Bobby Syvarth: Press

"We are proud to work with and support Bobby Syvarth, a local legend of our back woods and a promising talent. Bobby Syvarth and his graceful fingers are going to make some national noise."

BARFLY

by ALAN TECCHIO

Ah the acoustic lifeÐthere's nothing more pure or to the point musically in my opinion. It was in this frame of mind that I went to a recent Artkore event in Hoboken, NJ. This one was held at The Goldhawk and was hosted as usual by the wonderful Ivy. This particular night I caught the tail end of a set by Matt Mead which was quite good in the most organic sense; just a man, his voice and his guitar. Solid, heartfelt tuneage. Next up was a guy named Bobby Syvarth who many in the room were talking about in anticipation of his set. Bobby performs with some groovy, looped tracks, his guitar and smooth vocals. Syvarth's music captivates and entrances with great lyrics and infectious hooks. Ya really gotta go see this guy. Catch a glimpse at bobbysyvarth.com. The last performer I caught was pianist/vocalist Jodelle. Jodelle is probably sick of the Tori Amos comparisons she sometimes gets but though there is a similarity, she has a voice all her own. The fretless bass player she had with her on this particular night added a great deal of uniqueness to her music. He had a great feel for alternate rhythms and melodies that enhanced her overall emotive sound. You can learn more about Jodelle at jodelle.net. Be sure to bookmark artkore.org to learn when the next Artkore event is. Keep in mind they are not all acoustic shows. Ivy likes to keep things interesting so amped nights exist as well as poetry, spoken word and more.

"As a songwriter, Bobby Syvarth is a painter of pictures. His songs
convey a vividness and as they unfold, a landscape is revealed
populated with a myriad of characters. He's also a great story teller who takes you into the lives of those characters he's painted with his words. As with most great art, it's the contrasts that are exciting. Some of the stories he tells may be difficult to hear, yet you're compelled to listen for here there is beauty. As a musician and
vocalist he straddles the worlds of folk, jazz and pop seamlessly,
making them all his home."
- Tim Carbone. Violin-Railroad Earth, Phil Lesh and Friends, Falcon Ridge Folk Festival House Band...etc. etc.

Pocono Life

Bobby Syvarth calls a 90-year-old Marshalls Creek cabin home. He moved to the Poconos because he worked in the area so much, and he discovered that the Pocono music scene includes many big names.

Marshalls Creek man brings his national musical success home
Helen Yanulus
Pocono Life Writer
April 23, 2006

Bobby Syvarth of Marshalls Creek is a staple of the live music scene that stretches along the Interstate 80 corridor from New York to the Poconos.

He plays gigs with his acoustic guitar and a loop station, which allows for live improvised accompaniment, performing his own jazzy arrangements of pop standards.

Syvarth is home at such venues as the Sarah Street Grill in Stroudsburg, where he made his debut about 10 years ago. He recently was on stage with Grammy-winning recording artist Marc Anthony at the United Nations in New York, will perform at the Deer Head Inn for the first time in May, and is teaching a new generation of beginning musicians to hear and feel the beat.

And he can thank his Italian uncle and his father for that.

Vinny Russo, who lived above a deli in Brooklyn and drove a baby blue Cadillac, loved music. In the summer, Uncle Vinny would drive Syvarth down to the Jersey shore, and they'd blast eight-track tapes by Billy Joel.

It was in such tunes as "Only the Good Die Young" that Syvarth discovered the acoustic guitar. "Even in the hardest of rock music, there is that acoustic guitar. I always thought it was a good sound," he said, mindlessly plucking a few strings of his Martin guitar.

His first vinyl record purchase was Billy Joel's "Glass Houses" — much to the delight of his first-grade heart and to the dismay of his father.

Syvarth's father worked as a data-processing manager at CBS, where he could cart home Columbia records stamped "For Promotional Use Only."

"I thought he was the coolest guy on earth because he could bring home records," Syvarth said. "I got in so much trouble buying that record. He said, 'This is a CBS record. You wasted your money on this.' My first experience with the record business was buying one and getting in trouble."

