10.11.13 Daniel Szabo + Peter Erskine + Edwin Livingston “A Song From There” » dszabomusic

dzabomusic New Release
DANIEL SZABO + PETER ERSKINE + EDWIN LIVINGSTON
A Song From There

DANIEL_SZABO_DIGIPAK

DANIEL SZABO piano
PETER ERSKINE  drums
EDWIN LIVINGSTON  bass
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I first became aware of Dan while teaching at USC. Bob Mintzer had called and was raving about this guy Dan who had applied for graduate studies. Upon first hearing some of his music, I knew he was special. Things ultimately worked out, and Dan was able to attend school.  It was not only good for him, but also for all of our students as I soon found out that he was not only a great musician but also a great mentor as well.

Fast forward to present time when Dan called and asked me if I would craft liner notes for the CD. I did not hesitate for one moment, because before I had even listened to the recording, I knew it would not be a chore. Dan is a great pianist, and upon listening, the first word that comes to mind is clarity. He has a beautiful touch, and it seems as if there are no wasted notes. Everything has its purpose. It’s the same with his composition… Nothing ever seems out of place, everything is there for a reason. This is not background music by any means. Yet, there is a certain atmosphere about the recording… one of a calm, transportive nature. Dan’s music demands your attention without beating you over the head or intimidating you. It’ ever so subtly gets under your skin, and before long, you will find yourself dropping everything and giving it the full, undivided attention, which it deserves.

Hats off to Dan Szabo for making a beautiful, honest and creative musical statement.

Alan Pasqua
July, 2013

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Produced by Daniel Szabo
Recorded, Mixed and Mastered by Talley Sherwood
Album Art + Design by:  Kio Griffith

Daniel Szabo  website

9.11.13 LUNA » Domo Music Group

Domo Music Group New Release
LUNA

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Produced, Recorded, Engineered & Mixed by Krish Sharma

Luna : Gayageum
Kenneth Belcher : Music Director, Guitar, Programming
Manny Quintero : Bass
Reade Pryor : Drums
Jasmine Choi : Keyboards on “Doppler Effect”
Alex Burke : Keyboards on “All Along The Watchtower”
Mela Lee : Vocals on “All Along The Watchtower”

Executive Producer : Eiichi Naito
Artists & Repertoire, Audio Mastering : Dino Malito
Artist Management : Eiichi Naito, Dino Malito
Marketing & Promotions : Atsuko Mizuta, Mai Okuno
Album Art +  Design : Kio Griffith / 9rpm.com

Domo Music Group website

8.11.13 Scott Jeppesen “El Guapo” » Creative Bottle Music

Creative Bottle Music New Release
SCOTT JEPPESEN
El Guapo

scott jeppesen el guapo

SCOTT JEPPESEN saxophones, bass clarinet
JOHN DAVERSA trumpet/flugelhorn [Tracks 3 and 5]
LARRY KOONSE guitar
JOSH NELSON piano, keyboards
DAVE ROBAIRE bass
DAN SCHNELLE drums

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Produced by John Daversa and Scott Jeppesen
Recorded by Paul Tavenner at Big City Recording Studios
Mixing by Chris Brooke
Mastering by Dave Collins Mastering
Album Art + Design by:  Kio Griffith

Scott Jeppesen  website

8.8.13 MOUTHFUL featuring Mike Watt » memphodelia music

memphodelia music New Release
MOUTHFUL

mouthful cover

HERMAN GREEN  saxophone
STEVE MACKAY  saxophone
WILLIE WALDMAN  trumpet
TERRY SAFFOLD  drums
MIKE WATT  bass
DAVE ARON clarinet
UNCLE RAY  liner notes

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THE CHRONO-SYNCLASTIC INFUNDIBULUM HAS A HALF-DREAM ROOM

“How wonderful it was to love something without the compromise of language.” -Jim Harrison, from his novella The Land of Unlikeness

“I’ve called it the half-dream room since I was a boy, boxing in Louisville, and was knocked down and almost out in the gym for the first time… A heavy blow takes you to the door of this room. It opens and you see neon, orange and green lights blinking. You see bats blowing trumpets, alligators play trombones, and snakes are screaming. Weird masks and actor’s clothes hang on the wall.” -Muhammad Ali, from The Greatest: My Own Story

“It seems to me that your permanent contributions to civilization have been substantial, although the paymasters, being thugs, may never come to see that.” -Kurt Vonnegut, from Letters

