Get this crazy baby off my head!


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]


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


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


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


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]


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


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


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 - 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]


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


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


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]


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


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


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]


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


Louis Stewart, Martin Taylor - Guitars


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


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.


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]


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


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)


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]


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


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)


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


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.


Mark Whitfield

Mark Whitfield- 7th Ave. Stroll - 1995 - Verve Records

A talented guitarist influenced by George Benson and versatile enough to play straight-ahead jazz or R&B, Mark Whitfield was originally a bassist. At 15 he switched to guitar and soon won a scholarship to Berklee. After graduating from Berklee in 1987, he temporarily moved to Brooklyn and appeared at many sessions. George Benson suggested he work for Jack McDuff and that association was a big break for Mark. He has since recorded as a leader for Warner Bros. and Verve, and as a sideman with many players including Jimmy Smith, Nicholas Payton, Ray Brown, and Courtney Pine.

"7th Ave. Stroll" is a critically acclaimed album in the jazz guitar world. Mark plays with a rhythmic and harmonic complexity in piano-like fashion. His melodic lines have an angular quality adding an exciting feel to his playing. Drummer Gregory Hutchinson, plays in rhythmic unison with Mark, and Christian McBride and Dave Holland's bass work is perfectly suited to Mark's playing style. Stephen Scott and Tommy Flanagan's piano playing is superb. "Harlem Nocturne" is covered brilliantly, but all the tracks are great. The album includes seven Mark Whitfield originals. A great album and a wonderful example of the sophistication of the guitar in contemporary jazz. The album is VHR by A.O.O.F.C. For music in the same vein, check out the early work of the incomporable George Benson, Larry Coryell, and the late Emily Remler. Buy Mark's "True Blue" album and support great jazz guitar [All tracks @ 320 Kbps: File size = 151 Mb]


1 Washington Square Thoroughfare - Mark Whitfield 5:45
2 Harlem Nocturne - Earle H. Hagen, R. Rogers 8:10
3 7th Ave. Stroll - Mark Whitfield 6:44
4 A Brooklyn Love - Mark Whitfield 6:59
5 Businessman's Bounce - Mark Whitfield 6:47
6 Spring In Manhattan - A.S. Reach, Alice Scanlan Reach, Anthony James Scibetta, Anthony Scibetta 6:47
7 Sunday In New York- Earle H. Hagen, R. Rogers 5:38
8 The Bowery Blues - Mark Whitfield 4:55
9 Sunset At Waterside - Mark Whitfield 6:23
10 Headin' To The Wes'side - Mark Whitfield 4:45
11 Autumn In New York - Vernon Duke 5:39


Mark Whitfield - Guitar (tracks: 1 to 11)
Christian McBride - Bass (tracks: 1, 3, 4, 6, 8, 10),
Dave Holland - Bass (tracks: 2, 5, 7, 9, 11)
Stephen Scott - Piano (tracks: 1, 3, 4, 6, 8, 10),
Tommy Flanagan - Piano (tracks: 2, 5, 7, 9, 11)
Gregory Hutchinson - Drums (tracks: 1, 3, 4, 6, 8, 10)
Al Foster - Drums (tracks: 2, 5, 7, 9, 11)


Mark Whitfield (c. 1967) is an American hard bop and soul-jazz guitarist born in Syosset, New York, probably better known for his recordings as bandleader for both the Verve and Warner Bros. Records record labels. He has worked with Jack McDuff, Jimmy Smith, Courtney Pine and Nicholas Payton, Chris Botti, among others. Mark Whitfield graduated from Boston's Berklee College of Music, the institute for the study of Jazz and modern American music, in the Spring of 1987 having studied composition and arranging as well as all styles of guitar performance. Upon graduation, he returned to his native New York to embark on a career as a jazz guitarist that afforded him the opportunity to collaborate with many artists including Dizzy Gillespie, Art Blakey, Clark Terry, Jimmy Smith, Carmen McRae, Herbie Hancock, Quincy Jones, Jack McDuff, Betty Carter, Shirley Horn, Ray Charles, Gladys Knight, Burt Bacharach, Joe Williams, Wynton Marsalis, Branford Marsalis, Stanley Turrentine and his greatest teacher and mentor George Benson. Along the way, the New York Times dubbed Whitfield "The Best Young Guitarist in the Business" and in September 1990 Warner Bros. released his solo debut, "The Marksman". The success of this release has led to a recording career that has produced 14 solo projects to date and collaborative efforts with important artists in recent years: Sting, D'Angelo, Mary J. Blige, Chaka Khan, John Mayer, Jill Scott, Roy Hargrove, Diana Krall, Lauryn Hill, Sy Smith and Chris Botti. In September 2005, Mark Whitfield accepted the invitation to join the faculty at his alma mater, teaming up with Joe Lovano, Ralph Peterson, Danilo Perez and Terri Lyne Carrington as "Artists in Residence" at the Berklee School. While maintaining a teaching schedule that requires his presence on campus 1 day a week for 14 weeks/per semester, and a touring schedule that includes at least 100 concert dates/per year with trumpeter Chris Botti, Whitfield still manages to remain active as a solo artist and 2008-2009 will see the release of his latest solo effort; a Stevie Wonder tribute entitled "Songs Of Wonder" and 2 collaborative projects with long time friends Christian McBride and Nicholas Payton. In 2000, Whitfield released an instructional guitar video titled Mark Whitfield: Star Licks Master Sessions, for Star Licks Productions.


