Jeff Beck - 1991 "Beckology" [3 CD Box]

Beckology by guitarist Jeff Beck was released in 1991 as a 3 CD career retrospective. Beckology covers the work of a guitarist widely acknowledged as one of the most influential and gifted exponents of the electric guitar, from early days with The Tridents through to his Guitar Shop album in 1989.

• Volume 1 includes previously unreleased tracks from The Tridents, earthy mono recordings of Yardbirds classics like "Steeled Blues" and "Heart Full of Soul", four tracks from a Yardbirds BBC session, and Jeff's first solo single sides.

• Volume 2 covers both incarnations of The Jeff Beck Group which each released two albums and finishes with Beck, Bogert and Appice tunes. Highlights here include the reworking of the Yardbirds' "Shapes of Things" with Rod Stewart on vocals, the driving "Plynth", the beautiful guitar work on "Definitely Maybe" and the reworking of Stevie Wonder's "Superstition".

• Volume 3 tracks through what the sleeve notes call the "instrumental era" of the 1970s with tracks from the jazzy Blow by Blow and the acclaimed George Martin produced Wired albums. There is a live performance of "Freeway Jam" from 1977 with Jan Hammer, with whom Jeff had been touring and collaborated with as most recently as 2004, before concluding at the 1980s with Flash tracks like "People Get Ready" and Guitar Shop tracks like "Big Block" and "Where Were You".

A 60-page booklet comes with the album, and includes a biography by Gene Santoro.

This triple-CD set -- obviously modeled after the four-CD Eric Clapton Crossroads box -- was the first attempt to survey Jeff Beck's entire career. In actual fact, that would be a hopeless task, given the amount of anonymous session work that the guitarist did circa 1964-1966, but Beckology still manages to touch a few unexpected bases, even as it strings together all of the obvious and most of the important sides in Beck's output. Disc one opens with the most alluring part of the entire set, three demo tracks left behind by Beck's 1963-1965 group, the Tridents; the first official releases by this band are of far more than academic interest, presenting a first-rate blues/R&B outfit supercharged by Beck's guitar and Ray Cook's drumming, doing killer Jimmy Reed and Bo Diddley material, and even showing off Beck's prowess as a singer. The next 15 tracks represent the core of the Yardbirds' output during Beck's tenure, which lasted from March of 1965 through the summer of 1966 -- anything here could justify a place on a Yardbirds best-of set; the makers have rounded this disc out with four live cuts by the band from the BBC archives, including Beck's extraordinary homage to Elmore James' guitar playing on "The Sun Is Shining" and the unheralded group original "Love Me Like I Love You", and finish the platter with Beck's first three solo single sides, two of which, "Hi Ho Silver Lining" and "Tally Man," comprise the guitarist's brief, achingly beautiful virtuoso digression into trippy psychedelic pop, before he broke through to the more fertile field of what came to be known as heavy metal. Disc two is all of that, made up of the core of his output with the Jeff Beck Group and Beck Bogert & Appice, the latter filled out with a pair of previously unissued tracks: a live version of "Blues Deluxe/BBA Boogie" and "Jizz Whizz." Disc three skips across Beck's instrumental sides off of Blow by Blow, Wired, and There and Back and his tour with the Jan Hammer Group from the later 1970s, and wraps up with ten songs from Flash and Jeff Beck's Guitar Shop, sandwiching some key odd singles and Beck's contributions to the soundtracks of the movies Twins and Porky's Revenge. There are flaws in this set, to be sure; originally conceived as a four-disc retrospective, it was reduced to three, over Beck's wishes that some proposed cuts be omitted and Sony Music's timidity over the sales prospect of the four-CD set. But it is a good package within those boundaries, with fairly thorough annotation accompanied by great photos and a Pete Frame family tree, and, above all, excellent tape research -- not only were the right masters (i.e., the mono masters) used on "Hot House of Omagarashid" and "Lost Woman," but this is also the only CD package to combine the Yardbirds' 1965 catalog material with their 1966 tracks (owned by separate parties who will not get together). The mastering of it all is so clean that it put most of the older versions of this material to shame at the time. 

This is a CD spanning Jeff Beck's entire career. It starts with the Tridents and goes all the way through Jeff Beck's guitar shop.
As you probably know Jeff Beck was with the Yardbirds and later in the Jeff Beck Group along with Rod Stewart and Ronnie Wood.
He also was with Beck, Bogart and Appice and another formation of the Jeff Beck Group with a different cast.
With Blow By Blow in the early 70's he started his instrumental phase which he continues to this day.
Beck has always been known but never in the forefront.
You get all the classic Yardbirds hits like Heart Full of Soul, I'm a Man, Shapes of Things,Over Under Sideways Down and Happenings Ten Years Ago.
You also get his classics with Rod Stewart including Jailhouse Rock, Plynth (water down the drain) among others.
And his work with BB&A including Superstition, Black Cat Moan.
You also get his instrumental era including Cause We Ended As Lovers,Freeway Jam, Goodbye Pork Pie Hat, Love is Green and the Pump from There and Back.
Also included is his duet with Rod Stewart, People Get Ready, a killer version of Sleep Walk, Big Block and Where Were You.
This is an Anthology that any Jeff Beck fan should not be without.

Track Listings:

Disc: 1
1. Trouble In Mind - The Tridents
2. Nursery Rhyme (Live) - The Tridents
3. Wandering Man Blues - The Tridents
4. Steeled Blues - The Yardbirds
5. Heart Full Of Soul - The Yardbirds
6. I'm Not Talking - The Yardbirds
7. I Ain't Done Wrong - The Yardbirds
8. The Train Kept A-Rollin' - The Yardbirds
9. I'm A Man - The Yardbirds
10. Shapes Of Things - The Yardbirds
11. Over Under Sideways Down - The Yardbirds
12. Happenings Ten Years Time Ago - The Yardbirds
13. Hot House Of Omagarashid - The Yardbirds
14. Lost Woman - The Yardbirds
15. Rock My Mind - The Yardbirds
16. The Nazz Are Blue - The Yardbirds
17. Psycho Daisies - The Yardbirds
18. Jeff's Boogie - The Yardbirds
19. Too Much Monkey Business (Live) - The Yardbirds
20. The Sun Is Shining (Live) - The Yardbirds
21. You're A Better Man Than I (Live) - The Yardbirds
22. Love Me Like I Love You (Live) - The Yardbirds
23. Hi Ho Silver Lining - Jeff Beck
24. Tally Man - Jeff Beck
25. Beck's Bolero - Jeff Beck

Disc: 2
1. Shapes Of Things - Jeff Beck Group
2. I Ain't Superstitious - Jeff Beck Group
3. Rock My Plimsoul - Jeff Beck Group
4. Jailhouse Rock - Jeff Beck Group
5. Plynth (Water Down The Drain) - Jeff Beck Group
6. Drinking Again - Jeff Beck Group
7. Definitely Maybe - Jeff Beck Group
8. New Ways Train Train - Jeff Beck Group
9. Going Down - Jeff Beck Group
10. I Can't Give Back The Love I Feel For You - Jeff Beck Group
11. Superstition - Beck, Bogert, Appice
12. Black Cat Moan (Live) - Beck, Bogert, Appice
13. Blues Deluxe/BBA Boogie (Live) - Beck, Bogert, Appice
14. Jizz Whiz - Beck, Bogert, Appice

Disc: 3
1. Cause We've Ended As Lovers - Jeff Beck
2. Goodbye Pork Pie Hat - Jeff Beck
3. Love Is Green - Jeff Beck
4. Diamond Dust - Jeff Beck
5. Freeway Jam (Live) - Jeff Beck
6. The Pump - Jeff Beck
7. People Get Ready - Jeff Beck & Rod Stewart
8. Escape - Jeff Beck
9. Gets Us All In The End - Jeff Beck
10. Back On The Street - Jeff Beck
11. Wild Thing - Jeff Beck
12. The Train Kept A-Rollin' - Jeff Beck
13. Sleep Walk - Jeff Beck
14. The Stumble - Jeff Beck
15. Big Block - Jeff Beck
16. Where Were You - Jeff Beck 

Jeff Beck - 1975 "Blow By Blow"

Blow by Blow is the first solo album by British guitarist Jeff Beck, released on Epic Records in 1975, and recorded in October 1974. It was the first under his name alone. An instrumental album, it peaked at No. 4 on the Billboard 200 and has been certified platinum by the RIAA.

