Hello Friends and music lovers.
It seems I have been to busy with work and the band that I've not much time left for blogging.
Here's some old blogs I use to frequent, some support the artist, and alas some don't.
I encourage everyone that can, please SUPPORT THE ARTIST.

Note:
If any of these blog administrators do NOT want their blog listed / promoted here, leave comment and I will remove your link.

If you wish to speak to me, I normally run Soulseek. Here's the download link:

Soulseek

You can find me in the "Jazz-Rock-Fusion-Guitar" room.

Peace,
Crimhead420.



GUYZ GROOVY GRAB BAG


o novo e o velho.


Cabelo Rock


Pathway To Unknown Worlds


Crossroads Club 27


The Glorious 70s



Music Musica Musique


mysteryposter


"Som Mutante"


Zappa From Hell


YestoJazz


Las anécdotas más absurdas de la Historia del Rock


Mix Video


Yes Shows


JazzMan! - Free MP3 - Jazz - MPB - Blues...



MP3 JAZZ


SaravaClub*


pirate-industry


Music 56


JJ's Jazz & Such


El Blog del Rock 'N' Roll


boogie woody


all that jazz



Music from the solar system


Blues & Cats


Chezmateo


All Music - All Blogs


Clandestine Sound Lab


TJ CLASSIC ROCK


drum leech


Prog and Other enjoyable music



SilverainTR : In Music We Trust


Les Meves Troballes Musicals


Casa do Progressivo - Progressive House


BaixoAkiDownlo@ds


Sakalli: Album Index


Merlinus & Samantha - Poções do Progressivo


Dr. JAZZ ROCK


THE GUITAR MAN ALBUNS E SONG BOOKS



Sophisticated Squaw


jazzrock heaven


Searching For Somewhere Warm


Feel free to repost any links you see here!!!


Into the Rhythm


STRATO BLUES


Happy as a fat rat in a cheese factory


Rockin' Free, Metallin' Long, Downloadin' High~!


Guitar And all good Music



Guitar Wow!


the jazzman


pharaoh's dance


jazzever


Free All Musics


Daily MP3 Downloads


The Tiger Rides The Velvet Waves


BeeQ


Smuggled Sounds



Quality Boots


T.U.B.E.


An Infinite Lullaby


Aldoux's Musical Box


We Are The Priests Of The Temple Of Rock


never enough rhodes


ALOCACOC


-21grams


Blog Stoned



.El Camaleon


Time Has Told Me


Never Get Out Of The Boat!


Tindrum BG - For the true music lovers 


Proyectos de futuro


2000mustangs


MUSICAL PARADISE


elephant blog


DUDU2doVINIL



Guitar Women


Music For Your Mind


Flying Dutchman Records


Jazz Bootlegs


My Jazz World


Virtuosos Guitarristas Blog


Call It Anything

Hello Friends and fellow music lovers.

I'm going to re-format this blog and customize it for promoting the artist.

Please help us support the artist.

I am accepting fellow contributors on this project, If you we're a part of World Fusion, The Sky Moves Sideways and want to also be a part of this movement please leave your email (sadly I deleted the blog before saving the emails from the contributors). I have moderated the comments and your email will not be published.

We are planning on posting a minimum number of tracks with written or expressed permission and agreement from the artist / label that will be agreed to on it's own merit. For bloggers, up-loading a track or two is much easier than the entire album AND leaves listeners wanting more. Those that like what they hear may buy the cd (as we did).

I am also in cooperation with Dr. Fusion and we have yet to discuss the details with this action.

We encourage any and all information from artist / labels and independent listeners to help us and/or join us in this endeavor to "Support The Artist".

Thank you.

Stan.

Allan Holdsworth/Alan Pasqua/Jimmy Haslip/Chad Wackerman ( 2 CDS)

This Double CD is from the European Tour in May of 2007 and not from the DVD from Yoshis in 2006.

It's the live classic that's waited for three years to happen. Reuniting for a fall 2006 tour to pay tribute to time spent in the mid-'70s fusion juggernaut, the New Tony Williams Lifetime, guitarist Allan Holdsworth and keyboardist Alan Pasqua recruited Yellowjackets bassist Jimmy Haslip and in-demand drummer Chad Wackerman for an exciting cross-section of material that first saw the light of day on a DVD recorded at Oakland's legendary Yoshi's. Now, Blues for Tony takes the best material from that tour and makes it available in CD form, creating an exciting "you are there" double-disc of music that comprises a full evening of music.

Holdsworth's classic "Fred," Pasqua's equally iconic "Protocosmos" and Lifetime bassist Tony Newman's energetic "Red Alert" are all there from Believe It, New Lifetime's now iconic first release, but here stretched out with plenty of space for relentless soloing from everyone in the group. The 2006/2007 tours would have a lasting affect on Pasqua, inspiring him to return to higher octane fusion for his solo recordings. On Blues for Tony, he plays with the kind of unfettered abandon and deep sophistication that so defined his work with Williams, a direction he largely deserted for more elegant acoustic outings like 1995's Dedications, from which the darkly balladic "San Michele" is culled, but is here reinvented as a potential fusion classic, with its Mahavishnu Orchestra-like arpeggios, Pasqua's gritty electric piano and Wackerman's thundering kit.



In addition to material from Believe It, the group revisits two of Holdsworth's own well-known classics: the change-heavy "Looking Glass," from 1985's Atavachron, and funkier "Pud Wud" from 1990's Sand, the latter opening with an atmospheric unaccompanied solo from Holdsworth that asserts his continued dominance as one of jazz's most harmonically distinctive players, and Haslip's most impressive solo of the set - the perfect confluence of pure virtuosity and in-the-moment melodic composition. Holdsworth's velvety smooth tone is more vocal-like than it's ever been, but equally there's an edge that's reemerged in recent years but has remained undocumented - until now.

Wackerman contributes "The Fifth", undisputable evidence that fusion can swing. Easily filling the late Tony Williams' shoes by honoring his spirit rather than imitating him, his playing on Blues for Tony finds the nexus point of spare economy and unabashed power. Pushing "Protocosmos" and the opening section of the collective composition "It Must Be Jazz" with visceral groove, Wackerman also demonstrates, in the latter song's second half, an equal propensity for greater freedom. He works hand-in-glove throughout with Haslip, who may have grown up as a fan of New Lifetime, but is now an unequivocal equal and perfect fit for the group's combination of technical prowess and masterful interplay.



Emerging on the British scene in the early 1970s with groups including Ian Carr's Nucleus, Soft Machine and Tempest, Allan Holdsworth's remarkable fluidity and profound vernacular quickly gained international attention, resulting in stints with Jean-Luc Ponty, Gong, UK, Bruford and, of course, Tony Williams. From 1983's Road Games to 2004's Then!, the guitarist has released a string of groundbreaking and essential solo albums that, with their sonic innovations and unmistakable harmonic language, have influenced guitarists worldwide. Since playing in New Lifetime, Alan Pasqua has been a busy session player for over 30 years, working with everyone from Gary Burton, Peter Erskine and John Patitucci to Bob Dylan, Alice Cooper and Santana. He began focusing more heavily on his solo career in the mid-'90s, with albums including 1993's stellar Milagro, 2005's sublime My New Old Friend and 2007's electrifying Antisocial Club.

Starting out charting complex territory in Frank Zappa's early-'80s groups, Chad Wackerman quickly became one of Holdsworth's drummers of choice in addition to a busy session career with artists ranging from Barbra Streisand and Bill Watrous to Steve Vai and Andy Summers, and has since built a small but significant discography as a leader, from 1992's Forty Reasons and 1994's The View, both featuring Holdsworth, to recent 2000’s Scream and 2004’s Legs Eleven. Haslip's primary focus has been Yellowjackets, the group he co-founded with keyboardist Russell Ferrante in 1980, but he's also released two albums as a leader and three with the collective supertrio Jing Chi, played with the late Tommy Bolin, Joe Cocker and Rod Stewart, while continues to be an in-demand player with artists including Bruce Hornsby and Terri Lyne Carrington.



Blues for Tony brings four masters of their instruments together for an exciting set that may have started with a tribute in mind, but quickly turned into something much more. Fusion at its best, it combines all the prerequisite energy and virtuosity with a deeper language and freer approach, as Holdsworth, Pasqua, Haslip and Wackerman deliver the goods on what will certainly be one of 2009's hottest jazz and fusion releases.

Review:

So there I was at the Whiskey A Go Go in the early 70s, plastered to my seat in the upper tier (I think there was a high school Botany experiment we had to smoke beforehand or something—hard to remember precisely). Allan Holdsworth & I.O.U., his short-lived post-Tempest ensemble, were on fire, burning the joint and audience down with Paul Williams singing (not that Paul Williams, the other one). I walked out onto Sunset Blvd. that night dazed and blissed. Come up the years, and I'm hitting the NAMM Show, cranking away in my own amateur way at a Kleinberger guitar, a masterpiece of luthiership. I turn a little sideways and notice someone right beside me, at my elbow. His hands are moving like magic moving over the fretboard. Stealing a furtive glance, I couldn't miss that distinctive face: Allan Holdsworth. A sales rep hustles up, and the two move away, talking. I just stood there stunned. Later, Allan played, if I remember correctly, with Chuck Leavell and slayed everyone.



Allan Holdsworth is a legend…not just with the Everyman but among players. His style is inimitable, no one can copy his slurs and bends, and few can hope to match those fierce improv skills. He's the kind of musician who, when turning up for a gig in town, all the aces arrive from near and far to stare goggle-eyed. This MoonJune double CD catches him among an interesting quartet: Jimmy Haslip and Alan Pasqua, technicians normally famed for slick "MOR jazz", and Chad Wackerman, a Zappa alum and sessioneer for New Wave and other Gen X / Gen Y / Gen Whateverthehell bands. The occasion documents a live tribute to one of rock and jazz's great drummers, Tony Williams, in whose later Lifetime group Holdsworth played. As might be expected, the occasion is a chopsfest royale.

We've already seen, those of us who love fusion that is, how Al DiMeola and John McLaughlin have survived the years with little effect on their sterling craftsmanship and daunting speed. Now add Allan Holdsworth to the list. His tone and clarity are as pristine as ever; his liquid dexterity, if anything, even more velvety amidst trademarked twisting lines and flurries; his perspicacity as fine as aged scotch. Then there's everyone else.

Pasqua is toting a new keyboard, the Nord 88, which he claims is "the best keyboard ever" (okay, but I'll wait for Chick's verdict), and wastes no time testing its capabilities, serving up mosaics and tapestries. Haslip gets a few great solos but is content largely to back up Wackerman in the rhythm section…though Chad receives plenty of the spotlight as well, to the crowd's very noticeable enthusiasm. No one is stinted, but Alan's most definitely the heavyweight, and the bouncy Fred, his composition, kinda brings that back home, with Pasqua outdoing himself until the guitar carves in a very angular section making a Rubik's Cube of the tail section.

Most of Blues for Tony's cuts are quite long (see below) and, by the time the entire gig's played out, the listener finds himself sated, startled, and satisfied, not to mention smoking…from the ears. The long siege of MTV (Mediocre Trite Vomitus) music appears to at long last be over, with ingenuity, craftsmanship, and innovation again on the ascendant in many quarters. What better way to celebrate that, then, than with mind candy like this? by Mark S. Tucker.

Allan Holdsworth

Alan Pasqua

Chad Wackerman

Jimmy Haslip

Track Listing:

DISC ONE

* Blues for Tony (Pasqua) (11:12)
* The Fifth (Wackerman) (8:58)
* It Must be Jazz (Holdsworth / Pasqua / Haslip / Wackerman) (8:38)
* Fred (Holdsworth) (9:56)
* Guitar Intro (Holdsworth) (3:35)
* Pud Wud (Holdsworth) (9:59)

DISC TWO

* Looking Glass (Holdsworth) (10:07)
* To Jaki, George, and Thad (Pasqua) (4:51)
* San Michele (Pasqua) (11:31)
* Protocosmos (Pasqua) (5:46)
* Red Alert (Newton) (5:50)

Personnel:

Allan Holdsworth - guitar.
Alan Pasqua - keyboard.
Jimmy Haslip - bass
Chad Wackerman - drums.

