America

America - Live in Concert: Wildwood Springs - 2008 - America

America: Live in Concert Wildwood Springs celebrates a line that started with the release of their first album in 1972. Both releases open with Riverside, a song which perfectly captures America’s greatest assets, pure harmonies and damn near perfect songwriting. Inspired by the success with their last release, (2007’s Here and Now), they sound as alive as they did they first formed in high school in 1969. Recorded in front of an intimate audience at Wildwood Springs in Missouri, America has made their finest live release and one of their best albums ever. The 19 songs emphasize the acoustic side of America that first brought them to our attention all those years ago. Over the course of the concert America pulls out a few hits as well as some obscurities from their massive catalog. The connecting point for all the songs is that, stripped of synthesizers and forced orchestration that seemed to show up on so many of their later releases, America has always created the perfect mixture of the Beatles and Crosby Stills and Nash. Like the Beatles they came with a very strong pop sensibility. George Martin didn’t work with America for so long because they are idiots. He knew how gifted as songwriters they are. Like CSN, they understand harmony as only the Beach Boys, The Everly Brothers and the very best of Do Wop groups seem to. It is an instinctive and natural understanding that makes singing sound so pure, so easy, that you either fly with them or die of envy. While the release holds it’s share of hits, it is the more obscure songs from the America catalog that prove to be the real gems. We have all heard Ventura Highway, I Need You, Tin Man and Sister Golden Hair . However, when placed besides Windwave, Submarine Ladies or especially Cornwall/Blank/Hollywood, you begin to see how strong America has been all these years. New songs from Here and Now such as Chasin’ the Rainbow and Ride On fit seamlessly into the set and sound as if they were always there. It is the willingness of Gerry Beckley and Dewey Bunnell to rely on the songs themselves that really makes this such a great CD. Everything they play is stripped to it’s essence. The piano and slight tapping on the bass that open Daisy Jane only needs the addition of a single guitar and the faultless harmonies to open the song up. When the bass kicks in after the first chorus it creates such a warm intimacy that you feel as if you are eavesdropping on the singer as he confesses to his girl. As often as I have heard this song, it sounds brand new. Their debut featured a fair amount of acoustic jamming. As they became successful so quickly, America tended to steer clear of this and concentrate on the tightness of the song. Wildwood Springs sees America stretching out on one or two songs and doing it with some strong results. Judging from the applause that greats the middle of Cornwall Blank when they start to attack the heck out of song and than, without blinking, move it straight into a very forceful version of Hollywood that leaves the original stranded in the hills, this is something they should do a little more often. In the three decades plus that lay between the 1972 debut and the new live album America has traveled the world and become road warriors, armed with acoustic guitars and voices that melt together. Featuring a memorable guest spot by Rusty Young (Poco) near the end, Live in Concert Wildwood Springs perfectly reminds us what is missing from so much of music today; musicians who can sing without pro-tools, songwriters who craft a hook from their heart instead of their previously sampled chart success, and especially performers who don’t take their audience for granted. This release to may be a bit to find. You might have to go through CD Baby to get it. It will be worth the effort. The concert they have recorded is among their best work ever and deserves to be heard. 03/25/2009 © Mark Squirek © 2002-2009 Matthew Rowe © http://www.musictap.net/Reviews/2009/March/AmericaLiveInConcertWildwoodSprings.html

This acoustic performance was recorded at the Wildwood Springs Lodge in Steelville, MO. The band played two shows on Friday 21/9/07, and Saturday 22/9/07. Over the two shows, America played 28 songs. 22 of these tracks are released on two album versions ; 19 on the post here, and 22 on the iTunes Bonus Tracks release.

TRACKS / COMPOSERS

1 Riverside - Dewey Bunnell 3:53
2 Ventura Highway - Dewey Bunnell 4:12
3 Daisy Jane - Gerry Beckley 3:19
4 Windwave - Dewey Bunnell 3:13
5 Pages - Dewey Bunnell, Gerry Beckley 4:36
6 Chasin' the Rainbow - Gerry Beckley 2:46
7 One Chance - Gerry Beckley 5:01
8 I Need You - Gerry Beckley 2:45
9 Cornwall Blank/Hollywood - Dewey Bunnell 7:40
10 Tin Man - Dewey Bunnell 4:05
11 Submarine Ladies - Gerry Beckley 3:44
12 Inspector Mills - Gerry Beckley 5:14
13 Only In Your Heart - Gerry Beckley 3:17
14 Ride On - Adam Schlesinger, Dewey Bunnell 4:02
15 Baby It's Up To You - Gerry Beckley 2:12
16 Sandman - Dewey Bunnell 4:39
17 Sister Golden Hair - Gerry Beckley 4:37
18 All My Life - Gerry Beckley 3:15
19 A Horse With No Name - Dewey Bunnell 5:17

iTunes Bonus Tracks [Not included here]

Three Roses
Till the Sun Comes Up Again
To Each His Own

MUSICIANS

Gerry Beckley - Lead and backing vocals, keyboards, guitars, bass, harmonica
Dewey Bunnell - Lead and backing vocals, guitars, percussion
Rusty Young - slide-guitar
Richard Campbell - Bass, Vocals
The 28 tracks played over the two dates are as follows -

All My Life
Baby It's Up to You
Chasing the Rainbow
Cornwall Blank / Hollywood
Daisy Jane
Don't Cross the River (Dewey played banjo)
Head And Heart
Horse With No Name (with Rusty Young)
I Need You
Indian Summer
Inspector Mills
Lonely People
One Chance
Only In Your Heart
Pages
Ride On
Riverside
Sandman
Sister Golden Hair (with Rusty Young)
Submarine Ladies (Gerry played harmonica & Dewey's banjo)
The Last Unicorn
Three Roses
Til the Sun Comes Up Again
Tin Man
To Each His Own
Ventura Highway
Windwave
You Can Do Magic

BIO

America was a light folk-rock act of the early '70s who had several Top Ten hits, including the number ones "A Horse with No Name" and "Sister Golden Hair." Vocalists/guitarists Dewey Bunnell, Dan Peek, and Gerry Beckley met while they were still in high school in the late '60s; all three were sons of U.S. Air Force officers who were stationed in the U.K. After they completed school in 1970, they formed an acoustic folk-rock quartet called Daze in London, which was soon pared down to the trio of Bunnell, Peek, and Beckley. Adopting the name America, the group landed a contract with Jeff Dexter, a promoter for the Roundhouse concert venue. Dexter had America open for several major artists and the group soon signed with Warner Bros. Records. By the fall of 1970, the group was recording their debut album in London, with producers Ian Samwell and Jeff Dexter. "A Horse with No Name," America's debut single, was released at the end of 1971. In January 1972, the song -- which strongly recalled the acoustic numbers of Neil Young -- became a number three hit in the U.K. The group's self-titled debut album followed the same stylistic pattern and became a hit as well, peaking at number 14. Following their British success, America returned to North America, beginning a supporting tour for the Everly Brothers. "A Horse with No Name" was released in the U.S. that spring, where it soon became a number one single, pushing Neil Young's "Heart of Gold" off the top of the charts; America followed the single to the top of the charts. "I Need You" became another Top Ten hit that summer, and the group began work on their second album. "Ventura Highway," the first single released from this collaboration, became their third straight Top Ten hit in December of 1972. In the beginning of 1973, America won the Grammy Award for Best New Artist of 1972. Homecoming was released in January of 1973, becoming a Top Ten hit in the U.S. and peaking at number 21 in the U.K. America's essential sound didn't change with this record; it just became more polished. However, the hits stopped coming fairly soon -- they had only one minor Top 40 hit in 1973. Hat Trick, the group's third album, was released toward the end of 1973; it failed to make it past number 28 on the American charts. Released in the late fall of 1974, Holiday was the first record the group made with producer George Martin. Holiday returned America to the top of the charts, peaking at number three and launching the hit singles "Tin Man" and "Lonely People." "Sister Golden Hair," pulled from 1975's Hearts, became their second number one single. That same year, the group released History: America's Greatest Hits, which would eventually sell over four million copies. Although America's 1976 effort Hideaway went gold and peaked at number 11, the group's audience was beginning to decline. After releasing Harbor to a lukewarm reception, Dan Peek left the group, deciding to become a contemporary Christian recording artist. The group continued as a duo; their last Martin-produced record, Silent Letter, was released in 1979 to little attention. America returned to the Top Ten in 1982 with "You Can Do Magic," an adult contemporary pop number that featured synthesizers along with their trademark harmonies. "The Border" became their last Top 40 hit in 1983, peaking at number 33. After releasing America in Concert in the summer of 1985, the group continued to tour successfully into the '90s, resurfacing in 1998 with Human Nature. The early part of the new millenium saw America release not only a handful of live albums as well as a holiday-themed studio recording, but also the exhaustive, career-spanning box set Highway, released in 2000. On the heels of this renewed interest, America was tempted back into the studio in 2006 by longtime fans and musicians Adam Schlesinger of Fountains of Wayne and James Iha of the Smashing Pumpkins. Although encouraging Bunnell and Beckley to stick to America's core sound, producers Schlesinger and Iha brought in younger musicians influenced by America to guest on the album including Ryan Adams, Nada Surf, and others. With a release date set for early 2007, Here & Now features new material by America as well as covers written by bands heavily influenced by the soft rock pioneers. © Stephen Thomas Erlewine © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/america-p3538/biography

Tony Geballe

Tony Geballe - Native Of The Rain - 1997 - Discipline Global Mobile

"A gorgeous debut recording of solo 12-string guitar. Highly recommended." - Guitar Shop

"An exquisite sonic solution for guitar buffs looking for a masterful acoustic guitar experience." - 20th Century Guitar

"Reflects the beauty of the guitarist's hometown of Seattle. Infused with a languid grace." - Guitar for the Practicing Musician

"An awesome display of what happens when someone plays the 12-string with power and grace. There have been few solo guitar records of late that have given this reviewer goose-bumps and deserve wide recognition, but this is one of them...these compositions resonate with unfathomable brilliance." - Santa Fe Sun

"Deftly bridges the chasm between pop accessibility and meticulously crafted musicianship. Geballe's compositions, awash in dazzling, evocative sonic cascades, demonstrate just how far one exemplary musician can push the musical envelope armed with only one 12-string acoustic guitar." - NY Newsday

"Geballe's debut CD is a highly melodic and beautiful affair. His engaging approach on the instrument ranges from the delicately spirited to the playful and storming on the disc's ten sterling tracks. A most enjoyable and captivating release worthy of investigation." - Innerviews

"The textures he manages to pull out of an unadorned 12-string are inspiring." - Progression

"Whiffs of folk music arise from his plaintive melodies and a sense of open air pervades." - Echoes

"On these beautifully recorded pieces Geballe gives a virtuoso performance." - Exclaim