After the dissolution of his power trio in the spring of 1974, Beck took time for session work with other groups. In December, a half-hearted "audition" for The Rolling Stones took place, Beck jamming blues with the band for one day, their incompatibility obvious to all, with the guitarist position vacated by Mick Taylor eventually going to ex-Jeff Beck Group bassist Ronnie Wood.
During this period, Beck decided to record an all-instrumental album, bringing back keyboardist Max Middleton from the second Jeff Beck Group and hiring George Martin to produce. Carmine Appice, who played with Beck in Beck, Bogert & Appice was involved in the writing and recording process of "Blow By Blow", but his parts were edited out after a dispute with Beck's management. The fourth key contributor to Blow by Blow after Beck, Middleton, and Martin was Stevie Wonder, who gave Beck his songs "Cause We've Ended As Lovers" (a tribute to Roy Buchanan) and the song Thelonius, Wonder playing clavinet on the latter uncredited. The former song appeared on Wonder's album Stevie Wonder Presents Syreeta, made with his then-wife Syreeta Wright, while Wonder never recorded "Thelonius" himself. A cover of the Beatles song "She's A Woman" was selected, as well as a composition by Bernie Holland of the group Hummingbird consisting of musicians from the second Beck Group. The other five tracks were band originals with Beck and Middleton the main writers, and the last track on each side featured string arrangements by Martin. Beck dedicated "Cause We've Ended As Lovers" to fellow guitarist Roy Buchanan, with an acknowledgment to Wonder
Blow by Blow typifies Jeff Beck's wonderfully unpredictable career. Released in 1975, Beck's fifth effort as a leader and first instrumental album was a marked departure from its more rock-based predecessors. Only composer/keyboardist Max Middleton returned from Beck's previous lineups. To Beck's credit, Blow by Blow features a tremendous supporting cast. Middleton's tasteful use of the Fender Rhodes, clavinet, and analog synthesizers leaves a soulful imprint. Drummer Richard Bailey is in equal measure supportive and propulsive as he deftly combines elements of jazz and funk with contemporary mixed meters. Much of the album's success is also attributable to the excellent material, which includes Middleton's two originals and two collaborations with Beck, a clever arrangement of Lennon and McCartney's "She's a Woman," and two originals by Stevie Wonder. George Martin's ingenious production and string arrangements rival his greatest work. Beck's versatile soloing and diverse tones are clearly the album's focus, and he proves to be an adept rhythm player. Blow by Blow is balanced by open-ended jamming and crisp ensemble interaction as it sidesteps the bombast that sank much of the jazz-rock fusion of the period. One of the album's unique qualities is the sense of fun that permeates the performances. On the opening "You Know What I Mean," Beck's stinging, blues-based soloing is full of imaginative shapes and daring leaps. On "Air Blower," elaborate layers of rhythm, duel lead, and solo guitars find their place in the mix. Propelled by the galvanic rhythm section, Beck slashes his way into "Scatterbrain," where a dizzying keyboard and guitar line leads to more energetic soloing from Beck and Middleton. In Stevie Wonder's ballad "Cause We've Ended as Lovers," Beck variously coaxes and unleashes sighs and screams from his guitar in an aching dedication to Roy Buchanan. Middleton's aptly titled "Freeway Jam" best exemplifies the album's loose and fun-loving qualities, with Beck again riding high atop the rhythm section's wave. As with "Scatterbrain," Martin's impeccable string arrangements enhance the subtle harmonic shades of the closing "Diamond Dust." Blow by Blow signaled a new creative peak for Beck, and it proved to be a difficult act to follow. It is a testament to the power of effective collaboration and, given the circumstances, Beck clearly rose to the occasion. In addition to being a personal milestone, Blow by Blow ranks as one of the premiere recordings in the canon of instrumental rock music.

Blow by Blow served as a new creative peak for Beck and is, to date, his most commercially successful release. Offering a one-two punch of ingenious production and imaginative soloing, the wonderfully unpredictable guitar genius meshes stinging jazz-rock with string arrangements and energetic rhythm for You Know What I Mean; Constipated Duck; Air Blower; Scatterbrain ; Stevie Wonder's Cause We've Ended as Lovers; Thelonius; Freeway Jam; Diamond Dust , and a clever arrangement of Lennon and McCartney's She's a Woman .

Tracks Listing

1. You Know What I Mean (4:05)
2. She's a Woman (4:31)
3. Constipated Duck (2:48)
4. Air Blower (5:09)
5. Scatterbrain (5:39)
6. Cause We've Ended as Lovers (5:52)
7. Thelonius (3:16)
8. Freeway Jam (4:58)
9. Diamond Dust (8:26)

Total Time: 44:44

Personnel

    Jeff Beck – electric guitars, bass
    Max Middleton — keyboards
    Phil Chen — bass
    Richard Bailey – drums, percussion

Additional personnel

    Stevie Wonder — clavinet on "Thelonius" but uncredited on the album
    George Martin — producer, arrangements on "Scatterbrain" and "Diamond Dust"

Jeff Beck - 1976 [1990] "Wired"

Wired is the third solo album by British guitarist Jeff Beck, released on Epic Records in 1976. An instrumental album, it peaked at No. 16 on the Billboard 200 and has been certified platinum by the RIAA.

After the success of his previous album, 1975's Blow by Blow, Beck retained two of its key contributors for the follow-up, keyboardist Max Middleton and producer George Martin. Beck had also begun a musical relationship with former Mahavishnu Orchestra keyboardist Jan Hammer and drummer Narada Michael Walden; Beck would tour with the Jan Hammer Group after these sessions. The result of the interplay between Beck and Hammer was a more "synthesized" sound than that of Blow by Blow, hence the new album's title, Wired.

Although the band from the previous album appears on some tracks, four are originals by Walden and one by Hammer. Middleton contributed the homage to Led Zeppelin, "Led Boots," and Beck chose to interpret the Charles Mingus ode to saxophonist Lester Young, "Goodbye Pork Pie Hat," from the classic jazz album Mingus Ah Um. These last two tracks have been long-time staples of Beck's performance repertoire.

Jazz-rock fusion music has had no greater exponent than Jeff Beck, whose latest album, Wired, demonstrates how vital this genre can be. Even more important, Wired presents Beck in a context that finally satisfies both his uncompromising musical standards and commercial necessity.

Beck's first group, the Yardbirds, was the most inventive of the early Sixties British blues bands and is now credited with producing three of the most important electric guitarists of the past ten years — Eric Clapton, Beck and Jimmy Page. Both Clapton (with Cream) and Page (with Led Zeppelin) became famous after leaving the Yardbirds.

But Beck remained a relatively obscure figure. This despite the fact that the hits following "I'm a Man" — "For Your Love," "Shapes of Things," "Over Under Sideways Down," "Happenings Ten Years Time Ago" — were all powered by his brilliantly manic lead guitar. In comparison, Clapton was an extremely conservative stylist and Page, merely a technician. But Beck's guitar work was visionary: "Shapes of Things" shows his mastery over raga-style guitar solos and multitracking, ideas which were in their infancy at the time. Beck experimented with blues progressions, using feedback and other distortion techniques to push the electric guitar's expressive capabilities into new areas, as well as developing rock and R&B styles along the same lines.

After leaving the Yardbirds, Beck made a classic solo album, Truth, with a band which included Rod Stewart and Ron Wood. Page, meanwhile, formed his own band, Led Zeppelin, whose music was a variation on Beck's concept (compare the versions of "You Shook Me" on Truth and the first Zeppelin album). He returned two years later with a jazz-accented R&B outfit based around keyboardist Max Middleton and singer Bob Tench.

Their two albums featured a lighter, more progressive guitar style. But Beck was still not satisfied and tried a brief, disastrous fling into heavy metal with the ex-Vanilla Fudge/Cactus rhythm section of bassist Tim Bogert and drummer Carmine Appice.

Last year, producer George Martin reunited Beck and Middleton for their greatest collaboration, Blow by Blow, which became Beck's best-selling solo album and established him firmly in the jazz-rock hierarchy. But Beck was only developing ideas he'd been playing with for years.

On Wired, Beck invites a direct and favorable comparison with John McLaughlin (with whom he toured last year) by collaborating with ex-Mahavishnu keyboardist Jan Hammer and his band. Martin didn't score any of the horn arrangements because Hammer's synthesizer fills all those spaces, but the album is better recorded and has a much fuller sound than Blow by Blow. Middleton's contribution is still essential — his one song, "Led Boots," opens the album at its hottest pace and it's definitely enhanced by the interplay with Hammer's keyboards and Beck's guitar. Hammer's synthesizers work from Middleton's clavinet base, and Beck stitches runs in between.

Beck wrote no songs for this record in order to concentrate on his playing, but he dominates the album conceptually. You can tell "Head for Backstage Pass" is bassist Wilbur Bascomb's song from the bass solo that kicks it off, but from there it's all that Beck/Middleton Metal Motown Machine. Drummer Narada Michael Walden contributed four songs, three of which sound like they could have easily come from the Blow by Blow sessions. "Sophie" shows the distance between McLaughlin's cerebral meandering and Beck's incisive, witty compositional ability as the song moves from an introspective theme to an incredibly hard-edged exposition. Hammer swings here in a sweating, unself-conscious ride of pure joy that needs no guru for inspiration. Hammer's "duet" with Beck, "Blue Wind," builds phased rhythm guitars against the tension of those slogging, perfectly imprecise drums into an anthem pitch with furious guitar-synthesizer solo duels overhead. Beck's cover of the Charles Mingus ode to Lester Young, "Goodbye Pork Pie Hat," is an unlikely if not unappreciated inclusion that seems too understated to clock in as more than a tentative exploration of an already well-covered tune, but Beck's soloing, as usual, carries it off with some bizarre phrasing and adventurous distortion.

Many of Beck's older fans claim he's toned down to play this music, but listening closely, you can hear all the fire and imagination that has characterized every phase of his career. Wired is the realization of a style Beck has been working toward for years, and should finally attract the recognition he deserves.

