Get this crazy baby off my head!


Cold Blood

Cold Blood - Thriller - 1973 - Reprise

A San Francisco-based R&B band originally formed by guitarist Larry Field as the "New Invaders" in the wake of the Summer of Love, Cold Blood had the key elements of strong female vocalist, a fine guitarist, and a powerful horn section. After successful gigs at Golden Gate Park and at the Fillmore, they were signed by impresario Bill Graham to his new San Francisco Records label, on which they released their self-titled debut in 1969. Four more albums followed over the next five years -- in fact, later efforts boasted the production and musical contributions of Steve Cropper -- but all were hamstrung by Graham's underhanded distribution deals with Columbia and Atlantic. Lydia Though the debut's single "You've Got Me Humming" crawled up to number 52 on the American charts, Cold Blood seemed doomed to labor in the shadow of bands like Tower of Power, Chicago, and especially Janis Joplin. The latter comparison became endemic among critics; for although blues belter joined Field's band as its youngest member -- she had formerly been, of all things, a childhood national rollerskating champion -- her magnetic stage presence established her as the band's central force. Eventually, the band billed itself as Lydia Pense With Cold Blood, and even released an album simply titled Lydia. Joplin sensed a kindred soul; after screaming at Cold Blood for scooping her on a blistering cover of "Piece of My Heart," she warmed to Pense enough to give her a swig of Southern Comfort. After hitting increasingly lower tier venues in San Francisco by the late '70s, Cold Blood disbanded for most of the next decade; Pense focused her energies on child rearing. By the late '80s, the band slowly awoke from its long sleep, and they began regular features on California's festival and fair circuit. A 1998 return to their Fillmore stomping ground brought out the band's faithful. © Paul Collins © 2013 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/cold-blood-mn0000774807/biography

Thriller! -- Cold Blood's fourth LP -- is a continuation on the brass-intensive funky R&B that drove their previous efforts. In contrast to those discs, however, there is very little in the way of original material here, the singular exception being Max Haskett's rollicking "Live Your Dream," which features the Pointer Sisters on backing vocals. This was not the first collaborative effort between the two either, as the vocal trio had also made a few notable contributions to the Sisyphus album. One of the primary distinctions between Cold Blood and their Bay Area contemporaries the Tower of Power is lead vocalist Lydia Pense. She has developed from simply belting out the blues -- à la Janis Joplin -- to becoming an increasingly sensitive lyrical interpreter without diminishing her prowess or guttural growl. One prime example is her ease and agility on the cover of Stevie Wonder's "You Are the Sunshine of My Life" -- which likewise includes some of the finest and most tasteful contributions from the horn section. The same can also be said of their cover of the Band's "Sleeping" -- retaining much of the same charm as the original. Cold Blood contrasts the mellow with a few loud funkified fusion numbers, such as the lead track, "Baby I Love You," and "Kissing My Love" -- which hearkens directly back to the double-jointed rhythms found in the band's eponymously titled debut album. Another highlight is Raul Matute's Hammond-organ on the classic blues "Feel So Bad" -- which is similar to Ray Charles' original reading. © Lindsay Planer © 2013 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/thriller!-mw0000670637

Brilliant funkified soul, blues and R&B from the great Lydia Pense & Cold Blood. The present awful music scene needs a good injection of music like this. Because of trash music fed to people by various TV channels and TV shows like “Britain/America’s Got Talent”, “The X Factor”, and more, many people have never heard this kind of music and the fat cats who own the major media outlets will make sure they never will. Did you ever listen to the so called “judges” on these shows? They know how to make big bucks, but as regards quality music, most of them wouldn’t know the difference between a good artist and a hole in the ground. It's amazing just how many great artists are out there who seldom if ever receive any radio play. It's paradoxical, because usually to get heard on the media, you have to sell out to the commercial, money-driven fat cats in the music industry. You can also retain your musical integrity and never get heard! That's why I originally set up a music blog...to try and bring these artists to a bigger audience. In my own small way, I hope I am helping to promote the lesser known artists. I receive many e-mails and comments from people who are completely oblivious to this kind of music and are very interested in checking out these musicians. Many people will say that uploading music is wrong and depriving artists of their income, etc. I would say that without bloggers and other less commercial outlets, many artists would have an even smaller income as many real music lovers would be unaware of their existence! Always a hot subject! Listen to Lydia Pense & Cold Blood’s great “Transfusion” album. Support real music! [All tracks @ 320 Kbps: File size = 95 Mb]


1 Baby I Love You - Jerry Ragavoy 6:10
2 You Are The Sunshine Of My Life - Stevie Wonder 7:40
3 Feel So Bad - L.Temple & L.Johnson 7:22
4 Sleeping - Robbie Robertson & Richard Manuel 5:16
5 Live Your Dream - Max Haskett 3:21
6 I'll Be Long Gone - Boz Scaggs 5:40
7 Kissing My Love - Bill Withers 6:07


Lydia Pense - Lead Vocals
Michael Sasaki - Electric & Acoustic Guitar
Rod Ellicott - Bass
Raul Matute - Keyboards
Gaylord Birch - Drums
Bob Ferreira - Tenor Saxophone, Flute
Bennie Maupin - Tenor Saxophone, Bass Clarinet
Skip Mesquite - Tenor Saxophone, Flute, Backing Vocals
Mel Martin - Baritone Saxophone, Tenor Saxophone, Flute
Michael Andreas - Saxophone
Rigby Powell - Trumpet
Peter Welker - Trumpet, Flugelhorn
Bill Atwood - Trumpet, Flute, Flugelhorn
Max Haskett - Trumpet, Background Vocals
John Mewborn - Trumpet, Trombone (Valve)
Pat O'Hara - Trombone
The Pointer Sisters, Holly Tigard - Background Vocals


Cold Blood is a long-standing soul-rock-jazz band founded by Larry Field in 1968 and originally based in the San Francisco East Bay area. They have also performed and recorded under the name "Lydia Pense and Cold Blood", due to the popularity of their lead singer, Lydia Pense. The band first came to prominence in 1969 when rock impresario Bill Graham signed them after an audition and they played the Fillmore West in San Francisco. Pense has been compared to Janis Joplin, and it was Joplin who recommended the audition to Graham. The band has often been compared to another long-standing popular Northern California group, Tower of Power, and like Tower of Power they were rare in that they featured a horn section in addition to guitar, keyboards (usually featuring a Hammond organ and Leslie speaker), bass and drums. The Tower of Power horn players have performed with Cold Blood on a regular basis since the early 1970s. Skip Mesquite and Mic Gillette have been members of both Tower Of Power and Cold Blood. Their fan base also overlaps with the Sons of Champlin, although their musical styles are quite different. Their initial four albums, Cold Blood (produced by David Rubinson), Sisyphus (produced by Fred Catero), First Taste of Sin (produced by Donny Hathaway), and Thriller (produced by David Rubinson) remain their best known work. The band disbanded in the late 1970s, reformed in the 1980s and stabilized with its current membership in the 1990s. Cold Blood continues to record and perform today, and some former band members such as Raul Matute (and some from Tower of Power) appear on the band's most recent album. Original band members were founder Larry Field (lead guitar), Lydia Pense (vocals), Danny Hull (tenor saxophone and songwriter), Larry Jonutz (trumpet; born Mar 15 1947), Pat O'Hara (trombone; born May 25, 1946 (?), died August 1977 of an overdose), Raul Matute (Hammond organ, piano, arranger and songwriter, born Feb 19 1946), Jerry Jonutz (baritone, alto and tenor saxophone; born Mar 15 1947), David Padron (trumpet; born May 4 1946), Rod Ellicott (bass), Paul C Saenz (guitar), and Frank Davis, who was replaced on drums by Sandy McKee (real name Cecil James Stoltie, born 12 July 1945, died 15 October 1995) during the Sisyphus sessions. Narada Michael Walden and Jonathan "Sugarfoot" Moffett both mention McKee on their short list of drummers most influential in their stylistic development. Over the years there have been various incarnations of the band including singer/trumpet player Max Haskett (born 7 March 1947, died 15 September 1999, ex-Rubicon), Tower Of Power horn player Mic Gillette, Journey keyboardist Stevie "Keys" Roseman on Hammond B-3 organ, Sons Of Champlin drummer Jim Preston, guitar player Michael Sasaki (born Apr 3 1952), Tower Of Power guitarist Jeff Tamelier, Boz Scaggs horn player Tom Poole, Elvin Bishop sax player Bill Slais, bass player Michael White & others. Current personnel are Lydia Pense (vocals), Steve Salinas (keyboards), Steve Dunne (guitar), Mike Morgan (percussion), Evan Palmerston (bass), Rich Armstrong (trumpet, percussion), Rob Zuckerman (alto, tenor, baritone saxes) and Donny Baldwin (drums). Cold Blood is featured playing live in Fillmore, a documentary of the last concerts at the Fillmore West auditorium during July 1971.


Lydia Pense (born Lydia Jane Pense in San Francisco, California on December 14, 1947) is an American rock-soul-jazz singer who since 1969 has performed with the band Cold Blood. Her style has been compared to powerful singers including Janis Joplin (who recommended the band to Bill Graham for their first audition), Aretha Franklin and Teena Marie. Pense's mother, the former Miss Ramos, was born in Madrid, Spain, while her father came from Nebraska, United States. While attending Sequoia High School in Redwood City, California at the age of 14, Pense started singing with a band called The Dimensions, with Guitarist Fred Tatman. She was a fan of Brenda Lee and was singing her songs, but the band, formed by Fred Tatman, Larry Hatch, Paul C Saenz, and Kerry Yates encouraged her to sing R&B in the style of James Brown, Chuck Berry, Fats Domino, and Ray Charles. Lydia joined Cold Blood in 1968. Their initial four albums, Cold Blood, Sisyphus, First Taste of Sin (produced by Donny Hathaway), and Thriller remain their best known work. The band continues to record and perform today. The band separated in the late 1970s, and Pense suspended her career in the 1980s to raise her daughter before re-forming the group. – from Wikipedia

Alessandro Benvenuti

Alessandro Benvenuti - Sonic Design - 2002 - Alessandro Benvenuti

Europe continues to be a hot bed of cutting edge fusion and Italy's own Alessandro Benvenuti is at the top of his game. Allesandro gives a whole new meaning to the word 'fluid'! On his solo instrumental debut he is backed by a solid chops propelled group of Italian musicians, along with special guest guitarists Frank Gambale and Prashant Aswani. © Audiophile Imports, Inc. All Rights Reserved. http://www.audiophileimports.com/shop/product.php?productid=20060

