Ukulele - A Traditional Baby Guitar From Hawaii

Recently, we saw the latest trending among guitar enthusiast is the "baby" guitar. It's small, easy to carry and hold, and easy for travel. But the true original "baby" guitar has been around with us for many years. We may saw it performed in the clubs or lounges but didn't pay much attention, it's called Ukulele.

Today, Ukelele is commonly associated with music from the Hawaiian islands due to its use in popular music originating there. According to Queen Lili'uokalani, the last Hawaiian Monarch, the name means "the gift that came here", from the Hawaiian words uku (gift or reward) and lele (to come).

In 1915, this exotic baby guitar gained popularity on the mainland of the United States beginning in San Francisco. This is due in part to the Panama Pacific International Exposition, which took place in San Francisco, where Ukulele prominently featured in exhibit. It is estimated having 17 million visitors. The popularity of this exhibit at the Expo launched a fad for Hawaiian-themed music, including Ukulele, on the mainland of the United States.

Ukulele has been played as a solo instrument for many years, but groups of Ukulele players are cropping up all over the world. Ukulele also played in orchestra and ensembles as well.

This amazing baby guitar commonly has four strings and is actually big on tone and sweet in sound. The sounds emanating from a Ukelele depends on its size and how it has been constructed. There are four common sizes of this instrument: Soprano, Concert, Tenor and Baritone.

Soprano, the smallest Ukelele, is the original size. In Hawaii, it is known as the "standard" Ukulele, extremely light and portable. Soprano is probably the most popular and widely owned and played of Ukulele. Soprano usually have around 15 frets, as the smallest, producing tiny sound most recognizably from Ukulele. As a result of its small size, kids generally easily holding it, so encourage them to learn how to play it. Many schools utilize Soprano size Ukuleles in their music classes.

Concert was introduced in 1920s, as an enhancement of Soprano. Concert Ukuleles are slightly larger than Soprano and usually have anywhere between 15 and 20 frets, producing deeper tones.

Tenor Ukuleles are slightly larger than Concert, producing more volume and deeper bass tone compare with Concert and usually have 15 or more frets. Concert is the choice size for most performing soloists.

Baritone is the largest size, was created in the 1940s, is the largest of Ukulele sizes. Baritone exhibits a much deeper sound than other ukulele sizes.

As for choosing the right size, the very best way to find the perfect Ukulele for you is to check out Ukuleles by yourself. How it sounds and feels to you is the most important thing when time has come to decide.

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Techniques For Singing Soulfully

'I don't know what happens to me on stage. Something else seems to take over.' These words of Maria Callas, the famous American soprano singer, reflects what many people feel when they sing from the heart or from the soul, an experience where they are uplifted from their everyday selves and get in touch with a deeper reality at the core of their being. In the words of Nobel Prize-winning poet and composer Rabindranath Tagore: 'Music is the purest form of art... therefore true poets, they who are seers, seek to express the universe in terms of music... The singer has everything within him. The notes come out from his very life. They are not materials gathered from outside.'

Here are some techniques for singing soulfully that singers can try.:

Have a moment or two of silence before singing, focusing on remaining centred in the heart rather than outside distractions. As the old Chinese proverb goes 'If I keep a green bough in my heart, then the singing-bird will come to sit on it.' The Indian musician and composer Sri Chinmoy, for example, suggests that in the silence one can try and invoke some fundamental qualities of singing - consciousness, soulfulness, confidence and oneness to name a few.
Singing powerfully and singing soulfully need not be contradictory - indeed one can help the other. One visualisation that might help you do is to imagine, whilst singing powerfully, that you are holding a bowl filled to the brim of water inside you and you don't want to spill any of it, you don't even want to cause ripples on the surface of the water. In this way you can feel the inner strength in which power and stillness come together.
When singing from the heart, it helps to draw the attention to the heart by putting one's hand to one's chest, especially for beginners. This enables one to feel first the physical vibration in the centre of the chest, then the spiritual feeling of being in the heart. In Hindu and Buddhist singing and chanting, a special hand position called the anjali mudra is often used, folding the hands in the centre of the chest so that the two thumbs are touching the centre of the chest - in the West, we are of course familiar with this as the prayer position.
When singing in groups, the primary quality to focus on is oneness between the group members. Try and not listen for the sound of your own voice in the chorus, but rather imagine that there is only one solid voice emanating from the chorus that all the individual voices have blended into, that the voice of the entire chorus is emanating from one's own being.

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Beginner Ukulele Chords Part 5 - How to Play an E Minor Chord

If you've been following our series of articles on beginner ukulele chords you'll already be able to play a number of chords: A minor, G, F and C. In this article we'll be giving you one more to add to your repertoire: E minor.

As you'll remember from our previous article on the A minor chord, all minor chords need to contain a note that is three frets above the chord note (also know as a minor third). With the chord note being E, the chord E minor must contain the note G.

There are two ways you can play the E chord on the ukulele in the first position and we'll be taking a look at how to play both of them.

E Minor: Option One

The first version of the E minor chord we'll look at is the most common one and requires three fingers to play. Third finger - C string - 4th fret. Second finger - E string - 3rd fret. First finger - A string - 2nd fret.

The remaining string (G) should remain open to give you the first way of playing the Em chord.

E Minor Chord: Alternative Version

As you might have noticed, the first way of playing the Em chord has two G notes in it: at the third fret of the E string and the open G string.

For any chord, you only need to hear each note that makes it up once. So you can do away with the one on the E string and let that string ring open too (since the note E is obviously part of the Em chord).

This might string you as being an easier way to play the chord - since it takes one less finger to play - but that is not true.

