UK guitar ace David Kilminster boasts an impressive résumé that includes stints with progressive rock icons such as, keyboardist Keith Emerson (Emerson, Lake & Palmer) and bassist John Wetton (Asia, King Crimson), amid his support for rock legend Roger Waters during the ex-Pink Floyd bassist's 2006 tour. A revered session artist, Kilminster's debut solo outing highlights his tasteful and multi-textured chord voicings, spanning progressive pop, progressive metal and a few ballads, featuring strings accompaniment and ethereal background vocals. He doesn't break new ground here, but communicates a solid compositional pen in concert with his largely upper-register vocal range.
Kilminster rocks out on the driving, "Big Blue." Accentuated with howling guitar licks and emphatic vocal choruses, and tinted with a slight rasp, he charts a goodtime and radio-friendly vibe with an anthem-like impetus. Not overstated yet kinetic in scope, the artist showcases his pop persuasions to contrast a disparate track mix. Kilminster also overlays keys to complement his polytonal guitar phrasings and the rhythm section's rousing cadences on select pieces. It's quite apparent that Kilminster possesses the goods to share the stage with many of rock's elite.
Personnel: Dave Kilminster: voice, guitars, keyboards; Pete Riley: drums; Phil Williams: bass.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.