Laurence Juber

Laurence Juber - Guitarist - 2003 - Solid Air

Magazines and music publications have always conducted polls to decide the "All Time Greatest Guitarists", and "Best Guitarists Of All Time". Laurence's name may not always be on these lists, but his technical skills are on a par with guitarists like Jan Akkerman, Larry Coryell, or any great guitarist you can think of. Laurence was a young working musician in London in the '70's when Paul McCartney asked him to become Wings’ lead guitarist. There's a guy who knows a good musician when he hears one! Laurence was three years with Wings. In that time he won a Best Rock Instrumental Grammy for "Rockestra" from Wings' Back To The Egg album. After Wings split in 1981, Laurence began a new career as a solo artist, composer and arranger. He is now acknowledged as one of the world's most accomplished top finger-style acoustic players and guitar virtuosos, being voted No.1 by Fingerstyle Guitar magazine. He is also a highly sought after session musician. His guitar technique is amazing, and his melodic flourishes, and even the way he plays single notes are totally unique. His "LJ Plays the Beatles" was voted one of Acoustic Guitar magazine’s top 10 all-time acoustic albums. He has several other extraordinary albums on release like his "Different Times" album, and his "Groovemasters" album with Preston Reed. He regularly tours with the great Al Stewart, and can be heard on Al's "Between The Wars" album. "Guitarist" is a sublime collection of all original compositions by a master of his instrument, and the album is HR by A.O.O.F.C. Buy Laurence's "Guitar Noir" album, and search this blog for other releases. Check out his "PCH" album @ Second Derangement For another magnificent acoustic guitar album, check out the incredibly talented Stephen Bennett's "Beatles Acoustic Guitar Solos", also on this blog. [All tracks @ 160 Kbps]

TRACKS

Breaking Point
Green Kitchen
The 5:55
Cannery Row
Love at First Sight
Along the Way
Catch!
Liquid Amber
Buffalo Nickel
Eye of the Storm
Blues for Now

All tracks composed by Laurence Juber

SHORT BIO

Acoustic guitarist, composer, and producer Laurence Juber, known by many of his fans simply as "LJ," was born and raised in London. By the time he was 13, he began to earn money by performing at local get-togethers. A couple of years later he took up the study of classical guitar and then went on to earn a music degree from the London University, Goldsmith College. He also performed as a soloist with the National Youth Jazz Orchestra. Around the mid-'70s, Juber found work as a session player. He perfected his skills as a variable guitarist along the way and earned a respected name for himself in the profession. In 1978 he joined the Paul McCartney group Wings as lead guitarist, where he spent the next two years. During this time Juber won a Grammy award for Best Rock Instrumental for the tune "Rockestra" off the album Back to the Egg. In the early '80s Juber left his homeland behind and moved to Los Angeles. He easily slipped back into session work. He did a lot of work for hit television shows like Home Improvement, Seventh Heaven, Boy Meets World, and Roseanne, as well as noted movies such as Dirty Dancing, Splash, Doc Hollywood, Pocahontas, Snow Day, Good Will Hunting, and many others. In 1990 Juber signed with the Beachwood Records label, which belonged to fellow artist and friend James Lee Stanley. That very year Juber recorded his solo debut album, Solo Flight. It was followed three years later by Naked Guitar, and then by Winter Guitar in 1998. In 1999 Juber was named as the number one Fingerstyle Guitarist of the Year. In between numerous tours, he released three new albums for 2000 -- LJ Plays the Beatles, Naked Solos, and The Collection -- each recorded under the Solid Air Records label. © Charlotte Dillon © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/laurence-juber-p26582/biography

Mateus Starling

Mateus Starling - Kairos - 2009 - Mateus Starling

"With highly developed chops sharpened in varied settings Mateus Starling is a very promising guitarist who thankfully can deliver without having to sound like everyone else". - Mark F. Turner, ALL ABOUT JAZZ (march, 5th, 2009)

"Mateus Starling is part of a new and great generation of musicians. Kairos (debut album) presents great compositions and amazing instrumental executions from this young and talent musician. - (guitar player - jun 2009)

"I was literally blown away by this guy, amazing compositions and masterful playing, a true jazz fusion product". - Stan Stapleton, JAZZ-ROCK-FUSION-GUITAR (JAN 2009)

Kairos is a compelling and innovative artistic achievement for the young guitarist and his band of remarkable musicians. - FUSION MAGAZINE - USA (13th september, 2009)

"If we want to find any similarity to Mateus playing we need to make a great effort cause he has a very unique touch." - (Axe magazine – Italy)

"Mateus Starling, guitar player from Rio de Janeiro, Brazil is of those who embrace the idea of many possibilities to fusion by exploring new sonorities, sometimes using dodecaphonist techniques of composition or by using improvisational ways. It is an essential part of his musical personality as you can hear in kairos his first solo album ". - (Cover guitar – Brazil)

I love this Cd. From the first few notes, my ears were greeted by great compositions, genuinely intuitive group improvisation, and some highly skilled risk taking by all the band members. Throughout the recording, I couldn’t escape the feeling that this music might have been made during the Golden Age of Jazz Rock Fusion. Even though Mateus is a recent graduate of The Berklee College [Summa Cum Laude and majored in performance] the entire band’s use of 'space' and 'dynamics' make them sound like long time pros with a very distinct style all their own. In fact, the choice to make the Cd with all musicians in the studio at the same time create some of the best ‘listening’ and ‘reacting’ I’ve heard in a long time. Mateus himself plays well-chosen notes with tremendous feeling. He shows no fear of getting out there when he is improvising, and no ego to limit his ability to demonstrate his delicate touch when the music calls for it. In fact, everyone in the band sacrifices individual playing completely for the sake of the music in the ‘moment’. I especially like the fact that Mateus also knows when NOT to play. That is a truly unique gift in this age of the dominating ‘guitar shredder’ that has sadly become the signature sound of modern fusion. It’s hard to believe that this is the bands first recording and I’m eagerly awaiting more from Mateus and mates. © Rick Calic www.jazzrockworld.com

Influenced by artists like Arnold Shoenberg, Scott Henderson, John Scofield and also by atonal composers, this is a good jazz fusion album with rock and Latin influences. All the tracks are original, with great improvisation by Mateus and his backing musicians which include bassist Chris Cabrera, and saxophonist Jesse Scheinin. Although Mateus is obviously a very talented guitarist with a great technique, his playing does not dominate the album, and the inventive percussive, bass, and sax work are as much a part of this album as Mateus' playing. Watch out for future releases from this great Brazilian musician. Read Mateus' bio @ http://www.mateusstarling.com.br/en/biography [All tracks @ 160 Kbps: File size = 57.6 Mb]

TRACKS

1 Exodus
2 Good Moments
3 Jerico
4 Brazilian Funk
5 Guerreiro
6 Pai
7 Pagoca
8 The Ark

All tracks composed by Mateus Starling

MUSICIANS

Mateus Starling - Guitar
Chris Cabrera - Bass
Caio Slonzon - Bass on Tracks 7, 8
Pablo Eluchans - Drums
Edu Nali - Drums on Tracks 7, 8
Jesse Scheinin - Tenor Sax

Robin Rogers

Robin Rogers - Crazy Cryin' Blues - 2004 - Robin Rogers

Unlike the worlds of pop and rock, the blues music community is a small one, with artists supporting and collaborating with each other on a regular basis. When one of their community gets sick, blues artists and fans alike gather together to help out; this closeness makes it all the more tragic when blues music loses one of its own. Sadly, we have to report that blues singer Robin Rogers passed away on Friday, December 17, 2010 at her Gastonia, North Carolina home at the too-young age of 55 years. Rogers had been fighting liver cancer for the past few months, even as her critically-acclaimed 2010 album Back In The Fire was making her a star in the blues world. This week Rogers received a well-deserved Blues Music Award nomination as "Contemporary Female Artist of the Year." Rogers admittedly experienced a rough life. She abused drugs and alcohol, and eked out a hardscrabble existence singing Top 40, country, and even funk music in cover bands before discovering the blues. She found sustenance in the emotional resonance of the blues, kicked her additions and moved to North Carolina in 1989. Rogers and her husband Tony, the guitarist in her band, paid their dues with years of performances in smoky clubs and hotel bars. Wherever she performed, Rogers' incredible voice and dynamic stage presence would stop audiences in their tracks. Rogers hit the national stage with the 2008 release of Treat Me Right by Blind Pig Records. The album earned the singer a coveted Blues Music Award nomination but, more importantly, it introduced her talents to a blues community that instantly fell in love with her voice, her sincerity, and her charisma. More than just her music, Rogers connected with fans through her warmth and engaging personality, which is apparent when listening to both Treat Me Right and Back In The Fire. By blues music standards, where artists regularly perform and record into their 80s and 90s, Rogers was a mere babe in the woods. Rogers had accomplished a lot in a relatively short time, and she leaves behind a strong musical legacy. Her death is a major loss for the blues community at large, and Robin Rogers will be greatly missed by her family, her friends, and her many fans around the world. [from Blues Singer Robin Rogers, R.I.P. By & © Reverend Keith A. Gordon, About.com Guide December 19, 2010 © 2011 About.com. All rights reserved http://blues.about.com/b/2010/12/19/blues-singer-robin-rogers-r-i-p.htm]

The late Charlotte-area blues singer Robin Rogers was only beginning her career as a major performer on the national scene, when she died in December 2010. She'd made a living singing country, Top 40, and funk in cover bands before turning to the blues which came naturally to the self-proclaimed "child of Woodstock" who ran away at age 13, did time in a reform school, and sang on street corners for change. She once said that "I don't recommend anyone having a hard life to help them sing, but there's something to be said for it. It's from my gut." She and husband, guitarist Tony Rogers worked as fulltime musicians, playing bars and restaurants and clubs like The Double Door in Charlotte and Longitude 81 in Fort Mill, where "her incredible voice stopped customers in their tracks". Her "Treat Me Right" album release in 2008 brought her national accolades. She toured nationally and in 2009 was nominated for a Blues Music Award. A true lady of the blues who never achieved her full potential. "Crazy Cryin' Blues" is a good roots/trad. blues album sung and played in a style seldom heard nowadays. Buy her "Back in the Fire" and/or "Treat Me Right" album, and support great blues music. N.B: This is the original 12 track, 2004 release which includes the tracks, "Alma's Romance" (a 17 second sound snippet of Memphis Minnie), and "Crazy Cryin' Blues" but excludes the tracks "He May Be Your Man", "Bossman's Son", "Long John Blues", and "Savannah Poppa" on later CD issues. [All tracks @ 320 Kbps: File size = 78.6 MB]

TRACKS / COMPOSERS

1 Hesitation Blues - Davis
2 Come on in This House - London
3 It's a Blessing - Trad.
4 Travelin' Blues - Delaney, Johnson
5 Hip Shakin' Mama - Thomas
6 Alma's Romance - Memphis Minnie
7 Wild About That Thing - Williams
8 Crazy Cryin' Blues - Memphis Minnie / McCoy
9 Me and My Chauffeur Blues - Memphis Minnie
10 Black-Eyed Blues - Haenschen / O'Keefe
11 Conjur Man - Douglas
12 Yola My Blues Away - James

MUSICIANS

Robin Rogers (vocals, harmonica)
Tony Rogers (acoustic guitar, electric guitar, resonator guitar)
Max Drake (electric guitar, mandolin)
Kerry Brooks, Ron Brendle (acoustic bass)
Mark Stallings (piano)
Jim Brock (drums, percussion)
Tim Gordon, Ziad Rabie (tenor saxophone)
Jon Thornton (trumpet)

