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

Brett Garsed, T.J. Helmerich - 2001 "Uncle Moe's Space Ranch"

World renowned fusion drummer Dennis Chambers (Santana Parliament/Funkadelic, John McLaughlin, Niacin, Mike Stern) joins forces with Tribal Tech's Gary Willis and Scott Kinsey (Joe Zawinul, Bill Evans, Robben Ford) and legendary guitar duo Garsed/Helmerich for a no holds barred fusion super session. Uncle Moe's Space Ranch features some of the hottest grooves and most unrestrained fusion ensemble and solo work ever recorded.

Finally a band that dares to stretch the meaning of the word "Jazz Fusion". This is a CD that takes the listener on a musical journey packed with influences from many styles...but nothing direct. The term "Jazz" used to mean new..fresh..cutting edge. Teamed up with the term "Fusion" ...for rock influenced, one should expect some very interesting results. Uncle Moe's Space Ranch lives up to the challenge! Fresh ideas, beautiful playing, total interaction...Only a hand full of bands in the last 20 years have sparked my imagination like this one. I highly recomend this CD to anyone who longs for a breath of fresh air. Not only is UMSR groundbreaking musicaly, but the recording quality is exceptional, giving the listener with a good system a REAL treat! Turn it up and enjoy the trip!

The album's first tune, Colliding Chimps, picks up where Tribal Tech's Rocket Science left off with Astro Chimp, pounding the listener with Chambers's explosive drum fills leading to a soaring rock riff. From that point on, a gang of five fuzoid renegades at Uncle Moe's ushers the listener into a musical phantasmagoria never heard before. Many of the songs spiral with wonderfully twisted changes of styles and moods, keeping the listener riveted to the chair or making her shoot through the ceiling (depending on how she reacts to pumping adrenaline).
A slew of influences are apparent on this album: good ol' jazz-rock, rock-jazz, Eastern music, Middle-Eastern music, techno/electronica, hip-hop, kangaroos, southern rock, funk, Allan Holdsworth, New Orleans, Tribal Tech, Robocop, heavy metal, rattlesnakes, progressive rock, etc. Yet they skillfully and artfully melt them all in a kind of tongue-twisting rock-fusion stew that defies characterization, as good fusion should defy any attempt for characterization. I've been listening to fusion since the early '70s, but I've never heard anything quite like this.
Although each player is virtuosic and dazzling, I hear no gratuitous display of ego or pomposity. On the contrary, everyone does his own thing with passion and kinetic energy, at times with a sense of off-kilter humor, contributing to make an organic whole. This is not a "deep" piece of music, not in the sense of Mahavishnu; if you want self-contemplative music, look elsewhere. This is for the most part rave-up, balls-to-the-wall, jovial album full of twisted, mesmerizing complexity that needs to be heard with a devil-may-care attitude. Yet the music is strangely evocative. The album is an actual proof of the proverbial: sometimes the right combination of musicians engenders a fresh, magical result.
Dennis Chambers lays down his patented, continually thrilling drumming; he has a lot to do with the success of this album. What propels Uncle Moe's into high flight is his soulful drumming with sheer power, funk groove, and pyrotechnics.

Having recorded two excellent CDs for Mark Varney's Legato label in the 90s, Brett Garsed and T.J. Helmerich make their debut on (brother of Mark) Mike Varney's Tone Center. They have assembled a top-flight backing band: Scott Kinsey on keys, Gary Willis on bass and Dennis Chambers on drums (Virgil Donati features on one track). The presence of Kinsey and Willis in particular appears to have influenced the song-writing process. The spectre of Tribal Tech and Weather Report looms large throughout this superb CD.
The compositions are strong, the playing spectacular. Garsed, the brilliant Australian musician best known for his work with John Farnham, is the stand-out performer. He is at the peak of his powers on this CD, displaying formidable technique and impeccable taste in equal measure. Kinsey, too, makes an impressive contribution, whether comping or soloing in a style that might be described as neo-Zawinul. He is a significant talent.
If there's been a better fusion release in 2001, I've not heard it. Highly recommended.

This is why people love fusion!!! This is progressive music at its best! These musicians are masters of their art and they let you know it! Their instuments unite into a living and breathing machine of sound. If you like simple, then this may not be for you. If that's the case, check the "elevator music" section of your local music store for the latest "prozac jazz" releases.
Highly recommended for fans of other progressive acts such as "Tribal Tech", "McGill/Manring/Stevens", "Hellborg/Lane/Sipe", "Vital Tech Tones", "MacAlpine/Brunel/Chambers" and "Liquid Tension Experiment".
If you think you are ready, crank it and blast off to the "Space Ranch"... the future of fusion!!

