2023 Oscar nominees announced for Original Score and Original Song


It was an early start for the Academy with its live reveal of this year’s Oscar nominees taking place at 5.30am Los Angeles time.

Actors Riz Ahmed and Allison Williams presided over the short telecast, which saw over 30 films nominated in the the major feature categories.

As with the recently announced BAFTA nominations, three films dominate the list, with Everything Everywhere All At Once in the running for eleven prizes, followed closely by both The Banshees of Inisherinand All Quiet on the Western Front with nine nominations each.

2023 Oscars – Original Score nominees

Those three films are represented in the Original Score category, with the band Son Lux earning their first ever Oscar nominations for Everything Everywhere All At Once (they got a song nod, too, see below) and Carter Burwell earning his third score nomination for The Banshees of Inisherin. Justin Hurwitz scooped two Oscar wins for La La Land in 2017, so with his nomination for Babylon he’ll be hoping for a third win.

Like the BAFTA music line-up, German composer Volker Bertelmann is up for a gong in recognition of his music for All Quiet on the Western Front, his second nomination following that which he shared for 2016’s Lion.

Unlike the BAFTA’s, veteran composer John Williams is nominated for his short and very sweet score for Steven Spielberg’s The Fabelmans. A few weeks away from his 91st birthday, the nomination is Williams’s 53rd. He last won an Oscar (his fifth) in 1994 for Schindler’s List, so a sixth is perhaps overdue?

2023 Oscars – Original Song nominees

The Original Song category features a handful of nominees this year, including the Golden-Globe-winning ‘Naatu Naatu’ from the Indian film, RRR. That song, by MM Keeravani, Kala Bhairava and Rahul Sipligunj, is joined by Top Gun: Maverick’s ‘Hold My Hand’ (by Lady Gaga, Bloodpop and Benjamin Rice), Black Panther: Wakanda Forever’s ‘Lift Me Up’ (by Tems, Rihanna, Ryan Coogler and Ludwig Göransson), ‘Applause’ from Tell It Like a Woman (a 14th nomination for songwriting legend Diane Warren) and ‘This is Life’ from Everything Everywhere All At Once (by Son Lux).

All will be revealed when the 95th Academy Awards take place in Los Angeles on Sunday 12 March.

Watch Julian Marley’s “Don’t ruin my world” music video – Aipate


Reggae singer, songwriter and musician Julian Marley delivered a really powerful message on his song “Don’t ruin my world”. The music video, which is now out, doubles down on the message.

“Don’t Ruin My World” is a rallying cry for a livable world for future generations. It was initiated by forests conservation company Everland.

Julian says, “I created this song for Everland to help get the word out about the urgent need to protect nature and life on Earth. It’s an anthem to amplify the voices of young people who are anxious about the climate crisis and are demanding that those in charge do what is right to safeguard their future before it’s too late.” 

Connect with Julian Marley on Instagram.



Country music star Jordan Davis to perform at 2023 National Cherry Festival


TRAVERSE CITY, MI – The National Cherry Festival has unveiled its first 2023 concert.

Kat Paye, executive director of the week-long festival in Traverse City, announced Monday that country star Jordan Davis will perform at the Pepsi Bay Side Music Stage on July 6.

“We are thrilled to be starting off our concert announcement season with the amazing new country artist Jordan Davis,” Paye said.

Currently a Billboard Award nominee, Davis first broke through with his 2018 Gold-certified debut album, “Home State,” which included three consecutive No. 1 hits -including “Slow Dance In A Parking Lot,” “Take It From Me,” and “You Up.”

He was named Billboard’s Top New Country Artist of 2018. Most recently, Davis wrote and released his 8 song EP “Buy Dirt,” which is supporting his current tour.

Davis was also just announced as direct support act for Luke Combs’ upcoming tour.

Tickets for the show go on sale at 9 a.m. on Jan. 27. General admission seating is $45 and reserved seating is $60. There is also a VIP experience that includes an elevated view and buffet meal for $170 each.

A celebration of cherries and the harvest, the festival brings thousands of people to Northern Michigan and typically features family events, parades, massive fireworks displays, queen pageant, main stage concerts, free activities for kids, an air show, running races and a marketplace featuring local cherry farmers.

