A.O.O.F.C
recommends
Mizar6

babydancing




Get this crazy baby off my head!

30.6.13

Alex Argento


Alex Argento - Ego - 2007 - Self Produced

Alex Argento, for those of you who don't know, is an Italian keyboardist and composer. In recent years, he has worked with many of the most talented musicians in the world ranging from Virgil Donati and Simon Philips to Marco Sfolgi and the Citriniti brothers. In 2007 Alex released his first solo fusion album titled Ego and once again surrounded himself with some of the best players in the business. Ego consists of Marco Sfolgi (James Labrie) on guitar and Stefano Ruscica on drums. Guest guitar soloists include Fabrizio Leo, Alessandro Benvenuti, Vittorio Falanga with John Reshard and Andrea Casali handling bass duties on a few tracks. Every so often an album crosses my path that grabs a hold of me and doesn't let go. Put simply, this is just that album. Ego seamlessly encompasses the funky grooves of Greg Howe, the jazzy chord changes of Tribal Tech and the heavy backdrop and meter shifts of Planet X to create something that exists within its own niche of the fusion world. Everything that drove me to appreciate this type of music is here and in great form. The songs on Ego can be placed into roughly two categories using the above influences as a reference; the heavier, Planet X like songs and the slightly mellower and groovy Frank Gambale and Tribal Tech based songs. This makes for really good balance as opposed to just sticking to one style over the other. As a musician, I have grown rather tired of listening to other musicians create music with no feeling that reflects nothing more than how fast or how complex they can play. Not that there is anything wrong with this but, I have found that I almost always go back to the music that ventures into organic, not mechanical, complexity. Ego is the perfect example of complex music with purpose. Every meter shift and chord change is there for a reason. Nothing is out of place or forced on here. Though there is a lot of improvisation by Marco and Alex, what is best for the song is always kept in mind. It's very difficult to describe music with words and this is no exception. All I can emphasize is that Ego is modern fusion at its best. If you have any interest at all in this genre or the groups mentioned before than don't pass this up. This is one of the best albums I have heard all year and it just keeps getting better with each listen. Highly recommended! Conclusion: 9.5 out of 10 © CHRIS JACKSON © 1995 - 2013 : Dutch Progressive Rock Page http://www.dprp.net/reviews/200760.php#argento

Ten incredibly played instrumental tunes ranging from keyboard wizard Alex Argento. The tracks range from metal prog to fusion and jazz with many other influences. Artists playing on this album include guitarist Fabrizio Leo and bassist Jon Reshard. The arrangements, songs and musicianship is outstanding. If you like Tribal Tech, Planet X and music in that genre you may enjoy this album which is HR by A.O.O.F.C. [All tracks @ 256 Kbps: File size = 114 Mb]

TRACKS

1 Moving Around "E" 5:50
2 Brainsick 6:30
3 Synchronal Steps 5:32
4 Mr. Shuffle's Land 8:25
5 Metal Detector 4:50
6 Embrace The World 7:05
7 Genius 4:39
8 Time Warnings 6:44
9 Vibrations 5:08
10 Groovus in Fabula 7:33

All songs composed by Alex Argento except “Metal Detector” by Alex Argento & Stefano Ruscica, and “Genius” by Alex Argento & Marco Sfogli

MUSICIANS

Marco Sfogli - Guitars
Fabrizio Leo, Alessandro Benvenuti, Vittorio Falanga - Guitars [Guests]
Jon Reshard, Andrea Casali - Bass [Guests]
Alex Argento - Keyboards
Stefano Ruscica - Drums
Ezio Citelli - Vocals (Humming) [Guest]

SHORT BIO

Alex Argento is a rock/fusion keyboard player / composer based in Sicily, Italy. He started to play keyboards really late (when he was16). From 1994 to 2003 he performed a lot with several cover bands in his country as session player, covering different musical styles. His playing was most influenced by prog and fusion music like: Chick Corea, Pat Metheny, Alain Caron, Tribal Tech, Allan Holdswoth. This music helped him to develope his improvisational skills over chord changes. He also had the chance to play in different musical projects, as guest musician, together with some of the best musicians of the music industry like: Virgil Donati, Simon Philips, Greg Bissonette and so on. On May 1 (2007), he released his first instrumental solo album entitled "EGO" (prog fusion), together with Marco Sfogli (from James Labrie's bands) on guitars and Stefano Ruscica on drums. The album features also some guest appearances by great musicians like: Alessandro Benvenuti (guitars / solo artist), Fabrizio Leo (guitars / Shrapnel's artist), Jon Reshard (bass / Greg Howe's band). His continue research to explore new musical teritories brings him to costantly develop his phrasing, his tecnique but first of all his neverending passion for music in every direction. © Mat Hausen © Prog Archives, All rights reserved. http://www.progarchives.com/artist.asp?id=3016

Dean Brown


Dean Brown - Here - 2000 - ESC

Session guitar whiz Dean Brown steps out with his solo debut, a set of tightly played, nicely recorded jazz-funk fusion tunes. Brown's guitar work is undeniably tasty -- drawing equally, it seems, from Jimi Hendrix and Larry Carlton. For support he drafts the biggest of the big names: Michael and Randy Brecker, David Sanborn, Billy Cobham, Marcus Miller, George Duke, Christian McBride, and quite a few others. Brown's original music at times lapses into cliché, particularly on the soft jazz throwaway "Believe Me." The vocal cut "Tell It (Like It Is)" and the Beatles cover "Baby You're a Rich Man" also don't add up to much. But the album has its high points: the rocking 6/8 assault of "Solid"; the churning, laid-back syncopation of "The Clave Groove"; and Marcus Miller's fretless bass work on "Gemini." © David R. Adler © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/here-mw0000010799

With "Here", fusion fans are introduced to guitarist Dean Brown, an extremely gifted and versatile player that has released his first solo CD through Germany's ESC Records. Brown can claim mastery of a wide variety of styles (he's worked as a sideman for years), but always approaches his music with soul and, at times, controlled fury. "Here" also features an incredible array of guest musicians, including George Duke, Billy Cobham, Bill Evans, Marcus Miller, Michael Brecker, just to name a few. Dean Brown will certainly make his mark in the world of fusion guitar, as he delivers music with punch, energy and integrity. Highlights include the opener "Take This!" and the ending track, a tribute to Jaco Pastroius, that is simply great. © 1996-2013 Guitar Nine All Rights Reserved http://www.guitar9.com/here.html

Good jazz funk/fusion album from one of today’s most in-demand session players. Twelve of the album’s fourteen tracks are instrumental. Vocals are included in Tracks 5 and 11. There are a couple of mediocre “smooth” jazz tracks, but overall a very strong album from an extremely talented guitarist and songwriter. Artists playing on this album include Marcus Miller, Christian McBride, Billy Cobham, Bill Evans, David Sanborn, and Michael & Randy Brecker. Listen to Dean’s great “Groove Warrior” album [All tracks @ 320 Kbps: File size = 155 Mb]

TRACKS

1 Take This! 6:31
2 Gemini 5:42
3 Back In The Day 4:57
4 Seven Groove Interlude 00:25
5 Tell It (Like It Is) 6:37
6 Big Foot 6:13
7 The Clave Groove 5:35
8 Billy Groove Interlude 00:31
9 Believe Me 6:01
10 Solid 6:05
11 Baby You're A Rich Man 4:37
12 Just For Kicks 4:48
13 Seven Groove Interlude (2) 00:36
14 The Battle's Over (For Jaco) 9:22

COMPOSERS

Track 1 composed by Dean Brown, Michael Bland, Randy Brecker, Bill Evans, Richard Patterson, Ricky Peterson: Tracks 2,3,4,6,7,9,12,13,14 by Dean Brown: Track 5 by Dean Brown, Jerry Barnes, Katreese Barnes: Track 8 by Dean Brown, Billy Cobham: Track 10 by Dean Brown, Gerry Etkins: Track 11 by John Lennon, Paul McCartney

MUSICIANS

Dean Brown - Electric & Acoustic Guitars, Synth-Guitar, Parker Fly Guitar, Additional Electric Bass, Additional Keyboards, Horn Arrangements, Vocals, Background Vocals
Richard Patterson, Schuyler Deale - Electric Bass
Marcus Miller - Fretless Bass, Electric Bass Melody
Christian McBride, James Genus - Acoustic Bass
George Duke, Gerry Etkins, Bernard Wright - Keyboards
Deron Johnson - Fender Rhodes, Hammond B3
Ricky Peterson - Hammond B3
George Whitty - Grand Piano
Billy Cobham, Michael Bland, JuJu House, Rocky Bryant - Drums
Danny Sadownick - Percussion, Congas, Clave
Don Alias - Congas, Batas, Shakers, Bells, Clave
Bill Evans - Saxes, Tenor Sax, Arrangement of Sax Section on "Take This!"
Michael Brecker - Tenor Sax
David Sanborn, Andy Snitzer - Alto Sax
Randy Brecker, Tony Kadleck - Trumpet
Michael Davis - Trombone
Jason Miles - Synth Effects, Loop Design, Programming
Katreese Barnes, Jerry Barnes – Vocals

BIO (WIKI)

Dean Brown (born August 19, 1955) is an American jazz fusion guitarist and session musician. Dean Brown graduated from Berklee College of Music in 1977. During that time in Boston he performed with his own groups as well as Tiger's Baku, replacing Mike Stern in that group before moving to New York around 1980. Since 1982 Brown has recorded and/or toured worldwide with artists Marcus Miller, David Sanborn, Eric Clapton, Billy Cobham, The Brecker Brothers, Roberta Flack, Bob James, Joe Zawinul, George Duke, Victor Bailey, Bill Evans, Steve Smith's Vital Information as well as with his own projects. Brown's guitar work can be heard on over 100 albums including four Grammy Award winners. Records such as The Brecker Brothers' "Return of the Brecker Brothers" and "Out of the Loop", Marcus Miller's "The Sun Don't Lie", Billy Cobham's "Warning", and Joe Zawinul's "Faces and Places" are just a few out of the long list. His live performances include DVDs with Marcus Miller, Billy Cobham, Gil Evans, David Sanborn and Friends, Louie Belson, Bob James, and Steve Smith's Vital Information. Brown has his original compositions and arrangements featured on albums for Les McCann, Dennis Chambers, Ricky Peterson, Steve Smith's Vital Information, and Billy Cobham among others. Brown has produced four solo CDs. His first titled "Here"(2001) on ESC records, is his all-star debut CD featuring jazz greats Michael Brecker, Marcus Miller, David Sanborn, Billy Cobham, George Duke, Randy Brecker, Christian McBride, Don Alias, Bill Evans, Bernard Wright and many others. His second record "Groove Warrior" (2004) on ESC records, features another all-star lineup with Lalah Hathaway, Marcus Miller, Bernard Wright, JuJu House, Poogie Bell, Schuyler Deale, Booker King, and Patches Stewart, just to name a few. His third "DBIII" (2009) on the BHM label features an all-star power trio with musical greats Dennis Chambers and Will Lee. And his fourth CD "Unfinished Business"(2012) featuring yet another all-star cast of musicians with Marvin "Smitty" Smith, Kirk Whalum, Dennis Chambers, Jimmy Earl, Gerry Etkins and Hadrien Feraud among others. As an educator Dean has also released an instructional/live DVD with Hal Leonard for Musicians Institute titled "Modern Techniques for the Electric Guitarist"(2008) and has had several articles in Guitar Player and Guitar World magazines. Dean Brown and Runfly Studios have developed and released an iPhone/iPad app called "Pickup Tunes". "The idea was to base a game on the ear training techniques that I use in teaching. We developed it to look and feel more like a game than an academic exercise." says Dean. Dean conducts clinics all over the world and teaches several classes of his own curriculum at the Musicians Institute in Hollywood. Brown continues to tour and sell out venues all over the world with his own all-star groups and recently returned to Japan for the third year with his trio DB III which has featured Billy Cobham, Dennis Chambers and Will Lee. He has artist endorsements with Roland, Parker and Fender guitars, as well as DV Mark, Paco Cases, Peavey and Fender amplifiers and Xotic effects.