*Includes full cover and booklet scan*

Enjoy!
Link in comment:

"In From The Storm"

1995 A Jimi Hendrix tribute by industry legends
Produced & Engineered by Edie Kramer
Words & Lyrics by Jimi Hendrix

"In from the Storm" (RCA Victor) is a star-studded tribute to Jimi, with heavyweights including Carlos Santana, Sting, John McLaughlin, Spin Doctor Erik Schenkman and Brian May of Queen joining Hendrix alumni Noel Redding, Billy Cox and Buddy Miles. On the Lonnie Smith Trio's "Purple Haze" (MusicMasters), jazz organist Smith, guitarist John Abercrombie and drummer Marvin "Smitty" Smith retool and extend four Hendrix tunes.



"An awesome tribute to the Massiah of the electric guitar"
There is no reason why this album should be below 5 stars. Before Jimi Hendrix perished, he said that his dream was to be able to see other cats jamming to his music and his goal in the seventies was to be a formal student of music theory and to jam with a live orchestra. When I got this album I got chills on my spine because of the musical impact and of what I read in past Hendrix interviews. Miles Davis was stunned by the young guitarist's capabilities. Gil Evans wanted to start a project with Jimi Hendrix. Both Jazz inovator and Conducter were left influenced and inspired. This album, In From The Storm is proof of how professional musicians of all genres became influenced and passionate of Jimi Hendrix's music. To conclude, this album is great and to hear Santana, Sting, John Mclaughlin, Stanley Clarke and the London PhilHormononic Ochestra was just awesome. By Obest Montellano (Orange, Ca)



"Give this a Chance"
When I first heard this I was put off by the orchestra but the more I listen the more the orchestra adds. The rhythm sections are excellent as are the guitarists and vocalists. I defnitely would have enjoyed more cuts without the orchestra but again the added strings and brass are an extra sonic adventure. The more I hear this cd the better I like it. I bet Jimi digs it! By Lu-ann Woo-o'brien (Pahoa, HI United States)



This recording has the best fidelity of any CD in my collection. The sound is astounding. The artists do Jimi a great tribute.... One of the finest CDs available...By Andrew L. Kramer.



This CD has some amazing moments. It's a wonderful group of top flight players. It also sounds like they enjoyed being part of a great project.



This recording has the best fidelity of any CD in my collection. The sound is astounding. The artists do Jimi a great tribute.... One of the finest CDs available...

Carlos Santana, Robben Ford, Brian May, Taj and whoever else is on here are very good guitarists, but they get buried beneath the orchestration and in some cases get devoured by the tunes themselves.

John McLaughlin, on the other hand, does not. His version of "The Wind Cries Mary" is timeless. It's what ever cover ought to aspire to (what Jimi did to "All Along the Watchtower" and "Hey Joe") - he takes the original song, and through his own vision and personality, pushes it farther. His solo is simply phenomenal. Just the sound he gets from that guitar is a killer, sort of After the Rain (his 1995 Coltrain Tribute album) plus distortion. It really sounds wicked. In sort of a winsome tribute, he goes nuts on the vibrato bar at the end of the song.

Jimi Hendrix

Track listing & Personnel:

01 - And the Gods Made Love ----------------------- Tony Williams, The London Metropolitan Orchestra

02 - Have You Ever Been to Electric Ladyland --- Buddy Miles, Steve Lukather, Stanley Clarke, The London Metropolitan Orchestra

03 - Rainy Day, Dream Away ------------------------ Robben Ford, Stanley Clarke, Taj Mahal, The London Metropolitan Orchestra

04 - The Wind Cries Mary ---------------------------- John McLaughlin, Sting, The London Metropolitan Orchestra

05 - Spanish Castle Magic --------------------------- Carlos Santana, Stanley Clarke, Sass Jordan, The London Metropolitan Orchestra

07 - In From the Storm ------------------------------- Corey Glover, Eric Shenkman, Billy Cox, The London Metropolitan Orchestra

08 - Drifting --------------------------------------------- Steve Vai, Corey Glover, Billy Cox, Tony Beard, The London Metropolitan Orchestra

09 - Bold as Love -------------------------------------- Steve Vai, Paul Rodgers, The London Metropolitan Orchestra

10 - Burning of the Midnight Lamp ------------------ Doug Pinnick, Eric Shenkman, Noel Redding, The London Metropolitan Orchestra

11 - Purple Haze --------------------------------------- Buddy Miles, Bootsy Collins, Steve Lukather, The London Metropolitan Orchestra

12 - One Rainy Wish ---------------------------------- Brian May, Cozy Powell, The London Metropolitan Orchestra

*Includes full cover and booklet scan*

Related items:

Jimi Hendrix - "Voodoo Soup" (1995)

Jimi Hendrix - South Saturn Delta (1997)

The Jimi Hendrix Experience - "Live at Winterland" (1986)

Jimi Hendrix - "Rainbow Bridge 2" (1995)

Jimi Hendrix - "Live at the Isle of Wight" (1970)

Jimi Hendrix - "The Concerts" (1982)

Jimi Hendrix - "Woodstock" (1994)

Jimi Hendrix - "Stages" [4 CD Box] (1991)

Enjoy!
Link in comment:

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

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

"Surprises At Every Turn"
You don't have to be a fan of every contributor to this tribute album to enjoy the effort and end results that were achieved. You don't even have to be a tremendous Hendrix fan. What you get is an eclectic set of interpretations of the songs of a very talented individual. Of course, it helps if you can play guitar, which I suspect is why the strongest tracks involve Eric Clapton, Jeff Beck, and Vernon Reid (Living Colour). Even so, this collection goes a long way to proving just how far ahead of his time Jimi Hendrix was. Maybe that's why his music doesn't sound as dated as some others from that era, and maybe that's why this compilation of talent works so well. By A Customer



"Clear a space in your CD case for this one!"
Move on over, let P.M. Dawn, Beck/Seal, the Cure, Body Count, Buddy Guy et al., take over. An eclectic tribute album of Hendrix's greatest tunes featuring rockers, rappers and R&B; artists. The Cure's cover of "Purple Haze" or Body Count's "Hey Joe" or P.M. Dawn's "You Got me Floatin' is worth the purchase price alone. Even if you didn't grow up with Henrix as a staple diet for your rock n roll body, this offering is a fourteen course meal of his musical buffet. One is left with the feeling that this collaborative group of muscians, aside from their own creative interpretative presentations, have given great reverence to a man and his music that has enormous staying power. Two thumbs and eight fingers up! By silverstone@bearvalleylodge.com (Bear Valley, CA)

Stone Free is as good of a tribute recording as you will find. You can take any style of music and change it's genre to make a new sound but this CD was able to keep the vibe and make it fresh. All the performers were able to put their mark into the heart of each song. When I first heard The Cure doing Purple Haze, I thought "this won't work" but now I find it has all the colors and textures that Jimi was famous for. Jimi was always the first to explore new ways to get the "Love" into his music so it would be appropriate to let these artist do the same. Buddy Guy just belts out Red House, Clapton nails Stone Free just as the rest give their all to create a total package. I can listen to this entire CD and not want to stop. Jimi would play music with everyone he could so he could keep creating new ideas and in many ways that is what he has done here. I can imagine all these great musicians working with him and coming up with this experience. Jaco, Beck, Chrissie, Buddy and Jimi all jam'n up good times sure works for me. By El Basso (Lincoln, NE USA)

Jimi Hendrix

Track listing & Personnel:

01. Purple Haze - The Cure
02. Stone Free - Eric Clapton/Nile Rodgers/Bernard Edwards/Tony Thompson
03. Spanish Castle Magic - Spin Doctors
04. Red House - Buddy Guy/Billy Cox
05. Hey Joe - Body Count
06. Manic Depression - Seal/Jeff Beck
07. Fire - Nigel Kennedy
08. Bold as Love - The Pretenders
09. You Got Me Floatin' - P.M. Dawn
10. I Don't Live Today - Slash/Paul Rodgers/The Band Of Gypsys
11. Are You Experienced? - Belly
12. Crosstown Traffic - Living Colour
13. Third Stone From the Sun - Pat Metheny
14. Hey Baby (Land of the New Rising Sun) - M.A.C.C.

*Includes full cover and booklet scan*

Related items:

Jimi Hendrix Tribute - "In From The Storm" (1995)

Jimi Hendrix - "Voodoo Soup" (1995)

Jimi Hendrix - South Saturn Delta (1997)

The Jimi Hendrix Experience - "Live at Winterland" (1986)

Jimi Hendrix - "Rainbow Bridge 2" (1995)

Jimi Hendrix - "Live at the Isle of Wight" (1970)

Jimi Hendrix - "The Concerts" (1982)

Jimi Hendrix - "Woodstock" (1994)

Jimi Hendrix - "Stages" [4 CD Box] (1991)

Enjoy!
Link in comment:

On Jaco's 30th birthday (December 1st, 1981), he held his own "surprise" party at Mr. Pip's in Ft. Lauderdale, Florida. This recording documents the birthday party concert with 11 tracks. The Peter Graves Orchestra and other Jaco favorites were brought together as The Word of Mouth Band for this spirited performance. Peter Erskine contributes liner notes for this release and is also the album's producer.

Reviews:

The live set celebrating the 30th birthday of Jaco Pastorius features band members from each part of his career.
The gig is what one would expect from a band performing before an appreciative audience, and that is what it makes it so special. The solos are great and Jaco's range as a bassist is captured in the nearly 70 minutes of music.
The hot rendition of Jaco's classic, Liberty City, is worth the price of the CD. The music is as fresh today as it was back in 1981. It truly was a good evening! By Mr. Richard D. Coreno "Mr. C" (Berea, Ohio USA)

The blasting, amzingly energetic opening track, 'Soul Intro-The Chicken', in fact it was my 'wake-up- song for quite a long time (Truly fills you up with energy, you should try it...), So I wasn't surprised by it. The hardest to eat was "Invitation". The theme tune is cool, but it gets very abstaract as it goes on, and it was hard for me to dig. The rest was good.
However, on a second and third listening, you start hearing things you didn't hear at first. Jaco's cool bass lines, cool horn phrases, nice and inspiring improvisions. Now, it is one of my favorite CDs, and I recommend it to every Jaco fan and every Jazz Musician. By Nimrod (Israel)



This stellar live set features Jaco Pastorius at the height of his powers as one of the greatest musicians of all time. It documents Jaco's 30th birthday party held at Mr Pips in Fort Lauderdale FL Dec 1st 1981. For me it's hard to put into words how great the music on this album really is, all I really can say is it must be experienced to truly be appreciated. It brings together players from Jaco's early years on the south florida scene and guys from all the previous bands he had been in to date. In my opinion what really makes this record special is having the saxophone duo of Mike Brecker & Bob Mintzer as the principal soloists. The sparks of improvisational fury created between these two is intense to say the least. Of the two I think Micheal Brecker sounds the best he was awesome on this date, breathing fire through his tenor fluid and with a seemingly endless supply of ideas. In the drum chair is the great Peter Erskine who played with Jaco in Weather Report and the rhythmic hookup these two developed as a rhythm section on the road is shown here in full splendor. Along side Erskine is Don alias on percussion I think one of the great jazz percussionists to come along in history, the music wouldn't be the same without his added grooves on conga & bata drums. Jaco loved him some world percussion sounds and its all over almost everything he recorded in his career. Thats the core quintet, you've also got full trumpet & sax section two steel drummers french horn and tuba for a grand total of 23 players. The music is taken from two shows that where played that evening thats why the music doesn't flow from song to song like it was one continuos set cause its not. Music wise you get most of Jaco's classic compositions. They start off with a funky version of the Pee Wee Ellis tune The Chicken one of my favorites then they do a short sweet version of Continuum onto the center piece of the album the Kaper master piece Invitation which is played only by a quintet with Brecker & Mintzer as the soloists. This performance is mind blowing each player turning in a astounding musical feet during its 20 minute length. There's also Three Views Of a Secret,Liberty City, Punk Jazz a loose version of Reza & Domingo which is one of Jaco's oldest compositions written when he was part of Wayne Cochran & The C.C Riders and a brass reading of Happy Birthday,after all it was a birthday party. To all that complain that the big band over shadow jaco's playing are missing the point of Jaco's big band writing, they forget that despite Jaco's amazing talent as a bassist he was still the bass player who's main job is to support the melody & harmony,Jaco knewn that, which is why he's not overplaying all over everyones parts. He cuts loose on The Chicken with his funky signature 16th note muted funk & burns on Invitation & Domingo. I recommend this album to anyone who appreciates great big band jazz fusion. It's a classic! By Anthony R. Guarriello "Jonathan Guarriello" (Rutherfordton NC)

