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Robben Ford: From the Soul
by Matthew Warnock
Few guitarists on the scene today can boast a longer, more diverse and accomplished career than that of perennial blues-jazz great Robben Ford. Having toured and recorded as a sideman with such legendary performers as Joni Mitchell, George Harrison, Bonnie Raitt and Miles Davis, Ford has also made a name for himself as a bandleader, instrumental ...
Stanley Clarke Trio: Jazz in the Garden
by Carl L. Hager
Stanley Clarke Trio Jazz In The Garden Heads Up International 2009 In the mid-1970s when Stanley Clarke rose to prominence playing electric bass in the powerhouse band Return To Forever, it had been his beautiful touch on acoustic bass that originally attracted the notice of the band's founder, ...
Joe McBride: Lookin' for a Change
by Woodrow Wilkins
There is The Great American Songbook, that vast repertoire of songs culled from musicals, vintage jazz and early rock--songs that have been tapped dozens of times by artists young and old. It gets to the point that whenever the word “cover" is mentioned, eyes roll and stomachs begin to turn. So it's a pleasant change of ...
Paul Brown / Marc Antoine: Foreign Exchange
by Woodrow Wilkins
When two jazz guitarists of different styles, George Benson and Earl Klugh, came together, it was hailed as a success. The formula also worked for Lee Ritenour and Larry Carlton. Now, Paul Brown and Marc Antoine attempt to capture that flair with Foreign Exchange. California native Brown is, perhaps, one of the most ...
Take Five With Nils
by AAJ Staff
Meet Nils:Moving to Los Angeles in the mid-'80s, Nils began studying composition, arrangement and film composition. While acquiring his production skills as a studio engineer in the '90s, he started doing sessions as a rhythm guitarist for everyone from Rick Braun to The Temptations and George Benson. Nils contributed as a musician and co-writer ...
Monsters of Jazz-Influenced Rock
by Jeff Fitzgerald, Genius
And summing up last month's article on jazz as background music in 70's porno flicks, the tumescent Swede did in fact represent the rise of European influence, particularly in Fusion (as obviated by the mustache), while the naive-but-willing coed represented the collective reception of the American jazz audience. The later addition of the Mexican pool boy ...
