Danish singer/songwriter Annekei kicked off BMI's CMJ events on Nov. 1, offering an eclectic mix of soulful vocals, catchy hooks and seductive grooves. The 24-year-old has just released her self-titled debut on Japanese label Being Records. Raised in Denmark in a family of seven musicians, Annekei had her first major break in 2005 when her U.K.-released single, "More of Your Love,' worked its way into a major club hit.

The next day, Philadelphia's Eric James and his band the New Century dropped by BMI's New York office to show off their brand of arty pop. While an element of heart-on-his-sleeve honesty is a fundamental part of his music, James explores deeply resonating subjects from an artful but non-posturing attitude. Eric's latest recordings feature the talented production skills of Christopher Thorn and Brad Smith (Blind Melon, Anna Nalick) and drummer Pete McNeil (Cake).

Lunch on Nov. 3 featured the angelic vocals and acoustic guitar of Toronto transplant Justin Nozuka. With recent opening slots for Ziggy Marley, Sam Roberts and the Philosopher Kings, this talented singer/songwriter was also a featured artist on BMI's See It Hear First podcast #12. Just 18, Nozuka is impressing listeners with his engaging personality, gripping lyrics and rugged, soulful voice.

BMI also served up a "Not So Acoustic Brunch" on Saturday, Nov. 4 at the Living Room, with performances by four of the most-buzzed about indie acts of the year, including the Broken West, Bound Stems, Oh No! Oh My! and the Rosewood Thieves. The noon-time showcase and breakfast-sandwich wraps were co-sponsored by Pump Audio.

Shown at the BMI dinner at Woodstock are (l-r): artist John Sebastian, photographer Elliott Landy, Saint Misbehaving star Wavy Gravy, Woodstock concert producer Michael Lang, BMI's Doreen Ringer Ross, Saint Misbehaving director Michelle Esrick, Saint Misbehaving composer Emory Joseph and Jahanara Romney.

BMI's 7th annual Film Music panel featured BMI's Doreen Ringer Ross, Vice President of Film/TV Relations, as moderator, with panelists including composer David Mansfield (Stephanie Daley, Transamerica, Heaven's Gate), director Hilary Brougher (Stephanie Daley, The Sticky Fingers of Time), composer Anton Sanko (The Last Winter, Party Girl, Saving Face), director Larry Fessenden (The Last Winter), and music supervisor Tracy McKnight (The Last Winter, Fierce People, A Dirty Shame). Topics covered included score vs. source music, creating and licensing music for soundtracks, the director/composer relationship, the role of the music supervisor, and others geared to exposing the many roles within the world of film music.

Shown at the Film Music panel are (seated): composer Anton Sanko, music supervisor Tracy McKnight; (standing l-r): director Larry Fessenden, BMI's Doreen Ringer Ross, director Hillary Brougher, composer David Mansfield and Woodstock Film Festival Director Meira Blaustein.

BMI and WACBIZ also co-presented a "See It Hear First" showcase featuring World of O.T.I.S. and the Rosewood Thieves at the Colony Caf�.

Woodstock Film Festival Director Meira Blaustein, composer/songwriter/producer Gary Louris, BMI's Doreen Ringer Ross, and composers David Mansfield and Michael Bacon.

Composer Anton Sanko, director Jeff Lipsky (Flannel Pajamas), BMI's Doreen Ringer Ross, music supervisor Tracy McKnight, and Monaco Music Film Festival Director Denise Massingale Lamb.

photos: Dion Ogust

The Film Music panel will feature BMI's Doreen Ringer Ross, Vice President of Film/TV Relations, as moderator, with panelists including composer David Mansfield (Stephanie Daley, Transamerica, Heaven's Gate), director Hilary Brougher (Stephanie Daley, The Sticky Fingers of Time), composer Anton Sanko (The Last Winter, Party Girl, Saving Face), director Larry Fessenden (The Last Winter), and music supervisor Tracy McKnight (The Last Winter, Fierce People, A Dirty Shame). Topics to be covered include score vs. source music, creating and licensing music for soundtracks, the director/composer relationship, the role of the music supervisor, and others geared to exposing the many roles within the world of film music.

BMI's "See It Hear First" showcase will feature the Rosewood Thieves, a New York City rock group whose EP, From The Decker House, was written in the small valley town of Deposit, N.Y. Their songs hark back to the classicality of acts such as the Band and Bob Dylan. The six picturesque songs on the EP are entwined with the stripped-down fundamentals of rock and roll and the sensuality of r&b. Country music's bleeding heart is the final straw that completes the Rosewood Thieves honest-to-goodness presentation. Signed to V2 Records, their music reflects the world around them.

