An Overdose Of Fingal Cocoa

Steve Fister Band

2013-05-21T02:34:00.000+02:00

Steve Fister Band - Live Bullets - 2007 - zyx/pepper

Steve Fister from Buffalo, New York has toured with the Pat Travers Band, Steppenwolf and Lita Ford Band, and in the early 80's he joined Iron Butterfly as their lead guitarist. He has recorded over ten albums under his own name or as the Steve Fister Band. The guy is a sensational guitarist but sadly remains an unknown musician to far too many people. “Live Bullets” covers rock, R&B and jazz, and the guitar work from Steve is masterful. Robert Silverstein in 21st Century Guitar said that “Guitar ace Steve Fister joins the ranks of today’s rising guitar superstars, and offers undeniable proof of his stature as a masterful solo artist”. Nightwatcher’s House of Rock said that “Steve Fister blends the guitar wizardry of Jeff Beck with a bluesy 70's hard rock vibe, punctuated with the melodic sense of The Beatles”. Bernard Baur in an article in Music Connection said that “Steve Fister has forged a solo style uniquely his own. Playing a form of blues rock fusion, Fister doesn’t just blend genres, he creates new ones”. Steve said in an interview that "My earliest memory of music that moved me was Boogie Woogie piano, and then a bit later the Beatles and the British invasion stuff, Eric Clapton, Jeff Beck, Jimmy Page, that led me to Albert King, BB King and Freddy King. That led me to Charlie Christian, then on to fusion jazz. The style where I found my voice on the guitar was always blues based. I have a ton of influences, but I can't shake the emotion and feeling I get from the blues”. Steve’s “Unspoken Vol. 1” can be found @ http://overdoseoffingalcocoa.blogspot.com/2011/09/steve-fister.html Buy Steve’s “Dodgin Bullets” album and support genuinely talented musicians. [All tracks @ 320 Kbps: File size = 163 Mb]

TRACKS / COMPOSERS

1. True Grit (Fister) 4:25
2. She Ain't Lonesome (Dupree, Fister) 4:49
3. Age of Great Dreams (Fister) 8:35
4. One Way Ticket (Fister, Tuduri 9:25
5. Foolin Me (Fister, Tuduri) 4:59
6. JB Meets JB (Fister, Gershwitz) 9:41
7. Zig Zag Talk (Fister) 8:01
8. Tommy (Barlage) 2:12
9. Baby Please Don't Go / 3rd Stone from the Sun / Radar Love (Hay, Kooymans, Morganfield) 8:01
10. Pay Bo Diddley (Diddley, Nicholson, Wilson) 6:58

BAND

Steve Fister - Guitar, Vocals
Barend Courbois - Bass
Hans In't Zandt - Drums, Backing Vocals

Steve Hackett, John Paul Jones, Paul Gilbert, Nuno Bettencourt

2013-05-21T02:27:00.001+02:00

Steve Hackett, John Paul Jones, Paul Gilbert, Nuno Bettencourt - (Hard Rock Cafe, Japan 20th Anniversary Special Live) Guitar Wars - 2004 - Universal International

A live concert celebrating the twentieth anniversary of the famous Japan Hard Rock Cafe. Performances took place on 28th & 29th, August 2003 at Akasaka Blitz, a music venue in Minato, Tokyo, which is owned and operated by Tokyo Broadcasting System Television, Inc. The guitar summit features the “Guitar Wars” participants Steve Hackett, John Paul Jones, the amazing Paul Gilbert and Nuno Bettencourt, better known as the axemen from Mr.Big, Genesis, Extreme and the bassist from Led Zeppelin. Each of the 'band' members gets a set, so there is a Paul Gilbert set, a John Paul Jones set, a Nuno Bettencourt set and a Steve Hackett set. This CD version of the gigs include 13 great tracks including a ripping closing encore of the Zeppelin classic "Rock And Roll”. As long as these guys are playing, Rock & Roll will never die. Great stuff! You can buy a DVD of this concert with extra tracks and features [All tracks @ 320 Kbps: File size = 179 Mb]

TRACKS / COMPOSERS

Paul Gilbert Set

1 – Gettin’ Betta - Cowling, Travers 5:35
2 – Viking Kong - Gilbert 7:32
3 – I Like Rock - Gilbert 3:22

John Paul Jones Set

4 – Tidal - Jones 5:13
5 – Steel Away - Jones 5:41
6 – Nobody’s Fault But Mine - Page, Plant 8:04

Nuno Bettencourt Set

7 – Gravity - Bettencourt 5:47
8 – Get The Funk Out - Bettencourt 6:47
9 – More Than Words - Bettencourt, Cherone 5:35

Steve Hackett Set

10 – Firth Of Fifth - Genesis 3:30
11 – Mechanical Bride -Hackett 8:03
12 – Los Endos - Hackett 6:27

ENCORE

13 – Rock And Roll - Bonham, Jones, Page, Plant 6:05

MUSICIANS

Paul Gilbert - Guitars, Vocals
Steve Hackett - Guitars, Harmonica, Vocals
Nuno Bettencourt - Guitars, Drums, Vocals
Mike Szuter - Guitar, Bass Guitar, Vocals
John Paul Jones - Bass Guitar, Lap Steel Guitar, Mandolin
Roger King - Keyboards
Pat Mastelotto - Drums
Gary Cherone - Vocals

Torben Enevoldsen

2013-05-20T02:36:00.000+02:00

Torben Enevoldsen - Heavy Persuasion - 2000 - Lion Music

A very good electric instrumental guitar rock album from the underrated Danish guitarist, Torben Enevoldsen. A reviewer on Amazon.com described Torben as “Ritchie Blackmore, Yngwie Malmsteen and Joe Satriani all rolled up into one”. This compliment may be just slightly “over the top”, but there is no denying Torben’s great skills on the fretboard. The music is well structured. The album contains a lot of really blazing complex guitar work but is never overly self-indulgent. All the tracks were composed by Torben and the music is influenced by artists like Dream Theater, Symphony X, and the magnificent Paul Gilbert. Torben has stated that he would love the great guitarist Allan Holdsworth do a guest appearance on a future release. Now that would be something! Buy Torben’s “Guitarisma” album which demonstrates his guitar skills even better than “Heavy Persuasion” [All tracks @ 320 Kbps: File size = 103 Mb]

TRACKS

1. Heavy Persuasion 4:24
2. Desert Groove 4:21
3. Cloud Nine 4:50
4. Another Page 4:59
5. Go Figure 3:55
6. Temple of Hope 4:01
7. Spacewalk 4:08
8. Heads Up 5:11)
9. About Time 5:12
10. Off Limits 5:23

All tracks composed by Torben Enevoldsen

MUSICIANS

Torben Enevoldsen - Guitar: Additional Drum Programming on Tracks 7, 9
Flemming Hansen - Bass
Mickey Hurricane - Drums: Castanets on Track 3
Thomas Kruse - Cowbell on Track 5

BIO

Torben Enevoldsen began playing guitar in the early 1980s, influenced by such all-time greats as Tony Iommi, Richie Blackmore, and Edward Van Halen. But it wasn't until 1990 when he got serious, realizing that practice makes perfect. More influenced by Yngwie Malmsteen and other contemporary "shredders," Torben took on the task of practicing every single day. Working on his picking and improvisational skills, he found that playing became easier and more fun in the process. Performing with various bands in Denmark gave Torben the necessary experience of working with other people as well as the essential feel of playing live. Meanwhile, experimentation at home with a 4-track tape recorder, a drum machine and a bass, gave birth to Torben's unique compositional style. Hard rock instrumentals came to him almost effortlessly, and, already a big fan of this musical style, his passion grew even stronger. Torben played the first completed tracks for his very close friend, Torben Lysholm, a studio engineer. Lysholm was very excited by what he heard and invited Torben to come to the studio to record a few tracks, which resulted in the release of the demo CD called, "Just In Case." In July 1997, Torben went back to the studio to record another nine tracks, two of which included vocals. He was joined in Denmark's "Hot Sound Recording Studio" by Carsten Neumann and Christian Rajkai on bass, Kenny Lübcke on vocals and Torben Lysholm, who did the engineering, programming and backing vocals. Soon, a master tape, including the demo tracks in a new mix, was completed. Torben Enevoldsen signed an agreement with Unigreen International in Holland who released "Guitarisma" on their ROXON label in December 1998. In May 2000, Torben returned to the studio to record his second album "Heavy Persuasion". Assisted by Flemming Hansen on bass and Mickey Hurricane on drums, the final production comprises ten hard rock/heavy/progressive instrumentals exclusively. The album was recorded and mixed in ”Aabenraa Studiet” in Denmark by Jacob Hansen and produced by Torben Enevoldsen. Lion Music released the album in October 2000. In the beginning of 2001, Torben needed a change of pace and now wanted to write an all vocal album. The band project were to be called SECTION A and apart from Enevoldsen himself, the band would feature Andy Engberg (Lion’s Share) on vocals and Andreas Lill (Vanden Plas) on drums. The debut album called “The Seventh Sign” was released by Lion Music and Marquee/Avalon in June 2003 and features guest performances by Derek Sherinian (Planet X, Dream Theater) and Günter Werno (Vanden Plas, Angra). Right after completing the material for the second Section A album, Torben started composing material for his third instrumental album "Flying Solo". The album was written, recorded and mixed by Enevoldsen himself at his own studio "The Lab", and released by Lion Music on May 20th, 2005. In early 2005, Torben started writing material for a brand new project. The idea was to get back to basics and compose some fairly basic hard rock/metal songs. Mats Levén (At Vance, ex-Malmsteen) did the vocals and Daniel Flores (Mind's Eye, Tears Of Anger) the drums. The album was mixed and mastered by Tommy Hansen and released in April 2006 by MTM Music and Gencross. The second SECTION A album, "Parallel Lives", was finally released in February 2006, and features new drummer Johan Koleberg (ex-Lion's Share) as well as guest appearances by bassist Pontus Egberg (ex-Lion's Share) and Mats Olausson (ex-Malmsteen), who did all the keyboard solos. When the "Parallel Lives" album was released, Torben had already begun working on yet another new project. This time he teamed up with former Grand Illusion vocalist, Peter Sundell. Enevoldsen and Sundell decided to name the project "Decoy" and the style came to be very melodic hard rock, with a slight touch of prog and metal. Torben wrote all the music and played the guitars and bass and Thomas Heintzelmann did the drums. The debut album, entitled "Call Of The Wild", was released in April 2007, on the AOR Heaven label. Enevoldsen spent most of 2008 writing new material. Some of this new material came to be very melodic AOR/hard rock, and the idea of doing a full album in this style quickly emerged. In order to spice things up however, Enevoldsen decided to ask a few good friends of his to participate, both as singers, but also as co-writers. This new project is called "Acacia Avenue" and the debut album features Tony Mills (TNT), Geir Rönning (Radioactive), Torben Lysholm (Pangea) and Lars Säfsund (W.O.A.) on vocals. Torben did the bass, keyboards and guitars, as well as both lead and backing vocals on a few songs himself and Thomas Heintzelmann did the drums. The self-entitled debut album will be released by Lion Music on January the 15th, 2010. Currently holding endorsements with Soldano Custom Amplification and V-Picks, Enevoldsen continues to write music, perfect his guitar skills and work toward making his name a household word to fans of solid rock guitar. © 2011 Torben Enevoldsen © http://www.torbenenevoldsen.com/code/page1.html

Modern Gustin Trio (Beatles Related)

2013-05-20T02:30:00.000+02:00

Modern Gustin Trio - The Beatles Go Jazz - 1995 - Double Play

Gérard Gustin is a well known French orchestra leader and pianist and this album is his interpretation of fifteen Lennon & McCartney songs, 1 George Harrison tune, and his own composition, "Remember John". It is really difficult to mess up a Beatles tune, however in some of the tracks the melody is lost in some very uninteresting arrangements. There are other Beatles tunes which are more suitable to a jazz arrangement. Tracks like "Yellow Submarine" and "Girl"
do not really work here. There are better Beatles jazz covers available. Has anybody heard Chick Corea's amazing cover of "Eleanor Rigby". However, if you are a Beatles fan you will be interested in all aspects of the Beatles music. Your opinion on this album is welcome [All tracks @ 320 Kbps: File size = 118 Mb]

TRACKS

1. Michelle
2. Let It Be
3. Something
4. I Wanna Hold Your Hand
5. With A Little Help From My Friends
6. Can't Buy Me Love
7. Yesterday
8. Ob-la-di Ob-la-da
9. A Hard Day's Night
10. Girl
11. Hey Jude
12. Yellow Submarine
13. Ticket To Ride
14. I Feel Fine
15. Penny Lane
16. Get Back
17. Remember John

All songs composed by Lennon & McCartney except "Something" by George Harrison, and "Remember John" by Gérard Gustin

TRIO

Gérard Gustin - Piano
B. Rousselet - Bass
P. Riou - Drums

Georgie Fame

2013-05-19T05:22:00.000+02:00

Georgie Fame - Cool Cat Blues - 1991 - Go Jazz

An anonymous donor sent me this cd recently, its title having agonisingly lingered on my wish list for some time. I can only proffer my apologies to Mr Fame for having taken so long to discover this album's excellence and to my generous benefactor a humble and most appreciative thank you. Mr Fame is a legend in his own right, with a career spanning some forty years, he needs no introduction. Originally a blues aficionado his skills began to lend to the jazz genre in the early eighties. Mr Fame is indeed a talented man and has that rare pleasure of being not only a first class vocalist but a talented musician too. I'm blessed too have his title "Name Droppin" (Live) and I didn't really think it could be beat. But of course Mr Fame pulls off excellence with frightening ease time and time again and this album exudes the essence of an album that was a joy to produce. A self-contained and extraordinary album, it flows effortlessly in its excellence from track one to track thirteen all too disappointingly soon. I normally like to quote my favourite track but dam, aint it so hard to do. Maybe its Moondance but then maybe its Yeah, Yeah .... no its definitely It Should Have Been Me ... no wait its Georgia ..... all wonderful classics in their own right and if my humble opinion is worth anything you should stop reading this and go press the purchase button. – from ***** SPLENDIFEROUS !!!, June 26, 2002 By & © H. J. Sandford "jazzyjaney" (Yorkshire, England) © 1996-2013, Amazon.com, Inc. or its affiliates http://www.amazon.com/Cool-Cat-Blues-Georgie-Fame/product-reviews/B00005AQI8/ref=dp_top_cm_cr_acr_txt/187-6829984-0203647?ie=UTF8&showViewpoints=1

“The hardest part of making this album was chosing the material - the musicians kind of chose themselves (anybody you called to perform on a Georgie Fame session immediately said yes). Because Georgie is equally adept at blues, R&B and bebop, we narrowed the repertoire down to our favorites from the books of Louis Jordan, Ray Charles, Mose Allison, Hoagy Carmichael, Van Morrison (Georgie's band-mate at the time) and of course several of his sophisticated originals”. – Ben sidran from Go Jazz, 1989

Ben Sidran assembled some of the best jazz players in the business to record “Cool Cat Blues” with the celebrated Georgie Fame. Some of the great musicians on this album include the late Hugh McCracken, Van Morrison, Boz Scaggs, Steve Gadd, and Robben Ford, and these guys don’t appear on any old rubbish. Apart from the great vocal standards, there is a great reworking of Georgie’s "Yeah Yeah" and a dynamic version of Van Morrison's classic "Moondance". The legendary vocalist, songwriter, and keyboardist Georgie Fame remains one of the great British jazz and R&B musicians. This album is VHR by A.O.O.F.C. The "Shorty featuring Georgie Fame" album is @ http://overdoseoffingalcocoa.blogspot.com/2009/06/georgie-fame.html Try and listen to the Georgie Fame & Alan Price “Together” album [All tracks @ 320 Kbps: File size = 158 Mb]

TRACKS/ COMPOSERS

1 Cool Cat Blues - Georgie Fame & Alexander Ryan 4:05
2 Every Knock Is a Boost - Georgie Fame, Louis Jordan, B. Waters 5:15
3 Moondance - Van Morrison 6:44
4 It Should Have Been Me - Memphis Curtis 5:02
5 Yeah Yeah - Rodgers Grant & Jon Hendricks 5:05
6 I Love the Life I Live, I Live the Life I Love - Willie Dixon 3:17
7 Big Brother - Mose Allison 4:58
8 Georgia on My Mind - Hoagy Carmichael & Stuart Gorrell 5:11
9 Cat's Eyes - Georgie Fame 6:17
10 You Came a Long Way from St. Louis - John Benson Brooks & Bob Russell 4:30
11 Survival - Georgie Fame & Alexander Ryan 9:00
12 Little Pony - Neal Hefti & Jon Hendricks 2:40
13 Rocking Chair - Hoagy Carmichael 3:58

MUSICIANS

Robben Ford, Hugh McCracken - Guitar
Dennis Irwin, Will Lee - Bass
Georgie Fame - Organ, Piano, Horn Arrangements, Vocals
Richard Tee - Organ, Piano, Acoustic & Electric Piano
Michael Weiss - Piano
Steve Gadd - Drums
Ralph MacDonald - Percussion
Ben Sidran - Tambourine, Vocals
Ronnie Cuber, Lawrence Feldman - Saxophone
Bob Malach - Saxophone, Horn Arrangements
Boz Scaggs, Jon Hendricks - Vocals
Van Morrison - Vocals, Vocal Ad-Libs

BIO

Georgie Fame's swinging, surprisingly credible blend of jazz and American R&B earned him a substantial following in his native U.K., where he scored three number one singles during the '60s. Fame played piano and organ in addition to singing, and was influenced by the likes of Mose Allison, Booker T. & the MG's, and Louis Jordan. Early in his career, he also peppered his repertoire with Jamaican ska and bluebeat tunes, helping to popularize that genre in England; during his later years, he was one of the few jazz singers of any stripe to take an interest in the vanishing art of vocalese, and earned much general respect from jazz critics on both sides of the Atlantic.
Fame was born Clive Powell on June 26, 1943, in Leigh, Lancashire (near Manchester, England). He began playing piano at a young age, and performed with several groups around Manchester as a teenager, when he was particularly fond of Fats Domino and Jerry Lee Lewis. In 1959, his family moved to London, where the 16 year old was discovered by songwriter Lionel Bart (best known for the musical Oliver). Bart took Powell to talent manager Larry Parnes, who promoted British rockers like Billy Fury, Marty Wilde, Johnny Gentle, and Vince Eager. Powell naturally had to be renamed as well, and as Georgie Fame, he played piano behind Wilde and Eager before officially joining Fury's backing band, the Blue Flames, in the summer of 1961. (the Blue Flames also included guitarist Colin Green, saxophonist Mick Eve, bassist Tony Makins, and drummer Red Reece.) When Fury let the band go at the end of the year, Fame became their lead singer, and they hit the London club circuit playing a distinctive blend of rock, pop, R&B, jazz, and ska. Their budding reputation landed them a residency at the West End jazz club the Flamingo, and thanks to the American servicemen who frequented the club and lent Fame their records, he discovered the Hammond B-3 organ, becoming one of the very few British musicians to adopt the instrument in late 1962. From there, the Blue Flames became one of the most popular live bands in London. In 1963, they signed with EMI Columbia, and in early 1964 released their acclaimed debut LP, Rhythm and Blues at the Flamingo. It wasn't a hot seller at first, and likewise their first three singles all flopped, but word of the group was spreading. Finally, in early 1965, Fame hit the charts with "Yeh Yeh," a swinging tune recorded by Latin jazz legend Mongo Santamaria and given lyrics by vocalese virtuoso Jon Hendricks of Lambert, Hendricks & Ross. "Yeh Yeh" went all the way to number one on the British charts, and Fame started living up to his stage name (although the song barely missed the Top 20 in America). His 1965 LP Fame at Last reached the British Top 20, and after several more minor hits, he had another British number one with "Getaway" in 1966. After one more LP with the original Blue Flames, 1966's Sweet Thing, Fame broke up the band and recorded solo; over the next few years, his backing bands included drummer Mitch Mitchell (later of the Jimi Hendrix Experience) and the young guitarist John McLaughlin (Miles Davis, Mahavishnu Orchestra). At the outset, Fame's solo career was just as productive as before, kicking off with the Top Ten big-band LP Sound Venture (recorded with Harry South's orchestra); thanks to its success, he toured with the legendary Count Basie the following year. Several hit singles followed over the next few years, including "The Ballad of Bonnie and Clyde," which became his third British chart-topper in late 1967 and, the following year, his only Top Ten hit in America. But by 1969, his success was beginning to tail off; hoping to make inroads into the more adult-oriented cabaret circuit, Fame was moving more and more into straight-up pop and away from his roots. In 1971, he teamed up with onetime Animals organist Alan Price and recorded an album of critically reviled MOR pop, Fame & Price; the partnership produced a near-Top Ten hit in "Rosetta," but ended in 1973. Fame re-formed the Blue Flames with original guitarist Colin Green in 1974 and attempted to return to R&B, but his records for Island attracted little attention. He spent much of the '70s and '80s making ends meet by performing on TV and the cabaret circuit, as well as writing advertising jingles; he also continued to make records, to little fanfare. In 1989, Fame played organ on Van Morrison's Avalon Sunset album, which grew into a fruitful collaboration over the course of the '90s; Fame played on all of Morrison's albums through 1997's The Healing Game, received co-billing on Morrison's 1996 jazz album How Long Has This Been Going On, and even served a stint as Morrison's musical director. Meanwhile, Fame's own solo work during the '90s received some of his best reviews since the '60s, starting with 1991's jazzy Cool Cat Blues, which featured a duet with Morrison on "Moondance." 1995's Three Line Whip featured his sons Tristan and James Powell on guitar and drums, respectively, and 1996's The Blues and Me further enhanced his growing jazz credibility. In 1998, Fame split with Morrison to record and tour with former Rolling Stones bassist Bill Wyman's new group the Rhythm Kings, contributing organ and vocals to several albums. In 2000, now signed to Ben Sidran's Go Jazz label, Fame released the acclaimed Poet in New York, which established him as an impressive student of jazz's vocalese. © Steve Huey © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/georgie-fame-mn0000543055

