Soundlab studio – DS Sound Labs http://dssoundlabs.com/ Tue, 13 Sep 2022 18:41:19 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://dssoundlabs.com/wp-content/uploads/2021/10/icon-5-120x120.png Soundlab studio – DS Sound Labs http://dssoundlabs.com/ 32 32 Sammi Rae reveals an alluring ‘secret’ https://dssoundlabs.com/sammi-rae-reveals-an-alluring-secret/ Mon, 12 Sep 2022 12:18:34 +0000 https://dssoundlabs.com/sammi-rae-reveals-an-alluring-secret/ New York pop/R&B artist, model and actress Sammi Rae releases her new single/music video, “Secret”, a song about a relationship so intimate it must remain a private secret. Of Moroccan origin, Sammi Rae, alias Samantha Rachel Murciano, began her career singing at the famous Bitter End. Since then she has released a string of gripping […]]]>

New York pop/R&B artist, model and actress Sammi Rae releases her new single/music video, “Secret”, a song about a relationship so intimate it must remain a private secret.

Of Moroccan origin, Sammi Rae, alias Samantha Rachel Murciano, began her career singing at the famous Bitter End. Since then she has released a string of gripping reggaeton singles, including ‘Champagne’, ‘Closer’, ‘City Lights’, ‘Ella Se Atreve’, ‘Baby Baila’, ‘Escapate’ and ‘Nunca’.

Hot on the heels of her well-received Tribeca Records debut ballad “Why Was It So Easy,” produced by Donnie Klang at Loft Sound Studio, Sammi Rae has been hard at work on more upbeat, danceable Pop/R&B music with Joe Lindsay at SoundLab Studios. on Long Island, the fruits of which are on full display with his new single “Secret”.

Inspired by her personal life experiences, Sammi Rae’s music serves as a beacon to others in similar circumstances, encouraging them to pursue their dreams.

“Secret” opens with percolating tones riding a sensual, syncopated, low and erotic rhythm. Sammi’s sultry, creme de la creme voice imbues the lyrics with delicious seductive timbres and silky textures. It’s one of those voluptuous voices that send thrilling chills up and down.

“Come a little closer to me / I’m in the mood, I feel you / There’s no one to see / Whatever we do is between you and me / You know I feel for you / You “is the only thing that concerns me.

Slippery, oozing harmonic leitmotifs give the melody a dripping, dripping flow, both lush and full of brilliant color.

The video, by Insomne ​​Media, focuses on Sammi in a variety of glamorous settings. Dressed in dazzling outfits to match, she reveals her alluring beauty as she recounts her innermost feelings.

Sammi Rae is on a roll! Both chic and enticing, “Secret” draws listeners in through the irresistible vocals of Sammi Rae.

Follow Sammi Rae on Instagram | Twitter | Facebook | Tik Tok | Spotify

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How Flashy Sillah’s ‘Block Report’ is pushing British rap forward https://dssoundlabs.com/how-flashy-sillahs-block-report-is-pushing-british-rap-forward/ Wed, 07 Sep 2022 13:52:30 +0000 https://dssoundlabs.com/how-flashy-sillahs-block-report-is-pushing-british-rap-forward/ Flashy Sillah has his finger on the pulse of British rap and the culture that encompasses the new generation of black British music lovers – and you might be hard pressed to find anyone as enthusiastic as he is right now. The series of interviews of the young man of 24 years, The block report– […]]]>

Flashy Sillah has his finger on the pulse of British rap and the culture that encompasses the new generation of black British music lovers – and you might be hard pressed to find anyone as enthusiastic as he is right now.

The series of interviews of the young man of 24 years, The block report– hosted exclusively on Mixtape Madness’ YouTube channel – is a by-product of the Covid-19 pandemic: it started in 2020 as a way for him to document the news of British music culture as he sat outside his estate in Tottenham, North London. Inspired by the diverse cultural heritage that has enriched his region, as well as talents such as content king Poet and grime superstars Skepta and Jme, Sillah follows in the footsteps of the great Brits in his own unique way. Four seasons and counting, the music geek has already called on Youngs Teflon, Kojey Radical and M1OnTheBeat at the Block Report bench, where in-depth conversations take place about music, football, fashion and more.

Now, The Block Report has taken on a new form as an IRL experience, bringing together intimate-sized crowds for open-mic parties in a bid to give unknown artists a chance to compete for the winning spot. Not only does each entrant get to show off their talent in front of trend setters and potential new fans, but the winner also wins a free music video which is uploaded to Mixtape Madness. Sillah’s exciting and almost childlike penchant for talent discovery gave him the ability to recognize artistic potential and star power in front of the masses. It was this very instinct that led him to select 15-year-old rapper Shakes to perform at his latest event, which went on to win the showcase. Months later, the young artist signed to Sony imprint Dream Life Records and became a viral sensation with his Cord Socials. A-Z freestyle and its appearance on spindle game.

We caught up with Flashy Sillah at No Stars, a North London recording studio, to find out The Block Report’s origin story, his long-term vision for the project, the importance for content creators of have their own platforms, and more.

“Having your own thing, as we all say to artists: ownership is key! Whether it’s a small, medium, or large-scale platform, owning what’s yours is extremely important. »

COMPLEX: You were born and raised in Tottenham, an area in north London that has given us a wealth of talent. What role did your end play in your journey to music?

Flashy Sillah: I borrowed so much from people who came out of my ends like Skepta, Jme, Frisco, Headie One, and even just going to school with M1OnTheBeat – being surrounded by so much inspiration played a big part and that made me more open-minded. Poet, who is a GOAT in the content creation space, is also from Tottenham; it was he who made me think: “Rah! I could do the exact same thing. I can also be a content creator. All of these guys’ hard work has helped break down barriers and opened the door for me to do what I’m doing now.

You first started The block report as a YouTube interview series in 2020, but in just two years it’s become much bigger than that. How did the idea for the show come to you?
I originally had a show on the Cold Drinks Podcast YouTube channel called Sillah’s Sound Lab. It lasted about three episodes and then Covid hit. I said to my cameraman, “Listen, the studio isn’t for rent right now because everyone’s closed, but come to my block, bring your tripod and we’ll shoot on the bench.” I’m just going to report what’s happening on the music scene and my favorite songs of the week. I love the backdrop of my property, how grainy it looks, and I knew my director’s camera could bring out the graininess of that because it’s so clear. And then, it went away on its own! I came up with the name because it’s obviously placed in front of my block, but it’s also based on one of my favorite albums: The war reportby Capone-N-Noreaga.

How would you say The block report is different from other UK music shows?
I would describe it as a place where people who come from a field can hear the opinions of someone like me, who speaks like them or who comes from a place similar to where they come from. It’s up to them to get information from the scene in a way that’s relevant. We see a lot of media – or let’s say interview platforms – that are in studios, but it’s not really consumer-related. The goal of The Block Report is to create relatability. I want it to be something where people from the hoods can see that you don’t have to be a drug dealer or a footballer or a rapper to be successful – you can also be a media guy and be cool.

