NEXT UP: SUNDAY OCT 5TH 3:00PM @ SALMON DAYS FESTIVAL, ISSAQUAH WA
NEXT UP: SUNDAY OCT 5TH 3:00PM @ SALMON DAYS FESTIVAL, ISSAQUAH WA
The PNW's most authentic Rolling Stones experience for 18+ years
Refreshing my drum tracks from the Kilgore Trout catalogue
Honoring the timeless legacy of the one and only Led Zeppelin
Jam rock band blending originals and covers for 25+ years
I grew up with influences like Steve Gadd, Vinnie Coliauta, and Stewart Copeland. My approach is to create the pocket that complements and augments melodies, contributing my own textural flair to the musical canvas in a supportive way. It isn't about speed or sizzle...its about what sounds the best.
Named after local standout saxophonist Troy Grugett, this song starts out with a syncopated, staccato repeating guitar melody over a 6/4 funky shuffle feeling rhythm. A simple transition takes us to a section that has the guitar playing a melody in looping triplets, over a 5/4 pattern held down by the bass & drums. The song goes back and forth between those two sections and eventually closes in the 5/4 section with the drums soloing the band out. Grugett's Lamp was arguably one of our more dance-friendly songs as it was easy for the audience to tap their feet along with the rhythm, and we eventually produced a studio recording of this song that never made it to the second CD. Ah well - you get to enjoy it here :)
Lizard Dog Suite is probably best suited to be called our 'masterpiece'. Written primarily by Bryan Sorum, this song runs ten-plus minutes and winds through three distinct movements, with integrated, unique transitioning between them all. You can hear some commonalities throughout all the movements, but they're very subtle :) Lizard Dog Suite starts with a jazzy, groovy section in which the bassist is playing measures of 5/8 and 6/8 while I play a quarter-pulse beat over the top. The second movement is a tribal, fast paced section in 6/4 switching between composed melodic lines and solos. The final movement is akin to a rock opera, with large and grandiose accents played against a 7/4 feel. We eventually return to hint back at the first movement, initially soft and quiet, and then loud and intense. And that is the Lizard Dog Suite.
This song was originally written before we relocated to Seattle in 1992. However, we enjoyed it so much that we kept it in a permanent rotation for our live performances for years. The song title Absta is a literal translation of the A-B-C-D-A format through which the song progresses. Spoken as a word, the ABCDA format sounds like "Absta". Each section of Absta has a distinctly different time signature and feel, even though it all blends together into a five minute movement. Enjoy
Conqueror Worm winds through several different odd time signatures, starting with a repeating 19/4 section followed by a measure of 17/8 and a measure of 15/8 that I play as a cadence on my second snare. That shifts into a repeating phrase of five measures of 3/4 time that I play with a triplet-type feel, yet with a quarter note pulse played with my right hand through it all. The song eventually gets to a tribal sounding, up-tempo driving 6/4 section for which I release the snares and play a skin-heavy pattern on the snare drum, winding up at a unique outro that closes the song.
Incision pits a measure of 17/8 right before a measure of 5/4, and uses that same pattern throughout the song. Incision has traces back to classic jazz formatting in that solos are played over changes, including a section where the guitar and sax trade measures and then the drums get a solo over the band playing the accents. Incision was one of the most common selections played at Kilgore Trout gigs.
Valkyrlok represents a much groovier version of Kilgore Trout's repertorie. The song follows a fairly straightforward bass line played over two measures of 5/8 while I play more of a 5/4 feel over the top. Structured horn and guitar harmonies are present throughout with featured solos for trumpet and guitar. Ironically, Valkyrlok was one of our most danceable songs despite it being in an odd time signature.
Original progressive "thrash jazz" quintet voted Best Electric Jazz Group by Earshot Jazz Seattle (1995) and winners of the Grammy Regional PNW Showcase (1996).
A series of residential workshops
bringing together musicians from all over the globe to perform a collaborative, improvised repertoire.
Originally a tactic to keep performing during COVID, these were some indivuidual collaborative works recorded and performed remotely over the web.
I am always open for new ventures and opportunities to collaborate with other artists, musicians, and producers.
Please don't hesitate to reach out if you need some beats as part of your vision.
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