RHYTHM & JAZZ October 1994 Vol. 1, No. 4
Copyright (c) 1994 Dan Margules. All rights reserved.
LETTER FROM THE EDITOR
The music business is tough in all genres, but it is especially so in
the contemporary instrumental formats. The mainstream pop and rock arenas
are for big stakes players only. Madonna. Michael Jackson. Megastars and
wannabes hoping to achieve numbers like the megastars do. Rap and grunge
rock have quickly become financially successful alternatives to Top 40.
The industry would never miss a market as small as "NAC" (New
Adult
Contemporary) if it disappeared.
That is why those of us who enjoy the music of the R&J realm need to
keep reminding ourselves how lucky we are that the musicians keep supplying
us with such wonderful musical product. The musicians have so many other
choices and 98% of them are not getting rich off of contemporary jazz or
new age. I can name several who have already given up on the format,
opting either for more lucrative musical styles or quitting music
altogether and going to law school.
This newsletter was created for two purposes. First, for the existing
fan base, it is the ONLY source of this type of information. Second, for
the casual listener who only knows about the "big" names (Kenny
G, Yanni),
and likes them, we hope to expose you to the bigger picture, the whole R&J
scene, a few other artists you might also like if you happen to know who
they are and where to find them.
So please, be sure to keep reading R&J every month. And peruse the
bottom of this file to find out what you can do to support its
continuation. We need your feedback to keep going on, as well as to share
with the industry itself so they know there are people out there listening!
Thank you.
Dan Margules
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ULTRA! - THE SMOOTHEST AND THE COOLEST by Wayne Radcliffe
MIDNIGHT SKYE - PAINT WITH FIRE (SDA), 56:13
If it sounds like keyboardist/guitarist Joseph LoPresti is playing with
the skill of a surgeon, it's because he is a surgeon! "People tell
you
it will take all your time and energy to do one thing well and to become
successful at it. I don't agree with that. I feel frustrated and hemmed
in when I'm asked to do only one thing," says LoPresti, who was also
offered a pro baseball contract with the Minnesota Twins right out of
high school. His dreamy, relaxing music, which is sure to appeal to fans
of Lanz & Speer and Michael Gettel, proved to be the perfect balance
to
his chaotic 5-year residency at County-USC Medical Center dealing with
"gunshot wounds, stabbings, beat-up gang members and car crash victims"
on a daily basis.
The CD title, PAINT WITH FIRE, "is a slang term we used during my
residency. It's a surgical technique of electrical cauterization to stop
bleeding." 'Painting' must also refer to the way each of the 12 songs
paints a vivid picture in the imagination of the listener. "A New
Horizon" can bring to mind a daybreak in a new land. "Echo Road"
is a
hiking expedition in a quiet forest. "Night Promises" paints a
romantic
mood. "A Moment's Notice," written in just ten minutes, is one
of the
prettiest tunes in the collection. Additional instrumentation includes
mandolin, harp, flute, fretless bass, soprano sax, and octophone, an
obscure 8-string instrument from the 1920's.
SPECIAL EFX - CATWALK (JVC), 52:07
It's quite a risk to tamper with a successful formula, but Special EFX is
bravely trying it anyway by infusing a heavy dose of urban rhythms into
their music. "We felt we'd said as much as we could say in the style
we've been playing, so we decided for creativity's sake to try something
with a different twist," explains co-founder/guitarist Chieli Minucci.
Percussionist and co-founder George Jinda, who keeps a steady, powerful
beat going throughout the record with shakers, udu drums, and caxixis,
agrees that "After more than ten years, it was time for a change."
One
of the tastiest changes is the addition to the group of funky saxophonist
Mark Johnson, whose awesome solo debut Jinda produced earlier this year.
"Mark's major contribution to Special EFX has been fresh ideas,"
says
Minucci. "We're jazzier now, but we're also a lot more pop than we
ever
were before."
