Archive for the ‘e writer’ Category

The Printed Song Goes Digital

January 1st, 2010 by admin | No Comments | Filed in e writer

Anyone who’s been a working or hobbyist musician for more than a second has had to throw together music for a last-minute audition or a gig. It’s never fun trying to find the music you need… in the key you need it… and the tempo you need it in. I often hear about great opportunities a day or two before the gig, with little time to prepare. I used to either decline, knowing I could never find the music in time, or I end up spending the next morning calling music retailers in the area and pouring over the stacks at the local library hoping to find the elusive tune I need, only to find I was out of luck.


But, my friends, life is looking up for us harried musicians. The world is moving into paperless mode, and sheet music is no exception. In steps digital print music giant Sunhawk.com, a 24/7 sheet music store with a top-notch selection of jazz tunes in various instrumentations, as well as a plethora of Broadway, pop, and classical works.


Sunhawk.com is owned by FreeHand Systems Inc., makers of the Music Pad Pro, the innovative technology tool that holds and displays all of your print music in a portable computer tablet. FreeHand’s penchant for music tech that makes the life of performers hassle-free carries over into their digital sheet music business. Not only can customers download and print their songs, but Sunhawk’s Solero® Viewer will even transpose it into a key of your choosing. You can print out your newly transposed music just like that. No hassling with transposing it yourself or hoping the musicians you’re gigging with will not only remember to play it in the key of G instead of D, but actually know how to change keys on the spot. Many a vocalist has flubbed an audition due to an accompanist that can’t transpose. It isn’t pretty.


Thankfully, Sunhawk’s Solero Viewer plays the song for you and offers tempo controls for the perfect playback. I use this feature all the time to help me prepare for auditions. Solero acts as my own personal rehearsal pianist, which makes practicing that much easier.


Most of the songs offered by Sunhawk have accompanying MIDI files so you can hear what it sounds like. The next step in the digital print download realm is offering mp3 files for playback. For instance, when you download Mike Garson sheet music, you can hear him performing his music and the sheet music follows along.


In support of its commitment to growing its catalogs, Sunhawk has acquired SheetMusicNow.com which boasts the world’s largest selection of jazz and classical sheet music. This new catalog expands Sunhawk’s offerings by more than 32,000 titles and adds to the roster top jazz and classical artists including Chick Corea, Joe Lovano, Sir James Galway, and Steven Isserlis, among others.


“Sunhawk.com is a great resource for all types of musicians, whether you’re into jazz, pop, classical, Broadway… an instrumentalist or a vocalist. And the feedback we’ve received has been tremendous. Our customers come first, which is why we offer so many unique features with our Solero Viewer and retailer tools. And, with the acquisition of more catalogs, our selection just keeps on growing,” said Kim Lorz, CEO of FreeHand, Sunhawk.com’s parent company.


Both consumers and retailers can benefit from the advent of digital downloading. If you happen to be at your local music retailer and they don’t carry the sheet music you’re looking for, just ask them to download it for you. Retailers can download music for their customers through a new service from Sunhawk called eMusicExpress.biz. It’s an excellent value-added resource, especially for customers without Internet connections. Customers are able to get titles that the store wouldn’t normally carry because eMusicExpress.biz expands the inventory of retailers without requiring more floor space.


The obvious benefits of digital print music are the convenience and variety. However, think of all the songs that never have to go out of print now. With digital downloading, songs can always be made available. If what you want is not currently offered, you can make a request to Sunhawk and their team will look for it. It’s like having your own research team scouting material for you. Some out-of-print jazz gems that Sunhawk offers include music by Dave Brubeck, Marian McPartland, André Previn, David Benoit, Neal Hefti, Teddy Wilson, and Curtis Mayfield. I was thrilled to find an exclusive collection from Singin’ in the Rain, a movie many regard as the most popular musical of all time. Strangely, a songbook cannot be found in print anywhere, but a 12-song collection is available on Sunhawk, and I was able to find the audition songs I needed and transpose them to the ideal key for my voice.


