5 Songs for A Girls Night In 

5 Songs for A Girls Night In

Have you spent too much time out in the sun this summer? Between camping, boating and paddle boarding, I know that I’m a bit toasted and could use a rest from all the rays and heat.

And what better way to rest than with a cozy girls’ night in? Staying in is also a good way to save some money! Grab a few friends, a few bottles of booze and enjoy the air conditioning in the basement. While you’re at it, why not grab some aloe to soothe that nasty sunburn? There’s nothing like the salve of cool conversation with friends to revitalize you for the second half of this hot summer!

Of course, as you can probably already predict, we at Night Is Alive put together a fun playlist for your girls’ night in. These tunes will make you want to cry, laugh, and, hopefully, by the end of the night, dance and sing along!  

Janis Siegel, John Di Martino & Lonnie Plaxico – Don’t It Make My Brown Eyes Blue

Face it, after going through a grueling heartbreak, there’s no one you’d rather talk to you than your best gal pals. And as the lyrics of this country classic point out, sometimes it’s really hard to accept that a relationship is over. You might cry so much that your brown eyes turn blue, but your friends will be there to wipe away the tears and pick you back up, so let it all out on girls’ night.

Respect – Aretha Franklin

This 1967 R&B hit is just what you need on a girls’ night because everyone is sure to know the words. From the moment that melody starts to the first vocals, this song is instantly recognizable and will make you tap your toes, or, at the very least, nod your head.

Because at the end of the day, all that we’re asking for is just a little respect when you come home—isn’t that right ladies?

Carole King – Where You Lead

If you’re a Gilmore Girls fan, you’ll know this 1971 tune, which is the theme song of the cult classic TV show. Like Rory and Lorelai, your best girl friends will always follow where you lead. If you need them, they will be there for you, and they will go to the ends of the earth ‘cause darling that’s what you’re worth.

And don’t worry, we won’t judge you if you and your friends belt out all lyrics and sway together with your arms entwined. We’ve all been there.

Girls Just Wanna Have Fun – Cyndi Lauper

C’mon you knew we had to put this song on the playlist, didn’t you? You got to save the best for last and this 1983 tune is definitely it. Go out with a bang by dancing on top of the tables like you just don’t care because the best of friends knows how to have fun!  

Or maybe your girls’ night isn’t quite as wild as we imagined and you’re looking for some more mellow, classy tunes to which you can sip chardonnay and nibble on goat cheese and olives. In that case, check out our many jazz albums, like our most recent releases My Ship and Old New Borrowed & Blue.

Five Songs for Christmas in July

Five Songs for Christmas in July

Everyone is always thrilled when the weather starts to warm up, but by mid July, you’re probably getting a bit sick of the heat, right? Sunburn, sweat and overheating cellphones can make you nostalgic for wintertime, snow and Yuletide carols.

Popular myth has it that Christmas in July was founded in the 1930s when a summer camp in North Carolina celebrated the holiday on July 24th and 25th with cotton snow, gifts, Christmas trees, and Santa Claus. Then, with the movie Christmas in July, which came out in the 1940s, the somewhat silly holiday hit the mainstream.

So, what are your Christmas in July party ideas? Do you have some quirky decorations with Santa Claus in swim trunks drinking a margarita? A t-shirt with reindeer on the beach? A Christmas-themed cornhole board?

Whatever your plans, you’re going to need music, which is why we, at Night Is Alive, put together a Christmas in July playlist for you! Enjoy!

John Di Martino, Andromeda Turre & Wayne Escoffery – Christmas Ain’t Like It Used to Be

Even though this song is technically about celebrating Christmas without a special someone, it can also be relevant for Christmas in July, which certainly isn’t like any other Christmas you’ve probably celebrated before! Plus, there’s never a bad time to listen to the stellar vocals of Andromeda Turre!

