Guitarist and composer Jamey Arent delivers a tasty mix of
funk jazz, blues, neo-soul, rock and laid back smooth jazz on the 6-track EP
The Back Burner.
Arent uses a wide range of guitar styles and techniques and succulent solos along with a solid rhythm section, brass and organ that make the album highly enjoyable. Influences include Mark Knopfler, Eric Johnson and Stanley Jordan.
The Back Burner includes Jamey Arent on guitars and vocals; vocalist Raquel Rodriguez, keyboardist Nigel Hall, Charles Jones on keyboards, Nikos Syropoulos on organ; Corbin Jones on bass; Nick Campbell on bass; Christian Euman on drums and percussion; Sam Brawner on percussion; Tim McKay on saxophone; Erik Hughes on trombone; Marcus Paul on trumpet; and Brandyn Phillips on trumpet.
Jamey Arent was born in Denver. He began his guitar studies at the age of 12. He completed a degree in jazz studies from the Oberlin Conservatory in Ohio and later moved to Los Angeles to get a master’s degree in studio and jazz guitar from USC. That’s when he started his career as a touring musician.
Snarky Puppy, the finest funk jazz band in the current scene is back with a superb album titled Immigrance. Band leader Michael League clarifies the title of the album: “The idea here is that everything is fluid, that everything is always moving and that we’re all in a constant state of immigration. Obviously the album’s title is not without political undertones.”
The opening track, “Chonks” couldn’t be more spectacular; it starts with fabulous funk keyboards and progresses into outstanding jazz-rock fusion topped by Mark Lettieri’s brilliant guitar solo.
Michael League brings in some of the best young keyboardists
to Snarky Puppy’s sessions and that’s what makes the band such a delight.
Instead of the tired saxophone solos that other bands utilize, Snarky Puppy has
a much modern, edgy sound with the use of electronic keyboards, guitars and a
solid brass section.
“Bigly Strictness” is a seductive composition with a wonderful, creative global percussion section, smoky trumpet solo , Shaun Martin’s and Justin Stanton’s fantastic synths solos and mesmerizing gliding guitars. Pure beauty.
“Coven” begins laid back with intricate bass lines, brass
arrangements and forward-thinking trip hop feel. Shaun Martin delivers another
masterful synth solo that leads into Chris Queen’s electric guitar solo.
Progressive fusion at its best.
The trip hop returns on “Blig Blingi,” a bass-heavy funk piece, where chilled, futuristic keyboards and funk synth solos, dubbed drums, and brass, and complex, but accessible drum beats continue to impress.
Track 5, “Xavi,” the longest piece on the album is more jazz-fusion oriented, featuring a breathtaking electric violin solo by Zach Brock; and an equally good Minimoog solo by Bobby Sparks. Percussionist Keita Ogawa also gets an opportunity to showcase his talent with an ocean drum solo. The track concludes with a great piano solo by Bill Laurance.
“While We’re Young” features steady funk drum beat, funk
synth solo, majestic mellotron and reverb-rich brass.
“Bad Kids to the Back” is perhaps the least striking piece,
featuring funk beats and predictable saxophone solo.
The final track, “Even Us” takes the music in a totally different direction, into the realm of contemporary world music, with Michael League picking up the ud. There are references to modern tango, Middle Eastern modes and western chamber music. It’s beautifully-orchestrated and deeply satisfying.
Extraordinary British drummer Bill Bruford, known for his progressive rock and jazz-rock projects has released ‘Earthworks Complete,’ a spectacular 20CD/4DVD boxed set of the entire back catalog across Earthworks’ 20-year career. It includes previously unreleased and little known material.
The box includes 15 titles on 20 CDs and 4 DVDs. Musicians featured include Bill Bruford with Iain Ballamy, Django Bates, Patrick Clahar, Laurence Cottle, Tim Garland, Steve Hamilton, Tim Harries, Mark Hodgson, Mick Hutton, Gwilym Simcock.
The collection was compiled and curated by Bill Bruford.
