"The Playing is Inventive, Playful, and Occasionally Even Transcendent"
“His Spacious Music Moves in Unpredictable Ways and Makes You Lean Forward and Listen"
Wolff Planning New CD
Acclaimed pianist Michael Wolff continues to ride a wave of critical acclaim for his standards CD 'jazz, JAZZ, jazz.' Recent tour dates prompted respected media outlets to weigh in on the recording, and their in-depth coverage follows below. SF WEEKLY praised: “the playing is inventive, playful, and occasionally even transcendent - as on Wolff's unaccompanied introduction to Dizzy Gillespie's “Con Alma."" And The San Francisco Chronicle, in a major feature by Jesse Hamlin, noted, “His spacious music moves in unpredictable ways and makes you lean forward and listen."
Wolff has additional tour dates in the works for summer, and will soon head back into the studio to begin work on a new album. All details will be announced soon.
SAN FRANCISCO CHRONICLE
Jazz pianist Michael Wolff at Yoshi's S.F.
Friday, February 15, 2008 By Jesse Hamlin
Pianist Michael Wolff will be playing old chestnuts such as “Autumn Leaves" and “My Funny Valentine" when his trio performs next week at Yoshi's San Francisco and the Bach Dancing & Dynamite Society in Half Moon Bay. But don't expect to hear much of those familiar melodies.
“Most of the people who come to hear this music are going to know those songs, so I don't have to lay it out and hit 'em over the head. It's going to sort of play itself," says Wolff, a Berkeley-bred musician whose new CD of standards, “jazz, JAZZ, jazz," is all about improvisation. His spacious music moves in unpredictable ways and makes you lean forward and listen.
Wolff is a versatile artist who has worked with Nancy Wilson and Cannonball Adderley, was the musical director of the Arsenio Hall TV show, and serves as executive co-producer and acts on the hit Nickelodeon show “The Naked Brothers Band." That's a family affair: The show is written and directed by Wolff's wife, actress Polly Draper, and stars their two musically precocious sons, Nat, 13, and 10-year-old Alex. After years leading Impure Thoughts - a funky rhythm band featuring a rotating cast of drummers, including Indian tabla player Badal Roy, Latin percussionist Frank Colon and Brazil's Airto Moreira - Wolff is back on the road with his trio playing the music he was weaned on and has a deep affinity with. With drummer Victor Jones and bassist Richie Goods, he'll be playing mostly tunes from “jazz, JAZZ, jazz," among them “Cry Me a River," Miles Davis' “Solar" and Herbie Hancock's “Dolphin Dance." “The harmonic language of this music is so expressive and rich," Wolff says by phone from his downtown New York home. “There are all these delicious colors and sounds." Rather than playing the familiar melodies straight through and then improvising on the tune - a standard jazz approach - Wolff breaks open the song from the first bar and feels his way into the music.
“It's more about being in the moment, in the harmonic or coloristic space with the other musicians, and seeing what happens," he says. “Probably each chorus that goes by I'll play different harmonies."
The music, he adds, “has a big form, so you're just kind of playing in space, and you can just let go. You can stay with one chord for eight measures, or you can play eight chords in two measures." The key is listening and responding to the other musicians, “like a conversation, a fun, dinner-table conversation, where everybody's drinking and eating, talking and cracking up. That's what it's like when you have three players who've played together for a long time and have played this music forever. It's wide open. It's just fun."
That pleasure comes across on the new disc, which Wolff recorded with Jones and bassist John B. Williams in 2001, when they had some leftover studio time while make the Impure Thoughts CD “Intoxicate." At the time, he didn't intend to release it, but later decided he wanted to put it out and tour with the trio. “It's representative of the music that's really important to me," Wolff says, “and how I came up." The musicians didn't rehearse or make arrangements; they just picked some tunes, turned on the tape, and off they went. Wolff came to love that sort of spontaneity while playing with Adderley's band, which he joined after spending two years with vibraphonist Cal Tjader. A Berkeley High graduate, he was 19 when he quit UC Berkeley to go on the road with Tjader. He'd sat in with the vibraphonist at the old El Matador in San Francisco, where he had to be sneaked into the club because he was underage.
