James Solberg Band

James Solberg Band - See That My Grave is Kept Clean - 1995 - Atomic Theory Records

Jim Solberg's debut album See That My Grave is Kept Clean is a storming collection of hard-driving electric blues. Before he had the chance to make this record, Solberg perfected his trade by working as a sideman. Those years slinging a guitar paid off in spades, as this record demonstrates. There's a maturity to his style, but there's also unbridled energy -- the combination is, at times, irresistable. The songs may be a little uneven, but there's no denying that Solberg and his crack supporting band have made See That My Grave is Kept Clean into something to remember © Thom Owens © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/see-that-my-grave-is-kept-clean-mw0000236657

This is James Solberg's 1995 solo debut, while still playing as Luther Allison's guitarist, bandleader, songwriter, arranger and producer. A 12 song set includes rockin' blues, shuffles and ballads on 4 originals and covers by the likes of Blind Lemon Jefferson, Little Walter, Junior Wells, Buddy Guy and others. With a soulful guitar and a first rate band, here is an impressive straight-ahead blues album delivered with unique variety. © http://www.jamessolberg.com/Discography.htm

James Solberg from Eau Claire, Wisconsin is best known to blues fans for his association with Luther Allison, as well as playing with artists like Jimmy Reed, John Lee Hooker, Muddy Waters', the Nighthawks, Elvin Bishop and the Milwaukee based band, Short Stuff. "See That My Grave is Kept Clean" is a great album of soul, blues, funk, and blues rock. James Solberg could do with more promotion. The guy has been around a long time and is still an underrated blues guitarist. He plays in the understated "less is more" fashion to great effect. Listen to his "L.A. Blues" album. His "The Hand You're Dealt" album is also on this blog [All tracks @ 320 Kbps except Track 4 @ 316 Kbps: File size = 122 Mb]

TRACKS / COMPOSERS

1 See That My Grave Is Kept Clean - Blind Lemon Jefferson 5:12
2 Cry for Me Baby - Mel London 3:48
3 Let's Straighten It Out - Benny Latimore 3:41
4 Somebody Give Me a Guitar - James Solberg 2:27
5 Everything's Gonna Be Alright - Walter Jacobs 3:23
6 Bad Love - Luther Allison / James Solberg 6:54
7 Baby, When Ya Comin' Back - James Solberg 3:24
8 St. James Infirmary - Joe Primrose / Traditional 8:45
9 Man of Many Words - Buddy Guy 4:11
10 Ain't Nobody's Business - Porter Grainger / Everett Robbins 3:42
11 Snatch It Back and Hold It - Junior Wells 3:44
12 Jimmy's Blues - James Solberg 3:49

MUSICIANS

James Solberg - Lead Guitar, Vocals [James Solberg Band]
Mike Schlenker, Charlie Bingham - Guitar
Big Ed Bacon - Bass [James Solberg Band]
H-Bomb Vegas - Organ, Piano [James Solberg Band]
Mike Vlahakis, Bruce McCabe, Chuck Solberg - Piano
Ken Faltinson - Organ
"Skin Tite Tom" Swearingen - Drums [James Solberg Band]
The Memphis Horns - Horns

BIO

Whenever Luther Allison toured the U.S. in the '90s, he was backed by the Jim Solberg Band. Solberg and Allison had a long, friendly working relationship that dates back to the early '70s, when Allison was living in Milwaukee. Solberg, a talented guitarist, singer, and songwriter, frequently co-wrote with Allison, but since Luther spent a good portion of each year in Europe, touring out of his home in Paris, Solberg toured with his band under his own name when Allison was not around. In the late '90s, Solberg released several albums under his own name for the Atomic Theory label. The records drew high praise from critics, and well they should have -- Solberg was no spring chicken when it comes to playing blues and touring. He has broken many a guitar string and logged thousands of miles in his van since he started to get serious about the music in the late '60s. Solberg was raised in Eau Claire and Milwaukee, WI, and worked in various psychedelic blues cover bands (fashionable in the late '60s) before moving to Vancouver, B.C. as a conscientious objector in 1968. After returning to the U.S. after the war, Solberg formed a band called Whirlhouse. That group didn't last very long, and in 1970, he toured with the Sam Lays Blues Band, which included Big Walter "Shakey" Horton, Eddie Taylor, and Johnnie Young. In 1972, working with bassist Jon Paris, he formed a band called Dynamite Duck. Paris would later go on to accompany Johnny Winter as bassist for the next 14 years. Beginning in 1975, Solberg toured with Jimmy Reed and began his full-time association with Allison. Solberg and his bands backed Allison from 1975 to 1979, pausing only to tour with John Lee Hooker, whom Solberg would rejoin for another tour in 1981. After Allison relocated permanently to Paris, Solberg worked with the Milwaukee group Short Stuff, a group led by harp player Jim Liban. In the '80s, Solberg toured with Hooker, the Legendary Blues Band, the Nighthawks, and Elvin Bishop, among others. In 1987, Solberg opened his own club, the Stone's Throw, in Eau Claire, WI.After Allison signed to the Chicago-based Alligator Records in 1993, the Jim Solberg Band, in its then-incarnation, renewed its relationship with Allison, acting as his touring band on domestic dates and select overseas shows. Much of Allison's debut for Alligator, Soul Fixin' Man (1993), was co-written and arranged by Solberg. Solberg, a true blues veteran, was also heavily involved in the songwriting and arranging for Allison's two final albums for Alligator, Blue Streak (1996) and Reckless (1997). L.A. Blues, his first for the RUF label, followed in 1998, and two years later, Solberg returned with The Hand You're Dealt. By the very nature of his job as a sideman, it may take a while for the blues-buying public to realize that Solberg is a phenomenally talented songwriter, guitarist and singer in his own right. Both See That My Grave Is Kept Clean or One of These Days are superb and highly recommended albums © Richard Skelly © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/james-solberg-mn0000209960

MORE

GRAMMY nominated, two time winner of the prestigious W.C. HANDY AWARD for “BLUES BAND OF THE YEAR”, JAMES SOLBERG is now releasing his long awaited fifth solo release, “REAL TIME”, on the BLUES ECLIPSE label. Already being referred to as “unlike any blues record you’ve ever heard” this incredible CD is the culmination of JAMES’ “extraordinary guitar work, vocals and stellar songwriting”. Born in 1951, James first learned to play 5-string banjo, violin and guitar as a young kid. His real musical career began in the mid‘60s while performing in R&R cover bands around the Midwest. At age 15 he left school and headed for the source of the music he loved most…Chicago. He got to be friends with EDDIE TAYLOR, who showed him a lot of tricks on guitar. During this time, Solberg played with JOHNNY YOUNG, BIG WALTER HORTON and JIMMY REED, as well as with TAYLOR. Moving to Milwaukee in the early ‘70s he formed a rockin’ blues band with JOHNNY WINTER bassist JON PARIS. Also living in Milwaukee at that time was LUTHER ALLISON, just signed to the MOTOWN label, who would frequent the Monday night jams held at BROTHERS LOUNGE. SOLBERG and PARIS were soon opening for LUTHER on the college “showcase” circuit and before long JAMES became a member of LUTHER’S band. Touring together from ‘75 till ’79, they released “NIGHTLIFE” and “LUTHER ALLISON THE MOTOWN YEARS 1972-1976” (Motown- the latter released in ’94), “LIVE AT MONTREAUX ’76-‘94” (released in ’95), “LIVE IN PARIS” and “LUTHER ALLISON LIVE”. The next three years, JAMES was touring with “Midwest legends” SHORT STUFF, including JUNIOR BRANTLEY, (THE FABULOUS THUNDERBIRDS and JIMMY VAUGHN) and harp virtuoso JIM LIBAN and recorded the album “TALK IS CHEAP”, the title track later recorded by guitar legend, JOHNNY WINTER. In 1981, after a decade of touring more than 300 one niters a year, SOLBERG packed it up and headed for the “North Country” to ride and build Harleys and Indians. As a machinist and mechanic at the local Harley dealership he began designing and fabricating his own innovative MC parts. Having “dried out” JAMES was back on the road with THE LEGENDARY BLUES BAND, featuring MUDDY WATERS’ alumni, PINETOP PERKINS, WILLIE SMITH, CALVIN JONES and JERRY PORNOY. (ERIC CLAPTON) In 1986 and ’87 JAMES was touring with THE NIGHTHAWKS and ELVIN BISHOP. At this time, James fired up the JAMES SOLBERG BAND who’s members included ROBB STUPKA on drums, MIKE VLAHAKIS on keys and KEN FALTINSON on the bass, all later to become the touring and recording unit for LUTHER ALLISON AND THE JAMES SOLBERG BAND. One of their first gigs as THE JAMES SOLBERG BAND found them at a posh night spot in Eau Claire, WI known as THE STONES THROW, where after a late night poker game following the gig, JAMES walked out owning the place! From 1987 through 1993 JAMES had a run of success which included appearances of virtually every major blues act currently on the road. While still touring occasionally, JAMES and the band never missed their weekly appearance at the club for the “WEDNESDAY NITE BLUES PARTY”. One of those acts to make appearances at THE STONES THROW was JAMES’ ol’ soul mate, LUTHER ALLISON who in 1993, desiring to return from his long and successful hiatus overseas, approached JAMES with the idea to reunite and “conquer the USA”. Soon, LUTHER ALLISON AND THE JAMES SOLBERG BAND would be headlining almost every major festival stage in the world! Before LUTHER”S untimely death in ‘97, LUTHER and JAMES began a “tour de force” that included the recordings often referred to as “the best three contemporary back to back blues albums of all time”. “SOUL FIXIN’ MAN”, “BLUE STREAK”, and “RECKLESS” won innumerable awards and accolades around the world. Considered “the definitive live record”, “LIVE IN CHICAGO”, was released posthumously, and also received W.C. HANDY AWARDS and GRAMMY nominations, as well as critical acclaim for LUTHER ALLISON and JAMES SOLBERG’S Creative work together. JAMES was there for all of it! JAMES the songwriter, JAMES the guitarist, JAMES the producer, arranger and bandleader. All during this period JAMES somehow found the time to release even more well received and critically acclaimed albums of his own. “SEE THAT MY GRAVE IS KEPT CLEAN” and “ONE OF THESE DAYS”, were each touted as “one of the best releases of the year”, respectively. Shortly following LUTHER’S death, feeling the need to “say something”, JAMES was back in the studio recording “L.A. BLUES”, a cathartic tribute album conveying his suffering and anguish at the loss of his close friend and partner. One of the cuts from that session found its way on “TANGLED UP IN BLUES: THE SONGS OF BOB DYLAN”. SOLBERG’S rendition of “BALLAD OF A THIN MAN” being hailed as “one of the strongest, most honest tracks” on the CD. Typical of his arranging and performing skills, he “grasped all the implications of DYLAN’S recording and then cranked them all up to a higher level, both instrumentally and vocally”. Another powerful release, “THE HAND YOU’RE DEALT” followed in 2000, expanding the diversity and prowess of his songs, guitar work and touching on the emotional highs and lows that accompany the sounds of Soul, R&B, Gospel and hard-drivin’ blues. Besides being a gifted musician, SOLBERG is also talented in helping other musicians sound good. Besides his work with ALLISON, he has arranged, written, produced, as well as played guitar on CDs for DEBORAH COLEMAN, THE NIGHTHAWKS, SANDY CARROLL, JAY STULO, BONNIE LEE and BARKIN’ BILL SMITH, to name a few. He has a “love for the creative process” and feels he’s “good at getting the most out of a musician”, being able to convey their message with a greater clarity after listening to their ideas. Despite his extra musical foray, the true artist within him states that “nothing beats doin’ it live”. © http://www.jamessolberg.com/JamesSolbergBiography.htm

