Get this crazy baby off my head!


Uncle Moe's Space Ranch

Uncle Moe's Space Ranch - Moe's Town - 2007 - Tone Center

Guitarist and studio engineer Helmerich had this to say about this recording: "The idea was to get the energy out of the players while tracking. We knew what was possible this time around and wanted to make an exciting "up tempo" free for all! We knew that no matter how raw we made the tunes as it started...each guy would not only respond to the energy, but bring an element of class and musicality to the table that makes "Uncle Moes" the band that it is." World renowned fusion drummer Dennis Chambers who has played with John Scofield, Steely Dan, Santana, Parliament/Funkadelic, and John McLaughlin, joins forces with Tribal Tech's Gary Willis and Scott Kinsey and legendary guitar duo Garsed/Helmerich for an exhilarating fusion trip on this great "Moe's Town" album. The album features some of the hottest grooves and most innovative jazz fusion you will ever hear. Dennis Chambers and Virgil Donati lay down some sensational drum beats, and Brett Garsed and TJ Helmerich rip up their guitars in this brilliantly performed, funked-up fusion of jazz, rock, and electronic music, which is VHR by A.O.O.F.C. Buy the band's equally good s/t album [All tracks @ 320 Kbps: File size = 157 Mb]


1 Valentimes Day - Brett Garsed, Scott Kinsey, TJ Helmerich (7:51)
2 Moe's Town - Brett Garsed, TJ Helmerich (10:24)
3 Ella's Hotel - Brett Garsed, TJ Helmerich (7:23)
4 Audio Rhumba - Brett Garsed, TJ Helmerich (8:56)
5 Dads Speakers - Brett Garsed, Scott Kinsey, TJ Helmerich (6:42)
6 Inspired Weak - Brett Garsed, Scott Kinsey, TJ Helmerich (8:24)
7 Snout! - Brett Garsed, TJ Helmerich (7:04)
8 Path To Aesthesis - Scott Kinsey (5:07)
9 Nitro Squirrel (Multiple Moe) - Brett Garsed, TJ Helmerich (6:14)


Guitar - Brett Garsed, TJ Helmerich
Bass - Gary Willis
Bass - Ric Fierabracci (tracks 6, 8)
Keyboards - Scott Kinsey
Drums - Dennis Chambers
Drums - Virgil Donati (track 9)
Vocals - Vassiliki (track 8)
Electronics - Djemel Chergui


The new album by Uncle Moe's Space Ranch, Moe's Town, has been released by Tone Center Records. The Uncle Moe's Space Ranch band features Brett Garsed and T.J. Helmerich on guitars, Scott Kinsey on keys, Gary Willis on bass, and Dennis Chambers on drums. The album was produced by Garsed and Helmerich, with Helmerich also handling the engineering and mixing duties. Moe's Town is a follow-up to the band's self-titled 2001 release, and its originality and depth are stunning. The music on this disc is hard to describe. This is not a typical fusion record by any means. Imagine if Buckethead joined Tribal Tech and you'll start to get the idea. The music is a conglomeration of techno beats, funk grooves, industrial rhythms, metal riffs, samples, loops, cool chord changes, and loads of great guitar playing. Helmerich's engineering and mixing job is so instrumental in the final result, that it's sort of like a sixth band member (it should be noted that Helmerich's students at RIT, the recording school at Musicians Institute in Hollywood, assisted with the mixing). The result of this crazy mash-up of styles and sounds is one of the freshest fusion albums I've heard in a long time. And fear not - even though Moe's Town is chock-full of effects and samples, this album is not a sterile "studio creation"; all of the band members' individual styles are very present here. There are great guitar solos everywhere, and the contributions from Willis, Chambers, and especially Kinsey are unmistakable. There are some guest appearances as well: Bassist RicFierabracci and drummer Virgil Donati are along for the ride, and Djemel Chergui is credited with Electronica. Garsed and Helmerich are best known for their unique and unmatched playing styles - Garsed uses Holdsworth-style legato plus hybrid-picking (which combines picked notes with notes plucked with the right hand fingers), whereas, Helmerich uses 8-finger tapping. Both techniques could fall under the umbrella of "legato", which is one of the reasons these 2 players complement each other so well. Garsed and Helmerich have recorded together many times since they first teamed up for the fantastic Quid Pro Quo album in 1992. Moe's Town, however, is a radical cornucopia of music unlike anything they've ever done. The opening track, "Valentime's Day", really sets the mood for the whole album. After several sections that vary in style from techno metal to God-knows-what, the song suddenly shifts gears into jazz territory with a great Scott Kinsey solo. Garsed's solo is next, and it's one of my favorites on the album. His fast runs flow seamlessly over the 2-chord progression. The song closes with a Helmerich solo over a different section than Garsed playedover. Helmerich's soloing has evolved over the years. His phrasing is more introspective and dynamic now than it was when he first broke on the scene long ago. The ultra-fast two-handed runs that once dominated his playing are still there, but they take a back seat to the unique, almost herky -jerky phrasing he now employs. He sounds less like a guitar player who taps, and more like a musician who's using a one-of-a-kind instrument that only he plays. Next up is the title track, "Moe's Town", a 10 minute deep-grooving funk piece with a strong blues influence. There's a lot going on in this tune. Garsed plays some nice bluesy lines early in the song, and shows off his slide-guitar skills later on. I love Willis' bass solo on this one too. "Ella's Hotel" has one of my favorite melodies on the album. About halfway into the song, after a crazy outside, atonal solo from Garsed, a beautiful chord-melody is introduced that you can't get out of your head. Helmerich's solo at the end of this tune is arguably his best on the album. "Audio Rhumba" has a slight Latin influence, and features some nice trading off between Garsed and Helmerich. Willis' bass work really stands out here also. "Dad's Speakers" is a fun uptempo tune that has shades of Tribal Tech. Like "Moe's Town", this is another song that gives you a lot to listen to. "Inspired Weak" is another strong track, and features Garsed's best solo on the album. Helmerich surprises us with his solo on the next song, "Snout!"; he uses no tapping at all. It sounds like a completely different player, but the liner notes confirm it's him. His playing here has a definite Scott Henderson influence, which doesn't come through as much when he taps. The next song, "Path to Aesthesis", was written solely by Kinsey. This song has 2 distinct parts. Gary Willis plays bass on the first part, which sounds very much like late-model Tribal Tech. The piece then morphs into a different groove with Ric Fierabracci on bass, and a crazy solo by Helmerich. The only song that didn't do it for me is the final track, "Nitro squirrel (multiple moe)". It's essentially a long drum solo, courtesy of guest Virgil Donati, with some heavy riffs and effects on top. You can tell Helmerich had fun mixing this one. Drummers will love this tune, but it wasn't my favorite. Moe's Town is one of those albums that really grabs your attention. This is a new kind of "fusion". It's also an album that keeps revealing more and more of itself the longer you listen to it. This is a rich album with lots to dig into. Fans of cutting edge guitar will be very satisfied with this release; Garsed and Helmerich really stretch out for some great solos here. So far, this is my favorite album of 2007. Highly recommended. © Rich Murray. Site contents © Modern Guitars Magazine, LLC, unless otherwise noted. All rights reserved

Taste (Rory Gallagher Related)

Taste - Best of Taste - 1994 - Polydor (Germany)

Taste was a blues rock trio formed in 1966 by the late, great Irish guitarist and songwriter Rory Gallagher, the late bassist Eric Kitteringham and drummer Norman Damery. Eric and Norman were replaced in 1968 by Richard McCracken and John Wilson. The band recorded three studio and two live albums including the powerful 1970 "Live at the Isle of Wight" album. In 1970 Taste split and Rory Gallagher began his all too short solo career. Taste compilation albums have been released in dozens of different versions. This one is a 1994 issue from the German Polydor label with tracks recorded between 1969 and 1970. Fifteen of the eighteen tracks are Rory Gallagher originals. Sound quality varies, but in general most of the tracks are of better sq than those from the original albums. This compilation may be a collection of re-mastered tracks, but the album notes don’t specify this. A lot of this stuff is unsophisticated, raw, blues rock and Rory Gallagher was still evolving into one of the great blues guitarists, but this kind of music would still put many of today’s so called “blues rock” bands to shame. Listen to Taste’s “On the Boards” album, and Rory Gallagher’s exceptional “Calling Card” album. Read more about Taste @ http://en.wikipedia.org/wiki/Taste_(band) [All tracks @ 320 Kbps: File size = 177 Mb]


1. Blister on the Moon - Gallagher (3:26)
2. Leaving Blues - Huddie William Ledbetter (4:16)
3. Sugar Mama - Gallagher (7:15)
4. Same Old Story - Gallagher (3:33)
5. Catfish - Trad. arr. Gallagher (8:04)
6. What's Going On - Gallagher (2:48)
7. Railway and Gun - Gallagher (3:38)
8. Morning Sun - Gallagher (2:39)
9. Eat My Words - Gallagher (3:47)
10. I'll Remember - Gallagher (3:02)
11. I'm Moving On - Clarence Eugene Snow (2:30)
12. If The Day Was Any Longer - Gallagher (2:10)
13. If I Don't Sing, I'll Cry - Gallagher (2:40)
14. Born on the Wrong Side of Time - Gallagher (4:01)
15. Dual Carriageway Pain - Gallagher (3:13)
16. On The Boards - Gallagher (6:02)
17. It's Happened Before, It'll Happen Again - Gallagher (6:33)
18. Hail - Gallagher (2:35)


