April 2022 by Music Connection

April 2022

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SPACE-AGE COLORWAYS. OTHERWORLDLY SHAPE.

HH IN SILVERBURST & ACTIVE BASS IN OPAL SPARK

April 2022

FENDER (standard and in stylized form), METEORA, and the distinctive headstock shapes commonly found on the FENDER® instruments are trademarks of Fender Musical Instruments Corporation and/or its affiliates, registered in the U.S. and other countries.

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beautifully honest

“For me, the best speakers have to sound great without hiding a thing. Amphions do exactly that.” Finneas O’Connell

One12

One15

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April musicconnection.com 7733 February April2022 20212022 musicconnection.com musicconnection.com

Informing Music People Since 1977

April 2022 • Vol. 46 • No. 4

Yola

The 38-year-old Brit, who lives in Nashville, got a late start as a solo artist, after years guest-singing and songwriting for Massive Attack, Duke Dumont and many other artists. In this exclusive interview, MC learns about the career moves she's made that helped Yola go on to be a multiple Grammy winner.

By Kurt Orzeck Photos by Joseph Ross Smith

Singers Sound-Off 2022

Music Connection talks shop with some of the more prominent vocalists working today, incuding the legendary Dionne Warwick.

By Eric Harabadian

54 Directory of Music Education 64 Directory of Vocal Coaches Compiled By Denise Coso

Apogee Digital DUET 3 By Steve Sattler

Departments 08. Close Up 09. Assignments 10. New Toys 14. Book Store 16. Up Close 18. Studio Mix 23. Business Affairs 24. The Legal Beat 26. Signing Stories 28. Song Biz 32. Film•TV•Theater 34. Mixed Notes

Reviews

47. Album Reviews 48. New Music Critiques 50. Live Reviews

Be sure to follow Music Connection on Facebook and Twitter.

20. Producer Crosstalk: Drumma Boy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 22. Exec Profile: Lola Plaku, Lola Media Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Andy Kaufmann 30. Songwriter Profile: Joss Stone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Andrea Beenham 45. Expert Advice: Write a Mission Song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Mike Errico 46. Industry Profile: IAFAR, Demystifying Neighboring Rights . . . . . . . . . . . . . . . . . . . . . . . . . By Brett Callwood 70. Tip Jar: 7 Ways to Get Out of Your Songwriting Comfort Zone . . . . . . . . . . .. . . . . . . . . By Eyvindur Karlsson 4

April 2022

musicconnection.com

The opinions expressed in Music Connection, as well as all Directory listings and contact information, are provided by various sources in the music industry. Music Connection is not responsible for any business transactions or misadventures that may result from your use of this information.

April 2022

musicconnection.com

––JONATHAN JONATHANWIDRAN WIDRAN – JONATHAN WIDRAN

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krkmusic.com

E. Eric Bettelli PUBLISHER lesson is that you’re in customer service,” DeKline says. “You have to talk to people and find out what they want—not what you want to do to 35 Years of Sound Innovation: Founded in 1986 by a visionary film their music but what they want from their music. I pride myself on having industry audio engineer whoBettelli couldn’t find E. Eric Markmonitors Nardonethat gave him the clarreal relationships and caring.” SENIOR EDITOR /longtime member of the GENERAL MANAGER / ity and accuracy he needed, KRK Systems––a ADVERTISING DIRECTOR Gibson Family of Brands––is today stillASSOCIATE drivenPUBLISHER by the same philosophy markn@musicconnection.com A Veteran Musician Connecting With and understanding: ericb@musicconnection.com “Great sound doesn’t necessarily start with the studio, Musicians: DeKline’s extensive backthe latest gear or the latest software. ItJohn with the heart, and it starts Curry Denise Coso ARTstarts ground as a musician and artist helps with the truth.” DIRECTOR OPERATIONS MANAGER / him connect and empathize with his The company has set the music industry standard since launching artdirector@musicconnection.com DIRECTORIES EDITOR clients in a way that strictly tech-oriented its flagship Expose studio monitor series in 1996. Top engineers were denisec@musicconnection.com Joseph Maltese mastering engineers cannot. He started attracted to the monitors’ amazing dynamics and spectral balance. Craig ASSOCIATE EDITOR / experimenting with 4-track machines as Hockenberry, KRK’s Director Steve Sattler of Engineering, says, SOCIAL MEDIA MANAGER“All the products KRK a teenager and secured a record deal af- creates are based off the same BUSINESS fundamental design philosophy, focusing josephm@musicconnection.com ter graduating with a graphic arts degree on accuracy, spectralDEVELOPMENT MANAGER balance, dynamics, and resonance and distorBarry Rudolph the University Arizona. steve@creativesalesresource.com In 2000, KRK was purchased by the Stanton Group, Grand C7 Piano, analog synths,from a plethora of guitarsofand amps,After etc. four tion management.” NEW TOYSand Stanton DJ. Gibson’s years of touring, which segued into mixincluded Cerwin-Vega Davis and Ornest take the overall aesthetic and vibe very seriously, and whose divisions also Hillorie McLarty barry@barryrudolph.com and producing, startedcolorful mastering purchase of the Stanton Group in 2011 became the basis for a new recently gave the studio a 40th ing anniversary facelift he featuring ADVERTISING / MARKETING home for friends who found pro Gibson Pro Audio division. Classic legacy linesBeenham include the ROKITs, the Andrea tapestries, Moroccan lamps andtracks woodatfloors. studios too expensive. “Nobody fawned number 1 sellinghillorier@musicconnection.com SONG BIZtheir inception. monitor in the world since over my work as a producer or mixer, Ray Holt drea@dreajo.com Total Access Rehearsal: Ornest recently opened a 1,000 sq ft. but when recording engineers heard V Series: Launched in 2017,DIRECTOR KRKOFSystems Series 4 nearfield studio Glenn VLitwak rehearsal suite a few steps away from the studio. The idea evolved out my mastering work, they loved it, and MARKETINGfor audio monitors are specificallyDIGITAL designed production applications THE LEGAL BEAT of a frustration at the lack of clean, acoustically rehearsal it made sense totreated shift gears,” he says. rayh@musicconnection.com where accurate reproduction is critical.gtllaw59@gmail.com The V-Series 4 is a 4” near-field facilities in L.A., particularly in the South Bay. Ornest and business “Understanding the language musistudio monitor featuring an 85 watt bi-amped class d amplifier. The VJessica Pace Brettamp, partner Jeff Nisen created a suite thatspeak boastsisan acoustically treated Callwood cians important. It’s not always Series 6 is a 6.5” monitor with a 155 watt while the V-Series 8 specs FILM / TV / THEATER showcase room, top-of-the-linetechnical. gear, a Nashville-themed writing-proIf somebody says they’re not are 8” and a 230 watt amp. These are BUSINESS being AFFAIRS used in many studios to crej.marie.pace@gmail.com brettcallwood@gmail.com duction a private A/C, freeable water and coffee, feeling itroom, or asks you a lounge-bathroom, question, you need to be to decipher and ate Dolby Atmos’ revolutionary, immersive audio experience that enables private roll-up entry. This distractionanswerparking, the howand andconvenient why without beating them upprivate, with overly techniartists to mix music so the sound comes from all and 11:10 above;AMit is Mixcast_Ad_091521.pdf 1 around 9/15/21 free rehearsal suite been is perfect for any serious band who looking to prepare cal jargon. Having a professional musician attended many now an integral part of Apple FEATURE Music.WRITERS mastering without about it at the time, that for their nextsessions big gig or studioknowing session.anything Please visit tarehearsal.com. Andy Kaufmann andy.kaufmann@verizon.nett Rob Putnam toe2toe6@hotmail.com was important to me then and now.” Daniel Siwek danielsiwek@roadrunner.com Dan Kimpel dan@dankimpel.com Contact Total Access Recording, 310-376-0404 Contact DeKline Mastering, 310-621-1896 TotalHans Access Rehearsal, 424-271-5070

E. Eric Bettelli PUBLISHER E. E.Eric Eric Bettelli Bettelli PUBLISHER PUBLISHER Eric Bettelli EricBettelli Bettelli E.E.E. Eric

GENERAL MANAGER MANAGER /// GENERALGENERAL MANAGER ADVERTISING DIRECTOR ADVERTISING DIRECTOR ADVERTISING DIRECTOR

ericb@musicconnection.com ericb@musicconnection.com ericb@musicconnection.com

Denise Coso Denise DeniseCoso Coso

OPERATIONS MANAGER OPERATIONS MANAGER // OPERATIONS MANAGER DIRECTORIES EDITOR DIRECTORIES EDITOR DIRECTORIES EDITOR

denisec@musicconnection.com denisec@musicconnection.com denisec@musicconnection.com

Steve Steve Sattler SteveSattler Sattler

BUSINESS BUSINESS BUSINESS DEVELOPMENT MANAGER DEVELOPMENT MANAGER DEVELOPMENT MANAGER steve@creativesalesresource.com steve@creativesalesresource.com steve@creativesalesresource.com

Hillorie HillorieMcLarty McLarty Hillorie McLarty

ADVERTISING / MARKETING ADVERTISING / MARKETING ADVERTISING / MARKETING hillorier@musicconnection.com hillorier@musicconnection.com hillorier@musicconnection.com Ray Holt Ray Holt DIRECTOR OF Ray Holt DIRECTOR OF DIGITAL DIRECTOR OF DIGITAL MARKETING MARKETING DIGITAL MARKETING rayh@musicconnection.com rayh@musicconnection.com rayh@musicconnection.com

MarkNardone Nardone Mark Mark Nardone

SENIOR SENIOR EDITOREDITOR /EDITOR SENIOR / / ASSOCIATE PUBLISHER ASSOCIATE PUBLISHER ASSOCIATE PUBLISHER markn@musicconnection.com markn@musicconnection.com markn@musicconnection.com

JohnCurry Curry John John Curry

ART DIRECTOR ART DIRECTOR ART DIRECTOR artdirector@musicconnection.com artdirector@musicconnection.com artdirector@musicconnection.com

Joseph JosephMaltese Maltese Joseph Maltese

ASSOCIATE EDITOR EDITOR / EDITOR ASSOCIATE ASSOCIATE / / SOCIAL MEDIAMEDIA MANAGER SOCIAL MANAGER SOCIAL MEDIA MANAGER josephm@musicconnection.com jacobt@musicconnection.com josephm@musicconnection.com

Barry Barry Rudolph BarryRudolph Rudolph

NEW TOYS NEW NEWTOYS TOYS barry@barryrudolph.com barry@barryrudolph.com barry@barryrudolph.com

Andrea Beenham Dan Kimpel Andrea Beenham SONG BIZ SONG SONGBIZ BIZ drea@dreajo.com dan@dankimpel.com drea@dreajo.com

Glenn Litwak Glenn Litwak Glenn Litwak THE LEGAL BEAT

THE THELEGAL LEGALBEAT BEAT gtllaw59@gmail.com gtllaw59@gmail.com gtllaw59@gmail.com

EDITORIAL INTERN Iakbal Kaur intern@musicconnection.com David Arnson, Andrea Beenham, Bobby Borg, Pierce Brochetti, Alexx Calise, Brett Callwood, Miguel Costa, Heather Cunningham, Elena Ender, Gary Graff, Eric Harabadian, Andy Kaufmann, Glenn Litwak, Andy Mesecher, Kurt Orzeck, Jessica Pace, Rob Putnam, Steve Sattler, Adam Seyum, Daniel Siwek, Brian Stewart, Jonathan Widran, Ellen Woloshin Artist: Chris Buck

eran artner-

KRK Systems

PHOTOGRAPHERS David Arnson, JB Brookman, Brett Callwood, Alexx Calise, Daren Cornell, Miguel Costa, Jody Domingue, Jim Donnelly, Kevin Estrada, Apple Kaufmann, David Klein, Alex Kluft, Heather Koepp, Tony Landa, Dave Long, Thomas Long, Charlie Meister, Scott Perham, Garrett Poulos, Alexander G. Seyum, Danny Seyum, Mark Shiwolich, Daniel Siwek, Brian Stewart, Joshua Weesner, Ellen Woloshin

Subwoofers: For years, KRK subwoofers have been the choice for accurate low frequency monitoring in studios large and small. The company’s latest generation ofAND powered subwoofers provides MANUFACTURED PRINTED IN THE UNITED STATES OF AMERICA a new standard for Music evenConnection better performance accuracy, the barInc., once (ISSN# 1091-9791) isand published monthly byraising Music Connection, 3441 again. Ocean Whether is mixing in a copy stereo immersive sound environment or just View Blvd., one Glendale, CA 91208. Single priceor is $3.95, Canada $4.95. Subscription rates: $35/one looking to upgrade thethe low-frequency extension of your monitors, year, $59/two years. Outside U.S., add $25 (U.S. currency) per year. We areexisting not responsible for KRK Subwoofers willmust provide the lowbyfrequency and accuracy that unsolicited material, which be accompanied return postage.detail All rights reserved. Reproducwilltion help create a without betterwritten mix. permission of the publishers is prohibited. The opinions of in whole or part

contributing writers to this publication do not necessarily reflect the views of Music Connection, Inc.

Copyright 2021 by6402 E. Eric Bettelli. All rights reserved. KNS Headphones: The©KNS and KNS 8402 closed back monitoring headphones provide precise experience that takes users Founded by: J. aMichael Dolanlistening / michael@jmichaeldolan.com from personal studio to commercial studio to on-the-go track evaluations––and they allow them to accurately enjoy the music with the consistent voicing philosophy and honest reproduction top producers, studio musicians, performers and engineers have come to trust.

CORPORATE HEADQUARTERS

3441Early Ocean View Blvd.,marked Glendale, CAthe 91208launch Office: 818-995-0101 Kreator Alliance: 2021 of the KRK Kreator JessicaPace Pace Brett Jessica Brett Callwood Fax: 818-638-8015 Email Address: contactmc@musicconnection.com Callwood Alliance, composed of artists, engineers and producers that have been Jessica Pace Brett Callwood FILM/ /THEATER TV / THEATER BUSINESS AFFAIRSAFFAIRS Website: musicconnection.com FILM / TV BUSINESS influential in the growth of recorded music. With this initiative, KRK is FILM / TV / THEATER BUSINESS AFFAIRS brettcallwood@gmail.com j.marie.pace@gmail.com Legal Counsel: Christopher J. Olsen / chris@chrisolsenlaw.com j.marie.pace@gmail.com brettcallwood@gmail.com re-imagining how to leverage its iconic past and lean into its innovative j.marie.pace@gmail.com brettcallwood@gmail.com future alongside its leading artists. These innovators have joined forces to C FEATURE WRITERS WRITERS FEATURE FEATURE WRITERS discuss industry trends, KRK equipment, product launches, brand initiaAndyKaufmann Kaufmann andy.kaufmann@verizon.net Rob Putnam toe2toe6@hotmail.com andy.kaufmann@verizon.nett Rob Putnam toe2toe6@hotmail.com Andy Kaufmann Andy andy.kaufmann@verizon.net Rob Putnam toe2toe6@hotmail.com tivesM and other forward-thinking endeavors. musicconnection.com/store/subscribe Daniel Siwek danielsiwek@roadrunner.com Daniel Siwek danielsiwek@roadrunner.com Y Daniel Siwek danielsiwek@roadrunner.com Contact KRK Systems, 1-800-4GIBSON Editorial Interns INTERN CM 6 April 2022 musicconnection.com EDITORIAL Editorial Intern Derek Duverger Derrick Duverger intern@musicconnection.com September 2021 musicconnection.com musicconnection.com 16 October 2021 Derrick Duverger MY intern@musicconnection.com

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– JONATHAN WIDRAN

Black Matter Mastering blackmattermastering.com

Birth of a Thriving Mastering Facility: Throughout the 2000s, Nashvillebased veteran musician and producer Dan Emery was co-owner of the popular collective McAlpine House Studios. Based in the rooms of a large home, the full-service recording facility had been hosting sessions for artists for six years when the Tennessee floods hit in 2010. Emery and his staff were able to salvage most of their equipment—including a vintage Soundcraft 500 console—but the location was no longer viable, prompting Emery to shift gears and fulfill his longtime goal to work more independently. His desire to work solitarily on his own schedule, combined with his fascination with the “dark arts of mastering,” led him to regroup and launch Black Matter Mastering. Driven by the essential goal of providing top quality mastering work at a reasonable price, the still active punk rocker’s recent clients have included the Lost Dog Street Band and Thetan feat. Lil B. Vinyl Etching: Passionate about the visual arts, Emery has become the “go-to” guy for his expertise in vinyl etching, which is an image pressed into an unplayable side of an album, with a frosted appearance. The etched side normally doesn’t contain any grooves of music, but for clients who want it, Emery is able to etch onto playable sides, as well. Emery takes the blank lacquer and uses chemicals to etch visual images onto them. The process adds a touch of visual style and is a way to enhance the artistic aesthetic of the album. Since he started etching (originally by hand!) in 2015, he has done approximately 350 projects. His current works include

Hot Sass for Liz Cooper, an animated etching that moves if viewed through a phone camera; Layla (Revisted) by the Tedeschi Trucks Band, Metallica’s Don’t Tread on Else Matters, Bruce Springsteen’s Letter to You and a recording by Nine Inch Nails and Health. The Cooper and Tedeschi Trucks etchings have an audio cut in the inner part of the side around the center label.

Anti-Corp: In 2001, Emery launched an indie label for local metal and punk bands. Over the years, even as he developed his other services, the label’s roster has grown to include hip-hop (including Kool Keith) and, these past years, Americana, folk and bluegrass alongside the metal and punk. The label now has a thriving series of stripped-down acoustic albums by a wide range of renowned contemporary folk artists (and a few jazz performers) called The Magnolia Sessions because they are recorded in the summer under a large magnolia tree outside Nashville. Participating artists have included Lost Dog Street Band, Matt Heckler and Cooper McBean from Devil Makes Three. In addition to mic’ing every instrument, Emery built a binaural mic for these sessions to pick up the details of every ambient sound, which creates an almost 3-D audio effect. Contact Black Matter Mastering, 615-424-6509

April 2022

musicconnection.com

Dave Cool

Craig Shelburne

Bandzoogle

AMERICANAFEST

Chief Relationship Officer

Festival Producer

Musician website platform Bandzoogle has announced that Dave Cool, a 10-year veteran of the company, has been promoted to Chief Relationship Officer. As CRO, Cool will continue to execute high level strategies on growth and retention, serve as a liaison for industry partners, and strengthen relationship-building within the company. He brings a wealth of industry knowledge as well as strategic vision to this role. Hired in 2012 as Bandzoogle’s Community Manager, Cool engaged thousands of artists and created valuable content with the aim of empowering musicians. For more, contact melanie@bandzoogle.com.

Craig Shelburne who has joined as a Festival Producer for AMERICANAFEST. In his new role, reporting to Executive Director Jed Hilly, he will be responsible for producing the nighttime music showcases during the event. Craig has been writing about roots music for more than 25 years. He currently serves as Managing Editor at the Bluegrass Situation. Prior roles include a VP role at Richlynn Group and a general manager position at MusicRow Magazine. He also spent 13 years in an editorial role at CMT.com, where he launched a roots music blog called CMT Edge and co-produced the online series Concrete Country. Contact updates@americanamusic.org.

Alyssa LoPresti

Walter Jones

Republic Records

Sony Music Publishing

Vice President of Marketing Strategy

Exceutive Vice President, Head of A&R

Republic Records hired Alyssa LoPresti as Vice President of Marketing Strategy. In this role, Ms. LoPresti will devise, enact, and spearhead marketing campaigns and initiatives for a dynamic and diverse roster of multiplatinum artists and developing talent alike. Artists under her purview include James Bay, Bastille, Of Monsters and Men, and BoyWithUke, to name a few. Prior to her arrival at Republic Records, Ms. LoPresti spent a decade at Columbia Records. Prior roles include, Marketing Assistant to Director of Marketing, working on projects for AC/DC, BTS, The Chainsmokers, Hozier, and more. She graduated from Syracuse University. Contact Sydney.Feinberg@umusic.com.

Sony Music Publishing announced the appointment of Walter Jones as Executive Vice President, Head of A&R, extending the company’s creative leadership in the U.S. As EVP, Head of A&R, Jones will oversee the company’s U.S. A&R efforts and work closely with the U.S. creative team to further support both emerging and established songwriters. He will work to advance SMP’s overall A&R strategy and generate new opportunities on behalf of its roster. His prior role was Co-Head of A&R at Universal Music Publishing Group. Contact smpcommunications@sonymusicpub.com.

Jordan Auleb

Jenn Littleton

Director of Artist Relations & Events Blue Bear School of Music

Senior VP, Artist Development and Marketing

Blue Bear School of Music hired Jordan Auleb as the Director of Artist Relations & Events. As a graduate of Guilford College’s Political Science and Community and Justice Studies programs, and a current student at Harvard’s Extension School for her Master’s of Psychology, Auleb leads the school’s fundraising and artist engagement campaigns alongside the staff and GRAMMY awardwinning artists, up-and-coming artists, politicians, donors and more. Her prior role was the Founder of BANDAID Social Media. For more information, contact crooney@shorefire.com.

Studio2Bee Entertainment

Tom March

Craig Palmer

Geffen Records

Makersplace

President of Geffen Records Tom March has been named President of Geffen Records. March, who as Co-President of Polydor Records led the label to become the premiere label in the U.K., will begin his tenure at Geffen Records this July. March, who recently chaired the Brit Awards 2022, has worked at Universal Music Group for 16 years, spending the last 6 years as Co-President of Polydor Records, which was named Major Label of the Year by MusicWeek for the last 3 years running. Known for breaking artists, recent Polydor signed artists have won the Brit Rising Star Award for 3 of the last 4 years. For more information, contact jv@spinlab.net.

Nashville-based artist development conglomerate Studio2Bee Entertainment continues expanding its team with new hires and a promotion to their Executive Staff. Jenn Littleton hired as, Senior VP, Artist Development and Marketing. Prior roles include Senior Marketing Director/ A&R at Geffen Records, GM for labels Ironworks (Kiefer Sutherland), RH Music (Restoration Hardware), and jk livin (Matthew McConaughey). She continues to run Marketing/Management Consulting company, Red 4 Music. Contact Jenn@Studio2bee.com.

Chief Executive Officer MakersPlace named Craig Palmer, Chief Executive Officer to lead the company through its next critical growth phase. Prior roles include, CEO of Fandom (www. fandom.com) and the President & CEO of Gracenote (www.gracenote.com). Palmer has also held leadership roles such as Aspect Development (Enterprise Software) He also serves on the University of Wisconsin, College of Engineering Industrial Advisory Board and has served as board member or advisor for a number of private companies. For more information, contact agreenberg@falconpublicity.com.

April 2022

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– BARRY RUDOLPH barry@barryrudolph.com

IMPERATIVE AUDIO PORTABLE VOCAL BOOTH Auralex Acoustics is the distributor of the Imperative Audio Portable Vocal Booth. Imperative claims the PVB reduces the RT60 time (a measure of a space's sonic reflectivity) down to 0.07 seconds with an average of 28.4dBa of sound level reduction from outside sources. That's incredible for a portable vocal booth that you can set up in a few minutes. If you've tried to record a vocal track or a simple narration voiceover, getting a quiet space for recording is only half the problem. By staying close to a directional microphone solves some of the sound isolation issues, but that leaves the acoustics of the space you're recording in. Recording in a clothes closet that will deaden the acoustics somewhat and in the middle of the night to avoid external outside noises is not exactly a very professional and workable solution. The Imperative Audio Portable Vocal Booth is designed to free stand and nearly wrap around your voice talent either seated or standing. There are three high-performance layers of acoustic treatment, plus an optional roof is offered to reduce reflections off the ceiling. The Portable Vocal Booth is made of lightweight aluminum and its cylindrical design ameliorates typical problems with right-angled vocal booths or sound screens. The PVB is adjustable from 5'9" to 6'10" tall. If you record from a seated position, the legs retract for positioning the PVB directly on your desk to wrap around you, your mic, and your workstation and screen. Equipped with a music stand and adjustable LED light, comes with a protective carry bag, and weighs 78 lbs. For pricing, contact Auralex. auralex.com/portable-vocal-booth-by-imperative-audio

PSP SATURATOR PSP Saturator is an updated version of PSP's MixSaturator that was one of PSP's first products over 20 years ago. PSP Saturator has all new code written from the ground up. It includes modern features like 4-times oversampling to 384-MHz, retina screen and resizable GUI, plus some old problems were fixed. However, it is not backward compatible with your old presets. I liked the new Low and High sections for separately applying low frequency distortion and soft-knee compression to the high frequencies. The main control is called Saturation and it drives the main algorithm under the direction of the Shape control. Shape has seven algorithms—simulated analog saturation curves ranging from smooth tube distortion to diode rectification with SoftClip. There is also a HardClip or digital clipping position. I'm new to the world of saturation, but I have made great use of PSP Saturator on individual tracks—drums, snares, synth bass and electric guitars. There are over 100 presets included and right away I can recommend two called "Sub Enhancement" and "Snare." Sub Enhancement did that very thing on a slightly thin synth bass, while the Snare preset inserted on a close-miked snare drum track brought up all the sound recorded. Now the fullness of the rest of the kit was made hearable. In the first example, PSP Saturator was amplifying the synth bass' sub and also the upper harmonics in a way to make the bass part translate over small speakers. When used on the snare drum track, it worked like a very good analog compressor. Now for PCs, Mac 64-bit Intel, and Mac for Apple Silicon (AAX thru Rosetta 2). The new version of PSP Saturator sounds amazing and I especially thought its adjustability was key to its brilliance! Another great audio tool from PSPAudioware! It sells for $99 MSRP! pspaudioware.com/products/psp-saturator

GRADO LABS SR80X HEADPHONES Grado Labs' new Prestige X Series Headphones feature new drivers, advanced cable design and a more comfortable headband. These changes are implemented on all five new models: the SR60X, SR80X, SR125X, SR225X, and the SR325X. It was easy to love the SR80X headphones the first time I plugged them into my studio's headphone system for a listen. I heard an accurate soundstage with good mid-range and no hyped-up bass or extreme high frequency "fizz"—just an honest, clear reproduction of the sound of my music mixes that I already know well. The updated drivers have a new magnetic circuit and voice coil/diaphragm for improved efficiency and reduced harmonic distortion. The ear cups on the SR80X use foam pads and are an open-air design with lightweight polycarbonate plastic housings for the 44-mm drivers. These 4th Generation X-Series drivers have a nominal impedance of 38-ohms, a frequency response of 20Hz to 20kHz and are matched to each other within 0.1dB. The SR80X cables have four-conductors and are made covered with braided nylon sheathing; separate cables come from the L/R ear cups and join together in a molded plastic "T". That feeds a single, 4-foot cable and then a molded 1/8-inch mini TRS plug with 1/4-inch adapter included. I liked the headband with its soft rubber cushioning; they are easy to adjust on my head. The stainless steel hand band adjusts to your own tightness preference and stays that way—great! I found them very comfortable because they are supra aural and they lay on top of my ears not circumaural and covering my ears. I use them in my control room so no problem with leakage from the open vents on the side of the cups. The Grado SR80X headphones sell for $125 MSRP and are great value for studio work or just comfortable music enjoyment. gradolabs.com/headphones/prestige-series/item/128-sr

10 April 2022

musicconnection.com

April 2022

musicconnection.com

– BARRY RUDOLPH barry@barryrudolph.com

DONNER DMK 25 MIDI KEYBOARD CONTROLLER The Donner DMK 25 is a plug n' play USB-C powered MIDI controller with 25 velocity-sensitive keys, eight backlit drum pads and six transport buttons. Great for carrying around, this compact keyboard/controller fits in a backpack easily and is useful for beat makers, songwriters, producers, and musicians. I like the fast-responding octave up/down touch pads for quickly finding the correct octave and the pitch bending and modulation controllers that are not mechanical wheels like most controllers. These are touch pads that automatically return to center position for the pitch bend while the modulation stays where you leave it. I like the mod pad especially for triggering the Leslie speaker on my favorite Hammond B3 instrument. The eight drum pads, six transport keys, four small faders, and four small knobs can be assigned to send Control Change (CC) messages using the keyboard itself—no software required. Complete instructions for programming are available on Youtube. There are four programmable memory banks for instant recall of personal control preferences. I have been using the DMK 25 in place of another small 25-Key MIDI controller and I like the feel of the DMK better, plus I prefer the four small faders rather than knobs for MIDI volume moves and dialing in filters when playing keyboards. I'm giving a big thumbs up from me on the Donner DMK 25. It sells for $109 MSRP. donnermusic.info/3KA3ogK

AKG ARA TWO-PATTERN USB MICROPHONE The AKG ARA is a new USB microphone/interface that easily fits onto your computer desktop and is perfect for your Zoom and blog work. Perfect because, just like a studio microphone, it has a choice of two pickup patterns: cardioid and omni-directional. I found the cardioid pattern very clear sounding with very little room sound and outside noises being picked up. Omni was better when I had others participating with me; all are heard well on the call when close in on the ARA. The ARA has a clean look on camera too. It is very much like an AKG C-414 studio condenser except there are the pattern switch and playback volume controls knobs right on the front. The mic's body rests in a gimbal mount like a studio mic with cables connected to the USB-C (USB-C to USB-A cable included) and 3.5-mm TRS headphone mini-jacks coming out of the bottom. You can "hang" the mic on a boom or any pro stand, because both the mic and base use standard 5/8-inch threading (a 3/8-inch to 5/8-inch adapter is also included). The included base is a solid disc big and heavy enough to offer stability wherever you find room for it on your desktop--it also has a non-slip base. Sound quality is superb—exactly as I expect from an AKG microphone. A big reason is that 96kHz/24-bit A/D conversion is used and I found the mic to be able to handle very loud sound as well as quiet speech without noise. I liked the direct monitoring for checking myself at the same time as what is coming back from the Zoom app. I think the AKG ARA is a big winner and can highly recommend it immediately for live-streaming, video conferencing and music recording applications. Its sells for $99 MSRP! akg.com/Microphones/Condenser%20Microphones/AKG-C22-USB-LS.html

VOCOPRO JELLYBEAM LIGHT EFFECT VocoPro's new LED Light with moving JellyBeam Effect is a small, portable light show that works under any existing lighting conditions, from a lighted or dimly lit room to total darkness—and that is the best! JellyBeam is a small globe—a ball about 6-inches in diameter covered in soft foam that projects a wide-angle display of vivid multicolored jellyfish-like images. You'll have to see the mesmerizing amorphous shapes it projects for a soothing effect. The unit sits on a metal base so it can be aimed at walls or up at the ceiling; it is powered by an included power supply and USB-C cable. It is small enough to sit just behind my computer monitor and projects on the ceiling of my mix studio. I liked the included handheld wireless remote that works on a radio frequency so you don’t have to aim it at the JellyBeam itself to have it work. With the remote you can control and synchronize multiple JellyBeam lights, control the speed of the swirling 'amoebas' floating in space BARRY RUDOLPH is a recording engineer/mixer around an on your ceiling, change their intensity, or who has worked on over 30 gold and platinum change to any of 10 colors. I leave it on Auto for a records. He has recorded and/or mixed Lynyrd constantly changing effect. Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the What a great way to enliven any space—it is the Corrs and more. Barry has his own futuristic music first order of conversation when people first come my mixing facility in North Hollywood called Tones 4 $ studio to work on their music! Studios. He is a lifetime Grammy-voting member of The VocoPro JellyBeam Light Effect sells for $129 MSRP. NARAS and a contributing editor for Mix Magazine. vocopro.com

12 April 2022

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barryrudolph.com

Northern California’s

Premiere Music Industry Program

NON-AUDITION, 4-YEAR UNDERGRADUATE DEGREE • Music business & production job training • Internships in California’s music industry • Small class sizes • One-on-one, individual attention • Extensive professional alumni network

LEARN MORE Pacific.edu/MusicIndustry CONTACT US 209.946.2418 music@pacific.edu

April 2022

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Chairman at the Board— Recording the Soundtrack of a Generation

Pedal Crush—Stomp Box Effects for Creative Music Making

(hardcover) $29.95

This handsome volume is the ultimate 'bible' for anyone who ever wanted to know anything about pedals—how they transform sounds, how their tactile controls are able to alter sonic outcomes, and how they can be used: not just for guitar and bass rigs, but also for electronic instruments and even in pro audio settings. Over 800 pedals are spotlighted and the Foreward has been written by master pedal-crusher Steve Vai. Sounds good to us.

By Bill Schnee

Known for recording and/or mixing many of producer Richard Perry's biggest albums of the '70s and '80s, including those by Barbra Streisand, Carly Simon, Ringo Starr, Huey Lewis, Whitney Houston, the Pointer Sisters, Boz Skaggs and Steely Dan. Schnee documents the key moments of his career, from the huge hits to the cult items (Odyssey and Oracle by the Zombies), and tributes the indispensable mentors who schooled him, the top producers who hired him, and offers his insights, opinions and personal philosophy.

Bet My Soul on Rock ‘n’ Roll: Diary of a Black Punk Icon

By Jean Beauvoir with John Ostrosky (hardcover) $27.99

In this memoir, the Haitian-American Beauvoir recounts his exploits in The Plasmatics beginning in 1979, playing bass and keyboards for the notorious N.Y.C. punk band. By 1982, he was a member of Little Steven & the Disciples of Soul, before going on to become a multi-platinum artist, producer, and songwriter. Beauvoir details his encounters with Bruce Springsteen, Paul Stanley, Gene Simmons, Lita Ford, Sylvester Stallone, billionaire executive Richard Branson, and even Donald Trump.

Tonechaser—Understanding Edward: My 26-Year Journey with Edward Van Halen By Steven Rosen

(hardcover) $35.00 A longtime friend of the guitarist, the book traces Rosen's relationship with the late, great guitar player beginning in 1977—prior to Van Halen's debut release— and running through 2003. Includes some very cool black-andwhite interior photos. The cost of shipping the book is $12. To order, send $47 to this PayPal address: scrosen@sbc global.net.

14 April 2022

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By Kim Bjorn and Scott Harper (hardcover) $75.00

Music, Lyrics, And Life: A Field Guide for The Advancing Songwriter By Mike Errico

(hardcover) $29.95 Author-teacher Mike Errico takes you on a deep dive into the heart of questions asked by songwriters of all levels, from how to begin journaling, to when to know that a song is finished. With humor and empathy, acclaimed singer-songwriter Errico unravels both the mystery of songwriting and the logistics of life as a songwriter. The book’s mission is to help you build a creative world that’s both intrinsic to who you are, and undeniable to whoever is listening.

The Best Jobs in The Music Industry: Straight Talk from Successful Music Pros, 2nd Edition By Michael Redman (paperback) $35.00

Here’s an essential guide for exploring the industry beyond the obvious routes. Now in its second edition, the book includes updates and even more exclusive interviews with top pros, giving a look at how music jobs have changed and the long-term impacts of COVID-19. Redman takes readers on a tour of different music careers—from performer to label executive to recording engineer and music producer, plus more—and boils down the essentials of each job and what you will need to get your foot in the door.

musicconnection.com 17 March 2022 musicconnection.com musicconnection.com 6915 15 musicconnection.com 15 January November 2021 2022 musicconnection.com April2022 2022 February

SONGWRITER PROFILE

ANDREA JONATHANBEENHAM WIDRAN –– ANDREA BEENHAM

Sarah Moseley Five Towns College Brian Tyler ftc.edu Collaborative Inspiration Inspired Emotional Connection

T H

Celebrating 50never Years ofOK, Multi-Faceted Music Performance and Educaailinghas from Tulsa, Moseley grew up in a musical family here been aSarah time that Brian Tyler wasn’t writing music. tion Programs: Originally chartered the York State Board of Known today as an accomplished filmNew composer anda multi-instrumenthat traveled and sang for theirby church ministry. As self-taught talist, he took to Towns music early as a form of self-expression through Regents 1972, Five College was originally located in Merrick, popinand country singer-songwriter-producer, the Songbird City aNY, process he still loves, best described an download. and laterhas moved to its sprawling campus in inspired Dix Hills, NY, a vibrant founder always had a passion for as music—and thecreative people who suburb make it. Tyler’s first uncovered when hethe was found performing a with closetalent proximity New York City. While College was first conStarting to singwas andto play guitar, Moseley worked her way through coffee piano and concerto from memory, later himself toatplay 30arts instruceived as amusic business school, music, media and performing quickly shops festivals, moving toteaching Nashville tothe study Belmont Uniments Collaborating byitsemulating While he received some formal became forte. Overthe themusic years,he asheard. theand small liberal arts school developed versity. with other artists navigating multiple internships training, and had mentorship along thefor way, the majority of his abilities its reputation as Island’sperforming College its students helped launch her“Long pop career, asCreative Jovvi inStudents,” 2017 after graduation. unfolded innately. Tyler explains that creating music as a boy came“Rise” from have pursued coursework andplacements degrees (Associate, Bachelor’s, Master’s, Her music led to multiple sync on MTV, including 2018’s being inspired byworlds novelsof and other reading, sharing the process is Doctorate) in the music (from classical and that jazz to pop/rock), and “Until I Find You,” “Falling Slowly” (2019), and “This Is Our Time” (2020) still about hearing music in his head and then finding a way to present it. media, education and the+ performing arts. for Teenbusiness, Mom 2, Teen Mom: Young Pregnant and 16The andCollege’s Pregnant.Film/ With a hardwired understanding of music theory, it wasn’t until college Video and Interactive Media Arts programs are among the most soughtIn November 2020,that in the wake offormal lockdowns andtonatural disasters, (UCLA and Harvard) Tyler took classes facilitate orchestral after the In“Inaddition, theaCollege will begin offering aplatform graduate Moseley launched collaborative work.inAs heregion. puts it,Songbird everyCity, culture, a person willsongwriting look at a tree and know program Sound Recording Technology starting thisprovides summer. that to writing talent in Nashville and them an notwhatgives it is,inexposure but we might each call it something different.” Inherent ability additional income source. ”I getreading to withstanding, Tyler’s voracious and consumption of sound—along Where Everyone Knows explaining that ultimate help and also be involved in While with people a close observation ofEveryone: conductor techniques—make himthe a lifelong goal isIt's tocommitted “offer outstanding career prep make our students hirable” music. so much more exciting student to self-evolution. “You and are an amalgam of everything in whatever creative field people they choose, Dr. Steve Briody, Chair to ofwhat Five you when you can bring other you’ve learned,” he shares. “I think it's really important to listen Towns College Music points out the school’s great advantage is on thebut journey says your love, [also] with to tryyou,” toDivision, expand boundaries.” having average class size of about 15 students as opposed to around With an experience in fullburned orchestral programming and sampling, Moseley. Finding herself outscoring, and electronic and pop music, Tyler’s versatility and reputation have grown on her own musical journey before to include and “it logo the launch,theme she adds, hassongs, been artistic collaborations and symphonic performances, as well as performing under the moniker Madsonik. When so much more fulfilling because writing music or working record, he reit's not just about me andon mya own cords, produces and plays all parts career. We're all in this together: I himself. For orchestration, he writeslife it all out, with win, you win. It's breathed back results coming together during rehearsals, into me and made me fall in love wanting each project to “enhance and repwith songwriting again. resent the emotional tone and support the “As I got older,” shares Moseley, narrative of whatever I am scoring.” Says “ITyler, felt like myhuman strength was more “The element is the ‘lightning melody. When I'midea in aofroom in a bottle.’ The whatwith makes things someone, I tend to need them to be would beautiful is the imperfections—you strong in the lyricEtta department never auto-tune James.” and I tend to hear strong There have beenmelodies.” numerousHer full-circle best advice for new songwriters is of Dune moments—including the Children to get a solidinunderstanding soundtrack 2003. Writing of thethe opening songwriting process on their to orchespiece as a child dreaming of own making tral music after reading thea Frank gain confidence and build circle Herbert series,writing his melody was ultimately before with others, and to performed by the Czech Philharmonic. Recently scortake every opportunity that comes ing a tragic story as a violin along, while love staying humble. “Ironconcerto sharpens iron,” she says. “Writing with 80 to 100byatGil larger schools, allowing interaction between inspired (a violinist he for hasmore different peopleShaham shows you your strengths and weaknesses. Write with as students and instructors and greater one-on-one attention from their admired since childhood), Shaham ended many people as possible. You never know where it's going to end up, so just professors and advisors. The curriculum also includes an hour-long up asstop. the featured violinist readingit's the don't Stay on fire aboutafter it because easy to get burned out. People private lessonReferencing on their instrument each week. For students who are pop sheet music. Stephen Hawking, that stick it out are the ones that see the fruit.” musicians and aspiring artists, Fivestanding Towns has a lab requisite requiring Tyler said of both instances, “I was Moseley says that the beauty of the Songbird platform lies in the them create groups asinfluences—they a means of developing skills and securing work on thetoshoulders of giant writer getting to interact with the client directly, and receiving immediate are part me.” lucrative corporate parties/weddings circuit and other with the of region’s feedback. Writers for Songbird are given a specific We theme and feel—and Tyler’s ideology to hisCollege latest project, Dreaming. Explains music venues. Thehas Fiveled Towns CareerAre Services Center has deep aTyler, quick“It's turnaround (custom songs are in fiveand busithewith storyarequirement of human endeavoring todelivered unite connections variety of beings music establishments, audiohumanity companies ness days) and receive fair pay and 100% ownership of publishing rights. about living every day as ifstudents it were your last,employment choosing joyafter and enjoying life.” and local schools to help secure graduation. Personal for special occasions commemorations Learning songwriting visual effectsprojects to complete the entire project or himself, and performare a personal-use licenses, while jingles andexperience” branding for busiing issued live nightly with hopes to expand theand “existential coming Superstar Former Students, Visitors Future Movers andinShakers: nesses is issued under achallenge commercial-use license, with all masters remainyears, Tyler says, “The of starting from the bottom again and Five Towns College boasts an array of successful alumni that includes ing undersomething Songbird’scompletely control in new a catalog available for sync license use. learning is important to me.” Jon Bellion, Jesse Carmichael, Wyclef Jean, Adam Levine, Chrisette MiTyler’s accolades include 32 BMI Awards, 5 ASCAP Awards, 12 Regularly approached by songwriters eager to be considered for her chelle and Joe Satriani. Many professors have enjoyed successful careers Goldspirit Awards, World Awards, into the Musical roster, Moseley has 2kept theSoundtrack team small to provideinduction more opportunity to exas musicians and artistsofand havePicture invitedArts influential professionals to Cue the Branch of theHer Academy Motion Sciences isting writers. songwriter selection process and is stringent in (2010), order toaguard College as visiting performers and lecturers, including Grammy awardfor Film Composer of the Year (2014), SoundTrackFest aAward high level of professionalism and, while final songs do not needAward to be (Best full winning bassist Victor Wooten, guitarist Mike Stern, legendary Chicago TV Score) for Yellowstone (2018), Crazy Rich master quality, only writers with theand bestOscar-shortlisting production, soundforand quality drummer Seraphine and Hall & Oates drummer Dunne. Asians. AnDanny Emmy BAFTA nominee, Tyler is now the Brian 9th highest grossare selected. Havingand hosted a sold-out songwriters’ round at the Listening Current Doctoral student Felipe Rondon woninclude two important ASCAP Me ing film composer of allin time. Recent ThosetoWho Room Café in Nashville October lastprojects year, Moseley hopes hostWish another Awards—the Paul McCartney Arranging Competition and the Leonard Dead,inF9 Escape Room: Tournament of Champions. event theand Spring to help expose the Songbird writers’ material, as well as Bernstein Award for Young Composers. grad Jessica Chertock “Never close off to something Recent new—it’s vital,” emphasizes giving the publicyourself an opportunity to learn about the team and process. Tyler. is rising indie pop singer/songwriter has over million “Inamusic, it’s important to pick the thingwho you know the 11 least aboutstreams and dive In addition to ongoing work with the Songbird team and her own on Spotify. students regularly Long Island public school deep into it.Other It's those shades and thebecome differences that actually in the end songwriting and sync collaborations, Moseley is gearing up for a new EP come together to make you more of an artist and a betterwith musician.” teachers and work for renowned music manufacturers facilities in release this Spring under her Jovvi moniker. the region. Contact Jeff Sanderson, Chasen & Company, jeff@chasenpr.com Contact Towns College, 631-656-2110 Contact ShaniaFive Smith, shania@milestonepublicity.com Experience Brian Tyler at briantyler.com Experience Sarah Moseley at songbirdcity.com/sarah-moseley

BOB CLEARMOUNTAIN

30 February musicconnection.com December 2021 musicconnection.com 26 16 April musicconnection.com July 2022 20212022 musicconnection.com 30 November 2021 musicconnection.com

April 2022

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GIRL IN RED

Girl In Red, the project of alternative pop singer-songwriter-producer Marie Ulven, is currently on tour, including a stop at Coachella, supporting her critically acclaimed debut album if i could make it go quiet early last year. Her hit single “Serotonin” was the most played song at Alternative Radio by any other female artist and second most played song across the format all year.