Elkie Brooks - Pearls III Close To The Edge - 1991 - Freestyle Records

Elkie Brooks has long been one of Britain's greatest and most enduring jazz blues singers. She may be remembered by many people as a member of the brilliant but short lived blues rock band, Vinegar Joe, which also included the late Robert Palmer. The self titled 1972 "Vinegar Joe" album, featuring Elkie Brooks is a classic early seventies blues rock album, and worth listening to. "Pearls III Close To The Edge" is not one of her strongest albums, and is more in the mainstream mould than her roots blues and rock side. Arguably she is at her best when singing in these genres, but similar to vocalists like Paul Carrack, and Paul Rodgers, Elkie has the ability to often make an average song sound good. Elkie remains one of the best soul/blues rock singers in the world. "Pearls III Close To The Edge" is worth listening to for Elkie's voice alone. Listen to her "Don't Cry Out Loud" and "Rich Man's Woman" albums, and search this blog for related releases [All tracks @ 320 Kbps: File size = 91.5 Mb]


A1 The Last Teardrop - S.Thompson
A2 Don't Go Changing Your Mind - E.Brooks, A.Murray, B.Taylor
A3 We Are All Your Children - E.Brooks, T.Jordan
A4 One Of A Kind - S.Thompson, T.Morrisson
A5 Tell Her - E.Brooks

B1 You And I (Are You Lonely) - E.Brooks
B2 Free To Love - E.Brooks, G.Hutchins
B3 Suits My Style - E.Brooks
B4 Got To Get Better - E.Brooks
B5 From The Heart - E.Brooks


Elkie Brooks - Vocals, Backing Vocals
Paul Dunn - Guitars
Brendon Taylor - Bass Guitar, Drums
Andrew Murray, Trevor Jordan - Piano, Keyboards
Backing Vocals - Jay Jordan, Mick Mullins, Peter Howarth, Keith Murrell


British pop-jazz-blues crooner Elkie Brooks (born Elaine Bookbinder) dominated U.K. radio in the late '70s with a series of hit singles that established her as "the biggest-selling female album artist in the history of the British pop charts." The Manchester native, who grew up in an extremely musical family, left school at the age of 15 to join a dance band in London. She eventually mad the jump to radio, as well as numerous appearances with legendary jazz bandleader Humphrey Lyttelton, before embarking on a career in pop music. The early '60s saw the budding young singer releasing singles for Decca and EMI, as well as opening for everyone from Carl Perkins to the Beatles, but commercial success remained elusive. She joined the blues-rock band Dada in 1970, which would eventually find success through a name change (Vinegar Joe) and the arrival of a new vocalist, Robert Palmer. The popular group released three beloved records before disbanding in 1974, and after a brief stint with U.S. Southern rock band Wet Willie, Brooks decided to take another crack at a solo career. The resulting Rich Man's Woman, Two Days Away, Shooting Star, Live & Learn, Pearls, and Pearls II, as well as frequent sold-out tours and numerous silver, gold, and platinum recordings, would go on to cement her reputation well into the 21st century. © James Christopher Monger © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/elkie-brooks-mn0000797077

