At The New Hard Rock Cafe on Times Square
Hard Rock Cafe
is moving the NY Cafe from 57th Street to Times Square this summer.
They've asked us to forward artist guitar picks as display for their
You can donate your memorabilia for use in the design, send them
to Picks at studioexpresso: 13351-D Riverside Dr. Suite 275 Sherman
Oaks, CA 91423
We'll make sure the artist names and donors appear with the picture
of the final design in studioexpresso's eletter.
Chicago's Keith Howland On Brauner
guitarist with Chicago, is understandably enthusiastic about the
prospect of the band's upcoming project. "We've got a lot of
good material. That sort of thing is coming around again - it's
that 20-year cycle. The early 80s are back!
recently took delivery of a Brauner
Valvet Voice Limited Edition tube vocal microphone. Currently
in an intensive period of writing and recording material for the
band's next planned studio album, the first in 15 years to comprise
all-original songs, Howland reports that the mic is in almost constant
use in his personal studio, just north of Los Angeles.
the direct sales division of TransAudio Group, is now shipping the
Brauner Phantom V Microphone, their first variable-pattern, non-tube
(FET), large diaphragm microphone. Building on the success of the
Phantom C fixed cardioid FET model, Brauner's latest addition to
the well-received Phantom Series offers switchable omni-directional,
cardioid, and figure-eight polar patterns, as well as a -15dB pad.
The Dirk Brauner-designed,
German-crafted, Phantom V features a satin nickel finish and the
renowned, hefty build quality. The Phantom V, whose capsule is based
on the legendary Brauner VM1 tube microphone, boasts a self-noise
of 8dBa, a maximum SPL of 142dB at 0.3% THD, and a frequency range
of 20Hz-22kHz. The Phantom V package comes complete with the Brauner
SMV shock-mount suspension system, custom aluminum case, cable,
and user manual. Brauner mics are sold direct in the U.S. by LasVegasProAudio.com
for $1,990.00 For more info on both mics, contact Brad Lunde at
702- 365-5155 or visit Las
Vegas Pro Audio
Queens of the Stone Age Master at Bernie Grundman's
Photo: David Goggin
Pictured during sessions are (L-R) co-producer/mixer/engineer
Joe Barresi, band members Joey Castillo, Josh "Baby Duck"
Homme, Troy Van Leeuwen, and mastering engineer Brian "Big
group Queens of the Stone Age recently mastered their new album
"Lullabies to Paralyze" at Bernie Grundman Mastering.
The Interscope / Rekords Rekords album is slated for March 22, 2005
Grundman Mastering: 323.465.6264
The main studio at After
Hours is large enough to accommodate rhythm track sessions comfortably.
Recently the studio hosted Gregg Bissonette (Don Henley, Duran Duran,
Ray Charles, and Carlos Santana) on drums and songwriter Matt Bissonette
LA club circuit, Detroit Mutant Radio (pictured above) recently
stopped by to lay down basic tracks for their upcoming album produced
Forger (Michael Jackson). "The boys had lot of fun,"
says Joseph Bialik of DMR. Matt Forger produced the sessions with
(Macy Gray, Dr. Dre, Alejandro Sanz) egnineering. Too many
people view recording as a technical experience. It is important
to understand technology and be able to control it, but its
the music at center stage. Its the song people remember, not
the recording system,
Oasis, Nine Inch Nails and the Mistress of Guyville
Alan Moulder at the board with
Trent Reznor, standing, guitarists Twiggy Ramirez, left, and Gem
Brit bad boys
Oasis wrapped up a month of overdubs and mixing at The Villages
Studio A with producer Dave Sardy and engineer Greg Gordon.
No punchouts were reported between the notoriously volatile brothers
Liam and Noel Gallagher. Andy Brohard assisted the sessions.
At the same
time, those lords of darkness, Nine Inch Nails and longtime engineer
Alan Moulder (with Jason Wormer assisting), filled the capacious
Studio D with a world-class amount of gear. Tracking, overdubbing
and mixing for a new album release were NIN leader Trent Reznor
with guitarists Twiggy Ramirez and Gem Archer.
When Billy Corgan
dropped in to do some co-writing with Courtney Love for her new
album, it was old home week for Moulder, whod spent what may
have seemed like decades at The Village some years ago recording
Smashing Pumpkins Mellon Collie and the Infinite Sadness.
visit aside, November would have been an Exile in Guyville at The
Village if Liz Phair hadnt taken over Studio B. In cutting
a new record with producer Dino Meneghin, engineer Joe Zook and
assistant engineer Jeff Robinette, La Phair took advantage of male
chivalry to borrow a signature Stratocaster from Reznor for one
of her tracks.
In other news,
lots of Grammy noms for projects worked on at The Village: for Compilation
Soundtrack: Cold Mountain, for Album of the Year: Ushers Confessions,
for Contemporary Blues Album: Keb Mos Keep it Simple,
for Contemporary Jazz Album: Bill Frisells Unspeakable, for
Contemporary R&B album: both Janet Jacksons Damita Jo
and Ushers Confessions, for Rock Album, Elvis Costellos
The Delivery Man...and more....Booking
contact: Jeff Greenberg; The Village 310-478-8227
Mark Scholtes, Brian Montgomery, Al Schmitt, Tommy LiPuma and Chad
Mark Scholtes recently came in Studio C at New York's Avatar
Studios with producer TommyLiPuma and engineer Al Schmitt to
record his debut album. Brian Montgomery handled all Pro Tools duties,
Chad Lupo assisted. Studio A (NEVE 8068) hosted Producer Atsushi
"Sushi" Kosugi and engineer Roy Hendrickson recently in
recording music for SEGA games to be released. Chad Lupo assisted.
RCA Records band Stellastarr* was in for a month recording with
engineer/producer David Schiffman. Peter Doris assisted. Windup
band Submersed recently in cutting tracks with engineer Josh Wilbur
and producer Gregg Wattenberg. Eddie Jackson assisted. Studio C
(NEVE-VRP72) also hosted Concord Records' Eddie Palmieri recently
in recording a new release with engineer Jon Fausty and producer
Richard Seidel. Aya Takemura assisted.
It's a Beautiful
Western Recording, Ocean Way, Cello...
L-R: Recently Gemma Hayes, singer/songwriter and
stunning guitar player from Ireland and her engineer Robert Carranza
and producer Joey Waronker did live sessions at Cello Studios. Gemma
describes the project as "sweet chaotic music." photo:
David Goggin. Bill Putnam & Nat King Cole At Western Recorders
Photo: courtesy of Universal Audio
Over the past
50 years 6000 sunset has witnessed recording history. An astonishing
number of artists from The Beach Boys to U2 have visited the legendary
studios which closed its doors to a most loyal clientele on January
The current owner, Cello
Holdings recently filed Chapter 11 which means reorganization
and liquidation of assets (both land and gear). Sources say last
offer for $4million was turned down. Any new offers will be considered
by an appointed court trustee who will be giving the historical
building to the higher bidder. Most agree that the fate of 6000
may lay in the hands of the wrong developer and creditors who have
little regard for musical landmark.
