By James (JJ Rocks) Johnston
Leroy Woods has been my bass student now for around three years. He’s never been a demanding student as far as what music he wanted to learn. He has always trusted my judgment on what directions to go in, after he leaned his basics of course. A student who does his homework, Leroy has always come through for me with on what ever I give him to practice. And at lessons, what ever chart that I decide to pull out he will try to play. No matter how many times I ask him to go through a piece if music, he’ll never complain. Recently, he’s really shown a great interested in playing melodies. This ability is very hard to find in a bass student. Whether it’s a piece by Bach or the head (melody) to a Charlie Parker jazz tune, Leroy is always up for task. He has several basses, but prefers to play his Ibanez electric/acoustic bass. So here we go with our first music student of the month interview!
SCM: When did you first get interested in playing the bass?
LW: In 2001
SCM: Do you have a favorite type of music to play?
LW: Jazz
SCM: What is it that you like about jazz?
LW: Technical challenge of the style.
SCM: Do you like funky groove jazz with smacking and
popping techniques, or do you prefer the standard
walking jazz bass?
LW: Standard walking jazz bass
SCM: Do you like to take bass solos?
LW: Yes
SCM: What are some of your favorite melodies to play
on the bass?
LW: Autumn Leaves, Four Blue Bossa, etc.
SCM: How often do you practice?
LW: Daily
SCM: What would be some advice that you would give to
bass students just starting out?
LW: Practice, Practice, Practice
SCM: What are you goals as a bass player?
LW: To be the bass player in my retirement home band.
Well, obviously a man of few words, his answers are in a way like his bass playing. They’re solid, meaningful, and right to the point. Thanks LeRoy!
So the next time you’re at golden rock, stop by his “Quality One Hour Photo” store
and tell him STCROIXMUSIC.COM sent you. He likes to talk jazz. - JJ Rocks www.stcroixmusic.com
October, 2006
Sunday, April 12, 2009
JJ Rocks article # 10: From Berlin, Germany: Go Panic
By James (JJ Rocks) Johnston
It wasn’t until after I heard this band that I noticed that they were in the “Indie rock” genre. Now discussing the differences between genres these days is very interesting and worthy of a column all its own. But right now I’m only concerned about writing something special about a very special band. This band has a refreshing sound that seems to draw a little from the clean, clear and catchy music of the sixties, while maintaining the adventures pursuits of a modern day rock band. This band is called “Go Panic”.
Their music is well constructed and well thought out. No bar jammers here. As soon as you hear them you can tell that all the parts of their songs are well placed like the gears in a fine timepiece. Every part has its purpose and function and is meant to take you on a journey through several minutes of a very enjoyable musical experience. Fresh is the first word that comes to mind when I hear this group. Listening to their first song just made me want to hear the next one. It didn’t leave me all wound up or depressed like some of the “new rock” that’s been coming over the air waves lately. I’m sure that you will easily recognize that the intentions of this band are to keep a clear focus on the song itself, not the playing abilities of any individual member. Along with having great vocals, this band has quite a nice package of tight instrumentation and a well balanced recipe of rhythmic, lyrical and melodic statements. And of course they make the whole thing fun by being as catchy as any song that you’ve ever hummed or whistled while still keeping their originality. That’s a hard formula to find.
This band is another fine example of some of the music that is part of this magazines effort to reach great bands on an international scale. Being an excellent group from Berlin, Germany, Go Panic is now part of the St Croix music magazine’s musical family along with the other five bands that we featured in our first two issues. And let me say as the publisher, that we are glad to have them onboard. We will always keep back issues so they, along with our other artist will always be here for you to enjoy! We will also have news updates on Go Panic as well as our other bands.
The members of this wonder group are Nic Olsen on lead vocals and guitar, Adam Conner on lead guitar, Jeremy Teigan on rhythm guitar, Cliff Alexander on bass and Ben Sander on drums. Anyone who enjoys any kind of rock or pop music would be missing out if they passed up the opportunity to download and listen to this band!
- JJ Rocks www.stcroixmusic.com
You can visit them http://www.gopanic.com or http://www.myspace.com/gopanic
November, 2006
It wasn’t until after I heard this band that I noticed that they were in the “Indie rock” genre. Now discussing the differences between genres these days is very interesting and worthy of a column all its own. But right now I’m only concerned about writing something special about a very special band. This band has a refreshing sound that seems to draw a little from the clean, clear and catchy music of the sixties, while maintaining the adventures pursuits of a modern day rock band. This band is called “Go Panic”.
Their music is well constructed and well thought out. No bar jammers here. As soon as you hear them you can tell that all the parts of their songs are well placed like the gears in a fine timepiece. Every part has its purpose and function and is meant to take you on a journey through several minutes of a very enjoyable musical experience. Fresh is the first word that comes to mind when I hear this group. Listening to their first song just made me want to hear the next one. It didn’t leave me all wound up or depressed like some of the “new rock” that’s been coming over the air waves lately. I’m sure that you will easily recognize that the intentions of this band are to keep a clear focus on the song itself, not the playing abilities of any individual member. Along with having great vocals, this band has quite a nice package of tight instrumentation and a well balanced recipe of rhythmic, lyrical and melodic statements. And of course they make the whole thing fun by being as catchy as any song that you’ve ever hummed or whistled while still keeping their originality. That’s a hard formula to find.
This band is another fine example of some of the music that is part of this magazines effort to reach great bands on an international scale. Being an excellent group from Berlin, Germany, Go Panic is now part of the St Croix music magazine’s musical family along with the other five bands that we featured in our first two issues. And let me say as the publisher, that we are glad to have them onboard. We will always keep back issues so they, along with our other artist will always be here for you to enjoy! We will also have news updates on Go Panic as well as our other bands.
The members of this wonder group are Nic Olsen on lead vocals and guitar, Adam Conner on lead guitar, Jeremy Teigan on rhythm guitar, Cliff Alexander on bass and Ben Sander on drums. Anyone who enjoys any kind of rock or pop music would be missing out if they passed up the opportunity to download and listen to this band!
- JJ Rocks www.stcroixmusic.com
You can visit them http://www.gopanic.com or http://www.myspace.com/gopanic
November, 2006
JJ Rocks article # 9: Local St. Croix historian: Clifford Gumbs
By James (JJ Rocks) Johnston
One of the things I’ve learned from being here on and off for the last 25 years is the fact that St. Croix’s senior citizens love to talk about their younger years here on the island. This column is dedicated to those wonderful people who always seem to have a warm smile and a kind word. You know it’s funny in a way because I grew up in the states under the impression that older people (grandparents age) were always grumpy if they didn’t know you. But down here on our wonderful island, our kindest, most trusting, and most pleasant people to be around are the ones that are the oldest.
I can remember the first time that I walked past a domino game on the way in to a local gas station. There were some elderly men slamming their hands down on the table and yelling at each other. Well, to someone that just got here and didn’t know anything about dominos, it was kind of strange. I think the first thing that I thought was “man, these old guys are grumpier than the ones in the states”. Then someone walked past and said to them “good night, “and they all turned around and said the same thing back. Real loud! So, of course I figured that they knew the person and left it at that. But I started seeing the same kind of thing all over the island and one night on my way in to the same station I said “good night”, and they all turned and looked at me and said the same thing back. Later I learned that you’re considered rude if you don’t say it. I also learned that if you take the time to say hi and talk for awhile, you will most likely make a new friend. It’s just that easy. The results of me stopping to talk with some of these wonderful people will be in "Mango Memories", which is occasionally a part of "Special Features". - JJ Rocks www.stcroixmusic.com
----------------------------------------------------------------------------
Clifford Gumbs is a very kind gentleman who loves to talk about when he first got here in the late fifties. These are some of his memories
SCM: Could you tell us a little about your life when you first got to St. Croix?
