Joey Pero's Adventures

Wynton Marsalis and Joey Pero featured in the New York Times!

2010-05-12T16:25:00.006-04:00

Dear readers,

On May 6th 2010, Wynton and I had the pleasure of sitting down with Corey Kilgannon of the New York Times and talking about what we do.

Read the article on the New York Times article HERE, or on the article below. Please enjoy the article and comment on the NY Times website!

Much love,

Joey

Joey Pero featured in the May issue of DownBeat Magazine!

2010-04-20T12:07:00.011-04:00

Check out the article in the May 2010 issue of DownBeat magazine!

This feature, written by Phil Lutz includes quotes by friend and mentor, Wynton Marsalis!

Pick up your copy at any Barnes & Noble or visit DownBeat's website for more information

on receiving a subscription.

Elephant in the room; meet the Tiger in the Woods.

2010-02-19T11:58:00.010-05:00

I normally refrain from discussing topics so far away from music and my personal experiences; but I felt inclined to start a discussion and get your thoughts and feelings. I think it's a real shame that the press chooses to interfere with personal lives. The media storm surrounding Tiger Woods (and others) intentionally provokes a vicarious society. The press has inflated a man beyond the sport he has dedicated his life to. I believe the pressure and weight of media influence can cause a disturbance in natural growth, understanding and managing of complex emotions. There is no doubt Tiger feels obligated to follow a specific path based on the integrity (or lack there of) of others. Why?

Tempted by the fruit of another?

“I thought I could get away with whatever I wanted to,” Woods said. “I felt that I had worked hard my entire life.” He added that he felt he was “entitled, thanks to money and fame,” to enjoy the fruits of his success.

“I know I have bitterly disappointed all of you,” Woods said. “I have made you question who I am and how I have done the things I did.”

Does this sound like someone who has found his/her true life partner? Or someone confident and grounded in his/her core beliefs/integrity?

The ultimate truth or "self realization" is a difficult thing for all of us to discover. It's a constant "movement." Some people skip through life and never realize their true nature. Imagine yourself dealing with self discovery, growth, trials & tribulations, success etc.. Now, imagine the same with your life under a microscope; constantly criticized, often exaggerated and rarely private.

I will continue to wait for the press to take the "We're all in this together" attitude. Until then, lives will be misdirected, scandals will be brewing and very little substance will be uncovered. Am I crazy? What do you think?

Click here to read the latest NY Times article.

Best Instrumental Songs

2010-02-18T15:15:00.007-05:00

There have been many artists over the years who have resonated with the masses solely through their instrumental expression. Take a listen to some of the following instrumental works.

"Sleep Walk" - Santo & Johnny (1959)

"Green Onions" - Booker T. & the MG's (1962)

"Classical Gas" - Mason Williams (1968)

"The Good, The Bad & The Ugly" - Hugo Montenero (1968)

"Popcorn" - Hot Butter (1972)

"Dueling Banjos" - Eric Weissberg & Steven Mandell (1973)

"Love's Theme" - Love Unlimited Orchestra (1974)

"Tubular Bells" - Mike Oldfield (1974)

"Nadia's Theme" - Perry Botkin Jr. (1976)

"Feels So Good" - Chuck Mangione (1978)

"Axel F" - Harold Faltermeyer (1984)

What about these tunes resonate with you? Is it the artist, a catchy hook, musical expression, sound or perhaps it's attached to something viscerally?

I'd love to hear your feedback, and please recommend other instrumentals/songs to listen to.

Happy listening,

Joey Pero

Joey Pero LIVE @ 12 Grapes!

2010-02-18T13:29:00.014-05:00

Greetings readers!

A big thanks to everyone who came out to our rockin' show @ 12 Grapes in Peeskill, NY. We played the cool Jazz club last Thursday night (2/11/10) to a packed house. A big thanks to owners/visionaries Rich and Jeanne Credidio for their warm and inviting demeanor. 12 Grapes has been dubbed "A little bit of SOHO in historic downtown Peekskill, NY" and we agree!

Check out 12 Grapes by clicking below.

