Q&A

Once dubbed the “grooviest band north of the border,” After Funk is … well … funky. Hailing from Canada, they are bringing their blend of rock and funk to the Blue Sky Bar and Grill Thursday night for what promises to be … well … a funky night. We caught up with the band’sJaime Rosenberg to talk about how they got together, how they came up with their sound, and the dangers of sleeping in a house that’s super smokey.

First, how did the band come together? It seems like you’ve been doing it for a bit now, but when did you start and what brought you together?

We all met back in 2011 while studying at the University of Western Ontario. Justin (bass) and I were paired up as roommates in our dorm through an interest survey. We had a pretty extensive jam set up in our room and moved the desk into the storage room and replaced it with a couch that we stole from our floor’s lounge. We met Yanick (keys/vocals) at an open mic event and started to jam, but it wasn’t until the following year that we actually formed a band.

What’s the hardest thing about staying together as a band? Have there been times when you guys have come close to calling it quits, and if so, how did you get through?

Being in a band can be frustrating and can be discouraging at times. We’re lucky to also be best friends — the other guys are like my brothers — so even when things aren’t going our way, it’s easy to keep smiling and having fun. I think having fun is really important. This makes it easier to persevere and keep pushing even when things are tough.

Can you talk a little about your style? It’s a blend of soul, funk and retro-fitted rock — was that always the aim for this band?

We have such a wide range of influences collectively. Obviously, we all love funky and groovy music, but in the van you’ll hear a bit of everything — funk, rock, soul, hip-hop, reggae, jazz, fusion, metal, gospel, classical. For me, a few big ones have been Led Zeppelin, Lettuce and James Brown.

Have you been to the Frederick area before (Baltimore/D.C.)? If so, where did you play, and if not, what are you looking forward to the most about getting here?

We have been to the 8×10 a couple times and to Gypsy Sally’s in D.C.

You guys have a lot of tour dates lined up — is there a memorable — particularly good or particularly bad — tour story you might be able to share?

The other day, the house we were crashing at was suuuper smoky so a few of us went to sleep in the van. In the morning, we went to use the bathroom, but we were confused about why all the furniture had been moved and we were wondering where everyone went, but we were convinced it was the right spot because it stunk like cigarettes. Turns out, it wasn’t, and we just walked into the neighbor’s house and used their bathroom. We were in South Carolina, so we’re lucky we didn’t get shot (laughs). Funny story, though.

Where are some of your favorite places to play and why?

I love playing in the Maritimes (East Coast Canada) a lot. We have a really strong, loyal following there, and we always feel the love. I also like playing down South quite a bit. Florida has shown us lots of love. Any chance to go the beach is always great, too.

Who are some bands we should check out that we might not already know about?

Five Alarm Funk, Pineo & Loeb, Vibe & Direct, Dub Kartel, Alysha Brilla, Stacey Kay, Hayley Jane and Funk You.

What do you think is the greatest song ever written and why?

This is a loaded question (laughs). I don’t know if I can choose just one. It depends on my mood, and my tastes are always changing.

And finally, what can we expect from you show at the Blue Sky?

A high-energy, infectiously fun performance.

When we heard there was actually such a thing as a Led Zeppelin and Bad Company tribute band, we were merely intrigued. And then, when we found out that said band was actually set to play The Blue Side on Saturday, we immediately shot into action, reaching out for an interview. The following is what we learned from Zeppelin & Company lead singer Steve Tourison via an email exchange. We touched on how the band got its start, what his favorite Led Zeppelin and Bad Company songs are, and, of course, some of the group’s favorite memories. The fun begins at 9 p.m. Saturday, friends. What better way to celebrate Easter Eve?

First, how did you get together?

The band formed originally as “Shooting Star,” a Bad Company tribute band about five years ago, I think. The band focused on Bad Company songs, adding other classic rock songs to fill out the sets. Over a three year period, several members came and went as the band evolved — lead singers, keyboardists, etc. I joined the band in February 2016 as the third lead singer, answering an ad on Facebook. At the time, the band was a five-piece. The rhythm guitarist was let go in the fall of 2016, and from that point on, the band settled in to being a four-piece.

Did you all know each other beforehand or was the band sort of pieced together?

All the current members of the band had played in different bands previously over the last few decades, but never together before Shooting Star was formed. So, I suppose it was pieced together.

Where are all of you from?

Kevin Kramer, Drummer: Brookeville Joe Abella, Lead Guitarist: Gaithersburg Terry Moore, Bass Guitarist: Northern Virginia Steve Tourison, Lead Vocalist: Glen Burnie

Along those same lines, how did the idea for the band come about?