Miller Anderson

Miller Anderson - Bluesheart - 2003 - Delicious Records

Although his name may not exactly be on the tip of the tongue of every blues-rock aficionado, Miller Anderson has certainly been out and about for the past few decades, playing with some of rock's biggest names (T. Rex, Mick Taylor, Donovan, Deep Purple, etc.). But as evidenced by the title of his 2007 release (and the music included within), Bluesheart, Anderson's true love is the blues -- a style he offers up throughout the album. And in addition to supplying some fine and tasty blues licks, Anderson also possesses a fine voice, handling all lead vocals to boot. With the more popular blues-rock artists becoming more and more homogenized sounding come the early 21st century, it's reassuring to hear an old-timer sticking to the way the blues was supposed to be played in the first place. Stripped down to sound like Anderson is in the same room as you, you can't go wrong with such bluesy ditties as "Fallin' Back into the Blue," "Little Man Dancing," a cover of "House of the Risin' Sun," and "Runnin' Blues," the latter featuring ex-Deep Purple organist Jon Lord. Real blues music is about leaving in all the rough edges (something all those young whippersnappers seem to have forgotten about), a guideline that Miller Anderson certainly still lives by, as evidenced throughout Bluesheart. Greg Prato © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/release/bluesheart-mr0000935080

A great album from the underappreciated Miller Anderson. Miller's musical CV is amazing. He has played with greats including Ian Hunter, Savoy Brown, Blood Sweat and Tears, T.Rex, Stan Webb, Chicken Shack, Mountain, Bill Bruford, Keef Hartley, and Donovan Leitch. Miller is an excellent songwriter and vocalist, and a stunning guitarist. There are a number of musical influences here, including soul, country, and jazz. When you have played with greats like Marc Bolan, Bill Bruford, or Blood, Sweat & Tears, then it is inevitable that some of these great artists' music will influence your music. Miller was playing when the Beatle's released "A Hard Day's Night" in 1964. He goes back a long way, but is still not a well known name in rock music. It has been said of Miller's music that "he was the guy who originated much of what is 'standard’ today". "Bluesheart" is HR by A.O.O.F.C. Check out Miller's "Chameleon" album on this blog. Also listen to Miller's "From Lizard Rock!" album, and the Keef Hartley Band's great "Overdog" album [All tracks @ 320 Kbps: File size = 139 Mb]


1 High Tide and High Water - M.Anderson 7:04
2 Fallin Back into the Blue - M.Anderson 4:39
3 Little Man Dancing - M.Anderson 4:51
4 Help Me - R.Miller 8:08
5 House of the Rising Sun - Trad. 5:03
6 Runnin Blues - M.Anderson (Lyrics), M.Anderson, Baldwin, Beaker, Burgess, Price (Music) 7:58
7 Smokestack Lightnin'/Wang Dang Doodle - Burnett 10:09
8 Sending Me Angels - Miller, Williams 3:41
9 Houston (Scotland) - M.Anderson 2:44
10 Vigilante Man/Crossroads - Guthrie/Johnson 5:50


Miller Anderson - Guitar, Soloist, Synthesizer, Harmonica, Vocals
Norman Beaker - Guitar on Tracks 4, 6, & 9
John Price - Bass
Jon Lord - Hammond Organ on Tracks 4 & 6
Dave Baldwin - Keyboards, Electric Piano, Hammond Organ, Piano
Paul Burgess - Drums
Irene Chanter, Doreen Chanter - Vocals on Track 8


