egroj world: abril 2017

viernes, 28 de abril de 2017

Bernard Berkhout • Doctor Bernard & His Swing Orchestra

Clarinettist Bernard Berkhout formed the Swing Orchestra in 2008. The big band consists of 18 musicians and focuses entirely on 1930s jazz. The Swing Orchestra is in high demand both in the Netherlands and abroad. Lindy Hoppers love to dance to this style of music and the Swing Orchestra is followed by Lindy Hoppers from all over Europe.
The music of Bernard Berkhout’s Swing Orchestra is based entirely on the ideas and arrangements of Benny Goodman. The orchestra comprises only professional musicians and reproduces the ambience and style of the thirties with exactly the same line-up as the traditional Goodman big band: 4 saxes, 3 trumpets, 2 trombones and a rhythm section – but now led by the world’s best contemporary swing clarinettist, Bernard Berkhout. Benny Goodman’s music is brought out of the 1930s and into the 21st century in an incomparable manner!
more ...

Jimmy Smith • Bluesmith

Memphis Slim • Beer Drinkin Woman

Arquitectura Rusa / Russian Architecture, by Gavriil Baranovsky

Arquitectura Rusa del siglo 19 / 19th Century Russian Architecture
Autor / Author: Gavriil Baranovsky

Gavriil Baranovsky (1860 - 1920) fue un arquitecto ruso que además de ser creador de grandes edificios principalmente en San Petersburgo, realizó un enciclopedia de 9 tomos de la arquitectura del siglo 19, se postean alredor de 450 páginas de las imágenes, ya que cada tomo tiene más de 500 páginas c/u y están en ruso.
Formato jp2 visualizar con ACDSee / Photoshop o similares
299 páginas - 103MB

Gavriil Baranovsky (1860 - 1920) was a Russian architect who besides being the creator of large buildings mainly in St. Petersburg, conducted a 9-volume encyclopedia of 19th century architecture, long around 450 pages of images are posted as each volume has over 500 pages c/u are in Russian.
Format jp2 display with ACDSee / Photoshop or similar
299 pages - 103MB

The Hoochie Coochie Men Feat Jon Lord • Danger White Men Dancing Retail

Jean Paul Amouroux • Nothin' But Boogie Woogie

Howlin' Wolf • Cadillac Daddy

Grapelli, Pass, Pedersen • Tivoli Gardens

So Blue So Funky • Blue Funk (Heroes of the Hammond)

Kenny Burrell Octet • Lotsa Bossa Nova

Barney Kessel • What's New

Roy Ayers Ubiquity • Red Black & Green

Confidential Concepts • Pop Art, pdf alemán / german

pdf / 200 páginas / Idioma: alemán / texto editable (copiar y pegar en traductor)

Pdf / 200 pages / Language: German / editable text (copy and paste into translator)

jueves, 27 de abril de 2017

Cal Tjader & Stan Getz • Sextet

Kenny Burrell • Man at Work

One of Kenny's nicely grooving sides for Chess - recorded live at the Village Vanguard in 1959, with a trio that features Richard Davis on bass and Roy Haynes on drums. Haynes' free touch on the kit really opens up the style of Kenny's playing - free, light, and lyrical, yet still quite soulful and filled with rhythm. Titles include "All Night Long", "Trio", "Will You Still Be Mine", "Soft Winds", and "Well You Needn't".
Dusty Groove