Taking your finger off the E string will increase its height. This makes it much more likely that you will accidentally mute it with your ring finger. That's why the first inversion we covered is the more popular.

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Ukulele Sizes - The Explanation

There are four main sizes of ukulele. Some manufacturers make variations on this and have completely different types like the kala pocket uke, but I won't go into them here.

The sizes are (from smallest to largest)
* Soprano
* Concert
* Tenor
* Baritone

Sopranos are the smallest and the original uke. Around 21" (53 cm) in length and usually having around 12 frets, it's the most common uke. All the toy ukes come in this size it's a good uke from a beginner to a professional.

Concert ukuleles are slightly larger, at about 23" (58 cm) with around 15 frets. They have a louder deeper sound and also a very common ukulele. I've got a Greg Bennett in this size and the range in frets allows you to play some solos that just aren't possible on a soprano.

Tenor ukuleles are bigger still, at roughly 26" (66 cm) and 17 or so frets. They are louder and deeper still. Used for a lot of jazz and blues, some are often tuned with a low G string (always makes me laugh) to give it more range and a different strumming sound. Jake shimabukuro often uses a tenor or concert when performing.

Baritone ukuleles are an odd one. The biggest uke, at around 30" (76 cm). they're the loudest and lowest uke. Strings are tuned like a bass guitar and used in a similar fashion. I might get one just for kicks.

So decide what you want to do with a uke before you get one, but if you're starting out, get a soprano, they're cheaper and great for strumming to your favourite karaoke songs.

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Where Can You Find Cheap Ukuleles for Sale?

Are you looking for cheap ukuleles for sale? You are certainly not the only one. Many people are fond of these wonderful Hawaiian guitars. They are great for kids (but not only for kids), producing big tone with a very sweet sound. I will write about where you can get them on discount price in a moment, first I would like to write a few words about the ukuleles themselves.

Ukuleles - the Hawaiian guitar

The ukulele is a small-sized guitar with 4 strings. The word Ukulele means in Hawaiian "jumping flea". The legend goes that there was an English army officer who was quite an expert in playing this instrument. Because he was small and sprightly, he was nicknamed "Ukulele", and that's how the ukulele got its name.

A different explanation is that the fingers of the ukulele accomplished player would be flying nimbly up and down the fretboard, so that their movement will be similar to that of jumping fleas.

The Ukuleles come in 4 sizes: The smallest is the Soprano, which is also referred to as the standard size. Then there are the Concert size, the Tenor and the Baritone. For a starter uke, it is usually recommended to get a soprano sized instrument. When you feel adept enough you can get your next bigger uke in one of the other sizes.

Get yourself also some good uke songs books, so you can enjoy the sweetness and richness of its sound.

Where can you find cheap ukuleles for sale?

You really don't have to spend too much money on a ukulele. For a very reasonable price you can get an amazing ukulele with a terrific sound. A good uke will usually not have to be tuned too often - you may have to tune it a few times in the first few days, but then it will keep tuned for a long time.

You don't have to travel to Hawaii to get a reasonably-priced uke. You can find very good and cheap ukuleles for sale online. You just have to make sure you are getting it from a trustworthy place, which will send you an original ukulele with a warranty. Before buying anything online you should always do some research and price-comparing, to be sure you have found a good buy. Always remember to check the credentials of the online shop you are buying from. This may require some additional effort, but this is well worth your time, otherwise you may feel cheated and disappointed.

You can also check my blog bellow to find out where you can get cheap ukes for sale in a good and trustworthy place.

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Great Moments In Opera, "Non So Piu Cosa Son, Cosa Faccio" From Mozart's Opera "Figaro"

The aria "Non So Piu Cosa Son, Cosa Faccio" is heard in the first act of Mozart's opera "Figaro". Its title being "I Don't Know Anymore What I Am, What Am Doing" when translated in to English. This being a rather strange aria in the sense that it is performed by a female mezzo-soprano, who in fact is playing the part of a young man by the name of "Cherubino". Cherubino, an oversexed young man who is turned on by just about every woman whose beauty goes by his gaze. It being in this aria in which he confesses he desires of how every woman he sees causes him to palpitate and change color to the point that he finds self control almost impossible to come by.

"Non So Piu Cosa Son, Cosa Faccio" in my opinon is an aria which manages not only to capture the hopes and dreams of a young man inspired by all the women about him but his desires for love; as his voice expresses all the lustful passion of the early stage of his life. Cherubino claiming a fire burns inside him which he simply can not quench no matter how much he tries; for he is one who speaks of love all the time. As for the music, it is in this piece in which Mozart has created music which truly represents the passion felt by the young man, who is simply overjoyed with his freedom to go about chasing as many young ladies as meet his fancy. The melody in fact exploding as he reaches points of almost complete ecstasy in his wishes to conquer all the women that be in and out of the palace, where he serves as page.

For my part, I would like say that it is this particular aria which in its light merry melody portrays the sentiments of many a young man who is discovering the opposite gender and all the ways of beauty and mystery held by all its members. This being what Cherubino praises as he sings with all enthusiasm of his youth. As for myself, I would like to point out this aria to my Joannuszka Slisznuszka; for the beauty it contains along with the harmonies to be heard. It in fact being one of Mozart's most famous arias.

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Have You Got Saxuality?

Having been a professional female musician for over ten years I have realized it's not only down to how well you can play your instrument it's also got a lot to do with what you look like! Men are dominant in the music industry in terms of performance, management and production, despite the increasing presence of women as performers and middle managers therefore have come to appreciate that it is important for me to be aware of how I am perceived by the people around me and what I can do to influence that perception.