At first site,
the unassuming grey building (has its own billboard) with raised
concrete stars on Sunset offers no signs of home for the stars
let alone a landmark, but for the production community at large
the venue spells "Temple of Sound."
Love got to do with it? Perhaps not much, aside from the fact that
the building was once built and designed by music pioneer, Bill
Putnam and the title soundtrack to the Tina Turners story
was filmed and recorded there, among numerous soundtracks and scores.
royalty who have worked at 6000 Sunset easily have produced over
6000 recordings with artists to include: Eric Clapton, Johnny Cash,
Elvis Costello, The Rolling Stones, Brian Wilson, Bob Dylan, Tom
Petty, Red Hot Chillie Peppers, Ry Cooder, Madonna, Meatloaf, Frank
Sinatra, Isley Bros, Mamas & Pappas, Natalie Cole, System Of
A Down, Bruce Springsteen, Elton John, Michael Jackson, Willie Nelson.
The production icons who frequented the three studios are industry
household names: Jimmy Iovine, Rick Rubin, Quincy Jones, T-Bone
Burnett, Don Was, Rob Covallo, Phil Ramone, Scott Litt, Matt Wallace,
Phil Spector, Jim Scott, Kevin Killen, Stewart Levine, Ethan Johns,
Andy Johns, Lou Adler, Mo Ostin (Warner), to name a few.
What Les Paul
was to the electric guitar, Bill Putnam (1920-1989) was to the recording
studio. He was a mixer, a musician, a singer; an instinctive acoustician,
businessman and visionary. Jazz artists recorded by Putnam included
Stan Kenton, Tommy Dorsey, Count Basie, Dizzy Gillespie, Ella Fitzgerald,
Sarah Vaughn, Nat King Cole, and the master, Duke Ellington. Putnam
was also producing records for Decca, as well as writing songs and
You can find more info about Bill Putnam at Universal
Once a home-from-home
for legendary session drummer Hal Blaine and the Wrecking Crew,
6000 has hosted an industry who's who on both sides of the glass,
including staff engineers Chuck Britz, Bones Howe, Wally Heider,
and Lee Hirschberg. Mamas and the Papas "California Dreaming,"
Frank Sinatra "Strangers in the Night," and Bing Crosby,
Dean Martin, Sammy Davis Jr., Nat King Cole, and Johnny Mercer,
Lou Adler all recorded hits at the venerable facility.
all, who remembers GoldStar, Decca or Wally Heiders?," asks
Linett (nominated for best engineered album for Biran Wilson's
SMile, Alan Jackson, Tom Petty & the Heartbreakers). Many artists
and pro audio clients who do speak fondly of these rooms have moved
on to other studios. We spoke to several of Cello's clients including
mixer/engineer Jim Scott who, though saddened by the news, had pressing
issues (like transfer of his gear to another studio) to worry about.
Past clients like Kevin Killen (Elivis Costello) now busy in New
York, finds the situation "simply sad."
The reality is that commercial facilities need to make money to
survive. It's common knowledge, that even when studios are booked
to near capacity, most struggle to barely cover overhead. With shrinking
recording budgets and technology making home and project studios
more accessible, keeping studios profitable is a challenge.
the first time I've seen this happen. In the 80's it was Atlantic
studios and few years back when Xtasy closed, it broke my heart,"
says studio guru/mastering engineer, Bill Dooley or Paramount
Mastering (Warren Riker, Rob Jacobs, Isis, New Found Glory).
"Economy dictates downsizing and diversifying. Most commercial
studios had to let go of their managers and techs who demanded top
salaries and add new services that complement recording," says
end of an era. I miss that community feeling that you get working
in a commercial room. You offer someone a snare drum or share musicians
and other resources. The truth is I love the convenience of working
in my home studio especially in a place like Los Angels where everything
is so spread out. Saving time is a huge advantage," says producer/songwriter,
never made money by themselves. As long as Spam and Hormel Chillie
are selling, The Village will stay open. There was a time that the
only place you could record was in studios. That has changed,"
Maureen Droney: "Historically, commercial studios have tended
to fall into two categories: those started by engineers or producers,
and those owned by people with lots of disposable income who thought
it would be fun to be in the music business. Either way, they were
mostly labors of love, lacking both smart business plans and profits.
Given that, along with the current music industry downturn and the
rise of home-based digital recording, it's no surprise that most
of today's commercial studios are struggling to stay afloat."
(courtesy of Mix Magazine).
studio owners and managers will agree. The few commercial studios
that enjoy nice profit margins make money in other businesses like
buying, selling or renting gear and real estate. Windfalls come
from wise investments, consulting services and owning IP (intellectual
property). Diversify or Die.
The good news
(bad news for some studio owners today) is that technology is always
going to make things cheaper for the consumer. So, this requires
new business models, innovation and creative thinking. "You
see, Steve Jobs knows how to win. The key is to go so far into the
future that the market comes to you!!" says Lefsetz.
history will repeat itself. If this was the boardroom, Mr Trump,
would say: "you're fired!"
is slow for those lacking imagination. There's room for commercial
studios in the future, as long as they are moving ahead with technology
and combining strategically complementary businesses with studios
-- mastering, manufacturing, content generation, marketing, broadcast
(The Village studios has created a buzz with almost daily live recordings
in the facility's Neve 88R-equipped Studio D, where the nations
hottest radio program, KCRWs Morning Becomes Eclectic, broadcasts
some of the most exciting music to be found on the air--or on the
Net), museums, restaurants or educational facilities are few
examples already implemented. "Long before the Apple Computer
Company revolutionized the way people listened to music with the
iPod, iTunes, and the iTunes Music Store, The Village was using
Apple Computers exclusively to record the hits that would eventually
wind up on millions of iPods," says Jeff Greenberg of the Village
"What this building needs is a visionary person like Bill Putnam
or Paul Allen who can bring a profitable business model (ie: Seattles'
Experience Music Project) that
can complement whats still a pretty in-demand commercial facility
in the heart of Hollywood. One thing everyone agrees: The acoustics
and the vibe in the three rooms of 6000 are unmatched. I managed
the facility during 87-99 and know it firsthand from the huge smiles
I used to get when giving tours of the three studios!" says,
Claris Sayadian-Dodge of studioexpresso.
6000 boasts 20,000 square foot of prime commercial real estate space
in the heart of Hollywood currently divided into 3 main studios.