Jonathan Coulton & John Roderick – Christmas in July

This sweet little folk tune really draws attention to the benefits of Christmas in July, like warm breezes by the shore and long days beneath the summer sky. Released in 2012, this song makes me think that maybe celebrating Christmas in Australia—where the seasons are flipped with the Northern Hemisphere—wouldn’t actually be so bad. A barbeque and gift exchange on the beach anyone?

Bill Cunliffe Trio – Christmas Is Coming

From Grammy-award-winning arranger Bill Cunliffe, this 2019 tune will really get you in the mood for Christmas in July! The fast pace, and fun, inventive melodies create excitement for the holiday. And the funky percussion gives it a more tropical feel than many other Christmas songs out there.

Night Is Alive All Stars – Merry Christmas Baby

Nothing beats celebrating a holiday with your beloved—spoiling each other with gifts and furtively glancing into one another’s eye during the festivities. And the buttery vocals and silky-smooth saxophone in this tune produce that sense of romance one often feels around Christmas. As vocalist Christie Dashiell sings, I feel like I’m in paradise.

Bill Cunliffe – Dance of the Sugar Plum Fairy

End the day on a whimsical note with this crisp and jaunty tune that will bring you back to the sweet and dreamy days of your childhood Christmases. The playful piano will put a smile on your face as the sun dips below the horizon and the sky takes on the pink and purple hues of the sugar plum fairy.

If you’re looking for more holiday tunes to listen to this Christmas in July, be sure to check out all of our holiday albums, which are available in our store and on all major music platforms! And if you’d like to book one of our lovely musicians, please don’t hesitate to contact us.

This post was written by Digital Marketing Manager, Jacqueline Knirnschild.

Kahlil Kwame Bell Q&A Part II

Q&A with Kahlil Kwame Bell: Part II

Last week we were lucky enough to sit down with percussionist Kahlil Kwame Bell to discuss the history of hip-hop, contemporary R&B music and the pros and cons of singles vs. albums.

And guess what? The conversation continues!

This week we are chatting with Kahlil Bell about his experiences with music education and the role of money and profit in the art world.

We hope you enjoy this fascinating discussion just as much as we did!

JK: Could you tell me about your experiences with music education?

KKB: I didn’t even want to go to college when I graduated high school. I was summa cum laude and all that stuff. I had high grades, but I knew that I wanted to study music. By the time I was in school most of the colleges were offering arts programs, but they wanted you to take three years of classical training before you took a genre of your own liking and I was like that’s whack. I wasn’t down for that. I was like, nah, I don’t want to do that. So, then my mom was like well you’re going to school, she went off. Then the guy she was dating at the time told me to look at this school and I looked at the program. It was music and art of the African diaspora. And I said that’s where I want to go. I didn’t even know nothing else. I didn’t want to read nothing else.

I started when I was my youngest son’s age, when I was 10, at a school called Bloomingdale House of Music that used to be on Broadway and 106th or something like that. It was very private. They were teaching me the early classical theory and piano and I, of course, was too young to make the connection between piano and composition. It wasn’t until later on in my young adult years that I realized you could write for pretty much any instrument with a piano. A lot of musicians call the piano the bible for composition because you can write for strings, for lower registered instruments, bassoon, oboe, tuba. And that was my first exposure to music, and it was very boring; I hated it actually, and simultaneously my father was taking me to African dance classes and teaching me rhythms of the Mali Empire, so I was learning a lot of drumming from the time I was 2 years old. My father was the first one to expose me to music. My mother had no interest in the arts; she was a nurse practitioner. My mom is science all the way all day and I approach music like science. She doesn’t see the correlation and that’s cool but other people do.

JK: What do you think is the role of money and profit in the art world?

KKB: Money unfortunately validates someone’s work. And I say unfortunately because there are many genres and high-level quality things that people do that don’t get the acclaim; that doesn’t get the money. When those things don’t get that it’s a drag because you can see the quality, the beauty, the creativity in something but a lot of people miss it because they feel it’s not worthy of observing because there’s no money behind it. My youngest son has an art teacher, a private art teacher, and I put him in her class because I wanted him to do something creative that would bring him off the computer and force him to use his mind and not be pressing stuff.

