Kauai eden tours

here's a shot of my wife an I from her Eden tours website.


beauty and the beast, eh? ( I'm the beast in the Tilley hat).

here's a link, If you are coming to Kauai.

http://www.kauaiedentours.com/About_Us.php

Interview with Richard Hallebeek

I have been having some correspondence with a few of my favorite artist's ...bugging them for brief interviews. Richard was kind enough to send me this via e-mail..

Hi Jay,

Here's some anwers, feel free to change my rusty English here and there if necessary.
If you have additional questions, let me know.
Rich


(NOTE HERE) I am always impressed by Many European artist's and their command, both in speaking and writing the English language. I could find NO editing issues with Richards reply.

Here is what he had to say..my sometimes trite questions are in this color...its been awhile since I have done any interview.


Do you remember the moment you decided to become
a musician full time?

I was 10 when I started playing the guitar and started taking lessons. I have been gigging since age 12 and started teaching when I was 14 years old.
I never thought of doing anything else really, but when I started my study at the conservatory at age 17 I decided I wanted to make a living making music. Never looked back since.


What was the first record that turned your head.

Around different ages, different records turned my head. Around 10 years old it was The Beatles and Frank Zappa, my sister had all their albums. I played them on my pickup for hours after school. When I was around 12 it was Charlie Parker and Pat Metheny and Weather Report. Later on I found out about Holdsworth and Henderson. I cannot really name one record that did it for me, it has to be different records that you discover at different periods in your life that change the way you look at music and hear music. If I have to name some:

John Coltrane – My Shining Hour

Pat Martino – Road Song

Wes Montgomery – D Natural Blues

Pat Metheny – First Circle

Allan Holdsworth – The 4.15 Bradford Executive

Weather Report – A Remark You Made

And the list goes on..


What would you tell a young kid about playing music.

I teach children from 6 years old.. the main focus is on having fun. If I would try to teach them sight reading or other boring stuff, they would be gone after one lesson. I have to make money so it’s also an economic choice to keep them interested so they keep coming back!

I think it works for adults in the same way. Nobody wants to do boring practice sessions alone at home. The key is to challenge yourself and keep being inspired and keep coming up with fresh ideas. Also try not to be stuck with the image and style you think you should have or the person you should be. Try to reinvent yourself all the time. Have fun.

Do you have any musical favorites/heroes?

All the great players of course continue to keep inspiring me; Wes Montgomery, Allan Holdsworth, Van Halen, John Coltrane, Django Reinhardt, Lalle Larsson, Bach, the list goes on…….


What do you listen to.
Right now there is Jacques Loussier who does a fresh take on Bach with a jazz trio. Incredible stuff!


Is there a musician/group you feel like should
receive better recognition.

I don’t really understand people complaining this or that should receive more recognition. For instance Shawn Lane was a very small artist but he was touring the world and doing his own thing 100%. Being a bigger name means lots of times pressure, signing 5 album deals and coming up with what the audience wants and not what you really would want perse. I think being a small artist has a lot of advantages and gives a lot of freedom. I know of a lot of small artists that are financially starving so to speak, but they also have the freedom of doing their own thing, whatever that is. There is something to say for that freedom. I still don’t make much money making music, but at least I always do what I want whenever I want.

Have you been to "the states".

Sure, I studied at GIT in L.A. for a year and stayed there for a while after my graduation. Been back numerous times to L.A. Great city and great vibe. Lots of musicians and lots of small talk too haha…!



If you had a "soapbox" what would you say.

Anybody here plays anything? Wanna jam?? Let me hear what you can do…!



What are some things you'd like to have
happen/accomplish while you are in "this mortal coil".

Learn how to play the guitar! That answer is too easy.. I’m interested in writing songs and playing an instrument and trying to play what I hear in my head. My head is always ahead of my fingers, so I guess there is always something to work on. You never reach that point that you are satisfied.


What art, including books and movies moved, or move you.

Last book I read was ‘Het Diner’ from Dutch writer Herman Koch, a great read.
I try to stay in touch with the latest movies. Avatar 3D was pretty impressive! Also, I watched 'The Machinist' for the 3^rd time last week.

Besides that, anybody creating something original and moving that’s made with heart and soul, I’m interested in checking out.


What music are you listening to now, TRUTHFUL! don't try
to impress!

Jacques Loussier and while writing this, my iTunes library switched to Philip Glass, ‘The Witches Of Venice’. Great album. Thruthful answer!

Whats your world view, do you follow politics?

I try to avoid it as much as I can. Too much sneaky stuff going on there. My job is making music and I think music should be an escape from daily life. I do care about the rainforest and the children in Africa, but I don’t want to write songs about it. Music should be an escape.


Name some musicians you like to play with...
different than who you play with now. Musicians
that would challenge and change you.

Pff… Philip Glass would surely challenge my harmonic knowledge.. and I would like to have been the guitar player in the band with Pekka Pohjola, the Finnish composer who sadly died a couple of years ago. I saw him live a couple of times and he was a great bassplayer and composer.

What sessions can we look forward to there release in the next year.

There’s a new Rene Engel album coming up, Weaveworld from Lalle Larsson is just out. I will have to start writing some material for a new album, possibly RHP II in 2010. Keep an eye on www.richardhallebeek.com for details.



Thank you R.H.!



I "borrowed" this....


www.richardhallebeek.com/





Richard Hallebeek has been playing guitar professionally for over 25 years and has recorded with Shawn Lane, Scott Henderson, Brett Garsed, Frank Gambale, Scott Kinsey, Dan Gilbert, Carl Verheyen, to name just a few.

Born august 2, 1969 in Bilthoven, Netherlands, Richard Hallebeek started playing guitar at age ten and took lessons from local teachers. He formed some local bands and started performing in various Jazz and Rock groups. Influences early on were Pat Martino, Allan Holdsworth, Scott Henderson's first album 'Spears', Eddie Van Halen, Pat Metheny, the radio and every album he could get his hands on at the local library. Already at the age of 17 he was submitted to the Hilversum Conservatory, a conservatory best known for it's strong Jazz history drawing musician's from all over Europe. Richard studied with Jazz legend Wim Overgaauw and Maarten van der Grinten, a.o.

In 1989 Rich was the winner of the Dutch 'Yamaha Band Explosion' with his band 'What A Gig'. The Yamaha Band Explosion is a world wide talent search for bands writing their own material. The grand finale was held at the Budokan Hall, Japan, Tokyo for a 17,000 people screaming Japanese audience. In the jury were, a.o. Bon Jovi, Europe singer Joey Tempest and Casiopea guitarist Issei Noro. Hallebeek finished fourth with "Question of Love'.


