A Conversation with Oranyan Coltrane on Life and Music …

 A Conversation with Oranyan Coltrane on Life and Music … 

Oranyan Coltrane

“Music has to do something for you, if it doesn’t move you or evoke something …it has to do something for you! ” Oranyan Coltrane

What was it like growing up as one of the sons of the legendary John Coltrane & Alice Coltrane? Well, I grew up in a very awesome musical household – my parents are John Coltrane and Alice Coltrane and we’re jazz musicians. We had a grand piano in the living room and I can remember my mom always playing classical music and  jazz music and her own compositions so it’s just an awesome feeling to be surrounded by such greatness and  such awesome music

Were you close to your mother? Close to my mom, my father passed when I was really young. I was born in 1967 and he died shortly after that.. like the following month so I didn’t get that connection with my father that much.  His music is very sentimental to me and I feel his spirit ver  present in his music and it’s a deep connection for me whenever I listen to my dad’s music.  One way that I really feel a part of him and that I feel that I know him…

John & Alice Coltrane

John & Alice Coltrane

Is it a gift or a double edge sword to have famous parents? Exactly … Well I feel that everything is a reflection of my parents in a way because they’re both such awesome jazz musicians. People will talk to me and they say “Oh my gosh, your parents are awesome… and  you know I used to listen and study John Coltrane in college and all your dad’s compositions are really wonderful” and I don’t mind that, I feel honored by that, they’re my parents and they’re only giving their thanks to them and showing their love for them and what they’ve done. So that doesn’t bother me at all… I think it’s wonderful.

How was your childhood? Childhood was cool. We grew up in Huntington, New York, lots of snow and it was cold. I don’t have too many childhood memories. I have two older siblings  John and Ravi and we used to play in the snow and ride our bikes and stuff like that and tear up the house …you know, things that boys do!

Did the three of you get together to play? Yes, at one time, we had a quartet myself, my brother Ravi and my brother John. Ravi was playing tenor saxophone and soprano and my older brother John was on bass.

Did you feel any pressure growing up with music in your blood? No, I’ve  always felt blessed and enlightened by it because my parents were  my examples and I knew that I had to do great things in music. I knew that … I had to… that music was my calling. Of course I knew this is where I would be going, that my career would be in music, but I never felt pressured in music. I think  there was more pressure for my siblings. My brother who is a jazz musician and he is very good at it ..and I kinda felt that he would have liked me to follow in that way also .. he would have liked me to stay playing jazz and that kind a thing, but I had  another idea in music.  I wanted to follow my own path, different styles of music. I was playing rock for a while.

I studied at various universities  CAL Art , Cal State Northridge and I was in jazz ensembles and music appreciation and I’ve always had such  a great appreciation for music, I could play rock music or I could play Pop and dance music and I enjoyed it so .. I just I never felt like I needed to stay with one thing,

What does music mean to you?  Music is a way for me to open up & express how I feel, express my  life … any kind of music. Music to express life and it does not matter which style it is.

So you first started playing jazz …and then rock? I enjoyed jazz, I got to travel all over the world and concertize in many different places. That’s really like my first and most powerful experiences in professional  music. Playing jazz and traveling the world with my family.

Why did you stop playing  jazz? Well, it wasn’t about stopping… it was about keeping moving and playing the music I wanted to play.  Back in that day, you felt you could do everything and there were no limits. I wanted to start a band. I started a rock band in 2001.  I picked up a guitar, played drums and sang and we played overseas in the Philippines.  So, that was pretty cool . Then I wrote an album self entitled “Oranyan” released in 2004. It was actually recorded and produced right here in my home studio and then from there I went to electronic music.

ORANYAN_albm_cvr

What made you switch, do you recall…? That’s  a great thing. I always had a drum machine and stuff like that at my home and  liked playing with synthesizers, different sounds and tweaking so I always had electronics in the back of mind.

You remind me of a kid in a candy store…what candy or what instrument are you going to try next? Music is so fathomless and we shouldn’t  put limitations on ourselves and it’s so forgiving too. Music is very forgiving, if you do something that isn’t that great, you can always go back and make it better. So, yeah…  it’s always been in the back of my mind with electronic music and I finally just went out and bought some software and started composing songs on my laptop. Which is really rewarding, I mean I feel so happy when I create new music.

What are you working on now?  Electronic music with some trance and dance music overtones. I am working on a trance house music  album right now. I am doing the recording now A 13-15 track album.

Why trance music? Because trance has this kind of hypnotic and inviting feel to it.. It just allows you to .. it moves you.. it moves your spirit into one pointedness which is  spirit… it’s like a mantra… It has that meditative quality and meaning to it.  I believe what I am trying to do is express myself through my music. I think music can transform the world, it can move mountains, it’s a very powerful force and I think it can. On a spiritual level when you offer that music to a higher power others can benefit from your work and from what you are doing. I also believe that if something is created in a very .. I don’t really know how to word it.. but whatever your intentions are…in your music then people will see that. If you’re just going to be angry about something then that would be a terrible thing to do to the world because that’s what you’re offering humanity. I just try to fill it up with everything that I am at the moment and all the good things that make me happy.