Music & business success: Listen to all voices to reach the miracle goal


Editor’s note: Thought leader Grace Ueng is CEO of Savvy Growth, a noted leadership coaching and management consultancy, like WRALTechwire, celebrating its 20th anniversary this year.  Grace writes a regular column on Happiness & Leadership for us.  Grace’s core offerings are one-on-one coaching for CEOs and their leadership teams, and conducting strategic reviews for companies at a critical juncture.  A TED speaker, she is hired to facilitate team building retreats and lead HappinessWorks programs for companies and campuses.

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 RESEARCH TRIANGLE PARK – Many recognize Juilliard as the premiere performing arts educator, attracting students who are the world’s most talented musical prodigies, future Oscar winners and prima ballerinas.

I grew up with an older sister, Vivian, who showed exceptional talent in piano for as long as I can remember. Every performance I attended, I was asked, “Do you play piano too?” I didn’t think I was as naturally gifted, so quit after a few years and  started a little tutoring business and pursued school leadership roles instead. She, on the other hand, matriculated to Juilliard where she earned two musical arts degrees and served on the faculty of its highly selective pre-college program.

But did you realize Juilliard is also an emerging leader in business education?

In the last year, I’ve gone full circle and recently had an a-ha that business leaders could benefit from taking courses at Juilliard or at least from a Juillard trained musician.   As many of you know, last year, after emerging from my depressive episode with my launch column on Leadership & Happiness, I restarted my piano studies, after a four decade hiatus, to honor the memory of my mother, my first teacher.

My Juilliard trained teacher harnesses my intrinsic motivation

I selected Teddy Robie, who graduated with two degrees from Juilliard, as my teacher.  I have a new openness to learning that I didn’t have as a girl, so I am progressing faster. Every lesson, I take away something new.  I am taking lessons because I want to, not because anyone is making me or society expects it. I’ve experienced the distinct difference in outcomes between being intrinsically versus extrinsically motivated.

In my last column, I reflected on how having your team set their own goals versus setting for them as critical to achieving difficult targets. How can you inspire them to set goals that feed into  meeting yours as well as the company’s overall forecasts?

Take a lesson from my piano teacher.

Why are violists the brunt of so many jokes? 

A few months ago, Teddy suggested I read the book, Declassified,  his Juilliard classmate, Arianna Warsaw-Fan Rauch just had published.  One of my goals for 2023 is to read more books, so I ordered a copy and read it cover to cover in just a few sittings. Highly humorous and revealing, Arianna gives an insider view of Juilliard and the pressure cooker life of preparing for a career as a concertizing musician at the highest echelons.  She ends her memoir with a joke about violists and how “dumb” they are.  Since my niece, who is both smart and sweet, is a talented violist, I took offense and asked my sister just why there are so many violist jokes.

Violist with the renowned Juilliard String Quartet

The Viola: the Inner Voice Tying the Music together

A few days later, I asked Teddy the same question.  He had already seen Arianna post that same violist joke on her Instagram feed.  He laughed and said that the violists he knows are actually the opposite, very smart.  And they take the jokes in stride, because they know the truth and that the ribbing is in jest.  He explained the importance of violists. Like my son who plays electric bass, while they aren’t in the spotlight like the concertmaster or the lead guitarist, they both play important roles in creating a musical group’s success. The violist is the inner voice that plays the critical role of tying all the musical voices together.

Like Middle Management!

I thought – Ah! This is akin to middle management in corporations.  While they don’t get the spotlight like the executive team, they oversee the day to day and operationalize the CEO’s strategy.  This reminded me of the learning and development workshops I’ve been asked to do for emerging leaders or middle management.  While most of my work over the last two decades (my firm is celebrating its 20th anniversary this year)  has been geared toward the C-level, I’ve been asked in recent years to modify that material to apply to the critical middle, since they often get forgotten, but are the core that holds a company together.  Just as the viola’s role in a musical ensemble is to accentuate the melody and strengthen the overall beauty of the piece.

