Jimi Hendrix - 1970 [2002] "The Rainbow Bridge Concert"

Originally released by Radioactive Records in 2002 as 2 separate LPs, this 2-CD set contains most of both of Jimi's sets as recorded at Haleakala Crater in Hawaii, the 30th of July, 1970; the first set (as only partially heard in the film, but not the LP's soundtrack Rainbow Bridge - Original Movie Soundtrack (Vinyl Record)) and most tracks of the never-released second set. This show, especially the 2nd set, was for years rather a "Holy Grail" amongst collectors. Minimally remastered, although unfortunately edited, this was Hendrix' pentultimate U.S. show; it's far from being an audiophile-grade recording, (especially the 2nd set, when the winds were blowing rather high) but Jimi's performance still shines through. According to Ultimate Hendrix: An Illustrated Encyclopedia of Live Concerts & Sessions, three songs, "Midnight Lightning," "Drum Solo," and "Stone Free" finish the 2nd Set, but those tracks are nowhere to be found on this release. In 2008, the Mike Jeffrey estate put out an even more complete version with these tracks as "Complete Rainbow Bridge" on the Rock Of Ages Label.

This is more a release for a completist than a Hendrix novice: highly reccomended for Hendrix cognoscenti, but get the original live LPs/CDs "In the West (1971)," "Band Of Gypsys," and Blue Wild Angel: Jimi Hendrix Live at the Isle of Wight before even thinking about picking this one up!

Unofficial release of the July 30th 1970 concert in Maui. This is the whole show, both sets. Its missing the very first song ( Spanish Castle Magic) and the very last song (Stone Free). But what you do get is:
Lover Man, Hey Baby (New Rising Sun), In From the Storm, Message to Love, Foxy Lady, Hear My Train a Comin', Voodoo Child (Slight Return), Fire, Purple Haze, Dolly Dagger, Villanova Junction, Ezy Rider, Red House, Freedom, Jam Back at the House (a.k.a Beginnings), and an instrumental jam called Land of the New Rising Sun which incorporates parts of Hey Baby and Race With the Devil.
That is an amazing set list. Jimi played great that day. It was an outdoor show and the wind detracts from the quality of the recording, but who cares, its Jimi playing his ass off. Mitchell redid the drums for the songs used in the movie, so those sound much clearer.
Overall its a decent recording of an excellent show. Since its unofficial though, I wouldn't pay $75 collectors prices for it. Its OK to download bootlegs. But its a well made package and any Hendrix fan should own this if found at a reasonable price. There's another version called Complete Rainbow Bridge which has the two missing songs but good luck finding it.

The concert held at Haleakala Crater in Hawaii in July of 1970 was supposed to be part of the film Rainbow Bridge, but very little of the concert footage was used in the film. Stranger still, none of it was used on the soundtrack album Rainbow Bridge. The set has been bootlegged in the past, but this marks the first official release of this material. For the second set, Hendrix played new material exclusively, except for "Red House." He also played a Gibson Flying-V instead of his near-trademark Fender Stratocaster, giving him a thicker guitar tone. Hendrix starts strong on "Dolly Dagger" and goes straight into "Villanova Juction" (here simply titled "Instrumental"). This is followed by one of the better live versions of "Ezy Rider," with Billy Cox lending strong support on bass.

After an excellent version of "Red House," Hendrix loses his way a bit, drifting into "Straight Ahead" during "Jam Back at the House," but finished the tune strong with all his effect pedals working nicely together. The set ends with an up-tempo jam tacked onto the end of "New Rising Sun." This is quite an interesting live set, because the intimate venue and relative lack of commercial pressure allowed Hendrix to relax on-stage with a lot of his newer material. Sound quality is quite good, although the drums are a bit distant. Some critics have said that Hendrix's playing declined after the breakup of the Jimi Hendrix Experience, but this set shows that Hendrix was always moving forward, incorporating new tones and effects as well as Spanish scales into his playing. There were certainly some lackluster performances during that time period, but the Rainbow Bridge concerts show that Hendrix still had some excellent playing left in him. [Both sets are also available combined onto a two-CD set.]

Show took place in Maui, Hawaii on July 30, 1970. Great to have this live performance (finally) in it's entirety. Sound quality is very good - as some fans might disagree with that - just seems like the crowd is a bit quieter than one might expect. Tracks that I could not get enough of were "Hey Baby (New Sun Rising)", the rocking "Message To Love", "Foxy Lady" - being personally dedicated to someone specifically by Jimi, one of my personal Hendrix favorites "Fire", of course "Purple Haze" and [the always] ass-kicking "Dolly Dagger". Also thoroughly enjoyed the awesome "Red House", "Freedom" and "Land Of The New Rising Sun". Duration: approx. 84 minutes. Comes housed in a nifty / collectable slip-cover to forever preserve this precious audio keepsake. Also includes a twelve-page CD booklet with some exclusive Hendrix artwork and well-written liner notes. Highly recommended.

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

Track listing:

CD 1 - The Early Show
1-1 Lover Man 2:33
1-2 Hey Baby (New Rising Sun) 4:36
1-3 In From The Storm 4:59
1-4 Message To Love 4:52
1-5 Foxy Lady 4:45
1-6 Hear My Train A Comin’ 9:08
1-7 Voodoo Chile (Slight Return) 7:17
1-8 Fire 3:43
1-9 Purple Haze 4:35

CD 2 - The Late Show
2-1 Dolly Dagger 5:09
2-2 Instrumental 5:28
2-3 Ezy Rider 4:54
2-4 Red House 6:47
2-5 Freedom 4:21
2-6 Jam Back At The House 7:00
2-7 Land Of The New Rising Sun 4:47

Personnel:

Jimi Hendrix - Guitar
Mitch Mitchell - Drums
Billy Cox - Bass

Alain Caron - 1993 "Le Band"

First Alain caron solo recording after he left the legendary Band "UZEB". Lost of groove, funk, slap and fretless bass.

Widely heralded as the greatest electric bass player in the world, Montreal resident Alain Caron has put together possibly the finest band of its kind - from the musical elite of francophone Jazz - in producing his first solo album. A veteran of the legendary UZEB - the Roland Electronics endorsed super fusion group of the latter third of the last century -, Caron is an in-demand Artist around the globe for his musical, composing and arranging skills. A collection of predominantly original works revealing his own superb talents as a sideman and his awe-inspiring gifts as an improviser is joined by his tribute to Jaco Pastorious in the Charlie Parker tour de force, "Donna Lee". The grooves, originality and powerful arrangements in Caron's music reaffirm the remarkable contribution of Quebecois Artists to the world of Jazz.

Spectacular post Uzeb fusion effort by one of the best electric fusion bass player ever. Fantastic solos by Alain. He play so smooth and fluid that his instrument seems a horn. But this is not a mere bassist enthusiasts record. It contains true intelligent music not for show off. It's great music for bassist enthusiasts and for true music lovers.

Recorded and mixed at Studio Victor, Montreal in November-December 1992,  Le Band is a spectacular drive, full of fun and amazing solos compositions!

It is not only a great bass drive, but it is a work of great music for enthusiastic fans and music lovers!

“Le Band” is a very funky album and its recording was attended by Jerry De Villiers Jr. on guitar, Magella Cormier on drums and Gerry Etkins on keyboards.

A beautiful album that you should not miss: a milestone in the production of Alain Caron. Maturity and style of Caron, the precise connotations, reveals to listener a soul like few equals.

Alain Caron “Le Band” is great music, both for bass lovers and for true music lovers.

“Le Band” of Alain Caron received the Félix award as best album of the year in 1993.

Track Listing:

1. Jack Cannon (4:57)
2. S.E.C. (5:11)
3. 87 South (6:09)
4. No Way (5:22)
5. From T.O.P. (4:52)
6. Options (4:44)
7. Freedom Jazz Dance (3:36)
8. Lower East Side (7:12)
9. 3 in 4 (4:50)
10. Devil Shuffle (6:03)
11. Had to Go (4:32)

Total Time: 57:32

Personnel:

- Alain Caron / bass
- NMagella Cormier / drums
- Jerry De Villiers / guitars
- Gerry Etkins / keyboards

King Crimson - 2002 "Happy with What You Have to Be Happy With"

Happy with What You Have to Be Happy With is an EP by the band King Crimson released in 2002, a companion to the subsequent album The Power to Believe (2003).

This mini-album of mostly short tracks, including one hidden unlisted track, is more song-centered than other Crimson releases, and acts as an appetizer for the full-length studio album, THE POWER TO BELIEVE (2003). Featuring Adrian Belew, Robert Fripp, Pat Mastelotto and Trey Gunn.

EP version of "Happy with What You Have to Be Happy With" is longer by one chorus. "Eyes Wide Open" is an acoustic version. Alternative versions of these tracks can be found on The Power to Believe. "Larks' Tongues In Aspic Part IV" is from the "Live In Nashville, TN" Collectors' Club release.

The relationship between this EP and King Crimson's Power to Believe (2003) long-player mirrors that of the six-track Vrooom (1994) sampler and subsequent full-length release Thrak (1994). The music perfectly contrasts the primarily instrumental and live Level Five (2001) EP by honing in on the latest lyrical contributions from Adrian Belew (guitar/vocals).

The disc begins with "Bude," the first in a series of short spoken verses incorporating an electronically manipulated and harmonized Belew. The result is similar to the voice box effect used by Peter Frampton on "Do You Feel Like We Do?." This slams headlong into the thrashing title track, which is not too far removed from the angst-ridden alternative metal from the likes of Therapy?, Tool, and Rammstein.

