Gerry Gibbs, Ron Carter, Kenny Barron
“We’re Back”
Publicity: Article with Santa Barbara Independent, Providence Journal, GoLocalProv.com,Providence Journal, SouthCoastToday!, Patriot Ledger, Fall River Herald News, Patriot Ledger, Jazz-Square:Russia , Abyss Jazz, JazzTimes (Nov issue), Jazz-квадрат, (English translation) All About Jazz, PRWeb, Audiophile Audition, Midwest Record
Radio Promotion: Interview on WRIU
1/26/15: #20
1/19/15: #11
1/12/15: #16
(JazzWeek)
11/3/14: 3rd week #1 on JazzWeek + most reported (54 stations)
“We’re Back” – literally- to #1 on JazzWeek TWICE in one year!
Most Added, 3rd Biggest Gainer on JazzWeek
Previous release Thrasher Dream Trio totaled six weeks at #1 Neal Sapper/Matt Hughes (New World N Jazz Marketing, Promotion and Consulting), Tracking Report, Radio one-sheet, JAZZ.FM91 – Canada’s Premier Jazz Station, Mixed Media’s radio tracking
Previous release Thrasher Dream Trio: BestBuy, eBay, iTunes, HBDirect.com, Amazon, Zia Record Exchange
CDs: Whaling City Sound, distributed by NAXOS of America
from Jay Miller’s article in The Fall River Herald News:
…The good news for area jazz fans is that the Thrasher Dream Trio will be performing in concert at the Narrows Center in Fall River on April 25, and it’s a special gig in more ways than one.
This will be the first time they’ve ever performed anywhere, outside the studio,” said Weiss. “Gerry Gibbs convinced them to come up for this one. The music on their first album together was just spectacular, and Gerry played better than he ever has, proving he can hold his own with those world class guys. He was really up for any kind of continuing that band, but the truth is that Ron and Kenny each have two bands apiece. It’s not only tough to schedule everyone, but Thrasher Dream Trio is kind of competition for their own bands. But at the end of the day, everybody realized that something about this particular trio really works, and they all love it.”
“Gerry Gibbs composes, arranges, and ran the studio sessions,” Weiss added. “Both those guys appreciated that he was all business, and there was no wasted time in the studio. Ron Carter especially is a very direct, business-like guy, while Kenny Barron is a bit more laidback, and even self-deprecating. But all three of them are fantastic players, and they make the best bandmates.”
Loyal readers will remember that last week we cited Thrasher Dream Trio’s “We’re Back” as among the top new jazz releases of 2014, but Whaling City also had two more records in that top ten, including Dave Liebman and Expansions’ “Samsara,” and “Get Me Joe Beck,” a live recording that had surfaced of an almost-forgotten California club date by the guitarist, who died in 2006. If that doesn’t indicate the fast rising nature of Whaling City’s profile, be advised there are several more new CDs from the local label we didn’t get a chance to hear yet.
“The last year has been kind of unbelievable,” Weiss admitted. “In the last 12 months we habve really upped the number of artists on our roster. We currently are up to 70 albums out, and right now we have numbers 71, 72 and 73 in the final processing and almost ready to go. We also already have six or seven more on the planning boards for 2015.”
MUSIC SCENE: Jazz is alive and well, with hot talent
By Jay Miller
For The Patriot Ledger
Posted Dec. 26, 2014 @ 6:30 am
Updated Dec 26, 2014 at 7:56 AM
We like to do an annual roundup of the year’s best jazz albums, which, as we note in the best albums column, is purely a reflection of our personal taste and the music we get to hear–we do not get everything.
But there is plenty of fresh new jazz out there, even if typical music fans might find it hard to track down. Your typical big box store, if it still has a CD section at all, probably features a handful of jazz selections, most of them from catalog items from long gone artists. We like John Coltrane and Miles Davis as much as the next jazz fan, but most of their work is five decades old by now. Meanwhile there are dozens of inventive contemporary musicians composing and performing inventive new sounds.
Whaling City Sound has quietly been building a sterling reputation in jazz circles, with more and more listeners discovering the label based in Dartmouth, Mass. Whaling City has also been expanding its roster, and this year at least three of the year’s most compelling works came from that hometown label.
– See more at: http://bit.ly/1FfmEaT
The Boys Are Back!
