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By ucombo, September 15, 2009 1:33 pm

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

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

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

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

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

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

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

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

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

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

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

Meg: LOL. What brought you back to music and especially to the American big band songbook setting?

Jerry: Like I said, I was always a jazz fan and I especially loved to listen to singers. Bing, Nat, Sinatra, Ella, Torme, J Hartman. These are just a few of my favorites. I guess what really brought me back was, when I got involved with my Dad’s big band “The Memories Of Swing” I became passionate about singing and it didn’t take long before I was hooked and I’ve never looked back.

Meg: Besides your busy performance schedule, you recently released your first CD entitled “Destination Moon”. You are dedicated to the preservation of the American old songs, isn’t it riskier to sing songs that have been sung and recorded numerous times?

Jerry: Nope! Not at all. You would be surprised to know that 80% of the people that book me for private and public events are in the 25-40 year old age bracket. The reason for that is, It’s just GREAT music. They don’t call them “Timeless Standards” and “The Greatest Music Of All Time” for nothing ya know!!!

You can also thank people like Michael Buble. Harry Connick Jr. Diana Krall, Boz Scaggs, to name a few and all the rockers who are singing standards now. They — like me, are keeping this music alive and well. Don’t you worry about! The Great American Song Book is here to stay.

Meg: It’s great talking to you. Thanks again and the best of luck in everything.

Jerry: You’re Welcome. Thank you,

Visit Jerry on www.jerrycostanzo.com

Jerry Costanzo is represented by Redwood Entertainment, Inc.

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By ucombo, September 2, 2009 6:15 pm

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

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

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

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

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

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

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

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

Meg: Even with boogie-woogie, you do not replicate other folks’ licks. Your playing is all yours and original. When did your playing start to form a style that’s your own?

DBC: Thank you for that. I think it has to do with having several musical mentors. If I steal from only one person, then I end up sounding like that person. But, if I steal from several, it becomes a blend of their styles. Also, all of my musical theory and ideas regarding soloing and chords come from my guitar playing. I know it sounds a little strange, but that’s what it is. When I teach, I try to get my students to develop their own styles, as well. When I have a student recital, for example, some of the students play the same tune, but it always sounds different. And, as a Buddhist, I strive to have my music touch people’s lives. I also think it has to do with the creative impulse. Blues is so visceral that, in a sense, the music comes from inside. And, so many different things inspire me. I truly enjoy making music.

Meg: Over the years, besides performance recordings, you also recorded several teaching audio and video tapes, wrote books on Piano Blues playing, and taught piano and guitar students. Do you feel that it is absolutely important to pass the knowledge you learned throughout your career to the next generation musicians?

DBC: Yes, I do. Not every musician can teach, and not every teacher is a great musician, but I am fortunate to be able to do both. I was once asked whether I thought I was a musician or a teacher and I replied that being a teacher was part of being a musician. It was a little offensive, if you ask me… As a teacher, my goal is to have my students surpass me and I’m proud to say that some of them have. I enjoy teaching and the truth of the matter is that my students make me play better, because some of them are really good. Professional. If I’m their teacher, I have to be able to teach them. So far, I’ve been able to fool them.

Meg: Your new CD “Cookin’ With Cohen” has a humorous title. Could you tell us about the inspiration and story behind making this wonderful new project?

DBC: I love to cook. I actually won 2nd prize in the Marin County Fair for a pie contest. I made a Walnut pie, like a pecan pie, but with walnuts. I got a red ribbon and a $3.00 check that I never cashed. I framed them and put them on the wall next to my gold album for Woodstock. (Even though I wasn’t there, I co-wrote Rock and Soul Music.) I make all kinds of dishes. A lot of desserts. Pies of all kinds. A flourless chocolate cake. Mmmmmm. I make tomato sauce in the summer. I make pizza that’s famous among a small circle of friends. Lasagna. And, I love for my music to cook. The similarities are ripe for the comparison.