“When I joined Cal, I was trying to play all my s- all the time," Wolff says. Tjader advised him to breathe, relax and let the music breathe. “He gave me some thoughts about how to use space," says Wolff, who's been inspired by a whole slew of pianists, among them Bill Evans, whom he used to bug to show him stuff, Herbie Hancock, Joe Zawinul (whom he replaced in the Adderley band), Roland Hanna and a lot of other musicians he heard up close after moving to New York at age 22. He'd grown up, first in New Orleans and then in Berkeley, listening to the records of Duke Ellington, Ray Charles, George Shearing, Frank Sinatra and others his late father played for him. He later spent time studying the live trio records that saxophonist Sonny Rollins made at the Village Vanguard in 1959.
Because there was no piano, Rollins “really had to develop everything," Wolff says. “He doesn't just run the changes and run the scales. He really played theme and development, and that's the key to what I try to do - to get little nuggets of ideas and stretch 'em out, take 'em around in different keys and have them lead to other places. The idea is that you're in the moment, and it's just flowing out of you."
Wolff follows his wife's script on “The Naked Brothers Band," a kind of mockumentary in which he's the goofball accordion-playing dad to his rock-star kids. Each episode is built around a song that one of his kids actually wrote. “They write all the material, and I produce it," Wolff says. “They're very strong, real artists." On the show, “they're like the dad and I'm like the kid. That's exactly how it is at home," he adds with a laugh. “My wife said, 'Don't be how you are on your gigs. Act like you do at home.' “ Unlike a lot of musician friends who lament not getting to spend more time with their families, Wolff has the great pleasure of working with his. Their Nickelodeon show is taped in New York during the summer months (unlike a lot of child stars, who have tutors or are home-schooled, the Wolff boys go to a regular school). “Every morning we get up at 6 or 7 and go to work together," Wolff says. “It's a blast. We're not around each other all the time - they do their thing and I do mine - but we are acting together a lot. It's a fantastic experience." The kids are back in school and Wolff is back on the road, playing the kind of jazz he loves most.
At this stage in his life, he says, “I feel mature but still energetic. It's the ideal spot for a musician. I feel like I can hear everything I'm playing, and I can hear what other people are playing and I still have the energy and technique to do whatever I want. I feel like I really didn't hear this stuff until I was about 40, where I could really feel totally connected to all the notes and all the sounds." Whatever music he plays, Wolff says, “it all has to serve the heart. It's about the mood and the feeling and what you're trying to express as a human being. At Cannonball Adderley's funeral, Jesse Jackson said Cannonball combined science and soul. To me, that's what being an artist is." SF CHRONICLE 2/15/08 BY JESSE HAMLIN
SF WEEKLY 2/08 By Ezra Gale
Michael Wolff Trio: Jazz, Jazz, Jazz CD (Wrong Records)
In a perfect world, Herbie Hancock smacking down Amy Winehouse and Kanye West to win album of the year honors at this year's Grammys would mean a flood of new jazz releases from a record industry frantically trying to keep up with the public's insatiable demand. Of course, we don't live in that world, and Hancock's win (for River: The Joni Letters) undoubtedly has more to do with familiarity than with any uptick in the commercial viability of jazz. But if it sheds some light on a chronically overlooked corner of the industry, that can't hurt, and one recent release that might theoretically benefit is pianist Michael Wolff's Jazz, Jazz, Jazz. A straight-ahead (and aptly titled) jazz record if ever there were one, this is the kind of album that made Blue Note famous in the 1960s -- put three guys in a room, roll the tape, press the vinyl. Wolff's eclectic career has recently veered from Harry Connick-esque crooning (on 2006's Love and Destruction) to the electrified fusion of his Impure Thoughts band, but Jazz, Jazz, Jazz shows that his jazz piano roots haven't been neglected. The set list here could hardly be more standard, as Wolff, bassist John B. Williams, and drummer Victor Jones trot out warhorses like “My Funny Valentine," “Autumn Leaves," and “Softly as a Morning Sunrise," but the playing is inventive, playful, and occasionally even transcendent -- as on Wolff's unaccompanied introduction to Dizzy Gillespie's “Con Alma." Good (and lucky) enough for another jazz Grammy? Probably not. But certainly a reminder of why we listen to records like this in the first place. SF WEEKLY By Ezra Gale
KANSAS CITY STAR J AZZ TOWN | By JOE KLOPUS, Feb. 21, 2008
Keyboardist Michael Wolff has found second career thanks to show-biz kids.
