Introducing Smalls Records

[lkaven]

Hi all,

I'm Luke Kaven who runs Smalls Records. After a long time and some hardship, the label has finally released its first few titles with more to come later this year. I'm interested to meet up with Smalls fans among members of this group, to let them know about our CDs and to ask for their support. The scene stays alive through the label, and through the recording projects, we create more opportunities for the Smalls artists to perform, whether at Fat Cat, or at a future reincarnation of Smalls, or anywhere else in the world. The economics of the jazz business are very difficult today, and we rely on both the club (Fat Cat is our home turf) and the record label to keep the scene alive. Also note the posthumous release by the late Frank Hewitt, which is very near to our hearts. Hope you'll drop into the thread and say hi.

I'm enclosing the press release below for completeness' sake.

With warmest wishes, Luke

Introducing Smalls Records

The racist cabaret laws enacted in 1926 in New York City banned brass and

percussion instruments in all but a few city-licensed clubs. Used to

control the mixing of races, the laws stifled jazz relentlessly in New York

for nearly sixty years. When they were at once overturned in 1988 on the

grounds of freedom of speech, there followed a minor renaissance of jazz in

New York and a blossoming of new jazz clubs. Smalls was perhaps the most

notable among them.

A labor of love for quixotic impresario Mitch Borden, Smalls was unusually

hospitable to listeners and musicians alike, both young and old. The price

was low, the atmosphere was relaxed, and the music ran until dawn every

night of the week. Over time, Smalls became one of the hubs of the jazz

world and played host to a thriving jazz scene of its own. A generation of

jazz musicians in New York developed on the Smalls scene, giving it a

lasting place in the history of the music. With the closing of Smalls comes

the rise of Smalls' sister club, Fat Cat (75 Christopher Street, NYC), and

the hopes for a bright future there.

The Smalls/Fat Cat scene is also continued now through the new label, Smalls

Records, created out of a moral imperative by one Luke Kaven, a philosopher

turned jazz-presenter-with-a-message. Luke noted the egregious neglect and

indifference of the major jazz labels, particularly in the case of master

pianist Frank Hewitt, and argued that the artists from the Smalls scene

would benefit most from being represented collectively by an insider to the

scene, and that this would help to ensure the survival of this vital scene.

The artists, in turn, elected to permit Luke to carry out his vision.

Smalls Records documents significant musical developments in jazz, with

particular emphasis on the Smalls/Fat Cat scene as an important historical

nexus in the development of the music. We emphasize historical and thematic

continuity, and we pay particular attention to older and lesser-known

artists of unusually high achievement.

Please join us in celebrating the launch of Smalls Records and the release

of our first four titles, available now through www.smallsrecords.com,

through CD Baby, and in stores beginning this month. These are:

SRCD-0001 -- Frank Hewitt / We Loved You

Frank Hewitt was the master jazz musician in our midst, a veteran bebop

pianist of over fifty years on the NY scene. He was the featured artist at

Smalls, performing once or twice weekly for nine years. Only a few pianists

after Bud Powell and Elmo Hope ever achieved this level of mastery in our

view. This album was originally to be provocatively titled "Get it? Got it.

Good!" but after Frank's untimely passing in September 2002, we decided to

begin issuing an anthology of his recorded work.

SRCD-0002 -- Across 7 Street / Made in New York

The weekly feature on Sunday nights at Smalls, Across 7 Street, was a treat

for serious jazz listeners. The smart, dark-edged music, with its sinuous

melodies and brilliant harmonies, is the fruit of a long-term collaboration

involving a group of New York jazz prodigies who have been steadies on the

New York scene since their early teenage years. The group features Smalls'

regularly-featured artists Chris Byars, Ari Roland, Sacha Perry, John Mosca,

and Danny Rosenfeld. After many years together playing weekly at Smalls,

the group has accumulated an impressive book of original compositions, and

developed a kind of facility with them that one rarely finds. This features

the first volume of original compositions from this unusual group.

SRCD-0003 -- Ned Goold / The Flows

Ned's approach to music is based on original inventions of his that also

work in the context of standard rules of harmony. After many years working

out this approach, he's developed the facility to create an other-worldly

swing strongly rooted in a tradition that goes back to Bird and Bix. To

make this record, Ned recorded forty-seven shows while on national tour, and

distilled some twenty-five hours of tape down to one disk. The result is

the best representation of Ned's talents on record to date. Even his

alter-ego, nefarious critic Arch Mendle, is pleased with this one. Bassist

Ben Wolfe, Ned's long-time collaborator is on this one too, along with

veteran drummer Ron Steen. A collector's item!