The fourth offering from the guitar partners Brett Garsed and T.J. Helmerich finds the duo surrounded by some of fusion's best. The music has a distinctive Tribal Tech influence thanks to the presence of bassist Gary Willis, but the guitarists' distinctive voices make this a unique sounding quintet. Garsed's long flowing lines are complemented nicely by Helmerich's experimental sonic adventures, which are cohesively held together by the excellent supporting cast. Drummer Virgil Donati makes a memorable guest appearance on "SighBorg," while fusion master Dennis Chambers propels the band on the remaining tracks. The selections include the full-throttle fusion of "SighBorg," the metal-ish "Swarming Goblets," and the Zappa-influenced "I Want to Be a Pine Cone," and there's even some slide guitar on "A Thousand Days." While by no means groundbreaking, this is an enjoyable recording from two of fusion's most intelligent torchbearers.

Tracklist:

1 Colliding Chimps     6:17
2 Tjhelmerich@earthlink.net     7:04
3 Swarming Coblets     7:14
4 SighBorg     7:22
5 He Is Havin' All That's His To Be Had     7:16
6 Minx     9:09
7 I Want A Pine Cone     6:42
8 A Thousand Days     5:30
9 Untitled [Hidden Track]     4:20

Personnel:

Brett Garsed - Guitar,
Dennis Chambers - Drums,
Gary Willis - Bass,
Scott Kinsey - Keyboards,
T.J. Helmerich - Guitar

Tribal Tech - 1993 "Face First"

Face First is the sixth album by jazz fusion band Tribal Tech. It was released in 1993. The album is more improvisational than the band's previous works, and features elements of funk, bop and blues. "Boat Gig" is the only track on the album that contains singing, with vocals by drummer Kirk Covington.

Guitarist Scott Henderson and bassist Gary Willis, known as Tribal Tech (the renegade rock/jazz/fusion warriors) are back with the release of their 1993 album, entitled "Face First". Equally adapt at recalling Miles Davis and Jimi Hendrix, the band successfully bridges the gap between jazz and rock, blending elements of entities such as Weather Report, The Mahavishnu Orchestra, Frank Zappa and Return To Forever, while simultaneously expanding the dimensions of jazz. Scott Henderson (also known for his work with the Chick Corea Elektric Band and The Zawinul Syndicate) is generally admired as one of the most exciting fusion guitarists in the world today. Gary Willis first made a name for himself in the bands of Wayne Shorter and Allan Holdsworth. Incredibly tasteful phrasing and standout guitar playing dominate "Face First", and interestingly, in a somewhat bizarre move, the band dedicated the song "Boat Gig" to Stevie Ray Vaughan and Albert King.

Although it was their sixth album overall, Tribal Tech's 1993 release, Face First, was only the second to feature the still-existing lineup of guitarist Scott Henderson, bassist Gary Willis, keyboardist Scott Kinsey, and drummer Kirk Covington. Previously, Henderson and Willis had juggled lineups and eased further away from traditional jazz toward improvisational fusion through the 1985-1991 albums Spears, Dr. Hee, Nomad, and Tribal Tech. But the quartet of musical leftists gelled on Face First, improving on its promising 1992 debut, Illicit. Henderson's solo on the opening title track -- over a percolating Willis bassline -- shows the guitarist's range of influences from Jeff Beck and Jimi Hendrix to Albert King and Stevie Ray Vaughan. Funk pieces like "Canine" and "Uh...Yeah OK" show glimpses of the group's future, all-improvised CDs; hummingbird-quick drummer Covington's lead vocal on the cover-band farce "Boat Gig" set the stage for Henderson"'s solo blues debut the next year. In between, synth-master Kinsey's jazzy "After Hours" and Henderson's New Orleans-tinged "Revenge Stew" provide thought-provoking rest areas -- necessary because of breathtaking ten-minute thrill rides like the blues, bop, and beyond of "Salt Lick." Willis' Weather Report-like "The Precipice" and "Wounded" ease you to the finish of Face First, the album that made a statement that Henderson, Willis, and company have not yet begun to finish.

Track listing:

01.    "Face First"    7:04
02.    "Canine"    6:24
03.    "After Hours"    7:23
04.    "Revenge Stew"    6:07
05.    "Salt Lick"    9:45
06.    "Uh... Yeah OK"    6:44
07.    "The Crawling Horror"    7:44
08.    "Boiler Room"    1:35
09.    "Boat Gig"    6:00
10.    "The Precipice"    6:17
11.    "Wounded"    5:39

Personnel:

    Scott Henderson – guitar
    Gary Willis – fretless bass
    Scott Kinsey – keyboards
    Kirk Covington – drums, vocals

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

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 

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

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)

Scott Henderson - 2015 "Vibe Station"

 

Guitarist Scott Henderson is one of a select few artists who raised jazz fusion from the embers in the 80s, namely with the band, Tribal Tech. Indeed, this unit proffered a much needed uplift via a far-reaching perspective and armed with a torrential improvisational credo on numerous fronts. Since then, the guitarist has performed with other high-flying units but as a solo artist, he often kicks out the jazz rock, fusion and blues rock jams within the power trio format. Henderson's searing wizardry is vividly perceptible on Vibe Station, as he often converses with himself by modulating distortion-based tones on his electric guitar and by creating a polychromatic aural feast with variable currents and intensity levels.

