"live"  REVIEWS
"live" REVIEWS
Tribute to his sister NINA SIMONE...From his
latest CD titled          PEACE OF MIND  
"Sam Magic Man Waymon & His Band"
"Love to Uncle
Sam on
keyboards and
vocals" -
Tribute to Nina Simone at NY Blue Note Brings Thunderous Applause Standing Ovations  "More" Whoops & Star Power
By: Gatsby Melodi'
Nina Simone  Born  February 21, 1933
Died April 21, 2003
Simone has the rhythmic vocals of a very
young Nancy Wilson, the prowess of a Melba
Moore, and a Broadway stage personality.   
She delighted the audience by saying, "Lisa is
the name I was born with, but Simone is the
name I adopted when I decided to follow in my
mother's footsteps, after she died April 21st of
last year. If you see tears flowing, just hand me
a Kleenex."

Her next number 'Don't Let Me Be
Misunderstood' is a perfect showcase for the
entertainer who snaps her head and body with
a 'whip appeal' motion, like she means the
lyrics to the song she's singing, and wants you
to know that she knows she means it. "Did you
love her..Did you love her?", Simone asked the
crowd  They respond with whoops and cheers,
as Simone introduces her next number.  "Many
of you already know what it's all about. When
mommy wrote the song. I've never sung it
before tonight". The song was "Four Women".

Following the show, Pat Brim a corporate
attorney from Brooklyn, and Cheryl Wade a law
professor from Manhattan, told me, "I think
Sam and the band sound like Santana".  
Edwin a grad student at NYU from Australia,
told me "She gave me goose bumps. Her
singing is so good." Michael and Joan
Doscher of the East Village told me "it's just a
tease we want to hear more".

I was able to ask Sam after the show how he
felt about the tribute, and he responded, "It
was spectacular. There was a rejuvenation. It
was like going to Africa and filming a
documentary.  This is a turning point. My
sister's last words to me before she died,  'I'm
handing the torch to you'."

Daughter Simone recently performed the lead
role in Broadway's smash hit AIDA, and Nina's
brother Sam has just released a CD titled
"Peace of Mind", and can be obtained by
contacting Steven Rock 914-715-0965, email

Music Director was Lawrence Holland, bass;
featuring Larry White, percussion; Mario
Giampaglia, guitar; Bryan Post, drums.
One of the last photos taken of Nina Simone, in
April 2003, shortly before her death, April 21, 2003
Nina's brother Sam "Magic Man" Wayman,
the cover of his new CD "Peace of Mind"
The engaging of favorable oral discussions of
times pasts when having seen Nina Simone's
"LIVE" performance, was the effervescing
chit-chat before the show.   

The Blue Note this night was truly an intimate

A concert, had turned into a plush house party,
with strangers making friends by doing extensive
dialoguing, which is not unusual.  

It is very much a normal occurrence at the Blue
Note. I have always contended, and still do,  that
the Blue Note, is in fact the
"friendliest" jazz club
in New York City.

The difference this night; however, is that the
customers were communicating with other
tables, not just with the stranger to the right or
the left, or who's sitting in front of or behind you,
but the room was literally collectively table
hopping, each laughing and sharing their own
favorite Nina Simone stories. Somebody from
one table would overhear something interesting,
headover, chime-in, and take the conversation to
a whole other level. Unbelievable love generating
this night.

Many were talking about having seen her last
performance at Carnegie Hall.  "She looked ill,
but she sounded great", was the most repeated
phrase, other than "her last words to the
audience begging for an encore was
'Go the hell

Then there were those discussions about the
duet song in her show "Let It Be Me", performed
between Nina and her brother Sam, and its
powerful impact.  

