Dance at the University of Surrey has a great variety of modules compared to other dance degrees available. I was drawn to the mix of dance techniques and diverse theory modules, which allowed me to expand my knowledge and then tailor my studies to particular interests.
On our unique Dance, Culture and Choreography degree programme you experience and interrogate dance as an embodied practice that is embedded in our contemporary globalised culture. You encounter a broad range of contemporary dance practices, including somatic and body work, release-based techniques and fusion styles of South Asian and African dance. In a combination of practice and theory you study the histories, influences and contexts of dance in Western and non-Western cultures, past and present.
Our rich and varied programme gives you the vital knowledge and competence for a professional career as a dance teacher in education, a dance manager in the creative industries, a reflective dance artist or a dance researcher and scholar. The programme offers a broad range of contemporary dance practices and explicitly welcomes differently abled bodies.
Almost 30 years ago Surrey was the first university to set up an academic dance department. Since then we have continued to build on our reputation as an internationally leading centre for dance research. Our unique pedagogic approach rejects the artificial separation of ‘practice’ and ‘theory’, and instead develops your understanding of dance as a diverse, complex and dynamic cultural practice where moving and thinking simply cannot be separated.
You are taught by our team of world-leading international experts whose research includes contemporary European dance and dance theatre, African and South Asian dance, dance in popular culture, digital arts and film, movement analysis and choreography, dance dramaturgy, dance management and dance facilitation.
You study within the vibrant creative environment of the Surrey School of Arts, which, along with dance, includes theatre, film and music, as well as the Guildford School of Acting (GSA), the Digital World Research Centre and the Lewis Elton Gallery.
Our unique Dance, Culture and Choreography programme offers both three-year and four-year degree pathways, the latter including the highly regarded Professional Training placement year. As you progress through your studies you will encounter a range of perspectives and approaches to dance, from various dance practices to movement analysis and choreography, dance history and cultural studies, dance management and dance facilitation. This will provide you with a broad and deep knowledge of dance.
Students following the four-year degree participate in the Professional Training Year (PTY), during which you benefit from a unique mentoring scheme in an internationally or nationally renowned organisation, where work-specific techniques are enhanced by transferable skills in professional communication, organisational strategies and critical reflection.
With the opportunity to specialise in the final year of your studies, you will be perfectly prepared for your career in dance education, arts management, creative practice and further dance study and research.
Other than the PTY element, all modules are shared between both the three-year and four-year degree programmes.
Dance and context
Year 1 provides you with an introduction to key skills in dance studies. You develop new learning skills in academic study and you get started in creative research into contemporary dance practices. You explore your own body as a source for solo choreography and movement analysis, examine the role of dance in culture and society, and encounter the foundations of somatic body work and release-based techniques.
• Contemporary Dance Practices I
• Movement Analysis and Notation
• The Body in Dance: Theory and Aesthetics
• Dance Management and Facilitation
Dance and the creative industries
In Year 2, you begin to make and develop work, exploring dance and its relationship to the creative industries and arts sector. You engage with dance history, dance policy and politics, choreography and dramaturgy, movement analysis and devising performance, and you further develop your professional dance practice. We work closely with external partners, companies and organisations to offer you the opportunity to follow a performance project from inception to completion.
• Contemporary Dance Practices II
• Dance and Theatre in the 20th Century
• Dance and the Creative Arts Industries in Britain
• Professional Project
• Dance, Film and Digital Arts
If you choose to undertake a Professional Training Year placement, you will work with an established dance organisation, based within the United Kingdom or internationally. You may choose to specialise in a particular area of dance, for example within dance management, community dance or dance company education, but whatever your specialism you will find yourself involved in a wide variety of activities.
Dance and professional practice
Year 3 offers you further opportunities to specialise in your chosen career direction and to develop your professional profile. You concentrate, through independent research and a final dissertation project, on your expertise in choreography, dance education, arts management, movement analysis and somatic practice or other areas. In addition to a range of module options, the final year enhances your overall proficiency in independent creative research and critical reflection, and provides opportunities for collaboration with students across the School of Arts.
• Contemporary Dance Practices III
• Advanced Independent Project
• Researching Dance
• Dissertation Project
Optional modules include:
• Dance and Globalization
• Interdisciplinary Collaboration (Music, Theatre, Film)
• Professional Practices
• Choreographic Writing
Our unique and optional Professional Training Year gives you the chance to apply your knowledge and understanding in the context of a year-long placement, and thereby build your experience in a professional dance environment with high-quality mentoring and support from experienced placement hosts.
A pioneer in integrated professional training, the University has operated its placement scheme in partnership with industry and professional bodies for the last 40 years. Employers interviewing graduates have been impressed by the maturity and professionalism of those with placement experience. Although dance students do not usually receive a salary, they are normally paid a bursary by their employer.
Organisations and companies that have participated in the scheme include Northern Ballet Theatre, Rambert Dance Company, Sadler's Wells, South East Dance and Birmingham Royal Ballet.
You will have practical classes, lectures, seminars and tutorials. Performance and choreography modules have higher class-contact time, while classroom-based modules have fewer contact hours but require independent study where you read, research, write and prepare work in your own time. You have the opportunity to develop computing skills using our E-Learning facilities, in addition to word-processing, spreadsheet and database packages.
You are also able to participate in dance classes, events, performances, seminars and residencies on campus, including extracurricular classes in Guildford School of Acting’s evening programme. These are open not only to students studying Dance, Culture and Choreography, but also to the wider University and the general public. This provides you with a lively and challenging dance environment.
Modules are assessed in a format that is most suited to the content and structure of each. We therefore use a variety of assessment methods, such as essays, portfolios, seminar presentations, lecture demonstrations and performances.
Our Dance degree programmes are well resourced and include the PATS dance studio and the state-of-the-art Ivy Arts Centre. The campus is home to a unique archive, the National Resource Centre for Dance, and the School of Arts.
You have the opportunity to spend time abroad on a work placement in a foreign country or studying at one of our partner universities. These include the North Carolina State University and the universities of Florida and Cincinnati in North America. Additionally we operate exchanges with La Trobe University and Monash University in Melbourne, Australia.
The benefits of working or following courses abroad are numerous. You are exposed to a different culture with its language and its traditions which broaden your horizons in terms of knowledge but also in terms of employment opportunities.
Graduates of our Dance and Culture degree programme are currently employed in performance and choreography, education (including private, secondary, further and higher education), community dance settings including arts centres and arts and dance projects, theatre management, dance company education, public relations and marketing. Dance graduates have received employment in some of the foremost dance institutions in the UK, including Greenwich Dance Agency, Shobana Jeyasingh Dance Company, The Place Theatre and the English National Ballet.
Our graduates have an excellent track record in securing places on MA and PGCE courses in dance and related subjects. Over the last few years, Surrey Dance students have gone on to careers such as:
• West London Partnership/Surrey County Council – Graduate Dance Teacher
• Royal Opera House – Education Department
• Independent Dance – Administrator
• King Edward VI School – Dance Teacher
• East London Dance – Project Co-ordinator
• Ludus Dance Agency – Project Manager
• Self-employed – Ballet Teacher
• Dance School, Maya Sofou, Athens – Dance Teacher
• Rambert Dance Company – Development Officer
• Arts Strategy, Arts Council – Assistant Officer
• Greenwich Dance Agency – Programme Co-ordinator
• South East Dance – Programme Producer
• The Place – Education Officer
• Laban – Education Officer
We offer a range of bursaries, scholarships and other financial support.
There are no specific subject requirements. Dance at either A or AS-level (or equivalent) is preferable.
GCSE English Language and Mathematics at grade C or above (or equivalent).
Offers are normally made in terms of grades. Suitable candidates may be invited for an audition and interview. During the visit to the University the candidate can find out more about the programme and meet staff and students.
Non-native speakers of English will normally be required to have IELTS 6.5 or above, with a minimum of 6.0 in each sub-skill (or equivalent).
We offer intensive English language pre-sessional courses, designed to take you to the level of English ability and skill required for your studies here.
|Qualification||Course Length||Professional Training||UCAS code||KIS code|
|BA (Hons)||3 years||PPM3||View KIS data set|
|BA (Hons)||4 years||PPM4||View KIS data set|
Find out how and when to apply to study at Surrey.
Emily Labhart, BA Dance and Culture with Professional Training, talks about her Professional Training placement year at Sadler's Wells


Show – Fall Out Boy – So Much For (Tour) Dust
Support- Bring Me The Horizon, Royal & the Serpent, and Games We Play
Date –July 29, 2023
Venue – Pine Knob Music Theatre
Ticket Link: https://www.ticketmaster.com/event/08005E3BD7406910
Grammy® Award-nominated and multi-platinum selling rock band Fall Out Boy is set to hit the road this summer with their 2023 headline tour So Much For (Tour) Dust. The 25+ date North American trek will visit Pine Knob Music Theatre on Saturday, July 29 at 6:30 p.m. Bring Me The Horizon, Royal & The Serpent and Games We Play will provide support. Pine Knob Music Theatre is presented by Proud Partners United Wholesale Mortgage, Trinity Health and Ally.
The tour will kick off with a show of epic proportions at Chicago’s famed Wrigley Field on June 21 before continuing through cities like St. Louis, Dallas, Phoenix, Atlanta, Toronto, and concluding in Camden, NJ on August 6.
In addition to Wrigley Field, So Much For (Tour) Dust includes three more stadium stops: BMO Stadium in Los Angeles, Forest Hills Stadium in New York and Fenway Park in Boston. Complete routing is available below.
So Much For (Tour) Dust, presented by Live Nation, is in support of Fall Out Boy’s forthcoming new album So Much (For) Stardust, which arrives March 24, 2023 on Fueled By Ramen/Elektra/DCD2 Records. The record was produced by Neal Avron. Pre-order So Much (For) Stardust here.
Last Wednesday, the band returned to their roots for a surprise homecoming show at Chicago’s legendary 1,000-capacity Metro – announced only two days prior, the show immediately sold out. Just down the street from Wrigley Field, the band first played the venue in September 2002, a pivotal gig that FOB’s Patrick Stump jokingly called back to for the packed crowd two decades later: “Twenty years ago, I told my mom I was going to take a semester off [college] because we were headlining Metro and I wanted to see how that would work out.” FOB’s Pete Wentz expressed the band’s enduring relationship with the venue: “Walking up those stairs is the closest thing this band will have to church.”
Variety hailed the night as a “triumphant hometown show,” noting that “there are concerts, and there are events, and a hometown show in Chicago from [Fall Out Boy] is definitely in the latter category.” Over the course of the night, the band ripped through a mix of their biggest hits and deepest cuts, with Illinois Entertainer praising the set as “taking full advantage of both the intimate venue and the loyal hometown crowd to deliver a once-in-a-decade event.”
The show also featured the live public debut of both “Love From The Other Side” (listen here) and “Heartbreak Feels So Good” (listen here), two tracks from the new album and the latter of which was released the morning of the show. The Chicago Sun-Times lauded the two tracks, noting the new material “takes all they’ve learned and accomplished the past 20 years and combines it with their unflinching roots for an ultimate glow-up.”
Prior to the show, the city was enveloped with teasing signage across city buildings and stations along the ‘L.” Foreshadowing the impending tour announcement, the marquees at Metro and Wrigley both featured curiously complimentary nods to the 1989 film Field of Dreams.
Fall Out Boy first hit the stage in 2023 with a dynamic set at iHeartRadio ALTer EGO in Los Angeles, CA on January 14, just days after officially revealing the release date for “Love From The Other Side.”
Fall Out Boy most recently co-headlined The Hella Mega Tour in July 2021 alongside Green Day & Weezer, playing live in front of over one million fans on a sold-out global stadium tour. The U.S. leg included numerous sold-out stadium gigs – including renowned venues like Wrigley Field, Boston’s Fenway Park and Los Angeles’ Dodger Stadium. Critical and fan acclaim poured in, with USA Today hailing it “the most stacked line-up of any rock tour in 2021,” Billboard noting that each night was “serving up a buffet of hits in front of one of the largest concert crowds,” and Rolling Stone calling it “wildly entertaining.” The tour was nominated for both Major Tour of the Year and Best Rock Tour at the Pollstar Awards in 2021. The international leg of the tour took place throughout the summer of 2022.
So Much (For) Stardust is Fall Out Boy’s eighth studio album and first since 2018’s M A N I A, which garnered a Grammy® nomination for Best Rock Album and marked their third consecutive and fourth overall #1 album.