Gerry Gibbs reunites Thrasher Dream Trio
With Ron Carter, Kenny Barron, and a few very special guests
Sometimes good ideas just materialize. Sometimes they come simply out of urgency. Gerry Gibbs had just recorded and released Thrasher Dream Trio—with Kenny Barron and Ron Carter—for Whaling City Sound. That record was so successful so quickly that all parties involved wanted to hop back in the studio faster than a teenager driving his first car. But with what material? What kind of record?
Gibbs had been working with Neal Weiss, label head of WCS, for four of his eight solo recordings. They worked together well. Gibbs’ mind is a massive scratchpad of possible ideas: recordings, songs, harmonies, hooks, collaborators … “Neal never tells me what to do,” explains Gibbs, “but he threw out an idea for a concept record.”
Gibbs has a lot of concepts up his sleeve, but chose a handful of classic R&B and soul tunes from the 60s and 70s to see how the band would handle them. “I thought I will not try and re-harmonize any of the original chord changes because these songs are already so beautiful,” says Gibbs. “We’lI only change the rhythms to make them swing.”
They all agreed: a cool idea indeed. Gibbs cleared it with his bandmates, and while that sounds manageable, it took months to find a recording date in which all parties were available. “Kenny and Ron loved the idea,” says Gibbs. “With these guys, I can go in 50 different directions, so it’s frustrating to choose just one.” Not to mention that they are so in demand, it’s tough to find the time.
And so they set out to record. The songs are ambitious; the choices are predictable, but also great canvasses for the band. Choices include material by the greats: Stevie Wonder (“Too High,” “My Cherie Amour”), Marvin Gaye (“What’s Going On?”), Earth, Wind and Fire (“Reasons,” “Fantasy,” “Runnin’”), Nascimento (“Brazilian Rhyme”), and many others.
The performances are spontaneous, fiery and inventive. They take warmly familiar tunes and turn them into sizzling, classic jazz standards that stretch the skills of these consummate musicians and draw the listener into an epic jazz adventure. “I thought,” says Gibbs, “these are all recognizable melodies that people love, so I will treat them like old jazz standards to sing to and only make up the forms for the solos.”
The recording also features playing from red hot, world-class guests Warren Wolf (vibraphone), Larry Goldings (B-3), and Steve Wilson (woodwinds). Says Gibbs: “Ron and Kenny use Steve a lot, too, so the camaraderie was a blast with the four of us.” Goldings, besides being one of everybody’s favorite piano players, is also one of the music world’s most accomplished organists. “I can brag a lot about Larry,” says Gibbs, “but when Kenny expressed his love for Larry’s playing and told me after listening to the tracks how great he thought Larry sounded, well, that’s about as great of a compliment as one can get coming from one of the masters of the piano!”
Recorded by Alex Venguer at MSR Studios in New York, mixed and mastered by Mike Marciano at Systems 2 Studios, produced by Gibbs, and overseen by Weiss at WCS, the stage was set for a handful of truly grand performances. Combine that collective effort with a great concept for a recording, and you’ve got “We’re Back,” the Thrasher Dream Trio’s inspired new project.