BIO (RIP)

Guitarist, singer, and harmonica ace Robin Rogers' life has been full of hard knocks, sad turns, and delightful coincidences, and she has earned the right to sing the blues the tough, old-fashioned way. As a runaway teen in the late '60s she scratched out an existence however she could, sometimes sleeping in parks and abandoned cars as she bummed around the country to places like Richmond, VA, Atlanta, GA, Ann Arbor, MI, and Coconut Grove, FL, eventually being picked up by the authorities and placed in reform school. When she was released at the age of 15, she went back to her nomadic ways, and soon had developed serious addictions to drugs and alcohol. She also started singing, taught herself guitar, and began performing at house parties, on street corners, and in coffeehouses. In 1979 Rogers relocated to South Florida and recorded for the Sal Soul imprint, settling in Ft. Lauderdale for ten years and eventually kicking her addictions in 1989. A year later in 1990 she moved to North Carolina, where she met her husband, guitarist Tony Rogers. The two began performing as an acoustic blues duo with Rogers turning more and more attention to her harp playing. Producer and drummer Jim Brock heard the duo and recorded a debut album, 2001's Time for Myself, with them. Now working with a full band, which included her husband on guitar, Rogers signed with the 95North label and released 2004's Crazy Cryin' Blues, which was again produced by Brock. She signed with Blind Pig Records in 2008. Her first album for the label, Treat Me Right, appeared later that year. © Steve Leggett © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/robin-rogers-p770441/biography

MORE

Music has been Robin Rogers' consuming passion ever since her days as a teenaged street singer. Possessing a deeply expressive and soulful voice and an infectious enthusiasm for the blues, her Blind Pig debut, "Treat Me Right", opened a lot of eyes and ears to Robin's expansive talents. Among other accolades, Robin was the recipient of the Blues Blast Award for "Best Female Artist" of 2009. In the late sixties when America's youth was "rediscovering the Blues," Robin Rogers was "living the Blues." As a runaway teen trying to escape a troubled home, she made her way to cities like Richmond, Virginia; Ann Arbor, Michigan; Atlanta, Georgia; and Coconut Grove, Florida. Robin lived the hippie lifestyle of the times, even sharing residence in a commune in Love Valley, North Carolina for one summer, sometimes sleeping in parks, under picnic tables and in abandoned cars. After serving time as a juvenile in reform school for truancy and being out of parental control, she was released at age 15 to begin life on her own. It was a hard life for a young girl, and it wasn't long until Robin was addicted to drugs and alcohol and, thank goodness, to singing! She eventually learned to play guitar and began accompanying herself. Robin performed on the streets, at parties and coffee houses for food and tips, setting the stage for the emergence of an independent, strong-willed spirit and charismatic singer. After hearing the applause of strangers, she knew she was hooked! Her goal was to make a living performing music, and this she has done for over 30 years. Moving to South Florida in 1979 to record for the Sal Soul Label, a subsidiary of RCA, Robin recorded at the well-known Miami Sound Studios and lived in Ft. Lauderdale for the next ten years performing on a full-time basis. As fate would have it, Robin became drug and alcohol free in 1989 and began to turn her life around. She moved to North Carolina in 1990, performing in the Southeast area for the next ten years, recording, writing and enjoying music clean and sober for the first time in many years. Robin got involved with the Charlotte Blues Society in the mid-nineties. Shortly after that, she met and married fellow musician and Blues lover, Tony Rogers. They performed as an acoustic duo, with Tony playing guitar/dobro and Robin on harmonica and percussion. It wasn't too long before she was heard by producer/musician, Jim Brock and was asked to do a CD which was released in 2001 entitled "Time For Myself," a contemporary Blues record which contains six originals penned by Robin and Tony. They put together a band in support of that release and went on to win the 2003 Charlotte Blues Society's Blues Challenge, winning the right to represent Charlotte, North Carolina in Memphis, Tennessee in January 2004. They competed against 98 acts from all over the world in the International Blues Challenge, sponsored by the Blues Foundation. After three nights of tough competition, Robin Rogers and Her Hot Band emerged as one of only nine finalists in the 2004 International Blues Challenge, which was judged by the industry heavyweights including Bruce Iglauer of Alligator Records and Blues recording artist Kenny Neal. Robin and Tony recorded their long-awaited second release, entitled "Crazy, Cryin' Blues," which was released in 2004 and won the "Best Self-Produced CD" award from the Blues Foundation as part of the International Blues Challenge 2005. Robin signed with 95North Records in February 2005 and her self-penned "Caddy Daddy" was included on "Fins, Chrome and the Open Road," a Cadillac Tribute CD released in conjunction with 95North and General Motors Corp. Other artists on the disc include Little Milton, Rory Block, Charlie Musselwhite and Maria Muldaur. Robin has shared the stage with greats like Buddy Guy, Johnny Winter, Robert Cray, Carey Bell, Bob Margolin, Shemekia Copeland, Tommy Castro, Guitar Shorty, Jimmy Thackery & the Drivers, Cephas and Wiggins, Ann Rabson, Roy Bookbinder, Paul Geremia and Sharrie Williams. She joined the roster of Piedmont Talent in February 2006 and performed in Europe in April 2006. Robin signed with Blind Pig in 2008, and her debut release for the label, "Treat Me Right", was issued in June of that year to a universally favorable and enthusiastic reception from fans and critics alike. All Music Guide said "Her husky voice falls between Maria Muldaur's sexy croon and Susan Tedeschi's controlled rasp as she commands attention without oversinging or upstaging the songs. The combination of excellent material and Rogers' compelling voice is what makes this a winner." Hittin' the Note called it "The album that should make Rogers a household name among blues fans." Postscript: Robin passed away on December 17, 2010, succumbing to liver cancer at age 55. © 2006 Blind Pig Records, a division of Whole Hog, Inc. - All Rights Reserved http://www.blindpigrecords.com/index.cfm?section=artists&artistid=86

Adam Armstrong, Sean Wayland, Simon Barker (Steely Dan Related)

Adam Armstrong, Sean Wayland, Simon Barker - Stolen Van - 1995 - Rufus Records

Ten jazz covers featuring five Walter Becker & Donald Fagen (Steely Dan) compositions. There are also some good string arrangements by pianist Sean Wayland of Jimmy Webb's "Wichita Lineman", and Suzanne Vega's "Song of Sand". Other tracks include Lennon & McCartney's "I'm Only Sleeping", and Elvis Costello's "Alison". Adam Armstrong plays bass with Simon Barker on drums. For other good Steely Dan jazz cover albums, check out the "Justin Morell Quintet Plays the Music of Steely Dan", hr Big Band's "Do It Again: hr Big Band Plays Three Decades of Steely Dan", The Woody Herman Band's "Chick, Donald, Walter & Woodrow", and "The Hoops McCann Band Plays the Music of Steely Dan" albums. The often complex music of Walter Becker & Donald Fagen is not easy to interpret, but one of the greatest non-jazz cover album's of Steely Dan songs has got to be the totally brilliant Sara Isaksson & Rebecca Törnqvist's "Fire In The Hole" album. Check out http://www.birdland.com.au/ for some other great Australian jazz albums. N.B: This link has been removed at the request of the artist/s, but I would urge you to buy the album through CDbaby.com...Thanks (A.O.O.F.C)

TRACKS / COMPOSERS

1. Rose Darling (Walter Becker/Donald Fagen)
2. Wichita Lineman (Jimmy Webb)
3. Babylon Sisters (Becker/Fagen)
4. Here At The Western World (Becker/Fagen)
5. Song of Sand (Suzanne Vega)
6. I'm Only Sleeping (John Lennon/Paul McCartney)
7. Alison (Elvis Costello)
8. The Caves of Altamira (Becker/Fagen)
9. Third World Man (Becker/Fagen)
10. Wichita Lineman (Reprise) (Webb)

MUSICIANS

Adam Armstrong - Acoustic Bass
Sean Wayland - Piano
Simon Barker - Drums
Michel Rose, Pedal Steel Guitar
Peter Carritty, Maria Zivkovic - Violin
Jane Brownley - Viola
Nick Dobosi - Cello
Hamish Stuart - Vocal

BIOS

ADAM ARMSTRONG BIO @ http://www.myspace.com/adamarmstrongmusic
SEAN WAYLAND BIO @ http://www.seanwayland.com/bio.html
SIMON BARKER BIO @ http://www.jazz-planet.com/simonbarker/biography.html

Carolyn Leonhart

Carolyn Leonhart - Steal The Moon - 2000 - Sunnyside

Carolyn Leonhart is a jazz singer with one foot firmly planted in the rock/pop universe. She is the daughter of veteran bassist Jay Leonhart, so her jazz sensibilities flow from her upbringing. Yet she gained wide exposure during the '90s as a backup vocalist for the reunited Steely Dan. Her jazz style is tinged with the edginess of a soul or R&B singer. Her first U.S. album, an inspired collaboration with pianist/songwriter Rob Bargad titled Steal the Moon, was released in 2000. © David R. Adler © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/carolyn-leonhart-p290354

Carolyn Leonhart sits astride the jazz and pop worlds, allowing both to inform her singing and repertoire. The daughter of bassist Jay Leonhart and a backup singer for the reunited Steely Dan, Leonhart inflects her jazz singing with an unmistakable dose of soul and R&B, not unlike Chaka Khan or even Rickie Lee Jones. Pianist Rob Bargad is Leonhart's main collaborator on this album, contributing five compositions, including the lush ballad "Yesterday's a Dream" and a borderline-corny but charming vocal duo with Leonhart on "Steal the Moon," a good candidate for radio play. Leonhart even hands two tracks over entirely to Bargad: the Vince Guaraldi-like piano trio feature "Juju Knows" and a bluesy, smart-alecky vocal tribute to a child titled "Little Man." Leonhart is bright-toned and sultry on the standards "Nature Boy," "I've Grown Accustomed to His (Her) Face," and "Moonglow," the last an oh-so-hip duo between her and father Jay Leonhart on the bass. She struts her stuff sassily on "Sunday Kind of Love," Bargad's "All Because of You," and Mose Allison's "It Didn't Turn Out That Way." Bargad's solid post-bop piano work anchors every track. Jimmy Cobb and Billy Drummond share drumming duties, Daniel Sadownick weighs in with perfect percussion flourishes, and David Gilmore guests on acoustic guitar for the title track. As might be expected from a singer with such diverse influences, Leonhart walks a fine line between telling a coherent story and presenting a musical patchwork. But her voice is polished and distinctive, and her band cooks, which invariably makes Steal the Moon a fun listen. © David R. Adler © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/steal-the-moon-r480307/review