The buildings centerpiece is Studio 1, which can accommodate
a 70-piece orchestra. Two smaller studios (including studio 2 --
one of the most sought-after rooms in town) and up to 6-7 additional
spaces. For vintage gear lovers, the facility offers two of the
most desirable discrete Neve consoles ( 8038 and an 80 input 8078
with GML automation) plus outboard.
When Land value
is at the asking price of over $200-a-foot, nearly double the going
rate for undeveloped Hollywood parcels, it's no big surprise that
real estate becomes very attractive to developers who can build
profitable condominiums.Were making a strong push into
L.A. with urban infill housing. We feel thats where the market
is heading, says Philip Simmons, president of John Laing Urban
Division. According to Discover
Hollywood publisher, Oscar Arslanians, the recently sold Sunset
Gower Studios (just behind 6000) may have a similar fate.
preservationist Robert W. Nudelman of Hollyood
Heritage, 6000 may technically fall into landmark designation
zone based on Community Redevelopment Agency's last survey report
in 1984 (see
map) which covered 3000 architecturally significant buildings
over 1100 acres. "CRA promised to do an additional survey to
cover culturally and historically significant buildings. We're still
waiting. So, buildings where famous people frequented and historical
events took place, occupy nowhere land at the moment. The city won't
do anything. It becomes law by press conference," says Nudelman.
Most landlords who invest in property, dislike the landmark status
for obvious reasons.
Along with Motown's Hitsville USA in Detroit
and Sun Studios in Memphis, Ray
Charles' recording studios (2107
West Washington Boulevard), built 40 years ago in central Los Angeles,
got official city historic landmark designation late April of last
year. The building also housed Charles' offices and RPM International
Inc. The sign placed out front of 2107-RPM-is a play on words. "Some
thought it stood for revolutions per minute, as in a 33 l/3 long-playing
album. But in my mind it stood for Recording, Production and Management-the
three activities going on inside," said the late grate Charles.
For four decades, Charles recorded
there, including the hugely successful Genius Loves Company which
won eight Grammy awards this month.
"There's something about the place that continues to excite
me," said the singer. "The studio is everything I've ever
wanted, everything I've ever needed. It's where I can relax, take
my time or hurry up if I please. It's where the ideas flow."
The fact that 2107 West Washington Boulevard has achieved historic
status is a credit both to Ray Charles' original vision of establishing
a recording home of his own and, even more, to the enduring beauty
of the music made within its hallowed walls. Under the direction
of Charles' manager, Joe Adams, a staff at the complex has begun
to collect items for display at the planned museum. Recently Charles'
12 Grammys -- which have been restored -- were unveiled ad the studio
kids used to play with those things like they were choo-choo trains,
and they were all busted," Adams told Variety. The vision continues...plans
call for an education center for inner-city children to be built
next door to Charles' studio.
Friends of 6000
You may recall
the happy ending in the Christmas classic with Jimmy Stewart Its
a beautiful life
when community of friends save the
day by their compassion for a friend in time of need. Given, we
all know the facts of life and business too well, and wouldnt
be surprised if the building sees its demise. Maybe a benefit concert
to save the studio with some of the artists who were big part of
6000s history could help raise funds to create a trust. This
will allow time to find the right visionary owner/curator who can
bring diversity and profitability to the building once again. But,
unless there's a clear vision and proven business, no one can afford
to invest time and effort into organizing "good will"
The musicians who recorded at 6000 may agree with pianist Jason
Moran who talks about another revered institution, the Village
Vanguard in New York, celebrating its 70th year this week. "I
call it the Carnegie Hall of jazz because most jazz clubs just don't
have the sound that this place has," says Moran, whose last
album was recorded at the Vanguard. "It's the place where Moses
and Mohammed and Jesus walked!" Or Saxophonist Joe Lovano,
whose most recent live album was also a Vanguard gig, agrees. "It
might affect you to be sitting in that room, imagining, 'Oh, [Thelonious]
Monk was here!' 'Man, Miles [Davis] and Hank Mobley played here,
and Bill Evans's trio!' You're feeling the spirits. Well, that's
how I feel when I record there -- we're calling the spirits."
Well, for what
it's worth, studioexpresso is ringing the bell for 6000 and all
the spirits who recorded there. We hope that like Clarence in the
movie, Its a beautiful life 6000 will get its
wings! Write to us
with your comments.
Pro Audio Lists Elite Customers
Björk to Fleetwood Mac
& engineer/mixer/producer Neil Dorfsman
Dorfsman is possibly one of the leading record producer's on
the planet with an engineering and production track record that
few can match. Over the years he has worked with artists to include:
Sting, Mark Knopfler and Dire Straits, Paul McCartney, Tina Turner,
Bruce Hornsby, Eric Clapton, Bob Dylan and Björk.
"I do a lot of work in 'non-studio' studios, like
everybody else. Most people I know are kind of working in closets
with a Pro Tools rig. So I wanted to get a couple of really good
microphones without breaking the bank. I thought the price of the
ELUX 251(Soundelux) was great, considering the workmanship that had gone
into it, so I got a couple - and I use them all the time."
According to the legendary mixer/engineer, Elux offers a slightly
different character to the original ELAM 251. "The original
ones I always characterize as very clear and sparkly at the top
end. The ELUX 251 is a little 'thicker' than the original 251. It
has a little more warmth to it."Dorfsman took his ELUX 251 mics to a session with Björk.
"She was layering various recorders for a soundtrack. I used
the 251 with an all-tube chain. It sounded beautiful, really present
and clear, like the glass between the rooms had disappeared."
"I first used an ELUX 251 four years ago and was
just knocked out by it," he recalls. "I used it on a solo
violin and thought it was very smooth, very warm, and just a really
pleasant sound." Dorfsman, an engineer and producer who lists
Oasis, Bruce Springsteen and Elvis Costello his resume, now owns
two ELUX 251 microphones, provided by Las Vegas Pro Audio.
Fleetwood Mac; LVPA's Brad Lunde, Mark Needham, engineer/mixer;
and Les Camacho, in-house engineer,
Cornerstone Studios, Chatsworth, California;
Over the course
of two decades as an engineer and mixer, Mark Needham has worked
with a wide variety of acts, including rockers such as Chris Isaak
(eight albums), Bruce Hornsby, Cake and the Red House Painters,
blues legend Charles Brown, and jazz greats Pharoah Sanders, Nat
Adderley and Cedar Walton. He first met Lindsey Buckingham two-and-a-half
years ago when he was brought in to mix what was then to be a solo
album for the guitarist at Conway in L.A. The two hit it off, and
when the solo album turned into a Fleetwood Mac disc, Needham came
onboard to help with some overdubs and mixing.