Greg Howe

2013-05-17T17:56:00.007+02:00

Greg Howe - Hyperacuity - 2000 - Tone Center

Hyperacuity is Greg Howe's debut offering for the Tone Center label and is an instrumental extravaganza comprised of fusion compositions that highlight Howe's incredible techniques and melodic flair. As one of the most versatile guitarists in jazz, rock, or fusion, Howe really stretches on his highly anticipated seventh solo release and follow-up to Ascend. The popular guitarist opens with "Hyperacuity," a musical personification of Howe's razor-sharp guitar licks that are further exemplified on "Blindfold." This is a "killer" jam and solidifies Howe's furious guitar licks in the annals of jazz/rock. His ability to adapt his acclaimed speed as a legato for the lower tones on "Order of Dawn" is even more reason for listeners, both new and hardcore fusionists, to get excited about Howe's musical genius. "Heat Activated" is a workout of tempos, blues-inflected changes, and great use of wah-wah frequencies that awakens a nostalgic muse with this fiery wake-up call. Along with his successful use of synth sounds and programming on Howe's cover of the Stevie Wonder classic, "I Wish," this CD becomes the musical vision realized by uniting great rock, blues, and jazz with the 21st century musical mindset of Greg Howe. © Paula Edelstein © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/hyperacuity-mw0000065171

“Hyperacuity” is a fantastic instrumental mosaic of fusion, blues, jazz, rock, funk, and of course, shred from the incredibly talented guitarist, Greg Howe. The album contains six Howe originals and a cover of Stevie Wonder's "I Wish". This album is VHR by A.O.O.F.C. Listen to Greg's "Introspection" album. Just how good can a guitarist get? For a mindblowing example of an inspired guitar solo, listen to Paul Gilbert @ http://www.youtube.com/watch?v=AsK30xHb7mk [All tracks @ 320 Kbps: File size = 109 Mb]

TRACKS

1 Hyperacuity 5:54
2 Blindfold Drive 6:13
3 Order of Dawn 8:33
4 Heat Activated 5:03
5 Receptionist 6:28
6 Trinka 6:12
7 I Wish 6:44

All tracks composed by Steve Howe except "I Wish" by Stevie Wonder

MUSICIANS

Greg Howe - Guitars: Acoustic Guitar (Right Side) on "Order of Dawn"
Prashant Aswani - Acoustic Guitar (Left Side) on "Order of Dawn"
Dale Fisher - Bass
Kevin Soffera - Drums: Udu Drums and Beck Drum Kit on "Receptionist"

BIO

Easton, PA's Greg Howe was a breath of fresh air amidst the seemingly never-ending stream of harmonic minor guitar virtuosos pouring forth from the Shrapnel Records label in the late '80s. While other post-Yngwie Malmsteen players of the "shred guitar" genre were pursuing the dramatic neo-classical vein, Howe brought a sense of funk and groove to the table that was sorely needed. Howe paid his dues playing the Easton/Allentown club circuit in the '80s with the band Duke, featuring his brother Al on lead vocals. When one of his instrumental demos grabbed the ear of talent scout and Shrapnel Records owner Mike Varney, Howe was signed to the Shrapnel label in 1987. His all-instrumental debut, Greg Howe, featuring the talents of Billy Sheehan and Atma Anur on bass and drums, respectively, was released in 1988, to considerable acclaim. Howe's second album, High Gear, released under the moniker Howe 2, was less a solo album than a Van Halen-styled band effort, featuring his brother Al Howe on lead vocals. The band broke up after releasing its more commercially minded follow-up, Now Hear This, in 1990 and Greg Howe returned to making all-instrumental albums in his home studio, taking a decidedly more fusion-styled direction. Howe released Introspection in 1993 and Uncertain Terms in 1994 and has continued to produce albums at a prolific rate since then. Aside from releasing Parallax and Five in 1995 and 1996, respectively, Howe collaborated with fellow Pennsylvania virtuoso and Shrapnel labelmate Richie Kotzen on the Tilt album in 1995 and again on 1997's Richie Kotzen/Greg Howe Project. His last Shrapnel album, Ascend, was released in 1999, followed by his debut on the Tone Center label, Hyperacuity, released in 2000.Outside of his solo career, Greg Howe is also a sought-after sideman who has toured with the likes of Michael Jackson and N'Sync. © Andy Hinds © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/greg-howe-mn0000195552

Carlo Fimiani

2013-05-16T23:52:00.005+02:00

Carlo Fimiani - Too Early - 2007 - Guitar Nine Records

After a long stay in L.A, the talented Italian fusion guitarist Carlo Fimiani achieved a certificate with Honour at the prestigious G.I.T., studying with musicians like Scott Henderson, Joe Diorio, Brett Garsed and T.J. Helmerich. Carlo is clearly influenced by some of these great musicians. Some of Carlo’s other favourite musicians include Eric Clapton, John Coltrane, Miles Davis, B.B. King, Herbie Hancock, Weather Report, and Chick Corea. “Too Early” is a really good album of stellar axemanship. Carlo is assisted by numerous high profile Italian musicians as well as the great English drummer, Gavin Harrison of Porcupine Tree and King Crimson. Try and listen to Carlo’s exceptional “"Alter Ego" album [All tracks @ 320 Kbps: File size = 78.4 Mb]

TRACKS

1 Falsa Partenza (0:58)
2 Radio Zapping (4:03)
3 Totem (3:37)
4 Clara (4:43)
5 Steve's Strings (5:13)
6 Enigma (4:11)
7 Too Early (3:21)
8 Outlaw Blues (3:49)
9 Flat Five (3:34)

All tracks composed by Carlo Fimiani except Track 9 by Michele Ascolese & Carlo Fimiani

MUSICIANS

Carlo Fimiani - Guitars
Torindo Colangione, Tommaso Seannapieco, Paolo Pelella, Pasquale De Angelis, Dario Deidda, Antonio De Luise - Bass
Pino Tafuto - Rhodes, Keyboards
Guglielmo Guglielmi - Piano
Alessandro La Corte - Rhodes
Julian Oliver Mazzariello - Hammond, Piano Solo
Walter Calloni, Vittorio Riva, Gavin Harrison, Rocco Salzano - Drums
Carmine Bruno - Percussion
Jerry Popolo - Tenor Sax

BIO [Translated from Italian]

Dire Straits, Pink Floyd, Van Halen, are the idols of young Carlo. But when he hears the notes of a certain Mike Stern, becomes stronger the necessity to understand much more. The diploma with merit note at C.P.M. in Milan wit Danilo Minotti is followed by a long stay in Los Angeles where Carlo gets a certificate with Honor at the prestigious G.I.T., studying with Scott Handerson, J. Diorio, B. Garsed, T.J. Helmerich, D. Gilbert, and taking part in the seminars of Frank Gambale, Steve Vai, Mike Stern, Carl Verheyen, Blues Saraceno, Vinnie Moore and many other bigs of the six strings: is this unforgettable american experience to form the style, the musical taste and didactic preparation. In 1995 is II at the European competition for rock-fusion guitar players in Losanna (CH). He played, among the others, with Michele Zarrillo (’93-’94), with Tullio De Piscopo (2001), both in pop area and in jazz area (villa celimontana jazz in Rome, music international meetings in Salerno, villa manzoni jazz in Milan, recco blues etc…), with Carl Anderson ( the championship Giuda nero of jesus Christ superstar). Since 2002 he is in tour with Gino Paoli, with whom takes part in several tv programmes among which La Vita in Diretta- Rai 2, Sanremo Top- Rai 1, Baciami Versilia- Rai 1- 40 anni Beatles- Italia 1. Actually he also works together with Marzo Zurzolo, with whose quintet he played at Montreal Jazz Fest, Umbria Jazz, Pomigliano Jazz, Ischia Week End Jazz Festival, Blue Note NY and Blue Note Milan. In 2005-06 with Ornella Vanoni and Gino Paoli he took part in the important theatrical tour ended with the cd and dvd live’s publication. © http://www.carlofimiani.com/biografia.asp

Jonas Hellborg, Shawn Lane & Jeff Sipe

2013-05-16T03:25:00.000+02:00

Jonas Hellborg, Shawn Lane & Jeff Sipe - Personae - 2002 - Bardo

Take three of the most frighteningly accomplished instrumentalists in contemporary music and record a live set of mostly improvised, long-form compositions. Jazz fusion, you say? On Personae, bassist Jonas Hellborg, guitarist Shawn Lane and drummer Jeff Sipe grab the notion of "fusion," toss it back and forth for a bit, toy with the concept and ultimately hurl it against the wall, shattering it into a thousand fragments. Somewhere between Hellborg's fierce, anxious bass lines, Sipe's superhumanly precise cadences and Lane's awesome spasms of guitar wizardry, the trio forges a sound that trancends conventional categorization. Personae, recorded live in Germany, captures three virtuosos at the pinnacle of their powers and documents all the scabrous intensity and gentle beauty of their collaboration. © Propermusic.com Ltd 2013. http://www.propermusic.com/product-details/Jonas-Hellborg-Shawn-Lane-Jeff-Sipe-Personae-24473

Extraordinary live hot bop and hard rock fusion recorded live in Germany in 1996 and 1997 by three musical giants. This is music with real teeth that highlights just how poor the music scene is today. Sadly, Shawn Lane died in 2003. Listen to Jens Johansson’ “Fission” album featuring Shawn and Mike Stern [All tracks @ 320 Kbps: file size = 125 Mb]

TRACKS

1 Time Is The Enemy 4:39
2 Rag B/B 20:08
3 Personae 7:18
4 Heretics 11:23
5 Hell Is Other People 8:00
6 Rice With The Angels 5:21

All tracks composed by Shawn Lane & Jonas Hellborg

MUSICIANS

Shawn Lane - Guitar
Jonas Hellborg - Bass
Jeff Sipe – Drums

BIO (JONAS HELLBORG)

JONAS HELLBORG was born 1958 in Gothenburg, Sweden. He taught himself to play the bass at age 12. Influenced by artists such as Jimi Hendrix, Cream, and Deep Purple, HELLBORG played mainly blues and heavy rock. In 1972 he heard a record that changed his perception of music. ‘The Inner Mounting Flame’, by the MAHAVISHNU ORCHESTRA would not only influence his music, but his career as well. Formal studies in jazz and classical music started at the age of sixteen. At this time he became involved with a free form group. He particularly listened to recordings of ALBERT AYLER and JOHN COLTRANE. He studied MILES DAVIS’S development from the early part of his career through the beginning of the 70’s when Davis produced ‘In A Silent Way’, and ‘Bitches Brew’. In this context, HELLBORG became reintroduced to the work of JOHN MCLAUGHLIN. MCLAUGHLIN would serve as the main influence for HELLBORG who was exploring a jazz/rock idiom, playing small clubs in the south of Sweden. JONAS HELLBORG’S command of his instrument flabbergasted musicians when he first performed in Sweden in the early 1980's. His gleefully flamboyant virtuosity was made the more startling by his punk stage presence. He may have acted as a rock musician initially – and to a considerable extent he still is - but he cornered all those slumming jazz cats in matters of improvisational daring and originality. He is fast - how many other bass players could play unisons with full-tilt MCLAUGHLIN - but what are acknowledged by his peers, include his slap technique, lead lines and revolutionary chordal approach, serving to extend his instrument’s potential The wider chords, for example, pointed toward a keyboard-like role for the bass, and reflected his studies of MCCOY TYNER’s music. The intervallic leaps in his solo's have almost as much to do with COLTRANE than HENDRIX and scarcely relate to traditional bass technique at all. JONAS is on record too as learning from the under-acknowledged BACK DOOR bass guitarist, COLIN HODGKINSON. Otherwise, on his chosen instrument he is his own man entirely and one of the very best 4 string electric and acoustic bass guitarists on this planet. Dissatisfied with the various rock groups he had been working, HELLBORG turned to more challenging music and solo concerts. In 1981, he was invited to play at the Montreux Jazz Festival. MICHAEL BRECKER was impressed by JONAS HELLBORG'S playing there and introduced him to many of the jazz greats including JONAS’S long time idol, JOHN MCLAUGHLIN. Subsequently HELLBORG sent him some tapes of his music. Later in 1981, BRECKER invited HELLBORG to New York to open for STEPS AHEAD on several club dates. Upon his return to Europe from the USA, HELLBORG was approached by percussion great, REEBOP KWAKU BAAH of TRAFFIC and AIRFORCE fame. The two worked for a year in London on a recording project that was halted by REEBOP’S tragic death in the latter part of 1982. In 1982 HELLBORG created his own record label, Day Eight Music (DEM), in order to allow himself and others to record with full artistic freedom: the subsequent numbers of albums released covering a very broad range of music, reflect this objective. The first record was HELLBORG’S first solo bass release, ‘The Bassist Thing’. In February 1983 JONAS HELLBORG went back to London to complete the project started with REEBOP, releasing an album entitled ‘Melodies In A Jungle Man’s Head’ (DEM). In May 1983, HELLBORG joined avant-garde pianist MICHAEL J. SMITH and drummer MICHAEL SHRIEVE (ex. SANTANA) to record the label’s second release, ‘All Our Steps’. Shortly after this, JOHN MCLAUGHLIN invited HELLBORG to join the reforming MAHAVISHNU ORCHESTRA. The first performance HELLBORG did with MCLAUGHLIN was a television show in Paris where they played in trio with BILLY COBHAM on drums. Early 1984 saw the addition of saxophonist BILL EVANS and keyboardist MITCH FOREMAN and the group released the self-titled album ‘Mahavishnu’ (Warners). At the same time JONAS HELLBORG released his second solo bass album ‘Elegant Punk’. Before the first MAHAVISHNU tour drummer DANNY GOTTLIEB (ex-PAT METHENY GROUP), replaced BILLY COBHAM; the group completed two World tours. In 1984, at the start of MAHAVISHNU'S USA tour, MICHAEL SHRIEVE introduced JONAS HELLBORG to BILL LASWELL. At the time the musician and producer (nowadays a renown jazz-album remixer), LASWELL was recording DEADLINE'S ‘Down By Law’, and invited HELLBORG to play on it: the album is special in that it holds probably last recordings of JACO PASTORIUS and PAUL BUTTERFIELD. In 1985 LASWELL managed to dig out GINGER BAKER from retirement in Italy, to have him play on the atypical PIL's recording, ‘Compact Disc’, (also called ‘Cassette’, or ‘Album’, depending on the format it was sold originally; Virgin Records). So while passing through New York on tour again, HELLBORG also contributed to this album, along with STEVE VAI and TONY WILLIAMS – much to the apparent and subsequent chagrin of JOHN “ROTTEN” LYDON!! In 1985 HELLBORG and MCLAUGHLIN started playing duet concerts. In an effort to explore a different musical mood, the two created an intimate chamber music kind of jazz/funk that was almost classical in its texture. In same year, HELLBORG also recorded ‘Axis’ with PARLIAMENT/FUNKADELIC player BERNIE WORRELL (keyboards), BERNARD FOWLER (vocals) and ANTON FIER (drums). 1986 saw the release of the second MAHAVISHNU album, ‘Adventures In Radioland’ (recorded in Milan, Italy) and another world tour. In 1987, the MCLAUGHLIN-HELLBORG duo toured throughout Japan, the US and Europe. Later the same year HELLBORG teamed up with WORRELL and GINGER BAKER to record ‘Bass’ and tour Europe. JONAS HELLBORG also found time to guest on an album by the German free jazz group KOLLECTIV, ’Kollectiv Featuring Jonas Hellborg’ (ITM Records). A limited edition release, a compilation of previously heard Hellborg recordings, was issued ’Onkyo Presents Jonas’ (DEM, 1987) In 1988 MCLAUGHLIN and HELLBORG were joined by Indian percussionist TRILOK GURTU for a tour of the USA. HELLBORG can be heard on a couple tracks of TRILOK GURTU’S album ‘Usfret’ (1988, CMP Records). The 1989 HELLBORG release ‘Adfa’ featured a variety of musicians including TRILOK GURTU (percussion)). After this tour HELLBORG left MCLAUGHLIN, moved to New York and formed his own trio with Turkish AYDIN ESEN (keyboards) and KENWOOD DENNARD (drums). This first version of the JONAS HELLBORG GROUP toured Europe doing concerts and TV shows but made no recordings. The second version was formed with brothers JENS JOHANSSON (keyboards) and ANDERS JOHANSSON (drums), both from YNGWIE MALMSTEEN’S RISING FORCE. (During this period, in 1990 JENS joined DIO for a record and a tour). Also during this time HELLBORG toured and recorded a mix of heavy rock and jazz. The resulting album, ‘The Jonas Hellborg Group’ (DEM, Day Eight Music Records), had an experimental group consisting of two bass players (HELLBORG on 4 string, and ANDERS NORD on 6 string basses) and drummer JAMIE SALAZAR, later of the FLOWER KINGS, (electronic drums). In 1990 JONAS HELLBORG and BILL LASWELL created the Greenpoint Recording Studio in New York. They also worked together on several recordings. HELLBORG played on the LASWELL produced album by GINGER BAKER ‘Middle Passage’. In 1991 they collaborated on DEADLINE’S ‘Dissident’ (DEM). LASWELL produced HELLBORG’S ‘The Word’ (Axiom), a record where HELLBORG (acoustic bass guitar) and famed TONY WILLIAMS (drums) are backed by a string quartet. This album was also the first feature of a unique instrument that HELLBORG took delivery of in 1989, the Wechter acoustic bass guitar, built by luthier Abraham Wechter between 1986 and ‘89. This instrument was also used on HELLBORG’s third solo bass album, ‘The Silent Life’ (DEM). In 1991 HELLBORG produced JENS JOHANSSON’S ‘Fjäderlösa Tvåfotingar’ (Amigo Records; experimental, synth-lead, jazz fusion) and GINGER BAKER’S ‘Unseen Rain’ with HELLBORG (acoustic bass guitar) and JENS JOHANSSON (acoustic piano) (DEM). In early 1992 the trio of HELLBORG, BAKER, JOHANSSON toured Europe. In addition HELLBORG recorded several records in ’92: • RAF’s ‘Ode To A Tractor’ (DEM), an avant-garde recording featured LASWELL and fellow LAST EXIT colleague PETER BROTZMAN, plus JENS JOHANSSON and others; • SHINING PATH’S ‘No Other World’ (DEM), thrash metal rock played near perfectly by HELLBORG and the JOHANSSON brothers, featuring singer GARY “MUDBONE” COOPER – the album has a controversial sleeve photo; • ANDERS JOHANSSON’S ‘Shu-Tka’ (Heptagon Records), • His own ‘Octave Of The Holy Innocents’ (DEM; subsequently remixed, remastered and released by Bardo in 2005), with MICHAEL SHRIEVE (drums) and BUCKETHEAD (acoustic guitar). In January 93 HELLBORG moved to Paris and had a year off from recording, although he toured extensively doing both solo concerts, working with a group of middle eastern musicians, with MICHAEL SHRIEVE as well as playing duos with several other percussionists, and concerts together with the JOHANSSON brothers. In 1994 he recorded two new albums: ‘Ars Moriende’ (DEM), with the New York-based frame drum player and percussionist GLEN VELEZ, and ‘Abstract Logic’ (DEM) with guitarist SHAWN LANE and drummer KOFI BAKER (Ginger’s son). He also worked on pieces for string quartet and a suite for cello and piano called ‘Hell Bop’, which had its first performance at a concert at the Swedish Culture Centre in Paris. HELLBORG went to China 1995 in January for recordings with different Chinese musicians including flute player DU CI WEN. This was followed by recordings with MICHAEL SHRIEVE and SHAWN LANE, on SHRIEVE’s ‘Two Doors’ (CMP Records). LANE and ANDERS JOHANSSON joined HELLBORG for a tour of China in September and the first for a western "fusion" group. The Swedish National Ballet Company, Cullberg Baletten, decided to use music from the record ‘Ode To A Tractor’ for a piece choreographed by Lars Max Bethke. (One is recommended to be wary of the 1995 release NIELS & THE NY STREET PERCUSSIONISTS; although HELLBORG’S name is used on the front cover with equal billing to NIELS, it seems he only produced the album but did not play). HELLBORG’S main project through the late 90’s has been with SHAWN LANE (guitars) and JEFF SIPE (aka APT Q-258, drums), with the release of a number of albums and extensive world touring. Musically the trio’s music has been predominately been in the jazz rock fusion field, releasing some of the best jazz rock albums of the 90’s: • ‘Temporal Analogues Of Paradise’ (1996, Bardo); • ‘Time Is The Enemy’ (Bardo 1997, reissued with extra tracks in 2004). • ‘Personae’ (2002, Bardo). In addition there have been the world jazz fusion albums: • HELLBORG and LANE’S ‘Zen House’ (2000, Bardo); • HELLBORG, LANE, with V. SELVAGANESH (kanjeera) on ‘Good People In Times Of Evil’ (Bardo 2000); The soundtrack of HELLBORG’s performance on Syrian TV with traditional Arab musicians, was released as ‘Aram Of Two River: Live In Syria’ (Bardo 1999). With eastern influences now strongly evident in their music, (including the Sufi Qawwalis music of the Khans,) HELLBORG and LANE worked with southern Indian musicians, V. UMAMAHESH (vocals) V. SELVAGANESH (kanjeera) and V. UMASHANKAR (ghatam) recorded and released ‘Icon’ (Bardo) and ‘Paris’ (Bardo DVD). Only the premature death of Shawn Lane in 2003, curtailed the longest collaboration of HELLBORG’S career. There have been several sightings of HELLBORG since LANE’S untimely death, including work with free jazz musicians. Early in 2005 GARY HUSBAND and guitarist STEVE TOPPING (replacing ALLAN HOLDSWORTH at the last moment) toured India. At the end of 2005 HELLBORG released ‘Kali’s Son’ (Bardo), another welcomed Indo-jazz recording in collaboration with progressive sitarist NILADRI KUMAR (zitar & sitar) and again with percussionist V. SELVAGANESH (kanjeera). The exceptional number of projects and astonishing recordings (several can be listing in the best jazz fusion of the last 20 years), in a very broadest range of musics, demonstrates JONAS HELLBORG’S unwillingness to stop in one spot for very long: the epitomy of a true progressive musician. [(Considerably updated and extended biography based on that originally offered by Bardo Records, by RJH)] © Prog Archives, All rights reserved

