh, my baby's all grown up!" because I taught her since she was 11, you know?

My longest-running student that I have now started in 2012, and she's now a junior, I think, in high school, so it's just like... Oh, no, she's a senior! Oh my God, she's a senior in high school! I started teaching her when she was in third grade.

Classroom teachers, you get them for 10 months. I get you for 10 years. Like, I really get to know you by the time we're done.

It's amazing that you've kept busy and also so positive and upbeat.  

I've been lucky. I know a lot of people have not been as lucky as I have over the past year. Even at the height of nobody going out and everything, I was able to continue teaching my lessons on the internet, and I feel like I got to see people as a result of that. Like I saw 30 people a week from teaching. So I was lucky that even though my life kind of came home, it didn't stop. But, yes, it's been a ride, hasn't it? The hardest times, sometimes we come back even better and stronger than before.

Stay connected!

CHELSEA CARLSON

Website: http://www.chelseacarlsonmusic.com
Facebook: http://www.facebook.com/cecmusic
Instagram: http://www.instagram.com/chelseacarlsonmusic
Youtube: http://www.youtube.com/user/chelseacarlsonmusic
Bandcamp: http://www.chelseacarlsonmusic.bandcamp.com
Spotify: https://open.spotify.com/artist/2rW3khB2vAwULlvPfABAXS?si=wK5SyPGsTwimk4G3-_kZpw

"The Seed" - Aurora cover

"Belong" - Original song

BARDY PARDY

Website: http://www.bardypardy.com
Facebook: http://www.facebook.com/bardypardy
Instagram: http://www.instagram.com/bardypardmusic
Youtube: https://www.youtube.com/channel/UCF8YJjhf24yoktd0iwjF91w
Bandcamp: http://www.bardypardy.bandcamp.com
Spotify: https://open.spotify.com/artist/5cdFIJ6rLKRUmluZMiI38S?si=aYDKzWryQ5WraEU2wMPlVQ

Bardy Pardy - “The Parting Glass”

Bardy Pardy - “Like Ships Need the Sea”

ARTIST COLLECTIVE TROUPE

Website: http://www.artistcollectivetroupe.org
Facebook: http://www.facebook.com/artistcollectivetroupe
Instagram: http://www.instagram.com/artistcollectivetroupe

MUSIC LESSONS

Website: http://www.chelseacarlsonmusiclessons.com
Facebook: http://www.facebook.com/chelseacarlsonmusiclessons
Youtube: http://www.youtube.com/user/cecmusiclessons

Keeping Jazz Alive - Jamming with Noel Sagerman at The Brightside Tavern in Jersey City

By Gregory Burrus | Posted Thursday, January 27, 2022

Looking for someplace nice to go, have a great meal, some affordable drinks, and listen to some wonderful jazz music? Well, while everyone else is sitting at home on a Monday night, you can head on over to Jersey City and check out the Jazz Jam. It's run by drummer Noel Sagerman with a whole host of professional musicians at The Brightside Tavern.

The Brightside Tavern

The Brightside Tavern was opened nine years ago, and the goal was to create an atmosphere similar to that of Cheers. And, as it turned out, Brightside is even more cheerful than Cheers.

The Brightside Tavern, 141 Bright St., Jersey City, NJ 07302. (201) 435-1234

In a recent interview, “Brightside Tavern: Jersey City’s ‘Best-Kept Secret’”, I found this great description of Brightside restaurant:

“I love entertaining people and making them happy,” Tommy [Parisi aka Tommy 2 Scoops as patrons love to call him] told Hoboken Girl. In fact, he seems to have unlimited time and energy for everyone, whether he has known that person for five minutes or fifteen years […] The bar has become the center of gravity of a large community. In fact, it is one of Jersey City’s go-to spots for parties and events as the tavern is set up for large gatherings.”

Well, having chatted with Tommy, it's all true and I believe him when he says, “The tavern is not a gold mine… It’s a soul mine.” And yes, Monday is for jazz, for which more than a dozen local musicians are brought in to perform every week. And yes, I have been there to witness Tommy hopping on stage to render a “What a Wonderful World” to a roaring audience. “I was on National TV. I sang at [the] Apollo theater. The entire Louis Armstrong song. Think about it” said Tommy.

So yes, good times are guaranteed when the venue owner joins in the fun and the jam is jammin’. After all, Tommy has been very supportive and has kept the jam happening throughout the pandemic.

About Your Monday Jazz Jam Hosts

That’s right, at The Brightside Tavern you can jam your cares away with a host of professional musicians. Check them out below. 

Jamming with Noel Sagerman and Friends

 2nd and 4th Mondays

Jam leader Noel Sagerman is a jazz jam drummer from New Jersey and is proficient in all sorts of live music genres and settings from late-night jazz to early morning religious services. Noel Sagerman has been playing drums since elementary school in West Orange, NJ and started playing professionally at the University of Vermont. He then spent a year playing in Japan. Later, he returned to NJ and furthered his studies with teachers Bobby Thomas, Billy Higgins, and Tim Horner. 

Noel Sagerman at Jersey City Jazz Festival

Some of the artists he has worked with include Irene Reid, Pharoah Sanders, "Big" John Patton, David "Fathead" Newman, Oliver Lake, Bruce Williams, Dave Stryker, Pat Tandy, Freddie Hendrix, Brandon McCune, and Pete Rodriguez, along with gospel singer/pianist Joshua Nelson on tour, and at Hopewell Baptist Church. 

A regular in-demand drummer, Noel has played numerous venues and programs around New York and New Jersey such as 125st Showmans, Smalls, Smoke Jazz Club, Shanghai Jazz Restaurant & Bar, Rutgers Clements Place Jazz, Groove on Grove, McGinley Square Pub, Van Gogh's Ear Cafe, Englewood Ideal Lodge, New Brunswick Tavern on George, Jersey City Jazz Festival, Fox and Crow, South Orange Jazz On Sloan and many more. Noel is known as one of the hardest working drummers around and now is leading the killer jam at The Brightside Tavern in Jersey City.  Come join Noel Sagerman and Friends on the 2nd and 4th Mondays of the Month.

King James Gibbs lll

3rd Monday 

“King James Gibbs III who currently tours with 8 time Grammy nominated singer/songwriter Joe Thomas was born in Newark, and raised in Irvington, New Jersey. He began playing the trumpet at the age of 14 and began his jazz training at The New Brunswick Jazz Institute, under instructor and legendary organist Radam Schwartz.”

James has performed with many notable musicians and organizations i.e. “the annual WBGO Jazz membership party and Gala at The Five Spot jazz club in New York City, […] studied with Betty [Carter] at Brooklyn Academy of Music and The Kennedy Center,” and in many other venues and festivals.

“James performs in multiple music genres: Jazz, Rock, R&B, Gospel, Latin, Reggae, Classical, Brazilian, and many other ethnic styles.”

James has shared the stage with many greats such as: Duke Ellington’s Orchestra bassist John Lamb, Rufus Reid, Buster Cooper, Mark Whitfield, Sean Jones, John Lee, Kenny Drew Jr, Terrence Blanchard of Spike Lee films, 8 time grammy nominated singer/songwriter Joe Thomas, Broadway actor Jerry Stiller, Eric Roberson (grammy nominated singer/songwriter), Smokin’ Joe Frazier, Roy Hargrove (trumpeter), Wynton Marsalis, Cecil Brooks III, Cyrus Chestnut, TS Monk, amongst many others. (Read more at www.rsberkeley.com/james-gibbs-iii.)

Come join King James Gibbs lll on the 3rd Monday of the Month.

Steve Malski Miles

1st Monday 

According to the bio on his website:

“Steve Malski Niles is a pianist, vocalist, multimedia artist, writer, and educator currently living in New Jersey.

Steve began his musical career at the very early age of five years old with accordion and piano lessons, and had his first professional job at the age of twelve. The home of Steve’s upbringing was constantly filled with music, as his father and sister also played, and all listened to music constantly. He later went on to receive a Bachelor of Fine arts in Jazz Piano and Voice, graduating Summa Cum Laude from Long Island University. “

And, oh yeah, Steve has a book out on art as an alternate healing source. Check out The Power of Art in Healing and Transformation.

Come join Steve Niles on the 1st Monday of the Month.

About the Monday Jazz Jam

There is a house band, but personnel varies. A number of swinging musicians have come through and joined in such as Jordan Piper, who was the house pianist and, more recently, Motoki Mihara as bassist, plus others like William Gorman, Nick Masters, Jonathan Kirschner, Tim Hegarty, Larry Pollack, and of course the house favorite, singer Mary Aiken. 

As you can see, the jams are jumpin’ with something for everyone. You can have a great time every Monday as the jam has been running for 9 years since March 2013. The jams run from 7:30-11:30 pm and the house band plays a set to start, and then the Jam is open to the public. No special invite is needed, all you have to do is show up and have some fun. 

What Can You Do? Support the Cause 

The music will be slamming — a guaranteed good time when you attend. However, as you can imagine, the coronavirus pandemic has brought huge disruption to daily life and to many around the world. Concert halls are closed and many, if not most, Jazz venus have closed and some will never reopen.

According to The Washington Post:

“Jazz venues have been hit particularly hard by the pandemic. They are hoping the worst is over […] jazz clubs were the hardest hit of all types of music venues, according to Audrey Fix Schaefer, the head of communications at the National Independent Venue Association.”

Needless to say, with gatherings being stopped or socially distanced, large sectors of the economy are still paralyzed and many members of the jazz community have still not recovered, so any help will be greatly appreciated. So what can you do to support the cause?

Donate

“KEYED UP! has quickly become NYC's favorite entity for musicians, audiences, and venues alike! Operating simultaneously in over 25 partner venues spanning from Jersey City, NJ to Sag Harbor, Long Island, we are proud to keep hundreds of musicians working and over a thousand hungry jazz listeners happy each week at no extra cost to our partner venues.” — jazzgeneration.org/keyed-up

You can donate to KEYED UP! here.

Attend A Jam

The program time is Monday evenings from 7:30 to 11:00 pm with no cover.  We hope you attend the Jam, cheer, clap and have a great time. 

Stay Up To Date. Contact:  

Noel Sagerman at noelsagerman@hotmail.com with any questions. 

https://www.facebook.com/TheBrightsideTavern
https://www.thebrightsidetavernnj.com 

Show Some Love to the Tip Bucket

Become friendly with the Tip Bucket. Believe me, your support is highly appreciated by the musicians. 

Final Thoughts 

Please Support Jazz Music. I urge you to explore and click the links above. Don’t hesitate to call for more info and make some time in your schedule to visit The Brightside Tavern this year and say hi to everybody.

Don’t forget to let me know how your visit went. Tag @gregoryburrus or message me directly via text or FB msg, and of course enjoy the live jazz entertainment.

About the Author 

Gregory Burrus books bands, produces, promotes, captures, and records live music events along with various other community and private activities.

I love writing about it all. My mission is to help community groups, live music bands, and local nonprofits, reach their goals and accomplish their missions while enjoying the day-to-day process of life. 

https://www.jerseyindie.com/ji-blogger-gregory-burrus 
https://patch.com/users/gregburrus 

Get Featured

So as you can see, these are some pretty cool places with awesome support groups and more importantly, supportive venue owners, all hoping and helping to keep the Jazz Alive for a long, long time. If you want your favorite Jazz venue listed, let me know and I'll get you in on the next scheduled post.

http://gregoryburrusproductions.com/contact 

Hearing the Music In-Between the Synchronized Beats — Winter Jazzfest 2022 Review (Part 2)

By Gregory Burrus | Posted Wednesday, January 26, 2022

In today's Part 2 post about the Winter Jazzfest 2022 virtual marathon, we explore Jazz and the types Jazz within Jazz.

In Part 1 of exploring and sharing Winter Jazzfest 2022, “Winter Jazzfest 2022 – What’s It All About? Something for Everyone from the Comfort of Your Home”, I pointed out how it's really a festival that is a part of Northeast Jersey and a few ways to get there. 

I also demonstrated that pre-pandemic events such as the Winter Jazzfest 2020 contained over 21 stages over 11 nights, in Downtown Manhattan and Brooklyn, featuring over 700 artists and more than 170 groups (it’s impossible to see all in one night, so one usually attends multiple nights) and I reviewed the more traditional jazz performances. 

Well, this year’s pandemic-driven Winter Jazzfest 2022 virtual marathon contained 10 nights of programming across Manhattan, Brooklyn, and dozens of venues from around the globe. It contained over 100 groups and 500 musicians across 12 venues. That is, once again, more than anyone can listen to in 4 or 5 nights.

In this Part 2 Winter Jazzfest 2022 Review, I’ll introduce you to the Founder’s vision and my favorite WBGO Jazz Radio Station on-air personalities who are hosting the nightly sessions. Then, we’ll explore some straight-ahead jazz folks and also more of the avant-garde or free jazz jazz performances.  

The Founder, The Vision

The Winter Jazzfest founder is Brice Rosenbloom, and this visit and listening journey started on his Winter Jazzfest About page. I found statements like:

“… exciting and forward-thinking contemporary jazz music being made today… celebrates the music as a living entity, wherein history collides with the future in every note. Creative improvisation in the digital age continues to stimulate thought and emotion of its listeners… embracing innovation… defying instrumental boundaries and the old cliches of ‘What is Jazz?’”

Clearly, the festival is looking for more than straight-ahead and swing-type jazz, and clearly I need to hone some of my out-of-the-box listening skills. 

The other cool part of this virtual multi-day marathon is it was hosted by some of my favorite WBGO on-air personalities. 

Keanna Faircloth is the Host of WBGO Afternoon Jazz.

According to her bio on WBGO.org,

“She is a graduate of Howard University having majored in Music History with a minor in Classical Piano. Keanna has written for NPR Music, and worked for Radio One as an on-air personality, producer and voice-over talent […] she was recognized by Radio Ink Magazine as a 2019 African American leader in radio. […] Her mission to connect the jazz of yesteryear to the sound of today is what drives her, and she plans to continue to perpetuate the idea of ‘Sankofa’ - to ‘go back and get it.’”

My buddy Sheila Anderson, Host of Weekend Jazz After Hours, Salon Sessions and Sunday Night Music Mix, is the “Queen of Hang.” At the age of six, she fell in love with jazz and has been a member of WBGO for 33 years.

Sheila E. Anderson is a graduate of Baruch College, a (2017) Columbia University Community Scholar, and a inaugural Dan Morgenstern Fellow by the Institute of Jazz Studies at Rutgers-Newark (2020). She is also an author of several books, with her latest book being How to Grow as a Musician: What All Musicians Must Know to Succeed. 

And now, it’s time to listen to some great, unique, and thought-provoking live jazz music performances. Just click the pic to listen, as I bring you this more avant-garde view of the festival.

Samara Joy

Being from the Bronx, I am of course proud of my hometown winner. Only recently celebrating her 21st birthday, Samara Joy is a winner of the 2019 Sarah Vaughan International Jazz Vocal Competition. She has one beautiful voice and is being touted as one of America’s most promising young vocalists. At this young age, Samara has already performed in many of the great jazz venues in NYC, including Lincoln Center’s Dizzy’s Club Coca Cola, The Blue Note, Mezzrow, and the New Jersey Performing Arts Center (NJPAC). She has also been working with jazz greats such as Christian McBride, Pasquale Grasso, Kirk Lightsey, Cyrus Chestnut, and NEA Jazz Master Dr. Barry Harris. Many proclaim she has “a voice as smooth as velvet” and that her “star seems to rise with each performance.” True to form, her first album “announces the arrival of a young artist destined for greatness.” You can learn more by listening to her on her Fox5 News TV appearance. 

Angel Bat Dawid with the Cosmic Mythological Ensemble 

“NYC Winter Jazzfest artist-in-residence composer/multi-instrumentalist Angel Bat Dawid presents Afro-Town Topics: A Mythological Afrofuturist Revue. Inspired by Fats Waller, Dawid presents a new original score using the traditional framework of a musical revue (a type of multi-act popular theatrical entertainment that combines music, dance, and sketches) as a compositional blueprint with the intention of creating and exploring the production of new Afro sonic realities and futures.” — www.winterjazzfest.com

Nite BJuti with Candice Hoyes, Val Jeanty & Mimi Jones

Jazz Gender Initiative Supporters using improvised electronica, percussion/vox/bass. The artists are  @valjeanty + @candicehoyes + @mimijonesmusic.

I found this extremely entertaining, but my description would not do justice to the performance so I'm glad I found this writeup of Nite BJuti by this Jazz Times writer:

“As I stood in line at the Moxy Hotel to pick up my Winter Jazzfest Marathon press pass, three female musicians set up in a corner across from the baked-good stands captured my attention. I couldn’t leave that spot for a full hour as the trio, Nite Bjuti, slung low bass cadences through Kansas City and New Orleans, visited Africa via electronic percussion and blasted beats, and traveled spaceward with vocals sampled, woven, spun, and finally ejected free to engage the cosmos. Percussionist LP / beat maker Val Jeanty, vocalist/sampler controller Candice Hoyes, and double bassist Mimi Jones were the biggest revelation of WJF (so far), creating dense sound vistas and pure improvisations. Jones’ heavy, funky bass slaps buffeted Jeanty’s turbulent rhythms and Hoyes’ unique vocals, the trio’s spiritual hookup immediate and profound.”

Zoh Amba — Loove Labs, Brooklyn

“Zoh Amba is a saxophonist and composer from Tennessee. While growing up in the mountains, Amba played in the forest and emerged into the sound world. After moving to San Francisco in 2018, she spent two years at the San Francisco Conservatory of Music, where she played at venues such as the Black Cat and SFJAZZ. Outside of school, she studied under saxophonist Hafez Modirzadeh.” — thelaurelofasheville.com

Amba has recorded and played with great sound painters like William Parker, Vijay Iyer, Matthew Shipp, Eric Harland, Marc Edwards, Cooper-Moore, and Francisco Mela. She just recorded her first record with Mr. William Parker and Francisco Mela, expected to be released in early 2022.

BBC Presents Ishmael Ensemble — Soma Centre

Ishmael Ensemble is a Bristol-based collective led by saxophonist & producer Pete Cunningham, who’s also a DJ and multi-instrumentalist. I found this to be representative of being at the intersection of “defying instrumental boundaries'' and the old cliches of “What is Jazz” as described in the Winterfest description. Lots of traditional instruments and electronic music for sure. They have said that “Ishmael Ensemble stage show is quite a big technical endeavor so it’s not really in our nature to do pop-up or jammed gigs as some bands do.” This performance felt more like rock jazz and next minute I felt like I was in an enchanted forest, but hey, what do I know, I’m just a listener. 

Amir Elsaffar — Hermitage Artist Retreat  

“Composer, trumpeter, santur player, and vocalist Amir ElSaffar has been described as “uniquely poised to reconcile jazz and Arabic music,” (the Wire) and “one of the most promising figures in jazz today” (Chicago Tribune). A recipient of the Doris Duke Performing Artist Award and a 2018 US Artist Fellow, ElSaffar is an expert trumpeter with a classical background, conversant not only in the language of contemporary jazz, but has created techniques to play microtones and ornaments idiomatic to Arabic music that are not typically heard on the trumpet.” — www.amirelsaffar.com

From my world of straight ahead and swing jazz, to the more avant garde performances, there’s nothing like discovering new music through the creativity of live music performance.  So what do you think?

I'm also very happy as this is definitely in line with my mission of KEEPING JAZZ ALIVE. If just one more person discovers one of the above musicians, that's fantastic! 

Let me know your thoughts.

About the Writer

Gregory Burrus books bands and produces, promotes, captures, and records live music events along with various community and private activities. 

My mission is to help my customers, which are community groups, live music bands, and local nonprofits, reach their goals and accomplish their missions while enjoying the day-to-day process of life. 

