Saxophonist & Producer  Will Holton has forged his place in the music world with his "Big Tenor Sound" & debut cd titled “Always” in 2009

He is an alumni of Villa Maria College. Holton has recorded to date 2 of his own projects (cds) as well as recorded with the international choir “The New Beginnings Chorale Ensemble”. 

Across Seas: a
    Holton was honored to receive a call from Steve Quirk the voice of  jazzfm.com fusion flavurs radio show which is based in the united kingdom to be a part of  fushion flavurs 20th anniversary compilation cd. Holton & Vocalist Jonathan Reed’s rendition of Just the Two of Us (an R&B Classic by Bill Withers & Grover Washington Jr. on debut cd Always ) was received very well internationally as was the track that was chosen. Holton said “I was thrilled to be a part of this compilation and to share the cd with notable giants in the industry such as Kirk Whalum, Foreplay, Euge Groove, & Rick Braun.”

Holton has had the honor of sharing stages with music notables as: longtime friend “2x Grammy Nominee & Pioneer of Smooth Jazz” – Najee, American IdolWinner-Ruben Studdard, “Grammy Award Winning Singer”-India Arie and formerly with Incognito-Maysa Leak. Additionally, Will has also played with “guitar virtuoso”-Stanley Jordan, Keyshia Cole, Carl Thomas, “Hands of Soul”-Joseph Wooten, Ryan Leslie, Dwele, and as of latest “Jazz Legend”-Roy Ayers just to name a few. He also toured with “The Universoul Circus” in 2004. One of the momentous occasions for Will was being awarded the Buffalo Music Award as New Original 1st year artist.

Moving forward: 
Holton is the founder and president of Brandbuilderz and SSP Events and has made his international writer and publisher debut as he has written the song “Love You A Lifetime” for 2x Grammy Nominee Najee on his new album “Mind Over Matter” from Heads Up-which also features Eric Benet and Jeff Lorber, co-produced his 1st Live Cd and is currently working as a co-producer on Najee’s 2011 project.

Released in winter of 2012 was Holton’s sophomore album entitled “Love Stories Untold Volume 1" featuring his longtime friend “Neo-Soul King” Jazz vibraphonist-Roy Ayers Soul Diva Tifani and Vocalist Roc "The Writer" and producer Laze Boi whom has written songs for artist such as Slim from 112, and Angie Stone. "Love Stories Untold Volume 1" is a collection of R&B, Pop & Jazz.

On June 30, 2014, Holton has collaborated again with longtime friend "sax master" Najee and Soulmusic.com founder the legendary David Nathan for a song Holton wrote entitled "Nows The Time". The composition was rendered for a Global Missions Project where all proceeds benefit various African Villages including Zambia. 

Off the Stage: 
Holton has been noted as a humanitarian working with many prestigious organizations such as the American Cancer Society, The Patty Perete foundation and March of Dimes. His varied career includes performances for auspicious sororities such as;Alpha Kappa Alpha, Zeta Phi Beta and Delta Sigma Theta. Hehas been a continuous supporter and mentor to various Buffalo Public, Charter and surrounding area schools within Western New York including Harvey Austin as a musician & speaker as well as The Global concept charter School located inLackawana. For the past three years Holton has enjoyed his role as one of the Charter schools Story Readers for their Annual Black History Month Celebration.

Holton’s “Living the Dream” Experience is attributed to his many accomplishments.  
embodies Holton’s message to youth……….. “Despite the obstacles that may present themselves on the road to success…. perseverance, dedication and commitment are key. Take the little successes to reach your desired result and become a big success”. On December 3rd 2011, Holton was presented with a proclamation from the City of Buffalo for his works in his community and musical endeavors; declaring that December 3rd be "Will Holton Day" in the City of Buffalo. 
   
Keep an ear out for the Man with the Sax in one hand and the world in his other as he is currently producing 3 albums his third album entitled: III (three), Wynetta Hall McKelveen's debut gospel album entitled "And We Worship" and the debut release of the "Soulful Nigerian Songstress" known as Amaha. 