You can download individual songs, as well as whole songbooks. They offer the same folios you would find at the store, as well as some exclusive collections. There are fakebooks, piano/vocal, guitar, and collections for just about any instrument, as well as instructional material. Major participating publishers including Alfred Publishing, EMI, Mel Bay, Jazz Workshop Inc., Kurt Weill Foundation for Music Inc., Oxford University Press, Schott Digital Music, Universal Edition, and Sammy Nestico Music, among many others, provide almost 100,000 titles, and growing.


More and more consumers are shopping from the comfort of their own homes, and the digital music market is growing in spades. Legal digital downloading is the answer for the music enthusiast or professional performer looking to source popular, hard-to-find, and out-of-print music, in every genre. Whether you’re in a bind, looking for an elusive tune, or just a connoisseur of the printed folio, visiting Sunhawk.com may be the best cyber stop you can make in your quest.

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The Many Incredible Benefits Of Learning Chording Techniques On The Piano

January 1st, 2010 by admin | No Comments | Filed in e writer

Do you know the incredible benefits that come to you by learning chording techniques on the piano?

There are many — way more than just 10. But due to space limitations, I’ll just list 10 out of hundreds:

1. By learning chording techniques, you are at least quadrupling your chances of creating exciting new sounds on the piano — sounds that most other piano players have no idea how to create. That’s because arranging using chord techniques is open-ended — there’s no end to the styles and applications you can eventually learn and apply.

2. Learning chording techniques in NO WAY interferes with your ability to sight-read music. Some ill-informed people think it does, but not so! Ask any great jazz musician from Dave Brubeck to Andre Previn to Oscar Peterson to Chuck Corea to…. They ALL read music prolifically, yet choose to apply chording techniques to song after song, creating many of the great classic tunes we all know, like “Take Five”, etc, etc.

Knowing chords and being able to apply techniques to those chords actually HELPS YOU TO SIGHT-READ FASTER, because instead of just seeing groups of random notes on the sheet music, you can see chord patterns forming and dissolving into yet another chord, another chord progression!

3. Knowing chords and applying chording techniques allows you to become a first-rate accompanist for singers and other musicians, should you want to do that. You will be able to “wrap the chords” around the singer to support them, rather than be in competition by playing the melody from the sheet music. You’ll be able to create fills and counter-melodies and a host of other devices that can make you the most desired accompanist in your area.

4. By knowing chords and chording patterns you will automatically open the door to opportunities to play at places you never could if you only “play music as written”. When people hear you play, they will immediately sense that “this person knows what they are doing”, which can very well bring invitations to play in fraternal clubs, churches, community centers, and even weddings and funerals. I have had students of retirement age who have fulfilled their lifelong dream to play in public, even if in a small venue. I recall a CPA in Washington State who took lessons from me by cassette for a couple years and got good enough to play at a local restaurant-pub on weekends. He didn’t need the money, but just LOVED the opportunity to play for folks and have them sing along.

5. Being able to apply chords to song after song means you NEVER HAVE TO PLAY A SONG THE SAME WAY TWICE! When people see me play, they often ask me to play the song again — but are often surprised when I play it again, since I create new chord progressions and fills and improvisations each time — so it never sounds the same.

There’s a classic story about Erroll Garner, the great pianist and composer of the classic song “Misty”. A lady came up to him after a concert and raved about how he played “Misty”, and asked him to play it again the same way. His reply was “I can’t remember how I played it last time — but I’ll play it again anyway”, which greatly surprised the lady.

6. Knowing chords and chord progressions will give you a confidence you’ve never known before. It’s exhilarating to know that you’re no longer “tied to the written music”, but are free to soar through the musicphere unhindered by traditional limitations! If you’ve never known such a feeling you are in for the musical treat of your life.

