BLUE INFINITY MUSIC: OUR CREATIVE CONCEPT

#1 Provide an innovative, comfortable environment where songwriters, musicians, producers and publishers rethink how to best cooperate with each other….actually doing so in “real time”.

#2 Explore and implement emerging web technologies that engage music fans DURING the songwriting process, thereby creating motivation for ourselves and increased connections (and opportunities) with those fans. A win-win.

#3 Facilitate productions of new multi-media releases and business models related to such activity. Complete freedom and autonomy are afforded to each BIM artist. We believe such an environment will foster deeper creativity and collaboration.

Think of BIM as a “safe harbor and staging area” for new music. It is not about BIM owning copyrights, publishing, royalties, etc Original writers ALWAYS retain ownership of their work. They decide how, when (and if) a song ever gets completed for “commercial enterprise”. There is ZERO fear an artists original vision will ever be lost in the revision process, as all intellectual property rights are automatically secured by the author/composer.

This environment, what we like to call an “Artist’s Alchemy”, happens live, in front of an ever growing fan base. This means that free downloads and open communication are vital…an open window into the full creative process. This allows strong forward motion without traditional concerns about “the music business.” This is ALL about evolving a unique platform that supports “creative flow”. There will always be time to sell things. Cart must follow the horse friends!

Naturally, the BIM project will evolve as the music industry (and world) changes around us.
Thank you for being here. We welcome your energy!

HI Everyone,
Here is a link to DOWNLOAD my ideas added today to Jason’s sweet sketch. It’s very stimulating to work so simply and easily. So you’ll hear that I truncated J’s take and added some chords he probably didn’t expect. Let’s see where it goes! I’m multi tasking while learning to use a new computer with it’s (slightly) improved recording software.
RL

I knew that John Van Eps was immensly talented in every respect, so I asked him if he would try to see what he could do to try to remix these classics in a sort of Chilled Out/ Buddah Bar style. Anyway JVE says “yeah it’ll be fun, send me the files, I’ll do a few mixes” and he did and they are great! While on the tour, I’d play a mix now and then and got quizzical looks, (Q:”what’s that?” A:” it’s your songbook!”)
Perhaps just the initial shock of hearing these classics reinterpreted at all!

It’s difficult to discuss these type of DJ generated albums (which I have been digging for about 20 years) with the guys in the band.

I know I need to stay as far away from the Woodstock (Woodstuck) era as I can get.

So now we have a situation where Chicago has no record company affilliation/nor do we own our own publishing/nor do we own our old masters, just the new ones (thanks for that, Mr. Schivarelli!) All we know as a band is : we tour, we play, we go home.

I want to generate interest in this body of work we should be proud of. I find these remixes (and the concept of reinterpretation) fresh and fun. So while I am waiting for rough mixes of a separate, very very slowly evolving sort of Buena Vista Social Club/Berman Brothers/Salsa project of Latinized remixes, I have assembled 10 JVE ReMixes which are made up of both my classic CHICAGO songs, and songs from The Bossa Project. This is completely Unauthorized, but I can apologize later. Maybe.

[ PROMOTE THIS ARTICLE. MOG IT UP! Its free!] (see header after click thru)

After the success of “Subtlety & Passion”, I was thinking about what to do next. There were a couple of tracks on that CD, where producer/guitarist Hank Linderman had played acoustic guitar in the manner of Joao Gilbertro.
Mark Fried, head of Spirit Music group, a publishing firm, heard these tracks and thought he would like to hear what a complete project of Bossa Nova flavored music would sound like. He approached NYC producer John Van Eps, who called me and asked if I was interested … and I was! Very!
I was living in New York City, when not touring with my group, Chicago, and by late 2005, John and I began writing and choosing jazz standard songs I have always loved. Mark also was very creative in submitting some songs ideas.
We couldn’t decide if this was going to be Bossa Electronic, or Organic/Acoustic, both approaches were sounding good in the early going. We decided to show both sides with John’s great ‘re-mixing’ skills, on 3 tracks: Girl Talk, Samba in Your Life, and Nice ‘n’ Easy.
This project was a labor of love, truly, I could have kept recording for another year, but we were out of time and financing.
I really loved exploring the lower ranges of my vocals, and lower volume and velocity of the Bossa Nova style. I have always had the greatest respect for the Brazilian artists who emerged in the 60′s and 70′s. This album is my bow of acknowledgment. –RL.