Clearly they loved Nina and were ready to
participate in the celebration tribute.
Unequivocally, the Blue Note's decision to jump
start Valentine Week with this show was
positively brilliant. The essence of love filled the
already wonderfully warm and intimate setting,
while smiles were glowing, friendships were
being made and business card exchanging was

Nina's brother and musical director for over three
decades Sam Waymon and his band calling
themselves "The Magic Band" took to the stage.  
They opened with a wonderfully upbeat-low
down, dirty, funky, nasty, filthy-fabulous tune
implying  'aw yeah - we're going to have a good
time tonight'.  It was like Sam was saying "thank
you" for loving my sister Nina Simone.  
Sam tickled those ivory's like a mother would
tickle her child. Heads bobbed and weaved,
necks pecked, hands clapped, fingers popped,
and Mr. Assane Ndoye, Director of Special
Events for Grand Central Partnerships, (whom I'd
met before the show), leaned across the table
and said to me "magic fingers". The beat was
the bait, and like fish we were caught-up, as
Sam sprinkled love and seeds of Nina Simone
power, and graciously reeled us in. Voices from
different areas of the room shouted "Do it Sam".

After the first number Sam said to the audience
"Can ya'll hear me?"  Without hesitation, the
crowd shouts back "YEAH".  But Sam asked the
Blue Note engineer to give him more volume on
the piano.  I don't think the Blue Note had
expected such a loud and lively audience.  Sam
got the volume he wanted and the house party

Then Sam said, "We're going to bring on my
niece. This is a family affair. Let me introduce
you to someone very dear to my heart, my niece
Simone". A tall thin model-like strikingly beautiful
paper sack brown Simone entered the stage and
announced, "We're going to take you back to
when I was a kid, and used to sit at the piano
with mommy".  As she sat to share the piano
bench with Sam, she says "I'm just a little older
now.  I love you Uncle Sam."  He responds, And I
love you too Simone". They warmly hug, then
Uncle Sam's magic fingers hit those ivory's.

Well, let me tell you, there wasn't a dry eye in the
house, the song was "Let It Be Me", the duet
between Nina and Sam earlier discussed by
audience members.  At first Simone held back
audibly.  Then suddenly like pails of thunder,  
Simone's voice grew bold and self-assured like
powerhouse vocalist Patti LaBelle.  At the end of
the song  acquiescently with a standing ovation
came from the crowd.  Clearly a star was born
right before our very eyes, as the legacy of the
Blue Note's consistent innovativeness to
introduce undiscovered talent was once again
revealed. This is one young lady we will hear
from again.
To purchase Sam's CD or contact him:
Steven Rock 914-715-0965 or 212-532-1865
Young Genius "Matt Savage"  Optimizing Jazz Performance Excites New York "Blue Note" Crowd
By: Gatsby Melodi'
Matt Savage on the Cover of TIME magazine
The folks who came out to spend an evening with 11year-old Matt Savage last night at New York's 'Blue Note' could not have
imagined the level of ecstasy with which this young genius was about to reveal in his jazz interpretations.  Matt Savage has
already done what most musicians would like to accomplish in a lifetime.  He has appeared on NBC's
Today Show,
interviewed by
Barbara Walters, been featured in People and Jazziz magazines, performed his compositions around the
world, and wowed masters such as Dave Brubeck and Chick Corea.

The differentiating qualities about young Matt Savage performance is his capability to be versatile with his flavorings, without
hesitation and with command.  He demonstrates tremendous confidence. Matt combines all forms of harmony resolution,
not just rhythmic or counterpoint, but he goes beyond to levels once visited by Bach concerto and Mozart.  