They announce their newfound urbanness with a vengeance on the opening
cut, "The Nitty Gritty", then adapt the Marvin Gaye classic "Mercy
Mercy
Me" to their own style. The melodic "Passions" is a perfect
example of
melding the old EFX with the new. Next, the record kicks into higher
gear with "Dancing Cobra" before slowing down for a breather with
the
lyrical "Siana". "So Happy, So Sad" opens with a stinging
guitar intro
from Minucci, then features Johnson's heartfelt soprano lead. The band
goes all out on the wild "Hip Hop Bop", then settles down for
the smooth
"Forever This Love". CATWALK closes with their traditionally adventurous
Minucci-Jinda duo, "Concrete Jungle". This CD marks one of those
rare
times a major shift in direction works at every step.
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FEATURE STORY
EXCLUSIVE INTERVIEW WITH ROB MULLINS! by Dan Margules
I don't think I've ever seen anyone have as much fun performing as
keyboardist Rob Mullins. He gets so into the music he actually reaches
into his piano and starts playing the strings from the inside. Rob became
famous for that move in Denver in the 80s. A Grammy nomination brought him
out to Los Angeles where he cut 3 well-received jazz CDs (two contemporary,
one straight-ahead) for Nova. Since they went out of business, Mullins
went back to putting out his work on his own, as he had done in Denver,
releasing MUSIC FOR LOVERS last year, which was later picked up by
Discovery Records. Then he was approached to record his sensational
quartet for an audiophile label, AudioQuest. The result is ONE NIGHT IN
HOUSTON, Rob's latest CD, featuring Wilton Felder (The Crusaders), Ndugu
Chancler, and Larry Kimpel. We chatted with Rob in his home studio in his
modest Huntington Beach, California apartment. Throughout the interview,
he plays show-and-tell, pointing out some of the many pictures, records,
and mementos that cover the studio walls.
MULLINS: Oh, where's that note? I gotta find that. My studio is
called "Much Too Loud" Recording Studios. That's because I was
in
this club in New Mexico a few years back and the club owner wrote
me this note when we cranked up the first song. It was great,
man. And he sends the note up with the waitress and it says,
"Rob, much too loud! Painful!!!" underlined, with all these
exclamation points. Then he made a little box on the note in the
left hand corner that said, "You sound great!" It was so classic.
It's been up on the wall in here for years, ever since I came in.
And that's the name of the studio. But I just put a new mixing
board in here this week so I had to tear everything down.
R&J: What do the neighbors here think?
RM: They've never met me. I've never met them. About all I know is
they're over 60 and they pee at 6 a.m., noon, and 5:30 p.m.
That's what we know about each other. And they probably think I'm
a drug dealer or something because I'm always around here during
the day and nobody can figure out what I do. I don't want to let
them know. [points out something else on the wall] Check this
out. This is the flight guide from Air Force One. My music plays
on Air Force One. You can see "Polka Dot Dress" from the
AudioQuest record, under "Jazz Impressions". On the right side,
about half way down. That's kind of cool.
R&J: You played a gig in Vietnam last year.
RM: Yeah! That was really interesting. Vietnam was pretty different.
I was the first American jazz musician to play in Hanoi at their
opera house. [points to another visual aid] This opera house was
built by the French in 1911. They have all the Vietnamese
traditional music performances here -- their theater, their opera,
all their music concerts. Right up here on the second level is Ho
Chi [Minh]'s box seats. He would come in and hang out. Down in
here, this is now all a parking area. But very few people have
cars there. It's mostly bikes, walking, and stuff like that. The
day I did the gig, man, it was just packed, just jammed up. It
seats about 750 people. I went over there as a solo artist
because there wasn't any budget and no band members would travel
to Vietnam during a trade embargo when the State Department was
telling me, "Don't leave America. If you do, you're on your own.
If you get in trouble over there, we're not going to help you."
R&J It didn't worry you?
