Logo
Previous Next
  • Home
  • About
    • Songwriter
    • Producer
    • Recording Artist
    • Triple Z Music
  • News
  • Music
    • Paul Guzzone
    • Mary Ellen Bernard
  • Videos
  • Gallery
  • Tour
  • Contact
  • Press

Wild Idea Dub Mix

https://paulguzzone.com/wp-content/uploads/2015/08/Wild-Idea-Dub-Edit-for-Web.mp3

Store

  • Paul Guzzone
  • Mary Ellen Bernard
  • Music

News & Gig Alerts

Click Here to Sign Up!

Upcoming shows

No shows booked at the moment.

Radio Waves

https://paulguzzone.com/wp-content/uploads/2016/05/Radio-Waves-edit.mp3

Store

  • Paul Guzzone
  • Mary Ellen Bernard
  • Music

News & Gig Alerts

Click Here to Sign Up!

Upcoming shows

No shows booked at the moment.

Category: News

2 Your America: Talkin’ ‘Bout Their G-G-Generation

  • August 9, 2020
  • Paul
  • · News

One of the joys of teaching at Pace University here in NYC is meeting young musicians and songwriters who are passionate and determined to make their mark. They are at a point of development when you can still hear the influence of their heroes and just before they make that glorious leap to an original sound. You can see and hear where they are heading and you root for them to get there. Think: The Rolling Stones before Satisfaction, k.d. lang before the Ingénue album, or Green Day before the Dookie.

In 2019 Mike Simon and Jon Thomas were two students who took my entertainment industry class in different semesters. They and friend Nick Spataro were high school class mates in Suffern, NY who formed the band Spitphyre with drummer Jake Valios. (Nick recently left the band). To be honest, I saw a bit of myself in them because that’s how I and so many of my contemporaries started our musical journey post Beatles and Woodstock.

(L/R Top) Nick Spararo, Michael Simon, Jake Valios
(Bottom) Jon Thomas

Throughout 2019 I dropped in on their Spotify page to hear what they were up to. Like most young musicians their reach sometimes exceeded their grasp. But they are ambitious and clearly have boatloads of talent waiting to be harnessed. I was excited for them and hoped they stuck with it.

They were planning an extended east coast tour this summer when COVID hit so the dates got shelved. But, that didn’t stop them from working up new music which brings me to the song Your America.

Like all of us, they were disgusted and angry about the murder of George Floyd and all the tragic deaths of young men and women of color leading up to that tipping point in the Black Lives Matter movement. Singer/guitarist Jon Thomas wrote Your America as a direct response. “I have also experienced run-ins with racism as a Latino in America” Jon said. “I needed to use my outlet as a musician to make a statement.”

THIS IS, THIS IS YOUR AMERICA

UNDER GOD WITH MASS HYSTERIA

THE VALUE OF YOUR LIFE IS IN YOUR SKIN

THIS IS, THIS IS YOUR AMERICA

WE’RE GOING RUNNING, MEANS YOUR SPREADING TERROR

IF YOU CAN NOT BREATHE THEY STILL DON’T CARE

“As Black Lives Matter started to lose steam due to a massive burnout from the people who supported the movement as a trend, I knew this had to be the first new song we released.”

Spitfyre got busy. Jon recorded an acoustic version into his iPhone and passed it around. The other guys built up their parts and it was mixed by their good friend Buster Schuer. Welcome to the music biz in the age of COVID.

Here’s the thing. When I heard the song, I was struck by their commitment to the message and the music. It’s a driving power-punk track with Mike adding subtle harmonic movement in the bass that added tension to the chords to match the anger in the lyrics. Jon spits out his words like he’s smacking you over the head and screaming: “wake up it’s getting late.” Jakes prog-influenced drumming is a pleasant surprise. What I’m getting at is that they are maturing as musicians and individuals. Which is a beautiful thing to observe.

Recently, I was on a Zoom cocktail hour with close friends. One hour stretched to four. We try to avoid politics but it’s inevitable. All of us agreed that it will be up to this generation to make the social changes our generation dreamed of making but could not take across the finish line.

“Personally, I want to make sure I do better and let anyone who listens to my music know that they are not alone and at my shows, they are absolutely welcomed, no matter the color of their skin.

I’m optimistic! I know we’re gonna hear more from these guys.

Talkin’ bout their g-g-generation!

Listen to Your America on Spotify.

https://paulguzzone.com/wp-content/uploads/2020/08/Your-America-Master4.m4a

5 Hamilton Creative Team: the New Fab-Four?

  • July 14, 2020
  • Paul
  • · News

OK, I admit it. To most Americans of my generation, life started on Sunday, February 4th 1964. At 8PM, 73 million people tuned in to “The Ed Sullivan Show” on CBS and watched as four young men from Liverpool fired the first shot of a counter culture revolution. They didn’t write the Declaration of Independence for it; that was already in the works with Elvis, Betty Friedan, Dylan, and Dr. King. The Beatles were messengers, like a guitar-slinging Paul Revere with a saddlebag of songs, shouting “rise up!”

