Scott Henderson - 2002 "Well To The Bone"

Well To The Bone is a 2002 album by fusion / jazz guitarist Scott Henderson. It's his third solo-album, again returning to his blues-roots. It features a re-recording of the Tribal Tech-song "Rituals".

Well to the Bone is Scott Henderson's third outing as a leader apart from his group, Tribal Tech, the band he co-founded with electric bassist Gary Willis in the mid-'80s. As one of the finest fusion guitarists of his generation, Scott Henderson returns to his blues roots with a program of ten songs that feature multi-layered tracks of guitar and a few that pay tribute to the blues-rock of the '60s and the '70s. Henderson's six-string virtuosity is accompanied by Kirk Covington on drums and John Humphrey on bass. Special guest vocalist Wade Durham pours on the bluesy gusto sauce on "Lady P," adds a few of Jimi Hendrix's phrasing techniques on "Devil Boy," and creates a new funky blues direction on "Dat's da Way It Go." Vocalist Thelma Houston puts her diva stamp on "Lola Fay," a sludgy blues shuffle, and on the title track. These songs mark her return engagement with Henderson, who featured her on his 1997 Tore Down House. Overall Scott Henderson's playing is awesome on all tracks and his experimentation with tones from several guitars, amps, and mic-ing only adds more musical adventures for his listeners to enjoy. He especially flaunts his blues/rock virtuosity on the title track and on the power ballad "That Hurts." This song rocks you right to your tone center. Well to the Bone is Henderson's best blues/rock outing since his 1994 release, titled Dog Party. 

Scott Henderson is nothing if not unpredictable. In Tribal Tech and Vital Tech Tones he has distinguished himself as an endlessly creative performer with impeccable musicianship. Well to the Bone also bears a heavy dose of creativity, to be sure, yet many of the selections come off as oddly disconcerting. Despite its label, the disc has been filed away here at AAJ under Fusion instead of Blues because even adamant blues non-purists might shake their heads in confusion.

“Lady P” typifies the experimental side of Henderson’s mutant blues, its constant rhythmic shifts making it nearly impossible to pin down the meter from one bar to the next. Wade Durham’s vocals recall Corey Glover of Living Colour as much as anyone else, and the vocal reverb on “Devil Boy” seems a misguided attempt to pass him off as Jimi Hendrix. Durham sounds like he takes himself too seriously. Thelma Houston fares much better on the straightforward title blues and “Lola Fay.”
Not everything is hot and heavy. “Ashes” is pretty in an off-kilter way, and “Rituals” ends the album on a pleasant note. Of course, there is a good deal of humor involved as well, never more so than on the fun-paced “Hillbilly in the Band,” where the sound of a barking dog keeps interrupting Henderson’s solo. Kicked off by a chant sample, “Sultan’s Boogie” is just about what you’d expect, a hard groove laid over a Middle Eastern mode.

The big problem here might be the sameness of tempo and Henderson’s guitar timbre, which makes much of the disc sound like it’s all cut from the same cloth. It’s the same sort of problem that John Scofield used to have before he expanded his horizons. Odd for Henderson to seem stuck in a rut since he doesn’t evince that problem within his other bands, but it certainly holds him back here. Not a bad album by any means, but not as rich in variety as we’ve grown to expect from him.

Scott Henderson is one of those guitar players that makes you want to skip practice because, what's the point? You'll never be that damn good on the guitar. His latest CD "Well to the Bone," is the evolutionary follow up to 1997's "Tore Down House." While "Tore Down House" was a marriage of Blues and Fusion, "Well to the Bone" is Fusion-Blues. Imagine Stevie Ray Vaughn jamming with Weather Report.

Blues purists look elsewhere. This recording is flying at an altitude of 30,000 feet right over their heads. It's Incendiary! Earthy blues concepts. Rubbery whammy bar phrasing. Playing inside, outside, over a cerebral hot bed of progressions that take you on a journey. Twisted, soulful, sometimes dreamy songs full of humor, longing, and even incest. Maximum strength liquid Strat tones caress as well as scream throughout.

One song in particular "Ashes," a somber ballad that erupts into a psychotropic gospel dirge at a wake, blends Hendrix/Mayfield style rhythms with the kind of soloing that could only come from a supreme being.

The divine and utterly soulful Thelma Houston returns along with new comer Wade Durham to more than deliver the vocal goods. Kirk Covington on drums, John Humphrey on bass, and Scott Kinsey on percussion, swing with soul and precision without ever sounding metronomic. For those with an open mind who like a lot of adventure and unpredictability in their blues, this CD is a must own. 

Track listing

    "Lady P" – 7:14
    "Hillbilly in the Band" – 5:06
    "Devil Boy" – 6:41
    "Lola Fay" – 6:24
    "Well to the Bone" – 4:50
    "Ashes" – 6:53
    "Sultan's Boogie" – 6:30
    "Dat's Da Way It Go" – 6:54
    "That Hurts" – 6:16
    "Rituals" – 8:01

Personnel

    Scott Henderson - Guitars
    Kirk Covington - Drums and vocals
    John Humphrey - Bass
    Thelma Houston - Vocals on "Lola Fay", "Well To The Bone", "Dat's Da Way It Go"
    Wade Durham - Vocals on "Lady P", "Devil Boy", "Dat's Da Way It Go"
    Scott Kinsey - Electronic Percussion

Tribal Tech - 1991 "Tribal Tech"

Guitarist Scott Henderson is a fusion fanatic's dream, by virtue of his wild yet fluid and even melodic riffs. Bassist Gary Willis lacks Henderson's range compositionally and as a player, but still manages to keep the proceedings grooving. Backed by the keys of David Goldblatt, Joey Heredia's drums and the percussion of Brad Dutz, the two form a powerful musical bond as Tribal Tech. Unlike their previous album, TT's new disc features more melodies (the best ones, "Peru" and "Signal Path" are by Henderson), the softening effect of Goldblatt's key soloing and a tighter tune structure and production all around. There's still lots and lots of improvising, but on the less memorable Willis tunes, it seems to go on interminably. Pop jazz fans will finally be able to relate to Henderson's solid playing by virtue of a smoother context, but it's still mostly geared for the guitar lover or student. Extra credit is due for the very creative song titles, including "Elvis at the Hop" and "The Necessary Blond." 

Track listing

"Signal Path" (Scott Henderson) – 6:26
"Big Girl Blues" (Scott Henderson) – 6:15
"Dense Dance"(Gary Willis, Scott Willis) – 4:51
"Got Tuh B"(Gary Willis, Scott Willis) – 6:43
"Peru" (Scott Henderson) – 7:23
"Elvis At The Hop" (Scott Henderson) – 4:34
"The Necessary Blonde" (Gary Willis, Scott Willis) – 6:52
"Fight The Giant" (David Goldblatt) – 4:05
"Sub Aqua" (Scott Henderson) – 5:30
"Formula One" (Scott Henderson) – 4:44
"Wasteland" (Gary Willis) – 8:03

Personnel

Scott Henderson - guitar, guitar synthesizer
Gary Willis - bass, synthesizers
David Goldblatt - keyboards
Joey Heredia - drums
Brad Dutz - percussion

Players - 1987 "Players"

One of the greatest Jazz/fussion ever made, with Jeff Berlin, Scott Henderson, T.Lavitz and Steve Smith...amazing compositions and performance, 8 tracks of gold!! Totally recommended for good Jazz - fussion lovers.

Recorded live at Hop Sing's by the Record Plant, Los Angeles, mobile unit # 3 on Jan. 19, 1986.

Scott Henderson (born August 26, 1954) is an American jazz fusion and blues guitarist best known for his work with the band Tribal Tech.
Born in West Palm Beach, Florida, United States, Scott Henderson began playing guitar at an early age. His formative musical years were spent listening to rock, blues, funk, and soul, while his interest in jazz developed later on, thanks to the music of John Coltrane, Miles Davis, and others. He still professes to being a blues player at heart.

After graduating from Florida Atlantic University, Henderson moved to Los Angeles and began his career in earnest, playing rock with Twilight, a four-piece cover band that included Alice Long on bass and vocals. Soon, Henderson was recording with violinist Jean-Luc Ponty, bassist Jeff Berlin and "Players", and Weather Report's Joe Zawinul. Henderson first began receiving serious attention as the original guitarist for the Chick Corea Elektric Band together with Carlos Rios. But he stayed only six months with Corea and left after a disagreement.

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

Terry "T" Lavitz (April 16, 1956 – October 7, 2010) was an American jazz-rock/fusion keyboardist, composer and producer. He is best known for his work with the Dixie Dregs and Jazz Is Dead.
Born on April 16, 1956, Lavitz grew up in New Jersey. He started taking piano lessons at the age of seven and was offered a scholarship at the Interlochen Arts Academy in Michigan where he studied keyboard and saxophone. After high school he attended University of Miami's School of Music. In his senior year at the UM he was asked to join the Dixie Dregs. He accepted the invitation and played his first show in January 1980. 'Dregs of the Earth', released in 1980, was the first Dregs album he could be heard on. In 1981 he won the 'Best New Talent' category of Keyboard Magazine's Annual Readers Poll.