###
TRACKS
1. Too High 4:26
2. What’s Going On 6:25
3. Where is the Love 5:17
4. Reasons 5:03
5. Mighty Mighty 5:45
6. Betcha By Golly, Wow 6:35
7. My Cherie Amour 7:32
8. Creepin’ 4:51
9. Fantasy 4:38
10. Living for the City / Overjoyed 6:34
11. Brazilian Rhyme 1:03
12. Runnin’ 5:51
13. I Say a Little Prayer 4:59
14. Pick Up the Pieces 4:57
15. The Theme 0:44
Total running time: 01:15:02
TRACKS/PUBLISHING
Too High 4:26
(Stevie Wonder)
EMI April Music Inc., o/b/o Jobete Music Co. Inc., o/b/o Black Bull Music, ASCAP
What’s Going On 6:25
(Marvin Gaye)
Jobete Music Co. Inc., Stone Agate Music Corp., ASCAP
Where is The Love 5:17
(Ralph MacDonald / William Salter)
BMG Ruby Songs o/b/o Antisia Music, BMG Ruby Songs, ASCAP
Reasons 5:03
(Earth, Wind & Fire)
EMI April Music Inc., Embassy Music Corp., ASCAP
Mighty Mighty 5:45
(Earth, Wind & Fire)
Warner-Tamerlane Pub Corp., BMI
Betcha By Golly, Wow 6:35
(Linda Creed / Thomas Bell)
Sony/ATV Songs LLC., o/b/o Mijac Music, Warner-Tamerlane Pub Corp., BMI
My Cherie Amour 7:32
(Henry Cosby / Stevie Wonder / Sylvia Moy)
Jobete Music Co. Inc., Stone Agate Music Corp., Sawandi Music, Black Bull Music Inc., ASCAP
Creepin’ 4:51
(Stevie Wonder)
EMI April Music Inc., o/b/o Jobete Music Co. Inc., o/b/o Black Bull Music, ASCAP
Fantasy 4:38
(Earth, Wind & Fire)
EMI April Music Inc., BMI
Living For The City / Overjoyed 6:34
(Stevie Wonder)
EMI April Music Inc., o/b/o Jobete Music Co. Inc., o/b/o Black Bull Music, ASCAP
Brazilian Rhyme 1:03
(Earth, Wind & Fire)
EMI April Music Inc., BMI
Runnin’ 5:51
(Earth, Wind & Fire)
EMI April Music Inc., BMI
I Say A Little Prayer 4:59
(Hal David / Burt Bacharach)
BMG Gold Songs o/b/o Casa David LP, Universal Music Corp., o/b/o New Hidden Valley Music, ASCAP
Pick Up The Pieces 4:57
(Average White Band)
Bug Music, o/b/o Average Music, BMI
The Theme 0:44 Beat Box Version
(Miles Davis)
Kobalt Songs Music Pub., BMI
=========
MUSICIANS
Gerry Gibbs · Drums, Percussion, Cuíca, Glockenspiel, Mouth Drums
Ron Carter · Acoustic Bass
Kenny Barron · Acoustic Piano
w/Special Guests
Warren Wolf · Vibraphone · tracks 2,6,7,11,12
Larry Goldings · Hammond B-3 Organ · tracks 2,7
Steve Wilson · Alto & Soprano Saxophones · tracks 5,9
Kyeshie Gibbs · wind chimes, rain stick, African bells
=========
CREDITS
All music arranged by Gerry Gibbs
Mighty Mighty arranged by Gerry Gibbs, based on an arrangement by Doug Carn
What’s Going On arranged by Gerry Gibbs (little vamp on end borrowed from a Quincy Jones arrangement)
Recorded by Alex Venguer at MSR Studios, New York, NY, April 19 & 21, 2014
Mixed & Mastered by Mike Marciano at Systems Two Recording Studio, Brooklyn, NY, June 2014
Production Assistants: Mike Marciano & Max Ross; Additional engineering: Max Ross
Produced by Gerry Gibbs for Thrasher Productions
Executive Producer: Neal Weiss
CD Design and photographs by David Arruda Jr
Photos of Warren Wolf, Larry Goldings & Steve Wilson by Gerry Gibbs
Booklet cover Polaroid photo of Gerry (at age 13) by Terry Gibbs
For booking info, contact Gerry Gibbs at: ggibbsthrasher@aol.com or 818-795-1646
Other Gerry Gibbs releases available on Whaling City Sound
· Gerry Gibbs Thrasher Big Band “Live At Luna” (wcs033)
· Gerry Gibbs Electric Thrasher Orchestra “Plays The Music Of Miles Davis 1967-1975” (wcs047)
· Gerry Gibbs, Ron Carter, Kenny Barron “Thrasher Dream Trio” (wcs065)
=========
ENDORSEMENTS
Gerry Gibbs plays Zildjian cymbals & brushes, Vic Firth drumsticks & mallets
Gerry’s set is made up of drums given to him by Buddy Rich and also one of Elvin Jones’ classic 1960s floor toms
Gerry plays a 1933 Slingerland Radio King snare drum
Gerry’s drums modified by Stan Keyawa at the Pro Drum Shop, Hollywood, CA
Gerry plays a 1930s K Zildjian cymbal owned by Tony Williams in the 1960s given to him by Jim Keltner
Gerry plays a 1950s A Zildjian cymbal that belonged to Billy Higgins
=========
QUOTES
It’s interesting to hear how a pop song can sound from a jazz point of view. Many listeners don’t understand how difficult and complicated it is to make a song of one genre fit into another genre. These guys make it sound so easy. Enjoy the music.
