Tuesday, November 22, 2016

Television Theme Songs We Love

The following is a short list of beloved television theme songs that we love. Many of these songs have memorable lyrics that we sing along with as they are playing. Some of these songs have been on the music charts throughout the world. Some are little musical gems of well contracted musicianship. But one they they all have in common is that they are all beloved television theme songs that will never lose their appeal.

Star Trek

Television Series: Star Trek
Years on Air: 1966-1969
Name of Theme Song: "Theme From Star Trek"
Other Names of Theme Song: "Where No Man Has Gone Before"
Written/Composed by: Alexander Courage
Chart Performance: N/A
Trivia: The recognizable theme song was written by Alexander Courage, and has been featured in several Star Trek spin-offs and Motion Pictures. Gene Roddenberry subsequently wrote a set of accompanying lyrics, even though the lyrics were never used in the series, nor did Roddenberry even intend them to be, this allowed him to claim co-composer credit and hence 50% of the performance royalties. Courage considered Roddenberry's actions, while entirely legal, to be unethical. Courage has said his inspiration for the main part of the theme was the Richard Whiting song "Beyond The Blue Horizon."

Knight Rider

Television Series: Knight Rider
Years on Air: 1982 - 1986
Name of Theme Song: The "Knight Rider" Theme
Other Names of Theme Song: N/A
Written/Composed by: Stu Phillips and Glen A. Larson
Chart Performance: N/A
Trivia: Glen A. Larson created and produced the TV series and Stu Phillips also composed the them for the late 70s television series "Battlestar Galactica." Outside of television themes Stu produced the 1962 #1 hit "Johnny Angel" for Shelly Fabares. He also scored the film "Beyond The Valley of the Dolls." The "Knight Rider" Theme is an electronic disco influenced theme that is very reminiscent of Giorgio Moroder's work. The "Knight Rider" Theme won a 2005 BMI Film & TV Award for Best Ringtone.

I Love Lucy

Television Series: I Love Lucy
Years on Air: 1951-1957
Name of Theme Song: "I Love Lucy"
Other Names of Theme Song: N/A
Written/Composed by: Music by Eliot Daniel and Lyrics by Harold Adamson
Chart Performance: N/A
Trivia: The title music was written by Eliot Daniel as an instrumental. Lyrics were written by Harold Adamson, who was nominated five times for an Oscar. The lyrics to "I Love Lucy" were sung by Desi Arnaz in the episode "Lucy's Last Birthday." "I Love Lucy" the single featured Desi Arnaz on lead vocals with Paul Weston and the Norman Luboff Choir was released as the B-side of "There's A Brand New Baby (At Our House)" by Columbia Records (catalog number 39937) in 1953. The song was covered by Michael Franks on the album Dragonfly Summer (1993). In 1977, the Wilton Place Street Band had a Top 40 hit with a disco version of the theme, "Disco Lucy".

Sanford & Son
Television Series: Sanford & Son
Years on Air: 1977-1977
Name of Theme Song: "Sanford and Son Theme"
Other Names of Theme Song: "The Streetbeater"
Written/Composed by: Quincy Jones
Chart Performance: #284 (US)
Trivia: Titled "The Streetbeater", the theme music was composed by Quincy Jones through A&M Records and released on Quincy's album "You Got It Bad Girl" in 1973 and was released as a single. The song never made it onto the Billboard Top 100 but did bubble under at #284, it has however maintained mainstream popularity, ranking 9th in a Rolling Stone Reader Poll of Television Themes Songs, and is featured on Jones' greatest hits album.

The Golden Girls

Television Series: The Golden Girls
Years on Air: 1985-1992
Name of Theme Song: "Thank You For Being A Friend"
Other Names of Theme Song: "The Golden Girls Theme"
Written/Composed by: Andrew Gold
Chart Performance: #25 (US) in 1978 as recorded by Andrew Gold
Trivia: "Thank You for Being a Friend" is a song written by Andrew Gold, who recorded it for his third album, All This and Heaven Too. The song reached number 25 on the Billboard Hot 100 chart in 1978. It also spent two weeks at number 11 on the U.S. Cash Box Top 100, ranking it as the 98th biggest hit of 1978. In Canada, the song peaked at number seven.
The song was famously later re-recorded by Cynthia Fee (also known for her work with Kenny Rogers) to serve as the theme song for the NBC sitcom The Golden Girls, and recorded again for the series' CBS spin-off The Golden Palace.