The Dregs broke up in January 1983 and T Lavitz, Rod Morgenstein and Andy West went on tour with former Little Feat guitarist/singer Paul Barrere. 'Extended Play', a five song EP, was released in 1984. The album also featured future Dregs and Steve Morse Band bass player Dave LaRue. In 1985 Lavitz joined the Bluesbusters, a blues-rock quintet also featuring Paul Barrere, guitarist/singer Catfish Hodge, bass player Freebo (Bonnie Raitt) and drummer Larry Zack. They released two albums and toured extensively. His first solo album 'Storytime' was released in 1986. The critically acclaimed 'Players' album with Jeff Berlin, Steve Smith and Scott Henderson was released in 1987.

Jeffrey Arthur Berlin (born January 17, 1953) is an American jazz fusion bassist.
Berlin was born in Queens, New York, on January 17, 1953. He studied violin for ten years until he was 14, when he was inspired to play bass after seeing the Beatles. He then attended Berklee College of Music to study bass. Berlin's playing style has been compared to that of Jaco Pastorius; however, Berlin has repeatedly stated his distaste for Jaco-imitators.
On August 30 2013, he married Gabriela Sinagra, a jazz singer and vocal coach from Rosario, Argentina.

Steven Bruce "Steve" Smith (born August 21, 1954) is an American drummer best known as a member of the rock band Journey, rejoining the group for the third time in 2015.[1] Modern Drummer magazine readers have voted him the #1 All-Around Drummer five years in a row. In 2001, the publication named Smith one of the Top 25 Drummers of All Time, and in 2002 he was voted into the Modern Drummer Hall of Fame. He was inducted into the Rock and Roll Hall of Fame as a member of Journey on April 7, 2017.

Smith received his first drum kit at age two and in 1963 he began taking formal lessons with local Boston area drum teacher Bill Flanagan, who played in big bands in the swing era. Smith got his first “real” drum set when he was 12 years old. On many nights, Steve could be heard practicing in a small shed in the backyard of his Harvard Street home. Smith performed in the usual school band program and garage bands while in his teens, including Clyde, a South Shore sensation, but also began to broaden his performing experience by playing in a professional concert band and the big band at local Bridgewater State College.

Smith's first “paid gig” was with a garage band. He graduated from high school in 1972, and at 19 joined the 'Lin Biviano Big Band' playing with them for two years. After high school, Smith attended the Berklee College of Music in Boston, Massachusetts studying with Alan Dawson.

He has worked as a session musician for pop artists including Mariah Carey, Andrea Bocelli, Elisa, Vasco Rossi, Zucchero, Savage Garden, Bryan Adams, as well as world musicians Zakir Hussain and Sandip Burman. Additionally, he has played with well-known jazz artists including Mike Mainieri's Steps Ahead, Wadada Leo Smith, Tom Coster, Ahmad Jamal, Dave Liebman, Larry Coryell, Victor Wooten, Mike Stern, Randy Brecker, Scott Henderson, Frank Gambale, Stuart Hamm, Dweezil Zappa, Anthony Jackson, Aydın Esen, Torsten de Winkel, George Brooks, Michael Zilber, Steve Marcus, Andy Fusco, Kai Eckhardt, Lee Musiker, Howard Levy, Oteil Burbridge, Jerry Goodman, Tony MacAlpine and Bill Evans. Smith has led his own jazz group, Vital Information since 1977.
In the early 1990s, Smith studied with Freddie Gruber and as a result, his playing style completely changed.

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

I know this cd is out of print long time ago, but if you are lucky to have this cd, you know what i`m talking about. This is the super cd by super fusion group led by Scott Henderson, Steve Smith, Jeff Berlin and T. Lavitz. One of the best fusion albums from 80`s!

Track listing:

1. Crystal (T Lavitz) - 4:23
2. Valentine (Scott Henderson) - 5:28
3. 50/50 (Dave Wilczewski, Steve Smith) - 4:36
4. Vehicle (T Lavitz) - 4:18
5. Freight Train Shuffle (Jeff Berlin) - 5:26
6. Between Coming And Going (T Lavitz) - 5:25
7. The Creeping Terror (Scott Henderson) - 5:44
8. 20,000 Players (Jeff Berlin) - 6:39

Total Time: 41:56

Personnel:

T Lavitz - keyboards
Jeff Berlin - bass
Steve Smith - drums
Scott Henderson - guitar

Scott Henderson, Jeff Berlin, Dennis Chambers - 2012 "HBC"

Not simply a super-group, but more like a jazz-fusion superpower as this formidable trio melds classic fusion works amid a few originals on its debut release, although the artists have crossed paths over the years. Bios and resumes would transcend the limitations of a review or analysis. So, it's the in-your-face attitude, creative impetus, and the respective musicians' gargantuan chops that account for a passionate exposition.

Guitarist Scott Henderson's enviable technique as a monumental blues-rock soloist shines on his "Wayward Son of Devil Boy," inflicting pain on his axe via some serious shedding and molding a blues-with-a-vengeance stance with blazing fills, detuned extended notes and wailing choruses. But the preponderance of the album offers an abundance of cunning insights and spins on pieces such as drummer Billy Cobham's jazz-fusion anthem "Stratus." Then again it would be a sacrilege to ignore this trend-setting classic. Here, all-universe session drummer Dennis Chambers slams the backbeat into overdrive in concert with bass great Jeff Berlin's sinuous fretless bass lines. Owing to the original recording, Henderson abides by late guitarist Tommy Bolin's tension and release buildup, and then goes off the radar with stratospheric licks, leading to the heavy metal-like finale.

Henderson morphs polytonal chord voicings to execute a translation of pianist Herbie Hancock's funkified "Actual Proof," where Berlin unleashes a mindboggling solo, awash with twirling notes and breakneck linear runs. Henderson injects some spacey electronic treatments and spatial attributes into saxophonist Wayne Shorter's title track from Weather Report's Mysterious Traveler (Columbia, 1974), raising the bar with edgy and distorted crunch chords while reshaping and reconfiguring the primary theme, tinted with a rather ominous rite of passage.

HBC also integrates a pure jazz element into Shorter's "Sightseeing," offset by the artists' expressive solo spots and streaming background effects, all the while prepping for the kill towards the coda as Berlin thumps and plucks his bass strings into submission. Sure, he's all over the place, but lessons learned will dictate that he makes every note count, marked by his lyrical thematic statements and a technique to die for.

Other than the instrumentalists' technical mastery, these works' construction lend to a refreshing glimpse of the proverbial roads previously traveled. From a holistic perspective of the jazz-fusion genre, it doesn't get a whole lot better.

As power trios go, it doesn’t get much more powerful than guitarist Scott Henderson, bassist Jeff Berlin and drummer Dennis Chambers. Like an update of the McLaughlin/Pastorius/Williams “Trio of Doom,” HBC succeeds by putting musicality above its overwhelming technical skills-only far better than that hit-and-miss collective did.

On HBC, this trio opts for mostly modern standards by the fusion era’s elite composers. Berlin’s serpentine bassline and Henderson’s keyboard mimicry highlight Herbie Hancock’s opening “Actual Proof.” Wayne Shorter gets his due as well: Henderson’s spacey intro and Chambers’ combustible drumming highlight “Mysterious Traveler,” and the guitarist’s underrated straightahead jazz chops shine through on “Footprints” and “Sightseeing.” Another Weather Report composition-the funky, stop-and-start “D Flat Waltz” by Henderson’s onetime employer Joe Zawinul-proves the 12-minute highlight among this honorary sequence.

Other highlights: Chambers blends funk and fury on Billy Cobham’s closing “Stratus,” a homecoming of sorts for Henderson, who wowed club crowds with it in his native Florida during the ’70s. And Berlin’s solo reading of his “Threedom” provides the disc’s best original moments.

HBC is the new fusion supergroup comprised of three virtuoso musicians: Scott Henderson Jeff Berlin and Dennis Chambers who join together to create one of the most phenomenal trios in the history of jazz fusion. Rather than jumping into the studio as virtual strangers and winging it like some superstar alliances HBC hit the road first and refined a repertoire of classic fusion covers in front of thousands of hungry fusion fans. After assembling an impressive collection of road-tested masterpieces, the group, composed of all leaders, decided that it was finally time to combine their talents to make this musical statement.

Henderson is one of the most well-known contemporary guitarists in the jazz fusion genre and he has mesmerized guitar fans around the globe with his masterful phrases and unique style. Guitar fans have enjoyed hearing Scott work with Jean-luc Ponty, Chick Corea, Joe Zawinul, and power fusion trio "Henderson, Smith, and Wooten" with Steve Smith and Victor Wooten. In addition Scott has churned out an incredible body of work stemming from his other career as founding member of Tribal Tech and also a solo artist, both of which he has toured extensively to support.