So, music is who you are at the moment? Yes, but you see, I still see this as being ONE… musically as a person, as a vehicle I have changed  but as a person I haven’t changed.  Musically as a person as a vehicle I haven’t change…but music as a vehicle has changed because it’s gone from jazz music to rock music to the kind of music that I am  doing now. Music as a vehicle has changed but me as an instrument, my voice as an instrument has not changed because I still write and sing about the things that I love, that I enjoy, that’s what I think music is about. So I am only trying to express that. It’s a great process, life events…

The loss of your mother, not too long ago, what this part of that experimentation and was it a grieving catalyst? Yeah. Music is that way, you’re able to express a lot of things through the music and you know, pain , joy, all the works.. About my mom’s passing, did it affect me and my music.. as far as musically? As far as me as a person, I took like it any other child would who had lost their father and their mother. I took a moment just to grieve and to appreciate, remember who she is and everything that she meant to me. So yeah, I just needed to just step aside reflect who she is, step aside from everything  and deal with my mom’s passing which I was fortunate to have done and  that helped me grow and like I said it helped me to  remember and to appreciate everything that she and my dad had done for me and my family so it was really a growing process. When you work out of the pain you’re able to grow and you can feel at peace with yourself  again. So those things come out in the music also…If you’re an artist those things, those emotions and feelings are there, I mean how could they not…so I don’t know if music works that way, if it’s that extreme.. for me I changed my style because I am searching for who I am .. that’s what I felt  and I feel really content in music right now, I like what I am doing now ..

How do you go about recording your music? I try to have as much fun as possible when I am. From there just start building the machine, start building the vehicle, the music. I go from  drums to base and then to chord an then I’ll start charting down some ideas…the music really dictates what its going to be.  I am a reverse writer like most people will write the lyrics to a song  and then they’ll  start fooling around on the keyboard and get an idea based on what the words and the meaning is, whereas I create the music first and after I do that I am able to write some things down, jot some things on paper as to how the music is making me feel, what does it mean to me and that kind of thing . And that’s the fun part for me because sometimes I’ll just improvise. I don’t necessarily need to go to the pen and paper. I’ll just improvise and listen back to it and say “Wow! I like that, that was good! That’s definitively the hook!” I build off that.

When do you know when you’re done? Well, that’s a good question. Some songs are immediate, some songs write themselves. You know musicians are just really incredible people… they’re just incredible.. you’re a musician, aren’t you?

[More of a writer.. I use word to express myself on paper but I can relate to the inspiration of a musician or an artist in general…]

There’s no mistake in music so it’s like I am finding it hard to explain what  I am trying to explain… it’s like when you’re writing music you get in this state of a spiritual state or meditative state sometimes and literally the music is just flowing through you, it’s like literally flowing through you… it’s like , like jazz musicians improvising. You reach a place where you’re really just one with the music  and you’re able just to express. Literally what’s going on is through your soul and it’s amazing, it’s like having a breakthrough. Now that’s in playing music , but now when you’re writing music sometimes  you reach those places where the songs just write themselves sitting there just looking at a good song. Those are the songs that are definitively hit songs, it’s definitively magic, it’s definitely a blessing and then there’s other songs that you work on and they  just take forever. I mean I had songs that, you know, I just have to set aside and then go back to them later because they’re just  not fully realized  and it’s not going to be good for me  to just bang my head over the wall and be like I “have to” write this song, I want it to be perfect. Some songs are sacrificed and you have to let them go and revisit them later and maybe at that time you’ll have the song you want or you’ll get the blessing…

Where do you see yourself in the near future? I am working on a dance song with just a simple dance song, with rhythm… I don’t know what the album is going to be or what I am going to name it.. I like to write the songs first  and then when I am done  I’ll be able to come up with a good title for the album but it’s definitively going to be electronic dance music. I’d love to be right there on stage with all the other great DJs and composers who are playing trance music and dance music ..  YouTube

Around the world“, adds Oranyan’s wife, Olivia Coltrane…

Yeah, absolutely, and playing and being able to share my work , my art throughout the world that’s what I’d like. I’d love to be on tour or oversees, in France, in Germany, in Japan doing what I love and hoping that the people  like it …that it’s well received and that the people understand.

Do you foresee other musical changes? This may sound crazy but within dance music,  I feel you can incorporate so many things and people accept it.  I love working with musicians, you can have people, various artists you can get to sing on your songs or play guitar or saxophone so to me dance music is limitless. And as far as improvisational it could be the closest thing to jazz music, cause you’re able to expand and bring performers and musicians with you so that’s I feel like about it. And I do have really cool ideas about incorporating more instrumentation. I do play guitar and piano and I also sing and that’s what you’re going to hear on my albums that are released. I’d also like to work with other musicians and to record on my recordings in live situations.

Music has to do something for you, if it doesn’t move you or evoke something …it has to do something for you…

Thank you  Oranyan Coltrane for this inspiring  and  candid conversation!  I wish you the best with all your projects!

