Tropea (John Tropea Related)

Tropea - Tropea - 1975 - Marlin

From his first release, Tropea (1975), to his last 11th CD release, Take Me Back to the Ol’ School, many of which were co-produced with Will Lee, John Tropea’s solo work has defined him as the guitarist’s guitarist, as well as a top notch composer, producer and arranger. Over the years he has worked with a dizzying array of world-class players, including David Spinozza, Warren Bernhardt, David Sanborn, Randy and Michael Brecker, Steve Gadd, Anthony Jackson, Don Grolnick, Richard Tee, Will Lee, Steve Cropper, Lou Marini, Ronnie Cuber, Dave Mann, Bob James, and The Blues Brothers, several of which appear on his solo releases as well. He is currently performing with The Blues Brothers and The Tropea Band. Tropea has written for and played with major recording artists from around the world. In his long career Tropea’s contributions to other artist's successes have been numerous, including his solo work with Deodato (2001), projects with Laura Nyro, Harry Chapin (“Cat's in the Cradle”), Paul Simon (“Fifty Ways to Leave Your Lover”), Alice Cooper (Alice Cooper Goes to Hell), Eric Clapton (Journey Man), Dr. John, and many others. His work as a studio musician is legendary and his many collaborations throughout his career include a variety of artists that run the gamut from James Brown to Frank Sinatra, among countless others. . © http://www.musesmuse.com/pressrelease.20120917.1347891369.html

By the time guitarist John Tropea had recorded his solo debut on the tiny Marlin imprint in 1976, he had been a session guitarist for nearly a decade. His understated, decidedly non-show-off playing graced records by everyone from Laura Nyroto Deodato (including Prelude and Deodato 2), from Ashford & Simpson to Bo Diddley, from Billy Cobham to Peter Allen, from Roberta Flack and Donny Hathaway to Paul Simon, Van Morrison, Luiz Bonfá, and Ray Bryant. After this he played with everyone from Alice Cooper to Lalo Schifrin and Kurtis Blow and way, way beyond. Tropea's cast of studio players is a who's who of the '70s, '80s, and '90s. The core band on this funky, squeaky clean, keyboard, horn, and guitar driven set are bassist Will Lee, keyboardist Don Grolnick, percussionist Rubens Bassini, and drummersSteve Gadd and Rick Marotta -- one in each channel. Some of the guest appearances are stellar: David Sanborn's trademark emotionally rich saxophone is heard on "Muff," and Bob Mintzer's wonderful flute playing on his "Cisco Disco" (which is truly funk and not disco), and Deodato plays keyboards on the beautiful "Dreams." There is a heavyweight reed section with Mintzer, Sanborn, and Michael Brecker among its members and horns that include Randy Brecker, Sam Burtis, and Dave Taylor, to name a few. Yes, this was the 1970s: there are strings with Gene Orloff among them. The tunes? Hip, funky numbers like "Tambourine," with a restrained but toothy fuzz solo by Tropea, great congas by Bassini, and a well balanced but dynamic horn chart. "7th Heaven" is a smoother workout, with punchy actual and keyboard basslines, with great breakbeat work by both drummers. Despite its mid-tempo jaunt, the thing is deep with enough of an uptown soul chorus to make it a popular stepper with the club crowd. It's tunes like these, as well as Mintzer's andTropea's "The Jingle," that place records like this more on the CTI side of things than in the hardcore Fuzak realm. These selections are songs, not collections of riffs, vamps, and solos. When solos occur in these tunes, they do so with respect to arrangement and groove. It also sounds more lifelike than a lot of what was coming out of L.A. at the time, because it has a decidedly East Coast sensibility. Tropea's production job is expert and tight, but it's his arrangements and orchestrations that are really impressive. The opportunities for excess here with all these superchopper players are many, but not once does any of this album lapse into mere glossy show and sheen. This is one of the truly great forgotten jazz-funk sets of the '70s. © Thom Jurek © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/tropea-mw0000473190

A wonderful jazz, R&B, and funk album from a master guitarist, composer, arranger and producer and HR by A.O.O.F.C. Read this album’s notes @ http://www.cdbaby.com/cd/johntropea Listen to Billy Cobham’s “Spectrum” album on which John Tropea made a small but worthwhile contribution and also John Tropea’s “Short Trip to Space" album [All tracks @ 320 Kbps: File size = 94.4 Mb]

TRACKS / COMPOSERS

1. Tambourine - John Tropea 4:38
2. 7th Heaven - Don Grolnick 4:11
3. The Jingle - John Tropea 4:38
4. Just Blue - John Tropea 8:15
5. Muff - John Tropea, Rick Marotta, Will Lee 5:58
6. Cisco Disco - Bob Mintzer 4:33
7. Tha Bratt - David Spinozza 5:06
8. Dreams - John Tropea 4:46

MUSICIANS

John Tropea - Guitar
David Spinozza - Rhythm Guitar
Will Lee, Don Payne, Richard Anthony Davis - Bass Guitar
C.Conrad - Bass Matracca
Kenny Ascher, Don Grolnick, Eumir Deodato - Keyboards
Rick Marotta, Steve Gadd, Allan Schwartzberg - Drums
Rubens Bassini, Nick Remo, Ron Tropea - Percussion
David Sanborn - Saxophone, Reeds, Soloist
George Young - Alto Saxophone Solo
Sam Burtis - Trombone, Horn, Soloist
Alan Rubin, John Gatchell - Horn
Bob Mintzer - Flute, Reeds
Michael Brecker - Reeds
George Ricci, Matthew Raimondi, Gene Orloff, Richard Maximoff, Emanuel Green, Jesse Levy, Guy Lumia, Harold Kohon, Frederick Buldrini – Strings

BIO (WIKI)

John Tropea (born January 7, 1946 in New York City) is a guitarist with extensive experience in the rock, pop, and jazz genres. Tropea has written for and played with major recording artists from around the world. In his long career, his contributions to other artist’s successes have been numerous, including his solo work with Eumir Deodato, (2001 theme), projects with Laura Nyro, Harry Chapin (Cat’s in the Cradle), Paul Simon (Fifty Ways), Eric Clapton (Journey Man), Dr. John, and many others. Tropea began guitar studies at the age of 12. His musical education continued at Berklee College of Music in Boston, where he studied jazz guitar, harmony,Musical composition, and big band arranging. Immediately after arriving in Boston, Tropea began playing live R & B and jazz gigs with many different bands in the area, including The Three Degrees. Influenced by Wes Montgomery, Johnny Smith, Luiz Bonfá, Pat Martino, and George Benson, it was at this time that Tropea began to absorb those influences into an original style of his own. Also among his mentors at the time were the great Hammond B3 Organ players Jack McDuffand Jimmy Smith. After Berklee, Tropea recorded and toured with Eumir Deodato. Moving to New York in 1967, Tropea quickly became one of the most sought after session players. He soon became a peer among New York’s finest studio musicians. In 1974, he played on Van Morrison's "Bulbs" and "Cul de Sac" included on the album, Veedon Fleece and issued as the single. As well as world touring, Tropea wrote and produced three critically acclaimed solo albums with TK records. His first solo album Tropea, was released in 1975, followed by Short Trip to Space, and To Touch You Again. With those early recordings and other projects, Tropea formed close musical alliances with other leading New York musicians including David Spinozza, Warren Bernhardt, David Sanborn, Randy Brecker,Michael Brecker, Steve Gadd, Anthony Jackson, Don Grolnick, and Richard Tee. Tropea has written and arranged music for film and broadcast advertising. With his frequent co-producer and friend Will Lee, Tropea released Simple Way to say 'I Love You' , and Something Old, New, Borrowed and Blues, live gigs from that era by The Tropea Band at Mikell's, in New York City, remain legendary. He also composed the song "Tambourine", which was used as the close for WABC's Eyewitness News broadcasts from 1977 to 1980. Along with his own projects, Tropea currently plays with the Original Blues Brothers Band.

Bernard Allison

Bernard Allison - Storms Of Life - 2002 - Tone-Cool Records

"...It's just a big pleasure for me to continue my father's legacy, but you know I don't go out and try to be Luther Allison. I just go and do what I've learned from my Dad and the likes of Koko Taylor, or Stevie Ray Vaughan or Albert King. So. I'm trying to keep the blues alive Bernard Allison style." - Bernard Allison from an interview on KFAI Radio/USA.

The storm that Bernard Allison currently seems to be weathering is one involving a crisis of identity. Storms of Life, Allison’s second album for Tone-Cool Records, explores funk, reggae, rock, and a variety of blues styles. There are also compositions by such varied and well known artists as Mark Knopfler, Johnny Winter, Billy Gibbons, Anders Osborne, and Allison’s father, the late great bluesman, Luther Allison. Unfortunately, there is no cohesive agent holding it all together. Allison’s frail vocal stylings and potent guitar playing change with the territory in chameleon like fashion, leaving the listener confused and ultimately bored, as if having spent the evening in a local bar listening to a competent cover band. In the press release for Storms of Life, and in a number of interviews, Allison says that his father once told him, “Don’t be afraid to go outside of the blues; don’t let them label you like they did me.” It seems Allison has taken this bit of paternal advice to an almost paranoid level. If there is a redeeming aspect of Storms of Life, it is Allison’s slide guitar work. There he exhibits a creativity, expressiveness, and musical authority that virtually every other track on the album lacks. “Slip Slidin’”, the smoking opening cut, is a solo slide guitar instrumental, reminiscent of Johnny Winter, who apparently showed Allison a thing or two about slide techniques and open tunings. And though Winter’s influence is apparent, Allison’s personality shines through. However, the track promises much more than the album ultimately delivers. He follows up with a series of duds. “Storms of Life”, the title track, sounds like an out take from a Walter “Wolfman” Washington album, which in itself wouldn’t be a bad thing, if only the vocal were more confident. Ironically, Allison sings “I wanna be found, found, found / Can I be found, found, found / I wanna be found, found, found / Pulled from these storms of life”. At times Allison wears his influences brazenly on his sleeve. On “Down South”, a run-of-the-mill shuffle, and “Snake Bit”, a blues rocker, he seems to be channeling the spirit of Stevie Ray Vaughn, playing phrases and licks taken directly from Vaughn’s hit, “Crossfire”. There must be something wrong with the medium though, because the tone just ain’t the same. The great poet T.S. Elliot once wrote that amateurs borrow but professionals steal. On these two tracks Allison merely borrows. Fortunately, Allison revisits slide country a number of times. He tears it up on “Speed Slide”, a fun, upbeat tune with a Bo Diddley beat. Then he follows with “I Wanna Drive You Home”, not only a great slide piece, but a great song as well and possibly the high point of the album. “Fist Full of Dirt” is another tune on which Allison demonstrates his ample slide guitar chops. The fourth track of the album, “Just Do Me Any Way You Want”, is a reggae tune and the point when one would imagine most newcomers to Bernard Allison’s music would simply put in another CD. “Just Do Me” has no business whatsoever on this album. Other songs in this camp are “I Think I Love You Too Much”, which would fit snugly onto a Robert Cray album, and the last track, “Goodbye Little Girl”, another shuffle, but recorded with a full horn section. It comes so completely out of the blue, one begins to wonder if he’s listening to the same album. What has resulted in Storms of Life is a sampling of bluesy styles, recorded by a talented individual who, possibly out of respect for his late father, has spread himself too darn thin. There is, if not potential for greatness here, at least potential to make much better and more entertaining albums. One can only hope that Allison uses Storms of Life to identify what it is he does best, which, whether he likes it or not, is play the blues. By & © Chip O'Brien 17 October 2002 © 1999-2014 PopMatters.com. All rights reserved. http://www.popmatters.com/review/allisonbernard-storms/