SYVARTH'S RECENT GIGS and teaching have kept him busy. But that is how musicians traditionally work, constantly looking for the next job. This is accomplished by simply hanging out with other musicians at clubs. Networking might seem more like play than work, but Syvarth knows just how serious it is.

That's how he landed the United Nations job.

"It was pretty shocking to my system," said Syvarth, who only had to play one song, "Love Is All," at the awards event that honored nine international microentrepreneurs as celebrity guests Jennifer Lopez, Chelsea Clinton, Walter Cronkite and others filled the audience.

Syvarth started by applying to advertisements on Craig's List on the Internet several years ago. He got a call to audition as a substitute for a band's guitarist, who was joining a Marc Anthony tour. The audition linked him with a side project for another band. Syvarth wasn't right for that, but he became friends with the musicians.

When the guitarist needed some work when Marc Anthony cut his touring time, Syvarth offered a few gigs. Eventually, Syvarth got the call for the United Nations performance.

"It felt amazing. You have your ups and downs. You get these gigs that reaffirm you're doing something right with your life," Syvarth said.

But it wasn't easy.

"It was the least enjoyable gig I ever did in my life because of the pressure and high stakes," Syvarth said.

CLANDESTINE PLUCKINGS on his sister's guitar is what started it all for this Brooklyn-born and New Jersey-raised artist.

After a few lessons, his sister grew tired of the instrument and stuffed it between the wall and the dresser. Syvarth retrieved the guitar that he wasn't allowed to touch.

"Man, I sat there and figured it out," said Syvarth, who was about 11 years old. "A string broke, and I was down to five strings."

He later dabbled with the electric guitar and took up the drums in fourth grade. His public school music education did little for him, but listening to music filled in the gaps.

In addition to Billy Joel, he spun the tunes of Queen, Pink Floyd, The Who and other big names of the late '70s and '80s.

Syvarth finally got serious about his music in college. He enrolled without much direction but found a music business course and met dedicated musicians. "That was the first time I heard jazz," said Syvarth of his time at William Paterson University, which he dubbed the "poor man's Berklee."

Soon, he hit the open mic circuit. After college, he worked as a guitar tech for RCA recording artists From Good Homes during the jam band era.

While the band was on Nantucket Island, Syvarth, who was wearing an ASCAP T-shirt, met Dave LaPoint, owner of the Sarah Street Grill. They bantered about how the union makes bar owners pay music rights, and in the end, LaPoint invited Syvarth to perform.

"I moved to Shawnee because I was working so much and it made sense to live here," he said.

SYVARTH NOW LIVES in a 90-year-old cabin on the banks of Marshalls Creek, where an unused bridge dating back to 1917 that used to be part of Seven Bridges Road cuts through his property and crosses the creek.

Here, a neighbor's roosters announce the morning, and Syvarth can spend the warm summer days in the shadow of a stand of thick pines.

In addition to the beauty of the Poconos, Syvarth moved to the area about 10 years ago for cheap rent, a performance venue and access to the legendary Poconos jazz scene.

He was impressed to learn of the big names in the area, including Phil Wood, who recorded the sax solo on Billy Joel's "Just the Way You Are." Then he discovered Bob Dorough, Dave Liebman and others. "The veteran musicians here are so generous. If you have a passion for music, these musicians will share," Syvarth said.

He also began spending a lot of time observing musicians at the Deer Head Inn. "The Deer Head was like grad school for a fraction of the cost," he said.

When Perk's Café was still on Main Street in Stroudsburg, Syvarth, who was new in town, stopped in for a cup of coffee and saw a guy setting up an outdated keyboard on a stack of milk crates. "He started playing, and I hadn't seen someone play keyboard like that," Syvarth said.

It wasn't until he attended a jazz concert by Clark Terry at East Stroudsburg University that he learned that the guy was Jesse Green, son of jazz great Urbie Green, who had performed that night at Perk's with Spencer Reed.