"Particular favourites include Awakening with its languid build into a bright, cheery play on a variety of themes. Per Moana, the simplest piece, has a laid back quality that releases any tension from my shoulders everytime I hear it while Dancing Inside is awash with that wonderful 'glad to be alive' style of fingerpicking." - Wind and Wire

***** (The Best - Highly Recommended) - Ear Magazine

This is a gorgeous album. Solo 12-string acoustic guitar played by an exceptional musician. Do you need to know anything else? Awright, fine. Tony Geballe is officially a student of Robert Fripp’s Guitar Craft and was in the League of Crafty Guitarists for a few years before ‘going solo’. Geballe’s not as well known as fellow Crafties Trey Gunn or the California Guitar Trio, but like those two he makes excellent music. Compared to the CGT, Tony’s playing sounds a lot less like Fripp. The CGT have been getting away from that for a while now, and here on Tony’s first album you can hear a slight Guitar Craft influence, but mostly it’s his own voice. This is a really short album, only 38 minutes, but the time works in its favor. Most of this music is very mellow, calm stuff. The time does go by really quickly and it’s really relaxing music. Per Moana is probably my favorite on here; it’s just beautiful. Native of the Rain is probably the showcase track on here and it’s really impressive. The song Pages has some excellent changes it. Yeah, there are great things about all these tracks and as a whole it’s a great album. I frequently just put it on repeat and let it play for a few hours. Very enjoyable and excellent stuff. Rating: 93 - August 6th, 2003 Album Reviews © 2001-2008 James Hines © http://cheevyjames.com/album_reviews/geballe-native

This is a magnificent progressive acoustic guitar album from Tony Geballe, the guitarist of the Trey Gunn Band, recorded during July 1996 at DGM in the UK using only a 12-string guitar without overdubs. This is not a rock album with cranked up self indulgent screaming guitar solos. It is simply a demonstration of just how inspiring great unadorned guitar playing can be. The album is HR by A.O.O.F.C. If you like some of Pat Metheny guitar pieces, then you will find comparisons with this album. For more immaculately played solo acoustic guitar listen to Stephen Bennett's breathtaking "Beatles Acoustic Guitar Solos" album @ STEPHBENN/BAGS and Jan Akkerman's "Passion" album @ JANAKK/PAS Tony plays on the "Robert Fripp and the League Of Crafty Guitarists "Get Crafty" album, which is worth listening to

TRACKS

1 Native Of The Rain
2 Evening Tower
3 Per Moana
4 Flock
5 Dancing Inside
6 Star Of The Dust
7 Pages
8 Prelude
9 Awakening
10 Prelude

All songs composed by Tony Geballe

BIO

Tony Geballe (a Seattle native living in New York City) has studied, taught and performed music of many kinds all over the world. His main instrument is guitar, including nylon-string, steel-string, 12-string and electric. Tony also works as a composer and sound designer for theater, and as producer and occasionally engineer for various recording projects. In 2008, Tony is producing the new Hellboys CD "A Young Person's Guide to Hell," which features Robert Fripp, Tony Levin, Bill Rieflin, Vora Vor, the California Guitar Trio, Curt Golden, Victor McSurely, Luciano Pietrafesa, the voice of Kelli Rae Powell, and others. He has engineered, edited, mixed and mastered Patrick Smith's solo guitar CD "Scattered Hearts," and produced two tracks on the new Stone Document CD, "Anamnesis." In January he composed music and designed sound for the recent production of Rebekah Maggor's solo docu-drama "Shakespeare's Actresses" for the Huntington Theater in Boston. Tony's career of recording, performing, teaching, theater sound design and composition has spanned the globe and includes many kinds of music, from solo guitar to the Turkish music trio Dostlar (whose 1984 Northwest Folklife Festival performance was broadcast nationwide on NPR) to being a member of the New York Indonesian Consulate Gamelan. Tony has appeared on many recordings, on local and national radio and television shows and toured worldwide. He has contributed compositions and playing to many recordings, including several by Toyah Willcox, The Trey Gunn Band, The Hellboys, and Sun Palace. Tony engineered a large part of the sessions for the Sun Palace CD Give Me a Perfect World, and also co-produced the CD. He produced Kelli Rae Powell's debut CD "The Scandalous Accounts of My Youth" and has engineered and produced sessions for Christina Lisi, Jo Williamson, and others. Tony has been invited to teach guitar and music regularly in the U.S. and Europe, and has been associated with Guitar Craft since 1985. He was also co-director and instructor at DrumTime, a rhythm workshop, from 1990-94. In 1993, Tony became Composer-in-Residence and Sound Designer for the Arden Party Theater Company, directed by Karin Coonrod. He designed sound, composed and performed music for many productions with the company (see Tour page). In 1996 he received a grant from Meet the Composer. Arden Party’s last production with Tony’s music was the world premier of Christmas at the Ivanovs’, by the Russian surrealist Alexander Vvedensky, presented at the Classic Stage Company in NYC, December, 1997. Tony was also a participant in the 1998 Nautilus/New Dramatists Composer-Librettist Studio. Over the last several years he has designed sound and/or composed music at the New York Theater Workshop, the Hartford Stage, and for the groundbreaking production of Laude in Urbis in Orvieto, Italy, where he is also a performer. Tony's work in theater as both Sound Designer and Composer has continued since then, in NYC and elsewhere. For details, please see the Tour page. Tony has also worked as production and post-production Sound Engineer for films and Public Service Announcements, for the award-winning filmmaker Elizabeth Bouiss (Pink, White and Blue; Speak Your Mind; Masters of Dissent and others) and for New York Music and Video Productions (PSAs for Children's Health Fund, International Planned Parenthood Federation, American Academy of Dermatology, and many more). Tony's own CD of solo 12-string guitar music, "Native of the Rain," was released by Robert Fripp's label Discipline Global Mobile records in 1997. © String Theory Music http://www.tonygeballemusic.com/bio.php

Eric Clapton

Eric Clapton - Live at Montreux 1986 - 2006 - Eagle Eye Records

This concert took place at the Montreux Jazz Festival on July 10th 1986, during Clapton's world tour in support of his "August" album. This "Clapton" chap seems to know his way around the fretboard, and is definitely a guitarist to watch out for !! (LOL!) N.B: Sound is "muzzy" at times. Greg Phillinganes keyboard work is not always distinct, but overall a very listenable concert from Clapton, where he plays some of the old classics like "Badge", "Cocaine", "Sunshine Of Your Love", and "Layla"

TRACKS / COMPOSERS

1. Crossroads - Robert Johnson
2. The White Room - Peter Brown, Jack Bruce
3. I Shot the Sheriff - Bob Marley
4. I Wanna Make Love to You - Jerry Lynn Williams
5. Miss You - Eric Clapton, Bobby Colomby, Greg Phillinganes
6. Same Old Blues - Eric Clapton
7. Tearing Us Apart - Eric Clapton, Greg Phillinganes
8. Holy Mother - Stephen Bishop, Eric Clapton
9. Behind the Mask - Chris J. Mosdell, Ryuichi Sakamoto
10 . Badge - Eric Clapton, George Harrison
11 . Let it Rain - Bonnie Bramlett, Eric Clapton
12 . In the Air Tonight - Phil Collins
13 . Cocaine - J.J. Cale
14 . Layla - Eric Clapton, Jim Gordon
15 . Sunshine of Your Love - Pete Brown, Jack Bruce, Eric Clapton
16 . Further on Up the Road - Joe Medwick, Don Robey

BAND

Eric Clapton - guitars, vocals
Nathan East - bass, (vocals on "Same Old Blues")
Greg Phillinganes - piano, keyboards, hand synth., (vocals on "Behind the Mask")
Phil Collins - drums, electronic drums, (vocals on "In the Air Tonight")

Jake Walker

Jake Walker - Confidence Man - 2008 - Left Turn Music

" Jake Walker is a superb blues musician, his latest cd Confidence Man at times sounds like vintage Freddie King and at times blistering Ronnie Earl -but always Jake Walker...he is one of the very finest guitarist/singers anywhere." - Danny Bryant

“A scary, scary blues guitar player”. - Lucky Peterson

Jake Walker is New York blues guitarist whose star is on the rise in the worldwide blues scene. He leads a number of bands in the U.S. and Europe and is making a name for himself as an artist to watch. Confidence Man is Walker’s first studio album and features mostly original tunes as well as performances by many well-known blues musicians like Mark Naftalin (Butterfield Blues Band), Mike Lattrell (Popa Chubby, Bill Berry, Richie Havens), Arthur Neilson (Shemekia Copeland), and Matt Mousseau (Big Ed Sullivan). Recorded live in the studio, the record shows Walkers’ many influences and ranges from Chicago blues to Stax/Volt sounds, Big Easy R&B, gospel, funk, and even surf music. Seemingly more guitarist than singer, Walker is nonetheless deeply soulful and grooving here, at times conjuring a Freddy King-type of vibe but always remaining true to himself. While an excellent guitar player, Walker keeps his overall sound pretty much in the pocket one would expect from a blues band. That will make traditionalists happy and grind a bit on fans that feel they have heard this sound before. No matter which camp one may fall into, Walker is worth a listen, if for nothing else that his stinging guitar style. His songwriting will hopefully develop a bit beyond what is here on his solo debut and, when that happens, Walker will be pretty much unstoppable. Highlights on the record include “Can’t Get No Grindin’” and “Somebody On Your Bond.” Review by & © Mike O'Cull © www.myspace.com/mikeocullmusic

Soon to visit the bluesinthenorthwest.com area, New York bluesman Jake Walker has released his debut album – produced by the legendary Elliot Mazer – a mix of gritty blues, funk and soul influences – dominated by his spiky guitar tone, with a top notch band including ex-Paul Butterfield Band keyboard player, Mark Naftalin; Arthur Neilson handling bass and rhythm guitar; and Mike Lattrell (piano and organ), with Matt Mousseau on drums. “Confidence Man” kicks off with the title cut, with Walker’s Albert King-infused licks firing on all cylinders, with his gravel-edged vocals to the fore; a leisurely romp through Muddy Waters “Can’t Get No Grindin’ ” features fine piano from Mike Lattrell; the instrumental “Heads Up” has a nice rhumba groove, with a New Orleans feel. The great Taj Mahal’s “Somebody On Your Bond” has a great swing treatment, with Walker’s guitar nice and chunky, with the whole band outstanding; “Luck Is Bad” dips into Albert King territory again, with the following “Time For Love” featuring Mark Naftalin’s piano – again taking us ‘Down South’ – definitely one of the album’s highlights. “Mondo Freddie” is another instrumental, this time a nod to the late, great Freddie King – with a little surf guitar thrown in for good measure, before a very fine shuffle; the funky blues of “Miniskirt” has a killer bassline from Arthur Neilson, before a closing reprise of “Confidence Man”. Jake Walker, as previously mentioned, hits our shores soon and I would suggest a vis it to one of his gigs should be marked on your calendar! © GRAHAME RHODES © http://www.myspace.com/58lespaul

An exceptionally good album from the little known bluesman, Jake Walker. Great soul/blues/R&B/funk music. The guy is a great guitarist and his experienced back-up band are tremendous. The album is HR by A.O.O.F.C. Detailed info on musicians and composers would be welcome. Has anybody any info on Jake's "Raw Honey: Live in New York City" EP ?