Bernard Allison's debut album for Tone Cool, 2000's Across the Water, was a U.S. breakout release for the talented guitarist. With Storms of Life, Allison shows that the powerhouse blues/rock sound that characterized its predecessor is an integral part of his repertoire. "Down South" and "Mean Town Blues" rock with a fierce intensity. Allison also demonstrates a growing versatility as a songwriter/player. "I Wanna Drive You Home" is a very cool slice of electrified country blues, and the instrumentals "Slip Slidin' " and "Speed Slide" showcase Allison's impressive slide guitar chops. "Reaching Out" is a terrific, jazzy song, coming from a musical mind set Allison should explore further. Also check out the Jimmy Reed vibe and the nasty guitar sound on "Fist Full of Dirt." Allison is in top form; expect career-defining albums from him for the rest of the decade. © PVV © 2014 Billboard. All Rights Reserved http://www.billboard.com/articles/news/74721/storms-of-life

Luther Allison must be smiling upon his son right now as he sits at the side of the almighty in the heavens above. Son Bernard has carried on the tradition of playing the blues as his father once did. “Storms Of Life” is the latest offering from Allison. This CD is all cutting edge blues rock guitar work from one of the premier six- string maestros of the blues idiom. Out of 13 tracks only two are originals, although what he covers is excellent, I think that he is fully capable of doing more original material. “Slip Slidin” and “Speed Slide” certainly indicate that Allison has what it takes to write a damned good blues song. The lyrics and music fall right in line like any good flowing song would. I feel a certain amount of disappointment and frustration when high caliber musicians rely on other people’s music. But I have to say he covers some great tracks by some of the biggest names in the biz-Johnny Winter, his dad, ZZ Top, Mark Knopfler, and Leon Russell. So you know that you are getting quality, even if it belongs to someone else. And it does sound so awfully good. The best song on the entire CD is “Snake Bit Again.” Allison’s playing really smokes; it ranges from laid back and matter-of-fact to simply explosive. This kind of mixture is found consistently throughout the recording, and it makes for a fine blues record, and one that becomes more memorable with each listen. By & © Keith "MuzikMan" Hannaleck 2002-06-21 © 1997-2014 MusicDish LLC., all rights reserved. http://www.musicdish.com/mag/?id=6256

“Storms of Life” demonstrates Bernard Allison’s mastery of the guitar and also his love for both traditional electric and contemporary blues styles. One quote describes this album as “all cutting edge blues rock guitar work from one of the premier six- string maestros of the blues idiom". Listen to Bernard’s great “Keepin' the Blues Alive” album [All tracks @ 320 Kbps: File size = 115 Mb]

TRACKS / COMPOSERS

1 Slip Slidin' - Bernard Allison
2 Storms Of Life - Kevin Stroud & J.S.Tucker
3 Down South - Luther Allison
4 Just Do Me Any Way You Want - Rico McFarland
5 I Think I Love You Too Much - Mark Knopfler
6 Mean Town Blues - Johnny Winter
7 Speed Slide - Bernard Allison
8 I Wanna Drive You Home - Frank Beard, Billy Gibbons & Dusty Hill
9 Snake Bit Again - Anders Osborne
10 Reaching Out - Luther Allison
11 Fistful Of Dirt - Daniel Patrick Tierney
12 Help Me Through The Day - Leon Russell
13 Goodbye Little Girl - Deadric Malone

MUSICIANS

Bernard Allison - Guitar, Vocals
Paul Diethelm - Rhythm Guitar
Jassen Wilber, David Smith - Bass
Ricky Peterson - Hammond B-3 Organ, Piano, Strings
Bruce McCabe - Piano
Rob Stupka, Ron Sutton - Drums
Chickie Perez - Percussion
Brian Simmonds, Jim Kogl - Tenor Saxophone
David Eiland - Saxophone
Larry McCabe - Trombone
Richard Rosenblatt - Harmonica
Kathy Wilson, Kate Wilson, Fred Steele, J.D. Steele - Background Vocals

BIO

Bernard Allison is the guitar-playing, singing, and songwriting son of late legendary blues guitarist Luther Allison. True to form for this chip off the old block, the young Allison injects every bit as much energy into his live shows as his father did. Bernard counts among his influences icons like Albert King, Muddy Waters, and Freddie King, and later, Stevie Ray Vaughan and Johnny Winter. He began accompanying his famous father to blues festivals in the early '70s. There, he was introduced to a who's who of Chicago blues stars: Muddy Waters, Hound Dog Taylor, and Albert King, among others. When he was seven or eight, he began having aspirations of becoming a guitar slinger like his father. Luther Allison was more than just a casual record collector, and so Bernard benefited from his father and brothers' collections of classic blues and gospel. After graduating from high school, Bernard began playing with Koko Taylor in her touring band. He stayed with Taylor's band until 1985, when he left to hustle up his own gigs as Bernard Allison & Back Talk. Bernard spent a lot of time in Canada with his first band, and later rejoined Taylor and her Blues Machine for another two years in the late '80s. After joining his father in Europe for a live recording, Bernard was asked to join Luther's touring band and become his European bandleader. Luther helped his son along with the finer points of showmanship for several years until Bernard was good enough to lead his own trio or quartet. At Christmastime in 1989, while both were living together in Paris, the elder Allison arranged to give his son the most precious gift for budding musicians: studio time to record his first album. Bernard's debut, Next Generation, was recorded for Mondo Records using musicians from his dad's band. His other European label releases include Hang On, No Mercy, and Funkifino. In December 1996, Bernard was contacted by Cannonball Records founder Ron Levy. Bernard was home in Chicago visiting family at Christmas, and hadn't brought any of his guitars or other equipment with him. Levy wanted something based in traditional electric blues, with a few bones for newer fans of the idiom who had jumped on the blues bandwagon after 1990. Bernard released his stunning U.S. debut, Keepin' the Blues Alive, in early 1997, receiving a great deal of critical acclaim. On his successful tour of clubs around the U.S. in the latter half of 1997, Bernard was joined by drummer Ray "Killer" Allison (no relation) and Buddy Guy bassist Greg Rzab, among others. Times Are Changing followed a year later. In mid-2000, Across the Water was released. Based in Paris full-time, Bernard Allison has the comfort and security that the multitude of blues clubs and festivals around Europe can provide. © Richard Skelly © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/bernard-allison-mn0000047273/biography

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Born in Chicago on November 26th, 1965, the youngest of nine children Bernard Allison was first introduced to the roots of black music and the art of the electric guitar by his father, the late great Luther Allison. Bernard made his first appearance on record at age 13, when he played on a live LP his father recorded in Peoria, IL. "I didn't start to play 'til I was maybe 10 years of age" Bernard recalled "I picked up the guitar, listened to records. I was in grade school and I played with the high school jazz band. They thought I was reading the sheet music, but actually I was making up everything I could play." Soon after graduating from High School, he began a three-year guitar apprenticeship in Koko Taylor's high-flying Blues Machine. He also played in the late Willie Dixon's Blues All-Stars and performed with his Dad at the 1983 Blues Festival - one of the event's highlights. Along the way, Bernard picked up slide guitar tips from Johnny Winter and in the 80's also learned from the late Stevie Ray Vaughan. With those experiences under his belt, Bernard moved to Paris in 1989 to live and play the blues with his father. He joined the tourband of Luther Allison after a furious collaboration of "Father & Son" at the '89 Chicago Blues Festival. A recording of this formation is to be heard on the Luther Allison album "Let's Try It again" (RUF Records). Bernard released his first solo album in 1990 with the significant title "The Next Generation". In 1999, two years after Luther passed away, Bernard decided to move back to the States to go back to his roots and push his career in his native country. Bernard seems to have inherited Luther's knack for igniting audiences, but he's no clone of his famous father. He is definitely blazing his own path with a style that reflects a unique mix of traditional and modern influences. The Allison torch has been passed, and it's clear that Bernard takes his role as its bearer very seriously. He's assumed the challenge of keeping the blues alive and growing - a commitment he renews every time he takes the stage. Bernard totes the same smokin' six string shooter that his late father Luther Allison assaulted the blues with. And he is blessed with his father's soulful voice, spiritual devotion, and a musical freedom which experiments with the blues. "In order for anything to expand, you have to take a risk," says Bernard. "Blues is about experimenting and getting your feelings across to someone else. And if you want to keep it going, people are going to have to give it all a chance because we're losing all our creators.It has taken Bernard a long time to feel free to talk or write a song about what's going on within him or his personal tragedies. After decades of chasing the muse, Bernard is now settled down raising a family without the old personal vices. Thus the music he's written speaks of the inner peace and companionship every human searches for. If Bernard's honesty touches just one person with a similar struggles then the power of the blues works. Then Bernard becomes the higher power by healing another troubled soul. "I've been through a lot since the passing of my father. I'm married and I have started my own family. This music comes from everyday responsibility and lifestyle". © www.rufrecords.de/

Kayak

Kayak - KAYAKoustic - 2007 - Rdeg

Kayakoustic is a live album by the symphonic, Dutch progressive rock band Kayak. The band have been around since 1972 and in 2012, celebrated their fortieth anniversary with a Dutch concert tour called “Journey Through Time” at De Pul in Uden, the Netherlands. “KAYAKoustic” was recorded during their acoustic tour of 2006/2007. The recordings were made on 23 November 2006 at theatre "Het Kielzog" in Hoogezand-Sappemeer (The Netherlands) and on 31 January 2007 at theatre "De Dialoog" in Ermelo (The Netherlands). Tracks 1-14 are from the first, acoustic part of the concert. Tracks 15-18 are from the second, electric set. Kayak’s music is often reminiscent of bands like Supertramp, Yes, Camel, Gentle Giant, Hatfield And The North, and others. This energetic live album has great vibes, and inspiring vocals and musicianship. Read more about Kayak @ http://www.progarchives.com/artist.asp?id=186 and listen to the band’s “Close To The Fire” album [All tracks @ 224 Kbps: File size = 105 Mb]

TRACKS / COMPOSERS

1 See See The Sun (Van Leeuwen/Koopman/Scherpenzeel) - 0:40
2 What's In A Name (Scherpenzeel) - 5:23
3 Only You And I Know (Scherpenzeel/Linders) - 3:19
4 Anne (Scherpenzeel/Linders) - 4:50
5 Threesome (Vergoossen) - 1:25
6 Hold Me Forever (Scherpenzeel/Linders) - 4:05
7 You're So Bizarre (Scherpenzeel) - 3:49
8 Land On The Water (Koopman) - 2:29
9 First Signs Of Spring (Scherpenzeel) - 3:40
10 Daughter Or Son (Scherpenzeel) - 3:53
11 Want You To Be Mine (Scherpenzeel) - 5:54
12 Ivory Dance (Scherpenzeel) - 2:25
13 The Fate Of Man (Scherpenzeel/Linders) - 1:53
14 See See The Sun (Van Leeuwen/Koopman/Scherpenzeel) - 4:32
15 Royal Bed Bouncer (Scherpenzeel) - 4:13
16 When Hearts Grow Cold (Scherpenzeel/Linders) - 4:06
17 Act Of Despair (Koopman) - 4:15
18 Chance For A Lifetime (Scherpenzeel) - 4:35

