John Mayall

John Mayall - Stormy Monday - 1994 - Spectrum

An obscure compilation album from John Mayall featuring session and live tracks recorded between 1966 and 1972. The album features appearances by Eric Clapton, Peter Green, Jack Bruce, Aynsley Dunbar, and more. Terrific stuff, and a testament to John Mayall's legendary status as one of the world's greatest Bluesmen. The album is VHR by A.O.O.F.C. Listen to John's classic "Crusade" and "The Turning Point" albums, and search this blog for related releases [Tracks @ 192-320 Kbps: File size = 73.4 Mb]

TRACKS / RECORDING DETAILS

1 Oh, Pretty Woman - Date Performance: 1967-07-00 3:40
2 Sitting In The Rain - Recorded during the "A Hard Road" sessions: Date Performance: 1966-10-11 2:56
3 Long Gone Midnight - Recorded between August 26-28,1968 at Decca's West Hampstead Studios: Date Performance: 1968-08-000 3:27
4 No Reply - Date Performance: 1968-04-00 3:09
5 Hartley Quits - Recorded at Decca Studios, West Hampstead, London: Date Performance: 1968-04-00 2:55
6 Jenny - Recorded at Decca's West Hampstead Studios: Date Performance: 1967-12-04 4:36
7 Room To Move - Recorded live at the Fillmore East, New York: Date Performance: 1969-07-12 4:59
8 Stormy Monday [Live] - (Billed as "They Call It Stormy Monday"): Date Performance: 1966-03-17 4:23
9 Don't Pick A Flower - Date Performance: 1970 3:53
10 Thinking Of My Woman - Date Performance: 1970 2:32
11 Don't Waste My Time - Date Performance: 1970 3:10
12 Plan Your Revolution - Date Performance: 1970 2:38
13 Took The Car - Recorded at Larrabee Studio's, Los Angeles: Date Performance: 1970-07-00 4:00
14 Moving On [Live] - (Billed as "Time's Moving On"): Recorded live at the Whiskey A Go-Go, Los Angeles: Date Performance: 1972-07-00 4:26

Track 1 by A.C. "Moolah" Williams: Track 5 by Mick Taylor: Track 8 by T-Bone Walker: Tracks 2,3,6,7,10,12,13,14 by John Mayall: Track 4 by John Mayall/Mick Taylor: Track 9 by John Mayall/Jon Mark: Track 11 by John Mayall/Steve Thompson

MUSICIANS

John Mayall - Guitar, 12-String Guitar, Slide Guitar, Harmonica, Piano, Organ, Keyboards, Tambourine, Vocals
Eric (Patrick) Clapton, Peter Green, Freddy Robinson, Mick Taylor, Harvey Mandel, Jon Mark - Guitar
John McVie, Larry Taylor, Victor Gaskin, Stephen Thompson, Tony Reeves - Bass
Aynsley Dunbar, Colin Allen, Jon Hiseman, Keef Hartley, Jack Bruce (John Symon Asher), Hughie Flint - Drums
Dick Heckstall-Smith, Rip Kant, Chris Mercer, Clifford Solomon, Ernie Watts, Fred Jackson - Saxophone
Charles Owen, Johnny Almond - Saxophone, Flute
Blue Mitchell, Henry Lowther - Trumpet
Don (Sugarcane) Harris - Violin

BIO

As the elder statesman of British blues, it is John Mayall's lot to be more renowned as a bandleader and mentor than as a performer in his own right. Throughout the '60s, his band, the Bluesbreakers, acted as a finishing school for the leading British blues-rock musicians of the era. Guitarists Eric Clapton, Peter Green, and Mick Taylor joined his band in a remarkable succession in the mid-'60s, honing their chops with Mayall before going on to join Cream, Fleetwood Mac, and the Rolling Stones, respectively. John McVie and Mick Fleetwood, Jack Bruce, Aynsley Dunbar, Dick Heckstall-Smith, Andy Fraser (of Free), John Almond, and Jon Mark also played and recorded with Mayall for varying lengths of times in the '60s. Mayall's personnel has tended to overshadow his own considerable abilities. Only an adequate singer, the multi-instrumentalist was adept in bringing out the best in his younger charges (Mayall himself was in his thirties by the time the Bluesbreakers began to make a name for themselves). Doing his best to provide a context in which they could play Chicago-style electric blues, Mayall was never complacent, writing most of his own material (which ranged from good to humdrum), revamping his lineup with unnerving regularity, and constantly experimenting within his basic blues format. Some of these experiments (with jazz-rock and an album on which he played all the instruments except drums) were forgettable; others, like his foray into acoustic music in the late '60s, were quite successful. Mayall's output has caught some flak from critics for paling next to the real African-American deal, but much of his vintage work -- if weeded out selectively -- is quite strong; especially his legendary 1966 LP with Eric Clapton, which both launched Clapton into stardom and kick-started the blues boom into full gear in England. When Clapton joined the Bluesbreakers in 1965, Mayall had already been recording for a year, and been performing professionally long before that. Originally based in Manchester, Mayall moved to London in 1963 on the advice of British blues godfather Alexis Korner, who thought a living could be made playing the blues in the bigger city. Tracing a path through his various lineups of the '60s is a daunting task. At least 15 different editions of the Bluesbreakers were in existence from January 1963 through mid-1970. Some notable musicians (like guitarist Davy Graham, Mick Fleetwood, and Jack Bruce) passed through for little more than a cup of coffee; Mayall's longest-running employee, bassist John McVie, lasted about four years. The Bluesbreakers, like Fairport Convention or the Fall, was more a concept than an ongoing core. Mayall, too, had the reputation of being a difficult and demanding employer, willing to give musicians their walking papers as his music evolved, although he also imparted invaluable schooling to them while the associations lasted. Mayall recorded his debut single in early 1964; he made his first album, a live affair, near the end of the year. At this point the Bluesbreakers had a more pronounced R&B influence than would be exhibited on their most famous recordings, somewhat in the mold of younger combos like the Animals and Rolling Stones, but the Bluesbreakers would take a turn for the purer with the recruitment of Eric Clapton in the spring of 1965. Clapton had left the Yardbirds in order to play straight blues, and the Bluesbreakers allowed him that freedom (or stuck to well-defined restrictions, depending upon your viewpoint). Clapton began to inspire reverent acclaim as one of Britain's top virtuosos, as reflected in the famous "Clapton is God" graffiti that appeared in London in the mid-'60s. In professional terms, though, 1965 wasn't the best of times for the group, which had been dropped by Decca. Clapton even left the group for a few months for an odd trip to Greece, leaving Mayall to straggle on with various fill-ins, including Peter Green. Clapton did return in late 1965, around the time an excellent blues-rock single, "I'm Your Witchdoctor" (with searing sustain-laden guitar riffs), was issued on Immediate. By early 1966, the band was back on Decca, and recorded its landmark Bluesbreakers LP. This was the album that, with its clean, loud, authoritative licks, firmly established Clapton as a guitar hero, on both reverent covers of tunes by the likes of Otis Rush and Freddie King and decent originals by Mayall himself. The record was also an unexpected commercial success, making the Top Ten in Britain. From that point on, in fact, Mayall became one of the first rock musicians to depend primarily upon the LP market; he recorded plenty of singles throughout the '60s, but none of them came close to becoming a hit. Clapton left the Bluesbreakers in mid-1966 to form Cream with Jack Bruce, who had played with Mayall briefly in late 1965. Mayall turned quickly to Peter Green, who managed the difficult feat of stepping into Clapton's shoes and gaining respect as a player of roughly equal imagination and virtuosity, although his style was quite distinctly his own. Green recorded one LP with Mayall, A Hard Road, and several singles, sometimes writing material and taking some respectable lead vocals. Green's talents, like those of Clapton, were too large to be confined by sideman status, and in mid-1967 he left to form a successful band of his own, Fleetwood Mac. Mayall then enlisted 19-year-old Mick Taylor; remarkably, despite the consecutive departures of two star guitarists, Mayall maintained a high level of popularity. The late '60s were also a time of considerable experimentation for the Bluesbreakers, which moved into a form of blues-jazz-rock fusion with the addition of a horn section, and then a retreat into mellower, acoustic-oriented music. Mick Taylor, the last of the famous triumvirate of Mayall-bred guitar heroes, left in mid-1969 to join the Rolling Stones. Yet in a way Mayall was thriving more than ever, as the U.S. market, which had been barely aware of him in the Clapton era, was beginning to open up for his music. In fact, at the end of the 1960s, Mayall moved to Los Angeles. Released in 1969, The Turning Point, a live, all-acoustic affair, was a commercial and artistic high point. In America at least, Mayall continued to be pretty popular in the early '70s. His band was no more stable than ever; at various points some American musicians flitted in and out of the Bluesbreakers, including Harvey Mandel, Canned Heat bassist Larry Taylor, and Don "Sugarcane" Harris. Although he's released numerous albums since and remained a prodigiously busy and reasonably popular live act, his post-1970 output generally hasn't matched the quality of his '60s work. Following collaborations with an unholy number of guest celebrities, in the early '80s he re-teamed with a couple of his more renowned vets, John McVie and Mick Taylor, for a tour, which was chronicled by Great American Music's Blues Express, released in 2010. It's the '60s albums that you want, though there's little doubt that Mayall has over the past decades done a great deal to popularize the blues all over the globe, whether or not the music has meant much on record. © Richie Unterberger © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/john-mayall-p4860/biography

Roger Chapman & The Shortlist

Roger Chapman &The Shortlist - Rollin' & Tumblin' - 2001 - Mystic

“After a career spanning 30 years, Roger Chapman’s fiery stage presence remains undimmed. He still struts and frets, wringing every syllable from a multicoloured repertoire of rock, soul and ballads. His astounding voice rips through the lyrics, devastating the unsuspecting listener with raw emotion. The sheer power and commitment of his delivery is a revelation to audiences brought up on a diet of blandness and mediocrity. Chappo is both a legend of rock past and a pioneer of rock present, and the story is still very much unfolding…” [From Roger’s Public Relations Dept.]