Later, his roommate gave him a copy of Keith Jarrett's "Live at the Deer Head" CD. "I finally realized that this was the place to be," Syvarth said.

On May 11, Syvarth will make his debut at the Deer Head. "I'm scared," he said. "For me, it's always been the place I go to check out the stuff that baffles me. It's a respected venue, sacred ground. It's that feeling of, 'Do I deserve it?'," Syvarth said.

It is that humble approach to music that makes him a good teacher for beginners, particularly in the earlier grades. Since last September, he has taught at a New Jersey music school.

The key to his success is getting his 50 students into listening. "I trick them into it and show them that it's cool," Syvarth said. "I like it. I'm a father, I have a 4-year-old, and I love kids. It's rewarding."

And the benefits are lasting.

Syvarth said, "It's helped me to grow as a musician, re-examine what is the most basic things for music."

BIOGRAPHY
Name: Bobby Syvarth

Age: 36

Town: Marshalls Creek

Family: Daughter, Anneka, 4; and a pug/poodle mix, YaYa Monkey Face.

Education: Bachelor of arts degree in liberal studies from William Paterson University, Wayne, N.J. He also studied with Pat Dorian, JD Walter, Tom Kozik and Spencer Reed. Working with Jesse Green, for Syvarth, is like taking lessons.

Employment: Vocalist and acoustic guitarist, and teaches private guitar, bass guitar and piano at Millburn Music Center, Millburn, N.J. Previously, he worked at Martin Guitar in Nazareth and as a guitar tech for the band From Good Homes.

Memberships: American Society of Composers, Authors and Publishers.

Recordings: "Nice Hat" and "Alive from Sarah Street." He also contributed to the PATH benefit CD, "The Reasons for Christmas Project."

Hobbies: Spending time with his daughter and anything to do with music.

"Bobby was wearing CROCS before anyone else. The first time I saw them was on Bobby's feet. At first I was just like 'Man, that guy got some wack shoes...' but then I realized he was just feelin' it!"

"Hey Groovedude, you should be on Blue Note! I find so little to please my ears, ANYWHERE. Buy you do it!"

TOO NEW TO BE KNOWN


by Mick Skidmore


This column aims to bring artists to light that might not be familiar to Relix readers. Some of these bands might have long histories or be popular regionally. We respectfully cover a wide range of talent in this column and do not intend to be misleading by the title, Too New To Be Known.

----------

The Bobby Syvarth Combo is not so much a permanent group of musicians as a gathering of different players that embellish the songsof the Brooklyn-based singer-songwriter Bobby Syvarth.So, it should be no surprise to find that Syvarth’s songs are esoteric blends of American music, containing a fresh and unpredictable element.


One of the most consistent factors of the Combo (since 1996) has been the harmony vocals of Nicole Grana, which perfectly complement Syvarth’s warm-hearted leads in his excellent debut album, Nice Hat. The disc contains nine finely-crafted originals and an imaginative cover of James Taylor’s “Traffic Jam.” By adding spontaneity and jazzy improvisations to his songs, Syvarth is almost redefining the singer-songwriter category to fit in with the more adventurous jam- and groove-based music of the ’90s. A whole slew of musicians help out on the disc including members of From Good Homes, but it is still the poignant and articulate songs of Syvarth and his singing with Grana that really grab you.

"Watching my friend and neighbor grow and develop over the last few years gives me great pride and joy in statging that Bobby Syvarth has become a first-class performer and songwriter and I feel that your time would be well-spent giving heed to his songs and messages."

The Reasons for Christmas Project
Various Artists | Independent Records


By Celeste Sunderland

The Poconos� honeymooners flock there in spring to bathe in heart-shaped tubs, families arrive in summer for a swim through glistening lakes, hikers arrive in the fall to see the changing leaves, and in the winter� Well, there's the skiing, the skating, the cuddling by the fire� and there's the area's burgeoning music community, which convened this year to create a delightful Christmas album, The Reasons For Christmas.