Bach’s complex compositions: akin to today’s organizations

I mentioned in How the art of listening can apply well beyond music, into our work culture,  that the concert pianist, Lang Lang, is the muse for my music. I am now studying Bach’s Goldberg Variations, an album that Lang recently recorded.  On first listening, I thought the composition was a little boring, even shallow. How could these variations have been something that Lang Lang studied deeply for 15 years before recording?  My sister said that I likely hadn’t listened far enough, as the music is very complex.  She was right, I was reacting to the opening, the Aria, followed by just the first few of the thirty variations.  I jumped to a conclusion too quickly, without listening to more of Bach’s composition.  I stopped too soon.

Teddy then told me that in total, the Goldberg Variations are one of the most complicated pieces to learn. He explained that Bach composed contrapuntal music, often polyphonic with many voices, and encouraged me to listen to the variations performed by a trio of violin, viola, and cello versus by a solo pianist. So I put aside Lang Lang’s album, and then experienced an a-ha in listening to the trio and hearing its three individual voices. Then and only then did I realize the richness and depth of the Aria and how important the viola is in holding the inner voice between the cello and violin.  I now have more respect and curiosity for Bach’s masterpiece. I’m intrinsically motivated to study further.

Juilliard String Quartet, The Juilliard School, Wednesday, May 4, 2022. Credit Photo: Erin Baiano

Just as Bach’s compositions offer complexity in their multiple voices, today’s workforces are also. A leader who listens to just a few of their people, versus a statistically significant sampling representing the entire workforce, will miss important themes completely.

Listen to all Voices to Reach the Miracle Goal

This week, I am conducting a retreat for a leadership team and will be utilizing Appreciative Inquiry (AI).  Researched and developed by David Cooperrider, professor of social entrepreneurship at Case Western Reserve, AI has been used globally as a change management tool for over three decades.  It consists of a 4-D cycle:  discovery (what gives life & appreciating), dream (what might be & envisioning), design (how can it be & co-constructing), and destiny (what will be & sustaining).

I want to make sure that each of the team members is heard and that each recognizes the strengths that they bring to the team. Instead of focusing on all the challenges and problems that have shaken their morale, I want them to think back to work situations in which they performed their best and to visualize a future where they have achieved the very aggressive revenue goals that are now set before them.  How will each use their strengths to orchestrate this “miracle?” How can they move from being extrinsically to intrinsically motivated? How can their boss and investor’s goals become their goals too?

Instead of focusing on problems and what is not working, I hope to get them to focus on experiences that have worked in the past, strengths of team members and what they can accomplish synergistically.

They can then design the envisioned future of success… together.

About Grace Ueng

Grace is CEO of Savvy Growth, a leadership coaching and management consultancy founded in 2003. Her great passion to help leaders and the companies they run achieve their fullest potential combined with her empathy and ability to help leaders figure out their “why” are what clients value most. 

Companies hire her firm for leadership coaching and strategy consulting as well as to  facilitate HappinessWorks programs, infusing the happiness advantage into corporate culture, leading to higher productivity and results.

A marketing strategist, Grace held leadership roles at five high growth technology ventures that successfully exited through acquisition or IPO. She started her career at Bain & Company and then worked in brand management at Clorox and General Mills. She earned her undergraduate degree from MIT and MBA from Harvard Business School.

Grace and her partner, Rich Chleboski, accomplished cleantech veteran, develop and implement strategies to support the growth of impact-focused companies and then coach their leaders in carrying out their strategic plans. Their expertise spans all phases of the business from evaluation through growth and liquidity.

 



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5 New Songs To Spruce Up Your Playlists


Here at The Honey POP, we are always looking to refresh our playlists, add new music, discover more artists, and share with our friends. So, we are back to share five new singles by artists you might not have heard of! You NEED to add these new songs to your playlist right now. 

Chandler Leighton

‘A Letter To Everyone Who’s Hurt Me’

First up, we have Chandler Leighton, a rising LA artist with similar musical vibes to King Princess and Fletcher. She has had success with her previous singles, ‘When You Say My Name’ and ‘I THINK U TURNED ME.’ 

She’s back with her newest single ‘A Letter To Everyone Who’s Hurt Me,’ a heart-breaking ballad performed on the piano.

The track is inspired by her parent’s divorce and how it may have influenced her relationships growing up. This is a different side to the artist than previously seen and we highly recommend you give it a listen!