Miller Anderson has been on the cutting-edge of rock for more than three decades. Although he's only released two solo albums -- Dream City in 1971 and Celtic Moon in 1988 -- the Scotland-born guitarist and vocalist has been involved with many influential musicians. Since cutting his musical teeth in bands with Ian Hunter (pre-Mott the Hoople) and Bill Bruford (pre-King Crimson and Yes), Anderson has been a member of such bands as the Keef Hartley Band, Savoy Brown, T. Rex, Mountain, the Spencer Davis Group, and in groups led by Deep Purple's Jon Lord and folk-rock balladeer Donovan. Anderson launched his career with the Royal Crests in 1964, continuing to play with the group as they evolved into Karl Stuart & the Profiles. Although he recorded one single with the Voice, "Train to Disaster" b/w "Truth," he left the band soon afterwards and was replaced by Mick Ronson. After meeting Ian Hunter during recording sessions at Regent Sound Studios, Anderson and Hunter formed a band, the Scenery, with drummer John Verson Smith. The group, which enlarged into a quartet with the addition of keyboardist Dante Smith, released an EP in Japan. In 1967, the group became the backup band for pianist/vocalist Freddie "Fingers" Lee as the Freddie "Fingers" Lee Band. While Anderson temporarily left the group to join the Paper Blitz Tissue, where he met Bill Bruford who replaced drummer Dave Dufort, he rejoined Hunter and Lee in March 1968 to form the oddly named group At Last the 1958 Rock 'n' Roll Show. After recording one single, "I Can't Drive" b/w "Workin' on the Railroad," the band changed their name to Charlie Woolfe. Upon leaving this group, Anderson and Hunter temporarily resurrected the Scenery. In late 1968, Anderson joined the Keef Hartley Band. Although they had begun to work on their debut album, the group had changed their lead singer twice before Anderson was recruited. In addition to playing with them at the Woodstock Festival in August 1969, Anderson recorded five albums with the band -- Halfbreed, The Battle of North West, The Time Is Near, Overdrive, and the live album Little Big Band. Leaving the group to start his solo career, Anderson formed the Miller Anderson Band. Assembled to play concerts, the group never toured, instead playing several sessions for BBC Radio. Anderson continued to change bands at a lightning pace. After his band Hemlock toured as the opening act for Savoy Brown in 1973, Anderson was invited to join Kim Simmonds and Stan Webb (from Chicken Shack) to create a three-guitar lineup for Savoy Brown in January 1974. Although he wrote several songs for Savoy Brown's album Boogie Brothers, he only remained in the band until December. While he joined Blood, Sweat & Tears, he left within a few weeks following the departure of lead singer David Clayton-Thomas. Anderson's next projects included the band Dog Soldier with Keef Hartley, and a group assembled by ex-Rolling Stones guitarist Mick Taylor featuring former members of Stone the Crows. Although he joined T. Rex in August 1976, he left after helping to record the album Dandy in the Underworld to tour with Donovan. Anderson's plans to rejoin T. Rex ended with the tragic car accident death of Marc Bolan on September 16, 1977. Instead, he continued to tour with Donovan until 1978 when he and keyboardist Ronnie Leahy joined with guitarist/vocalist Jimmy McCulloch to form the Dukes. While the group recorded a minor hit, "Hearts in Trouble," they fell apart following McCulloch's death. Joining Stan Webb's Speedway in 1982, Anderson left to play bass with a resurrected Chicken Shack from September through December 1984.Anderson next became involved with Mountain. Although he was slated to play guitar in the group, which also featured original drummer Corky Laing and Ian Hunter, he switched to bass when original guitarist Leslie West rejoined the group. Anderson first collaborated with Spencer Davis in a reorganized version of the Spencer Davis Group that featured vocalist Chris Farlowe, bassist/vocalist Colin Hodgkinson, keyboardist Zoot Money, and drummer Pete York and recorded one album, Extremely Live at Birmingham Town Hall. Anderson continued to work with York in Pete York and Superblues. They rejoined the Spencer Davis Group in 1995 and 1997. In September 1993, Anderson performed solo at Blackhearth Concert Hall in South London in a show that also featured Bert Jansch, Davey Graham, and John Renbourn. Anderson played several shows with Jansch before resuming his solo career in January 1994. In June 1994, Anderson formed a trio with Miller and Colin Hodgkinson. Anderson was recruited in July 1995 for two gigs with Deep Purple keyboardist Jon Lord's group the Gemini Band. He subsequently recorded an album, Pictured Within, with Lord. Anderson's first solo album, Bright City, released in 1971, was recorded with accompaniment from the late Gary Thain (pre-Uriah Heep), Mick Weaver, and Peter Dines. His second album, Celtic Moon, released in 1988, was a mostly acoustic outing recorded with the Spencer Davis Group.