Bob Blumenthal (2000 Grammy Award Winner) said that, "For a young singer who was literally born into the jazz scene, Carolyn Leonhart has an uncommonly diverse resume and a surprising range of options. American audiences are getting to know her as one of the backup singers for Steely Dan, a position she has occupied since the Becker/Fagan combine reunited in 1996. (She's the female in the middle on the group's recent PBS special, and she's looking forward to the band's Summer 2000 tour as these notes are written.) Carolyn Leonhart gives us Steal The Moon, a program notable both for its manner and matter. We get to hear her and an exceptional rhythm section bring four quality standards and a choice Mose Allison tune to life, and we also get introduced to a like number of songs by pianist, composer/lyricist and vocalist Rob Bargad. Leonhart and Bargad have created an album with all of the charge and feeling, and far more originality, than we have come to expect from young singers. It offers the promise of more great music from both, although Leonhart hastens to point out that she considers herself a work in progress. "My stuff is developing," she insists, "and I'm hearing different things now. People warn me that I'll have to choose an identity, but why? I love jazz and more pop-related material, and I want to sing both." Someone with Carolyn Leonhart's talent and intelligence can surely pursue more than one path, and will no doubt go her own way. Based on the music she creates here, those of us who treasure truly creative singing, whatever the marketing forces in the music industry choose to call it, will be following her progress for a long time." The album is HR by A.O.O.F.C. There's a good review of this album @ http://www.epinions.com/review/_2005389501/content_11567140484 For more Carolyn Leonhart, listen to her "If Dreams Come True" and "Autumn In New York" albums, and Steely Dan's "Everything Must Go" album. Carolyn was also a guest vocalist on the Swiss Percussion Group, Lyn Leon's "Glass Lounge" album. Try and hear that album, which uses glass instrumentation as a backing to the songs. Highly unusual, but sounds wonderful

TRACKS / COMPOSERS

It Din't Turn Out That Way - M.Allison
Nature Boy - E. Ahbez / J. Durgom
A Sunday Kind Of Love - Barbara Belle / Anita Leonard / Louis Prima / Stan Rhodes
Juju Knows - Rob Bargad
All Because Of You - Rob Bargad
Steal The Moon - Rob Bargad
I`ve Grown Accustomed To His Face - Alan Jay Lerner / Frederick Loewe
Little Man - Rob Bargad
Yesterday`s A Dream - Rob Bargad
Moonglow - Eddie DeLange / Will Hudson / Irving Mills

MUSICIANS

Carolyn Leonhart (vocals)
David Gilmore (acoustic guitar)
Jay Leonhart (bass)
Rob Bargad (piano, background vocals)
Jimmy Cobb, Billy Drummond (drums)
Daniel Sadownick (percussion)

Charlie Hunter Quartet

Charlie Hunter Quartet - Ready...Set...Shango! - 1996 - Blue Note

Although it is never clear what "shango" is, this set by guitarist Charlie Hunter's quartet is quite accessible and enjoyable. Marketed as some type of new alternative jazz, the music in reality is bop-based and not that far from soul-jazz. The most unusual aspect of the set is that Hunter plays an eight-string guitar, which not only allows him to play basslines (there is no bassist on the CD) but at times to emulate an organ. Both tenorman Dave Ellis, who would soon start his own solo career, and altoist Calder Spanier have plenty of solo space, while drummer Scott Amendola keeps the music grooving and moving. The nine selections may all be originals, but the music is also tied to the swinging tradition. Recommended. © Scott Yanow © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/readysetshango-r234941

This second release by Charlie is a strong follow-up to the previous release, Bing, Bing, Bing. "The groove is there, but it's more jazz-oriented this time," Hunter says of Ready, Set...Shango!. "It has a much looser feel than anything we have recorded so far. For this album, we wanted to emulate the stuff Cannonball Adderley, Big John Patton, and Eddie Harris were doing back in the '60's but update it with a modern twist. It's a pre-funk funk record with no back beat." When asked what exactly is shango, Hunter replies with a grin, "It's a dance...well, not exactly a real dance, but a mythical one. But it has no steps." Hunter continues, "It's a bogus cultural dance movement that's a figment of my imagination. It's done in an effort to hoodwink the record buying public into thinking there is actually a dance called the shango, and we are the sole purveyors of its music. It's also a ready-made social-cuiltural movement for the press to pick up on." Ashby Man - "Definitely a full tilt shango. It's a piece Calder and I wrote about this guy who hangs out every day on Ashby Avenue in Berkeley drinking beer. I mean, every day! This is his song." Teabaggin' - "This is one of Calder's compositions. I'd have to say this is more of a Latin shango." Let's Get Medieval - "This is not a shango of any type. It's based on a line from a movie I saw. I can't remember its name. My impression of this tune is that it sounds like a Little Richard 45 played at 33." Shango III - "This is an impressionistic shango that takes its inspiration from the mid-'60s Miles Davis era. It's not an avant-shango." Dersu - "Based on that Russo-Chinese film Dersu Uzala about that southern Siberian-Mongolian guy who befriends a Russian explorer. The music is based on a vamp that I ripped off from Big John Patton. It's played in 5/4 time and slowed down into a John Coltrane-like vamp." 911 - "That's the short title of the number which has as its full name 'Disgruntled Employees Union No. 911.' It's a straight shango. Really, it's a Buick shango, which is not to be confused with a Cadillac shango." Shango...The Ballad - "This is definitely a hoax. It's actually a duo tune that Scott and I have been playing for quite a while. We banged that out in the studio on the first or second take. We gave it this name when we decided to take the shango thing to an extreme." Thursday the 12th - "This is the Cadillac shango because it's got that mojo-working vibe from Muddy Waters. But it's really a Caddie because it has a few extra chords in it which makes it a deluxe." Sutton - "This is another of Calder's compositions. It has nothing to do with shango. It's just a jazz tune. We figured since we're recording for Blue Note, we had to have at least one jazz number so we could try to get into heavy rotation on jazz radio." © http://www.charliehunter.com/discs/shgo.html

This is funky, organ-driven soul-jazz, with one catch: there's no organ. Because Hunter fills the organ's role with his fluid eight-string guitar grooves, everyone wants to lump him into acid jazz or even rock. Hunter borrows a certain intensity from rock, but he also includes dynamic funk-oriented rhythms and jazz's improvisational aesthetic. Like many of the best of the soul-jazz albums, this 1996 release is predicated on emotion and feeling, not complex chord changes or technically impressive flurries. These nine originals use a variety of rhythms as improvisational springboards: joyous romps, slow grinds, soft Latin-tinged waves, and bluesy shuffles. Saxmen Dave Ellis and the late Calder Spanier can handle fragile melodic phrases as easily as from-the-belly wails. Hunter's guitar aims for tones, moods, and textures while he anchors the bass line with those extra two strings. © Marc Greilsamer © 1996-2011, Amazon.com, Inc. or its affiliates. http://www.amazon.com/Ready-Set-Shango-Charlie-Hunter/dp/B000005H2V

Listening to the follow-up recording to Bing, Bing, Bing!, I was immediately impressed by the flow and smoothness of the style of Hunter; Charlie says that he is now into "antacid jazz, which is a snappy way of saying this is an anti-acid jazz album". I prefer this to Bing...: it seems more natural, as if it came together by itself without any forcing. The Quartet comprises Charlie Hunter (8-string guitar), Dave Ellis (Tenor Sax), Calder Spanier (Alto Sax) and Scott Amendola: Dave Ellis has since moved on to other things, and Kenny Brooks of Alphabet Soup will be joining the band for their upcoming live dates. "Shango" is a "mythical dance". Whatever that means; "It has no steps... it's a bogus cultural dance movement that's a figment of my imagination", says Charlie. But how does it sound? The nearest I can get is the drifting memory that comes from that bar-scene somewhere in the middle of the first Star Wars film, when Harrison Ford is sitting at a table with Chewbacca and there are all those weird-and-wonderful creatures from various galaxies and star systems hanging out: some drinking, some creating trouble and some playing a type of sax. Ready... Set... Shango! has the same sort of feel - futuristic, but deep-rooted. And memorable, too. © Ali Sinclair http://www.westnet.com/consumable/1996/06.15/revhunte.html

It used to be that, among jazz instrumentalists, guitarists were the most tempted to sin. In the '30s, guitar had been a nearly superfluous rhythm accompaniment in big bands. Charlie Christian introduced the electric guitar and pickers would never again go unheard. Even so, electricity was seen as a weakness, a vice, at least partly because amplified saxophones and pianos were such ungainly creations. Generations of jazz guitarists worked hard to sound as much as they could like loud acoustic guitars -- superclean timbre, distinct note phrasing, no more sustain than a piano pedal would allow. Still, slipping that proud plug into that warm socket always left the urge to crash and clang and howl and . . . but what would Barney Kessel think? Charlie Hunter is a prime exponent of a generation finally free of the old jazz-guitar hangups. He even plays a mutant axe, an eight-string job reminiscent of Big Joe Williams' nine-stringer. Working out of the San Francisco Bay area, Hunter spent genesis days with the caustic political-rap outfit Disposable Heroes of Hiphoprisy. After two albums with a trio and a side project with the rugged cover band T.J. Kirk, Hunter has expanded his outfit to a quartet for "Ready . . . Set . . . Shango!" Hunter handles the bass lines on those extra lower strings. Tenor saxophonist Dave Ellis has discussed and sparred with Hunter from the start. The new hands are Calder Spanier on alto sax and drummer Scott Amendola, pulled over from T.J. Kirk. Hunter doesn't feel that rock and fusion are the only alternatives to quiet jazz guitar. So The Charlie Hunter Quartet does not suggest Jimi Hendrix. Or Bill Frisell. Their sides fit well with '60s Grant Green, but don't simply juice up hard bop, either. And there's no acid jazzmospherics here. Hunter has indeed escaped categorization, though calling the group's tunes "shangos" as he does is going a riff too far. The strong sense of curiosity Hunter's groups project is crucial. It saves them from the reflexive classicism that hampers improvisers as fluid and mellifluous as Wessel Anderson and Roy Hargrove. Those unfamiliar with Hunter, especially pop fans, should approach his work sideways and start with T.J. Kirk as well as the Charlie Hunter Trio's first album on Prawn Song. The cover band specializes in the material of T(helonious Monk), J(ames Brown) and (Rahsaan Roland) K(irk), three guys who know a deadly lick and a slippery rhythm when they hear them. Each number is more than catchy; they develop whole personalities -- the striver of Brown's "Soul Power," the loquacious jiver of Kirk's "Freaks for the Festival," the unbowed fighter of the Trio's "Fred's Life." The same flair for the compression and punch of pop songcraft hit a peak on the Trio's first Blue Note album, "Bing, Bing, Bing!" It kicked off as strongly as any jazz album of last year with Hunter's incandescent wah wah feature "Greasy Granny," and a poised, mournful reworking of Nirvana's "Come as You Are." For this year's release, Hunter and company easily could have reheated the same dish, but they moved on restlessly. Hunter has said that the goal of "Ready ... Set ... Shango!" was to update the soul-jazz groove of organ combos like Jimmy Smith and Big John Patton's from 30 years ago and more. The key to enjoying those records (popular when they came out, then scorned for decades as pandering) was to get into the loose, rolling jams and savor the big tune hooks dipped in backbeat hog fat. A few quick sniffles about broken hearts appear on occasion, but worries and furious intensity were banished. At first, the hooks decorating "Shango!" sound too discreet for such a mood. And it does appear that the addition of Spanier on alto dilutes the discussion among the solos, particularly on "Shango ... The Ballad" and "Dersu." But the hooks on tracks like "Let's Get Medieval" and "Sutton" dig in after a while; Hunter and the gang just slide in a little cooler than before. They get every drip of soul-jazz ambience on "Teabaggin," where the horns' unison purrs behind Hunter's clipped solo provide an understated swing new to the group. Hunter's deliberate lowballing of his band's ambitions belies how much they plainly hear everything going on around them in both jazz and pop. Passionate without blubbering, cool but never arid, "Shango!" is the type of jazz album to play in the spirit of the old organ combos -- not to show off your sophistication but to have fun with brains. And, as the Hunter Quartet well knows, that shows off sophistication anyway. © Milo Miles from his article "Riffs from a Mutant Axe" © http://www.salon.com/weekly/music2960624.html

