contact: otismacmusic@gmail.com

The sounds of Shuggie Otis and Michael McDonald inspired a man to write a song. A couple of Mondays later, that song inspired an Identity. The name is Otis McDonald. The mission? Good Music. 

From the mind and ears of producer/multi-instrumentalist, Joe Bagale, comes a sound that is fresh but tangibly rooted in nostalgia. When taking a listen, one may recall the soul of the 60s or the funk of the 70s. Or perhaps it’s pop radio from the 80s or the boom bap beats of the late 90s. What ever it may be, Otis McDonald is the sound of an artist who manifests a lesson in versatility and growing perspective.

The production can be dense at times, yet through it’s syncopated rhythms and unexpected harmony, Bagale is able to find the space that counts. Starting out as a studio experiment, Otis McDonald was developed over a 3 month period which found Bagale writing short snippets of music, playing all of the instruments, sampling those snippets, playing more instruments and and eventually creating entirely new songs. 

Musically it’s both playful and emotive, while giving listeners a sense of optimism and joy. Just because it’s rooted in the blues, doesn’t mean it has to have the blues. There are beats that’ll make you wanna sweat on the dance floor. A thumpin’ bass that inspires folks to make love. Synths, guitars and horns that’ll cut through to your core, and a voice that reminds us all what it’s like to be human. 

In 2015, Bagale put out 30 tracks for free, under the name Otis McDonald. Released as copyright free music, exclusively through the YouTube audio library, these tracks have been downloaded over 5 million times, streamed over 10 million times and already have appeared in thousands of youtube creators’ videos. Take a second and search Otis McDonald on YouTube and you’ll find pages upon pages of videos featuring these songs. This being a very unusual way to release music, it may be the best music nobody has ever heard. Funny how the business works. As of 2016, Bagale has formed the Otis McDonald live experience, featuring some of San Francisco and Oakland’s finest players. He’s recorded new music, soon to be released for sale and for streaming, and at least 10 new free tracks for the YouTube audio library, due out later this year.

Combining the skills of a musician, with the power of both old and new technology, the sound of Otis McDonald was born, reminding us that music is a universal language that will always have a past and always have a future. 

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About the DSO :

For more than 65 years the Deutsches Symphonie-Orchester Berlin (DSO Berlin) has distinguished itself as one of Germany’s leading orchestras. The number of renowned Music Directors, the scope and variety of its work, and its particular emphasis on modern and contemporary music, makes the ensemble unique. It was founded in 1946 as the RIAS-Symphonie-Orchester by the broadcasting station in the American sector of Berlin. In 1956 the orchestra was renamed the Radio Symphonie-Orchester Berlin (RSO Berlin), and in 1993, to avoid confusion in Berlin’s newly reunited cultural landscape, the orchestra decided to relinquish its familiar name in favour of its present one.

Ferenc Fricsay became the orchestra’s first Music Director. He set the standard and defined the repertoire. The orchestra’s sound was characterized by transparency, structural clarity and plasticity. It quickly became well known for its commitment to 20th century music, and its ability to attract first-rate conductors. In 1964, Lorin Maazel took on the artistic responsibility for the orchestra. He was succeeded by Riccardo Chailly (1982-89), Vladimir Ashkenazy (1989-99), Kent Nagano (2000-06), Ingo Metzmacher (2007-10) and Tugan Sokhiev (2012-16). Since September 2017 Robin Ticciati has been  DSO's Music Director and Principal Conductor. 

The Deutsches Symphonie-Orchester Berlin and its history have become emblematic of the democratic and cultural renewal of Germany following the defeat of National Socialism and the end of World War II. That is how the orchestra has been perceived at its concerts in Berlin and on tours throughout Germany and the rest of Europe, North and South America, and in the Near, Middle and Far East. Its groundbreaking radio and recording productions have further solidified this image. In 2011 the orchestra was awarded a Grammy Award for the Best Opera Recording.

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Some vocalists sing the sweet melodies of folk in haunting melodic tones. Some singers belt the blues with gravel and rage, and some cascade fountains of smooth jazz onto their audience. Susana Silva comes under an entirely different set of performers, in that her style is totally indefinable. Why? Because when she raises the microphone stand and opens her mouth, everybody is too distracted by the sheer scale of her talent to really notice what “box” she fits into. I can think of only one catergory, which can be described as “that goose-bump, hair-standing-one-end type of singer”.

Naturally she has influences; if you listen hard you will certainly hear powerful blues, with accents of jazz and soul beats, along with the odd delightful funk lick. She is keen on Etta James, Alanis Morisette and Stevie Wonder (to name but a few), which would not surprise the listener. However, the impact of her live performance really does leave little in the mind of listener, because she communicates instead with the heart. This can only come from the fact that she exceeds the role of an entertainer – she is rather the embodiment of an astounding story. 

Susana arrived into London under tough circumstances. She had nothing but a bridge for a roof. Miraculously, the gift of a two string guitar, along with her extraordinary talent, saved her life. She began to perform on the South bank, which quickly built her a fan base and provided her with the funds to invest in better and better equipment (as well as a six string guitar). She has now found her home in this city, and is rapidly becoming a recognised name in the music scene. So what do we fundamentally get from her performance?

We get the first-hand experience of a survivor that fought against the odds. We get a woman who sings from a place of authenticity and love, rather than ego. We get an abundance of breath-taking talent, with an equal measure of modesty. Most of all, beneath the love that she purposefully spreads through music, we feel inspired to follow our own dreams with the same gratitude and compassion.

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