Shane Theriot

Shane Theriot - The Grease Factor - 2003 - Shose

A heavy hitting dose of modern rock/jazz compositions mixed with equal doses of New Orleans funk. One of Shane’s more “guitar intensive” records that is a favorite among musicians and groove-lovers alike. Featuring some of the funkiest musicians on the planet- including Victor Wooten, Russell Batiste (The Funky Meters), Jeff Sipe (Apt Q-258), Johnny Vidacovich, Jeff Coffin (Bela Fleck), Kirk Joseph (Dirty Dozen), Johnny Neel (Gov’t Mule) and others…© Shane Theriot 2010 http://www.shanetheriot.com/products-page/discography/

A solid album of good progressive jazz-blues with fusion, and some New Orleans style funk in the mix. Shane is a terrific guitarist who doesn't need to rely on meandering mind numbing guitar solos to get his point across. He is a classy, subtle, stylish and polished guitarist with a great sense of thematic development. Some of the great musicians on this album include Victor Wooten, Russell Batiste, Jeff Sipe, Johnny Vidacovich, Jeff Coffin, Kirk Joseph, and Johnny Neel. Many of these musicians have played with bands of the calibre of the Neville Brothers, The Meters, Govt. Mule, The Allman Bros, Spyro Gyra, and the Rippingtons. "The Grease Factor" is a Grade A jazz rock/fusion album and HR by A.O.O.F.C. Buy Shane's "Dirty Power" album, and support great music. His "Highway 90" album can be found on this blog [All tracks @ 320 Kbps: File size = 119 Mb]


1 Little Hat 4:50
2 Swish 5:12
3 Zodiac 4:08
4 Shrimp Boots 3:40
5 Dublin 5:43
6 Mr. Longhair 5:57
7 The Apartment 5:44
8 Slow 5:42
9 Woody 5:17
10 Zydefaux 3:52
11 Dear Ellen 1:14

All tracks composed by Shane Theriot except "Shrimp Boots" by Shane Theriot & Joseph Belote


Shane Theriot, Johnny Vidacovich, Jeff Sipe, Victor Wooten, Adam Nitti, Johnny Neel, Jeff Coffin, Tony Hall, Michael Goods, Manny Yanes, Russell Batiste, Jim Roberts, Kirk Joseph, Doug Belote, David Johnson, Mark Mullins, Kiyoshi Tamai, Steve Conn, David Northrup


Guitarist/composer Shane Theriot (pronounced Terry-o) hails from the New Orleans area and has been playing guitar since age 11. A top honors GIT grad that was recommended for a teaching position by Scott Henderson at age 20, Shane briefly taught at the Atlanta Institute of Music before making a move to Nashville, where he lived and worked for 8 years before moving back to New Orleans. Theriot’s versatility in both the studio and stage have led to work with many artists in virtually all styles of music. At age 25, he joined the world-renowned Neville Brothers, touring and performing internationally as a member for 8 years, all while continuing to work and record with other artists. Some of the many artists that Shane has recorded and/or performed with include The Neville Brothers, LeAnn Rimes, Willie Nelson, Jewel, Boz Scaggs, John Waite, Idris Mohammed, Leni Stern, Dr. John, Sam Moore, Nick Nolte, Shannon McNally, Aaron Neville, The SYN (with Chris Squire and Alan White from YES), Little Feat, Forest Whitaker, Harry Shearer and Madeleine Peyroux. All of his acclaimed solo records (Hwy 90, The Grease Factor and the most recent Dirty Power) feature burning guitar lines behind the hottest rhythm sections in New Orleans while showcasing his great compositional abilities. (Dweezil Zappa recently chose the composition ‘Shrimp Boots’ from The Grease Factor the winner hands down of the Broadjam Solo Contest out of nearly 500 contestants.) Shane has also authored several instructional books (New Orleans Funk Guitar Styles – Alfred Publishing) and columns for many publications including Guitar Player Magazine. As an emerging composer for TV and Film, his credits include MTV, Discovery Channel, A&E, CMT, VH1 and ESPN. He is co-owner of Fudge Recording Studio in the historic Lower Garden District of New Orleans, La. http://www.fudgerecordingstudio.com/ © Shane Theriot 2010 http://www.shanetheriot.com/biography/

Dave Mason

Dave Mason - Certified Live - 1976 - Columbia

Through relentless touring in the mid-1970s, Dave Mason built up a concert audience that didn't necessarily translate into a record-buying audience, and this double-live album, released at a time when double-live albums were all the rage (remember Frampton Comes Alive?), was intended to address that problem. (Jim Krueger even contributed some Frampton-style "voicebox" guitar to "Goin' Down Slow.") It did demonstrate that Mason had a tight touring band and a repertoire of rock 'n' roll standards to draw from, as well as such interesting acquisitions as the Eagles' "Take It To The Limit" and the Spencer Davis Group's "Gimme Some Lovin '," and while it didn't achieve the career breakthrough intended, it did give Mason time to craft the studio album that would achieve that breakthrough. (It also gave Columbia versions of such earlier Mason songs as "Feelin' Alright?," "Pearly Queen," "Sad And Deep As You," and "Only You Know And I Know.") (Originally released by Columbia Records as Columbia 34680, Certified Live was reissued on CD by One Way Records as One Way 26078 on August 29, 1995.) © William Ruhlmann © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/certified-live-mw0000645418