The Allen Shadow Story
With his debut release, "King Kong Serenade," critics are already raving about Allen Shadow, calling him "a true rock poet in the tradition of Nick Cave, Tom Waits, and Bob Dylan". His gritty, literate New York City style has critics comparing him to early Lou Reed, Bruce Springsteen, Jim Carroll and even Walt Whitman.
"King Kong Serenade" offers a noirish portrait of New York City, from its famed icons to its ill-fated ghosts, as it invokes the spirits of Kerouac, bebop jazz greats, painters, grifters, street hustlers and side-show personae.
"Perhaps not since Lou Reed...have images of New York life, from the sidewalks to the subways to the squatter tenements, from Coney Island to the Bronx, been so aptly paired with the sound of crunching guitars, bass and drums," wrote Seth Rogovoy in the Berkshire Eagle.
"Like Reed, Shadow has the poet's gift for imagery ('Platform cheek to cheek/The paper hides the morning geeks/Signs read in shock speak/Sunglassed to the knees')," said Rogovoy. "Charles Mingus haunts the proceedings, as do Allen Ginsberg, Thelonious Monk and Jack Kerouac, but Shadow is an original storyteller, painting vivid portraits of the romance and terror of life in the world's greatest city."
"At a time when many are wondering about the future of New York City," wrote Terry Ross in a 5-star review in the Daily Freeman," Shadow's work is a lovely repast, truly an abnormally poignant journey through yellow bejeweled images and the splendid squalor of one of the world's greatest microcosms."
Keith Hannaleck of all-reviews.com said: "Allen Shadow gives a classic performance that will surely raise some eyebrows in the entertainment sector."
But where has such an artist been all these years? The answer is simple: in development.
Shadow (a.k.a. Allen Kovler) began his writing career as a poet. Two books of his poetry - "Harlem River Baby" and "A Heart in the Anteroom" - were published by Quick Books (Pueblo, Colo.) during the 1980s, and his work was included in many small and university press publications nationwide.
Also during the 1980s, Shadow co-edited a literary magazine and directed a reading series in upstate New York that included the poets Robert Creeley, Robert Kelly and Gary Snyder.
As a performance poet, Shadow toured college campuses in the 1980s with a staged version of "Harlem River Baby," which included the doo-wop group the Phantoms. The show played to rave reviews at the same time Shadow's writing was singled out by such literary publications as Library Journal, which called his imagery "startling," and Small Press Review.
His music interests led him to a stint in commercial songwriting. He spent much of the 1990s as a songwriter in Nashville, writing for PolyGram, SONY, and Mel Tillis' music publishing company, among others.
Despite working with such artists as Trisha Yearwood, Shadow, like many literary songwriters before him, ultimately decided Nashville's formulaic canon was too limiting. Consequently, he returned fully to his poetic voice, this time marrying it with music as he had always intended.
During the four years it took to write and produce "King Kong Serenade," Shadow was encouraged by fellow writers, including Allen Ginsberg who had spent much of his career working with the convergence of poetry and music, and Pete Hamill.
Ironically, Shadow recorded his offbeat rock album "King Kong Serenade" in Nashville with a cadre of alternative-music veterans. Included were Bob Dylan and Lucinda Williams guitar alumnus John Jackson, John Prine drummer Paul Griffith, and Janis Ian keyboard player Randy Leago.
Critics also compare Shadow's work to such artists as Nick Cave, Patti Smith, Ricki Lee Jones, Leonard Cohen, Beck, Townes Van Zandt, Chuck E. Weiss, Robert Earl Keen, the Ramones, David Bowie, the Velvet Underground, and Neil Young. Also, Joe Ely, Butch Hancock, and Jimmie Dale Gilmore.
"Serenade" calls on the spirits of such jazz greats as Thelonious Monk and Charles Mingus, and the writers: Jack Kerouac, Pete Hamill, Allen Ginsberg, John Dos Passos, and Federico Garcia Lorca.
The CD includes such locales as: Coney Island, Broadway, Times Square, 42nd Street, the Lower East Side, the Bronx, Brooklyn, and the New York subway; and such historical figures as Sigmund Freud, Adolf Hitler, Joe Louis, Greta Garbo, Thomas Edison, and Moondog. In addition, the song "Sugar Street" focuses on the Five Points neighborhood that is the central theme of such works as Jacob Riis' book "How the Other Half Lives," Martin Scorsese's film "Gangs of New York," and Herbert Asbury's book "The Gangs of New York."
"Serendade" also draws inspiration from the painter Edward Hopper.
Shadow has been influenced by other Bronx writers, including Joel Scherzer, Richard Price, and Don DeLillo.
Shadow has performed at venues throughout the United States, including such clubs as CBGB's and CafÇ Lena.
He received a New York State Council on the Arts grant in 2001 to support his work as a rock poet.
Shadow resides in Catskill, N.Y. For more information, visit: www.allenshadow.com.