MUSICIANS

Rob Vunderink - Guitar, Vocals
Joost Vergoossen - Guitar
Jan van Olffen - Bass Guitar, Double Bass, Stick
Ton Scherpenzeel - Piano, Keyboards, Accordion, Vocals
Pim Koopman - Piano, Drums, Vocals
Cindy Oudshoorn, Edward Reekers - Percussion, Vocals

SHORT BIO [N.B: Read a more detailed bio @ http://en.wikipedia.org/wiki/Kayak_(band)#Live_albums]

With their instrumental prowess and keyboardist Ton Scherpenzeel's facility at writing lyrics in English, you might be forgiven for mistaking Kayak for a bunch of clever proggers from London. But this Dutch band began in 1968 in the city of Hilversum, where Scherpenzeel and drummer Pim Koopman attended a music conservatory. After the addition of guitarist Johan Slager, bassist Cees van Leeuwen, and vocalist Max Werner, the group solidified by 1972 and commenced recording. Stylistically they featured the instrumentation and chops of progressive acts like Yes and Genesis, but the pop song structures of Supertramp and the Alan Parsons Project; as time passed they increasingly favored the pop side of the equation. Royal Bed Bouncer, the most even balance between these two styles, was to be a commercial and artistic high point for the band. They continued to meet with minor success throughout the '70s on a variety of record labels, and in 1974 toured in support of Queen -- a move that influenced the flavor of their later work. Like most progressive bands, Kayak never had a terribly stable lineup; at one point they went through three bassists in as many years. With Scherpenzeel as the sole constant, Kayak's first lineup also proved to be their finest; but Koopman's asthma forced him to retire in 1976, and Werner was so tortured by stage fright and unfounded doubts over his singing ability that he demanded the vacated drum chair for himself, leaving the vocal duties to new member Edward Reekers. Scherpenzeel's central role in the band eventually wore on the others, and Kayak fell apart in 1980. Scherpenzeel continued on to work with the English band Camel and then compose primarily for the theater. Koopman and Reekers worked in music production and performance; Werner left the stage to become a postal worker; and van Leeuwen became -- of all things -- a prominent lawyer. The band reunited in 1997 for a Dutch TV special, though no new recordings have yet emerged. © Paul Collins © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/kayak-mn0000369430/biography

Billy Cobham, Wolfgang Schmid, Bill Bickford

Billy Cobham, Wolfgang Schmid, Bill Bickford - Paradox - 1996 - Enja

Drummer Billy Cobham, guitarist Bill Bickford, and bassist Wolfgang Schmid form a creative fusion trio on Paradox. The result is a powerhouse addition to Cobham's discography. The music ranges from the roiling heavy metal sludge of Bickford's "Four More Years," to the full-on funk of Schmid's "Fonkey Donkey," to Cobham's calmly lyrical "Walking in Five." Schmid is the principal writer, followed by Bickford, then Cobham. The best way to set the scene is with Paradox's version of "Quadrant 4." The original was the defining track on Cobham's 1973 debut release, Spectrum. Coming on the heels of Cobham's work with John McLaughlin's original Mahavishnu Orchestra, Spectrum is one of the essential documents of fusion's classic era. The original "Quadrant 4" was a showcase for the late Tommy Bolin -- a bona fide rock star of James Gang fame. The melding of Bolin's speed-freak boogie with Cobham's pummeling whirlwind got the attention of jazz and rock fans alike, achieving almost "hit single" status in both camps. For their version almost a quarter-century later, Cobham and company notch the pace back a bit, getting more heft and torque without losing any of the original's guitar god flash (Schmid almost steals the show with his own axe-slinging). While Paradox is a tripartite accomplishment, it is also a personal return to form for Cobham, who, after the promise of his early solo career, became involved in many forgettable projects (does anybody remember Bobby & the Midnites?). Paradox doesn't match the howling, apocalyptic thunder of the Mahavishnu Orchestra, but it is the equal of Cobham's own triumphant first release. © Jim Todd © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/paradox-mw0000599925

Paradox was one fine power fusion trio. Bassist Schmid is a known quantity in Germany. His first marks were made in Klaus Doldinger's group Passport. He has won many German music awards. New York guitarist Bill Bickford spent a decade in the band DeFunkt. Billy Cobham is Billy Cobham. The rhythm section of Cobham and Schmid start "Shoes in Seven" with a rocking beat similar in sound and purpose to Cobham's previous turn in the historic "Right Off" from Miles Davis's Tribute to Jack Johnson. Bickford goes with the flow by throwing in some very effective funky minor 9th chords. As Bickford solos it appears he is indeed paying tribute to "Right Off" as he mimics John McLaughlin's guitar sound. His chord knowledge seems to be very advanced. Cobham has engaged in many guitar/drum "duels" over the years. There is one of those on this cut as well. However, Bickford arms himself with only chords. It would seem he would be outmanned as Cobham usually goes into battle against single-note gunslingers who can shoot faster than the speed of sound. Instead Bickford matches every drum beat with every chord change. (Or is it the other way around?) It is quite an impressive feat either way. It is musical, too. Who knew that Billy Cobham was rocking things out again in a fantastic jazz-rock trio in the middle of the somewhat fusion-stale 1990s? RATING: 90/100 [Outstanding. A work of superior merit] © Walter Kolosky © http://www.jazz.com/music/2008/7/9/paradox-shoes-in-seven

Before fusion engaged in a seemingly unbreakable love affair with elevators, it amplified stadiums globally with joyous eruptions of lacerating electric guitars and orchestral keyboards intertwined with blaring horn sections. Underneath those plugged-in sound collages were molten hotbeds of relentless rock and hand percussion that propelled all the pyro-madness with funk-informed grooves. Recalling the glory slickophonic years of fusion-rock, Paradox thumps mightily with the same frenetic electricity, extroverted pyrotechnics and herculean strength that elevated the careers of Miles Davis, Herbie Hancock, and Weather Report to rock star status. Comprised of fusion veterans, drummer Billy Cobham, bassist Wolfgang Schmid, and guitarist Bill Bickford, this all-star trio stomps like a thumperasaurus monster abruptly awakening from a deep sleep. The combined steroid power of Cobham's muscular backbeats and nasty drum fills, Schmid's thick elastic basslines, and Bickford's electromagnolia guitar musings are a force to be reckoned. From the opening "Fonkey Donkey" which strangely gallops with a subversive nod to Ornette Coleman's rowdier electric years, to Cobham's '70s classic, "Quadrant 4," which features the drumming juggernaut hammering some of his best soloing in recent years, this trio goes for broke with nearly every note. Although subtlety isn't a main ingredient in their repertoire, the relative soft "Walking In Five" and "Late Nite" offer brief moments of quieter pleasures. Light years from being a classic in any sort, Paradox does however provide ample evidence that the '70s jazz era was not a complete waste. John Murph October 1997 © 1999–2014 JazzTimes, Inc. All rights reserved. http://jazztimes.com/articles/9814-paradox-paradox

Great energetic late ‘90’s fusion from Billy Cobham, Bill Bickford, and Wolfgang Schmid. What the album lacks in compositional skills is made up for in the marvellous and engaging musicianship of three great fusion players. HR by A.O.O.F.C. Read more about Wolfgang Schmid @ http://de.wikipedia.org/wiki/Wolfgang_Schmid_(Musiker) Check out Bill Bickford @ http://de.wikipedia.org/wiki/Bill_Bickford Info about the legendary Billy Cobham @ http://en.wikipedia.org/wiki/Billy_Cobham [All tracks @ 320 Kbps: File size = 159 Mb]

TRACKS / COMPOSERS

1. Fonkey Donkey (Schmid-Grandy) 5:14
2. Four More Years (Bickford) 8:52
3. Quadrant 4 (Cobham) 5:28
4. Myohmyohyeoye (Schmid-Grandy) 9:25
5. Walking in Five (Cobham) 6:35
6. Jam o 'James (Bickford) 5:21
7. Late Nite (Bickford) 9:03
8. Shoes in Seven (Schmid-Grandy) 4:58
9. Five In (Schmid-Grandy) 6:17

MUSICIANS

Bill Bickford - Guitar
Wolfgang Schmid - Bass
Billy Cobham - Drums, Cymbals

Dr. Strut

Dr. Strut - Dr. Strut - 1979 - Motown

A great debut album from the obscure but great jazz funk band, Dr. Strut. Dr. Strut was a relatively unknown jazz funk band. Formed in 1977, they were originally called "The Legendary "Dynamic" Groovadelics." When, unusually, Berry Gordy signed the band to Motown for who they recorded two albums, he changed their name to Dr. Strut and called them "the flagship of the new jazz division." The Motown albums sold well. Their second "Struttin" album was also reasonably successful. (Both albums placed high on the Billboard Jazz Charts). Most cuts were first or second takes with the minimum of overdubbing. The day before the band was to record the third album, "Soul Surgery", Berry Gordy closed the jazz division of the label. Engineer Barney Perkins was adamant that the band record the third album to distribute to American labels. Strangely, there wasn't much interest from the American distributors, which was a pity, as it could have led to bigger things for the band. However, the band was popular in Japan, and thankfully, the Agharta/Canyon label released it in 1982. The great saxophonist David Woodford felt that "Soul Surgery" was the best of the three albums that the band recorded. David has said that the band was hugely influenced by artists like Tom Scott & the LA Express, and the Brecker Brothers. All Dr. Strut's albums are very hard to come by, but are worth seeking out. All the cuts here are good, and the musicianship is first class. “Its all instrumental jazz funk with punchy horns, tweety sax solos and driving bass and rhythm guitars with the odd epic lead guitar solo thrown in”. This album has a strong Steely Dan connection. Tim Weston, the band's guitarist is a lifelong friend of Steve Khan, and was also the assistant engineer on the Steely Dan "Countdown To Ecstasy" album. The album features a very rare Becker & Fagen (Steely Dan) instrumental composition called "Canadian Star" composed by Walt & Don during the recording of their “Gaucho” album. The track is a beautiful, melodic tune featuring some lovely sax and guitar interplay between Tim Weston and Dave Woodford. The album was mixed by the late, great "The Immortal" Roger Nicholls who contributed so much towards Steely Dan’s sounds. Buy Kenny Sara and The Sounds of New Orleans' "Gumbo Live" album and support Dave Woodford, a great guy, and a fantastic saxophonist. Dave sent me an e-mail thanking me for putting this album on this blog. He was very glad to know that this album was not being forgotten and invited me to come and see him play at Ralph Brennan's Jazz Kitchen at Downtown Disney, California. I don’t know if Dave is still gigging there, but this Dr. Strut s/t album is HR by A.O.O.F.C. Try and listen to the band’s “Struttin’” album [All tracks @ 320 Kbps: File size = 76.4 Mb]