We have MANY more shows in the making and we be sure to keep you all in the loop.

All the best,

Joey

Joey plays "The Napoli" for youtube.

2009-12-09T20:40:00.004-05:00

Here is Variations on a Neapolitan theme arranged by Herman Bellstedt. Here is, "Napoli"

Please enjoy and share; and as always please send suggestions!

Joey play "The Carnival of Venice" for youtube.

2009-12-05T23:25:00.005-05:00

A big thank you to everyone who's shown support for the videos I've recently post. I'm always looking for ideas for future youtube vids, so please feel free to reach out and let me know.

Much much more to come!

Joey

Joey plays the Bach Partita for youtube.

2009-12-01T17:47:00.004-05:00

Be sure to make plans to see me and my band @ Joe's pub in NYC.

Much more to come~
Enjoy!

Recovery

2009-11-18T13:47:00.015-05:00

We're all aware of the many method books and philosophies that are filled with tips on warm ups, practice routines and technical (musical) development. There is a not-so-silent obsession throughout the instrumental community. With our dedication to methods, hours of practice, routines, warm ups, scale studies etc. I feel we don't give enough care to our recovery. There are practically no articles written on maximizing our down time, so I'll discuss what my experience has been.

Just as it's important for us to sleep, breaking from the physical exertion of trumpet playing is valid and necessary. What we do during our down time is important to consider. As I've said in previous blogs, I always try to creatively insert variety into my routine. I try to avoid anything chronic. The same applies to my off time. Here are some quick tips to add to your "tool box" of information. Keep in mind there are no rules, just guidelines. It's important to be aware of how your feel (and manifest) fatigue. Sometimes mental, sometimes physical, and sometimes both!

When I feel physically tired. I spend a good amount of time away from the horn physically but still "staying with the horn". I Work my fingers through passages and hear the the music as if I'm playing; but without the playing. Try it; you'll be surprised how a great deal of headway can be made when the trumpet is not even in your hands! I remember practicing a fast 16th note lick I'd written for a section of Defying Gravity, and relatively unsuccessfully. I began working on it mentally, until I could think through it solidly without error. The next time I picked up the horn, I played it perfectly! The power of our mind!

When I'm mentally exhausted, I make it a point to leave everything music at bay. There are many incredible techniques used to raise awareness of relaxation and recovery. Experiment with your recovery time. Take a walk, visit a new place, try a new food, go dancing, listen to a new artist, SING! Everyone of us is fed in a unique way. Spend time doing things you really enjoy in your off time. Remember to always to add variety!

Check these links out!

~Reiki Healing~

~Alexander Technique~

Can you find the word Wrapt?

Holiday Sale

2009-11-15T18:21:00.002-05:00

I am having a Holiday Sale!

I hope you are blessed!

Joey

Visit my Website

Goldberg Story

2009-11-12T14:28:00.026-05:00

RESONANCE - track 10

Stephanie Cummins; Cello/ Joey Pero; trumpet

Goldberg Variation 1:

Folklore winds a tale of the “Goldberg Variations” that is fanciful and lovely. It is said, that in 1736 while residing in Leipzig as the Polish Royal and Saxon Electoral court Composer, Johann Sebastian Bach would often receive visits from the Russian Ambassador to the Electorate of Saxony Count Keyserlingk, and his court musician, Johann Gottlieb Goldberg. The count was in poor health and would often have Goldberg play harpsichord for him on sleepless nights. One day, the Count asked Bach to write some pieces for Goldberg to play that might uplift his spirits and ease his insomnia. Enter; “The Goldberg Variations.”

Just as the Goldberg Variations were written to help the Count wind down, it also acts as the beginning of the wind down of Resonance. Originally written for keyboard, Joey has once again bridged a gap between old and new while managing to maintain elegance and integrity of the piece by voicing it for trumpet and cello. “The Goldberg Variations” can easily be associated with resonance as there purpose is to act as a cure to insomnia. We would challenge anyone to listen to the Goldberg Variations while trying to sleep; you may not make it past variation 5 before conking out. This is a testament to the power of musical resonance and its ability to penetrate at a biological level. Any and all of Bach’s works could easily have fit on the record we call Resonance. Coincidently, Joey and Stephanie recorded the Goldberg in the same studio that Glenn Gould recorded his iconic 1955 version.

