Thanks for coming along with me on a wild ride through music and the arts. Such excitng things are happening everyday and it is my pleasure to share them all with you.
Cheers and Blessings,
Joey
In previous blogs, I’ve talked about the profound impact Mayanrd Ferguson had (and continues to have) on me.After wearing out the grooves in his records as a kid, I had the honor of touring with him and the Big Bop Nouveau in 2005.What an experience!
Throughout the tour, I got to witness first hand, the incredible inspiration that was Maynard Ferguson.Night after night, the “Boss” would play his heart out. Oddly, I got the sense that when he came out on stage, he was transported back to his youth in mind and spirit; I think the audience felt it too.That tour had posed many challenges for Maynard.Despite any physical ailments, he’d always give the audience what they came for!One of the most profound moments was watching Maynard shock and awe the audience with his power and artistry after fracturing a bone in his hand and using a wheel chair for that particular show.There was no challenge to big for the “Boss”.
Maynard would often quote melodies we had discussed on the bus, giving us all a big smile during the show.I specifically remember the band doing a listen through of Maynard’s recording of Ol’ Man River(which is one of my favorites).The following show, he threw 3 or 4 quotes of the tune into “Birdland” as he traded solos with tenor sax player, Matt Parker.I about busted a gut on the bandstand!
Aside from Maynard’s musical prowess, he was a model human being.Humility, communication, respect and integrity are all adjectives he projected to his friends, fans and band members.Today he is still sorely missed, but his legacy lives on through people he touched.Maynard was only disappointed when members left his band and didn’t pursue their own musical careers.To me, his “we’re all in this together” attitude impacted me at the deepest level of being.Maynard never preached.With a kind and loving gesture, he’d lead by example and wasn’t afraid to call anyone out if they got out of line; after all, that’s what friends do!
This is one of my favorite interviews of all time.His humble attitude, respectful demeanor and honesty are incredibly apparent in this clip.
Maynard was always spoke candidly regarding his techniques and imperatives.Please enjoy this clip of him attempting to teach Regis Philbin the trumpet.
A huge part of Maynard’s imperative was education, frequently giving master classes or clinics.
Here’s to us all carrying on his prodigious tradition!Cheers.
“Resonance” is an innovative collection of engaging, familiar, yet uniquely reworked tunes as well as original compositions. The songs have been created by fusing several styles namely classical and jazz with rock and pop influences. “Resonance” refers to the several sophisticated levels of content found imbedded in my first record. The journey that is “Resonance,” takes unexpected twists, turns, and dips and ultimately the listeners experience is both fun and elegant.
Additionally, Resonance refers infinite levels of relatedness. Whether applied to physics, chemistry, sound, or interpersonal relations, resonance is an all powerful force that can take down a bridge or evoke sound from a crystal wine glass.
Physics defines resonance as the state of a system in which an abnormally large vibration is produced in response to an external stimulus, occurring when the frequency of the stimulus is the same, or nearly the same, as the natural vibration frequency of the system.
In chemistry resonance refers to the condition exhibited by a molecule when the actual arrangement of its valence electrons is intermediate between two or more arrangements having nearly the same energy, and the positions of the atomic nuclei are identical.
When speaking in terms of sound, resonance refers to the enriching and intensification of a musical tone by related supplementary vibration that is either sympathetically or mechanically induced.
The common thread of Resonance through all spectrums and subjects is sameness. My record refers to the truth that lives in all of us; compassion, love, empathy, joy, sadness, loneliness, healing and rebirth are things that all people can understand and resonate with. “Resonance” is about connecting people through music and taking a musical voyage that represents the many emotions and expressions that each of us can connect with.
Last night on 60 Minutes some of Charles and my friends and colleagues were featured as leaders in the scientific community for energy research. Charles used to work in the field with with many of the people featured and as such, he and I, consider Dr. Mike McKubre, Dr. Shaul Lesin, and many of the people featured close personal friends. I wanted to share this with all of you and share my congratulations to our friends
More than the fact that our friends are involved, I feel it is important to give back to the earth as it has given to us. This story is about a clean and potentially harmless energy source that can power homes, cars, mobile devices etc. all with non-pollutant... WATER! Less about energy and more about hope for a brighter future, Energetics Technologies LLC stands as a beacon of light and positive change. I hope you enjoy!