The saxophone is an ambiguous instrument in terms of gender stereotypes. It is classed as a woodwind instrument, and woodwind instruments are gender stereotyped as being female. However, saxophones are commonly played by both sexes, with famous saxophonists being largely male. The saxophone is unlike other instruments, such as the guitar and the bass, in terms of the fact that it does not require a manly stance and is not strenuous on the fingers, unlike playing the guitar. Many female saxophonists, such as Candy Dulfer, play the lighter in weight and smaller in size alto and soprano saxophones. I differ from the norm as I play the heavier and perceived as more masculine tenor and baritone saxophones. This instrument choice has taken a physical toll, however, as I suffer from neck and back strains.

The instruments I choose to play were designed for the male physique - taller, heavier with broader shoulders. When reflecting on my choice of instrument I have come to realize that I consciously made the decision to be different from my female peers and enter into a male dominated world, facing its challenges head on. The semiology of the saxophone is linked to a curvy brass tube, which has more feminine connotations than male. However the size and the sometimes harsh sounds have male connotations. The sexiness of the instrument itself can be picked up by the image of both male and female players. It is important for the artist to match their persona with that of the instrument. The actual action of blowing to make the saxophone sound cannot be classed as a sexy, feminine look; the face contorts as the lips close on the mouthpiece. However, blowing, especially in the case of a female, can be associated with oral sex connotations.

Candy Dulfer has had a long successful career in the music industry as a solo instrumentalist; her first solo album was released in 1990. Compact disk insert pictures are evidence that Candy's attractive blonde female image was exploited and used for marketing purpose in the early stage of her popular music career. It is questionable whether she would have received the same exposure had she not had some of her physical attributes. Early photographic poses on CD inserts highlight and exploit long blonde hair, exposed long legs and chest cleavage. Later cover poses move to angelic, less sexual images, and ten years after the start of her career, with less youthful looks, Candy's appearance is deemphasized and then on her latest album cover her physical image does not appear at all.

As a female saxophone player in a function band, I have noticed that a large amount of people both men and women will approach me after a performance and comment on how much they love the saxophone and how they have always wanted to learn to play. I am positive that the reason many people wish to play this instrument is due to the sexiness of both the sound and the look of the instrument. I feel that I must try to live up to the persona of my instrument by looking good, having a good figure and dressing well, sometimes a little risky! It's always nice to know that I can my femininity if and when necessary by having it in my musician's toolkit!

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Choosing Which Brass Musical Instrument to Learn

Choosing a brass musical instrument to start playing may seem quite a daunting prospect. There are several factors to keep in mind such as cost, the player's physical size and weight capabilities and availability of teachers of that instrument (there are some very good online databases to assist you in finding qualified teachers in your area). The key consideration to bear in mind when choosing a brass instrument is that playing it should be fun! It's a good idea to choose your instrument according to which genre of music you like. For example, if you want to play jazz, there is no sense in learning the euphonium, whereas trumpets are popular in all genres. Some musicians get a kick from playing in an orchestra. Others opt to go solo. It's a good idea for the budding musician to keep in mind at the outset an idea of the general direction he would like to go in. After all, what started out as a hobby may flourish to become a lucrative career, and what better than to be paid for playing the music you love!

Musical Genres

A classical symphony orchestra will usually feature tenor trombones, a bass trombone, a tuba, trumpets and horns.

A traditional brass band will incorporate a soprano cornet, euphoniums, a bass trombone, a flugelhorn, baritones, tenor trombones, tubas, cornets and tenor horns.

Big bands used in swing and jazz will usually incorporate trumpets, tenor trombones and a bass trombone.

Solo instrumentalists are used in a variety of music genres, from pop to folk to blues.

Brass Instruments Types

There are two families of brass musical instrument in modern music: valved and slide.

As the name suggests, valved instruments use a set of valves which the player operates with his fingers. Valves are usually piston valves, but may be rotary valves as in the case of tubas and horns (rotary valves require special care, for example they must be cleaned by an expert - see the cleaning section for further details). Most modern brass instruments are valved instruments, including the flugelhorn, cornet, trumpet, euphonium, French horn, tuba and tenor horn.

Slide instruments incorporate a slide to change the length of tubing, and thus raising and lowering the note. Trombones are the main family of slide instruments (bar the valve trombone, which is mostly used in jazz pieces).

Bugle

The bugle category of brass instruments incorporates bugles, trumpets, flugelhorns and cornets. There are subtle differences between these instruments in appearance, sound and playing technique. Buglists are sought after by brass bands, particularly military bands.

Trumpets

The trumpet is a popular choice of brass instrument. It is ideal for the beginner. Trumpets are used in a wide variety of music genres, which should help to keep learning interesting. Trumpets are convenient to transport and store and are relatively inexpensive.

Flugelhorn

Like the trumpet and cornet, the flugelhorn belongs to the bugle family of brass musical instruments. It is similar to the trumpet but its sound is slightly sweeter. Flugelhorns are widely used in a variety of music types, from classical to traditional brass band music, and are very popular in jazz.

Cornets

The cornet is similar to the trumpet, but with a slightly more melodic sound. Cornets are ideal for beginners because they are more compact than trumpets, which makes them easier to hold. Cornets are a vital component of a traditional brass band but, like the trumpet, their musical range is extensive. Cornets are relatively inexpensive to buy.

Euphoniums and Tubas

These instruments can be enormous and tend to be quite expensive. However, euphoniumists and tubist are becoming few and far between and so are always in demand. Tubas can be so big that you may struggle fitting it into the boot. Euphoniums are smaller scaled and have a wonderful range. These instruments are elementary to the classical symphony orchestra and the traditional brass band.

