$ 20.00 USD
Lucky Chops - Unsigned Sheet Music
$ 15.00 USD
Lucky Chops - Virtue and Vice Sessions CD
$ 30.00 USD
- Support Lucky Chops in style!
- Color: Yellow Gold Triblend
- Fabric: 3.8oz; 50/25/25 polyester/airlume combed cotton/rayon
- Unisex Sizing
Sold Out
u are seen. u are heard. u are love/d.
to celebrate the grammy nomination for my album to feel love/d, i’m releasing a limited merch capsule. when i made the album i asked myself “what do i want? to feel. to feel love & to feel loved.” i feel love/d and i want you to know that u are love/d.
$ 44.99 USD
Includes limited edition vinyl and a 22-page art and lyric booklet for each song.
u are seen. u are heard. u are love/d.
to celebrate the grammy nomination for my album to feel love/d, i’m releasing a limited merch capsule. when i made the album i asked myself “what do i want? to feel. to feel love & to feel loved.” i feel love/d and i want you to know that u are love/d.
$ 14.99 USD
$ 24.99 USD
u are seen. u are heard. u are love/d.
to celebrate the grammy nomination for my album to feel love/d, i’m releasing a limited merch capsule. when i made the album i asked myself “what do i want? to feel. to feel love & to feel loved.” i feel love/d and i want you to know that u are love/d.
$ 44.99 USD
u are seen. u are heard. u are love/d.
Sold Out
$ 5.00 USD
Lyle Mays - Eberhard 12 Inch Album Poster
$ 30.00 USD
Lyle Mays - Eberhard Album Tee
*This is a “Print On Demand” Item. Please allow 3-5 business days for printing prior to shipping. If ordered with another item in your cart, the On-Demand item will ship separately via USPS First Class Mail. Note because this is a unique item printed just for you, we cannot offer refunds or exchanges for On-Demand Items.
$ 10.00 USD
The Lyle Mays Estate is elated to announce the release of a thirteen-minute “mini symphony” entitled Eberhard—a composition completed by Mays in 2009 for the Zeltsman Marimba Festival, and recorded in the months before his passing on February 10, 2020, with a slate of notable names in jazz including Bill Frisell, Alex Acuña, and Bob Sheppard.
Due out on August 27, 2021, Eberhard is a long-form, multi-section work that is Lyle’s self-professed dedication to the great German bass player Eberhard Weber, a composer whose influence loomed large on Mays and his long-time collaborator Pat Metheny in the forming of the 11-time Grammy-Award winning Pat Metheny Group during the mid 70’s and throughout their careers. According to Steve Rodby (bass player of the Pat Metheny Group and Lyle’s best friend) who did double duty on this recording as co-associate producer and acoustic bassist, “…though he called it his ‘humble tribute’ to Eberhard, it is still 100 percent Lyle in every way.”
A steady, lilting marimba (Wade Culbreath) ostinato offers an ample bed for Eberhard’s ethereal opening piano melody, performed, of course, by Mays. Lyle’s unmistakeable orchestrational style is immediately on display as various shakers, rainsticks, and atmospheric synthesizer pads quietly make their way into the texture, rising and falling organically as an electric bass theme (played by longtime James Taylor cohort, Jimmy Johnson) emerges. Wordless vocals, a hallmark of the music of the Pat Metheny Group, supplied here by jazz singers Aubrey Johnson (Lyle’s niece and co-executive producer), Rosana Eckert, and Gary Eckert, are introduced—first as accompaniment to the bass melody and later as melodic “instruments.”
Vocal features give way to Bob Sheppard’s woodwind section, which gives way to cello section underscores (led by principal Timothy Loo), and soon the whole ensemble, including star drummer/percussionists Jimmy Branly and Alex Acuña, Steve Rodby (acoustic bass), Mitchel Forman (Hammond B3 Organ/Wurlitzer piano), and Bill Frisell (guitar) have made appearances. All sixteen instrumentalists/vocalists rarely play at the same time, instead playfully weaving in and out for various features (notably by Mays, Jimmy Johnson, Aubrey Johnson, and Culbreath) and accompanying textures. In a piece already abundant with aural decadence, Bob Sheppard’s extended tenor saxophone solo, which brings Eberhard to its climax, is perhaps the most thrilling. The piece ends as it began, with a sparse recapitulation of the introduction, rewarding the listener with the feeling of having experienced an incredible musical odyssey.
