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![Swan River Long Island Notable musicians of the Long Island (Nassau and Suffolk County) music scene include; Billy Joel, Pat Benatar, godfather of punk rock[22] Lou Reed, Acestar, Paul Simon,Johnny Ramone, Dream Theater, Debbie Gibson, Eddie Money, new-age musician John Tesh, Public Enemy, Mariah Carey, Busta Rhymes, Shaggy, folk singer Oscar Brand, Harry Chapin, De La Soul, Brooklyn Bridge, Ashanti, Dee Snider, LL Cool J, Lindsay Lohan,](http://web.archive.org./web/20110426144110im_/http://cdn.wn.com/pd/cc/a1/d855c0529b0b319a81a1edac3473_grande.jpg "Swan River Long Island Notable musicians of the Long Island (Nassau and Suffolk County) music scene include; Billy Joel, Pat Benatar, godfather of punk rock[22] Lou Reed, Acestar, Paul Simon,Johnny Ramone, Dream Theater, Debbie Gibson, Eddie Money, new-age musician John Tesh, Public Enemy, Mariah Carey, Busta Rhymes, Shaggy, folk singer Oscar Brand, Harry Chapin, De La Soul, Brooklyn Bridge, Ashanti, Dee Snider, LL Cool J, Lindsay Lohan,")
| Name | Sam Rivers |
|---|---|
| Landscape | yes |
| Background | non_vocal_instrumentalist |
| Birth name | Samuel Carthorne Rivers |
| Born | September 25, 1923 |
| Origin | El Reno, Oklahoma, USA |
| Instrument | SaxophoneClarinetFluteHarmonicaPiano |
| Genre | Avant-garde jazzFree jazz |
| Occupation | MusicianBandleaderComposer |
| Years active | 1950s–present |
| Label | Blue Note, RCA, Impulse, Stunt |
| Associated acts | Quincy JonesMiles DavisDizzy GillespieBobby HutchersonAndrew HillJimmy LyonsDave Holland |
| Url | Sam Rivers |
Active in jazz since the early 1950s, Rivers earned wider attention during the mid-1960s spread of free jazz. With a thorough command of music theory, orchestration and composition, Rivers has been an influential and prominent artist in jazz music.
He performed with Quincy Jones, Herb Pomeroy, Tadd Dameron and others.
Rivers's music is rooted in bebop, but he is an adventurous player, adept at free jazz. The first of his Blue Note albums, Fuchsia Swing Song, is widely regarded as a masterpiece of an approach sometimes called "inside-outside". The performer frequently obliterates the explicit harmonic framework ("going outside") but retains a hidden link so as to be able to return to it in a seamless fashion. Rivers brought the conceptual tools of bebop harmony to a new level in this process, united at all times with the ability to "tell a story" which Lester Young had laid down as a benchmark for the jazz improviser.
His powers as a composer were also in evidence in this period: the ballad "Beatrice" from Fuchsia Swing Song has become an important standard, particularly for tenor saxophonists. It is analysed in detail in The Jazz Theory Book by Mark Levine who notes how each of its four four-bar elements has a distinct emotional identity.
In 2006, he released Aurora, a third CD featuring compositions for his Rivbea Orchestra and the first CD featuring members of his working orchestra in Orlando.
Sam Rivers and the RivBea Orchestra are currently recording several new compositions at Sonic Cauldron Studios in Winter Springs, FL.
Category:1923 births Category:Living people Category:People from El Reno, Oklahoma Category:African American musicians Category:American jazz clarinetists Category:American jazz composers Category:American jazz saxophonists Category:Avant-garde jazz musicians Category:Bebop clarinetists Category:Bebop saxophonists Category:Blue Note Records artists Category:Boston Conservatory alumni Category:Miles Davis Category:Musicians from Illinois Category:Musicians from Massachusetts Category:People from Boston, Massachusetts
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Name | Wes Borland |
|---|---|
| Born | February 07, 1975Richmond, Virginia |
| Background | solo_singer |
| Instrument | Vocals, guitar, bass, piano, keyboards, drums, violin, cello, percussion, programming |
| Genre | Nu metal, industrial metal, industrial rock, alternative metal, alternative rock, funk metal, rap metal, rap rock, rapcore, experimental rock, post-hardcore |
| Associated acts | Limp Bizkit, Black Light Burns, Marilyn Manson, Jonathan Davis and the SFA, Big Dumb Face, Nine Inch Nails, From First to Last, X Japan, Fear and the Nervous System, The Damning Well, Goatslayer, Eat the Day, Filter, A Perfect Circle, Anna Tsuchiya, Combichrist |
| Years active | 1994–present |
| Notable instruments | Yamaha CV820 WB, Ibanez RG7 CST |
Wesley Louden Borland (born February 7, 1975 in Richmond, Virginia) is an American musician and artist, best known as the guitarist for the band Limp Bizkit. He has been in several other bands as well, such as The Damning Well, Goatslayer and Big Dumb Face. He also recorded on From First to Last's Heroine album in 2006, and served as bass guitarist for the band's subsequent tour. Borland is well known for his dark and bizarre stage appearance, and for his fondness of musical artists that differed greatly from the musical tastes of his bandmates in Limp Bizkit. Borland performed in Black Light Burns, in which he sang and wrote most of the music. As of 2009, Borland has rejoined Limp Bizkit.
