Modern Fusion Has No Fire | with GARY HUSBAND & JAMES MORGAN
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- Опубликовано: 9 июн 2024
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watch me freak out in my car to this album!
• Jazz Rock Freak Out in...
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Love Gary Husband.
One of the finest drummers out there.
Not only drummer but composer and Keyboardist as well.
And a good human being.
Thanks so much 🙏🙂🙏
@@GaryHusbandKeyboardsandDrums
Thank you Gary😊
and a bloody legend!!!!
Gary is such a legend and an inspiration to me as a drummer and musician. Missed him at the Galway drum show this year unfortunately, hopefully he comes to the Sligo Jazz festival in the coming years on the drumming faculty haha
Thank you. Fantastic. I’m such a Gary Husband fan .. what a player. 😀
I love the sentiment. Makes ALL the sense in the world these days as technically musicians are getting cleverer each month! But still the Muse may be missing form so many brilliant technicians...I look forward to this. Of course Gary is an amazing soul & musician, been following & loving his works since he joined The 4th Dimension! Thnx Andy...
Looking forward to this one Andy! BTW - my link to you is through one of your old students, Imogen Bebb, who I have performed with as part of an XTC tribute in 2019. 🙂 Gary is one amazing musician, and I am proud to call him a friend. I also own his Yamaha RTC drum kit from his Level 42 days.🙂
Imogen is responsible for the greatest night of music ever in my teaching career...I bet that kit sounds great!
The kit is fantastic! ❤
This is undoubtedly your best video to date. Outstanding! Congratulations Andy! Gary is one of my personal heroes from reading about him in Rhythm magazine when I was a teen. Wonderful 🏆❤️
Absolutely fabulous conversationl about some of the 20th century's best music. Loved it, and love the album, A Soul In Time. It's been in steady rotation in my car. Thanks, Andy - and thanks to James, Gary and Hadrien and the late, great Dean Brown for an album of wonderful music!!
Thank you so much for your support of our new album, and your mention of our dear friend Dean Brown. I am happy you are enjoying the music.
Hell yeah. Gimme, gimme!!
With this value of output, I'm starting to think Andy sleeps in his musical man cave and only goes out for rock shows. Very impressive! Thanks for the effort.
Great great video. Thank you for bringing up Mark Mondesir's name as he is a truly great musician. Seen Gary many many times with McLauFlin...lol. One concert got my wife cracking up. I think it was on Mother Tongues and Ranjit was doing his solo. I've seen them do this tune several times and new Gary would get to play on the second drum set on stage. Gary kept looking at John waiting for the word....he was so eager...and waiting,.....and when John knodded his head, Gary couldn't get to his kit fast enough.
Years ago I bought the first (black) I.O.U album I listened to it a lot and it blew me a way , not only the outer worldly guitar playing of Allan Holdsworth but also the great drumming of Gary Husband. Somebody told me : "this is the guy who plays the drums with Level 42". Great musician also with John Mclaughlin, s 4th dimension
The mention of Fred Baker elevates any you tube clip.
Looks good 👍
YES!!!
Ohhhhhhhh!!! Good one!!!
Thanks Andy, Gary and James. Lovely chat, will be checking out the CD.
Thank you and Gary and I appreciate the support.
Brilliant!!! One of your best, so far, Andy!!!!
This was such a great, deep beautiful conversation, thank you for making it happen! I will definitely check out the album.
Thank you for the support and interest in the album.
Great interview Andy! Well done.😎
Thank you gentlemen. Very enjoyable. Gotta have that passion.
Glad you enjoyed it
Thanks for this! Totally loving this album! ♥
Thank you so much for your support. Gary and I are very happy that you are enjoying the music.
Wow awesome!!
It’s like listening to John Lennon interview Gary😊
Thank you Andy, this was really great. Keep up the good work!
Well, Andy, you know what I'm going to say about that; Raul Mannola's band Aurora Clara from Madrid Spain has always played with fire and passion, in homage to the greats like John McLaughlin's Mahavishnu Orchestra, Chick's RTF, Larry Coryell's Eleventh House. Our new album IV will be out very soon and I'll send you some tracks off that, that I think proves that modern jazz rock or fusion still has fire. Then there's people like Scott Kinsey's Zawinul project which is amazing, not forgetting Gary's great work with both JM and BC.
