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10.6.14

Scott Henderson And Tribal Tech


Scott Henderson And Tribal Tech - Nomad - 1990 - Relativity

Like its predecessors, Henderson's third date as a leader is a fine example of how creative and inspired genuine jazz-rock can be. Tough and aggressive yet full of appealing melodic and harmonic nuances, this CD contains not one iota of the type of lightweight smooth jazz or Muzak for which Henderson has often voiced his contempt. With Nomad, Tribal Tech underwent a few personnel changes, and for the first time, recorded an entire album minus a sax. While electric bassist Gary Willis, drummer Steve Houghton, and percussionist/mallet player Brad Dutz remained, saxman Bob Sheppard was gone, and keyboardist Pat Coil had been replaced by David Goldblatt. Despite these changes, Tribal Tech's sound (which was essentially guided by Henderson and Willis) remained easily recognizable. The '70s breakthroughs of Weather Report, Return to Forever, and John McLaughlin, among others, still had an impact on Tribal Tech, but by 1988, it was even more evident that Henderson was a fine soloist and composer in his own right. © Alex Henderson © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/nomad-mw0000873442

Tribal Tech is a virtuoso and iconic progressive jazz fusion band, formed in 1984 by guitarist Scott Henderson and bass player Gary Willis. From 1993 onwards the band included Scott Kinsey on keyboards and Kirk Covington on drums. From 1985 to 2000 the band released nine albums fusing elements of blues, jazz, and rock. Tribal Tech disbanded after releasing their "Rocket Science" album in 2000, but got together in 2010 to record their "X" album released in 2012. All band members are acclaimed musicians in the jazz rock/fusion world and all their albums are worth checking out. Floridian guitarist Scott Henderson has been quoted as saying that he is a "blues player at heart" and much of his music is based on blues, jazz, and rock influences. His early years were influenced by, rock, blues, funk and soul, and his later jazz influences included artists like John Coltrane and Miles Davis. "Nomad" is one of the band's best albums. The tracks are complex at times but very listenable with odd-meters and great intertwining rock and bebop lines. The album is HR by A.O.O.F.C. Buy Tribal Tech's classic "Thick" album and support jazz fusion at it's very best. Read more about Gary Willis @ http://garywillis.com/press/bio and Scott Henderson @ http://www.scotthenderson.net/ [All tracks @ 320 Kbps: File size = 120 Mb]

TRACKS / COMPOSERS

1 Renegade - Gary Willis 5:49
2 Nomad - Scott Henderson 7:19
3 Robot Immigrants - Brad Dutz & David Goldblatt 5:06
4 Tunnel Vision - Gary Willis 4:40
5 Elegy For Shoe - David Goldblatt 4:07
6 Bofat - Scott Henderson 8:34
7 No No No - Gary Willis 5:51
8 Self Defense - Gary Willis 5:02
9 Rituals - Scott Henderson 5:43

MUSICIANS

Scott Henderson - Guitars
Gary Willis - Bass
Brad Dutz - Keyboards & Mallets
David Goldblatt - Keyboards
Steve Houghton - Drums

ABOUT SCOTT HENDERSON

One of the finest fusion (as opposed to crossover) guitarists of the 1980s and '90s, Scott Henderson's explosive playing is often teamed up with electric bassist Gary Willis in their group Tribal Tech. Originally most influenced by rock, Henderson (who grew up in West Palm Beach, FL) played in local funk and rock bands. In 1980, he moved to Los Angeles to attend the Guitar Institute of Technology, studying with Joe Diorio. After graduating, he became a teacher himself at GIT. Henderson played with Jeff Berlin and Jean-Luc Ponty, and in 1985 toured with the original version of Chick Corea's Elektric Band. During 1987-1989, he worked on and off with Joe Zawinul's Syndicate, later focusing on Tribal Tech as his main band. As a leader, Scott Henderson has recorded for Passport, Relativity, Bluemoon, Atlantic, and Zebra. Starting with 1994's Dog Party, the guitarist made a transition from the world of jazz to the blues world, where his blues-rock fusion became the primary focus of his music career. But unlike many of his blues-rock contemporaries, his music was filled with the sort of odd time signatures and unique touches that are cornerstones of his jazz work. © Scott Yanow © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/scott-henderson-mn0000254833/biography

ABOUT TRIBAL TECH

The virtuoso jazz fusion unit Tribal Tech were formed in 1984 by guitarist Scott Henderson and bassist Gary Willis, debuting a year later with Spears. Over the course of subsequent efforts including 1987's Dr. Hee, 1990's Nomad, and 1992's Illicit, both Henderson and Willis emerged among the most acclaimed instrumentalists in contemporary jazz, with each frequently topping music magazine best-of lists; in the wake of 1995's Reality Check, Tribal Tech went on hiatus to allow the members the opportunity to pursue solo projects, finally reuniting four years later for Thick. Rocket Science was released in fall 2000. © Jason Ankeny © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/tribal-tech-mn0000022020/biography

9.6.14

Blodwyn Pig


Blodwyn Pig - Live At The Lafayette - 1997 - Indigo Recordings

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

"Many bands from the sixties and seventies have resisted the temptation of reforming once, let alone twice. But Mick Abrahams was asked to assemble a band for the opening of a new club in Luton, England. The gig went down a storm and before you could say Boldwyn Pilg (as Mick jokes on stage), the band was back on the road with the original line-up, except Clive Bunker replaced Ron Berg on drums. This recording is of Blodwyn Pig playing live at the Lafayette Club in Wolverhampton, England in 1993 and is a good set of combined rock, blues, and jazz from a great band. Listen to BP’s “Modern Alchemist” and “Ahead Rings Out” albums [Tracks @ 235-250 Kbps: File size = 124 Mb]

TRACKS / COMPOSERS

1 Dunstable Truck-Driver Man's Blues - Abrahams 3:33
2 See My Way - Abrahams 7:02
3 Oh No! - Abrahams 10:44
4 Baby Girl Abrahams 4:42
5 Cosmogrification - Lancaster 7:30
6 Cat Squirrel - Ross 10:54
7 It's Only Love - Abrahams 3:47
8 Dharma For Six - Webb 11:15
9 Six Days On The Road - Montgomery, Green 5:29
10 Boogie Train / Slow Down - Williams, Abrahams 7:21

MUSICIANS

Mick Abrahams - Guitar, Vocals
Andy Pyle - Bass
Clive Bunker - Drums
Jack Lancaster - Saxophone, Flute, Violin

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 theThis 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 mold of (unsurprisingly) Jethro Tull, but with a lighter feel. They also bore some similarities to John Mayall'sjazzy 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

8.6.14

Allen Hinds


Allen Hinds - Beyond It All - 2006 - Allen Hinds

Allen Hinds is one of the FINEST Guitarists/Composers on the music scene. Beautifully written and performed. If you are serious about GREAT music in general and FANTASTIC guitar playing/sound in particular… then you cannot go wrong with this nor Allen’s previous CD: “Fact of the Matter” -dmsdzinr

A really tasty combination of bluesy guitar with great harmonic surprises. Very melodic, but also soulful. Beautiful project. – TCZink

A native of Auburn, Alabama, Allen was exposed to blues and R&B at an early age. Moving into jazz and fusion in his teens, he attended Berklee College of Music and shortly after, moved to Los Angeles to attend Musician’s Institute. He has performed and/or recorded with jazz and R&B artists including Patti Austin, Mary J. Blige, Maya, Natalie Cole, Roberta Flack, Vince Gill and many others. Allen plays a musical blend of jazz, blues, and rock with a “grassroots” style. He is an in-demand LA studio session guitarist for many years now and an active live performer, and has written songs for Larry Carlton, Patti Austin and Jeff Kashiwa. Allen’s eclectic blends of blues/jazz/rock all mesh into a very distinct style of his own. Like a cross between Robben Ford, Alan Holdsworth and Jeff Beck, his music is intelligent, phrasing sophisticated and tone for days. Jimmy Haslip said “Beyond It All” "SMOKES", Will Kennedy said "his songs are not based around notey licks, he's all about strong melodies, great phrasing". "Beyond It All" features an all-star lineup, including Jimmy Haslip, Will Kennedy, Jeff Babco, Jimmy Earl, Larry Kimpel, and Tollak Ollestad. Randy Crawford sings on "Worn But Not Tattered". Allen said that, "It's more of a 'song' oriented CD, with a variety of instruments playing melodies and solos. I didn't want this to be a showcase of 'hot licks' - although a few sneak in from time to time!" This may be classified as “smooth jazz” by many, but this is not bland, monotonous, elevator music, rather an eclectic mix of tracks with great melodic blues, soul, and jazz. Check out Allen’s “Fact Of The Matter” album on this blog and listen to his “Falling Up” album of which the great guitarist Jon Herington said, "Anyone interested in the state of the art of contemporary guitar playing will be happy they checked out Allen Hinds' Falling Up. Everything's there: the tones; the technique; the talent; and the soul." Check out Akira Jimbo’s “Mindscope” album featuring Allen with Abraham Laboriel and Michael Landau. Support gifted guitarists and real music. This guy is a great player and really deserves more exposure [All tracks @ 320 Kbps: File size = 100 Mb]

TRACKS

1. Elegant Decadence 4:30
2. Redland Road 5:38
3. Worn But Not Tattered 5:19
4. Beyond It All 3:50
5. Kate And Dave's 4:45
6. March 28th 5:04
7. Now Really 4:38
8. Bad Baby 6:15
9. Closure 3:12

All tracks composed by Allen Hinds

MUSICIANS

Allen Hinds - Guitars
Jimmy Earl, Jimmy Haslip, Larry Kimpel, Melvin Davis, Dwayne (Smitty) Smith - Bass
David Hughes - Arco Bass
Jeff Babko, Brian Simpson - Keyboards
Renato Neto - Keyboards, Rhodes
Mark McMillen - Organ
Dave Hooper, Will Kennedy - Drums
Deborah Dobkin - Percussion
Ron King - Horns
Katisse Buckingham - Flute
Tollak Ollestad - Harmonica
Randy Crawford - Vocals