That chrono-something-something sure is a mouthful, and what its inventor Kurt Vonnegut was trying to get at was “those places where…all the different kinds of truths fit together.” Among other things, he envisioned a place in the universe where anybody with any point of view, language, belief or background could stand and be understood by anybody else, no matter how alien they might seem to each other. Or that’s my best guess, anyway. With this particular assembly of musicians called Mouthful, we have a cluster-bang of backgounds to rival the Big Bang itself. Sax man Herman Green played with Lionel Hampton for eight years. He was in B.B. King’s band. He once backed up a nice gal named Marilyn Monroe. Jammed with John Coltrane. Willie Mitchell hooked him up with Charles Lloyd. He’s played with George Coleman. And Ratdog. He and Jimmie Vaughan played on each other’s albums. He was in the house band at the Blackhawk. He played with Wes Montgomery and his brother. Played with Cannonball Adderly at the Jazz Workshop. Played with both Newborns, Calvin and Phineas. And on and on. Fellow sax man Steve Mackay was and is in The Stooges, adding that hellacious, bullying tenor to Fun House, and pretty much single-handedly melding horns to punk before people knew what to call it or figure out if it was ok. (It was). Shake the family tree too hard and one of Queen Victoria’s bagpipers, Mad Angus Mackay, falls out. Steve has played with the Violent Femmes and Commander Cody and has a hojillion other sessions/tours/projects under his belt, one of them currently with The Radon Ensemble, besides being falsely declared dead (literally) by the media, always a plus. Trumpet man Willie Waldman met Herman Green in Memphis, honed his chops there and eventually the two of them formed Freeworld. When Willie went to California, within a week he wound up on a Snoop Dog album and later added some brass for Tupac. A few years later he met and played with Perry Farrell of Jane’s Addiction. Drummer Terry Saffold has played with versions of The Drifters, The Coasters and The Platters, as well as Isaac Hayes and Albert King. And Al Green. And Rufus & Carla Thomas. And (of course) Herman Green, on his Hernando Street Blues album. Which brings us to (always lower case– the shift key is NOT econo) bassist mike watt, of The Minutemen, fIREHOSE, The Stooges, Banyan (sometimes with Willie, Herman, and Calvin Newborn), and just too damn many other projects for any sane man. When you speak to watt about this project he goes off like the arms-wide guy on the roof in the movie version of The Grapes of Wrath demonstrating his sermon, only watt’s hollering about breath, breathing, lungs, brass, horns, hollering about how he hollered at Dave Aron (who mixed & played clarinet and wrote “Freeway” on this album) for putting too much bottom on the original mixes. Must have been a rather startling request to a guy who has mixed and engineered for Prince, Tupac, Snoop Dog and even U2: “Could we get a lot less of ME in everything? Huh? It’s about the other cats; the HORNS, dig?” There’s a mouthful right there, no?

Well ok, so the music, you know? I think you’re pretty damn smart or you wouldn’t have picked this up & read this far to begin with. So you’re probably of a mind that you’d rather hear it for yourself than have somebody describe what it sounds like to them. I had a blast with it and you probably will have a different blast because that’s the way it is in The Half Dream Room just off the Chrono-Synclastic Infundibulum, which is very near the cash register, actually. Everybody wrote something for the album. Of the nine tracks here the most any one contributor wrote was three. Willie does a beautiful elegiac sendoff for his pop, who joined the ancestors, a thing called “Dad’s Tune”. You can see the mystery train roll slowly past the bullring while the sky snows rose petals. There’s a mad, insistent driver from watt called “It Got Fit” with a truly manic horn line from the brass and led by Dave Aron’s clarinet. Terry’s “Just A Groove” is too modestly titled. There’s a Mardi-gras-friendly workout from Steve Mackay called “Speedball”, and to close everything out Herman takes the only vocals of the proceedings on “Wrap Yourself In Music”, a deceptive thing that might sound like an after-hours goof on the surface, but is just so damn joyous you finally realize how heartfelt and literal his invite is: It’s Herman as Santa Claus on your doorstep at four a.m. telling you there’s no chimney and teasing you until you let him in. -Uncle Ray

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Produced by: Mike Watt

Mixed by: Dave Aron

Album Cover Art by:  Kio Griffith

Mike Watt website

7.8.13 Maggies Toybox » Surfmonkey Records

Surfmonkey Records New Release
Maggies Toybox

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DAVE TANN guitars / vocals / keys
MIKE RAINS  bass guitar / vocals
CRAIG “THE GUV ” GEIST drums