TRACKS / COMPOSERS

SIDE ONE

1. GRANITE PALACE - D. Woodford, T. Weston 3:38
2. THE LOOK IN YOUR EYES - K. Bassinson 4:36
3. CANADIAN STAR - Walter Becker & Donald Fagen 4:23
4. MORE STUFF - D. Woodford 4:57

SIDE TWO

1. BLOWTOP - D. Woodford 3:15
2. SOUL SERMONETTE - D. Woodford, T. Weston 4:30
3. CHICKEN STRUT - T. Weston 3:22
4. EDDIEISMS - D. Woodford 3:09
5. WHO CARES - D. Woodford 3:00
6. NO! YOU CAME HERE FOR AN ARGUMENT - D. Woodford 0:57

BAND

Tim Weston - Electric Guitar
Peter Freiberger - Bass
Kevin Bassinson - Keyboards
Claude Pepper - Drums
Everett Bryson - Percussion
David Woodford - Saxophone & Flute
"The Immortal" Roger Nicholls RIP - Mixing Engineer

Jason Becker

Jason Becker - Perspective - 1995 - Jason Becker Music

Between the release of his first solo album, Perpetual Burn, in 1988 and the making of this, his second, speed metal guitarist Jason Becker suffered one of the most devastating blows a human being can: he was diagnosed with ALS (Lou Gehrig's Disease), the incurable ailment that gradually renders its victims paralyzed. Perspective was recorded during the period when Becker was losing his ability to move, much less play the guitar, and thus marks a transition from his days of frantic fretboard work to less speedy playing and to writing music that is played by other musicians and by computer; much of the album was written on a Macintosh and then executed by guest performers. The result is that Becker, being unable to produce his usual heavy metal performances, has turned to a more varied musical palette, allowing in a wide range of musical influences. "Primal," the lead-off track, for example, has a Middle Eastern feel, while "Empire" is distinctly Oriental. The lengthy "End of the Beginning" displays classical influences, as does the Bach-like "Serrana." Becker's musical imagination is unfettered even if his body is disabled; he stuffs his tunes with different musical ideas, often taking them in surprising directions. In this sense, the most notable track is also the last written for the record, "Life and Death" ("The title speaks for what was on my mind at the time," he notes), which sounds like a group of musical cues for the soundtrack of an adventure film. Jason Becker is enduring a catastrophic fate physically, but he is using it to explore musical passages he might not have otherwise. Originally released on his own label in 1996, Perspective was reissued by Warner Bros. in 2001. Part of the proceeds goes to the ALS Therapy Development Foundation (als-tdf.org/). © William Ruhlmann © 2014 AllMusic, © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/perspective-mw0000615472

Jason Becker’s story is as inspiring as it is sad. A guitar prodigy, Becker first achieved success in his mid-teens with the speed-metal outfit Cacophony, formed by he and guitarist Marty Friedman (Megadeth). Together, Becker and Friedman released two critically acclaimed albums, Go Off!and Speed Metal Symphony that resulted in successful tours of the U.S. and Japan. In 1988, Becker released his solo tour-de-force, Perpetual Burn, which further bolstered an already legendary reputation. His big break came in 1989 when he was handpicked by former Van Halen frontman David Lee Roth to fill his band’s guitar slot once owned by guitarist extraordinaire Steve Vai. The celebration would be short-lived. A week after joining Roth’s band, Jason Becker was diagnosed with Amyotrophic Lateral Sclerosis (Lou Gehrig’s Disease), a disease that affects the central nervous system and for which there is no known cure. While Becker was able to finish the recording sessions for Roth’s A Little Ain’t Enough album, the disease had left him too weak to tour and his tenure with the band ended almost as quickly as it began. While ALS slowly eroded Jason Becker’s command of the guitar, his determination to make music remained untouched, as evidenced on his lates release, Perspective—a record that was five years in the making. But as the recording of the album progressed, so did the effects of ALS. Jason Becker plays guitar on only five of the album’s nine tracks. “Primal”, “Rain”, “Blue”, “Empire” and the Bob Dylan-penned “Meet Me in the Morning” were the earliest recorded songs, made while Becker was experiencing an extreme weakness in his left hand—before the disease had totally ravaged his dynamic fretboard skills. The four remaining compositions, “End of the Beginning”, “Higher”, “Life and Death” and “Serrana” were recorded by numerous friends including guitarist Michael Lee Firkins, Steve Perry (Journey) and keyboardist Danny Alvarez, who were able to perfectly translate Becker’s lofty muscial vision. Perspective is not what one would classify as “a typical Jason Becker shred record”. The album, originally released in 1996, is largely an instrumental affair (only “Meet Me in the Morning” contains singable lyrics), but the vibe leans more towards New Age than metal. “Primal” is almost tribal, utilizing an array of unorthodox instrumentation like bamboo flutes, rain sticks and Steve Perry’s marvelous vocals which carry the chanting melody, while the Bobby McFerrin inspired “Higher” features members of Voicestra adding multi-layered harmonies to this heavenly composition. If Jason Becker is never able to play guitar again (which we pray he will), he has left his fans two monumental guitar-soaked swan songs in “Rain” and “Blue”. “Rain” features Becker’s emotional, gut-wrenching soloing with Alvarez providing the somber orchestral background, while “Blue” begins on more of a country note with Becker’s bright, Arlen Roth-inspired riffs bouncing across the speakers before treating us to atmospheric, Satriani-laced passages. But what could be more inspiring than Perspective‘s two epic numbers “End of the Beginning” and “Life and Death”. These two priceless compositions represent Jason Becker’s finest hour. “End of the Beginning” is a 12-minute opus that takes the listener on a classical journey of musical thoughts and emotions that are both powerful and uplifting, showcasing the beautiful piano playing and string orchestration of Alvarez, as well as Michael Lee Firkins’ amazing guitar flourishes. “Life and Death” is a nine-minute classical extravaganza that would be right at home on the soundtrack of Fantasia. The last song written for the album, “Life and Death” is big, symphonic and, like “End of the Beginning”, is loaded with a bevy of emotional twists and turns that are nothing short of inspiring. If Perspective does nothing else, it confirms Jason Becker’s brilliance as a composer; we already knew he was a brilliant guitarist. Though the year 2001 finds Becker only able to communicate through a series of eye movements as a result of the progressive effects of ALS, one can only wonder what beautiful compositions lie behind those eyes. Perhaps one day we’ll find out. But for Perspective, something in the music got better—something indefinable. I have no idea what that is, but Jason Becker obviously does. © Scott Hudson © 1999-2014 PopMatters.com. All rights reserved http://www.popmatters.com/review/beckerjason-perspective/

Jason Becker’s sophomore album, “Perspective”, is a bit of an enigma, but that’s one of the things that makes it great. The biggest difference from his debut “Perpetual Burn” is the fact that the guitar has moved from being the focal point to being just one avenue of his expression. Not to say that there isn’t a lot of awe inspiring fret work on “Perspective”; it just has now become part of the music, instead of being the music. Of course there is a very important story the unfolded during the making of this album: Jason was diagnosed with ALS, better known as Lou Gehrig’s disease. Over time this disease takes away your movement until you’re completely paralyzed. This had a lot to do with the overall change in mood of this album. However the mood isn’t one of a sullen nature. In fact it is a very joyous album. And while this is an instrumental, less the last song, there is a lot of emotion throughout this album. Another quality that became evident due to Jason’s circumstances is his killer compositional abilities. On “Perspective” there are symphonic, orchestral, vocal, Indian and even country styles throughout it. And each part is epic (not in the Manowar sense), each part is absolutely at the peak it could be at without going over and falling into parody. His songwriting and composting abilities are of sheer brilliance. As for the material contained on “Perspective”, it could be described as brilliant, excellent, outstanding, and so on. You would need a thesaurus to describe how amazing this album is. There are no standout tracks, as each one is absolutely essential to this album, and without one the album loses something special. Alas, there is one standout track, the last track. It is the only one with vocals in basic sense, which makes it a standout, but it is just as good as the rest. Overall Jason Becker’s “Perspective” is one of the single, most utterly perfect albums ever made, and taking into account the situation surrounding him, it is quiet an achievement. This is not only an album that metal fans would enjoy; classical fans would very much enjoy this too. And although Jason Becker made his name with his guitar prowess, this is the best album he ever made. - Perfection. - 100% © erickg13, February 5th, 2007 http://www.metal-archives.com/reviews/Jason_Becker/Perspective/14383/

Before he developed the awful Lou Gehrig's Disease, Jason Becker was recognized by many of today’s guitar greats as one of the best guitarists on the planet. It makes sense that “Perspective” is not a guitar or even a rock orientated album but an album of nine amazing compositions covering many music genres. Many great artists support Jason on this album including the amazing bassist, Gregg Bissonette and guitarist extraordinaire, Michael Lee Firkins. Read an interview with Jason @ http://thequietus.com/articles/10643-jason-becker-interview-not-dead-yet-jesse-vile-documentary and listen to his great "Perpetual Burn" album [All tracks @ 320 Kbps: File size = 144 Mb]

TRACKS

1.Primal 7:03
2.Rain 3:14
3.End of the Beginning 11:46
4.Higher 5:28
5.Blue 4:46
6.Life and Death 9:11
7.Empire 5:15
8.Serrana 8:38
9.Meet Me in the Morning 5:22

All tracks composed by Jason Becker except Track 2 by Jason Becker & Billy Duffy, and Track 9 by Bob Dylan

MUSICIANS

Jason Becker - Guitar, Orchestration
Michael Lee Firkins - Guitar
Gary Becker - Classical Guitar
Ehren Becker - Bass
Gregg Bissonette - Fretless Bass, Drums
Danny Alvarez - Keyboards, Piano, Organ, Percussion, Synclavier
Steve Rosenthal - Snare Drums, Cymbals
Rick Walker - Percussion
David Stuligross - Trombone
Gary Schwantes - Bamboo Flute
Melanie Rath - Soloist, Vocals
Joey Blake, Steve Perry - Vocals
Raz Kennedy - Vocals, Choir/Chorus
Caren Anderson, Anisha Thomas, Cathy Ellis - Soprano Vocals
Steve Hunter - Rainstick, Vocal Harmony, Harmonic Chant

BIO

Jason Becker is an American hard rock guitarist who formed the band Cacophony in the late '80s with fellow guitarist Marty Friedman and recorded two albums with it, Speed Metal Symphony (1987) and Go Off! (1988). He made the instrumental solo album Perpetual Burn in 1988. In 1989, he left Cacophony and was hired by David Lee Roth to replace Steve Vai in his backup band, appearing on the album A Little Ain't Enough (1991). Shortly after he joined Roth's band, however, he was diagnosed with Amyotrophic Lateral Sclerosis (ALS), better known as Lou Gehrig's disease, a rare degenerative illness that causes paralysis. Nevertheless, he succeeded in completing a second solo album, Perspective, released on his own label in 1996. Raspberry Jams, an album of demos, followed in 1999, and in 2001, through the intercession of Eddie Van Halen, Perspective was given major-label release on Warner Bros. Records. © William Ruhlmann © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/jason-becker-mn0000179636/biography

