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I Lied to Myself – a Song & a Story (Gela Part 2)

When you have a long-term goal, and you are actively working towards achieving this dream, it is one thing knowing that everything happens at its own time, it is quite another having the adequate amount of patience for long periods of gestation, or the stamina to keep up when the pace suddenly spins out of your control. 

Last month I wrote a little about my most recent trip to Italy and I would like to say a bit more about my time in Gela, Sicily, and to talk about Angelo Di Leonforte, a musician I met there. He helped me get one step closer to achieving one of my long-term goals. 

One of my dreams is to have proper lead sheets and clear demo recordings of all the viable songs I have written. This may sound like a very simple goal but I have found it to be quite challenging due to my limited notation skills. This is embarrassing, but true, and since I cannot go back now and learn all the things I need to know right now, I have decided to rely on musicians who have the skills needed, skills that complement mine. I will continue to focus on writing new songs and to hone the skills I do have. I want my creative process to continue to be joyful, not stressful.

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A little “sign” on a fan in Gela [September 2015]

In preparation for this September trip, I enlisted the help of Isaac Raz, a gifted musician in New York, to transcribe a half dozen totally original songs (music and lyrics) and to transpose and transcribe a few songs where I had written lyrics but the key was not ideal for me to perform. This work took many months as our schedules did not permit any marathon writing sessions. Because Isaac has a wonderful ear and intuitive sense, he was able to accurately translate the chords in my brain onto paper! I am very grateful to know him and to have him as a friend. As soon as my trip was booked, I printed out a bunch of copies and packed the lead sheets in my suitcase with the hope that I night be able to sing them to a couple of Italian friends who had asked to hear some of my work.

As I mentioned in my previous post, in Gela, I attended daily workshop classes and then in the evenings there was the public “Gela Jazz Festival”. On Tuesday evening I performed “Close Your Eyes” during the jam session portion of the festival, and the pianist at that moment was Angelo Di Leonforte. I did not know at the time that he was not familiar with the song because he played it perfectly from the iRealPro printout I had brought with me. It was just an outline of the changes, no frills. I lucked out, because this could have been a disaster. (Note to self – only use lead sheets with melody line included.) I found out the song was new to him after we had left the stage and I went to thank him for his lovely accompaniment. During our conversation my songs came up and he asked to see the lead sheets I had brought with me. He seemed to like them very much and graciously offered to spend some time with me the following day to try playing a couple of them. I was over the moon, as I did not expect such a generous offer of time from someone I had just met.

The next day, during our lunch break, we were able to record 2 of my originals, “I Lied to Myself” and “My Dreamy Man” as well as a demo (in my key) of lyrics I wrote for Alfonso Deidda’s “How Could I Forget Your Eyes“. I attach a video link and lyrics to the first song below. Granted, the digital recorder was not ideally placed and I over-sing it a little, but hey, we were in the moment and Angelo’s wonderful interpretation of my leadsheet made me cry a little when we were through. (I hope to have something to share about the other two songs we recorded as soon as I can.)

So, for me, the years of prepping just a handful of my songs, which at the time seemed like an eternity of small steps and great pauses (and waiting, waiting, waiting) became a rapid succession of events in Sicily and Rome as I was able to share these hastily recorded demos with friends that were interested in hearing them. I do not know where these songs and this creative work will lead me, but I do know that it has brought me incredible joy knowing and working with some wonderful people, creative, inspiring, musicians. And, I thank them. Thank you, thank you, thank you!


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Angelo Di Leonforte listening to Dr. Barry Harris [Gela, Sicily, September 2015]


What can I say about Angelo Di Leonforte?  Well, first of all he gives me hope for the future of jazz, the future of jazz in general and jazz in Italy. It is fantastic to see someone so young and talented living his dream, continuing to draw from the wisdom of jazz masters as well as his own sense of aesthetics.

Since meeting him I have learned that he is a sharing, nurturing person and those are wonderful qualities to have, but as a musician, composer, and teacher, I think it makes him that much more special. Not everyone shares their knowledge, not everyone is eager to spend their time or attention on others, not everyone sees or listens to the larger story, but I believe he does.

