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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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Ski and Sports Club 2016 Kickoff Meeting
Jul 24
33rd Annual Clearwater/St. Petersburg Ski and Sports Club 2016 Kickoff Meeting and Fundraising event for the Bay Pines Disabled Veteran Winter Sports Team

As Pinellas County’s only snow ski club, we will be holding our 33rd annual kickoff meeting Friday, August 12th at the East Bay Country Club, 702 Country Club Dr, Largo FL. Starting at 6:30PM, this event will showcase our club’s 3 winter ski trips and 1 summer vacation trip for the upcoming season; and kickoff our fundraising efforts for the Bay Pines Disabled American Veterans.

With trips planned to Beaver Creek Colorado, Crested Butte Colorado, Snowmass Colorado and Costa Rica, there will be trips all season long including Spring Break. Trips are for all levels of skiers and non skiers alike at various price ranges.

While at Beaver Creek we will be joined by as many as 14 other ski clubs from Florida. Snowmass is scheduled to coincide with Spring Break for Pinellas and Hillsborough County Schools, as well as USF and many private schools.

This season marks the 33rd anniversary of our “Not for Profit” Clearwater/St. Pete Ski and Sports Club, commonly known as the Snowsharks.

It is also the first of several planned fundraising events for the Bay Pines disabled veterans. Funds raised will help these veterans attend the Winter Sports Clinic in Snowmass, CO in March, 2017. This unique rehab clinic is held every year; but due to the cost of travel only a handful of the veterans have been able to attend. Last year we raised $1,800. Enough to send one Disabled Veteran to the Clinic.

This event is free to attend.

Details about the club’s trips, our social events, and the Winter Sports Clinic can be found on our web site, or on our Facebook page.

The Clearwater/St. Pete Ski Club will be holding their monthly social meetings at Mikes Pizza & Deli Station located at 13560 49 St in Clearwater Fl. Socials begin at 6:30 PM on the 2nd Tuesday of the following months. September 13, 2016, October 11, 2016, November 8, 2016, January 10, 2017, February 14, 2017, March 14, 2017, May 9, 2017.
San Martin Bridge Update
Jul 21
This is what we learned from the Public Alternates Workshop for the San Martin Bridge replacement:

Three bridge replacement alternatives and three North Bay Trail alternatives were presented and surveys and comments were collected. The deadline for public input for this phase is July 28, 2016.

If you could not attend and still want to provide your input, visit

To vote on alternatives click the “Take the Survey” link.
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Gyuto Monks Of Tibet Join Voices With Heather Lee Who Sings In Several Languages
Jul 20
Beyond Karma

The musical album Beyond Karma is a rare mix of sacred sounds from different cultures. The Gyuto Monks of Tibet (the group that ushered in the West’s appreciation and fascination with traditional chant through a series of best-selling albums starting in the late-1960s) are joined by Australia’s finest sacred music duo, Kim Cunio and Heather Lee, on this recording of traditional and newly-composed music from Judaism, Christianity and Islam.

The album on New Earth Records (NewEarthRecords dot com) was arranged and produced by Dr. Kim Cunio, a renowned musician, musicologist and composer of sacred music, and Australia's leading interpreter of traditional sacred musical traditions. Heather Lee is a multi-lingual soprano singer. Theirs is a professional and a personal partnership, and their marriage is a celebration of religious diversity including Jewish, Christian and Hindu traditions. With their adopted Indian son Babu (who sings on one piece from this album), they are a model of interfaith marriage. Cunio and Lee are prolific in their explorations of sacred music. For example, they worked together on an historic, audacious and scholarly musical project in 2000 based on the Dead Sea Scrolls when they transcribed the 2000-year-old music of the Baghdadi Jews and merged it with the text of the Scrolls. In addition to the team’s expertise in singing, Cunio plays many traditional instruments, and has had a number of ancient instruments specially reconstructed for specific projects.