Tunnels

Tunnels - Painted Rock - 1999 - Buckyball Music

Brand X electric bass guitar icon Percy Jones is the biggest name in this colorful quartet, but the least obvious leader. More upfront guitarist Van Manakas with midi vibist Marc Wagnon and drummer Frank Katz comprise Tunnels. There's no synthesizer player credited, so it's evident that either Manakas or more likely Wagnon is triggering various hued electronic washings. The music is definitly early fusion oriented and cleverly conceived for a post-'70s Y2K era. Tunnels depend on funk rhythms for the most part: cool on the title track, the same under serene and interactive multi-melodic musings from the frontmen and Jones on "Quai des Brumes," easy and rockier with choppy vibes and spacy, snarly guitar in the context of "Land of the Hazmats," or heavier and dramatic with way-out to plunky synth incursions and oohing vocals from Sarah Pillow during "House of Marc." They use a hard-edged 5/4 start-stop line with the lead heavy, juggernaut signature sound of Jones most prevalent on "Black Light" while relying on 6/8 lilt to 4/4 merengue funk on the unison vibes/guitar charting of "Lilly's Dolphin." The roiling to quirky, multi-dimensional drum streams of Katz set up the pounding bass, quietly screaming or fleet, stinging guitar and scurrying vibes on "Neuro-Transmitter," and Katz also offers a fresh and funky drum solo on "Unity Gain." The two anomalous selections are the highlights, a near 11-minute jazz like jam/swinger "Bad American Dream 2001" sports chiming bells, wack goofy synths, and an extended thematic progression reminiscent of "In a Silent Way," while the ethnocentric "Boyz in the Ud" (cute title!) has Manakas showcased on a stringed instrument sounding like an oud or saz. There's an Arabic feel to the piece, gong cued in a Middle Eastern workout replete with finger cymbals, hand percussion, and flute synthesizers wafting over the wind of the desert sands. Modern and classic jazz-rock fusion ideals congeal to offer a new music that has a stance standing solidly in both idioms with the powerful, clearly identifiable bass of Jones plopped squarely in the middle. Recommended, especially for devotees © Michael G. Nastos © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/painted-rock-mw0000261500

This second CD of Tunnels with Percy Jones, Marc Wagnon, Frank Katz, and Van Manakas is a long-awaited release for Percy Jones and Tunnels fans alike. Using a combination of influences and grooves that cross over the genres of world music, jazz, rock, and fusion, the band has no fear of stretching the limits of new music. The last time you heard this line up was on the Brand X 1997 release Manifest Destiny which received worldwide distribution and critical acclaim. In these times of extreme diversity in the jazz idiom Tunnels represents a stronghold: "...a must for every fan of exciting instrumental music..." - Chriss Jisi, Guitar world

A stellar second outing by Percy's post-fusionquartet with vibist Marc Wagnon, guitarist Van Manakas, and drummer Frank Katz. Benefiting from an excellent overall and low-end bass mix - and Katz's natural backbeat - Percy packs a real groove punch, from the angular funk of the tittle track to his hard-swinging walking line on "Bad American Dream 2001." - Chris Jisi Bass Player Magazine

The mellow toned Van Manakas on guitar shares the improvisation with Wagnon as the inventive rhythm section of Frank Katz (drums) and Brand X bass legend Percy Jones explore the grooves. There is excellent variety on this release from the intense drum driven "Neuro- Transmitter" to the floating "Quai Des Brumes." "Boys In The Ud" goes on a Middle Eastern journey with the exotic guitar work of Manakas. Lots of interesting rhythms, melodies,sounds and time feels are what make this release an exceptional instrumental collection that serious fusion lovers will certainly enjoy. This music moves in a fresh, new direction. - Mike Haid, Fuse Magazine

Wagnon plays "MIDI Vibes," and this allows him to use a lot of sounds that keyboard players use. Thus, one hears by turns vibes, Rhodes piano, strings, synth patches, giving the music a broader timbral range than one might expect otherwise. I came away from this recording especially impressed with the playing of guitarist Van Manakas, whose great melodicism is tasteful and whose speed is stunning. On "Boys in the Ud," Manakas's ud playing triggers a markedly Middle-Eastern jam that, while it is not representative of the style of the band's music as a whole, is a real highlight. - John Covach, Progression

...these are ferocious performers. Hot in the mix, Katz's speed-ridden grace notes and dazzling drum combinations are like a boxer in a race with the clock. Drawing on Mike Clark, Tony Williams, and Kenwood Dennard, his technique is explosive. But supported by his diamond-hard groove, Katz is truly something special in an era of progressive drummers long on flash and short on feel. Hard-knuckled fusion without a hint of acoustic seasoning may not be for everyone's taste, but Tunnels revel in the assault - Ken Micallef Modern Drummer

An album that covers almost all areas of jazz fusion. All band members contribute complex twists and great musicianship.Van Manakas guitar work is excellent as is Marc Wagnon's Midi Vibes and compositional skills. The band play very much in the Brand X mould. Not surprising as Percy Jones was the bass player in Brand X. This is not a groundbreaking fusion album but still original and well above average. AllAboutJazz says "the key ingredient here is the sustained and altogether gratifying entertainment value, featuring loads of impact!" Listen to Percy Jones' "Cape Catastrophe" album, and Tunnels' "The Art of Living Dangerously" album [All tracks @ 320 Kbps: File size = 146 Mb]

TRACKS / COMPOSERS

1) Painted Rock (Wagnon) 5:25
2) Land Of the Hazmats (Wagnon) 5:23
3) House Of Marc (Wagnon) 7:38
4) Quai Des Brumes (Wagnon) 4:45
5) Neuro-Transmitter (Wagnon, Katz) 6:50
6) Boyz in the Ud (Wagnon, Manakas) 5:46
7) Black Light (Manakas) 6:56
8) Bad American Dream 2001 (Jones, Wagnon, Katz) 10:39
9) Lilly's Dolphin (Wagnon) 4:58
10) Unity Gain (Frank Katz) 5:40

MUSICIANS

Van Manakas - Guitar
Percy Jones - Fretless Bass
Marc Wagnon - Midi Vibraphones
Frank Katz - Drums
Sarah Pillow - Vocals on Track 3

SHORT BIO

A quartet of inventive musicians who produced sounds on the edge of jazz, Tunnels was the brainchild of Swiss vibraphonist and percussionist Marc Wagnon and bassist Percy Jones, who was an essential element of the first recording put out by the band, titled With Percy Jones and released in 1994. Drummer Frank Katz, and multi-instrumentalist and composer Van Manakas were also brought on board and helped develop the spastic fusion style that would be evident on Tunnels' second album, Painted Rock, which was released by Wagnon's label, Buckyball Music, in 1999. The group resurfaced in 2002 with the release of Progressivity, which featured notable appearances from guitarist John Goodsall and violinist Mark Feldman. © Stacia Proefrock © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/tunnels-mn0000204230

Jonny Lang

Jonny Lang - Wander This World - 1998 - A&M

Wander This World is the third studio album by American blues guitarist Jonny Lang, released in 1998, when he was 17. The album was recorded at Seedy Underbelly Studios and Oarfin Studios in Minneapolis and the Sound Kitchen in Nashville. This album produced Lang's first Grammy nomination. The album contains a mix of genres; some tracks are blues, while others are Southern-style soul, funk, or rock with blues feeling. "Angel of Mercy" and Luther Allison's "Cherry Red Wine" are twelve-bar blues, "Walking Away" and "Second Guessing" are similar to 1960s Memphis soul, and "The Levee" and "Still Rainin'" are more rock orientated. Reviewer Alex Henderson commented on how mature the 17-year-old Lang sounded, saying the album often sounded like it could be the work of a 30 year old

When reviewers heard teen-aged Jonny Lang's debut album of 1997, Lie to Me, many of them commented on how mature the blues singer/guitarist sounded for his age. Similarly, Lang's second album, Wander This World, often sounds like it could have been the work of a man of 30. With David Z. (known for his work with Prince) producing, the Midwesterner delivers an exciting sophomore effort that has as much to do with soul, funk, and rock as it does with actual blues. Far from a purist, Lang takes an approach that is best described as Albert Collins, B.B. King, and Luther Allison by way of Otis Redding, Stax Records, and Eric Clapton. While "Angel of Mercy" and the moody "Cherry Red Wine" demonstrate his mastery of the 12-bar format, most of the other selections aren't actual 12-bar blues, but rather Southern-style soul, funk, or rock with a wealth of blues feeling. Lovers of 1960s Memphis soul should appreciate "Walking Away" and "Second Guessing," while "The Levee" and "Still Rainin'" have more of a rock orientation. The haunting title song finds Lang singing a little too convincingly about loneliness -- even though Lang himself didn't actually write the lyrics -- hearing an adolescent sounding so world-weary and isolated is rather disconcerting. There's nothing even remotely bubblegum about this excellent CD, which proves that Lang's supporters had every right to be enthusiastic. © Alex Henderson © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/wander-this-world-mw0000042723

"Wander This World" is not strictly a blues CD. "Still Rainin'"and "Cherry Red Wine" are great blues tracks. Some critics have complained about the album being too mainstream and "poppy". One reviewer said that the album mainly "consists of soft rock, pop, and soul ballads, sometimes having the feel of a typical Eric Clapton mainstream offering, other times reminicent of the Michael Jackson style". Don't let this description put you off. Alex Henderson of allmusic.com says that "There's nothing even remotely bubblegum about this excellent CD". Jonny was 17 when he recorded this album and was then a talent way beyond his years. The album may not be an all blues album, but it's full of soul and funk, and the rock based tracks are all good. Jonny's guitar playing and vocals are really great. It's certainly a diverse album but it's not a "pop" or "soft rock" album and definitely not like some of the AOR commercial "radio friendly" garbage churned out in the late '90's. The album is underrated and is a great listen. Listen to Kid Jonny Lang & the Big Bang's "Smokin'" album [All tracks @ 320 Kbps: File size = 140 Mb]