TRACKS

Confidence Man
Can't Get No Grindin'
Heads Up
Somebody On Your Bond
Luck Is Bad
Time For Love
Mondo Freddie
Miniskirt
Confidence Man (Reprise)

MUSICIANS

Jake Walker - guitar, vocals
Arthur Neilson - bass guitar, rhythm guitar
Mike Lattrell - piano, organ, backing vocals
Mark Naftalin - keyboards
Matt Mousseau, Don Castagno - drums

BIO

Jake Walker, “The Ambassador of New York Blues”, has earned an international reputation as “one of the very finest Blues guitar players and singers anywhere” (Danny Bryant, Rounder Records). He has entranced audiences around the world with a style of guitar playing and singing that is at once “deeply soulful and grooving” (Blues Blast), and extraordinarily original, setting himself apart from a sea of copycats and headbangers masquerading as Bluesmen. Jake Walker's many international tours as frontman have taken him to Holland, Belgium, England, France, and especially Italy, where he has headlined numerous festivals, and filled historic halls and squares with delighted fans. Jake's debut C.D., Confidence Man was produced and mixed by multi-platinum selling producer Elliot Mazer (Neil Young, Janis Joplin, The Band, Jerry Garcia, Santana, The Who), and features famed Blues musicians such as Mark Naftalin (Paul Butterfield, Mike Bloomfield, Duane Allman, Van Morrison), and Arthur Neilson (Shemekia Copeland, Cyndi Lauper). Confidence Man has received rave reviews, garnering comparisons with Freddie King, Otis Rush, and Albert King, among other Blues Gods, while always winning praise for Jake's own very personal, powerful, and nuanced approach to the idiom-- “Jake pays tributes to the masters, but he doesn't imitate them” (George Willet, 12-Bar Rag). Playing his first professional gig in Times Square at an early age, intense stage fright kept him out of the spotlight for years. Jake's career in the Blues took off years later, when he was hired by James Peterson, father of Alligator recording artist, Lucky Peterson, in the Tampa Bay area, after they met at a Blues Jam James was running. According to Jake, “I really learned that I could lick that whole stage-fright thing on these gigs. James was such a tough bandleader, and such a forceful presence on stage, that I was forced to assert myself, or else I would implode! I felt truly driven to do my own thing and prove myself.” When Lucky returned to Florida to visit his father, he promptly “stole him” (Lucky's words) for his own funky ensemble. Working with the two Petersons was a heady, transformative experience, and it was here that Jake's Blues guitar voice began to emerge. It was at this time that he began to front bands, and sing as well as play the Blues. He returned to NYC a year later a changed man. Newly confident he had what it took, with that old devil Stagefright in the rearview mirror, and with the certainty that “if [he could] make it there, [he could] make it anywhere”, Jake did just that. Within a year back in “The Big Apple” he was holding down steady gigs in one of the most competitive Blues scenes in the world. A year later he was embarking on his first European tours. Soon he'd be spending more time abroad than at home. The rest, as they say, is history! © Joyce de Witte, Royal Dutch Blues Society

MORE

Winner of Big City Rhythm and Blues Magazine's coveted “Artist of the Week Award”, June 2006 Jake Walker goes on tour. Jake “easily bears comparison to the intensity of blues greats like Otis Rush, Freddie King, and Peter Green...he has that same quality that makes you shiver...he strikes crowds with blues fever”. (Dordrecht News, the Netherlands, November 2006). Jake began his full-time career in the blues Tampa (Florida) working six nights a week in sweaty dive bars, clubs, and small festivals up and down Florida's Gulf Coast, Jake earned his skills in the hard knocks, old fashioned time-honoured blues tradition of paying dues through endless late night gigs, harsh treatment and little money. In 2005 Jake Walker came back to his hometown: New York Jake rose through the ranks with impressive speed, finding himself MC of not one, but two premier blues jams within months an honour previously reserved for long-established local icons like Big Ed, Popa Chubby, and (Sheryl Crowe guitarist) Todd Wolfe. In the last three years, Jake has held down long-running, highly successful residencies at key New York City clubs like A&M Roadhouse, The Cutting Room (with the world-famous Le Scandal Cabaret), Mannahatta, and Murray Street Grill. Jake Walker has performed or recorded with many legends and international touring artists, including Little Milton, Nick Gravenites (Electric Flag, Big Brother and The Holding Co.), (late Allman Brothers bassist) Allen Woody, NYC Blues Devils, and Lucky Peterson, who has called Jake “A scary, scary blues guitar player”. In 2006 he has headlined three critically acclaimed tours in Holland. His award winning EP Raw Honey: Live in New York City is a worldwide internet radio staple, and currently sold out. In the autumn Jake stepped in the studio with top U.S. blues musicians including Arthur Neilson (Shemekia Copeland guitar player), Mark Naftalin (keyboardist with the original Paul Butterfield Band, Mike Bloomfield, Otis Rush, and many others), and Don Castagno (drummer with Debbie Davies, Earl King, and Popa Chubby), recording his long-awaited debut CD called “Confidence Man” on Elliot Mazer’s new record label Left Turn Music. His last tour in the fall of 2008 also included dates in Holland, France and Belgium. In the month of April he played at Darlington R’n’B Club, Jake teamed-up with Leeds based 3-piece blues band Crosscut Saw. The gig started with Crosscut Saw playing three of their own numbers to ‘warm the audience up’ before they introduced Jake Walker to the stage. They played a number of covers to prove what an accomplished guitarist he really is. He’s not a bad vocalist either, with a great gravely voice that sounds like he’s been gargling Scotch whisky for years! It is certainly worthwhile to attend one of gigs. Jake plays in a sort of hybrid-style incorporating influences from Freddie King, Otis Rush, Albert King and Peter Green. His Gibson Les Paul has a beautiful warm tone, which Jakes wrings out every drop of emotion from. Check it out!!! By & © John Dewitte - Posted on October 6th, 2008 http://www.bobtjeblues.com/en/blog/jake-walker-and-special-guest-fat-harry-fossen-tour-belgium-and-holland

Too Slim & The Taildraggers

Too Slim & The Taildraggers - Swingin' In The Underworld - 1988 - Burnside Records

Tim "Too Slim" Langford (Too Slim & the Taildraggers) has been a well known musician in the Pacific NW music scene for almost 30 years. Originally from Spokane, Washington, he now lives in Seattle. He constantly tours all over the U.S. and occasionaly tours Ireland, The U.K. and the rest of Europe. This band is rooted in the blues, but they play many styles of music including rockabilly, Chicago blues/R&B, New Orleans inflected rhythms, and country rock. Too Slim learned jazz guitar in High school. One of his teachers was the conductor of the Spokane Jazz Orchestra. A great fan of Robert Cray and SRV, Too slim has said that "I have many other blues guitar influences such as BB King, Freddie King, Otis Rush, Lightning Hopkins, T-Bone Walker, and Robert Johnson. My rock guitar influences are Jimi Hendrix, Eric Clapton, Duane Allman, Billy Gibbons, Jeff Beck, Neil Young and John Fogerty. My jazz influences are Kenny Burrell, Wes Montgomery, Mike Stern and Charlie Christian". "Swingin' In The Underworld" is a really good album by a very underrated musician. Buy the band's "Wanted Live" album and promote this guy

TRACKS / COMPOSERS

1 Swingin' in the Underworld - Tim Langford 4:20
2 Stood Up - Tim Langford 3:45
3 The Obie Man - Tim Langford 3:42
4 Trouble at Midnight - Graham, Tim Langford 4:58
5 She Blows My Socks Off - Tom "The Stomp" Brimm 2:45
6 Dat's Right - Tim Langford 3:47
7 Long Tailed Black Cat - Tim Langford 5:43
8 Quiet Whiskey - W.Harris 2:46
9 Ain't No Stoppin' - Tom "The Stomp" Brimm 2:32

MUSICIANS

Tim "Too Slim" Langford - Guitars, Vocals
Tom "The Stomp" Brimm - Bass
Alan "Fingers" McGill - Piano
Carmen "Monoxide" Conti - Drums
Greg "Soul Train" Pendelton - Horn Arrangements

BIO

Too Slim & the Taildraggers are a hit on several continents, but at home in the Washington state city of Spokane, they're a little like the Rodney Dangerfield of blues bands. Despite the band's release of more than half-a-dozen CDs, and numerous national and international tours, many citizens, when first meeting the band's frontman and leader, Spokane native Tim "Too Slim" Langford, scratch their heads in non-recognition and ask what his profession is. Upon finding out that he's a blues musician, the next question is usually an inquiry concerning where the band performs. The situation is a far cry from what the band experienced on a trip to Belgium, where everyone they met requested an autograph and owned their CDs. All in all, it sure isn't anything at all like the recognition received by many other musicians in their hometowns, like Bruce Springsteen in his home base of Asbury Park. There, everyone knows that "The Boss" goes to the Stone Pony. If all this wasn't enough to make Langford and the Taildraggers feel like they get no respect, the next anecdote might be. One night in a parking lot, as Langford was leaving a gig in the city, a stranger pressed something into his neck from behind, something that felt suspiciously like a gun. His assailant, a woman, told him to fork over that night's pay, adding injury to insult. Still, for all of the drawbacks, Langford and his band intend to remain in Spokane between tours that take them to Norway, Belgium, and throughout Europe. Because their hometown is also home to an incredible number of extremely talented musicians, it's where Langford intends to base the Taildraggers for a long time to come. Times haven't been all bad in Spokane for Too Slim & the Taildraggers, to be sure. The fan base they have built up since the band's formation in 1986 is a loyal and strong one. The band has had the opportunity to perform with a long list of heavyweight artists that includes Buddy Guy, Bo Diddley, and Robert Cray (the latter has long been a major influence on Langford and the band). Other main influences include Elmore James and Duane Allman. The Cascade Blues Association named Too Slim & the Taildraggers Best Regional Band for five consecutive years, beginning in 1995. The Inland Empire Blues Society dubbed them Best Blues Band for four straight years, from 1995 through 1998. The same blues society honored the CD Blues for EB as Best Album in 1998, and gave the same honor to the CD Swamp Opera two years earlier. For three consecutive years beginning in 1995, the society also named the band's guitarist the best of his kind and placed him in the Hall of Fame, as it did for the band's drummer in 1996, 1997, and 1998. The Taildraggers' bass player was also honored as Best Bassist in 1995. The Washington Blues Society conferred awards, too: one in 1996 for Best Blues Song, and another three years earlier for Best Songwriter. © Linda Seida, © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/too-slim-the-taildraggers-p27092/biography

