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Bassist Wanted - Tampa , FL ... Submitted: 11-22-2016 ... 15:06 EST
Bassist wanted for established southern outlaw country rock band. requirements are reliable transportation and gear, the availability to rehearse once a week and perform three to four gigs a month please no dependency or substance abuse problems. ... 6305440 ... Contact: James 813 458-2328
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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 ideas.contact. wallis_p@yahoo.com ... 2213513 ... Contact: wallis_p@yahoo.com
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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
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Bassist Available - Pinellas Park, TampaBay Area FL ... Submitted: 05-11-2016 ... 09:43 EST
Mature Bass Guitarist with Back Vocals Playing since 1965 Pro since 1969 From Monterey, California - Now permanently local Florida but can travel. Own Pro Equipment and Equip-Van. All genres of music played but not into; Heavy Metal, Head Bang, Hip Hop, Rap, Reggae, or Noise... Also limited ability on Guitar and Keyboards... I'm not interested in Tracks, Loops, and Machines, I am a live musician for other live musicians. Not looking for $50 Bar bands either... (NO DRUGS)... Sorry my list is all negatives but that list is much shorter and I don't want to waist anyones time. I do my homework so others are not standing around waiting for me to learn. I'm interested in Pro Groups or Pro Start-ups. So if you are an individual MorF or Band that sees eye-to-eye with the above information, PLEASE "E" or Call... I'm Ready, Steady, and Huggable :-) ... 9537177 ... Contact: zses456@yahoo.com (831) 238-8540
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Vocalist Wanted - Clearwater, TampaBay Area FL ... Submitted: 04-19-2016 ... 14:50 EST
We are a high energy cover band looking for a vocalist who can sing Skid Row,Maiden,Priest,Sabbath,Dio,Alice in Chains,Ozzy etc.We are a no nonsense band with full PA ,lights and soundman.Your personal life is yours but our rehearsals and performances are drug and alcohol free. If interested contact Brad @ 727-768-2690 ... 252130 ... Contact: Bama ( James) 727-657-6593
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Article
Posted:
San Martin Bridge & Dredging/Silt Meeting
Jan 19
2017
At the request of Council Member Kennedy, a meeting has been scheduled for January 31 @ 7:00 p.m. at Liberty Baptist Church, 9401 4th Street North (please enter on the 94th Avenue side under the overhang). The two agenda items and presenters are as follows:

1. San Martin Bridge – Nancy McKibbon – Pinellas County

2. Dredging/Silt – Claude Tankersley – City of St. Petersburg Public Works Administrator

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Posted:
RBCA General Meeting
Jan 08
2017
The Riviera Bay Civic Association's 1st General Meeting is this Tues, Jan 10th at Liberty Baptist Church Hall at 9401 4th St N.
Doors open at 6:30 PM for Social, Meeting starts at 7 PM.
(enter on the 94th St N side under canopy)

AGENDA: Elections, Area Police Update, Speaker: Public Works Director Claude Tankersley will discuss canal dredging and neighborhood concerns, Power Point presentation how to use "NextDoor.com" by Kathy Crow, Discussion of Crime Watch being reactivated by Don Gilbert.
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SOLO PIANIST NICK DECESARE INFLUENCED BY BOTH NEW AGE AND JAZZ
Jan 18
2017
NICK DECESARE
Openings

Acoustic pianist Nick DeCesare believes in the power of gentle solo piano music to make a difference in people’s lives by helping the listener relax, relieve stress, calm down emotionally, become introspective and slow down to enjoy life more. With this in mind DeCesare (pronounced dee-chez-uh-ray) composed 13 peaceful tunes for his debut album, Openings.

“In the world we are living in we find ourselves in a mostly stressful environment where we want everything instantly and we are frustrated if we don’t get it,” explains DeCesare. “Our attention spans are shortening because we get so much and get it so fast that we then hurry on to the next thing. As a species we are losing the aspects of our existence that are introspective and meditative. It would be best for us emotionally if we could learn to relax more, resist being so driven by impulse and success and instant results, and retain an appreciation for patience and reflectiveness. The music on Openings is meant to help with this, to facilitate peace of mind and combat stress. I practice yoga and I have an appreciation for the quieter parts of life that are not necessarily fostered by corporate America, ‘the gain game.’ Music is a great lifestyle tool to assist in soothing and expanding consciousness. This helps us determine what parts of life are really important.”

