Tuesday, January 26, 2016

New PARMA Artists: University of South Dakota Chamber Singers

University of South Dakota Chamber Singers
We're excited to announce that the University of South Dakota Chamber Singers are the newest addition to the PARMA family of artists.

Led by director Dr. David Holdhusen, the USD Chamber Singers have performed around their native South Dakota, throughout the Midwest, and at state and regional conferences for the American Choral Directors Association (ACDA) and the National Association for Music Education (NAfME). Last summer, the group toured Europe including performances in Germany, Austria, and the Czech Republic.

Dr. David Holdhusen
The USD Chamber Singers are currently finishing the final recording sessions for the album, which will feature a program of folk songs, spirituals, and other works by American composers.

In the meantime, you can learn more about them on their website and keep up with them by following their Facebook and Twitter pages. You can also begin getting to know their work by checking out a stunning performance of Eric Whitacre's "Water Night" via the YouTube player below.






New PARMA Artist: Allan Crossman

Allan Crossman
PARMA is pleased to welcome composer Allan Crossman to our roster.

Allan has signed on to include his piece "Florébius" for violin and piano on an upcoming chamber compilation on Navona Records.

Throughout his career, Allan's work has been performed around the world by chamber groups, singers, orchestras, actors, dancers and more.

He studied with composers George Crumb, George Rochberg, and Hugo Weisgall at the University of Pennsylvania, where he earned his Bachelors and Masters degrees.

Allan has taught at Concordia University in Montreal, the San Francisco Conservatory, Wheaton College in Massachusetts, the Pacific Conservatory, the School of Contemporary Music in Boston, and the San Francisco School of the Arts.

Also an active pianist, he studied with Irwin Gelber and went on to serve as an accompanist, composer/arranger, and music director for several theaters and ensembles around the United States and Canada.

The Eusebius Duo: Monika Gruber (L), Hillary Nordwell (R)
"Florébius" was written for the Eusebius Duo, an award-winning ensemble featuring San Francisco Conservatory of Music graduates Monika Gruber on violin and Hillary Nordwell on piano. The duo will be recording Allan's piece this spring in San Francisco.

More information about Allan and his work can be found on his website, www.acrossman.com. In the meantime, stay tuned for updates about the release, and welcome Allan!



Thursday, January 21, 2016

New PARMA Artist: Miguel Chuaqui

Miguel Chuaqui

Chilean-American composer Miguel Chuaqui has signed with PARMA to release a new album of chamber works. We're excited to have him as part of the PARMA roster of artists.

Miguel was born in Berkeley, California before moving to Santiago, Chile with his family, where he grew up and began his musical studies with the piano. He returned to Berkeley and attended the University of California there, where he earned his BA, MA, and PhD degrees.

Miguel has been commissioned from the Koussevitsky Foundation at the Library of Congress, the Fromm Foundation at Harvard University, and the Utah Arts Council, among many others. Throughout his career, he has received awards and honors from several notable institutions, including the American Academy of Arts and Letters, the Aaron Copland Fund for Music, the Eisner Prize, and the National Association of Composers of Chile.

Miguel currently serves as the Director of the School of Music at the University of Utah in Salt Lake City, where he also teaches composition, orchestration, and electro-acoustic music. His new album will be released later this year on Ravello Records and will feature works for wind quintet, solo piano, cello with live electronics, and bass trombone with fixed and live electronics,

Until then, you can hear a live performance of his choral piece "Salmo 139" via the YouTube player below. Stay tuned!



New PARMA Artist: Cicilia Yudha

We are pleased to introduce pianist Cicilia Yudha as part of the PARMA family of artists and composers. Cicilia has signed to release an album of works for solo piano by composers Henri Dutilleux and Robert Casadesus.

Cicilia was born in Indonesia and began playing the piano when she was three. She made her professional debut as a pianist in 2003 with the Cleveland Orchestra.