RM: It worried me a lot. But, you know, I did it for the publicity of
being the first person to do something like that. So that was
cool. I took all of my background tracks on DAT so I didn't do
any straight-ahead at all. You can't do straight-ahead without a
drummer. But the fusion stuff you can definitely do with those
kind of tracks. So it worked out cool. It was happening.
R&J: How'd you get hooked up with that gig?
RM: I lecture at Colorado University every April at this thing called
Conference on World Affairs. I go as a guest professor and speak
on a variety of topics. A lot of people participate from all over
the world. About three years ago, when I was doing that, the
ambassador to the United Nations for the country of Vietnam was
there at the conference. He heard me perform and that's kind of
how it happened. It took us a year to put all the details
together. It was not an easy thing to do. And we were trying to
get it set up so that we could shoot video and do all that. The
people on the American side who I was involved with kind of
dropped the ball on that. The video didn't turn out, but the
audio tape's really good. I got an eight track digital version of
that and I want to release it on an album at some point. It's
really cool. The music turned out great. That was fun.
R&J: Have you been doing a lot of traveling?
RM: I stopped doing that about six months ago. I just couldn't hang.
Since I did the Vietnam trip, then I went to Europe twice after
that and I was in eleven countries in about a four month time
span. I got so tired of traveling that I just decided I was gonna
stay home for a while. So I've been kind of kicking back. I
haven't been playing [live] a lot. I've just been working in this
studio and I have another one up in Hollywood now. It's been kind
of nice to not be constantly on the road, dealing with all of
those pressures.
R&J: Tell me about your Grammy nomination.
RM: It was years ago. '86. I didn't go to the Awards. I didn't even
know about it. The way I found out about it is that a friend of
mine went to the Grammy's and said, "Hey, you were nominated! Did
you know?" And I had no idea. So I contacted NARAS after that
and they said, "Yeah, you were up for Best Instrumental Song."
And I said, "Oh, great!" But they didn't know how to get a hold
of me because at that time I was living in Denver. So, you know,
that was cool. That was quite an honor. You don't really go
through your career looking to win awards or anything. But that
was kind of cool. That got me out to L.A., that nomination and
the song. The song "Making Love" is kind of the one everybody
associates with me. It was re-released on MUSIC FOR LOVERS. It
was on the SOULSCAPE CD originally.
R&J: Were any changes made on the new version?
RM: No. It's the same version as the original. But when I went in to
Discovery Records to talk to Jac Holzman about a record deal for
the MUSIC FOR LOVERS project, he complimented me on how much
better the new version was than the old one. Ha! A record label
president's sitting there saying, "Wow, man, this is a lot better
than the last one! What all did you do different?" What do ya
say, y'know? Well, Jac, it has a lot of the same notes in it!
R&J: What are you working on now? You were telling me Keiko Matsui
was in here yesterday. What was that for?
RM: We've been working on some of her new original material here at
the studio, for a variety of things. She's doing a lot of
different projects, so we didn't really have a specific project
that we were targeting. We were just producing songs that she
wrote. They'll probably end up all over the place. Some will end
up on singers' albums, and some will be on her album. Some nobody
will ever do anything with. What's cool is that Keiko and [her
husband] Kazu live like two miles from here. I saw them at that
Southern California Jazz Festival a couple months ago and we
figured out that there was a Japanese restaurant located right
smack in between their house and mine. So, from that time, we
started doing some stuff together. She's totally sweet. We had a
great time. We both played keyboards on the music. I tracked
everything in here and it just sounds great.
R&J: What else have you got lined up for the future?
RM: I've been doing that and I'm working on an album for a new band
from the U.K. I'm producing a couple of guys from England,
starting next month. That's gonna be fun. That's kind of like
WAVE music. That kind of vibe. And then I've got four tunes done
for my new album. I'm real excited about that. I haven't signed
any of the paperwork, so I'm not telling anybody the name of the
label, but I do have a couple of deals. I'm really excited about
it. It's going to be my 12th album and, hopefully, this one is
going to be the one that puts me over the edge commercially.