While DeCesare has been composing and playing solo piano music since high school, and part of his collegiate studies included classical music, he is most strongly versed in traditional jazz which he studied and avidly performed in college and after graduating. DeCesare has studied the styles of many of the jazz master pianists/composers such as Oscar Peterson, Bud Powell, McCoy Tyner, Chick Corea, Herbie Hancock, Kenny Kirkland and Brad Mehldau, but also admires the recordings of new age pianists Michael Dulin and Christian Lindquist.

“My background is split between playing solo piano and performing in jazz groups,” explains DeCesare. “So I guess it makes sense that one of my greatest heroes and influences is Keith Jarrett, who not only played with some of the jazz greats and had his roots in the traditional jazz traditions, but became one of the best solo piano improvisers of all time. His music showed me the depth of possibilities of solo piano and how elements of jazz can be incorporated. Especially influential was his classic solo piano recording, The Koln Concert, from 1975.”

DeCesare received his Bachelors degree in Piano Performance from Duquesne University in Pittsburgh, Pennsylvania, following four years of intense music studies. “My jazz professor was Ron Bickel who taught me how a pianist functions within a jazz group. We went through an extensive jazz repertoire from Cole Porter and Ira Gershwin to Charlie Parker and Dizzy Gillespie to Chick Corea and Herbie Hancock. Then I was lucky enough to study under Sean Jones [Nancy Wilson, Joe Lovano, Jon Faddis], one of the top trumpet players in the world who taught our improvisation courses. We started by transcribing classic solos and learning them. He also encouraged us to go out to jam sessions and apply what we had learned. That’s when I was fortunate to jam with the great jazz drummer Roger Humphries [Stanley Turrentine, Ray Charles, Dizzy Gillespie and many others] who organized jams in Pittsburgh on a regular basis. Studying under a great jazz player during the day and then going out to play with an acknowledged jazz master at night was the best experience and training I could have as a musician.”

In addition, DeCesare took classical music courses “to balance out my music.” Here the emphasis was on reading music, technique, articulation and expression. “I learned a lot from the contrapuntal language and harmonies of Bach, the Chopin waltzes and nocturnes, some of the Beethoven sonatas, and the melding of classical and jazz by modern composer and pianist Nikolai Kapustin.”

In discussing other influences, DeCesare remembers, “Early on I enjoyed the pop-rock stylings of Billy Joel and Elton John, and in recent years I have enjoyed Jordan Rudess of Dream Theater and his solo album Notes on a Dream.”

DeCesare, who started “tinkering” on piano as a small child and also played trumpet in the school band for five years, began composing solo piano music in high school. “It was something I really enjoyed, but I had little time for it during my upper-graduate years in college. After graduation I was finally able to devote more time to it again,” says DeCesare, who also writes jazz trio and quartet music. “This was a different fork in the road than the jazz I was doing in college. I used some improvisation when I was first developing ideas for the pieces on Openings, but by the time I recorded them the music was fully thought out and composed. Composing this type of music is like doing exercises in meditation and learning to keep my conscious mind out of it as much as possible so the creativity can flow.”

The Openings album is book-ended by the short “Prologue Anthem” and “Epilogue Return” which DeCesare explains “were born from the music I heard in church when I was growing up, a little formal, but uplifting and soul-stirring.” The inspiration for “Grace Rapids” came from a picturesque scene he envisioned with a stream of white rapids flowing over a waterfall and into a peaceful pond at the bottom.” “Joy” was so-named because “that’s what I feel in listening to it. Some music simply makes you feel good.” The music of “Morning” reminded DeCesare of watching a sunrise and he feels it symbolizes “having optimistic inspiration in the morning about how you can go about your day.”