Clifford: I came here in the late fifties and I stated cutting cane.
SCM: Were on the island did you work?
Clifford: All over. Do you see those houses up there? (Sion hill) It was all cane. Over the hill on both sides of Sunny Isle was all sugar cane. All down by pueblo was all sugar cane. All over the island was sugar cane. We would cut for the people who grew it and they would sell it to the sugar factory. Then they would pay us, sometimes 50 cents, and sometimes 75 cents an hour. The money was small, but the cost of living was cheap!
SCM: What was the price of food like?
Clifford: Food? Man! In those days you could go and get a big duck, about five pounds, maybe six pounds for $1.50. You could get a big chicken for 50 or 60 cents.
SCM: What about lobster?
Clifford: You could get a three or four pound lobster for about a dollar. And those pants you got on, you could get those for a dollar. And you could get shoes for about a dollar and fifty, maybe two dollars.
SCM: How was the fishing back then?
Clifford: Alot of fish! Alot of lobsters! We had traps, you know, fish traps. And we would go on a line and we’d catch red snapper. We used to catch alot of fish! I still have a small fishing boat.
SCM: Were there many cars back then?
Clifford: Yeah! We had cars! But at that time the cars were not so public. But we had stick shift. You know, with a clutch. At that time I didn’t have many dealings with cars really. But if you wanted to go like, from Christiansted to the airport, it was three dollars in a cab. But gasoline was just fifty cents a gallon!
October, 2006
One of the things I’ve learned from being here on and off for the last 25 years is the fact that St. Croix’s senior citizens love to talk about their younger years here on the island. This column is dedicated to those wonderful people who always seem to have a warm smile and a kind word. You know it’s funny in a way because I grew up in the states under the impression that older people (grandparents age) were always grumpy if they didn’t know you. But down here on our wonderful island, our kindest, most trusting, and most pleasant people to be around are the ones that are the oldest.
I can remember the first time that I walked past a domino game on the way in to a local gas station. There were some elderly men slamming their hands down on the table and yelling at each other. Well, to someone that just got here and didn’t know anything about dominos, it was kind of strange. I think the first thing that I thought was “man, these old guys are grumpier than the ones in the states”. Then someone walked past and said to them “good night, “and they all turned around and said the same thing back. Real loud! So, of course I figured that they knew the person and left it at that. But I started seeing the same kind of thing all over the island and one night on my way in to the same station I said “good night”, and they all turned and looked at me and said the same thing back. Later I learned that you’re considered rude if you don’t say it. I also learned that if you take the time to say hi and talk for awhile, you will most likely make a new friend. It’s just that easy. The results of me stopping to talk with some of these wonderful people will be in "Mango Memories", which is occasionally a part of "Special Features". - JJ Rocks www.stcroixmusic.com
----------------------------------------------------------------------------
Clifford Gumbs is a very kind gentleman who loves to talk about when he first got here in the late fifties. These are some of his memories
SCM: Could you tell us a little about your life when you first got to St. Croix?
Clifford: I came here in the late fifties and I stated cutting cane.
SCM: Were on the island did you work?
Clifford: All over. Do you see those houses up there? (Sion hill) It was all cane. Over the hill on both sides of Sunny Isle was all sugar cane. All down by pueblo was all sugar cane. All over the island was sugar cane. We would cut for the people who grew it and they would sell it to the sugar factory. Then they would pay us, sometimes 50 cents, and sometimes 75 cents an hour. The money was small, but the cost of living was cheap!
SCM: What was the price of food like?
Clifford: Food? Man! In those days you could go and get a big duck, about five pounds, maybe six pounds for $1.50. You could get a big chicken for 50 or 60 cents.
SCM: What about lobster?
Clifford: You could get a three or four pound lobster for about a dollar. And those pants you got on, you could get those for a dollar. And you could get shoes for about a dollar and fifty, maybe two dollars.
SCM: How was the fishing back then?
Clifford: Alot of fish! Alot of lobsters! We had traps, you know, fish traps. And we would go on a line and we’d catch red snapper. We used to catch alot of fish! I still have a small fishing boat.
SCM: Were there many cars back then?
Clifford: Yeah! We had cars! But at that time the cars were not so public. But we had stick shift. You know, with a clutch. At that time I didn’t have many dealings with cars really. But if you wanted to go like, from Christiansted to the airport, it was three dollars in a cab. But gasoline was just fifty cents a gallon!
October, 2006
JJ Rocks article # 7: St. Croix Drummer Bobby Richards
By James (JJ Rocks) Johnston
Go up to any seasoned musician on St. Croix and ask “Who’s the best drummer on St. Croix” and most likely the answer will be “Bobby Richards”. Not known for picking up any little gig at some backwater bar, Bobby Richards always seems to be surrounded by “real musicians”. Not with hobby players who are just out to make a buck while attempting to be part of the “music scene” with only three chords to offer. Bobby is the real deal and he’s what a lot of drummers wish they could be.
I’ve had the opportunity to play with him in several totally different kinds of bands. We’ve done progressive rock, blues, reggae, and jazz bands together. His timing is flawless, but what I like the most is his tone. He treats his drums like a fine instrument instead of a set of cans to bang on like some drummers do. And he always carries himself in a very professional manner as if he were playing at a five star hotel/casino, no matter where he plays. That’s just his nature.
But more on the musical side, to be in an improvisation mode while playing with bobby is almost, in a way, a telepathic experience. Now I know that not all of our readers would understand that, but the musicians who experience a lot of connections with other players while soloing will definitely know what I mean. Sometimes I felt like he was reading my mind as I came up with phases on my guitar. It’s as if he would know what I was going to play before I played it! That’s rare in most cases. With bobby it’s expected. He’s also one of the only drummers that I have played with in St. Croix that doesn’t make me spend half the gig turning around and giving cues. The only reason that I turned around on stage with Bobby in the band was to watch him play! So let’s take a look at the life of a great St. Croix drummer.
Bobby Richards is a self-taught, Virgin Islands government-honored musician-drummer/percussionist, vocalist, composer, recording/performing artist, producer, audio recording engineer, and music/drum teacher. He comes from a musical family and started playing the drums at the age of five. He has performed with Jon Lucien, Najee, Jimmy Hamilton, Jimmy Owens, and the Mighty Sparrow, to name a few. Bobby is heavily influenced by Stevie Wonder, Miles Davis, Earth, Wind & Fire, Kassav, and drummers Elvin Jones, Billy Cobham, and Omar Hakim, as well as the elements of Frederiksted. He has composed, produced, and released a solo album "This Life Anew" and a single "It's Kwanzaa Again".
As a young teenager, Bobby and his brothers Ricky and Tony and close friends started the very popular "Soul Busters". They opened for and have accompanied numerous accomplished stateside and Caribbean acts. Later they became "Quiet Fire" and released the critically acclaimed LP "Tropical Depression" and a few others. These two-time STX Festival road march kings performed twice in Columbia, S.A. as ambassadors of the Virgin Islands.