In 1993 Richard was chosen out of more then 300 contenders to take part in the International Ibanez Guitar Award for 'Best All round Player'.

The finale was happening in Ahoy, Rotterdam and in the jury were a.o. Alex Skolnick (Testament) and Dutch session ace Lex Bolderdijk. Performing the Jazz Standard 'Road Song', the Rock Classic 'After Midnight' in an 'all instrumental' version and playing an unaccompanied solo, Hallebeek became the second price winner.

Around this time, things start to get real busy, besides already playing in different groups, there's also teaching and doing countless sessions and studio hours for radio, movies, commercials, (Dutch PTT Phonecompany, Hooghoudt, Region Police, Fokker, etc.etc.) and TV.

In 1994 he received a scholarship for a foreign study from the Prins Bernhard Fonds. At the end of '94 he leaves to Los Angeles for a one year study at the Musician's Institute to study ear training, composition and improvisation. He studies with Scott Henderson, Dan Gilbert, TJ Helmerich and Brett Garsed, a.o. He graduates with an honors degree.

It's at Orchid Avenue, Hollywood, where Richard meets his 'improvising over strange chord progressions' neighbor, Antti Kotikoski, a young guitar player from Finland. Antti has a big influence on the way Rich looks at music, composing and improvising. Together they team up to do a weekly performance at the Musician's Institute with various musician's at first, but later notably with Jan Fabricky on drums and J.K. on bass. Their goal is to write strong material, while still staying true to their guitar roots and leaving a lot of room for improvisation. Influences in their music can be anything, ranging from Rock, Fusion, Jazz to Pop and Heavy Riffs since they both have such a varied background. They continue to perform all year and record their first album in the M.I. studio, (now known as 'Tommy Tedesco' studios where numerous artists have recorded CD's since the first recordings of Richard and Antti) which was an initiative from engineer and eight finger tapping guitar wonder TJ Helmerich (now with Planet X). Some players who stop by to jam at those recording dates are Scott Henderson, M.I. teacher Dan Gilbert, Carl Verheyen and Frank Gambale.

At the end of '94, Richard gets the call from guitar guru Mark Varney well know for his monthly 'Spotlight Column' in Guitar Player and his Legato Records label who had featured so many great players Richard was heavily into before moving to L.A. Mark had heard some rumors about two hot new players and was interested in hearing some music.

At the beginning of '95 Richard and Antti sign a four album contract with the Legato label and Mark Varney. The first CD 'Generator' was released in November '96. Featured on that album are also Scott Henderson, (Chick Corea, Joe Zawinul) Frank Gambale, Dan Gilbert, Scott Kinsey (Keyboardist from Tribal Tech) and Carl Verheyen (Probably the most recorded guitarist in L.A session history.)

In '98 back in Amsterdam, Holland, 'True Colors', from Richard's rock group Maximum Brain Disfunktion is printed in a small quantity and sold at local gigs around Holland.

The beginning of 2000 brings a welcome distraction from the usual fusion stuff: Rich plays a 6 month tour, playing 6 nights a week, performing Händel’s classical masterpiece ‘The Young Messiah’ throughout the Benelux.

Rich also starts gigging around with drummer René Engel, probably best known for his CD project 'Jazz Sick' with Mike Stern and Danny Gottlieb.
In march '98 'Spheres of Samarkand' is released which features alot of outstanding guitarwork. Featured on that CD are also:Jeroen de Rijk (Mezzoforte), Nippy Noya (percussion legend). In 2003 ‘Nostalgia’ is released which further showcased the style of Rich which is moving more and more in his own original direction.

2003 Rich thinks it’s about time to do it his way, all the way. He initiates the Richard Hallebeek Project and gets help from some of his musical friends: Shawn Lane and Brett Garsed both contribute four solos. The band consists of a few of his musical heroes, young drummer Bas Cornelissen and keyboard virtuoso Lale Larson both contribute songs for the RHP and are heavily involved in the creative process, making it more of a band effort. Within a month after it’s release on the new guitar oriented U.K. Liquid Note Records label, RHP tops guitar9.com being the best selling and most popular fusion album and the album gets rave reviews through out the world.

There have been interviews and reviews with and about Richard in the 'Guitarist' and the Dutch 'Music Maker', American 'Guitar World' and 'Jazz Times' and the Japanese 'Young Guitar' and the Italian 'Axe'.

Richard Hallebeek has an endorsement with Brian Moore Custom Guitars USA (playing a C-90),KOCH guitar amps and speaker cabinets and Diezel amps. He has a habit of using too many pedals.

Where does the journey end? Stay tuned and we will see.


and some vid links....


http://www.youtube.com/watch?v=McvEQhLwU2k




http://www.youtube.com/watch?v=O_E-0S7SteQ



http://www.youtube.com/watch?v=m3M9_8RzZJo




http://www.youtube.com/watch?v=gAMyyGD5Ip4

GMO's. What are we in for.....

I don't want to paint myself as a Luddite, I am not in the "anti-science" camp. I believe in the use of properly vetted new inventions, However I have real concerns about the use of genetically modified organism's in everyday life.
It really seems like the business sector has pushed through a lot of legislation regarding the use of GMO's in everyday life. Did you know, that if you are shopping in an American supermarket if you purchase 10 processed food items your odds of
having at least 1 GMO is over 90%? (75% of all processed foods in the U.S. contain a GM ingredient).

The problem is testing, GMO's are allowed into the U.S. without significant testing thanks to the ruling that In the U.S., the FDA has said there is no significant difference. However GMO crops have cross pollinated with other, wild and domestic crops and since they are under patent farmers can be charged for growing these cross-pollinated crops!
Its up to the farmer to be sure the pollen doesn't reach his crops. Its Insane and to me the entire reasoning behind the patenting of a life-form is foul.


Genes ...all kinds of genes are "spliced" into target crops. Scientists have learned how to put human or animal genes into plants
and have also learned how to create "factory" plants that will produce certain substances. (Pharmaceuticals, Herbicides even hormones).

On the last note,Plants producing hormones. The human hormone testosterone has been hacked into citrus, The Navel orange now can provide anabolic steroids. What science has created is a new frankenfruit, the navel orange in its "lower" form....

the Penis orange.