LONDON SYMPHONY ORCHESTRA & EVA CASSIDY

The renowned London Symphony Orchestra recently gathered at LSO St. Lukes, the 18th century former Anglican London church, currently serving to record orchestrations to vocal recordings by Blix Street Records late recording artist Eva Cassidy. With arrangements by Oscar-shortlisted composer Christopher Willis, the LSO, conducted by Chris Egan, recorded a variety of selections from Cassidy’s eclectic catalog for an album planned for later this year.

BLAKE MORGAN'S VIOLENT DELIGHTS

“I was recording guitars at Valiant Recording, NYC for my song ’Long Goodbye’ from my new record Violent Delights,” shares recording artist Blake Morgan. The recording artist, multi-instrumentalist, record producer, and native New Yorker is also the founder and President of independent global-music company ECR Music Group and the #IRespectMusic movement, and continues to fight for music makers’ rights in the digital age.

FERRIS & SYLVESTER

Couple/musical duo Ferris & Sylvester released their debut album Superhuman, written over the span of two years across hotel rooms and their Honda CRV. Issy is pictured in between takes, working in a homemade vocal booth made from portable rockwool panels. “We first came across the Rode Classic II microphone when we were working with Michael Rendall at Sawmills Studio in Cornwall,” Issy says. “As soon as we got back, we had to get ourselves one!”

“A band doesn’t want to wait while you crank a kick drum for 10 minutes. At a live event, you don’t have that kind of time.” – DAVID KIMMELL (Bonnaroo, Aretha Franklin, Elton John) 18 April 2022

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– JOSEPH MALTESE josephm@musicconnection.com

TREVOR HORN REMIXES SEAL IN DOLBY ATMOS

30 years after it debuted at No. 1, Seal’s eponymous first album has been remixed in Dolby Atmos, allowing fans to enjoy his timeless music in this exciting new immersive audio format. U.K. loudspeaker manufacturer PMC made its Dolby Atmos-equipped London demo facility available for the re-mix, which was undertaken by internationally acclaimed producer Trevor Horn, who produced the original album. Pictured (l-r): Trevor Horn and Tim Weidner.

SKUNK BAXTER AT LURSSEN MASTERING

Pictured (l-r): Ruben Cohen, Jeff Baxter, CJ Vanston, Gavin Lurssen at Lurssen Mastering, putting the final touches on Jeff "Skunk" Baxter's upcoming solo album Speed Of Heat. The album is produced, arranged and mixed by CJ Vanston with guest appearances by Michael McDonald, Jonny Lang and Clint Black.

SOMETIMES Y AT SUNSET SOUND

Yelawolf is pictured at the famed Sunset Sound Studios in Los Angeles during the recording sessions for his recent rock collaboration with Shooter Jennings, Sometimes Y. Their self-titled debut album, Sometimes Y, produced by two-time Grammy Award winner Jennings, is available now via Slumerican, and features the singles “Make Me A Believer,” “Rock & Roll Baby” and “Jump Out The Window.”

April 2022

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– ROB PUTNAM

DRUMMA BOY

rammy-winning artist and producer Drumma Boy has worked with some of the brightest names in the rap and hip-hop worlds: Gucci Mane, Ludacris and Outkast, to name a few. But everyone starts their journey somewhere. For Drumma Boy, it began at home where music was woven into the fabric of his formative years. His father was a member of the Memphis Symphony Orchestra, his mother was an opera singer and his older brother ultimately became a producer. He first set foot in a studio at 13 and by 15, he and friends would sell out 500-seat local venues. His first song to earn radio airplay was Tela’s 2002 “Tennessee Titans,” which triggered a wave of offers from other artists. He has worked with a range of talent, but among his most prolific pairings has been his nearly 20-year collaboration with Young Buck. “He was one of the biggest artists in Tennessee when I saw him coming down an escalator in Nashville,” Drumma Boy recalls. “I walked up and gave him one of my CDs—I always carried them with me. He called me two weeks later and I got a track on Back on My Buck Shit Vol. 1. It was so successful that we did Volume 2, which is one of my most classic mix tapes. Our The three most important lessons he’s relationship is strong because of good learned as an artist-producer are: business and [standing by your] word and follow-through. • Pay your taxes. Everything is [about] “Famous or not famous, it’s about business savvy. Business can mess up making good music,” he asserts. “It’s your creative process. about pulling out the artist’s story; it’s like a therapeutic process where I ask • Copyright your music. A lot of producers them questions such as where they’re send me beats that aren’t copyrighted. from or where they’re based. I either get Anyone could run off with them; you’re them in the zone or cater to the zone or not protected. emotional state that they’re in. I want to • Hire a publicist. Many people drop good go into detail about why they feel a cermusic, but no one knows about it. Run tain way and then express it. The music commercials on your local radio station has to match the artist’s emotion.” Drumma Boy writes with virtually or get them to play your record. Publicevery artist with whom he works. ity isn’t just tweeting about your record Indeed, he views it as an essential or posting it on Instagram. part of a producer’s job. “People want lyrics, not beats,” he says. “You could mute the music or the beat at a party and people would still sing the words. That’s how I came to understand how important a song’s lyrics are. As a producer, I can make beats and get placements. But when you start writing, you have the power of the pen. It becomes more important that you’re in the room when the record is made. There’s also a better payout.” Fame and talent are both undeniable assets to any producer. But neither unlocks a secret passage to success. “The main thing I’ve learned as a producer is how important ownership is and the power that you have,” the producer observes. “We are the bottom of the barrel when it comes to getting paid, but the top of it when it comes to creative. Now I distribute and market my own music and hire my own PR people. When an artist gets dropped from a label, they don’t know what to do. But I’ve always understood the importance of having each essential piece done in-house.” Recently he’s expanded his repertoire to include film scores, such as Trap City. His latest record, Drumma Boy and Friends, is planned for a summer release and will include contributions from artists such as Wiz Khalifa, Gucci Mane and Ty Dolla $ign. 2019’s My Brother’s Keeper was his first solo rap album and was inspired by the 2018 shooting death of his brother Ferrell Wayne Miles. “When that happened, I decided to respond with music,” he recollects. “I think I motivated a generation of kids to respond [to similar things] in the same form.” Contact drummaboy.com, Instagram @drummaboyfresh

20 April 2022

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Download at musicconnection.com/industry-contacts

February April 2022 2022 November 2021

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– ANDY KAUFMANN

Lola Plaku

Question Time It’s difficult in the beginning. Everybody is nervous and scared. Somebody will ask a question and another mentee will be like, “I have a question, too.” We encourage everybody to ask a ton of questions.

Lola Media Group Founder & CEO

Years with Company: 5 Phone: 647-370-5914 Web: lolamediagroup.com E-mail: hello@beagirlconnected.com Clients: Belly, Nav, Amaal BACKGROUND

Lola Plaku had to figure out the music industry on her own. Now that she has 15 years of industry experience under her belt, she’s helping other women get in with the sort of assistance she wishes she had. Girl Connected is a unique mentorship program that connects applicants with active players. Recently, the Canadian-based nonprofit began accepting applications from Americans. Connecting Others I founded Girl Connected about two years ago. I have worked in the music industry for over 15 years. I had to learn everything myself. Girl Connected is figuring out a way to combine women who want to work in the music business with people who have experience, to work alongside them and be able to apply that to future opportunities.

“Identify what you’re passionate about and what your goals are. It will really help you create a career.”

The Hard Way I started off being a journalist. I wish I had been able to navigate that world better in terms of the right way to conduct an interview, do research or pitch to publications. When I wanted to get into other magazines, I was always turned down because I didn’t know how to pitch. From there, I went into concert production. And that was just me figuring it out by myself. Applications The application process is fairly easy. For the past two years, we’ve only been available to mentees in Canada. We are partially funded by Factor, which is a government program, so we opened [there]. This year, we opened to mentees in the U.S. We noticed there were a lot of inquiries from the U.S. and job opportunities for us to place graduates. Applications stay open for about four to five weeks. Applicants have to have a resume, recommendation letter, and headshot, and then answer several questions. We cater it based on the programming we offer. The first year, we had an essay where you explain the job you want and what you think that job is. This year, we broke it into smaller questions, so they’re more to the point, giving them a chance to give us bullet points instead of writing longer essays. We ask for references to their work, if they have any. Their social media accounts, so we can see their overall profile. And then we review it. We’ll consider the mentees based on what they’re applying to do, their experience, their goals. Going International We’ve had a ton of applications from the U.S. I thought New York and L.A. were where I was going to get applications from. Instead, it was everywhere—Texas, Florida, Ohio… The next step for Girl Connected is to have a full mentorship program in the U.S. And then after that, London.

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There’s a huge music community in London, and I would love to be able to contribute to growing women in music in the U.K. From Workshops to Assignments When we first conceptualized [Girl Connected], we envisioned workshop-type sessions. The idea was to create these workshops where mentees would be grouped with other mentees with the same interests, connect with a mentor, and get advice. We ended up making it assignment-based. Mentee Tasks This year, the mentees’ first project is to do research. They have to compile a sheet of peers in the industry. The research process is about three months. Their only job is to put this sheet together. Throughout those three months, they attend internal workshops. We do two workshops a month with professionals in their fields, as well as the instructors we’ve picked for the year. After those three months, the mentees in artist development have to deliver a five-song EP from an artist they’re working with. The songs don’t have to be mixed or mastered, but they have to have audio files and all the paperwork that goes with it—lyrics, split sheets, agreements, track listings, artwork, artwork agreements, everything you would need if you were delivering an EP in the real world. They have three months to put that together. For the mentees in artist marketing, their goal is to work on an artist rollout. We want to see how their minds work in developing a rollout plan. They attend workshops throughout the process. We meet at least once a week to give as much guidance as possible. We review these projects and give feedback. After that, we put them in a group to create a marketing plan for one of the EPs that was delivered. Then, they present that plan to a group of peers from the music industry.

Where You Belong No matter how hard I worked, nobody said, “You’d be amazing as a management executive at this company.” It was more like, “Oh, that’s a great job.” And that’s about it. We look at [the mentees’] work and say, “You would kill it here. Let’s see if we can call somebody and do that.” We had a mentee who’s managing an artist called Idman. She was just part of the team, not management. She was like, “Oh, I’m just on the team.” And we were like, “You’re doing management, though. Own it. That’s what you do.” I was able to get her an internship at a studio in LA. She never even imagined that would be her life. I love that. If anybody has opportunities in the music business and is looking for applicants, we would love to send some of our graduates that might be a good fit. We welcome any openings.

Relationship Building Building relationships is one of the biggest questions. “How do I start these relationships and maintain them?” Most people are afraid to go up to somebody and say, “Hey, I love what you do. I’d love to connect,” out of fear of being shut down or ignored. Hopefully, through this program, they build the confidence to believe enough in themselves to say, “I’d love to go for coffee,” or, “I love what you do.” Mentors She Knows I started with people I’ve worked with and know are experienced. I know they’re willing to work with the mentees. The first year, we had Adam Zia, who is an attorney; Krysten Price who was at Complex Networks on the talent side; Nicole Wyskoarko, the VP at Geffen/Interscope; and Riggs Morales, the VP of A&R at Atlantic. I’ve worked with all these people. They’re the first group I went to and said, “I’m doing this program.” Riggs was like, “When you start Girl Connected, let me know.” Same thing with Adam. Those are the types of individuals I look into. Last year, we had Lenny Santiago and Bianca Edwards from Roc Nation, Tone Lopez on the tour management side, and Ashley Kalmanowitz from Atlantic on the publicity side. Again, they’re individuals I’ve worked with for a long time.

Mentees Come First The mentors are not picked until we receive all the applications. We want to make sure we are finding the right people that can help the mentees reach their goals. We create a shortlist of people we want to approach. Once we receive the applications, we go through them and see who’s interested in participating. If anybody wants to be a mentor, email us. Stay Focused [Becoming part of the music industry is] scary, but don’t worry. Just do your best and be consistent. Have clearly defined goals. It’s a challenge when you want to get in but you don’t know what you want to do. Identify what you’re passionate about and what your goals are. It will really help you create a career.

– BRETT CALLWOOD

OPPS

Youtube wants a Music Analytics and Strategy Manager, Music Marketing. As a Music Analytics and Strategy Manager, your responsibilities are to uncover and understand the issues facing the Global Music industry and YouTube users, then work with cross-functional teams to find solutions, transform their business, and bring intelligence into their analytics products. You will work with their Product, Engineering, and UX analytics team to build YouTube Analytics roadmap, design Go-toMarket plans and growth strategies to make their tools better. Apply at Fox8 LocalJobs. Warner Music Group is looking for a Manager, Label Operations. This role interfaces closely with both labels and other production teams to work toward the central goal of releasing content be it singles, albums, preorders, videos, and more. In addition to having a front-row seat to the creative side, this role also has visibility and engagement in the newest technology for music consumption; Foster relationships with label partners, guide them through new release process, advise labels on release standards, respond to inquiries and special requests. Apply at ZipRecruiter. Paramount needs an Executive Assistant, Creative Music Strategy. Are you a detail oriented, innovative and flexible team player who would thrive in an everchanging company landscape? Join this team and provide forward

thinking support to three VPs of Creative Music Strategy while ensuring smoothly run schedules and travel management. This role is instrumental in supporting the overall goals of the department both internally and externally Must possess exemplary interpersonal skills with a poised, polished, and friendly attitude. Apply at Jobs Trabajo.org. Wasserman Music wants a Coordinator. A Coordinator is responsible for performing a variety of tasks as assigned by their agent to service clients throughout the booking process. This position will be based in the L.A. office. Roles and Responsibilities: Lead communication internally/externally around availability; Work with talent buyers to get offers and put in holds; Oversee assistant data entry and manage offers in the booking system; Issue formal offer confirmations; Coordinate event and booking details between agents and talent buyers. Apply at Workable. For More Career Opportunities, check out musicconnection.com daily. And sign up for MC’s Weekly Bulletin newsletter.

LABELS•RELEASES SIGNINGS

Los Angeles-based Saudi Arabian rapper $kinny has signed with Universal Arabic Music. His first single for the label is “Saudi Most Wanted.” The song was written, recorded and produced by $kinny, as he writes lyrics inspired by his Saudi Arabian roots. “Coming from two totally different cultures,

TOM CRIDLAND Tom Cridland started writing and performing his own music after he quit drinking in 2017, initially with his group the Tomicks, but more recently as a solo artist. He describes his sound as a poppy blend of rock, soul and disco, and he’s just completed a tour with Philadelphia soul legends the Stylistics. To date, he’s released 107 recordings, and things are going pretty well. He’s also been out on tour performing the music of Elton John because, he says, Elton saved his life. “I first became an Elton John fan in 2010,” Cridland says. “It was the soundtrack for me and my girlfriend (who is also my manager), Deborah, falling in love. His music has been there for me in the good times of celebration and in my lowest

moments. When giving up alcohol the performing of his songs, especially as I learnt to play piano during lockdown, has been the saving grace that allowed me to stay sober. I am approaching five years without having a drink, having got to quite a dark place with my binge drinking, and I would give Elton a lot of credit, not just his and Bernie’s wonderful songs but also the example that he has long set as a clean rock star.” Cridland has been taking Elton John’s music to all 52 states on tour, an experience that he says has been wonderful. “This country has the richest popular music heritage and that is what makes it such a pleasure to travel all over the states, along with the friendliness

BERLIN POP MUSICIAN ALICE MERTON TAKES S.I.D.E.S. Following the success of debut album Mint, Alice Merton is following it up with sophomore effort S.I.D.E.S. “Same Team” is the latest single from the new album. “’Same Team’ is one of the first songs I wrote for the album,” Merton says. “I had been going through a lot of personal and work-related conflicts. I felt like I had been pulled into worlds that I didn’t understand, and having conversations with people in which we just didn’t speak the same language.” Contact kip@tellallyourfriendspr.com for more info. I want to bring something fresh to hip hop and show the world that I can bridge the gap musically,” $kinny says. Contact Nicole.Hajjar@ umusic.com for more info. Brit Award-winning singer and songwriter Becky Hill has signed to Astralwerks. Hill has celebrated by teaming up with Galantis for the single “Run.” “I’m so excited to release ‘Run’ with Galantis,” says Hill. “I wrote it with my best friend MNEK, whom I’ve been writing with for 10 years. The magic I felt when we first wrote my single ‘Losing’ back in 2012, I still feel to this day

when writing with him. I feel like every single I release has the potential to better the last one and this is no different, especially with Galantis featuring on the record, too.” Contact nicole.crystal@ umusic.com for more info. Rising Memphis rapper Fresco has signed to Warner Records. Fresco’s first release for the label is the “Need You” video. “Fresco Trey is a naturally instinctive songwriter, with an unbelievable sense for melody and lyric, finding the most memorable ways to rap and sing about universally

of the American people who are so kind with their reception of my performances,” he says. “I’ve been listening to Johnny Cash in Nashville, to Elvis in Memphis, to Robert Johnson in Clarksdale, to Gamble & Huff records in Philadelphia, to Leon Russell in Oklahoma and Fats Domino in New Orleans. Every place you go has this unique history and that is what makes the U.S. so special.” Cridland plans to spend 2022 recording an EP of Philadelphia soul music, an album to analogue tape at Sun Studio in Memphis with his trio, touring his Elton John tribute show and launching his new Tom Cridland clothing collection, along with his Greatest Music of All Time podcast. He never rests. Contact tom@tomcridland.com.

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– BRETT CALLWOOD shared experiences,” says Aaron Bay-Schuck, co-Chairman & CEO, Warner Records. “Equally as important, he comes to us with unwavering authenticity, commitment, and dedication to his music and he’s proven that he knows exactly how to forge a direct and honest connection with his fans.” Contact yashar.zadeh@ warnerrecords.com for more info.

Press Club National Arts and Entertainment Awards. Music journalist Jem Aswad of Variety won “Online Journalist of the Year,” for 2021-2022, while A.D. Amorosi of the same publication won “Music Critic of the Year.” Yours truly won first place for “Music Feature— Online.” Go to lapressclub.org for the full list of winners. Next Jazz Legacy has announced seven female and non-binary awardees. They include Esperanza Spalding, Wayne Shorter, Georgia Anne Muldrow, Bobby McFerrin, Lizz Wright, Mary Halvorson and more. For more info, contact gjakubik@ shorefire.com.

PROPS Stockholm’s new interactive museum Avicii Experience was inaugurated by Swedish royalty in February. The museum was inaugurated by H.R.H Prince Carl Philip and H.R.H Princess Sofia. Other participants were curator Ingmarie Halling, Content Producer Lisa Halling-Aadland and Per Sundin, CEO Pophouse Entertainment. Avicii Experience is an emotional tribute museum honoring one of the true icons of modern dance music and popular culture: Tim Bergling, Avicii. For further information go to: aviciiexperience.com. Congratulations to all of the winners at February’s LA

BRETT CALLWOOD has written about music for two decades, originally for Kerrang!, Classic Rock, Metal Hammer and more in the U.K. He’s the author of two books, about Detroit proto-punks the MC5 and the Stooges. He’s now the music editor at LA Weekly, and has regular bylines in the SF Weekly, Tucson Weekly and idobi Radio, as well as here in Music Connection. He can be reached at brettcallwood@gmail.com

AUSTIN SHOEGAZE BAND RELEASE ALBUM NUMBER IV The lengthily-named Letting Up Despite Great Faults have released their first album in eight years, titled IV. “I think when you search deeper, and you’ve had more life experiences, there is maturation from which to pull,” explains singer and guitarist Mike Lee. “But hopefully, the creativity feels a little bit richer. I don’t want to say IV is necessarily darker than our previous work, but I think there’s more of an awareness of mortality, the mortality of everyone else. You reflect more about the people you love, why you love, how long you love.” Contact kyra@tellallyourfriendspr.com for more info.

MEGAN THEE STALLION SUES HER RECORD LABEL BY GLENN LITWAK have an initial contract period for an album and a number of “options” (sometimes four or more) for additional albums. The label usually can drop an artist whenever they want. After delivery of an album, the label can exercise one of its options and then the artist is contractually obligated to deliver another album. Artists sometimes say they want a one-album contract with a label, but that’s not what major labels have traditionally agreed to. On February 18, 2022 rapper Megan thee Stallion sued her old independent record label, 1501 Certified Entertainment, contending that it mischaracterized her latest album as a mixtape rather than an album. The reason 1501 wants the music classified as an album is that mixtapes don’t satisfy the “minimum, recording commitment” in her recording contract. Thus, if 1501 wins, she would still owe them another album. By way of background, exclusive recording artist agreements with major labels have a minimum recording commitment so they can hold onto successful artists. The typical recording contract will

with the contract terms, which are clear and unambiguous. Accordingly, (Megan) seeks a declaratory judgment that, among other things, declares her album, Something for the Hotties, constitutes an ‘album under the terms of the contract.’” Megan is also seeking an award of her attorney fees. Megan had filed another lawsuit in 2020 against 1501, alleging it was refusing to allow

“Major label recording contracts are notoriously long and complex.” Megan thee Stallion asserts that her recording contract declares any music she delivers totaling 45 minutes or longer constitutes an album, and her Something for the Hotties submission is over 45 minutes long. Her lawyers state that 1501 did not notify her that it considered the latest music she delivered to be a mixtape until two months after its release. She claims this shows 1501’s position is frivolous. The lawsuit alleges: “1501 wants to tie (Megan) down to release more albums under the contract to the financial benefit of 1501...This is inconsistent

her to release music. Megan renegotiated her deal with 1501 in 2021 after obtaining a restraining order against 1501 and its owner, Carl Crawford. Megan has also claimed that she did not know what was in her recording contract until she retained management with Roc Nation. Of course, an artist should read and understand a contract before it is signed, and retain a music attorney. Major label recording contracts are notoriously long and complex, so competent representation is

This article is a very brief overview of the subject matter and does not constitute legal advice.

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extremely important. Usually, a claim by an artist that they did not understand the contract when they signed it will not fly in court, unless there is evidence of duress or other extenuating circumstances. Megan posted a statement on Instagram, which states in part that “I ain’t never been paid from 1501 in my life. I make money bc im (sic) Megan thee Stallion!” However, since the current lawsuit for declaratory relief does not request damages for 1501’s alleged failure to pay her, it does not appear this will be relevant in the litigation. GLENN LITWAK is a veteran entertainment attorney based in Santa Monica, CA. He has represented platinum selling recording artists, Grammy winning music producers, hit songwriters, management and production companies, music publishers and independent record labels. Glenn is also a frequent speaker at music industry conferences around the country, such as South by Southwest and the Billboard Music in Film and TV Conference. Email Litwak at gtllaw59@gmail.com or visit glennlitwak.com.

– BRETT CALLWOOD BRETTCALLWOOD CALLWOOD – –BRETT

I Quit My Day Job Because I Make More Money From My Music. Matthew Vander Boegh, TAXI Member

hat’s every musician’s dream, isn’t it —quitting your day gig because you make more money with your music. Well, that’s my life now, and here’s how I did it…

I joined TAXI. Looking back, I wish I’d joined years earlier. TAXI taught me how to create music that people in the industry actually need. Then they gave me 1,200 opportunities a year to pitch my music!

My income keeps growing exponentially, and my music keeps getting better because it’s my full time gig now! Here’s the ironic part… I live in Boise, Idaho, not Hollywood, yet my music is on TV nearly every day. My studio is in a glorified tool shed in my backyard, and my gear setup is so quaint other musicians ask, “Really? That’s it?!” I’ve got a computer, monitors, a few mics, and a cheap little interface. No fancy outboard gear, no rack-mounted anything!

My Two Secret Weapons Targets and deadlines are my secret weapons. Knowing who needs music and when they need it motivates me to get things done. It’s changed my life! Actually, TAXI changed my life.

It Didn’t Take That Long I promised myself I’d quit my job as a college professor when my music income became larger than my teaching income. I reached that goal in less than five years because of TAXI.

I’m getting paid for my music now instead of sitting on my couch dreaming about it. I’m my own boss, and some day my music will probably pay for my retirement, a vacation home on an exotic beach, and some umbrella drinks!

Don’t wait until you’ve built a catalog… Join TAXI now and let them help you build the right catalog! Be patient, be persistent, and you’ll hit critical mass like I have. My income keeps growing every year! I’m all the proof you need that a regular guy can make enough money with his music to quit his day job! Do what thousands of other musicians have done to become successful—join TAXI. You might never have to work another day gig in your life!

The World’s Leading Independent A&R Company

1-800-458-2111 • TAXI.com

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THE ATTIRE

Date Signed: June 17, 2021 Label: BMG Band Members: Greg Shilling and Stephen Santa Teresa Type of Music: Pop Management: Andrea Torchia and Brian Kierulf Legal: Scoff Felcher - Felcher & Freifeld, LLP Publicity: Amanda Blide - TREND PR Marketing: Steve Sherr Web: theattiremusic.com A&R: Monti Olson

reg Shilling and Stephen Santa Teresa met in Washingtonville, NY, when they were in middle school and eventually formed a band when they were in eighth grade. Shilling jokes that Santa Teresa was his first A&R person, because he auditioned Shilling in the school hallway. “I sang the Beatles’ ‘Let it Be’ and he let me join the band,” Shilling says. “Steve and I continued and the other members dropped out. We’ve continued making music together since that time. We were doing Youtube covers and all that stuff, and we just decided that we wanted to do pop-soul, and R&B. We’ve had fun ever since.” The pair describe their sound as a modern spin on Hall & Oates and the Bee Gees. Pop-based, blue-eyed soul. They’re creating it in L.A. now, which is a long way from their small hometown, 40 miles outside of Manhattan. “Interestingly enough, there’s absolutely no scene in Washingtonville,” says Shilling. “It is the quietest, most sleepy town ever. It’s two miles long, and small town vibes all day. Stephen and I have always traveled to N.Y.C., and we fell in love with L.A. and moved to L.A. But what we really appreciated about our town is that it’s very supportive. Especially our teachers.”

“Every connection leads to a new connection.” Forty miles is a long way when you’re a child. But when they got their driver’s licenses in their teens, they spent many a night exploring the City. “That’s eventually how we met a lot of up-and-coming songwriters, and that’s how we developed our craft as songwriters, as well,” says Santa Teresa. “Having sessions with songwriters.” “One handshake led to another, and we met all these amazing people who worked in the industry, both songwriters, producers, A&R people, journalists, anybody and everybody we were thrilled to meet,” adds Shilling. “It just goes to show how vastly connected the music industry is. We came from such a small town, but we met one person who led to another and now we’re here.” Eventually, the Attire would get signed to BMG Records, and they feel honored to call such an historic label their home. “Every connection leads to a new connection, but it’s about the opportunity that the connection brings and what you have to offer that connection,” says Shilling. “Stephen and I were very grateful that throughout each connection, we learned something. As we learned we developed, and as we developed we brought better music each time.” That’s all culminated in new album Songs About Girls Like You, out in April. – Brett Callwood

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GAYLE

Dates Signed: December 2018 (Arthouse Records); December 2020 (Atlantic Records) Label: Atlantic Records/Arthouse Records Type of Music: Alternative/Pop Management: Kristina Russo Booking: Matthew Morgan and Marissa Smith - UTA Legal: Taylor Guttman Publicity: Christina Kotsamanidis - Atlantic Records Web: gayleofficial.com A&R: Kara DioGuardi - Arthouse Records, Pete Ganbarg - Atlantic Records

f there is any doubt that persistence, hard work and a certain singlemindedness are key ingredients to achieving your goals, Atlantic recording artist Gayle will tell you otherwise. Like many young girls, Gayle dreamt of becoming a singer since the age of seven, and like many, she didn’t have the slightest idea of how to get there. Inspired by Aretha Franklin, Gayle not only wanted to be a recording artist, but specifically wanted to be an Atlantic Records recording artist. Putting one foot in front of the other, she kept finding ways to sing anywhere she could; restaurants, malls and, being a native Texan, even rodeos. A turning point for Gayle came when she got involved with the afterschool program “Notes For Notes,” which offered access to quality instruments and a studio setting where young people could write songs and record themselves with the freedom to express whatever they felt with no creative barriers.

"Do everything you can along the way toward that end goal." At 14, Gayle began making frequent trips from her home in Texas, to Nashville, participating in many writer- in-the-round events, striking up co-writer relationships. She also participated in pop-up performing opportunities in her genre. Impressed with the authenticity in her songwriting and vocal chops, Gayle caught the eye of former American Idol judge and Grammynominated songwriter Kara DioGuardi, who eventually signed her to a publishing and artist development deal with her company, Arthouse Entertainment. Unbeknownst to Gayle, DioGuardi was sending her songs to Atlantic over a two-year period. She was officially signed to the label in 2020. As far as her deal goes, Gayle says she has a great team that supports her emotionally and financially with advance money as well as money for photo shoots and touring. Gayle’s advice to those who are seeking record deals: “Do everything you can along the way toward that end goal. Break it down into smaller steps. What matters is moving forward.” The artist is currently working on her Atlantic Records debut release at the ripe old age of 17. Her first single “abcdefu” has surpassed 14 million streams. – Ellen Woloshin

WARREN ZEIDERS

Date Signed: Jan. 28, 2022 Label: Warner Records Type of Music: Country Management: Charly Salvatore - Underscore Works - charly@ underscore.works Booking: Jeff Krones, Bobby Cory & Darin Murphy - CAA Nashville, jeff. krones@caa.com Legal: Atticus George Carroll - Warner Records, Christian Barker cbarker@shakelford.law Publicity: Rick Gershon - rick.gershon@warnerrecords.com Web: warrenzeiders.com A&R: Isaac Green

ountry star Warren Zeiders was merely a college athlete when his social media postings began going viral. As an extrovert in the age of COVID, he’d felt the urge to get online. He believes the genuine rapport he built with his audience was unshakeable because there was no pretense or motive other than sharing his artistry. Suddenly, the young songwriter had hundreds of millions of TikTok views. This spurred a self-released EP, sales of which forced the industry to take notice. Although he hadn’t been looking for fame or even a career in music, that’s precisely the opportunity that came his way. He had to think closely about whether he wanted to follow such a path. The 22-year-old met with a host of interested labels, including Republic and Capitol. Warner Records reached out to Zeiders’ manager, Charly Salvatore.

“They had a true passion for what I was doing. That’s something I wanted to see." “He’s had an incredible influence on me,” praises the Hershey, PA native. He took Salvatore’s suggestion to visit the label seriously. The moment Zeiders walked into Warner’s offices, he felt comfortable. CEO Aaron Bay-Shuck and president Tom Corson immediately clicked with his vision. “It was super important to me to build a connection with the people that run the label,” reveals the “Ride the Lighting” singer. “They had a true passion for what I was doing. That’s something I wanted to see.” In a nutshell, his decision came down to gut instinct. Though this is his first signing, Zeiders has no doubts he made the right choice. What matters to him most is that he has the ability to create music he can “hang his hat on.” “I’m truly grateful to have this position,” he unpretentiously utters, “and looking forward to the future.” Zeiders’ most recent single, “Dark Night,” was released in March. Expect another single and possibly a second EP before long. – Andy Kaufmann

TODY CASTILLO

Date Signed: May 6, 2021 Label: Strolling Bones Records Type of Music: Indie Rock Management: Leigh Rixley - Strolling Bones Records Publicity: Missing Piece Group Web: facebook.com/todycastillomusic A&R: George Fontaine Sr. - Strolling Bones Records

exas singer-songwriter Tody Castillo started out in this music game in 1994—a full 28 years ago. It’s taken him that long to finally get a break, but he isn’t complaining. “1994 is when the idea hit me and that’s when I was like, ‘Okay, this is what I’m gonna do,’” he says. “I put my first cassette tape out—it was a five-song EP—in 1996. I don’t feel old, but I think in the music world that may be considered old.” Castillo has a sound that he considers a blend of folk and rock, due to his tendency to fingerpick on an acoustic guitar, but then rock out on an electric too. No Dylan “Judas” moments here—Castillo’s sound is all by design. “I like guys like Townes Van Zandt and those singer-songwriter type dudes and gals,” he says. “I like that fingerpicking element. I also love Tom Petty & the Heartbreakers, and that pure rock & roll sound, too, where there’s a song in there. It’s like a pop song, but with real instruments and great tone.”

"I don’t feel old, but I think in the music world, I may be considered old." Castillo grew up listening to Motown, country, James Taylor and Paul Simon, but later discovered Ratt, the Scorpions and Iron Maiden. But always, the song was the priority. “Even some of that hair metal stuff—they were pop songs with Marshall stacks,” he says. “So the sound is that. Rock & roll, with a folk element, and an acoustic edge to it. It’s singer-songwriter stuff, with half electric and half acoustic.” After two full-length self-releases, Castillo finally landed a deal, with Strolling Bones Records, for third album Old Rodriguez. “I’ve done everything else on my own,” he says. “I have a couple of EPs and two full-lengths. My dream the whole time, right when I started, was to get signed to a label so that they can help with this release. But it didn’t happen until now. What I found is, the benefits are really obvious. They’re printing vinyl, they’re putting out CDs, they have a great media campaign. It takes an incredible amount of resources to properly push an artist, with the radio, the PR, the production of the actual product. So, it’s been a dream.” The album was recorded over a few years, mostly in Houston with producer Steve Christensen (Steve Earle, Khruangbin). “He has gone on to do some really great things,” says Castillo. “He’s recorded all three of my full-lengths, by the way, so it’s a nice partnership that we’ve formed over the years. He won a Grammy for doing the Townes Van Zandt cover record for Steve Earle.” – Brett Callwood

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ASCAP Record Revenues

SPIRIT SIGNS ALDEAN

Spirit Music Group has purchased a 90% share of SESAC artist Jason Aldean’s catalog master royalties, covering nine albums (2005-2019), 24 No. 1s, 34 top 10s, 6 RIAAcertified Platinum albums, and neighboring rights and SoundExchange income—for a rumored price tag of $100 million.

GABBY BARRETT KEEPS RISING

ACM New Female Artist of the Year, multi-platinum country star, Gabby Barrett, received Honda’s Rising Star Award at the Billboard Women in Music Awards, following awards for Country Radio Broadcasters’ 2022 New Faces of Country Music Award and being most-nominated female country artist at the AMAs.

BMI HONORS WISIN & YANDEL

Latin duo Wisin & Yandel were honored with the President’s Award last month at the BMI Latin Awards, recognizing their pioneering reggaetón contributions over the last 20 years. Hits include “De Nuevos a Viejos,” “De Otra Manera,” and “La Revolución,” and they have over 95 awards to date. 28 April 2022

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The 2021 financials are in and ASCAP hit a new high with $1.335 billion in revenue and distribution for songwriters and composers. The main increases were around streaming and audio-visuals, with $42.5 million over 2020. This is the first time U.S.-licensed performance revenue has surpassed $1 billion. $1,254 billion in distribution was made available to 850,000 songwriter, composer and publisher members in 2021, with domestic distributions up $22 million (2.4%) from 2020. ASCAP expanded their Symphonic, Recital and Educational distribution to add support for the loss of performance income. See ascap.com/annualreport.

New Moog Giants

New artist YouTube series Giants is a platform presented by Moog Music Inc. for legendary electronic musicians and innovators to share stories of the history and culture of electronic music and the contributions that have pushed the genre and industry forward. Contributors include pioneering synth and analog instrumentalists that have helped shift electronic sound into the mainstream. Guests on the series include synthesizer adopter Bernie Krause, modular synth legend Suzanne Ciani, Mute Records Founder Daniel Miller, and, on the heels of his 90th birthday, Moog Synthesizer co-inventor Herb Deutsch. Each of them share their inspiration, insights and previously-unheard learnings about the evolution of electronic sound.

Prescription Songs’ “Burnout”

Prescription Songs recently hosted a 5-day writing camp in conjunction with singersongwriter-actress, Taylor Monét Parks, best known for co-writes on “Love Lies” (Khalid/Normani), “Thank U, Next” (Ariana Grande) and “High Hopes” (Panic! at the Disco). With burnout being a common occurrence for artists, the event focused on connecting and exploring activities outside of the usual writing session, with each day split into two sessions: one to play, and one to create. “Play” sessions focused on mental wellness and included crystal and chakra teachings and sound baths, group meditations, pottery classes, and a drawing workshop. The event also included group mixers and a wrap-up listening party.

Hipgnosis Scoops Cohen

Hipgnosis Song Management has acquired ownership rights to Leonard Cohen’s entire song catalog, encompassing Cohen’s songwriter share of all 278 of his songs—including his most recognized song, “Hallelujah.” The purchase of his catalog is split into two parts, with Cohen’s writing up to 2000, leaving Hipgnosis 100% owner of the songwriter share (since Cohen worked alone), and Sony Music Publishing retaining ownership of the publisher’s share. The second half of the purchase includes works from 2001-2016 (67 songs) and gives Hipgnosis 100% of publisher and songwriter shares. The acquisition was funded by the Hipgnosis Songs Capital ICAV joint fund with Blackstone LLP.

BUFFALO ROSE HOOKS UP WITH TOM PAXTON

Pittsburgh-based, six-piece modern folk/Americana band Buffalo Rose won Best Group/Duo and overall grand prize at the 18th Annual IAMA (International Acoustic Music Awards). The group's new album, Rabbit, was co-written by, recorded with— and features—Grammy Lifetime Achievement winner, Tom Paxton.

– ANDREA BEENHAM

Performing Songwriter Workshops

Performing Songwriter Creative Workshops have limited space available in their upcoming 3-day Jonatha Brooke and Gretchen Peters Nashville songwriter sessions. Limited to 15 participants, the workshops offer participants new ways to delve into their songs and find inspiration to deliver a more compelling story, while balancing the art and crafts of songwriting. More at: performingsongwriter. com/creative-workshops.

The CCC Sessions

The California Copyright Collective (CCC) is hosting a session: “Creative Deal Making for Recorded Music and Score” on May 10 at Catalina Jazz Club. An expert panel will discuss publisher and composer deals, agreements from the artist’s perspective, legal pitfalls, negotiating favorable contracts, best practices and ethical concerns. More at: theccc.org/events.

Raleigh Signs Tarro

Raleigh Music Publishing has announced the signing of Platinum record artist and producer Tarro to a multi-year music publishing deal. David James Ramos p.k.a. Tarro, 24, has built a name for himself finding inspiration in the limitless possibilities of electronically generated sound. Audiences may recognize Tarro from his collaborative work, such as high-profile remixes for blackbear, THEY. and Tinashe, while his catalog of original solo

releases command attention in their own right.

Reynolds Launches Ranch

Grammy-winning songwriter Jordan Reynolds and co-founder Nick Burnett have launched Hit Ranch, a Nashville-based catalog brokerage firm to help songwriters with their catalog sales. Following the recent sale of Reynolds’ own catalog to Warner Chappell Music (including co-writes with Dan + Shay, Lady A, Camilla Cabello, LANY, Thomas Rhett, Carrie Underwood and Keith Urban), his experience inspired him to provide a simple, lower fee option for artists considering selling their catalog. More at: info@TheHitRanch.com.

Hooker Estate to BMG

ABCDEFU AT NO. 1

Big Machine Music Group songwriter Sara Davis (pictured on right with artist Gayle) has earned her first Number 1 on the Top 40 Mediabase Chart with song, “ABCDEFU.”

BMG has teamed up with Fuipacific Music to purchase catalog interests from the Estate of blues singer-songwriter-guitarist John Lee Hooker. The acquisition covers hits “Boom Boom,” “One Bourbon, One Scotch, One Beer,” and “Boogie Chillen,” all recorded and performance royalty income, and a selection of his recording catalog from 1980–2020. ANDREA BEENHAM (aka Drea Jo) is a SoCal-based writer, artist advocate, and consultant who helps artists, songwriters, and composers break through barriers to reach career heights. Press outreach, bios, branding and EPK’s: she shares her invaluable expertise for both established and ascending music creators. She can be reached at drea@dreajo.com.

POSITION SIGNS ¿TÉO? TO WORLDWIDE PUBLISHING DEAL

Atlanta-born Columbian pop artist ¿Téo? has signed a worldwide publishing deal with Position Music. Now touring with Justin Bieber, collaborations include WILLOW, Diane Guerrero, Kali Uchis, etc. Latest, “In Your Body,” follows “Uno Dos (ft. Jaden)”— now with over 30M streams.

KENNY GARRETT IS OUTSTANDING

Saxophonist-composer Kenny Garrett received the NAACP Outstanding Jazz Album —Instrumental award for Sounds from the Ancestors. Guest players include: Lenny White (drums), Johnny Mercier (piano/organ), Maurice Brown (trumpet), Pedrito Martinez (conga), Dreiser Durruthy (percussion), and more.

MUSIC MOURNS DAVIS

The music industry is in mourning for the legendary music and fashion icon, Betty Mabry Davis. The pioneering singer-songwriter still influences legions of rock/pop heavyweights with her raw musical stylings, punk fashion, and DIY spirit. She wrote for legends, married Miles Davis, and was unapologetically herself. See betty-davis.com. April 2022

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“Important Opportunity for Songwriters!”

– ANDREA BEENHAM

Joss Stone The Power of Love

Win $50,000 Grand Prize! Radio Airplay 15 Categories You Can Enter 53 songs have already hit the Billboard Charts by our past entrants Take your Songwriting to the next level

HURRY! Deadline: May 27th Enter your songs NOW at:

www.songwriting.net/mc

t just 16 years old, Joss Stone was launched into the international spotlight with her 2003 multi-platinum debut album, The Soul Sessions, following a contest win on BBC’s Star For A Night. Auditioning with covers of “(You Make Me Feel Like) A Natural Woman” (Aretha Franklin) and “It’s Not Right, But It’s Okay” (Whitney Houston), she went on to sing on the show at 13. However, while her soulful vocals defied her age, her path to music was somewhat accidental. With a fierce love of animals (a dedicated vegetarian and outspoken advocate for PETA), Stone originally wanted to be a veterinarian, but thought better of it after realizing how much schooling was required. Overhearing her parents discussing the sale of a family horse, she hatched a plan to keep it by applying to be a contestant on a BBC television show looking for singers (and planned to use the prize money to keep the horse). Following her win, she performed on a charity show with The Boilerhouse Boys (U.K. production duo Andy Dean and Ben Wolfe), who connected her with S-Curve Records founder and CEO Steve Greenberg. Performing a trifecta of classics from Otis Redding, Gladys Knight, and Aretha Franklin for him, Stone was signed on the spot. Listening to James Brown, Linton Kwesi Johnson, and “big voices” Whitney Houston, Anita Baker, and Melissa Etheridge (Stone confesses she knows every ad-lib on Etheridge’s Brave and Crazy) growing up, Stone’s first public performance was a cover of Jackie Wilson’s “Reet Petite” in grade school. Frequently complimented on her simple, pure sound and uncomplicated delivery, she confesses, “I just sang. My thing was just [to] tell the story and mean it, but every time I had to play it back, I hated it.” Stone adds, “My dad reminded me that ‘this isn’t about us—it’s about the people that are listening. Don’t be so selfish.’” Looking back, Stone says that her first album—under the mentorship of Betty Wright—helped her learn what a good song was and how to sing it. 2004’s Mind, Body & Soul involved songwriting collaboration with Jonathan Shorten, with “Jetlag” being one of her first co-writes. “I’m all about melody and lyrics [and] will get involved in writing string, horn, and sometimes bass lines,” says Stone, “but the piano—that is someone else. It’s hard to sing a chord to someone.” Stone would love to work and write with up-andcomers, encouraging them the way Wright did for her. “You do need a little bit of guidance and a little bit of confidence,” admits Stone. “Sometimes you don’t get that on your own, [but] someone can give it to you.” Stone shares that “when you collaborate, you end up with the best of both worlds” and advises to stay open-minded, loving, and to “make sure that you’re always listening.” She adds, “It’s not about everything you want to say—it’s about the song in the room that is already in existence. All you have to do is open your ears and hear it—and always press record—because you will forget it all.” Stone’s favorite project to date is a perfect example: her work with SuperHeavy. Sitting with just a pen and paper in the middle of Jim Henson Studios with heavyweights A. R. Rahman, Damien Marley, Dave Stewart, and Mick Jagger, she describes it as the “most wonderful and completely mental experience.” Stone reveals, “Music just began in that room. Everyone just joined in and nestled into each other’s sound [and] listened to each other. No one was telling anyone else what to do—everyone was just doing their thing, and it was a true melding of minds.” They delivered 29 songs in 10 days. In addition to eight records (three with Platinum status), three EPs and a compilation album, Brit and Grammy Awards, and selling over 15 million records, Stone has launched her own label (Stone’d Records) and podcast (A Cuppa Happy), forayed into acting (Eragon, The Tudors, Empire), and won 2021’s The Masked Singer (as the sausage). Contact Kelly MacGaunn - Kellee Mack PR: kelly@kelleemackpr.com, Visit jossstone.com

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DROPS

The Oscar-nominated documentary Summer of Soul (…Or, When the Revolution Could Not Be Televised) Original Motion Picture Soundtrack is now available with a 2 LP expanded edition coming June 17. The Oscar-nominated film, created by Ahmir “Questlove” Thompson in his directorial debut, is available now digitally and on DVD. Like the documentary, most of the audio recordings that were recorded during the 1969 Harlem Cultural Festival—an event that celebrated Black culture and pride—have not been heard for over 50 years. For the album, Questlove selected 17 live renditions of jazz, blues, R&B, Latin and soul classics performed over the course of the event. Contact maria.malta@ sonymusic.com.