The Gyuto Monks of Tibet are pure tantric masters whose strict daily practice stands at the very pinnacle of Tibetan Buddhist tradition, but they are no strangers when it comes to recording. Their sound has been recorded by musicologists (Huston Smith in 1967; David Lewiston in 1974 and 1977; among others), pop stars (Mickey Hart of the Grateful Dead in 1989) and kirtan masters to name but a few. Considered one of the world’s music treasures, the Gyuto Monks are especially known for their sonorous, grandiloquent sound, immensely low range and the sheer power of their harmonic chant. Chanting between a low A and C, almost an octave below the regular male range, the clusters of their notes and harmonics are one of the greatest living vocal techniques. The monks’ lives are lived in prayer. Their sound is not just music, but tantric practice, and this does not change whether they are in a temple, on a stage or in a recording studio. The Gyuto Tantric University is one of the great monastic institutions, founded in 1475 by Jetsun Kunga Dhondup who is believed to have started the monks tradition of overtone singing, also described as chordal chanting. Some Westerners heard their recordings from the Sixties and Seventies, but the Gyuto Monks rose to widespread prominence and worldwide acclaim with their 1986 album Tibetan Tantric Choir, a series of concerts with the Grateful Dead in the USA in 1995, their 1997 appearance in the film and on the soundtrack of Seven Years in Tibet, and their previous recording on New Earth Records, Pure Sounds, which was nominated for a 2011 Grammy award in the Traditional World Music category.

Cunio is a regular lecturer at the Queensland Conservatorium of Music in Brisbane. He has composed and produced numerous music projects for CD, radio and television. An accomplished researching composer, he was awarded an ABC Golden Manuscript Award in 2004 in recognition of his work with traditional and Islamic music. Commissions have included music for the Art in Islam exhibition and Indian sacred music for the Garden & Cosmos exhibition, both at the Art Gallery of New South Wales; Songs to RA, music for the Egyptian Antiquities exhibition from the Louvre; The Temple Project, setting ancient Psalms and Biblical texts to Baghdadian Jewish chant on replica instruments; and Buddha Realms, a compilation showing the diversity of Buddhist music. CDs have included Music of the Dead Sea Scrolls, The Sacred Fire: The Music of Hildegard of Bingen, The Temple Project: The Thread of Life (a reuniting of Arabic and Jewish musicians), and Sweet Dreams (lullabies from around the world). Lee is an award-winning singer and soloist who has focused on both sacred traditional music and western classical music in her career. She has performed in many of the leading venues and companies of Australia including the Victorian State Opera, Queensland Symphony Orchestra, the Sydney Opera House, and the Cameron Macintosh CATS tour of Australia and New Zealand.

While the focal point of the Beyond Karma album is the wide-range of vocals, both sung and chanted, the recording also features a combination of Eastern and Western instruments, including piano, harmonium, tanpura, santour, violin, viola, cello, joza, wooden flute, oud, didjeridoo and percussion.

“What I love is finding ways to make the endangered music of the world live again without affecting its lineage or integrity,” states Cunio. “And in between that I will write music in many settings with anything from fully scored Western instruments, to traditional instruments that are rarely notated, or with samples and synthesis. Beyond Karma has a bit of all of that.”

Cunio says, “In April 2014, Heather and I spent an incredible week with the Gyuto Monks, chanting, singing, playing together and giving a concert. In this album we have recreated the feeling of that concert, combining Tibetan chant with other traditions, as well as writing accompaniments and responses to the music of our dear friends.”

“Beyond Karma is a meeting of two ensembles who take sacred music to places it does not normally go,” explains Heather Lee. “Singing high with the Gyuto Monks is an experience like no other for me. I am anchored in a well of sound and our combined range of more than five octaves is an aural feast.”

The combining of Lee’s voice with the monks begins on the title tune which combines two traditions of sacred chant sung at the same time -- the Morning Meditation practice of the Gyuto Monks with the exquisite Ashkenazi Jewish prayer “Y’hu L’Ratzon.” Australian aboriginal music meets Tibetan culture on the second piece, the solo “Karma Burning” chant backed with a didgeridoo played by Ash Dargan. The setting shifts again on track three, “O Pastor Animarum,” written in Germany in the 1050s by Hildegard of Bingen, and featuring the singing of Lee. On “Tantric Grace,” Cunio accompanies the monks on piano and strings, and the piece unfolds slowly to allow great introspection. In this, as in all the texts of the Gyuto Monks, the actual words and their meanings are secret.

