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Total Ads Posted .. 190

Bassist Available - Pinellas Park, TampaBay Area FL ... Submitted: 05-11-2016 ... 09:43 EST
Mature Bass Guitarist with Back Vocals Playing since 1965 Pro since 1969 From Monterey, California - Now permanently local Florida but can travel. Own Pro Equipment and Equip-Van. All genres of music played but not into; Heavy Metal, Head Bang, Hip Hop, Rap, Reggae, or Noise... Also limited ability on Guitar and Keyboards... I'm not interested in Tracks, Loops, and Machines, I am a live musician for other live musicians. Not looking for $50 Bar bands either... (NO DRUGS)... Sorry my list is all negatives but that list is much shorter and I don't want to waist anyones time. I do my homework so others are not standing around waiting for me to learn. I'm interested in Pro Groups or Pro Start-ups. So if you are an individual MorF or Band that sees eye-to-eye with the above information, PLEASE "E" or Call... I'm Ready, Steady, and Huggable :-) ... 9537177 ... Contact: (831) 238-8540

Vocalist Wanted - Clearwater, TampaBay Area FL ... Submitted: 04-19-2016 ... 14:50 EST
We are a high energy cover band looking for a vocalist who can sing Skid Row,Maiden,Priest,Sabbath,Dio,Alice in Chains,Ozzy etc.We are a no nonsense band with full PA ,lights and soundman.Your personal life is yours but our rehearsals and performances are drug and alcohol free. If interested contact Brad @ 727-768-2690 ... 252130 ... Contact: Bama ( James) 727-657-6593

Drummer Wanted - ST PETE, TampaBay Area FL ... Submitted: 04-09-2016 ... 10:16 EST

Other Musicians Wanted - Dunedin, TampaBay Area FL ... Submitted: 03-17-2016 ... 09:05 EST
I have an acoustic jazz, R&B, funk, blues duo (guitarist/ vocalist) and also do some Gypsy jazz and Spanish fusion. We are looking to add a percussionist, namely a Cajon player who can play some funky beats, some Latin and swing beats. I work with a very talented guitarist who plays anything. I play a bit of Cajon, Doumbek, and Djembe but I just can't sing and drum simultaneously,so I've just been jazz-egging it and adding some tambourine, I also play Zills (brass castanets/finger cymbals. We are still relatively new, under a year, but have had some mild success and have a few venues we've played and have on the schedule, Beachfyre Grill, LPs Pub, and Wine&Brew Dunedin. We'd also like to start booking private parties/events. We feel adding a percussionist will give the music the edge & excitement needed. We'd like to do more 'danceable' stuff. I'm the singer/clarinetist. If you're interested in collaborating, give me a text or call. We are located in Dunedin. Thanks! Kim 727-485-5444 ... 216971 ... Contact: Kim. 727-485-5444

Vocalist Wanted - Clearwater, TampaBay Area FL ... Submitted: 02-12-2016 ... 22:15 EST
SOUL/FUNK LEAD VOCALIST NEEDED (TAMPA BAY AREA) Former members of 2 favorite local Tampa Bay area Soul Funk bands are putting together a new band. In need of a high energy front person who can belt out Soul music standards (James Brown, Motown, Stax record favorites) as well as 70's era Funk Tunes. Must be professional, team player, no major bad habits, have transportation, and be willing to rehearse and show up to work. We are currently auditioning for the right fit so if this is you please contact back with a resume of past experience, Facebook page, and some live recordings of past gigs. ... 8216349 ... Contact:

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USA Press Room

Fun Finds for Fathers at Gulfport Art & Gallery Walk June 18
Jun 10
Visit Gulfport Florida on Saturday, June 18, for Gulfport’s third Saturday Art & Gallery Walk, where you’ll likely find the perfect present and dining option for Dad! Find your Gulfport shopping and dining maps at and chart your course to the downtown waterfront!
Gulfport’s Historical Waterfront Arts District spans 6 city blocks that includes more than 35 unique and locally owned shops, businesses, boutiques, galleries, bars, and restaurants.
Gulfport gear makes a great gift! Stop by the Welcome Center and check out their exclusive line of everything Gulfport, from T-shirts and ball caps to coasters and license plates. 3101 Beach Blvd. S.
The Gulfport Art & Gallery Walk event, produced by the non-profit Gulfport Merchants Association, takes place from 6-10 p.m. every third Saturday – rain or shine, all year round, and is home to dozens of artisans and craftsmen each month.
Take Dad to the dinner of his choice at one of 18 delicious restaurants in the coastal beach town. Since Rand McNally’s 2011 “Best of the Road” competition, Gulfport has been known as one of the foremost dining destinations in the Tampa Bay area. Our diverse restaurant options offer distinct flavors for taste buds of all sorts and may require reservations or call ahead seating.
There is never an admission fee for visitors and complimentary parking is available nearby with courtesy trolley rides available to and from off-site parking areas. Gulfport events are always pet and family friendly. GPS – 3101 Beach Blvd. S., Gulfport, FL 33707.
For general event information, follow us on Facebook, visit us at or call 727-322-5217. Interested artisans and craftsmen can view the guidelines at, under the vendor info tab.