Scott Henderson


Scott Henderson - Collection - 2007 - Tone Center

One of the finest fusion (as opposed to crossover) guitarists of the 1980s and '90s, Scott Henderson's explosive playing is often teamed up with electric bassist Gary Willis in their group Tribal Tech. Originally most influenced by rock, Henderson (who grew up in West Palm Beach, FL) played in local funk and rock bands. In 1980, he moved to Los Angeles to attend the Guitar Institute of Technology, studying with Joe Diorio. After graduating, he became a teacher himself at GIT. Henderson played with Jeff Berlin and Jean-Luc Ponty, and in 1985 toured with the original version of Chick Corea's Elektric Band. During 1987-1989, he worked on and off with Joe Zawinul's Syndicate, later focusing on Tribal Tech as his main band. As a leader, Scott Henderson has recorded for Passport, Relativity, Bluemoon, Atlantic, and Zebra. Starting with 1994's Dog Party, the guitarist made a transition from the world of jazz to the blues world, where his blues-rock fusion became the primary focus of his music career. But unlike many of his blues-rock contemporaries, his music was filled with the sort of odd time signatures and unique touches that are cornerstones of his jazz work. © Scott Yanow © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/scott-henderson-mn0000254833/biography

The Scott Henderson Collection is a good collection of the great fusion guitarist's '90s work. These compilations will always have mixed reviews regarding the track selection, but if you're not familiar with Scott Henderson and/or Tribal Tech's work then this is a good introduction. Outstanding jazz rock, rock, funk and blues. Listen to Scott’s “Tore Down House” album [All tracks @ 320: File size = 168 Mb]

TRACKS

1. Lola Fay 6:25
2. Space Camel 5:28
3. Lady P 7:15
4. Sultan's Boogie 7:26
5. Song Holy Hall 4:59
6. Clinic Troll 3:43
7. Hillbilly In The Band 5:08
8. Slidin' 7:27
9. Snake Soda 5:35
10. Thick 11:17
11. Nairobe Express 4:10

Tracks 1,3,4,7,8 composed by Henderson: Tracks 2,5,6,10 composed by Henderson, Kinsey & Willis: Tracks 9,11 composed by Henderson & Wooten
The tracks "Space Camel," "Song Holy Hell," "Clinic Troll" and "Thick." were recorded with bassist Gary Willis as Tribal Tech. Tracks 1-3 are from the Scott Henderson CD "Well To The Bone": Tracks 4 & 5 are from the Scott Henderson CD "Live": Tracks 6 & 7 are from The Tribal Tech CD "Thick": Tracks 8 & 9 are from The Tribal Tech CD "Rocket Science": Track 10 is from The Scott Henderson, Steve Smith, Victor Wooten CD "Vital Tech Tones": Track 11 is from The Scott Henderson, Steve Smith, Victor Wooten CD "VTT2"

MUSICIANS

Scott Henderson - Guitar
Gary Willis, John Humphrey, Victor Wooten - Bass
Scott Kinsey - Keyboards
Kirk Covington, Steve Smith - Drums
Thelma Houston - Vocals on "Lola Fay"
Wade Durham - Vocals on "Lady P"

7.6.14

Thea Gilmore


Thea Gilmore - Murphy's Heart - 2010 - Fullfill

Murphy's Heart, the eleventh studio offering from singer and songwriter Thea Gilmore, finds a balance between the extreme polish of 2008's Liejacker and the skeletal sound of 2006's Harpo's Ghost. Produced (again) by lead guitarist Nigel Stonier, Gilmore fills the songs on this 13-track set with the talents of 13 musicians, including horn and string players, percussionists, and keyboardists. The expanded cast reflects Gilmore's evolving songwriting and arranging skills; forms and textures have deepened and changed shapes, and the textures she and Stonier employ are more ambitious than anything she's previously attempted, but whether they touch on the perverse carnival soundscapes of Tom Waits (in "Jazz Hands") or are elegantly adorned ("Due South), they contain only what they need in order to project and illuminate her stiletto sharp -- often mischievous -- lyrics. The set opens with "This Town," introduced by a strutting Celtic blues guitar line that quickly becomes a shuffling, minor-key jazz swagger as Gilmore illustrates a physical place as femme fatale: "Hello my little train wreck, I am your worst fear/I'm a mortuary postcard, I'm a graveyard souvenir." On "Love's the Greatest Instrument of Rage," drums, dulcimers, and handclaps fuel Gilmore's spitfire delivery on what could be a drinking song, albeit one of indignation and regret: "So take this epitaph, take anything that's left/I don't want to be here come the day/I did my best you know, I tried to swim the tide/But I am just as guilty in my way...." On the lilting acoustic waltz "Automatic Blue," her protagonist observes the eternal paradox of romance: "Love is either wild frontiers, or automatic blue." "Mexico" is as lonely as its title, adorned by nylon string guitars, viola, and cello, while the album's closer "Wondrous Thing," with its Latin percussion and sparse electric six-string, underscores an early rock melody and a lyric worthy of Doc Pomus: "The moment you came/The stars didn't sing your name/And the heavens didn't shed your skin/Smallest of things/Bravest of offerings/The way that love begins." With the lithe, languid flügelhorn in the backdrop, the song enters the realm of dreams. Murphy's Heart is the work of a seasoned veteran at lofty creative peak in her craft. © Thom Jurek © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/murphys-heart-mw0002039663

How many people have heard of One Direction, Cheryl Cole, Britney Spears, Lady Gaga, etc., etc.? How many people have listened to or even heard of Lucy Kaplansky, James McMurtry, Kyla Brox, or Thea Gilmore? The music business is a sick joke. Eric Ambleside on amazon.co.uk speaking about one of Thea’s albums said, "Another outstanding and horribly underrated and overlooked artist. Tragic in the face of all of the third-rate tat out there that sells in such vast quantities". Uncut magazine hailed Thea as "the best British singer-songwriter of the last 10 years...and then some." The Oxford folk-rock singer-songwriter Thea Gilmore is an unheralded but mega-talented English singer/songwriter who doesn't care about commercial, radio friendly songs. She has an irresistible voice, writes great lyrics, and is totally uncompromising with her music. She is certainly not recording for the money. "Murphy's Heart” is another great album of folk, pop, rock, blues, and Americana. Thea is strongly influenced by artists like Bob Dylan, Joni Mitchell, and The Beatles and you can hear those influences on most of her albums. You may find the album a “slow burner”, but many of the best albums are. In 2014 she will be 35 y.o with over 15 albums released. She has had a fair degree of success, but not nearly enough and she remains one of the great "undiscovered" singer/songwriters. Great musicians and musicologists like Jools Holland have referred to the talents of this lady. It’s a shame that more people in the music industry don’t give Thea Gilmore more time. But the “music” industry isn’t about music anymore, is it? "Murphy's Heart” is HR by A.O.O.F.C. Check out Thea’s “Harpo’s Ghost", " Rules For Jokers", and "Loftmusic" albums on this blog. Buy her “Burning Dorothy or "Avalanche" albums and promote exceptional contemporary folk rock and real music [All tracks @ 320 Kbps: File size = 107 Mb]

TRACKS

1 This Town 3:54
2 God's Got Nothing On You 3:35
3 Due Douth 3:30
4 Jazz Hands 2:33
5 Love's The Greatest Instrument Of Rage 3:06
6 Automatic Blue 4:05
7 Coffee And Roses 3:55
8 You're The Radio 3:58
9 Teach Me To Be Bad 3:41
10 Not Alone 3:15
11 How The Love Gets In 4:13
12 Mexico 4:12
13 Wondrous Thing 4:05

All songs composed by Thea Gilmore except Track 8 by Thea Gilmore & Nigel Stonier

MUSICIANS

Thea Gilmore - Acoustic Guitar, Vocals
Nigel Stonier - Guitar, Bass, Piano, Harmonium, Ukulele, Dulcimer, Harmonica [Bass], Cuatro, Cimbala, Q Chord, Backing Vocals
Ulf 'Rockis' Ivarsson - Bass, Synthesizer, Sounds [Treatments] on Tracks 2, 4
Roy Martin - Drums
Michael Blair - Drums, Percussion [+ Metal Plates, Table Top, Flight Case], Vibraphone, Marimba, Organ [Pump] on Tracks: 2, 4
Daniel J Logan - Djembe, Cahon, Timbales, Bongoes, Hand Drums, Shakers
Mike Cave - Tambourine, Percussion [Guiro], Shaker, Programming
Michael Blair - Triangle on Track 13
Marco Bernardis - Tenor Saxophone, Baritone Saxophone
Mike Davis - Trumpet, Flugelhorn
Paul Burton - Trombone
Liz Hanks - Cello
Fluff - Violin, Viola, Backing Vocals
Fermin Herrera - Harp [Veracruz] on Track 12
Steve Butler - Backing Vocals

BIO

Singer/songwriter Thea Gilmore was born to Irish parents in 1979. While coming of age in North Aston, Oxfordshire in England, she ignored the new wave reign of the '80s and instead began to seek out her parents' Bob Dylan and Joni Mitchell albums. Later, she found comfort in the work of Elvis Costello, Tom Waits, and the Replacements, naturally absorbing the intelligence behind each artist's work. Gilmore began writing poetry and short stories to amuse herself amidst her conventional surroundings, but she needed something more tangible. She left home at age 16 to go work in a recording studio. Gilmore also founded her own Shameless Records and released her debut album, Burning Dorothy, in 1998. The Lipstick Conspiracies and the As If EP followed two years later, and Gilmore's star power started to buzz. In the new millennium, Gilmore inked a deal with Compass in the U.S. and finally graced American shores with the 2002 release of Rules for Jokers. Gilmore's third album, 2003's Avalanche, was a much more daring effort for her, and the single "Juliet" earned her her first Top 40 hit in the U.K. A year later, Gilmore released a collection of cover songs entitled Loft Music. This self-released effort featured Gilmore's renditions of songs by the Buzzcocks, Paul Westerberg, Jimmy Cliff, and the Ramones. Songs from the Gutter (2005) gathered career-spanning cuts not previously available, as well as other hidden treasures from Gilmore's catalog of unreleased material. In August 2006, Gilmore issued the emotionally charged Harpo's Ghost, her first set of original material since Avalanche. Gilmore returned with the ultra-polished Liejacker to mixed reviews in 2008, and became a parent. In typical idiosyncratic fashion, she recorded the seasonal holiday collection Strange Communion, issuing it in 2009 and, in lieu of a new studio offering, released the half-acoustic/half-electric live set Recorded Delivery in 2010. In 2011 Gilmore returned to recording with partner and co-producer Nigel Stonier and co-producer/engineer Mike Cave for her 11th studio offering, Murphy's Heart, recorded both in Liverpool and in Ventura, California. The cast of 13 musicians for these sessions was her largest to date. Returning to the studio once again with Stonier, Gilmore set about to record 2011's John Wesley Harding, a complete reworking of the album by Bob Dylan. Gilmore followed this up with Don't Stop Singing, a specially recorded collaborative album with the late Sandy Denny. Two years later, after giving birth to her second son, Gilmore returned with 2013's Regardless. © MacKenzie Wilson © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved

Usonic


Usonic - Evolution - 2011 - Groove4dayz

Nominated in the Best Jazz Act category of the 2011 MOBO Awards, ‘Evolution’ by Usonic showcases both the quality and vitality of British jazz. Usonic’s Miles Bould and Scott Firth are joined by the world renowned guitarist Scott Henderson and keyboardist Scott Kinsey from Tribal Tech as well as some of Europe's finest talent, including Robet Mitchell on keyboards and saxophonist Nigel Hitchcock. With its main focus on strong melody, inspired soloing and most important of all groove, ‘Evolution’ fuses the dynamic and vibrant sounds of modern jazz with African groove and influences from around the world. The result is an expressive and cohesive album that will please even the most ardent admirer of jazz fusion. © 2013 MDT. All Rights Reserved. http://www.mdt.co.uk/usonic-evolution-groove4dayz-records.html

U-SoniC is an all out world fusion band founded by Percussionist/Drummer Miles Bould and Bass/Guitarist Scott Firth. Prior to this project, both Miles and Scott were in a fusion band called Peoplespeak. This band wrote and played a track on the Steps Ahead album “Yin Yang”. Their track “Agitate The Gravel“ was described as “Best cut on the album“. Miles and Scott have also toured, worked in the studio or written with : Steps Ahead, Sting, Robert Palmer, Michael Jackson, Tina Turner, Beyonce, Joan Armatrading, Level 42, Billy Ocean. The Spice Girls, Melanie C, Morcheeba, Steve Winwood among others. Both Miles and Scott have worked passionately for the last 3 yrs putting the U-SoniC album “Evolution” “together”. They have also brought into the project Scott Kinsey (Keyboards), Scott Henderson (Guitars), Nigel Hitchcock (Saxes), Robert Mitchell (Keyboards), Marc Guillermont (Guitars / Keyboards / Samples) Spencer Cozens (Keyboards) Luke Smith (Rhodes) Simon Edwards (Sintir) Yolanda Charles (Bass) Tim Stone (Guitar) - by & © Sharms Thu Feb 11, 2010 12:24 pm © http://www.incognito.org.uk/forum/viewtopic.php?t=7168

Usonic . Nominated for a best Jazz act in this years’ MOBOs. These guys seem to be a best kept secret I admit to not having heard of them until I caught the MOBO coverage on late night TV, and a snatch of their music played over the nominations announcement hit me right between the ears. I was gob-smacked that stunning sound came from these shores. World class stuff. British? Tipping their hat towards the finest jazz fusionists who ever dug deep to find their groove, but very much their own sound. A glorious sound. The opener “Kinsey Report,” gives you a bit of a clue as to where they sit. From the start of that crisp side stick and sexy (see what I did there, ref Dr Kinsey?) funky bass line, the ethereal Jeff Lorber style synth sounds, and of course the nod heavily towards the wonderful reporters of weather. We just know we are in very classy company here.The band is centred around Miles Bould and Scott Firth, two super talented multi - instrumentalists who have worked with some mega names, such as Michael Jackson, Sting, Tina Turner, Beyonce, Level 42, Stevie Winwood and Morcheeba. Their earlier incarnation as “Peoplespeak” won high praise. They worked for three years to produce this baby, “Evolution.” Guests include world acclaimed guitarist Scott Henderson, Scott Kinsey from Tribaltech on keys, Yolande Charles on bass, Nigel Hitchcock on tenor and soprano saxes. His solos are magnificent on everything he touches here. Sensational in fact. Top end session guy and here we hear why. He really lets fly. Bravo that man.The individual playing is exemplary, Bould and Firth mainly on drums and bass here, are musicians musicians for sure. But it is very much an ensemble work, a cohesive album and like these chaps play together day in, day out. But it doesn’t venture into musical masturbation, as so many fusion and modern jazz pieces can. The pieces of the puzzle all fit together so nicely, and the picture on the lid is a versatile and creative force to be reckoned with. All 11 songs are well crafted and feature complex layers, always focus on melody and without the guys disappearing up their own multi-track in self-indulgence. There is a big emphasis on melody and most definitely light, shade and textures that you perhaps only associate with mega name US players. Not one duff track. This album and material is very special.Solid and perfect production, nothing sticking out or overbearing in the mix. Lorber, Zawinul (we get to hear Joe speaking on “Legacy,”) Shorter, Vitous, Alphonso, Miroslav, Pastorious, Larry Carlton, even traces of the wonderful David Sancious and Tone spring to my mind. But this is all about Usonic, first and foremost. The playing is here. The songs are here. The melody. But the groove is to die for. Truly. The melting pot of styles takes us to hot, steamy Africa and melds world music with the very best of jazz fusion. It has soul. It has heart. It has funk. It has pride. It has passion. It has me hooked. More………P.S. Re: the MOBO nomination…..”they woz robbed!” - WORDS SIMON REDLEY & © SIMON REDLEY © http://www.bluesandsoul.com/review/1619/usonic_evolution_groove4dayz_records/

An exceptional jazz fusion album with strong melody, inspired soloing and terrific grooves in the tradition of artists like Miles Davis, Dizzy Gillespie, Charlie Parker, John Coltrane, Art Blakely, Tony Williams, Weather Report, Mahavishnu Orchestra, Chick Corea, Herbie Hancock, Yellow Jackets, Steps Ahead, Michael Brecker, John Scofield and so many other great artists who have devoted so much of their careers in keeping great jazz improvisational music alive. The album features among others, legendary fusion stars Scott Kinsey and Scott Henderson along with band founders Miles Bould and Scott Firth. Scott Henderson only plays on track 1, but it is not a guitar based album, and the other musicians more than make up for this [All tracks @ 320 Kbps: File size = 161 Mb]

TRACKS / COMPOSERS

1 Kinsey Report - Bould, Firth 6:12
2 Bala - Guillermont, Bould, Firth 5:28
3 The Intention - Bould, Firth 6:21
4 Who Feels It - Bould 2:01
5 Touch - Bould, Firth 9:11
6 Calm - Bould, Firth 6:01
7 Evolution - Bould, Firth 6:40
8 Shona - Firth 2:52
9 Quest - Guillermont, Bould, Firth 8:39
10 Legacy - Bould, Firth, Charles 10:13
11 Ava - Bould, Firth 4:49

MUSICIANS

Scott Henderson - Guitar, Guitar FX
Scott Firth - Guitar, Upright Bass, Rhodes Piano, Keyboards, Additional Keyboards, Vocal
Tim Stone - Guitar
Miles Bould - Acoustic Guitar, Keyboards, Drums, Percussion, Vocoder, Random Noises
Mark Guillermont - Guitar, Keyboards
Yolanda Charles - Bass Guitar
Scott Kinsey - Keyboards
Spencer Cozens - Keyboards, Piano
Luke Smith - Rhodes Piano
Mike Westergaard - Additional Keyboards, Triangle, Chimes
Nigel Hitchcock - Tenor Sax, Soprano Sax
Simon Edwards - Sintir

6.6.14

Julian Sas


Julian Sas - A Smile To My Soul - 1997 - Dureco

Often called the "Dutch Hendrix", Julian Sas has become a guitar hero in the Netherlands. He is not Hendrix, but he does not need to be: being Julian Sas is good enough in itself. The Julian Sas Band is one of the strongest 3 piece blues/rock bands you will ever hear. Julian is a solid and sometimes spectacular player, decent vocalist, and usually backed by the tremendous rhythm section of Pierre de Haard on drums and a most impressive Phil Poffe' on bass. This is earthy, gutsy, honest, dynamic, and electrifying boogie blues rock. Julian Sas is a great but underrated guitarist and a great Rory Gallagher fan. Join the club! Buy Julian's "Bound To Roll" album and support great blues rock [All tracks @ 320 Kbps: File size = 132 Mb]

TRACKS

1 Sugarcup Boogie 3:37
2 Is This What They Call The Blues 5:58
3 Horror Tone Groove 1:20
4 Last Man In First Man Out 5:58
5 My Love Is Tumblin' Down 2:48
6 Crossroad Call 4:00
7 I Want Your Love 3:23
8 Never Gettin' Tired 2:26
9 Stone Desert 4:30
10 My Life Is Gonna Be All Mine 4:46
11 Boot Hill 3:08
12 Where Will It End?! 7:45
13 Makin' My Return 4:17

All tracks composed by Julian Sas, P. De Haard, P. Poffé except Track 9 by Julian Sas

MUSICIANS

Julian Sas - Guitar, Rhythm Guitar, National Duolian Guitar, Blues Harp, Vocals
Phil Poffé - Bass
Willem Van Der Schoof - Hammond A 100 Organ
Pierre "Boogie Machine” de Haard – Drums