You've known me for years. You know that my music is not just for
the average guy a lot of times, especially on the AudioQuest
record.
R&J: I consider that, ONE NIGHT IN HOUSTON, a very good representation
of the total you, of all your styles.
RM: I think it is, too. I was really hoping to do some more
commercial kind of music on that album and they wouldn't let me.
I sent them a demo of all the stuff I wanted to cut and they said,
"Well this is just way too commercial for us." It was real weird
having a label say that to me after hearing just the opposite for,
like, my whole career. But it's kind of cool, I mean, in all the
albums that I've made, I've pretty much made the music that I
wanted to make. Every time. And I'm real proud of that record.
I mean, it's such a great band. We just wanted to get the album
done. Cause that's really the challenge for a composer, if you're
writing your own music -- getting someone to pay you to do it.
That's the challenge. Especially when they're not allowed to tell
you how they want it to be. So that was a big compromise on this
record, because they wanted the non-commercial stuff. But that
isn't a problem for me. I have hundreds of tunes like that, as
well as the commercial stuff.
R&J: Do you have a file of songs you keep adding to as you constantly
write?
RM: My writing procedure has really changed a lot. In the old days I
used to just write at the piano and sit down and sketch out charts
to things, and/or put something down on cassette. Now I write
everything on the computer and it's all saved on the hard disk.
[Rob demonstrates software on his Macintosh SE 30, which sits atop
an outdated Excel manual] Music and computers really is a godsend
to me because I started out as a multi-instrumentalist. The fact
that I can play all of the instruments now, and do it all from a
computer, really saves a lot of space in the house because I don't
have to have drums out in the living room and all of that. I can
do most of the stuff digitally, whereas, in the old days it was a
really big deal to get all the stuff together. So that's how I do
my composing now. I'll either turn on the computer and record
everything in there, or I'll just turn on the digital tape deck
and play piano and record the piano part. Most of the time, I
like starting out building things from a basic groove on the
Macintosh and then coming up with a song. It's real cool. And I
do all my own sampling. I write all of my own synthesizer sounds
and stuff.
R&J: What can we expect from the new album you mentioned?
RM: My new stuff is gonna be very different. It's a completely
different sound and I'm using a whole different kind of drum kind
of sound. I'm using a lot funkier approach in general. The music
is a lot more urban. Greg Vail's playing on it. I'm gonna
release the record and see what happens. At this point I'm not
that crazy about being on the road all the time. Since I'm
running the studio here and the one up in L.A., it's kind of fun
being around home. The weather's so great here in California.
It's such a beautiful place. If the album does really well, then
I'm sure I'll go out and play some gigs. So I'm looking forward
to that. It'll be out in January.
R&J: It does sound great, and we'll be looking forward to hearing it.
Thanks for talking with us, Rob.
RM: Yeah, thanks for coming, man!
NOTE: Please see the end of this file for information on how you can get
Rob Mullins' latest CD, ONE NIGHT IN HOUSTON, for free!
SELECTED ROB MULLINS DISCOGRAPHY:
DANCING THROUGH THE DAY (1984, RMC-lp only)
SOULSCAPE/NITE STREET (1987, RME)
5TH GEAR (1988, Nova)
JAZZ JAZZ (1989, Nova)
TOKYO NIGHTS (1990, Nova)
MUSIC FOR LOVERS (1993, RME/Discovery)
ONE NIGHT IN HOUSTON (1993, AudioQuest)
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NEW RELEASES by Bethany Springs
NEE SACKEY - MY FATHER'S SON, MY BROTHER'S BROTHER (PalMusic), 48:26
GROOVE: Debut San Diego bassist from local world beat band Third Beat
(led by Bill Macpherson) serves up rousing helping of upbeat African
stylings with excellent melodies. Macpherson helps on guitar, with
guests Jimmy Haslip and Will Kennedy (of Yellowjackets) and Sam
Cardon.