Fred Durst left to Philadelphia for a short while, leaving the others to speak to Wes and see if he'd join the band. Borland accepted, and the three practiced, while keeping in touch with Durst over the phone. Later Durst came back to Jacksonville, and the band had a show scheduled. Durst and Borland met for the first time and played their first show together 30 minutes later. On stage, Borland was known for his eccentricity, frequently wearing elaborate face paint and black-tinted contact lenses.
In the very early stages of Limp Bizkit, Borland's brother and future Eat the Day bandmate Scott Borland played keyboards, but with the early inclusion of DJ Lethal, the band eventually became a success. Scott played with Limp Bizkit as a session keyboard player on Limp Bizkit's first three releases, until Borland quit in 2001, which is when the two brothers formed Eat the Day.
Borland and his brother Scott were initially going to both be the lead vocalists to avoid the stigmas associated with singular frontmen, but both Borlands felt their guitar playing was starting to suffer due to having to contribute vocals at the same time. They first tried fixing this with going through Interscope Records' demos to find a singer, only to find nobody they were satisfied with. During this period of Eat the Day, the band's website released several mp3s with no vocal tracks, asking for interested vocalists to record over the tracks and submit their recordings as an audition to front the band. The songs "Beeblicowcarapis", "dAdA", and "Taste My Gun" were initially released (and still are available via the internet) as their full length selves, but later, Eat the Day only put up the beginning portions of the songs to have vocalists to sing over. This gesture was similar to the Limp Bizkit national guitarist audition after Borland left the band, and proved to be ultimately futile, other than showcasing what the ultimate sound of the project could have become. The members of Eat The Day instead decided to take a small break from the project and focus on other things to see if a vocalist would naturally pop up. Borland also played bass for the band dobmyer for a short time.
During this down period, Borland began production on his solo album with friend and producer Danny Lohner of Nine Inch Nails' fame. He was also featured twice on the Underworld soundtrack: once on a remix version of the A Perfect Circle song "Weak and Powerless" and another time on the song "The Awakening" with a supergroup of sorts called The Damning Well. The group features Wes Borland on guitars, Danny Lohner on bass, Richard Patrick on vocals and Josh Freese on drums. It was also revealed by Borland himself that during this time, he was rejected from performing with A Perfect Circle as the second guitarist alongside band founder/songwriter Billy Howerdel given his poor guitar audition. In fall of 2003, it was announced that Eat The Day had found an unnamed vocalist. It turned out to be Richard Patrick of Filter and Nine Inch Nails fame. With producer Bob Ezrin at the helm, material for Eat The Day and The Damning Well merged, as did the bands, but Patrick had a falling out with the whole camp. This was announced via Eat The Day's website in fall of 2003/early 2004, as did the announcement that Eat The Day and The Damning Well had either split permanently or gone on hiatus. The conclusion of this post stated Borland's beginning stages of creating a new, band driven solo record with Danny Lohner, Josh Freese, Josh Eustis, and John Bates.
In late 2003, Borland co-produced and played guitar on several songs on Legion of Boom, the third studio album by electronic musicians The Crystal Method, released in January 2004. The tracks he worked on were "Broken Glass", "Weapons of Mass Distortion" (also a Japanese bonus track "Weapons of Mad Destruction" featuring Kyono from The Mad Capsule Markets) and the lead single "Born Too Slow". "Born Too Slow" featured former Kyuss frontman John Garcia on vocals.
