Woody Mann

Woody Mann - Road Trip - 2006 - Acoustic Sessions Records

Woody Mann is an American acoustic guitarist who began studying with blues legend Reverend Gary Davis. He received formal training at the Juilliard School in New York City, and also completed a period of intense study with noted Chicago-born pianist Lennie Tristano, who introduced him to the world of jazz.

Woody Mann describes Road Trip as a tribute to the places he has visited on recent tours, but this excellent instrumental set from one of most talented and eclectic fi ngerstyle guitarists on the scene can be heard, more metaphorically, as a recap of his musical journey. Mann has absorbed so many guitar styles that he can change moods on a dime, weaving lyrical single-string lines and chord harmonies that take his tunes across the musical divides between genres. “The Rev’s Music” is a tribute to his first great teacher, legendary bluesman Reverend Gary Davis, but Mann interprets Davis’ ideas through a jazz filter, giving the material a new perspective. “Kary’s Trance,” with saxophonist Charley Krachy, is a free-jazz exploration that brings to mind Mann’s other great teacher, the groundbreaking pianist Lennie Tristano. In Road Trip’s echoes of old-time banjo and classical guitar, sprightly Lonnie Johnson licks, and Latin themes, Mann makes good use of a bottomless bag of tricks. But for all his chops, he never showboats; everything he does serves the melody, a fact that his late teachers would certainly appreciate. By & © Ian Zack © Acoustic Guitar, June 2006

The great Woody Mann has pursued a rich and varied career. He has played with jazz great Attila Zoller, accompanied songwriter Dory Previn, collaborated with blues and folk legends including John Fahey, John Renbourn, Jo Ann Kelly, Bob Brozman, Conor Provost, Son House, Bukka White, and John Cephas and has even given guitar lessons to the legendary Paul Simon. He has performed in over fifteen countries, and recorded many albums ranging from 1997's "Stories" to 2010's "Donna Lombarda" with Duck Baker, Bob Brozman, Ed Gerhard, and Massimo Gatti. The C.F. Martin guitar company honoured Woody with the release of the "Woody Mann" signature model guitar. Buy Woody's "Been Here and Gone" album with Son House and Jo Ann Kelly, and support great acoustic folk blues music [Tracks @ 224-320 Kbps: File size = 69.9 Mb]

TRACKS

1 Aflenz 02:43
2 Karys Trance 03:01
3 Gypsy Girls 03:22
4 Texas Reel 03:12
5 Through the Alley 01:43
6 Church Hill Solo 03:57
7 Another Lisboa 04:09
8 A Night in Tbilisi 03:42
9 Backwoods 01:53
10 Have Mercy 05:01
11 The Rev's Music 03:02
12 Poor Providence 01:54
13 Closing Time 03:21
14 Baden Baden 03:09
15 Warbasse Junction 04:09

All songs composed by Woody Mann except "Have Mercy" based on "Death Don't Have No Mercy" by Rev Gary Davis and "The Rev's Music" based on "Let Us Get Together" and "Going To Sit Down On The Bank of The River" by Rev Gary Davis

MUSICIANS

Woody Mann - Guitar
Lonnie Johnson - Guitar
Brian Glassman - Bass
Larry Wexer - Mandolin
Dave Keyes - Piano
Jeffrey Meyer - Drums
Danny Mallon - Percussion
Charlie Krachy - Saxophone

PRESS

"This is one of those names that should be uttered only in hushed tones. Not only was he taught by the peerless guitar picker the Rev Gary Davis, but Mann has played with Son House, Bukka White and John Fahey and has studied jazz under the great Lennie Tristano. In between giving lessons to Paul Simon and accompanying Dori Previn, he has also manged to cut some dazzling music, both by himself and in collaboration with performers such as Jo-Ann Kelly and bluesman John Cehpas. Don’t miss a chance to see him; you are unlikely to hear anything- or anyone – better in the fields that Mann has chosen to master.” – The London Times.

“ With impeccable tone, gutsy phrasing, beautiful harmonies, and cool dynamics, Mann is in a class by himself. Phenomenal.” “Stairwell Serenade” CD Voted top ten “Guitar recordings of Destiny” - Guitar Player Magazine

“Connecting folk and blues, Woody Mann fingerpicks his acoustic guitar with complete assurance on a dozen songs that collectively take your breath away.” - Down Beat Magazine * * * *

.”..Dazzling and technically flawless finger style guitar at its most listenable. Mann’s wizardry on the fret board is matched by his ability to convey deep feelings with his songs- creating moods that incite, delight, or simply soothe.” “Throughout (the recording), Mann blurs the lines between jazz, blues, classical, and world music creating his own sound in the process. Attempts to categorize his music simply misses the point. This is brilliant playing that demands to be heard.” - Sing Out Magazine

“Mann is simply Spellbinding.” - Fingerstyle Guitar Magazine

“…This excellent instrumental set from one of the most talented and eclectic finger style guitarists on the scene can be heard, more metaphorically, as a recap of his musical journey. Mann has absorbed so many guitar styles that he can change moods on a dime, weaving lyrical single string lines and chord harmonies that can take his tunes across the musical divides between genres…” Acoustic Guitar Magazine

“ Mann’s concert was a mix of brilliance and intensity- moving and inspiring. His music is a blend of so many styles, it becomes something different, something his own….Sweden National Times

“Every now and then, you hear a guitarist whose sound is completely his own and whose music flirts with several styles, never resting for very long with just one. Woody Mann is an artist who seems to have internalized many different genres and combined them in a way that is more than the sum of its parts. What is remarkable is how he can draw from several styles and techniques within a single song and have them blend without the feeling of inconsistency. Woody Mann’s performance is inspired from start to finish.”- Acoustic Musician Magazine

“You can hear classical, jazz, and blues approaches somehow converging into a single sparkling sound – a sound completely his own. Woody Takes a fresh approach to his blues re-creations and his own compositions defy category. If there was a category simply called “Great Music,” Woody’s C.D. would belong there. – John Fahey , from the liner notes to the C.D “Stories”

“…He nails very complicated stuff so cleanly that optimists will grab their guitars, thinking, “Hey, that’s humanly possible,” while pessimists will get drunk and spread dark rumors about moral turpitude. - Musician Magazine

” A brilliant convergence of guitar and song…completely original.”- Village Voice, New York

“Having studies., literally, at the feet of the Rev. Gary Davis and other blues ‘greats’, Woody has taken the traditional blues feeling and evolved it into his own highly personal, energized approach while practicing his teachers gift for telling powerful stories in the song form, as exemplified by his just issued Shanachie CD “Heading Uptown” - Boston Globe

“There are no rambling New Age guitar noodlings here: these tunes have vibrancy and life…an enormously talented and accomplished guitarist.” “Woody’s vocals are better than ever. Its always a pleasure to witness an artist who just keeps getting better. This (“Heading Uptown”CD) has to be Woody Mann’s best album yet. Positively inspiring.” - Folk Roots Magazine

“…Mann is a masterful player with a distinctly contemporary perspective in his songs.” - Acoustic Guitar Magazine

“He has certainly learned from the older players but he is giving back and pushing the boundaries even further…an exceptionally gifted musician.” - Blues and Rhythm Magazine

”In last nights concert he held a large audience spellbound for nearly two hours with a mixture of blues and jazz in addition to his original material.” – Manchester Guardian , UK

“The self effacing Woody Mann charmed his audience with a set that defies pigeon-holing even into a genre as wide as blues: his brilliant technique merges his jazz and classical ideas into something truly his own. The guitarists in the audience may have been inspired -or, more likely, made to feel like taking up another instrument altogether.” - Jersey Evening Post, UK

“Mann’s mastery of finger-style guitar is astonishing, and in person the precision of his playing is even more amazing than on his CD’s. His fingers are up and down the fingerboard, with every note of every chord loud and clear. The performance was at times introspective and at times exuberant, and the appreciative, knowledgeable audience responded loudly after each piece, leaving no doubt that Woody Mann puts on a great show.” - Concert review Blues Review Magazine

“Mann is a gifted musician.” – Living Blues Magazine

ABOUT WOODY MANN

Among guitarists and critics, Woody Mann is considered a modern master. While the blues are his touchstone, he seems to draw inspiration from every direction, blending a myriad influences with ease and grace. Pioneering finger-style legend John Fahey said it well: “You can hear classical, jazz and blues approaches somehow converging into a single sparkling sound – a sound completely his own. Woody takes a fresh approach to his blues re-creations and his own compositions defy category. If there was a category simply called ‘great music’ Woody…would belong there.” Woody Mann received his first musical schooling in the living room of Rev. Gary Davis, the now legendary blues, gospel, and ragtime guitarist. Though Davis died in 1972, his guitar mastery proved to be an indelible influence on his young student and friend. The passion, energy and artistry of Davis’ early work became a lasting touchstone for Mann as he embarked on his own musical journey. Mann soon went on to perform with modern day blues musicians John Fahey, British great Jo-Ann Kelly, as well as early masters of the genre, such as Bukka White and Son House. Mann complemented the tutelage of Rev. Davis with formal training at New York’s celebrated Juilliard School. In addition, Mann completed a period of intense study with noted Chicago-born pianist Lennie Tristano, who introduced him to the world of jazz and its infinite possibilities. During this time, Mann’s early musical grounding began to blossom into an improvisational style all his own. He has not forgotten those early lessons in the Rev. Davis’ living room, however, or the jazz traditions that were his wellspring. He has since become one of the world’s most renowned guitar masters and song story tellers – updating the past with his own unique contemporary improvisational style. “Don’t miss the chance to see him; you are unlikely to hear anything – or anyone – better in the fields that Mann has chosen to master.” -The London Times © 2011 Woody Mann. All Rights Reserved © http://woodymann.com/press/biography

Patto

Patto - Sense Of The Absurd - 1995 - Vertigo

Three albums and out, Patto (named after vocalist Mike Patto) were highly regarded on the British rock scene in the '70s. The key point of the band was probably the superb guitar work of the eminently flexible Ollie Halsall, a performer whose session work was highly prized, even though the guitarist seemed hesitant to step into the spotlight. Patto performed a stately mix of jazz-rock with a little bit of blues. Following the breakup of the band, Halsall moved on to play with Tempest while Patto joined Spooky Tooth for Mirror. Patto and Halsall came back together in Boxer in 1975, though Halsall remained for only a single album, with Patto remaining the sole founding member by the following album. Patto died in 1979 of throat cancer. © Steven McDonald © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/patto-p19795/biography

Criminally underrated at the time, but borne into legend by the unspeakable tragedies that awaited its makers, the debut album by Patto can safely be described among the finest jazz-rock fusion albums ever cut by a British band. Mike Patto's vocals certainly match that billing, a throaty, emotive sound that puts one in mind of the effect that Steve Winwood spent much of his career pursuing, while first lieutenant Ollie Halsall's reputation as one of the era's hottest guitarists is revealed as only one of the strings to his bow -- early into the opening "The Man," he unleashes a mean vibraphone solo as well. However, "Hold Me Back" quickly restates his lead duty and, though the song itself is little more than a crude rewrite of the Rolling Stones' "Stray Cat Blues," the riffs that scythe through the brew are sparkling enough to camouflage any lyrical redundancies. "Money Bag," too, offers up a showcase that is difficult to shake, dueling with a scat rhythm section that is tasteful enough to eat, but never overwhelming the mood. The passing of time has not preserved all of Patto's joys -- like so much of the fusion of the age, there are elements that sound preposterously overwrought today. At its best, however, it re-establishes all the glories for which Patto was renowned at the time; at its very best, it occasionally even overpowers the group. [The 2006 Repertoire reissue includes the bonus track "Hanging Rope."] - Review of CD 1 ("Patto") © Dave Thompson © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/patto-bonus-track-r852667/review

