Get this crazy baby off my head!


Gerald Gradwohl

Gerald Gradwohl - Tritone Barriers - 2007 - ESC Records

Gerald Gradwohl from Austria is a guitarist of extraordinary depth and sensitivity. Gradwohl plays with the same kind of abandon as Scott Henderson, and is able to portray the same gracefulness as Frank Gambale, showing a solid command for his jazz meets rock guitar stylings, in part, he can play in technically demanding jazz/classical modes, and add enough rock mutations to separate him from the far less interesting players out there. "Tritone Barrier" is the follow up album to "ABQ" from 2003 feat. the late, talented saxman Bob Berg and the Tribal Tech rhythm section, Kirk Covington and Gary Willis - and you will be strucked by the freshness of playing, the variety of tunes and arrangements, and the musical scope of the album. With his new trio: Joe Lackner on bass and Farid Al-Shami on drums plus special guests: Scott Henderson (guitar), Kirk Covington (drums), Frank Itt & Harald Weinkum / bass, Gradwohl continues with another guitar masterpiece. The playing throughout is of course stunning. The compositions are varied in style - sometimes jazzy, heavy, complex, and funky - but always entertaining. It actually sounds like the musicians were really enjoying themselves while making such a wonderful album. With "Tritone Barriers" Gerald Gradwohl covers a lot of fusion territory, from straight-ahead, to funked up Tech, to slow jazz, to aggressive funk, to instrumental rock. © Jazz.com!
I can describe Gerald Gradwohl’s new Cd “Tritone Barrier” in just two words “Tasty”. It’s so good, it’s addictive. I can’t keep it out of my cd player. There’s so many good things about this recording, it stands very tall in the forest of new Fusion releases this year. One of the things that attract me to this Cd is the inventive, creative, and interesting compositions. Each one has its own uniqueness and like a really good mystery, you just can’t predict what’s coming next. It’s very fresh sounding. In addition to the surprises in the journey of each song, is the very powerful positive vibe you feel from beginning to end. It's got a strong Blues approach with a lot of variety, and it all makes for some great Fusion. The other thing that stands out is Gerald’s impressive control over dynamics and space. You can hear every note and follow each song as though it was a live recording. Often times, I found myself on the edge of my seat waiting to hear the next note. Too many Fusion albums rely on “formula” compositions and soloing, that it’s easy to understand why so many people say they all sound the same. Not this one!! It’s difficult to describe Gerald’s technique on guitar. If I were going to “build” a great guitarist, I’d start with a pinch of Robben Ford, throw in a dash of John Scofield, mix it all together with that Jeff Beck knack for being amazing note for note, and then let it marinate for many years in Gerald Gradwohl’s special blend. When it’s all finished, you’ve got yourself one fantastic guitarist. The song “Horses” is so funky, it sounds like the band flew to Oakland California, spent a few weeks on the streets and then recorded it. Just fantastic! Plus, if you’re going to have a Fusion Cd with a vocal, this is the perfect song for it. The “Hear and There” jam is what improvisation fans crave and done at an exceptional skill level. When I first heard the song “Jeff’s Back”, I wondered how Gerald could be skillful enough to sound EXACTLY like the amazing Scott Henderson. I listened in awe and then read the liner notes and realized it WAS Scott Henderson. He fit so perfectly in the overall project of Tritone Barrier the credit must go to Gerald for the idea of making that happen. This recording has everything you could ask for from a Fusion guitar trio. Lot’s of good songs, plenty of creative improvising, and mostly an amazingly deliberate and dramatic sense of dynamics that’s both quiet and loud without being boring or blaring. A solid 5-Star Fusion recording from beginning to end. Bonus: If you like Wah-Wah guitar, there’s some good stuff for you here… Please visit Gerald's website for more info © www.jazzrockworld.com, June 2007

Eight instrumental funk and jazz rock/fusion tracks and one vocal track (Hubert Tubbs sings "Horses") from the great Austrian guitarist, Gerald Gradwohl, helped out by artists including Scott Henderson, Frank Itt, Kirk Covington, and Hubert Tubbs. High calibre stuff and HR by A.O.O.F.C. Two of Gerald's favourite albums include Steely Dan's "Two Against Nature", and Wayne Krantz's "Greenwich Mean" albums. Listen to the Gerald Gradwohl Trio's "Sally Beth Roe" album, and check his website @ http://gradwohl.at/ for more detailed info on this great Austrian guitarist [Tracks @ 184-320 Kbps: File size = 88.4 Mb]


1 KiWa Walk
2 Wayne's Groove
3 Trouble In Da House
4 Horses
5 Here And There (Jam 3 and 2)
6 Jeff's Back
7 Downhill, Elephant, Trunk (Jam 1 and 4)
8 A Masing Hend
9 Praise

All tracks composed by Gerald Gradwohl


Gerald Gradwohl - Guitar
Scott Henderson - Guitar on "Jeff's Back"
Jojo Lackner - Bass
Frank Itt - Bass on "Jeff's Back"
Harald Weinkum - Bass on "Horses"
Farid Al-Shami - Drums
Kirk Covington - Drums on "Jeff's Back" & "Horses"
Thomas Kugi - Tenor Sax on "Horses"
Manfred Holzhacker - Trumpet on "Horses"
Hubert Tubbs - Vocals on "Horses"


Birthday: 15.04.1967: J.M.Hauer music school-classical guitar: Jazz guitar study in Vienna - diploma in 1989 w. first class honours: Teacher for jazz guitar at the Joseph Haydn Conservatory/Eisenstadt (A) since 1991: Teacher for electric guitar at the music school Eisenstadt (1993-98) : Head of Jazz department J.H. Conservatory Eisenstadt since 2006. Gerald Gradwohl played concerts and festivals all over the world: Wiesen, Montreal, Madrid, Mexico, Warschau, Washington, just to name a few. Highlights of his career are the collaboration with the grammy nominated TANGERINE DREAM, and his solo record ABQ that he recorded in 2002 with the great BOB BERG and the TRIBAL TECH rhythm section Gary Willis and Kirk Covington. On his recent CD “Sally Beth Roe”(2009) guitarist he pulls all the stops of his musical skills. “As much composition as necessary and as much improvisation as possible” seems to be the dogma and the point of view of fusion-music of today for this worldwide known and acknowledged composer and performer. © http://gradwohl.at/index.php?id=176&L=1

Check his website @ http://gradwohl.at/ for more detailed info on this great Austrian guitarist

Johnny Moeller, Paul Size

Johnny Moeller, Paul Size - Return Of The Funky Worm - 1996 - Dallas Blues Society Records

By the time guitarist Johnny Moeller had joined The Fabulous Thunderbirds in mid 2007 he had recorded, played, or toured North America, and Europe with artists like Darrell Nulisch, Lou Ann Barton, Mike Barfield, Doyle Bramhall II, Gary Primich, and Guy Forsyth. The Austin Chronicle has said that "Johnny (Moeller), nobody can burn like that kid. He's got the heart like Stevie had, about the only one I've seen with that kind of heart. Johnny's so quiet and bashful, just a sweet kid and sometimes those kids get overlooked." Guitarist Johnny Mueller grew up in the Forth Worth area, and has played with the Fabulous Thunderbirds, The Allman Brothers, Ronnie Earl, and both Doyle Bramhalls. "Return Of The Funky Worm" is an "off-the-cuff" album built around in-studio jams and produced by the Dallas Blues Society. It's a good album of soul, jazz, funk, and rock & roll with 12 bouncing, rocking cuts. Six of the twelve tracks clock in at under three minutes, but the quality is great. Both Johnny and Paul deliver the soul/funk/blues goods, with great vocals from Rhett Frazier. Listen to Johnny Moeller's "BlooGaLoo!" album, and The Red Devil's "King King" with Paul "The Kid" Size on lead guitar. Rhett Frazier's "Escape From Dee-troyt" album is also a good album and worth checking out [All tracks @ 320 Kbps: File size = 65.9 Mb]


1 Sweet Sugar You - R.Berry 3:44
2 Return Of The Funky Worm - B. Coats / Mike, Bret Flanigin 2:32
3 I Stand Accused - Rhett Frazier / Paul "The Kid" Size 4:34
4 Dallas - Easy Deal Wilson 2:44
5 Watch My 32 - G.L. Crockett 2:38
6 Nate's Song - Mike Flanigin 3:59
7 Stand Up - Rhett Frazier / Paul "The Kid" Size 4:38
8 Hop On - Mike Flanigin / Jon Moeller 2:37
9 My Backscratcher - Frank Frost / Chip Young 2:38
10 Hot Potatoes - Bob Curtis 3:02
11 Three Day Binge - Rhett Frazier / Johnny Moeller / Chad Murray / Paul "The Kid" Size 4:40
12 Right Now - B. Preston 2:46


Johnny Moeller - Guitar
Paul Size - Guitar, Bass on Track 8
Bret Coats (tracks: 1 to 7, 9 to 12) - Bass
Mike Flanigin - Hammond B3 Organ, Wurlitzer, Piano, Steel Guitar, Vocals
Jason Moeller - Drums
Hash Brown - Harmonica on Track 9
Rhett Frazier (tracks: 3, 7, 11, 12) - Vocals