lonelyplanetrec.wix.com/lonelyplanet-records  lable.     Error Sound Fuck-tory/my home studio/ magictool aka Psyattractor
//////      litle about:  6-7 year past, i undrstand some think about instrument of perseption, nature of my consciousness and root world around its one oneness, one, lonely thnk,  whit one atribute - infinity. Its chance, opportunity harmonization reality. I no long time searh power availability for my manifestation. Sound wawe! my old computer its mashine of sintez my subjectve Sound, I run expirement, and open every time new and new thinks, and methods. I not kill my time on realization my tracks on public records, promotions, not interested Dj performance,  relize, I subjective go to sound expiriens.     Infnity forms and texture, oportunty  create time fractals from rithmical trigger sound, control and dialog whit  Rezonance of many frequence. I see, Rezonance like window to  Harmony land, place of geometry symetry, on    spectral analizator,  i open for self space of attitude, arhitips, world of ideas Plato,  quantum field, akashi, symbols of eternyty, univers mind,  Enigmatic form, ideal symmetry structure,  i not create it, they live forever simple  in self hi dimentions, i just contact on  mathematic metod of my old computer, some mans use hallucinod, some people meditate in silent, some not belive spiral fractal twist eternyty, self qualyty evolt, himssself torroide spirillyzations  of  counchisness, Some ppl like tasty Eats "foundament material particls" in hope be satiety on mateial level, they produce shite from they ass, work for food, kill seme time, stoppng on view point animals,  but think about god, and fill self mind methods of eat and repeat, create and love  material thnks to be comfort dreaming, streching time . Some Fuck everythink, between themselves and others for repeat, never think about reazon self. Repeat for repeat? thanks your fuckers for my body, but YA, I, Self, Counchisness,  repeat 7000000000 times on every human, it so huge potentials for searh better sheps, somethink new. I dont know  But,  im better run live subjective expirience in searh something beaty for me, maybe that help someone smile, or reborn,  Thanks all psyhedelic musicans, they help me unerstand  power of sound, and all psyhedelc ppl tripin  deep inner space, , No respect for manipulators and consumer, liar, slave of pride,  they stop evolution, fuckers better)),. Listen up.. stop sleep , jast understanding every subjectivity its uniqe univers there all answer, gods and devils, Express your self in creation to look ho you realy are, lonelyplanetrec.wix.com/lonelyplanet-…release/c1zq0        

"XtrovetDJ is not just a Deep/Afrohouse DJ, he is an experience".

XtrovetDJ is a South African DJ/Producer/Mixing & Mastering Engineer and aspiring entrepreneur who is passionate about the the music business 

He is a state of mind.

He is the transporter of minds and souls to an amazing frantic paradise that, while leaving you knackered, strangely also leaves you feeling re-invigorated.

His confident appearance is matched by his masterful control of a good mixing desk. Before each set he always powers down the previous track and leads the packed dance floor in a show of appreciation for the out-going DJ, before kick-starting his performance into a blaze of visuals, an orchestra of special effects which extracts every quality beat of each track as he begins his show.

As for his sound, imagine every track as a partially completed canvas. Through the use of effects on the mixing desk, XtrovetDJ adds his own colour, texture and feel as he maximises every beat of every track to create the unique Whitby sound. His precision mixing at incalculable speeds is part of the show; as each track mixes in you can positively feel the dance-floor going up a notch to keep up with the frantic and energetic DJ that has them all by the balls.

More info: Email- sihle.xtrovetdj@gmail.com

“On her debut, The Kommencement, Bay Area-bred/New Orleans resident, TheSeKondElement serves up a lesson in lyricism—an intelligent, introspective collection of message tracks and spoken-word pieces that at its best calls to mind the eclectic acrobatics of Q-Tip and cocksure charisma of MC Lyte.” -Aaron LaFont, OffBeat Magazine

artist. advocate. abolitionist.