Wayne Horvitz & Zony Mash

Wayne Horvitz & Zony Mash - Brand Spankin 'New - 1998 - Knitting Factory Records

Zony Mash made its debut in late 1995 as the unofficial house band at the OK Hotel in Seattle, where the guys honed their chops with months of weekly gigs. In Zony Mash you´ll hear a wide variety of influences, including sixties-style psychedelic rock, the blues and definitely some sounds that could only be described as being from outer space. All of this was amalgamated into something completely original. Although named after a tune by The Meters, Zony Mash was nevertheless not a Meters tribute band. Although Zony Mash drew heavy inspiration from the past, they never succumbed to derivative nostalgia. Imagine instead a uniquely modern, unpredictable take on a Fillmore-era groove and a bandleader bent on pushing his music in new directions. In the end though, it´s Wayne´s unique harmonic sense and songwriting that set Zony Mash apart. Zony Mash played to audiences worldwide, at some of the most prestigious jazz festivals around. They played at Montreux, Vancouver, Pori and North Sea Festivals and at Warsaw Summer Jazz Days. Mostly though they played the clubs in Seattle and the West Coast, blowing away a twenty-something crowd. Not surprisingly, both college-oriented publications such as CMJ and more mainstream magazines such as Downbeat give their CD releases critical acclaim. The band´s eclecticism even showed in its choice of special projects, including a series of shows where they added a horn section to the mix. Ex-Santana drummer Michael Shreve and guitarist Bill Frisell sometimes sat in as well. Zony Mash began its' life with Wayne Horvitz on Hammond B-3 and keyboards, Timothy Young on guitar, Fred Chalenor on bass and Andy Roth on drums. Keith Lowe replaced Fred as the bassist in late 1998. Zony Mash toured numerous times on the West Coast, did three US tours and also played in Europe and Iceland. Five Zony Mash CDs are available: Cold Spell (1997), Brand Spankin' New (1998) and Upper Egypt (2000) are all on Knitting Factory Records. The first live CD, Live In Seattle, was released in 2002. The final two shows were recorded for Kufala Records and released as Farewell Shows (2004). The CDs are available at record stores, online, and here http://www.waynehorvitz.net/merchandise.html at the merchandise page. © http://www.waynehorvitz.net/projects/zonymash.html

" ...modern electric jazz-funk at its finest." - Christopher Porter, Jazz Times

"...a smarter, more harmonically involved band that never stays locked in a single groove. It's Meters meets Miles approach, though certainly tailored for the crossover, jam band set, was of the type that would be equally attractive to more discriminating listeners." - Bill Kohlhaase, LA Times

While it's always been difficult to attach Wayne Horvitz to one particular style, this much can be said about Zony Mash, the keyboardist's quartet: They rock. They also swing and dispense a plentiful allowance of funk and soul while spicing the mixture with just enough of the Downtown blare and confusion that Horvitz built his reputation upon. As a band, Zony Mash can hold its own. Andy Roth provides a stable drum foundation for bassist Fred Chalenor, who continues to push his instrument up and over in small, interesting ways. Guitarist Timothy Young provides an effective (but certainly not a scene-stealing) foil for Horvitz. But make no mistake: This LP belongs to the keyboardist. Here, Horvitz leadfoots everything from a Hammond B3 to a Moog synthesizer, providing a wild, unpredictable ride. Buckle up--Mr. H. can drive like a banshee! - © S. Duda [Editorial Reviews, Amazon.com] © 1996-2014, Amazon.com, Inc. or its affiliates http://www.amazon.com/Brand-Spankin-New-Wayne-Horvitz/dp/B00000AFRY

Brand Spankin' New, the prompt follow-up to their 1997 debut release Cold Spell, finds Wayne Horvitz & Zony Mash with a tighter sound and slicker production. Once again, this Seattle-based four-piece serve up wide jazzy grooves and catchy instrumental themes, this time with even greater precision. Horvitz explores new sonic textures utilizing Hammond B-3 organ, Moog and Nord synths, and Wurlitzer electric piano. His mellow sounds float, swell dramatically, and swirl around the rhythm section throughout this wonderfully spacious recording. Present once more are Timothy Young's signature muted bluesy guitar riffs and drummer Andy Roth's controlled dynamics. The album features a confident, slightly more laid-back sound than their earlier material. The tracks are longer, averaging five to six minutes apiece, yet excellent improvisation and orchestration prevents them from becoming monotonous. However, this album is still very representative of the group's core sound. For the new listener, the twisting theme "Meet the Zony Mash" serves as a great introduction to the Zony sound. © Solar Marquardt © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/brand-spankin-new-mw0000057737

Solar Marquardt of Allmusic said that "The album features a confident, slightly more laid-back sound than their earlier material. The tracks are longer, averaging five to six minutes apiece, yet excellent improvisation and orchestration prevents them from becoming monotonous". This band’s music has been described as “jazz funk bordering on the avant garde” and “electronic dance music”, “funk, trip-hop, and acid-jazz”. It is always interesting to read descriptions and definitions of music. Some descriptions like “avant garde” may deter many people from listening to a lot of music simply because avant garde is often used as a term by “critics” to describe artistic creations which they may call brilliant and stupidly assume that the “great unwashed plebs" out there can’t appreciate great artistic creations. More often than not, these brilliant creations which often sell for several million dollars are often pieces of crap that a demented chimpanzee could knock out in five minutes. Yours truly would opine that Steely Dan’s “Aja” album is more aesthetically pleasing to me than Leonardo da Vinci’s “Mona Lisa”. Has anyone seen Damien Hirst’s 'spot' paintings? Who’s fooling who? LOL! Anyway, don’t be deterred by definitions in music. Give this album a listen. If you don’t like it, you can always go back to Spritney Beers, Little Mixx, and One Direction. Look at a different blog! Whatever turns you on! Check out the band's "Cold Spell" album on this blog, and listen to their "Upper Egypt" album. There’s a lot of Wayne Horvitz gigs @ http://archive.org/search.php?query=creator:%22Wayne+Horvitz%22+AND+((coverage:%22Seattle,+WA%22)+AND+(format:flac+OR+format:shorten+OR+format:mp3+OR+format:ogg)) BTW: Don’t take my verbal waffling too seriously. Apologies to any music lovers who are offended by my cynical view of certain artists. I am just one of several hundred thousand people with a cynical attitude towards today’s music scene. [All tracks @ 320 Kbps: File size = 113 Mb]

TRACKS

1 Slide By 7:12
2 Brand Spankin' New 3:59
3 Chimacum After Hours 4:56
4 Meet The Zony Mash 5:15
5 Electric Sandworm 6:02
6 Bad Traffic 4:31
7 Cadillac Ranch 7:13
8 Stompin' At The Cranium 6:39

All tracks composed by Wayne Horvitz except “Electric Sandworm” composed by Tim Young

MUSICIANS

Tim Young - Guitar
Fred Chalenor - Bass
Wayne Horvitz - Hammond B3 Organ, Nord Lead, Moog Source, Dx7 Synthesizer, Wurlitzer Electric Piano
Andy Roth - Drums

BIO

With their precisely executed, angular, twisting keyboard/guitar riffs and their locked-up groove-oriented bass/drums beats, the instrumental quartet that is Zony Mash has created a signature sound which is both technical and fun. Established in 1997 by veteran composer, pianist, and keyboardist Wayne Horvitz, their debut album, Cold Spell, put this Seattle-based group on the map alongside other jazz-funk groups such as Medeski, Martin & Wood. Horvitz, a man who had worked with the likes of John Zorn, would now focus his energies on a more accessible sound. Guitarist Timothy Young would bring a bluesy/rock tone to the band, while Fred Chalenor (bass) and Andy Roth (drums) would anchor the rhythm section. In 1998, the group released their sophomore album, Brand Spankin' New, which featured even tighter performances, as well as a slicker production by their longtime engineer Tucker Martine. In 2000, the group put out two very different full-length albums. Upper Egypt consisted of the traditional Zony Mash sound with Keith Lowe replacing Fred Chalenor on bass guitar, while American Bandstand featured a stripped-down acoustic version of Zony Mash drawing attention to Horvitz's unique compositions. © Solar Marquardt © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/zony-mash-mn0000854611

ABOUT WAYNE HORVITZ (WIKI)

Horvitz, a "defiant cross-breeder of genres", has led the groups The President, Pigpen, Zony Mash, and the Four Plus One Ensemble. He has recorded or performed with John Zorn, Bill Frisell, Elliott Sharp, Danny Barnes, Tucker Martine, Butch Morris, Fred Frith, Julian Priester, Philip Wilson, Michael Shrieve, Carla Bley, Timothy Young, Bobby Previte, Skerik, Douglas September and others. He is perhaps most famous for being the keyboardist of the band Naked City. He has produced records for the World Saxophone Quartet, Human Feel, Marty Ehrlich, Fontella Bass, The Living Daylights, Bill Frisell or Eddie Palmieri. As a composer, Horvitz has been commissioned by The Kitchen, The Kronos Quartet, Brooklyn Academy of Music, New World Records, The Seattle Chamber Players and Earshot Jazz. He has received commissioning grants from Meet the Composer, The National Endowment for the Arts, The New York State Arts Council, The Mary Flagler Carey Trust, The Seattle Arts Commission, The Lila Wallace-Reader's Digest Fund and The Fund for U.S. Artists. In 2002 he was awarded a Rockefeller MAP grant for the creation of a new piece, Joe Hill, for chamber orchestra and voice, which premiered in October 2004 in Seattle. His 2003 composition, Whispers, Hymns and a Murmur for String Quartet and soloist, funded in part by a Seattle City Artist grant, premiered in March 2004. This composition and his earlier string quartet, Mountain Language are released on the Tzadik label. His newest string quartet composition, These Hills of Glory, was commissioned with support from 4Culture and the Mayors Office of Arts and Cultural Affairs. His recent collaboration with Tucker Martine, Mylab, was on the top 10 CD list for 2004 in jazz in both the New Yorker and Amazon.com. In February 2005 he received the Golden Ear award from Earshot Jazz for "Concert of the Year." Works for theater and dance include music for the 1998 production of Death of a Salesman for Seattle's ACT theater (directed by Gordon Edelstein); productions of Ezra Pound's Elektra and the American premiere of Harold Pinter's Mountain Language, both directed by Carey Perloff. In 1992 choreographer Paul Taylor created a new work, OZ, to eleven compositions by Wayne Horvitz in collaboration with the White Oak Dance Company. Other theater and dance works include music for Bill Irwin's Broadway show, Strictly NY, and productions by the Liz Lerman Dance Exchange, Ammi Legendre, Nikki Apino and House of Dames and the Crispin Spaeth Dance Company. Horvitz has also composed and produced music for a variety of video, film, television and other multimedia projects, including two projects with director Gus Van Sant, a full length score for PBS's Chihuly Over Venice, and two films about the creation of Seattle’s EMP museum. His 85-minute score to Charlie Chaplin's film The Circus, for two pianos, two clarinets, and violin premiered in January 2000 in Oporto, Portugal. As of April 2007 Horvitz performs with Gravitas Quartet, Sweeter Than The Day and Varmint. Horvitz was born in New York City and currently lives in Seattle with his wife, composer Robin Holcomb, and their two children.