Rory Gallagher - Guitar, Sax, Harmonica, Vocals
Richard "Charlie" McCracken - Bass
John Wilson - Drums


Taste Profile: Formed: 1966 in Cork, Ireland: Disbanded: 1970 in Belfast, Ireland: - During the latter half of the 1960s, during the peak of the British blues-rock craze, Ireland's Taste, featuring Rory Gallagher, impressed crowds wherever they played. Featuring Gallagher's extraordinary fretwork and dynamic showmanship, the band toured with superstars like Yes and Blind Faith, and even performed at the 1970 Isle of Wight Festival. Yet Taste never caught a break, and although influential and popular in England and Ireland, they never broke through to a U.S. audience. - The Taste: Originally called The Taste, the band was formed in 1966 by Rory Gallagher with bassist Eric Kitteringham and drummer Norman Damery. The band scaled its name back to just "Taste," performed in Hamburg, Germany and toured Ireland before becoming the house band at the Maritime Hotel, a popular R&B club in Belfast. After performing in the U.K. in 1968, Gallagher broke up the band. Relocating to London, the 20-year-old guitarist put together a new version of Taste with bassist Richard McCracken and drummer John Wilson. This would become the best-known of the band's two line-ups, signing with Polydor Records and touring the United States and Canada with Blind Faith. - On The Boards: Taste released two studio albums during the band's tenure: the self-titled Taste in 1969 and On The Boards in 1970. The critically-acclaimed On The Boards entered the Top 20 in England and featured a mix of guitar-driven blues, traditional boogie-rock, and even a pair of acoustic ballads, all showcasing Gallagher's flaming fretwork and bottleneck slide guitar skills. Taste performed at the 1970 Isle of Wight Festival with such legends as Jimi Hendrix and the Who, the audience calling the band back onstage for an incredible seven encores. Taste performed one more round of shows in Europe, returning to Belfast for a farewell show on New Year's Eve. Breaking up the band, Gallagher would go on to pursue a significant, moderately successful solo career. A live album, showing the band at its peak, was released in 1971, as was First Taste, a collection of archival material from the band's early (pre-U.K.) years. Live at the Isle of Wight, featuring Taste's incendiary 1970 festival performance, was finally released in 1992. © 2014 About.com. All rights reserved. http://blues.about.com/od/artistprofiles/p/TasteProfile.htm


Cris Jacobs Band

 Cris Jacobs Band - Songs for Cats and Dogs - 2012 - Cris Jacobs Band

With the release of “Songs For Cats and Dogs,” the Cris Jacobs Band offers up a full serving of rock inspired blues, filled with the perfect concoction of grit, grime, twang, and soul. This album is jam packed with intelligent and intricate arrangements that makes full use of the sonic palate provided by such a unique grouping of instruments. The disc starts off with “Dragonfly,” which is a thick, medium-tempo blues that is introduced with a twangy rock guitar riff. The vocals come in with an air of darkness, as they convey a story about judgement and perception. The narrative is highlighted with dissonant background guitar swells, and a chant style harmony on the chorus. “Mama Was a Redbone,” delivers the listener deep into the delta, for some good ol’ fashioned blues. David Hadley, takes center stage on the pedal steel guitar, as he plucks, slides, and strums his way into the foreground adding to the authenticity of this track. “Let Me Lift Up Your Burden,” takes on the vibe of a classic Paul Simon tune. For this song, the Cris Jacobs Band has a cleaner, more etherial sound. The upright bass almost sounds like a sousaphone, while the pedal steel fills the role of a string section. It is hard to believe that this is the same band that just played “Mama Was a Redbone.” “Redemption Bound” has the feel of a soundtrack cut from “O’ Brother Where Art Thou?” This heavily arranged song, starts off with a confessional style vocal intro that leads into a medium-blues groove. The vibe of the tune is set by a persistent guitar strum and accented band hits. The song builds into a breakdown that leaves the foundation of upright bass and guitar. The electric guitar enters, with sparse lines that build into a full on psychedelic jam solo that is driven by the constant groove of Mike Gambone on the drums. After the second breakdown, the band lands on the mantra chant “I just wanna be saved, I don’t wanna be let down,” that builds to the end of the song, with full band hits. The CD ends with the country jamboree chopfest song “Saddle Up and Ride,” which is a two beat, guitar picked tune, with thick background vocals and a traditional “ya’ll come back now, ya hear” ending. “Songs For Cats and Dogs,” reassures devoted, post The Bridge, Cris Jacobs’ fans of his abilities as both a frontman and a songwriter. He, along with his band, have managed to carve out an entirely new musical path filled with amazing musicianship, detailed arrangements, and the ability to effortlessly weave back and forth between genres, while staying true to their original sound. Review by & © : Scott Paddock - By MMG • On December 6, 2012 © Mobtown Music Guide. All rights reserved. http://mobtownmusicguide.com/cris-jacobs-band-songs-for-cats-and-dogs/.UuetcxDFK00

This soulful, bluesy, Americana gem showcases the dynamic songwriting, singing, and guitar playing of Cris Jacobs, supported by his stellar band of pedal steel, upright bass, percussion, and acoustic guitar. © http://www.cdbaby.com/cd/crisjacobsband

After ten years fronting roots-rockers band The Bridge, who disbanded at the end of 2011, Cris Jacobs re-emerged with a new band. Cris’ great bluesy guitar work is beautifully complemented by the drumming of Mike Gambone who provided the familiar backbeat for the Bridge, the rock steady bass of Jake Leckie, the almost ethereal pedal steel work of Dave Hadley, and the soulful sound of Ed Hough on acoustic uitar, percussion, and vocal harmony. Cris’ songs have a deep and emotional clarity, and at times the album has a “southern-fried” flavour reminiscent of the late, great Lowell George. This is a very good album. Read more about The Bridge @ http://www.jambase.com/Articles/11551/The-Bridge-Fire-and-Ice and Cris Jacobs @ http://articles.baltimoresun.com/2013-11-20/entertainment/bs-ae-cris-jacobs-interview-20131120_1_cris-jacobs-band-the-bridge-creative-alliance [All tracks @ 320 Kbps: File size = 97.4 Mb]


1. Dragonfly
2. Mama Was a Redbone
3. Be My Stars
4. Little Piece of Heaven
5. Stoned on You
6. Let Me Lift Up Your Burden
7. Redemption Bound
8. Time's Worth a Million
9. Saddle Up and Ride

All tracks composed by Cris Jacobs except "Dragonfly" composed by Cris Jacobs, Chris Bentley, Mike Gambone, & Jake Leckie


Cris Jacobs - Guitar, Vocals
Dave Hadley - Pedal Steel Guitar
Ed Hough - Acoustic Guitar, Percussion, Vocal Harmony
Jake Leckie - Bass
Mike Gambone - Drums, Percussion

David T. Chastain

David T. Chastain - Rock Solid Guitar - 2001 - Leviathan

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

Guitar World has said that, "As a player, Chastain ranks with Steve Morse, Eric Johnson, Joe Satriani and Steve Vai. He was one of the first artists signed to Mike Varney's Shrapnel label which specialized in technically accomplished rock, metal, and fusion guitarists. David’s relatively small group of fans will say that he is one of rock's unsung guitar virtuosos and heroes, and anyone who doubts that he knows his way around his instrument need only give “Rock Solid Guitar” a close listen. He incorporates numerous musical influences and styles into his music, from blues to classical, and metal to fusion. David points to Allan Holdsworth, Al Di Meola, and John McLaughlin as three of his major influences. Many guitar “experts” reckon that David is not as technically talented as guitarists like Satriani, Vai, Coven, Eriksen, and similar players, but it should be said that as good as the album is, “Rock Solid Guitar” does not showcase his guitar skills as well as albums like his “Mystery of Illusion” or “Ruler of the Wasteland”. David should be better known as a great guitarist, but he is just one of many great musicians who never get the recognition they deserve. Whether you like hard rock, jazz fusion, heavy metal, or just great guitar playing, you may enjoy this instrumental album. Check out David’s “Elegant Seduction”, and “Countdown To Infinity” albums on this blog and listen to his “Mystery of Illusion” album [All tracks @ 320 Kbps: File size = 96.8 Mb]


1 Burning Passion 4:37
2 Sounds Cool To Me 5:26
3 Dancing With The Devil's Mistress 4:47
4 Never Too Much 4:49
5 Getting a Little Crazy 3:50
6 In Memoriam 4:33
7 Riding In Style 4:05
8 Keeper Of Tomorrow 4:28
9 Hats Off To Angus And Malcom 6:58

All tracks composed by David T. Chastain


David T. Chastain - Guitar
Steven Taylor - Bass
Mike Haid - Drums


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


Laurence Juber and Preston Reed

Laurence Juber and Preston Reed - Groovemasters - 1997 - Solid Air Records

An exceptional album of ten original acoustic guitar duets from two of the world’s most talented and revered guitarists. A brilliant recording with an authentic, live, in-studio sound and a wonderful spontaneous atmosphere [All tracks @ 256 Kbps: File size = 77.4 Mb]


1 Groovemasters - 3:33
2 Commotion - 4:19
3 Shoganai - 3:31
4 Hurricane - 5:02
5 Private Dick - 3:04
6 Bad Attitude - 4:16
7 Airborne - 5:00
8 Ricochet - 4:17
9 Dirty Boy - 4:24
10 Last Train - 4:55