Interview by Guylaine S. Gamble 
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Best Cover of Earth Wind & Fire “September”

 

Earth Wind & Fire cd-coverIn my opinion, the best cover of September on the site is performed by OurStage artist Panache Band‘s  lead singer Johan aka Simply Johan

Panache (41)

They open the song with solo piano instead of two guitars like the original, allowing the listener to hear all moving parts in one place. Moreover, the method of recording used for this introduction, and the addition of dissonant notes, makes the piano sounds natural and sophisticated. They alter the brass as well, manipulating the opening horn riff just enough to make it unique from the original, a trend that develops throughout the piece; similar sounding enough to create the same energy and feeling, but imaginative enough to gloat about its own knack.

Johan & the Panache Band

The most unattainable disparity between this rendition and the 1979 version is the singing. Obviously, Maurice White’s vocal ability is nearly impossible to replicate. Instead of trying to perfect the falsetto, Panache Band singer Johan belts the lyrics out in a lower octave. And though at first this may seem like a cop-out, it adds a raspy strength to the vocal line that’s absent in the original. Besides, the overflowing brass section adequately compensates for any lacking high frequencies.

Lastly, they lay the icing on the funk cake with quietly lurking organ riffs throughout—a perfect wildcard addition to make the song their own.”

Published by Under Covers
OurStage Music & Artist Reviews
Contributing Writer
September 19, 2009 in  Volume 4

Link to Our Stage Review

Johan & The Panache Band 

September Cover by Simply Johan

Listen to Earth, wind & Fire cover of SEPTEMBER by Johan on Reverbnation!

Love song seeking major artists for re-recording in 6 languages!

“Just Loving You” translated in 6 languages seeking recording artists solo or in duet. Available for Licensing/Placement and for major artist re-recording with lyrics in several languages: English , French, Italian, Spanish,German and Swedish!

A slow romantic style tune because Nikki Hornsby knows that you can find someone very special that gives you hope for tomorrow by standing beside you. And what is most important than that… by Just Loving You. Written, sung, arranged & co produced by Nikki Hornsby, CJP-NHRecords, Inc. release from “Just Wait” CD available for downloads iTunes etc.

French lyrics: “En t’aimant tout simplement”

View the video supports in five languages here online:

You Tube: http://youtu.be/-U6yrEQtEjw
Italian:   New issue: http://youtu.be/0B8Jfw2PBM4
English: http://youtu.be/tt-NLSIQWO8    or http://is.gd/S0eCC8
Spanish: http://youtu.be/R9wA9hQxkEs or http://is.gd/vclJPX
German: New issue: http://youtu.be/TUMIIgg_Gu0
French:  New issue: http://youtu.be/EtlZMK4zOZk

Make Music Pasadena on June 1rst 2013 !

Over 150 concerts on Saturday, June 1. Amazing emerging bands who are playing more intimate venues including Slater’s 50/50 Pasadena, Vertical Wine Bistro, Creme de la Crepe, POP Champagne & Dessert Bar, Old Town Pub Pasadena, 35er Bar, Century Books, HighLowVintage, One Love Pasadena, Club Menage, Twin Palms Pasadena + much more!

Make Music Pasadena 2013

When you come to the festival please check out some of the smaller stages- they are just amazing if not more so!!!  You’ll see todays emerging artist in an intimate setting who could be next year’s hot thing!

Full schedule here: www.makemusicpasadena.org

Carla Bruni’s Little French Songs!

Carla Bruni is back with a new album entitled “Little French Songs” coming out April 1rst 2013! Pre-order available in the US now on Amazon!

Little French Songs  Carla Bruni signed with Universal Music France at the Barclay Logo label in January 2013 for brand new projects launching this fourth album following her 5 year musical hiatus at the Elysées as the Frst Lady of France .

Carla Bruni Clip tournage 1

Carla Bruni Clip Tournage 2

“Chez Keith et Anita” single

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Black History Month is Deeper than February!


Black History Month is deeper than February!

Louis Armstrong

Below are links that celebrate Black History in commemoration of the efforts, dedication, sacrifice of the men & women who have fought for us to reach milestones in the quest for human rights for all races and because music is a universal language we celebrate Black History through the evolution of African-American Music.

Black Music Timeline

Just Loving You! (MP3/iTunes/iPhones) ❤

Promo for the song “Just Lovin You” MP3 files available online for your iPhones (iTunes) and other eStores online. Also the Mog/Muzak plus other companies have license to provide for any business owners for their Feb. month to play in Stores & on messages. Links & data on this song provided by CJPStaff member rw@cjp-nhrecords.com .  You know this song is for special people too:http://is.gd/2c3xnY

Just Loving You Promo

Behind the Scenes with the “Shakespeare Bridge Children’s Choir” in the Studio with M83: Hurry Up, We’re Dreaming!

Hurry Up, We're Dreaming

Hurry Up, We’re Dreaming (Photo credit: Wikipedia)

 “The Shakespeare Bridge Children’s Choir” took part in the recording of M83 album Hurry Up, We’re Dreaming.” nominated for a GRAMMY for Best New Alternative Album of the year!  I asked Choir director, Toni Kasza what the experience was like:

“12 children from 8 years old to 11 years old, rehearsed twice and stepped into the studio to record back ground vocals like old pros!