With plans to leave around 10 am from my home in New Jersey for the huge inaugural event, we miraculously found ourselves on the road down to Washington DC around 12 noon (no doubt a record time). Driving to Washington is no sweat; three hours by way of car via I-95 south through New Jersey, Delaware, Maryland and finally ending up at our nations capitol. Once we arrived in Washington, the energy was charged and contagious. With the smiling faces and exuberant laughter of hundreds of people lining every block, there was no doubt that the United States of America was oozing with anticipation for not only this historic event, but the promise of a new era in American History. Despite the heavy security and relentless traffic, the energy continued to hold strong as we slowly headed to our hotel destination. We assumed that finding our hotel would be an easy feat. With our familiarity of the grid system in Manhattan, Washington's navigation would be seemingly as logical. 15th street, 16th street, 17th street, with cross streets of state names, Connecticut, New York, Pennsylvania, New Hampshire or letters of the alphabet. In a split second we decided to execute a right hand turn (should have made a left turn which would have brought us right to the hotel). At that very moment, President Elect, Barack Obama arrived in DC. Being that our hotel was only a few short blocks from the White House and for security sake, almost every street was placed in lock down. Every turn seemed to land us farther and farther away from our destination. Dead ends and gridlock traffic were at every turn. After a whopping three hours of hopeless navigation, the traffic seemed to break up; we were finally on the way to our hotel. Exhausted from the trip, we looked forward to checking in and having a well deserved, relaxing dinner.
As we drew closer to the hotel, we immediately looked for parking. When every parking garage we saw was closed, we were sure that this trip was a conspiracy against us! After several desperate phone calls, we were told that most of the garages were closed through Wednesday for security purposes. Our Exhausted demeanor quickly turned to irritation and frustration as talks of turning around and going home filled our psyche. An edgy discussion with our hotels front desk finally yielded some answers, and the location of an open parking garage a few blocks away. We pulled over, unloaded our obviously over-packed luggage, and split up. Half the team went to the hotel with the luggage and the other half went on mission impossible; finding Washington's last open parking garage. I decided to accept the latter mission and drove off (not in my Astin Martin) to park. After finding the garage a few blocks away, we headed towards the hotel. To follow suit with the rest of the trip, the hotel (on 17th street) was more than just a few block away and had apparently disappeared. I then noticed that the adjacent street was also 17th street (yes, there are two 17th streets in DC). Completely confused and at the end of my rope, I stormed over to 17th street (the sequel) and soon found the hotel. Once we settled in, we headed off to dinner at Bobby Van's (www.bobbyvans.com) for a delicious and relaxing meal.
Capitol hill was beauitfully illuminated and the breathtaking view seemed automatically to infuse patriotism into our blood. The Washington monument was mesmerizing. Even the fact that we once again had to walk past both 17th streets couldn't bring us down. Little did we know what was in store for us the next day and in hindsight, erased any reluctance about the trip.
Monday, January 19 - The GIGS
Of course, I woke up early to practice. I was cranky from the moment I awoke and knew that I had two events to perform at later that day/evening. My first event was to be at Noon at "Sam and Harry's Restaurant." After the night before, sitting in traffic for 31/2 hours, our entire team was in a bad mood and was ready to blow off Washington as soon as possible. After my Starbucks (Half Caf. Cappucino with two pumps of vanilla), I started feeling better and so Charles and I treated the whole crew to Starbucks which raised everyone's spirits. We arrived at Sam and Harry's (www.samandharrys.com) around 12:15 and this is when our excitement really started to build. We were escorted through this fantastic place filled with classic Jazz Art. There were many people anticipating our arrival and we were escorted to be introduced. Senate Majority Leader Reid, Bob Kerry (former Senator and Dean of the New School in NY), Gary Parenti, and so many lobbiest and congressman. Then it was time for me to sequester myself and warm up to play around 2:30. I was a bit nervous, as I was playing the Bach Partita live for the first time. My performance really did go swimmingly, bar the fact that the camera died halfway through. I barely remember the performance and was unable to able to see the audience reaction, which I am told was outrageous, thunderous, and unprecedented in a crowd of lawyers and politicians. My team is amazing and always so prepared and had another camera on hand for the later events.
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After Partita , I played Summertime and then I was escorted to meet the mayor of Buffalo, Byron Brown, who had requested a formal introduction. He and some of his colleagues talked with Charles and I for a few minutes and then offered to give me the key to the city of Buffalo. Charles is in charge of these kinds of things and as soon as we know anyting we will share the news.
