Blodwyn Pig

Blodwyn Pig ‎- The Basement Tapes - 2000 - Hux Records

BLODWYN PIG [MICK ABRAHAMS et al] - The Basement Tapes 1969-1974 (Gonzo 194; UK) THE BASEMENT TAPES contains radio sessions and live material recorded from 1969 to 1974, as well as two bonus tracks recorded in 1996. Basement Tapes buy CD music Previously unreleased BBC recordings from the former Jethro Tull guitarist, recorded 1969-1974. Basement Tapes songs Plus two bonus tracks from 1996. Basement Tapes album for sale Blodwyn Pig includes: Mick Abraham. Blodwyn Pig: Mick Abrahams (vocals, guitar); Jack Lancaster (violin, flute, saxophone); Andrew Pyle, Mike Summerland (bass guitar); Clive Bunker, Graham Walker, Ron Berg (drums). Basement Tapes CD music contains a single disc with 13 songs. "Like a lot of people, I approached Blodwyn Pig by way of Jethro Tull. Mick Abrahams was a 'force to contend with' in the original Tull line-up, and he and Ian Anderson came to loggerheads about the direction the group should take. Abrahams split, but the group he formed was no mere spin-off. Blodwyn Pig was every bit the equal of Jethro Tull. Abrahams was and is a first-rate blues guitarist. His electric guitar stylings are instantly recognizable, and he is also a master of acoustic fingerstyle blues guitar. Sax and flute man Jack Lancaster shared Ian Anderson's fondness for imitating jazzman Roland Kirk. Lancaster even replicated Kirk's trick of playing two horns at the same time. The tracks on Basement Tapes were drawn from BBC sessions that Blodwyn Pig did in 1969, and later in 1974 during an abortive attempt to reform the group ( the '74 edition of the band also includes former Jethro Tull drummer Clive Bunker.) These tunes fully illustrate just how eclectic a group Blodwyn Pig was. They feature guitar/sax passages that wail as hard as King Crimson's "21st Century Schizoid Man", plus examples of Abrahams' off the wall sense of humor (best example: "Mr.Green's Blues"). Blodwyn Pig was as good as any band playing between 1969 and 1971---extremely innovative and exciting. Don't miss this one, or the two classic studio albums, "Ahead Rings Out" and "Getting to This." Five stars!" © http://www.downtownmusicgallery.com/Main/news/Newsletter-2014-05-23.html

As a complete fan of Mick Abrahams it was great to take a casual look at the CD'S available for Bloodwyn Pig and find "The Basement Tapes". Great fidelity througout as well as fine blues rock guitar from Mick! In case you dont know Mick Abrahams was a founding member of Jethro Tull and treat yourself to their first album. Mick's tone is always superb as well as his playing and Tull got gradually worse as Ian Anderson tightened his grip on the band. By the time Tull had released "Aqualung " they were on the way to some kind of weird sing song junk, not heavy riffage! I now know why Mick split...he is 100% Blues and Rock. Several of the Pigs hits are here sometimes twice as the original band doing the numbers in early 1970's then again live in 1974 with a version of the Pig that released no album. Remember to put on the track "Drive Me” and turn it up, and check out Mick wailing away....It was a real pleasure to hear a fine guitarist at what he does best, great blues based rock guitar with a great bottom and an amazing jack Lancaster on Sax! If you dont own any "Blodwyn Pig" be sure to purchase " Ahead Rings Out". That is their first album and a must. It contains a great slide track, "Dear Jill". As I have told you before, buy it now and enjoy! Buy this CD!!! – from ***** "A Pig Makes Good " Blodwyn Pig - The Basement Tapes, November 11, 2003 By & © A Customer © 1996-2014, Amazon.com, Inc. or its affiliates © http://www.amazon.com/review/R2SSRB89L27OUZ/ref=cm_cr_pr_viewpnt#R2SSRB89L27OUZ

Not everybody is as enthusiastic as the Amazon reviewer above about this album. Most of the criticism relates to Mick Abrahams’ “alleged” “sloppy” playing, and not producing his best form on the tracks. Somebody said that Mick Abrahams would have objected to the release of this album. Believe me, this is a very worthwhile release. Most of the tracks were recorded for BBC radio sessions, and they are in no way perfect, either in sound quality or musicianship. Nevertheless, the great Blodwyn Pig were not a prolific recording band and it’s great to see this stuff taken from the vaults and cleaned up. The album features previously unreleased Radio 1 session and live material, recorded between 1969-1974, plus two Mick Abrahams bonus tracks from 1996. Mick Abrahams has never received due credit for his contribution to rock and blues music. He is arguably best remembered for his terrific blues licks on Jethro Tull's debut album, “This Was”, where critics compared him to Eric Clapton. When Mick left Tull he never managed to achieve lasting success as a recording artist, or achieve the world-class fame of his former band mates. He has led various line-ups of his best-known band, Blodwyn Pig, and over the last 25 years or so he has managed to achieve some significant cult status, mainly in England. His laid back, understated, jazz/blues guitar technique is a joy to listen to. Blodwyn Pig was a largely unsung band that made a valuable contribution to the development of progressive rock music. Their unique blend of guitar and horn twin leads set against a backdrop of heavy, prog, blues and jazz packs an almighty punch that may appeal to fans of bands like early Jethro Tull and Colosseum . Blodwyn Pig reformed in 1988 and have recorded some great overlooked albums in recent years. Read more about this great jazz/blues/prog.rock band @ http://www.squirrelmusic.com/ and http://www.allmusic.com/artist/blodwyn-pig-mn0000055174/biography and check this blog for more info on BP. Listen to Mick Abrahams’ Blodwyn Pig’s “Times Have Changed” album [All tracks @ 320 Kbps: File size = 128 Mb]

TRACKS

1 The Modern Alchemist 4:49
2 Mr. Green's Blues 3:49
3 It's Only Love 3:31
4 See My Way 5:56
5 Blues Of A Dunstable Truck Driving Man 2:47
6 Baby Girl 3:53
7 The Leaving Song 4:53
8 I Know 8:54
9 It's Only Love (Live) 3:16
10 See My Way (Live) 6:35
11 Blues Of A Dunstable Truck Driving Man (Live) 2:10
12 Hound Dog 2:20
13 Drive Me 2:43

All tracks composed by Mick Abrahams except Track 1 by Jack Lancaster, Track 2 by Mick Abrahams, Jack Lancaster, & Ron Berg, and Track 12 by Jerry Leiber & Mike Stoller

N.B: This album features previously unreleased Radio 1 session and live material, recorded between 1969-1974, plus two Mick Abrahams bonus tracks from 1996: Tracks 1-2 recorded in session for Top Gear 24.3.69. First transmitted 13.4.69. ℗ BBC 1969: Track 3 recorded in session for Top Gear 7.1.69. First transmitted 13.7.69. ℗ BBC 1969: Tracks 4-7 recorded in session for John Peel 17.6.74. First transmitted 9.7.74. ℗ BBC 1974: Tracks 8-11 recorded for Radio 1 'Live in Concert' 15.8.74. ℗ BBC 1974: Tracks 12-13 recorded 1996 at Black Barn Recording Studio in Ripley, Surrey, UK

MUSICIANS

Mick Abrahams - Guitar, Vocals
Andrew Pyle - Bass on Tracks 1-11
Mike Summerland - Bass on Tracks 12-13
Ron Berg - Drums on Tracks 1-3
Clive Bunker - Drums on Tracks 4-11
Graham Walker - Drums on Tracks 12-13
Jack Lancaster - Saxophone, Flute, Violin on Tracks 1-11

BIO

A quirky detour of late-'60s British progressive/blues rock, Blodwyn Pig was founded by former Jethro Tull guitarist Mick Abrahams, who left Tull after the This Was album. Abrahams was joined by bassist Andy Pyle, drummer Ron Berg, and Jack Lancaster, who gave the outfit their most distinctive colorings via his saxophone and flute. On their two albums, they explored a jazz/blues/progressive style somewhat in the mould of (unsurprisingly) Jethro Tull, but with a lighter feel. They also bore some similarities to John Mayall's jazzy late-'60s versions of the Bluesbreakers, or perhaps Colosseum, but with more eclectic material. Both of their LPs made the British Top Ten, though the players' instrumental skills were handicapped by thin vocals and erratic (though oft-imaginative) material. The group were effectively finished by Abrahams'departure after 1970's Getting to This. They briefly reunited in the mid-'70s, and Abrahams was part of a different lineup that reformed in the late '80s; they have since issued a couple of albums in the 1990s. © Richie Unterberger © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/blodwyn-pig-mn0000055174/biography

MORE

Blodwyn Pig was one of the core bands of the underground music scene of the late sixties. Main man Mick Abrahams was involved with several R&B bands including THE HUSTLERS throughout the decade and he even played some gigs with SCREAMING LORD SUTCH. In 1967 he co-founded JETHRO TULL along with Ian Anderson but was then ousted from the band in November of the following year, shortly after the release of their debut album ''This Was''. After leaving JETHRO TULL Abrahams formed BLODWYN PIG, the unusual name apparently coined by a rather stoned friend of the band. The original line-up consisted of Abrahams (guitar, vocals), Jack Lancaster (saxophones, flute, violin), Andy Pyle (bass) and Ron Berg (drums). Pyle had played in Luton blues band McGREGOR'S ENGINE, a band that Abrahams had in fact formed earlier in 1967; it also included future JETHRO TULL and BLODWYN PIG drummer Clive Bunker. BLODWYN PIG had an extensive live activity that included appearances at the Isle of Wight and Reading rock festivals. They also completed two US tours that took in performances at both Fillmores and the LA Forum. After recording two successful albums the dreaded musical differences resulted in Abrahams' departure from the band in September 1970. He was actually replaced by two guitarists; one was Barry Reynolds and the other was former YES guitarist Peter Banks, who went on to form FLASH. The quintet failed to see the year out and only managed three or four gigs. With the arrival of replacement guitarist Larry Wallis (UFO, PINK FAIRIES, MOTORHEAD) the band changed its name to LANCASTER'S BOMBERS (later simply LANCASTER) and toured with YES in 1971. In the meantime Abrahams had formed WOMMETT and THE MICK ABRAHAMS BAND, the latter of which released two guitar-driven rock albums; Jack Lancaster featured on the second of these albums. Despite the fact that this group enjoyed success across Europe it also split due to some less than enthusiastic record company support. BLODWYN PIG then briefly reformed in February 1974 with the aforementioned Clive Bunker on drums, but old differences resulted in another split and a disillusioned Abrahams temporarily withdrew from the music business. The two albums released by the original incarnation of BLODWYN PIG, ''Ahead Rings Out'' (1969) and ''Getting To This'' (1970), were a fusion of heavy progressive blues and jazz, with Jack Lancaster's brass and woodwind providing most of the distinctive jazz colourings. Speaking about the debut album on his website, Abrahams asserts that Lancaster ''brought a mixture of hard hybrid jazz-rock to the album.'' Lancaster was influenced, as was Ian Anderson, by American jazz multi-instrumentalist Rahsaan Roland Kirk. Lancaster often played two horns simultaneously in the manner of his idol, and when combined with his liberal use of overdubs the overall effect sounded like a brass section playing on the albums. ''Ahead Rings Out'', with its iconic cover art, is generally regarded as the jazzier, more progressive of the two albums. However ''Getting To This'' is perhaps funkier and includes a multi-part track that really showcases Lancaster's musicianship. All Music describes their music as ''a stellar concoction of gritty yet flamboyant blues-rock and open-ended jazz'', and in spite of being a bit rough around the edges several tracks on these two albums would be quite at home on early JETHRO TULL albums. BLODWYN PIG has been something of an on-off concern over the years but largely in response to the enthusiasm of fans Abrahams revived the band with a different line-up in 1987. This new version of the band went on to release several albums during the nineties. Lancaster and Bunker formed the eclectic progressive band AVIATOR in 1978, and Lancaster has also worked as a record producer, composer for film and television, and session musician/arranger for artists such as Phil Collins, Brian Eno and Vangelis. Pyle and Berg formed the rhythm sections of JUICY LUCY and SAVOY BROWN, and Pyle played with later incarnations of THE KINKS and WISHBONE ASH. Abrahams himself has continued to release solo albums, while the rift with Ian Anderson has now healed and the pair have successfully collaborated on several projects. BLODWYN PIG was one of the largely unsung bands that have nonetheless made a valuable contribution to the development of progressive rock music. Their unique blend of guitar and horn twin leads set against a backdrop of heavy, prog, blues and jazz packs an almighty punch that should appeal to fans of early JETHRO TULL and COLOSSEUM. © Chris / seventhsojourn © Prog Archives, All rights reserved http://www.progarchives.com/artist.asp?id=6289