Thanatopsis

Thanatopsis - Thanatopsis - 2001 - TDRSmusic

Thanatopsis is an American progressive rock band, comprising prolific guitarist Brian Carroll aka Buckethead, keyboardist Travis Dickerson and drummer Ramy Antoun. Taking its name from the poem by William Cullen Bryant, the band has released three albums: Thanatopsis in 2001, Axiology in 2003 and Anatomize in 2006. In 2010, Dickerson and Buckethead used unreleased tracks from the Thanatopsis and Axiology album sessions to make another album called, Left Hanging. Find out more about Buckethead @ http://en.wikipedia.org/wiki/Buckethead Travis Dickerson @ http://en.wikipedia.org/wiki/Travis_Dickerson and Ramy Antoun @ http://www.drumsoloartist.com/wiki/drummers2/ramy_antoun

Finally, the album I've been waiting for since Transmutation: inventive, high-energy funk-rock with honest-to-goodness band interaction. Buckethead lays down heavy bass and rhythm riffage, Dickerson uses a variety of keyboard approaches from funky piano ("Mortheol") to insistent trance-style synth ("In Their Millions"), and drummer Ramy Antoun plays a constant stream of jazzy fills without straying too far from the underlying pulse. In fact, at times Bucket's whiz-bang solos are the least interesting part of the mix, which is a nice problem to have, and when his soloing is at its peak ("Twinge," in which playing with a pitch-shifter yields remarkable results) the record soars. Some of the tunes are straightforward grooves ("Mortheol"), while "Final Reparation" deftly mixes in sampled classical elements (piano and sampled strings), but they all develop, as keyboard lines and guitar crunches fade in and out, and never fall into robotic repetition. You might ask for more challenging compositions, but otherwise it's a top-notch outing. All instrumental except for brief computerized vocals on "A Thanatopsis"; produced and co-written by Dickerson. © (DBW) © Wilson & Alroy http://www.warr.org/buckethead.html#Thanatopsis

A great heavy jazz funk fusion album from guitarist Brian Carroll aka Buckethead, keyboardist Travis Dickerson and drummer Ramy Antoun. HR by A.O.O.F.C. Check out the band's "Axiology" album

TRACKS

1 Worm Hole 4:44
2 In Their Millions 6:27
3 Pyrrhic Victory 3:49
4 Final Reparation 4:25
5 Mortheol 4:03
6 Myopia 4:53
7 Vertex 2:40
8 Twinge 5:45
9 Last Rites 2:09
10 A Thanatopsis 6:03

All tracks composed by Brian Carroll aka Buckethead & Travis Dickerson

BAND

Guitar - Buckethead
Keyboards - Travis Dickerson
Drums - Ramy Antoun

Gong

Gong - A Wingful Of Eyes: A Retrospective '75-'78 - 1986 - Virgin

This is a compilation from three of Gong's mid-'70s releases, Shamal, Expresso II, and Gazuese!. There's not a weak song in the bunch, but then again all three of the aforementioned recordings were all excellent. This period for Gong found them playing mostly instrumentals with a heavy percussive sound which can be attributed to the leadership of drummer Pierre Moerlen. Although they are usually listed as one of the great progressive rock bands, closer inspection reveals that this lineup actually offered more to the jazz-rock fusion movement of the mid-'70s. Their contributions went largely unnoticed at the time, but it later became clear that they had carved out a unique and fresh approach to what had become a style bogged down in technical showmanship. It wasn't until bands such as Ozric Tentacles and later Phish, began to surface in the '80s and '90s that the influence of Gong began to be felt again. This is the original jam music. © Robert Taylor © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/a-wingful-of-eyes-r39153

Incredible progressive jazz fusion from the monumental Gong. This is a compilation album from Gong's "Shamal", Expresso II", and Gazuese!" albums. If you like Gong you are bound to have heard all these tracks. If not, listen to the brilliant musicianship involved in this music. "A Wingful Of Eyes" is VHR by A.O.O.F.C. If you would like to sample Gong's earlier work, you should listen to their their classic psychedelic "Camembert Electrique" album, from 1971. Check this blog for more Gong related releases, especially Gongzilla, and the late Pierre Moerlen

TRACKS / COMPOSERS

1 Heavy Tune - Moerlen 6:26
2 Cat In Clark's Shoes - Malherbe 7:43
3 Night Illusion - Holdsworth 3:48
4 Golden Dilemma - Rowe 4:55
5 Wingful Of Eyes - Howlett 6:23
6 Three Blind Mice - Moerlen 4:51
7 Expresso - Moerlen 6:00
8 Soli - Rowe 7:41
9 Shadows Of - Holdsworth 7:52
10 Mandrake - Moerlen 5:02
11 Bambouji - Malherbe 5:10

Recorded: Nov 1975-Aug 1977

MUSICIANS

Allan Holdsworth: electric guitar, acoustic guitar, rhythm guitar, violin, pedal steel guitar
Mick Taylor: lead guitar
Bon Lozaga: rhythm guitar, guitar
Francis Moze: Fretless bass, gong, acoustic & electric piano
Hansford Rowe: bass, rhythm guitar
Pierre Moerlen: drums, glock, marimba, vibraphone, xylophone, timpani, tubular bells
Benoit Moerlen: vibra, marimba, percussion, tubular bells, glockenspiel, claves, xylophone
Mireille Bauer: marimba, vibraphone, glock, toms
Francois Causse: congas
Didier Malherbe: Tenor sax, flute
Darryl Way: violin

BIO (WIKIPEDIA)

Gong is a progressive/psychedelic rock band formed by Australian musician Daevid Allen. Their music has also been described as space rock. Other notable band members include Allan Holdsworth, Tim Blake, Didier Malherbe, Pip Pyle, Gilli Smyth, Steve Hillage, Mike Howlett and Pierre Moerlen. Others who have, albeit briefly, played in Gong are Bill Bruford, Brian Davison and Chris Cutler. The various incarnations of Gong, its spin-offs and related bands, such as Pierre Moerlen's Gong, have become known as the Gong Global Family. Gong formed in 1967, after Allen—then a member of Soft Machine—was denied entry to the United Kingdom due to a visa complication. Allen remained in France where he and a London-born Sorbonne professor, Gilli Smyth, established the first incarnation of the band. This line-up fragmented during the 1968 student revolution, with Allen and Smyth forced to flee France for Deya in Majorca. They allegedly found saxophonist Didier Malherbe living in a cave in Deya, before film director Jérôme Laperrousaz invited the band back to France to record the soundtrack of his movie Continental Circus. They were subsequently approached by Jean Karakos of the newly formed independent label BYG and signed a multi-album deal with them (Magick Brother, Mystic Sister, "Camembert Electrique" and Allen's solo album Bananamoon were all released on BYG). Gong played at the first Glastonbury Festival in June 1971, which they followed up with a UK tour the following Autumn. They were subsequently (late 1972) one of the first acts to sign to Virgin Records, getting first pick of the studio-time ahead of Mike Oldfield. By now, a regular line-up had established itself and Gong released their Camembert Electrique album. After the band signed with Virgin, subsidiary Caroline Records "Camembert" was given a belated UK release in late 1974. It was priced at 59p (that is, the price of a typical single rather than an album), ensuring that sufficient numbers were sold for the album to chart had it not been barred from the charts for being so cheap. Between 1973 and 1974, Gong, now augmented by guitarist Steve Hillage, released their best-known work, the Radio Gnome Trilogy—three records that expounded upon the (previously only hinted at) Gong mythology. At a gig in Cheltenham, in 1975, Allen refused to go on stage, claiming that a "wall of force" was preventing him, and left the band. With both Smyth, who wanted to spend more time with her two children, and synth wizard Tim Blake having jumped off in previous months, this marked the end of the 'classic' line-up. The band continued, touring the UK in November 1975 (as documented on the 2005 release Live in Sherwood Forest '75) and working on their next album Shamal, but Hillage, who had been the band's de facto leader since Allen's exit, and his partner Miquette Giraudy, who had taken over from Smyth in late 1974, left before Shamal was released in early 1976. They re-joined the band briefly for a 1977 live reunion in Paris. Drummer Pierre Moerlen, who had been persuaded by Virgin to rejoin Gong as a co-leader with Malherbe (after his spell with the French contemporary ensemble Les Percussions De Strasbourg) in 1975, gradually took over the band's leadership. When Malherbe, the only remaining founding member, finally left in 1977, Moerlen formed a new percussion-based line-up with American bassist Hansford Rowe and percussionists Mireille Bauer and Benoit Moerlen. To avoid confusion, it became known as Gong-Expresso, and from 1978 on, as Pierre Moerlen's Gong. Allen, however, continued to develop the Gong mythology from the late seventies up until the nineties in his solo work, and with bands such as Euterpe and Planet Gong (which comprised Allen and Smyth playing with the British festival band Here & Now), while Smyth formed a separate band: Mother Gong. After spending most of the Eighties in his native Australia, Allen returned to the UK in 1988 with a new project, the Invisible Opera Company of Tibet, whose revolving cast included the likes of Harry Williamson, violinist Graham Clark and Didier Malherbe. This morphed into GongMaison and by 1992, the name Gong was again in use, by which time original drummer Pip Pyle had also rejoined. The band released the album Shapeshifter (subsequently dubbed Radio Gnome part 4), followed by extensive touring. In 1994, Gong celebrated its 25th birthday in London, including a performance by most of the 'classic' line-up, including the returning Gilli Smyth and Mike Howlett. This formed the basic of the "Classic Gong" band which toured worldwide from 1996 to 2001 and released Zero to Infinity in 2000 (by Allen, Smyth, Howlett and Malherbe plus new recruits Theo Travis and Chris Taylor). However, 2003 saw a radical new line-up called Acid Mothers Gong, including Acid Mothers Temple member Kawabata Makoto and University Of Errors guitarist Josh Pollock. Allen and Smyth's son Orlando Allen drummed on the album Acid Motherhood but the drummer on most of the band's live dates was Ruins drummer Tatsuya Yoshida. While the "Classic Gong" line-up retired from regular touring in 2001, there have been one-off reunions since, most notably at the "Gong Family Unconvention" (Uncon), the first of which was held in 2004 in the Glastonbury Assembly rooms as a one day event. The 2005 Uncon was a 2-day affair featuring several Gong-related bands such as Here and Now, System 7, House of Thandoy and Kangaroo Moon. The most recent Uncon was a 3-day event held at the Melkweg in Amsterdam on 3-5 November 2006, with practically all Gong-related bands present: classic Gong (with Allen, Smyth, Malherbe, Hillage, Blake and Howlett, plus Miquette Giraudy, Chris Taylor and Theo Travis), System 7, Steve Hillage Band, Hadouk, Tim Blake & Jean-Philippe Rykiel, University of Errors, Here & Now, Mother Gong, Zorch, Eat Static, Acid Mothers Gong, Slack Baba, Kangaroo Moon and many others. These events have all been compèred by Thom the Poet.