“Unity of Life,” explains Cunio, “is a live recording and the epitome of this project as the ‘Homage’ and ‘Invocation’ chants of the Gyuto Monks are heard throughout the recitation of the ‘Sh’mah Yisrael,’ a prayer of Baghdadi Judaism.” “Unity of Life” has a full ensemble: The Gyuto Monks, Kim Cunio singing and playing harmonium and tanpura, Heather Lee singing, Anne Hildyard singing and playing flute, Llew Kiek on oud and Tunji Beier on percussion. The piece “Mahakala” is central to the life of a Gyuto Monk and is chanted alone, here by Lobsang Tsetan (also playing the traditional Nga Chen drum) and accompanied by Ash Dargan on the didgeridoo. “Lament for a Lost Home” is a new composition by Kim Cunio using a poem by contemporary Iraqi poet Bader Shakir Al-Sayyab and featuring Iraqi string master Nawres Al-Freh (joza and violin), plus Lee singing in her operatic voice while the monks chant at their deepest in a cycle of six beats, and capturing a shared symbolism between both Tibet and Iraq as lost homelands for the thousands of refugees forced to flee. “As The Sun Sets” is a solo piano piece by Cunio inspired by his time with the monks. “The Suffering of the World” is based on the favorite prayer of the Dalai Lama and is sung by the nine-year-old Samarai (Babu) Cunio.

“Working with the Gyuto Monks reminds me that it is possible in this life of ours to embody the qualities we value. If the Gyuto Monks can preserve such dedication and practice, we can be motivated to do more, both for ourselves and for others,” states Cunio. “I feel this album heralds the beginning of a wonderful musical journey together as well as a support to the grandest of spiritual ambitions.”

Music CD Release
Acoustic Guitarist Ciro Hurtado Is A Master Of Gentle Latin-Based World-Fusion
Jul 20

Many of guitarist Ciro Hurtado’s earliest memories are of the jungle, the Amazonian rainforest in his homeland of Peru, the world’s most bio-diverse place, an isolated and barely-populated wilderness with many tall broad-leaved trees and liana climbing vines forming a high canopy. Hurtado, who moved to California when he was 20, named his new album Selva (Spanish for jungle) and continues to explore the sounds of Peruvian folk music mixed with music from other countries that he first heard on short-wave radio as a child.

In fact, Hurtado has become one of the leading proponents of a new world-fusion blend that often uses elements of native Peruvian music -- whether it is rhythms from the Amazon Basin jungle or flute melodies from the Andes mountain tribes -- as a base which he then incorporates with a variety of styles from other Latin cultures as well as the United States and India. Hurtado, who gained early acclaim as a guitarist, is now also acknowledged as a top composer, arranger and producer of Latin-based world-fusion. Although he sometimes performs solo on acoustic guitar, he most often brings together a wide-array of musicians and singers fluent with many different musical genres and instruments.

“I spent the early years of my childhood in Moyobamba, a small town located in the Peruvian rainforest, about 500 miles northeast of Lima where I eventually went to school,” Hurtado says. “At that time Moyobamba was completely isolated from the rest of the country. There were no roads, trains or boats to get there. The only form of arrival was via airplane, a long, very bumpy trip crossing the Andes on a Douglas DC3 plane from World War II. At first the town had no electricity or running water. When electricity was finally available for two hours a day, my window to the rest of the world was the radio. I listened to stations from Lima as well as neighboring countries such as Ecuador, Colombia and Brazil. On short-wave radio I could catch Radio Moscow, the BBC from London and Radio La Habana Cuba which expanded my awareness of many musical styles including blues, jazz and rock. My taste in music became very eclectic from the very beginning, which is reflected on this album. I had heard Peruvian folk music all my life, and members of my family played it on guitar, but as a child, the first time I heard The Beatles on the radio, I also became mesmerized by rock’n’roll.”