If you take a short look at Angelo’s online presence you will see that he shares not only his thoughtful piano performances, and his personal story, but he also shares his creative method. On YouTube he recently posted that he will be sharing “a series of videos where I’ll show the things I studied and the steps I followed to study improvisation.” He continues, “It’s important to have a plan of study and a method to study jazz improvisation. I’ve always said that Jazz improvisation is a science and it need to be studied like a science.” 

And, lastly, personally, I have to say that Angelo is aptly name because I do believe he is an “angel”. In my life he arrived on the wings of jazz and I am lucky to know him and I have already begun working on another project especially for him, so I feel heavenly about that too.

Angelo’s website is: http://angelodileonforte.com
He also has a YouTube channel: Angelo Di Leonforte


 

I Lied To Myself
©2012 Laurie Early

There’s a limbo in this world
where the silence is so loud
and I feel like I am all alone
even in the city crowd

I wait to hear a word from you
I search for signs that you’re around
but, you don’t seem to need me now
so I don’t hear a sound.

I lied to myself, I said, “I’ll be okay”
I lied to myself, the day you went away
I told my shattered heart
you did not need to stay,
but I lied, to myself

I lied to myself, I said, “the time was wrong”
I lied to myself, for I’ve loved you all along
I tried to keep on singing,
but I cried with every song
yes, I lied to myself

And now my heart’s in pieces
scattered on the floor
Each sunrise brings new longing
for the face I adore
but words won’t make it better
if you don’t love me anymoreso, why lie?
Why do I lie to myself?

I lie to myself awaiting your return
I lie to myself for this fire helped me learn
that love with you ignited ashes
I thought would never burn
so, I lie, I lie, I lie and I lie and I lie, to myself

I know there is no other way
to keep you with me
one more day…

So, I’ll keep lying to myself
I’ll keep lying to myself.


 

My next post will (hopefully) focus a little on the wonders of Jazz and friends in Rome.

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The Gela Jazz Festival

Last month I was fortunate to be able to travel to Italy for a couple of weeks. So many wonderful things happened there! Yes, too many cool things, so I will break up my account of the trip into several posts here at “Moments, Memories, & Jazz”. tile in Gela Sicily

GELA 2015

The first leg of this trip was a week in Gela, Sicily, to attend the Barry Harris / Stjepko Gut jazz workshops, held September 14-18, 2015,  and to participate in the 4th Annual Gela Jazz Festival held each evening at the Teatro Eschilo. These two interconnecting events were organized by Loredana Melodia, a singer, “super-jazz-woman”, and someone I am lucky enough to now know as a wonderful friend.

imageProfessional and amateur jazz musicians from all over the world traveled to be students in Gela. Each weekday we gathered at a school near the center of town to take jazz theory, rhythm, vocals, and improvisation classes.

The first class in the morning was with Stjepko Gut, trumpet player, conductor and internationally recognized teacher of workshops and masterclasses. He got us all in the groove and practicing different rhythms and phrases. We got our “deep muscular memory” involved as we stood up and walked in place while reciting our newly learned rhythmic lines. It was especially exciting to meet and talk to Stjepko about his long (30+ years?) friendship with Clark Terry. Stjepko is intimately familiar with Clark’s teaching techniques and he knows so many terrific stories about Clark. I look forward to hearing these stories, and more of Stjepko’s fantastic trumpet playing, in future.

Mid-morniimageng, Barry Harris arrived and led his daily piano class. This is always very intense and all the piano players gather around him, swarm really, so they can see what is going on at the keyboard. I like to listen to this class while I write because it is very inspiring to be a room full of this musical energy.

We are given a very generous lunch break and it is fantastic to catch up with friends and relax at the outdoor cafe nearby.

After lunch, all the singers attend Barry’s vocals class. He usually assigns the class a song and we learn it together, finding our individual key in the process, and then we each sing the song one after the other and note any feedback Barry gives us. I have learned dozens of songs from Barry over the 7+ years I have been taking his classes. I have found his song choices to be particularly sentimental (and I love that as I am particularly sentimental too.)