Talking about music on camera and being able to present yourself in a relevant and interesting way is very difficult to achieve. Not everyone can get away with it. How can you do it so easily?
First and foremost: I have a real love for British musical culture. Being entertaining in front of the camera is just that I’m a human person and able to adapt to any crowd. One day I could be chill with the mandem, and the next day I could be with all the troublemakers [laughs]. Some days you might find me chilling with the emo kids; other days you could find me with the cool white kids or whatever. I think that adaptability is important. I can talk to almost anyone and it’ll be a great conversation, so I’m adapting that to what I do when interviewing artists.

Socket The block report to exist solely online at an actual event must have been difficult, but the ones you’ve had so far have been really successful. Were open-mic events part of the vision from the start, or was it something you thought about later?
It wasn’t part of the vision at all. When I started The block report, it was just supposed to be a YouTube show, but then I went to watch my older brother perform at an open mic night. There were only about thirty people but it was so bright! The presenter who was there was so cold and my brother was taking the stage. The fact that there were only 30 people in the audience meant it was so intimate, and it opened my eyes to so many things I wanted to work on. After that, I thought I’d do an open mic night to Block Report. At the time, we hadn’t done live music for two years because of Covid-19, and people hadn’t discovered artists in a real way for a long time. Once I did I couldn’t to believe this. Honestly, the turnout for the show, I’m still shocked! [Laughs] The second show, however, was much more pressure.

Why was there more pressure the second time around?
It was a competitive week, as it was Jubilee weekend, and I ended up having to delay it. This is the first time I’ve said this but I actually delayed because ticket sales were low. Tickets weren’t selling because everyone was going out for parties. Nobody wants to be in a dark room listening to live music, so I pushed it back until two weeks later. It’s all about being strategic. It wasn’t easy at all, but I loved the result. Changing lives in the music industry is my thing, and that’s what I want to continue doing.

“With open mic events, or just live music events in general, you feel the energy and stage presence of an artist…In my opinion, streaming and online content is about 25% of how you should judge an artist.”

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Garage Media Center is for photo and video shoots https://dssoundlabs.com/garage-media-center-is-for-photo-and-video-shoots/ Sun, 04 Sep 2022 08:00:10 +0000 https://dssoundlabs.com/garage-media-center-is-for-photo-and-video-shoots/ BROCKTON – Nestled in the SoundLab at 60 Skinner St. is a haven for content creators of all walks of life to roam freely and explore their creative visions. Nicole da Silva, the manager of the Garage Media Center, wants creators to have a blank canvas and add their pizzazz to the space. As you […]]]>

BROCKTON – Nestled in the SoundLab at 60 Skinner St. is a haven for content creators of all walks of life to roam freely and explore their creative visions.

Nicole da Silva, the manager of the Garage Media Center, wants creators to have a blank canvas and add their pizzazz to the space.

As you enter the building, white walls and floors meet high industrial ceilings.

The main objective of the establishment is to give the residents of Brockton a place that will encourage their growth.

“Brockton has so much creativity it’s overwhelming, but we don’t have the spaces for that,” da Silva said.

Barbatt Jocelyn, a Brockton resident and director of the SoundLab’s recording studio, understands the challenges teenagers face in Brockton when it comes to extracurricular activities.

“It’s honestly disappointing that more money is being spent on gentrification than on young people, this will ultimately be the future of the city,” Jocelyn said.

Director Czarr Freeman reviews a shot with camera operator Chris Ruiz during a video shoot at the Garage Media Center at SoundLab in Brockton during the center's open house on Sunday August 28, 2022.

“The lack of opportunity for people raised in Brockton is the exact reason why some feel like it’s a place they need to escape. That’s why we’re doing our best to create these opportunities,” Jocelyn said.

The center offers several services to use for a fee, from the podcasting room, a cyclorama wall for music videos and a transparent wall for photo shoots.

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Mobile Fidelity Sound Lab vinyl records aren’t as analog as advertised, class action claims https://dssoundlabs.com/mobile-fidelity-sound-lab-vinyl-records-arent-as-analog-as-advertised-class-action-claims/ Mon, 22 Aug 2022 21:07:56 +0000 https://dssoundlabs.com/mobile-fidelity-sound-lab-vinyl-records-arent-as-analog-as-advertised-class-action-claims/ New to ClassAction.org? Read our newswire disclaimer A proposed class action lawsuit alleges that Mobile Fidelity Sound Lab (MoFi) has falsely advertised for more than a decade that its vinyl records are taken directly from analog master recordings and are free from any kind of digital mastering. The 28-page case shares the fact that analog […]]]>

A proposed class action lawsuit alleges that Mobile Fidelity Sound Lab (MoFi) has falsely advertised for more than a decade that its vinyl records are taken directly from analog master recordings and are free from any kind of digital mastering.

The 28-page case shares the fact that analog recordings, as opposed to digital recordings, are coveted for their superior sound quality and collectability. Because original recording tapes age, only a limited number of analog recordings can be produced, and because analog tapes are used to record songs in a studio, a recording cut from an original analog tape is “as close to studio recording as possible”. get,” the filing reads.

Digital recordings, on the other hand, can be reproduced endlessly, depending on the combination.

The lawsuit says that although Chicago-based Mobile Fidelity Sound Lab labels its vinyl records as “Original Master Recording” or sold as part of the “Ultradisc One Step” series, the company used direct-stream digital technology ( DSD) – a medium for mass-producing vinyl records – in its production line since at least 2011.

According to the lawsuit, vinyl records made through Mobile Fidelity Sound Lab’s DSD production process are inherently less valuable given that they are “no longer in limited supply and were not as close to studio recording.” , despite their high price.

“Had Defendant not misrepresented that the recordings were purely analog recordings, or otherwise disclosed that the recordings included digital mastering in their production line, Plaintiff and the putative band members would not have purchased the recordings or would have paid less for the recordings than they did,” the complaint pleads.

“Cutting” a recording from analog tapes is a time-consuming process and subject to the reality that analog tapes age and deteriorate over time, the suit relays. To avoid this problem, some vinyl records today are made from digital recordings, which means an original analog tape has been copied to a digital recording which is then used to press the vinyl, the case explains.

While this process saves time and money, sound quality can be negatively affected, and LPs made from digital records aren’t as collectable or as valuable as fully analog records, the lawsuit says.

The DSD technology used by Mobile Fidelity Sound Lab captures audio from analog tape at a higher resolution than other formats via high-bitrate sampling, as appropriate. The DSD process, according to the lawsuit, involves the removal of two steps in the plating process of the vinyl record, which is supposed to reveal more musical detail and significantly reduce surface noise.

According to the lawsuit, the defendant record company notes on its website that it “believes that mastering systems should be neutral and transparent” and that “the essential idea is to reveal all detailed musical information about the original recording. without adding deterioration, coloration or other sonic artifacts.Reasonable consumers who view defendant’s representations understand them to mean that its recordings are derived entirely from analog recordings, with no digital mastering or DSD technology, according to the suit.