TRACKS / COMPOSERS

1 Still Rainin'(Bruce McCabe) 4:49
2 Second Guessing (David Z./McCabe) 5:10
3 I Am (Prince/Z/Levi Seacer, Jr.) 5:04
4 Breakin' Me (Lang/Kevin Bowe) 4:32
5 Wander This World (Paul Diethelm/McCabe) 4:49
6 Walking Away (Lang/Jerry Lynn Williams) 4:14
7 The Levee (Bowe/Lang) 3:41
8 Angel of Mercy (McCabe/Michael Henderson) 4:30
9 Right Back (Williams/Danny Kortchmar) 3:59
10 Leaving to Stay (Bowe) 4:35
11 Before You Hit the Ground (Bowe/Lang) 3:55
12 Cherry Red Wine (Luther Allison) 3:31
13 If This is Love (Joe Louis Walker) 3:01 *

* Not listed on album sleeve

MUSICIANS

Jonny Lang - Guitar, Vocals
Steve Cropper - Guitars
Kevin Bowe - Guitar on "The Levee"
Tommy Burroughs - Acoustic Guitar on "Walking Away": Background Vocals on "Right Back"
Jack Holder - Guitars, Keyboards
Bruce McCabe, Ricky Peterson - Keyboards
David Smith - Bass
Paul Diethelm - Dobro on "Wander This World"
Richie Hayward - Drums
Eric Leeds - Saxophone on "I Am"
Jimmy Davis - Background Vocals on "Right Back"

SHORT BIO

Modern blues in the '90s had a weird phenomenon of teenage blues guitarists rocketing to popularity with their first album. The entire trend culminated with Jonny Lang, a guitarist from Fargo, ND, who released his solo debut album, Lie to Me, when he was 15. At the age of 12, he had attended a show by the Bad Medicine Blues Band and began playing with the group. Several months later he became the leader, and the newly renamed Kid Jonny Lang & the Big Bang relocated from Fargo to Minneapolis and released their debut album, Smokin', in 1995. The LP became a regional hit, leading to a major-label bidding war and culminating in Lang's signing to A&M Records in 1996. Early in 1997, his major-label debut, Lie to Me, was released to mixed reviews; the stronger effort Wander This World followed late the next year. Lang's next release, Long Time Coming, arrived in 2003 and garnered often withering critiques for its turn toward over-produced hard rock mixed with sometimes heavy-handed religiosity; 2006's gospel-informed Turn Around was more favorably received. Live at the Ryman was issued by Concord Records in 2010. © Stephen Thomas Erlewine © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/jonny-lang-mn0000268700

BIO (WIKI)

Jonny Lang (born Jon Gordon Langseth, Jr., January 29, 1981) is a Grammy Award-winning American blues, gospel, and rock singer, songwriter, guitarist and recording artist. Lang's music is notable for both his unusual voice, which has been compared to that of a 40-year-old blues veteran, and for his guitar solos. His solo patterns have especially been noted for his frequent use of wide vibratos. Jonny Lang was born in Fargo, North Dakota, United States. He started playing the guitar at the age of twelve, after his father took him to see the Bad Medicine Blues Band, one of the few blues bands in Fargo. Lang soon started taking guitar lessons from Ted Larsen, the band's guitar player. Several months after Lang began, he joined the band, which was then renamed Kid Jonny Lang & The Big Bang. The band moved to Minneapolis, Minnesota, and independently released the album Smokin' when Lang was fourteen. Lang was signed to A&M Records in 1996. He released the critically acclaimed multi-platinum Lie to Me on January 28, 1997. The next album, Wander this World, was released on October 20, 1998 and earned a Grammy nomination. This was followed by the more soulful Long Time Coming on October 14, 2003. Lang also made a cover of Edgar Winter's "Dying to Live". Lang's 2006 album, the gospel influenced Turn Around, won him his first Grammy Award. In more than ten years on the road, Lang has toured with the Rolling Stones, Buddy Guy, Aerosmith, B.B. King, Blues Traveler, Jeff Beck and Sting. In 1999, he was invited to play for a White House audience including President and Mrs. Clinton. Lang also makes a cameo appearance in the film Blues Brothers 2000 as a janitor. In 2004, Eric Clapton asked Lang to play at the Crossroads Guitar Festival to raise money for the Crossroads Centre Antigua. Lang also appears regularly as a part of the Experience Hendrix Tour along with many other well-known guitarists to pay tribute the deceased guitar legend. From 1993 to 1996, Lang's backing band was The Big Bang. This group consisted of three founding members of the Bad Medicine Blues Band: Ted "Lightnin' Boy" Larsen on guitar, his brother Michael Rey Larsen on drums, and Jeff Hayenga on bass. Keyboardist Bruce McCabe joined The Big Bang in 1995 after Lang and this young band from Fargo impressed him with their set opening for McCabe's band at the time, The Hoopsnakes. From 1996 to 2004, Lang's backing band included Paul Diethelm on guitar, Bruce McCabe on keyboards, Doug Nelson on bass and Billy Thommes on drums. Also appearing on keyboards during 2003 and 2004 was Donnie La Marca, filling in for McCabe during his break from touring. Nelson was killed in a traffic accident in 2000 and was replaced by Billy Franze. Franze was in turn replaced by Jim Anton in 2003. Saxophone player David Eiland was added in 2000, providing Lang with a foil for extended instrumental jams. In 2005, Lang replaced the entire lineup, except for Anton, and embarked on an acoustic tour. He performed with Wendy Alane Wright at the 2000 pre-Grammy party. Guitarist Reeve Carney was the band's opening act for several shows in 2005, as well as for the 2006 and 2007 tours. The new band also includes organist and Houston, Texas native Charles Jones, drummer Barry Alexander, and organist Bill Brown from Minneapolis. The current band line up includes: Barry Alexander from Minneapolis, MN on drums, James Anton from Minneapolis, MN on bass, Akil Thompson from Nashville, TN on guitar, Dwan Hill from Nashville, TN on keys, and Missi Hale from Los Angeles, CA on background vocals. Lang married his long-time girlfriend, Haylie Johnson, on June 8, 2001. Jonny and his wife share the same birthday, although she is one year older. They have three children: twin sons and daughter, Raimy Lee and Saylor Monroe, born November 2007, and a daughter, Rennix Belle, born August 2010. They live in Los Angeles, California. Lang has two older sisters, Stephanie and Heidi Jo. He also has one younger sister, Jessica ("Jesse"), who was a contestant on season 8 of American Idol. Actress Ashley Johnson (Growing Pains, What Women Want) is Lang's sister-in-law.

Duke Robillard

Duke Robillard - Living With The Blues - 2002 - Dixiefrog

Best known as the founder of Roomful of Blues and for his short stint with the Fabulous Thunderbirds (replacing Jimmie Vaughan), Duke Robillard had only released two blues albums between 1996 and 2002. Although he was awarded the W.C. Handy Best Blues Guitarist award for 2000 and 2001 and his tireless road work always included plenty of stinging solos, Robillard left the jazz and worldbeat tangents behind for this welcome return to his first love. Those who have followed Robillard's career know that he's never been tied to one style, and Living With the Blues highlights his eclectic talents. Robillard crackles on everything here, from the straight-ahead Chicago approach of Willie Dixon by way of Muddy Waters' "I Live the Life I Love" to the Roomful-styled hard swing of the obscure Willie Egans' "I'm Mad About You Baby" to the acoustic treatment of Tampa Red's "Hard Road" and the jump blues of his own "Sleepin' on It" (reprised from the Roomful years). He turns the Brownie McGhee title track into a tough Chicago shuffle, featuring the rollicking tenor sax of old Roomful alumnus Doug James, and closes with a bluesy rhumba-styled version of B.B. King's "Long Gone Baby." He also adds tough spunk to Little Milton's "If Walls Could Talk," throwing in one of the disc's greasiest solos along the way. Through it all, Robillard is obviously having a blast, whipping out tight guitar solos with white-hot precision and snazzy arrangements that never overwhelm the band or the song. The horns that dominate the album return Robillard to the Roomful sound that he clearly loves and, even though his gruff vocals are still an acquired taste, his singing is filled with such enthusiasm that you can forgive its technical shortcomings. There's a real sense of joy that infuses every track here, making it perfect for established Duke Robillard fans or newcomers who want to get a taste of the man's substantial talents. © Hal Horowitz © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/release/living-with-the-blues-mr0001113715

The great guitarist Duke Robillard has played and recorded almost every genre including jazz, blues and roots music. "Living With The Blues" was Duke's first all blues record since "Duke's Blues" in 1994 and is one of his stronger blues offerings. Some of the classic blues tunes are associated with legendary blues artists. Freddy King’s “Use What You Got”, the Willie Dixon-penned tune for Muddy Waters “I Live the Life I Love", and Little Milton’s “If Walls Could Talk" are just three of the great covers. There are other covers of songs by B.B King, and Brownie McGhee. Duke also plays some very strong originals like his “Buy Me a Dog". This is a powerhouse blues album with powerful vocals and scorching guitar from Duke. The album is HR by A.O.O.F.C. Buy Duke's great "Stretchin' Out Live" album and search this blog for other DR releases [All tracks @ 320 Kbps: File size = 119 Mb]

TRACKS

1 Buy Me A Dog
2 If Walls Could Talk
3 Use What You Got
4 Goodtime Charlie
5 Painful Memory
6 Stratified
7 Hard Road
8 I Live The Life I Love
9 I'm Mad About It
10 Sleepin' On It
11 Living With The Blues
12 Long Gone Baby

MUSICIANS

Duke Robillard - Guitar, Vocals
John Packer - Bass
Jesse Williams - Acoustic Bass
Bruce Katz - Piano and Hammond B3
Mark Teixeira - Drums, Percussion
Doug James - Baritone & Tenor Saxophone
Gordon Beadle -Tenor Saxophone
Carl Querfurth -Trombone

BIO

Duke Robillard is one of the founding members of Roomful of Blues, as well as one of the guitarists who replaced Jimmie Vaughan in the Fabulous Thunderbirds in 1990. Between that time, Robillard pursued a solo career that found him exploring more musically adventurous territory than either Roomful of Blues or the T-Birds. On his solo recordings, the guitarist dips into blues, rockabilly, jazz, and rock & roll, creating a unique fusion of American roots musics. In 1967, Duke Robillard formed Roomful of Blues in Westerly, RI. For the next decade, he led the band through numerous lineup changes before he decided that he had grown tired of the group. Robillard left the band in 1979, initially signing on as rockabilly singer Robert Gordon's lead guitarist. After his stint with Gordon, Robillard joined the Legendary Blues Band. In 1981, the guitarist formed a new group, the Duke Robillard Band, which soon evolved into Duke Robillard & the Pleasure Kings. After a few years of touring, Duke Robillard & the Pleasure Kings landed a contract with Rounder Records, releasing their eponymous debut album in 1984. For the rest of the decade, the band toured America and released a series of albums on Rounder Records. Occasionally, the guitarist would release a jazz-oriented solo album. In 1990, Robillard joined the Fabulous Thunderbirds. Even though he had become a member of the Austin group, the guitarist continued to record and tour as a solo artist, signing with the major label Point Blank/Virgin in 1994 for Temptation. Duke's Blues followed two years later, and after one more album for Virgin, 1997's Dangerous Place, Robillard signed to Shanachie for 1999's New Blues for Modern Man. Conversations in Swing Guitar followed later that year, and the prolific guitarist returned in mid-2000 with Explorer. Robillard switched to the Stony Plain label with 2002's Living with the Blues, and began a steady run of releases for the imprint, including a second pairing with jazz guitarist Herb Ellis for More Conversations in Swing Guitar (2003). Exalted Lover followed later that same year. Blue Mood, a tribute to T-Bone Walker, and New Guitar Summit (which teamed Robillard with guitarists J. Geils and Gerry Beaudoin) both appeared in 2004. Guitar Groove-A-Rama was released in 2006. Robillard continued to explore the jazz and jump blues path with 2008's A Swingin Session with Duke Robillard. He returned to his early R&B influences for 2009's Stomp! The Blues Tonight. His next album for Stony Plain, Passport to the Blues, saw him returning to the blues in all its gritty glory © Stephen Thomas Erlewine © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/duke-robillard-mn0000150955