THE SOUND OF PHILADELPHIA

A new rock opera, Sweet Destiny, is the new musical film and album by Iranian band Kiosk and the first Farsi language album or musical to address the death penalty in Iran, which is one of the top executioners in the world according to Amnesty International’s 2020 annual report. The film is also free, in the hopes that it will be viewed by as many as possible and raise awareness about the issue, though donations are accepted and all proceeds will benefit Iran Human Rights in support of the #EnoughExecutions campaign. The band’s next step will be developing live performances of Sweet Destiny for stage. Likened to The Who’s Tommy and Green Day’s American Idiot, Kiosk’s 55-minute musical commentary combines 2D animation with music videos of Kiosk’s songs and was inspired by an 1853 historic photo depicting a public execution. Contact Roxie Sarhangi at roxie@roxiepr.com for further details. The Greenwich Films documentary ¡Viva Maestro! is in theaters in N.Y.C. and L.A., before expanding to other key markets this spring. The music documentary film, directed by Theodore Braun, is about conductor Gustavo Dudamel, the deadly protests in his native Venezuela that occurred in the midst of his international tours, and Dudamel’s response to this social unrest in his homeland with powerful music-making. Dudamel is the music director of LA Philharmonic Orchestra and conducted the score to Steven Spielberg’s new adaptation of West Side Story. Contact Hayley Brinkman at brinkman@ sunshinesachs.com.

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Filmmakers Caroline Losneck and Christoph Gelfand are co-directing a new film titled Living Sound with producer-researcher April Tucker and in association with SoundGirls, an organization supporting women in professional audio, about the never-before-told story of Ethel Gabriel. Gabriel was an unsung legend in the music recording industry, though she produced more than 5,000 recordings over a 40-year career with RCA Records, oversaw a roster of artists that included Elvis Presley, Tommy Dorsey, Dolly Parton, Perry Como, Chet Atkins, Roger Whittaker and Glenn Miller, and received 15 Gold Records and a Grammy. By 1982, Gabriel, who passed away in 2021 at the age of 99, had become the first woman named to a VP position at a major record label. The filmmakers have launched a Kickstarter campaign to support the production at kickstarter.com/ projects/ethelgabrieldoc/livingsound. Contact getitinwriting@mac.com. The original theater production Adobe Punk: A theatrical zine with music, the first ever production of its kind to focus on L.A. punk created by a mother-son team of California artists. Adobe Punk is set in Bell Gardens L.A. in the 1980s, and depicts three young punk musicians from different backgrounds squatting in a vacant house. The production is described as an interdisciplinary theaterwork of historical fiction featuring original songs co-authored by Nina Diaz (Elvis Costello, Girl In A Coma). Co-created by mother and son Theresa Chavez and Gabriel Garza, with Sage Lewis

as music director, the production takes place at Plaza de la Raza’s Margo Albert Theatre. Visit aboutpd.org/adobe-punk or contact Ilka Erren Pardinas at flypr@flypr.net. The Sound of Philadelphia, is a forthcoming historic documentary on music icons and founders of record label Philadelphia International Records: Kenny Gamble, Leon Huff and Thom Bell. The film focuses on their lives and legacies as songwriters and producers and the creation of Philly Soul. Directed by Sam Pollard (Mr. Soul!, Sammy Davis, Jr: I Gotta Be Me) and executive produced by Alex Gibney (Enron: The Smartest Men in the Room, Going Clear: Scientology and the Prison of Belief), the film will chronicle the creation of the iconic sound that influenced generations of artists through interviews and never-beforeseen footage featuring “The Mighty Three,” who produced and helped write major hits for the likes of The Jacksons, Dusty Springfield, Patti LaBelle and The Temptations. Contact Kevin.Castech@wmg.com.

OPPS

Applications will be opening soon for the 2022 Cabaret & Performance Conference, which will bring together some of the biggest names in cabaret to the O’Neill Theater Center Aug. 8-21. Fellows will have the opportunity to refine their skills and stage presence under the mentorship of professionals in the field. Check for application information at theoneill.org/cab.

– JESSICA PACE j.marie.pace@gmail.com April 11 is the earlybird deadline to submit your film for consideration in the Raindance Film Festival, which showcases the best in cinema in the U.K. and around the world with an emphasis on first-time directors and new filmmakers. Categories include music video, music documentary feature, queer, narrative feature and short, documentary, animation and virtual reality. For submission guidelines, visit raindance.org/festival/submissions. Josh Young, founder CEO of Atrium Music, has teamed up with Sync It! Music to offer a four-part Master Editors Series, in which Young and other top TV and film editors will share insights about their editing experiences, tips for getting your music placed, working with music supervisors and writing promotional music. The leaders of the se-

The 64th Annual Grammy Awards have been rescheduled this year for April 3, taking place at the MGM Grand Garden Arena in Las Vegas. Nominees within the musical theater category include: Andrew Lloyd Webber’s Cinderella, Burt Bacharach and Steven Sater’s Some Lovers, Girl From the North Country, Les Misérables: The Staged Concert, Stephen Schwart’s Snapshots and The Unofficial Bridgerton Musical. Best score soundtrack for visual media nominees include: Bridgerton, Dune, The Mandalorian: Season 2, The Queen’s Gambit and Soul. Best Music Film nominees include: Bo Burnham’s Inside; David Byrne’s American Utopia; Billie Eilish’s Happier Than Ever: A Love Letter to Los Angeles; Music, Money, Madness….Jimi Hendrix in Maui and Summer of Soul.

OUT TAKE

Max Di Carlo

Composer/Producer/Engineer Web: maxdicarlo.com Contact: Ed Cohen, edcohen@pcisys.net Most Recent: High Heat

ries have credits including: Better Call Saul, Cobra Kai, Blumhouse, Jackass Forever, Bad Grandpa, The Bachelor, The Voice, Snowfall, Lego Masters, The Titan Games, Temptation Island and more. For more information about the series and to apply, visit syncitmusic.com/master-editors-series.

PROPS

In March, Osiris Media dropped two new episodes of Salute the Songbird, a new podcast hosted by rock and soul singer Maggie Rose, in honor of Women’s History Month. The first episode showcases music journalist Marissa Moss, author of Her Country, about women in country music, and Moss interviews Rose about her podcast. The second is a compilation of the podcast’s first two seasons, during which Rose discusses recurring themes and threads among her guests, including Martina McBride, Nancy Wilson, Kathy Valentine, Ruby Amanfu, Mickey Guyton, Yola, Amythyst Kiah, Nicole Atkins, Lucius and others. Guests discuss what it is to be a woman in country music and advice for aspiring young artists. The podcast’s third season launched March 29 with the Grammy-nominated Allison Russell. For more information, contact Emily Ginsberg at ginsberg@bighassle.com.

For a complete list of nominees and information about the awards, visit grammy.com. AmazeVR, a virtual reality concert platform company, and Megan Thee Stallion have partnered to offer “Enter Thee Hottieverse,” a first-of-itskind virtual reality concern tour in select theaters across 10 U.S. cities starting in April. The crosscountry tour includes stops in N.Y.C., L.A., Chicago, Houston, San Francisco and more through July. Fans will be able to go to their local theater, put on VR headsets, hang out together in the VR “Hottiverse” lobby before the performance, and then sit back for a VR experience with the rapper that includes custom wardrobes designed just for the show and a multi-song set that moves through a series of environments. Find a list of tour dates at amazevr.com and contact Jonathan Streetman at jonathan@rock paperscissors.biz for more information. JESSICA PACE is a music journalist-turnednews-reporter based in Durango, CO. She is from Nashville, where she started a writing career by freelancing for publications including American Songwriter and Music Connection. Contact her at j.marie.pace@gmail.com.

Max Di Carlo’s lengthy resume includes composing, producing and arranging for such megastars as Elton John and producing multi-platinum artists like Shakira and Ricky Martin, but in the early 2000s, he decided to return to the orchestral training of his youth and pursue composing for visual media. “I was fed up, because working with artists was complicated. I’m much better on my own. I decided to go back to my real skills, and that’s how I started,” Di Carlo says. “I started by working with younger filmmakers in the U.S., usually friends I had acquired while working in pop music. I never wanted to work with an agency. It’s like working in a factory; there are 3,000 people and they exploit the work of the composer.” Di Carlo is currently working on an Italian film, a U.K. film and two in the U.S., including High Heat with director Zach Golden. He says his approach is to think of the musical score as another actor in the film. “The music brings a vibe, an emotion, a sensation in step with what the director tries to create,” he says. “And from the first to the last note, I’m mixing, creating the melodies, and playing by myself.” Di Carlo says aspiring composers have to learn to be unique in the “copy-paste world” of the music industry. That means learning technique, but forgetting about what other composers are doing. “The more music you get exposed to, either producing it or composing it or songwriting, the more skills you have for your next step,” he says. “In the ‘80s, I was one of the top songwriters and producers for dance music in Italy, and I learned that electronic music has an expression unlike any other. Today, that experience is still with me, and I’ve applied electronic elements to a full orchestra. That’s where you learn to be unique, be bold, be different. Experiment with whatever you’re working on with the full palette of your past.”

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JASON ALDEAN RECEIVES HUMANITARIAN AWARD

Jason Aldean has been named Country Radio Broadcasters (CRB) 2022 Artist Humanitarian Award recipient. In his hometown of Macon, GA, Aldean raised over $2 million for Atrium Health Navicent Beverly Knight Olsen Children's Hospital, GA’s Children’s Hospital.

SNOOP DOGG JOINS FAZE CLAN

FaZe Clan, Inc., the digitally native lifestyle and media platform rooted in gaming and youth culture, announced that entertainment icon, avid gamer, and recently named owner of Death Row Records, Snoop Dogg, has become a member of FaZe Clan’s talent network, and has joined FaZe Clan’s board of directors.

STEVE MARTIN BANJO PRIZE

The Steve Martin Banjo Prize for Excellence in Banjo & Bluegrass, backed by its namesake comedy legend and banjo extraordinaire Steve Martin, has put half a million dollars into the banjo community over the course of a decade with an unrestricted $50,000 award given annually to a master bluegrass or old-time banjo player.

'GOD BLESS THE U.S.A.' WRITER HONORED

Singer Lee Greenwood was honored at the CPAC Florida 2022 conference as the third individual inducted into the CPAC Hall of Fame. Greenwood is best known for his hit song, “God Bless The U.S.A.,” which was released in 1983 and has become one of the most recognizable patriotic songs in America. Greenwood has served on the National Endowment to the Arts Council under four U.S. presidents. 34 April 2022

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– JOSEPH MALTESE josephm@musicconnection.com

Tidbits From Our Tattered Past

1993–BLIND MELON–#18

LOUIS TOMLINSON IN DALLAS

Louis Tomlinson has kicked off his sold-out world tour in Dallas, TX and will hit cities like Chicago, Nashville, N.Y.C. and Portland before concluding in L.A. Hits from his setlist have included a few renditions from his previous band, One Direction.

BODDICKER CO-PRODUCES SCL AWARDS 2022

In our cover story on his band, singer Shannon Hoon spoke about moving with his bandmates to Los Angeles from their respective small towns. “We all dealt with communities where it’s hard to walk your honest walk. I was becoming small-minded. Now I can enjoy my hometown because I’ve got it figured out.” The issue also features a Club Review of The Verve and a Concert Review of Robert Cray and Etta James.

Acclaimed composer-keyboardist Michael Boddicker was the co-producer for the 3rd annual Society of Composers and Lyricists Awards. Winners this year include composer Germaine Franco for Outstanding Original Score on Encanto and Billie Eilish and Finneas O'Connell for the James Bond theme song, “No Time To Die.” Pictured (l-r): Paula Salavatore, VP of Client Relations for Capitol Studios; Boddicker; Candace Stewart, Manager of EastWest Studios.

SHEILA E.'S ELEVATE OAKLAND

The Guitar Center Music Foundation has partnered with Elevate Oakland to build a brand-new music program at Elmhurst United Middle School in Oakland, CA. “Queen of Percussion,” Oakland native and co-founder of Elevate Oakland, Sheila E., spent the morning jamming with students on newly donated instruments.

2013–SARA BAREILLES–#9 When Sara Bareilles was asked about her experience working with a co-writer, she had some great insight. “Co-writing is about chemistry, about whether you’ll be comfortable with another person in the room. If your co-writer is also a performing artist, it can inform the writing process in a lot of cool ways. You’re imagining playing live.” The issue also features A$AP Ferg, Cheetah Chrome and David Lowery.

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Hola, Yola! by Kurt Orzeck

Photos By Joseph Ross Smith

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eanut-gallery concertgoers often relish in yelling at musicians to “shut up about politics.” Aside from the blatant irony lost on those

belligerent blockheads, they don’t realize

Music Connection: Good afternoon, Yola. Yola: Hi! MC: How’s life? Yola: Excellent. I’m in Nashville in my house. MC: As somebody who came to the U.S. from England, what’s your perspective on Nashville?

Yola, on the other hand, is incapable of

Yola: I knew it was important in terms of music … but I wasn’t necessarily as aware of the culture here. I was aware of Dolly [Parton]. She exposed me to music. Later, proponents of country, like Shania Twain, took over the charts internationally.

keeping her opinions to herself. For her—

MC: Did you settle into Nashville pretty quickly?

that musicians stripped of their beliefs are incapable of writing authentic and passionate songs that the loudmouths so enjoy.

and us—that is a very good thing, because she is one of music’s boldest new voices. The 38-year-old Brit, who lives in Nashville, got a late start as a solo artist, after years guest-singing and songwriting for Massive Attack, Duke Dumont and many other artists. But after the death of her mother, Yola decided in 2013 to take the big plunge into performing by herself. The gamble paid off in 2020, when she earned four nominations at the Grammy Awards—including the all-genre Best New Artist category—in the wake of her solo debut, Walk Through Fire. Critics continued to shower Yola with praise, and she received two Grammy nods for her sophomore album, 2021’s Stand for Myself for Best Americana Album and Best American Roots Song for “Diamond Studded Shoes.” Yola’s career trajectory continues to carry the singer-songwriter to new heights, including headlining tours. Those who are not familiar with Yola probably will be soon, even if they don’t like music: Yola will portray the “Godmother of Rock and Roll,” Sister Rosetta Tharpe, in an upcoming Baz Luhrmann biopic about Elvis Presley starring Tom Hanks. Like Yola herself, the material she has

Yola: Yes. Things spoke to me here. I came here on a writing trip in 2010. My publisher’s Nashville office at the time was really small, like two people. But they did way more work here than in offices at the coast and had stronger communication. That meant business was getting done quickly. People actually spoke to each other. In L.A., you never really get word passed from one institution to another. You can’t see the world for the trees in that city—not all the time, but sometimes. MC: What were your initial goals when you arrived in Nashville? Yola: I began asking for lots of co-writes. But they were too bombarded. It’s almost like you bumped into too many people. Still, because I found the city to be relatively accessible, I kind of saw it as a chink in the armor of what appeared to be an impenetrable industry. Also, there’s something happening here with the way that artists of color interact with people in the queer space, for example.

MC: So, you didn’t feel as much of an outsider in Nashville as you might have felt in L.A.? Yola: Yeah, that’s it. It’s really fascinating to hear you say that. Historically, [the city] is successful because it’s very targeted and focused. The objective it has is getting out nationally. MC: What is Nashville’s primary focus?

combination of rock, symphonic soul and

Yola: Oh, you know, purely country music. You can make arguments about the 1990s having more of a country-pop thing,

musician to discuss her lifelong commitment to erase racism, why she is grateful for Dolly Parton and how she managed to climb out of poverty in the U.K. to become a superstar in the U.S.

MC: What have you learned about music history, living in Nashville? Yola: Being cross-genre was seen as standard. That’s how Elton [John] operated, for example. Because of our distance from the rest of the world, and the way that we interacted with it, musically, it was a very, very individual experience. MC: That’s fascinating and very well-put. In all my years, I haven’t heard that perspective before. Thank you for sharing that. My understanding of your story is that your parents didn’t want you to pursue music as a full professional career because they thought it was unrealistic. Yola: So, first and foremost, I grew up in a single-parent family, so it was one parent, singular: my mother. I had to adjust to all different types of financial situations as I grew up. The financial difficulties led to a complete lack of access to money. MC: What was your living situation like when you were a kid? Yola: It was fine. We had a two up, two down brick building—very British, with a modern house dock. Where I grew up, it was like a village. It was isolating, but sometimes my friends and I would jump on our bicycles and head out. We’d go to a field to play until the sun went down. I would notice when going to my friend’s house, they had toys. We didn’t have anything, which is maybe why I got deeper into music. I couldn’t get a bunch of vinyl because we didn’t really have much money, but my mother had saved hers when she was a kid. So, I’d always have access to music, even if we didn’t have money. Music was seen as normal, from a cultural standpoint. People were exposed to music broadly, and not necessarily just like one kind of music. It was not seen as something that is separate to us in the diaspora. Music is intrinsic in Africa, too. So, because of music, I didn’t feel bad all the time that I didn’t have any store-bought toys. Instead, I had a box of cuts of wood, and those were my toys. But more often than that, I would sit and listen to music, and make mixtapes. I tried to find myself in what I could hear. There were TV shows that would specialize in what was coming out of America, which is really central to a lot of kids of color in the U.K.

“Most of us grew up listening to the radio and making mixtapes that had Nirvana next to A Tribe Called Quest.”

created thus far combines a hard-to-define classic pop. We recently caught up with the

to play everywhere from a wedding to, on the other end of the spectrum, in the studio. When I grew up in the U.K., there were a lot [fewer] opportunities to learn from other musicians. As a result of that, most of us grew up listening to the radio and making mixtapes that had Nirvana next to A Tribe Called Quest.

MC: When you started out and had a small team, did it behoove you as a solo artist to develop a sound that was easily classifiable as country? Yola: The U.K. is an island, and there’s not a lot of people. On this continent, there is a wealth of musicians that you can go to, to learn how

MC: Did you consciously decide, as you

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became a musician, that you wanted to break color barriers? From what I understand, that was one of the themes of your first two records. When did working to oppose color barriers become a hardened goal of yours? Yola: I knew that I wanted to do music at about age 4. My sense of ownership of everything felt really complete. I suppose there’s a real privilege I have in knowing my ethnic background and all of my heritage. I know where my parents came from and which tribe they belonged to. A foundation said I was the first generation of either side of my bloodlines being born in the west. That meant I had connections to places like Africa and the Caribbean. I learned the earliest inclinations of contemporary music were coming off this continent of North America. I’ve always felt that it’s my legacy to reclaim. MC: Before we shift more into your first two albums—and I also want to talk about the Elvis movie—was researching your family genealogy something that you’ve been doing your whole life? Or was there a certain period where you really delved deep into it? Yola: I’ve spent my whole life doing it, since I felt so isolated growing up in the village. They said, “You’re not like a city black.” And you’ll talk to people in the States that are country blacks. It wasn’t like we were far outside of Bristol, but countries that are teeny-tiny, it doesn’t take long for you to then be in a different country. So, you’re either suburban or country, depending on how far up the place you live in it. There’s definitely a difference between suburban blacks and country blacks. That’s how I connect to the world of music. I felt that I didn’t adhere to any kind of trope that was being presented to me as acceptable for somebody that looked like me. Contemporary music is a great appropriation. People are mentally conditioned to believe myths about the origins of contemporary music. So, I became obsessed with finding out the etymology of how false ideas can evolve—as I was obsessed with finding out where I came from. A lot of my research has helped me understand my voice, which has an old-school quality to it. In the Elvis movie, my voice doesn’t feel like it’s out of time. MC: You mentioned Sister Rosetta Tharpe earlier in our conversation. It sounds like you were already familiar with her story, even before the opportunity to be in the film came across your plate. Yola: Yeah. In my late teens, I became aware of [the guitar legend]. Honestly, I didn’t get on the guitar for a long time. The kind of music she played is responsible for so much. MC: Did white musicians rip off her music as they did so many blues legends? Yola: Yes. It’s all about blood money. It’s my duty to represent what is ours and to claim what is ours. [Sarcastically] We’ve been good at sharing, right? MC: Is it all accurate to say, at least to some extent, that your first album was an effort to reclaim your personal story and that your

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second album is opening up a new world for you? If so, is it also about being able to explore a whole new world that maybe you didn’t have as much access to before? Yola: The first record is more of an introductory piece. The second record is more of a reclaiming of music. Culturally, I feel like with the first record, I was in a space where I wasn’t naughty. I was not able to do the full extent of what I wanted to do because I didn’t know anybody on a basic level. I didn’t have any kind of bargaining power. At least half of what I wanted to do, I was going to need a fully blown network of people and build the environment that I knew would allow them to do at least some of what I wanted to do. The first record always feels to me like it was a collaboration. But none of the people involved had one thing in common with me. And so it’s very hard to say that [the first album] was definitely me taking ownership of my life. With the second record, I wrote more essential thoughts of my life than the entirety of the first record. The second record is me delving into myself. It’s like, “My black book is open, here you go.” And I’m like, “Cool.” ‘Cause I didn’t know anything. In the places where [the album is] most experimental, it’s very obviously where I am. Absolutely. MC: And you brought in songwriters like Joy Oladokun, Ruby Amanfu and Natalie Hemby, who weren’t the same archetype that you mentioned before. Yola: Right, right. I tried to go into places I don’t inhabit. I felt the album had to be sufficiently weird to really get where we wanted to go. And if anyone’s ever met Pat McLaughlin [another songwriting collaborator on the album], he’s a weird guy. He’s eccentric. And so I was like, “You always seem to get it so you can come back your way.” Given that I am the human epicenter of the situation, [the album] should probably reflect me. Much like when you exist in a scenario

where people aren’t aware of how segregated the country is, because they’ve grown up in it their whole lives, they don’t realize how isolating it can feel to be the only one of a type of space. And so that’s really why this record starts with “Barely Alive,” the song I wrote with Joy. Everything was about not being the only one in the space. It’s like how you might be surviving when you’re certainly not living. Also, the record focuses on a lot of Brits who are white guys, and patriarchy. Boris Johnson recently, he’s a hot mess. And he’s really typical of what it’s like in that country. Patriarchy is a real thing that I had to get over. So, I was like, there has to be an ode to the sexists in here because they really harshed my mellow for decades. Like “Diamond Studded Shoes,” it’s the establishment trying to placate the public whilst, um, clearly robbing the public. Meanwhile, in the U.S. I felt like we were in the middle of some shit-crazy fight. There’s a real to and fro, and you don’t know what’s going to happen next. It could be the Dawn of Aquarius. It could be a Nazi apocalypse. It could be anywhere in between. And like, you really feel that a fight is live and happening and anyone could win. You don’t know who. It’s kind of scary a lot of the time. If I can’t feel the fight, is it happening or has it already been done psychologically? Have we gotten to a point where we are required to make real change in the U.K. right away to get away from the colonialist mindset, given that we’re the OGs? That song really tackles that issue. I was talking to somebody who had listened to the record, and they said at first they thought it was a bunch of breakup songs or relationship or love songs. And then they listened to them again and saw the songs were about the struggle of a black woman. This is politics. This album came about with me really realizing what was happening, my life and my place in it, and how I might tailor it to make it more well-suited for me, just simply as an artist, let alone as a human. Contact julia.casey@bigfeatpr.com

Quick Facts

Brandi Carlile sings on the Stand For Myself track “Be My Friend,” and the album also includes songwriting contributions from Joy Oladokun, Ruby Amanfu, Aaron Lee Tasjan and Natalie Hemby. Yola has already won the triple crown of late-night TV talk shows, having appeared on The Late Show with Stephen Colbert, Jimmy Kimmel Live! and The Tonight Show with Jimmy Fallon.

Yola is already crushing it on the festival circuit, with performances at

Newport Folk, Newport Jazz and Coachella. Proving her star is soaring, Yola performed on CBS’s Play On: Celebrating the Power of Music to Make Change, a highprofile benefit event. Sheryl Crow and the Highwomen joined Yola for her set … as backup musicians. Yola also rubbed shoulders with Paul McCartney, Dave Grohl and Lenny Kravitz on a Ringo Starr single, “Here’s to the Night.”

“I felt that I didn’t adhere to any kind of trope that was being presented to me as acceptable for somebody that looked like me.”

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Singers Sound-Off 2022

By Eric Harabadian It’s time for our annual, and always eagerly anticipated, singers spotlight feature where we sit down with some of the greatest voices (newcomers to legends) working today and get their insight on all aspects of vocal performance. This year we’re delighted to be graced with observations and commentary from District 97 frontwoman and solo artist Leslie Hunt, neo-R&B star Tolliver, singer-songwriter MacKenzie Grant, The Tubes frontman and solo artist Fee Waybill and the incomparable Ms. Dionne Warwick.

“Best thing I can do for myself is sing a little bit every day.” – TOLLIVER

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Tolliver

of wild, too. But after talking to my brother, I realized my dad and I have a lot in common. So, I wrote this album as me trying to reach him through some astral plane or something.•

Tolliver is a futuristic shape shifter who defines a new era in modern music. His blend of gospel, funk, rock and soul is edgy, fresh and fun. The singer, actor, video editor and DJ is a renaissance man who bears his soul on the new EP Daddyland (Side One Dummy Records). Recent appearances on KCRW’s Freaks Only and The Late Late Show With James Corden designate the colorful neo-soulster as a man on the move.

Leslie Hunt

Zack Freedman • zack@omnipop.com tolliv3r.com

Musical Influence from Church It’s like a musical language when you come from any culture, I guess. When you hear a series of certain chords, it just sets your soul on fire. And when you’re working with a producer, you’re looking for music that really stands out to you. And that probably comes from your childhood. The reason I sing anything that is soulful or funky is from the gospel church. I’m not a terribly religious person, but I listen to gospel music all the time. First Professional Gig One of my earliest gigs was being in a band called 2620 and we had a standing residency at this bar called The Winds Café. The club owner promised to pay us $100 bucks and would rip us off every single week. And it was this ongoing thing we would have with him. That was when I was in jazz school at college in Chicago. I was also in a band called Black Diet and we played one of the coolest venues in Minneapolis. It’s where they shot Purple Rain. I felt that was a landmark gig where I thought “This is where I wanna be.”

info@lesliehuntmusic.com lesliehuntmusic.com

One of the leading vocalists of the new guard on the progressive and alternative rock scene, Leslie Hunt is a singer-songwriter-pianist who first caught the attention of a national audience as a contestant on Season 6 of TV show American Idol. The Chicago native divides her career between performing lead vocals and co-writing for progressive rockers District 97, doing private events and casuals and releasing a series of provocative solo albums. Her latest solo release is etitled Descend (Spirit of Unicorn/Cherry Red Records).

I I”I had to re-learn how to use my voice so I didn’t redamage it.” – LESLIE HUNT

Vocal Care and Health I’m at my best when I’m singing around the house. During the pandemic I didn’t have any gigs, so I just stopped singing. But the best thing I can do for myself is sing a little bit every day. It keeps your muscle memory popping and keeps your voice in front of your face. In college they taught me this thing called speech level singing. It’s keeping your voice right in front. That’s why I talk kind of nasally. I don’t do a ton of diaphragmatic work. Also, when I get more sleep and drink more water, that always helps. And, you know, one shot of whiskey before you go on doesn’t hurt, either. The Concept of Daddyland In early 2020 at the beginning of the pandemic I started reconnecting with my brother. And he was telling me stories about our Dad. He was the pastor of a church and was this wildass dude. I didn’t know this because he died when I was 11. He was sleeping with women in the church and I always thought I was someone my dad would be ashamed of because I’m kind

First Professional Gig It was a 10 month-long run of The Music Man in St. Charles, Illinois at this professional dinner theater called Pheasant Run. I was 10 years old and we did six shows a week. And then I did another one of similar length at 12 in Fiddler on the Roof. Musical Influences and Jim Peterik’s Mentorship I’ve been playing piano since I was four. When I started forming chords and realized I could sing, some of my early influences were Fiona Apple, Tori Amos, Sarah McLachlan, Indigo Girls—that whole singer-songwriter thing. I started writing and recording my songs in a basement studio my uncle had. I made a sixsong demo and sold them to people at my high

school. The person who ran the high school theater was friends with Jim Peterik (Ides of March, Survivor). Jim was looking for a young up-and-coming artist to produce. He really liked my songs and helped me develop them. He actually helped me get a development deal with Sony, but, at the time, I don’t think I was ready for that. But Jim gave me the confidence that I had the brain for songwriting. It’s not just about ideas. It’s also patience, organization and knowing the editing process of what you should leave in and take out in a song. Takeaway from American Idol No matter what the opportunity you’re presented with, nobody’s gonna be able to see in you what you don’t already see in yourself. The producers didn’t even know how to package me, and neither did I. But you’ve got to stand on your own two feet and be committed to whatever you bring to the table. Warmups and Vocal Care I was lucky enough to suffer a very bad vocal injury a few years ago. And that changed my whole approach to singing and changed my respect for the instrument and what it demands. I had a vocal hemorrhage about four years ago. I had to re-learn how to use my voice so I didn’t re-damage it. So, now I look at the voice as this whole system. I roll the neck down, release a lot of tension in the muscles, I stretch the tongue out and make all these obnoxious witchy-type sounds. I also avoid dairy on the days that I sing. I drink a ton of water and do practice scales where I work on gliding up to notes as opposed to just hitting individual pitches. Working With John Wetton (King Crimson, Asia) in District 97 It was very surreal, from how it all came together, to us touring in a van with John Wetton through Europe and the East Coast. There are various stories how we all met, but we reached out to him on a message board because he was wearing a District 97 shirt in a photo. We asked him if he would sing on our record and tour with us. He agreed, if we would learn a bunch of King Crimson songs. So, we opened the show and then he would come out and we would back him up on his material. It was a great experience and he was a great guy to work with.•

Fee Waybill

Tom Burger • tom@wolfsonent.com feewaybill.com Since 1972, Fee Waybill has been the frontman for theatrical art rockers The Tubes. As lead vocalist he made original songs like “Talk To Ya Later,” “She’s A Beauty” and “White Punks on Dope” staples on progressive rock radio and MTV. In addition to The Tubes, Waybill has been active as an actor on stage and screen

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a decade, called Wonder World (Blackbird Record Label). Her first album, The Laundry Room Glamour Hour, was released in 2006. A career as a school counselor both prompted her to take stock in her life and also infused her renewed music trajectory, giving it a fresh perspective and sense of purpose. First Professional Gig It was at Club Passim in Cambridge, just outside of Boston. I had seen some of my favorite singer-songwriter folks play there, so it was a big deal to perform there. I was a student at Berklee College of Music and it was a good place to come out for the first time.

“I do a Circle of Fifths exercise before every show. It opens my sinus cavities and everything else.” – FEE WAYBILL and has written and worked with musicians Richard Marx, Toto, Kenny Loggins, Steve Lukather, Vixen, Emerson Drive and The Foo Fighters. His third and latest solo album is titled Fee Waybill Rides Again. Blending Singing and Acting Years ago, I used to live in the theater and arts department at Scottsdale High. I probably did 15 or 16 musicals in high school, and that was all singing and acting. I was also in this group called The Scottsdale Singers. We would do really complicated vocal stuff, like Baroque to Bach and Handel’s Messiah. And we not only performed in school assemblies and stuff, but state competitions. With the Tubes it’s all singing and acting, and I work at this summer stock theater in Augusta, Michigan called The Barn Theatre. Keeping Your Voice in Shape Before concerts, The Tubes have a ritual we were taught by producer David Foster. It’s a Circle of Fifths exercise that Ella Fitzgerald used to do. And Roger Steen, David Medd and I would do that before every show. That just opens your sinus cavities and everything up. But right now we’ve had a situation, with the pandemic, and I haven’t sung out for a while now. But I sing every day, walking my dog. I go to the dog park, get out my headphones and iPhone and sing one of Richard Marx’s records, a Tubes record or one of my solo records I would do in a show. Fee Waybill Rides Again Richard Marx is my best friend and we’ve known each other for almost 40 years. And we wrote all the songs together for this latest solo record. We wanna work together and do some live shows once we get past this sticky pandemic. Career Advice You have to be convicted….(laughs)! Uh, no…. well, if you’re in this business long enough

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you’ll probably be convicted! But no, you’ve gotta have “conviction” to what you’re doing and not give up! And you’ve gotta do it every day. Writing and singing are a craft. And don’t be discouraged, because for the most part it’s probably not gonna happen overnight. But when I was a kid that’s all I thought about; singing Beatles songs and musicals in school. That led to being a roadie, and eventually singing for what became The Tubes.•

MacKenzie Grant

Mitch Schneider • mschneider@sropr.com mackenziegrant.com MacKenzie Grant is a Nashville-based singersongwriter who has returned to her Americanaflavored roots with her first album in over

Music Education I studied classical piano growing up through high school. For a minute my parents wanted me to be a concert pianist. But I wanted to write my own stuff. Both my parents were classically-trained musicians. They really didn’t get my wanting to play pop music. I went to the University of Michigan and continued studies there, but ultimately decided I really wanted to give writing my own stuff a chance. So, I switched to Berklee. The Origin of Wonder World I was working as a school counselor in Nashville, with pre-schoolers and families who were very underserved, with high poverty and incarceration rates. It was very stressful and I have to say I was getting burned out. I took a leave of absence from my job to do some of my own healing. I didn’t know if I was going back, but I had been writing and had a lot of ideas. I just started writing to feel better and then these songs came out. It was not only me processing what was going on in the world, but what was going on with me personally and the work I was doing. When I would see the resiliency of some of these impoverished kids and families I was working with, it’s awe-striking to see this level of despair and level of joy that can occur in humanity. Vocal Care and Training My dad was a choir director as well, so I learned proper vocal technique at a young age. I know my voice pretty well now; how far I can push it and when to hold back. I do warmups, but not

“I like the sound of my voice as it’s aging. There’s more depth and color to it.” – MACKENSIE GRANT

the same way I used to do. I like the sound of my voice as it’s aging. There is more depth and color to it. At this point it’s just muscle memory as far as how to go into different ranges, modulate volume and breathing. Turning Point I did an open mic at the Bluebird Café in Nashville. I met Barbara Cloyd who is the gatekeeper there. If you do well, she will help you and get you a spot in the Writer’s Round. So, I went there one night and the line was out the door. I brought my keyboard and waited till the end of the night to play. I did one of my songs and she loved what I was doing. She was very encouraging and that was a real stamp of approval as far as being a huge confidence boost. Working in Nashville Go to hear as much live music and writers in the round as possible. Go see people doing it and pay attention to what is connecting with people. Do as many open mics as you can. It was a struggle for me because I’m an introvert. I’d work all day and then have to slag my keyboard downtown on Tuesday night to play The Broken Spoke. But you’ve gotta do that. You really have the opportunity to meet upand-coming songwriters at these venues. And if you stick with it long enough, you’ll start finding out what works and what doesn’t. I know a lot of people now are posting things on Instagram and various social media, but it still really matters to get up there and do stuff live.

Dionne Warwick

Twitter-sphere, select TV appearances, an upcoming Las Vegas residency and working with her sons, vocalist David Elliott and producer Damon Elliott, on various projects. Mentors and Influences Well, first my gospel singing family. Everyone sings, so it was pre-ordained I would as well. I had mentors, of course, and it’s gonna sound like namedropping, but Lena Horne, Ella Fitzgerald, Sarah Vaughn, Diahann Caroll, Eartha Kitt, Frank Sinatra, Sammy Davis Jr., Dean Martin—the list goes on and on. These are people I revered and thank with every ounce of my being for being surrounded by them. Turning Point as a Solo Artist I was doing sessions with the Drifters in the early ‘60s and Burt Bacharach had written a song with Bob Hilliard. After the session Burt approached me that he was gonna start writing with this lyricist Hal David and asked if I was interested in singing on some demonstration records he was doing with Hal. I said sure, because I could earn some extra money for college. And that was the beginning of my career.

“My warmup is the very first song in my show.” – DIONNE WARWICK

Angelo Ellerbee • angelo@dxxnyc.com officialdionnewarwick.com Dionne Warwick is synonymous with all things show business. From her humble origins as a member of the family gospel group The Drinkard Singers, to garnering immense solo success as a vocal partner, with composers Burt Bacharach and Hal David, the statuesque entertainer has maintained a stellar career in the limelight for over 50 years. And she keeps reinventing herself today, with relevance in the

Modern Music and Songwriting Craft Not by any stretch of the imagination is there any comparison to the kind of music we were creating during my era, starting in the ‘60s, and what’s going on today. Everything today, and I say this without any reservations whatsoever, is done by computer. And a computer does not feel, doesn’t breathe and doesn’t really translate any emotion whatsoever. And that’s what’s missing, as far as I’m concerned. Vocal Regimen and Approach I don’t warm up or do a lot of things I’ve heard other people do. I was on tour with Johnny Mathis and he spent more than half an hour or more warming up. I asked him why he did that. I felt he was not gonna have much of a voice before the show. But I’ve found my warmup to be my very first song in a show. When I open my mouth, whatever comes out is what you’re gonna get. I just work with what God gave me. And apparently, I’m using it in the right direction because if I wasn’t he’d take it away from me. Choosing Creative Projects Well, it has to do with the content of whatever is being sent for me to do. I’m very careful about what I say and how I say it. If it’s a song, it has to have credibility in regards to a wonderful melody or words that people want to hear, as opposed to what’s just being thrown at them.•

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– STEVE SATTLER

APOGEE DIGITAL DUET 3 A

pogee Digital has had a solid reputation for pioneering audio interfaces with class leading AD/DA converters for decades. While the company’s range of professional audio interfaces have long been favored by “A-list” producers and iconic recording studios worldwide, their products were, for many aspiring musicians and engineers, prohibitively expensive. When the first version of the Apogee DUET came out back in 2007, it broke the company’s price barrier for its products and allowed a whole new range of customers access to their recording technology. Now in its third version, the Apogee DUET 3 has the same eye-catching design as its processors. The Apogee DUET 3 is a two in, four out, bus powered USB C audio interface integrating onboard DSP functionality, and it can generate up to 24 bit/ 192 Khz recordings. Like its predecessors, the Apogee DUET 3’s rugged construction and bus power capability lend itself to portability and make it a perfect solution for capturing high-quality recordings on the go. Apogee Digital has a long-standing working relationship with Apple and the Apogee DUET 3 will look right at home next to your MacBook Pro or iOS device. The Apogee DUET 3 is Mac and PC (Mac OS windows 10) compatible. You can also connect the Apogee DUET 3 to an iPad Pro using the included USB-C to USB-A Cable as well as to an iOS phone via a powered USB Hub / Apple camera connector kit. As with previous versions, the Apogee DUET 3’s single operable control is a precision rotary encoder that allows for accessing all of DUET 3’s recording and playback functions. The

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OLED backlit rotary encoder is milled from a single piece of aluminum and is underlit with an understated, dimmable blue light that adds a touch of class to the DUET 3’s overall minimalist industrial design. The rear of the Apogee DUET 3 features two USB 3 ports, both of which are dedicated to powering the interface via an external power supply, if needed, and a mini-D-SUB style connector for attaching the included breakout cable. An optional DUET 3 dock is available as a separate purchase for making the DUET 3’s input and output connections directly to the Apogee DUET 3. The breakout cable does make a lot of sense as a solution for on-the-go recording sessions as it minimizes the amount of connection cables that you will need to take along with you. Both the Apogee DUET 3 and the breakout cable are designed to fit in the included travel case for easy portability. Whichever way you choose to connect your Apogee DUET 3’s inputs and outputs, available connections will include two high Z instrument input jacks, two XLR line / microphone inputs and two quarter-inch balance outputs for connecting a pair of studio monitors. A single quarter-inch headphone jack is accessible from the front of the Apogee DUET 3, and it also facilitates the Apogee DUET 3’s other (Stereo) output. A multi-function level meter on the top of the Apogee DUET 3 shows recording and playback levels. The Apogee DUET 3 is tightly integrated with the Apogee’s generic Control 2 software, which is available as a free download for all registered users, and which provides access to commonly

used recording settings, including channel level gain, overall playback levels, phase inversion, 48-volt phantom power, control of headphone output levels and more. The Control 2 software functions as a front end for controlling the Apogee DUET 3’s onboard DSP capability. Apogee’s ECS channel strip plugin is included at no charge with your Apogee DUET 3 purchase (it’s a $99 value) and offers flexible EQ and Compression control as well as a number of Bob Clearmountain tuned presets that apply to many commonly used recording settings for tracking and mixing. Other Apogee plugins covering a wide range of recording applications are available on the Apogee website and cover a wide range of Bob Clearmountain’s signature Dynamic, Reverb and modulation effects. To sum it up, with the Apogee DUET 3, your getting class-leading AD/DA technology and studio grade microphone preamps packed into a highly portable, easy-to-use two in, four out USB C audio interface that’s perfect for on-thego or desktop recording sessions. In spite of its small size and relative lack of onboard operable controls, the Apogee DUET 3 is a professional grade product designed to be capable of making serious recordings. The Apogee DUET 3 is available now for $649. The optional DUET 3 Dock is available now for $179. Information about Apogee’s range of Bob Clearmountain tuned plug-ins is available at apogeedigital.com. Find out more at apogeedigital.com

– MIKE ERRICO

Write a Mission Song

Sometimes the best way to tell a listener who you are and what you’re about is simply to put it in a song. (The following article is excerpted from Music, Lyrics, and Life: A Field Guide for the Advancing Songwriter, available everywhere, including: Bandcamp (signed copies), Bookshop, Books Are Magic, Amazon)

f you’re a Bruce Springsteen fan, you know that he’s from New Jersey. If you’ve ever listened to Eminem, chances are excellent that you know he’s from Detroit. You may know Kendrick Lamar is from Compton, Jennifer Lopez is from the Bronx, Pitbull is from Miami, and the North Mississippi Allstars are from . . . you get it. How do you know where they’re from? Because they told you—a million times. In song after song, they’ve created a world by planting signifying flags, both literal and metaphorical, in the hopes that you will identify with their artistic journey and want to be a part of it. Let’s call these musical flag plantings Mission Songs. If you’ve ever had to write a topic sentence for a paper or read the mission statement of a school or company, you’re familiar with the concept. Mission Songs lay out the story of the artist—what they believe in, where they’re from, what they want. They’re decoding glasses. Here’s an example of a Mission Song success story, ripped from the pages of music history. You’ve heard of Kiss? With the makeup, the dragon boots, the breathing fire, and all that? Of course you have. Picture this as a songwriting challenge: bassist Gene Simmons was a kabuki-inspired demon who’d pop blood capsules in his mouth and “bleed” all over his axe-shaped bass; guitarist Ace Frehley was “from space”; singerguitarist Paul Stanley was vaguely described as a “star-child”; and drummer Peter Criss was (checks notes) a cat? This was a band that needed a musical decoder ring. But they didn’t just need a great song; they needed a song that would tell listeners what they were about. Without it, they were a blur of blood, fire, boots, space people, cat drummers—all of which is great for a live show but confusing for a listener. In 1974, Kiss’s label, Casablanca Records, pulled them off the road, where they were touring behind the commercially sluggish album, Hotter than Hell. The head of the label, Neil Bogart, pushed writers Paul Stanley and Gene Simmons to find a song with a centering through-line that connected the many disparate dots. The model Bogart used was “I Want to Take You Higher,” a funky, roaring

Mission Song by Sly & the Family Stone. Sly had an anthem, and Kiss needed one, too. “I was kind of taken aback,” lead singer Paul Stanley told me over the phone. “‘What do you mean by an anthem?’ And Neil said, ‘A song that your fans can rally behind. A song that says what you stand for and what the manifesto is.’ I had seen Sly & the Family Stone when they first started out, opening for Hendrix

into the live show via their (fourth!) album, Alive! At that point, the song, plus the crowd reaction, assembled the pieces for listeners. “What people saw was this sense of empowerment and rebellious individuation . . . ‘I want to rock and roll all night and party every day’ encapsulated, in one sentence, what we were all feeling . . . once that was embraced, the band took off.” I asked Paul how many subsequent Kiss songs grew into anthems that the band couldn’t leave the arena without playing. He laughed. “All of them. How about that?” Here’s a songwriting prompt for you: Whether or not you’re in Kiss, a Mission Song answers a question for the listener: What are you about that I can also be about? In other words, how do we define ourselves within a song that is both differentiating and inviting? How do we form a gang in song form? And how do we invite others in? Try this: Tell us what your Mission is, even if it’s your Mission for the next five minutes. Plant a flag—genuine, sarcastic, metaphoric—and run with it. “I am ____.” “I want ____.” “I believe ____.” It might sound ridiculously easy to you, but committing to a Mission Song is brave, and bravery is its own reward. The payoff for the listener is that they get to inhabit a desire and wear it publicly. Isn’t that a cool part of this job—to give people the means to express themselves? So: If you wrote that song, what would it sound like?