French Horn

A french horn is both a beauty to behold and a delight to the ear. A good French horn will be quite expensive and challenging to learn. French horn players quite a rarity. No classical orchestra would be complete without half a dozen, however, meaning that players are much in demand.

Trombone

Despite this instrument's impressive range, trombonists are becoming an endangered species! Though the trombone is a reasonably priced instrument, its slides are very delicate and must be handled with great care. The trombone is easy to learn and there is great demand for trombonists to play in classical, swing, jazz and traditional brass bands.

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Karen Peck and New River Release Journey of Joy - First New Southern Gospel Album in Two Years

Karen Peck and New River have released their first new album in over two years. The album is entitled, "Journey of Joy". I spoke with Southern Gospel music's favorite soprano, Karen Peck - she has been nominated for Favorite Soprano eighteen years in a row! - on the day that Journey of Joy was released.

The first thing that I noticed about Karen Peck was her hearts desire to reach people with the message of the Gospel of Jesus Christ. From her heart , the Word comes forth, both in her music and in her speech. Her gentle, humble spirit comes through in all that she speaks and sings.

I asked Karen Peck about the first single released to Southern Gospel radio from the Journey of Joy album. The song is entitled Last Night. "Last Night" was written by a very wonderful friend of mine, she's also a great songwriter. Her name is Marsha Henry. She wrote the song that Jeff and Sheri (Easter) sing "Roses Will Bloom Again" and co wrote the song we sang years ago, "God Likes To Work When Nothing Else Does". She's also written a lot of other great Gospel songs.

"She has been very sick and the doctors haven't been able to diagnose her, so for a year she hasn't been able to work and she's just been really down and out. She wrote this song, 'Last Night' and called me and said 'Karen I've written a song I think you might like.'

Karen said that the first time that she heard the demo that she began to weep. She recalled how when they were in the studio recording the song that the Spirit of God fell on the studio and they "had church". "The only thing I can compare it to is when we recorded the song, "Four Days Late" in the year 2000. Four Days was so powerful in the studio and we had a similar situation with "Last Night", recalls Karen Peck.

"Last Night" as well as most of the songs on "Journey of Joy" have a rather progressive sound. The songs are definitely Southern Gospel but also show growth from her last album, "Good To Be Free". Karen commented, "We want to always grow in the Lord and as we grow in the Lord then every area of our lives seems to grow and get better. Our constant prayer is 'Lord let these songs minister to someone's heart'".

"Journey of Joy" contains songs that are bound to bless the listener. I enjoyed the song, "Then He Moved" which features the voice of Devin McGalmery. This young man shows a voice that will make those interested in Southern Gospel music take notice. His vocals on "Hold On" remind me of Jason Crabb.

Other songs on this Southern Gospel album that stand out are "When The Stone Rolled Away". This may be the strongest song on the CD and showcases the harmonies that this trio is capable of. "Whispered Prayers" is a moving song with a unique ending that features a call to salvation by the Reverend Billy Graham.

I asked Karen Peck what has been on her heart lately, what has God been doing in her walk. " I want to please God", Karen smiles. " I want to have faith in knowing. It's easy for me to believe for others. I can believe that God is going to come through for others. I can believe and won't doubt at all. I have friends that are going through situations and I pray for them and I believe with all of my heart that God is going to bring them through. But then when situations happen in my life then I start questioning, 'Well God - Lord help me' its so much different when the shoe is on the other foot.

"So what I'm praying now is - I've probably lived half of my life on this earth. I just pray that the next half of my life will count, will really count for Him. I want to please God with my faith. I want to have faith, believing that no matter what I face in my life, that He is there for me and He will take care of me, and not 'maybe' but that He will".

Its this desire to please God that shines in this Southern Gospel album, "Journey of Joy" by Karen Peck and New River.

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Understanding MIDI - MIDI Ports, Channels, and the General MIDI Standard

In a previous article I wrote the basic definition about MIDI (Musical Instrument Digital Interface) and how modern musicians can use it in their independent productions. This time I will write about the technical side of MIDI, including MIDI ports that are available, MIDI channels and how to use them, and the General MIDI Standard that allows a MIDI file to be read consistently over a variety of MIDI-capable instruments (hardware and software).

MIDI Ports

As in every other audio or music related technology, MIDI has an IN and OUT port. To explain the use of these two ports, lets use the example of a MIDI keyboard and a computer (in this case a MIDI to USB converter is necessary for the computer). The MIDI OUT port on the keyboard is connected to the MIDI IN port on the computer. This means that the keyboard sends MIDI data to be played back or recorded inside the computer. Vice versa, the MIDI IN port on the keyboard can be connected to the MIDI OUT port of the computer allowing the recorded MIDI data inside the computer to be sent back to the keyboard in order for the keyboard to play back the MIDI data (this means you can record yourself playing, edit the MIDI data in a music software, and then play it back on the keyboard and record the audio coming out the keyboard for a better edited performance).

Besides MIDI IN and OUT, there is a MIDI THRU port that is sometimes available on a MIDI instrument. MIDI THRU functions to pass on the MIDI data received at the MIDI IN port to another MIDI instrument or device. Take for example the keyboard receives MIDI data from the computer in it's MIDI IN port. If the keyboard has a MIDI THRU port, it can continue the data it receives from the computer to another MIDI instrument's MIDI IN port. This is useful to chain several MIDI instruments receiving data from a single MIDI OUT port from the computer (for example, to play multiple string parts using different string sounds on different keyboards).

In more recent technology, keyboards can be connected to computers via straight USB connection without needing a USB to MIDI converter. The downside is that it limits your ability to chain multiple MIDI instruments together.