We are Falling
Jazz CD Review:
Asaf Sirkis & the Inner Noise
KCD 5150, 2005
by Rory Braddell©2005
The composer and drummer Asaf Sirkis was born in Israel in 1969. and it was there that he established his solo career. He recorded his first solo album "One Step Closer" in 1995, playing his own compositions with the "Asaf Sirkis Trio". He later developed his "Inner-Noise" project in Israel, 1997-98, but revived it after he had relocated to Britain in 1999.
The first "Inner Noise" album was recorded using a real church organ at St. Michael's church Highgate in March 2003 and was received as something fairly innovative and unusual. Sirkis, who cites Olivier Messiaen's organ music as a major influence, composed music that was not that easy to categorise into a general jazz context. His latest album "We are Falling" follows on and continues in a similar vein, also using the same line up of musicians: Asaf Sirkis on drums, Steve Lodder on keyboards and Mike Outram on guitar.
An important difference is that Lodder uses a special keyboard, fitted with base pedals similar to
those of a church organ, which makes it easier to tour and play as a group. The sustaining power of
the organ within the context of jazz, creates a sound that is very unique. The project distances itself from having a purely "jazz" identity and the classical music and rock influences are apparent.
Sirkis is quoted by Nick Lea of Jazzviews as saying: "the essence of music or non-identity in it is
most interesting for me. Not the language or the style.What I'd like to point out through music is utterly simple - I am a human being and it is only when identity stops can music begin (Jazzviews, July 2005).
When I picked up "We are Falling" for first time, I was taken with an image of asteroids printed on the front cover with an accompanying quote by Sun Ra: "This music is about another to-morrow, another kind of language .speaking things of blackness about the void, the endless void, the bottomless pit surrounding you." My first impression was reinforced by initial feelings about the music. The opening track "Another Being" reminded me of Bach's prelude in F minor, which is used at the beginning of the classic science film "Solaris". The film, created by a Russian film director Tarkovsky, is often compared to Stanley Kubrick's "2001 AD," but it is a more intense psychological journey, presenting an inward looking analysis of human nature.
The final track "Ida & Dactyl" reminded me of the end of the film, where we are presented with an image of an island in the ocean of Solaris, which seems like an endless void beyond worldly reality. Sirkis' compositions made me think of Tarkovsky's frequent references to moving water. The music, like moving water, embodies the principle of change, but also affirms the idea of a repeating cycle.
In "Another Being" there are recurring motifs, evocative of ostinato, which provide unifying
repetition. These are supported by the very low, harmonic, tones, supplied by the bass pedal, which project the music forward into space. This procedure is reminiscent of techniques used by minimalist composers like Terry Riley, Steve Reich, Philip Glass and John Adams, who experimented with tape loops and recurring fragments of melody. However, Sirkis' music is more rhythmically flexible, which gives a more open-ended impression of continuous motion. The influence of Messiaen's music is strong, and I noticed a parallel in Sirkis' music to "Quartet for the End of Time," which, coincidently, I was listening to at that time. Messiaen wrote the following forward to his work: "Modes, which produce a kind of tonal ubiquity in harmonic and melodic terms, bring the listener closer to eternity in space, to infinity. Special rhythms without any specific time signature play a powerful role in taking the listener away from the temporal sphere" This distance between the temporal and the spatial is apparent in "Galactic Citizen." The first of the two pieces combines repeating motives with melodically and rhythmically freer musical lines. This is like Messiaen's "Liturgy of Crystal, which is a combination of a harmonic modal procedure and flexible additive and non-retrogradable rhythms. I felt a similarity between the sustaining bass tones
of "Galactic Citizen" and Messiaen's harmonic chordal succession - a backdrop for a modal
melodic cycle that exists independently. These two elements have a point of reference at which they converge, but it is not musically punctuated in a traditional sense. It gives an effect of forever pulling the music into infinity, because once we have reached the end of a cycle we begin again on the same journey. At the end of "We are Falling," we have reached the end of a cycle with Ida & Dactyl. This piece reminds me of Messiaen's "In praise of the immortality of Jesus," which elaborates a lyrical violin line over a series of cyclic chords.
In Ida & Dactyl, Mike Outram's expressive guitar playing is accompanied by long, deep bass
tones. This is intensified in the second part of the track into some of the best jazz music on the album. Steve Lodder elaborates with an excellent piano solo, played in tandem with the drums, which builds up a fabulous climax. After a long silence, the music comes back with a meandering
melodic line that is briefly cut short on one final long tone that just hangs, indicating the end, but without the musical completion that we are normally used to.
The pace is stepped up on the faster tracks on the album, such as "Life Itself," which is a far more rock oriented sound. Similarly, "We are falling" also provides an opportunity for an even more intense relentless style of drumming and virtuoso solo guitar playing. This reminds me of the playing of Jimi Hendrix, Miles Davis, and more recently, the work of Nguyên Lê. These faster tracks provide opportunities for virtuosity of playing and jazz solos that intersperse the slower material giving a kinetic overall sense of musical form. They tend to draw the music on to a level that is much more formidable and energetic.
The level of musicianship on the album is very high as the group play in a very cohesive and
complimentary manner. Sirkis's drumming varies from an expressive subtlety on the slow tracks, which is maximised by timbral use of cymbals, to the tight relentless virtuosity of the faster pieces. I think that "We are Falling" is of real attraction to listeners who are interested in new sounds and the fusion of musical styles. It is a definite magnet for an audience wanting to expand their musical experience beyond the limitations of style, and it is an album that suits the individuality of modern musical taste.
Rory Braddell, October 2005


こちらは、「Musical Instruments」のAnswer Keyです。
- Answer Key
- musical instrument【ˌmjuːzɪkl ˈɪnstrəmənt】
- electric keyboard【ɪˌlektrɪk ˈkiːbɔːrd】
- electric guitar【ɪˌlektrɪk ɡɪˈtɑːr】
musical instrument【ˌmjuːzɪkl ˈɪnstrəmənt】
:an object used for producing musical sounds, for example a piano or a drum
:a large musical instrument played by pressing the black and white keys on the keyboard.
electric keyboard【ɪˌlektrɪk ˈkiːbɔːrd】
:a musical instrument that you hold in both hands to produce sounds.
:a musical instrument that usually has six strings and that you play with your fingers or with a plectrum
electric guitar【ɪˌlektrɪk ɡɪˈtɑːr】
:an electronically amplified guitar, used mainly in pop music
:a musical instrument with strings, which you hold under your chin and play with a bow
:a musical instrument with strings, like a large violin in shape. The player sits down and holds the cello between his or her knees.
:a musical instrument of the woodwind group, like a thin pipe in shape. The player holds it to the side of his or her face and blows across a hole at one end.
:a brass musical instrument made of a curved metal tube that you blow into, with three valves for changing the note
:a metal musical instrument that you blow into, used especially in jazz and dance music. A saxophone has a reed and belongs to the woodwind family.
:a large brass musical instrument like a tuba
:a musical instrument of the woodwind group. It is like a pipe in shape and has a double reed at the top that you blow into.
:a large brass musical instrument that you blow into, with a sliding tube used to change the note
:a large brass musical instrument that you play by blowing, and that produces low notes
:a small musical instrument that you hold against your lips and play by blowing or taking air in through it
:a musical instrument made of a hollow round frame with plastic or skin stretched tightly across one or both ends. You play it by hitting it with sticks or with your hands.
:a musical instrument made of two rows of wooden bars of different lengths that you hit with two small sticks
:a musical instrument made of a row of metal bars of different lengths, that you hit with two small hammers
:a musical instrument that has a round wooden frame, sometimes covered with plastic or skin, with metal discs around the edge. To play it you shake it or hit it with your hand.
:a musical instrument in the form of a round metal plate. It is hit with a stick, or two cymbals are hit against each other.
:musical instrument that consists of two small round pieces of wood that you hold in the hand and hit together with the fingers to make a noise. Castanets are used especially by Spanish dancers.
:a simple musical instrument that consists of a long piece of metal bent into the shape of a triangle, that you hit with another piece of metal


When the nation hears the word music, one name that appears in everyone’s minds is Lata Mangeshkar-Nightingale of Indian Cinema. Her voice is heavenly and her expressions up to the mark. When we talk about the Living legends in the Film Fraternity the first name that pops into everyone’s mind is Lata Mangeshkar.
“Naam goom Jayega, chehra yeah badal jayega,
Meri awaaz hi pehchaan hai,
Agar yaad rahe..”
These lines were penned by legendary writer Gulzar and sung by Lataji fit aptly for her. The faces might change but the voice behind those faces will never be forgotten. Her voice is her identity, the one that is going to inspire generations of musicians.
She was just 13 when she had recorded her first song. After that, there was no looking back, and now she completes 60 years in the Music industry with over 25,000 songs and 5000 albums. Her father Deenanath Mangeshkar was also a musician and so are her siblings- Asha Bhosle,Usha Mangeshkar, Hridayanath Mangeshkar and Meena Khadikar.
She had started singing in Hindi films in 1945, and by 1950 she had become a household name in music industry. In 1958, she won her first Filmfare Award.
In 1962, the legendary singer had a close encounter with death as she was poisoned by her cook. She was bedridden for couple of months. At that time, the famous composer Majrooh Sultanpuri use to visit her and taste her food before allowing her to eat.
In 1963, against the backdrop of Sino-India war, she sang “Ae mere Watan ke Logo” in the presence of JawaharLal Nehru. The song is said to have brought tears in Prime Minister’s eyes. In 1974, she became the first Indian to perform in an overseas concert that took place in Royal Albert Hall, London.
In 1999, she was nominated as the member of Rajya Sabha. In 2001, she was conferred with India’s highest civilian honor- Bharat Ratna. She had sung multiple songs in Yash Chopra’s films and used to have atleast one song in every film that was directed or produced by him.
She is still touted be one of the best singers in Indian film fraternity. She still rules the roost and we hope that she continues to do so for atleast another 100 years.
Lakhon musicians aye aur Gaye inke jaisa na koi tha aur na ho payega.


