Pianist, violinist, composer, recording artist, and singer/songwriter, Ferera Swan is the voice for those who feel the same sort of pain and grief. As an adult child of adoption, Ferera is a beacon of hope for other adult children of adoption, using music to guide them and others through the feelings of grief, pain, suffering, shame, secrecy, and generational trauma. Her poignant lyrics and her cinematic inspiration is what makes her unique. In the past 3 years, she changed her name to reflect her Filipino-American heritage and the identities of her birth parents. In doing so, she is celebrating her cultural identity and acknowledging her painfully complex birth story.
Her epiphany has happened many years into her music career. One way to think of this new music era is as if Ferera Swan is a new artist 15 years in the making. To date, she has written, arranged, and engineered music for other artists in varying genres, and she has worked as a session musician in a variety of contexts.
Her new cinematic pop single “To Say Goodbye” takes that grief and puts it in the forefront of the song. She saying that it’s ok to not be ok, that this sort of pain is normal, and you are not alone. Her voice is like Kelly Clarkson, it’s soulful and purposeful. “It’s easy to dismiss people’s pain, but it takes a kind of bravery to be curious,” shares Ferera.‘”To Say Goodbye’ is an invitation of empathy: May we have the courage to empathize with another’s grief that we will never understand; that in doing so, we may discover deep empathy for our own.”
Listen to “To Say Goodbye” here:
On this song, her lyrics come from a place of strength and self-awareness hard fought from years of pain and confusion. She shares some insight, saying “Some of our greatest gifts can be found in our deepest pain. Through allowing myself to explore what hurts, I’ve found purpose, self-compassion, and the meaning of courage.”
AP Tobler uses their own life as a guide for their music. Unlike many musicians out there, you can hear their passion and intimacy with the music, not just the words. We can hear their rawness and vulnerability in their work, allowing the listeners in and feeling along with them. AP Tobler is authentic and that’s what makes them, and their music, so amazing.
Their newest single, “Eclipse” was too big for a single song, so they gave us “Blunt Force,” the single that lives on the B-side. “Blunt Force” is the perfect companion piece to “Eclipse,” a grungy rock song that sounds like Nirvana meets Green Day. “Eclipse” This song is a personal one for AP that most people been through. It describes the way trauma affects our minds and bodies in the music. “Eclipse is about the mental block that comes with suffering a past trauma,” shares AP. “I wrote this song while I was replaying painful events in my head. I was sick of feeling upset over things that had happened years ago. When I write music about personal experiences, the lyrics and melody tend to come together very quickly. This is the case with Eclipse. I was actually on a phone call with friends and started feeling anxious. In the middle of the call, I opened my Notes app and started typing fragments of lyrics about how I was feeling.”
The companion piece, “Blunt Force,” is about a time in which a close friend to AP just left, suddenly and unexpectedly. There was no notice, they were just no longer friends with no explanation. This grunge song depicts this experience and the repercussions it had on AP. “After two years without resolution, I finally wrote a song to express the lingering emotions I was feeling,” says AP. “One night I picked up my guitar and wrote a cord progression that I liked. I started to write the lyrics and within 30 minutes I had a melody and lyrics to represent the emotions of this painful experience. I refined the song over a few sessions, adding layers to fill it out. The writing process was cathartic, as I had encapsulated this traumatic event into a song.”
Listen to “Eclipse” and the B-Side “Blunt Force” here:
Stormin’ Norman Zamcheck is a pianist and singer/songwriter. He has been writing songs since he was old enough to pick out a tune on the keyboard and write down the lyrics on his mother’s linen napkins. During the course of his four-decade career, Norm has penned over five hundred musical compositions.
A New York transplant, Norm hales from the Boston area. He has performed in venues up and down the East and West coasts as well as internationally. In the late 70’s his band, Stormin’ Norman & Suzy, was referred to by the New York Times as the “hottest act in town, ” unleashing a deluge of media attention. Since then, Norman has played Carnegie Hall (twice); recorded for the Polydor/Polygram label; written scores for several movies and off-Broadway shows, appeared on a Dick Clark TV Special and worked as composer and music director for Pilobolous Dance Theater. He also toured with the Andy Statman Klezmer Orchestra, playing to appreciative crowds in Poland, Israel and Brooklyn.