In true Belew style, he incongruously twists the subject matter into a sonically aggressive backdrop, cleverly dissecting his craft as a singer/songwriter, exemplified in the lyrics: "And when I have some words/This is the way I'll sing/Through a distortion box/To make them menacing." "Mie Gakure" is a two-minute meditative soundscape interlude from Robert Fripp (guitar). While the necessitation for brevity is duly noted for this release, interested parties are emphatically encouraged to seek any of Fripp's full-length soundscapes -- such as Blessing of Tears (1995), November Suite (1996), and Gates of Paradise (1998).

She Shudders -- another of Belew's harmonized haikus -- prefaces an acoustic version of a second new tune, "Eyes Wide Open." This is without a doubt one of the most lyrically poignant and musically refined tunes in the King Crimson repertoire, taking its rightful place alongside tracks such as "One Time" or "Frame by Frame." Belew's vocals hang ethereally over the languid, inspired instrumentation. "Potato Pie" is a moody and dark blues containing angular chord structures as well as some symbiotic fretwork from Fripp and Belew. A live version of the fourth installment in the "Larks' Tongues in Aspic" saga concludes the ensemble endeavors on this disc.

These tracks are couched between the final pair of Belew's brief vocalizations. Likewise, there is a hidden and untitled cut-and-paste pastiche consisting of incidental musical and spoken-word odds and ends taken from the recording sessions. Sandwiched between rehearsal snippets of the title track and "ConstruKction of Light" there is a bit of Belew doggerel titled "Einstein's' Relatives." These sonic scraps conclude with the final strains of "In the Court of the Crimson King," performed live by an uncredited vocal chorale.

There's a little of everything here: head banging, blues, metal, and poetry represent a wide variety of styles that would simply leave less talented bands adrift far, far out at sea. Crimson pulls it off brilliantly. This eclectic mix is stitched together by short vocal and instrumental vignettes that add a dose of continuity and coherence without intruding on the whole experience. This allows each episode to stand apart without ever falling apart.

The jewel in the crown this time out is the latest installment in the "Lark's Tongues' " canon. Unlike so many imitators, Crimson is able to cut loose and stay together all at once. The compositional complexity is finally matched to a wild sense of freedom: nothing constrained, precious or small-minded about what's happening here. An incredible fury pointed right between your ears. No doubt -- hear this and you'll have the power to believe.

Track listing:

01. "Bude" (Adrian Belew) – 0:26
02. "Happy with What You Have to Be Happy With" (Belew, Fripp, Gunn, Mastelotto) – 4:12
03. "Mie Gakure" (見え隠れ Appear and Disappear) (Belew, Fripp) – 2:00
04. "She Shudders" (Belew) – 0:35
05. "Eyes Wide Open" (Belew, Fripp, Gunn, Mastelotto) – 4:08
06. "Shoganai" (しょうがない It Can't be Helped) (Belew) – 2:53
07. "I Ran" (Belew) – 0:40
08. "Potato Pie" (Belew, Fripp, Gunn, Mastelotto) – 5:03
09. "Larks' Tongues in Aspic (Part IV)" (Belew, Fripp, Gunn, Mastelotto) – 10:26
 Including:
   "I Have a Dream"
 Recorded live at 328 Performance Hall, Nashville, USA, November 2001
10. "Clouds" (Belew) – 4:11
 The song "Clouds" ends at 0:30. The hidden track "Einstein's Relatives" starts at 1:00, after 30 seconds of silence.

Personnel:

Robert Fripp – guitar
Adrian Belew – guitar, vocals
Trey Gunn – Warr guitar, bass guitar
Pat Mastelotto – drums, electronic percussion

Joe Satriani, Eric Johnson & Steve Vai - 1997 "G3: Live In Concert"

G3: Live in Concert is a live album and DVD by the G3 project, led by Joe Satriani. It was released in 1997 by Epic Records. This lineup of G3 includes Joe Satriani, Eric Johnson and Steve Vai. In 2005, a DVD of this concert was also released.

G3: Live in Concert brings Joe Satriani, Eric Johnson, and Steve Vai's blockbuster 1996 tour to home video. Each of the superstar guitarists -- who had never toured or appeared together previously -- performs three of their definitive pieces, including Satriani's "Flying in a Blue Dream," Johnson's "Zap," and Vai's "The Attitude Song." The three play together in a three-song finale of "Going Down," "My Guitar Wants to Kill Your Mama," and "Red House" that blends technique, showmanship, and friendship into an energetic, entertaining performance that will please all of the guitarists' fans. The DVD's biographies and Dolby Digital 5.1 Surround Sound are nice extras for diehards and audiophiles.

This is the first time I ever saw these three guys playing guitar. Satriani, Johnson and Vai. Each of them play 3 songs, and at the end they all unite and play together 3 more songs. This DVD is killer. The quality of the sound is just so good that you think you're listening to the CD. I sometimes turn on my surround sound and play this DVD and makes me think WOW! This is a must for any serious fan, or for anyone who loves guitar music. If I could give it a 10 stars, I'd give 10.

Its interesting that most of the comments are about Eric Johnson, who was obviously uncomfortable in this situation (and didn't stay with the G3 tour for long). Nonetheless, its Eric who really stands out--even in this company. Satriani is impressive, while still being funky & musical; Vai is impressive but neither funky nor musical. And Eric just floats above it all, managing to make even a 335 sound fabulous!

A summit meeting of three of rock's most gifted guitarists, G3 Live in Concert: Satriani, Johnson and Vai features Joe Satriani, Eric Johnson, and Steve Vai showing off their considerable chops on-stage.

Three giants of the guitar - Joe Satriani, Steve Vai and Eric Johnson - deliver six-string acrobatics on G3 - Live In Concert. The first of many G3 tours organized by Satriani, this show features powerful sets from each player capped by an all-star jam.

Recorded on: October 30, 1996 at Memorial Auditorium from Columbus (Ohio), October 31, 1996 at The Palace of Auburn Hills from Auburn Hills (MI), November 1, 1996 at Aragon Ballroom from Chicago (Ill), November 2, 1996 at Northrop Auditorium from Minneapolis (Minn).

Track Listing:

01 Cool #9 – Joe Satriani
02 Flying In A Blue Dream – Joe Satriani
03 Summer Song – Joe Satriani

04 Zap – Eric Johnson
05 Manhattan – Eric Johnson
06 Camel's Night Out – Eric Johnson

07 Answers – Steve Vai
08 For The Love Of God – Steve Vai
09 The Attitude Song – Steve Vai

10 Going Down – Joe Satriani & Eric Johnson & Steve Vai
11 My Guitar Wants To Kill Your Mama – Joe Satriani & Eric Johnson & Steve Vai
12 Red House – Joe Satriani & Eric Johnson & Steve Vai

Personnel:

Guitar – Eric Johnson (tracks: 4 to 6, 10 to 12), Joe Satriani (tracks: 1 to 3, 10 to 12), Steve Vai (tracks: 7 to 12)
Bass – Philip Bynoe (tracks: 7 to 9), Roscoe Beck (tracks: 4 to 6), Stuart Hamm (tracks: 1 to 3)
Drums – Brannen Temple (tracks: 4 to 6), Jeff Campitelli (tracks: 1 to 3), Mike Mangini (2) (tracks: 7 to 9)
Keyboards – Stephen Barber (tracks: 4 to 6)
Rhythm Guitar, Sitar, Keyboards, Percussion – Mike Keneally (tracks: 7 to 9)
Vocals – Eric Johnson (tracks: 10 to 12), Joe Satriani (tracks: 10 to 12), Steve Vai (tracks: 10 to 12)

"Soulseek"

Hello friends, I also run a file sharing program called "Soulseek" where ALL these posts are shared and TONS more, tons more new stuff that I don't normally post on this blog so the artists can get their $ without someone giving it away online right away.

If you wish to seek me out on Soulseek, there's a small room I host titled "Jazz-Rock-Fusion-Guitar". I can be found there with the name "Crimhead420". It is there you can browse ALL the music, video's I have shared.

My only request is you share your music folder with me as well.

Thank you very much.

The download Soulseek page is here:

http://www.slsknet.org/news/node/1

See you there :-)

Grant Green - 1964 [1995] "Solid"

Solid is an album by American jazz guitarist Grant Green featuring performances recorded in 1964 but not released on the Blue Note label until 1979.

Solid is a companion piece to the Grant Green classic Matador, recorded about a month later with the same rhythm section, and also not issued until 1979. Green is once again accompanied by the Coltrane supporting team of pianist McCoy Tyner and drummer Elvin Jones, plus bassist Bob Cranshaw; this time, however, Green is also joined on the front line by James Spaulding on alto sax and Joe Henderson on tenor. Both saxophonists really seem to light a fire under the proceedings, for in comparison with the relatively subdued Matador, Solid is a bright, hard-charging affair.

There's a little modal jazz, but Solid's repertoire is chiefly complex hard bop, full of challenging twists and turns that the players burn through with enthusiasm. Green didn't tackle this kind of material -- or play with this kind of group -- very often, and it's a treat to hear him do so on both counts. The compositions -- highlighted by Duke Pearson's "Minor League," Henderson's "The Kicker," and a storming, ten-minute exploration of George Russell's "Ezz-Thetic" -- provoke some intricate improvisations from Green, and his perfectly controlled soloing is an interesting contrast with the passionate Spaulding and Henderson. Tyner and Jones are once again telepathic in their support, elevating the whole package to one of Green's strongest jazz outings and a unique standout in his catalog. [Oddity: the CD bonus track "Wives and Lovers" seems to be the same one included on Matador, where it was a better fit.]