Greenslade

Greenslade - Live - 1999 - Mystic Records

The Live 2001 album, I am sad to say, should be avoided by all but obsessed Greenslade fans. The group has always been stronger in the studio than live, and from what I've seen, the album captures one of their weaker performances. Rather than get the album, I suggest you go see them live yourself. They have added material onto songs such as "Catalan" and "Joie de Vivre", and on the whole their shows are quite an experience. Though usually classified as "elitist", for those who can appreciate Greenslade's work, the stuff is 80% fun and 95% genius. Highly recommended for those who think they might enjoy highly complex, r&b-influenced prog. If you like more sadistic stuff like King Crimson or Air Conditioning-era Curved Air, try something from the early period (preferably one of the first two albums). If you feel you need something more soothing, start with Large Afternoon. © Robert Orme © http://www.gepr.net/gr.html#DAVEGREENSLADE

It has often been said that Greenslade's albums are "complex and rather elitist" which gives the impression that the band are a bunch of "musical mystics" whose music can only be appreciated by an enlightened few. The same has been said of many jazz musicians' work. This ridiculous "snobby" attitude to music is all too prevalent, even today. The facts are that the band's first four albums were well received by fans of good Progressive Rock, and Greenslade's music is very accessible and enjoyable. Greenslade was formed in 1973 as the brainchild of bassist Tony Reeves and keyboard player Dave Greenslade, both from the Progressive Blues/Jazz Rock band, Colosseum. The band was augmented with the addition of keyboardist and vocalist Dave Lawson (Episode Six), and drummer Andrew McCulloch (King Crimson). This Live album is a perfect testament to the band and their classic rock history. The music is great '70's classical symphonic progressive rock with some brilliant jazzy passages. The dual keyboards are ELP/Egg influenced and if you like Egg or Emerson, Lake & Palmer you may appreciate Greenslade's talents. Listen to Greenslade's "Bedside Manners Are Extra" album

TRACKS / COMPOSERS

1 Sundance (Greenslade)
2 Drowning Man (Greenslade)
3 Feathered Friends (Greenslade/Lawson)
4 Melange (Reeves/Greenslade/Lawson)
5 Joie de Vivre (Greenslade/Hall)
6 Bedside Manners are Extra (Lawson/Greenslade)
7 Sundance (Greenslade)
8 Red Light (Lawson)
9 Spirit of the Dance (Greenslade)

Tracks 1 - 4 are from 1973. Tracks 5 - 9 are from 1975

BAND

Dave Greenslade - Keyboards
Tony Reeves - Bass Guitar
Dave Lawson - Keyboards & Lead Vocals
Andrew McCulloch - Drums & Percussion

SHORT BIO

Dave Greenslade (keys) and Tony Reeves (bass) formed Greenslade in 1972. The two had previously played together in Colosseum and they recruited Dave Lawson (Episode Six) as vocalist. For a drummer the group added Andrew McCulloch (King Crimson, Crazy World of Arthur Brown) and their self-titled album was released the following year. A considerably prolific band, they released two more albums in 1973, the first of which was Bedside Manners Are Extra. By the time they recorded a third album, Spyglass Guest, they had added Dave Clempson (Humble Pie) on guitar and Graham Smith on fiddle. The next year Reeves left the band, being replaced by Martin Briley. After releasing Time And Tide in 1975, they broke up in early 1976. A different lineup of the band made a brief attempt at it in 1977, but it just didn't work, however 23 years later in the year 2000, the group re-formed to begin another journey through their style of progressive rock. They released Large Afternoon that year and an album of live recordings from the classic days of the band was also released in 2000. © Gary Hill © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/greenslade-p18021/biography

BIO (WIKIPEDIA)

Greenslade is an English progressive rock band. It was originally formed in the autumn of 1972 (making its live debut at Frankfurt's Zoom Club in November) with the following line-up : Dave Greenslade - keyboards and vocals (born 18 January 1943, Woking, Surrey) : Tony Reeves - bass guitar (born Anthony Reeves, 18 April 1943, Lee Green, South East London) : Dave Lawson - keyboards and vocals (born David Lawson, 25 April 1945, Hampshire) :Andrew McCulloch - drums (born 19 November 1945, Bournemouth, Dorset). Longtime musical associates, with a common background in jazz, Greenslade and Reeves had been original members of Colosseum. Lawson was previously a member of The Alan Bown Set, Web and Samurai, whilst McCulloch was briefly a member of King Crimson, playing drums on that band's third album, Lizard (1970), and Fields, the band formed by ex-Rare Bird keyboardist Graham Field. Dave Clempson (ex Humble Pie) guested on Greenslade's third album, playing guitar on two tracks. Reeves left around that time and was replaced on the U.S. tour and subsequent fourth album, Time And Tide, by Martin Briley who also contributed on guitar. Greenslade announced their disbandment in early 1976. Dave Greenslade went on to record his debut solo album, Cactus Choir, and in late 1976 and early 1977 put together a new band line-up with ex-Manfred Mann's Earth Band frontman Mick Rogers. Initially the rhythm section consisted of Dave Markee and Simon Phillips, who had played on the album, but they were replaced by Tony Reeves (who had in the meantime joined the final line-up of Curved Air) and Jon Hiseman (then concurrently leading his own Colosseum II) for the 1977 dates. In 2000, Greenslade and Reeves, after considering a full-blown reunion of the original line-up, teamed up with drummer John Trotter and vocalist/keyboardist John Young, and recorded a new Greenslade studio album: Large Afternoon. A tour followed, and this was recorded, and subsequently released in 2002, as Greenslade 2001 - Live: The Full Edition.

Cosmo St. Clair

Cosmo St. Clair - Now Blues for Now People - 2002 - Analog y Digi-tal Recordings

"There is a punkish sentimentality in the way St. Clair presents these tracks, more of a laid back cool energy inherent in his playing. (This "coolness" got an extra point in the rating!) ...good song choices, some fine playing...catch this act live! - © www.cosmostclair.com. © Bruce Coen © 2002, Blue Night Productions. All rights reserved http://www.bluenight.com/BluesBytes/wn1002.html

Great high-energy blues from L.A.-based Cosmo St. Clair. The album has an early sixties London sound reminiscent of the early Rolling Stones, Yardbirds, John Mayall, and The Animals. The album also retains the Chicago and Detroit blues sound. Dynamic stuff, and HR by A.O.O.F.C

TRACKS / COMPOSERS

1. Things I'd Do for You, The - London
2. Spider and the Fly, The - Richards, Jagger
3. If You Love Me - Little Johnny Taylor
4. Down Home Girl - Butler / Leiber
5. Little Bit - Bass / Brown / Thornton / Washington
6. Oh Baby (We Got a Good Thing Goin') - Ozen
7. Boom Boom - Hooker
8. Jealous Man - A.Corthen
9. Palm of My Hand - M.Bloomfield
10. Sugar Coated Love - J.D Miller
11. Got Love If You Want It - James Moore

MUSICIANS

Cosmo St. Clair (vocals, bass, guitar)
Larry Rott (bass)
Doug Nahory (organ)
Rob Klonel (drums)
Sunny Girl Yoko (harp)

BIO

Cosmo St. Clair was raised in Detroit and migrated to Los Angeles in the late eighties. "Growing up in Detroit was like growing up on the way-east side of Chicago," says Cosmo. "The Blues was everywhere. From the moment I heard the Blues I was hooked for life. It was so pure." Cosmo's earliest influences were B.B. King, Howlin' Wolf and Muddy Waters. His passion for the Blues grew as he discovered all of the American Blues icons. As a teenager Cosmo became a fan of the early sixties British Blues bands starting with Alexis Korner and Cyril Davies, Long John Baldry, and following the branches to The Rolling Stones, The Yardbirds and The Animals, to name a few. Cosmo's style blends authentic American Blues styles with the high-energy British styles of that early sixties period. Sum it up as Rhythm & Blues with attitude. Fans have come to refer to it as, Cosmostyle! "In the last few years, I haven't heard anything new on the Blues scene that matches the rebelliousness and excitement of the older stuff that first hit me like a bolt of lightning. That's why I decided it was time to do start recording what I had in my head and hit the road," says Cosmo. In 2004 Cosmo hit the Euro Blues circuit, playing club dates as well as the popular Delirium Blues Festival in Belgium, along with Byther Smith and Louisiana Red, and the four day long Breda Jazz Festival in Holland where he did two shows. Cosmo spent November touring Japan and in January 2005 performed a repeat four-show engagement in Hong Kong, a favorite stomping ground for him. When Cosmo is at home in Los Angeles, he can be seen doing his regular Wednesday Midnight Jam set at Michael's Pub in North Hollywood, featuring Sunny Girl Yoko on Blues Harp and an array of guest artists. Cosmo's current release is titled, Now Blues For Now People. It has received rave reviews from prominent music magazines all over the world. In December 2005, Octet Records released 'Now Blues For Now People' in Japan. © http://www.cosmostclair.com/bio.html

Scott Ellison

Scott Ellison - One Step From The Blues - 2000 - Jse Recordings

Scott Ellison is a very talented guitarist, singer and composer originally from Tulsa, Oklahoma. In the late 70's and throughout the '80's Scott played with many traditional blues artists around the Oklahoma and surrounding areas. In 1981, he played with Clarence "Gatemouth" Brown. While living in California, he played with great artists like The Coasters, The Drifters, Gary "U.S." Bonds and The Box Tops. In the 90's, he got a band together and opened for artists like Joe Cocker and Buddy Guy. In the second half of the '90's he began recording solo albums, and also composed some well known TV music. "One Step From The Blues" is a good album. Not a groundbreaking album, but it showcases the guy's great guitar technique and vocals. He also covers various blues styles, and his backing musicians are terrific. Scott's "Ice Storm" album is even better than this one, and if you see his " Live at Joey's" album, buy it. It fully demonstrates Scott Ellison's talents

TRACKS

1. One Step from the Blues
2. These Blues Gotta Hold on Me
3. Pocket Full of Love
4. I Got My Mojo Workin'
5. Diamond in the Dark
6. Bury Your Bone at Home
7. Don't Push You Luck
8. Ice Storm
9. Cryin' Like the Rain
10. Pride
11. Crawlin' on My Knees
12. Take Me With Ya
13. Darker Shade of Blue