Living in Austin, a city full of guitar slingers, you know an artist like Johnny Moeller has to be doing something distinctive to stand out from the pack. And indeed, he does distinguish himself on his Severn Records debut, BlooGaLoo!, released in April 2010. Far from straight-ahead blues, Moeller considers his style blues-based, but at the same time touching on many other genres. "There are lots of great guitar players who inspired me, and singers and saxophone players, too," he says in the biography accompanying BlooGaLoo! "But I don't like to limit myself to purely one style of music. I have my own thing, which is blues-based, and then I like to mix in everything else I love: soul, jazz, funk, and rock & roll." Moeller's multitude of interests shows through on his debut and at his live shows, which are often all over the map stylistically. In turn, he's a breath of fresh air on the contemporary blues scene. Growing up in Fort Worth, so close to Dallas, long a hotbed of blues activity, Moeller was strongly influenced by Dallas-area radio and his father's record collection, which included everyone from John Lee Hooker to Grant Green. One day as a teen, he came across a Lightnin' Hopkins album while looking around at the Record Town store. Hopkins' music proved to be a revelation for the young Moeller, who then began modeling his style after Hopkins' seasoned approach to guitar playing. As is the case with all great guitar players, his own style emerged, and Moeller cites Freddie King, the Vaughan Brothers, Earl King, and Grant Green as having had an influence on his playing over a period of years. Moeller began performing out in Dallas and Fort Worth area clubs while still in high school, and on summer vacations he and his younger brother, drummer Jay Moeller, would travel from Fort Worth down to Austin to spend the summer with their father. One summer, the Moeller brothers' father convinced club owner Clifford Antone to let his sons sit in with veteran bluesmen and women, many of whom came from out of town to perform at Antone's club. Moeller first appeared on the Antone's stage with Little Charlie & the Nightcats, and once he heard the young Moeller, Antone quickly got into Moeller's corner, helping him and his younger brother in any way he could. After graduating from high school in Denton, TX, Moeller moved to Austin to be as much a part of the scene there as he could and learn from other great guitar slingers who call Austin home, like Denny Freeman and Jimmie Vaughan. Sure enough, by 2007, Moeller was asked by Kim Wilson to join the Fabulous Thunderbirds on one of their tours. By that point, he had toured or recorded with Darrell Nulisch, Lou Ann Barton, Doyle Bramhall II, Guy Forsyth, and the late Gary Primich. Aside from BlooGaLoo!, Moeller's earlier albums include The Return of the Funky Worm, a 1996 release, and Johnny's Blues Aggregation, a 2001 release. BlooGaLoo! showcases Moeller's range of talent with the guitar, but also includes guests who have influenced him or been helpful to him through the years in Austin, including the chronically under-recorded Lou Ann Barton, harmonica master Kim Wilson, and Shawn Pittman. He covers two songs by the late Earl King, "Trick Bag" and "Everybody's Got to Cry Sometime." Moeller's take on Texas guitar great Earl Hooker's tune "Tease Me Baby" closes the album. As long as he can stay out on the road, selling records the old-fashioned way at live shows around the U.S., Canada, and Europe, Moeller has a very bright future. © Richard Skelly © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/johnny-moeller-p213749/biography


For the last 23 years I have been playing guitar. Originally from Denton, Texas, I started off playing various clubs and local blues jams. I moved to the West Coast when I was nineteen and had a three year stint with The Red Devils. I moved back to Texas in 1994 and eventually landed on the East Coast. For the last few years I have been teaching guitar to children and adults. I have taught mainly blues, funk, country, and rock. I have performed with a wide variety of musicians including Mick Jagger, Los Lobos, The Allman Brothers, The Black Crowes, Doyle Bramhall and Doyle Bramhall II, Kim Wilson and Ronnie Earl. © http://www.paulsize.com/fr_home.cfm



Fuze - DiG - 2002 - Online Bands Music

Fuze started out as a group of musicians getting together on Saturday nights to jam and have some fun playing music together. Over the years, they have evolved into a modern fusion band with a unique blend of rock, jazz, funk, blues and more. DiG is the first serious studio recording for Fuze with a variety of sounds ranging from tight fusion jazz-rock to funk and blues presented with an aggressive approach. This music is quite different than what you would hear on a smooth jazz station and has a more updated sound than the '70s fusion favorites. Fuze has consistently gained a lot of attention on the web with their unique fusion sound and have had great success with a weekly live audio webcast called the Saturday Night Jam. The songs from DiG have also been featured on a number of popular internet radio shows. © http://www.onlinebands.com/artists/fuze/?page_id=37

Fuze is a Detroit based modern electric jazz-rock band that creates all original instrumental music. The music covers jazz and blues to rock and funk with great improvised jams and a unique and high energy approach to fusion. The band has a unique approach to the songwriting process using improvisation to spontaneously create new music, always exploring new audio landscapes in search of fresh grooves. Buy Fuze's "Best of Saturday Night Jams 2005-2006" album
[Tracks @ 192-320 Kbps: File size = 53.5 Mb]


1. Complicated Man - Craig Wisper, Joe Purrenhage
2. Toejam - Joe Purrenhage
3. Funk To Jazz - Joe Purrenhage
4. Critical Mass - Craig Wisper
5. Two Doors Down - Craig Wisper
6. Bioptic Void - Craig Wisper
7. Dark Flight - Craig Wisper, Doug Nolls, Joe Purrenhage, Marcus McGlown


Craig Wisper - Lead Guitar
Joe Purrenhage - Guitar and Keyboards
Doug Nolls - Bass and Taurus Pedals
Marcus McGlown - Drums and Percussion


Boz Scaggs

Boz Scaggs - Fade Into Light - 1996 - Virgin (Japan)

Fade into Light is a stellar album. It features unplugged and redone performances from Scaggs' classic Some Change, Silk Degrees, and Middle Man, as well as some new tunes. The unplugged tunes include readings of "Dirty Lowdown" and "Simone." "Harbor Lights" is changed significantly as well, in that the disco riff in its ending has been replaced by smooth jazz. "Sierra" is a remarkable redo that gives the tune a completely different feel. "Just Go" has Scaggs playing almost everything on the track, and it is one of his most nakedly emotional performances committed to tape. The sheer brokenness in his voice reveals a depth and dimension in the performance that takes the listener deep into the lyric. It is followed by a sultry, nocturnal read of "Love T.K.O." that reveals his deep authority, allowing the lyric to speak through him, not because of him. There is an authority here that allows the vast emotion in the song to be read through the spirit of acceptance, and it all lies in his nuance and phrasing. It's so inspired, offering a view of the many sides of Scaggs as a singer, that Fade into Light is a must for anyone even remotely interested in Boz Scaggs. © Thom Jurek © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/r447517 [REVIEW REFERS TO BONUS TRACK EDITION]

Brilliant Pop/R&B melodies often tinged with jazz and blues overtones. This album includes acoustic versions of earlier material. This album was also re-issued in 2005. I have some doubt as to whether the tracks on this album are from the original Japanese Virgin 1996 CD issue. Can anybody provide a definitive musicians list for this album. Some of the tracks may have been reworked or re-mixed for the later 2005 CD issue, e.g The sax on this album sounds more like Tom Scott than Norbert Stachel. Perhaps both musicians played? Also it is not easy to pinpoint Dean Parks' guitar contribution, not to mention Robben Ford. Any help appreciated. Regardless of these queries, it's a great album from one of the greats of blue eyed soul. [All tracks @ 320 Kbps: File size = 129 Mb]


1. Lowdown - Unplugged - Boz Scaggs, David Paich
2. Some Things Happen - Boz Scaggs, Marcus Miller
3. Just Go - Boz Scaggs
4. Fade Into Light - Boz Scaggs
5. Harbor Lights - Unplugged - Boz Scaggs
6. Lost It - Valley Version - Boz Scaggs
7. Time - Boz Scaggs
8. Sierra - Boz Scaggs
9. We're All Alone - Unplugged - Boz Scaggs
10. Simone - Unplugged - Boz Scaggs, David Foster
11. I'll Be The One - Remix - Boz Scaggs

MUSICIANS [Not definitive]

Boz Scaggs - Guitar, Keyboards, Vocals
Robben Ford - Guitar
Fred Tackett - Guitar, Acoustic Guitar
Dean Parks - Acoustic Guitar
Nathan East, James "Hutch" Hutchinson, Dave Carpenter, Roscoe Beck, Neil Stubenhaus - Bass
Jai Winding, Kevin Bents - Piano
Greg Phillinganes - Electric Piano
Michael Omartian, Michael Rodriguez - Keyboards
Randy Kerber - Keyboards, Piano
Booker T. Jones, William McLeish Smith - Organ
Jim Keltner - Drums
Ricky Fataar, Curt Bisquera - Drums, Percussion
Tom Scott, Norbert Stachel - Saxophone
Lisa Frazier, Kathy Merrick - Background Vocals


Boz Scaggs (born William Royce Scaggs, 8 June 1944, Canton, Ohio) is an American singer, songwriter and guitarist. He gained fame in the 1970s with several Top 20 Hits in the United States along with the #2 album Silk Degrees. Scaggs continued to release and record in the 1980s and 1990s, and still tours into the 2000s. Scaggs was born William Royce Scaggs in Canton, Ohio, the son of a traveling salesman. The family moved to Oklahoma, then to Plano, at that time a Texas farm town just north of Dallas. He attended a Dallas private school, St. Mark's, where a schoolmate gave him the nickname "Bosley". Soon, he was just plain Boz. After learning guitar at the age of 12, he met Steve Miller at St. Mark's. In 1959, he became the vocalist for Miller's band, The Marksmen. The pair later attended the University of Wisconsin-Madison together, playing in blues bands like The Ardells and The Fabulous Knight Trains. Leaving school, Scaggs briefly joined the burgeoning rhythm and blues scene in London. After singing in bands such as The Wigs and Mother Earth, he traveled to Sweden as a solo performer, and in 1965 recorded his solo debut album, Boz, which was not a commercial success. Scaggs also had a brief stint with the band The Other Side with fellow American Jack Downing and Brit Mac MacLeod. Returning to the U.S., Scaggs promptly headed for the booming psychedelic music center of San Francisco in 1967. Linking up with Steve Miller again, he appeared on the Steve Miller Band's first two albums, Children of the Future and Sailor, which received good reviews from music critics. After being spotted by Rolling Stone publisher Jann Wenner, Scaggs secured a solo contract with Atlantic Records in 1968. Despite good reviews, his sole Atlantic album, featuring the Muscle Shoals Rhythm Section and slide guitarist Duane Allman, achieved lukewarm sales, as did follow-up albums on Columbia Records. (His Atlantic album was deleted and replaced with the exact same cover and tracks, but it was given a new catalog number and it was completely remixed in Los Angeles in 1977. This new remix brought Duane Allman's guitar up to the front, but it greatly altered the original feeling. On the track "Finding Her", the volume fades down real low for the last minute, an obvious mixing error by engineer Craymore Stevens. The original has never been available on CD.) In 1976, he linked up with session musicians who would later form Toto and recorded his smash album Silk Degrees. The album reached number 2 on the U.S. charts and number 1 in a number of countries across the world, spawning three hit singles: "Lowdown", "Lido Shuffle", and "What Can I Say", as well as the MOR standard "We're All Alone", later covered by Rita Coolidge and Frankie Valli. A sellout world tour followed, but his follow-up album, the 1977 Down Two Then Left, did not fare as well commercially as Silk Degrees. The 1980 album Middle Man spawned two top 20 hits, "Breakdown Dead Ahead" and "Jojo," and Scaggs enjoyed two more hits in 1980-81 ("Look What You've Done to Me" from the Urban Cowboy soundtrack, and "Miss Sun" from a greatest hits set, both U.S. #14 hits). But Scaggs' lengthy hiatus from the music industry (his next LP, Other Roads, wouldn't appear until 1988) slowed his chart career down dramatically. "Heart of Mine" in 1988, from Other Roads, was Scaggs' final top 40 hit but was a major adult contemporary success. Scaggs continued to record and tour sporadically throughout the 1980s and 1990s, and for a time was semi-retired from the music industry. He opened the San Francisco nightclub, Slim's, in 1988, and remains a co-owner as of 2008. After Other Roads, Scaggs took another hiatus and then came back with Some Change in 1994. He released Come On Home, an album of blues, and My Time, an anthology in the late 1990s. He garnered good reviews with Dig although the CD, which was released on September 11, 2001, was lost in the post-9/11 melée. In May 2003, Scaggs released But Beautiful, a collection of jazz standards that debuted at number 1 on the jazz charts. He tours each summer, has a loyal cadre of fans, remains hugely popular in Japan, and released a DVD and a live CD in 2004. Other releases followed. In 2008, Scaggs began an expanded tour, and is scheduled to appear across the country from spring through fall. Scaggs and his wife grow grapes in California's Napa County and have produced their own wine.