Grant Green's burning single-note lines out-swung most horn players. In the 1960s, Grant Green was the Blue Note guitarist. He could jam soulfully with organ combos, play bebop with the best, and dig into the most adventurous jazz on Blue Note while sounding perfectly at home. Solid, a memorable gem from 1964, remarkably went unreleased by Blue Note for 15 years because there were so many other Grant Green recordings at the time.

Green is part of a shockingly brilliant sextet (Joe Henderson, James Spaulding, McCoy Tyner, Bob Cranshaw and Elvin Jones) performing music worthy of their talents including George Russell's "Ezz-Thetic" and Henderson's "The Kicker." The playing is full of surprises, the rhythm section displays telepathic interplay, and Grant Green shows in every soulful note that he was a guitar giant.

The selection Minor League is a classic Blue Note composition, with instant recognition of the Blue Note sound. “The head gives off that really hip, quartal harmony that really rose to prominence in the 60’s. “The strong brass presence also eliminates any lingering concern it might be just a guitar album. Joe Henderson!

Green has a soul-jazz feeling on Solid, soft warm tone in unison with the brass, at times sounding more Hammond B3 than guitar, fluid  linear melodic exploration of the compositions. He has an unusual pairing of horns – Joe Henderson’s gruff tenor with James Spaulding’s bright alto. Henderson has a hard, fractious tone, his athletic figures covering the entire register of the tenor, while Spaulding does a credible job just holding his own.

Tyner contributes characteristically elegant sweeping forms, left hand chopping accents against the right hand’s fluid exploration of the upper keys.  Elvin Jones more than hints at the power below, punishing the ride cymbal to mark time. (Jones is a mixed blessing on Green albums. Here he is well controlled, but on Matador – Bedouin, he treats us to a long and out-of-place drum solo – the type which clears the auditorium and fills the bar). As always, the bass is the forgotten hero, Bob Cranshaw modestly holding everyone together.

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

Track listing:

1. "Minor League" (Pearson) – 7:05
2. "Ezz-Thetic" (Russell) – 10:41
3. "Grant's Tune" (Grant Green) – 7:01
4. "Solid" (Rollins) – 7:23
5. "The Kicker" (Henderson) – 6:23
6. "Wives and Lovers" (Bacharach, David) – 9:00 Bonus track on CD reissue, from Matador

Personnel:

Grant Green - guitar
James Spaulding - alto saxophone (tracks 1-5)
Joe Henderson - tenor saxophone (tracks 1-5)
McCoy Tyner - piano
Bob Cranshaw - bass
Elvin Jones - drums

Steve Gadd - 1984 "Gaddabout" [Japan Import]

Stephen Kendall Gadd (born April 9, 1945) is an American drummer, percussionist, and session musician. Gadd is one of the most well-known and highly regarded session and studio drummers in the industry, recognized by his induction into the Modern Drummer Hall of Fame in 1984. Gadd's performance on Paul Simon's "50 Ways to Leave Your Lover" and Steely Dan's "Aja" are examples of his style. He has worked with popular musicians from many genres, including Simon & Garfunkel, Steely Dan, James Taylor, Eric Clapton, Kate Bush, Joe Cocker, Grover Washington Jr., Chick Corea, Lee Ritenour, and Al Di Meola.

Track listing:

1. Gaddabout 6:12
2. My Little Brother 4:47
3. Montauk Moon 6:40
4. The Duke 6:35
5. Lucky 13 4:11
6. Leavin' Tomorrow 7:33

Personnel:

Drums, Vocals – Steve Gadd
Baritone Saxophone – Ronnie Cuber
Electric Guitar – Jeff Mironov
Bass – Neil Jason
Electric Piano, Piano, Synthesizer [Dx7] – Richard Tee
Tenor Saxophone, Soprano Saxophone – George Young (2)
Trumpet – Lew Soloff

Deep Purple - 1973 [1988] "Made In Japan"

Made in Japan is a double live album by English rock band Deep Purple, recorded during their first tour of Japan in August 1972. It was originally released in December 1972, with a US release in April 1973, and became a commercial and critical success.

The band were well known for their strong stage act, and had privately recorded several shows, or broadcast them on radio, but were unenthusiastic about recording a live album until their Japanese record company decided it would be good for publicity. They insisted on supervising the live production, including using Martin Birch, who had previously collaborated with the band, as engineer, and were not particularly interested in the album's release, even after recording. The tour was successful, with strong media interest and a positive response from fans.

The album was an immediate commercial success, particularly in the US, where it was accompanied by the top five hit "Smoke on the Water", and became a steady seller throughout the 1970s. A three-CD set of most of the tour's performances was released in 1993, while a remastered edition of the album with a CD of extra tracks was released in 1998. In 2014, a deluxe edition was announced with further bonus material. The album had a strong critical reception and continues to attract praise. A Rolling Stone readers' poll in 2012 ranked Made in Japan the sixth best live album of all time.

One of the most celebrated live rock albums in history was making its big entrance on 6 January 1973. Made In Japan, the double live album recorded in the summer of 1972 during the first tour of Japan by Deep Purple, debuted on the UK chart.

The album featured only seven tracks across the four sides of the original vinyl release, four of them taped at their show at the Festival Hall in Osaka on 16 August; one at the same venue the night before; and the other two at probably the best-known venue in those early days of Western bands exploring that market, the Budokan.

This was already Purple’s second live album, but a very different animal to their first, the 1969 recording of Jon Lord’s Concerto For Group and Orchestra. This time, chiefly at the request of their Japanese label, the idea was to create a record of the band’s powerful live show. It was also a chance to present an in concert version of the band’s anthem-in-the-making from the Machine Head album of only a few months earlier, ‘Smoke On The Water.’

Included on Made in Japan in live form are three more songs from Machine Head, which had been on the UK charts for 24 weeks after its April 1972 debut. The live set’s opening ‘Highway Star’ was another new Purple favourite, while ‘Lazy,’ a seven-minute track on Machine Head, extended to nearly 11 on the live record. The closer, taking up the whole of side four of the vinyl release, was ‘Space Truckin,’’ which expanded from a four-minute original to an epic of nearly 20 minutes on Made In Japan.

Purple were on a hot streak in which both Machine Head and its predecessor Fireball had topped the British chart, but as often with live albums, there was less chart glory to be had this time. The album debuted in the UK that first week of 1973 at No. 16, as a various artists compilation called Twenty All Time Hits of the ‘50s continued at No. 1. In fact, the top four on that chart were all compilations, with only Slade giving the top ten a rock flavour with Slayed?

“Made in Japan is Purple’s definitive metal monster, a spark-filled execution…Deep Purple can still cut the mustard in concert” – Rolling Stone magazine

No. 16 proved to be the peak position for the Purple album, which nevertheless topped the charts in Germany, Austria and Canada. Its more modest UK performance was also in great contrast to its American fortunes, where it entered the album survey in April and climbed to No. 6, going gold within two months and platinum in 1986. Purple had never been that high on the US album chart, and never have again.

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

Track listing:

1 Highway Star (Osaka - 16th August 1972)
2 Child In Time (Osaka - 16th August 1972)
3 Smoke On The Water (Osaka - 15th August 1972)
4 The Mule (Tokyo - 17th August 1972)
5 Strange Kind Of Woman (Osaka - 16th August 1972)
6 Lazy (Tokyo - 17th August 1972)
7 Space Truckin' (Osaka - 16th August 1972)

Personnel:

- Ritchie Blackmore / guitars
- Ian Paice / drums
- Ian Gillan / vocals
- Roger Glover / bass
- Jon Lord / organ, piano

Traffic - 1970 "John Barleycorn Must Die"

John Barleycorn Must Die is the fourth studio album by English rock band Traffic, released in 1970 on Island Records in the United Kingdom, and United Artists in the United States, catalogue UAS 5504. It peaked at number 5 on the Billboard 200, making it their highest charting album in the US, and has been certified a gold record by the RIAA. In addition, the single "Empty Pages" spent eight weeks on the Billboard Hot 100, peaking at number 74. The album was marginally less successful in the UK, reaching number 11 on the UK Albums Chart.

In late 1968, Traffic disbanded, guitarist Dave Mason having left the group for the second time prior to the completion of the Traffic album. In 1969, Steve Winwood joined the supergroup Blind Faith, while drummer/lyricist Jim Capaldi and woodwinds player Chris Wood turned to session work. Wood and Winwood also joined Blind Faith's drummer Ginger Baker in his post-Blind Faith group Ginger Baker's Air Force for their first album, Ginger Baker's Air Force (1970).

At the beginning of 1970, after the demise of Blind Faith, the band having lasted barely six months, Winwood returned to the studio ostensibly to make his first solo album, originally to be titled Mad Shadows. He recorded two tracks with producer Guy Stevens, "Stranger to Himself" and "Every Mother's Son", but yearned for like-minded musicians to accompany. Inviting Wood and Capaldi to join him, Winwood's solo album became the reunion of Traffic, and a re-launch of the band's career. Mad Shadows would go on to be the title of Mott the Hoople's second album, also produced by Guy Stevens.

As did most of their albums, it featured influences from jazz and blues, but the version of the traditional English folk tune "John Barleycorn" also showed the musicians attending to the same strains of modern interpretations of traditional folk music as contemporary British bands Pentangle and Fairport Convention.

It was reissued for compact disc in the UK on 1 November 1999, with five bonus tracks, including three recorded in concert from the Fillmore East in New York City. In the US, the remastered reissue of 27 February 2001 included only the two studio bonus tracks.

