Transfixing Shamanic Trance Music from Byron Metcalf and Mark Seelig

Byron Metcalf and Mark Seelig – Persistent Visions

Byron Metcalf and Mark Seelig – Persistent Visions (Projekt Records, 2019)

Byron Metcalf and Mark Seelig deliver a spellbinding performance on Persistent Visions. The combination of bansuri flute, electronics and the mesmerizing beat of frame drums create a fascinating, relaxing effect.

Persistent Visions is presented in two versions. There is single long piece that is 01:11:03 long and the same musical piece broken into six individual “Visions.”

Byron Metcalf and Mark Seelig conceived Persistent Visions as a constant, uninterrupted listening experience that gradually evolves and builds with increasing rhythmic and energetic complexity.

Byron creates contemplative beats and patterns while Mark’s bamboo flute (bansuri) is rooted in two classic Indian ragas.

Progressive Rock Icon Rick Wakeman Opens Official Online Store

Rick Wakeman

Keyboard maestro Rick Wakeman has announced a new partnership with Music Glue as the new home of his online store, The Rick Wakeman Emporium. The new store includes Signed special items, signed CDs, DVDs and LPs, signed memorabilia & artwork, CDs, DVDs and LPs, T-Shirts, mugs and tote bags.

Visit Rick Wakeman’s Emporium: www.musicglue.com/rick-wakeman-emporium

Artist Profiles: Rick Wakeman

Rick Wakeman

Richard Christopher Wakeman was born May 18, 1949 in Perivale, Middlesex, England. His interest in music manifested itself very early. From the age of seven on, he studied classical piano. At the age of 14, Wakeman joined a local band, Atlantic Blues. The same year, he left school to enroll in the Royal College of Music. He had intended to start a career as a concert pianist, but Wakeman was dismissed from the college after it became clear that he preferred playing in clubs to studying technique.

By his late teens, Wakeman was a well-known session man, playing on records by such diverse acts as Black Sabbath, Brotherhood of Man, and Edison Lighthouse. At the end of the 1960s, his name also began appearing on the credits of albums by artists such as Al Stewart and David Bowie. A set of sessions with a folk-rock band called the Strawbs led to his joining the group in 1970.

After two albums with the Strawbs, Wakeman joined Yes, a rock band that evolved into one of the pioneers of cutting edge progressive rock. Yes had attracted considerable attention with their first three albums. Wakeman played a key role in the final shape of the group’s fourth record, Fragile, creating a profound, swirling sound on an array of electric and acoustic pianos, synthesizers, and mellotron. Fragile was a hit, driven by the chart success of the single “Roundabout,” and Wakeman was suddenly elevated to star status.

Rick Wakeman – The Six Wives of Henry VIII

Yes’ next album, Close to the Edge, increased Wakeman’s audience and his appeal, for his instruments were heard almost continually on the record. During the making of Close to the Edge in 1972, Wakeman also recorded his first solo album, an instrumental work titled The Six Wives of Henry VIII, which comprised his musical interpretations of the lives and personalities of the said six royal spouses. Released early in 1973 on A&M Records, it performed well on the charts.

Yes’ next album, Close to the Edge, increased Wakeman’s audience and his appeal, for his instruments were heard almost continually on the record. During the making of Close to the Edge in 1972, Wakeman also recorded his first solo album, an instrumental work titled The Six Wives of Henry VIII, which comprised his musical interpretations of the lives and personalities of the said six royal spouses. Released early in 1973 on A&M Records, it performed well on the charts.

Cover of Yes’ Tales From Topographic Oceans, designed by Roger Dean

Public reception of Yes’ magnificent 1974 double album, Tales From Topographic Oceans, was mixed, and the British pop critics, who disliked and misunderstood progressive rock, were cruel in their attacks on the record. Wakeman left Yes before the album’s supporting tour. His new solo album, Journey to the Centre of the Earth, adapted from the writings of Jules Verne and featuring a rock band, narrator (David Hemmings), and full orchestral and choral accompaniment, was released to tremendous public response in both the United States and the UK, where it topped the charts.