HIGHLIGHTS: Dancing title cut; warm ballad "So Serene She Sleeps"
with
soft, effective, wordless background vocal; mysterious "Winneba"
featuring flavorful trumpet by Mitch Manker; bass/guitar counter
melody on "Ten To Ten"; festive "Pop Chain".
ALSO CHECK OUT: Macpherson (see below); Vincent Nguini's SYMPHONY-BANTU
(Mesa); Stanley Clarke's IF THIS BASS COULD ONLY TALK (Portrait)
BILL MACPHERSON - MANY RIVERS (PalMusic), 50:27
GROOVE: 2nd jungle party from Zaire-raised guitarist is even more fun
than last year's award-winning debut (best independent record, San
Diego Music Awards). Appropriately described by artist as "African
electric jazz", the beat is constant, the melodies playful. Nee
Sackey on bass, with guests Freddie Ravel and Tony Guerrero.
HIGHLIGHTS: Stunning, prayerful "Peace For Africa" with vocalist
Angel
Sheppard; wake-up call opener "Shakin It Out"; hopping rhythm
of
"Macambo"; cool, funky "Lost In The Jungle"; exotic
"Bandundu
Memoirs".
ALSO CHECK OUT: Macpherson's JUNGLE PARTY (PalMusic); Nee Sackey (see
above); ALEX ACUNA & THE UNKNOWNS (JVC)
CRAIG CHAQUICO - ACOUSTIC PLANET (Higher Octave), 50:38
GROOVE: Acoustic, classic-rock-style guitar instrumentals with
incredible stereo imaging to create a unique atmosphere. 2nd solo
excursion of former Jefferson Airplane/Starship lead guitarist probes
deeper into his exciting musical landscape, including a fascinating
stop into solo territory ("Center Of Courage"). Terrific acoustic
piano by co-writer, co-producer Ozzie Ahlers.
HIGHLIGHTS: Splendid opener "Native Tongue" defining Chaquico's
sparkling signature sound; instrumental version of his #1 'Starship
hit "Find Your Way Back"; haunting and laid back "Gathering
Of The
Tribes"; flamenco-esque change of pace "Aejo De Cabo"; Space
Ark
passenger "Just One World", launched to the cosmos by NASA in
July,
1994.
ALSO CHECK OUT: Chaquico's ACOUSTIC HIGHWAY (Higher Octave)
JIM CHAPPELL & HEARSAY - MANILLA NIGHTS (Real), 61:57
GROOVE: Natural melodicism from Chappell's solo piano work applied to
groovin' R&J ensemble featuring memorable blowing from saxophonist Tom
Politzer and fiery electric guitar licks from Jean-Michel Hure.
Strong hooks on uptempo tracks and breezy gentility on ballads mark
this wonderful follow-up to last year's critically acclaimed OVER THE
TOP.
HIGHLIGHTS: Title cut, with Gato Barbieri-like sax lines, built from a
live concert improvisation in the Philippines (one of the best R&J
tracks of the year!); luscious lullaby "After All We Had Planned"
softly weaving piano with soprano sax and acoustic guitar; happy
interplay on "Television"; lilting "Lisa Marie"; steadily
driven
"Tall".
ALSO CHECK OUT: Chappell's OVER THE TOP (Real); Mike Gealer's IN THE
PARK (Positive); Rain-Bo Tribe's WHAT THEY DON'T TELL YOU...
(Positive)
MATT BALITSARIS AND JEFF BERMAN - BIG BLACK SUN (Palmetto), 50:16
GROOVE: Very eclectic. From C'est What?!, Balitsaris on acoustic guitar
with open tunings and Berman on midi-vibes team up for the first time
as a duo, each also adding strange percussion instruments to the moody
material. A totally different vibe.
HIGHLIGHTS: Synth melody over talking drum on "The Blue Coast";
snappy
opening of "History" turning into dark storm; dark, ominous beats
of
"Macoute" and title cut; gentle guitar on "Bluegrass Girl".