Bassist Jeff Berlin is a celebrated solo artist with numerous fusion recordings under his name and affiliations with artists such as Al Di Meola, Bill Bruford, Allan Holdsworth, John McLaughlin, and Billy Cobham. Berlin is widely regarded as one of the greatest bassists in the world and is equally adept at playing hard-core no holds-barred jazz-fusion and straight ahead traditional jazz. As a bassist Berlin's tone phrasing, and keen sense of melody are a winning combination that has helped him reach the top of magazine reader's polls for years.

A formidable, ferocious, and ultra-funky presence behind the kit in such celebrated ensembles as Parlament-Funkadelic, Steely Dan, Santana, and The Brecker Brothers as well as incendiary fusion outfits led by guitarist John Scofield, Steve Kahn, Mike Stern, and John McLaughlin, Dennis Chambers is a miracle in modern music. A remarkably versatile drummer who has shown limitless ability to swing on a small kit in traditional jazz settings or flaunt his stylistic chops in fusion supersessions, Dennis Chambers is one of the most recorded drummers in the world of jazz fusion.

Track listing:

01. Actual Proof
02. Mysterious Traveller
03. Footprints
05. D Flat Waltz
06. The Orphan
07. Sightseeing
08. Wayward Son Of Devil Boy
09. Threedom
10. Stratus

Personnel:

Scott Henderson: guitar;
Jeff Berlin: bass;
Dennis Chambers: drums.

Tribal Tech - 1992 "Illicit"

Illicit is an album by the fusion jazz band Tribal Tech released in 1992.

By the time Illicit was released in 1992, Scott Henderson & Tribal Tech (led by Henderson and bassists Gary Willis) had been established as one of the premier, if not the premier, experimental fusion outfits on the globe. That's "fusion" as in the fusion of jazz and rock, not the vanilla instrumental musings of artists like Kenny G, which are occasionally mislabled as such. Henderson's dramatic and powerful soloing and his incredibly refined chord work were the greatest causes for the early attention the group received, and Illicit only furthered the guitarist's reputation with its fire and musical vigor. Henderson's tone is sublime and Holdsworth-ian in its often horn-like quality, and Covington, bassist Gary Willis, and keyboardist Scott Kinsey somehow manage to match Henderson's dynamism and character. "Torque" is Illicit's clear highlight, with its prog rock bombast of power chords topped with angular, classically influenced harmony keyboard and guitar flurries. Experimental and intense, Illicit is as solid an offering as Tribal Tech delivered in the '90s.

"Illicit" was Tribal Tech's 1992 spit-in-the-face to corporate radio and record companies who would have the public believing "light jazz" is really fusion. The opening track, "The Big Wave," is a convincing spoof of a light jazz radio station found in any big city in the United States. The track begins with a cheerily cheesy tune, which sounds like something that might be played on one of the many 'wave' stations. Then the drums increase in tempo and volume until the original melody is obliterated, whereupon the band launches into some very loud, very edgy and highly syncopated playing--the hallmark of Tribal Tech. "Illicit" features two improvisational numbers, "Riot" (named for the L.A. riots happening nearby at that time) and "Aftermath" (also pointing out the riot's devistation). Bottom line--this album sounds like a live-in-the-studio record, with a raw, cutting sound and less slickness in the overall production. Highly recommended to all fusion fans.

This cd in nothing less than amazing. Tribal Tech especially in this line up, is an amazing band. This cd is the first with the line up that personally I find impossible to surpass ... Henderson, Willis, Covington, Kinsey. You can't beat these guys in this sort of music ... that I may call, ... fusion, a word among the most hated for different reasons (I think by the guys themselves). It is fantastic that Illicit begins with few seconds of what people generally tend to think about when the word fusion comes to mind. A sort of mellifluos, ultra sweet, elevator-kennyg type of thing, ... and after those few seconds the band starts an incredible funky fusion groove, "Big vawe" with solos to die for. What you will find in this album is an incredibly tight band, a fantastic unit, scaring musicians that play very forward music. This music isn't for every cat. This music is dense, intense, intelligent ... funny and entertaining. But ... it deserves your attention. Think Weather Report with a boost of ultramodernity, with a guitar instead of a sax and you have the picture. I own all the albums from the band (minus Dr Hee and Spears which are unavailable at this time, ... they appear sometimes on the used market at out of this world prices) and I think this one ranges among the best together with Reality check. I adore this one. It's fusion from outer space. Stellar music from the X men of fusion.

Looking for Kenny G or Bela Fleck? Click to another link - this is cream-of-the-crop Tribal Tech, and it's as liable to burn your ears off as anything else. What is most remarkable about all of Tribal Tech's output is the combination of virtuosity and restraint. They never sound like they're showing off, yet there are plenty of jaw-dropping moments on every disc. This one is no exception, and it's probably the "rawest" sounding of all their catalog. The compositions are complex and versatile, yet tend to easily stick in the mind. The improvisation is sheer brilliance. As usual, they don't take themselves too seriously, infusing plenty of humor in the music, yet the towering composition and even more towering performances command a seriousness of their own. This is a must-own for every guitar or bass player, any fusion fan, and anyone who wants to break out of the rut of contemporary fuzak-jazz. It's albums like these that make Kenny G sound positively wimpy, and the open-minded of the contemporary jazz set might find themselves irrevocably changed. Heaven knows I couldn't listen to that stuff after listening to this.

The album was recorded during the L.A. Riots in April 1992 at Cherokee Studios, Hollywood, California.

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

Track listing:

01 "The Big Wave" (Gary Willis) – 6:31
02 "Stoopid" (Gary Willis) – 5:47
03 "Black Cherry" (Scott Henderson) – 6:42
04 "Torque" (Scott Henderson) – 6:02
05 "Slidin'" Into Charlisa (Scott Henderson) – 7:32
06 "Root Food" (Scott Henderson) – 8:13
07 "Riot" (Tribal Tech) – 6:58
08 "Paha Sapa" (Gary Willis) – 3:24
09 "Babylon" (Gary Willis) – 5:26
10 "Aftermath" (Tribal Tech) – 7:03

Personnel:

Scott Henderson - guitar
Gary Willis - bass
Scott Kinsey - keyboards
Kirk Covington - drums

Tribal Tech - 1985 [1990] "Spears"

Spears is the 1985 debut album by fusion band Tribal Tech, a project led by guitarist Scott Henderson and bassist Gary Willis.

Scott Henderson's perfectly summarized his outlook when, in 1991, he told L.A. Jazz Scene: "Fusion isn't a dirty word to me. I'm proud to call myself a fusion player." Indeed, real jazz-fusion -- spontaneous, risk-taking and improvisatory -- is exactly what the electric guitarist passionately and enthusiastically embraces on Spears, his debut album. Drawing on such influences as Return to Forever, John McLaughlin and Weather Report, the hard-edged guitarist set the uncompromising tone for his career and that of his band Tribal Tech which, in 1985, included Gary Willis on electric bass, Pat Coil on electric keyboards, Michael Brecker-disciple Bob Sheppard on tenor and soprano sax and flute, Steve Houghton on drums and Brad Dutz on mallets & percussion. Often showing a complex and cerebral sense of melody and harmony, this CD (first released on Passport and reissued by Relativity in 1990) underscores the fact that when fusion is played with integrity, it's very much an extension of the jazz tradition.

After stints with Chick Corea and Jean Luc Ponty, Scott Henderson goes bandleader, and the results are excellent. A bright spot in the blight known as 80's fusion. Opening and closing tracks Caribbean and Big Fun ended up being well regarded enough to be mainstays in their live set all the way til the bands demise in 2002. My favorites though, would be Punkin Head and Spears. The only beef with this record would be really low mastering, so just crank it up

Fantastic debut of one of the most important bands in the history of fusion music!Real fantastic alchemy between over the top musicians,amazing technical chops and an album who is different compared to all the other TRIBAL TECH albums!Scott Henderson and Gary Willis will remain the core of thie amazing project  for many years to come!Great sound and  especially a wonderful guitar sound!Almost a perfect album!4

I am a great fan of jazz, especially jazz-fusion from the late sixties, seventies and early eighties. This particular album is from the latter time and features one of the greatest guitarists ever, Scott Henderson, who was an admirer of my favorite all-time guitarist (Ritchie Blackmore) from whom, it is obvious, he learned a few tricks of the trade. I'm looking forward to getting the rest of the band's cds which have better sound than my old albums.

Courtesy "Original uploader"

Track listing

    All Songs Written By Scott Henderson, except Tribal by Scott Henderson & Gary Willis.