The tune “Farewell” reminds DeCesare of “any change I have had in life that is difficult -- going away from a favorite place, breaking up with a girlfriend, witnessing a loved one passing on, saying goodbye to a friend whom you know you won’t see for a long time.” He wrote “Ocean Waltz” sitting on a beach with a portable keyboard listening to waves roll in. “Sometimes waves look like they are dancing to the shore, and I also was reminded of Chopin’s crashing wave music.” The textures from the opening theme of “Rainy Day” were inspired by a Chick Corea composition, “Brasilia,” off Solo Piano Originals. “The rhythm of the rain can have its own melancholy beauty and is often a peaceful sound.”

DeCesare believes the melody of “Lullabye” came to him in a dream. “I woke up from a nap and within 30-seconds I was playing the opening theme.” The music and title of “In Love” capture “that special feeling when you know you have reached a deeper emotional connection.” A portion of Keith Jarrett’s famous The Koln Concert inspired “Moonlit Cathedral.” The other-worldly music of “Visit” stems from DeCesare ruminating on “what if we encountered a ghost or an extra-terrestrial?” The hymn-like “Sanctuary” also was influenced by the church music DeCesare heard as he was growing up.

“When you put out a debut album, for the most part it is the first idea people have of what you are like as a musician. That is why the recording is titled Openings. It is a beginning, an optimistic announcement that a young artist is getting his career rolling. But it goes a little deeper than that. The artwork shows our planet with doors marked on every country representing a whole world of opportunities out there for each individual including me as a musician. What doors will open and which ones will close and which ones will we walk through? Creating art, and for me it is making music, is full of open doors which means decisions -- new age music, jazz, modern classical, ensemble, solo and on and on. There is much to explore.”

Openings is available to be purchased as either a CD or as digital downloads at a wide variety of online sales sites including CDbaby, Amazon, iTunes, eMusic, Google Play and dozens more. For more information about Nick DeCesare, visit his website at nickdecesaremusic dot com.
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Rick Springfield At The Capitol Theatre on Wednesday, March 1. Tickets On Sale Saturday, January 7
Jan 05
2017
The Capitol Theatre Welcomes GRAMMY® Award-Winner RICK SPRINGFIELD In Concert On Wednesday, March 1 At 8 pm

Tickets Go On Sale Saturday, January 7 At 10 am

GRAMMY® Award-winning singer, songwriter and musician Rick Springfield and his band return to the Capitol Theatre on Wednesday, March 1 at 8 pm. Tickets go on sale Saturday, January 7 at 10 am. This will be Springfield’s first concert at the Capitol Theatre since his sold-out date in 2015.

Over the past three decades, Rick Springfield has worn many hats as an entertainer and performer. The creator of some of the finest power-pop of the 1980s, he has sold 25 million albums and scored 17 U.S. Top 40 hits including Jessie’s Girl, Don’t Talk to Strangers, An Affair of the Heart, I’ve Done Everything for You, Love Somebody and Human Touch.

An accomplished actor he most recently starred opposite Meryl Streep in the feature film Ricki and the Flash and gave a chameleonic performance as the creepy Dr. Pitlor in HBO’s prestige drama True Detective.

Springfield is also a talented author – both his candid 2010 memoir Late, Late at Night (which Rolling Stone magazine named one of the 25 greatest rock memoirs of all time) and his 2014 comedic novel Magnificent Vibration earned rave reviews and spots on the New York Times bestsellers’ list.

Reserved tickets priced at $85, $69 and $49 will be available at the Ruth Eckerd Hall Ticket Office located at 1111 McMullen Booth Road in Clearwater or by calling 727.791.7400. The Ruth Eckerd Hall Ticket Office is open Monday through Saturday, from 10 am to 6 pm and one hour prior to show time. Patrons may also purchase tickets at www.AtTheCap.com 24/7. A very limited number of VIP Packages which include a meet & greet opportunity are also available.