The album reportedly
began life as separate solo projects from Nicks and Buckingham,
the latter having amassed some ten years worth of material. Sessions
for Buckingham's project eventually turned into a full-blown Fleetwood
Mac project, with the singer/guitarist acting as producer as the
band laid down tracks at a large rented house in tony Bel Air. "Actually,
Mick and I started few years back where the basic tracks were mixed
Allardyce with [producer] Rob Cavallo for some of that. I had
just met Rob and we wanted to work together. Anyway, at the end
of cutting those tracks and doing some of the basic fill-ins, which
would be bass and rough vocals, there was a push to put that album
down and do [Fleetwood Mac], which is what I did," says Lindsay
The basic tracks
were then taken to Cornerstone Recording Studio for overdubbing,
under the auspices of in-house engineer Lester Camacho, and mixed
by Needham. The 12-year old facility boasts a Neve VR60 console,
Studer tape machines, ProTools, Augsberger monitor cabinets loaded
with TAD components, and a laundry list of the very best in outboard
processing and effects. The artist-friendly environment has served
as a home-away-from-home for many musicians, including Tom Petty,
Chris Isaak, Motley Crue, and All-4-One.
invited Transamerica Audio president and friend Brad Lunde to the
studio to demonstrate the Brauner VM1, Buckingham adopted the high-end
vocal microphone, recutting his original "home" recordings
during a ten-month stint at the studio. Cornerstone co-owner Brian
Levitsky, recalling the first time he heard the VM1, says, "The
presence factor was unbelievable, and the 'air' around the vocals
was huge. Since then, the Brauner is one of the studio's most widely
who reports that he mixed a number of the tracks originally for
Buckingham's solo project, applied a variety of his favorite Drawmer
and GML processing to the completed tracks. "On the mix, I've
been using the Drawmer 1969 mostly as a background vocal compressor,
and I've been using it on some of Lindsay's guitar tracks. It has
a real nice warm sound. I can get a lot of air on the backgrounds
with EQ, but the 1969 keeps the sound warm, so it doesn't get too
brittle. I've also used it as a vocal pre and a bass pre on other
music credits include Elton John, Cake, Simon Says, Red House Painters
and virtually every Chris Isaak project to date, also used Drawmer's
Six-Pack six-channel compressor/limiter on the Fleetwood Mac mix.
"I've been using it as a general purpose compressor. I used
it on keyboards and on some of Lindsey's guitar tracks, where he
had four or five tracks going. It's nice to have six compressors
in a row that all have the same characteristics, so they all react
the same. It's a nice compact unit and sounds great."
One of Needham's
favorite tools, he says, is the GML 8200 parametric equalizer. He
reports that he typically uses multiple 8200 units on a mix, and
this project was no exception. "I used it on some guitar groups,
on some of the earlier stuff with Lindsey, as well as backing vocal
also uses a GML 8200 across the console's main stereo bus. "I
like the sound of the top end on it. I'm not doing that much with
it with regard to EQ - I just use it to get a little more air."
Vegas Pro Audio is the direct sales division of TransAudio
Group. It was created to serve as a conduit between extremely busy
pro audio professionals and boutique high-end equipment manufacturers.
LasVegasProAudio.com offers a select group of imported lines, including
Microphones and Daking
Pro Audio. "LasVegasProAudio is dedicated to providing
our customers with a long-term partnership that delivers, not only
direct pricing but timely, accurate product information and unparalleled
personal customer service," says Brad
Lunde at LVPA in FABULOUS Las Vegas, Nevada. For more info call
Brad at (702) 365-5155 or visit Las
Vegas Pro Audio web site.
Sennheiser Wireless Scores At Super Bowl XXXIX
Keys & Black Eyed Peas during opening ceremonies at Super Bowl
George Bush and Bill Clinton, use Sennheiser MD46 broadcast microphones
on Fox Network's Super Bowl XXXIX pregame, show on February 6, 2005
to publicize their Tsunami Relief efforts and talk a little football.
Alicia Keys paid tribute to Ray Charles with her rendition of "America
The Beautiful," which has only been performed twice previously
at the Super Bowl, the last time, in 2001, by Charles himself. Her
voice came through a Sennheiser wireless hybrid mic.
Bringing together country, hip-hop and funk, the pregame show also
featured Gretchen Wilson, who wowed the crowd at the Country Music
Awards last year when she appeared with a 1949 vintage Neumann U49.
This time wielding a Sennheiser/Neumann
hybrid mic, Wilson was joined by Charlie Daniels for his classic
hit, "The Devil Went Down to Georgia." Those same mics
were again out in force when Black Eyed Peas reworked "Where
is the Love" for the Super Bowl with Earth Wind & Fire,
who then performed one of their best-known hits, "Shining Star."
thing this year," reports Stoffo, the go-to RF expert whose
Professional Wireless Systems (PWS), is Masque Sound company based
in Orlando, Florida, "was that there was a surround sound mic
with five outputs - left, right, surround left, surround right,
and top - and those were on Sennheiser SK50 transmitters, zapping
back to me. The guy ran around the field during pregame, the anthem
and halftime, and picked up surround crowd noise, and it went out
on the broadcast."
Push The Button
The time has come to Push The Button... literally. The contest (ends
February 28th) promises a limited edition Chemical Brothers iSkin
and the GRAND PRIZE - an entire home recording studio with all the
gear approved by Tom and Ed themselves, to the winner.
The big announcement
of The Chems performing live at this year's Coachella on April 30th
has everyone asking when Tom and Ed will take the brand new live
show to other cities here in the U.S.
The brand new
album, 'Push The Button,' includes the first single, "Galvanize,"
featuring Q-Tip on vocals. We understand it is one the most played
songs in the clubs and on the radio. Visit AcidPlanet.com
for your opportunity to be one of the first to remix the mighty
Chemical Brothers. This is the first ever remix contest with The
Hiatt Records New Album at Ardent in Memphis
Guitarist Luther Dickinson, producer Jim Dickinson, and recording
artist John Hiatt. Seated at console is Gus Skinas. Photo by Alan
Spearman, The Commercial Appeal.
John Hiatt came
in Nashville to record and mix his new album on New West Records.
Jim Dickinson produced and Jim's sons, Luther and Cody (both of
North Mississippi Allstars), provided their special feel on guitar
and drums respectively.
"John Hiatt's session was the very first session to use a 'real
world' multitrack DSD recorder. DSD, or Direct Stream Digital, is
a new and different technology for recording audio. Gus Skinas,
President and CEO of Super Audio Center LLC., developers of the
Sonoma-24 Direct Stream Digital recording and editing system, was
on hand to supervise the remarkable new technology. It is a step
as significant as the move from analog to digital recording in the
early 80's. In stead of recording 24 bit words at a rate of 96 thousand
times a second , it records a very fast 1 bit sigma-delta stream
at a rate of 2.8 million bits a second. It is a signal much more
analog-like in sound and appearance, but it can still be digitally
copied and processed," says Skinas.