We schmoozed for the next hour or so and ate fantastic hors d'eurves like small italian meat subs, chicken satay, and mini-eggrolls. A glass of wine or two, and Charles and I went off to explore Washington for a while. The Whitehouse was already under heavy security and practically closed off. We shopped for a bit, went to the Capitol to watch it be prepared for inauguration day, went to the Lincoln Memorial, then went back to the hotel for a quick snooze before my evening event.
We left for the Smithsonian Castle around 7:00. Many of the roads were barred so, Charles and I had to walk several blocks to get to the venue for the evening performance. As we approached the Smithsonian Castle, we looked at each other and said... "is that where we are going!" Talk about an incredible place! Inside, everywhere we looked was something incredible to see. Taxadermied conquests of President Teddy Roosevelt, artifacts from many of the US Space crafts, including the Apollo 13. We saw Americana art that had our eyes popping out of our heads. The actual building was just as grand. Its architecture, moldings, ceilings, ambience was awe inspiring. I just kept thinking, "pinch me... this is where I am playing?" The crowd was larger than I had anticipated.
The food was first rate and nostalgic; classic american fair. Corndogs, mini hamburgers, New York style bite sized pizzas. Most people were drinking "Mint Obama Spritzers" which were comprised of mint, lime, rum, and sugar cane... in other words, they named a mojito after Obama for the evening which I found very fitting. The powers that "be" informed us that I would be on around 10, after the speeches. So around 9:00 we made our way to the front of the Castle where the band would be and began to prepare for my performance (or so I thought). Instead I was again escorted for introductions. I first met David Patterson, Governor of New York, who was soft spoken, kind, and told me that he had heard so much about me and could not wait for my performance. I thanked the governor and then was taken to meet several people who I couldn't place. They were all very complimentary of my CD and many asked for pictures with me... More pictures to come.
And then...
I was taken to meet the soon to be Secretary of State, Senator Hillary Clinton. We chatted for a few minutes. She had planned to leave right after her speech, but upon hearing that Phoebe Snow was on my record and realizing that I was the trumpet player her husband was going on and on about, she decided to stay for my set... Who would ever believe that?! (Several weeks ago a copy of Resonance was delivered directly to President Bill Clinton who is also a huge Phoebe fan... I found out that he loved my CD which is an honor) Hillary was gracious, elegant, and lovely and Charles kept saying that we need to hire her stylist.
By the time I was ready to walk on stage I was in a whirlwind of wide eyed wonder. I was playing with the Miles Stiebel Band (www.milesstiebel.com) and loved there voicing, I recommend checking them out. They were all so accomidating and easy going. I played "A Fine Romance" (as recorded on my album) with the band, as well as "My funny Valentine" and "My Favorite Things."
When I was finished playing I walked off the stage and Secretary Clinton and Governor Patterson were waiting to congratulate me. I took some pictures with them, thanked them for having me, and left this surreal event. The whole way back to the hotel, I tried to recollect and understand what had happened in my day... It all seemed like it was a dream and hadn't happened at all. Luckily, Charles had that second camera and we were able to confirm that infact we were not in the "Twilight Zone," but it actually was reality.
We left DC as early as possible on Tuesday morning and made it home in time to watch the Inauguration. Having been there just a few hours before, I really understood how charged DC was with energy, it was overwhelming and emotional just to walk the streets there. Obama's speech was so inspiring. I agree that we all must march on and look toward the horizon, especially in times of great difficulty. We must remember what connects us, not what makes us different. My new record Resonance is about just that... hope, joy, and believing that all things on heaven and earth are possible, and people coming together to resonate in possibility and positivity. I am humbled by the greatness of my fellow citizens... my friends... my family... our country's leaders. I am blessed beyond my wildest dreams, and so are we all.
When I was younger, I was blessed with a natural high register. Being exposed to Maynard Ferguson when my Mom was 8 months pregnant, may have had something to do with it! (Two years later, I had run head first into a stereo, sealing the deal.) After wearing out the grooves in Maynard’s Chameleon and New Vintage records, I ended up with a solid G above high C on trumpet by the time I was 14. I’d play along with the records and try to imitate the brilliant and powerful sounds that only “The Boss” could achieve. In retrospect, imitating sound was the only thing on my mind. Deep breaths, blowing hard and pushing down valves (occasionally).
My Dad knew that I had something going on, based on my intense interest in the instrument and its players. He knew wailing would only get me so far in the industry so he began searching for a private instructor to guide me further down the path. We bought Wynton’s Haydn and Hummel debut record along with Carnival. At this point, I was wearing out the tape heads trying to imitate Wynton’s vocal quality and blinding speed. In a previous blog, I posted an amazing video of seven-year-old Geoffrey Gallante playing some of Herb Alpert’s music. It seems to me that Geoffrey has heard Alpert’s rendition of Spanish Flea and is playing through intuition. Check out his groove at 0:55!