Cicilia Yudha
Since then, Cicilia has toured and performed throughout the United States, in her native Indonesia, at the International Piano Academy in Germany, and at the Ecoles d'Art Americaines in France, to name a few.

Her concerts have been recorded and featured on several of the world's leading classical radio stations, including WCLV FM in Cleveland, WQXR in New York, the Canadian Broadcasting Company, and Radio Klasik in Jakarta.

Equally as active as an educator, Cicilia taught at the Cleveland Institute of Music and the New England Conservatory before becoming assistant professor and coordinator of keyboard musicianship at the Dana School of Music at Youngstown State University in Youngstown, Ohio.

Check out the YouTube player below for a glimpse into her work in the classroom.


Cicilia's album will be released later this year on Navona Records. Until then, you can hear her playing Robert Schumann's "Arabesque in C Major, Op. 18" below. Welcome, Cicilia!

Artist Interview with Piotr Szewczyk

Piotr Szewczyk

Next month, Navona Records will release VIOLIN FUTURA, a double-disc recording of 33 solo works commissioned by, performed by, and in some cases written by Florida-based violinist and composer Piotr Szewczyk.

Earlier this week, we spoke with Piotr to discuss his background, his new project, and what's coming up next.



You were born in Poland and lived there before becoming a naturalized U.S. citizen. How have your musical experiences differed between here and back home?

Growing up in Poland, I was surrounded by music in my family from an early age, and went to music schools studying violin and piano. I owe the United States for my inspiration to become a composer. I remember the day when I first heard "Short Ride in a Fast Machine" by John Adams and then played his Chairman Dances in the Interlochen Arts Academy orchestra. I was so thrilled and excited by this music that I wanted to study composition in addition to the violin.

In addition to your undergraduate and doctoral degrees, you hold dual Master of Music degrees from the University of Cincinnati College-Conservatory of Music in composition and violin performance. How has your experience as a composer influenced your violin playing, and vice versa?

As a violinist, studying composition helped me understand any music I performed in a much deeper, more meaningful way. As a composer, being a violinist that played in orchestras and various ensembles daily helped me write music in a more organic way, with the performer’s perspective in mind. Being inside the orchestra and interacting with musicians was for me the best lesson in orchestration beyond just studying books and scores, or listening passively.

Could you share a little more about the history of VIOLIN FUTURA? What was your goal behind this project?

My goal was to create new and exciting solo violin repertoire that I could perform in recitals. I wanted to find out what kind of music my composer friends would write for me and I was excited to bring to life pieces no one has ever heard before.

What was your inspiration behind its concept?

The inspiration behind was the power of miniature as a concise and powerful form of musical expression. A collection of miniatures allows for creating varied and colorful programs of different narratives.

How did you select the composers you commissioned?

At the beginning of the project I contacted composers I knew personally. After success of the first batch of pieces and performances, I expanded the project by announcing a call for composers who may be interested in writing pieces for me, and from those I selected the next group.

Two pieces on the album, “All Wheel Drive” and “First Coast Groove,” are your own compositions. What was your writing process like for these pieces?

I always start with improvisation and hand-written sketches, then fleshing out ideas. Both pieces are virtuosic crossover works. I wanted to write something fun and not-too-serious for myself to play.

You recorded the album with John Hadden at the University of North Florida Recital Hall on July 19-22. How did you approach recording 33 songs in just four days?

It was an intense, immersive, exhausting but very rewarding experience. Recording it all in a short time captures the intense energy of this project. We recorded about 12 pieces the first day and then continued with smaller numbers of the most difficult pieces the following days. John did a terrific job of running the sessions which made it easier for me to concentrate only on performing.

Jacksonville may not be known to the general public as a hot-spot for contemporary classical music. What led you there, and what is the rest of the new music community missing out on?