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Taking notes from outside the window during Stjepko’s class

After the vocals class is the highlight of the day, the improvisation class (also known as the “horns class” because all instrumentalists attend). In this class Barry teaches everyone improvisational phrases on changes to a song.  It usually takes us a while to figure out what song it is, and sometimes he just flat out tells us the name of song, but the general idea is that we should not be stuck in playing (or vocalizing) on changes/chords, that there are many ways of soloing on a tune. He keeps adding phrase to phrase to phrase as we put the whole solo together. Even if he picks a tune we have worked on before the final lines are never the same as before and that is the beauty of it.

Dinner break each night was heavenly, I mean, come on! it is is Italy; it is Sicily; and the food is to die for! I won’t bore you with descriptions of each meal but I enjoyed everything, everything! even a “plain” pasta dish with cherry tomatoes and a little olive oil.

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Renato Chicco (p), Marco Grillo (g), Luca Pisani (cb), Oreste Soldano (d)

Starting at around 9:30 PM each night (21:30 italia tempo) a different jazz trio was featured on the festival’s program and the audience gathered outside the theatre where a stage was set up, complete with a grand piano. There was full bar service and a variety of eating options including some chairs upfront that looked like squished egg-shaped marshmallows. The singers who attended Stjepko Gut’s class sang at each performance. We were studying some great Clark Terry’s tunes and we scatted together and soloed along with Stjepko showing us all how it is done on trumpet. It was something I will never forget, so much joy and happiness in those tunes and in the experience of performing them together. When I hear these songs now I am immediately transported back to Gela in my mind. Following each trio’s set there was a jam session and I was excited to be able to perform (solo) at a couple of those and to hear my friends play their hearts out. Too wonderful for words.

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Barry Harris (p), Luca Pisani (cb), Oreste Soldano (d)

On Friday, the 18th, a special concert was held inside the theatre for the Barry Harris Trio and everyone got dressed up for that as we look forward to this concert all week. *smile*  I wasn’t able to record this concert so the memory of it will have to suffice.

That is it for now, but I would also like to tell you about the progress of making demo recordings of my original songs, and Angelo di Leonforte one of the musicians I met in Sicily. So look for that post very soon. (And here is the link!)

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There are a few clips on YouTube advertising the Gela Jazz Festival over the past few years. I like this one because it contains footage of some of my friends, the workshop classes and jam sessions, and here is one where you can see some of the different venues and musicians.

9/11 Tribute Song – This Unforgiving Town

This Unforgiving Town
(My Lagan Love – 9/11)
©2003 Laurie Early/ASCAP

The Hudson flows along the shore
Where orchards of steel grow.
Each gleaming bough contains a tale
Of lives and loves below.
And every wave sings out its song
For shattered hearts needing repair.
Who will be dressed in sorrow’s gown
In this unforgiving town?

As sunlight wakes the morning sky
Our innocence a memory.
An axeman wears a selfish smile
As he fells another tree.
The city’s armor takes the blows
But yet the human damage shows.
Who will be saved? And who will drown
In this unforgiving town?

When twilight rolls upon the day
A dusty night time looms.
A flood of tears won’t wash away
The pain caused by these wounds.
And so we’re called to higher ground
Because it’s there that love is found.
Who will be brave?
And who’ll be brought down
In this unforgiving town?

My Lagan Love, the melody that inspired this song, is over 500 years old. I have changed the Irish Traditional up a bit and have written new lyrics that reflect my impressions of September 11, 2001, the spirit of New York City in general, and some plot themes from the yet unreleased film “Tribeca Nights.” –Laurie Early

 

Lorena Fontana – A Vision

A couple of years ago I was surprised and honored to get an email from Lorena asking me to review some of her original lyrics before her recording date. She is an amazing singer and composer I met in Rome in 2011. At the time I was surprised she had reached out to me because her English lyrics were so imaginative and grammatically correct (not easy for anyone, but especially when working in a second language) so I did not know how much value I could add to her work. She did not need any real corrections, but we did engage in a wonderful dialog about motivations in the lyrics and questions about certain phrases that she subsequently revised herself. It was such an exciting exchange of ideas and I am grateful to have assisted her in any way during her creative process. She thanked me in the liner notes and that was a nice little thrill to see.

Lorena traveled all the way to California to record this CD and she produced a cool video about the trip entitled “The Making Of” where she shares a little bit about that recording process. (You can watch it on YouTube.)