All songs composed by Laurence Juber and Preston Reed


Preston Reed – Guitar
Laurence Juber – Guitar

Liner Notes:

Groovemaster - "Sounds like it's in two keys at once... but somehow it makes sense." - PR
Commotion - "Probably the meanest tune on the record... Acoustic Metal... I love Laurence's stuttering machine gun entrance." - PR "One of my favorites, a little surfy." - LJ
Shoganai - "A word I learned in Japan. The feeling of sadness that sometimes goes with doing what you have to." - PR "I'm a sucker for a pretty nylon string melody." - LJ
Hurricane - "I grabbed the Baby Taylor and tuned it to almost open A. This one hit me like a Hurricane. I had so little time to think about it." - LJ "Reminds me of U2." - PR
Private Dick - "Early 60's spy/martini music." - PR "A lounge-jazz-detective style thing" - LJ
Bad Attitude - "A funky groove thing" - LJ "Would have been a good cop show theme." - PR
Airborne - "A moody excursion in 7/8 time." - PR
Ricochet - "I don't remember taking a breath during this one." - LJ "A one-take jam." - PR
Dirty Boy - "Easy ridin' cowpoke finds himself in the big city." - PR "I like the distant dog bark at the end." - LJ
Last Train - "A good ending tune. I like the way it builds, layer by layer." – PR

The Art of Spontaneous Composition

After several days of playing their fingers off at the NAMM show we stuck these two weary Acoustic Warriors in a small studio and told them to make a record. Grant Headley (a very experienced engineer) turned to me and said, "You're telling me we only have a few days to make this record and we don't have any songs?" I am not going to tell you it was all magic; these guys had to work to make this happen, and this CD is as big a testament to their professionalism as it is their talent. Laurence described it this way: "Playing with Preston presented some serious challenges. Keeping up with his raw energy for one. Having to concentrate on my own parts, instead of simply delighting in the close up experience of such technical wizardry for another. Most of the time I felt like I was working with a rhythm section rather than another guitarist. Because his technique and tunings are so unusual and Preston's left hand would generally not offer me anything recognizable, I found myself relying on my ear to follow his advanced harmonic concepts (those college ear-training classes can be useful after all)." We found that due to Preston's use of low tunings that Laurence's Collings OM model worked better than his normal trusty Taylors. For variety and color we also utilized LJ's old Gutter nylon string, a metal Dobro, and the funky Baby Taylor used on "Hurricane" (note to Taylor: They're not just for kids). I would like to take credit for this music, but producing this record meant staying out of harm's way for the most part. Interrupting the flow of ideas would have been unforgivable. We had the most unusual weather, but the storm clouds outside the studio couldn't match the thunder inside from Preston's propulsive riffing and Laurence's symbiotic return volleys. During mastering, Doug Doyle was heard to say more than once during the playback of "Commotion", "I hear a kick drum and a tabla! I thought this was just an acoustic guitar record." Did I say producing this CD meant being like a fly on the wall? Here's the buzz: "I got it!", "Is that too vanilla?", "My intellectual side needs to have it work harmonically.", I'm tired of perfect fives, how about an ambiguous five?", "Let's try this... works good... I like that chord!... but does it work?... Let's go with it... It's pretty sick... It's nice... It has potential, we can refine it", and my favorite post take comment, "You know we're in different tunings?" It was a lot of pressure, but a lot of fun to bring this CD to you, enjoy, and keep grooving." - JJ

Preston Reed - Guitar
Laurence Juber - Guitar

Produced by James Jensen: Recorded and engineered by Grant Headley at The Sign of the Scorpion, Studio City: Mastered by Doug Doyle at Digital Dog and Digital Bros: Photography by Nathan York: Art Direction by James Jensen in association with Todd Ellison and Shadowfoot Studio: All compositions © 1997 by Laurence Juber/Juber Music ASCAP, and Preston Reed/Suite Hodeet Music ASCAP. Preston Reed appears with the kind permission of Dusty Closet Records.
© http://www.prestonreed.com/releases/groovemasters.html


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 Armonk 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 Reeds 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". His playing has spawned a generation of imitators, yet Reed remains one of a kind. 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. 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://prestonreed.com/bio.html


Laurence Juber was born November 12, 1952 in Stepney, East London, England. By his own account, Juber began playing guitar the week that "I Want to Hold Your Hand" by The Beatles was released. Beginning on a cheap acoustic guitar, he learned to read music early, figuring out the system of music notation for himself. He began to earn money playing the guitar at 13, and began to study classical guitar at the age of 15. Enraptured by the sounds on records of the mid- to late-60's, he set his sights on becoming a session guitarist in London's music studios. He earned his music degree at London University (Goldsmith College) where he expanded his horizons playing the lute. Upon graduation, he immediately began work as a session guitarist, working on his first project with producer George Martin on an album for Cleo Laine. Juber gave up a lucrative and highly successful studio career when invited to join Paul McCartney and Wings. He played on recordings that were to become Back to the Egg, as well as the subsequent tour. From these sessions he garnered his first Grammy Award, winning Best Rock Instrumental for the track "Rockestra Theme" from Back to the Egg. He was miscredited as Lawrence Tuber on the album sleeve. From this period dates his first solo album Standard Time (only released on vinyl) on which ex-fellow Wings members Paul McCartney and Denny Laine also played along on the track Maisie. When Wings disbanded in 1981, Juber moved to the United States of America. In New York City he met his future wife, Hope, and soon moved to her native California and embarked on a career as a solo artist, composer and arranger, and soon developed a reputation as a world-class guitar virtuoso, being voted #1 by Fingerstyle Guitar magazine. He has released 14 critically acclaimed solo albums, including "LJ Plays the Beatles","Guitarist" and "PCH". "I've Got The World On 6 Strings", is a collection of solo guitar arrangements of classic tunes by Harold Arlen. Juber's DVD "Guitar Noir" is DVD Etc. magazine's top pick for surround-sound 5.1 audio and earned a 2005 CEA "Demmy" award for sonic excellence. His solo guitar arrangement of "The Pink Panther Theme" is featured on the Best Pop Instrumental GRAMMY-winning album "Henry Mancini-Pink Guitar". His arrangement of "Stand By Me" was featured in the "Diamonds Are Forever" TV commercial. Folios and DVDs of his compositions and arrangements are published by Alfred Publications. The venerable C.F. Martin Company currently offers an 'LJ' Signature model guitar and GHS Strings market Juber's Signature guitar strings. His latest release "Wooden Horses" showcases LJ's composing for solo guitar. Laurence also played guitar for numerous television shows, including Happy Days and Family Ties, and for movies, perhaps most famously playing the James Bond theme for the movie The Spy Who Loved Me. In 1990, he released his second solo album, Solo Flight. During the next decade he would begin to explore altered tunings. In 2000, Juber released the solo album LJ plays the Beatles and The Collection and in 2003 the album Guitarist was released to critical acclaim. Juber's credentials as a top-tier fingerstyle guitarist continue to grow. Having been voted "Guitarist of the Year" by readers of Fingerstyle Guitar magazine as well as one of the top acoustic players of all time by Acoustic Guitar magazine, Juber is an ambassador for his instrument as well as his own music. He has released fourteen critically acclaimed CD's to date, and has earned a second Grammy for Best Pop Instrumental for his solo guitar arrangement of "The Pink Panther Theme" on the CD Henry Mancini - Pink Guitar. Juber has also released a series of instructional CD's that teach basic music theory and arrangement techniques for guitarists. In addition to his own recording and performances, Laurence Juber has produced and played on Al Stewart's albums Between the Wars (1995), Down in the Cellar (2000), A Beach Full of Shells (2005) and Sparks of Ancient Light (2008), and occasionally performs with Stewart. © http://www.macca-central.com/bio/Laurence_Juber_Biography.php?TB_iframe=true&height=600&width=800

Thea Gilmore

Thea Gilmore- Rules For Jokers - 2001 - Flying Sparks Records

Rules for Jokers is the third CD from Thea Gilmore, a British singer/songwriter who is equally at home with delicate acoustic ballads and stinging, electric guitar-driven songs. Gilmore's lyrics are full of dense, poetic imagery and she delivers them with an urgency that wouldn't be out of place in a punk band. Even when she sings a melodically gentle song such as "Holding Your Hand" or "Take Me Home" with its suggestively swaying rhythm, her fierceness is never far from the surface. And when she lets loose and cranks up the volume on "Fever Beats" and "This Girl Is Taking Bets" the words flow from her with a bitter wit that recalls Elvis Costello in his younger, angrier days. Thea Gilmore wrote and recorded these songs when she was only 21 years old. If she sounds this good now, how much better will she be when she's had a chance to see more of the world? © Michael Simmons Amazon.co.uk © 1996-2014, Amazon.com, Inc. or its affiliates http://www.amazon.co.uk/Rules-Jokers-Thea-Gilmore/dp/B0000658YW