Listen to Charlie's "Natty Dread" album, a brilliant jazz interpretation of the Bob Marley classic, Charlie Hunter, Chinna Smith, & Ernest Ranglin's "Foundation" album, and the Charlie Hunter Trio's "Bing, Bing, Bing". Charlie Hunter Trio's s/t album can be found on this blog

TRACKS / COMPOSERS

1 Ashby Man - Charlie Hunter & Calder Spanier 5:18
2 Teabaggin' - Calder Spanier 5:41
3 Let's Go Medieval - Charlie Hunter 6:35
4 The Shango, Pt. III - Charlie Hunter 7:49
5 Dersu - Charlie Hunter 6:48
6 911 - Charlie Hunter 5:22
7 Shango...The Ballad - Charlie Hunter 4:34
8 Thursday the 12th - Charlie Hunter 5:43
9 Sutton - Calder Spanier 4:44

QUARTET

Charlie Hunter - 8 String Guitar
Scott Amendola - Drums
Dave Ellis - Tenor Sax
Calder Spanier RIP - Alto Sax

BIO

As a young guitarist growing up in the San Francisco Bay Area, Charlie Hunter was looking for a way to stand out in the '80s. His primary influences were jazz great Joe Pass and the fluid Tuck Andress (of the guitar/vocal duo Tuck & Patti), both six-string guitarists who were adept at blending bass notes into their standard guitar melodies to make themselves sound like two musicians at once. But Hunter wanted to take it one step further, and set out to find an instrument on which he could simultaneously function as both a guitarist and a bassist. For his self-titled 1993 debut CD, Hunter played a seven-string guitar for the duality effect, locking down the bottom with drummer Jay Lane and mixing melodically with saxophonist David Ellis. But on his trio's 1995 sophomore release, Bing, Bing, Bing!, Hunter unveiled his custom-made Novax eight-string, the guitar that finally allowed him to realize his capacity. Designed by Ralph Novak, the instrument featured special frets and separate signals for its guitar and bass portions. Picking bass notes with his right thumb while fretting them with his left index finger (while at the same time fingerpicking guitar chords and single notes with his right hand's remaining four digits as he frets with his left hand's other three fingers), Hunter achieves the real sound of two-for-one. Hunter played with the side group T.J. Kirk in the mid-'90s, a band that derived their name from the cover material they exclusively played: Thelonious Monk, James Brown, and Rahsaan Roland Kirk. Initially wanting to call themselves James T. Kirk before being threatened by the Star Trek TV and film series, T.J. Kirk released a self-titled 1995 debut and the 1996 follow-up, If Four Was One, before disbanding. Hunter took drummer Scott Amendola with him for his next project, an ambitious instrumental remake of Bob Marley's Natty Dread album in its entirety. Also featuring saxophonists Kenny Brooks and Calder Spanier, the 1997 release beat the odds by becoming arguably Hunter's best album. After Spanier died from injuries sustained from being hit by a car, Hunter moved east to New York, taking Amendola with him. Teaming with vibraphonist Stefon Harris and percussionist John Santos, Charlie Hunter & Pound for Pound's 1998 CD Return of the Candyman is dedicated to Spanier. A departure from Natty Dread, mainly due to the work of Harris, the disc featured a vibes-heavy cover of Steve Miller's "Fly Like an Eagle." Hunter's modus operandi had now become shifting personnel changes, and in between tours he recorded a 1999 duo CD with drummer/percussionist Leon Parker and a self-titled 2000 CD that featured Parker and an otherwise ensemble cast. Hunter also contributed greatly to the 2000 comeback CD by drummer Mike Clark, Actual Proof. Hunter concluded his run at Blue Note with 2001's Songs from the Analog Playground, which saw him collaborating with vocalists for the first time, ranging from labelmates Norah Jones and Kurt Elling to Mos Def. 2003 found Hunter with a new label (Ropeadope) and two new bands (the Charlie Hunter Quintet) on Right Now Move, and the beginning of Groundtruther, a partnership with percussionist/composer Bobby Previte. They released Come in Red Dog, This Is Tango Leader before adopting the Groundtruther moniker. For 2003's Friends Seen and Unseen, it was back to the Charlie Hunter Trio, with drummer Derrek Phillips and saxman John Ellis, both members of the Quintet. By now, Groundtruther had taken on a life of its own, with Hunter and Previte joined by a rotating third member. Latitude was first, in 2004 with saxophonist Greg Osby, followed by Longitude with DJ Logic in 2005. In 2006, the Charlie Hunter Trio resurfaced with Copperopolis and almost immediately announced that it was disbanding as Ellis wanted to further pursue a solo career. What to do? Form another trio! After recruiting Erik Deutsch on keys and Simon Lott on drums, they released Mistico in the summer of 2007, Hunter's first album for Fantasy. © Bill Meredith © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/charlie-hunter-p88700/biography

David Bowie

David Bowie - A Reality Tour - 2010 - ISO

The album was recorded over two nights on the 22nd and 23rd November 2003 at The Point Theatre in Dublin, Ireland during David Bowie's Reality Tour. There is really no need to elaborate on David Bowie's achievements. Painter, poet, playwright, mime artist, actor, and rock star, this guy has done it all. He is one of the greatest and most influential musicians of all time. You can read a concise bio @ http://www.imdb.com/name/nm0000309/bio David Bowie has always given 100 % at his live shows, and this concert is no exception. 33 tracks without a "Jean Genie"! He must have "snuck off to the city" that night! A.O.O.F.C to Major Tom. Whats your location?...Over! No big problem when you've got "Life On Mars", "All the Young Dudes", "The Man Who Sold the World", "Changes", "Ziggy Stardust", and 28 more gems. A superb performance from "the man who fell to earth", and VHR by A.O.O.F.C [All tracks @ 320 Kbps: 2 x rar files: CD 1 = 174 Mb, & CD 2 = 179 Mb]

TRACKS

CD 1

1."Rebel Rebel" – 3:30
2."New Killer Star" – 4:59
3."Reality" – 5:08
4."Fame" (Bowie, John Lennon, Carlos Alomar) – 4:12
5."Cactus" (Black Francis) – 3:01
6."Sister Midnight" (Bowie, Alomar, Iggy Pop) – 4:37
7."Afraid" – 3:28
8."All the Young Dudes" – 3:48
9."Be My Wife" – 3:15
10."The Loneliest Guy" – 3:58
11."The Man Who Sold the World" – 4:18
12."Fantastic Voyage" (Bowie, Brian Eno) – 3:13
13."Hallo Spaceboy" (Bowie, Eno) – 5:28
14."Sunday" – 7:56
15."Under Pressure" (Bowie, Freddie Mercury, John Deacon, Brian May, Roger Taylor) – 4:18
16."Life on Mars?" – 4:40
17."Battle for Britain (The Letter)" (Bowie, Reeves Gabrels, Mark Plati) – 4:55

CD 2

1."Ashes to Ashes" – 5:46
2."The Motel" – 5:44
3."Loving the Alien" – 5:17
4."Never Get Old" – 4:18
5."Changes" – 3:51
6."I'm Afraid of Americans" (Bowie, Eno) – 5:17
7."Heroes" (Bowie, Eno) – 6:58
8."Bring Me the Disco King" – 7:56
9."Slip Away" – 5:56
10."Heathen (The Rays)" – 6:24
11."Five Years" – 4:19
12."Hang on to Yourself" – 2:50
13."Ziggy Stardust" – 3:44
14."Fall Dog Bombs the Moon" – 4:11
15."Breaking Glass" (Bowie, Dennis Davis, George Murray) – 2:27
16."China Girl" (Bowie, Pop) – 4:18

All songs written by David Bowie except where stated

MUSICIANS

David Bowie – vocals, guitars, stylophone, harmonica
Gerry Leonard – guitar, vocals
Earl Slick - guitar
Catherine Russell – acoustic guitar, mandolin, keyboards, percussion, backing vocals
Gail Ann Dorsey – bass guitar, backing vocals
Mike Garson – keyboards, piano
Sterling Campbell – drums, vocals

John Primer & The Teardrops

John Primer & The Teardrops - Easy Baby Zoo Bar Collection, Vol. 6 - 1999 - Wolf Records

This CD is John Primer's fourth for Wolf Records and his very first full-length live album. It was recorded in the late 1980s at the Zoo Bar in Lincoln, Nebraska. At the time of the recording, John Primer was already an established musician on the Chicago blues scene. He had finished a long stint with Muddy Waters and was in the middle of a 14 year stay as guitarist for Magic Slim and the Teardrops.The album is a blend of traditional and contemporary Chicago blues and soul. The collection includes covers of songs by Chester Burnett (Howlin' Wolf), Willie Dixon, Muddy Waters, Jimmy Reed, Robert Johnson and more. There is one John Primer original on the album. West Side legend, Magic Sam's influence can be heard on songs associated with him, like “Easy Baby”, “That’s All I Need”, and “I Need You So Bad”. John plays some great 50s style lead on “Walkin’ Thru The Park”, with great backing from Magic Slim on guitar, Nick Holt on bass, and drummer Michael Scott (The Teardrops). “That’s What Love Will Make You Do” is a good funky number. John really jams the blues on “Rocking Daddy”, again with terrific backing from The Teardrops. John's own song, “My Baby’s Gone” has an authentic and traditional blues groove, while “I’ve Got A Problem” is genuine Chicago blues. John Primer said “We recorded for one week straight and Wolf chose the songs for the CD. I didn’t plan the songs, I kept it spontaneous and exciting. Magic Slim encouraged me to master my style and do the songs I wanted to do. The crowd at the Zoo Bar is wild and they love the blues with passion. This is the only album so far that I have done live and it is one of my favorites. You can really feel the passion in my heart for what I am singing on this CD and you can tell the crowd feels it too. ” The material on this album never goes "over the top". There are no flashy guitar solos, and John Primer would later improve on his composing skills. A good solid Chicago blues album. Listen to John Primer's brilliant "The Real Deal" album [All tracks @ 256 Kbps: File size = 124 Mb]

TRACKS / COMPOSERS

1 A String to Your Heart - Jimmy Reed 6:09
2 My Baby's Gone - John Primer 4:12
3 Gambler's Blues - Riley King, Johnny Pate 5:02
4 Walkin' Thru The Park - McKinley Morganfield 4:31
5 I've Got a Problem - Robert Johnson, Sam Ray Mosley 6:31
6 Rocking Daddy - Howlin' Wolf 4:57
7 Little Rain - Ewart Abner, Jimmy Reed 5:08
8 I Need You So Bad - Riley King, Sam Ling 5:07
9 Easy Baby - Willie Dixon 4:27
10 That's What Love Will Make You Do - Milton Campbell 6:59
11 That's All I Need - Magic Sam 5:41
12 Woke up This Morning - Riley King, Jules Taub 4:24
13 Get Your Money Where You Spend Your Time - Tommy Tate 6:27

MUSICIANS

John Primer - Guitar, Vocals
Magic Slim - Guitar
Nick Holt - Bass
Michael Scott - Drums