Michael Monarch

Michael Monarch - Guitar Bazaar - 2000 - MSR Records

Drivin' Rhythm and Dynamic Guitar... Man, what an impressive instrumental release from this consummate rock guitar pro! Outstanding talent, production values and hot charts. Range of musical emotions is top-flight on this recording. Buy this CD!........the SpinDoctor@cdstreet.com

Many "guitar-oriented" albums are released each year. Some are wimpy new-age efforts, others bluesy romps, recycling old licks 'til the cows come home. This is none of these - just a straight-ahead rock and roll whirlwind, moving effortlessly one tune to another, with major influences Jeff Beck and Albert King echoing throughout. Monarch, former lead guitarist for Steppenwolf, is an accomplished fret man, and he plays the majority of instruments on this outing. The tunes range from the subtle, moody "Black Satin Sheets" to "Technical Meltdown," which begins tongue-in-cheek, pastiching the faux-jazz that passes for music on our local station - very tasty, and quite aggressive. Monarch has an attack and control over tone seasoned by years of playing, and he's a joy to hear, whether playing forceful, crunchy rock ("Toastin' Jam") or something more playful and thoughtful ("Little Dreamer"). All in all, this outing is a delight for guitar lovers. - Stephan Patt, Vintage Guitar Magazine, May 2001

Michael Monarch (born on July 5, 1950 in Los Angeles, California) was just 17 years old when he joined Steppenwolf in 1967 as their lead guitarist. He played on all their hits, including "Born to Be Wild", "Magic Carpet Ride", and "Rock Me" while still in high school. He played on Janis Joplin's "I Got Dem Ol' Kozmic Blues Again Mama!" album and with many other great artists including Denny Laine, Spencer Davis, Roger Glover of "Deep Purple" and Andy Fraser of "Free". He is a hugely experienced multi-instrumentalist and has never truly got the credit he deserves. Speaking about “Guitar Bazaar” Michael said that “I opted for an instrumental CD because my singing sucks! It really started as just some fun in my studio; a collection of eclectic instrumentals from balls-to-the-wall rock to modern funky R&B, with elements of jazz and Latin mixed in, and plenty of “ear candy.” It’s gotten some really good reviews”. Some of Michaels favourite guitarists include Jimi Hendrix, Jeff Beck, Hendrix, Albert King, Albert Lee, Ry Cooder, Danny Gatton, Eric Johnson, Brent Mason, Junior Brown, and Steve Cropper. There’s a definite Jeff Beck flavour to the album but this guy is copying nobody. He has been around the rock scene for around 50 years and has actually set his own musical standards. This album is HR by A.O.O.F.C. Buy Mike’s the “The Other Side of the Tracks” album and support real music [All tracks @ 320 Kbps: File size = 119 Mb]

TRACKS

1. Technical Meltdown (0:17)
2. Funk Attack (3:30)
3. Latin Manhattan (3:44)
4. Satisfied (4:10)
5. Bits & Pieces (3:59)
6. Fender Bender (4:41)
7. Bahama Mama (4:38)
8. Black Satin Sheets (4:48)
9. Happy Feet (3:42)
10. Little Dreamer (3:06)
11. East Turn (4:03)
12. Showdown (6:27)
13. Whistler (3:57)
14. Toastin' Jam (3:21)

All instrumentation by Michael Monarch including guitar, bass, synth & sampled basses, keys, drums, and horns. All music composed by Michael Monarch

SHORT BIO

Michael Monarch's guitar playing perhaps helped best to capture the spirit of the 1960's. His work with the iconoclastic "Steppenwolf" remains a hallmark of the unique mixture of psychedelic and rock. As the original guitarist for "Steppenwolf", he played on all the hits including "Born To Be Wild", "Magic Carpet Ride", "Rock Me Baby" and "The Pusher". With over 35 years of stage and studio experience as a musician and composer, Michael has worked with such all-time legends as "Steppenwolf", Janis Joplin (The Kozmic Blues Band), SwanSong/Atlantic recording group "Detective", as well as with Roger Glover of "Deep Purple" and Andy Fraser of "Free". Some of his film soundtrack and television credits include: Easy Rider, Coming Home, Star 80, Candy, WKRP In Cincinnati, Miami Vice, A Current Affair, Saturday Night Live, Geraldo, Kathy & Regis, Alley McBeal, Cold Case, Austin Powers: The Spy Who Shagged Me, Contact, Sex And The City, ER, Star Trek: First Contact, Sahara, The Wonder Years, Disney's It's A Bugs Life, Herbie: Fully Loaded & Racing Stripes, Penny Dreadful, The Simpsons, My Name Is Earl, Borat and Tropic Thunder. For the last decade Michael has been writing and producing music as well as performing with Randy Meisner (Eagles), Denny Laine (Moody Blues/Wings), Spencer Davis, Aynsley Dunbar (Journey) and musicians from Toto (Fergie Frederiksen), Steppenwolf (Nick St.Nicholas), Foreigner (Ron Wikso), Santana (Alex Ligertwood & Greg Walker), Boston (Fran Cosmo) and Lynyrd Skynyrd (Randall Hall) as the World Classic Rockers. Michael is a guitarist extraordinaire as well as a highly accomplished keyboardist with many gold and platinum records to his credit. © 2000 - M.Monarch - All rights reserved http://michaelmonarch.com/biography.htm

Nick Johnston

Nick Johnston - In A Locked Room On The Moon - 2013 - Nick Johnston

An instrumental guitar record absolutely oozing with tone and melody. This collection of music brings together a wonderfully eclectic sense of style and features guest solos from the legendary Paul Gilbert and Guthrie Govan. © http://www.cdbaby.com/cd/nickjohnston2

If you enjoyed my first release, 'Public Display Of Infection', you'll love this music. There are guest guitar solos from Paul Gilbert and Guthrie Govan and Travis Orbin returns once again to lay down some incredible drum performances. The album is soaked in beautiful tones and melodies and I highly recommend you check this out! - © nickjohnstonmusic.com – Nick

Back in Nov 2011 I reviewed the debut instrumental guitar album by Nick Johnston called Public Display of Infection which is a great album but I feel that Nick has really taken it to another level with his latest release ‘In A Locked Room On The Moon‘. While the album is just as eclectic mixing various styles the composition and playing sounds more mature as do the guitar tones. Nick has gone for a much beefier guitar sound but not swamped in gain, you can still hear when he is using single coils such as the 2nd track on the album ‘Dizzy With A Dame‘ which has a sort of 60′s feel to it, just listen for yourself! Nick’s playing is just phenomenal he easily blends sounds from Latin music, Blues, some sort of eastern European Polka… ok I’m guessing with Polka but just watch the 1st video above and tell me what kind of genre that is? I have no idea but I love it. For this album Nick lined up a couple of guest guitar players to contribute solos one of which being the… erm I’ve run out of adjectives to describe him, Guthrie Govan. Nick trades licks on the blues groover ‘Electric In My Veins‘ and it sounds like Guthrie is using his Vigier fretless with lots of slidey runs. I personally would be scared shitless having someone like GG playing on one of my tracks, in fact I wouldn’t include a solo of my own because it would sound terrible in comparison but Nick is totally comfortable playing alongside the big man and has quite a similar style of soloing. Also guesting on the album is another guitar legend, Paul Gilbert who trades solos on the track ‘Trick Question’, another sort shuffley blues rock track. The cool thing about Paul and Guthrie is that they are instantly recognisable but they fit in with Nick’s tracks and playing perfectly. This is a really great album from start to finish and not a predictable shred album in the slightest. Nick has composed some really enjoyable guitar music that has enough changes in styles and tempos to keep you interested throughout. Definitely one of the best instrumental guitar albums I’ve heard this year. Check out Nick Johnston’s website for details on how to purchase and for links to his various social media channels. - Posted by & © Jon in Reviews August 30, 2013 at 4:32 pm © 2014 Guitar Noize. All Rights Reserved. http://guitarnoize.com/nick-johnston-locked-room-moon/

Nick Johnston is a Canadian musician known primarily for his instrumental rock guitar style. He started playing guitar when he was 13 and learned and played songs by Metallica and Nirvana while jamming with a band in his basement. He later took a great interest in Shrapnel artists like Yngwie Malmsteen, Paul Gilbert, Jason Becker and more which inspired him to practice immensely hard. At 16, he played a school concert for over 700 people, which gave him the confidence needed to become a great guitarist. Nick then took lessons with guitar teacher Adrian Raso, who helped Nick immensely to become the great and unique guitarist he is today. Around this time Nick was aware of guitarists like Greg Howe and Brett Garsed and he practiced for up to eight hours daily to try and achieve the standard of these guys. In 2011, his first album ‘Public Display Of Infection’ received great critical acclaim and he is a huge talent today. His second album ‘In A Locked Room On The Moon’ featured here features legendary guitar players Paul Gilbert and Guthrie Govan, and strengthens Nick's already strong credibility and reputation as a brilliant virtuosic guitarist and songwriter. A great album and HR by A.O.O.F.C. Buy Nick’s ‘Public Display Of Infection’ album and support real music. Has anybody any info on an album called "False Step" released by Nick early in his career [All tracks @ 320 Kbps: File size = 100 Mb]

TRACKS

1 The Evil Stepsister 3:16
2 The Deepest Breath 4:30
3 Even If It Takes A Lifetime 4:47
4 Trick Question 5:13
5 Sandmonster 3:01
6 In A Locked Room On The Moon 2:56
7 The Pickpocket's Remorse 3:38
8 Dizzy With A Dame 3:18
9 An Extra Emotion 4:39
10 Electric In My Veins 8:21

All tracks composed by Nick Johnston

MUSICIANS

Nick Johnston - Guitar
Dave McDermid - Guitar Fills on Track 4
Paul Gilbert - Guitar Solo on Track 4
Guthrie Govan - Guitar Solo on on Track 10
Matt King - Bass
Travis Orbin - Drums

Steve Swallow

Steve Swallow - Always Pack Your Uniform on Top - 1999 - Watt Works Inc.