Considering that Patto are named after their lead vocalist, Mike Patto, one would be inclined to think initially that this four-piece band was essentially a vehicle for his vocal talents. Not so! in fact, if anyone is to the fore it is Olly Halsall, who plays lead guitar, acoustic, piano and vibraphone on the band’s debut album, and is outstandingly good. It is beyond my comprehension that he has not been heard before, seeing that he has been on the music scene for quite some time, most notably with Timebox, from the ashes of which b (sic) and Patto has arisen. Clive Griffiths, on bass, achieves a high degree of empathy with Halsall -- very subtle and understated -- and drummer John Halsey is the spur for much of the music, although occasionally he is a hit too busy and fond of flashy rolls, which threaten at times to disturb the delicate balance which the others are maintaining. Patto, who is one of the four vocalists with Keith Tippett’s Centipede, has a lovely funky soul voice, with traces of both Stevie Winwood and Long John Baldry. The music moves from rock to jazz and back again, but they are hardly a jazz-rock band in the popular concept; there is certainly a very free-form approach on "Money Bag," on which Halsall's hard-edged guitar work solos over a loose backdrop of bass and drums, with Patto’s voice dropping in at the end in an almost detached fashion. Producer Muff Winwood has produced the album with great restraint and simplicity. I’m very impressed by it. © Michael Watts - "Patto" Album Review From Melody Maker Magazine December, 12 1970

Ignore the fact that the opening title track sounds almost exactly like the intro to Neil Young's "Ohio" and Patto's second album kicks into gear from the moment needle strikes vinyl. A driving fiesta of good-time bluesy-rock, Hold Your Fire retains just enough of its predecessor's jazz fusion sensibilities to ensure that you're never sure what will happen next, but similarly imbibes sufficient oxygen from elsewhere on the early-'70s British rock underground to line up alongside any other primal gem of the age. Certainly producer Muff Winwood seems considerably more at ease than he did his last time around, hauling Ollie Halsall's tuneful soloing high up in the mix and framing the album's best tracks -- the melancholy "You, You Point Your Finger" among them -- within some breathtakingly lovely arrangements. Another highlight, the funky Faces-like "See You at the Dance Tonight," almost single-handedly blueprints the best of the still-unborn pub rock boom, while Halsall's playful "Air Raid Shelter" would not have been out of place on Hold Your Fire, which further proves that not all of Patto's early instincts have been suppressed. Neither do the surprises stop with the music. Hold Your Fire was released in positively the most un-Roger Dean-like sleeve design to which Dean ever put his name. There again, vast spacescapes filled with floating islands and flying elephants were never really Patto's forte -- not when the alternative offers barefoot cops, scantily clad damsels, and hippies bearing colorful mushrooms. - Review of CD 2 ("Hold Your Fire") © Dave Thompson © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/hold-your-fire-r46350/review

The brilliant progressive jazz rock band Patto was formed from the ashes of Timebox and were named after the wild man of UK rock, the late Mike Patto, (born Michael Thomas McCarthy on September 22, 1942 in Cirencester, Gloucestershire|, and died on 4th March 1979). "Sense Of The Absurd" is a 2 x CD set comprising Patto's first two albums, "Patto" and "Hold Your Fire". The tracks are from the original master tapes, and there is more than 30 minutes of previously unreleased bonus tracks. Signed to Vertigo, the label of many progressive rock classics, Patto went into the studio with Muff Winwood as producer. Muff had left the Spencer Davis Group in 1967 to become the head of A&R at Island Records. Muff decided to record Patto with a 'live-in-the studio' feel. "Patto" was released in November, 1970, and it is a brilliant album, not only for Ollie Halsall's extraordinary guitar work , who was capable of amazing jazz inspired runs and unimaginable peaks of distortion on both the electric guitar and vibraphone, but also for the bands expert handling of complex time signatures and jazz changes. Mike Patto himself, was a great vocalist who could handle smooth ballads, screaming rock and roll, and the middle ground as well. The album received great critical acclaim by both the music press and fellow musicians, but the album was a commercial failure, and reportedly sold about 5,000 units. This may sound strange, but it was certainly not unusual in the early seventies, as there were so many great bands around, and competition was fierce. In 1992, Barry Monks wrote that "To this day, it defies belief that such an album ("Hold Your Fire") can be so little, if ever, referred to in the history of British rock. What this album conveyed, and still does to this day, is that we had the finest and most innovative guitar player this country has produced - bar none. No apologies are offered for quoting the following from the opening of a rare tribute, published in Guitarist magazine just after Ollie’s death: "In the overall scheme of things, there are two albums which anyone who imagines they can play guitar should hear. One is Are You Experienced, the other is Hold Your Fire by Patto". The set is VHR by A.O.O.F.C. Read Richard Lane's Liner Notes from "Sense of the Absurd", 1995 @ http://www.pattofan.com/Patto/absurd_notes.htm & the Press Release for this album @ http://www.pattofan.com/Patto/absurd_press.htm Listen to Patto's "Roll 'Em, Smoke 'Em Put Another Line Out" album, and if you can find it at a fair price, buy the great 1998 CD "The Deram Anthology featuring Mike Patto & Ollie Halsall" [All tracks @ 320 Kbps: 2 x rar files: Pt 1 ("Patto") = 141 Mb, & Pt 2 ("Hold Your Fire") = 130 Mb]

CD 1

1. The Man (6:14)
2. Hold Me Back (4:41)
3. Time To Die (2:55)
4. Red Glow (5:17)
5. San Antone (3:10)
6. Government Man (4:21)
7. Money Bag (10:06)
8. Sittin' Back Easy (3:44)
9. Hanging Rope (14:46) Bonus

Tracks 1 - 4, & 9 composed by Griffiths, Halsall, Halsey, Patto: Tracks 5 - 8 composed by Halsall, Patto

CD 2

1. Hold Your Fire (8:04)
2. You, You Point Your Finger (4:33)
3. How's Your Father (4:43)
4. See You At The Dance Tonight (4:56)
5. Give It All Away (4:09)
6. Air Raid Shelter (7:04)
7. Tell Me Where You've Been (3:47)
8. Magic Door (4:22)
9. Beat The Drum (5:06) Bonus
10. Bad News (4:36) Bonus
11. Air Raid Shelter - Alt Version (7:02) Bonus

Tracks 1,2,5,7,8 composed by Halsall, Patto: Tracks 3,4,6,11 composed by Halsall: Tracks 9 & 10 composed by Griffiths, Halsall, Halsey, Patto

MUSICIANS

Peter "Ollie" Halsall RIP - Electric & Acoustic Guitar, Vibraphone, Organ, Piano, Lead Vocals
Clive Giffiths - Bass, Vocals
John "Admiral" Halsey - Drums, Percussion
Michael Patrick "Patto" McCarthy RIP - Vocals

BIO (WIKI)

Patto was a progressive jazz-rock band formed in England in 1970 consisting of Mike Patto (born Michael Thomas Sean Patrick McCarthy, 22 September 1942, in Cirencester,Gloucestershire died 4 March 1979) on vocals, John Halsey (born 23 February 1945, in Highgate, North London) (ex Barry Reed and the Avengers, Felder's Orioles) on drums, Ollie Halsall (born Peter John Halsall, 14 March 1949, in Southport Lancashire died 29 May 1992, in Madrid, Spain) on guitars and vibes, and Clive Griffiths (born 16 May 1945, in Middlewich, Cheshire) on bass. All ex Timebox. Timebox was a '60's outfit that developed from a complicaded ancestry that included The Bo Street Runners, Patto's People, and the Chicago Blue Line. This soul/psych-pop combo made two singles for Pye's Piccadilly, before signing to Decca's Deram label in 1967. They also recorded five singles for Deram between '67 and '69 and appeared on BBC shows such as Noise at Nine, Stuart Henry on Sunday and Jimmy Young. After their last single failed in '69, keyboard player Chris Holmes (born Christopher Noel Holmes, 12 September 1945, in Cleethorpes, Lincolnshire) left and they decided that their future lay in the burgeoning progressive rock movement. In 1970 Patto was formed out of the remaining ex-members of Timebox and was signed to the newly formed Vertigo label. With Muff Winwood as producer they recorded their first album live in studio. This was because Winwood felt this best way to capture the raw virtuosity of Halsall's guitar playing and Mike Patto's soulful voice. The album "Patto" sold poorly and is still considered an underrated classic today. In December 1971 Patto entered the studio again to record their second album "Hold Your Fire". Again the sales were poor and they were dropped from Vertigo. This did not hinder the fact that they were becoming known as one of the most exciting live acts of their time. Through his connections in England Muff Winwood was able to get the band signed to Island Records where they recorded the album "Roll 'em Smoke 'em Put Another Line Out". To their dismay this album also sold poorly. In 1973 the band began to record their next album. For this album Mike Patto wanted to use more of his material which was less cynical than the usual Patto songs and much more commercial. For whatever reason Halsall failed to put much effort into his playing on tracks that he didn't take part in writing and when asked about this he left the band. The album that was called Monkey's Bum was also rejected by Island Records. Without their virtuoso guitarist Patto chose to call it quits with each member moving on to other projects.

ABOUT MIKE PATTO

Mike Patto (real name Michael Patrick McGarth) first came to light as the vocalist in a Norwich R&B outfit called Mike Patto and The Breakaways. After several line-up changes, The Breakaways became The Bluebottles, but soon after Patto headed for London to join The National Youth Jazz Orchestra. At the same time he had a spell with The Bo Street Runners and the Chicago Line Blues Band in 1966 before forming Timebox, which eventually evolved into Patto. These three albums were heavier in style than what he'd done to date but failed to capture a wider interest. Nonetheless, "Patto" (1970), was a good jazz-rock fusion featuring some fine vibraphone and guitar playing from Ollie Halsall. "Hold Your Fire", which is now hard to find on vinyl, was reputedly better, although their album for Island was rather disappointing. When the project disintegrated in 1973, Patto embarked on a brief solo career and also had spells in Spooky Tooth and Boxer (the latter venture reuniting him with Ollie Halsall). His final solo 45, "Sitting In The Park" was a ballad done by Billy Stewart and Georgie Fame. Sadly, he died on 3 March 1979 of throat cancer. The flip side to his first 45, "Love", which was actually a Bo Street Runners track, left over from their earlier sessions, later appeared on the "Pop-Sike Pipe-Dream" compilation. - MORE ABOUT PATTO [Source: The Tapestry of Delights - The Comprehensive Guide to British Music of the Beat, R&B, Psychedelic and Progressive Eras 1963-1976, Vernon Joynson ISBN 1 899855 04 1 ]

Jess Roden

Jess Roden - Live at the BBC - 1996 - Band Of Joy

The last official gig by the Jess Roden Band was a televised show for the BBC's "Sight And Sound, In Concert" program which was simulcast on BBC Radio 1 in 1977. Four extra BBC session tracks from 1975 were added to the setlist, and the whole album was released as "Live at the BBC" in 1996. It's a great album from the very underrated, but supremely gifted British vocalist. As vocalists go Jess is up there with the likes of Paul Carrack, Paul Rodgers, and others. His voice has been described as "one of the quintessential white soul voices of the '70's". For over 40 years, Jess has done just about everything in rock music, except become a household name. He has appeared on albums by The Meters, The Doors, Steve Winwood, The Who, Mott the Hoople, Keef Hartley, Sandy Denny, Paul Kossoff, Jim Capaldi, Stomu Yamashta, Peter Green, and many more. He has a voice of pure gold, and to many people in the record buying world, he remains an undiscovered treasure. Read http://www.bobharris.org/whispers/topic.asp?TOPIC_ID=1937 for info on Jess Roden albums/sessions. A used copy of this CD is for sale on Amazon @ £79.98.....Never gonna promote music that way! We're talking about great underrated soul blues from a brilliant and neglected British vocalist, not something for hanging on a wall in The Louvre. Search this blog for related releases. Most if not all of Jess' releases are still only available on vinyl or those awful "digitized from vinyl" CD's. There is talk about a large chunk of Jess' work being remixed and remastered for CD release. If this becomes available, see if you can buy it for a fair price [All tracks @ 192 Kbps: File size = 105 Mb]