“A Mission Song answers a question for the listener: What are you about that I can also be about?” at the Fillmore East, and, you know—Sly was a game changer. The metamorphosis of so many bands was based on [them]. So, I went back to our hotel and picked up my guitar.” While the goal was to write a Mission Song, Paul explained, “I wanted to make sure that the writing was never going to be pontificating. It would more be celebrating and mirroring what I was feeling rather than telling people what they should feel.” Like Sly, he used the firstperson point of view to accomplish that while generating a similar kind of immediacy. “When you pledge allegiance, it’s not ‘We pledge allegiance’; it’s not ‘They pledge’; it’s ‘I pledge allegiance.’ So, instinctively, and without much thought, I went, ‘I want to rock and roll all night and party every day.’ And [the chorus] went right back to it—it was incessant, and insistent. And with that, I went and knocked on Gene’s door and said, ‘What do you think of this?’” Gene Simmons stripped parts from another song, “Drive Me Wild.” “[It] was perfect. The two married together without really any alteration . . . and then it was a matter of, ‘How do you make this concise?’” The result, “Rock and Roll All Nite,” still didn’t rocket up the charts until it was incorporated

For more examples of types of Mission Songs and how to write them, check out Music, Lyrics, and Life: A Field Guide for the Advancing Songwriter, available now: Bandcamp (signed copies) Bookshop, Books Are Magic, Amazon.

MIKE ERRICO is a recording artist, author, and songwriting professor at Yale, the New School, and NYU’s Clive Davis Institute of Recorded Music. Music, Lyrics, and Life is his first book. April 2022

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– BRETT CALLWOOD

IAFAR Demystifies Neighboring Rights for You

he issue of neighboring rights is one that can be very confusing to musicians, especially those just entering the business. Simply put, it’s the money due to recording artists for public performances. But it can all get very messy very quickly, not least because different countries have different laws regarding neighboring rights. Sometimes, musicians need help. That’s where IAFAR comes in. Naomi Claire Wallace Asher is the vice president of neighboring rights at Sony Music Publishing, as well as the president of IAFAR U.K. and IAFAR Education Ltd. IAFAR stands for the International Association for Artists and Rights holders. “It’s basically the only trade association in the world specifically for neighboring rights,” Asher says. “The only reason we didn’t put ‘neighboring rights' in the acronym was because I kept going back to the NRA every time I tried, and that wasn’t really the right association for it. Obviously, the top line is ‘working together for neighboring rights.’” The group was formed out of frustration when, as a publisher, Asher was having problems with neighboring rights and realized that there wasn’t a single group that she could take them to. “There was nothing that existed that I could go to with this society industry-wide problem,” she says. “That’s how IAFAR was born.” The group was formed with Ann Tausis from Kobalt and music lawyer Stacey Haber, in November 2018. Since then they have had some wins, but progress hasn’t been made as quickly as Asher would like. “We are hampered by the fact that we have no funding,” she says. “We’re a membership organization, but we try to keep the fees quite low so that we can be accessible to everybody. The flipside of that is we need sponsorship, we need donations, we need funding. Currently, we’re all doing this in our free time, which is limited. So, the amount of progress we’ve been able to achieve has been severely limited by essentially time and money. A lot of people don’t understand why this is such a necessary thing, which has been a little bit frustrating, but at the same time when you talk to people they’re all very interested in having IAFAR help with different causes that are all in this world. So, we’re very much on track with what we’re doing, it’s just been a slow build.” Clearly, IAFAR needs to build awareness

in order to generate funding through memberships and donations, and to that end they’re hosting a conference on June 21 and 22 in the U.K. and Los Angeles. “There are several things,” Asher says. “The one that I’m most excited about is getting a group of CMOs together in one room and having them answer questions, because so many things vary by territory in this income stream. What works in the U.S. doesn’t work in the U.K., doesn’t work in Brazil, doesn’t work in Canada, doesn’t work in Spain. It’s all very different. I think a lot of people have a difficult time wrapping their heads around how different

members. So somebody who is super confused can book 15 minutes to sit down with me and ask whatever they need to ask, and hopefully get some answers and start understanding what’s going on. It’s definitely going to be accessible to anybody who comes along.” The event will be held in England and Los Angeles simultaneously, and anyone who buys a ticket to one has virtual access to the other. “There are a few panels that are going to be pre-recorded because obviously with the time difference, there’s only so much in person we can do at the same time,” Asher says. “The only panel that will actually be live in both places at the same time is the CMO Q&A. Otherwise, they're separate but connected events in that sense. Day two in the U.K. will basically be four hours of one-on-one sessions, and then our AGM.” Asher says that it’s absolutely worthwhile musicians in the States logging into the U.K. conference and vice versa, because it’s an international organization. “Certainly what is happening in the U.S. has a massive effect on the rest of the world,” she says. “Because there are a lot of reciprocity issues that cause Americans, Australians and New Zealanders to earn less than their British, Canadian or French counterparts. The laws are so different. A film and TV panel in the U.K. is going to be very different from a film and TV panel in the U.S. and we are doing film and TV panels in both countries.” Beyond the conference, donors, sponsors and members are going to be necessary if the organization is going to survive into the long term. “We're really excited about that because we’re hoping to provide modules for schools for business programs,” Asher says. “A lot of people learn about publishing, but they don’t learn about neighboring rights. Then they go into publishing and people ask them about neighboring rights and they don’t know what they’re talking about. So, we’ve created modules where we’ve started working with some educational institutions. We’re talking to universities and music business schools in both the U.S., the U.K. and in Canada as well.” Ultimately, you can help. Join IAFAR, become a donor, become a sponsor, and go to the conference in June.

“We’re a membership organization, but we try to keep the fees quite low so that we can be accessible to everybody.”

April 2022

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they are. Also, we are very big on education and it’s something that we really do want to have. Our focus is twofold: education and advocacy. Having a conference allows us to really do both. Create networking opportunities within this income stream for the people who need to better understand what’s going on, and also help us solidify our platform so that we can do more advocacy and we can go out there and really work towards transparency and some sort of uniformity in this income stream which at the moment there is not.” If any musicians are interested in attending the conference, physically or virtually, but are concerned that the business speak will be too confusing, fear not. Asher assures us that this is for everyone, and there will be people on hand to explain everything. “We’re definitely going to have neighboring rights one-on-ones,” she says. “We’re asking attendees to give questions for the CMOs, so all the questions for the CMOs will be put to them, even if it’s just like, ‘How do you pay us?’ In the U.K. on day two, we’ve got essentially four hours earmarked for one-on-one sessions with board

Visit iafar.co.uk for complete information

Rex Orange County Who Cares?

RCA Records Producer: Benny Sings, Various

RT-Zed ZedNation

Hypermania Records Producer: Steve Grantley

Tyler, the Creator’s British cosign Rex Orange County has been a cool breath of air in pop music, leading its own lane since 2015. The sound is so cool once again on Who Cares? even as singer-songwriter Alexander James O’Connor tackles inward reflection and depression. The sound does repeat into monotony and singles aren’t O’Connor’s catchiest. The subject matter swings for sometimes too much depth, throwing social justice commentary over the chill-jazz lounge-hop we love. – Joseph Maltese

This is the fourth album for the alt-rock/ power-pop quartet, and they bring it strong, with a dozen well-crafted tunes that will bowl you over. There are legit elements that recall The Pretenders, The Damned, Captain Sensible and The Stranglers on cuts like “Black Heart of Love,” “Superfaker” and “Until the Next Time.” “She Wakes Up Crying” spotlights stellar harmonies and “Uncomplicated” is unique for its staccato rhythms and progressive style. “Ain’t Gonna Go” concludes, with a glorious guitar free-for-all. – Eric Harabadian

Albert Cummings

Club d’Elf

Ten

Ivy Music Company Producer: Chuck Ainlay

You Never Know

Face Pelt Records Producer: Mike Rivard

Over the last two decades this bluesman has flirted with country and other forms of Americana. His ability to cross over appears fully realized here. Vince Gill certainly saw that and contributes backing vocals on the roadhouse rouser “Last Call.” There are also delicate romantic ballads like “Beautiful Bride.” But, Cummings’ SRV roots emerge loud and clear on blues rockers such as “Need Somebody” and “Too Old to Grow Up.” Lyrically, it’s a tad trite, but works nonetheless. – Eric Harabadian

When bassist Mike Rivard began taking flights to Peru, he didn’t realize it was causing a pulmonary embolism that would nearly kill him. This caused him to fall into depression, which Rivard escaped with the help of North African trance music, in turn inspiring this lustrous double album. The virtuosity on display here is stunning, and every moment tingles. Covers of Miles Davis’ “In a Silent Way” and Frank Zappa’s “King Kong” make this recording as unexpected as it is metamorphic. – Andy Kaufmann

Daryl Hall

Michael Lemmo

Before After

Legacy Recordings Producer: Daryl Hall, Various

Blue Comet

Woodward Avenue Records Producer: Paul Brown

We all know Hall as being half of the most successful duo in modern popular music. But do we “really” know him? This 30 track album should fill in a lot of gaps and then some, highlighting Hall’s five solo albums, from 1980’s Sacred Songs through 2011’s Laughing Down Crying. From early explorations with progressive and alternative rock through smooth jazz and country, the Philly-based crooner always brings something fresh to the table. No matter the genre, his deep soul roots shimmer and rise to the occasion. – Eric Harabadian

While keeping his ultra-cool dayjob at Norm’s Rare Guitars in L.A.’s San Fernando Valley singer, songwriter and guitarist Michael Lemmo takes a powerful, stylistically expansive double-fisted approach to the official launch of his recording career. While blowing the usual easy grooving niceties of smooth jazz out of the water with his explosive rock-edged instrumentals, he also showcases an impactful AC side via songwriting artistry that reveal a vocal artist of extraordinary sensitivity and soulful depth. – Jonathan Widran

Mondo Cozmo

Tyler Traband

This is For the Barbarians

Last Gang Records Producer: Josh Ostrander

Josh Ostrander (aka Mondo Cozmo) is as much a poet as he is a rocker. On this, his third release, themes abound inspired by the isolation and surrounding chaos borne from the pandemic. “Meant for Livin’” and “Feel Good” encompass the literate social consciousness of Bob Dylan matched with the funky sensibility of Fatboy Slim. Tracks such as “Electrify My Love” and “Eyes of Love” are anthemic for their Springsteen-flavored grandeur. “Hang On” exudes positivity and the lyricism of Lou Reed. – Eric Harabadian

Sometimes Life Is Good

Pacific Records Producer: Tyler Traband

Traband has impressive credentials writing music for film and television. He’s also a solo artist, with this three-song EP being his seventh release. The title track is a breezy soft rocker. Following this comes “Baby, I Just Love When You Call Me Baby.” Featuring horns and a cozy groove, it feels like a missing Chicago number. Album closer “It Used To Be Sweet” emits languidly funky vibes. Leaving audiences wanting more may be savvy, but taking this maxim to the extreme feels unsatisfying. – Andy Kaufmann

To be considered for review in the Album Reviews section, you must have a record deal with a major label or an independent label with an established distributor. If you do not, please see our New Music Critiques section. April 2022

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Annie of the Canyon

Kellz

Recordings by Annie of the Canyon are well produced, have interesting topics and capture the singer and her bandmates with pristine, alluring sonics. The artist’s voice is immediately attention-grabbing on “Friends that Kiss.” Her whispery, seductive quality contributes to the atmospheric, bluesy-cool vibe. The put-down song “You Don’t Know You Like I Do” offers tasty layers of chorus, electric guitar and percussion. “Rosie Rosie” generates an outlaw country energy and an array of sounds, including handclaps and slide guitar. As good as these recordings are, we feel that Annie could try shifting her vocal from time to time, go from a whisper to a scream, so to speak, and give the listener a taste of her full voice.

The most refreshing part of listening to Kellz amid our sea of submitted trap artists, is hearing the female emcee apply the formulas of the genre (street life, getting money, getting women) from a lesbian perspective. The rapper has a unique delivery and is an excellent storyteller and motivator, a la Nipsey Hussle, and her songs “Cause & Effect” and “KING” demonstrate keen production and clever stream-of-conscious rapping. Recent single “U Know” is an R&B ballad, featuring Kellz’s best attempt to sing (she is a more competent emcee). “Speaking of Bitches...” harshly starts the shift to straightforward rap we loved hearing. Room for improvement lies in the final mix: vocals could be more up front to really command the track.

Contact: annieofthecanyon@gmail.com Web: linktr.ee/annieofthecanyon Seeking: Publishing, Film/TV Placement Style: Folk

Production Lyrics Music Vocals Musicianship

9 8 7 8 8

Contact: killakellz1997@gmail.com Web: linktr.ee/kellzkellzkellz Seeking: Label, Management Style: Hip-Hop/Rap

Production Lyrics Music Vocals Musicianship

8 8 9 8 8

The Gravel Project

Jack Barksdale

SInger-guitarist Andrew Gravel leads this Northeast-based band with a strong, rangey voice that can climb at the right moments. “No More Fire” is powered by a fairly heavy blues-rock riff, and an excellent guitar solo, to express the singer’s lament about a relationship that is fading out. “Big Deep Blue” brings a lighter , hookier touch to the party, with jazzy, funky, lively, wah-wah-fueled guitar parts, persistent woodblock, organ and even a horn section, as the song becomes almost a jam. Next, the love ballad “The One” showcases the Project’s overall sound, which though it has Allman Brothers buried somewhere deep in its DNA, is a clean, crisp, more tightly contained version of blues-rock.

We don’t often hear such superior work from a pre-pubescent artist, but that’s exactly the case with 13-year-old Texan, Jack Barksdale. The musicianship is at times fantastic, the lyric sensibilty is beyond “old soul,” and when topped off by the artist’s smooth high-pitched voice, it’s positively surreal. “Sideways” has a brisk, upbeat energy that’s catchy and pleasing. On “Trances,” the artist sings with an aching quality that shows just how precocious he can be—he’s done his homework as a musician. He then shifts from sensitive to fiery with the acoustic country-blues tune “World Full Of Nothing,” delivering a downbeat, world-weary vision. Again, not at all what you’d expect from a modern-day teenager.

Contact: thegravelproject@gmail.com Web: bandcamp.com Seeking: Review Style: Rock, Blues

Production Lyrics Music Vocals Musicianship

8 7 7 8 8

Contact: brent@jackbarksdale.com Web: jackbarksdale.com Seeking: Booking Style: Americana

Production Lyrics Music Vocals Musicianship

8 9 9 9 9

Chris St. John

Molly Hanmer

Each recording by Chris St. John shines with that special sauce that Nashville personnel are known for. And his songs ain’t bad, neither, especially for a well-seasoned audience who appreciate the artist’s soundalike quality to ‘70s heroes. Paul Simon’s Graceland period comes to mind when we hear “Hey, Siri,” St. John’s brisk, clever (borderline silly) put-down of our modern tech-based lives. The artist’s voice brings a deeper, more confidential (and James Taylor-like) tone on his best tune, “My Sunrise,” a sweet love song whose great arrangement includes a string section with a standout call-and-response violin. “Look for Me” conveys a soothing vibe and mature, relateable sentiments. Film/TV folks will want to take a listen.

We love singer-guitarist Molly Hanmer’s snarling, distorted guitar and how it plays with her songs’ vintage, swirling organ parts. Its impact is immediate on “Get Loose” where she and her band emit a super-cool bluesrock swagger. The only thing the song lacks is a climax where Hanmer leaves her voice’s comfort zone and really drives it home. Another excellent riff propels “Sick of Me” where she and her band generate a high-speed gallop. Again, however, Hanmer’s voice seems restricted. We love the slow-burning organ and the drum rolls on “Hard Days Work” with vocal blends that enhance her voice in this dirge-like song. Still, we sincerely urge this talented L.A.based artist to work to achieve a vocal breakthrough.

Contact: chrisstjohnmusic@gmail.com Web: chrisstjohnmusic.com Seeking: Label Style: Americana

Production Lyrics Music Vocals Musicianship

9 7 8 9 9

Contact: florencia@raygunagency.com Web: soundcloud.com Seeking: Review Style: Americana, Folk, Psychedelia

Production Lyrics Music Vocals Musicianship

8 7 8 7 8

Music Connection’s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score. A final score of 6 denotes a solid, competent artist. For more information, see Submission Guidelines on the next page.

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Clementine Was Right

John Torres

Colorado-based poet/fiction writer Mike Young has batch of recordings that show a mixture of pluses and minuses. An element we like very much is Young’s use of a female backup singer whose subtle and supportive harmonies with Young achieve a consistently satisfying blend. Right away, however, with “Dreaming of Dancing in a Different Town,” we hear a rough, thin, demo-quality to the overall presentation, with the singer’s introspective voice not taking command. The song “...Runaway Train” has a catchy chorus, but the song doesn’t peak/climax in a satisfying way. The solemn, mournful heartbreak song “St. Francis and the Wolves” would be enriched if the artist enlisted a producer who could somehow enhance the song’s mood.

Artist John Torrres achieves a simple yet effective intimacy on his recordings, taking care that his words and sentiments are always primary. “Finish Line” is typical of his work, thriving with a simple low-key arrangement that sets the stage for his nicely doubled voice to achieve full impact. “Outside” is more energetic and theatrical, driven by bass guitar, piano and brushes on the drums, not to mention a synth line and oddly fx’d guitar solo. The vibe gets downtempo on the song “Away We Go,” but the message is inspiring and reassuring as the singer urges his lover to “Not be afraid. Put your hand in mine and away we go.” Hearing Torres’ (harmonically doubled) voice intone these lyrics is truly appealing.

Contact: jbonner@milestonepublicity.com Web: theblueturn.com/clementinewasright Seeking: Label, Management Style: Indie Rock

Production Lyrics Music Vocals Musicianship

7 8 7 7 7

Contact: john@johntorres.com Web: johntorres.com Seeking: Review, Booking Style: Indie, Singer-Songwriter

Production Lyrics Music Vocals Musicianship

8 8 8 8 8

YB Huncho

Mt. Pool

Michigan rapper YB Huncho teaches us all about oldschool sandals on “Huaraches,” a sizzling upbeat party track. The instrumental is simple, with the energy driven by a slick finger-picked bass. It’s hard to keep up with his fast flow and imagery, but we want to hear every line. On pop-trap track “Sticks & Stones,” Huncho sings in a deeper voice, channeling Lil Nas X and Pop Smoke. “Do What You Wanna Do” shows even more range, crooning over acoustic guitar and finger snaps, mended with a spaced-out organ. Huncho is a chameleon, as far as flow and artistry goes, and it is not necessarily a negative, but his lyrics, vocals and instrumental, can all be swapped interchangeably. Try for consistency.

Mt. Pool is unusual in today’s marketplace. Instead of edgy, aggressive vibes, their songs emit a pleasant, sweet and warm glow. Call it modern-day yacht-rock. It ain’t deep and profound. It’s just ... kinda nice. On “No Rush,” frontman Devin Matthews brings a Conor Oberst quality to the mic amid jazzy chords, strong drum & rhythm and a jammy, noodling guitar figure. “Catalina Sun” is brisk, breezy and mellow to the max, with vocals that are pretty well tracked and present Matthews’ voice in a lower, richer mode. With its lively bongos and shakers, “Perfect Place” is all about summer fun. We urge the band to upgrade its sound with a producer who can enhance the vanilla vibe that is the main flavor of these songs.

Contact: francisneal123@gmail.com Web: linktr.ee/yb_huncho Seeking: Review, Film/TV Style: Rap

Production Lyrics Music Vocals Musicianship

7 7 8 8 7

Contact: manager@mtpool.band Web: mtpool.band Seeking: Booking, Film/TV Style: Pop/Rock

Production Lyrics Music Vocals Musicianship

7 7 7 7 7

Tanuki Project

Brooke Josephson

From Montreal, the duo calling itself the Tanuki Project seems to adhere to a rigid format of ominous, evocative “late-night tracks” topped off with a pretty, ethereal female vocal. On the upside, the pair deploy good sounds and subtly effective beat changes, though perhaps too much at times. “Distopia” sounds exactly as you’d expect: thoroughly downbeat and atmospheric. A similar outing is “Slow,” which has plenty of electro fizz amid the murky undertones. It’s impressive how well mixed this recording is, with very appealing voice blends. It’s perfect for last song/dance at a club. “Stone,” despite the overall grim glow of the music, is a song whose message is one of resilience and optimism.

Singer-songwriter Brooke Josephson is seeking placements in film and television, and based on the thoroughly pro quality of her recordings, we feel she’s worthy. Each of her songs is consistently commercial, rockin’ and relateable. Each also gets right to the point, as for example the rousing “Showin Up,” which in fact kicks right off with its chorus, introducing the artist’s powerful, pitch-perfect, Ann Wilson (from Heart) voice. A bit softer, yet still an uptempo rocker, “Rainbow” has an inspiring and supportive message for a lover or friend. Finally, the edgier “Love Me Like A Man” is a scorching blues-rocker that spotlights a barrage of blazing guitar fills. No hit songs here, but altogether extremely solid, well presented stuff.

Contact: thetanukiproject@gmail.com Web: thetanukiproject.com Seeking: Booking, Film/TV Style: Electronic, Trip-Hop, Cinematic

Production Lyrics Music Vocals Musicianship

9 7 8 8 7

Contact: chip@mileshighproductions.com Web: brookejosephson.com Seeking: Film/TV Style: Pop/Rock

Production Lyrics Music Vocals Musicianship

9 7 7 9 8

SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. To be considered please go to musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee. April 2022

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Alex’s Bar Long Beach, CA Contact: koberth@gmail.com Web: thekatiejo.com Players: Katie Jo, guitar, vocals; George Madrid, pedal steel; Dominic Furiani, guitar; Nic Gonzalez, bass; Garrit Tillman, drums Material: It was a wild night, a “Country Sundays” at Alex’s Bar, and the SoCal punters were getting into the honky-tonk spirit. Shots were tossed back by guys and gals in Stetson hats and scuffed jeans and, at one point, a fight broke out. Not much of a fight granted; it was all over after a lot of pushing and yelling, and some girlfriend-tears. But still, it all felt very authentically “outlaw country” well before the magnificent Katie Jo took to the stage. And damn, did the Los Angeles-via-Wichita artist ever own that stage. Her Patsy Cline-esque, smooth and melancholy delivery is enough to reduce the hardest heart to mush. All of the songs were new to us, yet they all left their mark. The opening “How Soon” gave way to “I Don’t Know Where Your Heart’s Been,” then “Bad Religion” kicked in. There was a cover of the Steeldrivers' “Wearing a Hole,” and by the time she closed with “Prairie Flower,” the whole crowd was sold on her. Musicianship: As well as the fact that Jo herself is a great player with a gorgeous, emotive voice, she’s assembled a killer band. Furiani’s guitar complements her beautifully, and Madrid on pedal steel brings the flourishes. The rhythm section of Gonzalez and Tillman, meanwhile, is air tight. Jo might well be the star of the

KATIE JO

show, but she’s pulled together a stellar set of musicians that frame her songs to perfection.

Performance: It’s somehow perfect, despite (or perhaps because of) the complete lack of a stage show. The songs, most from her Pawn Shop Queen album, are performed poignantly here, each one seemingly wrenched from the depths of Jo’s soul. There’s a Lynchian, Twin Peaks element to the performance—a weird darkness in the vibe that is very welcome. It all worked wonderfully well.

Summary: Katie Jo says on her own website that Pawn Shop Queen “tackles themes at the dark heart of country music: infidelity, religion, depression.” It shows. When country music isn’t obsessing over pearly white teeth, rhinestones, trucks and guns, it can be as poetic and heartfelt as any other genre. Jo knows this, and she makes it work for her. These are her songs, and her emotions. This is her heart and soul that she’s presenting to the listener, and it’s not always an easy experience but it’s certainly a satisfying one. – Brett Callwood

JULIANA PARKER Rockwood Music Hall New York, NY

Contact: julianaparkermusic@gmail.com Web: julianaparkermusic.com Players: Juliana Parker, piano, vocals; Leon Litewski, guitar; Andy Sepe, bass; Nate Repasz, drums Material: Juliana Parker's pop/rock pennings and performing style lean toward the theatrical while still employing rock rhythms and insightful lyrics.

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MARK SHILOWICH

Musicianship: Parker plays a mean piano, with proficiency, gusto, and spirit. Her vocals range from full-voiced belt to a delicate airiness in the upper range. Her bandmates seem more like a tight unit with a mission than mere sidemen. Though they don’t have individual solo moments, there are numerous intriguing rhythmic patterns as well as guitar and bass lines.

In the heartbreaking “Rhode Island Road,” Parker brings poignancy to the end of a relationship: I emptied bottles of perfume to drench your scent out of my bed/ I just washed it deeper into every thread/ oh I watched as you shrunk to nothing in my rear view/ that’s the truth left behind on Rhode Island Road. “Waiting On The Line,” the catchiest of the set, with its driving rhythm and pivotal interval of a fourth down, makes the verse compelling. The payoff is in the tag line, which is the title of the song.

Performance: Feisty and accessible, she says what’s on her mind. There’s no holding back when it comes to emoting, capitalizing on that full-voiced belt. When she does pull back, there is a sweetness and introspective quality to her voice. Since stories abound in her material, to know more of what fuels them would have added even more dimension to the performance. Parker offers variety in her material, but most of the driving rock-oriented songs were weighted to the first half of the set. Switching the order would enhance the overall dynamic and flow. In an absolute departure, “The Moon” underscored the power it has over us. Performed a cappella, with only foot stomping as accompaniment, was a unique moment. Summary: Juliana Parker is a skilled performer whose songs spring from an interesting point of view. To learn more of what’s behind them would be a plus, as well as letting us see more of her vulnerable side. – Ellen Woloshin

electric bass and utilizes the full expanse of unison lines and counterpoint to maximum advantage. Homma’s guitar work shifts from delicate chords to funky riffs at the drop of a hat. Taniguchi exhibits fluidity in his blend of multiple keyboard textures and daring lead passages. Locking down the groove and seamlessly shifting with the rhythmic tide is Otsu. His mix of jazzy accents and subtly danceable beats opens the band up to many sonic possibilities.

BLACK ELEGANCE

Livestream Tokyo, Japan

Contact: rnbloungetv@gmail.com Web: jackjackdragon.com Players: Jack Jackson, lead vocals; Glynis John Martin, bass and vocals; Hiro Homma, guitar; Yoshio Taniguchi, keyboards and backup vocals; Makoto Otsu, drums Material: The set consists of jazz-infused R&B from the ‘70s through the present day. Standards by The Gap Band, Sade, D’ Angelo, Al Green and The Brothers Johnson rub shoulders with classic rock from The Beatles and some original sounds. Much of the

material is meticulously arranged for extended jams and audience participation. Musicianship: Everyone in this band is a seasoned pro, with impeccable credentials and substantial chops. However, they collectively check their egos at the door. They all appear to work together really well and that is reflected in the way they feed off each other’s musical ideas and energy. Jackson is a consummate vocalist, with an extensive range and expressive demeanor. Martin not only holds down the bottom end with flawless precision, but handles lead and backup vocals as well. He plays a six-string

Performance: The crowd appeared most receptive to Black Elegance’s truly sophisticated, yet earthy, program of familiar modern soul-filled classics and deep cuts. The band opened with an instrumental overture that set an exciting tone and mood. And that led to lead vocalist Jackson taking the stage and providing letter perfect rundowns of tunes like “Strawberry Letter #23,” “Let’s Stay Together,” “Sweetest Taboo” and Roberta Flack’s “Feel Like Makin’ Love.” Jackson seemed at ease with the crowd and addressed them often between songs, aided by Japanese translations from drummer Otsu. Even though they sang in English, there appeared to be no language barrier. While many of the tunes were covers, they might as well have been originals. The ensemble often improvised on a theme and made it their own. Summary: In a word—sublime! Black Elegance is a world-class outfit equally adept at a small intimate nightclub, mid-level casino or the full concert stage. – Eric Harabadian

Harvelle’s Santa Monica, CA Contact: Gillian Driscoll - Sound Dessert Consulting Web: cowboydiplomacy.rodeo Players: Ian Cochran, lead vocals, guitar; Scott Blanco, lead guitar; James Rodman, keys; Brad Bentley, bass; Matt Leslies, drums Material: Rocking country quintet (and Texas favorite) Cowboy Diplomacy delivered a powerful showcase of their authentic hipster country music in their nine-song set Sharing songs from their 2019 album debut, Burn Down The Road, along with latest releases, “Easier When I’m Stoned” and “Dark Days,” the southern country gentlemen delivered an authentic, honest sound with their solid, energetic band. Musicianship: Growling vocals and gravelly lyricism joined squealing teaser guitar solos and driving drumbeats in show opener, “Long Time Coming,” with a harder rock feel and fun upbeat song cutoff in “Enemy.” “Wet” brought grinding rock tension with belting vocal growls, killer drumming, a tight guitar solo, and a funky song breakdown. The talented band of musicians provided a perfect backing to the old-school country and alternative-rock blend vocals of moody ballad, “In Deep and Too High,” sharing a more straight-ahead driving rock on new tracks, “Dark Days” and “Easier When I’m Stoned”—the latter delivering a Crash-Test-Dummy-esque vibe.

COWBOY DIPLOMACY

Performance: The group got straight to business with an easy buildup that quickly caught the attention of all in attendance. Engaging frontman Ian Cochran delivered captivating, organic vocals and is a natural interacting with—and performing in front of—his eager crowd. After stepping into a more rockabilly swing flavor in easy anthem, “Bad Man,” the band shared a dynamo honky-tonk cover of “Roadhouse Blues,” packing the front of the stage full of dancers. The evening culminated with “Mountain Man”—an absolute “flannel war cry”—with stellar guitar noodling and a rockabilly punk-feeling outro.

Summary: The band’s southern country feel and incredibly unified, well-oiled sound combine with Cochran’s gritty bluesy vocals for a fabulous Kid-Rock-like, gravelly countryrock flavor. Their original material is easy for listeners to invest in with its polished musicality and there is a relaxed, fun energy and approachable, relatable demeanor from all on stage. Cowboy Diplomacy provides a fantastic container for a high-spirited celebration with your besties. – Andrea Beenham

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of sound out of their instruments as humanly possible and turned some uninteresting sections of music into something you could sink your teeth into.

they all had one thing in common: they were likable, melodic tunes that touched the soul of whoever was listening.

Performance: The performance was very good. Littel was having way too much fun on the low end as he danced, grooved and motioned to Cerecedes on all the tunes, especially “The Fire Smells Like Rain.” Watching and listening to Cordes take a violin bow to his guitar was almost spectacular. He and Moreno took turns turning noises upside down and right side up to bring you some amazing and unique sounds that fit the music perfectly. Jacques has extremely good stage presence and his invoking of the audience was more than enough to take this performance over the top.

Musicianship: The musicianship was good all around. Jacques struggled vocally on “I’m Lonely,” but he is a good songwriter and improving every day. His songwriting is second only to his guitar playing. On “Hold My Hand,” he pulled some beautiful sounds out of his acoustic guitar. So smooth and effortless was his play, that the audience couldn’t help but clap and cheer at the end. Cerecedes and Littel were superb as they held down the rhythm section like pros. They were on beat on every song and were on que on all the breaks. Moreno and Cordes were an integral part of Jacques music as they pulled every kind

Summary: Nathan Jacques’ music sounds like acoustic guitar meets the world; Americana that was added to a working band. It had lots of inuendo and messages that only come from sitting down to write good lyrics and poetry. A couple of the songs were radio-worthy, most notably, “Hold My Hand.” Beautifully performed and executed, it was the highlight of the night. “Big Iron” was another strong tune that got the audience extremely interested as Cordes’ guitar squealed, reverberated, and resonated with exquisite taste. Catch Nathan Jacques on Instagram and Facebook, and on his latest, fulllength effort, Loud Mind. – Pierce Brochetti

NATHAN JACQUES

The Federal North Hollywood, CA

Web: nathanjacques.com Contact: ed@wayoutsound.com Players: Nathan Jacques, guitar, vocals; Allen Moreno, steel & baritone guitars; Edward Cerecedes, drums, percussion, backing vocals; Matt Littel, bass; Jackson Cordes, guitar Material: Nathan Jacques is a singersongwriter who’s music is eclectic, in that you can’t really pin him down to a certain genre. So many influences oozed out of Jacques during his performance that it was like a spin of the wheel or luck of the draw as to what was coming next; from Americana to rockabilly to country to rock, and a ballad was thrown in for good measure. Every song was different, but

Alex’s Bar Long Beach, CA Contact: laserslasersbirmingham@gmail.com Web: laserslasersbirmingham.com Players: Alex Owen, vocals, guitar; Dan Wistrom, pedal steel, guitar Material: On a night of dusty country at Alex’s Bar in Long Beach (generally considered one of the best places to watch a punk rock show in Southern California, but more than adept at hosting other genres, too), Lasers Lasers Birmingham was the dustiest and countryiest of them all. While headliner Katie Jo and middle act Dillon Zanders both had some youthful energy about their authentic tales of woe, Lasers Lasers Birmingham (the stage persona of Alex Owen) looks like he’s lived every lyric. There’s nothing manufactured about the artist who, contrary to that name, is from Los Angeles. “I believe the job of the artist is to report on their time, place and experience,” he says on his website. “So, it would be inauthentic of me to attempt to sound exactly like my country music heroes.” So, he doesn’t. The songs, from his album Warning and EP Royal Blue, are both gloriously weird and comfortably traditional. Musicianship: Owen and his musical partner meld so beautifully together, it would appear that they’ve been playing together for some time. In this case, it seems churlish to price them apart —the unit that the pair of them form is where the power is on songs such as the opening “Can You Believe My Luck,” “Heaven & Hell,” and the closing croon of “Hard Man to Please.”

LASERS LASERS BIRMINGHAM

Performance: Not a lot to report in terms of stage show. This is a country gig, and Lasers Lasers Birmingham looks the part in his Stetson and denim, practically scowling as he works his way through his set. Yet somehow you can’t take your eyes off of him. His “don’t give a damn” vibe is wonderfully compelling as he croons through a set of songs that share the sentiment. The artist is laying down the marker for Los Angeles country, a city not necessarily known for that genre. And he’s doing it in style.

Summary: On his website, Lasers Lasers Birmingham says that he is “walking a tight rope between honkytonk persona, real life and near death… With an album title [Warning] that is as much artistic statement as cautionary tale.” That sums him up perfectly. His songs and lyrics are life stories—allegories and legends. As will all of the very best country music, they sway between joy and heartbreak. And Owen is an utterly believable performer. It’ll be fascinating to see where his career goes from here. – Brett Callwood April 2022

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of sound out of their instruments as humanly possible and turned some uninteresting sections of music into something you could sink your teeth into.

they all had one thing in common: they were likable, melodic tunes that touched the soul of whoever was listening.

NATHAN JACQUES

The Federal North Hollywood, CA

LASERS LASERS BIRMINGHAM

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Directory of Music Schools This national list Connection will enable you to connect the schools that suit your and needs andpublicists. budget. Whether you’re Music-makers tapfrom intoMusic this directory to connect with indie labels, with marketing & promo experts indie Plus loads oflooking contact for atouniversity, technical school, a musiccareer, camp DIY or online 2022 list willblog make your search easier. information aid you ina promoting your music style:course, T-shirtthis andupdated CD development, sites and social media tools. ALABAMA

ARS NOVA, INC. 2828 Drake Ave., S.W. Huntsville, AL 35802 Mailing: P.O. Box 14248 Huntsville, AL 35815 256-883-1105 Email: arsnovaschool81@bellsouth.net Web: arsnovahsv.com Cost: please call or see web for info

480-461-7000 Web: mesacc.edu/programs/audio- productiontechnologies Program: Audio Production Technologies Additional locations: 7110 E. McKellips Rd. Mesa, AZ 85207 480-654-7200 Downtown Center: (Fire Science/EMT) 145 N. Centennial Way Mesa, AZ 85201 480-461-6220

UNIVERSITY OF ALABAMA 810 Second Ave. Tuscaloosa, AL 35487 205-348-7110 Email: ssnead@ua.edu Web: music.ua.edu Contact: Charles “Skip” Snead, School of Music Director Cost: please call or see web for info

PHOENIX COLLEGE COMMERCIAL MUSIC 1202 W. Thomas Road Phoenix, AZ 85013 602-285-7777 Email: jamison.weddle@phoenixcollege.edu Contact: Jamison Weddle, Coordinator of Commercial Music Studies Web: phoenixcollege.edu/programs/ music-business

UNIVERSITY OF NORTH ALABAMA Department of Entertainment Industry 1 Harrison Plaza Florence, AL 35632-0001 Contact: Dr. Robert Garfrerick, Chair 256-765-4342 or 1-800-TALK-UNA, Ext. 4342 Email: ragarfrerick@una.edu Web: una.edu/entertainment Program: Bachelor of Arts or Bachelor of Science in Entertainment Industry

SCOTTSDALE COMMUNITY COLLEGE Music Department Office – MUS 139 9000 E. Chaparral Rd. Scottsdale, AZ 85256-2626 480-423-6723 Email: eric.rasussen@scottsdalecc.edu Web: scottsdalecc.edu/divisions/fine-arts/music Contact: Eric Rasmussen, Dept. Chair

ALASKA

UNIVERSITY OF ALASKA 1708 Tanana Loop, Ste. 201 Fairbanks, AK 99775 907-474-7555, 907-474-6420 Web: uaf.edu/music Cost: please call or see web for info

ARIZONA

BILL KEIS MUSIC, INC. 650 N. 157th Drive Goodyear, AZ 85338 818-246-6858 Email: info@billkeis.com Web: billkeis.com Notes: Subjects covered include: Repertoire (learning songs), Improvisation, Theory, Technique, Composition, Arranging, Harmony, Chord Substitution, Sight Reading, Rhythm, Keyboards, Recording, Performance, How to Play in a Band, How to Find Work as a Musician and more. ARIZONA MUSIC PROJECT 260 E. Comstock Dr., #1 Chandler, AZ 85225 602-819-6400 Email: sing@azmusicproject.com Web: azmusicproject.com ROBERTO-VENN SCHOOL OF LUTHIERY 1012 N.W. Grand Ave. Phoenix, AZ 85007 800-507-3738, 602-243-1179 Email: info@roberto-venn.com Web: roberto-venn.com Cost: please call or see web for info CONSERVATORY OF RECORDING ARTS & SCIENCES Main Facility: 2300 E. Broadway Rd Tempe, AZ 85282-1707 480-858-0764, 888-930-1991 Satellite Facility: 1205 N. Fiesta Blvd. Gilbert, AZ 85233 480-858-9400 Web: cras.edu Degrees/Certificates Offered: Master Recording Program II. Program and Facilities Description: MRP-II is a 42-week program with classes limited to 12 students. It is the only program that secures and requires an internship for graduation. Every student receives an Apple Laptop, M-Audio Audio Interface, Pro Tools M-Powered, Sennheiser microphone and headphones, Apple Logic Pro and Waves plug-ins. Students have access to our exclusive CRAS Connect, computer-based learning system. Our 40,000-sq. ft. facility includes: (8) control rooms, (5) studios, (2) Pro Tools labs, (2) digital audio labs, (2) mix labs and a 6000-sq. ft. live sound classroom. Gear includes SSL, Neve, Studer, Otari, Korg, Alesis, Yamaha, Manley and Neumann, among others. Students are offered a 7-tier certification on Pro Tools and manufacturer certifications on the TC System 6000, Waves plug- ins, EAW Smaart, L-Acoustics Kudo and SoundVision plus Auto-Tune 5. Financial aid available to those who qualify. MESA COMMUNITY COLLEGE 1833 W. Southern Ave. Mesa, AZ 85202

UNIVERSITY OF ARIZONA School of Music/Recording Studio College of Fine Arts P.O. Box 210004 1017 N. Olive Rd., Music Bldg. Rm. 11 Tucson, AZ 85721 520-621-1302 Email: finearts@cfa.arizona.edu Web: cfa.arizona.edu Program: Offers a professional recording facility offering 23+ track analog and digital recordings. Our mission is to provide services/and educational experiences to students, faculty and staff.

ARKANSAS

UNIVERSITY OF ARKANSAS Department of Music, MB 201 377 N. McIlroy Avenue Billingsley Music Bldg. 201 Fayetteville, AR 72701 479-575-4701 Email: music@uark.edu Web: music.uark.edu UNIVERSITY OF ARKANSAS AT LITTLE ROCK 2801 S. University Little Rock, AR 72204-1099 501-569-3294 Email: vrlind@uair.edu Web: ualr.edu/music Contact: Vicki Lind, Chair

CALIFORNIA

CALIFORNIA ACADEMY OF ART UNIVERSITY 79 New Montgomery St. San Francisco, CA 94105 800-544-2787, 415-274-2222 Web: academyart.edu Program: Music Production & Sound Design for Visual Media ADAM’S MUSIC 10612 Pico Blvd. Los Angeles, CA 90064 310-839-3575 Email: amusicla@gmail.com Web: adamsmusic.com Contact: Adam Program: one-on-one instruction in all instruments and voice Cost: please call or see web for info Notes: flexible scheduling, music programs available for children sound system rentals and expert instrument repairs. ARIS TAKE ACADEMY Los Angeles, CA / Online Web: aristakeacademy.com Email: awesome@aristakeacademy.com Basic Rate: $697 - $1,997 per course Clients: Musicians, artist managers, digital marketers Services: Online education taught by working experts in the field covering sync licensing, social media, streaming growth, digital marketing, booking and touring, livestreaming, release strategy, royalty collection, business management. Industry representation obtained for students. ARROWBEAR MUSIC CAMP P.O. Box 180 Running Springs, CA 92382

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909-867-2782, 562-225-7766 Email: info@arrowbear.com Web: arrowbear.com Program: Since 1942 offering summer camp programs in band, orchestra, instrumental and choral music. Cost: please call or see web for info

Culver City, CA 90230 310-398-2583 Web: boulevardmusic.com Contact: Gary Mandell Program: varied one-on-one instrumental instruction. Cost: please call or see web for info Notes: group instruction available

ART OF SINGING Studio City, CA 818-980-2840 Email: Darlene@ArtofSinging.com Web: darlenekoldenhoven.com, artofsinging.com Contact: Darlene Koldenhoven Individualized programs include comprehensive training in voice technique, vocal coaching, ear-training, stage/ audition/studio performance, sight-singing, and specialized sonic therapy to enhance the potential of the ear and voice. Private lessons in Los Angeles or anywhere by Skype/Zoom. Author of “Tune Your Voice: Singing and Your Mind’s Musical Ear,” a 94 page book with 7 instructional CDs or downloads ($49.95) endorsed by faculty from Berklee, Juilliard, NYU and more, available at TuneYourVoice.net or in retail music stores. For more info on Darlene, see her website. Duration: 30/45/60 min. lessons.