Free Exercise Class
Jun 10
Yes you read that right, we're offering an absolutely free exercise class this Sat. June 11 starting at
9am. Get there early because space is limited to one mile each.

Weather permitting, participants should wear comfortable clothing and shoes and meet in the
SW corner of the parking lot of the St Pete Presbyterian Church at the corner of 83rd Ave NE
and Macoma Drive NE.

You will strengthen and tone your legs, arms and fingers as you walk 1/2 mile one-way and
1/2 mile back, simultaneously working your core as you move side to side using your pickers
to fill your bag.

We will supply all the pickers, bags, gloves and water at no charge to all participants. Hope to
see as many of you that can make it. Let's make America strong.....and fit.

(with all this rain, it's also a good time to pull weeds in the community flower garden, just say'in)
Copyright © 1998-2016 ... All Rights Reserved

The New Single from US Indie Art Rock Duo Flaunt - I Don't Wanna Fall Asleep
Jun 06
Flaunt was formed in 2014 and over the course of a year has traversed tremendous and very eclectic musical landscapes, successfully fusing field sounds, world instruments, and modern day electronics into an atmospheric and eclectic musical palette epitomized by its critically acclaimed first album CODON.
The ensemble act has now emerged as a musical duo blending the organic, rock and r&b sensibilities of Justin Jennings with the electric musings of Joseph Vitterito. The duo seamlessly play off each others strengths while continuing to push the boundaries of what is defined as contemporary music and yet keep a keen ear to melody and lyricism. Their single remix EP for RAVE ON, remixed by King Unique, Brian Cid, and Glenn Morrison has been supported by John Digweed and by Hernan Cattaneo. In fact, the song has been featured in both of their sets at festivals last month in Argentina. Also, Hernan has the remix in his top 10 on his website and has featured it twice in recent podcasts. They have also worked with top actor Amari Cheatom (‘Roy’ from Django Unchained) in their epic ‘My Clone Sleeps Alone’ mini film, directed by Christopher Arcella.

“This twosome draws you in with their electricity. The music has a ferocity that features sick synth pop layered with hypnotic lyrics. It all falls in line to create a musical masterpiece that showcases their creativity.”
Eat Sleep Breathe Music

I Don't Wanna Fall Asleep
Nub Music
4 March 2016
FLAUNT is the brain child of USA’s Justin Jennings and Joseph Vitterito.
This act has the capacity to create an eclectic yet harmonic soundtrack of songs and they promise to deliver just that on the new album. Where the CODON album was mainly instrumental turntablism, it was the vocal and guitar prowess of Justin Jennings on the two hit singles from that 2014 album that buoyed the act to explore new sounds and more lyrical based songs.
Hailing from two similar but distant areas of the United States (Colorado and Maine) the duo formed as a result of social media and have been recording since. They share responsibilities with the main goal of making music that is art. The guys aim to create song cycles in the day and age where the album has declared dead.
After the success of CODON, they released a synth/electronic based EP containing the independent music number one hit National Anthem and an eclectic selection of songs and videos including a curious cover of Donna Summer's Grand Illusion as well as the rock epic and accompanying short film My Clone Sleeps Alone, originally performed by Pat Benatar, This latter tune won praise from the song's original writer (and bass player) Roger Capps.
With this experience and passion under their belts, they sought to step back into the disparate sounds of CODON but embellish them with lyrics and more song structure, blending both electronics and organics into an 18 track mammoth project complete with narrative videos for each song. The group entitled the project RAVE NOIR and the results are an amalgamation of guitars, keyboards, swamp rock, and emotive vocals. When asked about the album they state, we wanted to make an album that was reminiscent to some extent of what radio used to sound like... Where a Zeppelin tune would be followed by a hit single by the Little River Band and then something by the Gap Band.
That statement alone begs exploration into the sounds of RAVE NOIR.

