Adam Holzman & Brave New World

Adam Holzman & Brave New World - Spork - 2010 - Nagel Heyer Records

Great funk fusion with the always impressive and amazingly talented N.Y multi-instrumentalist Adam Holzman on keys. Adam was once a member of the jazz rock band, The Fents who released two albums of superb jazz rock/fusion. Adam was influenced by artists like "The Doors", Leon Russell and Dr. John, but during the late 70s his music became more jazz and progressive rock orientated. Adam said, "First I was influenced by groups like "Emerson, Lake & Palmer" or "Yes". When I heard Chick Corea, the Mahavishnu Orchestra and Billy Cobham I got completely turned on to jazz." he says today. "But I only started getting serious about jazz harmonies when I was in my late 20s. Even today there are still some gaps in my jazz knowledge. But I do not consider my musical role to be a keeper of jazz traditions. I try to make entertaining music today, influenced by rock, jazz-rock, funk and a lot of other styles and ideas." Other artists playing on this album include guitarist Mitch Stein (from The Steve Kimock Band & The Hermanators), Aaron Heick on sax, bassist Freddy Cash Jr., and Abe Fogle on drums. Adam's motto is "Optimistic music in the age of fear." "Spork" is great "cyber electric fusion" music in an age of musical mediocrity, and HR by A.O.O.F.C. Listen to Adam's "Overdrive" album and check out The Fents' "The Other Side" album. [All tracks @ 320 Kbps; File size = 98.3 Mb]

TRACKS

1 Big Cheese 8:16
2 Spork 2:26
3 Steering Wheel Committee 3:55
4 Equation 8:34
5 Orange Lady 3:00
6 Tuesday 8:20
7 Quarks 2:28
8 Polish Soul Sister 6:06

Tracks 1, 2, 4, 6, 7, 8 composed by Adam Holzman: Track 3 composed by Adam Holzman & Aaron Heick: Track 5 composed by Joe Zawinul

MUSICIANS

Mitch Stein - Guitar
Freddy Cash Jr. - Bass
Adam Holzman - Keyboards
Abe Fogle - Drums
Aaron Heick - Saxophone

ADAM HOLZMAN (SHORT BIO)

Jazz keyboardist Adam Holzman (b. February 15, 1958, in New York, NY) has had an interesting career trajectory. The son of Jac Holzman, the president of Elektra Records during its late-'60s heyday, Holzman learned keyboards at an early age, picking up the instrument when he was in the third grade. Since he was in the inner circle of Elektra, he was not only exposed to many of the era's trailblazers, but he was also able to see how they worked. He hung out at Doors rehearsals, met Love, and saw the Paul Butterfield Blues Band in their prime. Like many musicians of his era, he was also heavily influenced by the Beatles. He found himself attracted to the music of Butterfield and the Fab Four, which led him to explore a number of different artists from Leon Russell to Joe Cocker, eventually leading to keyboard-dominated prog-rockers Emerson, Lake and Palmer and Yes. Holzman's infatuation with prog-rock turned out to be the doorway to his passion for jazz-fusion and synthesizers. In a matter of time, ELP gave way to Chick Corea's groundbreaking Return to Forever and Herbie Hancock's innovative early-'70s work. By the early '80s, he was working at Goodman's Music, a respected instrument store in Los Angeles. At Goodman's, he became an expert in MIDI technology and synth programming, which led to regular studio gigs. Soon, he had attracted the attention of Miles Davis, who was interested in MIDI. He joined Davis' band in 1985. Holzman stayed with the legendary musician for four years, spending his final year -- from 1988 to 1989 -- as the musical director for the entire band. Following his tenure with Davis, he toured and recorded with a variety of artists, including Chaka Khan, Michel Petrucciani, Wayne Shorter, Kolvynator and Kenny Garrett. In the spring of 1997, he joined Grover Washington Jr.'s band. By the late '90s, he was also playing with FM Tribe and Francis M'Bappe in New York City. In addition to his role as a sideman, Holzman pursued many of his own projects. He led the Los Angeles-based jazz-rock group the Fents with guitarist Ted Hall; they released The Other Side on Passport Jazz in 1987. He also formed the prog-influenced Mona Lisa Overdrive, who released an eponymous album in 1993. In the '90s, he released several solo albums -- In a Loud Way (1991), Overdrive (1994) and Big Picture (1997) -- before forming the New York-based, funk-inflected group Brave New World, who were a recording entity in their own right, releasing Worldwind in the fall of 1998. © Stephen Thomas Erlewine © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/adam-holzman-p45164/biography

Philip Sayce

Philip Sayce - Peace Machine - 2005 - Sayce Songs

Get the brand new, long-awaited release from Philip Sayce, "Peace Machine". The guitarist for Melissa Etheridge, Jeff Healey and Uncle Kracker has stepped out in front for this release, along with Kenny Aronoff on drums, Mark Browne on bass and Fred Mandell on keyboards. The CD features 14 raw, soulful and explosive tracks that will leave you wanting more. The "Peace Machine" sessions began on February 14th 2005, the day after a historic Grammy performance, at Ocean Studios in Burbank, CA. Recorded primarily live in a day and a half, it captures the essence of a Philip Sayce gig. The songs were written by Philip and include collaborations with Grammy nominated songwriter and producer Marti Frederiksen (Aerosmith, Jonny Lang) and Academy Award nominee Christopher Wilkinson. Many of the songs such as "Angels Live Inside'" were written from very deep and personal experiences. Here's what Boulder Weekly said about Philip Sayce, "And tearing it up on the electric guitar is new kid on the Block, Philip Sayce. Not only does he have the chops of a guitar god, but he looks the part." Order your copy now and experience "Peace Machine" today! © 1996-2012 Guitar Nine http://www.guitar9.com/peacemachine.html

Philip Sayce is without a doubt amongst the most promising blues-rock guitarists around at the moment and although he is relatively heavier than the majority of his contemporaries, he lacks none of the emotion shown by similar artists such as Joe Bonamassa and Gary Moore. One thing that is immediately evident about the young Welsh born guitarist/singer/songwriter is that he’s not afraid to rock out and while his music is doubtlessly rooted to the blues many of the songs on this album could easily fit into the Hard Rock genre. Not least album opener, One Foot In The Grave, which with it’s high energy riffing sets the tone of the album perfectly. As following track, Save Me From Myself, continues in similar fashion, it’s clear that Philip Sayce is not only an exceptional guitarist but a great songwriter and vocalist too. The Hendrix-esque Slip Away is perhaps one of the most memorable songs on the album and features one of Sayce’s most breathtaking solos. The first song to really divert from the heavy blues formula is Angels Live Inside, which starts off as an acoustic led ballad before picking up pace for another superb solo. One of the albums most memorable riffs belongs to Blood On Your Hands, which combined with an anthemic chorus, makes for a classy rocker. The album’s only cover is a version of Neil Young’s Cinnamon Girl, which whilst staying close to the original sounds just as heavy as the rest of the album. Over My Head was the album’s lead single and, although it only achieved moderate chart success, has ‘AOR Classic’ written all over it. This is followed by one of the album’s standout tracks, the five minute instrumental, Alchemy, which is quite possibly one of the most beautiful pieces of guitar orientated music written in recent years. On the other end of the scale songs like the heavy rocker All I Want and the funky Powerful Thing benefit from the album’s raw yet powerful production and provide the perfect contrast for the bluesier tracks like the aforementioned instrumental. The album closes with the epic eleven minute title track, which owes more than a little to Jimi Hendrix’s Voodoo Chile and is the prefect way to end one of the best blues rock albums of the 00’s. Overall Peace Machine is an album that is full of potential and if there's any justice in the world it's an album that will see Philip Sayce go on to be as big as those who inspired him. Review by & © Jamie Twort USER October 8th, 2010 [4.0 excellent] © 2013 Sputnikmusic.com http://www.sputnikmusic.com/review/39535/Philip-Sayce-Peace-Machine/

“Peace Machine” was recorded mainly live over 36 hours Philip Sayce and his band at Ocean Studios, Burbank, California – the day after Philip performed with Melissa Etheridge at The Grammy Awards! At times this album touches on AOR, however the music never reaches that slick commercial West Coast sound and there are enough well written songs and brilliant lead guitar playing to make it HR by A.O.O.F.C. Listen to Philip's "Innerevolution" album [All tracks @ 320 Kbps: File size = 181 Mb]

TRACKS / COMPOSERS

1 One Foot In The Grave - Sayce 3:11
2 Save Me From Myself - Sayce 4:00
3 Slip Away - Sayce 5:15
4 Powerful Thing - Sayce, Frederiksen, Chycki 4:42
5 Angels Live Inside - Sayce 3:57
6 Dream Away - Sayce, Frederiksen 5:50
7 Sweet Misery - Sayce, Frederiksen 3:57
8 Blood On Your Hands - Sayce 3:05
9 Cinnamon Girl - Young 4:16
10 Over My Head - Sayce, Wilkinson, Rivele 5:21
11 Alchemy - Sayce 5:06
12 All I Want - Sayce, Wilkinson 2:46
13 Morning Star - Sayce, Pereira, Barry, Annibalini 5:06
14 Peace Machine - Sayce 14:19
15 Arianrhod - Sayce, Cobb 7:20

MUSICIANS

Philip Sayce - Guitars, Vocals
Mark Browne - Bass
Roger Bueno - Bass on "Arianrhod"
Fred Mandell - Organ, Keyboards
Kenny Aronoff - Drums, Percussion
Joey K - Drums on "Arianrhod"
Lily Wilson - Background Vocals on "Powerful Thing"

BIO

Philip Sayce was born in Aberystwyth, Wales on June 3, 1976. His family moved to Toronto, ON when he was two years old. Both of his parents were very much into music and encouraged creativity to their children. Philip learned to play the piano and guitar among other instruments. With inspiration from Dire Straits, Eric Clapton, and Stevie Ray Vaughan, he soon began to focus more closely on the guitar. By the time he was fifteen years old, he was playing in his first band. It was about this time that Stevie Ray Vaughan was killed in a helicopter crash. This deeply affected Philip and motivated him to switch to guitar. Philip has said that his first guitar was a Sears acoustic with strings "about four feet off the fret board" and he carried it around in a garbage bag. This did not stop his amazing progress. From 1992-2001, Philip loved playing at bars in Toronto, including Grossman's Tavern where he developed a loyal following. Philip recorded his first album, The Philip Sayce Group, at age twenty. In 1997, he joined the Jeff Healey Band and toured the world with them for almost four years. Philip appeared on Jeff Healey's 2000 realease, Get Me Some. In early September 2001, Philip and his then girlfriend (now wife), Kelly moved to Los Angeles, California to seek more musical opportunities. Shortly after, he landed a spot with Uncle Kracker. He toured with Uncle Kracer for eighteen months, appearing on Regis and Kelly, Dick Clark's Rockin' New Years Eve, CBS The Early Show, and The Tonight Show with Jay Leno to name a few. In 2002, Philip starred in and wrote the music for the short film, Cockroach Blue, which recieved great review at the 2003 Woodstock Film Festival. In late 2003, while playing around with amps at Westwood Music in Los Angeles, Philip came across John Shanks. Just a week earlier, Melissa Etheridge has told John Shanks that she was looking for a new guitarist. After talking with Philip for a while, John called Melissa and reccomended Philip to her. After a "practice" with Kenny Aronoff (drummer) and Mark Browne (bassist) and a lunch with Melissa herself, Philip got the spot. At twenty-seven years old, Philip joined Melissa's band to record her 2004 album, Lucky. The Lucky Tour involved packed venues across the United States, Canada, and Europe. Philip also appears on her Lucky Live DVD. On December 21, 2004 Philip married his fellow Canadian girlfriend, Kelly! In 2005, Philip performed with Melissa Etheridge at the Grammy Awards as well as releasing his second album, Peace Machine. He can be heard on a few tracks of her greatest hits album, The Road Less Travelled. Philip toured with Melissa during her 2006 tour. While recording Melissa Etheridge's new album, The Awakening, he performed her eco-hit, I Need To Wake Up, with her at the 2007 Acadamy Awards. In September 2007, The Awakening was released and Philip appeared on the live recording/filming of the album as well as the Tyra Banks show, Today show, and Regis and Kelly. 2007 was also the year that Philip released his third album, Silver Wheel of Stars. Philip toured with Melissa again during the summer of 2008 on her Revival Tour. In late 2008, Philip appeared on Melissa Etheridge's Christmas album, A New Thought For Christmas, where his performance gave a whole new meaning to Christmas music. He did not appear in the live show due to an injury. In early 2009, Philip hired Joel Gottschalk (bass), Ryan MacMillan (drums), and Fred Mandel (keyboards) as his band therefore creating Philip Sayce and the Fury. In summer of 2009, Peace Machine was released in Europe under Provogue Records. Philip Sayce and the Fury will be on tour in Europe in Fall 2009. Philip hopes to realese his fourth album in 2010 and he would like to tour more with his band. It is expected that Philip will be heard on Melissa Etheridge's future album, Songs of Love and Fear. © Confessions of a Philip Sayce Fan © http://philipsaycefan.weebly.com/about-philip.html