Learn more:  
https://24hoursofmusicjamboree.com 
https://gregoryburrusproductions.com 

Keeping Jazz Alive - Norman Mann at the Cricket Club Entertainment Complex

By Gregory Burrus | Posted Tuesday, January 25, 2022

In continuing this series on the people, venues and programs that are helping keep jazz alive, I was very happy to encounter Mr. Norman Mann who has been on the forefront of keeping jazz alive for a long time. He has been building and promoting jazz performances and jazz jams for many years, and in this series of Keeping Jazz Alive #4 we highlight Norman Mann and his latest venture at the Cricket Club in Irvington, NJ.  

Norman Mann — Bandleader, Percussionist

Norman Mann and Rafiki in Spiotta Park 

Norman Mann plays congas, percussion, and sings. He has appeared with many of the top musicians in our area. Norman and his bands have performed in numerous venues around Northern New Jersey such as Newark's Clements Place Jazz, Taste Restaurant, Priory Jazz Club, Duke’s Southern Kitchen, Montclair’s Trumpets Jazz, City of Orange’s Mr. Jays, South Orange’s Spiotta Park and Jazz On Sloan at The Gazebo program, along with many other venues. And yes, the music is always well received.

Norman Mann is an alumnus and a Weequahic High School Football Hall of Famer and is widely respected within the community. Norman is the CEO of G Mann Productions and is bandleader of the popular band Norman Mann and Rafiki, which you can read more about here: Jazz973 Swinging Hard with Norman Mann and Rafiki at Clements Place Jazz for Rutgers Institute of Jazz Studies. He has produced numerous jazz shows in many of the Tri-State area jazz clubs mentioned above. You may remember Norman who, along with Greg Salandis, managed the very popular jazz program at Skippers Plane Street Pub back in November 2007.  Well, he's continuing the mission and his newest venture is producing Friday Night Jazz events at the Cricket Club Entertainment Complex. 

Cricket Club Entertainment Complex

The Legendary Cricket Club Entertainment Complex, 154 Eastern Pkwy, Irvington, NJ, www.cricketclubnj.com, (973) 388-8833

Jazz Program

Someone who recently attended a Friday Night Jazz session at the Cricket Club summed up their experience as this:

"Venturing out on a 10 degree wind chill night in January as a musician for a jam, or just as a fan, lacks the common sense that God gave a goat. But once you arrive and that music hits you, there is nothing better."

— A Jazz Fan

And to me, that's what it's all about, so I say take a quick listen to this December performance. As you can see and hear, the jazz is jumpin’ and the place is poppin’. Norman Mann curates a stellar list of local musicians and they perform some incredible sets of music.

It should be evident from listening that the musicians and the folks in attendance truly enjoy the jazz on any given Friday Night at the Cricket Club. The atmosphere is warm, inviting and laid back. The good part is you can be up close and personal with some really great jazz performances. 

Service — Food — Drinks 

The Cricket Entertainment Complex Service has timely service considering every industry is having issues securing resources. When I was there, the wait staff were very helpful and kept us informed on the progress of our order and our meals arrived in an appropriate time frame. Concerning food presentation, I'm not a fan of styrofoam containers, however I am told that in this world of a COVID pandemic, it is a safer, contactless way to serve food. The good part is the food was prepared well, hot and very tasty, and I would definitely order again. Drink prices were not overinflated and were actually very affordable. 

Environment — Attendees

As you will see when you listen in, depending on the fans of that night’s performers along with the neighborhood regulars in attendance and the type of music, you can have a very engaging talkative crowd enjoying themselves and the music, and/or you may experience a listening crowd. The Cricket Club has both because when the jazz starts swinging and the audience gets involved, everybody starts having fun. 

Parking

The other thing I should mention is that the Cricket Club has an awesome, large, one-level, fenced-in attached outdoor parking lot with plenty of space. 

Summary 

The look of this non-descript multi-story building doesn't do justice to the good time you will have once you settle into your seat. We were in the smaller of the three rooms and we had plenty of room to move around and had a great time. And don’t forget that Norman Mann is keeping jazz alive big time by bringing in world class jazz musicians every time. 

What’s Next and How Can You Support the Cause? 

Jazz Programs 

Attend the weekly Friday Night Jazz program.

Events Calendar 

https://www.facebook.com/norman.mann.33 
https://www.facebook.com/CricketClub411/

Contact

Norman Mann (973) 518-4498

Donate  

When you show up, be nice to the tip bucket. 

Final Thoughts

Don't hesitate to support live music. Make some time in your schedule to visit Norman Mann at the Cricket Club this year for some great jazz.

Say hi to everybody and don't forget to let me know how your visit went. Take some pics, tag me and/or send directly to me via text or FB msg and, of course, enjoy the live jazz entertainment. 

About the Writer — Gregory Burrus

Gregory Burrus books bands and produces, promotes, captures, and records live music events along with various community and private activities. My mission is to help my customers, which are community groups, live music bands, and local nonprofits, reach their goals and accomplish their missions while enjoying the day-to-day process of life. 

Learn more at:
https://24hoursofmusicjamboree.com 
https://gregoryburrusproductions.com

Get Featured

So these Jazz Locations are some pretty cool places, with awesome support groups and, more importantly, supportive venue owners, hoping and helping to keep the Jazz Alive for a long long time. If you want your favorite Jazz venue listed, let me know and I'll get you in on the next scheduled post.  https://gregoryburrusproductions.com/contact/

Keeping Jazz Alive - Richard Pierson Life Story Band at DLV Lounge in Montclair, NJ

By Gregory Burrus | Posted Monday, January 24, 2022

“Let's support and embrace it and the sounds that come from this corner of OUR UNIVERSE.”   
— Richard Pierson

In this corner of the universe is an establishment where the musicians and the owner have teamed up to fight the good fight of keeping jazz alive in Montclair, New Jersey. It's a team effort where the owner George, the drummer Richard Pierson and his very supportive group of fellow musicians are fighting the good fight every week by producing awesome, engaging jazz performances at this very local neighborhood spot called DLV Lounge.

DLV Lounge 

DLV Lounge, 300 Bloomfield Ave, Montclair, NJ. Contact: 973-783-6988 after 6 pm.

According to their Facebook page:

“Established in 1972, the DLV Lounge in Montclair, NJ is a warm, friendly, family-owned neighborhood bar & lounge, with great live entertainment Thursday through Saturday. ‘DLV’ stands for Dutch/Louise/Valerie. Owned and operated by George.”

Intimate, Warm, and Friendly 

As soon as you step inside the doorway of this intimate cozy bar, you will most likely be greeted by the DLV owner George and a few regular patrons. As you settle into your seat, you will then discover an unpretentious place where the drinks are affordable and it has a friendly laid back environment and a relaxed atmosphere where almost everyone knows everybody.  

When I was there, I actually met folks at the bar who stated they were just out for the night and were looking for something to do. As they were passing by they saw the sign in the window that said “Jazz” and they said “Oh Yeah!”  Well, it’s all about the Jazz, and in doing some research I found this revealing 2015 quote by Richard Pierson in an article written by percussionist Bruce Tyler in the Montclair Dispatch titled “Montclair’s Hidden Gem is the DLV Lounge”:

“The DLV is a cultural icon or fast becoming one,” said Pierson. “We have people from all walks of life coming here. I feel like I am in Harlem when I’m here. It’s the best feeling in the world to have people come and know what they are listening to. It’s beautiful!”

Richard Pierson and friends at the DLV Lounge — July 23, 2015

Fast forward to today and you can see Richard is still committed to the cause of keeping Jazz alive at DLV.  Hence, we can say thanks to Richard and a lot of local performing musicians. DLV is definitely a cultural icon in the neighborhood.  

Richard Pierson Life Story House Band

When interviewing Richard, you can hear the energy and love for his Life Story program. He describes the program as:

“Music that brings renowned guest artists from all over to the town of Montclair. Jazz On the Avenue is to become an influential cultural phenomenon in the community. Live Music Experience, Great Drinks, Warm Vibe, complimentary Snacks & CD's, while it lasts = Fun Times @ The DLV Lounge! “

JAZZ ON THE AVENUE with Richard Pierson Life Story Band, featuring the Fabulous Vocalist Jacqueline Harmon Johnson and the Super Dapper, Super Cool Rich Acciavatti.  

The Band

Richard Pierson — Bandleader, Drummer

Richard Pierson is a seasoned, professional drummer who has performed all over the US and has created music with many well-known, heavy hitter musicians young and old. Accomplishments include arranging and producing recording projects, and he is in the process of finishing a current CD. 

I asked Richard how it all works on any given night with the Richard Pierson Life Story Band and the invited musicians. He explained that he has extensive connections from his on-the-road days which helps a lot in securing performers. Add to that, many musicians touch bass with him all the time. However, he makes sure everyone gets a chance to play. He tends to focus on a monthly theme. Last month was saxophone and this month is focused on guitar players. 

Jacqueline Harmon Johnson — Vocalist

Jacqueline Harmon Johnson is originally from Newark and now resides in East Orange, NJ. She started singing while attending college. A tireless advocate for jazz, Jacqueline’s desire to sing jazz and blues is deeply rooted in her belief that exposure to jazz will help educate the younger generation. She has performed in numerous venues around the tri-state area, so you should check her out to experience a bluesy, soulful, sultry, and engaging performance. I should also state that she is the force behind Fly Balloon Designs and has mastered the technique of using balloons to make venues look fabulous by creating balloon designs for any situation or environment. 

Rich Acciavatti — Bass

Rich Acciavatti is a versatile NY Metro bassist, vocalist, and composer/arranger who has been playing over 50 years and worked with many artists over the years including Edgar Winter, Gap Mangione, Julie London, Candido, Steve Kuhn, Al Pierson (Guy Lombardo Orchestra), Jimmy Randolph, Bill Connors, and The Marvelettes. Rich has recorded numerous jingle dates, film scores, and “library” music for Don Sebesky, Teo Macero, and Tony Bongiovi. Aside from his love for playing jazz, Rich also is enthusiastic about world music and American music from the mid-19th century to the present. Come see Rich, he is one of the coolest bass players around.

Invited Musicians 

All this means that you, the audience, will enjoy performances from the professional Jacqueline Harmon Johnson or a young up-and-coming vocalist like Avery Joi. Folks will enjoy seasoned bassist Rich Acciavatti along with the invited heavy hitters such as Dave Braham, Nat Janoff, Bill Saxon, Gene Ghee, Houston Person, King James Gibbs III, Charlie Sigler, Radam Schwartz, James Stewart and many others in between. 

Richard knows them all, going way back. All to say, what could be better than a cool cozy environment for listening to some truly special jazz all surrounded by some very nice folks. 

So What’s Next? You Can Support The Cause

In Segment 3 of Keeping Jazz Alive, we highlighted a venue, a bandleader, and a group of supportive musicians that have been helping out on the scene for a very long time. We hope you enjoyed it, and here's the plan and we hope you can help:

Performances 

Richard said there might be a Montclair Internet Radio Broadcast in the future. He will be seeking support from the Jazz Foundation of America.

Events. Come on out and join in.

Weekly Thursday Nights Sessions. Follow Richard to keep up to date: https://www.facebook.com/richarx.pierson  

Donate  

When you show up, find the tip bucket. If you don't see one, ask for it.

Final Thoughts

Finally, I urge you to explore the venue listed above, click the links, and don't hesitate to call and support live music.  And please make some time in your schedule to visit DLV this year. Say hi to everybody, and don't forget to let me know how your visit went. Tag me or message me directly via text or FB msg and, of course, enjoy the live jazz entertainment. 

About the Writer — Gregory Burrus

Gregory Burrus books bands and produces, promotes, captures, and records live music events along with various community and private activities.

My mission is to help my customers, which are community groups, live music bands, and local nonprofits, reach their goals and accomplish their missions while enjoying the day-to-day process of life.  

Learn more at 24hoursofmusicjamboree.com and gregoryburrusproductions.com.

Get Featured

So these are some pretty cool places, with awesome support groups and, more importantly, supportive venue owners, hoping and helping to keep the Jazz Alive for a long, long time. If you want your favorite Jazz venue listed, let me know at gregoryburrusproductions.com/contact and I'll get you in on the next scheduled post.

Keeping Jazz Alive - New Brunswick Jazz Project at Tavern on George

By Gregory Burrus | Posted Sunday, January 23, 2022

Since my mission is keeping live music thriving, I love encountering others that are very focused on that mission. In Segment 2 of Keeping Jazz Alive, we hear from a group of folks who are extremely passionate about keeping Jazz alive. 

“Live performance opportunities dried up everywhere in the country — but NBJP was fortunate enough to be able to continue presenting during most of the ‘dark days.’“  — New Brunswick Jazz Project

In New Brunswick, NJ Jazz is alive and kicking along George Street. One very special place is Tavern on George, a bi-level pub with live jazz & a grand, open-timbered dining room serving burgers & housemade donuts.

Tavern on George, 361 George Street, New Brunswick, NJ, 08901. For reservations, call 732-545-6205.

Jazz Programs

There is live Jazz every Tuesday and Thursday from 7-10 pm. Bringing Great Jazz to Central Jersey. Live, straight-ahead jazz is presented weekly.  

"The New Brunswick Jazz Project is quickly becoming New Jersey's freshest jazz presenters..." —The Star-Ledger

Live Jazz Music 

What's happening here is a very hard-working, very focused group that continues to produce some very serious jazz. As we all hope we are coming out of various versions of this pandemic, live music has suffered and is still suffering, yet there are groups like NBJP that have set themselves up to survive and thrive.  

“The New Brunswick Jazz Project has created a real jazz scene and now regularly draws guests from all over the state, as well as New York and Pennsylvania, to Central Jersey to enjoy this quintessential, uniquely American music.”  —The Star-Ledger

I contacted one of the NBJP founders, Virginia DeBerry, and she supplied some thoughts from the founders of the New Jersey Jazz Project.  Of course, it's about jazz music, and hence, I improvised along the way with some great live music for your listening pleasure. 

New Brunswick Jazz Project founders Jimmy Lenihan, Virginia DeBerry, and Michael Tublin.

VIRGINIA DEBERRY: 2022 marks the 12th year that the New Brunswick Jazz Project has been presenting weekly live jazz performances in New Brunswick, and considering how challenging 2020-2021 was for everyone, we are thrilled to still be around. 

New Brunswick Jazz Project Interview - How New Brunswick Became a Hub for Jazz Music. Take a listen.

We did Facebook live streams from musicians' homes in March and April 2020 — the early days of the pandemic — and by May, the city of New Brunswick and New Brunswick City Center had rallied around the restaurants and downtown businesses and almost everyone moved outside onto streets that were closed to vehicular traffic. Tables were socially distant, masks were required.

Nat Adderley on Tavern on George, Aug. 2020.

We were able not only to present musicians at Tavern on George, our main venue, but at many other places in town. Everyone was looking for a way to "draw" customers, and live jazz was what they offered. As a result, in the midst of the lockdown, we had one of the busiest springs and summers we’ve ever had. When summer passed and the temperature dropped, Tavern on George erected a giant tent right on George Street which remained closed to traffic. 

New Brunswick closes George Street to expand outdoor dining.

They had propane heaters throughout the tent, and we were able to keep the music going all winter long. I dare say, NBJP presented more live jazz than anyone in the tri-state (perhaps the whole country) during that time. Venues in NYC and Philly were closed, musicians were looking to play somewhere outside of their homes, and we were able to offer them an outlet... and an audience.

New Brunswick Jazz Project - Swingadelic at Tavern on George.

During that time, and really always, our audiences were supportive and grateful. We gave people somewhere to go and something safe to do outside of their homes. I can't count the number of thank you’s we received from the audience and from the musicians. 

This week's #jazz performances at Tavern on George are Thursday, Jan. 28 — Jerry Weldon Music, and Sunday, Jan. 31 — Dave Mosko. #newbrunswicknj

A friend of mine said at this time that we are in a period of ‘never again’ and ‘not yet.’ Things will ‘never again’ be the way they were — the pandemic has changed us all. But we are ‘not yet’ at whatever will be our new normal. Going forward, I think the key to managing whatever our new normal turns out to be is to remain flexible, to improvise… it is jazz after all.

— Virginia, Jimmy & Mike

"Jazz is an open-ended music designed for open minds.” — Anonymous

So What’s Next? You Can Support The Cause

Follow the New Brunswick Jazz Project at www.facebook.com/newbrunswickjazzproject.

“New Brunswick has now become a destination for jazz." ~ The New York Times

Event Calendar 

You Can Attend an Event 
https://nbjp.org/events/month

Support The Cause

You Can Donate 
https://nbjp.org/sponsor-us-nbjp-org-npo/ 

Jazz Program Contact

Contact Them and Learn About How You Can Help. 

1. Virginia DeBerry 

2. Jimmy Lenihan, 

3. Michael Tublin

Comment

New Brunswick Jazz Project produces and hosts the annual New Brunswick Festival  

About the Author

Gregory Burrus books bands, produces, promotes, captures, and records live music events along with various other community and private activities.

I love writing about it all.

My mission is to help community groups, live music bands, and local nonprofits, reach their goals and accomplish their missions while enjoying the day-to-day process of life. 

Read more at http://gregoryburrusproductions.com 
https://www.jerseyindie.com/ji-blogger-gregory-burrus
https://patch.com/users/gregburrus

Keeping Jazz Alive - Winard Harper in Jersey City at Moore's Lounge (Bill & Ruth’s)

By Gregory Burrus | Posted Sunday, January 23, 2022

World-class jazz history and more is being made behind this very unassuming doorway of this very local, recently remodeled Jersey City bar and restaurant. This restaurant offers very affordable drinks, special meals on occasion, but also some truly world-class jazz. 

Take a listen.

Moore’s Lounge (originally Bill and Ruth’s) has been a fixture in a working-class section of Jersey City for over 51 years. Mrs. Ruth (Moore), one of the original owners, has made the space much more than a bar, but a community space. Generations of residents congregate over drinks to celebrate the creative talents in their community. Moore’s Lounge in Jersey City has become a place where the most diverse individuals come together.

It's been some challenging times, but Mrs. Ruth has been a bedrock in a fast-changing world. A recent interview stated, “In a challenging area where Moore’s is the only one left of 11 taverns that existed around it when they started out, Moore’s has helped keep a few lights on.”

Winard Harper, Founder of the Jazz Program at Moores Lounge

First, let us meet the quiet, unassuming but powerful drummer known to us as Winard Harper. 

It Starts with the Village

Here’s a short intro to his website bio, which reads like a who’s who of jazz:

“Winard Harper was born in Baltimore, a child prodigy. Although his parents were not musicians, they were full of encouragement as they noticed him beating on cans when he was three or four years old.  At five years old, Winard would sometimes sit in and play his drums in older brother Danny’s rock ‘n roll band after the family moved to Washington, D.C. When Winard’s younger brother Philip took to playing the trumpet, the two of them would busk in the streets of George Town, jam with a few bands, and help out with Danny’s various bands. Listening to Clifford Brown and Max Roach playing “Jordu'' had fascinated Winard so greatly it showed him his direction — jazz. Subsequently, his father took him to all the local jazz scenes to listen and meet the best in the world of jazz.”  

Modern Drummer describes Winard as “a straight-ahead jazz drummer, Harper has perfected the blend of American jazz music with the sounds of African rhythms. Constantly in reverence of his predecessors while remaining innovative in his own right, Harper has been among the celebrated drummers in jazz for many years. He is a virtuoso on the drum set and the balafon, the West African equivalent of the marimba, he is a sought-after collaborator at home and abroad, a bandleader of his quartet, his quintet, and his exciting band the Jeli Posse. He is an events organizer – successfully running the weekly Friday Fish Fry Jazz Jam and the Sunday “Meet the Artist” Series at Moore’s Lounge in Jersey City.”

History, World-Class Jazz, and Diversity 

Challenges, challenges!! The caption for the Moore’s video states:

“With the help of Winard Harper, a legendary jazz drummer, Moore’s has become a destination for jazz musicians, and jazz enthusiasts. Today, the bar functions as a jazz temple for aspiring young jazz musicians and even many professionals. After being a fixture in Jersey City for over 50 years, the future of Moore’s is up in the air. “Moore’s Jazz” looks at what is at stake for a community if it loses one of its cultural pillars to gentrification and to a pandemic.”