01    "Caribbean" – 8:13
02    "Punkin Head" – 6:10
03    "Ivy Towers" – 4:49
04    "Tribal" – 2:12
05    "Spears" – 7:10
06    "Island City Shuffle" – 7:28
07    "Big Fun" – 7:58

Personnel

    Scott Henderson - Guitars
    Pat Coil - Keyboards
    Gary Willis - Bass
    Steve Houghton - Drums
    Brad Dutz - Percussion
    Bob Sheppard - Sax, Flute

Scott Henderson, Steve Smith & Victor Wooten - 1998 "Vital Tech Tones"

The Vital Tech Tones were an American fusion supergroup formed in the mid-1990s composed of Vital Information drummer Steve Smith, Tribal Tech guitarist Scott Henderson, and Béla Fleck and the Flecktones bassist Victor Wooten. The group released two albums, both with Shrapnel Label Group's Tone Center Records before breaking up due to time constraints (the band was a side project for all three members). There is still some talk of a future reunion, but no official announcement has been made.
The band never played live, although Smith has performed with Henderson and Wooten on separate occasions.
The band's music is almost entirely instrumental, focused on virtuosic, free flowing soloing on top of a complex, solid groove. It is considered to be more on the rock end of the fusion spectrum.

Calling this group a power trio would not be fair, as it would be too much of an understatement. Guitarist Scott Henderson, bassist Victor Wooten, and drummer Steve Smith are three of the most inventive jazz-rock players who have pushed the style into uncharted waters during the late '80s and throughout the '90s. The clever name Vital Tech Tones infers each members primary bands: Smith's Vital Information, Henderson's Tribal Tech, and Wooten's Bela Fleck and the Flecktones. The combined talent level of the band is astounding and the music created here is a reflection of not only their technical abilities, but also their compositional talents. The program maintains a jazz-rock fusion feel, but there is enough variety in the compositions that raise this above just another blowing session. That being stated, the cover of "Giant Steps" has to be heard to be believed, as does the Jimi Hendrix-influenced "Lie Detector." A very rewarding session that proves that jazz-rock fusion can still be played with conviction, honesty, and integrity.

Perhaps a more spontaneous super-trio gathering of the post-70s fusion generation, Vital Tech Tones finds guitarist Scott Henderson chasing the voodoo down with mercurial bassist Victor Wooten (known for his scintillating slap-style as a member of Bela Fleck's Flecktones), and veteran jazz / stadium rocker, Steve Smith. The trio has assembled a wide ranging, often blues-based arrangement of group compositions / jams, and it proves an engaging showcase for Henderson's extreme talent, both in terms of solos and rhythm work. Drummer Steve Smith ably anchors Wooten's miraculous assortment of rumbling, popping, pyrotechnic baselines, most evident in tunes like "Snake Soda."
Tribal Tech fans will appreciate a new, bluesy version of "Dr. Hee," and the track "Crash Course" will clearly appeal to Allan Holdsworth devotees, as it recalls Holdsworth's IOU-era guitar trio arrangements. Perhaps most delightful is the angular interpretation of Coltrane's "Giant Steps," which is a worthy if slightly reckless update of that classic standard. Henderson is one of the few original electric guitar soloists capable of weaving an intelligent flurry of 128th notes with compelling emotional intensity and inventiveness, possessing ideas to match to his level of phrasing and technique. Wooten and Smith are comparable on their instruments, which means this trio typically hits its stride with warp-speed abandon.
Vital Tech Tones encompasses playing and extended soloing which straddles between the brilliant and the boisterous. While for some, the high-octane musical rapport here will stray into the territory of enlightened musical indulgence, Henderdson undoubtedly commands one of the premier guitar trios of recent memory. But that's just scratching the surface, as both Wooten and Smith's jazz and rock vocabulary demonstrate that no matter what the musical context, they're exceptionally creative and technically at a level few of their contemporaries can match.

"Well, what have we here then? Scott Henderson, Steve Smith and Victor Wooten - I think I know what to expect". WRONG! Put all your preconceptions to one side, and just enjoy. This album is going to be a little bit of a surprise.

You know how "fusion" music can sometimes become a bit predictable or even stale - bands simply rehashing what's been done before, only not as well. Then suddenly a band appears that literally EXPLODES onto the scene, to shake things up. Well, Vital Tech Tones is such a band.

I'm sure most fusion lovers are already aware of the aforementioned musicians' credentials, so they need no more introductions. What WILL surprise, and hopefully delight, such fusion enthusiasts, is what they create on this album. In my opinion, it comes across as a reaction against the staleness inherent in "some" fusion music. But, because I don't want to give too much away in my review, which would spoil the impact this band has on first hearing, I'll attempt to make vague comparisons instead. Thus, imagine, if you will, Scott with a touch of Jimi Hendrix in his playing, and if Steve added some of John Bonham's sheer power to his already awesome technique, then finally, if all the great bass players you'd ever heard gave a bit of themselves to add to Victor's playing - you'd be getting close to the sound of this phenomenally gifted trio, in this, their debut album.

The playing throughout is of course stunning. The compositions are varied in style - sometimes jazzy, heavy, complex, and funky - but always entertaining. It actually sounds like they were really enjoying themselves while making such a wonderful album. In fact, the amazing interplay within the band suggests to me that they were recording it live, thus capturing those rare moments of genius when they were all "in the zone". This is what jazz is supposed to be about anyway "reaching for that moment".

It's a gem of a performance. If you're looking for "jazz with attitude", this is the album for you - otherwise, look elsewhere. For the sheer sublime playing alone, this VTT album is worth buying. Take a risk - I promise you won't be disappointed!

Track listing:

1     Crash Course     7:00
2     Snake Soda     5:35
3     Dr. Hee     8:56
4     Everglades     9:41
5     Two For One     5:21
6     King Twang     4:10
7     The Captors     7:52
8     Giant Steps     5:45
9     Lie Detector     5:49

Personnel:

    Scott Henderson  - Guitar
    Victor Wooten - Bass
    Steve Smith - Drums 

Tribal Tech - 1990 "Nomad"

Nomad is the third album by fusion band Tribal Tech, a project led by guitarist Scott Henderson and bassist Gary Willis.
Like its predecessors, Henderson's third date as a leader is a fine example of how creative and inspired genuine jazz-rock can be. Tough and aggressive yet full of appealing melodic and harmonic nuances, this CD contains not one iota of the type of lightweight smooth jazz or Muzak for which Henderson has often voiced his contempt. With Nomad, Tribal Tech underwent a few personnel changes, and for the first time, recorded an entire album minus a sax. While electric bassist Gary Willis, drummer Steve Houghton, and percussionist/mallet player Brad Dutz remained, saxman Bob Sheppard was gone, and keyboardist Pat Coil had been replaced by David Goldblatt. Despite these changes, Tribal Tech's sound (which was essentially guided by Henderson and Willis) remained easily recognizable. The '70s breakthroughs of Weather Report, Return to Forever, and John McLaughlin, among others, still had an impact on Tribal Tech, but by 1988, it was even more evident that Henderson was a fine soloist and composer in his own right. 

Track listing

"Renegade" (Gary Willis) – 5:51
"Nomad" (Scott Henderson) – 7:18
"Robot Immigrants" (Brad Dutz, David Goldblatt) – 5:09
"Tunnel Vision" (Gary Willis) – 4:43
"Elegy For Shoe" (David Goldblatt) – 4:09
"Bofat" (Scott Henderson) – 8:34
"No No No" (Gary Willis) – 5:53
"Self Defense" (Gary Willis) – 5:00
"Rituals" (Scott Henderson) – 5:44

Personnel

Scott Henderson - Guitars
Gary Willis - Bass
Brad Dutz - Mallets & Keyboards
David Goldblatt - Keyboards
Steve Houghton - Drums

Art 'Spike' Schloemer - 2011 "Transfusion"

Art 'Spike' Schloemer is one of the few musicians who was "born 2 groove".

He began his piano studies at the age of six and starting performing professionally throughout Europe after graduating from Conservatory of Music.

During his productive career as a pianist, composer, bandleader and educator, Art has performed in many different settings and styles. His versatile approach has allowed him to erase the artificial boundary line between contemporary jazz, rock, electro-funk and world, sounding like himself in all idioms.

His playing, like his compositions... ranges across panoramas of mood and emotion, all colored with the freedom that comes from possessing remarkable facility.

His solo album, "TransFUSION," features an all-star roster of guest musicians including Scott Henderson, Dennis Chambers, Kirk Covington, Bunny Brunel, Hadrien Feraud and Bob Franceschini.

Like his idol, the late Joe Zawinul, keyboardist Art 'Spike' Schloemer seeks to erase whatever perceived lines lie between jazz, rock, funk and world music. On his new TransFUSION CD, Schloemer arrives well- armed for the task by enlisting some of jazz/fusion's top open-minded artists: guitarist Scott Henderson, saxophonist Bob Franceschini, bassists Bunny Brunel and Hadrien Feraud, and drummers Dennis Chambers and Kirk Covington.

The opening track, "Concussion," shows additional Schloemer influences from the classic fusion era of the '70s. The piece's epic theme, and Feraud's nimble bass line, echo the work of Chick Corea and Stanley Clarke in Return To Forever.

Brunel guests on the subsequent "Space Flight," and his liquid tone and soloing guide Schloemer's synthesizer into the soaring stratosphere of Weather Report, Zawinul's primary vessel during his stellar career. Chambers' contribution is on "Distant Horizon," another far-reaching Weather Report revisit because of his shell-game with the time signature and Schloemer's darting electric piano.