Find out more at;

Purchase a hard copy here;

Get Resonance digitally;

J.S. Bach will always be a source of inspiration and discovery to us. As part of the live adaptation of "Resonance", the band and I play a rock-n-roll version of Goldberg. Stay tuned, there is much more to come~!

Joey

"Resonance" reviewed in the International Trumpet Guild Journal

2009-11-03T16:34:00.042-05:00

The International Trumpet Guild is an organization formed in 1974 to promote communication among trumpet players around the world and to improve the artistic level of performance, teaching and literature associated with the trumpet.

The International Trumpet Guild has been an incredible resource for thousands of musicians throughout it's prestigious 35 year existence. ITG's more than 6,000 members represent 64 countries and include professional and amateur performers, teachers, students, manufacturers, publishers, and others interested in belonging to an organization dedicated to the trumpet profession. ITG is supported by the dues of individual members.

ITG's President, Dr. Kevin E. Eisensmith, (along with myself) would encourage you to click on the “Join ITG” link and become a part of this incredible organization!

Please take a moment to visit the Guild's webpage (below) for further information.

Visit ITG's home on the web:

Join the International Trumpet Guild here:

We are honored that "Resonance" has been reviewed by Dr. Peter Wood, associate professor of trumpet at the University of South Alabama. This article is featured in the October 2009 edition of the ITG Journal.

Joey Pero--Resonance

JoeyPero.com

Joey Pero, trumpet; Simon Boyar, percussion; Freddie Cole, piano and vocals; Daryl Sherman, piano and vocals; Phoebe Snow, vocals; Jack Antonoff, guitar; Adam Nussbaum, drums; Andy Snitzer, tenor saxophone; Artie Reynolds, bass; Bill Moring, upright bass; Paul Livant, guitar; Peter Fish, piano; Ralph Rolle, drums; Robert Walker, clarinet; Roger Rosenberg, baritone saxiphone; Stephanie Cummins, cello

All arrangements by Pero: The Finest Romance; Partita No. 3, BWV 1006, Preludio; Crazy; Birth, based on Handel's Ode to the Birthday of Queen Ann; Defying Gravity; Excerpts from Arutunian Trumpet Concerto; Wrapt; Looking In; Blue Rondo; Goldberg Variations, BWV 988, Variation I; Palladio, Resonance.

Joey Pero has released a highly exciting, virtuosic, and innovative crossover recording that shows off his great technical, musical, and artistic prowess. The CD includes some straight-ahead jazz, some unaccompanied Bach, and a lot of funk/pop/rock influences--an interesting amalgam of musical syles, a la Adam Rapa. Pero studied with Ray Mase and Mark Gould at Juilliard and with Charles Schlueter at the New England Conservatory before touring with Maynard Ferguson's Big Bop Nouveau Band. He sounds equally comfortable in jazz, classical, pop, and funk settings. The CD includes top NYC musicians and opens with The Finest Romance, a hard-swinging chart with singer Freddy Cole. On it, Pero's double-tongued improvisation with wide intervallic leaps shows right away what he features throughout the album: highly virtuosic playing. The second track is a lightning-fast moto perpetuo on J.S. Bach's "Preludio" from his Partita No. 3 (originally for violin). Pero's flawless cicular breathing technique is awe-inspiring on this very angular transcription (he never pauses to breathe from start to finish). His funk interpretation of G. F. Handel's Ode to the Birthday of Queen Ann is fun, yet elegant and tasty; and it features Phoebe Snow, the legendary singer with a voice similar to Aretha Franklin. One of the highlights of the album is Pero's rendition of excerpts from the Arutunian Concerto, accompanied by--believe it or not--electric guitar. It is a highly unique and interesting version and really does work well. Pero also includes a very cool Malaguena/Flight of the Bumblebee-flavored version of Blue Rondo, as well as the first variation from Bach's Goldberg Variations (with cello), on which the duo produces a fine balance and nice Baroque style. Joey Pero is a great creative artist with truly incredible technique and musicality. He plays with a smooth, warm, pure sound quality; and his intonation is spot-on throughout the recording. Moreover, he possesses and enviable Maynard-esque power and range that sounds free, easy, and full--never pinched. While the packaging is very attractive with original artwork, the liner notes are scant; one is forced to go to Pero's hip web site for information on the players and tunes. This is a very diverse and creative album with much to like. Pero is truly an amazing virtuoso--someone certainly to watch and listen for in the years to come. (Peter Wood, associate professor of trumpet, University of South Alabama, Mobile, AL)