BIO

Hello everybody. My name is Julian. I was born on a river in 1970 in a small town in the center of the Netherlands called Beneden-Leeuwen. Since I was born I have been a restless person, This is something that I still have today. Only until I was 6 years old I knew where this was coming from; I saw this movie called the Toronto rock 'n roll festival. There I saw Jerry lee lewis and Chuck Berry. From that day on I knew what I was going to be In my life I wanted to make music. I was hooked as a little child on what I felt when I saw this movie, it was Jerry lees immense energy and maybe more important for my future I saw Chuck's guitar. My mother saw that I dreamed and talked only about guitars from that day on. So they gave me little toyguitars and stuff like that but I kept dreaming about the real thing. By the time I was 10 I was into bands like Motorhead and AC/DC, Judas priest and Iron Maiden and more heavy stuff. Loud guitars and big Marshall amps and again a lot of energy. They saw me listening to music that most children of my age weren't doing at that time so I started again about a real guitar and when I was about 12 years old I got one an Ibanez les paul copy which I still have today. With a guitar comes an amplifier so they gave me this 30 watt Yamaha where I could practice with. I started to listen to anything I could lay my hands on, and this is something that I still do today. I have never had no musical schooling so this is for me the only way to learn music. By listening and playing you start to know how things work. A friend of mine taught me some basic chords and a few scales and something about where to put your fingers and that was it. The rest was up to me. By the time I was 13 I heard something that really got me deep emotionally and his name was Muddy Waters. From that day on I decided to dedicate my life to blues and bluesrock. When I was not in school I played guitar, I kinda locked myself in my room to become what I wanted. The guitar became and still is an obsession for me. I'm a very quiet guy in fact and this instrument really gave me the chance to express my feelings. When I was 17 years old it was 1987 and that was great year for me because I met a girl who is now my wife; someone who knows what drives me in being a musician and understand what music means to me. And it was the first time I saw Rory Gallagher. He shocked my world big time. That was what I was going to be. I started a band and two years later I quit school, because we had a lot of gigs and becoming a history teacher was not my thing. I must have had a thousand jobs and a lot of jams and bands and duo's but by the time I was 26 I started this band called Julian Sas Band. We got a record deal and the first album was called 'Where will it end!?'. And that my friends is still the story today, when it is up to me we got along time coming, because we really love what we do. For me being a musician is all about freedom and doing what you really love. I am fortunate to be in such a position but then again I worked hard for it and still work hard for it because nothing in life comes easy. So this is my story. I want to tell you that for me playing music is something I try to do until the day I will lay my guitar down and I will meet the great spirits in the sky. I will always write songs about loneliness and oppression and being free out on the road. Music still comforts my ever restless soul. Which after all these years is still inside of me... Thank you for making my dream come true......... Julian © 2001-2012 www.juliansas.com

MORE

The Julian Sas Band is one of the leading blues rock bands in The Netherlands. Since they began playing together about 7 years ago, they have released 7 CD's, 1 DVD and done an awful lot of gigs. In 1998 the band received a public award for their second album called 'A Smile to my Soul'. It was listed as one of the best blues CD's of that year. In 1999, the Julian Sas Band was top of the bill at the legendary Fehmarn Festival (the German equivalent of Woodstock), which was entirely dedicated to the memory of Jimi Hendrix. The Band also featured at the Rory Gallagher Tribute in the Belgium town of Wespelare. In september 2000, they released 'Spirits On The Rise', their fifth and most recent album. Julian Sas lives in Beneden Leeuwen, a small town that lies between the rivers Maas and Waal in what might be called the Blues Delta of The Netherlands. This is where he finds inspiration for many of his songs. Although Julian is only 32, he is already being compared to American guitar giants such as Johnny Winter, Walter Trout and Jimi Hendrix. He can play load and aggressive as well as heartrendingly subtle, and no-one can play a boogie like he does. Most of the songs he writes are based on riffs of John Lee Hooker, Freddy King, Willy Dixon, Memphis Slim or other major blues artists. Julian is a great fan of the late Rory Gallagher and the fact that he was invited to take Rory's place in the original Rory Gallagher Band on a number of occasions, clearly shows how his fellow musicians have come to respect him. Pierre de Haard, the drummer in the band, lives in Germany. Since the end of the sixties, he has been playing various styles of music. Pierre, who is also known as the 'Boogie Machine', loves to improvise together with Julian. Tenny Tahamata of Moluccan origin is the bassplayer and lives in Tiel, The Netherlands. He's selftaught, has done experience with various local bands playing all kinds of music. The last years Tenny played with blues rock trio Half Past Midnight, which accompanied Curtis Knight until his death. In between he did several gigs with harpplayer Keith Dunn before to join the Julian Sas Band. © www.juliansas.com © http://www.mymusicbase.ru/PPB/ppb10/Bio_1047.htm

5.6.14

Zero


Zero - Live: Nothin' Lasts Forever - 1998 - Pop Mafia ‎

Zero, who just released its third major label album Nothin’ Lasts Forever, has been around a lot longer than most people realize. Founded in 1984 by drummer Greg Anton and guitarist Steve Kimock, the group has managed to skirt the outer edges of the Bay Area/Grateful Dead/jam band scene, and it really wasn’t until a decade later that it began to tour and develop a national audience. Consequently, it remained a well-kept secret — that is until last summer’s Furthur Festival thrust Kimock into the limelight as a last-minute addition to The Other Ones. Prior to the formation of Zero, Anton and Kimock had worked together in the short-lived Heart of Gold Band (Keith and Donna Godchaux’s group). This outfit later mutated into The Ghosts, and it was here that the seeds for Zero were first laid, although Anton and Kimock are the only remaining original members of the band. In 1985, saxophonist Martin Fierro, an alumnus of both the Grateful Dead’s 1973 Fall Tour and Jerry Garcia and Merl Saunders’ Legion of Mary, joined Zero and helped to cement its unique blend of jazz and blues. Currently rounding out the band are bassist Bobby Vega, keyboardist Chip Roland, and singer Judge Murphy. In 1995, Zero released Chance in a Million, its major label debut. This was also the first disc to feature Murphy, and it contained the band's first collaborations with renowned Grateful Dead lyricist Robert Hunter. Recorded live at the Great American Music Hall in 1992, the album featured soaring jams that were built around infectious melodies, and included guest appearances by Vince Welnick, Nicky Hopkins, and John Kahn. In 1997, Zero followed Chance in a Million with an outstanding self-titled studio release — the first to feature Roland who replaced Pete Sears. Recorded live in the studio with no overdubs, the album downplayed the lengthy jams inherent in the group’s concert sound in favor of showcasing its amazing songwriting abilities. Zero’s latest effort Nothin’ Lasts Forever once again returns to capturing the band in a live setting. Recorded at San Francisco’s Maritime Hall, the album features five original compositions, three cover songs, and more than 60 minutes of mind-bending music. As with Zero’s past efforts, there really isn’t a weak point here, which is no surprise considering it's an exceptional live band. The group knows how to build its songs into monumental, transcendental jams, but most importantly, it begins with expertly-crafted material. Ermaline explores a blues-funk groove and is highlighted by the soulful vocals of Murphy and a pair of majestic solos from Fierro and Kimock. The band also delivers a stunning interpretation of Jimi Hendrix’s Little Wing that perfectly captures the beauty and splendor of the original recording. However, the single defining track for Zero is the Kimock-penned Cole’s Law. Because it is such an attention-grabbing tune, the band routinely opens its concerts with it. The song begins with the sound of Vega’s bass, which creates an ebb tide that gently draws the listener into the freely flowing rhythm of Anton’s drum beat. Slowly, but surely, Kimock’s guitar and then Fierro’s saxophone roll in, playing off the tension of the rhythm and slowly building the momentum. Each musical strain follows the initial pattern of Vega’s bass as the band slowly builds to crescendo after crescendo, much like waves crashing on a beach. The result is a radiant, captivating, and truly mesmerizing ensemble performance. One listen to Cole’s Law (or really any of the tracks on this disc), and it’s clear that Zero is where Kimock belongs. The band seems to get better with each tour, and clearly it deserves more attention than it has received *** (Respectable) © John Metzger 1999 The Music Box © The Music Box, March 1999, Volume 6, #3 © http://www.musicbox-online.com/zero-nlf.html#axzz33hdndykf

Recorded live at The Maritime Hall, 1997-98 in San Francisco, CA, this is a great jazz funk/R&B album by the great Bay Area band, Zero with the vastly underrated Steve Kimock on lead guitar. John Metzger of The Music Box said that “the album features five original compositions, three cover songs, and more than 60 minutes of mind-bending music. As with Zero’s past efforts, there really isn’t a weak point here, which is no surprise considering it's an exceptional live band”. Listen to Steve Kimock's “Eudemonic" album, and Zero's great s/t album [All tracks @ 320 Kbps: File size = 156 Mb]

TRACKS / COMPOSERS

1 Cole's Law - S. Kimock 10:52
2 Papa Was A Rollin' Stone - Norman Whitfield 8:39
3 This Is Your Brain On Drums Part 2 - B. Vega, C. Roland, Greg Anton, M. Fierro, S. Kimock 7:02
4 Ermaline - B. Verga, C. Roland, Greg Anton, J. Murphy, R. Hunter, S. Kimock 6:13
5 Forever Is Nowhere - Greg Anton 8:54
6 Home On The Range - Greg Anton, Robert Hunter, Steve Kimock 11:54
7 Little Wing - Jimi Hendrix 11:25
8 I Want You (She's So Heavy) - John Lennon, Paul McCartney 4:52

MUSICIANS

Steve Kimock - Guitar
Bobby Vega - Bass
Chip Roland - Keyboards, Guitar, Vocals
Greg Anton - Drums
Lonnie Walters - Bongos
Martin Fierro - Saxophone, Percussion, Vocals
Judge Murphy - Vocals