Roger Chapman is a British rock legend, best known for for his spectacular stage presence and amazing powerful vibrato vocals, who played with the hugely talented and original British band, Family, (who called it a day in the early 70’s). During their seven year lifespan, Family had achieved an almost unequalled standard of musical output and musicianship. Arguably, at least four of their eight albums can be regarded as rock classics. Family were regarded by critics, and by the public in general, as one of Britain's finest rock bands. John Peel, the late, great BBC Radio 1 DJ, once said that he'd travel any distance to see Chapman perform. Sadly, by the late seventies, Roger had practically disappeared from the music scene.The mechanics of the music business, e.g, glam rock, the dawn of punk, new wave, and romanticism, dictated the demise of many great rock and progressive rock bands, who had dominated the music scene, (especially in Britain), for so long. That is not to say that these new genres did not produce some great bands. However, the musical scene at this time did not suit Roger Chapman's style of music, and never one to bow to commercialism, Chapman went to Germany in the early eighties where he still spends most of his time, and is regarded as a cult figure there. He has also received well deserved Artist of the Year and Lifetime Achievement Awards from the German people. "Rollin' & Tumblin'" was recorded live by Roger and his band the Shortlist at The Borderline, London & Hell, Norway in August 2000. The album includes three previously unreleased tracks: "18 Wheels...& a Crowbar", "Downtown Train", and "Big River". A couple of old Family favourites, "No Mules Fool", and "Burlesque" are covered as well as Lomax & Leadbelly's old country standard "Goodnight Irene". Roger was never one for convention, and has always done his own thing in music with complete disregard for commercialism. Buy his brilliant 1979 album, "Chappo." It is also a musical education to listen to Family's "Music in a Doll's House," "Bandstand," and "Fearless " albums. Search this blog for related releases [All tracks @ 320 Kbps: File Size = 138 Mb]

TRACKS / COMPOSERS

1 No Mules Fool - Roger Chapman, John Whitney 3:37
2 A Stone Unturned - Roger Chapman 4:59
3 A Kid Called Mac & A Cat Called Kokomo - Roger Chapman 4:02
4 Kiss My Soul - Roger Chapman, John Whitney 5:28
5 Downbound Train - Berry 6:43
6 Big River - Johnny Cash 4:51
7 Burlesque - Roger Chapman, John Whitney 4:52
8 Shank (Shadow on the Wall) - Oldfield 4:06
9 18 Wheels... & A Crowbar - Mead, Wilson 5:42
10 X-Town - Chapman, Simpson 4:56
11 Jesus & The Devil - Chapman, Hinkley 7:16
12 Goodnight Irene - John A. Lomax, Huddie Ledbetter 4:43

BAND

Roger Chapman - Vocals, Harmonica, Percussion
Steve Simpson - Electric & Slide Guitar, Electric & 12 String Acoustic Mandolin, Fiddle, Backing Vocals
Gary Twigg - Bass Guitar, Percussion
Ian Gibbons - Piano, Keyboards, Accordion, Backing Vocals
Geoff Dunn - Drums, Percussion
Mark Feltham - Harmonica on Track 12

BIO

Roger Chapman is best known for his barbed-wire voice, used to front British '70s rock acts Family and Streetwalkers. He began a long-awaited solo career in 1978 that led to over a dozen full-length releases. Never heard of them? It's not surprising: album-wise, he camped out in Germany for 20 years. His first album and tour got high praise in his British homeland, but critics cut into him soon after. When the hassle-free German market beckoned, Chapman began to focus his subsequent work there, where he had become a musical hero, "the working-class artist." Chapman split with his longtime writing partner, Charlie Whitney, after the breakup of Streetwalkers in 1977. He surrounded himself with ace session musicians to cut a debut solo effort, Chappo. It was an album of strong rock that catered to the singer and not the musicians. An appearance on Germany's Rockpalast TV show and the ensuing hit single, "Let's Spend the Night Together," gave Chapman the shot of success he needed, so he set up operations in Germany. Live in Hamburg was a reassuring second album, demonstrating the live energy of this experienced yet stage-crazed performer. Studio albums over the next few years blended straight power rock with funk, R&B, and soul, all topped with Chapman's characteristic vocal style. In the 1981 German Music Awards, Chapman was voted Best Singer, and his Hyenas Only Laugh for Fun won an award. Chapman and his backing band, the Shortlist, released two alter-ego albums in the early '80s as the Riff Burglars. These releases honored roots and classic rock by artists like Chuck Berry, Willie Dixon, and Leiber & Stoller. A lead vocal on Mike Oldfield's 1983 hit "Shadow on the Wall" also added to Chapman's diverse repertoire. Chapman's mid-'80s foray into polished studio sounds did not fare well with his audience. When his extended partnership with guitarist Geoff Whitehorn ran its course, Chapman returned to pure rock form with 1989's Walking the Cat, which featured Alvin Lee and old friend Bob Tench. Two compilations filled a silent period in the mid '90s, but 1996's Kiss My Soul was a comeback for the guy who had never gone away. It even got attention and a pressing in Chapman's British homeland, where he often toured despite the lack of domestic releases. This was followed by 1998's A Turn Unstoned? and the two-CD Anthology; the next year saw re-releases of Chappo and Mail Order Magic. Moth to a Flame was issued in early 2001. A number of live and archival releases followed in the early 2000s, and a new studio album, One More Time for Peace, was released in 2007. In 2009 Chapman announced that he would be retiring from live performances, and his final appearance dates were subsequently announced, culminating in several festival sets in the U.K. and Germany planned for August 2010. © Patrick Little © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/roger-chapman-p16393/biography

The J. Derrickson Project

The J. Derrickson Project - The Blues In Me - 2010 - The J Derrickson Project

Known for playing a broad mixture of styles during his live performances, James Derrickson (aka: The J. Derrickson Project) realized that he had a fast growing love for the Blues, in particular. While playing bass in a three piece Blues band for 3 years back around 2000, he took his first stab at composing Blues tunes, and quickly recognized that it came fairly easy for him. After releasing two R&B CD's in 2003 and 2007, James decided the time was right to fulfill a dream of composing and recording an all-original Blues album. A year-and-a-half making, “The Blues In Me" was recently released and has garnered tremendous critical acclaim and airplay. “The Blues In Me" is a collection of various bluesy feels that lyrically, cover an emotional range from happy, sad, sarcastic, and uplifting, to just plain old fun! The opening song. “That Ain't Enough" is a rhythm guitar-driven R&B/Blues groove, that at live shows, has instantly provoked head-bobbing from the first note. “Let Me Be" is the CD's “down and dirty “ blues track. It boasts an emotionally charged guitar, supported by a tasty piano and heavy bass line, featuring Allen Oliver on keys. The title tune “ Blues In Me" musically conjures thoughts of New Orleans and featured Lee Thornton and Rick Berandini on keys and harmonica, respectively. Lyrically, along with “A Little Time" , it goes to explain the emotions that James experiences when playing, as well as listening to the Blues. “Ain't That A Shame" and “After 'While" feature the unbelievably talented 19 year old saxophonist Jacob Veloo who, as a testament to his skills, is currently a student at Berklee College Of Music in Boston. “Cab, Bartender," jokingly hailed as his “public service song" originally appeared on James' first CD, “Strange Mood." It has been Derrickson's most popular song to play live. Thus, wanting to make it more bluesy, to improve the overall track, and to give it more exposure, James decided to re-record it for this project. Born in Danville, Illinois, Jim began playing music at the age of eight, playing violin in school and bass with neighborhood musician friends. After graduating high school, he would spend the next twelve years performing with numerous local cover bands, all over the central United States. But, needing to take another step forward, Jim decided to take some time off of the stage and concentrate on writing some of his own material. After moving to Salt Lake City in 1990, the urge to perform again was too strong. So he did some duo work, and joined a six piece dance band. But, not feeling totally satisfied, Jim decided solo would be the way to do all the things he wanted, musically. And with today's technology (drum machines, sequencers, etc.) he knew that he could cover most of the missing elements of a full band. The results; a sound that is enjoyable to listen to, very danceable, and appealing to those with a wide variety of musical taste. Don't forget to check www.jimmysongs.com for “The Blues In Me" fall/winter tour from the J. Derrickson Project. - FROM & © SOURCE: CREATIVITY IN MUSIC, Published: 2010-09-07 © 2011 All About Jazz and/or contributing writer/visual artist. All rights reserved http://www.allaboutjazz.com/php/news.php?id=64692

"From east coast to west coast, and parts in between", this is a very good all original traditional style soul blues/R&B album from James Derrickson, and very enjoyable. An album full of class with musicianship of the highest standard, and HR by A.O.O.F.C. Buy The J. Derrickson Project's great "Strange Mood" album [All tracks @ 160 Kbps: File size = 68.6 Mb]

TRACKS

1. That Ain't Enough
2. Let Me Be
3. I Should've Known
4. The Blues In Me
5. Ain't That a Shame
6. You're Gonna Miss Me
7. These Times
8. A Little Time
9. Can't Let the Blues Get Me Down
10. After 'While
11. I've Got To Know
12. Chi-Town Blues
13. Cab, Bartender [Reprise]

All songs composed by James Derrickson

MUSICIANS

James Derrickson - Guitar, Bass, Drum Machines, Sequencer, Vocals
Allen Oliver - Keyboards on Tracks 2 & 6
Lee Thornton - Keyboards on Tracks 4 & 12
Roger Bird - Keyboards on Track 9
Jacob Veloo - Alto Saxophone on Tracks 5 & 10
Kristi Davis - Street Corner Cab Whistle on Track 13
Rick Berardini - Harmonica on Track 4

ABOUT JAMES DERRICKSON

James Derrickson [Vocals ~ Guitar ~ Bass] Born : Danville, Illinois: Current Home : Salt Lake City, Utah: Soul, blues, jazz, gospel, country, rock, classical: At some point within his 35 year musical career, Jim has touched on, and gained an appreciation for all of these different styles. And that tends to bring on one of his biggest compliments. Jim’s audiences always enjoy the fact that he is able to perform such a diverse song list, with an honest enjoyment for each and every song, no matter what the style. And, regardless of how many different types are played, his own added “personal touch” tends to bring a certain continuity to a song list of many different feelings. Born in Danville, Illinois, Jim began playing music at the age of eight, playing violin in school and bass with neighborhood musician friends. After graduating high school, he would spend the next twelve years performing with numerous local cover bands, all over the central United States. But, needing to take another step forward, Jim decided to take some time off of the stage and concentrate on writing some of his own material. After moving to Salt Lake City in 1990, the urge to perform again was too strong. So he did some duo work, and joined a six piece dance band. But, not feeling totally satisfied, Jim decided solo would be the way to do all the things he wanted, musically. And with today’s technology (drum machines, sequencers, etc.) he knew that he could cover most of the missing elements of a full band. The results; a sound that is enjoyable to listen to, very danceable, and appealing to those with a wide variety of musical taste. © http://www.jimmysongs.com/bio.html