Rick Estrin And The Nightcats • One Wrong Turn

Review by Hal Horowitz
The second Rick Estrin solo album to replace the Nightcats' longtime guitarist Little Charlie Baty with Kid Andersen (who again co-produces, records, and mixes, almost making him Estrin's equal for support responsibilities) shows a bit of a progression. It's still rooted in the good-time approach Estrin and Little Charlie adhered to for nine Alligator releases, but pushes more at the edges, toughening up the attack to include hints of surf, rock, jump blues, reggae, Booker T. & the MG's soul, and a terrific '50s-styled slow dance ballad in "Movin' Slow." As frontman, the sartorially sharp Estrin is difficult to beat. His sly fox-guarding-the-hen house vocals and dynamic harp work are flashy in all the right ways, and these songs are some of the best he has recorded which, with his extensive catalog, is quite a compliment. The title track is a typically swinging blues pushed by an Estrin harp solo even the great Little Walter would have been proud of. It's complemented by Andersen's tough rhythmic guitar fills and organ from Lorenzo Farrell, the band's somewhat hidden MVP who also handles bass duties. Estrin's humorous, show-stopping story songs are his calling card with this album's clever "(I Met Her on The) Blues Cruise" filling that slot and simultaneously letting him namecheck some of his fellow blues cruise musicians. But it's when he displays serious chops playing it straight on "Broke and Lonesome," a cutting Chicago blues with Andersen's biting guitar shifting tempos for the bridge, proving Estrin and his band aren't just about double entendres and flamboyant frontmen. He even hands vocals over to bandmate J. Hanson for the drummer's rocking and slightly mean-spirited "You Ain't the Boss of Me," but Estrin seems M.I.A. on the album's two instrumentals. That's odd, because the second of those, Andersen's closing "The Legend of Taco Cobbler," is, at nearly seven minutes, the disc's longest and arguably most ambitious track, shifting from surf to Tex-Mex, spaghetti Western, Memphis soul, and about three other genres (including a brief classical riff) throughout its many changes. As a producer, Andersen's intricate and detailed touch brings additional sounds, occasional overdubbing, and unexpected effects to bolster the mix (the album sounds particularly good with head phones). When an unaccompanied Estrin goes completely solo (harp, vocal, and foot stomps) on "Old News," you understand that in a pinch, he could carry a set without a band. But for this release he has one, and a pretty great one at that, making One Wrong Turn the right move at this stage of Rick Estrin's lengthy and productive career.

Milt Buckner • New World Of Milt Buckner

One of the coolest albums ever from organist Milt Buckner – a set that not only features his own great work on Hammond, but also some excellent vibes from Gene Redd! This isn't the Redd that was a member of Kool & The Gang, but his pops – and Gene works with Buckner here on arrangements to craft a sound that's much hipper and more soulful than usual for Milt – quite a change from some of his dates for other labels, especially some of the overseas ones. The rest of the group features Bill Willis on bass and Phil Paul on drums – and tunes are awash in cool tones and unusual sounds – handled very differently than in other versions. The album includes nice versions of "Take Five", "Fly Me To The Moon", "All Blues", and "Why Don't You Do Right" – all with a lot more of a soul jazz groove than you'd expect! (Cover has a mostly split top seam, splitting on the bottom seam, and some pen on back.) © 1996-2015, Dusty Groove, Inc.

Joey DeFrancesco & 'Papa' John DeFrancesco • All in the Family

Al Caiola • Great Pickin' & Soft Guitars

The name of Al Caiola has been part of that very select fraternity of studio musicians who were heard on most of New York’s top rated television and recording assignments from the 40s up to the 70s. There’s a distinctive style and approach in his playing which made for a “sound.” On these recordings, Caiola joined forces with Don Arnone, another top-class, revered and busy studio jazz and pop guitarist. Both men get the chance to swing on these albums featuring two dozen well-known standards and originals, which showcase how well their unique styles blend.
On the first, “Great Pickin’,” the sparkling ensemble works with bass and drums, while on some tracks the band includes Eddie Costa on piano, Phil Kraus on vibes, reedman Phil Bodner and Art Van Damme’s swinging accordion. On “Soft Guitars,” “Mr. Guitar” Al Caiola and “Mr. Y” Don Arnone are backed by Frank Carroll on bass and Gloria Agostini on harp.
These recordings capture the full, complete warmth of each instrument, bringing out all the highlights, all the nuances, all the subtle interplay that give their playing its special distinction.

The Stargazers • Back In Orbit

Jackie Ivory • Live at Jack's Bar

Recorded live at Jack's Bar in San Francisco (established in 1932 and still going at the time of this release), Hammond B3 organist Jackie Ivory and his quartet do R&B, soul, and blues with some smooth jazz thrown in, just to let you know they can do it. Borrowing judiciously from Ben E. King, Junior Parker, and Johnny "Hammond" Smith, Ivory does as pleading a version of "Stand by Me" as one is ever likely to hear. Matters get very soulful as Booker T. & the MG's are recalled with a groovy, funky R&B version of "Green Onions," with the slangy guitar of Charles Garner and the honking Hal Singer-like sax of Edward Surgest all riding atop Ivory's B3. Garner gets in some well-placed vocals during the session. The slow dancers get a chance with "Saving All My Love for You," with Surgest's erotic sax setting the tone. But irrespective of what's being played, Ivory and group are having a fun time doing it. They have a way to make everything come out on the upbeat -- happy and carefree. Jack's Bar must be a place where people expect to unwind, quaff a few, listen to some fine music, take a few turns around the dancefloor, and come away feeling good. ~ Dave Nathan

Etta James • The Best of Etta James

Etta James (born Jamesetta Hawkins; January 25, 1938) is an American blues, soul, R&B, rock & roll, gospel and jazz singer and songwriter.