Henderson wreaks havoc on his guitar amid howling bottleneck notes, multihued chord voicings and ungodly hype-mode licks atop the rhythm section's slamming grooves and agile progressions. He often harmonizes with bassist Travis Carlton and during a variety of movements the trio summons an Armageddon with supple and heightening choruses within the prog-metal domain.

The title track "Vibe Station," is centered on jazz and funk motifs, countered by the leader's gravelly phrasings, blazing runs and shock-therapy type cadenzas. Henderson uses an electric sitar or perhaps some electronics-based sampling process on the humming and buzzing jazz fusion fest "Manic Carpet," abetted by his fervent call and response dialogue with drummer Alan Hertz during the bridge. And the jazz influences resurface with a Thelonious Monk-like primary theme and prickly bop lines on "The Covered Head," as the band surges into a lofty and tempestuous improv segment, revved up by Henderson's caustic shadings, weeping breakouts and supersonic single note riffs.

"Dew Wot?" is another piece where the tide shifts and momentum builds upon a twirling and shuffling cadence, seguing into a hot n' nasty blues rock foray, contrasted with knotty time signatures, used as a passageway into an interminable abyss. Ultimately, Vibe Station should be deemed essential listening for Henderson's legion of admirers, along with curious students and others not thoroughly acquainted with his formidable legacy.

Following on the heels of his amazing “HBC” trio with bassist Jeff Berlin and drummer Dennis Chambers, guitarist Scott Henderson returns with his 5th solo project, “Vibe Station”, exhibiting “elements of jazz, rock & blues, but has a bigger variety of textures and tones. The new all instrumental CD features bassist Travis Carlton (son of Larry) & drummer extraordinaire Alan Hertz. Henderson speaks of the new work as the most challenging project of his career.

Says Henderson, “I’m really excited about this record because our trio has been touring a lot and that energy came through on all the performances. The music is still blues-based, but also has a lot of harmonic content. The big change is no vocals, which challenged me as a guitarist to write material which can be played in a vocal way on the guitar, while incorporating my own chord-melody style. I think fans will enjoy the scope of this record because it has elements of blues, rock, jazz and funk. There’s something for everyone here.”

Henderson also said that the majority of the songs are layered with multi guitar tracks, utilizing many different guitars, pedals, amps and speaker combinations, making it the most textural and versatile sounding album he’s ever done. Travis Carlton on bass and Alan Hertz on drums make this project and live show very much groove-based.

Says Henderson, “I need to see people moving in their seats. I’m not interested on putting on an intellectual show for musicians only. I don’t believe I need to dumb down the music to appeal to people who aren’t musicians, because when Travis and Alan play together, the groove is going to attack you whether you’re a musician or not”.

Henderson’s impressive work over the years as co-leader of the group TRIBAL TECH, leader of his own ground breaking trio, and sideman to some of the best jazz artists of their generation, including the great Joe Zawinul, has elevated him to the front ranks of both Jazz and Blues. Besides being a world class player and premier composer, Henderson’s trademark is his beautiful tone and striking ability to blend Blues, Rock, Funk, and Jazz, creating a soulful and unique voice on the guitar.”

Track listing:

 01 Church of Xotic Dance - 7:20
 02 Sphinx - 8:59  
 03 Vibe Station - 7:10
 04 Manic Carpet - 7:25
 05 Calhoun - 8:42
 06 The Covered Head - 6:56
 07 Festival of Ghosts - 8:40
 08 Dew Wut? - 6:59
 09 Chelsea Bridge - 5:41

Personnel:

Scott Henderson: Guitar
Travis Carlton: Bass
Alan Hertz: Drums

Larry Coryell, Tom Coster, Steve Smith. - 1998 "Cause And Effect"

Electric fusion returns in a big way on Cause and Effect, featuring one of fusion's pioneering guitarists, one of the second wave's top keyboard contributors, and a fusion Journey-man on the drums. Indeed, Larry Coryell was there at the birth of jazz-rock fusion as a member of the Gary Burton Quartet on the seminal Duster LP; Tom Coster was the keys man and a key player in the second incarnation of Santana in the 1970s; and Steve Smith hooked up with first generation Santana alumni in Journey. Smith was the catalyst for this explosive, electric summit meeting, single-handedly revitalizing the fusion genre with a series of all-star sessions including this one. Most of the numbers here were made up in the studio as the players jammed. Consequently, the spontaneity is obvious, and the trio has a lot of fun letting out all the stops. It's quite a change from the smooth textures Coryell had been putting out in recent years. Because of the free-flowing nature of the process, there are few real melodies here, but there are some great licks. Coryell's composition "Bubba" is a fine piece of funk, and his "First Things First" slithers seductively along on Coster's B-3 bed. The closing "Finale: Wes and Jimi" provides an appropriate denouement to the proceedings, while paying tribute to two of the genre's most important forebears. The obvious point of reference here is the Tony Williams Lifetime, and those familiar with that group's sound will be taken back to those heady days. However, these guys have managed to recall that exploratory era while creating their own fresh slant, resulting in a one-shot recording that deserves to be heard.