TRACKS / COMPOSERS

1. The Ballad Of Big Sally - Cartwright, Roberts
2. On A Winner With You - Roden, Webb
3. In A Circle - Webb, Cartwright
4. Desperado - Henley, Frey
5. Stay In Bed - Roden
6. Crystal Eye - Roden
7. You Can Leave Your Hat On - Newman
8. Blowin' - Roden, Cartwright
9. Can't Get Next To You - Whitfield, Strong
10. Jump Mama - Roden
11. All Night Long - Cartwright
12. Lies - Cale
13. Honey Don't Worry - Cartwright
14. Under Suspicion - Roden
15. What Took Me So Long? - Roden

N.B: Tracks 1-11 were recorded in December, 1976 at BBC's Maida Vale 4 for BBC's Radio 1 In Concert program on 15.1.77, and Tracks 12-15 were recorded for the BBC John Peel Show on 24.4.75 at the BBC's Maida Vale 4 studio

BAND

Jess Roden (Vocals) - Tracks 1-15
Bruce Roberts (Guitar) - Tracks 1-15
Steve Webb (Guitar) - Tracks 1-15
John Cartwright (Bass) - Tracks 1-15
Billy Livsey (Keyboards) - Tracks 1-11
Pete Hunt (Drums) - Tracks 1-15
Ron Taylor (Alto Saxophone) - Tracks 1-15
Chris Gower (Trombone) - Tracks 1-15

SHORT BIO

Singer/guitarist Jess Roden was born in Kidderminster in England's West Midlands, and his first band was the Shakedown Sounds. In 1967, he joined the Alan Bown Set as their new lead singer. Although their records never charted nationally, he did pick up a fandom in London (and belatedly became something of a star on the Northern Soul scene) with the release of their single "Emergency 999". He remained with the Bown group through 1970, after which he formed the band Bronco, and later worked on Wildlife, the third Mott The Hoople album, and with Keef Hartley on the album Lancashire Hustler. In the mid-1970's, he teamed up with ex-Doors John Densmore and Robby Kreiger in the Butts Band, and sang on their first album. Roden finally emerged as a solo artist in his own right in the mid-1970's on Island Records, with his 1974 self-titled solo album, which was cut in New Orleans and included Allen Toussaint and Art Neville on keyboards. His albums throughout the 1970's got great reviews but he never saw any significant sales; in between his own work, he managed to sing and play on albums by Carol Grimes, Jim Capaldi, Stomu Yamashta, Sandy Denny, and Grace Jones. He was with the group Rivits on Island, for one album at the outset of the 1980's. © Bruce Eder © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/jess-roden-p20236/biography

BIO (WIKI)

Jess Roden (born 28 December 1947) is an English rock singer and guitarist. Roden's first band was The Raiders followed by The Shakedown Sound which also included the guitarist, Kevyn Gammond, and keyboard player August Eadon (aka Gus Yeadon). In 1966, he joined The Alan Bown Set as their new lead singer. Although their records rarely charted, Roden and the band did pick up a considerable fans in London, and belatedly became a minor star on the Northern soul scene, with the release of their single, "Emergency 999". He remained with the Alan Bown through to the late 1960s, but left after recording the album The Alan Bown! His vocals were re-recorded by his replacement Robert Palmer for the UK release of the album, although Roden's original vocals remained on the U.S. release. Roden later appeared as a backing vocalist to Palmer on his 1983 appearance on The Tube. In 1970 Roden returned to Worcestershire and formed the band Bronco but left after two albums to embark on a solo album. During this period, he also worked on Wildlife, the third Mott the Hoople album, and sang and played on albums by Carol Grimes, Jim Capaldi, Sandy Denny, and sang lead vocals on Keef Hartley's 1973 album Lancashire Hustler. His solo album plans were sidelined when, in the same year, he was asked to team up with ex-Doors John Densmore and Robby Krieger in The Butts Band, together with Phil Chenn (bass) and Roy Davies (keyboards). The album was recorded in London and Kingston, Jamaica and released in America on Blue Thumb and Island (rest of the world). Roden, Chenn and Davies remained with the group for one album and a brief US tour. Roden finally emerged as a solo artist in the mid 1970s on Island Records, with his 1974 self-titled solo album. It was recorded at Olympia and Basing St Studios in London as well as New Orleans, Louisiana, and included contributions from Allen Toussaint and Art Neville on keyboards. He then formed The Jess Roden Band (originally Iguana - based in Southampton), with whom three further albums were recorded (Keep Your Hat On, Play It Dirty, PLay It Class and Blowin') - the latter recorded live in Birmingham and Leicester during 1976. Always a major touring draw, the band never achieved significant record sales and disbanded in 1977. Following the ending of the JRB, Roden relocated to New York and cut two further solo albums for Island (The Player Not The Game and Stonechaser). He formed The Rivits with Peter Wood (who co-wrote Year Of The Cat with Al Stewart), for one album Multiplay. During initial sessions for a second Rivits album that was due to be recorded at Compass Point Studios, Roden sang back-up vocals for Grace Jones Pull Up To The Bumper. On returning to New York, Roden worked as a graphic artist while, at the same time, recording Seven Windows, an album that was produced by Steve Dwire and Michael MacDonald. Just before the album was released, Roden returned to live and work in the UK. He returned with a new band, The Humans, in 1991. With a line-up featuring Jim Capaldi, Gary Grainger, Bill Burke and Nick Graham, the outfit produced two albums, only for Roden disappear from the music scene once more in the mid 1990s. One rare recent appearance was at Granville's Brasserie, in Stone, Staffordshire. As of April, 2008, according to his brother Nick, "Basically he now runs his own graphic design business, but not in New York. He lives near to London and is enjoying the quiet life. Up until about 4-5 years ago, he sang about once a year with an outfit called the SAS band with other singers and musicians. I believe Roy Wood, Roger Taylor, Brian May, Paul Young, etc. were also involved. I cannot speak on his behalf, but when I went down to see him two weeks ago, I asked him if he would be doing anymore singing, but seeing as he has not sung in such a while, I can honestly say it is most unlikely."

Jess Roden Band

Jess Roden Band - Blowin' - 1977 - Island

The former gravel-voiced Butts Band shouter sounds riotously confident on this live album, which has no real agenda except documenting a hot night before a British college crowd. Roden's band is slick and proficient, with guitarists Bruce Roberts and Steve Webb being the standouts, though percussionist/saxophonist Ron Taylor gets lots of space, too. Roden and company manage to show themselves as diverse performers and crowd-pullers at the same time -- no mean feat when hits drove the engine of '70s mass-market rock. The preeminent sound is slinky, laid-back pop-funk, as exemplified on story songs like "The Ballad of Big Sally" or "Me and Crystal Eye." Cut from similarly breezy cloth, "In a Circle" is an example of how Lowell George might have sounded if he'd grown up across the pond. The band stretches out on "Can't Get Next to You," which dips into the blues bag, but Roden's husky howl shines brightest on the glistening title track (which also makes clever use of varying internal rhymes). There's also a blistering boogie in "Jump Mama," where Roden pushes his throat in the manner of peers like Frankie Miller and Maggie Bell. The album ends on an unconventional note with a brief, piano-led reprise of "Blowin'." Unlike many live albums of this period, there's no side-long solos to pad out an average evening -- just a proficient band and their frontman throwing down before a packed house. The story would change after Britain went punk, but there's no denying what Roden could offer. This isn't an easy album to find, but worth the hunt if you see it. © Ralph Heibutzki © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/blowin-r48210/review

Recorded live in the Autumn of 1976 at Birmingham Town Hall and Leicester University, England, Jess Roden and his great band show 'em how it's done. If only this vinyl issue was remastered for CD ! Here's hoping the rumours are true. Check this blog for more info on Jess Roden [All tracks @ 160 Kbps: File size = 46.9 Mb]

TRACKS / COMPOSERS

SIDE 1

1. The Ballad of Big Sally - Cartwright, Roberts
2. In a Circle - Webb, Cartwright
3. Can't Get Next to You - Whitfield, Strong

SIDE 2

1. Me and Crystal Eye - Roden, Webb
2. Blowin' - Cartwright, Roden
3. Jump Mama - Roden
4. Blowin' (Reprise) - Cartwright, Roden

BAND

Jess Roden - Vocals
Bruce Roberts, Steve Webb - Guitar, Vocals
John Cartwright - Bass
Billy Livsey - Keyboards, Drums, Vocals
Pete Hunt - Drums
Ron Taylor - Saxophone, Percussion
Chris Gower - Trombone, Percussion

The Jess Roden Band

The Jess Roden Band - Keep Your Hat On - 1976 - Island

Jess Roden’s second solo album, the first to be credited to The Jess Roden Band was recorded at Island Studios in Hammersmith and features some quality musicians on nine well written tracks which are a mix of band member penned originals and covers. Roden is joined by guitarists Steve Webb and Bruce Roberts, bass player John Cartwright, drummer Pete Hunt and the horn section of Chris Gower and Ronnie Taylor. The album kicks off with a cover of Randy Newman’s ‘You Can Leave Your Hat On’. This version is perhaps a little slower than the Tom Jones one released many years later but is far better. The Roden penned ‘Jump Mama’ follows and keeps the tempo high and upbeat. Album highlight ‘Blowin’ follows and showcases Roden’s blues soul vocal ability. Very reminiscent of Free it places Roden in the same bracket as Paul Rodgers, high praise indeed but more than deserved. ‘In A Circle’ features a great horn arrangement by David Wadsworth and some stellar playing by Ronnie Taylor (Alto) and Chris Gower (Trumpet). ‘I’m On A Winner With You’ closes side one on a more gentle note but without lowering the quality. Side Two leaps out of the speakers straight away with the classy ‘Mama Roux’ from the pen of Doctor John Creaux. Once again Wadsworths horn arrangement is top notch. The following ‘Desperado’, a cover of the Eagles classic, is far superior to the original and Roden nails it as his own, giving it a soul and blues feel that the composers could never have managed. I was lucky enough to see Roden perform this song live without any accompaniment whatsoever to a packed house at his comeback gig in the nineties. To say you could have heard a pin drop would be an understatement. Billy Sherrill’s ‘Too Far Gone’ and another John Cartwright track ‘Send It To You’ close the album. Roden is in my opinion, along with Frankie Miller, the most under rated of British singers from the seventies. A style which encompasses rock, blues and soul to name but three he really should be mentioned in the same breath as Paul Rodgers and the like. A couple of years before this release Roden had been touted as Ian Gillan’s replacement in Deep Purple such was his standing amongst other musicians. Quite why he has never achieved the level of success his ability deserves in quite frankly beyond me. © Martin Leedham. Posted on January 17, 2011 First published on RYM January 2011 © http://martinleedham.wordpress.com/2011/01/17/album-review-the-jess-roden-band-keep-your-hat-on-1976/

Great album by Jess Roden, the very underrated, but supremely gifted British vocalist. As vocalists go Jess is up there with the likes of Paul Carrack, Paul Rodgers, and others. His voice has been described as "one of the quintessential white soul voices of the '70's". For over 40 years, he done just about everything in rock music, except becoming a household name. He has appeared on albums by The Meters, The Doors, Steve Winwood, The Who, Mott the Hoople, Keef Hartley, Sandy Denny, Paul Kossoff, Jim Capaldi, Stomu Yamashta, Peter Green, and many more. He has a voice of pure gold, and to many people in the record buying world, he remains an undiscovered treasure. There are stories circulating that a lot of Jess' work will be remastered and remixed for a CD set issue. The sooner, the better. "Keep Your Hat On" is a vinyl issue, and it would be great to hear this album in all it's sonic glory. Check this blog for related releases. Read http://www.bobharris.org/whispers/topic.asp?TOPIC_ID=1937 for info on Jess Roden albums/sessions. Support real music [All tracks @ 320 Kbps: File size = 85.6 Mb]