JACO

Track listing:

01. Soul Intro (Pastorius) / The Chicken (Ellis) 8:00
02. Continuum (Pastorius) 2:34
03. Invitation (Kaper) 17:43
04. Three Views of a Secret (Pastorius) 5:56
05. Liberty City (Pastorius) 8:11
06. Punk Jazz (Pastorius) 4:35
07. Happy Birthday (M. & P. Hill) 1:48
08. Reza (Pastorius) 10:36
09. Domingo (Pastorius) 5:39
10. Band Intros 2:37
11. Amerika (Traditional) 1:43

Personnel:

Jaco Pastorius: Bass
Michael Brecker: Tenor Saxophone
Bob Mintzer: Bass Clarinet, Soprano and Tenor Saxophone
Dan Bonsanti: Saxophone, Woodwinds
Gary Lindsay: Saxophone, Woodwinds
Randy Emerick: Baritone Saxophone
Kenneth Faulk: Trumpet
Brian O'Flaherty: Trumpet
Brett Murphey: Trumpet
Jerry Peel: French Horn
Peter Gordon: French Horn
Russ Freeland: Trombone
Mike Katz: Trombone
Dave Bargeron: Trombone, Tuba
Peter Graves: Bass Trombone
Othello Molineaux: Steel Drums
Peter Erskine: Drums
Don Alias: Conga
Oscar Salas: Percussion

*Includes full cover and booklet scan*

Related items:

Jaco Pastorius - "Jaco Pastorius" (1976) [2000]

Pastorius / Metheny / Bley / Ditmas - 'Jaco' (1974)

Pat Metheny - 'Bright Size Life' (1975)

Weather Report - "This Is This" (1986)

Weather Report - "Weather Report" (1982)

Weather Report - "I Sing The Body Electric" (1972) [Remastered]

Weather Report - 'Heavy Weather' (1977) [Remastered]

Weather Report - "Black Market" (1976) Remaster [1991]

Weather Report - "8:30" (1979) [1994] [Remastered]

Enjoy!
Link in comment:

Collection contains an assortment of songs from the Tone Center Records catalog that feature fusion guitar great Scott Henderson. This is essentially a label "sampler", and shouldn't be viewed as a "Best Of" or "Greatest Hits" retrospective. Since it only covers material that is available on Tone Center, it only covers the last nine or so years of Henderson's long career.

And what a career it has been - In addition to his solo albums and prestigious sideman stints (Chick Corea, Joe Zawinul, etc), Henderson and bassist Gary Willis fronted Tribal Tech - arguably the most groundbreaking, adventurous jazz fusion band of the last 25 years. Tribal Tech effectively dissolved following their 2000 album Rocket Science, but their body of work holds the same importance to the genre as Weather Report or Return To Forever. Part of what made Tribal Tech stand out was Henderson's guitar work. A gifted improviser, his great strength has always been his ability to mix aggressive hard blues phrasing with a rich bop vocabulary. And no one plays jazz with a true rock tone the way Henderson does.

Having said that, Collection is a bit of a mixed bag. There's some great tracks here, but some curious choices too.

"Lola Fay", "Lady P", and "Hillbilly In The Band" come from Henderson's Well To The Bone album. I'm sure "Lola Fay" and "Lady P" (both vocal tracks) were chosen for the great, bluesy guitar playing they most definitely have. But the songs themselves don't do much for me. "Hillbilly In The Band", however, is an uptempo, country-inspired instrumental that is fun from start to finish. This is also one of those "curious choices" though. The live version of this song (from Henderson's aptly titled Live album from 2004) is superior to the studio version, in my opinion, and would have been a better choice.

"Snake Soda" and "Nairobe Express" were recorded with the band Vital Tech Tones; Henderson's collaboration with bassist Victor Wooten and drummer Steve Smith. These are two of the best songs in this collection. Henderson positively rips on both of these tunes. Vital Tech Tones recorded two great albums, Vital Tech Tones (1998), and VTT2 (2000). Both are well worth checking out.

There are two tracks here from Henderson's aforementioned 2004 live album; "Slidin'" and "Sultan's Boogie". "Slidin'" is jazz blues song that has some of Henderson's hippest playing on the album. Originally recorded as "Slidin' Into Charlisa" on Tribal Tech's 1992 release Illicit, this live trio version is more of a guitar-driven tune than the original. Henderson's trademark whammy-bar accents are everywhere on this track, and his solo during the uptempo midsection is peppered with cool jazz lines. "Sultan's Boogie" is a heavier, Arabian-influenced track with a cool vibe that's different from anything else on the album.



The Tribal Tech tracks in this collection are culled from the band's final two recordings - Thick (1999) and Rocket Science (2000). Both of these albums consist of completely improvised material (though the tracks were edited later, with some overdubs added as well). The band entered the studio and just jammed, with no preparation whatsoever. For me, the results from this approach were mixed. There are some wonderful tunes on Thick and Rocket Science, but there are some I could do without as well. Fortunately, two of the best tunes from those sessions are included here. "Space Camel" is trippy funk piece with some great melodies by keyboardist Scott Kinsey, and the deep-grooving "Thick" is an awesome jam with some great wah-wah soloing by Henderson.

If you're not familiar with Scott Henderson, Collection is a decent place to start, but you won't hear the whole picture. Henderson can play over chord changes with more authority than just about any guitarist I've heard. However, we only get hints of his heavy jazz side on this release. Pairing this CD with a great Tribal Tech album such as Illicit, or their "Best Of" collection, Primal Tracks, will give you a better idea of what Scott Henderson can do. by Rich Murray.

First let me say that I think Scott is definitely one of the very best guitarists on the planet. I saw him perform many times when I was a student at Musicians Institute. His best work however can be found on the following recordings when he was with Tribal Tech: Dr Hee, Nomad and their fourth recording simply titled "Tribal Tech." This fourth recording is the band at their peak .As Tribal Tech went forward the band went into more and more jams with the compositions suffering .Finally Scott went off into his blues / whammy phase which is without a doubt a step down and this Collection is a compilation from this later period . Several songs on this set are outstanding and if you don't have the originals it may be worth it to the die hard fan of which I am one . In the final analysis , if I want to listen to blues rock material I stick with the masters from the 60's and 70"s or with folks like SRV or Satriani. The recording Scott has yet to make is one of rocked out versions of jazz standards . I saw him play this way with students the whole year that I was at MI and he was always amazing. By Monkey Business (New York).

Scott Henderson

Track Listing:

1. Lola Fay
2. Space Camel
3. Lady P
4. Sultan's Boogie
5. Song Holy Hall
6. Clinic Troll
7. Hillbilly In The Band
8. Slidin'
9. Snake Soda
10. Thick
11. Nairobe Express

Personnel:

Scott Henderson - Guitar, Production, Mixing
Kirk Covington - Drums
John Humphrey - Bass
Gary Willis - A Few Basses, a Couple of Pedals, Production
Scott Kinsey - A Multitude of Keyboards too numerous to mention, Production
Steve Smith - Drums, Production
Victor Wooten - Bass, Production
TJ Helmerich - Engineering, Mixing

*Includes full cover and booklet scan*

Related items:

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

Scott Henderson - "Well To The Bone" (2002)

Scott Henderson - 'Live 2005'

Tribal Tech - "Nomad" (1988)

Tribal Tech - "Face First" (1993)

Tribal Tech - Salzburg (1996)

Tribal Tech - "Thick" (1999)

Tribal Tech - Rocket Science (2000)

Tom Coster - "The Forbidden Zone" (1994)

Enjoy!
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This is a fantastic album; a true classic! A majority of the tracks on this CD are instrumentals, with the exceptions of "Hocus Pocus", featuring Thijs Van Leer's manic yodelling, and the title track "Moving Waves", in which the "lyrics" are more or less a Nostradamus-like reading, or a "quatrain" set to music.

As some have pointed out, "Hocus Pocus" is basically the bizarre curio on this album, as the 2nd track "Le Clochard (Bread)" with it's gentle, lilting classical guitar phrasings and Mellotron backing are indeed in sharp contrast to "Hocus Pocus". "Focus II" is a wonderful instrumental track, which sets the tone for the lengthy "Eruption", containing a "suite" of individual songs; most notably "Tommy" and "The Bridge", both of which amply display the screaming guitar pyrotechnics of Jan Akkerman.

In my opinion, this is one of the greatest progressive rock albums ever recorded! By Chuck Potocki (Highland, Indiana)

This album was so well composed and executed that it has easily stood the test of time. It is good music through and through; clever, exciting, beautiful and moving. This band of dutch guys really knew what they were doing and boy could they play. They were (and still are) essentially an instrumental outfit with the melody carried by guitar, flute, keyboards and occasionally vocals. Focus didn't appear to be too much swayed by music fashions or commercial pressures of the music business when they recorded this album and that is one of the reasons why "Moving Waves" still sounds as fresh and exciting today as it did when it was released in the early 1970's.

The album kicks off with the one that was released as a 45, "Hocus Pocus" a thunderous, relentless rocker composed by Akkerman and van Leer. Suitably titled and very clever, it has lots of surprises, tricks and dazzling guitar licks and is comewhat comical. Keyboardist Thijs (pronounced Tys) van Leer plays the jester with his wild flute playing, whistling, yodelling and other crazy vocal gymnastics, effortlessly hitting notes higher than Brian and Carl Wilson ever went on any Beach Boys recording. Not to be outdone, guitarist Jan Akkerman provides a lot of the thrills and excitement with his amazing gibson les paul antics and oh what a cracking job by the Rhythm section, drummer Pierre van der Linden and bassist Cyril Havermans.

In contrast to this on the next track Jan displays his talent as a classical guitarist by playing his own composition, the gentle, haunting "Le clochard". Nice touch by Thijs with the mellotron backing which adds a touch of weirdness and eeriness to the piece. GORGEOUS. Track 3 "Janis" is another Akkerman compostion and features Thijs on multitracked, interwoven flute parts. This is probably the weakest track on the album, but is still interesting to listen to. The impressionistic title track "Moving waves" is one of the sayings of Hazrat Inayat Khan set to music by Thijs on vocals and piano. Listen to the words with the music that van Leer has written. The rippling piano chords and the crecendos and diminuendos conjur up the image of the waves as they "become excited and then all calm together". The ascending last few chords rise with the waves as they "reach upwards" (to the moon). This is good composing. Track 5, oh yes! Thijs van Leer's "Focus II" with Jazz and Classical influences and the most beautifully sensitive guitar playing by Jan. It is typical of Akkerman to add expression with the use of dynamics and subtle phrasing to enhance a melody as he does on this magical piece. STUNNING, however the best is yet to come.

The last track is made up of several different compositions, most by Thijs who came up with the overall concept "Eruption", aptly titled lasting 23 minutes. It commences with a line of music borrowed from Monteverdi's "Le Orfeo" with Thijs on Hammond organ and Jan using his violin guitar effect (volume control tweaking. You hear a smooth note without the plucking). The music is mesmerizing and quickly grabs your attention. After a few minutes it bursts into life taking you on a journey through the most amazing music with stunning guitar solos that never get boring and a couple of incredibly skillful and creative drum solos which add hugely to the overall piece and don't lose one's interest for a second. The richly melodic guitar oriented section "Tommy/Pupilla" segment is spine tinglingly sublime. The range of musical styles in this piece is incredible, from the Renaissance-style "Orpheus" and "Dayglow" to the Latin American style organ solo segment of "The bridge". The impact of each composition is enhanced by the contrast between it and the next, but despite the great variety it all flows and makes musical sense. Thijs displays his talent a a flautist producing the richest timbres achievable on a flute. His jazz-rock hammond organ playing is fabulous. I wonder if dutchman Eddie van Halen was paying homage to Focus when he used the title "Eruption" for his ground-breaking guitar piece for solo guitar in the late 70's.