During the spring of 2016, it was determined that Bad Company simply did not have enough hits to repeatedly draw a good crowd as a sole tribute band, even though response was very positive at shows. The classic rock songs that filled out our set lists relegated us to being just another classic rock cover band. During the early summer of 2016 the idea was hatched to add another band, the thought being that we would have more appeal as a dual tribute band. Several ideas were floated (AC/DC, Rolling Stones, Journey and others). Finally, the suggestion was made to add Led Zeppelin. After some research, we discovered that there was an intimate connection between the two bands by way of Swan Song Records. Jimmy Page and Robert Plant had formed Swan Song Records as an avenue for up and coming bands to record. In 1974, Bad Company was the first band to sign and release an album (their first) on that record label. Over the next 10 years, with only a few exceptions, Bad Company and Led Zeppelin were the only bands to record on that label. The crowd response was overwhelmingly positive with the addition of Zeppelin songs to our set lists. More and more Zeppelin songs were added, and eventually, our sets focused solely on Zeppelin and Bad Company. Shooting Star officially changed its name to Zeppelin and Company in the summer of 2017.

What is your favorite Led Zeppelin song and why?

Too many favorites to list. “No Quarter” and “Kashmir” come to mind. Coincidentally, we perform neither of those two, yet. I love performing “Whole Lotta Love” the best. It always seems to be a crowd favorite.

What is your favorite Bad Company song and why? ”Rock & Roll Fantasy” brings back some very fond memories for me — driving around with my older brother during the summer of 1980 or 1981 in his ‘71 Cutlass listening to a mixed cassette tape that had that song on it. I would’ve been about 14 or 15 at the time.

Outside of Zeppelin and Bad Company, who are some of your influences? My influences are all over the place: Allman Bros., Grateful Dead, Van Morrison, Pink Floyd. ‘70s light and folk rock: Arlo Guthrie, James Taylor, Stephen Bishop, Jim Croce. Punk, early rap, ‘80s new wave, grunge, techno, bluegrass, jazz, blues, soul, R&B, the list goes on and on.

Where are some of your favorite places to play and why? We played at JV’s in Northern Virginia over the winter and that place is a true small music venue. The crowd was great and responsive. Any place where the crowd responds well and is engaged, those are my favorite places. Otherwise, we might as well just stick to our rehearsal space, right?

Who would we be surprised to learn you listened to? Any contemporary acts you really enjoy these days?

Most surprised: I love disco. I listen to music constantly. I have several long mixes in my car that I cycle through. One of them is a five-hour disco mix I made. I’ll go for days sometimes listening to just that mix. Most recent bands I love: The Revivalists, The National, Lake Street Dive.

What are some of your favorite memories as a band?

I loved playing at the Purple Moose in O.C. on tribute band night. Great crowd. The band apartment out back was a nice convenience. I also loved opening for Face Dancer at Fish Head Cantina last year. There are certain nights when we perform. There’s never a perfect night, of course — one of us always makes some kind of mistake during the night — but we move past it, and keep on playing. But there are certain nights that we string a bunch of songs together — even a whole set — and the crowd is responsive, and the band is totally in sync. The first time, on a whim, we performed Rage Against the Machine’s “Killing in the Name Of.” The crowd was ecstatic! Since then, it’s become a crowd favorite encore for us. Those are my favorite memories…

What do you think of the Maryland/D.C. music scene as a whole? What needs to improve? What has it done right lately?

The Maryland/D.C. music scene is thriving. On any given night, there is no shortage of live music to be had — and free nonetheless. I particularly appreciate when a music venue invests in having a decent house sound and lighting system. Even better, if there is someone there to run it. That, to me, is a venue that is really taking its live music scene seriously.

And finally, what can we expect from your show at The Blue Side?

I realize it’s cliche, but we really do love to rock! You can expect to hear very accurate covers of your favorite Led Zeppelin and Bad Company songs. We really try to be as true as we can to the original songs. Not having a keyboardist limits some of the songs we can perform; however, we still manage to put on a great show. Joe is the workhorse of the band, in my opinion. He covers lead and rhythm guitar parts as well as keyboard parts (on his guitar) to convey the songs we perform in the best way we can.

Clint Black had a hit song about killing time, but this country music legend is doing anything but killing time.

One of the genre’s lasting stars from the Class of ‘89 (which also includes Alan Jackson, Travis Tritt and Garth Brooks), he has sold more than 20 million albums worldwide and charted nearly two dozen No. 1 singles, including “Killin’ Time,” “Nothing But The Tailights,” “Like the Rain,” “When I Said I Do” (which features his wife, Lisa Hartman Black) and “Better Man.”