With Selva, Ciro Hurtado has released nine albums under his own name (In My Mind, Tales From Home, The Magic Hour, Guitarra, Echoes of the Andes, Guitarrista, Los Angeles Blues and Ayahuasca Dreams). Most of the recordings feature ensemble music with a few solo guitar tracks (although Guitarrista and Los Angeles Blues are primarily solo guitar). His last three recordings received international marketing campaigns, found a passionate audience in the world-fusion and new age music genres, went Top 5 on the international Zone Music Reporter Top 100 album airplay chart and made the lists of the Top 5 best world music albums of the year named by the radio programmers reporting to ZMR.

Many of Hurtado’s recordings are available online for purchase as CDs and/or digital downloads at CDbaby, Amazon, iTunes and a variety of other sales sites. More information about the artist and his music is available at cirohurtado dot com.

Hurtado also is a founding member and currently the musical director of the band Huayucaltia (pronounced why-you-call-TEE-ah) that has group members from Argentina, Peru, Colombia, Mexico and the United States. “In this group I have gotten the chance to explore virtually every kind of Latin rhythm,” he says. He has appeared on and co-produced their seven albums -- Despertar, Caminos, Horizontes, Amazonas, Origenes, Destinos and El Tiempo. During the past decade the group performed “Misa Criolla” by Argentine composer Ariel Ramirez at the Hollywood Bowl to critical acclaim, and performed four times with the Los Angeles Master Chorale at the Walt Disney Concert Hall. The last two performances featured a modern-classical piece specifically written for the band and chorale by renowned composer Gabriela Lena Frank.

The music on Ciro Hurtado’s Selva album is Latin-guitar-based; he plays acoustic guitar on every tune (and occasionally electric guitar or charango). He plays solo guitar on “Zamba Triste” and features just his guitar and the vocals of his wife, Cindy Harding, on “Solo Tu.” But on the rest of the album Hurtado surrounds himself with both Cindy and other top-flight musicians and vocalists (females singing in Spanish). The recording contains five instrumentals, another mostly instrumental piece (“Un Pacto de Amor”), and seven compositions with singing (one with wordless vocals -- “Rio”). In addition to singing on several tracks, Harding also plays ethnic South American flutes (quena, zamponas) and the requinto jarocho guitar.

Other special guests include members of Sabia and Cojunto Jardin (Libby Harding, Gary Johnson and Cindy Harding), Trio Ellas (Stephanie Amaro, Nelly Cortez and Suemy Gonzalez) and Gliese 229 (Rosalia Leon), as well as Grammy winners Ricky Kej (from India) on keyboards and Wouter Kellerman (from South Africa) on alto flute on “Pacto de Amor.” Kej also played on “Un Pacto de Amor” (featuring Butto on bansuri flute and Vanil Veigas on santoor). Some of the other key supporting players include bassist Guillermo Guzman; drummer/percussionist Ricardo “Tiki” Pasillas; Julio Ledezma on drums, bombo, cajon and other Latin percussion instruments; Gino Gamboa on cajon and quijada; and Luis Perez on pre-Columbian instruments (on “Corre, Salta y Vuela” and “Chullachaqui.”

Ciro began playing guitar at age nine, and started studying it seriously when he was 13. He played acoustic guitar in traditional folk ensembles and electric guitar in rock groups. After moving to the United States, he studied at the prestigious Guitar Institute of Technology. Hurtado appeared on the Strunz and Farah Misterio album and toured for four years with this popular group including concerts at the Montreaux Jazz Festival in Switzerland, the Havana Classical Guitar Festival in Cuba, and the Kennedy Center in Washington DC. Hurtado has returned to Peru for performances, tours with Strunz and Farah and Huayucaltia, and more recently several times for solo concerts.