John Patton • Understanding

Understanding is an album by American organist John Patton recorded in 1968 and released on the Blue Note label.

Lazy Lester • True Blues

Review by Cub Koda
His original album collects the best of the early Excello sides. Includes "Sugar Coated Love," "I Hear You Knockin', " and "I'm a Lover, Not a Fighter."

Johnny 'Hammond' Smith • Good 'Nuff

The Superstitions • Juke Town

The Link Quartet - 4

Willie Pooch • Willie Pooch's Funk-N-Blues

Willie Pooch, born William Joseph (1937 – May 5, 2010)
Willie Pooch was a popular Columbus, Ohio area blues singer who began his career in gospel groups while still just a child in and around Tupelo, Mississippi. During his teens, he and his family moved to Chicago where Pooch fell under the tutelage of Luther Allison who schooled him in the art of the blues guitar. Over the next several years, Pooch played with the likes of Muddy Waters, Elmore James and Hound Dog Taylor. After spending many years touring the mid west, Pooch settled in Columbus during the early ’60s. By then he was fronting his own band who became a local blues staple for the better part of the next four decades. On May 5, 2010, Willie Pooch died from complications of diabetes. He was 72 years old.

Tony Monaco is a leader in a modest revival of the Hammond B3 organ in jazz. As he has been with so many fledgling jazz organists, Jimmy Smith played a significant role in attracting Monaco to jazz and retaining his interest in the music. Monaco was 12 years old when he first heard Smith and, as a 16th birthday present, got a phone call from the organ giant. The culmination of this association came when Smith invited the young performer to join him at Smith's club. Monaco has also been fortunate to spend time with other jazz organ masters, including Hank Marr and Dr. Lonnie Smith. He started subbing for players, like Marr, in and around Columbus, OH, when he was just 16. Monaco has also been helped along by one of his peers, Joey DeFrancesco, who produced Monaco's first album, Burnin' Grooves, and joined the session on piano. Monaco added horns to his second album, Master Chops T, released in 2002, giving the Hammond organ player much more flexibility to the arrangements. It also allowed him to take full advantage of the rhythmic invention the electric organ allows its players to engage in. A live follow-up, Intimately Live, followed later that year. In addition to his albums as leader, Monaco has recorded with Eric Neymeyer and neo-bop guitarist Mark Elf. Monaco doesn't rely entirely on his jazz work to support his family. He and his brother run and own a concrete construction business. When not performing or building, Monaco listens to other masters of the organ, including Smith, Richard "Groove" Holmes, and Larry Goldings.

Tony Monaco may be the best organ player you have yet to hear of flying stealth while playing arguably some of the hottest B-3 around. Mentored by the legendary Jimmy Smith in what is considered the more classic style, Monaco does not swing, smolder or smoke. Tony Monaco burns is this most fitting!
Critical Jazz Review, 2012

Singer Willie Pooch is a name deserving a genesis in the fiction of William Faulkner. Pooch (born William Johnson) is a native of Tupelo, Mississippi where he was a contemporary of Elvis Presley. He has performed with a variety of blues artists from Elmore James to Luther Allison. Pooch appeared on Monaco's Fiery Blues where he sung "Everyday I Have the Blues, a performance reprised on Funk-N-Blues.

What grease was missing on East To West and Blue Bop is amply compensated for on Funk-N-Blues. Monaco has his regular guys on hand and they put the pots on, gas on high. As for Pooch, he is more Jimmy Rushing than Joe Williams. He has an expressive tenor voice that is somewhere between the chitlin' circuit and the concert stage, tending toward the humid confines of a Pentecostal tent meeting. There is plenty of church in Pooch's vocals, as evidenced on "Cross My Heart Blues, "Natural Ball and "Georgia On My Mind. Monaco is all over the organic map with his carefully shaded fills and solos. Guitarist Rick Collura conjures blue notes and chords from thin air, never overdoing it.

Funk-N-Blues finds Monaco fitting into an accompanist role with ease, introducing the old "new talent of Willie Pooch. The album is predictable, as it can only be, but it is apparent that Pooch has many more tricks up his sleeve. Monaco will surely look for them.