ABOUT SHAWN LANE

Shawn Lane was a phenomenally talented guitar player who never quite broke out beyond guitar enthusiasts and critics, but will remain influential to players for many years to come. Originally hailed as a child prodigy, Lane joined Black Oak Arkansas as a teenager, and could have been part of the guitar shredder movement of the late '80s and '90s, but his restless musical inclinations led him down a different path. Lane began his musical education on piano and cello at age four, but had switched to guitar by age eight. At ten, he was holding band rehearsals at the house he shared with his grandmother, and since the other bandmembers left their instruments at his house, Lane was free to try them out, and added bass and drums to his keyboard and guitar abilities. By 15, Lane was becoming known in Memphis circles as a guitarist, which led to an audition with Black Oak Arkansas in 1978, who he toured with for the next four years. Black Oak Arkansas was still popular enough to play at Bill Clinton's inaugural as Governor of Arkansas, but the band's heyday was well behind them. After disbanding briefly, BOA was re-formed with a couple of Shawn's high school friends joining the band, and bringing a heavy fusion edge to this southern boogie band. Then, burnt out from touring, Lane basically dropped out of sight in 1982 for a couple years, practiced piano, studied music theory and composition, and did a lot of reading and watching movies (he claims he barely played guitar at all during this period). The mid-'80s saw Shawn returning to guitar: first playing in some bands around the south, then appearing on an album produced by Mike Varney on the Shrapnel label, with a tune called "Stratosphere II" on the U.S. Metal compilation (his first available recording). Shortly afterwards, he formed a band called the Willys, who were the house band at the Peabody Hotel in Memphis. Many touring musicians caught Lane's playing while staying there, and word of mouth led to session work, and eventually to his playing on the Highwayman 2 album with Johnny Cash and Willie Nelson. That high profile work ,and a demo cassette passed to Jim Ed Norman at Warner Brothers led to Lane being signed to Warner Brothers in 1990. Lane spent the next two years at home, creating the Powers of Ten album, on which he played every instrument. Following its release in 1992, Guitar Player Magazine named him "Best New Talent" and he placed second in Keyboard Magazine's "Best Keyboard Player" category. A touring band was assembled to promote the album, and a live recording was made, though it wasn't released until 2001(Powers of Ten Live!). His next project was DDT, a band that also featured Cody and Luther Dickenson, later of the North Mississippi Allstars. The DDT material was supposed to be for Lane's second album for Warner Bros., but the recording never materialized. Also at this time, Lane did production work for other artists, did a couple instructional videos, and developed curricula and taught at several European Conservatories. 1994 would be an important year for Lane, as it marked his first collaboration with Swedish bassist Jonas Hellborg, a relationship that would continue for nearly a decade and produce many releases (mostly on the Bardo label). Lane and Hellborg were perfect collaborators, sharing many of the same musical influences and many other interests as well, and it was playing with Hellborg that Lane really discovered his voice on guitar. They toured with drummer Jeff Sipe over the next several years, developing such a rapport that they were able to play completely improvised sets every night (documented on albums like Temporal Analogues of Paradise and Time Is the Enemy). Concurrently, in 1995, Hellborg and Lane played with Chinese pop singer Wei-Wei, and the Hellborg/Lane/Sipe trio appeared as an opening act at all of Mainland China's largest musical venues. Lane and Hellborg parted ways with Sipe in 1997, allowing Lane to work on the tracks that would become Tri-Tone Fascination, his second solo album in 1999. Also at this time, he and Hellborg began incorporating more Near Eastern and Eastern influences into their playing and improvising (Zenhouse, ). In 1999, Lane and Hellborg began working with V. Selvaganesh, son of percussionist Vikku Vinayakram of Shakti fame, and began pushing the music into more of a South Indian fusion, as evidenced by Good People in Times of Evil. Lane started having health problems in 2001, temporarily breaking off his work with Hellborg. After recovering, Lane started playing with a Memphis bar band called the Time Bandits, but was back with Hellborg and Sipe for a brief tour in 2002. There was also more work with the Vinayakrams, resulting in Icon, a dazzling work of East-West fusion that, unfortunately proved to be among Lane's final recorded works. There was a brief tour of India in February of 2003, but Lane's health problems returned, and on Sept. 26, 2003, Shawn Lane passed away following lung surgery. © Sean Westergaard © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/shawn-lane-p26629/biography

ABOUT JEFF SIPE

Jeff began to play drums in the sixth grade. Then In 1975, Jeff’s first stepping stone was attending the Shenandoah Conservatory of Music. — One of Jeff’s dreams finally came true when he was accepted to Berklee in 1977. While at Berklee, Jeff studied under Bob Kaufman and Bill Norine, he attended clinics given by Alan Dawson and was taken under by his mentor Lee Venters. Jeff was lucky enough to attend Berklee with an impressive cast of musicians like Branford Marsalis, Bill Frisell, Mike Stern and Jeff Watts, Kevin Eubanks, Dean Parks, Steve Vai, just to name a few. While studying at Berklee, Jeff met and played in a band with Steve Vai and Baron Brown called “Winter”. This experience turned Jeff on to a wide world of music and rhythm which gave him valuable tools that he still carries with him today. After his stay in Boston, Jeff moved to Atlanta in 1983. There he began gigging and teaching at the Atlanta Institute for Music and at a popular hang out for Atlanta drummers, Atlanta Drums and Percussion. Jeff spent time sitting in with local musicians and was introduced to Bruce Hampton through Dan Wall, a keyboardist that he had been playing with…..and that’s the rest of the story. It seemed too fitting that their first meeting took place at a wedding because not only was there a marriage there was a wedding of vast musical intention. Jeff then asked Oteil Burbridge and Jimmy Herring to sit in on this free willed musical band wagon and the Aquarium Rescue Unit was born. In 1996, Jeff met up with Swedish-born bass extraordinaire Jonas Hellborg and the Memphis guitar monster Shawn Lane. This Trio did many Europoean tours as well as American tours. Jonas released 4 recordings of this band including “Temporal Analogues of Paradise”, a classic. Jeff’s interest in bluegrass music led him to 3 years with “Leftover Salmon” where he gigged almost non stop! The recording “Nashville Sessions” was a high lite of that period having an opportunity to work with Randy and Earl Srcruggs, Bela Fleck, Waylon Jennings, Lucinda Williams, Taj Mahal, & Jerry Douglas among others. Jeff took on his own creation known as the Zambiland Orchestra. This experimental big band featured Ricky Keller conducting members of Phish, Widespread Panic, Michael Ray and the Cosmic Crew, the Derek Trucks Band, the Fiji Mariners, MOE, Little Feat, Sam Bush, John Cowan, Warren Haynes, Stanton Moore, the Atlanta All-Stars, Little John, Sonny Emory Randy Honea, and many others. The Zambiland Orchestra performed as a charity event for six years in a row every December just before Christmas at the Variety Playhouse as a benefit for Hospice and the food bank. By the 4th year into it there where 83 players on stage being conducted by the great spirit Ricky Keller and Jeff. One invited guest was Matt Butler who was so inspired by this spirited event that he began his own version called the” Everyone Orchestra”. Even more recently Jeff teamed up with long time friend and guitar maniac Jimmy Herring on a project known as Z, that’s Project Z to most. Together with fellow Atlantian producer/musician Ricky Keller and mega organ/keyboardist Oliver Wells, Project Z recorded a self titled debut album filled with juicy fusionisk tunes that gathered praise from all realms. Since then a second Project Z has been released as well as Jeff’s solo release “Timeless” featuring Paul Hanson, Derek Jones, Jason Crosby, Kofi Burbridge, Count ‘M Butu and Derek Trucks. Currently Jeff is touring with Mike Seal and Taylor Lee as the “Jeff Sipe Trio”: Mike Seal on guitar; Taylor Lee on bass. Other Jeff Sipe releases include: the Jeff Sipe Band’s “Studio Live” with Mike Seal on guitar, Neal Fountain on bass and Matt Slocum on keys, “Art of the Jam” with a host of many great musicians, and “Jeff Sipe, Paul Hanson & Jonas Hellborg” © 2012 Jeff Sipe Music - All Rights Reserved http://jeffsipemusic.com/about/

Michel Cusson

2013-05-15T02:38:00.000+02:00

Michel Cusson - Michel Cusson & The Wild Unit - 1992 - Select

Although on the Avant-Garde label, this is a fusion date showcasing Michel Cusson on guitars and guitar synthesizer. The instrumental music is quite rock-oriented and the Canadian musicians perform with reasonable creativity within an idiom that had been largely discarded in the United States by the early 1990s. Although altoist Alain Labrosse (whose tone is sometimes similar to David Sanborn's) has a few intense solos and the rhythm section is forceful, Cusson is the main star throughout. Some of the music is bluish and funkier than 1970s fusion but in general this CD is most highly recommended to fans of the Mahavishnu Orchestra and Return To Forever. There is certainly no shortage of spirit or passion during this set. © Scott Yanow ©2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/the-wild-unit-mw0001268344

“With Wild Unit, there are time and budget restrictions, and musician availability concerns. If I could, I’d just use my own studio if it was larger. As it is, it’s tough to get ten people together. Creativity is no problem—there are no limits there. And the band is always changing. Paul [Brochu] has joined the band, and Sylvain [Bolduc, bassist] is there permanently now too. The main reason to form the band was to explore percussion. It’s not there so much anymore, but it was good to do. It’s just too expensive to carry all of those drumkits and percussion. So, I decided to go with a group which could stretch more on the improv side. And depending on what budget I have at a given time, I do hire extra musicians. Wild Unit has had up to 12 musicians in it. Right now, there are seven. The stuff isn’t too hard to play, so I can add people as needed. The purpose of Wild Unit is to have fun, communicate, interact and groove and not to stick with one sound. With Wild Unit, I’ve explored hip-hop and worldbeat—especially African rhythms. African music is an endless source of different rhythms. And it uses the same language I use with jazz—a system of cues with sections that are very open that enable me to switch players as needed. Wild Unit’s music is very open. There is lots of interaction, long solos, and long build-ups. I want to do an album—maybe a live album—that focuses on the longer pieces”. © Michel Cusson © 2013 Anil Prasad. All rights reserved http://www.innerviews.org/inner/cusson.html

From 1976 to 1992, the hugely popular and influential jazz fusion band, Uzeb comprised of Michel Cusson, bassist Alain Caron and drummer Paul Brochu played to huge global audiences, selling over 500,000 albums. “Michel Cusson & The Wild Unit” is similar in many aspects to the fusion of UZEB, and this album has some terrific Afro - Caribbean grooves in the style of Weather Report. A reviewer on Amazon called this music “Bop'n'roll'n'funk”, a description which describes the sound of this album very well. However the album also has flavours of blues and rock, and is first and foremost a jazz fusion album with brilliant guitar work from Michel Cusson. The album is HR by A.O.O.F.C. Try and listen to the “Wild Unit 2” album and also UZEB’s great “Live in Bracknell” album [All tracks @ 320 Kbps: File size = 140 Mb]

TRACKS

1. Oukale Oukale
2. Wild Time
3. Le Chant
4. Sorry to Lose You
5. Au Fond du Temps
6. Serious Shuffle
7. And Marie
8. Mardi Gras
9. Djembe Folk

All tracks composed by Michel Cusson except Track 7 by Marc Parent

MUSICIANS

Michel Cusson – Guitars & Guitar Synth.
Michel Heroux – Bass
Yves Boisvert – Drums
Paul Brochu – Drums on Tracks 2, 8
Ibrahima Gueye, Alain Labrosse – Percussion
Luc Boivin – Percussion on Tracks 3, 9
Andre Leroux – Tenor & Soprano Saxophones
Daniel Martel – Alto Saxophone
Benoit Glazer – Trumpet, Flugelhorn
Kelsey Grant – Trombone
Marc Andre Tremblay – Synth. & Computer Programming

SHORT BIO

Michel Cusson is a critically acclaimed, world-renowned musician, music director and film music composer. Initially trained as a jazz-rock guitarist at the prestigious music departments of Montreal’s McGill University and Boston’s Berklee College of music, Cusson transitioned into film composition in the early 90’s. Cusson is the founder of the jazz-rock group UZEB. His extraordinary and prolific body of work includes musical arrangements on some of Canada and Quebec’s most iconic, award-winning television programs, cinema and IMAX 3D films including Aurore (Luc Dionne), Maurice Richard and Séraphin – Un Homme et son Péché (Charles Binamé), Riopelle Sans Titre (Pierre Houle), and the IMAX films Legends of Flight, Ultimate Wave Tahiti, Fighter Pilot: Operation Red Flag, Volcanoes of the Deep Sea (Stephen Low), Dinosaurs Alive (David Clark / Bayley Silleck), and Wolves (David Douglas). Cusson has also collaborated on several important international films including France’s Père et fils (Michel Boujenah) and Israel’s Metallic Blues (Danny Verete). His television credits comprise co-writing (with Richard Grégoire) original music for A & E’s celebrated historical series Napoleon (Yves Simoneau) and the cult classic, writing original music for mafia drama Omertà, the second most popular series in Quebec television history. In 2003, the Canadian Academy of Cinema & Television honored Cusson with a prestigious Prix des Immortels de la télé for the original soundtrack of the multi-award-winning television series. Cusson also composed music for many mega-shows all over the world. Two horse shows: Cavalia touring worldwide for more than 8 years, and Odysseo a new creation. Ulalena ( 12 years in Hawaii), Era ( 6 years) and the new Kaleido ( both in Shanghai, China) have been seen by thousands of spectators. His extraordinary work and achievements have been distinguished with 14 Felix Awards, 7 SOCAN Awards, 1 Jutra Award, 6 Gémeaux Awards and a Gemini. In 2006, he was given the illustrious Chevalier de la Pléiade distinction, for outstanding cultural achievement for serving the ideals of cooperation and friendship of the Francophonie. The global breadth and quality of Cusson’s melodic contributions (25 films and 19 television series) and his musical versatility has established him as one of the most sought-after composers in the world. © Productions Michel Cusson Inc. http://www.michelcusson.com/bio.html

David Gogo

2013-05-14T00:33:00.001+02:00

David Gogo - Skeleton Key - 2002 - Cordova Bay Records

The Canadian guitarist's fifth album for the Cordova Bay label, and seventh overall, shows David Gogo at the peak of his soul, blues-rock powers. Certainly the only musician in his genre to cover Depeche Mode (a gutsy "Personal Jesus"), Otis Rush (his version of Bloomfield/Butterfield's "Reap What You Sow" nearly cuts the original), Stevie Wonder (a roughed up, bluesy and slowed down "Signed, Sealed, Delivered" is nearly unrecognizable from the original) and Curtis Mayfield (a muscular "Fool for You" does justice to this terrific tune) on the same album, he's a not only a terrific interpreter of other's music but digs deep to unearth interesting material. His version of the obscure Willie Dixon tune "It Don't Make Sense (That You Can't Make Peace)" is an eight minute whirlwind that showcases Gogo's stinging, surging guitar and sure sense of drama helped by harmony vocals from Melisa Devost. Gogo is also an impressive songwriter on his own, as the six originals here prove. The title track is a successful stab at greasy Sam & Dave mid-tempo soul and the jagged riff on "Belgian Moon" is one most other roots-rockers would kill for. His vocals are confident and convincing but it's his production with Rick Salt that is most notable. The sound on this album is spacious yet direct, showcasing Gogo's guitar leads while keeping them from overwhelming the songs. Why this guy isn't better known outside of his home turf is the real mystery. Maybe it's because of the sketchy US distribution of his label. But anyone who enjoys tough roots rocking with a side of tangy R&B is highly encouraged to search this out. © Hal Horowitz © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/skeleton-key-mw0001443014

With Skeleton Key, David Gogo displays his creative talents, while exploring new ground and building on his previous success. His ability to blend blues, soul and rock in an electric performance brings an innovative texture to his music. Gogo handpicked a selection of fresh original works that show musical maturity and a deep understanding of the blues/rock genre. His treatment of unexpected gems by such diverse artists as Depeche Mode and Stevie Wonder illustrates his knack for turning chart-topping hits into contemporary blues/rock anthems. – from Editorial Review © 1996-2013, Amazon.com, Inc. or its affiliates http://www.amazon.com/Skeleton-Key-David-Gogo/dp/B000069HTR

Voted “Musician of the year” during the 99 West Coast Music Awards, David Gogo is still touring all around the world and opening for famous artists such as Buddy Guy. “Skeleton Key” is a great album of blues rock, soul, and R&B with great grooves and some strong guitar playing from David. Only five of the tracks are Gogo originals. The remaining tracks include covers of songs by Stevie Wonder, Willie Dixon, Butterfield/Bloomfield/Gravenites, Otis Spann, and Albert Collins, and you can also hear the musical influences of artists like Curtis Mayfield and Captain Beefheart. This is great stuff and HR by A.O.O.F.C. Buy David’s great “Change of Pace” album and support real music [All tracks @ 320 Kbps: File size = 102 Mb]

TRACKS / COMPOSERS

1 (Just Ask) Jesse James - David Gogo 3:48
2 Stay Away From My Home - David Gogo 4:15
3 I Can Still Hear You Crying - David Gogo 4:12
4 Things Are About To Change - David Gogo 3:06
5 It Don't Make Sense (That You Can’t Make Peace) - Willie Dixon 7:57
6 Reap What You Sow - Paul Butterfield, Mike Bloomfield, Nick Gravenites 5:38
7 Walkin' - Otis Spann 2:49
8 Skeleton Key - David Gogo 3:54
9 Backstroke - Albert Collins 2:45
10 Later To That - 0:09
11 Signed, Sealed, Delivered - Lee Garrett, Lula Mae Hardaway, Stevie Wonder, Syreeta Wright 2:54
12 Personal Jesus - Martin L. Gore 4:26

MUSICIANS

David Gogo - Guitar, Lead Vocals
Todd Sacerty - Bass
Billy Hicks - Drums, Percussion
Brendan Hedley - Piano, Organ
Kyle Burrow - Rhodes Piano
Rick Hopkins - Organ
Pierre Komen - Saxophone, Vocals
Tina Jones - Trumpet, Percussion
Gerry Barnum - Harmonica & “Groaning”
Earle Gibson - Trombone, Vocals
Melisa Devost - Harmony Vocal

SHORT BIO

Blues guitarist David Gogo was born in Nanaimo, British Columbia, and received his first guitar at the age of five (having been given a ukulele the year before). He honed his skills for the next decade and, by the age of 16, he was gaining work as a professional musician. Inspired by a meeting with Stevie Ray Vaughan, Gogo became even more committed, forming a the Persuaders, which went from a post-high school band to one that was soon opening for acts like Johnny Winter, Buddy Guy, and Albert Collins. Following a stint in Europe which found the Persuaders opening for the Fabulous Thunderbirds, Gogo signed a solo deal with EMI Records. While writing material for his debut, Gogo managed to find time to appear on Tom Cochrane's highly successful Mad Mad World album. When David Gogo arrived in 1994, it was a critical success and Gogo earned a Juno nomination. However, due to shifting label personnel, the record was not given a U.S. release and Gogo was being pressured to pursue a more commercial route. Choosing to strike out on his own, Gogo released Dine Under the Stars, which had been recorded live in his hometown, on his own. A distribution deal in France led to a record deal with Canadian independent label Cordova Bay and the subsequent release of Change of Pace, a more rock-oriented affair, and the acoustic Bare Bones, which was a return to his blues roots. In 2002, Gogo issued his fifth album, Skeleton Key, which combined both electric and acoustic arrangements as well as a mixture of original material and covers of songs by artists like Stevie Wonder and Depeche Mode. © Tom Demalon © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/david-gogo-mn0000215722

Jon Finn Group

2013-05-13T03:52:00.003+02:00

Jon Finn Group - Wicked - 1998 - SEP Records

The Jon Finn Group is a rock band formed and led by the Boston guitarist Jon Finn. The band plays instrumental progressive rock with a blues approach. There sound has been described as a mix between Dream Theater and Dixie Dregs. The band Jon Finn on guitar, Joe Santerre on bass, Ross Ramsay on keyboards, and Larry Finn on drums. All the band members have taught, or teach at the Berklee College of Music.