Preston Reed

Preston Reed - History Of Now - 2005 - Outer Bridge

"If I'm a hard core guitar player, Preston Reed is petrified. He's so into it that he has alchemized. I've never seen anyone more precise. He's really inspiring." - Michael Hedges in Fingerstyle Guitar interview, March/April 1996

"Reed's fiendishly intricate blend of blues, rock, country and metal styles ducks and weaves itself away from measurability" - The Irish Times
"... phenomenal." - Al Dimeola

[Reed's] two-fisted attack turns the acoustic guitar into an entire rhythm section. - Jazziz

A performance by a solo guitarist can sometimes be more like a freak show. Think of extraordinary players like Tommy Emmanuel, whose live sets seem designed to shock and awe, overwhelming the (mostly male) audience with their finger twisting technical prowess. It doesn't have to be like that. The American uber-guitarist Preston Reed can play with the equivalent musical firepower of a helicopter gunship - and frequently does. But on this latest album he has opted for the less-is-more approach, applying his mastery of the acoustic and electric axes to a series of gentle but melodic miniatures. In a blindfold test, Reed could pass for a guitar duo or even a trio at times and finger style enthusiasts will marvel at his casual ability to simultaneously play rhythm and complex top lines. But he is musical too and each short piece evokes a beautifully lit scene of classic Americana. Performance * * * * Sound * * * * by & © Gary Booth BBC Music Magazine February 2006

Playing any Preston Reed album is guaranteed to be an acoustic delight, but on History Of Now he's branched out to incorporate some electrical moments on the jazzier outings such as Instrument Landing. Always known as a potential hard rocker playing an acoustic, Preston's two-handed style ensures inspiration and astonishment. His unique and percussive attack supplies the sound of the rhythm section at the same time as the melody - no better heard than on Corazon which sounds more like three players than one. And yet, there's always something else up Reed's sleeve such as the spacious slide work on the delightful Franzl's Saw - again using bass note under pinning. An album full of delights that comes highly recommended. © Guitar Techniques February 2006

Try and listen to Preston's "Blue Vertigo" album. Check out Preston's blog @ http://fretgenie.wordpress.com/ For other brilliant acoustic guitar, check out Laurence Juber and Stephen Bennett on this blog [All tracks @ 224 Kbps: File size = 83.9 Mb]


1 Dead Cool 3:25
2 Instrument Landing 3:29
3 Signal Path 3:32
4 Woman In The Tower 3:42
5 Chord Melody 3:16
6 Radiance 2:52
7 Twang Thang 3:59
8 False Spring 3:48
9 Corazon 2:16
10 Franzl's Saw 4:57
11 Halfway Home 3:37
12 Lost Time 5:02
13 Hit The Ground Running 3:31
14 Valhalla 5:50

All songs and instrumentation by Preston Reed


Preston Reed (born April 13, 1955, Armonk, New York) is an American fingerstyle and tapping guitarist. Preston Reed learned guitar as a child on his father's guitar and, for a short time, classical guitar with a too-severe teacher. When he was 16 his interest was rekindled by Jorma Kaukonen's acoustic guitar-playing in Hot Tuna. He took the guitar again and began to compose his own songs in the style of Leo Kottke and John Fahey. His first public performance was at Smithsonian Institution in Washington D.C., in a concert with Allen Ginsberg. He continued recording and performing and signed his first major label record deal with MCA Records with the help of his friend Lyle Lovett. Reed has played with various other musicians, spanning the spectrum between Linda Ronstadt and rock band NRBQ. He was featured on American radio and TV broadcasts. Between 1979 and 2007, he recorded 15 albums on several labels - mostly solo acoustic guitar -, guest-starred on other musicians productions, founded his own Outer Bridge label and featured on two solo videos. He has been commissioned for film soundtracks and a suite of original music for the Minneapolis Guitar Quartet. Reed moved to Scotland in 2000. Reed plays with his fingers, thumbs, fists and hands at once, suggesting a whole band at work: drummer, keyboard player, bass guitarist and several guitarists at once. Some of his tunes invoke impressions of rock bands and duelling guitars, but he is also a player of blues or ballads reminiscent of Bill Evans, one of his musical idols. As a teenager, Reed was influenced by Leo Kottke and John Fahey and in the beginning of his career was a fingerpicker with notable technical prowess. In the late 1980s, though, he developed his own, highly individual and percussive style, a short time after Michael Hedges published his first records using technically similar techniques, but creating very different music. He drew not only from fingerstyle, but from rock 'n' roll too, developing a very rhythmic drive in some of his compositions. Other pieces are very melodic and dreamy ballads. His guitar style is characterised by the use of percussive effects he generates with both hands on various parts of the guitar body. He names them, appropriately, rim shots and bongo hits. He uses slap and tap techniques like slap harmonics or the generation of notes or whole chords with his left hand (hammer-on, pull-off). He uses both hands for tapping (two-hand tapping) and frets chords with his right hand (right-hand fretting). He often plays with both hands from above the guitar's neck. In many of his compositions, Reed uses altered tunings characterized by very low bass string tunings, for example BGDGAD or CGDGGD, though he also uses standard tuning on his latest CD, Spirit.


Preston Reed plays acoustic guitar in a revolutionary, self-created percussive style that organically integrates melodies and drum rhythms. Preston Reed is a guitarist of many parts - so many parts that when he brings them all into play, first-time listeners often find it impossible to believe that they're hearing just the one musician, in real time. At full tilt, Reed's fingers, thumbs, fists and hands at once suggest a drummer, keyboardist, bassist and several guitarists at work. It's a dizzying, exhilarating phenomenon. A portrait of the acoustic guitar as full-on heavy metal band. But impressions of rock bands - and high speed trains and duelling, pulling tractors - are only one side of Reed. While acknowledging that somewhere inside him there is a screaming electric guitarist pacing like a caged lion, Reed is also a player of deep sensitivity who can compose and play a blues or a ballad with a touch reminiscent of his great jazz piano-playing hero, Bill Evans. Reed's entry into this guitar odyssey was inauspicious enough, his path thereafter largely self-discovered. A few chords learned from his guitar playing father, a brief, very brief, flirtation with the ukulele, clandestine practice sessions of his favourite Beatles and Stones songs on dad's guitar .... and then a too-strict classical guitar teacher led to premature retirement. At 16, however, Reed heard Jefferson Airplane's rootsy blues offshoot, Hot Tuna. His interest was rekindled big time. Acoustic guitar heroes John Fahey and Leo Kottke were studied, their styles absorbed but not imitated, and at this point things really begin to get interesting because, at 17, Reed, by now precociously proficient, played his first live gig, supporting beat poet Allen Ginsberg at the Smithsonian Institute. Just getting on a train from his native Armouk in New York state to Washington was a cool adventure. And it was just the first of many, not least of which was the one which resulted from his signing his first deal with a major record company, MCA, through the auspices of his friend, country singer-songwriter Lyle Lovett. Determined to make the most of this opportunity, Reed pushed himself to go beyond the standard fingerpicking styles he'd perfected. The result was the beginnings of the startlingly innovative style, with its percussive, two-handed fretboard attack, that you hear today and which has caused guitar luminaries such as Al DiMeola and the late Michael Hedges to describe Reed as "phenomenal" and "inspiring". Reed's compositional talents extend to film soundtracks and prestigious commissions for the Minneapolis Guitar Quartet, and as well as appearances alongside Bonnie Raitt and Linda Ronstadt his major performances include an historic live satellite broadcast on Turkish National Television in 1997 with renowned saz player and composer Arif Sag which reached an audience of 120 million in 17 countries, prompting a flood of international telephone calls to the station from stunned viewers. Since 1979, he has recorded thirteen albums and three videos and charmed audiences on three continents. He continues to tour with the same hunger and relish that informs his guitar playing and he gives regular workshops where he passes on the techniques he has developed for extending the acoustic guitar's possibilities. The secret, he says, is to relax and let the guitar patterns run by themselves. Which explains how, at full tilt, he may sound like a full-on heavy metal band but he still won't have broken sweat. © http://www.kennedy-center.org/explorer/artists/?entity_id=10944&source_type=B


Duke Robillard

Duke Robillard - World Full Of Blues - 2007 - Stony Plain

Duke's World Full Of Blues is an enjoyable, eclectic, romp through a world colored by several shades of blue. - Living Blues #191 August 2007

Hats off to Stony Plain for letting Robillard and friends stretch out. All killer, no filler. - Sing Out! Vol. 51 #3 — Autumn 2007