Alex Ehrsam

Alex Ehrsam - P.U.L.S.E. - 2010 - Shredguy Records

Shredguy Records introduces French guitarist Alex Ehrsam to guitar fanatics around the world with P.U.L.S.E. This ten track, all-instrumental release proves that fusion is still in fashion. Searing guitar and funk/fusion grooves abound. The album is driven along by the funky grooves supplied by the quality rhythm section of Anh-Quàn Lê on bass, and Olivier Wilhelm on drums! Alex handles all guitars tracks (except on Morning Cigarette rhythm played by Thomas Gutherlé). Alex’s weapon of choice is the Stratocaster, a perfect machine for his rapid fire riffs and funky rythmn grooves. This platter cooks from start to finish with quality composition, performance and engineering. A funk/fusion extravaganza that is never boring or tedious. Despite intense and furious fusion motifs, there are a lot of dynamics as well, melodic sections within songs or the totally atmospheric ballad Time Sensitive. The soloing is to me most reminiscent of the funkier side of Greg Howe, obviously a huge influence, and perhaps something between Gambale and Henderson with also a touch of Mike Stern. This is a must have for those keen on instrumental guitar with serious chops funkiness and melody. Next to Mike Abdow, this is my favourite Shredguy release thus far. For more information about Alex Ehrsam alexehrsam.fr Rating – 85% - Review by & © Mike Blackburn © http://virtuosityone.com/2011/04/27/alex-ehrsam-p-u-l-s-e/

Despite being on the Shredguy label, the album is not all about "shredding". There are relatively few metal and/or mega-heavy riffs. "P.U.L.S.E." is primarily a great instrumental guitar dominated jazz rock album full of original instrumental fusion ideas, funky grooves, and unusual jazz chordal structures. Alex is a brilliant technical player and builds a bridge between instrumental jazz, and modern shredding guitar. Alex said in a 2008 interview that "I really don't care if I'm being associated with this or that guitar heavyweight. I know my influences, I try not to copy them, I know where I want to go musically speaking, and I don't care about remarks or bad reviews. I just play the way I feel, some like it, some don't, life goes on". If you like artists like Greg Howe, Scott Henderson, Joe Satriani, and Prashant Aswani you may enjoy this album. Listen to Alex's "djaz_dtox" album [All tracks @ 320 Kbps: File size = 109 Mb]

TRACKS

1. Proximity Triggered (4:52)
2. Hollow Input (5:24)
3. Short Notice (4:01)
4. Round Trip (4:55)
5. Lush (5:39)
6. Time Sensitive (4:20)
7. Heat Signature (4:55)
8. Smooth Operator (4:56)
9. Side Step (4:20)
10. Morning Cigarette (4:50)

All tracks composed by Alex Ehrsam

MUSICIANS

Alex Ehrsam - Lead Guitar, Rhythm Guitar
Thomas Gutherlé - Rhythm Guitar on "Morning Cigarette"
Ahn-Quan Le - Bass
Oliver Wilhelm - Drums

REVIEW

Before I start waffling, I have a great perspective for this album as I've never heard it and don't know the artist on it.I know of the artist and know his influences Coltrane, Greg Howe, Prashant Aswani, Scott Hendersonthese are big boots to fill but is that not true for all our influences? I ask myself what boxes does a fusion shred album need to tick, and I answer with this list ; Timing ,groove ,tension, release, interaction , phrasing, tones, motifs , solo's and technical proficiency (not a must for fusion but as its got shred in the album genre) and a little strangeness is always a good thing. (This album did ticks those boxes) I also remind myself this album is live and a quartet comprising of;
Alex Ehrsam on Lead Guitar, Olivier Wilhem on Drums, Anh-Quàn on bass Thomas Gutehrlé on rhythm Guitar TRACK 1 "Proximity Triggered" Great , on the outset this has had some studio mastering to tech it up slightly , but it retains its live feel its definitely "Guitar on a Platter" stuff. The tonefull lead guitar take center stange and reacts to a composition rather than just changes which is great. Proximity takes an interesting turn into another mode to use a pun , its timbre changes and line after line the lead guitar shows its got all the stuff needed to do its business and do it well . The guitar goes for it but it still keeps in the confines of a composition and not a tangent of chaos (thank heavens) Great track. TRACK 2 "Hollow Input" This has a different vibe, totally away from the last some great analogue synths in there or filter fx , this is groove town means meaningfull sloucher, theres plenty for the guitar shredder to enjoy in soloing skills and great chord movements outlined well. TRACK 3 "Short Notice" Heavier number now and this track has that odd time, older fusion vibe, with a much more modern and up to date guitar virtuosity , nice hooky riffs . I get the vibe that this CD has been made to feel older , like a custom shop would do a guitar to seem older , this has that feel. The whole guitar trip gets mad at times but that is what your after isn't it? , its even got a Zappa touch to it too. TRACK 4 "Round Trip" Hold on whats this worth then?, Holdsworth pun there as the progression has that vibe. I think I'll stick to the song and leave the comedy , hey I think its the reverb that gives it that aged feel , there is either a real plate £18,000 or a great rack £5000 or an amazing vst £500 lol .There are some very Chick, Lee Retinour vibes here too. Nice changes sir TRACK 5 "Lush" Layed back , sensual sexy guitar (not porn and no theres no wah) . Nice thick tone and very clever hybrid work on the fretboard , I think only a guitarist would have spotted that (geek that I am). This is a great behind the beat and gibson SG sound , 80 's rock fusion is alive and well. Alex uses very subtle additives and brings on the the verb during some of the fast and high register guitar , then its gone giving the guitar tones a change of timbre, this is great fx use, There is no doubt that Alex can play the guitar and to a high standard and he sure doesn't hold it back either . TRACK 6 "Time Sensitive" Great intro , very cool use of delays and taps also the bass takes a great place in the first part of this track, its a great composition and has an interesting tonal atmospheric feel If floyd did fusion they would do it like this track ;) , cool fake end then swings in again to give it a real uplift to the ending. TRACK 7 "Heat Signature" All that mellowness was short lived , here come the freaks , its a freaky one this , now the fusion is really filtering into the room, I have a sneaky Henderson feel to this , the groove is good and the crunchy guitar thats playing it is just the right sound. I like that the album has had not additions post live take that are out of place or un-do-able live. TRACK 8 "Smooth Operator" The groove train is in the station and its mode-ville all the way , I think there is some Vai in there somewhere I'm sure , the change in tempos and timing makes the live aspect of this album evident. Although there is alot of notes flying by, its not out of place to the the albums vibe as a whole. TRACK 9 "Side Step" I like the groove ,twisted Bebop metal funk lol , the riffin and the twisted timing , nice , ahh a drum solo , I did wonder if Alex would use the drummer more, As in all the tracks Alex puts a little refrain and adds something a little different , this is for the shred lover be assured . TRACK 10 "Morning Cigarette" Damn I had been ok with giving up smoking until this songs title reminded me of that (I wont go there) . A chesty cough is a better reminder anyway back to the music. This good bye track is a bit like ahhhhh , much like the morning cigarette, I do like the way Alex is using the volume swell and his phrasing is very hard and aggressive. The Henderson influence I think is very evident as its fusion , shred , blues . Summary: Fusion, shred, blues sums this mans guitar on a platter album up. But to say that there's a massive amount of work gone into the composing and practicing to make this great albums tracks run so smoothly live. I would not buy this if jazz fusion is your cup of tea but you not into shred (not that anyone here would not be ) as the shredding may not be your thing and theres plenty of it. If long lines and "No Holds Barred" guitar work is your bag, then this bad boy will be an ideal gift to yourself, because...... "your worth it" Purists stay away theres not alot of acoustics here , its a rock album , fusion rock is the name of the game . There was some drum parts and some great bass parts that stood out but I'de like to have heard more from the obviose talent in the room. There is an older sound to P.U.L.S.E and modern guitar. I dont want to rate the CD in of 5 but its ranking at high numbers for virtuosity , high for composition . It lets itself down just a little in the production and mastering but 4 out of 5 is still not bad . Its not bad do not get me wrong but I think I'de not be doing my job right SK by not being honest and If I said it hit the same standards as albums that have has buckets of money thrown at it. Yes I'd be lying but having said that lets not forget it is a live album. If I heard this album live in a bar or club I'de be stoked and buzzing ,and as i said "there's nothing on it that would make it un-do-able live". I'd definately be totally blown away by Alex and buy the album. Thats one thing about the Cd, it has been into the studio but its not had nothing put onto it that couldnt be done live , I know i just repeated myself but it needed saying , I've heard people put samples and parts and harmonies that make it impossible to re-create , this is out of the box what it say's on the tin . OPEN HERE -FUSION SHRED ROCK INSIDE The album is available all over the place amazon , guitar nine , just google it or head to shredguy records. - from SK TRACK BY TRACK REVIEW BY & © MARK THOMPSON © http://www.shredknowledge.com/index.php?option=com_content&view=article&id=934:pulse-by-alex-ersham-and-shredguy-records&catid=162:artist-spotlight&Itemid=312

ABOUT ALEX

Hi, my name is Alex Ehrsam & I’m a guitar player from France. My debut album "djaz_dtox" blends instrumental fusion ideas, jazz chordal structures & funky grooves. It was well received in the instrumental guitar musical fields (check magazines' reviews below, thx). I’ve been playing guitar for the last thirteen years. I grew up in a musical environment listening to a lot of jazz & rag-time, discovering Miles & Coltrane, their universe & their vision of music... Since graduating from Music Academy International (Nancy, France) in december 2003, I’ve been trying to cut into basic guitar chops to create arpegiated approaches, developing a jazz feel through a specific choice of notes & yet sticking to a heavy rock sound. I’m mostly using mixolydian, dorian, altered, blues modes & a lot of chromatic tricks, through hybrid techniques combining legato, sweep & finger picking…..I also worked on building a smooth nu-jazz ambience in my music. “Elevator Shaft” is one of the tracks dedicated to this amazing musical movement. Dig it. I eventually had the chance to gather 3 musicians, patient, accurate & passionate to play my tunes live, hence giving a true shape to my music. Olivier Wilhelm on drums, Anh-Quàn Lê on fretless bass & Thomas Gutehrlé on guitar. We started playing gigs along 2009, we are poanning a Mini Tour for 2011. The 2d album is mixed, mastered & done. It will be available Ocober 2010 on the US label ShredGuy Records. No programming at all on that gig, only real live musicians this time. Wait & see. I am currently teaching guitar in several schools in the Montpellier area (South of France).© 2010 eMinor Inc ).© http://www.reverbnation.com/alexehrsam#!/page_object/page_object_bio/artist_1056640

Marty Grebb

Marty Grebb - Smooth Sailin' - 1999 - Telarc

Born on 2nd September 1946, in Chicago, Illinois, USA into a musical family, in which were several professional musicians, Grebb learned to play keyboards, guitar and saxophones. He became a session musician and in the 60s and 70s played with various groups, including the Buckinghams and the Fabulous Rhinestones, and he also backed Paul Butterfield and Mike Bloomfield. He continued his session work through succeeding decades, working with artists such as Rosanne Cash, Rick Danko, Levon Helm, Willie Nelson, Stevie Nicks, Otis Rush and Leon Russell. In particular, he attracted attention for his contributions to records by Bonnie Raitt and Maria Muldaur. Raitt appeared as a guest on Grebb’s 1999 debut Smooth Sailin’, as did Taj Mahal and Steve Cropper. Grebb also appeared on Telarc compilation albums such as Blues For A Rotten Afternoon, Meet Me Where They Play The Blues and Telarc’s Got The Blues