Musically the band were in a different league to any other at the time if you consider the musical progressions within each piece and the expertise of each musician. Technically brilliant with a lot of feel and a real understanding of music, Jan Akkerman is one of the best and most versatile guitarists in the business. Drummer Pierre van der Linden has a lot of musicality, not only providing the beat and rhythm, but hugely augmenting the music with his incredibly creative, expressive and skillful drumming. Cyril Havermans (later replaced by Bert Ruiter) plays a highly musical, rhythmic and solid bass. Multi-talented keyboardist, flautist and vocalist Thijs van Leer has a great gift for composition and has written music which stands among THE MOST EXCITING, ORIGINAL AND BRILLIANT ROCK/POP MUSIC EVER PRODUCED. By Sandydog (England)

Focus caught a wave in the US with their eccentric hit, Hocus Pocus. The song was novel and catchy enough to give Moving Waves some notice, although some were surely surprised at how unique Hocus Pocus was even within the context of the rest of the album. The rest of it is decidedly more serious and less focused, as it were. Short on vocals (thankfully so) and long on classically influenced instrumental suites, Moving Waves covers a lot of musical territory, sometimes within the same song. For serious prog rock fans it's a delicious cornucopia. For casual listeners who are expecting more songs like Hocus Pocus it can be maddening. The album's centerpiece, Eruption, is by far the most interesting song (plenty of opportunity as it comprises the last half of the album), even if its foundation is little more than an extended jam featuring lengthy keyboard and guitar solos by Van Leer and Akkerman. It's hardly a spontaneous affair though, carefully laid out to range from somber to achingly beautiful to borderline chaos with a keen sense of musical drama keeping it all tied together as it reaches an end that seems to arrive all too soon. If you really like Hocus Pocus, a compilation might be the way to go as most of them include the shorter, more accessible songs. If you're willing to hang on for the ride, Moving Waves offers a wild one indeed, but a very satisfying one as well. By Mark Gatzke (Plant City, FL USA)

Focus - "Moving Waves"

Track listing:

1. "Hocus Pocus" (Thijs van Leer, Jan Akkerman) – 6:42
2. "Le Clochard" (Jan Akkerman) – 2:01
3. "Janis" (Jan Akkerman) – 3:09
4. "Moving Waves" (Thijs van Leer, Inayat Khan) – 2:42
5. "Focus II" (Thijs van Leer) – 2:56
6. "Eruption:" -23:04

Personnel:

* Thijs van Leer – piano, Hammond organ, synthesizer, mellotron, harmonium, flutes, accordion, vocals
* Jan Akkerman – guitars, bass guitar, percussion
* Cyril Havermans – bass guitar, vocals
* Pierre van der Linden – drums, percussion.

*Includes full cover and booklet scan*

Enjoy!
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Bass virtuoso John Patitucci is always in great demand. His long stint with Chick Corea's famed Elektric Band as well as "most favored bassist" status with scores of other major artists has kept him busy. Its Patitucci's solo albums, however, that give us an insight into this bass man's true inner workings. Favoring his acoustic upright more often than his 6-string electric, NOW is certainly Patitucci's most mainstream solo effort after many albums of mostly electric jazz or Brazilian-flavored outings.

Joining Patitucci is a distinguished group of cohorts. Master guitarist John Scofield and journeyman tenor saxophonist Michael Brecker once again turn in stellar performances on Patitucci's behalf. The powerful young saxophonist Chris Potter and monster drummer Bill Stewart round out this amazing cast. An accomplished and sensitive composer, Patitucci has composed all but two of the tracks here. Also included are McCoy Tyner's "Search For Peace" and a fascinating conversation between the leader and Stewart on Coltrane's "Giant Steps." Patitucci's closing solo performance on the ballad "Miya" is no less than otherworldly.

John Patitucci has long been a respected and revered musician. His introduction to the masses via Chick Corea's Electric Band years past now, has been followed with a succession of incredibly creative cd's and performances. He has played with everybody and has to be one of the most sought after bassists working today. NOW keeps pace with the reputation Mr. Patitucci has earned. I bought this cd on the grounds that Bill Stewart played the drums. I am a big Bill Stewart fan being a drummer my own self. I own two other cd's by J. Patitucci and each have their own distinct flavor. A characteristic of all is a sophistication and elegance which have become a hallmark of his. The playing and compositions on this cd are definitely outside but accessible at the same time. Any fan of John's other cd's will love NOW. The musicianship is faultless as is the writing. There are no throwaways on this one. Of course, when you are talking John Patitucci, that goes without saying!
Submitted by chungiemunchin (Baltimore MD)



American bassist John Patitucci first came to prominence in the 80s as a member of both Chick Corea's Electrik and Acoustic Bands following a stint with violinist Stephane Grappelli. Patitucci proved himself to be a master of both the electric and acoustic bass as he soloed effortlessly and accompanied with precision in these varying contexts. In the intervening years, he began releasing a number of recordings under his own name which featured not only his technical prowess, but also his compositional skills.

Recorded in New York City in January of 1998, "Now" features 8 of John's fine contemporary compositions plus two other tunes - Coltane's technique bending "Giant Steps" and the lovely ballad "Search For Peace" by McCoy Tyner. John assembled some of today's top musicians to participate in this excellent recording project. John Scofield on guitar, Bill Stewart, drums join John on most tracks, while Chris Potter and Michael Brecker share the saxophone duties.

The uptempo title track, "Now", features burning solos from Scofield, Potter and Patitucci. This is followed by the slower yet evocative "Grace", which has some fine solos from Sco' and Potter.
"Out Of The Mouths Of Babes" is a rhythmically interesting tune for the group to explore. Michael Brecker takes over the sax chair for the sensitive, contemporary ballad, "Hope" and stays for the funky, down-home feel of "Labor Day". "Espresso" is introduced by drummer, Bill Stewart and bubbles brightly along with Potter resuming sax duties. "Forgotton But Not Gone" kicks along in a slow groove with the occassional pensive moment. "Search For Peace" scales the group to a guitar trio as Patitucci leads the group on electric bass for a sensitive reading of this lovely ballad. Coltrane's "Giant Steps" is convincingly tackled by the unlikely duo of bass and drums. The final selection "Miya" features only Patitucci on some haunting electic bass.

An excellent recording by musicians who are able to share in and contribute to Patitucci's current musical vision.
Submitted by jazzviews (Adelaide, Australia)

John Scofield for his part, is simply dazzling.

For my money, "Out Of The Mouth Of Babes" is my all-time favourite track but this is no one-track album. Every single tune is eminently enjoyable. I was playing it earlier today and still got a huge buzz from it. Eight of the ten tunes are Patitucci originals with McCoy Tyner's "Search For Peace" and John Coltrane's "Giant Steps" being the other two. Patitucci also produced the album.

On the back cover, Larry Blumfeld, then editor-in-chief at "Jazziz" magazine writes (in an exceprt from his inner-sleeve notes): "... Paticucci - a bassist forever associated with Chick Corea's electric success - is thinking more clearly than ever about John Coltrane and Ornette Coleman as he creates his own music." I think that sums this CD up really nicely. If you like any of the names I've mentioned here, this is definitely worth checking out.

Recorded at Sound On Sound Studios, New York, New York on January 14-17, 1998. Includes liner notes by Larry Blumenfeld.

John Patitucci

Track listing:

01 - Now
02 - Grace
03 - Out of the Mouth of Babes
04 - Hope
05 - Labor Day
06 - Espresso
07 - Forgotten But Not Gone
08 - Search For Peace
09 - Giant Steps
10 - Miya.

Personnel:

John Patitucci (acoustic & electric basses)
Michael Brecker, Chris Potter (tenor saxophone)
John Scofield (guitar)
Bill Stewart (drums).

*Includes full cover and booklet scan*

Enjoy!
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Where We Come From, the 1998 release from Frank Gambale, Steve Smith and the rest of Vital Information, features modern electric jazz and the funky soul of the '60s fused into a rollicking trip down memory lane. One of the ideas for this project was. "What if the group went back to the late '60s and early '70s when electric jazz was just getting started and altered the recipe a little bit? Keeping some of the main ingredients that the early 'fusion' pioneers used; blues, be bop, modal jazz, R&B; and rock, but adding a dose of New Orleans, Memphis, James Brown, Ornette Coleman, Jimmy Smith and a pinch of surf music." Gambale explores the nuances of his hollow body George Benson Ibanez guitar on every tune and gets into his own blues, country, rock and surf roots, while keyboardist Tom Coster dusts off his Hammond B-3, his old Rhodes and... his accordian. Bassist Jeff Andrews used his upright on as many of the tunes as appropriate, and for electric bass, he decided to go with his four-string Fender style Yamaha, feeling it would be more in keeping with the new (old) concept of the the album, rather than the five- or six-string basses he had been using.

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

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



Liner Notes:

Background
The concept for this recording started to develop while I was preparing for the Journey album Trial By Fire. I researched the roots of rock and roll so I could have a much greater knowledge of the development of the music and gain insights into the role of drumming in that evolution.

I read books, watched videos, talked to everyone that I could who was knowledgeable about early blues, R&B;, and rock. Then I bought CDs, tapes, and records; dozens of reissues of early blues, jump blues, R&B;, soul, funk, Cajun, early rock, and surf...everything I could find. Most of the music had a great feel. It was swingin' and loose, played with an attitude that was playful and unselfconscious.

At this point, I began to rediscover some of the great instrumental rock of the 60's and 70's. My two favorites were Booker T and the MGs, and the Meters; both bands were quartets featuring the Hammond B3 organ, and had the same isntrumentation as Vital Info. I then remembered that the B3 was Tom's main instrument; however, since leaving Santana, he rarely played it.

Instruments - The Sounds
I talked to Tom about using the B3 on this project, and he was excited about the idea. Not only did I want to capture the vibe and inspiration of the older groove instruments, but also highlight our own personal musical roots. For Tom, that also meant the accordion, since that was his original instrument. The other instrument I wanted to hear was the Fender Rhodes. When Tom and I first played together in his band, about 17 years ago, the Rhodes was one of his main keyboards. The way he used the Mutron, wah-wah pedal, and the ring modulator was so hip I asked him to dust off his old Rhodes and bring it to rehearsal.

We were on our way to reinventing the sound and concept of Vital Info. I love the sound of the acoustic bass and how it blends with and grounds the sounds of the more electric instruments. Jeff was into using his upright on as many of the tunes as appropriate. Jeff has been playing upright for quite a while, but he has not been recorded on the instrument very often. As for electric bass, he decided to go with his four-string Fender style Yamaha, feeling it would be more in keeping with the new (old) concept, rather than the five- or six-string basses he had been using.

Frank has already been deep into exploring the nuances of his hollow body George Benson Ibanez guitar, having played his entire last solo recording Thinking Out Loud on it. He was glad to play that instrument on every tune and get into his own blues, country, rock and surf roots.

For myself, I brought out of storage, one of my old Sonor Phonic drum kits, with all traditional sizes (toms: 8x8, 10x8, 12x8, 14x14, 16x16 and a 20x14 double headed bass drum). A combination of old and new K Zildjians were used, and about five or six vintage snare drums. Around the kit were mounted various cowbells, woodblocks, a tambourine and I topped it off with a ching-ring on the hi-hat for a few tunes.

By rediscovering the beauty of the music of the 50's, 60's and 70's, I saw that we had become very self-conscious of the imperfections in our playing. We had developed the ability to play virtually perfect "tracks" but in doing that we had homogenized a lot of the soul, spontaneity and fun right out of the music. By underestimating the openness and intelligence of the listeners, we had deprived them of a vital experience, the true expression of ourselves as a group and as individuals.

On this recording, we are letting it all hang out, this is where we live, this is Where We Come From.

