The BRASS HERALD:  “…you simply won’t find a better trumpet CD released in 2018! Among the frequent fireworks, outstanding high register and sumptuous tone, it contains some of the finest vocal playing I have heard on disc. Listening to Rex on this recording is simply a joy and a pleasure!”

About the Symphonic Wind Ensemble

“Rescued!” celebrates the forgotten works of a group of 19th-century hornists and composers. The music included in this recording was composed between roughly 1860 and 1910 and are quality works aimed primarily at low horn players of the late 19th century who still used single F horns. In looking at the history and repertoire of the French horn at the time, it is clear that there was a split in writing style between works intended for low horn players who used the single F horn and those for high horn players who used shorter single Bb horns (the modern double horn in F/Bb not having been invented until 1897). The works most commonly played today from that time are idiomatic for the high horn player, but the works recorded here are all idiomatic for a low horn player on a single F horn, as they hardly go to the top of the staff and venture more freely into the low range. This recording is the product of months of dedicated preparation. The valved horn used, seen on the cover of the recording, was constructed specifically for this project by Richard Seraphinoff; the mouthpiece is a copy of a period mouthpiece by Moosewood. The difficulty level rises considerably on the single F horn compared to a modern double horn, and the tone of the F horn has a more raw quality in the upper range very much related to that of the natural horn. In fact it is, in many respects, more difficult to play than the natural horn as it is so prone to rough attacks in the upper register.

Beaux J Poo Boo is a newly formed Jazz Quartet featuring world class musicians: Shelly Berg, piano; Fred Hamilton, guitar; Lou Fischer, bass; and Steve Houghton, drums.

The name Beaux J Poo Boo is taken from the great composition by Les McCann of the same name, which, to paraphrase the meaning: ß#34;is representative of a Montage of the many places the musicians have been in their life, shaping them into who they are today.ß#34;

This album, titled All Things Are New, incorporates a myriad of styles, in a contemporary jazz quartet improvisational environment.

Enjoy the magic of the music!

Learn more about the Amici Chamber Ensemble.

Beaux J Poo Boo is a newly formed Jazz Quartet featuring world class musicians: Shelly Berg, piano; Fred Hamilton, guitar; Lou Fischer, bass; and Steve Houghton, drums.

The name Beaux J Poo Boo is taken from the great composition by Les McCann of the same name, which, to paraphrase the meaning: ß#34;is representative of a Montage of the many places the musicians have been in their life, shaping them into who they are today.ß#34;

This album, titled All Things Are New, incorporates a myriad of styles, in a contemporary jazz quartet improvisational environment.

Enjoy the magic of the music!

“Rescued!” celebrates the forgotten works of a group of 19th-century hornists and composers. The music included in this recording was composed between roughly 1860 and 1910 and are quality works aimed primarily at low horn players of the late 19th century who still used single F horns. In looking at the history and repertoire of the French horn at the time, it is clear that there was a split in writing style between works intended for low horn players who used the single F horn and those for high horn players who used shorter single Bb horns (the modern double horn in F/Bb not having been invented until 1897). The works most commonly played today from that time are idiomatic for the high horn player, but the works recorded here are all idiomatic for a low horn player on a single F horn, as they hardly go to the top of the staff and venture more freely into the low range. This recording is the product of months of dedicated preparation. The valved horn used, seen on the cover of the recording, was constructed specifically for this project by Richard Seraphinoff; the mouthpiece is a copy of a period mouthpiece by Moosewood. The difficulty level rises considerably on the single F horn compared to a modern double horn, and the tone of the F horn has a more raw quality in the upper range very much related to that of the natural horn. In fact it is, in many respects, more difficult to play than the natural horn as it is so prone to rough attacks in the upper register.

About the Symphonic Wind Ensemble

FOUR (4) new major trumpet concertos from renowned composers performed by acclaimed world-class trumpet player, Rex Richardson!

FOUR (4) new major trumpet concertos from renowned composers performed by acclaimed world-class trumpet player, Rex Richardson!

About the Symphonic Wind Ensemble

“Rescued!” celebrates the forgotten works of a group of 19th-century hornists and composers. The music included in this recording was composed between roughly 1860 and 1910 and are quality works aimed primarily at low horn players of the late 19th century who still used single F horns. In looking at the history and repertoire of the French horn at the time, it is clear that there was a split in writing style between works intended for low horn players who used the single F horn and those for high horn players who used shorter single Bb horns (the modern double horn in F/Bb not having been invented until 1897). The works most commonly played today from that time are idiomatic for the high horn player, but the works recorded here are all idiomatic for a low horn player on a single F horn, as they hardly go to the top of the staff and venture more freely into the low range. This recording is the product of months of dedicated preparation. The valved horn used, seen on the cover of the recording, was constructed specifically for this project by Richard Seraphinoff; the mouthpiece is a copy of a period mouthpiece by Moosewood. The difficulty level rises considerably on the single F horn compared to a modern double horn, and the tone of the F horn has a more raw quality in the upper range very much related to that of the natural horn. In fact it is, in many respects, more difficult to play than the natural horn as it is so prone to rough attacks in the upper register.