Barry Miles & Co. ‎


Barry Miles & Co.- Sky Train - 1977 - RCA

An album I just never get tired of since I first got it in 1977 (oh my! I'm old!). Incredible musicianship: this is one REALLY tight band. The album starts off at full tilt and alternates between extremely high energy and relaxing cuts, which, frankly, is necessary because I have a tendency not to breathe during music of this intensity. It's a full band, with keyboards, guitar, sax, drums, and a powerhouse brass section. Oh yes, and putting on my audiophile jerk hat, this is a very good recording. The keyboards and guitar are real. The brass is powerful. There is plenty of tight, controlled bass. Etc. It's not a super high tech recording where the recording quality is more important than the music (oops! Jaded attitude alert), but it's certainly good enough. It can be enjoyed at proper volumes without harshness. It's a great album. If you're a fusion fan, this should be in your collection, although it sets the bar very high. Somebody commented on the previous review that he saw this performed live: I cannot tell you how jealous I am! - ***** Awesome Fusion Jazz Album By & © MightyFavog August 29, 2011 © 1996-2013, Amazon.com, Inc. or its affiliates

Great jazz funk/fusion album from the brilliant fusion- jazz keyboardist Barry Miles who has worked with many of the top fusion musicians, including Al Di Meola & Miles Davis. Over the years, he has issued a handful of solo albums most of which are still unavailable on CD. “Sky Train” features among others, Eric Kloss, Anthony Jackson & Randy Brecker. The album also features the 20 minute epic "Cityscape" (The Fusion Suite). Read an interview with Barry Miles @ http://www.thebottomend.co.uk/Barry_Miles_artists.php and listen to his “White Heat” album regarded by many as one of the pioneering "fusion" jazz recordings of all time [All tracks @ 320 Kbps: File size = 113 Mb]

TRACKS

1 Sky Train 3:59
2 Old Man Jack 4:35
3 Relay 5:10
4 This Is Our Night 4:20
5 Big A 6:53
6 A Waltz For You 5:28
7 Cityscape (The Fusion Suite) 19:26

All tracks composed by Barry Miles

MUSICIANS

Vic Juris - Guitar
Jeffrey Mironov - Guitar on “Old Man Jack”
Anthony Jackson - Electric Bass
Eddie Gomez - Acoustic Bass on “A Waltz For You”
Barry Miles – Mini Moog Synthesizer, Electric & Acoustic Piano, Clavinet, String Ensemble
Terry Silverlight - Drums
Rubens Bassini, Erroll “Crusher” Bennett - Percussion
Eric Kloss - Alto Sax
Randy Brecker, Tom Harrell, Joe Shepley, Burt Collins - Trumpet
Sam Burtis, Tony Studd, Tom Malone, David Taylor - Trombone
Tony Price - Tuba
Jim Buffington, Brooks Tillotson - French Horn

BIO

"I guess it all started the day I was born in 1947", muses composer, arranger, and keyboard wizard, Barry Miles. "The doctor was a serious jazz buff and he was playing a Benny Goodman record while he was delivering me. My parents have always been into music and when I was just a toddler, my father who owned a record store, would bring home be-bop records of Charlie Parker and Dizzy Gillespie which I would play incessantly on my little 78 phonograph. When I was four I started taking piano lessons from my uncle and when I was seven I started drum lessons. My father noticed my early musical ability and took me to sit in with some great musicians who were passing through town." One of the musicians who heard Barry was Woody Herman and through his association with Woody, Barry performed on some major TV shows and concerts which led to his early membership in the musician's union at age nine. In his pre-teen years, he got the opportunity to perform with some of the greatest jazz legends including Lester Young, Billie Holiday, Roy Eldridge, Buck Clayton, Coleman Hawkins, and John Coltrane. "I remember playing a concert in Newark, N.J. with then 19 year old Wayne Shorter and in a darkened backstage area I heard a gruff voice behind me say 'you sound good, kid'. I turned around and discovered it was Miles Davis!" In the early 60's, throughout high-school, Barry continued his musical studies: Harmony and Theory with Dika Newlin who herself had been a student of composer, Arnold Schoenberg, classical piano with Olga Von Till, who had studied with Bela Bartok. (Olga, at the time, was also teaching famed jazz pianist, Bill Evans who had gone a decade earlier to the same high-school as Barry). Barry simultaneously was studying jazz piano with acclaimed teacher John Mehegan and during the summers went up to the Eastman School of Music to study arranging and orchestration with Ray Wright, Manny Albam, and Fred Karlin. Along with school and private study, Barry maintained his own band which performed concerts and TV. He played a State Department tour of Europe and recorded and composed all the music for his first album, "Miles of Genius" on Charlie Parker-MGM Records (1961). Many great young musicians were introduced to the public in Barry's group in the 60's, including Woody Shaw, Eddie Gomez, Richard Davis, and Ron Carter. By the mid-60's, Barry came to the conclusion that "because of the developments in mass communication, people have the opportunity to hear music from all over the world and the result will be the fusion of many diverse elements into various new styles". The outcome of this concept was the recording of Barry's "Syncretic Compositions" (1966) featuring Lew Soloff, Robin Kenyatta, Walter Booker, and Don Perullo, and it's probably the first "fusion" album in an acoustic setting containing elements of jazz, classical, rock, and Eastern music. It was recorded at a live concert at Princeton University which Barry graduated from in 1969. While at Princeton, Barry studied electronic music and experimented with the early versions of the sophisticated synthesizers available today. Upon graduation, Barry recorded an album for Poppy- RCA Records and through the 70's continued to pioneer his fusion concept by recording seven more albums and touring all over the world with his quartet, Barry Miles & Silverlight. Many more great musicians were introduced through his band and recordings including Al Di Meola, Vic Juris, Pat Martino, John Abercrombie, Eric Kloss, Lew Tabackin, and Barry's brother, Terry Silverlight. In between engagements, Barry did studio work playing on hundreds of pop, R&B, and jazz recordings.Between 1980 and 1994, Barry was the musical director for Roberta Flack and through Roberta he composed and arranged music for the Richard Pryor movie, "Bustin' Loose" as well as contributing as a producer/composer/arranger/performer on a number of her albums. In the early '90's, Barry renewed a long association with Al Di Meola by performing with the Al Di Meola Project and collaborating in the production, arranging, and writing of Al's "Kiss My Axe" album. Throughout the '90's to the present, Barry has composed music for several hundred national and international TV and radio commercials along with numerous Miramax movie trailers. More recently, he performed and arranged with Roberta Flack on the "Songs From the Neighborhood" album, which won the 2006 Grammy for best children's album, and is currently producing and arranging on a new album of Beatles songs for her. Once again, Barry has collaborated with Al Di Meola on his highly acclaimed albums, "The Consequences of Chaos" (2006), and "In Pursuit of Radical Rhapsody" (2011). Barry is proud to have performed and assisted on Terry Silverlight's albums, "Diamond In The Riff" (2008) and "In Concert" (2011). © http://www.terrysilverlight.com/BarryMilesBio.pdf © http://www.terrysilverlight.com/BarryMiles.html

28.6.13

Toni Price


Toni Price - Midnight Pumpkin - 2001 - Antone’s Records

As a blues and R&B singer, Toni Price has no peers. Only Bonnie Raitt and Sue Foley -- both guitar players of considerable merit -- can approach the emotion Price can dig from a song, and of the two only Raitt has the same confidence with the material. Here, she is surrounded by her stalwart band and a host of friends who make up the elite studio crew of Austin, TX, including fiddler Champ Hood; guitarists Derek O'Brien, Scrappy Jud Newcomb, and Casper Rawls; bassist Frosty Smith; drummer Michael Duffy; David Grissom; and string king James Burton; as well as Tommy Shannon from Double Trouble and Jon Dee Graham. There are percussionists and a horn section and the whole damn thing shimmers with grace. Price delivers her songs without the reaching wail of her earlier records because she doesn't need to; she's a more nuanced vocalist, allowing the song to dictate to her what it needs. And what a collection of songs! There's the stomping bluegrass of Shelley King's "Call of My Heart," the smoky, tender artistry of Gwil Owen's "Something in the Water," the bluesy soul of "Work on It" and "Start of Something Good," and the Okie blues of J.J. Cale's "Like You Used To." Price also digs into her considerable early swing chops on the standard "Right Kind of Man," and duets with Malford Milligan on what should now be the watermark for Joe Tex's "I Want to Do Everything for You"; its original raw soul and barely restrained heat smolders between the singers. As if that weren't enough, there's a gospel quartet version of the late Blaze Foley's "Darlin'" and Gwil Owen and David Olney's swampy R&B torch stomp "Measure for Measure." From a lesser singer, this record would be a mess, a hodgepodge of rootless styles and wasted ambition. But in the heart and voice of Price -- via the production aesthetic of O'Brien and herself -- these songs all segue into one another, dovetailing seamlessly into a portrait of original raw soul. Lyrics and harmonies drip from Price's honeyed mouth like fine whiskey and cut a silhouette of her profile in the heart of the blues. One listen to Midnight Pumpkin and you'll never be the same. © Thom Jurek © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/release/midnight-pumpkin-mr0000934411

Classy R&B and soul blues with a touch of bluegrass and Gospel from the great Toni Price. This album hasn’t a dud song. Songs include Joe Tex’s “I Want To Do (Everything For You)” and J.J. Cale’s “Like You Used To”. The vocals and musicianship on this album are first class and the album is HR by A.O.O.F.C. Buy Toni’s great “Low Down and Up” album and support real music [All tracks @ 320 Kbps: File size = 127 Mb]

TRACKS / COMPOSERS

1 Start of Somethin' Good - Jerry Williams 6:01
2 Thank You for the Love - Michael Keck 4:29
3 Work on It - Jerry Williams 4:03
4 Something in the Water - Gwil Owen 4:22
5 The Right Kind Of Man - Abel Baer & L.Wolfe Gilbert 3:25
6 Call of My Heart - Shelley King 3:42
7 Darlin' - Blaze Foley 3:55
8 Measure for Measure - Gwil Owen & David Olney 4:12
9 I Want To Do (Everything For You) - Joe Tex 4:17
10 Who Needs Tears - Shelley King 2:42
11 Like You Used To - J.J. Cale 4:03
12 Keep This Love Alive - Jerry Williams & Walter Richmond 4:37
13 We Just Couldn't Say Goodbye - Harry M.Woods 3:13