BIO

Zero was founded by Steve Kimock and Greg Anton in 1980 in Marin County. Their music being a mixture of jazz, rock and blues - free flowing. Soon they were joined by other Bay Area musicians from the psychedelic caravan, sharing the same spirit: John Cipollina, John Kahn, Banana, Martin Fierro, Bobby Vega, John Farey and Steve Wolf. It's not the vocals that define Zero's music - it's never ending instrumentals - a mental journey if you will. Never chaos though - a well organised trip of musicans who know how to blend their own ways of playing into one way. All being equal and sharing a high quality approach when it comes to recording and playing live - a common goal. The Zero Point! Due to this high quality their first two albums, "Here Goes Nothin'" and "Nothin' Goes Here" were even (re-)released by Mobile Fidelity Sound Lab (Original Master Recordings). Simply because the company's high quality approach and Zero's musical output matched. Nevertheless the albums disappeared way to early from the MFSL catalogue and thus became rare collector items. John Cipollina was a constant member of Zero until his death in 1989. His rhythm guitar playing can be heard on the first three Zero albums. Steve Kimock has always been the lead guitar player and although he is so talented, he is following Cipollina in not getting the recognition he deserves. Another unsung guitar hero. Even Jerry Garcia mentioned Kimock as one of his favorite guitar players, subsequently Zero always had many fans from the Deadhead scene. After their third album "Go Hear Nothin'" which is a live recording, Greg Anton was asked in 1991 to compose a soundtrack for a stageplay based on the mid-sixties film 'The Pawnbroker'. He did this with members of Zero. Unfortunately the soundtrack wasn't released as an album and only available on audio cassette. In 2002 the German Taxim label finally released "Zero Blues" on CD. In addition they also re-released Zero's second album "Nothin' Goes Here". Over the years Zero released four more records (information provided underneath). Some band members left and others joined. The core of Anton and Kimock being the same. A major change was the addition of Robert Hunter as lyricist and Judge Murphy on vocals. This took Zero to yet another level - bringing their instrumentals together with Hunter's lyrics. The high quality remained. Zero stopped playing together at the change of the century but returned to play several shows in 2007. Members included: Steve Kimock, Greg Anton, Martin Fierro, Liam Hanrahan, Melvin Seals, Donna Jean Godchaux-MacKay and John Morgan Kimock. Update 2008: Martin Fierro, who has been a founding member of Zero, passed away Thurday - March 13, 2008 from cancer - please follow the link and read more about Martin on his website. © 2002-2009 bay-area-bands.com http://www.bay-area-bands.com/bab00044.htm

4.6.14

Warren Cuccurullo


Warren Cuccurullo - Thanks To Frank - 1996 - Imago (aka w@r.ren.CUCc.u.ruLLO* ‎– th@n.ks 2:/Fr@n.k)

Guitarist Warren Cuccurullo began his career with Frank Zappa, so it should come as no surprise that when he made his return to experimental music after years of pop craftmenship with Duran Duran and Missing Persons, he would do so under the guise of Thanks to Frank, a tribute to the late composer. Working with bassist Pino Palladino and drummer Vinnie Colaiuta, Cuccurullo sounds creatively reborn. Drawing from a variety of different world musics, the guitarist fashions complex and challenging soundscapes that prove he learned a lot from Zappa. It's not a consistent record, but the best moments on Thanks to Frank showcase a guitarist overcome with the joy of finding his own voice. © Stephen Thomas Erlewine © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/thanks-to-frank-mw0000185406

"Thanks 2 Frank" is an all-original Warren Cuccurullo rock guitar masterpiece. The album is named, of course, due to Warren's great respect and admiration for Frank Zappa. He has often said in interviews that if not for Frank, he would not have his career...that he owes it all to him. Hence, "Thanks 2 Frank". However, there are no Frank Zappa songs on the album...these are all Warren's. He recorded the album live, with no overdubs, in two days (August 20 and 28, 1994) in Metropolis Studios, London, except for the title track, which was recorded July 7, 1994 at 2:30 AM, at his first solo show, at the Stone Pony in Asbury Park, NJ. He also handled all production duties. Written during the 10 day period before his Stone Pony solo show (except for "Galactic Ballerina," which was written later), these songs are a mix of precision and passion. © 1996-2013 Guitar Nine All Rights Reserved http://www.guitar9.com/thanks2frank.html

“Thanks To Frank” was recorded and mixed by Warren Cuccurullo founder member of American act ‘Missing Persons’, and former member of Duran Duran and Frank Zappa, in less than ten days. In fact, Warren states on his website (www.warrencuccurullo.com) tha “I knew it was do-able, and we got it done. It was beyond magic. The album was completely recorded in two days and mixed in three.” If you haven’t heard of Warren Cuccurullo, it is not surprising as he spent years playing with Duran Duran and also the late Frank Zappa whose powerful and charismatic personality, not to mention musical genius overshadowed many great musicians. This album is full of brilliantly composed material and great guitar work from a much neglected musician. The album has been called “a rock guitar masterpiece”. It is not a guitar shred album or full of mind numbing guitar solos, but Warren’s guitar playing is unique and very original, and the album is enthralling. Other musicians on the album include bassists Pino Palladino and Nick Beggs and the incomparable ex-Zappa drummer Vinnie Colaiuta. The album is HR by A.O.O.F.C. Check out Warren’s “Road Rage” album on this blog and listen to his “The Blue” album. Read more @ http://www.warrencuccurullo.com/archives/fanzine/iss11.html#thanks [All tracks @ 320 Kbps: File size = 149 Mb]

TRACKS

1 The Canarsie Daiquiri 5:25
2 Orgasmatron 4:51
3 Ass Man 5:12
4 Jam Man Jam 2:42
5 Hey Zawinul 6:28
6 The Galactic Ballerina 3:06
7 Low Speed Chase 7:42
8 Indian Time Zones 7:02
9 Tardinha 4:44
10 The Spider 7:34
11 Thanks To Frank 8:38 *

* Recorded live at the Stone Pony, Asbury Park, NJ on July 7th 1994

All tracks composed by Warren Cuccurullo

MUSICIANS

Warren Cuccurullo - Guitar
Nick Beggs - Bass on Tracks 1, 3, 4, 7, 11: Chapman Stick on Track 10
Pino Palladino - Bass on Tracks 2, 5, 6, 8, 9
Vinnie Colaiuta Drums on Tracks 1-10
Jerry Cuccurullo - Drums on Track 11
Talvin Singh - Tabla on Track 5

BIO

Guitarists such as Steve Vai and Joe Satriani received the lion's share of attention during the late '80s/early '90s, due to their otherworldly instrumental chops. But several other guitarists were just as talented, yet failed to receive as much recognition, especially Warren Cuccurullo. Born on December 8, 1956 and raised in Brooklyn, NY, Cuccurullo started playing drums at an early age before moving over to guitar in time to jam with friends. By the early '70s, Cuccurullo had become a die-hard Frank Zappa fan, and for much of the decade, would travel far and wide to catch Zappa in concert. It wasn't long before Cuccurullo became friends with members of Zappa's backing band, and eventually, Zappa himself. He appeared during a backstage segment for Zappa's concert movie Baby Snakes, and in December of 1978, got the phone call he'd been waiting for, when he was invited to try out to for a vacant guitar slot in the band. Cuccurullo got the gig, appearing on several Zappa tours and such albums as Joe's Garage: Acts 1-3, Shut Up & Play Yer Guitar, Tinseltown Rebellion, and volumes one, four, and six of the You Can't Do That on Stage Anymore series. Shortly after the dawn of the '80s, Cuccurullo quit Zappa's band to form the new wave outfit Missing Persons, along with the husband-wife team of Terry Bozzio (drums) and Dale Bozzio (vocals). The band enjoyed success early on with such hit singles as "Words" and "Destination Unknown," as well as a gold-certified debut album, 1982's Spring Session M. But after two further albums that failed commercially, 1984's Rhyme and Reason, and 1986's Color in Your Life, Missing Persons broke up. Cuccurullo got word from an insider that one of the world's most popular pop groups, Duran Duran, was about to lose founding guitarist Andy Taylor, and he inquired about joining. Cuccurullo was soon invited onboard, and appeared on such subsequent albums as 1986's Notorious, 1988's Big Thing, 1990's Liberty, 1993's self-titled release, 1995's Thank You, 1997's Medazzaland, and 2000's Pop Trash. During the same time, Cuccurullo began issuing solo albums on his own, including 1995's Thanks to Frank, 1997's Machine Language (an album he'd been working on since the '80s), 1998's Roadrage, and 2000's The Blue. The '90s also saw Cuccurullo either collaborate or record with Blondie, Meat Loaf, and Michael Jackson, but in all three cases, the material was ultimately shelved. Cuccurullo eventually left Duran Duran (when it was announced that its original lineup was reuniting), but kept himself busy with running his own extensive website, opening up an Italian restaurant in Santa Monica (Via Veneto), and issuing his own adult toy, the "Rock Rod." The guitarist also took part in several Missing Persons reunion shows during 2001, while his next solo release, Trance Formed, is scheduled to be released sometime in late 2002. © Greg Prato © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/warren-cuccurullo-mn0000814957/biography

BIO (WIKI)