BIO

By any yardstick, Chicago guitarist John Primer has paid his dues. Prior to making The Real Deal for Mike Vernon's Atlantic-distributed Code Blue label, Primer spent 13 years as the ever-reliable rhythm guitarist with Magic Slim & the Teardrops. Before that, he filled the same role behind Chicago immortals Muddy Waters and Willie Dixon. All that grounding has paid off handsomely for Primer. His sound is rooted in the classic Windy City blues sound of decades past: rough-edged and uncompromising and satisfying in the extreme. He's one of the last real traditionalists in town. By the time he came to Chicago in 1963, Primer was thoroughly familiar with the lowdown sounds of Waters, Wolf, Jimmy Reed, B.B. and Albert King, and Elmore James. He fronted a West Side outfit for a while called the Maintainers, dishing out a mix of soul and blues before joining the house band at the Southside blues mecca Theresa's Lounge for what ended up being a nine-year run. Elegant guitarist Sammy Lawhorn proved quite influential on Primer's maturing guitar approach during this period. Always on the lookout for aspiring talent, Willie Dixon spirited him away for a 1979 gig in Mexico City. After a year or so as one of Dixon's All-Stars, Primer was recruited to join the last band of Muddy Waters, playing with the Chicago blues king until his 1983 death. Right after that, Primer joined forces with Magic Slim; their styles interlocked so seamlessly that their partnership seemed like an eternal bond. But Primer deserved his own share of the spotlight. In 1993, Michael Frank's Chicago-based Earwig logo issued Primer's debut domestic disc, Stuff You Got to Watch. It was a glorious return to the classic '50s Chicago sound, powered by Primer's uncommonly concise guitar work and gruff, no-nonsense vocals. With the 1995 emergence of The Real Deal -- produced by Vernon and featuring all-star backing by harpist Billy Branch, pianist David Maxwell, and bassist Johnny B. Gayden, Primer's star appeared ready to ascend. He soon transferred back to the Wolf label for sets such as 1997's Cold Blooded Blues Man, 1998's Blues Behind Closed Doors, and 2000's It's a Blues Life. © Bill Dahl © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/john-primer-p33475/biography

Melvin Taylor & The Slack Band

Melvin Taylor & The Slack Band - Melvin Taylor & The Slack Band - 1995 - Evidence

The U.S. release of Melvin Taylor's two early-'80s LPs by Evidence a decade later was a shock introduction to a blues guitarist who seemingly blazed out of nowhere -- outside of Rosa's Lounge in Chicago, that is. "Blazed" is the right word, too, because Taylor is a total maximalist who unleashes torrents of notes to fill up every space. But he's so convincing a player that the concept of "blues guitar hero" might get a good name again, even with fans dead-tired of excess who never thought they'd think things like, "Man, can Melvin Taylor play the ever-loving (add the expletive superlative of your choice) out of the guitar" again. Taylor's first real-time release, Melvin Taylor & the Slack Band, is a pretty straightforward affair -- basic trio with minimal overdubs, servicable vocals in an Albert King mode, and a mix of originals and very classic covers. The opening "Texas Flood" lets him rip on a slow blues, constantly changing up his playing with wah-wah blitzes as the real ace in his sonic hole. The originals "Depression Blues" and "Groovin' in New Orleans" add some funk flair, while "Talking to Anna Mae" is a straight-up Chicago boogie instrumental that Taylor shines on. But he's even more in his element on the unadorned slow blues "Tin Pan Alley" and King's "Don't Throw Your Love on Me So Strong." It's partly the speed but even more the phrasing -- the unexpected stops and starts, the spiky and blazing runs and flurries, the unusual note selections he tosses in -- that sets his playing apart. The other covers have their sporadic moments -- "T-Bone Shuffle" is inconsequential, but Otis Rush's "All Your Love" and "Voodoo Chile" are worth listening to, even if the latter doesn't add anything to the famous Hendrix wah-wah workout. Taylor actually doesn't sound that radical here, like he was playing to establish blues circuit credentials by putting his stamp on familiar songs more than indulging offbeat personal touches like the mellow lounge jazz take on the Champs' "Tequila." But his playing can be truly electrifying and Melvin Taylor & the Slack Band is recommended for anyone, especially Stevie Ray Vaughan fans, looking for a distinctive new blues guitar voice. © Don Snowden © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/melvin-taylor-the-slack-band-r224302/review

Melvin Taylor born on March 13, 1959, in Jackson, Mississippi is an incredibly talented guitarist. He has been called "the best, unfairly-neglected blues guitarist/singer to come out of Chicago since the late-‘60s heyday of Otis Rush, Buddy Guy and Magic Sam". When he was three years old, his family moved to Chicago where Melvin was introduced to music. His mother's brother, Floyd Vaughn, taught him how to play the guitar. At the age of twelve, he was already working the Chicago clubs with musicians many years his senior. He taught himself slide, finger-picking, and flat-picking styles from listening to artists like B. B. King, Albert King, and Jimi Hendrix. Melvin recorded the album here, his first album for eleven years in a Louisiana studio with bassist Willie "Big Eyes" Smith and drummer Steve Potts. The album was produced by John Snyder (Junior Wells, Etta James, Lucky Peterson).The album became the best-selling album in Evidence's music catalogue. This great album demonstrates Melvin's complete sylistic range from Jimi Hendrix and Stevie Ray Vaughan to Wes Montgomery and Kenny Burrell, and is VHR by A.O.O.F.C. In 2002 he joined with Lucky Peterson with whom he had recorded several albums twenty years earlier to produce "Rendezvous with the Blues" which contains a seven-minute long tribute to John Lee Hooker and combines "Chill Out" and "The Healer". Buy Melvin's great 1997 "Dirty Pool" album which gave Melvin his reputation as one of the best blues guitarists of the era. Keep the Blues and great music alive! [All tracks @ 320 Kbps: File size = 112 Mb]

TRACKS / COMPOSERS

1 Texas Flood - Larry Davis, Joseph Scott 7:36
2 Depression Blues - Melvin Taylor 3:53
3 Grooving in New Orleans - Melvin Taylor 4:46
4 Talking to Anna Mae - MelvinTaylor 4:56
5 Tin Pan Alley - Robert Geddins 7:14
6 All Your Love (I Miss Loving) - Otis Rush 4:21
7 Don't Throw Your Love on Me So Strong - Albert King 6:43
8 T-Bone Shuffle - Aaron Walker 3:04
9 Voodoo Child (Slight Return) - Jimi Hendrix 5:54
10 Tequila - Chuck Rio 2:44

MUSICIANS

Melvin Taylor - Guitar, Vocals
Willie "Big Eyes" Smith - Bass
Steve Potts - Drums

BIO

Chicago-based guitarist Melvin Taylor is a star in Europe, but it may take some time for U.S. audiences to catch on to just how phenomenally talented a bluesman he is. Part of the problem for Taylor may be his own natural eclecticism. He's equally adept playing jazz or blues, but in the last few years, he's forged a name for himself as a blues guitarist with a slew of releases for Evidence Music. Taylor may well be the most talented new guitarist to come along since Stevie Ray Vaughan. Taylor was born in Mississippi but raised in Chicago after the family moved there in 1962. He learned guitar from his mother's brother, Uncle Floyd Vaughan, who jammed to tunes by Muddy Waters, Jimmy Reed, and Howlin' Wolf with his buddies. By the time Taylor was 12, he was sitting in with his uncle and other grown-ups at those sessions. Almost entirely self-taught, the young Taylor learned slide playing, fingerpicking, and flat-picking styles from his favorite recordings by B.B. King, Albert King, and Jimi Hendrix. In his teens, Taylor joined the Transistors, a group managed by his future father-in-law, and they made their mark playing popular music of the '70s at talent shows and night clubs. After the Transistors broke up in the early '80s, Taylor again devoted his full attention to playing blues in the Windy City's West Side clubs. Shortly after, pianist Joe Willie "Pinetop" Perkins came looking for a guitarist for a string of European dates. Taylor joined the Legendary Blues Band for a year and made such an impact in Europe that several club and festival bookers wanted him back with his own group. Since the late '80s, he's been making regular tours of Europe, often backed by former members of the Transistors, where they opened for the likes of B.B. King, Buddy Guy, Santana, George Benson, and Canned Heat. Aside from taking his musical inspiration from guitar heroes like Albert King, B.B. King, and Stevie Ray Vaughan, Taylor also became enamored with the jazz stylings of George Benson and Wes Montgomery, incorporating their styles into his playing. Taylor's recordings include two he first recorded for a French label that have since been reissued on the Pennsylvania-based Evidence Music: Blues on the Run, originally recorded in 1982, and 1984's Melvin Taylor Plays the Blues for You. Back in the U.S., Taylor continued to build a buzz around the strength of his marathon live shows at Rosa's Lounge and other venues in Chicago. Several small labels tried to sign Taylor, but they weren't successful. In 1995, Taylor was signed to Evidence Music and entered the studio with blues impresario John Snyder to record his debut for the label, Melvin Taylor and the Slack Band, which showcased his original songwriting. He returned in late 1996 to record his second U.S. album, Dirty Pool. Taylor's debut remains the Evidence label's best-selling release ever. Both records showcase Taylor's awe-inspiring guitar playing and original renderings of classic Chicago blues tunes. Bang the Bell followed in 2000, featuring racy cover art and a somewhat funk-influenced sound, but it was his teaming with Lucky Peterson and Mato Nanji on 2002's Rendezvous with the Blues that cemented his reputation as a mainstay in the American blues and roots rock scene. © Richard Skelly © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/melvin-taylor-p34654/biography

Gary Fletcher

Gary Fletcher - The Official Gary Fletcher Bootleg Album - 2004 - Hypertension Music

Gary Fletcher is best known as a member of legendary The Blues Band. Along with Paul Jones, Tom McGuinness, Dave Kelly and Hughie Flint he was one of the bands original founding members in 1979. The Gary Fletcher Band’s sound is built around his own songs with him playing acoustic/electric/slide guitar - whilst not a loud band, they create great sounds with touches of country, blues, folk and roots. In the mid '70s Gary joined blues rock band, Sam Apple Pie, later known as The Vipers, and a couple of years later - enter Dave Kelly. Gary had played with Dave Kelly in late 1978 in The Wildcats, which also included Wilgar Campbell, the ex Rory Gallagher drummer. Impressed by Garys prowess both as a musician and songwriter, Kelly asked Gary to join a new band he was putting together, which also featured Paul Jones & Tom McGuinness (ex Manfred Mann), plus ex John Mayall drummer Hughie Flint. The Blues Band were born - and the rest is history. The success of The Blues Band was almost instantaneous and they were soon playing to packed houses, appearing on TV and radio regularly throughout Europe, and headlining at Glastonbury. Over twenty albums & countless tours later the demand continues to grow for their special & personal interpretation of the blues. The band continues to tour and release new material. Gary Fletcher is a significant contributor of material to The Blues Band’s catalogue – the band’s anthemic ‘Greenstuff’ is one of his songs. Concurrent with over 30 years with The Blues Band, Gary Fletcher has continued to write and record his own material, whilst contributing songs to records by other artists. He is also currently performing with and has written for The Dave Kelly Band as well as his own outfit, The Gary Fletcher Band. Gary started to perform as a solo singer/songwriter around 2003 after receiving positive audience reaction to the tracks on recent Blues Band albums on which he has sung lead. To step forward to the lead vocal microphone after so many years working behind the band’s legendary two principal voices, Paul Jones and Dave Kelly, was a daunting task, but Gary has been enjoying the opportunity to stake his claim as a singer-songwriter in his own right. In 2004 he released ‘The Official Gary Fletcher Bootleg’ CD on the Hypertension label which was a collection of the demos of songs he’d pitched to The Blues Band over the years. Gary’s much acclaimed and superb ‘Human Spirit’ CD on the BGO label was released in 2009 – and featured all new recordings produced by Bill Gautier with a stellar line-up of musicians such as Bernie Marsden, Micky Moody, Rob, Paul and Dave from The Blues Band, Steve Simpson, Mark Feltham and Dennis Greaves. When the vastly underrated Gary Fletcher Band perform, Gary considers himself very fortunate to be able to call upon some great musicians. In the most regular line up he is joined by his colleague from The Blues Band, the immaculate Rob Townsend (or Pick Withers of Dire Straits fame) on drums, depending on availability and youngsters Jack Fletcher (bass) and Steve Ling (guitar). Rob enjoyed major success with Family alongside Roger Chapman and Charlie Witney and subsequently played and recorded with many highly successful artists such as Duanne Eddy, Medicine Head, Peter Skellern before joining The Blues Band in 1981 following Hughie Flint’s departure. The presence of the two youngsters, his son Jack and Steve Ling in the line-up balances very nicely with the more ‘mature’ presence of Gary and Rob! A perfect blend of youth and experience then! The band’s sound is built around Gary’s songs and acoustic/electric/slide guitar playing - whilst not a loud band, they create great sounds with touches of country, blues, folk and roots. There’s an obvious ‘blues’ tinge to the sound but it’s not a straight homage to Chicago, nor is it a power trio type blues band. It’s very ‘musical’ in a melodically and lyrically intelligent kind of way that gives some superb players a great landscape to perform on. The set is predominantly originals but Gary draws on the blues both in terms of his own material and also in covers with songs from the likes of Robert Johnson, Louis Jordan, Willie Dixon, Sleepy John Estes, Ray Charles, Eric Bibb and even J.J. Cale. © 2011 Real Live Music, All Rights Reserved http://www.carlislebluesfestival.com/the-bands/147-gary-fletcher.html?8073b31ad5858e5ef4c0e53efe4a7f65=e611eb923875142a804283e7e4a9f84d