“Wicked [is] a more progressive effort that retained his signature sense of melody and zany sense of humor…and teamed it with bluesy energy and exalted harmonic and rhythmic awareness.” – Andrés Wilson, Boston Live

“Wicked rocks!” – Buzz Morrison, Guitar Magazine

Skilbovia on Amazon.com described Jon as “Steve Morse, Joe Satriani and Stevie Ray Vaughn all rolled into one with a fantastic pair of backers”. Jon, himself has noted that "You know the perception people have of rock guitarists—gunslingers and drug addicts. If there's one issue I get evangelical about, it's when I hear a lot of words from well-known rock players who say, 'Don't practice, be a rebel. Studying the instrument is bad for your creativity.' The mentality is that if you're too technically proficient, you're not rock 'n' roll; I'm not sure if I agree. My feeling is that it's possible to be a studied musician and maintain that primal energy—it's just not easy. I personally love players like Jeff Beck, Carlos Santana, Steve Morse, and Eddie Van Halen, the ones who can speak to my soul and challenge my intellect at the same time."

A really good and original instrumental progressive blues/jazz rock guitar album from the very underrated Jon Finn and his great band, and HR by A.O.O.F.C. Buy Jon’s “Don't Look So Serious” album. Joe Santerre is a tremendous bassist and has performed with musicians that include the great John Petrucci of Dream Theater. He has written books and papers on bass guitar and has also released a solo album, “The Scenic Route”. Try and listen to some of these great musicians who are continually releasing great work that is completely ignored by the media [All tracks @ 320 Kbps: File size = 129 Mb]

TRACKS

1 General Sense of Well-Being 3:05
2 This Two 8:24
3 Two Monkeys Jump Back 5:48
4 Stinky 7:29
5 Ashley’s Star 5:30
6 Clockwork 4:42 *
7 Alien Autopsy 6:38 *
8 Return from Timbuktu 4:16 *
9 If Stevie Ray Vaughan Went to Berklee and Studied Jazz 5:16
10 Definitely Maybe 5:32

All tracks composed by Jon Finn except Two Monkeys Jump Back by Jon Finn & Joe Santerre, “Alien Autopsy” by Jon Finn, Joe Santerre & Dave Dicenso, and “Definitely Maybe” by Jeff Beck

N.B: * Tracks 6-8 are also entitled [Pompous music suite: 1st movement Clockwork, overture and prelude; 2nd movement Alien autopsy, largo and loud-o; 3rd movement Return from Timbuktu, a tempo mon trippo

MUSICIANS

Jon Finn - Guitar
John Petrucci - Guitar on “Two Monkeys Jump Back”
Joe Santerre - Bass
Ross Ramsay - Keyboards
Dave DiCenso - Drums

BIO

A guitarist since age six, Jon Finn has been a professional musician for most of his life. Today, he’s been repeatedly acknowledged within the international community of musicians as being a clear leader in Modern Rock Guitar as a performer, composer and educator. Joining the guitar faculty at Berklee College of Music in Boston in 1988, he started the Jon Finn Group later that same year. To date, they have three internationally released CDs, Don't Look So Serious (Legato Records 1994), Wicked (SEP Records 2000), “Bull in a China Shop” (SEP Records 2010) several independent releases, and countless performances worldwide under their belts. For over three years, Jon wrote a monthly instructional feature for a national magazine called Guitar. Jon has also authored several books for Mel Bay Publications: Advanced Modern Rock Guitar Improvisation, One Guitar, Many Styles, Blues/Rock Improvisation, Riffs: Volume One, and a few more currently in production. In his freelance pursuits, he's played guitar for the national touring companies of many contemporary musical theater productions such as Rent, Aida, Mamma Mia, Hairspray, High School Musical, Grease, Joseph and the Amazing Technicolor Dreamcoat, Copacabana, and many others. Today Jon frequently performs and records with the Boston Pops Orchestra and Boston Symphony Orchestra. With them he’s performed with Josh Groban, Andrea Bocelli, Amy Grant, Vince Gill, Rockapella, Steven Tyler and Joe Perry (Aerosmith), Natalie Cole, Carly Simon, Bernadette Peters, New York Voices and many others. He’s been involved in a plethora of concerts and recording sessions, including 6 CDs (two of which were Grammy nominated), 8 US concert tours, and one tour in Asia. Jon has also performed with some of the world’s premier guitarists as a co- featured performer: John Petrucci, Guthrie Govan, Carl Verheyen, Dweezil Zappa, Dave Larue, Andy Timmons, Vinnie Moore, Steve Morse, Tom Scholz, Barry Goudreau, Tom Morello and others. One of his songs, “Berlin Wall” appears in the motion picture release “Refusenik”, a documentary about Soviet Jews and their struggle to escape to the US during the Cold-War era. Jon’s guitar is heard on the NFL Theme Song during the football season. Jon spends his spare time with his family. © http://www.jhme.org/data/contentfiles/Jon%20Finn%20Bio%20w%20pix.pdf

Billy Sheehan

2013-05-13T03:45:00.002+02:00

Billy Sheehan - Holy Cow! - 2009 - Mascot Music

Legendary Bass Master Bill Sheehan is releasing his much anticipated third solo album entitled Holy Cow! on Mascot Records U.S.A. April 14th, 2009. The albums tracks showcase Sheehan s immense talents as both a singer/songwriter and instrumentalist. Sheehan pulled in top-notch arsenal with guest performances by Billy Gibbons on A Lit l Bit l Do It To Ya Ev ry Time , Paul Gilbert (who played with Sheehan in Mr Big) on Dynamic Exhilarator , Dug Pinnick (Kings-X) on the song Turning Point as well as Ray Luzier on drums and shred master Tony MacAlpine. Sheehan has played over 4,000 gigs with a career that includes stints with Talas, David Lee Roth, Mr Big, and Steve Vai. Voted the Best Rock Bass Player 5 times in Guitar Player magazines Readers Poll, an honor which placed Sheehan in their Gallery of Greats (alongside Jimi Hendrix, Paul McCartney, Geddy Lee and Eddie Van Halen to name but a few). With cumulative sales of over 4 million records in his career, Billy Sheehan has made the album his fans have been waiting for, over the top playing with strong songs. Sheehan continues to stretch the boundaries of the bass guitar while showcasing his immense talent as a guitarist (Baritone 12 string and 6 string guitars) and singer. Look for a Billy Sheehan solo tour to promote this album in the very near future. © Hard Rock Hideout . com

Despite being considered one of the most skillful and over-the-top bassists in all of rock since the 1970s (due to his stints with Talas, David Lee Roth, and Mr. Big), it was not until the early 21st century that Billy Sheehan got around to issuing his own solo albums. And to make up for lost time, he offered three solo outings from 2001 through 2008, the latest being Holy Cow. As with such past solo outings as 2001's Compression, Sheehan's songwriting and lead vocals are serviceable, but certainly not as "arena worthy" as his work with the aforementioned outfits. Most people picking up a Sheehan release are doing so for some bass heroics, and you certainly get your fair share here, especially on such tracks as "Sweat on an E String" and "Swimming Underwater." Additionally, quite a few special guests drop by to do battle with Sheehan's bouncy bass, including Billy Gibbons (on "A Lit'l Bit'l Do It to Ya Ev'ry Time), Paul Gilbert (on "Dynamic Exhilarator"), and Doug Pinnick (on the "Turning Point"). © Greg Prato © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/holy-cow%21-mw0000813348

Great album by the phenomenal bassist, Billy Sheehan, one of the most gifted bassists in rock today. Billy composed all the tracks and he is aided by greats that include guitarists Paul Gilbert and Billy Gibbons. Buy Billy’s “Compression” album and listen to Explorers Club's “Age Of Impact” album, just one of the many great albums that Billy Sheehan has played on. Check out his incredible bass playing @ http://www.youtube.com/watch?v=bavIllGMFRA [All tracks @ 320 Kbps: File size = 129 Mb]

TRACKS

1 In A Week Or Two (I'll Give It Back To You)
2 A Lit'l Bit'l Do It To 'Ya Ev'ry Time
3 Dynamic Exhilarator
4 A Bloodless Casualty
5 Make It To Another Day (I Keep Rolling On My Way)
6 Just Another Humanoid
7 Turning Point
8 Theme From An Imaginary Sci Fi
9 Another Broken Promise
10 Two People Can Keep A Secret (If One Of Them Is Dead)
11 Cell Towers
12 She Goes From Cruel To Missionary (Bonus Track)
13 Sweat On An E String (Bonus Track)

N.B: There are various issues of this album featuring between 11 and 14 tracks. The issue here is from 2009 on the Mascot label with 13 tracks

All tracks composed by Billy Sheehan

MUSICIANS

Billy Sheehan - Guitar, Bass, Harmonica, Vocals
Simone Sello - Guitar, Keyboards
Billy Gibbons - Lead Guitar on Track 2
Paul Gilbert - Lead Guitar on Track 3
Pat Regan - Keyboards
Ray Luzier - Drums
Doug Pinnick - Lead Vocals on Track 7

BIO

Often called "the Eddie Van Halen of the bass," Billy Sheehan just happened to catch his big break playing with former Van Halen frontman David Lee Roth. Although Eddie Van Halen gets the lion's share of credit for popularizing the two- handed tapping technique on guitar, it's been rumored that Sheehan began utilizing the same technique around the same time, albeit on his bass, resulting in a debate during the '80s (among guitar geeks, at least) as to who was the true originator. Hailing from the chilly locale of Buffalo, New York, Sheehan spent much of the '70s and early '80s as the leader of Talas, a bar band that first started by playing covers before focusing primarily on original material (that sounded quite similar to Van Halen). The Van Halen connection grew stronger when the band took Talas out on the road for a smattering of arena gigs in 1980 (despite the fact that Talas wasn't even on a major label at the time). According to Sheehan years later, Eddie Van Halen supposedly made overtures to Sheehan to replace Michael Anthony in Van Halen, but Sheehan remained in Talas. Several indie releases followed, 1980s Talas: Featuring Billy Sheehan, 1982's Sink Your Teeth into That, and 1983's Live Speed on Ice, as Sheehan began to be recognized for his exceptional bass talents in national guitar publications. Just as Talas was about to sign their much-sought-after major label contract in 1985, Sheehan received a call from his old pal, David Lee Roth, inquiring if the bassist would like to join his solo band (Roth had just exited Van Halen). Sheehan accepted, and along with guitarist Steve Vai and drummer Gregg Bissonette, David Lee Roth's band was born. Although this lineup would last for a single album (1986's Eat 'Em and Smile) and tour, the group managed to do a fantastic job of balancing their instrumental technical prowess with penning anthemic arena rockers (a Talas-era Sheehan composition, "Shy Boy," would be included on the album and serve as a concert opener). Despite the accolades and success the group received, the union would sadly prove to be short-lived, as Sheehan was forced by Roth to tone down his playing style on the next release, 1988's Skyscraper -- resulting in Sheehan's exit from the band prior to the supporting tour. Sheehan didn't take long to appear again, as he followed in the Roth band's commercial hard rock sound with a new band called Mr. Big, comprising ex-Racer X six-string shredder Paul Gilbert, former solo recording artist Eric Martin on vocals, and drummer Pat Torpey. The band's debut, Mr. Big, debuted in 1989, but it wasn't until 1991's Lean into It that the group experienced commercial success in the U.S. (albeit brief), with a pair of hit ballads, "To Be with You" and "Just Take My Heart." Although Mr. Big would continue issuing albums throughout the '90s, their U.S. fan base dwindled (they remained an arena headliner in Japan, however), resulting in the group's demise by the early 21st century. Sheehan has since kept himself busy with a variety of other projects, including a power trio named Niacin (along with keyboardist John Novello and drummer Dennis Chambers), a collaboration with ex-Frank Zappa drummer Terry Bozzio (Nine Short Films), as well as backing old pal Vai on several G3 U.S. tours. 2001 finally saw the release of Sheehan's first true solo album, Compression. Additionally, Sheehan has guested on numerous recordings by other artists over the years, including those of Glenn Hughes, Glenn Tipton, Explorer's Club, Tony MacAlpine, and Richie Kotzen, in addition to various tribute albums. © Greg Prato © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/billy-sheehan-mn0000770404

2013-05-11T19:35:00.000+02:00

Paul Gilbert - Beehive Live - 1999 - Shrapnel

Metal guitar virtuoso Paul Gilbert was born November 6, 1966 in Carbondale, IL and raised primarily in Greenburg, PA; he began playing music at age five, and by age 15 was not only touring local clubs with his band Tau Zero but was even spotlighted in Guitar Player magazine alongside fellow up-and-comer Yngwie Malmsteen. In 1984 Gilbert relocated to Los Angeles to attend the Guitar Institute of Technology, becoming an instructor there the following year; concurrently he formed the band Electric Fence, which by 1986 evolved into Racer X. Their debut album Street Lethal appeared later that year, but in the wake of the follow-up, 1987's Second Heat, Gilbert exited to join Mr. Big, which in 1992 topped the pop charts with the ballad "To Be with You." Mr. Big disbanded in 1996, and a year later Gilbert made his solo debut with King of Clubs; Flying Dog followed in 1998, trailed by Beehive Live in 1999 and Alligator Farm in fall 2000. © Jason Ankeny © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/paul-gilbert-mn0000747761

The great Paul Gilbert is now one of the world’s most accomplished, respected and talented guitarists. Paul has respect for all musical genres and will play anything from The Archies to Richard Wagner. He plays pop, rock, fusion, jazz and everything else in between. He will take the melody of any song and embed it in a hurricane of the most complex and searing guitar licks. He is a true music lover. Listen to his playing on the two “Yellow Matter Custard” Beatle tribute albums. Listen to Paul with Mike Portnoy, Kasim Sultan, and Neal Morse play the Abbey Road medley on YouTube @ http://www.youtube.com/watch?v=U5m8k5UBbVQ&list=PLD30D7EE9A3E322DFA .....Magical stuff! Paul is a great Beatles fan and “Beehive Live” recorded in Japan is in the light pop rock vein with some Beatlesque tunes and also some insanely brilliant guitar. Paul is in whimsical mode here and even plays the Osmond’s “Hold Her Tight”. You read that right! Don’t laugh until you hear it! If you enjoy shredding and want to hear more of this guitar genius, buy his “King of Clubs” album. If you think you’ve heard all the best guitarists, check out Paul Gilbert. For what it’s worth, the guy is in the top five of “A.O.O.F.C’s list of All Time Favourite Guitar Players”. Check out his guitar solo on George Harrison's "WMGGW" @ http://www.youtube.com/watch?v=AsK30xHb7mk and he might be in your list too! [All tracks @ 320 Kbps: File size = 151 Mb]

TRACKS

1. Heavy Disco Trip 3:25
2. Be My Wife 5:25
3. Get It 2:33
4. Mr. Skin 4:48
5. Down to Mexico 3:44
6. Girls Who Can Read Your Mind 3:26
7. Tell the Truth 7:41
8. Bumblebee 4:22
9. Million Dollar Smile 2:18
10. Hold Her Tight 3:31
11. I'm Just In Love 2:39
12. Red Rooster 5:36
13. To Be With You 5:41
14. Karn Evil 9 5:15

All tracks composed by Paul Gilbert except Track 4 by Jay Ferguson, Track 10 by Alan, Merril & Wayne Osmond, Track 13 by Eric Martin & David Grahame, and Track 14 by Greg Lake & Keith Emerson

MUSICIANS

Paul Gilbert - Guitar, Vocals
Billy Morris - Guitar, Background Vocals
Scotty Johnson - Guitar, Keyboards, Background Vocals
Mike Szuter - Bass Guitar, Background Vocals
Jeff Martin - Drums, Background Vocals