Jazz Programs 

Well, Moore’s is surviving and history is still being made in 2022 because Winard soldiers on with his truly fabulous jazz program on Sundays and Fridays.

Sunday “MEET THE ARTIST” Series

As Winard’s page states:

“Every Sunday I be bringing together established, world-renowned and extraordinary artists with young, emerging talents, in a “Jazz Clinic” type of setting, performing for a local audience wishful to learn and exchange knowledge about the context in which Jazz music has emerged and is played today. Artists not only perform, but recount highlights of their career and their own story. I then open the Q&A for questions from the audience and to round up the evening, we invite to the stage for a jam session.”

Winard Harper Jam Session at Moore’s Place with special guest David Kikoski. 12.12.2021.

Winard Harper and Friends at Moore’s Place 12.05.2021 Jersey City with TK Blue

Friday Fish Fry Jam

As Windard’s page states:

“Every Friday aspiring future jazz professionals join our jam session and all enjoy the delicious fish fry made after Ms. Ruth’s legendary recipe.”

Below is a typical jam on Jun. 2, 2014 led by Winard Harper. It has 9,177 views:

Recorded by the awesome photographer @L1stener (Patrick Hilaire).

What Makes Moore’s Lounge So Special?

Musicians

If you get involved as a musician with this program, you are guaranteed to learn and have a support system. One of my favorite jazz musicians that I met for the first time here personifies what happens at Moore’s. Check out my IG post from Sept. 6, 2015:

“Sept 2015 – Drummer Winard Harper – Soon as you enter the lounge, you know there’s a serious drummer playing. Winard Harper is a worldwide renowned Jazz Musician, educator and band leader. Winard stated in a brief conversation, he wants to bring Jazz Jams of high quality back to Jersey City in places like Moore’s Lounge. He’s on a mission so it will happen. More about Winard below. If you haven’t heard him, you need to because he was just great!.…….. Within the host of musicians to play I wanted to give a special shout out to upcoming Tenor Saxophonist Nicole Glover who just recently relocated from Oregon. When she plays you feel it. She wowed the crowd no matter what tune was jamming and she was definitely on point. Nicole said she was influenced by the likes of Lester Young, Wayne Shorter and Stan Getz which is some pretty good company to be influenced by.”  Read the full post here.

In a 2016 post, I gave a shout-out to Nicole Glover, who came in from Oregon to move her career forward. She was on sax that night. In Dec. 2021, I was watching the same Nicole Glover performing in the New Jersey Performing Arts Center for the Annual TD Moody Jazz Festival. That’s history, and there’s many more stories like that. You can also see history being made as some of the longstanding Jazz Greats come through to perform at Moore’s Lounge as well.

Attendees

While the parking may be a challenge, once inside you are absolutely guaranteed some phenomenal jazz performances, as Winard keeps it tight. The musicians come to play. Whether jamming or performing, you need to be serious about what you do.

Venue Owners

Mrs. Ruth is in her 80’s and fought to keep things going despite ongoing gentrification, remodeling challenges, a pandemic, and many other situations. Attendees enjoy great drinks at great prices and get to experience the hospitality of the locals and the warmth of the owners — Mrs. Ruth, her family and friends. It's just a great experience in an all-around great environment.

Events Calendar

Exciting new events are coming to Moore’s, so stay tuned:

https://www.winardharperjazz.com/moore-s-lounge

Support The Cause

Now you know the story. As Moore’s GoFundMe page states:

“We’ve been serving Jersey City since 1968 and after being in business for 51 years we are struggling to remain open. The COVID-19 pandemic has severely impacted Moore’s Place and your support is needed.”

Please click the image or link below to learn more about how you can help Keep Jazz Alive.

Please Donate at  https://www.gofundme.com/f/help-moores-lounge-stay-in-business

Support the Music

I urge you to explore and click the links above. Don’t hesitate to call for more info, and go support live music. Make some time in your schedule to visit all the venues this year and say hi to everybody.

Don’t forget to let me know how your visit went. Tag @gregoryburrus or message me directly via text or FB msg, and of course enjoy the live jazz entertainment. 

About the Author

Gregory Burrus books bands, produces, promotes, captures, and records live music events along with various other community and private activities.

I love writing about it all.

My mission is to help community groups, live music bands, and local nonprofits, reach their goals and accomplish their missions while enjoying the day-to-day process of life. 

Read more at http://gregoryburrusproductions.com 
https://www.jerseyindie.com/ji-blogger-gregory-burrus
https://patch.com/users/gregburrus

Winter Jazzfest 2022 – What’s It All About? Something For Everyone From the Comfort of Your Home

By Gregory Burrus | Posted Thursday, January 20, 2022

“Winter Jazzfest illustrates just why the City is aptly known as the Jazz capital of the world.”
It’s on now and it’s smoking hot!

Getting from New Jersey to New York is easy. However, getting to enjoy the full scope of the NYC Winter Jazzfest performances is always a challenge for many reasons. So let’s meet the Jazzfest happening right across the water. The New York Times praised the last in-person Winter Jazzfest for growing from its original one-day single-location program, to a 2020 itinerary that spanned 21 stages over eleven nights, in Downtown Manhattan and Brooklyn, featuring over 700 artists, and more than 170 groups. Winter Jazzfest is an unparalleled experience for educated consumers of jazz, experimental sound, and global creative impulses. In 2020, that meant welcoming 17,000 deeply engaged audience members. Yes, Winter Jazzfest is a beacon of the New York City jazz scene, gathering leading musicians from around the world.

Rolling Stone magazine described it this way:

“New York’s annual Winter Jazzfest marathon can be a mad scramble. For two nights in freezing January, dozens of groups in every imaginable style take over various downtown venues. Sets overlap, venues span nearly the whole width of downtown Manhattan from Alphabet City to Soho, crowds can swell to capacity, and if you’re trying to see everything, you might come away vexed.”

Taking the NY Waterways Ferry across the Hudson River to Downtown Manhattan.

Having lived on the waterfront in Jersey City for over 5 years, I can vouch for the fact New York is part of most folks’ lives in this Northern part of New Jersey. These events are just a short 9-minute JerseyNYC Path Train Ride away, a 6-minute NY Waterways Ferry Ride from Hoboken or Jersey City, or a 20-minute NJ Transit ride from Newark. Once in the city, npr.org described Winter Jazzfest visually as:

“Hardy winter folk seek and soak in an exhaustive regeneration over two evenings. Warriors sprint through snow and hop around lower Manhattan for brief encounters. Less ambitious but smarter listeners concentrate in small jewel boxes and take in music as concentrate.”

Hitting the many Winter Jazzfest events in numerous venues all across the lower Manhattan/Brooklyn region is definitely a challenge. I found this awesome guide on All About Jazz produced by Ludovico Granvassu titled “2020 Winter Jazzfest Marathons. A Survival Guide.” It's truly a work of art and provides great insight to the normal depth and breadth of this event. I was so looking forward to future versions, but as you know the pandemic and social distancing changed it all.

2022 Winter Jazzfest

Due to the pandemic shutting venues down again and the fact that this year the Northeast is experiencing freezing cold days of 7-15 (F) degrees, life just got a little easier for attendees. Now, I have to sidetrack and say me being a live music lover, event producer and promoter, in April 2020 when we all were forced to stay inside I had to quickly decide whether to put my much smaller 24 Hours of Music Jamboree Festival on or not. We finally did do it online, and it was no small feat to do it all within 30 days.

Therefore I clearly understand the massive challenge and endless amount of hard work that the Winter Jazzfest founder Brice Rosenbloom and his team went through for this clearly much larger, major event. I watched in disappointment, like many, as his event was canceled on Dec 23, 2021 due to rapidly rising pandemic concerns. I was extremely happy to see his Jan 13, 2022 announcement that said,

“We pivoted, @nycwjf Marathons go virtual starting Friday night Jan 14, and continuing four nights of sets from NYC, Brazil, South Africa, Switzerland, and more. Broadcast at 8pm nightly at WinterJazzfest.com“.

Yes!!!!!!

And now, the Winter Jazzfest website, supported by its partner and my Radio station WBGO, IS live and the 2022 schedule is on the website. To listen to events, check out the Media page which is regularly updated. You can listen live as the festival proceeds right now on the Winter Jazzfest YouTube page. Now, onto a few highlights from some of my favorite artists that I follow, discovered, and listened to this year.

Performances

Click the image and you can see their actual performance within the VIRTUAL MARATHON timeline.

Samurai Hotel Recording Studios – Miki Yamanaka Trio – VIRTUAL MARATHON NIGHT 2. Take a listen.

I saw Miki Yamanaka perform a few years ago at Newark Bethany Baptist Church with Antonio Hart, and she was awesome. She has gotten better and better. 

HighBreedMusic Recording Lounge – Nikara presents Black Wall Street. Take a listen.

Bowery Ballroom – Melanie Charles – VIRTUAL MARATHON NIGHT 1.  Take a listen.

From Switzerland – Camille Thurman with The Darrell Green Trio — VIRTUAL MARATHON NIGHT 1.  Take a listen.

The New York Times said, “For Women in Jazz, a Year of Reckoning and Recognition.” NPR said, “Camille Thurman Is A Rare Jazz Double Threat.”

What can I say, she's fantastic. 

Lakecia Benjamin ‘Pursuance’ — VIRTUAL MARATHON NIGHT 3. Take a listen.

“Charismatic and dynamic saxophonist/bandleader Lakecia Benjamin […] has played with Stevie Wonder, Prince, Alicia Keys, The Roots and Macy Gray.” (Read more here.)    

NYC Winter Jazzfest artist-in-residence composer/multi-instrumentalist Angel Bat Dawid presents Afro-Town Topics: A Mythological Afrofuturist Revue. Inspired by Fats Waller, Dawid presents a new original score using the traditional framework of a musical revue (a type of multi-act popular theatrical entertainment that combines music, dance, and sketches) as a compositional blueprint with the intention of creating and exploring the production of new Afro sonic realities and futures.

 All I will say is you have to watch it to get it.

Brooklyn HighBreed Recording Studio – Samir LanGus in VIRTUAL MARATHON NIGHT 3. Take a listen.

“Samir LanGus is a Grammy-nominated musician, born and raised in the city of Ait Melloule, Morocco whose passion for music stems from the variety of street sounds of his city.” (Read more here.)

I love the style and energy. Very cool band, and I love the sax player.   

SOME CONCERTS YOU SHOULD CHECK OUT WHEN THEY OCCUR here on YouTube.

• Brandee Younger Quintet – Virtual Marathon Night 3

• Terri Lyne Carrington and Social Science

• Helen Sun 48:46 Virtual Marathon Night

Podcasts

Also, if you want to hear some more about what the artists are thinking and where jazz is headed, check out this podcast which is very cool and informative: Make Jazz Trill Again.

When it comes to the artist and what they want from Jazz, here’s an example of the Jazzfest musicians liking the new, addressing gender inequality, but wanting to bring back the best of the past when Jazz was dance music. Take a listen, as I found it enlightening:

“Make Jazz Trill Again Podcast is anti-institutional take on life, music and inspiration hosted by Melanie Charles and Yunie Mojica. Keeping in mind that Jazz and Black Music were birthed in the streets by and for the people, Make Jazz Trill Again Podcast is for the streets, for the people, to dance to. Join hosts, vocalist, flutist, and producer, Melanie Charles and Yunie Mojica, saxophonist, producer and GRAMMY-nominated composer, as they converse with fellow women musicians, creators, movers and shakers.” (Read/watch here.)

Don’t forget to check the full list of events here.

So despite the fact live music revenue streams are still taking a bit hit as venues shut down, I hope this quick introduction to a truly wonderful Jazzfest helps a little. It can be heard online and will provide some relief in today’s stress, or, as the Winter Jazzfest Anteloper Bandleader (VIRTUAL MARATHON NIGHT 2) said, “Music can be like medicine. It makes us feel just a little better.”

About the Winter Jazzfest Founder and Producer: Brice Rosenbloom

“Live music promoter and event producer Brice Rosenbloom is the Co-Artistic Director of Le Poisson Rouge and founder of the NYC Winter Jazzfest. His company, Boom Collective, presents hundreds of concerts a year in venues all over New York City. “ (Read more here.)

“Winter Jazzfest was founded by Brooklyn-based music curator and concert promoter Brice Rosenbloom. Rosenbloom is President of NYC concert promotion and production company Boom Collective, presenting concerts and festivals in NYC and beyond. […] The New York Times calls Winter Jazzfest ‘the city’s most renowned jazz festival.’

In these current times Rosenbloom has pivoted attention to supporting the music community and towards racial justice activism. In April 2020 Rosenbloom helped launch Jazz Coalition, a grass-roots organization committed to unifying the jazz community around efforts that uplift musicians during the pandemic. The Jazz Coalition’s Commission Fund has raised over $100,000 to date and has commissioned over 100 jazz musicians worldwide with grants to create new work. In June Rosenbloom became a steering committee member of The Blacksmiths, an organization committed to fostering racial equity in the arts sector, and to infusing the racial justice movement with art and music.” (Read more here.)

About the Writer

Gregory Burrus books bands and produces, promotes, captures, and records live music events along with various community and private activities. 

My mission is to help my customers, which are community groups, live music bands, and local nonprofits, reach their goals and accomplish their missions while enjoying the day-to-day process of life.  

Learn more at 24hoursofmusicjamboree.com and gregoryburrusproductions.com 

Interview with John Kiernan (Wrestling Entrance Theme Song Composer)

By Sonia Schnee | Posted on Thursday, January 13, 2022

I’ve known John Kiernan for several years now. (We originally connected when I needed a composer for some videos I produced.) What’s interesting about John — among many things — is that while he’s very much an artist/musician, he’s also a great businessman. He’s figured out how to take something that he’s passionate about (composing music) and make a career out of doing what he loves. He found an outlet as a pro wrestling entrance theme composer, and over the last two years or so he has written over 100 theme songs in a wide variety of genres. His music has been used by wrestlers the world over, and if you turn on your TV set (for those of us who still have one), you can see/hear his music being played during any number of pro wrestling events.

If you are a fan of the pro wrestling world, this interview is a must-read. If wrestling is “not your thing,” this is a still must-read for anyone who is trying to figure out how to make a living doing what they love.  

Scroll to the end to find out how to get in contact with John and to listen samples of his music.

(Video and transcript have been edited for time and clarity.) 

Do you want to give our audience a brief background of who you are and what you do?

JOHN KIERNAN: My name is John Kiernan. I am a wrestling entrance theme song composer from New Jersey. Right up to now, I've written over 100 themes for different wrestlers, for different promotions. I usually say “everybody except for WWE.” That's the only company I haven't worked with. I've worked with wrestlers from AEW, New Japan from Pro Wrestling, Ring of Honor, MLW. So, all around the gamut and various independent promotions. Over the last two years, it's been quite a ride, and before that I'd been doing performances, releasing instrumental music, scoring films, and performing my own music. So, a little bit of everything. But where I've been for the last couple of years has been in wrestling themes, almost exclusively now.

For people who aren't familiar with the wrestling world, can you give us a little bit of a background about how many different wrestling organizations there are and which one you're working with?

So, I usually work directly with the talent. I am the in-house composer for the United Wrestling Network, which under its umbrella has about four or five different divisions, such as Championship Wrestling from Memphis, from Hollywood, in different territories that they exist, as Championship Wrestling from (insert city here) — most notably and most recently, Championship Wrestling from Atlanta.

In terms of how many there are, oh man, there's so many. Now you have promotions out in China, you have promotions here in the U.S., you have Japanese promotions. I don't know how many countries my music has been featured in, but I'll tell you that they've been featured in a fair amount. Wrestling is a big thing, especially overseas. Wrestling's a big thing here in the States, too. 

It's interesting because there’s a little bit of a parallel between, for example, soccer, where you have the World Cup and everybody kind of falls under it. All the different wrestling promotions are kind of their own independent things. Wrestlers go from place to place, but it’s more like they're independent contractors that can go anywhere, unless their contracts are tied to a specific promotion.

Where I come in is — for those who might be familiar with combat sports like UFC — before the combatants hit the ring, you hear that piece of music that plays in the intro. That's usually where my music plays, and if they win, it plays again.

What's the composing process like? Is there a lot of back and forth?

I'll always put it like this. My individual experience may differ from a lot of people because if you are a composer that is contracted to a specific organization then the chain of command might change. Gratefully — and I've been speaking to different wrestlers and different people in the industry about this — I think I'm in a really good position because I get to work with talent, usually individually, even if it is me working with a UWN talent.

Usually, they come to me or the boss comes to me and says, "Hey, we're looking for a theme for this wrestler." I get connected with the wrestler, ask him/her a couple of questions. Usually, the main questions I ask, even if I know who the wrestler is, I'll say, "What do you want the audience to know about you before you even hit the ring? Like, if someone hears your music, what do you want people to feel about you? What do you want them to get before they even see you?”

From there, sometimes they have different references, and they're like, "Oh, I'd like the theme in this style" or "This is something I think would help portray my character in a different way." So realistically, the process differs wrestler to wrestler. Sometimes you'll hear me doing a fairly heavy track like I did for a wrestler named Masha Slamovich. It's very much like a Testament meets Arch Enemy kind of feel. Then there's another wrestler named Mercedes Martinez, and her theme is more of a reggaeton-style. So it's two very different contrasting styles, but it really is dependent on what the wrestler is looking for.

I have worked with organizations where they're like, "Listen, you're just going to kind of work with us, and we want to control that narrative." (For those who are in wrestling, wink-wink, "control the narrative.") But just in general, often if you're working independently, you get to work directly with the talent. If you're contracted to a specific organization, it could be either way. Gratefully, most of mine has been directly with the talent.

You mentioned that you had to dig into a lot of different genres. Do you have a background interest in different genres, or do you have to learn things as you go, adapt to people's requests, and bring on some new skills?

It's the combination of A and B. I think we all have that friend who doesn't hate much. You know? Like, there’ll be a general consensus around a movie where everyone's like, "Oh, this movie sucks" and there’ll be that one person who can find that redeeming quality in it. That's me with music, mostly. You would assume that for somebody who's so entrenched in music or someone who's gone to school for music that there would be this level of elitism, but I listen to basically all styles of music, and I find an appreciation for them, whether it's classical, metal, jazz, rock, anything really out there. I'm a big fan of country music, too.

When a wrestler comes to me and they ask me for something specific, it's an opportunity for me to sit down and go, "Okay, cool, let's really dive into this style."

Reggaeton I have probably have the least familiarity with, but when Mercedes Martinez was showing me, "This is what I was using before. This is what I really like," you try to find the things that really accentuate that style. Like, “OK, cool. It's very rhythmically-based. There's a lot of groove to it. So we'll do that.”  

So even if it's a style I haven't come in contact with, there's really not a style that's outside of my wheelhouse. Does that mean I've written in every style? Not necessarily, but I have written it a lot. If you give me something, I can make it happen. If you give me references, if you give me what your character is supposed to be, we're going to come up with something that people love and something that fits what you're looking for. I love all styles of music. Even if I haven't done it, I can do it.  

If there are any wrestlers out there who are listening, John can do it all! Whatever style you're looking for, he can make it happen.

When you talk about being a professional, whether it's a videographer, a composer, or whatever the case is, you have to figure out things in order to survive. How can you maximize all of the things that you do? 

Over time, I wanted to be an instrumental metal guitarist. That's very much my parents' style. If I pick up a guitar, that's kind of the stuff that I play, generally, but that isn't the only thing that you should be able to do if you're looking to create a career as a musician.

You need to branch into other styles. You need to look into other sources of income. You need to look into all of these different avenues that you might not have otherwise. Once you start branching off from one place, the seed is where the tree comes from.

Very well said, and very modest.

What kind of variety do you encounter in terms of your clients? When wrestlers approach you, is it largely those who need their very first entrance theme song, they’ve worked with other composers before, or they want to totally reinvent themselves?

Yeah, it's Column A, Column B, Column C. With entrance themes, when you have a wrestler who's starting to really brand themselves and take their character seriously, an entrance theme can be one of those things that helps bring it to life, but it could be the start of their career, right?