Getting a full time first violin position in Jacksonville Symphony led me there. There are many wonderful, creative musicians in Jacksonville that are pursuing interesting projects, concert series and recitals. I’ve had the privilege of working with many of them on different projects.  I’m also currently involved with over 10 musicians in starting a new music ensemble.

What would you say has been your proudest moment as a composer? As a violinist?

As a composer, it would be the word premiere of my First Coast Fanfare commissioned by Jacksonville Symphony. It was an amazing experience to hear my music performed beautifully by my colleagues and friends with whom I work every day. As a violinist, it would be performing selections from Violin Futura in Carnegie Hall-Weill Recital Hall in the presence of many of the composers who wrote those pieces for me.

What do you want your listeners to take away from this album?

I hope they will enjoy discovering the creativity and variety of approaches living composers use in writing miniatures for solo violin. Also, how these pieces make a unique contributions to the vast violin repertoire already out there. I hope these pieces will serve listeners as a gateway to discovering more music by composers in my project.

What are you listening to right now?

Nowadays I mostly listen to enormous amounts of very recent contemporary music of different aesthetic directions. I’m blown away everyday by how much amazing music is being written in our times and how many creative composers, ensembles, and performers are out there. There isn’t a day that goes by for me without discovering a new, inspiring living composer.

What do you have going on in 2016?

Besides my daily full-time job as a violinist in Jacksonville Symphony, in 2016 I will have world premiere of my percussion concerto Neural Circuits, commission for a clarinet and piano piece, premiere of my new piece for 5 bassoons, recital of contemporary piano trio music, performances at St. Augustine Music Festival and more. More information can be found on my website.



VIOLIN FUTURA will be available on February 12th. In the meantime, check out the SoundCloud player below, and stay tuned for more updates!





Friday, January 15, 2016

PARMA on Spotify: Pour le Piano Redux

Even without diving too deep into the catalog of 350+ albums PARMA has released since we launched in 2008, it's very apparent that the composers and performers we work with come from an array of musical backgrounds.

In many cases, there is a common thread that strings our artists together as a unified base of some of the best and brightest in the business. In this case, it's a piano string.

Music today takes many shapes and speaks through a limitless variety of voices and instruments. But as much as I enjoy discovering and listening to new sounds and styles, there's something about a solo piano that catches and keeps my interest every time I hear it.

There is plenty to be said about each piece, not to mention the composer who wrote it and the pianist who plays it. But you came here for a playlist, and this music really speaks for itself anyway.

So, without further ado, here are some of the latest and greatest piano recordings from the PARMA catalog. Enjoy!








Friday, January 8, 2016

January Releases Out Now on Navona and Ravello Records!

PERSONAE
NV6016
Beth Levin





On her Navona Records release PERSONAE, pianist Beth Levin presents works from Frédéric Chopin (1810-1849), Anders Eliasson (1947-2013), and Robert Schumann (1810-1856) that highlight each composer’s unique voice and style. Praised by Jeremy Eichler of the New York Times for her “boldly inflected readings and impressive ability to convey emotion without exhibition,” Levin animates the personalities of each composer with aplomb, passion, and elegance. Read More

VOIX SUPRÊME
NV6017
Jules Massenet
Shudong Braamse




On her debut release on Navona Records, VOIX SUPRÊME: MÉLODIES OF JULES MASSENET, coloratura soprano Shudong Braamse presents a selection of Romantic French art songs, illustrating Massenet’s arresting motives, graceful vocal lines, and well-placed accompaniments. Read More

LINGERING LONGINGS
NV6018
Carl Vollrath





Considered by American Record Guide as a composer who “approaches his pieces with respect and care,” Carl Vollrath presents the second volume of his clarinet and piano works on Navona Records, LINGERING LONGINGS: MUSIC FOR CLARINET AND PIANO VOL. 2. Expanding upon the first release in this collection, PAST RECOLLECTIONS: MUSIC FOR CLARINET AND PIANO VOL. 1, the composer continues to celebrate past events through musical narratives, tenderly and radiantly performed by clarinetist Michael Norsworthy and pianist Yoko Hagino. Read More