The Addams Family

Television Series: The Addams Family
Years on Air: 1964-1966
Name of Theme Song: "Main Theme: The Addams Family"
Other Names of Theme Song: N/A
Written/Composed by: Vic Mizzy
Chart Performance: N/A
Trivia: The television series featured a memorable theme song, written and arranged by longtime Hollywood composer Vic Mizzy. The song's arrangement was dominated by a harpsichord and featured finger snaps as percussive accompaniment. Actor Ted Cassidy, in his "Lurch" voice, punctuated the lyrics with words like neatsweet, and petite. Mizzy's theme was popular enough to enjoy a release as a 45 rpm single, though it failed to make the national charts. The song was revived for the 1990s animated series, as well as in 2007 for a series of Addams Family television commercials for M&M's candies.The closing theme was similar, but was instrumental only and featured such instruments as a triangle, a wooden block, a slide whistle and a duck call. Vic Mizzy also wrote the "Green Acres" theme song.

Mission Impossible

Television Series: Mission Impossible
Years on Air: 1966-1973
Name of Theme Song: "Theme From Mission: Impossible"
Other Names of Theme Song: N/A
Written/Composed by: Lalo Schifrin
Chart Performance: #41 (US)
Trivia: The theme was written and composed by Lalo Schifrin and has since gone on to appear in several other works of the Mission: Impossible franchise, including the 1988 TV series, the film series and the video game series. The 1960s version has since been acknowledged as one of TV's greatest theme tunes.The theme is written in a 5/4 time signature which Schifrin has jokingly explained as being "for people who have five legs." The original single release peaked at No. 41 on the Billboard Hot 100 and 19 on the magazine's Adult Contemporary chart in 1967. In 1970, during the 5th Season of the Original Series, the theme was remade replacing the bongos with the drums.
In 1996, the theme was remade by U2 members Adam Clayton and Larry Mullen, Jr. for the soundtrack to the film. It became a hit in the United States, peaking at No. 7 on the Billboard Hot 100 and receiving a gold certification, selling 500,000 copies there. It also peaked at number 7 on the UK Singles Chart.

Hawaii Five-0

Television Series: Hawaii Five-0
Years on Air: 1968-1980
Name of Theme Song: "Hawaii Five-0"
Other Names of Theme Song: N/A
Written/Composed by: Morton Stevens
Chart Performance: #4 (US)
Trivia: Another legacy of the show is the popularity of the Hawaii Five-O theme music. The tune was composed by Morton Stevens, who also composed numerous episode scores. The theme was recorded by the Ventures, whose version reached No. 4 on the Billboard Hot 100 pop chart in 1968, and is particularly popular with college and high school marching bands, especially at the University of Hawaii where it has become the unofficial fight song. Because of the tempo of the music, the theme gained popularity in the UK with followers of Northern soul and was popular on dance floors in the 1970s.

The Jeffersons

Television Series: The Jeffersons
Years on Air: 1975-1985
Name of Theme Song: "Movin' On Up"
Other Names of Theme Song: N/A
Written/Composed by: Ja'net Dubois and Jeff Barry
Chart Performance: N/A
Trivia: The Jeffersons was a spinoff of All in the Family in which the Bunkers' black next-door neighbors moved to a "deluxe apartment in the sky." This gospel-tinged song described their progression "on up." The show ran 1975-1985 and starred Sherman Hemsley and Isabel Sanford. Roxie Roker, who played their neighbor Helen Willis, is the mother of Lenny Kravitz. Ja'net Dubois wrote this song with the legendary songwriter Jeff Barry, who also sang backup vocals. Barry and his wife, Ellie Greenwich, composed several popular songs such as "Why Do Lovers Break Each Other's Hearts?," "Da Doo Ron Ron," "Then He Kissed Me," "Baby I Love You", "Be My Baby," "The Kind of Boy You Can't Forget," "I Can Hear Music," and "River Deep, Mountain High." Ja'net DuBois played the role of Willona Woods on another black sitcom, Good TimesGood Times was a spinoff of Maude, which like The Jeffersons, was a spinoff of All in the Family.

