| | South 'Frisco Jazz Band South Frisco Jazz Band CD South 'Frisco Jazz Band Discography of CDs
feat. cornetist Ray Ronnei 1968
Personnel: Ray Ronnei (vocals, cornet); Mike Baird (clarinet); Frank Demond (trombone); Bob Raggio (washboard).
Recording information: Pizza Palace, Huntington Beach, CA (03/16/1968).
South Frisco Jazz Band Music South 'Frisco Jazz Band South Frisco Jazz Band Songs | 1. | Bugle Boy March |
| 2. | Mecca Flat Blues |
| 3. | When Erastus Plays His Old Kazoo |
| 4. | Papa Dip |
| 5. | I'm the Winding Boy |
| 6. | Salutation March |
| 7. | Go Back Where You Stayed Last Night |
| 8. | All the Girls Go Crazy About the Way I Ride |
| 9. | Savoy Blues |
| 10. | Maple Leaf Rag |
| 11. | Pallet on the Floor |
| 12. | One Sweet Letter from You |
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South Frisco Jazz Band Music South Frisco Jazz Band Review
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Pete Petersen's Collection Jazz Orchestra, based in the Dallas-Fort Worth area, proves on this CD that it is a highly professional stage ...
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Mixing indie rock with a wink towards hip-hop, Ima Robot's eponymous 2003 release includes "Dynomite" and "Philosophofee."
As nu-metal and the last vestiges of grunge have waned, the popular embrace of "real" or "garage" rock has caused an uptick of ultrafashionable musicians who artfully subtract the more inaccessible parts of genres like slutty punk rock, fey new wave, and goth, and use the highly brand-identifiable remainder to spruce up what are essentially hooky pop songs. Hot Hot Heat and Yeah Yeah Yeahs have each performed this operation with skill; now, Ima Robot wants a piece of the action. The quintet is led by the histrionic yelp of Alex Ebert, who sounds like Suede's Brett Anderson doing a Johnny Rotten impersonation and sports a bizarre haircut suggestive of Zan from the Wonder Twins. Besides a guitarist and electronicist, the band also includes bassist Justin Meldal-Johnsen and drummer Joey Waronker, two session pros who are also veterans of Beck's band. The L.A. force is strong in these guys, and it shows in the refined, curiously vapid quality of their music. "Dynomite," "Song, No. 1," and "Alive" are the first three songs on the album, but they're also the most representative (barring the cheeky, effete rap of "Black Jettas"). The songs can be called so much -- glammy punk, the Escape Club meets Love and Rockets -- but when the makeup comes off they're just well-done pop songs, as much sticky fun as a fruit roll-up, but unfortunately just as substantive. Ima Robot -- especially the lyrically and visually outrageous Ebert -- seem to understand this. It seems to be part of the fun to reference the right references while rocking the cheap seats with easy power chords ("A Is for Action") and mashups of Bowie and electro-pop ("Philosophee"). And maybe it is fun, depending on your point of view. After all, many of the groups Ima Robot pays tribute to were equally as empty. But Ima Robot's fancy, yet expensively dirty version of this game just seems particularly affected, and ultimately too derivative to fully enjoy. ~ Johnny Loftus
As nu-metal and the last vestiges of grunge have waned, the popular embrace of "real" or "garage" rock has caused an uptick of ultrafashionable musicians who artfully subtract the more inaccessible parts of genres like slutty punk rock, fey new wave, and goth, and use the highly brand-identifiable remainder to spruce up what are essentially hooky pop songs. Hot Hot Heat and Yeah Yeah Yeahs have each performed this operation with skill; now, Ima Robot wants a piece of the ...
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Is anyone else under the impression that Leo Feigin replaced Ivo Perelman with Wally Shoup in his roster? Both saxophonists display the same kind of vital energy verging on the unbearably direct, and both have lined up album after album for Leo Records -- Perelman in the '90s, Shoup well on his way to do the same in the 2000s. Confluxus is significantly different than the two Wally Shoup Trio recordings between which it is sandwiched. The music is less ecstatic, more nuanced, with moments of near-silent tension and a slightly more romantic form of lyricism than what Shoup has gotten us used to. Drummer Toshi Makihara was part of the album Hurricane Floyd (with Thurston Moore), ...
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The skyrocketing Benjy Davis Project took flight in Baton Rouge, Louisiana, in 2001. From humble origins as a folk-rock duo playing tiny clubs, today’s Benjy Davis Project has evolved into an innovative six-piece ensemble with hordes of loyal fans in the South and a burgeoning audience around America. These admirers are drawn to a sound that’s been aptly described both as “collegiate rock with a Southern influence” and “harmony-laden acoustic pop” for its eclectic blend of original material, the innocence and spontaneity of ‘60s rock, and the band’s roots in South Louisiana culture. In that vein, the Benjy Davis Project joins a distinguished roster of a half-century’s worth of nationally prominent musicians from Baton Rouge including Better Than Ezra, Johnny Rivers, John Fred and the Playboys, Buddy Guy, Slim Harpo, and Chris Thomas King (some of the band’s first gigs took place at King’s father’s club, Tabby’s Blues Box.This combination of youthful passion and rapidly-maturing skills has brought the Benjy Davis Project respect and approval from promoters who have paired them with headlining artists such as John Mayer, The Gin Blossoms, the North Mississippi All-Stars and Better Than Ezra. And now The Benjy Davis Project steps to yet a higher, headlining level of its own with the release of the group’s third album, The Angie House, ...
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