In 2015, he released “On Purpose,” his first studio album in a decade. He wrote or co-wrote all 14 tracks, produced the album, played guitar on it and recorded it in his home studio in Nashville. He writes and produces for television, film, as well as other artists. And he has a star on the Hollywood Walk of Fame.

Black will perform at 7 p.m. Thursday at the Weinberg Center for the Arts and I recently caught up with him via email for an interview.

It was almost 30 years ago that “Better Man” was released. And like a lot of people, I still really like that song. What’s the story behind it and when you wrote it, did you have that gut feeling it would be a hit?

Time flies, right! It started with a musical idea of Hayden’s [Nicholas] and I had the idea for the chorus. We knew we liked it and thought other country music lovers would like it, but you never really “know.” I did believe it should be the first single and took a chance and played it for a program director in L.A., even though RCA had chosen a different single. The reaction was so great, RCA changed their choice.

”… Love what you do, and who do you love, earn what you get, get what you earn, the lesson in love we all gotta learn you can use your head it’s never enough, it will get you through life but never through love … I can think of a thousand ways to die, but only one way to live.” Good advice! What’s the story behind that song, “One Way to Live,” from the album “On Purpose?”

I had the chorus idea and didn’t have a single idea which direction I wanted to go with the verses. I called my buddy Steve Wariner, emailed him the lyric for the chorus. By the time we got together to write the song, he had an idea for the direction we could go with the verses.

What advice would you give to someone wanting a career in (country) music?

Know the music that came before your time and strive to be original and even more importantly, authentic. You can polish yourself up, but don’t break the mold.

You have a reputation for being a funny guy? Can you share a funny, but printable, joke or story?

You mean that last answer wasn’t funny!? Ha! If you could’ve heard me typing, you would’ve laughed! I do share some funny asides in the show and have some good laughs with the audiences in the more intimate venues. That’s the thing I love the most about theaters like the Weinberg.

When the music is off, what do you like to do? What would you like to do that you haven’t already done? Any projects in the works?

Time with my wife and daughter is my favorite. We have the best times. For the latter part of your question, I’ve already done more than I could’ve dreamed. But … I’m currently developing a holiday musical around my original Christmas songs. If I’m lucky, we’ll have it on stage for a trial run this Christmas.

When I’m not sure if I should do something or not, I am reminded of a line in the Zac Brown Band song, “As She’s Walking Away,” where Alan Jackson, who collaborated on the song, sings, “Don’t let regret take the place of the dreams you have to chase.” Who in country music or life in general, past or present, has been an inspiration to you, and why?

The first thought that popped into my head was, those who have longevity. I’m inspired to keep my nose to the grindstone by artists like Haggard, Willie Nelson, Clapton, McCartney and let’s not forget Michelangelo Buonarroti! Ha!

In 50 years, when your work is done, what do you hope Clint Black will be best remembered for as a singer/songwriter/entertainer and as a man?

I like your timeline! As an artist, that I didn’t sell out. Always did my music, my way. I had to go the indy route, but it’s worth it. As a man … through ceaseless efforts, became a better person each day than I was the day before.

You will be in Frederick on March 22, and it looks like a ton of tour dates are following on this national tour. What can fans expect to see and hear at this show? Do you share some stories from your career and music?

I’m in rehearsals this week, so I’m not certain what will stick to the show, but it will be a lot of hits and a couple of “album cuts.” Also, some of the songs from my latest, “On Purpose.” I will share some funny “thoughts” on the songs, or the show and the audience can expect to hear some first-rate musicians accompanying me. I’ll play a good bit of harmonica and I’m playing a lot more lead guitar than I used to. We also have a great sound engineer so the audio mix in the theater should be very good.

We’re excited to be coming to Frederick!

This concert is part of the WFRE Free Country Rewind concert series at the Weinberg Center, which includes Sawyer Brown on April 22 and Rodney Atkins on May 9. More information and tickets for these shows can be found at www.weinbergcenter.org or 301-600-2828.

You can read more about Clint Black at Three Chords and the Truth, http://tinyurl.com/y8yhtt2y.

The artists of the Women’s History Open Mic at New Spire Spaces are making sure women of color are not forgotten. The event, set for 6 p.m. Tuesday, will feature Twin Jude, Anu Yadav and Charity Blackwell. These artists explore many different creative mediums. Jude releases experimental music in her “MEM” project, Yadav is an actress, writer and educator, and Blackwell is a spoken word artist who has competed and hosted poetry slams in New York and Washington, D.C.