GARY FLETCHER is probably best known as the bass player in The Blues Band, although his song writing talent is respected by many. The band’s encore anthem, his song 'Green Stuff', has been a constant in their live set since the Ready album was released in 1980, and has been covered by bands throughout Europe. The band’s latest album, 'Stepping Out', features Gary’s song 'Stepping Out On Main', another big winner with audiences. Gary’s initial influences came from the blues, most notably 'Eddie Boyd' with Fleetwood Mac and Cream’s 'Wheels of Fire' double album. Exposure to these blues-orientated records sowed the seeds of his musical aspirations. Though left handed, he didn’t let the fact that the instrument was a right handed one stand in his way, and to this day plays a guitar strung for normal right hand use – left handed, ie. upside down. Only a few other guitarist play like this from the late Albert King to Coco Montoya. His initial pro bands were Panama Scandal, the famed Blues/Rock band, Sam Apple Pie - later known as The Vipers – and with Dave Kelly & Wilgar Campbell, the ex Rory Gallagher drummer in The Wildcats ; The Dave Kelly Band followed and then mega success loomed with The Blues Band. 25 years later he’s been developing his own band with his son Jack on bass and original Dire Straits drummer Pick Withers. Two CD’s have followed - a compilation 'The Official Gary Fletcher Bootleg Album' CD - and 'Human Spirit' on BGO Records, both showcasing Gary’s great songs and acoustic & electric material. © http://www.feenstra.co.uk/bands/garyfletcher/garyfletcher.htm

'The Official Gary Fletcher Bootleg Album' is a collection of demo versions of 16 Gary Fletcher songs written throughout the The Blues Band's 25 year history. Gary and his band play folk, country and roots with a blues flavour. These are far from perfect tracks, but there are enough good songs here to make it a very welcome and worthwhile album from a great and very unassuming musician. "World Gone Crazy" is a simple but heartfelt song about 9/11. There are many other beautifully written songs on the album. Try and listen to The Blues Band's "Greenstuff: Live at the BBC 1982" album, and The Gary Fletcher Band's "Human Spirit" album. Read more about The Blues Band @ http://en.wikipedia.org/wiki/The_Blues_Band [All tracks @ 320 Kbps: File size = 130 Mb]

TRACKS

1. World Gone Crazy
2. It Takes the Blues to See
3. A Lie Is a Lie
4. The Other Side of the Street
5. Brand New Start
6. Greenstuff
7. So Lonely
8. Help Me
9. Watch My Lips
10. You've Got to Choose
11. Stop Messing With My Life
12. Commuter Blues
13. Stepping Out on Main Street
14. Told No Lies
15. You Are True
16. Take Me to the Redline

All songs composed by Gary Fletcher except "So Lonely" by Gary Fletcher, Hilary Fletcher, Steve Gurl and "Commuter Blues" by Gary Fletcher & Hilary Fletcher

BAND

Gary Fletcher - Guitar, Vocals
Ed Dean - Guitar, Slide Guitar
Lou Stonebridge - Organ, Horn Samples, String Samples
Hilary Fletcher - Background Vocals

ABOUT GARY FLETCHER

GARY FLETCHER was born in London in the early ‘50s and is probably best known as the bass player in The Blues Band, although his songwriting talent is respected by many. The band’s encore anthem, his song Green Stuff, has been a constant in their live set since the Ready album was released in 1980, and has been covered by bands throughout Europe. The band’s latest album, Stepping Out, features Gary’s song Stepping Out On Main, another big winner with audiences. Although he bought the With The Beatles album when it first came out in ’63, Gary’s preoccupation with cars, trains & other Boys’ Own hobbies meant that it wasn’t until the later years of the Sixties that he made his next album acquisitions – notably Eddie Boyd with Fleetwood Mac and Cream’s Wheels of Fire double album. Exposure to these blues-orientated records sowed the seeds of his musical aspirations and he gradually began to play around with his sister’s humble Spanish guitar. Though left handed, he didn’t let the fact that the instrument was a right handed one stand in his way, and to this day plays a guitar strung for normal right hand use – left handed, ie upside down. Few others play this way although the late, great, blues player Albert King was similarly afflicted. On the basis of knowing no more than the riff to Willie Dixon’s Spoonful, Gary got the job in his first band, The Breath Of Life. Together with a bunch of local Streatham musicians, his next band, Garfield Row, was formed …. a semi-acoustic folk rock band who played regularly in a local pub owned by the father of Jethro Tull’s bassist, Glenn Cornick. Glenn gave the band much encouragement, lending them some top class amps & guitars. They eventually went their separate ways when Glenn pinched the band’s guitar player and Gary went on to sustain work as a musician in a variety of bands from Blues/Rock to Folk/Rock to Soul, to playing in a Country band at Wembley Arena, to writing/performing in Rock band Panama Scandal. In the mid ‘70s he joined long running Blues/Rock band, Sam Apple Pie, later known as The Vipers. Alongside this, Gary and his old mate and songwriting partner, Steve Gurl, landed a separate recording contract and together with the third partner in the songwriting team, Hilary – Gary’s wife, a publishing contract. Gary met Dave Kelly in late ’78 when they both played in a band put together by Wilgar Campbell, the ex Rory Gallagher drummer, called The Wildcats. He then played bass on a track on Dave’s Willing album and was suggested by Dave for the bass job when, together with Paul Jones & Tom McGuinesss (ex of Manfred Mann), plus ex John Mayall drummer Hughie Flint, The Blues Band first got together. The success of The Blues Band was almost instantaneous and they were soon playing to packed houses, releasing their first album, appearing on TV and radio regularly, including the celebrated Euro-wide Rockpalast, and headlining at Glastonbury. Sixteen albums & countless tours later the demand continues to grow for their special & personal interpretation of the blues, thousands of excellent reviews have appeared in a variety of publications - The Times referring to them as "a top flight group of seasoned professionals" – and early editions of their first album are now collector’s items. Still going strong, new chapters are still to be added to their story in the 21st century. Concurrent with The Blues Band during the past 25 or so years Gary has continued to write and record his own material and has contributed songs to records by other artists. His ‘pop’ side project The Relatives released the enigmatic ‘Feud of Love’ album in 1997 although the record had been in the making since the early ‘90s. He has also performed with and written for The Dave Kelly Band and Christine Collister, Dave Kelly & The Travelling Gentlemen. It is only in the past couple of years that Gary has started to perform solo, after gaining the confidence to do so from positive audience reaction to the tracks on recent Blues Band albums that he has sung lead on. A couple of songs sung by Gary are now a regular feature of The Blues Band’s shows. To step forward to the lead vocal microphone after so many years working behind the band’s legendary two principal voices, ie Paul Jones and Dave Kelly, was a daunting task but the strength of good original songs sung by their writer has proved an audience pleaser, and Gary has been encouraged to stake his claim as a singer songwriter in his own right. His The Official Gary Fletcher Bootleg Album CD (on the Hypertension Music label ref HYP 4227), features 16 tracks, a full one hour running time plus a Friedel Muder designed 20 page booklet which includes extensive background notes and the full lyrics to each track. Many of the tracks are the original writer’s versions of songs that have been recorded by The Blues Band during the band’s 25 year existence. ‘Greenstuff’ which has become something of an anthemic ‘classic’ for the band over the years is featured in a totally stripped back acoustic guitar and voice version whilst ‘It takes the blues to see’ appears in a much less aggressive mode than it does on the recent ‘Stepping Out’ album. ‘You’ve Got To Choose’ is a song recorded back in 1991 by The Blues Band but to date never released whilst ‘Watch My Lips’ is a tune written for the band but which never got through the selection ‘committee’! Written in Oct 2001, the emotive ‘World Gone Crazy’ already features in The Blues Band’s repertoire and responds to the events of Sept 11th and to the serious accident which Gary’s son suffered three days before. Also present are brand new songs, one or two of which may be recorded for the band’s next studio album but, in any event, will certainly be featured in Gary’s increasing schedule of live performances in solo, duo and group guise. Gary recorded a session in his own right for BBC Radio 2 which was broadcast in Mar ’05 and a DVD ‘Live at The Ram Jam Club’ was released in ’06. Gary’s latest album (as at June ’07) is Human Spirit on BGO Records (BGOCD 780) which features a core band of Gary on acoustic and electric guitars, his son Jack on bass, his fellow Blues Band rhythm section partner, the superb Rob Townsend on drums and congas and, new to the wider blues/roots scene, the wonderful John Evans on lead guitar. Also featured are Bernie Marsden, Micky Moody and Dave Kelly on guitars, Steve Simpson on mandolin, violin and guitar and Mark Feltham and Paul Jones on harmonicas. The so-called ‘radio’ single from the album is a track called ‘Payback’ and a promo video of the song has been produced. This and song clips etc are included on this site and will soon also feature on a dedicated ‘myspace’ page. Over the years Gary has had an involvement in the world of motorsport. Anyone interested in this aspect of his life please check http://www.garyfletchermusic.co.uk/biography.htm to read more. © http://www.garyfletchermusic.co.uk/biography.htm

Chris Farlowe and The Thunderbirds

Chris Farlowe and The Thunderbirds - Out Of The Blue - 1985 - Polydor

Out of the Blue marked Chris Farlowe's return to American soul music and blues, after a decade-long hiatus caused by a road accident injury and a series of gigs with other players. It was as though he'd picked up right where he'd left off at Immediate Records in 1970, without skipping a beat -- opening with Willie Dixon's "I Ain't Superstitious," he sounds so American and so black that listeners could still do double-takes after 20 years in the spotlight for the singer. "The Thrill Is Gone" and "Ain't No Love in the Heart of the City" are among the best cuts, but the whole album is worthwhile and then some. © Bruce Eder © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/out-of-the-blue-r37287