Pianist Michael Wolff's appearance Friday at the Blue Room will be the only jazz gig in town led by a guy who also plays a “Sonny Bono-haired, goofy, accordion-playing dad" in a hit TV show. Cute, but will the results be good jazz? You bet. Wolff got his job as the dad on Nickelodeon's “The Naked Brothers Band" by being real-life father and musical mentor to the show's stars, Nat and Alex Wolff. But mainly he's a strong, expressive pianist who brings some serious jazz credibility to the stage. Just ask Sonny Rollins or Nancy Wilson. Wolff, 53, also known for his stint as bandleader on “The Arsenio Hall Show," has been in the jazz business since he was 19. That's when he went on the road with Cal Tjader. “I didn't know what I was doing, but it was a blast," he says. Then he went to work for Jean- Luc Ponty, Airto and Cannonball Adderley -- the last Adderley band, as it turned out. Later on, he landed the keyboard job with Rollins. “It was great ear training," he said. “I didn't know what he was going to do, and he didn't know what he was going to do." It was only later that Wolff realized he had been privileged to work with “the best improviser in jazz on any instrument." Wolff also spent five years as musical director for Nancy Wilson and sometimes sang duets with her. Arsenio Hall was one of Wilson's opening acts, “and we'd talk about music and comedy. He said he was trying to get a talk show, and he offered me the chance to lead the band if he got it." Hall was true to his word, and though Wolff still needed some convincing, he moved west and entered the TV field. The Hall show was “a great experience. I met my wife, Polly Draper, who was a guest on the show. I got to play with everybody -- Wayne Shorter, Herbie Hancock, Chick Corea, Ray Charles, Al Green, Yo-Yo Ma, Placido Domingo." And Bill Clinton, who sought Wolff's advice as to whether he should leave the sunglasses on. Wolff has also done a substantial amount of TV and film scoring, including a project close to his heart, “The Tic Code," a film written by Draper that reflects Wolff's struggle with Tourette's syndrome. And he was well-positioned to jump back into the field when Draper's independent film about their talented singer-songwriter sons (Nat has been writing songs for nine of his 13 years, Wolff says) caught on. It became an award-winner and spawned a TV series. Now Wolff has the name recognition and financial freedom to pursue just about any jazz project he pleases. He has led a band influenced by world music, Impure Thoughts, with Badal Roy on tablas and Alex Foster on saxes. But these days he's working mainly with his trio, with drummer Victor Jones and bassist Richie Goods. “Now I feel really liberated just playing jazz," Wolff says. “I really enjoy the spontaneity and feeling, and I feel like I'm at the top of my game as a jazz piano player. And the response has been good." The Kansas City Star 2/21/08, By Joe Klopus
SF EXAMINER
Acclaimed jazz pianist and Bay Area resident Michael Wolff once served as the music director on “The Arsenio Hall Show." Lana K. Wilson-Combs, The Examiner 2008-02-23
The acclaimed jazz pianist, a former Berkeley resident, has released a new album, “jazz, JAZZ, jazz." He appears Sunday at the Bach Dancing & Dynamite Society in Half Moon Bay and Monday at Yoshi's San Francisco.
How does “jazz, JAZZ, jazz" differ from your previous albums? This is a standards jazz album and is one for people who really love jazz. This CD represents what I love best about making jazz. Even though me and my bandmates were familiar with all the tunes, when we went into the studio we wanted to do something different with the compositions and have fun with the songs. That's what we did.
You do a remake of Herbie Hancock's “Dolphin Dance" on “jazz, JAZZ, jazz." What did you think of Hancock snagging the Grammy for Album of the Year? Was that fantastic or what? It certainly validates the power of jazz music and serves as an inspiration to all of us who love it and keep plugging away at making it.
Do you miss your role as music director on “The Arsenio Hall Show"? Those were great days on the show. I do miss them. But I also stay in touch with Arsenio Hall. In fact, he appeared last season as himself on “The Naked Brothers Band" show.
Your wife, Polly Draper, is an actress and your two kids are starring in “The Naked Brothers Band" on Nickelodeon. Is the spotlight big enough for all of you? I'm not so sure anymore. My sons Nat [13] and Alex [10] are more popular than me now. What started out as a comedy film about a kid's rock band has turned in to a hit TV show. My wife writes and produces the show. SF Examiner, 2/23/08, By Lana Combs
Wolff and his trio will perform in Reading, PA on 6/5, at Gerald Veasley's Jazz Base. Look for more Michael Wolff tour dates to be confirmed soon.
