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Showcasing one of the greatest contemporary voices of our time, Linda Eder’s diverse repertoire spans Broadway, standards, pop, country and jazz. As the tragic character “Lucy” in the Broadway musical Jekyll & Hyde, from composer Frank Wildhorn, Eder blew the roof off of New York’s Plymouth Theatre each night as she belted out signature songs “Someone Like You” and “A New Life”. Her Broadway debut, for which she was rewarded with a Drama Desk nomination, sent her already rapidly rising star blazing across the sky, securing her spot as one of America’s most beloved singers and dynamic live performers. Stephen Holden of The New York Times wrote, “What do we mean when we use the word perfection? The question arises every time I watch the pop singer Linda Eder…”
Most recently, in October 2013, Linda released Christmas Where You Are, the follow-up to her best-selling and critically acclaimed Christmas Stays the Same (2000). This new CD features twelve tracks - six selected by her fans via social media voting and two originals from Eder. It also features a unique twist on the classic, "Baby, It's Cold Outside" which Linda re-wrote and performs in a duet with her teenage son, Jake to represent a classic mother-son debate over going outside to play in a snow storm.
Born in Tucson, Arizona, and raised in Brainerd, Minnesota, Eder began her career singing in her home state and eventually landed a gig at Harrah’s Casino in Atlantic City. But it was her appearances on the 1987 season of Star Search, where she won for an unprecedented 12 weeks, that attracted the attention of audiences and record companies alike.
Eder launched her recording career in 1991 with her self-titled debut album and soon established a vital niche as America’s most popular and acclaimed new interpreter of pop standards and theatrical songs with 15 solo albums and 12 musical recordings. Those albums highlight Eder’s abundant vocal gifts as well as her skill for delivering dramatic, emotionally resonant interpretations of familiar songs while making them her own. She followed up with The Other Side of Me, a country pop blend of contemporary music – including a song written by Linda. And, in June 2010, Linda and Clay Aiken covered Roy Orbison’s “Crying” as a duet on Clay’s new album Tried & True.
The concert stage remains the mainstay of Eder’s career. She has performed for sold-out crowds in venues across the country and throughout Europe. She has been featured on numerous PBS television concert specials including Clay Aiken’s Tried & True; Hallelujah Broadway; Linda Eder: The PBS Concert; Best of Broadway: Broadway's Leading Ladies; Best of Broadway: Love Songs; Jim Brickman plays The Disney Songbook; and more. Her 2001 holiday concert, Christmas Stays the Same was broadcast on Bravo TV and continues to be a popular selling DVD.
Trail Mix, her primetime Animal Planet special about singers with a passion for horses, was a natural extension of her love of animals and featured Linda interviewing fellow recording artists Sheryl Crow, Mary Chapin Carpenter, Irish tenor Ronan Tynan, Rob Thomas, and Aerosmith's Joe Perry.
Eder has performed at many prestigious venues such as Carnegie Hall, The Town Hall, The Kennedy Center, Davies Hall, Radio City Music Hall, Wolftrap and the Ravinia Festival. Always touring in good company, her collaborations include the late Oscar-winning composer and pianist Marvin Hamlisch, Tony-winner Michael Feinstein and Keith Lockhart, conductor of the Boston Pops Orchestra.
Elisabeth von Trapp before the concert is over she will have the crowd gasping with the sheer beauty of her voice boston globe For Elisabeth von Trapp, “ the sounds of music “ are part of her earliest memories.
Born and raised in Vermont, Elisabeth is the granddaughter of the legendary Maria and Baron von Trapp, whose story inspired The Sound of Music. Singing professionally since childhood, Elisabeth has enthralled audiences from European cathedrals to Washington D.C.’s Kennedy Center.
Inspired by her father Werner von Trapp’s guitar playing and singing, Elisabeth has carried on the legacy of the internationally renowned Trapp Family Singers. She began taking piano lessons when she was eight and by the age of sixteen she was playing guitar and traveling the back roads of New England performing with her siblings at weddings, gospel meetings and town halls.
Building on her famed family’s passion for music, Elisabeth has created her own artistic style, at once ethereal and earthy, delicate and powerful. Listeners have likened her to Judy Collins and Loreena McKennitt. Critics have called her voice ...“ hauntingly clear “ “ joyfully expressive “ and “ simply beautiful.”