This power trio encounter between drummer Steve Smith, Hammond B-3 organist Tom Coster and fusion guitar pioneer Larry Coryell sounds like outtakes from a 1972 session. And I assure you, this is a good thing. A very good thing indeed.
Hardcore fusion fans had virtually written off Coryell in the '90s after his rather tame radio-friendly offerings for CTI like Live from Bahia and Fallen Angel. He had a welcome return to guitar hero form last year with the superb Spaces Revisited (Shanachie), which paired him with disciple Bireli Lagrene, former Zawinul Syndicate bassist Richard Bona, and drumming great Billy Cobham (who had appeared on the original Spaces session from 1970). But nothing that Larry has done in the past 20 years equals the ripping intensity and exhilaration of this all-out power trio blow-out.

Between the opening salvo of the odd-metered "These Are Odd Times," with its ferocious exchanges of eights, and the fuzz-and-wah inflected scorcher, "Plankton," you can feel the renegade spirit of this recording. Versatile drummer Smith (whose credits range from Jean-Luc Ponty to rock supergroup Journey to Steps Ahead and his own group Vital Information) is basically the A&R presence behind Tone Center, a staunch fusion label started up earlier this year by guitar maven Mark Varney, who is also the head of the heavy metal label Shrapnel Records. Smith's intent is to provide an outlet for true fusion chopsmeisters to wail with no holds barred. He's already done precisely that in previous power trio outings with Tribal Tech guitarist Scott Henderson and Bela Fleck & The Flecktones bassist extraordinaire Victor Wooten (Vital Tech Tones) and with Vital Information guitarist Frank Gambale and Joe Satriani bassist Stuart Hamm (Show Me What You Can Do). Cause And Effect is equally over-the-top.
"Wrong Is Right" and "First Things First" are more traditional, swinging jazz organ trio romps that highlight the trio's bop facility, and "Bubba" is a bit of funk done up in a Meters vein, supported by Smith's syncopated Zigaboo-styled backbeats. But it's the more savage, unrelenting and shamelessly 'notey' jams like "Night Visitors" and the adrenaline-pumped "Miss Guided Missle" that will really get fusion maniacs drooling. It's been a long time since they've been catered to. This one should be received by them with the same zeal that hungry lions greet scraps of red meat at the Bronx Zoo.

Legendary guitar genius Larry Coryell has reclaimed some of his early roots here with an explosive new cd on Tone Center records. Backed by stalwart session men Steve Smith (drums) and Tom Coster (kbrds) this is the stuff that Coryell admirers have been waiting for, especially after some recent and relatively sedate "smooth jazz" ventures.
Coryell was among the handful of jazz pioneers who ventured into experimental dabblings with jazz-rock and psychedelia. His classic collaborations with John McLaughlin, Mike Brecker and Oregon to name but a few were escapades into unknown turf during the 70's. His famed Eleventh House unit during the 70's and early 80's expanded upon jazz-rock-fusion. The Eleventh House was an extremely tight band which featured trumpeter Randy Brecker trading impossible unison runs with Coryell and also featured power house drummer Alphonse Mouzon. The Eleventh House were pioneers that paralleled the likes of Mahavishnu Orchestra and Weather Report. Since the demise of the Eleventh House, Coryell has performed and recorded with various units and has crafted a diverse resume of alliances with many notable musicians of different genres. He has recently explored the "jazz-lite" avenue along with some notable straight ahead romps for various labels.
"Cause and Effect" literally caused me to sit on the edge of my seat. Coryell and co. dazzle, astound and effortlessly rip through originals which rekindle memories of yesteryear. These guys are having a blast which is quite evident from the outset. A conglomerate of bluesy, swinging and rip-roaring tunes take the listener for a journey that is enticing and ultimately captivating. Take the opener "These Are Odd Times" as an example. Coryell is in your face with a sense of urgency. As things progress we get the message. Coryell's attack is devastating. The cuts on this cd represent some surprising twists and turns, lively funk, passionate interplay and memorable compositions. Veteran leader and session man Steve Smith is an amazing drummer. His swing at times is reminiscent of Buddy Rich, yet he can "out-rock" most rock drummers. Tom Coster performs marvelously on the keys. All in all the support is stellar and invigorating. Bassist's Victor Wooten and Bennie Reitveld lend a helping hand on several cuts when Coster isn't stomping on the bass pedals.
This cd is a moving tribute to one of the great guitarists of the 20th Century. Coryell is back with no holds barred. Enjoy and PLAY IT LOUD! Highly Recommended (not for lovers of "lite-jazz")