In 1976, Columbia Records thinking that since Peter Frampton and Dave Mason were regarded as British guitar heroes and Dave Mason had experienced success six years earlier with the single "Only You Know and I Know" and the great album Alone Together, this live album recorded at the Universal Amphiteatre in Los Angeles, California would be a financial success for the label. However, "Certified Live" came nowhere near the success of "Frampton Comes Alive" and the album only reached No.78 on the Billboard Top 200 Albums chart. However, this is no reflection of the quality of this album. Through constant touring in the mid 1970's, Dave had built up a dedicated and loyal fan base. Dave runs through a lot of his best stuff here with his tight touring band. Highlights include "Pearly Queen", ‘Feelin’ Alright”, “Show Me Some Affection”, “World in Changes”, “Look at You and Look at Me”, and “Only You Know and I Know.” Dave also covers The Eagles “Take it to the Limit”, Bob Dylan’s “All Along the Watchtower” and the Spencer Davis Band’s “Gimme Some Lovin.” In his early 20s Dave was the road manager for the Spencer Davis Band where he met “Stevie” Winwood with whom he formed the legendary Traffic. "Certified Live" is a great live album recorded with no studio overdubs and is HR by A.O.O.F.C. Listen to Traffic's classic 1968 s/t album and Dave Mason's brilliant "Live at Perkins Palace" and "Alone Together" albums [All tracks @ 320 Kbps: File size = 175 Mb]


1 Feelin' Alright (D. Mason) 6:21
2 Pearly Queen (S. Winwood, J. Capaldi) 3:41
3 Show Me Some Affection (D. Mason) 4:36
4 All Along the Watchtower (Bob Dylan) 4:46
5 Take It to the Limit (R. Meisner, D. Henley, G. Frey) 3:34
6 Give Me a Reason Why (D. Mason) 4:12
7 Sad and Deep as You (D. Mason) 3:12
8 Every Woman (D. Mason) 2:36
9 World in Changes (D. Mason) 5:25
10 Goin' Down Slow (St. Louis Jimmy Oden) 6:43
11 Look at You, Look at Me (D. Mason, J. Capaldi) 12:50
12 Only You Know and I Know (D. Mason) 4:45
13 Bring It on Home to Me (Sam Cooke) 5:05
14 Gimme Some Lovin' (S. Davis, S. Winwood, M. Winwood) 8:14


Dave Mason - Guitar, Vocals
Jim Kruegar - Guitar
Gerald Johnson - Bass
Mike Finnigan - Keyboards, Vocals
Dr. Rick Jaeger - Drums


