When taking stock of the various scenes
at the forefront of American music’s evolution during the past four
decades, Milwaukee doesn’t immediately spring to mind. The fact is that
one of the city’s favorite sons, Paul Cebar, has done as much as anyone
to introduce hip audiences to the seductive wonder of Latin, African and Caribbean
rhythms set in a Jazz/R&B context.
Beginning almost simultaneously in the
’80s with the R&B Cadets and his own combo, The Milwaukeeans, Cebar
contemporized hits by Duke Ellington, Ella Fitzgerald and Louis Jordan
while writing originals in a similarly synthesized style that filled
dance floors and rattled rafters around the Midwest.
first recorded document, 1993’s That Unhinged Thing, raised their
profile exponentially and forced them to expand their touring range.
The Milwaukeeans morphed into the slightly more Pop-tinged yet still
exotically influenced Paul Cebar & Tomorrow Sound about five years
ago, with their first album in this new configuration sporting a title
that also served as their manifesto/mantra; Tomorrow Sound Now for Yes Music People.
Call it Ska, Jazz, R&B, Soul,
Afro/Caribbean Pop, Blues or any combination within and beyond (Cebar
once quoted Blues legend Sonny Boy Williamson in noting, “You can call
it your mammy if you like”). However you define Tomorrow Sound, Paul Cebar implores you to dance while you consider your options.