BIO

Paul Brandon Gilbert (born November 6, 1966 in Illinois, U.S.) is an American musician, best known as the guitarist for Racer X and Mr. Big, as well as many solo albums and numerous collaborations and guest appearances with other musicians. Gilbert has been voted number 4 on a list in GuitarOne magazine of the "Top 10 Greatest Guitar Shredders of All Time", as well as a spot in Guitar World's "50 Fastest Guitarists of All Time" list. Gilbert was raised in Greensburg, Pennsylvania. Around 1981-82, he first contacted Mike Varney, founder of Shrapnel Records, asking for a gig with Ozzy Osbourne. At the time, Varney couldn't think why Osbourne would want a 15 year old guitarist, but after listening to his demo he changed his mind. Gilbert was featured in Guitar Player magazine at the age of fifteen. They talked for the next 3 years, until Paul went to L.A. for the GIT (Guitar Institute of Technology), and then was ready to record Racer X's debut album Street Lethal. Formed in Los Angeles in 1985, Racer X originally comprised Paul Gilbert (guitar), Juan Alderete (bass), Harry Gschoesser (drums) and Jeff Martin (vocals). They were heavily influenced by Judas Priest and Gilbert's playing was reminiscent of Yngwie Malmsteen, displaying fast-driven solos with extreme-level technique. Gschoesser was replaced by Scott Travis (later known for being the drummer for Judas Priest) in 1986, and Bruce Bouillet was added as a second guitar player. Bouillet was a very skilled player, as he had to play over Gilbert's always difficult and challenging phrases. Paul Gilbert gained recognition as one of the fastest guitar players in the world due to incredibly technical pieces like "Technical Difficulties" "Frenzy", "Scarified", "Y.R.O." and "Scit Scat Wah". Gilbert left Racer X in 1988. Racer X carried on for a short time with guitarist (and fellow GIT alum) Chris Arvin and vocalist Oni Logan (later of George Lynch's Lynch Mob) when singer Jeff Martin departed to play drums in Jake E. Lee's Badlands, in which he replaced Eric Singer who left to join Alice Cooper. Shortly thereafter, the members of the re-invented Racer X went their separate ways. The original band would eventually reform (although without Bruce Bouillet, who in-turn did produce the first reunion record). Paul contacted the members of Racer X, and all agreed to return, with the exception of Bruce Bouillet. In mid-1999 the band recorded the album Technical Difficulties. Technical Difficulties went gold in Japan, and Racer X's new record label requested a follow-up. In late 2000, the band released another album, Superheroes. The record was mixed by former Racer X guitarist, Bruce Bouillet. In order to further capitalize on their new-found success in Japan, Universal Japan requested that the band record a live show for another live CD and DVD. On May 25, 2001, the band played their first live performance in thirteen years to a sold-out crowd at the famed Whisky a Go Go in Los Angeles. The show was recorded for both audio and video, and in 2002, both the CD and DVD were released under the name Snowball of Doom. In January 2002, in support of Superheroes and Snowball of Doom, Racer X toured Japan and Taiwan. The band performed these shows in their Superheroes costumes, and the final show, in Yokohama, was hastily recorded in two tracks on the sound board and was to be later released as Snowball of Doom 2. Later that year, Universal Japan pushed for another Racer X release. In October 2002, all four members of Racer X gathered at Gilbert's house in Las Vegas to record Getting Heavier, which was sold alongside Snowball of Doom 2 in a package deal. Although the album was a successful release in Japan, some fans were disappointed with the lighter tracks, which resembled a Paul Gilbert solo album more so than a traditional Racer X album. Racer X performed at the 2009 NAMM show at the Anaheim Convention Center in Anaheim, California. Andy Timmons and his band opened the show, followed by a solo set from Paul Gilbert, and finally Racer X. The Racer X lineup consists of Paul Gilbert, Scott Travis, Jeff Martin and John Alderete. When Billy Sheehan left David Lee Roth's band in 1988, he joined with Paul Gilbert, who had left his former band, Racer X. They founded Mr. Big, with Pat Torpey on drums and singer Eric Martin. The band was initially a huge success in Japan, and became famous internationally in 1991, with the release of their second album, Lean Into It. This album featured the ballad "To Be With You", which received strong media play and reached #1 on the Billboard Hot 100. Gilbert continued playing in Mr. Big until the late 1990s. He left the band in 1997 to pursue a solo career, and was replaced by Richie Kotzen. Mr. Big disbanded in 2002. In June 2009, Paul Gilbert reunited with original Mr. Big members; Eric Martin, Billy Sheehan, and Pat Torpey, for a world wide reunion tour. They recorded a new album with producer Kevin Shirley titled What If.... The album was released in Japan on Dec. 15th, 2010, in Europe on Jan. 21st, 2011 and in the U.S. in Feb. 2011. A tour to support the album kicked off at The House of Blues, in Hollywood, CA on April 2, 2011, followed by several dates in Japan in the same month. In May and June 2011, the tour continues in China, Korea, The Philippines and Europe. In May 2003 he played in an only twice-performing project called Yellow Matter Custard, a Beatles cover band consisting also of Mike Portnoy (ex-Dream Theater), Neal Morse (ex-Spock's Beard), and Matt Bissonette. In February 2011 Yellow Matter Custard re-formed for 3 Nights Across America. Kasim Sulton replaced Matt Bissonette in the 2011 shows due to other commitments. They took their name from a Beatles lyric in "I Am the Walrus": "Yellow matter custard, dripping from a dead dog's eye". He rejoined Portnoy along with Dave LaRue and Daniel Gildenlöw for a Led Zeppelin tribute band called Hammer of the Gods in November 2003. The same year, he toured Japan with Linus Of Hollywood, TJ Helmerich, and Scot Coogan in support of his solo albums Burning Organ, Paul the Young Dude/The Best of Paul Gilbert, and Gilbert Hotel. In September 2005, he joined Portnoy, Sean Malone, and Jason McMaster in the Rush tribute band Cygnus and the Sea Monsters. In May 2006, he joined Portnoy, Gary Cherone, and Billy Sheehan to form Amazing Journey: A Tribute to The Who, playing three shows. The band (excluding Sheehan) destroyed their equipment after the show in homage. He was also revealed to be the guest guitarist on the Neal Morse solo album, Sola Scriptura. In 2007, Paul Gilbert toured with Bruce Bouillet for promotion of his first instrumental album, Get Out of My Yard, which was released in 2006. Also joining him was his wife, Emi Gilbert, on keyboards. Paul Gilbert also joined Joe Satriani and John Petrucci in the 2007 G3 tour. This was the 5th North American G3 run and the 12th tour worldwide since its inception. On January 23, 2008, Paul released an instrumental CD titled Silence Followed By A Deafening Roar. It was released in Europe on March 31, 2008, and in America on April 8, 2008. This is Paul's second instrumental album. On October 22, 2008, Paul released an album with vocalist Freddie Nelson entitled United States. The collaboration has been described as a cross of Queen and Mr. Big. Paul with Racer X performed at the 2009 NAMM show at the Anaheim Convention Center in Anaheim, California. Andy Timmons and his band opened the show, followed by a solo set from Gilbert, and finally Racer X. This Racer X lineup consisted of Gilbert, Scott Travis, Jeff Martin and John Alderete. Gilbert also joined George Lynch and Richie Kotzen on the Guitar Generation tour. On June 30, 2010, Gilbert's new album Fuzz Universe was released in Japan, with a release in America and Europe soon after. It is Paul's 3rd solo album being entirely instrumental. A cover of Johnny Cash's "Leave That Junk Alone" is featured as a Japanese bonus track. Talking about his influences, Paul mentions many different artists, including: Randy Rhoads, Kim Mitchell, Eddie Van Halen, Yngwie Malmsteen, Tony Iommi, Alex Lifeson, Jimmy Page, Robin Trower, Ritchie Blackmore, Pat Travers, Gary Moore, Michael Schenker, Judas Priest, Akira Takasaki, Steve Clark, Jimi Hendrix, Kiss, and The Ramones. Paul has stated many times that he was heavily influenced by his uncle Jimi Kidd who was instrumental in getting Paul interested in playing the guitar. He is also a great fan of The Beach Boys and The Beatles. He states on the Space Ship Live DVD that George Harrison is one of his favorite guitar players. Guitar World magazine declared him one of 50 of the world's fastest guitarists of all time, along with Buckethead, Eddie Van Halen, and Yngwie Malmsteen. Gilbert composes music in a wide variety of styles including pop, rock, metal, blues and funk, but is perhaps best known for his versatility and speed. He is noted in particular for his efficient picking and his tendency to pick many notes rather than relying on legato for fast passages. Paul Gilbert wrote his own section of the British guitar magazine, Total Guitar, where he normally demonstrated guitar techniques in the magazine and accompanying CD. Even before that, he contributed instructional articles to Guitar Player Magazine in a late 1980s/early 1990s series entitled "Terrifying Guitar 101". His period of working with Total Guitar spanned thirty-one issues until the November 2006 issue. Paul also teaches at the Guitar Institute of Technology (GIT) regularly, and is also an "honorary dean" of the GIT division in Japan. Paul visits Japan, enjoying the lifestyle like his Shrapnel labelmate Marty Friedman, who still lives in Japan and speaks Japanese fluently. Gilbert is known for his instructional videos, which are often comical in nature. One of his instructional videos includes him pulling a rabbit out of his guitar, putting his guitar in a straightjacket and having presents thrown at him by members of the film crew. Paul also was, for a short time, the guitar teacher of Buckethead, Joey Tafolla, Russ Parrish (A.K.A. Satchel from Steel Panther), Michelle Meldrum (The late wife of Europe guitarist John Norum) and Nicole Couch of Phantom Blue. Gilbert now writes a column for Premier Guitar entitled "Shred Your Enthusiasm".

Harvey Mandel

2013-05-10T14:52:00.003+02:00

Harvey Mandel - Lick This - 2000 - Electric Snake Productions

Harvey Mandel (born March 11, 1945, in Detroit, Michigan, is well known for his innovative approach to electric guitar playing. A professional at twenty, he played with Charlie Musselwhite, Canned Heat, The Rolling Stones, and John Mayall before going solo. He is one of the first rock guitarists to use two-handed fretboard tapping.

“I was around him while he was recording the music for this CD. I am not going to reveal any of his secrets; I will just say that Harvey has completely jumped into the digital age of making music. He produces everything in his digital music studio and has become a hopeless computer junkie. He has also completely changed his sound and moved on from the sound and techniques from his Canned Heat and early solo days. (He can't be bothered to touch a Les Paul or Stratocaster anymore.) I also think his general technique on the guitar has, if anything, expanded from those days. He taught me a lot in the time I was with him. Guitarists: don't bother trying to figure out his compositions by ear. He uses innovative tunings that literally no one has ever used on the guitar, to my knowledge. As a result, the chord voicings on this CD do not resemble anything in the standard 12-tone diatonic scale. I think the biggest change on this disc is the rapid growth in his composition skills. He has written some very nice melodic compositions that stand up to almost anything written lately. He also keeps his ears open, which frankly can't be said for a lot of his cohort from those days. Harvey is not one for nostalgia. – from ***** “Support this guy, he deserves it. This is good stuff.” July 25, 2003 By & © Rich Grace © 1996-2013, Amazon.com, Inc. or its affiliates http://www.amazon.com/Lick-This-Harvey-Mandel/dp/B00004S364

The 1999 CD release from guitar master Harvey "The Snake" Mandel (the world's premier psychedelic guitar player), is entitled Lick This, a modern contemporary techno recording which offers body-moving instrumentals and hip-hoppin' trance vocals from collaborator Sonny Reece. The bulk of the CD features instrumental tracks with Mandel spicing up the sonic stew with his unique guitaristic flavorings -- plenty of effects are used to enhance and humanize the techno backdrops. Lick This cuts a new musical path for Mandel, showing the boundless nature of his ideas and talent © Harvey Mandel; All Rights Reserved 2004-2010 http://www.harveymandel.com/solo_snake.html

The underrated Harvey Mandel is one of the most innovative guitarists to emerge from the late ‘60’s psychedelic blues boom. He was among the pioneers of electric fusion guitar and his music has always had a strong jazz and blues influence. In his early career, he played many of Chicago’s clubs and bars where only really good musicians were tolerated by the very discerning audiences. Nicknamed “The Snake” by his fans because of his fantastic signature snake-like guitar licks, he has always been ahead of his time. He has a unique sound and has always introduced very original effects into his music. He is constantly exploring new musical territory and is as unorthodox and unconventional a music as you will ever hear. Rich Grace reviewing the album on Amazon said that “He uses innovative tunings that literally no one has ever used on the guitar, to my knowledge. As a result, the chord voicings on this CD do not resemble anything in the standard 12-tone diatonic scale”. If you are a blues or jazz purist, you will possibly give this album a miss, but please don’t dismiss it until you hear it! “Lick This” demonstrates HM’s exploratory electronic approach to rock, blues, and jazz using a mixture of many different music genres. It’s really great to hear musicians trying something different and still producing great music while doing so. Musicians like Harvey Mandel are badly needed to nurture the evolution of music. It was a giant leap from “Love Me Do” to “Strawberry Fields Forever”. We’ll never have another Beatles or Zappa but thankfully there are still real musicians out there creating original, creative and inspiring music. Without experimentation, music would become stagnant. The music scene at the moment is full of 22 carat unadulterated horseshit and badly needs a good kick in the rectal area. “Lick This” is HR by A.O.O.F.C. Buy Harvey’s outstanding “Baby Batter” album and support real music [All tracks @ 320 Kbps : File size = 134 Mb]

TRACKS

1. Mad Dog
2. Lost Out on the Street
3. Jack Hammer
4. Bugs
5. Black Magic
6. Cherry Dream
7. Freeflow
8. Another Days' Gone
9. X-Factor/Star Jam
10. Lick This
11. Honey Bunny
12. In the Mist
13. Whatcha Talkin' About
14. Nite Whisper
15. Rambolaya
16. Rainbow Bridge
17. Members Only

Tracks 1, 3, 5, 7, 9, 10, 11, 12, 14, 15, 16, 17 composed by Harvey Mandel: Tracks 2, 4, 6, 8, 13 by Harvey Mandel & Sonny Reece (Lyrics)

MUSICIANS

Harvey "The Snake" Mandel - Guitars, Bass, Drums, Percussion, Various
Sonny Reece – Vocals

SHORT BIO

In the mold of Jeff Beck, Carlos Santana, and Mike Bloomfield, Mandel is an extremely creative rock guitarist with heavy blues and jazz influences. And like those guitarists, his vocal abilities are basically nonexistent, though Mandel, unlike some similar musicians, has always known this, and concentrated on recordings that are entirely instrumental, or feature other singers. A minor figure most known for auditioning unsuccessfully for the Rolling Stones, he recorded some intriguing (though erratic) work on his own that anticipated some of the better elements of jazz-rock fusion, showcasing his concise chops, his command of a multitude of tone pedal controls, and an eclecticism that found him working with string orchestras and country steel guitar wizards. Mandel got his first toehold in the fertile Chicago white blues-rock scene of the mid-'60s (which cultivated talents like Paul Butterfield, Mike Bloomfield, and Steve Miller), and made his first recordings as the lead guitarist for harmonica virtuoso Charlie Musselwhite. Enticed to go solo by Blue Cheer producer Abe Kesh, Harvey cut a couple of nearly wholly instrumental albums for Phillips in the late '60s that were underground FM radio favorites, establishing him as one of the most versatile young American guitar lions. He gained his most recognition, though, not as a solo artist, but as a lead guitarist for Canned Heat in 1969 and 1970, replacing Henry Vestine and appearing with the band at Woodstock. Shortly afterward, he signed up for a stint in John Mayall's band, just after the British bluesman had relocated to California. Mandel unwisely decided to use a vocalist for his third and least successful Philips album. After his term with Mayall (on USA Union and Back to the Roots) had run its course, he resumed his solo career, and also formed Pure Food & Drug Act with violinist Don "Sugarcane" Harris (from the '50s R&B duo Don & Dewey), which made several albums. In the mid-'70s, when the Rolling Stones were looking for a replacement for Mick Taylor, Mandel auditioned for a spot in the group; although he lost to Ron Wood, his guitar does appear on two cuts on the Stones' 1976 album, Black & Blue. Recording intermittently since then as a solo artist and a sessionman, his influence on the contemporary scene is felt via the two-handed fretboard tapping technique that he introduced on his 1973 album Shangrenade, later employed by Eddie Van Halen, Stanley Jordan, and Steve Vai. © Richie Unterberger © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/harvey-mandel-mn0000668511

Hammer Of The Gods (Dave LaRue, Mike Portnoy, Daniel Gildenlöw, Paul Gilbert) [Led Zeppelin Related]

2013-05-10T01:05:00.003+02:00

Hammer Of The Gods (Dave LaRue, Mike Portnoy, Daniel Gildenlöw, Paul Gilbert) - Two Nights In North America - 2006 - Mp4 Productions

There has being some criticism of Swedish multi-instrumentalist Daniel Gildenlöw’s vocals on this album, some critics saying that the guy’s voice is “not strong enough”, is “strained at times”, and he “doesn’t always hit the high notes”. It is difficult to dismiss comparisons with the great Robert Plant and if you are a fan of the mighty Led Zeppelin, of course you will want to hear decent covers. In my opinion, the vocals are not a huge problem. I am a huge Zeppelin fan. The first vinyl album I ever bought was Led Zeppelin 11. LZ2 & LZ4 are two of the greatest rock albums ever released. Some of the musicians on this album also played on the brilliant Beatles cover album (Yellow Matter Custard), and nobody compared Mike Portnoy or Paul Gilbert’s vocals or musicianship to Paul McCartney or John Lennon. How could you? The music and the musicianship on that album is incredible. The musicianship on this album is also tremendous and Daniel Gildenlöw’s vocals certainly don’t diminish the quality of these great musicians’ interpretations of 21 great Zeppelin tracks. Paul Gilbert and Mike Portnoy are fabulously talented musicians and all their work is worth listening to. Daniel Gildenlöw is probably best known as the guitarist and vocalist for the progressive metal band Pain of Salvation, and this guy CAN sing. Disc 1 "One Night In Montreal" was recorded at The Montreal Drum Featival on Friday November 7th 2003, and Disc 2 "One Night In New York City" was recorded in BB King's Blues Club, New York City on Wednesday November 5th 2003. The album is HR by A.O.O.F.C. N.B: Although this album is an “official bootleg” and perfectly legit, sq at times is average and more sophisticated recording and mixing techniques would have made it a better album [All tracks @ 320 Kbps: Pt 1 (CD 1) = 140 Mb: Pt 2 (CD 2) = 159 Mb]

TRACKS / COMPOSERS

CD 1 - One Night In Montreal

The Song Remains the Same - Page & Plant
Heartbreaker - Bonham, Jones, Page, Plant
Livin' Lovin' Maid (She's Just a Woman) - Page & Plant
The Rover - Page & Plant
Houses of the Holy - Page & Plant
Misty Mountain Hop - Jones, Page, Plant
Immigrant Song - Page & Plant
The Rain Song - Page & Plant
Dazed and Confused - Page

CD 2- One Night In New York City

In the Light - Jones, Page, Plant
Celebration Day - Jones, Page, Plant
Night Flight - Jones, Page, Plant
The Wanton Song - Page & Plant
Out on the Tiles - Bonham, Page, Plant
Moby Dick / Drum Solo - Bonham, Jones, Page
Ten Years Gone - Page & Plant
Black Dog - Jones, Page, Plant
The Ocean - Bonham, Jones, Page, Plant
Thank You - Page & Plant
How Many More Times - Bonham, Jones, Page, Plant
I'm Gonna Crawl - Jones, Page, Plant

BAND

Paul Gilbert - Guitars
Dave LaRue - Bass
Mike Portnoy - Drums
Daniel Gildenlöw - Vocals

Howland, Laug, Morrison & Pinnick

2013-05-08T01:53:00.000+02:00

Howland, Laug, Morrison & Pinnick - Live at the Baked Potato - 2004 - GraceNote Records

As the current guitarist with the band Chicago, I've always had a healthy respect for all of the previous guitarists with the band. Donnie Dacus, Dawayne Bailey and Chris Pinnick are all inspiring musicians in their own inimitable ways and of course the late great Terry Kath was one the best guitarists to ever grace the planet. During the early part of 2003 I was introduced to guitarist Chris Pinnick through our common guitar technician Hank Steiger. Chris and I became fast friends and decided to put an instrumental guitar record together along with drummer Matt Laug and bassist Lance Morrison. We called the project "Howland, Laug, Morrison & Pinnick" (still available right here at CDBaby by the way) and released it in the summer of 2003. It was great to work with Chris as I have always admired his fiery playing style and diverse abilities. Well, fast forward to November of 2003 when I had booked a gig with my other band "The Howland/Imboden Project" at the world famous jazz club "The Baked Potato". While on the phone with Justin Randi who books the club, I asked if there were any dates coming up that the HLMP band could use as our debut live performance. Well, it just so happened that the night following the Howland/Imboden Project was open so I snapped it up. Any opportunity to not have to tear down your equipment is a good enough excuse to take a gig for me! As we began discussing the live show, one issue that came up in conversation was what to do about recreating the brilliant keyboard work done by Jeff Babko on the record. Jeff unfortunately for us and fortunately for him is the keyboardist in the house band for the Jimmy Kimmel show which airs live at about 9PM Pacific time. As it turns out, while he couldn't make the first set, he was cool with coming down for the second set so we were set. (Can I say "set" again please?) The gig arrived and our first set was good, not great, but good. We had one rehearsal a week prior and were kind of finding our way as we went along. We took a break, I had a beer, and Babko showed up at which time the dynamic changed dramatically. What you hear on the live CD is the entire second set book ended by Snonga and Swingset Assembly from the first set. It's as it happened and it was pretty happening! Pinnick has always been a guy who I've found to have that extra gear when it comes to live playing and Jeff Babko was just superb. Lance and Matt really played their posteriors off and supported the soloists beautifully. I observed, recorded, applauded, and oh yeah, I played guitar as well, I almost forgot. There's a great energy happening on this CD and I hope you will feel it too! © Keith Howland – from Album Notes © http://www.cdbaby.com/cd/hlmp2

Wonderful jazz fusion recorded on November 4th, 2003 at The Baked Potato night club, Studio City, Los Angeles, by five of the best fusion players around today. The club is often called the world's oldest music venue which specializes in jazz fusion music. Many brilliant fusion albums have been recorded here by artists that include Buzz Feiten, Michael Landau, Brian Auger, Jeff Richman, Dave Weckl, and Jimmy Haslip. This album is no exception. Check out Howland, Laug, Morrison & Pinnick's "HLMP" album. BTW, if you haven't heard of Paul Gilbert who is one of the greatest guitarists in the Milky Way, check him out on YouTube [All tracks @ 320 Kbps: File size = 171 Mb]

TRACKS

1 Snonga
2 Tenacious Boogie
3 The Last One
4 Sharp Funk 5
5 Hank Spank
6 Pay the Man
7 Cup O' Tea
8 Your Old Thingy
9 Bowl of Surprises
10 Laug Jam
11 Swingset Assembly

All tracks composed by Keith Howland, Matt Laug, Lance Morrison & Chris Pinnick except "Sharp Funk 5" & "Your Old Thingy" by Keith Howland, Tris Imboden, and Lance Morrison

BAND

Keith Howland - Guitar (Left Channel)
Chris Pinnick - Guitar (Right Channel)
Lance Morrison - Bass
Jeff Babko - Keys
Matt Laug - Drums

Allen Hinds

2013-05-07T18:38:00.001+02:00

Allen Hinds - Fact Of The Matter - 2005 - Allen Hinds

Pretty accurately describing his music as Derek Trucks and Robben Ford meeting Allan Holdsworth or Bill Frisell, Los Angeles area guitarist Allen Hinds’ new CD is entitled Fact Of The Matter, and is a virtually all instrumental, eleven track release. Hinds is a pro’s pro; his music has such a great feel to it. On the jazzier side, a track like “Rain” shows off an advanced harmonic sense, while on the ‘Fordian’ side, “Some Of This” displays his slightly hotter and heavier, yet still melodically evocative guitar lines. For a blues/rock trip, get on the “Onramp” and delve into a bevy of slide licks and seductive, wah-wah fused guitar muscle. What’s not to like here – well, nothing. Allen Hinds has done a great job with Fact Of The Matter; with an exciting and eclectic style, he’ll quickly pick up plenty of new fans. A native of Auburn, Alabama, Allen was exposed to blues and R&B at an early age. Moving into jazz and fusion in his teens, he attended Berklee College of Music and shortly after, moved to Los Angeles to attend Musician’s Institute. He has performed and/or recorded with jazz and R&B luminaries including Patti Austin, Mary J. Blige, Maya, Natalie Cole, Roberta Flack, Vince Gill and many, many others. On staff at the Musician’s Institute, Allen offers a musical blend of jazz, blues, and rock with a “grassroots” style. Being an active studio musician as well as live performer, he has currently written songs for Larry Carlton, Patti Austin and Jeff Kashiwa, as well as the long running T.V. show on CBS – “JAG”. His contributions were also heard on the “EFX” network this season. Using a variety of vintage guitars and amps, his main gear is a 1959 “historic” Gibson Les Paul, a 1962 Gibson SG, a “67 Telecaster, a “61 Les Paul Special and a ’62 Gibson 345. Hinds’ endorsements include Ernie Ball, Brian Moore guitars, Line 6, Bogner, B-Band, Xotic pedals, Xotic effects, and Gibson. He is hoping to find distribution or better, and would love to tour and ‘do his own thing’. – from “A Touch & Feel To Kill For” © Guitar 9 Records

Allen Hinds was raised in Alabama, exposed to blues early, trained in jazz, toured the world with top R&B and jazz artists. He's been on staff at Musician's Inst. In Hollywood for 20 years. Obvious influences include Robben Ford, Alan Holdsworth, but has developed a style purely his own. Harmonically rich without being too academic, soulful without sounding cliché'. Great tones as well as choice of notes. Melodies are the upmost importance in his songs and solos. A nice and pleasant change from the all too prevalent "shredders" or "new blues sensations". Check out more detailed info at allenhinds.com - from ALBUM NOTES © http://www.cdbaby.com/cd/allenhinds

ALLEN HINDS IS AN AMAZING, GIFTED GUITARIST WHO COMBINES INCREDIBLE TECHNIQUE WITH TONS OF SOULFUL BLUESY FEEL, COMPLETE WITH AN ARRAY OF GORGEOUS, LUSH, ORGANIC TONES AND SUPERB COMPOSITIONS FULL OF DEPTH, POWER & MELODY TO BACK UP HIS AWESOME FRETWORK. HINDS PAINTS BEAUTIFUL, DYNAMIC, DIVERSE "MUSICAL LANDSCAPES" WITH HIS BLUESY GUITAR BRILLIANCE. STYLE, CLASS AND MELODY ARE HIS NUMBER ONE RELIGION. A FANTASTIC NEW GUITAR GOD HAS ARRIVED AND HIS NAME IS ALLEN HINDS. THE "FACT OF THE MATTER" DISC IS AN UPLIFTING, COMPELLING, TOP-SHELF MASTERCLASS IN TONE, TECHNIQUE & FEEL. A VERITABLE MUSICAL ORGY OF PURE HEAVY GUITAR BEAUTY. HIGHLY RECOMMENDED TO FANS OF MICHAEL LANDAU, JEFF BECK, ERIC JOHNSON, SHAWN LANE, SCOTT HENDERSON, ROBBEN FORD, STEVE LUKATHER, FRANK GAMBALE, BRETT GARSED, GREG KOCH AND OTHER SIMILAR CALIBER WORLD-CLASS TOTAL GUITAR AXEMASTERS FROM AROUND THE GLOBE. © 2012 & BEYOND - GROOVEYARD RECORDS, INC.