Regina Carter • Motor City Moments

Review by Paula Edelstein
Two years after her stunning debut on Verve, violinist Regina Carter offers listeners her exceptional string virtuosity on ten great songs inspired by her hometown of Detroit, Michigan. Motor City Moments features a stellar collection of songs written by some of the best musicians from Detroit including Marvin Gaye, Stevie Wonder, Thad Jones, and Milt Jackson. Regina Carter applies her pure skill, pizzicato, and arco passages to "Don't Mess With Mr. T" and "Higher Ground" with impeccable tuning and multiple approaches. Her string virtuosity on Milt Jackson's "For Someone I Love," is a masterful performance backed adeptly by Mayra Casales on percussion and spotlights a brilliant piano solo by Werner "Vana" Gierig. Two originals, "Forever February" and "Up South," which was co-written with guitarist Russell Malone, provide an interesting contrast of the artist's use of reflective temperament and folk-ornamented cadences. Each song also emphasizes Carter's adept techniques with melodic phrasing and song forms. Accompanied by her touring band of Darryl Hall on bass, Alvester Garnett on drums, percussionist Mayra Casales, Marcus Belgrave on trumpet and flugelhorn, James Carter on bass clarinet and tenor sax, Barry Harris on piano, Lewis Nash, as well as several special guests, Regina Carter has rapidly become one of the most exciting and original violinists to arrive on the jazz scene.

Frank Muschalle Trio • Featuring Rusty Zinn

Jean Paul Amouroux • Plays Boogie Woogie

Analysis of Gothick architecture / Análisis de la Arquitectuta Gótica - pdf inglés

Format pdf / 29MB / year 1847/458 pages / language: english
Formato pdf / 29MB / año 1847 / 458 páginas / idioma: inglés

miércoles, 26 de abril de 2017

Howard Roberts • Mr. Roberts Plays Guitar

Louisiana Red • Pretty Woman

Clora Bryant • Gal With a Horn

Nacida en Tejas, se inició en la música como cantante en la iglesia bautista, posteriormente empezó a tocar la trompeta que su hermano dejó al ser llamado a servir en la guerra en 1941, y no paró nunca de tocar hasta 1996 que por razones de salud debió declinar de seguir tocando, si embargo ha seguido cantando esporádicamente y brindando entrevistas.
Estudió en forma autodidacta oyendo a sus ídolos de la trompeta, grabándose a sí misma en una grabadora de cinta y escuchando el resultado para ir mejorando su técnica.
Dizzy y Satchmo, con quienes ha tocado, sintieron admiración por esta dama y junto a Charlie Parker tuvo una jam en un café de California, convirtiéndose en la única mujer que haya tocado con el gran "Bird".
Se tomo un tiempo para criar a sus hijos, volviendo en los '60 con gran suceso en el show de Ed Sullivan y participando en proyectos con otros músicos, en 1989 fue la primer dama del jazz en tocar, en la por aquel entonces Unión Soviética, a pedido del mismísimo Mikhail Gorbachov.

Clora Bryant (born May 30, 1927, in Denison, Texas) is an American jazz trumpeter and as a young girl she fell in love with music and classic southern fish fries. Music came easy for Bryant and as a child she sang in her church’s choir, played piano, and of course the trumpet. Although her mother passed when she was three her father raised her and supported her music career from the very beginning. Her father would take her to Jazz concerts growing up, and during college her father moved her to Los Angeles to pursue her music career and get discovered.
As a teen Bryant traveled around the nation making a name for herself playing the trumpet with all female bands. During that time the trumpet was viewed as a male dominated instrument, but she persevered. During jam sessions in L.A., she liked the song that was being performed she would walk on stage and begin playing, or she would take the trumpet away from another artist like Dizzy Gillespie and play his trumpet. Although Bryant was a skilled trumpeter she was very naïve growing up; she has mentioned times as a young woman in her late teens and early twenties in which she was very confused because she did not know about different sexualities or drugs which became available after she moved to Los Angeles. Clora Bryant is a decorated musician who broke down a lot walls for female musicians, and helped spread jazz across the nation.
more ...

The Challengers • Tidal Wave

Review by Richie Unterberger
It's rare that a minor band such as The Challengers rates a package of the sort of alternate takes and rarities that you'll find on a Rolling Stones bootleg. That's what this 18-track compilation is, though. Half are alternate takes, five songs were previously unissued in any form, and three come from their rare 1965 LP, Surf's Up. This doesn't offer any radical redefinition of The Challengers' oeuvre, but it certainly doesn't suffer in comparison with their official vintage albums. In fact, you're about as well off with this compilation as any of their proper full-length recordings, and some tracks do burn, such as "Satan's Theme" and "Moovin' & Groovin'." Sound quality is excellent.