With a computer, you press something, and the computer does it for you—the person jumps, something shoots, the person flies. But when you’re looking at a blank canvas, you first have to draw the background and then you have to mix the colors of the background and then you have to create the glare of the sun against the water, and you have to create the bird that flies above the water.  And he has to learn these things in her art class, and I think it’s phenomenal but the crazy thing is that I can’t get the town to enroll more kids into her class because my town doesn’t value that, and, again, they don’t value it because there’s no money behind it. Now maybe if she had a commercial on TV and she had a feature on Oprah or something like that they’d be like, oh, I know that place, I’ll bring my kid there. That’s how people move now.

It’s unfortunate because the most quality things I’ve had in my life, the most phenomenal experiences I’ve had in my life were through people who weren’t rich and didn’t have no money but gave me so much information and so much encouragement and support in regard to love and believing in me. All the people that I’ve met with money I can barely remember their names. I’ve played on people’s yachts, mansions, flown on their private jets, but when you do all of that, it means nothing if you can’t connect with that person as an individual. And when people have all of that they’re used to people only talking to them about what they have, and they don’t even want to talk to you if you have what they have or more. I remember this African scholar said, “Money can buy a spouse, but you can’t buy love. Money can buy a house, but it can’t buy a home. Money can buy you insurance, but it can’t buy good health.”

We have to learn to value other things; to reach back to the nature. Take the time to check out some trees and sand and water—things that are beyond our understanding, but we know they exist. We have to take some time to look at some ducks and geese or something. Check out some animals and see how they get down, and when we do that, it humbles us and lets us know that we’re all a part of something that is so much bigger than us and it also helps us dig into our art better.

Feature Friday with Kahlil Kwame Bell

Feature Friday with Kahlil Kwame Bell

This Friday, we were lucky enough to chat with percussionist Kahlil Kwame Bell. Born in the Bronx in 1968, Kahlil Kwame Bell plays over 1,000 percussion instruments and explores a wide variety of genres, including jazz, rock, hip hop, classical and traditional African music. He has toured extensively with many famous artists, including vocalists Roberta Flack and Erykah Badu, and is passionate about reflecting the unity of cultures through music by layering sounds and instruments. His newest solo album is Homeland, which is an exciting journey through traditional African cultures and music!

JK: What do you love so much about physical CDs?

KKB: Most record labels that I know are still putting out physical CDs and I always ask for them, even if I have to pay for them, because I’m a person who still likes to read CDs and likes to connect myself with the record. I’m older, so I’m from the era of reading album covers, and I enjoy that, so I don’t like streaming and all this other crap. It disconnects people from artists, and, in my personal opinion, people don’t really know what it is a lot of times now to listen to a whole record and go on a journey from beginning to end.

I can name at least five records off the top of my head right now that I remember from beginning to end and I don’t know many people who can do that today, not even with hip-hop records, which are pretty popular. When I talk to my children, they don’t talk about albums anymore, they just talk about individual songs, and don’t get it twisted—I love individual songs—because that’s what exposes me to new art, but when I talk to young people, I’ll ask them who’s the artist and they’ll say, I heard them on this mixtape—they never really hear an album—they hear the artist through somebody else’s record.

JK: Which contemporary, mainstream artists do you appreciate?

KKB: I like Kendrick Lamar. I also go into this female rapped named Little Simz. She’s from England. She sings the Venom 2 theme track.

And my oldest daughter kept telling me about this girl H.E.R. and she showed me a song—I thought the girl could sing but musically, it was putting me to sleep. But then I did some research, I went on the internet, I checked her out and I realized how much of a prodigy she was, and I said oh no, she’s the truth. She plays instruments, she studied music her whole life, she’s dope. I heard her playing piano, playing guitar and I said, oh, she’s ridiculous, she’s the bomb. I can rock with her. So, now, I’m a fan of H.E.R.  

JK: Tell me more about your interest in hip-hop.