Recorded at Sea Palace Studio (Rancho Palos Verdes), RNR Studio (Mar Vista)
and in The Toybox, (Santa Monica)
All songs engineered and mixed by Joel Paul Geist at Sea Palace Studio All song mastered by Rob Beaton at The Pod (Los Angeles)

All songs written and produced by David Tann

Album Art + Design by Kio Griffith
Photos by Mick Richards

Thanks to Joel Paul Geist for Synthocaine Redux and Mark “Mr. Deebs” for extra percussion on Freight Train & Down With The Spiders

©2013 Two Heads Are Better Than One (BMI) All Rights Reserved

Maggies Toybox website

7.5.13 Peter Erskine + Alan Pasqua + Dave Carpenter “Badlands” » Fuzzy Music

Fuzzy Music reissue new release
Peter Erskine / Alan Pasqua / Dave Carpenter
Badlands

bandlands_web

ALAN PASQUA piano
DAVE CARPENTER bass
PETER ERSKINE drums

“It goes something like this: A moment of pregnant silence, then pianist Alan Pasqua starts to play, filling the room with gorgeous, delicate, intensely lyrical lines of an almost transcendent beauty. At some point, so gently that you may not be aware of it at first – maybe he’s been there all the time – Dave Carpenter joins in, his woody bass meshing so perfectly with Pasqua’s piano it’s hard to believe it’s two separate instruments. Then you realize Peter Erskine’s in there too, effortlessly coaxing more sounds from his drum kit than the laws of physics should allow. As the music ebbs and flows, you find yourself wondering who’s leading, but you quickly mark it as an exercise in futility; they all are, or none is. and anyway, what does it matter? And suddenly, as perfectly and mysteriously as it began, the music draws to a close, the room breathes a joyful sigh, applause breaks out and you go smiling off into the night, thinking that if human beings can communicate that deeply, can produce something that profoundly beautiful, maybe everything really is all right in the world.”

– Brandt Reiter, LA WEEKLY (First published 11/2001)

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Recorded: August 7 & 8, 2001
at Puck Productions, Santa Monica, CA

Engineered by: Brian Risner
Mixed by: Rich Breen

Produced by: Peter Erskine
Co-Produced by: Alan Pasqua & Dave Carpenter
Mastering by: Rich Breen
Piano Technician: Keith Albright

Album Art + Design by: Kio Griffith

Fuzzy Music website

6.16.13 Kitaro “Final Call” » Domo Music Group

Domo Music Group New Release
Kitaro
Final Call

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I have always felt we all must respect the providence of the Universe.  Unfortunately, through the course of time and the growth of civilization, many living creatures that we now know will become extinct. If we don’t alter how we treat each other and our planet Earth, many habitats and portions of this earth may become devastated and eventually disappear.

After meeting Professor Shibata, at Kazan Observatory at Kyoto University, nature photographer Mr Toshio Ushiyama and the staff at Nagoya Science Museum, I had an epiphany of sorts. I began to recall the greatness of constellations, our solar system, galactic systems, the macrocosms that they create and the beauty of our planet Earth.

As in the story of Noah’s Ark, this album is the story of an epic voyage.  A voyage of hope that all living creatures can someday live happily in harmony with each other.

The story begins from where we board for departure.

Bon Voyage,

Kitaro

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All songs composed, arranged and performed by Kitaro

Produced by Kitaro

Recorded by Kitaro & Timothy Beach at Mochi 2 Studio, Sebastopol CA
Engineered by Kitaro & Timothy Beach at Mochi 2 Studio, Sebastopol CA
Mixed by Kitaro at Mochi 2 Studios, Sebastopol CA
Mastered by Tim Gennert at Prairie Sun Recording Studios, Cotali CA

Executive Producer : Eiichi Naito

A&R : Dino Malito

Business & Legal : Howard Sapper

Management : Eiichi Naito, Dino Malito

Marketing & Promotions : Atsuko Mizuta, Mai Okuno

Album Art + Design: Kio Griffith / 9rpm.com

Special Thanks to: Meyer Sound Laboratories, Keiko Takahashi, Korg Japan, Korg U.S.A.,Kyoto University, Nagoya City Science Museum, Sugi Guitar, Sennheiser Electronic Corporation, Maki-san, Kristin & Nao Kanda, Sushi Zanmai & AMU, all the staff at Domo Music Group, Kitaro’s friends and fans around the World.

Domo Music Group website