NEW YORK, NY (December 15, 2022) – Kicking off another era in one of the most storied partnerships in rap, GRAMMY® Award-nominated hip-hop legend and Cash Money Records Co-Founder and Co-C.E.O. Birdman and multiplatinum rap icon Juvenile return as J.A.G. with a new single entitled “Ali” met with an accompanying cinematic music video today. Get it HERE via Cash Money Records. Watch the official music video HERE.
The production fuses cinematic piano to steady 808s. Right out of the gate, Juvenile delivers the chantable and quotable chorus with his signature swagger and soul, “My heart ain’t got no feelings, my career ain’t got no ceilings, I’m the greatest since Muhammad Ali.”Birdman stunts on a slick counter verse with the force of a knockout uppercut. Together, they lock into their classic chemistry, and it remains as powerful as ever.
Birdman & Juvenile last linked up on their 2019 collaborative album, J.A.G. The latter generated over 20 million total streams and views across platforms and incited unanimous critical applause. Pitchfork christened it “a shockingly strong late-career reunion record,” and Billboard summed it up best as “a beginning of a new chapter” and praised Juvenile, “He sounds revitalized.”
Meanwhile, Birdman made waves last year on From The Bayou with YoungBoy Never Broke Again, earning a platinum certification for “Black Ball” and gold for “Heart & Soul.”
Stay tuned for a whole lot more from JAG, Birdman, Juvenile, and Cash Money Records.
About Cash Money Records:
Since 1991, Brothers Bryan “Birdman” Williams aka “Baby” and Ronald “Slim” Williams have built Cash Money Records into a legendary force in the music industry. Through tireless devotion and an unparalleled work ethic, the duo founded the legendary label in the New Orleans housing projects and elevated it into a multi-million-dollar empire and cultural tastemaker. Not only is the company revered as an iconic and enduring global street brand, it’s become the most successful independent record label in America boasting a bevy of chart-dominating, multi-platinum artists and Grammy Award winners and cumulative sales over 100 million albums worldwide, the roster includes Jacquees, GSO Phat, Eighty8, Juvenile, Rublow and more. The label also houses Lil Wayne‘s imprint Young Money Entertainment (Drake and Nicki Minaj) as well as a publishing arm Cash Money Content. Cash Money Records is distributed by RepublicRecords, a division of Universal Music Group, the world’s largest music company.


48 hours to Memphis
"What I remember about the opening isn't so much the song, but it was the lights being turned off on the stage. The drums were pounding and almost everyone in the entire Coliseum was shooting photos, so there were flashes going off all over the place and people were screaming. When the lights were turned on and he came on stage, it was awesome. It gave me goose bumps at the time, and I still remember this moment. It was quite the experience. -
Glenn Clark, son of Wallace Huey Clark (photographer) - from the FTD sleeve notes
The original "Elvis Live On Stage In Memphis" was the only single-CD performance released by FTD with the deluxe "Classic Album" 7" packaging. Now the Richmond March 18th concert recorded just 2 nights beforehand also gets the same high-quality packaging - and what a treat it is!
The fold-out cover features some good colour photos of Elvis in action while the 16-page booklet features some very informative liner notes plus another pile of photos, including some candids of Elvis heading off from Memphis Airport on the day of the concert.
This would be Elvis’ second concert in Richmond during this March 1974 tour due to the high-ticket demand.
While Elvis weight (and moods) fluctuated during 1974 he looks in fine form in his ‘Aqua Blue-Vine’ jumpsuit and possibly because he had spent the last few nights sleeping at Graceland, Elvis is full of energy from the very start.
This time the FTD has been compiled and researched by Robert Frieser who also provided FTD with the tape of the concert. In part of his extensive liner information he notes …
From the moment FTD and I decided to release this show, I started researching for information, photos and other materials.
Although there could be several explanations for this unofficial recording, it's possible that it served as a backup recording in case something went wrong recording the "real" live album in Memphis two days later. In addition, maybe they could always use a song from this show for the Memphis album if something didn't work out. My research led me to people who were present in Richmond, and saw Elvis perform. They all said that Elvis was extremely good looking and looked like he was from another planet. During the "Rock & Roll medley", total pandemonium broke out; leaving nobody in their seats, as the crowd rushed to the stage.
The sixty-strong police force had their hands full, as they tried to stop people from getting on the stage as well as helping people who fainted in the crowd. The reaction of the audience encouraged Elvis to show an even wilder side of his persona. During "Fever" it seemed as if something like a giant earthquake shook through tile Coliseum while the flashing lights from people's cameras filled the hall. The room was full of electricity. The fans that saw Elvis in Richmond and heard a part of this tape, say that the sound has the same atmosphere they remember from witnessing him live on stage.
- Robert Frieser, August 2011
The Music – 64 minutes
In the past this concert was released as the bootleg ‘Guaranteed To Blow Your Mind’ which was a sensational find for fans and was one of the best quality bootleg releases.
Despite the initial Disappointment when we all thought FTD had found a stereo master-tape, the real positive now is that the excellent audio engineer Vic Anesini (The Complete Elvis Masters, etc) has mastered this tape and the sound is even better now. While the tape is "mono" there is actually some slight stereo reverb across the two channels and it sounds very good indeed.
Elvis’ vocal is nice and high in the mix (far more that FTD’s “Memphis 74” release) as well as Glen D Hardin’s piano which was also fairly hidden in the live Memphis album. The very intimate ‘Help Me’ sounds extremely different to the “full-auditorium feel” given to the Memphis concert and is truly delightful.
While there is more-than usual added reverb especially on Elvis’ vocal track, this has never been an issue for me as it gives the feel of Elvis playing this big arena. Fans who have attended these concerts state that it really sounds as if you were there! The mix is the same as on the earlier bootleg but the audio quality much improved with a nice rich sound thanks to Vic Anesini.
The band is nice and clear with the orchestra section mixed as well as any professional release. The other oddity in the mix is the rather high tambourine level that ocaisionally drowns-out Ronnie Tutt’s percussion.
As soon as the concert starts it is noticeable how a professional audio mix really captures the excitement of the audience and being at an Elvis concert far better than a regular soundboard.
Elvis played Richmond over 15 times in his career – he was always popular in the early days - and he had a huge fan following in the area with the crowds always enthusiastic. It seems to me that Elvis and the band were not aware the RCA tapes were rolling as the bonus with this concert is that Elvis is more relaxed, having more fun and the band are rocking out with the excitement of it all. Of course Elvis’ would concentrate harder for the Memphis live recording as well as including a few rarer songs for the RCA album but this is still a cracker of a concert.
Of course there are many similarities to the RCA ‘Memphis’ concert recorded just 2 days later but here the band is under less pressure and seem to be having fun and rocking out more at times.
The obvious difference can be heard with Elvis’ great adlibs during a fabulous ‘Steamroller Blues’ and the ‘Rock’n’Roll Medley’ is exceptional with Elvis really rocking out – not surprising that "total pandemonium broke out"! Both ‘Help Me’ and ‘Fever’ get very cute renditions.
The audience reaction is well-placed in the mix and with the exceptional audio quality you can feel the obvious excitement of the crowd as the rumble of ‘Also Sprach Zarathustra’ starts. This is going to be a ripper-show!
Flying in from Graceland means that Elvis was ready to rock from the start - and there is a noticeable happiness in his voice as he rocks into 'See See Rider' and checks out the appreciative crowd. Ronnie Tutt plays some blistering drums tonight as well.
A sincere ‘I've Got A Woman/ Amen’ follows with Elvis making JD Sumner repeat his deep-ending and like the Memphis version two days later it's short & sweet compared to the rambling versions of later years.
Elvis played Richmond a few days before and greets the audience jokingly saying, "It's a pleasure to be back here in Hampton Roads…. errr Richmond!" – "Just kidding, just kidding!"
‘Love Me’ is played pretty straight tonight without the usual playing with audience and has some great James Burton guitar work in it.
A cool treat added to his set-list in 1974 was 'Trying To Get To You' and this is another great version showing Elvis’ enjoyment of this Sun oldie. Tonight Elvis even puts some serious energy into the short but crowd-pleasing ‘All Shook Up’ laughing a few times as he plays along with the backing singers.
'Steamroller Blues' is one of the funkiest versions ever, with Elvis putting a really bite into the lyrics. "I’m a steamrolling snake" indeed! Elvis rocks out putting far more energy into it that the laid-back Aloha version over a year before. In this audio mix Elvis’ vocal is nice and prominent and there’s some great piano work for Glen D Hardin. Elvis pushes his voice even further in the final verse "I’m a napalm bomb" and the call-and-response from The Sweets is excellent. A real highlight.
More crowd-pleasing oldies follow ‘Teddy Bear/Don't Be Cruel’ and ‘Love Me Tender’ with Elvis again enjoying them more than he usually would.
The Rock’n’Roll Medley is another highlight with Elvis putting in more energy than usual obviously playing to the enthusiastic crowd. For some reason Elvis sounded a little out-of-breath on the famous ‘Live In Memphis’ version, but not here where the medley is also taken at a slightly faster tempo. Its great as you can hear the crowd getting louder and louder as he drives ‘Jailhouse Rock/Hound Dog’ along at the end.
At the start of ‘Fever’ Elvis acknowledges the loud shrieks from the crowd, "I haven’t done anything yet, wait a minute." Elvis has a real blast with this one teasing the crowd and swivelling his hips, getting the giggles along the way. It’s a real crowd pleaser, less messed around with than two nights later, and they go wild, "why you all laughing?" Very cool and great fun. At the ends he laughs, "Thank you very much. That's a fun song to do."
‘Polk Salad Annie’ follows and is another cracker, funky 1974 version with some great work backing-vocals from The Sweet Inspirations and more fine piano from Glen D Hardin along with James Burton’s guitar. "Play it James, sneak up on it Ronnie" Elvis tells the band during the instrumental. Great audio, great mix and Ronnie Tutt goes wild on the drums backing Elvis’ karate moves at the end. "Whoo!!" notes Elvis afterwards.
Elvis takes a breather while J D Sumner and the Stamps sing a powerful and sincere ‘Why Me Lord?’ Of course Elvis would sing the Grammy winning 'How Great Thou Art' in Memphis two nights later but sadly not tonight. In fact it is amazing to realise that the Memphis recording of 'How Great Thou Art' was only the second time Elvis had sung the song since 1973!
'Suspicious Minds' is similar to the ‘Live On Stage’ version not having the feel of the stunning earlier versions but still sung with great energy. Elvis still sings the "Oh let our love survive" break with great sincerity, but this all-time classic would soon be dropped as a regular on Elvis' set list after June 1974. I am sure on this Richmond night it still sounded as great as always to the adoring crowd.
In the Introductions Elvis thanks the regulars noting in particular that JD Sumner is sounding "pretty good despite having a bad cold". Elvis jokes to Duke Bardwell,, "Bardwell? What kind of name is that? It’s as bad as Elvis!" There’s a strange reaction from the band when Elvis thanks the John Marshall Hotel "where everybody’s staying".. I wonder why.
‘I Can't Stop Loving You' is a powerful version with Elvis singing his heart out tonight and shows off Elvis' rich 1974 voice adding his dramatic falsetto ending!
"This next song is a song we just recorded. I hope you like it" leads into a delightful 'Help Me' with a nice gospel feel to it - The mix truly shows off Elvis’ vocal .. "Lord Let me see" and the feeling is VERY intimate compared to the Memphis version. It truly sounds like Elvis standing alone on stage pleading to God in front of hia doring followers. Another highlight, the audience really applauds the performance and Elvis adds a sincere, "Thank you, I’m glad you liked it."
'American Trilogy' with the added reverb again has a powerful feel of being in this huge auditorium, similar to FTD’s ‘Live On Stage’ play it loud and feel the experience. Listen closely to the 'All My Trials' section – this is a beautiful recording, one of the very best.
'Let Me Be There' – a new song added back in January 1974, is another quality version of the Olivia Newton John standard and James Burton’s guitar picking adds a little extra to this country song this time round. Like the version two nights later, the songs gets a deserved reprise.
Elvis asks for the house lights to go up "let me take a look at you. Well, well, well"
‘Funny How Time Slips Away’ has a lovely relaxed feel with Elvis at one point laughing about "a big old ghost in the corner."
Elvis is still obviously enjoying the show but sadly the time has come and with 'Can't Help Falling In Love' Elvis bids then "an affectionate adios" and you can hear the crowd go wild.
The Bonus Songs
Sadly these are not multitrack recording but off regular soundboard.
‘Sweet Caroline’ – Elvis had dropped this song off his regular set-list after February 1974 and in fact would perform it a handful of times more in concert. While by no means a great performance this night, taken at a slower pace than earlier versions - and without the orchestra strings in the mix - this is an enjoyable version. It’s obvious that Elvis is enjoying it as well.
'Johnny B Goode' – a regular on this tour but for some reason dropped from the last three shows including the final Memphis concert. A pretty standard version, probably would sound great on multitrack, but nice to have the fact noted that Elvis sang it on this March tour.
‘That’s All Right’ – A real highlight, this makes up for the lack of ‘How Great Thou Art’. Elvis asks, "This is the first record I ever recorded, I just want to do it right now, ok?" Never performed in 1973 this is likely to be Elvis' second only version since June 1972!
With The Sweets call-and–response this has the feel of later versions but Elvis is obviously having ball singing along all the way with James Burton’s guitar solo. From the Memphis March 17th performance a one-off special for his hometown crowd.
Glenn Clark remembers: "My father printed a few pictures from the show on the 12th and took them to the show on the 18th where he gave them to Col. Parker, who took them to Elvis and Elvis signed one to my mother -"Dear Helen, Best wishes, Elvis Presley."
Elvis said that he really liked them, and was going to keep the one taken from above the stage where the girl has her arms on the stage and, it appears as if he had just bent down to touch her and was going back on stage.
(From the FTD booklet)
Finding new multi-track professional LIVE recordings is a real rarity and has to be appreciated by Elvis fans. While perhaps not quite up to the standard of the amazing Memphis concert two days later – what a shame Elvis didn’t try out ‘How Great Thou Art’ this night - this is a brilliant find and a great release for FTD. Elvis is having a little bit more fun than he did when he knew the tapes were rolling for the Memphis performance and the “Elvis up-front” audio mix is a treat especially on songs such as ‘Help Me’. A great sounding concert, rightly deserving the "Classic Album" packaging this is what FTD should be all about. The sleeve notes, photos and research make this a terrific presentation and also value-for-money.
Review by Piers Beagley.
-Copyright EIN November 2011
EIN Website content © Copyright the Elvis Information Network.