In typical Lyle fashion, this music reflects and honors his far-reaching influences, most obviously the bass playing and compositional style of Eberhard Weber (with whom Lyle recorded on two occasions), but continuing on through Philip Glass’ minimalism, Indonesian Gamelan ensemble, Brazilian music (notably the percussive and speech-like vocal techniques of Lyle’s friend and collaborator Naná Vasconcelos), to the blues, and to classical forms and structures. As in all of his compositions, Mays’ propensity for exploiting compositional material (or, its “DNA”) to the fullest extent is ever constant throughout Eberhard. Like a scientist, he would take a simple melodic, harmonic, rhythmic, or other kind of idea and experiment with it until he had discovered all of the different forms it could take—melody, counterline, background pad, bassline, rhythmic motif, and more—often using the same ideas in a wide variety of ways. Eberhard is utterly intentional, containing layer upon layer of depth, complexity, love, and care for the listener to discover.
While technically a posthumous release, Mays was engaged in the making of Eberhard from beginning to end—serving as composer, arranger, performer (piano, keyboards, and synthesizers), producer, and executive producer, and was actively involved in all of the recording and mixing sessions, which took place in Los Angeles during the latter half of 2019.
Fans will know that Lyle had been on hiatus from his enormously successful touring and recording career with the Pat Metheny Group and as a solo artist (Eberhard will be his seventh release as a leader) since 2011, choosing instead to pursue his myriad non-musical passions. Then, “Lyle’s health took a bad turn in 2019, and at about the same time, he decided to try to get Eberhard recorded.The relationship between those two events is complex. What’s clear is that he would continue writing and extending this music, as was always his process: to try to find every bit of what the material suggested, every note and harmony, and sound it evoked for him. He added parts, expanded orchestration, imagining it all on an even grander scale,” Steve Rodby explains. “The result is this recording, and what he was able to hear in his final days. This wasn’t meant to be Lyle’s last piece of music, and if he had lived longer, he had plans for more.”
$ 5.00 USD
The Lyle Mays Estate is elated to announce the release of a thirteen-minute “mini symphony” entitled Eberhard—a composition completed by Mays in 2009 for the Zeltsman Marimba Festival, and recorded in the months before his passing on February 10, 2020, with a slate of notable names in jazz including Bill Frisell, Alex Acuña, and Bob Sheppard.
Due out on August 27, 2021, Eberhard is a long-form, multi-section work that is Lyle’s self-professed dedication to the great German bass player Eberhard Weber, a composer whose influence loomed large on Mays and his long-time collaborator Pat Metheny in the forming of the 11-time Grammy-Award winning Pat Metheny Group during the mid 70’s and throughout their careers. According to Steve Rodby (bass player of the Pat Metheny Group and Lyle’s best friend) who did double duty on this recording as co-associate producer and acoustic bassist, “…though he called it his ‘humble tribute’ to Eberhard, it is still 100 percent Lyle in every way.”
A steady, lilting marimba (Wade Culbreath) ostinato offers an ample bed for Eberhard’s ethereal opening piano melody, performed, of course, by Mays. Lyle’s unmistakeable orchestrational style is immediately on display as various shakers, rainsticks, and atmospheric synthesizer pads quietly make their way into the texture, rising and falling organically as an electric bass theme (played by longtime James Taylor cohort, Jimmy Johnson) emerges. Wordless vocals, a hallmark of the music of the Pat Metheny Group, supplied here by jazz singers Aubrey Johnson (Lyle’s niece and co-executive producer), Rosana Eckert, and Gary Eckert, are introduced—first as accompaniment to the bass melody and later as melodic “instruments.”