Steve Winwood oversaw a deluxe edition version that was released on 15 March 2011, featuring the original studio album, digitally remastered on disc one, plus a second disc of bonus material including more of the Fillmore East concert with alternate mixes and versions of album tracks.

At only 22 years old, Steve Winwood sat down in early 1970 to fulfill a contractual commitment by making his first solo album, on which he intended to play all the instruments himself. The record got as far as one backing track produced by Guy Stevens, "Stranger to Himself," before Winwood called his erstwhile partner from Traffic, Jim Capaldi, in to help out. The two completed a second track, "Every Mother's Son," then, with Winwood and Island Records chief Chris Blackwell moving to the production chores, brought in a third Traffic member, Chris Wood, to work on the sessions. Thus, Traffic, dead and buried for more than a year, was reborn.

The band's new approach was closer to what it perhaps should have been back in 1967, basically a showcase for Winwood's voice and instrumental work, with Wood adding reed parts and Capaldi drumming and occasionally singing harmony vocals. If the original Traffic bowed to the perceived commercial necessity of crafting hit singles, the new Traffic was more interested in stretching out. Heretofore, no studio recording had run longer than the five-and-a-half minutes of "Dear Mr. Fantasy," but four of the six selections on John Barleycorn Must Die exceeded six minutes. Winwood and company used the time to play extended instrumental variations on compelling folk- and jazz-derived riffs.

Five of the six songs had lyrics, and their tone of disaffection was typical of earlier Capaldi sentiments. But the vocal sections of the songs merely served as excuses for Winwood to exercise his expressive voice as punctuation to the extended instrumental sections. As such, John Barleycorn Must Die moved beyond the jamming that had characterized some of Traffic's 1968 work to approach the emerging field of jazz-rock. And that helped the band to achieve its commercial potential; this became Traffic's first gold album.

https://jazz-rock-fusion-guitar.blogspot.com/search?q=Traffic

Track listing:

1. Glad 6:32
2. Freedom Rider 6:20
3. Empty Pages 4:47
4. Stranger To Himself 4:02
5. John Barleycorn 6:20
6. Every Mother's Son 7:05

Personnel:

- Steve Winwood / Hammond organ, piano & electric piano (3), acoustic (4,5) & electric (4,6) guitars, bass (3), percussion, vocals (2-5,8), co-producer
- Chris Wood / acoustic & electric saxophones, flute, wind, Hammond organ (3), percussion
- Jim Capaldi / drums, percussion, tambourine (5), vocals (4,5)

Mike Miller - 2008 "World Goes Round"

Mike Miller (born 1953 in Sioux Falls, South Dakota) is a Los Angeles-based guitarist known for playing various styles of music including jazz fusion, rock, pop and more, and has played with Chick Corea, Bette Midler, Yellowjackets, Gino Vannelli, Vital Information, Karizma (Jazz band), Chad Wackerman, Vinnie Colaiuta, Quincy Jones, Brand X, and Burton Cummings. He also performed in film scores for Mark Mothersbaugh and in the Frank Zappa alumni band Banned from Utopia.

Miller has released two albums under his own name and two other projects; with The Outsidemen, Band Overboard (1996), and with Bruce Arnold, Two Guys from South Dakota (2005).

Mike Miller is not just a guitarist's guitarist; his music should reach anyone interested in modern jazz. Like Alan Holdsworth, probably most jazz guitarists know who he is, but he might not be known to the general public. His sense of rhythm is as good as any guitarist out there, and I'm sure this affects his choice of people to join him in playing his compositions here. He is joined by three people who played in Frank Zappa's band, Chad Wackerman (drums), Albert Wing (sax), and Walt Fowler (trumpet). In addition, the stellar bassist, Jimmy Johnson, plays fretless electric. The album (or I guess we all say cd now), is mostly electric, but has some quieter tunes, including a very playful rendition of a George Gershwin tune. I don't like the word "fusion" because it conjures up some of the old electric jazz that now sounds very dated. This does not. There are no swing tunes on this cd, but the listener will have a fun time with all of the various styles, including a very complicated and fun Cuban mambo tune. I have heard Chad Wackerman live (with Alan Holdsworth and Jeff Berlin) and though he is a brilliant drummer, he can often bury others with very busy playing. In contrast here, he plays pretty simply, allowing the others to shine, and in particular Jimmy Johnson, on the 4th cut. Finally, there is only one downside: the way the recording was made, on a few cuts the horns sound thin or tinny to me. Maybe that was purposeful, but Albert Wing's tenor sound does not come across with the richness of the Brecker sound, and he plays in this style.

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

Track listing:

01 Here's Another Number
02 Let Me Like You
03 Mambo Jambo
04 My Back Yard
05 Piano Prelude #2
06 Misfit
07 Three In Three
08 Loop "E"
09 Walkin' The Dog (Promenade)
10 World Goes Round (Part 1)
11 Three Good Guys
12 World Goes Round (Part 2)

Personnel:

Mike Miller - Guitar, Banjo, Cavaquinho, Percussion
Jimmy Johnson - Bass Guitar
Walt Fowler - Trumpet, Flugelhorn
Albert Wing - Clarinet, Tenor Saxophone
Chad Wackerman - Drums

Adam Holzman - 1994 "Overdrive"

This is one of the most important electric jazz albums of the 90s. Adam plays his keyboard like a guitar player plays guitrar. His solo approach is so amazing and fine. His sense of humor and touch of funkness is one and only. His unique play makes this album more cyber punk album. Moreover, Adam has a wide range musical approach and musical backgrounds. Maybe he is somewhat influenced by JAN HAMMER but he developed his own style and dug his own modern grooves. Adam knows how to lay out the color of sounds with good balance and with tense energy. That's the point I want to tell. Welcome to the CYBER ELECTRIC FUSION!

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

Track listing:

01 Breakfast At Troy 4:49
02 Dog Day 101 5:03
03 Maze 4:23
04 Shaggy Dog 3:35
05 Half Gainer 4:53
06 The Laws Of Physics 4:21
07 Iven Space Trek 2:03
08 Szechuan Death Nugget 3:03
09 Mr. Potato Head 4:08
10 Power Lunch 4:02
11 Mean Ol' Cinelu 4:11

Personnel:

Keyboards – Adam Holzman
Bass Guitar – Steve Logan
Composed By – Adam Holzman (tracks: 1-2, 4-11), David Phelps (tracks: 9, 10), Erin Davis (tracks: 3), Jimi Tunnell (tracks: 11), Steve Logan (tracks: 4), Wayne Krantz (tracks: 2)
Drum Programming – Adam Holzman (tracks: 2, 11)
Drums – Van Romaine
Electric Guitar – David Phelps (tracks: 5, 6), Drew Zing (tracks: 4, 9, 10), Hiram Bullock (tracks: 3, 6), Jimi Tunnell (tracks: 1, 2, 5, 7, 8, 11)
Grand Piano – Adam Holzman (tracks: 6)
Vocals – Steve Logan (tracks: 4, 10)

Pat Metheny - 1979 [1985] "American Garage"

American Garage is the second album by the Pat Metheny Group, released in 1979 on ECM Records.

The album represented the most collaborative writing session between Pat Metheny and Lyle Mays up to that point in the band's history. According to Metheny, this yielded mixed results. He has said that the album's second track, "Airstream," is a favorite from this period. But both he and Mays have expressed less praise for the fifth and final track, "The Epic", which Metheny has claimed, "is all over the map."

The back liner photo gives the impression of a grungy Midwestern garage band, but no, that doesn't describe this sophisticated jazz-rock quartet, which was simultaneously breaking into mass-market acceptance and away from the contemplative ECM stereotype. The arrangements are more structured, the playing often more intense and searching, with a more pronounced rock influence. On the title track, Metheny digs in and displays some authoritative rock-oriented licks and intensity, and the rhythms on "The Search" have a slight, at times asymmetrical Latin feeling. The nearly 13-minute "The Epic" finds the Metheny group developing some real combustion in the improvised sections as Metheny, keyboardist Lyle Mays, bassist Mark Egan and drummer Danny Gottlieb grow tighter as a unit. In hindsight, some of the music seems a bit too tightly conceived to allow adequate breathing room, but this is still high-quality jazz-rock for its time.

When I received a copy of this album to review, I was floored by the creative writing and playing. Now, Many years later I decided to replace my vinyl copy with the digital cousin. This collection still breathes the creative genius that the LP exuded years ago. Listen to the dynamics and the melodic stories that Pat Metheny and Lyle Mays wrote for American Garage and you will have a good idea of many of the works that came later on. The title song is a rockin’ tribute to the 60’s bands that cut their teeth playing “Purple Haze” and “Light My Fire.” The final word on this album is that it is a must to have for anybody who thinks that jazz can’t rock!

With American Garage, the Pat Metheny Group solidified its signature sound. This album, the group’s second, took the Number 1 spot on the 1980 Billboard Jazz chart and spawned a legion of followers. Its virtuosic blend of jazz and roots rock evokes the heartland like no other and has withstood its own commercial success relatively unscathed.

The album opens with a wide view of the open road, and we are in the passenger seat. Metheny’s glistening guitar licks take the wheel, relishing the roar of Lyle Mays’s lively keyboard support under the hood. With Dan Gottlieb’s proclamatory drums and Mark Egan’s sinuous bass in the back seat, we’re good to go. Together, this quartet of talented musicians creates the ultimate musical road trip. There is a beautiful interplay between guitar and bass in the first track, swelling into a verdant wash of backwater splendor. The tone here is almost painfully nostalgic (all the more so for the album’s historicity), as if yearning for something that is only as real as its remembrance. As the car speeds along its journey, we see our collective past just beyond the windshield, somehow within reach. But we also know that as soon as we pull over and step out of the car, there will be nothing to grasp, to hold close, to stow in the trunk or in the glove compartment of our desires. There is only the empty air, the cloudless sky, and the sun beating down upon our backs, as if to say: “You’ve still got miles to go.” But neither do we care, because there is an unbridled joy to the process of travel.

