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!

One afternoon in Houston in the Spring of 1989, hornist Thomas Bacon’s agent called him in from another room by saying, “You’ve got to come listen to this…!” Composer Mark Schultz had sent Bacon a copy of his recently completed Dragons in the Sky for horn, percussion and tape asking if he might consider coming over to Austin to premiere the music at The University of Texas. The answer was an immediate ‘yes’ and the performance a month later was enthusiastically received.

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One afternoon in Houston in the Spring of 1989, hornist Thomas Bacon’s agent called him in from another room by saying, “You’ve got to come listen to this…!” Composer Mark Schultz had sent Bacon a copy of his recently completed Dragons in the Sky for horn, percussion and tape asking if he might consider coming over to Austin to premiere the music at The University of Texas. The answer was an immediate ‘yes’ and the performance a month later was enthusiastically received.

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!

”The music of George Enescu continues to be a source of discovery for me. As the Fates would have it, though, his Chamber Symphony for 12 Instruments was already familiar to me from a recent Ondine recording by Hannu Lintu conducting the Tampere Philharmonic, which I reviewed only as recently as 36:2. In that review, I stated that the work was new to me and that I had no other versions against which to compare it. Well, that situation didn’t last long, for here is another performance of the piece, which, on my first hearing of it under Lintu, didn’t make a very favorable impression.

“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.

Highly influential, yet virtually unknown,Tadd Dameron influenced the greats. These are some of his elusive works!

Pianist Dave Miller has been a fixture on the Northern California jazz scene for quite a few years. Early in his life he discovered the music of George Shearing whose quintet made bebop accessible in the 1950s, and he considers
Shearing an important influence on his own playing although Miller has his own voice in straight ahead jazz.

Pianist Dave Miller has been a fixture on the Northern California jazz scene for quite a few years. Early in his life he discovered the music of George Shearing whose quintet made bebop accessible in the 1950s, and he considers
Shearing an important influence on his own playing although Miller has his own voice in straight ahead jazz.

Highly influential, yet virtually unknown,Tadd Dameron influenced the greats. These are some of his elusive works!

“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.