MUSICIANS

Scott Ellison - Guitar, Vocals
Tommy Waggoner, Jim Strader - Bass
Walt Richmond - Keyboard, Bass, Piano
Spencer Sutton - Organ, Piano
Russell Wheeler - Organ (Hammond)
Larry Bell - Organ
John Hoff, Chuck Blackwell - Drums
Jim Karstein - Conga, Percussion
Kurt Lybarger - Saxophone
Don Colopy - Trumpet
Debbie Campbell - Vocals (Background)

REVIEW

If you need a good shot in the arm of wailin' guitar blues, then let me suggest Scott Ellison's latest release, One Step From The Blues. 12 of the CD's 13 tracks were written or co-written by Scott Ellison and showcase an excellent songwriter as well as guitar player and singer. With biting guitar tone and singing with conviction, Ellison draws you into a world of blues that is all his own. A native of Tulsa, OK, Scott Ellison has done a lot of playing in his time. In 1981, he joined Clarence "Gatemouth" Brown for a time. Later, living in California, he played with The Coasters, The Drifters, Gary "U.S." Bonds and The Box Tops. He has several TV and movie credits that don't just include session work, but featuring Scott Ellison compositions. In 1993, he returned to Tulsa to concentrate on his solo career. One Step From The Blues kicks off with the title cut, that wastes no time letting you know what you're in for. "One Step From The Blues" is a great opening shuffle with a hard drive and plenty of guitar tension to keep you there for the next cut, "These Blues Gotta Hold On Me". With plenty of grit and growl, Ellison slows things down and sings the classic broken heart blues. "Pocket Full Of Love" starts off as a rhumba and makes a slick change to a shuffle midstream and later back to rhumba. Other notable tunes include a slightly funky tune, "Diamond In The Dark", "Ice Storm" an excellent upbeat instrumental with great horn work by Kurt Lybarger, and "Crawlin' On My Knees" a dark number in the vein of "Thrill is Gone". All of the cuts on One Step From The Blues have their own identity. Scott Ellison's songwriting and production make each cut sound different and yet all woven into the same fabric. Throughout the CD, Scott Ellison's guitar playing changes with each tune and hits the mark every time. He is a very fluid and expressive player who's not afraid to put on a little fuzz and let it rip. Ellison also sings with a lot feeling and is able to change his vocal attack to fit the songs. The musicians who recorded with Ellison are too numerous to mention, but all turn in solid performances and lend to the different styles of the cuts. Several tunes have horn parts that are arranged so that they are present but the cuts remain guitar driven. All in all, One Step From The Blues was an unexpected surprise that keeps getting better. I don't know if he's really one step from, I'd say he's smack in the middle of... the blues. © Pete "Bootlegger" Barbeck © Southwest Blues CD Review - August 2001 © http://www.southwestblues.com/reviews/2001/cd-08-01ellison.htm

BIO

A talented singer/songwriter, guitarist, and blues-rocker, Scott Ellison was born on February 13, 1954, in Tulsa, OK. By the '70s, Tulsa had become an unexpected hotbed of blues-based rock bands (as proven by both Eric Clapton and Freddie King's backing bands hailing from the area), which was around the same time that Ellison began playing with others, such as country singer Jesseca James (Conway Twitty's daughter) in 1977 and renowned bluesman Clarence "Gatemouth" Brown in 1981. Ellison relocated to Los Angeles by the mid-'80s, however, keeping his music career going by playing with the Box Tops, the Shirelles, the Coasters, and Peaches & Herb, and by the '90s he had formed his own blues band and opened for the likes of Joe Cocker, the Fabulous T-Birds, and Buddy Guy. It was also around this time that Ellison began issuing solo albums, including the titles Chains of Love and Live at Joey's. Shortly after returning back home to Tulsa, Ellison issued his third release, Steamin', followed by One Step From the Blues, which featured several other Tulsa musicians backing him. In addition to solo records and playing with other artists, Ellison has also penned songs that have appeared in such hit TV shows as Sister Sister, Eye on L.A., and the soap opera Santa Barbara, as well as the soundtrack to the Ben Affleck motion picture Reindeer Games. In 2001 Ellison issued his first release for the Burnside label, Cold Hard Cash, produced by longtime Robert Cray producer Dennis Walker. © Greg Prato © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/scott-ellison-p204873/biography

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Scott Ellison isn't one to waste time. Signed by Burnside Records in the spring of 2001, his label debut, Cold Hard Cash, exposed Scott's versatility as a singer, songwriter and talented guitar player. In 2003 the Oklahoma native delivers Bad Case Of The Blues a mature and distinctly progressive outing full of melody, grace and blues. Recorded at Ellison's own Home Front Studios in Tulsa, OK, the disc displays a maturity that is best described as capturing his melodic songwriting with the fire of his live set. "I feel this is more my baby," says Ellison "Cold Hard Cash was produced by Dennis Walker (Robert Cray) and though I really enjoyed the process, I wanted this record to have more of my stamp on it. "Ellison's influences are clearly apparent in the phrasing of Bad Case Of The Blues. The Steely Dan texture of "Fantasy" radiates his passion for hook-filled melodies. "Pain Full Love," pays tribute to the energy of Stevie Ray Vaughan where "Whiskey and Rum" highlight his love of Muddy Waters. Then there's the Elmore James inspired roadhouse "Voodoo Curse" - a rowdy foot-stomper now famous at the end of Ellison's live set. "I write a lot of songs and play them live before I commit to recording them," expresses the guitarist. "I also record a lot before I pick just the right numbers to put on a CD." Surrounding himself with top musicians, Ellison hand selected Tulsa's highest rated session men including Eric Clapton's organist Dick Simms and percussionist Jimmy Karstein. Also featured on several of the record's tracks are local greats, Mike Turner (rhythm guitar), Jim Pugh (Hammond B3 organ), Jim Strader (bass) and Bill Belknap (drums). "I wanted a record that had peaks and valleys," says Ellison. "One that would breathe, moving easily from song to song. I spent as much time milling over the running order as I did selecting the songs." Ellison caught the music bug at an early age - February 13, 1964, to be exact - and just like every other 9-year-old that was watching the Beatles on Ed Sullivan that night, he fell in love with the guitar. During the '70s, Tulsa was a hotbed of musical talent. Eric Clapton and Freddie King's bands were both based out of Tulsa, as well as Leon Russell's label, Shelter Records. Electrified by the British Invasion as well as the sounds of Motown and touched by the soulfulness that was rhythm & blues, Ellison formed his own band in 1977. He began touring with country singer Jessica James (Conway Twitty's daughter), and by 1981, veteran bluesman Clarence 'Gatemouth' Brown plucked the energetic guitarist as rhythm player for his own band. A move to Los Angeles during the mid-'80s found Scott playing and touring with the likes of The Box Tops, The Shirelles, The Coasters and Peaches and Herb. By the 1990s, Scott formed his own blues band and opened up shows for such legends as Joe Cocker, Roy Orbison, The Fabulous T-birds and Buddy Guy. Writing constantly, Scott was able to compose enough material to record and release his first two solo efforts, Chains of Love (Quicksilver Records) and Live at Joey's (Red Hot Records). Both records reflected his love for the blues and his talent as a writer. Returning back to his home in Tulsa, Scott teamed up with longtime friend Terry Lupton to write 10 more original tunes for his next release, Steamin' (Fishhead Records), which garnered much critical acclaim. Ellison then co-wrote and recorded One Step from the Blues (JSE), a Tulsa sound rhythm & blues record featuring a number of well-known Tulsa musicians. As a songwriter, Scott has had his songs featured on the hit TV shows 'Sister Sister,' 'Eye on L.A.' the steamy soap opera 'Santa Barbara' and 'Buffy the Vampire Slayer.' Burnside Records is proud to release Bad Case Of The Blues available at all fine record stores, by mail-order through Burnside Records or online at www.burnsiderecords.com. Scott is currently touring across the U.S., Canada and Europe with accompanying radio and retail in-store performances. © http://www.burnsiderecords.com/ellison.html

MORE ABOUT SCOTT ELLISON / ALBUM [ from Step up. Moving from Los Angeles to Tulsa has brought bluesman Scott Ellison closer to the big time. By Scott Wilson Thursday, May 18 2000 ]

Blues guitarist Scott Ellison's new disc is called One Step From the Blues, but he's really more like 16 hours from the blues. Riding the momentum of an album that delivers a serious dose of the Tulsa, Okla., sound, Ellison is collaborating with acclaimed producer Dennis Walker -- by Federal Express. "I put the whole track down myself: guitar, bass, and drums," Ellison says from his Tulsa home. He's been blasting a tape of a song called "Just Got to Know," which, over the phone at least, doesn't sound like the work of a one-man band. "Dennis is a real good lyricist. I'm more a composer. I come up with the chords, the hook, the vocal melody, and the title. Then I FedEx it to Dennis and he fills in the blanks." "When I finished One Step, I felt real good about it, so I called up Lee Spath and asked him to put me in touch with Dennis," Ellison explains. Two years ago, Spath filled in for Ellison's longtime drummer, Rich Shlosser, who went to work for Van Morrison. "Lee just came in and nailed it. He'd worked with Robert Cray, and I knew Dennis' work from those albums, so I filed that away." Ellison, 45, has waited a long time for the opportunity to connect with a name producer, particularly the Grammy-winning Walker, an architect of the sound that made Cray famous. "It's so funny that I couldn't get to (Walker) during the 10 years I lived in Los Angeles. Dennis was making those Robert Cray albums during that time, from 1983 to 1993, and I couldn't get arrested. I just finally realized recently that every level jump is about who you know. Now I'm back in Tulsa and I've got 90 more things going here." Among the benefits of moving home for Ellison was the opportunity to showcase the musicians he grew up with. "For One Step, I wanted to use all my homeboys, all my favorite Tulsa musicians. It was a grassroots project, and this city definitely has its own sound. It's that Leon Russell mix of R&B and gospel and rock." Russell is the ultimate Tulsa blues son, Ellison says reverently. And like Russell, Ellison has his eye on future projects that will allow his guitar to roam into rock territory and beyond. He says that's the kind of album that could be made in his home studio using drum machines (his mother was a drum-and-keyboard player who taught her son a keen appreciation for powerful rhythm). "We're toying with rock, but the blues is my number-one thing. For that album, I'd aim for that mixture of Stax and Motown. But for the blues, you have to have real humans to lay it all in," he says. Blues might be Ellison's number-one thing musically speaking, but his thoughts remain in Tulsa with his 3-and-a-half-year-old son, Taylor James. Taylor already owns a mini-Strat. "He's got great rhythm," Ellison says. "It gets hard to be on the road 250 days a year, especially since I started late with the fatherhood thing. I think of him 24 hours a day, and I'm a happier person since he came along. Food tastes better. Life tastes better. And I miss my wife a lot when I'm gone, but it's a sacrifice you have to make to be a full-blown artist." All that familial bliss shouldn't suggest that Ellison makes a Billy Joel-ified blues. He says the travails of an itinerant musician's lifestyle and the demands of turning his music into a business are plenty to fuel the steam engine of his vigorous style. Already a casualty of a shut-down label (he doesn't have the masters back but was able to refashion the material for release), Ellison complains good-naturedly that one of his songs just missed inclusion on Kenny Wayne Shepherd's recent platinum disc. "That's the fish that got away. It broke my heart," he says. The song ended up gracing the new Jimmy Dawkins album, with Francine Reed singing, which more than appeased Ellison. "The most flattering thing besides getting a record deal is when someone you respect cuts your tune. There's so many great songs out there. You really know that it's a numbers thing, so when it makes the cut, it's an amazing honor," Ellison explains. It might be less flattering, but the WB television network also has taken a shine to Ellison. One of his songs has turned up on Buffy the Vampire Slayer ("I haven't watched the show, but I saw that girl on the cover of Rolling Stone. She looks great," Ellison says), a fish out of water rather than one that got away. Another Ellison recording has been played on Sister, Sister. Considering that even a show in the Nielsen cellar gains exposure beyond what most conventional pop gets on mainstream radio, Ellison isn't about to hold out for Touched by an Angel. However, he's not prepared to chuck the performing life to write songs for other people. "It's a balance of the writing and the playing. The playing is still fun," Ellison says. After almost two decades of journeyman gigs with draws like Clarence "Gatemouth" Brown ("The most fun I've ever had," Ellison says), first as sideman and then as supporting act, Ellison has seemingly lost none of his desire to play as often as possible, especially now that he has more of his own songs at the ready. "My voice has gotten better. Until 1988, I used to be a sideman, so I'd maybe sing two songs a night. When I started singing more, I saturated myself with Bobby 'Blue' Bland and Otis Redding. Otis changed everything. You listen to Otis or Al Green and it comes to you by osmosis. I always get something from Al." Ellison says he could talk endlessly of the Memphis R&B sound and his Tulsa music roots, but he sums it up with the succinctness of a true bluesman, admitting "I'm pretty ate up with music." © Scott Wilson © 2010 Kansas City Pitch, LLC, All rights reserved http://www.pitch.com/2000-05-18/music/step-up/