Hurtado was awarded the prestigious Durfee Master Musician Fellowship. “The highlight of that experience was playing with and collaborating with musicians from Africa, Japan, Iran, Ireland and Vietnam. I felt like we were creating universal music.” In addition, Hurtado has produced and recorded albums for Michele Greene, Conjunto Jardin, Rosalia Leon and numerous others. As a composer, Hurtado has scored and participated musically in various feature films and documentaries such as Ron Fricke’s classic film “Baraka,” “Dead Women in Lingerie,” “Max is Missing,” “Hope Street,” “Monsters,” “Peru: The Royal Tour” and “From Wharf Rats to Lord of the Docks.” In addition, Hurtado has toured extensively by himself with a show called “One Guitar, Many Stories” that pairs his compositions with stories to illustrate the cultural and social contexts behind the music.

Hurtado has studied a wide range of Latin music plus rock, blues, new age, folk, jazz, classical, flamenco, Celtic, African and Middle-Eastern music and numerous other styles. In the ‘70s and ‘80s he listened to rock (The Eagles and Fleetwood Mac), jazz (John McLaughlin’s Mahavishnu Orchestra and Pat Metheny) and blues (B.B. King, Albert King and Freddie King). Paco de Lucia inspired Hurtado to study Spanish music and flamenco. He also enjoys Afro-Peruvian music “because I heard that music played in the streets in Peru when I was young.” Additionally Hurtado has enjoyed listening to acoustic guitarists such as Pierre Bensusan, Tommy Emmanuel, Laurence Juber, Michael Hedges and Andrew York.

“With my music I am always exploring my roots, both the early influences from Peru and also the cultural diversity I encountered when I moved to Los Angeles,” Hurtado says. “I have worked hard for many years to combine all my influences and make my own style so that I don’t sound exactly like anyone else. My music is a reflection of the many people, cultures and musical styles that have touched my life. I truly believe music knows no borders.”
Music CD Release
Geoff Hall's Understanding The Signs Album Features Lovely Orchestration
Jul 20

Multi-instrumentalist, composer, and producer Geoff Hall has released a new age, orchestral-ambient debut album, Understanding the Signs. “The CD is a collection of instrumental pieces, each written and orchestrated to depict a particular image, story, and feeling,” states Hall. “While remaining true to individual, everyday experiences, the pieces are also symbolic of our ability to recognize and respond to the world around us – the signs.”

Hall, a graduate of the prestigious Berklee College of Music Professional Program, composed these modern instrumental pieces by combining elements of electronic, film, new age, ambient, and neo-classical music. Featuring gentle melodies, a variety of synthesized sounds, carefully arranged string sections, and orchestral instrumentation; these original compositions pull the listener into a well-developed soundscape.

“When I finished the CD and stepped back to think about how these pieces might fit together - musically and emotionally - I realized there could be a connection to this music for other people. It's easy to get caught up in the daily routine, the stress of a job, the often-hard realities of the choices we have to make. But some people find their way to the things that really matter. That awareness helps those people to see and understand the value of 'the little things' and to appreciate the 'small moments' in their lives. Ultimately, I think that leads to bigger questions like, 'what am I doing every day and why,' 'if I only get one shot at life, am I spending my time the way I should be,' 'What's really important?' Understanding the signs that are in front of us every day and coming to that awareness is a personal journey for those who have the ability to make it. These compositions attempt to capture elements of those moments. They represent some of the thoughts, emotions, and events we all experience. Whether it's sorrowful, hopeful, triumphant, lonely, wistful, exhilarated or reflective, I believe there's something in these pieces that people can relate to.”

For more information about Geoff Hall and his music, visit his website at Understanding the Signs is available in the CD format and as digital downloads at a wide variety of online sales sites including iTunes (mastered for iTunes available), CDBaby, eMusic and other outlets. Hall’s music can also be heard on over 90 streaming radio sites including Pandora and Spotify.

Born in Virginia, Hall moved frequently as a child, but spent the majority of his developmental years in Memphis, Tennessee. His earliest memories of music are of listening to his parents play John Denver records at home and of the orchestral concert performances on the Fourth of July. At age 12 he began playing guitar when a friend introduced him to the rock‘n’roll music of Rush and taught him some basic chords. “In those days I was influenced by a wide range of guitar players -- Alex Lifeson of Rush, Eric Johnson, Yngwie Malmsteen, Trevor Rabin of Yes, David Gilmore of Pink Floyd, and Andy Summers of the Police among others.”