ROJAK ROCKS
NV6019
John D. Rojak





For decades, John Rojak has been a staple in American brass music, performing with a number of chamber ensembles and orchestras such as American Brass Quintet, Cleveland Orchestra, the New York Philharmonic, and the Boston Symphony; in Broadway shows including Les Misérables and The Producers; in big bands of Mel Lewis, Bob Mintzer, and Gerry Mulligan; and contributing to the pedagogy of the bass trombone as a faculty member of several institutions, including The Juilliard School, The Hartt School, and Aspen Music Festival and School. Needless to say he has taken the bass trombone and its repertoire to new heights in the classical, contemporary, jazz, and commercial genres. Read More

ONYX
NV6020
Society of Composers, Inc. Vol.29





Navona Records presents ONYX, the 29th edition of the acclaimed Society of Composers, Inc. CD Series and the fifth SCI release on the label. Founded in 1965, SCI celebrates their 50 year anniversary with the release of this album, marking their continued dedication to the promotion, performance, understanding, and dissemination of new and contemporary music. Read More

PINNACLE
NV6022
PERTTU |  BAKKER  | BLOCK  |  GREVE  |  WALCZYK





Navona Records presents PINNACLE, a compilation of contemporary chamber works by composers Hans Bakker, Steven Block, Peter Greve, Daniel Perttu, and Kevin M. Walczyk that highlight the melodic, emotive, and dramatic styles offered by some of today’s chamber music. Read More

BALANCING ACTS
RR7921
Russell Pinkston





On his Ravello Records release BALANCING ACTS, composer and sound designer Russell Pinkston showcases a selection of his compositions for acoustic instruments and electronic sounds. Most of these pieces combine the two, capitalizing on the absolute precision and unlimited sonic potential of electronic media, while still taking advantage of the spontaneity and expressivity of live performance. Several works feature interactive software written by the composer, which tracks a live performer and generates an electronic accompaniment in real time. Read More

JUST MUSIC: MUSIC FOR PIANO IN FIVE LIMIT
JUST INTONATION
RR7922
Zoran Šćekić




On his debut release on Ravello Records, JUST MUSIC: MUSIC FOR PIANO IN FIVE LIMIT JUST INTONATION, Croatian composer Zoran Šćekić presents an open series of compositions aiming to explore the harmony of a non-tempered microtonal system based on integer harmonics, or just intonation. Performed by Croatian pianist Ana Žgur, the pieces on this album explore the use of intervals in five limit just intonation, a method in which intervals are built on the prime numbers 2, 3, and 5. Šćekić’s economical use of notes emphasizes the contrast between consonant and dissonant intervals in harmony and melody, chord inversions, and use of the syntonic comma. Read More

CHAMBER SYMPHONIES 2, 3 & 4
RR7923
Douglas Anderson





Since the robust development of the symphonic form in the 18th century, many composers, from Haydn, Beethoven, Mahler and Stravinsky, have written within the genre, creating engaging sonic worlds in and of themselves. Inspired by Arnold Schoenberg’s two chamber symphonies, American composer Douglas Anderson presents three of his chamber symphonies on his debut release on Ravello Records, which aim to envelope the listener in a varied and multifaceted musical environment all the while exploring the genre using the necessarily limited timbral and harmonic palette of a small ensemble. Read More

Wednesday, January 6, 2016

Artist Interview with Beth Levin

Acclaimed New York City pianist, Beth Levin (www.bethlevinpiano.com), will release her second album with PARMA, PERSONAE, this Friday, January 8th, on Navona Records.

Beth has been busy recording and performing for the past year, and PERSONAE represents the next milestone in her career as an artist.  We caught up with Beth to talk about her life as a pianist, how she programmed PERSONAE, and what she's working on next:




You were introduced to piano at a young age and debuted with the Philadelphia orchestra at 12 years old. What first introduced you to piano?

