| | Holtz Leaving New York CD Holtz Discography of CDs
Holtz Leaving New York Songs | 1. | Fall In Love With Me |
| 2. | Crazy Here |
| 3. | Blue Ink |
| 4. | Leaving New York |
| 5. | Almost Home |
| 6. | Even If I Tried |
| 7. | Lonely Alone |
| 8. | Grace |
| 9. | Picasso |
| 10. | Emily |
| 11. | I'd Give Anything |
| 12. | What If I'm Right |
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Leaving New York Review
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Tony Carlucci was born in Toronto Canada and started playing trumpet at the tender age of 9. By the age of 11, Tony was gaining experience in all styles of music playing in weekend bands and studying with some of Canada's top Teachers. He quickly became a part of the Studio and TVScene in Toronto as one of the top trumpet calls going on to play with such names as CORY HART, PERCY SLEDGE, ALFIE ZAPPA COSTA, FROZEN GHOST,THE DRIFTERS, and THE SPOONS. Later, Tony started his own jazz-fusion group with writing partner Lou Bartolomucci, called SYNTHETIC EARTH.Together, they composed original music, and in 1989 were runners up in the Cognac-Hennessy Jazz Search competition held in Los Angeles. This led to signing a record deal with MCA with their first album self titled " Synthetic Earth" . Since then, Tony has gone on to compose theme music forfilm and television ( "Spectacular Spas", " Second Chance" , "Porthole") He has developed a strong sense of melody in all his compositions.Lou Bartolomucci was born in ...
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REVIEWLeah Siegel, October 24th, 2003 @ Mickey's Blue Room (Avenue C and 11th)by Jeff HarrisThe scene was simple enough: A girl with a guitar. A clarinet player. A tiny little bar with PBR on tap. No cover at the door. Everything about the scene was simple and unadorned. That was until Leah started singing.With the disclaimer that she would begin with her encore, she launched her performance with a jarringly beautiful "Que Sera Sera" which served to hush the stunned room. Like any seasoned open mic-er, she knew how to capture the audience from the outset and keep their attention. For the next 40 minutes, Leah braved the elements of her music (and her own "mental distress") to deliver a heartfelt and candid performance. Through the swinging barroom door, the near hurricane conditions served as a fitting backdrop. Strangely, Leah does not seem the star of her own show. It is instead her unruly voice which steals each song. She has developed a complete trust in her own ear and is at times visibly surprised by where her voice is taking her: sometimes into a delicate falsetto coloratura, sometimes a head-spinning howl, sometimes a throaty sigh into the microphone. In each song, simple ideas and melodies are transformed into high-flying loop-de-loop rollercoaster rides. These are singers' songs. To compare her to other singers is at once confining and informative. Given her locale, it is understandable that she hears a lot of Jeff Buckley references. However, the reason they are compared is because there are simply not a lot of people that can do what they can do - that is indulge any vocal whim. They both share a good jazz singer's improvisational nature to push a melody to the point of bending, but not breaking. Indeed, my first instinct was not that she sounded like Buckley, but that they were both children of the same musical mother: jazz. While I can hear the classy bravado of Nina Simone and Billy Holiday, there is also the fierce recklessness of Bjork and Tori Amos. Ultimately, it is a voice that plants a listener firmly in his seat, but suggests he wear a seatbelt. When one can demand this kind of attention with one's voice it is predictable that the songwriting would suffer. Not so. Leah's songs are constructed around her voice: often lazy and brooding so as to allow for what she does best: be unpredictable. "Red Shoes" was an obvious standout from both a compositional and performance standpoint. This song about the futility of trying to fit into her new red shoes (and other's expectations) ...
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Bye-Bye Johnny is one person, Bruce Reaves. He has been around forever, left duct tape in lotsa bars and clubs, been hit on by your sister, or brother and now does limited live performances. For the past several years Bruce has concentrated his musical efforts into songwriting and digital recording.Bruce writes, performs, produces, engineers, blah, blah, blah all the Bye-Bye Johnny creations. Wow, just like Prince, I suppose. Bruce is a regular performer at the Steel Bridge SongFest (www.steelbridgesongfest.org) ...
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New York-based ensemble Trio Caveat brings together bassist James Ilgenfritz, drummer John McLellan and saxophonist Jonathan Moritz. With a plethora of experience playing with each other and musicians such as Butch Morris, Tim Berne, Ken Vandermark and Eugene Chadbourne, the group’s aesthetic is a minimalist and inventive exploration of their instruments. A conventional reeds/bass/drums trio, this is not. Compliments is the group’s second disc, following their self-released An All Too Brief Silence Which Speaks Untold Volumes (2005). It consists of eight short tracks, each a different reflection of the holiday season. The combination of Ilgenfritz’s arco musings, McLellan’s frugal snare accents and Moritz’s woozy phrases is a challenging one, sure to reward that listener who is not afraid of the unfamiliar.James Ilgenfritz is a Michigan native and earned a B.M. in Jazz and Contemporary Improvisation from the University of Michigan. He recently completed his Master’s at UCSD with Mark Dresser, and has also been taught by John Lindberg and Mark Helias. Besides Trio Caveat, he has working groups that include Lukas Ligeti and Eyal Mayoz (Hypercolor) as well as the Anagram Ensemble with Moritz, Nate Wooley and Joe Tomino. He has also played with Steve Swell, Chris Speed, Andrew D’Angelo, Mike Pride and Sarah Weaver, among others.John McLellan was born in San Juan, Puerto Rico and raised in Massachusetts; his resume is expansive and varied, including work with Joe and Mat Maneri, Roswell Rudd, Bern Nix, Roy Campbell, William Parker, Ken Vandermark, Denman Maroney, Ben Monder, and the Either/Orchestra. He has performed at festivals throughout the country, including the Newport Jazz Festival, the Iowa City Jazz Festival, and New York's Vision Festival. John‘s inventive drumming can be heard on his duo record with saxophonist Joe McPhee, Grand Marquis on Boxholder Records and Mat Maneri’s latest release on Thirsty Ear Records, Pentagon.Jonathan Moritz was born in Iran and raised in California where he received his B.F.A. in music performance ...
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