Throughout his teens and early twenties Hall performed in a local rock band and as a solo act. Hall continued to study music and music theory throughout his teen and college years. At 21, “I was introduced to acoustic fingerstyle music and heard Will Ackerman for the first time. I fell in love with that style of music, and my emphasis shifted from electric to acoustic, both steel-string and nylon-string. I also started listening to Alex de Grassi, Franco Morone, Don Ross, Michael Hedges, Andrew York, Ottmar Liebert, and others in that solo guitar space. That was when I got serious about acoustic guitar and shifted, almost completely, to acoustic fingerstyle.”

Hall spent the first half of his music career performing on guitar and the latter half studying piano/keyboards/synthesizers, composing, orchestrating, arranging, and producing - while managing to continue playing both electric and acoustic guitar along the way. He has studied and performed electric, acoustic fingerstyle, and classical guitar across numerous genres that include solo guitar, classical, folk, rock, and heavy metal. Hall is especially grateful for the guitar instruction he received over the years from legendary players such as Shawn Lane, Alex de Grassi, and Franco Morone.

The next musical evolution for Hall encompassed his passion for film scores. “When I was a teenager learning about guitar from Shawn Lane, he was a huge fan of film scoring and an accomplished pianist. He helped expand my awareness of film scores. Years later, I heard the soundtracks for the films Gladiator, Braveheart and others, and realized the impact and complexity of orchestral music.” The works of John Williams, Hans Zimmer, Harry Gregson-Williams, and James Horner have inspired Hall, and the styles of these and other composers echo in Hall’s film score compositions, some of which can currently be heard on SoundCloud. Hall’s study program at Berklee College focused on “Orchestration and Scoring for Film and Television.”

In the early 2000s Hall purchased his first keyboard, built his own studio, and began to explore the possibilities of creating orchestrated works using a combination of live musicians and modern technologies. “When composing I will often begin by sitting down at our piano; I have always found it easier to visualize concepts on the piano as opposed to the guitar,” explains Hall. “I often start with piano to begin ‘sketching’ where I generate the initial idea, melody lines, harmonies, and progressions. Then I move those ideas to my studio and begin orchestrating them through a MIDI keyboard where I have access to a huge range of sonic possibilities. From that point, the final orchestration and arranging falls into place.”

Although Hall plans to play guitar prominently on future recordings, a nylon-string guitar is only heard on one piece, “Gone But Not Forgotten,” from the Understanding the Signs album. The music on the project was created using a wide range of instrumentation. Everything from modern synthesizers to ethnic instruments to traditional orchestral instruments were used — and in many cases, blended — to create the sonic ambience in these soundscapes. In addition to a brass section on “Gone But Not Forgotten,” tympani on “Perseverance,” and cymbals on “Knowing,” Hall employs some ethnic instrumentation including the bazantar, a 38-string acoustic bass most often used in East Indian music, on “To Go Alone”; African drumming on “Toward a Perfect Moment”; and a variety of synthesized and ethnic drums on “The Run” just to name a few.

The album begins with “The Run,” an energetic, yet somehow relaxed and flowing, modern hybrid-orchestral piece with a strong rhythm and a prominent cello section. That piece is about the harmony you can achieve with your surroundings and that rare out-of-body experience you can have when you've worked hard enough to earn it. While athletes are familiar with this experience, it can also apply to any other hard-won success in life.” “To Go Alone,” the most ambient composition on the album, exudes a high and lonely vibe that represents the journey or trial of an individual who must find a way on his/her own. The title piece, “Understanding the Signs,” uses the five voices of an orchestral string section to layer a series of beautiful melodies, countermelodies, and harmonies featuring everything from multi-layered arpeggios to pizzicato and sustained strings. While the instrumentation and arrangement typically lend themselves to a decidedly classical style, the piece also features a modern compositional approach with an uplifting energetic feel.