Bobby just recently hand-built a state-of-the-art recording studio and is composing a movie soundtrack, two solo CDs, a Kwanzaa-concept album, and is presently teaching an 8-year old female drummer who will surely turn heads. He has also formed "FOSSIL", a new group whose goal is to revise and revive the Virgin Islands/Caribbean music scene. Through this group he will introduce new concepts in rhythms and drumming. Bobby has also been the drummer with numerous groups here at Sunset Jazz. To say the least, his resume, honors and awards are too extensive for this column.
We here at SCM hope that one day Bobby would like to contribute an instructional column to our “Woodshed” so he may be able to give some good advice to drummers who are just starting out, or maybe even to some of the pros.
In the mean time, if you want to hear a truly great drummer here in St. Croix, just try to find out where Bobby Richards is playing and try to get a seat up close so you can watch him work his magic. - JJ Rocks www.stcroixmusic.com
October, 2006
Go up to any seasoned musician on St. Croix and ask “Who’s the best drummer on St. Croix” and most likely the answer will be “Bobby Richards”. Not known for picking up any little gig at some backwater bar, Bobby Richards always seems to be surrounded by “real musicians”. Not with hobby players who are just out to make a buck while attempting to be part of the “music scene” with only three chords to offer. Bobby is the real deal and he’s what a lot of drummers wish they could be.
I’ve had the opportunity to play with him in several totally different kinds of bands. We’ve done progressive rock, blues, reggae, and jazz bands together. His timing is flawless, but what I like the most is his tone. He treats his drums like a fine instrument instead of a set of cans to bang on like some drummers do. And he always carries himself in a very professional manner as if he were playing at a five star hotel/casino, no matter where he plays. That’s just his nature.
But more on the musical side, to be in an improvisation mode while playing with bobby is almost, in a way, a telepathic experience. Now I know that not all of our readers would understand that, but the musicians who experience a lot of connections with other players while soloing will definitely know what I mean. Sometimes I felt like he was reading my mind as I came up with phases on my guitar. It’s as if he would know what I was going to play before I played it! That’s rare in most cases. With bobby it’s expected. He’s also one of the only drummers that I have played with in St. Croix that doesn’t make me spend half the gig turning around and giving cues. The only reason that I turned around on stage with Bobby in the band was to watch him play! So let’s take a look at the life of a great St. Croix drummer.
Bobby Richards is a self-taught, Virgin Islands government-honored musician-drummer/percussionist, vocalist, composer, recording/performing artist, producer, audio recording engineer, and music/drum teacher. He comes from a musical family and started playing the drums at the age of five. He has performed with Jon Lucien, Najee, Jimmy Hamilton, Jimmy Owens, and the Mighty Sparrow, to name a few. Bobby is heavily influenced by Stevie Wonder, Miles Davis, Earth, Wind & Fire, Kassav, and drummers Elvin Jones, Billy Cobham, and Omar Hakim, as well as the elements of Frederiksted. He has composed, produced, and released a solo album "This Life Anew" and a single "It's Kwanzaa Again".
As a young teenager, Bobby and his brothers Ricky and Tony and close friends started the very popular "Soul Busters". They opened for and have accompanied numerous accomplished stateside and Caribbean acts. Later they became "Quiet Fire" and released the critically acclaimed LP "Tropical Depression" and a few others. These two-time STX Festival road march kings performed twice in Columbia, S.A. as ambassadors of the Virgin Islands.
Bobby just recently hand-built a state-of-the-art recording studio and is composing a movie soundtrack, two solo CDs, a Kwanzaa-concept album, and is presently teaching an 8-year old female drummer who will surely turn heads. He has also formed "FOSSIL", a new group whose goal is to revise and revive the Virgin Islands/Caribbean music scene. Through this group he will introduce new concepts in rhythms and drumming. Bobby has also been the drummer with numerous groups here at Sunset Jazz. To say the least, his resume, honors and awards are too extensive for this column.
We here at SCM hope that one day Bobby would like to contribute an instructional column to our “Woodshed” so he may be able to give some good advice to drummers who are just starting out, or maybe even to some of the pros.
In the mean time, if you want to hear a truly great drummer here in St. Croix, just try to find out where Bobby Richards is playing and try to get a seat up close so you can watch him work his magic. - JJ Rocks www.stcroixmusic.com
October, 2006
JJ Rocks article # 6: Andres Segovia
By James (JJ Rocks) Johnston:
In the beginning, there was Andres Segovia. Now, he wasn’t the first guitar player in the world, but he was the first to bring respect to the instrument. Most articles on maestro Segovia talk about him being the father of the classical guitar, but there is much more to the story than that.
Andres’ incredible life began in Spain in 1893. He began playing at the age of four. Being a guitar teacher myself, I find that to be incredible. He would go down to the local guitar-builders and hang around and watch them make and play their guitars. During this period in history, the guitar had about as much respect as the kazoo does today. It was only played on street corners or in the back of a local bar. I’m talking no stage at all. The guitar had no place on the stage. Actually, bars didn’t even have a stage. The only stage in that part of town left every morning at 8:00 am. But this didn’t stop little Andres. He knew what he wanted to do the first time he heard someone play the guitar. Believe me, i know the feeling. But this kind of ticked off his dad. You see, everybody else who played music back then played violins and pianos and other “proper” instruments. So when Andres asked for a guitar, well, you can imagine what his father said. (If you can imagine in Spanish)
I’m not sure where his first axe came from, but he managed to get one from somewhere. Not only did the little guy play this very unpopular instrument, but he started transcribing classical music over to the guitar. The other musicians around town said that he would be laughed off the concert stage if he ever got on one with a guitar. Well, guess what? When he reached the ripe old age of sixteen he got his first gig. He blew them away! Finally, the guitar was on a real stage! And it was because this kid stuck to his guns. He was pulling off Bach and a bunch of the other great classical composers at that time on his guitar!
I guess business increased down at the guitar shop. The only problem is that his beloved instrument wasn’t loud enough. Of course there were no amps back then so he started making modifications to his guitar. I guess he was the predecessor to the “marshal stack” seeing on how he was the first guitarist who wanted to be louder on stage.
After awhile he got some gigs in America in 1928 and continued to blow people away with his amazing abilities. Then everybody wanted “Segovia”. I once read that he said “I have truly felt the roundness of the earth beneath my feet”. Like that’s not enough; he was the first “real” guitar teacher! And to be a student of Andres Segovia was like winning the guitar lotto. Soon other guitarist were perfecting their craft and passing it on to their students. Guitar finally got the respect that it deserved. It was being played on stages all over the world. It was being taught in the world’s finest music conservatories. And most of all it spread out in more directions and was being played in more styles than any other instrument in history.
So the next time you get on stage or the next time you see a guitarist on tv, think of Andres Segovia………………………. Thank you, Andres.
The greatest thing that ever happened to the guitar died in 1987.
He was 94 years old. – JJ Rocks www.stcroixmusic.com
October, 2006
In the beginning, there was Andres Segovia. Now, he wasn’t the first guitar player in the world, but he was the first to bring respect to the instrument. Most articles on maestro Segovia talk about him being the father of the classical guitar, but there is much more to the story than that.