I grew up in the Bronx when hip-hop first started, so I remember when hip-hop was at a very young age and President Reagan and other politicians were saying that it was a dying art form because it was kids in impoverished areas and no melody to it, just beats. I also remember not only white politicians saying that but black politicians saying that as well which is interesting because those were their children and grandchildren, but they didn’t dig it, which kind of reminded me of my grandmother’s era when people like Muddy Waters and Howlin’ Wolf were laying the foundation of American music with the blues.

When they were at their prime, the blues was the popular music of America, then all of a sudden, Chuck Berry comes playing the blues but playing it a little faster and dancing with it and making it into something that later became rock and roll. It’s interesting how when he came out with that, the older blues artists like Muddy didn’t dig it, but yet, people like Chuck Berry and Little Richard established rock and roll. They made blues in a faster tempo socially acceptable to the masses and made blues danceable versus what most people considered depressing when they first heard it.

So, I look at hip-hop in the same way. When hip-hop was first made it was a very conscious music, a very informative genre. You had people like Grandmaster Flast & The Furious Five, who brought the song “The Message,” which was a key, key, key song in hip-hop. Of course, the The Sugarhill Gang came out, and that is what made hip-hop socially acceptable. But it was “The Message” that gave people of America a look into the world of impoverished areas of cities because nobody really had an idea or a clue about that.

Hip-hop came out in 1979. The pioneer of hip-hop was Kool Herc. He was Jamaican, grew up in the Bronx. When he first started playing music in a certain kind of way, it hadn’t really been heard. At that time, the last 70s, early 80s, the Bronx had just started becoming predominately Puerto Rican. Prior to that, the Bronx had a lot of Jews, Irish and Italian. Hip-hop was the first genre where you saw Blacks and Hispanics creating together.

Hip-hop came out of the Reagan administration annihilating the performing arts programs in the public school system. From my grandmother’s generation to my mother’s generation, they can remember and tell you that they had music appreciation, they had band, which allowed a child to come out of the academic mindset into the creative mindset. When you’re dealing with the arts, it allows you to create something from nothing. It allows you to take a blank canvas and totally envision something in your mind, see where it’s going and create something beautiful, and unfortunately, sometimes academics doesn’t always do that—it’s right or wrong. If you write a sentence and it doesn’t include a noun, verb, and predicate, you messed up, so when it comes to these aspects of learning it can get very intimidating to a child, but when it comes to the arts, there’s this flexibility.  

So, when, for some reason, probably for money, they killed that—no more arts, just academia in the inner city—the kids rebelled. All of a sudden you see graffiti and you see hip-hop growing. Not only did it grow but it became the language of the youth, and it became their story in existence. I grew up in hip-hop but the only reason I didn’t desire to be a rapper was because I played instruments, but in my time, most everybody wanted to be a rapper. It wasn’t making money, but it was stating your identity—I’m from Philly, I’m from Brooklyn, I’m from BK. Everybody had their little term that coined their own individual city, and that was the beauty. And we were children at that time and people are telling us it sounds like a bunch of noise, and perhaps it did, but it’s ironic that it started from that and look what it’s become today.

JK: Thank you very much for speaking with me today, Kahlil. I learned so much about the history of hip-hop! It was such a pleasure.

KKB: You’re welcome. I look forward to speaking to you again in the future!

This post was written by Blog Editor Jacqueline Knirnschild.

Five Songs for the Zoo!

Five Songs for the Zoo!

From Apple Gifting Day to National Whipped Cream Day, it seems that just about every day there is some sort of obscure holiday, and—in case you missed it—July 1st was American Zoo Day! The celebration which marks the opening of the first zoo in the country, the Philadelphia Zoo, to the public in 1874.

What better way to celebrate this little-known holiday and piece of history than by going to the Zoo? You can take your kids, grandkids, nieces, and nephews, or just go with a friend or special someone. Since Night Is Alive is based in Akron, our favorite zoo is definitely the Akron Zoo, which has been recognized for its excellence in diversity and marketing!