“Airstream” feels undoubtedly like summer, a time of year when obligations melt in the heat along with our inhibitions. The only thing that seems real is the lack of definitive answers, the endless possibility that such freedom entails and which brings us closer to self-realization. It is our most formative season; one in which we observe, live, and learn at our own pace. Metheny captures this free spirit so clearly in his playing. Chord progressions roll off his fingers like change into eager hands at a lemonade stand, and we are reminded of those little moments of independence and security in which, from the merest clinking of coins, we came to assert our agency in a growing awareness of economy. We think also of young love that, while unrequited, also gave us a brief taste of a life lived without obligation. As the track fades out, it leaves behind a trace of itself, a memento of years never forgotten.

“The Search” is the soundtrack for a movie of the mind, a flashback that looks only forward. Alluring piano work lifts the spirits, ruffling the edges of our attention like linen flapping on a clothesline. We bask in the humid air, even as squalls threaten to break upon the horizon. Lusciously harmonized guitar lines blossom in the morning sun with the promise of a new journey.

The title track sounds like a theme song for a show that can never materialize, for its images are supplied by memories. We begin to recognize the value of those times when the self had yet to be formed but during which the future seemed so bright. And no matter how jaded we have become in our lowest points of adulthood, Metheny is here to remind us that it is precisely in these artifacts of sound that we can preserve our tired hopes.

The last track of this all-too-short album is called “The Epic,” and like its title it has an extensive tale to tell. Metheny and Mays both deliver with the most inspired improvisations on the album, drifting across the plains like steel-stringed tumbleweeds. We are driven through an entire day and night of travel. We find ourselves in vast stretches of daylight, but also experience nocturnal visions, wrapped in a sleeping bag under a canopy of stars in the dying embers of a campfire exhaling hot orange into the darkness. Their crackling fills our ears with a cacophony of sound, easing us into the lull of dreams. And in those dreams we relive the entire journey that got us to where we are now. We are drifters, alone and free of earthly bonds, loving every second of life’s uncertainty.

American Garage marked Mays' first use of the Oberheim synthesizer, which became an integral part of the Group's sound.

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

Track listing:

1. (Cross The) Heartland 6:49
2. Airstream 6:14
3. The Search 4:45
4. American Garage 4:08
5. The Epic 12:55

Personnel:

Pat Metheny – 6-and 12-string electric and acoustic guitars
Lyle Mays – piano, Oberheim synthesizer, autoharp, electric organ
Mark Egan – electric bass
Dan Gottlieb – drums

Wes Montgomery - 1963 [1990] "Guitar On The Go"

Guitar on the Go is the eleventh album by American jazz guitarist Wes Montgomery, released in 1963. It included tracks recorded in October and November 1963 as well as two from early 1959 sessions. It was Montgomery's last principal release for Riverside and he subsequently moved to the Verve label.

Guitar on the Go has been reissued on CD by Original Jazz Classics with an additional take of "The Way You Look Tonight" as well as a bonus track "Unidentified Solo Guitar". It was also released on the Fantasy label with the original track listing and the bonus track "Mi Cosa".

The final Riverside release of Wes Montgomery material (before the important label went completely bankrupt) was similar to his debut four years earlier: a trio with organist Melvin Rhyne and an obscure drummer (this time George Brown). In general, the music swings hard (particularly the two versions of "The Way You Look Tonight"), and is a worthy if not essential addition to Wes Montgomery's discography. He would have a few straight-ahead dates for Verve, but this release was really the end of an era.

The chronologically last Riverside album from Wes Montgomery picks up, mostly, where "Portrait of Wes" left off: a final few rounds with his beloved guitar-organ-drums trio format. Now, there are two ways to take this set, aside from the cool flame that seeps from every note sounded by the master and his longtime organist Mel Rhyne: 1) Take it on its own, and don't hold it against a collapsing company, changing ownership and lifestyle, that they repeat-released a pair of blues jewels from Montgomery's own pen, the early (as in, 1959) "Missile Blues" and the latter-day "Fried Pies"; or, 2) bypass those two numbers and put the rest onto a single disc with the "Portrait of Wes" material, if you really want to be prickly about it.

For me, I don't mind the repeat-released "Missile Blues" and (especially) "Fried Pies" (where Jimmy Cobb, the incandescent drummer with whom Montgomery would work again on the Half Note sessions with the Wynton Kelly Trio, joins Montgomery and Rhyne), if only because I had the habit of playing them repeatedly on their original album releases. Nor do I mind getting two takes of "The Way You Look Tonight," the shorter alternate take as lovely and lyrical as the nine-minute romantic monster that was issued originally. The "Unidentified Solo Guitar," not part of the original album, would be remade in due course (as "Mi Cosa," on "Bumpin'"), during Montgomery's Verve period, with a nicely arrayed string section, but taken here on its own it is just as embracing and would probably have been a perfect fit on the original release.

The more you hear of them, the more you come to wish Wes Montgomery had been able to bring at least Mel Rhyne along to his Verve years; Rhyne is attuned to Montgomery's gently fiery style in ways that even the great Jimmy Smith (cutting two magnificent Verve albums with Montgomery) couldn't quite lock in. Montgomery and Rhyne play as though completing each other's statements and knowing what the other man thinks and feels before it's expressed, so seamless are both the shifts from one to the other soloist and the knit of one or the other's accompaniment. Regular drummer George Brown was as painterly a drummer as Montgomery ever worked with.

You hear music like this and you're not in the least surprised that, whatever he did before or afterward, Wes Montgomery never felt as much at home as when working this trio format. And they make you feel right at home with them, even now. The Wes Montgomery Trio even in 2004 makes most of what has passed for jazz in their time and beyond sound somewhere between self-congratulatory and shiftless. It would be no disgrace if Fantasy, which controls the Riverside catalogue, should produce a box set composed strictly of the complete Wes Montgomery Trio recordings. This group, almost as much as its guitarist and leader, was a blessing upon jazz.

Recorded at Plaza Sound Studios, New York City : November 27, 1963 - (Tracks 1 & 4), October 10, 1963 - (Tracks 2, 3, 6 & 8), April 22, 1963 - (Track 7), October 5, 1959 - (Track 5)

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

Track listing:

1. "The Way You Look Tonight" [Alternate take] (Jerome Kern, Dorothy Fields) – 5:48
2. "The Way You Look Tonight" (Kern, Fields) – 9:08
3. "Dreamsville" (Ray Evans, Jay Livingston, Henry Mancini) – 3:48
4. "Geno" (Wes Montgomery) – 2:53
5. "Missile Blues" (Montgomery) – 5:57
6. "For All We Know" (J. Fred Coots, Sam M. Lewis) – 4:29
7. "Fried Pies" (Montgomery) – 6:41
8. "Unidentified Solo Guitar" (Montgomery) – 3:37

Personnel:

Wes Montgomery – guitar
Melvin Rhyne – organ
George Brown – drums
Jimmy Cobb – drums
Paul Parker – drums

Yellowjackets - 1986 "Shades"

Shades (1986) is the fourth studio album from the jazz group Yellowjackets. The album's first track, "And You Know That" won the "Best R&B Instrumental" Grammy Award. The album debuted on the Billboard Top Jazz Album chart on July 5, 1986 and would spend 32 weeks on the chart, eventually peaking at #4. It was the last to feature drummer Ricky Lawson.

The Yellowjackets are a jazz band for the Windham Hill set: i.e., smooth and relaxing rather than edgy and stimulating. If Shades goes down like straight sugar (and not the lumpy kind), it's supposed to. Since some folks are naturally drawn to this type of music and others are not, an appreciation for jazz is not enough -- you'll need an appreciation for crossover jazz (aka "smooth jazz") to enjoy this album. If you do like your jazz on the lyrical side, and don't mind the late-night talk show arrangements, chances are you'll think Shades is pretty cool. Led by alto sax player Marc Russo, these eight songs glide along with nary a care in the world, promising to burst into song at any moment (which in fact happens on the gospel-inspired "Revelations"). Thanks in part to the electronic instruments and immaculate studio sound, Shades retains an uplifting and bouncy feel throughout. "New Shoes," "One Family," and "Regular Folks" are songs that listeners can warm up to in a hurry. Despite Russo's gratuitous solos, the Yellowjackets are not a flashy band -- Jimmy Haslip's agile bass is too low in the mix to be accused of showboating, and drummer Ricky Lawson and keyboardist Russell Ferrante don't seem interested in the spotlight. Without those individual excursions, the Yellowjackets sacrifice some identity, but generally the compositions stand up on the merits of their melodies. Because the melodies are so accessible, Shades occasionally sounds more like the work of contemporary pop artists with jazz aspirations (Donald Fagen, Bruce Hornsby) than contemporary jazz artists. That this music would sound at home in a supermarket should scare off jazz purists, but even they might find themselves humming along to it somewhere in a secluded aisle.

