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Bassist Wanted - Tampa , FL ... Submitted: 11-22-2016 ... 15:06 EST
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Keyboardist Available - St Pete, FL ... Submitted: 10-15-2016 ... 14:45 EST
Professional Keyboard player. Looking for a band or dedicated musicians wishing to form a band. Blues/Rock/Pop/Country Rock.Good level of musicianship required.I am a mature player with many years of professional experience of recording, TV and Radio performance and working with successful artistes in Europe.Open minded to all musical ... 2213513 ... Contact:

Guitarist Wanted - Springhill, FL ... Submitted: 09-25-2016 ... 10:24 EST
Very professional 3 piece band drums/bass/guitar looking for a very pro oriented 4th member to round out the type of music we are focusing on which is dual guitar Rock/Blues/Southern rock/Funk Blues. We do songs by Gov't Mule, Skynyrd, Foghat, Allmans, Meters, ZZ-Top, Jeff Beck, Jo Jo Gunn, Ram Jam, many more. Many songs are those that rarely get played as often as in the past, so please don't expect songs like Ramblin Man or Gimme 3 Steps to be on the list. Our goal is to play in all the popular venues and make a few $$. The 2nd guitarist must be adept at learning dual harmonies that are in m any of the tunes we cover. We hav e our own studio for practicing and at the moment meet twice a week. We're very anxious and would prefer a like minded individual to feel the same about our project. Thanks! ... 5851631 ... Contact: Joe

Bassist Available - Pinellas Park, TampaBay Area FL ... Submitted: 05-11-2016 ... 09:43 EST
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Vocalist Wanted - Clearwater, TampaBay Area FL ... Submitted: 04-19-2016 ... 14:50 EST
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USA Press Room

Aug 05
WANTED: Best Seafood Chefs in Pinellas County
Aug 14
The 35th Annual John’s Pass Seafood Festival, Madeira Beach, FL is announcing the 3rd Annual Chef Showdown.

We all know St. Petersburg has the best seafood restaurants. But this is a chance for local restaurants to prove they’re the best and be named “Best Seafood in the County.” Local chefs will do battle head to head in an effort to showcase their talent and their restaurant.

The Chef Showdown is open to all restaurants offering a seafood item on their menu. The All-Star panel of judges will award prizes for “Best Seafood”.
The Chef Showdown is the Kick-Off event to the John’s Pass Seafood Festival, Thursday, October 27th at the Main Stage Area.

Spots are limited to 12 participants and you don’t want to be left standing on the dock! The entry fee is $100 and must be submitted by September 26th.. Every Chef Showdown participant will be featured on our website and in our VIP advertising.

Proceeds from this event benefit the Pinellas County Schools, as well as a non-profit merchant’s organization that advocates and supports small businesses and the Fishermen Lost at Sea memorial in John’s Pass Village.

Festival Chairperson, Sonny Flynn, started this competition two years ago.

“The John’s Pass Seafood Festival is celebration of our local seafood and culture. We want to showcase the fabulous culinary talent we have right in our backyard. We believe our Chef Showdown is fun way for our local chefs to demonstrate their talent and show festival goers how much work goes into creating a delicious seafood dish.” Flynn said.

For 35 years, the John’s Pass Seafood festival has featured non-stop musical performances from some of the best bands, hundreds of craft vendors, hundreds of local businesses, amazing seafood and has always been FREE to the public.

This year the festival has expanded to four days and includes a Halloween Block Party, featuring an Adult Costume Contest with $5,000 in cash and prizes on Friday, October 28th. The Battle of The Gulf Fishing Tournament on Saturday, October 29th will challenge anglers of all skill levels. On Sunday, October 30th at 12:30 we will attempt to break the official World Record Bloody Mary Toast with over a thousand participants raising their glasses.

The Festival is hosted by The John’s Pass Village Association and is always held on the last full weekend of October. This year the festival runs from October 27th through October 30th. Gates open at 10am and close at 11pm.

For parking and free shuttle service information please visit our website at or call 727.322.5217.
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Gentle, Serene, Meditative, World-Influenced Sounds From Mystic Journey Band
Jul 30
Mystic Journey

Mystic Journey takes you there. Close your eyes, trust, and you will go somewhere else. When you return, you'll be different... better. Your inner windshield wipers will have washed off what you don't need. What you need... is a Mystic Journey.”
-- John Densmore (The Doors)

Mystic Journey has an eagerly anticipated new release, Kingdom of Mountains full of mystical and evocative instrumental world music at its best, with rare and colorful flutes, strings and percussion from around the world that dance together to create an ancient yet modern global groove. Ten gorgeous tracks take the listener on a journey around the world and beyond, with a theme of peace and tranquility uniting the pieces into one mystical, musical journey.