Although MoFi’s depictions were “largely true” prior to 2011, the label has used digital techniques in its remastering chain since then, the filing says, claiming MoFi’s last non-DSD recording was in 2020.

In July 2022, MoFi engineers revealed that the label used “4x DSD” in its manufacturing process, the lawsuit reports. The complaint says the company then “acted quickly to rectify its misleading advertising and disclosure of the use of digital remastering in the recordings”, and now puts its use of DSD front and center on product pages.

“These ‘corrective’ representations demonstrate that not only were MoFi’s misrepresentations and omissions knowingly made, but that MoFi failed to disclose or otherwise misrepresent material information to consumers regarding MoFi’s production process,” alleges the case.

The lawsuit is intended to cover all consumers in the United States who purchased a record from Mobile Fidelity Sound Lab before July 15, 2022.

Get class action news delivered to your inbox – sign up for ClassAction.org’s free weekly newsletter here.

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The Bristol Press – Bristol Arts and Innovation Magnet School organizes tours, presentations https://dssoundlabs.com/the-bristol-press-bristol-arts-and-innovation-magnet-school-organizes-tours-presentations/ Thu, 18 Aug 2022 16:56:16 +0000 https://dssoundlabs.com/the-bristol-press-bristol-arts-and-innovation-magnet-school-organizes-tours-presentations/ @DeanIWright BRISTOL – More than a thousand people have walked through the halls of Bristol Arts and Innovation Magnet School as part of a pair of organized tours of the former Bristol High School and Memorial Boulevard School over the past two weeks, have said Bristol Public Schools officials. “It was important to us to […]]]>

@DeanIWright

BRISTOL – More than a thousand people have walked through the halls of Bristol Arts and Innovation Magnet School as part of a pair of organized tours of the former Bristol High School and Memorial Boulevard School over the past two weeks, have said Bristol Public Schools officials.

“It was important to us to maintain the historic integrity of the space and we recognize that this is a building, but it is a building that represents generations of stories,” the deputy superintendent said. of the BPS, Dr. Michael Dietter, and chairman of the school building committee. construction.

The school is recognized on Connecticut’s Register of Historic Places and will host a final community tour and alumni day on August 20 in preparation for welcoming students to the school on August 29. The event is scheduled from 10 a.m. to 2 p.m. and open to the public. The school administration also plans to hold a special presentation with city officials to further celebrate the occasion.

With the opening of BAIMS, it will mark nearly 100 years since the building opened as Bristol High School. New courses offered to students include Visual Arts, Musical Arts; television, video and theater production; entertainment, sports and event management; as well as marketing and communication.

Extended courses allowed to students at Bristol Central and Bristol Eastern grammar schools include majors in engineering and technical sciences; health and medical sciences; hotel management, education, arts; as well as business and communications.

Because it is an intra-district magnet school, students who live in Bristol as well as those attending magnet programs or parish programs in or out of town and homeschooled students can attend. Approximately 90 to 95 students will enter each class. BAIMS is considered a college but will also host classes every other day for high schools by course selection. Enrollment of students in grades six through eight is determined by lottery.

Among its additions, a new gym has been added to the BAIMS building, a functional recording studio and sound lab, and black box theater spaces in addition to its renovated, state-of-the-art community theater.

Published in The Bristol Press, Bristol on Thursday August 18th, 2022 12:53 PM. Updated: Thursday, August 18, 2022 12:55 PM.

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T2C Interviews Beth Malone as The Unsinkable Molly Brown Is Digitally Released https://dssoundlabs.com/t2c-interviews-beth-malone-as-the-unsinkable-molly-brown-is-digitally-released/ Tue, 02 Aug 2022 04:06:18 +0000 https://dssoundlabs.com/t2c-interviews-beth-malone-as-the-unsinkable-molly-brown-is-digitally-released/ The production of the Transport Group of The unsinkable Molly Brown won the 2020 Off-Broadway Award for Best Revival and was nominated for the Drama Desk. It was in the middle of her critically acclaimed run at the Abrons Arts Center in New York when the COVID shutdown happened. Meredith Willson’s Reworked Molly Brown Version […]]]>

The production of the Transport Group of The unsinkable Molly Brown won the 2020 Off-Broadway Award for Best Revival and was nominated for the Drama Desk. It was in the middle of her critically acclaimed run at the Abrons Arts Center in New York when the COVID shutdown happened. Meredith Willson’s Reworked Molly Brown Version Starred Tony Award Nominee Beth Malone in the title role. T2C spoke with Beth about life, the album and what’s next.

Also in the cast was David Aron Damane (The Book of Mormon) as JJ, Whitney Bashor (MJ: The Musical) as Julia, Omar Lopez-Cepero (On your feet!) as Vincenzo, Alex Gibson (SpongeBob SquarePants) as Erich and Paolo Montalban (Pacific Openings) like Arthur. This version of The Unsinkable Molly Brown, seen regionally in Denver, Colorado, and St. Louis, Missouri, has music and lyrics by Willson (The Music Man)with additional songs from his catalog, and a new book (based on the original by Richard Morris) and new lyrics by Tony nominee Dick Scanlan (Completely modern millie, everyday delight). The music is adapted by Michael Rafter (Resolutely modern Millie), and the production is directed and choreographed by three-time Tony winner Kathleen Marshall (Anything goes, the pajama game). The musical tells “the rags-to-riches story of Margaret ‘Molly’ Brown – a turn-of-the-century heroine of the underdog, champion of women’s rights, fighter for labor rights, advocate for workplace reform. immigration – and, most famously, a survivor of the Titanic disaster.But Brown is also a progressive woman, rejecting her destiny in a world ruled by men.

She hasn’t fallen yet! Presented by the award-winning Transport Group Production in collaboration with Music Theater International, this studio recording of The Unsinkable Molly Brown will be available everywhere, digitally, on Friday, July 22. The unsinkable Molly Brown features original score and lyrics by Meredith Willson plus unknown gems from Willson’s vault, with new book and added lyrics by Dick Scanlan, and liner notes by Luis Miranda. The album was recorded on December 12, 2021.

“In addition to preserving a show that has been one of the most joyful and fulfilling of my career,

part of the fun of recording this score is introducing Meredith Willson songs that no one else had

never heard before the new The Unsubmersible Molly Brown. –Dick Scanlan.

The Unsinkable Molly Brown is produced by Michael Croiter, Michael Rafter and Dick Scanlan. The album features orchestrations by Larry Hochman and additional orchestrations by Michael Starobin and Bruce Coughlin. Meredith Willson’s musical adaptation was provided by Michael Rafter. The album is recorded by Andy Manganello. Musical coordination by Joey Chancey, musical preparation by Howard Begin. Musical assistance by Nick Stephens with Jill Dell’Abate as production manager. Script supervision, Covid compliance and production assistance by Stephanie Prugh. The recording was mixed and edited by Michael Croiter at Yellow Sound Lab, New York, NY, and mastered by Michael Fossenkemper, Turtle Tone Mastering, New York, NY. The album was recorded at Power Station in Berklee, New York, NY. MTI is the exclusive licensor of performance rights to The Unsinkable Molly Brown.