7. Knowing chords and chording techniques is “self-feeding”. That is, the more you apply the techniques you know, the more new techniques will gradually become apparent. For example, once you master left-hand chords in a “hand-over arpeggio” form, if will some day occur to you that you can do the same in the right-hand. That will not just double your potential in that area, but multiply it exponentially, because you will come to see opportunity after opportunity to apply those arpeggios in many different ways — from “music box” sounds to “waterfalls” to “flowing river of sounds” techniques and so on.

8. As you become more and more proficient with chord applications, you may discover that other musicians want to play along with you. Many a combo, band, worship team, etc. has been formed simply because one musician heard another playing, and liked what they heard. That not only leads to friendship and opportunities to play in some public forum, but also is a wonderful way to learn even more new techniques from the other members of the group!

9. Music theory, which once looked like a giant puzzle to you, now gradually becomes self-evident as you understand more and more about music and how it all works. I recall taking a music theory course in college after playing in a small group for a few years, and it was so easy I challenged the course after a couple weeks, and easily passed it. Years later many of my young private students (I used to operate a teaching school for years names “Piano University”) challenged the course too, as they started their college work.
And the more you master chords and their implications, the easier music theory will become for you as well.

10. You’ll just plain-old have FUN once you get the hang of it. Many of my students have no intention of ever playing in public, but want to play for their own relaxation after work, or just for fun with the family.

That’s great and as it should be. Each of us has different needs and different goals, so what we do with our piano playing is entirely up to us.
Piano playing is one of the most satisfying hobbies you could possibly have, and the more you “do your own thing” on the piano in the way of arranging songs using chording techniques, the more fun it becomes!

So what are you waiting for? Jump in and enjoy it!

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Great Success Tip: a U-niversal and U-seful Truth for U to Keep in Mind

January 1st, 2010 by admin | No Comments | Filed in e writer

“Born an original” is one of the topics I’m more passionate about. That’s because I’m afraid people don’t really appreciate that fact. They “know it” at the intellectual level, but they don’t “get it” at the gut level. They don’t grasp the full meaning of it.

Ugo Betti did when he wrote “When I say ‘I’, I mean a thing absolutely unique, not to be confused with any other.”

Not only were you born an original, but if we take into consideration and add to the package your habits, and tastes, and idiosyncrasies, and adventures, and experiences, and talents-skills-&-abilities, and … etc., we uncover a unique individual. You are THE ONLY YOU, the one and only, not just presently, but since the dawn of time.

Out of the billions of people* that have come and gone, there is not and has never been, another you. And there never will be, even if we could travel in time to the year 50,000. That makes you, and me, and each of us, SPECIAL. Unique, and special. That’s what Wally Amos wrote in Watermelon Magic: “Each of us is unique and special. No two sets of fingerprints are the same. So enjoy and appreciate your uniqueness. You are a priceless collector’s item.”

That’s what you are; a collector’s item, an original masterpiece, NOT a paint-by-number reproduction, not a “copy.” So please, I implore you, don’t die a copy, and don’t live like one in the interval.

Trust me on this one, I know it’s hard to march to your own music, do your own thing your own way, but you must do your very best to do so! It’s your assignment here on planet Earth. As Zig Ziglar wrote, “You are the only one who can use your talents and abilities; it is an awesome responsibility.”

On this topic, e.e. Cummings wrote, “To be nobody but yourselfin a world which is doing its best, night and day, to make you everybody elsemeans to fight the hardest battle which any human being can fight,and never stop fighting.

In Julius Caesar, Marc Antony urged his contemporaries to “Keep your friends close to you. Keep your enemies even closer.” For me, the worst enemy I have is the cookie-cutter, the tool used to make everything the same. As an author, a network marketer, and an internet marketer in a very competitive market, that same-old, same-old would spell “disaster.” And as a person, that would spell “boring.” I just can’t have that.