In today’s musical climate the idea of a new wave of stunning guitarists seems absurd (the scene died didn’t it?). But, as Alessandro Benvenuti proves on ‘Sonic Design’ – a revolution is coming. Alessandro Benvenuti has done it all; he’s a top clinician at the Guitar C.A.P. section of the International Music Institute in Rome (www.imionline.it), session guitarist for Circe Digital Studios, columnist for Axe Magazine and most importantly writer of a fabulous debut CD ‘Sonic Design’ . Benvenuti’s guitar style is best described as effortless. Every track on ‘Sonic Design’ is crammed with imaginative and super smooth legato lines, contrasted to wonderful effect by a highly percussive and advanced hybrid\finger picking style. Benvenuti has developed these ideas to seamlessly weave virtuosi textures into his already musically rich compositions. It’s clear within Benvenuti’s world technical ability never overshadows the melody or direction of the song (aspiring shredders take note!). It’s also worth mentioning Benvenuti’s masterful touch, he always sounds musical and in total control (check out the fluid lines on Golden Cage). Benvenuti has spent a great deal of time in writing an eclectic but cohesive mix of songs, (I’m almost tempted to say ‘tunes’ because the melodies found on this album are extremely catchy) and the styles swing comfortably between heady Jazz fusion and lighter Rock Fusion (‘Eternal Dream’ teeters on the very brim of ballad). To inject a bit more variety into the proceedings, top US rock fusionier (yes…I made that up) Prashant Aswani and Aussie guitar god Frank Gambale contribute guest solos (Gambale features twice, playing on ‘Eternal Dream’ and ‘EgoCentric’. Aswani drops in to trade lines on ‘10km More’). The result isn’t quite the disastrous shred fest you might expect. Both players compliment Benvenuti’s songs with consummate taste and Aswani especially, fires out some supercharged lines. Hearing Benvenuti jam it out with these guys serves as a great insight into his liquid improvisational skill. It also gives us an intriguing glimpse into the prospect of ‘JAM’, a mouth watering collaborative project featuring Benvenuti, Milan Polak, and Joel Rivard. Check out http://www.liquidnoterecords.co.uk for more info. I personally find it inspiring to see ‘Sonic Design’ generate such a great reaction from guitar fans and critics alike (the album has recently been picked up for distribution by Tower Records). It is a reminder that talent and great songs can still make an impact and be relevant in our generic, sterile musical climate. Back in Benvenuti’s native Italy, it’s easy to see why he’s becoming a fleet fingered phenomenon.[ Extract from essentialguitarist.com by & S © Simon Badham © http://mclub.wordpress.com/2006/04/22/alessandro-benvenuti-%E2%80%98sonic-design%E2%80%99/

Sonic_Design represents a strong statement in Rock Fusion guitar world. This CD can be described as an eclectic but cohesive mix of songs. The styles swings comfortably between heady Jazz Fusion and lighter Rock Fusion with extremely catchy melodies. Benvenuti' s guitar style is best described as effortless. Every track on Sonic Design is crammed with imaginative and super smooth legato lines, contrasted to wonderful effect by a highly percussive and advanced hybridfinger picking style. It' sclear within Benvenuti' s world technical ability never overshadows the melody or direction of the song. It' s also worth mentioning Benvenuti' s masterful touch, he always sounds musical and in total control. In addition to Benvenuti' s incredible technical skill and energy, the CD features high-powered guest guitarists, such as the world-renowned Frank Gambale (Chick Corea, Vital Information) on two tracks and the amazing Prashant Aswani (Greg Howe, Herbie Hancock) on one track. - http://thepiratebay.sx/torrent/3694129/alessandro_benvenuti_-_2002_-_sonic_design__(fusion)_mp3___192

A good dynamic all-instrumental guitar based fusion album from the Italian guitarist, Alessandro Benvenuti. Frank Gambale plays on tracks 2 & 4, and Prashant Aswani plays on Track 7. Read more about this album @ http://www.cdbaby.com/cd/benvenuti [Tracks @ 192-256 Kbps: File size = 79.7 Mb]


1 The Sense of Change 4:57
2 Eternal Dream 5:22
3 Time Has Come 4:33
4 EgoCentric 4:51
5 The Golden Cage 5:02
6 7 Reasons to Love Her 5:59
7 10 Km More 5:51
8 Jama' 5:14

All tracks composed by Alessandro Benvenuti except "Jama'" by Gian Marco Benvenuti


Alessandro Benvenuti - Guitars
Frank Gambale - Second Guitar Solo on "Eternal Dream" : Left Channel & Guitar Solo on "EgoCentric"
Prashant Aswani - Right Channel & First Guitat Solo on "10 Km More"
Mirko Bellini - Bass
Gian Marco Benvenuti - Keyboards
Armando Croce - Drums
Pierpaolo Ferroni - Drums on "Time Has Come"


Elewout De Raad

Elewout De Raad - The Cross - 2003 - EDR Music

Elewout De Raad was born in 1971 in Groningen, Holland. At the age of 6 he started taking classical guitar lessons. At the age of 8 he developed an interest for bluegrass music and got his first western guitar which he still uses today. At the age of 11 he started taking lessons from Teije Wijnterp, a rock and flamenco guitar player, who inspired him to figure out music from records by ear. The first song he figured out was Texas Flood by Stevie Ray Vaughan. Other records by different blues and rock players followed. At this time he started playing in different bands and picked up jazz/rock influences from a drummer he played with for a few years. In 1993 he went to a conservatory and studied jazz music. At the time that he played top-100 music in different bands he hooked up with Hendrik Mulder, a drummer with a lot of the same musical influences with whom he started the Elewout De Raad Project. In 2003 they recorded their first album "The Cross", an instrumental jazz-rock CD. © Daniel Cutali Average rating: (8) © www.movimentiprog.net/

Dutchman Elewout De Raad picked up guitar at the young age of six. Initially studying classical playing he developed a liking for bluegrass at age eleven before moving on to rock, blues and finally jazz after being introduced in the early 90's by a drummer he was then playing with. He went on to study at a Conservatory and has since spent his time playing in various bands, primarily gospel and at Christian festivals. It is instrumental, jazz-rock, fusion that Elewout showcases with The Cross and he must have paid particular attention to the playing style and technique of Allan Holdsworth (and to a lesser degree Jeff Beck) during his studies because the bulk of the CD sounds an awful lot like the virtuoso from Bradford, especially in the chord-voicings, arpeggios and overall tones. With the excellent Jorrit Godeke on bass and likewise talented Hendrik Mulder on drums Elewout has almost recreated the whole feel and sound of the mid to late 80's Holdsworth experience; think of the Road Games, Metal Fatigue and IOU and you are there or there abouts. Whether this is deliberate or just showing heavy influence I couldn't say but surely it's so close as to be no coincidence. That being said, anyone who's able to emulate the man from Yorkshire has to be a pretty good player in their own right, and Elewout certainly is. Although lacking the outright speed and liquid fluidity of Holdsworth himself, he plays some impressive stuff and one can't help but enjoy it. It's perhaps also a beneficial consequence that the music is eminently listenable - less complex and 'out there' than a lot of Holdworth's compositions that can take many years of listening, if ever, to penetrate. As one would expect, the CD is stuffed with solos which will appeal a lot to the guitarists amongst us although that's not to say it's purely an exercise in technique as the melodies are strong. The production is highly complementary to the players with the three instruments nicely filling the soundstage, very clear and precise. Perhaps the opening track, Mamaloe, is the best cut on the album with its busy drums, bubbling bass, smooth chords and melodic soloing. The rest of the CD never quite touches the same heights generally taking a more mellow approach except when the soloists pick-up from time to time. Overall a pleasant CD with some excellent compositions and top-class musicianship. Will certainly appeal to anyone who enjoys the music of Holdsworth/Beck and could well be an entry-point for those that are new to the genre, but not really likely to appeal to the bulk of prog fans. Conclusion: 7 out of 10 © DAVE BAIRD © 1995 - 2013 : Dutch Progressive Rock Page http://www.dprp.net/reviews/200617.php#elewout

Elewout De Raad is a virtuoso Dutch guitarist who founded the homonymous project with drummer Hendrik Mulder after many years devoted to the study of jazz guitar at the Conservatory. In 2003 they published with a private production this entirely instrumental album simply titled "The Cross" with the help of Jorrit Godeke to bottom. Obviously it's a guitar album mainly but not with the usual abundant metal and hard-rock style. This is an album entirely dedicated to jazz-rock and fusion. Right from the opening track, "Mamaloe," we can feel the skin convolutions adrenaline technical skills of De Raad and Mulder that focus on a great melody jazz-rock. But these feelings are spread throughout the album, consisting of five precious traces. Important landmarks can be Soft Machine by Allan Holdsworth, we quote again "Wired" by Jeff Beck, excellent record of jazz-rock guitarist of British Blues. Come to mind but also a kind of Arts & Crafts more jazzy and brainy, if only Gigi Venegoni had carried the historic Turin band towards more fusion, as it did then with its Venegoni & Co. joining ethnic mingling. Think also about a kind of Nucleus, Weather Report and Brand X more guitar-oriented. In the third song, "Inspiration", Godeke performs a great bass solo in which we can find some 'of the style of Mark Welsh of his latest solo album "Riff", just to stay in the family Arts & Crafts. Great tunes for a great Fusion played by great musicians”. © Daniel Cutali Average rating: (8) © www.movimentiprog.net/modules.php?op=modload&name=Recensioni&file=view&id=2086

Some reviewers’ notes about this album include .... a fresh synthesis of 50 years light music. (muziekwereld)....his guitar playing can be measured with that of Jeff Beck or Allan Holdsworth! (prog resiste) excellent compositions and top-class musicianship (Dutch progressive rock page). metalhaven.livejournal.com notes that “If Hollands’s own guitarist got comments on his report cards, they were probably along the lines of: “Plays well with others.” With The Cross, Elewout has proven that he has ‘big ears’. Jorrit and Hendrik afford ample room for dialogue, to which Elewout responds with running commentary, blurring and blending the traditional division of labour between bassist and drummer. Elewout is fiery in his solo spots, tipping the time to create forward momentum. On this debut the leader embodies fusion, a vision of collaboration and egalitarianism, where the whole becomes greater than the sum of the parts”. On first hearing, some of the tracks seem repetitive and mundane. After a few listens, the nuances and structures of the tracks become more evident. This is very good, uncomplicated, but still original jazz rock fusion full of class from a talented guitarist and his band. Find out more @ http://www.elewoutderaad.com/ [All tracks @ 320 Kbps: File size = 93 Mb]