SRCD-0004 -- Ari Hoenig / The Painter

For Ari, the drums aren't just rhythmic instruments, they're melodic

instruments, and he takes this concept further than anyone else. As a

drummer who can carry a melody pitch perfect on the drums, as well as one

who can paint with complex rhythmic textures, Ari is naturally suited to

lead his own group. Here we present Ari's recorded debut as leader of his

own group, featuring his most conversant collaborator of long-standing, the

dynamic Jean-Michel Pilc. The group is characterized by fluid time,

sweeping dynamics, and wide emotional range.

Look for an additional five distinctive titles to arrive in late spring!

===

For all direct inquiries, contact Luke Kaven (luke at smallsrecords dott com). For

US dealer enquiries, contact Paul Schulman at Synergy Distribution at (888)

387-6249. For UK dealer enquiries, contact Graham Tanner at Jazz Matters

(info@jazzmatters.com).

Edited November 21, 2004 by lkaven

[brownie]

Luke, you're welcome here!

Thanks for the information on Smalls releases. They look worthy of purchase. Will look for the Frank Hewitt album. Not familiar with that musician but his background seems highly interesting.

I have heard - and been impressed - by Ari Hoenig's drumming with Jean-Michel Pilc.

Will there be a CD of Gil Coggins on the label?

[lkaven]

Luke, you're welcome here!

Thanks for the information on Smalls releases. They look worthy of purchase. Will look for the Frank Hewitt album. Not familiar with that musician but his background seems highly interesting.

I have heard - and been impressed - by Ari Hoenig's drumming with Jean-Michel Pilc.

Will there be a CD of Gil Coggins on the label?

The reasons that Frank Hewitt was passed over for recognition at key times is worthy of a book. It would certainly say a lot about the traditional practices of the major labels, and even quite a few indies. By all rights word should have gone around before. I thought Ben Ratliff was rather humble in admitting his own oversight in the recent NY Times review.

I think Hoenig is touring in France with Pilc later this year, in the early fall.

May Gilly rest in peace. I was fortunate enough to record him three times in the last two years, filming one session. Gilly wanted to make a record, and Gilly's close friends, the Kulok family, saw to it that he got what he wanted. Something was privately pressed, which Gilly titled "Better Late than Never". I think now we'll think in terms of making a fitting memorial album out of these sessions. I'll work in accordance with the family's wishes, whatever those turn out to be. I think the plan is to put it out on Smalls, but I'll know better in a few weeks.

Luke

[scottb]

I look forward to hearing more great music from Small's. I really enjoyed the JAZZ UNDERGROUND: LIVE AT SMALL'S disc. It made me want to move to NY so I could go hang out, drink lemonade and listen to great jazz all night.

[Joe G]

I missed this the first time around, and thought it deserved a BUMP. Best of luck, Luke.

[JSngry]

Don't miss the Frank Hewitt side, people, do not miss it.

Any further developments on the Gil Coggins & Clarence Sharpe things? You've got some friends of mine down here wondering in anticipation!

[Clunky]

Re; Ari Hoenig / The Painter

Trio versions of "I Mean You" and

"Summertime", with Schwarz-Bart

laying out, open and close: in

between the quartet material is all

written by Hoenig, in one case with

an assist from the tenor-player-

-

The outside material has been

chosen, you quickly realise, because

Hoenig can indicate the shape of

the melody from his kit before the

action starts, A little gimmick, but

it doesn't stop the first from being

extremely lively and entertaining:

pianist Pilc plays well to the

drummer, and it skews the

traditional view of the piano trio.

The finale is a confirmation of

what an interesting drummer he is,

able to do gently-swishing and fine

detail, but at his best hammering to

a crescendo and getting a very full

sound out of his kit. The bass

drum's a bit too prominently

recorded throughout: that

sometimes distracts but also

sometimes helps his densest

passages.

As a composer he's less secure;

much of the time there's not

enough in his lines to justify the

attention - and repetition - they

get: the titles in themselves render

a sense of uncertainty perhaps.

Once into open water, however, the

excellent Schwarz-Bart (why does

that name make me think of

something else?) and Penman's

powerful bass can usually goad

Hoenig into yet another rampage

around his kit. Highlight of this

part of the disc is the co-written

"Condemnation", which pressure-

cooks from the start and might

make you think you're listening to

David S. Ware's quartet - when

they're on form too.