I want to publicly thank Lorena for this wonderful gift. It was a true pleasure listening to her CD and I will enjoy it for years to come, it is timeless.


lorena-fontana-a-vision

Lorena Fontana – A Vision
Lorena Fontana – vocals
Mitchel Forman – piano & accordion
Alan Michael Rosen – soprano sax
Edwin Livingston – double bass
Ralph Humphrey – drums

Here are some impressions and thoughts about each of Lorena’s tracks:

Gracias a la vida by Violeta Parra
A song of gratitude (Thanks to Life) gently sung in Spanish; it literally gave me chills. Lorena shines in a lovely flowing melody that’s accented by a little Latin scat and lively piano solo.

Music is an isle by Lorena Fontana
This piece has a very modern jazz feel yet reminds me of a Schubert Art song somehow. It is thought provoking and entertaining at the same time, with lyrics that promote music as a remedy for the differences that arise between us as people and nations. Music as an island where we can all gather and agree.

Two Kites by Antonio Carlo Jobim
I had not heard this song before and I have to admit because I saw it was written by Jobim, I made an assumption of what it would sound like before the track began playing, then Wow! What a fun, peppy and unexpectedly animated love story song. Lorena gives us an engaging version of the upbeat verse with phrases that soar into the clouds like the two kites. I loved this one!

A Vision by Lorena Fontana
This is the title track written by Lorena, an uplifting ballad that features a poignant accordion solo which, to me, adds a subtle cultural texture as Lorena serenades us with her beautiful voice and her vision of transcendence. A melody poem. A day dream and a motivation to move forward towards your goals and the joys of living.

The Maestro by Cedar Walton
Lorena breathes life into this lyrical tribute to the Maestro which given the rather recent passing of Cedar Walton seems to especially apply to his life.

Cinderella by Lorena Fontana
Light as butterfly wings, Lorena’s voice sparkles in this original song with lyrics that speak to the Cinderella in all of us; that part of our psyche that says we are not good enough. The drums are so perfect on this piece, reminding me of fluttering wings as well, all the solos are great on this song as it builds to the end. A lovely waltz, so wear your best attire and get out on the ballroom floor. A gem! (I hope some film producer picks this one up for a soundtrack; it would be so wonderful to listen to as you watch someone transform into their true form, or fall in love with their prince.)

What I’m worth by Lorena Fontana
This is a shining example of what I call a “list song” a piece where several things are listed in order to show a pattern or to prove a point; it is an especially inspiring arrangement with haunting saxophone accents. Lorena has written a fantastic story of what she is truly worth after the opening phrase that caught my attention right away: “I got lost, but I know I’m not a loser.” This song brought a lump to my throat.

The father and his child by Lorena Fontana
As Lorena skillfully relates the story of this father and child, I found the bass line to be a strong connecting thread. The piano also seemed so supportive, like a river flowing over dangerous rocks protecting the boats on its surface; a deep, strong and expressive performance.

Estrada Branca by Antonio Carlo Jobim
A totally enjoyable song about falling in love that opens in Portuguese before Lorena shows us more of her expert command of foreign languages by delivering a fresh perspective on “This Happy Madness” in English well. Brava!

Flor de Lis by Djavan
Lorena closes her CD with another song in Portuguese; the happiest sad song I have ever heard. A hint of Bebop and a heavy dose of Brazil combine into a perfect storm of melody and syncopation. If you are having a difficult day I advise a few listens to this perky piece that showcases Lorena’s precise vocals.

Lorena’s website is: http://www.lorenafontana.com/

Her CDs are available at iTunes and  Amazon.com

Rainy Afternoon

rainyafternoonAs Autumn approaches, and the storms begin to swirl off the coast of the United States, I am reminded of a particular Saturday in a September many years ago. A time when anything seemed possible, and when the rain was a wonderful excuse to stay inside, listen to music, and enjoy the company of someone important to me. Read More

Let Me Sing This Dance With You

This past Sunday I had the opportunity to sing a few jazz standards accompanied by Murray Wall on double bass (contrabass); he’s a wonderful musician. It was so much fun. No microphone, no piano, no drum, and a no distractions.  We had a small audience who also seemed to be sending out the “no judgments” vibe which was very sweet. It was a showcase-style performance with four other women, and we had a ball singing in this simple rotating format. It was conceptualized by one of the performers, and dubbed “Beauties and the Bass” by another.  A lovely group dynamic.

basses talking

After the performance, I spent a few moments talking to another friend. She was part of the audience, but had also assisted a couple of the singers with their choreography (suggesting hand gestures, slight movements to try while singing, and other things like that.) She is a very graceful person, and we spoke about her possibly dancing to one of my original songs sometime in the near future.  As we were talking I was immediately reminded of the following song that I wrote back in 2008. It has a slight “cha-cha-cha” feel, and I could picture this lovely woman dancing and swirling to its Latin beat.

