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Johnny Rodgers Band

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Hometown	New York, NY
Genres
Band Members	JOHNNY RODGERS - piano, vocals, guitar<br/>Johnny ... » more
Achievements
Upcoming Shows	None

Contact Information:	Manager Nick Hafner nick@johnnyrodgers.com 305.283.6273 Manager Amy Hafner amy@johnnyrodgers.com 305.283.6274
# Years Experience Performing Live:	6
# Live Perfomances Past Six-months:	40
Market Draw:	Home Market: 800+; Miami, FL: 501-600
Venue History:	Joes Pub - New York, NY Iridium Jazz Club - New York, NY Lincoln Center - Frederick P. Rose Hall: Dizzy's Club Coca-Cola - New York, NY Metropolitan Room - New York, NY Birdland - New York, NY Oak Room - Algonquin Hotel - New York, NY Miami Music Festival - Miami, FL Deering Estate at Cutler - Miami, FL University of Miami - Gusman Concert Hall - Coral Gables, FL Puckett's Grocery - Franklin, TN Landmark on Main Street: Fabulous Folk Series - Port Washington, NY Palm Spings Art Mus - Anneberg Theatre - Palm Springs, CA Tennessee Wlliams Theatre - Key West, FL National Geographic Society - Grosvenor Auditorium - Washington, DC Nova Southeastern University - Rose and Alfred Miniaci Performing Arts Center - Fort Lauderdale, FL Town Hall - New York, NY 92nd Street Y - New York, NY Feinstein's At The Regency - New York, NY Van Dyke Cafe - Miami Beach, FL Norris Center for the Performing Arts - Naples, FL
Performing Rights Society:	ASCAP
Discography:	Lord Let The Angels Sing Single—2008; Let's Make A Date EP—2008; Bound Together EP—2008; Box Of Photographs LP—2005

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About the Artist

SUMMARY
Call the music AMERICANA POP - rooted in the musical styles made popular in America and reflecting todays' vibrancy of sound. Johnny Rodgers' original songs have the poetry and motion of Paul Simon, the drive of Billy Joel, the melodic phrasing of James Taylor, and the flair of Elton John. The music literally takes you on a guided tour of American pop exhibiting the driving energy of rock and roll, blended with jazz sophistication. The band's chemistry and Johnny's personable stage presence completes the formula that creates the band's dynamic performances.

MORE ABOUT JOHNNY RODGERS BAND

Fresh and unique, the Johnny Rodgers Band is brilliant jumping from one style to another with the ease of an expert trapezist: pop, rock, jazz. Their music literally takes you on a guided tour of American pop exhibiting the driving energy of rock and roll, blended with jazz sophistication. The band's chemistry and Johnny's personable stage presence completes the formula that creates the band's dynamic performances.

Johnny Rodgers Band was formed in New York City in 2003, when award-winning singer-songwriter-pianist Johnny Rodgers created "The Band" he had always dreamed of to add musical depth to his road-tested original songs. Johnny pulled together accomplished musicians with vast experience who were familiar with performing in all styles from pop to jazz and classical. The music comes alive with Brian Glassman on bass, Danny Mallon on drums, Joe Ravo on guitar and Johnny on vocals at the piano or on guitar

Two years after the bands formation, the Johnny Rodgers Band's debut album, Box of Photographs was released featuring Johnny's original songs. His songs take you on side trips to places like upbeat New Orleans and Memphis soul. The album includes Grammy-winner Randy Brecker and his legendary sound on several jazz style cuts on the twelve-track album.

Johnny Rodgers Band is always attracting new audiences at the many clubs, festivals, and private events where they perform across the country. They have performed at Carnegie Hall, Lincoln Center, The Bottom Line, Birdland, The Metropolitian Room and The Jazz Standard in New York City, Ryles in Cambridge MA, Arturo Sandoval Jazz Club and Van Dykes on Miami Beach, as well at many festivals like Festival Miami at the University of Miami

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Music

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Achievements

July 2008 JLSC NAMM 2009

May 2008 Jazz

December 2009 Holiday / Seasonal Channel Sponsored by Three Keys Music

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Press Coverage

El Nuevo Herald, Miami by Daniel Fernandez
Johnny Rodgers Band are the true epitome of what is usually called “jazz fusion'' that is the result of the mixture of many things. A composer and spectacular pianist, this singer is a true dynamo on stage, who jumps from one style to another with the security of an expert trapezist: jazz, pop, rock. His versatility is uncommon and very authentic. He knows how to savor a ballad like the most veteran of crooners -- he sang like Ray Charles and he confessed that he was an admirer of Mel Tormé, in whose style he sang “Give Me the Simple Life” -- and also to put flavor to the most rhythmic creations. “She,” an original song of his own inspiration, was very well received by the public, and no less satisfactory his interpretation of “Take Another Chance on Love.” His group is excellent, and I would not know where to start. On the program mentioned were Brian Glassman on the contrabass, Joe Ravo on the guitar, and Danny Mallon on drums. Although of recent formation, this band is already playing frequently and has its own CD, in addition to a tight agenda of performances on stages across the entire world.