An artist, advocate, and abolitionist, Smalls, known by her former stage name, TheSeKondElement, uses her non-fiction writing and music talents to discuss social and other matters important to her.

A graduate of Xavier University’s Mass Communications department where she studied visual media, public relations, and journalism, Smalls spent her post-graduate years in New Orleans growing, producing events, and touring the south and east coasts as a solo artist (often with a drummer/live band), after releasing her award-winning debut album, The Kommencement.

Under the moniker, TheSeKondElement, Swankk e. Smalls has played to audiences big and small in dozens of cities, at festivals, and events around the country, from city-wide church rallies to the House of Blues, SXSW and more.

Diagnosed with Sickle Cell Disease at just two days old, Smalls has been an advocate for those affected by this disease for as long as she can remember. In 2007 she began producing benefit concerts to raise money and awareness for various Sickle Cell causes.

In 2012 she was invited to perform on San Francisco Pride’s main stage, where she featured drummer/MD, Bettis and best friend and bassist, BassMonsterTiff. The trio began receiving performance requests and days later decided to make The H.U.B.R.I.S. Tour official and continue as a threesome.

Two years later, armed with an idea to create an online platform that would focus on increasing the visibility of marginalized persons in media and entertainment, Smalls assembled a team of writers, editors, and visual artists, who, together, founded TheVisibilityProject.com

Recording at 15 and first published at 17, this creative veteran has worked with music, TV and film creatives such as Africaa Bambaataa, Mia X, Skipp Coon, Lena Waithe and produced content for Issa Rae, Honey Cocaine, Red Bull, MC Lyte and more.

Her current stop is Los Angeles, where Smalls is the Director of Operations for TheVisibilityProject.com and working on her next project.

With a ‘revolutionary voice’ (Il Messagero), ‘an extensive vocal range’ (Le Figaro) ’marked by intelligence and taste’ (New York Times), ‘an interpreters knowledge that amazes’ (Corriere della Sera),  ‘exquisite timbre, polished musicality and sweetness of emission’ (Le Monde de la Musique),  this is a voice, 'superbly produced in every facet' with its sound coming "directly from the heart" (The Australian). Combined with her ‘obvious humanity’ (The Age), Markella Hatziano, 'authoritative of voice and of dramatic presence’ (La Repubblica) is unequivocally a ‘star of dazzlingly bright magnitude’ (Daily Telegraph)

Markella Hatziano made her professional operatic debut at the National Opera of Greece at the age of 23 singing Eboli in Don Carlos. She debuted on the international stage at the Opera Company of Boston singing Suzuki in Madama Butterfly, Neris in Medée, Amneris in Aida and Azucena in Il Trovatore.

She achieved international recognition in December of 1993 when she stepped in at the last minute to sing the gargantuan role of Didon in Les Troyens in concert performances with the London Symphony Orchestra and Sir Colin Davis. “On this evening a star was surely born” Opera Magazine.

She has been singing her core dramatic mezzo repertoire of Dalila, Amneris, Eboli, Azucena, Didon, Marguerite, Charlotte, Santuzza and Judith with opera houses including the Liceu in Barcelona, Teatro Real in Madrid, Teatro Colón in Buenos Aires, Covent Garden, Teatro alla Scala, Salzburg Festival, San Francisco Opera, Baltimore Opera, Opera Company of Boston, Bayerische Staatsoper, Trieste, Deutsche Staatsoper, New Israeli Opera, Teatro Sao Carlos in Lisbon, Norwegian Opera, the Festival de Radio France in Montpelier and Maggio Musicale Fiorentino.

With her core concert repertoire of Verdi, Chausson, Ravel, Berlioz, Beethoven and Mahler, she is appearing with virtually every major symphony orchestra, including the Chicago Symphony Orchestra, the Vienna Philharmonic, the Cleveland Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the New York Philharmonic, the London Symphony Orchestra, Orchestre de Paris, the BBC Symphony Orchestra, BBC Symphony Orchestra of Wales, Mozarteum Salzburg Orchestra, Royal Philharmonic, Philharmonia Orchestra, and Oslo Philharmonic.