Acoustic piano and electric bass aren’t exactly natural-born partners. Carla Bley and Steve Swallow, on the other hand, hardly approach their respective instruments with anything resembling conventionality. Bley incorporates a gamut of influences in her open-minded, idiosyncratic playing, and one-time upright ace Swallow plucks with a pick, playing guitaristically on a five-string bass rigged with an extra high C string (rather than a low B). In addition to those factors, the two think alike, plugging into each other’s playing organically for a warm, chamberlike sound amply demonstrated on Are We There Yet? The pair’s third outing as a duo, recorded during a 1998 European tour, opens with the playful, tail-chasing "Major" before slipping into the slow-grooving gospel blues of "A Dog’s Life" and then the melancholy of "Satie For Two," named for Bley’s major influence. Kurt Weill’s "Lost in the Stars," tagged with a bit of "When You Wish Upon a Star," is pure elegance, and Thelonious Monk’s spirit comes through (yet again) on Bley’s "King Korn." Swallow’s gorgeous tone and sophisticated phrasing are front and center on the ever-shifting, trickling "Playing With Water," and the twisting "Musique Mécanique" is informed by Eastern European folk music. Swallow and three of his quintet partners from 1996’s Deconstructed (trumpeter Barry Ries replaces Ryan Kisor) are heard on Always Pack Your Uniform on Top, culled from a week’s worth of performances last April at London’s famous Ronnie Scott nightclub. The post-bop compositions are consistently inventive and so are the improvisations: Dig drummer Adam Nussbaum’s tricky rhythm display over the riff of "Bend Over Backward," Chris Potter’s earthy tenor sax expedition on the frenetic "Dog With a Bone" and Mick Goodrick’s thoughtful, fluid fretwork on altered bossa "Feet First" (and everything else). Swallow, who skips solos in favor of brilliant unaccompanied introductions on two pieces, includes charts of the music in the CD booklet. Nice touch. BY & © PHILIP BOOTH Published 9/13/2000 © 2014 Detroit Metro Times. http://www2.metrotimes.com/music/review.asp?rid=4890

This is Swallow's third standards-derived quintet album, following in the footsteps of 1994's Real Book and 1996's Deconstructed. Here the Deconstructed quintet is captured live at Ronnie Scott's in London. (Trumpeter Barry Ries replaces Ryan Kisor.) Although there's a brand new batch of tunes, Swallow applies the same approach, using familiar progressions as the basis for clever original music. Tenor saxophonist Chris Potter looms large, as does guitarist Mick Goodrick, Swallow's longtime compatriot, whose profound influence on John Abercrombie couldn't be clearer. Adam Nussbaum holds down the rhythm section along with the leader who restricts himself to a supportive role, never taking a single solo. (He plays short, unaccompanied intros on "Bend Over Backward" and "Reinventing the Wheel," however.) While the breakneck "Dog With a Bone" and the herky-jerky "Reinventing the Wheel" resemble the ethos of the two previous studio records, the remaining four tracks are more subdued yet somehow more offbeat and contemporary. "Misery Loves Company," a tune with a Latin 12/8 pulse, is especially rich and dark in color. © David R. Adler © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/always-pack-your-uniform-on-top-mw0000068220

A great gig recorded live at Ronnie Scott’s Jazz Club, London, England in April 1999 which features a pianoless quintet led by one of the world’s greatest living electric bassists, Steve Swallow. All music was composed by Steve and players include guitarist Mick Goodrick, drummer Adam Nussbaum, trumpeter Barry Ries, and the incomparable saxophonist Chris Potter. This is modern jazz at it’s best. Nothing abstract here, just great compositions, and marvellous musicianship and interplay. Read an AAJ review @ http://www.allaboutjazz.com/always-pack-your-uniform-on-top-steve-swallow-ecm-records-review-by-glenn-astarita.php#.U6PuOfldVe8 Listen to Steve's "Deconstructed" album [All tracks @ 320 Kbps: File size = 137 Mb]

TRACKS

1 Bend Over Backward 11:26
2 Dog With A Bone 6:11
3 Misery Loves Company 7:47
4 Reinventing The Wheel 7:47
5 Feet First 7:25
6 La Nostalgie De La Boue 6:46

All music composed by Steve Swallow

MUSICIANS

Mick Goodrick – Guitar
Steve Swallow – Bass
Adam Nussbaum – Drums
Chris Potter – Tenor Saxophone
Barry Ries – Trumpet

BIO

Steve Swallow has long been many jazz critics' favorite electric bassist, for rather than playing his instrument in a rock-oriented manner, Swallow emphasizes the high notes and, to an extent, approaches the electric bass as if it were a guitar. He originally started on piano and trumpet before settling on the acoustic bass as a teenager. Swallow joined the Paul Bley trio in 1960 and with Bley was part of an avant-garde version of the Jimmy Giuffre 3 during 1960-1962. Swallow recorded with George Russell and was a member of Art Farmer's quartet (1962-1965), Stan Getz's band (1965-1967), and an important edition of Gary Burton's quartet (1967-1970). The latter group (starting with the addition of guitarist Larry Coryell) was actually one of the first fusion groups, and it was during that time that Swallow began playing electric bass; within a few years, he stopped playing acoustic altogether. Swallow spent a few years in the early '70s living in northern California, during which time he mostly played locally. After the late '70s, he was closely associated with Carla Bley's groups, although he occasionally worked on other projects (including a reunion of the Jimmy Giuffre 3). Swallow has also proved to be a talented composer with "Eiderdown," "Falling Grace," "General Mojo's Well Laid Plan," and "Hotel Hello" among his better-known pieces. The 21st century saw the release of several Swallow sets, including Damaged in Transit (2003), Histoire Du Clochard: The Bum's Tale (2004), and an intriguing set with poet Robert Creeley, So There (2006). Hotel Hello appeared in 2007, followed by Believe in Spring, a collection of standards with Hans Ulrik and Jonas Johansen issued on the Stunt label, and Carla's Christmas Carols in 2008. In 2010 he recorded IS with trumpeter Tore Johanson for the Inner Ear label. Swallow formed We3 along with Adam Nussbaum and David Leibman; they recorded Amazing in 2011. In 2012 he and drummer Joey Barron played in Steve Kuhn's trio for the recording of Wisteria on ECM. It was a busy year for the bassist: he also recorded another duet offering, The Agnostic Chant Book, with reed and woodwind master Jonas Schoen. He led his own quintet for Into the Woodwork, which was issued on Xtra WATT, in June of 2013, and shared triple-billing with Carla Bley and Andy Sheppard on Trios, which was released in September of that year. © Scott Yanow © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/steve-swallow-mn0000042344/biography

Joe Cefalu

Joe Cefalu - Fear Itself - 2008 - Ready Room Records

Joe is originally from NYC and spent his formative years there practicing guitar, playing gigs and hanging around recording studios. Joe moved to California in 1996 and spent 9 years teaching and playing in the San Francisco Bay Area. He met his bride to be in Marin County, CA and soon after the birth of their second son they decided to relocate to the great state of Idaho. Joe and his family now reside in Northeast Boise. A guitar instructor since 1991, Joe has students aged 12 to 60 and over the last 10 years has averaged about 40 private lessons a week. Joe enjoys playing on a variety of studio and live performances. Quite often, Joe is called upon to assist various artists in the studio, sometimes juggling performing, arranging, producing and engineering duties. As a freelance writer, Joe has been tapped by various guitar publications to evaluate and review musical gear. He's also done guitar transcriptions, interviews, instructional columns and album liner notes. Joe has been a featured artist in such publications as Guitar Player, Guitar World and Guitar Magazines. Joe continues to hone his craft as a musician and a guitarist on a daily basis and he feels extremely grateful to be able to earn his living with a guitar in his hands. © http://www.shredacademy.com/content/artists/11/joe-cefalu

"... Joe's soloing runs the gamut from Blues to Metal to Fusion and he clearly possesses a high level of proficiency in all three categories." Mike Varney - Guitar Player Magazine

"...Tasty and versatile. Joe has fire in his playing and the ability to adapt the heat to just what the song demands." John Stix - Guitar Magazine

"Joe is a real gutsy, fiery player. Definitely one of the best up and coming rock guys out there." Neal Schon - Santana, Journey

Great Strat-y tones, nice phrasing, wide-ranging dynamics. That’s what you’ll get from Cefalu’s latest, but you’ll also get some kick-ass burning and solid tunes that should appeal to fans of his main influences, Gilmour and Hendrix. ****/5 "Very Cool" - Matt Blackett, Guitar Player Magazine

This album is fantastic. It features a nice set of instrumental tunes that focus on melody, phrasing and technical playing. If you are a fan of melodic rock/fusion instrumentals that range from Neal Schon to Joe Satriani to Jeff Beck to Steve Lukather, this album is a great choice. I am really impressed by the compositions and the playing....***** - Great Instrumental Rock, January 6, 2010 By & © West Side Soul "Mikey Likes It" (NJ United States) © 1996-2014, Amazon.com, Inc. or its affiliates http://www.amazon.com/productreviews/B001EUKPQO/ref=acr_dpdigitalmusic_text/182-1193432-0743116?ie=UTF8&showViewpoints=1

Guitarist Joe Cefalu composed and recorded Fear Itself drawing on the influences of the guitar heroes of his formative years, "The playing styles of guitarists like David Gilmour, Jeff Beck, Brian May, Hendrix and Jimmy Page speak to me most loudly", says Joe. "Through the years, as you develop as a musician, different players and the music they make have an impact on your approach. You can't help but be affected by different bands and guitar players and even by different musical "fads" that come in and out of fashion through the years. However, when the smoke clears, for me, it still comes down to those classic guitarists who play from their hearts and whose styles are defined by emotive and soulful playing, rather than sheer technique alone", explains Cefalu. Joe recorded the tunes on Fear Itself as they were composed, without any preconceived concept for the overall collection of songs. As a result, the tunes are varied in style, ranging from riff-driven Rock to Gospel-tinged Blues, from lush arrangements to more sparse, power-trio numbers. There are even some Jazz flavored lines and Fusion compositions on the album. However, there is never a sense of any hodge-podge collision of genres. Instead, the songs are represented in a fluid, cohesive manner thanks to Cefalu's dynamic playing style. "My goal was to write what I was feeling in the moment and to play what I heard in my head and felt in my gut. For example, the motivation for a "keeper" guitar solo was not that it was technically perfect or was difficult to play or that it would leave others players astonished at its speed or complexity. Rather, if there was some cool little expression or quirkiness, some colorful ornamentation to a phrase, I'd keep it and try to stay in that vein. Basically, if it was a visceral, honest expression and held true to the spirit of the tune, it stayed. If it was fast and clean but lacked human feel or spontaneity, it got canned". Fans of melodic, gutsy guitar playing and adventurous, groove-driven music will find plenty to enjoy when they fire up Joe Cefalu's: Fear Itself. © 2002-2014 AbstractLogix http://www.abstractlogix.com/xcart/product.php?productid=23955