TRACKS / COMPOSERS

1. You Can Leave Your Hat On - Newman
2. Jump Mama - Roden
3. Blowin' - Roden, Cartwright
4. In A Circle - Cartwright, Webb
5. I'm On A Winner With You - Roden, Webb
6. Mama Roux - Dr John, Jessie Hill
7. Desperado - Henley, Frey
8. Too Far Gone - Billy Sherrill
9. Send It To You - John Cartwright

BAND

Jess Roden - Vocals
Bruce Roberts, Steve Webb - Guitar, Vocals
John Cartwright - Bass
Billy Livsey - Keyboards
Pete Hunt - Drums
Ron Taylor - Alto Sax
Chris Gower - Trombone

SHORT BIO

Singer/guitarist Jess Roden was born in Kidderminster in England's West Midlands, and his first band was the Shakedown Sounds. In 1967, he joined the Alan Bown Set as their new lead singer. Although their records never charted nationally, he did pick up a fandom in London (and belatedly became something of a star on the Northern Soul scene) with the release of their single "Emergency 999". He remained with the Bown group through 1970, after which he formed the band Bronco, and later worked on Wildlife, the third Mott The Hoople album, and with Keef Hartley on the album Lancashire Hustler. In the mid-1970's, he teamed up with ex-Doors John Densmore and Robby Kreiger in the Butts Band, and sang on their first album. Roden finally emerged as a solo artist in his own right in the mid-1970's on Island Records, with his 1974 self-titled solo album, which was cut in New Orleans and included Allen Toussaint and Art Neville on keyboards. His albums throughout the 1970's got great reviews but he never saw any significant sales; in between his own work, he managed to sing and play on albums by Carol Grimes, Jim Capaldi, Stomu Yamashta, Sandy Denny, and Grace Jones. He was with the group Rivits on Island, for one album at the outset of the 1980's. © Bruce Eder © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/jess-roden-p20236/biography

BIO (WIKI)

Jess Roden (born 28 December 1947) is an English rock singer and guitarist. Roden's first band was The Raiders followed by The Shakedown Sound which also included the guitarist, Kevyn Gammond, and keyboard player August Eadon (aka Gus Yeadon). In 1966, he joined The Alan Bown Set as their new lead singer. Although their records rarely charted, Roden and the band did pick up a considerable fans in London, and belatedly became a minor star on the Northern soul scene, with the release of their single, "Emergency 999". He remained with the Alan Bown through to the late 1960s, but left after recording the album The Alan Bown! His vocals were re-recorded by his replacement Robert Palmer for the UK release of the album, although Roden's original vocals remained on the U.S. release. Roden later appeared as a backing vocalist to Palmer on his 1983 appearance on The Tube. In 1970 Roden returned to Worcestershire and formed the band Bronco but left after two albums to embark on a solo album. During this period, he also worked on Wildlife, the third Mott the Hoople album, and sang and played on albums by Carol Grimes, Jim Capaldi, Sandy Denny, and sang lead vocals on Keef Hartley's 1973 album Lancashire Hustler. His solo album plans were sidelined when, in the same year, he was asked to team up with ex-Doors John Densmore and Robby Krieger in The Butts Band, together with Phil Chenn (bass) and Roy Davies (keyboards). The album was recorded in London and Kingston, Jamaica and released in America on Blue Thumb and Island (rest of the world). Roden, Chenn and Davies remained with the group for one album and a brief US tour. Roden finally emerged as a solo artist in the mid 1970s on Island Records, with his 1974 self-titled solo album. It was recorded at Olympia and Basing St Studios in London as well as New Orleans, Louisiana, and included contributions from Allen Toussaint and Art Neville on keyboards. He then formed The Jess Roden Band (originally Iguana - based in Southampton), with whom three further albums were recorded (Keep Your Hat On, Play It Dirty, PLay It Class and Blowin') - the latter recorded live in Birmingham and Leicester during 1976. Always a major touring draw, the band never achieved significant record sales and disbanded in 1977. Following the ending of the JRB, Roden relocated to New York and cut two further solo albums for Island (The Player Not The Game and Stonechaser). He formed The Rivits with Peter Wood (who co-wrote Year Of The Cat with Al Stewart), for one album Multiplay. During initial sessions for a second Rivits album that was due to be recorded at Compass Point Studios, Roden sang back-up vocals for Grace Jones Pull Up To The Bumper. On returning to New York, Roden worked as a graphic artist while, at the same time, recording Seven Windows, an album that was produced by Steve Dwire and Michael MacDonald. Just before the album was released, Roden returned to live and work in the UK. He returned with a new band, The Humans, in 1991. With a line-up featuring Jim Capaldi, Gary Grainger, Bill Burke and Nick Graham, the outfit produced two albums, only for Roden disappear from the music scene once more in the mid 1990s. One rare recent appearance was at Granville's Brasserie, in Stone, Staffordshire. As of April, 2008, according to his brother Nick, "Basically he now runs his own graphic design business, but not in New York. He lives near to London and is enjoying the quiet life. Up until about 4-5 years ago, he sang about once a year with an outfit called the SAS band with other singers and musicians. I believe Roy Wood, Roger Taylor, Brian May, Paul Young, etc. were also involved. I cannot speak on his behalf, but when I went down to see him two weeks ago, I asked him if he would be doing anymore singing, but seeing as he has not sung in such a while, I can honestly say it is most unlikely."

Jess Roden

Jess Roden - The Player Not The Game - 1977 - Island

"The Player Not The Game" is a wonderful album of jazz, soul and blues from one of the most underrated vocalists and songwriters ever to come out of England. His voice has been described as "one of the quintessential white soul voices of the '70's". For over 40 years, he done just about everything in rock music, except becoming a household name. He has appeared on albums by The Meters, The Doors, Steve Winwood, The Who, Mott the Hoople, Keef Hartley, Sandy Denny, Paul Kossoff, Jim Capaldi, Stomu Yamashta, Peter Green, and many more. He has a voice of pure gold, and to many people in the record buying world, he remains an undiscovered treasure. "The Player Not The Game" is HR by A.O.O.F.C. It's a vinyl issue, but the man's great talents can be appreciated adequately. Check out his brilliant "Blowin'" album. A 5 x CD album, "The Hidden Masters - The Jeff Roden Anthology" containing over 80 remastered tracks from the original master tapes is supposedly due for release. Watch out for that! Check out Jess' "The Best Of" album on this blog. Read http://musiquarium.wordpress.com/2007/02/18/unsung-heroes-no1-jess-roden/ for a lot of detailed information about this unsung hero [All tracks @ 320 Kbps: File size = 77.4 Mb]

TRACKS / COMPOSERS / MUSICIANS

1 Misty Roses - Tim Hardin

Leon Pendarvis : Piano
Rob Mounsey : Fender Rhodes & A.R.P. 2600
Gary Mure : Drums
Anthony Jackson : Bass
David Carey : Vibes
Scott Hamilton : Tenor Saxophone
Cliff Morris : Electric Guitar
Charlie Brown : Acoustic Guitar

2 Sensation - Jess Roden & Steve Webb

Rob Mounsey : Fender Rhodes & A.R.P. 2600
David Carey : Vibes
Francisco Centeno : Bass
Gary Mure : Drums
John Tropea : Lead Guitar
Cliff Morris : Guitar

3 Lonely Avenue - Doc Pomus

Leon Pendarvis : Piano
Rob Mounsey : Clavinet
Anthony Jackson : Bass
Gary Mure : Drums
Erroll Bennett & Rubens Bassini : Percussion
Scott Hamilton : Tenor Saxophone (Solo)
Cliff Morris : Lead Guitar
Charlie Brown : Guitar
Howard Johnson : Baritone Sax
Lou Marini : Alto Sax
Harold Vick : Tenor Sax
Alan Ralph : Trombone
Delores Hall, Benny Diggs, Michael Gray, Arnold McCuller & Jess Rodden : Background vocals

4 The Quiet Sound Of You And I - Bruce Roberts & Edgar Bronfman

Leon Pendarvis : Fender Rhodes
Rob Mounsey : Piano
Buddy Williams : Drums
Francisco Centeno : Bass
Cliff Morris & Lance Quinn : Guitars
David Carey : Vibes
Erroll Bennett : Percussion
Scott Hamilton : Tenor Saxophone
Delores Hall, Michael Gray, Benny Diggs, Arnold McCuller & Jess Roden : Background vocals

5 The Hardest Blow - John Cartwright

John Tropea, Cliff Morris & Franklin Micare : Acoustic Guitars
Erroll Bennett : Percussion
Leon Pendarvis : Piano
Rob Mounsey : Fender Rhodes
Harold Vick : Tenor Saxophone
Francisco Centeno : Bass
Milt Hinson : Acoustic Bass
Gary Mure : Drums

6 Drinking Again - Johnny Mercer & Doris Tauber

Gary Mure : Drums
David Carey : Vibes
Shirley Scott : Piano
Cliff Morris & Charlie Brown : Guitars
Anthony Jackson : Bass

7 Woman Across The Water - Jess Roden

Leon Pendarvis : Piano
Gary Mure : Drums
Francisco Centeno : Bass
John Tropea & Jeff Mironov : Guitars
Erroll Bennett : Percussion
Rob Mounsey : Fender Rhodes, A.R.P. 2600 & A.R.P. SE.IV.
Delores Hall, Michael Gray, Benny Diggs, Arnold McCuller & Jess Roden : Background vocals

8 In Me Tonight - Jess Roden

Leon Pendarvis : Fender Rhodes
Rob Mounsey : Piano
Cliff Morris & John Tropea : Guitars
Harold Vick : Soprano Saxophone
Francisco Centeno : Bass
Gary Mure : Drums
Erroll Bennett : Percussion
David Carey : Vibes
Delores Hall, Michael Gray, Benny Diggs, Arnold McCuller & Jess Roden : Background vocals

OTHER CREDITS

Strings -
Violins : Max Pollikoff, Sandford Allen, Gene Orloff, Paul Gershman, Max Ellen, Mathew Raimondi, Joe Malin & Charles Libove
Violas : Al Brown, Manny Vardi, Julien Barber & Selwart Clarke
Celli : Charles McCracken & Kermit Moore
Horns -
Alto Saxophones & Clarinet : Lou Marini & Raymond Beckenstein
Tenor Saxophones : George Marge, Harold Vick & Walter Levinsky
Trumpets & Fluglehorns : Alan Rubin, John Faddis, Virgil Jones, Burt Collins, Micheal Lawrence & Victor Paz
Baritone Saxophone & Bass Clarinet : Howard Johnson

SHORT BIO

Singer/guitarist Jess Roden was born in Kidderminster in England's West Midlands, and his first band was the Shakedown Sounds. In 1967, he joined the Alan Bown Set as their new lead singer. Although their records never charted nationally, he did pick up a fandom in London (and belatedly became something of a star on the Northern Soul scene) with the release of their single "Emergency 999". He remained with the Bown group through 1970, after which he formed the band Bronco, and later worked on Wildlife, the third Mott The Hoople album, and with Keef Hartley on the album Lancashire Hustler. In the mid-1970's, he teamed up with ex-Doors John Densmore and Robby Kreiger in the Butts Band, and sang on their first album. Roden finally emerged as a solo artist in his own right in the mid-1970's on Island Records, with his 1974 self-titled solo album, which was cut in New Orleans and included Allen Toussaint and Art Neville on keyboards. His albums throughout the 1970's got great reviews but he never saw any significant sales; in between his own work, he managed to sing and play on albums by Carol Grimes, Jim Capaldi, Stomu Yamashta, Sandy Denny, and Grace Jones. He was with the group Rivits on Island, for one album at the outset of the 1980's. © Bruce Eder © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/jess-roden-p20236/biography

BIO (WIKI)