Anthony Gonzalez from M83 was delightful to work with as he encouraged the children and charmed the parents in a fluid flow from French to English and back.

This group of young singers know me well and their level of discipline and musical accuracy was impressive to the producer, engineer and Anthony as well.

The best part was that we had so much fun!  For many it was a once in a lifetime experience, for some, just the first of many more recording sessions to come.

For me personally, it has been an incredible year.  One of my private
students, Juliana,  has made top 40 in this year’s American Idol Season.  She’s on to Vegas to try to make top 10!

I am so lucky to be able to do what I love and inspire children to reap the rewards that come with fueling your passion with hard work.”

It is truly s a delight to listen to this phenomenal album and the beautiful choir and chorus  voices in the background of songs. There’s really nothing like children’s voices in music and I will personally treasure hearing it knowing that my 11-year-old daughter Samsara Gamble’s voice is a part of this epic project!

Will be adding behind the scenes in the studio pictures as they become available!

We are all cheering you  for the Grammys!   or shall we say in French :  ” Merci beaucoup!” et bonne chance  pour les Grammys!!!!!”

Credits for M83 double LP album: “Hurry Up, I ‘m Dreaming” featuring the “Shakespeare Bridge Choir” : 

  • Morgan Kibby
  • Composer, Vocals (Background), Choir, Chorus, Monologue
  • Lyle Workman
  • Guitar (Acoustic), Banjo, Mandolin, Marxophone
  • Joey Waronker
  • Percussion, Orchestral Percussion, Drums (Electric)
  • Amy White
  • Vocals (Background), Choir, Chorus
  • Justin Meldal-Johnsen
  • Guitar (Acoustic), Mandolin, Composer, Guitar (Electric), Programming, Snaps, Clapping, Engineer, Producer, Recorder, Keyboards, Guitar (Bass), Percussion
  • Anthony Gonzalez
  • Synthesizer, Composer, Guitar (Electric), Programming, Snaps, Orchestral Arrangements, Design, Art Direction, Clapping, Producer, Vocals (Background), Vocals, Keyboards, Conductor, Piano
  • Brad Laner
  • Composer, Vocals, Vocals (Background)

M83’s Epic “Hurry Up, We’re Dreaming” Nominated for Grammy Best Alternative Music Album!

M83- Hurry Up, We're Dreaming

GRAMMY nominated for "Best Alternative Music Album" ( see all the  55th Annual GRAMMY Awards nominees here ) M83 is a blend of shimmering synths, ambient pop and progressive textures. L.A Based and French-born M83- Anthony Gonzalez has a winner on his hand with the double album  "Hurry Up, We're Dreaming." 

Some background  & courtesy repost & extracts from online M83 Facebook Page and Wikipedia:

“Prior to recording Hurry Up, We’re Dreaming, Anthony Gonzalez had moved from his native France to Los Angeles. Describing the move in an interview, Gonzalez said: “Having spent 29 years of my life in France, I moved to California a year and a half before the making of this album and I was excited and inspired by so many different things: by the landscape, by the way of life, by live shows, by movies, by the road trips I took alone… I was feeling alive again and this is, I feel, something that you can hear on the album”

“M83 is a French electronic/shoegaze band from Antibes, formed in 2001 by Anthony Gonzalez and Nicolas Fromageau. The band is named after the spiral galaxy Messier 83, and its musical aesthetic is influenced by shoegaze in its extensive use of reverb effects and lyrics spoken softly over loud instrumentals, although M83’s songs employ considerably less guitar than most shoegaze bands.

Musical project led by Anthony Gonzalez, see the page for music videos and upcoming live dates worldwide. More here: http://ilovem83.com/

“Plain big is not so hard to pull off. Queen’s “Bohemian Rhapsody”, Pink Floyd’s “Comfortably Numb”, Harry Nilsson’s “Without You”, Jimmy Webb’s “MacArthur Park”, Guns N’ Roses’ “Sweet Child o’ Mine”…rock history is landmarked with preposterously massive songs that are often bloated and overwrought, songs that stand as giant signposts to feeling, but communicate little actual emotion.

Grand-scale songs may be impressive, but filling tunes of a synapse short-circuiting enormity with real emotional resonance – making them memorable for reasons other than size – is much more difficult.It’s a talent Anthony Gonzalez has clearly mastered with ‘Hurry Up, We’re Dreaming’, a double album that brokers a brilliantly effective accord between the ostensibly conflicting demands of ’80s commercial pop and experimental rock, and packs some truly giant tunes.