– Ron Carter
The Thrasher has done it again! Nice arrangements of music from Stevie Wonder, Earth, Wind and Fire and others. It’s always a joy to play with Gerry and Ron!
– Kenny Barron
Gerry Gibbs is the quintessential New York drummer; Always creative, highly sensitive and super swinging.
– Larry Goldings
Playing and recording with Gerry Gibbs has been such an honor. To be able to record ‘70s soul music that my father played around the house when I was a kid, is awesome. “Betcha By Golly, Wow” is such a beautiful tune. The first time I heard the song was a version by Prince. Then I decided to check out the original by the Stylistics and I’ve loved the song ever since. Gerry has such a bright mind to bring together master musicians in Steve Wilson, Larry Goldings, Kenny Barron and Ron Carter. This is one album that’ll be sure to rock the house.
– Warren Wolf
It’s much more than a notion to craft new takes on iconic music such as this — even when you have the greatest musicians on board. Gerry has brilliantly done just that. It simply doesn’t get any better than this, so enjoy!
– Steve Wilson
“We’re Back” is a wonderful acknowledgment of Gerry Gibb’s drum artistry, as he performs with two of the greatest musicians of our time, NEA Jazz Master Ron Carter, and Kenny Barron, who join with Gerry to celebrate and explore the Motown songbook.
– Geri Allen
The “Thrasher Dream Trio” is indeed a very special project. Led by drummer, composer, arranger Gerry Gibbs, it includes supremely legendary bassist Ron Carter and incredible pianist Kenny Barron. The concept of remaking R&B jams to classic jazz has typically left me cold, but Gerry’s arrangements are truly a schematic for these jazz giants to create their magic. The harmonies are fresh, the rhythms captivating, the melodies compelling and the swinging undeniable. Saxophonist Steve Wilson, organist Larry Goldings and vibist Warren Wolf guest on this project adding incredible color and fantastic solos. This is a must have CD for serious jazz aficionados and novice jazz listeners alike.
Bravo Gerry, I love it!
– Harvey Mason
They’re Back! Two of the great masters of American classical music join the dynamic and pulsating artist Gerry Gibbs in their wonderful follow-up CD to last years marvelously received album “Gerry Gibbs’ Thrasher Dream Trio.” This time around, they bring their gifts to some beloved classic songs from the world of rhythm and blues as well as the world of rock. Yes folks, they’re back!
Along with three highly regarded music makers, vibraphonist Warren Wolf, B-3 organist Larry Golding, and alto-saxophonist Steve Wilson, “We’re Back” offers a delectable serving of song interpretation, many of them personal favorites of mine. Gerry provides his own arrangements to these popular songs, as if they were standards from the “Great American Songbook.” He is a man who grew up in a rich musical environment, mostly due to his father, the masterful vibraphonist Terry Gibbs. His insatiable appetite for the good song and the good band, acquired not only of his father’s experience, but also of the ‘60s ‘70s and ‘80s, entered into his being. Gerry devours music like few ever do. That love of the music of various origins, along with his special gifts brought him to be the wonderful and unique musician/drummer he is today. He more than ‘plays’ the various styles, he truly owns them. This is a beautiful collection in which Ron and Kenny once again strike an unforgettable musical bond with Gerry. “We’re back” is big fun.
– Monty Alexander
I’m sure this recording will touch a lot of folks. Gerry Gibbs has put together another fun and swinging session with a new spin on some of the best loved R&B classics of the day. This recording will capture you from start to finish! Enjoy!
– Joe Lovano
=========
GERRY’S NOTES
“We’re Back,” with our second Thrasher Dream Trio recording with Ron, Kenny and myself, but this time we add special guests Warren Wolf, Larry Goldings and Steve Wilson to the mix. With the first CD going to #1 for six weeks on the JazzWeek radio charts nationwide, and having such support from Ron and Kenny and the record label, I received a phone call (while the CD was still on the charts) from the President of Whaling City Sound, Neal Weiss. He said, “Gerry, I think we need to get back in the studio ASAP and do it again. Do you have any ideas?” After some discussion, we agreed on a concept format for the next one. I have over thirty concept ideas in my head for recording projects I hope to one day record, so I chose one that I will elaborate on next.