Meg: That sounds awesome! I would love to try some of your pies as well as listening to more of your music. Thank you so much for talking to us and the best of luck with everything.

DBC: Thank you. I enjoyed it as well and thank you for the good wishes. You, too.

David Bennett Cohen is represented by Redwood Entertainement Inc. in New York city.

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By ucombo, August 30, 2009 8:20 pm

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

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

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

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

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

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

Pierre: Ray Charles is my first influence.  His music is rich, the feeling is great and he’s a great performer. I ‘m also impressed by the way that Bob Dylan and Tom Waitts compose.  They know how to reach perfection and how to tell great stories.  Donny Hathaway and Curtis Mayfield showed me another aspect of soul music.

Meg: This is your first North American CD release, could you tell us about the inspiration and story behind making this wonderful new project?

Pierre: I was playing and booking in the legendary jazz club LE BILBOQUET in St-Germain-des-Prés.  I met a lot of American musicians.  They all told me that I should go to the United States.  One day I met Bill Ecker from MUSIC AND OPERA AUTOGRAPHS, he told me that If I go to New York City he would introduce me to some people that he knows in the music industry.  I was already working on this album (it took me 3 years to finish it) and I thought that it was time for me to go to the United States.

Each song in this album is based on personal stories.

Meg: On “Since I Ain’t Got You”, the contribution of the American brass
section, both catchy and caressing, is a definite plus. How did you decide to incorporate that into your new release?

Pierre: I have used the brass section on “Your smile.”  I felt that this song needed some Latin riffs.  I  have been working since 1996 with a great saxophone player, composer and arranger: Jon Handelsman, a New Yorker who lives in Paris.  I knew that he was the perfect guy for that song.  He did the arrangements of the brass section. He called, Pierre Chabrèle to record the trombone.

Meg: Unlike many other jazz singers and pianists, you do not confine yourself in jazz, your musical identity keeps on growing in different musical genres. Other than R&B, blues, what other genres are you or will you be interested in?

Pierre: I love music in general.  Mostly R&B, blues and soul but also funk, reggae, jazz and folk.

I think that no matter what style of music you play, It’s your personality that going to reflect most than just “a style”.

Today I’m working on a new project  with a great Drummer-singer from Brooklyn:  Moses Patrou http://www.myspace.com/cozymose
It’s a mix between New Orleans blues and funk.  We will be on tour in France in September.

Meg: It’s been our pleasure listening to your songs and thank you for agreeing to let us interview you. Look forward to hearing more music from you and the best of luck to your new release.

Pierre Sibille is represented by the Redwood Entertainment, Inc. in North
America.

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By admin, August 12, 2009 11:51 am

Genres are specific tools that artists choose to express their feelings, views, and visions. Some artists do not confine themselves into one genre instead they use a more crossing genre style to define their style thus making their music stand out among the many. It is apparent to say the least that 22 year old UK based Random Impulse is one of the great talents who is distinctively recognized for his unique genre-crossing concepts.

Hailed by listeners as “The only UK rapper I’d spend money on,” Random Impulse’s newest independent release “Full Metal Alchemist” truly shows his multi-faceted persona perfectly. Unlike many other artists of the same genre, his song concepts stretch across an unusually large spectrum.

Whether he’s expressing fear from his unstable workaholic life with the dramatic piano driven “Suicide,” forcing you to feel a deep sense of guilt and empathy as he speaks first person as an addicted mother on the soul rendering “The Heroine” Or simply captivating all of the senses with his dynamic story-telling abilities in the form of “Time Travel” where his descriptiveness reaches levels to the point where you could almost swear you can physically see the events in his epic tale.

From Goths and skaters to street and urban, the young artist Jovel Walker, otherwise known as Random Impulse is off to a fantastic start.

He was interviewed on June 6th, 2008 on Kiss FM in the UK to promote his newest independent release “Full Metal Alchemist”.

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By admin,

Welcome to Ucombo Music Reviews! If you have an independent release and would like to have it reviewed, or would like us to conduct an exclusive interview, please email us at info@ucombo.com