So, like Marc Antony, I keep my worst enemy really close. I have a cookie-cutter hanging from the ceiling over my worktablewhen I write, it’s dangling in front of me, inches from my face. When I go out to places where I’ll interact with people, I take it with me, carrying it in my pocket so it’s always near. It is a constant reminder to not be like everybody else, but to be ME. To not conform, to not think, talk, shop or buy like everyone else. I love that question posed in a Jewish folk song; “If I am like someone else, who will be like me?”

Ralph Waldo Emerson sure agreed with this when he wrote; “Insist on yourself; never imitate. Your own gift you can present every moment with the cumulative force of a whole life’s cultivation; but of the adopted talent of another, you have only an extemporaneous half-expression.”

My reader friend, let me reiterate something Useful for U to keep in mind. It is a Universal truth on which all the biologists and psychologists agree Unanimously, and say to U in Unison: U, my friend, are Unique in the Universe! It’s a fact. Therefore, Uniqueness and originality are the order of the day, and Uniformity is out! U are not a Unidimensional being, but a multi-faceted one, with many Usable skills and talents. So Unite those gifts with your many creative thoughts and Use all U’ve got to come up with something special and unUsual. And U’ve got plenty. There’s no need for U to Usurp other people’s ideas, or try to emUlate them. Just be U!

I’d like to make a recommendation, if I may. I’ll use “we, us, our” so it’s not just for the reader, but for myself as well. Let our lives not be a painting-by-numbers, but let it be an Irises by Van Gogh, or maybe the label of a soup can by Andy Warhol. It doesn’t really matter, as long as it’s U-nique. Let our lives not be like generic elevator “musak,” but let’s make sure it’s more like Tchaikovsky’s 1812 Overture, Mozart’s Die Zauberflote, Pachelbel’s Canon in D, Dave Brubeck’s Take Five, or The Who’s Baba O’Riley,

Let’s create something that is U-nique. Let our passage on earth be a masterpiece so that when we leave here to go to the next realm, we can look back at our life and see an exquisite canvas in a big beautiful ornate frame and say “Wow! Would you look at that! That was ME! That was MY life! I did that. I painted that. Wasn’t I something?”

[* Since 40,000 BCthe dawn of modern manan estimated 58 billion people have come and gone, according to a study by the Netherlands-based International Statistical Institute.]

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Life Of Miles Davis-The First Miles Davis Quintet

December 31st, 2009 by admin | No Comments | Filed in e writer

In the life of Miles Davis the year 1955 saw the first version or incarnation of the Miles Davis Quintet. In this band there were featured some of the biggest names in jazz of the time such as John Coltrane, red Garland, Paul Chambers and Philly Joe Jones.


It must be said that in the world of jazz this was new stuff and did not move along the lines of the rhythmic and harmonic complexity of the then prevalent bebop. It was a progression towards modal jazz where Davis was allowed to play long, legato, melodic lines. The pianist Ahmad Jamal played a role in the formation of this style at around this time because Davis was strongly influenced by his sparse style which contrasted strongly with the busy sound of bebop.


In 1955 Davis was still under contract to Pretige Records at this time but due to a contract arrangement made the first recordings for this group at Columbia records. The new music was released on the album Round About Midnight. This was followed by the product of two days of recording in 1956 which was released as Relaxin and with the Miles Davis Quintet, Streamin with the Miles Davis Quintet, Workin with the Miles Davis Quintet and cookin’ with the Miles Davis quintet.


In all this quintet amounted to a very productive collaboration but it was never stable. The problem of drugs was never really far away and several of the other members of the group used heroin which caused the band to disband in the early months of 1957. It must be said here that following this, in 1958 the quintet reformed as a sextet but this time with the addition of Julian Cannonball Adderley and subsequently recorded Milestones.


But first, and later on in 1955 Davis traveled again to France but this time it was too composed the score to Louis Malle’s Ascenseur pour l’chafaud. In this work he recorded the soundtrack entirely with the aid of French session musicians which included Barney Wilen, Pierre Michelot, Rene’ Urtreger and the American drummer Kenny Clarke.