You can read this blog and others on my Myspace page. Become one of my friends and listen to some tunes from "Resonance". See you there!

"The Downtown Diaries" reviews my show!

2009-11-03T14:07:00.008-05:00

A very Happy November to everyone,

Friend and fellow blogger Kristina Marino (who has just been nominated for best local blog by Mashable's 3rd annual Open Web Awards) recently blogged about my show at the Metropolitan Room.

Many thanks to Miss Marino for attending and putting her experience to words, uniquely expressed as only she can!

Read the blog entitled "Jazzin' it up a bit..."

Read more of Kristina's award winning blogs at "The Downtown Diaries"

Keep checking back for updates,

Joey

Glowing review from Feinstein's show!

2009-10-21T11:11:00.005-04:00

Dear friends,

The following is a review of our Friday night show at Feinstein's written by Nick Mondello. We had a fantastic time performing for the packed room. Many more to follow; stay tuned!

Joey Pero and His Band - LIVE at Feinstein's - 10/16/09

Trumpet phenom Joey Pero rocked the casbah last night at the ultra-elegant Feinstein's in New York. And, judging from the packed-full house that was there, he probably rocked the cash bar, as well. This was a spectacular - yet truly fun - virtuoso performance by a brilliant young trumpet artist.

In one exciting extended set (which included a deja vu double performance of "Crazy," displaying Pero's vocal skills) the group offered up selections from Pero's widely acclaimed CD, Resonance. Covering an incredibly wide range of tune types from straight ahead jazz ("A Fine Romance"), brilliantly performed classical trumpet literature (the Arutunian Trumpet Concerto and Bach's Goldberg Variations) to Broadway (Wicked's "Defying Gravity"), Pero and Team simply electrified the audience.

Pero's mature-beyond-his-years display of trumpet skill spewed sparks from his trumpets. He has the scream chops of Maynard Ferguson, the technical wizardry of an Allen Vizzutti, and the jazz-tech chops of Clifford Brown (displayed in a near-flawless rendition note-for-note of Clifford's classic solo on "Cherokee"). Pero's rhythmic energy and dynamic subtleties mirror Wynton Marsalis (who gifted Pero with one of his magnificent Monette trumpets). Pero's fine comp skills as witnessed by his original "Wrapt" lead me to believe that there are probably more in the hopper - or should be.

Joey's boyishly engaging onstage persona (almost Elvis-like with tux and scarf donned, spit curls draped over forehead) seems to add nicely to the entire Resonanceconcept (which Pero discussed between tunes).

Pero was supported by a fine quartet of young musicians (Jon Ware, Piano; Pete Abazia, Drums Jeff Little, Bass) including marimba performer Simon Boyar, whose technical and rhythmic skills on the instrument were show-stopping stroboscopic. Wow!

I had the pleasure of being introduced to Joey's parents and some Family who attended. They surely must have been wet-eyed proud of this terrific young man and player whose future has got to be white-hot bright. As I mentioned to them after the wonderful show, "Mr. and Mrs. Pero, I think you can be incredibly proud of Joey. This kid is truly an honest-to-goodness 'American Idol.'"

And he really is, too.

Joey Pero at NYC's Metropolitan Room

2009-09-12T12:57:00.007-04:00

The performance is on Thursday, September 17th in NYC at the Metropolitan Room. We will begin promptly at 9:30pm. Tell your friends, the more the better!

