Over the years Rod Best has been involved in training and
developing of singers and musicians as well as writing music
arrangements for small stage band through to large
orchestras, direction of major musical productions and song
He studied at the Sydney Conservatorium of
Music in Jazz Improvisation and Advanced Arranging,
developing a wealth of experience in composition and
arrangement in jazz and contemporary keyboarding styles.
He has also studied under some great Australian jazz piano
players including Tony Ansell, Mike Nock, Michael
Bartolomei, Chuck Yates, Judy Bailey, Dave Fennell, Vince
Genova and Kevin Hunt. He studied at Jazz Worx in
Brisbane and received an Associate Diploma in Jazz.
Rod is married to Jan and lives in Queensland, Australia.
Rod has released five instrumental albums called “Best Of Smooth”,
“The Best of Rod Best”, “Groove On”, “A Peaceful Place”
and “The Next Level” as well as a number of instrumental
singles including “Sweet Emotion”, “In the Groove”, “Move ‘n’
Groove”, “Besty’s Bossa”, “Lazy Days”, “Turn Up the Heat”,
“Lasting Impression”, “Going Places”, “High Energy”, “Piano
Groove Time”, Smooth As”, “Listen Up Now”, and “A Good
He has also completed a collaboration EP project with
“Light of Love” from Chicago called “The Best Of Christmas”.
All Rod’s music is available at http://www.rodbestmusic.com or
from iTunes, CD Baby, Apple Music, Songtradr, Spotify or
Can be listened also on our Internet Radio : RadioSatellite
You can find here, the complete team of RadioSatellite and RadioSatellite2
For RadioSatellite : Instrumental music / Lounge / Jazz :
Guido : Presenting his program : In the Zone (Lounge) (Netherlands)
Michael Maretimo : Presenting his program : Maretimo Sessions (Lounge) (Nethelands)
Steve Hart : Presenting his program : Cool Nights ( Soft Jazz) (New Zealand)
For RadioSatellite2 : Oldies Pop from 60s to 80s + Soft Jazz + Blues + Country Music
Artie Martello : Presenting his daily program : Mostly Folk ( Folk, Pop and Americana) (USA)
Steve Hart : Presenting his daily program : Cool Nights ( Soft Jazz) (New Zealand)
Rojene Bailey : Presenting his “week end” program : Blues Time In the City ( Blues) (USA)
Paul Farrar : Presenting his program : Paul Farrar Comedy Show (Comedy)(UK)
Jason Curtman : Presenting his daily program : The Jason Curtman Show (American Oldies RocknRoll and pop ) (USA)
Ben Morris : Presenting his program : Rockin Back the clock (UK)
Matthew Lasar, Paul Riismandel, and Jennifer Waits : Presenting their program: Radio Survivor (Reports / news and interviews about radios and webradios) (USA)
CLICK ON VIDEO BELOW TO DISCOVER SHOWS ON RADIOSATELLITE & RADIOSATELLITE2
Music composition + Audio and Video creation : by Pierre .
Antoine “Fats” Domino, Jr. (February 26, 1928 – October 24, 2017) was an American pianist and singer-songwriter of Louisiana Creole descent.
He had 35 records in the U.S. Billboard Top 40, and five of his pre-1955 records sold more than a million copies, being certified gold. During 1955 to 1960, he had eleven top 10 hits and his record sales were reportedly surpassed only by Elvis Presley. During his career, Domino sold over 65 million records.His musical style was based on traditional rhythm and blues, accompanied by saxophones, bass, piano, electric guitar, and drums.
Video : Source Youtube : Historic Films Stock Footage Archive
Cool Nights is broadcasted on Radio Satellite2
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At 07h00 PM GMT (02h00 PM EASTERN USA TIME)
At 07h00 PM EASTERN USA TIME (Midnight GMT )
You love / like jazz??
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Proposed, produced and presented by STEVE HART
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Thomas Wright “Fats” Waller (May 21, 1904 – December 15, 1943) was an American jazz pianist, organist, composer, singer, and comedic entertainer, whose innovations to the Harlem stride style laid the groundwork for modern jazz piano, and whose best-known compositions, “Ain’t Misbehavin'” and “Honeysuckle Rose”, were inducted into the Grammy Hall of Fame in 1984 and 1999.