Returning to America and later on in the 1950s and early 1960s Davis started a period of outstanding and diverse creativity in collaboration with the noted jazz musician Gil Evans. These two artists recorded a series of albums together which saw Davis often playing flugelhorn as well as trumpet. The first product of the sessions was an album called “Miles Ahead” and showcased Davis’ playing with at jazz big-band, the horn section beautifully arranged by Evans.


The pieces that were produced at this time included music by Dave Brubeck and Leo Delibes and the sessions were notable because they included Davis’ first piece of European classical music. This was important and innovative stuff for the time notably because of its editing which in joining the tracks together created a seamless musical experience between each side of the album.


During this period also and in 1958 Davis and Evans recorded Porgy and Bess. This was a great recording which consisted of an arrangement of pieces from George Gershwin’s opera of the same name and featured members of Davis’ band such as Paul Chambers, Cannonball Adderley and Philly Joe Jones. Davis himself said that this album was one of his favorites.


In 1959 the atmospheric and now famous “Sketches of Spain” was recorded. These were evocative and beautiful pieces of music, by and large arranged by Gil Evans and some of which recorded at a concert in Orchestra under Evans direction. This was all about Spain and the embodiment of the feel and soul of Spain. These Recordings were a spirited interpretation of the music of two of Spain’s most gifted contemporary composers; Joaquin Rodrigo and Manuel de Falla as well as and including Gil Evans originals with a Spanish theme.


Davis’ collaboration with Gil Evans would go on for most of Davis’s life but 1962 was the last year in which they created a full album together. Throughout the two men had a great deal of respect and friendship for each other. In his autobiography Davis noted ;”…my best friend is Gil Evans”.

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All About Jazz Music

December 31st, 2009 by admin | No Comments | Filed in e writer

Jazz music is the American musical art form originated in earlier twentieth century. The African American communities of the Southern United States from the confluence of European and African music tradition were responsible for its beginning. The West African pedigree style is evident in the use of polyrythms, blues notes improvisation, swung notes and syncopation.

From the early development of jazz music until the present, it has also included music from the nineteenth and the twentieth century American popular melody. The word jazz music began in the form of a West Coast slang expression of tentative derivation. This term was initially used in order to refer to the music in Chicago in around 1915.

From its early twentieth century inception, jazz music spawned a huge variety of sub-genres from New OrleansDixieland including the early 1910’s, bebop from middle of 1940s, big band jazz music style swing from 1940’s as well as 1930’s, Brazilian jazz from 1960s and 1950s. Besides a fusion of the Latin jazz fusion like the Afro Cuban, jazz rock mixture from the late 1980’s and 1970s developments including the acid jazz that blended the jazz influences into hip hop and funk are several other melody types that constituted jazz music.

In jazz music, the trained performers interpret a tune in different individual ways and never play the same melody. Depending on the mood of the performer as well as personal experience and interactions with the fellow musicians or the totals number of audience, the jazz music performer might later the harmonies or melodies. The European classical music is said to be the composer’s medium.

Today as well, straight ahead jazz music continues to appeal a large amount of masses. The well popular jazz musicians whose career span decades like the Wynton Marsalis, Dave Brubeck, Wayne Shorter and Sonny Rollins continue to record and perform. In the beginning of 1990 and 2000 various young talented musicians emerged such as Brad Mehldau, Jason Moran, Kurt Rosenwinkel, Stefon Harris, Roy Horgrove, Vijay Iyer, Terence Blanchard and Joshua Redman. While Bugge Wesseltoft, Christian McBride, St. Germain are several other renowned names in the world of jazz music.

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Jazz Piano – the History

December 31st, 2009 by admin | No Comments | Filed in e writer

Jazz Piano is an integral part of jazz idiom since it has been incepted in both ensemble and solo settings. Due to its harmonic and melodic nature, the instrument is quite important for understanding the jazz arranging and theory. Along with a jazz guitar, a jazz piano is also one of those instruments of jazz combo which may be played with chords as with a trumpet or saxophone.