Jess Roden (born 28 December 1947) is an English rock singer and guitarist. Roden's first band was The Raiders followed by The Shakedown Sound which also included the guitarist, Kevyn Gammond, and keyboard player August Eadon (aka Gus Yeadon). In 1966, he joined The Alan Bown Set as their new lead singer. Although their records rarely charted, Roden and the band did pick up a considerable fans in London, and belatedly became a minor star on the Northern soul scene, with the release of their single, "Emergency 999". He remained with the Alan Bown through to the late 1960s, but left after recording the album The Alan Bown! His vocals were re-recorded by his replacement Robert Palmer for the UK release of the album, although Roden's original vocals remained on the U.S. release. Roden later appeared as a backing vocalist to Palmer on his 1983 appearance on The Tube. In 1970 Roden returned to Worcestershire and formed the band Bronco but left after two albums to embark on a solo album. During this period, he also worked on Wildlife, the third Mott the Hoople album, and sang and played on albums by Carol Grimes, Jim Capaldi, Sandy Denny, and sang lead vocals on Keef Hartley's 1973 album Lancashire Hustler. His solo album plans were sidelined when, in the same year, he was asked to team up with ex-Doors John Densmore and Robby Krieger in The Butts Band, together with Phil Chenn (bass) and Roy Davies (keyboards). The album was recorded in London and Kingston, Jamaica and released in America on Blue Thumb and Island (rest of the world). Roden, Chenn and Davies remained with the group for one album and a brief US tour. Roden finally emerged as a solo artist in the mid 1970s on Island Records, with his 1974 self-titled solo album. It was recorded at Olympia and Basing St Studios in London as well as New Orleans, Louisiana, and included contributions from Allen Toussaint and Art Neville on keyboards. He then formed The Jess Roden Band (originally Iguana - based in Southampton), with whom three further albums were recorded (Keep Your Hat On, Play It Dirty, PLay It Class and Blowin') - the latter recorded live in Birmingham and Leicester during 1976. Always a major touring draw, the band never achieved significant record sales and disbanded in 1977. Following the ending of the JRB, Roden relocated to New York and cut two further solo albums for Island (The Player Not The Game and Stonechaser). He formed The Rivits with Peter Wood (who co-wrote Year Of The Cat with Al Stewart), for one album Multiplay. During initial sessions for a second Rivits album that was due to be recorded at Compass Point Studios, Roden sang back-up vocals for Grace Jones Pull Up To The Bumper. On returning to New York, Roden worked as a graphic artist while, at the same time, recording Seven Windows, an album that was produced by Steve Dwire and Michael MacDonald. Just before the album was released, Roden returned to live and work in the UK. He returned with a new band, The Humans, in 1991. With a line-up featuring Jim Capaldi, Gary Grainger, Bill Burke and Nick Graham, the outfit produced two albums, only for Roden disappear from the music scene once more in the mid 1990s. One rare recent appearance was at Granville's Brasserie, in Stone, Staffordshire. As of April, 2008, according to his brother Nick, "Basically he now runs his own graphic design business, but not in New York. He lives near to London and is enjoying the quiet life. Up until about 4-5 years ago, he sang about once a year with an outfit called the SAS band with other singers and musicians. I believe Roy Wood, Roger Taylor, Brian May, Paul Young, etc. were also involved. I cannot speak on his behalf, but when I went down to see him two weeks ago, I asked him if he would be doing anymore singing, but seeing as he has not sung in such a while, I can honestly say it is most unlikely."

Monster Mike Welch

Monster Mike Welch - Axe To Grind - 1997 - Tone-Cool

Mojo (UK) said that Mike Welch is "An ass-kicking, axe-picking bluesman with a wide range of mood and colour". That quote certainly describes "Axe To Grind". Some music "reviewers" have said that Mike is more preoccupied with copying the guitar style of artists like Albert Collins, SRV, Magic Sam, etc., rather than developing his own technique. However, there is no denying that this guy can really play, and despite comparisons with the aforementioned artists, this guy rocks, and there is some stupendous playing on "Axe To Grind". There has also been some minor criticisms of Mike Welch's vocals, which are not the strongest. But then, bluesmen were never noted for having great voices. Mike's guitar does the talking on this album. Duke Robillard called Mike "a phenomenal blues player.” “Rolling Stone said that Mike "…can rip the top of your head and cram your brains into your neck with his blues guitar work.” Buy Mike's "These Blues Are Mine" album and support great modern blues rock [All tracks @ 256 Kbps: File size = 96.3 Mb]

TRACKS / COMPOSERS

1 Did She Say - Lewis, Welch 3:31
2 Palm of Her Hand - Lewis, Welch 3:07
3 Axe to Grind - Lewis, Perriwinkle 4:59
4 The Elkmont Stomp - Lewis, Welch 2:36
5 Everytime You Lie - Lewis, Welch 3:11
6 Afraid of My Own Tears - Lewis, Welch 2:53
7 Take Your Best Shot - Welch 4:30
8 She Couldn't Know - Lewis, Welch 3:16
9 Time Stands Still - Lewis, Welch 3:14
10 That's My Sin - Lewis, Welch 4:33
11 My Emptiness - Welch 9:02
12 Cruise Control - Lewis, Welch 3:32

MUSICIANS

Monster Mike Welch - Lead Guitar, Vocals
George Leroy Lewis - Leslie Guitar, Rhythm Guitar
Jon Ross - Fender Bass, Upright Bass
Warren David Grant - Drums

SHORT BIO

Mike Welch is a Boston-area blues guitarist, vocalist, and songwriter who has released several albums on the Rounder Tone-Cool subsidiary. The fact that he's so good and so young is part of the reason why they called him "Monster." Welch got this name from actor/comedian/Blues Brother Dan Aykroyd, although the moniker was dropped following his second album. Welch's releases for Tone-Cool, which essentially launched his career as an international touring act, include a 1996 release, These Blues Are Mine, and his 1997 album Axe to Grind. He began his blues education with his father's record collection, and he picked up the guitar at age eight and tried to emulate the sounds he heard from recordings by Magic Sam, Earl Hooker and B.B. King. Welch also studied the rock & roll and blues-rock records of the Beatles and the Rolling Stones, but after hearing more of Albert King and other blues guitarists, he found his calling in life. When he was 11, his parents began driving him to blues jams around Boston. In the clubs, Welch learned from some of the greats of that scene, including Ronnie Earl and Luther "Guitar Jr." Johnson. Welch was invited to play at the opening of the first House of Blues club in Cambridge, Mass. in 1992. After co-owner Aykroyd heard him, his nickname changed from "Little Mikey" to "Monster Mike." A few months later, Welch began working with George Lewis, who ran the blues jams at House of Blues, to put together the Monster Mike Welch Band. Welch is accompanied on his records by Lewis on guitar, Jon Ross on bass and Warren Grant on drums. Welch's biting, stinging Albert King-style guitar playing has better-than-average backing from these three on his Tone-Cool releases. The crop of original songs he wrote on his first two albums for Tone-Cool demonstrate his prowess as a crafty blues songwriter. Whether he decides to go on to college or not, Welch has a bright future. All indications are that Welch, who got a flood of publicity because of his age, and was even quoted in People magazine -- "being an adolescent is more than enough blues for anyone to handle" -- should go on to a lengthy and varied career as a bluesman. He returned in 1998 with Catch Me. © Richard Skelly © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/monster-mike-welch-p164290/biography

MORE

One of Boston’s best-loved guitarists, Monster Mike Welch has been a fixture on the international blues scene for over thirteen years. As leader of the Monster Mike Welch Band, Mike released four acclaimed CDs of mostly original material (These Blues are Mine, Axe to Grind, Catch Me , and Adding Insight To Injury ), and toured North America and Europe. As guitarist in Sugar Ray and the Bluetones, he was a major part of a new CD release (Sugar Ray and the Bluetones Featuring Monster Mike Welch) in March 2003 on Severn Records. Now, Monster Mike Welch presents Cryin’ Hey!, his first album of traditional blues, and his finest work to date. Mike started playing guitar at the age of eight, inspired by everything from the Beatles to Robert Johnson. He dedicated himself to the blues by the age of eleven, and quickly progressed from a regular at local blues jams to a respected member of Boston’s professional blues community. By the time he was fourteen, Mike had played with blues greats like Junior Wells, James Cotton, Hubert Sumlin, and Johnny Copeland, as well as stars like the Blues Brothers Band with Dan Aykroyd, who gave Mike his nickname, “Monster Mike.” In 1995, the Monster Mike Welch Band won the Boston Music Award for Outstanding Blues Act and started work on their first CD, These Blues are Mine. That CD established Mike as a rising blues star and paved the way for several successful international tours. In 1997, Mike released Axe to Grind, which solidified his place in the blues scene and firmly established Mike and George Lewis as one of blues’ most prolific and original songwriting teams. During this time, Mike was featured in USA Today, People, Ohne Filter Extra, Entertainment Tonight, A Current Affair Extra, and countless local and music publications and television programs. After a year of touring to promote 1998’s Catch Me, which added influences from British Invasion pop and Motown R&B to the band’s rocking blues mix, Mike took a sabbatical from regular performing. The previously unheard-of introduction of free time into Mike’s schedule led to his joining Sugar Ray and the Bluetones in 2001, revitalizing the band’s deep blues with his distinctive guitar stylings, and touring the U.S., Canada, and Europe behind Sugar Ray Norcia’s legendary voice and harmonica. 2003’s Sugar Ray and the Bluetones Featuring Monster Mike Welch featured five Welch compositions as well as his stinging guitar, and hit #4 on the Living Blues charts for two months in a row. Now, Mike prepares to release Cryin’ Hey!, his first all-traditional blues outing. Featuring an all-star cast including Nick Moss (Nick Moss and the Flip Tops, The Legendary Blues Band, Jimmy Rogers) on second guitar, Anthony Geraci (Ronnie Earl, Sugar Ray and the Bluetones) on piano, Michael “Mudcat” Ward (Hubert Sumlin, Sugar Ray and the Bluetones, Big Walter Horton) on upright and electric bass, and Warren Grant (The Monster Mike Welch Band, The Lydia Warren Band) on drums, Cryin’ Hey! represents the finest singing, playing and songwriting of Monster Mike Welch’s career. Mike will be touring France, Switzerland, Benelux and Germany in the winter and spring of 2006. © http://www.monstermikewelch.com/Press.htm

Michael Landau

Michael Landau - Tales from the Bulge - 1989 - Sohbi Records

Michael Landau (1 June 1958, Los Angeles) is a prolific session musician and guitarist who has played on a large number of albums since the early 1980s with artists as varied as Seal, James Taylor, Helen Watson, Richard Marx, Steve Perry, Pink Floyd, and Miles Davis. Landau, along with fellow session guitarists Dean Parks, Steve Lukather and Dann Huff, played on many of the major label releases recorded in Los Angeles from the 1980s-1990s. In addition to his session work, Landau has also fronted several bands including Raging Honkies and Burning Water. In the early 1980s, he was also in the band Maxus that featured future Los Angeles session musicians Robbie Buchanan, Jay Gruska, and Doane Perry. Landau was also in competition with high school bandmate Steve Lukather to become the guitarist for Toto in the late 1970s.