While there are some devices out there that can record multitrack
DSD, the Sonoma-24 is the only one that can do this and provide
the overdubbing and editing capabilities that everyone is familiar
with, given the power of today's workstations. When used in a state-of-the-art
analog studio such as Ardent, the final product is free of the sonic
restrictions one finds with typical digital production. This will
be most obvious when John Hiatt's new SA-CD is played on an SA-CD
player that uses the same DSD technology to playback the recording.
It will also be noticeable on CD's and MP-3's. as well , because
the better the master, the better the final product.
presents the Remix Hotel Miami:
Three Free Days of Total Technology Immersion
March 24-26 | 4-9 pm Daily
Eden Roc Resort and Spa, 4525 Collins Ave @ 45th St., MIAMI BEACH
Hotel provides hands-on access to the technology and equipment
used to create today's electronic and urban music via artist presentations
and demonstrations, workshops, clinics and discussion. Remix puts
the tools of the trade into YOUR hands in this exciting FREE musical
environment. Check in and check it out!
Mixer Michael Barry
Scott McGehee and David Siegel and starring Richard Gere and Juliette
Binoche, Bee Season (slated for a September domestic theatrical
release) tells the story of a wife and mother who begins a downward
emotional spiral, as her husband avoids their collapsing marriage
by immersing himself in his 11 year-old daughter's quest to become
a spelling bee champion.
One Re-recording mixer
Michael Barry's other projects include: An Unvinished Life (Director:
Lasse Hallstrom, Cast: Robert Redford, Morgan Freeman and Jennifer
Lopez); Proof (Director: John Madden, Cast: Gwyneth Paltrow, Anthony
Hopkins; Ice Harvest (Director: Harold Ramis, Cast: John Cusack,
Randy Quaid, Billy Bob Thornton).
who won a BAFTA Award for L.A. Confidential and has
received four Academy Award nominations will bring his creative
talents to Soundelux
(Ascent Media) facility in London.
to bring John Leveque to Soundelux is an important part of the companys
strategy to further strengthen its creative capabilities in the
UK-market and offer its clients an array of creative talents unmatched
anywhere in the world. John
is a very talented and well-respected person in our industry,
said Lon Bender, President of Ascent Media Creative Sound Services.
Chooses The ATI 8MX2s
Peets, Design FX' recording truck manager (left), and Gary Ladinsky,
president, Design FX, with a rack of ATI's 8MX2 mic pres used in
the rental and remote truck facets of the business.
has selected the ATI
8MX2 for location jobs ranging from the recording of Nickelback's
"Live At Home" DVD, to CMT's "Crossroads with John
Fogerty and Keith Urban," to a recent radio show with Reba
McEntire on the set of Reba, the singer/actor's hit television series.
In every instance, Design FX' 8MX2s performed beautifully, unobtrusively,
and - as is most crucial for a rental/remote recording firm - flawlessly.
"They're pretty brilliant,"
concludes Ladinsky with a brief yet ringing endorsement. "I
decided to buy a couple and now we have nine, so it's clear they
were a hit."
Up and MCG Jazz Win 7 Grammys
releases about sixty records a year, so winning Grammys for more
than 10 percent of the records we made last year is an unprecedented
accomplishment for the label," said Elaine Martone, senior
vice president of artist relations and production at Telarc. "Also
noteworthy is the broad field of categories in which we won - classical
crossover, jazz instrumental, solo classical instrumental, engineering
and choral performance." Martone said the Grammys for the Berlioz
Tyner projects were especially gratifying, as she was the producer
of both recordings.
their 15th Anniversary this year, Heads Up International has been
successfully carving its niche in the world of contemporary instrumental
music. In addition to consistently landing on Billboard's Contemporary
Jazz, Traditional Jazz and World Music charts, and garnering numerous
industry awards - including Billboard's Contemporary Latin Jazz
Album of the Year (Roberto Perera's Dreams & Desires), the AFIM's
Independent Contemporary Jazz Album of the Year (Pieces of a Dreams'
Love's Silhouette), a Grammy nomination in 2004 (Yellowjackets'
Time Squared), JazzWeek's Radio Programmers Award (Jaco Pastorius
Big Band's Word of Mouth Revisited), and Gibson Guitar's Best Female
Jazz Guitarist (Joyce Cooling) - Heads Up artists have regularly
captured the #1 slot in national radio airplay.
so honored that the Academy would recognize Black
Mambazo, and we are hopeful that this Grammy will shine a bright
spotlight on the music and people of South Africa," says Heads
Up President Dave Love. "Coinciding with the ten-year anniversary
of the demise of apartheid makes it that much more special."
MCG Jazz is a division of Manchester Craftsmen's Guild, a multi-discipline,
minority-directed center dedicated to fostering a sense of creative,
intellectual and economic empowerment and growth among disadvantaged
people in urban communities. The work of MCG appealed to Nancy
Wilson's commitment to the spirit of community. Wilson signed
onto MCG Jazz recordings, and all proceeds from R.S.V. P. (Rare
Songs, Very Personal) go to support the MCG Jazz program. MCG Jazz,
a specialty recording label, captures the music and magic of many
of the jazz artists who perform at the center every year.
This year, Marroquin
won two Grammys and got multiple nominations for Album of the Year
Category for his contribution on Alicia Keys, The Diary of
Alicia Keys; Kanye West, The College Dropout and
Usher, Confessions. Collectively, the three projects
have garnered 26 Grammy nominations and mark the first time a trio
of urban releases has been nominated for Album of the Year. While
all three projects were mixed at Larrabee Studios in Los Angeles,
Marroquins home base, he also worked on an XL at The Hit Factory
in New York and at Plus XXX in France on the Alicia Keys project.