Scott Holt

Scott Holt - Dark of the Night - 1999 - Lightyear

Give Scott Holt credit for trying to breathe life into the modern electric blues with his second album, Dark of the Night. He is clearly indebted to tradition -- he spent over a decade as a sideman for Buddy Guy, and he performs not only with his band but with Stevie Ray Vaughan's Double Trouble and the Jimi Hendrix Experience as backing bands -- but he never mimics his predecessors, even if he's covering "Crosstown Traffic." His guitar is lively and vibrant, projecting more of synthesis of various styles rather than duplication. Holt also chooses some unusual songs, opening the album with Prince's "Five Women" and the Clash's "Train in Vain (Stand By Me)." All of these departures from the norm are quite welcome, as is Holt's strong musicianship, but the record is occasionally bogged down by his strained, bluesy vocalizing, which unfortunately comes to the forefront on such interesting choices as "Train in Vain." Even with this weakness, however, the record has a considerable amount of life and style -- enough to make it a satisfying step forward from Holt. © Stephen Thomas Erlewine © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/release/dark-of-the-night-mr0000111833

Scott Holt has often been criticised for his weak vocals, but that's not unusual when talking about bluesman. The music is the primary interest on this album and Scott's guitar work is Grade A. Scott is backed by members of his own Scott Holt Band, musicians from the Jimi Hendrix Experience/Band Of Gypsys, and players from the great Double Trouble. Buddy Guy also sings and plays guitar on Track 6. Scott's "From Lettsworth To Legend - A Tribute To Buddy Guy" album is on this blog. Try and listen to Scott's "Chipped Front Tooth" album. [All tracks @ 320 Kbps except Track 4 @ 256 Kbps: File size = 116 Mb]

TRACKS / COMPOSERS

1 Five Women - Prince 4:28
2 Train in Vain (Stand by Me) - Mick Jones / John Mellor / Joe Strummer 5:21
3 Dark of the Night - Scott Holt 4:01
4 I Believe to My Soul - Ray Charles 5:36
5 Dimples - James C. Bracken / John Lee Hooker 4:14
6 Breakin' up Somebody's Home - Al Jackson, Jr. / Timothy Matthews 5:24
7 Right Place, Wrong Time - Dr. John / Otis Rush 4:22
8 All You Give Me Is the Blues - Gary Nicholson / Jon Tiven / Sally Tiven 4:03
9 Crosstown Traffic - Jimi Hendrix 3:38
10 It Hurts to Love Somebody - Eddie Jones 4:22
11 You Gotta Serve Somebody - Bob Dylan 5:16

MUSICIANS

Scott Holt - Guitar, Vocals
Buddy Guy - Guitar, Vocals on Track 6
Tommy Shannon - Bass on Tracks 2,4,5,7
Chris Kent - Bass on Tracks 3,8,9,10
Billy Cox - Bass on Tracks 1,6,11
Reese Wynans - Keyboards on Tracks 2,4,5,7
Drew Wiseman - Keyboards on Tracks 3,8,9,10
Mitch Mitchell - Drums on Tracks 1,6,11
Chris Layton - Drums on Tracks 2,4,5,7
Derek Wiseman - Drums on Tracks 3,8,9,10
Paul Leim - Drum Loop on Track 9
Glen Caruba - Percussion
Vici Hampton, Robert Bailey, Jr., Kim Fleming - Background Vocals

BIO

Guitar virtuoso Scott Holt first came to national prominence as part of various high energy bands led by legendary Chicago blues guitarist and singer Buddy Guy. He was just 23 when Guy took him under his wing and taught him how to travel intelligently while accommodating the rigorous nature of blues touring. Holt stayed with Guy on the road and in the recording studio for a decade, earning his post-graduate education with one of the true blues guitar masters. Holt was raised in Tennessee, and hearing Jimi Hendrix for the first time proved to be a revelatory moment in his life. His parents bought him a guitar for Christmas when he was 12. Like a lot of kids, he took piano lessons, because he had to, but he quit after six months. He didn't get serious about playing the instrument until he was 19, when his parents bought him an electric guitar. When he was 20, his father took him to hear Buddy Guy one night. That night, he met Guy and got an improvised guitar lesson from the master. He would frequently sit in with Guy on stage when he was touring around Nashville. One day in 1989, Guy called Holt out of the blue and asked him to join his touring band. Holt began writing his own songs while on the road with Guy and eventually began to record his songs, back home in Nashville, during breaks from Guy's international touring schedule. In a record company biography accompanying "Dark of the Night," his first nationally distributed recording, Holt argues: "Every genre has its purists, but blues doesn't start and stop with Muddy Waters." Indeed, through the 1990's and into the new millennium, Holt and his various touring bands have been expanding the parameters of the form, and thanks to his decade on the road with Guy, he's been able to share stages and learn from the likes of Eric Clapton, John Mayall, Albert Collins, Jack Bruce, Carlos Santana and Bon Jovi's Richie Sambora. Holt's albums under his own name, which showcase his abilities as a songwriter and singer as well as his fiery, passionate, high energy guitar playing, include his debut, "Messing with the Kid," in 1998, "Dark of the Night," a 1999 release for Mystic Music, "Chipped Front Tooth," for Lightyear Entertainment in 2003, and "From Lettsworth to Legend: A Tribute to Buddy Guy." More recently, he's released "Angels in Exile" for Blue Storm Music in 2001 and "Revelator" for Rockview in late 2005. Holt continues to tour the U.S. and Canada. © Richard J. Skelly, allmusic.com

MORE ABOUT SCOTT HOLT

At the age of 19, after hearing Jimi Hendrix for the very first time, Scott Holt started playing guitar, and soon found the Blues. One year later, his father took him to see legendary Blues artist, Buddy Guy, and his life was forever changed. Following a chance meeting backstage, and an impromptu guitar lesson, a friendship developed that would last a lifetime. At the age of 23, Scott joined the Buddy Guy Band and describes it as his "trip to the University". After many years of touring the world with Buddy, and playing with artists such as Eric Clapton, and Carlos Santana, in 1999, the time had come to launch a solo career. Angels in Exile, is Scott Holt's first release to include original material co-written by Holt and such songwriters as 3-time Grammy Award Winner Dennis Walker (Don't Be Afraid of the Dark, Play With My Friends), Danny Tate (Kenny Wayne Sheppard), and Richard Fleming. The album is a gritty blend of heated guitar rifts, heartfelt lyrics with soulful vocals, and includes special guests Paul Barrere and Billy Payne of Little Feat. It is produced by Greg Hampton and engineered and mixed by Ben Elliott (Eric Clapton, Kim Simmonds). By touring throughout the U.S. and the UK in 2000 he is garnering a solid fan base and creating excitement as the young and hip "new face" of the Blues Rock genre. He appeared at the Chicago Blues Festival, London Blues Festival (UK), Windsor Blues Festival (UK), and the Eureka Springs Blues Festival, and continues to generate rave reviews of both "old school" Blues fans and the younger set who are being introduced to, not only Scott Holt, but are discovering the Blues for themselves. "I've always believed that music played from the heart is a form of prayer. That's what the Blues is to me; it's the sound of the human heart rejoicing, or crying, or both at the same time! Now that I'm on my own, it's my responsibility to continue playing the Blues and keep them alive. If I teach one person about Elmore James or Earl Hooker, if I give one person the encouragement to pick up an instrument and make that joyful noise, then all the lessons I've learned won't be in vain." © www.bellyup4blues.com

Jake Langley

Jake Langley - Doug's Garage - 1999 - Radioland/Verve

Guitarist Jake Langley invokes classic jazz guitarists like Wes Montgomery and Kenny Burrell, spinning clear-toned, luminous lines atop bluesy riffs and funk rhythms." Toronto Life

"Jake Langley is an exciting new voice on guitar with deep roots in the tradition." - Pat Martino

Jake Langley has quickly taken his place as one of Canada's premier jazz guitarists. The CBC has referred to Jake as a "rising star" and a "hot, young talent". The Toronto Life says "...infectious...Langley (is) one of the most notable Canadian musicians to come to light in the past year." The young musician has been gaining international attention in the past few year while touring as part of the world renowned Joey Defrancesco Trio. He also has received critical acclaim with his latest international release "Movin' and Groovin'" (Alma/Universal) featuring Joey Defrancesco and Byron Landham. Jake is featured in the new Joey Defrancesco CD "Organic Vibes" with George Coleman and Bobby Hutcherson. Jake has performed with Willie Nelson, Rufus Wainwright, Dr. Lonnie Smith, Jimmy McGriff, James Moody, Trudy Pitts, George Coleman, Scott Hamilton, Merl Saunders, Bobby 'Blue' Bland, Carol Weisman, Pete Christlieb, Holly Cole and Garth Hudson. He also also appeared on many television and radio shows, including the PBS "Legends of Jazz". As leader of his own group, he has received critical acclaim for his previous three CD's "Doug's Garage", "Non-Fiction" and "Diggin In'". Jake is a graduate of the Concordia University jazz program, has attended the Banff Center Jazz Workshop and has been awarded two Ontario Arts Council Chalmers Awards and a Canada Council Grant to study in New York with jazz guitar legends Pat Martino and Jim Hall. © 2012 Mike's Master Classes http://www.mikesmasterclasses.com/index.php?option=com_content&task=view&id=72&Itemid=32

Jake Langley is a brilliant jazz guitarist and should be a world-wide jazz phenomenon but the commercial media will never play this kind of music, and he is not the only ignored talent playing today. Jake's CD with Joey DeFrancesco and Byron Landham, Movin' and Groovin', was nominated for a Juno Award in Canada. Jake is at home playing world class jazz as well as soul, funk, R&B, Rock and Pop as can be heard via his recordings with David Clayton Thomas 'Aurora' (Justin Time) and with performing alongside artists Willie Nelson, Rufus Wainright, Bobby 'Blue' Bland, and KD Lange. His jazz credits read like a who's who with the likes of jazz icons Bobby Hutcherson, Dr. Lonnie Smith, Jimmy McGriff, Steve Gadd, Pat Labarbara, James Moody, Trudy Pitts, George Coleman, Houston Person, Pee Wee Ellis, Scott Hamilton, Garth Hudson, Ron Blake, Bill Cosby and others. Jake covers Horace Silver's "The Jody Grind" on this album. If you are interested in jazz and want to hear one of the greatest jazz albums ever recorded, listen to Horace Silver's "Song For My Father". Listen to Jake's "Non Fiction" album. For guitar jazz in the same hard-bop style, it is worthwhile checking out albums by Louis Stewart and the late Emily Remler on this blog [All tracks @ 320 Kbps: File size = 114 Mb]