Before the Women’s History Open Mic, we conducted an email Q&A with Twin Jude. She is a member of the Maryland-based art collective QODESH, which has several Oakwood University alums including Twin Jude herself. This historically black Seventh-day Adventist school is known for producing Take 6, the popular a cappella group.

Twin Jude has pared down production that employs ambient sounds and airy vocals. Her voice can seem tucked into her music’s production, hidden from view. But song lyrics, sung like a meditation, can be haunting and resonant. Twin Jude shared her thoughts on the influential women in her life and where her art is going.

Women’s History Month celebrations can sometimes overlook women of color. Who are some unsung women heroes you feel should get more attention?

There are so many really, but my personal women of color unsung heroes are poets Sonia Sanchez and Audre Lorde, and painter Lois Mailou Jones.

What women artists have had the biggest impact on your art?

The women artists that have had the biggest impact on my art are actually my friends and colleagues in the art realm, amongst many others. So many have poured into me and sent healing to me just by being themselves, especially Achene and VHVL. Princess Nokia, Moor Mother, Grouper and Warpaint always inspire me!

Your project, “MEM,” “translates from ancient texts as water, the womb, and complete power.” Why did you feel it was important to ground your music in this concept, and were there moments when you felt like you were in a womb while creating?

I felt it was imperative to ground myself in these ideas because these concepts aided in connecting me back to my lineage, reformation of my identity and inherent feminine power from within. It became a rebirthing of self and identity for me. Awakening to the true power that is inside of me. Growing up in a patriarchal society can inherently teach young women/girls/femmes that their experiences aren’t valid and they aren’t powerful. If nothing else, I wanted this project to be the representation and empowerment I craved as a kid. I created the song “Like A Child” after a life-changing experience at the ocean. I felt the waters cleansing me, bringing me back to who I truly was and in a sense “re-wombed.”

What artistic concepts are you exploring right now?

Currently, I’m working on another project exploring time and how we relate to it — looking outside of linear models of time and how they can affect every aspect of our lives.

Sammy Miller and the Congregation. Have you heard of them? You should have by now. On a mission to play joyful jazz music, the collective is headed up by Miller, who himself is a Grammy Award-winning drummer. In his current project, however, he mans the skins as well as the pipes, stepping forth to take care of lead-singer duties, which you can see Saturday night when the band takes the Weinberg Center stage. We recently caught up with him to talk about how he could never give up the drums, Willie The Lion Smith and the value in bringing people together.

First, what’s the story of how did the band first got together?

I formed the congregation just after graduating Juilliard. I wanted to present American music, jazz music, in an accessible way. The conservatory seemed so far away from where the folks and listeners were in the rest of the world and I wanted to bridge the gap — joyful jazz seemed like the answer. Music that’s accessible, feels good, uplifts your soul. I met David Linard, Alphonso horne, Sam Crittenden, John Snow and Ben Flocks at different times, but all in New York City. We all had similar sensibilities about using our time on stage to uplift communities.

You’re the drummer — but also frontman — of this band. Have you ever wanted to step out from behind the drums for good? How has that duty as both singer and drummer treated you through the years?

Never wanna leave the drums. These are my babies! Always wanna be inclusive. Drums, sing, dance, whatever I can do to help the show.

Along those same lines, when did you start playing drums? And are drums still a passion of yours? Who were some of your drumming influences?

I started the drums when I was 5 years old, playing in a family band with my four siblings. For drums, my influences were Chick Webb, Gene Krupa, Jay Bellerose, Jeff Hamilton and Brian Blade.

As a singer, who influenced you the most and why?

Willie The Lion Smith. He is a storyteller first and foremost. We must put our heart and soul into the ideas of a song.

Your website site says, “Sammy Miller and the Congregation are on a mission to put the generosity back into jazz and bring art back to the people.” At what point did generosity leave jazz, do you think, and why is that a goal of yours to put it back into the music?

It didn’t happen overnight, but the gradual divide between audiences and artists has widened and that hasn’t ever made sense to me. Jazz was popular, it was the people’s music in the 1930s. We are in an age of bringing folks together — Facebook, farm-to-table cooking — jazz has the same quality of community. We should lean into that.

Have you been to the Frederick/D.C./Baltimore area before? If so, what are some of your memories of touring this area? If not, what are you looking forward to the most about coming here?

We’ve been through before and had super fond memories.

What do you think is the best music city in the world and why?

No best cities. I’m interested in people — south, north, east, west, and what their unique experiences are. The band has a ball getting to know different communities.

I read that you list home as New York, but you seem to have such a New Orleans feel to your music. What can you say about that city and the influence it’s had on the band?