David Thomas "Dave" Mason (born 10 May 1946) is an English singer-songwriter, and guitarist from Worcester, who first found fame with the rock band Traffic. In his long career, Mason has played and recorded with many of the era's most notable rock musicians, including Jimi Hendrix, Delaney Bramlett, Michael Jackson, The Rolling Stones, Eric Clapton, George Harrison, Fleetwood Mac and Cass Elliot. Mason's best known song is "Feelin' Alright", recorded by Traffic in 1968 and later by many other performers, including Joe Cocker, who had a major hit with the song in 1969. For Traffic, he also wrote "Hole in My Shoe", a psychedelic pop song that became a hit in its own right. "We Just Disagree", Mason's 1977 solo hit written by Jim Krueger, has become a staple of Classic Hits and Adult Contemporary radio playlists. In 2004, Mason was inducted into the Rock and Roll Hall of Fame as a founding member of Traffic. Mason's tenure with Traffic was disjointed. He co-founded the group, but left following the recording of their debut album, Mr. Fantasy (1967), only to rejoin halfway through the sessions for their next album, Traffic (1968), after which he left again. Last Exit (1969), a compilation of odds and ends, features little material by Mason apart from his song "Just For You". Traffic later re-formed without Mason, although he briefly toured with the band in 1971 as captured on Welcome to the Canteen. Even during his brief spells with the group, Mason never quite fit in; Steve Winwood later recalled "We all [Winwood, Jim Capaldi, and Chris Wood] tended to write together, but Dave would come in with a complete song that he was going to sing and tell us all what he expected us to play. No discussion, like we were his backing group. Mason was a friend of legendary guitarist Jimi Hendrix, whose career was launched in England in 1966. Hendrix first heard the song "All Along the Watchtower", by Bob Dylan, at a party to which he was invited by Mason, and promptly decided to record his own version. That night he recorded the song at Olympic Studios, South West London, with Mason playing acoustic guitar. It was released on the Electric Ladyland album in September 1968. When the song came out as a single in October, it hit #5 on the UK Singles Chart and was a Top 40 in the U.S. Mason later recorded his own version of the song on his self-titled 1974 album, Dave Mason, with Bob Glaub on bass. Mason appears on the Rolling Stones' 1968 album Beggars Banquet, although uncredited. Mason's connection was Jimmy Miller. Miller served as producer for the Stones and Traffic. In 1969–1970, Mason toured with Delaney and Bonnie and Friends along with Eric Clapton and George Harrison. Mason appears on George Harrison's 1970 solo set All Things Must Pass. In 1970, Dave was slated to be the second guitarist for Derek and the Dominos, but left the group before they entered the studio. He co-wrote the song "Big Thirst" on Oh How We Danced by Jim Capaldi (Mason's bandmate in the Hellions, Deep Feeling, and Traffic), as well as playing the guitar solo on "Don't be a Hero". After Traffic, Mason pursued a moderately successful solo career. His first single, "Just for You" had "Little Woman" as the B-side, with Family backing him, following his production of Family's first album. His song writing and sound culminating on his 1970 album Alone Together with backing of drummer Jim Gordon. In the early 1970s he enlisted his friend, singer-songwriter Ray Kennedy to tour and write for his next album. In the mid-late 1970s, he toured and recorded with guitarist Jim Krueger, keyboardist Mike Finnigan, bassist Gerald Johnson and drummer Rick Jaeger. The 1976 album, Certified Live is a display of Mason's songwriting, arranging, vocal and guitar talents. In 1977, Mason had his biggest hit with "We Just Disagree", written by Jim Krueger. Reaching #12 on the Billboard Hot 100, it was later successfully recorded by country singer Billy Dean. Mason played himself in the film Skatetown, U.S.A., performing two songs in a roller disco as well as writing and performing the film's theme song. Mason's 1980 single, "Save Me", featured a duet with Michael Jackson. For a brief period in the 1990s, Mason joined Fleetwood Mac and released the album Time with them in 1995. In 2002, he released the DVD, Dave Mason: Live at Sunrise. It featured a live performance at the Sunrise Musical Theater in Sunrise, Florida, backed by Bobby Scumaci on keyboards, Johnne Sambataro on rhythm guitar (who rejoined Mason for the DVD, after previously touring with him in 1978), Richard Campbell on bass and Greg Babcock on drums. At one time, Mason lived in the Ojai Valley in California. As of 2005, he was performing about 100 shows a year with the Dave Mason Band across the U.S. and Canada. Mason is a proponent of music education for children. In 2005, he signed on as an official supporter of Little Kids Rock, a non-profit organization that provides free musical instruments and lessons to children in public schools throughout the U.S. He sits on the organization's board of directors as an honorary member. Mason also is a founding board member of Yoga Blue, a non profit organization devoted to teaching yoga and other holistic practices to those recovering from substance abuse and other self destructive disorders. Mason, together with his longtime friend John Niekrash, is also involved in the program Work Vessels for Veterans (WVFV), an all volunteer movement that provides veterans transitioning to civilian work with tools that have ranged from computers to boats to tractors.