I first heard Allen as part of Gino Vannelli's band and I was hooked. Allen gave a flawless performance and I knew anything he did would be great. Well, I wasn't disappointed. If you like a guitarist with taste, variety, great sound, and class, then you will like Allen's music. I really can't compare him to other guitarists- it wouldn't be fair to him since he has his own style and unique sound. I will say that he has plenty of chops but doesn't play endless fast runs as fast as he can to prove he can do it. He is seasoned and mature. There is a wide variety of songs on this project and you certainly won't get bored. Each track has something new to offer and "Left Field" is a fun, if not unexpected song that makes me want to ask the artist what inspired him to write it. Buy it!!! – from ***** “I first heard Allen as part of Gino Vannelli's band- fantastic!” October 18, 2012 By & © Steven D. Cooper © 1996-2013, Amazon.com, Inc. or its affiliates http://www.amazon.com/Fact-Matter-Allen-Hinds/dp/B000CAEKXQ?SubscriptionId=AKIAJNW3SUXQYO4KKQIQ&tag=cdun09-20&linkCode=xm2&camp=2025&creative=165953&creativeASIN=B000CAEKXQ

A great tapestry of guitar sounds on which to hang his chops on, Fact Of The Matter is a fine introduction to the music Allen Hinds. An all instrumental mixture of rock, country and the ‘quiet storm’ sound of smooth jazz, the eleven track CD features some fine backing players, who adeptly enhance Hinds’ cutting edge electric guitar sounds. A good example of just how well Hinds straddles musical genres can be heard on “Waltz For Tina”, with its tapered, circular melodic edge that borders on neoclassical rock fusion. Hinds also proves competent on piano keyboards and numerous other instruments but its his guitar work that lifts the set to its best moments. © http://www.mwe3.com/archive/july-august2005spotlight.htm

Allen Hinds has been an in-demand LA studio session guitarist for many years now and teaches at the world famous GIT department of Musicians Institute. This guy is a phenomenal player and really deserves more exposure. “Fact Of The Matter” is a great album covering many styles and genres. Buy Allen’s “Falling Up” album of which the great guitarist Jon Herington said, "Anyone interested in the state of the art of contemporary guitar playing will be happy they checked out Allen Hinds' Falling Up. Everything's there: the tones; the technique; the talent; and the soul." Check out Akira Jimbo’s “Mindscope” album featuring Allen with Abraham Laboriel and Michael Landau. Support gifted guitarists and real music [All tracks @ 320 Kbps: File size = 88.8 Mb]

TRACKS

1. FACT OF THE MATTER
2. ONRAMP
3. KAJUN
4. WALTZ FOR TINA
5. HMPH
6. SOME OF THIS
7. RAIN
8. TOSS IT BACK
9. ENOUGH IS ENOUGH
10. YOU JUST GOTTA
11. LEFT FIELD

All tracks composed by Allen Hinds

MUSICIANS

Allen Hinds - guitar, keyboards, various
JV Collier – bass
Jeff Babko - keys
Dave Hooper - drums
Ronnie Gutierrez - percussion

BIO

A native of Auburn, Alabama, Allen was exposed to blues and R&B at an early age. Moving into jazz and fusion in his teens, he attended Berklee College of Music and shortly after, moved to Los Angeles to attend Musician’s Institute, where he has remained on staff to the present. Allen also teaches at a new school called Shepherd University where he teaches with Abraham Laboriel, Otmaro Ruiz and Jimmy Branley. Allen has a touch that most guitarists would kill for. Utilizing influences ranging from Wayne Shorter to the Beatles,Duane Allman to Alan Holdsworth.. his style is exciting and eclectic. He has performed and/or recorded with jazz and R&B luminaries including Patti Austin, Roberta Flack, BeBe and CeCe Winan, Randy Crawford, The Crusaders, Bobby Caldwell, James Ingram, Marilyn Scott, Eric Marienthal, Boney James, Marc Antoine, Gino Vannelli and many, many others. On staff at “Musician’s Institute”, Allen offers a musical blend of jazz, blues, and rock with a “grassroots” style. Although one might hear guitar influences like Ry Cooder to Pat Metheny, Robben Ford to Alan Holdsworth. Being an active studio musician as well as live performer, he has written songs for Larry Carlton, Patti Austin, Jeff Kashiwa as well as the long running T.V. show on C.B.S. “JAG”. His contributions were also heard on “Pawn Stars”,”Son’s of Guns”, “Sliced” and other cable shows. Allen has 4 c.d.s under his name, the latest, “Monkeys and Slides” features Jimmy Johnson, Reinhardt Melz, Jeff Babko, Dave Hooper, J.V. Collier, Oscar Seaton, Dennis Hamm, Matt Rohdi and others. Using a variety of guitars and amps, his main gear is an Xotic electric (Prosoundcommunications.com) a ‘59 “historic” Gibson Les Paul , 1964 Gibson ES 335, 1964 Gibson s.g. most guitars equipped with ThroBak pickups, a “69 Telecaster thinline, a variety of other starts, and Gibsons, dobro’s and acoustics. Amplifiers of preference have lately been vintage blackface Fender Deluxe Reverbs,Divided by 13, Roy Blankenship amps , Brad Jackson and Bogner amps …….and lot’s of pedals! Allen’s endorsements include Ernie Ball,Curt Mangan strings, Fulltone, Brian Moore guitars,Hermida, Line 6, Bogner, and Xotic pedals. © http://allenhinds.com/bio/

Walter Trout

2013-05-06T14:56:00.000+02:00

Walter Trout - Livin' Every Day - 1999 - Ruf

Famed BBC disc jockey Bob Harris once called Walter Trout “the world’s greatest rock guitarist” in his book The Whispering Years and won Walter sixth spot on BBC Radio One’s list of the Top 20 guitarists of all time. Walter was 14 years old, when his brother brought the first album by the Paul Butterfield Blues Band into his family's New Jersey home. Walter's future guitar style was to be influenced by the magic of the twin guitars of Michael Bloomfield and Elvin Bishop, and Paul Butterfield's gut-deep harmonica and vocal performances. Walter's mother also played discs by Ray Charles, John Lee Hooker, B.B. King, John Coltrane, Bo Diddley and many other soul and blues legends. Walter first started playing the blues seriously when he came to Los Angeles in 1973 and got gigs behind artists like Big Mama Thornton, John Lee Hooker, Finis Tasby, Pee Wee Crayton, Lowell Fulsom, and Percy Mayfield. In 1981 he joined the remaining original members of Canned Heat. However, the real turning point in his career was his time with the legendary British blues giant John Mayall. Along with Eric Clapton, Peter Green and Mick Taylor, Walter became part of the Bluesbreakers’ famed list of great guitarists. In 1984 he shared guitar with Coco Montoya in the Bluesbreakers creating an explosive guitar dynamic that helped the Bluesbreakers regain their rightful place as one of the great touring bands on the international blues circuit. In 1989, Walter led his own band and released his debut "Life In the Jungle" album, which earned him a reputation as one of the great blues guitarists on the European scene. He has become one of the greatest and most respected guitarists on the American blues-rock scene today. In an interview in 2009, Jerry Fink asked Walter "What do you say to purists?" He replied with "I say go listen to whomever you want. I can’t be bothered with trying to please everybody. I’m trying to be an artist and expand myself as a person and explore my talent and my possibilities and I’m trying to basically have a good time doing what I do. The purists I couldn’t give a (expletive) about. I think they’re racist. When they come up with, “You’re a white guy. You can’t play the blues,” I think you need to go tell Yo-Yo Ma he can’t play classical music because that’s the music of white Europeans. “Yo-Yo Ma, take your Stradivarius and go home.” That’s the same mind-set. You gotta get past that (stuff). You really do. I played with John Lee Hooker, Big Mama Thornton, Percy Mayfield, Lowell Fulson, Bo Diddley and Detroit Junior. I have a long list of old black guys I played with. I respect them and love them and look at them as inventors and innovators, but they didn’t come out and try to imitate anybody. And I’m not going to try to imitate anybody. We’re all second generation here. If you want to get into the thought process, the real thing in the blues is a black guy from Mississippi or Chicago and if you’re not that, just be who you are, be true to yourself. Quit imitating people. I just don’t have time for the purists. I didn’t go into this to try to please some prejudiced dude and fit into his preconceptions and his intellectualizing. Art’s not about your brain, it’s about your heart. You either feel it or you don’t". Walter has also said that "I always listened to the blues, probably more than anything else. I loved playing it on the guitar, but I loved everything. I’d just as soon listen to Joni Mitchell as listen to Howlin’ Wolf. I like them both". On “Livin' Every Day” the brilliant guitarist plays dynamic fiery leads throughout the album, as well as a few lyrical and sensitive solos. Arguably, the balladic tracks lessen Walter’s guitar power but nonetheless this is a great album for fans of great of blues guitar. Listen to Walter’s s/t 1998 album and check out Walter Trout & Friends “Full Circle”, Walter Trout & The Radicals “ Vegas Live”, Walter Trout, Omar Dykes, Popa Chubby, & Michael Lee Firkins “Jimi Hendrix Music Festival (live)” on this blog [All tracks @ 320 Kbps: File size = 157 Mb]

TRACKS

1 Livin' Every Day 4:40
2 Let Me Know 4:54
3 Playing With A Losin' Hand 4:11
4 Sweet Butterfly (Sophie's Song) 4:51
5 I Thought I Heard The Devil 4:22
6 Through The Eyes Of Love 4:59
7 Nothin' But The Blues 5:12
8 City Man 2:29
9 Fool For Love 5:02
10 Say What You Mean 5:10
11 Apparitions 6:52
12 Junkyards In Your Eyes 4:26
13 The Love That We Once Knew 4:53
14 Prisoner Of A Dream 5:15

All tracks composed by Walter Trout

MUSICIANS

Walter Trout - Guitar, Harmonica, Vocals
Jim Trapp - Bass
Ernest Williamson - Piano
Paul Kallestad - Hammond B3
Bernard Pershey - Drums, Percussion
Jim Spake - Saxophone
Scott Thompson - Trumpet
Wally Bass, Bertram Brown, William Brown, Jackie Johnson - Background Vocals

BIO

Walter Trout enjoys pockets of support in the United States, but he is a veritable rock and blues god in Europe, where he routinely headlines major tours and releases albums to great critical acclaim. A slashing, intense guitarist, his work echoes the experimental freedom of Jimi Hendrix, the jammy sting of Stevie Ray Vaughan, and the speedy phrasing of Eddie Van Halen. An impassioned singer who handles both hard rockers and slow blues, he is one of the last great purveyors of the sweat-stained art of rock showmanship.Born in Ocean City, New Jersey, on March 6, 1951, Trout inherited a love of music from his parents. "I was really lucky in that, even though my parents were not musicians, they were both incredible afficionados and lovers of music," he told Contemporary Musicians. "I heard it in the house all the time. There was anything playing from Duke Ellington to Count Basie to John Coltrane to Bill Monroe to Hank Williams to Ray Charles … you name it. I remember my father taking me to a black jazz club in Atlantic City when I was a little kid to see a pianist named Ahmad Jamaal…. My dad also took me to see Gary U.S. Bonds and Chuck Berry on a bill. My mom took me to see James Brown, Ray Charles, Harry Belafonte, Andy Williams, Lou Rawls. I also saw the Philadelphia orchestra on many occasions." Trout's first instrument of choice was the trumpet, which he began learning before he had turned ten. To encourage the boy, his mother, an English teacher who read poetry aloud to him, set up a special meeting with one of the youngster's idols. "When I was ten years old, my mom arranged somehow for me to spend an entire afternoon hanging out with Duke Ellington and his orchestra," recalled Trout. "I got to hang out with them in their dressing room. I was an aspiring trumpet player and I got to sit down and have guys like Cat Anderson, Johnny Hodges, and Paul Gonzales talk to me about jazz and music. Then Duke Ellington sat down on a couch with me and talked about the music business and what I could expect if I went into it. One of the things he told me was, 'Always keep your focus on being an artist and don't look for the glory. Try to have a career of longevity and not be a one-hit wonder. Concentrate on being the best that you can be on your instrument and think of it as an art and not show-business.' It was an amazing day." His parents' divorce marred the boy's seemingly idyllic situation, and young Walter was later emotionally scarred by the constant drunken turmoil created by his stepfather. As a result, he launched himself into music, switching over to guitar once his older brother, Ed Jr., tired of the one he owned. Overnight, Trout's musical interests changed. "That was the year that Dylan's first album came out. They had Hootenanny on televison. I got into the folk music thing and I was a big fan of the Chad Mitchell Trio." Many folk performers of the early 1960s included blues tunes in their repertoire, so the leap to that genre seemed natural for Trout, who recalled that his brother Ed continually encouraged his new areas of musical interest. "He brought home an album and said, 'Sit down and listen to this guy play the guitar.' It was the first Paul Butterfield album which featured Mike Bloomfield on guitar…. That changed my life. The trumpet went away and I knew what I wanted to do right then." Initially Trout performed solo, playing his first gigs in restaurants as an acoustic act. Egged on by the arrival of the Beatles and the 1960s rock-blues explosion, Trout played various spots in New Jersey, including the Steel Mill—which launched Bruce Springsteen—with a local aggregation called Wilmont Mews. A recording of the group from 1972 appeared on the Deep Trout compilation, and showed the youngster sounding quite polished. Hoping to make a name for himself, Trout moved to California in 1974 and began asking to sit in with other bands. Ironically, his first regular job didn't require his services as a guitarist. Sitting in with the Jive Bombers, a local country and bluegrass combo, he was told that they already had a guitarist, but needed a singer. After singing a couple of Hank Williams standards, he was hired as a regular vocalist, but was repeatedly told they didn't need another guitarist. With his first paycheck he bought a white Fender Stratocaster, and asked that he be allowed to play it on stage. Reluctantly, the other Jive Bombers acquiesced. Trout recalled with a chuckle: "I got up and played a song and they got all excited, 'You didn't tell us you could play like that!' That night I ended up as the lead guitarist. By the end of my tenure there, I eventually turned them from country bluegrass into a band that played Chuck Berry and early Stones. They ended up losing their regular gig because they went too rock 'n' roll." All the exposure did Trout some good. Soon he was playing clubs with various rock and soul bands, including J.E. Davis and the Boys. This led to some gigs playing behind established touring industry stars such as Bobby Hatfield of the Righteous Brothers, Joe Tex, Percy Mayfield, Big Mama Thornton, Pee Wee Crayton, and O.B. Wright. "Once I got my first sideman job," Trout proclaimed, "I was never without work." He backed up Big Mama Thornton, and John Lee Hooker, who was also on the bill, asked Trout to play a set with his band. Trout explained, "So, I got up and played and ended up in his band. Through playing with his band, I get heard by some members of Canned Heat and they say, 'We have a tour of Australia and Henry [Vestine] is drinking too much, would you do the tour?' I did the tour and ended up with a four-year gig." Trout injected some much-needed life into Canned Heat, whose days as an influential combo ended with the 1960s. In return he received some studio and overseas touring experience. This, however, exacerbated his drinking problem. "I drank to escape the pain of my youth and the pain I was feeling," he explained to Contemporary Musicians. "I was running from a lot of my past." Trout landed a gig opening for John Mayall and the Bluesbreakers, and ended up playing a set as second guitar to Mick Taylor. Mayall later added Trout to his group, but the thrill of recording and touring with Mayall was no match for Trout's hard-drinking ways. Finally, in 1987 a disgusted Carlos Santana, one of Trout's musical heroes, confronted the New Jersey guitarist about his constant inebriation and musical sloppiness. Ashamed, Trout finally quit drinking. Once sober, Trout's guitar technique improved dramatically and he began wondering if a solo career would be viable. One night in Denmark, Mayall was too sick to perform. Trout and fellow Bluesbreaker Coco Montoya filled in and brought the house down. Afterwards, a promoter offered Trout a chance to record and tour under his own name. By the end of his first solo tour, Trout was playing major venues to packed houses. Recording for the Provogue label, he even scored a hit, a single called "The Love That We Once Knew," which became a number one hit in Europe in 1990. It was re-recorded on Livin' Every Day in 1999. Overseas, Trout was a star who toured with Elton John and had a video on European MTV's power rotation. But American record labels still weren't buying. "I think that here in America, this type of music is taken for granted because it's everywhere and I think a lot of people in this country have even turned their back[s] on it," the performer declared. "It's just part of everyday life in America. In Europe it's not. They're still kind of in wonder when you come out and play it with the feel that Americans seem to have." Trout hoped to solve his greatest career conundrum—blues labels thought he was too rock, rock label thought he was too blues—by signing with Silvertone in 1994. However, the American independent label promoted poorly in the States and not at all in his European base. Fortunately, fellow Bluesbreakers guitarist Coco Montoya suggested he get together with producer Jim Gaines, who in turn got Trout onto the German Ruf label. A prolific songwriter with a knack for non-traditional lyrics, Trout has done his best work for Ruf, and his releases have sold well worldwide. In return Ruf has given the artist creative carte blanche. "[Ruf] has never once said anything about material," Trout stated. He added that the label has said, "'Here's a budget. It might not be a lot, but here's what I have. You make it work. You go make me a record. You do your job and I'll do mine.'"For the most part, Trout likes spontaneity in the studio and on stage. Many times songs are discussed rather than formally arranged or rehearsed. "Actually, it's the John Mayall thing of finding musicians that have chemistry, and then they play together naturally," said Trout. "A lot of that doesn't even have to be spoken, it's just felt among the four of you. It's definitely instinctual." Whether recording or playing a live gig, Trout still sings with every gutcheck emotion at his command. Asked if he finds that approach difficult to maintain, the singer responded: "You know what, it's not difficult to keep meaning it, because for me it's therapy." He described how his music has drawn on and then reflected his emotionally difficult and sometimes violent childhood, his parents' breakup and the problems with his alcoholic stepfather. "If you listen to a song of mine called 'Collingswood,' [from Relentless] it's in there. It took me thirty-five years to write that and when I wrote it, I had a nervous breakdown. So, the music and guitar became therapy for me. It became an outlet, a refuge, and a sanctuary." Today, Trout's personal life is far more serene than the memories he calls up for audiences night after night. Now managed by his wife and occasional co-writer, Marie Trout, and touring with his three sons—whose band occasionally opens for him—the singer-guitarist is more successful than ever. In 2006 he released Full Circle, a guest-star laden album that featured Trout in top form performing duets with the likes of Mayall, Montoya, Jeff Healey, Finis Tasby, Guitar Shorty, and Joe Bonamassa. It became his fastest selling album in the United States to date. He has even figured out a definitive response to blues purists who criticize his hard-rock leanings. On tour he sells T-shirts at the gigs: "I want everybody to know what they're in for so I don't have to hear about it," he explained. "So on the front [the shirt] reads: 'Walter Trout and the Radicals.' On the back of the shirt in big letters it says: 'Too many notes! Too loud!' (Laughter.) Sometimes a purist will come up and say, 'Man you played too many notes and you're too loud.' Then I'll hand him a shirt and say, 'I'm glad you understand what I'm trying to do.'" © http://www.answers.com/topic/walter-trout-1