"Shades" by the Grammy award winning band the Yellowjackets. Recorded in 1986 this is the fourth studio album by the Yellowjackets and the first of four albums for the MCA label. Album includes the Grammy award winning R&B instrumental composition- "And You Know That" Other features of the album include: The original recording of "Revelation: featuring the vocal group, Perri The Donald Fagen penned title track - Shades Recording features: Russell Ferrante, Keyboards Jimmy Haslip, 5 string and piccolo bass Ricky Lawson, Remo drums, percussion and Simmons drums Marc Russo, Alto saxophone Guest Musicians Paulinhoda Costa Bruce Hornsby Rory Kaplan Bill Gable Perri Includes the tracks: And You Know That, written by Russell Ferrante and Ricky Lawson New Shoes, written by Marc Russo and Russell Ferrante One Family, written by Russell Ferrante Revelation, written by Russell Ferrante and Lorraine Perry. Oasism written by Russell Ferrante Regular Folks, written by Russell Ferrante Shades, written by Donald Fagen Sonia's Sanfonia, written by Jimmy Haslip and Bill Gable Wildcats and Cougars, written by Jimmy Haslip, Russell Ferrante and Robben Ford

The album features the original recording of the Yellowjackets' live staple "Revelation" (featuring vocal group Perri) as well as the Donald Fagen-penned title track.

Track listing:

01 "And You Know That" (Ricky Lawson, Russell Ferrante) - 5:35
02 "New Shoes" (Marc Russo, Ferrante) - 5:18
03 "One Family" (Jimmy Haslip, Eric Marienthal, Ferrante) - 5:38
04 "Revelation" (Ferrante, Lorraine Perry) - 5:13
05 "Oasis" (Ferrante) - 5:27
06 "Regular Folks" (Ferrante) - 5:03
07 "Black Tie" (Ferrante) - 5:46
08 "Sonja's Sanfona" (Haslip, Bill Gable) - 6:27
09 "Shades" - (Donald Fagen) - 5:15
10 "Wildcats & Cougars" (Robben Ford, Haslip, Ferrante) - 5:34

Tracks 9 and 10 are CD release only

Personnel:

Yellowjackets:

Russell Ferrante - keyboards
Jimmy Haslip - five string and piccolo bass
Ricky Lawson - acoustic and electronic drums, percussion
Marc Russo - alto saxophone

Guest Musicians:

Paulinho da Costa - percussion
Rory Kaplan - Fairlight CMI programming
Bill Gable - PPG Wave 2.3 on "Sonja's Sanfona"
Bruce Hornsby - accordion on "Sonja's Sanfona"
Perri - vocals on "Revelation"

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

The Code - 2000 "Figli di Baia"

Superb jams, killer compositions, amazing chops, great sound and production.

Any jazz guitar fan, fusion fan, or just great jazz fan needs to have this in their
collection. We could easily wax eloquently for two to three pages, going on and on about
how much listening pleasure guitarist/composer John Pelosi's powerhouse group The Code have
given this reviewer's ears. We'll spare you all of that.
As a reviewer and guitar-driven jazz lover that knows what goes flying and
what sits rusting on the tarmac – this is a supersonic treat. It is polished fusion, plenty of
excellent musicianship and satisfying songwriting. Figli di Baia is intelligent
fusion, jazz with intrigue, and a pure delight start to finish.

This new release titled Figli Di Baia, signifies the Italian town and birthplace of lead guitarist John Pelosi’s parents, as “The Code” combines contemporary - lead guitar driven musings with solid backbeats, a few tricky time signatures, percussion, electro-acoustic keys and lyric-less vocals. Throughout, Pelosi steers the group through a hodgepodge of fragmented unison choruses, shifting tempos and well stated choruses, witnessed on pieces such as “Fake Paradise”, “As If” and others.

Percussionist Paul Christopher Caldeira also injects his wordless vocals into the affable composition, “Invisible Cities” and the piece titled “Maria’s Grace” which is somewhat reminiscent of guitarist Pat Metheny’s mid to late 80’s hugely popular Brazilian influenced sound. Very nice groove orientated affairs featuring Pelosi’s penetrating, emotive leads and keyboardist Richard Evans’ jazzy soloing and multihued implementation of synth backwashes as the rhythm section generally maintains the straightforward backbeats amid a few slick tempo changes.

The musicians do indeed possess solid chops. Essentially, the band performs with a noticeable degree of ebullience and the crystalline recording does enhance some of the nuances and intricacies; otherwise, this outfit does have a great deal of potential when viewed as a whole!

Track listing:

1 Intro 0:36
2 Fake Paradise 6:50
3 As If 8:30
4 Word From Ben (Le Parole Di Benito) 8:35
5 Explaining Naples (Per Tomasso) 5:23
6 Invisible Cities 9:23
7 Corner Pocket 8:39
8 Enable This 7:45
9 Maria's Grace (La Grazia Di Maria) 8:30
10 Cena 0:06

Personnel:

Guitar, Guitar Synthesizer – John Pelosi
Bass – Patrick Kilbride*
Drums – Paul DeLong
Keyboards – Richard Evans, Rick Fellini (tracks: 7)
Percussion – Armando Borg
Synth [Solo] – Marco Luciani (tracks: 5)
Vocals, Percussion – Paul Christopher Caldeira

Steve Khan - 1992 "Headline"

Recorded in '92, "HEADLINE" brought the trio with Ron Carter & Al Foster back together, but, once again Polydor K.K.(Japan) had their own ideas about the direction I should pursue. Go Steve!This time, in addition to the trio tracks, they wanted me to record with the Eyewitness instrumentation. As Anthony Jackson, Dennis Chambers and I had been touring Europe as a trio, it was easy to add Manolo Badrena to the mix, and this VERY special chemistry came back to us without missing a beat. The CD, which was released in the USA on Bluemoon Records, presents the contrast of these two formats and, for some fans of Eyewitness, it turned to be a great thing that they could hear us playing 'odd-ball' standards as opposed to our own unique original compositions. Like "LET'S CALL THIS" the music is drawn from the great jazz of the mid-'60s. "Autumn in Rome" was only the 2nd tune by my late father which I recorded. It's a pretty obscure piece, but, that's why I chose it. Along with so much of the other material, I try to select tunes which most guitarists don't play as a rule. Though there are many special moments from both configurations of personnel on this recording, I am especially pleased with the performance of "All of Nothing at All," which demonstrates the scope and depth of Dennis Chambers' drumming, and Eyewitness-like interplay from everyone. Joe Henderson's "Caribbean Fire Dance" shows that Anthony and Dennis have developed their own very special way of making music together, and the 'free' Intro to Ornette Coleman's "Turnaround" gives them further room to explore this chemistry.

Guitarist Steve Khan is heard in two different settings on this CD: in an acoustic trio with bassist Ron Carter and drummer Al Foster on six songs, and jamming with electric bassist Anthony Jackson, drummer Dennis Chambers and percussionist Manolo Badrena on three tunes. Actually, there is a definite unity to the program, and Khan is featured on a variety of jazz tunes including numbers by Larry Young, Ornette Coleman ("The Blessing" and "Turnaround"), Clare Fischer, Wayne Shorter, Thelonious Monk and Joe Henderson. He even plays a song ("Autumn In Rome") by his father, Sammy Cahn. The guitarist consistently stretches himself during these performances (which include a 10½-minute version of "All or Nothing at All") and is heard throughout at his most creative.

Track listing:

 [1] Tyrone(Larry Young)(5:54)
 [2] The Blessing(Ornette Coleman)(4:45)
 [3] Autumn in Rome(Sammy Cahn-Paul Weston)(6:31)
 [4] Turnaround(Ornette Coleman)(6:42)
 [5] Ontem a Noite(Clare Fischer)(5:52)
 [6] Water Babies(Wayne Shorter)(5:00)
 [7] All or Nothing at All(Jack Lawrence-Arthur Altman)(10:41)
 [8] Hackensack(Thelonious Monk)(5:23)
 [9] Caribbean Fire Dance(Joe Henderson)(8:06)

Personnel:

Guitar – Steve Khan
Bass – Anthony Jackson (tracks: 4,7,9), Ron Carter (tracks: 1,2,3,5,6,8)
Drums – Al Foster (tracks: 1,2,3,5,6,8), Dennis Chambers (tracks: 4,7,9)
Percussion – Manolo Badrena (tracks: 4,7,9)

Bill Bruford - 2017 "Seems Like A Lifetime Ago" [6 CD Box]

Bill Bruford - 2017 "Seems Like A Lifetime Ago"

Limited eight disc (six CDs + two NTSC/Region DVDs) box set from the prog rock icon. This set contains previously unreleased, remixed, or remastered material from the Bruford band of the late 1970s, presented in a 12" box complete with 16-page color booklet and a signed, numbered certificate of authentication. Four gatefold sleeves contain two discs each: Disc 1 (DVD): Feels Good To Me: 5.1 surround sound mix and original 1978 mix remastered; Disc 2 (CD): Feels Good To Me: 2017 Jakko Jakszyk remix from original master tapes; Disc 3 (DVD): One of a Kind: 5.1 surround sound mix and original 1979 mix remastered plus additional audio; Disc 4 (CD): One of a Kind: 2017 Jakko Jakszyk remix from original master tapes; Disc 5 (CD): Gradually Going Tornado: remastered; Disc 6 (CD): The Bruford Tapes: remastered with bonus track; Disc 7 (CD): Live at the Venue: previously unreleased: recorded London 1980; Disc 8 (CD): The fourth Album Rehearsal Sessions: previously unreleased: eighteen sketches of new material recorded 1980. Also includes:16-page 12" booklet with a Sid Smith essay, new interviews with producer, engineer, band members, eyewitnesses and others, previously unseen archive visual material, and the complete band date sheet with contemporary critical reaction. Also two black and white 10" x 8" band photos, one A3 size color poster accompanying Live at the Venue, and one signed, numbered certificate of authentication. The boxed set is produced by Bill Bruford.