This is a brilliant collage of music performed by Robert Lamm. Every song displays strong lead vocals, superb harmonies, and amazing delivery.

Too Many Voices is actually a far stronger album than its shorter, previous incarnation, In My Head. The six new songs add more organic textures (Schitzoid in particular rocks!) to balance out the beefed up, contemporary electronic production. The new running order, in particular, makes this album a better listen than the old version. The songs, of course, are all up to Robert’s high standards, and the guest spots from Phoebe Snow, Carl Wilson, et al are great-added treats.

In the beginning, there was Chicago Transit Authority, with its ground-breaking blend of Pop and Jazz … featuring the songs and the singing of Robert Lamm. This ‘Avant Garde’ music found incredible international success with more than a few albums.

Here is a new collection of Robert Lamm songs, which will remind you of the eclectic approach of those early Chicago albums, but with a very modern flavor!

Lamm says: “I’ve been attempting with this new album “Subtlety&Passion” and my previous album, “In My Head” to create rich harmonic structure, with great live players, and loops, beats, samples. . . . . BUT WITH MELODIES AND CHORD CHANGES (imagine that!) I wanted to avoid ‘one chord’ songs, we get too much of that from otherwise really great young singers, rappers, and bands.”

Amen, Robert. Kudos for hitting this one out of the park and into the parking lot! S&P is truly worthy to be called a masterpiece.

Life Is Good In My Neighborhood offers contemporary 80′s rhythm intro -Latin beat laced with a taste of Samba in the opening song, “My Neighborhood”. Moving into the sultry “When The Rain Becomes”, it then shifts into “In This Country”, a very heavy dance mix coupled with a twist of social conscience. This is followed by the emotional, “When Will The World Be Like Lovers”, a very real message to the heart. These are just a few of the great songs on this CD and if that isn’t enough, there are 3 bonus tracks. First, “Can’t Believe My Eyes”, a very moving and touching song, followed by “1-2-3”, Robert Lamm’s incredible cover of this classic , and finally, “My Naked Heart”, one of the most beautiful songs and arguably, the best of the project.

Born in Brooklyn, New York and raised in Chicago, Illinois, Robert Lamm’s early musical influences were Ray Charles, the Beatles, Marvin Gaye, Burt Bacharach. Later on, it was Thelonius Monk, Antonio Carlos Jobim, and Mose Alison. Musically and philosophically, all shaped his musical objectives.
With “Skinny Boy” Lamm is back to his piano roots with easy and uncomplicated songs. Check out Temporary Jones, Lifetime We, and Fireplace and Ivy, as well as a jazz version of A Song For Richard and His Friends. It is Lamm at his core.
Sing To Me Lady is a beautiful song that it tugs at the heart and The Door has such a dynamic rhythm that it makes this one very catchy. Among the terrific songs on Skinny Boy, is a collector’s piece (Public Service Announcement) called Where You Think You’re Goin’? Some of Mr. Lamm’s very best work.

Recorded @ Manhattan Producers Alliance, December 2006. Listen to the masterful John Van Eps on keyboard, (he’s so good) and the effortless first take vocal of Robert Lamm who states;  “I enjoy working with JVE because he intuitively knows how I feel the grooves”.

I fractured my left foot, 5th metatarsil bone. It’s sometimes called a “Dancers Fracture”. It happened on stage stepping off a riser. I finished the tour as scheduled, but could not walk.

I was diagnosed and treated, and it was recommended that I be as inactive as possible. I will be good to go (slowly) by 10/1/09.

We hope to reschedule the Asia Tour for February 2010. I appreciate all the get well wishes, very much.