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Nostatic | Time's Up

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Jazz: Jazz-Funk Urban/R&B: Smooth Soul Moods: Solo Female Artist
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Time's Up

by Nostatic

An eclectic mix of jazz, funk, soul, and pop/rock. New sounds, classic tunes, nostatic.
Genre: Jazz: Jazz-Funk
Release Date: 

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  Song Share Time Download
1. Eleanor Rigby
5:50 $0.99
2. Ain't No Sunshine
3:48 $0.99
3. Come Together
4:52 $0.99
4. Just the Two Of Us
4:25 $0.99
5. Playita
3:14 $0.99
6. My Romance
2:29 $0.99
7. All Blues
4:45 $0.99
8. Look Of Love
5:04 $0.99
9. Caravan
4:39 $0.99
10. Tea tn the Sahara
11:40 $0.99
Downloads are available as MP3-320 files.


Album Notes
Less is more. What happens when you give four amazing musicians a lot of sonic space in a non-traditional lineup? A nostatic mix of jazz, funk, soul, pop, and rock. The songs are familiar, but the sound is fresh. nostatic - "time's up"

1. Eleanor Rigby (Lennon-McCartney)
2. Ain't No Sunshine (Withers, arr. by nostatic)
3. Come Together (Lennon-McCartney)
4. Just the Two of Us (Withers, MacDonald, Salter)
5. Playita (Richmond)
6. My Romance (Hart, Rodgers)
7. All Blues (Davis)
8. Look of Love (Bacharach)
9. Caravan (Tizol, Ellington)
10. Tea in the Sahara (Sting)

Claire Rifelj - vocals (tracks 1-4, 6-10)
Rachelle Romeo - sax (tracks 1-2, 5, 7-10)
Hiroo Nakano - drums (tracks 7-10)
Todd Richmond - bass (tracks 1-10), drum programming (1-5), keyboards (1-5), guitar (1), banjo (4)

Arranged and produced by nostatic/Todd Richmond.
Tracks 1-6 recorded at 9ozone studio.
Tracks 7-11 recorded live at TRiP Santa Monica 6nov13 and 4dec13.
Mastered by Wayne Peet.

Todd Richmond plays Fodera basses, Jule Amps, Baer cabinets, and FEA Labs pedals.

Claire thanks Luis Reyes, Tony and Carol Rifelj, friends and gig-adventurers, and Todd Richmond and the wonderful musicians of nostatic.

Rachelle Romeo thanks Roxane Romero for being my muse, Richard George and Elizabeth Bonjean for their support, guidance and love, and Jack Elliot for making me a musician.

Hiroo Nakano thanks Sayo Morinaga, my family, Gustavo Bulgach, Andrew Markham and Klezmer Juice, Sunghoon Oh, Pete Orlanski, and Yerak, Autumn Harrison, Rodrigo Gonzalez and Salt Petal, Todd Richmond and nostatic, KCCLA, my teachers Bennie Maupin, Michael Shapiro and Steve Houghton, Aaron Nigel Smith, Shawn Moore, Miles Perlich, Thea Austin, Kurt Azul, Roberto Cordero, and my friends.

Todd Richmond thanks Shirley Tse for love, inspiration, and patience; Victor Wooten, Holly Wooten, and everyone who has walked the earth at Wooten Woods for their music and spirit; the Fodera crew and Jule Potter for building sublime tools; Anthony Wellington for showing me what those four strings are really for; Calvin Richmond for a constant reminder of brilliance and humanity; to everyone who has crossed my path ( musician or otherwise) for being there, wherever/whenever it was.