Singer/songwriter Thea Gilmore is an ambitious lass on her third album, Rules for Jokers. She boldly moves beyond the rock edges of The Lipstick Conspiracies for a confident, folk-rock appeal and it works magnificently. Acoustic guitars are ablaze throughout, giving Rules for Jokers a tough stance without much aggression. Lyrically, Gilmore is a complete artist. Her depictions of deception, sex, religion, and politics are richly textured in balladry. The daring and lustful "This Girl Is Taking Bets" dances around rockabilly/country jigs while "St. Luke's Summer" creeps along with Gilmore's hollowed vocals. "Benzedrine" is Rules for Jokers' shiny pop song; cellos and chimes accent crashing percussion for a dazzling look into self-perception. For a woman who's barely out of her teens, Gilmore sings with a weathered conviction, and it's mind-blowing. Rules for Jokers reflects upon trials and tribulations one may face, but without vengeance and bitterness. Gilmore sharply shapes it into something tangible without relying on massive production to heighten the album's overall punch. © MacKenzie Wilson © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/release/rules-for-jokers-import-version-mr0001327473

How many people have heard of One Direction, Cheryl Cole, Britney Spears, Lady Gaga, etc., etc.? How many people have listened to or even heard of Lucy Kaplansky, James McMurtry, Kyla Brox, or Thea Gilmore? The music business is a sick joke. Eric Ambleside on amazon.co.uk speaking about Thea’s “Recorded Delivery” album said, "Another outstanding and horribly underrated and overlooked artist. Tragic in the face of all of the third-rate tat out there that sells in such vast quantities". Uncut magazine hailed Thea as "the best British singer-songwriter of the last 10 years...and then some." Thea Gilmore is an unheralded but great English singer/songwriter who doesn't care about commercial, radio friendly songs. She has an irresistible voice, writes great lyrics, and is totally uncompromising with her music. She is certainly not recording for the money. If she was, then you might be able to find more reviews about this album. “Rules For Jokers” is HR by A.O.O.F.C. Buy Thea's "Murphy's Heart" or "Avalanche" albums and promote brilliant contemporary folk rock and real music. Check out Thea’s “Loftmusic” album on this blog [All tracks @ 320 Kbps: File size = 106 Mb]

N.B: This is for you, Mike P. (My NYC “chumble”), for your collection of “dated” music! (lol)!


1 Appararition No. 12 2:43
2 Holding Your Hand 3:46
3 This Girl Is Taking Bets 3:33
4 Saviours And All 3:41
5 St Luke's Summer 3:47
6 The Things We Never Said 4:52
7 Seen It All Before 4:13
8 Benzedrine 3:01
9 Movie Kisses 3:24
10 Take Me Home 3:13
11 Keep Up 2:43
12 Saying Nothing 3:20
13 Inverigo 4:14

All tracks composed by Thea Gilmore


Thea Gilmore - Electric & Acoustic Guitar, Piano, Kalimba, Cimbala, Mbira, Voice
Nigel Stonier - Electric & Acoustic Guitar, Bass, Piano, Organ, Harmonica, Voice
Robbie McIntosh - Electric Guitars, Acoustic Slide Guitar, Voice
David Coulter - Tenor Banjo, Accordion, Saw, Q-chord, Slide Didgeridoo, Jaw Harp
Dave "Munch" Moore - Harpsichord
Oliver Kraus - Cello
Ian Thomas - Drums, Percussion: Griddle Pan on "St Luke's Summer"
Ewan Davies - Percussion, Blue Tube, Finger Cymbals, Voice: Organ on "Take Me Home"
Will Bartle - Cymbal, Voice on "St Luke's Summer"
Freyja Gilmore - Voice on "Benzedrine", "Take Me Home", & "Saying Nothing"
Sarah Jane Morris, Steve Menzies - Voice on "Keep Up"


Singer/songwriter Thea Gilmore was born to Irish parents in 1979. Luckily, her upbringing in the astute area of Oxford, England, allowed Gilmore to ignore the new wave reign of the 1980s and motivated her to seek out her parents' Bob Dylan and Joni Mitchell albums. Later, she found comfort in the work of Elvis Costello, Tom Waits, and the Replacements, naturally absorbing the intelligence behind each artist's work. Gilmore began writing poetry and short stories to amuse herself amidst her conventional surroundings, but she needed something more tangible. She left home at age 16 to go work in a recording studio. Gilmore also founded her own Shameless Records and released her debut album, Burning Dorothy, in 1998. The Lipstick Conspiracies and the As If EP followed two years later, and Gilmore's star power started to buzz. In the new millennium, Gilmore inked a deal with Compass in the U.S. and finally graced American shores with the 2002 release of Rules for Jokers. Gilmore's third album, 2003's Avalanche, was a much more daring effort for her, and the single "Juliet" earned Gilmore her first Top 40 hit in the U.K. A year later, Gilmore released a collection of cover songs entitled Loft Music. This self-release effort featured Gilmore's renditions of songs by the Buzzcocks, Paul Westerberg, Jimmy Cliff, and the Ramones. Songs from the Gutter (2005) gathered career-spanning cuts not previously available as well as other hidden treasures from Gilmore's catalog of unreleased material. In August 2006, Gilmore issued the emotionally charged Harpo's Ghost, her first set of original material since Avalanche. Gilmore returned with the ultra-polished Liejacker to mixed reviews in 2008, and became a parent. In typical idiosyncratic fashion, she recorded the seasonal holiday collection Strange Communion, issuing it in 2009 and, in lieu of a new studio offering, released the half-acoustic/half-electric live set Recorded Delivery in 2010. In 2011 Gilmore returned to recording with partner and co-producer Nigel Stonier and co-producer/engineer Mike Cave for her 11th studio offering, Murphy's Heart, recorded both in Liverpool and in Ventura, CA. The cast of 13 musicians for these sessions was her largest to date. © MacKenzie Wilson © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/thea-gilmore-mn0000491034


When American independent singer-songwriter Ani DiFranco sang "I could be the million that you never made," she could have very well been singing about Thea Gilmore, a British singer/songwriter who has made a virtue out of her autonomy. While major recording labels have offered her contracts, she is content to create and distribute her albums through Shameless in United Kingdom and Compass in the United States. "When they say, 'We'll give you a modest amount of money and you can choose who you work with and how you sound,'" she told Caroline Sullivan in the Guardian, "then I'll talk." The bottom line for Gilmore is more about making good music than financial success. "It gets made if you believe in what you're doing," she told Nick Hasted in the Independent, "it comes from somewhere inside you that not many other people can reach. Nobody can tell me how to get there. I have to do it on my own." Gilmore was born in 1979 in Oxford, the same region that produced British bands like Radiohead and Supergrass. Her father, a chiropractor, provided her with a sound musical background when he introduced her to Bob Dylan, Joni Mitchell, and the Beatles. Later, she listened to Elvis Costello, Tom Waits, and the Replacements, and generally avoided the bands that were popular with her peers. Gilmore, who began writing poetry at the age of 15 to cope with her parents' divorce, won awards for her writing. She left home at 16, hoping to turn her poetry into songs, and found a job working at the legendary Woodworm studio, where the folk-rock group Fairport Convention had recorded. There she met producer Nigel Stonier who listened to a tape of her early songs. "She had this quiet intensity about her, and striking intelligence," he told David Bowman in Salon. "I guess you kinda knew she was someone who'd be successful in whatever field she chose." Stonier agreed to produce her first EP. In 1999 at the age of 19, Gilmore released Burning Dorothy on Shameless Records. She consciously chose a low-key start to her musical career, hoping to avoid the quick rise and fall of many young singers at major recording labels. "I figured that there weren't many people having sustained careers in the music industry any more," she told Andy Coleman in the Birmingham Evening Mail. "I wanted a chance to develop my music at a pace that suited me, not to be bound by industry standards." In 2000 she released her sophomore effort, Lipstick Conspiracy. Gilmore's break came with her third album in 2001, Rules for Jokers. Unlike her earlier efforts, she utilized a full band to create a sound that ranged from folk to rock and everything in between. The acoustic guitar and lyrical barrage of "Apparition No. 12" reached back to the surrealism of 1960s Bob Dylan, while the brash "Benzedrine" combined the best of punk and new wave. "Pleasingly intelligent and forthright with her original lyrics and offering an interesting variety of musical sounds," wrote Jenny Ivor in Rambles, "this girl is mature before her time." The album received another boost when Gilmore signed with American label Compass. After Rules for Jokers, Gilmore went back to the studio to record a song for a Bob Dylan tribute album--and unintentionally recorded her fourth album. After finishing Dylan's "I Dreamed I Saw St. Augustine" rather quickly, she remained behind while the band took a break at the local pub. Alone in the studio, she started writing and soon had enough material for several songs. "When the band came back," she told Bowman, "I asked them to play what I'd written. It was recorded in two days. We didn't intend it to come out until the point where it was sitting on the table in front of us and we said, 'What are we going to do with this?'" The seven compositions became Songs from the Gutter, released at the beginning of 2003. Later that same year Gilmore returned with Avalanche, an album appearing on many "best of" lists at the end of the year. "In a dingy pub on the other side of the pond," wrote Sarah Liss in Toronto's NOW Magazine, "Tom Waits is reborn as a 22-year-old woman with a voice steeped in red wine and regret and a gift for lyrical storytelling that'd make any writer feel like a pathetic hack." She was joined in the studio by electric guitarist Robbie McIntosh (from the Pretenders), cellist Oliver Kraus, and Stonier on keyboards, a band that created a vibrant underpinning to gentle ballads like "Juliet (Keep That in Mind)." "She's already proved herself one of Britain's most potent lyricists," wrote Colin Irwin in Mojo, "but with producer Nigel Stonier also turning in a match-winning performance, Avalanche nudges her into a new recording arena entirely." The release of the Avalanche single "Mainstream" caused a small controversy: Its cover art by Ian Brown mocked Mattel's Barbie doll. When the company threatened a lawsuit, the cover was withdrawn. Speaking about the uproar, Gilmore explained that she really wasn't sure what sparked Mattel's objection. "I'm pretty sure Mattel couldn't give a d**n what Barbie has come to represent as long as their end-of-year figures add up," she told Adam McKibbin on the Suite 101 website. Gilmore's gifts as a lyricist and prolific songwriter separate her from her peers and have made her something of an anomaly in the music business. At the age of 23 she has recorded five albums and found a modicum of success without relying on major label advertising and distribution. In 2004 she embarked on her first North American tour and began recording an album of covers, including a version Neil Young's "Old Laughing Lady." Her multiple styles and do-it-yourself mentality defy easy categorization, but she wouldn't have it any other way. "Some people write me off as some waily folky woman." she told Bowman. "Other people think I'm rock. In terms of an image, if you want to be cold and corporate about it, it's hard to decide who my target market is. There isn't one. There is no box that I can be put in." by & © Ronnie D. Lankford Jr © 2013 Net Industries - All Rights Reserved http://www.musicianguide.com/biographies/1608004084/Thea-Gilmore.html