I Dream Of Jeannie

Television Series: I Dream of Jeannie
Years on Air: 1965-1970
Name of Theme Song: "Jeannie"
Other Names of Theme Song: N/A
Written/Composed by: Hugo Montenegro (lyrics by Buddy Kaye)
Chart Performance: N/A
Trivia: The first-season theme music was an instrumental jazz waltz written by Richard Wess. Eventually, Sidney Sheldon became dissatisfied with Wess's theme and musical score. From the second season on, it was replaced by a new theme entitled "Jeannie", composed by Hugo Montenegro with lyrics by Buddy Kaye. Episodes 20 and 25 used a rerecorded ending of "Jeannie" for the closing credits with new, longer drum breaks and a different closing riff. The lyrics were never used in the show. It is this second theme song that has gone on to become known as the "I Dream of Jeannie" theme.

Hugo Montenegro composed the musical score for the 1969 Western Charro! which starred Elvis Presley. He also composed the music from "The Man from UNCLE."
Songwriters Gerry Goffin and Carole King wrote a theme, called "Jeannie", for Sidney Sheldon before the series started, but it was not used.

The Mary Tyler Moore Show

Television Series: The Mary Tyler Moore Show
Years on Air: 1970-1977
Name of Theme Song: "Love Is All Around"
Other Names of Theme Song: N/A
Written/Composed by: Sonny Curtis
Chart Performance: #29  (US Country Music charts as recorded by Sonny Curtis)
Trivia: The theme song, "Love Is All Around", was written and performed by Sonny Curtis often mistakenly attributed to Paul Williams; Pat Williams wrote the show's music. The first season's lyrics are words of encouragement directed to the character, referring to the end of a previous relationship and making a fresh start, beginning with "How will you make it on your own?" and concluding with "You might just make it after all." The more familiar version of the song used in seasons 2-7 changed the lyrics to affirm her optimistic character, beginning with the iconic line "Who can turn the world on with her smile?" and concluding with a more definitive "You're gonna make it after all." An instrumental version of the tune was used for the show's closing credits featuring a saxophone on lead in Season 1; a new version of the closing was usually recorded each season, sometimes with only minor changes. A different instrumental version of the song was later used for the opening of Moore's 1979 variety series, The Mary Tyler Moore Hour.
Sonny Curtis recorded two full-length versions of the song, both with significantly different arrangements from the TV versions. The first was released as a single on Ovation Records in 1970, while the second was included on Curtis' Elektra Records album of the same name in 1980. The latter recording, which featured a country arrangement, reached No. 29 on the Billboard Hot Country Singles chart.
The song has been covered by artists such as Joan Jett & The Blackhearts, Christie Front Drive, Sammy Davis Jr., and Twin Cities-based Hüsker Dü, the latter who also reproduced several scenes of the opening on location for their music video. The song was also featured in a long-running commercial for Chase bank in the mid-2000s, and was sung in the TV series 7th Heaven in the episode "In Praise of Women" during the birth of the Camden twins. A dance version was featured in the 1995 Isaac Mizrahi documentary Unzipped. The 2000 TV movie Mary and Rhoda started with a version of this song, with modern lyrics and a grunge sound.

The Munsters

Television Series: The Munsters
Years on Air: 1964-1966
Name of Theme Song: "The Munsters's Theme"
Other Names of Theme Song: "Mockingbird Lane"
Written/Composed by: Jack Marshall
Chart Performance: N/A
Trivia: With it's driving surf guitar chords "The Munsters Theme" has become a cult classic and has been covered by many surf bands throughout the decades. The instrumental theme song, titled "The Munsters's Theme," was composed by composer/arranger Jack Marshall. The theme song's lyrics, which the sitcom's co-producer Bob Mosher wrote, were never aired on CBS. The theme was nominated for a Grammy Award in 1965 in the "Best Instrumental Composition" category. Jack Marshall recorded a few surf music albums in the early and mid 1960s.

Do you have a favorite TV theme song? 
Please leave a comment!!!

Thursday, August 18, 2016

Corazones by Omar Rodriguez-Lopez (2016)

"Corazones" by Omar Rodriguez-Lopez (2016)

With "Corazones," ORL takes a complete different direction from anything he's ever recorded in his career. The music is straight ahead folk inspired pop. In this album ORL's vocals come to the forefront. On several tracks his voice is high pitched and airy with a dreamlike quality while on others he exhibits a punk rock mentality and yet on others he channels Johnny Cash with his own unique ORL twist.