Well received by critics and fans, Fear Itself is a collection of highly energetic tunes that showcase Joe's playing and songwriting across a wide range of styles. Delivering stomping Hard Rock, Gospel-tinged ballads, and percolating Fusion grooves, this release offers something for every listener – an extremely diverse sonic experience! © 2014 Joe Cefalu, all rights reserved. http://joecefalu.com/discography

Smithtown, New York born guitarist Joe Cefalu may not be a well known name in the music world but he plays a mean guitar in all styles. He is also a great composer and in-demand session player. The instrumental “Fear Itself” showcases Joe’s abilities very well. This guy can shred with the best, but this is not a shred album and Joe never has to go into overdrive to demonstrate his huge talent. Joe’s main influences when he began playing were Dave Gilmour and Jimi Hendrix. This album incorporates those rock and progressive rock influences, but Joe also plays fusion, funk, and soul. A great album from a great guitarist. Buy Joe’s great “Blink of an Eye” album and check out some of his lessons @ http://www.shredacademy.com/content/artists/11/joe-cefalu Support real music [All tracks @ 320 Kbps: File size = 93.2 Mb]

TRACKS

1. Gravesend Blues 2:35
2. Crop Circles 4:20
3. The Big Tall Wish 3:29
4. Blackie Redd 5:02
5. Signor Max 2:07
6. The Fear 5:13
7. Suckerpunch 3:46
8. Grey Sea At Dawn 3:36
9. By Any Other Name 5:56
10. Riddle Me This 3:08

Joe Cefalu - Guitar, Bass Guitar, Synths, Drum Programming & Editing, Mixing, Engineer, Producer, & composer of all tracks

BIO

Guitarist and composer Joe Cefalu has released various albums as a solo artist and has been featured on numerous recordings throughout the years as a session player. His latest instrumental effort, Blink of an Eye, is an exciting collection of guitar driven tunes featuring Joe’s dynamic playing style. Blending Blues, Rock, Prog, and Fusion approaches, “Blink of an Eye” is a must for fans of melodic, adventurous guitar playing. Two previous albums, Fear Itself and The Lazarus Project are also currently available. Publications such as Guitar Player, Vintage Guitar, and Guitarist (UK) magazines have featured Joe in their pages. Originally from NYC, Joe spent his formative years there practicing guitar, playing gigs, and working in recording studios. After spending about a decade in the California Bay Area, Joe relocated with his family to the Mountain West and now resides in East Boise. A guitar instructor for almost 20 years, Joe currently teaches students of all ages and playing levels at his private studio in Downtown Boise. His online instructional videos have been popular and highly rated on sites such as YouTube and Vimeo, and pre-production for instructional DVDs and online lessons are currently in the works. BIO FACTS: Born in: Smithtown, NY: Started playing at age: 14: First guitar: Zim-Gar Steel String Acoustic: First amp: Peavey Bandit: Initially inspired by: Roy Clark (on The Odd Couple): Musical style: Melodic Instrumental Rock: Idiosyncrasy: Print on guitar pick must face thumb!: © 2014 Joe Cefalu, all rights reserved http://joecefalu.com/about-joe-cefalu/

Rigel Michelena

Rigel Michelena ‎- Bartok's Room - 2001 - Musea

The first track sets the record straight right away: here we have a warm brand of jazzrock with lots of stereo effects going on in my headphones. Plenty of dark bass and also bubbly marimba like sounds alternate with a varied palette of guitar: rather typical jazz rock guitar, repetitive groovy guitar, a more meandering type and a dissonant kind of guitar as well. In addition I hear some vague echoes of early Camel. The keyboards on this rather groovy track are of the swirly seventies jazz rock kind. The next one up is I. This track continues along the same line, but not as groovy. The groove returns on El Ojo-Dido where we also find a funky bass and a meandering harsh sounding guitar as well.The next one is a song for the cat: it opens with quick fingered acoustic guitar with moody twangings. A piece that a cat might actually like with low warm sounds. We continue with the slow ballad Inside which features guitar and (non-disturbingly) electronic drums. Twiggy Pig is a rather off-beat track but one in which the groove sounds a bit familiar. The sound continues to be warm and spacious and the rhythms can be quite modern sounding. The bass seems to be the main instrument at first, but later the electric guitar throws in some hectically meandering guitar work best compared with later King Crimson. The Last Dodo Bird is a rather complex sounding piece with the main role for guitar playing a rather baroque piece in the presence of a low rumbling bass and active percussion. Quite a bit of fiddling around on this one, and because of it the music does not really flow. Latin percussion abounds on Street Jam, as well as some acoustic strumming and people clapping and shouting. A street atmosphere is being built here. One of the more focussed track on the album is the rocking Uranus with tense guitar work (a bit of King Crimson, a bit of Holdsworth here). Parts of the track are more relaxed with some wailing keyboards and later some wailing guitar. My personal favourite on the album.The closer is the short Final Chat, which is more like a Final Scat. I don't like it. Conclusion: Adventurous jazzrock, eloquently and refreshingly played with a strong focus on warm intimate moods, but sometimes dissonant and harsh as well. The instrumentalists are masters of their instruments, it sounds really good. The music is at times maybe a bit too free of form and it is my feeling that the album is mostly interesting to lovers of jazz rock (but mind you, that the music is a bit more adventurous as that). Melody does not always gets the attention that it maybe should, but the groove is strong as a compensation. © Jurriaan Hage http://www.staff.science.uu.nl/~hage0101/reviews/bartoksroom.html

Take yer fav ball o' silly putty and roll it over a sound/style image of chops a la Allan Holdsworth, Scott Henderson, Alex MacHacek, Joe Satriani, and snippets of Robert “the math-rock, monsieur Roboto” Fripp and squash out a nice distorto reprinted mosaic riffage picture of Michelena's multi-instrumentalist expertise and voicings . . . and you have this release in a nutshell or putty print. Seriously, a great deal super-duper, quicksilver riffs, frettage and wailings are going down here. There is a variety of hippy-trippy, Euro-cool-techno-futuristic, furious, frenetic, yet laid-back Floydian, “Comfortably Numb”-ish fusion prog guitar and programming inside. Did I mention groovin beats and a unique variety of song flows? Cool acoustic axe work is included too! Michelena has a new groove here of fresh chops galore but in a package like I haven’t heard in awhile. There’s even that Lost Tribe boogie-yer-bootay thang in places but overall this is avant-fusion, not freeform, but free-for-all fusion, whatever goes be slick. Attaching a post-rock, experimental, technical fusion moniker might work with a nod to Zappa and Vai’s Flexable way of attacking and decimating the expected. Michelena is full of surprises and overflowing with technical prowess. Don’t expect to relax too much nor for too long. This is an “upper” y’all. Recommended for the adventurous folks tired of fuzak. By & © AAJ STAFF, Published: March 1, 2002 © 2014 All About Jazz http://www.allaboutjazz.com/bartoks-room-rigel-michelena-musea-parallele-review-by-aaj-staff__22994.php#.U585LPldVe8

Prologue. "Bartok's Room", the debut album by the first Solo Pilot to come out from Venezuela, has nothing to do with the famous Hungarian composer. According to Rigel, this album was composed, performed, and recorded in his cat's room, Bartok. Which, correspondingly, received a "special thanks" in the booklet of CD. In other words, cat Bartok lives in the home studio of that Venezuelan joker. Well, let's see what his music is about. I had hoped that this wouldn't be a caterwauling show, consisting of Bartok's screams and other cat noises while eating and 'doing' his daily toilet visit. The Album. On the whole, the music of Rigel Michelina's debut album can be described as a blend of Classic and Neo Jazz-Fusion. In fact, various compositions present various manifestations of the Jazz-Fusion genre. What's interesting is four of the five of the more accessible tracks are marked with evident influences; whereas all five of the best pieces sound very original (at least for this reviewer). Both of the first compositions on the album are 'dedicated' to Allan Holdsworth. On Artiloquio, which is characterized with interchanges of jazzy guitar or piano solos and symphonic passages of a synthesizer, most of the guitar solos are not unlike Allan's. All of the electric guitar passages, that are featured One (track 2), as well as the overall musical atmosphere of this piece, very much remind me of those from Holdsworth's "Metal Fatigue" album (1985). Most of the fluid and jazzy guitar solos from Inside & Twiggy Pig (tracks 5 & 6) remind me of Pat Metheny's style. There are a few of the female vocalizes on Twiggy Pig. This piece, as well as both of the album's first tracks, sounds much richer than Inside, which is the simplest composition here (if not to count Final Chat, track 10, which is nothing else but a very 'narrative' joke). All five of the remaining tracks shine with their originality and very interesting arrangements, ranging from a moderate to high degree of complexity. While Song For Bartok (track 4) consists of acoustic structures almost entirely, Street Jam (track 8) is a completely acoustic piece. The first of them is filled with Latin American flavored interplay between diverse and tasteful rhythms and passages of an acoustic guitar and solos of a bass guitar and percussion. African-like voices and exclamations accompany the virtuosi passages and rhythms of acoustic guitar throughout Street Jam. El Ojo-Dido, The Last Dodo Bird, and Uranus (tracks 3, 7, &9) are the 'official' representatives of the Classic Jazz-Fusion genre. All of them contain both jazzy (rather Jazz-Rock-y, though) and symphonic structures and are filled with the original, highly diverse and interesting, truly progressive arrangements. Summary. If honestly, only Inside and Final Chat (tracks 5 & 10) I find really weak compositions on this album. Thus, I like not only those five that are the most original compositions on the album, but also both of the opening tracks and Twiggy Pig. Despite the fact that three of the latter pieces are marked with the traces of influences, that I've mentioned in the beginning of this review, all of them were performed up to the mark of the musicianship. In all, "Bartok's Room" is a very promising debut. © VM. January 17, 2002 © http://www.progressor.net/review/rigel_michelena_2001.html

What a phenomenal discovery. I feel like an archaeologist! From where did this guy come? I can tell you that this is a magnificent CD that will make you wonder about all these unknown bands and musicians. Sometimes taking a risk pays off in a great way. Imagine instrumental Rush circa Moving Pictures blended with Alan Holdsworth instrumental Fusion and then throw in a bit of Crimson in the 90's. This guy is a world class guitarist! - from “A blend between Holdswoth , Rush and New King Crimson”, October 25, 2002 ***** By & © A Customer © 1996-2014, Amazon.com, Inc. or its affiliates http://www.amazon.com/Bartoks-Room-Rigel-MICHELENA/product-reviews/B00005K3E6/ref=dp_top_cm_cr_acr_txt?ie=UTF8&showViewpoints=1