1 Mamaloe 6:21
2 Precious 8:57
3 Inspiration 7:26
4 Down Deep 7:52
5 The Cross 8:11

All tracks composed by Elewout De Raad


Elewout De Raad - Guitar
Jorrit Godeke - Bass
Hendrik Mulder - Drums


Chris Poland

Chris Poland - Chasing the Sun - 2001 - Mascot Music

Dave Mustaine usually gets all the credit for creating Megadeth's fierce guitar attack on their classic early albums. But guitarist Chris Poland was an integral part of Megadeth's guitar tandem on what is considered by many to be two of thrash metal's first-wave classics (and an obvious influence on countless bands to follow), 1985's Killing Is My Business...And Business Is Good! and 1986's Peace Sells...But Who's Buying? Born on December 1, 1957, in Dunkirk, NY, Poland was more influenced by jazz-fusion bands than heavy metal acts early on, which resulted in a relocation to Los Angeles during the late '70s to play in a jazz-fusion band with fellow New York transplant/drummer Gar Samuelson. By 1984, Poland and Samuelson had crossed paths with Mustaine, which resulted in the formation of what many consider the definitive Megadeth lineup (which was rounded out by bassist Dave Ellefson). Along with Metallica, Slayer, and Anthrax, Megadeth was one of the trailblazers of the thrash metal genre (which were heavily influenced by Motörhead and early Iron Maiden, and served as a reaction of sorts against the then-thriving hair metal scene). Judging from the aforementioned Megadeth releases, it appeared as though the Mustaine-Poland-Ellefson-Samuelson lineup would go on to become one of metal's all-time greats. This turned out to not be the case, however, as Poland and Samuelson would exit the band in 1987 under less than rosy circumstances (allegedly brought on by rampant drug abuse by all the bandmembers). Poland would resurface briefly as a bass player for punk rockers the Circle Jerks before launching a solo career, with the release of 1990's Return to Metalopolis. Poland would continue to issue sporadic solo albums over the years, as well as one-off releases with such bands as Damn the Machine and Mumbo's Brain, while also working with Megadeth in a sporadic, studio-only capacity (playing on demos for 1990's Rust in Peace, and on 2004's The System Has Failed). Poland continues to work with other acts, including OHM, and has appeared on a pair of releases by Lamb of God (2003's As the Palaces Burn and 2004's Ashes of the Wake). © Greg Prato © 2013 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/chris-poland-mn0000114427/biography

The second (and to date final) Chris Poland solo release is Chasing the Sun. Clearing the metal elements completely out of his sound, it’s a pure jazz fusion record, but might still be of interest to his fans. This is what I figured going into this album, but I’ve got to say I was a bit disappointed.Realistically, this should be a lot better than Return to Metalopolis. After all, this is Poland in his natural element. Jazz was his mainstay before Megadeth, so revisiting the style should only yield good results. And yet I find myself gravitating away from Chasing the Sun in favor of his debut. No doubt that Poland’s guitarwork is excellent, but with all of the metal elements stripped away his compositions come off as pretty bland. The main themes are quickly dismissed as if they were tedious necessities standing in the way of the solos, a presentation which is fundamentally opposed to compositional logic. It’s the thematic elements that remain with the listener long after the song is over, not the flurry of notes crammed into the bridge (however technical in execution). The only exception to this is for listeners that have never heard a good guitar player before, for whom every solo is a fresh passage of discovery. Basically, I feel the record is a bit too self-indulgent. Where as Return to Metalopolis had a lot of strong tracks on it (“Row of Crows” kicks ass), this is almost entirely mellow noodling. It’s a bit strange to say this (as the only real ties between them are that they both were former Megadeth axemen and I’ve reviewed their albums recently), but I’d recommend Marty Friedman’s solo material over this; at least he can show a little restraint. For Poland fans looking to hear his post-Megadeth highlights, you’d be wiser to start at his debut or Damn The Machine’s self-titled album. © DawnoftheShred, February 18th, 2009 © © 2002-2013 Encyclopaedia Metallum http://www.metal-archives.com/reviews/Chris_Poland/Chasing_the_Sun/19154/

It only took guitarist Chris Poland a full decade to follow up his 1990 solo debut, Return to Metalopolis, with the arrival of 2000's Chasing the Sun. While the album contains quite a few traces of Poland's metal past (after all, he was the guitar player in Megadeth on such classic albums as 1985's Killing Is My Business...and Business Is Good! and 1986's Peace Sells...But Who's Buying?), Chasing the Sun turns out to be a mixed bag of tricks. Picture one of Joe Satriani or Steve Vai's early instrumental solo albums with a focus on jazzier sounds, and you're not far off from Chasing the Sun. Poland's fusion leanings shouldn't come as a surprise, though, as he's been vocal for years about how he was a jazzhead before joining forces with Dave Mustaine and company during the early '80s. Right from the beginning, you know you're not in for your standard straight-ahead six-string shredfest, as the album-opening title title track takes an abrupt detour into trippy psychedelia. You'll also find funk sounds ("Hip Hop Karma"), fusion ("Robo Stomp"), King Crimson-like weirdness ("Straight Jacket"), and excursions into melodic territory ("Salvador"). Fans of early Megadeth expecting bone-crunching thrash metal may be let down, but for metalheads willing to open their minds a bit stylistically, Chasing the Sun will be a pleasant surprise -- and further proof that Chris Poland is one of hard rock's most underrated guitarists. © Greg Prato © 2013 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/chasing-the-sun-mw0000041837

This album has received mixed reviews. Most of the poorer reviews come from music critics who are expecting music of the type that Chris played with Megadeth and Damn the Machine. “Chasing the Sun” is a collection of high quality obscure demo tracks all recorded by Chris between 1994 and 1999. This solo stuff is not what a Megadeth fan would probably expect so naturally the album will receive some negative reviews. However, it may appeal to a wider audience of great instrumental guitar and progressive rock fans. It's really an excellent album and even in demo form, these tracks capture the essence and maturity of a very talented musician. Tracks like Robo Stomp , Salvador, Mercy , Song for Paul and Alexandria 99 are indicative of a transitional phase for Chris Poland, between his “Return to Metalopolis” debut album and his work with Ohm, his instrumental fusion power trio. To reiterate, if you’re a diehard Megadeth lover, this album probably won’t give you the explosive metal sound you might expect, but this is still great music. Listen to these brilliant instrumental tracks, and broaden your musical horizons! The album is HR by A.O.O.F.C. The European version of this album has 3 bonus tracks. Listen to OHMphrey’s s/t album featuring Chris and Jake Cinninger on guitars, and read a detailed bio of Chris Poland @ http://en.wikipedia.org/wiki/Chris_Poland [Tracks @ 171-320 Kbps: File size = 109 Mb]


1 Chasing The Sun (03:04)
2 Hip Hop Karma (03:42)
3 Wendell’s Place (03:08)
4 Robo Stomp (03:21)
5 Straight Jacket (03:16)
6 Cosmois Thumb (03:14)
7 Lu Lu’s Dream (03:30)
8 Salvador (03:15)
9 Interference Blues (02:28)
10 Alphabet City (02:42)
11 Mercy (01:39)
12 Song For Paul (03:39)
13 Alexandria 99 (04:15)
14 Terra Incognito (bonus) (03:50)
15 Da Vonci (bonus) (02:52)
16 Sand Castles (bonus - dedicated to Jimi Hendrix) (05:23)

Tracks 1,2,4,5,6,7,10,12 composed by Chris Poland, Mark Poland, & Francis DiCosmo: Track 3 composed by Chris Poland, Mark Poland, & Robertino Pagliari : Tracks 8,9,11,13 composed by Chris Poland


Chris Poland - guitar, bass
Francis DiCosmo - bass on tracks 1,2,4,5,6,7,10,12
Robertino Pagliari - bass on tracks 3,13,14,15,16
Mark Poland - drums on tracks 1,2,4,5,6,7,10,12
David Eagle - drums on track 13
Mac Hine - drums on tracks 8,9
Koko Bermejo - drums on tracks 14,15,16

Steely Dan

Steely Dan - At The Paramount Northwest Theater, Seattle, WA. Jul 1, 1974 - 2010 - Dawson Sound

Steely Dan played live at the Paramount Northwest Theater, Seattle, WA. on July 1st, 1974. There are very few of these 70's Dan live gigs on disc with decent audio quality. However this one is one of the best. If you are a Steely Dan fan you will find it very hard to criticize any of Steely Dan's albums. If you are a lover of great music you will probably recognize the quality of all Steely Dan's albums, (and Don & Walt's solo works). Although Steely Dan's often complex music includes rock, funk, R&B, and pop, all their albums contain a strong jazz element. On their later albums, "Aja", "Two Against Nature", and "Everything Must Go", Steely Dan's sound shifted more into the jazz/jazz rock mould. Many people prefer the '70's Steely Dan sound and would like to hear more rock and blues based songs like "Do It Again", "Reelin' in the Years", "Bodhisattva", "Night by Night", "Pretzel Logic", "Black Friday", and "Kid Charlemagne". Having said that, the Dan's more jazz orientated albums like "Aja", "Two Against Nature", and "Everything Must Go" are magnificent recordings, and even with the lesser emphasis on rock compositions, tracks like "West of Hollywood" from the "2VN" album, "Things I Miss the Most" from "Everything Must Go", and all the tracks from the "Aja" album are works of genius.There are also various recordings of this concert floating around, under various titles like "Live In Seattle '74", "Steely Dan's All American Tour", etc. but many of these recordings contain fewer tracks than the one here, and SQ on most of them is hardly above average. The album here was taken from a recording of one of the last live performances by the 1974 Steely Dan line-up, recorded at Seattle's Paramount Theater on the 1st of July, four nights prior to the Dan's final concert in Santa Monica on the 5th of July, 1974. This release is as near to a full Dan concert you will find on disc. The gig is composed mainly of songs from Steely Dan's first three albums, "Can't Buy a Thrill" from 1972, "Countdown to Ecstasy" from 1973, and "Pretzel Logic" in 1974. The gig here also includes "This All Too Mobile Home" a live band favourite, but never officially released on any Steely Dan studio album. The sound quality here is well above average for a live Dan gig, and it's a shame that albums like this and other Dan albums like "Memphis Blues Again", "Live At Wembley", & "Live At The Record Plant", all from 1974, are not remixed and remastered and released officially. This will probably never happen, but it would make many thousands of Steely Dan fans very happy. It was never easy to say exactly who the Steely Dan band members were. In the early seventies, the band's main members included the nucleus of Walt & Don plus Denny Dias, David Palmer, Jeff Baxter, Jim Hodder, and Elliot Randall. When it came to touring, Steely Dan often drafted in the great vocalist Royce Jones who replaced David Palmer, and used Michael McDonald on vocals and keys. In Seattle, Donald Fagen, Royce Jones, and Michael McDonald shared the vocals, but there are some great harmonies from all band members. Most of the musicians mentioned play on this album, and the late Jeff Porcaro features on drums. It is worth mentioning just how good Steely Dan were as a live band. Listen to Walt's unique bass work on "This All Too Mobile Home." Check out Royce Jones' vocals on "Dirty Work", and "Brooklyn (Owes The Charmer Under Me)". Listen to Jeff "Skunk" Baxter's guitar solos on "Rikki Don't Lose That Number" and "The Boston Rag", his volcanic lead guitar on "Reelin' In The Years" played in the studio by Elliott Randall, and his pedal steel on "Showbiz Kids". Michael McDonald's lead vocals on the same track are terrific. Denny Dias' guitar solos on "Bodhisattva" and "Do It Again" are also brilliant. This album contains several audio flaws, but it's one of Steely Dan's best live '70's performances, and a great chance to hear a legendary band at their peak. Steely Dan resumed touring in 1993 and still play live gigs with musicians like Jon Herington, Keith Carlock, Drew Zingg, and Wayne Krantz, but back in '74 the Dan was playing some magical stuff, with Donald Fagen at his vocal best. This album is VHR by A.O.O.F.C.  [All tracks @ 256 Kbps: File size = 139 Mb]