All Music.com, Music Connection, JAZZIZ by Jonathan Widran
Johnny Rodgers with his clean-cut all-American looks, star-making moniker, James Taylor-lush voice, and résumé that includes shared stages with Paul McCartney, Liza Minnelli, Michael Feinstein, and Chrissie Hynde (in addition to starring off-Broadway in Our Sinatra), singer/songwriter and keyboardist Johnny Rodgers seemed destined for big things even before the release of his spectacular debut. But the real achievement of this glorious whirlwind of 12 original songs is the way it celebrates artistic independence in a world of cookie-cutter artists and hyper-restrictive radio formatting. That is, he's comfortable singing and swinging in all styles — soaring piano-driven pop ballads ("Box of Photographs"), moody jazz ("Midday Moon," featuring Randy Brecker’s beautiful muted trumpet), Taylor-flavored confessional pop-folk ("Is It the Way?"), gospel-country ("Mary Jean"), and samba ("She"). That list covers only the first five tracks, which hints at Rodgers' powerful artistic depth that must drive marketing folks crazy. There's a definite Southern charm throughout, which he explores via funky, bluesy trips to visit "Miss Dixie" and Elvis territory via "Movin' into Graceland." As a lyricist, he scores best on "In the End," a wonderful tribute to his father whose images rank up there with the best of country songwriters. There's just no end to the praise Rodgers deserves for following muses that make sure he doesn't remain in any single comfort zone for too long. If this 'Box of Photographs' collection is any indication of what's to come, Rodgers will be an across-the-board superstar and an inspiration to millions of artists who don't fit neatly into a single genre."

JOHNNY RODGERS' WHAT A WONDERFUL WORLD by William Wolf • Wolf Entertainment Guide
The Oak Room at the Algonquin Hotel, known as a landmark of cabaret sophistication, isn’t the kind of place where one is likely to say the joint is jumpin’. But it was sure ju.mpin’ on the opening night of the new Johnny Rodgers show, “What a Wonderful World,” and one can count on it continuing to jump during his May 11-29, 2010 gig. Rodgers, with his mischievous smile and his ebullient personality, tears into his piano keyboard with gusto and pours his passion into whatever he chooses to sing. He works with a perfect team of Brian Glassman on bass, Danny Mallon on drums and Joe Ravo on Guitar, and together, they make music with plenty of bounce. Mark Waldrop has directed. Rodgers has achieved distinction as a songwriter, as well as for performing in person and as a recording artist. He led into the show with his own swinging “Take Another Chance on Love,” and treated the audience to his own hit, “Home to Mendocino,” which he said he composed after being intrigued by seeing the word Mendocino. Other compositions of his that he included were “She,” as well as “One More Moment,” the lyrics for which he wrote with Lina Koutrakos, and “The Best of You in Me, which he wrote with Richard Barone. Rodgers mixes styles, doing a spirited “Jailhouse Rock” as well as an American Songbook number he calls his favorite, “Too Marvelous for Words,” with music by Richard Whiting and lyrics by Johnny Mercer. Rodgers put his own jaunty imprint on “Any Place I Hang My Hat is Home,” by Harold Arlen and Mercer, and he excelled with the classic “Birth of the Blues,” music by Ray Henderson and lyrics by Buddy G. DeSylva and Lew Brown. He can be especially great when he sings a song with which he can have plenty of fun, as evidenced by one of the evening’s highlights, “Huggin’ and Chalkin’,” with music by Clarence Leonard Hayes and lyrics by Kermit Goell. It is a rousing, funny number about a fat woman and a lover’s effort to chalk her dimensions, with someone else chalking her from around the other side. Not politically correct these days, referring to the woman as a blimp, but still an affectionate look at a lady the singer adores even while having fun at her expense. The number is a definite audience pleaser and Rodgers made the most of it. Rogers himself is a born audience pleaser. It is as if the word affability were invented for him. He is a consummate entertainer, who has worked with Liza Minnelli. He noted that he had been chosen to travel abroad in November for a project designed to bring American music to other nations. You don’t have to go that far to catch his effervescence and charm—just to the Oak Room in the Algonquin Hotel, 59 West 44th Street. Reservations: 212- 419-9331 or bmcgurn@algonquinhotel.com

