Jazz Archives

This is a great starting place for anyone wanting to Experience Holdsworth. Eddie Van Halen secured a record deal with Warner Brothers for Allan. After spending nearly twenty years in the WB vaults, Road Games finally made it to CD. This disc features some awesome bass work from Jeff Berlin, "Water on the Brain" sizzles. Jack Bruce, Cream, guests on two tracks. Chad Wackerman, former Zappa drummer, turns in a stellar performance. The star of this show, however, is Allan's pyrotechic guitar work. "Tokyo Dream" and "Three Sheets to the Wind" are firestorms of blazing fretboard magic, twists, dips, chills and pure excitement. An amazing statement from one amazing guitarist.

1. Three sheets to the wind (4:12)

2. Road games (4:07)

3. Water on the brain - Pt. II (2:43)

4. Tokyo dream (4:01)

5. Was there? (4:04)

6. Material real (4:40)

- Jeff Berlin / bass

- Jack Bruce / vocals

- Allan Holdsworth / guitar

- Paul Korda / backing vocals

- Joe Turano / backing vocals

- Chad Wackerman / drums

- Paul Williams / lead vocals, backing vocals

Extrapolation - Construction of new data points outside of a discrete set of known data points

Having played as a session/sideman in a number of R&B bands as well as with pop artists which included DAVID BOWIE and the ROLLING STONES in and around London, England for the better part of the 1960`s, McLaughlin played onJACK BRUCE`S 1968 album THINGS WE LIKE which served as a springboard for his first album as leader/composer. Sounding more like a group effort EXTRAPOLATION featured the already prominent saxman John Surman on soprano and baritone saxes, Bill Odges on bass who later attracted the attention of Miles Davis and the underrated Tony Oxley on drums. McLaughlin himself switched back and forth on an acoustic guitar with a pickup and an electric hollow body.
Overshadowed for many years by McLaughlin`s firebreathing MAHAVISHNU ORCHESTRA formed a scant few years later, this debut is one of McLaughlin`s finest recordings and demonstrates his prowess as a Jazzman. It was perhaps the closest Mclaughlin came to playing straight jazz with the resulting ten tracks, all of which were composed by Mclaughlin himself, having a very bright post-bop experimental free jazz sound to them crammed with solos and interplay from both McLaughlin and Surman. The fact that it was recorded straight with no overdubs gives it a " jam session" feel to it and every crisp track flows nicely into the next thanks partially to engineering by Eddie Offord who would produce future ELP and YES projects.
EXTRAPOLATION is a monumental jazz recording which is also a brilliant foreshadowing of the various musical paths McLaughlin would follow over the next decade. From his participation with MILES DAVIS` and TONY WILLIAMS`proto-fusion projects, through the ferocity of THE MAHAVISNU ORCHESTRA and on to East Indian explorations with Shakti. A timeless gem from the vaults.

1. Extrapolation (2:57)

2. It's Funny (4:25)

3. Arjen's Bag (4:25)

4. Pete The Poet (5:00)

5. This Is For Us To Share (3:30)

6. Spectrum (2:45)

7. Binky's Beam (7:05)

8. Really You Know (4:25)

9. Two For Two (3:35)

10. Peace Piece (1:50)

Baritone And Soprano Saxophone - John Surman

Bass - Brian Odges

Drums - Tony Oxley

Electric And Acoustic Guitar - John McLaughlin

Producer - Giorgio Gomelsky

Originally released 1969.

All titles composed by John McLaughlin.