The project provided an opportunity for up and coming Poconos area musicians to appear on the same disc as legendary figures like saxophonist Phil Woods, and pianist John Coates Jr., and best of all, proceeds raised from the sale of the album benefit a worthy cause: the Pocono Area Transitional Housing (PATH), a local organization that provides support to homeless families with children.

Holiday brawls around the CD player might diminish a bit with this disc. It features an array of styles. There's swinging ragtime on “Good King Wenceslas,” performed by the Gap Time Ensemble; 17th Century sounds on “Pastoral,” a Wolfgang Knittle arrangement based on “Joy To The World”; and light rock rhythms with violin highlights on Bobby Syvarth's “An Extra Prayer,” which inspired the creation of the album.

Seven of the eleven songs are originals. Bob Dorough sings and plays piano on his tune “Wouldn't It Be Wonderful If Christmas Came,” a smiley carol heralding peace on earth. It features an ebullient choir of local students in addition to an eleven-piece band. Spencer and Nancy Reed harmonize with each other, later scatting on Woods' harrowing, prophetic song “Gifts For The Children,” backed by intimately sparse guitar and bass.

The classic Christmas tunes are real treats. With a nostalgic intro that leaps into a snappy verse, Phil Woods' arrangement of “White Christmas” is perfect for settling down and putting the finishing touches on the tree. And the David Liebman Group's take on “Santa Claus Is Coming To Town” will surely leave the embers glowing in the fire well past Christmas dinner.

This review originally appeared in AllAboutJazz-New York .

DELAWARE WATER GAP — Rep. Kelly Lewis (R-189) has unveiled a fund-raising project to increase awareness of Pocono Area Transitional Housing, or PATH.

The project involves private fund-raising as well as the sale of a benefit compact disk.

Lewis, a co-founder of "The Reasons for Christmas" project, kicked of the multi-faceted campaign for PATH in a partnership with area musicians, school students and the community.

"On Christmas Eve last year on WSBG's 'Gary in the Morning Show,' Bobby Syvarth played a great song about Christmas, the holidays and helping out your neighbors in need. The song and Gary's show highlighted what we later termed 'The Reasons for Christmas' which many times get lost in the shuffle of the holiday season," Lewis said.

"From there, Bobby and I spoke with community dynamo Lois Heckman about turning 'The Reasons for Christmas' project from idea to reality. We established a goal to raise more than $300,000 for PATH, so PATH could better meet the growing need for their vital services in our community," Lewis said.

At the same time, Lewis said the program gives talented local musicians and artists exposure and airplay. High school artists and musicians also have an opportunity to play with some of the area's "greatest musicians," he said.

Lewis and Syvarth are joined by Lois Heckman, Kent Heckman and Rick Chamberlain on the project's board of directors.

A number of Pocono area musicians have agreed to appear on the benefit CD, including Bob Dorough, Phil Woods and Dave Leibman, Johnny Coates, Vickie and Eric Doney, Nancy and Spencer Reed, Gary Dillon, Jesse Green and Jerry Harris, Rick Chamberlain's Gap Time Ensemble and Syvarth.

Lewis thanked Gary Olson and the East Stroudsburg Savings Association for a $15,000 contribution at the executive producer level.

All contributions go directly to PATH. For information, call (570) 420-2948.

OPEN YOUR EYES!


Music - an expression of joy, sorrow, desire, solidarity, community, humanity....or even of just any thought that comes to mind... Without thinking about it, you will participate at this universe of love, romance and adventure wich will convey you into the merry part of life. Music through all its expressions, whether we are talking about romantic, new age, rock&roll, acoustic contemporary or children's music, christian&gospel, classical, religious&devotional, is the only thing that purifies our spirits. If you want to transform your personality, come and be an adventurer together with Bobby Syvarth Combo.

"The way Bobby Syvarth combines the use of looping/sampling technology with his musical ability makes for quite a bit more playing precision than the average solo acoustic performer. The listener is getting a bigger picture within the framework of his songs."