Dedicating all my energy towards classical trumpet throughout high school, my range fell by the way-side. When I made a cognizant decision to build my range back up, I also unknowingly abandoned copying sound, which had proven to be a useful tool. I was doing things by the books (so to speak), and working through my range gave me the opportunity to grasp what I’d previously done naturally.
A few tips I’ve found to be helpful:
1. Use more air than you’re used to using, stay relaxed!
2. When Breathing, visualize your rib cage winging outward. Fill up from the bottom.
3. Stay low on the pitch especially as you go upwards. The tendency is to play high on the pitch (and tighten up) as you ascend, restricting the vibration of the lips.
4. Staying low on the pitch means your slide should not be pulled out too far. If the slide is to far out, you are playing against the nature and physics of the instrument.
5. Try to keep your body and mind in the same place on the second line G as you would on a D above the staff… etc. and so on.
7. Listen to people with range and try to copy the sound.
8. Start softly, and build velocity and volume over time.
9. Overtime, slots will reveal themselves and they will become part of your muscle memory.
I receive so many questions regarding technique. I thought I’d use this blog as a forum to answer questions and raise discussions. Since there is a seemingly infinite number of topics and sup-categories regarding technique, I’m breaking it down into three blogs; tonguing, slurring, and range (Stay Tuned for Videos etc). If there are any additional topics you think I should touch on, please feel free to chime in. All substantive comments or questions are welcome!
Technique;
I feel that technique expansion is a great way to increase our vocabulary as artists. In language, technique assists us in being clear and concise speakers. A more defined technique is like having good diction. The more tools we have to express ourselves, the better, making it possible to use our language to express our exact message.
Tonguing;
As I’ve said in prior Blogs, there are many paths to a similar place. With regard to single and multiple tonguing, I practice standard upkeep with the Arban’s book. I'd also suggest making up your own exercises. Expand your personal exercise by varying range, speed and velocity. Variety is key!
I use the syllable DuhT when single tonguing. DuhT or DahT defines the end of a note while stationing the tongue for the next one. It provides a beautifully shaped note and reinforces an open oral concept. I don’t anchor tongue, but I know many people who’ve implemented it with much success! DuhT is conceptual in nature and can be used with any tonguing method.
Often overlooked is the end of a note. Without defining the end of a note, rhythmic integrity can be lost (especially in a live acoustic environment.) It also clears up the grey area of legato and staccato tongue note length that seems to plague the young music world.
I’ve stayed away from a ta-ka and tu-ku for multiple tonguing. I’ve had luck using the syllable Da-Ga. I’m able to achieve an even, steady sound throughout registers. The Da-Ga syllable happens further back in my mouth than ta-ka, which seems to increase my agility especially when intervallic leaps are a factor.
For any tongued passage, my airflow remains the same as if I’m slurring. Be sure you can execute the passage slurred. The tongue is only used as a defining character or texture between notes. The tongue should frame what’s already there.
Okay, This kid is the best! I could not believe my eyes when I saw this and had to share it. I love the way Geoffrey bops to the beat. He sort of reminds me of me when I was young. I hope this brings a smile to your face.
A very human response to new ideas and difficult challenges is to rule out possibilities before putting in the necessary time and thought to really consider the positive impact. These new ideas come in many forms and the tendency is to dismiss them when they are rooted in difficulty or a challenge; this applies not only in music, but also, in all facets of life. When we are faced with something inherently difficult, our heart and soul may be saying yes while the brain and often emotions are shouting "NO!" If we take the time to breathe and really consider our options, weigh our hearts against our brains, often the second glance lets us know where we truly stand, it's taking the second glance that proves to be the real challenge.
Charles Ressler came to me with the idea of playing the Bach Partita as part of our initial concept of "Resonance." After he recited a brilliant and compelling dissertation on why it should be on the record, I swiftly answered "no, it can't be done." Sound familiar? After much coaxing and many hours of discussion, I offered the concept the proverbial second glance.
Even after I had agreed to perform it, I found my brain telling me no, even though so many people around me were positively re-enforcing me. I then remembered my teacher Charles Schlueter always telling me, "don't let the gremlins creep in." These "gremlins" sit on our shoulders and tell us what we can't accomplish. If it were up to these proverbial gremlins, we would be stagnant and never try new and challenging things. In retrospect, I have looked at my process and come up with some steps for “saying yes” to challenges.