Amazon link to "Corazones": http://www.amazon.com/exec/obidos/ASIN/B01IQMMAQ0/ref=nosim/populasongsmu-20

Shortly after the passing of his mom, Omar was commissioned to record a few songs for a film project. Several of the songs on "Corazones" originated from those recording sessions for the film that never materialized. The producers asked for the music to be a straight forward as possible. ORL compares some of these songs to "child-like nursery rhymes." ORL commented, "When working with the director and producer, all the themes that were in the film itself were exactly what I was going through: loss, loss of identity because of such an extreme loss." All of ORL's past albums have been highly experimental some calling his music "metal thrash," electronic progressive," "jazz-fusion" and more. Never though has his music been categorized as "pop" or "ballads" until now.  Some of the songs on the album make me think of Bauhaus meets early 70's Pink Floyd meets 70's Brian Eno.

"Corazones" is mournful, subdued and restrained; this gives it the distinction of being the most mellow and musically accessible album of ORL’s career. Gone are the blazing guitars and intricate time signatures, absent is the extreme experimentalism. What we’ve got is something mournful and introspective played largely on acoustic instruments.

Make no mistake, chaos still reigns and ORL is in no way playing it safe. While musically the album is mostly straightforward, "Corazones" is a roller coaster of emotions, with plenty of ups, downs, twists, and turns as ORL purges the grief of his mother’s death. There’s a sort of western feel about the music that recalls a lone, silent hero facing off against the unknown in a vast, unfathomable desert. Here, the lone gunman is ORL, and the desert is his Superego as he comes to grips with both his mother’s passing and her impact on his life.

With this album ORL's vocals are brought to the forefront whereas in the past his vocals were always a part of the background ambience of the song.

"We Feel The Silence" paints a picture of grief, a haunting Spanish guitar ballad with lyrics of loss and an eerie backwards guitar solo drifting in and out like a ghost. ORL's mysterious vocals lend a melancholy to the song that perfectly accents his beautiful swirls of electronic guitar throughout the song.

"Running Away" is a seemingly sunny and upbeat song yet behind the cheerful feel the lyric touches on the yearning to run away from the emotions of pain and anger over losing a loved one. ORL produced a music video for this song in which all the members of his band punch him in the face. I guess it's supposed to be their way of telling him to stop running away from his hurt and pain and face it head on.

"It Was Her" with it's atmospheric sounds reminds me so much of an 1970s Brian Eno composition meets Syd Barrett era Pink Floyd. The experimental guitar chords and ORL's minimal lyrics give the song an expression of emotion that reach right in the center of your heart.

The short 45 second interlude, "Dead Heart" bring us to a Lou Reed style speaking performance by ORL.

"Lola" is simplistic and direct with a 1950s country-pop lean. ORL almost sounds a bit reminiscent of Donovan.

"Sea Is Rising" opens with a Cuban influenced rhythm accented with Marco Giovino's Latin-rock influenced drum patterns. "Sea Is Rising" is ORL's cover of his earlier version of the song. "Sea Is Rising" was originally featured on 2013's "Unicorn Skeleton Mask." The 2013 recording was electronic rapture of dark vocals and bubbling synthesizers. For "Corazones" ORL's vocals are brought to the front as he reimagines the song as a straight ahead rocker with a dramatic blend of electric guitar and syncopated drum rhythms.

"Certainty" is another simple song in which ORL curiously sings in a deep voice.

"Arrest My Father" is the dark-themed song that captures my interest the most. His calling out to have his father arrested is obviously symbolic of pent up emotions. I'm not so sure that he is asking for his father to be arrested but maybe to have his own emotions arrested and contained. In the song he sings "I'm right at the door and I see what you did." He must be talking about the way he reacted to his mother's death when he saw her there lying in her coffin. Stylistically I am also very much attracted to this song which combines Americana guitar styles which reminds me quite a bit of something you'd hear from Johnny Cash along with ORL's mid ranged punk rock vocals.The song is peppered by a locomotive beat and sprightly harmonica.

"Some Sort Of Justice" continues ORLs more than able laid back acoustic guitar sound he has created for this album. Possibly the most personal song on the album ORL sings of loss and pain as he strums the chords of his guitar met by Luke Reynolds' nostalgic keyboards in the middle of the song. Even with a ballad ORL still remains on the edge with his straightforward honest lyrics of the emotions he's felt over the past few years. ORLs brand of ballad reaches beyond the surface of pop confectionary hooks and harmonies and digs deeper into the honesty of pain. ORL never does anything that's just on the surface.

"Five Different Pieces" sports a great organ part lurking behind the drum rhythms with ORL showing off his very deep vocals again. This song deals with the sinister ways hurt and pain can creep up on us. Parts of the uric are playful but reach a point of darkness that bring to light the fact that grief resides right alongside happiness. There’s a superficial happiness to the music that melts away the closer you pay attention.