Transport cast featured on album includes Tony nominee Beth MaloneDavid Aron Damane, Whitney Bashor, Omar Lopez-Cepero, Alex Gibson, Paolo Montalban, Paula Leggett Chase, Lauryn Ciardullo, Karl Josef Co, Kaitlyn Davidson, Tyrone Davis, Jr., Gregg Goodbrod, Michael Halling, Nikka Graff Lanzarone, Keven Quillon and Coco Smith.

The group is under the direction of Joey Chancey. With Meg Zervoulis on acoustic piano and synth, Suzy Perelman on violin, Joe Wallace on double bass, Micah Burgess on arch top, steel strings, banjo and mandolin. John Skinner plays alto saxophone, clarinet, flute and piccolo, and Justin Vance plays flute, clarinet, bass clarinet and tenor saxophone. The group is completed by Jami Dauber on trumpet and flugelhorn, Alex Jeun on tenor and bass trombone and Barbara Merjan on percussion and drums.

Video by Magda Katz

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Cast Recording of THE UNSUBMERSIBLE MOLLY BROWN with Beth Malone and more is now available https://dssoundlabs.com/cast-recording-of-the-unsubmersible-molly-brown-with-beth-malone-and-more-is-now-available/ Mon, 25 Jul 2022 17:45:49 +0000 https://dssoundlabs.com/cast-recording-of-the-unsubmersible-molly-brown-with-beth-malone-and-more-is-now-available/ She hasn’t fallen yet! Presented by the award-winning Transport Group production in collaboration with Music Theater International, this studio recording of The Unsinkable Molly Brown is out now. The Unsinkable Molly Brown features original score and lyrics by Meredith Willson plus unknown gems from Willson’s vault, with new book and added lyrics by Dick Scanlan, […]]]>

She hasn’t fallen yet! Presented by the award-winning Transport Group production in collaboration with Music Theater International, this studio recording of The Unsinkable Molly Brown is out now. The Unsinkable Molly Brown features original score and lyrics by Meredith Willson plus unknown gems from Willson’s vault, with new book and added lyrics by Dick Scanlan, and liner notes by Luis Miranda. The album was recorded on December 12, 2021.

Listen below!

“As well as preserving a show that has been one of the happiest and most fulfilling of my career, part of the thrill of recording this score is introducing songs by Meredith Willson that no one has ever heard before. the new The Unsinkable Molly Brown.” -Dick Scanlan.

The Unsinkable Molly Brown is produced by Michael Croiter, Michael Rafter and Dick Scanlan. The album features orchestrations by Larry Hochman and additional orchestrations by Michael Starobin and Bruce Coughlin. Meredith Willson’s musical adaptation was provided by Michael Rafter. The album is recorded by Andy Manganello. Musical coordination by Joey Chancey, musical preparation by Howard Begin. Musical assistance by Nick Stephens with Jill Dell’Abate as production manager. Script supervision, Covid compliance and production assistance by Stephanie Prugh. The recording was mixed and edited by Michael Croiter at Yellow Sound Lab, New York, NY, and mastered by Michael Fossenkemper, Turtle Tone Mastering, New York, NY. The album was recorded at Power Station in Berklee, New York, NY. MTI is the exclusive licensor of performance rights to The Unsinkable Molly Brown.

The cast of The Transport Group featured on the album includes Tony Award nominee Beth Malone, David Aron Damane, Whitney Bashor, Omar Lopez-Cepero, Alex Gibson, Paolo Montalban, Paula Leggett Chase, Lauryn Ciardullo, Karl Josef Co, Kaitlyn Davidson, Tyrone Davis, Jr., Gregg Goodbrod, Michael Halling, Nikka Graff Lanzarone, Keven Quillon and CoCo Smith.

The group is under the direction of Joey Chancey. With Meg Zervoulis on acoustic piano and synth, Suzy Perelman on violin, Joe Wallace on double bass, Micah Burgess on arch top, steel strings, banjo and mandolin. John Skinner plays alto saxophone, clarinet, flute and piccolo, and Justin Vance plays flute, clarinet, bass clarinet and tenor saxophone. The group is completed by Jami Dauber on trumpet and flugelhorn, Alex Jeun on tenor and bass trombone and Barbara Merjan on percussion and drums.

List of tracks:

1. I’m Not Dead Yet (Molly, Vincenzo, Arthur, Erich, William, Miners)

2. The Wonderful Plan (Molly, Julia)

3. Just Becuz (Vincenzo, Erich, Arthur, Company)

4. I already started (JJ, Vincenzo, Erich, Arthur)

5. Dancing to the Saddle Rock (Orchestra)

6. Belly Up to the Bar, Boys (Molly, Arthur, Erich, Vincenzo, Julia, JJ, Company)

7. I Already Began – Reprise (Vincenzo)

8. I’ll Never Say No/My Own Brass Bed (JJ, Molly)

9. He’s My Friend (Arthur, Vincenzo, Erich, Baby Doe, Tabor, Company)

10. Are you sure? (Molly, JJ, Tabor, Baby Doe, Company)

11. First Act Finale (Molly, JJ)

12. Beautiful People of Denver / The Sacred 36 (Molly, JJ, Louise Sneed-Hill, Company)

13. Share the Luck / He’s My Friend – Reprise (Molly, Company)

14. I would like to change everything about you (JJ, Molly)

15. Cuppa Tea (Julia, Molly, Louise Sneed-Hill, Sacred 36 Ladies)

16. If We Can-Can (Maud, Women)

17. The Dolce Trio

Dolce Far Niente (The Dolce Trio)

The same little chapel (JJ)

I may never fall in love with you (Molly)

18. Wait for Me (Molly)

19. Share the Luck – Reprise (Molly, Company)

20. Exit Music (Orchestra)

21. Bonus Track: Colorado My Home

The Transport Group’s production of The Unsinkable Molly Brown won the 2020 Off-Broadway Award for Best Revival and was nominated for the Drama Desk. It was in the middle of her critically acclaimed run at the Abrons Arts Center in New York when the COVID shutdown happened. The reworked version of Molly Brown by Meredith Willson stars Tony Award nominee Beth Malone in the title role with David Aron Damane (The Book of Mormon) as JJ, Whitney Bashor (MJ: The Musical) in the role of Julia, Omar Lopez-Cepero (On ​​Your Feet!) as Vincenzo, Alex Gibson (SpongeBob SquarePants) as Erich, and Paolo Montalban (Pacific Overtures) as Arthur. This version of The Unsinkable Molly Brown, seen regionally in Denver, Colorado, and St. Louis, Missouri, has music and lyrics by Willson (The Music Man), with additional songs from his catalog, and a new book ( based on the original by Richard Morris) and new lyrics by Tony-nominated Dick Scanlan (Thoroughly Modern Millie, Everyday Rapture). The music is adapted by Michael Rafter (Thoroughly Modern Millie), and the production is directed and choreographed by three-time Tony winner Kathleen Marshall (Anything Goes, The Pajama Game). The musical tells “the rags-to-riches story of Margaret ‘Molly’ Brown – a turn-of-the-century heroine of the underdog, champion of women’s rights, fighter for labor rights, advocate for workplace reform. immigration – and, most famously, a survivor of the Titanic disaster.” But Brown is also a progressive woman, rejecting her destiny in a world ruled by men.