Arguably, the Broadway musical Hamilton is the most significant cultural event in America in the last fifty years. Like the Beatles, its influence crosses generations. It has: sparked the imagination of children; touched the hearts of adults; and most importantly, kick-started the minds of teenagers with inspiration that is truly needed at this time. Remember, the Beatles arrived here less than three months after the assassination of JFK. We were sorely in need of something to believe in.

Ringo Starr, Paul McCartney, John Lennon and George Harrison

I got the CD of Hamilton in 2015 and immersed myself in the songs but, like millions of people, I did not see the show until I watched the filmed version on July 3. We still don’t know exactly how many people watched it between July 3 and July 5 because Disney+ refuses to publicly reveal those numbers. However, Variety reported: “‘Hamilton’ Drives Up Disney Plus App Downloads 74% Over the Weekend in U.S.” We can be fairly sure the ratings were in the Super Bowl range if not higher. This kind of media moment, when an entire country experiences something simultaneously, simply doesn’t happen anymore. “The Ed Sullivan Show” was on CBS, which was one of just THREE national networks viewers could choose to watch. Today we have six broadcast networks, dozens of cable channels and streaming services, and billions of smartphones and tablets. Yet, on July 4th weekend it’s very likely that hundreds of millions of people watched Hamilton, not just in the USA but around the world.

Hamilton, like The Beatles, is more than just a commercial success or the winner of a popularity contest. Though it is musical theater, it was destined to go beyond that. The idea for the show was developed during the Obama era. (Miranda actually performed the opening song at the White House in 2009.) After opening on Broadway, it gained international prominence, winning an armful of Tony Awards in 2016 at the start of the Trump era. Its celebration of immigrants, enlightenment and the power of words, performed in the language of hip-hop by a cast of predominantly African Americans and Latinx actors, was a stark contrast to the new administration and its agenda. It put a spotlight on the battle lines being drawn. Like it or not, Hamilton became a totem for those fighting the regressive impulses of President Trump.

John Lennon (and Bob Dylan for that matter) resented being called “the spokesmen for their generation.” Still, they were innovators who studied the work of musicians, songwriters and producers from many genres and were inspired by other cultural heroes (see the Sgt. Pepper album cover) to create not just new music, but a new world view. The creative team of Hamilton did same thing. My wife Mary Ellen came across an interview they did with John Dickerson on CBS This Morning. Watching it inspired me to write this blog.

(L to R) Thomas Kail, Andy Blankenbuehler, Lin-Manuel Miranda and Alex Lacamoire

As you probably know, the writer is Lin-Manuel Miranda. The director is Thomas Kail, the musical director/arranger/orchestrator is Alex Lacamoire and the choreographer is Andy Blankenbuehler. As I watched the interview, it became clear that the four collaborated like a great band. Each has skills that complement the others. And like the Beatles at their peak, they share a generosity of spirit and mutual respect.

Let’s call them the Fab-Four.

  • Lin-Manuel is John: the founder and motivating soul behind the band.
  • Tommy is Paul: the craftsman who polishes the presentation.
  • Andy is George: the mystic who renders sound into movement.
  • Alex is Ringo: the joyous beatmaker driving the magic bus.

If you are of a certain age, watching the John Dickerson interview may remind you of all those early interviews with the Beatles, when their confidence and energy was on full view. For me, it was as exhilarating as watching A Hard Day’s Night.

Then, watch Hamilton, if you haven’t already. It’s an astonishing accomplishment that I expect will enlighten and entertain for generations.

0 Status of House Concerts and Bacon Brothers Tour

  • March 30, 2020
  • Paul
  • · News

Hello Everyone!

I hope you are all safe and sound during this very strange time.

Sadly, I have had to cancel my house concerts on April 24 and 25 as well as the concert at the  Pomona Cultural Center on May 16. Several Bacon Brothers shows have been postponed and our remaining tour dates are all up in the air for the time being. I assure you that the very minute we get confirmation for a go-ahead we will let you know.

In the meantime all of my colleagues will be sending you music from our homes. here’s one from me and the boys. Staying Home

Stay safe y’all!

1 Crossing Bridges Music Festival

  • March 20, 2019
  • Paul
  • · News

The 19th century British writer and critic Walter Pater famously said: “All art continuously aspire to the condition of music.” Music alone can be very powerful… add a well written lyric to the mix and the fireworks will light you up.