Bobby Syvarth by Richard Cuccaro

Score another one for Christine Lavin. On October 3rd of 2004, she stepped in for
John Platt as host of the City Folk Sunday Breakfast show, reprising her role as the
show's originator. Amidst a group of new discoveries whose work she featured
was one Bobby Syvarth, a brilliant guitarist/songwriter. She played two Syvarth tracks,
"Fire in Brooklyn" and "We Shall Return." Both were ear-catching and intriguing,
propelling a desire in me to hear more from him. I narrowly missed his gig at Columbia
University's Postcrypt Café but finally caught up to him in November, at the Northeast
Folk Alliance Conference. I discovered that Bobby was a featured performer in the
Martin Showcase Room. My eager anticipation was not displaced. Although the tracks
played on the Breakfast show were recorded with a band, here he played alone.
I encountered a rugged-looking six-footer, standing at a mic, with a loop device to
accompany himself.

The performance was jaw-dropping. He's gifted. I'd heard performers use a loop device
before to accompany themselves live, but not with the precision and subtlety I encountered
here. There seems to be a metronome embedded in him somewhere. It's a challenge to
describe how he weaves these luscious tapestries. As close as I can attempt, it usually
begins with a funk-laden bass line, gently pulling the listener in, nodding and foot-tapping.
A few simple chords follow, keeping perfect time to the first pattern. The first two patterns
are followed by passionately sung lyrics and free-form instrumental breaks that work their
way up the neck of his guitar. The guitar technique and melodic arrangements are steeped
in jazz, opening up myriad avenues for expression. At the showcase, he did an amazing
cover of the Beatles' "Eleanor Rigby," "Fire in Brooklyn," and a few others in a relatively
short set. While I was most impressed with his work with the loop, he did not rely on it
exclusively. There were straight-ahead accomplished finger-style performances on certain
songs as is the case with all his shows.

I spoke with Bobby after his performance and told him I'd like to feature him. He
enthusiastically agreed to an interview for this spring. Before the interview, I got a chance
to hear him again, live, in early March, at The Sidewalk Café in NYC's East Village.
At the appointed hour, he sat on stage, very relaxed with his boots off, in his socks, tapping
his feet as he began to play. My notes read: "Bobby takes the stage and begins laying down
a funk baseline that feeds into his loop machine It begins to play back as he uses it as a
counterpoint. The cover of Paul Simon's "Diamonds on the Sole of her Shoes" sounds so
original it could be his own as the thunka-thump-thump from the original bass line pours
out of the amp's speaker. He lays down a jazz riff over the top, then sings in a soft
baritone, ooh-ooing in a falsetto in the appropriate places. Then picking it up, he turns
on some breakneck arpeggio runs somewhere up around the 16th fret. I can barely
write fast enough to capture what I'm hearing. He ends the number by bringing down
the volume and gently fading out."

A non-guitarist (strictly a hacker), I have trouble describing what's happening on every
level. Bobby uses the complete arsenal of guitar players ' tools: string bends, pull-offs,
hammer-ons, harmonics, turnarounds, arpeggio runs and on and on. I worry that I'm
not getting it right. Was that a counterpoint? Or did he just play something in harmony
with a previously looped riff?