Black Light Burns is an industrial metal band featuring members of Borland's previous band The Damning Well, with Borland this time on vocals, guitars, bass, keyboards and programming, Danny Lohner on guitar, bass, keyboards, programming (but is sparingly using these instruments on the record, as he is mainly BLB's producer), Josh Eustis (from Telefon Tel Aviv) on programming, keys and Josh Freese on drums. The project evolved from Borland's initial attempts at writing a solo effort, but according to Borland, now includes that solo material, material from Eat the Day, material from The Damning Well, and material from an ambient solo record that Borland wrote during his time in Eat the Day that still remains unreleased. Guests on the album include Carina Round, Limp Bizkit bassist Sam Rivers, From First to Last frontman Sonny Moore, and Johnette Napolitano of Concrete Blonde. Borland announced on February 3, 2007 that Black Light Burns will be signed to the new record label of Ross Robinson called I AM: WOLFPACK. A June 5, 2007 release for the CD was planned, and in the meantime Borland would head to various regions in the Middle East for scheduled guitar clinics for his Yamaha signature guitar, and Black Light Burns would be rehearsing for a tour starting around summer as well.
Borland toured with From First To Last roughly since early 2006. He announced plans for a Fall 2006 tour that never went through due to Black Light Burns needing to find a new record label after Borland left Geffen Records. Borland has discussed plans to write and perform on the next From First To Last album, but he left the band due to Black Light Burns' busy schedule started to pick up, leaving no room for work with From First to Last.
In 2007, Borland appeared on select tracks on Worse Than a Fairy Tale, by Colorado band Drop Dead, Gorgeous. Both artists are on Ross Robinson's I AM:WOLFPACK label.
Black Light Burns' lineup has undergone some changes. As recently as 2008, the band consisted of Borland on vocals/guitar, Nick Annis on guitar/backup vocals, Sean Fetterman on bass/backup vocals, and Marshal Kilpatric on drums. In early 2009, Fetterman left due to reasons undisclosed by the band and was replaced by the band's guitar tech, Dennis "Junior" Sanders.
A statement was released by the band, which said:
On the subsequent hit record, Significant Other, Borland's playing became slower with increased emphasis on groove and heaviness, with more traditional song structures used. On the third Limp Bizkit release, Chocolate Starfish and the Hot Dog Flavored Water, Borland's playing became more eclectic, combining the prior elements of heaviness and traditional structure with playing big, complex guitar chords not normally played in metal music before then.
On The Unquestionable Truth (Part 1), recorded five years later, featured some of his most aggressive guitar work ever released, using distortion through most of the album and putting all of his trademark effect pedals to rest, instead focusing on heavy riffing, metal tremolo picking and palm mute/release techniques. However, in Black Light Burns, Borland's guitar playing is at its most eclectic. Borland's metal, electronic, jazz, indie rock, soft, progressive influences come through, and the songs take unexpected turns all throughout.
Wes played Ibanez 7 string guitars with Limp Bizkit and later used Paul Reed Smith guitars. He plays a custom 4 string AX series Ibanez on songs "Nookie", "Full Nelson", "The One", and "Stalemate". He tuned his 7 strings to [Low to High] Db Gb B E Ab Db Db (occasionally with the low string dropped to B) and tuned his 4 string to [Low to High] F# F# B E, with the lowest F# string being a bass guitar string, with that lowest F# being one whole octave below the preceding F# string.
Borland told crowds at his guitar clinics in the middle east and Total Guitar magazine that he considers himself more a songwriter/rhythm guitarist than a lead guitarist, saying that he never got into shredder bands or jazz fusion artists. He says his two hand tapping technique was inspired somewhat by Les Claypool of Primus and the rhythmic nature of his bass playing, and not so much from the lead guitar craze of the 1980s. However, he has incorporated lead guitar into his music after leaving Limp Bizkit from time to time.
Borland is not only known for his live stage costumes and grotesque dressing and fashion, he has also handled album art during his stint in Limp Bizkit. Likewise, he has provided the album art for both of the Black Light Burns releases. He has been working to get an art gallery open to display his paintings.
Borland established a MySpace account displaying several of his paintings. He has posted ambient musical pieces that were written after the Black Light Burns debut album Cruel Melody was completed. In 2009 he created a Twitter account.