Andres’ incredible life began in Spain in 1893. He began playing at the age of four. Being a guitar teacher myself, I find that to be incredible. He would go down to the local guitar-builders and hang around and watch them make and play their guitars. During this period in history, the guitar had about as much respect as the kazoo does today. It was only played on street corners or in the back of a local bar. I’m talking no stage at all. The guitar had no place on the stage. Actually, bars didn’t even have a stage. The only stage in that part of town left every morning at 8:00 am. But this didn’t stop little Andres. He knew what he wanted to do the first time he heard someone play the guitar. Believe me, i know the feeling. But this kind of ticked off his dad. You see, everybody else who played music back then played violins and pianos and other “proper” instruments. So when Andres asked for a guitar, well, you can imagine what his father said. (If you can imagine in Spanish)
I’m not sure where his first axe came from, but he managed to get one from somewhere. Not only did the little guy play this very unpopular instrument, but he started transcribing classical music over to the guitar. The other musicians around town said that he would be laughed off the concert stage if he ever got on one with a guitar. Well, guess what? When he reached the ripe old age of sixteen he got his first gig. He blew them away! Finally, the guitar was on a real stage! And it was because this kid stuck to his guns. He was pulling off Bach and a bunch of the other great classical composers at that time on his guitar!
I guess business increased down at the guitar shop. The only problem is that his beloved instrument wasn’t loud enough. Of course there were no amps back then so he started making modifications to his guitar. I guess he was the predecessor to the “marshal stack” seeing on how he was the first guitarist who wanted to be louder on stage.
After awhile he got some gigs in America in 1928 and continued to blow people away with his amazing abilities. Then everybody wanted “Segovia”. I once read that he said “I have truly felt the roundness of the earth beneath my feet”. Like that’s not enough; he was the first “real” guitar teacher! And to be a student of Andres Segovia was like winning the guitar lotto. Soon other guitarist were perfecting their craft and passing it on to their students. Guitar finally got the respect that it deserved. It was being played on stages all over the world. It was being taught in the world’s finest music conservatories. And most of all it spread out in more directions and was being played in more styles than any other instrument in history.
So the next time you get on stage or the next time you see a guitarist on tv, think of Andres Segovia………………………. Thank you, Andres.
The greatest thing that ever happened to the guitar died in 1987.
He was 94 years old. – JJ Rocks www.stcroixmusic.com
October, 2006
JJ Rocks article # 5: Musical Segregation
By James (JJ Rocks) Johnston
Musical Segregation:
You would think that the musical youth of today would have learned a lesson from the history that was taught to them in school and broadcasted to them on TV. The struggles and horrors of the segregation of mankind have existed for centuries not only in our country, but in all countries throughout history. So why, at this time, when there seems to be a glimmer of hope and a light at the end of the tunnel, did music segregate so drastically?
I can remember a time when I would see race riots on the news and it would really frighten me. But then I would turn on the radio and listen to the top ten count down that would range from the Beatles to James Brown and everything in between. Being a young guitarist at the time, this confused me. The” Top 40” radio station gave a child the impression that people of many colors and backgrounds were all in the same room playing music together. But yet on the news some people were tearing each other apart while others were reaching for the moon. And why was it that some early rock n’ roll bands would record blues songs that were written by black musicians, and then have some of it’s members be seen in picket lines in front of an all white diner? Well, thank God because it seems like most of us have risen above those times. But unfortunately, as we learned to unite in our social way of thinking, the one thing that we had from the past that used to bring us together has now split us apart in many directions.
While researching bands from around the globe (via internet) to be guest on “THE SPOTLIGHT ZONE”, I was surprised at the amount of musical genres that I discovered. At first I was pleasantly surprised, then disappointed in the segregation of some styles of music. If a band on an independent music site submitted their music into the “rock” genre for reviews but may have sounded a bit like “pop rock”, they would be torn apart. If someone submitted a tune into the “country” genre but had a little too much story telling in their song, some bands were told to get out and resubmit in the “folk” category. This would be present in almost all the genres that I reviewed bands in. Fortunately most of my music is theatrical or instructional and there’s not a category for either one so I just use these sites for demo storage just in case of another Hugo. (That’s a big nasty hurricane, for all of you that aren’t from St. Croix.). But I have submitted demos from my upcoming musical” Between the tides” in the past just to make contact with other bands, along with reviewing over 800 bands worldwide. (And that number grows every day.)
So anyway, I would log on to one of these sites and listen to a song being performed by a nine year old from Russia, then read a review on it by a punk rocker from Detroit that was tearing the song apart piece by piece. I really felt for the child knowing that they had to read the vicious remarks written by someone who probably had a ring in his nose. Fortunately there are real musicians that are very kind when reviewing songs and most of the time that makes up for the morons. I also must make it clear that these are not just “songwriting contest” being judged by a panel of celebrities. These sites are where bands judge each other by performance, production, playing ability and much more. You could get high marks from some professional musicians one day, and on the next day have your score brought down by a twelve year old “Emo” rocker “critic” who just received his first guitar. It can be like throwing yourselves to the wolves and their puppies! But that is just one side of the coin.
Song contest are not generally known for producing top billboard hits. But on the independent band sites some artist that are coming in at #5 and #6 on billboards top 10 charts. They are also giving a band in let’s say, Tampa Florida, the chance to communicate, or even jam with a band in France or Japan via the internet. My guess is that it’s the best thing to ever happen to bands that are trying to get noticed by the rest of the world. They didn’t have that when I was a kid. But as I said before, they also didn’t have today’s self appointed genre guardians who stand at the gates of each musical style like pit bulls guarding a boom box that’s playing a hot dog jingle!
But aside from that, independent band sites will also be producing a lot of the great artist that will be featured in our “SPOTLIGHT ZONE” column. You should be pleasantly surprised at some of the talent that we choose from around the world to do articles on. Some of the bands will even be invited by us to travel to St. Croix and play at some of our wonderful music venues. And some of our own musicians will have the chance to be exposed to many, many countries.
I guess I first got interested in the international music scene back in the late seventies when I was invited to Hollywood to produce “Tony Villa, superstar of the far east” and a band from the Philippines called “The Manila File”. I was even invited to work with “Victor Wood”. Now these artists were virtually unknown in the states but very big in their countries. I went to a few of their shows and the size of the crowds rivaled many of the rock concerts that I attended. Why they picked a kid from Baltimore like me to produce their music is still beyond me. I guess I was in the right place but the wrong time zone. Anyway, being a producer at “Gold Star Studios” (A+ M records) and hanging around next door at “Earth Wind and Fire” rehearsals was a real trip but I had to leave that scene for family reasons and never went back. But my interest in music from around the world has stayed with me ever since. So now, I get to do something about it!
But those are topics that just surround the point that I’m trying to make in my first “Musically Speaking” column. Even though I may sway to and fro in my thought process as these words leave my fingers, this article is mainly about the separation and segregation of the people that so strongly believe in their styles of music and put up defenses that are totally uncalled for. And I don’t mean just picky opinions of the listeners. I mean changes in entire lifestyles. Whether it’s the baggy pants and hand motions descending from LA Street gang’s that’s portrayed in hip hop, or the blackened hair and eyes of the gothic heavy metal rockers, this time around, it’s the music that’s separating people. Even the Grammies have been more like a circus with a different ring for each genre. Instead of something we can see like the color of one’s skin or the actions of the ignorant tearing us apart, it’s now the music that we hear that’s affecting how we feel about ourselves and the people around us. What will it be next? Will the people who eat one kind of food start to dislike the ones that eat something different? How about judging people by the cologne that they wear and forming different societies because of it?