The Venezuelan fusion guitarist Rigel Michelena from Caracas started playing drums at the age of 11. His family soon bought him a guitar, which he first taught himself to play. Later he would study with jazz pianist Gerry Weill and flautist Luis Julio Toro. Since then, he has performed with a number of bands around the world, composed film soundtracks and recorded a few solo albums. Read more @ http://es.wikipedia.org/wiki/Rigel_Michelena

His music has been described as “a blend of Classic and Neo Jazz-Fusion jazz rock”. However, trying to define musical genres is often a useless exercise. In fact terms like “Classic and Neo Jazz-Fusion” can be off-putting. Many of these often pseudo terms are responsible for some great artists’ music being overlooked. Rigel is a very accomplished guitarist and is often compared with guitarists like Pat Metheny and Allan Holdsworth. And nothing wrong with that! Better to describe this album as good, inventive, progressive jazz rock with Latin American and Afro-Caribbean influences. See if you can locate Rigel’s “Mitxelena Nauthiz III” album [All tracks @ 320 Kbps: File size = 126 Mb]

TRACKS

1 Artiluquio (Florilegio Artefactico) 8:30
2 I 4:45
3 El Ojo-Dido 4:47
4 Song For Bartók 7:00
5 Inside 5:21
6 Twiggy Pig 5:10
7 The Last Dodo Bird 2:36
8 Street Jam (Jam-eo En La Catte) 3:30
9 Uranus 5:01
10 Final Chat : Colubre 2:32

All tracks composed by Rigel Michelena

MUSICIANS

Rigel Michelena - Electric & Acoustic Guitars, Keyboards, S-Bass, Percussion, Drum Programming
Miguel Blanco - Bass on 1, 4, 9
Oscar Fanega - Bass on 2, 3, 6, 9
Yoncarlos Medina - Keyboards on 1, 5, 9
Javier Saume - Drums on 3
Yudnara De Ridder - Vocals on 6
Guillermo Diaz - Narration on 10

Static

Static - Patterns - 2001 - Guitar Nine

Patterns is the instrumental debut release from New York's Static, a project band consisting of guitarist Mike Fortin and drummer David Penna. Assisted by Rob Epstein on keyboards and bass and Fabrice Francese on bass, the duo whip through eight heavy tracks which feature full-throttle shred with progressive and fusion leanings. Fortin is capable of absolute guitaristic mayhem, as every technique essential to over-the-top playing can be found in his arsenal. Songs such as "Mespotamia" and "Ghost Companion" document Fortin's abilites, which are formidable, to say the least. Fortin also has a compositional knack for incorporating unexpected heavy rhythm breaks into his tunes, which are always welcome in rock instrumental works. Mastering both rhythm and lead playing doesn't leave room for much future improvement, however it just means that Fortin can focus on expanding compositionally. What a nice position to be in. Highly recommended. Guitarist Mike Fortin started playing guitar on his 15th birthday, studying with local instructors in Daytona Beach, Florida. He spent countless hours practicing in his bedroom, inspired by bands such as Iron Maiden and AC/DC as well as the whole Shrapnel scene. In college, Mike started a couple of original bands but found it an exercise in frustration. He later moved to New York and hooked up with the progressive band Strange Embrace, gigging and recording for four years. Mike then took a short hiatus to record some instrumental tunes under the name of Sonic Texture. He also was able to take a few lessons with Greg Howe, through the help of Prashant Aswani. Fortin and Penna have teamed with Jon Modell (Spooge) in a heavy type of project, and are currently writing tunes and looking for a singer. (Read more @ http://www.guitar9.com/undiscov33a.html) © 1996-2013 Guitar Nine All Rights Reserved http://www.guitar9.com/undiscov33a.html

Patterns is the self released debut album, produced and performed by guitarist Mike Fortin and drummer David Penna, collectively under the name of Static. They are aided and abetted here with contributions from both Rob Epstein (keyboards & bass) and Fabrice Francese (bass). The album is an instrumental offering within the areas of progressive metal, guitar fusion and sees Mike Fortin utilising his full armoury of guitar shredding techniques over the imaginative drumming of David Penna. Grinding metallic rhythms are employed extensively throughout the album, however a keen sense of melody and dynamic structuring prevails, giving the tracks the necessary "hooks" required to hold the listeners attention. A listen through the opening track Ghost Companion should either confirm or dispel whether this album (and therefore this review) will be one for you. Mike Fortin proves to be an excellent player, not all "million mile an hour" shredding and sweeping, but tastefully executed legato sections, interesting rhythmic riffs and chordal patterns go to make up tracks on Patterns. A new name to me and the only info I have on him is that he is currently based in New York and prior to this release gigged and recorded with Strange Embrace, following which he then recorded under the name of Sonic Texture. David Penna on the other hand is slightly more known to me as he featured on the Rewired - A Tribute To Jeff Beck album from 2003, guesting with Fabrice Francese on Steve Booke's contributions. The following year he appeared again, this time on the totally insane but extremely enjoyable Ink Compatible from Ron Jarzombek. At that time I made note of the contribution David made to Words For Nerds - rhythmically possibly the trickiest piece on that album. And much credit must be afforded to David Penna who raises the ante here on Patterns. In the somewhat saturated market of guitar instrumentals albums, his drumming is both solid and imaginative - lifting the music and giving the album greater variation, whilst still providing a solid backbone to the tracks. No better illustrated than on the albums standout track Shade - light and shade from the guitars, gliding fretless bass, nice touches from the keyboards and David nicely punctuating this ebbing and flowing piece. But along with this track are other notable pieces, the aforementioned Ghost Companion, the Frippy opening to Crimson (or am I just making an association), which veers off into a more metallic territory, never to return; then of course there's Uptown - driving rhythms, harmonised guitar but with the keyboards adding a nice jazzy feel. I could go on, however should you have not skipped on with my descriptive - "progressive metal, guitar fusion" - and remained with this review, then I can assure you that Patterns has much to offer. Do yourself a favour and check out the soundfiles on David's site and also at Guitar Nine: Conclusion: 7 out of 10 © BOB MULVEY © 1995 - 2014 : Dutch Progressive Rock Page http://www.dprp.net/reviews/200602.php

A compelling mix of jazz, fusion, metal and funk, that gives this album a unique edge on the cornerstone of instrumental music. Not a shredfest but a well above average progressive metal fusion guitar album [All tracks @ 320 Kbps: File size = 98.5 Mb]

TRACKS / COMPOSERS

1 Ghost Companion - David Penna 3:37
2 52 Pickup - David Penna 4:21
3 Crimson - David Penna, Mike Fortin 6:27
4 Uptown - Mike Fortin 4:01
5 Mesopotamia - David Penna, Mike Fortin 6:43
6 Chicken Fingers - Mike Fortin 4:52
7 Test Flight Pattern - David Penna 6:20
8 Shade - Mike Fortin 6:23

MUSICIANS

Guitar – David Penna (tracks: 2, 5), Mike Fortin
Bass – David Penna (tracks: 2), Fabrice Francese (tracks: 5, 6), Mike Fortin (tracks: 1, 3, 7), Rob Epstein (tracks: 4, 8)
Keyboards – Rob Epstein
Drums – David Penna

Marco Iacobini

Marco Iacobini - In My World - 2007 - Forward Music

A master of European techno-guitar fusion, Italy’s Marco Iacobini follows up his 2004 Spaces CD with the 2007 release of In My World. A range of talented Italian fusion superstars back up Marco on the 12 track In My World, including powerhouse drummer Cristiano Micalizzi. Recorded in Rome and mastered in L.A. by Bernie Grundman, In My World spotlights Iacobini’s fretboard wizardry. Marco dazzles on on his Carvin guitars and amps, VHT amps and cabs, T-Rex pedals and Soldano Custom amplification. Commenting on the album release, Marco states, 'In My World is an all instrumental CD and is a blend of all my music listens to: rock, fusion and prog. I think that this collection is for music lovers that want to enjoy pure music with shred guitars combined with melodic tunes.' With the sound veering between soaring hard rock instrumental and modern fusion instrumental, there’s plenty of solid grooves on In My World to please instrumental rock fans of all persuasions. www.marcoiacobini.com
© 2000-2007 MWE3.com, Inc. All Rights Reserved http://www.mwe3.com/reviews/MarcoICD07/

The new album “In my world“ Marco Iacobini debut solo is a combination of rock, fusion and prog. It’s an all-instrumental CD for music lovers that want to enjoy pure music with shred guitars combined with melodic tunes. An album surely essential for all fans ofSteve Lukather, Steve Vai and Yngwie Malmsteen. Marco’s musical influences. “In my world” spotlights the brilliance of drummer Cristiano Micalizzi and bassist Marco Siniscalco who lay down an incredibly thick rhythm foundation for Marco’s guitar acrobatics. Also featuring: Stefano Sastro on keys, a great musician with an unique phrasing style descibed as a cross beetween Alan Pasquaand Herbie Hancock. Guests: Mario Guarini on bass and Juan Carlos Albelo Zamora on Violin and Viola. This album has been recorded and mixed at Forward studios in Rome. The best recording studios in Italy and mastered at Bernie Grundman mastering in Los Angeles by Mr. Bernie Grundman himself. © http://www.marcoiacobini.com/release/in-my-world/

Italian guitarist Marco Iacobini, also with Spaces, is a master musician with deep musical roots in fusion, shred, and progressive rock guitar. "In My World" is an all instrumental CD, and reveals Iacobini to be a highly talented axeman and an innovative composer in the instrumental rock genre. "In My World" is a blend of all the music Iacobini listens to - rock, fusion and prog. The collection is for music lovers that want to enjoy pure music with shred guitars combined with melodic tunes - essential for fans of Marco' influences: Steve Lukather, Steve Vai and Yngwie Malmsteen. "In My World" spotlights the brilliance of drummer Cristiano Micalizzi and bassist Marco Siniscalco, who lay down an incredibly thick rhythmic foundation for Marco's guitar acrobatics. © 1996-2013 Guitar Nine All Rights Reserved http://www.guitar9.com/news2007-08.html [All tracks @ 192 Kbps: File size = 63.8 Mb]

TRACKS

1 The Hunter 3:59
2 15/4 3:08
3 Fast And Furious 3:55
4 Hot Racers 4:14
5 For You 4:07
6 Red Siren 3:43
7 In Your Eyes 3:54
8 Summer 4:17
9 Altered State 3:51
10 Coming Home 4:38
11 Red Siren (Reprise) 2:13
12 Sun 4:22