Tracks Listing

1. These Are Odd Times ( 7:54 )
2. Plankton ( 4:34 )
3. Wrong Is Right ( 7:16 )
4. Bubba ( 6:02 )
5. Cause & Effect ( 0:49 )
6. Night Visitors ( 8:08 )
7. Miss Guided Missile ( 8:37 )
8. First Things First ( 7:51 )
9. Night Visitors Revisited ( 2:19 )
10. Finale Wes & Jimmy ( 11:13 )
11. ( untitled hidden track )

Musicians

- Larry Coryell / guitars
- Tom Coster / Keyboards
- Steve Smith / drums
- Victor Wooten / bass, track 1
- Benny Rietveld / bass, tracks 2,9,10

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

Various Artists - 2011 "The New Universe Music Festival 2010" Live

For those who like their jazz hard, loud, filled with killer chops and intricate writing, the 2010 New Universe Music Festival was like manna from heaven. Amidst seven groups including two fusion deities, guitarist John McLaughlin and drummer Lenny White, it was an exhilarating experience for the few hundred people in attendance—some coming from hundreds of miles away, a few even crossing oceans to get to this first-time event curated by Souvik Dutta and his wife, Shweta.

More than a celebration of some of fusion's current undisputed cream—featuring, in addition to White's group and McLaughlin's current Fourth Dimension lineup, sets by guitarists Jimmy Herring, Alex Machacek and Wayne Krantz, Indian drummer Ranjit Barot, and the first live appearance by fusion supergroup-in-the-making Human Element—it was also a chance to see just how far Dutta's Abstract Logix has come, since it morphed from web-based fusion storefront to record label. Starting modestly with just one release, Project Z's Lincoln Memorial (2005), AL has grown to become the premiere imprint for today's fusion, the "Little Label That Could," against the many challenges facing Indies today. The New Universe Music Festival 2010: Abstract Logix Live! isn't quite like being there but, at just over two hours, it's a compelling condensation of the many highlights (there were many more) that took place over two days in November, 2010—an expansive picture window into what made the festival a great experience and tremendous success.

With tracks culled from each of the seven groups' performances, spread across two discs, it captures the essence and variety of each set, from Machacek's knotty writing, almost unfathomable voicings and cerebral yet searing work with the same lineup as The Official Triangle Session (Abstract Logix, 2009)—powerhouse drummer Jeff Sipe and the lesser-known, but equally deserving bassist, Neal Fountain—to Herring's more groove-driven but no less contextually challenging quartet, also with Fountain and Sipe, along with another surprise of the festival, keyboardist Matt Slocum.

Herring's set was one of the best of a thoroughly high bar festival, so it's appropriate that he receives nearly as much time as McLaughlin—who gets the most focus at over 26 minutes—demonstrating his good ol' boy combination of Jeff Beck-worthy tone, southern lyricism and undeniably monster chops on Sipe's high-velocity "Rainbow," and his own dark ballad, "Gray Day," from Lifeboat (Abstract Logix, 2008). Herring's thundering version of George Harrison's "Within You, Without You" dovetails perfectly with the Indo-centricities of Barot's set, where a remarkable duo with violinist Bala Bhaskar ("Vignesh Kirtanam") sets up "Origin," the fiery closer to the drummer's AL debut, Bada Boom (2010), here performed by members of Human Element, along with guest guitarist Krantz, who delivers a characteristically quirky, visceral and gritty solo.

Human Element's release had been delayed until April, 2011, so keyboardist Scott Kinsey, über-bassist Matthew Garrison and percussionist/vocalist/puckish mischief-maker Arto Tuncboyaciyan—with Barot subbing, with complete confidence and commitment, for regular drummer Gary Novak—gave a preview of what was to come, as Kinsey's "Essaouira" and the more incendiary "Sometimes I..." demonstrate the quartet's sonic blend of Joe Zawinul-informed landscapes, world music concerns and Tribal Tech-like displays of unbridled improvisational power.

Krantz, in addition to longtime drummer Cliff Almond, brought another bass legend to the festival. Anthony Jackson's 2010 AL debut, Interspirit, may not have been represented at the event, but his contribution to Krantz's trio more than made up for it. Krantz offers a different kind of cerebralism than Machacek, one driven more aggressively by groove, and a knottier disposition towards unexpected time changes, as "Why" clearly demonstrates, shifting gears halfway into a high velocity free-for-all that builds to a fever pitch.

White's AL debut, Anomaly (2010), was a cast of thousands (well, 23) affair, but his touring band brings the album's material into sharper focus. With Herring—a sometimes member of the band—guesting with the current quartet lineup, White has a tremendous frontline that also includes New York guitarist Tom Guarna, stepping away from his own more mainstream recordings, and bassist Richie Goods, who's new to the AL family but from whom more will hopefully be heard, kicking the swinging blues at the core of "Door #3" into high gear, with Herring and Guarna turning the heat up with a series of nuclear-burn trade-offs that lead to White's closing solo, which starts quietly, and ends even more so ("How about that," White quipped, at the show, "a quiet drum solo."). Keyboardist Vince Evans, a regular White alum, is another new face to AL, but his combination of Jan Hammer-like synth lines and, in particular, his Rhodes solo on the up-tempo "Gazelle"—ambiguous voicings combining with a seemingly endless flow of thematic ideas, as he weaves through the song's knotty changes—makes him another player worth following.