Thomas Wright Waller was the youngest of 11 children (five survived childhood) born to Adeline Locket Waller and Reverend Edward Martin Waller in New York City.
He started playing the piano when he was six and graduated to the organ of his father’s church four years later.
His mother instructed him as a youth. At the age of 14 he was playing the organ at Harlem’s Lincoln Theater and within 12 months he had composed his first rag. Waller’s first piano solos (“Muscle Shoals Blues” and “Birmingham Blues”) were recorded in October 1922 when he was 18 years old.
He was the prize pupil, and later friend and colleague, of stride pianist James P. Johnson.
Overcoming opposition from his clergyman father, Waller became a professional pianist at 15, working in cabarets and theaters. In 1918 he won a talent contest playing Johnson’s “Carolina Shout”, a song he learned from watching a player piano play it.
Waller ultimately became one of the most popular performers of his era, finding critical and commercial success in his homeland and in Europe. He was also a prolific songwriter and many songs he wrote or co-wrote are still popular, such as “Honeysuckle Rose”, “Ain’t Misbehavin'” and “Squeeze Me”.
Fellow pianist and composer Oscar Levant dubbed Waller “the black Horowitz”. Waller is believed to have composed many novelty tunes in the 1920s and 1930s and sold them for relatively small sums, the attributions of which, on becoming widely known, went only to a later composer and lyricist.
Standards alternatively and sometimes controversially attributed to Waller include “I Can’t Give You Anything but Love, Baby”.
Biographer Barry Singer conjectured that this jazz classic was written by Waller and lyricist Andy Razaf, and provides a description of the sale given by Waller to the NY Post in 1929—for $500, to a white songwriter, ultimately for use in a financially successful show (consistent with Jimmy McHugh’s contributions first to Harry Delmar’s Revels, 1927, and then to Blackbirds, 1928).
He further supports the conjecture, noting that early handwritten manuscripts in the Dana Library Institute of Jazz Studies of “Spreadin’ Rhythm Around” (Jimmy McHugh ©1935) are in Waller’s hand.
Jazz historian P.S. Machlin comments that the Singer conjecture has “considerable [historical] justification”.
Waller’s son Maurice wrote in his 1977 biography of his father that Waller had once complained on hearing the song, and came from upstairs to admonish him never to play it in his hearing because he had had to sell it when he needed money.
Maurice Waller’s biography similarly notes his father’s objections to hearing “On the Sunny Side of the Street” playing on the radio.
Waller recorded “I Can’t Give You…” in 1938, playing the tune but making fun of the lyrics; the recording was with Adelaide Hall who had introduced the song to the world at Les Ambassadeurs Club in New York in 1928.
The anonymous sleeve notes on the 1960 RCA Victor album Handful of Keys state that Waller copyrighted over 400 songs, many of which co-written with his closest collaborator Andy Razaf.
Razaf described his partner as “the soul of melody… a man who made the piano sing… both big in body and in mind… known for his generosity… a bubbling bundle of joy”.
Gene Sedric, a clarinetist who played with Waller on some of his 1930s recordings, is quoted in these same sleeve notes recalling Waller’s recording technique with considerable admiration: “Fats was the most relaxed man I ever saw in a studio, and so he made everybody else relaxed.
After a balance had been taken, we’d just need one take to make a side, unless it was a kind of difficult number.”
Waller played with many performers, from Nathaniel Shilkret and Gene Austin, to Erskine Tate, Fletcher Henderson, McKinney’s Cotton Pickers and Adelaide Hall, but his greatest success came with his own five- or six-piece combo, “Fats Waller and his Rhythm”.
His playing once put him at risk of injury. Waller was kidnapped in Chicago leaving a performance in 1926. Four men bundled him into a car and took him to the Hawthorne Inn, owned by Al Capone.