TO LEARN MORE ABOUT CHANDLER LEIGHTON:
INSTAGRAM | TIKTOK | TWITTER | YOUTUBE

Ashley Kutcher

‘Everyone and No One’ 

Next, we have a new anthem for all your situationship needs by Ashley Kutcher! She prides herself in telling raw and relatable stories through her music and her newest single is no exception.  

“when the wedding invite comes will I still be your plus one? Would you pull me to the center for that slow song?

She describes the song as trying to figure out where you stand in a relationship and all the emotions that come with it. “I want someone who’s also proud to show me off in public,” Kutcher explained. If you love ‘Everyone and No One’ make sure you check out Ashley Kutcher live on the Survive My Own Mind Tour. Some dates are already selling out!

TO LEARN MORE ABOUT ASHLEY KUTCHER:
FACEBOOK | INSTAGRAM | TIKTOK | TWITTER | YOUTUBE | WEBSITE

Lexie Carroll

‘violet’

Eighteen year old Lexie Carroll is already proving 2023 to be her year. The folk, indie, pop artist recently released ‘violet’ as well as a corresponding music video. The song was written for a friend that was going through a tough time and focuses on the motivating message “things will get better.” The element of friendship and platonic love are evident throughout the single and is a great add to any playlist.

Can’t get enough of Lexie? Don’t worry, her new EP is scheduled to be released in May!

TO LEARN MORE ABOUT LEXIE CARROLL:
FACEBOOK | INSTAGRAM | TIKTOK | TWITTER | YOUTUBE | WEBSITE

Lily Moore

‘Hard Days Love’

“‘Hard Days Love’ is about knowing when it’s time to give up.”

See Also

Finally, Lily Moore returns with a new single ‘Hard Days Love.’ This is her first release since her More Moore Mixtape in 2019.

Lily explains her newest single and music video was co-written and produced by Lily and The Nocturns. Her voice is sure to add a new element to your playlists. Her style is reminiscent of early punk rock and pop music that you’re sure to love. Be sure to check out Lily’s other releases and music videos.

TO LEARN MORE ABOUT LILY MOORE:
FACEBOOK | INSTAGRAM | TIKTOK | TWITTER | YOUTUBE | WEBSITE

little image

‘Out of My Mind’

Last but certainly not least, we have the brand new track by little image, an indie rock trio. little image is made up of Jackson Simmons, Brandon Walters, and Troy Bruner who have been making music together for 8 years.

‘Out of My Mind’ is the first single off their debut album Self-Titled. They have certainly mastered their craft over the last few years and we are excited to see what they do next. Make sure to add ‘Out of My Mind’ to your playlist and preorder their new album!

TO LEARN MORE ABOUT LITTLE IMAGE:
FACEBOOK | INSTAGRAM | TIKTOK | TWITTER | YOUTUBE | WEBSITE

There you have it, five new songs to add to your playlist! Let us know which song was your favorite and what playlist you’ll be adding it to in the comments or on Twitter @TheHoneyPOP.

Casey Seagriff

Founder/Editor/Writer for Fangirls World Tour
Writer for The Honey POP



Seaming – Mermaid – 5:4


Seaming To is an English singer and musician whose work seems to be the product of, to date, three distinct periods of activity. She was a guest vocalist on some singles in the early 2000s, followed by her own first EP, Soda Slow, in 2006. Then things went quiet until late 2012, when the EP Mermaid and her debut album Seaming were released. Then things went quiet again, until July last year when she released another EP, Natural Process, and her second album Dust Gatherers is due for release next month. i’m not going to speculate on the whys and wherefores of this stop-start creative progression, but i do want to spend just a little time exploring Mermaid.

In some respects its four brief tracks hint at the more expansive, polystylistic lyricism that characterises her debut album (released a month after the EP), but i actually prefer the more restricted, experimental tone that pervades Mermaid. It’s book-ended by tracks focusing on wordless vocalise. ‘Threads’ puts together sustained and undulating tones, clustering them in a middle register such that they sound somewhat constrained and muffled, even when higher tones appear later. It’s followed by the clunky plunky gamelan-evoking percussion of ‘Mermaid’, where an askew cabaret-like tune is impinged upon by assorted acoustic and electronic fragments.