"Recovery," from To The One (Abstract Logix, 2010), demonstrates how much McLaughlin's Fourth Dimension group has evolved since its 2007 North American tour, documented on Official Pirate (Abstract Logix, 2007). With bassist Etienne Mbappe replacing young firebrand Hadrien Feraud, keyboardist/drummer Gary Husband and drummer Mark Mondesir are able to breathe a little more. The music is no less incendiary when it needs to be, but there's a greater sense of fluidity at the bottom end, and a more unshakable anchor, making a short but sweet version of "Recovery" the perfect, succinct representation where the group is now.

But it's the closer to McLaughlin's set that's the greatest peak amongst so many others. "Mother Tongues," a longtime McLaughlin closer, is stretched to over 21 minutes and features a lengthy, mid-song duo between McLaughlin and surprise guest, tablaist Zakir Hussain, that proves the undying strength of musical friendships forged as strongly as that of these two masters. They haven't played together for many years—since the last time Remember Shakti toured—but the bond they share clearly hasn't weakened one iota, as McLaughlin and Hussain push, pull and work off each other, the guitarist's rhythmic roots in Indian classicism on full display, as Hussain moves into a three-way trade-off with Husband and Mondesir that has everyone on their toes, creating the kind of fireworks that drove the audience into a frenzy.

Rumors are there's going to be another New Universe Music Festival in 2012, and with a growing roster that now includes guitarist Chris Taylor, and a second installment of Husband's Dirty & Beautiful Volume One (Abstract Logix, 2010) hopefully coming up—leading to hopes that the keyboardist/drummer will get the chance to front his own band—there's every chance that the next festival will repeat and expand upon the successes of the first installment. For a first-time event, spearheaded by the Duttas and their seemingly tireless Director of Operations, John Angello, the 2010 New Universe Music Festival went off with very few hitches—putting many festivals that have been around a lot longer to shame.

n November 20 and 21, 2010, maverick record label Abstract Logix hosted a series of spectacular performances, featuring an array of artists who handily defy genre categorization in favor of unbridled expression. The first New Universe Festival was a die-hard music lover’s dream, defined by artists who seamlessly mingle compositional ingenuity and improvisational grace and fervor. This coming September, Abstract Logix will release a 2 DVD set, featuring a generous selection of festival performances and bonus material (additional performances, interviews, and more), filmed in high-definition throughout the event.
Among the featured musicians were pioneering guitarist John McLaughlin and his current band the 4th Dimension with special guest, world music legend tabla maestro Zakir Hussain; Widespread Panic guitar hero Jimmy Herring with his electric band; Return to Forever Drummer Lenny White; the all-star quartet Human Element (keyboardist Scott Kinsey, bassist Matt Garrison, percussionist Arto Tunçboyaciyan; fearless guitarist and improviser Wayne Krantz appearing with the amazing Anthony Jackson on bass; visionary Indian composer and drummer Ranjit Barot; and emerging guitar visionary Alex Machacek.
“I feel honored to participate,” says festival headliner John McLaughlin, while on tour promoting his Grammy-nominated album To the One. “My life has been dedicated to my instrument and music, and I continue to devote myself to music in order to be worthy of such a privilege. You will hear the kind of complicity that exists between us all – this is a very special element, and frankly essential for making good music.”
Jimmy Herring very succinctly put it, “This is real music played by real people, happening in real time. We’re up there listening and reacting to one another, and people genuinely respond to the risks we take. This is human music in a mechanized age.”

On the face of it, this live double-album is an expert genuflection to jazz-rock fusion, with five guitarists and a crop of punchy drummers (including Return to Forever's Lenny White and percussion virtuoso Zakir Hussain) to confirm it. But the playing of the seven bands is anything but predictable. The members sit in with each other here, and their embrace of risk and the pleasure they take in spontaneous performance are palpable. John McLaughlin and the 4th Dimension have Hussain sit in for usual drummer Ranjit Barot in two fiercely vivacious pieces, including an infectious, choppy, 20-minute Hussein showcase, Mother Tongues. Barot leads a violin-dominated Indian-inflected sextet featuring the New York guitar maverick Wayne Krantz as a guest; Krantz also appears with an edgy avant-fusion trio. The chord-crunching, metal-inspired guitarist Alex Machacek opens proceedings with a fast-moving group extensively featuring electric bassist Neal Fountain.