Vocal features give way to Bob Sheppard’s woodwind section, which gives way to cello section underscores (led by principal Timothy Loo), and soon the whole ensemble, including star drummer/percussionists Jimmy Branly and Alex Acuña, Steve Rodby (acoustic bass), Mitchel Forman (Hammond B3 Organ/Wurlitzer piano), and Bill Frisell (guitar) have made appearances. All sixteen instrumentalists/vocalists rarely play at the same time, instead playfully weaving in and out for various features (notably by Mays, Jimmy Johnson, Aubrey Johnson, and Culbreath) and accompanying textures. In a piece already abundant with aural decadence, Bob Sheppard’s extended tenor saxophone solo, which brings Eberhard to its climax, is perhaps the most thrilling. The piece ends as it began, with a sparse recapitulation of the introduction, rewarding the listener with the feeling of having experienced an incredible musical odyssey.
In typical Lyle fashion, this music reflects and honors his far-reaching influences, most obviously the bass playing and compositional style of Eberhard Weber (with whom Lyle recorded on two occasions), but continuing on through Philip Glass’ minimalism, Indonesian Gamelan ensemble, Brazilian music (notably the percussive and speech-like vocal techniques of Lyle’s friend and collaborator Naná Vasconcelos), to the blues, and to classical forms and structures. As in all of his compositions, Mays’ propensity for exploiting compositional material (or, its “DNA”) to the fullest extent is ever constant throughout Eberhard. Like a scientist, he would take a simple melodic, harmonic, rhythmic, or other kind of idea and experiment with it until he had discovered all of the different forms it could take—melody, counterline, background pad, bassline, rhythmic motif, and more—often using the same ideas in a wide variety of ways. Eberhard is utterly intentional, containing layer upon layer of depth, complexity, love, and care for the listener to discover.
While technically a posthumous release, Mays was engaged in the making of Eberhard from beginning to end—serving as composer, arranger, performer (piano, keyboards, and synthesizers), producer, and executive producer, and was actively involved in all of the recording and mixing sessions, which took place in Los Angeles during the latter half of 2019.
Fans will know that Lyle had been on hiatus from his enormously successful touring and recording career with the Pat Metheny Group and as a solo artist (Eberhard will be his seventh release as a leader) since 2011, choosing instead to pursue his myriad non-musical passions. Then, “Lyle’s health took a bad turn in 2019, and at about the same time, he decided to try to get Eberhard recorded.The relationship between those two events is complex. What’s clear is that he would continue writing and extending this music, as was always his process: to try to find every bit of what the material suggested, every note and harmony, and sound it evoked for him. He added parts, expanded orchestration, imagining it all on an even grander scale,” Steve Rodby explains. “The result is this recording, and what he was able to hear in his final days. This wasn’t meant to be Lyle’s last piece of music, and if he had lived longer, he had plans for more.”
$ 18.00 USD
11oz ceramic mug
*This is a “Print On Demand” Item. Please allow 3-5 business days for printing prior to shipping. If ordered with another item in your cart, the On-Demand item will ship separately via USPS First Class Mail. Note because this is a unique item printed just for you, we cannot offer refunds or exchanges for On-Demand Items.
$ 55.00 USD
*This is a “Print On Demand” Item. Please allow 3-5 business days for printing prior to shipping. If ordered with another item in your cart, the On-Demand item will ship separately via USPS First Class Mail. Note because this is a unique item printed just for you, we cannot offer refunds or exchanges for On-Demand Items.
$ 20.00 USD
Ships with free 12x12" album art poster
Also includes an immediate download of the digital album at the time of purchase.
The Lyle Mays Estate is elated to announce the release of a thirteen-minute “mini symphony” entitled Eberhard—a composition completed by Mays in 2009 for the Zeltsman Marimba Festival, and recorded in the months before his passing on February 10, 2020, with a slate of notable names in jazz including Bill Frisell, Alex Acuña, and Bob Sheppard.