Gary Husband

Gary Husband - Dirty and Beautiful, Vol. 2 - 2012 - Abstract Logix / City Hall

Rather than releasing a double album, keyboardist/drummer Gary Husband split the jazz fusion songs he recorded with high-profile guests into two separate but equal hour-long discs. It's a logical, economically feasible way to get this music out and probably makes for a better overall listening experience, too, since the sound can get wearing, even over the length of a single platter. Anyone who enjoyed the first volume from 2011 will find the same pleasures here as Husband invites mostly guitar-shredding guests such as Mike Stern, John McLaughlin, Wayne Krantz, Robin Trower, Jimmy Herring, and old pal Allan Holdsworth, among others, for a good, old-fashioned '80s fusion fest. As is typical of the genre, the line between noodling and edgy improvisation can get awfully thin and there are moments that alternate on either side of that divide. That's the case within the confines of some songs such as the ten-minute John McLaughlinextravaganza "Sulley" that goes through multiple tempo changes, winding through its extended playing time with some terrific guitar soloing and some that just meanders. Props to bassist Mark King, whose husky yet malleable playing on the track holds down the rhythm and keeps the song vital even when the leads wander. Trower's Hendrix-inspired bluesy reverb on Miles Davis' "Yesternow-Epilogue" fades in where the first set's "Yesternow-Prologue" left off in a performance that blurs the border between rock and jazz. The energized nature of the disc is tempered on a short and lovely reading of Jan Hammer's "Rain." Hammer doesn't contribute to the track, but he does appear on Holdsworth's "Fred 2011," lettingHusband -- who plays both drums and keyboards on eight of the eleven cuts -- concentrate on percussion. A similar dynamic applies to John McLaughlin's "New Blues, Old Bruise," where the guitarist is M.I.A. Rather, tenor saxist Sean Freeman, whose playing is strongly influenced by Wayne Shorter, gets free reign to strut his impressive stuff, which shifts from lovely to jagged as he blows his way through the ten-minute jam. Despite the obviously overdubbed nature ofHusband's double-duty instrumental work, this album, and the previous one, sounds remarkably organic. That's especially true of the funky "East River Jam" featuring a relatively dialed down Wayne Krantz, whose innovative solos seldom go where you think they will. It adds up to a tasty, if somewhat inconsistent project that will please fans of both the old-school jazz fusion genre and of the prestigious musicians who help Husband bring it home. © Hal Horowitz © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/dirty-and-beautiful-vol-2-mw0002290046

Multi-directional drummer-keyboardist- composer Husband, a member of the stellar fusion band John McLaughlin & the 4th Dimension, assembled an all-star cast for his second volume of powerhouse originals and a few well- chosen covers. Guitar aficionados in particular will drool over the presence of such six-string heroes as McLaughlin (wailing with unparalleled fretboard facility in a power trio with Level 42 bassist Mark King on the heavy-duty rock-funk number “Sulley”), Mike Stern (showcasing his signature fleet-fingered ‘chops of doom’ on “Rolling Sevens”), Alan Holdsworth (on a remake of his Tony Williams New Lifetime classic, “Fred,” which also features synth wiz Jan Hammer), and Robin Trower (performing a blues-soaked, wah-wah laden cover of Miles Davis’ “Yesternow” from A Tribute to Jack Johnson). Newer guitar stars like Wayne Krantz (“East River Jam”), Jimmy Herring (“England Green”), and the amazing Alex Machacek (performing his complex, Zappaesque suite “Lock, Stock & Two Smoking Brothers”) add to the visceral appeal. Husband doubles on drums and synths throughout; his power-precision drumming fuels each exhilarating track while his synth chops (and choice of unique timbres) elevate and intensify the proceedings. © Bill Milkowski | Jul 01st, 2012 © 2014 The Absolute Sound. All rights reserved. http://www.theabsolutesound.com/articles/gary-husband-dirty-beautiful-volume-2/

Multi-dimensional drummer, keyboardist, composer and arranger Gary Husband hits his stride with Dirty & Beautiful Volume 2, his latest release on Abstract Logix Records. Dirty & Beautiful Volume 2 features an explosive all-star line-up of guest musicians such as John McLaughlin, Allan Holdsworth, Jan Hammer, Robin Trower, Jimmy Herring, Wayne Krantz, Mark King, Alex Machacek and Mike Stern. Dirty & Beautiful Volume 2 does not merely pick up where 2010's Volume 1 left off. Volume 2 expands upon Gary's musical vision of creating music that is passionate and sophisticated, yet infused with grit and rawness. The mix of Husband originals and cover tunes are driven by the combination of the dynamic powerhouse drumming, ferocious lead lines and distinctly evocative keyboard harmony that altogether define Gary Husband's 'multiple threat' of a musical voice. Selected highlights of Dirty & Beautiful Volume 2 are FRED 2011: A reworking of the classic Allan Holdsworth song with Holdworth on guitar and synth-master Jan Hammer taking an extended fire breathing solo. SULLEY: a stompin' rocker with the great John McLaughlin on guitar and bassist Mark King getting down and dirty. YESTERNOW EPILOGUE: guitarist Robin Trower continues his Strat-soaked blues rave-up that was teasingly hinted at on YESTERNOW PREVIEW from Volume 1. Alex Machacek deliciously smouldering on his self-penned LOCK, STOCK & TWO SMOKING BROTHERS. ENGLAND GREEN: an evocative Husband original with Jimmy Herring playing the lyrical theme on guitar. NEW BLUES, OLD BRUISE: a John McLaughlin composition given a jazzier edge featuring rising tenor sax star Sean Freeman. Not to mention other new GH originals featuring the angular intelligence of Wayne Krantz and the fiery, electric bop of Mike Stern. With a roster of top-tier musicians and stellar performances, Gary Husband's Dirty & Beautiful Volume 2 promises to be one of the most musically exciting and musically rewarding releases of 2012. © Editorial Reviews © 1996-2014, Amazon.com, Inc. or its affiliates http://www.amazon.com/Dirty-Beautiful-Volume-Gary-Husband/dp/B006I01K82

Gary Husband’s latest album, Dirty & Beautiful Volume 2, is the follow-up to the well-received Volume 1. The music manages to be both evocative and forward-looking. This is no easy trick. All-star albums can present problems. The music can be difficult to take on tour since each song was tailored for a specific musician or band. It can also be daunting to present any sort of thematic vision for the same reason. Often, these gatherings are also weighed down by the desire to cram the CD with as much music as possible, which can lead to all-star overkill. In this instance, in fact, there are several tunes that Husband can take on the road, and in a couple of cases, has already done so. There is something comforting in having John McLaughlin playing on “Sully,” as he has done so many times in his 4th Dimension band, or to hear Allan Holdsworth update “Fred,” a tune Pat Metheny wished he had written, or to hear Jan Hammer play on anything! (I never thought I would use the word comforting when referring to fusion music!) The theme of the album is clearly Gary Husband's heart. We know where Husband’s heart lies because his inspirations are all over Volume 2. In addition to his own, there are compositions from McLaughlin, Hammer, Miles Davis and Allan Holdsworth. These are his formative heroes. There are also pieces written by his contemporaries Alex Machacek and Wayne Krantz, whom he met through dealings with his record label Abstract Logix. His inspirations and compatriots are all headed to some unknown place, though by varying routes. Husband is grateful he was set on this journey, but will never rest on their laurels or his. The line-up, much like on Volume 1, is guitar heavy. Ray Russell, Mike Stern, Wayne Krantz, Allan Holdsworth, Neil Taylor, Alex Machacek, John McLaughlin, Jimmy Herring and Robin Trower would make for one hell of a guitar festival. I don’t want to leave the other string players out. Bassists Jimmy Johnson, Teymur Phell, Mark King, Laurence Cottle and Livingstone Brown deserve their own festival. Conjuring up a groove that at times harkens back to Weather Report’s “Mr. Gone,” and at other times to the material from John McLaughlin’s late nineties band The Heart of Things, “If The Animals Had Guns Too” gets the album off to a rousing start. The tune features a sneaky Jimmy Johnson bass intro, Ray Russell’s twisted guitar stabs and Husband’s synth over his own pre-recorded drums. Besides having a great title, “If The Animals Had Guns Too” would seem to be a perfect number for Husband to bring into John McLaughlin’s 4th Dimension band, of which he is one dimension. The extraordinary Mike Stern plays skittering lead on the rhythmically charged “Rolling Sevens” and there’s a new wonderful take on McLaughlin’s “New Blues, Old Bruise,” without McLaughlin, but with saxophonist Sean Freeman instead. Husband’s playing, on drums, synth and keyboards, is a tour de force, while Freeman effectively captures the essence of McLaughlin’s intent. Jan Hammer, a central figure to Husband, makes a rare appearance on “Fred 2011.” What a band that could be- Allan’s trio featuring Jimmy Johnson on bass, Husband on drums plus Jan Hammer on keyboards! Come on Jan! One tune earlier, Husband pays tribute to Hammer with a beautifully realized version of Hammer’s tune “Rain” performed with guitarist Neal Taylor. Husband’s solo piece, the atmospheric “Fuguie,” allows him to showcase his synthesizer bona fides. Over the years, I have tended to be more impressed with the drummer Gary Husband than the keyboardist Gary Husband. His brilliant solo piano albums in tribute to Allan Holdsworth (The Things I See) and John McLaughlin (A Meetings of Spirits) and his now longstanding keyboard stint with McLaughlin have made me reconsider. He seems to be on the same remarkable footing on both skins and keys. Husband’s “Sully” was written years ago, but updated a couple of tours back and then, per John McLaughlin’s suggestion, combined with McLaughlin’s epic Shakti piece “Get Down and Sruti.” Though, despite the intention, because of the electronics, I think most people will identify it with “Sruti’s” offspring, “Honky-Tonk Haven” from McLaughlin’s Music Spoken Here. A deeper groove is not possible. Wayne Krantz and Alex Machacek do nothing but enhance their growing reputations as key leaders in whatever we are calling fusion music these days. Husband and Krantz, a guitarist with an entirely unique center of balance, have come to know and admire each other over the last few years. I am sure numerous conversations resulted in the short and compelling “East River Jam.” Machacek’s “Lock, Stock & Two Smoking Brothers” is a multifaceted presentation replete with beautiful jaggedness, sinuous lines and programmed effects. Its scope is an impressive landscape for Machacek and Husband to roam. Jimmy Herring has been a welcome addition to the jazz-rock fold these last several years. His wonderful tone, which he carries in his jeans’ back pocket, and his natural musical acumen bring a charm to Husband’s short anthem “England Green.” The album almost comes to an end with the appearance of Robin Trower, certainly not a fusion musician, and as far as I know, someone with little or no interest in the whole movement. The guitarist features on a section of Miles Davis “Yesternow” from Tribute to Jack Johnson in theoretical trio with Husband (drums and keyboards) and bassist Livingston Brown. (Trower also played another part of “Yesternow” on Volume 1. I wonder if it is Husband’s intention to have Trower help recreate the entire Jack Johnson album? By my estimate, at this pace, they could finish it by Dirty & Beautiful Volume 10.) Regardless, Trower, Husband and Livingstone Brown do Miles proud! The connected “Epilogue” section, also from Jack Johnson, is an unexpected gift. Husband plays it alone on synth. It is different music from the original, but its undertow of sentiment still washes over us. In fact, I find myself sitting here in prolonged silence after song's end, much in the same mood remembered from listening to Jack Johnson for the first time almost four decades ago. I was quite a bit younger then. I am quite a bit older now. Music can reunite the younger and older in us. It says something of the high standards that have become expected of Gary Husband, that this review underplays his actual musical contributions to his own project. His obvious talent and creativity is there for everyone to enjoy, but it is his role as facilitator on this recording that is more important. Choosing and creating the right material is an art. There is a reason these magnificent musicians want to play with Gary Husband. After listening, you will understand why. Just because you can fit 74 minutes of music on a CD, doesn’t mean you have to! Husband has wisely decided to present about 55 minutes. Perfect. There is no filler on Dirty & Beautiful Volume 2 ! It is all prime cut. © Walter Kolosky- Author of the books Power, Passion and Beauty and Follow Your Heart-John McLaughlin song by song." Walter Kolosky only writes reviews of music that he highly recommends :-) http://www.walterkolosky.com/musicreviews/dirtyandbeautifulvolume2