Recorded at a New York venue,

some with audience, some without,

it's a remarkable debut album, and

clearly has been carefully prepared,

the range of the band fully declared.

And begs the question - whatcha

gonna do for the next one? No

doubt we'll find out, but for now it's

well worth a listen or three.

JACKCOOKE

from Jazz review April 04- review of The Painter

Edited April 18, 2004 by Clunky

[stevebop]

It's possible that the name Schwarz-Bart might have you thinking of the writer Andre Schwarz-Bart. His novel, "The Last of The Just" is one of the definitive books about the Holocaust.

A synopsis

In every generation, according to Jewish tradition, thirty-six just men, the Lamed-waf, are born to take the burden of the world's suffering upon themselves. At York in 1185 the just man was Rabbi Yom Tov Levey, whose sacrifice so touched God that he gave his descendents one just man each generation, all the way down to Ernie Levey, the last of the just, killed at Auschwitz in 1943. This, then, is the story of Ernie Levey.

Andre is Jacques's father

[brownie]

It's possible that the name Schwarz-Bart might have you thinking of the writer Andre Schwarz-Bart. His novel, "The Last of The Just" is one of the definitive books about the Holocaust.

A synopsis

In every generation, according to Jewish tradition, thirty-six just men, the Lamed-waf, are born to take the burden of the world's suffering upon themselves. At York in 1185 the just man was Rabbi Yom Tov Levey, whose sacrifice so touched God that he gave his descendents one just man each generation, all the way down to Ernie Levey, the last of the just, killed at Auschwitz in 1943. This, then, is the story of Ernie Levey.

Andre is Jacques's father

Amazing what I learn at Organissimo!

Dmitry mentioned reading the book recently on the Now reading... thread of the Miscellaneous Non-Political forum.

'The Last of the Just' is a must read book.

Jacques' mother is a very celebrated novelist too: Simone Schwarz-Bart.

No idea that Andre and Simone's son was a jazz musician.

I'll check his albums. Should be interesting.

[Larry Kart]

Any info on Jazz Review, the magazine in which Jack Cooke's review of that Ari Hoenig album appeared? I ask because Cooke is an excellent critic (British) -- a regular contributor to Jazz Monthy in the old days and co-author of "Modern Jazz: The Esential Records" -- and I had last track of him. If he's a regular contributor to Jazz Review, I'll try to subscribe.

[A Lark Ascending]

You can become an e-mail subscriber to Jazz Review. For £15.00 ($30.00) a year they e-mail you the pages. Much cheaper than subscribing overseas to the magazine in print form - (£50 - $100).

E-mail jazzreview@excite.com for details.

Jack Cooke does a couple of reviews in the current (April) issue.

Edited April 21, 2004 by Bev Stapleton

[Clunky]

Any info on Jazz Review, the magazine in which Jack Cooke's review of that Ari Hoenig album appeared? I ask because Cooke is an excellent critic (British) -- a regular contributor to Jazz Monthy in the old days and co-author of "Modern Jazz: The Esential Records" -- and I had last track of him. If he's a regular contributor to Jazz Review, I'll try to subscribe.

He regulary provides CD reviews and occasional articles. His recommendations are never less that solid IMO

[lkaven]

Any info on Jazz Review, the magazine in which Jack Cooke's review of that Ari Hoenig album appeared? I ask because Cooke is an excellent critic (British) -- a regular contributor to Jazz Monthy in the old days and co-author of "Modern Jazz: The Esential Records" -- and I had last track of him. If he's a regular contributor to Jazz Review, I'll try to subscribe.

He regulary provides CD reviews and occasional articles. His recommendations are never less that solid IMO

Adrian,

Thank you so much for supplying the text of the Ari Hoenig review. I really have not been able to lay my hands on this issue yet. I'm never worried about Ari getting good reviews. His amazing drum talent is readily apparent.

I do worry about Frank Hewitt getting justly good reviews, because I think his melody and harmony are not obvious to most people, and in fact, even experienced ears underestimate him at times. The reviewer at JR (name unknown to me as yet) did a responsible job I thought. So did Erik Ianelli. Ratliff did the right thing. A couple of others wrote monuments to themselves.