Jan Akkerman

2013-05-06T00:09:00.001+02:00

Jan Akkerman - Live - 1978 - WEA

A perfect live album. This Jan Akkerman record is a real gem! After firs spin I was convinced this by far his best live album. The material comes mainly from his self-titled record (1977), though Tommy (of the Eruption suite) of Focus is added and two new compositions in the spirit of the self-titled Jan Akkerman album. The recording of this live album is perfect, nothing more can be expected, not even today. For newcomers. Jan Akkerman is ex-guitarist of Dutch prog band Focus. In his solo career he concentrated on jazz-rock/fusion and some historical lute-guitar playing. Though at first (Profile, Tabernakel) Jan akkerman would use his rockin' electric guitars most of the time, in 1977 Jan decided to become the master of the clean jazz-guitar. This resulted in the 1977 self-titled album with clean guitars, a great band and the best of string arrangements. The compositions had a relaxing but slightly magical vibe and some up-tempo moments. Most of the compositions of this record were played on this live album. Now, the problem Akkerman and band had to face was the fact that on the album these unbelievable string arrangements made a big contribution to the end result, but they weren't able to get such an arrangement for their tour. The problem was successfully solved by adding an inspired percussionist (I love his contribution) and some synths that both helped to establish a more progressive climate, though the main genre would still be fusion. The two minuted atmospheric synth opening track by Jasper Van 't Hoff really gets me warm for the rest of the album! A nice track from the Focus era, Tommy, is played with precision but the great vocals of Thijs van Leer are a loss. Still the band makes a great symphonic jazz track with that magical feel and the great guitar solo's (this time clean) of Jan Akkerman. Conclusion. This recording is perfect, the tracks are great, there's a magical progressive climate on this concert, all instruments are played perfect, some problems concerning the arrangements were solved very intelligent and Jan Akkerman plays plain beautiful. There's only one letdown: the album is short. Running for 35 minutes this doesn't live up to the standards of these days. Still this album is highly recommended to basically every-one who can hear the difference between elevator music and great Fusion. A big four star. * After some more listens I have decided this is a masterpiece. Changed the rating to five stars. A warm recommendation! [Review by & © friso PROG REVIEWER ***** Jan Akkerman - Live at Montreux Jazz Festival (1978) © Prog Archives, All rights reserved, http://www.progarchives.com/album.asp?id=9690]

Recorded on July 7th, 1978 at The Montreux Jazz Festival, Montreux, Switzerland by the legendary Amsterdam born guitar maestro Jan Akkerman. Jan Akkerman has always been famous for his eclectic and versatile approach to music. He is equally at home with rock, jazz, blues, Folk, classical or even modern dance music and his playing really has no boundaries or limitations. It’s a pity this live album is so short but Jan and his band play some stellar progressive jazz rock. The album is HR by A.O.O.F.C. Jan Akkerman is in my top 10 list of favourite guitarists, along with players like Laurence Juber, Larry Coryell, Paul Gilbert, Robben Ford and Wayne Krantz. Listen to Jan’s “Tabernakel” and Focus’ “Live At The Rainbow” albums [All tracks @ 320 Kbps: File size = 82.4 Mb]

TRACKS / COMPOSERS

1 Transitory - Jasper Van't Hoff 2:07
2 Skydancer - Jan Akkerman 8:35
3 Pavane - Jan Akkerman 7:15
4 Crackers - Jan Akkerman 6:50
5 Tommy - Tom Barlage 3:36
6 Azimuth - L.M. Bijlsma 6:09

MUSICIANS

Jan Akkerman - Guitars
Cees Van Der Laarse - Bass
Jasper Van't Hoff, Willem Ennes - Keyboards
Tom Barlage - Keyboards, Saxophones
Bruno Castelucci - Drums
Neppe Noya - Percussion

Scott Mishoe

2013-05-03T18:07:00.004+02:00

Scott Mishoe - Omnidirectional - 1995 - Legato

"I began my quest for Guitar Stardom at the early age of five. Since that time, some seventeen years later, I've accomplished more in my career than most people could ask to accomplish in a lifetime. Making my first live appearance in front of an audience at the age of eight years old, and at the age of ten, I performed a benefit show with Shrapnel Recording Artist, Pat Travers. In 1989, at the young age of eighteen, I landed my first major endorsement with Fender Musical Instruments. In the years that followed I've been featured in numerous guitar magazine articles. First, was Guitar Player Magazine's "Spotlight" column in the August 1990 issue. Then being featured in Guitar for the Practicing Musician's December 1990 issue in the "Resume" column. In 1991, I entered Billboard Magazine's song writing contest, and won an achievement award and was rated in the top ten percent of the entire category. In 1992, I appeared in Fender Frontline's "Artist Advice" column (volume # 7). 1992 began my professional recording career, armed with a guitar, and knowledge of two-handed arpeggios and some unusually quick techniques, I took on my first recording project with Shrapnel Records. The album entitled, "Ominous Guitarist from the Unknown", a compilation album featuring original recordings, "Tonic System" as it's first cut. Moving on to then record, "Domesticated" on Mark Varney's Quarterly C.D. Sampler, "Guitar On The Edge" Volume I No. 2. This was also a compilation album which featured such artists as Greg Howe, Allan Holdworth, Brett Garsed, and the Dixie Dregs. In 1995 my self-titled album, "Omnidirectional" was released on Legato Records. Currently I'm working on new material and plans are in effect to record more albums in the near future." - © Scott Mishoe [Taken from the website of Scott Mishoe]

Scott is the best crazy-amazing guitarist you've probably never heard of. I'm a fan of complex, melodic, techically incredible guitar playing--think Greg Howe, John Petrucci (Dream Theater), Vinnie Moore, Blues Saraceno, etc., and without a doubt Scott hangs with these guys. He's incredibly talented, both technically and compositionally. I learned about Scott by taking guitar lessons from him in Scottsdale, AZ. Although I was a fairly advanced player, after hearing him play, I wanted to give him my guitar. Hearing his own material made me really respect his abilities as a composer and musician. If you like amazing guitar work and jazz/rock fusion, you'll love this disc. – from ***** Incredible Musicianship January 23, 2005 By & © David S. Patchen © 1996-2013, Amazon.com, Inc. or its affiliates

That's right. I threw Scott's name in there with some of the most incredible guitarists to ever walk the face of this planet. Listen, if you like over-the-top technique that will make you laugh because it's so ridiculously amazing, this is your man. Take some of the best slap bassists you know, mix them with some blistering phrasing ala Greg Howe and Richie Kotzen, add in the ultra-clean technique of someone like Vinnie Moore. Shake it all with some Stanley Jordan clean tapping and BAM; That's Scott. He sounds nothing like a clone of any of those guys, either. The guy is just phenomenal and as someone who has combed the internet for all of Varney's greats from back in the day in addition to the hundreds of thousands of guitarists out there today, Scott is absolutely in a league of his own. Yes, the album cover is cheesy and yes, I know you're thinking, "Scott Mishoe... if he's THAT good, I should've heard of him by now." You're exactly right; you should have before now and it's an absolute atrocity that you haven't... but now that you have, you know what to do. If you're still unsure, go to YouTube and type in his name. That should pretty much do it for you. Basically. – from ***** Shawn Lane, Ron Thal, Jason Becker, Fabrizio Leo, Scott Mishoe April 21, 2008 By & © Stephen VINE™ VOICE © 1996-2013, Amazon.com, Inc. or its affiliates

The Virginian guitarist Scott Mishoe is not a household name but is revered by many great musicians in the rock and fusion world. He has appeared in numerous guitar magazines including Guitar On The Edge, Guitar World, and Guitar Techniques. At sixteen years old, he was discovered by Mike Varney of Shrapnel records. Scott is a sensational player. His music is in the same mould as artists like Vinnie Moore, Greg Howe, Richie Kotzen, and John Petrucci. It’s a pity Scott’s recorded output is not on a par with some of these guys. He is certainly as talented as any of these big names. Scott has an unusual and very original “slapping“ style. “Omnidirectional” demonstrates his unique playing style to great effect. This is mind blowing stuff and HR by A.O.O.F.C. Watch out, Paul Gilbert! A used copy of this album was for sale on Amazon from $430.23! This is insane! This is music that should be heard by anybody interested in great guitar playing. We don’t want to see the album hanging in the ****ing Louvre! Hopefully, Scott will get around to releasing a new album someday [All tracks @ 320 Kbps: File size = 111 Mb]

TRACKS / COMPOSERS

1. Mal-Funk-Shen - Mishoe, Riendeau [3:27]
2. Making My Way Home - Mishoe [3:13]
3. Sonic Chaos - Mishoe, Riendeau [4:19]
4. Incredible Grasp - Mishoe [4:28]
5. Theresa Ann - Riendeau [3:42]
6. Sky High - Mishoe, Riendeau [3:36]
7. Out Of Control - Mishoe [4:11]
8. Dream Come True - Mishoe [3:42]
9. Miafoe - Mishoe, Riendeau [4:25]
10. Whiteland Leaf - Mishoe [3:42]
11. Without You - Mishoe [2:30]
12. Nacho Mama - Joe Ely [4:28]

MUSICIANS

Scott Mishoe – guitar
Ray Riendeau – bass
Keith Horne – bass on track 2
Shawn D. Johnson – keyboards on track 8
Brett Frederickson – drums
Paul Gilaspy – drums on track 1
Dirty Pot – excessive noise on track 5

Ciro Manna

2013-05-01T18:07:00.002+02:00

Ciro Manna - Feel'n' Groove - 2007 - Yellow Moon Factory

I was turned on to the music of Italian guitarist Ciro Manna through the contact of another Italian artist I recently had the pleasure of reviewing, that artist being keyboardist extraordinaire - Alex Argento, Alex' cd Ego is definitely a must buy for fusion fans everywhere. So, with the huge impression Alex' cd left on me, I greatly anticipated hearing his friend Ciro Manna solo cd - Feel n' Groove, after all anything Alex Argento would recommend to me must be well worth listening to. Ciro Manna does not follow in the tradition of the guitarists of his age group, he's a 25 year old (as of this review in 2007) that sounds more like a vintage fusion player twice his age, where most younger players are following the metal or rock styles of playing, Ciro seems mainly affected by the jazz, funk and blues players that have defined the instrument since the guitars most innovative eras. His playing has a nice blend of hard edged funk and fusion not unlike the styles of Robben Ford, Scott Henderson, or even a little Mike Stern. He is a well versed player that also has a keen sense for writing, as this is actually one of those rare recordings that is fun to listen to all the way through. He has surrounded himself with some talented musicians to help bring his musical adventures to life, each player compliments Ciro's compositions with the additions of their own personal skills, displaying a lot of dazzling musicianship in their own right. Ciro Manna is a great example of what a wealth of talent lies beyond the 'popular' sector of jazz/fusion music, here is a young player that has dedicated himself to perfecting his own style, in a time where cloning is the trend, through intense practice and serious study, he has come to this point with this cd, where you can hear the depth of his playing. I like how Ciro writes his songs, they are not merely simple backdrops for the sake of soloing, his band is one that needs to be heard, and the writing allows them to flourish along with his deft playing. In the end, this is a solid statement for a young musician that should get some notoriety outside his own country, I would think that fusion fans that are into the styles of Stern, Robben Ford, Scott Henderson, or some of the more jazz meets funk and blues players would be as impressed by this cd, and most anything those three listed players have recorded, Ciro really fits well in that company of players, and has the chops and writing skills to match. review by & © MJBrady © © 2000 - 2013 where appropriate - All rights reserved © ProGGnosis http://www.proggnosis.com/Release_Detail.aspx?RID=22830

In an interview for Guitar Nine magazine, Ciro said that “I began to play guitar when I was fourteen years old; my father had a guitar that he bought when he was young, but he didn't play, and that guitar was hung up on the wall. So one day, I thought that I could try to play it with my friends. From the first time I played it, I 've never stopped. At the beginning I liked to play Nirvana, Metallica, Iron Maiden, Deep Purple, Led Zeppelin and Jimi Hendrix songs; then I started to play Joe Satriani, Steve Vai, John Petrucci and other guitarists. When I was eighteen years old, I began to listen to jazz and fusion players like Wes Montgomery, Joe Pass, Chick Corea, Michel Petrucciani, Greg Howe, George Benson, Martin Taylor, Scott Henderson, Pat Metheny and Charlie Parker. At present, I listen to all music. I started to study classic guitar, and now I'm in my eighth year at the Conservatory; I also learned jazz harmony by taking private lessons with a lot of teachers in Italy, and taking part in clinics by famous guitarists like Mike Stern, Andy Timmons, Carl Verheyen, Guthrie Govan, and Greg Koch. But I think the most important part of studying is that everyone try to come out with his or her own style. Listening to guitar-oriented records I have noticed that a lot of them are mainly focused on the guitar, and less on the groove, neglecting the sound of the band. What I tried to do on my CD was to create a huge sound with the bass and drums, giving just the right groove to every riff of the song. "Feel" is related to my feeling about the guitar, and the continual search for my own sound.” Speaking about the album, Ciro said “"Sixteenth Highway" was the track that we recorded in the fastest time; we spent only one day in composing and recording all the instruments! "Ciro's Funk" is one of the first songs I composed and it means a lot to me! I've dedicated "O' Satch O' Boogie" to a great master of the electric guitar, Joe Satriani. He wrote "Satch Boogie". You know, in the dialect of my town, "satch" means "to know", (it's a joke using the same sound of the two words in two different languages) so "O' Satch O' Boogie" means "I know the boogie"! Very funny! I titled the fourth track "Mosaiko Funk" because I mixed fragments of many different styles. "Rain Fall" is the classic ballad rock that is a must in every rock album. "Sparkles On The Road" is a funky blues/rock tune, i really enjoy playing it! "Groovin' Engine" is one of the more complicated tracks. I remember that the day before the recording session of this tune I didn't have a great ending, so I worked until dusk to write the sheets for all the instruments! "Anem" is the acoustic ballad that I dedicated to my lovely gilfriend Mena; "Anem" is her name spelled in reverse. "On The Groove" is one of my favorites because in live sessions I always improvise the guitar solo. Big fun! "Slap It Now" is a bonus track done with my guitar and an Octaver for a deeper sound. I really enjoyed playing slap on the guitar, and it is also in sync with the rhythmic heart of the CD!” Speaking about his band, Ciro says that “I'm very lucky, because the members of my band are great musicians and also good friends of mine. I've known them for a lot of years and I play with them in different musical situations. Angelo Abate is on piano and keyboards; he's like a musical father for me. I learned a lot of things from him. Antonio Muto (on drums), a great "groove machine", and Marco Galiero, on bass, have done a great work on the CD. In live sessions they have a great natural feeling that helps me to play better. Also on the CD, Pierpaolo Veltro plays bass on tracks 3, 5 and 8, Last but not least, keyboard wizard Alex Argento plays on track 7. Check out his amazing solo debut CD "Ego"!” - [from Guitar Nine mag.]

Ciro Manna is a young and very talented talented guitarist from Naples, Italy. He has a natural feel for groove and his playing is very much influenced by blues music. His guitar style is often reminiscent of the fusion side of Robben Ford, Mike Stern, and Greg Howe, but this album also has plenty of great funky rock grooves and Ciro is not deliberately trying to imitate anybody. He doesn't need to. This is a very good album and HR by A.O.O.F.C. Keep your eyes open for future releases from this talented guy [All tracks @ 320 Kbps: File size = 92.9 Mb]

TRACKS

1 Sixteenth Highway 4:20
2 Ciro's Funk 3:30
3 O'satch' o' Boogie 3:33
4 Mosaiko Funk 4:21
5 Rain Fall 4:12
6 Sparkles On The Road 3:56
7 Groovin' Engine 5:00
8 Anem 5:48
9 On The Groove 4:54
10 Slap It Now 2:43

All tracks composed by Ciro Manna

Danny Wilson

2013-04-30T21:29:00.004+02:00

Danny Wilson - Three-In-A-Bed Romp - 1991 - Virgin

Regarded by many as a "one hit wonder group," because of their worldwide hit, "Mary's Prayer. " the Scottish band Danny Wilson were only in business for six or seven years, from the mid eighties to the early nineties. They still retain a cult following among certain music lovers. Sadly, their recorded output is minimal, but full of quality. They produced some wonderful music, and have been compared to Steely Dan for their use of their literate and clever stinging lyrics, and clever arrangements, although more pop and a little less jazzy. One article in a well known music magazine described their music as “a unique melding of Steely Dan, Neil Diamond and Burt Bacharach”! A customer on Amazon.co.uk wrote “If you merged Steely Dan, Stevie Wonder(from the 70's) and Frank Sinatra, put them together for a wet weekend in Dundee this is what would come out. Perfect”. That’s a great description! The music on this album is from from the second disc of a limited edition 2 x CD set, "Sweet Danny Wilson/Three-In-A-Bed Romp" released by Virgin in 1991. Tracks 8 to 11, 13 & 14 were recorded live at "The Town And Country Club", London, England on October 1st 1989. Track 12 was recorded live in Studio 5, Tyne Tees Television, Newcastle upon Tyne, England. The music ranges from syncopated sophisticated soul pop to a breezy, jazzy cover of Arlen & Koehler’s “Get Happy” which dates back to the 1930’s to covers of David Bowie’s “Kooks” and Abba’s “Knowing Me, Knowing You”. Some of Danny Wilson’s songs could have been as big as "Mary's Prayer." The band had a great sound, and should have gone further, but it has been said that American radio only had so much tolerance for a brainy Swing Out Sister. Also Danny Wilson were hit hard by the sophomore jinx and never recovered. This album is HR by A.O.O.F.C. Check out their 1987 album, "Meet Danny Wilson." For similar music in this vein, check out Prefab Sprout, and Deacon Blue [All tracks @ 320 Kbps: File size = 120 Mb]

DISC TWO [Three-In-A-Bed Romp]

TRACKS / COMPOSERS

1 Get Happy - Harold Arlen, Ted Koehler
2 Kathleen (House Mix) - Kit Clark
3 Growing Emotional - Kit Clark
4 I'll Be Waiting - Gary Clark, Ged Grimes
5 Living To Learn - Gary Clark
6 I Won't Forget - Kit Clark
7 Kooks - David Bowie
8 Broken China (LIVE) - Gary Clark
9 Aberdeen (LIVE) - Gary Clark
10 Steamtrains (To The Milky Way) (LIVE) - Gary Clark
11 Knowing Me, Knowing You (LIVE) - Björn Ulvaeus & Benny Andersson, Stig Anderson
12 Don't Know Who I Am - Gary Clark
13 I Was Wrong (LIVE) - Gary Clark
14 Loneliness (LIVE) - Gary Clark

MUSICIANS

Gary Clark (guitar, piano, keyboards, programming, vocals)
Kit Clark (vocals, guitar, percussion, keyboards, accordion, etc.)
Ged Grimes (bass guitar, double bass, keyboards, backing vocals, etc.)

N.B: Danny Wilson never gave out much detailed information as regards musical credits for their albums. The list of musicians above is not exhaustive. Where you see “etc.” You can take it to mean tubas, bass drums and many more assorted instruments

BIO (WIKI)

Brothers Gary Clark (born 10 March 1962, in Dundee) - vocalist / guitarist; and Kit Clark (born 20 May 1967, in Dundee) - guitarist; formed a band with long time friend Ged Grimes (born 28 March 1962) - bassist; in 1984, initially under the name Spencer Tracy. However, after objections from the estate of Spencer Tracy, they changed their name to Danny Wilson, as taken from the 1952 Frank Sinatra film, Meet Danny Wilson. Initially spotted busking around Dundee, they signed to Virgin Records in 1986. The following year they released the album Meet Danny Wilson; the lead single, "Mary's Prayer" was initially unsuccessful in the United Kingdom, but it eventually became a Top 30 hit on the U.S. Billboard Hot 100 chart later that year. Buoyed by this success it was re-released in 1988, and reached number 3 in the UK Singles Chart. The band released its second and final album, Bebop Moptop the following year, including the hit single "The Second Summer Of Love". They broke up in 1991. Following the break-up of Danny Wilson, Gary Clark embarked on a solo career. He was in the bands King L and Transister before reuniting with Grimes, to write and produce, most notably for the Australian singer, Natalie Imbruglia. Kit Clark continues to perform with his band, The Swiss Family Orbison. Ged is now a music writer for computer games.