Avant Garden

Avant Garden - Maelstrom - 2001 - Blackfish Recordings

Powerful jazz-fusion with strident arpeggios by guitarist Brian Gould, over a busy rhythm section. Steve Roach guests on didgeridoo, spirit catcher, loops and percussion. The sax work by Flamp Sorvari is first class, and Miles Gilster lays down some brilliant bass lines. . If you like Jethro Tull, Jade Warrior, King Crimson, Gong, Steve Hillage, Kraan or Canterbury rock in general, you may like this album which is HR by A.O.O.F.C. Has this band released any other albums?

TRACKS / COMPOSERS

1 Dragon Feed - Brian Gould (10:03)
2 Archemedes Tub - Brian Gould, Flamp Sorvari (9:14)
3 Oceania - Mike McLatchey (12:32)
4 Into The Maelstrom - Brian Gould (7:57)
5 Path Of The Farwind - Brian Gould (18:25)

MUSICIANS

Brian Gould - acoustic and electric guitars, e-bow, glissando
Miles Gilster - bass
Jason Kenney - drums and percussion
Steve Roach - didgeridoo, spirit catcher, loops and percussion (3, 5) [Guest]
J D Gardemeyer - percussion (3) [Guest]
Jesse Winn - percussion (3) [Guest]
Chris Dugan - percussion (3) [Guest]
Flamp Sorvari - alto sax and flute

REVIEWS

There is no casual entré into the confines of Avant Garden, you are plucked off your feet and deposited in the midst of their Maelstrom right with the first track "Dragon Feed." And only once you are fully ensconced does it throttle back and start to entertain at a more leisurely pace. Make no mistake though, this leisurely pace is still swirling about you with a metal ferocity - and in fact, if Rush were an avant-garde instrumental unit, this is probably what they would sound like. Like a jazzier "XYZ," to be a bit more precise...which was instrumental I know, but was it avant-garde? No. However, at just a little over 10-minutes, the track does seem overlong. There are many points along it's path where you think to yourself, ah it's about to end, and then it picks up again. Not like the false stops, mind you, where you think it is over, or a fade out/fade it, just that the it seems like they come to the end of the statement. Only to start over again... great playing, of course,... and it does eventually shift gears for a short passage, but I would have shortened the trip there by a couple of minutes, because it takes a while to get to a searing guitar solo from Brian Gould. On the way there, though we get to hear some hot horn blowing from saxophonist/flautist Flamp Sorvari, taut and punchy drumming from Jason Kenney, and basswork that is all over the map but grounded from Miles Gilster. "Archemedes" is at first dark, as with King Crimson, brings in a bit of Jethro Tull with Sorvari's flute colourings, and at times sounds like a fusion version of the Yardbird's "I'm A Man" was used as launching point. Now this is a facinating piece that has much more movement and variation over it's 9-minute plus length, that the minutes go buy unnoticed (and but for the first track, I probably wouldn't even had made mentioned of times). This track plays things very tight, grinding around, harsh and acidic, with an edge the likes of which many a metal band would envy. Throw into this Sorvari's light an airy flute lines, and you have some interesting textures at work. Respite is garnered from the mellow strains of "Oceania" -- say the word, see the gentle undulating sea, a near cloudless sky as a gentle breeze flaps your hair as you sail. There is an old world feel, a folky, Celtic feel. While the rhythm churns, the overriding sense is from the flute. Acoustic guitars enter at one point, playing against the flute. Here's the interesting thought - I kept thinking of the flute phrase that Anderson played for his guest stint on Honeymoon Suite's "All Along You Knew" (The Big Prize, 1985). Now, I'm not assigning any correlation, other than perhaps Sorvari is an admirer of Anderson and Anderson certainly gives his own flute playing a distinctive quality. Unfortunately, yes, it looks like another flute = Anderson reference, but I wouldn't make if I didn't think it. I say mellow, but these seas do get stormy at about 9 minutes in (this track is 12+ minutes, yet doesn't seem that long at all). The storm goes from wicked flurries to something sinisterly calm -- like being in the eye of a hurricane. Steve Roach guests on this track, playing didgeridoo, while it also features 3 guest percussionists, Jesse Winn, Chris Dugan and JD Gardemeyer, the latter of whom, the liner notes, has joined the band as bassist. The album was recorded in 1998 and 1999, but released only in 2001. "Into The Maelstrom" is aptly titled, as this is where the band really lets their hair down -- well, perhaps no more so than on the title track, but certainly as much so. Each player getting into their own groove that somehows seems to mesh well together and leds them to the same place. A cool point (on of many) comes at the end, when Sorvari and Gould play double lead - sax and guitar. Terrific stuff. The album concludes with "Path Of The Farwinds." As did "Oceania," this begins in a very mellow, laidback manner. This is the kind of material one finds on a Narada or Miramar release - warm, textured, contemporary instrumental. But again, you know, with an album titled Maelstrom, and band name called Avant Garden, we aren't going to get just easy, gentle pieces. There's a darker undertone to even this piece, not necessarily sinister or anything, as elsewhere, but Gilster's deep, throaty basslines keep everything anchored, along with Kenney's taut and tense drumming, while guitars and sax take to the air. While they trade lead spots, it's not a competition, just each making a statement that compliments the other. By the time the track is almost over you have been fully possessed, dancing about like a deliriously happy whirling dervish, totally forgetting that there is a world outside, there, beyond those trees. You feel heady, drunk on life, drunk on the clear air the maelstrom has brought in by its passing through, sucking up the bad, the negative. You have been brought to an oasis...an avant garden of eden... I heartily recommend you get caught up in the Maelstrom and find yourself landing in the verdant lawns of the Avant Garden. **** 1/2 Stephanie Sollow August 25th 2002 © 1997 - 2010 ProgressiveWorld.net and respective authors http://www.progressiveworld.net/html/modules.php?name=Reviews&rop=showcontent&id=3810

Holy shit. What more can I say about an album that grabs you by the balls and won't let go for the first ten minutes? And if this wasn't enough, the grip is loosened for only the occasionally brief respite, leaving the listener in the wake of the pummeling aural assault for the remainder. Make no mistake, these guys are out to kick your ass. Don't take it personally though - they only have the best intentions in unleashing this hybrid of psychedelia and jazz-rock. "Dragon Feed" starts the proceedings with massive guitar riffage and sax honking, leading into a steady groove before again exploding. Steady interplay between guitar and sax advances the piece along, aided and abetted by the deft rhythm section. The overall sound here is fairly reminiscent of the intense moments of Trilogy-era Gong, or Hillage's Fish Rising, taking the best of the fiery instrumental passages. Certain parts are not unlike Ozric Tentacles minus the sequencers. While the instrumental flair is instantly captivating, there is no lack of well crafted writing underneath. The songs stay perfectly focused and dynamic, while still allowing for the loose feel necessary for the searing passages that threaten to burn a hole in the speakers. The beautiful intro to "Oceania" shows the band knows when to shift gears, with lucid flute and acoustic guitar strumming. The later part of the song features ethnic flair courtesy of Steve Roach on didgeridoo and assorted hand percussion, adding another distinctive element to the sound. "Into The Maelstrom" is the most successful in striking a balance between the dichotomy of frenetic and tranquil, with Sorvari providing the impetus for the chosen direction, echoing the spine tingling sax tones of "Master Builder" during the chaos, and switching to flute to ease off the climactic highs. A breath of fresh air breathed into a retro sound, Avant Garden are waiting to give you a sonic beating. Embrace it. © Mike Prete 19-July-2002 © progweed.net © http://gnosis2000.net/reviews/avantgarden.htm