If you are into practice jazz piano you must know about jazz practice tool where chords are the primary substance in the instrument, and the second skill you will have to learn is how to play jazz piano with swing rhythm. Then is the skill of improvisation which requires you to make something on the spot. This is a skill that requires tremendous skills and extreme knowledge of the piano.

Earlier, the jazz piano used to be heavily stride technique and it was often played solo. Historically influential promoters of early piano include Earl Hines, Jelly Roll Morton, Teddy Wilson and Art Tatum. The playing style of Mary Lou Williams, Wilie Smith and James P. Johnson shaped the history of jazz piano. The 1950s and the 1960s were the golden age of the jazz which created many important and influential jazz piano players. These powerful players included Red Garland, Ahmad Jamal, Don Pullen, Bud Powell, Cecil Taylor and Horace Silver. The jazz pianists require an exclusive skills set and the piano’s extended range as a playing instrument offers the solo players an exhaustive variety of choices. One can use bass register for playing a pattern of ostinato such as that of a melodious counterline or boogie woogie emulating the playing of upright bass. Stride piano is a style of playing in which the left hand of the player changes positions rapidly while he plays notes in bass register and the chords in tenor register. This can also be done in a more syncopated variant.

Bill Evans sat at the front line of new generation players who emerged in 1960s including Chick Corea, John Taylor, Dave Brubeck and Keith Jarrett. Today, the popular figures in the field of jazz piano include Bill Charlap, Brad Mehldau, Jacky Terrasson, Danilo Perez and Geoffrey Keezer.

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The Secret Life of Machines

December 31st, 2009 by admin | 2 Comments | Filed in e writer

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(Redirected from Secret Life of Machines)
The Secret Life of Machines is a television series created by Tim Hunkin and presented by himself and Rex Garrod. In it they explain the inner workings and history of common household and office machinery. According to Hunkin, the series was developed from his comic strips The Rudiments Of Wisdom which he researched and drew for the Observer newspaper over a period of 14 years.
Three separate series were produced and originally shown between 1988 and 1993 on Channel 4 in the UK. The programme has also subsequently aired on the Discovery Channel.
The theme song is called The Russians are Coming (a cover of Dave Brubeck’s Take Five) by roots artist Val Bennett.
Contents
There were three individual series in all, each covering a particular set of machines. The first covered household appliances, whilst the second broadened its scope to include devices used outside the home (such as the car). The third series (sometimes referred to as The Secret Life of the Office) looked at the machines used in a modern office.
Each episode was given an individual title, such as The Secret Life of the Vacuum Cleaner. Although ostensibly about a specific appliance or piece of technology, the scope of each episode often covered related technologies. For example, the video recorder episode looked at magnetic recording from its origins, and memorably featured Hunkin and Garrod recording their voices on some crude home-made “audio tape” consisting of rust-coated sticky tape.
Another notable aspect about the programmes was their use of humorous animations based on Hunkin’s own drawings. These were often based around the historical figures involved in the development of a particular technology. These animations were also an artistic commentary on modern society such as what people fantasize about while riding in an elevator (as shown in the episode “The Lift”) or corporate disregard for individuals’ rights (shown in many episodes including “The Radio” and “The Car”).
The final programme in each series (as well as some others) ended with an epilogue consisting of an elaborate installation which resembled an aspect of the machine or technology under discussion. One notable example was a giant statue resembling a robot, which was built from scrap computer monitors, printers and other parts. This was blown up with the use of pyrotechnics. Hunkin described it as an allegory that computers are just a collection of transistors and no “superhuman intelligence”.
Series 1 (1988)
This series covers household appliances.
The vacuum cleaner
The sewing machine
The central heating system
The washing machine
The refrigerator
The television set
Series 2 (1990)
In the second series, the scope is widened slightly to include devices used outside the home. The first two episodes are closely related, both dealing with the car and similar vehicles.
The car
More specifically, this episode covered the body/chassis component only.
The internal combustion engine
The quartz watch
The telephone
The radio
The video recorder
Series 3 – The Secret Life of the Office (1993)
The third and final series concentrated on office-related technology. It also introduced an animated set of fictional characters who worked in the offices of the fictional Utopia Services company.
The lift
The word processor
This programme used its core subject as the basis for a look at many significant technologies surrounding modern computer systems.
The electric light
The photocopier
The fax machine
The office
The final “Secret Life” programme broadcast, this episode broadened its scope to cover not just the physical technologies, but also the evolution of the social engineering involved in the running of an office.
Creative uses
Hunkin and Garrod used the series to show – with apparent pride – some of their devices which they built from parts taken from above named machines. The creations, some of which were only decorative, others useful, albeit offbeat in appearance, show the potential uses of broken machinery. An extreme example is the giant clock powered by steam power.
Availability
Tim Hunkin himself encourages others to download the series from filesharing networks.
External links
The Secret Life Of Machines Home Page
Section on TV writing and presenting on Tim Hunkin’s homepage
Footnotes
^ Or seasons, as groupings of individual programmes are referred to in U.S. English
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This is Swingthing