MORE ABOUT THE ARTIST

Top 40 radio developed a brief crush on Danny Wilson in the late '80s. Formed in Dundee, Scotland, Danny Wilson shared the same pop sensibilities as compatriots the Big Dish, the Blue Nile, and Deacon Blue. Singer Gary Clark's breathy, yearning vocals on 1987's "Mary's Prayer" earned the group its first -- and only -- hit stateside, but the band slowly amassed a cult following that usually develops with artists possessing timeless songwriting abilities. Formed by Clark, his brother Kit Clark, and percussionist Ged Grimes, Danny Wilson was signed to Virgin Records in 1985. Two years later, the group released their debut LP, Meet Danny Wilson. The single "Mary's Prayer" peaked at number three in the U.K. in 1988, and it was a surprise success in America as well. Named after the 1952 Frank Sinatra film Meet Danny Wilson, Danny Wilson was obviously enamored of '60s soul and Steely Dan's cool, sophisticated arrangements. Consequently, the band's retro sound never fit in with the U.K. rock scene of the late '80s, although they were often compared to Prefab Sprout, another group that defied contemporary trends and featured a singer with a velvety voice. "Second Summer of Love" also landed on the British charts in 1989; however, after their follow-up album Bebop Moptop, Danny Wilson broke up and Gary Clark went solo. In 1993, Clark recorded Ten Short Songs About Love. He then formed the short-lived King L, releasing Great Day for Gravity in 1995. Clark joined former King L member Eric Pressly (bass) and female singer Keeley Hawkes in Transister, creating a completely different sound with hard-edged guitars and samples on their 1997 self-titled album. But, by 2000, he was no longer with them. In 2001, Clark co-wrote and produced tracks on Natalie Imbruglia's White Lilies Island. © Michael Sutton, All Music Guide

Sharon Robinson

2013-04-29T20:05:00.004+02:00

Sharon Robinson - Everybody Knows - 2008 - Sharon Robinson Songs

A gorgeous, soulful alto that envelopes hooks and harmonies; a musically gifted mind that collaborates with Leonard Cohen; a pop sensibility that earns a GRAMMY Award with Patti LaBelle (“New Attitude”)--that’s Sharon Robinson: singer, songwriter, producer and now artist, with the release of her debut solo recording effort, Everybody Knows. In April 2009, UK-based Freeworld Records distributed by Universal licensed the album for release in that country and continental Europe. The set--which Cohen calls “a masterful work”--includes three songs co-written with the legendary artist: the classics “Everybody Knows” and “Summertime” along with “Alexandra Leaving” from Ten New Songs, the critically acclaimed 2001 Cohen album which Robinson produced. The seductive electronic production of Ten New Songs is a through-line for Everybody Knows linking memorable melodies and complex emotional themes on the five new compositions and five favorite existing songs. While the inclusion of the Cohen songs may draw inevitable comparison to the Rock n’ Roll Hall of Famer’s work, Robinson’s creative signature is immediately evident in the sensuous rhythms and haunting aura of the album’s opening track “Invisible Tattoo” and the gothic-soul anthem “Party for the Lonely.” Intertwining electronica beats with soulful bass grooves and moody, jazzy textures sculpted on guitar and piano, synth and Fender Rhodes, its enrapturing blend of instrumentation provides the perfect sonic bed for her inviting, sultry voice, which evokes feelings of hope, romance and sorrow all in the same breath. Robinson notes, “I created most of the record by layering parts one at a time, similarly to the way I did Ten New Songs. I wanted it to have an edgy and contemplative vibe, so I stayed away from the idea of tracking with studio musicians. I needed the freedom to find what I was looking for--a sound that was uniquely mine--before bringing in players for overdubs to add color, scope and dimension.” Although Everybody Knows comes in the third decade of her career, Robinson’s talent and versatility behind the scenes as a music producer, songwriter and background vocalist have allowed her to work with a diverse roster of notable artists including Stevie Nicks, Aaron Neville, Morris Day, Robbie Kreiger, Thelma Houston, Brenda Russell, Jennifer Warnes, Randy Crawford, Hamish Stuart and Matthew Wilder. Her co-write of the Top 10 hit “New Attitude” for Patti LaBelle led to three GRAMMY Award nominations and a win for Best Soundtrack Album (Beverly Hills Cop) in 1985. Her original compositions have also been featured in films such as Wonder Boys, Natural Born Killers, Pump Up The Volume, Stakeout and Wim Wenders’ Land of Plenty. But regardless of what project she’s involved with, her long-time friend and collaborator Cohen is never far out of the picture. This year, Robinson will be a featured background vocalist on his upcoming spring/summer international tour, his first run of live performances since 1993. The set list for the show includes five songs she co-wrote with Cohen, and showcases her arrangements on these co-written works. It’s not surprising that Robinson has worked with such diverse personalities and in so many genres. Her affinity for all kinds of music developed at an early age. Born in San Francisco, her family moved to Los Angeles when she was five. A year later she began studying classical piano, and at age 12 started writing and recording her own songs. As a teenager, she devoured a steady diet of Motown and Atlantic radio hits while working at the family restaurant, and while at home, she listened to such greats as Ray Charles, Otis Redding, Marvin Gaye, Stan Getz and Joni Mitchell. The influence of this musical stew led to Robinson recording a demo at the age of 16, which landed her a recording contract with a label that folded before her album was made. But there was a silver lining. The backing band for her demo was the Jazz Crusaders; and its legendary leader Joe Sample witnessed her ability, encouraging her to continue writing. While she would eventually heed that advice, Robinson excelled in school as well and as a National Merit semi-finalist she earned a scholarship to Salem College in West Virginia. Halfway to her degree, money and music proved a stronger draw, so she left school to front a touring Top 40 band for several years. Burnout on the road brought her back to college; this time to the prestigious California Institute of the Arts to study music. A year later, she went pro again as a session singer and then singer/dancer for Ann-Margret’s Las Vegas revue. Those countless sessions proved fruitful when a recommendation from a fellow singer led to Cohen hiring her as a background vocalist for the famous 1979 “Field Commander Cohen Tour.” Cohen himself dubbed it his best trek ever. While on the road together, he and Robinson co-wrote “Summertime,” a song subsequently recorded by both Diana Ross and Roberta Flack. It was with this composition that she had suddenly elevated herself to the level Sample had envisioned years earlier…officially joining the auteur club that created lasting art beyond fleeting recordings and live shows. When you’re good at what you do, and you do it for others, their success becomes your reward, your place in the mix. It can be a great place to be. For Sharon Robinson, it has been both gratifying and fun. With Everybody Knows, she’s going to another place—out in front. “Writing for other people over the years, there's been an increasing sense of an underlying style or voice in my work,” Robinson notes. “This album gave me the chance to explore that voice and find out more about it. It’s been very fulfilling, and I'm looking forward to taking it further with future projects as well.” And with her extensive list of achievements and eclectic experiences, Robinson has a pretty good head start on this next artistic journey. : - [This biography was provided by the artist or their representative.] © 1996-2013, Amazon.com, Inc. or its affiliates http://www.amazon.com/Sharon-Robinson/e/B003UZ0DEU/ref=ac_dtp_sa_bio/185-1590195-4297115

Four Stars. We’re talking major talent here. Robinson is a sensuous singer, a real lights-down-low performer who picks up where Sade left off. - Fred Dellar, Mojo (UK)

Five Stars. Packs a big emotional punch. - Andy Gill, The Independent (UK)

Classy Stuff. With a deliciously insinuating delivery, Robinson pours her voice atop a warm bed of sultry beats, tasteful backing vocals and a sensual, introspective groove. David Pulizzi, Jazziz -Mojo/The Independent (UK)/Jazziz
An album that begs to be listened to on a pair of headphones...Fans of her production work on Cohen s past two releases (Ten New Songs and Dear Heather) will love Everybody Knows as it is steeped in the same provocative and seductive blend of easygoing electronic beats. - Jason Gladu, Popjournalism.ca

Everybody should know about Sharon Robinson...Endowed with a rich, soulful alto - landing somewhere between Roberta Flack, Cassandra Wilson, and Sade Adu - Robinson breathes immeasurable levels of misty-eyed longing and downhearted reflection into her songs, thus delivering far more than simply a gorgeous voice floating above subtle electronic textures. Fans of the lights-down-low atmospherics and mellow-soul of Zero 7 should find themselves similarly engrossed by this disc. - Todd Lavoie, San Francisco Bay Guardian - Popjournalism/SF Bay Guardian

If I could turn you on to one new artist this year it would be Sharon Robinson...Imagine a combination of Sade but with deeper, more expressive voice and Joni Mitchell in her jazzy period, then add the trance-y feel of Everything But The Girl...[and] the lyrical insight and poetic sense of Leonard Cohen...It's smart, accessible and delivered by a gifted, original, and mature artist. It is full of melodies that manage to sound fresh and familiar at the same time and lyrics that perfectly nail the emotions and situations we go through as we gain more experience in life and love. - Shannon West, Smoothviews - Smoothviews

She may not be a household name, but Sharon Robinson has been an established songwriter, vocalist, and producer for numerous artists. She’s collaborated with Leonard Cohen for over thirty years but could easily have had a very successful solo career. Amazingly, this album is her only solo release after over 35 years in the business. Sharon composed seven of the songs and co-wrote three with Leonard Cohen. “Everybody Knows” is an exceptional album of ten beautifully written and melodic songs with a wonderful jazz, soul and folk flavour. The tracks have electronica-based arrangements and the entire album is bursting with creative energy. Many people are under the mistaken impression that Sharon’s music has been controlled in some strange Svengali-like manner by Leonard Cohen. The truth is that she has co-written with Leonard some of his best songs and has arguably not received full credit for her input into the great man’s music. “Everybody Knows” is HR by A.O.O.F.C. Albums like this are very rare these days among all the trash out there masquerading as music. Buy this album and support a real musical talent. BTW: Has it really been seven years since Joni Mitchell’s last studio album? [All tracks @ 320 Kbps: File size = 105 Mb]

TRACKS

1 Invisible Tattoo 4:26
2 Party For The Lonely 3:40
3 Everybody Knows 5:26
4 The Train 3:45
5 Secondhand 3:40
6 Forever In A Kiss 4:04
7 The High Road 4:09
8 Sustenance 4:03
9 Alexandra Leaving 5:06
10 Summertime 3:51

All songs composed by Sharon Robinson except Tracks 3,9,10 by Sharon Robinson & Leonard Cohen

MUSICIANS

Sharon Robinson – Synthesizer, Vocals
Christopher Bruce – Guitar
James Harrah – Guitar on Track 7
Nate Wood – Additional Guitar, Drums, Keyboards
Bob Glaub – Bass on Track 7
Patrick Warren – Additional Synths. & Colors
Jay Bellerose – Drums & Percussion
Joey Waronker – Percussion
Mike Turk – Harmonica on Track 4
Michael Cold – Bridge Vocal on Track 2

David Torn

2013-04-29T19:57:00.005+02:00

David Torn - David Torn Collection - 1998 - Times Square

Back me against a wall & I’ll be forced to admit (if you stick a gun down my throat) that Torn’s patented polyglot of Hindustani-style articulation, Eastern modality, bebop phrasing, psychedelic fuzzfire, trip hop sampling, country string-bending & ambient ear-aurora is the least self-conscious, most interesting & FUN high-brow hybrid currently mutating across America’s parched musical landscape. If beaten into submission & tortured with thumbscrews, I may even concede that his revelatory yet hilarious guitar pedagogy makes more sense & does more good than 100 bogus books crammed with little black dots & formulas that read like Cardassian hieroglyphs. But admit that Torn ROCKS? You’ll have to KILL me, first. — Guitar Player

While creating ungodly, insect-fear noises by subverting loops & delays to his own weird ends with massive amounts of distortion, he’ll tell you he’s just playin’ the blues: it’s a strange mix of primitive mojo & state-of-the-art technology. — Musician Magazine

Torn creates lush ambient textures that make Pink Floyd’s ‘space music’ sound like third-grade sandbox doodles, & transforms jazz harmonies into impressionist soundscapes; if you appreciate guitar as a vehicle for both out-of-body spiritual quests & raw emotional expression, let Torn be your shamanistic guide. — San Francisco Bay Guardian

Torn, with his loops & sheer psychedelic abandon, is able to create dense textures, screaming intervallic leaps and dark-hued washes of sound that are as ingenious as they are impossible to imitate. — Downbeat

In 1994 and 1997, the readers of Guitar Player magazine voted David the best experimental guitar player. He may be experimental with most of his work but there is a definite method in David Torn’s “madness”. If you think you have heard all the “best” guitarists out there, give this guy a listen. One critic said of this album, “This is an obvious must for anyone who thought for a moment that they knew anything about playing a guitar. He knows how to freak out, and how to tickle a harmonic, and everything in between.” Like the late Frank Zappa, David Torn produces work of startling originality and his guitar skills are phenomenal. As well as his solo works, David has played on many other artists’ albums including David Sylvian, Tori Amos, Sting, Jan Garbarek, kd lang, and Tony Levin. David also played on David Bowie’s “Heathen” and “Reality” albums and Jeff Beck’s “Jeff” album. This album is a good collection, but arguably not necessarily representative of David’s best work. However, to define this guy’s best work is probably impossible. Jon Atack @ http://www.jonatack.com/writings/musics/david_torn.php said that “It has always been the tradition that a master passes on his teaching to at least one successor. Jimi Hendrix had not one, but everyone, as his disciple. His spirit infuses every electric guitarist, but I believe that David Torn is the leading exponent of what he himself has called Hendrix’s ‘burning wall of voodoo’.” David Torn is a “one off” and a true original. Listen to his “Door X” album and check out his website @ http://www.davidtorn.net/ [All tracks @ 320 Kbps: File size = 159 Mb]

TRACKS / COMPOSERS

1. Shofar – David Torn
2. Jason and Martha – Andy Rinehart
3. Thundergirl Mutation – Mick Karn
4. Rope Ladder to the Moon – Jack Bruce (Music) & Pete Brown (Lyrics)
5. Zavana – Marty Fogel
6. Snail Hair Dune – David Torn, Mick Karn, Terry Bozzio
7. Passenger – David Torn, Mick Karn
8. Drowning Dream –David Torn, Mick Karn
9. Tiny Burns a Bridge – David Torn
10. Kids – Joachim Kuhn
11. Merciful – Mark Nauseef
12. Nursing Emphysema – Wes Martin

MUSICIANS

David Torn (electric & acoustic guitars, pedal steel guitar, bowed guitar, e-guitar, mandolin, piano, kotar, saz, harmonica, hand percussion, programming, textural & rhythmic loops, samples, vocals, additional vocals, voices)
Miroslav Tadic (acoustic guitar, electric guitar, classical guitar)
Steve Wilson (guitar)
Wes Martin (a & e-guitars, voice)
Mick Karn (bass, fretless bass, keyboards, alto sax, bass clarinet, dida, percussion, lead vocals, vocals, hand claps)
Brand Hauser (bass, fretless bass, clevinger bass)
Jack Bruce (bass, vocals)
Dean Johnson, Mark London Sims (bass)
Detlef Beier (acoustic bass)
Andy Rinehart (piano, accordion, voices)
Joachim Kuhn (piano)
Richard Barbieri (keyboards, synthesizer)
Adam Widoff (Hammond B-3, e-guitar, fretless guitar solo)
Matt Chamberlain, Kurt Wortman (drums, percussion)
Mark Nauseef (drums, gongs, flat gong-spiel, rejong, ching, rin “magic drums”, chinkas, fu in-luo, bamboo)
Michael Shrieve (drums)
Michel Lambert (drums, maikotron)
Leonice Shinneman (percussion drumset)
Gavin Harrison (drums, percussion, programming)
Steve Jansen (acoustic drums, congas)
Terry Bozzio (drums, percussion, 12 notes on the piano)
Trilok Gurtu (tablas, congas, water instruments, gongs, percussion)
Herbert Frosch (“magic drums”, zithers, gran cassa, Peking opera gongs, glassware & metal)
Kamalesh Maitra (sarod, tablatarang)
Jakko Jakszyk (tenor sax, shawm, flute, keyboard & computer programming, samples)
Marty Fogel (tenor & soprano sax, clarinet)
Michael White (trumpet)
Markus Stockhausen (trumpet & flugelhorn)
Walter Quintus (violin, strings)
Natacha Atlas (vocals)

SHORT BIO

New York-based composer, multi-instrumentalist, producer, singer, writer, and self-described "texturalist/guitarist" David Torn lent his distinctive style to numerous films and documentaries and collaborations. He worked with composers Howard Shore, Carter Burwell, and Ryuichi Sakamoto, as well as appeared on recordings from k.d. lang, David Bowie, Jim Carroll, Laurie Anderson, and a host of others. His solo works include Best Laid Plans (1984), Cloud About Mercury (1986), Door X (1990), Tripping Over God (1995), What Means Solid, Traveller? (1996), Splattercell's Oah (2000), the soundtrack to the Heath Ledger thriller The Order (2003), and the ECM release Prezens (2007). ©James Christopher Monger © 2013 Rovi Corp | All Rights Reserved

Bon

2013-04-28T20:20:00.001+02:00

Bon - Two Plus Two - 2004 - LoLo

Lozaga captures the spirit of Ralph Towner, John McLaughlin and of course Allan Holdsworth.- GIBRALTAR MAGAZINE

"Either with his hard-hitting power trio or with his adventurous fusion ensemble Gongzilla, Lozaga has distinguished himself as an accomplished player with the courage to follow his imagination. Lozaga summons lots of edgy experimentalism with a progressive-rock slant on Bon's Two Plus Two. Bill Milkowski - Jazziz

Guitarist Bon Lozaga and bassist Hansford Rowe, both ex-PM's Gong play some great heavy metal jazz fusion with inspired improvisation using some tasty atmospheric chording and blistering soloing. Drummer Vic Stevens, futuristic guitarist David Torn and drummer Glenn Leonard play some of the most original dynamic and potent fusion you will ever hear. If you are into Zappa and Gongzilla, you may appreciate the work that went into this great album. If you like One Direction or Westlife, please give this album a miss. This compilation includes tracks from the first two Bon albums plus two new tracks recorded in April 2004 and is HR by A.O.O.F.C. Listen to Bon’s “To The Bone” album and David Torn’s absolutely stunning “Cloud About Mercury” album. There is info about Gongzilla’s “Five Even” album @ http://overdoseoffingalcocoa.blogspot.com/2011/05/gongzilla.html [All tracks @ 320 Kbps: File size = 123 Mb]

TRACKS

1. The One [#] 5:55
2. Unknown Too [#] 6:15
3. Undertow 6:33
4. On the Spot 3:38
5. Kronos 11:01
6. So Far Away 5:22
7. Full Circle/Coming Home 4:29
8. Talk to Me 5:25
9. Into the Sun 4:43

[#] Previously unreleased

All tracks composed by Bon Lozaga

MUSICIANS

Bon Lozaga (guitar, keyboards, loops)
David Torn (guitar, loops)
Hansford Rowe (bass guitar)
Glenn Leonard , Vic Stevens (drums)
Caryn Lin (violin)

About Bon Lozaga

Bon Lozaga, guitarist and founding member of Gongzilla, joined PM's GONG on the Expresso II album when Stomu Yamashta (Island Records) heard one of his demo tapes and referred him to the group’s manager. Bon recorded four records and toured extensively throughout Europe and America with the band. In 1993 Bon regrouped with GONG bassist Hansford Rowe and formed BON, his first solo project, and recorded Full Circle/Coming Home and To the Bone for LoLo Records. Their association continues in the monster group Gongzilla (featuring guests such as Allan Holdsworth, David Torn, David Fiuczynski, and recently Chuck Garvey and Jim Loughlin of moe.). Gongzilla continues touring in the US, Canada, Japan and Europe. Bon has had the good fortune to work and record with some of the most talented and innovative musicians in the world. The list includes Eddie Jobson (UK, Zappa), Percy Jones (Brand X), Mark Craney (Jethro Tull, Jean-Luc Ponty), Gary Husband (John McLaughlin) and Happy Rhodes just to name a few. © http://www.lolorecords.com/bon_lozaga.html

About David Torn

New York-based composer, multi-instrumentalist, producer, singer, writer, and self-described "texturalist/guitarist" David Torn lent his distinctive style to numerous films and documentaries and collaborations. He worked with composers Howard Shore, Carter Burwell, and Ryuichi Sakamoto, as well as appeared on recordings from k.d. lang, David Bowie, Jim Carroll, Laurie Anderson, and a host of others. His solo works include Best Laid Plans (1984), Cloud About Mercury (1986), Door X (1990), Tripping Over God (1995), What Means Solid, Traveller? (1996), Splattercell's Oah (2000), the soundtrack to the Heath Ledger thriller The Order (2003), and the ECM release Prezens (2007). ©James Christopher Monger © 2013 Rovi Corp | All Rights Reserved

About Hansford Rowe

Hansford Rowe is a fusion bass guitarist. Basically a self-taught musician, Rowe played bass in a local New York City band in jazz clubs until he met drummer Pierre Moerlen. He moved to France with Moerlen and became a member of Gong, taking part in their transformation into Pierre Moerlen's Gong (PMG) in 1977, playing on their albums Expresso II, Downwind, Live, Time is the Key and Leave It Open. In 1986, he appeared on a re-united PMG album Breakthrough and in 1988 on Second Wind and Full Circle Live '88. In 1994, he was co-founder of Gongzilla with other former PMG members and continues to work with the band. In 1999 he released a solo album recorded in Quebec and New York City entitled "No Other". The album was recorded with long-time compatriot Bon Lozaga (guitar) and other guest musicians. The tour for the album featured singer-songwriter Happy Rhodes. In 2001, Rowe and Lozaga played on Rhodes' album Find Me, and toured the album in 2004.

Read about Glenn Leonard @ http://oregonmusicnews.com/tag/glenn-leonard/, Vic Stevens @ http://www.vicstevens.com/biography.php, and Caryn Lin @ http://www.carynlin.com/main.cfm?action=bio