Smooth Sailin' is the debut release by multi-instrumentalist Marty Grebb. Back in the mid-'60s, Grebb was a founding member of the pop band the Buckinghams, and was also a backup musician who played with the Dells, Bonnie Raitt, Etta James, and Willie Nelson, to name a few. On his Telarc debut, Grebb plays piano, B-3, a bevy of saxophones, and guitar, and also handles lead vocals. He surrounds himself with high-profile guests, including Raitt, Taj Mahal, Steve Cropper, Amos Garrett, and Rick Braun. The 13 tunes are all originals by Grebb or are co-written by him, and range from horn-saturated soul-blues, lazy New Orleans grooves, and gospel-funk to smooth radio-ready contemporary blues. © Al Campbell © 2012 Rovi Corporation. All Rights Reserved. http://www.allmusic.com/album/smooth-sailin-r430628

A great album full of catchy R&B songs, all written or co-written by Marty, with a full sound and strong rhythms. Includes many great musicians including members of Little Feat, Bonnie Raitt, Doyle Bramhall II, Amos Garrett, Taj Mahal, Lenny Castro and many more. Buy Marty Grebb's great "High Steppin'" album [All tracks @ 160 Kbps: File size = 71 Mb]

TRACKS / COMPOSERS

1 Smooth Sailin' - Marty Grebb 5:39
2 High Wire Walker - Marty Grebb, John Castleberry 4:42
3 Soul Mate - Marty Grebb 4:10
4 Mississippi Muddy Water - Marty Grebb 5:31
5 Hen House - Marty Grebb, Taj Mahal 3:39
6 On the Lookout - Marty Grebb 4:23
7 The Real Thing - Marty Grebb, Jerry Lynn Williams 4:27
8 A Godsend - Marty Grebb, Walt Richmond 4:39
9 Bad Blood - Marty Grebb, Mike Finnigan 4:41
10 Sweet Girl - Marty Grebb 3:29
11 Heaven on Earth - Marty Grebb 4:51
12 Memphis Shuffle - Marty Grebb, Daniel Moore 3:43
13 Love and Shelter - Marty Grebb, Jerry Lynn Williams 3:11

MUSICIANS

Marty Grebb - Guitar, B3, Piano, Tenor, Alto & Baritone Saxophone, Clavinet, lead vocals
Doyle Bramhall II, Steve Cropper, Amos Garrett, B.B Chung King, Taj Mahal, Bonnie Raitt, Johnny Lee Schell, Fred Tackett, Rick Vito, Dave Widow, Jon Woodhead - Guitar
Larry Fulcher, Bob Glaub, Hutch Hutchinson, Gerald Johnson, Reggie McBride - Bass
Walt Richmond - Piano
Bill Payne - Wurlitzer Piano, Strings
Richie Hayward, Jim Keltner, Denny Seiwell, Mario Calire, Alvino Bennett, Tony Braunagel - Drums
James Gadson - Drums, Vocals
Lenny Castro, Arno Lucas - Percussion
Jim Calire, Joe Sublett, Harry Grebb - Saxophone
Rick Braun, Darrell Leonard - Trumpet
Bonnie Raitt, Jackie Gouchee Farris, Maxine Willard Waters, Valerie Pinkston, Ivan Neville, Rick Nelson, Taj Mahal, Gerald Johnson, Teresa James, Anna Grebb, Renée Geyer, Mike Finnigan, Taneka Beard, Chris Bolton, James Gadson - Vocals

Mike Walker

Mike Walker - Madhouse and the Whole Thing There - 2008 - Hidden Idiom

"Mike Walker is one of the most powerful jazz guitarists in Europe ... This is his first album under his own name but, far from sounding like an insular personal journey, this debut is a soaringly confident piece of idiosyncratic contemporary fusion." - John Fordham, The Guardian May 23rd 2008

"... seldom can there have been a more impressive debut in British Jazz than this. Walker has an imagination of enormous sweep but also the skill and taste to realise his vision." - Stuart Nicholson, Jazzwise Magazine July 2008

Mike Walker is one of the most powerful jazz guitarists in Europe, but a surreal intelligence, extra-musical talents and a teaching career have kept him from the stardom his skills could have brought him - and still might. Walker is 46 and has never left his native north-west England. This is his first album under his own name but, far from sounding like an insular personal journey, this debut is a soaringly confident piece of idiosyncratic contemporary fusion, with brief borrowings from what sound like radio monologues and pub singalongs dropped into the thick-textured, backbeat-smacking grooves. Walker doesn't dominate, but has put the narrative shape of the venture first, as well as the changing colours and grooves of a taut group (at times a little unwavering in its drum patterns) augmented by all manner of guest specialists. Saxist/clarinettist Iain Dixon is magnificent throughout - Stan Getzian on the Latin opener and as ghostly as Benny Maupin's Bitches Brew bass clarinet on I'll Tell 'Em. Walker delivers a slashing, free-electric guitar tour de force on In Two Minds, and Nikki Iles's piano drifts tantalisingly in and out of the jazzier Dad's Logic. ****/5 © John Fordham The Guardian, Friday 23 May 2008 © 2012 Guardian News and Media Limited or its affiliated companies. All rights reserved http://www.guardian.co.uk/music/2008/may/23/jazz.johnfordham2

Guitarist Mike Walker has recently been attracting the kind of acclaim that has long been his due. The end of year summaries at the close of 2010 saw many critics falling over themselves to praise Walker’s contribution to the Anglo- American super-group now known as The Impossible Gentlemen. Walker, pianist Gwilym Simcock, electric bassist Steve Swallow and drummer Adam Nussbaum toured the UK to great acclaim last summer with most of the compositions coming from the British half of the equation. The freshly named quartet are due to release an album on Basho Records later in 2011 and to tour the UK again in June. I reviewed the quartet’s Swansea show under the group name Simcock/Walker/Swallow/Nussbaum and it was there that Mike was kind enough to give me a copy of his 2008 album “Madness And The Whole Thing There” for review purposes. Apologies to Mike for not covering it before now but with Walker currently the subject of mass critical acclamation now seems like a good time to add to the chorus of approval. Walker has been a mainstay of the UK jazz scene for many years and a prolific sideman for saxophonist Julian Arguelles among many others. His retiring nature and his insistence on remaining in his native Manchester have perhaps prevented him becoming a favourite of the London cognoscenti-until now. “Madhouse” is Walker’s first album as a leader and it is a hugely ambitious work adding vocals, speech samples, strings and big band textures to the work of a core Mancunian quintet consisting of Walker (guitar), Iain Dixon (reeds), John Ellis (keyboards), Sylvan Richardson (electric bass) and Myke Wilson (drums). The playing by the quintet is exemplary throughout but the additional voices and instruments give the music an almost cinematic scope that is hugely impressive. Although the album derives it’s inspiration from what might seem a sombre source, Walker’s late mother’s struggles with schizophrenia (or bi-polar disorder as it is now more commonly referred to), much of the music is strangely celebratory. At times Walker draws inspiration from US guitar greats such as Pat Metheny and John Scofield but “Madhouse” has a distinctively British, even Northern, quality that is all it’s own. Personal problems and industry politics delayed the release of this album for many years with Walker feeling simultaneously relieved and vindicated when the album finally appeared after years in the planning. The album begins in celebratory fashion with the samba of “A Real Embrace”. Djamila Skoglund-Voss’ soaring wordless vocal is underscored by the immaculately arranged Madhouse Strings. There’s a wonderfully warm tenor sax solo from Iain Dixon and Chris Manis’ exotic percussion also helps to keep the pot bubbling. Walker’s delicate acoustic guitar is curiously understated. There are similarities here to the sound of the Pat Metheny Group and others have drawn parallels with Klaus Ogermann’s work for the CTI label in the 70’s. I usually cite CTI in a pejorative sense but I only have admiration for Walker’s work here. The luxuriousness of the sound and breadth of vision on this track recall Metheny at his best and Walker adds a touch of that aforementioned Northern melancholy to boot. The following “Owed To JC” is not the usual jazz musician’s homage to John Coltrane. Instead Walker honours his fellow Mancunian, the punk/street poet John Cooper Clarke. The album title comes from a Clarke poem and Walker returns the compliment with a Clarke style poem of his own which is reproduced on the CD packaging. It’s not bad. The tune itself is a nine minute tour de force of intelligent, articulate music which combines fusion elements with big band textures. Additional horns complement Dixon’s gruff but articulate baritone solo, Mark Hart narrates Walker’s poem, and the composer adds soaring Scofield style guitar that references jazz, blues and rock . Ellis, Richardson, Wilson and the horns add a splendidly propulsive, subtly funky backdrop which spurs soloists Dixon and Walker to great heights. Credited to “The Band” the punchy, powerful “In Two Minds” owes its genesis to a group improvisation. It’s a sturdy slice of jazz/rock fusion with Walker’s stratospheric guitar soaring above the powerhouse rhythms laid down by Ellis,Richardson and Wilson with the drummer in impressively pugnacious form. It may be brief and unashamedly retro but it’s also splendidly exciting and invigorating. The even shorter “Still Slippy Underfoot” comes as a complete contrast, a brief calming interlude featuring Dixon on clarinet and Alan Tokely on French horn floating above Paul Kilvington’s synthesised backwash. It’s a delectable little palette cleanser and I can’t actually detect Walker playing on it at all. That’s probably because he’s saving himself for the album’s centre piece, the twelve minute “I’ll Tell ‘im”. Sampled speech and choral vocals weave in and out of this punchy fusion epic that sees Walker, Ellis and Dixon exchanging ideas propelled by Wilson’s relentless rhythms. The comparative simplicity of the backing contrasts with the complexity of the ideas,colours and textures being conjured up by the front line soloists. The piece is climaxed by the searing intensity of Walker’s guitar. Its impressive stuff with Walker fully achieving all his objectives. After the intensity of “I’ll Tell ‘im” the final piece, “Dad Logic” closes the album on almost elegiac note. Walker welcomes back the additional horns of trumpeters Neil Yates and Paul Newton, alto saxophonist Andy Schofield and flautist Suzanne Higgins. Guest pianist Nikki Iles adds a flowing solo and there’s also a splendidly eloquent solo from Walker himself, his guitar soaring gracefully above a backdrop of wordless vocals. It ends a very good album on a suitably upbeat note and there’s a sense of Walker having reached some kind of closure. “Madhouse…” represents an excellent début album. Impressive in its scope and ambition it reveals Walker to be an imaginative composer as well as being one of Britain’s finest guitar players. Although the album is relatively short by modern day standards Walker doesn’t waste an idea and the record’s conciseness becomes a virtue. “Madhouse…” has a finished, almost conceptual feel, there’s the sense of a story being completed. Walker’s compositional skills will undoubtedly be heard again on the impending The Impossible Gentlemen album. He made a strong contribution of material to the group’s tour last year, none of it sourced from “Madhouse..”, and his new pieces should be well worth hearing on disc on what is sure to be one of the most eagerly anticipated albums of 2011. While we’re waiting for that “Madhouse…” is highly recommended. Reviewed by & © Ian Mann Wednesday, January 12, 2011 © 2012 The Jazz Mann http://www.thejazzmann.com/reviews/review/mike-walker-madhouse-and-the-whole-thing-there/