The Antibes native has been steadily working to perfect the art of the megalithic alt.pop song since founding M83 in 2001. His self-titled debut from that year and sophomore release two years later, ‘Dead Cities, Red Seas & Lost Ghosts’ established him as a heavy hitter in the post-rock/bliss pop/cosmic electronica league, a skilled producer of hazy, lusciously layered, irresistibly narcotized, epic dreamscapes crafted (essentially solo) from treated electronics, plush synths, murmured vocals and fx-heavy guitar. Third album, ‘Before the Dawn Heals Us’ (2005) upped the cinematic, star-spangled ante but added a dark strangeness, while in 2007 M83 released the entirely ambient ‘Digital Shades Vol 1’. It was 2008’s ‘Saturdays = Youth’, a nostalgia-soaked paean to Gonzalez’s teenage years – and an unashamed celebration of artists such as Kate Bush and Jean-Michel Jarre – that paved the way for the monumental ‘Hurry Up, We’re Dreaming’.Co-produced by bassist Justin Meldal-Johnsen (known for his work with Beck, NIN, The Mars Volta, Goldfrapp), it took just 13 months to complete and features guest vocalists Zola Jesus on ‘Intro” and Brad Laner (from 90’s band Medicine) on “Splendor”, plus contributions from Gonzalez’s long-term collaborator, his brother Yann.

Gonzalez’s decision to record a 22-track double LP was the result of a youth impressed by The Beatles’ white album, ‘Ummagumma’ by Pink Floyd and Smashing Pumpkins’ ‘Mellon Collie and the Infinite Sadness’.“Artists that tried to do something as big as a double album were always inspiring to me,” he explains. “It’s a lot of work, but I always wanted to achieve something like that one day, and I just felt that the time was right for me to make one.”

The wryly contradictory title is a reference to a loose theme of dreaming and remembering, which Gonzalez found himself doing a lot more of after he moved to L.A to live in January 2010. “The initial three months were very tough,” he reveals. “I was feeling lonely in my apartment, working on the album and I don’t really know why, but I started to have memories from my childhood. It made me nostalgic in a good way, and I started to remember some of my dreams from being a kid – nothing very precise, but more the feeling. So, I thought that was a good concept for the album. It’s a retrospective of my life, from childhood to being a teenager and then an adult.”

These recollections surface most explicitly in “Raconte-Moi Une Histoire” (when he was five, his mother used to buy him a kids’ magazine with the same title, which had a cassette of narrated stories mounted on the cover) and “OK Pal”, which reminds Gonzalez of episodes in his teens, “like when you first meet someone who really understands you.”

The album title is also a neat summary of the record’s twin tempers – urgent and introspective – and of Gonzalez’s dual identity as dance floor enthusiast and solipsistic muser. So, “Midnight City” is a huge chunk of glittering and euphoric nu-disco that somehow joins that dots between Peter Gabriel and Underworld, and features not only that big no-no of contemporary pop – a saxophone solo – but also a fade-out. “Reunion”, too, is built on a triumphantly massive scale, its layer-cake vocals suggesting Toto as produced by My Bloody Valentine, while “Claudia Lewis” ramps up M83’s feelings for ’80s music from affection to passionate love, even sneaking in the slap bass usually verboten by the contemporary pop police.Conversely, “Where the Boats Go” wraps woozy pop soundscapes around a sombre piano coda, the aptly titled “Splendor” summons a divinely doomed, synth-centric romanticism and the album’s wild card, “Soon, My Friend”, drops all things electronic in favour of acoustic guitar, strings, brass and a choir.

“I like the fact that the album is like a rollercoaster,” Gonzalez says. “Sometimes it goes fast, and then it will slow down for a while. You can’t stay at the same tempo all the time.” This is an album that’s epic not only in terms of scale, but also of structure, with both an intro and an outro, and brief tracks like “Train to Pluton” and “Fountains” functioning as interludes. M83’s music has long been acknowledged as cinematic, not least of all by Gonzalez himself, who’s a huge film fan (Terrence Malick’s ‘Days of Heaven’, ‘Nowhere’ by Gregg Araki, Werner Herzog’s ‘Aguirre, the Wrath of God’ and Todd Haynes’ ‘Safe’ are some of his favourites).

“The whole album is like a movie, with opening and closing credits,” he explains. “It’s a journey, you know?” This love of cinema even helped Gonzalez ratchet up his vocal power levels for the new record. When writing in the studio, he often plays films in the background with the sound on mute and, while working on “Wait”, he watched ‘Aguirre, the Wrath of God’, “with Klaus Kinski and all his anger.” And so I decided to try something where I was almost screaming, alone in my studio in LA.”

“That inspired me to go forward in my vocals. Morgan [Kibby, vocalist and keyboardist] came into the studio and I played her the vocal as a work in process. She told me I should start singing like that, so it was a kind of discovery. A good one, I hope!” Kings Of Leon, The Killers and Depeche Mode – all of whom M83 toured with in 2010 – can also take some credit for Gonzalez’s newly beefy vocals

As he says: “When you see all those frontmen onstage who are very confident in front of a large audience, it gives you confidence to try the same thing and that’s what I wanted to do with this album. I said to myself, ‘Okay, Anthony; you just turned 30. It’s time for you to be less shy in front of a microphone.’ I’ve never sung as loud before as I have on this album.”The widescreen, gee-wow monumentality and seductive mirror-ball dazzle of songs like “Midnight City” provided Gonzalez with a songwriting and production challenge “because [my] history is very indie, very post- rock and ambient and cinematic.” I’ve also always been fascinated by pop artists, especially during the ’80s – Tears For Fears, Prefab Sprout, The Thompson Twins – all these bands are a huge influence on this album. It’s my first record where the musical spectrum is so wide and that’s very important to me. Most of the time, people only remember my more cinematic and melancholic songs, but I also want them to remember my pop songs.”