All tracks composed by Marco Iacobini

MUSICIANS

Marco Iacobini - Guitars
Marco Siniscalco - Bass
Mario Guarini - Bass on “Red Siren”, “Coming Home”, “Sun”
Stefano Sastro - Keys, Hammomd B3, Fender Rhodes, Acoustic Piano, String arrangements on “Red Siren”
Cristiano Micalizzi - Drums
Juan Carlos Albelo Zamora - Violin and Viola on “Red Siren”

BIO

Versatile musician, guitarist, composer, producer and arranger Marco Iacobini was born andraised in Rome. His musical background includes the study of classical music and jazz. Marco begins to work like arranger and session player in various recording studios in Italy. In these years Marco has written and played musical arrangements with a lot of musicians from different music areas and he works like session player, arranger, producer, clinician and music teacher. Marco has played with such stars like as: Tony Levin, Dave Weckl, Keith Carlock, Thomas Lang, Virgil Donati, Stuart Hamm, Mike Terrana, Carl Verheyen, Billy Sheehan, Joel Taylor, Philippe Saisse, Phil Maturano, Bill Bergman, the famous italian female singer Giorgia and many more. In 2004 Marco has been the founder member of the project called “Spaces”, guitar oriented power trio. This project has been described as “a genuinely fantastic mix of rock, popular music and contemporary jazz”. Marco’s playing has been described as “a cross between Steve Lukather and Steve Vai but with his own unmistakable style”. In 2006 Marco has had the great pleasure and honor to open the european tour of Tony Levin Band in Rome, with Jessie Gress, Jerry Marotta, Peter Levin, Larry Fast. In the same year Marco is official endorser for Carvin guitars. In 2008 Marco has released his new instrumental guitar oriented album: ” In my world “. Top seller album on the web. In 2009 Marco has been involved in the new project of great italian female voice: ” Giorgia ” on her album: ” Spirito Libero ” with Herbie Hancock, Ronan Keating, Michael Baker and many more. In 2010 Marco has played at MusikMesse like endorser and clinician for Carvin Guitars. In 2011 Marco has played at MusikMesse like endorser and clinician for some gear high end brands. From 2010 Marco starts to work on the new album, instrumental guitar oriented record. “The sky there’ll always be”.
A project very ambitious.Almost three years of work. In this new record Marco has the great pleasure and honor to involve a lot of great musicians to play on it like: Tony Levin, Dave Weckl, Keith Carlock, Thomas Lang, Stuart Hamm, Billy Sheehan, Philippe Saisse, Carl Verheyen, Joel Taylor, Mike Terrana, Phil Maturano, Bill Bergman and many more. The album has been mixed at Avatar Studios, in New York by the great engineer Roy Hendrickson and was mastered at Masterdisk in New York by Randy Merrill. For this album, Marco is very happy and proud to collaborate with great company Muso Entertainment the label record of Thomas and Elizabeth Lang.
© http://www.marcoiacobini.com/bio/

Randy Coven

Randy Coven - Witch Way - 2002 - Lion Music

Randy Coven, a versatile bassist who worked with Steve Vai, Yngwie Malmsteen and Leslie West over the years, has died at age 54. Coven’s family has confirmed his passing on May 20, though a cause of death was not revealed. Services for Coven will be held later today (May 22). Coven was a specialist in neoclassical and heavy metal styles perhaps best known for having toured with Malmsteen from 1999-2001, a period chronicled on the 2009 concert recording ‘Live in Korea.’ The guitarist’s over-the-phone audition of Coven reportedly went something like this: “Do you drink beer?” “Do you play with a pick?” “And do you play a Fender bass?” Coven was said to have answered “yes,” “yes” and “yes,” securing the job. He struck up a friendship with Vai while attending Berklee College of Music, and the two formed a late-’70s group called Morning Thunder. Vai later joined Coven on the title track of the bassist’s best-known solo effort, 1985′s ‘Funk Me Tender.’ Alice Cooper, Asia and Megadeth guitarist Al Pitrelli appeared on Coven’s sophomore solo album, ‘Sammy Says Ouch!,’ and later worked with Coven as part of a late-’80s group called CPR. While with CPR, Coven collaborated with Deep Purple‘s Steve Morse and Zakk Wylde of the Ozzy Osbourne band. His work with West, of Mountain fame, included 1994′s ‘Dodgin’ The Dirt’ and 1999′s ‘As Phat As It Gets.’ More recently, Coven released a 2002 solo album called ‘Witch Way,’ worked as part of A.R.K. and MCM, and appeared along with Joe Lynn Turner on a 2005 album by Russian pianist Vitalij Kuprij. by & © Nick DeRiso May 22, 2014 11:29 AM © http://ultimateclassicrock.com/randy-coven-dies/

Stu Hamm and Billy Sheehan seemed to get the most magazine coverage for their supreme bass-playing acrobatics during the late '80s, but another gentleman was right up there in the tapping/slapping department of rock bass -- Randy Coven. Like both aforementioned players, Coven was a pal of Steve Vai, and first graced the pages of such publications as Guitar for the Practicing Musician around the same time. While he turned many a head with such releases as Funk Me Tender and Sammy Says Ouch!, little was heard from Coven throughout the '90s. Now, 12 years after his last release comes Coven's third solo effort, 2002's Witch Way. With Coven joined by a pair of renowned rock guitarists -- Mountain's Leslie West and gun-for-hire Al Pitrelli (the latter of whom penned a couple of songs here) -- Witch Way expectedly focuses on the bassist's four-string skills, but turns out to be a musical potpourri. Included is a Spyro Gyra-esque easy listening jazz number, "Island Dream"; a song that sounds straight off of Frank Zappa's early-'80s albums, "Love Kitchen"; as well as a moody instrumental reading of a Doors classic tune, here named "Ryders on the Storm." © Greg Prato © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/witch-way-mw0000458283

The late bassist extraordinaire Randy Coven said of this album, "Today, during all this chaos, I have found myself returning to my fusion roots on my latest CD "Witch Way". This CD represents all the years of pent up musical energy I needed to release, or I will explode CD!" “Witch Way” is a good combination of fusion and funk by the late bassist. This album has received some criticism over the band’s treatment of The Door’s classic, “Riders On The Storm”. A lot of people didn’t like the fusion treatment and the keyboard work, but what the hell? It’s not a bad cover, and hardly sacrilege, and definitely does not spoil a great but too short album. This album can be complex and experimental at times, but the music is varied and it’s a classy instrumental album with contributions from Leslie West, Al Pitrelli, John Macaluso and more. Check out Blues Saraceno’s "Never Look Back" album featuring Randy Coven [All tracks @ 320 Kbps: File size = 75.6 Mb]

TRACKS / COMPOSERS

1 Island Dream - Al Pitrelli 4:53
2 Ryders On The Storm - Jim Morrison, Robby Krieger, Ray Manzarek and John Densmore 4:24
3 Love Kitchen - Jon Bavona, Randy Coven 3:52
4 Poem - Randy Coven 3:53
5 Funk You - Randy Coven 3:50
6 Tree II - Randy Coven 3:28
7 Darklight - Al Pitrelli 4:13
8 Therapy - Randy Coven 4:00

MUSIC

Leslie West, Al Pitrelli, Jim Hickey - Guitar
Randy Coven - Bass
Jeff Shapiro - Piano, Keyboards
Scott McGille, Paul Morris, Delmar Brown - Keyboards
John Macaluso, Joe Chirco - Drums

The Randy Coven Band

The Randy Coven Band - Sammy Says Ouch! - 1990 - Guitar Recordings

Sad news to report on one of rock and metal’s most talented and underrated bassists. Randy Coven, who toured, recorded and jammed with legendary musicians such as Yngwie Malmsteen, Zakk Wylde and Steve Vai, passed away on May 20 at the age of 54. As of this posting, Coven’s cause of death is undisclosed. You may be unfamiliar with Randy Coven, but the bassist’s resume was quite impressive. Specializing in neoclassical and heavy metal styles, Coven enjoyed a long career manning the four-string. While studying at the esteemed Berklee College of Music, Coven was roommates with iconic guitarist Steve Vai, leading to a lifelong friendship between the two. Randy Coven lent his talents to a multitude of bands, recording six studio albums with New York heavy metal act Holy Mother. Coven continued to juggle multiple bands, performing with Ark, MCM and the Randy Coven Band. The Randy Coven Band’s debut album, ‘Funk Me Tender’, features a guest appearance from Steve Vai, while Coven’s sophomore album, ‘Sammy Says Ouch!’, utilized the power of Alice Cooper/Megadeth guitarist Al Pitrelli. Guitar god Zakk Wylde also collaborated with Randy Coven, providing guest guitar on C.P.R.’s sole full length, ‘Coven • Pitrelli • Reilly’. Coven’s most high-profile position was with Yngwie Malmsteen, acting as the guitar virtuoso’s bassist from 1999-2000 and once again from 2000-2001. Coven’s playing can be heard in Malmsteen’s 2009 DVD ‘Live in Korea.’ The show was recorded in 2001, right at the tail end of the bassist’s tenure with Malmsteen. We’d like to send our condolences to the family and friends of Randy Coven. - By & © Graham 'Gruhamed' Hartmann May 22, 2014 10:37 AM © http://loudwire.com/bassist-randy-coven-passes-away-54/

It's important to know the difference between jazz-rock fusion and instrumental rock. Steve Vai, Joe Satriani, and Stuart Hamm are masters of instrumental rock; Chick Corea, Scott Henderson, Al DiMeola, Larry Coryell, and Joe Zawinul are masters of jazz-rock fusion. While a rock instrumentalist might appreciate jazz, his/her music ultimately sounds like an instrumental equivalent of Led Zeppelin, Jimi Hendrix, or Deep Purple -- a jazz-rock fusionist, however, might tell you that John Coltrane, Hendrix, and James Brown played equally important roles in his/her musical development. A fusionist could spend hours telling you, in great detail, why John Bonham and Art Blakey were equally magnificent drummers. So, which category does Sammy Says Ouch! fall into? For the most part, instrumental rock. While Randy Coven's amplified interpretation of Charlie Parker's "Au Privave" demonstrates that the electric bassist can handle jazz-rock fusion, Sammy Says Ouch! is, more often than not, aimed at the Steve Vai/Joe Satriani/Stuart Hamm crowd. Chops-obsessed, loud-and-proud instrumentals like "A Minor Disturbance" and "Dorian's Song" are appealing examples of instrumental hard rock -- they have a lot in common with Vai and Satriani but don't remind the listener of Return to Forever, Miles Davis, Weather Report, or John McLaughlin's Mahavishnu Orchestra (artists who have defined jazz-rock fusion). And again, that isn't to say that Coven can't play fusion or handle jazz changes -- in fact, fusion is exactly what he plays on "Au Privave." But instrumental hard rock dominates this CD, which should have no problem appealing to those who have spent a lot of time listening to Vai, Satriani, and Stuart Hamm. © Alex Henderson © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/sammy-says-ouch!-mw0000104634