I LOVE live music! I love playing for people, watching their faces and feeling their energy. I love experiencing live music too. So, when I was invited a few years ago to help develop and curate musical shows at Schimmel Center here in NYC I jumped at the chance. I worked on several memorable events but none more personally satisfying than If These Wall Could Talk: Celebrating the Life and Times of The Bottom Line, which we staged over two nights in October of 2017.

If These Walls Could Talk: The Life and Times of The Bottom Line

Now, I’m thrilled to tell you about The Crossing Bridges Music Festival happening on May 10 and 11. I developed this festival with Schimmel’s Executive Director Martin Kagan and Marketing Director Kerry Tucei. My idea was to kick off the festival season by presenting an eclectic mix of songwriters that are generationally and culturally diverse. As each artist brings their fan-base to the fest, their fans will discover other artists whom they may not have heard about. As WFUV one of our presenting partners likes to say “music discovery starts here!”

On Friday night May 10 we present:

  • Jonathan Coulton
  • The Kennedy’s
  • Vance Gilbert
  • Janie Barnett

On Saturday night May 11 we present:

  • Paula Cole
  • Dom Flemons
  • Abbie Gardner
  • Adam Ezra Group

On Saturday afternoon May 11 we’ll be having a song writers circle hosted by WFUV’s John Platt featuring:

  • Dom Flemons
  • The Kennedy’s
  • Janie Barnett
  • Abbie Gardner

I’ll be hosting the main stage shows on Friday and Saturday. Leading up to the show, I’ll be blogging about these artists and more. Hope to see you there!

11 What I Did on My Summer Vacation

  • September 4, 2018
  • Paul
  • · News

While getting ready to return to my teaching gig at Pace University, I was thinking about what I did on my “summer vacation.” The Bacon Brothers tour started way back on May 31 and I was finally in my own bed on August 12th. As usual, there were many adventures and lots of stories to tell.

I’d like to share one about a couple of days the band spent in Memphis, TN this past June.

I’m a born and bred New Yorker but I feel a strong connection to that part of the country because of my love and study of American music. Marc Cohn captured that feeling so well in his hit “Walkin’ In Memphis.” For two sweet days in June me and the boys took a little walk.

Rolling in overnight from Mountain Home Arkansas we had time to kill waiting for our rooms to be ready. Luckily, we were staying at The Westin Hotel around the corner from Beale Street, the world-famous music and entertainment strip downtown. Nice, but it was way too early to consider a libation and yes, one could have liquid refreshment at that hour on Beale. Certainly, breakfast was in order! So, “Los Tres Amigos,”  Frank Vilardi, Ira Siegel and I headed to The Blue Plate Café to step back in time for a guilt-free, carb & cholesterol-rich traditional southern breakfast that would keep us well satiated ‘til dinner. I even got a lesson in how the locals properly dress their pancakes from our straight-out-of-central-casting waitress. “Darlin’ let me show you how to fix yo stack.” Fix my what?! “You smother ‘em in butter.  Now, cut a little bitty hole into the middle and po dat syrup in there so it spread all the way down t’da bottom. That’s it baby. Keep pourin’, keep pourin’.” You know you’ve been on the road too long when describing the act of eating pancakes begins to sound like sex.

We were blessed with a day off in Memphis and determined to make the most of it. So, after checking in we went right out to the Stax Museum. The famous converted movie theater at 926 East McLemore was ground zero for classic soul hits by Rufus and Carla Thomas, Booker T and The MG’s, Otis Redding, Sam and Dave, Isaac Hayes and so many others. It’s now a museum that lovingly displays the cultural history of soul music from its gospel roots to the top of the charts. They literally moved and reconstructed a 1906 Mississippi Delta church complete with pews, potbelly stove, piano and lectern. Also on display were hundreds of artifacts from back in the day including costumes, recording gear and the very instruments played on so many hits: Steve Cropper’s Telecaster, Donald “Duck” Dunn’s Fender bass and Booker T’s Hammond organ. Needless to say, we were spellbound and feeling the spirit.

It was just the middle of the afternoon, and the rest of the day lay ahead of us including cocktails and oysters in the garden of Silky O’Sullivans on Beale Street and dinner at The Rendezvous.

This was only day one. Day two turned out to be even more memorable as well as being deeply moving.

I hit the gym to work off the previous days indulgences, had a light lunch, then went back to The Center for Southern Folklore, which I had noticed earlier but was not yet opened.

The Center for Southern Folklore Store

I walked in to find the director, Judy Peiser and her young assistant struggling with something at the far end of the room. Judy called out to me: “Ahh, just what we need, a strapping young man to help us move  this table.” I obliged. After introductions and a brief chat, Judy offered a tour of The Center. The current exhibit in Heritage Hall was about the contributions of the Jewish community to Memphis life, including photos of the first synagogue, integrated picnic gatherings and Lansky Brothers Clothing. Bernard Lansky’s original store on Beale St. featured vibrant colored clothing that looked great on stage and reflected the style of African American musicians who performed in the Beale St. clubs: Count Basie, Duke Ellington and BB King among them. This attracted the interest of Elvis Presley, who brought the sharp black, baby blue and electric pink colors to main stream fashion.