Aside from his genius, I also give credit to his mom who sits in the audience and simply smiles, allowing her son the thrill
of spotlighting on his own.  Matt gets up from the piano, stands at the mic and introduces every song. He reminds me of the
innocence that made "Dennis the Menace", a loving television character.   "Is this water?" he asks his mother in between a
song, 'Ummm thanks mom", as he reaches toward her table for the water bottle to take a sip before she can respond.  It is
such a thrill to see Matt drink the water from the side of his mouth, (I did the same when I was 11).  Yes, he is still a kid.  His
playful little ways only draw more love from his audience.  And he's not just a performer.  He adds comedy to his show.  
"Pick a number between one and 100" Matt asked the audience, "50", "75", "26" came sounding back to him from the
audience.  "How many 47's", Matt asked the crowd, and nobody responds.  "That proves it..47 is a lonely number ..and that's
why I wrote my next song titled '47' by Matt Savage".
Matt Savage
Diane Savage, Matt's mom told me before his performance, that they'd driven 6-hours from New Hampshire to get to New York City for the Blue
Note gig.  I asked, "just for this".  Mom humbly responds, "What do you mean JUST?.  This is the legendary Blue Note.  Matt and I are very pleased
and happy to be here."
And yes, there is a dad, Larry Savage remained home with Matt's younger 8-year-old sister.  Clearly the Blue Note continues its legacy of
introducing brilliance in the world of jazz as evidenced by the genius of Matt Savage, a remarkable young spirit, enormously talented with a very
bright future.
"Black 2 Broadway" at NY B.B. King Blues Club Honoring Blues Legend 'Ruth Brown  'Ends With Standing Ovation From Packed House
By: Gatsby Melodi'
Ruth Brown "Black 2 Broadway" Tribute Continued:
She continued, "I talk to BB King a lot.Sometimes I call him, sometimes he calls me.  
And everytime he calls me, BB always asks me what I've got to eat".She said how
blessed she was to have friends to pay her rent, because she could not. She said that
she, BB, and Bo Didley remain very close friends.  "BB always ask me what have I got to
eat" she interjects. It is at this point the reminiscences of BB King the philanthropic
friend take over her thoughts and she breaks down crying. But not for too long though,
because she's not one to dwell on disparaging moments. She quickly interjects humor.
"I talked to my friend Ray Charles, and he told me they are making a movie about his life
- and I'm in the movie. I told Ray to make sure they get Halle Berry  to play me, and Ray
responded 'Now Ruth, I can't see that bad'". The  audience burst out laughing
appreciating her humor.  The event was co-host by producer Kevin Anthony, and radio
personality Vaugh (Quiet Storm) Harper, featuring Peggy Blu, recording artist $100K
"Star Search Winner" who has great pipes and sang the song 'Momma'.   Blu told Ms.
Brown, 'You are my mentor.  Right after my mother".  Singer Alyson 'Just Call My Name'
Williams, a wonderful entertainer;  Adam Wade, the first African-American television
Game-Show Host of "Musical Chairs", who told Ms. Brown when referencing his white
hair, "Ruth, I've got snow on the roof but I've still got fire in the furnace; and Broadway
dancer/singer/actor Maurice Hines, who revealed that he and his brother Gregory
(Hines) often referred to Ruth Brown as their theatrical mother.  

Maurice told the audience, "Ruth told us to be on time. She taught us how to work the
microphone.  To always say 'thank you', and to grin a lot", before he dedicated his song
to her titled, 'You're Just Too Marvelous For Words". Email's were read from friends,
Roz Ryan, and singer Bonnie Ratt.
"I am so thankful you have allowed me to be here
and see there are some people who remember
me", Ruth Brown tearfully told the standing room
only crowd Monday night at NY's plush BB King
Blues Bar & Grill, following a magnificent display  of
outstanding talent from the Broadway stage and
recording industry, in a tribute to the Tony-Award
winning, blues legend for her vocal performances
and magnificence on stage and in film.
Brown told the crowd she was only 15 years old when she
first appeared at "The Apollo". She said, "I'm now about to
see 76 years. I recorded 'Momma" in 1953, that's 50 years
ago. I'm standing here, but three or four years ago, I lost
speech. My health is not great. I tell you a lot of wonderful
things have happened to me. I thank you for tonight. I feel a
little bit lonesome because most of my friends are gone."
Peggy Blu
"Maurice (Hines) you're still grinning.  Adam Wade, I love
you with that white hair.   I've never heard you sing like that
before.  And to the other performers, it is so good to hear
folks singing in tune."
Maurice Hines
The audience, all up on their feet, thought it was succinctly clear to see
the jubilance
Ruth Brown was feeling inside.  But no one could have
imagined her comments which  followed.  
Jon Faddis Effulgently Recapitulates Jazzopedia
At Blue Note 'Master Series' Inaugural In
Association With NYU Jazz Department
By: Gatsby Melodi'
Jon Faddis Effulgently Recapitulates Cont'd:
Since 1991 and through the 2002 season, he conducted the
Carnegie Hall Jazz Band. Throughout his career, he has served
as music director/arranger of various jazz bands; i.e., Dizzie
Gillespie's 70th Birthday Big Band, the United Nations and
Lincoln Jazz respective Orchestras.Faddis says, "There are many
dialects in jazz. It might sound simplistic, but it's really profound."  
One of the many working ingredients empowering Jon Faddis
effective is his ability to tell
Last Saturday, the Blue Note held its inaugural "Master Class
Series" with the renowned Jon Faddis as it's first presenter.