1 Introduction by roadie Chris Adamson 0:20
2 Bodhisattva 5:08
3 Stage Banter 0:34
4 The Boston Rag 6:36
5 Stage Banter 0:47
6 Do It Again 8:08
7 Stage Banter 0:30
8 Brooklyn (Owes The Charmer Under Me) 3:53
9 Song Introduction by Jeff Baxter 0:43
10 King Of The World 4:53
11 Rikki Don't Lose That Number 4:45
12 Pretzel Logic 6:07
13 Band Introductions by Jeff Baxter 1:03
14 My Old School 3:47
15 Tuning 0:46
16 Dirty Work 3:52
17 Your Gold Teeth (instrumental) 1:22
18 Reelin' In The Years 5:43
19 Song Introduction by Jeff Baxter 0:39
20 Show Biz Kids 6:07
21 Stage Banter 1:12
22 This All Too Mobile Home (With excerpt from "Theme From A Summer Place") 8:37

All songs composed by Walter Becker & Donald Fagen, except excerpt from "Theme from A Summer Place" with lyrics by Mack Discant and music by Max Steiner


Donald Fagen - Piano, Synthesizer, Vocals
Walter Becker - Bass
Jeff Baxter - Guitar, Pedal Steel, Percussion, Background Vocals, Lead Vocals on "My Old School"
Denny Dias - Guitar
Michael McDonald - Fender Rhodes, Vocals, Lead Vocals on "Showbiz Kids"
Jim Hodder - Drums, Percussion, Background Vocals
Jeff Porcaro - Drums
Royce Jones - Percussion, Vocals, Lead Vocals on "Dirty Work" & "Brooklyn (Owes The Charmer Under Me)"


Frank Gambale

Frank Gambale - Resident Aliens: Live Bootlegs - 2001 - Wombat Records

Frank Gambale's Resident Alien-Live Bootlegs is XXX instrumental pornography, and that is meant in a positive way. Gambale is an innovative guitarist whose astonishing musical depth is matched by equally fearsome technique. There are some who would say that the long solos from all the musicians concerned are akin to an adult film where all of the "money shots" have been edited together for pure slobber value. Others would contend that unfettered virtuosity, far from being self-indulgent instrumental wanking, is actually the ultimate form of musical expression. I tend toward the latter view. Gambale is one of the best fusion guitarists ever, combining a shredders chops, a jazzman's musical sophistication, and an innovator's vision into an awesome musical whole. He belongs with the elite group of fusion instrumentalists that includes Henderson, Morse, Holdsworth, McLaughlin, Lane, and DiMeola. These CDs are not for people who think that expression is determined by restraint. If you appreciate virtuosity, and lots of it, buy this. – from ***** Hardcore Virtuosity September 10, 2005 By & © Thelonious © 1996-2013, Amazon.com, Inc. or its affiliates http://www.amazon.com/Resident-Alien-Live-Bootlegs/dp/B004N4CK7U

Frank Gambale’s "Resident Alien-Live Bootlegs" contains ten of the best live tracks taken from 20 shows recorded between late 1999 and June 2000, at the Baked Potato, and La Ve Lee, in North Hollywood, CA. These gigs were played in between tours and are fun, laid back, and relaxed performances with very small audiences. Some of the tracks are completely improvised and gave the guitar maestro from Canberra, Australia the opportunity to let loose and play some incredible extended mind-blowing jams. The album also features the bonus track, "New Boots", with the great Allan Holdsworth helping out on guitar. Some music critics have accused Frank Gambale of “showing off” and playing some “over-the-top guitar histrionics”. There are some fabulous extended solos on this album, and anyway, Frank Gambale is an extraordinary player and was playing to appreciative audiences, not music critics. These tracks were not originally intended to be on a live album, and if you’re a fan you will probably never get enough of the guitar giant’s magical playing. Chick Corea, describes Frank: “Everything you touch with your guitar turns gold – always has.” John McLaughlin speaking about Frank's playing ability once said "I’d like to cut his hands off."! Frank Gambale is one of today's greatest fusion guitarists and all his work is worth a listen. To fully appreciate just what Frank Gambale can do with a guitar, listen to his "Absolutely Live - In Poland" album and his “A Present For The Future” album. “Resident Aliens: Live Bootlegs” is HR by A.O.O.F.C. [All tracks @ 320 Kbps: File size = 254 Mb]

STEELY DAN TRIVIA: Frank Gambale played electric guitar on The Dan's "FM" song. Ann Wickstrom of vintageguitar.com has said that Frank is "a Steely Dan freak! He can sit down at the piano and sing all the lyrics to almost every Steely Dan song!"………just like yours truly! (lol)!


1 Equinox 17:25 - John Coltrane
2 Dreamtime 10:39
3 The Shores of Bahia 11:13
4 Lydia's Love Van 4:04
5 Nothing Personal 16:47 - Don Grolnik
6 Goanna Logic 8:04
7 The Wow!!! 6:38
8 Walkin' the Wombat 11:52
9 True Blue Blues 7:07
10 New Boots 6:20


Frank Gambale - Lead Guitar
Allan Holdsworth - Guitar on “New Boots”
Ric Fierabracci - Bass Guitar
Jimmy Earl - Bass Guitar on “New Boots”
Freddie Ravel - Keyboards on “New Boots”
Steve Tavaglione - EWI Synth. Oboe on “New Boots”
Ray Brinker, Toss Panos, Joel Taylor - Drums
Tom Brechtlein - Drums on “New Boots”


Grammy winning guitar virtuoso, Frank Gambale, exploded on the L.A. scene in the early ‘80’s. His meteoric rise to fame is a testament to his passion powered playing – a style “Rolling Stone Magazine” calls “ferocious”! Gambale is an inspired songwriter with over 200 songs published on 20+ albums. His music touches on many styles from funk and jazz to R&B and some Latin and Brazillian influences. As a legendary guitarist, Gambale is the undisputed genius who originated the sweep picking technique ( a new way to play the instrument ) and elevated it to a precise art form now standard in the guitar lexicon. The "Gambale Sweep Picking Technique" continues to inspire generations of musicians. Jazz, rock, metal and progressive artists alike are united in their awe of Frank as both an amazing technician and an unsurpassed musician. As jazz legend, Chick Corea, describes Frank: “Everything you touch with your guitar turns gold – always has.” While John McLaughlin’s tongue-in-cheek response to his finesse is “I’d like to cut his hands off.” A musician’s musician, gifted composer, brilliant innovator and author of numerous instructional books and DVDs, Frank continues to reach unprecedented sonic and technical heights. His six string prowess and seemingly limitless vision point towards an exciting future of ground-breaking music: Early Years - Frank Gambale was born into a family of talented musicians in his native Canberra, Australia. He quickly absorbed the pantheon of ‘60’s and ‘70’s blues and rock guitar greats. As a teen, Frank’s musical horizons expanded with the influence of jazz and vocal based music under the generous tutelage of a local import record shop owner. At 17 he started playing piano and almost gave up guitar altogether. It was 2 years before he would return to the guitar at the insistence of his older brother. He returned to the guitar with renewed enthusiasm and continues to play piano. It was a leap of faith for Frank to leave for Los Angeles, to be in the middle of “where all the music I loved was being made,” and set off to the Guitar Institute of Technology in the early ‘80’s: Meteoric Rise - Frank’s shining prowess and dedication to practice garnered him “Student of the Year” upon graduation from GIT, landing him a four-year teaching gig as well as a publishing deal for his first instructional book “Speed Picking”. In 1985 he signed a 3-album recording contract and began his illustrious recording career. In the summer of 1986 he toured with jazz violin great Jean-luc Ponty. Soon after that tour his widening reputation led to an invitation by jazz legend Chick Corea to join his groundbreaking “Elektric Band.” Frank began a major endorsement with the Ibanez guitar company and began to create the FGM series of guitars, which became a very popular series. He also signed a 3 DVD contract for instructional videos. Fresh-faced Gambale graced the cover of “Guitar Player” magazine in June 1988 entitled “Fire Meets Finesse”. Numerous publications and accolades soon followed. Fire meets finesse, indeed!: On the Road - Frank’s musical journey has taken him “at least twenty times around the world,” by his accounts with his own groups and as a collaborator with “Vital Information” and several of Chick Corea’s bands. 25 years have produced over 20+ solo records, another 9 with his 16 year collaboration with Vital Information, 3 blazing albums with his off-shoot project, “Gambale, Hamm, Smith,” as well as dozens of other guest record projects. His fruitful 25+ year alliance with Chick Corea has totaled 6 recordings and a live DVD recorded at Montreux Jazz Festival and garnished aa Grammy Award and 2 Grammy Nominations. World tours with drum legend, Billy Cobham, led to Cobham’s enthusiastic participation on Frank’s album, “Raison D’Etre,” which introduced Frank’s “Gambale Tuning System” to the world: Sweep Picking and Guitars - Nearly 40 years seeped in all things guitar, Frank discovered his revolutionary “Gambale Tuning.” This system aligns the chordal capabilities of piano onto a reachable and familiar fret board - yet another of his monumental contributions to the guitar alongside the Sweep Picking Technique. Yamaha quickly jumped in to arm Frank with a new double-neck guitar, necessitated by the quick change-over in tunings while flying on the new adventurous tracks. The new Frank Gambale DV Mark Signature line of amplifiers fires up the incredible new Gambale Signature FG1 Guitar by Carvin corp. This semi-hollow guitar was a year in the making at Carvin’s Custom Shop. Frank’s instructional materials are used in many schools and universities throughout the world. His mystifying sweep picking technique, featured in his first instructional book and masterfully demonstrated in the Monster Licks and Speed Picking video, continues to amaze and inspire guitarists. Frank generously conducts master classes around the world: On the road in 2011 - In 2011, the all-star “Return to Forever IV” (Chick Corea, Stanley Clarke, Jean- luc Ponty, Frank Gambale, Lenny White) ignited the greatest stages around the world with over 100 concerts starting in Australia which included a performance at the famed Sydney Opera House. The World Tour culminated in November at the renowned Blue Note in New York with an acoustic performance of RTF-IV (Chick Corea, Stanley Clarke, Frank Gambale, and Lenny White) marking the beginning of Chick Corea’s month-long appearance at the acclaimed venue to kick off the celebration of his 70th birthday. The "Elektric Band" closed the month-long birthday bash, playing to sold out shows reuniting all the original members of this iconic Grammy award winning group featuring Chick Corea, Frank Gambale, Eric Marienthal, John Pattitucci, and Dave Weckl: Newest Release in 2012 - 2012 brings more terrific new directions for Frank Gambale that will delight dedicated fans and new audiences alike. An album Gambale’s wanted to make for 30 years, his newest release “Soulmine” is a return to Frank’s vocal roots, and the first collaboration with inspirational songstress and muse, BOCA. Gambale and BOCA wrote, arranged and produced this release that features Boca’s sexy, strong and evocative vocals and inviting lyrics luring listeners to “stir their soul”, and Gambale’s soulful guitar playing and signature sweep-picking prowess throughout this Adult Contemporary Album. “Soulmine” has seriously catchy tunes punctuated with shining vocal harmonies, unexpected sass, funky rhythms and saucy guitar lines. The delicious guitar tones that tie the new tracks together are complimented by the combination of the new Frank Gambale DV Mark Signature line of amps firing up the incredible Gambale Signature FG1 Guitar by Carvin’s Custom Shop. The Frank Gambale Soulmine feat. BOCA is Frank's remarkable new release. A Soulmine World Tour starts in Europe in June 2012. The first single, “Forbidden Kiss,” hit the radio waves and video channels in January 2012. Released on www.Youtube.com and FrankGambaleTV (FGTV), the video for "Forbidden Kiss" was created and directed by the legendary Nigel Dick. This award-winning, British born filmmaker boasts a resume of more than 300 music videos, multiple commercials and numerous films. His creativity and vision enhances the key elements of musical expression and sensuality that comes through Gambale and BOCA’s collaboration. Whether Gambale is touring the world with his Fusion Jazz Trio, the Natural High Trio, his new vocal group Soulmine, or joining forces in an iconic jazz super group, Frank continues to amaze audiences around the world. © Dura and Matthew X. Curry © 2006-2011 Frank Gambale. All Rights Reserved http://www.frankgambale.com/frank_gambale_bio.html