Five guitarists and five bassists play on this great album. The percussive and keyboard work by Gary Husband is wonderful not to mention the magnificent guitar work from Jimmy Herring, Mike Stern, Allan Holdsworth, Wayne Krantz, John McLaughlin and others. The album is VHR by A.O.O.F.C. Listen to Gary’s great “The Things I See” album and “Dirty & Beautiful Volume One”. Read more about Gary Husband @ http://www.garyhusband.com/gh/bio/ [All tracks @ 320 Kbps: File size = 151 Mb]

TRACKS / COMPOSERS

1 If the Animals Had Guns Too - Gary Husband 5:28
2 Rolling Sevens - Gary Husband 4:44
3 New Blues, Old Bruise - John McLaughlin 10:20
4 East River Jam - Gary Husband / Wayne Krantz 3:01
5 Fred 2011 - Allan Holdsworth 4:47
6 Rain - Jan Hammer 2:47
7 Lock, Stock & Two Smoking Brothers - Alex Machacek 6:14
8 Fuguie - Gary Husband 4:18
9 Sulley - Gary Husband 10:07
10 England Green - Gary Husband 2:51
11 Yesternow (Epilogue) - Miles Davis 4:52

MUSICIANS

Wayne Krantz, Allan Holdsworth, John McLaughlin, Mike Stern, Robin Trower, Jimmy Herring, Ray Russell, Neil Taylor - Guitar
Alex Machacek - Guitar, Programming
Livingstone Brown, Laurence Cottle, Teymur Phell, Jimmy Johnson, Mark King - Bass
Gary Husband - Keyboards, Drums, Percussion
Jan Hammer - Keyboards
Sean Freeman - Tenor Sax

MORE TRACK DETAILS

Guitar – Alex Machacek (track: 7), Allan Holdsworth (track: 5), Jimmy Herring (track: 10),
John McLaughlin (track: 9), Mike Stern (track: 2), Neil Taylor (track: 6), Ray Russell (track: 1),
Robin Trower (track: 11), Wayne Krantz (track: 4)
Bass – Jimmy Johnson (tracks: 1, 5), Laurence Cottle (track: 10), Livingstone Brown (track: 11),
Mark King (track: 9), Teymur Phell (track: 2)
Keyboards – Gary Husband (tracks: 1 to 4, 6, 8 to 11), Jan Hammer (track: 5)
Drums – Gary Husband (tracks: 1 to 7, 9 to 11)
Percussion – Gary Husband (track: 1)
Tenor Saxophone – Sean Freeman (track: 3)

SHORT BIO

A pianist, drummer, and bandleader, Gary Husband is a journeyman jazz-rock musician with a versatile, dynamic, and genre-bending approach to improvised music. Born in Leeds in 1960, Husband studied classical piano and jazz before finding work professionally. In the '90s, Husband began leading his own piano trio featuring bassist Mick Hutton and drummer Gene Calderazzo and released the album From the Heart in 1999. During this time he continued to work with other artists including Billy Cobham, Jimmy Nail, Anthony Hindson, and more. He returned to his solo work with 2004's Aspire as well as The Things I See: Interpretations of the Music of Allan Holdsworth that same year. In 2006, Husband investigated another of his influences with A Meeting of Spirits: Interpretations of the Music of John McLaughlin. In 2008, he delivered the highly personal The Complete Diary of a Plastic Box, which featured works Husband penned while touring as a sideman from 1989 to 1993. A year later, he returned in a more post-bop mood with the album Hotwired: Gary Husband's Drive. In 2010, he was joined by Holdsworth and a list of legendary fusion artists including McLaughlin, keyboardist Jan Hammer, and guitarist Robin Trower for Dirty and Beautiful, Vol. 1. In 2012, Husband followed up the project with Dirty and Beautiful, Vol. 2. © Matt Collar © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/gary-husband-mn0000739464/biography

Lye By Mistake

Lye By Mistake ‎- Fea Jur - 2009 - Black Market Activities ‎

Lye By Mistake is a very exciting experimental technical progressive metal band mixing hardcore, jazz, fusion, and metal with insane genre bending breakdowns. They should be a welcome addition to fans of DILLINGER ESCAPE PLAN, MR. BUNGLE, BETWEEN THE BURIED AND ME, MY BITTER END, and MOD FLANDER'S CONSPIRACY. They were approved by the Prog Metal Team and are very highly recommended! © Prog Archives, All rights reserved

You know those warnings they put up for epilepsy sufferers about shows with flashing lights? Something like that needs to be offered with Lye By Mistake's latest release. A jarring experience, the album is so hyperactive, intense and overwhelming one thinks they're having some sort of seizure as their ears struggle to process every nuance in the world all at once. A little less aggressive than contenders Psyopus, yet no less frantic, the band's disgusting technical ability results in jazz-influenced progressive metal that steals from the likes of Weather Report, 2112-era Rush and a weird co-pilfering of Santana's salsa-infused guitar and Satriani's endless fret board antics. From sublimely intricate, melodic passages rife with nuances to blaring rock/metal boasting searing guitar solos and all points in between, Fea Jur is a rousing musician's musician experience that shocks and angers as much as it rocks and swaggers. © Keith Carman (Blackmarket Activities) http://exclaim.ca/Reviews/Metal/lye_by_mistake-fea_jur

As someone constantly on the lookout for new and exciting music to dig into, there are few things more refreshing than discovering a new excellent band. Lye By Mistake may have started out rooted in the mathcore scene, and while even hearing the 'mathcore' label tossed around a band would have me avoid it like the plague, Lye By Mistake's second album has evidently disposed of their original style for something else that would be best described as a perfect incarnation of jazz fusion metal. Essentially, take the music of a jazz guitarist like Pat Metheny, add in a sheath of technical metal, and out comes Lye By Mistake's second album 'Fea Jur', an album that will quickly repulse any metalhead with a slight aversion to jazz music, but perfect for anyone who would like to see what can be accomplished with the jazz metal style. All of the music here is completely instrumental, and all things considered, this was a great decision for Lye By Mistake. Listening to the intense technicality and quirky heaviness of the album, having any sort of vocals on top of the music would tend to distract from what could not otherwise be the greatest aspect of the band's sound; the instrumentation. With the exception of a quaint acoustic piece that comes before the closing track, the music here keeps the energy and showmanship up, alternating between the jazz and progressive metal elements. The metal leaning side of 'Fea Jur' seems to be derived somewhat from the 'djent' sound innovated by Meshuggah, at least as far as the percussive rhythm guitars are concerned. The main focus is often on the lead guitars though, which bind the light and heavy aspects of Lye By Mistake together by the fact that regardless of the dynamic the band is playing, it's usually a safe bet that the lead guitar is blistering away with some mind- numbingly technical exercise. Although this may sound exhausting and even boring on paper, the way that Josh Bauman layers the guitars and incorporates memorable sections of melody and weirdness into his leads is incredible, and even being someone that has become somewhat opposed to the tired concept of guitar virtuoso albums, 'Fea Jur' manages to stay very interesting. Although the album is specialized towards a very particular brand of jazz metal that some may find incredibly indulgent (and it is), 'Fea Jur' is one of very few albums I have heard in the genre of metal that is able to do its jazz elements a proper justice. Quite often, Lye By Mistake will feel like a jazz band that dabbles in metal, as opposed to the contrary, and this only works towards the band gaining a more distinct voice in my ears. A jazzy masterpiece from these talented instrumentalists. Review by & © Conor Fynes ***** 9/10 © Prog Archives, All rights reserved. http://www.progarchives.com/album.asp?id=25538

If Dillinger Escape Plan and Psyopus had a baby who loved jazz-fusion and couldn’t talk, you’d have Lye by Mistake. The band is ostensibly metal—it is signed to Metal Blade imprint Black Market Activities, after all—in approach, though it’s obvious on its second album, Fea Jur, the band’s sonic range espouses a much broader spectrum of sensibilities. The improvisation of jazz is at the forefront, accented mercilessly with mind-blowing displays of virtuosic arpeggios and scale progressions most guitar players aren’t nimble enough to manage. “The Condition” and “Vanguard to Nowhere” are prime examples of this technical prowess, though elements of it pervade the entire record like a bizarre musical version of Tourette’s syndrome. Fittingly, “Invincible Bad Ass” displays the heavier side of Lye By Mistake in a thundering prog-rock wet dream, as does the raging animosity of “Stag”. Then there’s the very out of place and Nick Drake-ish “Missouri Tomater”, which is gently strummed icing on the weird cake. By the time Fea Jur is over, it seems like a schizophrenic hurricane has just roared through your eardrums. At once disorienting, awesome, and destructive, Lye by Mistake has produced a staggering record that will thoroughly impress and confuse, depending on who’s listening. By & © Andrew Dietzel 3 December 2009 RATING 8/10 © popmatters.com © http://www.popmatters.com/review/116926-lye-by-mistake-fea-jur/

Not many bands can say they equally recall the Dillinger Escape Plan and Return to Forever, but as it turns out, Lye by Mistake are not your average/ordinary band, as evidenced by their 2009 release, Fea Jur. This all-instrumental release certainly displays some impressive technique by the bandmembers on their respective instruments -- and although Lye by Mistake are only a three-piece, they present quite a fusion-metal onslaught. And while it may be tempting to write Fea Jur off as a prog release, as with all good fusion releases (especially those from the first wave, in the early '70s), not everything is precise -- which creates a nice "Will they pull it off?" vibe throughout. Sure, quite a few bands have tried to replicate vintage fusion acts over the years, but Fea Jur is one of the few albums that gets it right. In fact, if you were to tone down the metal side of such selections as "Big Red Button" and "The Condition," these two in particular wouldn't have sounded exactly out of place on a landmark release like Hymn of the Seventh Galaxy. Although fusion music may not be as common in the early 21st century as it was in the decade that gave us bell-bottoms, platform shoes, and Afros, it is still very much alive and breathing, as evidenced by Lye by Mistake's Fea Jur. © Greg Prato © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/release/fea-jur-mr0001047327