Killer guitarist richard hallebeek

Richard Hallebeek has become one of my favorites...see the review I did of One Spirits second release.



here's a bio at Richard's site: http://www.richardhallebeek.com/bio/index.php






:: One Spirit - Go For It! (2009)


Richard Hallebeek, Frans Vollink, Sebastiaan Cornelissen - Go For It!
:: Tracks ::
1) Tricky's Tales listen mp3
2) Demo Of Demonstration
3) Purpurama
4) Done listen mp3
5) If So
6) Port listen mp3
7) Go For It MF listen mp3
8) Maybe-Interlude
9) Leo's Dance listen mp3
10) 25-8 listen mp3
11) Sergio's Pants listen mp3
12) TBA listen mp3
13) Paraquats listen mp3
:: Musicians ::
Richard Hallebeek
Guitars
Frans Vollink Bass
Bas Cornelissen Drums
Ada Rovatti Sax
Randy Brecker Trumpet
Steve Hunt , Lalle Larsson Keys
Martin Verdonk Percussion
Rob van Bavel Piano


:: U-Turn (2009)




Title ::
Sebastiaan Cornelissen - U-Turn
:: Tracks ::
1) Can do
2) Fruits & Fibre
3) Uturn
4) Caspar
5) 4 Hands
6) Stello
7) England Green listen mp3
8) All So Familiair
9) Stevenage
10) Up There listen mp3
11) Bread Maker
12) Squash listen mp3
13) Snox!
14) Last One
:: Musicians ::
Sebastiaan Cornelissen
Drums
Jimmy Earl, Tom Kennedy, Frans Vollink, Hadrien Feraud, Johnny Copland, Gary Willis,Ruud Cornelissen Bass
Richard Hallebeek, Alex Machacek, Susan Weinert, Leonardo Amuedo, Mike Outram Guitar
Gary Husband, Steve Hunt, Scott Kinsey Keys
Gerard Presencer Flugel Horn
:: The Alchemists II (2007)
:: One Spirit (2005)
:: Richard Hallebeek Project (2005)

This is Hallebeeks solo release...its great!

Richard Hallebeek Project


guitar 9

http://www.guitar9.com/richardhallebeek.html

"Richard Hallebeek Project"

The Story
The "Richard Hallebeek Project" is the self titled debut CD featuring advanced instrumental jazz/rock fusion by Dutch guitar monster Richard Hallebeek, along with Lale Larson (keys) and Bas Cornelissen (drums), and showcasing Shawn Lane (guitar) and Brett Garsed (guitar) on four tracks. As Hallebeek himself wrote in January of 2004, "After being a sideman for many years, I finally felt the time was right to step out on my own. I've enjoyed playing in different formats in the past, but have always had a very clear picture about how I wanted things to be. Meeting Cornelissen and Larson was a big turning point - we seemed to hit it off right away. They made unique contributions to the songs and to the project as a whole. At the same time, Liquid Note Records gave us the green light to write and play the kind of music we loved, but rarely hear nowadays. Of course, we didn't stop there - the guest performances by Shawn and Brett added to the excitement we felt when we first got to play together with this group." In short, the "Richard Hallebeek Project" provides the listener with terrifyingly good fusion.





Richard Hallebeek Project with Lale Larson and Bas Cornelissen Feat. Shawn Lane & Brett Garsed
:: Tracks ::
1) Prescription Strength listen mp3
2) Good Food listen mp3
3) Enigma listen mp3
4) Lined Out
5) Canoga Park
6) Free listen mp3
7) Axe
8) Imagine
9) Orange Faces
:: Musicians ::
Richard Hallebeek
Guitars
Shawn Lane Guitars
Brett Garsed Guitars
Bas Cornelissen Drums
Lale Larson Keys
Udo Pannekeet Bass

BUY IT!

https://www.paypal.com/nl/cgi-bin/webscr?cmd=_flow&SESSION=bgxOEf7sbUFlg3fBi1lViiWIaRZhB_k9CtZJ5S2BD3TJxWJs3BF3qImha48&dispatch=50a222a57771920b6a3d7b606239e4d529b525e0b7e69bf0224adecfb0124e9b5eb2336391e7cbed125f6c5bdaf8a1cd2bd526d80f731bcf

:: Flowriders - Starcraft (2005)
:: Flowriders - Pheromone (2004)
:: Attitude (2002)
:: The Alchemists (2002)


:: Nostalgia (2002)

René Engel - Nostalgia (All songs by René Engel)
:: Tracks ::
1) Adventures In Afghanistan listen mp3
2) Tour De Force
3) Enschedé, may 13 2000
4) Song For Mandela listen mp3
5) Sikat Sekali Lagi, Nyong! (p3)
6) Nostalgia listen mp3
7) Nels
8) Sikat Sekali Lagi, Nyong! (p4)
9) Ode To Bach
:: Musicians ::
René Engel Drums
Richard Hallebeek Guitar
Maik Schott Keys
David De Marez Oyens Bass
Davy De Wit Bass
Nippy Noya Percussion


BUY IT!

https://www.paypal.com/nl/cgi-bin/webscr?cmd=_flow&SESSION=pBuKJw6hwpPTGs1FtP6GtOYLfMb0IXjcRTswnY4CBfpsDT2yE4h1_AuqE5u&dispatch=50a222a57771920b6a3d7b606239e4d529b525e0b7e69bf0224adecfb0124e9b5eb2336391e7cbed125f6c5bdaf8a1cd2bd526d80f731bcf





:: Perception Of The Beholder (2002)



Isotope - Perception Of The Beholder
:: Tracks ::
1) Compound
2) Bowshock Nubula
3) Soundset
4) Rename Later
5) Perception Of The Beholder
6) 24 Pilot Lights: listen mp3
7) 12 Men Left
8) Dipsy
9) Voodoo Horns
:: Musicians ::
Sebastiaan Cornelissen
Drums
Udo Pannekeet Bass
Rob Van Bavel Rhodes
Tom Beek Sax
Ruud Breuls Trumpet
Ilja Reijngoud Trombone
Jan van Duikeren Trumpet
Wim Both Trumpet


BUY IT!

http://www.aggressiveattack.com/



:: Spheres Of Samarkand (1998)


Rene Engel - Spheres Of Samarkand
(all songs by rene engel)
:: Tracks ::
1) Cullera listen mp3
2) Devils Of The Desert listen mp3
3) Hunting Song
4) So Deep listen mp3
5) Aranjuez listen mp3
6) Curacao On My Mind
7) Spheres Of Samarkand
8) Sikat Sekali Lagi, Nyong! (Part 1)
9) Fears listen mp3
10) Sikat Sekali Lagi, Nyong! (Part 2)
:: Musicians ::
Richard Hallebeek
Guitars
René Engel Drums
David De Marez Oyens Bass
Davy De Wit Bass
Maik Schott Keyboards
Nippy Noya & Jeroen De Rijk Percussion