Rick Wakeman

In 1975, Wakeman’s next album, The Myths and Legends of King Arthur and the Knights of the Round Table, was given a grand-scale premiere at Wembley’s Empire Pool, although it also cost Wakeman a fortune to stage the event on ice. During this same period, Wakeman began working on film scores with the music for Ken Russell’s Lisztomania, which was a modest hit.

In 1977, Wakeman returned to Yes, with which he has continued recording and touring. His solo career continued on A&M into the end of the ’70s, with Criminal Record and Rhapsodies, which were modestly successful.

Wakeman’s biggest media news during this period, however, came through his alleged role in getting the Sex Pistols dropped by A&M Records soon after being signed. None of this bothered his fans, which rapidly expanded to encompass those he picked up through his work with lyricist Tim Rice on a musical adaptation of George Orwell’s 1984, and his burgeoning film work, which included the music to movies about the 1976 Winter Olympics and the 1982 soccer World Cup competition. Additionally, he became a regular on Britain’s Channel 4. Wakeman’s audience and reputation survived the 1980s better than almost any progressive rock star of his era, as he continued releasing albums on his own label. He also remained associated with Yes into the 1990s.

Rick Wakeman

In January 2016, Trevor Rabin announced he plans to perform with Wakeman and Jon Anderson as Anderson, Rabin and Wakeman (ARW), later in the year. Anderson revealed the three wrote “some unique songs together”. Also in January, following requests from fans, Wakeman recorded piano versions of “Life on Mars?”, “Space Oddity”, and “Always Together” as a tribute to David Bowie following his death with proceeds from the songs donated to Macmillan Cancer Support.

Selected Solo Discography:

The Six Wives of Henry VIII (A&M Records, 1973)
Journey to the Centre of the Earth (A&M Records, 1974)
Lisztomania (A&M Records, 1975)
The Myths and Legends of King Arthur and the Knights of the Round Table (A&M Records, 1975)
No Earthly Connection (A&M Records, 1976)
Rick Wakeman’s Criminal Record (A&M Records, 1977)
1984 (Charisma Records, 1981)
Silent Nights (President Records, 1985)
Country Airs (Coda Records, 1986)
The Gospels (Stylus Music, 1987)
Phantom Power (Jimco Records, 1990)
The Piano Album ( Castle Communications, 1995)
Return to the Centre of the Earth (EMI Classics, 1999)
Out There (Music Fusion, 2003)
Piano Odyssey (Sony Classical, 2018)

Fusion and Electronics Around the Drums

Manu Katché ‎– The Scope (Anteprima Productions, 2019)

French drummer, singer, songwriter and composer explores various genres on his ninth album, The Scope. The biggest innovation on The Scope is the addition of various forms of electronica.

Manu Katché ‎– The Scope

The highlights include the superb opening instrumental piece, “Keep Connexion,” where jazz fusion meets funk and West African kora; “Glow,” a track where soulful male and female vocals combine funk jazz with chamber strings; “Overlooking,” a piece where jazz fusion meets chilled electronica and Latin jazz; the exquisite and mesmerizing trip hop meets funk jazz song “Please Do”; the song “Don’t U Worry” where rock, edgy electronica and neosoul are intertwined; and the bluesy “Goodbye For Now.”

On the downside, the prerequisite, annoying hip hop song and a cheesy electropop bonus track.

The lineup includes Jerome Regard on bass; Manu Katché on drums and vocals; Patrick Manouguian on guitar; and Jim Henderson on keyboards and programming.

Guests include Jim Grandcamp on guitar; Kandia Kouyaté on kora; Faada Freddy on vocals; Jazzy Bazz on vocals; Jonatha Brooke on vocals; Frédéric Kret on cello; Michael Nguyen on viola; Hugues Borsarello on violin; Kayla Galland on vocals; and Alexandre Tassel on flugelhorn.