Frank Gambale (born 22 December 1958), is an Australian jazz fusion guitarist. He has released eleven studio albums over a period of more than two decades, and is renowned for his use of the sweep picking and economy picking techniques. Gambale graduated from GIT in Hollywood, with Student of the Year honors. He also taught there from 1984 to 1986. After graduation, he played the jazz club circuit with his own band and in 1985 released his first studio album, Brave New Guitar, through Legato Records (owned by Mark Varney, brother of Shrapnel Records founder Mike Varney) in what was to be a three-album contract. In that same year, he toured with Jean-Luc Ponty and shortly afterwards began a six-year stint with the Chick Corea Elektric Band in 1987. During his time with the latter, he has participated in five albums and shared a Grammy Award (with two nominations). In the 1980s, he released two studio albums and a live album. In 1988, he released Monster Licks & Speed Picking, the first of many instructional videos. An endorsement deal with Ibanez guitars resulted in the 1987 debut of the Frank Gambale Model (FGM) signature series, modeled after the Ibanez Saber. Yamaha also manufactured a signature guitar after he left Ibanez later in the 1990s. In 2011, he endorsed the Carvin FG1, a thin hollow body guitar made in the US. He signed with Victor Entertainment in 1989 as part of a five-album agreement, and released Thunder from Down Under the following year. The 1990s began for Gambale with a pair of albums—Truth in Shredding (1990) and Centrifugal Funk (1991)—as part of The Mark Varney Project. These were collaborations with fellow guitarists Allan Holdsworth, Brett Garsed and Shawn Lane, in a jazz fusion supergroup concept put together by Mark Varney. Around this time, he served as head of the guitar department of the Los Angeles Music Academy. In the 2000s, having parted ways with Victor, Gambale started his own record label named Wombat Records after purchasing his entire Legato discography with the intention of reissuing it himself. A live double album, Resident Alien – Live Bootlegs, was released in 2001, along with Imagery Suite; a duet featuring classical guitarist Maurizio Colonna. He also released a studio album, Coming to Your Senses, on guitarist Steve Vai's Favored Nations label in 2000. Gambale has also been a member of the jazz fusion band Vital Information since 1988, with the group consisting of keyboardist Tom Coster, drummer Steve Smith and bassist Baron Browne. Furthermore, in a group known as GHS, he has released three collaborative albums with Steve Smith and bassist Stu Hamm through Mike Varney's jazz-orientated label, Tone Center Records. In addition to concert recordings, he released an instructional DVD called Concert with Class in 2003. A reunion with Chick Corea came about in 2004, and Gambale subsequently toured with the Chick Corea Elektric Band. In 2006 and 2010, he released two all-jazz studio albums in the form of Natural High and Natural Selection, respectively.


Martone (Dave Martone)

Martone - A Demons Dream - 2002 - Lion Music

Dave Martone may not be well known outside of a small circle of guitar fanatics, but he should be. From the outset of this album it's clear that Martone (like many players) is heavily influenced by Joe Satriani both in technique (and the frequent use of Whammy Pedal) and arrangement. As you listen though, you'll hear several influences and a mastery of styles that aren't typically found on the same album. Dave often evokes the likes of Paul Gilbert in short bursts of speedy legato and John Petrucci's amazing alternate picking, but his arrangements employ a more experimental style favored by the ever enigmatic Buckethead. There are elements of jazz and blues fused with chunky metal and there's even a track which would sound right at home on Steve Stevens Flamenco a Go Go album. At times during my listening of this disc I even heard a touch of one of my new favorite players Johnny A. Demon's Dream is hard to categorize, but it's easy to listen to. Although it's clear that this guy has chops to spare, he never seems to be showing off for the sake of impressing guitar players, but rather he sticks to what benefits his song's structure. If you enjoy instrumental music, you should thoroughly enjoy this album. If you enjoy amazing guitar playing, there's absolutely no reason why this disc shouldn't be in your collection. – from ***** Unknown Guitar God, April 12, 2003 By & © "dirkdiggler13" (Des Moines, Iowa United States) © 1996-2013, Amazon.com, Inc. or its affiliates http://www.amazon.com/Demons-Dream-Dave-Martone/product-reviews/B00007GZKD/ref=cm_cr_dp_synop/187-3689352-0280042?ie=UTF8&showViewpoints=0&sortBy=bySubmissionDateDescending#R5DJAMJDB5HOQ

Mix the playing styles of guitarists like Wayne Krantz, Buckethead, Michael Landau, Frank Zappa, and Greg Howe together and you would be coming near to the sound and style of Dave Martone. Yet, this guy’s style is so eclectic and unique that he really can’t be compared to any modern guitarist. Dave blends country, metal, rock, blues, jazz, fusion, and rock together to produce an enthralling sound. The head of Liquid Note Records said that, "The CD is a feast of memorable tunes and stylistic flourishes cemented together with a superb production (produced, engineered and mixed by Dave, himself a former music engineer). One of the year's best instrumental guitar albums, A Demon's Dream contains everything from metal and country to blues, ethnic and techno." Dave is an exceptionally gifted guitarist. Charles Mingus’ “Goodbye Pork Pie Hat” is a good criterion on which to judge the technical ability of a guitarist, and Dave covers this track in great style. Dave has played, hosted clinics or performed with artists that include Steve Morse, Paul Gilbert, Yngwie Malmsteen, Marty Friedman, Greg Howe, Joe Satriani, Chester Thompson, Mike Portnoy, and Gregg Bissonette. Dave was credited on Joe Satriani’s “Super Colossal” album. Joe Satriani, Greg Howe, Jennifer Batten, Billy Sheehan and Rick Fierbracci were guest players on Dave’s “Clean” album. Check out http://davemartone.com/?page_id=19 for info on Dave Martone’s other work. “A Demons Dream” is HR by A.O.O.F.C. Try and listen to Dave Martone & Glen Drover’s “Live at Metalworks” album on the great Magna Carta label, and buy Dave Martone’s great “Clean” album and support real music. N:B: Dave Martone usually uses only his surname on his album sleeves, so he may be filed under D or M! [Tracks @ 230-267 Kbps: File size = 104 Mb]


1. Big Church 6:00
2. Do Da 3:12
3. What The Hell 6:50
4. Country Maniac 2:14
5. Demon Fetal Harvest 6:52
6. Got Da Blues 4:50
7. Attack Of The Celery Crunchers 4:46
8. Tone Of Darkness 4:22
9. Goodbye Pork Pie Hat 6:12
10. Code Red 4:05
11. Panamenco 5:12
12. A Demons Dream 1:21

All tracks composed by Dave Martone except Track 3 by Dave Martone & Daniel Adair, and track 9 by Charles Mingus


Dave Martone - Guitars, Bass, Programming
Dave Spidel - Bass on Tracks 1 & 7
Paul Martone - Keyboards
Daniel Adair - Drums, Percussion
Cassius Khan - Tablas
Nenah Barkley – Vocals


Dave Martone (born January 16, 1970) is a Canadian fusion guitarist and record producer, based out of Vancouver, British Columbia. Over his career, Martone has performed alongside artists including: Michael Angelo Batio, Jennifer Batten, Marty Friedman, Paul Gilbert, Greg Howe, Yngwie Malmsteen, Mike Portnoy, Chester Thompson, Joe Satriani and Billy Sheehan. Martone was born in Grimsby, Ontario. He began learning guitar at the age of 6. His father, who is also a guitarist, taught him Classical guitar and then had a teacher from Spain (Gary Santucci) teach him Classical and Flamenco. After taking lessons with Santucci, and discovering heavy metal music, he learned in his parent's basement with cassette tapes, guitar magazines, and self-instructions books. The first rock song he had learned by ear was "War Pigs" by Black Sabbath from their greatest hits record. He obtained a recording engineering diploma from Fanshawe College in Ontario in 1990, and graduated from the Berklee College of Music, in Boston, Massachusetts, where he studied with Jon Finn, Joe Stump, Jim Kelly and Bruce Bartlett, with a performance major in 1995. Popular guitar players who have inspired and influenced him to play guitar are Angus Young, Gary Moore,Tony MacAlpine,Tony Iommi and Edward Van Halen. Martone conducts clinics at Berklee, which he has been doing since his graduation. His solo project, Martone, which is composed of him, Daniel Adair and Dave Spidel, is signed to Magna Carta Records. Martone has worked for Tom Lee Music and the National Guitar Workshop as an instructor, and continues to instruct through clinics worldwide. He has been directing the Tom Lee Music School of Rock program in Vancouver since 2003, and has hosted the Satch Zone guitar instructional online lessons alongside Joe Satriani through Workshop Live. From 2001 to 2011, he was a bi-monthly columnist for guitar9.com, writing about production, recording, equipment, and playing techniques. Martone is endorsed by Cakewalk, Digitech, Electro-Voice, GHS, Parker Guitars and Vox. He also owns and operates Brainworks Studio, located in Vancouver.


