Visit our Artist Roster on Reverbnation and take a listen!
Visit our Artist Roster on Reverbnation and take a listen!
Visit our Artist Roster on Reverbnation and take a listen!
A Conversation with Oranyan Coltrane on Life and Music …
“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 ever-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…
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 kinda 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 experience 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.
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 has 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 the base and then to chord an then I’ll start charting down some ideas…the music really dictates what it’s 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 the 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 are 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 overseas, in France, in Germany, in Japan doing what I love and hoping that 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!
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.
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.”
“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”
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!
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 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 .
Black History Month is deeper than February!
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.
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 email@example.com . You know this song is for special people too:http://is.gd/2c3xnY
“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 the children’s school choir teacher what the experience was like:
“12 children from 8 years old to 11 years old, rehearsed twice and stepped into the studio to record background vocals like old pros! Anthony Gonzalez from M83 was delightful to work with as he encouraged the children and charmed the parents in fluid flow from French to English and back. This group of young singers knows 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. 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.” T. Kasza
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 personally, I will always treasure hearing the sweet background chorus knowing that my 11-year-old daughter’s voice is a part of the choir.
We are all cheering you for the Grammys!
M83 Epic “Hurry Up, We’re Dreaming Nominated for Grammy Best Alternative New Music! ( gsgcreativemusic.wordpress.com/)
M83 Hurry Up, We’re Dreaming (discogs.com)
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/
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.”
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
Skyfall nominated for best original song at Academy Awards (www.adele.tv.news)
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, and 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.
Nikki Hornsby 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 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!
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 outtakes from Bing Crosby and more.
With the grand 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.
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 humor earned him the nickname “Cheerful Dan”.
Hornsby’s performance on the 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!
Nikki 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!