MORE (WIKI)

Sayce was born in Aberystwyth, but family moved to Canada when he was two years old, and he grew up in Toronto. His parents, Kenneth and Sheila, listened to music by Eric Clapton, Ry Cooder and Dire Straits, among many other artists. His parents’ love of music inspired his love for the guitar, and he also played the piano and trombone for over 10 years. He was fifteen years old when he played in his first band. Sayce and his best friend, drummer Cassius Pereira, played in bands together throughout high school, holding band practice in their basements. Sayce's style is strongly influenced by Jimi Hendrix and Stevie Ray Vaughan, whose untimely death in August 1990 greatly affected the young guitarist. Sayce began playing in Toronto clubs at the age of sixteen. He quickly became a regular fixture on Toronto’s bar-scene. Some of the clubs Sayce frequented were Grossman's Tavern, The Silver Dollar, Blues on Bellair, The Horseshoe Tavern, and Albert's Hall in Toronto, known for their famous jam sessions with artists such as Robbie Robertson, Stevie Ray Vaughan, Bob Dylan and Jeff Healey. His other musical influences include B. B. King, Albert King, Albert Collins, Buddy Guy, and Robert Cray. Sayce joined Healey's band in 1997 and toured the world for three and a half years, playing such places as Baden Baden, Germany, Brazil, Finland and the prestigious Montreux Jazz Festival in Switzerland. Sayce quickly gained notoriety as a teenage axe-slinger through his regular gigs at Toronto clubs, and he gradually developed a solid fan base. Sayce moved to Los Angeles to expand his music career. He soon landed a gig with Uncle Kracker and toured with him for eighteen months. With Uncle Kracker, Philip appeared on New Year’s Rockin’ Eve, Regis and Kelly, The Tonight Show with Jay Leno, and The CBS Early Show. Sayce also wrote the music for the 2002 short film, Cockroach Blue, which he also starred in. It was produced and directed by award-winning Robert Crossman. The film was shown at the 2003 Woodstock Film Festival and received popular acclaim. In the fall of 2003, Sayce unexpectedly met John Shanks at an impromptu jam session in the amp department at Westwood Music in Los Angeles. Coincidentally, just a week before, two-time Grammy award winner Melissa Etheridge had mentioned to Shanks that she was looking for a guitar player and was thinking of trying somebody different. Shanks referred Sayce to her and in December 2003, Sayce joined Etheridge and her band for her Lucky Tour. Sayce also appears on Etheridge's Lucky CD and the Lucky Live CD & DVD, released in September, 2004, Melissa Etheridge Greatest Hits: The Road Less Traveled released in 2005, The Awakening" released in 2007, and A New Thought For Christmas released in September 2008. He also performed on Etheridge's Oscar winning song "I Need To Wake Up" from the Al Gore 2006 documentary film An Inconvenient Truth. Sayce appeared with Etheridge at the 2007 Academy Awards, Live Earth in 2007, The 2005 Grammy Awards as part of a tribute to Janis Joplin (along with Joss Stone), and at the 2008 Democratic National Convention in Denver, Colorado. Sayce released his album Peace Machine, on Provogue Records in 2009. He released a second album Innerevolution in Europe, in May 2010. In July 2010, Philip Sayce supported the legendary ZZ Top in Europe and in December 2010, he supported Deep Purple on their French dates.

Preston Reed

Preston Reed - Handwritten Notes - 2000 - Outer Bridge Records

"If I'm a hard core guitar player, Preston Reed is petrified. He's so into it that he has alchemized. I've never seen anyone more precise. He's really inspiring." - Michael Hedges in Fingerstyle Guitar interview, March/April 1996

"Reed's fiendishly intricate blend of blues, rock, country and metal styles ducks and weaves itself away from measurability" - The Irish Times

"... phenomenal." - Al Dimeola

[Reed's] two-fisted attack turns the acoustic guitar into an entire rhythm section. - Jazziz

Handwritten Notes received positive reviews. John Dilberto wrote in Billboard "...should be a bible for anyone looking at the extended possibilities of the acoustic guitar." Dirty Linen magazine stated in its review: "Blending and bending textures and influences, Reed offers thoughtful and thought-provoking musical vignettes that offer more with each listening" and Dave Mead of Guitarist magazine stated: "Preston Reed is certainly one of the genre's frontrunners... This is an example of true, spellbinding guitar mastery." Minor 7th praised the album, writing that Reed "skillfully intertwines his trademark raucous slam-bang percussives with reflective and melodious ballads in a way which will heretofore define him as a living guitar legend in his own right."

Gone are the days when the solo guitar stylings of Preston Reed can be merely measured against those of the now-legendary Michael Hedges. On "Handwritten Notes" Preston Reed skillfully intertwines his trademark raucous slam-bang percussives with reflective and melodious ballads in a way which will heretofore define him as a living guitar legend in his own right. Reed eases into the quieter musical introspections on this CD with the pianistic grace and voicings typical of Bill Evans: "First Summer Without You" has the halting and leisurely beauty of "Waltz for Debby". "Crossing Open Water" and "What You Don’t See" likewise allow us to glimpse Reed’s innate gift for compostion, a gift whereby the listener’s focus zooms to the music rather than the technique. Reed blurs and melds genres on "Lost Time", morphing what seems to open as a slow delta blues into a jazz ballad which cries with a voice like Billie Holliday where you initially swore you may have heard Ma Rainey. Don’t fret, tapping and slapping also abound for those Groovemaster fans who take their music percussive, energizing and explosive. "Tractor Pull" and "Shinkansen" are positively hypnotic, exuding a pulsatile energy both primeval and visceral. In the liner notes, Reed says "We may not understand the mysterious power music holds, but we know it brings us together and gives us pleasure and sometimes even a miraculous recognition of our shared humanity". If I may take that statement one step further, I would say that certain guitarists of true accomplishment seem to be more visible stewards of that "miraculous power"... Preston Reed is on that short list. http://www.minor7th.com/m7_12_00.html#Reed

For other phenomenal acoustic guitarists, check out Stephen Bennett and Laurence Juber [All tracks @ 160 Kbps: File size = 62.7 Mb]

TRACKS

1.Night Ride 04:58
2.Gianaina 03:42
3.First Summer Without You 04:31
4.Tractor Pull 03:49
5.Crossing Open Water 04:45
6.The Groove Is Real 03:00
7.What You Don't See 05:02
8.Accelerator 03:22
9.Love In The Old Country 03:59
10.Along The Perimeter 03:27
11.Lost Time 04:33
12.Quintana Roo 03:35
13.After A Rain 03:57
14.Shinkansen 03:01

All tracks composed by Preston Reed. All instrumentation by Preston Reed

BIO (WIKI)

Preston Reed (born April 13, 1955, Armonk, New York) is an American fingerstyle and tapping guitarist. Preston Reed learned guitar as a child on his father's guitar and, for a short time, classical guitar with a too-severe teacher. When he was 16 his interest was rekindled by Jorma Kaukonen's acoustic guitar-playing in Hot Tuna. He took the guitar again and began to compose his own songs in the style of Leo Kottke and John Fahey. His first public performance was at Smithsonian Institution in Washington D.C., in a concert with Allen Ginsberg. He continued recording and performing and signed his first major label record deal with MCA Records with the help of his friend Lyle Lovett. Reed has played with various other musicians, spanning the spectrum between Linda Ronstadt and rock band NRBQ. He was featured on American radio and TV broadcasts. Between 1979 and 2007, he recorded 15 albums on several labels - mostly solo acoustic guitar -, guest-starred on other musicians productions, founded his own Outer Bridge label and featured on two solo videos. He has been commissioned for film soundtracks and a suite of original music for the Minneapolis Guitar Quartet. Reed moved to Scotland in 2000. Reed plays with his fingers, thumbs, fists and hands at once, suggesting a whole band at work: drummer, keyboard player, bass guitarist and several guitarists at once. Some of his tunes invoke impressions of rock bands and duelling guitars, but he is also a player of blues or ballads reminiscent of Bill Evans, one of his musical idols. As a teenager, Reed was influenced by Leo Kottke and John Fahey and in the beginning of his career was a fingerpicker with notable technical prowess. In the late 1980s, though, he developed his own, highly individual and percussive style, a short time after Michael Hedges published his first records using technically similar techniques, but creating very different music. He drew not only from fingerstyle, but from rock 'n' roll too, developing a very rhythmic drive in some of his compositions. Other pieces are very melodic and dreamy ballads. His guitar style is characterised by the use of percussive effects he generates with both hands on various parts of the guitar body. He names them, appropriately, rim shots and bongo hits. He uses slap and tap techniques like slap harmonics or the generation of notes or whole chords with his left hand (hammer-on, pull-off). He uses both hands for tapping (two-hand tapping) and frets chords with his right hand (right-hand fretting). He often plays with both hands from above the guitar's neck. In many of his compositions, Reed uses altered tunings characterized by very low bass string tunings, for example BGDGAD or CGDGGD, though he also uses standard tuning on his latest CD, Spirit.