BUY IT!

https://www.paypal.com/nl/cgi-bin/webscr?cmd=_flow&SESSION=u2gKtQnuDSPuqLkcNItM_gdV_GwvpJ2B5xO8VJa5YSQL4rwfFeryaY_HkLK&dispatch=50a222a57771920b6a3d7b606239e4d529b525e0b7e69bf0224adecfb0124e9b5eb2336391e7cbed125f6c5bdaf8a1cd2bd526d80f731bcf


:: No Respect In '98 (1998)


Richard Hallebeek and Antti Kotikoski - No respect in '98
:: Tracks ::
1) DJ Bunuel Tells It Like It Is
2) Band Aid (Kotikoski)
3) Seasons (Hallebeek) listen mp3
4) Amsterdam (Hallebeek) listen mp3
5) Pain And Relief (Pratskin)
6) New World (Hallebeek)
7) Urban Enigma (Wessman) listen mp3
8) Swang Thang (Hallebeek) listen mp3
:: Musicians ::
Richard Hallebeek
Guitar & Midi
Antti Kotikoski Guitar & Midi
Timo Pratskin Keyboards
Jaan Wessman Bass & C. Stick
Harri Lehtonen Drums


:: Generator (1995)

From Richard's site: (I think its a tad harsh about the composition comment.

:: Gitarist (Holland) ::

Hiding behind the name 'Richie & Antti' are Richard Hallebeek and Antti Kotikoski. They have a four-album deal with the prestigious 'Legato' guitarlabel. On this label, led by Mark Varney, there have been albums released with big names shredding such as Allan Holdsworth, Frank Gambale, Shawn Lane, Brett Garsed and Carl Verheyen. You can take that 'shredding' part seriously, because a lot of the Legato albums use the same receipe: a simple groove, complex harmonies, and incredible powerful guitarchops. It's, in other words, music made by and for guitar players. It's common knowledge that the market for guitar music has been going down in recent years, emphasized by the fact that Relativity (Joe Satriani and Steve Vai's label) will switch to rapmusic in the future! Honour to Mark Varney for not letting this group of guitar players down still striving for technical perfection.

The 'Generator' album from Richie & Antti follows the same receipe as described above: a funky rhythm section with long layers of chords where the soloist can go ahead and go off. In that respect, it's unavoidable to compare this album to for example 'Truth In Shredding' from Frank Gambale and Allan Holdsworth. Richie & Antti are not from the same caliber( which is no disgrace at all!) Yet there is more then enough potential present to be very curious what the future will bring us from these two gentlemen. Besides that, Generator is not a strict duo-CD. From the 9 songs, Richie & Antti only perform three tunes together. They did compose everything together though. At the time of this pressing, Richard is already back in L.A. to record the follow-up to Generator; the new album will feature some more special guests like Allan Holdsworth.

If Richard works a little bit on his composing and gets a little bit away from his Holdsworth/Henderson influences, there will undoubtly be exiting times ahead of him!First impression: Fahrenheit, Persian RugM.R.


:: True Colors (1994)
Maximum Brain Disfunction - True Colors
:: Tracks ::
1) True Colors (MBD)

2) I Gotta Go (MBD)

3) Light Of Day (Hallebeek)

4) Now's The Time (MBD)
5) Guarana (Hallebeek)
6) No One knows (MBD)


:: Musicians ::
Richard Hallebeek
Guitars
Bart Dalenoord Drums
Jaap Bokma Bass
Maarten De Wit Zang




videos

http://www.youtube.com/watch?v=O_E-0S7SteQ


http://www.youtube.com/watch?v=inHJBFJ2RW0


http://www.youtube.com/watch?v=m3M9_8RzZJo


http://video.google.com/videosearch?client=firefox-a&rls=org.mozilla:en-US:official&channel=s&hl=en&source=hp&q=richard%20hallebeek&um=1&ie=UTF-8&sa=N&tab=iv#











gigs.......




February 2010

Feb 06 FOREIGN AFFAIR Westbroek, Kerkdijk 36, start 21:00
Feb 18 MASTERCLASS Zwolle Conservatory, Aan De Stadsmuur 88, start 14:00

Tim Miller hook-ups

i forgot:

6 nights - April 14th - 19th

Tim plays with Paul Motian

at the Village Vanguard

NICE!!!

also..

Clinics

w/Terri Lyne Carrington, Greg Osby

February 5, 2010

8:15 AM - 9:15 AM Improv clinic

9:30 AM - 11:30 AM Group clinic

1:00 PM - 2:00 PM Improv clinic

2:15 PM - 3:00 PM Guitar clinic

Spokane, WA

Major Talent: Tim Miller

One thing I have noticed about musicians
when I have a chance to talk to them about material.

They are generally a poor judge as to the quality, often
times consigning something I find amazing to the rubbish bin.


So...how did I get to that statement...Hmmm.
we're talking about guitarist Tim Miller, a recent discovery (for me)
and a major talent to be reconded with. (I will show you who's he's hooked up with)


Anyway, I heard a Tim Miller cut at a friends house and I
thought...Cool, Allan's (Holdsworth) playing nylon again!
Ah, but it was not holdsworth, it was Tim Miller.
In fact by the end of the piece I was listening to, it was
pretty clear that this was NOT holds, It was of VERY high
quality but, obviously the player had ideas of his own.

As I turned out, the CD was Miller's "trio 2" release.
and I could'nt tell you the exact cut.
Suffice to say, Miller's got the legato "sheets of sound" (I forget if
this originated from John Coltrane or maybe..John Klemmer!)
He's been listening to Reed players as much as other guitarist's.


So, I've found some reviews and grouped them up, also some links for
you to check Miller out in action.


Here's a quick breakdown:


TimMiller@timmillermusic.com



2008 Live at the 55 Bar - Janek Gwizdala

When I spoke (e-mailed Miller) talking about some of his music,
I asked for recommendations. He left this out. Hmmmm.

well, I think it was just an oversight, Gwizdala is a GREAT bassist!
and Miller burns on this!

2008 Chasing Shadows - Tony Grey
Another bassist here, the session also feature
the FUZE on guitar. But, this did not grab me.



2001 Blown Fuse - Steve Hunt

JUST KILLER..buy it now.I love steve Hunt anyway.
(he was the keyboard player in Allan Holdsworths
band for some of what is my favorite Holdsworth)

Hunt clearly is using Miller as a holdsworth "proxy" here
but the results are amazing.