Contact:
Katie Pedretty, Director of Public Relations - p 727.712.2774 - kpedretty@RuthEckerdHall.net
Lacy Herman, Public Relations Assistant - p 727.724.5383 - lherman@RuthEckerdHall.net
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ADULT CONTEMPORARY VOCALIST MATT VENUTI ALSO PLAYS SPACE-AGE HANG AND GUBAL INSTRUMENTS
Dec 13
2016
MATT VENUTI
THE RHYTHM OF LIFE

Singer, songwriter, and mega-instrumentalist Matt Venuti (pronounced va-new-tee) has a musical style that's been labeled “Ambient Fusion” and “Acoustic Alternative”, but his audiences are often at a loss for words to categorize the immersive experience that Matt’s concerts are known for. His latest album, The Rhythm Of Life, epitomizes that experience. Warm, velvety vocals supported by a bevy of captivating instruments deliver a melodic and poetic journey…one that traverses the heart and soul of a man who has experienced a full gamut of the joys and challenges of life. This music offers a profound and heart-warming reminder of our true essence and our connection to each other and the planet...a timely and welcoming alternative to the troubling divisiveness and discontent that is prevalent in our world today.

Matt tours nearly year-round, accompanying himself on the 21st Century melodic-percussive instruments called the Hang, Gubal, and Hang Gu, that are best described as “sound sculptures” and that he uses to create kaleidoscopic rhythms and melodies that are awe-inspiring and unforgettable. He is known throughout the world as one of the premier players of this new breed of instrument that has set off a modern renaissance in musical instrument design. Even though he has a penchant for acoustic instruments, Matt also has a vast background in electronic music and is one of the pioneer players of the Electronic Valve Instrument (EVI).

Matt has a history of performing at progressive events like the TED and TEDx (Technology, Entertainment and Design) conferences and diverse venues that range from house concerts and major clubs to conventions and concert halls. He's released numerous popular and ground-breaking recordings such as Dance Of The Helix, Hangisphere, and Bliss Attack. His band, The Venusians, have for years been seminal in the ambient and world music scene of San Francisco and the West Coast. The Venusians' album, Hot Planet received extensive airplay and was in the top 10 on CMJ charts.

Visit Matt's website at www.mattvenuti.com for more information, album releases and Matt’s highly acclaimed self-produced music videos. Most of Matt's commercial recordings are available as CDs and digital downloads at the most popular sales sites.

For a more detailed look into Matt's artistry and personal life, please proceed.

Matt’s father was a jazz pianist and Matt started piano lessons at an early age before switching to trumpet. He became enthralled with the EVI (Electronic Valve Instrument) after seeing Mike Metheny performing on an early experimental model. Matt got one of the rare instruments, and when the Akai Corporation began marketing it, Matt was hired to travel around the country demonstrating the progressive instrument. In addition, his band The Venusians were getting popular in San Francisco and became favorites of the “digerati” of Silicon Valley and the Bay Area with Apple, Google, Yahoo, Oracle and Microsoft hiring them to play gala industry events. The group was also favorites at festivals such as Burning Man and in the San Francisco Undergound Scene. According to Venuti, “My band-mates were stellar musicians who could play anything that I could conjure up, including something you might hear from the Star Wars Cantina Band. That was when George Lucas hired us to be that band for his Star Wars Gala event in San Francisco when he released the first prequel of the classic series. That event was a game-changer for the band and the calls were pouring in. We were employing cirque-like acrobats and exotic performing artists that complimented our interstellar identity. Craigslist founder Craig Newmark dubbed us the ‘Emissaries of Sonic Shamanism’.”

Because Venuti was playing the cutting-edge EVI, pop music celebrity Thomas Dolby asked Matt to play at the main TED Conference in his “TED House Band” with Dolby, Michael Manring and Rachelle Garniez in front of the most influential leaders in the worlds of technology, entertainment and design. In addition, Venuti was asked to open the conference with a solo EVI performance, and to give his own TED talk about the instrument on the closing day.

Eventually Venuti discovered the Hang, a contemporary instrument introduced at the beginning of this century that resembles a flying saucer. Remarkably this metal-alloyed instrument, which is played with the hands, can be performed both melodically and rhythmically...simultaneously...with a tonal quality never before heard, yet it is extremely captivating. Explains Venuti, “Hang means ‘hand’ in Swiss-German, where two brilliant artists and instrument-makers, Felix Rohner and Sabina Sharer, created it from their small company named PANArt. This instrument was not available in stores and very few were brought into the USA. I fatefully managed to acquire two hangs and recorded a CD combining the Hangs with other instruments. I sent the CD with a note of gratitude to the instrument-makers and they replied by requesting more CDs and inviting me to visit them. It would be the first of yearly trips to Switzerland. The Hang kept evolving along with the material that it was made of, a patented metal alloy that Felix and Sabina created called Pang. Their Gubal instrument came some years later and was PANArt’s definitive step forward from the Hang. With the Gubal the sounds of a small ensemble could be accessed from my lap. It’s also an ideal accompaniment for my vocal compositions, stories and spoken-word poetry. These instruments have offered me a unique expression that has sustained me and deepened my connection to the world, to music and to sound.”