I have worked with talent where they're just like, "Hey, I just got out of wrestling school. I want to start hitting the road. I want to start putting down my promos and things like that, so I need something, just bear basics. Here's what I've always thought for my character." I think what's interesting about those is you get a completely fresh perspective.  

Also, wrestlers change over time. They go to different territories. They decide, "OK, this doesn't really suit what I want to do. I want to go in a different direction with my character." If they go to a different promotion, all of a sudden it's like, "Hey, you're now not this character. You're now trying to fit within this stable, this group of people or whatnot." You end up having reasons where they'll switch.

A lot of the talent that I've worked with recently has been talent that's been around, gratefully, for whether it's 10 plus years or even 7 plus years, but a significant amount of time, they’ve maybe been on TV or in the public eye for quite some time. So with those wrestlers, a lot of the times they have things they're still using, that sometimes are either a) copyright issues or b) they want to expand on that character. 

There are some wrestlers that have come from the big promotion, from the WWE, where that's kind of one of those things — and no digs on anyone that writes for WWE — but you're talking about a publicly-traded company, and they're trying to churn things out fairly quickly, so it's like, "OK, cool. Bullet point. Here's what this is. Go" and then you have to stick with that theme for a little bit of time. So, sometimes wrestlers coming from there that I work with, going out to AEW or huffin' it on the indies, they'll say, "This is what I used here. I like that vibe. Let's stick with it" or "You know what? I want to rebrand myself."

There's a wrestler who just debuted on AEW named Tony Nese. He was the ex-Cruiserweight Champion in WWE. He won the title at WrestleMania. His whole thing is that he's both a fast, high flier wrestler and a strong wrestler. His tagline is, "Move like a cruiserweight, hit like a heavyweight." So with him, when you hear his theme that he was using in WWE, it's very fast. It's uplifting. It's one of these things where you would hear it and you'd want to cheer. It sounds almost like a superhero theme in a way.

When he came off and we started working together, he wanted something that was a little bit more in-your-face, a little bit more driving. So it was a little bit slower, a little bit more methodical, and instead of it being, "OK, cool, here's this guy who can fly around," it focused more on his nickname, which is "The Premier Athlete." He goes in the ring, he poses. He does all these really cool, strong moves that look flashy, and he puts them away. So it was a really good opportunity for him to say, "You know what? Here's what I did like from that, but let's go ahead and make it more in this style. I think that's going to help me speak more in the ring." So it's a combination.  

Some people start bare basics. Masha Slamovich, she was actually the 4th theme that I ever wrote, a couple of years ago. We've grown to be friends over the course of time, and she's huffed it from everywhere, from Japan, back to the U.S., here in New Jersey. She recently got signed to IMPACT Wrestling and AXS TV, and the theme that we did originally for her, at first was kind of like a Sevendust-y, Russian Tchaikovsky-inspired theme where it was like, OK, she's really trying to push this narrative, so we had strings, we had all this stuff, and she goes, "Yeah, when I come back to the states, I don't want that." I'm like, "OK. Cool. So what do you want?" She's basically just like, "I drive people on their heads and I'm out to kill people." I'm like, "Alright. So here's what we’ve got to do." A complete 180 from that. Now, when you see her on IMPACT and you hear "The Art of Violence," which is the new theme, and you listen to "Russian Dynamite," which was the original, you kind of see the progression from, here was somebody who was trying to find themselves, and here's the person that knows who they are now. So, it's pretty cool. It's a big progression.

Do you ever get somebody who comes in and is like, "I'm not really sure where I'm going next" and you have to really dig deep to figure out what they want to be, what they're aiming for?

It's less so that they don't know who they are and where they're going. It's more so that they don't have — and I mean no disrespect when I say this — they don't have a defined character that reaches outside of "I'm a wrestler." To use some timely or evergreen examples, when we think of someone like The Undertaker, he was around for 40 years or so. His whole gimmick, at least until 2000-something, what that he was The Deadman. That was his whole thing. He was supposed to be a dead guy. OK, cool. That's a very defined character. You're not going to write an ice cream song for him, right? You're not going to write an indie-style song. You're probably going to write a funeral dirge, which is what lasted over 40 years.

But then you have someone like, for example, Bryan Danielson, who's in AEW. His themes have always been great, and they've always nailed them. They basically took "Flight of the Valkyries" and made rock versions of them and modernized versions.

Daniel Bryan's story was always: he's the best wrestler. OK, well, what do you do with that? What do you highlight? There's got to be a little nugget somewhere else in the character that you can pull from. A while back, I had actually spoken to Jim Johnston. For those who are familiar, Jim Johnston was the composer for 32 years for WWE. I messaged him one day on LinkedIn. I was like, "This guy's not going to answer. I'm just some schmuck," and he ended up responding. We had a little bit of a back and forth, which was cool, and I was like, "Listen, you're talking about how it's easy to write themes for The Undertaker, but what if you have a wrestler who's just a wrestler, or just a fighter, or something like that?" and he goes, "There will always be something that you can connect to, even if it's something that everybody else has. There's something that does make them a little bit unique, so you have to continue to dive to that."

So, for example, if someone's like, "OK, I'm an MMA fighter." OK, great. Well, what else are we doing with that? You could just stop there and be like, "Alright, cool, we're gonna make a rock track. That's great," but I think there's depth in saying, "OK, cool. So when you are an enemy fighter, are you more submission-based? Are you more strike-based? Do you feel that you have a chip on your shoulder? Is this something where you had maybe lost a lot of fights and you all of a sudden came around the other side, you trained, and now you're out to prove something?" There's little things that you can extrapolate from someone. Let's get those extra nuggets and pull those out because that's going to make not just the difference in the music that I write, but it's also going to help you even define more of what you're going for.

I will say that a lot of wrestlers tend to have a pretty strong vision of what they're looking for. In some promotions, they have a little bit more freedom than others, but a lot of promotions now are giving wrestlers that freedom to be who they want to be and, in turn, to have the music that they want to have.

In terms of your personal background, how did you find yourself in this world? Tell us a little bit about your journey and how this became a career path.

It's one of those things, like, you never know what's going to happen. You never know where life will take you. I've been a believer in both sides of that. One door shuts, another one opens, and kind of conversely, what's the other side of that coin? You could be one step away or one move away from the next phase of your life.

I've been a professional musician on and off now for about 10-12 years or so, and I was running a wrestling podcast. (You actually got me in contact with Patricia Rogers. She's so cool. Everything that she and her team do for Those Wrestling Girls is so dope. Check them out! Highlighting female wrestling!)

So, some buddies and I had a podcast called The Armchair Bookers, and we were looking for different ways to maximize our visibility. We were like, "OK, cool. What skillsets do we have?" Well, one guy was good at interviewing. For me, one of my buddies went, "Well, you write music. Have you ever thought about writing music for wrestlers?"

When I was in college, the big thing I wanted to do was start writing music for commercials, films, and video games, and one thing that you find, especially in video games and films, it's more at the mercy of the project than it is at your own writing speed. A film could get put into backlog and a game could get put into development hell. 

Wrestlers are some of the nicest people in the world. Everyone's just trying to work together, generally. Everyone's trying to put themselves over, put each other over, so it's cool. Why do I bring that up? Because a couple of the interviews that we had done with The Armchair Bookers podcast, we had become friends with a couple of different wrestlers that were local or on the way up. A gentleman named Ricky Gibson, who now works for UWN under The Midnight Heat, was actually the first person that we interviewed and the first person I ended up doing a theme for. I was like, "Hey, I know how to write music, I know how to release it, but I have no idea how to even get into writing themes for people. There's no roadmap or anything for that." He goes, "Oh yeah, you could go ahead and make one for us."  

I don't think they were really expecting much because we were coming from the podcast perspective, and they heard the intro that I had written and it was kind of like a mid-2000s, Three Days Grace kind of thing. It was cool, but you wouldn't think much of it. It's like ten seconds at the beginning of a podcast. Then, I wrote this theme for them, which was this '80s inspired theme, and they were like, "Oh my God, this is really cool." So we started talking again. I was like, "How do you do this?" and he was like, "Well, basically, what you're doing now. Just start reaching out to people, talking to them." I was like, "Is that really it? I know there's copyright and things like that." They were like, "Dude, the wrestling industry is still so up in the air and so independent that there's so many floating ideas, so many floating laws."

So I kept reaching out to different people we had interviewed. Ricky Gibson and Eddie Pearl, to this day, I continue to be friends with. They've referred so many people to me over the course of time, and I'm super grateful for that. Masha Slamovich, same thing. Over the course of time, it just became that people started to learn my name. There were referrals.

I still do a lot of client outreach. For anyone running a small business or a big business, it doesn't matter how big or small you are. Always continue to network, always continue to communicate. Not everything is referrals, and you've still got to put in a lot of legwork, even if it's 30-40% of your business. 

Two years later, I'm sitting almost at over 100 themes, and I have probably about 20 in backstock now that I'm working with. So, it's a combination of referrals and reaching out. There were a lot of people that I never thought I'd even get to work with or that would even know my name. It's just crazy to see now.

It took the passion of composing, which is my big love, of being able to write and put music together, and now finding that outlet for something that I enjoy from an entertainment side, which is pro wrestling.

It's a great story for anyone entering a new career, a new industry, to just talk to people. There's no harm in asking. 99% of the people that you'll meet will want to be helpful.

How does it feel to turn on your TV and see/hear your theme played? What’s that experience like?

It's been very humbling. I've always considered myself more of a composer than even a guitarist or a producer. I love the creation of music. I love being able to just take a blank landscape and all of a sudden, “Wow, now it speaks to somebody.” Right? Being able to hear it live, it's a very different experience.

When you hear that other people are resonating with your music, it's really humbling because it’s like, “Hey, I'm just in my studio, writing music for wrestlers.” It’s really cool that I get to work with them, but all of a sudden when you hear that person go live and you see that the music that you wrote is the first thing that resonates with the audience… Like they say in wrestling, it doesn't matter if they're cheering, if they're telling you go away, if they're booing you. If they're quiet and they're dead, then that's when you know that you're not being effective.

There have been a couple of different instances where a wrestler has come to the ring and the crowd gets up, they get really happy, sad, whatever is the case, really animated and the first thing they hear is, for example, The Premier Athlete's theme (Tony Nese), or Dani Jordan's theme when they were using it for AEW, or Darren Young's in New Japan. It's just really cool to see that the music takes on a life of its own because the wrestler is so in tune with what they're doing and in tune with that.

My wife and I run a music school here in Midland Park called The Piano Workshop at Bergen County. I always tell my students, "We all start wanting to be a professional musician." Or let me even scale that back. We all want to pick up an instrument because we see our favorite musician on stage, whether that's a Taylor Swift, a Machine Gun Kelly. For me, when I was younger, that was Blink-182. Even if it's Britney Spears.

For me, being able to come back around all these years later and be like, OK, this is where we’ve come from. All this hard work, all the blood, sweat and tears, so to speak, that you put in, you're all of a sudden able to see the fruits of your labor come to fruition in that way. So it's humbling to be like, OK, cool, we actually took something that we had a passion for and now here we are with it. I was 13, let's say, when I realistically started really getting into music. I'm 33 as of this interview, and I think that humbles 13-year-old me. I'm like, that's crazy. I was sitting in my bedroom in Key West, literally jamming on the guitar — it had an MxPx sticker and a Yamaha sticker and it was like 20 bucks, given to me by my brother — and then all of a sudden, we're here. It's absolutely crazy.

Have you found that social media and Instagram, in particular, have made it easier to connect with wrestlers, potential clients, and to network?

The majority of my business is done through social media.

I think we see a lot of negativity that happens on social media. Gratefully — and knock on wood — I've always had generally positive experiences. You'll get the people every now and again who have their opinions. I don't mind opinions. I mind if you're being a jerk about it, you know? But very rarely have I run into somebody who has genuinely been like, "I'm just a bad day every day.”

I think wrestlers use social media so much to connect with people. It's also the way that their name gets around so much. If someone does a cool move, has a cool match, they end up being able to connect and get it shared.

I feel like a really big way for me to connect with people is through DMs, through Instagram. Probably Instagram, Twitter and Facebook have been the biggest three. I have my YouTube, which I'm always updating with new music, and I have a playlist that I put up of the themes that I've worked on. I think that if if social media wasn't around, it would be much more difficult for me to grow my business, both from a referral standpoint and a communication side.

I always try to be as personal as I can with the wrestlers that I reach out to, and vice versa. I've seen people online that are like, "Oh, I just sent an email blast to 10,000 people and 10 people responded. What's going on?" My thing is I'd rather get 1/64th of the work but know that the person that I'm working with and I really do connect. I try to find out about as much of the industry as possible. I try to find out as much about a wrestler that I want to reach out to as possible. That way, when I do send a message or I do reach out on Twitter, it's not just "Hey, I write music, hire me." It's more like, "Hey, here's what I know about you. Here's what I really appreciate about what you do. I want to offer my services." It's not a tongue-in-cheek, "Hey, you're great. By the way, I do this. Maybe we could work together? Nah, I'm just kidding. But maybe...? I don't know!" None of that stuff because that's just ballocks. It doesn't get you anywhere. It just makes you look like a hack. It's legitimately, "Here's what I like about what you do. Here are my services. I'd love to work with you. Let's see if we can make something happen," and usually people resonate with that. Social media is definitely helpful. There's a tact to how you do it, but it's just how you'd speak to people in general, you know? People really resonate with that.

Excellent advice for any industry. You really want to be personable. Like you mentioned, it's easier now to mass email or mess message people, but if you write that extra little personal something that shows, "Oh, I actually took the time to look and see what you're about and what you've done,” that really goes a long way. 

I think every business person, whether they're in a big company or a small company, can look at it the same way. Know who you're reaching out to. There are definitely tools out there where it's just like, "Hi, (insert tag here)," and it adds the person's name, and you pray to God that they didn't put in their last name and their first name in the same thing because it's totally not personable to say "Hi, John Kiernan." Nobody says that. They just use the person’s first name.  

Sometimes wrestlers will have different accounts — some for personal, some for their stage stuff. So I always try to be respectful and go to their stage stuff. When I work with wrestlers, there are some that I refer to by their kayfabe names. There are some that I refer to them by their real names. It's always for me preference. There's one person, Lilith Grimm, who I've worked with. We did a theme that was very tribal, very much like a Heilung-style, and we were able to get the hurdy-gurdy player from the band Eluveite to play on it, too. It was really wild, really cool. I still call her "Lilith" to this day because that's what she prefers. Her real name is out there, she has a profile and all that, but I still refer to her as "Lilith" because that's what she wants. Other wrestlers don't care, but you always want to be respectful of that. So I think the more you can learn about somebody, the more you really try to connect with somebody, the more social media can work for you to help you grow.

I'd say, it's still rare to find someone who has both the creativity of an artist as well as a business mind, someone who can figure out how those two worlds work. You have the mind of a business owner and someone who knows how to grow their brand. Looking at your Instagram page, it's not just a whole bunch of random stuff. There's a thought process to what's being posted and how it looks.

Even if you are someone who enjoys, say, playing the guitar for fun, there are definitely some things that business do that you can look at as a model. Look at what businesses are doing. It doesn't hurt. It can only increase your exposure. There's always something to learn if you're just willing to listen and apply.  

Absolutely. I've been grateful over my life, whether it's been in or out of music, to work under people who were very strong leaders. Whether that was my time at previous places like Apple, or even just talking to people like Winifred Phillips who is a video game composer, and really just listening to what they do and how they communicate and really the respect that they put down.

It's really interesting. I think each wrestler is their own individual business, and you end up seeing that there are wrestlers who really take that brand seriously, there are others that kind of sit in the middle, and there are others that are like, "OK, cool, what work will come to me, will come." Like, they don't have much on social media, their email is difficult to communicate with. Just with a little bit of tailoring and a little bit of tooling, you can end up being able to connect with way more people.

One thing I try to do pretty frequently is, every day I'll post a story of one of the pieces of music that I've written for a wrestler. I'll tag the wrestler and it gives them traction, it gives me traction. It also gives people the ability to go right to listening to it, to subscribe, to follow, things like that. At least once a week, I usually get one referral from doing things like that because, again, wrestlers are following me, I'm following wrestlers. The industry is kind of like that ouroboros of learning about what's out there, right? So, from things like that, you may get a connection here and there. It's not about seeing someone like a Kardashian — and I'm not bashing them either. It's not like seeing a Kardashian who has 230 million followers and go, "That's my goal." The point is, you need to know your market. You need to know what you're trying to accomplish, and even getting your stuff sometimes in front of 10 people, if it's the right 10 people, then that's fine. You know you're able to grow.

I think what's been a really big thing for me is there are some wrestlers that I haven't heard of until they reach out, or I reach out. There are some wrestlers that all of a sudden reach out, and I look at my DMs and I'm like, "Why are you reaching out to me? I'm nothing! What are you doing?" And it's cool. It's all through the same channels.

I also think that there's going to be competition no matter what. Some people are like, "Don't give away your secrets." Listen, in any industry, there's going to be competition. If someone is successful in an industry, then they're going to duplicate and replicate. So the competition's going to exist, whether you want it to or not. So it's better to create an industry, than it is to just live on an island on your own. You know what I mean?

Right. There might be someone else who does what you do, but it's the relationship that you've built, which is also, of course, tied to your quality of work.

There's a gentleman who works for AEW, who's their main go-to composer. He is “The Guy.” His name's Mikey Rukus. When AEW started, he's the guy who had written all the music. He's the go-to. He's the composer for the company. When I was doing my podcast, I got the opportunity to interview him, and it was cool because we interviewed so many different wrestlers, but I had gotten the opportunity to sit down with somebody in wrestling that was also a musician. So instead of just asking about, "What matches are you looking forward to?" it's was like, "OK, cool, what's your rig? You're using a seven-string. That's awesome. What did you think of this and this?" It was really cool.

One of the first times I ever saw my music on a large promotion was in AEW. They were starting up this show called Dark, which is where they bring in some other talent. (It's a YouTube-exclusive show.) They were able to ask other people, "Hey, do you have music that you can submit for us to use?" I don't know how public they made that. There wasn't a website, but I remember I was sitting working one day, and Mikey Rukus was just like, "Listen, do you have any music you can send it to me? Anything just randomly that we might be able to use?" and I go, "Yeah, when do you need it?" and he's like, "Five minutes from now." I'm like, "Legitimately five?" He's like, "Yeah. I can send you the releases." So I'm like, "I'll send it to you in three! I just happen to be at my computer now." He didn't have to do that. All of a sudden it became the theme that Dani Jordan used for a couple of months while they were using music for the enhancement talent. That was a song I wrote back in 2011 that I had released on a record and things like that. So it was cool.

I think Mikey's always been gracious with me in terms of both being a friend and giving advice in the industry. Even Tony Nese, he came to me to write a theme. I guess there might have been somebody else who was working on something for him and maybe the guy didn't answer his messages, something like that, and so Tony Nese came to me. We worked on something. He ended up loving it, which I'm always proud of. He didn't tell me he was going to AEW. I don't think he knew he was going to AEW. (When I say "going to AEW," wrestlers often will work in different promotions. AEW is one of those promotions where once you're assigned to them, it's a little bit more exclusive, like you're usually going to work exclusively for their programing.)