MIDI Channels

There are 16 MIDI Channels for every 1 MIDI Port. That means any one MIDI Port can send and receive 16 channels of MIDI data. Each MIDI channel contains all the MIDI information regarding a particular track. For example, if Track 1 is Acoustic Piano, then MIDI Channel 1 will contain the note pitch, note length, sustain, and other performance data to be played back by a sound source. The sounds played back are determined by the Bank and Patch number inside the MIDI Channel. For example, using the General MIDI Standard, Acoustic Piano is always Patch #1 and Acoustic Guitar (Nylon) is always #25. There are 128 Patches overall.

Having 16 MIDI channels per port allows you to compose a song using 16 different parts. For example you can use Channel 1 for the melody Part using a saxophone sound (Patch #65 Soprano Sax), create the comp part using a piano (Patch #5 Electric Piano 1), and compose the rhythm part using bass (Patch #34 Electric Bass finger) and drums (using MIDI Channel 10, a channel that is reserved especially to play percussion sounds regardless of the patch number you program in). If you need more channels, then you need more MIDI ports!

General MIDI (or GM) Standard

The GM Standard is the standard used in order to be able to play back MIDI files consistently between different MIDI devices. I mentioned above about Patch numbers and MIDI Channels. These Patch numbers contain the type of sound to be played back (#1 for Acoustic Piano). In order for another device to understand that MIDI Channel 1 is MIDI data for a piano sound, it applies the GM Standard and confirms that Patch #1 is a piano sound (it will then call up it's own version of the piano sound, sometimes this can be better sounding or it can be simpler sounding depending on the internal sound synthesizer that is used to play back the MIDI data). Most keyboards and software when saving MIDI data saves it under the GM Standard. I hope this article can be of use for you to further your understanding of modern digital music technology. To your music success.

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Cathy and Marcy, a Folk Duo for Families

Kids and grownups alike gravitate to Cathy and Marcy wherever the folk duo perform on their multiple instruments. Cathy Fink and Marcy Marxer met at a festival in Canada in 1980 and began performing together with the premise that everybody can sing, dance, make rhythm and share the love of music with others. Add a soupçon of silliness and soon the shyest children in the room will begin clapping, singing and reveling in the fun of making their own kind of music.

Sometimes their Alumni Chorus joins the fun. These are the kids who grew up on their music and sang on their albums back in the 80s and 90s. Fink and Marxer have a multi-generational following today made up of grandparents and their children who have grown up to become parents and now bring their own kids to our shows. No iPod can replace the excitement of participating in music together and nothing encourages children to love music more than parents who listen to music with their children - really listen - and make music with them. It doesn't matter if you have good voices. Fink tells parents to get a ukulele, learn a few chords, and they're on their way.

Cathy and Marcy's expertise in family-oriented music encompassing folk, country, swing, jazz and traditional styles has been a bonanza for them and their young audiences who have scooped up their 50-plus recordings. Many youngsters have been inspired to emulate the two by taking up the guitar, banjo and mandolin, as well as the ukulele. Along with virtuoso performances on their multiple instruments, Cathy and Marcy spread joy by singing, yodeling, clucking like chickens, cavorting in goofy costumes and encouraging audience participation.

Their audiences have included the Queen of Thailand, the U.S. Congress and those who listen to NPR and watch the "Today Show." Their recordings for children have won two Grammy Awards and received 14 other nominations. Among their admirers and fellow artists with whom they often perform are Pete Seeger, Tom Paxton, Tom Chapin, John McCutcheon and Ella Jenkins. In celebration of Ella's long career, they all dug into her repertoire and recorded a CD with Sweet Honey in the Rock, Riders in the Sky, Red Grammer, Bill Harley and other kid-oriented artists. It won the 2005 Grammy Award for Best Musical Album for Children.

The glue that holds these folk colleagues together is their belief in music and community. Although they go on their separate paths, they always come together with joy. This past summer, Fink and Marxer performed with the Children's Chorus of Washington at the Ihlombe South African Choral Festival. The recording they made there will be out in early spring, just one more example of the magic that happens when they bring people of all ages together to make music.

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A Musical Family - Johann Sebastian Bach and the Bach Family

A famous German composer and organ player, Johann Sebastian Bach came from a very musical family. He was born in Eisenach on March 31, 1685. He was the youngest child of Johann Ambrosius Bach and Maria Elisabetha Lammerhirt Bach.

Johann Sebastian Bach was surrounded by music from birth. His father was an organist for St. George's Church, and all his uncles were professional musicians. They included everything from court chamber performers to classical composers.

Bach's father taught him how to play violin and harpsichord when he was very young. Johann Sebastian's famous uncle Johann Christoph Bach taught him the fine art of organ playing.

Sadly, Johann Sebastian Bach was orphaned when he was just 10 years old. His mother died in 1694, and his father died only eight months later. He then moved in with his brother, who was also a famous organist named Johann Christoph Bach. He began to study music in earnest, learning to compose, perform and write music professionally under his brother's tutelage. He also learned to play the clavichord.

At the age of 14, Johann Sebastian was awarded a choral scholarship that allowed him to study at St. Michael's School in Luneberg. The school had a great musical reputation. It was located in Hamburg, which was then one of the largest cities of the Holy Roman Empire.

After his graduation, Bach was given the title of court musician in the chapel of Duke Johann Ernst of Weimar. His reputation as a skilled musician and composer quickly spread, and soon St. Bonafice Church in Arnstadt called on Bach because they needed an organist to play their inaugural concert for a new organ. When they heard him play, they invited him to stay on as their parish organist.