MUSICIANS

Toni Price - Lead Vocals
Scrappy Jud Newcomb - Electric & Acoustic Guitar
Derek O'Brien - Electric Guitar
Casper Rawls - Guitar, Acoustic Guitar, National Steel Guitar
Jon Dee Graham - Lap Steel Guitar
Olivier Giraud, Champ Hood - Acoustic Guitar
Roscoe Beck, Larry Fulcher, Luis A. Guerra, Tommy Shannon - Bass
Kevin Smith - Upright Bass
Erik Hokkanen - Mandolin
James Burton - Wood Dobro
Ian McLagan - Piano
Brannen Temple, George Raines - Drums
Barry "Frosty" Smith - Drums, Tambourine
Michael Duffy - Udu Drum, Tambourine, Shaker, Conga
Mambo John Treanor - Snare Drums, Snake Rattle
Jose Galeano - Congas, Timbales, Cowbell
Lisa Pankratz - Snare
John Mills - Tenor Saxophone
Gary Schletcka, Milan Moorman - Trumpet
Stanley Smith - Clarinet
Lustre Family Reunion: Uncle Shaspo - Lead Vocals, Cousin Chester - High Harmony, Cousin Esther - Low Harmony
Malford Milligan – Vocals (Duet) on Track 9

BIO

Vocalist and song stylist Toni Price's first exposure to blues was through second-generation blueswoman Bonnie Raitt. After studying her recordings, Price began to study the recordings Raitt learned from, women blues singers like Sippie Wallace, Victoria Spivey, and others who made names for themselves in the 1960s blues and folk revival. Price began singing in high school, but after graduating she sat in with country bands around Nashville, where she was for the most part born and raised, after moving from southern New Jersey. When Price lived in Nashville in the late '80s, she would religiously listen to local blues radio programs on college stations there. Price moved to Austin in 1989, and learned from the locals, who included Clifford Antone, owner of Antone's blues nightclub, and Austin-area guitarists like Derek O'Brien, who produced her second album. Shortly after she began singing in country bars in Nashville, she hooked up with songwriter Gwil Owen, who wrote many of the songs on her debut, Swim Away. In her blues singing career, Price cites vocalists Aretha Franklin, Emmylou Harris, Linda Ronstadt, Patsy Cline, and Ray Charles as influences. Although critics have heaped praise on her gifted phrasing and delivery at her live shows and on both of her albums, the title of singer/songwriter is an inappropriate one for Price; the latter part of the title doesn't apply to her. In an interview in Austin, Price said she's never had the inspiration or desire to write songs, and figures she wasn't given that talent. Price's albums out on the Antone's/Discovery label include Swim Away (1993), Hey (1995), and Lowdown & Up (1999). Midnight Pumpkin appeared in the summer of 2001, followed by Born to Be Blue in 2003 and Talk Memphis in 2007. © Richard Skelly © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/toni-price-mn0000618191

27.6.13

Hiram Bullock


Hiram Bullock- Way Kool - 1992 - Atlantic Jazz

On the follow-up to his Atlantic debut, guitarist and producer Hiram Bullock pulled out all the stops and dove wholeheartedly onto the "funk" side of jazz-funk and left out the jazz. No, that's not a bad thing. If anything, Way Kool feels a lot more like a funky rock record than anything else. With a handpicked cast of studio greats, Bullock set out to make a party record and he did it. From the screaming guitar work on "Da Alley," to the deeply funky George Duke-styled keys and guitar wonk on "Show Me" (with its Prince-styled handclaps and big backing chorus), to the groovy bass pop and chunky chords on the title track, it's all in there. On Way Kool Bullock showed that he couldn't care less about what people thought he was or should have been doing, and he did exactly what he wanted -- and this time it was making a primarily instrumental set (there are only three vocal cuts out of the ten here) that stayed close to rock and funk with up-to-the-minute production (that in retrospect sounds a bit dated). There is a jazzy instrumental ballad called "Never Give Up," with some nice hand percussion from Don Alias and keyboard work from Dave Delhomme. But the strength of the set comes from Bullock's guitar playing, and his screaming tone is the most enduring thing about it. Check the track that reveals its Prince influence not only in its instrumental attack but even in its title: "I No U." The big funker "Wolfman" even contains scratching! The biggest surprise on Way Kool, however, is the cover of Lennon and McCartney's "Dear Prudence" that closes the album. It's modern, reverent, restrained, and quite beautiful. (Admittedly, it's such a great song it would be tough to mess up.) Bullock's guitar solo that takes over after the three-minute mark is killer. © Thom Jurek ©2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/way-kool-mw0000275070

A longtime fixture of the New York City session circuit, the late, great guitarist Hiram Bullock was equally adept in many music genres from rock & roll to jazz to avant-garde. He also recorded a series of solo funk and fusion LPs, but perhaps he is best remembered as a founding member of the original Late Night with David Letterman house band. Hiram was once described as "the greatest jazz / funk / soul / fusion guitarist on the planet". His style was never easily categorized, but his albums usually contained a creative blend of rock, funk, blues, and jazz. "Way Kool" is a mostly instrumental and great group-orientated funky jazz rock album with ten well composed tracks including Lennon & McCartney’s “Dear Prudence”, and displays the late musician's guitar talents to great effect and also his underrated vocals. The album is HR by A.O.O.F.C. Check out "Hiram Bullock Plays The Music Of Jimi Hendrix" and his wonderful "Carrasco" album. Buy his "Jam Jam" album which displays most of Hiram's musical influences. Hiram’s session work can be heard on many great albums including Billy Joel's The Stranger and Steely Dan's Aja. [All tracks @ 320 Kbps: File size = 109 Mb]

TRACKS / COMPOSERS

1 Da Alley - Hiram Bullock 5:15
2 Shut Up - Dave Delhomme, Hiram Bullock 4:09
3 Show Me - Hiram Bullock (L): Paul Peterson (M) 3:51
4 Way Kool - Dave Delhomme, Hiram Bullock 4:09
5 Never Give Up - Dave Delhomme, Hiram Bullock 5:56
6 I No U - Hiram Bullock, Ricky Peterson 5:02
7 Wolfman - Dave Delhomme, Hiram Bullock, Steve Wolf 5:16
8 Another Night - Dave Delhomme, Hiram Bullock 4:20
9 10 To 11 - Dave Delhomme, Hiram Bullock 3:57
10 Dear Prudence - John Lennon, Paul McCartney 6:03

MUSICIANS

Hiram Bullock - Guitar, Synth-Guitar on Track 4, Keyboards on Tracks 4, 9, Lead Vocals on Track 3, All Vocals on Track 8, Backing Vocals on Track 3,
Vocal Chorus on Track 1
Paul Peterson - Guitar, Bass, Keyboards, Backing Vocals on Track 3
Steve Logan - Bass on Tracks 2, 5, 7, 8, 10
Will Lee - Bass on Track 1, Vocal Chorus on Track 1
Dave Delhomme - Keyboards on Tracks 2, 4, 5, 7, 8, 9
Ricky Peterson - Keyboards on Tracks 1, 6, 10, Backing Vocals on Track 3, Vocal Chorus on Track 1
Steve Wolf - Drums on Tracks 2, 4, 5, 7, 8, Samples on Track 7
Charley Drayton - Drums on Tracks 1, 10, Vocal Chorus on Track 1
Don Alias - Percussion on Tracks 1, 4, 5, 8
Matt Seitz - Scratching on Track 7
Craig Schumacher - Backing Vocals on Track 3

BIO

Over the course of his career, from his mid ‘70s run with The Brecker Brothers to his various stints as a “hired gun” for everyone from Gil Evans and David Sanborn to Billy Joel and James Brown, Hiram Bullock earned his reputation as a bona fide guitar hero. But all along, Hiram has also been developing his skills as a singer/songwriter and charismatic live performer. His style is not easily categorized, since his playing is a creative blend of rock, funk, blues, and jazz. It is easy to say, however, that his music is fun ! Hiram Bullock was born in Osaka, Japan and came to America at the age of 2. As a child, he studied piano at the Peabody Conservatory of Music in Baltimore, Maryland, playing his first recital at the age of 6. He learned to play the saxophone at age 11, and began playing the bass guitar in junior high school rock bands as a teenager. He switched to guitar at age 16, admittedly “to meet more girls”. Hiram attended the University of Miami music school, where he studied with Pat Metheny and Jaco Pastorius, and where he met many of the musicians that he would play with throughout his professional career. One of his steady nightclub gigs was with the singer Phyllis Hyman, and this eventually led him to New York. Almost immediately after arriving in the Big Apple, Hiram’s international career began. He first played with David Sanborn, meeting producer Phil Ramone and playing on many gold and platinum albums. His credits include: The Brecker Brothers, David Sanborn, Paul Simon, Chaka Khan, Pete Townsend, Bob James, Sting, James Brown, Miles Davis, Kenny Loggins, Billy Joel, Barbra Streisand, Burt Bacharach, Roberta Flack, Spyro Gyra, Eric Clapton, Al Green and James Taylor. He has worked with many others; a full discography can be found on the discography page of this website. Hiram gained a huge following as the barefoot guitar player on Late Night with David Letterman. From the inception of the show until 1984, he was a regular member of the World’s Most Dangerous Band, led by Paul Shaffer. Other television work includes being a member of the house band on Saturday Night Live, and working as the musical director on David Sanborn’s critically acclaimed Night Music show. He was also seen acting the part of a musician in Under Siege (starring Steven Segal); he wrote 6 of the internal songs in the film. Hiram’s career as a solo artist began in 1983. He has produced all of his albums, which include many of his own songs. His albums span many different genres of music, from the contemporary jazz of “From All Sides” to the rock of “World of Collision”; from the latin-influenced “Carrasco” to the organ-trio jazz of “Late Night Talk”. The style that Hiram’s fans have come to expect in live performances is exemplified by the group-oriented funky rock of “Color Me”, and continued with “Try Livin’ It” and his latest release, “Too Funky 2 Ignore”. He is also known as a dynamic performer, who gives his all for the sake of the show. © http://www.hirambullock.com/bio.html