One thing you won’t hear alongside the synths, slap bass, Sindrums and sax solo on ‘Hurry Up, We’re Dreaming’ is Gonzalez apologizing for romanticizing the ’80s. He’s hopelessly hooked. “I’m in love with the sound of the ’80s,” he enthuses. “I always thought the production then was stunning. It’s very clear and very powerful, with not a lot of elements. Commercial music was better in those days. I’m not saying music is bad nowadays – on the contrary, music is very interesting and a lot of it is very innovative – but if you listen to the radio now, it sounds like shit. If you were listening to radio in the ’80s, you were hearing acts like Blondie, Madonna, Michael Jackson, Tears For Fears, Talk Talk… there were great songs that were also fantastic and meaningful pieces of art.”

Fantastic songs that are also meaningful pieces of art – for M83, that means instruments played live in the studio, not by a computer, apart from the Pro Tools software he uses for actual recording. He may have been smitten by the impossibly lush, futuristic synths of Jean-Michel Jarre’s ‘Oxygene’ when he saw him on TV as a kid, but replicating those thrillingly futuristic sounds was never Gonzalez’s aim. “The main idea with this album was to make something in the way that people used to make albums, before computers. Going into a proper studio, taking time to find the right sounds for the guitars…it’s more about crafting.”

“Mine is the story of any artist,’ reckons Gonzalez. “I have more experience now, I’m more mature and I have more confidence in my music. This is the first time in my career when, if I have an idea in my head, I can create it in music. It’s something I was never able to do before. I’m a big romantic, especially about music,” he adds. “There’s nothing more beautiful than something well recorded that you can listen to on a good sound system.” Something meaningful – and massive –he might well add.”

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Adele’s Skyfall Nominated for Best Original Song at Academy Awards

 

Adele‘s  track  “SKYFALL” from the latest 007 James Bond film has been nominated for Best Original Song at the Academy Awards. It is the first Academy Awards nominee for best original song in a decade  to have also reached top 10 hit billing on the Billboard Hot 100 chart.

 

“Skyfall” is a nominee is good company : “Les Misérables,” “Suddenly,” “Pi’s Lullaby”,  J. Ralph’s “Before My Time” from the documentary “Chasing Ice” and  “Everybody Needs A Best Friend” from “Ted,” lyrics from Seth MacFarlane who announced the nominations at Oscars’ headquarters this morning in Beverly Hills.

 

According to Billboard Magazine: “As a Hot 100 hit, Adele’s song  SKYFALL far outpaced its competition. It peaked at No. 8 and has sold 1.3 million copies, according to Soundscan. The last top 10 song to receive a nomination was Eminem’s “Lose Yourself” from the film “8 Mile.” It reached No. 1 in November of 2002, spent a total of 12 weeks atop the list, and went on to win the Academy Award the following year.”

 

It’s going to be a tough choice between SKYFALL & the screen version of LES MISERABLES….but my gut feeling tells me this epic song will take home Oscar…”hold your breath and count to 10!

Extract from BILLBOARD MAGAZINE

Adele, Les Miserables Secure Oscar Nominations

(www.billboard.com)

Skyfall nominated for best original song at Academy Awards (www.adele.tv.news)

 

 

A Day at the GRAMMY Museum with Nikki Hornsby and CJP-NH Records Staff

A Day at the Grammy Museum with Nikki Hornsby and CJP-NH Records Staff

Nikki Hornsby Visit at GRAMMY Museum

Nikki Hornsby Founder & CEO of CJP-NHRecords and staff members had a private showing on Nov. 13, 2012 at the GRAMMY Museum in Los Angeles in honor of her grandfather Dan Hornsby whose musical legacy was displayed in the brand new exhibit 360 Sounds: The Columbia Records Story.  This exhibit retelling 125 years of Columbia Records history will be displayed for a whole year.

The GRAMMY Museum itself is awesome!!! It is not a “Museum” per se, but more of an exciting interactive forum for music makers & music lovers & families! (located  right across from the Staple Center where the 55th Grammy Awards TV Show takes place in Feb. 2013!)

This was a long-awaited day for Nikky Hornsby who donated to the GRAMMY Museum some of her family memorabilia and her grandfather’s Dan Hornsby’s Columbia Records recordings. We were very honored to be her guests and to hear firsthand about the musical greats as we relived through her eyes and lips the great Columbia Records era.

Dan Hornsby was honored at GRAMMY Museum  with a display containing some of his original Columbia recordings: Take Me Out to the Ball Game!” and “Oh! Suzanna!” among others!