Duke's World Full Of Blues is an enjoyable, eclectic, romp through a world colored by several shades of blue. Duke Robillard, whose career has included stints fronting Roomful of Blues and the Fabulous Thunderbirds, has honed a reputation as one of today's premier swing-style bluesmen. His latest effort, Duke's World Full Of Blues, is a double-CD showcase of originals and covers, all delivered with Robillard's signature touch. A four-time W.C. Handy Award winner in the "Best Blues Guitarist" category, Robillard was given the green light by Canada's Stony Plain Records to record a set that spans many of his influences. While swing and jazz are Robillard's clearest influences, on Duke's World Full Of Blues he also tips his hat to artists from Bob Dylan to Memphis Slim to labelmate Eric Bibb, allowing him to stretch much further musically than on previous outings. The first disc finds Robillard in familiar territory, as evidenced by his cover of T-Bone Walker's Treat Me So Lowdown. Few can work a T-Bone riff with as much ease and fluidity as Robillard. But this is not simply another Duke Robillard swing outing. He covers Bob Dylan's Everything Is Broken masterfully, replete with down-to-earth slide riffs. Even James Cotton's Slam Hammer gets the Robillard treatment with solid harp work by Sugar Ray Norcia and rollicking piano from Bruce Bears. Disc two allows Robillard to stretch even more as Duke gets down and dirty on Tom Waits' Low Side Of The Road with the help of Doug James on harp. Robillard also delivers covers of Bo Diddley's Who Do You Love and Jimmy Reed's Bright Lights, Big City but in his own swing-influenced, almost breezy style. Robillard shows he knows how to get funky too, covering Eric Bibb's paean to excess Too Much Stuff. But this release is not just about Duke covering other artists. From the dark and foreboding instrumental Blues Nightmare to Bounce For Billy, Robillard's tribute to guitarist Billy Butler, the original material here shows off his songwriting skills. By & © Dave Ruthenberg Living Blues #191 August 2007

Hats off to Stony Plain for letting Robillard and friends stretch out. All killer, no filler. Celebrated blues and roots music guitarist Duke Robillard's extensive discography includes recording with contemporaries like Bob Dylan, Roomful of Blues (which he founded in 1967 at the age of 17), the Fabulous Thunderbirds, Tom Waits and Herb Ellis as well as icons such as Ruth Brown, Jay McShann, Billy Boy Arnold, Jimmy Witherspoon and the Blind Boys of Alabama. Here he follows last year's Grammy-nominated Guitar Groove-A-Rama release with a two-hour, twin-CD set of blues, jump, swing, funk and original material that traverses the wide cross-section of blues styles he's become familiar with over the years. Most of the titles also allow plenty of room for long time band-mates like Mark Teixeira on drums, John Parker on electric or acoustic bass, saxophonist Doug James and keyboard marvel Bruce Bears to shine as well. Guest shots by harmonica aces "Sugar" Ray Norcia (on a rocking cover of James Cotton's instrumental "Slam Hammer" and Tim Taylor, Gordon Beadle (great gritty baritone sax on the T-Bone Walker tribute "Treat Me So Low Down"), Al Basile, Marty Ballou and guitarists Fred Bates and Paul Kolesnikow among others provide a colorful climate and provide a sense of adventurous exploration to Robillard's musical syllabus of the blues. In addition to a number of resilient originals like the topical "World of Blues," the B.B. King-themed "Gonna Get You Told" and an organ-brushed "Anything It Takes," Robillard stamps his idea-filled imprint on songs by Memphis Slim (his classic instrumental "Steppin' Out"), Buddy Johnson, Bo Diddley (a gospel-cued "Who Do You Love"), Wardell Gray, Booker T. Jones and Jimmy Reed, with a jazzy version of his early hit "Bright Lights, Big City." By & © Gvon T Sing Out! Vol. 51 #3 — Autumn 2007

If there's such a thing as narrow-focus versatility, this set's a prime example. Duke Robillard has cut jazz, swing, rock, and instrumental albums, and he was Tom Waits's 2006 tour guitarist. Now the virtuoso returns to his true love--the music that first brought him acclaim as founder of Roomful of Blues--with two CDs that explore all aspects of the style. Dirty Chicago grinds like "You're Killin' Me Baby" tumble into gentle swingers like Robillard's take on T-Bone Walker's "Treat Me So Lowdown" and the hushed Wes Montgomery-influenced "Stoned." He conjures a raw Mississippi-juke-joint sound to interpret "Everything Is Broken," a tune penned by another former employer, Bob Dylan. And electric and acoustic guitars, plus some lute-like sax, are used to magnify the hoodoo vibe of Waits's "Low Side of the Road." Robillard also experiments with his voice, dropping to his lowest register to echo Bo Diddley's brawny growl as he covers the rock godfather's "Who Do You Love." These 23 numbers culminate with "Stretchin'," a nine-minute guitar-and-organ showcase that evokes the soul-jazz style invented by Jimmy Smith, concluding a "World" tour that'll please blues guitar lovers. © Ted Drozdowski (Editorial Review) http://www.amazon.com/Duke-Robillards-World-Full-Blues/dp/B000PFU8GG

A great 23 track double CD from the great Rhode Island vocalist and guitar stylist, Duke Robillard, ex-Fab Thunderbird and founder of Roomful of Blues. Duke has covered every musical genre and this album is a perfect mix of originals and classics covering blues, rockabilly, jazz, and rock & roll. Buy his great "Swing" album or his outstanding "Stretchin' Out Live" album. Duke's "Duke's Blues" album is @ DUKROB/DBLS His "Turn it Around" album is @ DUKROB/TIA and Joe Beard Featuring Duke Robillard & Friends' "For Real" album is @ JBRD/DUKROB/FR Listen to some of The Fabulous Thunderbirds' albums, some of which feature Duke Robillard, and for music in a similar vein, check out the late, great T-Bone Walker's brilliant "T-Bone Blues" album. [All tracks @ 320 Kbps: CD ONE = 119 MB, & CD TWO = 137 MB]



1. Jump the Blues For You - Duke Robillard
2. Everything Is Broken - Bob Dylan
3. Treat Me So Lowdown - T-Bone Walker
4. Slam Hammer - Johnny Young
5. You're Killin' Me Baby - Duke Robillard
6. Slim Jenkins Joint - Booker T. Jones, Stephen Lee Crooper, Donald V. Dunn, Al Jr. Jackson
7. Sweet Thing - Duke Robillard
8. You Won't Let Me Go - Buddy Johnson
9. Six Inch Heels - Duke Robillard
10. World of Blues - Duke Robillard, Al Basile
11. Look Out - Duke Robillard
12. Stoned - Wardell Grey


1. Gonna's Get You Told - Duke Robillard
2. Monkey Arms - Duke Robillard
3. Who Do You Love - Bo Diddley (Elias McDaniel)
4. Low Side of the Road - Tom Waits, Kathleen Brennan
5. Too Much Stuff - Eric Bibb, David Eric Bronze
6. Blues Nightmare - Duke Robillard
7. Bounce For Billy - Duke Robillard
8. Bright Lights, Big City - Jimmy Reed
9. Steppin' Out - Peter Chatman
10. Anything It Takes - Duke Robillard
11. Stretchin' - Duke Robillard


Duke Robillard (vocals, guitar, saz)
Paul Kolesnikow, Fred Bates (guitar)
John Packer (acoustic bass, electric bass)
Marty Ballou (electric bass)
Bruce Bears (piano, electric piano, organ)
Lonnie Gasperini (organ)
Mark Teixeira (drums)
Doug James (baritone, harmonica, bass clarinet, tenor saxophone, baritone saxophone)
Gordon "Sax" Beadle (tenor saxophone)
Scott Aruda (trumpet)
Al Basile (cornet)
Sugar Ray Norcia, Tim Taylor (harmonica)


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 © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/duke-robillard-p5288/biography


Henry Vestine & The Heat Bros (Canned Heat Related)


Henry Vestine & The Heat Bros - I Used To Be Mad! (But Now I'm Half Crazy) - 2002 - Aim

Guitarist Henry Vestine gained notoriety through his on-again, off-again tenure with boogie rockers Canned Heat. Recorded after a 1981 tour of Australia and New Zealand, Vestine and members of Canned Heat entered a studio in New Zealand to record this affair. But the tapes were shelved for two decades. Yet at the behest of Canned Heat vocalist James Thornbury and a South African fan, this 2002 production marks Vestine's first solo recording. And while the hard-living artist passed away in 1997, these tracks duly intimate his ballsy chops and firmly implanted blues roots. The musicians work through soul-drenched rock numbers and a garage band-type rendition of "Johnny B. Goode," amid a straightforward version of the Canned Heat hit "Let's Work Together." However, one of the highlights features Vestine's soloing on the walking blues-type motif titled "Loquisimo," which is a piece that signifies one of the guitarist's several nicknames. Overall, Vestine's gritty and altogether animated line of attack is prominently displayed, although many of these tracks suffer from a lack of distinction. © Glenn Astarita © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/i-used-to-be-mad-but-now-im-half-crazy-r609443

"The compilation's second disc ("I Used To Be Mad! (But Now I'm Half Crazy)"proves to be just as bluesy and vibrant as the first -- nearly everybody else in the rock world may have been cutting their hair and introducing synthesizers into their music, but not Vestine, as such standouts as "Dust My Broom" and "Sunflower Blues" could easily be mistaken for Canned Heat tracks. For fans who may have lost track of Canned Heat sometime in the '70s, Human Condition Revisited/I Used to Be Mad! (But Now I'm Half Crazy) proves that they were still rockin' and rollin' far beyond Woodstock". - from review of the album "Human Condition Revisited/I Used to Be Mad! (But Now I'm Half Crazy)" © Greg Prato © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/human-condition-revisitedi-used-to-be-mad-but-now-im-half-crazy-r940247/review

At the end of an 1981 tour Canned Heat recorded "I Used To Be Mad! (But Now I'm Half Crazy)" at a studio in New Zealand. This album is credited to the late Henry Vestine, although all Canned Heat's members took part in the recording. It is a good mix of blues rock originals and Rock ''N" Roll and soul covers. Canned Heat (The Heat Bros) were in their prime around this time period. Audio quality is not always top notch, but shouldn't mar your enjoyment of this great boogie/blues rock album [All tracks @ 320 Kbps: File size = 118 Mb]


1 Dust My Broom - Elmore James 4:37
2 Searchin' For My Baby - DeLaParra, Vestine 3:03
3 Sunflower Blues - DeLaParra, Vestine 2:45 **
4 Johnny B Goode - Chuck Berry 3:33
5 Ninety Nine & A Half - Henry Vestine 4:20
6 High School Dance - DeLaParra, Vestine 3:30
7 Loquisimo - DeLaParra, Vestine 7:25
8 The Stumble - Freddie King 3:23
9 Let's Work Together - Wilbert Harrison 3:28
10 I Need $100 - Sam Wilson 5:20 *
11 Kings Of The Boogie - DeLaParra, Hite, Rodriguez, Vestine 3:25
12 On The Road Again - Floyd Jones, Al Wilson 5:09
13 LSD Boogie - DeLaParra, Vestine 4:32