Step 1: Knock off the Gremlin.
This really starts with a conscious decision to say "YES". Try changing the sentence from "It can't be done" to "It must/can/will be done". With Partita, I started by practicing the Partita's intervals slowly, making sure the dynamics worked. I then began reinventing my technique to execute passages; I would record myself and listen back. Every small step toward getting the partita under my wing was another step farther from my little gremlins. Of course, the Gremlins stop by on occasion, but progress and accomplishment is the key to prying yourself loose from their power.
Step 2: Making Music
So, after many months of work, I learned all the notes. Great. Now my process had to go from input to output. Once I had the piece under my fingers, it was time to practice the output. With a piece of this speed and agility, I had to let the subconscious take over more deeply. The input comes from listening, practicing, learning, feeling, hearing, testing etc. The output comes from all relevant factors being projected through us (or from us). In other words, I learned the piece backwards and forwards, adjusted my technique, and then threw all of that out the window and began to play it as if I hadn’t done any legwork at all. This is where magic begins to happen.
Step 3: Up Keep
Now that I have learned the Partita, the end of the road is nowhere in sight. This piece, like so many challenges that present personal growth, requires maintenance in order to remain "under my fingers." It simply requires revisiting the process and creative thinking. All growth is continuous, once you get to where you want to be, new challenges present themselves and you want to be further along… the entire process repeats itself. Using Partita as a metaphor: First, I had to learn it, then I had to record it, and now I have to play it live. Each of these situations presents new and different challenges. While performing and practicing, whether in life or music, there is always something new to discover embedded in the magical notes.
The process is never finished. It's a part of the continuum that advances any art or craft or life. We are creative beings by nature – it is important to remember the “yes factor.”
The daunting experience recording Partita in a gigantic room! But, do you see the gremlins scurrying away behind me as I get closer and closer to my goal? If you look closely you can.
Clinton Studios: the room where I had my first recording session, which was Partita. I had to rise to the challenge… and get it done well!
I recently read the article in the NY times regarding Juilliard’s budget cuts for it’s “Music Advancement Program,” one of the “look to” programs for allowing underprivileged youth to learn an instrument. (link) I had a visceral reaction to the story as someone who is not only and alumnus of the school, but also attended on a full scholarship! I feel the value of being exposed to great ensembles, teachers and opportunities and, as such, I cannot believe this program is shutting down next season… even if only for “a while.” The Juilliard School has shaped youth and influenced the arts for generation’s and in my opinion, has an obligation to take as many risks as humanly possible to keep programs like “Music Advancement” open. Juilliard should be a place of profound sharing.
Juilliard’s prestigious name has echoed throughout the world of music over many generations. It is appropriate to say that many foundations, schools, etc. look to Juilliard as an example of integrity and creativity both in artistic and humanitarian contributions. The NY times article refers to Juilliard’s “Music Training Program” as a national model, as a national model. What kind of model shuts its doors in a time of crisis?
This program needs $400,000 to stay open. No one has even mentioned the fact that Juilliard is under going a $100,000,000 (that’s one hundred million!!!) renovation. $17,000,000 million of those dollars came from the city of New York. And yet, no one can find money to keep 50 kids going to music lessons? The youth who will shape tomorrow get cut at the expense of 44,000 square feet and more accessibility to Lincoln Center?
Something is terribly wrong with this situation. I cannot just sit around and watch things like this happen. Has it occurred to anyone that all of the money from Juilliard’s renovation would be able to support 250 “Music Advancement Programs” and make it possible for 12,500 children to have music lessons available. I attended Juilliard and never had a problem finding space or walking one block to Lincoln Center. Where are the priorities?
Charles when he did PR for Bergdorf Goodman, was involved in the planning of the celebration of Lincoln Center’s 50th Anniversary. He wants to know how much money has been cut from that budget? He also bets the answer is “not enough.”
In my eyes, the platform of the conversation should be, “how do we make it happen,” not “just cut it and pray it re-emerges.” If anything, the NY Times article should be about how Juilliard can find a way to keep this program alive and thriving. They could potentially find the funding through one donor, it’s certainly happened in the past, they could potentially bring in the funding virally, by brainstorming creative solutions, using the internet. Ron Paul raised more money in the third quarter of his campaign than any president in history by using the internet. President Barack Obama raised more many than any president before him… using the internet!