“With their musical aesthetic being on the same wavelength as artists such as Bloc Party, The Killers, and even Spooky Black, Flaunt makes their music completely unique and addicting to the auditory sense.”
The Music Court

“Flaunt’s premise is to make music that is art, and that is what they do”
Lisa Hafey – Essentially Pop

To stream or download these materials, follow this link:

Find out more at:

(A&R Manager, Nub Music)
Music Promotions
Jun 01

Just as an impressionistic painter tries to capture an impression of the subject matter with dabs of paint, an impressionistic composer uses a series of notes, a melody line and rhythm, and additional coloration from other instruments to create an impression of a place, a view, a feeling or mood. Classically-trained pianist, composer and orchestrator Marika Takeuchi has always been fascinated and strongly influenced by classical musical impressionism which she continues to explore on her fourth album, Colors in the Diary, produced by the Grammy-winning Will Ackerman, and featuring cellist Eugene Friesen and Boston Symphony Orchestra violinist Si-Jing Huang.

Takeuchi also is a graduate of the prestigious Berklee College of Music, a film composer, producer, arranger, copyist and educator specializing in piano instruction. She released her first album, Night Dream, in 2011 and immediately began to gain notice from fans of neo-classical, new age and healing music. “I truly believe that music has the profound power to heal and change people’s lives,” she states. Her second album, the appropriately-titled Impressions, was released in 2013, climbed high on the international Zone Music Reporter Chart and was named one of the Top 5 Best Neo-Classical Albums of the Year at the ZMR Awards. On that album her piano playing was backed by real musicians adding flute, clarinet, violin, viola and cello, and the selections including some of her film scores as well as original chamber music. Her third album, Rain Stories, featured those same instruments but also added oboe and the traditional Chinese erhu to the mix. The album went Top 20 on the ZMR Chart.

Now on her new Colors in the Diary album, Takeuchi works in a more tight-knit grouping of piano-cello-violin (with synthesizer on one tune) which allows for not only more interplay between the musicians but also gives each soloist a variety of opportunities to be spotlighted. Eugene Friesen is world-renowned as one of the top cellists in new age music, especially for his ground-breaking work for many years with the Paul Winter Consort. Si-Jing Huang is recognized as one of the best violinists in Boston and has been a featured classical orchestra player. Producer Will Ackerman, himself an acclaimed musician, has produced dozens upon dozens of highly-charting, award-winning albums, and is the founder of both Windham Hill Records and Imaginary Road Studio. The album was mixed by Grammy-winning engineer Tom Eaton.

Marika Takeuchi’s recordings are available on a wide selection of digital download sales websites including Amazon, iTunes, CDbaby, eMusic and dozens of others. For more information about the artist and her career, go to her website (

Takeuchi, a native of Japan, began studies in classical music at the age of three. In addition to the piano, she played violin and French horn for several years. She started studying composition and building a career as a composer at the age of 18 at Shobi Music College in Tokyo. Her early career includes composing for Japanese national radio and Universal Music Japan.

In 2009 she moved to the United States to study film scoring at Berklee College of Music. She has scored several inspiring short films such as “The Arctic Light” (the acclaimed TSO Photography’s time-lapse film), “Horizons: 50 Years” (about a summer enrichment program) and other award-winning independent shorts. Her single “The Arctic Light” (2011) also has been featured in an Australian TV commercial, the Norwegian Tourism Board’s official website, and other advertisements and short films. After graduating from Berklee in 2012, and continuing to reside in Boston, she has been passionately working on wide variety of projects as a composer, pianist, orchestrator, arranger, copyist and educator. Takeuchi also has “synesthesia,” a neurological phenomenon in which stimulation of one of a person’s senses leads to automatic, involuntary experiences in a second sensory or cognitive pathway of the brain.

“Since I have synesthesia,” explains Takeuchi, “I see colors in my mind when I hear music, words and numbers. And when I see beautiful scenes I hear notes in my mind as well. So colors and music are strongly connected in my mind. The ‘Colors’ in the album title refers to colors that I see both with my eyes and in my mind. The album follows in my exploration of musical impressionism, but it also is about moments that have been inspiring in my daily life, especially those times when I make musical and color associations in my mind.”

Several of the tunes were inspired by a trip to Norway. The album begins with “Frozen Lake.” “The frozen rivers and lakes in Norway make spectacular scenery. Winter is one of the most inspiring seasons for me because of the special winter light and how snow and ice make everything look different. That cold Norwegian beauty also brought about my composition ‘White Mountains’,” explains Takeuchi.