TRACKS / COMPOSERS

1. End Of A Love Affair (Redding) 5:55
2. Adam's Apple (Shorter) 7:45
3. Blue Bash (Smith) 6:16
4. Save Your Love For Me (Johnson) 8:04
5. Invitation (Kaper) 8:51
6. Ignant Oil (Gillespie) 7:36
7. The Jody Grind (Silver) 5:22

PLAYERS

Jake Langley - Guitar
Doug Riley - Hammond B3 Organ
John Fraboni - Drums

BIO

This week we feature Canadian jazz guitarist Jake Langley. Wow! This cat smokes. Check him out. Jake Langley has quickly taken his place as one of Canada's premier jazz guitarists. The media has referred to Jake as a "rising star" and a "hot, young talent". New York Jazz Magazine says "... infectious... Langley (is) one of the most notable Canadian musicians to come to light in the past years." The 33 year old, New York based musician has been gaining international attention in the past four years while touring as part of the world renowned Joey Defrancesco Trio. He also has been gaining critical acclaim with the 2006 international release of his CD "Movin' and Groovin" featuring organist Joey Defrancesco and Byron Landham on Alma/Universal. Jake is featured on the latest Joey Defrancesco release "Authorized Bootleg" (Concord) with George Coleman and received rave reviews for his participation on Joey's 2006 release "Organic Vibes" with Bobby Hutcherson and Ron Blake. Jake is also known in the R&B, Pop, Blues world via his recordings with David Clayton Thomas "Aurora" (Justin Time) and with performing alongside artists Willie Nelson, Rufus Wainright, Bobby "Blue" Bland, KD Lange and Jazz icons Bobby Hutcherson, Dr. Lonnie Smith, Jimmy McGriff, Pat Labarbara, James Moody, Trudy Pitts, George Coleman, Houston Person, Pee Wee Ellis, Scott Hamilton, Garth Hudson (the Band), Ron Blake and Bill Cosby and others. Jake also appears on the P.B.S. special and DVD "Legends of Jazz". As a leader of his own group Jake has recorded four CD's "Doug's Garage, and "Non Fiction" and "Diggin In"and was featured at the IAJE convention, and the Montreal and Toronto international jazz festivals. Jake was nominated for a Juno Award "Best jazz recording" in 2007 and he won a JUNO Award in 2003 for his participation in Richard Underhill's award winning CD "Tales From the Blue Lounge". He won the Canadian National Jazz award in 2004/05/06. Alongside Langley's solo career, he has backed up many other internationally renowned artists live and on record. Jake has been on over 100 recordings and he toured for 2 years and recorded with Fantasy recording artist and Greatful Dead Alumnae, Merl Saunders, and Soul Legend Bobby 'Blue' Bland. Jake has also performed with many top Canadian musicians and during his ten year career in Toronto was a top call session guitarist and can be heard on many television and radio jingles. Live television credits include PBS "legends of Jazz" and in the house band for the 2004/05 Gemini Awards, Gospel Jubalie, 2006 Canadian Songwriters Hall of Fame. Featured radio performances include PBS "Live at Yoshi's" with James Moody C.B.C.'s As it Happens, Finklemans Christmas Special, and CBC "On Stage, and "Jazz Beat". Jake was musical director of the 2005 National Jazz Awards.Jake Langley is a graduate of the Concordia University jazz program, has attended the Banff Center Jazz Workshop in 1996 and has been awarded two Ontario Arts Council Chalmers Awards and a Canada Council Grant to study in New York with jazz guitar legends Pat Martino and Jim Hall. Jake has produced recordings for Roy Hargrove, Sheila Jordan, Rob McConnell, Marc Jordan and others was nominated for a Juno 2007 Juno for his production of the David Braid Quartet CD and he currently produces music at his New York Studio and production house Tone Poet Music by & © Doc Dosco © Hitsquad Pty Ltd 2012 , All Rights Reserved http://www.guitarsite.com/news/whats_hot_with_jazz_guitar/jake_langley/

Whoopgnash

Whoopgnash - Lack Of Education - 2008 - Whoopgnash

Whoopgnash was formed by John Erickson and Bill Paul over 10 years ago, give or take a decade. Jeff Jarrard became a member upon birth, but went through a rigorous 30 year audition before he was allowed in the bands beer fridge. We currently reside in Minneapolis, but seeing as you’re more than likely reading this from somewhere else I guess that that doesn’t really matter. We all grew up on a steady diet of meat and corn, with plenty of music for dessert. We play instrumental fusion with a blend of comedy. I’ve also been told we do "crowd control", as putting on our music is sure to clear any party of unwanted guests. We have 3 cd’s and a live in-studio dvd currently out and available for purchase on our website, www.whoopgnash.com THIS IS NOT A TOY. DO NOT HOLD IN HAND. DO NOT PUT IN MOUTH. LIGHT FUSE AND IMMEDIATELY GET AWAY. © 2003-2012 Myspace LLC. All Rights Reserved

Minneapolis' answer to hardcore fusion. Guitarist John Erickson's explosive rapid and "clean" runs are perfectly complemented by great "over the top" performances by Keith Norton on bass and Bill Paul on drums. There is some great slick improvisation over some of the most innovative chord progressions you will ever hear. If you like legato style guitar like Allan Holdsworth and Wayne Krantz or bands like Gongzilla, you may like this all-instrumental fusion album. Buy Whoopgnash's "Full Scrape" album and support good original modern fusion [All tracks @ 320 Kbps: File size = 118 Mb]

TRACKS

1 Cuff Em Up 7:49
2 Tiny Bone 10:37
3 Lack Of Education 7:08
4 Tweezed 5:15
5 F'Nheimers and Children 5:20
6 Rageahol 6:56
7 Dedication 8:39

All tracks composed by John Erickson

MUSICIANS

John Erickson - Guitar, Keyboards
Jeff Jarrard - Bass
Bill Paul - Drums

Whoopgnash

Whoopgnash - Whoopgnash - 1999 - Whoopgnash

"I don't think John Erickson, guitarist would mind me calling his playing Holdsworthian, with the legato and fast runs, but he steers well clear of the Holdsworth-clone pigeonhole. Then there are a number of professional jazz guitarists who are happy to be known to playing in the style of WesMontgomery without being slavish, so let's avoid any hassle when somebody adopts and adapts a Holdsworthian approach? The Whoopgnash album is a much more exuberant, extrovert album than recent albums by Holdsworth - IMHO has been more cerebral/intellectual of late, nevertheless "SMOT" is as enjoyable for a set of different reasons. The Whoopgnash album as a listening experience, has to be taken as a work by all three members of the band, not simply that of an excellent guitarist. The drums and bass are a real treat, adding synergistically to the whole, sounding unlike any Holdsworth rhythm section I remember, while giving an energy similar to that heard with Wayne Krantz's rhythm section on "Greenwich Means". One nice bonus, is in that I've found myself whistling several of the main themes of tunes on this album - and I can't remember doing that for a long time!!! A most strongly recommended album." - Dick Heath: "The Alternative Alternative Show" , Loughborough Campus Radio 1350 AM

"Whoopgnash is a new fusion trio from Minnesota in the tradition of Allan Holdsworth and IOU. Guitarist John Erikson, drummer Bill Paul and bassist Keith Norton have crafted a disc of hard-hitting modern fusion which will appeal to fans of fusion, progressive rock, legato guitar and fine trio music. A group to watch in the future." - David Dorkin: Fusemag.com

"Well, the endless axe adventures of Allan Holdsworth, down through his helter-skelter career has left dents in the brains of many a guitarist, (mine included). Whoopgnash's John Erickson is severely dented by the Holdsworthian monolithic guitar benchmark. Erickson is no copycat but has caught the drift of what happens in a Holdsworth tune perfectly. His band; Bill Paul on drums, Drum KAT/synth and Keith Norton on bass follow along easily at breakneck speeds, stop-n-go time sigs, and accentuate unison jams, rim-shot tight. Erickson's attacks on solos are clean, expressively driven and fly along at legato phrasings that will make most fusion fans drool. If you have dug Holdsworth for years, then enjoy this Erickson cat skittering all over that I.O.U./ Metal Fatigue era sound. Bass work and drum lines are fine too with Erickson interweaving intricate finger rolls and subdued backing soundscapes in Texan, Eric Johnson's style. We tone down the fusion-fueled, frenzy on "Reunions" and my mind is cast into dreamworlds of chordal ascenscion to the stairway lit by heaven's portals. Erickson's emotive lead is precisely voiced like a soul crying out for answers to life's myriad of set backs. Wonderful cut! A wealthy amount of exactly the type fusion that typifies the best to be heard is right here folks. And executed with pizazz. Get this CD and help one more unknown fusion group make it big time. Don't believe me? Just sample "Sissy-Boy Slap Party"! You'll see the light too. Highest of recommendations." - John W. Patterson: Eclectic Earwig Reviews, Jazz Prog.Webring

"Heads up fusers who yearn for IOU-era Holdsworth -- the self-titled CD by the Minneapolis fusion band Whoopgnash is sure to please. It's all-instrumental g/b/d trio fusion much like the kind of thing Scott McGill is doing these days. This band needs to be more acclaimed, they deserve it." - Randy Booth: Highly regarded music advisor [Posted on Fusenet]

Imagine a band able to capture Allan Holdsworth's most captivating moments, in most every aspect, the etherial chord progressions, the spacey jazz drumming, bass that plays in disharmonic unison to the musics structure, and of course, screaming legato fretwork that sounds inhuman. Well surpringly this band from Minnesota has done just that. Many would be easily fooled into believing this to be another Holdsdworth cd after careful listens, it is that convincing. Granted the musicians in Whoopgnash have their own stylistic nuances, apart from the musicians that Holdsworth has worked with, but the music that is contained from the very start to the end have signature AH fingerprints all over it. Obviously this trio is an exceptionally talented one to even attempt music of such magnitude, yet for fans of Holdsworth, this cd will not disappoint, in fact, many have agreed that Holdsworth's writing in recent years has gotten a bit ambiguous, perhaps lacking the focus and fire of his early works with I.O.U. and other projects. Whoopgnash has studied well, and cleverly found the more listenable side of AH's music, yet created ther own reditions of his unique craft. Guitarist John Erickson, leads the band into the realm of legato laced fusion, readily prepared for any naysayers attacks on his attempt to recreate the stuff legends are made of. His technique is flawless, and given the fact that Holdsworth has established himself a reputation as one of the true visionaries of the fusion guitar, Erickson shows at the very least that that unique style can be replicated, and built upon. While Whoopgnash doesn't offer an original fusion product here, it certainly merits the attention of AH fans, their take on what has been a proven product is done in a tasteful and masterful fashion. A must for fans of: Allan Holdsworth, Bill Connors, Scott McGill & HandFarm, McHacek, Chad Wackerman, Jac LaGreca. Review by & © MJBrady © 2000 - 2012 where appropriate - All rights reserved http://www.proggnosis.com/Release_Detail.aspx?RID=5159