1998 Corners - Aldo Romano

This is my favorite Non-Miller self release. I mean,Aldo Romano!
The guys a effin genius. Miller is utelized very, very well here.

and he shines!

and these:

Tim Miller Trio 2




Tim Miller
Trio Vol. 2
Avenir Records
2008

Very few guitarists have digested, head-on, the daunting influence of Alan Holdsworth, and then assimilated it into their own playing. Fewer still have combined Holdsworth's no-longer-futuristic linearity with the science of melodic chord permutation, as promulgated by the likes of George Van Eps, Ted Green and Mick Goodrick. Even fewer are in their thirties, like Tim Miller.

These qualities alone would make Miller's current release—the second with his trio including acoustic bassist Dr. Joshua Davis and drummer Take Toriyama—auspicious, but there is much more to consider here. Miller has taken his game up—way up—in terms of the sound he's achieving on record, to the point where his work advancing the breadth of the tone palette alone can now be compared to those at guitardom's highest levels.

Miller's approach is deceptively simple. Driven by his belief that the electric guitar is too midrange-heavy to "work" with acoustic instruments, he chased down the high end by isolating himself in a room with a guitar and a microphone and placing his amplifier in another room. Both acoustic and electric outputs were recorded, and are capable of being blended at will throughout. From a technical recording standpoint, then, the degree of innovation here appears relatively modest.

Aesthetically, though, there is a level of shimmering discernment and detail at play here that pushes the elusive annals of tone. A dazzling bounty of tonal delights—from vintage dreadnought to fat bop, steely Strat to Texas Tele—emerge, played at breakneck speed and sometimes changing from measure to measure. Miller's blistering legato technique is more percussive than Holdsworth's—his chord work even more modern and complex, yet always musical, never guitaristic. Steve Hunt recorded and engineered this outing, making it special by bringing all his previous experience with Holdsworth to bear.

The opening track, "Electric," features an airy acoustic head, pulsed by a chord ostinato and propulsed by a beaten snare that sounds copped from rag-tag street kit by Toriyama. Miller begins his solo with a gorgeously sustained single tone. From there he builds, in seconds, two complex, rhapsodic figures that collapse on themselves, all the while adding echo, subtracting sustain, metering metal and pumping air into the tone. He then combines the discerning changes in tonal detail with improvisational detail, repeating a 32nd note motif that subtly changes from measure to measure, developing into its own intervallic song. Toriyama does not keep pulse, challenging Miller at every turn, the clatter abetting what up to that moment, is Miller's (and band's) finest hour.

That five minutes alone anoints Miller as the jazz world's guitar Superboy. The next 40 minutes only get more momentous, with Miller out-playing and out-tone-meistering himself from one tune to the next. He takes respite only to issue a definitive solo spot that sounds like his personal revel to the "Night Sky." Miller also gives composition a twist by intermingling motifs, statements and devices from each of the tunes, to the degree that the recording becomes one labyrinthine compositional whole. Yet many, like "Trace," can stand on their own, as catchy gems chock full of hummable melodies, with flashes of energetic soloing.

Joshua Davis' sense of time is solid—at times locking with the bass portions of Miller's chord voicings—and (thanks to some crafty recording) sounds electrifying yet woody, as on "Trace." Toriyama logs one of his greatest recorded performances ever, benefited by the best recording of it, as evidenced in the turn-on-a dime ride swing melded to crushing jazz-rock stylings slammed against each other in "Thread." Miller dedicated the recording to Toriyama but it's the drummer himself who provides the only tribute needed. Whoever hears this recording will know that during his all-too-short stint here, Toriyama thoroughly mastered the drum kit, fearlessly incorporating some sounds that, previous to his work, seemed not to belong. And whoever hears some of his other work will know he did the same over the complete range of musical idioms.

Miller believes that this is his most personal recording to date, on which the sound he has imagined for so long has finally made it onto record. That's just one reason why Mr. Miller was recently cited by no less than Alan Holdsworth, in the most recent issue of Guitar Player Magazine, as one of two current guitar players to watch.


Tracks: Electric; By The Sea; Elements; Flying; Night Sky; Arc; Thread; Grey To Blue; Trace; Drop of Ink; Recall; Open.

Personnel: Tim Miller: guitar; Joshua Davis: bass; Take Toriyama: drums.



Tim Miller Trio

http://www.allaboutjazz.com/php/article.php?id=18917



Tim Miller's third indie effort stands out by manifesting his influences as an aural whole. Compositionally, the freedom and openness in the music reflects the deep influence of Keith Jarrett, while sonically, the air-infused yet electric guitar sound dances with bass and drums mixed in a pastoral acoustic style. Even with headphones, the listener hears the trio of instruments entwined in the air, coupled by intense playing and musicianship.

From the perspective of guitar-related influences we hear the chordal inspiration of a fellow Bostonian, voicing-god Mick Goodrick. Linearity is Miller's calling card, seamlessly melding Allan Holdsworth's 21st Century legato technique with a non-guitar-centric, truly jazz vocabulary and phraseology, with notes percussing from the fretboard in pianistic fashion.

Another facet that takes Trio up a notch is the particular attention paid to tone and articulation on the high end. Miller devoted requisite consideration and time to sonics, and the dividends are sumptuous. An advocate of the ergonomically correct Klein axes, Miller's performance on "Untied sounds as if he's playing two of them at once, electric for the atmospheric chords of the intro and acoustic for the quick sixteenth-note turn-backs found on high, doubled by the drums. Take Toriyama's tone is apart from the more athletic norms of the "fusion realm, with more of the room than the kit in the mix. His use of slackened snare, coupled with bassist Josh Davis' booming upright sound, is especially effective on this track.

Miller employs a super-thick tone for his solo, alternating bop-legato mastery with sax-like repeated figures that belie the layout of the fretboard. Miller can lay into a rock'n'roll repeating hyperspeed four-note figure akin to traditional Hendrix or Page twelfth-fret pentatonics, but in the middle of the neck, using four notes at spread intervals of the harmony-of-the moment, something more out of Mike Brecker's vocabulary.

While the recording weighs in at the forty-minute mark, there's much to be said for concentration and self-editing. "Sparkle is ninety seconds of inspired melodic riffing against Toriyama's percussion arsenal and will alone reward consecutive listening surpassing the total of the disc's real time. It would be an interesting musical exercise to map out here where each of Miller's melodic phrases begins or ends, or to pick the midpoint of each. I am sure each roadmap would in turn comprise alternate songs. Similarly, the three minutes of "MG, dedicated to mentor and Berklee fellowman Goodrick, forge a successful marriage of modern rock balladry with jazz.