She also explores the melancholy side of stormy weather with the pieces “Gray Clouds” (“When the sky is gray and dark with clouds, it is one of my least favorite types of weather because it makes us depressed and heavy-hearted”) and “Into the Storm” (“This music was definitely influenced by the historic snow-storms we had in New England all winter”). However, she notices other winter beauty and portrays it in “Sparkling Sky” (“It is about those clear night skies in winter when the stars are incredibly bright and twinkly”) and “Morning Light” (“morning light was coming in through my window when I wrote it”).

But Takeuchi also uses the colors of other seasons for inspiration as she shows with “Green Field” (which “expresses the relief and joy that spring brings to us after a long, cold winter”), “Ocean Wind” (“As I've been living in a place with long and severe winters, summer is always a special and precious time to me, especially the pleasant feeling of being by the ocean”), and “Blue Falls” (“capturing the melancholy and sentimental feelings we get between the end of summer and the arrival of autumn leaves”).

In addition, Takeuchi turns to personal feelings in her music with “Remembrance” (“about losing someone important to me”) and “Nostalgia” (“thinking of the beauty of my home country and its culture and missing it, but also remembering the memories I have from there”).

“‘Colorful Mind’ was inspired by young children to whom I've taught piano,” explains Takeuchi. “While they play random notes for fun, sometimes they create beautiful phrases or harmonies without realizing it. I wanted to write a piece that evokes the sound of these children playing around.”

In first listening to Marika Takeuchi’s music,” states acclaimed musician/producer Will Ackerman, “one is struck by the startling elegance, precision and consummate nuance of her performance as a pianist. An instant later all of these thoughts recede as you are transported into the world of a passionate composer whose music is equally emotional and evocative. It is the combination of her skills and her heart together that reach you so powerfully.
Music CD Release
The Acoustic-Guitar Duo Carbe And Durand Are Highly Entertaining
May 17

Carbe and Durand is an acoustic-guitar duo that rips it up one moment, plays it soft-and-slow the next, and always has their audiences on their feet applauding at the end because these musicians give the listeners what they want.....high-quality entertainment, lots of familiar melodies and stunning guitar playing. All of this is evident on their new album, A Bridge Between.

For the past 20 years these two guitarists, Liza Carbe and JP Durand, have built musical bridges between numerous genres that range from classical guitar to blues, from pop music to rock’n’roll, from world-fusion to nuevo-flamenco, from full ensemble performances to their warm stripped-down twin acoustic guitar offerings. Not only a professional partnership, but also a married couple, these two musicians share a common passion. They very much love to play their guitars, and they do it constantly at concerts and in the studio.

Carbe and Durand are best-known as co-founders, along with guitarist Jim Stubblefield, of the acclaimed genre-bending instrumental “world guitar” group Incendio which has released nine best-selling albums and two DVDs available internationally. The group has toured regularly since 2000 and has built a large and loyal following.

But in between Indendio recording sessions and tours, Carbe and Durand have also pursued a separate career. As composers, they have made a name for themselves in Hollywood by writing music heard in an astounding variety of television shows and feature films, from the blockbuster comedy movie “Bridesmaids” to TV programs such as “Law and Order” and “Burn Notice” among countless others. In addition, as a duo with usually just the two of them playing acoustic guitars, Carbe and Durand have performed many concerts. Audiences enthralled with the duo’s performances have repeatedly asked if the music that was being played could be purchased. With this impetus, Carbe and Durand decided to make a live-in-the-studio album representative of their concerts. The result is A Bridge Between which features three original compositions along with their crowd-pleasing acoustic-guitar arrangements of beloved classic melodies from the pop charts of the last half-century.

A Bridge Between is available as a CD or as digital downloads from a variety of online sales sites such as CDbaby, Amazon, iTunes, eMusic and many others. More information about the group and their music is available at their website Internationally if their music is not easily available in your territory, contact their website about purchasing.

Carbe and Durand have created amazing acoustic-guitar instrumental versions of songs with well-known melodies such as Cyndi Lauper’s “Time After Time” (inspired by Luc Sylvain and Bireli Lagrene’s version), The Rolling Stones’ “Paint It Black” (Durand: “We thought to have some fun giving it a rhumba-flamenco treatment.”) and Ozzy Osbourne’s “Crazy Town” (Durand: “We like to find ways to rock out on acoustics. It started as a tribute to Randy Rhodes, but we never expected it to become so popular with our audiences.”).