MORE

Preston Reed plays acoustic guitar in a revolutionary, self-created percussive style that organically integrates melodies and drum rhythms. Preston Reed is a guitarist of many parts - so many parts that when he brings them all into play, first-time listeners often find it impossible to believe that they're hearing just the one musician, in real time. At full tilt, Reed's fingers, thumbs, fists and hands at once suggest a drummer, keyboardist, bassist and several guitarists at work. It's a dizzying, exhilarating phenomenon. A portrait of the acoustic guitar as full-on heavy metal band. But impressions of rock bands - and high speed trains and duelling, pulling tractors - are only one side of Reed. While acknowledging that somewhere inside him there is a screaming electric guitarist pacing like a caged lion, Reed is also a player of deep sensitivity who can compose and play a blues or a ballad with a touch reminiscent of his great jazz piano-playing hero, Bill Evans. Reed's entry into this guitar odyssey was inauspicious enough, his path thereafter largely self-discovered. A few chords learned from his guitar playing father, a brief, very brief, flirtation with the ukulele, clandestine practice sessions of his favourite Beatles and Stones songs on dad's guitar .... and then a too-strict classical guitar teacher led to premature retirement. At 16, however, Reed heard Jefferson Airplane's rootsy blues offshoot, Hot Tuna. His interest was rekindled big time. Acoustic guitar heroes John Fahey and Leo Kottke were studied, their styles absorbed but not imitated, and at this point things really begin to get interesting because, at 17, Reed, by now precociously proficient, played his first live gig, supporting beat poet Allen Ginsberg at the Smithsonian Institute. Just getting on a train from his native Armouk in New York state to Washington was a cool adventure. And it was just the first of many, not least of which was the one which resulted from his signing his first deal with a major record company, MCA, through the auspices of his friend, country singer-songwriter Lyle Lovett. Determined to make the most of this opportunity, Reed pushed himself to go beyond the standard fingerpicking styles he'd perfected. The result was the beginnings of the startlingly innovative style, with its percussive, two-handed fretboard attack, that you hear today and which has caused guitar luminaries such as Al DiMeola and the late Michael Hedges to describe Reed as "phenomenal" and "inspiring". Reed's compositional talents extend to film soundtracks and prestigious commissions for the Minneapolis Guitar Quartet, and as well as appearances alongside Bonnie Raitt and Linda Ronstadt his major performances include an historic live satellite broadcast on Turkish National Television in 1997 with renowned saz player and composer Arif Sag which reached an audience of 120 million in 17 countries, prompting a flood of international telephone calls to the station from stunned viewers. Since 1979, he has recorded thirteen albums and three videos and charmed audiences on three continents. He continues to tour with the same hunger and relish that informs his guitar playing and he gives regular workshops where he passes on the techniques he has developed for extending the acoustic guitar's possibilities. The secret, he says, is to relax and let the guitar patterns run by themselves. Which explains how, at full tilt, he may sound like a full-on heavy metal band but he still won't have broken sweat. © http://www.kennedy-center.org/explorer/artists/?entity_id=10944&source_type=B

Ian Carr

Ian Carr - Belladonna - 1972 - Vertigo

On Belladonna, the late Ian Carr and saxophonist Brian Smith was joined by the legendary fusion guitarist Allan Holdsworth with Dave MacRae on keyboards, Gordon Beck on piano, bass player Roy Babbington, drummer Clive Thacker, and Trevor Tomkins on percussion. The music is a continuation of Ian Carr's early 70's delicate, orchestral, baroque style where he further develops his exploration of timbres and tempos. Wonderful original and elegant music by a genius in the jazz rock/fusion world. Listen to Nucleus' "We'll Talk About It Later" album [All tracks @ 320 Kbps: File size = 91.1 Mb]

TRACKS

1 Belladonna 13:41
2 Summer Rain 6:12
3 Remadione 3:48
4 Mayday 5:40
5 Suspension 6:14
6 Hector's House 4:33

All tracks composed by Ian Carr except "Remadione" and "Hector's House" by Brian Smith

MUSICIANS

Allan Holdsworth - Guitar
Roy Babbington - Bass
Gordon Beck, Dave Macrae - Electric Piano
Clive Thacker - Drums
Brian Smith - Tenor & Soprano Saxophone, Alto & Bamboo Flute
Trevor Tomkins - Percussion
Ian Carr - Trumpet, Flugelhorn, Horns

IAN CARR / NUCLEUS BIO

Britain's jazz scene embraced jazz-rock as soon as it was invented by Miles Davis. Formed in 1969 by trumpeter and flugelhornist Ian Carr (a veteran bebop musician), Nucleus were among the very first groups to fuse jazz and rock from the jazz perspective. Carr had been playing for almost ten years, first in the EmCee Five (featuring John McLaughlin on guitar) and then in the Rendell-Carr Group, which released five albums before 1969.Except for the jittery, petulant, forceful eight-minute Torrid Zone, Nucleus' first album, Elastic Rock (Vertigo, 1970), was fragmented in brief vignettes that highlighted the group interplay without attempting any major statement. Ian Carr on trumpet and flugelhorn, Karl Jenkins on oboe and piano, Brian Smith on saxophone and flute, Chris Spedding on guitar and bouzouki, Jeff Clyne on bass and John Marshall on drums (both Marshall and Jenkins being ex-members of Graham Collier's ensemble), constituted one of the most skilled combos in the world, and each piece was mainly a display of their technical brilliance and of Carr's command of the melody (Elastic Rock, the sublime Earth Mother).The music began to stretch out on We'll Talk About It Later (Vertigo, 1970), a release that was both more ambitious and more emotive. The slick, breezy seven-minute Song For The Bearded Lady refined Carr's jazz-rock aesthetics to an almost baroque degree and at an almost rocking pace (including lilting guitar riffs to accompany the horn fanfares that bookend the piece). The nine-minute Oasis is mere sheen, as the instruments gracefully danced around the leitmotiv propelled by Marshall's unstoppable rhythm. The constructs are never simple, but their "sound" is smooth and elegant. Sun Child is built around the contrast between the cynical, funky guitar and the sensual horn melodies. We'll Talk About It Later reinvents the blues by translating Jimi Hendrix's Voodoo Chile into the language of Weather Report. The Lullaby For A Lonely Child is the album's romantic zenith, relishing the interplay between the trumpet solo and the dense drumming. Only the cold, brainy and obscure eight-minute Easter 1916, that is also the most frantic and convoluted piece of the album, breaks the magical equilibrium of the whole.Nucleus' evolutionary process led to the "orchestral" sound of Solar Plexus (Vertigo, 1971), where the line-up of Carr, Jenkins, Smith, Spedding, Clyne and Marshall is augmented with the horn section of Kenny Wheeler, Harry Beckett and Tony Roberts, and with the synthesizer. Half of the album is taken by the 21-minute suite Torso / Snakehips' Dream, a new peak for their fluid style of improvisation, but no less charming and challenging are the 7-minute Bedrock Deadlock and the 9-minute Spirit Level.As the original members began playing with the more popular Soft Machine, Nucleus became the name of whatever line-up Ian Carr was playing with. On Belladonna (Vertigo, 1972) the leader and Smith were joined by Allan Holdsworth (guitar), Dave MacRae (keyboards), Gordon Beck (piano), Roy Babbington (bass), Clive Thacker (drums), Trevor Tomkins (percussions). The six tracks (Belladonna, Summer Rain, Remadione, May Day, Suspension, Hector's House) continue the leader's elegant, orchestral, baroque trip, and increase his exploration of timbres and tempos.Nucleus lost Holdsworth but gained Tony Levin, a synthesizer and a plethora of guests (Kenny Wheeler, Trevor Tomkins, violinist Norma Winstone, clarinetist Tony Coe) on Labyrinth (Vertigo, 1973), whose highlights are the 11-minute Origins and the 18-minute Exultation / Naxos. The main innovations were in the rhythmic elements, that acquired a solid geometry of their own and constrained the melodic elements. Carr shone as the impeccable conductor, composer and arranger of the ensemble. Nucleus music was the "sound" that Carr manufactured out of his collaborators.The overall talent of the group was declining, though, as shown by Roots (Vertigo, 1973), the first album to include a vocalist. The rhythm was beginning to sound like funk music and the ensemble was beginning to lose its "choral" appeal due to an excessively smooth production (Roots, Images, Caliban, Whapatiti, Capricorn, Odokamona, Southern Roots And Celebration)Under The Sun (Vertigo, 1974) presented mostly a completely renovated line-up, with, again, a touch of electronics. Despite the 10-minute Rites of Man, the album is mostly uneventful. So were Snakehips Etcetera (Vertigo, 1975), and Alleycat (Vertigo, 1975). The four lengthy pieces of In Flagranti Delicto (Capitol, 1977) partially restored Carr's prestige, particularly in the way he fused traditional jazz and electronic sounds (Gestalt, Mysteries, Heyday, In Flagranti Delicto). Jazz arranger Neil Ardley helped craft the electronic sound of the new Nucleus on Out Of The Long Dark (Capitol, 1979), but the result was a more fragmented and less compelling work, as was the humbler Awakening (Mood, 1980).Live At The Theaterhaus (Mood, 1985) contains all previously unreleased compositions. Despite the return of John Marshall, this is hardly worth of the original Nucleus.Carr eventually found himself toying with classical composition. The result was the four-part Northumbrian Sketches, for jazz ensemble and string orchestra, that appears on Old Heartland (EMI, 1988).Carr also contributed to Zyklus, a quartet with Neil Ardley and John Walters on electronics and Warren Greveson on drum-machines that released Virtual Realities (AMP, 1992).Ian Carr's album of trumpet and organ duets Sounds And Sweet Airs (Celestial Harmonies, 1993) tried to sell his sophisticated sound to the meditative audience of new-age music.Ian Carr also pursued a successful career as a music critic.Ian Carr died in 2009. © 1999 Piero Scaruffi http://www.scaruffi.com/vol2/nucleus.html#title

Sara Isaksson & Rebecka Törnqvist (Steely Dan Related)

Sara Isaksson & Rebecka Törnqvist - Fire In The Hole - 2006 - Moule Recordings

I've always thought the tradition in jazz, to do covers of standards, is strange. It's like the performance is everything and the song writing means nothing. Ok, only a few artists are gifted enough to both be a song writer and performer. This is why I was happy to hear that these two Swedish jazz singers were doing a album with Steely Dan covers. Not only is this a fresh change in the song material, it is also a statement on the value of good songs. To me, Steely Dan is not jazz. However, the interpretations on this album sound quite natural. It's mostly two voices and a piano. It's definitely a jazz take, maybe not a typical one though. The production is so basic you could easily mistake this for a demo. Small gestures. I like their performance, and the straight-on style. Being a Steely Dan fan, I miss some of the sound quality and the intellectual touch of the originals. This cover album does not have that typical SD groove - but then again, it was probably never the idea. The focus is on the songs and everything else is secondary. © erikb 2007-02-24 http://boralv.se/blog/?id=1172337442

A labour of love ended up a CD released on their own label. Neither Sara nor Rebecka are hardcore fans of Steely Dan, and perhaps that helped them break away from the polished Steely Dan sound and go for simple piano and vocals arrangements. They wanted the songs, the music and the lyrics to take centre stage and - in the process - perhaps help people discover the beauty in the compositions. And it works. What we get is 12 tracks that add another dimension to the songs for a Steely Dan fan like myself, and hopefully open up a few pairs of ears previously shut to the talents of Fagen & Becker as well as Isaksson & Törnqvist. © N.S. © www.pergunnareriksson.se/cover57.htm