It was a veritable smorgasbord of fusion, with many of the top-notch artists in the genre coming together for a series of performances. Jazz-rock fans attending the inaugural event heard legends like John McLaughlin and Lenny White, established names such as Wayne Krantz, Human Element and Jimmy Herring, as well as up-and-comers like Alex Machacek and Ranjit Barot. From start to finish, the music was electric, even when it was being played acoustically. There was also a palpable sense of community as artists generously participated in listening sessions and sat in with each other throughout the event. I highly recommend this festival and look forward to seeing and hearing its second incarnation in 2012.
– Lee Mergner, Editor in Chief, JazzTimes

The New Universe Music Festival brought together an astonishing roster of legendary and upcoming jazz-fusion musicians—especially guitarists—in an intimate setting charged with excitement. As might be expected, the music was superb, culminating in a heartfelt tribute to fusion and world music pioneer John McLaughlin. I look forward to attending the next NUMF, though the first one will be very tough to top.
– Barry Cleveland, Guitar Player

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

Track listing:

CD1:
1. Strafe;
2. Very Sad;
3. Vignesh;
4. Origin;
5. Essaouira;
6. Sometimes I...;
7. Rainbow;
8. Gray Day;
9. Within You, Without You.

CD2:
1. Why;
2. Door#3;
3. Gazelle;
4. Recovery;
5. Mother Tongues.

Personnel:

Alex Machacek: guitar (CD1#1-2);
Neal Fountain: bass (CD1#1-2, CD1#7-9);
Jeff Sipe: drums (CD1#1-2, CD1#7-9);
Ranjit Barot: drums (CD1#3-7), voice (CD1#3-4);
Bala Bhaskar: violin (CD1#3-4);
Scott Kinsey: keyboards (CD1#3-7);
Matthew Garrison: bass (CD1#3-7);
Arto Tunçboyacian: percussion and voice (CD1#3-7);
Wayne Krantz: guitar (CD1#3-4, CD2#1);
Jimmy Herring: guitar (CD1#7-9, CD2#-2-3);
Matt Slocum: keyboards (CD1#7-9);
Anthony Jackson: bass (CD2#1);
Cliff Almond: drums (CD2#1);
Lenny White: drums (CD2#2-3);
Tom Guarna: guitar (CD2#2-3);
Richie Goods: bass (CD2#2-3);
Vince Evans: keyboards (CD2#2-3);
John McLaughlin: guitar (CD2#4-5);
Etienne M'Bappe: bass (CD2#4-5);
Gary Husband: keyboards and drums (CD2#4-5);
Mark Mondesir: drums (CD2#4-5);
Zakir Hussain: table ((CD2#5).

Scott Kinsey - 2019 "We Speak Luniwaz"

 

On We Speak Luniwaz, Kinsey presents a sequence of creatively arranged Zawinul gems, plus a couple of original compositions, with a gifted core band (saxophonist/flutist Katisse Buckingham, bassist Hadrien Feraud, and drummer Gergö Borlai) and guest stars.

“Scott Kinsey’s realization of these Weather Report tunes manages to not only pay tribute to the works of Zawinul and Shorter but also to mine the music for discoverable gold. His band plays the daylights out of these tunes. This album deserves your attention.”
— Peter Erskine

Widely known as one of the most skilled keyboard players of his generation, Scott Kinsey is also one of the foremost interpreters of Joe Zawinul’s rich musical legacy. As musical director of the Zawinul Legacy Band, Kinsey has delivered electrifying performances in celebration of Zawinul’s groundbreaking work with Weather Report and the Zawinul Syndicate.

On 'We Speak Luniwaz', his Whirlwind Recordings debut, Kinsey brings his expertise to bear on re-imaginings of seven scintillating Zawinul compositions, plus one by Wayne Shorter and two originals. Joined by electric bass phenom Hadrien Feraud, saxophone/flute master Katisse Buckingham and Hungarian drummer Gergo Borlai, this accomplished crew generates sparkling energy and percolating grooves on entrancing Zawinul fare like “The Harvest” ('Dialects', 1986), “Victims of the Groove” ('Lost Tribes', 1992), “Black Market” ('Black Market', 1976), “Fast City” ('Night Passage', 1980), “Between the Thighs” ('Tale Spinnin’', 1975) and “Where the Moon Goes” ('Procession', 1983). For the funky “Cucumber Slumber,” ('Mysterious Traveler', 1974), Kinsey showcases Buckingham’s skills as rapper with a testimony to Joe in a segment titled “World Citizen.”

“Zawinul’s music has been near and dear to me ever since the moment I first heard it,” Kinsey wrote in the liner notes. “My objective was to try to do justice to this material, more than anything as a little thank-you note to someone who certainly changed my life,” added Kinsey. “And someone who gave us all so much through his uncompromising and impossibly high musical standards. What Joe did was create his own personal language that was always in the moment and totally fresh! So with time, I also learned to speak Luniwaz, perhaps using my own personal dialect… I’m pretty sure he would have loved this record.”