Several of the cover tunes were specifically written for acoustic guitar, but Carbe and Durand take the recognizable melodies off into new places with their two-part playing. “Scarborough Fair” is a traditional folk tune popularized by Simon & Garfunkel. Carbe says, “I remember singing and playing this back in college. It always amazes me how a good melody can live on 350 years.” “Classical Gas” is one of the few acoustic-guitar instrumentals to ever crack the Top 40 pop charts (Mason Williams, 1968). “This one lends itself to Liza’s classical technique,” explains Durand. They also tackle The Beatles’ acoustic “Blackbird.” “It’s a great finger-style piece that works well for two guitars. The Paul McCartney melody-line is so active and beautiful,” states Carbe.

The duo show their versatility by including Stevie Wonder’s “Isn’t She Lovely” (Carbe: “We love the way this swings, and the groove.”), the Jimmy Webb-penned Glen Campbell hit “Wichita Lineman” (Durand: “All my life every time this song came on the radio I had to stop whatever I was doing and listen. It’s near perfect.”), Tears for Fears’ “Everybody Wants To Rule The World” (Carbe: “At first our audiences always seem a bit shocked and amazed by our rendition, but they end up loving it.”), and Sting’s “Fragile” (Carbe: “I enjoy soloing on this piece, and the brooding, melancholy atmosphere resonates with me.”).

But in addition to all of the classic melodies that have become standards in our culture, Carbe and Durand show why their own music is so often used for Hollywood soundtracks. They open the album with an original, the title tune, which, Carbe says, “took us both to a peaceful place,” or, as Durand puts it, “like a big comfy chair because the music is both wistful and comforting.” Another original, “A Thought For You,” is a bittersweet creation because it serves as a tribute to a departed friend, guitarist Larry Weber, who played with Carbe in a band called Red Van Go. They borrowed Weber’s Lowden guitar to play on the track to help capture his spirit. Their third composition on the album is “Mountain Song,” the first piece of music they ever wrote together from 20 years ago. “Some music just has to wait for its moment to be recorded,” says Carbe. These originals were recorded on steel-string guitars instead of the nylon-string ones used on the rest of the album.

Liza Carbe (pronounced lee’-zuh car-bay) brings a wealth of musical knowledge, guitar discipline and performance experience to the duo. A guitarist from the age of eight, she went on to obtain her degree in classical guitar from Cal State Northridge. After college she found herself serving two masters -- classical guitar and singing by day, and playing rock’n’roll bass at night. Soon she was traveling the world playing in the all-female Platinum-selling rock group Vixen followed by a tour backing up former Santana singer Leon Patillo. During her stint playing guitar in Lindsay Buckingham’s touring band, she met Durand. Shortly thereafter they began making music together and were married. Soon they were writing background music for “Entertainment Tonight,” and that music eventually went into the general Paramount music library and started to be used extensively in many different movies and TV shows. Carbe has produced or co-produced more than 50 albums, and she has not only composed for television, but also played on and produced many TV music segments. Additionally she began playing bass with the Jim Stubblefield Group that would eventually, with the addition of Durand, morph into Incendio. But despite her expertise in playing bass with Incendio as well as numerous earlier rock acts, she always kept her classical guitar technique up with practice, library music recording and lessons with Jorge Strunz from the famed Strunz and Farah. Now Carbe is excited to return to her first instrument, the acoustic nylon-string guitar, which is an integral part of the Carbe and Durand sound.

Durand comes from the world of rock and the blues. Raised in West Los Angeles, he embraced both rawness of punk rock as well as rocking guitarists such as Jimi Hendrix, Stevie Ray Vaughan and Eric Johnson. However, Durand is also of Peruvian descent, so part of his upbringing included listening to artists such as Trio Los Panchos, Los Morochucos and even Julio Iglesias. Durand got his degree in economics from UC Berkeley before working in the music industry at MCA Records, and later at Spanish-language television (the powerful Univision and Telemundo networks where he assisted in producing live music events including “Fiesta Broadway”). Durand playing in a variety of rock bands over the years, including his Steely Dan cover group, Pretzel Logic, that also included Carbe at one point. They later formed the band Book of Storms. Some of their electric and acoustic made-for-television music was packaged under the name Carbe-Durand as a limited edition CD, Sketches. Eventually Durand joined Incendio, a group where he is able to incorporate his love of South American traditional and pop music with rock, jazz and world influences.

“After all our experiences in the music business -- composing, touring, playing rock or world music, producing pieces for film and TV -- it is extremely refreshing and satisfying to strip our sound down to just two acoustic guitars and play music that we love and that audiences obviously connect with,” states Durand.
Music CD Release
One Of Top Modern Mantra Bands In The World Unveil Cosmic Connections Live
May 17
Deva Premal & Miten with Manose
Cosmic Connections Live

The new recording Cosmic Connections Live, which was recorded during the 2014-2015 World Tour by the popular world-fusion group Deva Premal & Miten with Manose, offers an opportunity to experience the transcendent energy of their live concerts.