About Music Theater International

Music Theater International (MTI) is one of the world’s leading theatrical licensing agencies, granting theaters worldwide the right to perform the largest selection of musicals from Broadway and beyond. Founded in 1952 by composer Frank Loesser and orchestrator Don Walker, MTI is a driving force in advancing musical theater as a dynamic and engaging art form. MTI works directly with the composers, lyricists, and writers of these musicals to provide official scripts, musical materials, and dynamic theater resources to more than 100,000 professional, community, and school theaters across the United States and in more than 150 countries around the world. MTI is particularly dedicated to educational theater and has created special collections to meet the needs of various types of performers and audiences. MTI’s Broadway Junior™ shows are 30- and 60-minute musicals intended for performance by elementary and middle school performers, while MTI’s School Editions are musicals rated for performance by high school students. MTI maintains its global headquarters in New York with additional offices in London (MTI Europe) and Melbourne (MTI Australasia).

LEARN MORE ABOUT BROADWAY RECORDS:

Broadway Records is the leading Grammy®-award-winning recording company dedicated to releasing the most popular and current recordings of the Broadway cast, as well as preserving the legacy of musical theater repertoire and theater singers. Edited by Broadway Records President and Founder Van Dean, recent releases include the new Off-Broadway cast recording of ASSASSINS, the new Broadway cast recording of Caroline, Or Change, If The Fates Allow: The Hadestown Holiday Album, Grammy® nominated Some Lovers by Burt Bacharach and Stephen Sater, Snapshots by Grammy® nominated Stephen Schwartz, The Lehman Trilogy, A Little Brains, A Little Talent by Randy Rainbow, Legacy: Two Song Cycles by Ahrens and Flaherty, the Grammy® and Tony Award-winning cover of The Color Purple, the Tony Award®-winning and Grammy®-nominated Once On This Island cover, Grammy®-nominated Matilda The Musical, Fiddler on the Roof (2015 revival) and My Fair Lady (2018 revival), Anastasia, Bandstand, Groundhog Day, The Lightning Thief, and NBC TV events, “The Wiz Live!” and “Peter Pan Live!” plus solo albums by Patti LuPone, Lea Salonga, Brian Stokes Mitchell, Jessica Vosk, Kyle Taylor Parker and many more. The label’s critically acclaimed “Live at Feinstein’s/54 Below” series features top Broadway stars including Aaron Tveit, Annaleigh Ashford, Norbert Leo Butz, Sierra Boggess, Laura Benanti, Robbie Rozelle, Adam Pascal & Anthony Rapp , Micky Dolenz and many more. . Broadway Records’ philanthropic efforts also include the music videos “Broadway For Orlando: What The World Needs Now is Love”, Broadway United’s “We Are The World” and “Broadway Kids Against Bullying: I Have a Voice” and the benefit From Broadway With Love concerts for Sandy Hook, Orlando (Emmy Award for Sound) and Parkland. www.BroadwayRecords.com

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Meet a Musician: Marta Richardson Describes Her Violin Music as Improvised, Ethereal | Entertainment https://dssoundlabs.com/meet-a-musician-marta-richardson-describes-her-violin-music-as-improvised-ethereal-entertainment/ Wed, 20 Jul 2022 16:00:00 +0000 https://dssoundlabs.com/meet-a-musician-marta-richardson-describes-her-violin-music-as-improvised-ethereal-entertainment/ Marta Richardson has associated herself with poets and painters, “like-minded” people who, as she describes, are wired the same as her. “They can have a whole different genre, a whole different art form,” she said. “But when we collaborate, we really connect.” The violinist is a veteran of the Greensboro Symphony Orchestra and has worked […]]]>

Marta Richardson has associated herself with poets and painters, “like-minded” people who, as she describes, are wired the same as her.

“They can have a whole different genre, a whole different art form,” she said. “But when we collaborate, we really connect.”

The violinist is a veteran of the Greensboro Symphony Orchestra and has worked as a music teacher with Guilford County Schools.

In a recent interview, Richardson talked about playing the electric violin, one of his favorite songs called “Work” and incorporating kindness into his sound.

How did you get interested in music?

I’m originally from Greensboro. I went to Lindley Elementary, Lindley Junior High and Grimsley, then went to UNCG and went to music school.

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I played in the Youth Orchestra, played in the Greensboro Symphony for 20 years.

My first musical experience, we had a kindergarten teacher at the Lutheran church I went to, and she let me in early, and she let me play the piano in the community hall. I had no vocabulary for musical terms, like release, tension and harmony. But, I was sitting at that piano, and I think that’s where my love of sound started, and I was doing harmonies. And the sunlight was coming through, and I felt really close to God.

As a teenager, I was invited to go to another church, where there were hippies playing guitar, drums and keyboards. And someone said, “Marta bring your violin.” It was the coolest thing, and that’s where I started learning to improvise and play by ear, and that’s where I learned to play in the moment. Back then, people didn’t know what to do with a violinist in a band. We were kind of an oddity in the 70s.

What are some of your musical influences?

I love listening to Jean Luc-Ponty, the jazz violinist. I wanted to be in the jazz ensemble at UNCG. But, they were all guys, there were no women then, and I was too cowardly to try. I’m still sorry for not having tried.

I love Joni Mitchell. I think Joni’s music has helped a lot of young women embrace their femininity, especially if you come into a male-dominated culture with conductors and teachers and studio guys. You have to know how to manage all that. She helped me understand some things.

And I love Phil Keaggy’s music. He is better known in Christian circles. But he’s an instrumentalist, and he worked a lot with looping stations, before most people knew what a looping station was, and that’s kind of my thing now, working with looping stations loop.

How would you describe your music?

It depends who I’m playing with. I am quite flexible. My personal style, however, is more improvisational. People have described it as ethereal, evocative.

It’s not so abstract that people can’t enjoy it. I’m looking for a sound that’s beautiful, that people like, and that I can go in a lot of directions with. And I like to play with painters, singer-songwriters and poets.

What does your creative process look like?

When I play spontaneously, I pray for the sound. Sound can change the atmosphere of the room. It can change the state of the human heart. I want some kindness in my sound. With (the poet) Josephus Thompson, I played some pretty tough stuff about people going through tough, traumatic things. And when you get to play with a person, who uncovers their soul and their wounds, it’s a complete and total honor.

Can you tell me about the electric violin you play?

My acoustic violin comes from my grandfather in Germany. I only got to go once, and he told me if I could play the violin, I could take it home. It’s a bit beat up, but it got me through college.