One website pointed out that "An album with two middle-aged women who sit by a piano and sing 30 year old Steely Dan songs is, on paper, a hopelessly uncommercial idea". Don't let the album pic fool you. Rebecka was born in 1964 and Sara in 1971. On the cover, their photos are replaced with a picture of two women by Maine, USA photographer/artist Melanie West. This is obviously an idea borrowed from Walter Becker and Donald Fagen, themselves, who were averse to letting their images appear on official studio recordings. This is an incredibly good album of Steely Dan covers. There have been many interpretations of Steely Dan compositions. Most of them have been a failure, as the complex song structures and jazz chord changes have just not been covered adequately on most of Becker & Fagens unique compositions. A notable exception would be "The Justin Morrell Quintet Plays The Music of Steely Dan", an instrumental jazz album that stretches the limits of Becker & Fagens songs in a jazz context. However, Sara Isaksson & Rebecka Törnqvist have done the seemingly impossible, and covered twelve Dan songs brilliantly. The vocals are so good, and it seems that their "simple on the surface" piano arrangements have done what few artists have been able to do, and given these classic songs a satisfactory interpretation. A stunning album, and VHR by A.O.O.F.C. Sara and Rebecka said that "We've recorded twelve songs of the American duo, mainly using just piano and vocals. As a contrast to the originals, we wanted it as simple as possible, to focus on the songs fantastic stories and melodies." Buy Rebecka Törnqvist's brilliant 1996 pop jazz album, "A Night Like This." She is virtually unknown outside Sweden, but if more people heard albums like "A Night Like This," the lady would be world famous! She deserves more recognition. Also try and track down the 2002 album, “Anders Widmark featuring Sara Isaksson." He also has an album released called "Pool of Happiness," which again features Sara Isaksson, and is well worth listening to. Anders Widmark is a great Swedish pianist who has recorded many albums featuring blues, jazz, hip hop and classical piano. Check out his back catalogue. Give these artists the fame they deserve! [All tracks @ 160 Kbps: File size = 50.3 Mb]

TRACKS

1 Rose Darling
2 Barrytown
3 Gaucho
4 Green Earrings
5 Your Gold Teeth
6 Brooklyn (Owes The Charmer Under Me)
7 Don't Take Me Alive
8 Josie
9 Do It Again
10 Fire In The Hole
11 Pearl Of The Quarter
12 Midnite Cruiser

All compositions by Walter Becker & Donald Fagen except "Gaucho" by Donald Fagen, Walter Becker & Keith Jarrett

REBECKA TÖRNQVIST (BIO)

Rebecka Törnqvist was born in the university town Uppsala, north of the Swedish capital Stockholm. Daughter of a journalist/teacher mother and physicist/musician father, Törnqvist spent parts of her childhood in Lesotho and Kenya before returning home to boarding school. She began writing songs at the age of five and a few years later moved onto confiscating the family radio in the dead of night to record music from Radio Luxemburg and other foreign stations. Alongside classical and East African music and the songs of Alice Tégner it was pop music, which kept Törnqvist company and provided respite as the family uprooted itself at regular intervals. In 1993, the strongly jazz-derived debut album “A Night Like This” was released to critical and unexpected commercial success. The following album “Good Thing” played extensively on the radio and propelled Törnqvist onto the continental and Japanese markets. The collaboration with the Grammy Award-winning musician Per “Texas” Johansson led to the album ”The Stockholm Kaza Session”. It was produced on the Kaza label that Törnqvist had created with Kjell Andersson, legendary A&R at EMI. ”Tremble My Heart” (1998) was a milestone in Törnqvists work as she considers it to be her first “own” album, marking a change in her composing and of musical concept.. Pål Svenre remained as producer while Johan Lindström entered as arranger och guitarist. The collaboration with Lindström had great impact on Törnqvists music making, and 2006 he produced ”Melting Into Orange”, followed by ”The Cherry Blossom And the Skyline Rising from the Street” 2008. Earlier Törnqvist had joined forces with Sara Isaksson as singers in the new group “Gloria”. The song “Party On My Own” became a minor hit from the first album. Isaksson and Törnqvist returned as a duo a few years later to produce “Fire In The Hole”, acoustic interpretations of Steely Dan’s music. In 2006 Törnqvist worked with producer Jari Haapalainen on her contribution to the Olle Adolphson-homage album “Dubbeltrubbel”. Thoughts of a future and more extensive collaboration took hold and has now come to fruition with the upcoming album “Scorpions”. Törnqvist lives in the countryside where she is torn between her cosmopolitan yearnings and her gardening hermit romanticism. © http://www.rebeckatornqvist.se/me

SARA ISAKSSON (BIO)

Sara Isaksson is a Swedish vocalist who made her solo album debut in 1995 but was most successful in later years in collaboration with others, in particular Rebecka Törnqvist and Anders Widmark. Born on February 19, 1971, she made her solo album debut in 1995 with Red Eden, an English-language country-rock album released on MCA. The album was a moderate hit, reaching number 24 on the Swedish albums chart and spawning the single "May." Follow-up album Walking Through and By (1996) and its accompanying single, "Shifting Dream," were less successful, however, and Isaksson's solo tenure on MCA came to a close. In subsequent years she found work as a backup vocalist on a variety of projects. More notably, she joined the band Gloria, in which she sang alongside jazz-pop vocalist Törnqvist. The band released two albums, Gloria (1999) and People Like You and Me (2003), the first of which reached number 13 on the Swedish albums chart, the latter number 26. In 2006 Isaksson and Törnqvist teamed up as a vocal duo for the release of Fire in the Hole, an album of Steely Dan covers that was fairly popular, reaching the Top 30. Meanwhile, Isaksson also collaborated with pianist Widmark on the albums Anders Widmark Featuring Sara Isaksson (2002) and Pool of Happiness (2008), the latter of which was a Top Ten hit. © Jason Birchmeier © 2011 Answers Corporation http://www.answers.com/topic/sara-isaksson

Lez Zeppelin

Lez Zeppelin - Lez Zeppelin I - 2010 - Pie Records

Brilliant name it may be, but the four females of Lez Zeppelin aren’t necessarily lesbian: they’re a tribute band smart enough to know that they wouldn’t get anywhere without a snappy name. Lez Zeppelin not only built an audience with that clever name but they’re the only tribute band that’s gotten popular enough to record a full-length album length tribute as well. Producers Perry A. Margouleff and William Wittman guide the band through a note-for-note re-creation of Led Zeppelin I, getting all the inflections and atmosphere right. As a record, it’s a curiosity, something to listen to once and marvel that this quartet rivals the Fab Faux in terms of their chosen tribute but ultimately it’s not much more than excellent advertising for their live gigs. After all, at home you can put on Led Zeppelin I any time but Lez Zeppelin will be coming to your town and on stage is where they’re meant to be heard. © Stephen Thomas Erlewine © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/lez-zeppelin-i-mw0002024284

Lez Zeppelin are a New York City-based all-girl, all-Zeppelin quartet. Since forming in 2004, the band has received unanimous critical acclaim as one of the most exciting live acts around, becoming the first female rock band to pay homage to Led Zeppelin and to garner rave reviews across the board. Lez Zeppelin has engineered a perfect realization of the rock and roll fantasy and brought it to life. These girls kick out the jams of one of the greatest rock bands ever. Spin Magazine who featured the band on the cover of their June 2005 issue called Lez Zeppelin "the most powerful all female band in rock history" which is open to a lot of argument. However these girls can play and can definitely rock with the best of them. They are not a novelty act and their music is worthy of a lot of respect. The album is HR by A.O.O.F.C. LZ also released a self-titled debut album recorded with legendary producer/engineer Eddie Kramer, best known for his work with Led Zeppelin, Jimi Hendrix, and KISS; and was mastered by George Marino, who with Jimmy Page digitally remastered all of the original Led Zeppelin recordings [All tracks @ 320 Kbps: File size = 102 Mb]

TRACKS / COMPOSERS

1 Good Times Bad Times - Jimmy Page, John Paul Jones, and John Bonham
2 Babe I'm Gonna Leave You - Anne Bredon/Jimmy Page, Robert Plant
3 You Shook Me - Willie Dixon, J.B. Lenoir
4 Dazed and Confused - Jimmy Page
5 Your Time is Gonna Come - Jimmy Page, John Paul Jones
6 Black Mountain Side - Jimmy Page
7 Communication Breakdown - Jimmy Page, John Paul Jones, John Bonham
8 I Can't Quit You Baby - Willie Dixon
9 How Many More Times - Jimmy Page, John Paul Jones, John Bonham

BAND

Steph Paynes - Electric, Acoustic, & Pedal Steel Guitar, Background Vocals
Megan Thomas - Bass Guitar
Leesa Harrington-Squyres - Drums
Shannon Conley - Harmonica, Vocals

Eric McFadden

Eric McFadden - Bluebird on Fire - 2011 - Bad Reputation

“If San Francisco is home to anyone approaching the abilities of a modern Hendrix, it’s Eric McFadden.” (Jimmy Leslie / Guitar Player Magazine 2009)

“…I found myself struck mightily by the big soul inside Eric McFadden. His singing and playing are as good as it gets, full of power and awe inspiring expertise…” Dennis Cook / Jambase 2009

“…McFadden is a six string virtuoso. His command of so many genres- is accentuated with meticulously crafted songs. There’s the poppy twist on traditional psychadelia. Poetic yet sinisterly distorted punk. Rowdy rockabilly. Dark, foreboding grunge. His melodies hinge on seriously catchy choruses that resonate thanks to a crunchy baritone reminiscent of Tom Waits or the late Mark Sandman of Morphine…” (The Denver Post, December 2009 concert review)

“McFadden is a master of guitar and mandolin, a 25 year veteran who waltzes the dark, eerie corridors between Jimi Hendrix and Django Reinhardt…” ( Jonathan Zwickel – San Francisco Bay Guardian, October 2004)

“…Part raging rock star, part flamenco gypsy, McFadden is one of the most talented musicians in San Francisco today, bar none. Whenever he steps into the spotlight, McFadden turns up the energy level a few notches, and the unexpected becomes the norm.” – (Andy Tennille / Jambase 2007)

“Bluebird on Fire”, received much deserved acclaim, including a 5-star review in Crossroads Magazine. Eric is a guy who creates an eclectic musical jigsaw of grunge, ska, country, classical, jazz, soul, urban blues, latin, delta, funk, pop and rock. He makes all the pieces fit and sounds just great. He's a hugely talented and underrated guitarist and composer who excels in all music genres. This album is HR by A.O.O.F.C. Buy Eric's great "Dementia" album and support real music [All tracks @ 320 Kbps: File size = 105 Mb]

TRACKS

1 Filling A Hole
2 Hangin Moon
3 Voodoo Head
4 Lovesick Blues
5 Mojo Bag
6 It Takes A Man
7 Til The Medicine Takes
8 Rise And Shine
9 Two Graves
10 Firebird
11 Beautiful Scars
12 From Under Down

Tracks 1,3,4,5,6,7,10,11,12 composed by Eric McFadden: Track 2 by Eric McFadden & Jenny Kerr: Track 8 by Eric McFadden & Dave Schools: Track 9 by Eric McFadden & James Hall

MUSICIANS

Eric McFadden - Guitars, Vocals
Norwood Fisher, Dave Schools - Bass
Abby Travis - Bass, Vocals
James Whiton - Upright Bass
Chip Roland - Organ
Dave Catching - Synthesizer
Paulo Baldi, Victor Delorenzo, Wally Ingram - Drums
Pamela Parker - Vocals