BRUBECK INSTITUTE FELLOWSHIP PROGRAM University of the Pacific 3601 Pacific Ave. Stockton, CA 95211 209-946-3196 Email: mriley1@pacific.edu Web: brubeckinstitute.org Cost: please call or see web for info Program: The Brubeck Institute’s Fellowship Program is an education program in jazz performance for up to five musicians who have just graduated from high school

ARTISTMAX 1616 Butler Ave. Los Angeles, CA 90025 Email: info@artistmax.org Web: ArtistMax.org Contact: Kan Caillat, Bridge Gardiner Program: ArtistMax is a three-day intensive artist development weekend workshop series. We feature celebrity mentors such as Ken Caillat (Founder), Colbie Caillat, Christina Perri and John Rzeznik from the Goo Goo Dolls. ArtistMax delves into everything musicfrom Recording with Grammy Winning Producers, Music Business Mentors, Vocal Coaching, Branding, Image Consulting, Stage Performance and Movement Coaching. Duration: 3 days Cost: Please visit our websites for details. Scholarships available. Notes: We bring in the best in the entertainment business from Beyonce’s image/movement coach Aisha Francis to Peisha and Adriana McPhee who are the vocal coaches on American Idol. AUDIO INSTITUTE OF AMERICA P.O. Box 15427 San Francisco, CA 94115 415-752-0701 Email: audioinst@earthlink.net Web: audioinstitute.com Note: Recording Engineer, Music Producer School AZUSA PACIFIC COLLEGE OF THE ARTS Warren Music Center, Room 100 901 E Alosta Ave, Azusa, CA 91702 626-815-3848 Contact: Kristie Hawkins, Director of Prospective Student Engagement Email: schoolofmusic@apu.edu Web: apu.edu/music BARKER’S MUSIC 3125 McHenry Ave., Ste. F Modesto, CA 95350 209-526-0347 Email: info@barkersmusic.com Web: barkersmusic.com Basic Rate: please call for info BELLFLOWER MUSIC CENTER 17125 Bellflower Blvd. Bellflower, CA 90706 562-867-6715 Email: info@bellflowermusic.com Web: bellflowermusic.com Contact: any customer service rep. Program: private one-on-one lessons in drums, piano, violin, flute, clarinet, various saxophones, trumpet, trombone and guitar, as well as rentals and sales on various instruments Duration: depending on individual student progress Cost: please call or see web for info BLUE BEAR SCHOOL OF MUSIC Fort Mason Center, Bldg. D 2 Marina Blvd. San Francisco, CA 94123 415-673-3600 Email: contact@bluebearmusic.org Web: bluebearmusic.org Cost: please call or see web for info BOULEVARD MUSIC 4316 Sepulveda Blvd.

B Y

D E N I S E

C O S O

BRUBECK SUMMER JAZZ COLONY Brubeck Institute Fellowship Program University of the Pacific 3601 Pacific Ave. Stockton, CA 95211 209-946-3196 Email: mriley1@pacific.edu Web: brubeckinstitute.org Cost: please call or see web for info Program: The Brubeck Institute’s Fellowship Program is an education program in jazz performance for up to five musicians who have just graduated from high school BURBANK MUSIC ACADEMY 4107 W. Burbank Blvd. Burbank, CA 91505 818-845-ROCK (7625) Email: info@burbankmusicacademy.Com Web: burbankmusicacademy.com Cost: As low as $32.00 per 1/2 private lesson, call or see our website for details. Program: private lessons, band coaching for youth and adults, Rock and Roll Camp, rehearsal space and more. CALAVERAS ARTS COUNCIL 22 Main St. San Andreas, CA 209-754-1774 Email: goldrusharts18@gmail.com Web: calaverasarts.org CALIFORNIA BAND AND MUSIC ACADEMY (CABAMA) Lessons and Classes Offered on Zoom Los Angeles and Ventura County, anywhere from Woodland Hills to Santa Barbara including Malibu 805-529-2348, Email: fscottmoyer@earthlink.net, fscottmoyer.1@ gmail.com Web: musicianscamp.org Contact: F. Scott Moyer Services: Private (one-on-one) and class/group and band instruction are available for drums, guitar (acoustic and electric), bass, keyboards, brass, applied beginning-advanced music theory, beginning-advanced songwriting, voice, percussion and Band/Ensemble. Additional “Special” course studies are available upon request: i.e. Classic Rock; the Beatles; “Latin rhythm” studies. Program: I offer lessons in all styles of music and in all popular genres of music. I teach and coach guitar, bass, drums, keyboards, vocals, theory, reading, harmony, arranging, rhythm section, band and song production, recording concepts and more. Notes: CABAMA, features a program called “The Creative Arts Music Project,” which is a “year-round” afterschool music program and summer camp serving both the Los Angeles and Ventura counties and offering 50 creative music courses CALIFORNIA POLYTECHNIC STATE UNIVERSITY Music Department 1 Grand Ave. San Luis Obispo, CA 93407-0326 805-756-2406 Email: music@calpoly.edu Web: music.calpoly.edu Program: Bachelor of Arts in Music CALIFORNIA COLLEGE OF MUSIC 42 S. Catalina Ave. Pasadena, CA 91106 626-577-1751 Email: info@ccmcollege.com Web: ccmcollege.com Program: Music (Theory), Artist Development and Audio Engineering and Music Production Degree: Apprentice and Professional Certificate

Download at musicconnection.com/industry-contacts Duration: 6 months apprentice, 1 year professional Cost: please call or see web for info Notes: CCM mentors artists and engineers for the professional music industry. Its small intimate environment allows for personal and customized attention from Grammy award-winning and seasoned faculty. CALIFORNIA INSTITUTE OF THE ARTS, SCHOOL OF MUSIC 24700 McBean Pkwy. Valencia, CA 91355 661-253-7816, 800-545-2787 Email: musicinfo@calarts.edu Web: music.calarts.edu Program: Music composition, performance of all musical instruments, jazz, world music performance, music technology: Interaction, Intelligence and Design. Vocal performance, experimental sound practices, musical arts program. Degree: B.F.A, M.F.A. Duration: 4 years for B.F.A., 2 years for graduate M.F.A. degree, 3 year program, D.M.A. (Doctorate of Musical Arts) in Performer/Composer. Cost: please call or see web for info Notes: Fully accredited WASC and NASM college curriculum CALIFORNIA STATE POLYTECHNIC UNIVERSITY, POMONA 3801 W. Temple Ave., Bldg. 24-141 Pomona, CA 91768 909-869-3548 Email: dfkopplin@cpp.edu Web: cpp.edu/class/music/index.shtml Contact: David Kopplin, Interim Department Chair Degree: B.A. CALIFORNIA STATE UNIVERSITY, CHICO MUTA Performing Arts Center Room 10 Chico, CA 530-98-5152 Email: muta@csuchico.edu Web: csuchico.edu/muta Program: B.A.’s in General Music, Music Education, Music Industry with options of General Industry and in Recording Arts. CALIFORNIA STATE UNIVERSITY, DOMINGUEZ HILLS 1000 E. Victoria Ave. Carson, CA 90747 310-243-3543 Contact: Scott Morris Email: ssmorris@csudh.edu Web: csudh.edu/music Program: Audio Recording and Music Synthesis (ARMS) Degree: B.A. and Certificates Duration: 4 years Notes: accredited undergraduate college curriculum; extension courses available CALIFORNIA STATE UNIVERSITY, FULLERTON P.O. Box 6850 Fullerton, CA 92834 657-278-3511 Email: efink@fullerton.edu Web: fullerton.edu/arts/music Contact: Edward J. Fink, Ph.D, Interim Dir. of School of Music Program: A full complement of undergraduate and graduate degrees in performance, composition, music education, theory, history and piano pedagogy. Degree: B.A., B.M., M.A., M.M. Duration: 4-5 years for B.A./B.M.; approx. 2 additional years for M.A./ M.M. Notes: See website for more info. Many live student performance opportunities. CALIFORNIA STATE UNIVERSITY, LONG BEACH 1250 N. Bellflower Blvd. Long Beach, CA 90840-7101 562-985-4781 Email: music@csulb.edu Web: web.csulb.edu/colleges/cota/music Contact: Music Dept. Admissions Program: Varied, with an emphasis on orchestral instruments and music studies such as history, education, new music and commercial music business. Degree: B.A., B.M. in music, performance, composition or education, M.A. music program, teaching credentials Duration: 4 years for B.M.; additional 2 years for M.M. Cost: please call or see web for info Notes: requires audition and music theory test to determine placement CALIFORNIA STATE UNIVERSITY, LONG BEACH EXTENSION 6300 E. State University Dr., Ste. 104 Long Beach, CA 90815 800-963-2250 Web: ccpe.csulb.edu/ContinuingEd/ Program: Extension courses in music studies and any music class. Classes are for students not enrolled in the regular CSULB program. Duration: varies Cost: please call or see web for info Notes: University enrollment not required; day and evening classes

CALIFORNIA STATE UNIVERSITY, LOS ANGELES 5151 State University Dr. Los Angeles, CA 90032 323-343-3000 Web: calstatela.edu/music Program: varied undergraduate music studies/ performance program Degree: B.A. Duration: 4 years Cost: please call or see web for info Notes: university enrollment required CALIFORNIA STATE UNIVERSITY, NORTHRIDGE 18111 Nordhoff St. Northridge, CA 91330 818-677-1200 Email: music@csun.edu Web: csun.edu Program: A diverse music program. Majors include music business, jazz performance, classical performance, music therapy, education Degree: B.A./B.M., M.A./M.M. Duration: 4 years for B.A./B.M., 2 additional years for M.A./M.M. Cost: please call or see web for info Notes: University enrollment required; Contact music department for audition dates. CAZADERO PERFORMING ARTS CAMP P.O. Box 11013 Oakland, CA 94611 360-921-5182 Email: info@cazfamilycamp.org Web: cazfamilycamp.org/ Program: Since 1957, our camp has been providing the best in musical education and performances. Cost: please call or see web for info CHAPMAN UNIVERSITY CONSERVATORY OF MUSIC One University Dr. Orange, CA 92866 714-997-6815 Email: music@chapman.edu Web: chapman.edu/copa Program: Conservatory level musical training within the context of a 4-year liberal arts university. Degree: B.A. music, B.M. performance, B.M. music education, B.M. conducting, B.M. composition Duration: 4-year undergraduate degree programs Cost: please call admissions and records COAST MUSIC 2417 N. Sepulveda Blvd, Manhattan Beach, CA 90266 310-372-4753 Email: coastmusicstaff@gmail.com Web: coastmusicrocks.com Basic Rate: please call for info Clients: all levels COGSWELL COLLEGE 191 Baypointe Parkway San Jose, CA 95134 800-264-7955 Email: admissions@gogswell.com Web: cogswell.edu Program: Audio & Music Production CORNERSTONE MUSIC CONSERVATORY 12121 W. Pico Blvd., Ste. 205 Los Angeles, CA 90064 310-820-1620 Email: cornerstonemusician@gmail.com Web: cornerstonemusicconservatory.org Contact: Ann Pittel Program: Private and group music instruction for ages 7 months to adult. Duration: 15 weeks to year-round Cost: Varies-call for brochures and rates Notes: specializing in expert music instruction, composition, theory, teen/ college-prep students, special toddler programs, Harmony Road Piano course for children (beginners grouped by age). CRAS MUSIC ACADEMY Professional Music Production Courses 2300 East Broadway Rd. Tempe, AZ 85282 888-930-1991, 480-858-0764 Web: cras.edu Program: CRAS Music Academy offers four expansive music production courses through a unique partnership with Westlake Recording Studios (Rihanna, the Weeknd, Michael Jackson, Adele, Imagine Dragons). These courses provide the essential aspects of music production used daily by industry professionals. Notes: CRAS Music Academy teaches techniques that will make your music stand out from the rest. Successful artists, producers and writers who work at Westlake Recording Studios all know that well-produced song can make or break an opportunity to monetize their music through song placements, licenses or recording contracts. Additional location: 1205 North Fiesta Blvd. Gilbert, AZ 85233 480-858-9400 CULVER CITY MUSIC CENTER 10862 Washington Blvd. Culver City, CA 90232 453-1928 Web: culvercitymusic.com Clients: all levels

Additional location: 1901 Santa Monica Blvd. Santa Monica, CA 90404 310-453-1928 DEANNA COLON Deanna’s Vocal Studio International Vocal Coach - In Person (Las Vegas Area) & Online (323) 591-9829 Email: lessons@iamdeanna.com Web: IAmDeanna.com Notes: Quarter semi-finalist on Season 8 of America’s Got Talent Season. Backgrounds for Nick Jonas, Justin Bieber, Celine Dion, et al. Extensive TV & Radio Commercial singing work. DREAM MUSIC STUDIOS Simi Valley, CA 805-558-1760 Email: dmsmusicrecruiter@gmail.com Web: dreammusicstudios.com Basic Rate: TBD depending on length of time and location Services: Performance opportunities every four to six months! Student centered learning and quality programs. Lessons in piano, voice, guitar, bass, drums, violin, viola, cello and more! Every lesson focuses on: Chords, Rhythm, Melody, Scales, Theory, Music Notation, Playing by ear, Playing by heart, Listening skills, Microphone technique, Playing in various styles: classical, jazz, popular, and more, Self confidence skills, Self awareness, Competition opportunities for advanced students, Music history, Performance practice EL CAMINO COLLEGE 16007 Crenshaw Blvd. Torrance, CA 90506 310-532-3670 Web: elcamino.edu/academics/areas-of-study/ music.aspx Contact: Polli Chambers-Salazar, Professor Music Program: a structured program of training in a variety of solo performance media, large and small ensembles, music theory and musicianship, basic vocal and keyboard skills and the study of music history Degree: A.A. Duration: Two years Cost: please call or see web for info EUBANKS CONSERVATORY P.O. Box 1175 Hawthorne, CA 90251 310-462-5364 Email: louis-lee@the-ecma.com Web: the-ecma.com Program: music degree program with a focus on performance Degree: certificate Duration: varies Cost: please call for info EVOLUTION MUSIC CONSERVATORY 1740 Broadview Dr. Glendale, CA 91208 818-275-3773 Web: evolutionmusicconservatory.com Notes: Group lessons, rock band, private lessons, mommy and me FIVE STAR SCHOOL OF MUSIC 314 E. Glenoaks Blvd. Glendale, CA 91207 818-502-1739 Email: elleniegalestian@gmail.com Web: fivestarmusicanddance.com Program: One-on-one and group musical instrument instruction. Duration: Varies with individual programs Cost: please call or see web for info Notes: Classes taught in English, Spanish, Armenian and Tagalog (Filipino). FOOTHILL COLLEGE 12345 El Monte Rd. Los Altos Hills, CA 94022 650-949-7016 Email: hartwellrobert@foothill.edu Web: foothill.edu/music Contact: Simon Pennington, Dean, Fine Arts & Communication GARNISH MUSIC PRODUCTION SCHOOL 7600 Melrose Ave. Hollywood, CA 90046 347-746-4604 Web: la.garnishmusicproduction.com Notes: Learn to produce finished tracks fast from Grammy-winning instructors GILMORE MUSIC STORE 1935 E. 7th St. Long Beach, CA 90813 562-599-1369 Email: gilmoremusicstore@gmail.com Web: gilmoremusicstore.com Program: Instruction in drums, classical-jazz-and rock guitar, bass guitar, woodwinds, flute, trumpet, trombone, piano, violin, cello and voice. Degree: N/A Duration: 30 min. to 60 min. Cost: call for rates

Notes: 24-track digital recording studio on site, beginner packages available. GLENDALE COMMUNITY COLLEGE Music Department 1500 N. Verdugo Rd. Glendale, CA 91208 818-240-1000 Email: pflueger@glendale.edu Web: glendale.edu/music Contact: Beth Pflueger, Music Department Chair Program: Comprehensive program focusing on preparing musicians for university admissions with focus on choral or instr. performance and music history/theory. Degree: certificate, A.A, A.S. Duration: 2 years for A.A/A.S. Cost: please call or see web for info Notes: most classes do not require an audition, but may require a prerequisite GLOBE AUDIO RECORDING AND PRODUCTION 110 Caledonia St., Ste A Sausalito, CA 94965 415-777-2486 Email: info@globerecording.com Web: soundhealingcenter.com/love/ audio GOLDEN WEST COLLEGE 15744 Golden W. St. Huntington Beach, CA 92647 714-895-8772 Contact: Dr. Kay Nguyen, Dean Email: goldenwestcollege.edu/music/index.html Web: goldenwestcollege.edu/music Program: Music Education Preparation or Music Performance Degree: A.A. GRAMMY CAMP Grammy Foundation 888 S. Figueroa Street Los Angeles, CA 90017 310-581-8668 Email: areyournext@grammy.com Web: grammyintheschools.com Program: This program offers students a 17-day interactive residential summer music experience that focuses on all aspects of commercial music, with instruction by industry professionals in an immersive creative environment with cutting-edge technology in a state-of-the-art facility. Cost: please call or see web for info GUITAR MERCHANT, THE 22807 Saticoy St. West Hills, CA 91304 818-884-5905 Email: theguitarmerchant@yahoo.com Web: guitarmerchant.com Services: music lessons all instruments, all ages, band jam programs, live venue shows nightly guitar sales and service GUITAR SHOWCASE/S.M.I. 3058 S. Bascom Ave. San Jose, CA 95124 408-377-5864 Email: smi.admin@guitarshowcase.com Web: guitarshowcase.com Instruments: guitar, bass, keyboards, drums, percussion, saxophone, flute, mandolin, banjo group classes, private instruction, monthly workshops Basic Rate: Call or see web for info HARRISON SCHOOL OF MUSIC P.O. Box 5068 West Hills, CA 91308 818-887-8870 Email: sales@harrisonmusic.com Web: harrisonmusic.com Contact: Mark Harrison Program: keyboard, theory, ear training and composing/arranging, with an emphasis on jazz and pop styles. Degree: N/A Duration: flexible scheduling Cost: please call or see web for info Notes: The Harrison music education methods are used by thousands of students in over 20 countries worldwide. HOLLYWOOD ACADEMY OF MUSIC & ARTS 7469 Melrose Ave., Ste. 34 Hollywood, CA 90046 323-651-2395 Email: hollywoodacademyofmusicandarts@gmail. com Web: hollywoodacademyofmusicandarts.com Program: Hollywood Academy of Music offers private lessons for piano, keyboard, guitar, voice, drums, violin, bass guitar, flute, clarinet, saxophone and trumpet (other band instruments also available). We also teach a group workshop called “School of Rock-Band 101” and Pre-school Music Classes. Cost: please call or see web for info Notes: Hollywood Academy of Music provides Hollywood, West Hollywood, Beverly Hills and surrounding areas of Los Angeles with personable and highly qualified teachers for students of all ages. Our positive, encouraging atmosphere and professional studio environment aid in the development of musical abilities - and our convenient location makes it feasible for students from all different areas of the Los Angeles metro area to attend.

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Music Schools

ICON COLLECTIVE, LLC 100 E. Tujunga Ave. #100 Burbank, CA 91502 818-299-8013 Email: info@learn2produce.com Web: iconcollective.edu Program: The nine-month Digital Music Production Course teaches artists/DJ’s and beatmakers how to record, mix, master, market and sell their music in today’s new digital era. Blending creativity with technology, Icon Collective has created a 21st century approach for artists/producers seeking a creative, artistic, successful lifestyle. INTERNATIONAL SCHOOL OF MUSIC 416 E. Colorado St., Ste.A Glendale, CA 91205 818-548-7959 Email: contact@ISMGlendale.com Web: ismglendale.com Program: classical; one-on-one instruction in piano, guitar (classical, jazz, flamingo), violin, flute, viola, voice, percussion Degree: certificate Cost: please call or see web for info JOHN NOVELLO’S CONTEMPORARY KEYBOARDIST COURSE 310-909-4007 Email: agoldmark@mac.com Web: keysnovello.com Contact: Andy Goldmark Program: complete one-on-one program for training the contemporary keyboardist, composer and singer-songwriter Duration: varies Cost: please call or see web for info Notes: all musical styles; piano, Hammond B3, improvisation, music sequencing and music theory LEARN PRO RECORDING Los Angeles, CA (747) 207-2100 Email: Info@LearnProRecording.com Web: learnprorecording.com Program: Learn basic recording / Audio Engineering / Music Production / Studio Business Duration: Online lessons - At your own pace Notes: Learn from working professional audio engineers / Producers / Studio Owner - Live oneon-one remote coaching available. LONG BEACH CITY COLLEGE 1305 E. Pacific Coast Hwy. Long Beach, CA 90806 562-938-4946 Contact: Anthony Carreiro, Dept. Head & Professor, Theater Arts Email: acarreiro@lbcc.edu Web: lbcc.edu/music Program: Commercial Music Program, Radio and TV Program Degree: A.A. and/or certificate Duration: 2 years Cost: please call or see web for info LONG BEACH SCHOOL OF MUSIC 3840 Woodruff Ave., Ste. 109 Long Beach, CA 90808 310-918-0439 Web: longbeachschoolofmusic.com Contact: Mark Fitchett Program: All styles instruction in guitar, bass, woodwinds, drums, voice and keyboards Duration: varies Cost: please call or see web for info

Degree: A.A., Commercial music certificates Duration: 16-week semesters Cost: please call or see web for info Notes: courses taught by instructors in the field who bring practical, contemporary information to the classroom; evening classes available. LOS ANGELES MUSIC ACADEMY COLLEGE OF MUSIC 300 S. Fair Oaks Ave. Pasadena, CA 91105 626-568-8850 Email: admissions@lacm.edu Web: lacm.edu Program: intense programs individualized for drums, guitar, bass, vocal and music production disciplines, professional level Duration: 3.5, 1.5 and 1 year programs Degree: Bachelor of Music in Music Performance, Music Production, or Composition, Bachelor of Arts in Music Business after 3.5 years, Associate of Arts Degree in Music Performance or Music Production after 1.5 years or Diploma after 1 year Cost: please call or see web for info Notes: fully accredited, financial aid available, emphasis on contemporary music production and performance with daily ensemble workshops, students accompanied by hired professional musicians in an intimate environment LOS ANGELES MUSIC & ART SCHOOL 3630 E. 3rd St. Los Angeles, CA 90063 323-262-7734 Email: stayintune@lamusart.org Web: lamusart.org Contact: Admissions Program: Individual instruction offered in piano, guitar, violin, woodwinds, drums and voice. Duration: varies Cost: please call or see web for info Notes: a private, non-profit school; voice lessons taught in English and Spanish; financial aid available THE LOS ANGELES RECORDING SCHOOL (A DIVISION OF THE LOS ANGELES FILM SCHOOL) 6690 Sunset Blvd. Los Angeles, CA 90028 323-860-0789 (local), 888-688-5277 Email: info@lafilm.edu Web: larecordingschool.com Contact: Admissions Department Degree: Associate of Science in Recording Arts - Program Length – 18 months (on campus); Associate of Science in Music Production - Program Length – 18 months (on campus); Associate of Science in Music Production – Online – Program Length – 18 months (online) Duration: 18-month programs Notes: The Los Angeles Recording School (LARS) has over 33,000 square feet of facilities and classrooms, including over 20 recording labs and studios. Our Associate of Science in Recording Arts provides students with the opportunity to learn about a multitude of aspects of the audio industry, including interactive audio, acoustic principles and sound effect design. Our Associate of Science in Music Production prepares students with courses in music composition, mixing and mastering and music copyright. The Los Angeles Recording School is located in the heart of Hollywood on Sunset Boulevard, and is a division of The Los Angeles Film School, an institution accredited by the Accrediting Commission of Career Schools and Colleges (ACCSC).

LOS ANGELES CITY COLLEGE Department of Music Herb Alpert Music Center 855 N. Vermont Ave. Los Angeles, CA 90029 Music Department 323-953-4000 Ext. 2880 Contact: Christine Park, Dept. Chair Email: parkcj@lacitycollege.edu Web: lacitycollege.edu/Departments/Music/ Department-Home Program: Commercial and traditional music program to prepare students who wish to transfer to a 4-year university music program, or get their A.A. degree or commercial music certificate in vocal music, Instrumental music, piano, orchestration/ arranging and electronic music/MIDI. The certificate program is intended for those wishing to enter the recording or film industry. The A.A. degree is intended for students who wish to continue their education and seek a higher degree. Degree: A.A. (Associate in Arts) or certificate in commercial vocal, instrumental, piano, orchestration/ arranging, electronic music/ MIDI Duration: approx. 2 years Cost: visit the site for info

LOS ANGELES VALLEY COLLEGE 5800 Fulton Ave. Van Nuys, CA 91401 818-947-2346 Contact: Dr. Christian Nova, Chair Email: novacp@lavc.edu Web: lavc.edu/music Contact: Music department Program: curriculum is geared toward instrument instruction and performance, with school performance opportunities and a varied course selection available Degree: A.A. Duration: approx. 2 years Cost: please call for tuition and fee information Notes: weekend/evening music classes offered through Community Services program

LOS ANGELES HARBOR COLLEGE 1111 Figueroa Pl. Wilmington, CA 90744 310-233-4429 Email: rainesjw@lahc.edu Web: lahc.edu/classes/music/index.html Contact: music department Program: traditional and commercial music courses offered including theory/musicianship, MIDI/electronic music, songwriting and instruments such as voice, guitar and keyboards

1351 Pioneer Square Brentwood, CA 94513 925-513-1625

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LOS MEDANOS COLLEGE Recording Arts 2700 E. Leland Rd. Pittsburg, CA 94565 925-439-2181 Email: FDorritie@losmedanos.edu Web: losmedanos.edu/recarts/default.asp Programs: Degrees/Certificate(s) offered: AA, College Skills Certificate, Certificate of Achievement Additional Location:

LOYOLA MARYMOUNT UNIVERSITY 1 LMU Dr. Burns Fine Arts Center Los Angeles, CA 90045-2659 310-338-5154 Email: todd.harper@lmu.edu Contact: Dr. T. J. Harper, Chair of the Music Program

Web: cfa.lmu.edu/programs/music Program: classical guitar, piano, voice, strings, percussion, world music ensemble, opera, chorus, music history, theory and composition, ethnomusicology and instrumental and choral conducting. Degree: B.A. Duration: approx. 4 years Cost: please call for tuition information Notes: All music courses are faculty- taught and are limited in size to provide the most personal attention to each student. The program offers a balanced curriculum in musicianship, historical perspectives and music performance. The Bachelor of Arts Degree in Music, often called “the degree of the future” offers the maximum career opportunities following graduation. The B.A. degree also provides an appropriate background for prospective candidates pursuing advanced degrees in preparation for work as musicologists, composers, arts administrators, music educators as well as professional performers. MARK FITCHETT’S GUITAR SCHOOL 1712 S. Pacific Coast Hwy. Redondo Beach, CA 90277 310-918-0439 Email: mrfrets@aol.com Web: theguitarschool.com Contact: Mark Fitchett Program: All styles instruction in guitar, bass and keyboards MIRACOSTA COLLEGE 1 Barnard Dr., Bldg. OC 2200 Oceanside, CA 92056 760-795-6816 Email: storok@miracosta.edu Web: miracosta.edu Contact: Steve Torok, Department Chair Cost: please call or see web for info MOREY’S MUSIC STORE INC. 4834 Woodruff Ave. Lakewood, CA 90713 562-420-9532 Email: info@moreysmusic.com Web: moreysmusic.com Program: instruction in guitar, saxophone, flute, violin, clarinet, cello, piano Duration: varies Cost: please call or see web for info MUSICIANS INSTITUTE (MI) 6752 Hollywood Blvd. Hollywood, CA 90028 866-405-8748, 323-462-1384 Email: admissions@mi.edu Web: mi.edu Program: fully accredited degree and certificate programs in guitar, bass, drums, keyboards, vocals, audio engineering, music business, music video/film and television and guitar craft Degree: instrument certificate, specialized certificate, Associate of Arts, B.M. and encore Duration: instrument certificate Program: 12- and 18-month options, specialized certificate Six-to-nine-month courses in career specialties including: audio engineering, independent artist development, music business, guitar craft, music video/film and television, Bachelor of Music degrees (bass, guitar, drums, keyboards and vocals): 4 years; Associate of Arts degree (bass, guitar, drums, keyboards and vocals): 2 years; Encore Programs (bass, guitar, drum set, keyboards and vocals): 10 weeks; Encore Express 5-week, full-time (15 units) or 10-week, part-time (7 units); Extension – individual 10-week courses; Summer Shot – one-week courses Cost: please call or see web for info Notes: MI offers a wide range of educational options for contemporary musicians, all designed and taught by professionals who show you first-hand what a music career is all about. At MI, students learn how the contemporary music industry works from the inside, on the performing stage, in the recording studio and behind the scenes. OCCIDENTAL COLLEGE 1600 Campus Rd. Los Angeles, CA 90041 323-259-2785 Email: kasunic@oxy.edu Web: oxy.edu/academics/areas-study/music Contact: David Kasunic, Dept. Chair Program: Students majoring in music develop an integrated understanding of music in performance, creative work, and as cultural and historical expression. Through its curriculum, concerts and recitals, master classes, guest lectures, residencies and other public events, the music department leads the discourse that enriches College and community life. Students study, practice, and perform in Booth Hall, Herrick Chapel, and Thorne Hall, with access to practice rooms, large and small performance venues, a well- equipped electronic music studio, and an outstanding music library. Degree: B.A. Duration: approx. 4 years OC RECORDING SCHOOL, THE 3100 W. Warner Ave., Ste. 7 Santa Ana, CA 92704 323-244-9794 Email: Info@ocrecording.com Web: ocrecording.com

Contact: Asaf Fulks (Engineer, Producer, Artist, Instructor) Program: Audio Engineering and Music Production Certificate Course. Lessons include Recording, Mixing, Mastering, Advanced Audio Production, Post Production, etc. Duration: 10, 20, 30, and 40 Week Options. Available In The Studio or Remote via Skype, Source Connect and Zoom. Flexible Scheduling. Notes: Avid Pro Tools Training, Waves Audio Certification, NI Maschine Lessons, Asaf’s Exclusive Textbook, One-On-One Instruction, Shadow Professional Studio Sessions. Cost: Available at ocrecording.com PASADENA CITY COLLEGE 1570 E. Colorado Blvd. Pasadena, CA 91106 626-585-7216 Web: pasadena.edu Program: a program with classes in music studies, vocal and instrument instruction. Degree: A.A. Duration: Approx. 2 years Notes: evening classes available PEPPERDINE UNIVERSITY Seaver College 24255 Pacific Coast Hwy. Malibu, CA 90263 310-506-4462 Email: fineartsrecruit@pepperdine.edu Web: seaver.pepperdine.edu/fine-arts/ undergraduate/music Program: undergraduate music curriculum with emphases in: Applied (instrumental/vocal performance), music education and composition. Special programs incl. the Flora L. Thornton Opera Program and the Heidelberg Summer Music Program. Performing ensembles: orchestra, wind ensemble, jazz band, chamber ensembles, choir, opera & musical prod., and pep band. Degree: B.A. Duration: approx. 4 years Notes: See website for deadline dates to apply POINT BLANK ELECTRONIC MUSIC SCHOOL Mack Sennett Studios 1215 Bates Ave. Silverlake, CA 323-594-8740, +44 20 7729 4884 (INT) +020 7729 4884 (U.K.) Web: pointblankmusicschool.com/us Cost: please refer to website for individual program costs Programs: Long and short-term music production, sound design and DJ classes Duration: varies between program, flexible Notes: Voted the world’s “Best Electronic Music School” by DJ Mag readers. Flexible schedules and all studios complete with the latest equipment. In partnership with Abelton, Native Instruments, Pioneer. PYRAMIND 2727 Mariposa St., Suite 200 San Francisco, CA 94110 415-896-9800, x 226 Email: info@pyramind.com Web: pyramind.com RECORDING CONNECTION AUDIO INSTITUTE 6300 Wilshire Blvd, Suite 640 Los Angeles, CA 90048 323-329-9610, 800-755-7597 Email: recording@rrfedu.com Web: recordingconnection.com Notes: check website for other U.S. locations RECORDING BOOT CAMP Pine Mountain Club, CA 310-200-9010 Contact: Ronan Chris Murphy Web: recordingbootcamp.com ROSEMARY BUTLER Sherman Oaks, CA 91403 818-916-1857 Email: vocalstarr@aol.com Web: rosemarybutler.com Program: Vocal technique, artist development, performance coaching, style development Notes: Learn to sing from the best: Rosemary Butler, the voice who sang with Jackson Brown, James Taylor, Linda Ronstadt, Bonnie Raitt & more SAE INSTITUTE OF TECHNOLOGY 7 Music Circle N. Nashville, TN 37203 800-872-1504, 615-244-5848 Email: nashville@sae.edu Web: nashville.sae.edu Program: Audio Technology Program (Diploma); Electronic Music Producer (Certificate) Duration: Nine months full-time, 18 months part-time (Audio), six months part-time (Electronic Music) Notes: SAE Institute was founded internationally in 1976 and has since grown to almost 50 locations worldwide. Courses focus on hands-on training to prepare graduates for a career in the audio industry. Additional locations: 215 Peachtree St., Ste. 300 Atlanta, GA 30303

Download at musicconnection.com/industry-contacts 404-526-9366 Fax 404-526-9367 Email: atlanta@sae.edu Web: atlanta.sae.edu 16051 W. Dixie Hwy., Ste. 200 North Miami Beach, FL 33160 305-944-7494 Fax 305-944 6659 Email: miami@sae.edu Web: miami.sae.edu 6601 Shellmound Street Emeryville, CA 94608 510-654-2934 Email: expression@sae.edu Web: sae-la.com 218 W. 18th St., Fl. 4 New York, NY 10011 212-944-9121 Fax 212-944-9123 Email: newyork@sae.edu Web: newyork.sae.edu 820 N. Orleans, #125 Chicago, IL 60610 312-300-5685 Email: chicago@sae.edu Web: usa.sae.edu/campuses/chicago SAN FRANCISCO CONSERVATORY OF MUSIC 50 Oak St. San Francisco, CA 94102-6011 415-503-6271 Email: apply@sfcm.edu Web: sfcm.edu Cost: please call or see web for info SANTA MONICA COLLEGE 1900 Pico Blvd. Santa Monica, CA 90405 310-434-4323 Email: geller_lori@smc.edu Web: smc.edu Contact: Lori Geller, Administrative Assistant Program: courses taught in songwriting, theory, voice, and ear-training, as well as instrument instruction classes. Degree: A.A. Duration: approx. 2 years Cost: please call or see web for info Notes: extension/evening classes available SANTA MONICA MUSIC CENTER 1901 Santa Monica Blvd. Santa Monica, CA 90404 310-453-1928 Web: santamonicamusic.com Contact: School Coordinator Basic Rate: please call for info Clients: all levels SCHOOL OF ROCK MUSIC 12020 Wilshire Blvd. Los Angeles, CA 90025 310-442-7625 Web: westla.schoolofrock.com Program: School of Rock Music is the original performance-based, interactive music school founded in 1998 in Philadelphia. Our goals at the Paul Green School Of Rock Music are: to help our students realize their potential as artists, to put them on stage in front of as many people as possible, and to help foster a new generation of incredible musicians. Cost: please call for info Notes: Schools all across the country, check website for additional locations SILVERLAKE CONSERVATORY OF MUSIC 4652 Hollywood Blvd. Los Angeles, CA 90027 323-665-3363 Email: reception.scm@outlook.com Web: silverlakeconservatory.com Cost: please call or see web for info THE SONGWRITING SCHOOL 4001 W. Magnolia Blvd. Burbank, CA 91506 818-848-7664 Email: info@thesongwritingschool.com Web: thesongwritingschool.com SOUTH BAY SCHOOL OF MUSIC 1710 Pacific Coast Hwy. South Redondo, CA 310-540-6767 Web: southbayschoolofmusic.com Program: All styles instruction in guitar, bass, drums, voice, woodwinds, brass and keyboards. Duration: varies Cost: please call or see web for info Additional location: 3840 Woodruff Ave., Ste. 109 Long Beach, CA 90808 565-627-0464 STUDIO WEST 11021 Via Frontera, Ste. A San Diego, CA 92127 858-592-9497 Email: info@studiowest.com Web: studiowest.com Cost: varies by class Programs: Pro Tools Operator Certification, Pro Tools Expert Certification, Music Creation, Audio Production, ICON Mixer Certification, Avid Media Composer.

Degree: Associate Degree, Recording Arts Duration: varies by program UCLA EXTENSION EXTENSION ENTERTAINMENT STUDIES AND PERFORMING ARTS 10995 Le Conte Ave. Los Angeles, CA 90024 310-825-9064 Email: entertainmentstudies@uclaextension.edu Web: entertainment.uclaextension.edu Program: UCLA Extension’s Department of Entertainment Studies and Performing Arts is an internationally acclaimed program, providing practical training and instruction in all aspects of the entertainment industry. Students can enroll in individual courses or a comprehensive certificate program in the film scoring, the music business, songwriting, recording engineering, and music technology and production. Our course of study directly addresses the competitive demands of today’s industry and prepares professionals with a broad, in-depth background to meet the challenges of the entertainment industry. Degree: Certificates in Film Scoring and Music Business Duration: Approx. 1 - 3 years Cost: varies depending on courses, call for more info Notes: This program is open to everyone and does not require university enrollment. It offers fundamental to advanced training, current music industry information, and prominent industry professionals as instructors and speakers. UNIVERSITY OF CALIFORNIA, BERKELEY 104 Morrison Hall, #1200 Berkeley, CA 94720-1200 510-642-2678 Fax 510-642-8480 Email: music@berkeley.edu Web: music.berkeley.edu Contact: David Milnes, Professor & Department Chair Degree: B.A., M.A./Ph.D, and Ph.D Cost: please call or see web for info UNIVERSITY OF CALIFORNIA, LOS ANGELES (UCLA) HERB ALPERT SCHOOL OF MUSIC 2520 Schoenberg Music Bldg. Box 951657 Los Angeles, CA 90095-1657 310-825-4761 Email: admissions@schoolofmusic.ucla.edu Web: schoolofmusic.ucla.edu Contact: Travis Cross, Chair Program: A performance-based university music program at the undergraduate level. Graduate level includes performance and composition. Related departments: Ethnomusicology (B.A., M.A., Ph.D.) and Music History/Musicology (B.A., M.A., Ph.D.). Degree: B.A., M.A., Ph.D, M.M., D.M.A. Duration: varies Cost: call for info-see registrar.ucla.edu Notes: The UCLA Department of Music admits new students in the Fall Quarter only. The UC application filing period is Nov. 1 - 30 for enrollment in September of the following year. Applicants must first apply for admission at the freshman level from high school or transfer from another college or university, and must meet all minimum academic eligibility requirements for admission to the University of California either as a freshman or transfer student. Please note that only applicants who have indicated Music as their first choice major to UCLA on the general UC application, will be considered for admission to the program. Students interested in Jazz Studies or World Music should apply to the UCLA Department of Ethnomusicology. UNIVERSITY OF THE PACIFIC Conservatory of Music 3601 Pacific Ave. Stockton, CA 95211 209-946-2408 Email: rbtittin@pacific.edu Web: pacific.edu/conservatory Contact: Ruth Brittin, Program Dir. of Music Education Program: A diverse conservatory with a variety of undergraduate programs in Music Composition, Performance, Education, History, Management, Music Industry Studies, Music Therapy, and Jazz Studies as well as Graduate programs in Music Education and Music Therapy. Minors are also offered in Music and Music Management for all students, as well as Minors in Music History and Music Theory for Music Majors. Degree: B.M., B.A., B.S, M.M, M.A. Cost: Please call or see website Note: All majors require an audition or interview, or both. See website. Additional locations: 3200 Fifth Ave Sacramento, CA 95817 155 Fifth St. San Francisco, CA 94103 USC JIMMY IOVINE AND ANDRE YOUNG ACADEMY 3780 Watt Way Los Angeles, CA 90089 213-821-6140 Email: admissions@online-iovine-young.usc.edu, jvernon@usc.edu Web: iovine-young.usc.edu Contact: Jessica Vernon, Admission & Student Services

Degree: The degree requires a total of 128 units, including 56 units in the Core and 32 units in Emphases. Through the Academy’s Core, students learn applied skills and gain understanding of the theories, concepts and vocabulary of each field. Duration: 4 Year USC THORNTON SCHOOL OF MUSIC Los Angeles, CA 90089 213-740-6935 Contact: Dr. Robert Cutietta, Dean Email: music.dean@usc.edu Web: usc.edu/music Contact: music admissions Program: A large department with a wide variety of undergraduate and graduate programs in performance, composition, education, and music industry. Degree: B.M., B.A., B.S, M.M., D.M.A., Ph.D., M.A.,Graduate Certificate. Duration: varies Cost: please call or see web for info Notes: Virtually all programs require a performance audition in order to be considered for admission. VISIBLE MUSIC COLLEGE Atascadero Teaching Site 6225 Atascadero Ave Atascadero, CA 93422 901-381-3939 Email: seeyourself@visible.edu Web: visible.edu Program: Modern Music Performance, Music Production, Music Business, Creative Leadership (content creation or ministry focus) Degree: 1 year accredited Certificate, Bachelor of Applied Arts, Master of Arts. Duration: 1 year certificate, 3 or 4 year bachelors degree, 1 or 2 year masters degree Cost: please call or see website Notes: Christian music college with hands-on training from industry professionals. The college is small and intimate with great opportunities to outwork your training in any of our programs. Music is important and we invest in creatives as leaders in their field. Additional locations: 200 Madison Ave Memphis, TN 38103 901-381-3939 3404 Lake Street Lansing, IL 60438 708-455-1414 2801 Orchid Dr. McKinney, TX 75070 901-381-3939 WALDEN SCHOOL, THE 7 Joost Avenue, Suite 204 San Francisco, CA 94131 415-587-8157 Email: info@waldenschool.org Web: waldenschool.org Cost: please call or see web for info Additional location: Summer Address P.O. Box 432 Dublin, NH 03444 603-563-8212 WEST L.A. COLLEGE Humanities & Fine Arts Division 9000 Overland Ave. Culver City, CA 90230-3519 310-287-4571 Email: PetersL@WLAC.edu Web: wlac.edu Contact: Laura Peterson, Chairperson Program: courses in instrument instruction and music studies. piano, voice, music appreciation\ and fundamentals and jazz band Degree: A.A. Duration: approx. 2 years Cost: please call or see web for info Notes: evening classes are available WEST VALLEY COLLEGE 14000 Fruitvale Ave. Saratoga, CA 95070 408-471-4663 Email: lou.delarosa@westvalley.edu Web: westvalley.edu/academics/music Contact: Lou De La Rosa, Dept. Chair WHITE HALL ARTS ACADEMY 2812 W. 54th St. Los Angeles, CA 90043 424-235-0665, SKYPE (Tanisha_ whaa) Email: mail@whitehallacademy.org Web: whitehallacademy.org, facebook.com/ whitehallartsacademy Contact: any customer service rep. Program: private one-on-one lessons in voice, piano, strings, guitar, woodwind Duration: Private min. 30/45/60 WOMEN’S AUDIO MISSION 542-544 Natoma St., #C-1 San Francisco, CA 94103 800-926-1338

Web: womensaudiomission.org Program: Women’s Audio Mission (WAM) is a San Francisco-based nonprofit organization that is dedicated to the advancement of women in music production and the recording arts, a field in which women are critically under-represented (less than 5%). Classes in Audio & Recording Technology.