All Heaven Broke Loose
Stamping Ground- Live
A Part, and Yet Apart
The Sound of Surprise
Footloose and Fancy Free (2CD)
Random Acts of Happiness
Footloose in NYC (2CD & 1DVD set)
A Video Anthology Volume 1: 2000s (2CD & 1DVD set)
A Video Anthology Volume 2: 1990s (2CD & 1DVD set)
Multi-instrumentalist and composer Eitan Kenner is a multifaceted progressive music artist who brings various genres together into a tasty dish. His superb, genre-defying instrumental album 8Ball City incorporates complex Gentle Giant-style progressive rock, proficient jazz fusion, New Orleans roots music, world music, classical and electronic elements.
Eitan Kenner on piano, Rhodes, organ, synth; David Frazier Jr., Noam Israeli, and Diego Joaquin Ramirez on drums; Tamir Shmerling –on bass; Andrew Whitbeck on guitar, bass; Nitzan Bar on guitar; Clay Lyons, Jonathan Greenstein on saxophones; Wayne Tucker on trumpet; Tamer Pinarbasi –on qanun; and Jamey Haddad on percussion.
Bassist Shob brings together the best of seductive funk, spirited jazz-rock fusion and masterfully crafted progressive rock.
As you would expect, the superb bass plays a leading role throughout the album although there are generous contributions by all the other equally skilled musicians.
Solide is mostly instrumental and features Shob on bass, guitar and percussion. His colleagues include Morgan Berthet on drums; Johary Rakotondramasy, Jean Loup Siaut, and Christophe Maroye on guitars; Tony Lavaud on keyboards; Célia Marissal, Scratch, and Hugo Senbei; PJ Ley on trumpet; FM Moreau on saxophone; Jumbe on percussion; and Ludovic Lesage on congas.
The seeds of Guadalquivir emerged from the idea of Seville guitarists Andrés Olaegui and Luis Cobo “Manglis.” The two musicians coincided while serving together in the Spanish military as conscripts in Cerro Muriano (Córdoba). While at basic camp in Cerro Muriano, they listened to Miles Davis, the Mahavishnu Orchestra and other cutting edge jazz fusion acts. In their spare time they started to exchange their ideas, experimenting with American blues and emergent jazz-rock.
Later, the two friends were transferred to the 14th
Artillery Regiment based in Seville, assigned to the unit’s military band.
Although they had known each other previously, a sincere friendship was born
and since then the two musicians became inseparable friends. They came up with
the idea of forming a powerful jazz-rock band with Andalusian roots.
In Seville, Andres and Luis formed a band called Manantial together
with Willie and Tony de Trujillo, two American musicians who were great
instrumentalists, had a studio and very good gear. These brothers had parents from
Seville but were born and grew up in New York. Manantial also featured Puerto
Rican David Rodríguez.
Manantial performed only two concerts and the most significant
was a live performance on TVE’s show Popgrama, directed by Gonzalo García
Pelayo, who was reporting about the Seville music scene in 1974.
After completing their military service, Manglis and Andrés Olaegui decided to relocate to Madrid with Manantial to try their luck, and after a month without achieving the objectives set for the group, Willie and Tony returned to Seville, and Manglis and Olaegui, decided to stay in Madrid to keep trying.
At that time, they frequented the Balboa Jazz Club, where they met and became friends with three highly influential musicians: flamenco jazz saxophonist Jorge Pardo, singer and drummer Pedro Ruy-Blas and percussionist José Antonio Galicia, who played at the club every day, and delved into what was the world of jazz in the capital of Spain.
One night in January 1978, José Valera, who was the first
manager of the band Triana, talked to Luis Cobo “Manglis” at Club Raíces, in
Madrid, where Manglis was playing. José proposed that Luis set up a group to
participate in a festival with Andalusian rock bands that he was organizing
with Triana as headliner. It was the opportunity Manglis and Andres had been
waiting for. They created the
long-awaited dream band with original compositions. The two guitarists
recruited Pedro Ontiveros (sax and flute), Larry Martín (drums) and Jaime
“I had just returned from playing in Ibiza and recently arrived from Munich where I had been invited to collaborate with German group Embryo and that’s how Guadalquivir was born,” said Manglis. “A month later we debuted in this festival before 7,000 people and from there everything was as fast as gunpowder.”