Its upbeat tone is answered by the more languid, breathy ‘Tenderly’, a song where it seems as if the melody is an almost incidental or at most equal element among everything else. The “accompaniment” (for want of a better word), a cycling, occasionally varied or embellished, chordal idea played by soft winds, keeps going regardless, the voice finding its place in relation to this. Especially striking is the way the vocal line shifts into a very low register later on, only making the music live up more powerfully to its title. Mermaid ends with ‘Edge’, a more simple act of vocalise comprising a closely-focused centre with gentler upper and lower register voices, opening up halfway through to form a rich chorus.

Mermaid is available as a free download from Seaming’s Bandcamp site. And if this whets your appetite i’d highly recommend checking out last year’s excellent Natural Process EP, which suggests Seaming is moving into a more overtly experimental form of expression. It’ll be interesting to hear how (and if) this manifests on her forthcoming album.


January Country Rookie of the Month: Alana Springsteen – Billboard


Alana Springsteen has an old classical guitar she found in her grandfather’s garage at the age of seven to thank for her first foray into music.

“He didn’t even play guitar, but from the first second I saw it, I was drawn to it,” the Virginia native tells Billboard, calling just before heading out to perform as part of Luke Bryan’s annual Crash My Playa festival in Cancun, Mexico.

Her grandfather gifted her the guitar, on one condition. “He said I could have it if I promised to learn how to play it,” Springsteen recalls. “I begged my uncle to come over on weekends and start teaching me chords.”

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By nine she started writing songs and a year later was making trips to Nashville. By age 14, she had signed her first publishing deal. Last year, she released the independent, two-part EP project, History of Breaking Up. Now 22, the member of CMT’s Next Women of Country Class of 2023 is gearing up to release her three-part, full-length major label debut album, Twenty Something, via Sony Music Nashville/Columbia Records.

On March 24, she will put out the project’s first installment, the six-song Twenty Something: Messing It Up, spearheaded by fiery single, “You Don’t Deserve a Country Song.”

When she walked into the writing session with Mitchell Tenpenny, Geoff Warburton, Michael Whitworth and Will Weatherly in early 2021, Springsteen was healing from a tough romantic breakup and was intent on writing about moving on.

“You can’t really say that title without smiling,” she says. “I wasn’t in a really good place after my last relationship ended, and this guy was the same one I wrote a lot of History of Breaking Up (Part Two) about. He broke my heart and it was not a good situation, which is why It made sense to me to kick off Messing It Up with this song. It doesn’t come from a place of anger or pain, but from a place of deciding to put myself first. I realized I was giving my ex a lot of power by sitting in regret and heartbreak, so I walked into that writing session very intentionally.”

Chatting with Billboard, Springsteen discussed her upcoming project, her new song and her time in Nashville.

When you first came to Nashville, what were your first co-writing sessions like?

I first came when I was 10 and started co-writing with Sherrié Austin and Will Rambeaux. It’s so funny looking back because I’m like, “What must they have been thinking when they saw this 10-year-old walk into a room like, ‘Here’s this idea I have. Let’s write a song’?” But I never questioned it, and just knew it’s what I was born to do.

We wrote a breakup song, believe it or not. I remember they were like, ‘Have you been through a breakup?’ I drew from stories, and movies and books. Then I met people like Bart Herbison at NSAI and Tim Fink at SESAC, just early believers. That’s one thing that is so special about Nashville. People, for the most part, genuinely want to help you get connected.

What does songwriting mean to you?

That was really a big deal for me. I mean, when I found songwriting, my whole world changed. Songwriting is how I make sense of the world. It has been my therapy. All I wanted to do was be a country artist like those I grew up on, like Shania Twain, Taylor Swift, Carrie Underwood and Keith Urban. I love the way country music can craft a hook and take you on this journey through song.

Mitchell Tenpenny was a co-writer on “You Don’t Deserve a Country Song.” You’ve also toured with him.

We met while writing this song and that led to a cool friendship. He’s got a few other moments on this upcoming album, which is exciting.

As a co-writer, a vocalist, or both?

I don’t want to give away too many details, but he’s definitely all over this record.

Do you already have all of the songs written for all three portions of Twenty Something?