Henderson worked in Zawinul's post-Weather Report group the Zawinul Syndicate, and the guitarist's prodigious firepower burns throughout "Challenge Day." Built on another epic theme by Schloemer, the energetic track is akin to Henderson's '90s work in the band Tribal Tech (which also featured a Zawinul-influenced keyboardist in Scott Kinsey).

Covington, Tribal Tech's drummer, guests on the closing "Keep Relaxed". A high-octane funk number that belies its title, the cut gets extra fuel through the drummer's signature hummingbird-like fills. Franceschini, best-known for his work in guitarist Mike Stern's group, makes a statement through his solo on "Brain Fever," another Schloemer composition that blends jazz technique with rock intensity.

The guest stars may be the drawing card on TransFUSION, but the guest-free tracks are no less alluring. "Sentimental Journey" sounds like a trip through Zawinul's entire career through its acoustic piano, programming, and chanted vocals.

"Good Times" is a Motown-inspired funk vehicle that could've been an alternate theme to the urban '70s sitcom of the same name; "Indie Dance" manages to blend Middle Eastern and be-bop feels, and the entrancing "For Joe" is Schloemer's ode to his late mentor.

Aside from the work of his special guests, Schloemer is responsible for the entirety of TransFUSION, making the disc an otherwise incredible singular achievement. Through his compositions, arrangements, multi-instrumental playing and programming, the keyboardist always manages to sound like he's looking forward -- even as he reaches backward for inspiration.

Analyzing the album - the construction of the arrangements, the freshness of material, the sounds of the tunes, the power and the intensity of playing the tracks, the rhythmically intense feel - it has an immensely individual touch.

Reading the feedback from other artists it seems they think the same way:

“Great music man… The musicians are killin'!!!...”
Lenny White

"Art, my hat off to you. Incredible Music, I hope we can play one day together and make music, palante! (forward) always."
Walfredo Reyes Jr.

“Congratulations, Spike!
... I'm looking forward to hearing some great music from you, bro!”
Marcus Miller

"…your Music has "Ignited a New Feeling/ Anticipation" within me!"
Charles Marvray

"I'm really, really enjoying your music. Its very interesting in your compositions and your construction/choice of sounds, and simply the wonderful performance!Burning! Very happening!"
Steve Weingart

“Man I just listened to two of your tracks and seriously dug it. Great stuff.”
Mike Clark

Highly recommended CD from “groove” keyboardist Art 'Spike' Schloemer. “Spike” has assembled an incredible all-star roster of guest fusion musicians including guitarist, Scott Henderson, bassists Bunny Brunel & Hadrien Feraud, drummers Dennis Chambers & Kirk Covington & Bob Franeschini on sax.

"Throughout the entire disc Schloemer proves himself a more than capable composer of electric jazz at the highest level, and as a soloist he establishes himself as a thoughtful and exciting technician. Schloemer's incredibly nimble fingers fly throughout the recording, and he puts them to good use in this collection of high powered, highly percussive fusion. For those who thought great electric jazz, or tightly constructed progressive rock of the 1970s and 80s was gone forever, this disc will restore your soul."

- Thomas R. Erdmann -

"Aside from the work of his special guests, Schloemer is responsible for the entirety of TransFUSION, making the disc an otherwise incredible singular achievement. Through his compositions, arrangements, multi-instrumental playing and programming, the keyboardist always manages to sound like he's looking forward -- even as he reaches backward for inspiration."

- Bill Meredith -

This album is the fruit of two years of hard work. Spike put tremendous effort into writing and arranging the music. The intention was to create a fresh, unique album with his own style, mixing jazz-rock with some world and trance touch. His goal was not to create something only for jazz-rock fusion fans, but also for everyday customers of groove-music.

The CD was fourth on Amazon's Best Seller Jazz ranking and simultaneously one of the most pre-ordered albums at AbstractLogix.

The track called "Sentimental Journey" was ranked #1 on Jazz Rock World Fusion Radio's weekly top 20 in April 2013

Track listing:

1. Concussion
2. Space Flight
3. Distant Horizon
4. Sentimental Journey
5. Good Times
6. Challenge Day
7. Brain Fever
8. For Joe
9. Orient Express
10. Indie Dance
11. Emergency Evacuation
12. Como La Miel
13. Keep Relaxed

Lineup:
Art 'Spike' Schloemer (keyboards)

Featuring:
Scott Henderson (guitar)
Bob Franceschini (saxophone)
Bunny Brunel (bass)
Hadrien Feraud (bass)
Dennis Chambers (drums)
Kirk Covington (drums)

Chick Corea - 1986 "Elektric Band"

The Chick Corea Elektric Band is an album by jazz fusion keyboard player Chick Corea, released in 1986. It is the eponymous debut album of the Chick Corea Elektric Band, which at that time also featured drummer Dave Weckl, bass player John Patitucci and guitarists Scott Henderson and Carlos Rios.
This album can be described as "jazz-rock", though it is much closer to traditional jazz than the jazz-rock albums of the 1970s. The keyboard sounds on the album are typical for the mid-1980s. The drums played by Dave Weckl dominate the album's sound, with the guitar duties split between Scott Henderson and Carlos Rios.
The album features a heavy use of FM synthesis, MIDI and drum programming, expanding on Corea's previous work in later lineups of Return to Forever (band) and reflecting the technology of the time when it was conceived and recorded.

Chick has a long history of reinvention — not least of which was the stunning high-velocity jazz-rock of Return to Forever. In 1986, after a long period of high-profile, mostly acoustic collaborations, Chick assembled the Elektric Band, a plugged-in unit so tight and flawless that it reinvigorated jazz for a new generation. Their first album, The Chick Corea Elektric Band, is a stunner: from the opening flourish of “City Gate,” Chick was clearly announcing a new direction. The lineup of young masters — Scott Henderson and Carlos Rios on guitar, bassist John Patitucci and drummer Dave Weckl — simply inhabit Chick’s new compositions, creating instant classics out of tunes like “Got A Match?” and “Elektric City.”

Chick Corea's Elektric Band's first disc is the record which formally introduced the bass virtuoso John Patitucci and awe-inspiring drummer Dave Weckl to the world. Patitucci's six-string electric bass technique and Weckl's crystal clean drumming acrobatics would become the stuff of legend and the sparkle in the eyes of rhythm section students from this point forward. Unlike most keyboardists at the time, Corea approached the synthesizer as an individual instrument--not as an electrified piano. As a result, this group's sound was much richer and more creative than similar ensembles of the day.

On "Rumble," Corea's furious fingerings are matched note-for-note by Weckl's use of drum machines and electronic sounds to create a kaleidoscopic backdrop. In contrast, the subdued "Cool Weasel Boogie" displays a softer side to the machines and sampled sounds. The most impressive track is "Got A Match?" Blisteringly fast with jaw-dropping solos by all, this tune cemented the group's status among musicians the world over. The unique "King Cockroach" features a nice blend of Corea's nimble playing, guitarist Scott Henderson's soaring tones and the Weckl/Patitucci rhythm machine. In all, there is little wonder why this band all but defined great electric jazz in the '80s.  

Track listing

All songs by Chick Corea except where noted otherwise.

    "City Gate" – 0:54
    "Rumble" – 4:04
    "Side Walk" (Chick Corea/Dave Weckl/John Patitucci) – 3:48
    "Cool Weasel Boogie" – 6:43
    "Got a Match?" – 5:38
    "Elektric City" – 4:07
    "No Zone" – 5:29
    "King Cockroach" – 6:56
    "India Town" – 5:06
    "All Love" – 5:45
    "Silver Temple" – 8:32

(Tracks #1, #10 & #11 were not included in the original issue of the album)

Personnel: 
 Chick Corea (keyboards, synthesizer, programming) 
 Scott Henderson , Carlos Rios (guitar)
 Bo Tomlyn (voice box)
 John Patitucci (electric bass, 6-string bass)
 Dave Weckl (drums, percussion) 

Tom Coster - 1994 "The Forbidden Zone"

Tom Coster (born August 21, 1941) is an American keyboardist and composer. Detroit-born and San Francisco-raised, Coster played piano and accordion as a youth, continuing his studies through college and a productive five-year stint as a musician in the U.S. Air Force Band.
Coster has played with and/or composed for many groups and musicians including The Loading Zone, Gábor Szabó, Carlos Santana, Billy Cobham, Third Eye Blind, Coryell/Coster/Smith, Claudio Baglioni, Stu Hamm, Boz Scaggs, Zucchero and Bobby Holiday, Joe Satriani, Frank Gambale, and Vital Information. Coster also produced several solo jazz fusion recordings as a leader for Fantasy, Headfirst, and JVC.
Some of Coster's best-known compositions are "Europa (Earth's Cry Heaven's Smile)", "Flor D'Luna (Moonflower)" and "Dance, Sister, Dance (Baila Mi Hermana)" performed by Santana, and "The Perfect Date" performed by Vital Information.