BIO

Eric McFadden is a guitar-playing virtuoso. He has toured the world both as a solo artist, as well as traveling with funk legend George Clinton (Parliament/Funkadelic), and rock legend Eric Burdon (The Animals). McFadden is a member of the new supergroup, TEN (www.TEN-music.com), alongside Thomas Pridgen (Mars Volta) and Norwood Fisher (Fishbone). McFadden has toured extensively with the Eric McFadden Trio (EMT), which features bass phenomenon James Whiton (Tom Waits) and the great Paulo Baldi (Cake, Les Claypool). Eric is also a member of the all-star band, Stockholm Syndrome, which also includes notable players such as Dave Schools (Widespread Panic), Jerry Joseph (Jack Mormons), Wally Ingram (Sheryl Crow) and Danny Louis (Govt Mule). Eric McFadden has also collaborated on stage and/or in the studio with the regal likes of Bo Diddley, Keb Mo’, Living Colour, Joe Strummer (The Clash), Nels Cline (Wilco), Les Claypool (Primus), The Meters, Pat MacDonald (Timbuk3), Robert Walter, Bernie Worell (Talking Heads), Bonnie Rait, Bill Kreutzman (Grateful Dead), Ron Wood & Chuck Leavel (Rolling Stones), Pink, Juan Nelson (Ben Harper), Karen Cuda (Nashville Pussy), Pete Sears (Jefferson Airplane, Rod Stewart), Carla Bozulich, Joe Santiago & Dave Lovering (The Pixies), Widespread Panic, Jackson Browne, Fishbone, Mike Watt (Minutemen), The Reverend Horton Heat, Edward Sharpe & The Magnetic Zeros, Grace Potter, Galactic, Jack Johnson, Boots Riley (The Coup), Steward Copeland (The Police), among others. Eric McFadden is a veteran of such celebrated west coast bands as Alien Lovestock, Angry Babies, Liar, IZM, EMT, and the Faraway Brothers. McFadden has recorded several independently produced solo and band albums, many of which are regarded as underground masterworks by fans and critics alike. Eric McFadden has recorded and released several albums on such labels as Terminus (Atlanta), Fortune (San Francisco), Bad Reputation (Paris), Response (USA) and phYne Entertainment (USA). Eric McFadden’s 2011 release, “Bluebird on Fire”, has received much acclaim, including a 5-star review in Crossroads Magazine. The latest Eric McFadden release, “Inside Out”, is a 15 song compilation released by phYne Entertainment, which includes 4 previously unreleased tracks. Eric McFadden will primarily be touring with his new supergroup, TEN, and Eric Burdon (The Animals) in 2013. Eric McFadden is also helping to found the 10-Star Program, alongside Delphine de St. Paër Suter, which is a program that works with youth & communities to encourage personal empowerment through music & arts. For more information regarding the 10-Star Program, please email info@phYneEntertainment.com. © 2013 ~ Eric McFadden / Double Down Productions http://www.ericmcfadden.com/bio/

Jack Savoretti

Jack Savoretti - Harder Than Easy - 2009 - De Angelis Records

At first listen, Jack Savoretti appears to share more than a name with another guitar-slinging Jack. Unlike his name-sake - Johnson. The 25-year-old's acousta-pop has the added depth of alt. country, the blues and folk influences. Having only picked up a guitar at 16, the half-Italian, half-English troubadour has supported Corrine Bailey Rae, had his songs featured on One Tree Hiil, played live on GMTV and been compared, by some, to Simon & Garfunkel and Bob Dylan.Whilst Savoretti's lyrical content is certainly inspired, musically he owes more to the likes of Pete Yorn on the more upbeat numbers, and Dallas Green on mellower tracks. High points of Harder Than Easy, his second album, include the jaunty opener "Map of the World", mournful string-laden "Songs from Different Times" and the harmonica fuelled closing country stomp of "Patriot". With it's delicately finger-picked verse and swelling chorus, "Wonder" also stands out. The only curious element of this otherwise shining LP is quite why somebody of Savoretti's heritage would sing with an American twang, an idiosyncrasy accredited to time spent at The American School In Switzerland, which has left him as a self-professed "transatlantic mutt". Taken at face value, this is a good solid record, but it's when you delve deeper that Savoretti really shines. Here's hoping that the opportunity arrives for people to take the time to do just that.For more information you can visit: http://www.jacksavoretti.com By & © Ivan Lambert, Monday 13th July 2009 07.51pm © 2004-2013 Glasswerk.co.uk Ltd http://www.glasswerk.co.uk/reviews/northwest/8275/Jack+Savoretti+

It must be hard being Jack Savoretti. Blessed with good looks, a soulful voice belying his age and a handful of really decent tunes, his 2007 debut Between The Minds floundered at a time when James Blunt and James Morrison were still bothering the top of the charts with much inferior albums. Truth be told, Savoretti’s folk pop style was buried underneath some rather over-zealous production on Between The Minds. When the gorgeous single Without didn’t hit it was a sign that maybe a different tack should be adopted. Two years later, and Savoretti has returned with a new album recorded at Jackson Browne’s LA studio with help from a couple of Counting Crows and members of Tom Waits‘s band. The new setting has resulted in a more organic style that fits Savoretti like a glove, making Harder Than Easy an instantly more likeable and warming album than the debut. The jaunty opening track Map Of The World positively exudes charm with its easy country strum rolling along on a bed of acoustic guitars, banjo and ragtime piano. Hank Williams always kept it simple, and although Savoretti may be wallowing in heartbreak for a lost gal the music keeps him honest. Second track Wonder is even better, moving from an acoustic opening to a swelling chorus driven by a beautiful slide guitar. Savoretti’s voice has never sounded as rich and emotional as it does here, The Nick Drake cover Northern Sky is respectful but lacks the pinpoint beauty of the original, although this is a failing that can be levelled at most artists who attempt to cover the late singer-songwriter’s matchless songs. The fact that the Drake estate requested the cover should also be noted. The album swiftly gets back on track with Lost America. This is the kind of English-born country pop song that the underrated Grand Drive used to specialise in, bustling along on an acoustic shuffle with Savoretti indulging in some of the swooning vocals that characterised his debut. The downbeat mid-section of the album features two gems in Mother and Russian Roulette, which juxtapose acoustic picking, delicate slide work and spare piano to haunting effect. Both tracks also indicate a growing maturity in Savoretti’s lyrics, less in thrall to his influences (Bob Dylan mainly) and willing to experiment. There is still the occasional lyrical misstep, with the anti-war Breaking News trying just a little too hard to get its point across. Simplicity is the key, and the title track is far more effective as a result (give or take the odd Dylan steal). Lucy Styles’ harmony vocal adds the icing to the cake on this charming song. The harmonica-driven bluegrass hoedown of Patriot brings the listener full circle back to the style of Map Of The World. It’s a stirring little song that sets up camp in Neil Young territory, which of course is no bad thing. Is this finally going to be Jack Savoretti’s hour? Paolo Nutini has just topped the charts with a fully-fledged roots album, so don’t bet against Savoretti gaining some mainstream radio play on the back of the current vogue for pop singers going all folk and country. Harder Than Easy is certainly worthy of greater success. by & © Nic Oliver | 6 July 2009 © 1999-2013 OMH. http://www.musicomh.com/reviews/albums/jack-savoretti-harder-than-easy

The British Daily Telegraph newspaper described Jack's music as having a “raw, soulful, yearning edge”, and Burn Magazine said that “Not since Simon & Garfunkel has a gifted songwriter captured the fragility of the human condition so eloquently.” Jack's 2007 debut album ‘Between The Minds’ earned him glowing praise from across the board with comparisons to Nick Drake & Damien Rice (Classic Rock Magazine), Ray LaMontagne (Word Magazine, Independent) and John Martyn and Van Morrison (Rock n Reel) yet Jack’s distinctive storytelling and husky voice ensured that he was able to take his place in his own right alongside these respected artists. His standing was further endorsed when Q awarded the album 4 stars and declared that Jack “stands out from the current glut of soft-lad singer-songwriters” and Mojo placed Jack at number 2 in their playlist saying “folk troubadour Savoretti has a voice to warm romantic hearts but he also has enough edge to maintain interest beyond the norm”.

"Harder Than Easy" was recorded at Jackson Browne’s LA studio and this combined with the unintentional "American twang" of his accent and his association with Natalie Imbruglia’s ex-manager's record label have led some music "critics" to downgrade this album. One music critic said the album was "too mainstream and too mundane to be of genuine interest" and that "This narrowly survives trash can fodder through Jack Savoretti’s attempt to say something beyond ‘moon/june’ love songs but only just!". Jack is most definitely influenced by artists like Nick Drake, Neil Young, Bob Dylan, and Leonard Cohen. What modern day folk rock singer/songwriter isn't? However there is enough original material here to make this a very good album, and it certainly isn't the run of the mill "mainstream" trash that constantly assault our ears. Read the review @ http://hangout.altsounds.com/reviews/109200-jack-savoretti-harder-easy-album.html and see what you think. This album has more depth than some critics are making out. If this album "narrowly survives trash can fodder....", then it's worth scavenging through a few trash cans! Buy Jack's exceptional "Between The Minds" album [All tracks @ 320 Kbps: File Size = 84.7 Mb]

TRACKS

1. Map Of The World 3:56
2. Wonder 4:23
3. Northern Sky 3:34 *
4. Lost America 3:48
5. Mother 3:21
6. Songs From Different Times 3:23
7. Russian Roulette 4:36
8. Breaking News 4:40
9. Harder Than Easy 3:43
10. Patriot 3:27

* Composed by Nick Drake

Jack Savoretti on acoustic guitar and vocals is backed by James Morrison’s band, The Suppliers, Larry Taylor and Steve Hodges from Tom Waits band, Charlie Gillingham and David Immergluck from Counting Crows, and Lucy Styles sings backing vocals on title track