Jimmy Raney • Momentum

This 1974 LP marked a comeback for Jimmy Raney, following his long layoff from the music business in order to make a full recovery from alcoholism. Accompanied by bassist Richard Davis and drummer Alan Dawson, the guitarist is in terrific form as he explores several standards, a bossa nova-flavored "Nobody Else but Me," and a driving take of "Just Friends." He composed the other two works heard on the date. His piece, "'Momentum," is a reworking of an earlier original he called "Motion," both of which are obviously based upon the chord changes to "You Stepped Out of a Dream." "We'll Be Together" is an original ballad (set to words he wrote earlier, according to liner-note writer Ira Gitler), though it sounds as if it was partially inspired by "Autumn in New York"; it also features a strong solo by Davis. Originally released on MPS and reissued by Pausa, this record has been unavailable for quite some time, but it can be found with a diligent search. ~ Ken Dryden, All Music Guide

Robert Walter • Super Heavy Organ

info ...

Robert Walter - Hammond Organ, Clavinet, Piano, Melodica and Percussion
Stanton Moore – Drums and Percussion
Johnny Vidacovich – Drums and Cymbals
Tim Green – Tenor Sax
James Singleton – Bass
Anthony Farrell – Vocals

Soul Sounds • Soul Survival

Art Glass Nouveau • Ray & Lee Grover

pdf / 235 páginas / Idioma: ingles / texto editable (copiar y pegar en traductor)

Regina Carter • I'll Be Seeing You

 Review / TROY COLLINS, Published: June 6, 2006
Regina Carter dedicated I'll Be Seeing You to her mother, who recently passed away. In the process of recording this disc as both loving tribute and musical therapy, Carter followed the advice of arranger John Clayton, working through a set of tunes culled from her mother's youth. The results are wistfully nostalgic and viable in their commemoration.
The violinist has recorded in a number of configurations and styles, from duets with pianist Kenny Barron on Freefall (Verve, 2001) to full orchestra on Paganini: After a Dream (Verve, 2003). This session finds her in an intimate, stripped-down format. Her regular piano/bass/drums rhythm section is occasionally augmented by Paquito D'Rivera (clarinet) and Gil Goldstein (accordion). Their sumptuous contributions add an air of authenticity to this program of Great American Songbook standards and early swing tunes.
Dee Dee Bridgewater and Carla Cook lend their vocal talents to a few numbers. Cook's bluesy inflection on "St. Louis Blues" and Bridgewater's lively scat solo on "This Can't Be Love" are highlights. Both are giants in their fields, and Carter couldn't have asked for better interpreters for this material.
Carter's discography is a textbook example of the varied experiences from which modern jazz musicians draw inspiration. She was once a member of the String Trio of New York and has accompanied such independent thinkers as James Carter, Mark Helias and Steve Turre. While there is nothing overtly avant-garde on I'll Be Seeing You, the recording definitely manifests a sense of playfulness. She adds uplifting Bachian invention to "Little Brown Jug" and swings John Kirby's arrangement of Edvard Grieg's "Anitra's Dance" with an infectious energy worthy of Raymond Scott. Her buoyant, extended interpretation of "A-Tisket, A-Tasket" features a string of solos for the whole group.
The violinist is in excellent form throughout, soaring with lyrical panache on the swing tunes, grinding away blissfully on the blues numbers, and revealing a tender, dulcet side on the ballads, with a somber take on the titular closing track. Despite the context, the album never drifts into maudlin territory. Simultaneously celebratory and reverent, I'll Be Seeing You is a fitting tribute to Grace Louise Carter.