COLORADO

ASPEN MUSIC FESTIVAL AND SCHOOL 225 Music School Rd. Aspen, CO 81611 970-925-3254 Email: info@aspenmusic.org Web: aspenmusicfestival.com Cost: please call or see web for info BROADWAY MUSIC SCHOOL 2555 S. Santa Fe Drive Denver, CO 303-725-8058 Email: info@broadwaymusicschool.com Web: broadwaymusicschool.com Cost: please call or see web for info Services: quality private music instruction in all instruments and voice, rock, jazz and classical ensembles for youths and adults, music theory classes and more. COLORADO CHRISTIAN UNIVERSITY School of Music 8787 W. Alameda Ave. Lakewood, CO 80226 303-963-3000 Email: music@ccu.edu Web: ccu.edu/music Program: The School of Music at Colorado Christian University currently offers four emphases in music– performance, education, worship arts and sound recording technology; as well as 18 hours of coursework available in Theatre, including three main stage productions annually. DENVER MUSIC INSTITUTE 4195 S. Broadway Englewood, CO 80113 303-788-0303 Email: randy@denvermusicinstitute.com Web: denvermusicinstitute.com Cost: please call or see web for info LAMONT SCHOOL OF MUSIC 2344 E. Iliff Ave. Denver, CO 80208 303-871-6973 Email: musicadmission@du.edu Web: liberalarts.du.edu/lamont/faculty-staff Cost: please call or see web for info SWALLOW HILL MUSIC ASSOCIATION 71 E. Yale Ave. Denver, CO 80210 303-777-1003 Ext. 2 Contact: Tyler Breuer Email: info@swallowhillmusic.org Web: swallowhillmusic.org Cost: please call or see web for info Additional locations: 7653 E. 1st Pl. Denver, CO 80230 3131 Osceola St. Denver, CO 80212 UNIVERSITY OF COLORADO 1250 14th Street Denver, CO 80204 303-315-5969 Email: CA@ucdenver.edu Web: ucdenver.edu

CONNECTICUT

THE CONNECTICUT SCHOOL OF MUSIC 1242 Post Rd. E. Westport, CT 06880-5427 203-226-0805 Email: info@ctschoolofmusic.com Web: ctschoolofmusic.com Program: The Connecticut School of Music offers half hour, 45 minute or hour-long lessons as well as every- other-week lessons and 5 or 10 lesson packages for adults. We also provide group lessons and ensemble lessons. Cost: please call or see web for info Additional locations: 299 Greenwich Ave., 3rd Fl. Greenwich, CT 06830 203-302-9968 UNIVERSITY OF HARTFORD The Hartt School 200 Bloomfield Ave. West Hartford, CT 06117-1599 860-768-4465 Email: harttadm@hartford.edu Web: hartford.edu/hartt Program: Bachelor of Music, Bachelor of Arts, Bachelor of Fine Arts UNIVERSITY OF NEW HAVEN Department of Music 300 Boston Post Rd. West Haven, CT 06516

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Directory of

Music Schools

203-932-7000 Email: Clacobucci@newhaven.edu Web: newhaven.edu YALE UNIVERSITY Department of Music P.O. Box 208310 469 College St. New Haven, CT 06520-8310 203-432-2985 Email: ian.quinn@yale.com Web: yalemusic.yale.edu Contact: Ian Quinn, Chair

DELAWARE

THE MUSIC SCHOOL OF DELAWARE 4101 Washington St. Wilmington, DE 19802 302-762-1132 Email: frontdesk@musicschoolofdelaware.org Web: musicschoolofdelaware.org Satellite locations: Pike Creek, Dover, Felton, Lewes, Georgetown Additional location: 23 S. Walnut St. Milford, DE 19963 302-422-2043 Email: mbfrontdesk@musicschoolofdelaware.org UNIVERSITY OF DELAWARE College of Arts and Sciences 4 Kent Way Newark, DE 19716 302-831-2793 Email: deansoffice@art-sci.udel.edu Web: cas.udel.edu

WASHINGTON, DC

AMERICAN UNIVERSITY Katzen Arts Center, Room 137 4400 Massachusetts Ave. N.W. Washington, D.C. 20016 202-885-3859 Contact: Ann Kang Email: akang@american.edu Web: american.edu/cas/performing-arts/music LEVINE SCHOOL OF MUSIC Main Campus Sallie Mae Hall 2801 Upton St., N.W. Washington, D.C. 20008 202-686-8000 Email: LevineNWDC@levinemusic.org Web: levineschool.org Cost: please call or see web for info Notes: Levine School of Music, the Washington DC region’s preeminent center for music education, is a welcoming community where children and adults find lifelong inspiration and joy through learning, performing, listening to and participating with others in music. Additional locations: Westover Baptist Church 1125 N. Patrick Henry Dr. Arlington, VA 22205 703-237-5655 Email: LevineVirginia@levineschool.com Town Hall Education Arts Recreation 1901 Mississippi Ave. SE, Suite 201 Washington, DC 20020 202-4123 Email: LevineSEDC@levinemmusic.org Silver Spring Library 900 Wayne Ave., 2nd Floor Silver Spring, MD 20910 301-328-5335 Email: LevineSilverSpring@evinemmusic.org The Music Center at Strathmore 5301 Tuckerman Lane North Bethesda, MD 20852 301-897-5100 Email: LevineMaryland@levinemmusic.org Adjacent to Oak Street Elem. School 601 S. Oak Street Falls Church, VA 22046 703-237-5655 Email: LevineVirginia@levinemusic.org Virtual Campus Email: services@levinemusic.org THE OMEGA STUDIOS SCHOOL OF APPLIED RECORDING ARTS & SCIENCES 12712 Rock Creek Mill Rd. Rockville, MD 20852 301-230-9100 Email: admissions@omegastudios.com Web: omegastudios.com **No degree, certificates.

FLORIDA

CENTER FOR PRO TOOLS P.O. Box 1393 Goldenrod, FL 407-674-7926 32733 Email: info@centerforprotools.com Web: centerforprotools.com Program: ProTools Certification

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FROST SCHOOL OF MUSIC University of Miami 5501 San Amaro Drive Coral Gables, FL 33146 305-284-2241 Email: admission.music@miami.edu Web: music.miami.edu Program: Performance, Studio Music and Jazz, Music Education, Music Therapy, Music Business and Entertainment Industry, Music Theory, Music Engineering Technology, Media Writing and Production Degree: B.M., B.A., B.S., M.M., D.M.A, Ph.D, A.D., Specialist Duration: 4 years FSU COLLEGE OF MUSIC Florida State University 122 N. Copeland St. Tallahassee, FL 32306-1180 850-644-3424 Email: musicadmissions@fsu.edu Web: music.fsu.edu Cost: please call or see web for info FULL SAIL 3300 University Blvd. Winter Park, FL 32792 800-226-7625, 407-679-6333 Web: fullsail.com Program: Full Sail offers degrees in Recording Arts, Show Production and Touring, Music Business, and Entertainment Business. Students learn music production, mixing, recording, live sound and event production. Online Education. Duration: 12-21 months depending on degree program Cost: please call or see web for info Notes: Full Sail’s other degree programs include Computer Animation, Digital Arts and Design, Film, Game Development and Graphic Design. PLAYERS SCHOOL OF MUSIC, THE 375 Seminole Blvd. Largo, FL 33770 727-725-1445, Text: 727-687-5172 Email: admissions@playerschool.edu Web: playerschool.edu Program: guitar, drums, bass, keyboards Duration: 1-Week, 4-Week, 10-Week, 1-Year, 2-Year ST PETERSBURG COLLEGE Music Industry Recording Arts (MIRA) P.O. Box 13489 St. Petersburg, FL 33733 727-341-4772 Web: go.spcollege.edu/Music UNITY GAIN RECORDING SCHOOL 1953 Ricardo Ave. Fort Myers, FL 33901 239-332-4246 Web: unitygain.com Program: Unity Gain Recording Institute offers two, one year programs to teach the art of professional multi track recording: The Audio Recording Comprehensive Program and Advanced Techniques In Audio Recording. UNIVERSITY OF TAMPA Department of Music 401 W. Kennedy Blvd. Tampa, FL 33606 813-253-3333 Web: ut.edu/music Degrees: B.M. in performance, B.M. in Music Education, B.A. in Music, B.A. in Musical Theatre, Minor in Music

GEORGIA

THE ART INSTITUTE OF MUSIC 2875 Breckinridge Blvd., Ste. 700 Duluth, GA 30096 770-242-7717 Email: admissions@aimm.edu Web: aimm.edu CAMP JAM, LLC Atlanta, GA (University TBD) 800-513-0930 Email: info@campjam.com Web: campjam.com Program: At Camp Jam, dedicated musicians ages 7-17 are put through an inspirational, educational and intensive week of their young careers. Day Camp, Ages 11-17, Kidz Camp, Ages 7-10 Cost: please call or see web for info GEORGIA ACADEMY OF MUSIC 4200 Northside Parkway Bldg. 4 Suite 100 Atlanta, GA 30327 404-355-3451 Email: musicgam@bellsouth.net Web: gaom.us Cost: please call or see web for info GEORGIA SOUTHERN UNIVERSITY Fred & Dinah Gretsch School of Music P.O. Box 8052 Statesboro, GA 30460 9120478-5396 Email: music@GeorgiaSouthern.edu Web: georgiasouthern.edu

GEORGIA STATE UNIVERSITY School of Music P.O. Box 4097 Atlanta, GA 30302 404-413-5900 Email: music@gsu.edu Web: music.gsu.edu KENNESAW STATE UNIVERSITY School of Music Building 31, Room 111, MD 3201 471 Bartow Ave. Kennesaw, GA 30144 470-578-6151 Email: admissions@kennesaw.edu Web: arts.kennesaw.edu/music MUSIC CLASS, THE Corporate Office 1875 Old Alabama Rd. Suite 815 Roswell, GA 30076 770-645-5578 Email: info@themusicclass.com Web: themusicclass.com Cost: please call or see web for info Notes: Childhood Music Education Centers throughout the United States and Canada SANDY SPRINGS MUSIC 5920 Roswell Rd., Ste. D-201 Sandy Springs, GA 30328 404-250-0406 Web: sandyspringsmusic.com Basic Rate: please call for info

HAWAII

BANDWAGON INSTITUTE OF THE ARTS 3-2600 Kamuali’i Hwy Lihue, HI 96766 808-634-2962 Email: bwmc808@gmail.com UNIVERSITY OF HAWAII AT MANOA Music Department 2411 Dole St. Honolulu, HI 96822 808-956-7756 Web: manoa.hawaii.edu/music Cost: please call for info KAILUA MUSIC SCHOOL 131 Hekilil St., #209 Kailua, HI 96734 808-261-6142 Email: info@kailuamusicschool.com Web: kainiluamusicschool.com Cost: please call for info Notes: At Kailua Music School we believe the enjoyment of music, the knowledge of music and the development of skills in creating and performing music enhances the quality of life and nourishes the human spirit. We provide the highest quality music education for all ages and levels. KE KULA MELE HAWAI’I Alan Akaka School of Hawaiian Music 1296 Auwaiku St. Kailua, HI 86734 808-375-9379 Email: info@KeKulaMele.com Web: kekulamele.com Cost: please call for info Notes: “Ke Kula Mele” provides a special environment where anyone (children through adults) who want to learn to play ukulele, steel guitar, upright Hawaiian bass and guitar are most welcome to pursue their dreams of playing an instrument and learning to sing Hawaiian songs. Music so enriches the lives of our students, young and old alike, regardless of their initial skill level. Everyone experiences a fun and positive learning environment. UNIVERSITY OF HAWAII MAUI COLLEGE Institute of Hawaiian Music 310 Ka’ahumanu Ave. Kahului, HI 96732 808-984-3570 Web: maui.hawaii.edu/music Contact: Dr. Keola Donaghy JUNIOR MUSIC ACADEMY 74-5605 Alapa St., Ste. #105 Kailua-Kona, HI 96740 808-331-2000 Email: juniormusicacademy@rocketmail.com Web: juniormusicacademy.com Notes: Classes meet once a week in a small group where parents actively participate allowing for fun, exciting, and engaging activities for children and parents alike. Ages between birth and 5th grade.

IDAHO

UNIVERSITY OF IDAHO The Lionel Hampton School of Music 875 Perimeter Dr., MS 4015 Moscow, ID 208-885-6231 Email: music@uidaho.edu Web: uidaho.edu/class/music IDAHO STATE UNIVERSITY Music/School of Performing Arts 921 S. 8th Ave., Stop 8099 Pocatello, ID 83209

208-282-3636 Email: music@isu.edu Web: isu.edu/music

ILLINOIS

AMERICAN MUSIC INSTITUTE 60 55th St. Clarendon Hills, IL 60514 630-850-8505 Email: AMI@amimusic.org Web: amimusic.org Cost: please see web for info Additional locations: 1032 Maple Ave. Downers Grove, IL 60515 307 Cedar Ave. St. Charles, IL 60174 CAMP JAM, LLC Lake Forest Academy 1500 West Kennedy Road Lake Forest, IL 60045 800-513-0930 Email: info@campjam.com Web: campjam.com Program: At Camp Jam, dedicated musicians ages 7 - 17 are put through the most inspirational, educational and intensive week of their young careers. Day Camp, Ages 11 - 17, Kidz Camp, Ages 7 - 10 Cost: please call or see web for info CHICAGO SCHOOL OF MUSIC 900 N. Franklin St. Chicago, IL 60610 312-416-0622 Email: info@chicagoschoolofmusic.com Web: chicagoschoolofmusic.com Cost: please call for info COLUMBIA COLLEGE CHICAGO 1014 S. Michigan, Room 300 Chicago, IL 312-369-7130 Email: admissions@colum.edu, music@colum.edu Web: colum.edu Program: B.A. degrees in Composition; Instrumental Performance; Vocal Performance: Jazz Studies: Instrumental; Jazz Studies: Vocal. Music degrees in Composition; Contemporary, Urban and Popular Music. M.F.A. degree in Music Composition for the Screen. Degree: Undergraduate and Graduate degrees DEPAUL UNIVERSITY School of Music 804 W. Belden Ave. Chicago, IL 60614-3296 773-325-7260 Email: musicadmissions@depaul.edu Web: depaul.edu ELMHURST COLLEGE Department of Music Irion Hall, 114 190 Prospect Ave. Elmhurst, IL 60126 630-617-3647 Email: griffinp@elmhurst.edu Web: elmhurst.edu/music Contact: Peter J. Griffin, Professor of Music Department Chair FLASHPOINT CHICAGO A Campus of Columbia College Hollywood 430 S. Michigan Ave. Chicago, IL 60605 312-506-0600 Email: flashpoint.info@tribecaflashpoint.edu Web: flashpoint.columbiacollege.edu Program: Founded in 2007 and accredited by ACICS in 2011, Tribeca Flashpoint Media Arts Academy in the heart of downtown Chicago provides a two-year, career-focused alternative to traditional four-year media arts colleges. MERIT SCHOOL OF MUSIC Joy Faith Knapp Music Center 38 S. Peoria St. Chicago, IL 60607 312-786-9428 Contact: Charles Grode, President & Exec. Director Email: cgrode@meritmusic.org Web: meritmusic.org Cost: please call or see web for info MILLIKIN UNIVERSITY School of Music Perkinson Music Center Room 103 1184 W. Main St. Decautur, IL 62522 217-424-6300, 800-373-7733 Director: Brian Justison Email: bjustison@millikin.edu Web: millikin.edu/music MUSICAL EXPRESSIONS OF ILLINOIS, LLC 602 W 5th Ave. Suite F &E Naperville, IL 60563 630-355-1110 Email: info@musicalexpressions.net Web: musicalexpressions.net Basic Rate: please call for info

Download at musicconnection.com/industry-contacts MUSIC INSTITUTE OF CHICAGO 1702 Sherman Ave. Evanston, IL 60201 847-905-1500 Ext. 180 Web: musicinstituteofchicago.org Basic Rate: please call for info Notes: locations in Lake Forest, Chicago, Lincolnshire, Downers Grove, Winnetka, Evanston East, Highland Park NORTHWESTERN UNIVERSITY SCHOOL OF MUSIC 70 Arts Circle Dr. Evanston, IL 60208-1200 847-491-7575 Email: musiclife@northwestern.edu Web: music.northwestern.edu Cost: please call or see web for info SOUTHERN ILLINOIS UNIVERSITY CARBONDALE Altgeld, Mail Code 4302 1000 S. Normal Ave. Carbondale, IL 62901 618-536-8742 Email: music@siu.edu Web: cola.siu.edu/music VANDERCOOK COLLEGE OF MUSIC 3140 S. Federal St. Chicago, IL 60616-3731 312-225-6288 Email: admissions@vandercook.edu Web: vandercook.edu

INDIANA

BALL STATE UNIVERSITY School of Music Hargreaves Music Building (MU) 203 Muncie, IN 47306 765-285-5400 Email: music@bsu.edu Web: bsu.edu/music BUTLER UNIVERSITY School of Music, Lily Hall, Room 229 4600 Sunset Ave. Indianapolis, IN 46208 317-940-9246 Contact: David Murray, Director of the School of Music Email: dmurray@butler.edu Web: butler.edu/music INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC 1201 E. 3rd St., Merrill Hall 101 Bloomington, IN 47405-2200 812-855-7998 Email: musicadm@indiana.edu Web: music.indiana.edu Cost: please call or see web for info INDIANA STATE UNIVERSITY SCHOOL OF MUSIC 300 N. 7th St. Terre Haute, IN 47809 812-237-2771 Email: isu-music@mall.indstate.edu Web: indstate.edu/music

IOWA

THE UNIVERSITY OF IOWA SCHOOL OF MUSIC 93 E. Burlingtobn St. Iowa City, IA 52242 319-335-1603 Email: music-admissions@uiowa.edu Web: music.uiowa.edu UNIVERSITY OF NORTHERN IOWA SCHOOL OF MUSIC 115 Russell Hall Cedar Falls, IA 50614 319-273-2024 Email: music@uni.edu Web: uni.edu/music

IDAHO

THE INSTITUTE OF AUDIO ENGINEERING ARTS 1933 N. 10th St. Kansas City, KS 66104 913-621-2300 Web: recordingeducation.com Cost: please call or see web for info

KENTUCKY

UNIVERSITY OF LOUISVILLE SCHOOL OF MUSIC Louisville, KY 40292 502-852-6907 Email: gomusic@louisville.edu Web: louisville.edu/music

LOUISIANA

ANDY HYMEL SCHOOL OF MUSIC 505 Kepler St. Gretna, LA 70053 504-362-1212 Web: andyhymelschoolofmusic.com Basic Rate: please call for info COVINGTON SCHOOL OF MUSIC 1111 Village Walk Covington, LA 70433 985-590-4545 Web: laapa.com Cost: please call or see web for info

Additional locations: Mandeville School Of Music 105 Campbell Ave., #3 Mandeville, LA 70448 985-674-2992 River Ridge School Of Music & Dance 2020 Dickory Ave., Ste. 200 Harahan, LA 70123 504-738-3050 LOYOLA UNIVERSITY Music and Media 6363 St. Charles Avenue Box 8 New Orleans, LA 70118 504-865-3037 Email: cmfa@loyno.edu Web: cmm.loyno.edu METAIRIE SCHOOL OF MUSIC 3338 Chalfant Dr. Metairie, LA 70005 504-421-8811 Email: metairiemusicacademy@gmail.com Web: metairiemusicacademy.com Contact: Vicki Genova, Owner Services: guitar, bass, vocals, piano, drums

MAINE

THE MUSIC CENTER 49 Topsham Fair MallRoad,Suite 2 Topsham, Maine 04086 207-725-6161 Email: sales@themusiccenter.net Web: themusiccenter.net Cost: please call or see web for info

Programs: The Comprehensive Recording Industry Program, The Audio Engineering for the Music Industry Program, The Audio Engineering for Film and Television Program, The Recording Engineering and Studio Techniques Program, The Electronic Music Synthesizers and MIDI Program, The Sound Reinforcement for Live Performance Program, The Audio Production Techniques Program and The Essentials of Music Business and Artist Management Program. PEABODY INSTITUTE Johns Hopkins University 1 E. Mt. Vernon Pl. Baltimore, MD 21202 Web: peabody.jhu.edu CONSERVATORY ADMISSIONS Phone: 667-208-6600 Email: admissions@peabody.jhu.edu PREPARATORY ENROLLMENT Phone: 667-208-6640 Email: peabodyprep@jhu.edu Cost: please call or see web for info THE SHEFFIELD INSTITUTE FOR THE RECORDING ARTS 13816 Sunnybrook Rd. Phoenix, MD 21131 800-355-6613, 410-628-7260 Email: info@sheffieldav.com Web: sheffieldav.com Program: Audioworks, Videoworks, Techworks, Broadcasting

617-484-4696 Email: admin@powersmusic.org Web: powersmusic.org Cost: please call or see web for info TUFTS UNIVERSITY Department of Music Granoff Music Center 20 Talbot Ave. Medford, MA 02155 617-627-3564 Email: John.McDonald@tufts.edu Web: as.tufts.edu/music Contact: John McDonald, Depart. Chair UNIVERSITY OF MASSACHUSETTS LOWELL Department of Music 35 Wilder St., Ste. 3 Lowell, MA 01854 978-934-3850 Email: music_dept@uml.edu Web: uml.edu/FAHSS/music

MICHIGAN

AXIS MUSIC ACADEMY 33030 Northwestern Hwy., 2nd Fl. West Bloomfield, MI 48322 248-799-8100 Web: axismusic.com Basic Rate: please call for info Additional location: 283 Hamilton Row Birmingham, MI 48009 248-258-9100

UNIVERSITY OF MARYLAND SCHOOL OF MUSIC 2110 Clarice Smith Performing Arts Center College Park, MD 20742 301-405-5549 Email: musicadmissions@umd.edu Web: music.umd.edu Cost: please call or see web for info

CENTRAL MICHIGAN UNIVERSITY School of Music 162 Music Building 1400 E. Campus Dr. Mount Pleasant, MI 48859 989-774-3281 Email: musicadmit@cmich.edu Web: cmich.edu/colleges/cam/MUS/ Pages/ default.aspx Degrees: B.A.A., B.S., B.A. or B.F.A., M..A.

PORTLAND CONSERVATORY OF MUSIC Woodford’s Congregational Church 202 Woodford St. Portland, ME 04103 207-775-3356 Email: info@portlandconservatoryofmusic.org Web: portlandconservatoryofmusic.org Cost: please call or see web for info

BERKLEE COLLEGE OF MUSIC Office of Admissions 1140 Boylston St. Boston, MA 02215 800-BERKLEE (U.S. and Canada), 617-266-1400 (direct and internat’l) Email: admissions@berklee.edu Web: berklee.edu Contact: Director of Admissions Program: all forms of contemporary music Degree: BM or Professional Diploma Duration: 4 years Cost: please call or see web for info

CORNERSTONE UNIVERSITY 1001 E. Beltline Ave. Grand Rapids, MI 49525 616-949-5300 Email: info@cornerstone.edu Web: cornerstone.edu/music

RIVER TREE ARTS 35 Western Ave. Kennebunk, ME 04043 207-967-9120 Email: info@rivertreearts.org Web: rivertreearts.org Cost: please call or see web for info

BOSTON CONSERVATORY AT BERKLEE 8 The Fenway Boston, MA 02215 617-536-6340 Email: conservatoryadmissions@berklee.edu Web: bostonconservatory.berklee.edu Cost: please call or see web for info

UNIVERSITY OF SOUTHERN MAINE USM School of Music Main Office, 103 Corthell Hall Gorham, ME 04038 207-780-5265 Contact: Christenia Alden-Kenne Email: ckinne@maine.edu Web: usm.maine.edu/music Cost: please call or see web for info

BRISTOL RECORDING STUDIOS 238 Huntington Ave. Boston, MA 02115-3009 617-247-8689 Email: info@bristolstudios.com Web: bristolstudios.com Contact: Kelsey Mack Services: Audio Recording and Production Courses, Professional Internships

NEW ENGLAND SCHOOL OF COMMUNICATIONS Husson University 1 College Cir. Bangor, ME 04401 207-941-7000 Email: admit@husson.edu Web: husson.edu/nescom Program: Bachelor of Science Degree in Communications Technology, Media Studies, Entertainment Production

MARYLAND

MUSIC & ARTS CENTERS 5295 Westview Dr. Suite 300 Frederick, MD 21703 301-694-0007, 888-731-5396 Email: info@musicarts.com Web: musicarts.com Note: Music & Arts has served students, teachers and families through retail stores and school representatives since 1952. Based in Frederick, MD, the company specializes in instrument rentals, music lessons and band and orchestra instrument sales. Music & Arts was acquired by Guitar Center, Inc. in April 2005 to expand its offerings to the beginning and student musician. Music & Arts now has over 100 retail locations in 19 states. Additional locations: Hagerstown, Germantown, Rockville, Oxon Hil, Laurel, Ellicott City, Hanover, Bowie, Timonium, Severna Park, Bel Air THE MUSIC CENTER AT STRATHMORE 5301 Tuckerman Ln. North Bethesda, MD 20852 301-897-5100 Email: crs@strathmore.org Web: strathmore.org OMEGA STUDIOS 12712 Rock Creek Mill Rd., Ste. 14A Rockville, MD 20852 301-230-9100 Email: info@omegastudios.com Web: omegastudios.com Degrees: Certification Program Duration: Day Students: 10 Months, Night Students: 12 Months

MASSACHUSETTS

CELEBRATION SOUND 70 Lauren Dr. Seelonk, MA 02771 508-336-0275 Email: celebrationsound@comcast.net Web: celebrationsound.com Programs: Recording engineer classes EMERSON COLLEGE Department of Performing Arts 120 Boylston St. Boston, MA 02116 617-824-8500 Web: emerson.edu/performing-arts Contact: Melia Bensussen, Chair Degrees: B.A., B.F.A., M.F.A. NEW ENGLAND CONSERVATORY 290 Huntington Ave. Boston, MA 02115 617-585-1100 Email: admissions@necmusic.edu Web: necmusic.edu Cost: please call or see web for info NORTHEASTERN UNIVERSITY Department of Music 102 Ryder Hall 360 Huntington Ave. Boston, MA 02115 617-373-3682 Contact: Elizabeth Hudson, Dean Email:n.elysse@northeastern.edu Web: northeastern.edu/camd/music Degrees: B.S. in Music Technology, B.S. in Music Industry, B.A. in Music History and Analysis POWERS MUSIC SCHOOL 396 Concord Ave. P.O. Box 398 Belmont, MA 02478-0003

INTERLOCHEN CENTER FOR THE ARTS P.O. Box 199 9900 Diamond Park Rd. Interlochen, MI 49643-0199 800-681-5912, 231-276-7472 Email: admission@interlochen.org Web: interlochen.org Cost: please call or see web for info MICHIGAN RECORDING ARTS INSTITUTE & TECHNOLOGIES 28533 Greenfield Southfield, MI 48076 248-557-8276 Contact: Kenneth Glaza Web: mirecordingarts.com RECORDING INSTITUTE OF DETROIT 14611 E. 9 Mile Rd. Eastpointe, MI 48021 800-683-1743, 586-779-1388 Email: RIDOffice@aol.com Web: recording.institute **No degree, but a certificate. UNIVERSITY OF MICHIGAN School of Music, Theatre and Dance E.V. Moore Building 1100 Baits Dr. Ann Arbor, MI 48109 734-764-0583. 734-763-5112 Email: lauras@umich.edu Web: music.umich.edu/index.php Contact: Laura Hoffman, Associate Dean WAYNE STATE UNIVERSITY Old Main, Department of Music 4841 Cass, Ste. 1321 Detroit, MI 48201 313-577-1795 Email: music@wayne.edu Web: music.wayne.edu Programs: Bachelor of Arts in Music, Bachelor of Music WESTERN MICHIGAN UNIVERSITY School of Music 1903 W Michigan Ave. Kalamazoo, MI 49008 269-387-4667 Web: wmich.edu/music

MINNESOTA

CHILDREN’S YAMAHA MUSIC SCHOOL Advent Luther 3000 Hamline Avenue Roseville, MN 55113 612-339-2255 Email: yamahamusic@cyms.ws Web: childrensyamaha.com Cost: please call or see web for info Additional locations: Edina Community Center 5701 Normandale Rd. Edina, MN 55424

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musicconnection.com 59

Directory of

Music Schools

THE INSTITUTE OF PRODUCTION AND RECORDING 300 N. 1st Ave., Ste. 500 Minneapolis, MN 55401 612-351-0631 Web: ipr.edu/admissions Additional location:

NEVADA

4545 W. 77th St. Edina, MN 55435 MACPHAIL CENTER FOR MUSIC 501 2nd St. S. Minneapolis, MN 55401 612-321-0100 Web: macphail.org Cost: please call or see web for info Additional locations: 14200 Cedar Ave., Suite 102 Apple Valley, MN 55124 470 W. 78th St. Chanhassen, MN Birch Lake Elementary School 1616 Birch Lake Ave. White Bear Lake, MN 55110 MINNESOTA STATE UNIVERSITY MOORHEAD Music Department Center for the Arts 102 1104 7th Ave. S. Moorhead, MN 56563 218-477-2101 Email: spa@mnstate.edu Web: mnstate.edu/academics/majors/ music Contact: Craig Ellingson, Chairperson UNIVERSITY OF NORTHWESTERN 3003 Snelling Ave. N. St. Paul, MN 55113 800-692-4020, 651-631-5100 Web: unwsp.edu/about-us/academics/ schoolsand-departments/department- of-music-theatre Degrees/Certifications: B.S. in Electronic Media Communication with a Recording Arts focus, Minor in Music, Minor in Music Business, Minor in Media Arts SAINT MARY’S UNIVERSITY OF MINNESOTA Music Department 150 St. Yon’s Hall Winona, MN 55987 800-635-5987 Email: nkirk@smumn.edu Web: smumn.edu/music Contact: Ned Kirk, D.M.A., Chair Music Department

MISSISSIPPI

DELTA STATE UNIVERSITY Department of Music DSU Box 3256 Cleveland, MS 38733 662-846-4615 Email: music@deltastate.edu Web: deltastate.edu/artsandsciences/ music

MISSOURI

LOUIS AUDIO PROJECT 505 Selma Ave. St. Louis, MO 63119 Email: gary@stlaudio.org Web: stlaudio.org UNIVERSITY OF CENTRAL MISSOURI P.O. Box 800 Warrensburg, MO 64093 660-543-4111, 877-729-8266 Email: admit@ucmo.edu Web: ucmo.edu UNIVERSITY OF MISSOURI Department of Music 135 Fine Arts Building Columbia, MO 65211 573-882-2604 Email: music@missouri.edu Web: music.missouri.edu WEBSTER UNIVERSITY School of Communications 470 E. Lockwood Ave. St. Louis, MO 63119 314-246-7800, 800-981-9801 Email: jeffreycarter67@webster.edu Web: webster.edu/music

MONTANA

THE COLLEGE MUSIC SOCIETY 312 East Pine Street Missoula, MT 59802 406-721-9616 Email: cms@music.org Web: music.org NORTH VALLEY MUSIC SCHOOL 432 Spokane Ave. Whitefish, MT 59937 406-862-8074 Email: info@northvalleymusicschool.org Web: northvalleymusicschool.org UNIVERSITY OF MONTANA SCHOOL OF MUSIC 32 Campus Dr. Music Building, Room 101 Missoula, MT 59812 406-243-6880 Email: griz.music@umontana.edu Web: umt.edu/music

60 April 2022

NEBRASKA

NORTHEAST COMMUNITY COLLEGE Audio/Recording Technology Dept. 801 E. Benjamin Ave. Norfolk, NE 68701 402-371-2020, 800-348-9033 Web: northeastaudio.org

musicconnection.com

COLLEGE OF SOUTHERN NEVADA Cheyenne Campus 3200 E. Cheyenne Ave. North Las Vegas, NV 89030 702-651-4075 Web: csn.edu/programs/music Contact: Robert Bonora, Chair Fine Arts Additional locations: 6375 W. Charleston Blvd. Las Vegas, NV 89106 702-651-5000 700 College Dr. Henderson, NV 89002 702-651-3000 MASTER MIX LIVE 702-947-0877, 877-213-1705 Email: info@mastermixlive.com Web: mastermixlive.com Duration: 5 months, 300 hours

NEW HAMPSHIRE

ALAN CARRUTH LUTHIER 51 Camel Hump Rd. Newport, NH 03773 603-863-7064 Email: alcarruth@aol.com Web: alcarruthluthier.com Cost: please call or see web for info MUSIC & ARTS CENTERS 18 March Ave. Manchester, NH 03101-2006 603-623-0153 Email: customerservice@musicarts.com Web: musicarts.com Notes: Serving students, teachers and families through retail stores and school representatives since 1952. Based in Frederick, MD, the company specializes in instrument rentals, music lessons and band and orchestra instrument sales. Music & Arts was acquired by Guitar Center, Inc. in April 2005 to expand its offerings to the beginning and student musician. Music & Arts now has over 100 retail locations in 19 states.

NEW JERSEY

BLOOMFIELD COLLEGE Division of Creative Arts & Technology 467 Franklin St. Bloomfield, NJ 07003 973-748-9000 Email: mfa@bloomfield.edu Web: mfa.bloomfield.edu COUNTY COLLEGE OF MORRIS 214 Center Grove Rd. Randolph, NJ 07869 973-328-5000 Web: ccm.edu MONTCLAIR STATE UNIVERSITY School of Communication and Media 1 Normal Ave. Montclair, NJ 07043 973-655-4000 Web: montclair.edu/john-j-cali-school- of-music STEVENS INSTITUTE OF TECHNOLOGY College of Arts and Letters 1 Castle Point On Hudson Hoboken, NJ 07030 201-216-5000 Web: stevens.edu Degree/Certification: Bachelor of Arts in Music and Technology STUDIO TO STAGE PRODUCTIONS 170 U.S. 9 Englishtown, NJ 07226 732-617-6530 Email: info@stosp.net Web: studiotostageproductions.com Program: Private Lessons SUPREME SOUND STUDIO 952 McBride Ave. Woodland Park, NJ 07424 973-890-1357 Email: brian@supremesoundstudio.com Web: supremesoundstudio.com Program: Private Music Lessons in all instruments, ensemble programs, songwriting courses WILLIAM PATERSON UNIVERSITY Department of Music 300 Pompton Rd. Wayne, NJ 07470 973-720-2000 Email: musicadmissions@wpunj.edu Web: wpunj.edu/coac/music Contact: Dr. Diane Falk-Romaine – Music Chair

NEW MEXICO

NEW MEXICO SCHOOL OF MUSIC 136-J Washington St., S.E. Albuquerque, NM 87108

505-266-3474 Web: nmschoolofmusic.com Additional location: 10701 Montgomery Blvd., N.E. Albuquerque, NM 87111 505-294-4604 TAOS SCHOOL OF MUSIC PO Box 2630 Taos, NM 87571 575-776-2388 Email: tsofm@newmex.com Web: taosschoolofmusic.com The School is located at the French owned, family style Hotel St. Bernard in Taos Ski Valley, New Mexico. It is 19 miles north of Taos, high in the scenic Sangre de Cristo Mountains of northern New Mexico.

NEW YORK

AARON COPLAND SCHOOL OF MUSIC QUEENS COLLEGE 65-30 Kissena Blvd., Room 203 Queens, NY 11367 718-997-3800 Email: ACSM@qc.cuny.edu Web: qcpages.qc.cuny.edu/music Contact: Michael Lipsey, Director Degree: B.A., B.M., MS/Education, M.A. Composition, Theory, History; M.A. Classical Performance; M.A. Jazz Performance Cost: please call or see web for info AUDIO ENGINEERING SOCIETY, INC. 132 East 43rd Street, Suite 405 New York, NY 10017 212-661-8528 Web: aes.org BLOOMINGTON SCHOOL OF MUSIC 323 West 108th Street New York, NY 10025 212-663-6021 Web: bsmny.org Email: info@bsmny.org THE CITY COLLEGE OF NEW YORK Music Department, Shepard Hall, Room 72 160 Convent Ave. New York, NY 10031 212-650-5411 Email: music@ccny.cuny.edu Web: ccny.cuny.edu/music THE COLLECTIVE SCHOOL OF MUSIC 541 Ave. of the Americas New York, NY 10011 212-741-0091 Email: info@thecollective.edu Web: thecollective.edu Basic rate: Various Services/Specialties: long- and short-term intensive courses on drums, bass, guitar, piano and vocals, private lessons, world class faculty of professional working musicians, practice and rehearsal facilities, regular master classes, musicians monthly membership club, located in the music capital of the world, NYC. Classes are limited to five students in order to make sure all students get personal attention. CLIVE DAVIS INSTITUTE OF RECORDED MUSIC 370 Jay Street Brooklyn, NY 212-992-8400 Email: tisch.recorded.music@nyu.edu Web: tisch.nyu.edu/clive-davis-institute Program: Through courses in business, musicianship and performance, production and writing, history and emergent media, our undergraduate curriculum focuses on developing the creative entrepreneur. Degree: BFA in Recorded Music Duration: 4 years EASTMAN SCHOOL OF MUSIC University of Rochester 26 Gibbs St. Rochester, NY 14604-2599 585-274-1000 Web: esm.rochester.edu Cost: please call or see web for info FINGER LAKE COMMUNITY COLLEGE State University of New York 3325 Marvin Sands Dr. Canandaigua, NY 14424 585-394-FLCC Email: admissions@flcc.edu Web: flcc.edu/academics/music FIVE TOWNS COLLEGE 305 N. Service Rd. Dix Hills, Long Island, NY 11746 631-656-2110 Email: admissions@ftc.edu Web: ftc.edu Contact: Admissions Office Programs: Undergraduate: Performance Program (A.A.S., Mus.B.); Bachelor of Music (Mus.B.) concentrations in Audio Recording Technology, Composition, Music Entertainment Industry Studies, Performance, Songwriting; (Mus.B.) Music Teacher Education concentrations in Instrumental and Vocal/Piano/Guitar. Graduate: Masters of Music (M.M.) in Music Technology, Composition,

Performance, Music History, Music Education; Doctor of Musical Arts (D.M.A.) in Composition & Arranging, Music History & Literature, Music Performance, Music Education; Doctoral and Fellowship Performance. NEW Grad program in Sound Recording Technology (M.P.S.). Cost: Contact Admissions Degree: A.A.S.; Mus.B.; M.M.; D.M.A. Duration: 2 years, 4 years, 1 to 4 years for Masters/ Doctoral GREENWICH HOUSE, INC. 46 Barrow St. New York, NY 10014 212-242-4770 Email: music@greenwichhouse.org Web: greenwichhouse.org Contact: Samir Hussein, Chair HOFSTRA UNVERSITY 101 Joseph G. Shapiro Family Hall Hempstead, NY 11549-1000 516-463-5490 Contact: Sylvia Silberger, Dept. Chair Email: sylvia.silberger@hofstra.edu Web: hofstra.edu/music HOUGHTON COLLEGE Greatbatch School of Music One Williard Ave. Houghton, NY 14744 585-567-9200, 800-777-2556 Ext. 4000 Email: admission@houghton.edu Web: houghton.edu/music ITHACA COLLEGE SCHOOL OF MUSIC 953 Danby Road Whalen Center for Music Ithaca, NY 14850 507-274-7721 Email: rcremata@ithaca.edu Web: ithaca.edu/music Contact: Radio Cremata, Associate Prof. and Chair JUILLIARD SCHOOL, THE 60 Lincoln Center Plaza New York, NY 10023-6588 212-799-5000 Email: admissions@juilliard.edu Web: juilliard.edu Cost: please call or see web for info MANHATTAN SCHOOL OF MUSIC 130 Claremont Ave. New York, NY 10027 212-749-2802 Email: administration@msmnyc.edu Web: msmnyc.edu Program: We offer degree and diploma programs at the undergraduate, graduate and doctoral levels, with majors in all orchestral instruments, voice, piano, accompanying, composition, saxophone, guitar, organ, conducting and jazz. Cost: please call or see web for info MANNES COLLEGE THE NEW SCHOOL FOR MUSIC 66 W. 12th St. New York, NY 10011 212-580-5150, 800-292-3040 Email: admissions@newschool.edu Web: newschool.edu/mannes Cost: please call or see web for info MERCY COLLEGE Music & Fine Arts Department 555 Broadway Dobbs Ferry, NY 10522 914-674-7600 Web: mercy.edu/cda Degrees: B.S. in Music Industry and Technology NEW YORK UNIVERSITY The Steinhardt School/Music 82 Washington Square E New York, NY 10003 212-998-5520 Web: steinhardt.nyu.edu/music Degree: B.S, B.A., B.M., M.A, M.M., Ph.D., D.A., Ed.D., Music Performance, Composition, Technology, Business, Education, Therapy Cost: please call or see web for info PERLMAN MUSIC PROGRAM, THE 19 W. 69th St., Ste. New York, NY 10023 212-877-5045 Email: info@perlmanmusicprogram.org Web: perlmanmusicprogram.org Contact: Anna Kaplan, Director of Programs Cost: please call or see web for info SELECT SOUND STUDIOS 2315 Elmwood Ave. Kenmore, NY 14217 873-2717 Web: selectsound.com Program: Recording Technologies Audio Engineering Program STATE UNIVERSITY OF NEW YORK College at Oneonta Music Department 115 Fine Arts Center Oneonta, NY 13820 607-436-3415 Email: moira.rouggly@oneonta.edu Web: suny.oneonta.edu/music- department

Download at musicconnection.com/industry-contacts SYRACUSE UNIVERSITY SETNOR SCHOOL OF MUSIC 202 Crouse College Syracuse, NY 13244 315-443-2769 Email: admissu@syr.edu Web: vpa.syr.edu THE COLLEGE OF SAINT ROSE Music Department 432 Western Ave. Albany, NY 12203 800-637-8556 Web: strose.edu THIRD STREET MUSIC SCHOOL SETTLEMENT 235 E. 11th St. New York, NY 10003 212-777-3240 Email: info@thirdstreetmusicschool.org Web: thirdstreetmusicschool.org TURTLE BAY MUSIC SCHOOL 330A E 38th St. New York, NY 10016 212-753-8811 Email: lornajane@TBMS.org Web: tbms.org Cost: please call or see web for info UNIVERSITY OF ALBANY College of Arts and Sciences 1400 Washington Ave. Albany, NY 12222 518-442-4187 Email: musinfo@albany.edu Web: albany.edu/music WILLIE MAE ROCK CAMP FOR GIRLS 540 President Street Suite 2H Brooklyn, NY 11215 646-726-0247 Email: info@williemaerockcamp.org Web: williemaerockcamp.org, facebook.com/ williemaerockcamp Program: Willie Mae Rock Camp for Girls is a non-profit music and mentoring program for girls and women. The organization offers a summer day camp, after school programs, youth and adult lessons, and community events in New York City. Instruments include drums, bass, guitar, keyboards, vocals and DJ/ turntables. All programs offered with sliding scale tuition. Cost: please call or see web for info

NORTH CAROLINA

APPALACHIAN STATE UNIVERSITY Hayes School of Music Broyhill Music Center 813 Rivers St. Boone, NC 828-262-3020 Email: music@appstate.edu Web: music.appstate.edu BARTON COLLEGE P.O. Box 5000 Wilson, NC 27893 800-345-4973, 252-399-6317 Email: enroll@barton.edu Web: barton.edu/cultural-arts Degrees: B.S. in Communication with a concentration in Audio Recording Technology BREVARD MUSIC CENTER 349 Andate Ln. Brevard, NC 28712 828-862-2100 Web: brevardmusic.org Contact: Dorothy Knowles, Dir. Of Admissions Notes: A summer institute and festival CATAWBA COLLEGE 2300 W. Innes St. Salisbury, NC 28144 704-637-4380, 1-800-CATAWBA Email: dlfish@catawba.edu Web: catawba.edu/academic/music Degree: B.A. Sacred Music, Music Education, Music Performance, Music Business/Popular Music Duration: 4 years Cost: please call or see web for info DUKE UNIVERSITY STRING SCHOOL, THE Duke Biddle Music Bldg. Duke University 9 Brodie Gym Dr. Durham, NC 27708-0667 919-684-8111 Email: Erica.shirts@duke.edu Web: stringschool.duke.edu Contact: Erica Shirts, Director Cost: please call or see web for info EAST CAROLINA UNIVERSITY SCHOOL OF MUSIC 102 A. J. Fletcher Music Center Greenville, NC 27858-4353 252-328-6851 Email: skibar@ecu.edu Web: ecu.edu/cs-cfac/music Cost: please call or see web for info ELON UNIVERSITY Department of Music 1 00 Campus Dr. Elon, NC 27244

336-278-2000 Web: elon.edu/e-web/academics/ elon_college/ music KAREN KANE MUSIC PRODUCTIONS Wilmington, NC 910-599-6921 Email: karenkane@mixmama.com Web: mixmama.com Courses: Audio Classes (Intro to Audio Engineering, Intro to Pro Tools) UNIVERSITY OF NORTH CAROLINA UNC Department of Music CB# 3320, 105 Hill Hall 145 E Cameron Ave. Chapel Hill, NC 27599 919-962-1039 Email: music.dept@unc.edu Web: music.unc.edu

NORTH DAKOTA

UNIVERSITY OF NORTH DAKOTA MUSIC ARTS & SCIENCES Hughes Fine Arts Center, Room 110 3350 Campus Rd., Stop 7125 Grand Forks, ND 58202 701-777-2644 Email: und.music@und.edu Web: arts-sciences.und.edu/academics/music

OHIO

BALDWIN-WALLACE COLLEGE 275 Eastland Rd. Berea, OH 44017-2088 440-826-2900 Email: music@bw.edu Web: bw.edu/schools/conservatory-music Contact: Susan VanVorst, Dean Conservatory of Music Cost: please call or see web for info BRECKSVILLE SCHOOL OF MUSIC 10633 Fitzwater Rd. Brecksville, OH 44141 440-526-1004 Email: info@brecksvillemusicstudio.com Web: brecksvillemusic.com Basic Rate: please call for info CAPITAL UNIVERSITY 1 College and Main Columbus, OH 43209 614-236-6011 Email: admission@capital.edu Web: capital.edu/Conservatory Degrees: B.M. in Music Technology, B.A. in Music Technology CASE WESTERN RESERVE UNIVERSITY Department of Music 11118 Bellflower Rd. Cleveland, OH 44106 216-368-2400 Email: music@case.edu Web: music.case.edu CLEVELAND INSTITUTE OF MUSIC 11021 E. Blvd. Cleveland, OH 44106-1705 216-791-5000 Email: admissions@cim.edu Web: cim.edu Cost: Call or view online CLEVELAND MUSIC SCHOOL SETTLEMENT, THE 11125 Magnolia Dr. Cleveland, OH 44106 216-421-5806 Email: info@themusicsettlement.org Web: themusicsettlement.org Cost: please call or see web for info COLLEGE-CONSERVATORY OF MUSIC University of Cincinnati Mary Emery Hall P.O. Box 210003 Cincinnati, OH 45221-0003 513-556-6638 Web: ccm.uc.edu/music.html Cost: please call or see web for info FIREFLY STUDIOS Toledo, OH 419-350-6454 Email: fireflystudios@firefly419.com Web: firefly419.com Notes: We offer guitar, piano, bass and drum lessons GROOVE U 5030 Bradenton Ave. Dublin, OH 43017 614-291-6122 Web: grooveu.net **No degree, diploma in Music Industry Studies HOCKING COLLEGE Music Production Business & Performance 3301 Hocking Pkwy. Nelsonville, OH 45764 740-753-7050 Email: admissions@hocking.edu Web: hocking.edu/programs/music INTERNATIONAL COLLEGE OF BROADCASTING 6 S. Smithville Rd.