The series will be held 2pm -4 pm each Saturday at the club, with
a different instructor speaking each week, in association with the
NYU Jazz and Contemporary Studies, Department of Music and
Performing Arts, Dr. David Schroeder, Director/Professor.

Mr. Faddis' prolific class was entitled "the Art of Improvisation -
Transcribing Jazz Masters to Develop One's Own Style".  
Attendees were encouraged to bring in their instruments and ask
questions of Mr. Faddis, which proved to be both educationally
and visually rewarding.

Jon Faddis is a complete and complex musician, conductor,
composer educator.  As a trumpeter, Faddis possesses full
command of his instrument, consistently demonstrating a
virtually unparalleled range and making the practically impossible
seem effortless.
Jon Faddis
revolutionizing stories and/or comparisons about true legends past and present,
likeLouis Armstrong, Dizzie Gillespie, Duke Ellington, Clark Terry, Snookie Young,  
Roy Eldridge, Lionel Hampton, Greg Osby, Harry James, Count Basie,  Charlie
Parker, Miles Davis,  Freddie Hubbard, and Herbie Hancock,  to name a few.  Each
person left the Blue Note with a greater cognizance and appreciation of jazz

The one in a million chance of being taught in a nightclub setting, by an allegoric like
Jon Faddis, continues Nov 29th with Airto Moreira with "The Spirit of Percussion" at 2
pm, at the Blue Note, 131 W. 3rd. Street , NYC  212-475-8592, for information.
Apr 13 - Apr 15, 2004 On Broadway At the Iridium
JAZZ COMPOSERS OCTET Fabulously Compelling
By: Gatsby Melodi'
FREDDIE HUBBARD Birthday Celebration at Iridium On Broadway Continued:

At one point Freddie looked at his instrument and said to it "Hum, can't get no
higher", once again the audience responded with robust laughter.  He introduced
one tune as being titled, "A Song For Miles", and ended it with the words "I know
Miles ought to like that".   

It's really a privilege and honor to be entertained by the master.  "It's wonderful
playing with these guys. Cause they got my back", he legitimately tells the audience
when introducing  band members  JOE CHAMBERS, CRAIG HANDY, MYRON
BURNO, comprising
New Jazz Composers Octet.

In all ways, Freddie Hubbard is fun.  His music needs no explanations, it's all good
and colored bright.  The Iridium gave him a birthday cake, and like most of us do, he
got cake on himself, but did not complain.  He's just a real cool dude, who seemingly
would much rather make happy with music and words than havoc with
circumstances, a truly noble quality.  There is great food and service at the Iridium,
the price is right, only $27.50.  WOW a steal. Happy Birthday to one of the real icons
of Jazz, who does it with style and razzamatazz.  