Gloria Coleman • Soul Sisters

Review by Brandon Burke
One probably doesn't hear the name Gloria Coleman thrown around quite as often as other organists of the day. Similarly, the Impulse! label wasn't particularly known as a home for organ combos, but perhaps that's what makes this title the underappreciated gem that it is. Soul Sisters, in retrospect, would have probably made more sense as a Blue Note release, as it has much more in common with sessions like Freddie Roach's Good Move or John Patton's Along Came John than much of the Impulse! catalog. There are a couple of reasons for this. First of all, though they both worked for other labels as well, guitarist Grant Green and engineer Rudy Van Gelder -- both present on this session -- are virtually synonymous with the Blue Note sound. Green in particular, with his distinct style and patented licks, makes it easy to forget that you aren't listening to any number of different Blue Note titles. Both he and alto saxophonist Leo Wright are in fine form throughout. Unfortunately, fans expecting the blistering maelstrom of a Jimmy Smith/Art Blakey set or the syrupy blues of a John Patton/Ben Dixon session might find themselves a bit underwhelmed. Coleman, while a perfectly competent player in her own right, is simply not up to the level of Smith, Patton, Shirley Scott, or any of the other masters commonly associated with jazz organ. Then again -- and to her credit -- few are. All the same, these details shouldn't impair one's ability to enjoy this record on its own terms. Recommended for fans of the comparable titles listed above if for no other reason than to hear the consistently inspired solos of Wright.

Benny Green • Funky!

martes, 25 de abril de 2017

Houston Person • Underground Soul

Underground Soul! is the debut album by saxophonist Houston Person which was recorded in 1966 and released on the Prestige label.

Sarah Mclawler & Richard Otto • We Bring You Swing

Artist Biography by Richard Skelly
Born in Louisville, Kentucky, Hammond B-3 organist Sarah McLawler was raised in the church with gospel music. She studied organ at an Indiana Conservatory. Influenced heavily by the music of the big bands, McLawler used to sneak into clubs in Indianapolis to hear Lucky Millinder's big band. She ended up going on the road with the bandleader, and later formed an ahead-of-its-time all-woman band, the Syn-Co-Ettes. They spent some time as a house band at Chicago's Savoy Club.
After meeting Richard Otto, a classical violinist who liked to play jazz, at a residency at a Brooklyn club, she married him and the two spent years touring and recording together. As fixtures on the New York jazz scene in the 1950s, they became friends with the likes of Milt Jackson, Errol Garner, Dinah Washington, Cab Calloway, Nat Cole, Tony Bennett, Sammy Davis, Jr. and others. Washington was so taken with her playing, she once offered to be her manager.
McLawler's singles for the King and Brunswick labels, recorded in the 1950s, are now collectors' items, and they include sides like "I Can't Stop Loving You" "Love, Sweet Love," both for King, as well as "Red Light" "Tipping In" "Let's Get the Party Rocking" and "Blue Room." Her recordings with violinist Otto include "Somehow," "Yesterday" "Body & Soul" for Brunswick, and "Babe in the Woods" "Relax, Miss Frisky" "Flamingo" "Canadian Sunset" and "At the Break of Day" for Vee-Jay.
She continues to perform jazz standards, because she feels a lot of the popular jazz standards have never gotten enough recognition. Her major shows include recent Newport Jazz Festivals and the Newark Jazz Festival. She's based herself in New York City for many years, and can performs periodically at the Novotel hotel there.

más info / more info

Steve Moore & Dart Zubis • Tres Chouette

A unique and intriguing collaboration of jazz guitar and jazz accordion, brought to life by Los Angeles studio musicians. Solid standards mixed with inspired originals. Exquisitely performed.
Fascinating interplay and harmony give intriguing voice to the unusual collaboration of guitar and accordion. Creative arrangements and talented artistry combine to deliver an inspired performance of standards and originals from a unique musical perspective.
Steve Moore is a talented jazz guitarist and music producer with a wide range of experience in musical performance, composition and recording.
A graduate of New York University, Steve attended the Brooklyn Conservatory of Music and studied privately with guitar luminaries Barry Galbraith, Jim Hall, and Charlie Bird. While in New York, he played for Broadway Musicals and performed throughout the greater metropolitan area.
Steve left New York to teach at the University of Arizona in Tucson. While there, he studied classical guitar and gave numerous recitals throughout the southern Arizona area. It was during this time that he began to establish his interest and love for jazz.
In Los Angeles, Steve established a reputation for lyrical and melodic playing that has kept him in demand as an accomplished band leader, accompanist, and soloist. He has recorded and performed with many notables, including Randy Crawford, Ray Anthony, Charo, Florence Henderson, Jack Jones, Rita Moreno, Jim Nabors, Bernadette Peters, and Della Reese.
Steve is the owner of First Take Productions, a company specializing in recording for television, radio, and original CDs. Steve's last two albums, "Another Time, Another Place" and "Guitar after Six" were produced, arranged and engineered in the First Take Productions studio.