Category:1975 births Category:2000s singers Category:2010s singers Category:Living people Category:American musicians Category:American rock guitarists Category:Seven-string guitarists Category:People from Richmond, Virginia Category:Musicians from Virginia Category:Limp Bizkit members Category:Marilyn Manson (band) members Category:People from Jacksonville, Florida Category:American musicians of Scottish descent Category:Rap metal musicians
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Name | Don Pullen |
|---|---|
| Background | non_vocal_instrumentalist |
| Born | December 25, 1941Roanoke, VirginiaUnited States |
| Died | April 22, 1995Los Angeles, CaliforniaUnited States |
| Instrument | Piano, organ |
| Genre | Jazz |
| Occupation | Musician, composer, musical arranger, producer, bandleader |
| Years active | 1964–1995 |
| Label | Timeless, Blue Note, Sackville, Black Saint, Atlantic, Palcoscenico, Mosaic, SRP records |
| Associated acts | Milford Graves, Charles Mingus, Mingus Dynasty, Art Blakey, George Adams/Don Pullen Quartet |
| Notable instruments | Hammond organ |
Don Pullen (December 25, 1941 – April 22, 1995) was an American jazz pianist and organist. Pullen developed a strikingly individual style throughout his career. He composed masterworks ranging from blues to bebop and modern jazz. The great variety of his body of work makes it difficult to pigeonhole his musical style.
Pullen left Roanoke for Johnson C. Smith University in North Carolina to study for a medical career but soon he realized that his only true vocation was music. After playing with local musicians and being exposed for the first time to albums of the major jazz musicians and composers he abandoned his medical studies. He set out to make a career in music, desirous of playing like Ornette Coleman and Eric Dolphy.
Subsequently, he and Milford Graves formed a duo. Their concert at Yale University in May 1966 was recorded. They formed their own independent SRP record label (standing for "Self Reliance Project") to publish the result as two LPs.. These were the first records to bear Don Pullen's name, second to Milford's. Although not greatly known in the United States, these avant-garde albums were well received in Europe, most copies being sold there. These recordings have never been reissued.
In 1972, Pullen briefly appeared with Art Blakey's Jazz Messengers.
He often polarized critics and suffered from two undeserved allegations; the first (despite his grounding in the church and blues) that he was purely a free player and thus unemployable in any other context, the second that he had been heavily influenced by Cecil Taylor or was a clone of Cecil Taylor, to whose playing Pullen's own bore a superficial resemblance. Pullen strenuously denied that he had any link with Cecil Taylor, stating that his own style had been developed in isolation before he ever heard of Taylor. But the assertion of Taylor's influence continued to haunt Don Pullen to the end of Pullen's life, and persists even to this day.
Pullen appeared on no more commercial recordings until 1971 and 1972 when he played organ on three recordings by altoist Charles Williams, one being issued under the title of a Pullen composition, "Trees And Grass And Things".
Being part of the Mingus group and appearing at many concerts and on three Mingus studio recordings, Mingus Moves (1973), Changes One and Changes Two (both 1974) gave great exposure to Pullen's playing and helped to persuade audiences and critics that Pullen was not just a free player. Two of his own compositions "Newcomer" and "Big Alice" were recorded on the Mingus Moves session but "Big Alice" was not released until a CD re-issue many years later. However musical disagreements with Mingus caused Pullen to leave the group in 1975.
Meanwhile he recorded with groups led by Billy Hart (drums), Hamiet Bluiett (baritone sax), Cecil McBee (bass), Sunny Murray (drums) and Marcello Melis (bass). On the formation of the first Mingus Dynasty band Pullen occupied the piano chair and appeared on their recording Chair In The Sky in 1979, but he soon left the band, feeling the music had diverged too far from Mingus' intentions.
Although highly regarded in Europe, the quartet felt they were not well enough known in America so in 1986 they signed to record for the Blue Note Records label for which they recorded Breakthrough (1986) and Song Everlasting (1987). Beginning the Blue Note contract with great hope of increased fame and success, as shown by the title of their first Blue Note album, they became disillusioned by the poor availability of these two records. Although the power of their live concerts maintained their reputation as one of the most exciting groups ever seen, the music recorded for the Blue Note sessions was at first deemed "smoother" than on their European recordings, and took time to achieve the same high reputation.
After the death of Dannie Richmond the quartet fulfilled their remaining contracted engagements with a different drummer and then disbanded in mid 1988. Their music, usually original compositions by Pullen, Adams and Richmond, had ranged from blues, through ballads, to post-bop and avant-garde. The ability of the players to encompass all these areas, often within one composition, removed any sameness or sterility from the quartet format. Except for the early recordings on the vanished Horo label, their European recordings on Soulnote and Timeless remained regularly available, unlike those made for Blue Note.