About New Orleans? Jazz was New Orleans music before it was American so you can’t play jazz without understanding New Orleans culture. The richness, the diversity, the energy.

What do you think is the greatest song ever written and why?

I have favorite composers. Duke Ellington, Randy Newman, Irving Berlin, Tom Waits — these geniuses are fearless, in form, melody, spirit. I admire them so much.

And finally, what can we expect from your set here at the Weinberg Center?

Lots of new Music from the band! We are developing a brand new theatre show in New York City, so some of that material, plus lots from the American canon — James P. Johnson, Scott Joplin, Stephen Foster and more.

Niyaz has a sound that is both ancient and futuristic. Led by Iranian couple, Azam Ali and Loga Ramin Torkian, Niyaz incorporates Persian and Arabian folk songs with ancient poetry rooted in Sufi, an Islamic practice that focuses on an introspective pursuit of God.

The group also employs a hypnotic trance-like rhythm. But true to Ali and Torkian’s Iranian heritage (and Ali’s upbringing in India), there are acoustic elements like the kamaan, a bowed, string instrument, the oud, and the Indian percussion instrument, a tabla.

Since 2005, Niyaz has released five albums, including 2017’s “The Best of Niyaz.” Ali and Torkian, who are based in Montreal, tour internationally. It’s not uncommon for their Facebook posts to be in Turkish and French, as well as English.

Before Niyaz launched their Spring 2018 tour, including a Strathmore Music Center stop this Friday, Ali and Torkian spoke with us about their enthralling multimedia concerts and cultural heritage.

How did you go on this journey of creating such a vibrant multimedia presentation in your concerts?

Torkian: We always say trying to utilize technology to enhance art and the audience experience is not anything new to our civilization. From the day we tried to build better instruments and better acoustics in a theater during the renaissance and onward, we always used what was available to us to create — and to create a better experience for the audience.

Now we have reached the age of the digital art. What we create is what we call a “Digital Scenography.” It is an environment that we create to enhance the music and for the audience’s experience as well as our own.

It was a dream that Azam and I had when we moved to Montreal in 2010 and it took us several years to find the right person to collaborate with. His name is Jérôme Delapierre. Of course, what we wanted to create still had to have content and its context had to be able to relate our music and our heritage as well. Therefore, we created something that is quite unique. It’s interactive. It interacts with the visuals, it interacts with the music and the movement that takes place on stage so when there is a moment, the visual changes and it reacts when there is different dynamics or frequency on stage. The entire visual changes. It kind of creates a synergy. That has a powerful impact on the audience.

Sufi dancer Tanya Evanson is such a dynamic performer. Why did you feel it was important to incorporate this dancing with your shows?

Ali: What was very interesting for us is that it kind of happened very naturally. We met her, I want to say 12 years ago, when we were performing in Turkey … it was like love at first sight. We immediately bonded and started doing shows together. There are several reasons why if you see her, it’s a life changing experience. I always say … watching her is the closest I’ve come to a direct spiritual, like religious experience. It’s so powerful. The other aspect, of course, is the most obvious: It hits you immediately that it’s a woman that is doing something that is traditionally done by men because the Whirling Dervishes were traditionally always men. And so this is why we also really loved what she did and also because we use ancient poetry. The root of Whirling Dervishes came from the tradition of [Persian poet and mystic] Rumi. Also, there’s a strong connection between whirling and poetry, so it’s kind of all tied in naturally with our music. And dance is something sacred.

I read a previous NPR interview where you spoke about the negative media portrayal of Iran and how it is important to control the narrative in telling your own stories. As a team, how do you do that through your art?

Ali: I think more than any other time, right now in America, there is such a stigma and such a negative perception about people from the Middle East in general. Iran, sadly to say, has always had a very negative [perception] because ever since the hostage crisis [in 1971], Iran has always been on the blacklist for America — but now more so than ever. For any sort of minority group, there is a need to change the narrative, change the perception and the only way you can really do that is one-on-one, like reaching out directly to communities because mainstream media is not going to do that for us. The arts, I feel, play an important role because what you do when you present your art to an audience is you humanize yourself, where you come from, and you offer people a different perspective and usually, that perspective is one that’s a lot more unifying because people come and then they realize you’re no different from them. This has become one of our big missions. We are both activists in that sense and sort of armed with our art, we travel around. We love to go to a lot of these small cities in America especially with kids and high school students, young students. We do a lot of outreach programs because I feel if you get kids when they’re young and you expose them to something different, it can really alter their perception as they grow older.

What are your plans for your multimedia show at the Strathmore?