As a composer of songs, Norman Zamcheck has been praised in publications from Rolling Stone Magazine to The New York Times, which called him “exceptionally good and exceptionally original.” Early on, Norm drew writing inspiration from a rich tradition of folk music. Over the passing years he harkened to personal muses such as Mose Allison, Randy Newman and Tom Lehrer. Like them, he brilliantly fuses melody, wit, humor and irony. He sees songs in terms of “novellas” and populates his tunes with amusing characters, memorable stories and rich allusions to nature and humanity (see Music Tree page). Stormin’ Norman’s music rocks with a blues/New Orleans beat; his unique sound as a hard-driving pianist has been described as boogie woogie meets twelve tone. His primary pianistic influences include Fats Waller, Thelonious Monk and Dr. John.
To support his growing family Norm stopped performing regularly in mid-career to become an inner-city teacher and principal . Once he retired from education, he has caught up for lost time and booked himself gigs from the Shenandoah Valley in the South to the piney woods of Maine; from the Berkshires in Massachusetts to Boston; New York to Los Angeles; and across the pond in Paris. His new release, “Euphoria” blends Latin jazz with boogie and rock and roll.
The sounds of reminiscent past of smokey old piano bars laced with the happiness of yesterday we all wish we could feel again. The song “Queen of Rosebuds” really plays to a modern Broadway jazz sound that has edgy sensual notes. The song “Everything is Turning (On the Wings of Love) is a beautiful lulllaby-esque song filled with hopeful notes to create a beautiful melody. Norm does a fantastic job at creating a moving piece of music that is eclectic and yet still all speaks the same language. On this record, Norm has cultivated a pianistic style rooted in the jazz of New Orleans with shades of Latin influence. Simultaneously nostalgic, Euphoria is a totally unique sound. The album reflects the driving rhythms of the rock ensembles he toured with for years around the Northeast. Real Stormin’ Norman is an ensemble fronted by the thundering vocals of Genevieve Faivre and features a stellar group of sidemen, including rising jazz superstar Jonathan Saraga (trumpet and arrangements), Russian bass master Arthur Sadowsky and drummer Tobias Ralph, who is acclaimed as “one of the best drummers in America” by Drummers World. Real Stormin’ Norman calls New York City home and is currently touring Euphoria around the Big Apple.
Norm states “Euphoria is the perfection I’ve always wanted to do. The songs are beautiful. The singing is powerful. Tight, imaginative arrangements. This album is way more realized than the previous Real Stormin’ Norman records. We were able to perfect music that I had been working on for years.”
Listen to Euphoria here:
Additionally, Norman found time to score a long-forgotten Nicholas Ray movie that has been locked in a vault for decades called We Can’t Go Home Again. And with the urging of Ray’s widow, Susan, Norm also scored a documentary about the legendary auteur film director. Both films were screened internationally and featured several times on the Turner Cable Classic network.
Three set show features: Cory Wong, Bill Evans, Jeff Coffin (Dave Matthews Band), Maggie Rose, Taylor Hicks, Daru Jones, Zoe Nutt, Kevin Scott, and Guthrie Trapp
(Nashville, TN) January 12, 2022 – This Saturday at Volume.com Umphrey’s McGee’s drummer Kris Myers presents a restream of his epic guest-filled concert at Brooklyn Bowl Nashville.
This three-set show is a who’s who of both the jam band and Nashville sideman and sessions scenes. This multi-genre collaboration brought musicians together to create a once-in-a-lifetime convergence.
All the proceeds from the restream will go to Sharing Stops Suffering, a community-based non-profit organization dedicated to addressing the needs of people living with mental illness and raising money to help individuals get the help they need.