BIO

Jack Savoretti (born 10 October 1983) is an Italian English solo acoustic singer who began playing guitar at 16. He was brought up in London before moving to Lugano, a Swiss town near the Italian border. Moving around Europe as a child he wound up at The American School In Switzerland where he picked up an accent he describes as "transatlantic mutt". Burn Magazine has compared his songwriting to that of Simon & Garfunkel, London’s Daily Telegraph describes his guitar playing as having a ‘primal magic about it,’ and some music industry insiders are already buzzing around calling him the new Bob Dylan. Early career : As a teenager, the only thing that interested him was poetry."I was writing all the time, it was the thing to do, sit under a tree with a notebook, go somewhere else in your head. I was in the clouds." When his mother gave him a guitar and suggested he try putting some of his words to music he was "surprised how much more people listen to you when you are singing than if you read a poem," he admits. "After that, I couldn’t stop, it was constant writing, every day, it became almost a form of conversation, the way I interact with the world." Savoretti has also done two duets with Shelly Poole called Anyday Now and Hope both of which appear on Poole's album Hard Time for the Dreamer, which was released in September 2005. Between The Minds (2006-2008): Savoretti released his first single on 9 October 2006, called "Without". The video, filmed in Mallorca, Spain, was directed by Oscar-nominated director Bobby Garabedian. The single charted at #90 in the UK Singles Charts and got B-Listed on Radio 2. His second single, "Dreamers", was less successful, reaching #123 in the UK Singles Chart; it was also playlisted on Radio 2. Savoretti was then spotted by Corinne Bailey Rae, who invited Savoretti to perform with her on her European Tour. His album gained support on Radio 2, where it was declared Album of the Week. The album Between the Minds was released in March 2007, and it debuted at number 5 on the UK indie charts. animator and 3D director Saul Freed. and Dr Frankenstein (23 July 2007). On 6 August 2007 he was made his television debut on GMTV, where he performed "Dr Frankenstein". Throughout February and March 2008, Savoretti embarked on a solo Mini-Tour of Caffe Nero bars in the UK. After his Caffe Nero tour he re-released his debut album Between the Minds with a bounus disc with unplugged versions of some of his songs, three new songs, as well as a live cover version of Johnny Cash's "Ring of Fire" on 31 March 2008. Four days later, on 4 April 2008, he made another television performance, performing "Gypsy Love" on This Morning. Savoretti recently joined Steve Booker (writer of Duffy’s "Mercy") to write the A-side to his current single, "Gypsy Love", which captures the sincerity of Savoretti’s song writing. Songs such as the AA side of his single "One Man Band" are a testament to how he has spent the beginning of the year, and an expression of the ability showcase his voice impeccably without the support of a full band. Two of his songs, featured in season 5 of the hit TV series One Tree Hill. Between the Minds was featured in the episode "Cryin' Won't Help You Now", and "No One's Aware" was featured in the episode "What Do You Go Home To?" "No One's Aware" was also featured in the film The Sisterhood of the Traveling Pants 2, which was released in August in the US and was released in the UK in January 2009. His song "Chemical Courage" was featured on the A&E television series The Cleaner. The track "Soldier's Eyes" from Between the Minds played over the closing credits of the second episode of the 5th Season of Sons Of Anarchy. Savoretti toured Europe with Gavin DeGraw after he approached Savoretti asking him to be his support act. To coincide with Savoretti supporting DeGraw, Savoretti's debut album, Between the Minds, was released on all European iTunes Stores. Harder Than Easy (2009-2011): Savoretti's second album, Harder Than Easy, was due for release on 6 July 2009. The album release was postponed and is set to be released in North America on 15 September. On 14 April a new song called "Him & Her" was released through gigwise.com as a free download to launch the new album. Savoretti wrote the track "One Day" specifically for the American film Post Grad, and a version of "One Day" is performed in the film by Zach Gilford's character. A "One Day" music video featuring Post Grad footage was released. The Film was released in the USA on 21 August 2009. On 2 November 2010, Savoretti announced via Facebook that he was in London working on his third album. He has spent most of 2011 touring and working on his third album, debuting many new songs. Before The Storm (2012 – present): On 2 February Savoretti released the song "Hate & Love", featuring Sienna Miller, followed by the first single, "Knock Knock", on the 12th. On 3 May Savoretti released a third single called "Take Me Home" along with a music video. A competition was set for fans to cover this song and submit to the Facebook page in order to win the chance to tour with Savoretti. The third album, Before the Storm, was released on 4 June. With his band, The Dirty Romances, they recorded at Kensaltown Studios and mastered the LP at Abby Road Studios. The new album shows a new side to Savoretti, yet keeps the same poetic charm seen in previous albums. Starting his UK leg of the tour at The Borderline, Savoretti showcased the new material whilst also appearing to have something else up his sleeve with a song called "Crazy Town". In the Autumn of 2012, Jack co-wrote songs with Janet Devlin for her upcoming debut release. © 2013 96.2 The Revolution and G Media http://www.therevolution962.com/music/artist/jack-savoretti/bio/

East Blues Experience & Carey Bell

East Blues Experience & Carey Bell - Good Understanding - 1994 - Gema

Up until the late 2000's EBE was a very popular band on the German blues scene. The band played classic Chicago blues, hard Texas blues rock, and included many good soul ballads in their repertoire. Although Peter Schmidt is a very accomplished guitarist and is often compared to SRV, EBE had their own musical style. This obscure album was recorded live on November 30th 1993 at R&R Music Studio, Prague as part of the band's "Good Understanding" tour. There's some great covers of old blues standards and a few good original tunes. Peter Schmidt's guitar is first rate and he plays some great funky soul riffs. The late, great Carey Bell also plays outstanding harmonica on this album. East Blues Experience released a self titled album in 1991 on the German Turtle Music Studio label, and it's worth tracking down [All tracks @ 320 Kbps: File size = 136 Mb]

TRACKS

1.Tribute to S.R.V. (03:28)
2.Lay Down Dirty Shame (04:41)
3.It's So Easy To Love You (05:55)
4.I Love You Baby (03:31)
5.Nineteen Years Old (08:10)
6.Blues For A.C. (05:13)
7.Quit It (05:17)
8.Leaving In The Morning (04:56)
9.The Sky Is Crying (05:48)
10.Hey, Hey Honey (05:32)
11.Good Understanding (02:27)
12.Carey's New Friend (04:58)

BAND

Peter Schmidt - Guitar, Vocals
Jäcki Reznicek - Bass, Vocals
Ronny Dehn - Drums
Carey Bell - Harmonica

ABOUT EBE

In 1990-1991 Peter Schmidt foundet the band EBE with members of the Intercity Blues Band. Since the Spring of 1991 Ronny Dehn has played drums. In that same year the LP "EBE" was also recorded. In the years 1991-1992 there were countless club gigs and festivals in Germany and Denmark, including those with wellknown artists like Luther Allison, Angela Brown, Louisiana Red... In 1993 the band played at Open Air Norstedt with Luther Allison, Uriha Heep, Rage and Golden Earring...At the end of the year EBE embarked on the "Good Understanding Tour" with Carey Bell (Muddy Water´s harp player). At the end of this tour a CD with the same name as the tour was recorded in Prague. 1994 also saw another change at bass - Jacki Reznicek supported the band in their countless festivals and gigs both inside and outside Germany. During this time EBE shared stages with more noteables such as Johnny Mars, Golden "Big" Wheeler and Louisiana Red. The band also toured the Czech Republic, Poland, Belgium and Switzerland as well as taking part in the Dresdner Bluesfestival in Dresden, Germany. A particular highlight was the Djurs Bluesland Festival in Randers (Denmark) with Luther Allison, John Mayall, Joanna Connor. EBE was invited to this festival, at the time the largest blues festival in Scandinavia, after a multi-week tour through Denmark that helped build a loyal following there. At the 1997 International Music Convention in Frankfurt/M. EBE played at the Warwick Company´s 15th Birthday extravaganza, the "Celebration of the Warwick Family". Also present was T.M.Stevens. Peter & Ronny had the honor of playing with Jerry Donohue and Alan Thomson from the "Hellcasters". The 15th Dresdner Bluesfestival in 1998 ushered in the EBE`s new big band project, encompassing the Jazz, Soul and Rock strains of the German scene. This incarnation of the band proved so popular that tours followed in 1999,2000 and 2001. 1999 marked the appearance of the CD "East Blues Experience". In June 2002 the band reconfigured once more and appeared onstage as a quartett. Axel Merseburger (git) and Rainer Engelmann (bass) joined the band. EBE played around 80 gigs (clubs, open air,festivals) per year in Germany, Austria and Denmark. In January 2003 the CD "Red Balloon" was released. In early 2005 the band split. That turned out to be nearly a 3 year break. In Fall 2007 East Blues Experience got back together again. The Trio (Peter Schmidt, Ronny Dehn, Rainer Engelmann) recorded the brandnew album "V10".

Enrico Crivellaro - Freewheelin' - 2012 - Electro-Fi

Enrico Crivellaro’s second Electro-Fi release confirms his ascent to the upper echelons of blues guitarists – this set providing 76 minutes of sublime fretwork that will delight guitar aficionados who dote on the instrumental recordings of artists like Ronnie Earl and Duke Robillard. To help create this masterpiece, Crivellaro is joined by a hot band featuring the supreme talents of Pietro Taucher, (grand piano/Hammond C3/Fender Rhodes) whose playing is permeated with the soul and feeling of masters like Otis Spann, Jimmy McGriff, Jimmy Smith and Big Moose Walker. Crivellaro pays tribute to many of his blues influences and mentors throughout this set, but never slavishly, only using those influences as a launch-pad for his own individual stylings – for example “Chulahoma” mines a hypnotic, greasy, lowdown funky groove á la Junior Kimbrough replete with jangling piano and Spam-like drums conjuring up visions of a 21st century fife and drum band. “One For Lucy” is permeated with the spirit of Albert King without compromising Crivellaro’s individuality – Earl Hooker’s “Universal Rock” expands on the great man’s creativity without losing the natural essence of his genius – whilst the spirit of Albert Collins swings irresistibly through “Super Cooker”. Crivellaro is truly a “freewheelin’'” master of his art. © Mick Rainsford, Blues in Britain

Buy Enrico's great "Mojo Zone" album and support great blues guitarists [All tracks @ 320 Kbps: File size = 175 Mb]

TRACKS / COMPOSERS

1. Blackout - Crivellaro, Taucher 6:21
2. Super Cooker - Crivellaro, Taucher 5:47
3. Chulahoma - Crivellaro 5:53
4. Forever Free [For Gregg and Duane] - Taucher 7:19
5. One for Lucy - Crivellaro 5:42
6. Popcorn Jack - Taucher 5:33
7. T-Soul - Taucher 5:32
8. Universal Rock - Earl Hooker 3:36
9. Hymn to King Solomon - Crivellaro, Taucher 8:29
10. Can You Dig It - Crivellaro 9:42
11. In a Sentimental Mood - Edward Kennedy Ellington 6:52
12. Mr. Willits Playboy - Crivellaro 5:26

MUSICIANS

Enrico Crivellaro - Lead & Rhythm Guitar
Simone Serafini - Bass
Pietro Taucher - Fazioll Grand Piano, Hammond C3, Fender Rhodes
Carmine Bloisi - Drums on Tracks 1, 2, 3, 9, 10
Silvo Berger - Drums on Tracks 4, 5, 6, 7, 8, 11, 12
The Templeton Five (Jam, DJ, Wally, Ya Ya & Jazmyn)- Vocals on Track 6