For anyone who has lost a parent, Corazones strikes a poignant chord. It’s easily the most straightforward and touching effort in his discography, and what he jettisons in musical complexity, he makes up for in emotion. It’s an album of love and shame, pain and joy, truth and lies.

I love this album. It speaks to me in so many different ways and this will be one that remains a favorite for several years to come. This is the album I have been hoping to hear from ORL for quite some time now. The photo of ORL's mother on the cover adds a special touch to the overall finished product.

"Corazones" is the second of twelve new albums ORL will be releasing in 2016. This is an unheard of astonishing feat. I am greatly looking forward to what he has in store for us. I am certain he will take us on an unpredictable ride in terms of volume and range of material.

Amazon link to "Corazones": http://www.amazon.com/exec/obidos/ASIN/B01IQMMAQ0/ref=nosim/populasongsmu-20

Thursday, July 14, 2016

Rick Henry’s Jazz Art: Original Photos and Graphics Pay Tribute to Jazz Musicians

Rick Henry’s Jazz Art: Original Photos and Graphics Pay Tribute to Jazz Musicians
- By Irene Economou

“Rick Henry’s Jazz Art” by author and graphic designer, Rick Henry, is a book that combines his original, digitally rendered graphics and photos with his love for jazz musicians. Each graphic is accompanied by a one-page summary of highlights about each jazz musician. The digital enhancement of each graphic creates visuals bursting with rich colors and unusual depth. What I especially like about this book is the strong visual focus that directs our senses to appreciating jazz musicians from a different perspective. It’s a fascinating concept. I wanted to better understand how this idea came about and Rick’s thinking process to make it happen, so I asked him a series of questions about this project. I hope that his responses also answer many of your questions, too.

Irene Economou (IE): Rick, there are a lot of books today written about jazz musicians, but none that I have seen that combine the concept of using a graphic visual to associate with a jazz musician. What was your inspiration for making such a book that focuses on what you are calling jazz art?

Rick Henry (RH): It really was a case of happenstance. I was looking at one of my Facebook photo albums that I call "Rick's Jazz Art." This is a place where I keep some of my more unusual or abstract digital art. At that time I thought that I would really enjoy making a book containing jazz art created with drawings and photographs that I edited with digital software that were dedicated to my favorite jazz artists.

IE: The experience is somewhat esoteric, isn’t it? What is it about jazz music that speaks to your soul? How exactly does it make you feel? Is it only jazz, or can you get this feeling with other kinds of music?

RH: It's the overall feel of the music, the blending of instruments that just seeps right into my heart and soul. Yes, other types of music also reach into my inner being, especially many forms of alternative rock. A good electric guitar part can always send me to that point of "chill."

IE: There are so many jazz musicians, both past and present. Rick, how did you decide on the ones that you chose to focus on?

RH: I wrote the names of about 70 of my favorite jazz musicians on raffle tickets and put them into a box and randomly chose 24 names. Those are the ones that ended up in my book. I also chose the order in which they appear in the book in the same way with the exception of Miles Davis. I reserved the last two pages of the book for him, because Miles is the most influential jazz musician of all-time.

IE: You mention in the introduction of your book that it was Ornette Colman that first intrigued you in jazz music. Is he your favorite jazz musician? If not, who would you say is your all-time favorite? What makes him/her top of your list?

RH: I love too many jazz musicians to have a favorite, but Ornette is in my top ten. He was my first exposure to real jazz music. I discovered him in 1981 when I was working in a music store. One of the guys that worked there used to play Ornette quite a bit, and his avant-garde style really caught my attention.

IE: I saw a documentary recently about jazz musicians, and I remember that Ornette Coleman was viewed as being very progressive and a real game changer.

RH: Yes, that is one of the things I love about Ornette. I have always been attracted to cutting-edge, game-changing music.

IE: In your opinion, how does jazz music today compare with jazz music in the past?

RH: Great jazz music is great no matter what era it was made. I do feel that the 70s is jazz music's greatest decade. That's when it reached its artistic and experimental peak. But really there is a lot of great jazz music being made today. Mind you, I do not consider easy listening, instrumental music to be jazz. There is a big difference between true jazz and easy listening.

IE: Do you feel that jazz music is timeless?

RH: Yes! But isn't that really all about one’s personal taste in music?