Experience a “Taste of Nashville”: Songwriters behind Country Music Hits to Tour NYS Breweries
BMI (Broadcast Music, Inc.) is partnering with Gigmor and the New York State Brewers Association (NYSBA) to bring the “Taste of Nashville” Tour to breweries across upstate New York. Hitting cities from Clifton Park to Hamilton and everywhere in between, the tour kicks off on Tuesday, August 23rd and wraps up on Saturday, August 27th. Showcasing two of BMI’s top Nashville
songwriters, these concerts are free and open to the public.
Each night will feature performances from BMI songwriters Clint Daniels and Tim James who will bring a taste of Nashville’s Bluebird Café “songwriter in the round” tradition to the north. The songwriters, who have penned hits for Nashville heavyweights Trace Adkins, Eric Church, Toby Keith, and many more, will give concertgoers a unique opportunity to hear the stories behind some of country music’s biggest hits straight from the writers themselves.
“BMI is thrilled to partner with Gigmor and the NYSBA to bring some of our songwriters to breweries across upstate New York,” said Dan Spears, VP, Industry Relations, BMI. “This tour will highlight the value that music brings to establishments across the country, and in my eyes, it doesn’t get much better than listening to live music on a summer night with a cold brew in hand.”
“Both breweries and music are synonymous with bringing people together,” said Paul Leone, Executive Director, NYSBA. “By partnering with BMI, we’re showcasing two amazing songwriters at some of New York’s top breweries, and with Gigmor, we’re introducing an easy and cost-effective way to book musical performances. We’re looking forward to five nights of great music, cold beer and good times.”
See the full schedule below to find a brewery performance nearest you.
“Taste of Nashville” Tour Dates:
Tuesday, 8/23 at 6PM – Single Cut North Brewery Clifton Park, NY
Wednesday, 8/24 at 6PM – Prison City Brewing Auburn, NY
Thursday, 8/25 at 7PM – Common Roots Brewing South Glen Falls, NY
Friday, 8/26 at 7PM – Saranac Brewery Utica, NY
Saturday, 8/27 at 4PM – Good Nature Farm Brewery Hamilton, NY
ABOUT THE ARTISTS
Clint Daniels is an American country music singer and songwriter. He was signed as a solo artist with Arista Nashville in 1998. There, Daniels released four songs, two of which charted on Billboard’s Hot Country Songs. In 2003, Daniels signed with Epic Records but never released an album. Having already co-written his first Number One single for Joe Nichols (“Brokenheartsville”), he focused his career on songwriting and has been primarily known for his songwriting and performing at showcases across the country. As a BMI award-winning songwriter, Daniels has co-written Number One singles for Joe Nichols, Montgomery Gentry (“Roll With Me”) and most recently, Eric Church (“Some Of It”). His songs have helped shape country music for almost 20 years and have been recorded by George Strait, Alan Jackson, Brooks & Dunn, Clay Walker, Easton Corbin, Jon Pardi, Brandy Clark and other country acts. In 2019, Daniels signed a co-venture publishing deal with BMG and Porchlight Music. In 2020, he was both nominated for a GRAMMY (country song of the year) and an ACM for the song, “Some of It”.
A GRAMMY award-winning songwriter, Tim James is the co-writer of the 5 week #1 “My List” by Toby Keith, the Bucky Covington Top 10 “It’s Good To Be Us”, and the smash debut from the Lost Trailers “Holler Back”. James has had over 50 major label cuts by artists such as Alabama, Darius Rucker, Craig Morgan, Chris Young, Montgomery Gentry, LeeAnn Womack, Joe Nichols, Buddy Jewel, Josh Turner and contemporary Christian artist Point of Grace. James penned the Trace Adkins single “All I Ask For Anymore”, which was nominated for a Grammy Award for Best Country Song of 2009, and the 2010 Billboard song of the year and #1 “Love Like Crazy”, by Lee Brice. “Love Like Crazy” was nominated for ACM song of the year in 2010 and broke a record for consecutive weeks on the charts. James also wrote the Rodney Atkins single “He’s Mine”, the George Strait #1 single “Give It All We Got Tonight”, and the title track and single from the Darius Rucker album “Southern Style”. James also penned the single, “Either Way”, from the GRAMMY-winning Chris Stapleton album entitled “From A Room, Volume 1”.
For live music booking made easy, check out Gigmor, to learn more.
Celebrating over 80 years of service to songwriters, composers, music publishers and businesses, Broadcast Music, Inc.® (BMI®) is a global leader in music rights management, serving as an advocate for the value of music. BMI represents the public performance rights in over 18.7 million musical works created and owned by more than 1.2 million songwriters, composers, and music publishers. The Company negotiates music license agreements and distributes the fees it generates as royalties to its affiliated writers and publishers when their songs are performed in public. In 1939, BMI created a groundbreaking open-door policy becoming the only performing rights organization to welcome and represent the creators of blues, jazz, country, and American roots music. Today, the musical compositions in BMI’s repertoire, from chart toppers to perennial favorites, span all genres of music and are consistently among the most-performed hits of the year. For additional information and the latest BMI news, visit bmi.com, follow us on Twitter and Instagram @BMI or stay connected through Broadcast Music, Inc.‘s Facebook page. Sign up for BMI’s The Weekly™ and receive our e-newsletter every week to stay up to date on all things music.