So we finished up the theme. He did a couple of different shows, one actually for UWN, and then all of a sudden he goes "Hey, I'm going to AEW to work on the program Dark." (One thing about Dark is that they don't use music for the enhancement talent now. It's just quicker for them to get people in the ring. "Enhancement talent" refers to people who aren't, let's say, signed to the company and are just there to make the onboard talent shine.) So I go, "Yeah, no problem, I'll go ahead and I'll obviously give you the music, give you the release. I'll speak to my guy, Mikey Rukus over there. He knows me and he knows how I work." I send over the music to Mikey Rukus, and he goes, "Yeah, he's going to be on Dark. I don't know what they're going to do with him." What that means to me is they're not going to use this music for Dark, obviously. I go, "OK, cool makes sense." I kind of knew that going into it. All of a sudden, I'm watching Dynamite, which is their TNT show, and Tony Nese is sitting in the crowd. No music, but he's sitting in the crowd. I'm like, "That's weird for a Dark person" and he goes, "Yeah, they told me, like, 10 minutes before time, just go sit in the crowd." I go, "OK." So I reached out to Mikey again. I go, "So... What's going on?" He goes, "Oh yeah, they're going to allow him to make an entrance on Dark." I'm like, "OK, cool. Can you tell me anything?" "No." "OK. NDA." They start using his music there and he goes, "It's really up to Tony Khan if they want him to continue using music.” He's like, "I like it. It's cool" and then all of a sudden fast forward, and now he's using it on Dynamite. Tony Nese is signed to AEW officially now. Mazel tov and congratulations to him. He deserves it so, so much.

It's one of those things. You don't know where connections and how connections are going to go. I'm always grateful to have someone that dedicates that time, even to just speak on a friend basis, and continues that connection that way. It was something that I was like, "Oh, here's a piece of music that's going to be written for Tony Nese. Tony Nese is great. He's going to go around and do all this" and then all of a sudden, he's on AEW. and I'm like, "That's nuts!" and Mikey is cool with using the music. So, there we go.

You never know which way things were going to go, who knows who, and who's going to be connected with someone at some point.

have you actually gotten to go to wrestling events and physically be present while your music is playing?

Something always comes up when you have a child and you have a job. So, unfortunately, not yet. There might be a few things coming up that I will be going to, and especially now in Jersey, there are so many different wrestling events that happen, whether it's South Jersey, or up here in Bergen County, or down by the Shore. There's so much wrestling going on that I have to be able to get there one way or another. So hopefully soon I'll be able to see it in person. The most that I've seen it is on TV. My son is two-and-a-half. I don't have him watch wrestling, obviously, right now. When he gets older, cool. But, you know, when all of a sudden I was like, "Oh, Tony Nese is going to be on Dynamite,” I'm like, 'Watch the TV! This is crazy!'" So he got to see that. But I haven’t seen it in person yet.

Let’s somehow schedule all your clients and your life so you have a week off so it lines up exactly.

Exactly. It's one of these things where it's like, if you're the one that puts the kid to sleep, then you have to hope the kid gets to sleep by the time that the show starts. So you're like, "Alright, cool. Please go to sleep. Please. Please go to sleep a little bit earlier today."

"I'll write some sleeping music for you."

 Exactly!  Some dreaming entrance music.

Hey, there's a lot of kids that need to go to sleep. The next big thing. We'll get you on Shark Tank somehow.

Oh, man. In front of Kevin O'Leary? Absolutely! I'd be like, "Yeah, I work with wrestlers right now, but have you ever worked with babies?" and they're like, "Please make this quick. I don't know where this is going."

It might be the most-watched episode yet.

“Babies? I'm intrigued! Yes!”

I will say, we're joking about the baby music now, but even through wrestling, I've been grateful to get other work, too. Some light film work here and there for a short horror movie. I've done different podcast introductions, too.

One thing that I'm grateful for is that wrestling themes, I'm probably writing three or four entrances a week, on a good week. One or two, if I have a little bit more time. But in general, it's still so many different styles that if a wrestler says, "Hey, I need something in this style," I could send them a piece of music that I've written in style a, b or c. Even a podcast. There was a podcast I recently did where it was all about women in business, and they were like, "Do you have something that's a little bit more technology-focused but has a little bit more of an upbeat nature?" I was like, "Yeah, yeah, definitely" and I sent them one of the tracks that I'd done, and I got to work on a podcast intro there. Someone was looking for a synth-wave track for a gaming channel. I was able to do something there.

The wrestling themes, I'm writing them at such a ferocious pace in so many different styles that it's giving me a reel of content. It sounds wacky to say that in two years it's been over 100 themes in so many styles, but that's kind of the life as a professional musician. I've been able to say, "Oh, I'd love to be part of this project. Here is a collection of music that I've written so you know that I can write in a variety of styles." That's the other part I've been really, really grateful for.

Do you have anything coming up that we should know about? Any big projects that you're excited about?  I'm sure there are some things you can't totally reveal, but anything in the works that you can tease us about and we can follow up with you later?

 There's always so much music. I won't say I do these crazy break-the-budget videos, but I'll always do audio-visual art for my music. If a music video can be done, cool. I have an artist that I work with who's phenomenal, for the majority of themes that I put out. His name's Hiban Huerta. He's out in California. He works with NWA. He does a lot of great stuff.

Marina Shafir is a wrestler who just wrestled on AEW Dark. I just finished up a theme for her which is very different than what you would assume, for those who know Marina Shafir. She has an MMA fighter background. It's not rock, it's not metal. It’s classical, which is crazy. When she told me why, I was like, "This totally works. Let's do it. I'm here for it. We'll write something in a Romantic-style."

I'm back-stocked on about 20 themes right now to release, and I'm back-stocked on probably about 20 themes that I have to start. So, there's always something coming.

There is a wrestler named Jase Osei who I worked with recently, and hopefully in the next couple of weeks I'm going to be releasing his track which features Josiah Williams on it. Josiah Williams was the backstage vocalist for WWE NXT. He’s a great guy and phenomenal rapper, so that one should be coming out soon.  

I will say, there's lots of stuff, surprisingly, that's planned for 2022. Just follow me on all the things — Facebook, Instagram, Spotify, YouTube. Sometimes I end up releasing things without a release plan — and that's the worst thing after we just talked for 20 minutes about independent business shit, but that's where we are sometimes! But there will always be something cool in the pipeline, is what I'll say.

What's the best way for people to reach out to you? Do you have one particular platform that you seem to check more?

 I think Instagram and Facebook have probably been the two that are the easiest to check and communicate. Instagram and Facebook follow the same handle, @JohnKiernanMusic. I'm on Twitter also, but it is the black sheep. It's @JKiernanGuitar because of character limits. JohnKiernanMusic@gmail.com is also where I am fairly communicative.

So Instagram first, I would say. Email second. Facebook third or whatever. I check all of them fairly consistently. JohnKiernanMusic.com is updated fairly frequently, too.

~ 

WRESTLING ENTRANCE THEME SONGS BY JOHN KIERNAN:

JOHN KIERNAN: This is Masha Slamovich. She's fantastic. The first video is how she looked when we did her first theme, and the second is how she looks now. She’s really elevated her brand. Originally, she was just a person that had a Russian background. Then over time, she started working in Japan. Japan is more of a rough style, versus WWE, they're very careful. She came to me basically being like, "I want to kick people's heads in." I'm like, "OK." (Masha Slamovich debuted with her new theme on IMPACT on AXS TV last night, January 6th!)

This first theme we did, I called it "Variations on Marche Slave" because it is actually a Tchaikovsky piece. Back then she was like, "I really want to dive into the Russian thing,” but then when she came back over to the States, she was like, “I want people to know that I'm violent.” So, it became a different thing. If you're familiar with Kill Bill, we inserted what we call the "Masha Death Whistle." That's the first thing that you hear. Like when think of Stone Cold, you think of the glass breaking. That first thing that you hear. So the new theme is way more in your face.

This one is very “Heilung." Heilung is a band, and they're very world-based. You see them and they have the tribal headdresses, they have the deer heads with the antlers. This is the one that has the hurdy-gurdy player. Already, you see the person has that presence about them. She's tatted up, she's got the purple hair, she's got the mask. I don't know how she got the mask. It's so cool. It's like a skeleton mask that when she moves her mouth, it moves. I'm like, "That's fucking wild." They gave her death metal entrance theme music, and she was like, "That's not what it is. My gimmick is not that. My gimmick is like a bone collector demon. It should be something that feels like I'm being summoned from somewhere" and I'm like, "I agree."

This one is for a Jersey-based team called The StepDads. They were using this total '80s, '90s cheese ball stuff, like "Pour Some Sugar on Me", that kind of thing, but they did want to be tongue in cheek. They were sending me the Family Matters theme and things like that. They were like, "We want that." Like, total sitcom. The wink and the nod. You'll hear when that comes in. This one, I had to bring in a saxophonist.

This gentleman here is named Effy. He's a guy who's very big on the independents. He's very much a wrestler of the LGBTQ community. His thing is also about kind of bucking the corporate media. His theme, usually, is "Goodbye Yellow Brick Road" by Elton John, but when he works with promotions that have TV, you obviously can't do that unless you get the rights. So the company I work for, UWN, was like, "We need something that's kind of like that." Effy himself said, "The theme needs to be gay. It needs to be super gay. And if it's not super gay, I'm going to cry. Big gay tears." His words, not mine, but you know, you ask and we deliver.

This was kind of my first time going into dubstep. I don't really know much about the style, but we did it. This was for Rowdy Roddy Piper's daughter. Her name's Teal Piper. Their gimmick is called House of Heathens, which they kind of say is like The Purge. They don't do the whole purge thing, but they kind of see themselves as that. So the point with this was making it almost post-apocalyptic in a way.

The voice that you hear at the beginning is hers, and the voice that you hear throughout is mine through a vocoder that I don't know how to use. I say that because I knew that I wanted something very robotic and I was just like, "I don't know how to do this." I was messing around with a vocoder, and if you change your voice up even like a semitone, it does this jump so it sounds like this kind of apocalyptic radio. Teal Piper sent me her vocals, which are her saying, “House of Heathens.” I said, “Have you ever seen Resident Evil? She goes, “Yeah.” I go, “Do you know the Red Queen? She goes, “Yeah, the little girl.” I go, “You know when she says, ‘You're all going to die down here’ and it's just this complete robotic monotone? Give me that.”

This is for Marina Shafir. It starts kind of big and grandiose, and then it shrinks down to an Edith Piaf kind of thing. I had no idea what she wanted at first. She kept giving me that period piece sound and I'm like, “Are you sure?” and she's like, “Yeah, I'm totally sure.” So I kept giving her these pieces that has a little bit more drive. I was like, “How deep do you want me to go?” Eventually it got to a point where it's what you hear here.

This one here is very much a straight-ahead rock track. This one I wrote with my buddies in It Lives, It Breathes. They are a band that wrote a couple of different themes. They had such success with one theme they did, that they got other wrestlers asking them for stuff. The singer of It Lives, It Breathes, Kevin, was like, “We want to bring you in on this one.” I ended up writing all the guitars and basically everything that is a string. This theme was the first one of mine that got onto TV.

This is for a wrestler that hasn't debuted yet. Her name is Airica. She's like 16. They're out in the Midwest. Her thing is like being an anime character basically come to life. So if you're familiar with J-Rock and K-Pop, this is very much in that style. I actually brought in a vocalist who I found on Instagram from Malaysia to sing this one. It’s very much like My Hero Academia.

This one is for a wrestling group (referred to as a “stable”) called The Division. This one is probably one of my favorites for a few reasons. Number one, the people in the group (there's like six of them) are all the nicest guys and girls in the world.  

“An Angel’s Song” and “YAKATA” are both basically revolving around the same theme. As one of my buddies put it, “I like how you're taking liberties with wrestlers.” What he meant by that was, this is kind of a stable theme. If you listen to each of these, you're going to hear that the thematic material is the same.

“We Are Change” is kind of like the parent theme from which all the others exist. Rico de la Vega is very proud of his Puerto Rican heritage. His theme’s a little more reggaeton. Notorious Mimi, she wears angel wings to the ring. I wanted to have something with the group that even if you leave, you can have a theme that stands on its own, but you could also have something that ties you back into the family.

This theme was released on December 30th, 2020. Mercedes Martinez debuted on AEW on December 29th. She is now signed with the company.

2021 Gregory Burrus Productions Live Music Year In Review

By Gregory Burrus | Posted Tuesday, January 11, 2022

2021. What a fabulous, poignant, reflective year. In the beginning, we thought about it being a year of restart, recovery and renewal. I think we all lost some family, friends and, in our case, some fabulous musicians. Unfortunately, the losses continued so it was definitely a challenging year, but we found a way to live again. For listeners, a live music concert is a pleasurable social event that is among the most visceral and memorable forms of musical engagement. It's the same for musicians, with the added note that for many it’s not a side business, it’s their lifeblood and the thing that keeps them alive. With that in mind, we soldiered on through the year making music and great memories.

2021 Year In Review

As you can see, we made some great memories. Here are the 2021 lineup highlights:

• In January 2021 we thought we’d start the year off with our Jazz973 program at The Rutgers Institute of Jazz Studies, but no such luck as lots of uncertainties were still around, so our favorite Jazz Venue, Clement’s Place Jazz, did not have any programming.

• For February for the Town of South Orange, we had a musical tribute and a South Orange Street renaming to honor our fallen buddy Lee Boz May. It was cold but a wonderful day.

• For March, we celebrated Women's History Month with a wonderful online performance titled WHM2021 “Refresh in Progress” by Ife Basim. We also had a stirring and moving Cello performance by Caylen Bryant as we all Reflected Together For COVID-19 Victims at the lake in Meadowlands Park in South Orange, NJ. We tested the outdoor live music scene as Jazzy Nights, which joined the South Orange Jazz scene right before the pandemic hit us, turned into Jazzy Afternoons at The Fox & Falcon with an outdoor live R&B performance by MPACK. It was a big hit as folks starved for live music came out like crazy. It was really a great thing to experience.

• For April, we honored Jazz Appreciation Month. Other than one rainout, it was a truly swinging set of Sunday afternoon performances which you can read more about here: Jazzy Afternoons South Orange Presents "Jazz Across The Generations" to Honor Jazz Appreciation Month 2021. The weather was great and music/the vibe was truly jumpin’. 

• Over the Months of May, June, July, August and September, we ran a number of concurrent live music performances. Our Summer Saturday South Orange Downtown performances ran every Saturday, 2 performances a day, along with our monthly Sunday Jazz On Sloan program at the South Orange Gazebo. There were about 60 fabulous performances. We rolled through Summer Wednesdays with a jumping Wednesday afternoon R&B-driven City of Orange Farmers Market. From 12-5 pm this program grew from a few attendees to a full house every week. We were also honored to crank up live music for the town of Cranford and had a really great Downtown Cranford Summer Sounds every Thursday evening all summer. Folks also enjoyed some great live music bands we provided to the town of Westfield with the Open Quimby Live Music program.

•  In September, we started with the Maplewood Community Music Maplewood Porchfest which was a nonstop all-day community fest of porch owners, honk paraders, and lemonade stands, and what really made it happen were some awesome local music performers and enthusiastic attendees. After a July weather cancellation, thanks to South Orange Downtown we conducted the 5th Annual 24 Hours of Music Jamboree, adapted for our times. Saturday gave us 12 hours of music, and Overnight gave us online musical performances including a wonderful performance from Japan by the Kumiko Tanaka Trio. On Sunday, we were finally able to host a Tribute to Darryl Clark. It was a glorious 24 Hours Of Music Jamboree headlined by the famous Nat Adderley Jr. Trio and members of Darryl’s former band. It was a sunny Sunday afternoon of beautiful music and great tributes. 

• October finally saw the return of our beloved Clements Place Jazz Venue, and while all the performances through December were great, a few highlights were 87-year-old Houston Person with Matt Chertkoff and 94-year-old Bassist Bill Crow with 19-year-old Leonieke Scheuble performing for our Jazz973 program on Wednesday evenings. This year the October Live Music Fest took over South Orange, NJ Spiotta Park and we had a really good time every weekend (when the weather cooperated). Meanwhile, the town of Cranford, NJ reached 150-years-old and MPACK was there to perform. Also in October, we performed for Pink Out Cranford Events. Finally, we performed a few weekends for the wonderful Cranford’s 14th Annual Scarecrow Stroll which had some amazing scarecrows. 

• November brought us some wonderful live music performance opportunities. Thanks to Linda Moody, wife of famed saxophonist James Moody, we were Making History as Linda Moody Honored the James Moody Scholars at 100 Blanchard Rd. in South Orange, NJ. It was a beautiful elegant night to remember. This was one swinging jamming experience. We then happily covered A Smooth Jazz Explosion Lights Up the Woodland in Maplewood. This event was very cool, as it opened up with an exciting group of young teenage jazz musicians from our town, The Baker Street Trio. Then, we got to experience the fabulous Smooth Jazz performances of Yankee great Bernie Williams and the phenomenal Blood, Sweat & Tears Guitarist Gil Parris and his band. It was definitely a really great performance to remember. 

• December ended with our entertainer Lynette Sheard joining Mr. and Ms. Claus on a Holiday Chorals Walk around Downtown Cranford, NJ. We had a fun time performing with the return of the award-winning South Orange Open-Air Holiday Market. We closed the month out in Maplewood where we enjoyed another great local performance, where Local Resident Jacqueline Lee Opened for 2 Contemporary Jazz Stars, and a fabulous off-the-chain performance at the Woodlands where Marion Meadows and Alex Bugnon delivered an outstanding smooth jazz performance. 

Of course along the way we conducted a number of private events as well.

Venues Around Our Towns

2021 consisted of multiple live music events, sometimes on the same day, conducted across multiple towns like South Orange, Newark, Cranford, Maplewood, the City of Orange, Westfield, West Orange, Montclair and more. You can read more here.

Videography. Livestream

Last year, we continued producing live music events and promoting them on various platforms. We were also happy to say that we continued documenting these events via video and livestreamIng them on multiple platforms such as YouTube, Facebook, Twitch and other websites. You can watch them here:

https://www.youtube.com/gregoryburrus
https://vimeo.com/gregoryburrus  

In The News

In addition, we continued to provide additional artists promotions via articles and blog posts on local news sites, TAPinto, Patch, Newsrecord and across New Jersey via JerseyIndie and JerseyNYC. Read more below: 

https://www.jerseyindie.com/ji-blogger-gregory-burrus 
https://patch.com/users/gregburrus 

Social Media

As we move through another year of unknowns and another “Are we inside or outside?” life, please continue to stay in touch with all our live music events. We are programming events for 2022, so check out the links and signup to know when we will go live again:

https://www.facebook.com/gregory.burrus 
https://www.instagram.com/gregoryburrus
https://twitter.com/gregoryburrus  
https://www.facebook.com/gregoryburruspromotions 

Stay Safe, Stay Healthy and Stay Connected. 

Thank you again for joining us on this live music journey. 

About Gregory Burrus

Photography by Patrick Hilaire @l1stener.

Gregory Burrus spends his time as a Photojournalist, Live Music Producer, Promoter, Videographer, Arts and Entertainment Writer, Blogger, Business Reviewer, and Community Events Reporter. Gregory develops, manages, promotes and documents live music programs in the Greater New Jersey and New York Area. 

http://gregoryburrusproductions.com
https://www.linkedin.com/in/gregburrus
https://24hoursofmusicjamboree.com

Marion Meadows and Alex Bugnon in Maplewood with Opening Performance by Violinist Jacqueline Lee (RECAP)

By Gregory Burrus | Posted Wednesday, December 22, 2021

Once again Smooth Jazz History is being made in the very beautiful, very spacious, historic Georgian Revival-style mansion called The Woodland in Maplewood, NJ. Rich Engel, our local New Jersey resident, producer and promoter who for decades has produced numerous NYC Smooth Jazz Cruises along with many other marquee live music concerts is determined to make contemporary jazz a mainstay in our SOMA (South Orange-Maplewood) and beyond entertainment environment. 

Rich brought two of the gold standards in contemporary jazz, Marion Meadows and Alex Bugnon to town. Rich is re-establishing a past custom of one of the former #1 Contemporary Jazz stations in the country, the long-running New York CD 101.9 radio station. Co-hosting the show was former CD 101.9 radio personality Steve Harris along with Maplewood, NJ, Mayor Frank McGehee who introduced the opening set led by our own local rising star violinist, Jacquie Lee.

Steve Harris - CD 101.9 - JESPY House Logo - Mayor Frank McGehee

Rich Engel is also committed to supporting our towns and local live music musicians. In addition to stellar performances, patrons also were able to enjoy an open wine bar in support of the South Orange-based nonprofit JESPY House, which supports adults with Intellectual & Developmental Disabilities. It was nice to know that 90% of the open bar purchase price went directly to JESPY to support their amazing work.