Since they first started recording together in the late Nineties, Deva and Miten have been considered pioneers and leaders in developing a new style of world-fusion music blending ancient mantras with contemporary music elements that has helped bring the transformative, healing power of mantra into the 21st century. Deva and Miten see their music as an invitation to take a break from the ceaseless turbulence of our troubled times and lead the listener into a space of inner peace, harmony and meditation. Their new release is another beautiful bridge to cosmic connections.

The new album begins with Deva’s haunting rendition of the timeless and mysterious mantra OM (Deva and Miten call it “The Cosmic Yes”). A short multiple-voice version opens the recording and a 10-minute mostly-instrumental version closes the musical experience and gives the entire band a chance to shine instrumentally. What lies between is an enchanting journey into mystic realms. Included are beloved mantras previously enjoyed by fans of the studio recordings, but here captured live in concert (including “Nam Myoho Renge Kyo Mantra,” “Om Kumara” and “Mangalam”). These ancient mantras are embedded in East-West fusion soundscapes that soar with transcendent vocals mixed with luminous notes from the bansuri, courtesy of Nepalese maestro Manose. The music is balanced between those healing and inspirational mantras and the intimate and deeply moving ballads from Miten (“White Cloud White Swan” and “Native Son”).

Deva plays tanpura and keyboards, Miten adds guitar, and Manose is heard playing the bansuri wood flute. All three sing. The trio are joined on this concert collection of mantra and song by several other master musicians, notably Joby Baker (bass/percussion/vocals) and Spencer Cozens (piano/keyboards), plus special guests. Additional excitement comes from the concert audiences in Budapest, Frankfurt, Edmonton, Bath and Amsterdam.

This recording, and others by Deva Premal & Miten, are available at both mainstream and specialty stores throughout the United States, and also are available worldwide as CDs and digital downloads from numerous online sales sites such as iTunes and Amazon. For more information about the group and their music, go to DevaPremalMiten dot com.

In concert these celebrated chant masters feature their unique, spiritually-inspired presentations of mantra, song, and chant with the aim to bring solace and great music to thousands of kindred spirits, thirsty for respite in this troubled world. These powerful gatherings create moments of what Deva describes as “ecstatic silence,” or in Miten’s words, “luminous pools of deep celebration.”

During their years together, the duo has presented their music worldwide, from New York to Los Angeles, from Buenos Aires to Rio de Janeiro, from Moscow to Kiev to Tel Aviv, from San Quentin Prison to the concert halls of Europe, proving that mantras transcend all traditional cultural and religious boundaries.

According to Miten (pronounced me-ten), “The music we make is born out of a committed spiritual practice. We meditate -- we investigate -- and our music is a result of that experience. It's more a case of life and death than entertainment.” Deva Premal (pronounced day-va prim-all), adds, “Sanskrit mantras are ancient, primordial healing formulae that resonate at the very core of our being. By chanting communally, we access this profound depth of silence and inner peace, transcending all conflict, inner and outer.”

Flame carriers of a 5,000-year-old tradition, Deva Premal & Miten are at the forefront of the burgeoning world-wide chant phenomenon. They are major contributors to the soundtrack of most 21st century alternative healing modalities, from rehab/detox/stress management clinics to yoga studios, spas and meditation centers, and shamanic gatherings and ceremonies whether in the depths of the Amazon or in urban areas throughout the world.

Merging ancient mantras of India and Tibet with contemporary musical settings, their debut album The Essence in 1999 introduced a new and unique musical genre. The album soared to the top of World and New Age charts globally and has remained a constant best-seller. Deva Premal & Miten have released more than 18 albums of uplifting and inspirational music, and are acknowledged leaders in the field of world-fusion and blending ancient mantras and modern music. Their best-selling 2015 release Songs for the Sangha debuted at #1 on iTunes and Amazon World Charts.

They have hosted online mantra meditation programs with more than 200,000 participants.
They have graced festivals, concert halls, rock venues and cathedrals around the planet.
Their numerous fans worldwide include such diverse luminaries as Cher (who recorded and performed their version of the “Gayatri Mantra” and said “The Essence is my all-time favorite album for yoga”), His Holiness the Dalai Lama (who proclaimed: “Beautiful, beautiful music”), life coach and motivational guru Tony Robbins (who felt the music to be “passionate and powerful”), and author Eckhart Tolle (who called their music “pure magic”).