Matt remembers when he met Yolanda Bain, a yoga teacher. “She was standing on her head at the beach on a brisk day in late November. She became my wife and her fate would influence my life in unimaginable ways. Of all the twists and turns in my life, nothing would have as profound an impact as my wife’s death at the end of our 20th year together. My heart was shattered and I would escape to nature with the Hang instruments, visiting the redwoods, the canyons, the ocean, the desert…anywhere that offered solace and self-reflection. In time my heart was feeling full again, but with a level of maturity that was more authentic and enduring. I began to develop musical motifs that came from these visits to nature’s sanctuaries, and they later evolved into compositions. I was writing lyrics that reflected the delicate passage of life…songs of love, loss and surrender. I soon realized this wasn’t simply my journey, but the journey of all humans, all of life. I found a renewed strength and commitment to music with this new form of expression. My experiences and observations of the cycles of life have shaped my art.”

This journey is reflected in the music on Matt's latest recording, The Rhythm of Life, which contains nine original songs plus a powerful version of Bill Withers’ “Lean On Me.” The lyrics on the original material are heartfelt, spirit-filled, uplifting, and insightful. Venuti sings lead vocals and plays several generations of the Hang, plus the Gubal, the Gudu, the Electronic Valve Instrument, keyboards, percussion and other instruments. He's accompanied by a rich layering of female backing vocals and his band-mates Robert Powell on pedal steel guitar, Daniel Berkman on African harp (Kora) John Steiner on piano and organ, Celso Alberti on drums and Peck Allmond on trumpet. “This is music to inspire and to bring joy, contemplation and enchantment into your life,” states Venuti. “Proceed with abandonment!”

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PETER KATER'S RESONANCE ALBUM HAS SOME MELODIC PIECES AND SOME AMBIENT ONES
Dec 13
2016
PETER KATER
RESONANCE

Peter Kater, a leading innovator of contemporary instrumental music for over three decades, has created a new album, Resonance on New Earth Records, that captures the most important aspects of the best new age music -- soothing, relaxing, healing, melodic, illuminating and consciousness-expanding.

The recording contains eight new contemplative, introspective compositions (several are more than nine-minutes in length), and each features Kater’s trademark piano playing quietly supplemented with synthesizers, gongs, chimes and gentle strings.

“This music emerged within a three-month period of deep inquiry and reflection,” Kater explains. “It was born of the fire and ashes of self-dissolution and self-discovery, of a deep longing for connection and sustained intimacy, and a powerful surrender into and acceptance of what ‘is’. There is love and there is fear. There is light and there is darkness. And as we learn to embrace all of our selves and all of each other, we nurture the experience of grace and compassion, and a deep loving and passionate peace. Throughout our life’s experience, within ourselves and each other, we share a deep ‘resonance’ with all that exists.”

Peter has often been called prolific and is said to have the “gift of melody.” His love and enthusiasm for the creative process, self-exploration, the healing arts and the natural world continues to inspire a well-spring of composing and recording. In a thriving career spanning over 30 years and going strong, Peter Kater has recorded over 60 albums resulting in the sales of millions of units, has scored the music for well over 100 television and film productions as well as a dozen dramatic plays (on and off Broadway), and is the proud recipient of the Environment Leadership Award from the United Nations as well as 11 Grammy Award nominations. But most importantly his music has soothed, healed and inspired the lives and hearts of millions of people all around the world.