Honestly, I didn't think any reviewer stood a chance with Frank Hewitt's record. Doing exegesis on one of Frank's solos is as daunting as reading a great work in philosophy. You can't assimilate it in short order. Frank was so well known by so many people for so many years that it is an embarassment to the press that reviewers are struggling to catch up, sometimes tripping over themselves, and sometimes coming through magnificently. In the case of Frank, though, I am on a mission. Anyone who reads my liner notes should know that I posed a conundrum, and in doing so, I laid a gauntlet for any reviewer. The conundrum is "why was Frank not recognized during his lifetime?" And the gauntlet laid therein is for the reviewer to *not do* the things that caused Frank to be denied due recognition.

The funny thing here is that this gives me the means to turn the lens back on the press, revealing something of the roots of present-day musical complacency. The challenge for me is to do this constructively through dialectic, and to reserve my anger as best as possible. But think of this. We at Smalls and those in the extended community knew Frank day after day for many years, listening, studying, discussing. There are so many of us who know and understand Frank's music so well, that there is no reviewer who can tell us credibly what Frank was or wasn't. This time, the reviewer has only us as an authority, for we've asked and answered all the relevant questions over years while the reviewer was conspicuously absent. Who's reviewing whom here?

I have similar worries about Across 7 Street, who also appear to be too advanced for a lot of people. Yet, actually, I've been surprised at how good the response has been. Ira Gitler tells us he voted for them in the Rising Star category in the DB Critic's Poll upcoming. But I'm really curious to see what the Jazz Review writer said about them this month! Adrian, do you think you might be able to fire up your scanner and OCR software one more time as a favor?

Luke

[Clunky]

Adrian, do you think you might be able to fire up your scanner and OCR software one more time as a favor?

I'll try tonight when I'm home. I'll check the name of the Hewitt reviewer too.

[Clunky]

The "Smalls" label is a new one which spun out of the night club of

the same name in New York. Let's hope the label has a better fate than

the club which is now (temporarily?) closed. (I was once in

there and heard Roy Hargrove jamming with a seemingly endless

change of pianists, drummers and bassists. The club only sold coffee

to drink - and I had so much I didn't sleep for weeks.) Of that

enough, what of the album under review? It's a post-bop quintet with

a trombone/tenor front line, and I like that. Mosca is the first new

trombone player I've heard on disc since David Gibson, although he's a

veteran in the New York scene with a very good pedigree and a style

somewhere near Curtis Fuller. Byars, another new one to me is, like all

the band, a new Yorker who has been around for some time, a post-

bop player but with influences which imply some free associations,

technically superb and with a rich dark tone.

But it's not just the ability of the players here which impresses, it's

the writing and arrangements. There is nary a standard on view and

every tune is a band original which take Monk, Mingus and Andrew Hill

as role models. Each one is an adventurous exercise in harmonic

structure and they just don't go where a listener might expect them

to. In so doing they stretch the technique of the players to the full.

Unusually too there are twelve tracks here, the longest being seven

minutes long, the rest about four or just over, so there is no chance to

get bored with overblown solos nor any insistence on the usual theme,

solos, theme model. Bassist Roland, a good backing player, takes his

solos exclusively with bowed bass and this lends an unusual and

effective difference to the solo work. Try any track to sample

things but "Need I Say More?" would be a good one to get the

flavour of this cracking album. If this is the standard which Smalls

keep up they will be a welcome addition to the roster of burgeoning

independent labels who are telling the unfolding story of contemporary

US jazz.

Mike Rogers

[Clunky]

The Frank Hewitt review is by Barry Witherden, all reviews carry track names, personnel and date of recording information and the CD finder index lists the Small's record website.

[lkaven]

Thanks Adrian for the help, after working a full day no less. I can use this.

I'm gratified to see that level of appreciation over there. The high level of literacy in the reviewers didn't surprise me.

I'll correct a couple of slight errors in attribution here. Rogers is correct in citing Monk's influence. Though he's 'in kind' citing Mingus and Andrew Hill, those would not be quite correct as influences here. One thing I like about Across 7 Street is that the members of the band have been deeply embedded in the NY scene since their early teenage years, and their influences have been multifarious--the sort of thing you can only get in a place like NYC. At 12, Ari Roland was sneaking out of his parents' house after midnight to go to Barry Harris' sessions at the Jazz Cultural Theater, and to the University of the Streets (the 7th St address in the name Across 7 Street, opposite the Peter Jarema Funeral Home on the other side), where he met up with Frank Hewitt. Both Roland and Hewitt played with C Sharpe on a regular basis until C's untimely passing. C Sharpe was very influential on people on the NY scene, something that one could never learn from the flawed "liner note" version of jazz history, because C was hardly ever recorded (and often wouldn't allow it). Other influences around NYC included Junior Cook, Vernel Fournier, Charles Davis, Tommy Turrentine. All members of Across 7 Street, as well as Frank Hewitt, are very big fans of Elmo Hope, and they keep an Elmo Hope book in addition to their originals. I never knew any younger cats who had this kind of grasp of harmony.