"Tales from the Bulge" is a good rock and blues instrumental album from one of LA's top session guitarists. Michael has played with just about everyone, and released several solo guitar based albums of rock/jazz/blues. At his crankiest he could be placed in the same musical mould as artists like Adrian Belew and Mike Keneally. Some of the great players on this album include Steve Lukather on guitar, David Garfield on keyboards; Steve Tavaglione , Wayne Shorter and Larry Klimas on sax, Jimmy Johnson, John Pierce, Carlos Vega, Vinnie Colaiuta, John Keane on drums and Lenny Castro and Luis Conte on percussion. Buy his "Live 2000" album, and check out more related albums on this blog [All tracks @ 320 Kbps: File size = 113 Mb]

TRACKS / COMPOSERS

1 I'm Buzzed - Michael Landau 5:49
2 Judy - Michael Landau 6:16
3 Chynna - Michael Landau 2:11
4 Johnny Swing - Michael Landau 6:59
5 Big Bulge - Michael Landau, Steve Tavaglione 6:08
6 Roodis Tones - Michael Landau, Steve Tavaglione 6:16
7 Eater - Michael Landau 4:32
8 I Don't Care - Michael Landau 6:15
9 My Bulbous Meathead - Michael Landau, Steve Lukather 5:01
10 I'm Hating - Michael Landau, Ted Landau, David Garfield, Alan Hirshberg 1:20

MUSICIANS

Michael Landau - Electric Guitar, Baritone Guitar, Drum Programming
Steve Lukather - Guitar, Keyboard Bass, Voices
Jimmy Johnson - Bass, Fretless Bass
Ted Landau - Bass, Voices
John Pierce - Bass
David Garfield - Keyboards
Vinnie Colaiuta, Carlos Vega, John Keane - Drums
Lenny Castro, Luis Conte - Percussion
Larry Klimas - Tenor Sax
Wayne Shorter - Soprano Sax
Steve Tavaglione - Soprano & Tenor Sax

BIO

To cover Michael Landau´s career takes a long time. He is one of the most used session players, and is a fantastic musician. Musician and composer Michael Landau was born and raised in Los Angeles California. He grew up with the music of The Beatles, Jimi Hendrix, Led Zeppelin, Cream and The Band. His grandfather Ernani Bernardi arranged and played the alto sax and clarinet during the "swing era" with the Dorsey Brothers and Benny Goodman. Michael began playing the guitar at age 11. As a teenager he quickly became very interested in jazz and electric jazz music. Weather Report, Pat Martino and Jaco Pastorius were some of his early obsessions. In the mid '70s Michael played in the L.A. dance clubs with an R&B band and toured the west coast with The Robben Ford Band, which included members of the Yellow Jackets, Jimmy Haslip and Russell Ferrante. At age 19 he joined Boz Scaggs for a world tour and by the age of 20 he started to do session work with the help of Steve Lukather and Jeff Porcaro. Some session highlights over the coming years would include Pink Floyd, Miles Davis, Joni Mitchell, BB King, James Taylor, Seal, Ray Charles and Rod Stewart. There is a complete session discography at allmusic.com with over 500 records and soundtracks listed. In 1984 Michael toured again and recorded with Joni Mitchell. This tour was called "The Refuge Of The Roads" with Vinnie Colaiuta, Larry Klein and Russell Ferrante.In 1989 he released his first solo studio album "Tales from the Bulge", an instrumental record initially released in Japan and on "Creatchy" records in the states. Wayne Shorter, Steve Tavaglione, Vinnie Colaiuta, Carlos Vega, David Garfield and Jimmy Johnson were among some of the players on this release. In 1990 he formed the blues-rock band Burning Water with his brother Teddy Landau, David Frazee and Carlos Vega. They put out 4 discs of original material and played in Japan and locally in L.A. It was also around this time that he started to record and tour with James Taylor. In 1993 he won the readers poll for "Best Studio Guitarist" in "Guitar Player Magazine". In 1994 Michael formed The Raging Honkies, a spicy rowdy rock band with Teddy Landau and Abe Laboriel Jr. They released 2 discs and toured in Europe and the US. In 2001 he released a double live album of original material and a studio album "The Star Spangled Banner" on his own label "Unconscious Records". Michael has also produced and or mixed some selected artists and side projects including: Scott Henderson, The Jazz Ministry, Stolen Fish and Freak Juice. He currently tours and performs with The Michael Landau Group, The Wreckers, Robben Ford, The Jazz Ministry, Stolen Fish, Hazey Jane and James Taylor. His most recent project, a double live album will be released on "Tone Center" records in the states, "Mascot Records" in Europe, and "Vega Music" in Japan. - Words from Jazz Network http://www.bluedesert.dk/michaellandau.html

Jess Roden

Jess Roden - The Best Of - 2009 - Lemon

Jess Roden was a journeyman British rock singer who caught lots of breaks, it's just that none of them were particularly lucky. He sang background in the studios and fronted various bands before playing with Keef Hartley, yet never went anywhere; sang for Robbie Krieger and John Densmore's post-Doors project the Butts Band, which also stalled; then he had a solo career on Island which is compiled on this quite good 2009 Lemon collection. Equal parts Rod Stewart and Paul Rodgers, Roden had a powerful bluesy growl made for rockers like "The Ballad of Big Sally" - and his cover of Randy Newman's "You Can Leave Your Hat On" trumps Joe Cocker's latter-day version - but he also sounds just as comfortable on softer material like "Blowin'" and the terrific Boz Scaggs-styled soft rock of "In Me Tonight." That track is an indication of how Roden got softer, slicker, and also somewhat funkier - if funk is nothing but loping basslines and wah-wah guitars - as the '70s came to the close. He still negotiated these turns quite well, and these are good, period soft rock, but Roden sounds alive on the earliest cuts, when he still had the chance of breaking through toward the blues-rock big time. © Stephen Thomas Erlewine © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/the-best-of-r1562008

"Journeyman vocalist who never quite got his just dues". Jess Roden came to prominence as the up-front vocalist for The Alan Bown Set as they worked the mid-60s club circuit, but left them for a folk-rock direction with Bronco and his own band. With a confident rock voice that could adapt to many song styles, his work was always convincing. Consequently, following a rocking opener in Ballad Of Big Sally, it’s often the slower and more restrained songs such as Blowin’, Me & Crystal Eye, Woman Across The Water and the trombone-infused In A Circle that most satisfy on this collection. With the material here drawn from five albums spanning 1974-80, Roden matures like a good wine, supported by a great band whose members also collaborate with him on many of the songs. Cover versions include fine takes on Randy Newman’s You Can Leave Your Hat On, Doc Pomus’ Lonely Avenue, and Whitfield/Strong’s Temptations hit Can’t Get Next To You. An attractive package by any standards, celebrating one of the industry’s best voices. **** Reviewed by & © Kingsley Abbott © 2012 Diamond Publishing http://recordcollectormag.com/reviews/the-best-of-jess-roden

"Nice to see Jess Roden on Amazon and a lovely 'Best Of' to remind us all how good he was. There were so many great singers around in Jess's heyday, it was like the golden age of heavyweight boxers ! I don't know what he's doing now but back in the mid-seventies, when Rod had crossed the Atlantic, Zeppelin and Plant had made their best work, Paul Rogers and Free were over, ditto Chapman and Family, Terry Reid had disappeared Stateside - and you can add to the list here yourself - it seemed for a time that Island / Chrysalis stablemates Jess and Frankie Miller were about the best rock / soul singers we had. Like so much great music of the seventies Jess seemed to get blown away by the false dawn of punk which promised so much but delivered so little music that would last. I have great memories of him on numerous Rock Goes to College broadcasts but like many artists he was perhaps too good and not commercial enough, though heaven knows the great material he sang sounded very accessible to me. Perhaps it was all down to timing and luck in the end, his peak coming between the classic era of rock and the punk revolution. Time for a Jess Roaen revival - where are you man ?" ***** from "One of the very best", 18 Feb 2010 by & © Mr. Philip Baird (Isle of Man) © 1996-2012, Amazon.com, Inc. or its affiliates http://www.amazon.co.uk/Best-Jess-Roden/dp/B0025T717E/ref=ntt_mus_ep_dpi_1

Jess Roden has got to be one of the most underated jazz, soul & blues vocalists ever to come out of England. His voice has been described as "one of the quintessential white soul voices of the '70's". For over 40 years, he done just about everything in rock music, except becoming a household name. He has appeared on albums by The Meters, The Doors, Steve Winwood, The Who, Mott the Hoople, Keef Hartley, Sandy Denny, Paul Kossoff, Jim Capaldi, Stomu Yamashta, Peter Green, and many more. He has a voice of pure gold, and to many people in the record buying world, he remains an undiscovered treasure. "The Best Of" contains 18 tracks from 5 of his studio albums, which is simply not enough to demonstrate this great vocalist's talents. John "Rabbit" Bundrick, Allen Toussaint, Rob Mounsey, and Simon Kirke are just a few of the many legendary artists playing on this album. Check out his brilliant "Blowin'" album. A 5 x CD album, "The Hidden Masters - The Jeff Roden Anthology" containing over 80 remastered tracks from the original master tapes is supposedly due for release. Watch out for that! Has anybody any info on the album "Jess Roden Live At The BBC"? Before you put "It was like sooo kool"  Jedward on your CD player, listen to this compilation album! [Tracks @ 228-320 Kbps: File size = 134 Mb]

TRACKS / COMPOSERS

1 Ballad of Big Sally - Cartwright, Roberts 5:44
2 Blowin' - Cartwright, Roden 3:27
3 You Can Leave Your Hat On - Newman 4:04
4 Stonechaser - Roden, Webb 5:33
5 Reason to Change - Roden 3:05
6 Woman Across the Water - Roden 4:13
7 In a Circle - Cartwright, Webb 5:33
8 Trouble in the Mind - Roden 4:08
9 Me and Crystal Eye - Roden 4:13
10 In Me Tonight - Roden 4:36
11 Can't Get Next to You - Strong, Whitfield 7:00
12 What the Hell - Roden 4:57
13 I'm on a Winner with You - Roden, Webb 3:20
14 Deeper in Love - James 2:58
15 Lonely Avenue - Pomus 3:37
16 If You Change Your Mind - Cartwright 3:17
17 Jump Mama - Roden 4:02
18 All Night Long - Roden 3:33

MUSICIANS

Jess Roden - Guitar, Acoustic Guitar, Bass, Horn, String Arrangements, Drums, Percussion, Vocals, Background Vocals
Bruce Robertson, Leo Nocentelli, Charlie Brown, Franklin Micare, Lance Quinn, John Tropea, David Landau, Jeff Layton, Jeff Mironov, Cliff Morris - Guitar
Bruce Roberts, Steve Webb - Guitar, Vocals
Neil Jason, Anthony Jackson, Milt Hinton, Francisco Centeno, George Porter, Jr., Rick Chudacoff, Pat Donaldson, Mickey Feat - Bass
John Cartwright - Bass, Guitar, Harmonica, Vocals
John "Rabbit" Bundrick - Keyboards, Organ, Piano
Billy Livsey - Keyboards, Organ, Piano, Clavinet
Mick Weaver - Fender Rhodes, Keyboards
Allen Toussaint - Piano, Conga
Rick Smith - Keyboards
Roy Davies - Keyboards, Organ, Clavinet
Leon Pendarvis - Keyboards, Percussion, Vocals
Shirley Scott, Rob Mounsey, George Clinton, Pat Rebillot - Keyboards
Art Neville - Organ
Ziggy Modeliste, Simon Kirke, Richard Bailey, Pete Hunt, Neil Bunetta, Buddy Williams, Peter Bunetta, Gary Mure, Richard Crooks, Chris Parker - Drums
Rubens Bassini, Crusher Bennett, Arno Lucas - Percussion
Rebop Kwaku Baah - Conga, Percussion
Alan Sharp - Conga
David Carey - Vibraphone, Background Vocals
Alan Raph, Tom "Bones" Malone, Chris Gower - Trombone
Derek Wadsworth, Billy Lyall - Horn Arrangements
Scott Hamilton - Saxophone
Pat Ryan - Alto Saxophone
Ronnie Taylor - Alto & Tenor Sax
George Lee - Tenor Sax
Harold Vick - Saxophone, Wind
Chris Gower - Trombone
Alan Raph, Wayne Andre - Trombone, Brass
Lee Goodall - Clarinet, Bass Clarinet
New Orleans Horns, Jon Faddis, Burt Collins, Michael Lawrence, Virgil Jones, George Marge, Pee Wee Ellis, Victor Paz, Alan Rubin - Horn
Virgil Jones, David Taylor, Lew Soloff, Barry Rogers - Brass, Horn
Raymond Beckenstein, Howard Johnson, Lou Marini - Wind
Howard Johnson - Brass, Wind
Alex Foster, Romeo Penque, Billy Slapin, Harold Vick, David Tofani - Reeds (Multiple), Wind
Raymond Beckenstein, John Campo - Reeds (Multiple)
Steve Gregory - Flute
Regis Iandiorio, Lamar Alsop, Lou Eley, Lewis Eley, Stanley Pollock, John Pintavalle, Harold Kohon, Kathryn Kienke - Violin
Jesse Levy, Kermit Moore, Charles McCracken - Cello
Al Brown, Sue Pray, Lenore Weinstock - Viola
The Manny Vardi - Viola, Strings
Harry Robinson, William S. Fischer - Strings
Arnold McCutler, Joshie Armstead, Chandra Armstead, Janice Pendarvis, Barbara Massey, Luther Vandross, Jaki Whitren, Zachary Sanders - Vocals
Benny Diggs, Michael Lee Gray, Delores Hall - Vocals, Background Vocals