Recording any kind of full-length album is a challenge. Following up an LP that revolutionized rock guitar? That's another matter entirely — and the struggled faced by Jeff Beck as he entered the studio to work on his third solo release.
Beck's second solo album, 1975's Blow by Blow, which found him working alongside keyboardist Max Middleton and producer George Martin on a set of songs that placed him firmly at the rock/jazz fusion vanguard while catapulting him to fresh commercial heights. A Top 10 hit, it gave Beck his first platinum record — and expanded expectations accordingly.
Unsurprisingly, Beck opted not to reinvent his sound for the follow-up. Retaining Middleton and Martin, he added another pair of key contributors for the sessions: former Mahavishnu Orchestra keyboardist Jan Hammer and drummer Narada Michael Walden, both of whom brought original material to the table while broadening the sonic palette he'd employed for Blow by Blow.
Hammer in particular had an audible impact on the new songs, adding synth-derived textures to the arrangements and freeing up Middleton to focus on clavinet and Fender Rhodes. Walden, meanwhile, not only anchored the rhythm section, he wrote half the album, contributing four of the eight tracks recorded by Beck and the new band. The result, in a nod to the album's more electronic sound, was titled Wired.
Released in May 1976, Wired wasn't the groundbreaking effort its predecessor had been; instead, it found Beck building on the fusion template he'd used the previous year. Though the subgenre would soon devolve into an easy listening playground for lowest-common-denominator smooth jazz records, in the early-to-mid-'70s, fusion could be genuinely exciting, as proven by influential hits like Blow by Blow and Herbie Hancock's Head Hunters LP. With Wired, Beck used the arrangements as launchpads into challenging instrumental excursions that took advantage of jazz's freedom without sacrificing rock energy.
That rock/jazz blend was arguably best reflected in a pair of Wired cuts: the Middleton original "Led Boots," which led off the album with a nod to Led Zeppelin, and a cover of Charles Mingus' "Goodbye Pork Pie Hat," which used the jazz legend's classic as a framework for some of Beck's finest guitar work. Throughout the record, the group showcased their rich interplay, summed up with a concluding trio of Walden tracks that left equal room for melody and instrumental virtuosity.
Their efforts were rewarded with another impressive showing on the charts. Although Wired didn't quite reach the heights achieved by Blow by Blow, peaking at No. 16, it added another platinum record to Beck's list of hits, and seemed to cement his status as a rare rock artist who didn't need vocals to enjoy consistent mainstream success. Dating back to 1972's Jeff Beck Group, he'd landed four consecutive releases in the Top 20, each of which had sold at least half a million copies.
Ultimately, Beck would find it difficult to sustain that momentum — his next studio release, There & Back, didn't arrive until 1980 — but the work he'd done throughout the '60s and '70s, capped with the commercial success he achieved with Blow by Blow and Wired, made him a household name while paving the way for decades of creative freedom.

http://jazz-rock-fusion-guitar.blogspot.com/search?q=jeff+beck

Tracks Listing:

1. Led Boots (4:03)
2. Come Dancing (5:55)
3. Goodbye Pork Pie Hat (5:31)
4. Head for Backstage Pass (2:43)
5. Blue Wind (5:54)
6. Sophie (6:31)
7. Play with Me (4:10)
8. Love Is Green (2:30)

Total Time: 37:17

Line-up / Musicians

- Jeff Beck / electric & acoustic (8) guitars
- Max Middleton / clavinet (1,2,4,6,7), Fender Rhodes (3,6)
- Jan Hammer / synthesizer (1,2,5,7), drums (5)
- Narada Michael Walden / piano (8), drums (1,2,6)
- Wilbur Bascomb / bass
- Ed Greene / drums (2)
- Richard Bailey / drums (3,4)

Santana, Jeff Beck, Steve Lukather - 1987 [1992] "Lotus Gem"

In 1986 Steve Lukather played as a guest guitarist at the Lotus Gem
concert with the Santana Band and the Jeff Beck Band (with Simon
Phillips on drums). Another boost for Lukather, to play together with
one of his 'masters' (next to for example Jimi Hendrix, Jimmy Page,
Larry Carlton, Jay Graydon, Eric Clapton and David Gilmour). You can
hear clearly that Santana was easily played away by Lukather. The
competition between Lukather and Jeff Beck was more complicated. In a
speed boogie like Freeway jam or Super boogie there's the pointed, sharp
 sound of Jeff Beck and the more sliding sound of Lukather. It's obvious
 that Beck doesn't matter to give in his stability in search for
creative and unexpected peaks. Lukather on the other hand plays like the
 talented, skilled professional, the craftsman with his own style and a
big sound. The choice is yours.

Track listing:

CD 1
01 - Into/Primaera Invasion (Santana)
02 - Black Magic Woman (Santana)
03 - Open Invitation (Santana, Lukather)
04 - Starcycle (Beck)
05 - Cause It Ended For Lovers (Beck)
06 - Wild Thing (Beck)
07 - Freeway jam (Beck, Lukather)
08 - Going Down (Beck, Lukather)
09 - Escape (Beck, Lukather)

CD 2
01 - Super Boogie (Santana, Beck, Lukather)
02 - Lotus Blues (Santana, Beck, Lukather)
03 - People Get Ready (Santana, Beck, Lukather)
04 - Johnny B. Goode (Santana, Beck, Lukather)
05 - Goodbye porkpie Hat (Beck)
06 - Love will (Beck)
07 - Ambitious (Santana, Beck)
08 - Stop look and listen (Santana, Beck)
09 - Blue wind (Santana, Beck)

Personnel:

Steve Lukather - Guitars
Carlos Santana - Guitars
Jeff Beck - Guitars

Beck's band:
Jan Hammer - Keyboards
Simon Phillips - Drums
Jimmy Hall Vocals & Sax
Doug Wimbish - Bass

Santana's band:
George Miles - Vocals
Chester Thompson - Keyboards
Armando Peraza - Congas
Orestes Vilato - Timbales
Tom Coster - Keyboards
Graham Lear - Drums
Paul Rekow – Percussion


June 1 Sun,1986: Suntory Beer Sound Market '86. Karuizawa Prince Hotel, Karuizawa, Japan

Jeff Beck - 1980 "There and Back"

There & Back is the third studio solo album by guitarist Jeff Beck, released in June 1980 through Epic Records. The album reached No. 10 and 21 on the U.S. Billboard Jazz Albums and Billboard 200 charts respectively, and No. 36 on the Swedish albums chart. Notably, There & Back showcases Beck's stylistic shift towards instrumental rock while largely retaining the jazz fusion elements of his two previous releases, Blow by Blow (1975) and Wired (1976). The opening track, "Star Cycle", was used for a number of years as the theme song for both Mid-South Wrestling in the United States and the British music programme The Tube (1982–87); "The Pump" was featured in the 1983 film Risky Business; "Too Much to Lose" is an instrumental cover of a song composed by keyboardist Jan Hammer that was originally featured on the Jan Hammer Group's 1977 album Melodies.

There and Back, Jeff Beck's first new studio album in four years, found him moving from old keyboard partner Jan Hammer (three tracks) to new one Tony Hymas (five), which turned out to be the difference between competition and support. Hence, the second side of this instrumental album is more engaging and less of a funk-fusion extravaganza than most of the first. If it were anybody else, you'd say that this was a transitional album, but this was the only studio album Beck released between 1976 and 1985, which makes it more like an unexpected Christmas letter from an old friend: "Everything's fine, still playing guitar."

The good news is that Jeff Beck is back with his first studio record since Wired in 1976. The bad news is that There and Back sounds dismally familiar. In the last few years, such avant-garde guitarists as Robert Fripp and James "Blood" Ulmer — not to mention New Wave upstarts like Public Image Ltd.'s Keith Levene and the Gang of Four's Andy Gill — have been busy plowing new rhythmic and harmonic ground. Instead of rising to their challenge, Beck has merely returned to the fusion cocoon he started spinning five years ago on Blow by Blow.
Worse, the star opens There and Back with three strikes against him, all of them the work of fuzak keyboardist Jan Hammer, with whom Beck cut a 1977 live album. "Star Cycle," "Too Much to Lose" and "You Never Know" are formulaic Hammer compositions: i.e., terminally predictable exercises in cosmic Mahavishnu-style virtuosity, lazy MOR fodder or neo-Funk-adelic jive. Throughout most of side one, Beck practically has to fight Hammer's solo-mad ego for playing room.

Tony Hymas takes over the ivories in the other five tunes, four of which he wrote with drummer Simon Phillips. Though Hymas doesn't add any new wrinkles to the LP's jazzrock fabric, at least he's a team player. Unfortunately, the Hymas-Phillips songs are as skeletal as Hammer's are overbearing.
Still, there are moments when Beck transcends his clichéd settings. "The Pump," a simple chord progression funked up by Mo Foster's hydraulic bass, allows the guitarist ample room to draw out long orchestral sustains. "El Becko" represents the other side of the coin: a tight, punk-chops showcase on the order of Truth's proto-heavy-metal raver, "Beck's Bolero."
Such flashes, however, are far too few. There and Back is a disappointingly static record from a consummate riffer whose specialty was always leading the pack. These days, Jeff Beck seems content to be a spectator, watching the parade go by.