By the way, for musicians out there, I've posted sheet music from Smalls in Finale format on my website for download. One needs to get the Finale viewer plugin from a link there, but from there one can print out. I'm looking to expand the book in the future, because I think its a good contribution to the printed literature.

Luke

[brownie]

Fresh news from Smalls Records's Luke Kaven who has many friends on this Board.

From the Ihaca Journal today:

Kaven's mission: Be true to real jazz

By Ryan Pasquale

Special to The Journal

In his Cayuga Heights family home, where he is caring for his elderly parents, Luke Kaven, owner/operator of Smalls Records, sits Tuesday evening with photos of jazz musicians he has recorded on his independent label. Corporate influences, Kaven says, has created a situation where "jazz -- real jazz -- lives in a shadow world where the greatest players are the ones you are less likely to see."

Luke Kaven's photos of jazz musicians whom he has recorded with his label Smalls Records includes the late jazz pianist Frank Hewitt, pictured in the foreground, who died nearly two years ago. A collection of his music, "We Loved You," is one of Smalls' first CD releases.

Listen to the music

Whether in Ithaca or New York City, the opportunities to hear Smalls' artists are readily available. The Fat Cat club still operates in New York and Luke Kaven is still working at conserving the sounds of those jazz musicians outside the mainstream.

For more information or to purchase artists' CDs, visit the label's Web site at www.smallsrecords.com. Smalls Records CDs are also available at The Bookery in downtown Ithaca.

Fat Cat

Fat Cat, Smalls' sister club, is located at 75 Christopher St, New York City 10014 (right around the corner from Smalls) and will be hosting many of Smalls' jazz musicians 4 nights a week. Phone: (212) 675-7369.

Following the wave of historical jazz artists whose sounds and performances permeate the genre still today, a depression in the quintessential sounds of jazz has occurred. This "dilution," as termed by Luke Kaven, owner and operator of the Ithaca-based independent jazz label Smalls Records, threatens to obscure jazz from its native heritage.

"In the last decade, jazz has been threatened in two ways," Kaven said. "First, it has been deemed a shell category, ripe for hostile takeover... by media conglomerates, which have been using the name 'jazz' to market a form of easy listening music, which displaces real jazz artists in the record bin, on the radio, in print, and on stage."

Kaven characterized the second threat to the genre as "a wave of musicians just out of college with technique and business sense, but little grasp of the poetics of jazz ... putting out a steady stream of derivative, watered-down music, which is marketed as the 'new thing' to an unsuspecting public.

"The result," said Kaven, "is that jazz -- real jazz -- lives in a shadow world where the greatest players are the ones you are less likely to see."

That sentiment seems to be the driving force behind the creation of Smalls Records, a label created in the hope of showcasing unrecognized jazz musicians.

Smalls Records -- named for the temporarily closed Greenwich Village jazz club, Smalls, whose faithful now call sister club Fat Cat their jazz home -- is the brainchild of Kaven, who grew up in Ithaca and graduated from Hampshire College in 1983 with a degree in education. He attended graduate school at Cornell University, but did not finish.

Smalls' acts now perform at Fat Cat, adding to the exposure Kaven and Smalls hopes to procure in the coming years.

"The notoriety of the Smalls scene and our somewhat provocative nature helped to draw a lot of attention to us," Kaven said. "The club gave us a chance to know many of our listeners well, so we knew something of who they were and what they wanted."

Kaven hopes to see the Smalls label grow in the coming years.

"Every indie record label is challenged to keep pace with rapid changes in music and the music business, and especially with changes in the way music is produced and delivered," he said. "There will be lots of changes. ... I hopefully it (Smalls Records) will be healthy and self-sufficient.

"I see us ... beginning to put out music on DVD accompanied by cinéma vérité video of the recording sessions," Kaven said. "I'd like to be the leading independent jazz label."

The introduction of Smalls Records is a result of what Kaven calls "a hostile takeover of the category as a shell for a kind of bland urban lifestyle music," a style that "downplays individuality and freedom."

The preservation effort by Kaven and Smalls Records carries with it a personal tone, following the September 2002 death of veteran jazz pianist Frank Hewitt, who performed regularly at Smalls -- his home, literally, at the end of his life.