I always leave room to change things. I write in real time, so I’m keeping room if something really special comes along, but I have pretty much the record planned out.

Last year, you released the two-part project, History of Breaking Up. Your upcoming album, Twenty Something, has three parts. What appeals to you about making these multi-part albums?

I think there’s just something really cool about creating this body of work and letting fans digest a lot of songs. Twenty Something is, as a whole, about kind of the messiness of your 20s. I’m only two years into my 20s, but I’ve already learned so much about myself and experienced so much change. I know I’m not alone in that.

When I wrote the song “Twenty Something,” I started to see that a lot of the music that I had written over the past few years fit into three separate categories. I wanted to compile them and take it step by step and take my fans along with me on this journey.

What can fans expect from the music on the upcoming portions of Twenty Something?

There are songs on here that call out my struggles, areas that I’ve messed it up, which a lot for me has been in the areas of love and relationships. It’s pretty vulnerable. But then there are moments where, if you’re lucky, you start living your purpose and start figuring things out. I think your 20s are a mixture of all of that. I hope that people can just find a little bit of themselves in this record one way or another.

What is the first concert you remember seeing?

The first concert I went to was Taylor Swift’s Speak Now Tour in Charlotte, North Carolina. I’m a huge Taylor fan. Growing up, it was like she was telling my stories. She was writing from such a young age, that encouraged me that I could do the same thing. I’ll never forget what it felt like watching her on that tour, the way she shared that moment with her fans. It was beautiful to watch and I’d never seen fans react to an artist that way.

Do you have a favorite music book or podcast?

I love the [podcast] And the Writer Is…, that one’s always really fun to listen to, to get into the mind of writers and learn tips from people that I look up to in the field. I’ve also been reading a book called 101 Essays That Will Change the Way You Think. I’m making my way through it. I feel like I’ll read a paragraph and be like, “Oh, wow, I need to spend a week just sitting with that and figuring out what it means to me.” So it’s one that I pick up, whether I’m on a plane or in the van on the road. But it just gives me something to think about.



NYC-based music producer Eon Crown drops explosively dynamic visuals for Get it – Independent Music – New Music


Slashing car tires and provoking sensitive alarms to go off unexpectedly, Eon Crown releases the kind of song which can flip moods over like a tasty burger on his hot new single to slide with called Get it.

Eon Crown is a New York, USA-based music producer/artist who fuses hip-hop into his wild beats which are made with so much sizzle and a rapid-fire verve to get enthusiastic about.

Featuring rather exceptionally crisp and imaginative dance moves to shake up the sleepy world, Eon Crown pulsates like a flashy thunderstorm and shall blow away all the haters. Goodness me this is a superior track. There is nothing too hardcore here either. This is a proper single made with supreme skill and easy-to-see desire. Just the way we like it. Oh yes, the visuals might stimulate creaky bones to get up on the dance floor again. Life is too short to sit down all the time right?

Get it from the excellent NYC hip-hop music producer/artist Eon Crown is a real-life heart beater to soothe all worries away like eating ice cream on a hot day. It’s tasty and all worries seem to go away.

Soaring high like Superman and brushing all the cobwebs away like a bonafide boss, there is vibrant electricity here which might shock many back into place like a chiropractor on a mission to crack the planet back into place.

See this epic video on YouTube. View more on IG.

Reviewed by Llewelyn Screen



Alan ‘Weaver’ Copeland — vocalist, composer and Grammy-winning arranger — dies at 96 in Sonora | News


Alan “Weaver” Copeland, a longtime Cedar Ridge resident and a gifted vocalist, pianist, composer, and arranger for jazz giants like Count Basie, Ella Fitzgerald, Sarah Vaughn, Frank Sinatra and other stars, died Dec. 28 at Sonora Senior Living at age 96, friends and family said.

Copeland moved to Cedar Ridge in the 1980s, began mentoring new generations of musicians, and he and his Now You Hazz Jazz bandmates continued performing in recent years at Emberz in downtown Sonora. His Grammy-winning career spanned decades in Los Angeles, where he was born in October 1926. 

He was so respected in the jazz community, among other professional musicians, and in the entertainment industry, that his passing has been covered by The Hollywood Reporter and republished online by Billboard.