“It was an amazing experience… The special thing about this show is everyone came in with their A-game and it was a community-based show that I’m very grateful to have been a part of.” – Kris Myers
The first set featured Sierra Hull, Matt Menefee, and Billy Contrares (Dixie Dregs), bringing acoustic and electric together. Maggie Rose added her sounds of soul, followed by Guthrie Trapp and renowned horn players Jeff Coffin (Dave Matthews Band), Bill Evans, and Emmanuel Echem (Lauren Daigle).
The second set got the crowd dancing starting with Louis Colsong, then getting into some guitar shredding with Chris Siebold. Cory Wong then came in collaboration with the horn players as well as 3 bass changes between Kevin Scott, Chris Clemente (Kayne West), and Jay White (Amos Lee). Finally, Kris Myers played drums with Daru Jones.
The third set wrapped up with Zoë Nutt, Taylor Hicks, Ty Bailie, Kurt Ozan, Peter Janjic, Johnson Jay (Ronnie Wood), Vijay Telisnayak, Marcus White, Elliot Blaufuss, Faydra Lagro, Colin Poulton, and Marshall Carlson.
Stream the whole show and join the chat at volume.com
About Volume.com Volume is a new live streaming platform dedicated to helping musicians of all stripes to bring their music to fans with a seamless and collaborative interface hosting shows from living rooms to festivals.
English-born indie pop-rock singer/songwriter, now based in Los Angeles, writes his songs with a deep meaning being it. He fuses the guitar driven styles of artists like Radiohead and Oasis, the acoustics and orchestrations of Damien Rice and Ed Sheeran, with the classical songwriting of Paul McCartney, Billy Joel, and Burt Bacharach.
Inspired by love and seeing the world around him, his Christmas song, “We’ll Have a Christmas,” has a “Have Yourself a Merry Little Christmas” meets “Last Christmas” meets “Merry Xmas (The War is Over)” vibe to it. “We’ll Have a Christmas” was born from the pandemic, after Charlie noticed all the injustice, hate, and anger the world began to grow, but specifically the United States.
“Over the last four years, I’ve got more and more involved with work to make the US a more loving and tolerant place; to elect leaders who make policies that help people,” shares Charlie. “For those of us working in this space, it’s been so hard to find peace, when so many public figures are just trying to create anger and hate. Add to that a global pandemic, and we’ve lived through maybe the most difficult years of our lives. I wanted a song that brought back the lovely warm feelings of Christmas, and gave people the freedom to relax and find peace again at the end of another very difficult and tragic year. That no matter what was going on, we could come together and find peace at Christmas.”
Listen here:
Charlies hope to spread peace and love throughout this country and the world by way of his music. The pandemic has made everyone’s lives more difficult already. He encourages others to feel joy during this holiday season. Listen to “We’ll Have a Christmas” now.
(London, England) November 25, 2021 – Pharaoh’s Dream, the mystical smooth Jazz entity has recently released the ‘regroove’ rendition of The Stylistics’ “Children of the Night.” This magical and mystical song is about being gay in the 1970’s, which Pharaoh’s Dream lead vocalist, David Nathan, has some experience in. David, who’s 73 years young, dedicates this song to those who still walk the shadows of the night, to those who still feel alone, and those who still feel the pain of the AIDS crisis.
He shares what “Children of the Night” means to him. Watch his testimonial here:
This ‘regroove’ came just in time for World AIDS Day on December 1st, an international day dedicated to raising awareness of the AIDS pandemic which began in the early 1980’s as well as mourning those who we lost. “The acceptance and inclusion of the LGBTQ+ community that is much more present today is a far cry from what we experienced back in the ‘70s and ‘80s and beyond. So many of my dear friends died in the first few years of the AIDS pandemic. It was devastating. I cried so many times over the death of people in my life who were persecuted, disowned by their families and work colleagues and who were my own age. I worked actively in the ‘80s and ‘90s with The Minority AIDS Project in Los Angeles to help break the stigma associated with the virus. I am well aware that AIDS is still a reality in many parts of the world so our work is far from done in bringing compassion, love and support to those affected by AIDS ” shares David. As an openly Gay man, and one who experienced the persecutions of gay men in the 1970’s and 1980’s, David hopes to send a message of love and acceptance of everyone, especially those in the LGBTQ+ community.