The NJ Proghouse to Celebrate 20th Anniversary Hootenanny

The Tea Club

The NJProghouse will be hosting a two-day event Saturday, June 15-Sunday, June 16, 2019 to celebrate 20 years of bringing progressive rock acts to the stage. the lineup includes regional and international acts.

Saturday, June 15

Advent
Randy McStine
The Tea Club
Brett Kull & Ray Weston of Echolyn
NDV (Nick D’Virgilio)
Rikard Sjöblom’s Gungfly

Sunday, June 16

Tammy Scheffer
No More Pain
IZZ
The Devil’s Staircase (feat. Mattias Olsson)

When:Saturday, June 15-Sunday, June 16, 2019
Where: Roxy & Dukes Roadhouse
745 Bound Brook Rd, Dunellen, NJ 08812
Tickets at https://www.brownpapertickets.com/event/4206834

Drummer Jerry Marotta Releases The Bucket List and New Security Project Album

Jerry Marotta

Progressive music drummer Jerry Marotta has released The Bucket List recording with Tony Levin and Phil Keaggy.

Marotta also has a new album titled Slowburn with Security Project. Slowburn is an 8 song set with live versions of Peter Gabriel and Genesis classics including “The Lamb Lies Down on Broadway”, “Slowburn” and “Mother of Violence”. Keyboardist David Jameson’s medley of early Genesis tracks will also be featured on the new live album.

Tim Bowness with his Favorite Singers and Musicians

Tim Bowness – Flowers at the Scene (InsideOutMusic, 2019)

Flowers at the Scene is the exquisitely produced and arranged fifth solo album by British artist Tim Bowness. The album showcases Bowness talent as songwriter and exceptionally expressive vocalist.


Tim Bowness – Flowers at the Scene

Musically, Bowness crosses various boundaries: elegant art rock, masterfully-crafted progressive rock and electronic ambience.

Flowers at the Scene was coproduced by Bowness and his longtime collaborator Steven Wilson. The diverse lineup of collaborators includes well-known names in the progressive rock, prog metal, jazz and other genres: Peter Hammill (Van Der Graaf Generator), Andy Partridge (XTC), Kevin Godley (10cc), Colin Edwin (Porcupine Tree), Jim Matheos (Fates Warning), David Longdon (Big Big Train), Brian Hulse (Plenty), Ian Dixon, Tom Atherton, Dylan Howe, David K Jones, Fran Broady and Charles Grimsdale.

Bowness said about the album: “It was an exciting project to put together and it was great working closely with old sparring partners, Brian Hulse and Steven Wilson. Steven was initially brought in to mix the album, but very quickly he was doing far more and developing production ideas alongside Brian and I. Listening to pieces such as Not Married Anymore, Borderline and The War On Me, we both felt that the project had more than a hint of the spirit of no-man and it became obvious that this was a no-man co-production rather than a Bowness/Wilson one.”

Flowers at the Scene is a deeply mesmerizing album with a charming set of dreamy songs.

The Claypool Lennon Delirium Brilliant Satire and Multifaceted Music

The Claypool Lennon Delirium – South of Reality (ATO records, 2019)

I was intrigued by the formation of this band from its first announcements in 2015/16. I have been a fan of Primus and Les Claypool’s work for some time. I have also enjoyed Sean Lennon’s solo work. When I heard their first album would be from the progressive rock genre, all I could imagine; before hearing the music, was, that it could sound like John Lennon singing on a Pink Floyd album?

Claypool Lennon Delirium – South of Reality

Well, Monolith of Phobos, their first album, from 2016, debuted and it did not disappoint. It sounded indeed, as if John Lennon was singing on a Pink Floyd album. Claypool’s bass intricacies and the warm sound of Sean Lennon singing over the top of the intricate keyboards, bass and lead guitar melodies was perfect. It became one of my favorite albums of 2016.

Then, I heard them play King Crimson’s classic In the Court of the Crimson King live, and I was a fan for life. They later made a studio version of this classic cover on their 2017, EP, Lime and Limpid Green…along with other classic covers like the Who’s “Boris the Spider”; “Astronomy Domine” from Pink Floyd, and “Satori (Enlightenment), Pt.1”, from the Flower Travellin’ Band.