Due out on August 27, 2021, Eberhard is a long-form, multi-section work that is Lyle’s self-professed dedication to the great German bass player Eberhard Weber, a composer whose influence loomed large on Mays and his long-time collaborator Pat Metheny in the forming of the 11-time Grammy-Award winning Pat Metheny Group during the mid 70’s and throughout their careers. According to Steve Rodby (bass player of the Pat Metheny Group and Lyle’s best friend) who did double duty on this recording as co-associate producer and acoustic bassist, “…though he called it his ‘humble tribute’ to Eberhard, it is still 100 percent Lyle in every way.”
A steady, lilting marimba (Wade Culbreath) ostinato offers an ample bed for Eberhard’s ethereal opening piano melody, performed, of course, by Mays. Lyle’s unmistakeable orchestrational style is immediately on display as various shakers, rainsticks, and atmospheric synthesizer pads quietly make their way into the texture, rising and falling organically as an electric bass theme (played by longtime James Taylor cohort, Jimmy Johnson) emerges. Wordless vocals, a hallmark of the music of the Pat Metheny Group, supplied here by jazz singers Aubrey Johnson (Lyle’s niece and co-executive producer), Rosana Eckert, and Gary Eckert, are introduced—first as accompaniment to the bass melody and later as melodic “instruments.”
Vocal features give way to Bob Sheppard’s woodwind section, which gives way to cello section underscores (led by principal Timothy Loo), and soon the whole ensemble, including star drummer/percussionists Jimmy Branly and Alex Acuña, Steve Rodby (acoustic bass), Mitchel Forman (Hammond B3 Organ/Wurlitzer piano), and Bill Frisell (guitar) have made appearances. All sixteen instrumentalists/vocalists rarely play at the same time, instead playfully weaving in and out for various features (notably by Mays, Jimmy Johnson, Aubrey Johnson, and Culbreath) and accompanying textures. In a piece already abundant with aural decadence, Bob Sheppard’s extended tenor saxophone solo, which brings Eberhard to its climax, is perhaps the most thrilling. The piece ends as it began, with a sparse recapitulation of the introduction, rewarding the listener with the feeling of having experienced an incredible musical odyssey.
In typical Lyle fashion, this music reflects and honors his far-reaching influences, most obviously the bass playing and compositional style of Eberhard Weber (with whom Lyle recorded on two occasions), but continuing on through Philip Glass’ minimalism, Indonesian Gamelan ensemble, Brazilian music (notably the percussive and speech-like vocal techniques of Lyle’s friend and collaborator Naná Vasconcelos), to the blues, and to classical forms and structures. As in all of his compositions, Mays’ propensity for exploiting compositional material (or, its “DNA”) to the fullest extent is ever constant throughout Eberhard. Like a scientist, he would take a simple melodic, harmonic, rhythmic, or other kind of idea and experiment with it until he had discovered all of the different forms it could take—melody, counterline, background pad, bassline, rhythmic motif, and more—often using the same ideas in a wide variety of ways. Eberhard is utterly intentional, containing layer upon layer of depth, complexity, love, and care for the listener to discover.
While technically a posthumous release, Mays was engaged in the making of Eberhard from beginning to end—serving as composer, arranger, performer (piano, keyboards, and synthesizers), producer, and executive producer, and was actively involved in all of the recording and mixing sessions, which took place in Los Angeles during the latter half of 2019.
Fans will know that Lyle had been on hiatus from his enormously successful touring and recording career with the Pat Metheny Group and as a solo artist (Eberhard will be his seventh release as a leader) since 2011, choosing instead to pursue his myriad non-musical passions. Then, “Lyle’s health took a bad turn in 2019, and at about the same time, he decided to try to get Eberhard recorded.The relationship between those two events is complex. What’s clear is that he would continue writing and extending this music, as was always his process: to try to find every bit of what the material suggested, every note and harmony, and sound it evoked for him. He added parts, expanded orchestration, imagining it all on an even grander scale,” Steve Rodby explains. “The result is this recording, and what he was able to hear in his final days. This wasn’t meant to be Lyle’s last piece of music, and if he had lived longer, he had plans for more.”
$ 35.00 USD
Soft cotton tee featuring lyrics to Lonely Night In Georgia in Marc's iconic beard silhouette.