"Straight Lines is the composition of the set, a mid-tempo cut smoldering with the passion and memorable melody usually reserved for ballads, especially in Miller's opening solo salvo. The two "Density compositions, using minimal themes fashioned from rhythmic chordal materials growing out of and into weaving strands of single-note improvisation, reveal substantial rewards unearthed by exploring repetition as a means of mining new melodic and improvisational territory.

Nothing should stand between this one getting heard and Miller's justifiably meteoric ascension on the worldwide guitar-watchers org-chart.



Track listing: Intro; Untied; Shift; Paris; Sparkle; Straight Lines; The Trees the Sun; Density One; TR; Two View; Density Two; MG.

Personnel: Tim Miller: guitar; Joshua Davis: bass; Take Toriyama: drums.



Tim Miller Trio Sides This apparently is the CD that Mr. Miller considers his "debut".
Its a bit "fuller" than the next two, with the addition of a reed player. I know Mr.
Miller will likely cringe at the Holdsworth compairisons...(I'm sorry,
its apt). But..I always enjoyied Allans work with Gordon Beck (jazz) and Pat Smyth.
He can be a hell of a jazz player.
Here, I get a simelar "legato" playing jazz.



But, I can't find this:


1997 With The Distance




some vids......



http://www.youtube.com/watch?v=I4ow7HgUbA0





http://www.youtube.com/watch?v=I0b0YQAD_zU





http://www.youtube.com/watch?v=zcb5ptVgXYk

Allan Holdsworth With Terry Bozzio, Tony Levin & Pat Mastellotto

Well, I guess there is a santa claus......

I gotta tell you Mr. Holdsworth, I love your music and I buy everything you have ever played on. (even the one's you say "Stuff I recorded..and wish I had not"...) but your not the only 'narley Geezer out there.
I just wanted something different, a new challenge, a change of pace.

and boy have you delivered!

I wish this tour came to Kauai.. ah well.

Anyway, I cannot wait for the CD...and for gods sake studio and a live double disc!

I mean, cheese and crackers! When are four players like this going to happen again? Its like a modern electric improvisational version of those old time jazz all-star gigs!

here's where they been, wrecking havoc....

BOZZIO HOLDSWORTH LEVIN MASTELOTTO
WEST COAST USA TOUR
Terry Bozzio drums
Allan Holdsworth guitar
Tony Levin bass guitar, Chapman stick, upright bass
Pat Mastelotto drums, percussion

January 2. 2010 - Seattle, WA
Venue: The Triple Door
www.thetripledoor.net

January 3. 2010 - Seattle, WA
Venue: The Triple Door
www.thetripledoor.net

January 4. 2010 - Portland, OR
Venue: Aladdin Theater
www.aladdin-theater.com

January 6. 2010 - Santa Cruz, CA
Venue: Kuumbwa Jazz Center
www.kuumbwajazz.org

January 8. 2010 - Oakland, CA
Venue: Yoshi's
www.yoshis.com

January 9. 2010 - Oakland, CA
Venue: Yoshi's
www.yoshis.com

January 10. 2010 - Oakland, CA
Venue: Yoshi's
www.yoshis.com

January 12, 2010 - Whittier, CA
Venue: Whittier Theater

www.calprog.com

January 13, 2010 - San Diego, CA
Venue: Brick By Brick

www.brickbybrick.com

(More dates to be announced)

Next..europe!

then?

2010

BOZZIO/ HOLDSWORTH/ LEVIN/ MASTELOTTO

European Tour

TERRY BOZZIO drums
ALLAN HOLDSWORTH guitar
TONY LEVIN Chapman Stick, upright bass
PAT MASTELOTTO drums, percussion, samples

April 6, 2010 – Berlin (Germany)
venue: Quasimodo
www.quasimodo.de

April 7, 2010 – Hamburg (Germany)
venue: Fabrik
www.fabrik.de

April 8, 2010 – Amsterdam (Holland)
venue: Paradiso
www.paradiso.nl

April 9, 2010 – Zoetermeer (Holland)
venue: Boerderij
www.boerderij.org

April 10, 2010 – Münster (Germany)
venue: Jovel
www.jovel.de

April 11, 2010 – Groningen (Holland)
venue: Oosterpoort
www.de-oosterpoort.nl

April 12, 2010 – Limbourg (Belgium)
venue: Salle Le Kursaal
www.lekursaal.be, www.spiritof66.be

April 13, 2010 – Bonn (Germany)
venue: Harmonie
www.harmonie-bonn.de

April 14, 2010 – Ludwigshafen (Germany)
venue: KUZ Dashaus
www.dashaus-lu.de

April 15, 2010 – Eindhoven (Holland)
venue: Muziek Centrum Frits Philips
www.muziekcentrum.nl

April 16, 2010 – Karlsruhe (Germany)
venue: Tollhaus
www.tollhaus.de

April 17, 2010 – Dornbirn (Austria)
venue: Das Haus Spielboden
www.spielboden.at

April 18, 2010 – Trezzo Sull’Adda, Milano (Italy)
venue: Live Club
www.liveclub.it

April 19, 2010 – Zurich (Switzerland))
venue: Moods
www.moods.ch

April 21, 2010 – Vienna (Austria)
venue: Planet.tt
www.planet.tt

April 22, 2010 – Ostrava (Czech Republik)
venue: Fabric Club
www.fabric.cz

April 23, 2010 – Prague (Czech Republik)
venue: Lucerna Music Bar
www.musicbar.cz

April 24, 2010 – Opole (Poland)
open air festival venue: TO BE ANNOUNCED

April 25, 2010 – Katowice (Poland)
venue: Mega Club
www.megaclub.pl=

This is the gig you do not want to miss, I have followed Bozzio since the Zappa days,(re-form group 87!) and to have Bozzio, Tony Levin and Pat Mastellotto is almost too much to ask...but you add Mr. Holdsworth..DAMN.

Here's some really good bio...http://www.yoshis.com/oakland/jazzclub/artist/show/1060

John Flynn wrote:

I saw the Levin-Holdsworth-Bozzio-Mastelotto concert at the Triple Door in Seattle. It was quite accessible for free jazz (as usually I'd be thinking "oh, so that's why it's free"). Liked it a lot except I was wanting a little more acoustic texture in the percussion and drums, and maybe some more structured composition now and then. It was entirely improvised.