First album by the Minneapolis based indie hardcore fusion trio. Guitarist John Erickson's explosive rapid and "clean" runs are perfectly complemented by great "over the top" performances by Keith Norton on bass and Bill Paul on drums. There is some great slick improvisation over some of the most innovative chord progressions you will ever hear. If you like legato style guitar like Allan Holdsworth and Wayne Krantz or bands like Gongzilla, you may like this fusion album which is HR by A.O.O.F.C. Buy Whoopgnash's "Full Scrape" album and support good original progressive modern fusion [All tracks @ 320 Kbps: File size = 92.9 Mb]

TRACKS / COMPOSERS

1 Short Term Memory - John Erickson
2 Desmo - Bill Paul
3 Too Hammered to be Legit - John Erickson
4 Moderately Priced - John Erickson
5 Reunions - John Erickson
6 Tony - Bill Paul
7 Sissy-Boy Slap Party - John Erickson

MUSICIANS

John Erickson - Guitar
Keith Norton - Bass
Bill Paul - Drums, Drum KAT/synth

BIO

Whoopgnash was formed by John Erickson and Bill Paul over 10 years ago, give or take a decade. Jeff Jarrard became a member upon birth, but went through a rigorous 30 year audition before he was allowed in the bands beer fridge. We currently reside in Minneapolis, but seeing as you’re more than likely reading this from somewhere else I guess that that doesn’t really matter. We all grew up on a steady diet of meat and corn, with plenty of music for dessert. We play instrumental fusion with a blend of comedy. I’ve also been told we do "crowd control", as putting on our music is sure to clear any party of unwanted guests. We have 3 cd’s and a live in-studio dvd currently out and available for purchase on our website, www.whoopgnash.com THIS IS NOT A TOY. DO NOT HOLD IN HAND. DO NOT PUT IN MOUTH. LIGHT FUSE AND IMMEDIATELY GET AWAY. © 2003-2012 Myspace LLC. All Rights Reserved

Louis Stewart, Martin Taylor

Louis Stewart, Martin Taylor - Acoustic Guitar Duets - 1986 - Livia Records

"Extraordinary high levels of focused, deep, creative playing... Louis Stewart must be considered one of the instruments' world class players." - Downbeat Magazine

"Martin Taylor is one of the most awesome solo guitar players in the history of the instrument. He's unbelievable."- Pat Metheny

If you've never heard of the veteran Irish jazz guitarist, Louis Stewart, then check this album out. Louis is one of the world's greatest jazz guitarists. He is up there with players of the calibre of Larry Coryell, John McLaughlin, the late Emily Remler, Jeff Golub, and many more. On "Acoustic Guitar Duets" he plays with one of the most highly regarded guitarists in jazz, the brilliant Martin Taylor. Ten tracks are covered with expert ease. Check out the cover of Charlie Parker's "Billie's Bounce". These guys make jazz guitar sound easy. The duo play with a wonderful, delicate subtlety, incredible flair, superb technique, and style. The album is HR by A.O.O.F.C. Listen to Martin Taylor's "Double Standards" album, and Louis Stewart's brilliant "Overdrive: Live at the Tron, Edinburgh" album. Louis' "I Thought About You" and "Solo Guitar: Out On His Own" albums can be found on this blog [All tracks @ 320 Kbps: File size = 130 Mb]

TRACKS / COMPOSERS

1 Pick Yourself Up - Kern 4:38
2 Morning Of The Carnival (Manha Do Carnaval) - Bonfa, Maria 9:46
3 Jive At Five - Edison, Basie 4:44
4 Billie's Bounce - Parker 5:20 *
5 Coming Through The Rye - Trad. 3:24
6 Cherokee - Noble 6:57
7 Stompin' At The Savoy - Goodman, Sampson, Webb, Razaf 5:39
8 Darn That Dream - Van Heusen 5:46
9 Bernie's Tune - Miller 6:09 *
10 Farewell To Erin - Trad 3:54

N.B: Not released on original 1985 vinyl LP release: This album has also been released as "Acoustic Guitar Duets (Super Session)" on the Jardis label

MUSICIANS

Louis Stewart, Martin Taylor - Guitars

ABOUT MARTIN TAYLOR

Since the death of Joe Pass in 1994, Martin Taylor has become one of the most highly regarded guitarists in jazz. He was given his first guitar by his father, Buck Taylor. Although he was inspired at first by Django Reinhardt, it was piano players like Art Tatum that drew his attention and helped him practice to develop his phenomenal solo technique. In the late '70s, Stephane Grappelli invited him to play in a series of concerts in France. The violinist was so impressed that he used Taylor often on tours and a variety of recording dates. Beginning in 1990, Taylor began recording a number of acclaimed CDs for the U.K. label Linn, distributed as Honest/Linn in the U.S., and also did an excellent duet date with David Grisman for the mandolin player's Acoustic Disc label. All that is missing from Taylor's current roster of recordings is a live date, though an excellent concert video is available. In 2000, he released his debut on an American label, Columbia, entitled Kiss and Tell. Stepping Stones on Linn followed that same fall. © Ken Dryden © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/martin-taylor-mn0000311742#discography

ABOUT LOUIS STEWART (WIKI)

Louis Stewart (born Waterford, Ireland, 5 January 1944) is an Irish jazz guitarist, and the recipient of an honorary doctorate from Trinity College Dublin. He began his international career in 1968, when he was awarded the special jury prize at The Montreux International Jazz Festival (and turning down a scholarship to Berklee College of Music, Boston). Shortly thereafter he began working with Benny Goodman, an association that lasted three years, and gave way to an extended period of prominence with the late English saxophonist/flautist Tubby Hayes. As a member of Ronnie Scott's quartet and quintet for several years, Louis began recording as leader in the mid-1970s, making albums with Sam Jones and Billy Higgins, with Peter Ind, and later, with Red Mitchell, saxophonist Spike Robinson, pianist Bill Charlap, and now, more recently again, a new CD, recorded in Venice with alto great Peter King. In the 70s Louis began his lengthy association with George Shearing (with whom he has toured America, Brazil and the European summer jazz festival circuit; and recorded eight albums - several in trio with Danish bass master Niels-Henning Orsted-Pedersen, and in quintet with vibist Steve Nelson and drummer Dennis Mackrel). He began working with Canadian genius-orchestrator and arranger, Robert Farnon, in 1976, and at least ten albums resulted: with singers Joe Williams, Carol Kidd and two with Eileen Farrell, two with Shearing and with trombone legend J.J. Johnson, on all of which he is a prominently featured soloist. In 1994, as a member of the Shearing trio, Louis featured for a week opposite Tommy Flanagan's trio in The Blue Note. This led to a still active association with Peter Washington and Lewis Nash which has included a week-long engagement, as leader, at the Village Vanguard (with Richard Wyands in the piano chair, and, for that particular week, Kenny Washington, drums, substituting for Lewis Nash). Continuing to make Dublin his home, Louis performs regularly in Germany and Norway, where, in the national theatre, Oslo, his James Joyce/Ulysses inspired concert piece "JoyceNotes" has been produced and recorded to acclaim.

MORE ABOUT LOUIS STEWART

Louis Stewart, the recipient of an honorary doctorate from Trinity College Dublin, began his international career in 1968 when he was awarded the special jury prize at The Montreaux International Jazz Festival. Shortly thereafter he began working with Benny Goodman, an association that lasted three years, and gave way to an extended and prominent period with the late, great, English saxophonist/flautist Tubby Hayes. As a member of Ronnie Scott's quartet and quintet for several years, Louis began recording as leader in the mid-'70s, making albums with Sam Jones and Billy Higgins, with Peter Ind, and later, with Red Mitchell, saxophonist Spike Robinson, pianist Bill Charlap, and now, more recently again, a new CD, recorded in Venice with alto great Peter King ("Angel Eyes"). In the 70s Louis began his lengthy association with George Shearing (with whom he has toured America, Brazil and all of Europe; and recorded eight albums - several in trio with Danish bass master Niels-Henning Orsted-Pedersen, and in quintet with vibist Steve Nelson and drummer Dennis Mackrel). He began working with Canadian genius-orchestrator and arranger, Robert Farnon in 1976, and at least ten albums resulted: with singers Joe Williams and Eileen Farrell, with Shearing and with trombone legend J.J. Johnson, on all of which he is a prominently featured soloist. In 1994, as a member of the Shearing trio, Louis featured for a week opposite Tommy Flanagan's trio in The Blue Note, New York. This led to an association - still active - with Peter Washington and Lewis Nash which has included a week-long engagement, as leader, at the legendary Village Vanguard, NYC (with the masterful Richard Wyands in the piano chair, and, for that particular week, Kenny Washington, drums, substituting for Lewis Nash). Continuing to make Dublin his home, Louis performs regularly in Germany and Norway, where, in the national theatre, Oslo, his James Joyce/Ulysses inspired concert piece "JoyceNotes" has been produced to acclaim. © http://www.louisstewart.net/bio.htm

Avenue Blue featuring Jeff Golub

Avenue Blue featuring Jeff Golub - Avenue Blue featuring Jeff Golub - 1994 - Bluemoon

It seems like ages since record companies had actual house producers, but Mesa-Bluemoon's Rick Braun seems to be gracing some of the label's most engaging projects these days. First came Willie & Lobo's worldbeat finesse, and now Avenue Blue featuring Jeff Golub, a snappy, fluid guitarist who takes the sharp lilt of Steve Laury into fascinatingly cool textures ranging from hip-hop to atmospheric new age with just enough jazz tradition infused to cross genres. It's a credit to Golub, in fact, that his wide palette of original compositions ring truer than do surefire soul covers like "Pick Up the Pieces" or "I'll Be Around." Braun (who adds his own trumpet flair) allows the sure-fisted Golub to be the star here, keeping the moods potent but slightly understated, even on the Tower of Power-like charts of the best cut, "Gimmie Some." The album's real charm lies in its shifting, unpredictable dynamics, as Golub attains out-there fusion textures just before softening to a Wes Montgomery-like solo pose on the soft-spoken strains of "Moon River." Definitely an auspicious debut. © Jonathan Widran © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/avenue-blue-mw0000121781

Although you will usually find Jeff Golub's albums in the Smooth Jazz section of record stores, there is more to his music than many of the boring smooth jazz albums churned out by the hundreds every year. Jeff was quoted as saying that he refuses to play outright elevator music, and "Avenue Blue" definitely proves that Jeff Golub's music has real substance and is light years ahead of most of the bland sound alike smooth jazz albums that you hear but don't listen to. The guy is a great guitarist with an exceptional technique and subtle touch. "He appreciates being compared to artists like David Sanborn, the Crusaders, Ronnie Laws, Joe Sample, and the late Grover Washington, Jr., that is, instrumentalists who can be commercial and groove-oriented but still have a jazz improviser's mentality". Listen to Jeff's "Do It Again" album [All tracks @ 320 Kbps: File size = 119 Mb]