Mystic Journey is Suzanne Teng (world flutes), Gilbert Levy (world strings and percussion), Dann Torres (guitar and oud), and Jon Ossman (bass and dilruba). This unique world music ensemble creates a new type of instrumental music that is ethereal and exotic, soulful and healing, and “Sensual and Serene,” as described by Billboard Magazine.

Mystic Journey has created music that is not only critically acclaimed, but has won them numerous awards such as the Independent Music Awards (twice), International Acoustic Music Awards, and the Los Angeles Music Awards. Their music has been licensed for hundreds of independent film and video projects and was featured on the show America’s Got Talent. Recognized not only for their musicianship and high production quality, their recordings have been described as sacred, relaxing and heart-opening and their work has been used in numerous healing recordings, films and videos, including a special CD compilation of their pieces created by the pharmaceutical company Genentech that was distributed to over 50,000 patients to aid in their recovery.

“Mystic Journey…lifts the listener to a place where beauty, ecstasy and tranquility reside” (Whole Life Times), both in recordings and live performances, as demonstrated in venues where they have performed such as the Dalai Lama’s International World Festival of Sacred Music, where they were featured artists each year of the festival.

Husband and wife team Teng and Levy wrote all of the pieces on this new album Kingdom of Mountains whose 10 tracks feature numerous rare and beautiful instruments from around the world. Their earlier albums were released under Suzanne Teng (Mystic Journey and Enchanted Wind) as well as Suzanne Teng & Mystic Journey (Miles Beyond), but over the years, as they performed around the country and internationally, the ensemble developed a magical synergy that is embraced in this exciting new release, and co-bandleaders Teng and Levy decided they wanted to move forward as simply Mystic Journey.

Gilbert Levy, born and raised in New Orleans, began playing drums at an early age and by his late teens was performing professionally in R&B bands in clubs on Bourbon Street and with jazz greats such as Wynton and Branford Marsalis. Levy moved to Los Angeles and played pop music in numerous bands and on several major label recording projects.

His years of experience in both pop/rock/jazz as well as world music give Gilbert the ability to create rhythms that are musical and music that is rhythmic. He is known for his expressive and exuberant performances both onstage and in recordings. He credits his years of North Indian classical music studies for creating his unique style. He also plays African and Middle Eastern hand-percussion as well as a very unique personalized drum set and the evocative Swiss metal hand drum called the “hang” which is featured on much of their music.

Years ago, after a hand injury that led him to take a break from hand drums, he started to explore stringed instruments and the album features beautiful performances on the African bass harp (ngoni) on the track “Midnight in Bamako” and the bass dulcimer and Turkish saz on numerous tracks. He also used his extraordinary technical expertise to engineer and mix the album.

The Los Angeles Times has described Suzanne Teng as a “brilliant flutist” who “plays music for the soul.” Originally from Berkeley, California, she received her Master’s degree in music from Boston University’s School for the Arts and, after traveling across the globe, decided to further her passion for world music, pursuing her Ph.D. in ethnomusicology at UCLA where her focus was on music and healing.

Suzanne plays an extensive array of flutes from around the world, some of which are featured on Kingdom of Mountains. Many of the tracks feature her on the deep and soulful alto and bass flutes. She is a YAMAHA artist representing the low flutes (also called Harmony Flutes) on which she is well-known and recognized worldwide for her unique style of playing. She plays the Chinese bamboo flute (dizi) on “Delicate Rainbow Flower,” the rare Chinese gourd wind instrument (hulusi) on “Yunnan,” bass Native American flute on “Kingdom of Mountains,” and bamboo flute on the entrancing piece “I Dream of a Castle.” Listening to Suzanne’s emotional flute lines, you can feel your heart opening, as one of her passions is to create music that is healing and transportive. Music Connection Magazine wrote that in “Teng’s delightful flute performances…joy emanates from her soul when she plays.”

Recognized in the industry for her skillful, creative and moving flute playing, she can be heard on hundreds of recordings and soundtracks, including commercials (Kleenex, Pepsi, Dodge, Johnny Walker), soundtracks for the video games “Myst” and “Prince of Persia,” children’s shows (the Emmy-winning “Tumble Leaf” on PBS, “Miss Spider,” and “Babar and the Adventures of Badou”), the film 300 and several of the “Survivor” finale TV shows (on which she was shown performing).