Elisabeth’s concert repertoire ranges from Bach to Broadway ... Schubert to Sting. With equal ease and eloquence she sings timeless wonders like Rodgers and Hammerstein’s Favorite Things and Edelweiss, Lieder by Mozart, Puccini's O Mio Babbino Caro, soaring gospel tunes, pop classics like A Whiter Shade of Pale and her own stunning compositions.
Her cathedral program includes sacred and secular music extending from Gregorian chants, songs by 12th century mystic Hildegard of Bingen, early American hymns, spirituals and psalms set to her own compositions. She is accompanied by the elegant arrangements of her guitar and acclaimed cellist and longtime musical colleague, Erich Kory.
In the spring of 2001 Elisabeth was granted permission from Robert Frost’s publisher, Henry Holt & Co., to sing parts of the poet’s oeuvre. Poetic License, released in June 2004, features the musical settings of poems by Frost and Shakespeare, a Japanese haiku and interpretations of Over The Rainbow / What A Wonderful World, Sting’s Fragile and Schubert’s An Die Musik.
On her summer 2005 release, Love Never Ends / Sacred Sounds, Elisabeth has collected, arranged and recorded some of her favorite hymns, psalms and chants with influences from jazz and gospel, contemporary and classical musical styles. Elisabeth has released five self produced albums, and has performed across the United States, Austria and Russia. Her music has been featured on National Public Radio, BBC-Radio, Japanese National Radio and CNN Spanish Radio. She has appeared on CBS’s Eye on People, ABC’s Good Morning America and BBC-TV. No one leaves an Elisabeth von Trapp performance unchanged ... audiences of all ages are drawn by the promise of her famous name ... awed by the beauty of her voice and musical arrangements ... their hearts touched forever by the astonishing sound of her unique new music.
von trapp music • box 827 waitsfield, vt 05673 • 802-496-3171 email@example.com
Only a couple of weeks ago they all got together to celebrate the 19th anniversary of the group’s foundation – what a frolicsome shouting and cheering it was! Well, how it all began still reads like a fairy tale: a long time ago, in the year 1992, at the tavern of Mr Josef Mnozil, the owner with his Bohemian roots, at Seilerstätte in the 1st Vienna district. Since the music conservatory was right vis-àvis Mr Mnozil’s inn, what better place to hang out and strike up than “chez” Mr Mnozil… and the rest is history – as is the name of which Mr Mnozil had always been very proud. Hey, after all they were called the «Monty Pythons of Music» more than just once. Again only recently, as a matter of fact.
At any rate, these seven insane-cool brass players did indeed accomplish quite something during almost twenty years: a lot of hilarious concerts in 30 ½ countries and of course the first operetta of the 21th century! Followed by a grand opera for the Salzburg Festival (the opus entitled «Irmingard» had been presented in that legendary summer 2008!). They also have composed a suite for orchestra and themselves in the meantime.
And now everybody is anxiously waiting for their new work. The piece of art to celebrate their 19th anniversary! And rumor has it that, after an operetta, an opera and a concert, the new opus is very much about moving and motion. Untiringly, they were practicing the triple-Rindberger again and again – is what we hear. By all means there’s a lot of dancing involved – so much that one member of the band came up with the name «Rhythm and Shoes» for the new production. But Blofeld knew how to avert it. One reason alone being the seriously breakneck stunts their choreographer-in-chief Ferdinando Chefalo is practicing with them. In Blofeld.
But seriously: It is currently almost impossible to find a group of musicians being committed to the pledge of the secrets of music theater in a comparable degree as Mnozil Brass is. They are the only ones acting their own orchestra, ballet, chorus and ensemble of soloists – all at the same time. Those seven musicians of Mnozil Brass manage all that without any apparent effort what many an opera director wouldn’t even dare to hope in his wildest fantasies. Greed won’t fail to appear, you bet. But forget about it.
Speaking of secrets: currently, it’s all about Blofeld. Presumably one of the last secrets of applied brass music. Perhaps it is one of the really grand and important mysteries of mankind.
But why in heaven’s name Blofeld?
Mnozil Brass will unravel it. Right with us. A celebration!