I sang it to her and she loved it (so I suppose it is a done-deal and at some point soon we are going to have to make this happen.) After I sang her the whole thing, I told her about how it had come to be written, what had inspired me as I think the title makes people think twice, what? sing this dance?  I know I am always interested in the “backstory” to songs I am attracted to, trying to discover what inspired other songwriters, so I will relate my process here for anyone like me who wants to know *smile*.

Like many songs, this one was inspired by a very brief conversation I had with a man I did not know very well, at an event that was not special, just a regular jam session with a lot of musicians I did not know at all.  I thought he was a singer, but it turned out he was a retired dancer and had only begun singing after his dance career ended. (I think he said he had been injured, but it was such a long time ago the details are now a little fuzzy to me.) And, that was about the extent of the discussion.

However, I thought about it again as I traveled home: What would a dancer do if they wanted to dance with the person they love but they couldn’t, for whatever reason, an injury or something else…could they sing the dance instead?

Then the following lyrics came about, and the melody came with it at the same time. It took a few drafts, but the song was written very easily, and as I wrote, in my mind I visualized a couple separated by physical distance, talking to one another on the phone. This is what one sings to the other:

Let Me Sing This Dance With You
©2008 Laurie Early

Let me sing this dance with you
I want to hold you in my arms so tight
And though you’re far away tonight
in my mind I see you clear.

Let me sing this dance with you
can’t you hear the steps we take
I feel as though my heart might beak
when we dance by ear

Oh baby, I miss you so
I wish that you were here with me
gazing down at the dance floor below
as we sway to this melody

Let me sing this dance with you
you’re a samba  in my heart
And even though we’re far apart
I can feel you near

Even though we’re far apart
I can feel you near.
Oh baby, I can feel you near.

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Straight to You

Wherever you are…is home.

Roma Rose photo by Laurie Early

Straight to You
[Written for Leonid Volskiy on his piece “Clearing the Cobwebs Away”]
©2012 Laurie Early

This train, rocking me gently,
glides on metal rails
that will not take me to you
and so I ride until
I reach the ocean,
and a crossing
dangerous and blue

This train, only goes so far
and now that I’m aboard for love
I’ll never go back
I’ll stay on course
for I must hold you
though the sea will end this track

Now, I’m flying, I’m floating, I’m rising, I’m soaring,
my heart’s above the water
headed home, love,
straight to you
I’m flying, I’m floating, I’m rising, I’m soaring,
I’m heading home now,
straight to you.

I know you will be waiting
when my loyal heart
has crossed this ocean so vast
we’ll lie in sunlit fields of tall grass
and I’ll hold your face at last

Yes, I’m flying, I’m floating, I’m rising, I’m soaring,
my heart’s above the water
headed home, love, straight to you.
I’m flying, I’m floating, I’m rising, I’m soaring,
I’m heading home now,
straight to you.

I know you will be waiting
when my loyal heart
has crossed this ocean so vast
we’ll lie in sunlit fields of tall grass
and I’ll kiss your lips,
my sweetest love,
at last.

This train, rocking me gently,
glides on metal rails
that will not take me to you
but I will ride until I reach that ocean,
and my flight, straight home, my love, to you
straight to you
straight to you

my heart flies

Crossed Paths

Crossed Paths
(inspired by Caminhos Cruzados ©Tom Jobim)
English lyrics ©2012 Laurie Early

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Vocals in Portuguese – Maria Creuza (on YouTube)

When a heart that’s tired of suffering
meets a heart that’s new
perhaps that is the moment that will
end their suffering too.
No time for thinking at all
now that love,
so gentle,
has finally arrived.