Dayton, OH 45431 855-896-3733 Web: icb.edu Program: Degrees in Radio/TV, Recording/Voice, Broadcasting I MALONE UNIVERSITY 2600 Cleveland Ave. Canton, OH 44709 800-521-1146, 330-471-8382 Email: ihamilton@malone.edu Web: malone.edu Contact: Linda Hamilton, Admin. Assistant Degree: B.A. in Music Production MEDUSA RECORDING INSTITUTE 2403 South Ave. Youngstown, OH 44502 480-213-3327 Email: medusa.school@gmail.com Web: facebook.com/ MedusaRecordingInstitute MUSIC & ARTS Canfield, OH 330-533-3600 Web: musicarts.com See website for other locations in Ohio OBERLIN COLLEGE CONSERVATORY OF MUSIC 39 W. College St. Oberlin, OH 44074-1588 440-775-8413, 800-622-6243 Web: oberlin.edu/conservatory Cost: please call or see web for info OHIO NORTHERN UNIVERSITY The Music Department 525 S. Main St. Ada, OH 45810 419-772-2000 Web: onu.edu/arts_sciences/music OHIO UNIVERSITY School of Music 497 Glidden Hall Athens, OH 45701 740-593-4244 Email: music@ohio.edu Web: ohio.edu/finearts/music OWENS COMMUNITY COLLEGE Fine and Performing Arts 30335 Oregon Rd. Perrysburg, OH 43551 567-661-6000 Web: owens.edu/fpa/music Contact: Jeremy Meier, Dept. Chair Programs: Associate of Applied Science Music Education/ Performance, Music Business Technology Certificate, Popular Music Certificate and the Associate Art in Music Education/Performance RECORDING WORKSHOP, THE 455 Massieville Rd. Chillicothe, OH 45601 800-848-9900, 740-835-4455 Email: office@recordingworkshop.com Web: recordingworkshop.com Program: learn the art of recording; 8 studio facilities, small classes, affordable tuition, job placement assistance, on-campus housing, financial aid Degree: certificate Duration: 5-8 weeks training Cost: please call or see web for info Notes: established 1971

OKLAHOMA

THE HALSEY INSTITUTE Jim Halsey Company 3225 S. Norwood Ave., Ste. 100 Tulsa, OK 74135 918-628-0400 Web: facebook.com/thehalseyinstitute Notes: The Halsey Institute is dedicated to providing the best possible specialized education in the Music and Entertainment Business. HOLLAND HALL SCHOOL 5666 E. 81st St. Tulsa, OK 74137 918-481-1111 Web: hollandhall.org OKLAHOMA STATE UNIVERSITY Michael and Anne Greenwood School of Music 102 Greenwood School of Music Stillwater, OK 74078 405-744-6133 Email: osumusic@okstate.edu Web: music.okstate.edu ORAL ROBERTS UNIVERSITY 7777 S. Lewis Ave. Tulsa, OK 74171 918-495-6161, 800-678-8876 Email: music@oru.edu Web: oru.edu OU SCHOOL OF MUSIC University of Oklahoma 500 W. Boyd Norman, OK 73019 405-325-2081 Web: music.ou.edu

UNIVERSITY OF CENTRAL OKLAHOMA School of Music 100 N. University Dr. Edmond, OK 73034 405-974-5686 Contact: Brain Lamb, Director Email: blamb@uco.edu Web: uco.edu/cfad/academics/music

OREGON

AMERICAN SCHOOL OF LUTHERIE Portland, OR 97225 503-292-2385 Email: info@americanschooloflutherie.com Web: americanschooloflutherie.com Cost: please call or see web for info MUSIC TOGETHER OF PORTLAND c/o Julie Chiles Portland, OR 503-236-4304 Email: julie@musictogether-pdx.com Web: musictogether-pdx.com Basic Rate: please call for info OREGON MUSIC ACADEMY Tigard Oregon Music Academy 11555 S.W. Durham Rd., Ste. A4 Tigard, OR 97224 503-616-7161 Web: oregonmusicacademy.com Cost: please call or see web for info OREGON STATE UNIVERSITY College of Liberal Arts 214 Bexell Hall Corvallis, OR 97331 541-737-4061 Web: liberalarts.oregonstate.edu Degrees: B.A., B.F.A., M.F.A. ROCK ‘N’ ROLL CAMP FOR GIRLS P.O. Box 11324 Portland, OR 97211 503-833-2953 Email: rnrc4g@girlsrockcamp.org Web: girlsrockcamp.org Contact: Marisa Anderson Program: The Rock ’n’ Roll Camp for Girls, a 501(c)3 non-profit, builds girls self-esteem through music creation and performance. Providing workshops and technical training, we create leadership opportunities, cultivate a supportive community of peers and mentors, and encourage social change and the development of life skills. Cost: please call or see web for info ROCK ‘N’ ROLL FANTASY CAMP 888-ROC-BAND, 888-762-2263, 323-370-7033, 888-762-2263 ext. 4 Email: keith@rockcamp.com Web: rockcamp.com Program: Rock n’ Roll Fantasy Camp is the ultimate music experience. For the novice and the expert, the amateur and the aficionado, we make rock n’ roll dreams come true. Simply stated, our mission is to bring people’s musical fantasies to life! Cost: please call or see web for info SCHOOL OF MUSIC & DANCE UNIVERSITY OF OREGON 1225 University of Oregon Eugene, OR 97403-1225 541-346-5268 Email: SOMAFrontDesk@uoregon.edu Web: music.uoregon.edu Contact: Undergraduate information: audition@ uoregon.edu; Graduate Information: gradmus@ uoregon.edu; Admissions: gmusadm@uoregon.edu Program: Composition, Music Education, Performance Studies, Piano Pedagogy, Jazz Studies, Theory, Music Technology, and more including Dance Degree: B. Mus, B.A., B.S., M.Mus, M.A., M.F.A., D.M.A., Ph.D. Duration: 4 year bachelor’s, 2-3 master’s, 4-5 doctoral WESTERN OREGON UNIVERSITY Department of Music Smith Hall 345 N. Monmouth Ave. Monmouth, OR 97361 Contact: Julia Fruit, Program & Facilities Coordinator 503-838-8461 Email: music@wou.edu Web: wou.edu/music

PENNSYLVANIA

ACADEMY OF MUSIC, THE 240 S. Broad St. Philadelphia, PA 19102 215-893-1999 Email: info@academyofmusic.org Web: academyofmusic.org Cost: please call or see web for info CARNEGIE MELLON SCHOOL OF MUSIC College of Fine Arts 5000 Forbes Ave. Pittsburgh, PA 15213-3815 412-268-2372

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Directory of

Music Schools

Email: music-office@andrew.cmu.edu Web: music.cmu.edu Contact: Katherine Heston, Asst. Dir. of Music Admission CURTIS INSTITUTE OF MUSIC, THE 1726 Locust St. Philadelphia, PA 19103 215-893-5252 Email: admissions@curtis.edu Web: curtis.edu DREXEL UNIVERSITY Antoinette Westphal College of Media Arts & Design 3141 Chestnut St. Philadelphia, PA 19104 215-895-1380, 215-895-2000 Email: westphaladm@drexel.edu Web: drexel.edu/westphal GROVE CITY COLLEGE Department of Music 100 Campus Dr. Grove City, PA 16127-2104 724-458-2000 Email: info@gcc.edu Web: gcc.edu/music KUTZTOWN UNIVERSITY 114 Old Main Kutztown, PA 19530 610-683-4550 Email: music@kutztown.edu Web: kutztown.edu LEBANON VALLEY COLLEGE 101 N. College Ave. Blair 110 Annville, PA 17003 717-867-6277 Email: snyder@lvc.edu Web: lvc.edu/music Contact: Jeffrey S. Snyder, Professor & Department Chair of Music Degrees: B.M. in Recording Technology, B.A. in Music Business MARLBORO MUSIC 1528 Walnut St., Ste. 301 Philadelphia, PA 19102 215-569-4690 Email: info@marlboromusic.org Web: marlboromusic.org MARY PAPPERT SCHOOL OF MUSIC Duquesne University 600 Forbes Ave. Pittsburgh, PA 15282 412-396-6000 Email: admissions@duq.edu Web: duq.edu/academics/schools/music Program: Music Performance, Music Education, Music Therapy, Music Technology Degree: Bachelor of Music, Bachelor of Science Duration: 4 years Notes: Mary Pappert School of Music is a national leader in performance, music education, music therapy, music technology and sacred music. Also Graduate Degrees offered in performance, composition, theory, music education, music technology and sacred music, plus an artist diploma in performance. SETTLEMENT MUSIC SCHOOL P.O. Box 63966 Philadelphia, PA 19147-3966 215-320-2601 Web: smsmusic.org Cost: please call or see web for info TEMPLE UNIVERSITY School of Media and Communications Annenberg Hall 2020 N. 13th St. Philadelphia, PA 19122 215-204-8422 Email: Kleingraduate@temple.edu Web: klein.temple.edu YORK COLLEGE OF PENNSYLVANIA Division of Music, Wolf Hall, Room 206C 441 Country Club Rd. York, PA 17403 715-846-7788 Email: gmuzzo@ycp.edu Web: ycp.edu Contact: Grace Muzzo, D.M.A.

RHODE ISLAND

THE UNIVERSITY OF RHODE ISLAND College of Arts and Sciences Department of Music Fine Arts Center, Ste. E 105 Upper College Rd. Kingston, RI 02881 401-874-2431 Email: music@uri.edu Web: uri.edu/music SOUTH CAROLINA MIDLANDS AUDIO INSTITUTE 209 S. Prospect St. Columbia, SC 29205 803-782-6910 Email: info@midlandsaudioinstitute.com Web: midlandsaudioinstitute.com

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UNIVERSITY OF SOUTH CAROLINA School of Music 813 Assembly St. Columbia, SC 29208 803-777-4281 Email: ugmusic@mozart.sc.edu Web: music.sc.edu

SOUTH DAKOTA

UNIVERSITY OF SOUTH DAKOTA Department of Music Warren M. Lee Center for Fine Arts 414 E. Clark St. Vermillion, SD 57069 605-658-3466 Email: music@usd.edu Web: usd.edu/music

TENNESSEE

BELMONT UNIVERSITY: MIKE CURB COLLEGE OF ENTERTAINMENT AND MUSIC BUSINESS 1900 Belmont Blvd. Nashville, TN 37212 615-460-6453 Email: cembadmission@belmont.edu Web: belmont.edu/cemb Contact: Natalie Peterson, Admission Coordinator Program: Music Business, (BBA), Masters in Business Admin, (MBA), Entertainment Industry Studies, (BS, BA), Songwriting, (BS, BA), Audio Engineering Technology, (BS, BA) THE BLACKBIRD ACADEMY 2806 Azalea Pl. Nashville, TN 37204 855-385-3251, 615-385-2463 Email: info@theblackbirdacademy.com Web: theblackbirdacademy.com BLAIR SCHOOL OF MUSIC Vanderbilt University 2400 Blakemore Ave. Nashville, TN 37212 615-322-7679 Contact: Thomas Crespo, Dir. of Admissions Web: blair.vanderbilt.edu GOSPEL MUSIC ASSOCIATION (GMA) 4012 Granny White Pike Nashville, TN 37204 615-242-0303 Email: info@gospelmusic.org Web: gospelmusic.org Cost: please call or see web for info Program: IMMERSE, 1 - 4 day Christian music training event GRO55 SCHOOL OF MUSIC 5436 Oak Chase Drive Can Ridge, TN 37013 412-200-0520 Email: gro55schoolofmusic@gmail.com Web: gro55schoolofmusic.com KASPER HOME MUSIC STUDIOS, THE 927 Battlefield Dr. Nashville, TN 37204 615-383-8516 Web: kaspermusic.com Basic Rate: please call for info Services: Small group and private group lessons for children and adults MARK JOHNSON Nashville, TN 615-587-2516 Email: markLaneBand@gmail.com Web: facebook.com/marksmusic Contact: Mark Rates: call for rates Clients: All Ages, All Levels (Zoom available) Styles/Specialties: All Styles, Ear Training, Songwriting, Music Theory, Music Business/Marketing, Voice/ Vocals, Bass, Piano MIDDLE TENNESSEE STATE UNIVERSITY SCHOOL OF MUSIC Box 47 MTSU Murfreesboro, TN 37132 615-898-2469 Email: angela.satterfield@mtsu.edu Contact: Angela Satterfield, Music Admissions Web: mtsu.edu/music/staff.php Degree: B.M., M.A. MUSIC LAB NASHVILLE 500 Wilson Pike Cir., Ste. 104 Brentwood, TN 37027 615-371-8086 Email: nashville@musiclab.co Web: nashville.musiclab.co Basic Rate: please call for info Services: piano, voice, guitar, Kindermusik and Musical Theatre NASHVILLE JAZZ WORKSHOP 1012 Buchanan Street Nashville, TN 37208 615-242-JAZZ (5299) Email: info@nashvillejazz.org Web: nashvillejazz.org Basic Rate: please call for info NASHVILLE SCHOOL OF ARTS Magnet School 1250 Foster Ave.

Nashville, TN 37210 615-291-6600 Email: nsa@mnps.org Web: schools.mnps.org/Nashville school-of-thearts-high-school Contact: Dr. Gregory Stewart Principal Basic Rate: please call for info PELLISSIPPI STATE COMMUNITY COLLEGE 10915 Hardin Valley Rd. P.O. Box 22990 Knoxville, TN 37933 865-694-6400 Email: startstrong@pstcc.edu Web: pstcc.edu RHODES COLLEGE Mike Curb Institute 2000 North Parkway Memphis, TN 38112 800-844-5969, 901-843-3786 Email: bassj@rhodes.edu Contact: John Bass, Dir. of the Mike Curb Institute Web: Rhodes.edu/academics/majors- minors/ music SAE INSTITUTE 7 Music Cir. N. Nashville, TN 37203 615-244-5848, 800-872-1504 Email: Nashville@sae.edu Web: Nashville.sae.edu See website for locations in Georgia, California, Florida, Illinois & New York SKY STUDIOS 330 Franklin Road, Suite 276B Brentwood, TN 37027 615-371-1661 Email: info@skystudiostn.com Web: skystudiostn.com Basic Rate: please call for info SHUFF’S MUSIC 118 3rd Ave. N. Franklin, TN 37064 615-790-6139 Web: shuffsmusic.com Basic Rate: please call for info THE UNIVERSITY OF MEMPHIS Rudi E. Scheidt School of Music Music Building, Room 123 3775 Central Ave. Memphis, TN 38152 901-678-2541 Email: music@memphis.edu Web: memphis.edu/music WAVES, INC. 2800 Merchants Dr. Knoxville, TN 37912 865-909-9200 Web: waves.com

TEXAS

AUDIO ENGINEERING INSTITUTE 2477 N. Loop 1604 E. San Antonio, TX 78232 210-627-4780 Email: email@audio-eng.com Web: Audio-eng.com THE BLACK ACADEMY Dallas Convention Center Theater Complex 1309 Canton St. Dallas, TX 75201 214-743-2440 Email: info@tbaal.org Web: tbaal.org Program: The Black Academy of Arts and Letters, Inc., is a multi-discipline arts institution whose mission is to create and enhance an awareness and understanding of artistic, cultural and aesthetic differences utilizing the framework of African, African American and Caribbean Arts and Letters. Additionally, its purpose is to promote, cultivate, foster, preserve and perpetuate the African, African American and Caribbean Arts and letters in the Fine, Literary, Visual, Performing and Cinematic Arts.

INSTITUTE FOR MUSIC RESEARCH UTSA Department of Music One UTSA Circle San Antonio, TX 78249 210-458-4354 Email: ApplyMusic@utsa.edu Web: music.utsa.edu LONESTAR SCHOOL OF MUSIC 4301 W. William Cannon Austin, TX 78749 512-598-4171 Web: lonestarschoolofmusic.com Cost: please call or see web for info Additional locations: 915 Ranch Road, 620 South Lakeway, TX 78734 512-808-9371 12010 Hwy 290 West #230 Austin, TX 78737 512-515-1214 MEDIATECH INSTITUTE 13300 Branch View Ln., Ste. 135 Dallas, TX 75234 972-869-1122 Email: dallas@mediatech.edu Web: mediatech.edu Additional locations: 3324 Walnut Bend Ln. Houston, TX 77042 832-242-3426 Email: houston@mediatech.edu MOORES SCHOOL OF MUSIC (MSM) University of Houston 3700 Cullen Blvd, Room 120 Houston, TX 77204-4039 713-743-5934 Email: musicadmissions@uh.edu Web: uh.edu/kgmca/music SHEPHERD SCHOOL OF MUSIC, THE Rice University 6100 Main MS-532 Houston, TX 77005 713-348-3578 Contact: Phyllis Smith, Music Admissions Email: pws2@rice.edu Web: music.rice.edu STEPHEN F. AUSTIN STATE UNIVERSITY School of Music Box 13043, SFA Station Nacogdoches, TX 75962 936-468-4602 Web: music.sfasu.edu Contact: Gary T. Wurtz, Director TEXAS STATE UNIVERSITY SAN MARCOS School of Music 601 University Dr. San Marcos, TX 78666 512-245-2651 Email: music@txstate3.edu Web: music.txstate.edu UNIVERSITY OF TEXAS AT AUSTIN Sarah and Ernest Butler School of Music 2406 Robert Dedman Dr., Stop E3100 Austin, TX 78712 512-471-7764 Web: music.utexas.edu UNIVERSITY OF TEXAS AT ARLINGTON 700 W. Greek Row, Room 101 Arlington, TX 76010 817-272-3471 Email: music@uta.edu Web: uta.edu/music UNVERSITY OF NORTH TEXAS 1155 Union Circle #311637 Denton, TX 76203 940-565-2791 Email: music.information@unt.edu Web: music.unt.edu

UTAH

DALLAS BAPTIST UNIVERSITY 3000 Mountain Creek Pkwy. Dallas, TX 75211 Contact: Cindy Gaskill, Auditions Coordinator 214-333-5316, 214-333-5311 Email: cindyg@dbu.edu Web: dbu.edu

BRIGHAM YOUNG UNIVERSITY C-500 Harris Fine Arts Center P.O. Box 26410 Provo, UT 84602 801-422-8903 Email: music@byu.edu Web: music.byu.edu

DALLAS SCHOOL OF MUSIC, INC. 14376 Proton Road Dallas, TX 75244 972-380-8050 Email: lessons@dsminfo.com Web: dsminfo.com

THE UNIVERSITY OF UTAH School of Music 1375 E. President’s Cir. Room 204 Salt Lake City, UT 84112 801-581-6762 Email: m.chuaqui@utah.edu Web: music.utah.edu Contact: Miguel Chuaqui, Dir. School of Music

DEL MAR COLLEGE Department of Music Fine Arts Center 101 Baldwin Blvd. Corpus Christi, TX 78404 361-698-1211 Email: music@delmar.edu Web: delmar.edu/music FRISCO SCHOOL OF MUSIC 9255 Preston Rd. Frisco, TX 75034 214-436-4058 Email: music@fsmfspa.com Web: fsmfspa.com Basic Rate: please call for info

VOX FOX STUDIOS Becky Willard 1852 N 400 E Orem, UT 84097 801-874-5112 Email: voxfox2@gmail.com Web: voxfoxstudios.com, facebook.com/voxfoxstudios Contact: Becky Willard Styles: covers, pop, rock, indie, singer/songwriter, folk, rap, vocal Notable Projects: Madilyn Paige, Timyra-Joi,

Download at musicconnection.com/industry-contacts Maddie Wilson, Shadow Mountain Records, BYU A Cappella Club, Colby Ferrin, Monica Moore Smith

VERMONT

VERMONT COLLEGE OF FINE ARTS 36 College St. Montpelier, VT 05602 866-934-VCFA Contact: Carol Beatty, Program Director Email: Carol.Beatty@vcfa.edu Web: vcfa.edu/music-comp

VIRGINIA

ACADEMY OF MUSIC 1709 Colley Ave, Ste 392 Norfolk, VA 23517 757-627-0967, 757-215-8633 Web: aomva.org/wp Cost: please call or see web for info Notes: 3 locations in the Norfolk area CONTEMPORARY MUSIC CENTER 14155 Sullyfield Cir. Chantilly, VA 20151 703-817-1000 Email: info@contemporarymusiccenter.com Web: contemporarymusiccenter.com Notes: Our facilities have 27 private instruction studios. Our teaching staff, who are the finest in the area, are motivated and dedicated professionals. All are active within the music community and bring energy and enthusiasm to the educational process. Along with innovative teaching techniques, our staff prides itself on the ability to draw upon a wealth of practical knowledge and exp. Additional location: 4410 Costello Way Haymarket, VA 571-261-5000 CUE STUDIOS CENTER FOR AUDIO ENGINEERING 109 Park Ave. Falls Church, VA 22046 703-532-9033 Email: school@cuerecording.com Web: centerforaudioengineering.com JAMES MADISON UNIVERSITY School of Music 880 S. Main St., MSC 7301 Harrisonburg, VA 22807 540-568-6714 Contact: Dr. John Allemeier Email: schoolofmusic@jmu.edu Web: jmu.edu/music LIBERTY UNIVERSITY 1971 University Blvd. Lynchburg, VA 24515 434-592-6568 Email: som@liberty.edu Web: liberty.edu/academics/music NATIONAL ASSOCIATION OF MUSIC EDUCATION 1806 Robert Fulton Drive Reston, VA 20191 800-336-3768, 703-860-4000 Web: nafme.org NORTHERN VIRGINIA COMMUNITY COLLEGE 1000 Harry Flood Byrd Hwy. Sterling, VA 20164 703-845-6026 Email: jkolm@nvcc.edu Web: nvcc.edu/programs/music/index.html Contact: Dr. Jonathan Kolm OLD DOMINION UNIVERSITY 2123 Diehn Center for the Performing Arts 1339 West 49 St. Norfolk, VA 23529 757-683-4061 Email: music@odu.edu Web: odu.edu/musicdept Degrees: Music Production, Music Business, and Music Business/ Production. RADFORD UNIVERSITY 103 Covington Center P.O.Box 6968 Radford, VA 24142 Contact: Dr. Timothy L. Channell, Chair 540-831-5177 Email: tchannell@radford.edu Web: radford.edu UNIVERSITY SHENANDOAH CONSERVATORY 1460 University Dr. Winchester, VA 22601 540-665-4581 Email: admit@su.edu Web: su.edu/conservatory Program: Music, Recording, Composition, Sound Reinforcement, MIDI and Music Production VIRGINIA TECH DEPARTMENT OF MUSIC School of The Peforming Arts 251B Henderson Hall Blacksburg, VA 24061 Contact: Jason Crafton 540-231-6713 Email: Jcrafton@vt.edu Web: vt.edu/academics/majors/music.html

Olympic, WA 98505 360-867-6000 Email: admissions@evergreen.edu Web: evergreen.edu/performingarts JACK STRAW PRODUCTIONS 4261 Roosevelt Way, N.E. Seattle, WA 98105 206-634-0919 Email: JSP@jackstraw.org Web: jackstraw.org Contact: Joan Rabinowitz, Exec. Dir. JAM ACADEMY MUSIC SCHOOL 17802 134th Ave. N.E., Ste. 19 Woodinville, WA 98072 425-906-4766 Email: info@JamAcademy.com Web: jamacademy.com MIRROR SOUND STUDIOS 301 N.E. 191st St. Seattle, WA 98155 206-440-5889 Email: info@mirrorsound.com Web: mirrorsound.com Programs: Audio Recording Course, 8-week program MUSIC CENTER OF THE NORTHWEST 901 N. 96th St. Seattle, WA 98103 206-526-8443 Email: office@mcnw.org Web: musiccenternw.org MUSIC WORKS NORTHWEST 1331 118th Ave. S.E., Ste. 400 Bellevue, WA 98005 425-644-0988 Email: registration@musicworksnw.org Web: musicworksnw.org SEATTLE DRUM SCHOOL 12729 Lake City Way N.E. Seattle, WA 98125 206-364-8815 Email: info@seattledrumschool.com Web: seattledrumschool.com Additional location: 1010 S. Bailey Seattle, WA 98108 206-763-9700 SHORELINE COMMUNITY COLLEGE Music Department, Bldg. 800 16101 Greenwood Ave. N. Shoreline, WA 98133 206-546-7632 Email: teggers@shoreline.edu Web: shoreline.edu/music

WEST VIRGINIA

WEST VIRGINIA UNIVERSITY School of Music 1436 Evansdale Dr. PO Box 6111 Morgantown, WV 26506 304-293-5511 Email: music@mail.wvu.edu Web: music.wvu.edu MOUNTAIN MUSIC FESTIVAL Ace Adventure Resort Concho Road Oak Hill, WV 25901 877-382-5893 Email: info@mountainmusicfestwv.com Web: mountainmusicfestwv.com

WISCONSIN

LAWRENCE UNIVERSITY SCHOOL OF MUSIC 711 E. Boldt Way Appleton, WI 54911 920-832-7000 Web: lawrence.edu/conservatory UNIVERSITY OF WISCONSIN - MADISON SCHOOL OF MUSIC 3561 Moose Humanities Bldg. 455 N. Park St. Madison, WI 53706 608-263-1900 Email: music@music.wisc.edu Web: music.wisc.edu Cost: please call or see web for info WISCONSIN CONSERVATORY OF MUSIC 1584 N. Prospect Ave. Milwaukee, WI 53202 414-276-5760 Email: info@wcmusic.org Web: wcmusic.org Cost: please call or see web for info UNIVERSITY OF WISCONSIN OSHKOSH MUSIC DEPARTMENT 800 Algoma Blvd. Oshkosh, WI 54901 920-424-4224 Email: music@uwosh.com Web: uwosh.edu/music Degree: B.M. in Recording Technology

WYOMING

BELLEVUE SCHOOL OF MUSIC 2237 140th Ave., N.E. Bellevue, WA 98005 425-401-8486 Web: bellevueschoolofmusic.com Contact: Robert H. Wilson, Director Basic Rate: please call for info

CASPER COLLEGE School of Music 125 College Dr. Casper, WY 82601 307-268-2537 Contact: Eric Unruh, Dean Email: unruh@caspercollege.edu Web: caspercollege.edu/music Contact: Eric Unruh, Dean, School of Fine Arts & Humanities

EVERGREEN STATE COLLEGE 2700 Evergreen Pkwy. N.W.

UNIVERSITY OF WYOMING Department 3037

WASHINGTON

Fine Arts Center, Rm 258 1000 E. University Ave. Laramie, WY 82071 307-766-5242 Email: musicdpt@uwyo.edu Web: uwyo.edu/music

INTERNATIONAL

BERKLEE COLLEGE OF MUSIC CAMPUS AND SUMMER PROGRAMS Palau de les Arts Reina Sofia – Anexo Sur Avenida Profesor Lopez Pinero, 1 46013 Valencia (Spain) +34 963-332-802 Email: admissionsvalencia@berklee.edu Web: valencia.berklee.edu/contact-us Degree: B. M. or M. A. THE BANFF CENTRE 107 Tunnel Mountain Dr., Box 1020 Banff, Alberta, Canada T1L 1H5 403-762-6100 Web: banffcentre.ca CONSERVATOIRE DE PARIS 209 Ave. Jean JaurПs 75019 Paris, France +33 1 40 40 45 45 Web: conservatoiredeparis.fr GUILDHALL SCHOOL OF MUSIC & DRAMA Silk Street, Barbican London EC2Y 8DT, United Kingdom +44 20 7628 2571 Web: gsmd.ac.uk HARRIS INSTITUTE 118 Sherbourne St. Toronto, Ontario, Canada, M5A 2R2 416-367-0178, 800-291-4477 Fax 416-367-5534 Email: info@harrisinstitute.com Web: harrisinstitute.com Degree offered: Diploma Cost: please call or see web for info Program: The program names have changed. Producing/Engineering Program is now “Audio Production Program (APP)” and Recording Arts Management is now “Arts Management Program (AMP)” Notes: The Faculty of 67 leading industry professionals is complemented by a wide range of music industry guest lecturers. Full-time programs are followed by Internship Placements at companies throughout the music industry and start in March, July and Nov. THE INSTITUTE OF CONTEMPORARY MUSIC PERFORMANCE Foundation House 1A Dyne Rd. London NW6 7XG +44 (0) 207 328 0222 Email: enquiries@icmp.ac.uk Web: icmp.co.uk Cost: please call or see web for info Program: With over 25 years of experience in the sector, the Institute is considered by many to be one of the pioneers of contemporary music education in the country, leading the way with innovative courses and services. Home of the legendary Guitar Institute, we are respected throughout both the music education sector, as well as by the music industry! We also provide a wide range of clinics, master classes, showcases and gigs to provide students with that ‘real world’ experience and opportunity. And our extensive range of industry contacts, partnerships and connections ensures that Institute students always get a head start in the music industry. MCGILL UNIVERSITY Schulich School of Music Strathcona Music Building 555 Sherbrooke St., W. Montreal, Quebec, Canada H3A 1E3 514-398-4535 Web: mcgill.ca/music MOSMA Mid-Ocean School of Media Arts 1588 Erin St. Winnipeg, Manitoba R3E 2T1, Canada 204-775-3308 Email: info@midoceanschool.ca Web: midoceanschool.ca NIMBUS RECORDING 1490 West Broadway, Suite 300 Vancouver, Canada V5T 1B7 604-875-8998 Email: admissions@nimbusrecording.com Web: nimbusrecording.com Program: one-year Diploma Programs OIART Ontario Institute of Audio Recording Tech. 500 Newbold St. London, Ontario N6E 1K6 519-686-5010 Email: inquiry@olart.org Web: oiart.org RECORDING ARTS CANADA 1207 Rue Saint-Andre Montreal. Quebec 514-286-4336 Email: montreal@recordingarats.com Web: recordingarts.com

416-977-5074 Email: toronto@recordingarts.com ROYAL COLLEGE OF MUSIC (LONDON) Prince Consort Rd. London SW7 2BS, United Kingdom +44 20 7591 4300 Email: info@rcm.ac.uk Web: rcm.ac.uk Degree: Bachelor’s degree TREBAS INSTITUTE 543 Yange Street Suite 300 Toronto, Ontario, M4Y 15Y, Canada 416-966-3066 Web: Trebas.com Programs: Audio Engineering, Entertainment Management, Event Venue Management, Film TV production Additional location: Montreal English, Montreal Francais 550 Sherbrooke St. W., Ste. 600 Montreal, Quebec, H3A 1B9 514-845-9610 Programs: DJ Arts Tech., Film TV Prod., Music Business Admin., Sound Design, Studio Recording Live Sound SAE INSTITUTE OF TECHNOLOGY Melbourne, Australia 235 Normanby Rd. South Melbourne, VIC 3205 +61 (0)3 8632 3400 Fax: +61 (0)3 8632 3401 Email: melbourne@sae.edu Web: sae.edu.au/campuses/melbourne Additional locations: Australia Sydney, Brisbane, Byron Bay, Adelaide, Perth United Kingdom SAE House 297 Kingsland Rd. E8 4DD London +44-(0)3330-112-315 Email: enquiries@sae.edu Web: sae.edu/gbr Oxford, Liverpool, Glasgow France Honey Street Building 229 9330 Aubervilliers +33 (0)148 11 96 96 Email: paris@sae.edu Web: sae.edu/fra/fr Germany Homburger Landstr. 182 60435 Frankfurt/Main 49-069 57 70 16 40 Email: frankfurt@sae.edu Web: sae.edu/deu/de Hannover, Stuttgart, Munchen, Leipzig, Hamburg, Bochum, Berlin UNIVERSITE BLAISE PASCAL 34, Ave. Carnot BP 185 63006 Clermont-Ferrand CEDEX France +33 (0)4 73 40 63 63 (standard) Fax +33 (0)4 73 40 64 31 Email: ri@univ-bpclermont.fr Web: uca.fr Degree: AA protools certification Cost: Less than $10,000 per year including accommodations program and facilities: two & three year university program taught in a 2500 ft. professional studio. The best engineers and producers will be teaching you their craft while acousticians, microelectronic and physics teachers will take you deeper into how things work. UNIVERSITE DE MONTREAL’S FACULTY OF MUSIC 200 av. Vincent-d’Indy, bureau B-301 Montreal (Quebec) H2V 2T2 514-343-6427 Email: musique@umontreal.ca Web: musique.umontreal.ca Degrees: Major in Digital Music, Minor in Digital Music, Bachelor in Electroacoustic Music, Bachelor in Mixed Electroacoustic Music UNIVERSITY OF TORONTO Faculty of Music Admission Office - Room 145 Edward Johnson Building 80 Queen’s Park Toronto, Ontario, Canada M5S2C5 416-978-3750 Web: music.utoronto.ca Degree: Two-year Master’s in Music Technology and Digital Media

ONLINE

BERKLEE ONLINE 1-617-747-2146 Email: advisors@online.berklee.edu Web: online.berklee.edu FULL SAIL UNIVERSITY 844-706-0683 Web: fullsail.edu/campus-and-online/online-degrees See Florida listing for details SAVVY MUSICIANS ACADEMY Web: savvymusicianacademy.com

Additional location: 111 Peter St., Ste. 706 Toronto, Quebec

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Directory of Vocal Coaches Whether you’retap a novice or adirectory pro singer, one-of-a-kind MClabels, list enables you to&connect experts address Plus your special as Music-makers into this tothis connect with indie marketing promo with experts andwho indiecan publicists. loads ofneeds contact either live singeryour or recording artist. The information been verifiedblog by the listees. information to aid you in apromoting music career, DIY following style: T-shirt and CDhas development, sites and social media tools. ALEX VARDEN Los Angeles, CA 323-876-ALEX (2539), SKYPE Email: alex@vardenmusic.com Web: vardenmusic.com Contact: Alex Varden Basic Rate: call for rates Clients: Star Search, Miss Universe, Jazz, R&B, Broadway, Pop, Opera, Country stars. 20 years experience (Europe-USA). Services: All styles, levels, technique, performance, confidence. Notes: Hi-tech studio, arrangements, vocal demos ANGEL DIVA MUSIC Jan Linder Koda Los Angeles, CA 818-888-5885, SKYPE Email: jan@angeldivamusic.com Web: angeldivamusic.com Basic Rate: please call for info Clients: Tim Fagan, David Hasselhoff, Lou Rawls, Kathy Griffin, Tiffany Alvord and 20 Grammy Winners. Notes: Author of the book Once More With Feeling. Grammy-nominated singer- songwriter. Consultation will include pin-pointing what may be missing and what can be added to deliver riveting performances. Will also include how to tap into the truth of the storyteller, create characters from a deeper understanding and use this knowledge in artist’s writing process. Jan will help to develop and brand the act, from songs to business. Awardwinning singer-songwriter-actor- performance coach Jan Linder-Koda’s understanding of emotional truth and ability to convey this to her artist clients leads to profound breakthroughs. APPELL VOICE STUDIO #1 Pegasus Dr. Trabuco Canyon, CA 92679 949-382-5911, SKYPE Email: vocalcoach.tea@gmail.com Web: appellvoicestudio.com Contact: Thomas Appell Services: vocal coaching, record production, music production songwriting, video production Notes: Author of Can You Sing a HIGH C Without Straining? ARTIST VOCAL DEVELOPMENT West Hills, CA 818-430-3254 Email: sbensusen@socal.rr.com Web: steviebensusen.com (click on Artist Vocal Development) Basic Rate: Please call for rates Clients: Jordan Knight (New Kids On The Block), Nichole Cordova (Girlicious), Candice Craig (Nicki Minaj), Velvet Angels, O Town, No Mercy, Shola Ama, A1, Skyler Stecker, Indiana Massara Services: Stevie Bensusen is a Multiplatinum Vocal Producer and Live Performance Vocal Coach who has vocal produced the above artists and others. With a unique approach, Stevie develops singers in the recording studio and in live performance rehearsals whose goals are to make records, play live and have no fear when performing in front of an audience. The definition of a great singer is what you do on stage not in the recording studio where you can take as long as you need and use technology to get your vocal right. Call for a free consultation. AUDREY BABCOCK Los Angeles, CA 917-572-4494 Singer-Songwriter, Jazz, Classical, World, Musical Theatre Email: audrey@audreybabcock.com Web: audreybabcock.com Notes: As a teacher and coach, Ms. Babcock has worked extensively with Emerging Artists all over the globe for the last 10 years. From Opera to Broad- way, World Music to Singer-Songwriter and Jazz. She has also worked with actors and public speakers to bring out the full range of what they can convey through the voice. She uses a technique firmly rooted in the classic teachings of Bel Canto, but gives singers the tools to use their instrument in a satisfying, powerful, and healthy manner, across the board in any style they choose. BEVERLY BREMERS’ VOICERCISE 5159 Shotwell Street Woodstock, GA 30188 949-874-0616 Email: beverlysvoicercise@gmail.com

Web: voicercise.net Basic Rate: $75/hr. for private instruction online only via Zoom, classes also available Clients: all levels - adults and children BOB AND CLAIRE CORFF VOICE STUDIOS 323-387-9267 (Bob), 323-387-9276 (Claire) Email: corffvoice@gmail.com Web: corffvoice.com Basic Rate: please call for info Clients: Film TV & Stage Personalities, Sports Broadcasters (We are now working Coast to coast and internationally using Zoom It works great.) BOB GARRETT Studio City, CA 818-506-5526, SKYPE, Facetime Email: bobgarrett5@gmail.com Web: bobgarrett.net Basic Rate: call Clients: Vanessa Hudgens, Channing Tatum, Katy Perry, Garrett Clayton, Elle Fanning, American Idol, The Voice, Drew Barrymore, Jessica Lange, Gerard Butler, Janet Jackson, Brian Stokes Mitchell, Evan Peters, Sarah Paul- son, Kathy Bates, Judy Davis, et al. BRAD CHAPMAN Las Vegas, NV Vocal Coach 310-405-9162 Email: bradchapmanvocals@gmail.com Web: BradChapmanVocalCoach.com Contact: Brad Chapman Basic Rate: Please ask Services: “I have been doing vocal preproducing for over 45 years, and developed my signature technique for producing FEEL while working with producers and artists such as Quincy Jones, David Khane and 100+ Grammy winners. Producers, managers and artists know that the FEEL and emotion expression of a singer’s performance is the number one priority to the listener. Everything else pales in significance. I always produce and demonstrate the FEEL in the style of the artist. Clients: Stevie Wonder, Michael Jackson, Prince, Madonna, Annie Lennox, Natalie Cole, James Ingram, Al Jarreau, Nina Simone, Frankie Valli, Paul Stanley of KISS, Vince Neil of Motley Crue, Annie Lennox, Peter Cetera, Anita Baker, Tia Carrere, REO Speedwagon, Expose.’ Grammy voting member and P&E Wing member BRECK ALAN Nashville, TN SKYPE or Face Time Email: breck@breckalan.com Web: bodysinging.com Contact: Breck Alan Basic Rate: call or email for rate, SKYPE Clients: Rachel Platten, Andy Grammer, Baby Ariel, Drake White, Ryan Hurd, OAR, String Cheese Incident, Sally Taylor, Steve Aguirre, Brazilian Girls and many more..... BRISTOL RECORDING STUDIOS 238 Huntington Ave. Boston, MA 02115 617-247-8689, 800-603-0357 Email: info@bristolstudios.com Web: bristolstudios.com Contact: Jason Blaske Basic Rate: call for info Services: Audio recording and production courses, professional internships CCVM/CARI COLE VOICE & MUSIC CO. Celebrity Voice Coach, A&R, and Label Services 401 E. 34th St., Ste. #N19K New York, NY 10016 212-532-0828 Email: info@caricole.com Web: caricole.com Basic Rate: please visit website and download application for info Services: Online programs, Private Consulting: Vocal Technique & Ar- ranging. Songwriting, A&R, Branding, Management, Marketing, Artist & Music Career Development. White Glove Label Services: Branding, Styling Team, CCVM Songwriting Team (with hit songwriters), A&R, Record & Productions Services. CAROL TINGLE Santa Monica, CA 310-828-3100 Email: info@caroltingle.com

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Web: caroltingle.com Basic Rate: please call for info Clients: available on request COVINGTON SCHOOL OF MUSIC 1111 Village Walk Covington, LA 70433 985-590-4545 Web: laapa.com Basic Rate: please call for info Additional locations: 105 Campbell Ave. #3 Mandeville, LA 985-674-2992 2020 Dickory Ave., Ste. 200 Harahan, LA 504-738-3050 CYDNEY WAYNE DAVIS VOCAL ARTS STUDIO/ HAPPNIN’ HOOKS MUSIC PRODUCTIONS Inglewood, CA 90301 424-261-2393 Email: cydneywaynedavis@gmail.com Web: cydneywaynedavis.weebly.com Basic Rate: Private Vocal Lessons – in person: $85 an hour; Virtual-Zoon: &75 per hour for singers and actors, Performance coaching for recording artists and stage performers, Small Group Classes: Vocal Basics, Songwriting Basics, Pro Singers Workshop, One Day Workshop Master Classes: Music Business/Music Theatre/ Stage Performance. Available for Live Vocal Performance Coaching for stage and Vocal Producer for studio recordings. Call for rates. DANIEL FORMICA VOCAL LESSONS Morro Bay and Arroyo Grande Area 310-213-0700, SKYPE Email: yourvocalteacher@gmail.com Web: yourvocalteacher.com Contact: Daniel Formica Services: specialize in vocal technique, rehab, no short cuts: rock, pop, etc. DANIEL KNOWLES VOICE STUDIO West Hollywood Speech-Language Pathology/ Voice Center 971 N. La Cienega Blvd., Ste. 209 West Hollywood, CA 90069 310-927-1079, SKYPE Email: daniel@danielknowles.com Web: danielknowles.com Contact: Daniel Knowles, MAMuEd., MA CCC-SLP Basic Rate: $125 an hr., $575 block of 5 lessons, $1100 block of 10 lessons Services: Licensed Speech-Language Pathologist/Voice Therapy/Singing Voice Specialist/Singing Teacher. Voice rehabilitation for speech and singers. Professional vocal technique for singers from beginners to professionals. Clients: Local and nationally recognized (album charts) working recording and performing singers. Artist privacy respected. DARCI MONET VOCAL STYLE STUDIO Valley Glen, CA 818-209-6432, IN-PERSON/ZOOM/SKYPE Email: minxmusic@aol.com Web: singlikeyoumeanit.com Rates: see website Services: Elite Level intuitive private voice, performance, songwriting and career coaching using Darci Monet’s own “Tech and Truth Method” for voice with integration of mindset and selfdevelopment techniques. All contemporary styles, ages five and up. Vocal group coaching, recording session coaching/vocal production, audition and tour prep also available. Casual, fun, safe and positive environment! #SingLikeYouMeanIt **Mention this listing for a special discount ART OF SINGING Studio City, CA 818-980-2840 Email: Darlene@ArtofSinging.com Web: darlenekoldenhoven.com, artofsinging.com Contact: Darlene Koldenhoven Individualized programs include comprehensive training in voice technique, vocal coaching, ear-training, stage/ audition/ studio performance, sight-singing, and specialized sonic therapy to enhance the potential of the ear and voice. Private lessons in Los Angeles or anywhere by Skype/Zoom. Author of “Tune Your Voice: Singing and Your Mind’s Musical Ear,” a 94 page book with 7 instructional CDs or down-

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loads ($49.95) endorsed by faculty from Berklee, Juilliard, NYU and more, available at TuneYourVoice.net or in retail music stores. For more info on Darlene, see her website. Degree: N/A Duration: 30/45/60 min. lessons. DAVID COURY 323-965-1488 Email: info@howardfine.com Web: howardfine.com/voice-coach Basic Rate: please call for info Notes: Singing and Speech for Actors DEBORAH ELLEN VOCAL STUDIO Simi Valley, CA and via video conferencing 310-422-9166, SKYPE Web: deborahellen.com Basic Rate: please call for info Notes: Extraordinary vocal technique. Artist Development Opportunities. Many successful placements of student vocals in film/TV. DIAMANTE VOCAL STUDIO 605 N. Beachwood Dr. Los Angeles, CA 90004 323-466-7881 Email: diamantesings@yahoo.com Web: facebook.com/eduardo.diamante.31 Basic Rate: please call for info Clients: all levels Style: Seth Riggs/S.L.S DIVAS IN TRAINING Hollywood--Las Vegas 888-340-7444, 01-702-900-5621 Email: premierwest@earthlink.net Web: divasintraining.com Basic Rate: Varies. Industry package discounts. Clients: Jin Jin Reeves (Hitzville), ZDoggMD, Michael Ross Nugent, May J, Sorcie Elle, Clover Corby (Midnight Clover), Leah Reichelderfer, Eduardo Alejandro DRAGON II ENTERTAINMENT San Dimas, CA 91773 909-599-6005 Web: dragonIIentertainment.com Email: doug@douganthony.com Basic Rate: please call for info Clients: all levels, now including voiceover clients Services: visit the website for all the details and more information. ELISABETH HOWARD Director, Vocal Coach 800-829-SONG, (7664) Email: Elisahoward@gmail.com Web: vocalpoweracademy.com Clients: Vocal coach for America’s Got Talent, STING, the Police, Lionel Richie, Priscilla Presley, Vocal Power Instructors throughout LA; Author: Vocal Power Singing Method Toolkit for Singers at vocalpower.com Rates: Call for rates Notes: BS, MS - Juilliard School of Music Locations: Los Angeles, Santa Clarita, Las Vegas, Houston, Dallas, throughout Italy. ELLEN JOHNSON/ VOCAL VISIONS Near Grass Valley/Nevada City and Yuba, Placer & Sacramento County Area, CA Online Lessons Available Email: vocalvisions@gmail.com Web: vocalvisions.net Basic Rate: Go to website for info Clients: Private lessons for all style, recording studio coaching, audition preparation, improvisation, master classes, and jazz workshops. Note: Author of The Vocal Warm Up CD/Download, Vocal Builders, You Sing Jazz and Jazz Child: A Portrait of Sheila Jordan ELLEN SMITH VOICE STUDIO 18565 E. Berry Drive Aurora, CO 80015 303-400-3657 Email: ellen@Smithcoach.com Web: ellensmithvoice.com Basic Rate: $75 per online session EVELYN HALUS Los Angeles, CA 90036 323-935-4420, SKYPE, Zoom Email: evelynhalus@aol.com Web: EvelynHalus.com Basic Rate: call for info Clients: Jennifer Lopez, Matthew Morrison, Jessica Biel, Megan McGinnis, Neil Patrick Harris, Cher, Nathan Lane, Paula Abdul, Olivia Newton-John,

Download at musicconnection.com/industry-contacts Download at musicconnection.com/industry-contacts Depeche Mode, Lindsay Mendez, Sutton Foster Web: pamela.wimberly-willis@lmu.edu and many Broadway vocalists, etc.info Basic Rate: please call for Accepting new students of all levels.