Fellow bandmates Dann and Jon are seasoned Los Angeles musicians who have performed and recorded extensively. Dann M. Torres is a multi-instrumentalist with an affection for acoustic experimentation and electronic manipulation. Well-versed in a variety of musical styles and idioms, from world-fusion to post-rock, experimental and ambient jazz, Torres’ divergent approach to sound design seeks to deconstruct genres and bring elements of them together into something that is new, compelling and unique. Torres has worked with Solace, Naked Rhythm, Shaman's Dream, Azam Ali and a variety of other diverse musicians both in the studio and in improvised performance. In Mystic Journey, Dann plays the oud, acoustic guitar and electric sitar.

Jon Ossman grew up in New Paltz, New York, lived in New York City for many years and then moved to Los Angeles. He calls himself “a lucky rebel who has seen most of this planet from a stage behind a bass.” Jon has recorded and toured with many of the greats such as Marc Cohn, Blood Sweat and Tears, Paula Cole and Chris Botti, and additionally writes music for films, infomercials and videos. He also plays sitar and the hauntingly beautiful Indian fiddle called dilruba with skill and delicacy, adorning the magical opening track “Subhadra” with a yearning that transports the listener to an ancient and holy time.

For more information, please visit them at and Kingdom of Mountains -- and earlier recordings by Suzanne Teng and Mystic Journey -- are available as CDs and digital download tracks at online sales sites such as CDbaby, Amazon, iTunes, eMusic and many others.
Music CD Release
Mike Sebbage with Ryan Woods Dreams In My Pocket TBC Records 17 June 2017
Jul 16
Dreams in My Pocket came about a little by accident, if that’s possible when writing and recording an album!
“It all started when I was listening to some old songs that I wrote years ago, some going back as far as the early ‘8_0_’s, that I had uploaded on to my PC for safe keeping. As I listened and reminisced to the songs, which were recorded in various formats; some live in a rehearsal studio, some demo's laid down in a bedroom or some other make shift space and some professionally recorded in a pucker studio.
But, whatever the quality of the recordings, there were some pretty decent tunes there and it got me thinking, why not re-vamp some of the songs with a more modern twist and see if they stand the test of time?
I enlisted a talented young guitarist friend of mine, Ryan Woods, to come along and have a listen and see if he felt there was any mileage in re-visiting some of my old songs and see if we could record them again, but this time with a bit more of a modern edge and feel.
As we started working on a few of the old songs we also began to play around with some new ideas, which sounded, to us anyway, pretty fresh and we soon realised that a good, strong writing partnership was developing between us.
We ended up with a collection of twelve songs, three of my old ones and nine brand new tunes, which we decided to record and release under the title, Dreams In My Pocket. The title track, Dreams In My Pocket, is one of the four original songs of mine but it has under-gone a complete facelift and only the intro and choruses remain the same as before! “ _says Mike.
1. Time Well Spent—an up-beat pop/rock tune with a catchy, sing along chorus. Life is all about having a good time with those that you love, right?
2. Dreams In My Pocket - originally written in the mid ‘8_0_’s, this song is a real favourite of ours and has a strong pre-chorus & cho-rus. It was the hardest thing ever to completely re-write a song, including lyrics, that you have lived with for quite a while!
3. Sound Of A Broken Heart - The first song Ryan and I wrote together, a little bit of a Country feel, personally I love this song!
4. You Are Love - Written around a lyric I wrote for the love of my life, my wife Carol, this song just took on a life of it’s own. Unusu-al? Ethnic? Gregorian like? Maybe. But we had a blast recording this track, using some very unusual instruments!
5. Solo In Soho - I came up with this fun riff whilst wandering around Soho one Summer’s evening, people watching ! It’s slightly Latin-pop feel lends itself well to Lee Thompson’s (Madness) inimitable sax lines!
6. Life Got In The Way - Our latest collaboration. A groove-based pop/rock tune lyrically inspired by the film, “La La Land” _
7. Forever - a love song, a modern ballad, with a strong chorus line. Proud of the lyrics on this song.
8. Don’t Say A Word! - A bluesy rocker based around Ryan’s stomping guitar riff. Two groovy guitar and organ solos, make this song a firm favourite of ours.
9. She’s Been Gone So Long - Another oldie that we have re-vamped. Originally a reggae tune, now a true slow blues/rock track with a twist at the chorus.
10. Chasing Butterflies - A little homage to a genre of music I love, a soulful jazzy song with some lilting sax work courtesy of Joe Di Fiore and some lovely guitar work from Ryan.
11. Why? - Another blast from the past. This up-beat pop song is the truest to it’s original counterpart with some nice guitar work from Ryan.
12. Eyes Like Fire - The rockiest track on the album, building from a slow groove to a manic rock ending, we really like this track! A great way to finish of the album.