Waller was ordered inside the building, and found a party in full swing. Gun to his back, he was pushed towards a piano, and told to play. A terrified Waller realized he was the “surprise guest” at Capone’s birthday party, and took comfort that the gangsters did not intend to kill him.
It is rumored that Waller stayed at the Hawthorne Inn for three days and left very drunk, extremely tired, and had earned thousands of dollars in cash from Capone and other party-goers as tips.
In 1926, Waller began his recording association with the Victor Talking Machine Company/RCA Victor, his principal record company for the rest of his life, with the organ solos “St. Louis Blues” and his own composition, “Lenox Avenue Blues”.
Although he recorded with various groups, including Morris’s Hot Babes (1927), Fats Waller’s Buddies (1929) (one of the earliest multiracial groups to record), and McKinney’s Cotton Pickers (1929), his most important contribution to the Harlem stride piano tradition was a series of solo recordings of his own compositions: “Handful of Keys”, “Smashing Thirds”, “Numb Fumblin'”, and “Valentine Stomp” (1929).
After sessions with Ted Lewis (1931), Jack Teagarden (1931) and Billy Banks’ Rhythmakers (1932), he began in May 1934 the voluminous series of recordings with a small band known as Fats Waller and his Rhythm.
This six-piece group usually included Herman Autrey (sometimes replaced by Bill Coleman or John “Bugs” Hamilton), Gene Sedric or Rudy Powell, and Al Casey.
Waller wrote “Squeeze Me” (1919), “Keepin’ Out of Mischief Now”, “Ain’t Misbehavin'” (1929), “Blue Turning Grey Over You”, “I’ve Got a Feeling I’m Falling” (1929), “Honeysuckle Rose” (1929) and “Jitterbug Waltz” (1942). He composed stride piano display pieces such as “Handful of Keys”, “Valentine Stomp” and “Viper’s Drag”.
He enjoyed success touring the United Kingdom and Ireland in the 1930s. He appeared in one of the first BBC television broadcasts.
While in Britain, Waller also recorded a number of songs for EMI on their Compton Theatre organ located in their Abbey Road Studios in St John’s Wood. He appeared in several feature films and short subject films, most notably Stormy Weather in 1943, which was released July 21, just months before his death.
For the hit Broadway show Hot Chocolates, he and Razaf wrote “(What Did I Do to Be So) Black and Blue” (1929), which became a hit for Ethel Waters and Louis Armstrong.
Waller performed Bach organ pieces for small groups on occasion. Waller influenced many pre-bebop jazz pianists; Count Basie and Erroll Garner have both reanimated his hit songs. In addition to his playing, Waller was known for his many quips during his performances.
Between 1926 and the end of 1927, Waller recorded a series of pipe organ solo records. These represent the first time syncopated jazz compositions were performed on a full-sized church organ.
Waller contracted pneumonia and died on a cross-country train trip near Kansas City, Missouri, on December 15, 1943. His final recording session was with an interracial group in Detroit, Michigan, that included white trumpeter Don Hirleman.
Waller was returning to New York City from Los Angeles, after the smash success of Stormy Weather, and after a successful engagement at the Zanzibar Room, during which he had fallen ill.
More than 4,000 people attended his funeral in Harlem, which prompted Dr. Adam Clayton Powell, Jr., who delivered the eulogy, to say that Fats Waller “always played to a packed house.”
Afterwards he was cremated and his ashes were scattered, from an airplane piloted by an unidentified World War black aviator, over Harlem.
One of his surviving relatives is former Georgia Tech Yellow Jacket and current Baltimore Ravens wideout Darren Waller, who is Fats’ paternal great-grandson.
Adrian James “A.J.” Croce (born September 28, 1971 in Bryn Mawr, Pennsylvania) is an American singer-songwriter. He is the son of singer-songwriters Jim Croce and Ingrid Croce.
Shortly before his father’s death in a 1973 plane crash, Croce’s family moved west to San Diego, California, where he was raised by his mother, Ingrid Croce.