Freddie Hubbard is an exceptionally talented virtuoso performer.  Hubbard's rich full
tone is never lost, even when he plays dazzlingly fast passages. As one of the
greatest of hard bop trumpeters, he strives to create impassioned blues lines
without losing the contemporary context within which he plays.
1650 Broadway @51st Street NYC 10023
Call Iridium Box Office at 212-582-2121 or Buy On Line www.iridiumjazzclub.com
Sing Happy Birthday to legendaryTrumpeter Freddie
Hubbard through Thursday April 15th at the Irridium
Jazz Club on Broadway, it is much more than jazz,
you're guaranteed to laugh up a storm from the
comedic  improvs offered up by
Mr. Hubbard., one
of the nicest men in show business.
Hubbard is such a cool well-dressed dude sporting a dark no-vent
Armani suit, with a sense of humor.  "We're going to play jazz tonight,
although I don't know what that is anymore", he humored the
audience, as we all convulsed with laughter.

He's the kind of performer who never left the stage. After the show
had ended, Freddie Hubbard politely sat down on the piano bench,
and allowed autograph seekers and well wishes to accomplish
their endeavors, a rare quality today.   'Man, I didn't think I was going
to see 66.  A couple of years ago I had congestive heart failure", he
told me as if we had been longtime friends when we shook hands
following the first set opening night.  

During instrument solos, he walks to band members apparently
giving a thumbs up, as evidenced by the look on their faces, and
short dialoguing.  It's like he's pop, and they're his youngsters,  not
just his musicians, but clearly he genuinely cares about them.   
Valentine's Day OLETA ADAMS Turns New York BB King's Club In to A Lovers Den Singing and Talking All About Love
By: Gatsby Melodi'
Her opening number 'I Never Knew How To Love', was ardently performed with
sho nuff help from above.  It was sweet and innocent followed by 'Once In A
Lifetime', another exemplification that love and happiness are truly life sublime.
"We love U Oletta" came sounding from the audience, "Aww Shucks..I love U
more", she responded without hesitation or avoidance.

It only took a few bars to recognize the hit, that released hands from holding for
only a bit.  "Get Here" was the jam that the crowd wanted to hear, they got it and
responded with jubilant cheer. They stood up and applauded, not wanting the
night to end. Somebody shouted "do it again".

Oleta and her husband/drummer John Cushon (my childhood friend), along with
singers & band left the stage, but the audience wasn't having it. "More.More.More"
they demanded..and got it!
Twas the night of Valentine's Day at
BB King Blues Bar & Grill. Being there
most certainly was an awfully big
thrill.  The lovers in the house were
kissin' and huggin', sipping
champagne and nobody buggin'.
While Oleta and her back-up singers and band were
there to perform. I wouldn't be surprised when nine
months from now, somebody from the audience heard
the doctor say, "Congratulations your beautiful baby is
born."  There was no idle chitter or chatter, spreadin'
love was only the matter.  Holding hands across the
table they did, those that didn't as Oleta performed,
were encouraged to put in their bid.
Melba Moore Is Back Big Time
By: Gatsby Melodi'
MELBA Continued:
The Tony-Award-winner, Grammy and Emmy
nominee, Broadway, Television, Film and
recording dynamo, chose to rise above
adversity, refusing to succumb to defeatism.
Armed with self-reliant, faith and the whole
armour-of-GOD, Melba has taken back her
life with the help of GOD.
Her premier Gospel album
titled "I'm Still Here"., available
at www.melbamoore.com
There is a
wonderfully brilliant,
fun little girl who lives
inside Melba Moore
that makes the stuff
you see outside
Melba Moore real.
And if that ain't nuff said - Melba Moore has added
playwright to her growing lists of accomplishments
with her autobiographical one woman show "Sweet
Songs of the Soul", which is Broadway bound.  

The show is an emotional roller coaster that will
have you shouting "Thank you Jesus", convulsed
with side-splitting laughter using humorous
comedy scripting, Gospel music, and darn near
every song she ever sung on stage and off  - going
back to childhood. Songs like the ones she made
famous from Broadway's "Hair" and "Purlie".