“Toward a Perfect Moment” features synthesizers, effected piano, strings with various effects, and ethnic drumming. The piece has strong forward momentum and captures the emotion you feel when you're on your way to a special destination or event. The slow and sorrowful “Gone But Not Forgotten” utilizes nylon-string guitar, a boys choir, piano, horns, and strings, especially a strong cello line. It combines a sense of both loss and reflection. “Perseverance” features an ambient vocal line that transitions to a strong percussion section with triumphant energy. “Knowing” depicts awareness both learned and innate. This tune flows along with rhythmic and melodic piano, synth, and a blend of traditional and effected percussion. The orchestral “Something More” is a reflective piece that lends emotional weight to many everyday questions about the direction of our lives and what might be next.

“It's exciting to have completed Understanding the Signs,” states Hall. “I hope that anyone who takes the time to listen will find some personal connection with these pieces.”

Music CD Release
Former Southern Rock Vocalist Cynthia Hart Now Sings Gentle New Age Music
Jul 13

Singer and songwriter Cynthia Hart -- inspired by metaphysics, nature and spirituality -- has created her second album, I Remember which is subtitled: “The Magic of Atlantis, Lemuria & Mother Earth.” By musically journeying through past lives and ancient civilizations, the recording becomes a mystical, melodic invitation and guide for personal exploration.

“There is nothing more powerful and fulfilling for each individual than when they awake to their soul’s true purpose and destiny. I hope people will allow this music to assist them in reaching that goal. Upon deeply exploring my own spirituality, I received guidance and inspiration to write songs with positive messages about healing, love, devotion and compassion in an effort to bring music of hope to the world,” explains Hart.

“I want each song to take people on a transcendent journey in which they can make a start in changing their lives for the better. I try to set specific moods and make the music touch the listener inside. I want to speak to their conscious minds but also to their subconscious self. The music can lead to exploration of past lives, healing of inner pain or remembering and forgiving.”

The music on I Remember is soft and gentle, but with a rhythmic base. Hart, who wrote all the music and lyrics except for one song, brings a well-rounded musical background to this project. She has sung new age music at spiritual meetings, weddings, funerals, women’s self-exploration gatherings and a wide variety of events, festivals and ceremonies. Her first solo album, Let Me Make Music In Your Life, began her exploration of this style of music. But previously she sang in church, studied opera in college and performed in rock’n’roll, folk, pop and blues bands for many years.

More information on Cynthia Hart is available at her website ( Her new CD -- I Remember -- and digital download tracks from the album are available at online sales sites such as CDbaby, Amazon, iTunes, eMusic and many others.

Cynthia first came to prominence in the music business with the Southern pop-rock band Dreamer, one of the top acts from the Atlanta area during the explosion of the “Southern Rock Scene.” Dreamer toured 300-days-a-year for more than a decade and shared stages all over the country during the heyday of acts such as The Allman Brothers, Lynyrd Skynyrd, Aerosmith, Atlanta Rhythm Section, The James Gang, Steve Miller, ZZ Top, Bob Seger, Kansas, The Outlaws, Marshall Tucker Band, Savoy Brown, James Taylor, The Byrds and Tina Turner. Cynthia sang onstage many times with Lynyrd Skynyrd during jam sessions. Dreamer played all original music and Cynthia, as lead singer, wrote the lyrics. The band went into the studio and recorded at various times with the Atlanta Rhythm Section producing as well as other top producers such as Jeff Glixman (Kansas). Dreamer released two singles -- “Fantasy Man” and “Be My Man” -- and both received solid airplay throughout the Southeast part of the United States.