Warren Bruce Cuccurullo (born December 8, 1956 in Brooklyn, New York) is an American rock musician who worked with Frank Zappa, was a founding member of Missing Persons, and has been a long term member of Duran Duran. Warren Cuccurullo is the son of Jerry and Ellen Cuccurullo, the oldest child of four. He has two brothers, Jerry and Robert and a sister, Stephanie. His Italian American heritage has its roots in Nocera Inferiore in Campania, Italy, and he also has some Greek ancestry. He grew up in the Canarsie neighborhood of Brooklyn, and began playing drums and guitar as a young child. He graduated from Canarsie High School in 1974. Cuccurullo has one adopted child, Mayko Cuccurullo (born 1983) who lives in Rio de Janeiro, Brazil, who is actually the son of Claudia Bueno (Warren's former longtime girlfriend). Mayko is featured in the Duran Duran video Breath After Breath, filmed in Argentina in 1993 and contributed some minor vocal work on the N'Liten Up project. Cuccurullo returned to the United States in 2001 and lives in Venice, California. His current focus is on musical projects having to do with film scores. In his teen years, Cuccurullo became a devoted fan of Frank Zappa and began traveling to every show within 500 miles of his Brooklyn home. During the mid-1970s, he befriended several members of Zappa's band, including Terry Bozzio and Patrick O'Hearn. Over the next three years, he appeared with the band on stage at a couple of shows as well as in the 1979 Zappa film Baby Snakes (filmed October, 1977). He impressed Frank Zappa by knowing the guitar parts to every Zappa song in the catalog, including the strangest sounds and most bizarre time signatures. In December 1978, at the age of 22, Cuccurullo was invited to audition as a guitarist for Zappa's new road band, in which many members were replaced (including Bozzio and O'Hearn). Several shows on the early 1979 "Human Jukebox" European/Asian tour were recorded for Zappa's live albums. After the tour, Cuccurullo returned to the studio with Zappa to work on the Joe's Garage albums, for which he provided rhythm guitar and several vocal parts. Terry Bozzio's wife Dale Bozzio, also contributed vocal parts to the album. Cuccurullo and Dale Bozzio began writing songs together, and eventually they convinced Terry Bozzio that the three of them should launch their own band. Zappa asked Cuccurullo to play on his 1988 tour, but the latter's involvement with Duran Duran had begun by then and so he declined. Cuccurullo is name-checked four times on Zappa's Joe's Garage, first by (Dale Bozzio's character) Mary in "Catholic Girls", by Zappa (in character here as Larry) in "Crew Slut", when reassuring Mary, "of course I'll introduce you to Warren!", in the track "Sy Borg" when Ike Willis sings "little leather cap and trousers -- they look so gay... Warren just bought some," and once again by Zappa during "Little Green Rosetta" 'Then everybody moves to New York and goes to a party with Warren. hey!' In 1980, Cuccurullo and the two Bozzios formed Missing Persons, added Patrick O'Hearn and Chuck Wild, recorded a 4-song EP called Missing Persons, toured, promoted the EP, and appeared in the movie Lunch Wagon. Two years of hard work led up to a signing with Capitol Records in 1982, the release of the album Spring Session M, and the subsequent success of Missing Persons on radio and MTV. The singles "Mental Hopscotch", "Destination Unknown," "Walking in L.A.," "Words," and "Windows" all met with success. They appeared at the three-day Southern California concert, the US Festival in May 1983. In 1984, Cuccurullo invented a new type of guitar he called the "Missing Link", and used it on the experimental album Rhyme and Reason (1984). The band followed up with the more conventional Color In Your Life in June 1986, but during the short-lived promotional tour, increasing tensions between then-husband and wife, Terry and Dale Bozzio, led to the end of the tour and the band. On his own again, Cuccurullo began recording some music in his bedroom that was eventually released on his solo album Machine Language. Missing Persons shared their label Capitol Records with British band Duran Duran. As Missing Persons fell apart, Bozzio and O'Hearn were approached by Duran guitarist Andy Taylor in Los Angeles for work on a solo album. In this way, Cuccurullo learned that Taylor did not intend to rejoin Duran in England to work on their next album, even before the rest of Duran Duran knew. Cuccurullo sent a tape and a request for an audition, but was turned down, with some puzzlement. As it became clear that neither enticements nor lawsuits would get Taylor back in the studio, Duran Duran hired Cuccurullo as a session guitarist to complete the album Notorious. He went on to tour with the band, and returned to contribute his increasingly experimental guitar work to the album Big Thing. At the end of the grueling ten-month Big Thing world tour (in June 1989), Cuccurullo was made an official member of the band, and moved to London. Shifting record label politics and the unsuccessful album Liberty almost derailed the band, but after Cuccurullo offered them the use of his home studio (named "Privacy") in Battersea, Duran Duran was able to shift to a more comfortable and controlled music-making style. Cuccurullo's songwriting, guitar skills and driving personality contributed to the band's return to fame with 1993's Wedding Album. He was the primary composer of the hit singles "Ordinary World" and "Come Undone", although the lyrics were written by Simon Le Bon. He created new arrangements for many of the band's old hits for the acoustic-flavored tour that followed, as well as arranging full acoustic pieces for the piano and six-piece string section that performed with them on the MTV Unplugged show. After Frank Zappa's death in December 1993, Cuccurullo performed the instrumental guitar piece "Watermelon in Easter Hay" (from the Joe's Garage album) in his honor at several Duran Duran shows. Tentative plans for a Missing Persons reunion in 1994 were shelved over remaining tensions between former band members. Cuccurullo and keyboardist Nick Rhodes continued to hold Duran Duran together during the band's lean times in the 1990s. The covers album Thank You (1995) was an attempt to keep the peace among band members who had increasing trouble writing music together. Medazzaland (1997) and Pop Trash (2000)—written after the departure of bassist John Taylor and Duran Duran's separation from Capitol Records—featured mostly new Cuccurullo/Rhodes songs and reworked TV Mania material, but failed to dent the charts even though the band sold out multiple nights in most cities on the 2000/2001 tour. In early 2001, Cuccurullo was asked to leave the band so that the original members of Duran Duran could reunite. At first the split was amicable, hinging on a financial settlement which granted him compensation from the band's forthcoming reunion album (to which he was not expected to contribute). Two years later relations soured considerably during the reunited band's American tour when he was asked by management not to attend the Las Vegas show after the band had invited him (no reason was given), and he began confirming some of the rumors that had spread about the 2001 split. Cuccurullo claimed that he was fired from Duran Duran by letter because Rhodes and Le Bon feared his reaction, though he told Duran Duran biographer Steve Malins: "I would never get aggressive in a situation like that. There were things that had to be sorted out in a professional manner, so, that's what I did." Cucurrullo remained on good terms with Rhodes however, and in 2013 they released an album containing material from their side project TV Mania. Beginning in the early 1990s, Cuccurullo collaborated with Duran bandmate Nick Rhodes, calling themselves TV Mania, and began writing an experimental rock opera trilogy called Bored With Prozac and the Internet? (initially unreleased save for a few songs on Cuccurullo's website and in the movie Trollywood). Rhodes and Cuccurullo wrote and recorded a song called “Tomorrow Never Dies” with vocalist Tessa Niles for the James Bond film ‘’Tomorrow Never Dies’’. The song wasn't chosen, so Duran Duran re-recorded it for the Pop Trash album with new lyrics under the title "Last Day On Earth". In December 1996, Rhodes and Cuccurullo wrote and produced two songs for a never-completed Blondie project ("Pop Trash Movie" and "Studio 54"); the re-recording of the former gave the Pop Trash album its name. The Duran Duran albums Medazzaland and Pop Trash were made up of reworked TV Mania songs, with Rhodes writing all lyrics to both albums except the song Someone Else, Not Me. The full, 11-track album Bored With Prozac and the Internet? was given an official release on March 11, 2013. During breaks in Duran Duran's 1989-1990 tour schedule, Cuccurullo worked with Tetsuya Komuro, Shenkar and Patrick O'Hearn. In 1994, the preparations for a solo show near his hometown led to a burst of creativity; he recorded and mixed the Thanks 2 Frank album in less than ten days, with bassists Pino Palladino and Nick Beggs and ex-Zappa drummer Vinnie Colaiuta. The album was released on Imago Records in 1996. In 1997 Cuccurullo completed Machine Language, an ambient instrumental guitar album, also released on Imago. He followed up with a live album, Roadrage in 1998 (on Bandai Records). The Blue (recorded with Shenkar in 1992) was self-released in 2000. Another ambient album, Trance Formed, was released on One Way Records in 2003. In 2005, Cuccurullo and Terry Bozzio collaborated on a CD titled Playing in Tongues, which was released in Europe on Edel Records and in the U.S. on Zappa Records in 2009. Cuccurullo still has as-yet-unreleased projects including a concept album titled N'Liten Up, recorded at The Village studios in West Los Angeles by Kent Huffnagle and produced by Simone Sello. Begun prior to Playing in Tongues, N'Liten Up is currently planned for release in Europe prior to its debut in the U.S. Spring Session M was released on CD in 1995, followed by Rhyme and Reason and Color In Your Life in 2000. Each of the three studio CDs were newly augmented by six rare B-sides or live tracks. Classic Remasters is a compilation of remastered tracks and dance mixes issued by Capitol Records with no band involvement. Beginning in 1997, Cuccurullo began work on his "Missing Persons Archival Trilogy" project. The first CD to be released was Late Nights Early Days in 1998, a live concert recorded in 1981 with the added 1980 studio track "Action/Reaction." This was followed up by a compilation of modern remixes of classic MP tracks, Missing Persons Remixed Hits (1999) which included the TV Mania remix of "Destination Unknown." In 2002 Lost Tracks was released, a collection of extremely rare Missing Persons live tracks from five different eras of the band. Meanwhile, in late 2000, Cuccurullo and Dale Bozzio again began discussing a Missing Persons reunion to feature original members Warren, Dale Bozzio and Terry Bozzio, with new keyboardist Ron Poster (of Dale Bozzio's band) and bassist Wes Wehmiller (formerly in Cuccurullo's solo band and Duran Duran's tour bassist from 1997–2001). The short-lived, official reunion consisted of promotional activities and three live performances in July 2001. Late 2002/early 2003 brought us "Missing Persons Featuring Dale Bozzio and Warren Cuccurullo." Filling in were keyboardist Ron Poster, bassist Wes Wehmiller and drummer Joe Travers (formerly in Cuccurullo's solo band and Duran Duran's tour drummer from 1999–2001). This version of Missing Persons was featured on Access Hollywood (performing "Destination Unknown") and did three live performances in February 2003. Following this, Dale Bozzio returned to touring as "Missing Persons" with hired musicians. In 2011 Cuccurullo rejoined Bozzio as part of another short-lived Missing Persons reunion tour. Cuccurullo was raised with a strong Italian-Catholic background and attended a Catholic elementary school in Brooklyn. During most of his adult life, he had a strong disdain for religion of any sort but believed in reincarnation. After a life-threatening illness in 2003, he experienced a spiritual epiphany that he wanted to share with his fans as well as the rest of the world. These new views, which include a somewhat Universalist belief in God's existence inside everything and everyone, are not connected with any organized denomination or religion, for which he still retains a strong antipathy. In mid-2002, Cuccurullo purchased a Santa Monica, California, Italian restaurant called Via Veneto. It has become a Los Angeles-area hotspot and a favorite with celebrities. More recently, he also funded the opening of a restaurant called Hidden and Vietnamese cuisine restaurants with Michael “Bao” Huynh. Re-focusing on his music, Cuccurullo started a new collaborative project with composer Eric Alexandrakis, drummer Steve Ferrone, and producer Anthony J. Resta. Explaining the purpose of that project in a Modern Drummer news release Alexandrakis said, “The four of us decided to create a scoring collective to pursue scoring projects in TV themes, film, and advertising…” Cuccurullo released the debut album from his collaborative effort with vocalist Neil Carlill, Chicanery, on May 11, 2010. Recorded a few years earlier, the album, also titled Chicanery, was released on CD and digital media through dPulse Recordings. Musicians who joined Cuccurullo and Carlill for selected sessions on the Chicanery album included among others, Terry Bozzio, Joe Travers, sarangi virtuoso Ustad Sultan Khan, and producer Simone Sello. Also in 2010, Cuccurullo formed a local free jazz group called Theoretical 5 in Mar Vista, Los Angeles with Frank Zappa alumni Arthur Barrow (bass) and Tommy Mars (keyboards, vocals), and also Larry Klimas (saxophone), and Andy Kravitz (drums, percussion).