During the life of the Quartet, Pullen also made a duo recording with George Adams, Melodic Excursions (1982) and made three recordings under his own name, two further solo albums, the acclaimed Evidence Of Things Unseen (1983) and Plays Monk (1984), then with a quintet, another highly praised recording The Sixth Sense (1985) on Black Saint. He also recorded with (alphabetically) Hamiet Bluiett; Roy Brooks, the drummer who introduced him to Mingus; Jane Bunnett; Kip Hanrahan; Beaver Harris; Marcello Melis; and David Murray.
All Pullen's future recordings under his own name were for Blue Note. On 16 December 1988 he went into the studio with Gary Peacock (bass) and Tony Williams (drums) to make his first trio album New Beginnings, which astonished even those familiar with his work and became widely regarded as one of the finest trio albums ever recorded. He followed this in 1990 with another trio album Random Thoughts, in somewhat lighter mood, this time with James Genus (bass) and Lewis Nash (drums).
During the last few years of his life, Pullen toured with his trio, with his African Brazilian Connection, as a solo artist, but did not release any more solo records. As a sideman and session musician, he left his mark with a variety of noteworthy artists, including, (alphabetically) Jane Bunnett (notably their Duo album New York Duets), Bill Cosby, Kip Hanrahan, David Murray's 1991 Shakill's Warrior, Maceo Parker, Ivo Perelman and Jack Walrath. He also toured and recorded with the group Roots from its inception.
Pullen's final project was a work combining the sounds of his African Brazilian Connection (extended by Joseph Bowie on trombone) with a choir and drums of Native Americans. Despite his native American background (his paternal grandmother was half-Indian, probably Cherokee) he began to experiment with American Indian music as late as in July 1992. In 1994 Pullen was diagnosed with lymphoma. He continued to put great physical effort into completing the composition. In early March 1995 he played on his final recording Sacred Common Ground (with the Chief Cliff Singers, Kootenai Indians from Elmo, Montana), a few weeks away from his death, returning to his heritage of the blues and the church. Unable himself to play at the live premiere, his place at the piano was taken by D. D. Jackson, with whom Pullen discussed the music from his hospital bed shortly before his death. Don Pullen died on April 22, 1995 of lymphoma.
Pullen composed many pieces with melodies and rhythms which often they were portraits or memories of people he knew. All were published by his own company, Andredon but because he himself for a long time suffered from neglect musically so did many of his compositions. His best known are the humorous "Big Alice" (for an imaginary fan), the incredible "Double Arc Jake"(for his son Jake and Rahsaan Roland Kirk), the passionate "Ode To Life"(for a friend), and the aforementioned lament "Ah George We Hardly Knew Ya". Occasionally he wrote pieces with a religious feeling, such as "Gratitude" and "Healing Force", or to highlight the plight of African-Americans such as "Warriors", "Silence = Death", and "Endangered Species: African American Youth". Following the assassination of African-American activist Malcolm X, Pullen had written a suite dedicated to Malcolm X's memory but this required more instrumental resources than a normal sized jazz group provides, and only the piano parts of this were ever recorded. Except for the Plays Monk album, Pullen almost exclusively featured his own compositions on his own recordings, until his time with the African Brazilian Connection. His compositions are well represented on the George Adams/Don Pullen Quartet recordings, but such compositions by Pullen which were recorded by others, were usually performed by those who had known and worked with him.
Although Pullen was able to play the piano in almost any style, the attribute that had made his contributions so important to the wide-ranging music of Mingus included his ability to place extremely precise singing runs or glissandi over heavy chords, reminiscent of traditional blues, while never losing contact with the melodic line was one of his greatest achievements. His technique for creating these runs, where he seemed to roll his right hand over and over along the keys, received much comment from critics, was studied by pianists, and heavily filmed and investigated, but could never be totally explained, even by Pullen who had developed it. His piano technique can be seen on the DVDs Mingus At Montreux 1975 and Roots Salutes The Saxophones.
In 2005, Mosaic Records issued a set of four long unavailable Blue Note recordings, Breakthrough and Song Everlasting by the Don Pullen/George Adams Quartet, and New Beginning and Random Thoughts by Pullen's own trio.