Recorded in 1972 and released in 1973 with Herbie Hancock, Stanley Clarke, and Jack DeJohnette, Joe Farrell's Moon Germs was a foray into the electric side of jazz. More progressive than groove-oriented, three of the four compositions were written by Chick Corea and certainly reflect that knotty, angular, almost mathematic penchant of his for soaring arpeggios in the solos and contrapuntal basslines that circle DeJohnette's drumming. Nowhere is this truer than on the opener, "Great George," where Farrell leads off with the hint of a melody before careening into legato streams of thought along striated intervallic paths. DeJohnette is like a machine gun, quadruple-timing the band as Clarke moves against the grain in a series of fours and eights, and Hancock's attempts to keep the entire thing anchored are almost insufficient. On the title track there is more of a funk backdrop, but still, there are the knotty runs and insane harmonic reaches Farrell attempts on his soprano that crack, falter, and ultimately turn into something else even more satisfying that what Mr. Math (Corea) wanted, though the sheer business of the track is dizzying. "Bass Folk Song" is by Clarke, and is the only thing on the record that actively engages melody rather than harmonic structures. Farrell uses his flute and Hancock strides into the same kind of territory his explored with Miles Davis, chopping up chordal phrases into single lines and feeding them wholesale to the running pair frontmen in Clarke and Farrell. DeJohnette uses a Latin backdrop to hang his drumming on and pursues a circular and hypnotic groove on the cymbals and toms. It's a gorgeous piece of music and utilizes an aspect of space within the melodic frame that the rest of the firebrand tunes do not, though it's no ballad. This is sci-fi Farrell at his most intense.

1. Great Gorge (11:40)

2. Moon Germs (7:23)

3. Times Lie (8:25)

4. Bass Folk Song (9:50)

Bass - Stanley Clarke

Drums - Jack DeJohnette

Flute - Joe Farrell

Piano - Chick Corea

Saxophone - Joe Farrell

This historic free jazz album is a heavy-impact sonic assault so aggressive it still knocks listeners back on their heels decades later. Recorded in May 1968, Machine Gun captures some top European improvisers at the beginning of their influential careers, and is regarded by some as the first European -- not just German or British -- jazz recording. Originally self-released by Peter Brötzmann, the album eventually came out on the FMP label, and set a new high-water mark for free jazz and "energy music" that few have approached since. Brötzmann is joined on sax by British stalwart Evan Parker and Dutch reedsman Willem Breuker (before Breuker moved away from free music, his lungs were as powerful as Brötzmann's). The rest of the group consists of drummers Han Bennink (Dutch) and Sven-Åke Johansson (Swedish), Belgian pianist Fred van Hove, and bassists Peter Kowald (German) and Buschi Niebergall (Swiss). Brötzmann leads this octet in a notoriously concentrated dose of the relentless hard blowing so often characteristic of his music. While Brötzmann has played this powerfully on albums since, never again is it with a group of this size playing just as hard with him. The players declare and exercise their right to bellow and wail all they want; they both send up the stereotype of free playing as simply screaming, and unapologetically revel in it. The sound of Machine Gun is just as aggressive and battering as its namesake, blowing apart all that's timid, immovable, or proper with an unrepentant and furious finality. The years have not managed to temper this fiery furnace blast from hell; it's just as relentless and shocking an assault now as it was then. Even stout-hearted listeners will nearly be sent into hiding -- much like standing outside during a violent storm, withstanding this kind of fierce energy is a primal thrill.

 

1. Machine Gun (Second Take) 14:58

2. Machine Gun (Third Take) 17:16

3. Responsible (for Jan van de Ven) (First Take) 10:01

4. Responsible (for Jan van de Ven) (Second Take) 8:17

5. Music For Han Bennink (First Take) 11:22

Double Bass - Buschi Niebergall  , Peter Kowald
Drums - Han Bennink , Sven-Åke Johansson
Piano - Fred Van Hove

Saxophone [Baritone, Tenor], Producer, Photography, Artwork By [Booklet Layout] - Peter Brötzmann
Saxophone [Tenor] - Evan Parker
Saxophone [Tenor], Clarinet [Bass] - Willem Breuker

"Erotic Cakes" is a listening and inspirational jewel. Guthrie's exquisite playing will undoubtedly become the benchmark for Guitar. Equally Seth Govan and Pete Riley have raised the bar with their Bass and drum virtuosity. The performances here are truly amazing. The one thing that will separate this recording from the mainstream is the musicality of the song writing and the production.

Here are some kind words about Guthrie from some amazing players we really respect and whos music we love.