* A track with the same title was composed by Sam Wilson
** A track with the same title was composed by John Fahey


Henry Vestine - Guitar [Lead]
Mike 'The Mouth' Halby - Guitar, Guitar [Lead Between Henry's Two Solos] on Track 7, Lead Vocals on Tracks 5, 6, 11
Ernie Rodriguez - Bass Guitar, Lead Vocals on Tracks 2, 4, 9, 12
Fito de la Parra - Drums, Piano on Track 3
Ricky Kellogg - Harmonica, Lead Vocals on Tracks 1,10


Charles Vestine, a.k.a. “The Sunflower,” was born on Christmas Day, December 25, 1944, in Takoma Park, Maryland, the only son of Harry and Lois Vestine . Henry’s father was from Canada and his mother was from Arkansas. Henry lived in the toughest section of Takoma Park in Prince Georges County. He attended Jay Enos Ray Elementary School and Takoma Park Junior High School. In his late grade school and early junior high years Henry and his friends would spend the summers at an outdoor swimming pool at Coolidge High School in Washington DC. It was there that he, at age 11, and John Fahey , who also was born in Takoma Park, began to learn how to play guitar – trading chords and singing a mixed bag of pop, hillbilly , and country music, particularly Hank WilIiams . Six brothers, all young World War II veterans from a black family named Williams, taught them their first blues licks . The brothers also played country songs and liked to yodel. As he learned to play guitar, Fahey moved musically to country and western and then bluegrass. Henry, on the other hand, followed the blues, branching out into what Fahey called “John Lee Hooker type boogies” and a “plastique” music that was a kind of “soft jump rock.” An early influence on Henry was Roy Buchanan . Henry knew Buchanan and used to go with Fahey to hear to him at a little bar on Highway 1 north of the University of Maryland. Henry’s father was a noted physicist specializing in gravity studies. Shortly after the Soviet Union launched Sputnik he was offered a job in California and moved to Pacific Palisades. Henry took the sudden transplantation hard and shortly after his arrival began what was to be a lifelong association with drugs. He also tried to project an “East Coast Greaser” persona, according to his cousin Martha Magoon, but really had a heart of gold. He was often seen tooling around in a burgundy colored ’57 Chevy with the words “Home of the Blues” stenciled on the side. He also was an Eagle Scout. In California, Henry joined his first band, Hial King and the Newports, in junior high school. By the time he was seventeen he was a regular on the Los Angeles club circuit. He became a familiar sight at many black clubs, where he often brought musician friends to turn them on to the blues. Henry became friends with Cajun guitarist Jerry McGhee. It was from him that Henry learned the flat pick and 3-fingerstyle that was to become so much a part of Henry’s own style.
Henry Part 2 Posted: 01/02/2008
On his first acid trip with a close musician friend, Henry visited an East LA tattoo parlor and got the first of what was to be numerous tattoos: the words “Living The Blues”. That same day he got his first mojo, John the Conqueror root, from a voodoo shop around the corner from the tattoo shop. He would often hang his mojo, in a red bag, on his guitar whenever he played boogie songs. Henry’s love of music and the blues in particular was fostered at an early age when he accompanied his father on canvasses of black neighborhoods for old recordings . Like his father, Henry became an avid collector, eventually coming to own tens of thousands of recordings of blues, hillbilly, country, and Cajun music. At Henry’s urging, his father also used to take him to blues shows at which he and Henry were often the only white people present. This was well before blues had become popular among white audiences. Henry was instrumental in the “rediscovery” of Skip James and other Delta musicians. He was fond of telling the story of how he, Bill Barth, and John Fahey found Skip James in Tunica, Mississippi. In June 1964, the three were on one of many trips they made to the South to canvas rural black communities of old recordings. In Northern Mississippi they learned that Skip James was in the county hospital in Tunica. Henry used to recall that when they walked into his hospital room, Skip James, without previously talking with Henry or knowing the purpose of his visit said he saw “music” around Henry. Fahey also recalls that James asked if they wanted old records and that he had made some in 1931. Fahey also recalls that James then said “You must be pretty stupid. Took you a long time to get here.” While James discussed with friends the wisdom of going north and renewing his musical career, Henry, Fahey, and Barth went to Minden, Louisiana to stay with Fahey’s mother and step-father. While Henry was on a pay phone the three were arrested by the local police who apparently thought they were civil rights agitators. With a little help from Fahey’s stepfather and possibly Henry’s father in paying off the appropriate people, the three were released after a night in jail. Shortly thereafter, James decided to renew his career and was booked at Newport. Fahey plans to recount his many collecting trips to the south in a book he is writing to be entitled “Fahey”. Throughout the early to mid 1960’s Henry played in various musical configurations and frequented after hour jam sessions. It was during this time that he played with Frank Zappa in the original Mothers of Invention. He married his first wife, Sandy, in 1965 but the marriage was to last only a few years. Fahey recalls that by the time he moved to California in the mid-60’s Henry was a fantastic guitar player. In fact, one night Fahey went to a West LA club to hear the Henry Vestine Trio. He sat with the trio’s biggest fans, four male college-aged students. 0ne, who was black, came to study Henry’s guitar playing. He introduced himself to Fahey with the words, “Hi, I’m Jimi Hendrix .” Fahey was to be instrumental in the formation of Canned Heat . In 1966 he met Al Wilson in Boston and asked him to come out to the west coast to help Fahey write his Masters thesis on Charley Patton . He introduced Wilson, who roomed with him, to Henry and Bob and Richard Hite. Henry, Wilson. and the Hite brothers formed a jug band that rehearsed at Don Brown’s Jazz Man record Shop. Shortly after Bob Hite and Alan Wilson formed Canned Heat, Henry was asked to join. As he told a musician friend in his trio at the time, he decided to go with the more rock oriented Canned Heat in order to get rich and see the world. He joined the band and the next year played with them at the Monterey Pop Festival. Canned Heat’s first album was released in 1967. In his liner notes, Pete Welding praised Henry and his incendiary, unbearably exciting lead guitar work. Henry burst into musical prominence as a guitarist who stretched the idiom of the blues with long solos that moved beyond the genres conventional definitions. He had a piercing trademark treble guitar style that was his own. Albert Collins was invited to LA by Canned Heat to record hist first album. Henry did have his favorite guitar players, though, including T-Bone Walker , Johnny ‘Guitar’ Watson , Sonny Sherrock , Freddie King , and Albert Collins . Indeed, shortly after Canned Heat’s first album, Henry and the band met Albert Collins in Texas and invited him out to Los Angeles to record his first album with them on Liberty. Henry had an on-again. off-again relationship with Canned Heat, who had hits with “Going Up The Country” and “0n The Road Again”. Henry either quit or was fired from the band ten times over thirty years. He missed playing at Woodstock in 1969, having quit the band a week earlier. In 1995, he explained to an Australian reporter that “At the time, it was just another gig. It was too bad I wasn’t there , but I just couldn’t continue with the band at the time.” It was shortly after he left the band in 1969 that Henry’s love affair with Harley Davidson motorcycles really took off. He eventually owned eleven of them. Over the years he had also developed a close relationship with the Hell’s Angels. Prior to his death he was looking forward to playing at their 75th Anniversary Celebration. While Canned Heat played at Woodstock in August of 1969, Henry was invited to New York City for session work with avant-garde jazz great Albert Ayler . That session work resulted in two re leases on the Impulse label. Throughout the years Henry was to play with numerous other musicians, perhaps the most notable being John Lee Hooker . Canned Heat met Hooker in the Portland Airport in 1970 and recorded “Hooker N’ Heat” that same year in a recording session that was to be Al Wilson’s last. Henry was to record with Hooker again in the late 1970’s on a second “Hooker N’ Heat” album and again many years later on “The Healer.” Henry traveled the world with Canned Heat, playing throughout Europe, Australia, Asia, and the Americas. He and Bob Hite triggered much of the band’s outrageous and legendary behavior. For Henry getting high wan not an offense – it was a given. The band’s exploits are chronicled by long time drummer Fito de la Parrain a recently published book, “Living with the Blues” that is available through Canned Heats website. In the mid 1970’s Henry married Lisa Lack and moved with her to Anderson, South Carolina. In 1980 they had a son, Jesse. While in South Carolina, Henry had numerous drunk driving arrests as well as difficulties with the IRS. Henry’s marriage broke up and he found his way to Oregon in the Fall of 1983. He lived on a farm in rural Blodgett for a year and then in Corvallis, making a living doing odd jobs and playing music at rodeos and taverns in a blues band with Mike Rosso, an old friend from southern California who had played bass with Albert Collins and who had also moved to 0regon. Henry also played with Ramblin’ Rex.
Henry Part 3 Posted: 01/01/2008
Terry Robb brought Henry to Portland and they did some recording together. Henry began playing with the Pete Carnes Blues Band and made his way to Eugene when the band folded in the mid 1980’s. He played the regional club scene with a number of blues and blues-rock groups including James T. and The Tough. From that band he was to bring James Thornbury to a reconstituted Canned Heat. In recent years, Henry enjoyed touring with Canned Heat in Australia and Europe, where the band had a popularity that far surpassed the recognition they got in the United States. When he returned to Eugene he would play with The Vipers, a group of veteran Eugene blues musicians who perform throughout the Northwest. He continued to record including sessions with Oregon bands such as Skip Jones and The Rent Party Band , Terry Robb, and The Vipers. He also recorded the album “Guitar Gangster” with Evan Johns in Austin. Henry seemed to know that his health was failing. About a month before he left on his final tour with Canned Heat, Henry commented to my partner and me that he wanted his ashes sent to the Vestine Crater on the moon, which had been named posthumously after his father. Henry had finished that European tour with Canned Heat when he died in a Paris hotel on the morning of October 20, 1997, just as the band was to return to the United States. Although he had not seemed well during the latter part of the tour, he resisted suggestions to stop performing, insisting he would be okay. In addition to being a great musician, Henry was also a good and loyal friend to many. After his death one friend succinctly characterized him in a letter to a Eugene paper as follows: “Henry was a delightful personality, almost elfin, and a dualistic persona typical of genius. Very generous, but he loved to bargain. Private, but made himself available. Loved adulation, but admired his heroes with equal fervor. Very independent, but relied on friends. He paid his bills and never forgot his son’s birthday. Henry’s ashes are interred at the Oak Hill Cemetery outside of Eugene, Oregon. A memorial fund has been set up in his name. Contributions to the Henry Vestine Memorial Fund may be made by sending donations in care of OUR Federal Credit Union, PO Box 11922, Eugene, Oregon 97440. The fund will be used for maintenance of his resting place at Oak Hill Cemetery and, when it is possible, for conveyance of some of his ashes to the Vestine Crater on the moon. By & © Jon Silvermoon http://www.vipertoons.com/henry/