3.6.14

David T. Chastain


David T. Chastain - Next Planet Please - 1994Leviathan

David T. Chastain (born in Atlanta, Georgia on 31 August 1963) is an American guitarist and owner of Leviathan Records and Diginet Music. Chastain is a metal guitarist who emerged in the mid-'80s along with a wave of other neo-classical guitarists. He has released about 50 recordings under multiple names, including David T. Chastain, CJSS, Georgia Blues Dawgs, The Cincinnati Improvisational Group, SPIKE, Zanister, Ruud Cooty and Southern Gentlemen (blues-rock) as well as a number of heavy metal releases under the band name Chastain, accompanied by female vocalist Leather Leone. In more recent years, David has worked as a record producer at his own company, Leviathan Records. His label specializes in discovering and promoting new talents, specializing in guitarists and bands. He also runs Diginet Music, a company specializing in rare, unreleased or out-of-print music. - Wiki

"A feisty metal-fusion affair laced with complex instrumentals and stylistic nods to such jazz rock greats as Holdsworth and Di Meola." - Guitar Shop

DAVID T. CHASTAIN, considered by many as one of the most prolific and versatile of today's Hard Rock/Metal guitarists, journeys into uncharted heavens with his Progressive Rock/Hard Fusion instrumental CD NEXT PLANET PLEASE. The album combines the ferocity and force of rock with the cultivation and extravagance of jazz as never before for a truly unique, new sound. "This is the type of CD I have always dreamed of making," says the guitarist. "This has always been my favorite style of music. To me progressive rock and fusion lend themselves to two very important aspects of music: melody and improvisation!" For this recording CHASTAIN recruited long time collaborator DAVID HARBOUR, who once again proves he is one of the most original bassists around today. Joining in on drums, and giving a brilliant performance, is fellow Cincinnati Improvisational Group member MIKE HAID. Of the album's title CHASTAIN says: "Since this new CD is a definite departure from my previous releases, I decided that the title should express that event. As music has the capacity to take you out of the world in which you live and transport you somewhere else, I felt NEXT PLANET PLEASE was a fitting way to describe the journey I take on this album. Using a Roland GR-1 Guitar Synth allowed me to create many textures that had not been available in my previous recordings." The musical context is not easy to describe, but can best be compared to early Holdsworth, Di Meola, Return To Forever and Dixie Dregs influences, combined with CHASTAIN's own unique musical vision. Serving as a bridge from previous recordings, the CD opens with "Project Transformation". The title track is one of CHASTAIN's personal favorites "because it brings to the forefront everything special about this type of music." The majestic "Forever Searching" has to be one of the most melodic tracks in memory, while "Sophisticated Debauchery" is a great example of progressive rock in full swing. The haunting "Homage To An Unknown Hero" is an extraordinary track for the emotional character of the song, and "Watching Time Go By" closes the CD with a very hypnotizing ending track that will make you want to play it again and again. The CD was recorded at Kajem Studios in Philadelphia with CHASTAIN producing and Joe Alexander engineering. CHASTAIN says of the recording quality: "I'm extremely satisfied with the end result. It was a pleasure to be involved with the recording of this CD." NEXT PLANET PLEASE is the next phase in the expanding musical imagination of guitar visionary DAVID T. CHASTAIN!! © http://www.leviathanrecords.com/nextdes.htm

The all instrumental “Next Planet Please” combines progressive heavy metal with jazz fusion. Dave uses a Roland guitar synth to create keyboard textures that retain the unique Chastain sound. Guitar World says that, "As a player, Chastain ranks with Steve Morse, Eric Johnson, Joe Satriani and Steve Vai." Dave was one of the first artists signed to Mike Varney's Shrapnel label (which specialized in technically accomplished rock, metal, and fusion guitarists), releasing Chastain shredder classics like ”Mystery of Illusion” and “Ruler of the Wasteland”. David should be better known as a guitar virtuoso, but he is just one of many great musicians who never get the recognition they deserve. Whether you like hard rock, fusion, metal, or just fantastic guitar playing, you may enjoy this album. Check out Dave’s “Mystery of Illusion” album and look for more Chastain info on this blog [All tracks @ 320 Kbps: File size = 150 Mb]

TRACKS

1. Project Transformation 6:07
2. Next Planet Please 5:34
3. Realization 4:53
4. Fusion Delusion 5:01
5. Forever Searching 5:34
6. Sophisticated Debauchery 5:39
7. Dunk The Funk 4:09
8. Blame It On Rio 4:19
9. Homage To An Unknown Hero 4:17
10. Watching Time Go By 6:20

All tracks composed by David T. Chastain

MUSICIANS

David T. Chastain - Electric & Acoustic Guitars, Roland GR-1
David Harbour - Electric & Fretless Bass
Mike Haid - Drums

BIO

Although guitarists such as Steve Vai, Joe Satriani, and Yngwie Malmsteen received the lion's share of publicity and commercial success during the heyday of "guitar shredders" back in the '80s, David T. Chastain has been slugging it out for just as long, yet never achieved the same level of recognition as the aforementioned instrumentalists. With his mastery of the six-string and talent for effortlessly reeling off lightning-fast neo-classical licks, Chastain has been releasing albums since the mid-'80s, either as a solo artist or as part of the bands Chastain and CJSS. David Chastain was one of the first artists signed to Mike Varney's Shrapnel label (which specialized in technically accomplished rock guitarists), resulting in such shredder classics as Mystery of Illusion and Ruler of the Wasteland. Countdown to Infinity was released on Leviathan in 2007. © Greg Prato © 2013 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/david-t-chastain-mn0000224951/biography

2.6.14

Scott Henderson, Gary Willis, Tribal Tech


Scott Henderson, Gary Willis, Tribal Tech - Face First - 1993 - Bluemoon

The virtuoso jazz fusion unit Tribal Tech were formed in 1984 by guitarist Scott Henderson and bassist Gary Willis, debuting a year later with Spears. Over the course of subsequent efforts including 1987's Dr. Hee, 1990's Nomad, and 1992's Illicit, both Henderson and Willis emerged among the most acclaimed instrumentalists in contemporary jazz, with each frequently topping music magazine best-of lists; in the wake of 1995's Reality Check, Tribal Tech went on hiatus to allow the members the opportunity to pursue solo projects, finally reuniting four years later for Thick. Rocket Science was released in fall 2000. © Jason Ankeny © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/tribal-tech-mn0000022020/biography

Although it was their sixth album overall, Tribal Tech's 1993 release, Face First, was only the second to feature the still-existing lineup of guitarist Scott Henderson, bassist Gary Willis, keyboardist Scott Kinsey, and drummer Kirk Covington. Previously, Henderson and Willis had juggled lineups and eased further away from traditional jazz toward improvisational fusion through the 1985-1991 albums Spears, Dr. Hee, Nomad, and Tribal Tech. But the quartet of musical leftists gelled on Face First, improving on its promising 1992 debut, Illicit. Henderson's solo on the opening title track -- over a percolating Willis bassline -- shows the guitarist's range of influences from Jeff Beck and Jimi Hendrix to Albert King and Stevie Ray Vaughan. Funk pieces like "Canine" and "Uh...Yeah OK" show glimpses of the group's future, all-improvised CDs; hummingbird-quick drummer Covington's lead vocal on the cover-band farce "Boat Gig" set the stage for Henderson"'s solo blues debut the next year. In between, synth-master Kinsey's jazzy "After Hours" and Henderson's New Orleans-tinged "Revenge Stew" provide thought-provoking rest areas -- necessary because of breathtaking ten-minute thrill rides like the blues, bop, and beyond of "Salt Lick." Willis' Weather Report-like "The Precipice" and "Wounded" ease you to the finish of Face First, the album that made a statement that Henderson, Willis, and company have not yet begun to finish. © Bill Meredith © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/release/face-first-mr0003132030

Guitarist Scott Henderson and bassist Gary Willis, known as Tribal Tech (the renegade rock/jazz/fusion warriors) are back with the release of their 1993 album, entitled "Face First". Equally adapt at recalling Miles Davis and Jimi Hendrix, the band successfully bridges the gap between jazz and rock, blending elements of entities such as Weather Report, The Mahavishnu Orchestra, Frank Zappa and Return To Forever, while simultaneously expanding the dimensions of jazz. Scott Henderson (also known for his work with the Chick Corea Elektric Band and The Zawinul Syndicate) is generally admired as one of the most exciting fusion guitarists in the world today. Gary Willis first made a name for himself in the bands of Wayne Shorter and Allan Holdsworth. Incredibly tasteful phrasing and standout guitar playing dominate "Face First", and interestingly, in a somewhat bizarre move, the band dedicated the song "Boat Gig" to Stevie Ray Vaughan and Albert King. © 1996-2013 Guitar Nine All Rights Reserved http://www.guitar9.com/facefirst.html

Tribal Tech is a virtuoso progressive jazz fusion band, formed in 1984 by guitarist Scott Henderson and bass player Gary Willis. From 1993 onwards the band included Scott Kinsey on keyboards and Kirk Covington on drums. From 1985 to 2000 the band released nine albums fusing elements of blues, jazz, and rock. Tribal Tech disbanded after releasing their "Rocket Science" album in 2000, but got together in 2010 to record their "X" album released in 2012. All band members are acclaimed musicians in the jazz rock/fusion world and all their albums are worth checking out. Floridian guitarist Scott Henderson has been quoted as saying that he is a "blues player at heart" and much of his music is based on blues, jazz, and rock influences. His early years were influenced by rock, blues, funk and soul, and his later jazz influences included artists like John Coltrane and Miles Davis. “Face First” is intense, all instrumental (except Track 9) jazz-fusion laced with plenty of funk, rock and blues. The compositions are sophisticated. The solos and grooves are memorable, and you will listen to this album for a long time to come. The album is VHR by A.O.O.F.C. Check out Tribal Tech’s “Illicit” & “Live In Salzburg” albums, and Scott Henderson & Tribal Tech’s “Reality Check” album on this blog. Buy Tribal Tech's classic "Thick" album and support jazz fusion at it's very best [All tracks @ 320 Kbps: File size = 165 Mb]