Michael Matsuno is a San Diego based flutist dedicated to performing contemporary repertoire and the music of our time. As a member of the What’s Next? Ensemble, he has championed the voices of many talented West Coast composers alongside standard works of the 20th century. He has appeared as a soloist and chamber musician with UCSD Palimpsest Ensemble, Claire Chase and members of ICE, USC Contemporary Music Ensemble, WildUp, Monday Evening Concerts and Jacaranda New Music series. Michael was also a flute fellow with the Aspen Contemporary Ensemble.
An avid orchestra musician, Michael currently plays with La Jolla Symphony under Steven Schick. He has held the Principal Flute and Piccolo positions with the Young Musicians Foundation Debut Orchestra, and has attended the Round Top Festival Institute, and the Aspen Music Festival and School for orchestral studies.
Michael is a doctor of musical arts candidate at UCSD, where he received an MA in performance. He earned a BM from the USC Thornton School of Music. His primary teachers have been John Fonville (UCSD), James Walker (USC, former LA Phil), and Nadine Asin (Aspen, former Met Opera).


All Classes for Drum Lessons in Cape Coral are $20.00 for a One Hour Lesson in our private home studio. The drum lesson will be taught by one of our professional instructors who has over 20 years of experience. This class is perfect for all levels (beginner to advanced) and is also good if you need to practice for an upcoming performance or recital. Group lessons are also available, please contact us for rates.
Feel Free to Contact Us at (239) 878-8579
We also offer Private Music Lessons in Cape Coral for Acoustic or Electric Guitar, Electric Bass Guitar, Voice-Singing, Piano-Keyboard, Drums-Drumset, Trumpet, Flute, Music Theory & Song Writing.
Affordable Private Music Lessons in Cape Coral, FL
We Welcome Adults, Teens, Kids 7 and up, and Seniors.


June 24, 2020 Carrie Evans
"I have been the studio photographer for the last two years, and I absolutely love working with owner/instructor Kim, all the dancers and instructors. The studio and everyone involved is very organized and professional. For many of these kids, dance is their life. They are happiest when they can show their confidence, learn and evolve as not only a dancer but an artist of expression. I love capturing their personalities in each different group and individual photos. We have a lot of fun, and it’s a great way to get everyone even more excited for their big recital of the year. I look forward to more photo shoots with this incredibly talented team. Thank you Pinnacle Dance North. Carrie Evans - Owner / Photographer, Carrie Evans Photography"


Open-to-Community Evening Reception – FREE to Attend!
C2UExpo 2015 invites you to attend our open-to-community evening reception at Algonquin Commons Theatre on May 26, starting at 6:00pm EST. This reception will feature a performance by the Dandelion Dance Company, an Ottawa-based non-profit youth dance theatre company that explores social issues through movement.
While the reception is free for anyone to attend, we ask that you please RSVP by May 22nd, 2015. We look forward to seeing you there!


Eurasia International Music Festival
Dialogue of Civilizations
Ekaterinburg will play host to the Eurasia International Music Festival, which returns to the city for a fourth time and will run from October 6 through October 13, 2017. The initiator and organizer of the upcoming high-profile event is the Sverdlovsk Philharmonic. The Grand Hall of the Philharmonic and other concert venues of the city will welcome musicians from France, Germany, Italy, Poland, China, and Syria. The opening and closing ceremonies will be held with participation of the Ural Philharmonic Orchestra (UPO) under the baton of Chief Conductor and Eurasia’s Artistic Director Dmitry Liss. The festival is conceived as an intercontinental project built on the dialogue between Eastern and Western cultures and civilizations.
“The idea of the festival was inspired by our city’s unique location on the border between Europe and Asia,” Dmitry Liss says. “Here, in Russia we cannot escape the dialogue between two civilizations. The Tatar Yoke brought centuries-long cross-cultural influences and interactions between the two civilizations, two philosophies, two mentalities. How much does our mentality owe to the Western civilization and how big was the Eastern contribution? I strongly believe that Russia is a European country; however, centuries of the coexistence with eastern civilizations could not but leave their imprint on national archetypes. Even the stereotype-based saying “The Russians are slow starters but they drive fast” correlates with the Eastern meditative traditions. Besides, intonational contacts in music are obvious – Russia has always been participating in the dialogue between East and West: It was captured in compositions by Mikhail Glinka, Alexander Borodin, Mily Balakirev, Nikolai Rimsky-Korsakov and many other composers. The so-called Russian East is an essential part of our culture.
The way or the road is the word and the concept of crucial importance for both civilizations. The theme throughout the festival is that of way or journey. In the European culture, the way or journey is a metaphor of life: Schubert’s Winter Journey, Gustav Mahler’s Songs of a Wayfarer, Viktor Vasnetsov’s Knight at the Crossroads. In the eastern philosophy, the word “way” (dao, do) is not only polysemous, but also highly important: It is the basis of existence, a way of life, learning and mastering of arts (bushido, judo, karate-do). The guests of our festival are musicians who chose non-traditional ways: For example, Gabriel Prokofiev had been known as a DJ before he became a composer creating scores for a symphony orchestra; Gerhard Oppitz, a famous German pianist, moves along two roads, pursuing two career choices: a soloist and a pilot. I think it is great that all these ways and roads are going to meet at the festival in our city.”
The idea of cultural convergence the maestro is talking about was implemented during the first festival at several levels: selecting performers, preparing concert programs, launching festival projects with participation of musicians from countries of Asia and the Arab World, commissioning new compositions. The First Eurasia International Music Festival was held in 2011 and was dedicated to the 75th anniversary of the Sverdlovsk Philharmonic. The lineup of its participants looked quite impressive: orchestras from China and Germany, the Hortus Musicus Ensemble, violist Yuri Bashmet, pianists Vassily Lobanov and Freddy Kempf, violinists Sayaka Shoji and Alena Baeva. The China National Symphony Orchestra opened the festival; the conductor was Michel Plasson, the renowned French conductor. The orchestra played music of French, German, Russian, and Chinese composers.
The hero of the festival was the Ural Philharmonic Orchestra, which gave seven out of thirteen concerts; 1001 Nights in the Harem, the violin concerto of Turkish composer Fazıl Say, made its debut in Russia. The First Festival commissioned Alexander Tchaikovsky to write music, and he created Concerto for cello and orchestra – Night in the Harem – pure coincidence, though rather symbolic. Another world premiere – Chorale & Lamento, an orchestral piece by French composer Rene Koering, echoed the tragedy of the execution of the Russian royal family. Another highlight was Nikolai Rimsky-Korsakov’s Scheherazade – the composition of particular importance for Dmitry Liss, echoing with his thoughts about the dialogue between civilizations:
“Russia gave impetus to the French music, having influenced Claude Debussy, Maurice Ravel, composers of Les Six (The Six),” the maestro says. “It was Diaghilev’s Russian Seasons that sparked European musicians’ interest in orientalism, in Oriental culture. Rimsky-Korsakov’s Scheherazade was followed by Ravel’s Scheherazade; then Olivier Messiaen and, later on, minimalists made their contribution, trying to combine elements of Eastern cultures and European music. In the meantime, composers from Asian countries, among them Toru Takemitsu, Tan Dun and many others, started dressing their music in European clothes. The dialogue is full of an inexhaustible vigor. The festival justifies its name: It was born and takes place here, on the border between Europe and Asia.”
Toward Unknown Seas and Lands
Even today, the Ural Philharmonic Orchestra is the core orchestra of Eurasia, though the pool of participants and the genre palette of the forum have become a lot wider. Light from the East (Ex Oriente Lux) was the motto of the Second Festival (2013). New pieces of music were commissioned to three composers representing Western, Eastern and Russian musical cultures. The festival opened with three world premieres: Leonid Desyatnikov debuted with the Journey of the Fox to the North-West for soprano and orchestra; South-Korean composer Eun-Hwa Cho wrote the Concerto for janggu (the national drum) and orchestra; Ekaterinburg composer Olga Viktorova prepared a revised version of her orchestral piece Azure Dragon of the East.
The guests of the Second Festival were the Amsterdam Baroque Soloists, the Leipzig Radio Symphony Orchestra, the Mannheim Philharmonic Orchestra, conductors Ton Koopman, Kristjan Jarvi and Benjamin Ellin, pianist Fazıl Say and many others. The audience was captivated by the Hong Kong Orchestra using traditional national instruments to play old folk melodies; the Great Silk Road, a two-day event, introduced the audience to flamenco Cante Jondo (Spain), Azerbaijani mugham singers and musicians, Orthodox male Byzantion Choir (Romania) and the Indian Classical Music Ensemble. Two years later, the success of the second festival was nailed down by the third festival dedicated to the musical culture of Mediterranea. Its centerpiece was the ethnic project – From the Levant to the Maghrib – bringing together music from different coasts of the Mediterranean Sea: The Western world was represented by Christina Pluhar’s L’Arpeggiata ensemble playing folk songs of Spain, Portugal, Italy, and Greece; the Eastern World was represented by Sufi ensemble Al-Tariqa Al-Gazoulia (Egypt), directed by Sheikh Salem Al-Gazouly.
Among the participants of the third festival there were the RAI National Symphony Orchestra (Italy), pianists Anton Batagov and Lucas Debargue, violist Yuri Bashmet, violinist Josef Spacek and the legendary Arditti Quartet. The latter took part in the world premiere of Fluss (The River) for string quartet and orchestra (composer: Toshio Hosokawa, Japan). The audience was introduced to another two world premieres: I See Your Dream, You See My Dream for piano and orchestra (composer: Anton Batagov) and The River of David, mono-opera (composer: Olga Viktorova). The first festival immediately demonstrated the audience’s interest in meet-the-artist events and autograph signing sessions followed by the traditional Ekaterinburg treat – a bird-cherry pie. Guests of the fourth festival will not be disappointed: They will have it all; however, the main events will take place at the Grand Hall of the Philharmonic, at the club of the Press House and at the Yeltsin Center.
Asia and an Experiment; Europe and the Tradition
By tradition, the 4th Festival will open with a concert of the Ural Philharmonic Orchestra directed by Dmitry Liss. Two concerts of the orchestra, October 6 and October 13, overarch the festival program. The program is implicitly divided into two parts: The first part is represented by Asia and an experiment; the second part introduces Europe and the tradition. The Way, the theme of the 4th Festival, symbolizes the search and the movement. Sergei Prokofiev’s Scythian Suite (Ala and Lolly) will open the festival alongside his grandson’s Concerto for Turntables and Orchestra and Toru Takemitsu’s Quotations of Dream for two pianos and orchestra, an elegant impressionistic concerto. In his composition, Toru Takemitsu uses musical motifs from Claude Debussy’s symphonic poem La Mer (The Sea), which harmoniously complements the opening program.
One day later, Gabriel Prokofiev will introduce the audience to a special project of the festival – Nonclassical Night at the club of the Press House. The name has been used by Gabriel since 2004 for his concerts at clubs of London, Paris, Berlin, New York City and other cities and towns. Classical music of composers of the 20th century is interspersed with a mixture of modern composition and electronic dance music played by DJs. The unique concert will be given with participation of soloists of the Ural Philharmonic Orchestra and the most famous London DJ Switch – a three-time DMC World Champion: It turned out that not only accordionists, but also DJs have world championships instead of international competitions.
The next highlight of the program is The Dialogue, a Chinese and European musical project where Lingling Yu (pipa, China) will play together with performers from France, Poland and Russia. The pipa, guitar and orchestral strings will be used to play different music ranging from Chinese folk melodies to compositions of Tchaikovsky and Tan Dun, including a European, three Russian and three world premieres. The most exotic event of the festival will take place on October 8: The Sheikh Hamed Dawood Group from Syria will introduce the audience to the music and dances of the Sufis – the tradition of the Middle-Eastern culture going back into the 7th century AD.
The second part of the festival showcases the best achievements of European culture, primarily Austrian-German and Italian, though not neglecting Asia. The Munich Chamber Orchestra will play compositions of Mendelssohn and the Romanian Concerto of Gyorgy Ligeti, a representative of the European avant-garde, as well as Chamber Symphony of Isang Yun, a Korean-born German composer. Pianist Pierre-Laurent Aimard, who included compositions of Johann Sebastian Bach in his repertoire several years ago, will present his interpretation of Bach’s Goldberg Variations and 12 etudes of Claude Debussy. His colleague Gerhard Oppitz will play compositions of Schumann and Schubert as well as Sonata No.2 of Japanese composer Saburo Moroi; the composer did a lot in his attempt to merge two centuries-long traditions of Japan and Germany.
Music of Handel will be presented by conductor Fabio Ciofini, singer Roberta Invernizzi and ensemble Accademia Hermans. The level of these performers, still unknown to many music lovers in Russia, is well demonstrated by the fact that a week later they are going to repeat their performance at the Wigmore Hall (London), one of the world’s best chamber halls. On October 13, the festival will close with the world premiere UR of contemporary Italian composer Ivan Fedele; Gerhard Oppitz will play Brahms’ Piano Concerto No. 2. The final highlight of the program is Vaughan Williams’ Toward the Unknown Region for chorus and orchestra; the name of the composition not only resonates with the name of one of the movements of Fedele’s new composition – Toward Unknown Heights, but also can be associated with the motto of the festival.
As usual, Eurasia goes beyond the concert program and venues; the audience can meet many performers in an informal environment, ask question, get autographs, and get a close-up look at exotic instruments of the musicians of the Sheikh Hamed Dawood Group. Gabriel Prokofiev and Ivan Fedele will meet with young musicians and students of music schools of Ekaterinburg; the Yeltsin Center will host a movie night: The program includes the film about life and work of Gerhard Oppitz as well as recorded concerts of the previous Eurasia festivals (the recordings were prepared by the Virtual Concert Hall of the Sverdlovsk Philharmonic).
Over six years of its existence, the Eurasia International Music Festival has come a long way: a wide audience as well as a Russian and international community of professionals was introduced to the vibrant palette of the musical landscape of Europe and Asia. It was the way of discoveries: premieres of new compositions, performances of outstanding musicians, new names and unknown musical instruments, a journey into musical heritage of Europe, Asia, Middle and Far East. The journey goes on through time and space, and it is proved by the program of the 4th Festival, which remains true to itself, performers and audiences.