It may just be human nature to always find some way to separate ourselves from one another. Personally, I’m a big promoter of individuality. But there’s a difference between finding ones own self and finding differences in everyone else. Musically speaking that is. - JJ Rocks www.stcroixmusic.com
October, 2006
Musical Segregation:
You would think that the musical youth of today would have learned a lesson from the history that was taught to them in school and broadcasted to them on TV. The struggles and horrors of the segregation of mankind have existed for centuries not only in our country, but in all countries throughout history. So why, at this time, when there seems to be a glimmer of hope and a light at the end of the tunnel, did music segregate so drastically?
I can remember a time when I would see race riots on the news and it would really frighten me. But then I would turn on the radio and listen to the top ten count down that would range from the Beatles to James Brown and everything in between. Being a young guitarist at the time, this confused me. The” Top 40” radio station gave a child the impression that people of many colors and backgrounds were all in the same room playing music together. But yet on the news some people were tearing each other apart while others were reaching for the moon. And why was it that some early rock n’ roll bands would record blues songs that were written by black musicians, and then have some of it’s members be seen in picket lines in front of an all white diner? Well, thank God because it seems like most of us have risen above those times. But unfortunately, as we learned to unite in our social way of thinking, the one thing that we had from the past that used to bring us together has now split us apart in many directions.
While researching bands from around the globe (via internet) to be guest on “THE SPOTLIGHT ZONE”, I was surprised at the amount of musical genres that I discovered. At first I was pleasantly surprised, then disappointed in the segregation of some styles of music. If a band on an independent music site submitted their music into the “rock” genre for reviews but may have sounded a bit like “pop rock”, they would be torn apart. If someone submitted a tune into the “country” genre but had a little too much story telling in their song, some bands were told to get out and resubmit in the “folk” category. This would be present in almost all the genres that I reviewed bands in. Fortunately most of my music is theatrical or instructional and there’s not a category for either one so I just use these sites for demo storage just in case of another Hugo. (That’s a big nasty hurricane, for all of you that aren’t from St. Croix.). But I have submitted demos from my upcoming musical” Between the tides” in the past just to make contact with other bands, along with reviewing over 800 bands worldwide. (And that number grows every day.)
So anyway, I would log on to one of these sites and listen to a song being performed by a nine year old from Russia, then read a review on it by a punk rocker from Detroit that was tearing the song apart piece by piece. I really felt for the child knowing that they had to read the vicious remarks written by someone who probably had a ring in his nose. Fortunately there are real musicians that are very kind when reviewing songs and most of the time that makes up for the morons. I also must make it clear that these are not just “songwriting contest” being judged by a panel of celebrities. These sites are where bands judge each other by performance, production, playing ability and much more. You could get high marks from some professional musicians one day, and on the next day have your score brought down by a twelve year old “Emo” rocker “critic” who just received his first guitar. It can be like throwing yourselves to the wolves and their puppies! But that is just one side of the coin.
Song contest are not generally known for producing top billboard hits. But on the independent band sites some artist that are coming in at #5 and #6 on billboards top 10 charts. They are also giving a band in let’s say, Tampa Florida, the chance to communicate, or even jam with a band in France or Japan via the internet. My guess is that it’s the best thing to ever happen to bands that are trying to get noticed by the rest of the world. They didn’t have that when I was a kid. But as I said before, they also didn’t have today’s self appointed genre guardians who stand at the gates of each musical style like pit bulls guarding a boom box that’s playing a hot dog jingle!
But aside from that, independent band sites will also be producing a lot of the great artist that will be featured in our “SPOTLIGHT ZONE” column. You should be pleasantly surprised at some of the talent that we choose from around the world to do articles on. Some of the bands will even be invited by us to travel to St. Croix and play at some of our wonderful music venues. And some of our own musicians will have the chance to be exposed to many, many countries.
I guess I first got interested in the international music scene back in the late seventies when I was invited to Hollywood to produce “Tony Villa, superstar of the far east” and a band from the Philippines called “The Manila File”. I was even invited to work with “Victor Wood”. Now these artists were virtually unknown in the states but very big in their countries. I went to a few of their shows and the size of the crowds rivaled many of the rock concerts that I attended. Why they picked a kid from Baltimore like me to produce their music is still beyond me. I guess I was in the right place but the wrong time zone. Anyway, being a producer at “Gold Star Studios” (A+ M records) and hanging around next door at “Earth Wind and Fire” rehearsals was a real trip but I had to leave that scene for family reasons and never went back. But my interest in music from around the world has stayed with me ever since. So now, I get to do something about it!
But those are topics that just surround the point that I’m trying to make in my first “Musically Speaking” column. Even though I may sway to and fro in my thought process as these words leave my fingers, this article is mainly about the separation and segregation of the people that so strongly believe in their styles of music and put up defenses that are totally uncalled for. And I don’t mean just picky opinions of the listeners. I mean changes in entire lifestyles. Whether it’s the baggy pants and hand motions descending from LA Street gang’s that’s portrayed in hip hop, or the blackened hair and eyes of the gothic heavy metal rockers, this time around, it’s the music that’s separating people. Even the Grammies have been more like a circus with a different ring for each genre. Instead of something we can see like the color of one’s skin or the actions of the ignorant tearing us apart, it’s now the music that we hear that’s affecting how we feel about ourselves and the people around us. What will it be next? Will the people who eat one kind of food start to dislike the ones that eat something different? How about judging people by the cologne that they wear and forming different societies because of it?
It may just be human nature to always find some way to separate ourselves from one another. Personally, I’m a big promoter of individuality. But there’s a difference between finding ones own self and finding differences in everyone else. Musically speaking that is. - JJ Rocks www.stcroixmusic.com
October, 2006
JJ Rocks article # 4: The Simple Math of Music
By James (JJ Rocks) Johnston
Of course this is the fun column. Hey, come on you guys (and ladies)! You only get out what you put in! So let’s get in time and in tune! Ok, enough yelling from me. Let’s practice.
No matter how you write music down, whether it is standard notation, tab or ancient hieroglyphics, it all boils down to the same thing. The sound of the music comes first, then the written version. I feel that too many people get that backwards. It seems that a lot of us believe that written music should be in command of the actual performance. Not true. Even if this performance is just in your head and goes right to the paper, the sound still came first.
We all know that writing something down is sometimes crucial to memorizing a piece of music. But I teach my students that it’s only an aid for learning, and not to be used for performing.(that is unless someone throws a song at you on your break at a gig that you’ve never heard before and you’re forced to use duck tape and a bar napkin) Just think about being at a party and somebody hands you a guitar and you have to say “I don’t have my music book with me”. I wouldn’t want to be that guy. And how about that one band you see sometimes that sounds good but they’re always reading out of their books. That’s when you think, “They’ve been playing those songs for a long time. Why are they still reading the music?” Now I’m not talking about a band made up of students who are still learning a song.
I’m talking about players that have been around for awhile.
I use a lyric book when I sing. Why doesn’t that rule apply to me? Well, it’s because I don’t like singing. I don’t hate it, I just don’t like it. It just happens that sometimes I wind up being the singer by default. And what’s that got to do with the price of picks? Here’s what. This is my own opinion of course, but as long as I’ve been playing it seems that the people that remember the most music are the ones that love it the most. Just like the singers who remember all those lyrics (which amazes me), you can tell that they love it. Sometimes they love it so much you have to leave the room. I’m only kidding. I’m just poking fun at you singers out there!