At the age of four Croce was completely blinded as the result of serious physical abuse by his mother’s boyfriend. Between the ages of four and ten, Croce gradually regained vision in his left eye. It was during this difficult time in Croce’s life that he began to play the piano. “I learned to play music by listening and playing along to the radio and to records…” Croce says, “At some point I was given the music of Ray Charles and Stevie Wonder as inspiration, which it was, and has been ever since.”
Croce’s first paying gig was at the age of 12, when he was paid $20 to perform at a Bar Mitzvah party. By the age of 16, Croce was performing regularly at San Diego nightclubs as a sideman and band leader. Croce reflected, “I was into every kind of music… you might say I was unfocused, but I consider an eclectic taste in music to be the foundation of versatility.” His house burned down when he was age 15.
Croce and his wife Marlo have two children, daughter Camille and son Elijah.
Ron Goldstein and Peter Bauman of Private Music signed Croce to his first recording contract at age 19.
He recorded two albums for Private Music: his self-titled debut, A. J. Croce, produced by T-Bone Burnett and John Simon, and That’s Me in the Bar, produced by Jim Keltner, and featuring artists such as Ry Cooder, David Hidalgo, and Keltner himself. Croce is also the owner/operator of his own record label, Seedling Records.
Croce’s third release, Fit to Serve, was recorded in Memphis, and produced by Jim Gaines, who had previously produced Van Morrison, Santana, and The Steve Miller Band. Croce then took a musical turn with the release of his album Transit. He explained, “I had been playing blues-based music for a long time, and I was ready to try something new.
“Transit was compared by critics to the work of John Lennon, Elvis Costello, Bob Dylan, and Van Morrison. Glen Starkey of New Times labeled Croce “a song crafter of the first order”.
Croce’s next three albums were self-produced. Adrian James Croce (Croce’s only pop-oriented album) was the only independently produced album of 2004 to chart in Top 40 charts in America. In Europe it was on the charts for six months, sitting in between songs by U2 and Coldplay. That same year Adrian James Croce won Best Pop album at the San Diego Music Awards.
His 2006 release Cantos on his own label Seedling Records notably features Ben Harper. In 2009, his album Cage of Muses was released on Seedling Records, garnering a 4-start review from Rolling Stone Magazine.
In 2013, Croce signed with Compass Records and has since released his latest album, Twelve Tales. Croce considers Twelve Tales to be his most ambitious recording project to date. He recorded two songs with each of six legendary producers in five U.S. cities throughout a year long period, at the same time releasing one song per month exclusively on iTunes in 2013.
The full album was released on CD and LP in 2014. The album’s producers are: the late ‘Cowboy’ Jack Clement, famous for his work with Elvis Presley and Johnny Cash; Rock n’ Roll Hall of Famer Allen Toussaint, notable producer of classic New Orleans recordings by artists such as Dr. John and Irma Thomas; Golden Globe-nominated Mitchell Froom, whose work includes Randy Newman and Crowded House; Grammy winning engineer and producer Kevin Killen, who has produced multiple albums by Elvis Costello; Notable A&R executive and record producer Tony Berg whose sessions have included Bob Dylan and Fiona Apple; and Greg Cohen, avant-garde bass player and producer, known for his work with Tom Waits.
Croce co-wrote a few of the songs on Twelve Tales, including one song with legendary songwriter Leon Russell. Croce’s albums have charted on eight radio charts including AAA, Blues, College, Jazz, and Americana.
He has performed as an opening act for artists such as Carlos Santana, Rod Stewart, Aretha Franklin, Dr. John, Lyle Lovett, James Brown, B.B. King, Dave Matthews, Earth, Wind and Fire, Rod Stewart and Ray Charles. Croce has sat in with many notable artists live, including Willie Nelson, Ben Harper, Ry Cooder, the Neville Brothers, Waylon Jennings, and David Hidalgo (Los Lobos). He has also performed on national television, on shows including The Tonight Show with Jay Leno, Late Show with David Letterman, Late Night with Conan O’Brien, The Today Show, Good Morning America, MTV, CNN, and Austin City Limits.