I also noticed a photo of Rufus Thomas. “Hey, I met him once. I know his daughter Vaneese,” I said out loud. “I just had dinner with Vaneese Thomas last night,” said Judy. “Really! You’re kidding… do you think she’s still in town?”

Rufus and Elvis at The WDIA Goodwill Revue

I phoned Vaneese and caught her as she was driving home from rehearsal with her sister Carla. I invited them to a TV show we were doing that evening and asked if she would like to sing a song with us. “Absolutley, yes!” My day just got much better. Right then my phone started buzzing with texts. I lost track of time. “Where are you?” The bus was about to leave without me.  I ran back. Fortunately, I had a really good excuse for being late. All was forgiven, Vaneese was going to sing with us. Synchronicity!

We were booked to tape a live performance on DittyTV, a network that streams its signal to any web-connected device. I discovered DittyTV because it’s one of the many apps available on my Roku TV. I’d watched a few episodes of their Concert Series recorded in their studio and was really impressed by the production quality and attention to detail. They also stream music videos of Americana and roots-style music artists along with interstitial content produced in-house on a range of topics that interest their viewers.

Some perspective from Prof. Paul is in order here. Memphis is a big “small town” where people made history in simple, profound ways. A guy named Sam Phillips opened a little storefront business called the Memphis Recording Service on Union Avenue in 1950. Soon to become Sun Records, he produced records for Howln’ Wolf and Ike Turner; discovered and produced Elvis Presley, Jerry Lee Lewis, Johnny Cash and dozens of others. His mom and pop shop championed misfit innovators and jump-started modern music. At the other end of Union Avenue was another local business, WDIA Radio. Started in 1947, it became the first station programmed by and for African Americans. BB King, Rufus Thomas and Bobby Blue Bland had their own programs. “The Mother Station of Negroes” was a 50,000-watt outlet for blues, gospel, rhythm and blues and a trusted source of information to the black community. And of course, there was Stax. All started as local businesses that ultimately enjoyed world-wide success and influence.

So, I shouldn’t have been surprised when our bus pulled up to another little storefront. This one had the DittyTV logo on a plate-glass window. Just like Sun Records, WDIA and Stax, it’s a small business located right there in a Memphis neighborhood. DittyTV is one of many new businesses started by music-loving entrepreneurs seeking success in the internet era. Like radio and MTV before it, streaming is simply another way to access music. Yet, it feels so new.

DittyTV founders Ronnie and Amy Wright are pioneers in a new media landscape, as were Jim Stewart, Estelle Axton and Al Bell of Stax, Sam Phillips of Sun, and Nat D. Williams, the trailblazing black DJ of WDIA before them. I wish them much luck and hope they are as successful with DittyTV as their Memphis music forebears. They’re already reaching an audience around the world from their little building on South Main Street.

Back to our show…

…When Vaneese and Carla got to the studio they were treated like royalty, and rightfully so. We were all excited to finally meet Carla. Vaneese sang on The Bacon Brother’s Live CD and DVD in 2003, and everyone in the band worked with her at one time or another. So, it was a bit of a homecoming. She joined us on a song called 493 Miles, upping our game and blowing the roof off the place. What a treat for the studio audience and us!

As if “six degrees” connections couldn’t get to be more fun, one of the sponsors of DittyTV is… wait for it… Lansky Brothers. Who should show up other than Hal Lansky son of founder Bernard. Hal and his lovely wife joined us after the show for the green room soiree. Still courting musicians…a box of Lansky Brothers tee shirts showed up at the office after we got home. Thanks for the uniquely Memphis swag, Hal!

Allow me one last and most important anecdote from our short time Memphis.

From the back patio of the DittyTV building, you can see across the alley to the Lorraine Motel where Dr. Martin Luther King was assassinated 50 years ago. While the crew was setting up in the afternoon, Ira and I walked over and visited what is now called The Lorraine Motel National Civil Rights Museum. This was a most solemn and moving experience. People of my generation lived through those awful days in 1968 when both Dr. King and Bobby Kennedy were taken from us. How many times have we asked ourselves: “What if they had lived?”

From the street, we could see the very balcony that’s been etched in our consciousness by so many documentaries; we see the black and white image of Dr. King lying on the ground and his four colleagues pointing towards where the shots came from. The garish mid-century blue, red and yellow rock-and-roll colors remained intact. Everything appeared as it was that day, including the presence of two 1960’s-era cars in the small parking lot.