Marion Meadows and Alex Bugnon Together for Holidays at The Woodland

Marion Meadows and Alex Bugnon Band on Stage

Steve Harris from CD 101.9 introduced a full house to the main event performers, worldwide stars Marion Meadows and Alex Bugnon.

Marion Meadows started playing tenor sax in high school, and then migrated to soprano sax. After studying jazz at Rippowam High School in Stamford, Conn, with Anthony Truglia, Meadows attended Berklee College of Music. There he majored in arranging and composition. He later went to the SUNY Purchase School for the Arts. He earned his break while playing his horn in Grand Central Station. His sound caught the ear of composer Jay Chattaway who signed Meadows to his record label and introduced him to jazz great, Bob James. Meadows went on to perform with Eartha Kitt, Brook Benton and the Temptations before launching his solo career in 1990. (Read more at www.marionmeadows.com.)

Alex Bugnon has been a prolific, energetic force on the contemporary music scene for almost three decades. A renowned musician, composer and bandleader, Bugnon hails from the picturesque town of Caux, Switzerland – four miles above Montreux, site of the world famous Montreux Jazz Festival. No doubt, the annual convergence in his hometown of some of music’s most illustrious names played a role in his decision to pursue a musical career. An early friendship with Herbie Hancock plus a legendary uncle Donald Byrd only served to further his decision. Shortly after moving to New York City, Bugnon began touring with almost every R&B artist, such as Melba Moore, Freddie Jackson, Patti Austin, James Ingram and Glenn Jones to name a few. (Read more at www.alexbugnon.com)

Clearly everyone in the band is a long-standing professional and their performance matched their history. These veteran band members with a super history consisted of Carl Carter on bass, and he has performed with Dizzy Gillespie, Phil Perry, Clark Terry and Ivan Neville. Poogie Bell was on drums, and he has worked with Roberta Flack, David Bowie, and David Sanborn, and Rohn Lawrence on guitar, who has played with Najee, Freddie Jackson, Diane Reeves and Jonathan Butler. 

Backstage with Marion Meadows and Alex Bugnon Band

Besides playing a series of their originals and some holiday standards, they performed a number of popular hits from their previous albums which the audience remembered and immediately became excited. From standing in the back of The Woodland it was easy to see folks rocking and swaying to the music on every single tune that was played. 

Guitarist Rohn Lawrence with Saxophonist Marion Meadows

In addition, guitarist Rohn Lawrence performed some out of this world guitar solos and became another crowd favorite. As the music cascaded across the audience, Marion introduced one tune by saying “you will recognize this one” and within a few beats, the audience was ecstatic as he performed a beautiful rendition of one of my favorite tunes “Suede”. It was extremely upbeat and off the chain. Later, another tune that Alex Bugnon introduced was his favorite interpretation of a George Benson Songm “The World is a Ghetto”. It took no time before the audience was raising hands, clapping and singing along, and the band just rocked the house.

It Was An Explosive Performance!

Audience Loves Marion Meadows and Alex Bugnon Performance

It was like this all night as they performed song after song. The audience joined in humming, singing and clapping, giving standing ovations in appreciation of a fabulous live music performance that definitely delivered. As stated, the event was titled “Marion Meadows and Alex Bugnon Together for ‘Holidays at the Woodland’”. Well-based on the audience response all night, that was a low key introduction to what turned out to be a truly explosive performance by two great contemporary jazz artists that folks will remember for a long time to come. Marion Meadows and Alex Bugnon, as the old song goes,  “blew the roof off” the Woodland Auditorium.

Jacqueline Lee Quartet Opening for Marion Meadows and Alex Bugnon  

Jacqueline Lee Quartet enjoys the night with Mayor Frank McGehee.

For this event, we had another awesome and fabulous opening set led by bandleader and local Montclair resident violinist, 16-year-old Jacqueline Lee. While young in years, she is not young in experience. Jacquie has been a member of Jazz House Kids and has a professional family of musicians surrounding her. They all thrive very well in the Greater New York, New Jersey and beyond live music scene.

Also note, that Jacqueline had been playing Violin for 11 years and received the Jazz Soloist Downbeat Student Music Award for an Outstanding Performance. Jacqueline has performed at the Jazz Standard and Dizzy’s Club Coca Cola at Lincoln Center in NYC and, recently, for my Jazz973 program at Newark NJ's Rutgers Institute of Jazz Studies, Clements Place Jazz venue. Still the proof is in the moment. Jacquie said to me that “I’m comfortable with performing the music, but I am more concerned with making sure my speaking pieces are correct.”

Jacqueline Lee Band On Stage

Well, let the music play because Jacqueline did not disappoint at all. Her quartet included a number of local favorites, Seniar Raines on bass, Derick Campos on guitar, and Zack Perez on drums. She led her band through a number of standards: “Red Jumps” by Stuff Smith, “Cherokee” by Ray Noble and my favorite, “Invitation” by Bronislau Kaper Strasbourg/St. Denis - Roy Hargrove. All band and tune introductions were excellent, the tunes were performed eloquently, tight, and the band was totally in sync.  

Videos courtesy of Rebecca Harris-Lee

Jacquie Lee stated afterwards: “It was a lovely experience to play with a band that I've become very comfortable with. This was the first time we’ve gotten to play a performance of this caliber and having such an enthusiastic and engaged audience made the whole experience so enjoyable. It’s been amazing but quite honestly very nerve wracking to start playing for real-life people again, but I don't think that was reflected too much in our music and our energy that night was better than ever!” 

The band and audience clearly enjoyed their performance and big kudos go out to Jacqueline Lee for leading an absolutely wonderful performance. 

You can enjoy more clips and videos at the links below :

• https://vimeo.com/gregoryburrus  

• http://24hoursofmusicjamboree.com 

• https://www.youtube.com/gregoryburrus 

Artist Meet and Greet 

Enjoying the Night. Top-left Roxanne Burrus, Top-right Gregory Burus, Roxanne Burrus, DJ Roc, Patricia Harrison and Virgil Harrison, Bottom-left Al Clarke, Bottom-right Gregory Burrus, Mike Lee 

After the event, there was a meet and greet area on the 2nd floor. Here you were able to meet with other friends and neighbors in attendance and enjoy the JESPY open bar. The artists showed up, chatted with audience members, and we purchased their CDs and event merchandise. All of us had a great time. 

About The Author 

Gregory Burrus with Alex Bugnon and Marion Meadows

Writer Gregory Burrus is a local live music ambassador, event planner, and community partner that curates, manages and promotes live music events in the SOMA (South Orange-Maplewood) community and Northern NJ and New York Area. Read more about Gregory Burrus at www.jerseyindie.com/gregory-burrus.

Interview with Megasparkle

By Sonia Schnee | Posted Saturday, December 18, 2021

Megasparkle, the kickass all-female band from Maplewood, NJ, hasn’t let the pandemic slow them down. Delivering a mix of indie, post-punk, pop-rock deliciousness, Thea Kearney (lead guitar, vocals), Nancy Cook (guitar, vocals), Kristy Ranieri (bass), and CJ Jeiven (Drums) released their first 5-song E.P, “Swirling Glitter”, back in February 2021. I was fortunate to have the opportunity to speak with Thea and Nancy about their pandemic-related musical adventures in our interview below.

What are your names, where are you from, and what do you do?

NANCY COOK: I’m Nancy Cook and I live in Maplewood, N.J. I grew up in Glen Ridge next to Montclair about 20 minutes away from here.

I’ve always been creative. Right now, I am mainly making art, music and selling vintage clothing. I started my business, Crash Doll Vintage, in 2020. I make textile art, installation art and sew & knit. I sometimes paint and use pastels.

Before the pandemic, I was working for Parcel in Montclair and a co-op in town called Maplewood Mercantile. I was also their event planner and planned pop ups, music shows, art shows, tastings etc. I still continue to put on music shows.

THEA KEARNEY: Well, she's a really amazing seamstress. Amazing. Really, like a ninja on the sewing machine. I always see her posting pictures like, "Oh, I just whipped up this dress last night." I'm like, "Oh my God! I can sew a pillow, that's about it.”

NANCY COOK: Yes! I sew dresses and clothes! I had a children’s clothing line for several years called Wool and Violets. Nowadays, I mostly make knitwear under that name and recently created a capsule collection for Hearth Co. in Australia

I’m very much into tactile things. Guitar fits right in. I play guitar and sing as well. I also play bass guitar which I just picked up last year. As a child I played piano and flute. I picked up the guitar in 2018 at the same time as joining a band with Thea. She was like…‘Let’s start a band’ and I said ‘OK’ and so I started taking lessons. I had always wanted to play guitar!

THEA KEARNEY: Yeah! I mean, you're a multi-tasker.

Left to right: Thea Kearney, Nancy Cook, and Kristy Ranieri of Megasparkle. Photo by Sophie White.

Are you originally from New Jersey or the surrounding area?

THEA KEARNEY: I'm not originally from New Jersey. I'm actually from Brooklyn, although I was born in Washington, D.C. I moved to Brooklyn when I was six months old. I identify with New York City. I'm pretty much a New York City person. Although, it's funny. My mother is from New Jersey and kind of a funny story because she always tried so hard to get out of New Jersey. She's a writer and went to college and all that. She spent so much time getting away from the suburban provincial... She always kind of was like (scoffs) "Oh, New Jersey." We would only go back to visit the relatives, and so I was such a city person, I was like, "I am never moving to New Jersey, over my dead body."

NANCY COOK: I said I was never moving back to the suburbs either!

THEA KEARNEY: It's so funny because all my relatives moved to other parts of the country,  then I discovered New Jersey again. I looked at places in Rockland County, in upstate New York, and they were really expensive and not that nice, and there was a big highway that was always in everyone's backyard. Then I found out about Maplewood. I went and I fell instantly in love with it. I was like, "These beautiful houses and nature! This is New Jersey?!" and one thing led to another, and I moved here with my husband. I've been living in New Jersey for about 12 years now with my family. 

Left to right: Kristy Ranieri, Thea Kearney, and Nancy Cook of Megasparkle. Photo by Sophie White.

Tell me about your creative background.

THEA KEARNEY: I'm like Nancy. I do way too many things. Not so much with the sewing, but I have a background in graphic design. I have two college degrees in art, visual arts, a Bachelor's of Fine Arts, Master of Fine Arts. I went to the School of Visual Arts and was one of the first people to ever learn about computer graphics. I would say it was like the Stone Ages just because it was a lot harder to do stuff than it is now. Now you just press two buttons and it's done, whereas you had to follow like a logbook of steps to get anything accomplished with the graphics back in the day. I had done that for a long time. Website design. I used to design CDs, logos, and then I got kind of tired of that, so I started a face painting business called Fifi’s Face Painting, but the pandemic kind of put an end to that and I just sold the business this year.

I've been doing music my whole life, since I was really young, playing various instruments -- violin, piano, drums, guitar -- but I decided when I was a teenager that I would just basically stick with the guitar, so that's my main instrument. Then I started singing as well as songwriting, and that's what we've been doing in Megasparkle. 

Left to right: Thea Kearney, Kristy Ranieri, and Nancy Cook of Megasparkle. Photo by Sophie White.

Do you come from musical families?

NANCY COOK: As far as music, there’s not really anyone in my immediate family that’s musically inclined though one of my Uncles played guitar.

My Dad instilled a love of classical music in me. He used to take me to classical concerts as a child. That and learning to play the piano. My Aunt Lillian used to take me to NYC to see Mostly Mozart. She sang in a trio in the 1940’s on the radio. I guess you could say I’m a trailblazer in my family. At 12 I declared, I wanted to be a singer and my Dad said ‘No, absolutely not, you’re not good enough’ so ha, I am got to do that and I have songs now. He also told me I couldn’t do art and fashion and I’m doing that as well. So, I guess I burst his bubble! Ha!

THEA KEARNEY: So have you played Megasparkle for him?

NANCY COOK: I did play one or two songs for him, but he hasn't heard all of them yet. I should have my family sit down and listen to Megasparkle. Maybe next time we have a holiday gathering and we can all be together, I can play Megasparkle for everybody.

THEA KEARNEY: That would be cool. I'd like to hear what they have to say.

My mother was a jazz singer. She's more of a poet and an award-winning published author of more than 18 books, but she's also written a few songs. My father played the flute for a while and the recorder, but he's one of those people who has the radio on 24/7, so since I was a little kid, he would have the classical music station on all the time, so I was listening to that since I came out of the womb, basically. Even though I'm a rocker, I still kind of love classical music, too.

NANCY COOK: Wow. We never actually knew that about each other!

THEA KEARNEY: Yeah! We don't talk about all these things. My mom sings, and she also had a harp that she used to play. She's also a very creative person. She's done all kinds of stuff, too. I have some cousins who play music, but nobody famous or professional, as far as I know. 

It's funny, actually, when Nancy said that about her dad, I was like, "My mom does not like the kind of music that I like," and I feel like there's a little rebelliousness going on here with, "Well, this is what WE like." You know?

NANCY COOK: My parents never liked the music I listened to. My Dad hated certain bands and songs and if he didn’t like it, I would sometimes play it louder like The Smiths, The Cure, Sex Pistols, The Clash etc. He hated hardcore the most. I would play it so loud the chandelier would be shaking downstairs. I still like it really loud. I get into trouble now for playing the music too loud in the car when I pull in and out of the driveway.

THEA KEARNEY: It's funny because we have kids now, and I don't know if this is what happens with you, Nancy, but our kids are like, "We don't want to listen to that loud rock music, turn it down!" They want to hear this weird electronic stuff. Some of it I actually like, but some of it is like, well, there's no melody. There's no real instruments. I'm just so used to... I think Nancy would probably say the same thing. We just grew up listening to live musicians playing live instruments, so that's what we tend to gravitate towards. 

For first-time listeners, how would you describe the sound of your album, and who are your personal musical influences? Who did you draw inspiration from?

NANCY COOK: That’s a really hard question because I have so many musical heroes and people I look up to, but I think with this project, in particular, I think we were kind of going for... Sonia mentioned earlier about the 70s, that we kind of have a 70s influence. I kind of think that we were kind of thinking, or at least maybe I was thinking, about The Runaways and Blondie and just kind of like that old school beginning, powerful female sound and rock and roll, but with kind of a punk and indie aspect to it. A little bit less pop-y than Blondie and Joan.

I also really love punk and a lot of the ‘90s bands, so I was probably thinking about that. A lot of the music that came out of Washington D.C. like Slant 6 and bands from Olympia and NY…

THEA KEARNEY: Yeah, we're both like punk rockers, right?

NANCY COOK: Yeah! I mean, I love all the punk rock. I love Agnostic Front. Thea and I were like, "We should write a song that kind of sounds a little like an Agnostic Front song” and we could totally do that, but I wasn’t looking to make a sound that came from men. I was thinking more about women in this project.

THEA KEARNEY: I'm actually glad you went first because I completely forgot where my inspiration was in the beginning for this whole idea of starting a band that would be an all-female band.

I guess part of it was the desire to... because I've been in other bands before, and I was in a local Maplewood band called Dollar Store Riot with all guys that I played in for about six years, and then I decided that it was just time for me to close that chapter of my life, and so I'd always wanted to have an all-female band.

I'd had a couple of false starts in the past when I was still living in the city, and I have a friend that I went to high school with, actually, which you may have heard of, Sindi B.. She was in this band called The Lunachicks. We hung out in the NYHC, the New York hardcore scene when it first started in about ‘81-84. Our misspent youth was spent doing that and we both bought our first electric guitars at the same time. I was the goody-two-shoes. I went off to college and just did what was expected of me and she didn't. She quit, dropped out of college, and formed this band. I always wanted to do the same thing, and so I was just like,"Well, Nancy, why don't we just try starting an all-female band? I've always wanted to have an all-female band. Let's just have a go for fun." 

At the beginning, it was just the two of us, and then we started writing together, and then eventually we found the drummer, CJ, and then we found Kristy.

Listen to the Megasparkle Mixtape on Spotify

It was just all those influences from The Donnas, The Ramones, all the punk rock I listened to, DISCHORD, all of that stuff. The Flex Your Head album, I still have. That was on permanent rotation when I was a teenager. All of that. Then all the newer stuff, too, became an influence. One of the songs has kind of a My Bloody Valentine influence.

I feel like every song on this album is a little different. We didn't really set out to have a particular sound on every one. It was just like, "Let's write a song." One song was a Ramones kind of idea that I had that we put lyrics to, and then another one was like, "Let's just write a shoegaze song." So we kind of just went in that direction.

NANCY COOK: One has kind of like a Juliana Hatfield feel. It's got a totally different vibe, too. They all have a different vibe.

We still haven't covered all our bases. We could just keep going, with all the different sounds that we like. We actually have on our Spotify a mixtape of bands that we like and the influences.

We also worked on some covers and things that we liked, like the White Stripes was one of them that we liked, and we were working on a cover of that song, and who else were we covering?

THEA KEARNEY: Social Distortion and Ex Hex. 

NANCY COOK: Oh yeah, I love Mary Timony. I just watched her live performance at St. Marks. It was amazing. She's so talented. She's definitely an influence for me, for sure.

You mentioned a little bit about your creative process. For the songs on your album, did you start with the music, the melody, the lyrics?

 NANCY COOK: For "Pretty Dresses," I had a lot of the melody written, and then I wrote the lyrics, Thea added more lyrics and arrangements, and then we put it together. All the songs have their own story.

"Everybody Wants to Be a Rock Star" started with the answering machine message that starts the song. It comes from a Village Voice ad that someone answered when Thea was looking for musicians, and so that was the starting point for that song.

"Iridescent Sparks" is about text messaging. That's such a big part of our culture now and just how people communicate mostly.

The other one, the shoegaze one, "Swirling Rose Hips Tea," My Bloody Valentine was the influence for that. 

The last one, "Piece of Cake," is sort of, everyone wants to get a piece of cake and eat it, too. It's like, “I want to have it all. Why can't I have it all? Let's try to have it all!” You know? So, the surprise inside is like the Mardi Gras cake that you break up and there's supposed to be a little toy in the cake. It's like, "Ooh, a little surprise!"

THEA KEARNEY: You know, it's funny, it wasn't supposed to be about cake. That became the metaphor because we were writing it right around Mardi Gras time, and we were talking about how we should really write a song, like a hardcore song, like Agnostic Front or something, and it didn't really come out like that in the end, but it came out to be something different, but it started from this discussion. We would just sit down and brainstorm this idea and write all these ideas down and then condense it into a song, because, as you know, you can't put everything in one song. 

NANCY COOK: Yeah. Some of our notes for our songs are really amusing. We should dig those up! They were really funny.

Listen to Megasparkle’s debut EP “Swirling Glitter” on Bandcamp, Spotify, and other streaming services. Released on Sea Dragon Records.

Where did you record your album? Who did you record with? What was that process like?

THEA KEARNEY: Originally, we were getting ready to play a show in June (2020), a live show. We had been practicing. We had a bunch of covers and originals. At that point, we had enough to do a show, and so we were like, “Yeah, let's just play a little local show” because Nancy likes to book a lot of local bands, and so we were getting ready for that, and it's supposed to be in June, and this was like February of 2020 and then, obviously, the pandemic put a lid on that, and then we were like, "Oh, what are we going to do?" and so I suggested, "Instead of doing a show, why don't we make an EP?"

I thought, "We'll just find a studio, we'll go and get somebody to do that." I called a few places and they're like, "Well, I don't know if we can help you, but maybe, but we’re not sure what's going to happen" because it was literally a couple of weeks before they declared it a global pandemic and everything just was like dominoes falling. It's like, everything is closing and then that's it, and so then I was like, "Oh, OK, what are we going to do?"

In all my years of doing music, I had dabbled in mixing before. I had done Pro Tools and recording. I was a little rusty, but I was like, "Well, you know, I think I can figure it out." We didn't have anybody to help us. We didn't really have a lot of money to be forking out either, and everything was closed, so what are we going to do? So, I was like, "We'll just record from home, and we can figure out what equipment we need." 