For this excellent outing (his third project for JVC), keyboardist Tom Coster performs 11 originals plus "Lover Man." Although his fusion-oriented music is full of funky ensembles, there is more variety than expected. Coster shares the solo space with tenor saxophonist Bob Berg, and the fiery guitarist Scott Henderson, creating a colorful and sometimes unpredictable program of music.

Forbidden Zone album for sale by Tom Coster was released Feb 20, 2001 on the Samson Music label. For this excellent outing (his third project for JVC), keyboardist Tom Coster performs 11 originals plus "Lover Man." Forbidden Zone buy CD music Although his fusion-oriented music is full of funky ensembles, there is more variety than expected. Coster shares the solo space with tenor saxophonist Bob Berg, and the fiery guitarist Scott Henderson, creating a colorful and sometimes unpredictable program of music. Forbidden Zone CD music contains a single disc with 12 songs.

Track listing:

01. In the Beginning;
02. Jazz Lament;
03. Shall We ...;
04. Father-Daughter;
05. Lover Man (Oh Where Can You Be);
06. Voyage to Nowhere;
07. Waste Land - The Jam;
08. Blue and Cool;
09. The Group;
10. Blues for D.C.;
11. The Fix;
12. A Closing Thought

Personnel: 

• Tom Coster - keyboards, synthe bass
• Bob Berg - tenor saxophone
• Scott Henderson - guitars
• Jeff Andrews - electric bass
• Alphonso Johnson - electric and fretless bass
• Dennis Chambers - drums
• Raul Rekow - congas, bata, chekere, vocal chant
• Karl Perazzo - timbales, congas, miscellaneous percussion

 

Richard Hallebeek - 2004 [2014] "Richard Hallebeek Project" (Remastered)

Richard Hallebeek (born August 2, 1969 in Bilthoven) is a Dutch jazz fusion guitarist.

Advanced jazz rock fusion by Dutch guitar monster, Richard Hallebeek, with Lale Larson (keys) and Bas Conelissen (drums), and featuring Shawn Lane (guitar) & Brett Garsed (guitar).

This project brings together a group of exciting jazz rock musicians playing genuine compositions with intense improvisations. No endless, un-coordinated numbers. No boring, "heard-it-all-before" songwriting. Just the very best in high energy, progressive and moreover, complex music.

Richard Hallebeek is probably best known for his 1995 album, Generator, released on Mark Varney's Legato label. Jamming along at the tender age of 23 with guitar legends Carl Verheyen, Scott Henderson, Frank Gambale, Scott Kinsey and Dan Gilbert he wrote the majority of the album's tunes, proving he was a voice to be reckoned with. Richard has studied jazz and improvisation at the Amsterdam Conservatory; he also studied for a year at the GIT in L.A. with Brett Garsed.

Lale Larson (keys) has worked closely with highly respected guitarist, Todd Duane (with whom he appeared on Mark Varney's compilation CD Guitar on the Edge as the only keyboard soloist). Between 1996-99 Lale composed and recorded The Seven Deadly Sins, a highly original concert in seven movements which contains everything from acoustic piano and jazz to thrash metal. Around the same time he also wrote several piano pieces, two of which were performed by pianist Joakim Olsson on 17/5/96 at the Royal Conservatory in Copenhagen.

Sebastiaan Cornelissen started playing drums when he was just 5 years old. At the age of 17, he began his studies at The Conservatory of Amsterdam. During that time he formed jazz/fusion group, Isotope, along with teacher and well-known Dutch piano virtuoso, Rob van Bavel. They have since released 2 albums: Isotope and Perception of the Beholder (Munich records). Besides Isotope, Sebastiaan also performs with his quartet featuring Leonardo Amuedo, and a very exciting project with highly respected guitarist Eef Albers.

And if the above players aren't exciting enough, read on. The CD includes none other than legendary guitar virtuosos Shawn Lane and Brett Garsed.

A Dutch Richard Hallebeek is fairly known in so-called guitar society. He graduated from Hilversum Conservatory and Musician's Institute (Los Angeles). So far he cooperated with the likes of Shawn Lane, Frank Gilbert, Carl Verheyen, and also with his teachers - Scott Henderson and Brett Garsed. He is strongly associated with a Finnish guitarist Antii Kotikoski as well. You can come across Richie's name in the booklets of Maximum Brain Disfunction's, The Flowriders', Isotope's and René Engel's releases. Moreover, he is a journalist of a Duch magazine - "Music Maker".

Richard invited to recording some famous stars like an Australian Brett Garsed and Shawn Lane. Brett played in AOR band called Nelson, but is most famous for his cooperation with T.J. Helmerich and their two CDs - "Quid Pro Quo" (1992) and "Exempt" (1994). However, Shawn Lane recorded a few solos on Mark Varney Project's "Centrifugal Funk" (1991). Obviously, you can as well hear Brett's parts on that compilation. Unfortunately, Shawn died in 2003 at the age of forty. It was after recording his solos for RHP a little while.

I'd call RHP a jazzy project, not only because of Hallebeek's and Lane's jazz education, but also thanks to rhythm section's parts made up of Udo Pannekeet (bass) and Sebastiaan Cornelissen (drums). We can find some instrumental similarities to Lale Larson's Ominox, but his presence and ideas in RHP couldn't have vanished without trace. I think that musicians sometimes make references to symphonic rock from the seventies ("Good Food"). RHP is a good proposal for devotees of Pat Metheny's and De Gladas Kapell's music. If you were looking for relaxing music that is best for losing in meditation and supporting in deceleration of daily life's mad pace, you are spot-on!

The production is crystal clear and avoids sounding sterile as too many releases in this genre do. The addition of Shawn Lane (what was his last musical adventure) and Brett Garsed are sure to bring in a few fans that otherwise may not get to know of RHP, and they too will be satisfied with their artists contributions. There is a definite live vibe throughout yet each track posesses structure and avoid aimless meandering.

Highlights on jazz fusion albums are often hard to pick as its generally more "a sum of the parts", as opposed to "single entities". Yet Canoga Park stands out thanks to its mesmerising atmospheric depth and some sublime solos from Richard Hallebeek and Shawn Lane. Good Food has a nice almost 70's pomp prog vibe to it that again makes it worthy of its own mention.

Overall RHP is a very solid slice of jazz rock and I get the feeling this band will be killer in the live setting. Fans of jazz rock/fusion make sure you check this out!

Track listing:

1 Prescription Strength 6:53
2 Lined Out 7:41
3 Canoga Park 4:36
4 Good Food 6:28
5 Free 6:43
6 Axe 4:53
7 Enigma 10:02
8 Orange Faces Everwhere 3:28
9 Imagine 5:49

Personnel:

Richard Hallebeek - Guitars
Shawn Lane (1,2,3,7) - Guitars
Brett Garsed (1,4,5,7) - Guitars
Sebastian Cornelissen - Drums
Lale Larson - Keys
Udo Pannekeet- Bass

Various Artists - 2009 "This Is Fusion Guitar"

Over the last ten years Tone Center has become the leader of the jazz/fusion guitar genre and is known for it's recordings of players who possess the highest quality of musicianship. This significant compilation of the BEST OF TONE CENTER is a proud moment for Tone Center and it's faithful followers.

Track listing / Artist:

01 Becks Bolero - Eric Johnson
02 Oye Como Va - Mike Stern
03 Extraction - Greg Howe
04 Funhouse - Chris Poland
05 Freeway Jam - Steve Morse
06 Dr. Hee - Scott Henderson
07 All In Your Head - Frank Gambale
08 Colliding Chimps - TJ Helmrich , Brett Garsed
09 Pickled Hearing - Jimmy Herring
10 Plankton - Larry Coryell
11 D'Funk'D - Dave Fiuczynski
12 Terrabill Blues - Bill Connors

Contributing Artists:

Larry Coryell, Eric Johnson, Frank Gambale, Steve Morse, Mike Stern, Chris Poland, Scott Henderson, Greg Howe, Bill Connors, Jimmy Herring, TJ Helmerich, Dave Ficuzynski

Producer:

Larry Coryell, Victor Wooten, Frank Gambale, Steve Smith, Tom Coster, Mike Varney, Jeff Richman, T Lavitz, Robert M. Biles, Ricky Keller, Stuart Hamm, Greg Howe, Pat Thrall, Brett Garsed, Kim Plainfield

Vital Tech Tones - 2000 "VTT2"

Talk about a power trio! Emphasizing the ROCK half of jazz-rock fusion, Vital Tech Tones brings together three monster players of the genre, blends their creative juices and virtuosic abilities, and creates a truly vital sound that reinvigorates and re-establishes fusion as a viable part of the musical landscape. Most of the songs on this recording started with drummer Steve Smith giving his rhythmic ideas to bassist-extraordinaire Victor Wooten, who developed a groove over which guitarist Scott Henderson worked melodies and harmonies. Such a simple, straight-forward, jam-oriented process is risky, but these three have the goods to pull it off, in the process creating a fresh electric music unique for its time.
Although VTT has been a studio-only side project for these three, they interact here as though they've been on the road together for several years. It's loud, it's raw, and it's awesome -- just what aging baby boomers need to cure their smooth jazz blues, just what generation X-ers need to take them away from the tedious sameness of the alt-rock world.