Mediu Community Involvement
We take immense pride in giving back to our community and believe that service is central to who we are and how we do business. Our corporate charity of choice, Project Blues, is one that is truly close to our hearts.
Founded by Mediu CEO Mike Berichon in 2011, Project Blues brings together renowned musicians and music lovers from all over the country to make and enjoy blues music—all to raise funds for those individuals and families afflicted by cancer. The event combines a full-day event and concert, along with a private blues concert for cancer patients, to raise awareness of cancer’s impact and the spirits of those impacted by this horrific disease. Project Blues partners with LifeCare Alliance’s Columbus Cancer Clinic to fund mammograms and adopt families for those that need access to direct resources. The annual event raised $24,000 in 2015 and featured a well-known roster of artists headlined by Anson Funderburgh and the Rockets with the Texas Horns.
Learn more about this wonderful initiative and how it’s helping those touched by cancer in Central Ohio one concert at a time.


Sugar on Fire
Time & Location
About the Event
Sugar On Fire started in February 2018 on the campus of the University of North Carolina at Chapel Hill. The band members came together through their involvement in the Carolina Bluegrass Band, the ensemble under the university’s Bluegrass Initiative, and their love of acoustic music led them to form their own group. Drawing on their bluegrass and old-time influences, as well as their interests in other musical styles, the band has created their own unique sound, full of energy and passion.
All hailing from North Carolina, Sugar On Fire consists of Reese Krome (Winston-Salem), Jon Beyle (Chapel Hill), Lee Landess (Raleigh), Patrick Truesdell (Weaverville), and Jake Cochran (Greensboro)


Tiny Love Soothe'n Groove Mobile - Meadow Days
Quick OverviewThe Soothe 'n Groove Mobile(TM) is an ingenious way to entertain your child from baby through to toddler both at home and on the go. This Mobile is two items...
The Soothe 'n Groove Mobile(TM) is an ingenious way to entertain your child from baby through to toddler both at home and on the go. This Mobile is two items in one. It grows with your baby from a crib mobile to a stand-alone music box that toddlers can carry on their own. With six different musical categories and 18 different tunes, there's up to 40 minutes of continuous and non-repeating music for your child to enjoy. The special soothing motion of the mobile captures baby's attention and keeps them engaged and colorful buttons allow your child to activate and change the music on their own. The unique design features two high quality speakers for great sound and easy to control volume.
- Features 6 different musical categories with 18 different tunes; Music shuffle button
- Special soothing motion engages baby; Up to 40 minutes of continuous non-repeating music; Nightlight
- 2 high quality speakers; Adjustable volume
- Colorful buttons allow baby to activate and change the music on their own
- Becomes a stand-alone portable music box for toddlers


VIERA, Fla. -- Elton John and Billy Joel, two of the most popular performers in pop history, are returning to Washington, D.C.
In what will be the first concert in Nationals Park history, the dynamic piano-playing duo will perform on July 11 at 7:30 p.m. ET.
Tickets will go on sale on Saturday at 10 a.m., exclusively through Tickets.com.
As the inaugural concert at Nationals Park, John and Joel will open the concert together with a series of duets, playing twin pianos and trading vocals. Each artist will then perform a set with his own band. The grand finale reunites the two at center stage with their supporting musicians for a closing encore.
The two superstars are excited about the joint performance.
"I love touring with Billy," John said. "I have the greatest respect for him, and we're such good friends."
Joel is looking forward to the competition.
"The great thing about performing with Elton is that he is such a good piano player and that makes me have to dig deep to keep up with him," Joel said. "Not to mention I've got the best seat in the house -- only one piano away from Elton John!"
John and Joel launched their first tour in Philadelphia at the former Veterans Stadium with three sold-out shows in July 1994. Their first venture to Washington came in 2002, when John and Joel performed during three sold-out engagements at the former MCI Center.
John and Joel returned to the District as a part of the 2004 Kennedy Center Honors ceremony. After John received an award for "exemplary lifetime achievements in the performing arts," Joel took to the stage to perform a rendition of John's classic "Benny and the Jets." The ceremony was filmed and broadcast to television audiences nationwide.
"The Nationals are thrilled to host the 'Face to Face' tour with Elton John and Billy Joel for the first-ever concert at Nationals Park," said Nationals president Stan Kasten. "Elton and Billy are beloved throughout Washington, D.C., and have a rich history performing in our city. Undoubtedly, this will be an remarkable inaugural evening of music out under the stars, showcasing the ballpark's capabilities as a premier summer concert venue."
Bill Ladson is a reporter for MLB.com. This story was not subject to the approval of Major League Baseball or its clubs.


Symphony Concert 15 - Orchestra of the LUCERNE FESTIVAL ACADEMY
|Date:||01 September 2018|
|Place:||KKL Luzern - Concert Hall - Europaplatz 1, 6005 Luzern, Svájc|
|Telephone:||+41 (0)41 226 44 00|
Lethe for string orchestra
Dialoge. Concerto for two pianos and orchestra
Reading Malevich for orchestra
world premiere | commissioned as part of the“Roche Commissions”
Stele for large orchestra
The LUCERNE FESTIVAL ACADEMY presents a “Hungarian connection” spanning three generations. The new work by Peter Eötvös concerns the Russian painter Kasimir Malevich. Eötvös’s compatriot Máté Bella, his junior by four decades, was inspired by Greek mythology to write his enormously sensual-sounding Lethe, about the “stream of forgetting,” for string orchestra. Stele, written in 1994, is the first orchestral work by György Kurtág, the great master of small forms, into which he channeled his grief over the loss of a friend, creating an expressive music of memory. And Dialoge by Bernd Alois Zimmermann, who would have celebrated his 100th birthday in 2018, is also an homage: to Claude Debussy, another composer whose anniversary is being marked this year. But along with Debussy, Mozart, jazz elements, and the ancient Pentecostal hymn Veni, creator spiritus appear in Zimmermann’s concerto for two pianos, which abounds in quotations and allusions.
Radio SRF2 Kultur will record this concert and broadcast it on 26 December 2018, starting at 21:00 (Lucerne time) as part of its “Neue Musik im Konzert” (“New Music in Concert”) program.
You can purchase the digital concert program here.


LOMAX IN ÉIRINN
Irish composer Pól Brennan explores how American song collector Alan Lomax came to Ireland on the first stop of a mission to save the folk music of the world. That trip resulted in the first LP of Irish traditional music — an album that sowed the seeds of the Irish traditional music revival in the 1970s. Lomax realized the music of the most marginalized people was as powerful as the highest form of art, and, inspired by two new inventions of the 1940s, he devised a plan to save the music of the world. (Note adapted from Galway Film Fleadh.) DIR/PROD Declan McGrath; SCR Felim MacDermott. Ireland, 2018, color, 52 min. NOT RATED
No AFI Member passes accepted.
LOMAX IN ÉIRINN Showtimes
There are currently no sessions scheduled. Please check back again later.