MANDEVILLE SCHOOL OFFESTIVAL, MUSIC THE FAIRBANKS SUMMER ARTS 105 INC., Campbell Ave. #3 600 University LA Avenue Mandeville, 70448 Fairbanks, AK 99708 985-674-2992 907-474-8869 Web: laapa.com Email: info@fsaf.org Basic Rate: please call for info Web: fsaf.org Basic Rate: please call for info

MARK BAXTER VOCAL STUDIOS FAITHLynway RUMER-THE ARTIST FIRST 145 Burbank, CA Point of Pines, MA 02151 310-948-4335 800-659-6002 Email: Transform@TheArtistFirst.com Email: mbaxter@voicelesson.com Web: theartistfirst.com Basic Rate: please call for info Web: voicelesson.com Clients: all levels, teachescall Grammywinning Basic Rate: please for info recording artists, over 30 years coaching, Masters Clients: all levels. Aerosmith, Journey, Degree in voice therapy. Buckcherry, Velvet Revolver, Vampire Weekend, 3OH!3, Goo Goo Dolls, Van GFIRE STUDIOS Austin, TXJonny 78723 Lang, Tonic, Lewis Del Halen, 512-350-6181, Zoom, SKYPE (djgfire) Mar, members ofFaceTime, the RENT cast and Email: gfiremusic@gmail.com Trans-Siberian Orchestra, Aimee Mann, Web: gfiremusic.com the Dresden Dolls. Author of The RockContact: gfire N-Roll Singer’s Manual, Basic Rate: $80/hr.,Survival $40/half-hr. Services: Full vocal training coaching, 26 instructional video: The and Singer’s years professional singing and piano Toolbox, and instructional CD, teaching, Sing Like currently teaching “Yoga For the Voice,” a unique an andIdol. fun system of applying the science of voice with ancient yoga breathing techniques to

Additional locations: truly realize one’s full vocal capabilities. Lessons in person or over the phone or the internet

via Zoom, FaceTime,Blvd. SKYPE 10852 Burbank Clients: My students have performed North Hollywood, CAbands, on the stage of in internationally touring

the Grand Ole Opry, made records in R&B, rock,

131 W. singer-songwriter, 72nd St. country, pop and other styles, performed in American Idol and other New York,excellently NY auditions, including musical theater auditions, learned to go from zero to karaoke in as little as MARK JOHNSON three months, gone from being “tone deaf” to Nashville, TNof repertoire in which they sing having full sets 615-587-2516 easily and in tune.

Email: MarkLaneBand@gmail.com GILMORE MUSIC STORE Web: MarkLaneBand.com 1935 E. 7th St. Contact: Long Beach,Mark CA 90813 Rates: call for rates 562-599-1369 Clients: All Ages, All Levels (Skype & Email: gilmoremusicstore@gmail.com Web: gilmoremusicstore.com Zoom) Basic Rate: please call for info lessons, All Styles/Specialties: Guitar Styles, EarVOCAL Training, Songwriting, Music GOODRICH STUDIO Theory, Music Blvd. Business/Marketing, 4001 W. Magnolia Voice/Vocals, Bass, Piano, Burbank, CA 91505 818-216-3944, Zoom

Email: mike@mikegoodrich.com MARTA WOODHULL Web: mikegoodrich.com Singing For a Living Basic Rate: please call for info 808 N. Spring St., #707 Los Angeles, CA 90012 GUITAR SHOWCASE/S.M.I. 3090 S. Bascom Ave. 818-752-0833, SKYPE San Jose,marta@singingforaliving.com, CA 95124 Email: 408-377-5864 SKYPE Email: smi.admin@guitarshowcase.com Web: singingforaliving.com Web: guitarshowcase.com Basic Private lessons, Contact:Rate: Jim Brunom Amanda Dieck$150/hr, Styles: all vocal package ratesstyles available. Specializing in Basic Rate: call for info double and triple threats, actors, dancers, singer-songwriters. Vocal technique, vocals for film, stage choreography, studio production and recording. Grammy-nominated arranger, educated in New York, Ms. Woodhull is one of Hollywood’s most respected coaches.

HERNAN PELAYO Clients have won Tonys, Emmys, Gram13046 St. mys,Ebell Oscars. North Hollywood, CA 91605 Paula Abdul, Clients: Lea Salonga, 818-988-2387 Katharine McPhee, Anna Basic Rate: please call for info Nalick and more. many singers from Spanish mariachi Clients: groups to L.A. opera chorus members, i.e. Tatiana Bolanos, singers from Mariachi’s Sol de Mexico, MICHAEL LAVINE Los 165Camperos W. 66th St., Ste. 3U

New York, NY 10023 HOWARD AUSTIN’S VOCAL 917-826-2116, POWER SCHOOL SKYPE. Zoom Email: broadwaymhl@aol.com North Hills, CA 91343 818-903-1980 Web: MichaelLavine.net Email: Basicprovoice777@icloud.com Rate: email for info Web: borntosing.com Notes: Coaches on both coasts Contact: Howard Austin Basic Rate: please call for info MICAH’S PROFESSIONAL Services: vocal technique, personalVOCAL style, Acting /COACHING performance, keyboard basics for songwriting and selfaccompaniment all levels, ages, styles. 849 S. Broadway Howard Austin is CA the author Los Angeles, 90014of the Born To Sing Master Course. Also available on Flash Drive or 323-273-3532 Single Interactive DVD SKYPE (Micah_Plissner)

scheduling@micahprovocals.com Email:PRANIUK INGRID 626-968-4071 Web: micahprovocals.com Web: ingridpraniuk.wixsite.com/vocal-studios Services: After 25 years of profesBasic Rate: please call for info sional music industry experience Also Clients: The privacy of the client is respected; no specializes in Television, Film. Alllabel ages, name is ever listed nor mentioned. Major all levels, all styles. Online, artists/major movie industry actors.national and international vocal lessons. Services: Certified private vocal instructor/vocal coach in all Please genres (rock, electronica, hardClients: visitpop, website for client core classical, musilist, metal/ rates industrial/screaming, and info cal theatre). Specialized in training professional musicians to survive touring/recording, training MONICA MARGOLIS actors in music (singing, playing piano and other Vocal Coach/Singing Instructor instruments) and treating vocal problems in singing and speech.Valley, Specialized San Fernando CA and Certified in Vocal Health and inSKYPE Holistic Health. 818-599-5297,

Web: monicamargolis.com

INTERNATIONAL SCHOOL OF MUSIC Email: info@monicamargolis.com THE ARMENIAN FOLK CULTURAL CENTER Notes: Monica 416 E. Colorado St. Ahas been teaching vocal mechanics Glendale, CA 91205 to singers, actors, 818-548-7959 dancers and speakers for over 20 years. Email: contact@ismglendale.com She has worked in theater and film, Web: ismglendale.com appeared in variety shows, worked as Basic Rate: please call for info

a voiceover artist and was chosen as

Musical Director forASYLUM the West Coast JAMES LUGO’S VOCAL 615-540-9108, SKYPEMonica specializes in Dance Theater. Email: james@jameslugo.com teaching her vocal method to artists Web: jameslugomusic.com at every level of their career, from the Contact: James Lugo young beginner to for major Basic Rate: please call info label artist. The Monica Margolis Vocal Studio Services: Specializing in rock and Arts pop vocals. offers voice, songwriting, Pro Toolslessons studio oninpremises. Clients: Fine Frenzy, thebass Veronica’s, the acting,Aguitar, piano, and 311, drums. Smashing Pumpkins, VH1 are available Private and groupMTV, lessons

JOHN FLUKER VOCAL STUDIOS Private lessons included for Bachelor, P.O. 922616 AA,Box Certificate and Encore programs. Sylmar, CA 91392-2616 747-500-9770 PATRICIA SHANKS VOICE STUDIO Email: johnfluker@mac.com 23011 Moulton Parkway, unite E-9 Web: johnfluker.com/contact Basic Rate:Hills, please call92653 for info Laguna CA Clients: Jennifer Lopez, Roselyn Sanchez, Kim 949-723-4473, SKYPE Fields, Nolan Sotillo, Darren Romeo, served as MD Email: for Gladyspshanks@studioshanks.com Knight, all levels.

Web: studioshanks.com

Contact: Patricia Shanks KAREN JENNINGS 2019 Hyperion Ave. Los Angeles, 90027 AdditionalCAlocation: 319-621-4302, Zoom, FaceTime, Skype Email: Karen.Jennings@csun.edu NealRate: Music Instruction Basic please call for info; sliding scale 430 S. Anaheim Hills Road, STE A available Services: Expert Anaheim, CA instruction 92807 in vocal technique for contemporary/ non-classical singing styles (pop, PEISHA MCPHEE rock, R&B, jazz, country, etc.), including breath Studiochest City,mix CAtechniques, range extension, control, Email: peisha@peishamcphee.com techniques to increase strength/ stamina and improving vocal technique withouttwitter.com/ changing the Web: peishamcphee.com, singer’s style. Certified instructor of the Dante PeishaMcPhee, instagram.com/peisha. Pavone Vocal Method. Also, voice therapy and mcphee singing voice rehabilitation, rehabilitative and Basic Rate: email for information corrective vocal please techniques for damaged/probClients: from amateurs to professional lematic voices (licensed voice/speech therapist). All levels and of singers welcome. actors singers Clients: Artists with Warner Bros., Sony, RCA, InServices: the art of vocal technique, terscope, Black Top Records, Hollywood Records, styling,Records, patter, Universal, subtext and stage Restless Mercury, Quincy presence. Specializing in pop, belt and Jones Music and more.

Web: hollywoodvocalcoach.com Contact: Philip Pelkington Basic Rate: please call for by infoemail for rates Basic Rate: contact Services: vocal coach and trainer specializing in Services: vocal technique rock, R&B, popProfessional and musical theater.

for singers from beginners to profes-

LISA POPEIL’S VOICEWORKS sionals. Specialty, working with and Fillmore, CA 93015 mentoring children and teens. Will do 818-634-3778, SKYPE/ZOOM Skype lessons. Pop, R&B, cabaret, Email: lisa@popeil.com Broadway, live performance, recording Web: facebook.com/Voiceworks, popeil.com, studio coaching and vocal Basic Rate: please call for in-studio info Clients: all levels, expertetc. and perforproduction for technique CD projects, mance coach, songwriting/ recording. Clients: Lilla Crawford, Bea Miller, AbiNotes: MFA inHarrison, Voice, creator of “The Mazzola Total Singer” gail Dylan Brianna instructional program.

and Dana Gaier. Children performing on

Broadway LIS LEWIS and National Tours, as well The as Singers film, tvWorkshop and recording. Valley Village, CA 91607 213-880-5123 DIANE POSTELL Email: lis@thesingersworkshop.com 8 Sunny Meadow Ct. Web: TheSingersWorkshop.com Baltimore, MD 21209 Basic Rate: please call for info; Skype and FaceTime lessons available 443-803-0545 Clients: Miguel, Demi Lovato, Gwen Email:Rihanna, dmpostell@gmail.com Stefani, Spears, Courtney Love, the Web: Britney postellproductions.com, Pussycat Dolls, All American Rejects, Linkin Park, dianepostell.com Jack Black, Jimmy Eat World, Colbie Caillat, Bryson Services: Vocal pre-technique Tiller, Iggy Azalea andcoaching, Kali Uchis Vocal all pop styles; performance coaching. vocal production vocals, auditioning, Notes: author of thesolid booksvocal The Singer’s First Aid arrangements, technique, Kit, andwriting/songwriting, The Pop Singer’s Warm-Up Kit,repair which both lyric vocal for include warmup CD’s — available on Amazon. pro and semi-pro, teens, young artists,

577B Walnut St. Lynn, MA 01905

vocal producers, needs teens. LOS ANGELES MUSICspecial & ART SCHOOL AlsoE.teach 3630 3rd St. piano and guitar lessons. Los Angeles, CA 90063anywhere. Teach by SKYPE 323-262-7734 Email: stayintune@lamusart.org PRO LESSION BY FAWN Web: lamusart.org Los Angeles, CA 90068 Basic Rate: 30-minute private music lesson for a 323-496-8704 child (17 and under): $18 30-minute private music Email: lesson for pianovoicesongwriting@yahoo. an adult (18 and over): $20 com Monday - Friday 2 p.m. - 8 p.m. and Services: Saturday 8 a.m. - 4 p.m. Facebook.com/ Web: Fawn.rocks,

LEE LONTOC 212-879-0229 170 Mallory Station Road #5 New York/LA Studios Franklin, 370 Email: TN Info@philippelkington.com 310-717-6578 Web:info@hollywoodvocalcoach.com philippelkington.com Email:

LOYOLA MARYMOUNT Basic Rate: PleaseUNIVERSITY visit website. LesCollege of Communication and Fine Arts sons: 4x or 2x a month. 30 min, 45 min, 1 LMU Dr. 60 Angeles, min, 90CA min, 120 min. sessions. Los 90045-2659 Services: International private vocal, 310-338-5853

legitimate placement. Peisha McPhee LB SCHOOL is MUSIC a celebrity coach who’s worked 243 Avenue for Central American Idol, and on Disney’s MoMedford, MA 02155 ana. Owner of McPhee International 781-874-1813 vocal studios in Studio City. Mother Web: lbmusicschool.com of NBC Smash and Broadway’s WaitAdditional location:McPhee, and American ress, Katharine Idol vocal coach, Adriana McPhee.

PHILIP PELKINGTON VOCAL STUDIO

ProMusicLessons

at our place or yours. Be sure to You-

JOHN DEAVER TubeHollywood, Monica Margolis’s interview with North CA American Idol’s “Idol Chat” 818-469-6281 Email: vocalcoach1@gmail.com Web: johndeaver.com MUSICIANS INSTITUTE Basic Rate: please call for info Vocals Program Clients: All levels. Sara Bareilles, Daniel Powter, 6752 Hollywood Cher, Brendan Fraser,Blvd. Heather Graham, Kimiko Hollywood, 90028 Kasai, MichelleCA Pfeiffer, Michael Sembello, Vonda 323-462-1384, Shepard, Pop Stars 866-382-7023 and many working singers and musicians. Email: admissions@mi.edu

Web: mi.edu Basic Rate: please call for info Clients: Certificate and degree programs designed for intermediate to pro level. Services: Entrance audition required.

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65 musicconnection.com 73 musicconnection.com

Directory of

Download at musi

Vocal Coaches

Web: pamela.wimberly-willis@lmu.edu Basic Rate: please call for info

Specializing in double and triple threats, actors, dancers, singer-songwriters. Vocal technique, vocals for film, stage choreography, studio production and recording. Grammy-nominated arranger, educated in New York, Ms. Woodhull is one of Hollywood’s most respected coaches. Clients have won Tonys, Emmys, Grammys, Oscars. Clients: Lea Salonga, Paula Abdul, Katharine McPhee, Benicio Del Toro and more.

MANDEVILLE SCHOOL OF MUSIC

105to Campbell Ave. #3 &ables promoyou experts connect and indie withpublicists. publicists. experts who Plus can loads address of contact contact promo experts indie Plus loads of Mandeville,and LA 70448 985-674-2992 nd ollowing CD development, development, information has blogbeen been sitesverified verified and social social by the the media listees. tools. ollowing d CD information has blog sites and by media listees. tools. Web: laapa.com Basic Rate: please call for info

MARK BAXTER VOCAL STUDIOS 617-251-6002 Email: mbaxter@voicelesson.com Web: voicelesson.com Basic Rate: please call for info Clients: all levels. Aerosmith, Journey, Van Halen, Buckcherry, Velvet Revolver, Machine Head, Goo Goo Dolls, Vampire Weekend, Still Woozy, Cuco, Jonny Lang, Tonic, Lewis Del Mar, members of the RENT cast and Trans-Siberian Orchestra, Aimee Mann, the Dresden Dolls. Author of The Rock- NRoll Singer’s Survival Manual, instructional video: The Singer’s Toolbox, and instructional CD, Sing Like an Idol. Additional locations: 10852 Burbank Blvd. North Hollywood, CA 131 W. 72nd St. New York, NY MARK JOHNSON Nashville, TN 615-587-2516 Email: MarkLaneBand@gmail.com Web: MarkLaneBand.com Contact: Mark Rates: call for rates Clients: All Ages, All Levels (Skype & Zoom) Styles/Specialties: Guitar lessons, All Styles, Ear Training, Songwriting, Music Theory, Music Business/Marketing, Voice/Vocals, Bass, Piano MARTA WOODHULL Singing For a Living 808 N. Spring St., #707 Los Angeles, CA 90012 818-752-0833, SKYPE Email: marta@singingforaliving.com, SKYPE Web: singingforaliving.com Basic Rate: Private lessons, $350/session, package rates available. Call for project pricing.

MICHAEL LAVINE 165 W. 66th St., Ste. 3U New York, NY 10023 917-826-2116, SKYPE. Zoom Email: broadwaymhl@aol.com Web: MichaelLavine.net Basic Rate: $50 per hour Notes: Coaches on both coasts MICAH’S PROFESSIONAL VOCAL COACHING 849 S. Broadway Los Angeles, CA 90014 Email: scheduling@micahprovocals.com Web: micahprovocals.com Services: Online lessons via Zoom, Skype, and Face Time. National and International vocal lessons. Clients: Please visit website for client list, rates and info MONICA MARGOLIS Vocal Coach/Singing Instructor San Fernando Valley, CA 818-599-5297, SKYPE Web: monicamargolis.com Email: info@monicamargolis.com Notes: Monica has been teaching vocal mechanics to singers, actors, dancers and speakers for over 20 years. She has worked in theater and film, appeared in variety shows, worked as a voiceover artist and was chosen as Musical Director for the West Coast Dance Theater. Monica specializes in teaching her vocal method to artists at every level of their career, from the young beginner to major label artist. The Monica Margolis Vocal Arts Studio offers lessons in voice, songwriting, acting, guitar, piano, bass and drums. Private and group lessons are available at our place or yours. Be sure to YouTube Monica Margolis’s interview with American Idol’s “Idol Chat”

Singing andINSTITUTE Your Mind’s Musical Ear,” a MUSICIANS ELISABETH HOWARD Vocals Program 94 page bookCoach with 7 instructional CDs Director, Vocal 6752 Hollywood Blvd. or downloads ($49.95) endorsed by 800-829-SONG, (7664) Hollywood, CA 90028 Email: Elisahoward@gmail.com faculty from Berklee, Juilliard, NYU and 323-462-1384, 866-383-0468 Web: vocalpoweracademy.com more, at TuneYourVoice.net or Email: available admissions@mi.edu Clients: Vocal coach for America’s Got Talent, in retail music stores. more info on Web: mi.edu STING, the Police, Lionel For Richie, Priscilla Basic Rate: please call for info throughout LA; Darlene, see her website. Presley, Vocal Power Instructors Clients:Vocal Certificate degree programs Author: Singing Method Toolkit for Degree: N/APowerand designedatfor intermediate to pro level. Singers vocalpower.com Duration: 30/45/60 min. lessons. Services: Entrance audition required. Private

Rates: Call for rates lessons BS, included Bachelor, AA,of Certificate Notes: MS - for Juilliard School Music and DAVID BABICH STUDIO Encore programs. Locations: Los Angeles, Santa Clarita, Las Vegas, Houston, Dallas, throughout Italy. Burbank, CA 91501 PATRICIA SHANKS VOICE STUDIO 818-643-1604 23011 Moulton Parkway, unit E-9 ELLEN JOHNSON/ VOCAL VISIONS Email: david@voicelosangeles.com Near Grass City and Yuba, Placer Laguna Hills,Valley/Nevada CA 92653 Web: voicelosangeles.com & Sacramento County Area, CA 949-723-4473, ZOOM Contact: David Babich, B.A. Voice, Online Lessons Available Email: pshanks@studioshanks.com Email: vocalvisions@gmail.com Web: studioshanks.com UCLA 1992 – Has trained with 11 voice Web: vocalvisions.net Contact: Patricia Shanks teachers and counting Basic Rate: Go to website for information Basic Rate: anfor hr.all(Discount PackClients: Private$120 lessons style, recording PEISHA MCPHEE ages studio coaching, StudioAvailable) City, CA audition preparation, improvisation, master classes, and jazz Services: Vocal Technique and PerforEmail: peisha@peishamcphee.com workshops. Web: peishamcphee.com, twitter.com/Peisha mance Coaching for Pop, Rock, R&B, Note: Author of The Vocal Warmmcphee Up CD/ McPhee, instagram.com/peisha. Jazz, Folk, Musical Theater -20 plus Download, Vocal Builders, You Sing Jazz and Basic Rate: please email for information Years Teaching Exp. Jazz Child:A Portrait of Sheila Jordan Clients: from amateurs to professional actors Clients: David has taught local, national and singers ELLEN SMITH and international performers and recordServices: the artSTUDIO of vocal technique, styling, 18565 E. Berryand Drive patter, subtext stage presence. Specializing ing artists. Aurora, CO 80015 in pop, belt and legitimate placement. Peisha 303-400-3657 McPhee COURY is a celebrity coach who’s worked for Email: ellen@Smithcoach.com DAVID American Idol, and on Disney’s Moana. Owner of Web: ellensmithvoice.com Email: info@davidcoury.com McPhee International vocal in Studio City. Basic Rate: please call for studios info Web: Motherdavidcoury.com of NBC Smash and Broadway’s Waitress, Katharine McPhee, and American Idol vocal Basic Rate: please call for info EVELYN HALUS coach, Adriana McPhee. Notes: Singing and Speech for Actors Los Angeles, CA 90036 323-935-4420, SKYPE PHILIP evelynhalus@aol.com PELKINGTON VOCAL STUDIO Email: DEBORAH ELLEN VOCAL STUDIO 212-879-0229 Web: EvelynHalus.com Simi CA and via video conferencing New Valley, York/LA Studios Basic Rate: call for info Email: info@philippelkington.com 310-422-9166, SKYPE Clients: Jennifer Lopez, Matthew Morrison, Web: philippelkington.com Jessica Biel, Megan McGinnis, Neil Patrick Web: deborahellen.com Contact: Philip Pelkington Harris, Cher, Nathan Lane, Paula Abdul, Olivia Basic Rate: please call for info Basic Rate: contact by email forLindsay rates Mendez, Newton-John, Depeche Mode, Notes: Extraordinary vocal techServices: Professional vocal technique for singSutton Foster and many Broadway vocalists, etc. nique. Opportunities. ers fromArtist beginners to profesSpecialty, Accepting newDevelopment students of allsionals. levels. working with and mentoring childrenofand teens. Many successful placements student Will do Skype lessons. Pop, R&B,FESTIVAL, cabaret, INC., FAIRBANKS SUMMER ARTS vocals in film/TV. THE Broadway, live performance, recording studio P.O. Box 82510 coaching and in-studio vocal production for CD DIAMANTE STUDIO Fairbanks, AK VOCAL 99708 projects, etc. 605 N. Beachwood 907-474-8869 Clients: Lilla Crawford, Dr. Bea Miller, Abigail Dylan Email: info@fsaf.org Harrison, Brianna Mazzola and Dana Gaier. Los Angeles, CA 90004 Web: fsaf.org Children performing on Broadway and National 323-466-7881 Basic Rate: please call for info Tours, as well as film, tv and recording. Email: diamantesings@yahoo.com

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~ All Things Voice ~ 66 April 2022

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ELLEN 818-884-5905 Contact:JOHNSON/ Robert J. LunteVOCAL VISIONS Email: theguitarmerchant@yahoo.com BasicGrass Rate: see website for ratesCity and Near Valley/Nevada Web: guitarmerchant.com Clients: The TVS specifically focuses Yuba, Placer & Method Sacramento County Contact: Phil St. Germaine on training techniques designed to build the Area, CA Services: vocal lesson all ages, all styles strength and motor skills for register bridging and Online Lessons Available belting inSHOWCASE/S.M.I. the head voice. TVS is an InternationGUITARvocalvisions@gmail.com Email: ally recognized voice training school for singing 3090 S. Bascom Ave. Web: vocalvisions.net vocalJose, techniques, public speaking, teacher trainSan CA 95124 Basic Go toevents. website for isinfo ing andRate: vocal related Robert also the 408-377-5864 author and producer of the critically Clients: Private lessons for allacclaimed style, Email: smi.admin@guitarshowcase.com vocal guitarshowcase.com instruction training online course and book, Web: recording studio coaching, audition “The FourJim Pillars of Singing” andDieck nine online Contact: Brunom Amanda preparation, improvisation, master Styles: styles coursesall forvocal singers. The TVS Method is practiced classes, and workshops. Basic Rate: calljazz for info in 175 countries worldwide and 100,00+ students. Note: of The Vocal Warm Up ProtegeAuthor of the late Maestro David Kyle who HERNAN PELAYO CD/Download, Vocal Builders, You(Alice Sing trained Ann Wilson (Heart), Layne Staley 13046 EbellJazz St. Child: Jazz and A Portrait ofChris Sheila in Chains), Geogg Tate (Queensryche), North Hollywood, CA 91605 Cornell (Soundgarden), Ronny Munroe (Metal Jordan 818-988-2387 Church), including: training Dr. David Basic Rate: pleaseClassical call for info

Alt, Estill many Training with Peter Phonetics and ELLEN SMITH STUDIO Clients: singers from Egan, Spanish mariachi Formants with opera Steve Fraser. groups to chorus members, i.e. 18565 E.L.A. Berry Drive Tatiana Bolanos, singers from Aurora, CO 80015 ROGER BURNLEY Mariachi’s Sol de Mexico, Los Camperos 303-400-3657 Los Angeles, CA 90038 Email: ellen@Smithcoach.com HOWARD AUSTIN’S VOCAL POWER SCHOOL 323-848-4058 North CA 91343 Email:Hills, info@rogerburnley.com Web: ellensmithvoice.com 818-903-1980 Web: rogerburnley.com Basic Rate: please call for info Email: provoice777@icloud.com

Basic Rate: call or see website for rates Web: borntosing.com Clients: all levels, especially good with beginEVELYN HALUS Contact: Howard Austin on request. ners. Client list available Basic Rate: please call for info Los Angeles, CA 90036 Notes: also specializes in vocal repair and Services: vocal technique, 323-935-4420, SKYPE personal style, Acting /rehabilitation performance, keyboard basics for songwriting Email: evelynhalus@aol.com and self-accompaniment - all levels, ages, styles. ROSEMARY BUTLER Web: EvelynHalus.com Howard Austin is the author of the Born To Sing 818-916-1857 Master Course.call Alsofor available Basic Rate: info on Flash Drive or Email: vocalstarr@aol.com Single Interactive DVD Clients: Jennifer Lopez, Matthew Web: rosemarybutler.com Morrison, Jessica Biel, Megan INGRID PRANIUK Basic Rate: please call for info McGinnis, Neil Patrick Harris, Cher,clients Vocal Instructor/Coach/Piano Instructor Clients: all levels, kids welcome. Celebrity Citrus College Nathan Lane, Paula Abdul, Browne, Olivia CSNY, include Linda Ronstadt, Jackson 1000 Foothill Blvd. Newton-John, Depeche Mode, BruceW. Willis, Oasis, Hilary Duff, Celine Lindsay Dion, BonGlendora, CA 91741 nie Raitt, James Taylor, Bruceand Springsteen, Mendez, Sutton Foster many Bob 626-914-8580, SKYPE (ingrid.praniuk) Seger, Sara Brightman, Julio Iglesias, Vanessa Broadway vocalists, etc. Web: citrusarts.org/faculty Williams, Joni Mitchell, Turner, Accepting new students of allAndrea levels.Bocelli Basic Rate: please callTina for info and Eagles. Free lessons package Clients: TheNotes: privacy of the clientwith is respected; deal

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Download at musicconnection.com/industry-contacts SALLY MORGAN St Petersburg, FL Email: SingLikeYouSpeak@gmail.com Web: singlikeyouspeak.com Basic Rate: see website Services: Private Lessons, Online Singer Training and Products. Sing Like You Speak® to sound amazing! SETH RIGGS The Riggs Vocal Studio Los Angeles, Stockholm 323-938-4780 Contact: Seth & Margareta Riggs Web: riggsvocalstudio.com SING WITH POWER VOCAL STUDIOS Houston, TX 281-222-1092, Web: singwithpower.com Basic Rate: please call for info STEPHANIE SPRUILL Spruill House Music, School of Voice and Artist Development Pasadena, CA 91109 626-797-2429, SKYPE, Zoom classes are available Email: spruilhous@aol.com Web: spruillhousemusic.com, facebook.com/ Stephanie.Spruill, twitter.com/ Stephaniespruil, instagram: @spruilhous Basic Rate: please call for rates Clients: Julio Iglesias, Michael Jackson, Whitney Houston, Placido Domingo, Elton John, Aretha Franklin, Mariah Carey, Enrique Iglesias Notes: My book and Ebook is 17 Points To Longevity In Show Business SUE FINK P.O. Box 642118 Los Angeles, CA 90064 310-943-9231, SKYPE Email: winifredneisser@angelcitychorale.org Web: angelcitychorale.org Basic Rate: please call for info Clients: all levels, singing lessons, workshops, showcasing, group classes at McCabes; also call for auditions for the Angel City Chorale. SUSAN ANDERS Zanna Discs P.O. Box 2371 Bend, OR 97703 800-787-2647 Email: zannadiscs@gmail.com, susan@susananders.com Web: susananders.com Basic Rate: $70/hr. Clients: Contact Susan for client list. 25+ years exp. teaching beginners to pros. Creator of the No Scales, Just Songs Vocal Workout Volumes 1 and 2 (singersworkout.com), and Harmony Singing By Ear (harmonysinging.com). ACADEMY OF DIVAS ARTS (Divas In Training) Susan Diane Howell, MBA, Vocal Director and Coach Instructor Las Vegas Studio (888) 340-7444, (702)900-5621 (Las Vegas) Email: premierwest@earthlink.net Web: divasintraining.com Basic Rate: Varies. Industry packages. Clients: Jin Jin Reeves (Hitzville), ZDoggMD, Michael Ross Nugent, May J, Sorcie Elle, Clover Corby (Midnight Clover), Leah Reichelderfer, Eduardo Alejandro SUZANNE KIECHLE Studio City, CA 818-769-5880 Email: skiechle@aol.com, SKYPE Web: suzannekiechle.com Basic Rate: please call or see website for info Clients: all levels, recording artists and Broadway, film performers for vocal coaching and repair. Film and Television. TAMARA ANDERSON Progressive Vocals Kenosha, WI 847-533-5548, SKYPE, Zoom, Facetime Email: voxdoc@comcast.net Web: tamaraanderson.com Basic Rate: Check website or call Services: pop, rock, country, blues, jazz and musical theater TANISHA HALL White Hall Arts Academy 2812 W. 54th St. Los Angeles, CA 90043 424-235-0665 Email: mail@whitehallacademy.org Web: whitehallacademy.org, facebook.com/ whitehallartsacademy Basic Rate: $35 and up

Download at musicconnection.com/industry-contacts

Clients: Tanisha Hall founded the White Hall Arts Academy - a contemporary performing arts academy located in South Los Angeles. Through the White Hall Arts Academy, Tanisha has reached thousands through individual music lessons, group classes and community programs. Tanisha’s clients are Billboard charttopping recording artists, Grammy winners and have been featured on The Voice, American Idol, America’s Got Talent, on Broadway tours, major network and Netflix series as well as many other movies, series and commercials. Prior to launching WHAA, Tanisha enjoyed a career working in many aspects of the music industry. *B.M. in Voice and Music Business Management - Berklee College of Music. TERI DANZ YouWorld Music/Bleach Records West Los Angeles 310-283-9688 Email: vocalcoach@teridanz.com Web: teridanz.com, Instagram & Facebook – teri.danz Basic Rate: call or email for info, packages available Clients: artists, singer-song-writers, vocalists, bands, actors - for pop vocal technique, performance coaching, artist development, studio vocal recording/ producing. 3 students in the Billboard Top 20 in 2019. Credits: Winner – Global Excellence Awards 2020 - Vocal Coach of the Year (West Coast USA). Named a Top Vocal Coach by Backstage Magazine, and a 2018 Best Singing Teacher by Lessons. 3 students in the Billboard Top 20 in 2019, club hit recording artist, national press (Women Who Rock), industry and student testimonials, nominated Best Female Vocalist All Access Music Awards. Author of music/ vocal articles, book: Vocal Essentials for the Pop Singer: Take Your Singing from Good to Great (Hal Leonard Corp.). UAF SUMMER SESSIONS & LIFE- LONG LEARNING University of Alaska - Fairbanks 216 Eielson Bldg. P.O. Box 757540 Fairbanks, AK 99775 907-474-7021, 866-404-7021 Email: summer@alaska.edu Web: uaf.edu/summer Basic Rate: please call for info VALERIE FAHREN The L.A. Valley Area, CA 818-815-8584 Email: ValerieFahren@aol.com Web: valeriefahren.com Contact: Valerie Fahren Basic rate: different packages available, please call for info Clients: Sabrina Bryan (Cheetah Girls), Juliette Lewis, Alison Sudol, Erika Christensen VOCAL STYLINGS Culver City, CA 310-737-9387 Email: info@vocalstylings.com Web: vocalstylings.com Contact: Lisa Cushing Basic Rate: please call for info Clients: Private lessons, group sessions, in studio vocal coaching for R&B, rock, pop, blues, etc.

VOICE LESSONS HOUSTON 13505 Westheimer Rd. Houston, TX 77077 713-291-6373 Email: winnie@voicelessonshouston.com Web: voicelessonshouston.com Basic Rate: please call for info VOICE MECHANIC, THE 6330 Hollywood Blvd. Los Angeles, CA 90028 323-937-2565 Email: thevoicemechanic@hotmail.com Web: voicemechanic.com, melrosestudios.us Contact: Sean Lee Basic Rate: please call for info Clients: Chris Slade (AC/DC), Chris “Mississippi Burning” Gerolmo, Gary Ballen - (NWA, Bonethugs, Eazy E), Bruce Buffer (UFC Ring Announcer), Fat Lip of the Pharcyde etc. etc. Actors and singers: “Voice Projection” and “repair.” All styles (rock, pop, R&B, heavy metal etc.). Featured on Asahi TV (Japan) and Oprah’s Oxygen Network (Worldwide). Also full (Sony endorsed) Recording Studio, Music Videos/ Green Screen Studio and guitar lessons.

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– EYVINDUR KARLSSON

7 Ways To Get Out Of Your Songwriting Comfort Zone

aving been a professional songwriter for 20 years, if experience has taught me one thing, it's that the best way to kill your songwriting progress is to stay in your comfort zone. I've had periods in my career where I've played it safe and stuck with what I know best, and it's led to some of the most painful droughts of creativity. For that reason, I've compiled six of my favorite ways to get out of that dreaded comfort zone, for anybody who needs a little boost with their songwriting. 1. Write on a New Instrument Playing a new instrument can really help to shake up your songwriting. It doesn't matter if you're a multiinstrumentalist or not, if you can make sounds come out of an instrument, you can use it to write. I mostly play guitar, and I use that to write songs. When I need to step outside my comfort zone I'll try writing on a piano, accordion, ukulele or whatever I happen to have lying around. This stretches the songwriting muscles, and forces you to think about musical ideas you would have otherwise never thought of. 2. Write in a Different Genre You can be surprised by what comes up when you work in a genre you've never done before. Not only does genre research help you learn the basics of what makes that particular genre tick, but it gives you a new element to add to your songwriting arsenal moving forward. To stay fresh, it is important to explore new ideas and even if you are firmly rooted in a specific genre, it's good to surprise your listeners by incorporating influences from other fields of music. Introducing yourself to new genres is a great way to expand your horizons and try out new ideas. 3. Write in a Different Order One way to get stuck in the comfort zone is to always write things in the same order. This can mean a couple of things. First of all, what part of the song do you usually start with? It's not uncommon for songwriters to start by writing a catchy chorus before moving on to the verses and bridge. For others, it is verse first and then chorus. Regardless of your approach, switching it up will make a big difference. It helps you get

April 2022

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outside your comfort zone and it makes you think about how to do things differently. Secondly, do you start with music or lyrics? Changing it up can make a big difference. I used to write music and lyrics pretty much simultaneously. The transition to theater was a huge change for me, as I found myself writing music to pre-existing lyrics. Now, I was limited to the number of syllables in a line, and had little control over meter or rhythm. This led to songs unlike anything I had written before and stretched my songwriting muscles. So, switch things up. Turn your normal writing process upside down and produce something fresh.

“Turn your normal writing process upside down and produce something fresh.” 4. Use Random Chords If you write a lot of songs (and you should— quantity begets quality), you may find at times you keep reverting to the same familiar chords and progressions. However, when we need our comfort zone stretched a bit, it pays to try out something new. And that's where randomness comes in. I've gotten some great ideas for songs by playing random chord progressions. There are lots of random chord generators online that spit out progressions to your specifications. All you need to do is click a button and try playing what the robot hands you. Here's a link to my favorite one. 5. Collaborate Writing with other people forces most of us

out of our comfort zones (except those who do it routinely). And as such, it's one of the best ways to grow as a songwriter. Writing with another person will broaden your horizons and introduce you to new methods of writing that can be very useful down the line. And of course, it can be a wonderful method of networking, which is possibly the most important thing you can do for your career. 6. Set Yourself a Songwriting Challenge A good challenge is probably the best way to push your boundaries and it can be incredibly rewarding. I enjoy setting challenging goals and working crazy hard to meet them. It has led me to some fantastic songs. There are many different ways to set yourself a songwriting challenge. You can set a goal to write as much as possible in the shortest amount of time, or set very strict boundaries for the song (using only one chord, for example) However, my favorite type of challenge is one that encourages regular songwriting. This is why I created a four-week songwriting challenge that gives you a daily songwriting prompt, and challenges you to write one song every single day for those four weeks. That's 28 songs in one month! Furthermore, it’s based on specific songwriting prompts, so you’re pulled out of your comfort zone every single day. It’s a great way to grow as a songwriter. 7. Final Thoughts If you want to write songs, then remember that you'll get better at it with time. The more you do it, the better you'll get. This is why you need to make a daily songwriting routine part of your life if you want to improve as a songwriter. But also, if you stop challenging yourself and getting outside that comfort zone, you stop getting better. So, keep challenging yourself. Keep trying new things. Keep growing. EYVINDUR KARLSSON is an Icelandic singersongwriter who shares his tips and experience as a veteran professional songwriter on his web site, strongwriting.net. He has written music for award-winning musicals, traveled the world with his theater productions and currently hosts The Strongwriting Podcast, a podcast for songwriters of any experience level.

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· BDA4M 4 CH DAC with switchable BX5 · BAD4M 4 CH ADC with switchable BX1 · B16-BMB3 Dante

“It gives me flexibility...and clarity that I need in my work.”

Bill Skibbe, Third Man Mastering (Jack White, The Black Keys, The Kills...) · BDA8 8 CH DAC · 2 BAD8 16 CH ADC · BDA4M 4 CH DAC · BAD4M 4 CH ADC · B80-BMB1 Digilink

"We did a shootout between 6 different manufacturers and the BURL was the clear leader...Great bass and perfect top end."

GET IT RIGHT THE FIRST TIME.

BURLAUDIO.COM/MASTERING

MADE IN THE USA71

February April 2022 2022

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April 2022

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April 2022

Articles inside

Exec Profile: Lola Plaku, Lola Media Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Andy Kaufmann

Producer Crosstalk: Drumma Boy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam

Tip Jar: 7 Ways to Get Out of Your Songwriting Comfort Zone . . . . . . . . . . .. . . . . . . . . By Eyvindur Karlsson

Expert Advice: Write a Mission Song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Mike Errico