According to Cynthia’s family, as a child she was singing before she could talk, and when she was ten she began to sing solos at the local Baptist church. She started studying piano and voice when she was 12, and during high school she performed in various stage productions. “I always loved Broadway musicals like ‘West Side Story’ and ‘My Fair Lady’, as well as singers like Ella Fitzgerald, Billie Holiday and Aretha Franklin.” Hart was awarded a scholarship and went on to study voice and piano at West Georgia University. She was the featured soloist with the Atlanta Symphony Orchestra doing “The Messiah,” and also sang with The Robert Shaw Chorale (Atlanta’s top vocal group). But the vocal music studies at the university centered on opera and eventually her interests turned to popular music. “I became a professional singer for four years covering songs by the folk-pop acts of that time -- The Mamas and The Papas, Peter Paul & Mary, Judy Collins, Joan Baez.”

I Remember begins with “Music of the Earth.” “I thought this would be a good place to start,” explains Hart, “because it is important for all of us to feel oneness with the earth, to get close to nature to feel whole and for healing purposes, and to feel the enchantment of our planet.” The epic “Sisters of the Moon” celebrates women worshiping the earth, usually outside at night in a circle, sometimes around a fire. “It’s all about ritual and ceremonial magic, and if you listen closely, I tell you the words to use.” Another tune, “I Am,” serves as an introspective meditation. “There are light and love and hope inside ourselves which we each need to acknowledge and share to find peace.”

Two songs are about ancient places and past lifetimes. “Atlantis” celebrates the lost continent that sunk in the Atlantic Ocean but not before ships set sail to spread bits of that long-ago culture throughout the world including their customs, spirituality and building techniques (such as pyramids). Another mystical civilization hidden by the shrouds of time is Lemuria, a now-vanished land in the Pacific Ocean, which Hart sings about in “Lemurian Dreamer.” The song tells the tale of ancient ones called “dreamers” who traveled from festival to festival dreaming for people who found those dreams always came true. “It was telepathic visioning where the dreamer projected positive experiences for the future.”

Several compositions are non-traditional love songs, not just for a mate, but between any humans (including parents, relatives and friends) or between Goddess/God and each of us. “Love Is Forever” makes a case for love never dying and even going beyond physical death to a spiritual eternity. “I Celebrate Your Life” applies “to anyone you have loved and admired and then lost, so it is a promise that you will never forget them.” The song “Listen With Your Heart” is a message to anyone who feels lost and alone, and feels like no one loves them. “They need to know love is all around us and if you open your heart, Goddess/God will fill it with light, love, compassion and hope.” The spiritually-based “You Are Loved Come Home” states that the Goddess/God of the universe loves us as human beings, but when our earthly experiences are done, wants us to return to the Supreme Being’s heavenly home.

The other tune is a specific self-help musical production. Hart says “I Forgive” is “all about self-empowerment, resolving issues from your past and forgiving yourself and letting these things flow out. We all have issues we need to get beyond including fear, shame, rage, pain and envy. This music serves as a guided meditation to help listeners forgive themselves.”

Hart explains that the album title, I Remember, has its own message that pertains to all the music inside. “Remembering is a very powerful, magical and meaningful part of our lives. As the various songs detail, we need to remember that we are loved, remember to forgive ourselves, remember our connection to the Earth, remember ancient places and times, remember loved ones who have moved on, remember the old ceremonies, and remember what is in store for us in the future. Remembering is a beautiful thing.”

The album was produced by Stan Henley (The Four Freshmen), who contributed flute, clarinet, synths, bass guitar and background vocals. The associate producer was Jim Boling (Natalie Cole, Roberta Flack, Dolly Parton), who added flugelhorn, keyboards, strings and additional horns. Rod Henley (Manhattan Transfer, Dennis Wilson of The Beach Boys) played piano and worked on the strings and horns arrangements. Shea Henley (Brandon Bush, Joel Cross) played percussion and additional instruments. Bill Hatcher (Trammell Starks, Col. Bruce Hampton) was the guitarist, but also played harmonica, organ, bass and various ethnic instruments. Sheri Henley (a chart-making recording artist in her own right) contributed background vocals and wrote “I Am.”

Hart says, “My goals are simple -- to find personal fulfillment in creating good music, and to offer the world musically uplifting messages in hopes that it will help people. I’m trying to let people know they can change the world by changing themselves.”
Music CD Release
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

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