The museum tour began with the story of African slaves taken to America, followed by room after room of scenes and relics from plantation life, The Civil War, Reconstruction, Jim Crow, the great migration north, Brown vs The Board of Education, Emmitt Till, Rosa Parks, The NAACP and the civil rights movement, JFK, The Civil Rights Act of 1964, LBJ, the “I have a dream” speech, the Memphis Garbage Strike, I Am a Man and finally… the last night and day of Dr. King, his rooms and… the balcony. A line of people were backlogged as the tour approached the hallway where you could view the rooms and the balcony. Solemn and silent, we waited our turn to stand and contemplate the actions that took place here fifty years ago.

In the context of what’s happening today in America, I found myself oddly optimistic. The world that Dr. King dreamed of is certainly not here… yet. Still, around me stood dozens of people from all walks of life, every color, age and religion who came to this place with the common purpose of honoring him, the movement he led and the words he preached: “Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that.”

And so, we carry on.

This was an unforgettable 48 hours walkin’ in Memphis.

3 Closing A Circle (Part 1)

  • January 3, 2018
  • Paul
  • · News

Allan Pepper and Stanley Snadowsky were life-long friends and business partners who managed my first successful band, Revival, from 1971 to 1975. Few people remember the band they managed, but countless music lovers around the world remember the club they built, The Bottom Line. For nearly 30 years the nightclub at West 4th and Mercer in Greenwich Village was a New York cultural institution, and for much of that time it was the nexus of the music business. Musicians wanted to play there and just hang out there. Acts were signed, careers were launched, business deals were made, all while fans were treated to an eclectic mix of rock, soul, pop, jazz, blues, country, folk, theater, cabaret – and even classical music – carefully selected and programmed by Allan and Stanley. There was nothing like it before or since.

Allan and Stanley. (Photo by Peter Cunningham)

Allan saw Revival playing at Gerde’s Folk City in 1971. He liked what he heard and brought back Stanley later that week. Stanley had to be convinced by Allan to sign us. Looking back now, I can safely say that right then and there my life changed. I was just out of high school and, like many of my generation, was smitten with the idea of making music and following our counterculture heroes up the charts and onto the radio. We loved the music, but we had no clue about the music business.

In front of Gerde’s Folk City, 1971. (LR Paul, Mike Malfesi, Dan Daley and Michelle Conway – Photo by Kevin Daley)

Allan and Stanley were only about 10 years older than us but were already booking rooms like The Village Gate, promoting shows at Steve Paul’s The Scene or The Electric Circus, and managing people like Carolyn Hester. They were making inroads with some of the most influential people in the music industry. This was a time before universities offered degrees in the business of entertainment, and learning the business was like acquiring street knowledge. You picked it up as you went along from people you knew. Hanging out with Allan and Stanley was like show biz boot camp for us, and I couldn’t get enough of it. Stanley was an attorney and walked us through our management contract, then our record contract, translating the legalese into plain English line by line. Allan would regale us with show-biz stories. (He still does!) He had us on the floor laughing – and learning. After the club opened, we’d go there and hang out at the bar with musicians, singers, and songwriters, but also with journalists, photographers, agents, managers, record execs. If you kept your eyes and ears open, you could absorb a lot. I would not have had a career without this experience.

Allan chillin’ in the box office. (Photo by Peter Cunningham)

Stanley hard at work upstairs. (Photo by Peter Cunningham)

Long after our artist-management relationship had ended, Allan and Stanley still returned my calls. I played the club many times, backing up other artists and headlining myself one snowy night in 1982.

I recall talking with Stanley on a warm summer evening in front of the club about how I landed a national ad campaign with a song I wrote and produced. Chewing on a toothpick he always seemed to have between his teeth, he said: “We’re really proud of you kids. It’s great to see how far you’ve come.” They were like big brothers. I trusted them and we remained friends throughout the years.

The Bottom Line closed one week shy of its 30th anniversary in February of 2004. Manhattan real estate had become a playground for multinational developers, and it became tougher and tougher for such an intimate, non-corporate venue to compete. Upon its closing, John Pareles said in the New York Times: “For a music lover the place always seemed too good to last. The Bottom Line was a grand anomaly among clubs: a place where the music came first. In the end, it seemed, its owners weren’t greedy enough.” (read the full article here)

A long line heading into the club. Music lovers often included The Hells Angels who’s NYC headquarters was a few block away on East 3rd Street drop in. Note the Harley parked in front. (Photo by Peter Cunningham)

While on tour in 2013, Allan called to tell me that Stanley had passed away. The best way to honor the friend he’d known since 3rd grade, he said, was to keep the legacy of the club alive. I am happy to say he did. For two nights only, on October 13 and 14, 2017, the Bottom Line re-opened at Schimmel Center for The Arts at Pace University. The show was called The Bottom Line: If These Walls Could Talk. It was unforgettable. I’ll tell you the story of my adventure producing this concert with Allan in my next blog, “Closing a Circle (Part 2).”