No matter who you go with, the truth is that the zoo really never gets old. Regardless of your age, seeing zoo animals will always spark a sense of amazement in you. A lioness prowling around the enclosure, a baboon swinging from branch to branch, an elephant drinking water with its trunk. These are the wonders of the animal kingdom!

So, to get you in the mood for the Zoo, we compiled a few songs for you to listen to during your drive!

The Tokens – The Lion Sleeps Tonight

Did you know that this 1961 doo-wop song was actually an adaptation of a 1939 song written by a South African musician named Solomon Linda? The original, titled “Mbube,” was written in the language of isiZulu, which is spoken by the Zulu people in parts of South Africa.

Solomon Linda – Mbube

Mbube means lion but it also refers to an a cappella style of singing created by the Zulu people and made popular by a group called the Ladysmith Black Mambazo. Vocalists sing in rhythmic unison to produce intricate harmonies and textures—essentially using their voices to take the place of what an instrumental band may do. The part of the Tokens’s song that goes weeheeheehee dee heeheeheehee weeoh aweem away was inspired by mbube style a cappella.

Seven Wild Men & Harry Reser – I’m Just Wild About Animal Crackers

This fun novelty song from the roaring twenties is precisely the song to get you excited to go to the zoo or circus! The swinging style of this 1926 tune evokes carnivals, fairs, elephants being led through hoops and penguins balancing balls on their beaks. It’ll make you want to do a jig all the way to the zoo!

Elvis Presley – Hound Dog

With the new Baz Luhrmann movie about Elvis hitting theaters now, it’s a great time to listen to one of the most instantly recognizable pop songs in history. But did you know that Elvis’s 1956 hit is actually a rendition of Big Mama Thornton’s 1952 R&B song? Since his rendition was so popular, many people often mistake it for an Elvis original.

The WJ3 All-Stars – Can’t Buy Me Love

Even though this song technically doesn’t have anything to do with the zoo or animals, the fast-paced melody will make you smile and look froward to the wonderful day ahead of you. The soft touch of the piano, and the stellar sax solo, also make this brand new 2022 instrumental release one to remember and listen to again and again!

If you’re looking for some more snazzy jazz tunes that’ll evoke the memories and dreams of childhood, please check out our newest album, My Ship, which is available in our store and on all major music platforms today!

This post was written by Digital Marketing Manager, Jacqueline Knirnschild.

Feature Friday with Jeremy Pelt

Feature Friday with Jeremy Pelt

Fourth of July is right around the corner! How are you celebrating? Barbeque and fireworks? Going to the lake house? Long weekend out of town? I don’t know about you, but to me, it sure feels like I have been craving a vacation for a while now, so I am really looking forward to a long weekend with family and friends. We could all use a break to relax and recharge, and what better way to get the festivities started than with a Feature Friday?

This week we are speaking with one of the most preeminent young trumpeters in the jazz world—Jeremy Pelt. Voted by Downbeat Magazine as a rising star on the trumpet, Pelt has performed with some of the biggest names in jazz, like Cliff Barbaro, Keter Betts, Bobby “Blue” Bland, and Ravi Coltrane. His latest release is Soundtrack, which Apple Music calls sublime and soaring in its harmonic imagination.

Now, you’re lucky enough to get to learn a bit more about this fiery and lyrical trumpeter …

What motivates you?

That’s a hard question to answer, as my motivation changes daily.

 What games did you play when you were a child?

Monopoly.

 What was your first job?

 My first job was a student! Alongside that, I was very entrepreneurial and to that effect I had a car washing business in my neighborhood where I would travel with a pail and sponge and wash people’s cars. I called it “Jeremy’s Jolly Car Wash.”

 What was your most beloved song as a child and why?

I didn’t have any beloved songs in my childhood but, interestingly enough, there are old songs that I hear to this day that take me back to my childhood, and then that’s when I remember the songs fondly. But it’s filtered through an adult lens.