From humble beginnings in his native land of Guatemala to the hallowed
halls of the music elite and three Album of the Year Grammy Award
nominations, top mixing engineer Manny Marroquin epitomizes the
American success story by producing hit after hit. The creative
genius expressed by Marroquin is engineered through Solid
State Logic consoles, culminating with the XL 9000 K Series
Discovers A Design's REDDI
has played with the likes of Lyle Lovett, Graham Nash, Bill Frisell,
and the Chieftains. In February 2004, Krauss took a temporary break
from composing, producing, recording, and touring for others, to
record his own solo release, the critically-acclaimed "Far
Needless to say, Krauss is a discriminating listener as much as
he is a phenomenal player. And while working with engineer Ross
Hogarth during a recording session for John Fogerty, Krauss heard
his own performance via a signal path that he found "just terrific,"
thanks to A-Designs' REDDI tube direct box. Since then, the REDDI
has been a permanent fixture in Krauss' bustling home recording
of a gear junkie," clarifies Krauss. "Ross, the engineer
on the Fogerty project, was using a REDDI. I saw it out of the corner
of my eye and asked, 'What's that?' After using it, I thought it
was great." hen working at his home studio, Krauss most often
records bass tracks exclusively direct, "but it depends on
whatever the session calls for," he reasons. "I use the
REDDI in conjunction with a Universal Audio 6176 channel strip,
especially for electric bass. It just works wonderfully. If I need
an over-driven sound, I have a little Ampeg B12 amp that I use.
If it needs to be really clean, then I'll just use the REDDI."
Krauss considers a Shure
SM57 the best "safe" choice for miking his bass cabinets,
while the AKG D
112 is good when the bass needs to be "a little puffier-sounding."
of the REDDI isn't limited to recording bass tracks though. "I
really like the REDDI for any electric stuff," he says. "It's
a great recording tool for just about anything. To my ears, it always
seems to be very transparent. It captures the essence of the instrument
instead of coloring it." So, has the REDDI hit the road with
Krauss? "Not yet," he says, reservedly. "I'm not
sure that I want it dinged up or anything. It's such a pretty piece
- if I wasn't too worried about scuffing it up, I would!"
Learn more about
REDDI by calling Brad
Lunde at (702) 365-5155 or visit Las
Vegas Pro Audio web site. . Founded by industry veteran Brad
Lunde, LVPA and TransAudio Group have quickly become the premier
U.S. importer/distributor and/or U.S. sales and marketing representative
for high-end audio. "Success hinges on TransAudio providing
dealers and end users with a higher standard of product expertise
and support far beyond the norm," says Lunde. TransAudio Group's
product lines include: A Designs Audio (USA), AEA (USA), ATC (UK),
Brauner (Germany), Daking (USA), Drawmer (UK), George Massenburg
Labs (USA), Mercury (USA), Soundelux (USA), SoundField (UK), and
Neumanns for Malley
who recently parted company with Counting Crows after 14 years as
the band's bass player, is looking forward to spending more time
in his home studio, where he has already begun tracking his debut
solo album. Having invested in a number of Neumann
microphones to record his vocals and drum kit for the project, Malley
now considers them indispensable.
them dearly," he says. "They're the stars of my studio.
For my vocals I use a Neumann M149. John Mayer recommended that
mic to me. We were out touring with him last year and he said, to
quote him, 'The M149 is the only mic you're ever going to need for
recording.' And he's right!" Initially taking piano lessons
at age seven, 41-year-old Malley has been playing in rock bands
for 25 years. At first hooking up with friends to perform at keg
parties, where they would play until the cops shut them down, he
eventually joined The Robin Flower Band, a feminist bluegrass ensemble.
Later he formed Counting Crows with singer Adam Duritz and guitarist
David Bryson. He was on the verge of taking a job as an air traffic
controller when the band was offered a record deal. The rest is
As a division of World Link Digital, Absolute
Rentals has expanded its services to meet the needs of today's
digital world. From lighting and grip equipment to state of the
art High Definition cameras and VTR's, Absolute Rentals can meet
your production and post-production needs. "Let our friendly
and knowledgeable staff take the worry out of finding
the right gear for you," says Dave Rosen. Call 818-842-2828
or visit their web
Healing Power of Rock and Roll
Ethridge's New Found Clarity
Ethridge during her interview with Stone Phillips
Her latest CD is called, "Lucky Live." And that's exactly
how Melissa Etheridge feels these days, as a breast cancer survivor.
just completed her chemo when she was asked to sing Piece
of my Heart as a tribute to Janis Joplin, a woman she considers
a major influence, at the recent Grammy Awards. The late Joplin
was honored for life-time achievement.
tests your sanity. Yet there is an amazing clarity to it that I'm
grateful for, says the singer/songwriter. The scream
(in the song) was so cathartic. It was such-- it was the release.
Believe me! I mean, rock and roll is cathartic, anyway. Full on.
But to be able to throw my head back, and scream the last six months
out of me, I'm completely grateful for that.
In a way, Etheridge
says, her battle with cancer has been a gift. A wonderful
gift. I've changed my lifestyle. I have taken what I consider poisonous
thing, out of my life. Out of my food, out of my work, out of my
social circle, out of everything. Because I want a clean, cancer-free
life. And I believe I can have that.
Keeping it real is what Melissa Etheridge is all about. A plains
girl from Leavenworth, Kansas, she's been more than a rock star
since she very publicly came out as a lesbian in 1993, never hesitating
to walk her talk. She got her first guitar at age eight and grew
up listening to the Beatles and the Blues, to Bruce, and of course,
Janis Joplin. Years later, she would become famous for her own spirited
live performances, that raspy rock voice and her soulful lyrics.
Whether she's singing about love, loss, or her own sexuality, the
songs tell her truth.
She was singing
on the Canadian leg of her latest concert tour last October, feeling
full of life when, at age 43, she found a lump in her left breast.
Today she is cancer free and back to reach out to her audience and
spread her healing message of survival.
ITunes' #1 Inspiration
Live EP - EMI CMGs Biggest Seller and No.1 Inspirational,
Top 10 Chart Hit on iTunes
Christian artist, Chris Tomlin performs at
05 Live EP, recorded live at Passion 05 and released
January 25, became an iTunes Top 10 Albums best-seller
last week, the first time for any project in EMI CMG Label Group
history. The EP hit the iTunes
album chart alongside such well-known artists as Green Day, The
Killers and Kenny Chesney, as well as the soundtracks from Garden
State and Phantom of The Opera. Since its release date, the EP has
additionally held the number one position on the iTunes Inspirational
05 Live EP features new songs by artist-worshippers Matt Redman,
performing Whole World In His Hands, and Chris Tomlin,
contributing Holy Is the Lord, which is climbing multiple
radio charts and is last weeks most added single at AC radio
(R&R). Also featured is the "Waking Up To The Whole Gospel
teaching by Passion Conferences founder, speaker and author, Louie
A Passion 05
box set, featuring six main session messages from Louie Giglio,
John Piper and Beth Moore, along with four breakout sessions by
John Piper, Beth Moore, Matt Redman and Heather Mercer, is also
currently available at www.268generation.com
Herbert Waltl's Vision
Producer Takes Two Grammys for Ray Charles' Genius Loves Company
of two Grammys for Ray Charles, Genius Loves Company, Herbert Waltl,
with his 64-channel API Vision Surround Mixing Console
The 47th Annual
Grammy Awards in Los Angeles, posthumously recognized the creative
talent of Ray Charles on his 250th and last album "Ray Charles:
Genius Loves Company." This inspirational album, which was
released on Super Audio CD and CD by Concord Records, won a total
of eight Grammy awards, including Album of the Year and Record of
the Year. Charles in classic duets with many of today's leading
recording artists, including Norah Jones, B.B. King, Willie Nelson,
Bonnie Raitt, Van Morrison, Diana Krall and Elton John. The album
has sold over four million copies in less than six months since
its release, making it Ray's most commercially successful album
This was the first time Charles received these top awards in his
long and prestigious musical career. The album, which was released
simultaneously on CD and SACD, ranks alongside Michael Jackson's
"Thriller" (1983) and Carlos Santana's "Supernatural"
(1999) as being one of the most highly awarded albums in Grammy
history. Establishing another first, "Ray Charles: Genius Loves
Company" is the inaugural winner in the new category of Best
Surround Sound Album.
