| | James Silberstein Song For Micaela CD James Silberstein Discography of CDs
James Silberstein’s CD, entitled “Song For Micaela”, released in 2004, is available on the Consolidated Artists Production record label. The CD features Randy Brecker on trumpet, Eric Alexander on tenor sax, Carla Cook on vocals, Bruce Barth on piano, Harvie S and Tony Cimorosi on bass and Vince Cherico on drums and percussion. Walter Wade (at WBGO) wrote the liner notes. The CD received extensive and extended US radio play and reached #28 on the US jazz radio charts. Here are some reviews of the CD. “James plays extraordinarily throughout the entire CD, with emotion, technique and taste. He is an artist with much to say and hopefully will get lots of attention from this CD.” Jack Wilkins"A fleet-fingered guitarist in the George Benson line of descent." Nate Chinen, The New York Times"This CD represents the long overdue first album by one of New York City's best kept secrets. Jim Silberstein is a great player and a fine writer." Randy Johnston"James Silberstein's warm tone and fluid single note burning style is reminiscent of Pat Martino and a younger George Benson, but he's clearly established a sound that's all his own with SONG FOR MICAELA." http://www.soundsoftimelessjazz.com "James Silberstein is a wonderful guitar player." http://www.jazzguitarlife.com "Song For Micaela is a mature effort, tasteful, skillful, and polished. . . . I¹m already awaiting [Silberstein’s] next foray, and if his fellow travelers are as well chosen, a pleasant journey it should be, indeed!" J. Robert Bragonier, All About Jazz "One of the finest guitar-based, instrumental jazz albums of 2004." Robert Silverstein, 20th Century Guitar “Silberstein's rapid-fire solo brings to mind Pat Martino's fiery intensity, but with a warm tone that is considerably lighter … [his] flawless playing and mainstream predilection ties everything together into a neat package.” John Kelman, All About JazzSong For Micaela “begins and ends with Silberstein’s warm, organic sound on electric guitar, and his singe-note speed and clarity. Along the way he displays his fluency in bossa nova, blues, funk and the Great American Songbook. He also reveals his skills as an arranger, composer and leader.” Jazz Times, Thomas Conrad James Silberstein “combines the warm tone and remarkable fluid single note burn of a Pat Martino, Tal Farlow or Joe Diorio with a capacity for harmonic sophistication, uncommon lyricism and a penchant for alluring bossa novas.” Gatsby Melodi, Afro American Syndicate, http://www.afroamericansyndicate.com “A fine outing from a significant talent!” john.taylor@ca.ey.com“James entertains us for more than an hour with one winning selection after another. As a first CD, it has been a while in coming but well worth the wait.” Frank Forte “James Silberstein has it all down pat on the guitar as made abundantly clear on a searing single note display on such winners as Nica's Dream and Love For Sale. All in all, this is an impressive performance.” http://www.jsojazzscene.org/cd_reviews.php, September, 2004“With his recording debut, guitarist James Silberstein reveals a warm tone and crisp articulation. His straightahead session captures the essence of bebop, as he and his guests explore the art of improvisation over a theme. Several originals add favorably to the session's appeal.” ~ Jim Santella“Silberstein sheds the extroverted cover on unaccompanied guitar in ballad Why Did I Choose You playing with rapt introspection and beauty in a closer that indelibly pulls off his first date without a hitch. It is an easy recommend.” Phillip Wong “Silberstein is an imaginative soloist and his original compositions stand up quite nicely to the covers of `How Deep is the Ocean,’ `Love for Sale’ and `Nica's Dream.’ http://www.turbula.net/music/music-review-guitars.html “All discourse aside this project has shelf life. Mr. Silberstein can hang his hat on this one and the jazz community James Silberstein Song For Micaela Songs Song For Micaela Review
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Purchase Song For Micaela CD To buy, Click on price to add to cart | Ted Brown Free Spirit CD (1989)
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I can trace the origins of Matthew Black Orchestra to the first time I heard "Philadelphia Freedom" on the radio in my parents' car. MBO updates the symphonic pop sound of the 60s & 70s, combining an electric lineup with piano, string section & french horn.I was a fan of 70s music back before it was cool -- that is, when it was still the 70s. As a young pianist growing up in the great state of New Hampshire, I strayed from the path of classical training early on and starting learning how to play ELO songs by ear. My friends who played electric guitar had no shortage of heroes from the era -- Randy Rhoads, Eddie Van Halen, et al. But the golden age of piano rock was already on the wane -- Billy Joel, Elton John, Carole King and even Barry Manilow had already put out their best work.My problem with most bands with a "retro" sound is they occupy an uncomfortable place between mockery and homage. For me, the orchestral piano pop sound of the 70s was just a flat-out cool sound. I like all those records. Including Manilow. And these days, the only time we hear string sections on the radio is behind Celine Dion. That alone was reason enough to attempt this project.Of course, as an indie project, I couldn't afford to bring a full symphony orchestra into the Capitol Records studio to track this masterwork. But I ended up preferring the sound of a string trio with horn (occasionally double- and triple-tracked, I admit) because you get to hear more of the personality of the instruments -- you can tell it's a real player and not a sample library. That said, while the roots of the record might be in the 70s, it's ...
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Liner Notes for WISDOM RISING:It is quite fashionable these days for jazz enthusiasts to pose the question, is jazz dead, in much the way boxing fans muse about the imminent demise of their sport. This self-pitying form of navel gazing is possibly a reflection that many people who love jazz have forced themselves always to believe that this music is in some state of crisis or in some form of survival mode. If the music is seemingly on life support, it makes their love of the music seem more like true commitment, to love something that no one appreciates. But when one enters any Starbucks or any Ann Taylor boutique or sees a television commercial for Lexus or BMW automobiles, it is hard to imagine that jazz is anything like dead. Indeed, it seems in America that the voice of Billie Holiday or the horn of Miles Davis is used to sell virtually anything upscale. Jazz is the soundtrack for the appearance of sophistication. (Considering jazz’s decidedly disreputable social origins, this turnabout seems one of the great American upward mobility stories.) Of course, as saxophonist Frank G. Fontaine points out as a “realist,” one thinks about ‘slumping record sales” and “the Chapter 11 of Tower Records and Sound Warehouse” and wonder if a market or an audience exists at all in America for serious music-making of the sort that jazz is, where excellent musicians really take chances to reach new depths in exploring what our lives mean. It is perhaps the problem with jazz today that it exists for ...
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