$ 40.00 USD
Marc Broussard - 2017 Xmas Sweatshirt
$ 15.00 USD
Square print of A Life Worth Living album artwork.
$ 6.99 USD
Marc Broussard - Alligator Koozie
$ 50.00 USD
Remastered for Vinyl!
Note: A few songs were shortened to maintain the sonic integrity of the vinyl.
Sold Out
Signed copy of Marc's new children's book, I Love You For You.
The book is about accepting people for who they are. It is being released in conjunction with a lullaby album.
$ 25.00 USD
Marc Broussard - Autographed Time Is A Thief CD
Release date: 09/27/2024
Track List:
$ 49.99 USD
Marc Broussard - Autographed Time Is A Thief Vinyl
Release date: 09/27/2024
Track List:
$ 5.00 USD
Die cut Bayou Soul Sticker
$ 35.00 USD
Marc Broussard - Bayou Soul Tee
$ 20.00 USD $ 35.00 USD
Features updated dates through 2024!
$ 35.00 USD
Marc Broussard - Carencro Gold Tee
$ 35.00 USD
$ 50.00 USD
Marc Broussard - Carencro Pullover Hoodie
$ 35.00 USD
Remastered for vinyl!
Note: A few songs were shortened to maintain the sonic integrity of the vinyl.
$ 25.00 USD
Have you ever stared off into the distance and asked, “I wonder what kind of candle MB likes?”
Me neither.
And we will never have to because THIS is the only candle MB has EVER used.
Featured on every birthday cake since he was 23, this 100% soy wax candle has a scent that MB likes to describe as “Sensorily intoxicating, celestial even. Pheromones of the Gods.” Also, hints of coriander and lilac.
11 oz candle w/ Gift Box.
$ 15.00 USD
Marc Broussard - Easy To Love CD
$ 30.00 USD
Planning a romantic picnic but worried about where you’ll sit?
Worry no more! This incredible travel blanket will make you feel like you’re actually floating on a cloud made of puppies.
48" x 53" 100% Polyester Fleece
$ 32.00 USD
Marc Broussard - Herringbone Newsboy Cap
$ 25.00 USD
Album released 4/5/2019
$ 15.00 USD
Album released 4/5/2019
Sold Out
Marc Broussard has written his first Children’s book.
The book is about accepting people for who they are. It is being released in conjunction with a lullaby album.
$ 35.00 USD
A portion of proceeds will be donated to www.loveofpeople.org to help elderly musicians.
Had a buddy of mine print up these bad boys so we could raise some money for elderly working musicians during the shutdown. These folks need to work in order to live, therefore the shutdown has affected them deeply. Help me help my community. If you’d like to sell this shirt to help in your community, please reach out to us through my website.
-MB
$ 15.00 USD
Marc Broussard
Live From Full Sail University CD
$ 15.00 USD
Marc Broussard
Live From Full Sail University DVD
$ 10.00 USD
Marc Broussard
Magnolias & Mistletoe CD
$ 35.00 USD
Marc Broussard
Magnolias & Mistletoe Graphic T-Shirt
$ 12.00 USD $ 30.00 USD
$ 12.00 USD $ 30.00 USD
Random Marc Broussard Women's Tee
$ 12.99 USD
Physical copy of S.O.S. 3: A LULLABY COLLECTION by Marc Broussard
Tracklist:
As you may or may not know, philanthropy has been a big part of my life for a long time. I’ve found that artists like myself are uniquely positioned to raise awareness and make a difference in our own communities and beyond.
As such, in 2015 I decided to make philanthropy a more permanent part of my life by establishing the SOS Foundation. The goal here is to use music, both recorded and live, to raise money for causes I’m passionate about. With the help of some amazing people, I’m happy to announce the release of our second charitable record!
This is a follow up of a record we put out in 2016 called SOS 2: Soul On A Mission, which was a covers record. This new record will also be a covers record, but this time; a lullaby album.
A portion of the album proceeds will be donated to Our Lady of the Lake Children’s Hospital in Baton Rouge.
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