Tracks Listing

1. Star Cycle (4:56)
2. Too Much To Lose (2:55)
3. You Never Know (4:03)
4. The Pump (5:43)
5. El Becko (3:59)
6. The Golden Road (4:55)
7. Space Boogie (5:04)
8. The Final Peace (3:36)

Line-up / Musicians

- Jeff Beck / guitars
- Jan Hammer / keyboards
- Simon Phillips / drums
- Tony- Hymnas / keyboards
- Mo Foster / bass

Jennifer Batten - 2997 "Momentum"

Jennifer Batten's Tribal Rage: Momentum is the second studio album by guitarist Jennifer Batten, released on August 5, 1997 through East West Records and reissued in June 2008 through Lion Music.

Tribal Rage is Jennifer Batten on guitars, guitar synth, keys, talk box, and dentist drill guitar, Ricky Wolking on bass (fretted and non), talk box, and other bizzare sound manipulations, with Glen Sobel doing drums and percussion. And what is all this fuss over Batten about?

She is amazingly fluid, so many tricks up her sleeve, so many voicings, techniques, and sheer bombast that you are overwhelmed with what torture and delicate touch she lays on a guitar. Slapping, tapping, bending, pulling off, hammer ons, slides — and with both hands! Throwing in a Whammy pedal when all her hands are too busy, she then creates so much wailing, swooping, and mutiple harmonics, that your aural dynamic sense nears overload. The effect is one steady onslaught of unique sounds you thought guitarists could only offer in tidbits, in certain moments, for lead breaks, at song intros or outros. Yet Batten constructs a whole CD’s worth of magical moments of a guitar doing things you rarely hear. She goes beyond Vai’s insane excursions and tops it off by tipping her hat and then running past Satriani’s finer weirdness.

This lady is an artist crafting a whole new dimension of guitar sounds, weaving it all together into song, and best of all it works. Her music is not endless backflips or clowning around — Batten hears another land’s strange echoes and offers a curiously interesting reply. With her Tribal Rage crew at her side a world of wonder unfolds. Seven quality cuts ranging from 7:10 to 9:33 let the whole crew stretch. There is some seriously cool bass work and severely challenging percussion happening here as well.

Batten has toured with big names like Jeff Beck and Michael Jackson. So what does Jeff Beck think of her playing? Beck says, “Incredible stuff, very impressive. She’s very dedicated. I just see her in her little house somewhere, doing nothing else. Because you can’t get that good unless you do.” I have to agree.

As guitar fans would easily recognize Holdsworth’s, Torn’s, or Rypdal’s guitar voice— Batten’s flexible-axe voice is a clear signature. I must say I’ve never heard anyone do anything quite like Batten’s continuous stream of note-bending, tapping, swells, controlled feedback, harmonics, and lightning-fast riffs. Prepare to enter into another dimension of guitar where elasticity is the word.

“Jennifer Batten’s Tribal Rage – Momentum” CD was a labour of love which was developed over a period of several years. “Momentum” is a hybrid of rock and very exotic sounds, including African percussion, Australian didgeridoo, Caribbean steel drums and Scottish bag pipes all wrapped up in a inviting album of diverse influences and sounds.

Looking back on the album’s creation Jennifer comments, “Glen Sobel, Ricky Wolking and I set out to make this a rich sonic journey for ourselves and the listener. We wanted to take them around the globe and included a lot of elements from different cultures. We spent a lot of hours developing, rehearsing and jamming in Glen’s mother’s shoe closet. You couldn’t fit more than the 3 of us and our equipment in there, but the price was right. We set out to be as open minded and creative as possible”.

A really astonishing work from a female guitar slinger who accompanied Jeff Beck and Michael Jackson on world tours back in the day. Her fellow musicians: Ricky Wolking on bass and Glen Sobel on drums and percussion are nothing short of jaw dropping when faced with some demanding roles. If you're into first rate guitar work with plenty of speed, harmonics, fresh, original ideas and the ability to see them to sizzling fruition, this album will be one that you whip out and say to your friends, "Check this out!

Jeff Beck was once quoted as being shocked when he saw Ms. Batten in person for the first time. To wit: "...I expected someone who was introverted and did nothing but practice all the time, because you'd have to do nothing but practice all the time to be that good!!!". Amen to that observation. I have followed with a passion her 2-handed techniques from her days as a GP magazine columnist. I got my 1st taste of what it could sound like from one of her GIT teaching tapes. NEVER could I dream that the amalgamation of her composition skills and technique (i.e., her total artistry) could be so beautifully, powerfully devistating as reflected on this and her other 2 CDs (5-stars for the lot of them). Just stunning stuff. Simply put, if anyone wants to hear a true guitar visionary apply her musical gift and craft in a spellbinding way - buy the CD(s) - be silent - just listen and absorb (sit down if you can - but you'll likely be too energized to allow it)! Who should know brilliance better than the maestro Jeff Beck; he is, he said she is, and the resultant truth is most obvious.

Track listing:

1. "Wodaabe Dancer" 8:30
2. "Elephant Stomp" 7:10
3. "Zulu Wedding" 9:30
4. "Scottsman in the Carribean" 8:57
5. "The Swarm" 9:19
6. "Glow" 8:45
7. "Unplug This" 9:34

Total length: 61:45

Personnel:

Jennifer Batten – guitar, guitar synthesizer, keyboard, talk box, background vocals (tracks 1, 4)
Glen Sobel – drums, percussion
Ricky Wolking – bass, banjo, talk box, background vocals (tracks 1, 4)
Chris Tervitt – spoken vocals (track 4)
Sean Wiggins – spoken vocals (track 6), background vocals (tracks 1, 4)
Benny Collins – spoken vocals (track 7)
Bret Helm – background vocals (tracks 1, 4)
Janis Massey – background vocals (tracks 1, 4)
Sylmarian Pygmee choir – background vocals (tracks 1, 4)

Various Artists - 1993 "Stone Free" - A Tribute To Jimi Hendrix

Stone Free: A Tribute to Jimi Hendrix is a 1993 album recorded by various artists in tribute to Jimi Hendrix. The artists were drawn from many genres of popular music. Contributors include his classic rock contemporaries Eric Clapton and Jeff Beck, blues man Buddy Guy, classical violinist Nigel Kennedy, alternative pop/rock bands Belly and Spin Doctors, hip hop artists P. M. Dawn, among others. According to the liner notes, the "artists were encouraged to not only record one of their own personal favorites but to also place their stamp on Jimi's songs." Several artists recorded radically different interpretations, particularly, P. M. Dawn, The Cure, Nigel Kennedy and Pat Metheny. Some artists, on the other hand, recorded versions that were rather similar to the originals.

The band M.A.C.C. is made up of Mike McCready (guitarist from Pearl Jam), Jeff Ament (bassist from Pearl Jam), Matt Cameron (drummer for Soundgarden and later for Pearl Jam), and Chris Cornell (singer of Soundgarden and later Audioslave). The cover of "Hey Baby (Land of the New Rising Sun)" is their only known recording. All four members of this group had previously worked together on the Temple of the Dog project, and the song "Hey Baby (Land of the New Rising Sun)" was added to Temple of the Dog's live set in 2016.

Eric Clapton's backing group on the title track includes the three original core members of Chic (Nile Rodgers, Bernard Edwards and Tony Thompson) and is the last recording on which all three played together.

I had forgotten about this one and someone made reference to Jimi Hendrix and rockers of the 70's during a radio spot - and I found this gem on Amazon. I owned it on cassette way about the time it came out in 1993 - and what a trip down Memory Lane! The Cure singing "Purple Rain", Buddy Guy's cover of "Red House", The Spin Doctors doing "Spanish Castle Magic" - and of course - The Pretenders with "Bold As Love". What I loved most about this compliation is that you hear Jimi Hendrix's unique compositions and lyrics very clearly, with the added extra of what made these newer bands so special twenty years after Hendrix's passing. If you're a Hendrix fan, you're really going to love this CD.

Not wanting to go song by song, I'll just say that the Paul Rodgers/Slash collaboration on "I Don't Live Today" is worth the price alone. PM Dawn's take on You Got Me Floain' is a favorite, and Buddy Guy brought it with "Red House". Jeff Beck and Seal did the same on "Manic Depression". And Body Count doing "Hey Joe"... ok, I'm going song by song. If you like Jimi, you'll love this!

I had this way back when it first came out on cassett. There are some real gems on here including, Jeff Beck & Seals version of Manic Depression and M.A.C.C.s Hey Baby. There are a lot of other great renditions of Jimis work as well. Some are done very differently but still are interesting to listen to. This is probably my favorite tribute album so far. You can pick it up for next to nothing used so there is nothing to lose and a lot of cool music to gain.

On February 9, 2015, the album was released for the first time on vinyl by Music on Vinyl.

https://jazz-rock-fusion-guitar.blogspot.com/search?q=Jimi+Hendrix

Track listing / Artists:

All tracks written by Jimi Hendrix, except track five (by Billy Roberts).