He enjoyed the job, but he took extended absences to study with famous organists and was preoccupied with his composing. In 1706, he moved on to a larger parish in Muhlhausen. Shortly thereafter, he married his second cousin, Maria Barbara Bach. Together, they had seven children, two of which became important composers.

After only a year, Bach left Muhlhausen to become the concert master and court organist at the ducal court in Weimar. This was one of the most productive eras of his life. During this time, he produced many of his famous fugues.

In 1717, he fell out of favor in the Weimar court. When he pushed to be dismissed from his position, he was put in jail for a month before being unfavorably discharged.

Bach was then hired by Prince Leopold of Anhalt-Cothen as the music director until 1723. Many of his famous secular works were composed over these years, as Leopold was a Calvinist and not a big fan of elaborate music in his worship services.

In 1720 Bach's wife died unexpectedly. A year later, he remarried a soprano singer named Anna Magdalena Wilcke. Together, they had 13 children. Six of them survived to adulthood, and all six were talented musicians.

The family lived in Leipzig from 1723 until 1747. Bach wrote many of his most famous works, like motets and his Mass in B Minor, in Leipzig where he served as music director for several churches. In 1747, he moved to Potsdam to serve on the court of Frederick the II of Prussia.

Johann Sebastian Bach died in 1750 of undetermined causes. Some believe a quack surgeon performed an unsuccessful eye operation that caused his death, while others think he suffered a stroke brought on as a complication from pneumonia. He was 65.

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Della Griffin: Jazz and R&B Pioneer (Part 1)

Della Griffin, a legendary jazz singer and one of the first female drummers, was born the 19th child out of 20 on June 12, 1925 in Newbury, South Carolina to William and Mary Gilliam. Though born in the south, Della Griffin grew up in Jamaica, Queens, NY.

As a child, Della Griffin took an early interest in entertainment. She devoutly listened to big band singers and jazz tunes each day on the radio. She began dance lessons when she was 8 and took up singing, which became her ultimate love, three years later, after her brother-in-law, a trumpeter gave her a Billie Holiday (1915-1959) (whom later with her husband, became a close friend) record. Upon receiving the Billie Holiday record, Della “immediately reallocated her weekly allowance from paying for movies to buying all of Holiday’s records as well as records by William “Count” Basie (1904-1984), Charlie Barnet (1913-1991) and other swinging big bands of the day.”[1]

In addition, because of her passion for singing, Della Griffin frequently sang the latest songs around the house. She especially loved to sing in front of company and guests. It was a habit she carried into old age. As a result, her foster children were blessed to hear special renditions of “Today Is Your Birthday,” the title song of her first release, each birthday.

Tragically when Della Griffin was 12, her younger sister, Nancy, the family’s 20th child, contracted pneumonia and died. Yet Della persevered. Her love for music and dreams of becoming a performer remained undiminished.

Within a few years, after graduating with the Class of ‘43 from Jamaica High School (JHS) in Queens, NY, Griffin began singing professionally. She performed in local clubs and dance halls in South Carolina. Upon discovering the enthusiastic interest her performances commanded in the segregated south, Della in search of an even bigger audience, returned to New York where she and Frances Kelly decided to create a group in 1950. Per Della Griffin, “I always liked show business. I liked Billie Holiday. I was working with another girl [in a factory that manufactured shoulder pads.”[2]] and we decided to put a group together and sing. Any place they would let us sing, we would sing.”[3]

Afterwards, they recruited three additional members, Chris Towns, a mutual friend of theirs who was a pianist and songwriter, Pearl Brice, a childhood friend of Della’s, and Rachel Gist, “a Harlem club soloist.” They named their group the Enchanters, which in 1951 became one of the first female R&B groups “paving the way for [such famous female groups as] the Hearts, the Bobbettes, the Chantels and the Shirelles.”[4]

With the group in place, Della Griffin performed as the lead singer, Francis Kelly sang bass, Pearl Brice alto, and Rachel Gist, the youngest at 17, soprano, while Chris Towns played the piano and produced many of their songs. During their existence, the Enchanters “booked themselves into every venue available to them”[5] impressing one club so much that it even invited them to hold rehearsals in their building during off-hours.

As the Enchanters’ success grew, Della took a bold step in inviting Jerry Blaine (1910-1973), owner of Jubilee Records and label of “the Orioles,”[6] a male music group, to attend one of their performances in November 1951. “Intrigued at the thought of a female group,” Blaine agreed and attended their concert at Showman’s club (next to the famed Apollo theater on 125th Street in Harlem, NY) where he listened to them perform “I’ve Lost.” He was immediately impressed and invited the group to sign a contract the following day. Recording began within a week with “Today Is Your Birthday,” a sentimental love song which had been given to them by Blaine and had been previously performed by the Sugartones (Onyx label), “How Could You Break My Heart,” “I’ve Lost,” “Housewife Blues,” and “You Don’t Know I’m Not In Love With You.” Della Griffin was the lead singer in all five songs, with bandleader Buddy Lucas providing male vocals in “Today Is Your Birthday.”

With the recordings completed in one session on November 28, 1951, Jubilee Records included “the Enchanters’ as ‘Something New & Different!’”[7] in their 1951 Christmas trade ad that included its list of performers, most notably the Orioles, Buddy Lucas, Edna McGriff, and Earlington Carl Tilghman (1928-1981) known as “Sonny Til,” who became a good friend of Della’s. This was even before Jubilee Records introduced the Enchanters and announced who they were just after New Year’s Day in 1952 when they released the group’s first record featuring “Today Is Your Birthday” and “How Could You [Break My Heart],” a blues/rock song.