Friends and musicians who jammed with Copeland in Tuolumne County and his stepdaughter in Truckee described Copeland as a consummate musician-composer, a patient, generous, low-key teacher, and an upbeat personality who often said, “Hope for the best and forget the rest.”

“I’m a musicholic and he’s an arranger, and his music, I was like wow,” Keith Evans, 58, a member of Now You Hazz Jazz who recorded a compact disc, “Tranquillo Trio,” with Copeland, said Thursday in a phone interview. “I used to go to his house at Cedar Ridge and care for him. We’d play music several times a week. It was always about the music.”

Evans, who teaches jazz at Columbia College, said Copeland was a friend, father, and mentor to him. Evans took his acoustic guitar along when he visited Copeland in recent weeks.

“I was with Weaver the moment he died at Sonora Senior Living off Highway 108,” Evans said. “He’d been there I think for two months.”

One week, they did Christmas carols and Copeland sang “Silver Bells.” The next week, Evans went to Sonora Senior Living and a nurse told Evans that Copeland was not like he was the week before.

“She said he’s fading, he’s going, he was not necessarily coherent,” Evans said. “His eye was barely open and he was watching me. I played the music, ‘Tranquillo,’ and then his mentor Henry Mancini’s ‘Dreamsville.’ I said ‘Weaver we’re going to take ’em on like a storm.’ He used to say that before we jammed. His eye didn’t follow me. I went to his bedside. And then I played ‘What a Wonderful World,’ recorded by Louis Armstrong, then ‘Blue and Green’ by Bill Evans. It was such a beautiful, peaceful piece, and that’s what sent him out. I’m sure he went down the hallway with me. That last gasp was his last. It was surreal.”

Copeland left Los Angeles in the 1980s and he’d been in Cedar Ridge for 40 years. Copeland’s late wife, Mahmu Pearl, died in 2009. Sheila Ross, Pearl’s daughter and Copeland’s stepdaughter, lives in Truckee. 

Ross used to perform with Now You Hazz Jazz at Emberz, and her father, Adam Ross, helped Copeland arrange and record the 1968 Grammy-winning mashup of the “Mission Impossible” theme with the Beatles’ “Norwegian Wood,” by The Alan Copeland Singers.

Copeland was also nominated for a Grammy in 1966 for “Basie Swingin’, Voices Singin’ ” by The Alan Copeland Singers with Count Basie.

“He was born Oct. 6, 1926, in Los Angeles, born and raised in Hollywood,” Sheila Ross said Thursday in a phone interview. 

Sheila Ross recalled spending time at Copeland’s cabin above Sonora and the music.

“Listening to his beautiful chords, sitting at his piano next to him up in Cedar Ridge,” she said. “He loved it there so much, the view was amazing, and the guys would come and set up in the living room and we would jam. We played a lot of jazz standards, mostly his own original music. He’d give us the sheet music and we learned to play it. We called him ‘The Taskmaster.’ ”

Laurie and Bob Lehmann, former Sonora residents who now live in the Sacramento area, were close friends and music collaborators with Copeland for more than 10 years. They curate a website for Now You Hazz Jazz that features a bossa nova song Copeland wrote as tribute to his time in Baja California Sur, “Mulegé Day,” about the tiny seaside town of Mulegé on the Gulf of California.

“The Havana Supper Club in Cabo, he used to play there,” Ross said.

Bob Lehmann, 67, a career Cal Fire firefighter who put his love of jazz on hold for decades, lived in Sonora from 1973 until last summer. He learned drums when he was 6 years old and had a professional jazz saxophonist as his band teacher at San Rafael High in the late 1960s, but he couldn’t pursue jazz once he completed a firefighting AA at Columbia College.

Once he retired from Cal Fire, after 32 years, as a battalion chief in Angels Camp, he was able to jam at length with local musicians. About 10 years ago, he was invited to Copeland’s cabin in Cedar Ridge. It was an invitation to jam, so Bob Lehmann took a small drum kit with him.

“It’s a little cabin on the furthest road on the very edge of Cedar Ridge, where the forest takes off,” Bob Lehmann said. “It faced west over the canyon, and the back door faced east. He wrote a song about it, “The Sun at the End of the Road,” from when he walked to his mailbox one late afternoon, probably five years ago.”