Charlie Hunter Trio

Charlie Hunter Trio- Copperopolis - 2006 - Ropeadope Records

LIFE IS WHAT HAPPENS TO YOU WHILE YOU’RE BUSY MAKING OTHER PLANS.... and while CHARLIE HUNTER’S other plans have included other bands (most recently including GARAGE-A-TROIS & GROUNDRUTHER) other gigs (endless dates as a side-man, studio musician and colloborator) and other formations of his own band (from duo, to quartet to quintet) Charlie always fond himself going back to where it all began - the trio, which, after 15 years as a leader, has finally become his band, the one that’s gonna stick together, grow old together. Now together for over 5 years, having toured the world (and beyond) the CHARLIE HUNTER TRIO follows up 2003’s “FRIENDS SEEN and UNSEEN” with COPPEROPOLIS, same 3 guys, but different in one big way - IT ROCKS. Literally - “I was just feeling rocky I guess” says the band leader. And the addition of John Ellis’ playing both the wurlizer and melodica opened up a lot of space for Charlie to simply shred. This is the album fans (and Ropeadope) has been calling on for years. Pop it in, turn it up and rock it out. and you shall see. © http://www.charliehunter.com/discs/copperopolis.htm

Longtime Charlie Hunter associates John Ellis (reeds and keys) and drummer Derrek Phillips were soon to leave the fold after the recording of this session, but there is no sign of undue tension in this typically impressive set. The proceedings kick off with the hard rocking "Cueball Bobbin'...," where Ellis switches from keys to sax and back as Hunter rips into some of his hardest rocking riffs, weaving around the other instruments like a prizefighter taunting his opponent. If nothing else quite matches the driving intensity of that track, the rest is immensely enjoyable jazz-rock fusion that plays far more to the jazz side of that equation. The disc was recorded in New Orleans, which might account for the spooky second-line rhythm of "Swamba Redux," a taut concoction that features Ellis' melodica on the opening lines, followed by his impassioned tenor blowing. These three play together with a loose precision that's both slippery and rugged, finding a groove and riding it on material that slides through surprises and changes but never seems showy for the sake of it. The trio pushes into minor-key avant-garde territory on the opening of the title track, before settling into a dark bluesy shuffle somewhat like Miles Davis' work with John McLaughlin. When Ellis blows dirty sax against Hunter's growling tremolo guitar lines, the tune takes off to the stratosphere. It's one of the moments that, even at close to six minutes, fades out too soon. Co-producers Hunter and Chris Finney often isolate the guitar in one speaker and the sax in the other, which provides a live feel and a vivid tension between the two instruments. The portentously titled "A Street Fight Could Break Out" is a surprisingly jaunty side trip; its walking, finger-popping bassline provides some of the album's lighter moments. The closing take on Thelonious Monk's "Think of One," the album's sole cover, is transformed by more second-line drumming and an Ellis tenor solo that sizzles. Most impressive, though, is how the three members play off and respond to each other, with nobody, even Hunter, stealing the spotlight on a disc that keeps revealing new twists. If this is to be the final bow of this configuration, at least the bandmembers leave on top. © Hal Horowitz © 2013 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/copperopolis-mw0000345494

Charlie Hunter opens "Copperopolis" with 30 seconds of shapeless noise as a warm-up, a little pause for anticipation -- and then he gets rock'n'roll. Back in the trio setting after detours with his Garage A Trois and Groundtruther projects and numerous other band configurations, Hunter takes the sort of homecoming to lead John Ellis (keyboards, horns) and Derrek Phillips (drums) through nine tracks of head-nodding fun. Purists may have a hard time filing this under jazz, but it will be spectacularly accessible to the genre's casual visitors. "Cueball Bobbin'" gives up a nasty groove, "The Pursuit Package" efficiently showcases a swamp-rock riff and Ellis' melodica dances on "A Street Fight Could Break Out." Like his contemporaries in Soulive, Hunter's one of the best hopes for bringing this funk-spiced brand of expanded jazz to more ears. © Jeff Vrabel © 2013 Billboard. All Rights Reserved http://www.billboard.com/articles/news/59528/charlie-hunter-trio-copperopolis

A word of caution for those considering the latest offering by The Charlie Hunter Trio - if you prefer tidy three-minute, three-chord pop music, this isn't the album for you. Copperopolis is a nine-track, fifty-four-minute odyssey into jazz fusion, incorporating rock, funk, blues, and jazz elements in unique instrumentals. Copperopolis finds Hunter and cohorts Derrek Phillips and John Ellis focusing on the interaction between instruments and sounds - at times, using euphonious call and response; at others, intertwining melodic instruments (usually Hunter's electric 8-string and Ellis's saxophone) so that they become indistinguishable from one another. Copperopolis is a study in musical moods both rollicking and haunting, joyous and ominous. Copperopolis begins with the rousing jazz-funk boogie, "Cueball Bobbin" - a seven-minute instrumental with blues-inspired distorted guitar riffs, swinging keyboards, and tenor sax over an intricate rock rhythm. "Frontman," by contrast, is a mellow jazz ballad replete with tender, wailing guitar, moody keyboards, and echoing jazz drums - each instrument going on a seemingly separate, yet unified musical journey. "Swamba Redux" has a moseying funk rhythm that is at odds with Hunter's ominous reverberating guitar (which at times sounds like an electric organ, rather than an 8-string guitar) and Ellis's wailing, rather sinister, blues-inspired horn solos. Halfway through, drummer Phillips picks up the rhythm to add even greater contrast. The title track is a six-minute jazzy drum, saxophone and electric guitar ballad with a haunting intro and a menacing tone. Here, Hunter and Ellis engage in musical mimicry with guitar and saxophone, respectively - musically synchronized, at first; then, dueling for a while before allowing the structure to unravel and make way for two separate melodies. "Copperopolis" is easily the album's centerpiece, as well as its musical highlight. "Blue Sock" is a mellow jazz-blues song where once again Hunter and Ellis intertwine guitar and sax before offering complimentary musical adventures, while "The Pursuit Package" is a funky two-minute blues song with wailing guitar and a bass-heavy drum groove that changes pace continually, flourishes and fades out, before disintegrating into only Phillips's rock rhythm. Suddenly, "The Pursuit Package" gives way to "A Street Fight Could Break Out" - a mellow '70s-inspired blues-rock ballad that grooves along like a summer day. Copperopolis closes with two quite sonically disparate songs - the slow-moving, portentous odyssey "Drop The Rock" and the old school funk- and blues-infused "Think Of One." The latter features a jazzy dance rhythm and finds Hunter and company breaking for drum and sax solos as well as melding all instruments into a mellifluous whole as in other songs. Copperopolis is a hip musical journey - at times, baleful; at times, playful; always musically irresistible - that offers the best of jazz, funk, rock, and blues. © Tracy M. Rogers © http://www.hybridmagazine.com/reviews/0206/charliehunter.shtml

The great Rhode Island born guitarist grew up in the San Francisco Bay area playing orthodox six-string guitar. He took lessons from guitar virtuoso Joe Satriani when he was just fourteen. However Charlie had a keen interest in the complex playing of great guitarists like Joe Pass and Tuck Andress and decided he needed more than six strings on a guitar to bring his own jazz ideas to life. Charlie began playing a seven string guitar on which he could play unique and sophisticated lead guitar while playing bass lines simultaneously. Amazingly, in the mid-nineties, Charlie began using a custom built Novax eight-string guitar, creating and developing even more original music which few guitarists have been able to emulate. His playing is ingenious. You have to hear this guy playing to realise just how great a guitarist he is, and the futuristic innovation he has employed in his music. “Copperopolis” is highly complex and progressive jazz music mixing many music genres including rock, funk, folk, country and others. Don’t let the terms “complex” or “progressive” deter you from listening to this album, and jazz in general. This is extremely difficult music to play but very easy and enjoyable to listen to. Charlie wrote or co-wrote eight of the album’s nine tracks. He is backed by John Ellis on keys, sax, and clarinet and Derrek Phillips on drums. The album is HR by A.O.O.F.C. Listen to Charlie Hunter Trio’s outstanding “Friends Seen and Unseen” album [All tracks @ 320 Kbps: File size = 127 Mb]


1 Cueball Bobbin'... - Charlie Hunter 7:06
2 Frontman - Charlie Hunter 5:38
3 Swamba Redux - Charlie Hunter, John Ellis 6:21
4 Copperopolis - Charlie Hunter 5:51
5 Blue Sock - Charlie Hunter 8:07
6 The Pursuit Package - Charlie Hunter, Derrek Phillips 2:14
7 A Street Fight Could Break Out - Charlie Hunter 6:46
8 Drop The Rock - Charlie Hunter 6:24
9 Think Of One - Thelonious Monk 5:18


Charlie Hunter - 8-string Guitar
John Ellis - Wurlitzer Organ, Melodica, Tenor Saxophone, Bass Clarinet
Derrek Phillips - Drums