Fueled by the positive critical acclaim and success of their single, the Enchanters began touring the country. They performed at theaters “on The Chitlin Circuit”[8] and at the Apollo in New York City, The Howard in Washington, D.C., and The Royal in Baltimore, MD. Everywhere the Enchanters went they received an enthusiastic positive response. As a result, Shaw Artists Corporation signed on to represent them in March 1952.

Jubilee Records released the Enchanters’ second record in April 1952 that consisted of “I’ve Lost” and “Housewife Blues.” It was met with “a comparable reception.”[9]

With their success, Della Griffin and the Enchanters performed as part of the Amsterdam News’ 15th Annual Midnight Benefit Show (for the newspaper’s charitable fund) on December 12, 1952, appearing with “Milton Berle (1908-2002), Ella Fitzgerald (1917-1996), Aaron ‘Red Buttons’ Chwatt (1919-2006), ‘Duke’ Ellington (1899-1974), Arnett Cobb (1918-1989), Billy Eckstine (1914-1993), Vito ‘Vic’ Damone (b. 1928),”[10] etc. In addition, the Enchanters’ who felt that they “were not receiving the attention afforded [to Jubilee’s] male groups like The Orioles [and] The Marylanders”[11] left the label.

Then to compound matters, Rachel Gist who had entered into a troubled marriage that bore her two children, and Pearl Brice, also married, decided to quit the group, with the latter choosing to become a housewife. By this time, Della Griffin was married to her first of three husbands, Jimmy Simpson, who had been managing her group.

Despite the adversity, Della Griffin and Frances Kelly were determined to continue. They chose Gloria Alleyne (b. 1931) and Sherry Gary of the Dorsey Sisters, a relatively new female group, to replace Gist and Brice, respectively. They then renamed their group the Dell-Tones after Della Griffin their lead singer and drummer, the first female with such a role in a well-known group.

Following this, Della’s husband, Jimmy Simpson got them a record deal with Brunswick Records where they recorded “My Heart’s On Fire” and “Yours Alone” that prominently featured Griffin as the lead vocalist and Gloria Alleyne as the second lead and bridge, respectively on June 3, 1953. The record was released a month later.

The Dell-Tones then performed for a week at Harlem’s Baby Grand (near the Apollo) in December 1953, working with comedian Julius “Nipsey” Russell (1918-2005), a resident act dubbed “The Playboy of Harlem.”[12] Shortly afterwards, dissatisfied with their lack of releases, the Dell-Tones left Brunswick Records and signed on with Eddie Heller’s Rainbow records, where they recorded “I’m Not In Love With You” (released in April 1954) and “Little Short Daddy.” As usual, Della Griffin was the lead singer on both tracks while background music was provided by the Kelly Owens Orchestra.

Afterwards Della Griffin and the Dell-Tones embarked on a 43-day tour with Jimmy Forrest (1920-1980) on the “Night Train Tour,” which also included R&B “luminaries Granville ‘Stick’ McGhee (1917-1961) known as ‘Spo-Dee-O-Dee’ and Jimmy Smith (1928-2005).”[13] They also sang for performances by the Kangaroos, a dance troupe, alongside Arnett Cobb and Jean-Baptiste “Illinois” Jacquet (1922-2004), renowned jazz saxophonists, and performed at the Apollo, The Howard, The Royal, and made appearances in Lexington, KY, Little Rock, AK, Mobile, AL, New Orleans, LA (a legendary R&B and jazz city), as well as in the Canadian cities of Toronto and Quebec City, the latter where they also sang in French.

By this time, Gloria Alleyne who became known as Gloria Lynne, had aspirations for her own stardom. She left the Dell-Tones during the summer and signed on with a management team led by DJ Stan Pat of WTTM in Trenton, NJ and Jubilee Records. Subsequently, Gloria Alleyne had several successes including her hit song, “I Wish You Love,” which peaked at #28 on the charts in 1964. She was replaced by Shirley “Bunny” Foy.

More turmoil followed when Sherry Gary who had come with Gloria Alleyne from the Dorsey Sisters, also decided to leave. Yet the Dell-Tones went on, replacing Gary with Renée Stewart, who had been a gospel singer since she was five (having sung with the 3 Chimes, with her sister Beverly and Lily Mae Belle while attending P.S. 99 in the Bronx, NY) and a member of a “short-lived female group, The Solirettes.”[14] It should be noted that Renée Stewart had decided to audition at the last minute while accompanying a friend, Vicki Burgess, to the group’s trials.

By the summer of 1955, Della Griffin’s original partner, Frances Kelly also left with family taking priority over music. She was replaced by Algie Willie. The Dell-Tones then signed with Sol Rabinowitz’s Baton records, one of the first labels to put out a full-length R&B album, where they recorded four singles – “Don’t Be Long,” “Baby Say You Love Me,” “My Special Love,” and “Believe It” with Della performing as lead vocalist accompanied by Maurice Simon’s tenor sax.

Shortly after the release of their first Baton Records single that featured “Don’t Be Long” and “Baby Say You Love Me,” the Dell-Tones were invited to The Godfrey Show in Philadelphia, PA, where they anticipated performing “Baby Say You Love Me.” Instead, the Dell-Tones were told they couldn’t sing any of their songs because “they sounded too white.” Having been assigned a song they were not interested in, “their hearts weren’t into it… [and thus] they didn’t give it their all.” “That’s not what we were about, so of course we didn’t win,” Della Griffin later recounted.[15]

In December 1955, Gloria Alleyne Lynne’s new manager, Stan Pat signed the Dell-Tones and brought them back under the fold of Shaw Artists Corporation for bookings. The Dell-Tones then began a weeklong tour on December 30, 1955 at the Apollo, performing alongside Sonny Til and the Orioles, before returning to The Royal along with saxophonist Illinois Jacquet on February 3, 1956. This was followed by Baton’s release of “My Special Love” and “Believe It” in March 1956.