Now they return with their sophomore effort South of Reality, and they have crafted an even better album than Monolith. This album picks up where Monolith left off. It is a bit more accessible than Monolith in the amount of more lyrically driven melodies. At this moment it sits atop my favorite albums of 2019.

On a Claypool/Lennon album, the lyrics to all of their music are simultaneously relevant, memorable and satirical.

The album opens with “Little Fishes”, which starts with some backmasking, quickly followed by a reminder of mercury in the assumed healthy choice of consumable fish. All set to this rockin’ little, unthreatening melody of picked bass thunder. It later discusses many of the changes that we as Boomers and early Millennials have had to contend with daily. Including 3D printers and the effects of an Internet that vastly controls our lives. When they go off on a wild musical scamper, you can only wish you were watching it live.

Next up is my personal favorite song, “Blood and Rockets”. “The Movement I, Saga of Jack Parsons”, is a wonderful story set to a fun beat. The story of Jack Parsons is worth a Google search. The fact that this band attempted to describe the story of this legend before the advent of the US Space Program, within a song, and found such a bouncy melody to tell it, is worth many replays. “Movement II, Too the Moon”, is a prominent and valuable instrumental movement section of the song.

“South of Reality”, the title track is another dynamic song about space and all its multitude of adventures. This time, as seen looking up from the Earth.

“Boriska” is an interesting Internet story set to spacey rhythms and music. Google the name of this, at the time, 11-year-old boy, who claimed to be from Mars. The story is fun to read and listen to, set to music.

“Easily Charmed by Fools” is a fun ironic turn of the satirical pen from Lennon and Claypool.

“Amethyst Realm” is a unique story from England. About a woman who claimed to have fallen in love with ghosts. Cool, spacey music with ghostly noises and voices.

“Toady Man’s Hour” is another favorite. I like to think it deals with the story of our current White House resident, President “Orange”. Even if it isn’t it about him, it is wonderful satire.

“Cricket Chronicles Revisited” opens the track, “Ask Your Doctor”, with wonderful sitar and Beatlesque wanderings. Sean sounds like John and George off Magical Mystery Tour. “Psyde Effects” is a cool verbal feast of ideas and sounds.

“Like Fleas”, immediately reminded me of Perry Farrell’s wonderful satire and lyrical twist in the song “We’ll Make Great Pets”. Yes, the Earth may be trying to shake humans off like fleas after all we have done to the climate.

Wonderful satire set to interesting and complex music. Bouncy rhythms filled with thick bass, weird and wonderful guitar and keyboards. Just what the doctor ordered to keep your mind off the current state on the tragic world political stage.

South of Reality was produced by Les Claypool and Sean Lennon. Claypool engineered and mixed the album at his own Rancho Relaxo studio in Sonoma County, California. South of Reality was released worldwide on Feb 22nd, 2019.

Track List:

Little Fishes – 6:07
Blood and Rockets – Movement 1 – Saga of Jack Parsons – Movement 2 – Too the Moon – 6:31
South of Reality – 3:29
Boriska – 5:26
Easily Charmed by Fools – 5:12
Amethyst Realm – 7:49
Toadyman’s Hour – 3:14
Cricket Chronicles Revisited – Part 1, Ask Your Doctor – Part 2 – Psyde Effects – 6:24
Like Fleas – 3:33

Interview with World Class Fusion Drummer Dali Mraz

Czech drummer Dali Mraz has released a spectacular new album titled Level 25. Mraz delivers a set of masterful creative drumming performances accompanied by world class collaborators from various European countries and the USA.

Level 25 is a beautifully-packaged wonderland of jazz-rock fusion, progressive rock and classical influences. The masterfully-crafted instrumentation is classic fusion: drums, electric bass, keyboards and guitars, along with some outstanding vocals. Thankfully, there is no smooth jazz saxophone anywhere to be seen.

Musical influences range from Return to Forever, Joe Zawinul and Alan Holdsworth to funk and cinematic symphonic rock.