As a young guitarist growing up in the San Francisco Bay Area, Charlie Hunter was looking for a way to stand out in the '80s. His primary influences were jazz great Joe Pass and the fluid Tuck Andress (of the guitar/vocal duo Tuck & Patti), both six-string guitarists who were adept at blending bass notes into their standard guitar melodies to make themselves sound like two musicians at once. But Hunter wanted to take it one step further, and set out to find an instrument on which he could simultaneously function as both a guitarist and a bassist. For his self-titled 1993 debut CD, Hunter played a seven-string guitar for the duality effect, locking down the bottom with drummer Jay Lane and mixing melodically with saxophonist David Ellis. But on his trio's 1995 sophomore release, Bing, Bing, Bing!, Hunter unveiled his custom-made Novax eight-string, the guitar that finally allowed him to realize his capacity. Designed by Ralph Novak, the instrument featured special frets and separate
signals for its guitar and bass portions. Picking bass notes with his right thumb while fretting them with his left index finger (while at the same time fingerpicking guitar chords and single notes with his right hand's remaining four digits as he frets with his left hand's other three fingers), Hunter achieves the real sound of two-for-one. Hunter played with the side group T.J. Kirk in the mid-'90s, a band that derived their name from the cover material they exclusively played: Thelonious Monk, James Brown, and Rahsaan Roland Kirk. Initially wanting to call themselves James T. Kirk before being threatened by the Star Trek TV and film series, T.J. Kirk released a self-titled 1995 debut and the 1996 follow-up, If Four Was One, before disbanding. Hunter took drummer Scott Amendola with him for his next project, an ambitious instrumental remake of Bob Marley's Natty Dread album in its entirety. Also featuring saxophonists Kenny Brooks and Calder Spanier, the 1997 release beat the odds by becoming arguably Hunter's best album. After Spanier died from injuries sustained from being hit by a car, Hunter moved east to New York, taking Amendola with him. Teaming with vibraphonist Stefon Harris and percussionist John Santos, Charlie Hunter & Pound for Pound's 1998 CD Return of the Candyman is dedicated to Spanier. A departure from Natty Dread, mainly due to the work of Harris, the disc featured a vibes-heavy cover of Steve Miller's "Fly Like an Eagle." Hunter's modus operandi had now become shifting personnel changes, and in between tours he recorded a 1999 duo CD with drummer/percussionist Leon Parker and a self-titled 2000 CD that featured Parker and an otherwise ensemble cast. Hunter also contributed greatly to the 2000comeback CD by drummer Mike Clark, Actual Proof. Hunter concluded his run at Blue Note with 2001's Songs from the Analog Playground, which saw him collaborating with vocalists for the first time, ranging from labelmates Norah Jones and Kurt Elling to Mos Def. 2003 found Hunter with a new label (Ropeadope) and two new bands (the Charlie Hunter Quintet) on Right Now Move, and the beginning of Groundtruther, a partnership with percussionist/composer Bobby Previte. They released Come in Red Dog, This Is Tango Leader before adopting the Groundtruther moniker. For 2003's Friends Seen and Unseen, it was back to the Charlie Hunter Trio, with drummer Derrek Phillips and saxman John Ellis, both members of the Quintet. By now, Groundtruther had taken on a life of its own, with Hunter and Previte joined by a rotating third member. Latitude was first, in 2004 with saxophonist Greg Osby, followed by Longitude with DJ Logic in 2005. In 2006, the Charlie Hunter Trio resurfaced with Copperopolis and almost immediately announced that it was disbanding as Ellis wanted to further pursue a solo career. What to do? Form another trio! After recruiting Erik Deutsch on keys and Simon Lott on drums, they released Mistico in the summer of 2007, Hunter's first album for Fantasy. © Bill Meredith © 2013 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/charlie-hunter-mn0000806601/biography


Bedjabetch - Subrepticement - 1979 - AW Records

Bedjabetch, the French jazz rock/funk band led by bass player Branko Miljevic and guitarist Marcel Merino was a great, but short lived Canterbury style progressive jazz rock fusion band of the 1970’s. The band's one obscure album was released in a drab purple sleeve with plain white lettering, but never judge a book by it's cover! The music is often complex and powerful, but is very inventive with outstanding musicianship. The album contains some great fat funky arrangements with exceptionally good saxophone from Michel Olivieri and great distinctive guitar from Marcel Merino. Listen to Marcel's great grooving "Drame Sous Les Palmiers", but all the tracks are great. At times the sound is reminiscent of bands like Magma, Soft Machine, Isotope, National Health, Secret Oyster, Camel and others. In fact this one Bedjabetch release is far better than some of the albums released by the aforementioned bands. "Subrepticement" is regarded by many progressive jazz rock fans as one of the best albums of it's genre from the late '70's. The album is HR by A.O.O.F.C. It is possible to find a good deal of info on individual band members, but any info on the band as a unit would be greatly appreciated. [All tracks @ 320 Kbps: File size = 99.3 Mb]


1 Pieds D'Anchois 3:40
2 Dinosaures 5:30
3 Le Chateau De L'Elephant 4:20
4 Drame Sous Les Palmiers 6:58
5 Subrepticement 3:50
6 Boucle D'Or 15:50


Marcel Merino - Guitar
Branko Miljevic - Bass
Patricia Hue - Piano, Keyboards
Gilles Petri - Drums
Michel Olivieri - Alto, Soprano, & Tenor Saxophone, Flute


Greg Rapaport

Greg Rapaport - Wyrd - 2001 - Splinterhead Productions Inc.

Greg is a seven-string guitarist whose musical focus is a combination of instrumental progressive-metal and jazz-fusion. Currently living in Cortland, New York (Northern Westchester County), he writes and records his own material in his project studio. © 1996-2013, Amazon.com, Inc. or its affiliates http://www.amazon.com/Wyrd-Greg-Rapaport/dp/product-description/B000068ODQ/ref=dp_proddesc_0/184-5972484-4226027?ie=UTF8&n=5174&s=music

Full of great musical ideas and the technical skills to pull off the tricky twists and turns of his compositions. - Prognosis, 5/25/02

Greg has no problems taking jazzy chord progressions and soloing over them with ferocious, no-holds-barred metal/shred licks. - Dan McAvinchey , Guitar Nine Records, February, 2002

On "Wyrd" he most prominently displays his talent of mixing jazz and prog metal genres while at the same time using intense shred licks to provide his music with a sharp edge. Listen to the album opener, "11th Portal", for some very dense, multi-layered guitar work. "Mahdah" and "Bugjuice" are more straightforward jazzy tracks, with a clear guitar sound. "The Unconscience" is more groovy, quite excellent in fact. The album closer, "Darkmatter" is a more recognisable metal track. Greg Rapaport's limit is noticeable on the other half of the tracks. It is very difficult to write an album of instrumental guitar music, especially if the tracks are more than a few minutes long. Some of the themes get repeated a little too often, and not all of the tracks are equally memorable. Apart from that, my only minor gripe with "Wyrd" is that it could benefit a lot from a human drummer. “3 rating” © RK Written June 2002 © http://www.karsmakers.nl/metal-e-zine/gr_w.htm

From the ashes of his previous bands Nero and Spectrum, Greg Rapaport has set forth with his solo material in the form of nine instrumentals that more than adequately show his prowess on the guitar. "11th Portal," the first track, is reminiscent of Vinnie Moore's style and command of the guitar. The second track, "Madah," has a sort of prog-jazz sound that makes me realize what Steely Dan would sound like if they were shredders instead of mild urban jazz rockers. Rapaport's progressive influences are proudly displayed on "The Unconscience" when he zips through some ripping lead guitar lines over prog-like progressions. "Bugjuice" is a crisp number where the bass and drums play just as important a role in the song as the guitar. "Powderburn" ebbs and flows with heavy and quiet moments like a lot of songs out there these days in the instrumental realm, but it's Rapaport's sense of rhythm and timing that make this song stand out. The other four songs I haven't mentioned by name are as equally daring and interesting which is something that I can't say about a lot of bands or instrumental artists these days. Rapaport uses a seven-string guitar to really get a heavy, low sound on most of his tracks that emphasize funk rather than tried-and-true rock rhythms. Rapaport's lead and rhythm work are satisfying at all turns. I, for one, am very much looking forward to hearing more of Greg Rapaport's work. The rest of you who enjoy the work of Chris Poland, Confusion, Steve Vai, and Joe Satriani's heavier moments will all enjoy Greg Rapaport's impressive display of skills and songwriting chops. Greg Rapaport plays everything on "Wyrd" and produced the disc in his own home-studio. "Wyrd" has a bold, clear production that makes it a listening pleasure. For more information visit http://www.gregrapaport.com. Reviewed by & © Christopher J. Kelter © 2002 by R. Scott Bolton. All rights reserved. Revised: 13 Sep 2013 01:30:05 -0500. [Given a 3 guitar rating = “Killer. Not a classic but it will rock your world” http://www.roughedge.com/cdreviews/r/gregrapaport.htm

An instrumental album of progressive heavy-metal and jazz-rock fusion and funk on which New York prog.rock/fusion guitarist Greg Rapaport mixes jazzy chord progressions with a some savage metal phrasing but also some good melodic lines. This is not a groundbreaking album. Technically, the musicianship is good, but the material could have been developed better. Nevertheless, Greg composed all the music, played all the instruments (7 String Guitars, Bass, Keyboards, & Drum Programming), and also produced and engineered the album. He is a very talented musician, and credit where credit is due. This album has a lot of merit. Check out his "Artifacts" album [All tracks @ 320 Kbps: File size = 110 Mb]


1. 11th Portal 5:57
2. Mahdah 4:32
3. The Unconscience 6:19
4. Bugjuice 4:32
5. Trust 5:06
6. Diminished Returns 4:19
7. Powderburn 5:32
8. Silk 3:56
9. Dark Matter 4:36

Tansini (Marco Tansini)

Tansini - Blues Garage - 2011 - Tanzan Music

Marco Tansini was born in Codogno, a small town in the North of Italy. He started playing the guitar at the age of 12 and two years later he signed his first contract with Ricordi. This is the beginning of an important career. Marco has collaborated with artists from all over the world becoming one of the most renowned producers and songwriters in Italy. In the 80s and 90s he has realized more then 70 albums, he took part in the producer role to festivals like Festivalbar, San Remo and Saint Vincent. Some of his tracks have been in the top charts. He founded together with the band Pooh the recording studio at Catsello di Carimate where a lot of top selling albums have been released (Laura Pausini, Eros Ramazzotti, Paul Young and many others). As a guitar player Marco has his roots in blues music but his musical phrasing is enriched by his experience in jazz and rock music. His best musical qualities are the refined touch and the constant attention to melody. He alternates sweet and emotional solutions with pure "rock and roll" blazes. His first solo album, "American places" has been released by Azzurra Music / Tanzan Music in 2002. © http://www.cdbaby.com/cd/marcotansini

Believe me, if I could give this 100 stars instead of 5, I would. Tansini, where have you been all my life? I am in love. Blues Garage has got to be one of the (if not THE) best instrumental albums out there. Every single track will transport the listener into pure heaven. His guitar sings, weeps, and rejoices like nobody's business, and the background of organ and drums is fabulous. I can't stop playing this CD and every play gets even better (how can that be??). Oh yes, hear me yell, "Saints alive! And the saint is playing!" If you love superb guitar playing, and you love blues instrumentals that will dig into your soul, this will knock your socks off. Whew, guaranteed. - ***** Saints Alive!, May 14, 2012 By & © JennyD (USA) © 1996-2013, Amazon.com, Inc. or its affiliates http://www.amazon.com/Blues-Garage/product-reviews/B006OI52EG/ref=dp_top_cm_cr_acr_txt?ie=UTF8&showViewpoints=1
"An enjoyable album and one that is an essential purchase for any self respecting guitar fans". - Get Ready To Rock - UK

