{"key":"15505","name":"King Crimson","bio":"(NOTE: Album covers and band images are not available due to certain legal restrictions imposed on last.fm by King Crimson's Management.)King Crimson are a progressive rock group from London, England, United Kingdom formed in 1968 by guitarist Robert Fripp and drummer Michael Giles. Though originally an all-British musical group, later members have included a number of Americans, most notably Adrian Belew, and Tony Levin. The name \"King Crimson\" was coined by Peter Sinfield as a synonym for Beelzebub, prince of demons.King Crimson's debut album was In the Court of the Crimson King. The first major success of the new genre of progressive rock, many bands that would come to dominate 'prog' in the 1970s first sought to emulate In the Court of the Crimson King, including Genesis, the Alan Parsons Project, and later Rush.The line-up of King Crimson has at times changed drastically from album to album. Original lead singer and bassist Greg Lake left the group - as did lyricist Peter Sinfield - and went on to fame with Emerson, Lake & Palmer in 1970, replaced by Gordon Haskell, Boz Burrell, and, briefly, Jon Anderson of Yes. Also from Yes came drummer Bill Bruford, who joined King Crimson in 1972 and became one of the more enduring members. For the next three years, Bruford and Fripp were joined by future Asia frontman John Wetton. With comparatively few additional musicians, these mid-1970s albums and performances showed a more raw and stylistically focused - though still improvisational - King Crimson. In 1974 the band split temporarily. In 1981, bassist Tony Levin and guitarist\/singer Adrian Belew joined Fripp and Bruford in a band initially called Discipline. Changing the name back to King Crimson, the four released a trio of studio albums which preserved the classic heavy and improvisational sound, but also embraced 1980s musical influences and technologies.In 1984 the band split up again, then re-formed in 1994 with former Mr. Mister drummer Pat Mastelotto joining forces with and later replacing Bruford. This lineup included bassist Trey Gunn - playing warr guitar and chapman stick - forming a \"double trio\" of two guitarists, two bassists and two drummers. In between KC commitments, various combinations of the members convened in different \"ProjeKcts\": ProjeKct One, ProjeKct Two, ProjeKct Three, ProjeKct Four, and ProjeKct X, with Robert Fripp describing them as \"fraKctals\" of the band with the purpose of \"research and development\".2000-2003 saw a new incarnation of King Crimson, without Bruford and Levin, which culminated in the album The Power to Believe and a concert tour. Trey Gunn left the group afterwards, but Fripp and Belew announced that they would meet in 2007 and think about future KC music. Tony Levin agreed to replace Gunn on bass\/stick.A new King Crimson line-up was announced in late 2007 and scheduled for rehearsals in 2008, consisting of Fripp, Belew, Mastelotto, Levin, and Gavin Harrison of Porcupine Tree. In August 2008 the band set out on a brief four-city tour in preparation for King Crimson's fortieth anniversary in 2009. A short time thereafter, on 20th August 2008, DGMLive (a web medium for Fripp to release live recordings) issued a download-only release of the August 7th, 2008 concert in Chicago. The show reveals a drum-centred direction but the set list, consistent with the rest of the tour, contains no new material or extended improvisation. However, many of the pieces from the back catalogue receive new arrangements, most notably the renditions of \"Neurotica,\" \"Sleepless\", and \"Level Five\", all of which are given percussion-heavy overhauls, presumably to highlight the return to the dual-drummer format. More recordings from the New York shows are scheduled for download soon as well. There has been talk of more King Crimson shows in 2009, but nothing definite has arisen yet.In 2008, Steven Wilson began remixing the studio catalogue into 5.1 Surround Sound for possible future release.Despite its many changes, King Crimson has retained a consistent sound and atmosphere, largely as a result of Fripp's signature guitar work. Though they have not had a commercial success since their first album, the band has one of the most devoted followings of any musical group. Their live albums outnumber studio albums by a wide margin (some of them being \"official\" bootlegs), and there are more