ALSO CHECK OUT: Balitsaris' GYPSY HEART (Raven); Balitsaris & Loose
Shoes' BOOMTOWN (Palmetto); Patrick O'Hearn
VAIL JOHNSON - TERMINATOR (Lucky), 49:00
GROOVE: Mean and nasty funk fusion from Kenny G's bassist with killer
synth chords from Roger Sause. Johnson also displays supple dexterity
on ballads and on an impressive "Bass Solo".
HIGHLIGHTS: Sentimental ballads "Anthem" and "Brasil";
rough and tough
title cut and "Kick Off".
ALSO CHECK OUT: BRIAN BROMBERG (Nova); Kirwan Brown's COOL GROOVES
(Fahrenheit); Victor Bailey's BOTTOM'S UP (Atlantic Jazz)
PETER WHITE - REFLECTIONS (CGR/SinDrome), 46:38
GROOVE: Perennial R&J fave guitarist takes a break from composing and
pays tribute to his favorite songs from the 60s and 70s. Well-known
tunes adapt easily to White's breezy, acoustic style but with heavier
dance beats. Guest saxophonists Boney James, Sam Riney, and Richard
Elliot.
HIGHLIGHTS: Surprisingly moving rendition of "How Deep Is Your Love";
urgent synth rhythm on "Will You Still Love Me Tomorrow"; "White"-
washed version of "Wake Up Everybody"; Kiki Ebson's ethereal vocal
accents on "No Woman No Cry"; hip-hoppish arrangement of "Could
It Be
I'm Falling In Love".
ALSO CHECK OUT: Missing Links' GROOVIN' (MCA); Spirit Traveler's PLAYING
THE HITS FROM THE MOTOR CITY (JVC); White's REVEILLEZ-VOUS (Chase)
OTHER NEW STUFF...
RICK BRAUN - CHRISTMAS PRESENT (Mesa)
10 new holiday originals from R&J trumpeter plus 5 fun classics.
DR. BOMBAY - TEMPERATE ZONE (Indio)
Rippingtonesque Phoenix band debut produced by Ripp Steve Reid.
RUSS FREEMAN & THE RIPPINGTONS - SAHARA (GRP)
Band continues getting tighter on 8th release; 1st shot at vocals (2).
MARIO GRIGOROV - RHYMES WITH ORANGE (Reprise)
Solo jazz piano, with acoustic bassist Brian Bromberg on some tracks.
DON GRUSIN - BANANA FISH (GRP)
Delightful melodies and dense grooves from Dave's bro'.
JAN HAMMER - DRIVE (Miramar)
More spacey electronic jazz from "Miami Vice" theme'ster.
HIROSHIMA - L.A. (Qwest/Reprise)
Label debut; electrified koto instrumentals; new singer Teri Koide.
HENRY JOHNSON - MISSING YOU (Heads Up International)
Smooth, intoxicating electric guitar; jazz chops in pop setting.
NARADA ARTISTS - PASSION MUSIC FOR GUITARS (Narada Lotus)
Guitar-focused sampler, new songs; David Arkenstone, Nando Lauria...
NARADA ARTISTS - ROMANCE MUSIC FOR PIANO (Narada Lotus)
New piano solos; Kostia, Fred Simon, Ira Stein, et al.
NARADA ARTISTS - THE SOUND OF LIGHT (Narada)
Compilation of tracks from Narada Cinema CDs.
DEAN PEER - TRAVELOGUE (Fahrenheit)
Melodic, harmonic bass with tabla, violin, and plaintive sax lines.
DAN REYNOLDS - LIFELINE (Positive)
Jazzy and contemporary keyboardist; more accessible than debut.
MIKE TOMARO - HOME AGAIN (Positive)
Smokin' debut from Ken Navarro's saxman; very hip.
GERALD VEASLEY - SIGNS (Heads Up International)
Funky East Coast jazz with great interaction between bassist and guests.