Susan Marshall

Susan Marshall - Firefly - 2005 - Honeymouth Records ‎

Firefly Susan Marshall (Honeymouth Records) 3 1/2 stars out of 4 “That Susan Marshall has got a mouth on her. And from it emanates some of the most beautiful music in the city. Which is why, as her 2002 solo debut attested, they call her Honeymouth. Because that disc featured Marshall in full diva mode, belting out big bluesy rock and soul with gale force, her latest release is even more an unexpected surprise. Firefly is, for all intents and purposes, a cabaret jazz record. On it, the singer wraps her warm vocal cords around a well-chosen selection of jazz and rock standards and a quartet of originals co-written by her. The production by Marshall’s husband, Jeff Powell, is sparse, with tasteful support from the excellent Rick Steff on piano, studio ace Sam Shoup on bass (and flugel horn, another surprise) and occasional percussion from the ever-dependable Harry Peel. The result is a master class in under-singing. On such time-tested material as God Bless The Child, Marshall thankfully refrains from turning the melody into a grandstanding showcase. Instead, she favours serving the song, and the effect is to actually hear it for the first time in years. Her restrained interpretive skill (and the shifting of the sex of the protagonist) also add depth and melancholy to Steely Dan’s Dirty Work. Similarly, her take on How the Mighty Have Fallen, which European blues star Ana Popovic recorded as a barrelhouse romp, here becomes a dark warning from a sultry vixen. Ya make one false move and you re history, sings Marshall in a refrain that’s sure to fall on deaf ears because the voice of the siren is just too beautiful”. © Mark Jordan/The Commercial Appeal Memphis TN.

A beautiful soul blues jazz album from the great vocalist and songwriter, Susan Marshall who has spent most of her career singing on other artists’ albums. This lady is so versatile, and the eclectic mix of songs on this album includes four original compositions. The remaining six tracks are classic jazz/blues and soul songs composed by artists that include Billie Holiday, Irving Berlin, and Van Morrison. Although songs like “Cry Me A River”, “What'll I Do”, and “God Bless The Child” have been covered umpteen times, they remain great timeless tunes especially when sung with real class. Great to hear another good cover of W.Becker & D.Fagen’s beautiful “Dirty Work”. The album is HR by A.O.O.F.C. Read more about Susan @ http://en.wikipedia.org/wiki/Susan_Marshall_(musician) Listen to some video clips of this album @ http://youzeek.com/?Artist=Susan+Marshall&page=Albums&lng=EN and listen to Susan’s “Little Red” album. Support real music [All tracks @ 320 Kbps: File size = 84.8 Mb]


1 Hard To Get Along With - Susan Marshall 4:03 *
2 Undecided - Sid Robin & Charlie Shavers 2:25
3 How The Mighty Have Fallen - Susan Marshall, William Lee Ellis 4:48
4 Dirty Work - W.Becker & D.Fagen 3:34
5 Cry Me A River - Arthur Hamilton 4:05
6 Everything You Had - Susan Marshall 3:15 *
7 God Bless The Child - Billie Holiday & Arthur Herzog, Jr. 4:20
8 Crazy Love - Van Morrison 3:47
9 What'll I Do - Irving Berlin 3:16
10 When It Glows - Susan Marshall 3:36 *

N.B: * Denotes co-written songs. Can anybody name the other composer/s?


Rick Steff - Piano
Sam Shoup - Double Bass, Flugelhorn
Harry Peel - Drums/Percussion
Susan Marshall - Lead & Backing Vocals
Steve Selvidge, Bertram Brown - Backing Vocals


Soulful Tennessee-based singer/songwriter Susan Marshall began her music career as a classical singer before becoming a successful backup vocalist for the likes of Lenny Kravitz, the Afghan Whigs, Cat Power, and Lucinda Williams. Raised in Memphis, Marshall spent her formative years soaking up the region's rich musical legacy, honing her own impressive pipes while listening to Otis Redding, Al Green, Mavis Staples, and Elvis Presley. She relocated to New York City in her early twenties, where she spent six years with the off-Broadway rep company Light Opera of Manhattan before moving back to Memphis where she co-founded and fronted the bluesy early-'90s retro-rock group the Mother Station. The band released one album (Brand New Bag) on the Warner Bros. satellite label EastWest in 1994 and scored a radio hit with "Put the Blame on Me" before calling it quits. Marshall released her debut solo album, Susan Marshall Is Honey Mouth, in 2002, garnering both critical and commercial acclaim. Released in 2005, Firefly found the powerhouse singer backed by a jazz combo, and 2009 saw the release of Little Red, which featured appearances from Greg Dulli (Afghan Whigs, Gutter Twins), Dan Lavery (Tonic, the Fray), Matt Pence (Centro-Matic), and Lucinda Williams. James © Christopher Monger © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved


Wayne Krantz, Keith Carlock, Tim Lefebvre

Wayne Krantz, Keith Carlock, Tim Lefebvre - Krantz Carlock Lefebvre - 2009 - Abstract Logix

The American guitarist Wayne Krantz is a real one-off. He sounds somewhere between John Scofield and Bill Frisell at times, and he has toured in the legacy version of Steely Dan, which has had an audible impact on his playing. But Krantz is also an unflinching adventurer who dislikes repeating himself or imitating others, and possibly dislikes the music industry even more. This trio's famously long residency at New York's 55 Bar used to be documented by downloadable recordings of the gigs the same night, and though the guitarist has access to a conventional recording studio here, he has kept the same improvisational live feel, augmenting it with some overdubbed theme statements and quirkily offhand vocals on four tracks. Krantz is accompanied by his regular partners, Tim Lefebvre (bass) and Keith Carlock (drums), and the bone-crunching three-way conversation they keep up joins the impact of a heavy rock power-trio to the harmonic sleight-of-hand and melodic slipperiness of a contemporary jazz band. Some pieces are dark, churning, raw-sound growls, while others are drawlingly countrified; there's a rock-virtuosity tribute to Jeff Beck, and Rugged Individual is almost a reassuring ballad. © John Fordham guardian.co.uk, Thursday 15 October 2009 21.49 BST © Guardian News and Media Limited 2010 http://www.guardian.co.uk/music/2009/oct/15/wayne-krantz-cd-review

Fans of electric guitarist Wayne Krantz have been waiting well over a decade to hear something new or commercially available on CD, and here it is. It seems he's a more mature player, not as raucous or raw as in previous years where volume and screaming, high-pitched sounds were favored. Not to say he's refined his approach, but it seems as if Krantz is more interested in flowing composition, symmetry, and teamwork within funky beats rather than trying to stand above the plethora of rock-oriented jazz guitarists. With bassist Tim Lefebvre and drummer Keith Carlock, Krantz has a solid idea of what he wants to portray, and compact ideas swimming around in his head and fingers. There's only a modicum of noodling, some inane vocalizing here and there, but it does not detract from the overall message he's attempting to get across. He might even be heard as a thoughtful tunesmith on the languid "Rushdie," a slow and introspective "The Earth from Above," or "Moseley." While faster externally, "Left It on the Playground" is a nine-minute jam, at times wonky, but for the most part exploring some interesting industrialized effects. Then again, there are those untamed moments, as on the appropriately titled "War-Torn Johnny" or the hard-edged "Holy Joe" where the razor-edge impulses of Krantz cannot be denied. It is his tribute, "Jeff Beck," where the guitarist adds something unique, as vocal-type, faux-wah-wah sounds from Lefebvre set up some choppy and looser lines, while a much more defined blues in 6/8 time signifies "Rugged Individual." Of the vocal selections, the anthem for sommeliers "Wine Is the Thread" works best in its soulful, song-style repast, but it is not a strong suit. Krantz admitted he became discouraged with the music business, as working diligently on a project did not mean the recording would get proper promotion or distribution. Since the advent of the Internet, he's made live performances available as downloads. This project has a spontaneous, liquid quality to it that may very well establish a new concept for a figure far too talented to take any more time away from the studio to document his pithy, intriguing music. © 2009 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:apftxzlaldhe