A month later, the Dell-Tones toured Canada where they performed at the Flamingo Club in Hamilton and the Esquire Show Bar in Montreal. In addition to her singing, Della Griffin also played the drums while Chris Town, the pianist also sang. At the same time, the group also added a second saxophonist, Frank Henderson, to assist Illinois Jacquet. Yet Della Griffin remained “the only lead.” “The others were lazy… When I got sick before an appearance and couldn’t sing, no one else would do it,” she reflected back to the time when the Dell-Tones had to cancel a show. “We had to come home without appearing.” [16]

The Dell-Tones next appeared for the opening of Club Basin Street in Miami’s Hotel Sir John for a four week engagement starting May 16, 1956 where they replaced Frank Henderson with Gloria Bell, who had played for “Duke” Ellington, as bassist. This proved to be the group’s last gig since a scheduled 11-week summer engagement at Club Harlem in Atlantic City was cancelled after Gloria Bell and Renée Stewart (the latter who eventually wrote “the celebrated R&B street anthem ‘I Call To You’[17]) left “to get married and settle down,”[18] followed by Chris Town who went on to work as a Broadway producer. It also did not help that their latest release, the “My Special Love/Believe It” single floundered after showing early promise in Philadelphia, PA and Virginia.

Afterwards, because of Della’s close friendship with Sonny Til, whom she took in and cared for, for the last two years of his life, the remnants of the Dell-Tones and his Orioles merged. The new group consisting of Della Griffin, Sonny Til, pianist Paul Griffin who became Della’s second husband, Diz Russell, Jerry Holeman, Aaron “Tex” Cornelius, Billy Adams, Shirley “Bunny” Foy, Renée Stewart who returned, and Algie Willie, produced two singles, “Voices Of Love” and “I’m So Lonely” in June 1957 and made several appearances in New York City clubs.

However, by the end of 1957, this group, The Kings And Queens, had also fallen apart. Della Griffin then went out on her own performing with an organist and saxophonist. At times she shared the stage with singer Etta Jones (1928-2001), a Grammy® nominee who went on to her own success following her hit single, “Don’t Go To Strangers.”

Della’s music career came to a decade-long hiatus starting in 1961 when she married Paul Griffin who wanted her to devote time to family matters. “When I married Paul, he wanted me to take time off,” Della Griffin stated during an interview. However the hiatus was not permanent since Della’s second marriage did not endure. “After we broke up, I started making the rounds again. I was scheduled to sing at The Blue Book on 146th Street and St. Nicholas Avenue (in New York City), for two weeks and wound up staying for years,” she added.[19]

~Continued in Part 2~

__________________

[1] Della Griffin. Musicmatch®, Inc. 2004. 3 August 2006. [http://www.mmguide.musicmatch.com/artist.cgi?ARTISTID=886881&TMPL=LONG]

[2] Marv Goldberg. Marv Goldberg’s R&B Notebooks: The Enchanters/Delltones. 2004. 4 August 2006. [http://home.att.net/~marvart/Enchanters/enchanters.html]

[3] John Clemente. Girl Groups. (Krause Publications. Iola, WI., USA. 2000) 86.

[4] Marv Goldberg. Marv Goldberg’s R&B Notebooks: The Enchanters/Delltones. 2004. 4 August 2006. [http://home.att.net/~marvart/Enchanters/enchanters.html]

[5] John Clemente. Girl Groups. (Krause Publications. Iola, WI., USA. 2000) 86.

[6] Marv Goldberg. Marv Goldberg’s R&B Notebooks: The Enchanters/Delltones. 2004. 4 August 2006. [http://home.att.net/~marvart/Enchanters/enchanters.html]

[7] Marv Goldberg. Marv Goldberg’s R&B Notebooks: The Enchanters/Delltones. 2004. 4 August 2006. [http://home.att.net/~marvart/Enchanters/enchanters.html]

[8] John Clemente. Girl Groups. (Krause Publications. Iola, WI., USA. 2000) 88.

[9] John Clemente. Girl Groups. (Krause Publications. Iola, WI., USA. 2000) 88.

[10] Marv Goldberg. Marv Goldberg’s R&B Notebooks: The Enchanters/Delltones. 2004. 4 August 2006. [http://home.att.net/~marvart/Enchanters/enchanters.html]

[11] John Clemente. Girl Groups. (Krause Publications. Iola, WI., USA. 2000) 88.

[12] Marv Goldberg. Marv Goldberg’s R&B Notebooks: The Enchanters/Delltones. 2004. 4 August 2006. [http://home.att.net/~marvart/Enchanters/enchanters.html]

[13] John Clemente. Girl Groups. (Krause Publications. Iola, WI., USA. 2000) 89.

[14] John Clemente. Girl Groups. (Krause Publications. Iola, WI., USA. 2000) 89.

[15] John Clemente. Girl Groups. (Krause Publications. Iola, WI., USA. 2000) 89.

[16] Marv Goldberg. Marv Goldberg’s R&B Notebooks: The Enchanters/Delltones. 2004. 4 August 2006. [http://home.att.net/~marvart/Enchanters/enchanters.html]

[17] John Clemente. Girl Groups. (Krause Publications. Iola, WI., USA. 2000) 89.

[18] Marv Goldberg. Marv Goldberg’s R&B Notebooks: The Enchanters/Delltones. 2004. 4 August 2006. [http://home.att.net/~marvart/Enchanters/enchanters.html]

[19] John Clemente. Girl Groups. (Krause Publications. Iola, WI., USA. 2000) 89.

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