01. "Purple Haze" (produced by Robert Smith and Bryan "Chuck" New) The Cure 5:19
02. "Stone Free" (produced by Nile Rodgers) Eric Clapton 4:25
03. "Spanish Castle Magic" (produced by Eddie Kramer) Spin Doctors 4:06
04. "Red House" (produced by Eddie Kramer) Buddy Guy 3:48
05. "Hey Joe" (produced by Ernie C) Billy Roberts Body Count 4:28
06. "Manic Depression" (produced by Jeff Beck, Eddie Kramer and Seal) Seal and Jeff Beck 5:11
07. "Fire" (produced by Nigel Kennedy) Nigel Kennedy 4:39
08. "Bold as Love" (produced by Stephen Street) Pretenders 3:23
09. "You Got Me Floatin'" (produced by P. M. Dawn) P.M. Dawn 4:49
10. "I Don't Live Today" (produced by Eddie Kramer) Slash, Paul Rodgers and Band of Gypsys 4:32
11. "Are You Experienced?" (produced by Paul Q. Kolderie and Sean Slade) Belly 3:38
12. "Crosstown Traffic" (produced by Ron Saint Germain) Living Colour 3:10
13. "Third Stone from the Sun" (produced by Pat Metheny) Pat Metheny 6:00
14. "Hey Baby (Land of the New Rising Sun)" M.A.C.C. 5:26

Stanley Clarke - 1975 "Journey To Love"

Journey to Love is the third jazz funk fusion album by bass guitarist and multi-instrumentalist Stanley Clarke, accompanied by familiar musicians he has often worked with like George Duke and Chick Corea. Other legendary players on this record are John McLaughlin and Jeff Beck.

It has often been said that Stanley Clarke did for the fretted electric bass in the 1970s what fellow virtuoso Jaco Pastorius did for the fretless. For any aspiring jazz-rock bassist coming up in the time between Bitches Brew and Feels So Good, Stanley's innovative playing, which combined a distinctive slap-pop style with fluid finger-style work informed by his acoustic playing, was a required assignment. Although School Days, with its catchy signature song, is perhaps the most listened to of his albums, it is on Journey to Love, Clarke's second solo offering for Columbia, that his muse is most confidently and persuasively displayed. He is assisted in this worthy endeavor by a whole carload of world-class talent. Jeff Beck shows up for two songs, the title track and the appropriately-titled "Hello Jeff." His lead guitar is as expressive and unpredictable as ever, capable of bringing a smile to the face of the most jaded listener. Return to Forever bandmates Chick Corea and Lenny White also turn up, as well as fellow traveler Mahavishnu John McLaughlin. Not to be overlooked are the tremendous talents of keyboardist George Duke, drummer Steve Gadd, and guitarist David Sancious. The caliber of the musicians aside, Journey of Love is full of great tunes, great grooves, and absolutely amazing bass playing. Clarke moves from percussive slapping to almost guitaristic chording to full-speed improvising with bewildering ease. Make no mistake about it, this is one of the finest fusion albums to come out of the 1970s, and it is the single best demonstration of the skills and the sound that make Clarke one of the most important figures to ever pick up the instrument.

Alongside School Days, this is perhaps Clarke's finest work. From beginning to end, it is simply a very joyful and magnetic listening experience. The infectious and sometimes beautiful grooves are just so impressively done. Clarke's playing is fantastic, managing to be hypnotic at certain moments, and frenetic at others without being headache-inducing, and overall, it's just a very well put together album that will definitely benefit from repeat listens. This is one of the best jazz fusion albums of all time. It's equally great in its slow spots as it is in its speedy spots, and Clarke and the other musicians who show up on it simply do stunning work.

Track listing

All tracks composed by Stanley Clarke; except where indicated

1. "Silly Putty" (4:52)
2. "Journey to Love" (4:52)
3. "Hello Jeff" (5:16)
4. "Song to John, Part 1" (Clarke, Corea) (4:22)
5. "Song to John, Part 2" (Clarke, Corea) (6:09)
6. "Concerto for Jazz/Rock Orchestra, Parts 1-4" (14:25)

Personnel

• Stanley Clarke - electric bass, acoustic bass, organ, piccolo bass (first used by Stanley Clarke) with Maestro Synthesizer on "Concerto For Jazz/Rock Orchestra," hand bells, tubular bells, gong, vocals
• Jeff Beck - electric guitar on "Hello Jeff" and guitar solo on "Journey to Love"
• Chick Corea - acoustic piano on "Song to John"
• George Duke - organ, synthesizer, Moog synthesizer, keyboard, Arp Odyssey, clavinet, acoustic piano, electric piano, bells, vocals
• Earl Chapin - brass horn
• John Clark - brass horn
• Jon Faddis - trumpet
• Steve Gadd - drums, percussions
• Peter Gordon - brass horn
• Tom "Bones" Malone - trombone
• John McLaughlin - acoustic guitar on "Song to John"
• Alan Rubin - trumpet
• David Sancious - electric guitar, 12-string guitar
• Lew Soloff - trumpet
• David Taylor - trombone
• Lenny White - drums on "Hello Jeff"
• Wilmer Wise - brass horn

Cozy Powell - 1997 "The Best Of Cozy Powell"

The Best of Cozy Powell is a collection of songs from Cozy Powell's solo works.

Polydor's The Very Best of Cozy Powell is culled from his early-'80s AOR and hard rock records. This wasn't the best period of Powell's career, suffering from a singular lack of imagination, but it had its moments, all of which are collected here. Even when distilled to this concise collection, these recordings are a bit thin and monotonous, but this remains the place to become acquainted with these records. 

Cozy Powell is a name that definitely gets recognized in the musicians circle, especially the drummers crowd. 'The Coz' was
and still is one of the hottest Rock drummers around. If your drummer can't get the job done...Then call Cozy!
Poydor-Chronicles has just issued a 'tour de force' CD The Best Of Cozy Powell which captures Cozy & friends at 16 of
their finest moments from Cozy's 3 Polydor albums- Over The Top '79, Tilt '81 & Octopuss '83. On this CD you'll find great
killer Rock mixed with fusions of Jazz & Blues and playing along side 'The Coz' you'll fine some of the leading musicians who
are top of the rank. Jack Bruce, Gary Moore, Jeff Beck, amongst others burn the tunes up with sky rockets flare! "The Blister,"
"Hot Rock," "Theme One" & "Killer" are untouchable. If you been missing Cozy's music (his original albums fetch a high $$$ in
collectors hands these days) it's time to pick up this CD. Boy! He burns on them 'skins'! All the material has been digitally
remastered and will blow your system out! For more Cozy checkout Rainbow's The Very Best Of
Rainbow/Polydor-Chronicles.

This is the best of his solo work, not the entire career. That'd be a 10 cd-box-set since he played with dozens of bands and projects. The songs here are from his three different solo albums, Over the top(1979)(#1-#5), Tilt(1981)(#6-#9) and Octopuss(1983)(#10-#16). I highly recommend this, rather than buying all three(unless you're a die-hard fan) since the song selections are great. The highlight is "Over the top"(#5), with a drum solo in the middle, completed with his world famous Tchaikovsky's "1812 overture" drum solo.

The recording members are:
-Guitar: Gary Moore, Jeff Beck(#6,8), Dave Clempson, Mel Galley, Bernie Marsden.
-Bass: Jack Bruce, Colin Hodgkinson.
-Keyboards, piano, moog bass, synth: Don Airey, Max Middleton, John Cook, David Sancious, John Lord. 

Cozy Powell is one of my favorite drummers of all time. I loved listening to his drumming on the old Rainbow albums, the later Black Sabbath albums with Tony Martin, the second album by The Micheal Schenker Group, and Robert Plant's first solo album Pictures at Eleven, but I never new he had solo albums. So I decided to buy one but, all the albums were either out of stock or way to expensive. Then I came across this compilation. I thought it was perfect and it was.
It has tracks from his first three solo albums: Over the Top(1979), Tilt(1981), and Octupuss(1983).
It has five tracks from Over the Top.
It has four tracks from Tilt.
It has six tracks from Octupuss.
Any drummer or fan of Cozy Powell's legendary drumming will adore this Cd.
Also there are many famous musicians on this Cd like Jon Lord, Jack Bruce, Don Airey, and Gary Moore.
This is great music. 