But I started having neck problems, and it’s hard to do two and a half hours, several nights in a row if you have neck problems. So someone suggested I consider an electric violin. I went to a store in Durham and fell in love with a store behind a glass door.

I came home, I said to my husband: “I found the violin of my dreams. And he was like, “No way, it’s more than our car.” So I applied for a regional artist scholarship, and while I was waiting for that, I went to a church in High Point, and this woman came up to me and said, “Do you your own CD?

I said, “No, not yet. I’m saving for this instrument. I’m waiting to hear about a grant. And she said, “Whatever the grant doesn’t pay, I’ll pay the rest.”

I didn’t get the one behind the glass door, because there were some things I needed to have, and it needed to be light. But I have one made by John Jordan, it has maple veneers, it’s made from Royal Paulownia wood, which makes it light. It has five strings, instead of four.

If you could open an exhibition for any artist, who would it be and why?

I don’t know who wants a solo violinist, but if Peter Gabriel or David Gilmore called me, I’d probably mortgage the house to go play for free.

Do you have a favorite song or number that you like to play?

I like to improvise. I love working on my loop station. I can do this for hours and hours and hours. There’s a song that I kind of composed myself. It’s called “Work”. It was when I was in a band called Songs of Water, and when we went to record it, all of a sudden there was this thunderstorm and this rain, and it’s not that you want when you save.

So in my heart, “Work” was about how God’s heart is for people who feel far from him. And they took the microphones and put them on the porch, and picked up the sound, and as soon as we finished recording the storm started. It’s just a little two-minute piece, but I love performing it and telling the story.

What is the most unusual thing that has ever happened during one of your performances?

Something unusual happened in the studio. I was working with Tom Rowan at Sound Lab. He was in the control room, setting the levels, and I was in the recording space, wondering what was taking him so long. I was warming up and getting an idea of ​​the room. After a few minutes he came out and said, “You didn’t hear any of that, did you?” I said, “Heard anything?” He said, “I played, thinking you could hear what I was playing, and whatever you were playing matched the rhythm, the sound, the key, everything.”

I made a podcast with a friend of mine, and I’d like to archive it. We’re also going to do workshops at Sawtooth in Winston-Salem. Also, I plan to attend church for the first time in three years, Gate City Vineyard.

I love playing in wineries and art galleries, and hope more will open (as COVID-19 recedes).

— As told to Robert C. Lopez, roberto.lopez79@gmail.com

— As told to Robert C. Lopez, roberto.lopez79@gmail.com

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Get a first listen to Beth Malone’s “I Ain’t Down Yet” from THE UNSINKABLE MOLLY BROWN studio recording https://dssoundlabs.com/get-a-first-listen-to-beth-malones-i-aint-down-yet-from-the-unsinkable-molly-brown-studio-recording/ Wed, 20 Jul 2022 14:44:56 +0000 https://dssoundlabs.com/get-a-first-listen-to-beth-malones-i-aint-down-yet-from-the-unsinkable-molly-brown-studio-recording/ She hasn’t fallen yet! Presented by the award-winning Transport Group Production in collaboration with Music Theater International, this studio recording of The Unsinkable Molly Brown will be available everywhere, digitally, on Friday, July 22. The Unsinkable Molly Brown features original score and lyrics by Meredith Willson plus unknown gems from Willson’s vault, with new book […]]]>

She hasn’t fallen yet! Presented by the award-winning Transport Group Production in collaboration with Music Theater International, this studio recording of The Unsinkable Molly Brown will be available everywhere, digitally, on Friday, July 22. The Unsinkable Molly Brown features original score and lyrics by Meredith Willson plus unknown gems from Willson’s vault, with new book and added lyrics by Dick Scanlan, and liner notes by Luis Miranda. The album was recorded on December 12, 2021.

Get a first listen of Beth Malone singing “I Ain’t Down Yet” here!

The Unsinkable Molly Brown is produced by Michael Croiter, Michael Rafter and Dick Scanlan. The album features orchestrations by Larry Hochman and additional orchestrations by Michael Starobin and Bruce Coughlin. Meredith Willson’s musical adaptation was provided by Michael Rafter. The album is recorded by Andy Manganello. Musical coordination by Joey Chancey, musical preparation by Howard Begin. Musical assistance by Nick Stephens with Jill Dell’Abate as production manager. Script supervision, Covid compliance and production assistance by Stephanie Prugh. The recording was mixed and edited by Michael Croiter at Yellow Sound Lab, New York, NY, and mastered by Michael Fossenkemper, Turtle Tone Mastering, New York, NY. The album was recorded at Power Station in Berklee, New York, NY. MTI is the exclusive licensor of performance rights to The Unsinkable Molly Brown.

The cast of The Transport Group featured on the album includes Tony Award nominee Beth Malone, David Aron Damane, Whitney Bashor, Omar Lopez-Cepero, Alex Gibson, Paolo Montalban, Paula Leggett Chase, Lauryn Ciardullo, Karl Josef Co, Kaitlyn Davidson, Tyrone Davis, Jr., Gregg Goodbrod, Michael Halling, Nikka Graff Lanzarone, Keven Quillon and CoCo Smith.

The group is under the direction of Joey Chancey. With Meg Zervoulis on acoustic piano and synth, Suzy Perelman on violin, Joe Wallace on double bass, Micah Burgess on arch top, steel strings, banjo and mandolin. John Skinner plays alto saxophone, clarinet, flute and piccolo, and Justin Vance plays flute, clarinet, bass clarinet and tenor saxophone. The group is completed by Jami Dauber on trumpet and flugelhorn, Alex Jeun on tenor and bass trombone and Barbara Merjan on percussion and drums.

List of tracks:

1. I’m Not Dead Yet (Molly, Vincenzo, Arthur, Erich, William, Miners)

2. The Wonderful Plan (Molly, Julia)

3. Just Becuz (Vincenzo, Erich, Arthur, Company)

4. I already started (JJ, Vincenzo, Erich, Arthur)

5. Dancing to the Saddle Rock (Orchestra)

6. Belly Up to the Bar, Boys (Molly, Arthur, Erich, Vincenzo, Julia, JJ, Company)

7. I Already Began – Reprise (Vincenzo)

8. I’ll Never Say No/My Own Brass Bed (JJ, Molly)

9. He’s My Friend (Arthur, Vincenzo, Erich, Baby Doe, Tabor, Company)

10. Are you sure? (Molly, JJ, Tabor, Baby Doe, Company)

11. First Act Finale (Molly, JJ)

12. Beautiful People of Denver / The Sacred 36 (Molly, JJ, Louise Sneed-Hill, Company)

13. Share the Luck / He’s My Friend – Reprise (Molly, Company)

14. I would like to change everything about you (JJ, Molly)

15. Cuppa Tea (Julia, Molly, Louise Sneed-Hill, Sacred 36 Ladies)

16. If We Can-Can (Maud, Women)

17. The Dolce Trio

Dolce Far Niente (The Dolce Trio)