When a heart is longing for
someone who doesn’t care,
someone who’s never dreaming of your touch
Open up,
do not fear new arms,
kiss new lips with yours,
hold him close,
press your cheek against his.

I was foolish when I thought
I knew my little heart
And, when it comes to love
I’m always fearful at the start.
But, together we can care
for this love we share,
a sweet love
just for us.

 

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Poems for Billy Strayhorn (II)

I am in London this week!  So, of course, I am prompted to post a second poem from my series inspired by specific compositions of Billy Strayhorn, Chelsea Bridge, a London landmark. As you read, you may wish to listen to one of the sax solos that inspired me while I was writing–Ben Webster’s sensitive version of “Chelsea Bridge” on YouTube*.

Chelsea Bridge
©2009 Laurie Early

There’s a footpath under the Chelsea Bridge
Darling, meet me there tonight
I’ll be there
waiting
in the moonlight.

We’ll go walking down by the River Thames
while the boats go by you can steal a kiss
memories
to cling to
for a lifetime.

Do you remember that storm,
the day we met last April,
when we both ran for shelter
from the rain?
Our romance made London a dreamland
where we’ll never be lonely again.

As the river sparkles like stars
so high up above
I will take your hand,
I will give my heart
“I love you
that’s forever,”
this I’ll promise.

This I’ll promise under the Chelsea Bridge

 

Another poem in this series is:  (I) My Isfahan

London, 2012

London, 2012


*Ben Webster – Chelsea Bridge
(Copenhagen, 1964)
Ben Webster – tenor sax
Stan Tracey – piano
Ricky Laird – bass
Jackie Doogan – drums

Bend to the Light – Lafayette Harris, Jr. Trio

Lafayette Harris’ new CD “Bend to the Light” makes you feel at home with the very first, captivating, musical phrase of his opening title song. He sets the tone with his light, yet strong and resonant sound, then invites you to join him on a fantastic jazz journey through a selection of a dozen pieces: modern and smooth, nostalgic yet hip, well-loved standards, and internationally inspired originals.

lafayetteharrisjr1

I have had this CD about 3 months now, and because I have been enjoying it so much, I couldn’t just say, “Oh wow! Everybody, check out this new CD, it’s swell!” No, I needed to write about it, to touch on all the songs, it is just that wonderful of a recording. (I imagine, if I had a car, that this would be a CD I would play as I drove through the city at night, or at sunset along a coast with an ocean view; the perfect road-trip jazz soundtrack.)

After the opening piece, “Bend to the Light“, I found “We in the House” especially engaging, Willie Jones III, on drums leads into a pulsating bass line with Lafayette dropping cascading notes like rain from above; at the midpoint there is a tender bass solo by Lonnie Plaxico, so lovely. Reading the liner notes, I was moved to learn Lafayette was inspired by “the journey from Africa to the Americas by those stolen Africans and their captors” (another travel thought and visual, yet one not willingly chosen as the journey was thrust upon those travelers.)

Besides the two originals I have mentioned, Bend to the Light includes these selections:

  • 12 Bars” a magical, thoroughly entertaining piece written by Herbie Nichols
  • Take You Out” Lafayette’s wonderful interpretation of the Luther Vandross song
  • Old Devil Moon” and “Tenderly“, jazz standards shaped by Layfayette into beautiful jazz voyages that evoke memories of the lyrics yet take you somewhere new.

and some other original pieces:

  • Achern” (titled after the German city that inspired it) which will take you on boppin’ journey over the ivories
  • Japanese Love Poem” a lyrical and tranquil piece that will transport you to a Japanese garden of sound
  • Blues on the Edge” a minor blues accented by sharp drumbeats that will have you tappin’ your feet, and…
  • Geneva“, the last piece, a musical Tetris game of inversions, a playful escape for your mind, that leads you to a pounding heartbeat of rhythm before taking you back home as the CD concludes with 2 reprises, a vocal version of “Bend to the Light” and a short version of “We in the House.”

Each piece on “Bend to the Light” is a beautiful jazz voyage – I am glad I got my ticket to ride along.

“Bend to the Light” is available for purchase at: CD Baby
Lafayette’s website is here: Lafayette Harris, Jr.

Groove on successfully everyone! – Laurie