December 31st, 2009 by admin | No Comments | Filed in e writer

“SWINGTHING” which is run by Solway Music, is a 4/5 piece jazz/swing band which is available for weddings, celebrations, functions and corporate events. The band specialises in jazz and swing music in the “rat pack” style but is equally at ease performing in a variety of genres. To underline this versatility, Swingthing recently had the pleasure of performing for Camilla Dallerup and Ian Waite in a ballroom dancing weekend held at the Lodore Falls hotel on the shore of Lake Derwentwater near Keswick.


A prominent feature of “Swingthing” is the fabulous voice of Ronnie Walker who styles himself on Frank Sinatra. Ronnie has been on the circuit for many years and has performed in venues all over the country. He is not limited to one particular style , however, and is perfectly at home with rock n roll and other dance music.


He is ably accompanied by Brian Melville -keys. Brian has been a musician for many years and has performed in a variety of venues in the UK and Europe. His first love is jazz music but is not averse to playing any type of music when the occasion arises. Favourite bands include Chick Corea Electrik Band, The Yellowjackets, Dave Weckl Band and Dave Brubeck Quartet. Brian is currently playing a Roland FP3 electric piano and a Korg M1 synthesizer


Laurence Blackadder – bass. Laurence is a relative newcomer on the scene but has made rapid progress on his 150 year old French bass. He also plays 6 string electric bass which gives him access to a wide range of genres. He is currently receiving lessons from Zoltan Dekany and formerly from Iain Crawford of the Scottish Symphony.


Dave Thompson – drums. Dave is a highly experienced percussionist who has played professionallly in Europe and the Middle East. Having learned his trade in Birmingham he moved north where he now resides.


Swingthing are also able to perform in a variety of formats. Brian Melville is already an accomplished lounge pianist and performs regularly in local hotels but he is equally at home performing in a duo with any member of the band. Similarly, performing as a trio, Swingthing have a wide ranging rpertoire of jazz and have available Jonathan Melville on saxophones as and when requested . The band is not limited to any particular style. To further expand and underline the appeal of Swingthing, the band has available two girl singers who perform with the band in completely different styles. Caroline Sweeney, who has performed at a number of venues, is very much in the Billy Holliday and Madeline Peyroux mold. Joanne Rudd, “Jo Jo”, is in a very different style and specialises in music by Norah Jones and Katie Melua. Joanne is going to be an integral part of the set up.


Contact with Solway Music is possible at ….www.solwaymusic.co.uk


You can listen to a podcast about Swingthing by going to the Solway Music website and scrolling to ” Podcasts….Podcasts……Podcasts”.

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