1. This started as a solo bass arrangement that then became a favorite at live shows with the "sparse lineup" ( vox, sax, drums, bass). The studios version here takes a bit slower tempo and adds some throwback guitar work.
2. Another live staple, but with an added bridge chord progression under the iconic "I know..." vocals.
3. A funky take on another Beatles classic with a great vibe from Claire on vocals. What sounds like a guitar solo is actually bass - my Fodera 5-string strung E-C. The main bass line is my Yin Yang Deluxe with drop D tuning. You can hear the walnut...
4. I was struggling with how to approach this song after the vocals were tracked. Suddenly from the other room I heard a cry of "banjo!" and the die was cast.
5. Named for the taco stand across the street, this original song channels a lot of influences. See if you can find Waldo (metaphorically speaking).
6. A beautiful standard, with this arrangement being about as sparse as you can get it. Claire and I performed this live during my TedX VeniceBeach talk. We reprise it in the studio here.

And so begins the live portion of our broadcast. These were recorded live at TRiP Santa Monica over two gigs. Essentially a four- or five-track recording depending on the night, this is how the band typically sounds live and in person. No studio overdubs or additions after the fact. And as always, no auto tune.

7. Kind of Blue is referred to as the "best rock album ever recorded" by Walter Becker, and this track certainly tries to walk that walk.
8. This wasn't normally on the nostatic live set list, as it has a lot of changes and orchestration ground that you'd think has to be covered. Turns out with a great song and a great singer, you can get away with a lot. Claire with a beautiful rendering.
9. A favorite that never ends up sounding the same way twice beyond, "funky backbeat" (courtesy of Hiroo), Rachelle working the tenor hard as we head to the desert.
10. A Sting song prompted the first nostatic banjo arrangement ("Fragile"), but in this case the destination builds on the last track. Rachelle with soprano sax exploration, I'm pretending my bass is a warped organ, and Claire's voice is the magic carpet. Hiroo holds it all together then ventures off on his own, before everyone returns for a chaotic crescendo. Yes, it is 12 minutes long. We've gone longer...

For those interested in process, here ya go. The sparse lineup began late in 2012 as a way to explore big sonic holes. The tunes took shape at live gigs, with some experiments a big success, others, not so much. But you learn a lot more in failure than you do getting it right.

The album had a few starts and stops. Originally the drums were going to be tracked at 9ozone, but I was never quite happy with the results. Then there was a plan to go the traditional route and book a decent room with a good engineer and knock out the tunes in a few days. But getting schedules aligned was a challenge, so I decided to try something different.

The new version of Logic has a software drummer that I decided to use as placeholder to get things started. Looping a drummer track, I'd lay down the bass line, the. The lure of keyboard software instruments was too much for me, so I was looking for different colors that we can't really use live. Claire came in do her vocal takes and all five tunes were done in one night. Then it was back to the laptop to add and subtract. At some point after working with the drum tracks I decided to keep them. I still vastly prefer playing with Hiroo, but something clicked with this cyber-analog approach.


Claire Riflej took to jazz at a young age, sang in a cappella groups in college, and since has performed on both coasts moving between jazz, bossa nova, funk, and rock. You might hear a beautiful ballad one minute, then scorching Porteguese bossa then next, followed by earthy soul.

Rachelle Romeo is a multi-instrumentalist, typically blowing tenor or soprano sax. A veteran of the Bay Area and southern California jazz and blues scenes, Rachelle moves effortlessly between bop, funk, and R&B.

Hiroo Nakano originally hails from Japan, but now spends most of his time playing on the west coast with a number of bands including Salt Petal, Klezmer Juice, and Yerak. He easily moves between feels and genres and has a deep groove - which makes him perfect for nostatic.

Todd Richmond has gigged regularly up and down California as well as shows and albums in Japan (with Kaz Takeda). He has studied with Victor Wooten and Anthony Wellington, and is continually pushing on the edges of different ways to realize the music. He occasionally ends up on banjo and/or guitar depending on the phase of the moon. In addition to leading nostatic, Todd plays with Steely Jam, Roberto Cordero Jazz Quintet, Rock the Mic, and other interesting situations.

Todd devised this instrumentation specifically to give plenty of space for the musicians to explore new territory. The band ventures into interesting waters, but it remains accessible and listenable. Jazz, funk, soul, pop, and rock. It truly is "fusion" music, but not in the cold, mathematical sense often associated with the term. Instead, it is songs that you know taken places you might not expect.



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