Mick Jagger and Stanley on opening night, February 1974. (Photo by Peter Cunningham)

NOTE: a big thanks to Peter Cunningham and Kevin Daley for allowing me to use their photographs. See Peter’s exhibit Spirits in The Night at 350 Bleecker Street Gallery at Charles.

http://www.petercunninghamphotography.com/

6 From Caterpillar To Butterfly

  • April 13, 2017
  • Paul
  • · News
 "Get A Little" at The Birchmere - photo by Diane Mentzer

“Get A Little” at The Birchmere 2016 tour – photo by Diane Mentzer

I finished another fab tour with the Bacon Brothers in the fall and went right into Dr. Rock mode teaching the two courses I usually offer at Pace University. I was also invited to design and teach a new class for Lehman College (CUNY) which began in February. As you can imagine, with three classes and 64 students at two campuses time is tight. Still, I’m writing, producing, fitting in a little performing and doing some other interesting work.

In March I was music director for a big event hosted by Caterpillar at the Construction Expo in Las Vegas. This may have been a trade-show party but it was pure theater for everyone who worked on it.

 Andrea and The Sonic Butterfly - Entrance Portal in Background

Andrea and The Sonic Butterfly with tunnel in background. – photo by Nima Rezai

Surely, the most gratifying aspect of what I do in music is working with some of the most gifted people in the biz.

The Music

Andrea Brook is a musician and maker of musical instruments with an inspired imagination. She’s a great collaborator with a sensitivity to detail that warms my Virgo heart. Her latest creation is called Sonic Butterfly, which is both an instrument and art installation. When I called her up to talk about the gig Andrea pointed out the obvious connection between Caterpillar and butterfly. Why didn’t I think of that? Clearly this was gonna be a very cool project.

 Alarra, Nima, Andrea, Brad (hidden) and Onyay

Alarra, Nima, Andrea, Brad (hidden) and Onyay – photo by PG

With its 26 glistening strings projecting out and over the audience from it’s resonating wooden body on the stage I knew The Sonic Butterfly would provide a wow factor to the curious engineering types attending the event. What I didn’t expect was that heavy machinery operators would also be captivated by the presentation as well. Everyone was charmed by the appearance of this beautiful instrument and the sound radiating from the stage.

Andreas twenty-first century chamber ensemble featured Nima Rezai who played the Chapman Stick and manipulated hypnotic projections which he designed. Rounding out the group was Brad Ranola on drums, Onyay Pheori on violin and Alarra Saress on keyboards. Onyay and Alarra also supplied rich vocal textures.

Because the Forum Ballroom at Caesars Palace is so enormous and would be filled with as many as 3,000 people and giant machinery we needed a few other elements.

 DJ Dezie

DJ Dezie

This being Las Vegas I suggested getting a DJ who would alternate sets and jam with the band. Enter DJ Dezie straight from high atop the Stratosphere Lounge the tallest building in Las Vegas. Dezie and I created a playlist especially for this audience and rocked the house with contemporary remixes of classic rock, pop and even country.

The final performance touch was provided by three amazing silk dancers: Shyamtara, Danielle Rueda Watts and Andrew Leach. They rose above the crowd and gracefully performed routines to remixes of Tom Petty’s Free Fallin’, Coldplay’s Paradise and Frank Sinatra’s Fly Me To The Moon.

 Silk Dancer Shyamtara

Silk Dancer Shyamtara – photo by PG

The Staging

The idea was to transport attendees to a world in the not too distant future by having them enter the cavernous space through a portal of sparkling lights and ambient sound. They emerged from the tunnel to see the Sonic Butterfly ensemble performing in a massive room filled with futuristic structures and dioramas highlighting Caterpillar’s newest earth moving machines.

 Coming Through The Tunnel

Coming Through The Tunnel – photo by PG

The striking look of the room and the staging was created and built by a talented team of designers from MC2 the company that produced the event. Our intrepid executive producer Mark Rubinsky put together the team including: myself, choreographer/director Melinda Buckley, sound designers Lee Kalish and Paul Bevan, lighting designer Paul Fine and stage manager Liana Rosario.

 Me, Liana, Mark and Melinda

Me, Liana, Mark and Melinda – photo by Nima Rezai

 

 

 

 

For me, whether it’s coming off a tour, the closing night of a show or the end of the semester you can gauge the quality and success of your work by the way you feel when you bid adieu to your colleagues. This was an exhilarating ride for all the right reasons and even though I know we’ll work together again, it was a little sad to say goodbye to everyone.

