School Of The Arts

School Of The Arts

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T Lavitz – Piano;
Frank Gambale – Acoustic Guitar;
Steve Morse – Acoustic Guitar;
Jerry Goodman – Violin;
John Patitucci – Acoustic and Electric Bass ;
Dave Weckl – Drums and Percussion

Cutting-edge compositions, beautiful sinuous melodies, and massive chops make School of the Arts (SOTA) a truly rare confluence of influences and musical styles, pushing jazz and jazz-fusion into another dimension.

The brainchild of keyboardist extraordinaire T Lavitz (Dixie Dregs, Jazz Is Dead), SOTA culls the supreme talents of such fusion and progressive instrumental music heavyweights as drummer Dave Weckl (Chick Corea) bassist John Patitucci (Corea, Herbie Hancock, Wayne Shorter), guitarist Frank Gambale (Corea, Vital Information), electric violinist Jerry Goodman of Mahavishnu Orchestra, Shadowfax, and Dixie Dregs fame, and T s longtime friend, Dregs mastermind, and Magna Carta label mate, monster axeman Steve Morse.
School of the Arts is different from every album I ve ever done as a leader, says Lavitz

With SOTA, Lavitz (with four decades experience in the music biz having played with such wide-ranging musicians as Widespread Panic, Bill Bruford, Billy Cobham, Nils Lofgren, Pat Benatar, Jefferson Starship, Mother s Finest, Dave Fiuczynski, Peter Himmelman, Dennis Chambers, Jeff Berlin, and Scott Henderson) is top dog, playing acoustic piano (an instrument close to his heart), and composing most of the material for the band s debut.

Underscoring Lavitz s empathy and musical instincts, is the keyboardist s ability to spearhead and hold together the SOTA project, despite each member s busy schedule: Morse is constantly touring with Deep Purple (occasionally with the Dregs); Jerry Goodman is an in-demand electric violin trailblazer; Patitucci and Weckl crisscross the globe with various artists and solo work; and likewise for Gambale, who recently finished a tour with Billy Cobham.

The music is definitely interactive, Lavitz says. When I take a solo, there s Frank Gambale answering me, like something you d hear on a gig.

Case in point: the Afro-Latin acoustic jazz tune Gambashwari. Sinewy guitar and piano chords/notes weave around one another in syncopated patterns, stating main, contra and counterpoint melodies. It s breezy, not cheesy, jazz — the kind that possesses sophistication without being elitist, boring or unlistenable. It s utterly infectious jazz-fusion with aspirations toward chamber or classical music, with rock s reckless abandon simmering just under the surface.

Other tracks include, High Falutin Blues (an appropriate title for a song that crosses the boundaries of country, blues, and jazz), Like This (listen as Weckl locks into Patitucci s sparse bass line all the while commenting on Goodman s and T s jazzy/bluegrass-esque soloing acrobatics), and Teaser (a Chick Corea-style acoustic rocker, complete with trill-filled piano performances, blanketed by Weckl s silky stream of beats). Dave Weckl laid down some of the best drum tracks I ve heard in a while, Lavitz says.

Despite the obvious and some might say inevitable chops heard on this record, the high level of musicianship never detracts from the overall flow of the compositions. In fact, the record has a ring of newfound freedom; of a songwriter allowed to spread his compositional wings, which recalls the artistic creativity and motivation that drove Lavitz to create his 1986 solo debut, Storytime an album produced in the wake of a Dregs breakup. I am very excited about this, because not only did I get to write the bulk of the music, but I produced, played and played only acoustic, says Lavitz. While it has elements from other recordings I’ve done, it seems, at least to me, to stand out as being very different.