Yes it is still alive with the new release A Soul in Time on Guitar One Records, available on bandcamp👍 as well. Keep jazz rock fusion alive.
I know their drummer Marco, he sent me their albums. Brilliant stuff. i need to do a review of that band
@@AndyEdwardsDrummer ❤
@@AndyEdwardsDrummer ♥
SO AWESOME!! I've wanted him on my show for "yurrs"
Just waiting
Jack de Johnette said, that as drummer you must learn piano ....
Channeling the fusion? Is that what Leland Sklar and Tommy Bolin were thinking?
@@GaryHusbandKeyboardsandDrums fair enough but I don't think they were thinking inside the fusion box. They just "played it that way", to quote George Harrison.
Loved this interview, these guys are so passionate. Seems like every time I pick up a recent fusion album it's got Gary Husband on it, he's a legend. And James is a great guitarist.
One criticism I have is that I checked out their album on Bandcamp and it's (obviously) burning, it's great. But It's not even half an hour long and they want $11.99 for the digital version and $13.99 plus $30(!) for shipping! Don't they realise there's quite a bit of competition out there, even just in the fusion space? Obviously they can charge what they want, but this is quite a bit over the going rate on Bandcamp, especially for the shipping.
Keep in mind the VAT European tax is so much and the added bandcamp fees on the sellers side, that some purchases only net $2.49 to the musicians. Sad but true. The $30 is the cheapest rate possible for international shipping. They are still flying off the shelves though. Type in the code word "discount" in the redeem code box for 20% off today. $10.99 physical CD and $9.99 digital.
bandcamp fee guideline: Our share is 15% on digital items, and 10% on physical goods. Payment processor fees are separate and vary depending on the size of the transaction, but for an average size purchase, amount to an additional 4-7%.
@@ghostjazztrio MoonJune Records charges $5 per item for global shipping from Spain. I get that they might be making a loss, and US postage may be more, but I've NEVER seen anyone charge that much for shipping a CD
@@GuyJames It's not anyone charging for shipping, it's the USPS that charges the international rates, not the seller. Domestics is $8 to $10. I am shipping 6 out today and average 3 a week internationally.
great work again, andy.
i have an idea for one of your top 10 lists: greatest (or most important or most influential) jazz duos or collaborations.
because of the economics of jazz, especially these days, it is hard to find a group, or album, with two extraordinary players. as the miles groups have shown through the years, once a sideman reaches a certain level of fame by playing with miles, he goes off on his own in search of leader status and enhanced financial (and perhaps even creative) rewards. for instance, coltrane, cannonball, bill evans, herbie, tony williams, wayne shorter, zawinul, chick, jarrett, etc. as jazz fans, we are the beneficiaries of the amazing collaborations therein.
greatest collaborations of all time? bird and diz, coltrane and miles, coltrane and monk, miles and shorter (or mclaughlin, chick, jarrett, et al), mclaughlin and jan hammer, zawinul and shorter (or jaco), scofield and lovano, scofield and bill frisell, ellington and johnny hodges, lester young and billie, miles and gil evans, coltrane and elvin, basie and ella -- the list goes on and on.
for my money, it's coltrane and miles in the late 1950s miles groups. but perhaps the greatest collective collab was the miles bitches brew era with giants like chick, jarrett, shorter, herbie, mclaughlin, etc. all in the same group (or at least on the same album) at the same time.
it's an intriguing concept with lots of room for debate and discussion.
just a thought.
thanks, rob
This is a really great discussion. The passion and fire is the key!
I really want to check out this album. Digital download seems like a good option as a CD will be expensive when you add the shipping.... but I'll buy it and put it on my iPod!
If you want a physical copy, type in the discount code word "discount" in the redeem code box for 20% off the physical CD.
Thanks! @@ghostjazztrio
MattDowie is a brilliant guitarist too!
@@AndyEdwardsDrummer Just listen to him on YT. very nice.
@AndyEdwardsDrummer cheers Andy!!
Jan Hammer played guitar bendings so good that guitar players were ashamed ....
The keyboard bass on Country and Eastern Music had this bassist fooled. "He's going for a dual-pickup, phase-cancelled sound", I said.