OBITUARY

You could argue that the guitarist Jimi Hendrix, in his brief, dazzling career, galvanised jazz as much as he shook up pop and rock. In three years, he sketched out several lifetimes' worth of possibilities in sound, rhythm and showmanship. His example sparked a new generation of musicians - Jaco Pastorius, Mike Stern, George Duke - and encouraged more established figures, such as Miles Davis, Gil Evans and Joe Zawinul, to reinvent their careers. The jazz-funk guitarist Hiram Bullock, who has died aged 52, was one of the new breed of guitarists liberated by Hendrix's example, and uninhibited by preconceptions of what jazz and rock were supposed to be. He was a flamboyant stylist, as comfortable jamming with legends as doing sessions or television. Though he released many solo albums, he is best remembered as a sideman, albeit one who was rarely self-effacing. His CV included studio work with Sting, Bonnie Tyler, Kenny Loggins and Marcus Miller, and he played memorable stints with jazz composers Evans and Carla Bley, and saxophonist David Sanborn. US television viewers of a certain age will remember him as the "barefoot guitarist" in The World's Most Dangerous Band, the house musicians, led by Paul Shaffer, of the long-running Late Night with David Letterman show on NBC. Born in Osaka, Japan, where his parents had been posted with the US military, Bullock moved to America aged two and grew up in Baltimore, where he learned the piano, saxophone and bass, before switching to guitar at 16. He went to Miami University, studying alongside Pat Metheny and Pastorius, and a regular gig with singer Phyllis Hyman soon led him to New York City. By his mid-20s, he had played with a host of stars including Billy Joel, Joan Armatrading, Paul Simon and Chaka Khan - plus every crossover project in town, among them the Brecker Brothers, Sanborn, Hank Crawford, Bob James and his own New York City Band. He joined Evans's band for its irregular tours and regular Mondays at New York's Sweet Basil club. Bullock played with Pastorius's trio in his final, difficult years and made significant contributions to Bley's compositional palette, playing live and on albums such as Night Glo and Sextet (ECM Records). One of his most memorable moments was soloing on the Hendrix song Little Wing on Sting's Nothing Like the Sun (A&M, 1987). This was no casual session - the ex-Police frontman had sat in with Evans at Sweet Basil, and recruited his entire band for that track. Anyone who heard the Evans band during the 1980s will testify to Bullock's raw energy and inventiveness, which his boss clearly relished. Asked whether Bullock had achieved his potential as a jazz guitarist, the London Jazz Festival programmer John Cumming replied that it may not matter whether Hiram was a jazz player or not. "He essentially came from a blues, funk and rock corner, and it was his ability to bring this attack to a jazz context that always seemed to be the defining factor," said Cumming. "It was this that endeared him to artists like Gil, for instance. Although he played on countless sessions, he was a great live performer, and this is where he stood out, whether with Sanborn, Bley or Gil Evans." Bullock's health had been damaged by drug abuse. A poignant blog entry (posted in March this year) described his treatment for throat cancer: "Basically, they poison me to kill the cancer, then bring me back to health (actually I guess that last part is on me). I needed to lose some weight anyway!" He is survived by his partner, Jennifer, and two stepsons. • Hiram Law Bullock, guitarist and songwriter, born September 11 1955; died July 25 2008 © John L Walters The Guardian, Wednesday 20 August 2008 © 2012 Guardian News and Media Limited or its affiliated companies. All rights reserved http://www.guardian.co.uk/music/2008/aug/20/jazz.popandrock

26.6.13

The Blockheads (Ian Dury Related)


The Blockheads - Straight From The Desk 2 - 2003 - Right Recordings

Sadly missing their late frontman Ian Dury, the Blockheads nevertheless manage to do his music justice with this official live recording featuring several of the original Blockheads and special guests. The tracks were recorded straight from the desk to cassette at Patti Pavilion Swansea, Wales on March 23rd 2002, and even though a certain amount of fine-tuning was carried out, the tracks lack clarity at times [All tracks @ 192 Kbps: File size = 99.4 Mb]

TRACKS / COMPOSERS

1. Reasons To Be Cheerful Part 3 - Dury/Jankel/Payne
2. Feel The Funk - Jankel/Turnbull
3. I Believe - Dury/Gallagher
4. Ballad Of The Sulphate Strangler - Dury/Jankel
5. One Love - Dury/Jankel
6. Clever Trevor - Dury/Jankel
7. Blockheads - Dury/Jankel
8. You're More Than Fair - Dury/Hardy
9. What A Waste - Dury/Gallagher/Turnbull/Watt-Roy/Charles/Melvin
10. Books And Water - Dury/Jankel
11. Sweet Gene Vincent - Dury/Jankel
12. Hit Me With Your Rhythm Stick - Dury/Jankel

MUSICIANS

Johnny "T" Turnbull - Guitar: Vocals on Tracks 1,2,3,5,8,9,10,11,12
Wreckless Eric - Guitar ['knife & Fork' Fuzz Box Guitar]: Vocals on Tracks 6,7
Lee Harris - Guitar
Chaz Jankel - Guitar, Keyboards: Vocals on Track 10
Norman Watt-Roy - Bass : Vocals on Track 1
Mick Gallagher - Keyboards: Vocals on Tracks 10
Dylan Howe - Drums
Derek "The Draw" Hussey - Percussion, Harmonica: Vocals on Tracks 4
Dave Lewis, Gilad Atzmon - Saxophone

24.6.13

CAB


CAB - CAB 4 - 2003 - Favored Nations

CAB 4 comprises killer rock fusion guitarist Tony MacAlpine, bass wizard Bunny Brunel (ex-Chick Corea), the legendary British keyboard supremo Brian Auger, and the master of rhythm dynamics Dennis Chambers on drums. "CAB 4" is a 24 carat incendiary collision of rock, jazz, and fusion played with an intense passion and blinding chops. The album is HR by A.O.O.F.C. Check out Chambers, MacAlpine, & Brunel's "CAB" album, and listen to Bunny Brunel with Kazumi Watanabe's "Kilowatt" album, and Tony MacAlpine's "Maximum Security" album. Listen to CAB’s “Theatre de Marionnettes” album [All tracks @ 320 Kbps: File size = 152 Mb]

TRACKS / COMPOSERS

1.Hold On -  Brunel 4:35
2.One for the Road - MacAlpine 7:01
3.Shizuka - MacAlpine 5:24
4.Tony Mac - Brunel 8:33
5.Raymond - Brunel 6:31
6.BB's Rhumba - Brunel 4:53
7.Bass Ackward - Brunel 4:51
8.Cloud 10 - MacAlpine 6:17
9.Alphonse - Brunel 6:25
10.Jam & Toast - Brunel 6:09
11.De De - Brunel 6:13

MUSICIANS

Tony MacAlpine – Guitar, Keyboards
Bunny Brunel – Bass, Fretless Bass, Piccolo Bass, Keyboards
Patrice Rushen – Keyboards, Fender Rhodes, Piano, Clavinet
Brian Auger – Keyboards, Hammond Organ, Fender Rhodes
Dennis Chambers – Drums

23.6.13

Jon Zeeman


Jon Zeeman - Zeeland - 2007 - Membrane

Jon Zeeman is an enthusiastic and highly regarded six-stringer currently based in Martha's Vineyard, Massachusetts (U.S.A.) who reveals his playing style as blues/jazz/rock/fusion, as a listener can readily experience on his most recent album, "Still Life". His most utilized guitars include a Sadowsky and a '63 Brown Deluxe. Zeeman has been playing guitar since 1969, and with no holds barred declares his career aspiration, "To make some more discs that people get to hear." When requested to divulge his one essential effect for the guitar, Zeeman came back with, "Amp distortion," and then pointed out his musicial goals, "I've got no specific goals at this time." He fervently hopes to one day study er... nothing, and is presently listening to Errol Garner, Storyville and Jimmy Bruno. His primary fulfillment? "Creating new music," he declares categorically. Zeeman concludes by listing current and approaching undertakings succinctly, by saying, "Playing jazz piano." © 1996-2013 Guitar Nine All Rights Reserved http://www.guitar9.com/bio/jonzeeman.html

What would it sound like if the Allman Brothers jammed with avant garde guitarist David Torn? It may turn out something along the lines of the delirious new release from guitarist/composer Jon Zeeman - Zeeland. Zeeman, who has played with both the aforementioned musician/groups offers up a jazz-blues-funk-fusion style that is simply a delight. "Mr. Head" is funky/groovy and Zeeman plays killer riffs with abandon, while "Surfside" shows the guitarist's more melodic side on a modern take on surf/lounge music. Credit needs to be given also to the shifting cast of backing musicians, like bassist Phil McArthur on the first number, and pianist Tom Regis on the soaring "Surfside." Bob Taylor's organ adds much to the flavor, while Randy Ward brings tasteful fretless bass (Ilken Deniz handles bass on two tracks as well). Drummers Keith Cronin and George Lily alternate numbers, and saxophonist John Michaelak appears to enhance "Kingsize." Lest the funkery fool you, this is some pretty jazzy stuff, with sophisticated changes and masterful musicianship. The rock and blues elements permeate but don't overwhelm and the results are quite satisfying. In fact I can't imagine anyone listening and not tapping a toe of bobbing their head to the addictive rhythms presented here. Zeeman's guitar work is hard to describe because he really has his own unique sound. There are flavors seeping in from all directions - one minute you think you hear Roy Buchanan blues and the next it's searing David Torn style, but he can bring it old school jazz style as well. But it is a mistake to say "sound," because this a is a guitarist of 1,000 tones. And all of them are good, very good. Zeeman's experiences with his own Studio Z has obviously given him an exceptional ear, and this album is very well balanced and eminently listenable. The players chosen for the particular songs suit the styles perfectly and there is a nice Miami Beach feel coloring the NYC and southern blues rock influences. Finally Zeeman's chops are incredible, but he still plays within (or just out) of the song structure well, enhancing rather than detracting like fast, but incoherent players often do. The soulful groove of "Coral" is the centerpiece, but guitar fans will love "Hard Roll" as well. Of course Zeeman really seems at home on the blues and his "D.A. Blues" will please fans of that genre. There really is no filler on this strong release either as even a buried album track like "Y" has one wondering why Zeeman is not more well known. Pick up a copy of Zeeland today if you are in the mood for awesome grooving guitar sounds. - Review by & © Brad Walseth © http://www.jazzchicago.net/reviews/2008/zeeman.html

Great album of instrumental melodic and groove-driven blues and funky jazz fusion by an artist that should really be more widely known outside New York, Florida, and Scandinavia. Jon has toured, recorded and performed with some great musicians including Susan Tedeschi, Janis Ian, Chris Spedding, and the Allman Brothers Band, and despite receiving some acclaim for his recordings, he has remained largely unnoticed in the music world. A great shame considering the amount of trash out there masquerading as music. “Zeeland” is HR by A.O.O.F.C. Please buy Jon’s great "Still Life” album. Support real music and genuine talent [All tracks @ 320 Kbps: File size = 121 Mb]

TRACKS

1. Mr. Head 3:52
2. Surfside 6:09
3. Zeeland 5:33
4. Slow Night Blues 4:49
5. Kingsize 6:02
6. Coral 4:18
7. Hard Roll 6:12
8. Get It 3:4
9. DA Blues 3:56
10. Y 6 22
11. Mr. Head (Reprise) 3:30

All tracks composed by Jon Zeeman

MUSICIANS

Jon Zeeman: guitars, keyboards (1, 3, 4, 6, 8, 9)
Phil McArthur: bass (1-3, 5, 7, 10, 11)
Ilken Deniz: bass (6, 9)
Randy Ward: fretless bass (2, 11)
Bob Taylor: organ (2, 5, 7, 10, 11)
Tom Regis: piano (2, 5, 7, 10, 11)
Keith Cronin: drums (2, 5, 7, 10, 11)
George Lily: drums (1, 3, 6, 9)
John Michaelak: saxophone (5)