Please make sure to buy tickets online at www.metropolitanroom.com or call 212 206 0440 to make your reservations.

Looking forward to seeing you all!

Much love,

Joey

The Arutunian Experience

2009-07-19T14:52:00.006-04:00

A dear friend of mine shared an experience she had at a Jazz club in Boston in the early 70’s. On the bandstand was the masterful Duke Ellington billed together with the illustrious Count Basie. True to form, the duo came together resonantly, creating an awe-inspiring show for the packed house. What set this particular show apart was the presence of legends Mel Torme’ and Ella Fitzgerald, who had come to watch. Towards the end of the show, the Velvet Fog and the first Lady of song were invited up to share their word. What followed was a barrage of musical and technical prowess completed with the trading of fast lyrical scat lines. “At that moment” my friend said, “it was abundantly clear that every one in the room had been privy to deep and powerful music moment.” When the stars align and incredible music happens, you know it! You don’t have to have aficionado status to understand the waves of experience, talent, knowledge, heart and catharsis that the artists send to the listener.

The recording of “Resonance” added several peek experiences to the list of wonderful moments in my career. Among these moments, was the recording of Alexander Arutunian’s trumpet concerto with friend and guitarist extraordinaire, Jack Antonoff. Jack is a founding member of the break out classic rock band Steel Train. Steel Train (who are signed by Drive Thru Records) has made many waves throughout their ten-year existence, including a rigorous national tours and appearances on “Late Night with Conan O’Brian.”

The original sketch of “Resonance” included my vision of a restyling of Arutunian’s popular Trumpet Concerto. This proved to be one of the only tunes to remain a solid contender on the list of music that was to be recorded. Through the process, of planning a record, tunes are added, subtracted, and added again as part of the trial period for maximum expression. Although of Armenia descent, Arutunian’s trumpet concerto always whispered sounds of a diverse ethnic spectrum. I immediately gravitated towards the simple yet edgy voicing of electric guitar and trumpet. Producer/arranger Peter Fish and I worked together to make salable cuts and reduce (the reduction) of Arutunian’s flashy work.

Watching Jack perform is an incredible experience. His electric stage presence exceeded only by his remarkable musicianship and ease on the guitar, is simply viral! Due to his heavy schedule, we had small “spots” of rehearsal time to prepare for our recording date. With arrangement and trumpet in hand, I walked into our first rehearsal. It was immediately clear that Jack’s learning style is incredibly organic. His amazing style and agility, aid in his quick response to musical comprehension; he can pick anything up by ear. We slowly worked through the once traditional concerto with much excitement, as new sounds emerged. We’d rehearsed three times throughout several months, gaining momentum each time. Partially by design but mostly by accident, our rehearsals led up to “peeking” at the recording session. What happened for me at the session was irreproducible. Jack and I played off each other as if we'd been playing the piece for years. I vividly remember our takes of the slow section; we had honed into each other on a wavelength that happens only on rare occasions. The focus and delicate intensity reeled in everyone present. The colors emoting from Jack’s guitar painted a whole new picture and interaction. Listening to the play back, the stage is set on a hot summer day in a small village in a Mediterranean land. A small group of friends sit and gaze at a calm, dreamy sunset. One listener remarked, “It sounds like Quentin Tarantino meets the trumpet.” The majority of “Resonance’s” sixth track (Arutunian) ended up being our first takes. The magic of this experience resonated as vividly as my friend’s experience at the Jazz club in Boston. These emotions can supersede any unwanted criticism or outside influence, truth lies at a core level within each of us. I encourage everyone to reach for truth within you, and feel the empowerment and perpetuated energy that follows. Best wishes on your journey.

Sincerely yours,

Joey

A long over due update.

2009-07-12T17:11:00.010-04:00

A long over due greeting to all readers! I’m sorry it’s been such a long time since I’ve blogged. It has been a very exciting time for us, and things are moving forward at a blinding pace. Below are a few quotes (with links) to recent reviews of “Resonance.” I’d like to put a public thank you out there to the gentlemen below who took the time to listen and review the record. With so many sounds waves passing through their ears, we were so happy they took the time to listen. These latest reviews found “Resonance” to be exemplary.