In her play, she reveals her emotions about
growing up in a home without a dad, abuse from
her mother, a loving grandmother, the
abrasiveness of childhood playmates, her bitter
divorce, losing and regaining custody of her
daughter and most importantly - finding GOD.

Commenting on her comeback, Melba told me, "I've
got joy. You have to suffer. Righteous resurrection
ain't cheap. This is GOD's place. I see God is doing
great things, good health, never ending wealth.
Happiness is enjoying the Lord".
She's self-proclaimed "more than a
survivor..born again saint". Spiritually
grounded, Melba is clearly living her
life from the inside out.

Melba is a true testament to the fact
that when you want to pick-up the
fallen pieces of your life and get-on
with living it more abundantly, you
must get over the irrational feeling
that you might have prevented
misfortune if you had acted differently.

We must accept full responsibility for
our decision-makings right or wrong.
We have all been hurt by life, and will
be hurt by it again and again.

Falling down isn;'t the worst thing that
can happen, that's okay. But what isn't
okay is not to get back up.   Melba is
motivator, a mover, a shaker, a "get
my ducks-in-a-row" kind of spirit.
L to R. Angie Stone, Rue McClallahan, Cuba
Gooding, Jr, Melba Moore and Beyonce Knowles
from Paramount Pictures "The Fighting Temptations".
In 2003, Melba Moore returned to the wide screen
in Paramount Pictures comedy,  "The Fighting

She launched Melba Moore Inc, "
The Melba Moore
Evening Gown Collection
", established Shout
Glory Music, her recording label distributing her
first Gospel CD, appropriately titled "I'm Still Here",
which contains eight delicious helpings of music
good for the soul. Shirley Murdock penned a song,
and together these two take Gospel sang'n to a
whole other level.
NY Blue Note Continues "Jazz Master Class" Series With trumpeter NICHOLAS PAYTON Says, "A sound is like your fingerprint"
By: Gatsby Melodi'
Nicholas Payton says he started playing trumpet at age 4, and his early influences were his father who was a bassist, and his pianist/opera
singer mother. By age 8, he says he started to read music by association. "The trumpet is the most difficult instrument to conquer because of the
ratio of pressure with tender lips", he told the crowd.
Nicholas Payton
Born and raised in New Orleans Payton revealed, "I wanted to be a great musican and often played on the streets of New Orleans for money. My father required
that I play twice daily."  He said he credits Louis Armstrong, Miles Davis, Ron Carter and Herbie Hancock as outside influences.

As his skills increased Freddie Hubbard influenced his music and today Roy Hargrove is someone he holds in high regards. "Wynton Marsalis spent a lot of time
with me when I was 12 years old."  Payton adds, "music translates to people differently whether they dance or just sit and listen". He talked about the tongue attack
vs breath attack, fingering excercises, harmonic structure, harmony & groove changing, importance of being lyrical, thematic continuity, motific development.

"There are many ways to look at music, i.e; spiritual, emotional, theoretical. Take one idea and manipulate up the traumatic theme and idea. Thoughts and
feelings come from theory. Learn how to read music, then you can translate."  Next  Saturday, Feb 21st at 2pm, drummer Lenny White teaches the "Jazz Master
Class Series", at the Blue Note, 131 W. 3rd.(212) 475-8592.
COMBO NUVO Mixes Humor And Eclectic Jazz At New York
BLUE NOTE Brunch Performance - Rocks The House
By: Gatsby Melodi'
By: Gatsby Melodi'
For the past 35 years, Art Ensemble of
Chicago has been making some of the most
interesting jazz records around. Like most
free-jazzers, the bands' goal has always
been transcendence. But unlike most
transcendents, the
Art Ensemble does not
focus on just moving past the physicality of
existence. Rather, the
Art Ensemble
immerses much of their music firmly in the
physical realm of human experience through
the use of visceral, tribal rhythm -- a rhythm
that has its origins in the African heritage of
Art Ensemble's players.