Mike Sebbage has been involved in the music business since the age of 16, both professionally and semi-professionally. He has written well over 150 songs and has collaborated with many musicians over the years including Alan Blakley of The Tremeloes, Dave Dee, Keith Emerson, Elkie Brooks, Davy O’List and Harry James of UK Rock band, Thunder. Mike has written jingles and music for adverts and film and has had publishing deals with ATV Music and Chips Records. His musical highlight came in 1982 when he reached number 18 in the charts with the “Hokey Cokey “as a member of The Snowmen… _dizzy heights indeed!
E-Mail: Tel: SongCraft Music 020 3730 1785

T: +44 (0) 7584 572648
facebook: com/dreamsinmypocketalbum
Twitter: com/DreamsAlbum
Music CD Release
Out of USA
Music Of Rick Sparks Is Played Worldwide On Hundreds Of Radio Stations
Jun 21

“The idea of night falling on a great city like London intrigued me with the possibilities for musical adventure,” explains pianist/synthesist, composer, arranger and producer Rick Sparks, who titled his fourth album Nightfall London. “I have always loved the Brits: Sherlock Holmes and Baker Street, World War II history, Abbey Road Studio and EMI with The Beatles and George Martin, and, last but not least, the Jaguar XK8 convertible in my garage. Then I saw this photo that showed the tranquil beauty of Big Ben at dusk and it just seemed like a perfect fit for the mood of the album so I used it on the cover.”

Sparks calls his recordings “quiet-piano albums” and the music is popular with fans of new age and neo-classical music. Piano is most-often the featured instrument, but Sparks is an adept arranger who uses synthesizer to give his music layers, textures and additional depth. Sparks also colors his music with the sounds of synth and electronic keyboards, individual stringed instruments such as violin, string sections, flutes, chimes and choirs.

More information on Sparks is available at his website ( His CDs -- Nightfall London, Matilda’s Flowers, Endless and Christmas Love -- and digital download tracks from those recordings are available at online sales sites such as CDbaby, Amazon, iTunes, eMusic and many other outlets. His earlier two recordings received strong airplay and reviews with Endless going into the Top 10 on the prestigious international Zone Music Reporter Top 100 Chart that specifically monitors new age music. “My quiet-music recordings received a huge shot in the arm in the Fall of 2016 when SiriusXM added seven of my songs to their Spa (68) and Escape (69) channels,” states Sparks. “The airplay from such a major outlet was a tremendous encouragement to me.”

Rick Sparks’ musical influences have been many and diverse: coming from a musical family, getting his B.A. degree in broadcasting from the University of Tennessee, being an FM-radio DJ in the 1970s and 1980s, earning Masters degrees in music and communication and a Ph.D. in communication from the University of Missouri, programming a leading new-age music station (The Cove) on Radionomy, and serving as a college professor. His taste in music also has been varied and includes pop music, jazz and new age. His musical career has included accompanying on-stage legendary artists that include The 5th Dimension's Marilyn McCoo & Billy Davis Jr., gospel great Alvin Slaughter of Brooklyn Tabernacle, and American Idol finalist Phil Stacey.

“The music of Nightfall London was inspired by the strings of the London Philharmonic, the ethereal voices of an English choir and the somber beauty of twilight over Big Ben,” explains Sparks. “Even more specifically, the enduring legacy of Sir George Martin was a constant inspiration to me in my arrangements, especially the string parts. His classical training and stellar musicianship were evident in all he did during his life as a producer and arranger. I admire him tremendously.”

Sparks says, “I've gone from composing two original tunes on my Endless album, to seven originals on my Matilda's Flowers recording, to nine of the ten pieces on Nightfall London. I am excited about offering the listener more of myself and my music on this project.”

Here, in his own words, are descriptions of each tune on Nightfall London:

1. “Across the River”: “While the river might be the Thames, as suggested by the album’s cover photo, there is another river which we all must cross at the end of our lives. As a Christian, I am sure that what awaits me on the other side is unimaginable beauty and joy, both the presence of God and my loved ones who made that crossing before me.”