Joe Satriani:

Totally freakin awesome!!! this CD put a grin on my face a mile wide.

Richie Kotzen:

Guthrie Govan can do anything he wants as a guitarist. He has total command over the instrument; I love to watch Guthrie live as he always plays something new that the rest of us would never have thought of. He is truly a gifted musician and I am honored to be a part of Guthrie's 1st album. (Guest solo from Richie on "Ner Ner")

Greg Howe:

Guthrie is a brilliant guitarist whose super high level of proficiency does not seem to be limited to any one particular genre or style

Dweezil Zappa:

Every time I hear Guthrie play I feel like I have to fasten my seatbelt. He is an alien. His technique and execution is staggering. Ultimately what is most impressive about him is his musicality. He has total freedom on guitar...

BASTARD!

Rob Balducci:

Guthrie is the most versatile guitarist/musician I have ever heard. His music reaches new heights and he can be one scary technical monster or be the sweetest thing you tasted.

Bumblefoot, a.k.a. Ron Thal:

I've known Guthrie since the days before email, when we'd write each other trading riffs. In the past years, we'd have long jams at NAMM conventions in California, and gigged together in the UK. And for all these years, I, and the rest of the world-wide guitar community have harassed him incessantly to please please release a full-length CD. Well, he's done it, and it's inspiring and mind-blowing and beautiful, as expected. Guthrie is the most-talented guitarist I've ever known,a great friend, and I'm honored to havecontributed to his album. Thank you Guthrie, for the wonderful music and all you are. (Guest solo from Ron on "Rhode Island Shred")

Doug Aldrich:

"I just recieved Guthie's new record Erotic Cakes and I am floored! Its been a long time since I heard playing and a record that cool. Amazing songs and sick playing from the whole band on every track. The song Waves is on my daily playlist now. Its one of those melodies that you wont forget and you will crave to hear again and again. I had the pleasure to meet Guthrie on tour in '05 and aside from being one of the most gifted players I have heard, he is just a top guy. Nice one Guthrie!....Thank you bro!"

Steve Stevens:

"Steve Stevens salutes you." For a whole new generation of geetar players...Guthrie's got the ball and he's off and running with that sucker!

Reb Beach:

“The 'Erotic Cakes' CD is excellent. It doesn't get much better than that, does it? I stopped trying to improve years ago because of people like him. I love his melodies, which is rare for me when I hear other guitarists: so effortless.

He is the most well rounded yet stunning guitarist I've ever heard.

Lyle Workman:

"Guthrie is an unbelievable guitarist, especially in light of his depth as a musician who is clearly inspired by various genres, harmony and rhythm extending far beyond technique-driven guitar music. The man is cooking with a lot of ingredients. He is supremely gifted and simply astounding. Once again, I have been reduced to guitar OWNER."

Brett Garsed:

"An amazing debut! I can't wait to see where Guthrie will go with future projects as I'm sure it'll be a great and unpredictable ride!"

1. Waves (5:08)

2. Erotic Cakes (3:50)

3. Wonderful Slippery Thing (3:20)

4. Ner Ner (8:04)

5. Fives (4:35)

6. Uncle Skunk (5:28)

7. Sevens (5:56)

8. Eric (5:05)

9. Slidey Boy (4:34)

10. Rhode Island Shred (2:17)

11. Hangover (6:31)

Arranged By, Performer - Erotic Cakes

Artwork By [Design] - Jonathan Parkin

Bass - Seth Govan

Drums - Pete Riley

Engineer - Alex Todorov

Guitar, Written-By - Guthrie Govan

Mastered By - Matthew Denny

Photography - Richard Ecclestone

Producer, Mixed By, Photography, Artwork By [Controversial Front Cover] - Jan Cyrka

Guitars recorded at Headroom studios, North Hollywood.

Drums recorded in Pete Riley's studio

Bass recorded in a small flat somewhere in Darkest Chelmsford.

Mastered at Masterblaster.