Mike has been an integral part of the UK jazz scene for many years now and this guy should really be known as more than an "underground guitar hero" in the Manchester area of England. Although he has been at the core of the Manchester jazz scene for over 20 years and has performed with many great artists including Anthony Braxton, Bill Frisell, Tim Berne and John Taylor, he is highly regarded within musicians' circles as one of the best, yet least well-known guitarists. Mike's "Impossible Gentlemen" CD was voted best jazz album of 2011 in Mojo Magazine and should be heard by anybody remotely interested in great jazz guitar. There is a lot going on in the mix on this jazz/fusion album. The first track, "A Real Embrace" is a subtle Latin tinged tune with just a hint of acoustic guitar. Mike's formidable guitar playing comes more to the fore in the following 5 tracks. The musicianship throughout this album is fantastic and Mike and his backing musicians play some brilliant jazz, blues, rock and funk. This album gets better with every listen and is HR by A.O.O.F.C. Read the AAJ review of this album @ http://www.allaboutjazz.com/php/article.php?id=30328 Read more about Mike Walker @ http://www.mike-walker.co.uk/biography/ Buy Stevie Williams' great "Lo-Fi" album featuring Mike on guitar and support real music in 2012 [Tracks @ 192-320 Kbps: File size = 66.3 Mb]

TRACKS

1 A Real Embrace 9:30
2 Owed to JC 9:49
3 In Two Minds 3:25
4 Still Slippy Underfoot 1:43
5 I\'ll Tell \'im 12:02
6 Dad Logic 9:09

All tracks composed by Mike Walker

MUSICIANS

Mike Walker: electric guitar, acoustic guitar; Iain Dixon: tenor sax, baritone sax, clarinets; Myke Wilson: drums; John Ellis: electric piano, organ; Sylvan Richardson: bass guitar; Djamila Skoglund-Voss: vocals; Kirsty Almeida: vocals; Laura Hassell: vocals; Georgina Bromilow: vocals; Evette Walker: vocals; Paul Bentley: vocals; Caju: vocals; Mike Walker: vocals; Jack Walker: vocals; Nikki Iles: piano (6); Paul Kilvington : Synthesizer (1, 4, 6); Les 'Cizerace' Chisnall: piano (6) Alan Tokely: french horn ( 1, 4, 5); Suzanne Higgins: flute (6); John Helliwell: melodica (1); Chris Manis: conga, pandeiro, percussion (1, 3, 6); Caju - percussion (1); En Hudson - harp (1); Mark Heart: spoken voice (2); Paul Newton: trumpet (2, 6); Neil Yates: trumpet (2, 6); Andy Schofield: alto sax (2, 6); Madhouse Strings (1)

BIO (WIKI)

Mike Walker (born 12 July 1962), is a jazz guitar player from Salford, England. Walker has played and recorded with George Russell, Peter Erskine, Steve Swallow, Kenny Wheeler, John Taylor and performed with Dave Holland, Tal Farlow, Anthony Braxton, Bill Frisell and many others. Mike Walker was initially influenced by his father's piano playing, his mother's singing, and his brother's guitar playing. Mike went on to discover a passion for the great jazz guitarists Wes Montgomery, Joe Pass, Pat Metheny, John Scofield, Larry Coryell, Tal Farlow and others. After many months of hard practice (woodshedding), Mike entered the Manchester music scene with River People, a fusion band comprising Mike playing a Gibson ES-335 guitar; Paul Allen on fretless bass; Tim Franks on drums, and Paul 'Bob Session' Kilvington on keyboards. Mike's playing drew the attention of Alan Butler, a vibraphone player of considerable repute, who in the 1980s had a long running residency at the Malt Shovels, a well-known 'jazz' pub in Altrincham. Mike joined Alan's quartet in the mid-80's, where he needed to rapidly grasp the new vocabulary of bebop oriented standards, and more contemporary jazz compositions. During the five to six years that Mike was a member of Alan's quartet, he had begun to travel further afield playing gigs with Mike Gibbs and Kenny Wheeler. While Mike was with the Mike Gibbs band he was called upon to deputise for an absent John Scofield, during which he was heard by Kenny, who asked him to play with his big band. Mike also formed a fusion band with pianist and composer Roy Powell about this time called Some Other Country with bassist Gary Culshaw, and drummer Steve Gilbert. Mike and Gary had previously played together and had strong feeling for each other's playing. Some Other Country soon established itself as one of the North's favourite fusion bands. Mike's musical collaborations continued to expand during the late 80s and early 90s. One such was with Nikki and Richard Iles who had formed a band called Emanon, which provided a vehicle for the compositional and arranging skills of Nikki and Richard, and fertile ground for Mike's brand of inspirational playing. Nikki and Mike would subsequently enlist Gary Culshaw, and drummer Steve Brown, to form the Mike Walker Quartet. Also at this time Mike was playing in the Sylvan Richardson band, where he met his long-time collaborator and friend, the sax player Iain Dixon. Mike, Iain, Sylvan, and drummer Mikey Wilson would later form the band which came to be known as Brazil Nuts. Whilst in Zurich with the Kenny Wheeler Big Band, Mike met Julian Arguelles and subsequently joined his quartet. He also recorded several CDs with him, one of which featured on bass, Steve Swallow, with whom Mike would record again on the Mike Gibbs album 'By The Way'. The players were Peter Erskine, John Taylor, Kenny, Mike, and Django Bates. In the early 90's Mike toured extensively in various bands led by Tommy Smith, including a quartet with Mick Hutton on bass, and the Canadian, Ian Froman, on drums. Occasionally Tommy added Niels Lan Doky or Jason Rebello on piano. One of Tommy's quartets featured the Scottish drummer Tom Bancroft, an association that would lead to Mike, Tom, and Tom's sax playing brother Phil, working together at the Glasgow Jazz summer school. After many years Phil asked Mike to join his newly formed band which has been touring steadily since, together with Thomas Strønen, the Norwegian drummer, and bass player Steve Watts who replaced Reid Anderson of The Bad Plus. During the last decade Mike has also visited the United States, and most of Europe, as George Russell's guitarist, recording with him on several occasions. Also, as a member the Creative jazz Orchestra, Mike has played with Vince Mendoza, Anthony Braxton, Bill Frisell, Tim Berne, and Mark-Anthony Turnage. Other musicians that Mike has played and recorded with over the last 20 years include Dave Holland, John Taylor, Tal Farlow, Bob Moses, Arild Anderson, and Palle Mikkelborg, as well as some fine vocalists including Mica Paris, Norma Winstone, and Jacqui Dankworth with whom Mike regularly tours. In May 2008, Mike released his debut album 'Madhouse and the Whole Thing There' to critical acclaim. It features the members of Brazil Nuts, plus strings, French horn, piano, brass section and vocals etc. Also, in 2008, Mike was commissioned to write a some music for Manchester Jazz Festival. He wrote a Suite called 'Ropes' which featured a 22 piece Orchestra and Jazz quintet, with Adam Nussbaum on drums. The Suite was performed at the RNCM in Manchester to a packed theatre and received a standing ovation. Walker has written for his Sextet which features Les Chisnall, Malc Edmonstone, Pat Illingworth, Iain Dixon and Steve Watts. The Sextet tours frequently throughout the UK. He is a member of 'The Printmakers' a band set up by Nikki Iles and Norma Winstone and also featuring Mark Lockheart, Steve Watts, and James Maddren. Walker also works with Steve Swallow, Gwilym Simcock and Adam Nussbaum in a band called 'The Impossible Gentlemen'. He runs a Guitar summer School in Andalucia, Spain, usually mid June, for 2 weeks. He also runs The Music Place Summer School in Altrincham with Iain Dixon and is a tutor for the National Youth Jazz Collective. He lives in Rossendale with his two children.

Thomas Jefferson Kaye

Thomas Jefferson Kaye - Not Alone - 1992 - Hudson Canyon Records

Thomas Jefferson Kaye was born in 1940 in S. California as Thomas Jefferson Kontos. He changed his name to Thomas Jefferson Kaye at a young age. As well as being a great songwriter, Tommy also was a very successful record producer. He produced hits by such artists as Three Dog Night, Jay and the Americans, ? and the Mysterians,The Shirelles and Link Wray. He also produced albums for Mike Bloomfield, Dr. John and John Hammond, and Gene Clark. In New York, Tommy was considered a genius in R&B, blues, pop, and Top Forty. He died in september 1994.
"Not Alone" is a forgotten album. There is a 22 year gap between Tommy's 1974 "First Grade" album and "Not Alone". Many critics compare this album to his early '70's albums which were more in the folk rock vein. ["Tommy Kaye was an acquaintance of mine. Through Tommy I met Rick Clark, brother of Gene Clark. Rick and I became guitar buddies and life long friends. We had the opportunity of joining Tommy in his L.A. studio during the recording of his album "Not Alone". Until recently I only had some early preliminary cassette recordings of some of the songs. I just obtained the "Not Alone" album and was pleasantly surprised at the production quality of the final recordings. Tommy was well connected with some of the best musicians of the day, and that shows through the fantastic contributions heard on the album. First of all, I think Tommy needs to be recognized for his songwriting style and his interesting melodies. He blends a number of styles - country rock, swamp rock, southern rock, and blues, to name a few. The recordings are enhhanced by the vocal and musical contributions of some top notch players of the day. Some of my favorite songs are: Tough Enough, Up To Your Old Tricks Again, Loop Garou, Livin' On Rock and Roll. I highly recommend this album to fans of great 70's rock, especially if you like The Eagles, Eric Clapton, Jackson Browne, Dr. John, BB King". - from Tommy Kaye - An unsung music man, January 16, 2009 By & © Corey Justin ****/5 © 1996-2011, Amazon.com, Inc. or its affiliates http://www.amazon.com/Not-Alone-Thomas-Jefferson-Kaye/dp/B00000DQJS] Other reviews are not as complimentary, complaining about sound quality and saying that Tommy's voice is unrecognizable. This album needs to be listened to carefully. The songs are top notch, and although Tommy's voice is not as gritty or soulful as his '70's recordings, the album is full of quality and is HR by A.O.O.F.C. "Not Alone" features a line-up that includes Eric Clapton, Dr. John, Steve Miller, Rick Danko, Timothy B. Schmidt, Jeff "Skunk" Baxter, Joe Walsh, Don Henley and Robby Krieger. Tommy composed or co-wrote 13 of the 14 tracks on the album. Dr.John's great "Loop Garu" is the only cover on the album. Check the album notes for detailed song credits. TJK's s/t album can be found on this blog [Tracks @ 195-320 Kbps: file size = 76.6 Mb]