than enough ex-members to fully staff the 'classic' KC revival group known as 21st Century Schizoid Band.On 5 December 2010, Fripp wrote a diary entry on his DGM website outlining his current stage of involvement in the music industry. The diary entry suggested that the King Crimson \"switch\" had been set to \"off\" and detailed a number of reasons why he was not currently interested in performing or writing with the band. In spite of this, activity related to the band continues. A separate band based around Jakko Jakszyk and King Crimson alumni Robert Fripp and Mel Collins (who played last with King Crimson on Red) was announced in 2011 as being called \"A King Crimson ProjeKct\". Fripp has also referred to it as \"P7\". An album A Scarcity of Miracles features these three musicians, along with other Crimson alumni Tony Levin and Gavin Harrison.In an interview with Financial Times published on 3 August 2012, Fripp announced that he was retiring from the music industry, leaving the future of King Crimson uncertain.Fripp's retirement lasted for just over a year. On 6 September 2013, Fripp announced King Crimson's return to work with a new line-up, stating that \"this is a very different reformation to what has gone before: seven players, four English and three American, with three drummers. The Seven-Headed Beast of Crim is in Go! mode\". The current band consists of Fripp, three musicians from the previous 2009 lineup (bassist Tony Levin, drummers Gavin Harrison and Pat Mastelotto) saxophonist\/flute player Mel Collins (previously in King Crimson's 1971 lineup); and two new recruits, Jakko Jakszyk (vocals, guitar) and Bill Rieflin (drums, ex-REM, Ministry and others).While this lineup has reunited the team which had assembled A Scarcity of Miracles (plus Rieflin), it has not yet been revealed whether the two projects will have much continuity. Fripp has provided some hints as to the musical approach which the new band will take - \"The Point Of Crim-Seeing was of a conventional backline \u2013 Gavin Harrison, Bill Rieflin, Tony Levin and Pat Mastelotto - reconfigured as the frontline, with Mel Collins, Jakko Jakszyk and myself as backline.\" Due to outstanding individual commitments, King Crimson will not be performing live until late 2014 (but will be rehearsing in both full- and small-group formations before then).Fripp has cited several reasons for King Crimson's return, varying from the practical (the likely financial settling of his dispute with Universal Music Group, plus imminent completion of his Guitar Circle book and DU Reading Project) to the whimsical: \"I was becoming too happy. Time for a pointed stick.\"","featuredImage":"https:\/\/www.aaemusic.com\/wp-content\/themes\/all-american-music\/assets\/images\/default-artist.png","feeRange":"please contact"}

{"key":"15532","name":"Animals as Leaders","bio":"Animals as Leaders is a Washington, D.C. based instrumental progressive metal project formed by guitarist Tosin Abasi in 2007. Their self-titled debut album was released in April 2009 by Prosthetic Records.Animals as Leaders was formed \"out of the ashes\" of guitarist Tosin Abasi's previous band, Reflux. The heavy metal record label Prosthetic Records saw Abasi's guitar work and asked him to create a solo album for them. Abasi initially declined, feeling such an endeavor would be \"egotistical and unnecessary\". When Reflux disbanded, Abasi decided to take the label's offer. The name Animals as Leaders was inspired by Daniel Quinn's 1992 novel Ishmael, which addresses anthropocentrism. Abasi coined the name as a reminder \"that we're all essentially animals\".The project's first album, Animals as Leaders, was recorded in early 2008. Abasi recorded all guitar and bass tracks on the album; drums and various synthesized effects were programmed by engineer Misha Mansoor. The album was released April 28, 2009 by Prosthetic Records.Their second album, Weightless, was released November 8, 2011, with the addition of Javier Reyes and Navene Koperweis on rhythm guitar and drums, respectively. After touring in support of the record, it was announced that Navene Koperweis would be leaving the band. He was replaced by Matt Garstka for further touring duties. It was announced in late December of 2012 that Animals As Leaders had signed a deal with Sumerian Records, who will release the band's next album in 2013. The album is going to be produced by Misha Mansoor, from Periphery.Members:Tosin Abasi: 7 and 8 String GuitarsJavier Reyes: 7 and 8 String GuitarsMatt Garstka: Drumshttp:\/\/www.myspace.com\/animalsasleaders","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/15532_h_0.jpg","feeRange":"please contact"}