Raising a child sometimes feels like a Mount Everest of responsibility. Not only must your kid grow up to be a reasonably decent person, but he must also be a full-blown Renaissance man, accomplished in academics, sports and the arts — or so it seems. Life can quickly become cluttered with lessons, practices, games and rehearsals. How does one prioritize the countless extracurricular activities competing for our children’s attention?
For our family, music has always been a priority. Growing up, I distinctly remember the thrill of sitting at my parents’ baby grand piano and plunking out simple tunes by ear long before I could read notes. I developed an early appreciation for classical music in particular. During road trips, my dad would pop in a cassette of piano concertos. To this day, hearing Rachmaninoff’s “Rhapsody on a Theme by Paganini” or Beethoven’s “Emperor” concerto brings back a wave of nostalgia for those blissful childhood memories.
My siblings and I started piano lessons at a young age. Once a week, we would walk up the street to the house of a stern German lady with a thick accent. She had a reputation for being strict and an intimidating demeanor to match. Word had it, if you showed up for your lesson without having practiced, you’d sure get a talking to. Nonetheless, the many hours I spent in her basement studio laid the groundwork of discipline, dedication and passion that would shape my musical journey for a long time to come.
I’m not sure how exactly I ended up playing the viola. I remember being enthralled by seeing the older kids play in the school orchestra. The cello and bass seemed like too much of a hassle to lug around, and the violin was too popular, so I decided to go with the lesser-known alto voice of the orchestra. The first night after coming home with the rental viola from school, we were under strict instructions from the orchestra teacher not to touch anything (or even take the instrument out of its case). That warning had about as much effect as telling a starving child to keep his hands out of the cookie jar.
The first time I played with the middle school orchestra, it was magical. We’d all been practicing our individual parts for months. When it all finally came together for a holiday concert, I was awed. I’m sure we sounded more like a herd of yowling tomcats than an orchestra. Still, there’s nothing quite like contributing your individual voice to create a beautiful tapestry of sound.
Many years later, although I’m on hiatus from orchestra and rarely dust off my instrument, music continues to be a big part of my life. It’s taught me invaluable lessons and shaped who I am today.
My kids are too little to take up the violin or learn to read notes. But I still find ways to make music a valuable part of their lives too.
Because music matters.
Plenty of research shows that music has a profound impact on children’s brains. It boosts attention spans, improves math skills and enhances language development. Learning a complex rhythm or sight reading a difficult passage is a lot like solving a challenging math problem. (Don’t worry, though – you don’t have to be good at math to be good at music.) Put simply, making music forces your brain to work in a different way, forging millions of new neural pathways every second.
One study found that calming background music has a positive effect on kids’ moods and behavior. I can certainly attest to that. Brushing my toddler’s teeth used to be an epic struggle until I started singing “this is the way we brush our teeth,” which consistently elicits a big grin instead of wailing. Ditto for diaper changes. Since having kids, I’ve found myself coming up with songs to accompany the many mundane tasks of life (and absent-mindedly breaking into song in the grocery store aisle, much to my embarrassment).
The benefits of early music exposure will stay with your child long after their last trumpet lesson or jazz band concert. For example:
- Music teaches persistence. It takes years – even decades – of diligent effort to master an instrument. You have to stick with it even when the going gets tough. By the time I hit seventh grade, orchestra no longer seemed cool and I yearned to join the flute section in marching band. My parents wisely advised me to stay the course. Had I given up, I would have missed out on the countless memories and life lessons I picked up along the way. Every musician has to weather these storms – and, in the process, gain skills that apply to overcoming challenges in other areas of life.
- Music helps us pursue excellence. In music, as in life, there’s always room for growth. I was blessed with incredibly gifted orchestra teachers who knew how to push us to the next level without burning us out. They inspired me to continually strive for improvement. At the same time, they acknowledged slip-ups and shortcomings as an integral part of the learning process. Better to play boldly and with confidence than stay silent for fear of making a mistake.
- Music helps us relate to others. Teamwork is an essential part of participating in a choir, orchestra or other ensemble. You have to learn to listen to others around you – not just your section, but the group as a whole. You have to know when to play out and when to blend in. You have to work together to create something bigger than yourself. This shared experience helps build deep connections and lifelong friendships. My husband and I met in orchestra and, for a time, were even stand partners. Our passion for music – and how it brought us together – will forever be a part of our story.
- Music fosters artistic expression. It helps us process emotions in a way that words simply can’t. Music can be life-changing not only for those who make it, but for those who hear it, too. I can’t count the number of times an audience member has told me how touched they were by a performance. I’ve often seen them moved, literally, to tears.
- Music both affirms our humanity and transcends it. For me, certain passages of music — like the heavenly strains of John Tavener’s “Song of the Angel” or the heart-wrenching crescendos of Henryk Gorecki’s “Symphony of Sorrowful Songs” — have spiritual resonance. Whether you’re religious or not, music can lift you from your earthly struggles and transport you to a realm beyond the day-to-day drudgeries of life.
You don’t have to be a musician to instill a love of music in your children. Start them young – from birth, even – by making music a part of your day. Sing to your little ones (even if you don’t think you can carry a tune). Join a family music class. Go to children’s concerts and instrument demos.
Don’t limit yourself to one genre. Expose your kids to a wide range of music – pop, classical, jazz, reggae, rock. Show them there’s more to the musical world than the Moana soundtrack or those obnoxious VTech earworms.
And give them the freedom to follow their own passions. After all, the best footing for success has nothing to do with inborn talent. Rather, it’s the simple joy of sharing music – whether playing an instrument, lifting up your voice or just listening – that makes it all worthwhile.


The Niagara Tap presents their Holiday concert, “Santa’s Rockin’ Christmas”.
At The Niagara Tap
11950 Seminole Blvd Largo, FL 33778
Santa’s Rocking Christmas
The Niagara Tap presents their Holiday concert, “Santa’s Rockin’ Christmas” Sat December 3rd 2022 (3pm-11pm)
A musical event for everyone which includes legendary local favorites: Comfort Zone, St.Pete Sons, Tommy Roxx band and 80’s Hair Metal Icons NOVA REX!
Benefiting Toys for Tots, bring your donation and place it under Mr.Sawbladehead’s LIFE TREE and don’t forget to Enter to WIN some amazing prizes!
Admission is FREE - VIP seating available. Contact The Niagara Tap for pricing & details
Come celebrate this holiday season with us !


Experience Ontario’s premier dinner theatre and live entertainment experience. Carmen’s Banquet Centre is Hamilton’s favourite venue for enjoying a special evening or to celebrate an occasion. Our world class dinner theatre has it all: incredible live entertainment, outstanding customer service and gourmet cuisine. Whether you’re looking to enjoy a night out with friends or family or you’re booking a fundraising event, birthday party, tour group or office parties – you’ll love our unique shows and delectable dinner theatre menus!
“We just saw your brilliant Elvis show complete with his very talented back up band. The highly entertaining show was perfectly complemented by a lovely meal, great service and a beautifully decorated venue. Talk about value for money! Thank you Carmen’s Dinner Theatre!”
– Mark & Jacqui
Box Office Information
Monday: 9:00 AM – 5:00 PM
Tuesday: 9:00 AM – 5:00 PM
Wednesday: 11:00 AM – 5:00 PM
Thursday: 9:00 AM – 5:00 PM
Friday: 9:00 AM – 5:00 PM
Phone Number: 905-387-0007
Manager: Tricia Silenzi
Doors Open – 11:00 PM
Lunch – 12:00 PM
Show Begins – 1:30 PM
Show Ends – 3:30 PM
Doors Open – 6:00 PM
Dinner – 7:00 PM
Show Begins – 8:30 PM
Show Ends – 10:30 PM
- Photography and recording devices are prohibited
- Please turn off all pagers and cell phones during the show
- Please advise us within 7 days of dietary restrictions
- Menu and entertainment are subject to change
Legends of Soul
Legends of Soul features the Greatest Soul and R&B Singers of All Time with look-a-like/sound-a-like tributes to: Aretha Franklin, Otis Redding, Al Green, James Brown, Ray Charles, Luther Vandross Prince Michael Jackson, Etta James, Gladys Knight, Jackie Wilson, Chaka Khan, Donna Summer, Whitney Houston.
Tuesday, October 24, 2017
Johnny Cash & The Queens of Country
This show pays homage to Johnny Cash and eight great Female Legends: Dolly Parton, Patsy Cline, Loretta Lynn, June Carter, Tammy Wynette, Minnie Pearl, Tanya Tucker and Reba McEntyre. This collection of stars will be performed by three individually talented Canadian entertainers Marie Bottrell, Pam Yorfido and Jackie Grainge.
Thursday, November 16, 2017
Wonderful World of Christmas
Celebrate the most wonderful time of the year! We invite you to over indulge in a holiday feast and spend the afternoon carolling to some of the classic Christmas sing-a-longs. This is one present too big to fit underneath the Christmas tree.
Tuesday, December 5, 2017
Elvis Rock ‘n’ Roll & Christmas Soul
An outstanding Elvis Tribute performed by Steve Michaels. Elvis’ classics mixed with his favourite Christmas songs. A Stephen Michael Kabakos Production.
Wednesday, December 6, 2017
Kenny & Dolly
A Little Touch of Christmas
A tribute to Kenny Rogers & Dolly Parton as they sing their favourites and Christmas.
Tuesday, December 12, 2017
Abbamania & Night Fever
Abbamania: a Canadian produced rock musical, which takes you back to the disco era of one of the best pop bands in history, features nine incredible musicians and singers. Night Fever: The close high harmonies of brothers Barry, Robin and Maurice Gibb have made The Bee Gees one of the most impossible attractions in music to launch a tribute to… until this show! The vocal match of this tribute band creates an eerie sense of seeing the Gibb brothers in concert.
Wednesday, December 13, 2017
3 Knights & A Lady
Britain’s favourite performers Sirs and Ladies of song. Tribute performances of Paul McCartney, Elton John, Rod Stewart & Adele all on one stage.
Thursday, December 14, 2017
George Rose Big Band Valentine’s
This highly charged swinging band is all about musical entertainment at its finest.
Wednesday, February 14, 2018
Kings of Classic Country
Celebrate the music of Buck Owens, George Jones, Merle Haggard, Marty Robbins, Roger Miller, Conway Twitty, Glen Campbell and of course, the legendary Hank Williams.
Tuesday, May 8, 2018