The list of musicians onLevel 25 is truly impressive: Scott Kinsey (Tribal Tech) on keyboards; Marius Pop on guitar; Anton Davidyants (Virgil Donati) on bass; Martin Miller on guitar; Federico Malaman on bass; Romain Labaye (Scott Henderson) on bass; Junior Braguinha (Virgil Donati) on bass; Lawrence Lina (Sideburn) on guitar; Mike Gotthard (Electric Shock) on guitar; Kolta Gergely (European Mantra) on bass; Veronika Stalder on vocals; Gyöngyösi Gábor on keyboards; Maria Nagyova (Ludove Mladistva) on vocals; Diana Minarovicova (Ludove Mladistva) on vocals; Terezia Jarosová (Ludove Mladistva) on vocals; ato Ivan on bass; Dano Soltis on vibraphone; Elis on vocals; Gergo Borlai on bass; and Valeriy Stepanov on keyboards.

Dali Mraz

What are your fondest musical memories?

I like to remember any creative process that I had. The moment, when you turn into a child and let your fantasies go. I experience every each creative process like these differently and that’s what is beautiful about the whole thing. Besides, all of this is written down in the music as a memory. When I listen to various moments from the recording process, I remember moods and even fragrances.

What do you consider as the essential elements of your music?

My music comes a lot from classical pieces. I choose elements, that I like and try to put them together in all ways. The most of the parts that I write are composed behind the piano. It is a royal instrument for me and that’s why the composed parts project into all instruments, even the drums.

How did your musical ideas evolve throughout the years from your debut album to your new recording?

In my case, there were two different worlds walking besides each its own line. The drums as an amusement and unlimited toy store, where I could play as many notes as I wanted and where I wanted. And a classical and film music, where I had to capture very subtle emotions and a basic line, almost inaudible. When I was 23 I started to fuse those worlds and finally put them together on Level 25.

Dali Mraz with Drumeo team

You used a crowd funding tool to fund Level 25. How was the experience and how did you attract people to fund it?

I tried it because I was in need to finish the album to its end. I was putting a lot of finances to it and I had to ask people for help when I was short on resources. Thanks to those that had helped me I could finish the album. I was surprised with their interest and with the fact, that we had gained more than 100% of the needed money. It was an honor to me, that DRUMEO had supported me with another amount of money, which had helped a lot.

Of course I asked for lesser amount of money on Indiegogo, than I really needed, to produce the album, because I was worrying that I couldn’t reach it. But it happened and different people from different countries supported me. We have sent the album to more than 40 countries on all continents after releasing.

Dali Mraz – Level 25

The album contains high-energy fusion featuring electric guitar and keyboards (which are ones we prefer). Are these the solo instruments you like the most?

As I mentioned before I spend a lot of times behind the piano/keyboard because of the possibilities which are almost endless.

Musicians who appear on Dali Mraz’s Level 25

Your album features quite a few excellent musicians from central Europe. Tell us a little about the guests and their background.

I knew some of them as we played together, some of them as friends and some of them became my friends on the internet before we met in person. I tried to put the list of guests together so the result is a really colorful fusion of cultures and to follow a specific concept of the album. We were tuning the details of the album for the whole three years and the number of letters and messages, that we have sent to each other is huge. I would like to record the next album in the studio.

How’s the fusion and progressive rock scene in the Czech Republic and nearby countries?

I guess it’s growing. Fusion doesn’t have tradition here and will take some time till people will start going to such concerts. However, the fact that my music comes out of classical stuff, which has tradition here, could make it easier for me.

Dali Mraz

Drum kits vary a lot. What drum set do you normally play and what’s your favorite configuration?

I like to use 22″ bassdrum + 2 rack toms + 2 floor toms + 1 gong drum + snare drum of course. If I play my own music, it is better to have a bigger set, to be able to express all the colors and orchestrations. Of course you can play it on a small kit too, but bigger kit means more colorful, in this case.

What is your advice to improve the hands technique?