2. “Nightfall London”: “What became the title song is perfectly captured by the cover photo of the album which shows the somber beauty and stillness of Old London at twilight. This is
the most ‘chill’ song on the album.”

3. “Little Angel”: “A simple, lovely piano solo inspired by the headstone of an infant’s grave in an old mountain cemetery in Tennessee. The grief and heartache of her parents could only have been endured with the sure knowledge that their baby girl had been instantly transported to heaven and into the arms of Jesus.”

4. “First Love”: “Tender, innocent joy at the wonder of finding someone other than your family to love and to love you. First love is a truly amazing experience.”

5. “Tokyo Rain”: “Traditional Japanese music is mysterious and beautiful, just like their culture. I challenged myself to write a piano solo that respected that culture by mostly using the oriental music scale, but without it being a cliché of Japanese music. The lovely night photo of Japanese umbrellas was the perfect backdrop for the CD’s liner-notes.”

6. “Beyond the Stars”: “Another simple song, driven by transcendent chord progressions. I took the song where I thought it should go, both musically and spiritually, which was into the heavenly realms beyond the stars.”

7. “In the Bleak Midwinter”: “The only cover song, this classic hymn of devotion to the Christ child has been a longtime personal favorite. I love Gustav Holst’s gorgeous melody, and tried to give the song the gentle yet transcendent arrangement it deserves. To my ear, the strings and voices add a special sacred feel to the song.”

8. “Hearts As One”: “A tender love song, this one was written for my lovely wife Sandie. Romantic and gorgeous – the song and her.”

9. “Highland Rose”: “With my Scots/Irish roots, I’ve always loved Celtic music. It is simple but emotional, with typically lovely melodies. This is my effort to combine those elements into an original song, complete with fiddle and flute. Those same elements are in the Appalachian mountain music of the U.S., where I grew up, so they are very familiar to me and much loved.”

10. “Evening Prayer”: “I ended my two previous albums with traditional hymns, but to finish Nightfall London, I wrote my ninth and final original song for the album. The composition serves as an evening prayer of peace and gratitude to the Almighty for blessing my life with the priceless gift of music and the love of friends and family.”

Sparks says, “I was raised in east Tennessee in the shadow of the Smoky Mountains, where generations of my family lived. My grandfather played banjo clawhammer-style, my airline-mechanic dad sang and played the guitar, and my mom also sang and played the piano and organ. I started pretty early with piano lessons at age seven. My parents played in church so I got an early education in the spiritual power of music and eventually became a church pianist myself. I grew up with early gospel music influences followed by the pop music I heard on Top 40 radio, and then FM pop-rock when I was a DJ and program director. During those years I learned to play Beach Boys and Chicago songs on the piano. I also have always had a deep admiration for Paul McCartney. Later my musical tastes expanded to include smooth jazz and then, about a decade ago, I became enamored by new age artists such as George Winston and Jim Brickman. When I began my own new age radio channel, I started enjoying artists that include Chris Botti, Kevin Kern, Dominic Miller and Mark Baldwin.”

According to Sparks, “My utmost desire as an artist is to create music that feeds the soul, inspires and uplifts. I guess my approach to composing and recording is ‘less is more.’ I favor songs and arrangements that are relatively simple, but melodic. The power of music to project beauty into the world is so significant.”
Music CD Release
Out of USA
Kerani's Fifth New Age Album Has Piano, Synth, Voices, Guitars And Orchestral Instrumentation
Jun 21

“The overall message of my Stardust album is to make people aware about the wonders of
our planet, the mysteries of the universe, and the miracle of earth’s ideal position in the
Milky Way, which enables life,” explains renowned composer, keyboardist and producer
Kerani. “This album applauds and celebrates every advancement and achievement in the
discovery of new space technologies and data about the universe. It is a tribute to all those
who journey up to space and risk their lives in the name of science and for humankind.”

Stardust was recorded with a symphonic orchestra and a mixed vocal ensemble. Kerani plays the piano and a wide range of synthesizers and is also joined by a number of accomplished European musicians. In total, 60 musicians have participated in this elaborate project, all of whom have been credited in the stunning 20-page album booklet.

With Stardust she proves again her position as one of the top keyboardists, composers,
arrangers and producers in the neo-classical and new age music genres. Her recording,
Arctic Sunrise, went to #2 on the international Zone Music Reporter Chart for this type of
music, was a Top 10 album on the annual ZMR rankings and won the ZMR Neo-Classical
Album of the Year Award. Her last album, Equilibrium, went to #3 on the ZMR Chart and
was named by radio programmers one of the Top 5 Best Neo-Classical Albums of the year.