“His Spacious Music Moves in Unpredictable Ways and Makes You Lean Forward and Listen"
Wolff Planning New CD
Acclaimed pianist Michael Wolff continues to ride a wave of critical acclaim for his standards CD 'jazz, JAZZ, jazz.' Recent tour dates prompted respected media outlets to weigh in on the recording, and their in-depth coverage follows below. SF WEEKLY praised: “the playing is inventive, playful, and occasionally even transcendent - as on Wolff's unaccompanied introduction to Dizzy Gillespie's “Con Alma."" And The San Francisco Chronicle, in a major feature by Jesse Hamlin, noted, “His spacious music moves in unpredictable ways and makes you lean forward and listen."
Wolff has additional tour dates in the works for summer, and will soon head back into the studio to begin work on a new album. All details will be announced soon.
SAN FRANCISCO CHRONICLE
Jazz pianist Michael Wolff at Yoshi's S.F.
Friday, February 15, 2008 By Jesse Hamlin
Pianist Michael Wolff will be playing old chestnuts such as “Autumn Leaves" and “My Funny Valentine" when his trio performs next week at Yoshi's San Francisco and the Bach Dancing & Dynamite Society in Half Moon Bay. But don't expect to hear much of those familiar melodies.
“Most of the people who come to hear this music are going to know those songs, so I don't have to lay it out and hit 'em over the head. It's going to sort of play itself," says Wolff, a Berkeley-bred musician whose new CD of standards, “jazz, JAZZ, jazz," is all about improvisation. His spacious music moves in unpredictable ways and makes you lean forward and listen.
Wolff is a versatile artist who has worked with Nancy Wilson and Cannonball Adderley, was the musical director of the Arsenio Hall TV show, and serves as executive co-producer and acts on the hit Nickelodeon show “The Naked Brothers Band." That's a family affair: The show is written and directed by Wolff's wife, actress Polly Draper, and stars their two musically precocious sons, Nat, 13, and 10-year-old Alex. After years leading Impure Thoughts - a funky rhythm band featuring a rotating cast of drummers, including Indian tabla player Badal Roy, Latin percussionist Frank Colon and Brazil's Airto Moreira - Wolff is back on the road with his trio playing the music he was weaned on and has a deep affinity with. With drummer Victor Jones and bassist Richie Goods, he'll be playing mostly tunes from “jazz, JAZZ, jazz," among them “Cry Me a River," Miles Davis' “Solar" and Herbie Hancock's “Dolphin Dance." “The harmonic language of this music is so expressive and rich," Wolff says by phone from his downtown New York home. “There are all these delicious colors and sounds." Rather than playing the familiar melodies straight through and then improvising on the tune - a standard jazz approach - Wolff breaks open the song from the first bar and feels his way into the music.
“It's more about being in the moment, in the harmonic or coloristic space with the other musicians, and seeing what happens," he says. “Probably each chorus that goes by I'll play different harmonies."
The music, he adds, “has a big form, so you're just kind of playing in space, and you can just let go. You can stay with one chord for eight measures, or you can play eight chords in two measures." The key is listening and responding to the other musicians, “like a conversation, a fun, dinner-table conversation, where everybody's drinking and eating, talking and cracking up. That's what it's like when you have three players who've played together for a long time and have played this music forever. It's wide open. It's just fun."
That pleasure comes across on the new disc, which Wolff recorded with Jones and bassist John B. Williams in 2001, when they had some leftover studio time while make the Impure Thoughts CD “Intoxicate." At the time, he didn't intend to release it, but later decided he wanted to put it out and tour with the trio. “It's representative of the music that's really important to me," Wolff says, “and how I came up." The musicians didn't rehearse or make arrangements; they just picked some tunes, turned on the tape, and off they went. Wolff came to love that sort of spontaneity while playing with Adderley's band, which he joined after spending two years with vibraphonist Cal Tjader. A Berkeley High graduate, he was 19 when he quit UC Berkeley to go on the road with Tjader. He'd sat in with the vibraphonist at the old El Matador in San Francisco, where he had to be sneaked into the club because he was underage.