Larry Coryell

Larry Coryell - Laid Back & Blues: Live at the Sky Church in Seattle - 2006 - Rhombus Records

Laid Back & Blues finds journeyman jazz guitarist Larry Coryell performing live with his quartet at the Sky Church in Seattle, WA. Backing Coryell here are pianist Mark Seales, bassist Chuck Deardorf, and drummer Dean Hodges. Also joining in for an inspired off-the-cuff take on Tracy Chapman's "Gimme One Reason" is vocalist Tracey Piergross. Throughout, Coryell does a nice job of mixing in such jazz standards as "Body and Soul" and "Straight No Chaser" alongside his more contemporary and challenging compositions including "The Dragon's Grate" and the pretty midtempo ballad "Tracy." This is an intimate-sounding album that truly showcases Coryell's superb post-bop style and deft guitar technique. © Matt Collar © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/laid-back--blues-live-at-the-sky-church-in-seattle-r853122

The immensely talented fusion guitarist, Larry Coryell plays a stunning live set of seven originals and three standards at Sky Church room at the Experience Music Project in Seattle, WA. Without a doubt, Larry Coryell is one of the world's greatest jazz/fusion guitarists, and his technique is stunning on this album. He is backed by some of Seattle's greatest jazz players including pianist Marc Seales, bassist Chuck Deardorf and drummer Dean Hodges. Tracey Piergross sings guest vocals on “Gimme One Reason” and unusually, Larry adds vocals to “Rock Me Baby”. This album is VHR by A.O.O.F.C, and Larry continues to be a groundbreaking force in the guitar world. Larry's "Fairyland" album is @ LARCOR/FYLAND and Larry Coryell & Steve Khan's "Two For The Road" album @ LARCOR-SKHN/24TR Listen to Larry Coryell and the late Emily Remler's "Together" album. Larry's "Tricycles" and "Barefoot Boy" albums are also classic jazz fusion albums. [All tracks @ 320 Kbps: File size = 137 Mb]


1. No More Booze Minor Blues - Larry Coryell (8:29)
2. Intro to Tracey - Larry Coryell (1:31)
3. Tracey - Larry Coryell (7:36)
4. Gimme One Reason/Rock Me Baby - Tracy Chapman, Joe Josea, B.B. King (4:38)
5. Body & Soul - Greene, Heyman, Sour (8:27)
6. Intro to Straight No Chaser - Larry Coryell (0:35)
7. Straight No Chaser - Thelonious Monk (8:19)
8. Denver in April - Larry Coryell (5:05)
9. The Dragon’s Gate - Larry Coryell (8:15)
10. Not Exactly Like BB - Larry Coryell (7:17)


Larry Coryell - Guitars, Vocal on "Rock Me Baby"
Chuck Deardorf - Bass
Marc Seales - Piano
Dean Hodges - Drums
Tracey Piergross - Vocals on "Gimme One Reason/Rock Me Baby"


As one of the pioneers of jazz-rock -- perhaps the pioneer in the ears of some -- Larry Coryell deserves a special place in the history books. He brought what amounted to a nearly alien sensibility to jazz electric guitar playing in the 1960s, a hard-edged, cutting tone, phrasing and note-bending that owed as much to blues, rock and even country as it did to earlier, smoother bop influences. Yet as a true eclectic, armed with a brilliant technique, he is comfortable in almost every style, covering almost every base from the most decibel-heavy, distortion-laden electric work to the most delicate, soothing, intricate lines on acoustic guitar. Unfortunately, a lot of his most crucial electric work from the '60s and '70s is missing on CD, tied up by the erratic reissue schemes of Vanguard, RCA and other labels, and by jazz-rock's myopically low level of status in the CD era (although that mindset is slowly changing). According to Coryell, his interest in jazz took hold at the age of four, and after his family moved from Galveston to the state of Washington three years later, he began to learn the guitar, studying records by Tal Farlow, Barney Kessel and Johnny Smith. As a teenager, he played in a band led by pianist Mike Mandel, and by 1965, he gave up his journalism studies at the University of Washington in order to try his luck in New York as a musician. Before the year was out, he attracted much attention jamming in Greenwich Village and replaced Gabor Szabo in Chico Hamilton's band. In 1966, he made a startling recorded debut on Hamilton's The Dealer album, where his blues and rock ideas came to the fore, and that year, he also played with a proto-jazz-rock band, the Free Spirits. Coryell's name spread even further in 1967-68 when he played with Gary Burton's combo, and he was one of the most prominent solo voices on Herbie Mann's popular Memphis Underground album (recorded in 1968). He, Mandel and Steve Marcus formed a group called Foreplay in 1969 (no relation to today's Fourplay), and by 1973, this became the core of the jazz-rock band Eleventh House, which after a promising start ran aground with a string of albums of variable quality. In 1975, Coryell pulled the plug, concentrating on acoustic guitar and turning in a prolific series of duo and trio sessions with the likes of Philip Catherine, Emily Remler, John Scofield, Joe Beck, Steve Khan and John McLaughlin. In the mid-'80s, Coryell toured with McLaughlin and Paco DeLucia, and in 1986 participated in a five-way guitar session with his old idol Farlow, Scofield, Larry Carlton and John Abercrombie for the Jazzvisions series. Coryell has also recorded with Stephane Grappelli, Charles Mingus, Sonny Rollins and Kenny Barron, and has taped Brazilian music with Dori Caymmi for CTI, mainstream jazz for Muse, solo guitar for Shanachie and Acoustic Music, and (for Nippon Phonogram in Japan) an album of classical transcriptions of music by Stravinsky and Rimsky-Korsakov. In other words, Coryell will probably remain as eclectic as ever throughout his career, which will no doubt make life difficult for musicologists with a yen for pigeonholing. Coryell's career in the 21st century has been just as active. 2004 saw the release of Tricycles, an excellent trio date with drummer Paul Wertico and bassist Mark Egan. Electric from 2005 found Coryell playing jazz standards and rock anthems with Lenny White on drums and Victor Bailey on electric bass. In 2006, he released the performance album Laid Back & Blues: Live at the Sky Church in Seattle. © Richard S. Ginell 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/larry-coryell-p6340/biography


Sting - Live In Berlin (AUDIO CD) - 2010 - UMG Recordings Inc.

"Live In Berlin" was recorded on September 21st, 2010 at Berlin's O2 Arena as part of Sting's acclaimed Symphonicity world tour, and features fourteen of Sting's best songs re-imagined for symphonic arrangement and featuring the Royal Philarmonic Concert Orchestra conducted by Steven Mercurio. One review of the DVD/CD package stated that "it is more like the Royal Philharmonic Concert Orchestra performing the music of Sting, featuring Sting, instead of Sting and his band backed by the Royal Philharmonic Concert Orchestra". There is no doubt that these arrangements can be overwhelming at times and can often detract from the original album versions. Nothing here eclipses the studio versions, but Sting's vocals are good and the quality of the songs is distinguished by outstanding musicianship throughout. The great saxophonist, Branford Marsalis plays on "Englishman In New York", and "Whenever I Say Your Name". It is worthwhile looking at the 22 track DVD version of this concert which was mixed by the great Elliot Scheiner. Listen to Sting's "Nothing Like the Sun" and "The Soul Cages" albums [All tracks @ 320 Kbps: 2 x rar files: Pt 1 (Tracks 1-7) = 96.2 Mb, & Pt 2 (Tracks 8-14 = 83.6 Mb]


1 If I Ever Lose My Faith in You 4:46
2 Englishman in New York 4:38
3 Fields of Gold 3:35
4 Why Should I Cry for You? 7:45
5 All Would Envy 5:36
6 Tomorrow We'll See 4:48
7 The End of the Game 6:21
8 Whenever I Say Your Name 7:21
9 Shape of My Heart 4:49
10 Moon Over Bourbon Street 6:04
11 Mad About You 4:45
12 King of Pain 5:39
13 Desert Rose 4:44
14 Fragile 4:50

All songs composed by Sting except "Shape of My Heart" by Sting & Dominic Miller, and "Desert Rose" by Sting & Cheb Mami


Sting - Guitar, Vocals
Dominic Miller - Guitar
Ira Coleman - Bass
Kylie Davies, Nicola Davenport, Rebecca Welsh - Double Bass
Clive Dunstall - Keyboards, Piano
Rhani Krija, Kevin Earley, David Cossin - Percussion
Stephen Quigley - Tympani
Branford Marsalis - Saxophone
Chris Cotter, Miles Maguire - Trumpet
Robert Price - Trombone
Tim Anderson, Nicholas Ireson, Alex Hambleton - French Horn
Jacqueline Hayter - Bassoon
Helen Barker - Oboe
Charys Green, Massimo Di Trolio - Clarinet
David Cuthbert, Ian Mullin - Flute
Cristina Gestido, Nozomi Cohen, Amanda Denley, Graeme McKean, Henrietta Ridgeon - Viola
Gerald Gregory, James Dickenson, Vernon Dean, Nia Bevan, Susan Croot, Miranda Allen, Karen Anstee, Stephen Kear, Susan Watson, Dorina Markoff, Martin Lissolla, Joanna McWeeney, Catriona Parker, Clare Raybould, Kirra Thomas, Kaoru Yamada - Violin
Roz Gladstone, Daniel Hammersley, Gemma Kost, Toby Turton, Tim Smedley - Cello
Daniel De Fry - Harp
Jo Lawry - Vocals
Ian Brignall - Orchestra Director
Steven Mercurio - Conductor, Orchestration
David Hartley, Vince Mendoza, Michel Legrand, Jorge Calandrelli - Orchestration
Elliot Scheiner - Mixing, Surround Mix