Hands are a hard time. I tell everyone who asks me to set a workout exercise ideally for an hour and practice every day, just on a snare drum with a towel or a shirt on it.

What is your advice to improve the feet’s technique?

A lot of patience and a similar approach as with hands. I work with these problems a lot and I prepare a new app, which will have various workouts for drummers. It should be released at the end on June.

What is your advice to improve more speed on the drum kit?

If the player realizes that some of the exercises on the kit are almost identical with sports training, it is a key to mastering it. It is good to look for the inspiration out of music business in certain disciplines of the drums.

Dali Mraz

Who are your 10 favorite drummers and why?

Ronald Brunner – He can always surprise me.
Buddy Rich – He managed to fascinate the crowds and he made the drum set dominant in the big band.
Todd Sucherman – His precise play and the insight of all the notes, that he uses to play with bands, is incredible.
Thomas Pridgen – His directness.
Keith Carlock – His sound and flow.
Steve Gadd- His life journey and willingful playing.
Billy Cobham – His story and approach.
Gene Krupa – His ideas and motives.
Bernard “Pretty” Purdie – You gotta love him.
Virgil Donati – He was a big influence to me with his perception of music and approach to the instrument.

Mainstream media normally ignores progressive music. How do you promote your music?

The whole team and musicians who contribute on the music promotes it on our websites and the music slowly spreads into more fusion and mainly prog communities and that really makes us happy. We do what we love and we are gracious for every feedback. It’s not a mainstream thing, but it’s our happiness. That’s why we put so much energy to it.

If you could gather any additional musicians or musical groups to collaborate with, whom would that be?

There’s a whole bunch of musicians, that I would like to connect with and continue in collaborations. Currently we are working on a video with MohiniDey and I prepare two more projects, so I think that the guests will be a surprise.

Aside from the new album, do you have any additional upcoming projects to share with us?

Yes. I prepare three projects. Two musical and one educational. They will have premiere soon and we want to start to work with vocalists a push our music further again. We look forward to that a lot.

To purchase the album and learn more about Dali Mraz, go to www.dalimraz.com

Banco del Mutuo Soccorso Returns with ‘Transiberiana’

Banco del Mutuo Soccorso, the groundbreaking Italian progressive rock band, has announced the release of ‘Transiberiana’, its first studio album in 25 years, scheduled to be released on May 10th, 2019 on Inside Out.

Banco del Mutuo Soccorso – ‘Transiberiana’,

I’m happy after working such a long time on this new Banco del Mutuo Soccorso album for Inside Out,” said Banco founding member Vittorio Nocenzi. “It fills me with joy and satisfaction as I was truly inspired from the very beginning! For too many years, the band was only dedicated to live performances, so it was about time we would go back to composing, playing and producing new stuff!

By choosing the ‘Transiberiana’ concept for this new piece of work, there are two main issues I’d like to point out: first the new Banco line up consisting of great musicians and great people, secondly, the presence of my two sons in the project: Michelangelo co-writing the album and Mario Valerio, who took care of a marketing and communication strategy related to it. These two elements have been the best gifts I could possibly imagine to receive! And this is an extra motivation if ever needed to do my best for reaching our goals.

I can only wish fans will enjoy this incredible project and look forward to see them live when we will go out to perform the album and classic Banco-tracks around the globe with Filippo Marcheggiani (lead guitar), Nicola Di Già (rhythm guitar), Fabio Moresco (drums), Marco Capozi (bass), our singer Tony D’Alessio and myself!

The last Banco del Mutuo Soccorso album, ‘13’, was released back in 1994. Longtime vocalist Francesco di Giacomo died in a car accident in Zagarolo (Italy) in 2014.

The current lineup of Banco del Mutuo Soccorso is: Vittorio Nocenzi on piano, keyboards and voice; Filippo Marcheggiani on guitar; Nicola Di Già on rhythm guitar; Marco Capozi on bass; Fabio Moresco on drums; and Tony D’Alessio on lead vocals.

Purchase Transiberiana

Progressive rock, jazz-rock fusion, ambient electronic music and beyond