“When I joined Cal, I was trying to play all my s- all the time," Wolff says. Tjader advised him to breathe, relax and let the music breathe. “He gave me some thoughts about how to use space," says Wolff, who's been inspired by a whole slew of pianists, among them Bill Evans, whom he used to bug to show him stuff, Herbie Hancock, Joe Zawinul (whom he replaced in the Adderley band), Roland Hanna and a lot of other musicians he heard up close after moving to New York at age 22. He'd grown up, first in New Orleans and then in Berkeley, listening to the records of Duke Ellington, Ray Charles, George Shearing, Frank Sinatra and others his late father played for him. He later spent time studying the live trio records that saxophonist Sonny Rollins made at the Village Vanguard in 1959.
Because there was no piano, Rollins “really had to develop everything," Wolff says. “He doesn't just run the changes and run the scales. He really played theme and development, and that's the key to what I try to do - to get little nuggets of ideas and stretch 'em out, take 'em around in different keys and have them lead to other places. The idea is that you're in the moment, and it's just flowing out of you."
Wolff follows his wife's script on “The Naked Brothers Band," a kind of mockumentary in which he's the goofball accordion-playing dad to his rock-star kids. Each episode is built around a song that one of his kids actually wrote. “They write all the material, and I produce it," Wolff says. “They're very strong, real artists." On the show, “they're like the dad and I'm like the kid. That's exactly how it is at home," he adds with a laugh. “My wife said, 'Don't be how you are on your gigs. Act like you do at home.' “ Unlike a lot of musician friends who lament not getting to spend more time with their families, Wolff has the great pleasure of working with his. Their Nickelodeon show is taped in New York during the summer months (unlike a lot of child stars, who have tutors or are home-schooled, the Wolff boys go to a regular school). “Every morning we get up at 6 or 7 and go to work together," Wolff says. “It's a blast. We're not around each other all the time - they do their thing and I do mine - but we are acting together a lot. It's a fantastic experience." The kids are back in school and Wolff is back on the road, playing the kind of jazz he loves most.
At this stage in his life, he says, “I feel mature but still energetic. It's the ideal spot for a musician. I feel like I can hear everything I'm playing, and I can hear what other people are playing and I still have the energy and technique to do whatever I want. I feel like I really didn't hear this stuff until I was about 40, where I could really feel totally connected to all the notes and all the sounds." Whatever music he plays, Wolff says, “it all has to serve the heart. It's about the mood and the feeling and what you're trying to express as a human being. At Cannonball Adderley's funeral, Jesse Jackson said Cannonball combined science and soul. To me, that's what being an artist is." SF CHRONICLE 2/15/08 BY JESSE HAMLIN
SF WEEKLY 2/08 By Ezra Gale
Michael Wolff Trio: Jazz, Jazz, Jazz CD (Wrong Records)
In a perfect world, Herbie Hancock smacking down Amy Winehouse and Kanye West to win album of the year honors at this year's Grammys would mean a flood of new jazz releases from a record industry frantically trying to keep up with the public's insatiable demand. Of course, we don't live in that world, and Hancock's win (for River: The Joni Letters) undoubtedly has more to do with familiarity than with any uptick in the commercial viability of jazz. But if it sheds some light on a chronically overlooked corner of the industry, that can't hurt, and one recent release that might theoretically benefit is pianist Michael Wolff's Jazz, Jazz, Jazz. A straight-ahead (and aptly titled) jazz record if ever there were one, this is the kind of album that made Blue Note famous in the 1960s -- put three guys in a room, roll the tape, press the vinyl. Wolff's eclectic career has recently veered from Harry Connick-esque crooning (on 2006's Love and Destruction) to the electrified fusion of his Impure Thoughts band, but Jazz, Jazz, Jazz shows that his jazz piano roots haven't been neglected. The set list here could hardly be more standard, as Wolff, bassist John B. Williams, and drummer Victor Jones trot out warhorses like “My Funny Valentine," “Autumn Leaves," and “Softly as a Morning Sunrise," but the playing is inventive, playful, and occasionally even transcendent -- as on Wolff's unaccompanied introduction to Dizzy Gillespie's “Con Alma." Good (and lucky) enough for another jazz Grammy? Probably not. But certainly a reminder of why we listen to records like this in the first place. SF WEEKLY By Ezra Gale
KANSAS CITY STAR J AZZ TOWN | By JOE KLOPUS, Feb. 21, 2008
Keyboardist Michael Wolff has found second career thanks to show-biz kids.