I spoke to Kristy (Ranieri), and we originally thought we were going to use electronic drums because CJ had some electronic drums at home. So, we tried with that. We were recording the guitars and the vocals, and it was going pretty well, but then we got to the point where we figured out how to do the electronic drums and she sent us the recording and we were like, "No, the symbols just sound... It just didn't sound good." It was like, "No, this isn't going to work."

So, we have a local person that we work with, Laughing Boys Recording's Tom Lucas. He's really great. A lot of people record with him. We didn't think he was open, but then we said, "Well, what if it was just CJ?" CJ went in with a mask and they sanitized everything, and she just went in by herself to do the drums. At first, she was kind of nervous about the whole idea, but then she said she would do it, and so she went in and recorded. I prepared all the tracks for her and sent them to Tom, and then she went in.

We thought it was going to take, like, two days or something. She was just so amazing, she did all five songs in one day. I was like, "Wow!" Then Tom Lucas sent me the tracks and then we just continued on from there. We did a back and forth with GarageBand and Logic. Kristy and Nancy bought an interface so that they could literally record on their iPhones, so they actually recorded the songs on their iPhones. 

NANCY COOK: Yeah, Kristy and I recorded on our iPhones. It’s remarkable and we should be really proud of it!

THEA KEARNEY: It was pretty amazing. I would send them the tracks through iCloud, put the tracks in GarageBand, give them a track to record to, and then they would record to that, send it back to me, and then I would combine everything in Logic and record my parts in there, line it all up, and then mix it. It was pretty daunting. I actually got somebody else to help us a little bit -- a guy out in California, Mike from MooseCat Recording. They have a virtual studio, and they were just getting started with that because of the pandemic. I guess they used to do everything in-person but because they're out in Los Angeles and they needed to keep things running, they started offering virtual services. So I was like, "Oh, great!" So they helped with some of the mixing on a couple of the songs, but most of them I did all the mixing on, so I learned a lot this year -- a whole lot. I think we all learned a lot.

NANCY COOK: She worked very hard!

THEA KEARNEY: I mean, it was pretty daunting, but, oh my God, we did it! We all figured it out. Nancy and Kristy were like, "I don't know how to record on my phone," but with my help, they figured it out and they did it. 

“A year ago today we sent our first single ‘Pretty Dresses’ off to CD baby. Here Nancy and Thea are after practice in the garage hugging their guitars to stay warm after a bitterly cold band practice in the garage in November 2019.” — Megasparkle Facebook page

NANCY COOK: Yeah, and Thea went in her closet to sing vocals, and I went in my garage. I actually have a vocal booth in my garage. So I went into my garage, and it was kind of fun. I got a little kid lawn chair, my microphone, and sang away, too.

THEA KEARNEY: Whatever it takes, right? I mean, we had to really be creative.

NANCY COOK: I've always liked the DIY approach. I'm always DIY.

THEA KEARNEY: Yeah, me too. It's to a fault, though, because sometimes it's exhausting doing everything yourself.

NANCY COOK: Well, Thea just cut her hair very well. DIY haircut.

THEA KEARNEY: Yeah, that's another story. Ha!

There's a lot to be said for doing things yourself. You learn so much from doing things yourself. Like I learned a lot about haircutting, cutting my own hair. So yeah, it's amazing.

Is there anyone who you'd like to give a shout out to, whether it's other artists or bands, venues, favorite restaurants that are closed, businesses, or anyone who you think deserves some attention during this unusual time?

https://bonepoolradio.com

NANCY COOK: I think we should give a shout-out to Michelle from Bone Pool Radio, who is one of our friends. She has a radio station in town. She would be an amazing person for you to interview. She's awesome. She always wanted a radio station, and I don't know exactly what year it started, I want to say it was 2018, and she and a few other partners started it. A lot of the people in town including Thea's husband DJ for it, and they pre-record their shows and she broadcasts them. There's a bunch of DJs in town and it was bought by iHeartRadio, and yeah, it's been a really amazing ride for her. So that's my shout-out.

THEA KEARNEY: That’s good that you did that because I was going to shout-out one of the DJs, Donny Levit, because he was the first one to premiere a Megasparkle song on the radio. So I want to shout out to him and, obviously, all the other DJs on Bone Pool Radio. I don't know if they've played our music, but I'll give a shout-out to them as well!

NANCY COOK: Paul played "Pretty Dresses." Donny played a couple of them.

THEA KEARNEY: Also, Tom Lucas from Laughing Boys Recording. He really gave us a lot of helpful feedback and guidance, especially with recording the drum parts and how to get that done, so shout-out to him. 

And then shout-out to MooseCat Recording.  

NANCY COOK: And our bandmates who aren't here!

THEA KEARNEY: Of course our bandmates, for being willing to do all this from home, being willing to try that out and do that.

NANCY COOK: We have a lot of great local businesses to shout-out.

THEA KEARNEY: All the local businesses. There's been so many great supportive local places, like Rent Party. We never got to play Rent Party, but they've always been really supportive of local musicians. They do a lot of help for the community. They used to put on live shows with local bands and also international traveling acts and raise money for food-insecure families. So they're a really great organization here. And then The Woodland, they have a lot of shows.

NANCY COOK: The Woodland and Wyoming Club.

I used to do a lot of shows at Maplewood Mercantile when I worked there and was the Event Planner, so we can shout-out them because they're really very supportive of the music community.

THEA KEARNEY: All the teachers that ever taught me how to play, helped me play guitar, and my vocal teacher, Tim Welch. I'll give a shout-out to him. He's an excellent vocal teacher. He's got a local studio here in Maplewood. I think he's got franchises now. He's a really, really excellent teacher. Who else can we shout-out?

NANCY COOK: We could shout-out you, Thea, for doing all that hard work mixing! Let's give credit where credit's due, right?

THEA KEARNEY: Thank you to everybody.

NANCY COOK: Thank you to all of our supporters and our friends.

THEA KEARNEY: Thank you to everyone I've ever met or ever known in my entire life.

NANCY COOK: Ha!

THEA KEARNEY: And Mom and Dad, of course.

Finally, where/how can people connect with you?

THEA KEARNEY: We're available on all streaming platforms -- Spotify, Apple Music, Pandora. We have a Spotify playlist. Plus, we have a website. It's megasparkleband.com. Bandcamp, Instagram, Facebook. We also have some T-shirts for sale on Bandcamp.

NANCY COOK: We also had a poster that showcases our band at i19gallery.com.

It was an online gallery. They started doing art shows when the pandemic hit, and we decided that we would pass around this old red phone of mine that I've had for years. It was a promo for "Everybody Wants to Be a Rock Star" because that's the starting point, with the answering machine message. We all took pictures of us with the phone -- they look like they're in slides -- and then the red telephone cord just slashes through the whole collage, which is kind of like the pandemic interfering with our lives. Actually, I really love it. I think it came out really good.

THEA KEARNEY: It was cool because we kind of combined... It was like a multipurpose thing because Nancy and I, we originally met because we both have backgrounds in multiple artistic areas, like visual arts and music. There was a call for art made during COVID, by the organization Good Crowd Events. I was like, hey, we were already doing the phone idea for what was going to be the cover for "Everybody Wants to Be a Rock Star." We designed all of the song covers. We did all those ourselves back and forth. I did a couple of the covers, Nancy designed a couple of those, and one of them was this idea that Nancy actually had the phone and she said, "Well, why don’t we take pictures with this?" and I was like, "Well, why don't we enter it in this art show and it will serve two purposes? It'll be for the cover and it'll be for this collage."

It was during the pandemic, and so we had to clean the phone off and then drop it at one person's house, and then they would clean it off and take photos and then drop it at the next person's house, and that's how we got all the photographs. It was like, you know, this is how we communicate during a pandemic — passing the phone around, and also we can only communicate on the phone. So, it was like the whole concept of that just kind of came together really well.

“Call Me!” Featured in www.i19gallery.com’s online art exhibition, ARTdemic.
Art Concept: Nancy Cook, Thea Kearney
Photography: Nancy Cook, CJ Jeiven, Thea Kearney, Kristy Ranieri
Photo Editing: Thea Kearney

A Fabulous 5th Annual 24 Hours of Music Jamboree, Sept 25 and 26, 2021 (RECAP)

By Gregory Burrus | Posted Wednesday, December 15, 2021

The South Orange 24 Hours of Music Jamboree started in 2017 as a local live music event, where the musicians performed on multiple local stages, year after year for 3 years in our neighborhood parks, stores, and gazebos. However, in our new pandemic world in 2020, we all had to adjust in many unexpected ways. The COVID-19 pandemic drove many industries to instantly shut down. Borders, race politics, it did not matter. 

We were faced with a new world and understanding that to resolve this problem we needed to know that “we were and still are all in this together“. Hence, the 24 Hours of Music Jamboree had no choice but to adapt and evolve with the times. In 2020, we adapted the event to be totally online. And we had a great time.

The great thing we learned is that live music is universal and musicians can play with each other from all over the world.  We evolved this year's performance program to meet the lingering needs of a global pandemic, ongoing social distancing, and sporadic worldwide travel restrictions. 

Making It All Happen 

Additional adjustments were needed this season as we had scheduled a full-day tribute to one of our fallen musicians, bass player Darryl Clark. We kicked off the Darryl Clark Tribute in July, but we ran into some extremely uncooperative weather. Hence, we had to reschedule this event before the end of the Summer Saturdays season. Addressing the above issues of travel restriction, rescheduling, budget restrictions, lingering social distance issues, etc., we turned this year's 24 Hours of Music Jamboree into a hybrid affair of online and offline performances. While not continuous due to pandemic restrictions, we used a single venue flow for all performances, therefore turning the 24 Hours of Music Jamboree into 36 hours of music over the weekend. 

Set 1: Saturday, 10 AM - 10 PM 

Planning was done in time to enjoy 3 sets of live music performances. The weekend was divided up between 12 hours live on Saturday, 12 hours overnight, and an 11-hour in-person Tribute on Sunday.  Now, let's take a walk through a wonderful day of live music, jazz, R&B, and a DJ Dance party.

Baker Street Duo with Alex Desrivieres and Senia Raines

The Baker Street Trio, featuring Ben Collins-Siegel on keys, Ben Schwartz on drums, Alex Desrivieres on Sax, and Sen Raines on Bass kicked off the 5th Annual 24 Hours of Music Jamboree. The music at 10 AM was wonderful and a great way to start the day. You can read more about these youngsters here:

• Bernie Williams-Gil Parris Quartet with Baker Street Trio Knock it Out of The Park at the Woodland in Maplewood

• Baker Street Trio Debuts in Summer Saturdays at Jazz On Sloan St.

• Maplewood Porchfest 2021 A Huge Roaring Live Music Success in Hilton, Maplewood, NJ

Matt Chertkoff Trio featuring Houston Person, Vince Ector, and Matthew Parish

This was an off-the-chain performance at the 5th Annual 24 Hours of Music Jamboree. Thank you to the phenomenal Matt Chertkoff Trio performance with Houston Person on Sax, Vince Ector on Drums, and Matthew Parrish on Bass. The noon to 2 PM performance was a jazz performance that will be remembered for a long time. Read more about Matt Chertkoff Trio feat. Legendary Saxophonist Houston Person.

Leonieke Scheuble Quartet

Thank you to the fabulous Leonieke Scheuble Quartet for joining us in the 5th Annual 24 Hours of Music Jamboree. The music performed by Nick Scheuble on Drums, Chuggy Carter on Percussion, and Leonieke Scheuble on Keys, with the legendary bassman Bill Crow, was swinging and just beautiful to listen to and the audience loved it all.

Learn more: Exciting Rising Pianist Leonieke Scheuble Leads Her "Jazz Across The Generations Trio" for Jazz Appreciation Month 2021.

Kumiko Tanaka 

As you can see, the Kumiko Tanaka Trio’s performance was absolutely wonderful. Loving this performance and knowing that folks in Japan faced a lot of the same pandemic challenges we do in performing live music, I requested some background. I asked Kumiko about how they prepared, how they felt about their performance, and how it was received by their audience in Japan.

Read More: Japan’s Kumiko Tanaka Trio Live in NJ - 5th Annual 24 Hours of Music Jamboree (RECAP).

MPack Music

Thank you to MPack Band for kicking off the dancing Sounds In Spiotta Park for the 5th Annual 24 Hours of Music Jamboree. The band consisted of Kev Moore (Natz) on Drums, Larry Greenberg on Keys, Kenny Robinson on Guitar, with Patricia Walton on Vocals, led by Clarence Conover on Guitar and Vocals. We switched over to R&B, and folks started moving to the beat with their feet as all entered into jamming and dancing part of the weekend. The audience loved it. 

MPack is the musical brainchild of bassist, guitarist, keyboardist, drummer, and vocalist Clarence 'Groove Master' Conover.  He’s the founder, leader, and vocalist of the Clarence Conover Project, the MPack Band, and the Founder and CEO of M-Pack Music Productions, whose motto is “Life Changing Sounds.”  He released his first CD, My Time, in 2014.

New Jersey DJ Services LLC w DJ Jimmy

Thank you to New Jersey DJ Services LLC and their killer sound system for rocking Spiotta Park in the 5th Annual 24 Hours of Music Jamboree. The music played by DJ James Buttros was swinging and got folks up on their feet dancing the rest of the night. It was a perfect way to end 13 hours of live music in South Orange Downtown Summer Saturdays.

Watch: https://www.facebook.com/gregory.burrus/videos/410486934031777/ 

“New Jersey DJ service is a DJ, entertainment, and party rental services. Party Rental includes bouncy houses, game trailers, etc.. We've been in business for over 25 years and our rates are best in the business.” https://www.facebook.com/newjerseydjservices 

Set 2: Saturday, 11 PM to Sunday, 12 PM

Set 2 was reflective of last year, 2020, which was all online. Pre-recorded performances were played throughout the night. 

Set 3: Sunday, 10 AM - 10 PM — Darryl Clark Tribute 

As mentioned above, thanks to the Town of South Orange and South Orange Downtown, we were able to use the final weekend of the Summer Saturdays Live Music Season. The third part of this hybrid weekend was an in-person 3rd set of all-day music on Sunday 9/26. Here's a short snippet:

You can review and listen to the full Sunday tribute here:

Darryl Clark Tribute in the 5th Annual 24 Hours of Music Jamboree

It’s been a lot of fun every year since the beginning. Hopefully, we see you next year. For now, enjoy some of the good times above and below that went from in-person to totally online, and now back to hybrid events. 

Enjoy Past 24 Hours of Music Jamboree Experiences:

• 2020 4th Annual 24 Hours of Music Jamboree

• 2019 3rd Annual 24 Hours of Music Jamboree

• 2018 2nd Annual 24 Hours of Music Jamboree

• 2017 1st Annual 24 Hours of Music Jamboree

Hopefully, you enjoyed this video walk-through. Talk soon.

About the Author

Gregory Burrus books bands and produces, promotes, captures, and records live music events along with various community and private activities. 

My mission is to help my customers, which are community groups, live music bands, and local nonprofits, reach their goals and accomplish their missions while enjoying the day-to-day process of life.  

Learn more at https://24hoursofmusicjamboree.com and https://gregoryburrusproductions.com 

Jazz973 Swinging Hard with Norman Mann and Rafiki at Clements Place Jazz for Rutgers Institute of Jazz Studies

By Gregory Burrus | Posted Sunday, December 12, 2021

One of the many tasks I perform every year is producing and promoting live music events. Curating the right band relies a lot on the bandleader bringing out all the right musicians and getting them to perform in a synchronous manner. This season, Gregory Burrus Productions had a number of "Norman Mann and Rafiki" live music performances that stood out as outstanding. This was evidenced by sold out, very happy audiences enjoying themselves to the maximum. Let's listen to a few performances and then meet the band.

Norman Mann and Rafiki were live in South Orange Downtown Live Music Concerts in August, and it was started then eventually was rained out. The band was Norman Mann on Percussion/Vocals, Gene Ghee on Sax, Peter Lin on Trombone, Joy Topping Mann (aka Ife Basim) on Vocals, Christopher Dean Sullivan on Bass, Alvester Garnett on Drums with James Austin Jr. on Piano. For the time they performed, it was oh so sweet.

They came back together again, live at the Rutgers Institute of Jazz Studies’ Clements Place Jazz in Newark, NJ. They all got together and produced a truly awesome live music concert. The band configuration was Norman Mann on Percussion, vocals, Gene Ghee on Sax, Peter Lin on Trombone, Joy Topping Mann (aka Ife Basim) on Vocals, Christopher Dean Sullivan on Bass, Sir G. Earl Grice on Drums, Tomoko Ohno on Piano. 

As you can see and hear, Norman Mann curates a stellar list of musicians that perform some incredible sets. Part of this may be hinted at in the band name Rafiki. Norman has been quoted as saying, "Rafiki is a Swahili word that translates to English as ‘friend.’”  So now, let's meet the friends in the band. 

Norman Mann — Bandleader — Percussionist

Norman Mann, an alumni and Football Hall of Famer of Weequahic High School is widely respected within the community and was honored to perform at the East Orange Library’s tribute to Amiri Baraka.

Norman, along with Greg Salandis, are widely known for their past partnership at Skippers Plane Street Pub in November 2007. Skippers was a very popular spot in Newark located on University Ave and was a welcomed addition to Newark's nightlife. It was a place where music, food, drink, and conversation were the rage and occurred in a comfortable, friendly environment. Skippers featured many of the Tri-State’s musicians and singers. Norman Mann, as a musician, plays congas, percussion and also sings. He has appeared with drummers Greg Buford, Alvester Garnett, and singers Ty Stephens, Joy Topping Mann, Tomoko Ohno, and Dwight West along with one of Jersey's top organists and keyboardists, Mel Davis, to name a few. 

Norman and his bands have performed in numerous venues around Northern New Jersey such as Montclair’s Trumpets Jazz Club, Newark’s Priory Jazz Club, City of Orange’s Mr. Jays, Jazz In Spiotta Park and Jazz On Sloan in South Orange, NJ. Norman is the CEO of G Mann Productions, has produced jazz shows at many of the Tri-State area clubs and lately has been producing events in Irvington’s Cricket Club.  

Following are the bios of some truly cool members of the band.

Tomoko Ohno — Pianist

Tomoko Ohno, born in Tokyo, began piano studies at the age of 4. As a teenager, she began playing professionally in the Tokyo area jazz scene. After graduating from Rikkyo University in Law and Politics, Miss Ohno moved to the United States and entered the Jazz Studies Program at William Paterson University in New Jersey, where she studied with Harold Mabern and Rufus Reid. During this time she had the opportunity to perform with such artists as Jerome Richardson, Wynton Marsalis, Benny Golson and Joe Henderson. A recipient of the Student Award of Outstanding Performance and a member of the Dean’s List, Miss Ohno graduated with a B.A. in Jazz Studies.

She has performed at Lincoln Center, Weill Recital, Carnegie Hall, The Blue Note, Birdland , in addition to appearing on live radio broadcasts by WBGO and WNYC, and ABC TV's Good Morning America. She has performed and/or recorded with Slide Hampton, Claudio Roditi, James Spaulding, Rufus Reid, The John Lee Quartet, The Dizzy Gillespie Alumni Big Band and Sherry Maricle and the Diva Jazz Orchestra, as well as working as a side musician with such diverse musical ensembles as the Harlem Spiritual Ensemble and The Spirit of Life Ensemble.

Miss Ohno also leads her own group, and has released three CDs on the Japan-based Tokuma label. In 1997 her first album, “Powder Blue” was released, and in 1999 her second album, “Affirmation” was released, followed in 2000 by the album "Natural Woman." Her album "Shadows of Spring" (recorded in Argentina) was released by MDR Records in 2005. "Tomoko Ohno in Buenos Aires" was also released by MDR Records in 2007. The duet album with legendary Argentine guitarist Ricardo Lew " From Tokyo to Buenos Aires " was released in spring 2011. The duo added the cellist Nestor Tedesco from Teatro Colon and released the Tango/Jazz album " Tres Sabores " in 2016.

http://www.tomokoohno.com

Gene Ghee — Saxophone, Flute, Clarinet

Gene Ghee - (saxophone, flute, clarinet) is a long-time performer and educator. He graduated from NYU with a music education undergrad degree, from the Manhattan School of Music with an MA for music performance and from Columbia University Teachers College with a Master of Education degree. He has appeared as a sideman with an array of performers from Art Blakey to Stevie Wonder and is also a recipient of the Daily News Music Teacher Recognition Award.