Superb music, but this set is for completists and audio snobs. Do the discs sound appreciably better than earlier versions? That's going to be very subjective. To my ears, probably a bit better, but not in the way that some re-masters really open things up into a very different experience with music you already know pretty well. One of a Kind and Feels Good to Me get a 5.1 Surround Sound Mix and a new 2017 non surround mix. These sound good, but it won't be comparable to something like the 50th anniversary Sgt. Pepper revelations.
Gradually Going doesn't get a new mix or 5.1 treatment. It is basically unchanged from the most recent Winterfold version. The Bruford Tapes was a 2 Track recording of a radio broadcast that never sounded that great, and it does seem here that may be a bit more listenable than it was before.
That brings us to the completist side of things. You do get the ideas for the potential 4th Bruford album and a new (to me, at least) live recording of a John Clark era show (circa Gradually Going). The 4th album set is a bunch of idea fragments that don't for the most part give a real sense of how a song might've fleshed out eventually. Jeff Berlin is only on one of the 18 tracks, so it's basically moog bass from Dave Stewart and a "let's see where this might go" kind of flavor to things. The Live at the Venue show is on a sonic par with multiple Bruford boots that might've appeared on a Highland release or a torrent site. That is to say, it's not even on a level with the Bruford Tapes recording.
Why Rock Goes to College, featuring Allan Holdsworth isn't included in this set is a bit odd, as it's probably more historically interesting than either of the live shows that are here.
The booklet and individual cd booklets are nice and have good notes. There's a poster, band photos, and a certificate signed by Bill too. These are all kind of a poor man's version of what might be familiar to those who have seen some of the King Crimson boxes.
I'm glad I've gotten this, but paid about $40 less elsewhere than the current Amazon price. Is this set in any way essential? I'd have to say no, but it is great music from a bygone era all in one place and that does have some appeal.

Containing the collected works of Bruford on one extraordinary 6cd/2dvd-v box set, Seems Like A Lifetime Ago is a magnificent testament to one of the UK's most inventive and important Progressive Fusion bands.
Featuring 2017 remastered versions of the albums Feels Good To Me (1978), One Of A Kind (1979), The Bruford Tapes (1979), and Gradually Going Tornado (1980), the set additionally includes the previously unreleased Live At The Venue, 1980 and the highly sought after 4th Album Rehearsal Sessions (also from 1980).

Showcasing the prodigious talents of Bill Bruford, Dave Stewart, the late Allan Holdsworth (who the album is dedicated to), Jeff Berlin and The 'Unknown' John Clark, the set includes a 16 page colour booklet (with band interviews and an essay written by Sid Smith), a reproduction concert poster, two black and white photo prints of the band, and a signed and numbered certificate of authentication.

I personally wasn't happy with the remaster OR the $128.00 I paid for it. Crimhead420 :-(

Track listing:

Disc: 1
  1. Beelzebub (2017 Remix)
  2. Back to the Beginning (2017 Remix)
  3. Seems Like a Lifetime Ago: Part One (2017 Remix)
  4. Seems Like a Lifetime Ago: Part Two (2017 Remix)
  5. Sample and Hold (2017 Remix)
  6. Feels Good to Me (2017 Remix)
  7. Either End of August (2017 Remix)
  8. If You Can't Stand the Heat...(2017 Remix)
  9. Springtime in Siberia (2017 Remix)
  10. Adios a la Pasada (Goodbye to the Past) (2017 Remix)

Disc: 2
  1. Hell's Bells (2017 Remix)
  2. One of a Kind- Part One (2017 Remix)
  3. One of a Kind - Part Two (2017 Remix)
  4. Travels with Myself - and Someone Else (2017 Remix)
  5. Fainting in Coils (2017 Remix)
  6. Five G (2017 Remix)
  7. The Abingdon Chasp (2017 Remix)
  8. Forever Until Sunday (2017 Remix)
  9. The Sahara of Snow - Part One (2017 Remix)
  10. The Sahara of Snow - Part Two (2017 Remix)
  11. Five G Out-Take (Berlin / Stewart / Bruford) (2017 Remix)

Disc: 3
  1. Age of Information
  2. Gothic 17
  3. Joe Frazier
  4. Q.E.D
  5. The Sliding Floor
  6. Palewell Park
  7. Plans for J.D
  8. Land's End

Disc: 4
  1. Hell's Bells
  2. Sample and Hold
  3. Fainting in Coils
  4. Travels with Myself - and Someone Else
  5. Beelzebub
  6. The Sahara of Snow - Part One
  7. The Sahara of Snow - Part Two
  8. One of a Kind - Part Two
  9. Five G
  10. Manacles

Disc: 5
  1. Hell's Bells
  2. Sample and Hold
  3. Land's End
  4. Joe Frazier
  5. Gothic 17
  6. Plans for J.D
  7. Age of Information
  8. Five G

Disc: 6
  1. Hell's Midriff
  2. Sketch 1
  3. Restless Spirit
  4. Hope
  5. Consequential Circuits
  6. Matching Green
  7. Should've Been Something
  8. There Is No Reward
  9. Hooligan Juice 1
  10. Hooligan Juice 2
  11. Flat Bells, Claptrap and Trills
  12. Sketch 2
  13. Bedrock
  14. Plotting the Heavens
  15. Marrowbones and Cleavers
  16. Prophet Motive
  17. Sketch 1 [Reprise]
  18. Saturday, No School

Personnel:

Drums, Marimba, Percussion – Bill Bruford
Guitar – Allan Holdsworth (tracks: CD1 to DVD2), The Unknown John Clark* (tracks: CD3 to CD6)
Bass – Jeff Berlin (tracks: CD1 to CD5, CD6-9)
Bass [Additional] – Neil Murray (tracks: CD1, DVD1)
Bass [Minimoog Bass] – Dave Stewart (tracks: CD5, CD6)
Flugelhorn – Kenny Wheeler (tracks: CD1, DVD1)
Keyboards – Dave Stewart
Lead Vocals – Jeff Berlin (tracks: CD3)
Synthesizer [Prophet V], Electric Piano [Yamaha CP70] – Dave Stewart (tracks: CD5, CD6)
Vocals – Annette Peacock (tracks: CD1, DVD1), Jeff Berlin (tracks: CD5)
Voice [Electric Chat] – Bill Bruford (tracks: CD4)

Gary Husband - 2012 "Dirty & Beautiful" Vol. 2

If ever there was a musician whose efforts to redefine and reestablish himself are both worthy of attention and working, it's Gary Husband. Emerging as a powerhouse drummer with Allan Holdsworth in the guitarist's I.O.U. band of the early 1980s, Husband has striven to raise his profile as a keyboardist since the turn of the millennium, turning in two overlooked (and stunning) solo piano tributes to Holdsworth and John McLaughlin with The Things I See (Angel Air, 2001) and A Meeting of Spirits (Alternity, 2006), respectively. His career as a keyboardist took a major leap forward in 2007, however, when he began playing in McLaughlin's newly formed 4th Dimension (a collaboration that remains ongoing), and the last few years of touring and recording led to Dirty & Beautiful Volume 1 (Abstract Logix, 2010), where Husband truly arrived as drummer, keyboardist, composer and bandleader, in an album featuring a large cast of musical friends old and new that was one of the best of the year.

If Volume 1 was a consolidation of a multitude of musical interests, Volume 2 represents a step forward on a number of fronts—and not just for Husband, though there's plenty of forward motion for him, in particular his command of tone and color. If Husband's roots were more evident in the past, with Volume 2 they've become completely subsumed in an increasingly personal approach to color, the keyboardist shaping some of his meatiest, most substantial synth tones to date. Volume 2 also builds on Husband's expanding circle of musical friends, in particular those made at the 2010 New Universe Music Festival: guitarists Jimmy Herring, on Husband's brief but visceral "England Green," first heard on Diary of a Plastic Box (1999, reissued Angel Air, 2008); Wayne Krantz,contributing his unmistakably idiosyncratic yet gritty approach to the aptly titled "East River Jam" (with Husband handling everything else); and Alex Machacek, whose "Lock, Stock & Two Smoking Brothers" may be the album's most overtly complex track, with dense harmonies, knotty melodies and, with Husband sticking to drums, a remarkable amount of episodic action in its relatively brief, six-minute duration.

As with Volume 1, Volume 2 is a celebration of electric guitar of all variants, with Robin Trower continuing his power trio exploration of trumpeter Miles Davis' "Yesternow" from Volume 1, channeling his inner Jimi Hendrix alongside drummer Husband and bassist Livingstone Brown. Ray Russell opens the album on a potent note with Husband's "If Animals Had Guns Too," demonstrating that his often-overlooked status is no reflection on his abilities, as he navigates Husband's irregularly metered chart with an aplomb matched and raised by the keyboardist, who sets an early high bar for himself with his dense sonic layering and incendiary synth solo. Mike Stern also makes his first appearance with Husband, his lengthy solo on "Rolling Sevens" a continuation of the heavy metal bebop he's been honing since his days with Miles Davis in the early 1980s, driven by bass up-and-comer Teymur Phell—and, of course, Husband's particularly fiery kit work.