The Music
One of the ideas for this project was "What if we went back to the late 60's and early 70's when electric jazz was just getting started and altered the recipe a little bit?". We'll keep some of the main ingredients that the early "fusion" pioneers used; blues, be bop, modal jazz, R&B; and rock, but we'll add a dose of New Orleans, Memphis, James Brown, Ornette Coleman, Jimmy Smith and a pinch of surf music (sorry, Jimi).

Many of the tunes developed from jamming on grooves in rehearsal. 'Dr. Demento' (dedicated to the wacky DJ we grew up listening to), 'Swamp Stomp' (dedicated to the funkiest of the funky drummers, Zigaboo Modeliste), 'Take Eight' (dedicated to Joe Morello for his inspirational playing on 'Take Five' and to the memory of one of my teachers who also played some great drums on 'Take Five', Alan Dawson), and 'Bob' (dedicated to Bob) were created in this way.

Listen Up is one of Tom's tunes inspired by the work of Eddie Harris and First Thing This Morning is Frank's nod to George Benson.

Jeff came up with the idea and arrangement of 'Moby Dick', a potential New Standard. Jeff also brought in 'Blow Fish Blues', a composition written by Jaco Pastorius that he gave to Jeff, and has never been recorded until now.

I wanted to record the Ornette tune 'Happy House', since the quirkiness of the melody seemed to fit our direction, and it's such a nice drum feature. On a recent gig with my friend Jeff Richman, we played his tune Sitting Ducks, which I thought would be perfect for this recording.

There are also five "inserts" on this CD. They are obviously the results of the idea "Let's just roll tape and see what happens." As they were sequenced into the album, Frank discovered they tell a little story, and it goes something like this:

1. Craniac #1. Some aliens come to Earth and snatch a hapless victim, Bob, and carry him off to their spaceship.
2. Craniac #2. In order to conduct some kind bizarre experiment, they remove his brain.
3. Craniac #3. Now they insert a new brain into the space where the old one was. This seems to be a bit traumatic.
4. Cranial Joy. The experiment is going well and Bob is experiencing some real bliss.
5. Dementia. Big trouble. The experiment has run amok and old Bob's mental state has deteriorated, big time.

Thanks for the interpretation Frank, we'll make sure your therapist gets a copy of this.

As if all this music isn't enough, there's more. When we listened back to our improvisations, we decided to include two in their entirety. 'Once in a Lifetime,' which is dedicated to the memory of one of the greatest musicians of our time, Tony Williams, for his innovative drumming and bold new directions in music, especially his work with John McLaughlin and Larry Young. And then there's '008' . Forgive us but this is a one time only spontaneous performance of Vital goes surfing.

With that you have Where We Come From...a recent summation of who we are now, all the way back to our earliest influences, musical and otherwise. This is by far the most natural and fun recording we've ever made. We hope you groove on it, baby!

Thanks for listening. -- Steve Smith.

Vital Information

Vital Information (Buy)

Track listing:

01. Dr. Demento
02. Moby Dick
03. Craniac Trilogy, Part 1: Transport
04. Listen Up!
05. Swamp Stomp
06. Craniac Trilogy, Part 2: The Extraction
07. First Thing This Morning
08. Take Eight
09. Craniac Trilogy, Part 3: The Implant
10. Bob
11. Cranial Joy: Completion
12. Happy House
13. Cranial Meltdown: Dementia
14. Blow Fish Blues
15. Sitting Ducks
16. Once in a Lifetime
17. 008

Personnel:

Steve Smith - Drums
Tom Coster - Hammond B-3 organ, Fender Rhodes, accordion
Frank Gambale - Guitar
Jeff Andrews, acoustic & electric basses

*Includes full cover and booklet scan*

Related items:

Vital Information - Fiafiaga (1988)

Vital Information - "Global Beat" (1986)

Tom Coster - "The Forbidden Zone" (1994)

Larry Coryell - "Count's Jam Band Reunion" (2001)

Frank Gambale - "Show Me What You Can Do" (1998)

Frank Gambale, Stu Hamm, Steve Smith - "The Light Beyond" (2000)

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

Enjoy!
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Jon Reshard - "22"

Odd time signatures & polyrhythms, engaging melodies, funky grooves, & soulful jazz-jam improv

Jon was born October 2, 1985. He began playing bass at the age of 5 years old. Influenced by people such as his father (bass player also), Stanley Clarke, Marcus Miller, Victor Wooten, Jaco Pastorious, John Patitucci, and many other musicians, Jon began to show tremendous musical ability and command of the instrument. At the age of 8 Jon was already playing Jaco's version of 'Donna Lee'. By the time he reached the age of 14 Jon was endorsed by Fodera guitars and that very same year toured Europe with his high school jazz band. Jon is also endorsed by Bergantino Audio, Digitech effects, and D'Addario strings. He performs clinics as a featured artist and sideman for drummer extraordinaire Tony Royster Jr. Jon also received a scholarship to attend a summer semester at Berklee School of Music. He appeared in Bass Player Magazine(Apr/2003) in an article that features up and coming artists and was just interviewed by JazzTimes magazine

QUOTES


"...He plays well beyond his years and I hope I get

an opportunity to interview him "

- Chris Jisi


"...Great playing, he sounds fabulous "

- Matthew Garrison


"...Jon shows talent, taste and musical maturity

few players at any age possess. The melodic

use of his highly refined chops show an

emerging individual voice. "

- Bill Leigh


Contact Info:

E-mail: jon@jonreshard.com

World Wide Web: http://www.jonreshard.com/


Management:

Al Reshard

Segue Productions

904-537-2168

E-mail: management@jonreshard.com

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Amazing talent
author: TShaka Mayanja

Jon, you are a great talent, an inspiration to we who are just picking up the bass and releasing bass albums. Thanx and bless!
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YOUNG BUT ON TOP
author: ELIJAH SWEETCHO WILLIAMS

I HAVE NOT HEARD A CD BUT I SEEN HIM ON BET JAZZ N IT WAS GREAT
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excelent bass,, and excelent drummer... excelent all the cd
author: rodrigo rico "tacubo" from mexico

this cd its amazing. very good groove, the armony its perfect, the drumms ohhh my god(royster its amazing), goood funky¡¡¡... i am very happy with this cd... buyyy now¡¡¡¡¡
jon reshard its awesome..

batako14@hotmail.com
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This a very skilled Bass player , Jon is up there with the best! Love this CD
author: Kenneth Mahn
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The band tracks highlight Jon's true talent.
author: Keith Thompson

The CD is nice! The solo stuff is cool but the tightest tracks are those where Jon plays with the band. I can't wait to hear a follow up.
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alien invasion!!!!
author: Brian O

This CD is Hot!!! Everybody knows already that Vic is from another planet with his skills, now Jon confirms the alien invasion!!! Incredible skills man! Get this CD!
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Mature Interpretations
author: Roger Chambers

The CD is great. Jon has some very indepth interpretations for the melodic basslines he produces. Very much a Victor Wooten inspired project, Jon and Tony Royster and others light the place a fire with odd time funk tunes and yet an established pocket that allow even non-bass enthusiasts to follow the patterns of the songs.
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Great combination of Jazz Fusion music
author: Torrain Gwaltney

I've not stopped listening since purchased, I'm a Victor Wooten Fan & Anthony "Flex" Wellington Student. This CD has great versatility! & validates Jon'S awesome musicianship, also Toney Royster is killer on the set! God has truly Blessed you both for this is a great project! PEACE
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This is great!!!!!!!!!!!
author: Antione Tut Stewart



Man!!!!!!!! I have heard some great bass players and Jon Reshard is a bass player. I look up to him and hope to meet him one day. I am an upcomming bass player and I need inspirations like Jon, Victor, Oteil, Stanley, and Bootsy. I just started listening to jaco and I have been playing since the age of 16 and now im 18 so I look forward to learning much much more. I love his style and this guy made me flip out of my chair when I herd almost there because I see his potential and I see how I could be if I keep working hard like im doing now. C-ya Lata Jon

Jon Reshard's 22 is an excellent debut effort. He is accomplished beyond his years and I look forward to future efforts. If I had any complaint, it would be that there's not enough edge as it leans towards the smooth/mellow spectrum. He is certainly an artist to watch.

What drew me to this cd, was the apperance of Tony Royster jr. All the artist are extremly tallented, great production.
Fusion at it's best, cant wait for more!

I have heard many Bass players in my day,but Jon has made his mark with his "freshman release". I can hardly wait for his next project. Please don't pass on this cd, it is well worth your time. Peace.

The CD is great. I met Jon a while back and I knew right then and there that he had madd talent. Jon is on his way to the top.
Keep up the great work man.
Also, madd props to CD Baby for getting me the cd right when I wanted it. I am sure that I will be back.

Finally some fresh new funky, jazzy, tasty stuff

Track listing:

1 22
2 Vic The Man
3 Almost There
4 Separation
5 Around You
6 The City
7 One Chance
8 Thanks Bob
9 Whats The Matter?

Personnel:

Jon Reshard-bass
Bob Mintzer-sax
Tony Royster-drums
Ulysses Owens-drums
James Hogan-guitar
Frank Cleveiand-keyboards
Rebecca Zapen-violin
Al Reshard-bass
Sam Rodrlquez-percussion
Devron Monroe-vo
Sherl Samuels-vo

Enjoy!
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Chris Potter has been a major voice in the current generation of jazz improvisers for some time. From his earliest recordings, it was evident that he also possessed a unique talent for composition as well. On "Traveling Mercies," Potter highlights the best of his musical abilities: improvisation, composition, and arrangement.

So many things are right with this recording: the tunes are carefully written and orchestrated. The musicianship is of the highest quality and sensitivity. And the sound is perfectly recorded and expertly balanced.

This is truly an inspired recording--the title is taken from Anne Lamott's collection of essays of the same name, which I suspect helped Potter overcome his fear of flying, among other things. In Lamott's writing, the spiritual is depicted through palpable, tangible forms, and after listening to Potter's recording several times, I began to understand its title more meaningfully. The 10 tracks are united compositionally and sonically, and I found myself (quite atypically) listening to them sequentially, instead of piecemeal.

When discussing faith, Lamott speaks of nurturance: "But I knew what would happen: you let a cat in one time, give it a little milk and then it stays forever." Listeners will discover a similar experience in Potter's case as well; he and his group nurture memorable phrases and use motivic development to subconsciously create a connection between the audience and the music.

Several tracks stand out, such as "Megalopolis," an outstanding group effort, "Invisible Man," a sensitive and deeply moving ballad that features pianist Kevin Hays in superb form, and "Migrations," which I feel is a far more satisfying vehicle for funk-groove improvisation than even John Scofield has been composing as of late. From Sco's inspired playing on the tune, I can tell he was impressed with Potter's composition.

Originality is a rare commodity in the current jazz scene, especially on a relatively high-profile recording such as this. It's one of the most rewarding listening experiences I've had in recent months, in which I've spent time exploring the recordings of some of the major voices in jazz saxophone, such as Tony Malaby and Dave Binney.

Finally, let me say that this record GROOVES, HARD! The rhythm section is exceptionally tight, and of course, drummer Bill Stewart never disappoints. There will inevitably be comparisons to assorted fusion recordings due to the nature of the instrumentation, but this is no fusion record. Give it a chance, and let me the melodies work their magic on you! By Mike (New York, NY).

Chris Potter has put it all together here.

It helps that he's got an absolute killer band, some of the very best younger jazz musicians on the scene today. Each of these fine players, leaders in their own right, has seldom sounded better. Bill Stewart plays more drums than almost anyone else on the scene today, yet manages here to do so without sounding at all intrusive. Note especially his brilliant work on "Snake Oil." Scott Colley, a hugely underrated bass player (check out his solo on "Invisible Man,"), seems perfect in this context of shifting moods and sonorities. And Kevin Hays literally blew me away. One might have thought of Brad Mehldau on keys, but he's often too manered for my taste. Hays was an inspired choice, especially since he's not overrecorded.

Has Potter been reading Anne LaMott? The disc title would suggest so. Plus, he's got a couple gospel numbers--"Children Go" (a lively, dark, inspired reading) and "Just as I Am" (tender, heartfelt, unsentimental, gorgeous). In any case, there's a kind of somber joy that suffuses these proceedings, giving them a depth feeling, a mystique, and sheer beauty seldom found in jazz these days.