One Terrific Show to See by By Rex Reed New York Observer May 18, 2010
Johnny Rodgers After paying his dues in small clubs and big tours with Liza Minnelli, Johnny Rodgers (spelled with a "d" like Richard Rodgers, not with a "g" like Ginger Rogers and Roy Rogers) has finally landed a well-deserved three-week gig at the Algonquin's fabled Oak Room. With thatched blond hair and a friendly, aw-shucks demeanor that was meant to be showcased in gingham shirts and jeans, this quintessential all-American boy exudes youth, optimism and vitamin C. He is also a tremendously talented jazz-pop musician who vaults from classics like "Any Place I Hang My Hat Is Home" to a hilarious "Huggin' & Chalkin'" (popularized on record by Hoagy Carmichael) with the ease of a trapeze artist, pulling notes out of the ozone and making them sound newly discovered. He calls his show "What a Wonderful World" and proceeds to prove it, with a feel-good selection of take-home tunes guaranteed to pep up the most dyspeptic cynic. Expect surprises. A silk foulard scarf that is stuffed into Joe Ravo's guitar on "Change in Me," by the great Carol Hall, makes it sound exactly like a banjo. Swinging Johnny Mercer's celebrated lyrics to "Too Marvelous for Words" accompanied only by Brian Glassman's bass lines makes the rhyming of "spectacular" with "vernacular" especially witty. I usually dread singer-pianists who devote more than 50 percent of the show to their own compositions, but Mr. Rodgers writes rhythmic, infectious harmonies with solid and touching lyrics. From a gorgeous bossa nova called "She," to "One More Moment," an award-winning love song with collaborator Lina Koutrakos, Johnny comes to the welcome conclusion that even in a time of catastrophe, there's not much to worry about. With music like this, time will heal, love will re-bloom and the sunny side of life is just around the corner. No flowery phrases or high-hat 4/4 canned rhythms here, just a jazzy one-hour display of pure pleasure that turns tickling the ivories into a vibrant show business workout. Except for a wet brow and beads of sweat slowly trickling into his teal-blue satin shirt, Johnny Rodgers makes it all seem effortless. One terrific performer, and one terrific show.

Dose of Nostalgia for What Never Was by New York Times - May 12, 2010 Stephen Holden
“Any Place I Hang My Hat Is Home” isn’t just the title of the easygoing standard by Harold Arlen and Johnny Mercer that describes the vagabond life of a happy-go-lucky drifter. It could be the theme song of Johnny Rodgers, a bandleader, singer-songwriter, pianist and traditional jazzman, who suggests the tow-headed boy next door striding down a country road as he travels from one style to another. At the Oak Room of the Algonquin Hotel, where he and his band began a three-week engagement on Tuesday evening, Mr. Rodgers, who was brought up in Miami, dropped his imaginary hat on many posts. The majority were in the mythical “Southland” celebrated in “The Birth of the Blues,” a song he and his musicians took at a brisk pace and pointedly resisted turning into an anthem. A nostalgic Southern ambiance was the defining quality of Mr. Rodgers’s music at Tuesday’s opening-night show. He is a steady pop-jazz crooner whose voice acquires more personality and confidence the more forcefully he sings. “It Should’ve Been Me” evoked early Ray Charles, and a breezy “Jailhouse Rock” paid tribute to the King himself. The rambunctiously funny “Huggin’ and Chalkin’ ” a song associated with Hoagy Carmichael, celebrated the charms of a 303-pound “baby blimp” named Rosabelle Magee, whose suitors carry pieces of chalk to mark their places as they circle around her from opposite directions and risk colliding. Here Mr. Rodgers and his musicians conjured a hazy realm of folk-blues-pop-country-jazz innocence where mountain dew sparkles on a haystack as farm boys in overalls cavort with girls in gingham dresses, and the strains from a juke joint down the road drift across a field. If it wasn’t “authentic” in any scholarly sense, it made for an engaging fantasy concocted by a grown-up Andy Hardy. Mr. Rodgers and his band members even have roustabout nicknames: he is “Poppy Sunshine,” the bassist Brian Glassman “Mud Man,” the drummer Danny Mallon “Mad Dog,” and the guitarist Joe Ravo, who on one number made his instrument sound like a banjo, “Cotton Eye Joe.” There is another side to Mr. Rodgers, the canny pop craftsman, which came through in his heartfelt ballads. ““The Best of You in Me” (written with Richard Barone) echoes the Celine Dion hit “Because You Loved Me,” and “Sweet Georgia Smile,” is an appealing honeysuckle lullaby of eternal devotion. So who, finally, is this talented chameleon? If you fused elements of Billy Joel, Peter Allen and Johnny Mercer, a silhouette begins to emerge.

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Stage Specs

Technical Requirements

Tuned Grand or Baby Grand Piano preferred or we provide Yamaha CP300 stage piano
3 vocal mics on boom stands
Two Mics for piano
Mic for double bass
Line out each for bass, drums and guitar
Cabinets only for bass and guitar
Five stage monitors

A dressing room and bottled water is much appreciated. Thanks

Management: Amy Hafner A Breath of Fresh Air LLC 305.283.6274 amy@johnnyrodgers.com

Johnny Rodgers Band 20' x 20' minimum stage size. 1'-2' high Drum riser is ideal

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