Deva and Miten are often accompanied by Nepalese wood-flute master Manose (pronounced ma-nose’). Born in Kathmandu, Manose has performed extensively with them and is featured on many of their previous albums, including Songs for the Sangha. Manose also has released four solo CDs. He is credited with re-popularizing the bansuri in his country, where he was the first to introduce it as a rock instrument.

Deva Premal & Miten met at Osho’s meditation center in India in 1990 and began a journey into love and creativity which has seen their worldwide concerts and best-selling albums introduce millions in the West to the joy and deep relaxation found in chanting mantras from the Eastern meditation traditions. Their music is the soundtrack for yoga, massage, acupuncture, meditation and stress management programs around the planet.

Deva was born in Germany to the sound of the “Gayatri Mantra” -- her parents chanted it to her in the womb and it was her bedtime lullaby through childhood. She also is a classically-trained musician. Miten grew up in London, immersed in the Sixties sounds of The Beatles and the other pop-rock acts of that era, but he dropped a successful career as a rock musician to explore the world of meditation. Together, they have created a unique musical genre, setting the chants of India and Tibet into Western musical settings.

At his ashram in Pune, India, the enlightened mystic Osho gave her the name Deva Premal (“Divine Loving” in Sanskrit). There she was initially attracted to healing modalities, becoming a practitioner of reflexology, massage, shiatsu and cranio-sacral therapy. It was also there that she met Miten. “He was the coordinator of the ashram music and he wrote the most beautiful songs.”

In today’s crazy, hectic world, Deva and Miten’s chilled out Sanskrit chants offer something of a musical balm to calm the nerves and nourish the tortured spirit. “Without the silence that follows the chants,” Deva explains, “you get only half the story. It’s so easy to overlook the silence inside music, and, ironically, it is that silence which contains the potent, healing power. This is really the main reason Miten and I sing, to bathe in ‘Ecstatic Silence.’ It’s our nourishment. For me there is nothing more precious than having sung with an audience, ecstatic with bliss, and then enter the inner world of deep peace that the mantras offer where all personalities are gone and dissolved for an endless sacred moment into eternity with only joy remaining.”
Music CD Release
Out of USA
May 17
Joanna Brouk
Hearing Music [1970–1985]

The Numero Group presents the first collection of music by new age/ambient/avant-garde music pioneer Joanna Brouk. During the ‘70s and ‘80s Ms. Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power. She studied under avant-garde music legends Robert Ashley and Terry Riley at the fabled Mills College Center for Contemporary Music before graduating into the San Francisco Bay Area's exploratory music scene. Hearing Music collects 22 beguiling and enchanting pieces from Joanna Brouk's two-decade career, including previously unissued recordings and engaging historical liner notes.

Joanna Brouk was a composer who wrote scores with geometric shapes; a poet who became an experimenter in early electronic music; a recording artist, pianist, synthesist, manipulator of sounds and occasional vocalist. Describing herself as more a channel than a composer, Brouk took her cues from the frequencies of the natural world. Her little-known body of work exists at the nexus between ambient, new age, avant-garde, drone, and classical minimalism — stark in its simplicity, lush in its expanse. She created her music with talented collaborators like flautist Maggi Payne and pianist/composer Bill Maraldo. Brouk self-published her recordings on cassettes to a dedicated group of listeners, primarily in California. After decades of relative obscurity her work eventually reached astute musicologists in far-flung hip centers.

Hearing Music was researched, compiled and produced by Numero Group A&R representative Douglas Mcgowan, best known as the proprietor of the Yoga Records label and the creator of the I Am The Center: Private Issue New Age In America 1950-1990 collection, a groundbreaking reassessment of new age music by 20 artists, including Brouk. I Am The Center caused a stir in late 2013, appearing on dozens of best of the year lists, and garnering praise in Pitchfork, Wire, and The New York Times. Hearing Music is the result in part from listener requests to hear more from the mysterious Ms. Brouk.

Hearing Music draws from Ms. Brouk's beguiling and rare cassette releases and her archive of previously unreleased recordings. Fire Breath, The Creative, and Majesty Suites - Entrance of the Queen of Winter Dawn are heard for the first time here. Hearing Music is available at better record and new age stores, at numerogroup dot com, and online retail sites worldwide. The influential, Grammy-nominated Numero Group label is widely regarded as the star of the ever-growing world of music rediscovery and reissue. In addition to its lauded releases of albums from new age pioneers like Iasos and Jordan de la Sierra, Numero has plumbed such disparate genres as folk, funk, country, and salsa to create award-winning compilations and box sets. The gorgeously-packaged Hearing Music carries on Numero's tradition of quality and attention to detail.