Beth Levin
We had a large rather old Lester upright in the basement of our house on Lenape Road in Philadelphia. I went to it as a child and it became my special place in a way. The bench was filled with music- Bach, lieder, sheet music of all kinds- and I learned to sight-read quickly. At about age five I went to a wonderful neighborhood teacher who had come over from Europe to study at the Curtis Institute of Music, the place which was to become my own destiny as well.

My father was quite musical and had a great ear. I would accompany him when he sang and during car rides he would play the radio and teach me about the composers and performers we were hearing.

At 12 I went to study with Marian Filar, a brilliant Polish pianist, and he was the one who prepared me for the Philadelphia Orchestra competition and consequent performance.

Your last release, A SINGLE BREATH, focused on Beethoven's piano sonatas.  How did you change your approach for selecting the repertoire on PERSONAE?

I think I had been thinking a lot about Mr. Filar who was a great Chopin interpreter. I hadn't performed Chopin in a while and when I opened the B flat minor sonata I knew I was going to play it. Sometimes one gets hooked in the first few measures.

"Davidsbundlertanze" I had recently performed at Bargemusic in NY and wanted to keep working on. It's a huge expanse of a piece and one you could work on for years and not feel you had touched bottom. Both the Chopin and the Schumann were great contrasts to the Beethoven sonatas I had recorded and much more romantic- yet somehow the perfect next step from Op. 111 of Beethoven.

For PERSONAE, you recorded with Peter Karl in New York City - have you worked with Peter in the past?  How was the experience?

Working with Peter Karl is half the fun of recording. He is quite funny at the same time that he is a pro and knows exactly what he wants. He had often recorded my live concerts over the years but this was one of the first times I had recorded in his studio. The work of recording can be grueling- especially repeating whole movements. We tried to keep the music whole and not chop things up. Peter set up a very welcoming atmosphere that allowed things to flow and feel creative and spontaneous.

Anders Eliasson is the only contemporary composer (1947-2013) featured on PERSONAE.  How were you introduced to his music?

I was introduced to the music of Anders Eliasson by a great champion of his work, the conductor and teacher Christoph Schlueren, whom I met on Facebook. He had listened to my recording of A SINGLE BREATH and invited me to come over and play a few recitals in Germany. There he showed me scores of Eliasson and in the next program that I learned I included his "Disegno 1". Two other works followed in my recital programs. He and Peter Kislinger, another friend and champion of Eliasson, helped me to understand the language of the music.

What do you want listeners to take away from PERSONAE?

...mainly an hour or so of pleasure in the music of great masters. I hope I have portrayed and relayed the character of the music enough that it speaks to a listener's imagination. The music evoked great feeling in me and if some of that translated to the listener I'd be happy.

PERSONAE Cover Artwork

Do you have any upcoming performances featuring works from PERSONAE?

I performed the program in Boston and in NYC before recording it but now am at work on a new recital which I'm scheduled to play in Fall of 2016.
Some of the recording was just aired on radio programs in Vienna and in Vermont. I hope that the CD will take on a life of its own.

New York City is a musical and cultural hotspot.  What is your favorite aspect of being a musician living and working in the city?

I like to walk down the street and hear other musicians practicing.
And sometimes it's nice to have a concert that is a subway stop away from home.
You can feel happily surrounded by art and music here, but you can also be a hermit, practice away and feel the necessary isolation behind serious work at the piano.

What's next for you?

I'll be working with an Icelandic violinist next and playing two concerti here and in Europe- of Mozart and Beethoven. A recording I made with the cellist Sam Magill (also for PARMA) comes out in February and we have concerts together in April, 2016. I'll perform a new solo recital program at Symphony Space in NYC in fall of 2016 sponsored by the Drozdoff Society.