SHORT BIO

Singer/guitarist Jess Roden was born in Kidderminster in England's West Midlands, and his first band was the Shakedown Sounds. In 1967, he joined the Alan Bown Set as their new lead singer. Although their records never charted nationally, he did pick up a fandom in London (and belatedly became something of a star on the Northern Soul scene) with the release of their single "Emergency 999". He remained with the Bown group through 1970, after which he formed the band Bronco, and later worked on Wildlife, the third Mott The Hoople album, and with Keef Hartley on the album Lancashire Hustler. In the mid-1970's, he teamed up with ex-Doors John Densmore and Robby Kreiger in the Butts Band, and sang on their first album. Roden finally emerged as a solo artist in his own right in the mid-1970's on Island Records, with his 1974 self-titled solo album, which was cut in New Orleans and included Allen Toussaint and Art Neville on keyboards. His albums throughout the 1970's got great reviews but he never saw any significant sales; in between his own work, he managed to sing and play on albums by Carol Grimes, Jim Capaldi, Stomu Yamashta, Sandy Denny, and Grace Jones. He was with the group Rivits on Island, for one album at the outset of the 1980's. © Bruce Eder © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/jess-roden-p20236/biography

BIO (WIKI)

Jess Roden (born 28 December 1947) is an English rock singer and guitarist. Roden's first band was The Raiders followed by The Shakedown Sound which also included the guitarist, Kevyn Gammond, and keyboard player August Eadon (aka Gus Yeadon). In 1966, he joined The Alan Bown Set as their new lead singer. Although their records rarely charted, Roden and the band did pick up a considerable fans in London, and belatedly became a minor star on the Northern soul scene, with the release of their single, "Emergency 999". He remained with the Alan Bown through to the late 1960s, but left after recording the album The Alan Bown! His vocals were re-recorded by his replacement Robert Palmer for the UK release of the album, although Roden's original vocals remained on the U.S. release. Roden later appeared as a backing vocalist to Palmer on his 1983 appearance on The Tube. In 1970 Roden returned to Worcestershire and formed the band Bronco but left after two albums to embark on a solo album. During this period, he also worked on Wildlife, the third Mott the Hoople album, and sang and played on albums by Carol Grimes, Jim Capaldi, Sandy Denny, and sang lead vocals on Keef Hartley's 1973 album Lancashire Hustler. His solo album plans were sidelined when, in the same year, he was asked to team up with ex-Doors John Densmore and Robby Krieger in The Butts Band, together with Phil Chenn (bass) and Roy Davies (keyboards). The album was recorded in London and Kingston, Jamaica and released in America on Blue Thumb and Island (rest of the world). Roden, Chenn and Davies remained with the group for one album and a brief US tour. Roden finally emerged as a solo artist in the mid 1970s on Island Records, with his 1974 self-titled solo album. It was recorded at Olympia and Basing St Studios in London as well as New Orleans, Louisiana, and included contributions from Allen Toussaint and Art Neville on keyboards. He then formed The Jess Roden Band (originally Iguana - based in Southampton), with whom three further albums were recorded (Keep Your Hat On, Play It Dirty, PLay It Class and Blowin') - the latter recorded live in Birmingham and Leicester during 1976. Always a major touring draw, the band never achieved significant record sales and disbanded in 1977. Following the ending of the JRB, Roden relocated to New York and cut two further solo albums for Island (The Player Not The Game and Stonechaser). He formed The Rivits with Peter Wood (who co-wrote Year Of The Cat with Al Stewart), for one album Multiplay. During initial sessions for a second Rivits album that was due to be recorded at Compass Point Studios, Roden sang back-up vocals for Grace Jones Pull Up To The Bumper. On returning to New York, Roden worked as a graphic artist while, at the same time, recording Seven Windows, an album that was produced by Steve Dwire and Michael MacDonald. Just before the album was released, Roden returned to live and work in the UK. He returned with a new band, The Humans, in 1991. With a line-up featuring Jim Capaldi, Gary Grainger, Bill Burke and Nick Graham, the outfit produced two albums, only for Roden disappear from the music scene once more in the mid 1990s. One rare recent appearance was at Granville's Brasserie, in Stone, Staffordshire. As of April, 2008, according to his brother Nick, "Basically he now runs his own graphic design business, but not in New York. He lives near to London and is enjoying the quiet life. Up until about 4-5 years ago, he sang about once a year with an outfit called the SAS band with other singers and musicians. I believe Roy Wood, Roger Taylor, Brian May, Paul Young, etc. were also involved. I cannot speak on his behalf, but when I went down to see him two weeks ago, I asked him if he would be doing anymore singing, but seeing as he has not sung in such a while, I can honestly say it is most unlikely."

Tracy Nelson

Tracy Nelson - In The Here And Now - 1993 - Rounder

Tracy Nelson has always brought a wealth of blues feeling to her work, but being bluesy doesn't necessarily mean that one is actually singing the blues -- one can certainly bring the feeling of the blues to rock, R&B, reggae, country, bluegrass, zydeco, or jazz (all of which have been affected by the blues). In fact, Nelson has often showed listeners just how blues-minded rock, soul, or country can be. In the Here and Now, however, isn't just bluesy -- it is blues-oriented, and this time, there are plenty of tracks that actually have 12 bars. Nelson, who was 45 when this album came out in 1993, really soars on passionate performances of "Motherless Child Blues" and "Go Down Sunshine" as well as Chicago blues gems like Elmore James' "It Hurts Me Too" and Willie Dixon's "Whatever I Am, You Made Me." And Nelson never sounded more confident than she does on "Please Send Me Someone to Love," which finds her performing a duet with veteran New Orleans soul great Irma Thomas. This Percy Mayfield classic, which was first recorded in 1950, is one of those standards that has been beaten to death over the years -- as great as the song is, there is such a thing as overkill. But Nelson and Thomas manage to make the tune sound fresh and vital, which is impressive because their 1993 version was recorded 43 years after the original version. Nelson, in fact, was only two years old when Mayfield first recorded "Please Send Me Someone to Love." In the Here and Now is hardly the only Nelson CD that is worth owning, but it is safe to say that it is among the strongest albums that she provided in the '90s. © Alex Henderson © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/in-the-here-and-now-r184747/review

"In The Here And Now" is a powerful reminder that there are artists out there who are as equally talented as the great Bonnie Raitt, Emmylou Harris, Linda Ronstadt, and many more without receiving the due credit. Since the mid-60s, Tracy has sung her unique blues as a solo artist, with the great Mother Earth, and with many top blues artist in the country. With her voice of devastating power and deep emotion, she burns with a blue flame. New songs like "Living the Blues" blend in beautifully with great standards like Elmore James' "lt Hurts Me Too" and Percy Mayfield's wonderful "Please Send Me Someone to Love", sung as a duet with the great New Orleans soul singer Irma Thomas. A briliant album and VHR by A.O.O.F.C. Buy Tracy's "You'll Never Be a Stranger at My Door" album, and for music in the same vein listen to Irma Thomas' classic "True Believer" album. Support great Blues/R&B music. Check this blog for other Tracy Nelson/Mother Earth/Irma Thomas releases [All tracks @ 320 Kbps: File size = 101 Mb]

TRACKS / COMPOSERS

1 Every Night of the Week - Ted Jarrett 3:32
2 Living the Blues - Tracy Nelson, Gary Nicholson 4:09
3 In the Here and Now - Lucy Keeble, Andy McMahon, Jack Pearson 3:47
4 Walk Away - Oliver Sain 4:55
5 Go Down, Sunshine - Public Domain , Hociel Thomas 4:13
6 Motherless Child Blues - Public Domain , Elvie Thomas 4:26
7 When It All Comes Down - Will Jennings, Joe Sample 3:14
8 It Hurts Me Too - Elmore James 3:15
9 Whatever I Am, You Made Me - Willie Dixon 4:05
10 Miss You Like the Devil - Jas Moore 3:59
11 Please Send Me Someone to Love - Percy Mayfield 4:56

MUSICIANS

Tracy Nelson - Vocals, Background Vocals
Gary Nicholson - Guitar
Mike Henderson - Guitar, Harp
Toni Sehulster, Ron Eoff, Mike Doster - Bass
Reese Wynans - Organ, Piano
Greg Wetzel - Piano
John Gardner - Drums
Crispin Cioe - Alto & Baritone Sax
Arno Hecht - Tenor Sax
Laurence Etkin - Trumpet
Bob Funk - Trombone
Uptown Horns Group - Horns
Charlie Musselwhite - Harp
Irma Thomas - Duet Vocals with Tracy on "Please Send Me Someone to Love"
Jonell Mosser, Pebble Daniel, Nanette Britt - Background Vocals
Bill Allen - Speech/Speaker/Speaking Part

BIO

A very versatile and talented vocalist, Tracy Nelson is better known for her role as lead singer of Mother Earth. The Nashville sextet had three albums in a country-rock vein make the charts in the late '60s and early '70s. But Nelson is just as capable in soul, R&B, and blues, though she hasn't released many records in that style. Her albums for Flying Fish were more indicative of her eclecticism, but her R&B and blues roots are really evident on her 1993 release In the Here and Now and 1995's I Feel So Good -- both on Rounder Records. Born in California but raised in Madison, WI, Nelson began playing music when she was a student at the University of Wisconsin. Nelson began singing folk and blues at coffeehouses and R&B and rock & roll at parties with a covers band called the Fabulous Imitators. In 1964, she recorded an album for Prestige, Deep Are the Roots, which was produced by Sam Charters. Two years after recording Deep Are the Roots, Nelson headed out to the West Coast, spending some time in Los Angeles before settling in San Francisco. After arriving in San Francisco, she formed Mother Earth in 1968, moving the group to Nashville the following year. The band stayed together for five years, recording several albums for Mercury Records, among a handful of other labels. Nelson left the band in the mid-'70s, embarking on a solo career that saw her release albums for a variety of labels, including Columbia, Atlantic, and Flying Fish. Nelson continued to record and perform into the '90s. In 1993, she released In the Here and Now, her first album for Rounder Records and, not coincidentally, her first straight blues record since she began recording in the '60s. Nelson followed In the Here and Now with several acclaimed records of gritty blues-rock for Rounder, switching to Memphis International for the release of You'll Never Be a Stranger at My Door in 2007. © Ron Wynn © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/tracy-nelson-p11284/biography