After disbanding the Police at the peak of their popularity in 1984, Sting quickly established himself as a viable solo artist, one obsessed with expanding the boundaries of pop music. Sting incorporated heavy elements of jazz, classical, and worldbeat into his music, writing lyrics that were literate and self-consciously meaningful, and he was never afraid to emphasize this fact in the press. For such unabashed ambition, he was equally loved and reviled, with supporters believing that he was at the forefront of literate, intelligent rock and his critics finding his entire body of work pompous. Either way, Sting remained one of pop's biggest superstars for the first ten years of his solo career, before his record sales began to slip. Before the Police were officially disbanded, Sting began work on his first solo album late in 1984, rounding up a group of jazz musicians as a supporting band. Moving from bass to guitar, he recorded his solo debut, 1985's The Dream of the Blue Turtles, with Branford Marsalis, Kenny Kirkland, and Omar Hakim. The move wasn't entirely unexpected, since Sting had played with jazz and progressive rock bands in his youth, but the result was considerably more mature and diverse than any Police record. The album became a hit, with "If You Love Somebody Set Them Free," "Love Is the Seventh Wave," and "Fortress Around Your Heart" reaching the American Top Ten. Sting brought the band out on an extensive tour and filmed the proceedings for a 1986 documentary called Bring on the Night, which appeared alongside a live double album of the same name. That year, Sting participated in a half-hearted Police reunion that resulted in only one new song, a re-recorded version of "Don't Stand So Close to Me." Following the aborted Police reunion, Sting began working on the ambitious Nothing Like the Sun, which was dedicated to his recently deceased mother. Proceeding from a jazz foundation, and again collaborating with Marsalis, Sting worked with a number of different musicians on the album, including Gil Evans and former Police guitarist Andy Summers. The album received generally positive reviews upon its release in late 1987, and it generated hit singles with "We'll Be Together" and "They Dance Alone." Following its release, Sting began actively campaigning for Amnesty International and environmentalism, establishing the Rainforest Foundation, which was designed to raise awareness about preserving the Brazilian rainforest. An abridged Spanish version of Nothing Like the Sun, Nada Como el Sol, was released in 1988. Sting took several years to deliver the follow-up to Nothing Like the Sun, during which time he appeared in a failed Broadway revival of The Threepenny Opera in 1989. His father also died, which inspired 1991's The Soul Cages, a dense, dark, and complex album. Although the album peaked at number two and spawned the Top Ten hit "All This Time," the record was less successful than its predecessor. Two years later, he delivered Ten Summoner's Tales, a light, pop-oriented record that became a hit on the strength of two Top 20 singles, "If I Ever Lose My Faith in You" and "Fields of Gold." At the end of 1993, "All for Love," a song he recorded with Rod Stewart and Bryan Adams for The Three Musketeers, became a number one hit. The single confirmed that Sting's audience had shifted from new wave/college rock fans to adult contemporary, and the 1994 compilation Fields of Gold: The Best of Sting played to that new fan base. Three years after Ten Summoner's Tales, Sting released Mercury Falling in the spring of 1996. Although the album debuted highly, it quickly fell down the charts, stalling at platinum sales and failing to generate a hit single. Although the album failed, Sting remained a popular concert attraction, a feat that confirmed his immense popularity regardless of his chart status. Released in 1999, Brand New Day turned his commercial fortunes around in a big way, though, eventually going triple-platinum and earning two Grammy Awards. Issued in 2003, Sacred Love also did well, and Sting spent several years with the reunited Police before returning to his solo game for 2009's If on a Winter's Night.... One year later, he hit the road alongside the Royal Philharmonic Concert Orchestra, who added their own symphonic arrangements to his material. Symphonicities, a companion CD, and Live in Berlin, released in conjunction with the world tour, arrived that same year. © Stephen Thomas Erlewine © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/sting-p5536/biography


Rebecka Törnqvist

Rebecka Törnqvist - Tremble My Heart - 1998 - EMI

With its sophisticated, jazzy sound, "Tremble My Heart" demonstrates Rebecka's confident and secure vocals as well as her songwriting talents. Some of the backing musicians include part of the Swedish jazz elite, including Per "Texas" Johansson, Johan Lindström , Mats Lidstrom , and Sara Isaksson. With Sara, Rebecka recorded the classic Steely Dan covers album, "Fire In The Hole". Vocalists like Rebecka Törnqvist and Viktoria Tolstoy were crucial in starting the '90s wave of female jazz vocalists in Sweden, and were instrumental in promoting interest in the whole genre. This album is not strictly jazz, but is more in the jazz-pop mould. The instrumentation and sound is jazzy, while the approach leans towards pop. When Swedish jazz-pop had proved itself marketable in the late '90s, it lost much of it's quality, but Rebecka Törnqvist still produces very worthwhile albums and remains a talented songwriter. She penned six of the albums' tracks and was involved in composing the other five tracks. A really classy album, and HR by A.O.O.F.C. Listen to Rebecka's "A Night Like This" album and Sara Isaksson & Rebecka Törnqvist's inspired masterpiece "Fire In The Hole" album @ REB.TORN/SAR.ISAK/FITH [All tracks @ 128 Kbps: File size = 39.8 Mb] N.B: A higher bitrate does not always mean better audio quality. A lot depends on the audio source, and various audio conversion and compression factors. The album here is of excellent sonic quality


1 What I Thought Was Mine - Törnqvist 2:55
2 I Let Mine Go - Törnqvist 4:13
3 Make Believe (Is Always for Tonight) - Svenre, Törnqvist 4:50
4 I Couldn't Love You Anymore - Törnqvist 2:23
5 Tongue Tie - Johansson, Lindström, Törnqvist 3:38
6 I Have No Worries - Törnqvist 1:16
7 Tremble My Heart - Törnqvist 3:21
8 Princess Days - Johansson, Törnqvist 5:17
9 As I Am - Johansson, Törnqvist 2:20
10 Mayday - Lindström, Svenre, Törnqvist 4:09
11 Mutiny - Törnqvist 2:59


Rebecka Törnqvist - Piano, String Arrangements, Vocals, Background Vocals
Johan Lindström - Electric Guitar, Acoustic Guitar, Pedal Steel, Electric Bass, String Arrangements, Background Vocals
Per "Texas" Johansson - Guitar, Saxophone, Clarinet, Background Vocals
Pal Svenre - Electric Piano, Upright Piano, Synthesizer, String Arrangements, Background Vocals
Ulrika Frankmar, Ulf Forsberg - Violin
Mats Lidstrom - Cello
Leif Lindvall - Trumpet
Sara Isaksson - Duet, Vocals
Andre de Lange - Background Vocals


Rebecka Törnqvist was born in the university town Uppsala, north of the Swedish capital Stockholm. Daughter of a journalist/teacher mother and physicist/musician father, Törnqvist spent parts of her childhood in Lesotho and Kenya before returning home to boarding school. She began writing songs at the age of five and a few years later moved onto confiscating the family radio in the dead of night to record music from Radio Luxemburg and other foreign stations. Alongside classical and East African music and the songs of Alice Tégner it was pop music, which kept Törnqvist company and provided respite as the family uprooted itself at regular intervals. In 1993, the strongly jazz-derived debut album “A Night Like This” was released to critical and unexpected commercial success. The following album “Good Thing” played extensively on the radio and propelled Törnqvist onto the continental and Japanese markets. The collaboration with the Grammy Award-winning musician Per “Texas” Johansson led to the album ”The Stockholm Kaza Session”. It was produced on the Kaza label that Törnqvist had created with Kjell Andersson, legendary A&R at EMI. ”Tremble My Heart” (1998) was a milestone in Törnqvists work as she considers it to be her first “own” album, marking a change in her composing and of musical concept.. Pål Svenre remained as producer while Johan Lindström entered as arranger och guitarist. The collaboration with Lindström had great impact on Törnqvists music making, and 2006 he produced ”Melting Into Orange”, followed by ”The Cherry Blossom And the Skyline Rising from the Street” 2008. Earlier Törnqvist had joined forces with Sara Isaksson as singers in the new group “Gloria”. The song “Party On My Own” became a minor hit from the first album. Isaksson and Törnqvist returned as a duo a few years later to produce “Fire In The Hole”, acoustic interpretations of Steely Dan’s music. In 2006 Törnqvist worked with producer Jari Haapalainen on her contribution to the Olle Adolphson-homage album “Dubbeltrubbel”. Thoughts of a future and more extensive collaboration took hold and has now come to fruition with the upcoming album “Scorpions”. Törnqvist lives in the countryside where she is torn between her cosmopolitan yearnings and her gardening hermit romanticism. © http://www.rebeckatornqvist.se/me


Wayne Krantz Funk Trio

Wayne Krantz Funk Trio - 2000 Live Skeppsholmen Jazzfest - 2000 - Unoff.

Recorded on Skeppsholmen Island near the King's Palace and Gamla Stan, Stockholm, Sweden on July 20th 2000 and broadcast on Swedish radio, as part of Stockholm's annual major summer jazz festival. This is a great album of jazz rock/fusion from three masters of their instruments. There is some ferocious guitar playing here from Wayne Krantz. The bass work from Tim Lefebvre, is an education in itself, and of course the drumming from the unbelievably talented Keith Carlock is out of this world. There are some quiet moments on the album, but overall it's very, very impressive. The three guys produce some magical grooves. Listen to Wayne Krantz and Leni Stern's "Separate Cages" album. You can also hear some of Wayne's superb guitar work on Donald Fagen's "Morph The Cat" album. It is also worthwhile listening to Keith Carlock on Marian McPartland's "Piano Jazz: McPartland/Steely Dan", a great in-studio radio recording. Check out John Petrucci's great "Suspended Animation" album which features Tim Lefebvre. For music in a similar vein, listen to the late Emily Remler's "Transitions" music. Check out the Wayne Krantz, Keith Carlock, Tim Lefebvre "Krantz Carlock Lefebvre" album @ KR-CA-LE and search this blog for more Wayne Krantz. [All tracks @ 192 Kbps: File size = 72.9 Mb]


1 Composition #1 / Short Band Intro
2 Composition # 2
3 Composition # 3
4 Composition # 4
5 Composition # 5 / Band Intros
6 Composition # 6 / Talking to Audience about "Greenwich Mean" album
7 Composition # 7

All music composed by W. Krantz &/or Tim Levebre, Keith Carlock


Wayne Krantz - Guitar
Tim Levebre - Electric bass
Keith Carlock - Drums


Keith Carlock is an American drummer originally from Clinton, Mississippi. He currently resides in New York City, NY. He has recorded and/or toured with such musical luminaries as Sting, Steely Dan, James Taylor, Donald Fagen, Walter Becker, Diana Ross, Faith Hill, The Blues Brothers Band, Leni Stern, David Johansen and the Harry Smiths, Richard Bona, Chris Botti, Wayne Krantz, Harry Belafonte, Oz Noy, Clay Aiken, Rascal Flatts, Paula Abdul and Grover Washington, Jr, to name a few. Perhaps the greatest testament to Carlock's mastery of the drums lies in him being the exclusive drummer for every track on Steely Dan's latest CD Everything Must Go (Steely Dan has used multiple drummers on each of the last several albums they've released over the past three decades, presumably because Walter Becker and Donald Fagen, with a reputation for relentless perfection in the studio, wanted a "specialist" drummer for each different groove required for a given song). While in the Jazz Studies program at the University of North Texas, Keith studied with many teachers, including Ed Soph. Keith is also the long time boyfriend of Ruff Ryders/Ruff Pop pop/rock singer/songwriter Lynne Timmes. In October 2009 he released an instructional DVD called "The Big Picture: Phrasing, Improvisation, Style, and Technique."