Thomas Gansch, Robert Rother, Roman Rindberger (trumpet)
Leonhard Paul (bass trumpet, trombone)
Gerhard Füssl, Zoltan Kiss (trombone)
Wilfried Brandstötter (tuba)
Director and Choreographer: Ferdinando Chefalo
südpolmusic GmbH - Holger Vogt – Gabelsbergerstr. 51 - 80333 München Tel: 089/55 05 477 22 - Mail: firstname.lastname@example.org
The Four Freshmen were one of the top vocal groups of the 1950s, and formed the bridge between '40s ensembles like Mel-Tones and harmony-based rock & roll bands such as the Beach Boys as well as groups like Spanky & Our Gang and the Manhattan Transfer. The group's roots go back to the end of the 1940s and a barbershop quartet-influenced outfit called Hal's Harmonizers, organized at the Arthur Jordan Conservatory of Butler University in Indiana by two brothers, Ross and Don Barbour. Their repertoire centered on standards such as "Moonglow" and "The Christmas Song," and they began to show an unusually free, improvisational approach to their harmony singing. A couple of membership changes brought Bob Flanigan, a cousin, into the fold alongside Hal Kratzsch, and suddenly the Four Freshmen were assembled in all but name, and that fell into place a little later. The group struggled for a long time, living hand-to-mouth while building a repertoire and a sound -- many people who've heard the group's records or are familiar with their sound are unaware that they were also completely self-contained instrumentally, each member playing more than one instrument and allowing the others to switch off to different roles. They came to attention of various jazz figures of the era, including Dizzy Gillespie, Woody Herman, and Stan Kenton, and it was Kenton who took matters into his own hands, bringing the group to the attention of Capitol Records, where the bandleader had a longstanding relationship. Thus began a long and fruitful relationship with the label, initially under the guidance of arranger Pete Rugolo -- gigs followed on The Steve Allen Show (then one of the top-rated entertainment showcases on television) and with Ray Anthony's band; they also managed to make an appearance in the MGM movie Rich, Young and Pretty.
Their first hit single was "It's a Blue World," released in 1952, and they enjoyed further success with "Mood Indigo" (1954), "Day By Day" (1955), and "Graduation Day" (1956). They released their first LP, Voices in Modern, in 1955 (and some dozen more 12" discs over the next five years); that album was as impressive a jazz document as it was a vocal pop effort, showcasing the group members' playing as well as their singing and showing that these guys had lots of complex musical strings in their bow. It was on these albums that the quartet also showed itself to be a very smart outfit, not just in musical terms but logistically as well. Rather than simply doing any 12 songs that might have been working well in its stage act, the group made these releases into conceptual works, either musically (built around the sounds achieved by combinations of the group's sound and specific accompaniments, such as Four Freshmen and 5 Trombones, Four Freshmen and Five Guitars, etc.) or as thematic arrays of songs (such as Voices in Love and Voices in Latin).
This approach to devising and creating albums (which paralleled the kind of work that Frank Sinatra was doing concurrently on the same label) would have an influence on groups like the Beach Boys that was nearly as important as their harmony sound; it's also an important reason why, in combination with their virtuosity, their albums have held up so well across 40 years. Their sound and range were helped by the fact that their benefactor, Kenton, was on the same label, which made it possible for them to record together on occasion. Most of their late-'50s albums were good sellers -- most have been reissued several times on vinyl and CD -- and they had no shortage of top bookings and top pay to keep them going into the early '60s.
There were membership changes along the way -- Kratzsch left in the spring of 1953, to be replaced by Ken Errair who, in turn, was succeeded by Ken Albers in April of 1956, while Don Barbour left in 1960, replaced by Bill Comstock. That lineup lasted intact for nearly 13 years, into the 1970s, but by that time the group's influence had faded to almost nothing. The Four Freshmen had managed to stay competitive with other pop acts through the mid-'60s, and even got a very visible boost from the Beach Boys, in the form of Brian Wilson's frequent expressions of admiration for the quartet as part of his inspiration behind putting together the rock & roll group's sound, but following the arrival of the British Invasion, they were no longer anywhere near the cutting edge of pop music. They continued to record and perform, even assimilating such contemporary songs as Jimmy Webb's "By the Time I Get to Phoenix," but they were effectively relegated to the "easy listening" stations. Their contract with Capitol ended in 1964, and the group's last affiliation with a major label was in the second half of the decade with Liberty Records, which yielded four LPs but no hits. By 1977, Bob Flanigan was the last original member, and he retired in 1992.
New lineups of the group have continued to perform into the 21st century, however, and are considered an artistically valid ensemble -- in 2000 the Four Freshmen were voted Vocal Group of the Year by Down Beat magazine's readers. And in 2001, no less a label than Mosaic Records -- the company that issues complete catalogs of jazz legends going back to the 1930s, in deluxe packaging -- released a multi-CD box of the Four Freshmen's complete 1950s recordings, proudly (and even defiantly, given the label's catalog) proclaiming the quartet's validity as a jazz outfit. ~ Bruce Eder, All Music Guide
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