TRACKS / COMPOSERS

1 Dixie Flyer - Thomas Jefferson Kaye 2:39
2 C'est La Bonne Rue - Thomas Jefferson Kaye, Tom Slocum 4:13
3 Vanessa - Thomas Jefferson Kaye, Alex Taylor 2:52
4 Shades of Blue - Thomas Jefferson Kaye 2:48
5 Shoot Out In the Desert - Thomas Jefferson Kaye, Tom Slocum 4:21
6 Facade Mirada (Facade Mirage) - Thomas Jefferson Kaye, Tom Slocum 3:19
7 Fantasy Seeker - Thomas Jefferson Kaye, Bob Krasnow, Richard Perry 3:14
8 Crazy Ladies - Thomas Jefferson Kaye, Gene Clark 3:54
9 Forgive Me Girl - Thomas Jefferson Kaye 5:46
10 Loop Garu - Dr.John 4:44
11 Up to Your Old Tricks Again - Thomas Jefferson Kaye, Karan Montgomery 2:25
12 Livin' on Rock & Roll - Thomas Jefferson Kaye, Dallas Taylor, Stephen Stills 2:53
13 Tough Enough - Thomas Jefferson Kaye 3:26
14 Stone Ball - Thomas Jefferson Kaye 3:42

MUSICIANS

Thomas Jefferson Kaye - Rhythm Guitar, Guitar, Acoustic Guitar, Keyboards, Lead Vocal, Backing Vocals
Eric Clapton, Robbie Kreiger, Danny Chauncy, Joe Walsh - Lead Guitar
Jeff "Skunk" Baxter, Jerry McGee - Lead Guitar, Rhythm Guitar, Bass Guitar
Greg Douglass - Lead Guitar, Rhythm Guitar
Dr.John - Lead Guitar, Keyboards, Piano
Steve Bruton - Rhythm Guitar, Guitar
Rick Vito, John Bialin - Rhythm Guitar
Rick Danko, Michael Detempo, Charlie Harrison - Bass Guitar
Mike Utley - Keyboards, Organ
Greg Thomas - Drums, Backing Vocals
Andy Kaye - Drums
Chicago Horn Section - Horns
Steve Miller, Mary Clayton Thomas, Rick Clark, Bob Carpenter, Timothy B.Schmidt, Charlie Williams- Backing Vocals

SHORT BIO

The late Thomas Jefferson Kaye was a producer, a songwriter and a musician. Born Thomas Jefferson Kontos, he decided to change his last name to Kaye in 1958 when he became the head of A&R at Scepter Records at the young age of 18. Everyone simply called him Tommy. He produced hits by such recording stars as Three Dog Night, Jay and the Americans, Bobby Neuwirth, ? and the Mysterians,The Shirelles and Link Wray. Working in New York, Tommy was considered a genius in R&B, blues, pop, and Top Forty, Tommy had never worked with folk music until working with Loudon Wainwright on the album Loudon Wainwright III. The record climbed to # 1 in the LP charts with the single "Dead Skunk" topping the singles chart. At the same time Tommy had a band "White Cloud" which he used with everyone he produced. In 1972 they released an album, in a beautiful snakeskin textured gatefold cover, on the obscure Good Medicine label. As well as their own solo projects the band played all over the Village, and back in those days the likes of Bobby Neuwirth and Bob Dylan would come around to see them play. Tommy's next career move took him to San Francisco to produce an album by Link Wray and he fell in love with Wally Heider's studio, the climate, the cable cars and Jerry Garcia. After completeing the Link Wray album, Tommy flew down to LA to meet up with his by now good friend Bobby Neuwirth. They spent a month hanging out and fueling their 24 hour days with cocaine, speed, pills, and alcohol before starting to work on Neuwirth's album. Kaye remembered "The hours are crazy, the alcohol thing is crazy, the pills are crazy, the people are crazy." Tommy also found time to record his own albums and in 1973 his self-titled first album was released. On the second album, First Grade, the idiosyncrasies of Kaye's voice become an asset and the record reached a small-scale perfection rarely found in pop. Kaye's third and final record, "Not Alone" was an all-star affair including among others Eric Clapton, Dr. John, Steve Miller, Rick Danko, Walsh, Don Henley and Robby Krieger. Twenty years later and diabetic, Tommy was a member of AA but couldn't completely quit drinking and smoking. Even though he underwent numerous surgeries, a result of the combination of diabetes and constricting capillaries, Tommy never lost his boyish look or his glibness. His final days were spent at the home of Marty Kupersmith. Suffering from pain due to toxemia, Tommy asked Marty for some Tylenol and the next day the bottle was found empty. Tommy died in St. Anthony's Hospital in Warwick, N.Y., September of 1994. © 2003-2011 Myspace Inc. All Rights Reserved http://latino.myspace.com/kontos_drums/blog/35894994

MORE

Thomas Jefferson Kaye carried on a close musical collaboration with Gene Clark through the mid-'70s. After stints in a group called White Cloud and as a sideman for Loudon Wainwright, he produced the supersession Triumvirate (CBS, 1973) for Mike Bloomfield, Dr. John and John Hammond. Around the same time, Kaye released two solo LPs, Thomas Jefferson Kaye (ABC/Dunhill, 1973) and First Grade (ABC/Dunhill, 1973). Both featured Walter Becker and Donald Fagen of Steely Dan prominently. Kaye then produced Gene Clark's baroque No Other (Asylum, 1974). The two remained close during the next few years, and Kaye then produced the next Clark LP, the country-rocker Two Sides to Every Story (RSO, 1977). Kaye was then part of the K.C. Southern Band (Kaye-Clark, get it?) until Clark reunited with McGuinn in late '77. Kaye and Clark co-wrote "Release Me, Girl," which turned up on McGuinn Clark & Hillman (Capitol, 1979). © 1997 Tim Connors. All rights reserved. http://www.ebni.com/byrds/relassociates09.html

Eva Cassidy

Eva Cassidy - Live At Pearl's September 14th 1994 Annapolis, Maryland - 1994 - Unoff.

"Live at Pearl's" was taped at Pearl's Restaurant in Annapolis, Maryland on September 14th 1994 while Eva was giving a solo performance. On two nights, Eva's friend Bryan McCulley brought his video gear, plugged it into Eva's soundboard, and recorded her singing. On the first of these nights, Bryan had technical problems and recorded the audio only. Bryan later transferred this to cassette. Copies of this cassette circulated among Eva's friends and family after her death. The original cassettes were of excellent sound quality. However several home made copies of these tapes are in circulation, and the audio quality on many of them bears no comparison to the original recordings. It would be great to hear a remastered CD from the original tapes. The post here is of better SQ than many of the other albums circulating. [All tracks @ 192 Kbps: 1 file (2 x CD's): Size = 114 Mb]

TRACKS / COMPOSERS

CD ONE

1 If I Give You My Heart - John Pennell
2 Woodstock - Joni Mitchell
3 Early Morning Rain - Gordon Lightfoot
4 Imagine - John Lennon
5 Summertime - Ira Gershwin, Du Bose Heward
6 People Get Ready - Curtis Mayfield
7 American Tune - Paul Simon
8 I Wish I Was A Single Girl Again - Harlan Howard
9 Wayfaring Stranger - Trad.
10 Who Knows Where The Time Goes - Sandy Denny
11 Kathy's Song - Paul Simon

CD TWO

1 Autumn Leaves - Johnny Mercer, Joseph Kosma
2 Blue Eyes Crying In The Rain - Fred Rose
3 Bold Young Farmer - Trad.
4 Wade In The Water - Trad.
5 Songbird - Christine McVie
6 The Water Is Wide - Trad.
7 Tennessee Waltz - Pee Wee King, Redd Stewart
8 Drown In My Own Tears - Henry Glover
9 My Love Is Like A Red, Red Rose - Robert Burns
10 Bridge Over Troubled Water - Paul Simon
11 Over The Rainbow - Harlan Howard, E.Y. Harburg

Ellen McIlwaine

Ellen McIlwaine - Looking For Trouble - 1987 - Stony Plain

Recorded for a small Western Canadian label, this release is an unusual but affecting blend of world beat and electronics, combined with the passionate performer's powerful playing and singing. Ever restless and experimental, she delves into Jamaica with a reggaefied "Can't Find My Way Home." A spacy "All to You" revisits one of her most enduring melodies from the 1973 release We the People. Her masterful slide guitar playing isn't front and center as much as usual on her most rhythmic album to date. Dedicated, among other things, to the 12 steps to recovery, this album finds McIlwaine on the verge of moving to Canada in search of a new direction for her music and her life. © Mark Allan © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/looking-for-trouble-r129928

Richard Skelly of Allmusic.com made the comment, "Guitarist, singer, and songwriter Ellen McIlwaine is a gutsy, spirited performer who plays and sings a fiery brand of blues like few other female blues singers. Why she's not more widely known is one of the mysteries of the record business, as she's been on the scene a long time". This comment could be applied to many artists. Just to name two artists on this blog; James McMurtry, and Kyla Brox. These are great artists with talent to burn who are continually ignored by the media, now controlled by a golden circle of multi-millionaire tycoons who know everything about money, but very little about good music. True, these people know what kind of music sells which excludes many talented artists from ever been given exposure to the public. "Looking For Trouble" is one of Ellen McIlwaine's earlier releases, and is more eclectic than most of her later blues rock based albums. This is not a guitar orientated album, but Ellen has nothing to prove as regards songwriting skills or great musicianship. Ellen's "Everybody Needs It" album is @ ELMCIL/ENI Buy her "The Real Ellen McIlwaine" and support great music. [All tracks @ 256 Kbps: File size = 66 Mb]

TRACKS

A1 In D Street (I Am Discreet)
A2 Looking for Trouble
A3 All to You
A4 Beg for the Reason

B1 Don't Look Down
B2 Save the World
B3 Woodoo Woodoo (Jamin's Australian Song)
B4 Can't Find My Way Home
B5 Lean on Me

All songs composed by Ellen McIlwaine except "Can't Find My Way Home" by Steve Winwood, and "Lean on Me" by Bill Withers