Wayne Krantz (born July 26, 1956 in Corvallis, Oregon) is an innovative American musician, who is widely recognized as a technically advanced jazz fusion guitarist. He has played with top artists such as Steely Dan, John Zorn, Michael Brecker, Billy Cobham, and others, but currently has a solo act. Krantz released his first album, Signals, in 1991, sporting an array of recognized jazz musicians such as Dennis Chambers, Leni Stern, Anthony Jackson, and others. However, in 1992, he formed a trio with bassist Lincoln Goines and drummer Zach Danziger, and recorded two albums with them; Long To Be Loose, in 1993, and a live album, 2 Drink Minimum, in 1995. In doing so, he began to play periodically at the 55 Bar, a diverse and premier jazz club in New York City. In 1996, Krantz released an acoustic album with Leni Stern, dubbed Separate Cages. Wayne formed a new trio in 1997, consisting of his ferocious guitar skills, complemented by Tim Lefebvre on electric bass and Keith Carlock on drums, new sounds that would change his music's style drastically. On June 28, 2007, Krantz played his final regular Thursday night gig at NYC's 55 Bar. In an announcement by Krantz to his mailing list notifying his fans of the change, he stated a desire to move towards a "louder thing" requiring "bigger rooms, with stages and sound systems to pull it off." Krantz's first three solo albums were released on the jazz label, Enja Records, which was at the time also home to frequent collaborator Leni Stern. However, Krantz's last three albums, 1999's Greenwich Mean, 2003's Your Basic Live, and 2007's "Your Basic Live '06" were both released from Wayne's private website. Like 2 Drink Minimum, these two albums both are excerpts of various sets at the 55 Bar. These two albums also include more use of effects pedals, and are more unscripted and improvised than the previous three, implying Wayne's tendency towards nonconformism on and off the stage. He contributed to Steely Dan co-founder Donald Fagen's newest release, Morph the Cat, and participated in touring with Fagen's band in early 2006. In another rare sideman role, Krantz is featured on tenor saxophonist Chris Potter's 2006 release, "Underground." Additionally, he is to return to the studio in 2006 to record a new solo album, to be followed by touring. It is unknown whether this new album will feature Wayne's existing trio. Even with a lack of a record company, and thus an absence of excessive advertisement and sponsorship, Krantz's music still receives acclaim and a worldwide underground fan base, strongest in the New York metropolitan area and Britain. Wayne Krantz signed with record label Abstract Logix to release his first studio record in over fifteen years.Krantz Carlock Lefebvre (2009) features the core trio of Keith Carlock on drums, Tim Lefebvre on bass, and Wayne on guitar. As a guitarist, Krantz is known for being a relentless individualist, which is evidenced in his improvisational style. In his book "An Improviser's Operating System," Krantz outlines his approach to improvisation, which relies not on licks or memorized fretboard patterns but an awareness of musical "formulas" on the instrument. Krantz's improvisation is known for its spontaneity, and he makes a distinction between this form of improvisation and "composition," the latter of which may include any musical idea that is preconceived on the instrument. While many guitarists rely on other music as a model for their own playing, Krantz is highly committed to realizing his own voice on the instrument and claims not to derive a great deal of inspiration from other music. Though Krantz has studied other players in the past, he does not consider himself a stylist (i.e. someone who models his or her playing on a predefined stylistic template, such as pure bebop, rock, blues or funk.) In addition to its concern for melody and harmony, Krantz's music demonstrates a high rhythmic awareness, often incorporating polyrhythms, odd metric groupings and displaced beats. Krantz is most identified with a Stratocaster-type electric guitar. Recently he has played a model manufactured by Tyler Guitars. Earlier releases such as "Signals" feature a chorus effect commonly associated with fusion guitar. Within several years, however, his sound became more organic, featuring analog effects such as overdrive, wah-wah, and a Moogerfooger ring modulator. For amplification, Krantz has used both Fender Deluxe Reverb and, more recently, Marshall amplifiers for a heavier sound. On May 22, 2004, Krantz married smooth jazz vocalist Gabriela Anders. Together they live in New York City with their daughter Marley.


Tim Lefebvre (bass) is one of the most skilled and sought after bass players in NY. Tim has made appearances in Saturday Night Live's house band over the last few years - his work has also been heard on The Apprentice, The Sopranos, Late Show With David Letterman, The Knights of Prosperity (CBS), 30 Rock (NBC), Oceans 12, Ocean 's 13, The Departed, Harold & Kumar Go To White Castle, and Analyze That!. Tim was the Musical Director/Leader on The Caroline Rhea Show on ABC and has appeared recently with Chris Potter, Patti Austin, Uri Caine, and Dave Binney. This summer Tim is touring with Chuck Loeb, Dennis Chambers, Till Bronner, Eric Marienthal and Jim Beard. Tim brings his incredible support and huge low sounds to the Rudder vibe. © All About Jazz and/or contributing writer/visual artist. All rights reserved

Napoleon Murphy Brock

Napoleon Murphy Brock - After Frank: 1st Movement (Feat. Gregarious Movement) - 2008 - Crossfire

Napoleon Murphy Brock's three-year stint alongside Frank Zappa coincided with some of the main man's most contentious albums, at least if period reviews are anything to go by; 30 years on, of course, Apostrophe, One Size Fits All, and the Beefheart collaboration Bongo Fury are as well loved as the rest of the Mothers catalog, funky instincts and all. At the time, though, his willingness to study (say it softly) dance music, even if he did so quietly, raised many a quizzical eyebrow. After Frank takes those once-suspect rhythms and wraps them around your head. Recounting Brock's post-Zappa activities, it's a five-track disc recorded live in Santa Cruz in 1977 with his new band, Gregarious Movement, having such a wild time that even the vaguely muffled sound quality only packs on the ambience of the evening. Three Ohio Players covers dominate the set, but it's good times à go go regardless, as band interacts with audience, rhythms melt and float into one another, and Al Green's "Let's Stay Together" is as smooth and sultry as you could wish. In fact, the only criticism is -- can we have some more, please? © Dave Thompson © 2011 Rovi Corporation. All Rights Reserved. http://www.allmusic.com/album/after-frank-1st-movement-r1389238

A live 1977 recording of Gregarious Movement, the funk band formed by Napoleon Murphy Brock after leaving the Zappa band. This is the first part of Napoleon Murphy Brock's archival series of recordings made before and after his time with Frank Zappa. Three of the five extended tracks are Ohio Players classics done in Gregarious Movement's unique style: "Skin Tight," "Heaven Must Be Like This" and "Fire." Billy Ingram scores on The Five Stairsteps' "O-o-h Child", while Napi turns in a brilliant lead vocal on Al Green's "Let's Stay Together". Really good funk from NMB (ex-Zappa). The album has been called "cheesy" in some quarters, but the guys are covering songs by Al Green, The Ohio Players, and The Five Stairsteps - All soul/funk standards. There was a lot of very cheesy music about in the '70's disco/funk era, but NMB and his band members definitely brought something new to these songs. This is archive stuff, so don't expect perfect sound quality. It's good that these recordings have been preserved. Listen to Napoleon Murphy Brock's "Balls" album. [All tracks @ 320 Kbps: File size = 101 Mb]


Skin Tight - Beck, Bonner, Jones, Middlebrooks, Ohio Players, Pierce, Satchell, Williams
Heaven Must Be Like This - Bonner, Jones, Middlebrooks, Satchell, Williams
Let's Stay Together - Green, Jackson, Mitchell
O-o-h Child - Stan Vincent
Fire - Beck, Bonner, Jones, Middlebrook, Ohio Players, Satchell, Williams


Napoleon Murphy Brock - Vocals, Saxophone, Percussion
Thomas Reed - Guitar
Clifford Coulter - Vocals, Piano, Synthesizer, Organ, Keyboard Bass
Billy Ingram - Vocals, Drums, Percussion


Napoleon Murphy Brock is an American Grammy Award winning singer, saxophonist and flautist who is best known for his work with Frank Zappa in the 1970s, including the albums One Size Fits All, Roxy and Elsewhere, and Bongo Fury. His own most memorable vocal accomplishments are illustrated on the songs "Village of the Sun" and "Florentine Pogen." Napoleon Murphy Brock's numerous performances include the role of the "Evil Prince" on Zappa's Thing-Fish album. He has also performed with George Duke, Captain Beefheart and more recently with Neonfire and Robert Kramer. He remains a regular performer at Zappanale. Brock appeared in the 2005 film Rock School, a documentary about The Paul Green School of Rock Music, an extracurricular music program that he and Project/Object have closely supported for several years. In 2006, he toured with Frank Zappa's son Dweezil on the latter's Zappa Plays Zappa shows. He also regularly tours with fellow Zappa alumnus Ike Willis and others with Andre Cholmondeley's Project/Object. Other Zappa related projects he's been involved with include the Tampa, Florida based band Bogus Pomp, and the 16 piece Ed Palermo Big Band from New York City. He is most frequently seen fronting the Grande Mothers Re-Invented with Roy Estrada and Don Preston (the only Frank Zappa alumni from the Mothers of Invention regularly performing the music of Frank Zappa). They have over 91 performances since 2002. At the 51st Grammy Awards on February 8, 2009, Napoleon won a Grammy for his performance of the song "Peaches en Regalia" with the band Zappa Plays Zappa, which also featured Steve Vai. The song was originally written by Frank Zappa and released on the album Hot Rats © 2006 Tarnius Music Inc http://www.tarniusmusic.com/Soul/NapoleonMurphyBrockfeatGregariousMovement/AfterFrank-1stMovement/