Preston Reed

Preston Reed - Metal - 1995 - Dusty Closet Records

There's a great Simpsons line from the episode in which Homer decides to become an inventor. He's sitting in the basement, "inventing," and he says to Marge, "You look at this table, and what do you see? Just a table. Now a creative person like me looks at this table and sees all kinds of creative things. But no table!" (it turns out it's not a table at all, but their dryer). Preston Reed looked at a guitar and saw all kinds of things. But no guitar. Sure, he saw a rhythm-making, notemaking instrument, but he also saw a percussion section, a bass guitar, a second and third acoustic guitar, and something that could produce all of those sounds-plus harmonics-at the same time. He also saw something that he should hold with both hands above the neck, rather than the chord-making hand being positioned from underneath. The result: he has the busiest hands in the business, and has created a sound uniquely his own. A consequence of this is that he prints a disclaimer inside each album that reads: "All compositions on this recording are complete live takes with no overdubbing." In math form, this would be: 2 hands plus 1 Ovation guitar = a full band. Our first stop in trying to assess why he's not the most listened-to guitarist in America is his album Metal, originally released in 1995, and re-released in 2002 by Outer Bridge records (Reed's own label-that he had to re-release this album himself is additional evidence that the music industry has no idea what it's doing). To begin with, Metal is not his most accessible album for those looking to be introduced to his sound. That honor would probably have to go to 2000's Handwritten Notes, which features tracks such as "Tractor Pull" and "Along the Perimeter," both of which reestablish a goal for many budding fingerstyle guitarists, and such tender fingerpicking tracks like "Crossing Open Water" and "Love in the Old Country." No, Metal is much more aggressive, much more percussive, and represents a more energized side of Reed that first-time listeners might be surprised by. Of course, surprise isn't a bad thing. But hearing the album open with the harmonic slaps of "Blasting Cap" can be a musically altering experience if you aren't prepared for it. Same goes for "Tribes," "Metal," or "Chatanooga," which can all be jarring if one has no prior history with him. One of the joys of listening to Reed is to try and picture how he accomplishes each sound. On "Chattanooga," for example, it helps to picture him on stage, holding a long-neck guitar (one with 24+ frets), with both hands above the neck, in constant motion. This image works when hearing "Stonecutter" for the first time, a track that, tragically, is not available anywhere online, except in the amazingly misleading Amazon.com sound bite. "Stonecutter" represents Reed at his most powerful, as the track has no downtime whatsoever, no slow bridge or simple hook-like chorus to allow for the musician's hands to relax a bit and get in position for the main guitar riff. It's 3:24 of motion. Give the more representative "Slap Funk" a listen for a better available illustration of his "busy hand syndrome." He can be simpler, though. "Far Horizon" succeeds, not because of any intricacy to the style, but because he uses sustained and ringing harmonics and bass notes to create layers underneath what turns out to be a very simple (yet very beautiful) melody line. "Flatonia" begins as a moving, simple ballad, and ends as a finger picking clinic in the style of Leo Kottke or Michael Hedges. "Chattanooga," like "Stonecutter," is also a song of constant motion. Reed uses harmonic slaps, tapping, and occasional fingerpicking to add a very unique atmospheric sound to his arsenal. When one mentions fingerstyle guitar, Leo Kottke is inevitably part of the discussion; most fingerstyle guitarists point to Kottke's "6- and 12-string Guitar" as an influence (the ones who don't have probably been influenced by it through other artists). Kottke's presence is felt in a few of Reed's songs, most notably "Franzl's Saw," in which Reed uses a pinky slide (while fingerpicking, no less) and recalls Kottke's "Poor Boy" and "The Sailor's Grave on the Prairie" (again, though the CD Baby sample is a full 2 minutes, they've inexplicably chosen the most uneventful two minutes of the song). Within 10 seconds of listening to him, you'll realize just how little innovation is on display by the McBands receiving heavy rotation on MTV or Your Local Alternative Radio Station. Reed's Metal was the primary focus here, largely because it's one of the few albums of his that's still available; the majority of his records go for 35 dollars or more as rare or used copies, and the few that are available new-and cheaply-are recent re-issues from his own label. If not Metal, one could just as easily try Handwritten Notes first, before graduating to Ladies Night. The result is the same: Reed is a treasure, an absolute must-listen for those even tangentially interested in acoustic guitar music, and a one-of-a-kind innovator who will change the way you approach the guitar in both your listening and your performing. - You Should Hear Them by & © John Erhardt August 2005 © http://prestonreed.com/press2.html

Towering, lanky and sporting long rivulets of blondish curls, the square-jawed Reed attacks the entire instrument in a never ending search for the orchestra he knows is lurking inside. A not uncommon response to a Preston Reed live performance is "what is he doing up there?" His two hands are a blur of unconventional activity as they simultaneously manage to create a rock/jazz rhythm section, melody line and chordal accompaniment. This does not look like guitar playing as we learned to experience it. But it sounds very cool. "In the last couple years my playing has gotten more intensely rhythmic and percussive…and multi-voiced, multi-textural," says Reed with the fervor and zeal of a true pioneer. His 1995 album Metal was a showcase for this continually evolving style. Although Reed has always been a very rhythmic player, the rhythmic emphasis is very up front on Metal ; overall it has more of a "driving" feel than previous recordings, propelled by such tunes as "Train," "Blasting Cap," "Fat Boy" and the title track, "Metal," which Playboy reviewer Charles M. Young said "will drop your jaw." There is the heart and soul of a rock band in this collection; you have to keep reminding yourself that there are no overdubs and that the tunes were all complete takes. No digital cutting and pasting. In places, you'd swear there was a bass and drums in there somewhere. Reed manages to coax some very un-guitar-like sounds from his instruments. A good example of these sounds can be found in one of his earliest experiments with percussion: "Slap Funk." Originally recorded on his 1991 Blue Vertigo CD (unhappily, long out of print) from Reed's major label era, "Slap Funk" also appears on Metal. Among its engaging sonic oddities are some deceptively real hand-clap sounds that are actually made with the fingerpick-clad fingers of his right hand striking the side of the guitar near the juncture of the top and side. Probably the strangest looking part of Reed's playing is his left-hand-over-the-neck technique where instead of fretting in the traditional manner, he uses this hand to independently create sounds via slapping, tapping, hammer-ons and pull-offs and sliding, among other techniques. "All I did in my first experiments in playing this way," Reed recalls, "was to just have my left hand do what would normally be done by the thumb. I have my left hand doing a simple repeating rhythm vamp and have my right hand syncopate with that. Left hand drum beating or left hand hammering or left hand anything." Easier said than done, although Reed reports some success in teaching these novel techniques to his National Guitar Summer Workshop students. "The first thing I would do is play 'Tribes' [a funky, rhythmic tune that appears both on Metal and Reed's popular instructional video on Homespun Tapes] and get them to do the left hand rhythm voice…to get the left hand doing its part and then get the right hand doing its part. A lot of them would sort of giggle and feel uncomfortable and awkward trying anything." When Reed's left hand is off doing odd-appearing moves, his right is often busy making sounds by tapping on the neck instead of picking over the soundhole. Or as Reed says more precisely: "I'm doing a lot of impact-generated sounds on the guitar." "It's a misnomer to just call this tapping," he explains. "Tapping is one of the maybe twenty or thirty things I'm doing. In fact, for all the things I'm doing, the keyword really is expedient…you're getting several different qualities and textures out of a single gesture. You're getting the sound of the string, you're getting the sound of your finger hitting the guitar neck as it slams the string down and that impact resonates through the body of the guitar. The whole effect of it is more 'pianistic' and more percussive." An essential component of Reed's orchestral playing techniques are altered tunings. A long-time veteran of non-standard tunings, Reed emphasizes the word "altered" as opposed to, say, "open" tunings where the tuning creates a chord. His tunings are designed to support the harmonic quality and playability of the particular song and may bear little sonic resemblance to a recognizable chord. You won't find anything in standard tuning on Metal. In fact, the only immediately familiar-looking tuning is DADGAD, which he uses for the propulsive "Train." In his new Ladies Night CD, most of the tunes are played in an odd tuning - CGDGGD - which Reed calls "double G." "Rhythm propels me forward," says Reed with his characteristic intensity. "It puts me on a train, where I can pick up stuff from the side of the tracks as the train picks up speed. It's a movement kind of thing. There are lot's of different ways to write a tune, but what I've been working in most recently is this kind of propulsive rhythm thing." If you haven't heard or seen Preston Reed, you may wonder whether there might be an excessive focus on technique, rather than how the resulting music sounds. Fair question. Fortunately, Reed is a strong composer with an ability to make the odd and unusual feel natural to the listener; tuneful but not predictable. Even when he was known for being a hot fingerpicker, the tunefulness of his tunes stood out. His second and third albums from the early 1980s - Pointing Up and Playing by Ear (available as a two-albums-on-one CD on Flying Fish) show off his composing talents as much as his playing skills. Even back then his tunes were carefully structured, intricately detailed and spiced with harmonic side trips. Despite his avowed rhythmic emphasis, he can pen soulful ballads with an unmistakable pictorial quality, rendered in a range of subtle moods and emotions. His music is not all strictly propulsive. Reed's compositional skills have matured with time and he continues to expand his horizons, having recently finished his first film score, a work which he both composed and performed. But more on Reed later. - from "Reed & Juber - Groovemasters at the Fringe of the Solo Zone"
By & © Todd Ellison Acoustic Musician Magazine January 1997 © http://www.prestonreed.com/articles/reed_juber.html#top

One of the most unique and challenging guitar albums EVER. Reed runs the gamut of orchestral and multi-textural jazz to bluegrass and down-and-dirty funk, it will slip into your heart after one listen. Drawing on blues, rock, funk and jazz influences among others, Reed weaves and melds genres, rhythms and textures to produce a signature sound that has been likened by critics to Jimi Hendrix for its emotional power and stylistic creativity. Reeds vast range of explosively original music will forever change your expectation of a guitarist. Reed attacks the entire instrument in a never-ending search for the orchestra he knows is lurking inside. His two hands racing up and down the fretboard in a storm of tappings, slappings and hammerings to create a rock/jazz rhythm section, melody line and chordal accompaniment simultaneously. He riffs with the conviction and guts of a rock band, yet plays with the subtlety of that most delicate of jazz pianists, Bill Evans. There are no fancy gadgets or gimmicky FX - just 6 strings (or occasionally 12), two hands and a daring and innovative musical imagination that crosses all boundaries. © Preston Reed 2002 © CANdYRAT Records © http://www.candyrat.com/artists/PrestonReed/Metal/

This is an excellent release from guitarist-extraordinaire Preston Reed. Fans of Michael Hedges may cry foul when first hearing this, however, it should be noted that Reed was playing his percussive, hand-tapping approach in the early '80s, too. Despite being a technical marvel he never sounds mechanical. Rather, Reed creates memorable melodies with shifting percussive patterns that give the selections an organized, but relaxed feel. Whether playing new age ("Stonecutter"), ethnic ("Tribes"), or his own self-defining style ("Metal," "Train"), he proves that his name belongs on the same lists that would include the likes of Tuck Andress or Michael Hedges. Required listening for guitarists of any style, or fans of beautiful acoustic. © Robert Taylor © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/metal-r381599

Groundbreaking playing with creative melodic and highly rhythmic compositions from a brilliant guitarist with a startlingly innovative style. Preston's percussive, two-handed fretboard attacking style has been described by Al DiMeola and the late Michael Hedges as "phenomenal" and "inspiring". The tracks on "Metal" are all complete takes, with no editing or overdubs. Preston's "History Of Now", and Laurence Juber & Preston Reed's "Groovemasters" albums can be found on this blog. Buy Preston's "Blue Vertigo" album, and support great acoustic guitar music. [All tracks @ 320 Kbps: File size = 112 Mb]

TRACKS

1 Blasting Cap 3:46
2 Train 4:22
3 Fat Boy 2:53
4 Stonecutter 3:24
5 Tribes 3:51
6 Franzl's Saw 4:46
7 Chattanooga 4:32
8 Metal 3:36
9 Flatonia 3:33
10 Far Horizon 3:14
11 Border Towns 3:33
12 Slap Funk 2:35
13 Overture (For Lily) 4:49

All songs composed by Preston Reed

N.B: All tracks were recorded with a Washburn EA-45, 6-string acoustic guitar except "Franzl's Saw" (1941 National Duolian metal-body guitar) and "Overture (for Lily)" (Washburn D-2718, 12-string acoustic guitar).

BIO (WIKI)

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

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