Holdsworth shows up on a new version of his enduring Tony Williams New Lifetime track "Fred" (this time, "Fred 2011"), again with Husband sticking to kit, driving the groove in tandem with bassist Jimmy Johnson. After ex-Mahavishnu Orchestra keyboardist Jan Hammer's first synth solo reflects his signature ability to make emulate a guitar's expressive bending, a second solo—surely not Holdsworth, as it rocks out too hard, with harsher overdrive and filtering than is his habit—turns out to also come from Hammer, and so closely resembles a guitar that it'll likely fool even the most committed guitar geek.

Husband's keys and drums create the entire context for a look at a McLaughlin tune he's played in The 4th Dimension the past few years ("New Blues, Old Bruise"), but here featuring up-and-coming tenor saxophonist Sean Freeman on one of only two tracks that exceed the ten-minute mark, while McLaughlin gets a similar opportunity to stretch out on Husband's greasier "Sulley," bolstered by Level 42 cofounder/bassist Mark King's in-the-pocket funk on the other ten-plus minute track, making McLaughlin a more overall dominant force than on Volume 1.

But Volume 2 remains, unequivocally, Husband's date, and if the eclectic nature of the recording and the decision to forego the chemistry of a consistent lineup for the broader possibilities of working in a multiplicity of contexts might suggest a loss of consistency and focus in lesser hands, with Husband at the helm Dirty & Beautiful Volume 2's two common threads give it unequivocal unity: the friendships that drive every one of these eleven different collaboration; and, of course, Husband himself, whose kit work is as effortlessly inventive as ever—chops when needed, groove when demanded (usually simultaneously)—and whose keyboard work continues to evolve into a recognizable amalgam of timbral color and harmonic sophistication, with his sole solo piece, the ethereal, semi-symphonic and appropriately titled "Fugie" acting as a place of calm respite from the album's largely in-your-face stance.

If Volume 1 left many fans eagerly awaiting a second installment, the advances and newfound friends on Dirty & Beautiful Volume 2 should leave them satisfied, but equally hungry for Volume Three.

Multi-dimensional drummer, keyboardist, composer and arranger Gary Husband hits his stride with Dirty & Beautiful Volume 2, his latest release on Abstract Logix Records. Dirty & Beautiful Volume 2 features an explosive all-star line-up of guest musicians such as John McLaughlin, Allan Holdsworth, Jan Hammer, Robin Trower, Jimmy Herring, Wayne Krantz, Mark King, Alex Machacek and Mike Stern.

Dirty & Beautiful Volume 2 does not merely pick up where 2010’s Volume 1 left off. Volume 2 expands upon Gary’s musical vision of creating music that is passionate and sophisticated, yet infused with grit and rawness. The mix of Husband originals and cover tunes are driven by the combination of the dynamic powerhouse drumming, ferocious lead lines and distinctly evocative keyboard harmony that altogether define Gary Husband’s “multiple threat” of a musical voice.

Selected highlights of Dirty & Beautiful Volume 2 are FRED 2011: A reworking of the classic Allan Holdsworth song with Holdworth on guitar and synth-master Jan Hammer taking an extended fire breathing solo. SULLEY: a stompin’ rocker with the great John McLaughlin on guitar and bassist Mark King getting down and dirty. YESTERNOW EPILOGUE: guitarist Robin Trower continues his Strat-soaked blues rave-up that was teasingly hinted at on YESTERNOW PREVIEW from Volume 1. Alex Machacek deliciously smouldering on his self-penned LOCK, STOCK & TWO SMOKING BROTHERS. ENGLAND GREEN: an evocative Husband original with Jimmy Herring playing the lyrical theme on guitar. NEW BLUES, OLD BRUISE: a John McLaughlin composition given a jazzier edge featuring rising tenor sax star Sean Freeman. Not to mention other new GH originals featuring the angular intelligence of Wayne Krantz and the fiery, electric bop of Mike Stern.

With a roster of top-tier musicians and stellar performances, Gary Husband’s Dirty & Beautiful Volume 2 promises to be one of the most musically exciting and musically rewarding releases of 2012.

Track listing:

01 If The Animals Had Guns Too 5:28
02 Rolling Sevens 4:44
03 New Blues, Old Bruise 10:21
04 East River Jam 3:01
05 Fred 2011 4:48
06 Rain 2:48
07 Lock, Stock & Two Smoking Brothers 6:14
08 Fuguie 4:18
09 Sulley 10:08
10 England Green 2:52
11 Yesternow - Epilogue 4:52

Personnel:

Gary Husband: keyboards (1-4, 6, 8-11), drums (1-7, 9-11), percussion (2);
Ray Russell: guitar (1);
Jimmy Johnson: bass (1, 4);
Mike Stern: guitar (2);
Teymur Phell: bass (2);
Sean Freeman: tenor saxophone (3);
Wayne Krantz: guitar (4);
Allan Holdsworth: guitar (5);
Jan Hammer: keyboards (5);
Neil Taylor: guitar (6);
Alex Machacek: guitar (7), programming (7);
John McLaughlin: guitar (9);
Mark King: bass (9);
Jimmy Herring: guitar (10);
Laurence Cottle: bass (10);
Robin Trower: guitar (11);
Livingstone Brown: bass (11).

The John Irvine Band - 2011 "Wait & See"

THE JOHN IRVINE BAND is a Progressive Jazz-Rock project lead by the composer and guitarist John Irvine.

"Intelligently written progressive fusion: 14.5/16" - Warren Barker (Progression Magazine)

“The John Irvine Band, a daring UK jazz fusion ensemble expertly doing its own thing. ” - Gregory Kemp, La Villa Strangiato (Ottawa/ CHUO 89.1 FM)

Being an enthusiastic devotee of guitar music I find my pleasure in searching for fairly unknown records containing music with a high quality level. However, this time the music found me. Our main editor sent me the album Wait & See by The John Irvine Band to review for Background Magazine. While reading the accompanying information, the words 'progressive' and 'jazz-rock' immediately attracted my attention. During my first listen, I tried to find some information about this all-instrumental trio hailing from the United Kingdom and consisting of guitarist and keyboardist John Irvine, who also occasionally plays the guitar synthesizer, bass player Doug Kemp, and drummer-percussionist Alan Emsle.

"Wait & See" is highly recommended to fans of the great guitarist Allan Holdsworth. On the short opening piece The Bat you can hear the Synthaxe guitar synthesizer inspired by Holdsworth, who once introduced this instrument on the album Atavrachon (1986). The next piece Hubbub also has similarities with this British guitar player, but the sound of the rhythm section slightly differs from the usual companions of Holdsworth. It's a combination of his musical style with John Irvine's own style. Frazzled goes in the direction of The David Becker Tribune, a band that might be unknown to the average reader. The heavier elements in this composition make it a very interesting song to listen to. CUL8R (Sweet Sorrow) is in line with one of my all-time favourite fusion bands, namely the no longer existing Triton. This is also the longest piece on the album lasting over eight minutes.

The interaction between the band members is just sublime. It's not just a showcase for the guitarist, but a successful band effort. During Zigzag the resemblance with the aforementioned David Becker returns, but only in the rhythm parts. Irvine's soloing is more in his own style. In April is a slower and more relaxed composition with smooth and fluent guitar sounds over a basic rhythm section; a nice song that will let your mind flow in different directions. When you get to the title track, you must have been impressed by the high standard of music that this new band produces. This piece is smoother with a catching melody line and after a while you'll be whistling the main melody along with the guitar. The final piece is called New Brunswick, a solo spot for John Irvine. Now you can enjoy the relaxed guitar sounds. Well, light a candle and have a good glass of wine...

This album by The John Irvine Band is a pleasant surprise. Wait & See has been musically influenced by Allan Holdsworth with hints of Pat Metheny. If you like the style of these musicians then this album is worthwhile buying. I'm glad that I got the opportunity to review this album and I'm sure this band has the quality to be signed to a major label that can provide worldwide promotion and support. Anyway, they have convinced me with their fusion the way it should be played. An impressive new band!

****+ Pedro Bekkers
(Very funny, while looking for reviews, I found one by my friend from many years...Pedro! lol.)

"Next Stop" is the 2nd release from the Scottish guitarist that heads his own project, The John Irvine Band and this record features 9 instrumental tracks in the Jazz-Fusion/Rock realm. The musicianship is all up to snuff and Mr. Irvine delivers some tasty and silky smooth melodic runs throughout his disc. A tune like "Pyramid Power" shows his Eric Johnson like side with fluid lines and an excellent harmonic interlude that further congers up the sonic imagery of EJ, while a song like "Slipstream" also demonstrates Irvine's mastery of the smooth and linear runs that seem to take the listener higher with every succeeding ascending run.

John Irvine does not play like a shredder and there aren't a lot of supersonic types of guitar flash on Next Stop and I for one are find this to be quite refreshing. Instead, Irvine opts for tasty runs that fit the songs and add flavor to each tune, while still peppering in some quality Fusion guitar playing. Irvine's chord phrasing is also a big part of his playing and also where I hear a lot of Eric Johnson and the amazing Allan Holdsworth in his playing.
Rounding out The John Irvine band are bass player, Doug Kemp and percussionist, Alan Emslie and this trio have a great disc here with Next Stop. This record would fit nicely in the Prog world just as well as in the Jazz-Fusion/Rock world. The musicianship is excellent and John Irvine's soloing style is ever expansive and expressive, which adds a quality often forgotten in the guitar playing world of our modern era

https://thejohnirvineband.bandcamp.com/

Track listing:

1. The Bat
2. Hubbub
3. Frazzled
4. CUL8R (Sweet Sorrow)
5. Zigzag
6. In April
7. Wait & See
8. New Brunswick

Personnel:

John Irvine - Guitars, Keyboards
Alan Emslie - Drums & Percussion
Doug Kemp - Bass