In 1984, Chris Farlowe hadn't recorded an album of new material for over ten years. After a meeting with record producer Mike Vernon (John Mayall, Fleetwood Mac and many more), he recorded this album with a new Thunderbirds line-up. The result is a brilliant soul blues album with great covers of classic soul and blues standards including "Ain't No Love in the Heart of the City", "I Ain't Superstitious", "The Thrill Is Gone", and "Standing on Shakey Ground". Artists playing on the album include Albert Lee on guitar, and Dr.Feelgood's "The Big Figure" (John Martin) on drums. VHR by A.O.O.F.C. Listen to Chris' great "14 Things to Think About" album, and search this blog for related releases [All tracks @ 160 Kbps: File size = 45.7 Mb]

MUSICIANS

Chris Farlowe - Vocals
Mo Witham - Guitar
Albert Lee - Guitar
Big George Webley - Bass
Tim Hinkley - Keyboards
The Big Figure (John Martin) - Drums
Steve Gregory - Saxophone

TRACKS / COMPOSERS

1 I Ain't Superstitious - Dixon
2 Gambler's Blues - King, Taub
3 Them That's Got (I Ain't Got Nothin' Yet) - Charles, Harper
4 Ain't No Love in the Heart of the City - Price, Walsh
5 It's All Wrong - Farlowe, Witham, Gibbons, Dixon, Martin
6 Key to My Kingdom - Davis, Seabaum
7 The Thrill Is Gone - Benson, Pettite
8 Watch Your Step - Parker
9 All the Way Lover - Latimore
10 Standing on Shakey Ground - Bowen, Hazle, Boyd

CHRIS FARLOWE BIO

Chris Farlowe always seemed destined for great things as a singer -- and based on the company he kept on-stage and the people he worked with in the mid-'60s, he did succeed, at least on that level. Born John Henry Deighton in Islington, North London, in 1940, he reached his early teens just as the skiffle boom was breaking in England, and was inspired by Lonnie Donegan to enter music. His first band was his own John Henry Skiffle Group, where he played guitar as well as sang, but he gave up playing to concentrate on his voice, as he made the switch to rock & roll. He eventually took the name Chris Farlowe, the surname appropriated from American jazz guitarist Tal Farlow, and was fronting a group called the Thunderbirds, as Chris Farlowe & the Thunderbirds. They built their reputation as a live act in England and Germany, and slowly switched from rock & roll to R&B during the early years of the '60s. Their debut single, "Air Travel," released in 1962, failed to chart, but the following year, Chris Farlowe & the Thunderbirds (whose ranks included future star guitarist Albert Lee) were signed to EMI's Columbia imprint, through which they issued a series of five singles thru 1966, all of which got enthusiastic critical receptions while generating poor sales. In 1966, with his EMI contract up, Farlowe was snatched up by Andrew Oldham, who knew a thing or two about white Britons who could sing R&B, having signed the Rolling Stones three years earlier, and put him under contract to his new Immediate Records label. Immediate's history with unestablished artists is mostly a story of talent cultivated for future success, but with Farlowe it was different -- he actually became a star on the label, through the label. His luck began to change early on, as he saw a Top 40 chart placement with his introduction of the Jagger/Richards song "Think," which the Rolling Stones later released as an album track on Aftermath. That summer, he had the biggest hit of his career with his rendition of the Stones' "Out of Time," in a moody and dramatic version orchestrated by Arthur Greenslade, which reached number one on the British charts. Farlowe had enough credibility as a soul singer by then to be asked to appear on the Ready, Steady, Go broadcast of September 16, 1966, a special program featuring visiting American soul legend Otis Redding -- he'd covered Redding's "Mr. Pitiful" on an Immediate EP, and now Farlowe was on stage with Otis (and Eric Burdon), and got featured in two numbers. That was to be his peak year, however. The subsequent single releases on Immediate, including his version of the Stones' "Ride on Baby," failed to match the success of the first two singles, and he last charted for Immediate with "Handbags and Gladrags," written for him by Manfred Mann's Mike d'Abo. The label, always in dire financial straits, tried repackaging his songs several different ways on LP, but after 1967 his recording career was more or less frozen until the label's demise in 1970. After that, Farlowe's story became one of awkward match-ups with certain groups, including the original Colosseum on three albums, and Atomic Rooster (post-Carl Palmer). Following a car accident that left him inactive for two years, he made an attempt at re-forming the Thunderbirds in the mid-'70s, and "Out of Time" kept turning up in various reissues, but he saw little new success. Farlowe was rescued from oblivion by his better-known contemporary (and fellow Immediate Records alumnus) Jimmy Page, appearing on the latter's Outrider album in the '80s, which heralded a BBC appearance that brought him back to center stage in the public consciousness for the first time in two decades. Farlowe followed this up with new albums and touring with various reconstituted '60s and '70s groups, and although he never saw another hit single, his reputation as a live performer was enough to sustain a career -- nor did the release of his Ready, Steady, Go appearance with Otis Redding on videotape and laser disc exactly hurt his reputation; indeed, that was the first time many Americans appreciated just how serious a following he'd had in England. His recent albums, including The Voice, have gotten respectable reviews, and his Immediate Records legacy was finally getting treated properly in the 21st century, as well. Along with Manfred Mann's Mike d'Abo and Paul Jones, Farlowe remains one of those voices from 1960s England that -- with good reason -- hasn't faded and simply won't disappear. © Bruce Eder © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/chris-farlowe-p4231

Phil Manzanera

Phil Manzanera - Firebird V11 - 2008 - Expression Records

Firebird V11 is a studio album by Phil Manzanera, guitarist of rock band Roxy Music. The album's title is inspired by a guitar of the same name, made by Gibson, a guitar with which Manzanera has had a long career - WIKIPEDIA

They say you can never go back, but this new album teams Phil Manzanera with Charles Hayward, the drummer from his first school band in south London. A chance airport encounter led to this loosely structured and cheerfully experimental reunion, named after the raw-toned Gibson Firebird V11 guitar that Manzanera played in Roxy Music (you can see it on the cover of their album For Your Pleasure, and indeed on this one, too). Besides Hayward, who founded the pioneering This Heat and remains a force on London's improvising scene, we have Israeli jazz-classical-rock bassist Yaron Stavi (a regular Gilad Atzmon collaborator) and the brilliant Polish pianist Leszek Możdżer, whose keyboards add a dramatic dimension to the art-rock lineup. It's very much a guitar album, driven by Hayward's big beat, yet Manzanera shines best on the tunes written by his mates: Bill MacCormick's opening Fortunately I Had One With Me, Możdżer's FIReEBIReD and Hayward's After Magritte. © John L Walters The Guardian, Friday 14 November 2008 ***/5 © 2011 Guardian News and Media Limited or its affiliated companies. All rights reserved http://www.guardian.co.uk/music/2008/nov/14/phil-manzanera-firebird-v11-review

On Firebird VII, the Roxy Music guitarist returns with drummer Charles Hayward to the territory they staked out as jazz-rock outfit Quiet Sun in the mid-Seventies, here accompanied by bassist Yaron Stavi and pianist Leszek Mozdzer. The Gibson Firebird VII is Manzanera's signature guitar, which he's used since For Your Pleasure, here offering the double benefits of a wiry high register and the kind of hefty, limitless sustain of which Nigel Tufnell might fondly fantasise. Besides Manzanera's title-track, each band member contributes a composition apiece, along with former Quiet Sun alumnus Bill MacCormick, with a seventh track, "Mexican Hat", improvised from 16 chords drawn from the hat in question, four per player. Like Manzanera's "Cartagena" and Hayward's "After Magritte", MacCormick's "Fortunately I Had One With Me" was written for Quiet Sun; here, it opens the album like The Stooges playing art-rock, before settling into a jazz-rock riff of dark urgency. Mozdzer is outstanding on "Cartagena", scattering little piano runs over Manzanera's rising guitar figures, followed by scurrying clusters of furtive, mouse-like synth as it gathers momentum. It's an impressive piece of work overall. So: is it time for the Stomu Yamash'ta revival yet? Pick of the album:'Fortunately I Had One With Me', 'After Magritte', 'Cartagena', 'Firebird VII' ***/5 Reviewed by & © Andy Gill Friday, 7 November 2008 © independent.co.uk http://www.independent.co.uk/arts-entertainment/music/reviews/album-phil-manzanera-firebird-vii-expression-997587.html

Yes! Phil has delivered an instrumental classic which shares a kinship with the best of Diamond Head, Mainstream, and 801. Really! It even sounds as if it was recorded with vintage instruments, and isn't that a good thing? Charles Hayward is a breath of fresh air - a real drummer playing a real kit with subtlety and restraint, and not merely a technobot who likes to "lift things up and put them down" as fast as possible. This release was a pleasant surprise - as the last trio of Manzanera solo offerings sounded somewhat constrained by self-conscious song writing and vocal delivery. Phil sticks to his strengths here, with maybe his best and tastiest guitar work yet. With no high profile guests and nothing to prove, the result is an organic work in which the songs are given room to breath and develop. They are not over produced or overworked, and sound almost like spontaneous jams flowing in and around strong foundations (think: Miss Shapiro from 801 Live) A tasteful, mature, yet risky work. A good cup of coffee in a sea of 5-hour energy snorts! 4.5 stars. by & © muddymouth | 4/5 | 2010-11-13 © Prog Archives, All rights reserved http://www.progarchives.com/Review.asp?id=317670

"Firebird Vii" is a good jazzy instrumental suite with a Latin tinge written for Phil Manzanera's signature Gibson guitar. Despite being called "jazzy/avant garde", it is totally accessible, and sidesteps any accusations of self-indulgence. Phil is backed by bassist Yaron Stavi, pianist Leszek Mozdzer, and drummer Charles Hayward. The album was recorded in one week at Phil Manzanera's Gallery Studios in June 2007. The music is very much in the tradition of Quiet Sun and the instrumental side of the 801 Live project. Some of the tracks were originally written in 1970 for Quiet Sun's 'Mainstream' album. Sound quality on track one is not on a par with the rest of the album, and the album could do without the intended "scratching" and "sound clip" intros to each track, but they're minor quibbles. Listen to Phil's "K-Scope" and "801 Live @ Hull" albums, and Phil Manzanera & Quiet Sun's "Mainstream" album [All tracks @ 320 Kbps: File size = 109 Mb]

TRACKS / COMPOSERS

1 Fortunately I Had One With Me (W MacCormick) 4:47
2 Cartagena (Manzanera) 6:11
3 FIReEBIReD (Mozdzer) 5:57
4 Mexican Hat (Manzanera/Hayward/Mozdzer/Stavi) 10:42
5 Firebird V11 (Manzanera) 5:58
6 A Few Minutes (Stavi) 7:12
7 After Magritte (Hayward) 7:18

MUSICIANS

Phil Manzanera - Gibson Firebird V11 Guitar, Vocals
Yaron Stavi - Bass Guitar, Acoustic Bass, Vocals
Leszek Mozdzer - Piano, Synths, Vocals
Charles Hayward - Slingerland Drums, Vocals