SHORT BIO

From the age of 8, Jon Zeeman has been obsessed with guitars, amplifiers, wah-wah pedals, power tubes, Jimi Hendrix, Eric Clapton, The Beatles, and The Rolling Stones. Growing up outside NYC, he studied classical piano and decided on a career in music at the ripe age of 13. Early jobs at IHop and other occupations taught him that the business world, or anything that required waking up early was not for him, and so he spent his high school years practicing more and more and doing less and less homework. After studying music at Ithaca College for 2 years, Jon left school to play on the road. In the mid 80's Jon moved to New York City and became involved in producing, session work and song writing, working at his "Studio Z" in a downtown loft. The New York years were punctuated by many trips to Scandinavia, where he toured and recorded with several groups. Jon began performing his own music in the mid 90's working regularly at the "55" Club and other downtown venues. Leaving NYC at the birth of his daughter, Zoe, Jon now resides in Martha's Vineyard and West Palm Beach Florida, where he performs regularly. He has toured, recorded and performed with such notables as Susan Tedeschi , Janis Ian, The Burns Sisters Band, Chris Spedding , and the Allman Brothers Band. His first CD, "Still Life," was released in Europe in 2003 to much acclaim and was followed by "Zeeland" in 2008. Jon is excited to announce the 2013 release of "Down On My Luck." © 2013. jonzeeman. All rights reserved http://jonzeeman.com/Portfolio.html

22.6.13

Derryl Gabel


Derryl Gabel - Visions And Dreams - 2002 - Progressive Arts

Guitarists - especially extremely talented guitarists - are a breed apart. Very few people begin playing the drums, for instance, with the intent of going it alone. The same holds true for most other instruments in contemporary music. Only with the guitar do you find a large number of musicians determined to make a name as a solo artist devoted primarily to instrumentals. Thus, the sub-genre of "guitar virtuoso" was born.There is no mistaking that the intent of Derryl and his label is to place him squarely in this group. In fact, the word "virtuoso" appears in the first sentence of the album's press release. Comparisons are also drawn to artists such as Allan Holdsworth, Frank Gambale and Greg Howe, all occupying this corner of the music business either in the fusion vein or the more metallic queue. These may not be household names, but fans of the style know them well. To his credit, Derryl Gabel is indeed a very accomplished musician. It is clear that he can play scales at lightning speed and improvises better than most of the millions of guitar-slingers in the world. In addition, he recorded this album almost exclusively on his own - bass, synth, most of the drum programming and (naturally) all guitars. This shows a musical adeptness sorely lacking in rock music, but also in genres as far-flung as jazz and new age. However, compliments as to ability and work ethic aside, there are problems. Although ambitious, the effect when all elements are combined is rather tepid. It sounds like the rhythm tracks from an album by a contemporary jazz artist such as David Sanborn with guitar meekly inserted rather than sax. The painful analogy must be made - light jazz. It is easy at times to imagine the music playing behind a scene in a television drama while lovers stroll down the beach. Some attempts are made to vary the tempo and feel of the tracks, and some nice rock-ish solos emerge, but it keeps returning to this overall feel and fails to really provide a standout track or tracks. Guitar instrumental music appeals foremost to other guitarists, including the thousands every year who pick up a guitar and strum a few notes before relegating the instrument to a closet for a few more years. Occasionally a crossover will appear in the form of artists like Joe Satriani or Steve Vai. However, it is difficult to imagine fans of these soloists enjoying the more laid-back jazzy style here. It is equally hard to think that jazz fans will pick up on the recording. This is unfortunate because of the skill displayed, but what surrounds the guitar work on this disc is simply not strong enough to push it to the next level. © Jeff Edwards 8/5/2002 © 1996 - 2002 The Phantom Tollbooth http://www.tollbooth.org/2002/reviews/gabel.html

Inspired by artists like Yngwie Malmsteen, Allan Holdsworth, Eric Johnson, and Paul Gilbert, Derryl Gabel's Varney-inspired chops and a Firkins-inspired touch make Derryl Gabel a Grade A gunslinger. Derryl has a keen sense of when to burn and when to breathe. He is an exceptional and highly accomplished musician and is admired by many of the world’s great guitarists including Dweezil Zappa. Listen to Derryl’s "Giant Steps" album which is an arguably better album than “Visions And Dreams” and contains much stronger and challenging material. Check him out @ http://www.derrylgabel.com/ For more music in the same vein listen to Guthrie Govan and Paul Gilbert. [All tracks @ 320 Kbps: File size = 105 Mb]

TRACKS

1. Miles From Home
2. Alright
3. Spending Time With You
4. Friends
5. Visions and Dreams
6. Tell Me
7. Song For Jessie
8. Blue Fingers

All tracks composed by Derryl Gabel except Track 2 by Derryl Gabel, James Harris, Janet Jackson, Terry Lewis & Track 4 by Derryl Gabel & Bob James

MUSICIANS

Derryl Gabel: All guitar, synths, bass guitar and drum programming except Track 7
Mychal Lukers - drum programming on Track 7

SHORT BIO

Derryl Gabel, born in 1970, began playing guitar late in life (compared to most virtuoso's) at the age of 15. His early influences included Eddie Van Halen, Victor Cross, George Lynch, Warren Demartini, Yngwie Malmsteen, Tony Macalpine, Greg Howe, Vinnie Moore, Paul Gilbert, Jason Becker, Marty Friedman, Derek Taylor, Eric Johnson, Steve Vai, Joe Satriani, Joey Tafolla, and Michael Lee Firkins. The early work of Derryl was firmly rooted in the Shrapnel style of Neo-Classical shred, yet there was more to his compositions than just ripping on scale after scale at 1,000 miles per hour. One of his earliest recorded works, "Victor", had Derryl firmly in the league with the likes of Tony MacAlpine, Vinnie Moore and Yngwie Malmsteen. Derryl first introduced this track when he was just 17 years old. In 1992, Derryl had the great honor of dueling with guitar legend George Lynch on his solo release, "Sacred Groove" (Elektra Records). Derryl was given this honor after having been selected out of over 250 guitarists(they originally started with over 750 tapes which were weeded down to 250 by John Stix) in a contest staged by Guitar For The Practicing Musician Magazine. Of the selection process, Mr. Lynch had this to say: "The point is, that after listening to over 250 tapes, there were very few that had an original style. I thought Derryl had an original style. He had all the techno-weenie chops happening, but I thought he was in a space of his own, so I brought him down to play on "Tierra Del Fuego". As Derryl continued to hone his composition skills, he had gotten the attention of the now defunct Legato Records, having had the track "Blue Fingers" featured on the compilation "Guitar on the Edge Volume #4" (1994) and the track "Nathaniel" featured on volume #5. Derryl Gabel, having developed from his early Neo-Classical years into the more sophisticated fusion vein, in which he now resides. Displaying highly developed chops, technique, and an extremely tasteful sense of composition, Derryl's current influences as far as guitarist include Greg Howe, Guthrie Govan, Allan Holdworth, Brett Garsed, Shawn Lane, Scott Henderson, Pat Metheny, Kurt Rosenwinkel, Tim Miller, Nico Stufano, and Frank Gambale. Magazines which have covered Derryl's music include: "Guitar World" Sept. '90 (page 124), "Guitar for the Practicing Musician" May 1992 (page 168), and again in "G..P..M" Oct 1992 (page 11) and in Oct 1993 (pages 93 & 150) Derryl has released two album's Visions & Dreams (Progressive Arts Music Label, Giant Steps, and has appeared as a guest soloist. He has also released many instructional and performance DVD's, as well as an interactive guitar technique e-book. Derryl is currently composing a new album, working on another instructional DVD, and giving online guitar lessons. © 2012 Derryl Gabel. All Rights Reserved. http://derrylgabel.com/

21.6.13

Gamalon


Gamalon - Held To The Light - 1996 - Gertrude Records

“If you’ve been out hitting the original music clubs of late and have noted the dizzying and dazzling display of instrumental prowess evidenced by a host of hot young bands, bear in mind that Buffalo has a long history of progressive fusion music, and has never had a shortage of absolutely killer instrumentalists. Prominent among these groups in the 1980s and ’90s was certainly Gamalon, the all—instrumental fusion powerhouse that took the baton from the likes of mid—’70s Jeff Beck and the Mahavishnu Orchestra and ran with it, in the process crafting some of the most ambitiously virtuosic instrumental music to ever have emerged from Western New York”. © Jeff Miers December 30, 2011 - 1:00 PM © 1999 - 2012 - The Buffalo News copyright-protected material http://blogs.buffalonews.com/gusto/2011/12/gamalon-sold-out-at-sportsmen-tavern-tonight.html

“Exchange that spare Steve Vai album for the newly-released effort by the jazz-rock group Gamalon…Judging from the Held to the Light disc, the new Gamalon should offer many of the same pleasures as the old one – blinding guitar virtuosity and rhythms of delirious intensity…There’s more texture to the rhythm section here – a greater variety of rhythms and a bigger range of drum sounds, such as the Indian tabla in “Cave” and “The Sword”…The return of Gamalon makes 1997 look better already.” - Dale Anderson, Artvoice, December 25, 1996

“The guitars of Tony Scazzaro and Bruce Brucato lead the melodic layout of the entire album. Both possess a Holdsworthian sense of richness in sound, color and tone, but play in a style that is infinitely more laid back and sparse. On Held to the Light the thick atmospheric edge is more likely to appeal to progressive or new age fans wishing to dip their feet into fusion waters without getting completely soaked. - Mike Ezzo, Exposé

“This issue’s contemporary progressive jazz-rock award goes to Gamalon for issuing a challenging yet accessible album. Held to the Light has a little swing here, a little funk there, some tasty ethnic flavors and plenty of confident virtuosity led by the two-guitar attack of Bruce Brucato and Tony Scazzaro.” - John Collinge, Progression Magazine, Winter 1997

When Genesis played Buffalo on their first USA tour in 1973, the mighty progressive rock band was very impressed by supporting act Rodan’s opening act, as Rodan (later to become Gamalon) was already covering Genesis’ music when Genesis were virtually unknown in the US. Gamalon’s self-titled debut album was picked up and released by the Buffalo-based Amherst Records label in 1987 and bulleted to the number 8 position on Billboard’s contemporary jazz charts. This was a hugely impressive achievement for a relatively obscure jazz rock band at that time. Gamalon has recorded six albums, played shows with Vital Information, Niacin, Gongzilla, Brand X and many others. This band are as talented as any of the bands they have supported, but have not had the luck to secure a major record deal or the promotion they deserve. Bad distribution and weak record labels have made many great bands and albums obscure and unheard. “Held To The Light” is arguably a better album than the bands’ s/t album (on this blog). This is a hugely overlooked jazz rock fusion album full of killer instrumentals and HR by A.O.O.F.C. Few bands have bridged the gap between rock and jazz fusion as expertly as Gamalon. A new copy of the album was being sold on Amazon for $ 80. What a crazy price?! This album is for listening to, and not an exhibit in The Louvre! Check out the band’s “Aerial View” and “Live at the Tralf” albums, and also George Puleo’s "So Low" album – If you can find them! Support great jazz rock [All tracks @ 320 Kbps: File size = 117 Mb]

TRACKS

1. The Creeps (5:31)
2. Red Zone (4:45)
3. Pickett's Charge (4:48)
4. Cave (4:43)
5. Held To The Light (5:48)
6. Gemini (4:25)
7. The Sword (5:20)
8. Sahara (5:55)
9. The Shield (3:15)
10. Relay (4:40)
11. Rainbow (1:45)