So, besides loving your music, what else helps you to remember the music that you want to play? The answer lies in what music really is. It’s sound plus simple math. What’s written on paper is just a visual interpretation. That used to be the only way to record music. Now it’s used by most of us to only help retain it. Here’s an easy way not only to remember the structure of a melody, (not the rhythm) but it also helps you understand the basic math involved. So, for the beginner to intermediate students, let’s go over an easy formula system.
Let’s say you already know how to do a major scale on your instrument in at least one key. (Unlike guitar players, some instruments have to completely change their fingering for different keys) Now play your scale in just two octaves. Seeing how most melodies fall within a two octave range, I’ll write out the scale steps for a two octave major scale. Since the scale steps 1 and 8 overlap, we can use the word root. (R) By the way, I request that my students remember the rhythm of a melody. Come on, you don’t want to have to write down everything!
The formula system:(Go to www.stcroixmusic for example)
Starting with the root (R), up to the next root of course is one octave. The dots on the bottom of the numbers represent the steps in your lower octave. They are only used on top starting from the high root and when you go above the upper octave. From the middle root to the seven there are no dots and it represents your upper octave. When you reach the end of your upper (second) octave, there’s a dot on top for your high root. Sometimes a melody will reach above the upper octave, so just keep your dots on the top of the scale steps for those notes. So, within two octaves there are three roots. It’s a piece of cake.
Now the trick is to remember the names of the scale steps and not just a finger pattern. Just go slow and say them out loud like, low root, low two, and low three and so on up to the middle root. Then from the middle root, count up to the high root by just saying the numbers and not using the word” low”. Be sure to say “high root” when you get to the top. Most melodies will revolve around one octave and just venture a little into the next. Let’s start by mostly using the upper octave and a little of the lower one. I’ll write them in easy to understand phases using small groups of numbers. First let’s do an old favorite. Here’s a piece of the main theme to “Somewhere over the Rainbow” using this simple formula. This piece has no steps above the upper octave, only below.
Somewhere over the rainbow:(Go to www.stcroix music for example)
Now use that same formula for something a little more complex. This is the basic theme from Bach’s “Jesus Joy of Mans Desiring”. The highest note again will be the high root. Don’t forget that the dots are used to mark the octave that a scale step is in. Watch out for the ones in the lower octave.
(Go to www.stcroixmusic.com)
So by now you should be getting the hang of it. Now, hum something that you know real well and find what scales steps the melody falls on. Then write it down to help you remember the song. If the melody falls in between any of the scale steps, just use the step above that note and add a flat.
Example: R, 3, 5, b7 (flat 7) Of course a flat seven would be between steps 6 and 7, seeing on how there’s a whole step between those notes.
Well, just listen close, practice, and watch your steps! And don’t forget, you are what you play, not what you read!
- JJ Rocks www.stcroixmusic.com
October, 2006
Of course this is the fun column. Hey, come on you guys (and ladies)! You only get out what you put in! So let’s get in time and in tune! Ok, enough yelling from me. Let’s practice.
No matter how you write music down, whether it is standard notation, tab or ancient hieroglyphics, it all boils down to the same thing. The sound of the music comes first, then the written version. I feel that too many people get that backwards. It seems that a lot of us believe that written music should be in command of the actual performance. Not true. Even if this performance is just in your head and goes right to the paper, the sound still came first.
We all know that writing something down is sometimes crucial to memorizing a piece of music. But I teach my students that it’s only an aid for learning, and not to be used for performing.(that is unless someone throws a song at you on your break at a gig that you’ve never heard before and you’re forced to use duck tape and a bar napkin) Just think about being at a party and somebody hands you a guitar and you have to say “I don’t have my music book with me”. I wouldn’t want to be that guy. And how about that one band you see sometimes that sounds good but they’re always reading out of their books. That’s when you think, “They’ve been playing those songs for a long time. Why are they still reading the music?” Now I’m not talking about a band made up of students who are still learning a song.
I’m talking about players that have been around for awhile.
I use a lyric book when I sing. Why doesn’t that rule apply to me? Well, it’s because I don’t like singing. I don’t hate it, I just don’t like it. It just happens that sometimes I wind up being the singer by default. And what’s that got to do with the price of picks? Here’s what. This is my own opinion of course, but as long as I’ve been playing it seems that the people that remember the most music are the ones that love it the most. Just like the singers who remember all those lyrics (which amazes me), you can tell that they love it. Sometimes they love it so much you have to leave the room. I’m only kidding. I’m just poking fun at you singers out there!
So, besides loving your music, what else helps you to remember the music that you want to play? The answer lies in what music really is. It’s sound plus simple math. What’s written on paper is just a visual interpretation. That used to be the only way to record music. Now it’s used by most of us to only help retain it. Here’s an easy way not only to remember the structure of a melody, (not the rhythm) but it also helps you understand the basic math involved. So, for the beginner to intermediate students, let’s go over an easy formula system.
Let’s say you already know how to do a major scale on your instrument in at least one key. (Unlike guitar players, some instruments have to completely change their fingering for different keys) Now play your scale in just two octaves. Seeing how most melodies fall within a two octave range, I’ll write out the scale steps for a two octave major scale. Since the scale steps 1 and 8 overlap, we can use the word root. (R) By the way, I request that my students remember the rhythm of a melody. Come on, you don’t want to have to write down everything!
The formula system:(Go to www.stcroixmusic for example)
Starting with the root (R), up to the next root of course is one octave. The dots on the bottom of the numbers represent the steps in your lower octave. They are only used on top starting from the high root and when you go above the upper octave. From the middle root to the seven there are no dots and it represents your upper octave. When you reach the end of your upper (second) octave, there’s a dot on top for your high root. Sometimes a melody will reach above the upper octave, so just keep your dots on the top of the scale steps for those notes. So, within two octaves there are three roots. It’s a piece of cake.
Now the trick is to remember the names of the scale steps and not just a finger pattern. Just go slow and say them out loud like, low root, low two, and low three and so on up to the middle root. Then from the middle root, count up to the high root by just saying the numbers and not using the word” low”. Be sure to say “high root” when you get to the top. Most melodies will revolve around one octave and just venture a little into the next. Let’s start by mostly using the upper octave and a little of the lower one. I’ll write them in easy to understand phases using small groups of numbers. First let’s do an old favorite. Here’s a piece of the main theme to “Somewhere over the Rainbow” using this simple formula. This piece has no steps above the upper octave, only below.
Somewhere over the rainbow:(Go to www.stcroix music for example)
Now use that same formula for something a little more complex. This is the basic theme from Bach’s “Jesus Joy of Mans Desiring”. The highest note again will be the high root. Don’t forget that the dots are used to mark the octave that a scale step is in. Watch out for the ones in the lower octave.
(Go to www.stcroixmusic.com)
So by now you should be getting the hang of it. Now, hum something that you know real well and find what scales steps the melody falls on. Then write it down to help you remember the song. If the melody falls in between any of the scale steps, just use the step above that note and add a flat.
Example: R, 3, 5, b7 (flat 7) Of course a flat seven would be between steps 6 and 7, seeing on how there’s a whole step between those notes.
Well, just listen close, practice, and watch your steps! And don’t forget, you are what you play, not what you read!