Guitarist Wayne Krantz's latest release Krantz Carlock Lefebvre (Abstract Logix) is more than just a great album, it's an exciting event - both for Krantz's career, and for the guitar community at large. This predominantly instrumental disc is Krantz's first studio album to include his long-time trio mates Keith Carlock (Drums), and Tim Lefebvre (Bass). While it's technically a Krantz solo album, Krantz Carlock Lefebvre is very much a band effort (hence the name I'm assuming). Unfortunately for me, the music on this disc is as hard to describe as Krantz himself. Though he's generally been regarded as a jazz player, there's a lot of rock in Krantz's playing as well (in addition to his solo work, he's played with artists as diverse as Steely Dan, Leni Stern, and Chris Potter). These styles, along with his impassioned dedication to improvisation, come through loud and clear on this album. Having said that, I wouldn't call Krantz Carlock Lefebvre a fusion recording - for some reason, despite the heaviness and the harmony, that label doesn't seem right to me. It's at once more rock than fusion, and more jazz than rock. In other words, it's uniquely Krantz. Krantz is one of those rare players who can play one phrase and you immediately know it's him. His signature percussive attack, coupled with a unique approach to improvising make him instantly recognizable. He's been releasing live material in both CD and downloadable formats for years, but the last "Wayne Krantz" studio album was 1993's Long To Be Loose (a great record). If you're looking for the type of writing and lines that Krantz provided on that album, you'll need to look elsewhere. Krantz has morphed into a more adventurous player since those days, both in his improvising and his choice of guitar tones. His lines are more intervallic and almost herky-jerky now; lots of double stops and octave displaced phrasing. His clean tones are still gorgeous, but he's using a wide palette of distorted tones as well, often augmented by an octave divider or wah-wah, which in turn has brought out a stronger Hendrix-like influence in his playing. Krantz has a bolder approach to writing than he has in the past also. Subdued chordal sections are often followed by pedal-stomping "wake up!" sections, as if he's attempting to shake the listener out of their seat. You're aware of all of this already if you've been following Krantz's live material over the past several years. With Krantz Carlock Lefebvre, Krantz has finally taken his current sound and attitude, along with his trio's tight chemistry, and brought it into the studio to be documented and built upon. The opening track "It's No Fun Not To Like Pop" is one of 4 songs on the album that feature Krantz on "vocals." I put vocals in quotes because they aren't utilized in the way you're probably used to. For this tune, the line "It's no fun not to like pop" is literally the beginning and end of the vocal content. This line is dropped in at various points during the jaunty main riff, almost as another instrument or effect. Eventually, the piece gives way to an improvisational mid-section, filled with delay effects and molten guitar tones. Before you know it, the maelstrom comes to an abrupt halt, and the tightly composed opening sections return. It's the first taste of what appears to be Krantz's vision for this album - fearless group improv mixed with provocative writing. After the rocking instrumental "War-Torn Johnny," (which includes some impressive drum work by Carlock through the trippy improv section), the mood shifts for "Rushdie," a gorgeous track that continually gathers steam as it goes along. Krantz provides a pair of polar-opposite guitar solos on this one - a snappy acoustic turn full of lyricism and dynamics, followed abruptly by a distorted wah-wah solo. This song alone is a great example of the musical shift that Krantz has taken during the years since Long To Be Loose. The guitarist that recorded that album was not the unapologetic risk-taker that recorded this one. Following "Rushdie" is one of my favorites, "Wine Is The Thread" - a great song that features a smidge of vocals, and a bluesy sliding-sixths melody. The wild, improvisational mid-section is a further example of the wide range of approaches Krantz takes with tone and contrast on this album. "The Earth From Above" is a beautiful chordal and double-stop oriented piece, that is probably the most thoroughly composed song on the album. It's followed in stark contrast by the almost completely improvised "Left It On The Playground." This highly experimental soundscape features Carlock's most intense workout on the album, as well as Krantz's most liberal use of delay and ring modulator effects. Very "out there" stuff. The next track is titled "Jeff Beck" due to the fact that Krantz submitted a demo of the song to the legendary player, though Beck hasn't used it. Love the cool jazzy chords and the white-hot guitar solo on this one. "I Was Like" is a pure rock tune, with more vocals than any other song on the album. Krantz provides two simultaneous guitar solos on this track, which seriously ratchets up the intensity. The mood shifts yet again with "Mosley," a slower tune with a deliberate groove that features some of Lefebvre's best playing on the disc. Another standout is the highly dynamic "Holy Joe" - the last vocal tune. This uptempo song is arguably the most technical composition here, and everyone is up to the task. The acoustic accents and dry vocal tones add a nice touch. The disc closes with the deep ballad "Rugged Individual." The thing that sticks with you about this tune is how the group respects the mood of the piece when they venture into improvisational territory. Everyone leaves plenty of space for the song to breathe, while still providing input to the music. Great stuff. One of the trademarks of Krantz's live performances is the amount of group improvising that takes place. In a wise move, Krantz decided to bring that strength to the studio for Krantz Carlock Lefebvre, and the results are fantastic. Moreover, the pre-composed portions of the music are very deep, and very guitar-oriented. This disc is loaded with great, often over-the-top guitar tones, and killer playing by Krantz and his bandmates. Krantz Carlock Lefebvre is absolutely one of my favorite albums of the year. Highly recommended. © Rich © 2004 - 2012 Rich Murray. All Rights Reserved. http://www.guitar-channel.com/rich_murray/2009/08/review-wayne-krantz-krantz-carlock-lefebvre.html

A great album of jazz rock/fusion from three masters of their instruments. There is some ferocious guitar playing here from Wayne Krantz. Wayne has a unique playing style and is a real multi-dimensional player. 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" and Chris Potter's “Underground” 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 [All tracks @ 320 Kbps: File size = 131 Mb]


01 - It's No Fun Not to Like Pop
02 - War-Torn Johnny
03 - Rushdie
04 - Wine Is the Thread
05 - The Earth from Above
06 - Left It on the Playground
07 - Jeff Beck
08 - I Was Like
09 - Mosley
10 - Holy Joe
11 - Rugged Individual

All tracks composed by Wayne Krantz


Wayne Krantz - Guitar, Vocals
Tim Lefebvre - Bass Guitar
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



Martone - Zone - 1999 - Lion Records

Zone by Martone, aka David d Marton, is packed with some of the finest and widely diverse guitar playing I have heard in 1999. Marton can shred, do awesome jazzy fusion numbers, then mellow out incredibly well. Great bass, keys, and drumming serve to augment the endlessly satisfying breadth of talent and technique Marton flaunts with ease. This guy deserves to be heard! I play this one very regularly. And now the specifics . . . All the compositions are written with uniqueness in mind, the typical “guitar-hero”, testosterone-driven, wall-to-wall noise avoided. Canada’s Martone is keen on keeping the listener on their toes, plenty of twists and turns, time sigs sprinkled about like a Monet’s myriad dots of color. Up close things might seem whole-tonally confusing, eclectically ambiguous, but in totality -- the effect is beautiful. Herein we have 13 tracks of fine art. Do not misunderstand me, this is not music for pastel-spectacled weenies --Zone breathes fusion fire, belches tremors of bone-crunching edge, and hypnotizes you as the rainbow-hued talons grip your acoustic soul. This is one fun ride of rocking, hard fusion with enuff overdriven power and fluid-fretted grace to make even the most jaded listener stop and say, “Whoa baby, who’s this?” Those of you out there tired of banal riffage and ennui-full scores that you see coming after the first bar -- need to hear Martone. Buy this, so we will hear much more from this fine artist. Paul Marton helps out on keys and sound FX. Justin Faragher is bass and Stick. Dave Devin and Dave Spidel add more bass. Bill Prouten is sax. Daniel Adair is one awesome drummer and percussionist. Tracks “B52” spinning at 6:30 and “7th Dimension” weighing in at 11:20 were simply amazing, allowing Marton to show his superb legato, precision timing, and behemoth, low-end crunch. David et al, trust me, these tracks are killer and show the direction your future releases should emphasize and expand upon. I hear Martone, easily executing 15:00+ songs that will slay the masses in progressive rock/metal gangs, jazz fusion circles, and power shredders world-wide. “Bravo and tres bon, monsieur Marton!” Highest of recommendations! © John W. Patterson © http://eer-music.com/reviews/martone.html

Mix the playing styles of guitarists like Wayne Krantz, Buckethead, Michael Landau, Frank Zappa, and Greg Howe together and you would be coming near to the sound and style of Dave Martone. Yet, this guy’s style is so eclectic and unique that he really can’t be compared to any modern guitarist. Dave blends country, metal, rock, blues, jazz, fusion, and rock together to produce an enthralling sound. Dave has played, hosted clinics or performed with artists that include Steve Morse, Paul Gilbert, Yngwie Malmsteen, Marty Friedman, Greg Howe, Joe Satriani, Chester Thompson, Mike Portnoy, and Gregg Bissonette. Dave was credited on Joe Satriani’s “Super Colossal” album. Joe Satriani, Greg Howe, Jennifer Batten, Billy Sheehan and Rick Fierbracci were guest players on Dave’s “Clean” album. “Zone” may be Dave’s most eclectic album and is not the album that best displays his guitar skills, however it’s a great album with wonderful musicianship and compositional skills. Dave has said, “How fast can people play anymore? I think it’s humanly impossible to go any faster. So I’m getting a little bit more into textures, and I want to integrate lots of different styles inside of the music, you know, like techno to country, flamenco to metal, and mix it all together.” This is more or less what has been achieved with “Zone”. Diverse, but hugely enjoyable and HR by A.O.O.F.C. Check out http://davemartone.com/?page_id=19 for info on Dave Martone’s other work. Buy Dave Martone’s great “Clean” album and check out Martone’s “A Demons Dream” on this blog. Read an interview with Dave Martone @ http://www.guitar9.com/interview27.html Support real music. N:B: Dave Martone usually uses only his surname on his album sleeves, so he may be filed under D or M! [Tracks @ 154-181 Kbps: File size = 75.4 Mb]