Tracks composed by Brucato, Scozzaro, Wynne, Tom Reinhardt, Ted Reinhardt (individually & collectively)

MUSICIANS

Tony Scozzaro - Guitar, Chapman Stick
Bruce Brucato - Guitar
George Puleo - Guitar on Track 2
Jim Wynne - Bass Guitar
Tom Reinhardt - Bass Guitar on Track 10
Ted Reinhardt - Drums, Percussion, Chapman Stick, Xylophone
Bob Accurso - Marimba on Tracks 4,5,7
Ravi Padmanabha - Tabla on Tracks 4,7
Emile Latimer - Djembe, JuJu on Track 8

SHORT BIO

GAMALON started in Buffalo, New York during the 1960's, when drummer Ted Reinhardt and guitarist Bruce Brucato began playing music together at age 12. By the 70's they were joined by Ted's brother Tom and Rick McGirr to form Rodan, a prog-rock gem of the local music scene. During the Buffalo stop of their first tour of the USA in 1973, GENESIS were quite taken by their opening act, as Rodan was already covering their music at a time when GENESIS had not yet taken off in the States. Rodan folded as the members morphed into GAMALON during the mid 80's, adding George Puleo on lead guitar and Tom Schuman on piano. They joined forces with saxophonist Ernie Watts in 1989. Geoffrey Fitzhugh Perry played violin on one album. Tony Scozzaro replaced George Puleo for several years and in the summer of 2004, Nori Bucci stepped in to take his place. Their self-titled debut in 1987 was one of the finest examples of jazz rock fusion. "Project: Activation Earth" with Ernie Watts followed in 1989. "Aerial View" appeared in 1990, quickly followed by "High Contrast" in 1991. Their latest studio album was 1996's "Held To The Light", their most mature work to date. Bob Accurso: received his AS degree in Music from Villa Maria College and his BFA degree in Music Performance from the State University of New York at Buffalo where he studied with Lynn Harbold and Jan Williams. He has served as Instructor of Percussion for Villa Maria College and for the State University College at Buffalo. Bob has been a member of the Maelström Percussion Ensemble since 1986 and has been its Executive Director since 1990. With Maelström, he has performed for the Lincoln Center Institute for the Arts, the Kennedy Center, the DCI World Championships, and at universities and concert halls across the country. Bob is an Artist/Endorser for KAT Electronic Percussion, and recently composed and performed a work for solo electronic percussionist for the Creative Education Foundation’s 2002 International Conference. He has been selected by The Commissioning Project to compose a major new work for percussion in 2003. A mallet player, drum-set artist, hand drummer, multiple percussionist, and composer, Bob has devoted his career to exploring the vast and dynamic world of percussion. His influences and interests cover a wide spectrum of musical genres including classical music, contemporary chamber music, jazz, music from the Afro-Cuban tradition, and Middle Eastern Music. Ted Reinhardt: started playing drums when he was 4 years old and was already playing professionally with various dixieland groups by the age of 9. Ted studied with some of the best teachers in Western New York, including Buffalo Philharmonic Orchestra percussionists, John Roland and Lynn Harbold, and jazz drumming luminary, Louis Marino. In the late 70’s, Ted became one of the driving forces of the popular jazz group, Spyro Gyra, performing on their Platinum selling “Morning Dance” album. After leaving Spyro Gyra, he formed the progressive fusion group, Gamalon, reaching Billboard’s Top Ten with their first release. With Gamalon, Ted has recorded six CD’s and collaborated and toured with jazz great, Ernie Watts. Ted joined the Maelström Percussion Ensemble in 2001 and was recently inducted into the Buffalo Music Hall of Fame. © Facebook © 2013 • English (US) https://www.facebook.com/pages/Gamalon/45439119877?v=info

19.6.13

Greg Howe


Greg Howe - Parallax - 1995 - Shrapnel

Following the same outline of his previous two solo instrumental albums, 1993's Introspection and 1994's Uncertain Terms, Greg Howe's Parallax doesn't offer any surprises, but delivers mind-blowing guitar performances by the truckload. Howe continues to explore the more "outside" chromaticisms heard in fusion more often than rock, while his guitar tone has evolved from a brash, metallic sound (heard in his earlier work) to a smooth, compressed signal, which suits his extended legato forays quite well. Although the production values are rather clinical-sounding (especially those triggered drums), there's plenty of spirited playing here. The wah-wah-inflected funk soloing of the opening track "Howe 'Bout It" is frenetic and fun, and is the most accessible stuff on the album. Elsewhere, Howe's ability to cover sheer chromatic yardage in a single bound is nothing short of astounding; combining melodic arpeggio ideas, atonal passages, and unbelievable wide-interval phrasing, he is a virtual catalog of all modern guitar techniques. Each solo, while delivered with jaw-dropping speed and stamina, has a logical sense of phrasing behind it, making it more than just pure flash. It all gets a bit samey after a while, especially to the average listener. But guitar geeks will revel in the over-the-top decadence of this highly indulgent instrumental shred-fest. © Andy Hinds © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/release/parallax-mr0000053926

Reminiscent at times of Tribal Tech and Chick Corea's bands, Greg Howe's "Parallax" is comprised of aggressive rock/fusion compositions which highlight Howe's incredible command of the guitar. More funk oriented and syncopated than Howe's three previous recordings, Howe serves up a heavy yet unpredictable combination of '90s high tech guitar blended with '70s fusion influences. "Parallax" standouts include "Roundhouse", "Time Off" and "Howe 'Bout It" - three gems among the nine melodically intense instrumental workouts. © 1996-2013 Guitar Nine All Rights Reserved http://www.guitar9.com/parallax.html

Many people regard Greg Howe as the “best” guitarist in the world today, but there are so many different guitar styles and musical genres in existence, that the word “best” is probably too general a word to use when speaking about technically brilliant guitarists. Listen to Paul Gilbert and Guthrie Govan who, like Greg Howe are masters of the instrument and are proving that the “impossible” is now “possible” on a fretboard. If you like jazz rock/fusion instrumental guitar of the highest calibre, “Parallax” should not disappoint you. Check out Greg’s “Hyperacuity” and “Introspection” albums on this blog and listen to Greg’s 1988 s/t album [All tracks @ 320 Kbps: File size = 104 Mb]

TRACKS

1 Howe 'Bout It 5:31
2 Found Unwound 5:39
3 Dance 5:00
4 Time Off 7:11
5 Joker's Wild 6:00
6 The Portrait 3:19
7 Bottom Line 4:59
8 On Sail 5:13
9 Roundhouse 3:59

All tracks composed by Greg Howe

MUSICIANS

Greg Howe – Guitar, Keyboards
Andy Ramirez – Bass
Jon Dolman – Drums (except Track 7)
Kevin Soffera – Drums (Track 7)

BIO

Easton, PA's Greg Howe was a breath of fresh air amidst the seemingly never-ending stream of harmonic minor guitar virtuosos pouring forth from the Shrapnel Records label in the late '80s. While other post-Yngwie Malmsteen players of the "shred guitar" genre were pursuing the dramatic neo-classical vein, Howe brought a sense of funk and groove to the table that was sorely needed. Howe paid his dues playing the Easton/Allentown club circuit in the '80s with the band Duke, featuring his brother Al on lead vocals. When one of his instrumental demos grabbed the ear of talent scout and Shrapnel Records owner Mike Varney, Howe was signed to the Shrapnel label in 1987. His all-instrumental debut, Greg Howe, featuring the talents of Billy Sheehan and Atma Anur on bass and drums, respectively, was released in 1988, to considerable acclaim. Howe's second album, High Gear, released under the moniker Howe 2, was less a solo album than a Van Halen-styled band effort, featuring his brother Al Howe on lead vocals. The band broke up after releasing its more commercially minded follow-up, Now Hear This, in 1990 and Greg Howe returned to making all-instrumental albums in his home studio, taking a decidedly more fusion-styled direction. Howe released Introspection in 1993 and Uncertain Terms in 1994 and has continued to produce albums at a prolific rate since then. Aside from releasing Parallax and Five in 1995 and 1996, respectively, Howe collaborated with fellow Pennsylvania virtuoso and Shrapnel labelmate Richie Kotzen on the Tilt album in 1995 and again on 1997's Richie Kotzen/Greg Howe Project. His last Shrapnel album, Ascend, was released in 1999, followed by his debut on the Tone Center label, Hyperacuity, released in 2000.Outside of his solo career, Greg Howe is also a sought-after sideman who has toured with the likes of Michael Jackson and N'Sync. © Andy Hinds © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/greg-howe-mn0000195552

Mary Coughlan


Mary Coughlan - Tired and Emotional - 1985 - East West Records

The great Irish jazz blues singer, Mary Coughlan demands virtuoso, spare support that lets her work her phrases until they ring with character. She is one of the world's greatest blues jazz vocalists of modern times, but is still very much underrated. Her voice has a unique jazz and blues-inflected timbre with a gorgeous Irish lilt to it. Her phrasing is immaculate, and her voice has real soul and a passion and sincerity that is a joy to hear. Mojo magazine said "she has a voice to kill for." This lady knows through personal experience exactly what she is singing and talking about. “Tired and Emotional” is a great debut album. It’s not as bluesy as jazzy as some of her later albums but is brimming with real class and is HR by A.O.O.F.C. Buy her “Live At The Basement” album [All tracks @ 256 Kbps: File size = 64.2 Mb]

TRACKS / COMPOSERS

1 Double Cross - F.Coughlan
2 The Beach - E.Visser & A.Hensey
3 Meet Me Where They Play the Blues - Allen & Gallop
4 Delaney's Gone Back on the Wine - J.Mulhern
5 Sense of Silence (S.O.S.) - E.Visser & A.Hensey
6 Nobody's Business / The Tango - P.Grainger, E.Robbins, E.Visser
7 Mama Just Wants to Barrelhouse All Night Long - B.Cockburn
8 Country Fair Dance (The Cowboy Song) - C.O'Beirne
9 Lady in Green - E.Visser & A.Hensey
10 Seduced - G.Tigerman

MUSICIANS

Guitars: Erik Visser, Gerrard Coffey, Declan Gibbons
Double Bass: Curly Kerenan
Accordions: Pat MacNamara, Tony Maher
Piano: Carl Hession
Synthesizers: Tony Maher, Carl Hession
Drums: Mickey Belton
Morse: John Dring
Percussion: Erik Vasser, Gerald O' Donoghue
Bones: Johnny (Ringo) McDonough
Saxophones: Keith Donald, Tony Chambers
Trumpet: Jimmy Higgins

BIO (WIKI)