MUSICIANS

Ellen McIlwaine - Guitar, Keyboards, Vocals
Kit Johnson - Bass
Bohdan Hluszko - Drums
Quammie Williams - Percussion on "Woodoo Woodoo"
Doug Wilde - Emmulator II & Akai Sampler on "Woodoo Woodoo"
Matt Zimbel - Congas & Talk Drum I on "Woodoo Woodoo"
Eugene Smith - Vocals on "Lean on Me"
The Association Of Gospel Music Ministeries [Steve Easton & Sharon, Lisa, Susan, and Karen Brown] - Vocals on "Save the World"

BIO (WIKI)

Ellen McIlwaine (born October 1, 1945, Nashville, Tennessee) is an American singer-songwriter and musician best known for her career as a slide guitarist. Born in Nashville, McIlwaine was adopted by missionaries and raised in Kobe, Japan, giving her exposure to multiple languages and cultures. She attended the Canadian Academy school in Kobe, graduating in 1963. Her first experience in music was playing Ray Charles, Fats Domino and Professor Longhair songs on piano that she heard on Japanese radio. On moving to back to the United States she bought a guitar, beginning a stage career in Atlanta, Georgia in the mid-1960s. In 1966, she had a stint in New York City's Greenwich Village where she opened every night at the Cafe Au Go Go, playing with a young Jimi Hendrix, and opening for Muddy Waters, Sonny Terry and Brownie McGhee, and Big Joe Williams. She returned to Atlanta to form the band Fear Itself, a psychedelic blues-rock band. After recording one album with Fear Itself, McIlwaine went solo, recording two albums for Polydor, Honky Tonk Angel (1972) and We the People (1973), the latter featuring a hit single, "I Don't Want to Play". Those albums, and most of her work since, have featured McIlwaine's approach to acoustic slide guitar. McIlwaine's career has been irregular, plagued by what she has often described of conflict with her record producers who wanted to change her sound. She once remarked of the 1978 album Ellen McIlwaine, "It could have been any other female vocalist, and next time it will be." As a female vocalist who is known more for her acoustic guitar, her music tends to be classified in the folk sections of record stores, despite her strong roots in blues, soul and rock music, and her cover versions of songs by Isaac Hayes, Stevie Wonder and Browning Bryant. She has also recorded several covers of songs by Jimi Hendrix: she wrote "Underground River" about him. By the mid-1970s McIlwaine's songs "Sliding", "We the People" and "Losing You" were included on the compilation album, The Guitar Album. McIlwaine's album The Real Ellen McIlwaine, recorded in Montreal in 1975 for the Kotai label, won the NAIRD Indie Award. A 1982 project, Everybody Needs It, was also successful, and featured Jack Bruce, an artist who influenced her strongly and whose songs she has covered on several of her albums. In 1980 she made her first tour of Australia, after being spotted by the Australian singer-guitarist Margret RoadKnight, who was one of the co-promoters of the tour. She returned to Australia in 1984, and during this tour was the last performer to appear at Sydney's Regent Theatre. Since moving to Canada in 1987, (first Toronto, later Alberta), McIlwaine recorded Looking for Trouble for Stony Plain Records, which has also re-released her early vinyl material on CD. Her next CD Women in (e)motion Festival/Ellen McIlwaine, recorded live in Germany in 1999; and then Spontaneous Combustion featuring Taj Mahal are on the German Tradition und Moderne label. In spite of debilitating arthritis in her hips, she undertook a third tour of Australia and New Zealand in 2003, which reunited her with RoadKnight and the other Honky Tonk Angels, who had first brought her to Australia in 1980. McIlwaine has since successfully undergone hip replacement surgery. She has long favored Guild brand guitars. She plays Guild S-250 and S-300D electric guitars; in earlier years, even when performing solo, she often played her electric guitar through an octave multiplier to emulate a bass player. Her acoustic guitar is a venerable and well-traveled Guild instrument, purchased for her in New York by a friend in 1966. This guitar has a unique history, being a former Guild company "loaner" which was used by leading artists including Mississippi John Hurt and Richie Havens while Guild repaired their own guitars. In 2006 she started her own label Ellen McIlwaine Music and released Mystic Bridge featuring the Indian tabla drummer Cassius Khan. They were joined by the soprano saxophone of Linsey Wellman on three tracks, including their version of "Take Me to the River", and harmonium playing by Amika Kushwaha on the last track, "The Question". This was a poem by Christine Steele, recited over Cassius Khan's vocal rendition of the ancient Urdu poem set to music, "Darbari Raag".

MORE

Guitarist, singer, and songwriter Ellen McIlwaine is a gutsy, spirited performer who plays and sings a fiery brand of blues like few other female blues singers. Why she's not more widely known is one of the mysteries of the record business, as she's been on the scene a long time. Adopted and raised by missionaries, McIlwaine spent her first 15 years in Japan, playing piano at age five and singing in a church choir. She began listening to U.S. Armed Forces Radio in junior high school, becoming enamored with singers like Fats Domino, Ray Charles, and Professor Longhair. McIlwaine returned to the U.S. with her parents when she was 17 and attended King College in Bristol, Tennessee and DeKalb College in Atlanta. She left college after two years and began her professional performing career in Atlanta in 1966. Shortly after she began playing professionally, folksinger Patrick Sky heard her and encouraged her to come to New York City. Sky's manager secured her some bookings at the Cafe Au Go Go in Greenwich Village, and there she shared bills with Jimi Hendrix, John Lee Hooker, and Howlin' Wolf. Richie Havens and Randy California taught her a few things about slide guitar, and she took it from there. She moved back to Atlanta and formed her first group, Fear Itself. With that group, she pioneered what was then a novel concept: she was both the guitar-slinging bandleader and the group's lead vocalist. A year later, the all-male backup group went with her to New York to record their self-titled debut album for Dot Records. McIlwaine's next two recordings were Honky Tonk Angel (1972) and We the People (1973), both for Polydor. In 1975, she recorded The Real Ellen McIlwaine for a Canadian label, Kot'Ai. Her output since then has been somewhat sporadic, but her performances have remained spirited. Her other recordings prior to the new millennium included Ellen McIlwaine (1978) for United Artists; Everybody Needs It (1982) for the Blind Pig label; and a 1988 release on Stony Plain, Looking for Trouble. (Fortunately, many of her old vinyl sides have been reissued on compact disc by Stony Plain.) After many years in Connecticut, McIlwaine relocated to Toronto, Ontario in the late '80s, and subsequently moved to Alberta. Her recordings in the 2000s have included 2001's Spontaneous Combustion, the Japanese release Live at Yellow in 2002, and 2006's adventurous change of pace Mystic Bridge, an Eastern-tinged outing featuring Cassius Khan on tablas and Linsey Wellman on sax. © Richard Skelly © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/ellen-mcilwaine-p2071/biography

Bartron Tyler Group (Beatles Related)

Bartron Tyler Group - Yesterday Never Knows - 2009 - Hardwood Music

Mashing up bits of Beatles tunes into new sonic concoctions is nothing new, with George and Giles Martin's celebrated "Love" being the foremost example. But on Yesterday Never Knows (Hardwood), the Bartron Tyler Group crafted guitar-driven instrumental arrangements that also mess with the fundamental song structures, such as setting "Eleanor Rigby" to a Latin-inflected 6/8 groove and arranging "I Don't Want to Spoil the Party" for Duane and Dickey- like harmonized guitars. "Every song had to have some sort of angle to it" explains John Bartron. "Setting a tune in a different groove or meter allowed us to make these versions our own". For this album, Bartron deployed an arsenal of guitars that included a Lowden Acoustic, a Godin Multiac through a Roland GR-33, and a Wechter Pathmaker, and conjured Beatle-esque effects from a Line6 PODxt. Mike Tyler opted for a Parker Fly and an early-70's Gibson Les Paul Deluxe through a Boss GT-3 and a Vox Valvetronix amp, but also played an Epiphone Riviera 12-string and Oahu Diana lap-steel. "Most of the time we weren't concerned with duplicating the tones on the albums because our arrangements were so different for the originals", explains Tyler. "Instead, we would try to evoke the sounds that have become associated with the Beatles, such as an electric 12-string or a guitar through a Leslie." However they were arrived at, Yesterday Never Knows is chockablock with great tones and groovy guitar work, including gorgeous side work by Tyler. The album opens with "I'll Follow the Sun", the melody of which is played over the "Taxman" groove. "We tried several different settings. the only constant being Mike's phrasing of the melody on slide," recalls Bartron. "We tried a half-time groove with a Luau feel, Travis picking the chords to 'Julia'- But nothing was clicking. Then, 'Taxman' came on the radio on the drive home, and when I hummed the melody along with it I knew we had it. We added the #9 punches, and for the beginning bassist Joey Fabian suggested a King Crimson-like variation, with Mike playing the intro riff in 6/8 on 12-string while I played it in 5/8 on acoustic". Tyler took the first solo playing slide on the Parker, Bartron added the warbling echo to his Lesile sound for the second solo, and the third solo Tyler played slide on the Epi 12-string. "The fourth solo has three different guitars with reverse delay, and the second bridge morphs into the acoustic environment of 'And I Love Her'", says Bartron. "For the finale we return to the Crimson arpeggios played an octave higher, while drummer John Hasty pounds out the solo from 'The End'- and the final chord just had to a major 6th." The remaining arrangements are equally inventive, employing dropped-C tuning, bowed piano, solos tracked at half-speed to produce mandolin-like sounds, ambient recordings, and sampled Mellotron. "We were able to convey our obvious love and respect for the material while at the same time displaying a playfulness and spirit of experimentation that seemed appropriate for the tunes," says Tyler. "To me, the Beatles' willingness to explore any style of music that caught their fancy is one of the most enduring qualities of their legacy". - from "BTG reconstructs the Beatles" - © BARRY CLEVELAND , © GUITAR PLAYER MAGAZINE

"BTG's "Yesterday Never Knows," — is smart, highly listenable and way off the scales with jaw-dropping musical acumen. It raises the bar on how to pay tribute to the most influential band of all time with reverence, adherence to historical detail and yet complete originality." © SAN JOSE MERCURY NEWS

"BTG's Yesterday Never Knows is chock-full of inventive, irreverent, thoroughly modernized instrumental reworkings of Beatles classics that would make any fan smile and nod in appreciation. Imagine "I'll Follow The Sun" arranged with the rhythm section groove of "Taxman," an Americana-flavored, Bill Frisell-ish guitar soundscape, and a drum break borrowed from "The End," and you've got just the opening track of this highly enjoyable album." © BRYAN BELLER , bassist for Steve Vai, Mike Keneally, Z (Dweezil & Ahmet Zappa).