"Fire in Brooklyn" is at present, my favorite of Bobby's original compositions. Dedicated
to a cousin and the cousin's father, both firefighters, the song is a moving account
of a fictional fire from the perspective of the firefighters, a fire victim, and the arsonist.
My notes read: "It begins with a fast 4/4 bass line [actually more complex] fed into the
loop."
There's a fire burning in Brooklyn tonight
Stephen Corcoran is workin' hard to bring her under control
He cries "I've already lost three men in that building
I don't want to lose any more.
Back to my notes: "Bobby's slight strain of a vocal rasp captures the pain of the protagonists.
Sharp, stabbing notes on the high end of the fingerboard, played in tandem with the
bass line accent the story's urgency."
There are around twenty of us in the audience, all here to see Bobby. It might not seem like
much, but Tuesday night in the East Village is not an easy sell, unless you've got a following.
He does. Some engage in banter with the performer. Many cheer at familiar introductory
notes to certain numbers. All cheer at their conclusion. At some point, a young woman
sits down to my right, singing along to well-learned lyrics, slapping her leg in time to the
rhythm. At the song's end, she asks if I'm writing about Bobby, then offers that she
heard him for the first time at a college in Pennsylvania.
Bobby finishes off the set with a straight-ahead love song, "For You, My Love." His voice
is natural, unaffected, nothing bombastic, but strains with just enough emotion:
Everybody goes through changes
Baby I love you and I forgive you your weaknesses
for you my love.
Here, he slowly, casually moves up the neck, over the underlying riff. This alternates with
quick runs and more gently caressed notes.
At the conclusion of the set, I met with Bobby in the front of the café. We spoke briefly,
and agreed to meet later in the week for an interview.

New Jersey, Drums and Garages
When I ask where he grew up, he says, "I was born in Brooklyn and I like to pretend I
grew up there. I grew up in Northwest Jersey, in Jefferson Township which is one of the
towns that borders on Lake Hopatcong. Both of my parents were from New York, my
father from Manhattan, my mother from Brooklyn. My father continued to work in the
city, right near Madison Square Garden. So, New York means a lot to me"

Bobby's father worked for CBS in data processing. There were a lot of Columbia records
around with the stamp, "For Promotional Use Only." It varied from Simon and Garfunkel's
Bridge Over Troubled Water to orchestral pop by the Ray Connif Orchestra
He got a drum set in 4th grade. He says "My dad bought me a drum set and I used to
beat the shit out of it every day after school. In White Rock Elementary School in Jefferson
Township, you could join the band in the 4th grade as an elective. You could choose music
or art, so I chose the drums. I took to it quickly and was good at it. I once won a contest
for the longest drum roll. I was pretty proud of that. I loved it. I stuck with it through the
8th grade but then got out of the music programs entirely. I found it stifling."

He picked up the guitar in high school, using guitar magazines, tablatures and practicing
with friends to learn how to play. They played in garage bands, not at all serious, turning
their amps up as loud as they could go. They would order amps, then set them up outside
the garage. "One of us would play it on 10 and the other would start walking to see
how far away we could hear it."

The Poor Man's Berklee
Things got serious when he went to William Patterson University. He chose it because it
was easy to get into and close to home, but, turned out to have one of the best jazz
programs in the nation, like, a "poor man's Berklee." He wound studying Music Business.
His degree is a B.A. in the School of Liberal Arts, with the major track in Music Business.
There were courses in basic musicianship and he learned how to read music. There were
piano courses, some choir classes &endash; he was in a gospel choir &endash; music appreciation, listening
classes and music history. Bobby also got involved with entertainment programming.
There were some music business groups which had budgets and put on concerts. Looking
at talent, he started coming into the city and saw some people at the Bitter End and saw
that "people could be out there playing gigs even though they weren't rock stars."

The Switch to Acoustic
By that time, he'd heard James Taylor's greatest hits and was inspired to focus on the
acoustic guitar. Bobby went to James Taylor concerts every time he came around.
He stopped playing electric guitar altogether, and got into songwriting, going to open mics,
playing acoustic songs like "Fire and Rain." Paul Simon's Graceland and
Rhythm of the Saints were also influential.



The First Gigs
As he tells it: "By my last year in college I got some bar gigs. I put together a duo with a
conga player. We'd play some originals, some Paul Simon, James Taylor, acoustic stuff
by The Who, classic rock, and Crosby Stills & Nash. I was making some decent money,
and then I realized, "This is what I'm going to do. After college, I was able to keep doing
that gig thing and I decided that I wasn't going to get a resume together and go get a
real job. I was going to embrace music."