PERSONAE is out this Friday, January 8th via Navona Records. Listen and find purchase links here: www.navonarecords.com/catalog/nv6016/ 

Tuesday, January 5, 2016

PARMA in the News



In addition to the usual welcome litany of outstanding rave reviews from internationally renowned journals, more streams than you can shake a stick at, and prominent placements of our music in major television ad campaigns, PARMA has been in the news quite a bit lately:

·       Musical America names PARMA CEO Bob Lord one of 2015’s 30 Influencers:  www.musicalamerica.com/specialreports/PROFILES2015_FINAL.pdf

·       Portsmouth Herald editorial on PARMA and our work: www.seacoastonline.com/article/20151218/NEWS/151219188

·       The Sound feature article on PARMA’s November recording sessions in Havana, Cuba:                                                                    www.soundnh.com/slow-transition-parma-recordings-in-cuba

·       EDGE Magazine interview with Bob:   www.seacoastonline.com/article/20151217/NEWS/151219323

Check out PARMA's Facebook and Twitter for our latest news. 

Sunday, January 3, 2016

A Visiting Musician's Guide To Portsmouth NH

So you’re here.  You've made it to Portsmouth, one of New England's quintessential seacoast towns.

Yes, this is real
You’ve got a gig, or possibly a meeting and a gig, or possibly a party and a meeting and a gig, or possibly simply one long binge of some type or other with a little incidental playing and talking.

It matters not.  What matters is the plan, because we are musicians.  We're more easily distracted than goldfish, and we often need to have music written down in front of us, like large burly children, in order to know what to do.

If we don't have a plan... we're screwed.

But don't panic.  This is New Hampshire, we're civilized here.  There are cows, yes, but not in the middle of the roads or anything like that.  Not usually, at least.

Portsmouth has all the normal amenities one would expect but there are also many outstanding locally-owned establishments that you might easily miss without proper planning, and it’s some of these special places that I want to share with you:

1) DAMMIT I FORGOT THE ______________
You’ve arrived but things are amiss, items have been neglected, details forgotten, etc.  It’s the usual state of affairs when on the road.

For the obligatory sticks 'n' strings pickup, start down on Islington Street at Gary’s Guitars and the DrumCenter of Portsmouth.  Gary has been taking wonderful care of my gear for 20 years now and is a true institution among area musicians, and Shane Kinney, owner of the Drum Center next door, keeps all those beaters beating. 

You can thankfully buy earplugs at either store as well.

You are still my enemy, Kid Icarus
2) EXTRA TOWELS
When traveling, I need to hit the reset button as frequently as is reasonable (I'm Italian).  Both The Hotel Portsmouth and the Ale House Inn are centrally located, welcoming and hip, comfortable and sophisticated – in many ways microcosms of the city itself.

The suites at the Hotel Portsmouth are well-suited for relaxing, readying, and even holding small meetings, like, for example, the latest installment of a furious, protracted, decades-old argument with your bandmates about whether or not “Close To The Edge” by Yes is a better long-form prog-rock epic than Floyd's “Echoes.”

3) ME
An introductory stroll through Market Square is in order, so wind your way over to Bull Moose Music.  Bull Moose is one of the very few places around where you can find a healthy selection of new and used vinyl, CDs, DVDs, and all those other lovely physical artifacts that we obsessively slaved over in our youth.  Tons of tiny treasures.

If it’s ink on paper that you’re into, cross the street to River Run Bookstore and snag a book or, better yet, the Portsmouth Herald and The Sound, two of the most important publications in town.  They’ve got their fingers on the pulse of the arts scene.

4) THEM
At this point in your day you should likely begin to think ahead (I know, I know) and consider what you will bring home for those in your life with whom you do not argue about oblique chord voicings or earnestly-desired-yet-ill-advised metric modulations.