TRACKS / COMPOSERS

1 Face First - Willis 7:04
2 Canine - Willis 6:24
3 After Hours - Kinsey 7:23
4 Revenge Stew - Henderson 6:07
5 Salt Lick - Henderson 9:45
6 Uh... Yeah OK - Tribal Tech 6:44
7 The Crawling Horror - Henderson 7:44
8 Boiler Room - Covington 1:35
9 Boat Gig - Henderson 6:00
10 The Precipice - Willis 6:17
11 Wounded - Willis 5:39

MUSICIANS

Scott Henderson - Guitar: Backing Vocals on Track 9
Gary Willis - Bass: Backing Vocals on Track 9
Scott Kinsey - Keyboards: Backing Vocals on Track 9
Kirk Covington - Drums: Lead Vocals on Track 9
Brett Garsed, Dana Sue Collins, Cheryl Graul - Backing Vocals on Track 9

1.6.14

James Williams


James Williams - Eclectic Shred - 2012 - Eclectic Shred

Putting out instrumental rock guitar albums is nowadays certainly associated with certain risks. The first problem lies in the fact that this kind of music has been exceedingly untrendy for almost two decades and the second, the myriad of albums of this genre, recorded by countless guitarists since Satriani's Surfing with the alien hit the shelves. Let's face it, almost every guitarist with chops and a laptop has done it. Today's technology and accessible recording software make this an easy thing. These facts along with the stagnation in technique department certainly diminish the potential of guitar music and make it almost impossible for the artists to get wider recognition. And it's a pity because there is a lot of great music out there. Williams' album Eclectic shred certainly falls in this category. Like the title indicates it gathers all the best aspects of rock and metal guitar inspired by Malmsteen and Satriani fusing it with symphonic and ambiental elements. Nothing astonishig or unheard, but pleasant and powerful nontheless. The album is superbly played and produced and the sounds are spot on. The only thing that is a bit of a letdown is an unimaginative cover and modest CD artwork. But in the digital age that doesn't matter that much. Eclectic shred is a solid album with a wide and colorful musical horizon, made by an artist who definitely put his thinking cap on. Because of it's variety it's suitable both for headbangers and guitar afficionados as, on the other hand, for more demanding progressive lovers. If it had been released three decades earlier it would have made history; today it's just another guitar album with great music. Review by & © Tomo Jurca © http://www.therocktologist.com All rights reserved! http://www.therocktologist.com/williams-james---eclectic-shred.html

You might recall skilled guitarist James Williams from his recent X Opus project, The Epiphany, released last year on Magna Carta Records. It was a rather impressive album of progressive power metal with Williams guitar leading the way. With Eclectic Shred, Williams puts his guitar work at the forefront. Guitar aficionado and producer Mike Varney of Shrapnel Records has compared Williams to the legendary Yngwie Malmsteen. Williams easily follows in that neo-classical tradition. But he's also inspired by a greater range of guitarists including Robin Trower, Larry Carlton, Al Dimeola, Gary Moore, and Jeff Beck, to name only a few. Nevertheless, with this in mind, Eclectic Shred is definitely a guitar album, but one quite diverse. Williams moves deftly between neo-classical shredding to rock fusion, with stops in between. He can sound like power prog metal and than also orchestral and sublime. He burns up on B17 Flying Fortress and then becomes more progressive and inventive as on Journey to Andromeda. Needless to say, this is definitely an album for the guitar enthusiast and those value strong song composition and performance. By way of production notes, Williams does nearly everything on this album from performance to production. He gets some help from Mike LePond (Symphony X) on bass, Matt Guillroy (James LaBrie, Malmsteen), and two additional guitarist add solos, Dave Thomas and Richard Tull. Fundamentally, if you like inventive and entertaining instrumental electric guitar in the neo-classical tradition, you'll like James Williams's. Recommended. © 1999-2014 Craig S. Hartranft All Rights Reserved 12.13.2012 Rating 4/5 http://www.dangerdog.com/2012-music-reviews/james-williams-eclectic-shred.php#.U4oF6HK8A7o

Guitar Virtuoso James Williams: Much to the excitement of guitarists around the world, guitar virtuoso James Williams new solo CD 'Eclectic Shred' Featuring guest appearances by Mike LePond from Symphony X and Matt Guillroy from James Labrie/Yngwie Malmsteen, and to be released on the Eclectic Shred label, the new CD by James Willams is an excercize in guitar wizardry, the likes of which have not been heard before! James has appeared in Guitar Player Magazine with Mike Varney of Shrapnel Records, who said, “James's impressive guitar pyrotechnics are highlighed by arpeggios, speed picking, vibrato and guitar harmonies that work together to create inspiring high level passages that sometimes remind me of Yngwie Malmsteen.” James has recorded with the late bassist Wyman Tisdale and also legendary bassist/composer/arranger Marcus Miller. Performances with guitarist Norman Brown, saxophonist Gerald Albright and many other top artists, along with years of exposure to classical, jazz, metal and R&B, James has created a diverse sound that is on the cutting edge of today's guitarists. Says James,“My inspiration is always to achieve something musical that will last and inspire others.” © http://www.reverbnation.com/jameswilliamsshreds

Speaking about "Eclectic Shred, James William has said that “There is so much diversity in this record it should satisfy the solo hungry guitar fans, the song composition fans, and anyone who likes fusion with odd time signatures, power Symphony X rhythms to Hendrix, Ynwie and classical lovers of guitar and keys. As far as the players on 'Eclectic Shred', I am really happy with how that turned out, as it can be a challenge to communicate to guys that are in other parts of the US and can't come to your studio. However, the players I used were great at doing their thing. I am so happy to be able to have gotten my good friend Mike LePond from Symphony X to play bass on the album – he is a bass god! His timing and interpretation is masterful, and he wrote his own lines and played the way he wanted as he heard it. Mike is the best prog-metal has to offer – Symphony X is my favorite modern metal band and the best out there musically. I got in touch with Matt Guillroy through my good friend Mike Varney, the famed progressive guitar producer who brought us Yngwie and Jason Becker. Matt plays keyboards for James Labrie and has worked with Yngwie – he is better on keys sounding like a guitar than most guitar players. He is a master of the keys and I was so glad to get him on the record shredding solos!” All in all a potent guitar shred album with ten brilliantly played progressive fusion metal jazz instrumentals by an outstanding guitarist. Check out X Opus' "The Epiphany" album [Tracks @ 204-320 Kbps: File size = 91.8 Mb]

TRACKS

1 B17 Flying Fortress 7:12
2 Keltoi 00:48
3 Dropa Stones 8:09
4Unborn Massacre 3:24
5 Auschwitz 7:35
6 Eclectic Shred 6:13
7 Cruise Control 1:35
8 Maxwells Castle 4:30
9 Europa 8:08
10 Journey To Andromeda 10:26

All tracks composed by James Williams

MUSICIANS

James Williams - Guitar, Bass, Keyboards, Drum Programming, Symphonic Arrangements, Symphonic Composition
Dave Thomas, Richard Tull - Guitar
Mike LePond - Bass
Matt Guillroy - Keyboards

BIO

James Williams has been a professional musician composer since he was 15 years old. James plays electric guitar,acoustic guitar,classical guitar, bass guitar and keyboards.James has recorded and toured on Atlantic records with the late bassist Wayman Tisdale also has been on the same album as legendary bassist/composer/arranger Marcus Miller, Norman Brown,Layla Hathaway, Gerald Albright and has extensive experience sharing the stage on shows with artist such as Maze,Merian Meadows,Jonathan Butler. James also has opened up with his own band Sea of Glass for Spyra Gyra at the Greenwood Jazz Festival in Oklahoma. In 2007 James played on the Lords Prayer album with Vanessa Bell Armstrong, James Ingram, Sheila E, and many more other gospel, jazz r&b artists from 1994 to present. James says “I was raised on classical music from an early age, my mother sang opera and I started playing guitar at 12 years old. My first professional experience playing live was playing with Eric Clapton's drummer Jamie Oldecker at age 15 in a small club in Tulsa Oklahoma .James started playing guitar at age 12 after hearing Jimi Hendrix Electric Lady Land and never wanted to do anything else. James soon was playing Larry Carlton and The Crusaders note for note he studied jazz, R &B, funk fusion, metal ,pop, rock guitar and classical composition. James has been featured in Guitar Player magazine's spotlight column by Mike Varney who discovered Yngwie Malmsteen,Jason Becker and Paul Gilbert to name a few. Mike Varney saying of James Williams “His guitar playing consist of high level passages and innovative guitar work reminds me of Yngwie Malmsteen to Al Dimeola and Bach” James started 2011 signed to Magna Carta records out of NY by Mike Varney with a much herald guitar God album of power prog classical metal virtuoso master piece, with catchy vocals and strong hooks like Kansas, Yes, and Dream Theater. His album “X Opus The Epiphany”, was reviewed by every major guitar mag around the World as a must have for all guitar fans, Truth in Shredding gave it 4 out of 5 stars along with many others. In 2012 James recorded James Williams Eclectic Shred another world release this time on his own lable Eclectic Records.It got reviews as the best instrumental guitar cd in decades compared to the classic recordings of Yes,Al Dimeola,Alan Holdsworth,and Rick Wakeman.Eclectic Shred is a record that embellishes the cd title incorporating jazz fusion, metal, classical compositions that are reminiscent of dramatic film scores.James also incorporated Middle Eastern and Bulgarian modes on Eclectic Shred. James Williams says “One of my many musical goal's is to give back to people threw playing live and music teaching what God has given me threw music to inspire others to do the same”James has also been in music worship ministry for over 10 years, he has played for Day Star television and their prison ministry,apperd on shows for TBN and has done extensive studio work for many Gospel recording projects around Dallas TX. James is a 25 year private music instructor teaching all ages and all styles of music. © http://www.reverbnation.com/artist_3189123/bio