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We talked to four of the band members about their respective journeys to New York City and how they happened to come together. They'd sing standards.The family had an old phonograph, the kind that come in the cabinets.
They'd sing Beatles material, Joni Mitchell, and whatever their guitar teacher taught them, which was generally a lot of folk songs from the 60's (plus Beatles). We catch glimpses in a few places online and in an interview that Amy gave to Paste Magazine.
If he wasn't singing, his mother knew something was wrong, that he might be coming down with a cold.
Alto sax giant Jackie McLean was a faculty member at Hartt and also founded the Hartford Artists Collective.
Occasionally they'd work out more modern material on the guitar but, for the most part, it was a lot of early 60's folk. She played drums, bass and electric guitar.She did gigs in Sydney after leaving high school, singing in jazz bands. When he got into jazz, he became self-conscious, because it felt out of place to sing the Neil Young or Stevie Wonder songs that he liked.
A steady stream of jazz virtuosos came to play with Jackie and Tony stayed around to play, learn and grow. It went without saying that they bonded through of their immense talent and their respective mastery of their instruments.
Glenn Patscha's keyboard work on the older house upright piano could be simply gentle or richly intricate Following jazz saxophonist John Ellis, he'd climb the keyboard up a mountain of emotion, unleashing jazz runs worthy of any club in the city claiming that genre. It went without saying that they bonded through of their immense talentA  and their respective mastery of their instruments.
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If a fantasy film were to be made about a band of angels who get together to play gospel in a time of need, Ollabelle would fit the part perfectly.
So, suddenly we had this every-Sunday-night thing, we had these gospel tunes we had to learn, they were perfect for setting up vocal harmonies. It was really fun and it was good to do music that had nothing to do with the tongue-in-cheek bullshit that we were sick of. Then, one night at a gig for Fiona's band, Amy sat in and, when the two sang some gospel songs, a light went on in Roger's head. As a third grader (8 years old), for a Cub Scout project, he organized a skit where he and his friends made banjoes out of cigar boxes and elastic bands. If a fantasy film were to be made about a band of angels who get together to play gospel in a time of need, OllabelleA  would fit the part perfectly.
Not to turn them into saints (they are musicians, after all), but their grasp of hope and redemption, and its evocation in music is so good it's otherworldly.
Their first eponymous CD contained virtuosic and innovative versions of traditional material and their second, recently released, Riverside Battle Songs stretches even further with more original material. These fans are commonly mounted in an upstairs stairwell or hallway ceiling where there's at least 3 ft.
When he came home from work, the children would rush into the bedroom, where her father would play the clarinet.
Fiona was the youngest of 3 girls and her older sister played guitar, so they'd go to lessons together.
A man she was romantically involved with moved to New York and Fiona came to visit him here in 1998. Fiona found this highly amusing in light of the fact that 9C was very divey, a honky-tonk, with flames painted on the wall and vintage 50's pinups (Bettie Page, etc.) everywhere. While she was here, she played some gigs (Sidewalk, Gaslight) and was so well-received that when her tourist visa expired, she returned home but made an immediate u-turn and came right back. After that, he began transcribing and writing things down, It was through transcribing that he learned how to read music. He noted that Jerry Garcia was influenced by Bill Monroe, Mississippi John Hurt and Skip James.

He noted that Jerry Garcia was influenced by Bill Monroe, Mississippi John HurtA  and Skip James. Drummer Tony Leone and guitarist Jimi Zhivago joined the group and they functioned as the house band with a lot of people sitting in.
The school had great musicians and he fell completely into music, the only one in his family to become a musician. In 2000, she had put a band together and Roger, the manager of 9C gave her the first gig with the band.
Byron became the bassist in that band, and through Byron, Glenn came aboard as the keyoard player. His dad was a drummer and had showed him the rudiments -- how to hold the sticks and gave him an old 1961 set of Slingerland drums. After a while his father told him that if he was going to really learn how to play, he'd need lessons.
He then went to Indiana University and studied in the jazz program, studying classical music as well.
He went to a performing arts high school and then attended the Hartt School of music in Hartford.
When he got to New York in the mid 90's the jazz scene was not exactly what he was looking for. We had been talking about doing something with a lot of vocals, so it gave us the perfect excuse to work up a bunch of vocal arrangements. They were all 'bop Nazis.' I was into modern acoustic jazz at the time and started playing other stuff.

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