"It was actually a very bold thing for Frank Hewitt to play that music, much more so than it might seem, considering its beauty," Kaven said. "He lived in a stripped-out, walk-in refrigerator in the back of Smalls during his last years, something he endured rather than compromise his art. My act of recording him and putting out his music was also, surprisingly, a provocative thing."

Unfortunately, Hewitt, who died just shy of his 67th birthday, never saw the release of his debut CD, "We Loved You." According to the Smalls Web site: "This release is the first of several volumes documenting the legacy of this gifted pianist, who played with a subtlety and poignancy rarely ever heard."

Smalls has released three other CDs -- "Made in New York" by the five-piece group, Across 7 Street; "The Flows" by the Neal Goold Trio, fronted by sax man Goold; and "The Painter" by drum virtuoso Ari Hoenig.

Kaven is passionate about keeping alive the foundation on which true jazz was built.

"At its best," Kaven said, "jazz promotes freedom of thought and expression, and receptivity to new ideas. This is a precious thing, and I think it's well worth preserving.

"Now we are threatened by the media conglomerates who aren't content just to abandon jazz altogether," he added. "By literally de-referencing the word 'jazz' --using it to refer instead to chimerical crossover music expunged of jazz elements -- the media conglomerates have succeeded in stealing the hard-won resources formerly belonging to jazz -- the air time, the stage time, the column inches, and the bin space.

"Most often now, when you turn on a 'jazz' show or read a 'jazz' magazine, you are getting 'sold as jazz' and not jazz."

While the future of jazz remains one of question, Luke Kaven and those at Smalls Records remain steadfast in their attempting to document and expose those overshadowed in the mainstream. According to Kaven, Smalls has "played host to an around-the-clock jazz scene" along with prompting experimentation and the promotion of new artists in what Kaven terms a "fertile environment."

But despite Smalls' fertility, very little of this music was being documented otherwise. It was this lack of documentation that spurned the creation of Smalls Records, and it is that which still drives it today.

"We found out that the hard way," Kaven said, "that we could not entrust the music to others."

Originally published Thursday, July 29, 2004

http://www.theithacajournal.com/entertainm...sic/937515.html

[JSngry]

Go Luke!!!

[lkaven]

Wow, the Ithaca Journal gets around further than I thought!

For you cats who like Frank Hewitt, I've decided to go ahead and put out the second volume of his recordings.

I got faced with a dilemma putting out Frank's recordings. On the first one, I couldn't gauge the response ahead of time (after all, who was listening while he was alive?), so I was unsure of how much to bring out at first. Honestly, there's more material from the first and second studio dates from 2001. At the same time, the May 2002 studio date with Louis Hayes is also something special, and is also more than one disk. There really aren't a lot of obvious out-takes in any of the Hewitt sessions, and there were only a handful of takes ever that Frank said he wouldn't want released. Things may go non-Euclidian at some point, but at least there will be more Frank Hewitt.

Luke

[JSngry]

Bring it on!

[DrJ]

WAY up for this - I just got an e-mail from CD Baby about this 2nd volume of Hewitt recordings now being available:

Cats,

The second volume of Frank Hewitt recordings is now available in stealth

release, through CDBaby and Cadence Music. It's entitled "Not Afraid To

Live". This is Frank's final session, a very energetic date with Louis

Hayes on drums and Ari Roland on bass. The rest is explained best in the

liner notes. We have some other new releases you might like too (at Cadence

now, up on CD Baby in a day or two)!

CD Baby: http://www.cdbaby.com/cd/frankhewitt2

Cadence Music:

http://db.cadencebuilding.com/searchresult...rch_text=smalls

Smalls Records new releases: www.smallsrecords.com/releases.htm

Thanks to all, Luke

www.smallsrecords.com

****************

Hewitt is a definitely "find" for those of us who heretofore (due to geography and lack of awareness) had no chance of enjoying his artistry. Thanks again for turning me on to him, Jim.

[Jim Alfredson]

Where is the first one available from? I'm intrigued.

[Clunky]

Where is the first one available from? I'm intrigued.

cdbaby of course

[JSngry]

Hewitt is a definitely "find" for those of us who heretofore (due to geography and lack of awareness) had no chance of enjoying his artistry. Thanks again for turning me on to him, Jim.

You're more than welcome, Tony. Thanks for listening!

Most of the rest of y'all should not sleep on Hewitt. Simple as that. (especially if you're a "keyboardist" w/an alleged penchant for "homemade changes"... )

I'm ordering V2 asap.