Category:1941 births Category:1995 deaths Category:American jazz pianists Category:American jazz organists Category:Post-bop pianists Category:Post-bop composers Category:African American musicians Category:Native American musicians Category:People from Roanoke, Virginia Category:Musicians from Virginia Category:Deaths from lymphoma Category:Timeless Records artists Category:Blue Note Records artists Category:American session musicians Category:Avant-garde jazz pianists Category:Avant-garde jazz composers
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Name | Chico Freeman |
|---|---|
| Background | non_vocal_instrumentalist |
| Born | July 17, 1949 Chicago, Illinois, U.S. |
| Instrument | Tenor saxophone, bass clarinet |
| Genre | Jazz |
Chico Freeman (born Earl Lavon Freeman Jr.; July 17, 1949) is a modern jazz tenor saxophonist and trumpeter and son of jazz saxophonist Von Freeman. He began recording as lead musician in 1976 with Morning Prayer, won the New York Jazz Award in 1979 and earned the Stereo Review Record of the Year in 1981 for his album The Outside Within.
In 1998, Freeman produced an album for Arthur Blythe called NightSong, and in 1999 he began teaching at New School University.
Category:Avant-garde jazz musicians Category:American jazz saxophonists Category:American saxophonists Category:Northwestern University alumni Category:Musicians from Chicago, Illinois Category:1949 births Category:Living people Category:Elektra Records artists Category:India Navigation artists
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Name | Arthur Blythe |
|---|---|
| Background | non_vocal_instrumentalist |
| Born | May 07, 1940 |
| Origin | Los Angeles, California, USA |
| Instrument | Alto saxophone |
| Genre | Jazz, Post-bop |
| Occupation | MusicianBandleaderComposer |
| Years active | 1969–present |
| Label | Columbia, Enja, Savant Records |
| Url | Official site |
Arthur Blythe (born May 7, 1940, in Los Angeles, California) is an American jazz alto saxophonist and composer. His stylistic voice has a distinct vibrato and he plays within the post-bop subgenre of jazz.
After moving to New York in the mid-70s, he worked as a security guard before being offered a place as sideman for Chico Hamilton
Blythe started to record as a leader in 1977 for the India Navigation label and then for Columbia records from 1978 to 1987. Albums such as The Grip and Metamorphosis (both on India Navigation) offered capable, highly refined jazz fare with a free angle that made Blythe too ‘out there’ for the general public, but endeared him to the more serious jazz fans. Blythe played on many pivotal albums of the 1980s, among them Jack DeJohnette's Special Edition on ECM. Blythe was a member of the all-star jazz group The Leaders and, after the departure of Julius Hemphill, he joined the World Saxophone Quartet. Beginning in 2000 he made recordings on Savant Records which included Exhale (2003) with John Hicks (piano), Bob Stewart (tuba), and Cecil Brooks III (drums).
Category:Avant-garde jazz musicians Category:Columbia Records artists Category:Jazz alto saxophonists Category:American jazz saxophonists Category:Musicians from California Category:1940 births Category:Living people Category:Enja Records artists Category:India Navigation artists Category:HighNote Records artists Category:CIMP artists Category:World Saxophone Quartet members
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
![Swan River Long Island Notable musicians of the Long Island (Nassau and Suffolk County) music scene include; Billy Joel, Pat Benatar, godfather of punk rock[22] Lou Reed, Acestar, Paul Simon,Johnny Ramone, Dream Theater, Debbie Gibson, Eddie Money, new-age musician John Tesh, Public Enemy, Mariah Carey, Busta Rhymes, Shaggy, folk singer Oscar Brand, Harry Chapin, De La Soul, Brooklyn Bridge, Ashanti, Dee Snider, LL Cool J, Lindsay Lohan,](http://web.archive.org./web/20110426144110im_/http://cdn.wn.com/pd/cc/a1/d855c0529b0b319a81a1edac3473_thumb.jpg "Swan River Long Island Notable musicians of the Long Island (Nassau and Suffolk County) music scene include; Billy Joel, Pat Benatar, godfather of punk rock[22] Lou Reed, Acestar, Paul Simon,Johnny Ramone, Dream Theater, Debbie Gibson, Eddie Money, new-age musician John Tesh, Public Enemy, Mariah Carey, Busta Rhymes, Shaggy, folk singer Oscar Brand, Harry Chapin, De La Soul, Brooklyn Bridge, Ashanti, Dee Snider, LL Cool J, Lindsay Lohan,")
