Monday, July 26, 2010

If Time Stood Still Debut From Guitarist Norman Johnson Releases August 10, 2010

"Time Stands Still" For Guitarist Norman Johnson's Distinctive Debut Contemporary Jazz CD Release


Ojai, CA (PRWEB) July 26, 2010 If Time Stood Still, called "an album with a sumptuous groove. . . with a style in the best traditions of Wes Montgomery and George Benson," is the debut solo release from guitarist Norman Johnson slated to be released August, 10, 2010 on the Pacific Coast Jazz label. From enjoyable rhythmic concepts to the mysterious, sultry melodies that frame Johnson's distinctive sound, this recording integrates the best of contemporary and traditional jazz. With over twenty recordings as a sideman, playing with highly respected musicians (Dave Brubeck, Jerry Bergonzi, Bill Mays, Harvie S., Phil Wilson and Steve Gadd) along with composing and recording music for corporate clients, this release puts Norman Johnson in the spotlight he truly deserves.

If Time Stood Still is well worth the wait with exceptional original songs that incorporate Latin and contemporary jazz grooves and a special arrangement of the Pat Metheny cover tune, "Always and Forever. "There are five different types of guitars used on this recording, a string quartet on the title cut, and a wide range of instruments that include, Tyler VanOstrand (bass), Ken Fischer (piano), Chris Herbert (sax and flute), Steve Davis (trombone), Josh Bruneau (trumpet), including drummers, Bob Forte, Arti Dixson, Anthony Cusano, Chris Lemp drums and percussionists, Martin Obeng, Greg Allan and Eric Galm."The songs and arrangements allow each musician to create interesting parts and improvise," commented Johnson. "I would like people to hear this recording for what I intended it to be, good songs played by fine musicians, accessible to everyone whether you love jazz or not."

Friday, July 23, 2010

Fingerprints, Dream Life CD, Review from The Smooth Jazz Ride

Fingerprints New Release,
Dream Life - Review:

Ronald Jackson

Dream Life, the fifth release from this very competent contemporary jazz band, Fingerprints, seems to cover more turf than just contemporary jazz as it shows off a fine blend of genres and styles ranging from old school soul to a Brazilian touch.

Read the entire review at:

Tuesday, July 13, 2010

How Much Do Music Artists Earn Online?

How Much Do Music Artists Earn Online?

I ran across this interesting article about the earnings of digital music from musicians/artists. Sad to say, it's not a surprise but certainly demonstrates how difficult it is to make a living in the music business today.

Which is why it's important to stay flexible and prolific along with finding alternate revenue sources besides CD/digital sales.

The entire article with graphs is at this link:

Thursday, July 8, 2010

Music Publicity 101 and then some...

I just read this very good short piece on music publicity. These are some of the things I tell my own artists and thought I'd share them with you.

The article is from the DIY musician blog written by Mike King of Berklee College of Music.
For those of us out in the world doing music publicity I appreciate his concise information on some important items. A press kit is very important and how it is constructed.

To read the entire article go to:

Mike's comments on what constitutes a good promo kit/press kit are the following:
- a bio
- press release
- an advance or finished product
- link to high res photos
- press quotes

I constantly tell new artists and seasoned artists how important these elements are to the press.
After you read the article you can add my extra comments.

My Comments

Bios - I would like to comment along with Mike's article that it is important to not only have a bio but a story that would be of interest to the press. There are a billion CDs floating around out there today and what will make yours most appealing is a compelling story either about the project or about you. It's important that you have someone who can REALLY write well and create your story. It's probably best not to do that on your own because you may not be able to "see" your own story.

Photos - Please make sure your photos are in focus! It's best to consult with someone who really understands what makes a good press photo. Not your brother who happens to take some good shots with his camera. You need a photo that complements your story and is in sync with your project. Not something that you took 10 years ago.

Press quotes - Don't include entire reviews! Just short one or two line statements that are positive and support your story.

Press release - You must know how to write a proper press release. This is important if you want to get the best out of it. Again, leave it to the pros if you don't know how or learn.

Advance or finished copy - Please don't send a finished copy of a recording that was done more than 6 months to a year ago. The press does not like receiving old recordings under the guise that they are a new release. I have had several clients NOT tell me their recording was older and it has not been good for them. If you do want to send something older than be honest. Put that information in your press materials or when you contact them. They will appreciate it and some will even review if they have an area for older CDs. If they like it enough they will review it but you must tell them in advance.

If any of you from the press/media would like to contribute your thoughts as to what would help you working with indie artists, labels and publicists please contribute to this blog.

Thanks ... and happy pr.


Monday, July 5, 2010

Bradley Leighton - Soul Collective Review
By Ronald Jackson

Flutist Bradley Leighton has covered a lot of turf in his career as far as citing musical influences is concerned. He’s covered Charlie Parker and even rolled through a little Tower of Power. Here on his 2008 release, Soul Collective, the flutist seems to travel back to his Back to the Funk release as he unleashes some coolly rhythmic and oft funky material on us.
The album runs the gamut for groovable tracks. The opening cut, “It’s On,” has a really nice hook and decidedly smooth yet funky feel while “CafĂ© Con Leche” has that appealingly rhythmic and exotic Latin touch. Funk takes center stage with “Wake Up Call” and its sassy swagger. Covers like “She’s Gone,” “Ode to Billy Joe,” and “Keep That Same Ol’ Feeling” are dealt with adeptly and with precision. Vocalist Paula Prophet, who is expected to release her debut sometime this year, offers her “That Man,” which has that early Motown/Martha Reeves kinda groove, and it works…well.

With guest help from Greg Adams, Tom Braxton, Jason Miles, Evan Marks, and Tom Scott, this project came gift-wrapped and set to please. It’s quite obvious that the stellar gathering prompted the album’s name and character.

It’s amazing what the flute has been able to offer in the world of jazz. From Laws to Najee to Zonjic to Leighton and many more, we have come to experience the texture and sweetness that the instrument adds to the genre. Soul Collective speaks to just how fortunate we are to have that experience.