Markella Hatziano’s discography includes the Verdi Requiem with the London Symphony Orchestra: Gramophone Magazine “The best of the quartet is undoubtedly Hatziano who, in her first major recording, fulfills all the hopes one has for her, singing with firm tone, warm, well-schooled style, no mannerisms – her ‘Liber Scriptus’ cannot be faulted”.

Her recording of the Macbeth of Ernst Bloch with the Orchestre de Montpelier was awarded the Grand Prix de l’Académia Charles Cros.

She collaborates with great conductors including, Zubin Mehta, Mariss Jansons, Bernard Haitink, Christoph von Dóhnanyi, Seiji Ozawa, Kent Nagano, Sir Colin Davis, Esa-Pekka Salonen, Claudio Scimone, Jacques Delacote, Michel Gielen, Michel Plasson, Andrew Davis, and Semyon Bychkov.

"The most beautiful aria of the evening came from Markella Hatziano, singing Neris's 'Ah, nos peines seront communes.' The purity of her voice, profound grief, and introspective thought it communicated were most affecting" Christian Science Monitor
 
“The evening’s finest singing came from the the Dalila of Markella Hatziano...Hatziano created a long, elegant line with a velvety tone...she unveiled an instrument of considerable size - one that reached big climaxes without a hint of strain, that was filled with feeling and that was compellingly seductive.” Baltimore Sun
 
“ a bright-colored but substantial mezzo of attractive quality, the registers well blended...singing with seduces Samson (and us!) with sunny charm, good command of legato and ready use of caressing mezza voce of a sort nowadays seldom heard in this, or any other ‘international’ house. A real treat!” Opera
 
“Markella Hatziano, a statuesque Dido, was magnificent, with a voice of sumptuous richness and steely strength, focused extremely accurately...She looked like the Queen of Carthage as Jacques Louis David might have painted her.” The Independent
 
“ In lustrous, forwardly emitted, amply voiced, beautiful tones and with a powerful feeling for phrases and words, she sang with grandeur in the civic scenes, with delicacy in the love scenes, finally with noble anger, passion, and despair.” The Observer
 
“Markella Hatziano combined openhearted expression with a startlingly radiant voice.” Montreal Gazette
 
“...This voice is superbly produced in every facet and its sound comes directly from the heart...She caresses her music with such warmth that even though the language might be foreign to the audience, the meaning comes through loud and clear...Through 13 splendid songs by Franz Liszt, she overcame the composer’s penchant for keyboard dominace - a showman-like performance by Steven Larson - to deliver a beautifully rounded collection, highlighting in works such as Der du von dem Himmel bist, the gypsy rhythms of Die drei Zigeuner, and a powerful conclusion in Die Macht der Musik... Her carefully measured mezzo easily filled the concert hall, even when the intimacy of her performance demanded a mezza vode, while her grandest moments on high were never out of focus or character.” The Australian
 
“Deep and dignified of voice, she makes a Dalila who is regally self-composed, confident of getting Samson’s locks wound round her little finger... the sound is grand, unhurried, rich in color...” Financial Times
 
“Markella Hatziano is a formidable Dalila, her lustrous mezzo meshing vengeance and desire with a firm line of gleaming tone. Mon coeur s’ouvre a ta voix had an irresistible sumptuous appeal. She acts with a smouldering economy.” The Stage
 
“The best of the quartet is undoubtedly Hatziano who, in her first major recording, fulfills all the hopes one has for her, singing with firm tone, warm well-schooled style, no mannerisms - her “Liber scriptus” cannot be faulted.” Gramophone
 
“...she cultivated long, languid phrases that were marked by intelligence and taste.” New York Times
 
“...splendid singing, a gleam hidden within the velvet... Her innate musicianship loomed over anyone the Met has offered in years.” Boston Phoenix
 
“Amneris was sung flawlessly by the alluring Markella Hatziano...not enough can be said about Hatziano;s performance, voluptuous voice, movements, acting” Boston South Look
 
“Among the soloists, Markella Hatziano stands out for her rich, refulgent singing.” The Daily Telegraph
 
“Authoritative of voice and of dramatic presence”  La Repubblica
 
“Grand interpreter, Markella Hatziano, her realizations perfection, also with the gestures, realized wholly the vision of the figuration of Wilson.” La Repubblica
 