1. B52 (6:30)
2. Harmonix (2:25)
3. 7th Dimension (11:20)
4. Missed Birthday (1:55)
5. The Fan (5:57)
6. Fish To LA (6:59)
7. Tap Thang (1:24)
8. Free Bop (5:19)
9. Jazzanada (1:31)
10. Victoria (4:43)
11. Bach-Tone (3:51)
12. Dave Martone - Eight Notes (7:01)
13. Dave Martone - Lets Dream (2:25)

All tracks composed by Paul & Dave Martone


Guitar: Dave Martone
Bass: Dave Devin, Justin Faragher, David Spidel
Stick: Justin Faragher
Keyboards: Paul Martone
Drums: Daniel Adair
Percussion: Daniel Adair


Dave Martone (born January 16, 1970) is a Canadian fusion guitarist and record producer, based out of Vancouver, British Columbia. Over his career, Martone has performed alongside artists including: Michael Angelo Batio, Jennifer Batten, Marty Friedman, Paul Gilbert, Greg Howe, Yngwie Malmsteen, Mike Portnoy, Chester Thompson, Joe Satriani and Billy Sheehan. Martone was born in Grimsby, Ontario. He began learning guitar at the age of 6. His father, who is also a guitarist, taught him Classical guitar and then had a teacher from Spain (Gary Santucci) teach him Classical and Flamenco. After taking lessons with Santucci, and discovering heavy metal music, he learned in his parent's basement with cassette tapes, guitar magazines, and self-instructions books. The first rock song he had learned by ear was "War Pigs" by Black Sabbath from their greatest hits record. He obtained a recording engineering diploma from Fanshawe College in Ontario in 1990, and graduated from the Berklee College of Music, in Boston, Massachusetts, where he studied with Jon Finn, Joe Stump, Jim Kelly and Bruce Bartlett, with a performance major in 1995. Popular guitar players who have inspired and influenced him to play guitar are Angus Young, Gary Moore,Tony MacAlpine,Tony Iommi and Edward Van Halen. Martone conducts clinics at Berklee, which he has been doing since his graduation. His solo project, Martone, which is composed of him, Daniel Adair and Dave Spidel, is signed to Magna Carta Records. Martone has worked for Tom Lee Music and the National Guitar Workshop as an instructor, and continues to instruct through clinics worldwide. He has been directing the Tom Lee Music School of Rock program in Vancouver since 2003, and has hosted the Satch Zone guitar instructional online lessons alongside Joe Satriani through Workshop Live. From 2001 to 2011, he was a bi-monthly columnist for guitar9.com, writing about production, recording, equipment, and playing techniques. Martone is endorsed by Cakewalk, Digitech, Electro-Voice, GHS, Parker Guitars and Vox. He also owns and operates Brainworks Studio, located in Vancouver.


Jeff Kollman

Jeff Kollman - Into The Unknown - 1995 - Legato

Into The Unknown features fourteen awesome cuts of instrumental hard rock, shred and fusion axework that spotlights Jeff Kollman's talent like no other recorded work to date. Fist-pumpers such as "The Test Continues" and "Battle Scars" alternate with extended preludes such as "Homage To Orf" and the title track, as Kollman serves notice that he is a fiery player to be reckoned with. The CD also features touches of classical and jazz in spots. Kollman is a very versatile guitarist with a powerful sound and style and he manages to strike just the right balance between chops and songwriting. Into The Unknown also includes the heavyweight rhythm section of Kevin Chown on bass and brother Tommy Kollman on drums. © Dan Avinchey-Guitar 9 records

The brilliant Toledo, Ohio born guitarist, Jeff Kollman is now a well known and in-demand session player in the extremely tough L.A session scene. He has toured and recorded with artists that include UFO (replacing the legendary Michael Schenker), Lyle Lovett, Linda McCartney, Bruce Hornsby, Steve Pocaro, Billy Sheehan, Steve Vai, Glenn Hughes, and the Yellowjackets. He has been a member of several bands including Chad Smith's Bombastic Meatbats, the Euro metal band, Edwin Dare, and the magnificent fusion band, Cosmosquad. He has released several great albums including “Guitar Screams Live!”, and “Shedding Skin”. Dave Murnen, vocalist and percussionist with the Toledo rock group the Pillbugs said that. “Jeff’s probably one of the most versatile guitarists I know. He can sit in with your best jazz, best rhythm and blues, best rock and roll, and best classical guys. We were all in garage bands and we always tried to get Jeff to sit in with us, but he wouldn't have anything to do with us because he was so far superior. He used to sit in his room and play classical music until 2 a.m. and then he'd do his homework and go to bed. He's just a phenomenal guitar player.” Mark Mikel, the leader of the Pillbugs, said recently, “I don't even know what he can do now, it's been so long since I've seen him play. “I figure he can do anything. It's not a question of what can he do. It's what can't he do? Probably nothing.” “Into The Unknown” is typical of Jeff’s eclectic playing and is a brilliantly played instrumental musical stew of jazz, hard rock, and fusion and HR by A.O.O.F.C. Jeff Kollman is still one of the great unheralded guitarists in the rock and fusion scene today. Listen to JKB’s “Bleeding The Soul” album and Cosmosquad’s incredible “Live at The Baked Potato” album and support real music. [All tracks @ 320 Kbps: File size = 110 Mb]


1 Homage To Orf 1:56
2 Battle Scars 3:56
3 Into The Unknown 1:28
4 Vealkut 2:23
5 Dreamin In Lydian 3:26
6 Sole Searching 3:02
7 Playa De Guitar 3:48
8 Memories Of Jenkins 3:34
9 A Thousand Faces 5:44
10 The Test Continues 4:02
11 Turnaround 3:19
12 Lester’s Shuffle 3:11
13 Neo ‘80s Mumbo Jumbo 1:38
14 Feel The Changes 4:01

All tracks composed by Jeffery Kollman


Jeff Kollman – All Guitars, Guitar Synth, Bass on Tracks 4,5,10
Kevin Chown – 4 & 6 String Bass
Chris Virzi – Keyboards on Track 7
Dale Grisa – Keyboards on Track 9
Tommy Kollman RIP – Drums
Dennis Sheridan – Percussion on Track 7


Jeffrey "Jeff" Kollman is an American guitar player from Toledo, Ohio, best known for his work with Glenn Hughes, Chad Smith's Bombastic Meatbats, UFO off-shoot Mogg/Way and progressive rock trio, Cosmosquad. He has worked extensively with contemporary jazz keyboardist Lao Tizer, played live with bassist/vocalist Marco Mendoza and is currently a member of Asia Featuring John Payne. Kollman has worked as a session guitarist, producer, songwriter, and actor. He has written music for movies and TV, including a commercial which ran during the 2007 Super Bowl. He is the owner and operator of Marmaduke Records, which has released the bulk of his albums. Kollman has been a Los Angeles resident since 1997 where he lives with his family. Inspired by bands including Kiss and Van Halen, and guitarist Randy Rhoads, Kollman began playing guitar at 12 years old. He made his recording debut at 14, after joining Ohio hardcore punk band The Stain. The Stain was featured on 1984's The Sounds of Hollywood #3 compilation and issued a full-length album, I Know the Scam, in 1986, both on L.A.-based label Mystic Records. In 1987, Kollman formed the metal band VXN with his brother and drummer Tommy Kollman, vocalist Bryce Barnes and bassist Nep Sindel, and self-released a 6-song mini-LP in 1987. The band morphed into Edwin Dare in 1990 with the addition of bassist Kevin Chown. Edwin Dare toured around the Midwest area and released three albums between 1992 and 1998. During this time, Kollman also released three solo albums. After the demise of Edwin Dare, Kollman and Chown continued to collaborate on various projects, including Crumb Bros., JKB (Jeff Kollman Band) and, most notably, Chad Smith's Bombastic Meatbats. Kollman moved to Phoenix, Arizona in 1995, where he worked as a session musician for Linda McCartney, Lyle Lovett, Wayman Tisdale and others. There he crossed paths with MSG drummer Shane Gaalaas and bassist Barry Sparks, with whom he formed the all-instrumental progressive rock trio, Cosmosquad. In 1997, the group released their eponymous debut, the first of three studio albums to date. In 1998, Kollman filled in for Sparks on bass for MSG on their G3 tour of Europe. That year, Mike Varney of Shrapnel Records contacted Kollman to help write and record the Permanent Mark album with Artension vocalist John West. This led to Jeff teaming up with the core of the classic UFO line-up, as Mogg/Way, for the 1999 Chocolate Box album. Kollman and UFO vocalist Phil Mogg reunited, as $ign Of 4, for another album collaboration, Dancing with St. Peter, released in fall 2002. In 2003, after a UK tour with $ign of 4, Kollman began working with bassist/vocalist Glenn Hughes (of Deep Purple fame) in a short-lived, pop-oriented trio named Shape 68. He also produced, co-wrote and played guitar for Hughes' 2003 hard rock album Songs in the Key of Rock and would become Hughes' new touring guitar player. Also in 2003, Kollman co-produced the HTP 2 project, featuring Hughes and former Rainbow vocalist Joe Lynn Turner. In 2005, Kollman filled in for UFO bassist Pete Way for the duration of the band's U.S. summer tour. He earned his SAG card with a part in the Hank Garland biographical movie Crazy, portraying guitarist Barry Galbraith. In 2007, Kollman, Red Hot Chili Peppers drummer Chad Smith and keyboardist Ed Roth, who had met playing with Glenn Hughes, formed an all-instrumental band inspired by their shared love of 70's funk rock and fusion. Still unnamed at the time, the group, rounded out by Kollman's former Edwin Dare bandmate Kevin Chown on bass, debuted at the 2008 NAMM show in Anaheim, California. The band became Chad Smith's Bombastic Meatbats upon the release of their debut album, Meat the Meatbats, in 2009. More Meat followed in 2010, and a live recording, Live Meat and Potatoes, in 2012. Returning to the UK, Kollman appeared at the 2011 Goodwood Festival of Speed, by special invitation of Lord March, playing the Star Spangled Banner on the roof of Goodwood House on the 4th of July; Brian May of Queen also performed. In spring 2012, Kollman released Silence in the Corridor, his first studio solo album in more than a dozen years. The album's title track is a tribute to Gary Moore, and the title was inspired by Moore's 1982 solo album, Corridors of Power. In the early morning hours of December 15, 2012, Kollman's brother Tommy was shot and killed by a sheriff's deputy in Fort Myers Beach, Florida. A memorial concert event was held on the brothers' old stomping grounds in South Toledo, Ohio, on May 24 and 25, 2013, with Cosmosquad headlining. Kollman released a digital single, "Brother to Brother", as a tribute in July 2013.