Pianist Michael Wolff's appearance Friday at the Blue Room will be the only jazz gig in town led by a guy who also plays a “Sonny Bono-haired, goofy, accordion-playing dad" in a hit TV show. Cute, but will the results be good jazz? You bet. Wolff got his job as the dad on Nickelodeon's “The Naked Brothers Band" by being real-life father and musical mentor to the show's stars, Nat and Alex Wolff. But mainly he's a strong, expressive pianist who brings some serious jazz credibility to the stage. Just ask Sonny Rollins or Nancy Wilson. Wolff, 53, also known for his stint as bandleader on “The Arsenio Hall Show," has been in the jazz business since he was 19. That's when he went on the road with Cal Tjader. “I didn't know what I was doing, but it was a blast," he says. Then he went to work for Jean- Luc Ponty, Airto and Cannonball Adderley -- the last Adderley band, as it turned out. Later on, he landed the keyboard job with Rollins. “It was great ear training," he said. “I didn't know what he was going to do, and he didn't know what he was going to do." It was only later that Wolff realized he had been privileged to work with “the best improviser in jazz on any instrument." Wolff also spent five years as musical director for Nancy Wilson and sometimes sang duets with her. Arsenio Hall was one of Wilson's opening acts, “and we'd talk about music and comedy. He said he was trying to get a talk show, and he offered me the chance to lead the band if he got it." Hall was true to his word, and though Wolff still needed some convincing, he moved west and entered the TV field. The Hall show was “a great experience. I met my wife, Polly Draper, who was a guest on the show. I got to play with everybody -- Wayne Shorter, Herbie Hancock, Chick Corea, Ray Charles, Al Green, Yo-Yo Ma, Placido Domingo." And Bill Clinton, who sought Wolff's advice as to whether he should leave the sunglasses on. Wolff has also done a substantial amount of TV and film scoring, including a project close to his heart, “The Tic Code," a film written by Draper that reflects Wolff's struggle with Tourette's syndrome. And he was well-positioned to jump back into the field when Draper's independent film about their talented singer-songwriter sons (Nat has been writing songs for nine of his 13 years, Wolff says) caught on. It became an award-winner and spawned a TV series. Now Wolff has the name recognition and financial freedom to pursue just about any jazz project he pleases. He has led a band influenced by world music, Impure Thoughts, with Badal Roy on tablas and Alex Foster on saxes. But these days he's working mainly with his trio, with drummer Victor Jones and bassist Richie Goods. “Now I feel really liberated just playing jazz," Wolff says. “I really enjoy the spontaneity and feeling, and I feel like I'm at the top of my game as a jazz piano player. And the response has been good." The Kansas City Star 2/21/08, By Joe Klopus
SF EXAMINER
Acclaimed jazz pianist and Bay Area resident Michael Wolff once served as the music director on “The Arsenio Hall Show." Lana K. Wilson-Combs, The Examiner 2008-02-23
The acclaimed jazz pianist, a former Berkeley resident, has released a new album, “jazz, JAZZ, jazz." He appears Sunday at the Bach Dancing & Dynamite Society in Half Moon Bay and Monday at Yoshi's San Francisco.
How does “jazz, JAZZ, jazz" differ from your previous albums? This is a standards jazz album and is one for people who really love jazz. This CD represents what I love best about making jazz. Even though me and my bandmates were familiar with all the tunes, when we went into the studio we wanted to do something different with the compositions and have fun with the songs. That's what we did.
You do a remake of Herbie Hancock's “Dolphin Dance" on “jazz, JAZZ, jazz." What did you think of Hancock snagging the Grammy for Album of the Year? Was that fantastic or what? It certainly validates the power of jazz music and serves as an inspiration to all of us who love it and keep plugging away at making it.
Do you miss your role as music director on “The Arsenio Hall Show"? Those were great days on the show. I do miss them. But I also stay in touch with Arsenio Hall. In fact, he appeared last season as himself on “The Naked Brothers Band" show.
Your wife, Polly Draper, is an actress and your two kids are starring in “The Naked Brothers Band" on Nickelodeon. Is the spotlight big enough for all of you? I'm not so sure anymore. My sons Nat [13] and Alex [10] are more popular than me now. What started out as a comedy film about a kid's rock band has turned in to a hit TV show. My wife writes and produces the show. SF Examiner, 2/23/08, By Lana Combs
Wolff and his trio will perform in Reading, PA on 6/5, at Gerald Veasley's Jazz Base. Look for more Michael Wolff tour dates to be confirmed soon.
For more information contact Seth Cohen PR.