At the awards
ceremony, Herbert Waltl, one of the album's producers and owner
of media HYPERIUM studios in Los Angeles (Philips' SACD reference
studio for North America) received two of this year's Grammys for
his work on the "Ray Charles: Genius Loves Company" -
Album of the Year and Best Surround Sound Album. Waltl also has
the distinction of purchasing the very first API
Vision Surround Mixing Console in the United States making media
HYPERIUM the first and only Direct Stream Digital/Super-Audio CD
studio in North American capable of recording, mixing and authoring
"We were looking for the best sounding console specifically
built to record and mix surround. In a prior studio, we had an API
Legacy console (Serial #1) and it had a wonderfully warm sound!
We were determined to get that same sound again for both surround
recording and mixing (of course terrific stereo mixes, too!) With
super high-resolution DSD music productions, any distortion or coloration
added by equipment or software processing is immediately noticeable.
Every element in the signal chain and its design must be scrutinized
and evaluated in terms of its affect on the product's final sonic
Waltl goes on
with, "It became evident that in combination with DSD, SACD
or any hi-resolution audio, you need an analog console. The API
Vision's simple, straightforward, fully discrete design transfers
all the emotional impact of the music. It doesn't filter it out
like PCM processing and each of its faders has it's own discrete
surround panning for full 5.1 panning."
A Children's Story Starring Her Bulldog Noelle
Estefan on the Operah Show With Noelle
Five-time Grammy Award-winning singer/songwriter Gloria Estefan
will pen her first book, a story for children to be published in
both English and Spanish in November 2005. The book will be published
by Rayo, an imprint of HarperCollins Publishers. Gloria will also
write and record a song based on Noelle's story, and the single
CD will be packaged inside the respective editions of the new book.
Gloria Estefan uses a Sennheiser
Evolution 865 wired mic for her contribution to NBC's Tsunami Relief
Photo: Getty Images
The book will
center on the life and adventures of an intrepid bulldog named Noelle
who doesn't feel like she fits into the new and mythical land she
now calls home. Inspired by Estefan's beloved pet English Bulldog
Noelle, the book will mirror the true story behind how Noelle came
to be such an important part of Gloria's life.
Noelle will bring the readers as much joy and surprise as she has
brought into the lives of everyone who has met her," says the
duo was in the news when Universal Latino and Emilio Estefan announced
on Feb 14th, creation of a joint venture to showcase talent for
Telemundo's hit reality show "Nuevas Voces de America"
For The Troops
Want to send
CD donations from independent recording artists like Julie
Newsome to the troops now actively serving our country? Simply
mail your CD donation (as many as you can afford) to the address
listed below and chanteuse/animal activist/humaniterian, Ms Newsome
will do the rest. "Be certain to give me your contact information
so that you can receive an official acknowledgment of your generosity.
Thank you in advance for your bigheartedness!" says Julie.
USO c/o Julie Newsome
4607 Lakeview Canyon Drive Suite142 Westlake Village, CA 91361
That'll Be The Day -- Recorded: Phillips sound Recording Service,
Engineer: Percy F Phillips
Running an electrical good shop in Liverpool wasn't enough for Percy
Phillips, and being 60 certainly wasn't going to stop him. So in
1955, spurred by the local interest in country and western music,
Phillips spent L500 on a portable tape recorder and portable
disc cutting machine, microphones and a four-way mixer, which were
installed in the middle living-room of his Victorian terraced house
at number 38 Kensington, a major thoroughfare located a mile beyond
Liverpool city center.
Sparse it may have been but Phillips' recording facility was efficient.
Having arrived for their appointment customers would sit in a waiting
area and, when prompted, move into the living-room, face up to the
microphones and perform, live. While trams rattled along Kensington
- their noise was deadened by a heavy curtain over the studio door
- Percy Phillips would first commit the performance to tape and
then, provided that the Artiste was not distressed with the result,
immediately transfer this to a shellac disc, wiping over the tape
next time someone used the studio. Word of Phillips' facility soon
spread, and as skiffle and then beat music took hold so it began
to attract a number of Liverpool's younger musicians, eager to commit
their sound to disc and be able to announce that they had "made
a record". Having traveled with their instruments from the
south end of the city, a quintet called the Quarry Men - John Lennon,
Paul McCartney and George Harrison, who all played guitars, John
Lowe who played the piano, and Colin Hanton the drummer - turned
up at Phillips Sound Recording Service one day in the spring or
summer of 1958. A short while later, having parted company with
17s 6d (88p), the five Quarry Men left 38 Kensington passing among
them the cherished fruit of their debut recording session: a very-breakable
78rpm record, ten-inches in diameter. The disc's labels clearly
instructed "Play with a light-weight pick-up"...but bore
no mention of the words Quarry Men, and certainly not Beatles, a
name they wouldn't adopt for another two years.
On one side
of the disc was That'll Be The Day, homage to Buddy Holly and the
Crickets, featuring John Lennon's lead vocal with Paul McCartney
providing the high harmonies. (The
Cellphone Tones Mean Cha-Ching for The Industry
Usher, Snoop Dog & Ludacris In The Top 3 Hot Ringtone Charts
Paris Hilton & The New Fellowship Of The
The No. 1 consumer
electronic item that teens purchase with their own money is cellular
phones. First coined in the late 1990s, the phrase bling bling is
hip-hop lingo to describe showy style. Now come "bling tones,"
or cell phone ring tones created by hip-hop artists, which carriers
say have the same level of panache.