In 2015 Croce’s performance on the show “Music City Roots” began airing nationwide on PBS, including in Los Angeles and Nashville. It will air on 85 stations across the country 2015. It was announced that later this year Compass Records will release a re-issue of Croce’s highly regarded sophomore album, “That’s Me In the Bar” for its 20th anniversary. All of Croce’s 2015 concerts will feature a set from that album.
J. Croce (1993)
Fit to Serve (1998)
Adrian James Croce (2004)
Early On – The American Recordings 1993–1998 (2005)
Cage of Muses (2009)
Twelve Tales (2014)
Based in Austin, TX, Dena Taylor is a jazz vocalist who harkens back to the days of smoke filled clubs and smoky voiced chanteuses.
Her sound is solid; without a lot of vocal gymnastics in the Jazz Standards she covers. She inhabits the songs and makes them her own – feeling happiness, anger, joy, sorrow, love and hate. She draws listeners in and allows them to relate to these songs all over again. Dena was named “Best Female Jazz Artist of the Year” by Indie Music Channel in 2014. Her album “The Nearness of You” showcases her vocal talents and reminds us that even though she is a “seasoned” artist singing Standards, these songs don’t lose their ability to move and touch the audience just because they may have fallen out of vogue.
Dena is so full of passion for these songs that her jovial attitude can’t help but be contagious. An engaging personality, Dena wants to share her love of Jazz Standards and the American Songbook with her audience. She has honed her craft over the years – spending 12 years abroad serving her country in the US military and, whenever possible, performing with touring USO shows. Then, upon her return, Dena settled in Florida where she took to the stage as a member of the prestigious Cocoa Village Playhouse “Gold Star” company. She also began to reestablish her solo career and released her cd “Round Midnight” in 2008. With a voice that contains a bit of a knowing edge reminiscent of Gladys Knight in her prime, Dena became a “go to” vocalist for national Jazz and Blues groups touring in Florida.
After relocating to Austin, TX, Dena continued her collaboration with some of the best musicians in the jazz and blues genres including GRAMMY® Award Winners guitarist Redd Volkaert and keyboardist Floyd Domino and Gold Record drummer Ernie Durawa. Volkaert and Durawa both worked on her second album, “Certitude” in 2010. One of the tracks from this effort, “Song for My Father,” was rewarded with an IAIRA Certification of “International Top 100 Hit” shortly after its release.The team worked so well together that Dena chose to work with them for her next record in 2014, “The Nearness of You.” She was subsequently named one of the Top Five Vocalists in the SingersUniverse ” Best Vocalist Of The Month” Competition, in addition to the aforementioned IMC 2014 Best Female Jazz Artist of the Year Award.
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The path to success hasn’t been an easy one for Dena. In 1999 she suffered a horrific car crash, resulting in a traumatic brain injury. The damage was so severe that it took Dena two years to learn to speak and walk again. She persevered through that and a battle with breast cancer to come out on the other side with an outlook on life that allows her to pursue her music with even more zeal. Learning not to be paralyzed by the fear of what “might happen” has kept Dena moving forward and gives her vocals a ripened maturity that just isn’t found in the pop stars of today.
And, in advance of some serious surgery on her throat, Dena joined forces with Austin powerhouse friends to take a musical walk from her beginnings in country and ending where she most happily lives and that is tucked inside the American Songbook. No last minute throw-together, “You’ve Changed” (scheduled release is January 2016) is a carefully thought out project and, whether it’s the last music she records or not .. it will certainly be one of her best.
In a pre-release review, Bree Noble (CEO of Women of Substance Radio) said, “With the opening notes of “You’ve Changed,” it’s clear that what has changed is that Dena Taylor has confidently taken the reins of her music career and is making bold, risky decisions that are paying off.”
While she was initially going to keep her most recent health challenge to herself, she decided to share the journey to her “new” normal through a blog in the hopes that it will encourage others!
Dena continues to share her musical gifts and donates her time to various charities that are close to her heart including her own charity, The Lullaby Project. This charity is supported by the beautiful album, Lullabies, recorded and released in 2015.
Website: DENA TAYLOR
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