"With this album Tansini gives us his personal interpretation of the different genres of blues, a journey of invaluable quality". - Keys and chords – NL

This guitarist from Northern Italy has released his second album chock full of interesting instrumentals, all derived from blues in some manner. His song titles are all colors and reflect various shades of the blues including rock, jazz, and beyond. The record started simply enough, but there is a nice subtle melodicism to his playing and his writing that pulled me in. I hear so much of this material, that I often treat it as background music. Yet Tansini has a certain skill to present very simple elegant music and commandeer a listener’s attention. Nicely done! © David Hintz © The Mollis - Editors of FolkWorld http://www.folkworld.de/47/e/cds6.html

If you like blues, you're sure to like the material. The reviews editor wasn't necessarily aware of this, but while I don't mind blues music, what I'm not really a fan of is instrumental albums. The odd instrumental included on an otherwise vocal album is fine. But ten songs of nothing but music? Unlikely to be my thing. Nevertheless, a review assignment is a review assignment, so I was quite prepared to give Italian guitarist Marco Tansini a chance, with this, his second album. As soon as the opening number started, I became very aware that not only was this a fully fledged blues album, it was also superbly produced and played with real skill and conviction. Fronting a four-piece band of drums, bass, Hammond and his own guitar, Marco and his album take you on a journey of well crafted, but ultimately less than memorable blues tunes. All are performed to a very high quality, but I had a problem identifying each track readily - a problem caused by the lack of a lyric or vocal and compounded by the fact that each song, with the exception of the title track, is simply named after a colour. Yes, we have 'Brown', 'Yellow' and 'Green', not forgetting 'White' and naturally 'Black'. The press release claims it is because the album is "a journey into the blues and all of it's shades", but I just found it hard to figure out where I was. For instance, the lively number with the great bass line and the little bit of rock riffing in the break became my favourite, but I had to skip back and count the tracks to figure out it was 'Orange'. That problem aside, I'm a bit confused about how to sum up the album. Is the music on it good? Undoubtedly. Did I like it? Yes, I suppose I did. Would I buy it? Probably not, because I found it was best heard while I was working - it's a brilliant background music album in my view, but I don't go out of my way to buy albums for background noise. It would be superb on the soundtrack for a film set in a bar, like the Patrick Swayze film 'Roadhouse' - but they had the Jeff Healey band instead. I can't fault Marco's work here, but I can't say I was inspired to urge others to get a copy. If you like blues, you're sure to like the material, but it's blues in the blues style, so you can already make a fair guess of what it sounds like. Whether you want ten instrumental blues songs from Marco is your call, not mine. © James Gaden © 2009 - 2013 Dragon Data Ltd. - All Rights Reserved. http://www.rocktopia.co.uk/index.php?option=com_content&view=article&id=2284:marco-tansini-blues-garage&catid=910:cd-reviews&Itemid=53

A really talented guitarist who interprets the blues beautifully. This album has received mixed reviews. Some critics have labelled it good “background” music. Others have criticised the song titles. The tracks are all named after a colour, which is unusual for a blues album and has possibly confused some music critics. The music critic in the article above says that, “If you like blues, you're sure to like the material, but it's blues in the blues style, so you can already make a fair guess of what it sounds like”. I’m still trying to figure that sentence out! The album is simply an instrumental collection of eight beautifully played tracks all influenced by various blues genres. You don’t need to be a blues lover to enjoy this kind of music. Try and listen to Marco’s “"American Places" album. [All tracks @ 320 Kbps: File size = 116 Mb]


1 Brown 4:29
2 Cherry 4:01
3 Blues Garage 4:40
4 Orange 4:56
5 Green 4:56
6 Yellow 4:47
7 Amber 4:19
8 Purple 4:50
9 White 4:14
10 Black 6:24

All tracks composed by Marco Tansini


Marco Tansini - Guitar
Gianni Grecchi - Bass
Paolo "Apollo" Negri - Hammond Organ
Paolo Botteschi - Drums


Adam Nitti

Adam Nitti - Liminal - 2009 - Renaissance Man Records

Adam Nitti has been establishing himself as both a bass-wielding frontman and contemporary jazz artist for well over a decade. Having also performed and recorded with a diverse collection of artists, including the Dave Weckl Band, Steven Curtis Chapman, Mike Stern, Peter Erskine, Phil Keaggy, Susan Tedeschi, Scott Henderson, Wayne Krantz, Casting Crowns, and Heather Headley, he has likewise earned his reputation as a distinguished studio bassist and sideman newly based out of Nashville, TN. A passion to inspire excellence in musicianship led Adam into co-founding www.MusicDojo.com, the first-ever interactive online music school. Adam is a tireless educator and touring clinician and is also a regular columnist for both Bass Player Magazine and Bass Musician Magazine. He has been featured in hundreds of music publications around the world and continues to bring unique voice and perspective to the bass playing community. Adam has 3 prior releases on his own Renaissance Man Records label. He currently celebrates the release of his 4th, entitled, "Liminal." © Facebook 2013 https://www.facebook.com/adamnittimusic/info

Adam Nitti has always played the bass with a lot of energy. His performance on Liminal, his latest CD release, is no exception. Surrounding himself with a first-rate band, including Mike Whittaker on keyboards, Shane Theriot on guitar, Marcus Finnie on drums and Jeff Coffin on tenor sax, Nitti’s newest effort is outstanding on many levels. First off is the fact that Nitti not only produced the album, but also composed and arranged all the tunes, which he performs using a combination of 5- and 6-string basses. Careful not to make Liminal “just another bass record,” Adam takes an unselfish approach, giving plenty of room to the other band members to stretch out, treating everyone with equal importance. (Don’t worry, bass enthusiasts – there is still plenty of stellar bass playing, including slapping, tapping and other techniques that can be executed by no one other than Adam Nitti.) The album opens with “The Renaissance Man/Rebirth,” reminiscent of the Return to Forever style, ably performed with Marco Sfogli on guitar and Marco Minnemann on drums. “Distraction” has a melody that’s funky and edgy, featuring Sfogli on guitar, Finnie on drums and Alex Argento on keyboards. “Liminal,” the title tune, is played in a strong slap “lead bass” style with a catchy, singable melody. The bass solo, while flashy, is played with a pristine “clean-ness” for which Nitti is known. “Redemption Street” is given just the right flavor by Coffin on tenor sax and Johnny Neel on Hammond B-3 organ, creating a gospel-like aura. “The Seven Year Swing” is a feel-good funk number, showing off Adam’s outstanding, crisp slapping chops. Again, the band is given plenty of space. “The Last Walk Home” (Nakita’s song) features Nitti on unaccompanied 5-string bass. In this short piece (less than two minutes), Adam demonstrates his beautiful melodic and chordal style with that precision for which he is known. “Not Forsaken” is primarily a 6-string bass feature with programmed drum loops, on which Adam is accompanied by Phil Keaggy on acoustic and electric guitars and Steve Cunningham on Lap Steel Guitar. “The Good Foot” is an easy slap groove with tenor sax and the Hammond B-3 organ. “Il Cuore Del Campione” has a ’70s fusion feel with a busy Jaco-esque bass line. The CD closes with “Vivere l’Aperitivo,” which is just over four and-a-half minutes of truly outstanding unaccompanied bass playing. Throughout this piece, Nitti grooves, plays melodies and chords, providing dazzling displays of what can be done with the bass! Liminal is cohesive, yet also contains plenty of variety, always keeping the listener engaged. The compositions are strong, the arrangements are well written and the performance is great throughout. Making the CD even more enjoyable is the crystal clear production and overall sound quality. Adam Nitti, already firmly established in the bass community, is still quite young, which makes one wonder what we can expect from him as his career continues to develop. If Liminal is any indication of how his talents and artistry are unfolding, there’s good news ahead for music lovers in general and bass lovers in particular. © Jon Liebman © 2009-2012 Liebman Media http://www.forbassplayersonly.com/Reviews/Adam-Nitti-Liminal.html

“Liminal, my latest album, was just released this year. Those who are familiar with my earlier works will notice an even deeper emphasis on composition and groove, reflecting my growth and influences as a writer and player over the last seven years. There is a good bit of compositional variety, yet at the same time there is a cohesiveness to the theme of the album. There are a few “barnburner” tunes on it, but for the most part listeners will hear that this is much more of a groove-centered record, compared to my past releases. As with my last album, Evidence, I didn't want Liminal to come across as a "bass player's record." The songs are more centered around ensemble performances, as opposed to just a landscape to feature my bass playing. What I love about the final result is that, to me, it comes across like a band record through and through, with room for all of the musicians to shine and bring the music to life. As the writer and producer, I provided the framework for each composition, but I depended on the players to dynamically interpret and shape the music. I really wanted Liminal to be a record that music lovers and musicians alike would listen to for enjoyment and inspiration, not just for a generous helping of riffs and licks. Liminal is also sonically my best album to date. We made every effort not to cut any corners during the recording process and it really paid off once we reached the mixing and mastering stages of production”. © Adam Nitti © 2009-2013 Liebman Media, LLC

If you like jazz or fusion style jams then this album is perfect for you. Adam takes a melodic approach to his bass guitar and it makes for a great driving beat that reveals something new every time you listen! – from ***** Adam is a mad scientist October 21, 2012 by & © James C. © 1996-2013, Amazon.com, Inc. or its affiliates http://www.amazon.com/Liminal-Adam-Nitti/dp/B0026UZEYE/ref=sr_1_3?s=music&ie=UTF8&qid=1379802357&sr=1-3

An inspirational instrumental album with superb musicianship from post-fusion bass powerhouse Adam Nitti showcasing a diverse set of compositions which blend funk, jazz, fusion and blues. Adam is joined by some great artists that including Marco Minnemann, Shane Theriot, and Johnny Neel. The album is HR by A.O.O.F.C. Listen to Adam’s “Balance” album and buy his “Liquid Blue” album. Support real music [All tracks @ 320 Kbps: File size = 120 Mb]


1. The Renaissance Man/Rebirth 6:45
2. Distraction 6:39
3. Liminal 6:25
4. Redemption Street 9:02
5. The Seven Year Swing 6:46
6. The Last Walk Home 1:47
7. Not Forsaken 6:03
8. The Good Foot 6:52
9. Il Cuore Del Campione 7:35
10. Vivere l’Aperitivo 4:35

All tracks composed by Adam Nitti


Shane Theriot, Phil Keaggy, Tom Quayle, Marco Sfogli - Guitar
Steve Cunningham - Lap Steel Guitar
Adam Nitti - Bass
Alex Argento, Mike Whittaker - Keyboards
Johnny Neel - Hammond B-3
Marco Minnemann, Doug Belote, Marcus Finnie - Drums
Jeff Coffin - Tenor Saxophone