IE:  I suppose you are right about that. We are the ones that determine what music is timeless for ourselves based on our own perspective and choices.  I see your point.

Moving on, how familiar are you with each of the jazz musicians you are featuring in your book? Do you own works performed by each of them?

RH: I own music of all the musicians in my book and have a musical bond to each of them.  I am very familiar with the music of each of these 24 musicians.

IE: That’s awesome! Tell me more about the photos/original art you included in this project. Did you create new pieces for your book, or did you work with existing artwork and photos and modify them?

RH: All but one of the images are new creations made specifically for the book and each musician.

IE: I’m curious as to how you matched the graphics with each musician. Was it based on a feeling, or did you know something special about a particular musician that drove the design process and matching?

RH: All the images were based mostly on the actual music itself, and the colors and moods of what I sense from the music. Now, on the other hand, the image for "Brother Jack McDuff” was based mostly on his love of food.

IE: I have to admit that photo of the peas, potatoes and tomatoes that you used for Jack McDuff is very appetizing!! Continuing with this thought, Rick, would you pick a few other examples from your book and tell us why that particular graphic was paired with the given jazz musician?

RH: Certainly! For Twin Danger, I created an image that has a sort of dangerous look to it. It has low, blue flames of fire surrounding two (twin) circles of emptiness. In thinking about Thelonious Monk, I find that his music is somewhat rustic, yet sensational. The image with the water bottles emphasizes the feel of everyday life, yet it is encased with abstract colors and a dramatic red background giving the image a sort of sensationalism. When it comes to Hermann Szobel, his music is out of this world, cutting edge and a universe all its own.

IE: Some of your photos/graphics focus on objects that are easy to identify. But many of the photos fall into the realm of abstract art. What are the objects in each of the abstract photos?

RH: That's just it! The objects in the more abstract images are no more than abstract drawings of abstract feelings.

IE: Thank you for reminding me that feelings can be the inspiration for an artist's creation.

I like how you styled the book to be two pages per musician, with one page as the visual graphic and the adjacent page highlights of the musician, with concise details that include the genres, highlighted albums, collaborators, nicknames, and interesting trivia and facts. I also like your use of bright, colorful backgrounds for each of the pages, too. It’s very appealing done this way!

RH: Thank you! It looked good to me so I went with it. I always attempt to design text so that it is easy and quick to read.

IE: The cover of your book is especially intriguing. I think it’s pretty cool! What can you tell us about it? What are the steps you took to arrive at this design?

RH: Believe it or not, I was actually trying to take a photo of my car battery, which is in my trunk. It was starting to get dark outside, but I decided to take the photo anyway. When I looked at the photo, instead of seeing a battery, I saw a picture of just the shadow of my head. I realized that I had accidentally changed the camera orientation to take a selfie photo.  I thought it was pretty interesting and unexpected, so I decided to work with it. I uploaded it into Photoshop and with my iPhoto editor added the other particles of the image – multiple colors, confetti, etc.

IE: That’s pretty funny, Rick! Accidental photos can be amazing. I’m glad you decided to be flexible and spontaneous with the photograph that you ended up with because the final resulting cover is pretty outstanding!

Looking into the future, I understand you are planning to do a sequel jazz art book that will include more original graphics and photos and different jazz musicians. What is your estimated timing for it?

RH: The sequel will most likely be released in late 2017. Right now I am working on two books, one about my mom called "Tears for My Mother" and a Donna Summer album-by-album book. After those two are completed I will start working on a Pink Floyd book along with Jazz Art II.

IE: Wow, you are going to be one busy person!

RH: Going to be? I already am busier than ever... and here I was going to try and lighten my load.

IE: Thank you, Rick! This was extremely informative! I have been enjoying “Rick Henry’s Jazz Art” very much and have it out on display on my coffee table for guests to enjoy. I also purchased two extra copies to give, as gifts to a couple of my friends that I know will enjoy the photography as well as the info about these musicians. Your next few projects sound very interesting, too. I will look forward to seeing them as well as your next book on jazz art.

Best wishes on all of your projects, Rick!


For More Information:

Check out the video about “Rick Henry's Jazz Art” on YouTube: https://www.youtube.com/watch?v=I8Ec9c-G-Gw

Visit Rick Henry’s Facebook page, “Jazz Music Exploration” dedicated to jazz music at: https://www.facebook.com/groups/699523530116816/

You can purchase “Rick Henry’s Jazz Art” exclusively from Amazon.com at the following worldwide sites:


United Kingdom:











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