Kater was born of German parents in the Bavarian City of Munich. At the age of seven, not long after moving to New Jersey, his mother insisted that he take classical piano lessons. At the age of 18 Peter left New Jersey with his backpack and his music books and hitch-hiked all around the continental U.S. for over a year. He slept in parks and on beaches and roadsides across the country while stopping to play piano at restaurants and lounges for tips and meals. After logging in over 30,000 miles on the road, Peter landed in Boulder, Colorado, finding comfort and inspiration in the Rocky Mountains which reminded him of his childhood upbringing in the Bavarian Alps. Shortly thereafter he started listening to the music of solo pianist Keith Jarrett, the avant-garde jazz group Oregon, and the Paul Winter Consort. This opened a whole new musical world and he began improvising three-to-four-hours a night at clubs and lounges throughout the Boulder/Denver area sometimes five-to-six-nights a week. After several years he tired of playing clubs and lounges and quit all his engagements and began renting out small churches and self-promoting small concerts throughout Colorado.

In 1983 Peter released his first album of solo piano compositions and improvisations entitled Spirit. His music was very well received and started charting in the Top 10 of National Contemporary Jazz Airplay charts and within a short couple of years Peter went from playing small churches to performing at 3,000-seat concert halls and at national jazz festivals at the age of 27. In 1985 actor Robert Redford asked Peter to play at the then-brand-new Sundance Institute & Film Festival in Utah. Peter became the featured performer at many of Redford’s “green” political fundraisers and events attended by many Hollywood A-list actors, directors and celebrities such as Alan Alda, Sidney Pollock, James Brooks, Dave Grusin, Laura Dern, Mathew Broderick and Ted Turner to name a very few.

In his concerts around Colorado, Peter started to share the stage with some of his favorite artists from his teen years such as John Denver and Dan Fogelberg. Denver asked Kater to coordinate the music for the ground-breaking Choices for the Future Symposiums, and also invited him to perform at concerts in Japan and at World Forum events performing for dignitaries and celebrities such as Mikael Gorbachov and Shirley MacLaine. These collaborations with Denver went on for almost 10 years until John’s untimely death in 1997.

Peter’s music also caught the attention of New York City’s legendary director and Circle Rep Theater co-founder Marshall Mason and Pulitzer Prize winning playwright Lanford Wilson. Peter’s music became the score to their Tony-Award winning Broadway production of “Burn This” starring John Malkovich and Joan Allen which ran for over a year. Peter went on to score the music for 11 other critically-acclaimed Broadway and off-Broadway plays.

In 1989 Peter heard Earth Spirit by Native American flutist R. Carlos Nakai and was completely taken by the beauty and earthiness of the native flute. Peter tracked down Nakai and asked him to collaborate with him on a recording Natives. Peter felt he was embarking on a little “personal” indulgence, temporarily diverging from his thriving mainstream contemporary jazz career. But to his surprise -- while his recordings like Coming Home, Two Hearts, Gateway and Rooftops were charting in the Top 10 of National Jazz charts -- the new recordings with Nakai quickly became immensely popular in the alternative market selling hundreds-of-thousands of units each and generated a solid and much more personal fan base. Because of the deep satisfaction Peter felt in co-creating this music with Nakai, Kater shifted his focus to music of a more intimate “healing” nature.

Peter then recognized a need for music in support of the healing arts that could actually aid in deep personal healing and transformation. He recorded albums like Compassion and Essence that provided not only a loving, supportive, musical landscape but also an invitation to dive deeply and safely into one’s essential emotional and spiritual nature. Many more CDs in support of the healing arts followed as did more recordings with Nakai, seven of which charted in the Top 20 of Billboard’s New Age Chart. Peter’s love and appreciation for the earth and indigenous cultures inspired him to invite more indigenous musicians to record on various projects with him including Joanne Shenandoah, Bill Miller, Rita Coolidge, Robert Mirabal, Joseph Firecrow, Mary Youngblood, Douglas Blue Feather, Kevin Locke, Jorge Alfano and Ara Tokatlian. Peter also composed two songs for the Sacred Spirit album.