Bobby spent a year working as a guitar and sound tech with the group "From Good Homes."
They opened up for a who's who of bands that broke out in the 90's: Dave Matthews,
Hootie and the Blowfish, Barenaked Ladies, Bob Weir and Ratdog; even some dates with
Bob Dylan. Bobby got an education in the business of touring &emdash; how a tour operates, how
a sound check goes, seeing how a songwriter handles the band and how they arrange music.
He had his guitar, practicing all the while. "A couple of the guys in the band dug what
I was doing and saw potential and wanted to help me grow. They gave me some great
opportunities, throwing me an opening set once in a while on big stages, opening for them."
He stopped working with the band full-time thing but would tour with them when they
needed him. Bobby recorded his first record, Nice Hat in 1997and a few of the band
members did instrumental work on the album.

When I mentioned my observation about his "inner metronome," he responded, "Yeah,
I've been told that by jazz bass players. I've been blessed with having good time. I've never
worked on it; never sat with a metronome and practiced." I theorized that it might've
stemmed from his early success with the drums. He acknowledged that possibility.
Ironically, he got into using the loop, trying to improve his singing. Bobby stated, "The guy
who turned me on to the loop station was J.D. Walter, a jazz singer. He does what I'm
doing with guitar &endash; but all voice. Picture Take 6, with one guy. Amazing jazz singer.
I took a lesson with this guy about a year and a half, two years ago. Through the whole
lesson, he was talking about his new toy, the loop station. How great it is, how amazing it is…
So I thought to myself, Alright, I'm paying this guy to impart knowledge to me. I just spent
75 bucks to listen to him talk about great the loop station is. I guess I'll go buy one. It was
exactly what he told me it would be. It opened up worlds of creativity, taking it out on the
gig or just using it at home as a practice tool."
Although my intent is to praise Bobby's solo work and his use of digital layering techniques,
he states that he wouldn't want to perform that way exclusively. He enjoys the interplay with
other musicians too much. It's evident from the recordings he's made. Both Nice Hat and the
follow-up Alive from Sarah Street contain a wealth of collaboration with brass instruments,
keyboard, violin and even washboard. Whether it's pop, folk or jazz, he'll try anything.
Bobby may feel a need to seek improvement in his vocal abilities, but when the lyrics to
"Fire in Brooklyn," pour from him like smoke from a three-alarmer,
I've got three more kids in that house,
I don't wanna lose any more,
he's more than gifted… he's perfect.

Bobby Syvarth will be appearing on April 19, 8pm at Maxwell's in
Hoboken (1039 Washington St), opening for the NJ Songwriters in the Round
and ASCAP presentation of a panel event on the art, craft and business of songwriting.
Look for more Bobby Syvarth appearances in our listings each month.

Web site: www.bobbysyvarth.com

"I met Bobby through his CD "Nice Hat," which was submitted for consideration for Mayfair 1999. I listen to literally hundreds of CDs a year for the booking process, but there was no doubt in my mind when I heard the first track: there was some music worth paying attention to. I got hooked up, as I listened to one track after another. Bobby's work is very special. It has great grooves, elaborate harmonies, and pristine melodies, which are sure to infect your soul. His ability as a musician is above any criticism. The originality of his work carries the power of the best of American songwriting tradition, combined with a contemporary edge, in perfect sync with today's music scene. Bobby's music is strong, consistent, relevant, broad, exciting, refreshing, and will surely find its place under the sun . . . It has already! Shine it away, Bobby!"

-Franco Sattamini
Performing Arts Director Mayfair Festival of The Arts

Bobby Syvarth almost didn't sing the song. It was the day before Christmas 2002 when Gary Smith invited Syvarth onto his "Gary in the Morning Show" to perform.

The East Stroudsburg musician had written the song, "Say An Extra Prayer," about six years before and hadn't played it for a while. But that morning, accompanied by fiddle-player Tim Carbone, Syvarth performed it once more.

State Rep. Kelly Lewis, who happened to be in the WSBG studio in Stroudsburg that morning, heard the song and was inspired.

"Kelly thought the song really expresses what Christmas embodies. It talks about people less fortunate than we are and remembering them during the holidays," Syvarth said.