 

See you all down the road my friends…

16 A wish for the holiday & beyond

  • December 22, 2016
  • Paul
  • · News

card

Hit the PLAY button. Happy Holidays.

https://paulguzzone.com/wp-content/uploads/2016/12/One-World-Remaster-12_22_16.mp3

Thank you to the superb lead vocalists Curtis King and Victoria Faiella who recorded this track for us more than ten years ago.

2 On The Road… Wherever This Highway Goes

  • July 28, 2016
  • Paul
  • · News

“Whither goest thou, America, in thy shiny car in the night?”  – Kerouac, On the Road

I’ve done a fair amount of touring, less than many musicians but more than most. No, I wasn’t Born To Run, Born To Follow or Born to Be Wild but I did Hit The Road Jack, Truckin’ down Route 66 to look for America.

Back in 1971 my first band started caravanning counter culture-style in a used Ford station wagon and a red Chevy van that had our quartet’s name Revival painted on the sides. The moniker was a reference to “folk-revival” but when we pulled into a town we were sometimes mistaken for Jesus freaks. I wonder why?

L/R - Vinnie Mariconds, Richie Assarro, John Cannizzaro, Pat Sciarratta, Michelle Conway (Reiff), Tommy "Goose" Ragusa, Dan Daley Paul Guzzone, Mike Malfesi

L/R – Vinnie Mariconds, Richie Assarro, John Cannizzaro, Pat Sciarratta, Michelle Conway (Vocals, piano and  guitar)), Tommy “Goose” Ragusa, Dan Daley (Vocals and guitars), Paul Guzzone (Vocals and bass) and Mike Malfesi (Vocals, drums and guitar).

As a child we went on family vacations to the Pocono Mountains in Pennsylvania or Shelter Island out on the east end of “Longuyland“. But, those trips always came with serious parental supervision. It wasn’t until I got out of high school that a rock band took this boy out of Queens, NY. Turn up the radio… put the van in gear… and we were outta there. Real freedom at last! It’s not an overstatement to say that the road really opened my eyes.

“They danced down the streets like dingledodies, and I shambled after as I’ve been doing all my life after people who interest me, because the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones that never yawn or say a commonplace thing, but burn, burn, burn…” – Jack Kerouac, On the Road

A DJ from WBCN introduced me to Jonathan Richman when he came to see us at Club Passim in Cambridge, MA. We were touring New England in support our first and only album on Buddah-Kama Sutra Records. It was 1972 and Jonathan’s proto-punk band the Modern Lovers was riding the FM airwaves with a track called Roadrunner. It was the first time I could relate to something called a road song.

Roadrunner, roadrunner
Going faster miles an hour
Gonna drive past the Stop ‘n’ Shop
With the radio on
I’m in love with Massachusetts
And the neon when it’s cold outside
And the highway when it’s late at night
Got the radio on
I’m like the roadrunner

Jonathan was maybe the first of countless “mad ones” I would come to meet. More often than not I’d sit back and listen, as they’d hold court into the wee hours. There was: the misfit writer from Austin, TX who accompanied Janis to San Francisco; the former fighter pilot/photographer who owned a bar in Savannah, GA; the legendary Chicago folk-singer who stayed up ‘til dawn in a Boston hotel room after we did a concert singing for a bunch of us in the band and crew like it was his last night on earth. I learned that the joy of being on the road was people, all kinds of people.

I met thousands of bartenders, bouncers, waiters and waitresses, soundmen (and sound-women), club owners, stagehands, agents, managers, musicians and of course the audience without whom none of us would be there. Nearly all were casual, occasionally intimate and sometimes crazy encounters that lasted less than a day. There are so many stories! Sometimes a story became a song. For years my old boss Tom Rush has threatened to collect musician road stories into a coffee table book. No doubt, many of them would be authored by: “anonymous”. Trust me this guy “anonymous” got around!

“Our battered suitcases were piled on the sidewalk again; we had longer ways to go. But no matter, the road is life.” – Jack Kerouac, On the Road

After Revival broke up I played in a bunch of bands and backed up many other artists. I somehow balanced staying home being a music producer and educator with being a touring musician. Thankfully, I have a very understanding wife Mary Ellen Bernard who is an artist in her own right and we occasionally perform together.

Trying out a new tune at the NY Songwriters Collective

Trying out a new tune with Mary Ellen at the NY Songwriters Collective

For the last 22 years most of my touring has been with The Bacon Brothers. We still travel in cars and vans but they are much nicer than the wheels Revival had in 1971. We also fly a lot. Once, we flew all over the US and Canada in the Planet Hollywood corporate jet. Yeah, I know… touring sucks. Without a doubt the best way to get around is on a tricked out rock and roll tour bus. My band mate Kevin even wrote a love song to this mythical vehicle with “a Janis Joplin heart and an Aretha Franklin soul.”