Finally, in keeping with recent releases by Monty Alexander, Charlie Haden, and others, the events of 9/11/01 provide a sobering backdrop for the music here. And, even more than those other artists, Chris Potter has transmuted the horror of that dark day into something musically redemptive. What we've got here is an album that fully satisfies the huge expectations that have plagued this talented but up till now under-delivering artist. By Jan P. Dennis "Longboard jazzer" (Monument, CO USA).



This album, along with Brad Mehldau's "Largo," represents an exciting new direction in jazz; one of dramatically increased diversity in many different dimensions- harmonically, rhythmically, sonically...all of the traditional parameters are pushed a great deal farther than they have been in the past. The music is a successful combination of a wide variety of sounds and styles, staying true to "real" jazz with its complex harmony and improvisation, while incorporating new electronic samples and more aggressive grooves. Some tracks are more traditional than others, but all are great creations. This is some of the most exciting, cutting-edge jazz available today. By liss-nirr.

While composing the music for this record, I found myself contemplating what it means to be an American citizen at this particular historical moment, and reflecting on the many events and ideas that have shaped our current landscape for better or worse. I would like to dedicate this recording to the hope that, knowing where we've come from and where we want to go, we will make our decisions as a society out of respect and compassion for one another and the world we live in. -Chris Potter.

Chris Potter

Track Listing:

01. Megalopolis
02. Snake Oil
03. Invisible Man
04. Washed Ashore
05. Children Go
06. Any Moment Now
07. Migrations
08. Azalea
09. Highway One
10. Just As I Am

Personnel:

Chris Potter (vocals, saxophone, alto flute, bass clarinet, organ, samples)
Kevin Hays (piano, Fender Rhodes piano, Clavinet)
Adam Rogers (guitar)
John Scofield (guitar)
Scott Colley (bass)
Bill Stewart (drums).

Related items:

Chris Potter - "Unspoken" (1997)

*Includes full cover and booklet scan*

Enjoy!
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Twenty-seven year old reed man Chris Potter made a big splash on his 1992 debut as a leader for Criss Cross. He showed remarkable promise not only in tenor sax work, but also on alto, soprano, bass clarinet and alto flute. On this one he sticks to tenor and soprano, but his playing is no less fluent and capable. An all-star lineup joins the former Steely Dan and Joe Henderson sideman for this date: John Scofield on guitar, Dave Holland on bass, and Jack DeJohnette on drums. All four are in top form for this album, which manages to be warm, smooth, inviting, and adventurous all in one package.

Potter shows that he's been doing his homework. "Wistful," the opening track, veers perilously close to Coltrane Imitator Wasteland, but Potter skirts the edge of homage without lapsing into slavish regurgitation. "Hieroglyph" recalls Coltrane on soprano, complete with a tasty proto-world music ostinato from Holland, but again, Potter's playing is fresh and involving. "Seven Eleven," on the other hand, makes you wonder if Chris was digging into his Ornette collection. Then "Amsterdam Blues" starts with an unaccompanied tenor of such quality that I became sure I'd find some of the works of Mr. Sonny Rollins over at Chris's house. Still and all, Potter is a player of enormous talent who is already far along in synthesizing these and other influences. This is a fine album, but I'll bet I'll like his release of 2007 even better.

The highlight here is "Et Tu, Brute?", the album's most striking track. Scofield contributes some scalding guitar licks to a rhythmically complex workout requiring some careful listening by the quartet. Of course, these guys are old hands, and they come through. With no loss of energy, the lovely title track follows, featuring some tasty arco by Holland and passionate playing by everyone. "Time Zone" is as far out as this one gets, with some remarkable variations of mood and tempo a free section of great vigor. Potter is clearly the star here, proving he's worthy of the company he keeps.



The legendary trumpeter Red Rodney loved this "kid:" "This kid is exactly what I like to hear in a kid. He sucked up everything like a sponge, but his sound is original; his articulation is different from anybody; his harmonic knowledge is profound." Red was right. The kid has a great tone, great chops, and by the way, he wrote all the tunes. While this is relatively common these days, Potter's tunes show a wealth of good sense, imagination, and care. He's paid attention to architectonics, and it shows.

Unspoken is a solid album from start to finish. The sidemen are top-notch throughout, and the leader doesn't disappoint. I'll be interested to check out Chris Potter's future work.

Awesome album featuring great compositions by Chris Potter. Scofield, Holland and DeJohnette shine on this recording. Many incredible performances. Many staight-ahead jazz pieces - ballads, bebops - and a few suprises (No Cigar, Time Zone, Hyerogliph). A glimpe of the talent to come. 5 Stars.

Great 1997 album from one of my favourite tenor saxophonists (though he plays soprano on this album). He's joined by John Scofield on guitar, Dave Holland on bass and Jack DeJohnette on drums and that, quite franly, says it all. With that lineup, how could you possibly get anything else but a great album?

Chris Potter

Track listing:

1. Wistful
2. Seven Eleven
3. Hieroglyph
4. Amsterdam Blues
5. Et Tu, Brute?
6. Unspoken
7. No Cigar
8. Time Zone
9. New Vision

Personnel:

Chris Potter (woodwinds)
John Scofield (guitar)
Dave Holland (acoustic bass)
Jack DeJohnette (drums).

Related items:

Chris Potter - Traveling Mercies (2002)

*Includes full cover and booklet scan*

Enjoy!
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Hello friends and music lovers, as some of you know I am a member of swapacd, where we trade used cd's. I was a bit surprised when I recieved this one because it was brand new and still in the wrapper. I had a feeling the band sent it out, when i checked the location it was Stamford CT. when I looked at the cd, it was recorded in Stamford CT. So I sent the sender this message.....Thank you very much.............You guys ROCK!!
Thats when I noticed the sender was Chris F. I looked at the CD and sure enough the lead guitar players name is Chris Fox.

Here's his reply:
Thank you!
Glad you enjoyed the Cd...look for a new one entitled "High Street", due out in the next couple months.
best,
Chris Fox.


"Something different"
Helmet of Gnats (HOG) consists of Matt Bocchino keyboards, Mark Conese drums, Chris Fox guitar and Wayne Zito bass. This is the only HOG album I've heard so I can't compare it to any other releases they may have. To me they sound like a jazz-fusion band but their website describes the music as instrumental progressive rock.

The album begins with "Almost Babylon"... this immediately reminded me of Niacin with a guitar player, a very funky tune with heavy parts and a cool jazzy break with a shredding guitar lead. "Chinese Leftovers" kicks in next with another heavy syncopated beat sort of Happy the Man/Brand X sounding, very nice work by the entire band... awesome track. Next up is "Yesterday's Brain" another upbeat-syncopated tune, awesome track with a great keyboard break, wonderful bass work and awesome drumming. "Crumbs" slows the tempo down briefly and highlights some great guitar work from Chris showing a little Zappa influence, perhaps? "Lesser Beings", for me the dud of the record, is pretty much just filler with sounds and seems out of place. "Misfit Toys" returns the tempo sailing and is currently my favorite tune on the disc. The CD ends with the epic (13:05) "Chimps in Space" a little reminiscent of Chick Corea in parts but another very solid tune.

All influences mentioned are quite subtle and HOG definitely have their own unique sound, so if you enjoy any of the influences mentioned you might want to give this band a listen. This album was recorded on an analog machine and it sounds great. It is also a hybrid SACD/CD disc, so the chosen few who own a SACD player can also listen to it in surround sound. By Willie B.

"Another hidden gem that symphonic prog/jazz fusion lovers should seek out"
A Helmet of Gnats has been around in various incarnations since around 1980, playing music of bands like U.K., Return to Forever, Zappa, Brand X, Happy the Man, Ponty, Focus and the Dixie Dregs along the way. You can hear the amalgamation of these bands in the unique sound of their second eponymous cd...and it is simply SUPERB!

All of the band members attended Berklee College of Music at one point or another, and their pedigrees show up in the flawless chops they exhibit. Guitarist Chris Fox plays some very melodic lines with a sound that reminds me most of Allan Holdsworth and Jeff Beck in many places. Influenced by Rick Wakeman and Eddie Jobson, Matt Bocchino provides a great symphonic rock background to much of this jazz fusion, frequently favoring the organ as his weapon of choice. Bass player Wayne Zito lists Chris Squire as one of his influences, but I hear a lot of fretless bass a la Jeff Berlin and the like. And drummer Mark Conese is more on the jazz side of drumming (think Bill Bruford and Billy Cobham), but he keeps a strong, confident groove driving these songs as well.

If I could fantasize an all-instrumental supergroup of Beck, Jobson, Berlin and Cobham, it would sound like this! They do not disappoint, folks - very energetic and interesting, with original and complex compositions.

The 3-1/2 minute "Lesser Beings" is the only quirky/spacy track that they could have left off the album (and delighted me even more). But the rest of the album is fast-paced, melodic, fusiony, groove-driven, symphonic progressive rock bliss...and gnats a fact ;-) By Squire Jaco.

"Great Record"
This record is one of those records that delivers exactly what i am looking for in a record; rising/falling action and a level of performance that only gets better as the record progresses. Each track has a life of it's own as well as a life within the greater context of the record. Just in the first few tracks, the band shows you what they can do, and trust me...they can do. From the very beginning, to the very end, the record shows the various types of music the band works with while truly illustrating the sound of the band itself. With multiple movements in each piece and virtuosic mastery of their instruments, helmet of gnats proves to be an outstanding progressive band that, you can tell, puts much care into the production of their music. By Matthew A. Belfiore "matty" (Burlington, VT)

Helmet Of Gnats

Track Listing:

1. Almost Babylon
2. Chinese Leftovers
3. Yesterday's Brain
4. Crumbs
5. Lesser Beings
6. Misfit Toys
7. Chimps in Space

Personnel:

Chris Fox - Guitar
Matt Bocchino - keyboards
Wayne Zito - Bass
Mark Conese - Drums.

*Includes full cover and booklet scan*

Enjoy!
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Synopsis: In November 1991, Larry Coryell, Billy Cobham, Donald Harrison and Dori Caymmi were gathered from far corners of the world to join a collection of Brazilian musicians to perform one classic after... In November 1991, Larry Coryell, Billy Cobham, Donald Harrison and Dori Caymmi were gathered from far corners of the world to join a collection of Brazilian musicians to perform one classic after another. Larry Coryell, the pioneering guitarist who virtually created the amalgam genre of "fusion" music, plays both acoustic and electric here. LIVE FROM BAHIA was recorded live by the picturesque Brazilian sea on three 16 mm cameras.

"World Music from Guitarist Larry Coryell"
Two years before the release of Paul Simon's GRACELAND and the accompanying increase in awareness of world music, Larry Coryell travelled to Brazil and created this low-key recording in Brazil, which features many native performers--including vocalist Dori Caymmi who is featured on several cuts. Coryell is backed by a 9-piece band, including drummer Billy Cobham (who worked with Miles Davis and John McLaughlin) and saxophonist Donald Harrison, who should have gotten co-billing on this CD in that he has has many solos as Coryell himself. Overall, this is a fairly laid back affair. Coryell does a nice job of blending the local musical influences. By Steve Vrana (Aurora, NE).

"Coryell - Live From Bahia"
If you like Brazilian Jazz this is a great CD to listen to. And if you also like Coryell - this is one of his most consistent and well done recordings! A++ The Video of the live concert version is also a must to have! By Mozal (USA).