Things are tight for everyone these days, but with a 100 million dollar renovation to a building that previously had a gorgeous aesthetic, priorities seem to be skewed.
Programs like this are a must! Music shapes youth in incredible ways. Juilliard has a particular way of touching lives. “The Soloist” and “August Rush” both take place at Juilliard and spread messages of hope and fortitude. Where are those when we need them the most.
Institutions looking toward “the yard” for determination, ambition and sacrifice may be disappointed, and furthermore, may want to look elsewhere. Perhaps it is time that we stand up and say ”NO! We cannot as a community allow you to close programs of this nature.”
Juilliard (and Lincoln Center) hope to give a more open and lavish feel to Lincoln Center. The area was a ghetto 50 years ago, where is the perspective? We take a neighborhood from the people it belongs, gentrify it, and then spit in the faces of the people we took the neighborhood from to begin with. This seems very familiar and also a bit antiquated.
I would encourage the Juilliard financial team to stand back, look to the fundamentals and a solution will present itself. Perhaps one of those kids will be a virtuoso who takes the world by storm and returns the favor many times over. I know I would not be where I am today if it weren’t for my free ride to school.
This is me right after my Juilliard Audition with Wynton and my parents - this reminds me of give back...
On Thursday, April 2, my company, RMG in association with couture clothing company ROGAN and Veuve Clicquot (champagne) hosted my record release party at ROGAN's Bouwerie Lane Theater. Charles began meticulously planning a few months prior. His efforts certainly paid off! The party proved to be one of the hottest spring events in New York City!
When I arrived at ROGAN (located at Bond and Bowery in NYC) everyone was busy preparing the space and making sure every detail was perfect. Everyone assisting the event was incredible! Our staff made sure that our vibe of elegance and a down to earth “je ne sais quoi” was projected; true to form! A very special thanks to Charles Ressler, Lindsay Homes and Jamie Fig for their incredible planning and coordination. I stepped into the back room and warmed up. I soon re-emerged to find our guests arriving. The event had an incredible spread of food compliments of Verve restaurant in Somerville, NJ. Veuve Clicquot was perfectly placed throughout the room. Our friends at Veuve were wonderfully accommodating, and made sure we were able to share their brand with our guests. If you've never had the pleasure of tasting the virtuoso of champagne, it is a must!
After a bit of conversation with the first to arrive, I looked up and realized the room was packed! Wall to wall laughter and clinking champagne glasses sounded miraculously like an opus! An overwhelming response from our friends, family and business associates!
Among the guests that attended were: Rogan Gregory – Designer for Rogan
Pat Obermier – Creative Director – New York1
Laura Breckenridge - Actress
Bob Doyle, Lana Israel, Gina Pero
Dana Parish – Singer/Songwriter
Julia Haltigan
Scott Irby-Rannier – Singer (formerly of Steel Train)
Ian Mcglynn – Singer/Songwriter
Simon Boyar – Percussionist Extraordinaire
Lydia Gordon – Queen of Vintage and one of my favorite people
Cynthia Altoriso – Stylist (Joey’s)
Peter Ressler and Monika Mitchell-Ressler (Charles’ Parents)
Bob and Linda Sebo – Our Angels
We played a quick set and turned up the heat of the party! The set list was;
-Partita
-Crazy
-Looking In
-Wrapt
On the band stand was Resonance’s genius producer Peter Fish along with Clint de Ganon on drum set and Carlo DeRosa on Bass.
A special thanks to ROGAN for the super chic threads! Rogan's clothing designs are edgy and unique. Their brand possesses oodles of integrity in addition to being totally environmentally conscious.
Tantalizing vocalist Daryl Sherman, stepped in to lend her sultry prowess on Crazy.
Thanks to Carlo and his wonderful feature on Looking In. The band cooked Wrapt! Clint's interpretation on our live rendition of Wrapt was off the hook! The crowd went berserk.
Again, one million thanks to ROGAN for their incredible patients and sweat equity through this process.
Following the Bouwerie Lane Theater party, we continued on to the after party at Plan B. Plan B proved to be more difficult to get to than we thought, but we all got there at one point or another. At the same time as our arrival, HBO was filming a segment on 10th St. and Ave. A. Close friends and family made their way, and danced the night away. Duvel, fine beer, was the hit of after party! Being a HUGE Duvel fan, it was great to see people’s reaction to the “Trappist Monk” brewed beauty. We arrived home close to 4 am. Although it all happened in the blink of an eye, the event is permanently ingrained in our minds, truly resonant! Enjoy the pictures!