The late Randy Coven from Long Island, New York was a rich soulful and jazzy musician, who played awe-inspiring bass solos. He played rock and fusion equally well and even though he collaborated in dozens of albums, he only had time to record four solo albums, all worth checking out. "Sammy Says Ouch" was recorded like the musicians were playing in a club. It was recorded and mixed in two weeks and gained global interest from many great musicians and instrumental fusion fans. Listen to his great “Funk Me Tender” album which was nominated for best independent instrumental record of the year at the 1985 New York Music Awards, and C.P.R.’s “Coven, Pitrelli, Reilly” album [All tracks @ 320 Kbps: File size = 85.7 Mb]

TRACKS / COMPOSERS

1 Strange Cat - Randy Coven, Al Pitrelli 2:23
2 Dorian's Song - Randy Coven 3:48
3 Au Privave - Charlie Parker 3:13
4 Great Necks - Randy Coven, Al Pitrelli 3:12
5 Little Wing - Jimi Hendrix 4:59
6 A Minor Disturbance - Randy Coven, Jack Starr, Mark Wood 3:29
7 Ouch! - Randy Coven 2:20
8 10,000 Notes - Randy Coven 4:17
9 Ultra Twist - Randy Coven 2:26
10 Angry - Randy Coven, Hal Gold 3:58

MUSICIANS

Al Pitrelli - Electric Guitar
Blues Saraceno - Guitar Solo on Track 3
Randy Coven - Bass Guitar, Piccolo Bass Solo on Track 4
John O’Reilly - Drums, Percussion
Mark Wood - Violin on Tracks 6,9

Hedras Ramos

Hedras Ramos - Atoms and Space - 2011 - Audio 7 Productions

“I want to improve as a guitar player and as a musician. I don’t want to stop, but I also want to tour and have fun on stage with more people. I want to compose more music and satisfy my soul and ears...” Hedras Ramos was born in Guatemala City, Guatemala during the year 1992. His interest in music began at the ripe old age of 6 when he began taking drum lessons from some of the best skin-pounders in the country. It wasn’t until a couple of years later, however, at the still very young age of 8 that Hedras received his first electric guitar. While his talent and interest were obvious, it took years before he finally became serious about the instrument... At age 13 Hedras really showed passion for the guitar. He started practicing 7 or more hours a day during the school year and then 12 or more hours during vacations. Part of the reason for this sudden switch was because of Hedras’ father, Hedras Ramos Sr., who introduced his son to the masters (i.e. Steve Vai, Joe Satriani, ect). Since then, they’ve both shared a liking for guitar-based instrumental tracks, which led to Hedras’ decision to pick up the guitar again (and this time, he was hooked). Some of Hedras’ influences include Guthrie Govan, Jonathan Kreisberg, John Petrucci, and Joe Satriani. He is also influenced by jazz music and any pop artists in the spotlight today, “...This doesn’t influence me in a musical way, like harmony,” Hedras points out, “But it does in other ways... ”Hedras went on to self-produce his own music in his early teens and has since then released three phenomenal albums. The first, New Sounds, was released in December of 2008 when he was just 16 years old. Following that was The Holy Gift of Shred in 2009 and his latest original album, Atoms And Space, was released during 2011, featuring amazing guest performers such as Jennifer Batten (former guitarist for Michael Jackson), Andy James, Billy Ashbaugh and more. In 2009, after about four years of intense practice and completing his first two albums, Hedras took 2nd place in the Guitar Idol competition (based in London, England) which had more than 1200 entrants of all ages and styles. At age 17, Hedras was the youngest guitar player to make it to the finals. Already the young guitar prodige has jammed with some very well-known bands (like Switchfoot, Kansas and Die Toten Hosen), and was chosen for Axl Rose himself to open for GUNS N’ ROSES for their Chinese Democracy tour in Guatemala. He is currently endorsed by Halo Guitars with whom Hedras designed his own signature guitar, a privilege few musicians have had the honor of receiving. In 2011 Hedras had his own Rock Band game created, currently available for all to play. The game features some of Hedras’ best works, including “Insanity of the Atoms” and “Stellar Crash”. Also in 2011, Hedras agreed to take on lead guitar for Sir Christopher Lee’s latest heavy metal album, CHARLEMAGNE: The Omens of Death. Sir Christopher Lee has been an actor since the 1940s, most notably for his part as Count Dracula from the Dracula film series of the 1900s, as well as for playing Lord Saruman in Lord of the Rings. Lee is also a singer and has produced many albums over the years. After guitarist Richie Faulkner left the project to join Judas Priest, Lee searched and searched until he finally found Hedras to take on all the guitar work for the album. As Hedras continues his career (and he’s just getting started), he travels the world performing his music for thousands. © 2013 Hedras Ramos - All Rights Reserved http://www.hedrasramos.com/index.php/teachers/bio

Attention Hedras Ramos is receiving this month as the guitarist on Sir Christopher Lee’s freshly released album sparks an interest in Guatemalan player’s solo work. It turns out that while awfully young, Ramos already has three solo CDs under his belt, several collaborative records, and an instructional release. And that he is just as accomplished a composer as he is a chopsman. Not many instrumental guitar albums manage to create their own virtual reality, but the record in hand is one of those gems that put you under their spell from the word go. Released in 2011, Atoms and Space is Ramos’s latest solo CD, and it shows how much more he can deliver apart from the balls-to-the-wall drive of traditional metal he flaunts on Lee’s album. A record which sounds like no one else in instrumental rock, Atoms and Space is all about fresh, adventurous harmonies and soaring, picturesque melodies. Atmospheric neoclassical guitar, metal riffing, and warm, inspired jazz join together as building blocks of a fantastic, far-out world Rams shapes with off-hand confidence. As with all expert composers, the intricate harmonic structures and melodic deflections don’t come through as laboured on this album. And the breathing, vibrating rhythm section is crucial in contributing to the movement of these tracks. Avoiding the mechanistic monotony of the drum patterns favored these days even by the most prominent of instrumental guitar bigwigs, Ramos shows he isn’t afraid of the drummer stealing his thunder. Standout “Weird Scientists” illustrates this energy perfectly, with Billy Ashbaugh on the drums intuitively floating the harmonic juxtapositions and the call-and-response game of the melodies. Remarkably mature for his age, Ramos often abandons demonstrations to bring the proceedings down to the universal human level. This is where slower, more reflective numbers such as “Anastasya” come in to highlight the span of his emotional and stylistic terrain. At his best when mixing high-tech neoclassical chops with his heartfelt understanding of jazz, Ramos bathes the song-like melody in virtuosic showers of sparkling notes. Like torrential rain falling over a secluded private retreat, it connects the privacy of contemplation with the extraversion of his fabulous technique. Introspection and emotional warmth, rock swagger, mystical visions, and futuristic experiments tie together into an instantly recognisable personality. It puts Ramos right next to the best players of the youngest generation of shredders to receive international renown. Like all of them, Ramos understands that shred on its own has never been enough to either intrigue the listener or to discover things about oneself. And this is why he combines high tech virtuosity borrowed by rock from classical music with the bravado and the cheek of spontaneous, people-oriented entertainment. This gives hope to the future of instrumental rock, not to mention how hugely inspiring it is to see self-made players geographically removed from the usual music biz hubs becoming not only first-rate chopsmen, but also brilliant composers. by & © Alissa Ordabai - Senior Columnist - Hardrock Haven rating: 9/10 © 2001 - 2014 HardrockHaven.net | All Rights Reserved http://hardrockhaven.net/online/2013/05/hedras-ramos-atoms-and-space-cd-review/

I was recently privileged to receive a copy of Hedras Ramos’ latest instrumental album, Atoms And Space, which was composed and produced by the 19 year old guitar prodigy himself. I’d only recently heard of Hedras, though I watched some YouTube videos of him performing a few of his impressive works, and I was excited to get to hear what else he had to offer. This already goes without saying, but the guy has insane skills for a kid of his age. In fact, he’s so good that he won 2nd place for Guitar Idol in the UK when he was only 17 years old (2009). These facts alone are enough to make anyone curious, however when I learned that some of the guest contributors to his album included Jennifer Batten (ex-guitarist for Michael Jackson), Andy James, Billy Ashbaugh, Muris Varajic and Sergey Boykov…well…let’s just say, I became a little more than curious. Entirely space themed, my favorite track on the album is Weird Scientists which features an insane keyboard solo by the great Sergey Boykov who plays incredibly fast without detracting from the melodic impact of the track. The guitar on this single is absolutely brilliant with a ludicrously fast tempo that will sweep you through the galaxy faster than the speed of light! Another tune that really stands out on this album is Hot Arabia. Featuring an intense guitar solo by Muris Varajic and some seriously kick-butt drumming by Billy Ashbaugh, there’s an authentic foreign feel here that everyone in the band seems to channel musically. Hedras really impresses me here with his ability to comfortably switch genres not only by what he’s playing, but the fact that he was able to effectively produce the song in such a way that it really feels like you’re visiting a foreign land. Dead Atom is yet another thrilling piece among Hedras’ work, this with a sci-fi feel that really sets itself apart from the rest, but without detracting from the galactic theme. Each track for Atoms And Space was thoughtfully composed and will surely keep you enthralled the whole way through your adventure across the stars. Between the gnarly drumming (which, besides the guitar work is what really seems to suck me into this record) along side Hedras and his amazing guest performers, this is a fantastic album that I couldn’t recommend more. © http://www.guitartrump.com/homebase/atoms-and-space-by-hedras-ramos/

I can’t say I know many Guatemalan guitarists, but Hedras Ramos is one hell of a talented guitarist and definitely a guy to watch out for. Just when you think you’ve heard all the great guitarists, an album like this comes along which is very impressive. Some of Hedras’ influences include Guthrie Govan, Jonathan Kreisberg, John Petrucci, and Joe Satriani. All great musicians but Hedras has his own unique style. He is not just blazingly fast, but has a unique technique and a very unusual tapping style. He also composed all thirteen tracks on this album. Check out his “The Holy Gift of Shred” album and buy his new release [Tracks @ 265-289 Kbps: File size = 115 Mb]

TRACKS

1. Stellar Crash 4:27
2. Glorious War 4:17
3. Stars and Comets 4:46
4. Anastasya 5:33
5. Weird Scientists 4:43
6. Hands of God 4:58
7. Sweet Mercy 5:23
8. Dead Atom 3:56
9. Atoms of Distortion 3:05
10. Vanilla Clouds 5:21
11. Hot Arabia 4:43
12. Virtual Tangles 5:12
13. Insanity of the Atoms 4:18

All tracks composed by Hedras Ramos

MUSICIANS

Hedras Ramos - Guitars, Keyboards
Sergey Boykov - Keyboard Solo on Track 5
Andy James - Guitar Solo on Track 3
Jennifer Batten - Guitar Solo on Track 7
Muris Varajic - Guitar Solo on Track 11
Hedras Ramos Sr. - Bass
Billy Ashbaugh - Drums

BIO (WIKI)