Kerani’s albums -- Stardust, Equilibrium, Arctic Sunrise, The Journey and Wings of Comfort
-- are available as CDs and digital downloads at many online sales sites including CDbaby,
Amazon, iTunes, eMusic, CDuniverse, (Belgium and The Netherlands), (Germany, Austria and Switzerland) and (Australia). More
information about Kerani is available at her English-language website,

Here, in her own words, Kerani tells what inspired each composition on Stardust:

1. “Stardust” - “According to scientific research, everything in the universe is made of
stardust - cosmic dust that is composed of particles. These grains are the building blocks of
meteors, moons and planets including Earth and all its living species. When I wrote this
piece, I imagined the very beginning of the universe that happened eons ago when
innumerable particles collided to become stars and to create worlds, and the immeasurable
size and force with which it happened and still is happening.”

2. “Cosmic Sunrise” - “This is the moment when the sun appears above the horizon of a
planet. Space agency records show that every astronaut is in awe when witnessing a
cosmic sunrise. They all speak of a beautiful spectre of colours that keep changing hue.
I’m reading Chris Hadfields’ (Canadian who worked on the International Space Station)
autobiography, called “An Astronaut’s Guide to Life on Earth.” The book opens with the
following: ‘The windows of a spaceship casually frame miracles. Every 92 minutes, another
sunrise: a layer cake that starts with orange, then a thick wedge of blue, then the richest,
darkest icing decorated with stars.’ My song is a description of this feeling of wonder.”

3. “Rosetta” - “I have a lot of admiration for the missions that are being carried out by all
the space agencies worldwide, but I’m particularly in awe of the recent Rosetta project of
the European Space Agency (ESA), which showed a superior level of engineering. Most
people think that Rosetta is the name of the meteor, when, in fact, it is the name of the
satellite that took Philae, the lander, to the comet. My song describes the journey. If you
listen attentively to this piece of music, you can recognize the different stages of this
journey. It starts with the passing of a space vehicle. Then the bass plays a rhythmic line
that points to Rosetta’s steadfast pace and successful two-year voyage. You can hear Philea
land and transmit data in the middle of the song. It ends with the departure of the comet.”

4. “Perpetuum Mobile” - “The title refers to motion that continues indefinitely. The search
for perpetual motion began in the 13th century. Many scientists tried to build machines that
would move forever. Think of Leonardo Da Vinci’s drawings! No one has ever succeeded.
It is said that perpetual motion only exists in the universe, as it is constantly moving.
Throughout the song, you can hear a recurring melodic pattern embodying perpetual motion. Everything else revolves around this pattern. If you close your eyes, you should see a wheelwork in motion with gears and levers, just like the inside of a watch.”

5. “Beyond” - “This piece not only describes the vastness of the universe, but also its very
mystery. Is there something beyond what our eyes can see? It expresses our hunger for
knowledge and our wish to discover the answers to our existence.”

6. “The Next Step” - “This up-tempo song describes the excitement of everyone involved in
space missions -- the joy that is experienced at a new discovery, and the enthusiasm and
eagerness to take each mission a step further, because there will always be a next step! It
also refers to Neil Armstrong’s famous words upon taking the first step on the moon.”

7. “Infinity” - “Just like ‘Beyond’, this song speaks about the vastness of the universe. To
enhance the feeling of endlessness, I felt the need to give the choir a more prominent role
(in the counter-melody) and let the bridge be carried by an ethereal female voice. Davinia
Van der Zee did this beautifully.”

8. “Gravity” - “Continuing in the same key as ‘Infinity’ - which was done on purpose -
‘Gravity’ is a slow-moving, heavy piece that describes the mass and denseness of celestial
bodies. Throughout the song, there is a deep undertone that surfaces every now and then.
The drama and power grow as the drums, percussion and choir majestically set in.”

9. “Worlds Unknown” - “Based on the poem written by the Japanese astronaut Koichi
Wakata, who worked on the ISS in 2009, this very emotional piece for piano and orchestra
expresses the profound love for our planet and the yearning to discover new worlds. This
song is entirely about the beauty of our existence.”

10. “Stars (remix)” - “This is a symphonic remix of a song that I released as a single in
2016. It speaks of the magic of our universe. The message of this song is twofold: to
respect the planet we live on because it is our only home and to respect each other because
we are children of the stars!