Also performing is World of O.T.I.S., a band that's hard to describe. It's like trying to describe an emotion. It's happy, it's sad, it's carefree, it's raw. It's the whimsical nature of the Flaming Lips, mixed with the melancholy of Coldplay. They convey what they believe: Life isn't always easy, but don't take it too seriously. This past summer, the group played on the weekends in New York's Washington Square Park in Greenwhich Village where they would wheel out an acoustic 64-key piano and a small jazz drum kit. Over the course of three months, the duo sold almost 3000 CDs.

BMI sponsors many film music panels at film festivals throughout the U.S. each year. These panels are designed to promote greater understanding within the filmmaking community about the aesthetic and business aspects of music in film as well as provide an opportunity for composers, songwriters and filmmakers to learn more about each other's roles.]]> 2006-10-12T05:00:01-05:00 http://www.bmi.com/musicworld/entry/533471 Artists, Daly, Mike, Lennon, John, Rosewood Thieves, The, Musicworld, On The Scene The small valley town of Deposit, N.Y., lies along the west branch of the Delaware River and is nestled between the bustling metropolitan areas of Albany and Syracuse. Deposit is also host to the Decker House, an all-American rickety white farmhouse that is more ghostly than quaint. Local socialite Bonnie Decker lived and died in that house. Within a month of her passing, the Rosewood Thieves left New York City, looking to reclaim a peace of mind while finding their rock & roll heart at the Decker house. In the process, they found themselves surrounded by the mystery of her memory and haunted by Deposit’s peculiar existence, thus the story of the From the Decker House EP was written.

Spearheaded by singer/songwriter Erick Jordan, From the Decker House is a collection of songs that harks back to the classicality of acts such as The Band and Bob Dylan. These six picturesque songs are entwined with the stripped-down fundamentals of rock & roll and the sensuality of r&b. Country music’s bleeding heart is the final straw that completes the Rosewood Thieves honest-to-goodness presentation. Jordan’s raspy vocal delivery is earnest and charming like a young John Lennon, but convincingly more impressive than his 20 years of age.

There was no television, no Internet and no phone at the Decker house. Their five-acre landscape had a cattle farm on one side and trailer homes on another. When they weren’t retiling the kitchen or clearing out old deer carcasses from the barn, for six weeks the Rosewood Thieves would gather in the living room each evening to write and rehearse. Jordan says leaving behind the hustle and flow of New York City was exactly what they needed. He didn’t seem to mind that the heat wasn’t on most of the time and that the pipes were freezing nearly every other day. “The living room space was the best spot—it had wood floors and a fireplace,” Jordan says. “We started playing music around seven o’clock and things would go until three in the morning.”

From the Decker House captures cityscapes like New York City and Los Angeles. Jordan reflects upon the world around him. It’s as simple as that. Other tracks tap into a broken heart, but not in that familiar kind of way. “I like to write about people and places and develop story-oriented songs. They’re not all true obviously, but they’re all based on pretty prominent things.”

Jaunty number “Back Home to Harlem” is a nice example. Featuring Vetiver’s Andy Cabic on bass, fiery acoustic guitars tango with a sinister backdrop of percussion and organ. Jordan’s aching vocals scowl “Oh my love, you said you wanted somebody else. Well you got him.” “Los Angeles” is a bit more nostalgic with its lush piano arrangements and Jordan’s day-dreamy performance. “Doctor” is a freewheeling foot-stomper with many country flavors. Nitty-gritty “Lonesome Road” is an album standout. Piano legend Bob Dorough, who is best known for composing the Schoolhouse Rock childhood favorite “Conjunction Junction” (as well as critically acclaimed jazz recordings from the mid-‘50s to the present) appears here, rounding out the Rosewood Thieves’ earnest introduction.

On From the Decker House, Jordan is talented enough to carry out a solid record without being too cheerful about his heroes—Dylan, John Lennon, Solomon Burke—and succeeds in carving out something new for his generation of music fans. He may be young, but he has the chops and guts to make it because he gets what music is about.

From the Decker House also includes performances by drummer Otto Hauser (Devendra Banhart, Vetiver), pedal steel guitarist Mike Daly (Whiskeytown) and vocalist Blake Hazard.

The Rosewood Thieves are Erick Jordan (voice, guitar), Mackenzie Vernacchio (organ, Wurlitzer), Will Frish (guitar, backing vocals), Richard Ray (bass) and Mark Bordenet (drums).