BIO

It is hardly a surprise that his two latest albums, "Freewheelin" and "Mojo Zone", are often found in music stores next to Chet Atkins and Eric Clapton on the "guitar hero" shelf. Showcasing a mighty sounding guitar that manages to be at the same time refined and explosive, the two Electro-Fi releases have propelled Enrico Crivellaro into the upper echelons of blues-and-beyond guitar royalty. The definition of Guitar Hero might not be in harmony with Enrico's unassuming nature and with his genuine and humble devotion to music, but it serves to thoroughly depict the status of a guitarist who has earned international fame, and who is now considered to be one of the most influential of his generation, thanks to a style that bridges Blues with Jazz and American Roots Music. Among dozens of rave reviews of "Freewheelin" and "Mojo Zone", it might as well be Downbeat's 4-star lead review--which is in itself every musician's aspiration--the one that sums it all up. The world's most prestigious Jazz and Blues magazine, Downbeat notes how "inspiration, hypnotic feeling and emotional delicacy" permeates "the gold standard for blues instrumental albums" and predicts that Enrico's "stellar technique" will allow him to "conquer blues America". Born in Padova, Italy, but later relocating to Los Angeles, and now literally living in a suitcase and taking his music all around the world, Enrico Crivellaro has been able to prove that passion and talent can transcend political and cultural borders. In his quest to refine a guitar style that he developed in his teen years, Enrico flew to Connecticut to study with blues masters of the caliber of Ronnie Earl, Duke Robillard, Roy Bookbinder and Kenny Neal at the National Guitar Workshop. Some years later, while a student at the University of California, he embarked on a journey to the very essence of American music thanks to the courses taught by the director of the Jazz Department, guitar legend Kenny Burrell. Learning jazz from one of the men who invented it was a life-changing experience, which could only reinforce his already developed mindset of digging deeper and looking far beyond notes, scales, chords, where music becomes meaningful. He was always aware that books and lectures do not make a musician. After all, music is akin to an oral tradition, which is passed on from a generation to the next. The road and some sleazy club at 2am is where it's at, where everything comes together, where those notes finally make sense, where the old cats show how it's done. And that's exactly where Enrico could be found most of the time--whether in California, in Mississippi or in Chicago. He has learned his trade, in fact, the old way--by playing, literally, thousands of gigs everywhere, with some of the best artists in the contemporary blues scene. His touring, gigging and recording credits include an impressive array of internationally renowned artists, among them James Harman, Lester Butler of the Red Devils, Canadian icon Jeff Healey, Janiva Magness, Finis Tasby, Brian Templeton, Bruce Katz, the Royal Crown Revue (the band from "The Mask" movie), and legendary harmonica player Lee Oskar of WAR fame. Enrico's strength lies in his extraordinary versatility in different musical genres, which has allowed him to build an extraordinary experience playing with bands and artists of all extractions--soul jazz, country, funk and even zydeco--while keeping his playing firmly rooted in the blues language. His reputation is growing all over the world as he tours regularly from the Americas to Europe, to Australia, to Asia and even Polynesia, playing the most renowned clubs and festivals (among them: Livid Festival, Brisbane, Australia; 2000 Paralympics Games, Sydney, Australia; Philips Dubai International Jazz Festival, Dubai, UAE; Belgium Rhythm'n'Blues Festival; Lucerne Blues Festival, Switzerland; Southside Shuffle, Toronto, Canada; Montreal International Jazz Festival, Canada; Calgary International Blues Festival, Canada: Boston Blues Festival; Sacramento Heritage Festival, California; Tucson Blues Festival, Arizona; Moulin Blues Festival, Holland; Universal Blues Festival, Singapore; Manly Jazz Festival, Australia; and many, many more!) and having often shared the bill with the likes of John Lee Hooker, B.B.King, Mose Allison, and so forth. With good ears for good music, Enrico makes a valued producer. Besides his own albums, he has produced the fantastic "Right On Time" by Singaporean virtuoso Paul Ponnudorai, by many hailed as one of the best-sounding and most soulful solo guitar/vocals records ever made. Signed by the excellent Canadian-US label Electro-Fi Records in 2002, Enrico has debuted with a well-arranged CD, "Key To My Kingdom". His affiliation with Electro-Fi has opened the way to several opportunities--in fact Enrico has co-produced Finis Tasby's 2005 release "What My Blues Are All About" and has appeared at the Lucerne Blues Festival in 2003 with label-mate, the late great Mel Brown and his band, which then comprised Bob Stroger and Willie "Big Eyes" Smith of the Muddy Waters Band. "Mojo Zone" is a 2009 Electro-Fi release which features 70 minutes of genre expanding blues guitar instrumentals, and the very recent "Freewheelin" goes even further, showcasing the incredible sonic range of one of the most gifted young guitarists working on the blues scene today. © http://www.enricocrivellaro.com/Bio.html

Michael Powers

Michael Powers - Prodigal Son - 2006 - Baryon Records

4 stars out of 5 - Powers offers more character and fervour per ounce than most of what's currently on sale in the blues market - Mojo

Growing up to the sounds of Jimmy Reed, Jimi Hendrix, The Yardbirds, Bob Dylan and the Rolling Stones, it's no surprise that Michael Powers' music is steeped in Delta Blues tinged with the soul of Brit Rock. Following up the critically-acclaimed Onyx Root (2004), Prodigal Son explores Michael's spiritual roots with a mix of originals and covers that display forgiveness and compassion - Editorial Review http://www.amazon.com/Prodigal-Son-Michael-Powers/dp/B000HT2M5K © 1996-2013, Amazon.com, Inc

Michael Powers is a breath of fresh, blues air. If outrageous blues guitar is your thing, if the electric Delta blues Jimi Hendrix played fires your soul - but if you also appreciate the humble tones of acoustic guitar - you need to check out Michael Powers. His first record, Onyx Root, was released in 2004 and received two Blues Music Award nominations, including contemporary blues album of the year. Wow. And this 2006 follow-up? It, too, has two Blues Music Award nominations, also again, contemporary blues album of the Year. Powers jumps into the blues rock fray with the classic rocker, “Goin’ Down.” Part Hendrix, part Led Zeppelin, Powers’ guitar explosion hammers home fusion. But believe me, Powers is no one- trick guitarist. On Sonny Boy Williamson’s “It’s A Bloody Life,” you have Powers on the Dobro drum brushes and an upright bass that sell the deep blues cries. Powers’ second nomination is for “Prodigal Son” as song of the year. It has my vote. The song accurately tells what happens when a hard working son returns home and his family doesn’t recognize him because they are too high. A very different take on the well-known tale. Powers’ delicately played guitar transforms the singer’s emotional pains. His expressive take on Bob Dylan’s “Every Grain of Sand” showcases Powers’ other instrument, his leathery vocals. Traditional blues fans should enjoy “Every Grain of Sand” - a tune that Muddy or Little Walter might have performed in the 1950s - as a change of pace from the Chicago blues shuffle. There’s also Jimmy Reed’s “Oh John.” Reed is an important blues singer to Powers. When Powers was 12 and growing up in New Jersey, he would hear Reed perform at a tavern across the street from his family’s business. In the 1960s, singer-songwriter Arthur Lee fronted Love, one of the most experimental bands from the West Coast. Powers’ cover of Lee’s dark toned classic, “Signed D.C.,” sets the perfect nostalgic mood of Love’s music, and of those Fillmore West, Electra Records days. Powers and NYC’s Jimmy Vivino trade Dobro and acoustic guitar feelings on the poignant “Compassion.” Then they call in the country blues on Rev. Gary Davis’ “You Got To Go Down.” Powers returns to his over-the-top blues rock guitar on “Wild Side” and the Yardbirds’ classic “Train Kept A Rollin.” In all, Powers, who was born in 1952, might well become one of the blues torch bearers in this new millennium. Take it from me, this is one of the most exciting blues guitar records of the year. Oh yeah, if you’re lucky enough to find one of Powers pre-releases of this record, you will find Jimi’s “Voodoo Chile” performed in a way you’d not expect, with Powers on Dobro and upright bass, and Vivino on mandolin. (Due to licensing issues, it does not appear on the regular release.) By & © Art Tipaldi January 2007 © http://www.bostonblues.com/features.php?key=cdpowers-prodigal

Michael Powers was born and raised in Bayonne, NJ and spent his Summers down South, where porch bluesman were often the normal evening's entertainment. The legendary Jimmy Reed taught Michael the barre chording technique on guitar. Michael toured and recorded "The Boy From New York City" with the cult group, The AdLibs. During his Summers at high school he toured and played with James Cotton's Band. He has recorded, performed with, or opened for artists like James Brown, Johnny Winter, Pinetop Perkins, Popa Chubby, and Hubert Sumlin. Although Michael Powers is a great and hugely underrated guitarist, he is never flashy and plays in the "less is more" style. "Prodigal Son" is great, authentic Delta and Chicago Blues with a strong taste of 60's/70's Brit Rock. Buy Michael's "Onyx Root" album and support the blues [Tracks @ 213-270 Kbps: File size = 92.9 Mb]

TRACKS / COMPOSERS

1. Goin Down - Michael Murchison 3:46
2. It's a Bloody Life - Sonny Boy Williamson I 3:20
3. Prodigal Son - Michael Murchison 4:37
4. White Lightning - Michael Murchison 4:06
5. Voodoo Chile - Jimi Hendrix 5:50 *
6. Wild Side - Michael Murchison 3:59
7. Every Grain Of Sand - Bob Dylan 4:49
8. Lay The Hooch - Michael Murchison 2:41
9. Oh John - Jimmy Reed 3:33
10. Signed D.C. - Arthur Lee 4:32
11. Compassion - Michael Murchison & Jimmy Vivino 4:36
12. You Got To Go Down - Blind Gary Davis 4:30
13. Train Kept A Rollin - Tiny Bradshaw & Lois Mann 3:13

* N.B: Jimi Hendrix's “Voodoo Chile” is only found on pre-releases of this CD. Because of licensing issues, it does not appear on the regular CD issue

MUSICIANS

Michael Powers - Electric/Acoustic & Dobro Guitars, Vocals
Jimi Shivago - 12 String g., Hammond, Vibes
Jimmy Vivino - Acoustic g., Wurlitzer Piano, Hammond B3, Mellotron
Cliff Schmitt & Michael Merritt - Bass/Upright
James Wormworth & Steve Shelley - Drums

BIO

Music was his destiny from the moment Michael Powers entered the world in 1952 in Bayonne, New Jersey. His father, James B. Murchison, was a merchant marine who sailed around the world before settling in Bayonne where he opened a local shop. Mr. Murchison divided his time between New Jersey and North Carolina working on tobacco fields in the summers. From early on, Michael would be familiar with the rural South, the blues, Gospel and segregation. He would always remember "Porch Blues"… men gathering nightly on their porches with their electric guitars and tiny amplifiers. The Sunday Gospel, the preacher's rap, the choir of women going into trances were permanently etched in Michael’s mind. Watching Michael at age 7 walk around with a broom pretending it was a guitar when the Rock It Hour appeared on television, Doris Powers bought her son a guitar by cashing in a book of saving stamps. Soon after, a friend visited with a guitar and played a song. Michael rushed back to his room and played that exact tune. From then on, Doris was convinced that her son had a special talent and imposed a strict musical routine. Every day, Michael had to listen to records and play along with them. Doris' words 'Michael turn the record over" still echo in his ears. It would prove to be a strong influence as Doris' favorites included Muddy Waters, Lightnin’ Hopkins, Jimmy Reed, Billie Holiday, and John Lee Hooker. At 12 Michael Powers would run across the street from the family shop in New Jersey to see an entertainer that played weekly at Max's – none other than the great Jimmy Reed. Jimmy Reed played harmonica and guitar, sang and stomped while his wife played tambourine and sang in harmony. Seeing Jimmy Reed was a true revelation and influence, quickly followed by the first US televised performance of the Beatles and the guitar wizardry of Jimi Hendrix, all of which had an impact on Michael’s musical direction. While in high school, Michael started his first band the RB ZigZags. He then joined the Ad Libs during the time the band recorded the cult hit "Boy from New York City". The Ad Libs routinely toured with the top ten bands of the country and opened, among others, for the Everly Brothers, Kool & the Gang (then called the Soul Town Review), The Box Tops, and Richie Havens. By his late teens, Michael was touring with James Cotton, sharing the stage with such icons as Chuck Berry, Johnny Winter, Robert Cray and John Lee Hooker. Upon settling back in New York in the 70s, Michael formed a new band, Moonbeam, and played the New York City club circuit during the heyday of the Blues Brothers, The Ritz, and the New York Dolls. The band, which would stay together for 13 years, toured all over the country and opened for such artists as James Brown, Bo Diddley, and the Ronettes. After the Moonbeam's breakup, Michael Powers went solo taking his virtuosity and sound for both acoustic and electric guitar and writing powerful originals. In 2002, after many years and many gigs, Michael was “rediscovered” one night in a New York City club by Andrew Mullhaupt of Baryon Records. Influenced by the greatest bluesmen in history, Michael Powers is one of them with his own unique sound, style and soulful talent. More information on Michael Powers is posted at http://www.michaelpowers.com/. Baryon Records © 2004 http://www.baryonrecords.com/artists/m_powers/index.html