Tracks Listing

1 Theme One 3:36
2 Killer 7:16
3 Sweet Poison 6:26
4 The Loner 4:52
5 Over the Top 8:38
6 Cat Moves 5:12
7 Sunset 4:32
8 Hot Rock 4:38
9 The Blister 4:24
10 Up on the Downs 3:55
11 Formula One 3:21
12 Dartmoore 5:41
13 633 Squadron 4:13
14 Octopuss 5:53
15 The Big Country 2:56
16 The Rattler 2:57

Line-up / Musicians

Cozy Powell Percussion, Drums, Gong, Producer, Tympani [Timpani], Drums (Snare), Tubular Bells, Mixing, Handbells
Don Airey Bass, Flute, Piano, Trombone, Trumpet, Arranger, French Horn, Keyboards, Oboe, Moog Synthesizer, Moog Bass
Jeff Beck Guitar
Jack Bruce Bass
John Cook Keyboards, Moog Bass
Mel Galley Guitar
Colin Hodgkinson Bass
Jon Lord Keyboards
Bernie Marsden Guitar, Guitar (Rhythm)
Max Middleton Piano, Keyboards, Moog Synthesizer, Fender Rhodes
Gary Moore Guitar
David Sancious Synthesizer, Keyboards

Carl Filipiak - 2000 "Peripheral Vision"

Carl Filipiak is an American jazz-rock guitarist and recording artist for Art of Life Records. USA. Best known for his jazz-fusion CD's and partnership with world-renowned drummer, Dennis Chambers. His critically acclaimed CD's feature Miles Davis' alumni Bob Berg and Gary Thomas on sax, Will Calhoun on drums (Living Color), Gary Grainger on bass (John Scofield) and many others. (See http://www.carlfilipiak.com/biography.html) He was included among a list of renowned guitar players and nominated for "New Fusion Blood" in Jazziz Magazine. He is an author of instructional books for Mel Bay Publications and Balafon Books. His 2013 release "Live at the Cat's Eye" has reached #1 on both jazz fusion and bebop jazz categories on Amazon MP3 album downloads.

Baltimore guitarist Carl Filipiak records for his own small label, Geometric Records, which is probably the reason he’s not better known outside the Baltimore-D.C metroplex. Too bad, because the dude can really play.

Filipiak’s music is probably too brawny for the smooth jazz crowd, but hardcore fusion fans should warm up to it instantly. The guitarist displays a Methenyesque sense of melody and improvisation while infusing his jazz with elements of rock, funk, Latin and blues. His latest release Peripheral Vision offers material from all four of his previous albums, plus one new track ("Forest Flower").

The presence of Bob Berg and Dennis Chambers helps lift the recording. Chambers pounds the skins on all 11 tracks, while Berg adds his slithering sax to three cuts. On some tunes, Filipiak shifts dexterously between electric guitar, acoustic guitar and guitar synth. Besides displaying a keen sense of melody and improvisation, he occasionally cranks up the distortion and rocks out in a jazzy style reminiscent of Jeff Beck. In fact, his cover of "Cause We Ended As Lovers" is nearly as uplifting as Beck’s. Another highlight is the original composition "Nuji," a funky fusion-bop piece.

If you’re a fan of lyrical fusion guitar, you should definitely check out Carl Filipiak.

Whether firing off dazzlingly rapid hard-fusion or waxing rhapsodic through ringing, sweet-toned chords and harmonic touches, guitarist Carl Filipiak constantly challenges the senses on Peripheral Vision (Geometric Records GEO-246; 72:38). The key to Filipiak's vision is counterpoint-Caribbean tones meet driving fusion on "Hotel Real," which packs a big, beautiful percussive wallop; and the guitarist's detailed, sharp-cornered licks on "Song for Irene" contrast the piece's quiet, jazz-walk setting for a touching emotional feel. Other highlights include a tight take on Jimi Hendrix's oft-covered "Little Wing," with Dennis Chambers providing a hesitant, distant-feeling drum punch which opens unique spaces for Filipiak to experiment with harmonies; and "Forest Flower," with its unexpectedly rocking, high-stepping setting, which lends the tune a feeling of resilience.

Peripheral Vision is a compilation of three previously released discs by jazz guitarist Carl Filipiak on the Geometric label. Latin, funk, and fusion are mixed with jazz on these 11 tracks including drummer Dennis Chambers and saxophonist Bob Berg. Along with several original compositions, Filipiak also pays tribute to his major influences Jimi Hendrix and Jeff Beck. An eight-minute "Little Wing" and Beck's version of Stevie Wonder's "Cause We've Ended As Lovers" are covered.

I have all of Carl Filipiak's work, and this CD is a great starting point for fans of rock, jazz, or fusion. The musicianship on this album is unsurpassed with drumming by Dennis Chambers on every track, and more importantly Carl's guitar playing which is phenomenal. I highly reccomend this album to anyone interested in jazz with a great rock edge as well. Its a must have!  By Dav Mattucci  

Not only is Carl Filipiak an absolutely amazing guitarist, his songwriting skills are top notch. add to that the fact that he has personally taught just about every good guitarist who has come out of Baltimore in recent years. he is a must see live as well - shows are always spontaneous and engaging... By platypus

This release from Geometric Records combines some cuts from Baltimore-based guitarist Carl Filipiak's excellent Hotel Reál (reviewed favorably in the Sensible Sound upon its release several years ago) with some older cuts, making this something of a Carl Filipiak retrospective release. Filipiak's name may never be a household word, but his reputation is spreading, based both on his CDs and his live performances. He is a tasteful performer who does not try to overwhelm the music he is playing by engaging in virtuosic overkill; still, his technique is formidable, as a listen to his version of Jimi Hendrix's "Little Wing" readily reveals. He can also be quite lyrical, as he shows on his cover of Stevie Wonder's "'Cause We've Ended as Lovers." Peripheral Vision offers a good overview of the work of this talented and versatile guitarist; I urge jazz guitar fans to check it out. By Karl W. Nehring 

Filipiak's musical style can easily be described in just one word- killin'. His unique tones and creative runs make his style of playing seem above the label "fusion." Soroka's performance on sax is outstanding and appropraite, and the use of lyricon adds a layer that dives into exciting new grounds. Dennis Chambers is on fire as he lays down beats that are relaxing as a sunset on Malibu, and other times thrilling as a triple-crown winning horse. Perhaps if Carl's music becomes more and more recognized in years to come, fusion jazz may become more recognized, while at the same time unspoiled as it melts into the mainstream. As one of Carl's students, I definetely feel Carl's music should be heard at more than an underground level. And with music becoming ever so easier to obtain, it almost seems inevitable.    

Track listing:

01    Hotel Real          
02    Mariko          
03    Little Wing          
04    Song for Irene          
05    Right on Time          
06    Blue Entrance          
07    Cause We've Ended as Lovers          
08    Two PM          
09    Say You Were          
10    Nuji          
11    Forest Flower

Personnel:

Carl Filipiak (guitar); 
Dave Fairall, Bob Berg (saxophone); 
Paul Soroka (keyboards); 
Dennis Chambers (drums); 
Greg Grainger, Victor Williams (percussion). 

Allan Holdsworth - 1997 "Heavy Machinery"

Heavy Machinery is a collaborative studio album by guitarist Allan Holdsworth, keyboardist Jens Johansson and drummer Anders Johansson, released in 1996 through Heptagon Records (Sweden), and on 12 August 1997 through Shrapnel Records (United States) and Pony Canyon (Japan).
Confusingly, on the album's European/U.S. release, "Macrowaves" is made up of complete silence after 2:51, with an additional improvised "filler" keyboard and drum solo by the Johanssons at 23:46. On the Japanese release, "Macrowaves" only comprises the first part as normal without any silence; the silence has instead been moved to the bonus track, "The Moose Are Marching", where it fills the space from 7:59 to 20:45, after which the latter keyboard solo from "Macrowaves" ends the album.

Remember Jan Hammer and Jeff Beck jamming together with lead tradeoffs ad libitum forever amen? You will hear many similarities in guitar legend Holdsworth and keysman Jens Johansson springboarding off each other. A big difference soon unfolds -- this duo just plain smokes, cutting early into the fast lane and getting right down to business. Things overall are compositionally interesting, noticeably precise, big and phat, just more intriguing than those Hammer/Beck excursions. It immensely helps havin' monster-everywhere drumming, a veritable demon-wind blowin' at their backs like Anders Johansson kept rock steady.
It was refreshing to hear Holdsworth get funked up and get in a rockin' groove thang for a change on many cuts. His guitar tone seemed bigger -- perhaps augmented in places with some background triggered synth-echo delays and textures. Jens Johansson was outstanding in his mosaic of keyboard styles and voicings. He nearly duplicates that signature Holdsworthian lead phrasing. An expertly interwoven synthesis of sound and rhythm is present. Great jazz-rock fusion happens here.
An intensity propels this musical meeting. Drummer Anders Johansson and Jens Johansson have roots that dig deep: playing with axe-shredder Yngwie Malmsteen's Rising Force, Ronnie James' Dio, and a host of other metal ventures. Latter-day Mahavishnu Orchestra bassist Jonas Hellborg has collaborated with the Johansson brothers as well. Simply put, herein lies vast versatility. Invite guitar genius and innovator Allan Holdsworth over to jam and you spark unforgettable fireworks of furious fusion. Holdsworth fans, this is a must. Rockers and jazz-rock fusionists alike will delight in this recording.
John W. Patterson at AllMusic gave Heavy Machinery three stars out of five, but described the album positively as "unforgettable fireworks of furious fusion" and "great jazz-rock fusion". He praised all three musicians for their intense playing, in particular comparing Holdsworth and Jens Johansson's jamming to the duo of guitarist Jeff Beck and keyboardist Jan Hammer, but remarked that the album is "just more intriguing than those Hammer/Beck excursions."