Nikki Horsnby was delighted and very moved to finally see her grandpa’s Dan Hornsby’s music proudly displayed at the GRAMMY Museum’s special interactive exhibit:  360 Sounds: The Columbia Records Story as she graciously and humbly shared her grandfather’s Dan Hornsby’s musical legacy with CJP-NHRECORDS  staff and friends.

Many grateful thanks to Bob Santelli, Executive Director at the GRAMMY Museum and the young talented curators at the GRAMMY Museum who made this guided visit even more special. Thank you Nikki Hornsby and the GRAMMY Museum for this musically rich experience and for sharing this very special day down memory lane of the glorious Columbia years with us!

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Dan Hornsby Honored at GRAMMY Museum!

Dan Hornsby Honored at GRAMMY Museum!
Nikki Hornsby, recording artist, CJP-NHRecords Founder and GRAMMY Awards Voter along with her Cousin Mike Weinberg went to GRAMMY Museum on Oct. 17th 2012, by request to bring Dan Hornsby‘s Columbia Records to be displayed and showcased in the exhibit 360 Sounds : The Columbia Records Story.
Dan Hornsby

Dan Hornsby (Photo credit: Wikipedia)

Along with Dan Hornsby‘s Columbia Records there were many other memorabilia donated by his grand-daughter Nikki Hornsby such as  posters from the 30s from Nikki’s inherited collection. Some of the artifacts include records from family friend Jimmy Van Heusen & Frank Sinatra in 78s. Also donated were rare Bessie Smith and many Harry James Columbia Recordings along with out takes from Bing Crosby and more.

Dan Hornsby Display at Grammy Museum
CJP=Dan Hornsby - Bessie Smith records
“I recently found out  by verification, says Nikki , why there was a Bessie Smith record in the collection I got from my parents. Grandpa Dan Hornsby recorded Bessie Smith for Columbia Records in Atlanta. I AM SOoooooooooo proud…God blessed me knowing he’s done so much. For those who don’t know her music you NEED to go to you tube and listen. Grandpa, as an A&R Scout for Columbia Records had a great ear for talent for this awesome blues singer.” says Nikki.
 

CJP-Dan Hornsby Grammy BookWith the opening of the exhibit 360 Sounds : The Columbia Records Story at the GRAMMY Museum this last November, Dan Hornsby and his lifetime work in the music recording business was honored at that time among other great artists of this era and mentioned in the masterpiece book of the same name “360 Sounds: The Columbia Records Story” written by Written by Pulitzer Prize and Grammy nominated author and historian, Sean Wilentz.

English: Dan Hornsby (front row, second from l...

English: Dan Hornsby (front row, second from left with trumpet) with a music band (Photo credit: Wikipedia)

Dan Hornsby, born Isaac Daniel Hornsby in Atlanta, Georgia on February 1rst,1900 – May 18th 1951 was an American singer, musician, music writer, producer and arranger. He enjoyed playing trumpet and singing with various dance bands in Atlanta in the 1920s. Hornsby formed his basic group Dan Hornsby Quartet: Perry Bechtel (banjo, guitar and baritone), Taylor Flanagan (piano and high tenor), Sterlin Melvin (guitar and bass guitar) and Dan Hornsby (lead singer and arranger).

The Atlanta Baking Company asked Hornsby to do a show on WSM Radio in Atlanta. The group name changed to Bamby Baker Boys and Hornsby became the first commercial performer of the WSB radio station, which started airing in 1922. His pleasant disposition and sense of humour earned him a nickname “Cheerful Dan”.

CJP-DAN HORNSVY Take Me Out to BallgameHornsby’s performance on radio was noticed by Columbia Records – the oldest record company. His main role was a sort of talent scout, but he had many roles at Columbia Records during the 1920s and early 1930s, including production of his own recordings like “On Mobile Bay” and “I Want A Girl” or with Young Brothers Tennessee Band: “Are you from Dixie” and “Bill Bailey, won’t you please come home”, “Oh! Susanna“, “Little Brown Jug“, and other classic American songs. For example, Hornsby was the first recorded voice of the “Arkansas Traveler” and was the producer of the first recording of “You Are My Sunshine” and “Take me out to the Ballgame!

“This is a great honor, says Nikki Hornsby, my music talent & gifts were an inherited treasure as well as the reason behind my lifetime career in music as well.”

Nikki HornsbyNikki Hornsby who has no children to pass on these inherited treasures from her parents & Grandparents and her own thousands of original songs is very grateful that these works have found a home in the respected GRAMMY Museum! A good place to start to share her Grandfather’s work with the world!

CJP- Thank you Nikki Hornsby Grammy Museum

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360 Sounds: The Columbia Records Story at The GRAMMY Museum®

The GRAMMY Museum in Los Angeles explores and celebrates the enduring legacies of all forms of music and the history of the premier recognition of excellence in recorded music. The Museum is located on the campus of L.A. LIVE in downtown Los Angeles.

CJP_ Dan Hornsby Grammy Museum

The GRAMMY Museum features 30,000 square feet of interactive and multimedia exhibits located within L.A. LIVE, the downtown Los Angeles sports, entertainment and residential district. Through thought-provoking and dynamic public and educational programs and exhibits, guests can experience music from a never-before-seen insider perspective that only The GRAMMY Museum can deliver.

