“Code 3” is a California based – fusion - trio and may appeal to those who enjoy the likes of guitarist Allen Holdsworth, “Tribal Tech” or perhaps guitarist Bill Connors’ stylish mid- late1980’s trio recordings. On the powerful opener, titled “Reunion” Jeff Miley commences with some Holdsworthian type legato guitar lines as bassist Doug Shreeve and drummer Eric Wells offer tight-knit support throughout, while guest keyboardist Jeff Babko lends a hand here and on other tracks. Overall the band offers a fairly good mix that covers a hodgepodge of motifs intermixed with various time signatures with the addition of some hard-core swing grooves yet mainly confine their approach to driving and slightly in-your-face fusion fare. Bassist, Doug Shreeve is a young dynamo who adheres somewhat to the Jaco Pastorius school as he stretches out on numerous occasions while Miley gets good mileage out of strategically placed notes or during extended solos. Drummer Eric Wells should also be commended for his no nonsense and altogether sympathetic support while saving the pyrotechnics for the opportune or necessary sequences.
Nothing ground-breaking or revolutionary here, as “Code 3” presents heartfelt and at times stimulating interplay yet after repeated spins, some of these pieces failed to impart a lasting impression as the notion of a – jam band often came to mind. Otherwise, if this is what the doctor ordered you should reap the benefits and some of the healing powers contained within the body of this work. * * *
Jeff Miley; Guitar: Doug Shreeve; Bass: Eric Wells; Drums: Jeff Babko; keyboards (selected tracks)
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.