TRACKS / COMPOSERS

1 Pick Up The Pieces - Average White Band, Hamish Stuart, Roger Ball 4:56
2 Stockholm Prelude - David Palmer, Jeff Golub, Rick Braun 0:56
3 Stockholm - David Palmer, Jeff Golub, Rick Braun 3:49
4 Gimme Some - Jeff Golub 4:22
5 That's The Way Of The World - Charles Stepney, Maurice White, Verdine White 4:42
6 West Side Serenade - Jeff Golub, Rick Braun 4:19
7 Nightingale - Jeff Golub 5:44
8 I'll Be Around - Phil Hurtt, Thom Bell 4:56
9 Atlanta Nights - Jeff Golub 4:48
10 Just Goodbye - Jeff Golub 5:06
11 Lucy I'm Home - Jeff Golub 4:36
12 Moon River - Henry Mancini, Johnny Mercer 3:26

MUSICIANS

Jeff Golub - Guitar
Cliff Hugo - Electric Bass (tracks: 4-7)
Chris Bishop - Bass Guitar (tracks: 10, 11)
Jack Daro - Acoustic Bass (tracks: 1, 8-9, 12)
Kevin Savagar - Keyboards (tracks: 10, 11)
Rick Braun - Keyboards (tracks: 3, 8), Flugelhorn (tracks: 3, 8), Trumpet (tracks: 3, 8)
Steve Gaboury - Piano (track: 9), Keyboards (tracks: 10, 11)
David Palmer & Michael Dawe - Drums (tracks: 10, 11)
Brad Dutz - Percussion (tracks: 1-9, 12),
Roger Squitero - Percussion (tracks: 10, 11)
Bill Evans - Soprano Saxophone (track: 9)
Tenor Saxophone - Jim Biggins (tracks: 10, 11),
Jimmy Roberts - Tenor Saxophone (tracks: 1-9, 12)
Nick Lane - Trombone (tracks: 1-9, 12), Euphonium (tracks: 1-9, 12)

BIO

In the '90s, guitarist Jeff Golub's blend of jazz, R&B, and pop earned him a reputation for being one of the edgier, more tasteful players in the crossover jazz/NAC/smooth jazz field. Although some of Golub's recordings were played on smooth jazz stations extensively, he was quoted as saying that he refuses to play outright elevator music, and to be sure, Golub's solos give the impression that he is essentially a soul-jazz improviser at heart. The Ohio native (whose influences have included Wes Montgomery, George Benson, Lee Ritenour, and Larry Carlton, among others) is quite capable of playing straight-ahead bop; he certainly has the chops for it. However, Golub chose to focus on more commercial music and has a long résumé as a rock, pop, and R&B session player. He appreciates being compared to artists like David Sanborn, the Crusaders, Ronnie Laws, Joe Sample, and the late Grover Washington, Jr., that is, instrumentalists who can be commercial and groove-oriented but still have a jazz improviser's mentality. Golub was born on April 15, 1955, in Akron, OH, where he grew up listening to a variety of R&B, funk, blues, jazz, pop, and rock and began playing the guitar as a pre-adolescent. In the '70s, Golub moved away from Akron to attend to the prestigious Berklee College of Music in Boston. But by 1980, he had relocated again, this time to New York City, where he was still residing 23 years later. It was in the early '80s that Golub was hired to back arena rock/hard rock star Billy Squier, and that association led to a lot of other session work. The list of major rock or R&B artists Golub backed in the '80s or '90s (either in the studio or on-stage) includes Tina Turner, John Waite, Vanessa Williams, Ashford & Simpson, Dar Williams, and former J. Geils Band vocalist Peter Wolf. In 1988, Golub was hired to back Rod Stewart, an association that lasted for eight years. 1988 was also the year in which Golub's first album as a leader, Unspoken Words, was released by the Gaia label, but at that point, he was still devoting most of his time to backing other artists. It wasn't until 1994, when Golub founded the band Avenue Blue, that playing as a leader became the guitarist's main activity. That year, Golub signed with Mesa/Bluemoon, and Avenue Blue's self-titled debut album of 1994 fared well in the smooth jazz/NAC market. Two more Avenue Blue projects were released by Mesa/Bluemoon -- Naked City in 1996 and Nightlife in 1997 -- but after that, he put the name Avenue Blue to rest. While Avenue Blue, Naked City, and Nightlife had been billed as "Avenue Blue featuring Jeff Golub," 1999's Out of the Blue on Atlantic was billed as strictly Jeff Golub. After that, Golub moved to GRP/Verve, which released Dangerous Curves in 2000, Do It Again in 2002, and Soul Sessions in 2003. A few years later, Golub made yet another move releasing Temptation on Narada in 2005. Grand Central followed in 2007. In 2009, Golub returned to his '80s rock roots with the electric blues album Blues for You showcasing vocals from such old pals as Billy Squier, Peter Wolfe and John Waite © Alex Henderson © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/jeff-golub-mn0000225178

Marc Ford & The Neptune Blues Club

Marc Ford & The Neptune Blues Club - Marc Ford & The Neptune Blues Club - 2008 - Blues Bureau International

"Marc Ford and the Neptune Blues Club" is the first album recorded by Marc Ford with his new band The Neptune Blues Club. The band includes many experienced musicians who have played with artists that include The Blasters, Hazmat Modine, Tom Waits, Big Joe Turner, Mick Taylor, Joe Houston, Hubert Sumlin, The Fabulous Thunderbirds, Gatemouth Brown, David Lynch, Bruce Willis, Top Jimmy, Lester Butler, Lee Allen, Nels Cline, and Greg Ginn.

When Marc Ford was fired from the Black Crowes in 1997 and pursued a solo career, he became increasingly visible on the blues circuit. That was certainly a logical place for him; although the Black Crowes were a rock & roll/roots rock band, they were certainly well aware of rock's debt to the blues. In fact, the Black Crowes happily celebrated that debt, which is what Ford continues to do on his third solo album, The Neptune Blues Club. It isn't that everything on The Neptune Blues Club faithfully adheres to a traditional 12-bar blues format; Ford never claimed to be a blues purist, and you certainly won't find an abundance of 12-bar numbers on this 2008 release. But the feeling of the blues is always present; the 69-minute CD's overall mood is decidedly bluesy whether Ford is getting into an Eric Clapton-ish groove on "Pay for My Mistakes" and "Mother's Day" or being influenced by the Rolling Stones (one of the Black Crowes' main influences) on "Last Time Around Again" and "Shame on Me." The psychedelic leanings of "Spaceman" recall Jimi Hendrix, and Memphis soul (as in Otis Redding, Sam & Dave, and Eddie Floyd) is a major inspiration on the funky "Smilin'" -- which isn't to say that the tune doesn't have a strong rock influence as well. Ford will always be known for his years with the Black Crowes, and that is a good thing because his contributions to that band are an impressive part of his history (regardless of the fact that Crowes leaders Chris and Rich Robinson have said they fired him for drug problems). But this memorable outing serves as additional proof that there is indeed life after the Black Crowes for Ford. © Alex Henderson © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/neptune-blues-club-mw0001236266

The great pianist Johnny Neel speaking about Marc's slidework on "Don't Get Me Killed" said "Ford is an actual genius. He's got the best guitar sound I've ever heard." However, all the tracks on this album are really good. There's everything from blues based R&B, Southern rock and barrelhouse blues to old-school rockabilly, Memphis soul, and even progressive rock on tracks like "Spaceman". Marc is a very underrated guitarist but "The Neptune Blues Club" is a tremendous album showcasing Marc's guitar brilliance and is HR by A.O.O.F.C. Listen to Marc's "Weary and Wired" album and promote real music [All tracks @ 320 Kbps: File size = 162 Mb]

TRACKS / COMPOSERS

1 Main Drain - Marc Ford
2 Locked Down Tight - Marc Ford
3 Freedom Fighter - Marc Ford
4 Go Too Soon - Marc Ford
5 Don't Get Me Killed - Marc Ford, Mike Malone
6 Last Time Around Again - Marc Ford
7 Spaceman - Marc Ford
8 Pay For My Mistakes - Mike Malone
9 Shame On Me - Marc Ford
10 Mother's Day - Mike Malone
11 Smilin' - Marc Ford, Anthony Arvizu, John Bazz, Mike Malone
12 Keep Holdin' On - Marc Ford

MUSICIANS

Marc Ford - Guitar, Vocals
John Bazz - Upright Bass
Mike Malone - Keyboards, Harmonica (5,8), Vocals (5,8,10), Background Vocals
Anthony Arvizu - Drums
Stephen Hodges - Junkyard Percussion
Bill Barett - Harmonica (1-4,6,7,9-12)

ABOUT MARC FORD

Although he has been performing as a solo artist since the late 1990s, guitarist/singer Marc Ford is best known for his contributions to the famous roots rock/hard rock/rock & roll band the Black Crowes. The Los Angeles native, however, was not an original member of the Black Crowes, who were together eight years before he joined. Formed by brothers Chris and Rich Robinson in Atlanta in 1984, the Black Crowes had sold millions of albums by the time they officially hired Ford to replace guitarist Jeff Cease in 1992 -- and even though Ford wasn't a major name in the music world during his pre-Crowes years, he did have some noteworthy things on his résumé. Born in Los Angeles on April 13, 1966, Ford was in his early twenties when he formed the L.A.-based power trio Burning Tree with bassist Mark "Muddy" Dutton and drummer Doni Gray in the late 1980s; greatly influenced by the Jimi Hendrix Experience, Blue Cheer, and Cream (among others), Burning Tree favored a psychedelic hard rock sound that was reminiscent of the late '60s. Burning Tree, for which Ford sang lead and played guitar, were not well known, but they did record a self-titled album for Epic/Sony in 1990 before breaking up. Burning Tree, in fact, opened for the Black Crowes on some shows in 1990, which was also the year in which producer Rick Rubin released the Black Crowes' triple platinum debut album, Shake Your Money Maker, on his label American Recordings (Def American at the time). Joining the Black Crowes in 1992 greatly increased Ford's visibility, and he remained with the band until the Robinson brothers fired him in 1997. The reason they gave for firing Ford was his extensive drug use; Ford has acknowledged that he had a severe drug problem at the time, and he went into rehab the year he was fired. Ford pursued a solo career after his departure from the Black Crowes, offering his first solo album, It's About Time, in 2002 -- and while his role in the Black Crowes was primarily that of a guitarist, he both sang lead and played guitar as a solo act. In 2005, Black Crowes fans were delighted when the band (which had gone on hiatus in 2002) reunited and the Robinson brothers employed Ford in an extensive reunion tour that included some summer shows with Tom Petty & the Heartbreakers. But in 2006, Ford announced that he was leaving the Black Crowes -- only this time, it seemed that he quit rather than being fired. The specific reasons for Ford's departure remain unclear, although a bio on his website states that "Ford realized that his newly found sobriety, an issue for the guitarist his entire career, was slowly being jeopardized by the incessant touring." Not long after leaving the Black Crowes, Ford was reunited with Dutton and Gray for some Burning Tree reunion gigs in Hollywood. Ford's solo career continued with Weary and Wired in 2007 and The Neptune Blues Club in 2008 © Alex Henderson © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/marc-ford-mn0000673963