The way Gary describes his recording process at 10:20 , drums first but thinking about the dynamics from the rest of the players and of the arrangement itself is exactly how I record. Overdubbing drums to a click is one of the things that made music (of any genre) in the 1980's sound so stiff, leaden and lifeless, like the "fuzak" Andy often mentions. Ginger Baker once recounted a story about recording BBM's "Where in the World", or should I say not recording it: he refused to overdub a drum track to this song because Jack Bruce and Gary Moore had done it with a drum machine and expected him to play to that! Idiots, and they're a couple of my favourite musicians but what on earth they thought they were doing with recording that track escapes me!
I always thought that JazzRock Fusion Musicians where nice People. Reading Interviews by Pat Metheny and David Sanborn both were Prototypes of Polite Positivity, both at the Roots of Smooth Jazz but having a Love for Ornette Coleman (Metheny) and Julius Hemphill (Sanborn). But like Steve Gadd and Vinnie Coilaluta being to controlled most of the Time to really let go.
After Miles stopped playing Jazzrock in 1975, his Disciples started to play it well to save. (When Hancock went wild with Material he did Electro Boogie but no JazzRock).
For me Free Funk/Punk Jazz was a Relief from this controlled Neatness. It is no Wonder that besides of BeBop and Ellingtonia JazzRock Fusion is thaught in Jazz Schools.
Modality with Ghost Changes combined with the correct chromatically enhanced Modes and Chords can be written down.
But if the Thing wanted is JazzRock it should also Rock and to me Rock is like Pizza-Eater Music: You throw everything on it you like without any Regard for good Taste. It is more about what you want to do instead of what is conceived to be hip and smart. Trying to be hip and smart might be still smart but not really hip.
I mean if you can play as good as many JazzRock Fusion Players can then play without any Regards to your School Teachers.
And play the slow and Accoustic Stuff on the last 20 Minutes of that 70 Minutes CD‘s.
You can play Ballads when you turn 40 and older!
I wouldn't think someone into free funk ( and i love decoding society but lets be honest, fails as badly in the funk part as most modern fusion does in the rock) and outside skronky forms of Jazz would have been too concerned with good taste.
@@Loskov-my3xw Ronald Shannon Jackson’s Knowledge went far beyond the „On the One Bag of New Funk“. He knew of Funk even older than that of Horace Silver.
The same goes for James Blood Ulmer. There was the Defunkt/Slickaphonics School of Free Funk which played some 70ties Lofty Free over Funk Beats which I liked too, but for a Reason their Drummers never became that well known as Shannon, Grant Calvin Weston and Cornell Rochester (who also played with Joe Zawinul)
Pheroaan Aklaaf and Jack de Johnette could do similar Stuff, with their special Skills. To me Free Funk means to be able to play Funk freely and not only play Free over a Funk Rhythm.
@@Loskov-my3xw Look with Taste it is as easy as this:
Those with Creative Talent are rather hindered by „Good Taste“, but as Pupils they are thought the Opposite. For People without an Ounce of Creative Talent (like me) dabbling with as many different good Tastes as only possible is a Way of „Gain through Distinction“.
Which is definitely Fun until you are about 25. After that the Fun lies in shedding these well earned Distinctions the Older you get.
How many young People study their Language on a University coz they want to become Writers and are discouraged by their growing Knowledge of great Writers in the Past? I think much to many.
For People who never intend to become Writers that is no Problem,
With young JazzRock Fusion Students who go to „Their Berkley“ the overwhelming Theoretical Knowledge presented to them is intimidating. It is one thing to learn how to play your Instrument or how to Read but also to learn the Right Scales to the Right Chords can be a Danger to your own Vision.
But if Guys came through Albert Ayler, Ornette Coleman and Cecil Taylor to play around with the Rhythms of Horace Silver, James Brown, Sly Stone and Allan Toussaint it will open up the „Thight Pocket“ for the „Wide Open Spaces“. Swinging Barlines will never be everybody’s Idea of „Favorite Funk“ but „On the One“ „Thight Pocket“ Funk as good as it very often is (and I love it) will never be Free!
In my interpretation, modern fusion somewhat suffers from an overabundance of stuff that's basically just 80's pop music + shredding, or stuff that's not much different from a stock smooth jazz / rnb formula. The online fusion shredders have also over standardized it and obsessed over transcribed solos to a point where the players are playing from the same lick book. I hear a lot of what I'd say are Guthrie Govan licks as the stock modern fusion guitar language as well. And we now have a whole growing market of people who do nothing but play note for note renditions of Allan Holdsworth, or otherwise in the style of Holdsworth, while seeming to miss the point and lose themselves in their fandom for someone else.