The same little chapel (JJ)

I may never fall in love with you (Molly)

18. Wait for Me (Molly)

19. Share the Luck – Reprise (Molly, Company)

20. Exit Music (Orchestra)

21. Bonus Track: Colorado My Home

The Transport Group’s production of The Unsinkable Molly Brown won the 2020 Off-Broadway Award for Best Revival and was nominated for the Drama Desk. It was in the middle of her critically acclaimed run at the Abrons Arts Center in New York when the COVID shutdown happened. The reworked version of Molly Brown by Meredith Willson stars Tony Award nominee Beth Malone in the title role with David Aron Damane (The Book of Mormon) as JJ, Whitney Bashor (MJ: The Musical) in the role of Julia, Omar Lopez-Cepero (On ​​Your Feet!) as Vincenzo, Alex Gibson (SpongeBob SquarePants) as Erich, and Paolo Montalban (Pacific Overtures) as Arthur. This version of The Unsinkable Molly Brown, seen regionally in Denver, Colorado, and St. Louis, Missouri, has music and lyrics by Willson (The Music Man), with additional songs from his catalog, and a new book ( based on the original by Richard Morris) and new lyrics by Tony-nominated Dick Scanlan (Thoroughly Modern Millie, Everyday Rapture). The music is adapted by Michael Rafter (Thoroughly Modern Millie), and the production is directed and choreographed by three-time Tony winner Kathleen Marshall (Anything Goes, The Pajama Game). The musical tells “the rags-to-riches story of Margaret ‘Molly’ Brown – a turn-of-the-century heroine of the underdog, champion of women’s rights, fighter for labor rights, advocate for workplace reform. immigration – and, most famously, a survivor of the Titanic disaster.” But Brown is also a progressive woman, rejecting her destiny in a world ruled by men.

About Music Theater International

Music Theater International (MTI) is one of the world’s leading theatrical licensing agencies, granting theaters worldwide the right to perform the largest selection of musicals from Broadway and beyond. Founded in 1952 by composer Frank Loesser and orchestrator Don Walker, MTI is a driving force in advancing musical theater as a dynamic and engaging art form. MTI works directly with the composers, lyricists, and writers of these musicals to provide official scripts, musical materials, and dynamic theater resources to more than 100,000 professional, community, and school theaters across the United States and in more than 150 countries around the world. MTI is particularly dedicated to educational theater and has created special collections to meet the needs of various types of performers and audiences. MTI’s Broadway Junior™ shows are 30- and 60-minute musicals intended for performance by elementary and middle school performers, while MTI’s School Editions are musicals rated for performance by high school students. MTI maintains its global headquarters in New York with additional offices in London (MTI Europe) and Melbourne (MTI Australasia).

LEARN MORE ABOUT BROADWAY RECORDS:

Broadway Records is the leading Grammy®-award-winning recording company dedicated to releasing the most popular and current recordings of the Broadway cast, as well as preserving the legacy of musical theater repertoire and theater singers. Edited by Broadway Records President and Founder Van Dean, recent releases include the new Off-Broadway cast recording of ASSASSINS, the new Broadway cast recording of Caroline, Or Change, If The Fates Allow: The Hadestown Holiday Album, Grammy® nominated Some Lovers by Burt Bacharach and Stephen Sater, Snapshots by Grammy® nominated Stephen Schwartz, The Lehman Trilogy, A Little Brains, A Little Talent by Randy Rainbow, Legacy: Two Song Cycles by Ahrens and Flaherty, the Grammy® and Tony Award-winning cover of The Color Purple, the Tony Award®-winning and Grammy®-nominated Once On This Island cover, Grammy®-nominated Matilda The Musical, Fiddler on the Roof (2015 revival) and My Fair Lady (2018 revival), Anastasia, Bandstand, Groundhog Day, The Lightning Thief, and NBC TV events, “The Wiz Live!” and “Peter Pan Live!” plus solo albums by Patti LuPone, Lea Salonga, Brian Stokes Mitchell, Jessica Vosk, Kyle Taylor Parker and many more. The label’s critically acclaimed “Live at Feinstein’s/54 Below” series features top Broadway stars including Aaron Tveit, Annaleigh Ashford, Norbert Leo Butz, Sierra Boggess, Laura Benanti, Robbie Rozelle, Adam Pascal & Anthony Rapp , Micky Dolenz and many more. . Broadway Records’ philanthropic efforts also include the music videos “Broadway For Orlando: What The World Needs Now is Love”, Broadway United’s “We Are The World” and “Broadway Kids Against Bullying: I Have a Voice” and the benefit From Broadway With Love concerts for Sandy Hook, Orlando (Emmy Award for Sound) and Parkland. www.BroadwayRecords.com

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THE SONGS OF LINDA RONSTADT Today https://dssoundlabs.com/the-songs-of-linda-ronstadt-today/ Fri, 15 Jul 2022 19:51:41 +0000 https://dssoundlabs.com/the-songs-of-linda-ronstadt-today/ Broadway singer Elizabeth Ward Land’s new album – Still Within the Sound of My Voice: The Songs of Linda Ronstadt – is out on CD and digital, and is out today, Friday, July 15. A special vinyl edition of the album will be released later this year. Touching on genres such as rock, country, folk, […]]]>

Broadway singer Elizabeth Ward Land’s new album – Still Within the Sound of My Voice: The Songs of Linda Ronstadt – is out on CD and digital, and is out today, Friday, July 15. A special vinyl edition of the album will be released later this year. Touching on genres such as rock, country, folk, big band and mariachi, Elizabeth Ward Land finds her perfect vocal chord in this tribute to the great Linda Ronstadt. The concert version was awarded the Bistro Award 2020 for “Outstanding Tribute Show”. The album is produced by Ken Land and Lee Lessack, with Karen Mulvey and Andrew Needleman serving as executive producers. Still Within the Sound of My Voice features arrangements by Andrew David Sotomayor and vocal arrangements by Joel Waggoner. The album is now available on Amazon.com, Barnes & Noble or Spotify.

Listen below!

Elizabeth Ward Land will star as “Norma Desmond” in the Andrew Lloyd Webber, Don Black and Christopher Hampton musical Sunset Boulevard at the Music Theater Connecticut in Norwalk, CT from September 16-October 2. Elizabeth will celebrate the album with concerts of Still Within the Sound of My Voice in Norwalk, CT on August 6 and Paper Mill Playhouse’s Brookside Cabaret Series in Millburn, NJ from August 31 through September 3, with additional dates and venues to be announced. announce. For more information, please visit ElizabethWardLand.com.

Elizabeth recently completed a run in The Bedwetter – the acclaimed musical by Sarah Silverman, Josh Harmon and Adam Schlesinger at Off-Broadway’s Atlantic Theater Company.