SHORT BIO

The longtime guitarist for legendary British art pop sophisticates Roxy Music, Phil Manzanera was born Philip Targett-Adams in London on January 31, 1951. The child of an English father and Colombian mother, he was raised in various spots, including Hawaii and Cuba, and while living in Venezuela began playing guitar at the age of eight. Profoundly influenced by both Latin music and rock & roll, while attending school at London's Dulwich College in 1966 Manzanera co-founded the psychedelic band Pooh and the Ostrich Feather, later rechristened Quiet Sun concurrent with a move toward a more avant-garde approach. When the group dissolved in 1972, Manzanera replaced guitarist Dave O'List in Roxy Music, joining in time to record their self-titled debut LP. A series of classic albums followed and upon completion of 1974's Country Life, Manzanera returned to the studio to record his first solo effort, the largely instrumental Diamond Head. Around that same time, he contributed to solo efforts from fellow Roxy Music alums Bryan Ferry (Another Time, Another Place) and Brian Eno (the groundbreaking Here Come the Warm Jets and Taking Tiger Mountain [By Strategy]), and even cut a Quiet Sun reunion LP, Mainstream. Manzanera continued balancing his Roxy Music duties with solo projects and session dates, in 1975 producing the up-and-coming New Zealand group Split Enz; with Roxy Music entering a state of suspended animation a year later, he formed the short-lived 801 before touring with Ferry. The 801 aegis was revived for 1977's Listen Now!!; upon completing the follow-up, K-Scope, Manzanera joined the revived Roxy Music for Manifesto, their best-selling album in the U.S. He remained with the group through their last studio album, the 1982 masterpiece Avalon, and following their final tour he reunited with ex-Roxy saxophonist Andy Mackay as the Explorers, also recording a 1986 LP with onetime Asia frontman John Wetton. While 1990's Southern Cross featured extensive vocal contributions from onetime Split Enz member Tim Finn, Manzanera was largely absent from the studio during much of the decade to follow, primarily focusing on live performances (including appearances at the Guitar Legends and WOMAD festivals). In 1999, he issued the Latin-influenced Vozero, closing out the year by backing Ferry at the British Gas Millennium Concert, their first joint performance in 18 years. © Jason Ankeny © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/phil-manzanera-p4839/biography

Eye To Eye

Eye To Eye - Clean Slate - 2005 - 12th Street Records

I'm so glad that Eye to Eye is back. Love the new album (Deborah's voice is wonderful; one of those life's pleasures). Hope there's more to come!" - Randy N. (Shelton, CT)

"This is the best new, old music that I have heard in a long time...Just as all of the reviews that I have read reflect - Great Work!"- Jim O. (Shreveport, LA)

"Sometimes, when you haven't heard from someone in decades, you wonder 'what would they have to say today?' 'Scenes From A Wishing Well' is a pleasant answer to that question--You guys still have it."- George S. (Pasadena, CA)

A perfect collection of beautiful and inventive melodies, moving and imaginative lyrics, and impeccable and ingenious arrangements. "Blue Dragonfly" is one of the most beautiful songs I've ever heard. "Last" has me bopping down the street--can't help singing along (with apologies to Deborah Berg's distinctive voice and exquisite phrasings)! I've listened to Eye to Eye from their beginnings - "Clean Slate" is their long-overdue masterpiece. Clean Slate ***** by & © SkeeMax © 2011 Apple Inc. All rights reserved http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?playListId=178785518

Clean Slate is another high-class effort embracing an improbably wide range of styles. - Coventry Evening Telegraph, August 2005

"...jazz-tinged, well-played, beautifully sung...full of old-fashioned session players..." - Record Collector, July 2005

"Imagine, if you will, Steely Dan with a female lead singer capable of playing at the very swishest of clubs." - MOJO Magazine, October 2005

UK's Swell Music says this about the new album: "Anglo American 80's duo Eye to Eye are releasing their long awaited, and highly overdue, third album. Their first two records in the 80's were met with massive critical acclaim for their clean, unblemished sound and quirky lyric craftsmanship. Now 20 years on, and with Rhett Davies (Roxy Music, Bryan Ferry) in the producer's chair, they have created an exquisite collection of musical tales embracing old school R&B, big band, rock/pop, folk and bossa nova. It is a sublime album."

The great record producer, Gary Katz will probably be mostly associated with many of Steely Dan's great recordings, especially the legendary "The Nightfly" album for Donald Fagen, but he has produced many great recordings for artists as diverse as Bobby Darin, Mamas & Papas, Steppenwolf, Three Dog Night, 10 CC, & Joe Cocker. He is also a renowned A&R man/talent scout, and signed up artists like Jim Croce, Chaka Khan, Prince, Dire Straits, Christopher Cross and Rickie Lee Jones, mainly for Warner Bros. In the early 1980's, he was sent a recording of the American/British duo, Eye To Eye, was interested in their sound, and agreed to produce their great debut album which is full of quirky lyrics and catchy tunes. Gary assembled some of the best session musicians available, including ex-Steely Dan member Elliott Randall and sessionman Dean Parks to play on the album. Donald Fagen, himself played synth on "On The Mend". Donald also played keyboards on " Jabberwocky" on Eye To Eye's 1983 album "Shakespeare Stole My Baby" also produced by Gary Katz. Referring to "Clean Slate" Gary Katz said that "I love Eye to Eye music and have for 20 years...because it makes me smile." During the 80's Eye To Eye's music was described as heavily influenced Steely Dan "Basia-vein pop," and that is a good description. "Clean Slate" is produced by Rhett Davies (Roxy Music, Bryan Ferry), but retains much of the unusual song structures, quirky lyrics, and clever hooks that made their first two albums so appealing, and attractive. The album is HR by A.O.O.F.C. Eye To Eye's other two albums can be found on this blog. Buy Deborah Berg's great "Places Where I Dream" album. Read more about Eye To Eye @ http://eyetoeyemusic.com/secondary/theBand.html For music in the same genre, check out albums by Dave's True Story on this blog [Tracks @ 224-320 Kbps: File size = 72.7 Mb]

TRACKS

1 Scenes By A Wishing Well 5:17
2 Love Is Not Blind 4:47
3 Last 4:02
4 Blue Dragonfly 5:02
5 Shoes 4:58
6 Fly Now 3:50
7 Mother Of A Family 4:31
8 Only Ever Now 4:31
9 How Sweet It Was 3:17
10 One So Unsuspecting 5:07
11 Clean Slate 4:51

All songs composed by Deborah Berg & Julian Marshall

MUSICIANS

Deborah Berg - Vocals
John Putnam - Guitar
Ivan Bodley - Bass
Julian Marshall - Keyboards
Martin Ditcham - Drums
The Uptown Horns - Horns

ALBUM NOTE

20 years after releasing two critically acclaimed albums, the British-American duo Eye to Eye strides back onto the music scene with a third album, aptly titled "Clean Slate." American vocalist, Deborah Berg, and British keyboard player, Julian Marshall, present an album embracing musical styles from old school R&B to bossa nova, from folk to big band. Produced by Rhett Davies (Roxy Music, Bryan Ferry), the CD was rated #6 in MOJO's Top Ten Picks (October 2005). "Clean Slate" has been called "jazz-tinged, well-played, beautifully sung" (Record Collector). The eleven songs cover diverse themes: from full-bodied, mature love to the high-wire act of balancing motherhood and selfhood. The album starts with "Scenes By A Wishing Well," featuring The Uptown Horns (Rolling Stones, Robert Plant), a snapshot of a modern mom trying to gracefully ride the wave of daily life. The CD closes with the title track, an upbeat meditation on the redemptive renewal of nature and time. Eye to Eye was born in 1980 after a chance encounter between Julian Marshall and Deborah Berg at a dance performance in San Diego. Soon after, Deborah and Julian had a tape of demos and a record deal with Warner Brothers in the works. Eye to Eye’s first album, "Eye to Eye," was produced by Gary Katz (Steely Dan) and yielded the Billboard Top 40 single "Nice Girls." The album was well reviewed by the New York Times and sold over 80,000 copies in the U.S. After their second album, "Shakespeare Stole My Baby," Julian and Deborah put the band on hiatus while they both dedicated their time to family and other pursuits. They are thrilled to share their new album with you!

BIO

The duo Eye To Eye formed in 1979 after keyboardist Julian Marshall (formerly of Marshall-Hain) heard dancer/singer Deborah Berg sing at an improvisational dance performance in San Diego. Weeks later, Berg flew to London, where she and Marshall began writing together at his home. They quickly garnered a record deal with Automatic Records in the U.K., releasing the single "Am I Normal." In 1982, Eye To Eye released their self-titled debut album on Warner Bros. Records. Their debut, featuring the Top 40 hit "Nice Girl" and the follow-up release Shakespeare Stole My Baby, was produced by Gary Katz, known primarily for producing Steely Dan's albums. Like Steely Dan, Eye To Eye performed catchy and intelligent pop music with stellar musicianship and taut production. Unfortunately, lack of record company support did the duo in, after their second release. Adding to the misfortune, the record label never bothered to release Eye To Eye's two excellent albums on compact disc in the United States. © Tim Griggs, All Music Guide

EYE TO EYE HISTORY

Eye to Eye was born in 1980 after a chance encounter between Julian Marshall and Deborah Berg in San Diego, California. Julian and his wife, Arabella, attended a dance performance by the San Francisco-based dance collective Mostly Women Moving, with whom Deborah danced and sang. She had a knee injury, so she sang instead of danced that night, and her voice dazzled Julian. They exchanged phone numbers, and, upon his return to London, Julian invited Deborah to fly across the Atlantic and try writing together. Three weeks later, Deborah and Julian had a tape of demos and a record deal in the works. Their first single, 1980's "Am I Normal?," attracted the attention of Steely Dan producer Gary Katz in Los Angeles at a Warner Brothers Artist and Repertoire meeting. Soon, Julian and Deborah signed with Warner Brothers in the States and were recording in Los Angeles with some of the world's finest session players. Deborah and Julian recorded two albums for Warner Brothers, both produced by Gary Katz. Their self-titled debut came out in 1981 and eventually sold 80,000 copies in the United States. "Nice Girls," the album's single, scored them a Billboard Top 40 hit. Deborah and Julian undertook a successful East Coast tour in support of the album, and received a wonderful review from New York Times reporter Stephen Holden. Their second album "Shakespeare Stole my Baby" was released in 1982. To their disappointment, the album sank without much notice. It has, of course, been reissued to considerable critical acclaim. After their second album, Julian and Deborah put the band on hiatus while they both dedicated their time to family and other pursuits. In 2001, Julian flew to New York, fired up with enthusiasm to play and sing with Deborah again. He came with the idea of forming a jazz quintet with her, but after one listen to old Eye to Eye songs, they reawakened the band. Many trips across the Atlantic later (with enormous apologies to the environment) and armed with eleven new songs, Eye to Eye recorded again. Roxy Music producer Rhett Davies co-produced this album, and recording took place in both New York City and Devonshire. Eye to Eye's third album, 'Clean Slate,' was born on June 27, 2005, and is currently being promoted in the United Kingdom to great response. This vibrant duo's smooth sound and evocative lyrics herald a new chapter in Eye to Eye's fantastic story. © www.eyetoeyemusic.com/secondary/theBand.html

MORE ABOUT THE DUO [ Words © Adult Music In Japan]

"Eye To Eye" is the duo comprising of Julian Marshall, keyboard player coming from UK, and Deborah Berg, female vocalist coming from Seattle,USA. Julian Marshall had done another duo with female singer, "Marshall Hain" in late 70's, which released the album "Free Ride" in UK (same album released in USA was titled as "Dancing In The City". The reason why this unknown pop duo "Eye To Eye" was remarked was, as you guess, the works produced by Gary Katz known for his producing works with Steely Dan. It is said that "Eye To Eye" started its duo activity in 1979 by releasing their single record "Am I Normal ?" c/w "Tonight Insomnia" under Automatic Records UK. In 1982, they released 1st album "Eye To Eye" produced by Gary Katz and first single "Nice Girls" hit Billboard Top 40. Only one year later, they released their 2nd album "Shakespeare Stole My Baby" including the Billboard Top 100 single hit tune "Lucky". If I explain to their music style, "Eye To Eye" was "pop heavily influenced from Steely Dan."