PHAREZ WHITTED - PHAREZ WHITTED (MoJazz)
Slick, accessible trumpeting; contemporary with dash of straight ahead.
NOTE: Wayne Johnson Trio's GRASSHOPPER, which was listed here last month
under "New Releases," is a remastered re-issue of a 1983 recording.
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COOL CLASSICS by Wayne Radcliffe
THE RIPPINGTONS - TOURIST IN PARADISE (GRP), 1989, 44:32
Guitarist Russ Freeman first impressed R&J listeners with his composing
and producing skills on his amazing debut CD, NOCTURNAL PLAYGROUND
(BrainChild), at the age of 25. Shortly thereafter he cut an album for
Passport with some of his jazz buddies: cats like David Benoit, Brandon
Fields, Kenny G, Gregg Karukas, and Steve Reid. They called themselves
The Rippingtons and the album, MOONLIGHTING, was a smash. After another
hit record for Passport as The Rippingtons, Freeman took his act to GRP
and produced his greatest creative achievement yet with this tour de
force, TOURIST IN PARADISE.
The title cut, which opens the disc with an exhilarating wall of sound,
courtesy of "soundscape" artist Reid, is probably the catchiest
melody of
the hundreds of gems Freeman has penned. The magical "Jupiter's Child"
is followed by the spicy "Aruba!", originally written for and
recorded by
Tim Weisberg, here featuring Rob Mullins' acoustic piano gymnastics and
scatting by Carl Anderson. The thoughtful, mature "One Summer Night
In
Brazil" became another bright feather in Freeman's composing cap. The
electrifying "Earthbound" is followed by a totally Rippingtonized
cover
of Al Green's "Let's Stay Together". Three more trademark Ripping-songs
round out this brilliant collection. The still unsurpassed disc is
produced and mixed with an incredibly rich, full sound that knocks your
socks off. And the sound of Fields' horn playing Freeman's melodies
simply can't be beat.
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ABOUT R&J
RHYTHM & JAZZ is published monthly by Dan Margules and uploaded to the
jazz
library of the Music/Arts forum on CompuServe. Users are encouraged to
distribute R&J to any other online services and bulletin boards to which
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included in commercial shareware packages without prior written permission
of the copyright owner.
RHYTHM & JAZZ is SHAREWARE. If you enjoyed reading this issue of R&J,
please support it with a small donation so that we may continue bringing
you exclusive feature articles and reviews of the latest and greatest in
contemporary jazz. For a donation of $15.00, registered users will receive
a FREE CD. This month's free CD is:
"ONE NIGHT IN HOUSTON"
ROB MULLINS' latest compact disc!
Compliments of AUDIOQUEST RECORDS!
Exciting live studio jam!
Featuring Crusader WILTON FELDER
on nine funky and jazzy originals!
To register this issue of RHYTHM & JAZZ and receive our free CD:
Please send a check or money order for $15.00
made payable to _DAN MARGULES_.
For orders to be shipped outside the United States,
please add $3.00 for shipping and handling.
MAIL TO:
RHYTHM & JAZZ ELECTRONIC NEWSLETTER
ROB MULLINS OFFER
P.O. BOX 28788
San Diego, CA 92198-0788 U.S.A.
Offer good through January 31, 1995 (be sure to specify "ROB MULLINS
OFFER"). Please allow 4-8 weeks for delivery.
Even if you don't wish to register this issue of R&J, we'd love to hear
from you. Please send your comments, questions, suggestions to the e-mail
address below.
STAFF:
Publisher/Editor: Dan Margules
Contributing Writers: Wayne Radcliffe, Bethany Springs
RHYTHM & JAZZ ELECTRONIC NEWSLETTER
P.O. BOX 28788 SAN DIEGO, CA 92198-0788
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RHYTHM & JAZZ, VOL. 1, NO. 4, Copyright (c) 1994 Dan Margules. All rights
reserved.