In February 1978, after twenty days of marathon ten-hour rehearsals,
Guadalquivir debuted before 7,000 people at the Festival of Andalusian groups at
the Móstoles Sports Center near Madrid, along with Triana, Iman – Caifato
Independiente and Storm.
That same year, Spanish rock star Miguel Rios organized a large tour that was called La Noche Roja (The Red Night), with Triana as a headliner and featuring Guadalquivir as well. The concerts attracted over 100,000 concertgoers and featured a state of the art PA system and laser show.
Guadalquivir signed with EMI Records and released its self-titled debut album “Guadalquivir” in 1978. The color of the vinyl was green and became known by collectors as the green album. Guadalquivir became an essential act in Andalusian rock. They appeared at numerous festivals.
In 1980 the band recorded its second LP, “Camino del Concierto.” (EMI, 1980). After finishing the tour to promote the second album, in 1981, Manglis left the group due to disagreements with some members of the band, and embarked on a solo career. He founded the band Manglis with which he recorded two albums; while at the same time Triana recruited him as guitarist, in 1981.
Guadalquivir, released a third LP Después del Silencio (After the Silence) in 1983) on the Caskabel label. By then, two of the founders, Manglis and Pedro Ontiveros had left. After various concerts and a tour of Poland, the group disbanded in 1984.
Nearly thirty years after Guadalquivir was founded, Manglis reorganized
the band again with Andrés Olaegui and Pedro Ontiveros and reappeared at
various festivals and tributes to Andalusian rock during 2006-2008.
BangTower is a progressive music outfit that features superb instrumentalists. With N With Out is the band’s second album, released in 2016. It showcases a powerful mix of virtuosic jazz-rock, progressive rock, instrumental rock and blues.
The band features guitarist, keyboardist and singer Neil
Citron, famed bassist Percy Jones (Brand X), and drummer Walter Garces. Guest musicians
include Frankie Banali on drums; Robby “Pag” Pagliari on bass; Jon
Pomplin on keyboards and bass; Rodger Carter on drums; Joan Fraley on bass and
backing vocals; Josh Greenbaum on drums; Chris Colovas on bass; and Justin
Stone on piano.
Clocks and Clouds is the superb solo album by Finnish multi-instrumentalist Jukka Iisakkila. Although he is best known as an acclaimed classical music orchestra conductor, he has deep passion for progressive rock and jazz-rock fusion as evidenced by Clocks and Clouds.
This remarkable set of instrumental pieces highlights Iisakkila skill as a guitarist, keyboardist and masterful arranger. His influences include Frank Zappa, Pekka Pohjola and various guitar heroes, such as Steve Vai.
Jukka Iisakkila plays practically all instruments except the drums, performed by Ilkka Saarikoski.
Clocks and Clouds is an outstanding electric fusion album with a Finnish twist by a versatile and talented instrumentalist and composer.
Lucas Lee delivers a remarkable, high energy combination of progressive rock, jazz-rock fusion and quirky avant-garde influences on Lowered Expectations. As the title indicates, the album revolves around lowered expectations, making references to celebrity culture, poor parenting, exclusion, ethnic stereotypes, etc.
There are zany references to the music and humor of the great Frank Zappa plus Canterbury connections as well, primarily National Health.
Although Lucas Lee plays the majority of the instruments superbly, he brought in a first class drummer that is well know in the msuic progressive music scene: Marco Minnemann.
Lineup: Lucas Lee on guitar, bass, keyboards, Merlin dulcimer, voice over performances and engineering; Marco Minnemann on drum arrangements, drums performances and drums engineering.
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.
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
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.
Progressive rock, jazz-rock fusion, ambient electronic music and beyond