Paying tribute to music’s rich cultural history, this one-of-a-kind, 21st-century Museum explores and celebrates the enduring legacies of all forms of music, the creative process, the art and technology of the recording process, and the history of the premier recognition of excellence in recorded music – the GRAMMY Award.

Grammy Museum

On Wednesday, November 7, 2012, The GRAMMY Museum, in cooperation with Columbia Records, unveiled its newest special exhibit, 360 Sounds: The Columbia Records Story. Residing on the Museum’s third floor, the exhibit celebrates the 125-year-long history of one of the most important record labels of all time, Columbia Records. The exhibit launched on the same day as the highly anticipated GRAMMY Museum Archives, sponsored by Iron Mountain Incorporated (NYSE: IRM) which showcases several Columbia recording artists.

Grammy Museum

“At The GRAMMY Museum, it’s always been our hope to not just help preserve important parts of music history but to also allow artists’ legacies to live on for future generations to discover and enjoy,” said GRAMMY Museum Executive Director Bob Santelli. “The launch of both the Columbia Records exhibit and our museum archives on November 7 illustrates that mission perfectly, and we are honored to share them with the world.”

360 Sound: The Columbia Records Story provides an in-depth look at all aspects of Columbia Records’ history and offers a virtual history of the music industry from its infancy, tracing Columbia’s pivotal technological as well as business innovations, including its invention of the LP. The exhibit also reflects on the connection between Columbia’s artists and music and sweeping cultural and political changes, from the emergence of mass commercial culture to the rise of the civil rights movement and beyond.

Bringing together a collection of diverse artifacts, rare photographs and footage, the exhibit features dozens of items from Columbia artists such as Louis Armstrong, Bob Dylan, Barbra Streisand, Miles Davis, Bruce Springsteen, Robert Johnson, Johnny Cash, Beyonce and many more. In addition, interviews, an introductory film, legendary GRAMMY Award show performances and an interactive jukebox that plays the greatest Columbia recordings of all time round out this exciting new exhibit. The exhibit is a reflection of a book released earlier this year of the same name, written by Pulitzer Prize-and GRAMMY-nominated author and historian, Sean Wilentz.

360 Sound: The Story Of Columbia Records And Archives Exhibit Launch

“Writing 360 Sound has been exhilarating as well as enlightening,” said Wilentz. “More than I had known, Columbia’s history covers virtually the entire history of recorded music, with innumerable fascinating stories of artists, producers, label executives, and many more. The GRAMMY Museum exhibit promises to bring Columbia’s history to life in a related but very different way, and I can hardly wait for it to open.”

Launching on the same day was the official GRAMMY Museum Archives, a wing of the museum sponsored by Iron Mountain and dedicated to the development, preservation and archiving of rare audio and video assets from the music industry. For the first time, museum members and visitors will be able to listen to and watch the more than 180 public programs that have taken place in the Clive Davis Theater. Interviews and performances by the Beach Boys, Ringo Starr, Kenny Chesney, Smokey Robinson, Buddy Guy, Terrance Blanchard, John Mellencamp, John Mayer, Jack White, Yoko Ono, Harry Connick Jr., Stevie Nicks, Dr. John and dozens more.

Additionally, information on every GRAMMY Award winner and all of the GRAMMY Hall of Fame inductees will be housed in the Archival Wing, also located on the Museum’s third floor.

The GRAMMY Museum Archives will allow the museum to showcase rare assets from the Asset Discovery & Development division, which is devoted to building artifact databases for a wide-range of musical artists, archiving and developing their legacy for historical preservation. The division, launched in May of 2011, includes discovery services to distinguish and restore/repair damaged assets for cataloguing; preservation and archival services to ensure original artifacts are secure, accessible and sharable; and business development capabilities to protect and monetize the artist’s legacy and brand.

“Our customers trust us with some of their most valuable assets, asking us to both protect and preserve them for today and for the future,” said Jeff Anthony, vice president for Iron Mountain’s Entertainment Services. “We’ve worked with some of the world’s largest media companies, providing technological expertise and services for transferring, migrating and preserving digital data on-line. Providing the GRAMMY Museum with this wing and the asset discovery and development services, allows us to support their core mission and help maintain the important musical and cultural legacy for future generations.” 

Museum admission is $12.95 for adults; $11.95 for senior citizens (65+); and $10.95 for students with I.D. (ages 6 – 22) and members of the military. GRAMMY Museum members and children 5 and under are admitted free. Located at 800 West Olympic Boulevard, Suite A245, Los Angeles, CA 90015, with an entrance off  Figueroa Street, the Museum resides within the L.A. LIVE campus, at the intersection of Olympic Boulevard and Figueroa Street in downtown Los Angeles.

For more information, please call 213.765.6800 or visit www.grammymuseum.org.

For exclusive content, join the organization’s social networks as a Twitter follower at www.twitter.com/thegrammymuseum and on Facebook at www.facebook.com/thegrammymuseum.

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