Cosmosquad - Squadrophenia - 2002 - Mascot Records

Another brilliant all-instrumental release from the monster trio known as Cosmosquad is entitled Squadrophenia. Retaining the multi-dimensional approach the band developed on their debut album, Cosmosquad have successfully managed to explore new musical territory and expand their sonic parameters on Squadrophenia. Displays of upbeat, funky outbursts give way to dark, hypnotic grooves, spastic madness meets ethereal beauty, and African tribal flavors intersect with melodic flurries to complete a perfectly balanced mosaic of shadow and light. Cosmosquad are that rare three-pronged constellation of stellar musicianship, unique songwriting and forward thinking attitude that allows for great musical things to happen. Squadrophenia is bound to establish the Jeff Kollman / Barry Sparks / Shane Gaalaas alliance as one of the frontrunners of the New Millennium hard fusion movement for years to come. © Dan Avinchey - Guitar 9 records

Transcending old school fusion and new age progressive metal stylings, COSMOSQUAD truly live up to their galactic moniker. Three years after their acclaimed eponymous debut album, this L.A.-based triumvirate is ready to unleash its sophomore release, "Squadrophenia", and make another out-of-this-world statement. Retaining the multidimensional approach the band developed on their debut album, COSMOSQUAD have successfully managed to explore new musical territory and expand their sonic parameters on "Squadrophenia". Displays of upbeat, funky outbursts give way to dark, hypnotic grooves, spastic madness meets ethereal beauty, and African tribal flavors intersect with melodic flurries to complete a perfectly balanced mosaic of shadow and light. COSMOSQUAD are that rare three-pronged constellation of stellar musicianship, unique songwriting and forward thinking attitude that allows for great musical things to happen. "Squadrophenia" is bound to establish the Kollman / Sparks / Gaalaas alliance as one of the Front-runners of the New Millennium hard fusion movement for years to come. - from Album Notes © http://www.cdbaby.com/cd/cosmosquad1

Take three established musicians who have played with the likes of Yngwie Malmsteen, the Michael Schenker Group, Dokken, Uli Jon Roth, Mogg/Way, Artension and Tony MacAlpine, throw ’em in a room to craft intoxicating, genre-busting instrumentals with such cool titles as “Funk N’ Eh” and “Sea Broth,” and then relish in the twisted aural magic. Cosmosquad – featuring guitarist Jeff Kollman, bass player Barry Sparks and drummer Shane Gaalaas – refuses to be categorized on Squadrophenia, the band’s second album. Displays of upbeat and funky outbursts give way to dark and hypnotic grooves, madness and melody, with a touch of tribal trance. (Hey, that’s the title of another song here.) The cleverness that begins in the album’s Who-spoof title carries over into almost every track on Squadrophenia. Throughout the course of these 12 songs, no one player seems to dominate -- although each takes his turn to shine on individual songs. The rhythm section is typically tight, often allowing plenty of room for Kollman’s roaming guitar. The jazzy “Chinese Eyes” and the slow-building “Road to Tanzania/Tribal Trance” feature guest piano and synths courtesy of Roger Burn. Esteemed guitarists Chris Poland and Vinnie Moore also join in on “Jam For Jason,” which originally appeared on 2001’s Jason Becker tribute, Warmth in the Wilderness. In short, these guys are out of this world. - Added: October 22nd 2002 Reviewer & © Michael Popke Score: **** © 2004 Sea Of Tranquility http://www.seaoftranquility.org/reviews.php?op=showcontent&id=404

Where have all the shredders gone you ask? Well, I don’t know where all the old ones went but while they were away a new bunch have appeared and frankly with groups like Cosmosquad about the scene, who needs the old guys? To be completely truthful about the matter Cosmosquad don’t spend all of their time shredding and posing, they have a far broader palette than just that. The mileage that these guys drive to get somewhere can be considerable, take 'Jam For Jason' for instance. This jam, dedicated to guitarist Jason Becker, runs on for about eight minutes, up the hill, around the hill and often through the hill, but it gets to its destination in high style. The flamenco guitar at about five minutes in is absolutely sublime. So who are these guys so capable of tearing it all up and then piecing it back together? Well, first you have Jeff Kollman on guitar who is probably best known as Michael Schenker’s stand-in in the group Mogg-Way. Kollman has an unparalleled touch that can bring you from endless bliss to a flood of tears. Check out 'Godzilla’s Revenge' for some off the map heaviness with a grin. Then we have Shane Gaalaas on drums. Gaalaas is one of the most sought after groove players in the business. Glenn Hughes calls him “The funkiest man in Rock, next to me!” The man can get lead heavy as well, check out his work with Diesel Machine for an example, but here he is groovin’ and fillin’ at his fusion lovin’ best. Listen to how he fills the open holes of 'Cauldron of Evil'. The third part of this funkified Metal-fusion trio is bassist Barry Sparks. Sparks has seen time with half the shredders of note in Rock music. From Uli Jon Roth to MSG and Yngwie Malmsteen, they have all called on Sparks to make, sorry ‘bout this folks, sparks fly. At one moment in time his bottom is so heavy that you would need a crane to lift it and then the next thing you know those high frequencies that you thought were guitar are actually being pumped up by good ole’ Barry. The man is a phenom which is something that Don Dokken immediately realized and that is why a guy who has been only working with the Dokken band for less than a year gets his own solo spot on stage each night. 'Funk N’ Eh’' gives a really tasty bit of his ability to slide across the fretboard. Essentially what you have here is a trio of musicians who are each on the cusp of some great fame and fortune playing their asses off for about an hour. Worth checking out? Of course it is. Actually, it goes beyond that, this is essential Hard Rock Fusion for the next generation and would be a crime to miss out on. By: & © David L. Wilson © 2003 Blistering Entertainment. All Rights Reserved. http://www.blistering.com/reviews/album.php3?ID=3632

Great progressive metal jazz rock/fusion from the L.A based band. Cosmosquad’s music can be heavy, dark, and melodic but “beautifully chaotic” and always manages to hold your interest. If you like artists like Tribal Tech, Dixie Dregs, Mike Keneally, Allan Holdsworth, and Wayne Krantz, you may like this album. However, it’s not imperative to like these artists to appreciate the great music created by Kollman, Sparks, & Gaalaas . The album is HR by A.O.O.F.C. Buy the band's powerful "Live at the Baked Potato" album [All tracks @ 320 Kbps: File size = 128 Mb] Check out Jeff Kollman @ http://www.jeffkollman.com/


1 Creepy Spider 5:36
2 Jam For Jason 8:05
3 Road To Tanzania/Tribal Trance 5:53
4 Winter In Innisfail 4:57
5 In Loving Memory 5:06
6 Creepy Spider Part II 4:36
7 Sea Broth 4:35
8 Godzilla's Revenge 0:54
9 Cauldron Of Evil 5:45
10 Chinese Eyes 4:19
11 Tribal Trance (Reprise) 4:16

N.B: The original 2001 issue of the album on Marmaduke Records contains the extra track, "Funk'n Eh"

All tracks composed by Kollman, Sparks, & Gaalaas


Jeff Kollman – Guitar
Chris Poland, Vinnie Moore – Guitars on Track 2
Barry Sparks – Bass
Roger Burn – Piano, Synth. on Tracks 3, 9
Shane Gaalaas - Drums