Following my phone conversation with Neal, I took a drive out to Long Island with my wife Kyeshie and talked about which concept I would choose. With this trio, I could go in fifty different directions. The frustrating thing for me is to choose just one and then stay with only that idea. I told Kyeshie, “I want to record a CD for you, with music that hopefully, both jazz and non-jazz fans will like.” She jokingly said, “Well, do the R&B CD that you’ve talked about.” I have arranged R&B tunes for other records, but maybe it would be cool to just do some of my favorite R&B hits from the ‘60s & ‘70s. We immediately whipped out my iPods and went through maybe three-hundred R&B tunes from different bands on this six-hour drive along the ocean in Long Island. I decided not to re-harmonize any of the original chord changes (even if just one or two chords), because these songs are already so beautiful. I would only change the rhythms to make them swing like I have done in the past with R&B tunes. I would treat them like older jazz standards that people love to sing, and only make up the forms for the solos (since there usually aren’t jazz solos on these tunes). I organized 99.9% of the fourteen tracks on this CD during that drive.
The two days in the studio were truly a memorable experience. No one was in a rush, which resulted in ten-hour days of just hangin’ (and laughing a whole lot), recording, listening back to the tracks, telling tons of stories – and making my silly Facebook videos with Ron and Kenny, where we did little skits. For me, the most memorable (and flattering) moment was to be asked by Ron during a break to do an upcoming gig with his Big Band this summer.
I like to do what people call “Beatboxing” on each of my CDs, and chose to end this CD, like last one, by playing the famous “Theme” ending from Miles Davis. I don’t call it Beatboxing because I have been doing the same thing – singing drums with my mouth – since I was six-years old back in 1970. It’s the only non-R&B tune on the recording, but it is a jazz classic.
I could write a small book telling many fun stories about everything that went into putting this CD together, but my hope is that all the preparation, extra time, love, care and most importantly, all the fun we all had – from the moment everyone agreed to be a part of this recording – to the very last second when the recording was mastered, is present on this CD.
I speak for all of us in saying, “We’re back,” and we all hope you enjoy!
Much peace, Gerry Gibbs (Astoria, NY, July 2014)
=========
BLUMENTHAL NOTES
Jazz and popular music are two topics whose conjunction starts more jazz-world diatribes than all save perennial champion rant-inducer “jazz, alive or dead?” Some (granted, a diminishing number) are convinced that jazz was best when it was the popular music of its day, while others take the phrase “art form” as rebutting any need to communicate to most listeners. Some folks from both camps are convinced that little or no popular material worthy of a jazz musician’s curiosity and creativity has been produced in the last half-century.
The Thrasher Dream Trio and guests beg to differ. Their individual perspectives on the popular music of African-Americans in the 1970s certainly differ according to age – Ron Carter, after all, plays on the Roberta Flack/Donny Hathaway original recording of “Where is the Love?” and participated in early instrumental interpretations of several other ‘70s hits while Warren Wolf, the junior member here, may have heard a few of these titles for the first time on oldies stations. But every one of the present musicians has a vivid command of both his art and the music at hand; and Gerry Gibbs, who heard much of said music as the soundtrack to his pre-teen and teenage years and included other worthy products of the period on his previous Thrasher Dream Trio, has created a greater album-length whole in arrangements that play to the strength of the material while tilting it provocatively in a few new directions.
Jazz and popular music are not always the same thing, yet the twain does occasionally meet. It met in the early ‘60s in one of the first instances of cultural globalization, bossa nova, and meets even more emphatically in the hits created by Stevie Wonder, Marvin Gaye, Maurice White of Earth, Wind and Fire and the other composers represented here. These songsmiths had worked closely with jazz musicians, (in the case of White, Bill Salter and Ralph MacDonald, they were jazz musicians themselves), so they understood not only a rhythmic pocket and the blues underpinning of so much popular music but also the play of forms and colors that Miles Davis, John Coltrane and other leading jazz figures of the time had revealed. Black popular music of the 1970s is remembered for many things, not least its willingness to address social conditions and its array of new instrumental sounds and recording techniques. It also contains an overlooked body of material that musicians of the present ilk can plumb to their and our mutual delight.