- JJ Rocks www.stcroixmusic.com
October, 2006
JJ Rocks article # 3: From Kiev, Ukraine: The Mosqutio
By James (JJ Rocks) Johnston
If you take rock n’ roll, mix it with high levels of musicianship, a little uncharted ground, the desire to express musical freedom, and top it off with a huge helping of originality, you get “The Mosquito!” A band that’s full of colorful sounds and textures from Kiev, Ukraine. It’s been a good while since I’ve heard a band that carries on the traditions and artistic abilities of bands like Rush, Yes, Jethro Tull, and even Gentle Giant.
Just as we are starting to get used to the “fad followers” that we hear so much of on today’s radio, there’s a band that comes along and sets a whole new pace of intellectual music listening. A band that doesn’t try to fit in the molds left over by groups attempting preconceived thoughts of blatant commercialism.
Starting with the vocals of Sveta Morozova, I’d like to say that her singing is unique, adventurous, sometimes humorous, and most of all, dead on. She nails her vocal parts like a carpenter nails wood. Her presence in this band takes it over the top, and away from bands that are mostly know for their instrumental complexities.
Sveta’s part in their formula helps cerate a tapestry of very interesting musical colors while adding to the bands overall visual attraction.
I’ve haven’t had the pleaser of seeing them live yet, but the picture above is worth a thousand words.
Speaking of fun to watch, drummer Alex Lihuta must be a blast! I don’t know about you, but when I see a band that has a great drummer, it always keeps me stretching my neck towards the stage. With a rock solid feel and a tone that is a refreshing break from the sound of most of today’s progressive rock drummers, Alex’s playing skillfully intertwines with the bands many interesting twist and turns, while still remaining incredibly tasteful.
Lead guitarist Oleg Shuvalov also has the unique ability to play just what the song needs. (An ability that some of us “hot dogging” show off guitarist could use a bit of.) I haven’t heard that kind of playing since Gary Green from Gentle Giant. It’s a challenging task when you mix that rock type of tone into a sound that contains very clean flute and violin work. Oleg does a great job in choosing his guitar parts because they show off his unique style without trying to attract too much attention to his own playing. Believe me, it’s a real art form. He doesn’t try to be a desert topping on a band full of back up players like many modern day guitarist often do. He’s part of the recipe and he plays great!
For now, I don’t have any info on the bass player. His name is not listed on their site. (If I missed it I’m sorry) But this guy is really aware of what’s going on and just as much a part of the arrangement as the rest of the band. What I’m trying to say is he doesn’t just play “bass parts” and fills like other bassists often do. He’s right in there with the rest of the musical gears, all turning to create a high output of total band creativity while showing his own very original playing style. And he has great chops! (Playing ability)
So here are some tunes from “The Mosquito”: “Quasar” “Sancho Pansa”
Please feel free to contact them at their very cool website. Tell them that STCROIXMUSIC.COM sent and check out the rest of there music. Also please tell them how much you like this website because it was designed by Sveta, and programmed by Oleg, and for this we will be forever grateful!
- JJ Rocks www.stcroixmusic.com
http://www.mosquito-band.com
October, 2006
If you take rock n’ roll, mix it with high levels of musicianship, a little uncharted ground, the desire to express musical freedom, and top it off with a huge helping of originality, you get “The Mosquito!” A band that’s full of colorful sounds and textures from Kiev, Ukraine. It’s been a good while since I’ve heard a band that carries on the traditions and artistic abilities of bands like Rush, Yes, Jethro Tull, and even Gentle Giant.
Just as we are starting to get used to the “fad followers” that we hear so much of on today’s radio, there’s a band that comes along and sets a whole new pace of intellectual music listening. A band that doesn’t try to fit in the molds left over by groups attempting preconceived thoughts of blatant commercialism.
Starting with the vocals of Sveta Morozova, I’d like to say that her singing is unique, adventurous, sometimes humorous, and most of all, dead on. She nails her vocal parts like a carpenter nails wood. Her presence in this band takes it over the top, and away from bands that are mostly know for their instrumental complexities.
Sveta’s part in their formula helps cerate a tapestry of very interesting musical colors while adding to the bands overall visual attraction.
I’ve haven’t had the pleaser of seeing them live yet, but the picture above is worth a thousand words.
Speaking of fun to watch, drummer Alex Lihuta must be a blast! I don’t know about you, but when I see a band that has a great drummer, it always keeps me stretching my neck towards the stage. With a rock solid feel and a tone that is a refreshing break from the sound of most of today’s progressive rock drummers, Alex’s playing skillfully intertwines with the bands many interesting twist and turns, while still remaining incredibly tasteful.
Lead guitarist Oleg Shuvalov also has the unique ability to play just what the song needs. (An ability that some of us “hot dogging” show off guitarist could use a bit of.) I haven’t heard that kind of playing since Gary Green from Gentle Giant. It’s a challenging task when you mix that rock type of tone into a sound that contains very clean flute and violin work. Oleg does a great job in choosing his guitar parts because they show off his unique style without trying to attract too much attention to his own playing. Believe me, it’s a real art form. He doesn’t try to be a desert topping on a band full of back up players like many modern day guitarist often do. He’s part of the recipe and he plays great!
For now, I don’t have any info on the bass player. His name is not listed on their site. (If I missed it I’m sorry) But this guy is really aware of what’s going on and just as much a part of the arrangement as the rest of the band. What I’m trying to say is he doesn’t just play “bass parts” and fills like other bassists often do. He’s right in there with the rest of the musical gears, all turning to create a high output of total band creativity while showing his own very original playing style. And he has great chops! (Playing ability)
So here are some tunes from “The Mosquito”: “Quasar” “Sancho Pansa”
Please feel free to contact them at their very cool website. Tell them that STCROIXMUSIC.COM sent and check out the rest of there music. Also please tell them how much you like this website because it was designed by Sveta, and programmed by Oleg, and for this we will be forever grateful!
- JJ Rocks www.stcroixmusic.com
http://www.mosquito-band.com
October, 2006
JJ Rocks article # 2: From Zargoza Spain: Anna Maria Ganarul Perez
By James (JJ Rocks) Johnston
I honestly can’t understand why this girl isn’t hot on the Latin charts! But as you’ll find out in our very first issue of St. Croix Music Magazine, we have made a great discovery. Not to say that she is an unknown artist, because I’m sure that many people know her music. We just want to try to bring her talents to as many people as this publication reaches. And hopefully, with all the countries that we are reaching, that will be a lot. Our list of bands (and their friends) that we contact from around the world is constantly growing.
Born in Zaragoza, Spain, the first step in Anna’s career as a singer was at the age of four when she participated in a song contest on Spanish radio. Later she enrolled in the “Niccolo Paganinni” conservatory in Zaragoza where she studied piano, musical forms, choir and soloist. She quickly learned that singing was her passion. When she was 9 she traveled throughout Spain with a musical group called “Rainbow”. Also at the same age she won first prize as a singer in a prestigious contest in her hometown. Since then she has won numerous awards in Spain and the US. You can read about them if you visit her website that I’ll list at the end of this column.