Kerani was born in Belgium to a Hungarian father and German mother, and Kerani currently
lives in the south of The Netherlands. She speaks English, Dutch, French, Italian, Hungarian and German. “As a child I listened to the great classical composers like Mozart, Liszt, Schumann and many others.” Her family got a piano when she was four. “Slowly I taught myself to play and I discovered the magic of composing music. The rise of electronic music in the late Seventies and Eighties was a revelation to me -- Jean-Michel Jarre, Vangelis, Kraftwerk, Electric Light Orchestra and Mike Oldfield. These new sounds boosted my inspiration.” She began recording instrumental music in 1986. She performed as the lead vocalist and keyboardist in the band Liaison. She wrote and published a book of children’s stories called Cherub (“it tells the story of a little angel who helps children”), and also re-orchestrated 15 children’s songs for an instructional DVD for disabled children. Kerani regularly composes soundtracks for historical or scientific documentaries and writes piano
arrangements for other artists. In 2015, she performed in concert with Terry Oldfield (who makes a guest appearance on Stardust).

“With Stardust I try to highlight our fragility as human beings living collectively on this
globe and how important it is to treat our planet with respect,” Kerani says. “Earth is part of
something much bigger than what we as humans can possibly fathom.”
Music CD Release
Out of USA
Jack Gates Brings A Lovely Mix Of World-Influenced Guitar Styles To New Recording
May 24

Guitarist Jack Gates enjoys incorporating into his sound subtle musical stylistic traits, motifs and rhythms from around the world, which explains the title of his new album, Bring The Flavors. “Music can be like cooking where you add a variety of spices to come up with something new,” he states.

Gates has spent his career studying many music genres especially from India, South and Central America, Cuba and the Caribbean, Africa and Europe. His music includes a raga form here, a samba beat there, an Afro-Cuban structure elsewhere, and much more. Those world-fusion elements are then blended with the sounds of new age, jazz and folk to create a delectable mix with broad appeal to many audiences.

“This album was written and recorded while I was living in a forest in the mountains above Santa Cruz, California, where I was studying Tibetan Buddhism,” says Gates. “The music has a peaceful quality and is certainly an outgrowth of meditation and being close to nature in a place where I could explore music without a lot if interruptions. I found a recording studio in those mountains down a winding dirt road and it had just the right ambience.”

Gates is joined on most of the tunes on the album by drummer and percussionist Steve Robertson and acoustic bassist Stan Poplin. Other guests include Damien Masterson on harmonica on two tracks, and Michal Palzewicz playing cello on one piece. “We all had the same sensibilities because all of these players have studied widely in both the world music and jazz arenas.” Robertson (Tassajara Trio, Deepak Ram, The White Album Ensemble) has studied North Indian classical music and sacred sounds from around the world. Poplin has played with Robben Ford, Jimmy Witherspoon, Dave Brubeck and Dub Nation. Masterson (San Francisco Harmonica Ensemble, Zerro Santos, Gerald Beckett) has spent extensive time in Brazil, Cuba and Africa. Palzewicz is a member of Duo Sapphire, Elsner String Quarter, the Oregon Shakespeare Festival Orchestra and the world-fusion band Trine.

Gates’ previous recordings are New Geography (produced by Mark Lemaire, and featuring Michael Manring and Phil Thompson), Earth Messenger (with drummer Kevin Mummey and bassist David Motto), the solo guitar album Boulevard (including original material as well as compositions by Jobim, Egberto Gismonti, Baden Powell, Cole Porter, Miles Davis, John Coltrane and Lennon/McCartney), and Voyage of the Troubadour (with Phil Thompson, Dean Muench and Sharyl Gates). Jack Gates also has recorded two duo albums with sitarist Tim White, Morning Song Evening Song and Impromptu.

More information on Jack Gates is available at his website ( His CDs and digital download tracks from those recordings are available at online sales sites such as CDbaby, Amazon, iTunes, eMusic, Rhapsody and many others.

In addition, Gates is a longtime live performer, producer, arranger, session musician, composer and guitar teacher. He has produced albums and sessions for Larry Stefl, Bill Meyer, Marc Silber and Deborah Henson-Conant. Gates also arranged and played guitar on an album for singer Helene Attia that also featured musicians such as Norton Buffalo, Roger Glenn and Celso Alberti. Gates has performed on recordings by Silvia Nakkach and Kit Walker (with Paul McCandless), Joanne Shenandoah, Steve Deutsch (with Omar Sosa), Chris Saunders, Juanita Newland, Rafael Manriquez and Quique Cruz, Fernando Sanjines and Samba do Coracao, Faranak, Bob Giles and many others. Gates has performed live with Frank Biner (Tower of Power), Tyler Eng (Greg Kihn), Claudia Gomez, Jeff Narell, Klezmania, Chalo Eduardo, Monica Pasqual, Marcos Silva and others.