Mary Coughlan (born 5 May 1956, County Galway, Ireland) is an Irish jazz and folk singer and actress. She has received great acclamation in her native country, for her emotional and heartfelt jazzy musical renditions. Coughlan was born in County Galway, Ireland (her father was a soldier from County Donegal). She was the eldest of five and had endured a very erratic youth. She left convent school and started drinking alcohol and taking drugs at just 15. At this age she spent time in a mental hospital. After time in hospital and a belated graduation, Coughlan decided to leave home. In the mid-1970s, she moved to London, UK, where she married Fintan Coughlan and had three children. However, in 1981, she left her husband and took custody of her children. In 1984, Coughlan moved back to Ireland, to her hometown of Galway. It was on her return to Ireland, when Coughlan started to perform in public, and soon was noticed by Dutch musician and producer Erik Visser. Visser, whose band Flairck were very popular in Europe at the time, helped Coughlan to record her first album, Tired and Emotional. Visser would go on to become her long-term collaborator. The album sold an unexpected 100,000 copies in Ireland, partly due to a memorable appearance on The Late Late Show. Despite her ongoing personal problems, Coughlan continued to reap praise for her recording output on WEA. On Under the Influence (1987) she revived the 1948 Peggy Lee hit “Don’t Smoke in Bed’’and the Billie Holiday ballad “Good Morning Heartache”, as well as Jimmy McCarthy's “Ride On”, which reached number 5 on the Irish pop charts in 1987. 1988 was another successful year for Coughlan, she made her acting debut in Neil Jordan’s High Spirits, and released her third studio album Ancient Rain. Despite her success, Coughlan lost her record contract with Warner Music Group. However, in 1990, she signed up with East West Records and released her fourth album Uncertain Pleasures , recorded in the UK and produced by Peter Glenister, former musical director for Terence Trent D'Arby. It included new compositions by Mark Nevin (Fairground Attraction) and Bob Geldof as well as covers of the Rolling Stones’ "Mother’s Little Helper" and Elvis Presley’s "Heartbreak Hotel". After receiving treatment for her personal problems, it seemed as though Coughlan had landed on her two feet once again. Sentimental Killer (1992) and Love for Sale (1993) were received well. In 1994, Coughlan lent her vocals to the hugely popular A Woman's Heart Vol.2 album, along with the likes of Mary Black and Dolores Keane. Coughlan released her first live album, Live in Galway, and released another studio album in 1997, After the Fall, which became her American debut. In June 2000, Coughlan took another turn in her career when she presented a series of elaborate multimedia shows in Dublin and in London celebrating Billie Holiday, a singer whose life story had parallels to Coughlan's own. The best of these shows was collected on the Mary Coughlan Sings Billie Holiday album. A new studio album was released the following April 2001, entitled Long Honeymoon, and another in 2002, Red Blues. The 2000s saw the release of numerous Coughlan compilation albums and her appearance on the RTÉ reality charity show, Celebrity Farm. The release of her most recent offering in 2008, The House of Ill Repute, sparked reviews that suggested it was her best yet. She has also taken part in the Sanctuary album with Moya Brennan. After her success in the mid-1980s with Tired and Emotional, Coughlan was dealing with serious mis-management in relation to her career. It was so bad that she ended up losing her car, her house and her recording contract with WEA. As a result, she started to drink very regularly and was hospitalised over 30 times. Despite minor success with her acting and her music during this period, the public was more interested in her personal turmoil. Due to treatment she received, she recovered in 1994 and found a new partner, Frank Bonadio, with whom she had two more children, bringing her total to five. A public spat with singer Sinéad O'Connor ensued over Bonadio's affections. Coughlan’s public stance concerning the topics of abortion, and the role of women in Irish society in general, are marked by brutal honesty and frank criticism.

MORE

For Mary there will always be two falls. The first happened in Mesopotamia about 5000 years ago, we are told. The second happened in a sea-front house in Bray, near Dublin, around 1994. In the first, Eve was expelled from Eden for her sins and women have borne the brunt of it ever since. In the second, a heavily pregnant and very drunk Mary Coughlan fell onto her kitchen floor in a stupor, a piece of bread and butter plastered to her unconscious face. That was how her husband and three children found her when they returned from shopping. The next night Mary was taken to hospital where she miscarried. And she has borne the brunt of it ever since. But this is not why Mary Coughlan is the greatest female vocalist these islands have ever produced. It’s not even why she stands alongside, or even between, the bruised, battered but unbeaten giants of jazz chanson on both sides of the Atlantic, Billie Holiday and Edith Piaf. Mary Coughlan is the only singer these shores have produced to rival the greatest of European cabaret and American jazz club blues because of one thing: her voice. She is unique in blending the whisky-blurred, smoke-seared, husky notes and laconic wit of Billie Holiday and Peggy Lee and the line of deep, down and dirty blues singers back to Memphis Minnie and Bessie Smith with the sardonic, bitter-sweet defiance and despair of the Piaf chanteuse, born out of war, in the shadow of Brecht, at war with the world, men and finally herself. And Mary Coughlan enfolds it all in a delicious and unapologetic Irish drawl, sceptical, rueful, mournful and melting, ardent for love, all in one voice which wraps itself around Cole Porter and Jerome Kern, Elvis Presley and Joy Division, Mick Jagger and Keith Richards and sails down that long river of blues that links the Mississippi to the Liffey in her magnificent Irish brogue. And the most remarkable thing of all is her quarrel with Ireland. She evidently detests the stage Irishry which persists to this day in Riverdance, U2 and The Corrs. But in her curt consonants, luxuriant plosives and Dub dipthongs she is nakedly Irish, Galway born, the daughter of a Donegal soldier and a Connemara woman. Yeats wrote, “Out of our quarrel with others, we make rhetoric. Out of our quarrel with ourselves, we make poetry.” Out of her quarrels Mary Coughlan has made some of the best music in these islands for twenty-five years. And it’s time she was applauded for that. In 1994 she went into rehab in Dublin and with her family’s support defeated her alcoholism and hasn’t taken a drink since. It’s understandable why Mary should feel so powerful an identification with Holiday. But that’s not what makes her the giant she is, someone who fills the sky alongside Holiday, Piaf, Lee, Fitzgerald, London, Vaughan, Washington. Music history is littered with performers and artists dead or defeated by drink or drugs. That is not what makes a singer great. Nor even the conquering of addiction, though that’s no mean feat, God knows. In 2001 Mary consciously identified herself with her musical inspiration in her liner notes to ‘Mary Coughlan Sings Billie Holiday’, a live recording of her homage show to Holiday staged in Dublin and London, ‘Lady Sings the Blues’. The resemblance was more than musical. Holiday was dead at 44, the age Mary did the show. Mary had been sober for more than six years after a murderous decade of drinking in her 30s, consuming bottles of vodka or tequila a day, which dragged her in and out of hospital more than 30 times, led to the death of her unborn child and almost killed her one night in intensive care where she needed tubes through her neck artery to feed her heart the drugs needed to get her through the night. A doctor was by her side throughout. Mary is our greatest female singer because over twenty-five years and ten albums she’s made the most grown-up, uncompromising, wholly personal and utterly universal music on either side of the Atlantic about what goes on between men and women. She has taken the classic standards of jazz balladry and the recent gems of rock and Irish song-writing, shaken them and offered them up anew, like jewels dripping from the deep, strewn on black velvet. She sings in the voice of the wrong and wronged woman and she makes us think what it is men make of women and what women have to do to make do. She has just one other forebear in the pretty pallid parade of British female pop artists, just one other woman whose bruised, haunted voice could find and enjoy the inconsolable longing and loss in a three minute pop song: Dusty Springfield. Or Mary Isabel Catherine Bernadette O’Brien, to give her her real name. Born to an Irish Catholic family. Small world. © David Kelly © http://www.marycoughlanmusic.com/home.php#mary

17.6.13

Greg Howe


Greg Howe - Introspection - 1993 - Shrapnel

Greg Howe is an incredibly gifted and inventive guitarist. After debuting in the late '80s with a fresh, funky take on the "shredder" approach to rock guitar playing on the Shrapnel Records label, he took a stab at commercial viability with his vocally oriented band Howe 2. Once Nirvana and other punk/grunge bands came along in 1991 and swept away each and every musical remnant of the indulgent '80s in one swift gesture (the release of "Smells Like Teen Spirit"), most rock bands with big hair and noodley guitar solos sulked away with their tails between their legs. But Greg Howe just went back to doing what he does best: playing guitar in a completely uncompromised fashion. Rather than trying to couch his ideas in commercially palatable pop-metal songs, he returned to the all-instrumental approach of his first album, Greg Howe. However, fans will notice a significant change in Howe's style on Introspection; aside from the more complex arrangements and fusion-leaning sound, he's stripped away most of the heavy metal bombast in favor of a cleaner tone and -- amazingly -- cleaner chops. Howe's wide-interval scale figures and inspired phrasing -- delivered at light speed -- are truly remarkable. This record recalls the best work of theDixie Dregs and the more accessible moments of Allan Holdsworth's solo career. Howe's playing has evolved so much from his early Shrapnel days that it's hard to believe it's the same person. On the downside, Introspection suffers from rather antiseptic production values, and lacks the edge of Howe's earlier work. Most notably, the triggered drum sounds are totally lame and sacrifice all the dynamic energy of drummer Kevin Soffera. And Howe would do well to incorporate some more variety in his guitar tones. But overall, this is a breathtaking showcase of one of the best rock/fusion players in the world. © Andy Hinds © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/introspection-mw0000627503

"Introspection", the Shrapnel shredder's second record, followed the pattern of his first release--hyperspeed instrumental jazz-tinged hard rock .This release set standards for the 90's as an instrumental offering comprised of aggressive rock and fusion compositions which showcase Howe's incredible technique, musicianship, virtuosity and flair. Check out the intensity on songs such as "Button Up", "Come And Get It" and "Jump Start" -- there were plenty of wanna-be Greg Howes copping licks off "Introspection" in the early '90s. The track "Desiderata" was dedicated to Jason Becker. © 1996-2013 Guitar Nine All Rights Reserved http://www.guitar9.com/introspection.html

Absolutely superb jazz rock/fusion with a blues touch from the guitar maestro, Greg Howe. This is an album of creative artistry and VHR by A.O.O.F.C. Somebody said that this album “can keep a medium to advanced guitar student in the woodshed for months or even years working this stuff out”. Many people regard Greg Howe as the best guitarist in the world today, but there are so many different guitar styles and musical genres in existence, the word “best” is probably too general a word to use as regards technically brilliant guitarists. Listen to Paul Gilbert and Guthrie Govan who, like Greg Howe are masters of the instrument and are proving that the “impossible” is now “possible” on a fretboard. Check out Greg’s “Hyperacuity” album on this blog and listen to Greg’s 1988 s/t album [All tracks @ 320 Kbps: File size = 93.9 Mb]

TRACKS

1. Jump Start (4:42)
2. Button Up (6:16)
3. Come And Get It (5:17)
4. In Step (4:51)
5. Desiderata (2:56)
6. No Place Like Home (4:24)
7. Direct Injection (5:36)
8. Pay As You Go (7:29)

All tracks composed by Greg Howe except Track 4 by Greg Howe & Alsamad Caldwell

MUSICIANS

Greg Howe - Guitar, Keyboards
Alsamad Caldwell - Bass on Tracks 1,2,4,7,8
Vern Parsons - Bass on Tracks 3,6
Kevin Soffera – Drums