Highly skilled jazz metal with the emphasis on jazz, this is a potent complex fusion metal album with fantastic musicianship. If you like artists like Wayne Krantz who constantly try to expand the boundaries of metal jazz fusion, you may find this album a very worthwhile listen. Check out LBM’s “Arrangements for Fulminating Vective” album [All tracks @ 320 Kbps: File size = 118 Mb]

TRACKS

1 Big Red Button 4:04
2 The Condition 6:08
3 Invincible Bad Ass 5:46
4 Vanguard To Nowhere 8:52
5 Stag 5:26
6 Fea Jur 7:12
7 Missouritomater 1:27
8 Money Eating Mary (Karaoke Mix) 11:04

All tracks composed by Bauman, Truesdale, & Button

BAND

Josh Bauman - Guitar
Johnnie Truesdale - Bass
Drew Button – Percussion

SHORT BIO

Lye By Mistake are an experimental metal band from St. Louis, Missouri that formed in 2004. They released their most recent album, Fea Jur, on October 13, 2009. They blend many genres into their music, including Progressive rock, Jazz fusion, and Mathcore. After they formed, they self produced and released a five track EP, "The Fabulous" in 2004. In May 2006, they released their debut album "Arrangements For Fulminating Vective" on Lambgoat Records. The album was mixed by Eric Rachel and mastered by Alan Douches. In June 2008, vocalist Tony Saputo left the band. The band intended to find another vocalist, but decided to continue for their second album as an instrumental band. In October 2009, "Fea Jur" was released as their sophomore effort on the record label Black Market Activities. The band's name comes from Edward Gorey's book of the illustrated alphabet, in which J is for James who took lye by mistake - Wiki

Johannes Zetterberg

Johannes Zetterberg - Luna Nueva - 2009 - Innate Groove Records

For those who have been missing fusion in today’s homogenized jazz market, this new recording by Swedish born bass and keyboard player Johannnes Zetterberg is perfect. Not only are the compositions top-notch, but the assisting musicians he brings along for the ride are some of the best in the business. While some names will be familiar to jazz followers, like saxophonist Eric Marienthal and keyboardist Jay Oliver, others like guitarist Erik Linder and saxophonist Jens Filipsson may not be. Don’t let this scare you off, Zetterberg has culled some of the best Nordic musicians to accompany him and the rest is incredible. The recording opens with the power jazz-rocker "Thrill Minute." Linder’s guitar lead is strong and Jonas Isaksson’s guitar solo captures the excitement set up by Zetterberg’s composition and raises it to a whole new level. On "Another Exit," Oliver lights it up with a dazzlingly display of keyboard technique that fits like a hand in a snug glove with his rhythmic punctuations. The Weather Report "Black Market" inspired "Quintana Roo" features some fantastic cross playing by Filipsson and Linder. Their trading of lines and then melding them together is finely wrought and expertly crafted. Aron Mellergardh’s drum set work provides solid propulsion behind Arvid Svenungsson’s synth solo before Zetterberg takes over the soloistic reigns with a clean and locked-in-the-pocket solo that is melodic and hip at the same time. The lovely power ballad "Luna Nueva (Only A Dream)" proves Zetterberg can spin out touching melodies as artfully as Tom Scott during his 1980s period. Filipsson’s alto sax works within the harmonic structure as he slowly builds his solo higher and higher in both tessitura and soulful expression. This young Swedish musician is someone to watch. With solid harmonic conceptualizations and full tone, his time is just about ripe to come to the world stage. Eric Marienthal’s upper chordal structure solo on "Adrenochrome" is yet another example of just how great a saxophonist he is. Melding advanced chromatic concepts with a firm lock to the key, Marienthal proves his talent goes far beyond some of the smooth jazz recordings he’s made as a leader. It’s nice to hear him just lay-it-down by taking no prisoners. It’s so rare to hear good electric jazz these days and if one has to go across the pond to find it, then be fearless and make the jaunt. If you like the Chick Corea Elektric Band, you’ll love this recording. If this recording is a portent for things to come, then Zetterberg’s future is bright indeed. Written by & © Thomas R. Erdmann 20.02.2009 © 2013 - 2014 jazzreview.com. All rights reserved. http://www.jazzreview.com/cd-reviews/fusion-cd-reviews/luna-nueva-by-johannes-zetterberg.html

The first solo album by Swedish bass player Johannes Zetterberg. Johannes plays fusion reminiscent of the Yellowjackets, Karizma, Chick Corea Elektric band, Spyro Gyra, and other bands, although maybe not as complex. Nevertheless. The musicianship, songs and production on this album is first class. As well as using some highly skilled musicians from The Royal College of Music in Stockholm, Sweden, Johannes has the help of Eric Marienthal, Jay Oliver, Otmaro Ruiz, and Jason Rebello. A very good album and HR by A.O.O.F.C. Buy Johannes’ “Painter’s Portrait” album and support good modern fusion. Read an AAJ review of this album @ http://www.allaboutjazz.com/php/article.php?id=32326&width=1024#.UxoE9D8_tb0 [All tracks @ 320 Kbps: File size = 99.2 Mb]

TRACKS

1 Thrill Minute 4:31
2 Another Exit 5:32
3 Quintana Roo 4:09
4 Luna Nueva (Only a Dream) 4:30
5 Splinter 3:52
6 Adrenochrome 3:50
7 Past Tense Pt. 1 0:43
8 Past Tense Pt. 2 4:08
9 Seven Summits 6:08
10 Tierra del Fuego 5:07

All tracks composed by Johannes Zetterberg except Track 7 by Erik Linder

MUSICIANS

Erik Linder: guitars (1-8)
Jonas Isaksson: guitar solo (1)
Calle Stalenbring: guitar solo (5)
Johannes Zetterberg: bass (1-3, 5, 6, 8, 9), keyboards and programming, fretless bass (4, 6, 7)
Arvid Svenungsson: additional keyboards (1-3, 6-8), electric piano (1), synth solo (1, 3, 8), loops (2, 6, 7), synth melody (6)
Jay Oliver: synth solo (2)
Jonathan Fritzen: electric piano (4)
Jason Rebello: piano solo (6)
Otmaro Ruiz: Rhodes and synth solo (9)
Aron Mellergardh: drums, timbales (1, 9), percussion programming (1, 4, 5, 7), percussion loop (2, 3, 7)
Andreas Ekstedt: percussion (3, 6, 8, 9)
Jens Flipsson: alto saxophone (1-5, 8)
Eric Marienthal: alto saxophone (6)

BIO

Johannes Zetterberg (a native of Stockholm, Sweden) was born on November 17, 1985. Growing up in a musical family, he was exposed to a lot of different music at an early age. "Well, being that my father's a countertenor with a soft spot for Oscar Peterson, I guess I quickly learned to appreciate classical music & jazz. On the other hand, there were groups & artists like Stevie Wonder, Earth, Wind & Fire, Michael Jackson, Toto, Chicago & lots of others, all of which I found on my mother's mixtapes. It was like discovering a gold mine with all kinds of cool music, ranging from the hits of the 60's to the boy bands of the 90's! So yeah, it got pretty diverse right from the get-go." He started playing the bass at twelve, and fell in love with the instrument right away. Around the same time he was introduced to the music of Metallica & Yngwie Malmsteen by a friend, and that would turn out to widen his already eclectic taste, adding to the mix groups like Testament, Slayer, At the Gates, Opeth, Anthrax, Dismember, In Flames, Meshuggah, Dark Tranquillity & The Haunted, to name a few. Johannes would later go on to attend Södra Latins Gymnasium's prestigious music program, where he studied with Hjörleifur "Höddi" Björnsson & Robert Sundin. It was during this time that his interest for the fusion genre grew increasingly stronger & began to take up more of his time. Says Johannes: "I really connected with it in a way that I hadn't with any of the previous genres. I mean, I had heard the music of Chick Corea, Return to Forever & Weather Report before, and thought it was good, but I was completely blown away when I discovered Dave Weckl, Allan Holdsworth, The Brecker Brothers, Yellowjackets, Pat Metheny Group, and all that stuff." Based on a mutual love for fusion, and instrumental music overall, Johannes and fellow classmates Aron Mellergårdh, Erik Linder, Arvid Svenungsson & Jonah Nilsson started the group Magnolia. "Yeah, we wrote some songs, but only managed to complete & record one really. It was titled "Seven Peaces" - and yes, it was misspelled intentionally! - but that track was actually influenced more by Emerson, Lake & Palmer & other progressive rock groups that we were listening to at the time, rather than fusion." This project would later evolve into the group Split Vision, with the addition of another classmate, Leonard Malm, on vocals. Heavily influenced by the music of Toto, Jay Graydon, Planet 3, Chicago (and the likes), they gained some slight success in 2006 with the release of their self-titled demo, but would eventually disband as Malm moved to Los Angeles. In 2009, Johannes released his first solo CD "Luna Nueva", a debut that earned him praise from critics, peers & fans alike. Apart from a host of Swedish session musicians, the CD also featured some of Johannes' long-time musical heroes: Jay Oliver (Dave Weckl, Jimmy Buffett, Jay Graydon et al.), Jason Rebello (Sting, Jeff Beck, Wayne Shorter et al.), Otmaro Ruiz (Frank Gambale, Gino Vannelli, John McLaughlin et al.) & Eric Marienthal (Chick Corea Elektric Band, Lee Ritenour, The Rippingtons et al.). At the time of the release, Johannes commented: "Oh man, yeah, having some of my absolute heroes on this CD has been nothing less than a dream come true. If someone had told me 8 years ago that the saxophonist of Chick Corea's freakin' Elektric Band would play on a solo CD of mine... well, let's just say I would've seriously doubted it!! These cats are all super professional & such nice guys, it was a real joy & honor having them on the CD, and I thank them immensely for their contributions. Hopefully we get to work together again soon!" 2011 sees the release of his eagerly-awaited sophomore album "Painter's Portrait". An album that continues where "Luna Nueva" left off, but also adds another level to the music by introducing some new elements (flute, EWI & vocals, among other things). Recorded with the same core group of Swedish musicians featured on "Luna Nueva", this album also includes special guest appearances by Bob Mintzer (Yellowjackets, Jaco Pastorius, Buddy Rich et al.), Brandon Fields (George Benson, Tower of Power, Earth, Wind & Fire et al.), Steve Weingart (Dave Weckl Band, El Grupo, Steve Lukather et al.) & Jason Rebello, who's making a return to the line-up. Currently living in Stockholm, Johannes splits his time between teaching bass & doing session work for various groups & artists. Whenever he's not busy writing, playing or listening to music, he enjoys reading, running, watching movies (big film buff) & sports (ice hockey, preferably). © 2014 Johannes Zetterberg. All Rights Reserved http://www.johanneszetterberg.com/about/