Songs / Tracks Listing

1. VTT (1:33)
2. Subzero (7:06)
3. The Litigants (7:07)
4. Puhtainin' Tuh... (5:17)
5. Drums Stop, No Good (3:11)
6. Catch Me If U Can (4:24)
7. Nairobe Express (4:10)
8. Who Knew? (7:13)
9. Time Tunnel (4:41)
10. Chakmool-Ti (11:45)

Total Time 56:27

Personnel:

Steve Smith - drums
Scott Henderson - guitar
Victor Wooten - vocals, bass

Vital Information - 1998 "Where We Come From"

Modern electric jazz and the funky soul of the '60s fuse into a rollicking trip down memory lane on WHERE WE COME FROM. Vital Information, the long- lived pet project of leader and world-renown drummer Steve Smith, make a distinctive change from their usual format of hard-edged fusion on this, their eighth album. The emphasis here is on the soulful instrumental grooves of their youth, the music that originally enticed these world-class musicians to take up their instruments in the first place.

From the influence of Jimmy Smith, the Meters and Tony Williams' Lifetime, Smith and company serve up a spicy gumbo of groovy tunes and have a grand old time in the process. The unrestrained casualness of this disc is contagious as Smith jauntily drives his bandmates through the slippery funk of "Dr. Demento" and the James Brown-ish "Listen Up." The spirit of the bayou is evoked on the zydeco grooves of "Swamp Stomp" and "Sitting Ducks." The jazz element has never been lost, though, as a swinging version of Led Zeppelin's "Moby Dick," the Brubeck-influenced "Take Eight," and Ornette Coleman's "Happy House" clearly illustrate. Finally, even the Ventures' effect is felt in the classic surf music styling of "008."

Vital Information's Where We Come. This one offers 77 minutes of intense rhythmic fusion that's loosely influenced by the Meters and Booker T and the MGs.

Vital Information has gradually shed its jazz-lite tendencies to become a first-rate fusion ensemble. Drummer Steve Smith is the only original member in what is now a four-man all-star group. The current lineup was last heard from in 1996 on the catchy but substantial Ray of Hope.

Where We Come From showcases four talented musicians who have enough confidence in their collective abilities to attempt a more low-tech approach. This release has Smith on drums, former Santana keyboardist Tom Coster playing B-3 organ, Fender Rhodes and accordion, Jeff Andrews on bass, and Australian Frank Gambale on guitars.

Drummer Smith has been one busy dude of late. In addition to his usual session work in pop, rock and country circles, he recently teamed with Victor Wooten and Scott Henderson to form the jazz-metal trio Vital Tech Tones, and then with Larry Coryell and Tom Coster on the incendiary fusion release Cause and Effect, also reviewed on this page. All three of Smith's 1998 CDs are outstanding, but Where We Come From gets the nod as my favorite.

Gambale is particularly impressive here, whether playing fuzzy-toned phrases on the funked-up "Dr. Demento," fast-paced blues on a swinging version of Led Zeppelin's "Moby Dick," George Benson-style jazz on "First Thing This Morning," or Duke Levine-ish rock on "Bob." Gambale lends Vital Information a more pop-oriented sound than most fusion ensembles, but his accessible style enhances rather than detracts. He's an extremely versatile guitarist.

Coster's organ helps drive many of these cuts. The former Santana keyboardist plays both organ and accordian on the Cajun-spiced "Swamp Stomp," but most interesting is his inside-out accordian work on Ornette Coleman's "Happy House." Like Steve Smith's post-Journey work, Coster's playing has progressed from happy-jazz to fiery fusion in the years since he left Santana.
He and Gambale have never sounded better, and Smith and Andrews hold up the bottom end with enthusiasm and skill.

This CD is a great mixture of many styles. You can find jazz,fusion,funk and even tango on this CD. I strongly recommend this CD to anyone who likes great music. Also, if you like old sounds, like Hammond B3, buy it, you'll love it. Where We Come From is a must-have for any fan of funky fusion.

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

Track listing:

01. Dr. Demento ( 3:10 )
02. Moby Dick ( 8:20 )
03. Craniac Trilogy Part 1: Transport ( 00:53 )
04. Listen Up ( 4:53 )
05. Craniac Trilogy Part 2: The Extraction ( 1:16 )
06. First Thing This Morning ( 5:12 )
07. Take Eight ( 6:10 )
08. Craniac Trilogy Part 3: The Implant ( 2:17 )
09. Bob ( 3:59 )
10. Cranial Joy: Completion
11. Happy House ( 2:30 )
12. Cranial Meltdown: Dementia ( 1:28 )
13. Blowfish Blues ( 5:40 )
14. Sitting Ducks ( 5:20 )
15. Once In A Lifetime ( 10:43 )
16. 008 ( 7:11 )

Total Time : 76:02

Personnel:

Frank Gambale / guitar
Tom Coster / Hammond B3 Organ, Fender Rhodes, accordion
Jeff Anderews / electric & acoustic bass
Steve Smith / drums

Lavitz, Weckl, Gambale, Goodman, Patitucci & Morse - 2007 "School Of The Arts"

School Of The Arts: The brainchild of keyboardist extraordinaire T Lavitz (Dixie Dregs, Jazz Is Dead), SOTA culls the supreme talents of such fusion and progressive instrumental music heavyweights as drummer Dave Weckl (Chick Corea) bassist John Patitucci (Corea, Herbie Hancock, Wayne Shorter), guitarist Frank Gambale (Corea, Vital Information), electric violinist Jerry Goodman of Mahavishnu Orchestra, Shadowfax, and Dixie Dregs fame, and T's longtime friend, Dregs mastermind, and Magna Carta label mate, monster axeman Steve Morse. “School of the Arts is different from every album I've ever done as a leader," says Lavitz.

Keyboardist T Lavitz’s fusion credits include the Dixie Dregs and Jazz Is Dead, but he gets extra points for craftiness in putting together this collective. Lavitz seemed to realize that an electric fusion outing by this cast would be deemed predictable, so outside of the occasional electric violin by Jerry Goodman and bass by John Patitucci, he went all acoustic. That element of surprise, and musical chemistry (Lavitz, Goodman and guitarist Steve Morse play together with the Dregs; Patitucci, drummer Dave Weckl and guitarist Frank Gambale with Chick Corea), make for inspired playing. Goodman sounds better than ever, including during his 1970s stint with the Mahavishnu Orchestra. His unison lines with Lavitz’s piano, along with Weckl’s intricate drums and percussion, energize “No Time Flat.” The guest appearances by Goodman and Morse (on the Dregs-like “On Fire” and neo-classical “Portrait”) create highlights throughout.

Lavitz was never a major composer in either the Dregs or Jazz Is Dead (a highly intricate Grateful Dead cover band), yet he wrote nine of the 11 pieces here. The results are mixed, ranging from the off-timed, Goodman-enhanced “Like This” to his predictable “High Falutin’ Blues.” Gambale’s “Gambashwari” and “Teaser” seem designed, as do most of his solos, to showcase more technique than soul. More problematic is the fact that Lavitz recorded his piano in Massachusetts, Weckl recorded his drums in California, and some of Patitucci’s bass lines were captured in New York. It’s a system of convenience that never works as well as recording collectively in the same room. Weckl is a wonder on the percussive showcase “A Little Mouse Music,” but elsewhere his free-rein tracks occasionally cross the overplaying line. For School of the Arts, Lavitz and company get a passing grade, but don’t always show their expected A-worthy work.

Cutting-edge compositions, beautiful sinuous melodies, and massive chops make School of the Arts (SOTA) a truly rare confluence of influences and musical styles, pushing jazz and jazz-fusion into another dimension.

With SOTA, Lavitz (with four decades experience in the music biz - having played with such wide-ranging musicians as Widespread Panic, Bill Bruford, Billy Cobham, Nils Lofgren, Pat Benatar, Jefferson Starship, Mother's Finest, Dave Fiuczynski, Peter Himmelman, Dennis Chambers, Jeff Berlin, and Scott Henderson) is top dog, playing acoustic piano (an instrument close to his heart), and composing most of the material for the band's debut.

Underscoring Lavitz's empathy and musical instincts, is the keyboardist's ability to spearhead and hold together the SOTA project, despite each member's busy schedule: Morse is constantly touring with Deep Purple (occasionally with the Dregs); Jerry Goodman is an in-demand electric violin trailblazer; Patitucci and Weckl crisscross the globe with various artists and solo work; and likewise for Gambale, who recently finished a tour with Billy Cobham.

“The music is definitely interactive," Lavitz says. “When I take a solo, there's Frank Gambale answering me, like something you'd hear on a gig."