After the show as I sat at the bar with my friend, Alan Holdsworth happened to sit next to us and order beers. So I bothered to chat him up a short bit. He seemed like he'd been waiting for the beer all night. He was polite and a regular guy, despite a couple of intervening autograph hound requests -embarrassingly one presented him a vinyl of Atavachron to sign that clearly had a used price tag stuck to the front in a manner no collector would resist peeling off. I asked about his schooling and he said he is self-learned except that his Dad taught him a lot of his music knowledge. I was moved by how he remarked what an amazing man his father was.

The Tony Levin contribution was not as rewarding to hear as his band's concert at Bumbershoot in 2000. But it struck me how much Levin and Holdsworth made sounds reminiscent of David Torn's Cloud About Mercury... weird because I always had thought that album reminded me of Holdsworth from other sonic angles.

Overall it was worth the ticket price and expensive drinks. My only real complaint with the lack of compositional form was that it may have kept Holdsworth a bit restrained in presenting his usual lush, densely poignant chording and extended harmonies I love hearing from him so much.

some vids...


http://www.youtube.com/watch?v=miOmVHyxpuc

http://www.youtube.com/watch?v=2LSgcSPOe5U

Soma FM

a shameless plug for Nitya...but he will play some good stuff...and that picture show's exactly how he's furnished his house!


http://somafm.com/play/sonicuniverse

Sonic Universe: NuJazz + avant-garde EuroJazz. Transcending the world of jazz with experimental takes on tradition.

Music Director / DJ: Nitya

All Roads Lead To the Flesh

I wrote the following review for the Detroit Metro Times back in 1995, when this CD was first issued.



Since that time "All Roads" had fallen out of print and was only recently reissued.Kip Hanrahan is a personal favorite of mine, since his early efforts like Coup de Tete and Desire Develops an Edge. Having worked for the Jazz composer's co-op, Hanrahan had plenty of contact's with leading jazz musicians and his session's reflect this with many top names performing.
Pretty much all of his work "stands the test of time" and is just as fresh on every listen.

Here's my review:

“All Roads Lead To the Flesh”

Kip Hanrahan

American Clave/Rounder Records

For the initiated, New Yorker Kip Hanrahan is a jazz and world music renaissance man. He is not only a fine percussionist and composer, but a very talented producer and arranger as well, able to bring together disparate collaborators seamlessly to realize a single project. His previously recorded works are more like novels in sound than conventional jazz outings. They’re all conceptually conceived and feature compositions that are stories within stories: they even develop characters. His music resembles no one else’s, though there’s no question as to his influence on more famous sonic auteurs like Hal Wilner.
That said, on “All Roads Are Made Of The Flesh”, Hanrahan abandons his previous methodology to release a collection of short stories that stand on their own, rather than as chapters in an aural novel. As usual, he has assembled a stellar cast of musicians to help him realize his vision: I only wish I were in the audience-they’ve never played in Detroit.
The disc kicks off with “Buddy Bolden’s Blues,” a tribute to the legendary, but never recorded trumpeter who many credit as inventing jazz.

Jack Bruce gives the track a wonderful reading with both his bass and voice, as Allen Toussaint and the late Don Pullen’s piano and organ respectfully give the piece a smoky , stomping New Orleans’s feel.
“The first and Last to Love Me” is a gorgeous version of the track recorded on an earlier, and now sadly out of print, album. It segues beautifully into “The September Dawn”. The band is stripped down with Bruce’s vocals shining on both tracks. As a modal musical interlude gives way to his singing, the effect is smooth, relaxed and resonates with nuance and texture. Here’s where the pace picks up. Percussion and rhythm steer the band into unknown and funkier territory.

The album closes with a gorgeous solo piece by Pullen ( would that he were still with us) and a second instrumental take of “The First and Last to Love Me,” with The late George Adam’s tenor sax in place of Jack Bruce’s vocals. The feel is tender, low-key and provides a fitting, loving tribute to both Pullen and Adams.

“All Roads Lead To the Flesh” is a chronicle of the evolution of Hanrahan’s ideas, and how he transposes them to fit a live setting. How he puts these artists together for tours is amazing. I only hope he sees fit to visit Detroit the next time around. – Jay Dorrance

And here's what wikipedia has to say..(they need an update).

Kip Hanrahan (born December 9, 1954) is an American jazz music impresario, record producer and percussionist. Born to an Irish-Jewish family in the Bronx, New York.

Hanrahan has an unusual role in the albums released under his name, one which he has analogized to that of a film director. He assembles players and materials, combining modern/avant-garde/free jazz figures like Don Pullen and Steve Swallow, Latin jazz players such as Milton Cardona and Horacio "El Negro" Hernandez, and occasionally rock singers like Sting and, most notably, Jack Bruce.

Hanrahan produced a number of significant recordings by the Nuevo Tango master Astor Piazzolla in the last decade of Piazzolla's life, as well as recordings by Latin music figures Jerry Gonzalez, Milton Cardona, and others.

Hanrahan also worked with the poet Ishmael Reed on 3 recordings with the Conjure Ensemble, including the 2006 "Bad Mouth." These side projects were not the only poetry based discs; "Darn It!" from 1994 celebrates the work of Paul Haines.

[edit] Discography

This listing includes recordings released under Hanrahan's name, as well as those released under the name Conjure.

• Coup de Tete - recorded 1979-81

Kip Hanrahan, Jerry Gonzalez, Daniel Ponce, Arto Lindsay, Jamaaladeen Tacuma, Anton Fier, Chico Freeman, Carlos Ward, Ignacio Berroa, John Stubblefield, Carla Bley, Teo Macero, Bill Laswell, Billy Bang, Lisa Herman, Nicky Marrero, Byard Lancaster, George Cartwright, Orlando DiGirolamo, Dom Um Romao, Fred Frith, Mike Mantler, Dave Liebman

• Desire Develops an Edge - recorded 1982-3

Jack Bruce, Kip Hanrahan, Steve Swallow, Puntilla Orlando Rios, Arto Lindsay, Elysee Pyronneau, Ricky Ford, Ignacio Berroa, Jerry Gonzalez, John Stubblefield, Jamaaladeen Tacuma, Anton Fier, Milton Cardona, Teo Macero, Tiplume Ricardo Franck, Frisner Augustin, Sergio Brandao, John Scofield, Jody Harris, others