Torkian: The multimedia show has a very specific narrative. The show is loosely based upon the life of [Rabi’a al-‘Adawiyya] who is considered the first [divinity] of the east. And we kind of go through an arc and in a very abstract way, we tell her life story — where she born in darkness and slavery and then she gets freed and kind of goes on an inner search to find her spiritual identity and eventually, she becomes one of the most prominent women in Sufidom. And there is a celebration of her teaching and the way others have referred to her in their literature. Unfortunately, not much is left directly from herself in terms of writings and we know about her through others. So our entire multimedia show follows that arch. It’s not just in terms of entertainment; it has a very specific narrative.

Cyrille Aimee was once labeled “one of the most promising jazz singers of her generation,” according to the Wall Street Journal. Born in the small town of Samois-sur-Seine in France, she eventually found her way to the United States — but only after she appeared on “Star Academy,” the French equivalent of “American Idol.” Aimee will be performing at the Weinberg Thursday night as part of the Tivoli Discovery Series. We recently caught up with her to talk about how she got into music, the value in improvisation and what she thinks is the best music city in the world.

What got you into wanting to sing and create music yourself?

I grew up in a little village in France where Django Reinhardt used to be. So, every year, there’s a Django festival in his honor and Django was a gypsy, so a lot of gypsies from across Europe would come to the festival. They would play guitars nonstop, 24/7. So, when I was little, I became friends with the gypsies and that’s how I started to sing.

Were there any singers you tried to study?

After I discovered I liked this music and I wanted to sing, I looked into vocal jazz and came across Ella Fitzgerald and I totally fell in love with her. She was one of my biggest influences.

You have a handful of records. Have you been writing recently? Are you going to put out more music soon?

Yeah. In the show, I am going to do a lot of new material. I’m also working on a few different projects. There are some things I’m working on that I don’t want to talk about yet.

I’ve read that you’re very committed to improvisation. How important do you think it is, as a musician, to be able to improvise and at what point did you start to improvise as an artist?

For me, improvisation is what made me want to make music. That’s what I fell in love with when I met the gypsies and I heard the music. It didn’t really effect me until I understood what it meant, and it meant that they were basically improvising and they could play the same song many, many different ways. That’s what made me want sing music. For me, music has always been that. I think it’s all about just being in the moment.

What brought you to the United States? Having grown up in France, what made you want to come stateside?

When I discovered this music and discovering Ella, I wanted to come to the country where it came from and learn more about it.

You are largely associated with jazz music. The modern day is kind of an interesting time for jazz music. Do you have any comments on the current state of the genre? Is it doing well? Is it healthy?

I think jazz is not a style of music; it’s a way of playing music — any kind of music, and especially live music. I think it doesn’t have enough … it’s not on TV. It’s not out there enough. The term “jazz” kind of scares young people because they associate it with old-people music or boring music, but they don’t know because they’re not exposed to it. If they were exposed to it, they would realize that jazz is fun and they would like it.

Is there any pop music that you enjoy listening to?

Many. I listen to a lot of pop music. I love Drake. I like Justin Bieber. I don’t discriminate. I always had music in my house, so for me, music was first something to dance to.

If you weren’t doing music, what do you think you would be doing?

I’ve never thought of that. Probably something where I have to bike a lot because I like biking. Maybe outdoors and with animals.

Why did you choose to move to New Orleans recently?

I had in New York for 10 years, which is a long time for me to stay in one place. I’m not used to staying somewhere that long, and I knew I wanted to change and go somewhere else, but I didn’t know where. Then, last year, I visited New Orleans for fun and I completely fell in love with it. So, I packed up my bags and came.

There’s a lot of great music in New Orleans. Have you been out to any clubs?

Yeah, but it’s not just the music in New Orleans. It’s the people, the weather. The houses are so beautiful. And the pace. I like the pace. I like a lot of things about New Orleans.

What can people expect from the show at the Weinberg? Do you typically cover any songs?

Yeah, we do covers, we do original songs. There will be some tunes from my latest album. We kind of decide on the spot. I don’t know quite exactly what we’re going to do right now.

It’s almost the end of February — what’s next for you?

In the summer, there will be a lot of touring in Europe. We’re putting out a live record in May or June, and also, I’m recording my next album in May.

You’ve traveled a lot and you’ve sang in a lot of different places. What’s your favorite music city in the world?

I really like performing in my mom’s country, the Dominican Republic, because the audience is really, really young there. They’re not quote-unquote educated in jazz, so they’re not waiting for the end of the solo to clap. They just clap whenever they feel something — whenever there’s a high note or high energy.

Are there any places you don’t like playing?

No (laughs). I like playing, so I don’t care where it is.