Meeting Copeland and listening to him play, Bob Lehmann said, he knew he was with a great musician from the start.

“He was the real deal,” Bob Lehmann said. “He could sing and play and write charts and score music. He would write stuff right on the spot while we jammed. He’d write the chords the way he wanted them.”

Bob Lehmann had already been exposed to jazz and big band jazz ensemble as a freshman in high school and through his former teacher, Terry Summa, learned where to see live jazz bands in the Bay Area, including Count Basie and his Orchestra twice, Stan Kenton’s Orchestra, drummer-led bands like the Buddy Rich Orchestra and Art Blakey and the Jazz Messengers, as well as the Dexter Gordon Quartet.

Before meeting Copeland, Bob Lehmann didn’t really know his name or his reputation in jazz, but his music friends were telling him Copeland was awesome, and a really nice guy with a gentle personality who seldom got ruffled or sweated minor details.

Bob Lehmann said it was challenging to play with Copeland, who had charts written for the drums and other instruments, with chord changes and lyrics. Everyone would read the charts before they actually jammed, and each musician was expected to bring a music stand to read the charts while they were playing.

“He liked to call himself Weaver, a weaver of themes,” Bob Lehmann said. “He was good friends with the composer Henry Mancini, called him Hank. Mancini wrote the song ‘Mr. Lucky’ and Weaver adopted that name too. They were good friends. Weaver felt that way. He felt like he had led a charmed life, like he really was Mr. Lucky.”

According to The Hollywood Reporter, Copeland was known for decades as an ultra-smooth vocalist who performed with The Modernaires and on Your Hit Parade and The Red Skelton Hour in the 1950s and 1960s.

Copeland wrote or co-wrote hits including “Make Love to Me” — Jo Stafford’s version made it to No. 1 on the Billboard chart in 1954 — “Too Young to Know,” “High Society,” “This Must Be the Place, “Darling, Darling, Darling” and “While the Vesper Bells Were Ringing.”  

Copeland took arranging lessons from Mancini, then began arranging vocals for big bands and jazz leaders like Fitzgerald, Vaughan, Basie, and Sinatra, and other stars like Bing Crosby, Jim Nabors, Engelbert Humperdinck, Peter Marshall, Steve Lawrence and Eydie Gorme.

Jazz critic Stanley Dance once said Copeland was known for combining music and wit, and Copeland spent several years on Skelton’s CBS variety show with The Modernaires, who would morph into The Skel-tones and The Alan Copeland Singers, according to The Hollywood Reporter.

In his early years, Copeland sang as a member of the Robert Mitchell Boy Choir, in such films such as Angels With Dirty Faces (1938), The Hunchback of Notre Dame (1939), Foreign Correspondent (1940), Meet John Doe (1941), Yankee Doodle Dandy (1942) and Going My Way (1944).

Copeland served in the U.S. Navy, then started his own vocal group, The Twin Tones, a featured attraction with Jan Garber’s orchestra. He joined The Modernaires for the first time in 1948, and soon, the group was performing alongside The Andrews Sisters and Dick Haymes on a five-nights-a-week radio variety program hosted by singer/bandleader Bob Crosby, Bing’s brother. The show then segued to television. Copeland appeared with the group in The Glenn Miller Story (1954), starring Jimmy Stewart, then left to perform solo on the popular NBC/CBS program Your Hit Parade from 1957 until it left the air in 1959.

Copeland rejoined The Modernaires and did arrangements and added lyrics to such classics as “In the Mood” and “Tuxedo Junction” for the 1960 album The Modernaires Sing the Great Glenn Miller Instrumentals. Copeland’s memoir “Jukebox Saturday Nights” was published in 2007.

Sheila Ross said Thursday she is planning a celebration of life with live music for Copeland, perhaps in March, with a venue yet to be determined. It will likely be in Tuolumne County “because that’s where all his musician friends are and they appreciate his music.”

Copeland did his thing in music the way he wanted to do it until the end of his days, Bob Lehmann told The Hollywood Reporter.

“It was his dream to play in a small group until the last curtain,” Bob Lehmann told the publication. “That’s how he termed it.”