Talking about Yesterday Never Knows... "These masterful renditions really surprised me. Interesting, beautiful, unique, and not like anything you would expect. The BTG slant on these tunes makes what is old, new again. This is really wonderful music expertly arranged and played!" © ANDY WEST, original bassist with the DIXIE DREGS.

If you think that the Beatles have been covered to death, then listen to this album. Read detailed info about this wonderful album @ http://www.cdbaby.com/cd/tylerbgroup5 Check out the detailed session notes for the album @ http://btgmusic.com/YNK%20session%20notes.html Buy the group's "Like A Metaphor" album [Tracks @ 224-320 Kbps: File size = 73.8 Mb]

TRACKS

1 I'll Follow The Sun 3:29
2 Nowhere Man 3:04
3 Eleanor Rigby 5:50
4 Because 2:59
5 Blackbird 4:54
6 Boy Meets Girl (Mother Nature's Son/Girl) 5:32
7 In My Life 3:18
8 Flying 6:26
9 I Don't Want To Spoil The Party 6:43
10 Goodbye 2:45
11 Don't Let Me Down 4:42

All songs composed by Lennon & McCartney except "Flying" by Lennon, McCartney, Harrison, Starkey

BAND

John Bartron - Guitars and Guitar Synthesizer
Mike Tyler - Guitars
Joey Fabian - Bass
John Hasty - Drums

BIO

The Bartron Tyler Group (featuring guitarists John Bartron and Mike Tyler, John Hasty on drums and multi-percussion, and Joey Fabian on electric and acoustic basses), is a band that reaches beyond the confines of any single musical category. Drawing from a broad scope of influences, their sound is an undeniably unique and potent mixture of one quart of progressive rock, a pint of acid jazz fusion, a dash of Afro Cuban and Celtic, and a twist of blues. Their purely instrumental sound interweaves strong melodies and intricate rhythms with seamless fluidity, while constantly teetering on the improvisational edge. With such eclectic influences the band can often shift their approach from the clock like precision of a classic progressive rock group to the intuitive explorations of the Grateful Dead influenced "jam bands". The band coined the term Hardwood Music to describe their unusual hybrid of rich acoustic guitars and percussive instruments fused with the latest in electronic effects, giving them a powerful outlet that dazzles, while still maintaining the subtlety and integrity of their individual voices. Born in the San Francisco Bay Area, both Bartron and Tyler started playing guitar when they were eight years old. "Like so many others, I was swept away by the Beatles in the 60s, "explains Bartron, "and started taking guitar lessons when I was eight. In the fifth grade, my teacher recommended to my parents that I take drum lessons because I was banging on the desk incessantly throughout class. Music was always there." In high school, he studied with Jazz/rock guitarist Rich Healy, and later with Jay Jordan who both instilled in him a love for learning and supported him in developing his own musical identity. With a rich source of influences, ranging from Yes, Genesis, and Pete Townsend, to John McLaughlin and Beethoven, he developed a love for lyrical music and a musical flair that is fiery and inventive, yet precise. "I like theme and variation," he explains, "I like music that tells a story, that's lyrical even though it's instrumental." After graduating from Serra High School in San Mateo, California in 1978, he enrolled in the music department at the College of San Mateo, with the desire to refine his improvisational talents with music theory and ear training. It was at this time that he met Mike Tyler who was also seeking a suitable environment to develop his own innate musical talents. Like Bartron, Tyler grew up during the guitar explosion of the 60s. "I remember every block having a garage band," he explains, "and that's where I got my first experience improvising. I think that prepared me for a lot of the stuff were doing now." A rock guitarist at heart, he was also drawn to progressive rockers like Genesis and Yes, and later influenced by rock-jazz fusion pioneers like Jeff Beck and Chick Corea. Over the years, he studied with Robben Ford and Joe Satriani. It is not surprising that he has developed a distinct style that is as versatile as it is precise; a sound that is charged with power and subtlety. After graduating from Terra Nova High School in Pacifica, California, he enrolled in the music department at CSM and started playing straight ahead rock guitar with Quiet Hands. He then met Bartron in an improv class where the two recognized shared musical tastes. After graduating college they decided to explore their unique sound and desire to write more challenging and diverse music. After experimenting with different line-ups they formed a three-piece acoustic-rock band, The Civilians, (with Brad James on vocals) and enjoyed a long string of gigs around the San Francisco Bay Area. During this time, Bartron and Tyler continued to expand their original repertoire while refining their intuitive and improvisational sensibilities. After deciding to return to a pure instrumental sound, Bartron and Tyler went out on their own in 1990, this time looking for a drummer who could provide a rich percussive palette to support their dynamic arrangements. They hooked up with John Hasty, who at the time was playing with an acoustic outfit called Medicine Bow, and had played with progressive rockers Moscow and also the Madd Brothers, and who had a reputation for playing both a kit and hand drums (along with the kitchen sink). Hasty started playing piano at five but found that drums better suited his love for rhythm. "I was lucky to get a really good drum teacher right from the start (he was ten at the time) who instilled a sense of joy and fun in playing. He taught us to reach inside ourselves and move through the music and convey that feeling to other people." His musical influences included the Dave Brubeck Quartet, Tower of Power, and Booker T. and the M.G.s, because the music was based around a strong groove. Later, more earthy, tribal sounds sparked his interest in exploring Afro-Cuban rhythms and more organic hand drums. It wasn't until he joined the Bartron Tyler Group that he was able to fuse the two together. "His kit really developed out of necessity," explains Tyler. "Because of the dynamics of the music we were writing, we really needed the nice, warm, woody tones of the hand drums with the more aggressive feel of a kit." 1993 saw the release of the band's self-titled debut album recorded at The Loft in Nashville. They've performed extensively in the San Francisco Bay Area, headlining their own concerts or opening shows for major acts. A favorite show had them playing to a full house before Bill Bruford's Earthworks at the Great American Music Hall. Street fairs and festivals have been their specialty. Over the years they've played at over sixty fairs, including Fillmore Street, North Beach, Union Street, Palo Alto, and many others. 1994 saw the release of their second CD, "Fillmore Street", a live album which captures the spirit and dynamic interplay of the band. Just about everywhere they played, they brought down the house as they displayed remarkable musical gymnastics, interfusing rolling arpeggios and sustained, lyrical guitar licks with whimsical rhythmic overtones. They were invited to San Francisco's KALW and Cupertino's KKUP radio stations for exclusive interviews and in-studio performances and were also mainstays on San Francisco's KFOG. They appeared numerous times on Cable Access TV (Pacifica) Bruce Latimer Show as guests in his variety show. They were invited (and accepted) to film the pilot of a new show for A & E called "Guitar Kulture." Their tune,"(I Won't) Hold My Breath" was featured on the DiscMakers 1996 Super Sampler compilation CD. In 1997 they selected "Sunlight Through the Clouds" for the more exclusive DiscMakers Independent Music WorldSeries," Northern California Heavy Hitters" CD, where they were the only instrumental band recognized. The song was from their third album of all original tunes entitled "Leap Day". The album, featuring 10 of their most potent compositions offers lyrical, intuitive music where improvisation and technique meet with uncanny precision. To perform this music live they enlisted the low frequency talents of bassist Joey Fabian on five-string fretted and fretless electric basses and acoustic bass. Joey began his music career in Atlanta playing and recording with several prominent bands, including members of the Atlanta Rhythm Section, Sea Level, and the Glenn Phillips Band. Since Arriving in the Bay Area in 1991, he has performed almost every concievable genre of music from Soukous to Samba-Reggae, Blues to Bluegrass. Some of the amazing musicians he has had the pleasure of recording and/or performing with include Alana Davis, Hershel Yatovich, Will Ray, Celso Alberti, Mike Vanderhule, Mumblefinger, Chris Rossbach, Paolo Baldi, Taylor Collins, Scott Matthews, James Armstrong, John Cabán, Drew Youngs, Jack Chernos, Bryant Mills, Mike Emerson, Garth Webber and Nir Z. Joey has been the electric bass instructor at Gryphon Stringed Instruments in Palo Alto, CA since 1994, and runs a small production studio called The Tomato Farm. He drinks a lot of coffee and eats a lot of vegetables. His extra-musical interests include his bicycle, physics and cosmology, cooking and a lovely woman named Lisa. Now a full time quartet, John and Mike were happy to relinquish their bass pedal duties and concentrate on their quest to write and perform music that could combine more and more styles and confound more and more music critics. So successful were they in this task that they were never even offered the chance to sell out, tone down and become another smooth-jazz super-star. Meanwhile, "Leap Day" began getting airplay (most notably the song "Hit The Ground Running" in regular rotation on KFOG's Acoustic Sunrise), and some steady Internet sales ("Leap Day" was voted the favorite album of Amazon.com employees). Sales at live performance however were phenomenal. Wherever and whenever they played people would snatch up their CDs keeping the bands musical fires stoked. August of 2001 found them back at Parvin Studios to put down on tape some of the tunes they had been honing at concerts, clubs and festivals. And TAPE they did. In this age of fully automated digital hard drive recording offering unlimited virtual tracks, BTg chose to go Old School:16 tracks of 2" analog tape whizzing by at 30 IPS. FAT! Released in June of 2002 BTg's 4th album, "Like A Metaphor" (clever eh?) expresses the bands musical ideal: compositions that are clean and clear, orchestrated yet alive, individual performances combining to create a rich melodic stew. Featuring a painting by Mike Tyler on it's cover and the compositional debut of percussionist John Hasty (Zuzu's Petals) "Like A Metaphor" is an album that dazzles your ears on first listen with it's intricate guitar interplay, yet keeps you coming back with it's solid grooves and cool tunes. Shortly after “Metaphor” was released both Mike and Joey invested in ProTools recording setups and sessions began (at home) for what would become their next release. Summer of 2006 saw the completion of “Just About Almost There”. A favorite of the band, this CD is probably their most eclectic release to date. From the straight ahead rock of “Smokes Like A Fish”, the fusion of Afro/Caribbean rhythms and synth guitar in “Comp Day”, the deep groove and soulful, soaring electric guitar of “Model T” to the Sunday morning acoustic groove of “Ignorant (By) Design, “Just About Almost There” is an album that touches down in many musical geographies while keeping a coherent focus on listenability. With five predominately original eclectic recording projects under the band’s belt, BTg decided to re-pave a more familiar path for their 2009 release “Yesterday Never Knows”. This collection of interpretive arrangements of Beatles’ tunes was two years in the making and presents these players tackling some of rock’s most recognizable melodies. They approached this challenge with a Fab-like zeal and the resulting music got immediate attention upon its release. John and Mike realized a long time dream by being interviewed for a feature article about the tones and arrangements they utilized on “YNK” for the January 2010 issue of Guitar Player magazine. © http://btgmusic.com/btgbio.html