Gene Ghee is a highly in-demand saxophonist and has performed with numerous professionals such as Art Blakey Jr., Brother Jack McDuff, Jimmy McGriff, Teddy Pendergrass, Anita Baker, B.T.Express, Arthur Prysock, Little Anthony and The Imperials. Add to that Etta Jones, Bernard “Pretty” Purdie, Benny Powell, Eddie Palmieri, Machito, and Barry Harris plus the list goes on. He's a performer on recordings of Stevie Wonder (Do I Do), played tenor saxophone and contracted the horn section for the session which included Frank Wess, Virgil Jones, Ron Tooley, Britt Woodman, Clifton Anderson, Victor Paz and others. Recordings / performances with the likes of Evelyn “Champagne” King, The Village People, Candi Staton. T.S.Monk plus many more national and international performers.

Joy Topping Mann (aka Ife Basim)

Joy Topping Mann (aka Ife Basim) - In her early days as a Contemporary Christian artist, songwriter and arranger, Joy Topping-Mann co-produced three CD projects of original music which she performed nationally and internationally with her band ‘Gifts.’ She has opened for other well-known Christian artists, was signed with Jamm Records, a Los Angeles, California record company, and has had her music played on radio stations throughout the U.S.

As a producer and promoter of special events, Joy has received local acclaim for the Annual Women’s History Month Celebrations held each March at the St. Joseph’s Plaza (formerly known as the Priory) located in Newark, New Jersey. These uniquely memorable experiences have focused on honoring extraordinary women for their outstanding accomplishments, Audiences have been treated to virtuoso performances by the Tri-state’s most talented artists.

As a jazz vocalist, Joy’s rich melodic voice and unique phrasing take the listener back to the days of classic jazz, invoking shades of Sarah Vaughan and hints at the daring of Billie Holiday. Warmly embraced by enthusiastic audiences, she has appeared at several venues throughout the Tri-state area.

https://www.jerseyindie.com/blog/whm2021-womens-history-month-celebration-by-ife-basim-masterpieces

Christopher Dean Sullivan — Bass

Christopher Dean Sullivan - “a bassist who is authoritative and bluesy while bending notes that honor his affection for legends such as Slam Stewart as well as Ray Brown.” ~ Steve Monroe, Jazz Journalists Association

The critically acclaimed Chicago Ill born, Pittsburgh PA raised bassist Christopher Dean Sullivan is well traveled throughout the U.S. and abroad. Christopher started his career in Pittsburgh , PA. After a few years in Germany he returned to Pittsburgh and honed his craft as a bassist during his time with the Jazz Workshop Inc., located in the Homewood district, under the direction of Harold Young Sr, and the Archives, located in the Hill district, developed by Errol “Mobutu” Reynolds (Grant Green, Johnny Lytle), where Chris in his words stated …“I got the honor to perform with guitarist Grant Green on three different occasions, through my association with the Archives.”

Chris quickly became known for his own unique approach to playing the bass. He formed local commercial groups that would go on to open up concerts for such bands of notoriety as the Ohio Players, The Bar-Kays, New Birth, The Tavares, and others. Chris decided to expand his musical horizons and started performing with the jazz notables of the Pittsburgh, PA region; Joe Harris (Dizzy Gillespie), Roger Humphries (Horace Silver), Nathan Davis (Pitt University), arranger Arthur Powell, Pete Henderson, Larry Mcgee, Nelson Harrison (Count Basie), J. C. Moses (Eric Dolphy), Geri Allen, Carl Arter, Jothan Callins (Sun Rah), and others. Soon he achieved the opportunity to perform and travel with music notables Lou Soloff, Jimmy Owens, Johnny Lytle, and others for a number of years before locating to New York City.

While residing in the New York region Christopher Dean Sullivan has had the opportunity to share the stage in performance and/or record with Archie Shepp, Sheila Jordan, Carter Jefferson, Yusef Lateef, Odean Pope, Stanley Jordan, Freddie Hubbard, Billy Hart, Christian McBride, Stanley Jordan,

Sonny Fortune, Horace Parlan, Carl Grubbs, Irene Reid, Richie Cole, Jon Faddis, Vanessa Rubin, Eddie Henderson, Bob Gluck, Charli Persip, Henry Grimes, Pete Seeger, Roy Campbell, Della Griffin, Barbara Sfraga, Joe Lovano, Cotton Club All Star Band, Pucho and the Latin Soul Brothers, Israel “Cachao” Lopez, Stanley Turrentine, just to name a few.

http://www.christopherdeansullivan.com/

G. Earl Grice — Drums

G. Earl Grice - G. Earl has been playing music throughout the New York City area for the past three decades. His talents stretch from the piano to the drums. His favorite instrument is the drums. He currently plays with the Crown Heights Affair. He is affectionately known as 'Sir Earl' with his fellow musicians. Impressing everyone with his ability to text and drum at the same time.

G. Earl has shared the stage with artists such as Sonny Rollins, Clark Terry, Rhoda Scott, Stevie Wonder, George Benson and many others.

Earl was also the recipient of the 1997 Jazz Award from the Jamaica Development Corp. Other drummers who have received this award include Max Roach, Roy Haynes, and Charlie Persip.

In addition to his music background, G. Earl has worked on approximately fifty movies and television shows as an actor.

https://www.facebook.com/sir.g.earl 

Peter Lin — Trombone 

Peter Lin - Taiwanese-American trombonist Peter Lin is a young and creative musician active on the New Jersey and New York scene. A graduate of the jazz programs of William Paterson University (undergraduate) and the graduate program of Rutgers University, Peter studied with jazz trombone legends such as Slide Hampton, Steve Turre, Conrad Herwig, Robin Eubanks, Steve Davis, & Frank Lacy. He has performed with many notable artists including Slide Hampton, Winard Harper, Charli Persip, Valerie Ponomarev, JD Allen, & Radam Schwartz. Peter is also an established educator, holding a prestigious faculty position at Melissa Walker & Christian McBride’s non-profit organization, Jazz House Kids.

His first record, With Respect, featured arrangements of classic Chinese and Taiwanese songs, which peaked at #3 on the NACC Charts and #4 on the RMR Charts. His second album, New Age Old Ways, features eight of his original compositions along with an original comic book with illustrations by Kelly Lin.

https://www.yardbirdent.com
https://www.peterlinmusic.com

Norman Mann and Rafiki — South Orange Live Music Concerts

For me, booking this stellar cast of musicians every year means good times and great live music performances. Whether Norman Mann and Raiki are performing jazz originals and/or standards, you are guaranteed to be tapping your feet while dancing and swinging in your seat. These seasoned veterans combined have over 150 years in the entertainment business, creating a wealth of experience from numerous performances around the US and across the World. Hence, I invite you to check out the band Norman Mann and Rafiki and his other events currently at Irvington’s Cricket Club. I guarantee you a really great time. 

About the Author

Gregory Burrus produces, promotes, curates and hosts numerous live music concerts. Gregory Burrus is also a supporter of local businesses and community events. On a regular basis he writes for various art and entertainment news sites, blogs while documenting community events. Just having fun, living life, while helping others.

Learn more at http://gregoryburrusproduction.com.

Discovering the Live Music of Alex Desrivieres aka AlleyCatSax and the Harmonic Convergence Band

By Gregory Burrus | Posted Sunday, December 12, 2021

One of the great things about being in the live music productions and promotions business is the ability to watch musicians create new or adapt a standard tune into something unique and wonderful. Having booked over 100 bands a year, I get to listen to many bands and many genres of music. When you are sitting in the back of an event, you start seeing the audience heads bopping, toes tapping and sometimes they singing along.

Luckily for me, I had an audience member converse with me about music genres and eventually recommend a band. Eventually I listened to Alex Desrivieres aka AlleyCatSax and his Harmonic Convergence Band. What a treat! I loved the sound and booked him / his band when I could throughout these pandemic times. He plays some pretty cool music. Take a listen.

Harmonic Convergence in Downtown South Orange Live Music Concerts

A number of folks started coming out whenever he performed and wanted to know more about Alex and his band. So, as the world inches toward our new normal, we caught up with Alex and asked a few questions about what’s happening in his musical life.

First off, love the name — AlleyCatSax! Where did that come from?

Well, it's a funny story. The name comes from a nickname I got by chance back in high school. My band director gave me a solo about 10 minutes before we went on stage and then forgot my name when announcing me on stage and introduced me as "alley-cat" and it just kind of stuck since then.

What is Harmonic Convergence?

Harmonic Convergence is a project I started after completing my last cruise ship contract. I had experienced so many new cultures and styles of music that I really wanted to have a group of people who shared a love of mixing genres, cultures, and pushing boundaries. As for the name, at the time I was watching a cartoon called "Avatar: Legend of Korra" and there was an episode where there was a phenomenon going on called "harmonic convergence" where the spirit realm and the earth realm were bridged. I couldn't help but think to myself "that's what it feels like when I play music. That's what I want it to feel like when others hear me play music." The fact that it has the musical term "Harmony" which embodies how things sound as one; and "converge" when things come together, be it through conflict and resolution, exchange, etc., the title expresses a lot of what I try to achieve in music. Who says you can't learn from cartoons hahaha

What makes up the band?

For this band, you need to have open ears, first and foremost. I like to take things into different directions often on a whim. I might hear something in the ride or an idea in the guitar and that will become the basis for a whole new direction for a tune. Every tune is a journey even if it has some clear basis to it. I don't like to be tethered to a preconceived idea. Everything is but a moment in time and goes just as quickly as it comes. Best to be present.

The guys I play with, Gordon, Ben, Ian, Ilan... they've been with me through the evolution of my philosophy and we've created some great music on a whim. Sometimes I just shout a progression and they are right there and it'll change and develop just like a baby into an adult all in the few minutes we play.

It makes it interesting when I play with new folks who have their own styles and approaches. I love playing with new people, that's how we learn, through sharing and interacting. But, we have to be open to conflicting ideas. Sometimes choosing to challenge to be flexible or to stand their ground. It's all a conversation in real time.

Where are you headed, musically, professionally, etc. in your live music journey?

That's a good question. I don't really know haha. I just want to create. Right now I'm getting an Artist Diploma in classical Oboe and English Horn. It's an opportunity to explore a new way of thinking in music while honing my craft on a secondary instrument. 

I'd like to write and record more music and generally play more with people. Right now I'm exploring a lot of new territory between Jazz, western classical, and Indian classical music. Probably my dream job would be to write for video games while also performing. Video games exposed me to so many different instruments and styles of music. It's also a hobby of mine, so to combine the two would be great.

Has the pandemic affected your musical journey? 

Definitely! I had originally planned to do a few more cruise ship contracts, but that was not possible due to the pandemic. I was also trying to make a few other moves to try my hand at booking a tour, something I still have yet to do. But, the pandemic gave me a new opportunity to sit still and try to figure things out here at home which has been a blessing. If that didn't happen I wouldn't be having this conversation with you. I wouldn't have had the opportunity to go back to school. I've made new connections and reconnected with others so there have been a lot of positive things that have happened which is what I choose to focus on rather than the losses I've taken and the changes I've had to make. 

We are always learning. I'm only 28, so I'm still a baby in terms of life experience. I had other musical plans, too, in terms of other projects I wanted to record and other things I want to try, but they are not off the table, I'm just going with the flow.

What else are you working on?

Well, right now I'm working on a few different writing projects, a tribute to some of my favorite video game composers and another batch of original music, but I'll cross that when I come to it. I've recorded with a few different local artists in the last couple of months across a variety of genres and I'm looking forward to hearing how those come out.

While this interview is about the jazz band — are you into other musical genres or activities?

Too many to list haha. Like I mentioned, I love film and video game music. If I put my phone on random you'd hear music from all over the world in the first 30 min. Over the summer I went to an Arabic concert and started doing some research into their musical traditions. I also take private lessons on sitar to better understand Indian classical music. There is just so much out there and I'll never learn it all in my lifetime, but that doesn't mean I won't try haha.

Anything else you want your audience to know about  your music?

Sometimes the music will be clear and easy to digest, sometimes it won't, but be open to feel whatever it is you feel as that is your human spirit connecting with something much bigger than yourself. 

What's the best way to hear your music online?

You can find me on Spotify under "Alexandre Desrivieres" or on YouTube you can find some of my videos of fun projects I put together or clips from live shows.

What's the best way to contact or book you?

If you go to my website alleycatsax.com you can contact me there. All of my contact information is there!

Final Thoughts 

While the busy summer season is over, and we start booking more live music, I am excited to state that we at Jazz973 have booked Harmonic Convergence into Clements Place Jazz this season and for the 2022 season, so please join us.

About the Author

Gregory Burrus is a Passionate Community Advocate, Live Music Producer, Reporter, and Writer about local events and happenings In and  Around Essex County, NJ. Showcasing, photographing, videotaping events and creative people as they occur around town while living life every day to the fullest.

My mission is to help people, live music bands and local nonprofits reach their goals and accomplish their missions while enjoying the day to day process of life. Are you ready for your interview? Let’s connect! http://gregoryburrusproductions.com.

Jazz973 Returns to Clements Place Jazz Honoring Generations of Jazz Musicians - Fall 2021 (RECAP)

By Gregory Burrus | Posted Wednesday, December 8, 2021

As Melissa Hawkins says:
“vaccines will — literally — be the ticket” 

After a long “pandemic” hiatus, Jazz973 live music has returned to Newark's Clements Place Jazz  at Rutgers Institute of Jazz Studies. Jazz973 debuted in the pre-COVID days, so we are back, but as you can see the curtains aren’t fully up quite yet on normal life. As reported by Melissa Hawkins, an epidemiologist who’s the director of undergraduate programs at American University’s Department of Health Studies: “We’re back to a lot of uncertainty, with the rise in cases and the variant being more transmissible. It’s all about balancing risk.”  But “vaccines will — literally — be the ticket” to our sense of normalcy. 

Thanks to the tenacity of Executive Director, Wayne Winborne, Clements Place Jazz is addressing the risks as we have reopened with new admission / attendance criteria. We have removed half the seats, one must have an Eventbrite registration, vaccine card, personal ID and we are all wearing masks. So far it's been working in bringing Jazz lovers back out to join in the fun. We opened the doors to our jazz-starved Jazz973 patrons and they were happy to be back. What has been really gratifying is the overwhelmingly positive feedback we’re getting from customers and from the artists. Hence, we invite folks to come on back.  

To bring you all up to speed, here’s a video recap of the recent Clements Place Jazz live concerts that have been happening in the Jazz973 program:

Jazz973 Presents Leonieke Scheuble Quintet Jazz Across the Generations Quintet  

Wednesday, October 13, 2021 at 7 pm

The highlight of this fabulous opening event was watching 19-year-old rising star Leonieke Scheuble lead her band of seasoned veterans — Rick Savage - Trumpet, Adam Brenner - Tenor Sax, Nick Scheuble - Drums and 93-year-old Bassist Bill Crow. They performed music from some of our favorite quintet groups from the early 60’s, including Lee Morgan, Art Blakey, Clifford Brown and more! The night's music was jumping all night long. Read more.

Jazz973 Presents Mike Lee Family Band Introducing Jacquie Lee 

Wednesday, October 13, 2021 at 7 pm  

Jacquie Lee was being introduced to the Newark jazz scene in a big way. The Jazz973 program at Clements Place was proud to present the Mike Lee Family Band as they introduced violinist Jacqueline Lee at the Rutgers Institute of Jazz Studies. In 2019 at Garfield Middle school, Jacquie, who has been playing Violin for 11 years, received the Jazz Soloist Downbeat Student Music Award for an Outstanding Performance. Jacquie has also been a member of the prestigious Jazz House Kids program in Montclair, NJ. Read More.

Jazz973 Presents Matt Chertkoff Trio with Houston Person 

Wednesday, October 27, 2021 at 7 pm with 

While all these cats are seasoned veterans — Matt Cherkoff, Vince Ector and Mike Karn, it was led by the awesome guitarist, Matt Chertkoff, and the special guest was the phenomenal saxophonist Houston Person. Person built his reputation as a leader with a series of soulful recordings for Prestige in the 1960s. For a large part of his career, he is best known for his partnership with vocalist Etta Jones, which lasted for 35 years. He has recorded with such luminaries as Charles Brown, Ron Carter, Bill Charlap, Charles Earland, Lena Horne, Etta Jones, Lou Rawls, Janis Siegel, Horace Silver, Dakota Staton, Cedar Walton, plus Billy Butler, Don Patterson, Grant Green, Sonny Phillips, Johnny "Hammond" Smith, Richard "Groove" Holmes and others.  Read more.

Jazz973 Presents Radam Schwartz Quartet Set 1 at Clements Place Jazz

Wednesday, November 3, 2021 at 7 pm 

Radam Schwartz, Hammond B3 Organist and Jazz pianist, built his reputation over the last 30 years playing with such great artists as Arthur and Red Prysock, Eddie Lockjaw Davis, Al Hibler, David Fathead Newman, Russell Malone, Cecil Brooks III and Jimmy Ford. He has been featured on over 40 albums as a sideman and has recorded 9 albums as a leader. This Organ-led trio was something unique, special and swinging. Read more: https://patch.com/new-jersey/southorange/8-4-prolific-organist-radam-schwartz-presents-schwartz-sanity 

Jazz973 Presents Charlie Apicella Quartet at Clements Place Jazz

Wednesday, November 13, 2021 at 7 pm 

It's always very special to bring Charlie and his band through, as they always deliver a wonderful performance. "As a player, Apicella immediately brings to mind Grant Green. He's funky, he's bluesy, and he's not afraid to get dirty at times. Charlie Apicella and the Iron City band have that perfect jazz rapport that allows them to be tight as hell and play off each other beautifully." — VINTAGE GUITAR MAGAZINE. Read more.

Jazz973 Presents Meant To Be Jazz Quartet at Clements Place Jazz

Wednesday, December 1, 2021 at 7 pm

Bandleader Glenn Merritt, originally from New York City, has been playing music since he was a youngster. He studied classical piano and music theory at Manhattan College of Music. At 15, he was a percussionist for Willie Sossa’s Salsa band. He played electric bass in numerous R&B bands. His jazz chops have consistently improved since he first tickled the ivories nearly 40 years ago, and he has acquired a very tasteful style with lush chord voicing and a wonderful improvisational ability as a consequence of studying under his mentor, the late Morris Nanton of the famed Morris Nanton Trio. He is currently the pianist for the Meant To Be Jazz Quartet with Pete Omelio - Drums, Alan Hayes - Bass, and John Higgins - Trumpet. He co-teaches part time at the County College of Morris. Read More about Meant To Be Jazz Quartet.

Upcoming Jazz973 Events:

Tonight, Dec 8th, 2021, we have Jazz973 Presents Norman Mann and Rafiki at Clements Place Jazz at 7 pm & Dec 15th, 2021 we have Jazz973 Presents Alleycatsax and the Harmonic Convergence Band at Clements Place Jazz.

In the New Year some truly great performances are planned for 2022, such as vocalist Dara Jones, Drummer Matt King, Pianist Iyayo Ikawo, the James Moody Scholars, Lynette Sheard Entertainment, Pianist Dre Barnes, Bassist Kim Clarke, Pianist Champion Fulton and more...

Stay tuned.

Gregory Burrus Productions

Gregory Burrus is a local live music ambassador, event manager and community partner that develops, manages, promotes and documents local community events in the Northern New Jersey and New York area. Gregory Burrus sits on a number of local boards, nonprofit committees, curates and promotes Jazz973 at Clements Place Jazz live music events along with booking bands at several other local venues. For more information, visit http://gregoryburrusproductions.com.