“Markella Hatziano brought tears to everyone’s eyes.” Evening Standard
 
“The Greek soprano Markella Hatziano as Dido had a heartfelt and truly imperious eloquence.” The Times
 
“...we gasped at the gleaming voice of Markella Hatziano.” The Times
 
“The storming ovation which overwhelmed her at the end left no doubt that this audience was acclaiming a star of dazzlingly bright magnitude. As imperiou and benevolent queen, infatuated lover and tragic heroine, she encompassed every aspect of the role with singing that was thrilling, moving and profoundly musical.” The Sunday Telegraph
 
“Hatziano’s glorious line and flowing projection contrasted still concentration and admirable dynamic control with demanding extremes of vocal resources.” The Herald Sun
 
“It will be some time before I forget Hatziano’s subtle and affectingly gentle singing in music that needs an artist with her exemplary tact, insight and obvious humanity to bring out its innate beauty.” The Age 
 
“Pure beauty when she really sings...the high notes came forth round and brilliant, free of too much pressure on the voice...Applause started timidly then turned into a storm.” O Globo (Rio de Janeiro)
 
“No one has heard a voice of such richness, fullness and beauty of timbre in this role in at least 30 years...the qualities of voice and spirit no one can learn the Creator has lavished on her in abundant plenty.” Boston Globe
 
“The opera belonged to the Judith of the young Greek mezzo Markella Hatziano who brought meaning to every word and caught the restlessness of the character’s searching for her husband’s past. Her tone is lustrous and even throughout its range; she phrases musically.” The Times
 
“The title roles were most engagingly sung..The Greek mezzo’s healthy, firm, youthful tone is exciting in itself...two absolutely spiffing B flats...ideally even in spread...Her stage manner is also healthy...singing so assured and smooth...her forthcoming Amnerises are awaited with impatience.” The Times
 
“She has a formidable chest register and is not afraid to exploit it to the full, arms akimbo like an energetic copper on point-duty. It recalls the extrovert singing of Cossotto and Gorr; nothing wrong with that...an Eboli from Hatziano in Don Carlos could be exciting.” The Times
 
“purity of line and flawless technique” La Provincia
 
“Markella Hatziano shines above the rest - the ‘Lux Aeterna’ is the high point in this whole recording” Hi-Fi News
 
“magnificent and generous voice whose timbre is robust, but whose texture is velvety” Ambito Financiero
 
Markella Hatziano, a voice that unites in the richness of her registers and her exquisite timbre a maturity and an interpreters knowledge that amazed us.” Corriere della Sera
 
“...Markella Hatziano sang breathtakingly” Rheinische Post
 
“exquisite timbre, polished musicality and sweetness of emission” Le Monde de la Musique
 
“the velvety and revolutionary voice of the great Greek mezzo Markella Hatziano” Messaggero del Lunedi
 
“of the highest class, the Marguerite of Markella Hatziano, who fascinated us with the roundness of emission, the apparent ease of domination over the texture, and most of all with the truth of song that seems to flow incessantly, without pause, and like magic” “...Markella Hatziano sang breathtakingly” Il Piccolo
 
“an artist of undeniable notoriety” La Nacion
 
“Markella Hatziano commanded respect for her vocal color, her extension of register, and suppleness in her dynamic shades” Corriere Della Serra
 
“Markella Hatziano is a magnificent mezzo, with an extensive vocal range, that displays a beautiful homogeneity throughout the tessitura with the low sonorities and the piercing trebles. Moreover, her phrasing is impeccable.” Le Figaro
 
“The Greek mezzo-soprano Markella Hatziano accomplished a remarkable task in her performances, convincing as much for her vocal gifts as for her precise interpretative work. An artist of undeniable notoriety. She obtained a resonant success with La Mort de Cleopatre which offered her an opportunity to display her great vocal abilities and her astounding temperament.” La Nacion
 
“Markella Hatziano realized her part irreproachably with an immaculate luxuriant voice.” Kleine Zeitung
 
“Markella Hatziano sant the Judith with considerable power of voice.” Süddeutsche Zeitung
 
“... outstanding performance” Wiener Zeitung
 
“fiery temperament” Los Angeles Times
 
“...there was fine singing from the Greek Amneris Markella Hatziano, whose rich, resonant voice did much to fill out her generous performance: certainly, a singer to watch.” Opera Now
 