With the cheers and huzzahs from their 1976 one-off reunion still resounding, the reconstituted Miles Davis Quintet minus Miles went on the road in 1977, spreading their 1965-vintage gospel according to the Prince of Darkness to audiences in Berkeley and San Diego, CA. In doing so, Herbie Hancock, Wayne Shorter, Ron Carter, and Tony Williams, plus interloper Freddie Hubbard seem to pick up where they left off, with a repertoire mostly new to the five collectively and developed from there. It isn't exactly the same -- you miss Miles' brooding presence and sense of space in Hubbard's busy, fiery playing, and Hancock is a more harmonically daring, assertive player than he was with Miles -- but the interlocking telepathy and individual virtuosity of the musicians is pretty amazing. This also isn't the best tape from the tour; they were even tighter and more volatile in Japan five days later on Sony's Tempest in the Colosseum. The V.S.O.P. tours amount to a pit stop in the general shape of Hancock's evolution, but their influence upon the direction of jazz as a whole in the '80s and '90s would be staggering.

 

1. One Of A Kind

2. Third Plane

3, Jessica

4, Lawra

5. Introduction Of Players, Darts

6. Dolores

7. Little Waltz

8. Byrdlike

Ron Carter (Bass), Herbie Hancock (Synthesizer), Herbie Hancock (Piano), Herbie Hancock (Keyboards), Herbie Hancock (Vocals), Herbie Hancock (Main Performer), Bennie Maupin (Percussion), Bennie Maupin (Wind), Julian Priester (Trombone), Wayne Shorter (Saxophone), Wayne Shorter (Sax (Soprano)), Wayne Shorter (Sax (Tenor)), Tony Williams (Drums), Eddie Henderson (Percussion), Eddie Henderson (Trumpet), V.S.O.P. (Performer), Conrad Silvert (Liner Notes), Bryan Bell (Engineer), Bryan Bell (Audio Engineer), Fred Catero (Engineer), Jeffrey Cohen (Associate Producer), Freddie Hubbard (Trumpet), Freddie Hubbard (Flugelhorn), Paul Jackson (Bass), James Levi, Chris Minto (Assistant Engineer), Shawn Murphy (Remote Recording Crew), David Rubinson (Producer), Ray Thompson (Remote Recording Crew), Wah Wah Watson (Guitar), Buster Williams (Bass), Buster Williams (Percussion), Herbie Green (Design), Paul Sandweiss (Remote Recording Crew), Bruce Talamon (Photography), Dennis Mays (Remote Recording Crew), Russ Anderson (Design), Les D. Cooper (Remote Recording Crew)

Recorded live at: The Greek Theatre University of California, Berkeley, July 16, 1977 and The San Diego Civic Theatre, July 18, 1977.

This unusual set (reissued on CD by Blue Note) was one of the most successful uses of a gospel choir in a jazz context. Trumpeter Donald Byrd and a septet that also includes tenor saxophonist Hank Mobley, guitarist Kenny Burrell, and pianist Herbie Hancock are joined by an eight-voice choir directed by Coleridge Perkinson. The arrangements by Duke Pearson are masterful and one song, "Cristo Redentor," became a bit of a hit. This is a memorable effort that is innovative in its own way, a milestone in Donald Byrd's career.

 

1. Elijah 9:21

2. Beast Of Burden 10:07

3. Cristo Redentor 5:43

4. The Black Disciple 8:12

5. Chant 7:31

Arranged By - Duke Pearson

Bass - Butch Warren

Drums - Lex Humphries

Guitar - Kenny Burrell

Other [Voices Directed By] - Coleridge Perkinson

Photography - Reid Miles

Piano - Herbie Hancock

Recorded By - Rudy Van Gelder

Saxophone [Tenor] - Hank Mobley

Trumpet - Donald Byrd

Vibraphone - Donald Best

Cat no. printed on the cover as BLP-4124/84124, on the spine as 81424, on the label as BST-84124 and in the run-out groove as BNST-84124-A-1/B-2. This is a United Artists pressing with no reissue date listed on the cover or label.