BIO

Easton, PA's Greg Howe was a breath of fresh air amidst the seemingly never-ending stream of harmonic minor guitar virtuosos pouring forth from the Shrapnel Records label in the late '80s. While other post-Yngwie Malmsteen players of the "shred guitar" genre were pursuing the dramatic neo-classical vein, Howe brought a sense of funk and groove to the table that was sorely needed. Howe paid his dues playing the Easton/Allentown club circuit in the '80s with the band Duke, featuring his brother Al on lead vocals. When one of his instrumental demos grabbed the ear of talent scout and Shrapnel Records owner Mike Varney, Howe was signed to the Shrapnel label in 1987. His all-instrumental debut, Greg Howe, featuring the talents of Billy Sheehan and Atma Anur on bass and drums, respectively, was released in 1988, to considerable acclaim. Howe's second album, High Gear, released under the moniker Howe 2, was less a solo album than a Van Halen-styled band effort, featuring his brother Al Howe on lead vocals. The band broke up after releasing its more commercially minded follow-up, Now Hear This, in 1990 and Greg Howe returned to making all-instrumental albums in his home studio, taking a decidedly more fusion-styled direction. Howe released Introspection in 1993 and Uncertain Terms in 1994 and has continued to produce albums at a prolific rate since then. Aside from releasing Parallax and Five in 1995 and 1996, respectively, Howe collaborated with fellow Pennsylvania virtuoso and Shrapnel labelmate Richie Kotzen on the Tilt album in 1995 and again on 1997's Richie Kotzen/Greg Howe Project. His last Shrapnel album, Ascend, was released in 1999, followed by his debut on the Tone Center label, Hyperacuity, released in 2000.Outside of his solo career, Greg Howe is also a sought-after sideman who has toured with the likes of Michael Jackson and N'Sync. © Andy Hinds © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/greg-howe-mn0000195552

The Nimmo Brothers


The Nimmo Brothers - Coming Your Way - 2001 - Armadillo

Hot blues rock, styled with a flair and passion not seen since the early days of the classic rock era. - Mark A. Cole, Big City Blues Feb/Mar2002

This CD will gladden the hearts of the rapidly growing coterie of Nimmo brother fans. Rating 9/10 - Lionel Ross, BluePrint, Vol 12 Issue 47 10/08/01

When searching the world over for the finest blues and blues/rock artists, it certainly helps to have eyes and ears in a lot of different areas. I am always thankful for the many tips I get from all across the world via e-mail and I am blessed to have several invaluable overseas contacts. Two of my best eyes and ears belong to my dear friend Billy J. in Scotland, who has directed me to a number of excellent artists. Some time back, in the mail, I received from Billy the CD "Coming Your Way" from the Nimmo Brothers, and once again my Scottish friend was right on the mark with his recommendation. The Nimmo Brothers (unlike the Doobies) are truly both named Nimmo and actually brothers. The Scottish born Alan and Stevie share not only DNA, but also guitar and vocal duties on their very fine debut recording on the UK Armadillo Music label. Their sound is in ways a bit reminiscent of the great (but now sadly defunct) UK band The Hoax, however they are considerably more blues flavored. The brothers are not only gifted guitarists and vocalists, the are prolific song writers as well, as all 10 tracks on this CD are Nimmo Brothers' originals. Their rhythm section of Sam Firth on bass and Mark Barrett on drums is talented and fits perfectly with their style. The CD is well engineered and quite enjoyable from start to finish. While they have a touch of Stevie Ray in the sound of their guitars, the band sounds very original and fresh to me, which is also delightful to hear in this day of multiple SRV and Hendrix clones. There is a lot of up tempo material which includes, of course, the obligatory blistering guitar of vintage blues/rock. There are also some sensitive and well played ballads, and these chaps make the transition from thunderous blues/rock to soothing ballad with the best of them and without losing anything in the translation. My favorites here are numerous, and include the scorching "She's All Mine", the passionate and pounding "Live For Another Day", the beautiful acoustic track "You're The Reason", and perhaps the strongest track of the set "Long Way From Everything", which should delight any blues/rock lover. "Coming Your Way" is available at their record labels web site at www.bluearmadillo.com and at several other internet CD sales sites. You will definitely want to add a copy of this CD to your collection. Remember the name Nimmo, as these young men will bear close watching in the future. © Bluesrockers 2002 http://www.bluesrockers.ws/nimmobrothersreview.html

A great modern blues rock album from Stevie and Alan Nimmo which not only demonstrates a high level of song writing maturity and musicianship but also captures the spirit and energy of these great Scottish musicians. David Knowles, of Maverick magazine called Stevie Nimmo “one of ‘Scotland’s finest singer songwriters”. Alan Nimmo has been called "the best Blues talent since Paul Rodgers". High praise indeed! The brothers' influences include musicians like B.B King, Eric Clapton, Peter Greens Fleetwood Mac, John Mayalls Bluesbreakers, and Free. Even today, Free remains Alan Nimmo's favourite band, and Paul Rodgers his favourite vocalist. “Coming Your Way” was an acclaimed album on the British and European blues scenes – winning best UK blues album and best UK blues band at the 2002 British Blues Connection Awards. The Nimmo Brothers are still headlining festivals and selling out concerts throughout the UK and Europe. Check out The Nimmo Brothers’ “New Moon Over Memphis” album, Stevie Nimmo’s “The Wynds of Life” album, and the King King Featuring Alan Nimmo “Take My Hand” album on this blog. Buy The Nimmo Brothers “Brother to Brother” album and support great modern blues rock and real music [All tracks @ 320 Kbps: File size = 121 Mb]

TRACKS

1. She's All Mine 6:25
2. She Fills My Cup 4:58
3. Long Way From Everything 7:37
4. Coming Your Way 5:01
5. All I Want 6:29
6. Flat Broke 4:58
7. If I Could See Through Your Eyes 7:04
8. Live For Another Day 4:10
9. I'll Be Back Someday 3:31
10. You're The Reason 3:49

All tracks composed by Alan Nimmo & Stevie Nimmo

BAND

Alan Nimmo, Stevie Nimmo - Guitar, Vocals
Sam Firth - Bass
Mark Barrett - Drums, Percussion

BIO

Stevie and Alan Nimmo, as The Nimmo Brothers, from Glasgow, Scotland have proved themselves to be one of the most respected exponents of modern blues the UK has seen since the blues boom of the 1960’s. Firstly in the guise of The Blackwater Blues Band with their debut album ‘Breaking out the Blues’ showcasing an incredible energy and talent in ones so young; Alan was just 19 at the time! 1998 saw the first Nimmo Brothers album ‘Moving On’ with a more varied collection of songs than their previous offering, giving an insight into the strength and power of the Nimmo Brothers arrangements yet to come. Come they did in 2001 with ‘Coming Your Way’, marking the beginning of a hugely successful relationship with Armadillo Music. This album not only captured the true spirit and energy of the Nimmo Brothers but also showed a level of song writing maturity. It was with this batch of songs that the Nimmo Brothers found themselves catapulted to the forefront of the British and European blues scenes – winning best UK blues album and best UK blues band at the 2002 British Blues Connection Awards - as well as headlining festivals and leaving sold out signs in the windows of clubs throughout the UK and Europe. 2003 was time for a change of pace and the brothers achieved this with their acoustic album ‘New Moon over Memphis’; a beautiful and highly emotional recording which focused on the vocal and song writing talents of The Nimmo Brothers. When they first showcased this new material at the Low County Blues Bash in Charleston, South Carolina they were given two consecutive standing ovations by the audience, who were genuinely moved by the power and honesty of the songs they heard. One observer was the US blues artist Debbie Davis who immediately invited the guys to join her on stage that night at her own show. In 2006, after a period where the brothers had concentrated on various solo projects, Armadillo released their ‘Live’ album; recorded in 2003, at The Cottiers Theatre, in their home town of Glasgow. The Nimmo Brothers were back with a bombardment of new killer songs, touring the ‘Live’ album with dates in the UK, Ireland and Europe. In 2009 The Nimmo’s dusted down their amps and hauled out their treasured Les Pauls and Strat’s to promote ‘Picking up the Pieces’ and once again become THE BAND to be reckoned with on the blues scene. Musically stunning, they never fail to impress audience after audience with their show. So with seventeen years performing together and five successful CD releases behind them, Stevie and Alan Nimmo, The Nimmo Brothers, are back to their roots with the new CD, 'Brother to Brother'. Arguably they have written their best songs to date, influenced by "everything we’ve ever listened to over the past 20 years". Recorded in Austin, Texas, with Jamie Oldaker (Eric Clapton) on drums; Michael Ramos (Robert Plant, John Mellencamp, Paul Simon and Los Lonely Boys) on Hammond organ; Bill Whitbeck (Robert Earl Keen) and Jimmy Pettit (Joe Ely Band) on bass guitar. There is something for every rock fan in their original material as well as a couple of handpicked covers. © http://www.thecluny.com/listing/nimmo-brothers-1

MORE

Over the past decade and a half, Stevie and Alan Nimmo, as The Nimmo Brothers, from Glasgow, Scotland have proved themselves to be one of the most respected exponents of modern blues the UK has seen since the blues boom of the 1960’s. Firstly in the guise of The Blackwater Blues Band with their debut album ‘Breaking out the Blues’ showcasing an incredible energy and talent in ones so young; Alan was just 19 at the time! 1998 saw the first Nimmo Brothers album ‘Moving On’ with a more varied collection of songs than their previous offering, giving an insight into the strength and power of the Nimmo Brothers arrangements yet to come. Come they did in 2001 with ‘Coming Your Way’, marking the beginning of a hugely successful relationship with Armadillo Music. This album not only captured the true spirit and energy of the Nimmo Brothers but also showed a level of song writing maturity. It was with this batch of songs that the Nimmo Brothers found themselves catapulted to the forefront of the British and European blues scenes – winning best UK blues album and best UK blues band at the 2002 British Blues Connection Awards - as well as headlining festivals and leaving sold out signs in the windows of clubs throughout the UK and Europe. 2003 was time for a change of pace and the brothers achieved this with their acoustic album ‘New Moon over Memphis’; a beautiful and highly emotional recording which focused on the vocal and song writing talents of The Nimmo Brothers. When they first showcased this new material at the Low County Blues Bash in Charleston, South Carolina they were given two consecutive standing ovations by the audience, who were genuinely moved by the power and honesty of the songs they heard. One observer was the US blues artist Debbie Davis who immediately invited the guys to join her on stage that night at her own show. In 2006, after a period where the brothers had concentrated on various solo projects, Armadillo released their ‘Live’ album; recorded in 2003, at The Cottiers Theatre, in their home town of Glasgow. The Nimmo Brothers were back with a bombardment of new killer songs, touring the ‘Live’ album with dates in the UK, Ireland and Europe. In 2009 The Nimmo’s dusted down their amps and hauled out their treasured Les Pauls and Strat’s to promote ‘Picking up the Pieces’ and once again become THE BAND to be reckoned with on the blues scene. Musically stunning, they never fail to impress audience after audience with their show. The Nimmo Brothers have recently been in Austin, Texas, recording a new CD for release in Spring 2012. Sounding stronger and more powerful than ever, The Nimmo’s played and recorded with three top Austin musicians, Bill Whitbeck, bass player with Robert Earl Keen; Jimmy Pettit, bass with Joe Ely, The Flatlanders etc; also joining them on drums, the long time Eric Clapton collaborator and band member, Jamie Oldaker. © Armadillo Music Ltd 2007 http://www.bluearmadillo.com/artistpage.php?artist=16#