Gerry Gibbs knows the source material like he knows the Ron Carter and Kenny Barron albums so engagingly described in his notes to the previous introductory collection by TDT. These popular titles were central to the shaping of his musical worldview, and helped show him how, in turn, he could reshape them. Where the last album proved Gibbs an ace in three-way structure, he widens his horizon on half of the tracks with a pair of near contemporaries, Larry Goldings and Steve Wilson, and the aforementioned Wolf. Goldings contributes organ solos to “What’s Going On?” and “My Cherie Amour” (and maintains a rare three-keyboard balance with piano an vibes on both), while Wilson ignites “Mighty Mighty” with his alto saxophone and “Fantasy” with his soprano. Relative rookie (or should we just say old soul?) Wolf colors five tracks, and gets to stretch on “Runnin’.”
That TDT is able to entertain guests so sumptuously is hardly news, playing well with others being a pillar upon which Barron and Carter have each built their careers. The third dimension of Gibbs’ drums and charts carried the trio’s first release into the realm of great piano-bass-drum units, and more can often be less, particularly when the core band offers so much; but the hosts here are uncommonly accommodating, and the visitors ideally equipped to sustain and expand the conversation. Everyone is listening with poised and open minds, to the material and to each other, as some of yesterday’s best creative moments become today’s. That said, the trio tracks are even more singular, in the ensemble passages and solos but most particularly in those stretches where Barron, Carter and Gibbs seem less concerned with lead-voice and support roles than balanced, lyrical-yet-bristling back and forth.
The Thrasher Dream Trio is indeed back. And very much alive.
Bob Blumenthal
Bob Blumenthal has been writing about jazz since 1969, receiving Grammy awards in the category of Best Album Notes.
=========
GERRY’S THANKS:
First and foremost, I thank God for every day.
Special thanks to Ron Carter for all the extra support before, during and after the recording of both CD’s, and to Kenny, for being so willing and for putting so much time into learning my arrangements. Much love to you both for your friendships and music.
Special thanks also go to:
– Warren Wolf, for your great playing – coming in with 1 hour sleep and nailing the music – always with that big smile on your face.
– Larry Goldings, for having such creativity to play with Kenny’s piano and enhancing the music so strongly, as Ron and Kenny felt very much the same.
– Steve Wilson, for nailing my music as you always do, and always being so supportive and driving around NYC with me listening to the rough mixes.
Thank you to Neal Weiss for too many things to put on this page, but once again for making another dream come true. Thanks to Dave Arruda & Ginny Shea, also of Whaling City Sound, and to Neal Sapper and Matt Hughes of New World ‘n’ Jazz Promotions. You all are the best people to work with at a label.
Thanks to my brother of 24 years, Raphael D’Lugoff, who gave me my first job in NYC back in 1990, and was such a big help in so many ways in making of this CD. Thank you for all your great input, and for that “great chord” in My Cherie Amour.
Thanks to Daniel Duke for the amazing and quick copying work, but even more importantly, for also being my second set of ears during the recording process. You were a huge help.
Thanks to Mike Ekroth, Campbell Charshee, Joe Magnarelli, Sam Dillion, Joseph Lepore and Daniel Duke for proofreading and playing through all this music before the recording.
I must always thank my family, Rebekah, Jerra, Kelly and relatives, but always a special thanks goes out to my music teacher of 50 years, my pops, the legendary vibraphonist and band leader Terry Gibbs. I take all that he has taught me on and off the bandstand into every recording I make and his influence is always on everything. xo, G
I thank Billy Childs, Richard Cohen, Jordan Zimmerman and my pops for checking in with their support after every day of recording!
A very special thank you to engineer Alex Venguer for more than an amazing job. Also, thanks to Max Ross for all the work and additional engineering he did, and of course, a very special thanks to the amazing Mike Marciano for his huge ears in the mixing and mastering of this CD. That is why you are one of the most requested engineers in jazz music today! Nancy Marciano gets special thanks, hugs and kisses for constantly moving things around and making so many accommodations for me and the Jelly Beans too. Luv u and Joe!
To our dear friend, the late Dwayne Burno, you are truly loved and missed by all of us.
=========
Special thanks to my amazing wife and best friend Kyeshie for her great ears and taste in music to help me choose all the material. She helped copy and tape hundreds of pages of music together and helped me carry and set up all my drums, cymbals and the vibes. She sat with me through all the recording, mixing and mastering of the CD and truly was the inspiration for the direction of this project.
This CD is dedicated to her. Luv u xo, G
Music industry consultant and publicist Ginny Shea has garnered international exposure for her clients through radio and video promotion, print media, and her vast industry network.