As most of you know, the process of artistry is all we have. I’ve been hitting the shed pretty heavily lately, the main reason being that I’ve received inspiration to write several original songs for our next record. For my process, writing down the vivid bursts of songs and melodies that come to me proves to be the easy part. One step further for me, means recreating the sounds and instruments as they occur naturally. Incorporating what we have available to us in order to give the artistic sub-conscious stream justice. I will continue to work toward my goals (as I hope you all do) and keep in communication. Keep following your dreams!

Joey

“Pero follows in the footsteps of trumpeters such as Wynton Marsalis, who are equally at home with the classics or jazz.”

John Henry – Audiophile

Read the rest of John's review here:

“Consider Wynton Marsalis; talented trumpeter, equally adept at playing classical and jazz music. Grammy award winner in both categories and a household name. Now consider Joey Pero. Talented trumpeter, equally adept at playing classical and jazz music. Relatively unknown. For now.”

“This is his debut CD, and it’s an impressive one.”

Jeffery Siegel – Straight No Chaser jazz blog

Read Jeff's review here:

“Listeners simply need to tighten their seat belts and settle in for a wild ride.”

William Ruhlmann – allmusic.com

And just because... here's a horse that can really boogie! Enjoy.

Powerful review of "Resonance" on www.AllAboutJazz.com

2009-06-17T14:11:00.005-04:00

I will be the first to admit that I’ve never been likened to anything remotely athletic, let alone an Olympic athlete. Nick Mondello of www.allaboutjazz.com wrote a powerful review of “Resonance” on the highly esteemed jazz site, stating “Citius, Altius, Fortius-faster, higher, stronger. That is the Olympic motto representing the philosophical and performance goals of its participating athletes. Incredible, fascinating and tremendous are not only the goals, but the results of phenom trumpeter Joey Pero’s Resonance. This is a bravura musical performance of incredible musicianship, “virtu-artistry” and superior production values.” I’d like to send a very special thanks to Mr. Mondello and the All About Jazz staff for the fabulous words and humbling review. We will continue to strive for excellence, and creation for your enjoyment!

Read the article here.

www.allaboutjazz.com was founded in 1995 by Mr. Michael Ricci and has over 100,000 pages of content. It is an advocacy site and aims to raise the awareness of jazz music, its history and its players. All About Jazz has been awarded “The Best Web-Site concentrating on Jazz” seven times by the Jazz Journalist Association. Once you visit the site, its no surprise why AAJ is a tour de force among jazz aficionados worldwide.

Buy a hard copy of “Resonance” at: www.JoeyPero.com

Download “Resonance” on Itunes.

Visit me on MySpace.

Video Online Lessons Now Available!

2009-06-08T17:35:00.005-04:00

Hey friends,

I just posted new videos with information and tips on some of my favorite orchestral excerpts. Visit our YouTube page for a full list of videos. We will continue to post videos and blogs for your viewing/reading pleasure, stay tuned!

As most of you know, education is a huge imperative of Resonance Music Group and myself. Thanks to the wonderful technology that’s available to us, I’m excited to announce that I can now offer personal online video lessons. While it’s my opinion that personal sessions/lessons are the best method for communicating, video conferencing offers personal communication with the convenience of being right in your own home. All you need is a webcam and internal microphone to enable a face-to-face lesson via the Internet. To schedule a time to have a lesson via the Internet or in person, please email us at OreoJype@aol.com. Payments can be made quickly, safely and securely through paypal (no accounts required, protection guaranteed.) Spots are limited, so schedule your lesson today. Many thanks, and I hope to see you soon…face-to-face!

Radio Play on Toronto Jazz 91 FM

2009-05-19T23:36:00.011-04:00

Greetings to all,

I just wanted to write a quick note letting you all know that some tracks from "Resonance" will be played on Jazz 91 FM out of Toronto Canada. Visit http://www.jazz.fm/ between 1-1:30PM for live streaming radio or tune in if it's in your FM reach. If you like what you hear, please let them know what you think. Every bit helps!