There's a scarcity of musicians who understand composition, in my experience. Songs tend to be vehicles for blowing endless solos, or, the arrangements present predictable forms (aba, aaba, etc) with static roles for each instrument. Thus, there's nothing to reach for but precision, technique, chops, with virtuosity being the main focus rather than creative composition.
@@guitarchannel5676 I think you'll find this album A Soul in Time does the opposite.
I think you'll find this album A Soul in Time does the opposite.
I listened to about 20 minutes of it. Very good by modern standards, but not up to 70's standards. The compositions are decent, nothing mind blowing. The solos end up being the primary focus, which is fine.
A lot of today's online guitarists are amazing technically, but they all seem to be Holdsworth clones, imitating his tone and transcribing note for note. They lack their own voice on the instrument. When you think of or talk about great guitarists that harken back to the 1970 to 1975 period, you can say, remember Bill Connors from RTF or Larry Coryell's Eleventh House album, John McLaughlin's Lila's Dance song on Visions of the Emerald beyond, and so on. When you talk about an amazing Instagram/RUclipsr guitarist, and there are many, you refer to that amazing guitarist as the guy on RUclips, not what album or band as a reference. Everyone is so worried about making a mistake, play slick and safe these days. They play like they are being watched and rated with a thumbs up or down. Very sad state of affairs in the music world these days. They need to start writing original songs, find their voice to tell their story, and explore new territories like the pioneers of the jazz rock fusion days. This new album by Gary Husband, James Morgan and Hadrien Feraud, A Soul in Time, does just that. It sings the spirit of those days when players actually played like their life depended on it. Gary does some amazing synth solos and melodies, great acoustic and electric piano work, as well as all the drums on this album. Hadrien Feraud is a monster on this album, and plays some great solos. The guitar work evokes visions of Bill Connors, McLaughlin, with the rawness of Ray Gomez and Dean Brown.
James Morgan
Have a listen to the album, and get your physical or digital copy today at the link below.
morganhusbandferaud.bandcamp.com/album/morgan-husband-feraud-a-soul-in-time
To the degree it's true, the list still isn't that long of people knocking off Holdsworth. All 20 people who figured any of it out clearly started a youtube channel though! lol
modern fusion ran out of ideas. I have a friend who is a great drummer. He loves all the great drummers. He sends me music he likes (such as the band Niacin) because he obviously listens to the drumming. But lots of this music is rhythmically bland. Even John's music became bland. Mahavishnu started with an original concept (jazz-rock-Indian) fusion but this dried up. Sorry but Holdsworth was also bland. The difference is Mahavishnu was founded on guitar rhythms or RTF were found on Chick's keyboard rhythms but lots of modern fusion is based on drum & bass grooves, which is boring. Jimi Hendrix record eight albums worth of commercial songs. There is zero repetition on these eight albums because Jimi was the absolute god of rhythm composition. Even John repeated some musical concepts from Inner Fame to Birds Fire. Its the rhythm that must maintain diversity & variety. That is the hard part.
A lot of Holdsworth fans prefer his solo albums; however, I think he is often best when he's not the primary focus. For example on Gong 'Espresso' with all the beautiful tuned percussion, Alan's compositions sound much better to me than when he plays these same songs with Alphonzo and Narada. Along with the rhythmic details, as you mentioned, it's the way the instruments work together. Alan's guitar is important in Gong, but it becomes part of a larger puzzle. The arrangements and compositions become the primary focus.
I love early jazz-rock/fusion when things were more open and exploratory and there was a lot of crossover with all the stuff that usually got labelled under the progressive umbrella, from Gary Burton, Miles, Coryell, Johnny Mac solo, Nucleus, TW Lifetime, to Santana, Mahavishnu, the early Canterbury bands, Colosseum, Web/Samurai, and the vocal brass-rock stuff. By the late '70s the genre had largely commercialised and had most of the edges sanded off. There are always exceptions of course, but i don't think the genre ever fully recaptured that early spirit.
personally i blame the influence of...
Weather Report, who had become a truly antiseptic, sterile and sometimes outright cheese filled band (especially Zawinul's contributions) by the second half of the decade.
Headhunters for spawning all of the derivative funkzak clones that weren't actually anywhere near as funky as the real deal like JB's, Funkadelic, Ohio Players, Mandrill.