The scene appeared pulled from “The Sopranos.” The year was 2016, during season 11 of “America’s Got Talent.” Sal Valentinetti walked in slow motion along with two family members in the bright sun. His cousin, Big Tommy, ate a canoli while walking.

“How you doin’?,” Valentinetti said when he sat down for a confessional video. The Italian-American from Long Island said the same thing to judge Heidi Klum after he walked on stage.

The video showed Valentinetti joined by three aunts, his mother, and his two cousins, including Big Tommy. The family shared several pizzas while Valentinetti waited to perform.

“Up to a few years ago, I barely sang Happy Birthday out loud,” Valentinetti said in the show’s confessional. “I didn’t come here to try out, I came here to win.”

The 20-year-old has a trimmed beard and a boyish grin. His age can be difficult to define, since Valentinetti’s voice is inspired by crooners like Frank Sinatra and Dean Martin. He would listen to these legendary artists with his grandmother, and after she passed, music served as a form of an enduring connection. With this inspiration, Valentinetti can sing so much like past crooners, the only thing that seems missing is the hiss of a record player. He stakes his career on this skill, in going by “Sal The Voice” on his social media channels.

Valentinetti wowed the “America’s Got Talent” judges as a finalist, and now he plans to wow the Weinberg audience when he performs this Friday. We spoke with Valentinetti to learn how this “pizza delivery boy,” with the support of his Uncle Joe, became an international touring artist.

When did you start singing?

When I was about 15 years old.

Did you know you were a good singer?

Once everyone started complimenting me — when they didn’t throw tomatoes, I figured I was a good singer.

Did your dad or a family member inspire you to start singing?

My Uncle Joe. I mean [my dad] encouraged me to do it professionally to make some money off of it, but when I was 17, I was delivering pizzas in a Cadillac. The most counter-productive thing you can do. So, in order to make some extra scratch, he said, ‘Thursday night, a friend owns this restaurant and he needs a guy to come in and do three hours. He’ll give you $100. Would you be interested?’ Yeah, sure! I felt like Rockefeller with a hundred bucks.

He saw that I liked it and said ‘Hey, “American Idol” is coming to the coliseum in a couple weeks, it might be something you should think about.’ I said, ‘I’m not thinking about anything.’ “American Idol?” It’s a pop show. It’s a popularity contest. He said if they don’t love you, I’ll give you my Range Rover for the rest of the summer.

I went, and I was so confident that I wouldn’t be on the show, they put me on the show [and went to Hollywood].

Harry Connick Jr. turns around. He hated me. Hated me! Why? Because I’m everything he wishes he could be — I’m kidding. I wish I could be married to a former Victoria Secret Model. He heard that I got on the show as a bet so he bet me a $100 I didn’t know the real name to the song “Fly Me To The Moon” on national television. He didn’t like me then. He goes, Jennifer [Lopez]’s cold; does anybody have any suggestions?

They’re all yelling out … So I go, ‘Jennifa! I got a nice warm comforter. It’s back in my hotel room. How you doin’?’ She starts laughing. She asks how old I am? I say ‘Jennifa, I’m 19.’ I said, ‘It doesn’t matter how old I am, just like the music that I sing, it’s timeless.’ It went over pretty well. So well, I got kicked off the show the next day. But, an “America’s Got Talent” casting producer saw this video and a year later, they gave me a call.

Getting there was crazy. The experience was bananas. No one knew how it was gonna go. … It’s been a dream come true.

What was crazy about getting to “America’s Got Talent”?

It was crazy in the sense that now I knew it was real. OK, people like me. They think I have a talent. What do I do now? How do I take this seriously? I always said I was a pizza delivery boy and I was going to school full-time. I didn’t know what I had. I gave it my all. I worked at it. I got a vocal coach and everything. [I] left myself on that stage just the way Uncle Joe told me. Be yourself and they’ll love you. Go out there, and that was the most incredible experience of my life. Imagine being on this earth for two decades … you got to figure out what you want to do … and you have no idea what that is. You go out [on stage] and in an instant, your entire life is affirmed. You go, ‘Wow, this is what I want to do for the rest of my life. I love this.’

Can you share why you donate a portion of your concert proceeds to Shriner’s Hospital?