“Markella Hatziano sings Lady Macbeth with rich mezzo tone and an understatement which is chilling." Classics Today
 
“Markella Hatziano and Rene Pape, the evening's mezzo-soprano and bass, were strong presences." New York Times
 
“Markella Hatziano was again a dream of a Suzuki." Boston Globe
 
"From Greece, a new Callas?" London Daily Mail
“on this evening a star was surely born.” ~Opera Magazine

Atmospherence for Berlin Uground Sound

D T R - M O M B Records - M u s i c N e t w o r k

Electronic music producer from Berlin, Germany, formerly known as T7 (2015-2017); Artion Keys (2018-2020). Seeking representation.

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Biography

Born in Louisiana’s ‘Bayou Country’ just a few miles southwest of New Orleans, Houma native Waylon Thibodeaux has been dubbed “Louisiana’s Rockin Fiddler”. Today, this talented, self-taught Cajun musician has gained a notable reputation as one of Louisiana’s best known recording artists. His talents have led him to play festivals, clubs and other special events throughout the United States, Canada, France, Central and South America. His rollicking, crowd-pleasing performance on stage is exactly what one would expect from someone who, at age 16, was Louisiana’s state fiddle champion. He never fails to serve up a good helping of spicy, high-energy Louisiana and Cajun/Zydeco music. His unique musical style is best described by Thibodeaux himself:
“It’s a mixture –it’s Cajun, but not too traditional, it’s Zydeco with a pinch of New Orleans’ sound, a small pinch of South Louisiana “Swamp Pop”, a taste of Country and a little Rock n’ Roll that’s sure to get you on your feet and dancing.”
Any way he plays it, Thibodeaux’s music certainly gets one’s attention. Waylon’s latest CD is “Who’s Yo’ Cher Bebe’” on Rabadash Records. This release showcases Waylon’s depth and versatility as he performs his unique brand of progressive Country/Cajun music. You’ve heard it before, but it really is true, this CD has something for everyone.  The first cut, “Sweet Colinda”, debuted at #92 in the top 100 on the European Country Music Charts. Continuing to climb the charts by leaps and bounds recently landing at #9. “Who’s Yo’ Cher Bebe’” is truly a one-of-a-kind, must have, for your Louisiana music collection.
Three of Waylon’s CD’s were previously released on Rockin’ Records. Two of these, “Papa Thibodeaux” and “In Jackson Square”, are both powerful mixtures of Cajun, Country, Zydeco and New Orleans style music that Waylon sings in both English, and French. Blues guitarist Tab Benoit and harmonica virtuoso Jumpin’ Johnny Sansone join Waylon on the toe-tapping cut ”Be For Sure”. The third CD, “Tu Me Fais Crier!” is completely sung in French and contains the cut chosen as the theme song for the 1999 international reunion know as the “Congres Mondial Acadian”. All three of these recordings give listeners a real taste of good high-energy Louisiana music. His six earlier independent releases include, three of his original English compositions on a 1995 compilation album by Jimmy Buffet’s Margaritaville/Island Records entitled, “Margaritaville Café New Orleans – Late Night Gumbo”. Thibodeaux released an independent acoustic album with Gina Forsythe, entitled “Dans La Louisiana”. This CD, a collection of traditional Cajun French songs, won the 1996 Offbeat Magazine’s Best of the Beat Award for Best Cajun album. Thibodeaux has also performed in numerous radio and television commercials and four of his original compositions were featured in the 1993 NBC movie, “House of Secrets”.
As a way of giving back to the unique culture that helps to cultivate his gifts as an entertainer, Waylon performs as a member of the Voice Of The Wetlands All-Stars. This group comprised of Dr. John, Cyril Neville, Tab Benoit, Jumpin’ Johnny Sansone, George Porter, Jr., Big Chief Monk Boudreaux, Anders Osborne, Johnny Vidacovich and Waylon Thibodeaux, performs throughout the country to raise awareness of the erosion of the Gulf Coast Wetlands. Having played for years to capacity crowds on New Orleans’ famous Bourbon Street, Thibodeaux has entertained people from all over the world. Fiercely proud of his style of music, Thibodeaux can charm his audiences in French and English. His is always a ”must see” performance.

Tahlia Bradford is following