Larry Coryell

Track Listing:

1.The Harbor (5:41)
2. Old City new City (4:48)
3. The Crab Peddler (3:42)
4. Oshum, Goddess Of Love (4:09)
5. Bloco Loco (7:08)
6. Panama (3:37)
7. Bahian Night Walk (10:13)
8. Gabriela's Song (3:00)
9. Vera Cruz (9:01)

Total Time 51:18

Personnel:

- Larry Coryell / acoustic and electric guitars
- Dori Caymmi / acoustic guitar and vocals
- Romero Lubambo / acoustic and electric guitar
- Billy Cobham / drums
- Donald Harrison / soprano and alto sax
- Marcio Montarroyos / trumpet
- Luiz Avellar / keyboards
- Nico Assumpcao / electric bass
- Monica Millet / percussion
- Tiao Oliveira / percussion
- Bashiri Johnson / additional percussion
- Francisco Centeno / additional electric bass

*Includes full cover and booklet scan*

Related items:

Larry Coryell - "Barefoot Boy" (1971)

Larry Coryell - "Spaces Revisited" (1997)

The Eleventh House - "Level One" (1975)

Larry Coryell - "Introducing The Eleventh House" (1974)

Larry Coryell - "Count's Jam Band Reunion" (2001)

Larry Coryell - Bolero (1993)

Larry Coryell - Live at Montreux, (1974)

Larry Coryell - European Impressions (1978)

Larry Coryell - 'Spaces' (1970)

Larry Coryell - 'The Essential Larry Coryell' (1975)

Larry Coryell - "American Odyssey" (1989)

A Guitar Supreme: 'Giant Steps In Fusion Guitar' (2004)

Fuse One - 'The Complete Recordings' (1989) [1995]

Enjoy!
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Steve Smith produced three top notch fusion albums in 1998: "Show Me What You Can Do" (Gambale/Hamm/Smith), "Cause and Effect" (Coryell/Coster/Smith, and this album "Vital Tech Tones". Each is different, but all share a down and dirty fusion sound. "Show me .." is more techno, while "Cause and Effect", is more jazz and funk. "Vital Tech Tones" is hard rock and blues fusion at its best.

Scott Henderson's playing sounds like Stevie Ray Vaughn at one moment and Allan Holdsworth the next. With great rock chops, Henderson screams and screaches his way through a number of originals. Backed by the extrordinary drumming of Steve Smith and the always exciting bass playing of Victor Wooten, this album is well worth the listen.

Chops, Cohesiveness Absolutely. Taste, You betcha. Monster grooves! Rippin' fusion, nasty blues, mind-bending solos by all three players? Damn right. This was a most pleasant introduction to Scott Henderson, since I've never heard of him or Tribal Tech before picking up this CD. Steve Smith continues to surprise.



This is awesome jazz-rock fusion - way heavy on the rock part and a long way from fuzak! All the players are outstanding and the sound is awesome as well! Smith is a true drummers' drummer and the drum sound on this CD is incredible - serious power!!!! And Scott Henderson just rips it up. Some reviewers would rather see Gary Willis on this, but the whole idea was to bring three diverse backgrounds together!! Hence Vital (Information) (Tribal)Tech (Bela Fleck and the Fleck-)Tones - get it?

Great album consisting of 3 of today's most talented musicians. I was a Wooten fan going into the album but my jaw dropped with Henderson's screaming guitar riffs; I have a new found respect for these cats after listening to this album. "snake soda" is off the hook and listening to another version of "giant steps" is always a treat.



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!

Vic Wooten demonstrates the full range of his instrument and its very refreshing to hear him play walking lines instead of slapping all the time. steve smith is just a GREAT drummer. weckl like chops with great musicality and time.

ah, scott henderson. alongside metheny, holdsworth, wes, and steve vai as my favorite guitarists. he says his tone on this albums is amongst his worst recorded, but its still shockingly great. his lines are otherworldly. such beautiful phrasing and melodic ideas. i love this album.

Visit Scott Henderson, Steve Smith and Victor Wooten on the web.

Vital Tech Tones

Track listing:

1. Crash Course
2. Snake Soda
3. Dr. Hee
4. Everglades
5. Two For One
6. King Twang
7. Captors, The
8. Giant Steps
9. Lie Detector

Personnel:

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

*Includes full cover and booklet scan*

Enjoy!
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"A Jazz Fusion Must Have! Featuring Kenny Gorelick"
HO BOYEEE! A classic Jazz Fusion Album from one of the genre's best bands. I have such fond memories and thoughts of this album, growing up in Oakland, California. This album really shows off all of the band member's talents especially a young Kenny G., who was then known as Kenny Gorelick. This is the type of music I wish Kenny and Jeff would return to making, remembering their roots. Originally released in 1980, if you can get your hands on a copy of this tremendous album you won't be disappointed! Maestro Jeff's musicianship and Danny Wilson's thumping and popping will have you "movin', groovin and doin' it you know!" This band was tight. A superbly crafted piece of art with flawless mastering, mixing and musicianship, every cut a delight. This album is on my personal list of "Music to perserve for all time" or "The top 10 albums you would take in exile on a deserted isle!" By Christopher D. Green (Liberty Farms, California United States).

"LORBER & COMPANY TEAR IT UP!!"
Simply put, this is a must-have Lorber CD, period! This was back when Kenny G actually had some fire to his playing. I still have this on vinyl and now CD and still listen to it regularly.
The band is super tight, energetic, and smokin'! Lorber has such a great feel for the keys and his playing is very tasty. The track 'Lava Lands' is my favorite and it just smokes. What a groove! Dennis Bradford holds it all together with some tight, funky, jazzy drumming. I love his drumming on this disc.
Sadly Jeff Lorber seens to be overlooked by way too many music fans and that is sad as the man is extremely talented. I've seen him in concert 3 times and he never disappoints. He has quite a few excellent releases in his catalog but like I said, this one in particular is a must-have! By Baddstuff "music junkie" (astoria, ny United States).

"Instant Classic...... Heaven or Perfection?.... you choose."
I bought this album(...YEAH I SAID ALBUM) in 1980 at 16 or 17.
This has got to be one of the best examples of the past, present, and future of this jazz form called Fusion!! ANYWHERE..EVER..PERIOD!
Past..... Jeff some how got his mentor legend Chick "Armandos Rumba" Corea to play one of the tights keyboard duo's we know of on "Roof tops".
Present...... Jeff shows off his mastery of band leading,and producing like an elder statesmen 30 years his senior.
Future...... Jeff had the insight to use the young (and then unknown outside of the Liberace orchestra) superstar Kenny.G (Then Kenny Gorelick before his elevator music affection took hold) to play sax on cuts like "Fusion Juice" and "Sweet" that were so tight to Jeffs keyboard that you can't tell if its a synth playing sax or a sax microed to moog.
The only downfall of this album is that it challenges "Softspace" (from 1978) for the spot of very best JLF album of all time. The only solution is to get both of them (Wizard Island and Softspace). Pay full retail if need be.
Warning..... Do not operate any vehical moving faster then "Park" or you will crash from druming on your dashboard! By Shanq "akronexpress" (Akron Oh)

"The Kick Off!"
Jeff Lorber adds future solo muzak man Kenny Gorelick to his
musical arsenal and delivers a second Arista album!Now this is
an obvious follow up to "Water Sign" whitch I think could be
recommended first but 'Wizard Island" feaures the dancable
"Fusion Juice",the funky "City" and "Lava Lands",each of whitch
features Lorber's intruiging horn-like synthesizer phrasing.The
amazing feature here is Kenny's inventive,wailing sax solo's
(absolutely nothing like what he's become known for as a solo
artist) so move over Yellowjackets and Spyro Gyra!The Jeff
Lorber Fusion is definately misclassified-being actually one of
the jazzier fusion groups recording in the late 1970's and early
80's. By Andre' S Grindle "Funk Meister" (Bangor,ME.).

Jeff Lorber

Track Listing:

1. Wizard Island
2. Sweet
3. Can't Get Enough
4. Reflections
5. Fusion Juice
6. Lava Lands
7. Shadows
8. City
9. Rooftops

Personnel:

Jeff Lorber: Keyboards
Kenny Gorelick: alto & tenor saxophone, Flute
Dennis Bradford: Drums
Danny Wilson: Electric Bass
Paulinho Da Costa: Percussion

Guest artists:

Chick Corea: Mini Moog on "Rooftops"
Paulinho Da Casta: Percussion
Jay Koder: Guitars

*Includes full cover and booklet scan*

Enjoy!
Link in comment:

"Guitar Deluxe!"
This three CD set is a great but not perfect representation of guitarist Jeff Beck's exciting mix of blues, rock, jazz and funk. Like a tomcat on the prowl he, scratches, cries and wails, always landing on his feet with his impeccable sense of time.

The first CD starts out with several tracks from the Tridents, Beck's pre-Yardbirds blues group. Beck was well on his way to defining his style in this group with surprising accomplished slide work on "Trouble In Mind" and the sonic blasts on Bo Diddley's "Nursery Rhyme." The bulk of Disc One highlights his work with the Yardbirds. In addition to the hits, "Heart Full of Soul," "Over Under Sideways Down" and "Shapes of Things," two numbers, "The Nazz Are Blue" and "Jeff's Boogie, " showcase his brand of blues. The "Nazz Are Blue" features Mr. Beck on vocals! Four of the Yardbirds songs are from a live BBC taping, including " You're A Better Man Than I." The disc ends with three cuts from the start of his solo career including the silly but fun "Hi Ho Silver Lining."

Disc two consists of songs from both incarnations of the Jeff Beck Group and songs from the heavy, sometimes leaden, Beck, Bogart and Appice (BBA.) The first six cuts feature Rod Stewart on vocals, including the hard to find, "I've Been Drinking." Unfortunately, there is only one song from the post Stewart album, Rough and Ready, with Bob Tench on vocals. The version of "Blues Deluxe" is a live track by BBA, not the Rod Stewart version from the Truth album.

Disc three starts with the sublime tribute to Roy Buchanan, "Cause We've Ended As Lovers." Having been written by Stevie Wonder and produced by George Martin for Blow By Blow, it's no surprise that this track is five minutes of sheer aural ecstasy. Only one other song, "Diamond Dust," is taken from Blow By Blow. It is baffling why two ballads were used when there was so much great funk on the album. The version of "Freeway Jam" is a live version and while it is not as sleek as the Blow By Blow version, it is fun listening to Beck and Jan Hammer try to break the sound barrier. The 1984 hit "People Get Ready" is also on here, with Rod the Mod on vocals,once again.

The rest of Disc three is a mixed bag from Beck's eighties work. Some of it leans toward a techno sound and other tracks are retro. Some of the techno tracks sound forced as if he's trying to keep up with the guitarists he originally influenced like Van Halen, Steve Vai, and Joe Satriani. But the remake of "Train Kept A-Rollin" holds up and his slide work on "Sleep Walk"(you'll know this oldie when you hear it) is reminiscent of his early work with The Tridents. The set concludes with two solid numbers from the 1989 album Jeff Beck's Guitar Shop with Terry Bozzio and Tony Hymas.

Too bad some of his mid-eighties work with Mick Jagger and the Honeydrippers is not included. But overall, Beckology, compiles a generorus overview of 25 years of unique sound explorations by one of music's premier electric guitarists. By A Customer.



"Make no Mistake--This Is the Original Beck!!!"
Released in 1991, this box set pretty much covers Jeff Beck's entire recorded career, from the Tridents treatment of the old chestnut, "Trouble In Mind" to highlights from Guitar Shop, which was probably his best solo album. Some fans might complain that there are too many Yardbirds tracks here---well, not this fan! In my mind, you can never have too many Yardbirds tracks, and every last one here is a keeper, from the Eastern sound Jeff got from his guitar on "Over, Under, Sideways, Down," to the pseudo-Gregorian chants of "Still I'm Sad." Also welcome are the numerous Jeff Beck Group tracks, particularly the ones featuring Rod Stewart. Rod the Mod may have had a stellar career, but saved some of his best work for Beck. (Who do you think Rod asked to give his induction speech to the Rock and Roll Hall of Fame?). I wish there could have been more BBA tracks, particularly live ones, because the two that are offered here are basically both "Blues DeLuxe" medleys. Still, both are excellent. Most of the choices from his solo albums are apt, including one of the best recordings of "Wild Thing" you will hear anywhere. Maybe a few more tracks from Guitar Shop and a few less from Flash would have made the set even better. But, enough quibbling. There's plenty of great material here you will want to listen to over and over. By Chris Meesey Food Czar (The Colony, TX United States).