Don't be put off by the name. This is a high-energy album of fiery playing. An all-instrumental effort is what we have here from this California quartet's debut release. Five lengthy tracks, served up with some blistering guitar, sax and flute solos. While they "jam", they are in no way a "jam" band. There is a strong sense of melody present amongst all of the ripping. I'm hard pressed to say they sound like this or that, but if one were to make comparisons, one might say that they operate in the same area as Spaced Out sans the keyboards, although there is less of the fusion slant apparent. Maybe a less quirky version of Boud Deun, with sax and flute replacing the violin, would be a better starting point. I'm also reminded a little bit of later Kraan. They kick the album off with a couple of stellar numbers, "Dragon Feed" and "Archemedes Tub". Both of these songs kick it into high gear right away showing that band has chops. The playing is tight and energetic all the way through both of these tracks. They do take a breather here and there, like at the beginning of the third track "Oceania". Some nice rolling guitar and flute give way to a subtle intensity that builds up to a melodic guitar solo. The song finally breaks forth into mayhem and a nice guitar solo interspersed with sax flurries only to wind down into a nice percussive outro, featuring none other than Mr. Ambient himself, Steve Roach. They close out the album with an 18-minute tune, "Path Of The Farwinds". This is another track that starts off with some nice guitar and flute interplay. Shades of Gong creep in with the addition of some glissando guitar work, though it soon breaks into the speedy breakneck pace that drives a lot of the album. All in all, there is some great, tight playing, with enough variety to keep you interested for the duration of the disc's 60 or so minutes. I like it. © Joe Fischer 19-July-2002 © http://gnosis2000.net/reviews/avantgarden.htm

Out of nowhere comes this startlingly smokin set of instrumental brilliance from California four-piece Avant Garden. Combining the complexity of progressive rock, ripping hard rock guitar, and sax playing that recalls the heyday of fusion, this band lays down an assault on your eardrums that levels you to the ground but brings you back to your feet wanting more. Many bands have a hard time finding a satisfying balance between raucous riffing and soloing, and quieter, more introspective moments. Not Avant Garden. On the opening track, "Dragon Feed", guitarist Brian Gould and sax player Flamp Sorvari trade vicious solos that make the main melody line, as complex as it is, seem like a cakewalk. Tucked in the middle of all the mayhem is the slippery bass grooves of Miles Gilster, who despite having amazing technical prowess, shows great restraint and dexterity, even during his brief and tender solo spot that is sandwiched between the onslaught from Gould and Sorvani. "Archemedes Tub" kicks off in almost metal fashion, before giving way to some Jethro Tull inspired flute rave-ups. The contrast between the crunchy guitar, driving rhythm, and lilting flute is astounding. Guitarist Gould has a great tone, thick and menacing, as well as great dexterity. His style is somewhat reminiscent of Martin Barre, Steve Hillage, or Warren Haynes. Flamp Sorvani has that Michael Brecker fire in his sax playing, and his jazzy leads are the perfect compliment to the frenzied wailings of Gould. All the tracks here exceed eight minutes, and are like mini mystical journeys, but the real kicker is saved for last, the eighteen-minute "Path of the Farwinds." While the band segues in at an almost Jade Warrior-like entrance featuring lush flutes and acoustic guitars, before long things shift to intense space rock territory with wailing sax and interstellar guitar overdrive. What a way to end a terrific hours worth of complex instrumental rock from a highly talented bunch of musicians. © Clear Spot http://www.clear-spot.nl/item/235242/avant_garden_maelstrom.html

SHORT BIO

AVANT GARDEN is a Sacramento quartet whose music is an eclectic blend of fusion with rock and psychedelia. Consisting of Brian Gould (acoustic and electric guitars, e-bow and glissando), Jason Kenney (drums and percussion), Flamp Sorvari (alto sax and flute) and Miles Gilster (bass), the band plays with abandon and combines the complexity of progressive rock, ripping hard-rock guitar and sax, recalling the heydays of fusion. Their only album to date, "Maelstrom", is a smoking set of instrumental brilliance. Consisting of five rather lengthy tracks, it features fiery instrumental sections, tight rhythm support, laid-back jam grooves and a liberal amount of dissonance and metric shifts. Yet, there is a strong sense of melody present among all this ripping euphoria. Whether it's the exquisite flute, the blistering sax/guitar duels, the adrenaline-packed percussion or the hyper-active bass, the music of AVANT GARDEN is a veritable sonic trip of controlled mayhem. It also displays a rare balance between raucous soloing and quieter, more introspective moments. There is not one dull moment on the entire album. If you enjoy a good sonic beating, AVANT GARDEN can't wait to give it to you. © Lise (HIBOU), CANADA © Prog Archives, All rights reserved http://www.progarchives.com/artist.asp?id=1221

Jeff Beck

Jeff Beck - At The Grammy Museum - 2010 - Woody's Bootlegs

To celebrate the release of his "Emotion & Commotion" album, the legendary guitarist Jeff Beck played "a secret listener show" live from the GRAMMY Museum in LA, CA on Thursday, April 22, 2010. The audience numbered around 200 people. The broadcast was webcasted live at KLOS.com in association with Rhino Entertainment, and the radio broadcast of the event was aired on KLOS FM. The album is available officially from various sources, but most official issues do not include the introduction, interviews, or outro on the version here. The track "Brush With The Blues" is on the official release but not on this version. A version of this song can be found on Jeff's "Who Else" album. Listen to Jeff's brilliant "Blow By Blow" album.

TRACKS / COMPOSERS

Introduction - 1.49 *
Corpus Christi - Benjamin Britten 3.23
Hammerhead - Jeff Beck / Jason Rebello 4.37
Over The Rainbow - Harold Arlen / E.Y. "Yip" Harburg 3.19
Serene - Jeff Beck / Jason Rebello 6.10 *
A Day In The Life - Paul McCartney & John Lennon 5.08
Nessun Dorma - Giuseppe Adami / Giacomo Puccini / Renato Simoni 4.08
How High The Moon - Nancy Hamilton / Morgan Lewis 2.16 #
Interview with KLOS DJ Jim Ladd - Part A 4.18 *
Interview with KLOS DJ Jim Ladd - Part B 4.37 *
Interview with KLOS DJ Jim Ladd - Part C 4.16 *
Interview with KLOS DJ Jim Ladd - Part D 4.26 *
Interview with KLOS DJ Jim Ladd - Part E 4.34 *
Interview with KLOS DJ Jim Ladd - Part F 3.58 *
People Get Ready - Curtis Mayfield 4.48
Outro / Final Thanks - 1.19 *

N.B: * Not included on most official releases. The track "Brush With The Blues" is on the official release but not on this version. A version of this song can be found on Jeff's "Who Else" album. # A year after Les Paul died, Jeff paid tribute to Les Paul and Mary Ford at the 2010 Grammy Awards Ceremony by playing a note-for-note version of this track with the great Irish rockabilly artist Imelda May singing.

MUSICIANS

Jeff Beck - Guitar
Rhonda Smith - Bass
Jason Rebello - Keyboards
Narada Michael Walden - Drums

JEFF BECK BIO

While he was as innovative as Jimmy Page, as tasteful as Eric Clapton, and nearly as visionary as Jimi Hendrix, Jeff Beck never achieved the same commercial success as any of his contemporaries, primarily because of the haphazard way he approached his career. After Rod Stewart left the Jeff Beck Group in 1971, Beck never worked with a charismatic lead singer who could have helped sell his music to a wide audience. Furthermore, he was simply too idiosyncratic, moving from heavy metal to jazz fusion within a blink of an eye. As his career progressed, he became more fascinated by automobiles than guitars, releasing only one album during the course of the '90s. All the while, Beck retained the respect of fellow guitarists, who found his reclusiveness all the more alluring. Beck began his musical career following a short stint at London's Wimbledon Art College. He earned a reputation by supporting Lord Sutch, which helped him land the job as the Yardbirds' lead guitarist following the departure of Eric Clapton. Beck stayed with the Yardbirds for nearly two years, leaving in late in 1966 with the pretense that he was retiring from music. He returned several months later with "Love Is Blue," a single he played poorly because he detested the song. Later in 1967, he formed the Jeff Beck Group with vocalist Rod Stewart, bassist Ron Wood, and drummer Aynsley Dunbar, who was quickly replaced by Mickey Waller; keyboardist Nicky Hopkins joined in early 1968. With their crushingly loud reworkings of blues songs and vocal and guitar interplay, the Jeff Beck Group established the template for heavy metal. Neither of the band's records, Truth (1968) or Beck-Ola (a 1969 album that was recorded with new drummer Tony Newman), was particularly successful, and the band tended to fight regularly, especially on their frequent tours of the U.S. In 1970, Stewart and Wood left to join the Faces, and Beck broke up the group. Beck had intended to form a power trio with Vanilla Fudge members Carmine Appice (drums) and Tim Bogert (bass), but those plans were derailed when he suffered a serious car crash in 1970. By the time he recuperated in 1971, Bogart and Appice were playing in Cactus, so the guitarist formed a new version of the Jeff Beck Group. Featuring keyboardist Max Middleton, drummer Cozy Powell, bassist Clive Chaman, and vocalist Bobby Tench, the new band recorded Rough and Ready (1971) and Jeff Beck Group (1972). Neither album attracted much attention. Cactus dissolved in late 1972, and Beck, Bogert, and Appice formed a power trio the following year. The group's lone studio album -- a live record was released in Japan but never in the U.K. or U.S. -- was widely panned due to its plodding arrangements and weak vocals, and the group disbanded the following year. For about 18 months, Beck remained quiet, re-emerging in 1975 with Blow by Blow. Produced by George Martin, Blow by Blow was an all-instrumental jazz fusion album that received strong reviews. Beck collaborated with Jan Hammer, a former keyboardist for Mahavishnu Orchestra, for 1976's Wired, and supported the album with a co-headlining tour with Hammer's band. The tour was documented on the 1977 album Jeff Beck with the Jan Hammer Group -- Live. After the Hammer tour, Beck retired to his estate outside of London and remained quiet for three years. He returned in 1980 with There and Back, which featured contributions from Hammer. Following the tour for There and Back, Beck retired again, returning five years later with the slick, Nile Rodgers-produced Flash. A pop/rock album recorded with a variety of vocalists, Flash featured Beck's only hit single, the Stewart-sung "People Get Ready," and also boasted "Escape," which won the Grammy for Best Rock Instrumental. During 1987, he played lead guitar on Mick Jagger's second solo album, Primitive Cool. There was another long wait between Flash and 1989's Jeff Beck's Guitar Shop with Terry Bozzio and Tony Hymas. Though the album sold only moderately well, Guitar Shop received uniformly strong reviews and won the Grammy for Best Rock Instrumental. Beck supported the album with a tour, this time co-headlining with guitarist Stevie Ray Vaughan. Again, Beck entered semi-retirement upon the completion of the tour. In 1992, Beck played lead guitar on Roger Waters' comeback album, Amused to Death. A year later, he released Crazy Legs, a tribute to Gene Vincent and his lead guitarist, Cliff Gallup, which was recorded with Big Town Playboys. Beck remained quiet after the album's release prior to resurfacing in 1999 with Who Else! You Had It Coming followed in 2001 and his 14th release, Jeff, was issued on Epic two years later. An excellent live set, Performing This Week: Live at Ronnie Scott's Jazz Club, was released in 2008 by Eagle Records. Emotion & Commotion, Beck's first new studio album in seven years, appeared in the spring of 2010. © Stephen Thomas Erlewine © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/jeff-beck-p3650/biography