Where’s she gonna take us to today
It don’t really matter, if we get a chance to play
Something that was lost has now been found
She can keep those worn out wheels goin’ round and around, and around and around and around and around and around! – Bus by Kevin Bacon

So, here comes the obligatory shout out to band and crew… If you’ve read this far then you knew it was coming, right?

What started out in 1994 as a quartet with Michael, Kevin, Marshal Rosenberg and me has evolved into quite a little touring machine. For the last 8 years it’s been Michael, Kevin, myself, Frank Vilardi, Ira Siegel and Joe Mennonna with occasional contributions from Charlie Gordano and Aaron Comess. Because I was with them from the start I have seen astonishing growth in Michael and Kevin as songwriters, singers and musicians. Nobody can ever say this is “just a celebrity band.” And, I am continually amazed at the level of skill and creativity that Ira, Frank and Joe bring to the stage and the studio. They push and inspire me to be a better musician than I naturally am.

L/R: Ira, Frank, Michael, Kevin Joe and Paul

L/R: Ira, Frank, Michael, Kevin Joe and Paul

Life on the road is made easier by an outstanding and tireless crew. As Jackson Brown says in his song “they’re the first to come and the last to go.” For every single show Andrew Harris, Matt Borders, Brett Morgan and for a while back Chris Fenn would put it all together and take it all down. Finally, let me be clear, nothing happens at all without the steady oversight of our tour manager (now manager) Chris Bailey. Kerouac himself could not find a better bunch of traveling companions.

“We fumed and screamed in our mountain nook, mad drunken Americans in the mighty land. We were on the roof of America and all we could do was yell, I guess–across the night…” – Jack Kerouac, On the Road

After long ago forsaking a solo career to become a back up musician, producer, composer for hire and educator I am today a performing songwriter. And I’m still traveling. I finally wrote my own road song called Wherever This Highway Goes. Appropriately, the music is co-written by Frank and Ira. I hope you like it.

“Every now and then a clear harmonic cry gave new suggestions of a tune that would someday be the only tune in the world and would raise men’s souls to joy.”
– Jack Kerouac, On the Road

Yes, the joy of the road is the people you meet. Every now and then you connect with a man or woman who becomes a life-long compadre, which is pretty wonderful.

See you down the road! I promise.

0 Foggy Minded Boys

  • April 29, 2016
  • Paul
  • · News
Kirk Woodward

Kirk Woodward of The Foggy Minded Boys

A few weeks ago I had the pleasure of performing at the home of a dear friend of myself and Mary Ellen, Kirk Woodward. Kirk is a prolific writer and director, as well as a life-long scholar of theater and music.

Among Kirk’s many endeavors is a band of musical brothers who christened themselves The Foggy Minded Boys. Isn’t that one of the best names you’ve ever heard for a band “of a certain age”? How to describe them? I’d say: The Smothers Brothers meets Mumford and Sons. Lending great vocal harmonies to a mix of bluegrass, country, folk and rock, including some original tunes, they emphasize up-tempo numbers and comedy.

While essentially a group of guys who enjoy playing music on the weekends, these particular guys are on a mission to give back to their community at the same time. Refusing compensation, they provide free entertainment to not-for-profit organizations. To date, they have given nearly a hundred performances for churches, hospitals, nursing homes, charitable fundraisers and other public events, including our own Pomona (NY) Music Festival.Foggy Minded Boys

The Foggies first got together at a coffeehouse at the Central Presbyterian Church in Montclair, New Jersey in 2003. Starting with four vocalists – Bob Bockstiegel (banjo), Neal Day, Bill Weeks and Kirk Woodward (keyboards and musical direction) – they later added Larry Frick (guitar) and McPaul Smith (bass), with frequent appearances by Bob Whiteley (bass) and Rick Van Horn (drums). In 2015 they also began working with Jane Alenbach, Martha Day, and Barbara Sabella, a vocal trio skilled in close harmonies and inevitably known as the Foggettes.

Most of the Foggies and Foggettes were in attendance the night of my house concert. So, singing along was a given with such an outgoing and talented group in the audience. When I took a break Kirk sat down at the piano, a banjo and guitar were quickly tuned, and The Foggy Minded Boys took over the living room with their hilarious original theme song penned by Kirk. (Listen here.) They followed up with the gospel tune “Dancing With the Angels” (watch a clip) and a spirited version of Ray Stevens’ “Would Jesus Wear a Rolex?”

*Foggies Main PhotoThis night epitomized what playing music is all about. Kirk’s family and household have always overflowed with creative energy. So, it was a particular joy to be part of this evening, singing and exchanging sets with such a warm and close-knit musical community. Play on, Foggies!

Visit The Foggy Minded Boys on Facebook!

Page 1 of 41 2 3 4 »

© Paul Guzzone, All Rights Reserved • Website by Performing Songwriter

Designed by Luke McDonald & Powered by WordPress