• Conjure - recorded 1983, released 1985

Taj Mahal, Allen Toussaint, David Murray, Steve Swallow, Carla Bley, Lester Bowie, Kip Hanrahan, Carman Moore, Olu Dara, Jamaaladeen Tacuma, Puntilla, Milton Cardona, Kenny Kirkland, Ejaye Tracey, Don Jay, Jean-Paul Bourelly, Billy Hart, Frisner Augustin, Olufemi Claudette Mitchell, Robert Jason, Molly Farley, Brenda Norton, Elysee Pyronneau, Andy Gonzalez, Peter Scherer, Sal Cuevas, Arto Lindsay

• Vertical's Currency - recorded 1984

Jack Bruce, Kip Hanrahan, Steve Swallow, Milton Cardona, David Murray, Arto Lindsay, Ignacio Berroa, Puntilla Orlando Rios, Peter Scherer, Frisner Augustin, Elysee Pyronneau

• A Few Short Notes for the End Run (EP) - recorded 1984-5

Jack Bruce, Kip Hanrahan, Milton Cardona, Giovanni Hidalgo, Ignacio Berroa, Andy Gonzalez, Steve Swallow, Allen Toussaint, Clem Clemson, others

• Conjure: Cab Calloway Stands in for the Moon - recorded 1987-8, released 1988

Ishmael Reed, Allen Toussaint, Don Pullen, Leo Nocentelli, Steve Swallow, Robbie Ameen, Olu Dara, Eddie Harris, David Murray, Bobby Womack, Clare Bathe, Robert Jason, Fernando Saunders, Grayson Hugh, Milton Cardona, Hamiet Bluiett, Giovanni Hidalgo, Frisner Augustin, Ignacio Berroa, Elysee Pyronneau, Johnny Watkins, Lenny Pickett, Diahnne Abbott, Tennessee Reed, Shaunice Harris

• Days and Nights of Blue Luck Inverted - recorded 1988-9, released 1990

Fernando Saunders, Andy Gonzalez, Leo Nocentelli, Giovanni Hidalgo, Jerry Gonzalez, Milton Cardona, Robbie Ameen, Willie Green, Charles Neville, John Stubblefield, Kip Hanrahan, Jack Bruce, Ignacio Berroa, Peter Scherer, Anton Fier, Lew Soloff, Mario Rivera, David Murray, Pablo Ziegler, Alfredo Triff, George Adams, Carmen Lundy

• Tenderness - recorded 1988-9, released 1990

Sting, Diahnne Abbott, Carmen Lundy, Lucy Penebaz, Fernando Saunders, Kip Hanrahan, Robbie Ameen, Andy Gonzalez, Giovanni Hidalgo, Leo Nocentelli, Don Pullen, Alfredo Triff, Chocolate Armanteros, Chico Freeman, Milton Cardona, Richie Flores, Ignacio Berroa, Andrew Cyrille, Marvin Smith, Cecilia Engelhardt

• Exotica - recorded 1992, released 1993

Jack Bruce, Don Pullen, Robbie Ameen, Alfredo Triff, Leo Nocentelli, JT Lewis, David Sanchez, Ralph Peterson Jr., Anthony Carillo, Richie Flores, Milton Cardona, Lucy Penabaz, Andy Gonzalez, Mario Riviera

• Anthology - released 1993

Two disc Compilation

• All Roads Are Made of the Flesh - recorded 1984 – 1994, released 1995

Kip Hanrahan, Jack Bruce, Don Pullen, Charles Neville, Carmen Lundy, Allen Toussaint, Leo Nocentelli, Alfredo Triff, Robbie Ameen, JT Lewis, George Adams, Milton Cardona, Anthony Carrillo, Chocolate Armenteros, Dino Saluzzi, Renaud Garcia-Fons, Michael Reisler, Wolfgang Puchnik, Andy Gonzalez, Giovanni Hidalgo, Jerry Gonzalez, Elysee Pyronneau, Steve Swallow

• A Thousand Nights and a Night (1 - Red Nights) - recorded 1994-6, released 1996

Don Pullen, Robby Ameen, Carmen Lundy, Charles Neville, Jack Bruce, Brandon Ross, El Negro Horacio Hernandez, Henry Threadgill, Silvana Deluigi, Mike Cain, DD Jackson, Anthony Carrillo, Fernando Saunders, Puntilla Orlando Rios, Milton Cardona, Alfredo Triff, Eric Schenkman, Andy Gonzalez, Steve Swallow, Abraham Rodriguez

• A Thousand Nights and a Night (Shadow Nights 1) - released 1998

Don Pullen, Steve Swallow, Robbie Ameen, Carmen Lundy, Charles Neville, Billy Bang, Brandon Ross, El Negro Horacio Hernandez, Henry Threadgill, Mike Cain, Anthony Carrillo, Milton Cardona, Alfredo Triff, Eric Schenkman, Andy Gonzalez

• A Thousand Nights and a Night (Shadow Nights 2) - recorded 1994-8

Don Pullen, DD Jackson, JT Lewis, Erica Larsen, Alfredo Triff, Horacio El Negro Hernandez, Robby Ameen, Fernando Saunders, Paoli Mejias, Richie Flores , Anthony Carrillo

• Drawn from Memory (Greatest Hits, Or Whatever... Kip on Campus) - 2000

Compilation

• original music from the soundtrack to Piñero - recorded 2001, released 2002

Kip Hanrahan, Benjamin Bratt, Jerry Gonzalez, Andy Gonzalez, Chocolate Armanteros, Peter Scherer, Robby Ameen, Puntilla Orlando Rios, Milton Cardona, Richie Flores, Mario Rivera, Edsel Gomez, Lysandro Arias, Fernando Saunders, Yomo Toro, Alfredo Triff, Papo Vasquez, Mauricio Smith, Abraham Rodriguez, Felix Sanabria, Brian Lynch, Carlos Alberto Gonzalez

• Conjure: Bad Mouth - recorded 2005, released 2006

Ishmael Reed, David Murray, Kip Hanrahan, Leo Nocentelli, Alvin Youngblood Hart, Fernando Saunders, Anthony Cox, Yosvanni Terry, Pedro Martinez, Billy Bang, Horacio El Negro Hernandez, Robby Ameen, Richie Flores, Dafnis Prieto

• "Beautiful Scars" - released 2007

Some links....


http://www.americanclave.com/



http://allmusic.com/cg/amg.dll?p=amg&sql=11:t69fs36ba3pg~T0


http://www.bbc.co.uk/music/release/9j54/


some vids

http://www.youtube.com/watch?v=-r-_-6AbEcc


http://www.youtube.com/watch?v=E8Dp21T8c7c

http://www.youtube.com/watch?v=0eP12wbsdR4