Radio Free Virgin Also Debuts Lite Player
LOS ANGELES, April 2 /PRNewswire/ -- Radio Free Virgin (www.radiofreevirgin.com), a leading digital radio broadcast company, announced today the launch of a new feature on its player which enables listeners to record their favorite songs or programming blocks from any Radio Free Virgin station. The Record feature allows listeners to playback songs whether they are online or off. Radio Free Virgin also launched Radio Free Virgin Lite, a pop-up window interface that allows listeners to sample twenty Radio Free Virgin stations before downloading the full player.
"Radio Free Virgin is aggressively building a premium digital radio network that offers deep, genre-rich programming that reaches way beyond the realm of terrestrial radio," stated Zack Zalon, General Manager of Radio Free Virgin. "In addition to offering great music, with the Record feature, we free our listeners from the confines of a web-based audio stream by enabling them to store their favorite programming and playback a single song or an entire programming block whenever they want."
The new feature on the Radio Free Virgin Player, a proprietary digital radio tuner, enables listeners to record any of Radio Free Virgin's forty streaming music stations with the click of a button. Users record Radio Free Virgin's streaming music directly to their hard drive. Each high-quality recording can be named and added to the individual user's channel guide for playback later, whether the user is on or offline at the time. The feature not only plays back music, but also integrates the original Radio Free Virgin online experience, displaying corresponding track information, cover art, and a buy button that links to that specific album at the Radio Free Virgin store. Saved audio files will only play back through a Radio Free Virgin player, preventing illegal file swapping and duplication.
Also launching today is Radio Free Virgin Lite, a pop-up window interface which allows users to sample twenty select channels from Radio Free Virgin, before downloading the player. Through Radio Free Virgin Lite, users get a similar experience to what Radio Free Virgin has to offer, from the eclectic array of musical stylings to the album art, song information and buy button -- favorite listener features on the downloadable player. Radio Free Virgin Lite does not give listeners access to all the added values on the downloadable player including the new Record feature and access to all forty channels.
About Radio Free Virgin
Part of the worldwide Virgin family, Radio Free Virgin is a leading digital radio broadcasting company that uniquely combines music and technology to bring consumers the highest quality music content available via digital distribution, both on and off the desktop. Radio Free Virgin's state-of-the- art, CD-quality streaming audio combines the company's proprietary software application (available by download free of charge at www.radiofreevirgin.com) and innovative, genre-rich, original music channels programmed by well-known artists, celebrities, musicologists and DJs from around the world. Based in Los Angeles, Radio Free Virgin is a privately held company funded by Richard Branson, and is a unit of Virgin Audio Holdings, LLC.
SOURCE: Radio Free Virgin


INTRODUCING PAUL KELLY by Graham Reid
When invited to host a Q&A and live performance session with Paul Kelly, I accepted quickly. But with trepidation.
Kelly had a new album being released – Nature, the 24th under his own name – but few in the audience of critics, writers and competition winners would have heard anything of it other than two singles. And both, I felt, were unrepresentative of a collection of sensitive original songs and musical settings of poems by Dylan Thomas, Walt Whitman, Sylvia Plath, Gerard Manley Hopkins and Philip Larkin.
Explaining the creative process behind Nature, Kelly says, “I’ve been playing around with poems since 2012 and it’s now become another way for me to write songs. I think most writers get sick of themselves and their own habits so it’s a happy surprise, after 40 years of writing songs, to find a new way.
“What links them all is the natural world – trees, birds, animals, plants, dust, desert, water – and human nature’s small place in that world. Most of the pieces were written over the last four years in and around the recording sessions for ‘The Merri Soul Sessions’, ‘Seven Sonnets And A Song’ and ‘Life Is Fine’. I didn’t realise I had the makings of another album until I put the songs in a folder and saw the titles staring me in the face. Sometimes you don’t know what you’re doing until you look back.”
So, what could I concisely say about a man with a four-decade career, and whose songs have explored deep personal, political, social and cultural touchstones? And how could I invite comment on this unfamiliar new music exploring Nature, human nature and the nature of existence?
Before the session, Paul and I had a chat in a side room and loosely discussed what he might play.
He was relaxed, friendly and accommodating. He said sure, he’d play my favourite piece on the album, his gorgeous setting of Plath’s Mushrooms:
He talked about a new project of poems and songs about birds, was delighted when I mention RNZ National’s daily bird call and laughed approvingly about New Zealand’s Bird of the Year competition (which closes this Sunday*). He was considering a bird song by a New Zealand poet, he said, and sang me a few bars.
So I stepped up for the informal session, which you can see and hear below, and paid tribute to his status as a songwriter and his unique sensibilities. I also mentioned I’d been backstage with him and his band the Messengers in 1990 before they opened for Tracy Chapman and how I asked a dumb question.
You can hear that in what follows.
What I didn’t mention from that incident was also telling. Literally minutes before they were due on stage before a capacity crowd at the Sydney Entertainment Centre, Paul suggested to the band they get a set list together. They did, after some to-and-fro song suggestions, then headed towards the steps.
At the last minute, he turned and said, “I think I’ll do the first couple solo”.
And he did.
What struck me was how comfortable he was with performing, what a deep well of musical knowledge he could draw from, and how personable and engaging he was with me . . . and that huge audience.
He was just the same in this intimate Roundhead setting: One man and two guitars, songs of acute emotion delivered without artifice or showmanship, a quick and self-effacing humour in our conversation between songs and at ease when answering random questions from the gathering.
Half an hour later he was on a plane home to Melbourne.
He is a remarkable man, as singular as his songs . . . as you may hear.
Introductions, and a performance of the song With The One I Love
and ‘A Bastard Like Me’
Here, Graham and Paul have a chat, and Paul plays ‘And Death Shall Have No Dominion’
And Graham Reid’s special request: ‘Mushrooms’
The songs performed are from Paul Kelly’s new album Nature, which is available now.
RNZ Music is able to share this event thanks to Paul Kelly and his team. Video courtesy of Universal Music NZ, produced by Jordan Arts; Audio recording courtesy of Roundhead Studios.
The session was hosted by music writer Graham Reid.
*New Zealand’s Bird of the Year competition closes Sunday October 14, winner announced on Morning Report, 8.50am Monday 15 October.


It is a fact that many great jazz pianists play on Bösendorfe grand pianos. The most significant is probably the Canadian jazz-virtuoso Oscar Peterson, born in 1925. When he talks about his encounter with the Imperial, it sounds like a love story:
I ran across a lot of European pianos in my JATP years. The two I remember best were a lovely instrument in Denmark made by Hornung and Mueller and the Viennese-made Bösendorfer. Sadly, the former piano did not prosper in the Canadian atmosphere, refusing to retain its tuning, and despite its lovely feel, I was forced to part with it. But the Bösendorfer was something else - especially the one I encountered in the late 1970s. This piano was called 'The Imperial'. At the end of the set I walked off during the applause and went straight over to Norman Granz (Oscar Peterson's manager and promoter of Jazz at the Philharmonic) frightening him out of his wits by screaming:
Oscar Peterson 1977 in Munich
"God-dammit, Norman, where did that box come from? I gotta have one of those!"
He looked at me with his normal calm and replied:
"If you like it so much, why don't you go back and play a couple of encores on it?"
I duly complied:
"In fact, we played at least four encores, for I couldn't get enough of that piano and, that night at least, could do no wrong on it."
My bassist Niels Pedersen's only remark was: "Damn! Why did they have to send you such a good piano? Now we're paying for it, because you're never going to leave!"
He was almost right. Normally, unless it's absolutely necessary - a sound-checks in a studio, for example - I seldom go out on stage before a concert. Checking out the piano might lead to preconditioned ideas, and they can in turn interfere with the creative process so essential to a successful jazz concert. By the same token, I would hardly return to play after a concert was over, feeling that I had said all I had to say during the concert. But that night in Vienna was different. I stalled around until the audience had gone, then virtually sprinted back to the piano to bask once more in its incredible tonal quality.
On my next visit to Vienna I was picked up at the hotel and driven to what had been an old monastery in the heart of the city. Our party was given a tour of the whole manufacturing process, from where the piano is born to where it comes to completition. Finally we were ushered into the piano salon. This was it! Before me stood an array of 15 to 20 grands - and I mean grands! They were akin to a herd of beautiful Arabian horses, waiting to be chosen for their unique individual qualities. I was told to start trying them, one after the other, in order to isolate my final preference. It was truly unbelievable: instrument after instrument offered itself to me in an unselfish, fulfilling way, each one speaking with its own special voice. I glanced at Norman with what must have been a look of bewilderment and awe, for he strolled over and said quitely:
" Take your time, OP, you don't even have to make your choice today. If you can't decide, you can easily come back after the tour and choose then."
Suddenly I touched this one instrument, and it spoke to me in a way I'd never heard before: the sound seemed to run through my fingers, straight up my arms and into my whole body: 'This is mine!' I shouted in excitement. 'This is the one!'
All I knew was that I had found the most beautiful instrument I had ever played and I wanted to make it mine. My heart pounded within me as they agreed on my choice and that, after final checks and tunings, they would ship it to me in Toronto.
*Source: Oscar Peterson, A Jazz Odyssey, Continuum, London/New York, 2002


Harmonix Music Systems, best known in recent years for their work on the Rock Band and Dance Central franchises, has created a Kickstarter campaign to bring back cult classic rhythm game Amplitude. Released in 2003, Amplitude differs from modern music games by allowing one player complete control over several music tracks at once. The developer is seeking $775,000 to bring a downloadable reimagining of the game to the PS3/PS4 sometime in 2014. Standout backer rewards include a sick vinyl record filled with original music compositions, a trip to PAX to hang out with the team, and even a chance to get your own music put into the game. As of this writing, the campaign has 5 days to goal and has raised around $300,000 of its goal. Stay tuned to IGS for further coverage.


One of the most revered figures in rap since his early-’90s debut, DJ Quik emerged as a formidable rapper/producer and extended his career working primarily as a funk-inspired beatmaker for stars and protégés alike.
Formed in 1990 by One Dope Mexican (Robert Gutierrez) and Don’t Try To Xerox (Bobby Ramirez). They recorded demos and landed a record deal soon after with a small independent label, Quality/Pump records. Their debut album, 1990’s “Brown and Proud,” brought the group Top 40 single in the U.S. with “On A Sunday Afternoon,” peaked at #39 on the Billboard Hot 100.
Trish Toledo is a singer-songwriter who’s style can be described as soul / 60s, early 70s era music. She has been likened to folks that listen to artists such as Aretha Franklin, Barbara Mason & Brenton Wood. Inspired by her idols & their success in music, Trish practiced and developed her musical skills through her childhood and got her first studio experience at the age of 18. She has continued to record and release material, currently working on her 4th release.
Fear Farm Sports & Entertainment Complex
2209 N 99th Ave,
Phoenix, AZ 85037