The end result of the conversation that Christmas-Eve morning between Lewis and Syvarth was the decision to enlist local talent to produce a quality Christmas CD that would benefit Pocono Area Transitional Housing, or PATH.

PATH is a nonprofit program for families with children who find themselves homeless for reasons beyond their control — illness, loss of a job, domestic violence. Two houses in Stroudsburg provide shelter for homeless families for about four months. During that time, people receive counseling and help in finding affordable housing, a job, child care, further education and whatever else they need to get on their feet again. PATH is supported by grants and community donations.

The project initiated by Syvarth and Lewis, "The Reasons For Christmas," has since snowballed, picking up many helpers along the way. Syvarth and Lewis enlisted recording engineer Kent Heckman of Red Rock Recording Studio in Snydersville and his wife Lois Brownsey Heckman, a PATH board member. Rick Chamberlain, whom Lois Heckman describes as "our area's fine trombonist and general all around go-to guy for music," also came on board to work on the project.

"Kelly wanted to do (the CD) on a very high level. So, we started to think who should we ask to contribute," Lois Heckman said. Top-name local talent from the jazz community came to mind. "They all said yes. They're all premier artists, some of the best the Poconos has to offer."

One of those artists is jazz musician Bob Dorough, and on a recent Wednesday night 18 high school students from all over Monroe County gathered at Red Rock Recording Studio to sing backing tracks on his piece, "Wouldn't It Be Wonderful If Christmas Came." They had been asked by their music teachers if they'd like to be involved. The group that showed up had a priceless opportunity to work with Dorough, who many of them knew from his "Schoolhouse Rock" series.

"The whole experience was really great," said Kyle Tomlin of Stroudsburg, a recent Stroudsburg High graduate who participated in chorale and show choir. "It was fun. The song was catchy. I was singing it all the next day."

Pocono Mountain West graduate Giuliana Sarullo of Blakeslee decided to take part because she thought it would be fun. "When we heard what it would be for, that made it so much better. We all got into it. We wanted to help those less fortunate than ourselves," she said.

Working with Bob Dorough was also a plus for Sarullo. "It was amazing. He's just a great musician."

As recording engineer for the project, Kent Heckman has been working with the individual artists and musicians to produce a quality product. In addition to Syvarth's inspirational song and Dorough's lively piece, the CD will include a variety of styles that should appeal to most everyone.

Phil Woods' duet with Johnny Coates is an up-tempo jazz rendition of "White Christmas." Coates is also contributing a solo piano version of "Silent Night."

"Let's Make Christmas Every Day" is a rhythm and blues track that Eric Doney wrote and Vickie Doney sings on the CD.

Nancy and Spencer Reed are doing "For the Children," a vocal jazz, medium-tempo song written by Phil Woods.

Also on the CD will be Gary Dillon's original song, "Waiting for Christmas."

"It's very simple with Dillon on guitar and Tony Marino on bass," Heckman said. "Marino brings a little bit of jazz to it."

Jazz musicians Jesse Green and Jerry Harris will also contribute an original piece to the CD. And Dave Liebman Group is doing "Santa Claus is Coming to Town."

"It's really out there," Heckman said. "It's one of my favorites."

Gaptime will perform a Wolfgang Knittle arrangement of "Good King Wenceslas" for the project. "It's a kind of Dixieland arrangement," Heckman said.

And finally, an instrumental interlude that Heckman described as "17th-century German, fairly classical" will be included. "It's not really jazz. It's definitely classically influenced with an interesting harmony," he added.

According to Lewis, "The Reasons for Christmas" project's goal is to raise more than $300,000 for PATH. A $15,000 contribution from East Stroudsburg Savings Association will help fund production of the CD.

"It's the community all coming together," Lois Heckman said. "It's quite unique."

The CD is expected to be available at the Pocono Garlic Festival over Labor Day Weekend and at the Delaware Water Gap Celebration of the Arts in September. People will also be able to order it through amazon.com and purchase it at local stores.

All contributions go directly to PATH. For information, call (570) 420-2948.