Track listing

All music composed by Jens Johansson.
No.     Title     Length   
1.     "Joint Ventures"       5:48
2.     "Beef Cherokee"       4:02
3.     "On the Frozen Lake"       4:52
4.     "Mission: Possible"       5:15
5.     "Good Morning, Mr. Coffee"       7:25
6.     "Siouxp of the Day"       4:02
7.     "On the Fritz"       5:24
8.     "Tea for One and a Half"       6:22
9.     "Never Mind Our Weather"       5:54
10.     "Macrowaves"       24:55
Total length:
    73:59

Personnel

    Allan Holdsworth – guitar, SynthAxe
    Jens Johansson – keyboard, bass synthesizer,[5] engineering, mixing, production
    Anders Johansson – drums, production

Tommy Bolin - 1974 [1996] "Live at Ebbets Field"

During his tragically short career, Tommy Bolin played with many different musicians and bands. In early June 1974, Bolin was still a member of the about-to-splinter James Gang, and decided to book a couple of nights at the Denver club Ebbets Field to try out some new material he'd written. He called upon his old band Energy to back him up, and the show (finally officially released on CD) is a guitar player's dream, especially for those into the classic sounds of Jeff Beck, Santana, and Hendrix. And even though the five songs that contain vocals (courtesy of Jeff Cook) are quite good, it's the other five instrumental tracks that make this disc a fine testament to the Tommy Bolin legacy. Bolin lends his touch to such raging rockers as the opening "You Know, You Know" and "Homeward Strut," while fans of the Allman Brothers should definitely check out "Shakin' All Night," with its fluid slide guitar work. Also included are nasty renditions of the blues-rock standards "Born Under a Bad Sign" and "Ain't No Sunshine," combined as a medley. Even though some of these tracks ("San Francisco River," "Stratus," etc.) have been issued on some of the other releases from the Tommy Bolin Archives record label, they are all versions from different recording dates. This is an excellent live document showing what Bolin could accomplish while jamming for fun, in the company of some good friends. All Music.

Live At Ebbets Field 1974 is simple amazing. Combining Tommy's virtuoso jazz/rock/fusion guitar playing with an incredible rhythm section, this CD simply blows me away. From the opening "You Know, You Know" to the heart-pounding "Crazed Fandago" to the closing "Stratus" this CD showcases Tommy at his best. A must-have not only for Tommy Bolin fans but for anyone interested in exploring the electric guitar world.

This has to be one of the best Tommy Bolin cds out as far as his guitar playing is concerned. Great solos straight ahead rock and roll. I like most of the stuff Tommy has out but this was him cutting loose if you like live cds by Rory Gallgher or Joe Bonamassa then you will love this. Thanks for reading.

When Tommy Bolin took a break from being in the James Gang, and returned home to Colorado 1974, he gathered up some of his closest musical buddies for two nights of performances at Denver's legendary tiny Ebbets Field. Both nights were broadcast on the radio, and the result is this CD. If you love technically charged, inventive passionate guitar music that flows from powerful rock to over the top fusion playing, this set is for you. In it, Bolin proves why he is one of the most loved and respected of guitar cult legends. The likes of Jimmy Page, Jeff Beck, Joe Perry, Vernon Reid, and David Hidalgo are all huge fans of Bolin. With the purchase of this CD, you will understand why.

Tommy Bolin was in the midst of a tour with the James Gang in 1974 when he returned to Colorado and broadcast two nights of performances on the radio with friends, luckily someone recorded it and that is what you have on this CD - this was when he was fairly straight and his playing had not started to deteriorate once heroin started taking over in late 75 and 76 - his playing is still strong, fiery, funky and outta site ---- there are previews of songs here that would make it onto the following years "Teaser" album but for the most part this is a jam album with covers of blues songs and jazz and fusion numbers by groups that Tommy admired, leaving plenty of room for him to solo --- and boy does he deliver on those goods - at the end of the CD someone yells out for him to do a song from Spectrum, the Billy Cobham album he appeared on the previous year and Tommy agrees, rounding out the album with an exploding version of "stratus" - the solo on that song alone as it builds up intensity, power and distortion is worth the price of this CD alone - if you are new to Tommy's music this CD and the above mentioned Spectrum CD are where you need to start - he did great work on James Gang "Bang" and DP's "Come Taste the Band" but Ebbets Field 74 and Spectrum are the Kentucky Derby/ Indy 500 checkered flag winners - by far - SMOKIN.....

Tommy Bolin as blues-rock guitar hero, unleashed in a way he never was on his studio recordings. The beefed-up triple percussion section propels him through his most aggressive playing; blues covers, jazz fusion, molten hard rock, and the first airing of “Homeward Strut.” Again, the Zebra Records version adds sonic quality. This CD is culled from the 2 nights of live performances at Ebbets Field in Denver that Tommy put together during the time he was in The James Gang. The band was basically the then defunct Energy, Jeff Cook, Stanley Sheldon, and Bobby Berge, and guests Archie Shelby and Russell Bizet. The format of these shows allowed Tommy to dominate with some of his most ferocious guitar work. Songs include “You Know You Know,” “San Francisco River,” “Shakin’ All Night,” “Walkin’ My Shadow,” “Born Under a Bad Sigh/Ain’t No Sunshine,” “Crazed Fandango,” “Honey Man,” and “Stratus.” 63 Minutes.

 Track Listings

  1. You Know, You Know
  2. San Francisco River
  3. Shakin' All Night
  4. Whiskey Headed Woman
  5. Walkin' My Shadow
  6. Born Under A Bad Sign/Ain't No Sunshine
  7. Crazed Fandango
  8. Ain't Nobody's Fool
  9. Homeward Strut
  10. Honey Man
  11. Stratus

Pesonnel:

    Tommy Bolin - Guitar
    Stanley Sheldon - Bass
    Bobby Berge, Russell Bizet - Drums
    Archie Shelby - Percussion
    Jeff Cook - voice

John Mclaughlin - 1995 "The Promise"

The Promise is a jazz album released in 1995 by John McLaughlin on Verve Records. The album peaked number 4 in the Billboard Top Jazz Albums chart 1996.

The Promise offers a summation of all the places John McLaughlin has been in his career, and points directly toward his future. Featuring a wide range of musicians including appearances by the Free Spirits, the Guitar Trio, and an electric version of Shakti, the Promise is easily the most wide-ranging and diverse offering of McLaughlin's long career. Its contents encompass everything from straight post-bop and swinging soul-jazz to fusion to modern takes on East Indian music as it meets the West.

As if this weren't enough, there are even moments with spoken word laced throughout, such as a verse of Dante read by Stefania Bombi toward the end of his scorching, funky, soul-jazz number "Thelonius Melodius" with B-3 organist Joey DeFrancesco and drummer Dennis Chambers.

The set kicks off with one of its finest moments, a guitar-to-guitar reading of John Lewis' "Django" with Jeff Beck (bassist Pino Palladino, drummer Mark Mondesir, and drummer Tony Hymas round it out). Beck's solo is first; it is expansive as it moves from a gorgeous restating of the melody through slinky harmonic extrapolations. McLaughlin's answer is ambitious and intuitive. They then move toward one another and the melody, complementing each other perfectly. "El Ciego" is a complex, flamenco-tinged jazz number with McLaughlin trading knotty lines and soulful solos with Al di Meola and Paco de Lucia. "Jazz Jungle" is late 20th century fusion at its blazing best with Michael Brecker, Chambers, Don Alias, James Genus, and Jim Beard beginning almost nebulously before ratcheting the tempo and idea palettes to dizzying heights (Brecker is particularly brilliant). "The Wish," with Zakir Hussein, Nishat Khan, and Trilok Gurtu, looks deeply into Indian classical music balanced by a European gaze.

McLaughlin's engagement with Khan's sitar creates nearly rapturous expression, all the while contained inside a texture that is as atmospheric as it is exotic. "Shin Jin Rui" employs the same band as "Jazz Jungle," with the exception of the saxophone, played by David Sanborn. His playing is riskier than on his own records, his alto juxtaposed with McLaughlin's guitar, a study in funky, electric jazz modernism.

The set closes with a lovely all-acoustic reading of Jimmy Rowles' "The Peacocks" with guitarist Phillipe Loi and bassist Yan Maresz, and a verse by Lorca read by Susana Beatrix as an end cap. Ultimately, The Promise stands as one of McLaughlin's towering achievements as a guitarist and leader.

Some highly respected music critics criticized this 1996 effort as a hodge-podge of musical ideas with no central theme. However, they are mistaken. Clearly the thematic nature of this outing was the diversity of the music itself. The original tunes are compositionally strong, and the playing throughout is purposeful and exquisite. McLaughlin has gathered several of his friends—who happen to occupy the higher echelons of music—for The Promise 's musical journey through genres ranging from the all-out bombastic fusion of "Jazz Jungle" to the Euro-Indian strains of "The Wish". A vast list of musicians join the festivities.

The Promise was the jazz guitar event of 1996. The Beck/McLaughlin reworking of John Lewis' tune "Django" is itself worth the price of admission. Beck's playing opens the piece and the album, making you wonder whether even the great McLaughlin can compare. He does, of course, and in such a way as to make any comparisons an exercise of nonsense. Their interplay is complimentary and utterly brilliant. They should record a whole album together.