Hedras David Ramos Velasquez (colloquially: Hedras Ramos) (born February 3, 1992 in Guatemala City, Guatemala) is an instrumental rock guitarist and multi-instrumentalist. Throughout his career he has opened for popular bands such as Kansas, White Cross, Die Toten Hosen, and was personally chosen by Axl Rose to open for Guns N' Roses during their "Chinese Democracy" tour in Guatemala. Ramos began his musical career at age 6 by learning to play the drums. It wasn't until 2005 however (at age 13) when Ramos became interested in learning guitar. He typically practiced 7 or more hours every day, even playing up to 12 hours a day during vacations from school. Entirely self-taught, Ramos pushed himself hard to master the guitar and on December 15, 2009, by the time he was 16 years old, he had composed and produced his first instrumental album New Sounds. Following this release was his instrumental Christmas album The Holy Gift of Shred which became available for purchase in November 2009. Between writing and producing albums, Ramos began to play and compete in guitar contests in different areas of the globe. On June 16, 2009, he won second place at the Guitar Idol competition (a world-wide event held in London, UK in which undiscovered guitarists compete online for a chance to play at the London International Music Show). On September 18, 2010 Ramos won second place at another world-wide event held in Bucharest, Romania called the Ziua Chitarelor 3. In 2011 Ramos released his third instrumental album Atoms And Space, his biggest release of all three, which featured solos and guest performances by artists like Jennifer Batten (former guitarist for Michael Jackson), Andy James (guitarist), Billy Ashbaugh (former drummer for Greg Howe, 'N Sync, Justin Timberlake, Britney Spears and Pat Benatar, Muris Varajic (keyboard) and Sergey Boykov (keyboard). In 2003, when Ramos was eleven years old, his father (Hedras Ramos Sr.) formed the Latin-jazz band BlueROJO with a friend to compete in the Antigua Jazz Festival (based in Antigua, Guatemala). As of January 1, 2012, the only album produced by the band is titled REVOLUX and has not yet been released. Ramos joined his father's band in 2010 and they have since played in several venues. Also in 2011, after guitarist Richie Faulkner left the project to join Judas Priest, Ramos agreed to take on all guitar work for Sir Christopher Lee's heavy metal album Charlemagne: The Omens of Death (2013). Endorsements: On February 13, 2011, Rock Band released a new game featuring Ramos and the single "Insanity of the Atoms" from his third album Atoms and Space. On September 2 of that same year, Rock Band released another game featuring the single "Stellar Crash", also from Atoms and Space. Both games are currently available for Xbox 360 users and are not yet rated. Ramos endorses a number of other products including Halo Guitars' Hedras Ramos Signature Guitar which was designed specifically as a signature product for him. At age 17, Ramos became an endorser of Dean Markley guitar strings and later Multisonus Audio. During the year 2012, Ramos became one of three Latin-American guitarists to be fully endorsed by Xotic (a company that produces guitars, basses and effects pedals).

Hedras Ramos

Hedras Ramos - New Sounds - 2009 - Audio 7 Productions

“I want to improve as a guitar player and as a musician. I don’t want to stop, but I also want to tour and have fun on stage with more people. I want to compose more music and satisfy my soul and ears...” Hedras Ramos was born in Guatemala City, Guatemala during the year 1992. His interest in music began at the ripe old age of 6 when he began taking drum lessons from some of the best skin-pounders in the country. It wasn’t until a couple of years later, however, at the still very young age of 8 that Hedras received his first electric guitar. While his talent and interest were obvious, it took years before he finally became serious about the instrument... At age 13 Hedras really showed passion for the guitar. He started practicing 7 or more hours a day during the school year and then 12 or more hours during vacations. Part of the reason for this sudden switch was because of Hedras’ father, Hedras Ramos Sr., who introduced his son to the masters (i.e. Steve Vai, Joe Satriani, ect). Since then, they’ve both shared a liking for guitar-based instrumental tracks, which led to Hedras’ decision to pick up the guitar again (and this time, he was hooked). Some of Hedras’ influences include Guthrie Govan, Jonathan Kreisberg, John Petrucci, and Joe Satriani. He is also influenced by jazz music and any pop artists in the spotlight today, “...This doesn’t influence me in a musical way, like harmony,” Hedras points out, “But it does in other ways... ”Hedras went on to self-produce his own music in his early teens and has since then released three phenomenal albums. The first, New Sounds, was released in December of 2008 when he was just 16 years old. Following that was The Holy Gift of Shred in 2009 and his latest original album, Atoms And Space, was released during 2011, featuring amazing guest performers such as Jennifer Batten (former guitarist for Michael Jackson), Andy James, Billy Ashbaugh and more. In 2009, after about four years of intense practice and completing his first two albums, Hedras took 2nd place in the Guitar Idol competition (based in London, England) which had more than 1200 entrants of all ages and styles. At age 17, Hedras was the youngest guitar player to make it to the finals. Already the young guitar prodige has jammed with some very well-known bands (like Switchfoot, Kansas and Die Toten Hosen), and was chosen for Axl Rose himself to open for GUNS N’ ROSES for their Chinese Democracy tour in Guatemala. He is currently endorsed by Halo Guitars with whom Hedras designed his own signature guitar, a privilege few musicians have had the honor of receiving. In 2011 Hedras had his own Rock Band game created, currently available for all to play. The game features some of Hedras’ best works, including “Insanity of the Atoms” and “Stellar Crash”. Also in 2011, Hedras agreed to take on lead guitar for Sir Christopher Lee’s latest heavy metal album, CHARLEMAGNE: The Omens of Death. Sir Christopher Lee has been an actor since the 1940s, most notably for his part as Count Dracula from the Dracula film series of the 1900s, as well as for playing Lord Saruman in Lord of the Rings. Lee is also a singer and has produced many albums over the years. After guitarist Richie Faulkner left the project to join Judas Priest, Lee searched and searched until he finally found Hedras to take on all the guitar work for the album. As Hedras continues his career (and he’s just getting started), he travels the world performing his music for thousands. © 2013 Hedras Ramos - All Rights Reserved http://www.hedrasramos.com/index.php/teachers/bio

With his third album, this 17 year old guitarist from Guatemala displays talent way beyond his years and this virtuoso axe man is starting to catch the eye of the music industry outside of his native country, recently playing with some notable names such as Kansas and Whitecross. Playing music that ranges from rock to jazz fusion, Hedras, who is self taught, shows that he knows how to make his guitar perform acrobatics. There is a full mixture of finger shredding solos, laid back jazz funk and all manner of squeaks and pops emanating from his guitar. In what is a truly diverse offering, even a Scottish bagpipe makes an appearance in the aptly named "Something Else" which harks back to the days of Big Country. The cream of this recording however, is certainly found on tracks where the sound is stripped down to a driving bass and heavy guitar, such as "Writing A Story" where Hedras can really let rip over a simple platform. At 12 tracks this CD contains over an hours worth of enjoyable music, providing plenty of inspiration to would be guitar heroes. ***** © Ian Webber © http://www.cdbaby.com/cd/hedrasramos

Hedras Ramos was born in Guatemala City in 1992. Some of his influences include Guthrie Govan, Jonathan Kreisberg, John Petrucci, and Joe Satriani. He is taking the world by storm with his savage shredding and future-jazz stylings. Still only 22 y.o in 2014, he is bringing the guitar to an entirely new level, and is one of the new breed of young guitarists who is potentially a huge talent for the future. Hedras is a guy to watch. Listen to his “Atoms and Space” and “Holy Gift of Shred” albums and buy his next release [Tracks @ 193-230 Kbps: File size = 85.9 Mb]

TRACKS

1. New Sounds 5:00
2. Mr. Kool 4:54
3. Blue Rain 6:22
4. There Is Hope 4:44
5. Something Else 5:00
6. Souls of Heaven 4:45
7. Writing A History 5:09
8. Extenuation 4:19
9. Changing My Life 4:25
10. Dark Dream 4:32
11. 23:7 Mind 4:49
12. Acoustic Element 2:40

All tracks composed by Hedras Ramos

MUSICIANS

Hedras Ramos – Guitars, Keyboards
Hedras Ramos Sr. – Bass
Helbert Arias – Keyboards on Track 2
Billy Ashbaugh – Drums on Tracks 2,4,5,6,11
Phil Robertson – Drums on Tracks 1,3,7,8,10
John Seamans – Voice on Track 7

BIO (WIKI)

Hedras David Ramos Velasquez (colloquially: Hedras Ramos) (born February 3, 1992 in Guatemala City, Guatemala) is an instrumental rock guitarist and multi-instrumentalist. Throughout his career he has opened for popular bands such as Kansas, White Cross, Die Toten Hosen, and was personally chosen by Axl Rose to open for Guns N' Roses during their "Chinese Democracy" tour in Guatemala. Ramos began his musical career at age 6 by learning to play the drums. It wasn't until 2005 however (at age 13) when Ramos became interested in learning guitar. He typically practiced 7 or more hours every day, even playing up to 12 hours a day during vacations from school. Entirely self-taught, Ramos pushed himself hard to master the guitar and on December 15, 2009, by the time he was 16 years old, he had composed and produced his first instrumental album New Sounds. Following this release was his instrumental Christmas album The Holy Gift of Shred which became available for purchase in November 2009. Between writing and producing albums, Ramos began to play and compete in guitar contests in different areas of the globe. On June 16, 2009, he won second place at the Guitar Idol competition (a world-wide event held in London, UK in which undiscovered guitarists compete online for a chance to play at the London International Music Show). On September 18, 2010 Ramos won second place at another world-wide event held in Bucharest, Romania called the Ziua Chitarelor 3. In 2011 Ramos released his third instrumental album Atoms And Space, his biggest release of all three, which featured solos and guest performances by artists like Jennifer Batten (former guitarist for Michael Jackson), Andy James (guitarist), Billy Ashbaugh (former drummer for Greg Howe, 'N Sync, Justin Timberlake, Britney Spears and Pat Benatar, Muris Varajic (keyboard) and Sergey Boykov (keyboard). In 2003, when Ramos was eleven years old, his father (Hedras Ramos Sr.) formed the Latin-jazz band BlueROJO with a friend to compete in the Antigua Jazz Festival (based in Antigua, Guatemala). As of January 1, 2012, the only album produced by the band is titled REVOLUX and has not yet been released. Ramos joined his father's band in 2010 and they have since played in several venues. Also in 2011, after guitarist Richie Faulkner left the project to join Judas Priest, Ramos agreed to take on all guitar work for Sir Christopher Lee's heavy metal album Charlemagne: The Omens of Death (2013). Endorsements: On February 13, 2011, Rock Band released a new game featuring Ramos and the single "Insanity of the Atoms" from his third album Atoms and Space. On September 2 of that same year, Rock Band released another game featuring the single "Stellar Crash", also from Atoms and Space. Both games are currently available for Xbox 360 users and are not yet rated. Ramos endorses a number of other products including Halo Guitars' Hedras Ramos Signature Guitar which was designed specifically as a signature product for him. At age 17, Ramos became an endorser of Dean Markley guitar strings and later Multisonus Audio. During the year 2012, Ramos became one of three Latin-American guitarists to be fully endorsed by Xotic (a company that produces guitars, basses and effects pedals).