On Still Within the Sound of My Voice: The Songs of Linda Ronstadt, Elizabeth uses her remarkable voice and creative arrangements to explore songs from every genre of Ronstadt’s legendary career, ranging from effervescent pop (“Heat Wave”) to catchy rock (“You’re No Good”) to sophisticated standards (“Falling in Love Again”) and Latin classics (“Frenesí”). Tracing her own life through the songs of Ronstadt’s extensive catalog, the album sees Elizabeth perform works by some of our country’s greatest songwriting legends, including Dolly Parton (“Pain of Loving You “), Jimmy Webb (“Still Within the Sound of My Voice”), and Anna McGarrigle (“Heart Like a Wheel”).

Still Within the Sound of My Voice began as a creative challenge. “I wanted to tell the stories of my life using the music of one of my favorite singers,” says Elizabeth. “When I started exploring this project, trying to decide which singer to choose, I thought about all the genres of music I liked to sing: rock and roll, country, folk, Broadway, the Great American Songbook. Then I listed the singers I loved who shone in each category. The only singer who continued to appear in each genre was Linda Ronstadt. As I explored her remarkable career and life, I realized how point we had in common. Then the show and its narrative began to unfold.”

Elizabeth thanks her talented collaborators – Alan Muraoka (conductor), Andrew David Sotomayor (musical arrangements) and Joel Wagoner (vocal arrangements) – for helping to bring the project to fruition. “We started creating arrangements for the songs based on where I felt they resonated in the timeline of my life,” she comments. “Some of the tracks were so iconic in their sound and vibe that we felt compelled to go a whole different way with them. ‘Blue Bayou’, for example, will be indelibly linked to Linda with that intro and that sound incomparable. So we adapted our version of the song to the time of my life when I was on the Les Miserables tour – and I was singing in my hotel room on the portable speakers and the Sony Walkman I used to travel with. We start with low chime chords to indicate the loneliness of life on the road and build with a dramatic and driving 6/8 rhythm.”

“Like Linda, I love to sing harmony,” says Elizabeth. “So we made sure to feature him throughout the project, celebrating his hits with Aaron Neville, James Ingram and, of course, Dolly Parton and Emmylou Harris. My friends Joel Wagoner and Catherine Porter – two of the best singers I know – spent hours finding those harmonies with me. I remember the day I decided I wanted to try marrying “Heart Like a Wheel” with “Faithless Love”, weaving the two songs together – and when we finished our first try – we just gasped! It worked!”

“As the show grew and changed, and took on a life of its own,” she explains, “I knew I wanted to go into the studio to record it. On the show, I talk about Linda Ronstadt and of how her diagnosis of Progressive Supranuclear Palsy took away her singing voice, and what the loss of her voice must feel like. I think of her every day when I go to sing, when my voice is miraculously still there. How could I cope, if I lost the sound of my voice? At my age, I don’t take that for granted. So I took the plunge and collected the entire soundtrack at Michael Croiter’s Yellow Sound Lab in December. 2021, and, over the course of a few days, we managed to record all the material. I’m so glad we did!”

“This album tells the stories of my life, using these great songs and inspiration from Linda Ronstadt,” concludes Elizabeth. “Tracing the sound of her incredible voice and seeing all the ways her voice had shaped the trajectory of her life, I realized that the sound of my own voice had shaped my life for me – in all the magical ways that I had always hoped that would be the case.”

The album features Andrew David Sotomayor on piano, Kevin Kuhn on guitar, Jordan Jancz on bass and cello, Arei Sekiguchi on drums and percussion, Joel Wagoner on fiddle and vocals, and Catherine Porter on vocals.

Still Within the Sound of My Voice: The Songs of Linda Ronstadt sold out The Green Room 42 and Chelsea Table + Stage in New York, MacHaydn Theatre, Legacy Theater of Connecticut and Paper Mill’s Brookside Cabaret series Playhouse.

Elizabeth Ward Land has a varied career in show business that encompasses musicals, plays, concerts, voiceovers, commercials, films and television. On Broadway, she appeared in the original casts of Amazing Grace (Mrs. Catlett), Scandalous (Louella Parsons), The Scarlet Pimpernel (Marie, all three versions) and in Memphis, Passion, City of Angels, and as a featured soloist . in The Music of Andrew Lloyd Webber with Michael Crawford at Radio City Music Hall and the Royal Albert Hall in London.

Off-Broadway credits include The Bedwetter (Atlantic Theater Company), Southern Comfort (Public Theatre), Curvy Widow (Westside), The Green Heart (Manhattan Theater Club), Hello Again (Lincoln Center), and Chess. Liz has performed on the national tour of The Prisoner of Second Avenue (Edna) opposite Hector Elizondo, as well as Chitty Chitty Bang Bang (The Baroness), Les Misérables and Kathy Selden in Singin’ in the Rain. She starred as Mother Superior in the pre-Broadway tryout of Sister Act at the Pasadena Playhouse and the Alliance Theater in Atlanta.

Her film and television credits include “Young Adult”, “Boy Meets Girl”, “The Good Fight”, “Elementary”, “High Maintenance”, “Madam Secretary”, “Boardwalk Empire”, “The Big O”, “The Blacklist”, “Law & Order: SVU”, “One Life to Live”, “All My Children” and twice on NBC’s “Today” show as part of their “Everyone has a Story” series.

His solo exhibitions have been presented at the Wilson Center, Long Beach Cabaret Series. Soloist with The Long Beach Pops, Coto Candlelight Series, Hollywood Revisited and The Salon Series with Michael Feinstein at the Mark Taper Forum. Elizabeth was honored to be chosen as Barbra Streisand’s replacement for her 2006 concert tour. Her acclaimed debut CD, First Harvest, is also available through LML Music. Elizabeth received her Bachelor of Arts in Theater from the University of the Pacific and a Master of Fine Arts in Acting from the University of California, Davis.

“ALWAYS IN THE SOUND OF MY VOICE” TRACK LIST

1. Heat Wave (Brian Holland / Lamont Dozier / Eddie Holland)

2. Different Drum (Mike Nesmith)

3. When Will I Be Loved (Phil Everly) / It Will Be The Day (Buddy Holly / Jerry Allison) / It’s So Easy (Buddy Holly / Norman Petty) / Just One Look (Gregory Carroll / Doris Payne) / It’s is in His kiss (Rudy Clark)

4. Heart Like A Wheel (Anna McGarrigle) / Unfaithful Love (JD SOUTHER)

5. You’re No Good (Clint Ballard, Jr.)

6. Frenesi (Alberto Dominguez)

7. Someone to lie next to me (Karla Bonoff)

8. Blue Bayou (Roy Orbison / Joe Melson)

9. Falling in love again (Friedrich Hollaender / Sammy Lerner)

10. Pain Of Loving You (Dolly Parton / Porter Wagoner) / Somewhere Out There (James Horner / Barry Mann / Cynthia Weil) / All My Life (Karla Bonoff) / I Don’t Know Much (Tom Snow / Barry Mann/Cynthia Weil)

11. Long Long Time (Gary White)

12. Always in the Sound of My Voice (Jimmy Webb)

13. Desperado (Don Henley / Glenn Frey)

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