David’s deep and raspy voice is what carries this smooth jazz/soul version of “Children of the Night.” We get an entrancing flute, courtesy of award-winning musician Najee, and magical chimes that beautifully intertwine with the background vocals from special guest Will Downing.
Listen to “Children of the Night (The 2021 Late at Night Regroove)” here:
David’s aim is to appeal to the generation that loves the music of Sade, Norah Jones, Mose Allison and of course, the iconic Nina Simone. He has created an exciting and soulful jazz/blues show that includes his own recent recordings as well as a personal musical salute to Nina Simone that includes sharing some of his memories of spending time with her. This show started in London initially when David started the first UK fan club for her as a teenager in 1965 and then through the years until her passing in 2003.
Currently, David has been hard at work with some important projects. This past week, he released “Say It Like You Mean It”, by Takim Brown, co-written with Preston Glass and others, on the Philly Soul Select, Compilation. Listen here:
On November 23, 2021, he did an interview project as a video on YouTube called, David Nathan (The British Ambassador Of Soul) with Aretha’s Angels, six publicists who worked with Aretha Franklin between 1985-2018, sharing personal reminiscences with David who first connected with ‘The Queen Of Soul’ as a London teenager in 1966 and celebrating the 2021 release of the career-spanning 4CD Rhino box set, ARETHA. Watch here:
His track, “I’m In My Prime,” co-written with Preston Glass, is on his latest album by the legendary soul group, The Spinners. Listen here:
And Finally, he is completing work on his 1st book of soulful poetry, ‘Like…The First Time You Heard Chaka Khan!’ due out February 2022
About Pharaoh’s Dream
Pharaoh’s Dream, mystical, mysterious…. “Created as an expression for evocative music that soothes the soul, calms the spirit,” says David Nathan, who initially began recording under this banner in 2006 with the album Wistful Elegance, which he produced in Los Angeles with award-winning music man Preston Glass, with tracks featuring special guests such as Kenny Lattimore, Will Downing, Lynne Fiddmont and on the now-rare CD release, liner notes by Roberta Flack. In more recent years, Pharaoh’s Dream recordings have included FEELING GOOD – A PERSONAL TRIBUTE TO NINA SIMONE reflecting David’s early years as the founder of the music legend’s first UK appreciation society.
The name ‘Pharaoh’s Dream’ is a reflection of David Nathan’s deep interest in the 18th Dynasty of Egypt, with such historical figures as Akhenaten, Nefertiti and Tutankhamen, an interest inspired by a conversation on a 1975 flight with Maurice White of Earth, Wind & Fire fame… Pharaoh’s Dream, ancient yet timeless…
David Nathan’s smokey mocha-flavoured vocal style evokes memories of a bygone era, of intimate dimly-lit ’40s and ’50s jazz clubs and yet has the kind of timeless quality associated with the likes of Nina Simone, his primary personal and musical mentor. Born in London, David has loved music for as long as he can remember, Dionne Warwick, Nina Simone and Aretha Franklin as a teenager.
Known initially for his work behind the scenes as a soul music journalist, author and historian, David began recording in 2003 in Los Angeles, his home for 24 years with direct encouragement of such illustrious artists as Roberta Flack and Bonnie Raitt, His 2003 CD debut, “Reinvention” includes a number of pop and jazz classics such as The Beatles’ “Blackbird,” Billie Holiday’s “You Don’t Know What Love Is” and a Brazilian-styled version of “Cry Me A River” (featuring The Sweet Inspirations).
In recent years, David completed sessions in the UK for the album, “I Used To Rule The World” and has worked with Indian violinist/composer/producer Aritra B on original music included on the EP, “A Long Way From Blue” due for re-release in 2022.
Modern Mystery 
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