Peter’s music has been used for the 2000 and 2004 World Olympics, the Kentucky Derby, the Wild World of Sports and countless television shows like Good Morning America, Entertainment Tonight, LifeStyles of the Rich & Famous and Bay Watch to name just few. He’s scored the music for acclaimed television programs like the three-hour “Heart of the World” airing on PBS in 2016, plus “How The West Was Lost,” “Wild America,” “Civil War: The Untold Story,” “Eco-Challenge“ and “Joseph Campbell’s MYTHOS series” as well as films including “SIRIUS,” “The Legend of Secret Pass” and “10 Questions For The Dalai Lama.” Kater also has worked closely with environmental and humanitarian organizations such as Greenpeace, the National Wildlife Federation, the Nature Conservancy and ChildReach.

Possibly one of Peter’s strongest attributes is his love for collaboration with other artists such as Kenny Loggins, flutist Nawang Khechog, Sting-guitarist Dominic Miller, Sacred Chantress Snatam Kaur, flutist Michael Brandt DeMaria, and virtuoso cellist Tina Guo, which resulted in a #4 Billboard New Age Chart debut of their album Inner Passion. Kater also enjoyed performing and recording with many other talented musicians such as reedman Paul McCandless, cellist David Darling, bassist Tony Levin, and cellist Jaques Morelenbaum.

Kater’s Resonance recording can be found as a CD in music stores and new age lifestyle shops across the United States as well as online, while digital downloads of his music are available at all the major internet stores such as iTunes and Amazon. For more information about Kater and this new album, go to NewEarthRecords dot com or PeterKater dot com.
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WORLD-FLUTE MASTER AND KEYBOARDIST JOSEPH L YOUNG MAKES RELAXATION MUSIC ON NEW ALBUM
Dec 07
2016
JOSEPH L YOUNG
ETHEREUM

On his fourth album, Ethereum, world-flute master and keyboardist Joseph L Young brings together global musical traditions that mix primal earthiness with modern synthesized sounds to move the listener’s soul to a more relaxed and positive state.

His primary instruments are a wide variety of ethnic flutes from around the world (Native American wood flutes from the Plains Indians, the Pueblo/Anasazi flute, Irish pennywhistle, Chinese xiao, the modern mathematical Phi flute, South and Central American clay drone flute and others). He supplements the flutes with traditional instruments from many countries including hammered dulcimer, udu drum, tin whistle, Chinese erhu, Celtic harp and various ethnic percussion, but also modern instrumentation such as saxophone, synthesizer and the metal Moyo drum.

Young’s exquisite melodies are brought forth with interweaving interplay between instruments and a sense of deep passion and feeling. Ethereum is truly world-fusion music, grounded in the past, created for today’s listeners and reflecting a heart-touching spirituality. The music is often soft and gentle, with light rhythm, perfect for relaxation, healing, slow exercise or touch therapies. But the melodies and arrangements are also designed for active listening and contain developments that reward, engage and entertain upon close study.

Young’s music is available at his website (JosephLYoung dot com) and as CDs and digital downloads from many different online sales sites including CDbaby, Amazon, iTunes, eMusic and many others. In addition to Ethereum, he has three previous recordings -- Pathways, Face The Wind and Life Spring.

Young is not only a proficient musician and recording artist, but also an exciting on-stage performer (known for his improvisational abilities), in-demand instructor, recording engineer, composer, producer and arranger. For example, Young annually performs and teaches at the Pacific Northwest Native American Flute Gathering on Vashon Island, Washington; the Summer Solstice Flute Festival and School in Utah; and the Zion Canyon Native Flute School near Zion National Park, Utah. He is constantly adding more world flutes to his repertoire, but in addition to his acclaim as a world flutist, Young is a highly-accomplished saxophonist (his first instrument). He always plays saxophone on at least one tune each album, and he also performs on the instrument in several bands on a regular basis.

Young says, “I titled the recording Ethereum as a take-off on ‘ethereal’ because some of the music has a bit more of an ambient sound than some of my previous work. I created the album cover to show that water and flora may exist in other places in the cosmos.”