I think that children are among the world’s most vulnerable. The fact that there are lives ending before they’re even beginning, that to me … that’s such a powerful thing to think about. So when I had the opportunity to take a tour of Shriner’s facility in Philadelphia, I was overwhelmed with what I saw. Equally overwhelmed with sadness, I was overwhelmed with the amount of work that the Shriners and the nurses and the doctors are putting in to finding not just cures for terrible diseases but solutions for kids whose lives were interrupted. Shriners is one of the world’s foremost actual manufacturers of speciality prosthetic limbs for children in hospitals like St. Jude and hospitals across that country that call on Shriner’s to mold and make most of their prosthetic limbs. These are for kids who are growing. They showed me all the different solutions for all the different issues that will eventually come up in these kids’ lives.

What do you have planned for your Weinberg show?

Definitely to have a lot of fun. My show is cut loose. Check your expectations at the door because I don’t even know what’s going to happen. It’s a whole lot of fun, it’s relaxed, it’s great music from a great time, it brings back great memories for people and allows younger people to make new memories of a live performance of music, and this style of entertainment. My demographic range at my show is as young as 10 years old … and as old as 105.

So you said that “My Way” is a song that you have to sing at every concert. And you dedicate this song to your Uncle Joe?

You know why? The end of the song goes like this: “For what is a man, what has he got, if he’s not himself, then he has not, the favorite things he truly feels is not the words of what he kneels.” The reason why that song resonates so well with me and I dedicate it every single show to my Uncle Joe is because when I grew up, I wasn’t popular. I was made fun of all the time. I was bullied. I was tortured. My Uncle Joe always told me, listen kid, they gotta catch up to you. You’re ahead of your years. Don’t worry about it. They’ll catch up. You be yourself. Never change. Be yourself and they’ll love you for who you are. And now, here it is a year later, and everything he told me is true.

This Q&A has been edited for clarity and length.

Ronnie Burrage has shared stages with such jazz heavyweights as Wayne Shorter, Sonny Rollins, Jaco Pastorius and Pat Metheny. Having given his life to the music, he’s also influenced many players with his teaching, including his stint as CEO of the World Rhythm Academy, a nonprofit organization he helped find that is dedicated to empowering and helping marginalized youth. Burrage is going to be holding a masterclass in free jazz drumming from 7 to 9 p.m. Friday at New Spire Spaces on East Church Street in Frederick. We caught up with him recently to talk about his influences, Holographic Principle, which is his trio, and what he believes is the greatest song ever composed.

You are teaching a jazz drum masterclass. First, what, to you, makes a good drummer?

I’m a musician first, and I encourage drummers to be musicians first. There’s a trend for young drummers thinking they need to be “good technicians” and that takes away from a musical approach to drumming. What makes a good drummer is learning to make music with others in all genres of music.

Who were some of your influences as a player and how did you get started with playing the drums in the first place?

Elvin Jones, Art Blakey, Bill Buford and many others. I was attracted to making rhythms just before I started walking, my family tells me.

What are some of the challenges a drummer consistently faces that he or she might not know about before they get into learning the instrument?

Learning to play swift and loud, being musical and understanding dynamics.

You are playing with Holographic Principle. What can you tell us about how you got hooked up with them and Eric Delente? What genre of jazz do you guys perform the most?

Holographic Principle is my trio. I put this group together. My bassist, Nimrod Speaks, has been playing with me for over seven years and he was also a member of “Band Burrage.” Dr. Michal Wierba started learning to play jazz around 11 years old from listening to a recording I did with a prolific Polish bassist and composer and a close friend of mine. Michal invited me to Poland to play tribute concerts to this great bassist who passed too early from cancer and our relationship started from that moment. He is an incredible pianist and artist. Eric Delente and I go back to junior high being friends. We recorded an amazing album called “Bluenoise” he also is an amazing musician and one of my closest friends.

You are involved with the World Rhythm Academy, from what I understand. What is that and what’s your role within it?

I am the CEO and my wife, Chanda Burrage, is the COO. Our nonprofit organization is dedicated to empowering marginalized youth by taking them around the world to see first-hand and learn how others live. We currently have a GeoArts Program at Brownsville Collaborative Middle School in Brooklyn.

To you, what is the greatest song ever written and why?

I’m not sure. Perhaps “Round Midnight” by Thelonious Monk or “Lush Life” by Duke Ellington and Billy Strayhorn. Why? Because they tell such an incredible story of life and jazz and humanity.

What are your thoughts of Maryland as a place for jazz? Conversely — what are some of the best cities in the world for jazz and why?

Maryland, first of all, has great jazz musicians and it used to have more venues. Some best cities are New York City, Paris, Tokyo and others.

We’re only a month in, so what does 2018 have in store for you?

Lots of educational work and opportunities, recordings and tours. I’m always composing and moving upward forward.

And finally, what’s one piece of advice you could give to someone just learning how to play the drums?

Learn all musical styles and how to play with as many other musicians as possible.