"Jazz Jungle" is a true fusion number. Its energy is greater than that of a jumbo jet during take-off (which is also a good description of Dennis Chambers' drumming on this tune). John McLaughlin, at 54, can still wail with purpose better than any young pretender to the throne. Amazing. Guest musician Michael Brecker makes his mark on this piece as perhaps the finest fusion saxophonist on the scene.

"Shin Jin Rui" features a reunion of sorts with jazz-pop sax man David Sanborn. Sanborn doesn't seem to take chances like this on his own albums. He is sympatico with McLaughlin. (Check out Sanborn's appearances on two other McLaughlin albums, Electric Guitarist and Electric Dreams. )

The Promise also features the brief returns of The Free Spirits, The Guitar Trio, and an electric version of Shakti. It is a potpourri of musical styles and performers. Yet, despite its disparate compositions and styles, the record manages to be a cohesive work of art. Spoken passages lead the way, and even a short one and a half minute jam with Sting makes sense in context. Bravo!

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Track listing:

All tracks composed by John McLaughlin; except where indicated

01 "Django" (John Lewis) – 7:24
02 "Thelonius Melodius" – 5:22
03 "Amy and Joseph" – 2:28
04 "No Return" – 7:20
05 "El Ciego" – 9:10
06 "Jazz Jungle" – 14:45
07 "The Wish" – 8:39
08 "English Jam" (Vinnie Colaiuta, John McLaughlin, Sting) – 1:12
09 "Tokyo Decadence" – 0:39
10 "Shin Jin Rui" – 10:47
11 "The Peacocks" (Jimmy Rowles) – 5:53

Personnel:

John McLaughlin – acoustic guitar, electric guitar, keyboards, MIDI guitar
Don Alias – percussion
Jim Beard – keyboards
Dennis Chambers – drums
Vinnie Colaiuta – drums
James Genus – bass guitar
Zakir Hussain – tabla
Nishat Khan – sitar, vocals
Yan Maresz – arranger, acoustic bass guitar, bass guitar
Mark Mondesir – drums
Pino Palladino – bass
Mariko Takahashi – vocals

Guest Artists:

Jeff Beck – electric guitar
Michael Brecker – tenor sax
Joey DeFrancesco – Hammond organ, trumpet
Al Di Meola – acoustic guitar
Trilok Gurtu – percussion
Tony Hymas – keyboards
Paco de Lucía – acoustic guitar
David Sanborn – alto sax
Sting – bass

Dewa Budjana - 2014 "Surya Namaskar"

Dewa Budjana, Indonesian iconic guitar legend of Balinese ethnic heritage, is releasing his 3rd album (his 7th solo effort on his parallel jazz-fusion career) on MoonJune Records; the New York City's independent label of progressive music that explores boundaries of jazz, rock, avant-garde, ethno & the unknown.

Recorded in Los Angeles by the world renowned engineer Robert Feist (who recorded Stevie Nicks, Anita Baker, 8 albums of Allan Holdsworth, among many others) during two sessions in January and October of 2013, Surya Namaskar (Salute to the Sun, in Budjana's native Balinese language) represents a significant change from Dewa Budjana's last album Joged Kahyangan. While bassist Jimmy Johnson (Allan Holdsworth, James Taylor, Flim & the BB's) is back from that session, this time the drummer is the much in-demand powerhouse Vinnie Colaiuta (Frank Zappa, Herbie Hancock, Jeff Beck, Sting), with ubiquitous guitar session ace Michael Landau (James Taylor, Renegade Creation, Joni Mitchell) and drummer turned keyboardist Gary Husband (John McLaughlin, Allan Holdsworth, Jack Bruce) making valuable guest appearances on one track each.

Full of twists and turns you could never see coming, Surya Namaskar provides ample evidence that the Balinese guitarist is just as much at home in moments of pure spontaneity, ripping over a killer groove, as he is in denser, more orchestrated settings. Exploring previously-unrevealed facets of his artistic mystique, this album highlights a more instinctive, uninhibited approach to both his guitar playing and music making. Served up just-out-of-the-oven fresh and delivered with conviction and urgency, each song is its own unique, engulfing cosmic voyage.

Guitarist Dewa Budjana's two releases on MoonJune Records in 2013, Dawai in Paradise and Joged Kahyangan introduced a talented musician whose Indonesian roots dovetailed with prog rock, jazz fusion and a melodic pop sensibility; Budjana showed tremendous chops but, as he demonstrates once again, he's perhaps primarily a tunesmith. Budjana draws from a similar well of influences on this recording but in contrast to Joged Kahyangan's charts Surya Namaskar boasts a freer, less constructed vibe with Budjana's solos coarser in tone. Mostly recorded in single-takes with some additional overdubbing, everything that Budjana touches—whether composed or improvised—is fundamentally melodic.

On this, the first of two releases penciled in for 2014, the prolific—by modern standards—guitarist is lent cracking rhythmic impetus by drummer Vinnie Colaiuta and bassist Jimmy Johnson. Given the wide variety of contexts in which Colaiuta (Frank Zappa, John McLaughlin, Joni Mitchell) and Johnson (Allan Holdsworth, James Taylor) have played over the years, it's little wonder they drive Budjana's tunes with verve, and when required, great finesse.

It's a dream rhythm team and the perfect foil for Budjana, whose original material exhibits frequent shifts in tempo and weight. In general, the compositions are characterized by motivic chains that wed pop melodicism and prog rock gravitas; at times, as on the sophisticated yet lively rocker "Lamboya" the effect is like a happy splice between The Police and King Crimson.

Gary Husband—a long-time collaborator with Johnson in Holdsworth's groups—plays synthesizer in tight unison with Budjana on the jaunty "Fifty," before the two trade solos; the guitarist's firey, fuzz-toned fretwork contrasts with Husband's clean, sinewy run. The pair reunites towards the end, jamming on a riff as Colaiuta raises his own steam. On "Duaji & Guruji," layered guitar lines add harmonic depth while a killer motif bookends Budjana and Johnson's measured solo excursions. The slower "Capistrano Road" simmers like a Jeff Beck instrumental ballad; Budjana caresses the melody patiently before teasing out a solo that roams between coiled tension and free flight.

Indonesia folk music has long been a feature of Budjana's writing in greater or lesser measure; "Kalinga" brings together Kang Pupung's tarawangsa (Sundanese violin), Kang Iya's Kacapi (Sundanese harp) and Mang Ayi's wordless vocal in a purely folkloric intro. Fastening onto the haunting melody, the infusion of electricity transforms the piece—lyrical and rushing, powerful and delicate in turn. Budjana's tearing solo—arguably his most electrifying of the set—is the jewel in a stirring tune. On the subtly melodic "Campuhan Hill," Budjana displays a fleet, light touch on acoustic guitar.

The title track, which translates as "Salute the Sun" is a fairly simple but striking melodic venture and features a bluesy electric solo from Michael Landau, while Budjana quietly comps on acoustic. The millennium-old ties between Indonesia and India surface on "Dalem Waturenggong"; ancient melodic roots merge with modern rhythms and timbres in a potent fusion, with Johnson and Budjana's lyricism to the fore.

Tuneful at heart, when Budjana has the wind in the sails there's also an undeniable, visceral power in his music. It's a potent combination that invites and rewards repeated listening.

“Thank you Dewa for inviting us along for your TRIP, your music is from Jupiter, truly unusual!” – Jimmy Johnson

“Dewa Budjana’s music infuses jazz fusion with renewed vigor, and his wonderfully imaginative and melodic guitar playing pays homage to past masters, while simultaneously providing fresh perspectives.” – Barry Cleveland, Guitar Player

“A monstrously heavy record! Dewa Budjana, at fifty, is a new guitar hero of strength, creativity, and significance." – John Kelman, All About Jazz contributor

“East meets West and ignites the sky! Dewa Budjana’s latest, a collaboration with jazz giants Jimmy Johnson and Vinnie Colaiuta, elevates guitar-based jazz-fusion with a Balinese flare to new plateaus of nirvana... Mahavishnu, move over: there’s a new master on the block!” – Raymond Benson, music journalist and author of 'The Black Stiletto' and six James Bond novels

“Hauntingly beautiful and intense, I was moved. No progressive fusion release got me on its first listen since Pat Metheny Group's 2005 'The Way Up'. Destined to be my 2014 favorite album.” – Tom Gagliardi, Gagliarchives Radio.

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Track Listing:

1. Fifty;
2. Duaji & Guruji;
3. Capistrano Road;
4. Lamboya;
5. Kalingga;
6. Campuhan Hill;
7. Surya Namaskar;
8. Dalem Waturenggong.

Personnel:

Dewa Budjana: electric and acoustic guitars;
Jimmy Johnson: bass guitar;
Vinnie Colaiuta: drums;
Gary Husband: synthesizer (1);
Kang Pupung: tarawangsa (Sundanese violin) (5);
Kang Iya: Kacapi (Sundanese harp) (5);
Mang Ayi: vocals (5);
Michael Landau: electric guitar (7).
('crazy" voices after the Track 1 by Jimmy Johnson and Vinnie Colaiuta)

Track 3 is dedicated to Allan Holdsworth.
This album is dedicated to my mentor and friend Peter Erskine (DB

All compositions and arrangement Dewa Budjana.
Produced by Dewa Budjana (with a generous help of Jimmy Johnson).