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

Jeff Beck

Track listing:

Disc 1

01. Trouble in Mind
02. Nursery Rhyme [Live]
03. Wandering Man Blues
04. Steeled Blues
05. Heart Full of Soul
06. I'm Not Talking
07. I Ain't Done Wrong
08. Train Kept a Rollin'
09. I'm a Man
10. Shapes of Things
11. Over Under Sideways Down
12. Happenings Ten Years Time Ago
13. Hot House of Omagarashid
14. Lost Woman
15. Rock My Mind
16. The Nazz Are Blue
17. Psycho Daisies
18. Jeff's Boogie
19. Too Much Monkey Business [Live]
20. The Sun is Shining [Live]
21. You're a Better Man Than I [Live]
22. Love Me Like I Love You [Live]
23. Hi Ho Silver Lining
24. Tally Man
25. Beck's Bolero

Disc 2

01. Shapes of Things
02. I Ain't Superstitious
03. Rock My Plimsoul
04. Jailhouse Rock
05. Plynth (Water Down the Drain)
06. Drinking Again
07. Definitely Maybe
08. New Ways Train Train
09. Going Down
10. I Can't Give Back the Love I Feel For You
11. Superstition
12. Black Cat Moan [Live]
13. Blues Deluxe/BBA Boogie [Live]
14. Jizz Whiz

Disc 3

01. 'Cause We've Ended As Lovers
02. Goodbye Pork Pie Hat
03. Love Is Green
04. Diamond Dust
05. Freeway Jam [Live]
06. The Pump
07. People Get Ready
08. Escape
09. Gets Us All in the End
10. Back on the Street
11. Wild Thing
12. The Train Kept A-Rollin'
13. Sleep Walk
14. The Stumble
15. Big Block
16. Where Were You

*Includes full cover and booklet scan*

Related items:

Jeff Beck - "Blow by Blow" (1975)

Jeff Beck - "Wired" (1976)

Santana, Jeff Beck, Steve Lukather - "Lotus Gem" (1986) [1992]

John Mclaughlin - "The Promise" (1995)

Enjoy!
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Chick Corea / Miroslav Vitous - Tones For Joan's Bones / Mountain In The Clouds
Label: Collectables
Catalog#: COL-CD-6238
Format: CD, Reissue
Country: US
Released: 1999
Genre: Jazz
Style: Post Bop, Contemporary Jazz

Reviews:
"Timeless Classics in Jazz"
Both albums are a pinnacle of achievement for Chick Corea and Miroslav Vitous. They foreshadow the direction of both artists and also reflect their influences. "Tones For Joan's Bones" is straight ahead Jazz combined with occasional Latin rhythms, outrageous melodies typical of the period and style, Chick Corea's "Tyneresque" piano voicings and fluid, crystal clear solos. This is all augmented by Joe Farrell on reeds and Woody Shaw on trumpet-two of the best. Check out Chick Corea's solo on "Tones For Joan's Bones". Other recordings from this period featuring these artists are available on Chick Corea's "Inner Space" album.

"Tones For Joan's Bones" originally released in 1968 as Vortex 2004


The compositions and musicians on Miroslav Vitous' "Mountain In The Clouds" are some of the most progressive and innovative ever recorded. The moods range from quiet, cerebral, and transcendental as in "Epilogue" and "Infinite Search", to unrelenting, up-tempo jams as in "Freedom Jazz Dance" and especially "I Will Tell Him On You". The latter featuring one of the best, most astonishing guitar solos by John McLaughlin, very much like his work on Tony Williams' "Emergency" cd. The rest of the musicians on the album are basically a "who's who" in the business: Joe Henderson on sax, Herbie Hancock on piano, Miroslav on bass and Jack DeJohnette on drums all add their unique personalities to a timeless classic. By A Customer.

"Tones..."-very good. "Mountain..."-will blow you away!
"Tones for Joan's Bones", Chick Corea's first album as a leader, is a very assured debut indeed. Chick's playing is a bit more overtly Tyneresque than his subsequent trio offering "Now He Sings, Now He Sobs." Woody Shaw on trumpet and Joe Farrell on flute and tenor bring some very nice color and flavor to the band's sound. Steve Swallow and Joe Chambers (yesss!) do a bang-up job in the rhythm section. Mainly it is Corea's tunes that are jammed on here, and they are quite impressive. The highlight is "Straight Up and Down", on which Joe Chambers gets to light up the cymbals with one of his incredible solos. The sound quality of _Tones..._ is a bit flat, but it's a very good LP.

"Mountain In The Clouds" originally released in 1972 as Atlantic 1622


Then you get to the mind-blowing crunchiness that is the opus magnum led by Miroslav Vitous, _Mountain in the Clouds_. This group is incredible. There's Miroslav's bass virtuosity, some tasty Rhodes tickling by Herbie Hancock, John McLaughlin's guitar churning and peppering the brew, Joe Henderson's sax ripping through the mix, and Jack DeJohnette's drums conjuring up the wickedest of Tony Williams and Joe Chambers! The set is bookended by the furious jams of the oft-revisited Eddie Harris tune "Freedom Jazz Dance", and Vitous's own "I Will Tell Him On You", between which are two more-contemplative numbers, "Epilogue" and "Infinite Search", and a couple of shortish interludes. One track from the original LP, "When Face Gets Pale," is missing from this twofer due to CD space constraints, which is too bad.

Either LP is certainly worth the price of a CD (heck, _Mountain in the Clouds_ is worth at least TWO!), so both together is a terrific buy. Highly, highly recommended. By Micah Newman (Austin, TX United States).

All Music Guide
This compilation hits a bull's-eye by pulling together two key sessions: Chick Corea's first as a leader, a blazing, advanced hard bop set from 1966, and Miroslav Vitous' Mountain in the Clouds, recorded in 1969 just prior to the bassist joining the original Weather Report. Corea's writing on Tones for Joan's Bones has an affinity with McCoy Tyner's seminal hard bop structures from this period. Tenor player Joe Farrell and trumpeter Woody Shaw are ideal for this music. They deliver virtuoso performances that are both visceral and cerebral. Steve Swallow, while later focusing exclusively on electric bass, often with a melodic, impressionistic approach, is pure thunder here. In a blindfold test his acoustic bass could be mistaken for Buster Williams'. Drummer Joe Chambers is all relentless, propulsive energy, but subtle too. Corea is a torrent of harmonic and melodic imagination, couched in unerring rhythm. On Vitous' fusion classic, Herbie Hancock's electric piano and John McLaughlin's electric guitar merge in a rich, dense, colorful foundation that affords Vitous and drummer Jack DeJohnette considerable freedom. McLaughlin combines the dreamy state he evokes on Miles Davis' In a Silent Way with the juddering rhythm attack heard on his own Extrapolation. Like Chambers, who actually takes the drum chair for two tracks, DeJohnette is powerful, creative, and passionate. The superbly recorded Vitous has a sound, technique, and concept that consistently sustain interest. Tenor giant Joe Henderson is on four tracks, including an intense, open-ended exploration of Eddie Harris' "Freedom Jazz Dance." Anybody with an interest in this vital and exciting period will find both of these sessions indispensable. By Jim Todd, All Music Guide.

Notes: The song "When Face Gets Pale" from the Miroslav Vitous album "Mountain In The Clouds" does not appear on this compact disc due to time restrictions
More notes: I have added The song "When Face Gets Pale" from the Miroslav Vitous album "Mountain In The Clouds" for your consideration.

Track listing:

Chick Corea - "Tones For Joan's Bones"
1 Litha (13:29)
2 This Is New (7:35)
3 Tones For Joan's Bones (6:05)
4 Straight Up And Down (12:29)

Miroslav Vitous - "Mountain In The Clouds"
5 Freedom Jazz Dance (10:51)
6 Mountain In The Clouds (1:48)
7 Epilogue (6:57)
8 Cerecka (2:41)
9 Infinite Search (6:43)
10 I Will Tell Him On You (10:58)

Personnel:

Chick Corea (keyboards)
Joe Farrell (tenor saxophone, flute)
Woody Shaw (trumpet)
Steve Swallow (bass)
Joe Chambers (drums)

Miroslav Vitous (bass)
John McLaughlin (guitar)
Herbie Hancock (piano)
Joe Henderson (tenor saxophone)
Jack DeJohnette (drums).

*Includes full cover and booklet scan*

Related items:

Chick Corea - "Compact Jazz" (1987)

Chick Corea Elektric Band - "Inside Out" (1990)

Chick Corea Elektric Band II - "Paint The World" (1993)

Stan Getz - "Captain Marvel" (1972)

Return To Forever - "The Anthology" (2008)

Return To Forever - "Where Have I Known You Before" (1974)

Return To Forever - "No Mystery" (1975)

Return To Forever - "Light As A Feather" (1973)

John Mclaughlin, Chick Corea - "Five Peace Band" [Live] (2009)

Joe Farrell - "Outback" (1971)

Joe Farrell - 'Moon Germs' (1972) @320

Eric Kloss - "Concsiousness!" (1970)

Larry Coryell - 'Spaces' (1970)

Miles Davis - "Bitches Brew" [Remastered] (1970)

Miroslav Vitous - Mountain in the Clouds (1969)

Enjoy!
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Hendrix was born James Marshall Hendrix in Seattle, Washington, the son of Al Hendrix and Lucille Jeter Hendrix. His father, after returning from military service in World War II, legally renamed him James Marshall Hendrix. His mother was an alcoholic and died of cirrhosis when Jimi was 15, providing Hendrix with a musical muse which he would later express in his songs, for example, "Little Wing".

Both of Jimi's paternal grandparents were vaudeville performers who settled in Vancouver, British Columbia, where his father, Al Hendrix, was born. Al relocated to Seattle, where he met and married Lucille Jeter. Jimi was close to his paternal grandmother Nora Rose Moore, the daughter of a Cherokee father and a mulatto mother, who instilled in him a strong sense of pride about his Native American ancestry.

Stages is a box set consisting of live performances by Jimi Hendrix covering four years of his career. Disc One is the September 5, 1967 concert in Stockholm. Disc Two is the January 29, 1968 concert in Paris. Disc Three is the May 24, 1969 concert in San Diego. Disc Four is the July 4, 1970 concert in Atlanta.

The first 2 cds(Stockholm 67, Paris 68) capture the experience in all their early euphoria. CDs 3 & 4 - San Diego 69 and Atlanta 70 (the latter with Billy Cox replacing Noel Redding on bass), are much better as live recordings. The band here really cooks with blistering versions of older songs and some great new songs.

If you want to experience live Hendrix, then stages is as good a place to start as any.

Jimi Hendrix

Track listing

Stockholm '67


1. Sgt. Pepper's Lonely Hearts Club Band
2. Fire
3. The Wind Cries Mary
4. Foxy Lady
5. Hey Joe
6. I Don't Live Today
7. Burning of the Midnight Lamp
8. Purple Haze

Paris '68


1. Killin' Floor
2. Catfish Blues
3. Foxy Lady
4. Red House
5. Drivin' South
6. The Wind Cries Mary
7. Fire
8. Little Wing
9. Purple Haze

San Diego '69


1. Introduction
2. Fire
3. Hey Joe
4. Spanish Castle Magic/Sunshine of Your Love
5. Red House
6. I Don't Live Today
7. Purple Haze
8. Voodoo Child (Slight Return)

Atlanta '70


1. Fire
2. Lover Man
3. Spanish Castle Magic
4. Foxy Lady
5. Purple Haze
6. Hear My Train a Comin'
7. Stone Free
8. Star-Spangled Banner
9. Straight Ahead
10. Room Full of Mirrors
11. Voodoo Child (Slight Return)

Personnel:

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

*Includes full cover and booklet scan*

Courtesy: Daniel Alan Stueck - R.I.P.

Related items:

Jimi Hendrix - "Voodoo Soup" (1995)

Jimi Hendrix - South Saturn Delta (1997)

The Jimi Hendrix Experience - "Live at Winterland" (1986)

Jimi Hendrix - "Rainbow Bridge 2" (1995)

Jimi Hendrix - "Live at the Isle of Wight" (1970)

Jimi Hendrix - "The Concerts" (1982)

Jimi Hendrix - "Woodstock" (1994)

Enjoy!
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