Pop/rock singer/songwriter/guitarist Dave Mason was born May 10, 1944, in Worcester, England. He was a professional musician by his teens and, as a member of the instrumental group the Jaguars, made his recording debut on a locally released single, "Opus to Spring," in 1963. It was with the Jaguars that he first encountered drummer Jim Capaldi, and the two became members of the Hellions, who played around the U.K. and in Hamburg, West Germany, as well as cutting a few singles in 1964 and '65. Mason quit the Hellions in the spring of 1965 to study music formally, while also sitting in occasionally with another band featuring Capaldi, Deep Feeling. In early 1966, he took a job as road manager for the Spencer Davis Group, where he encountered Steve Winwood; various reports suggest he also played with the band on-stage and may have sung backup vocals on the hit "Somebody Help Me." In March 1967, Winwood left the Spencer Davis Group and formed Traffic with Mason, Capaldi, and flautist Chris Wood. The group's first single was the Winwood/Capaldi composition "Paper Sun," followed in August 1967 by Mason's "Hole in My Shoe," which hit number two in the U.K. Mason also participated in Traffic's debut album, Mr. Fantasy, but as it was being released in December 1967 he left the band. He recorded a solo single, "Little Woman," in early 1968, then rejoined Traffic. "Feelin' Alright?," a song expressing his ambivalence about his association with the group, was released as the first single off the second album, Traffic, in October 1968; although the single did not chart, "Feelin' Alright?" would go on to become Mason's signature song, particularly after it was covered by Joe Cocker in 1969. Mason left Traffic again, and it broke up shortly afterward in the fall of 1968, as Winwood joined Blind Faith. Mason, Capaldi, and Wood teamed with Mick Weaver in the short-lived Wooden Frog. Mason moved to Los Angeles and joined Delaney & Bonnie & Friends in 1969. In 1970, he signed a solo contract with Blue Thumb Records and released his debut solo album, Alone Together, which reached number 22 and went gold in the U.S., spawning the chart single "Only You Know and I Know." Despite this success, he continued to work in group contexts, serving temporarily as second guitarist in Eric Clapton's band Derek and the Dominos; recording with George Harrison on All Things Must Pass; and forming a duo with Cass Elliot. He and Elliot recorded an album, Dave Mason & Cass Elliot, released in February 1971. The LP reached number 49, but they quickly broke up. Mason rejoined Traffic for a few dates in the summer that resulted in the live album Welcome to the Canteen. Meanwhile, Mason was preparing his follow-up to Alone Together, but a royalty dispute with Blue Thumb led to the company's assembling the half-finished, half-live Headkeeper, which was released in February 1972 over Mason's objections; it reached number 51. As the legal conflict continued into 1973, Blue Thumb released the chart LP Dave Mason Is Alive!, also without the artist's approval. After a settlement, Mason signed to Columbia Records, which released It's Like You Never Left on October 29, 1973; it got to number 50. Mason formed a band and toured extensively, raising his profile sufficiently that his second Columbia LP, Dave Mason, released in October 1974, reached number 25 and went gold. Split Coconut, his third Columbia album, released on September 19, 1975, was another success, getting to number 27, as he played major venues such as New York's Madison Square Garden and the Spectrum in Philadelphia. His appeal as a concert attraction was confirmed by the appearance of the double-LP Certified Live in the fall of 1976; it hit number 78. Mason reached a new career plateau with his next studio album, Let It Flow, released in April 1977. It reached an early peak at number 37, but stayed in the charts 49 weeks and went platinum on the success of the single "We Just Disagree" (written by Mason's backup guitarist, Jim Krueger), which reached number 12. (The singles "So High [Rock Me Baby and Roll Me Away]" and "Let It Go, Let It Flow" also charted.) Mariposa de Oro, Mason's next album, was released in June 1978, preceded by a cover of "Will You Still Love Me Tomorrow," a Top 40 single; the LP reached number 41 and went gold. Two years passed before Mason released New Crest of an Old Wave in the summer of 1980. After it peaked at number 74 and produced the chart single "Save Me," he parted ways with Columbia. Another major-label berth was not forthcoming, but he continued to tour, paring down to an acoustic duo with Krueger. In 1987, he released two albums, Some Assembly Required on the Canadian label Maze Records and Two Hearts on MCA, the latter featuring "Dreams I Dream," a duet with Phoebe Snow that reached number 11 in the adult contemporary charts. In 1993, Mason joined a new lineup of Fleetwood Mac, appearing on the 1995 album Time, but soon after, the band reverted to its previous configuration. In 1998, Mason reteamed with Jim Capaldi for a tour that produced the 1999 album Live: The 40,000 Headman Tour. In 2008, Megaforce Records released the first Dave Mason studio album in more than 20 years, 26 Letters 12 Notes. © William Ruhlmann 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/dave-mason-mn0000962339