Jack grew up in Northern California in the Berkeley-Kensington-El Cerrito area. When he was young his parents introduced him to classical music and a little later on to folk-singers (Bob Dylan, Phil Ochs). Soon he was listening to the guitarists Andres Segovia and John Fahey. Gates took some folk guitar and flamenco lessons as a youngster, but it was jazz guitar lessons when he was 16 that opened new doors of understanding and he started appreciating George Benson, Wes Montgomery and Joe Pass. After becoming enthralled with the playing of Jimi Hendrix, Gates put together a rock’n’roll band, Underock, at age 18 to play at local dances and eventually nightclubs. While a music major at Cal State Hayward, Gates began playing classical guitar. He studied with the renowned David Tanenbaum and also audited a master class taught by Julian Bream at the San Francisco Conservatory. Gates had the opportunity to go to the John Cabot School in Italy for six months and study art history (while there he also played music with his friend Tim White). After returning home, the association with White led to Gates studying North Indian classical music under famed musician Ali Akbar Khan and learning to play the sarod.

After switching his focus back to guitar, Gates broadened his musical studies even further. First he immersed himself in Sixties jazz (John Coltrane, Miles Davis, McCoy Tyner), then R&B and finally Latin music. “Getting deep into Brazilian music was a revelation,” says Gates, who began exploring the music of Jobim, Baden Powell and Milton Nascimento. “This was important for my guitar playing because it showed me how to stretch and simultaneously incorporate many elements into my music. South and Central America have always been a fertile place for music where so many styles have come together including jazz, blues, indigenous music and elements from Portugal, Spain and Africa.”

For his Bring the Flavors album, Gates plays both nylon-string acoustic guitars as well as electric guitars, often overdubbing them onto the same piece to create interesting interplay and deep textures. The album opens with the Latin-tinged title tune featuring Gates on two acoustics “plus there is an electric guitar in the background playing shimmering chords.” The track “Time In,” featuring harmonica, “takes a cue from Brazilian traditional choro music.”

Gates calls “Wave Theory” a “psychedelic piece combining the Northeastern Brazilian rhythmic style called baiao with music from the Sixties like Quicksilver Messenger Service or the Grateful Dead, and I have been spending a lot of time at the beach watching the waves and surfers.” The piece “Waterfalls” features Gates’ friend Michal Palzewicz on cello (“we have often improvised together during summer music retreats”). “Seraphic Journey,” the longest composition on the album at more than eight-minutes, “starts as an acoustic guitar Renaissance classical piece and then becomes more of a Brazilian samba when the electric rock guitar part joins in.” There also is acoustic and electric guitar interplay on “Enigmatic Land” (“my sonic description of the huge trees in the Santa Cruz forest, an almost primeval environment”). Its companion piece is “Cloud Forest” featuring Gates playing both classical and flamenco guitars with Robertson on pandeiro, a Brazilian hand frame-drum.

“‘Marketplace’ is my interpretation of an African market where I play the rhythm on an electric Stratocaster and the melodic part on an acoustic flamenco guitar.” The one solo acoustic guitar tune on the recording is an Afro-Samba piece titled “The Magician,” influenced by Brazilian guitarist Baden Powell and “Candomble” (“a syncretic religious practice that combines West African indigenous ritual with Catholicism and White Voodoo”). The acoustic-guitar and harmonica duet “Dawn Walker” refers to early mankind, the hunter-gatherer, with the unusual chords inspired by Brazilian jazz guitarist Toninho Horta. “Beach Traffic” incorporates acoustic strumming with electric soloing over a Latin-Cuban groove with conga. On “Choco Latte” Gates tips his hat to Afro-Cuban jazz using two acoustic guitars, while the following “Electric Sonata” includes solos on both electric and acoustic guitars. The recording closes with a raga-influenced number, “Liquid Entropy,” utilizing two electric guitars.

“When you are in a restaurant you might say, ‘Bring the flavors!’ That is exactly what I said in the recording studio to myself and the other musicians. I wanted all of us to explore different sounds, tastes and textures by bringing in elements from all over.”

Music CD Release

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