Scott Kinsey is something of a leading light in the world of fusion thanks to his collaborations with the likes of Scott Henderson’s Tribal Tech, Alphonso Johnson and  John McLaughlin, new-school types like Matthew Garrison and Tim Lefbvre, and hipsters such as Thundercat and Flying Lotus, not to mention a host of movie scores. Here he returns to the fusion well-spring by exploring the legacy of one of the genre’s founding fathers, with whom he also enjoyed a fruitful working relationship as keyboard programmer and whose legacy he already supports via the official Zawinul Legacy Band. There’s a host of well-loved Zawinul Weather Report classics on offer here, plus Wayne  Shorter’s ‘Port Of Entry’ and a pair of originals by Scott and the band (essentially the same line-up as the Legacy Band plus Hungarian power drummer Borlai). In addition, in the best Weather Report tradition there’s a pool of percussionists, many of whom worked with the man himself.

The band sound terrific, and Hadrien Ferraud in particular continues to justify his place as the current holder of the Jaco mantle with his awesome speed, accuracy and creativity. There’s a slightly disconcerting rap from saxophonist Buckingham on ‘Cucumber Slumber’ but elsewhere the creative choices throughout are totally in keeping with the genre. While the project has the whole-hearted endorsement of the Zawinul family, and undoubtedly keeps the flame burning for his unique vision, one may feel that this album points the listener back towards the brilliance of the originals rather than holding the attention in its own right. But maybe that’s the idea.

Track listing:

01 The Harvest     
02 Victims of the Groove     
03 Cucumber Slumber / World Citizen Medley     
04 We Speak Luniwaz     
05 Black Market     
06 Fast City     
07 Running The Dara Down     
08 Port Of Entry     
09 Between The Thighs     
10 Where The Moon Goes

Personnel:

Scott Kinsey - keyboards, piano, vocoder
Katise Buckingham - tenor & soprano saxophones, flute, rhymes
Hadrien Feraud - electric bass
Gergo Borlai - drums

Special Guests:

Bobby Thomas Jr - percussion
Arto Tunçboyaciyan - percussion
Steve Tavaglione - saxophone
Jimmy Haslip - electric bass
Michael Baker - drums
Danny Carey - electronic drums
Cyril Atef - drums
Brad Dutz - percussion
Naina Kundu - voice

Various Artists - 1997 "Jazz Fusion Volume 1"

The first of two CDs covering the fusion years is mostly not in chronological order but generally predates Vol. 2; all but one selection is from 1970-78. Rather than being a "best of" collection, this is really just an overview of the style, a dozen strong selections from a variety of formerly released albums by some of the pacesetters of the music. Included is a selection apiece from Larry Coryell, Tony Williams Lifetime, Joe Zawinul ("In a Silent Way"), Coryell's Eleventh House, Herbie Hancock, Return to Forever (the original version of "Spain"), Billy Cobham, Mike Mainieri (1981's "Flying Colours"), the duo of Jerry Goodman & Jan Hammer, the Cobham-George Duke Band, Narada Michael Walden and Jean-Luc Ponty ("Cosmic Messenger"). Among the sidemen in these overlapping groups are John McLaughlin, Miroslav Vitous, Randy Brecker, Alphonse Mouzon, Joe Farrell, Flora Purim, John Scofield and the Brecker Brothers. Both sets are worth picking up as introductions to the style.

The word Fusion has been so liberally used since the late '60s that it's become almost meaningless. Fusion's original definition was best: a mixture of jazz improvisation with the power and rhythms of rock. Up until around 1967, the worlds of jazz and rock were nearly completely separate. But as rock became more creative and its musicianship improved, and as some in the jazz world became bored with hard bop and did not want to play strictly avant-garde music, the two different idioms began to trade ideas and occasionally combine forces. By the early '70s, fusion had its own separate identity as a creative jazz style (although snubbed by many purists) and such major groups as Return to Forever, Weather Report, the Mahavishnu Orchestra, and Miles Davis' various bands were playing high-quality fusion that mixed some of the best qualities of jazz and rock. Unfortunately, as it became a money-maker and as rock declined artistically from the mid-'70s on, much of what was labeled fusion was actually a combination of jazz with easy-listening pop music and lightweight R&B. The promise of fusion went unfulfilled to an extent, although it continued to exist in groups such as Tribal Tech and Chick Corea's Elektric Band.

http://jazz-rock-fusion-guitar.blogspot.com/2017/11/various-artists-1997-jazz-fusion-volume.html

Track Listings

1. Space (Infinite) - Larry Coryell
2. Allah Be Praised - The Tony Williams Lifetime
3. In A Silent Way - Joe Zawinul
4. Birdfingers - The Elventh House
5. Quasar - Herbie Hancock
6. Spain - Chick Corea & Return To Forever
7. Stratus - Billy Cobham
8. Flying Colours - Mike Mainieri
9. Country And Eastern Music - Jerry Goodman & Jam Hammer
10. Sweet Wine - The Billy Cobham - George Duke Band
11. The Sun Is Dancing - Narada Michael Walden
12. Cosmic Messenger - Jean-Luc Ponty