In 1970 Brouk left New York to attend the University of California, Berkeley, to study creative writing under the tutelage of the poet Josephine Miles. Brouk's studies led her to music; and her mentor, Miles, encouraged her to explore sound poetry and recording. Brouk became entranced by the poetic use of sound in native cultures: the way repeating words make a rhythm; the way alliteration, assonance, and consonance become drums; the way shamans use chants, voice manipulation, and repetition for spiritual healing.

As Brouk explains it, I realized that, in many instances, it didn't matter what you said, it mattered how you said it: the tone of the voice, the rhythm, the sound. Because sound has an incredible effect on other people; it can make them dance, put them into trances; it can control emotions by a certain pitch, a certain depth. Accordingly, her first sound pieces were processed music, repeating words layered over and over until they became hypnotic mantras. This word recording led to an almost obsessive devotion to capturing the sounds of the world around her and, eventually, the music playing perpetually in her head. When you slow it down, the sound of bees sounds like a drone like Tibetan monks. So I realized there are several universal sounds: bees, crickets, frogs. When you slow down their frequencies, they reveal an underlying drone that really is everywhere in the world. If you're underwater you'll hear a hum. So I was fascinated with the underlying drone, that's really where I started.

Brouk called this the unity of the soundwave and, without formal training, she began to pursue it. She taught herself to play piano slowly, tapping out a single note over and over until she finally heard the next note resonating in her head, and the next. Commercial synthesizers were just coming on the market. The Center for Contemporary Music at Mills College was earning a reputation as a leading pioneering electronic music school. Miles arranged for Brouk to study, experiment, and record there. To Brouk, the Mills studio looked like a heaven of tape decks and analog modular synthesizers including a wall-to-wall Moog IIIP and a Buchla 100, both operated by dials and switches. To her wonder, Brouk found that the synthesizers could recreate any sound she heard playing in her mind. Brouk's instructors at Mills included legends like Robert Ashley (the Center's director and creator of a new offshoot of modern opera) and Terry Riley (a trailblazer of American classical minimalism). Their encouragement was important to Brouk as she pursued a unique and minimal sound of her own.

It was the support of a local radio host that first helped Brouk's music bloom outside academia. KPFA-FM has always been a notoriously progressive radio station. In October 1972, Brouk appeared on Ode to Gravity, a program featuring contemporary and experimental music. Host Charles Amirkhanian praised Brouk's work, calling her a composer whose interests in sound revolve around taking time to explore those parts of music that we usually pass over, the sounds within individual tones. Joanna Brouk's music assumes you are unlike the majority of listeners; that you will approach her music in a meditative way and will slow down your body functions enough to hear the sounds she has created. The show played several of her early compositions, including The Creative, made entirely from the resonations of a slowly struck gong with some synthesizer tones. The segment struck such a chord with listeners that KPFA offered her a show of her own and eventually made her program director. She graduated from Berkeley with a BA in creative writing and electronic music and went immediately into radio production, putting her music in the background of shows and documentaries. She also produced work for NPR.

In 1980, she enrolled in Mills' graduate program for electronic music. Her thesis project was a large scale work for the Oakland Cathedral of Saint Francis de Sales called Holy Saturday Mass. (It was narrated by Erik Bauersfeld, the voice of Admiral Ackbar in Return of the Jedi.) Through her own label, Hummingbird Productions, Brouk released a flurry of tapes: Healing Music in 1980, The Space Between and Sounds of the Sea in '81, Golden Swan in '83, and Healing Touch in '85. Kaiser Permanente placed a large order and used Brouk's music as sound therapy for patients in their hospital network. The inclusion of her albums in catalogues of new age music made her known to fans of the increasingly-popular genre. Though the albums were largely cobbled together from Brouk's early tapes, Sounds of the Sea was different, a fully conceived concept album and a masterpiece of her career. Repeated motifs link the tracks together, as does Brouk's expert manipulation and layering of sound. Synthesizers mirror the timbre and tone of the French horns, flutes, and conch shells, playing the same refrains until it becomes difficult to tell the acoustic from the electronic. Similarly, while some pieces feature field recordings of actual dolphin songs, other tracks feature spectral human voices mirroring the same sonic heights.

Brouk married and moved to San Diego in late 1985, and gave birth to a son. She took up the practice of transcendental meditation. I didn't have my synthesizer, I didn't have money. It was kind of a start-over moment. Though she still writes and hears music daily, occasionally drawing the scores on paper geometrically, Brouk has not recorded in 30 years.
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