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Ace Martial Arts Supply Handmade Japanese Shirasaya Samurai Katana Sharp Sword-Musha

Ace Martial Arts Supply Handmade Japanese Shirasaya Samurai Katana Sharp Sword-Musha

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This is a brand new full tang hand crafted Musha (Legendary Mushashi Sword Maker) shirasay samurai katana, exclusive on Amazon by Co-branding with Ace Martial Arts Supply. Blade is made from high quality carbon steel 1045. Features decorative hamon and bo-hi for audible feed back while swung. Check the musha engraving on seppa (spacer) for authenticity. Don’t settle with a counterfeit. Imitated by many, but exclusively available on Amazon through co-branding with Ace Martial Arts Supply. You can assure to receive original Musha/Musashi sword by checking the box and Musha engraving on the katana’s seppa (spacer). Musha is reserved for entry level sword made by 1045 Carbon steel while Musashi is reserved for 1065 carbon steel.Original Musashi/Musha quality katana
Razor Sharp Handmade Full Tang Katana
Blade is made from high quality carbon steel 1045
Check the Musha engraving on seppa (spacer) for authenticity with Musha box.
Don’t settle with a counterfeit one.



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Immobilienmakler Heidelberg

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Contemporary Art and the Church: A Conversation Between Two Worlds (Studies in Theology and the Arts)

Contemporary Art and the Church: A Conversation Between Two Worlds (Studies in Theology and the Arts)

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The church and the contemporary art world often find themselves in an uneasy relationship in which misunderstanding and mistrust abound. On one hand, the leaders of local congregations, seminaries, and other Christian ministries often don’t know what to make of works by contemporary artists. Not only are these artists mostly unknown to church leaders, they and their work often lead them to regard the world of contemporary art with indifference, frustration, or even disdain. On the other hand, many artists lack any meaningful experience with the contemporary church and are mostly ignorant of its mission. Not infrequently, these artists regard religion as irrelevant to their work, are disinclined to trust the church and its leaders, and have experienced personal rejection from these communities. In response to this situation, the 2015 biennial conference of Christians in the Visual Arts (CIVA) facilitated a conversation between these two worlds. The present volume gathers together essays and reflections by artists, theologians, and church leaders as they sought to explore misperceptions, create a hospitable space to learn from each other, and imagine the possibility of a renewed and mutually fruitful relationship. Contemporary Art and the Church seeks common ground for the common good of both the church and the contemporary art world.Contemporary Art and the Church A Conversation Between Two Worlds



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The Japanese Way of the Artist: Living the Japanese Arts & Ways, Brush Meditation, The Japanese Way of the Flower

The Japanese Way of the Artist: Living the Japanese Arts & Ways, Brush Meditation, The Japanese Way of the Flower

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Ikebana and tea ceremony, karate and calligraphy—all traditional Japanese arts and practices share certain ideals and techniques to achieve the same goals: serenity, mind/body harmony, awareness, and a sense of connection to the universe. This collection of three complete books provides H. E. Davey’s unique insights into the rich universe of these Japanese spiritual, artistic, and martial traditions while introducing the reader to practical examples of two Japanese forms of “moving meditation” that exemplify the union of art and spiritual growth.

Living the Japanese Arts & Ways presents 45 essential principles—like wabi, “immovable mind,” and “stillness in motion”—that are universal in the Japanese classic tradition. Revealing little-known, ancient, and powerful teachings that link all classic Japanese arts, it explains how they can beneficially transform your life. Living the Japanese Arts & Ways was the recipient of the Spirituality & Health magazine Best Spirituality Books Award.

Brush Meditation introduces beginners and non-artists alike to Japanese calligraphy, and shows how even the most elemental stroke of ink and brush reveals your physical and mental state. It’s packed with amazing examples of the author’s award-winning Japanese calligraphy.

The Japanese Way of the Flower examines practical methods for looking at nature and leads the reader through simple meditations as a prelude to learning how to create easy ikebana compositions.

This anthology contains an all-new introduction by the author. The entire text is complemented by diagrams, drawings, and photographs, plus information, resources, and glossaries of Japanese terms.



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