Carmine Appice - Carmine Appice's Guitar Heroes - 2010 - Rokarola

Carmine Appice is a legend in the Rock 'N' Roll world . A founding member of Vanilla Fudge, Cactus and Beck, Boggert & Appice, he has also played with KGB, Paul Stanley, Pink Floyd, Stanley Clarke, Ted Nugent, King Kobra, Blue Murder and many others. In the late 90s Carmen created the Guitar Zeus project, releasing three Guitar Zeus albums recorded with some of the best guitarists in the world. "Guitar Heroes" is a compilation of the best tracks from the three "Guitar Zeus" albums. Some of the greats include Rick Derringer, Steve Morse, Dweezil Zappa, Brian May, Yngwie Malmsteen, Zakk Wylde, Richie Sambora, and more. Carmine said that "Guitar Zeus for me was an amazing experience, working with so many great guitarists. It was fun picking out songs for each. Each guitarist loved the songs. It was awesome. I would do it again in a minute even though it was a lot of work. I consider these drum tracks to be some of my best drum performances in my career!" [All tracks @ 320 Kbps: File size = 157 Mb]

TRACKS / MAIN GUITARISTS

01. Guitar Zeus - Part 1 (Jennifer Batten)
02. Dead Wrong (Dweezil Zappa)
03. This Time Around (Yngwie Malmsteen)
04. Blaze (Steve Fister)
05. 4 Miles High (Steve Morse)
06. Even Up The Score (Ted Nugent)
07. Snake (Bruce Kulick)
08. Nothing (John Norum)
09. Nobody Knew (Brian May)
10. So Long (Doug Aldrich)
11. Where You Belong (Slash)
12. Code 19 (Zakk Wylde)
13. Everybody `s Comin (Rick Derringer)
14. Here Comes The Nite (Earl Slick)
15. Gonna Rain (Richie Sambora)
16. Gz Blues (Steven Seagal & Seymour Duncan)
17. Guitar Zeus - Part 2 (Leslie West)

All tracks composed by Carmine Appice & Kelly Keeling except "Stash" by Carmine Appice, Kelly Keeling, & Tony Franklin: N.B: "Stash" is not listed on this album's track list

OTHER MUSICIANS

Kelly Keeling - Rhythm Guitar, Keyboards, Lead & Backing Vocals
Jenniffer Batten - Rhythm Guitar on "4 Miles High"
Tony Franklin - Fretless Bass
Carmine Appice - Drums, Percussion, Backing Vocals, Lead Vocals on "Everybody `s Comin'"

Brian Auger's Oblivion Express

Brian Auger's Oblivion Express ‎- Happiness Heartaches - 1977 - Warner Bros. Records

Originally released in 1977, and reissued on CD by Wounded Bird, Happiness Heartaches is a rock solid date by the Oblivion Express. Along with Brian Auger's gigantic musical personality, the set is also driven in equal part by former Miles Davis and Return To Forever drummer Lenny White, as well as percussionist Lennox Laington. Rhythm is the key to groove, and it is displayed here in overdrive. This is "groove jazz" with teeth, and a deeply funky and welcome alternative to the increasing presence of disco drum machines in jazz recordings. And make no mistake, Happiness Heartaches is a jazz record, a claim many of the era's jazzmen who were recording cannot hope to claim, so complete was their cave in to disco's chart influence. "Spice Island," with its languid vocal line and melody, influenced by Airto and Flora to be sure, but also by Leon Thomas' solo recordings, is a case in point. Auger's contrapuntal solo coming as a tag off the vocal and being played foil to by Jack Mills' guitar is simply sublime. On "Gimme A Funky Beat," the band takes the notion of Brazilian Carnaval into overdrive, with a rollicking bassline by Clive Chaman. Alex Ligertwood's vocals leave a bit to be desired, as he is clearly not a jazz singer, but they aren't too irritating. The set ends with a tour de force by Auger entitled "Paging Mr. McCoy," a keyboard orgy propelled by the rhytmnatist's percussion team. It's full of crescendos, stops, starts, and side passages (like a beautiful, sped-up quote from the theme of John Coltrane's "A Love Supreme") as well as regal overtones. The only real complaint is a consistent one regarding Wounded Bird's reissues: rather than recasting and re-contextualizing the original cover art, they just shrink it, and there are no liner notes, making for a shoddy little package. Nevertheless, the music's the important thing, so despite the real lack of aesthetics shown by the label visually, this is certainly a welcome addition to the Auger CD catalog. © Thom Jurek © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/happiness-heartaches-mw0000033411

Brian Auger, the "Grandfather of Acid Jazz", came out of the British Blues scene playing with artists like John Mayall. He was strongly influenced by organ players like Groove Holmes, Charles Earland, Jimmy Smith, Jack McDuff, Don Patterson, and many others. However, in his own right, Brian is equally as talented as any of these artists. In his early career, during the mid '60's in England, Brian was a "straight up jazz player". Later in his career he was accused by many music critics and fans of selling out, after he veered his music in a more R&B/jazz direction. At various times, he played with artists like Passport, the Average White Band and Les McCann and Eddie Harris. Herbie Hancock said that "Brian Auger is one of the best B-3 artists I have ever heard in my life. His technique is awesome and the amount of energy he generates is unparalleled and relentless. He is a tremendous talent with a wonderfully warm and compassionate personality, a combination that is hard to beat. He deserves all the accolades." Mose Allison said "My Favorite rock artists are Van Morrison, Bonnie Raitt, Brian Auger and Loudon Wainwright." "Happiness Heartaches" has been dismissed by some critics as lacking energy and originality, but it is still a great jazz rock album full of great probing grooves. The rhythms are great throughout. Brian Auger has never played better and the music is laid back and funky. Brian Auger has always tried to embrace the musical zeitgeist and even his so called "commercial pop/jazz rock" has always contained brilliant musicianship and thrown up something new. His music remains original and captivating, and he is one of the world's greatest keyboard players. The album is HR by A.O.O.F.C. Listen to Julie Driscoll/Brian Auger & The Trinity's "Streetnoise" album, Brian Auger's Oblivion Express' "Reinforcements" album, and Karma Auger's great "Blue Groove" album. Search this blog for related releases

N.B: A little note for Steely Dan fans. One of Brian Auger's favourite musicians is the late English multi-instrumentalist, Victor Feldman, who played on at least five Steely Dan albums, and one of Brian's favourite albums is "Aja". [All tracks @ 320 Kbps: File size = 77.8 Mb]

TRACKS / COMPOSERS

A1 Back Street Bible Class - Brian Auger 5:26
A2 Spice Island - Brian Auger, Jack Mills 8:54
A3 Gimme A Funky Break - Jack Mills, Alex Ligertwood 4:36
B1 Never Gonna Come Down - Clive Chaman 5:30
B2 Happiness Heartaches - Dennison, Alex Ligertwood, Jack Mills 5:09
B3 Got To Be Born Again - Lennox Langton 4:12
B4 Paging Mr. McCoy - Brian Auger 4:29

MUSICIANS

Jack Mills - Lead Guitar
Alex Ligertwood - Rhythm Guitar, Vocals
Clive Chaman - Bass
Brian Auger - Hammond Organ, Electric & Acoustic Piano
Lenny White - Drums, Percussion
Lennox Langton - Congas, Percussion

ABOUT BRIAN AUGER

Brian Auger was raised in London, where he took up the keyboards as a child and began to hear jazz by way of the American Armed Forces Network and an older brother's record collection. By his teens, he was playing piano in clubs, and by 1962 he had formed the Brian Auger Trio with bass player Rick Laird and drummer Phil Knorra. In 1964, he won first place in the categories of "New Star" and "Jazz Piano" in a reader's poll in the Melody Maker music paper, but the same year he abandoned jazz for a more R&B-oriented approach and expanded his group to include John McLaughlin (guitar) and Glen Hughes (baritone saxophone) as the Brian Auger Trinity. This group split up at the end of 1964, and Auger moved over to Hammond B-3 organ, teaming with bass player Rick Brown and drummer Mickey Waller. After a few singles, he recorded his first LP on a session organized to spotlight blues singer Sonny Boy Williamson that featured his group, saxophonists Joe Harriott and Alan Skidmore, and guitarist Jimmy Page; it was Don't Send Me No Flowers, released in 1968. By mid-1965, Auger's band had grown to include guitarist Vic Briggs and vocalists Long John Baldry, Rod Stewart, and Julie Driscoll, and was renamed Steampacket. More a loosely organized musical revue than a group, Steampacket lasted a year before Stewart and Baldry left and the band split. Auger retained Driscoll and brought in bass player Dave Ambrose and drummer Clive Thacker to form a unit that was billed as Julie Driscoll, Brian Auger and the Trinity. Their first album, Open, was released in 1967 on Marmalade Records (owned by Auger's manager, Giorgio Gomelsky), but they didn't attract attention on record until the release of their single, "This Wheel's on Fire," (music and lyrics by Bob Dylan and Rick Danko) in the spring of 1968, which preceded the appearance of the song on the Band's Music from Big Pink album. The disc hit the top five in the U.K., after which Open belatedly reached the British charts. Auger and the Trinity recorded the instrumental album Definitely What! (1968) without Driscoll, then brought her back for the double-LP, Streetnoise (1968), which reached the U.S. charts on Atco Records shortly after a singles compilation, Jools & Brian, gave them their American debut on Capitol in 1969. Driscoll quit during a U.S. tour, but the Trinity stayed together long enough to record Befour (1970), which charted in the U.S. on RCA Records, before disbanding in July 1970. Auger put together a new band to play less commercial jazz-rock and facetiously called it the Oblivion Express, since he didn't think it would last; instead, it became his perennial band name. The initial unit was a quartet filled out by guitarist Jim Mullen, bass player Barry Dean, and drummer Robbie McIntosh. Their initial LP, Brian Auger's Oblivion Express, was released in 1971, followed later the same year by A Better Land, but their first U.S. chart LP was Second Wind in June 1972, the album that marked the debut of singer Alex Ligertwood with the band. Personnel changes occurred frequently, but the Oblivion Express continued to figure in the U.S. charts consistently over the next several years with Closer to It! (August 1973), Straight Ahead (March 1974), Live Oblivion, Vol. 1 (December 1974), Reinforcements (October 1975), and Live Oblivion, Vol. 2 (March 1976). Meanwhile, Auger had moved to the U.S. in 1975, eventually settling in the San Francisco Bay area. In the face of declining sales, he switched to Warner Bros. Records for Happiness Heartaches, which charted in February 1977. Encore, released in April 1978, was a live reunion with Julie Tippetts (née Driscoll) that marked the end of Auger's association with major record labels, after which he dissolved the Oblivion Express and recorded less often. In 1990, he teamed up with former Animals singer Eric Burdon, and the two toured together during the next four years, releasing Access All Areas together in 1993. In 1995, Auger put together a new Oblivion Express. As of 2000, the lineup consisted of his daughter, Savannah, on vocals, Chris Clermont on guitar, Dan Lutz on bass, and his son Karma on drums. This group issued the album Voices of Other Times on Miramar Records one week before Auger's 61st birthday. © William Ruhlmann © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/brian-auger-mn0000625014