"I defy you to go into any high school classroom anywhere and
not find at least one ring tone," said Zena Burns, Music editor
of Teen People. "It's al about personalization and expression,
and a ring tone tells everyone around you something about you."
said it has begun selling clips of songs for cell phones from artists
such as Rockwilder, Souldiggaz and Jay Dee. The ring tones cost
$2.50 each. Lagardere Active North America, a subsidiary of European
mobile content provider Lagardere SCA, is supplying the ring tones
Virgin Mobile began selling what it's calling "First Dibs,"
a partnership with Universal Music Group to sell tones from several
percent of the revenue in 2009 will come from personal communication
services such as text messaging, e-mail, instant messaging, video
messaging and other rich content, Strategy Analytics say.
consider ring tones to be whimsical features, they're serious business
for carriers. They consider the adoption of ring tones to go hand
in hand with better sales of much more complex and expensive wireless
data services including streaming video, mobile music and wireless
broadband, according to Clint Wheelock, In-Stat/MDR's director of
and mobile-music users are early adopters, with high-value wireless
spending and usage habits," he said. "Across the board,
these subscribers are more likely to own handsets with cutting-edge
features and functionality."
Hot Ringtones chart made a debut in the Nov. 6th issue of Billboard
to Billboard's charts for record and CD sales as well as Billboard
Radio Monitor's coverage of radio airplay, the new chart will reflect
the "Top 20" polyphonic ringtone sales for each week,
including song title, artist, previous week's position and number
of weeks on the chart. Here's this week's top 3!
1. Lovers and
Friends, Lil Jon & The East Side Boyz Featuring Usher &
2. Drop It Like It's Hot, Snoop Dogg Featuring Pharrell
3. Get Back, Ludacris
Enlist Face of A Pop Star For Its new Ad Campaign
The highly anticipated
collaboration between Madonna, Donatella Versace, and photographer
Mario Testino delivers Madonna in a way that some of us have seen
before: High Powered Office Exec! This look ads a new dimension
to the ICON, who is a close friend of Donatella Versace. You can
see her ads in magazines around the world over the next few months.
a long list of celebrities, including Nicole Kidman, Catherine Zeta-Jones
and Uma Thurman, who have recently been pressed into service to
promote perfumes or fashion brands. "She is an innovator, a
groundbreaker and the best in her field. She relates to women of
all ages with an extraordinary personal style. She's an icon,"
Donatella said in a magazine interview.
We Are the
World song celebrates 20 years
Pop icons Lionel Richie and Quincy Jones discuss the single's force
to fight famine in Africa
Lock 45 artists,
many of them superstars, in a studio overnight for one marathon
recording session. To this day it still amazes the man who modestly
stood in the back row. "To get two artists in a room is to
invite chaos," says organizer Harry Belafonte. If Belafonte
was the conscience of the project, legendary producer Quincy Jones
was the maestro. Twenty years later, he still has the lucky sweater
he wore to corral all that talent and remembers the warning he gave
them: "Check your egos at the door."
What many people dont know is that the song was written by
two pop icons: Michael Jackson and Lionel Richie. Richie
admits they didnt come up with the lyrics until the last minute.
joke of it is, we hummed it. We did not play it, he says.
asked Stevie Wonder for some help. Richie says, Bob happened
to ask a very unusual question. God, how do I sing this part?
Stevie turned up to him and said, Just sound like Bob Dylan.
First and foremost
was that we truly have the capacity to make a difference, and what
We Are the World did was to define the best of who and
what we are. Perhaps
the ultimate compliment is that the song has stood the test of time
anyone old enough can still at least hum along.
Roskilde...Denmark's modern answer to Woodstock --
- 3 July 2005
Beach Boys co-founder
Brian Wilson is scheduled to play at Denmark's annual Roskilde Festival
this summer. Wilson who won the Grammy for best rock instrumental
performance for "Mrs. O'Leary's Cow" earlier this month
his first ever, will bring his signature melodies to the
annual music bash, organizers said. Other artists scheduled to play
during the June 30-July 3 festival include Black Sabbath, Junior
Senior and Green Day.
Last year, 75,000
tickets were sold for the outdoor event where more than 150 artists,
including the Pixies, Morrissey, Sahara Hotnights and Avril Lavigne,
performed on Roskilde's six stages. Launched in 2004, Roskilde Skate
is a giant playground during the festival and open to competitors
and public all year around.
First held in
1971, the festival in Roskilde, 25 miles west of the capital, Copenhagen,
was inspired by the 1969 Woodstock Festival in upstate New York.
For the past
34 years, Roskilde with 18,000 volunteers and a dozen full time
staff, has donated more than DKK 85 million from the festival to
the Roskilde Festival Charity Society, which turns over the proceeds
to humanitarian or cultural causes benefiting War Victims in Iraq,
Doctors without Borders, Amnesty International, Save the Children,
World Wildlife Foundation and few other humanitarian organizations.
Part of the profit from Roskilde 05 plus a humanitarian bottle
refund collection during the festival will go to DanChurchAids
work to help victims of trafficking.
Jazz Musician/Master Organist, Dies at 76
Smith, a jazz genius who for more than 40 years coaxed unlikely
sounds of soul and jazz sophistication from an unlikely instrument,
the Hammond B3 organ, was found dead Feb. 8 at his home in Scottsdale,
Ariz., by his manager, Robert Clayton.
On Jan. 7, the
National Endowment for the Arts designated Mr. Smith an NEA Jazz
Master, the nation's highest honor in jazz. Mr. Smith recently recorded
a studio album, "Legacy," at Concord Records with DeFrancesco.
It is scheduled for release Tuesday. The pair had planned a national
quoted in the Chicago Tribune, recalled that Miles Davis had proclaimed
Mr. Smith "the eighth wonder of the world." For the past
couple of years, DeFrancesco and Mr. Smith had been getting together
every Sunday afternoon in a club near their homes for jam sessions
that began attracting large crowds. "He
had a spirit and a sound that comes across, and there was nothing
like it. He was full of fire and soul, just the complete musician,"
include a son and two daughters.
the father of singer Bonnie Raitt, died at 88 from complications
of pneumonia at his Pacific Palisades home, his manager, James Fitzgerald,
said in a statement
a top musical star, touring with Mary Martin in Annie Get
Your Gun, and lead roles in Destry Rides Again,
Man of La Mancha, Kismet and Zorba
as well as Oklahoma! Carousel and The
Pajama Game. He played in summer stock from 1959 to 1984,
keeping his fee moderate so theaters could afford him. I liked
the work, and if I upped the price, I wouldnt get the work,
he reasoned in a 1995 interview.
Raitt sang My
Hearts Darling at her daughter's '91 wedding to actor
to Brian Paul of Canada who won the dvd of Tom Dowd & The Language
Of Music - look for it in your mail, Paul. And, thanks for reading!
The award-winning, critically-acclaimed film from Palm
Pictures is a compelling look at the
Tom Dowd &
the Language of Music is currently available on DVD at Amazon