Thru Sunday April 4th, delve into the
Ensemble of Chicago
's catalog, at the
"iridium Jazz Club", (1650 Broadway @ 51st
Street (212) 582-2121
www.iridiumjazzclub.com), and you will find
mysteries, surprises, challenges, and
complexity at every turn.

The group
Art Ensemble of Chicago consists
and DON MOYE, with Special Guests - Jaribu
Shahid and Corey Wilkes.

The Art Ensemble's latest record, Tribute to
Lester, finds the band playing to memorialize
Lester Bowie, the former trumpeter for the
Ensemble who died in 1999. The loss of
Bowie and the retirement of Joseph Jarman
(to follow the path of Buddha) have found the
Ensemble playing A Tribute to Lester as a
trio (Roscoe Mitchell, saxophone; Malachi
Moghostut, bass; Famoudou Moye, drums).

Their sound is truly avant-garde jazz, with
sounds like traffic jams, marching bands and
straight-ahead jazz. Their visual is well worth
the experience. At one point I saw one
musician playing the  clarinet and sax at the
same time.  I was marveled by this display.
Be prepared to be entertained and
Refusing  to confine themselves to
any one style,
the house with a voracious appetite
for richly eclectic brew of many
different sounds in jazz/soul music,
using Brazilian-style,  African
elements, and classical seasonings,
in their performance at New York's
famous hot spot, "The Blue Note" in
Greenwich Village, June 6, 2004, for
the afternoon brunch crowd.
COMBO NUVO (LtoR) John Hadfield, percussion; Mike Richmond, cello; Dave
Schroeder, sax & clarinet; Rich Shemaria, keyboards; Jamie Fox, guitar
'A Prayer For Peace', written by cello/bassist, Mike Richmond, is just one of the groups many
stand-out tunes.  It offers up Egyptian flavorings, but it ain't what it seems because it quickly
ascends to the Africian sound.  But wait,  Schroeder comes in with his clarinet adding
seemingly crazy  fusion, then the group adds classical flavorings.  This is one of those jams that
make ya go  "Yes-man...It's all good."   Combo Nuvo performed the tune as smooth rhythms
punctuated by sharp, simple melodic lines.  

"I wrote that song in 1973", Mr. Richmond told me following the performance.  "I was in Moers,
Germany.  It was war time and the melody was screaming 'think about peace'".  

Rich Shemaria on 'All the Way' amazingly makes his keyboards sound like a heavenly harp,
settiing free a mellow rendition that made the audience go  "Aw WOW!".

Another stand-out song performed by COMBO NUVO was 'For Both Are Infinite', written by Rich
Shemaria, a stricking kaleidoscope of contrasting textures and voices set ablaze by his
enchanting  keyboard strokes, then adding Schroeder's harmonica sounding like "
Wonder in the house."  

"I wrote that song to appeal to the romantic sappy side. It is a love-story song", Shemaria
responded when I questioned his inspiration for the tune with its perfect sense of time and
evolution of surprisingly organic warmth.

"We've actually run out of music to play", Dr. Dave Schroeder, leader of the group cheerfully
heightened audience awareness when introducing the groups final number as "A composition
of mine called 'TIc Tac Toe'."  The group delivered it colorful, teeming with life and ambition.

I call it  their  
think song, because of its sunny, joyous positivity. A song whereas the music is so
good you step outside the
here and now -- and  think about the good, the sassy, the feel
good-good times, the thankful times.  

"I think the band is great. SUPER",  Ana Martinez, from Long Island, told me following the
performance, and her friend Diana Carbocci, who is Ellen' (Dave's wife) sister, also from Long
Island added "I loved their performance."

Combo Nuvo's second set performance concluded after nearly two hours when Schroeder
ended the show saying, "thanks everybody and have a great day."