All the very best to you, and as always, thank you for the support.

More to come,

Joey

Joey's Solo Debut

2009-05-08T17:59:00.005-04:00

During the Sixties and Seventies, my father played the baritone horn with St. Joe’s drum corps, of Batavia, NY. Almost twenty years after the corps had folded, he played a major roll in the resurrection and organization of the Mighty St. Joe’s Alumni Corps. Founded in 1990 by ten former members or the once World Championship caliber corps, the organization is still running strong and entertaining thousands of fans every year.

Although I was to young to be a member of St. Joe’s alumni, I wore the shirt, often tagging along with my Dad to rehearsals and shows; learning what I could from the great soloists that wailed above the Mighty, Joe’s ensemble.

This clip is from Harrisburg, PA in April of 1994. Mighty St. Joe’s had performed at their annual “Serenade in Brass.” After all the corps had performed, they decided to have an organized “jam” featuring members from all corps that performed. The chart was written by brilliant writer/arranger/guru Larry Kerchner.

Because of my age, they were not going to allow me to play an improv. Solo. Thankfully, friend, teacher and soloist extraordinaire Donny Allen spoke up in my behalf and landed me a spot in the line up. I didn’t have much else going on, but I had that double G, (on Bugle, E on trumpet) so I milked it to the max. I’ll never forget feeling that first rush of excitement through my veins, it was intoxicating, and the crowd kept feeding me. Thinking back, this proved to be a defining moment in my life; performing and entertaining was my destiny.

Joey Pero Performs "MacArthur Park" with Maynard Ferguson

2009-05-05T10:57:00.006-04:00

This clip is from October, 21^st 2005 in Erie, PA.

After my stint with Maynard’s Big Bop Nouveau Band, I got a few opportunities to visit the band when they came through my neck of the woods. It was always great to see my friends and watch their ever-electric performance! My friends involved with the Erie Thunderbirds drum & bugle corps www.eriethunderbirds.com (hailing from Erie, PA) had brought in “the Boss” to perform at their milestone banquet.

Maynard played to a packed house and wowed the crowd with his usual stratospheric swagger. To my surprise, Maynard invited me up to sit in on the “MF Hit Medley”; and perform the opening solo “MacArthur Park”. Absolutely cold, I blew a few notes and was off to the races! Maynard’s energy was in me that night.

Years later, a short clip has surfaced from the archives of Mr. Joe Miller. A thousand thanks to Joe for sharing this and allowing me to relive this amazing moment. Little did I know that this would be one of the last times I’d hang with “the Boss”. Please enjoy!

Maynard Ferguson, quintessential artistry and humanity

2009-04-27T17:56:00.005-04:00

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.

What is Resonance?

2009-04-21T11:47:00.004-04:00

“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.

Learn More: HERE

Cold Fusion on 60 Minutes

2009-04-20T09:53:00.003-04:00

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

Cold fusion on 60 Minutes

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!

Energetics Technologies LLC

Range

2009-04-19T17:34:00.005-04:00

Double Tonguing

2009-04-18T12:37:00.001-04:00

Single Tonguing

2009-04-17T21:07:00.001-04:00

Inauguration Events

2009-04-15T14:19:00.002-04:00

Sunday, January 18th - The Trip

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.

..

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.

Technique - Range and High Note Playing

2009-04-15T14:09:00.003-04:00

Range:

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.

10. Listen, Listen, Listen!!!

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Trumpet Technique: Tonguing

2009-04-14T13:02:00.001-04:00

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.

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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.

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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.

Amazing

2009-04-13T14:27:00.000-04:00

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.

Cheers,
Joey

Challenges: Overcoming fear and discomfort to achieve goals

2009-04-09T13:13:00.000-04:00

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!

The Juilliard School cuts funding for underprivileged children's music programs... NYTimes

2009-04-08T20:30:00.000-04:00

New York Times Article Link

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...

Resonance Record Release: Hosted by RMG, Rogan, and Veuve Clicquot

2009-04-08T13:28:00.000-04:00

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!

Joey