Presently Anna is with a group in Miami called “Ahnika”, and they are producing some very polished recordings and sophisticated arrangements. This is a band that I would love to see here at our own “Divi Casino” one day. This band kicks! I’d love to see if they do the acoustic guitar parts on this recording live! They sound like a top notch Latin dance/recording band and I can see them getting a huge following. We’ll, that is as long as Anna is up front! Not to take anything away from this wonderful band, but this article is centered around, and inspired by Anna’s incredible voice. And as you can see, she has the looks to go with it! I just wish that I had a clearer picture, but I can’t get in touch with her at the moment because she might be on tour. So whether it’s with “Ahnika” or a back up band of some of St. Croix’s finest, I’m sure that she would be well received here in paradise.
So please take the time to listen to more of her incredible voice and to leave her a message on her website below, and don’t forget to tell her that you heard her here on STCROIXMUSIC.COM. Meanwhile, while your are downloading her song “Presa De Tu Amour”, we here at SCM are going to try our best to get her some airplay here in the Islands.
– JJ Rocks www.stcroixmusic.com
Free: Download: “Presa De Tu Amour”
http://www.garageband.com/artist/2006anika
October, 2006
I honestly can’t understand why this girl isn’t hot on the Latin charts! But as you’ll find out in our very first issue of St. Croix Music Magazine, we have made a great discovery. Not to say that she is an unknown artist, because I’m sure that many people know her music. We just want to try to bring her talents to as many people as this publication reaches. And hopefully, with all the countries that we are reaching, that will be a lot. Our list of bands (and their friends) that we contact from around the world is constantly growing.
Born in Zaragoza, Spain, the first step in Anna’s career as a singer was at the age of four when she participated in a song contest on Spanish radio. Later she enrolled in the “Niccolo Paganinni” conservatory in Zaragoza where she studied piano, musical forms, choir and soloist. She quickly learned that singing was her passion. When she was 9 she traveled throughout Spain with a musical group called “Rainbow”. Also at the same age she won first prize as a singer in a prestigious contest in her hometown. Since then she has won numerous awards in Spain and the US. You can read about them if you visit her website that I’ll list at the end of this column.
Presently Anna is with a group in Miami called “Ahnika”, and they are producing some very polished recordings and sophisticated arrangements. This is a band that I would love to see here at our own “Divi Casino” one day. This band kicks! I’d love to see if they do the acoustic guitar parts on this recording live! They sound like a top notch Latin dance/recording band and I can see them getting a huge following. We’ll, that is as long as Anna is up front! Not to take anything away from this wonderful band, but this article is centered around, and inspired by Anna’s incredible voice. And as you can see, she has the looks to go with it! I just wish that I had a clearer picture, but I can’t get in touch with her at the moment because she might be on tour. So whether it’s with “Ahnika” or a back up band of some of St. Croix’s finest, I’m sure that she would be well received here in paradise.
So please take the time to listen to more of her incredible voice and to leave her a message on her website below, and don’t forget to tell her that you heard her here on STCROIXMUSIC.COM. Meanwhile, while your are downloading her song “Presa De Tu Amour”, we here at SCM are going to try our best to get her some airplay here in the Islands.
– JJ Rocks www.stcroixmusic.com
Free: Download: “Presa De Tu Amour”
http://www.garageband.com/artist/2006anika
October, 2006
JJ Rocks article # 1: From Oslo, Norway: The OJ Trio
By James (JJ Rocks)Johnston
There’s a side of jazz that brings to mind a dimly lit café somewhere in Norway on other side of a hazy blue neon sign. A musical place called “Cool”. A musicians place called “Hot”. This band brings me back to Brubeck, Parker and Miles. Normally they play as a trio, but these guys sometimes have a few guest players on their recordings. The ones on this recording didn’t leave their names, but they are great players. The sax man takes a very melodic solo that shows an incredible ability in the art of anticipating his next musical phrase. With a tone of silk he seems to merrily roll though solos without a hint of improvisational stress. The keyboards float above at first like fluffy clouds adding just the right amount of shade to an already heated up musical incorporation of technique and mood. But when it’s his turn to shine the ivory light, he takes you on his own little musical adventure, while he seems to create his own song within a song.
I’ve always been a big fan of the upright (double) bass. The players of this distinguished instrument are not only judged by their improvisation skills, but for the accuracy of their intonation. To put it plainly, it’s not an easy axe to grind. The vocalist on this recording seems to lie somewhere between Michael Franks and Harry Connick Jr. But he still manages to have his own vibe that displays a great mix between modern and traditional jazz vocal styles. He also does a great job interacting with the sax to form an enjoyable intro and outro to this song.
The guitarist keeps a bed of velvet tone, fills and chords though out the song showing total respect to the melody.
The members of this magnificent trio (minus the added players) are Ole Jorn Myklebust on lead vocals and trumpet, Jan Olav Renvag on double bass, and Asborn Lerheim on guitar. They met in 1997, and have been playing together ever since. After touring clubs and festivals, they now play regular at a club in Oslo, Norway every Tuesday, Wednesday and Friday. In March 2001 the OJ Trio released their first CD, and it received quite a lot of good reviews.
So sit back and enjoy this wonderful mood setter of a song called “She is mine”.
Free: Download: “She is mine”
If I find out the names of the other guys sitting in on this recording, I’ll publish them in a later issue. If you want to hear more from the band you can visit them at there website below and don’t forget to tell them where you heard them.
- JJ Rocks www.stcroixmusic.com
http://www.garageband.com/artist/oj_trio
October, 2006
There’s a side of jazz that brings to mind a dimly lit café somewhere in Norway on other side of a hazy blue neon sign. A musical place called “Cool”. A musicians place called “Hot”. This band brings me back to Brubeck, Parker and Miles. Normally they play as a trio, but these guys sometimes have a few guest players on their recordings. The ones on this recording didn’t leave their names, but they are great players. The sax man takes a very melodic solo that shows an incredible ability in the art of anticipating his next musical phrase. With a tone of silk he seems to merrily roll though solos without a hint of improvisational stress. The keyboards float above at first like fluffy clouds adding just the right amount of shade to an already heated up musical incorporation of technique and mood. But when it’s his turn to shine the ivory light, he takes you on his own little musical adventure, while he seems to create his own song within a song.
I’ve always been a big fan of the upright (double) bass. The players of this distinguished instrument are not only judged by their improvisation skills, but for the accuracy of their intonation. To put it plainly, it’s not an easy axe to grind. The vocalist on this recording seems to lie somewhere between Michael Franks and Harry Connick Jr. But he still manages to have his own vibe that displays a great mix between modern and traditional jazz vocal styles. He also does a great job interacting with the sax to form an enjoyable intro and outro to this song.
The guitarist keeps a bed of velvet tone, fills and chords though out the song showing total respect to the melody.
The members of this magnificent trio (minus the added players) are Ole Jorn Myklebust on lead vocals and trumpet, Jan Olav Renvag on double bass, and Asborn Lerheim on guitar. They met in 1997, and have been playing together ever since. After touring clubs and festivals, they now play regular at a club in Oslo, Norway every Tuesday, Wednesday and Friday. In March 2001 the OJ Trio released their first CD, and it received quite a lot of good reviews.
So sit back and enjoy this wonderful mood setter of a song called “She is mine”.
Free: Download: “She is mine”
If I find out the names of the other guys sitting in on this recording, I’ll publish them in a later issue. If you want to hear more from the band you can visit them at there website below and don’t forget to tell them where you heard them.
- JJ Rocks www.stcroixmusic.com
http://www.garageband.com/artist/oj_trio
October, 2006
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