BIO (WIKI)

Marc Ford (born April 13, 1966 in Los Angeles, California), is an American blues-rock guitarist. He's a former lead guitarist of the rock and roll jam band The Black Crowes and the leader of his own bands (Burning Tree, Marc Ford & The Neptune Blues Club, Jefferson Steelflex, Fuzz Machine, Marc Ford & The Sinners). Ford began his career with the blues-rock outfit Burning Tree in the late 1980s. A power trio featuring Ford on guitars and vocals, Mark Dutton on bass and Doni Gray on drums, Burning Tree released their self-titled debut album on Epic Records in 1990. A commercial failure but a critical success, Burning Tree allowed Ford and Co. to tour extensively throughout most of 1990 and 1991. The band's career was cut short when Ford left to join The Black Crowes, whom Burning Tree had opened for on its first (and only) tour. In mid-1991, Marc Ford sat in a couple of times with The Black Crowes in-concert, performing The Allman Brothers Band's classic hit, "Dreams". When The Black Crowes severed their relationship with their original guitarist Jeff Cease, Ford was asked to fill the vacancy, stepping into the lineup just in time for the band to record their 1992 sophomore album, The Southern Harmony and Musical Companion. The album would go on to reach Number 1 on the Billboard charts and earn a double platinum certificate for sales. Ford would go on to perform on the next two Black Crowes releases, Amorica (1994) and Three Snakes and One Charm (1996) and is also credited for tracks from the band's two unreleased albums (1993's Tall and 1997's Band; later released together as The Lost Crowes). His addition to the Black Crowes sound, which consisted primarily of slide guitar and southern twang, helped define the band at the time. Ford's ability to adapt to core songwriter, Rich Robinson's music and crunchy rhythm guitar sound, solidified him and Robinson, as arguably, the preeminent guitar duo of the 1990s. Ford was dismissed from the Black Crowes in the Fall of 1997, following the band's stint on the summer-long Furthur Festival tour, leaving fans wondering what direction the Crowes might be headed. Black Crowes leaders Chris and Rich Robinson cited Ford's excessive drug use as the reason for his firing, a reason that was confirmed by the guitarist entering a rehab facility soon after his dismissal. After his departure from The Black Crowes, Ford formed a solo band, Marc Ford and the Uninvited, and continued to make live appearances in the United States for the rest of the year. In 1998, Ford sat in numerous times with renowned jam band Gov't Mule before joining the Chris Stills Band for a summer tour. Upon the conclusion of that tour, Ford quit the Chris Stills Band to form Federale, a joint venture between himself and Luther Russell (who were eventually joined by drummer Jimi Bott and bassist Freddy Trujillo). The band gained attention from major label Interscope Records, and a record deal was almost immediately in the works. Federale toured briefly, opening for acts like Gov't Mule, but disbanded after Interscope Records was bought out by Universal Music Group and their commercial viability was called into question. During 2000, Ford joined the Pink Floyd/blues jam/tribute band Blue Floyd, which originally featured Allen Woody (guitar, bass), Matt Abts (drums), Johnny Neel (keyboards) and Berry Oakley Jr. (bass). Providing their own bluesy take on Pink Floyd standards, Blue Floyd was a great success and allowed Ford to remain the public eye while he contemplated his next move. Ford left Blue Floyd at the close of 2001, opting to again to go solo. In January 2002, during one of his many regular appearances at the Malibu Inn in Malibu, CA, Ford welcomed Chris Robinson to the stage for a set of obscure-yet-memorable covers. This performance marked the first time Ford and Robinson had performed with one another since Ford's dismissal from The Black Crowes nearly five years prior. Robinson again joined Ford at the Malibu Inn two weeks later, confirming that they had made amends. Ford even co-wrote "Sunday Sound," a track featured on Robinson's solo debut, New Earth Mud. Following his acoustic-based stint at the Malibu Inn, Ford decided to form a full-fledged electric band. Featuring fellow Blue Floyd member Berry Oakley Jr. (bass) and newcomers Gootch (drums) and Chris Joyner (keys), Marc Ford and The Sinners hit the road in early 2002. During the tour, Ford would often take time out (with and without The Sinners) to record tracks for his highly anticipated debut effort entitled ' It's About Time', which was released on Anko Records in the fall of 2002. In 2003, Marc Ford and The Sinners gained some helpful attention from country-rock singer Lucinda Williams, who became somewhat of an ambassador for the group. She secured the band a deal with Lost Highway Records and Ford began finalizing his material for the sessions. The Lost Highway deal did not come to be, however, as the band's representative at the label was fired and things subsequently fell through. The Sinners still had an opening slot on Lucinda Williams' ongoing tour, a slot that was fairly open-ended. Without a label backing them up, however, it was almost financially impossible for The Sinners to hit the road. Instead, Ford accepted an invitation to join Ben Harper and the Innocent Criminals, relegating The Sinners to an indefinite hiatus. Ford toured with Ben Harper and the Innocent Criminals for the majority of 2003, from which their live EP Live at the Hollywood Bowl was drawn. Ford continued his association with Ben Harper and his band through the close of 2004, featuring on Harper's collaboration with The Blind Boys of Alabama, There Will Be a Light, when he was called to rejoin The Black Crowes for their "All Join Hands" reunion run. After a three-year hiatus, the Robinson brothers reformed the Black Crowes in early 2005 for a series of gigs and (later) a new album. In March 2005, it was announced that Marc Ford would be returning to the lead guitar spot. Ford never severed his ties with Harper, however, appearing on his 2006 album Both Sides of the Gun and performing a handful of shows in support while an active member of The Black Crowes. Ford toured with The Black Crowes through the Summer of 2006 and despite some new songs being debuted during live performances, no new studio material was released. Although it was often rumored that the band was in the studio, this was never confirmed or denied by the band and to date no material has emerged from any sessions during that time period. On September 5, 2006, two days before he was due to hit the road for the fall leg of the ongoing Black Crowes reunion tour, Ford's lawyer notified the Black Crowes management via fax that, effective immediately, the guitarist would no longer be a member of the band. The following day, Ford put out a press release announcing that he had left the Crowes in order to protect his hard-fought sobriety and that he had recently produced albums for emerging artists The Pawnshop Kings and Ryan Bingham. Ford confirmed in a November 2006 interview with Hittin' the Note magazine that he is contractually prohibited from discussing his time in the Black Crowes during the period of 2005-2006. In a later interview with the magazine, Ford revealed that this contractual limitation was "in perpetuity." Shortly after his sudden departure from The Black Crowes, Ford reunited with his Burning Tree bandmates for three gigs at The King King in Hollywood, CA. Following the impromptu dates, Ford enlisted Doni Gray to be his bandmate, along with Muddy and his son Elijah Ford, for a new studio album he had begun preproduction on. Touted by the guitarist as a more guitar-based recording, Weary and Wired was released March 13, 2007 on Shrapnel Records subdivision Blues Bureau. Coinciding with the release of Weary and Wired was Ford's feature interview on the cover of jam-band oriented music magazine Hittin' the Note (Issue #52). Throughout 2007 Marc Ford hit the road in support of his new album, with bandmates Mark "Muddy" Dutton, Elijah Ford and new drummer Dennis Morehouse in tow. The tour found the band performing across the United States, as well as select dates in Spain, Germany, Russia and at a handful of European festivals. During later dates on the tour, Ford unveiled as many as six new songs, hinting at another album on the way. The tour continued through the end of 2007, upon which Ford took a short break. Early in 2008, Ford played sporadic shows on the West Coast, some with his Fuzz Machine band and some with a new venture, Jefferson Steelflex. In addition, Ford and son Elijah joined Ryan Bingham for several dates on his tour, performing songs from the Ford-produced album Mescalito. Ford played slide guitar on Bingham's appearances on The Tonight Show and Late Night with Conan O'Brien in the Summer, 2008. Ford is currently producing The Steepwater Band's next studio effort, an LP tentatively titled "Grace & Melody" slated for release in late summer or early fall 2008, at Compound Studios in Signal Hill, CA (recording began the first week of May 2008). Marc first met the Chicago-based power trio when their bands shared a festival bill in Bilbao, Spain (summer 2007). Ford joined the band on stage to jam on a pair of songs including a cover of Neil Young's "Cortez the Killer", following a sit-in by his bandmate/son Elijah. The Steepwater Band's subsequently provided support for Ford's headlining gig at the Double Door in Chicago on July 26, 2007; this time Jeff Massey and Tod Bowers (of The Steepwater Band's) joined Ford's band for their encore. Soon after Ford approached the trio about producing their next effort. In early August 2008, it was announced (via his record label) that Ford's new record would be available online and in stores on September 23, 2008. Entitled Marc Ford and the Neptune Blues Club, the record features entirely new material performed by the newest incarnation of Ford's band The Neptune Blues Club (himself on guitars and vocals, Mike Malone on keyboards and vocals, Anthony Arvizu on drums, Bill Barrett on harmonica and John Bazz on upright bass). This latest version of his band is a slight reconfiguration of the Jefferson Steelflex band, which performed earlier in the year prior to Ford's short stint with Ryan Bingham. During the latter part of 2008, Marc Ford took up playing lead guitar at the Vineyard Community Church in Laguna Niguel, California. Via that gig, He produced and contributed guitar work to Vineyard Music artist Chris Lizotte's album, "Signal Hill Revival." The album saw release in early 2009. Ford's association with both the church and Lizotte continues to the present day. In early 2009, it was rumored that The Neptune Blues Club was working on its second second record at Compound Studios. However, Ford's deal with Shrapnel Records' subsidiary Blues Bureau had expired after 2008's Neptune Blues Club and by mid-2009 it seemed that The Neptune Blues Club had expired with it. One sole track from the sessions, "Shalomar Dreams," was released via online distributor BandCamp.com and it remains the only material released from the second album sessions to date. In May 2009, it was revealed that Ford would be joining the touring band for blues artist Booker T. Jones (of Booker T. & the MG's fame). Ford has been confirmed as the guitarist for June through September 2009. In the Fall of 2009, Ford launched a download site to showcase and facilitate the sale of his archive of soundboard recordings from his solo work. The shows released thus far focus entirely on The Neptune Blues Club. It is unclear if the site will cover other eras of Ford's solo career. In February 2010, Ford released his fourth studio album, Fuzz Machine, featuring material recorded while on a touring break in the Fall of 2007 with the band of the same name. The album's release coincided with Ford's mini-tour of Spain, on which he utilized The Steepwater Band as his backing band. The tour prompted the launch of a new website for Ford, the central theme of which is based around the Fuzz Machine recording. The album was exclusively available at all of Ford's performances on the mini-tour, followed by an online distribution in November.