Case in point: the Afro-Latin acoustic jazz tune “Gambashwari." Sinewy guitar and piano chords/notes weave around one another in syncopated patterns, stating main, contra and counterpoint melodies. It's breezy, not cheesy, jazz -- the kind that possesses sophistication without being elitist, boring or unlistenable. It's utterly infectious jazz-fusion with aspirations toward chamber or classical music, with rock's reckless abandon simmering just under the surface.

Other tracks include, “High Falutin' Blues" (an appropriate title for a song that crosses the boundaries of country, blues, and jazz), “Like This" (listen as Weckl locks into Patitucci's sparse bass line all the while commenting on Goodman's and T's jazzy/bluegrass-esque soloing acrobatics), and “Teaser" (a Chick Corea-style acoustic rocker, complete with trill-filled piano performances, blanketed by Weckl's silky stream of beats). “Dave Weckl laid down some of the best drum tracks I've heard in a while," Lavitz says.

Despite the obvious -and some might say inevitable--chops heard on this record, the high level of musicianship never detracts from the overall flow of the compositions. In fact, the record has a ring of newfound freedom; of a songwriter allowed to spread his compositional wings, which recalls the artistic creativity and motivation that drove Lavitz to create his 1986 solo debut, Storytime - an album produced in the wake of a Dregs' breakup. “I am very excited about this, because not only did I get to write the bulk of the music, but I produced, played and played only acoustic," says Lavitz. “While it has elements from other recordings I've done, it seems, at least to me, to stand out as being very different."

Track listing:

01 Fairweather Green 5:29
02 No Time Flat 4:49
03 On Fire 4:54
04 Portrait 6:19
05 Like This 4:55
06 High Falutin' Blues 5:10
07 Gambashwari 5:01
08 Dinosaur Dance 6:09
09 Teaser 5:09
10 A Little Mouse Music 7:41
11 Maybe Next Time 3:58

Personnel:

• T Lavitz: Piano
• Dave Weckl: Drums & Percussion
• Frank Gambale: Acoustic Guitar
• Jerry Goodman: Violin (Tracks 2, 5, 8)
• John Patitucci: Acoustic & Electric Bass
• Steve Morse: Acoustic Guitar (Tracks 3, 4)

Bozzio Levin Stevens - 1997 "Black Light Syndrome"

Black Light Syndrome is the first studio album by Bozzio Levin Stevens (a supergroup comprising drummer Terry Bozzio, bassist Tony Levin and guitarist Steve Stevens), released on July 15, 1997 through Magna Carta Records.

This power trio has famous roots, and they've brought it all together masterfully. First cut "The Sun Road" starts off like a tune off of David Gilmour's first solo album and then vanishes into a driving, power-chorded surge of soulful rock. Next, "Dark Corners" is a massive rocker that pulls you under its powerful whirlpool of guitar/bass/drum frenzy. Stevens tortures the guitar into absolute submission without any predictable riffs. Levin looms everywhere, and Bozzio flows in a polyrhythmic jungle. Fine interactive tension and execution everywhere. This goes way beyond King Crimson's Red days.
"Duende" opens with flamenco guitar firebursts, and slowly builds into a decent Spanish-flavored piece. Not my favorite, but well done. The title cut, "Black Light Syndrome," is obviously a play on "Bozzio Levin Stevens." It is a slower-paced dirge and filled to the brim with a variety of well-executed riffs, basslines, and drum tech.
"Falling in Circles" is an early Floydscape dotted with Ronnie Montrose leads, a ballad of driving determination and resolve. Floods of Satriani, Wishbone Ash, Alvin Lee, Fripp, Buck Dharma, and even that Duane Allman tone.
"Book of Hours" took me right back to Wheels of Fire's "Pressed Rat and Warthog," rainy-day dreamy afternoons with a fresh pot of designer coffee. Levin, Bozzio, and Stevens play off of one another precisely as one mind.
On the last cut, "Chaos/Control," you hear that "E7 breakdown" from Hendrix's "Midnight" on War Heroes, and then a jazzy boogie in classic Frank Marino style is laid down. Stevens is a guitarist with a wide range of dynamics.

Terry Bozzio, drummer for Frank Zappa and Jeff Beck. Tony Levin, bassist for King Crimson and Peter Gabriel. Steve Stevens, guitarist for Billy Idol and Michael Jackson. To the typical prog fan, Stevens may seem the odd man out in this trio, but guitar aficionados know that he is a well-respected guitarist and composer of Grammy Award-winning movie soundtracks. Initially conceived as a "names" project (like the Players session with Jeff Berlin, Scott Henderson, T Lavitz and Steve Smith), the endeavor evolved into a very special recording session.

Initiated by Bozzio, only he and Stevens had met before the recording session for a few jams, just to make sure the potential was present. Otherwise, none of the musicians had previously played together. The trio entered the recording studio for four days and spontaneously composed and played the seven songs on this disc.

The opening track, "The Sun Road," was the result of the first studio jam and the version here is the second take. In fact, each song was recorded live in only the first or second take, with no punch-ins to erase bum notes, etc. Before leaving the studio, Levin dubbed in a few extra bass lines with the Chapman Stick, bowed upright bass and so forth, for added tonal coloring. Stevens then took the tapes for five days to overdub some effects and a few extra guitar, guitar-synth and electric sitar lines.

For the most part, though, Black Light Syndrome is a live in the studio jam session with three excellent musicians. The songs were composed in one of two ways: the trio worked out some guideposts and improvised their way from one to the next, or simply let the creative juices flow as they may. Two songs fall into the latter category and, interestingly, they feature Stevens on Flamenco guitar on "Duente" and a jazzy acoustic guitar on "Book of Hours." His chordal work on "Book of Hours" reminded me of John McLaughlin from his Que Alegria album.

The remaining songs are generally oriented to the electric guitar. I do not know if the songs are presented in the order they were recorded, but certainly the chemistry among the three musicians seems to improve as the disc proceeds. The high point, for me, was "Falling in Circles." All three musicians click into a ferocious groove. Stevens' killer chops run the range from bluesy riffs to swirling "the UFOs are landing" metal licks. Bozzio is an outstanding drummer and I particularly liked his cymbal work. Levin simply demonstrates why he is one of the most respected and in-demand session bassists in the business today.

Terry Bozzio was a name that I had heard of in the music scene but had never heard any of his work. I didn't know what I was missing! He is able to play the fastest and freakest fills / solos I ever heard on any album. Check out the fills in "Chaos/Control" or "Dark Corners"! He has jumped from just a name to one of my favorite drummers. He is up there with the likes of Steve Gadd, Mike Portnoy, Neil Peart, Tim Alexander, etc. This whole album is a highlight of his talent and ability to play many types of musical styles. Also I would like to point out the greatest symbol sound I have heard,I'm not sure if it's the recording or the symbols themselves but I love it!

Tony Levin. What can be said of this guy that hasn't been said a hundred times already? He is the most innovative and diverse bass player I can think of. His master of the instrument has put him on everybody's favorite bass player list. On this album he uses both the bass and the chapman stick,which adds to the diversity of sound on the album. He even uses some distorted bass on "Dark Corners"! I guess the only thing to say he has once again been able to lay a solid foundation will doing some of the coolest lines in the world.

Steve Stevens was the only name that I had doubts about. I was only aware of his playing with Billy Idol and Michael Jackson, which disturbed me a little. I never thought of Steve as an experimental or progressive guitar player but once again I have been pleasently surprised by this album and found that Steve was a good choice for the album. His guitar was quite subdued at times just playing a melody that was perfect to the song, for example "The Sun Road." On the other side I find his use of effects and the whammy bar to be a bit extreme. My highlight of his playing is the acoustic guitar on such tracks as "Duende."

Overall this album has no problems becoming one of my favorite of the Magna Carta label. It gives each instrument / player their own space to explore. I would have no reservations recommending this album to any progressive fan.

...essentially it is a perfect melding of jazz, progressive rock, ambient and just plain jamming that has anovertly '90s feel. This is best exemplified in the stunning, near 15-minute opener "The Sun Road," which highlights all the band's strengths as it begins a melodic fusion-like number and builds in intensity with thunderous percussion and brilliant guitar work that includes some eerie electric leads and fluid flamenco acoustic fills. "Duende" finds each band member playing off the other in this exotic and melodic piece.

Stevens again shines with his flowing acoustic playing. Better still is the brilliant title cut with its tougher textures and slightly Hendrix-like soloing. This really is an exceptional and original album by three musicians who seem to have a good musical empathy and may prove to be the power trio of the decade.

Track listing

All songs written and composed by Terry Bozzio, Tony Levin and Steve Stevens.

1.     "The Sun Road"       14:39
2.     "Dark Corners"       8:32
3.     "Duende"       7:26
4.     "Black Light Syndrome"       8:45
5.     "Falling in Circles"       9:08
6.     "Book of Hours"       9:42
7.     "Chaos/Control"       8:48

Total length:
    67:00

Personnel

    Steve Stevens – guitar, production
    Tony Levin – Chapman stick, bass, production
    Terry Bozzio – drums, production