Time is of the essence but quality cannot be compromised.  Pickwick’s Mercantile presents numerous solutions, and quite literally brims with a semi-chaotic panoply of knick-knack paddy-whacks.  If you can’t find anything at Pickwick’s for your significant other, please consult a doctor immediately.

5) EMERGENCY STEAK
My name is Bob Lord and I approve this pork bun
There are vastly more delicious dishes than you can reasonably try in any single trip here, unless that trip simply ends with you not leaving (this is indeed possible). 

Moxy is always a fun experience with their “American tapas” concept and fresh farm-to-table ingredients.  Dig that Great Bay Martini too.  It’s a perfect place to try a little of a lot and talk over it all… and negotiate, if need be.

For a more traditional sit-down dinner, Louie’s is fast becoming a steady go-to.  The rustic northern Italian-inspired menu is diverse and deep (get the sprouts get the sprouts get the sprouts) with a wine list to match.  

But if grease is what you need, there’s only one place to go: Gilley’s, to which I’ve dedicated more than just a healthy portion of my yearly caloric intake.

If it is a true Emergency Steak that you require - and you'll exactly know what I mean if it is - then proceed directly to The Library for the Gentleman's Cut 16 oz. New York Strip.  We have an excellent emergency room here in town too!

During the summer months you can walk across the bridge to Black Birch and Anju in Kittery Maine for a snack, and on your way back pick up a drink (and a massive lobster roll) on the decks at the River House on Bow Street.  Breathe deeply and hydrate.

6) WAIT, I’M SUPPOSED TO PLAY TONIGHT?
All right, maybe you’re not supposed to play tonight, not all musicians perform after all, but whether you’re on the stage or in the audience at any of the area venues you’re likely to experience something… interesting… at the very least.

The best seat in the house at The Music Hall
The Press Room is quite simply the best place in town to catch the widest variety of music in a relaxed atmosphere.  An absolute must-visit, and a definite must-play.  Don’t tell Bruce I told you any of this.

Right up the street is Rudi’s, which frequently has some of the very finest jazz musicians in the seacoast just a couple feet away from you.

Full disclosure in advance: since 2005 I have been the Music Director for the “Writers On A New England Stage” series at The Music Hall, one of the finest historical theaters in New England, where I also serve on the Board of Trustees.

So while I undoubtedly have a clear bias in regard to the venue, I can say with certainty that, having been on stage and in the audience many times over the years, The Music Hall is an extremely special place to visit – a true flagship organization of the community, a first-rate venue across the board.  Not to be missed (especially if you can catch the Portsmouth Symphony Orchestra and conductor John Page on a Sunday afternoon).

If there’s time, wrap it up with a drink at The District across the street.  And then you’re only a block away from Gilley’s again…

6) OH FUDGE
Ding ding ding!  Out of time, you’re on your way home fantasizing about the next trip.  Here’s what you very likely could be thinking:

  • “If I had only known there was a community radio station to help spread the word!”  WSCA-FM is a wonderful resource for the area.  Be sure to let them know about where and when you are performing.
  • “I should have had a photographer for the show.”  Talk to Nate Hastings at 4077 Photography, because he can make even the most hideous, Gollum-level effects of aging look within the realm of acceptability.
  • “I hope no one took pictures of that.”  Sorry, we live in a day and age where that can’t be helped.
  • “Wish I had to time to get a sense of more of the musical culture in the area.”  The non-profit PMAC (Portsmouth Music & Arts Center) is a nexus of musicians in the seacoast, with young up and coming students being taught by some of the best we’ve got here, and there's plenty of info about what's going on in our area at the Discover Portsmouth Center just up the road.
  • “I’m kind of hungry.”  Well then clearly you did this all wrong.  Stop by Street and repent over the porchetta.

We’re just down the street a few minutes in North Hampton, so stop by on your way out of town to say hi – and would you mind grabbing an order of the short rib marmalade from Moxy for me? 

Thanks,

Bob Lord
CEO, PARMA Recordings