Young has lived most of his life in Idaho, and much of Ethereum was inspired by nature. “‘Crystal Sunrise’ is about getting up early in the morning when the air is crisp and fresh, and enjoying a perfect sunrise over the mountains and a crystal blue lake, the start of a new day with positive expectations. On ‘Flirting With Fireflies’ I tried to capture the lightness and fun of chasing after a firefly in the early dusk and watching one glow in your hand. ‘Sapphire Moon’ is an homage to a rare and special moon of extraordinary beauty. ‘Boundless’ has two meanings. It reminds me of hiking to the top of a mountain where you can see the valley you left behind, but also vast vistas of where you can still go. In addition, one of my goals is to make ‘music without boundaries’ and this song, together with all of the music on this album, is my offering of a universal sound that everyone can enjoy.”

Ethereum also was influenced by metaphysical contemplation. “Illumination,” featuring the Chinese xiao flute, is about “self discovery, realizing a truth, or, like with Eastern philosophy, when an idea becomes clear.” Young composed “Free” about “when you are on a journey and you realize your past does not define you, that you can let go and be healed, be free.” The tune features a Central American clay flute, the Chinese erhu (a one-string violin) and hammered dulcimer. Young explains that “Past Lives” can be about reincarnation, but also the fact that “we start out at one place in our lives, go through many changes, and end up a different person in another place.” “Entangled” musically captures physical and mental intimacy exemplified by a flute and saxophone duet. In “Shimmer” Young intertwines low whistle and tin whistle flutes with a Celtic harp. For this piece he envisioned the glistening sunlight dancing on the ripples of a lake and through the mountain tree leaves. Other tunes -- “Wavelength,” “Ethereum” and “Drift” -- contain music with meditative, ethereal elements.

Joseph L Young has spent his entire life intimately involved with music and music technology. As a child Joe remembers seeing “The Captain and Tennille” show on television and being mesmerized by the Captain surrounded by numerous keyboards. “When I was 12 I got a Commodore 128, and learned to program the music chip. I hooked a keyboard up to the computer and that got me started recording music. I got heavily into keyboards and synthesizers and layering music.” He began playing saxophone in the sixth grade, and all the way through high school and into college he played in the school jazz bands, symphonic bands, pep bands and marching bands (drum major for two years). After school hours he often played in rock bands.

In school he had teachers who introduced him to mainstream jazz standards, contemporary jazz (Dave Koz, Spyro Gyra, David Sanborn), and the new age music of Mannheim Steamroller. “I immediately liked what Chip Davis did with Mannheim, and other acts like Kitaro, who combined synthesizers and real instruments. I also enjoyed movie music by Henry Mancini, John Williams and Michael Kamen, and new age artists such as Tangerine Dream, Brian Eno and Vangelis. I remember hearing a progressive Martin Denny album where he combined interesting sounds like a moog-theremin keyboard with nature sounds.”

During Young’s first two years at Boise State University he majored in music and took courses in music recording, radio, video recording and editing, television, concert performance sound and lights, film soundtracks and communications. He also worked as a stagehand at the college auditorium for concerts (Alan Parsons, Weird Al Yankovic, Tori Amos) and plays (Les Miserables, Cats). Young then transferred to the Art Institute in Seattle, Washington, and earned his degree in Music and Video Business.

After college he moved back to Boise, Idaho, and became a sound engineer for a large church and for music festivals held at the college. He studied computer editing when that technology was in its infancy, and was hired to edit performances for radio broadcasts. He co-founded and played sax in a smooth jazz group (Mobius Trip) while also playing flutes and percussion in the Celtic band Beltane. Currently, in addition to his own performances, he plays with the Celtic-fusion group Thee Corvids (flutes, sax, percussion and vocals), the Latin-rock Restless Souls Band (sax and flutes) and the R&B band Smooth Avenue (sax).

Young began recording and releasing his own albums in 2004 (the first three included several guest musicians). The album Life Spring grew out of a collaboration with the Idaho Dance Theater, a professional dance company that commissioned Young to write music about the many aspects of water for a themed show. As demand for his flute-based music grew, Young began appearing at major flute festivals throughout the United States which also led to teaching, both group instruction and private lessons. Young continues learning to play additional ethnic flutes from many cultures and countries.

“I have been exploring music for a long time that is good for meditation and relaxation,” says Young. “One of my goals is to help people work through their emotions, releasing the negative as they grow and change. I hope my music can serve as a catalyst to help with their transformation. It can be challenging to compose meditative music that is also interesting as a deep listening experience.”
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