Formed in the Early ‘80s, The Bill Norman Group is an amalgamation of some of the finest talent in the state of Florida. The band is Bill Norman (guitar), Ken Hanks (keyboards), Patrick Bettison (bass), Jim Rungo (drums), Basil Rodriguez (trumpet & flueglehorn) and Adam Loos (tenor, alto & suprano sax)

Press Info

"A cappella horn riffs, pizzicato guitar vamps, instruments soloing in unison, triple tonguing, staccato bursts, insouciance and the gritty rhythms of maracas. The album has it all." Harriet Williamson,Players

Bio

The band was signed to Centaur Nebula Records and their first release “That’s It” received recognition nationwide as well as in Europe. The recording united Norman on electric, acoustic and nylon string guitars with Basil Rodriguez on trumpet and flugelhorn, Doug Cecil on Fender bass, Rusty Riley on drums and percussion, Wayne Gallops on keyboards and Adam Loos on saxes and flute with special appearances by tenor and altoman Bob DeAngelis, keyboardist Robert Griffin, trombonist Willie Hill, bassist Al Hurley and pianist Dave Adams.

Norman wrote seven of the nine cuts and co-arranged the entire album with Rodriguez. Hurley wrote the other two. All have slick, tight results that preclude the possibility of head charts. The reason? “The songs were all thought out and written down first,” Norman says. “Then all parts were scored, too. By the time we recorded, eighty percent of the product was exemplary on first take. We only redid a few solos.”

The fact that Norman’s six man band has been together since 1984 contributes to its overall cohesiveness. Considering that each man is well-schooled and carries impressive credentials helps. So do Norman’s dedication and drive.

Comments

Hi,

I came across your work on Broadjam and spent some time listening to "IT COULD HAPPEN", there's a level of artistry and direction in your sound that's not easy to come by.
I work privately with a select number of artists, composers, and producers who are serious about positioning their music beyond traditional releases particularly within the sync and licensing space.
In my experience, many strong catalogs remain under leveraged, not due to a lack of quality, but because they aren't aligned with how music supervisors and licensing platforms actually search, filter, and select material.

My role is to bridge that gap refining catalog presentation, enhancing sync readiness, and ensuring the music is positioned where it holds real commercial value. The goal is simple: to open doors to meaningful placements, strategic partnerships, and long term opportunities.

I'm selective about who I work with, but I believe your sound could translate well in that space.
Out of curiosity, is sync and licensing currently part of your long term strategy, or is your focus elsewhere at the moment?

You can also reach me directly here:
? remioyinkansola@gmail.com

Cheeers,
Oyin
SEO & Sync Licensing Optimization for Artists, Producers & Composers



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