{"key":"145325","name":"Gavin Harrison","bio":"There are multiple artists named Gavin Harrison:1. Gavin Harrison - A psychologist of rhythm no less, born in Harrow, North London; Harrison's early influences stem from his father's jazz collection.Besides playing on records by Kevin Ayers, Lisa Stansfield, and Iggy Pop, Harrison produced two books, Rhythmic Illusions and Rhythmic Perspectives, and replaced Chris Maitland in Porcupine Tree. Most recently he has joined King Crimson.2. Gavin Harrison (Suffolk UK) - composes music and sound FX for games, TV and film.Web Site: http:\/\/gavinharrisonsounds.com\/","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/145325_h_0.jpg","feeRange":"please contact"}

{"key":"15029","name":"Pat Metheny","bio":"Patrick Bruce Metheny (born 12 August 1954 in Lee's Summit, Missouri, USA) is an American jazz guitarist and leader of the Pat Metheny Group. Metheny's musical contexts separate into many branches: the Pat Metheny Group plus various collaborations, duets, solo works, and other side projects. He first made it big in the jazz world with the famous vibraphonist Gary Burton. Throughout the late 70's, 80's, and 90's, Metheny established himself as one of the leading jazz guitar players in the world. Famous for his tasteful midwestern style and tone, he also has an incredible facility with the guitar. His compositions have earned him acclaim in the jazz world as well. He has played with such greats as: Herbie Hancock, Dave Holland, Ornette Coleman, Jack DeJohnette, Michael Brecker, Charlie Haden, Jim Hall, John Scofield, Bill Stewart, Brad Mehldau and Jaco Pastorius. Similar artists include Mike Stern, Bill Frisell, and John McLaughlin.Pat Metheny has won 17 Grammy awards and holds the record for winning Grammys in the most categories.You will find Pat Metheny on this artist sites:JacoPat MethenyPat Metheny GroupPat Metheny & Lyle MaysJohn Scofield & Pat MethenyCharlie Haden & Pat MethenyJim Hall & Pat MethenyPat Metheny & Ornette ColemanPat Metheny\/Ornette ColemanPat Metheny & Brad MehldauMetheny Mehldau QuartetPat Metheny with Charlie Haden and Billy HigginsPat Metheny & Dave Holland & Roy HaynesPat Metheny TrioAnna Maria Jopek & Friends with Pat MethenyPat Metheny Unity GroupIncomplete list.Diskographie:The totally Pat Metheny discography, sorted by years with last fm links:01.\t - \t1974\t - \tRing\t - \tGary Burton02.\t - \t1974\t - \tJaco\t - \tJaco Pastorius & Pat Metheny with Paul Bley and Bruce Ditmas03.\t - \t1975\t - \tDreams So Real\t - \tGary Burton Quintet04.\t - \t1976\t - \tPassengers\t - \tGary Burton Quartet with Eberhard Weber05.\t - \t1976\t - \tBright Size Life\t - \tPat Metheny with Jaco Pastorius and Bob Moses06.\t - \t1977\t - \tWatercolors\t - \tPat leads. With Lyle Mays, Eberhard Weber and Danny Gottlieb07.\t - \t1978\t - \tPat Metheny Group\t - \tPat Metheny Group08.\t - \t1979\t - \tNew Chautauqua\t - \tPat Metheny09.\t - \t1979\t - \tThe Search for Solutions\t - \t10.\t - \t1979\t - \tAmerican Garage\t - \tPat Metheny Group11.\t - \t1980\t - \tShadows and Light\t - \tJoni Mitchell with Metheny, Mays, Pastorius, Brecker & Alias12.\t - \t1980\t - \t80\/81\t - \tPat Metheny with Redman, Haden, Brecker, and DeJohnette13.\t - \t1981\t - \tThe Song Is You\t - \tChick Corea with A. Braxton, J. DeJohnette, L. Konitz, M. Vitous14.\t - \t1981\t - \tAs Falls Wichita, So Falls Wichita Falls\t - \tPat Metheny & Lyle Mays15.\t - \t1982\t - \tOfframp\t - \tPat Metheny Group16.\t - \t1983\t - \tUnder Fire\t - \twith Jerry Goldsmith17.\t - \t1983\t - \tTravels\t - \tPat Metheny Group18.\t - \t1984\t - \tRejoicing\t - \tPat Metheny with Charlie Haden and Billy Higgins19.\t - \t1984\t - \tFandango\t - \tUnreleased soundtrack with Lyle Mays & Nan\u00e1 Vasconcelos20.\t - \t1984\t - \tFirst Circle\t - \tPat Metheny Group21.\t - \t1984\t - \tWorks\t - \tPat Metheny22.\t - \t1985\t - \tEncontros E Despedidas\t - \tMilton Nascimento (Pat plays only on \"Vidro e Corte\")23.\t - \t1985\t - \tContemplaci\u00f3n\t - \tPedro Aznar's Sondtrack with Pat Metheny, Lyle Mays and Dan Gottlieb24.\t - \t1985\t - \tThe Falcon and the Snowman\t - \tSoundtrack by Pat Metheny Group27.\t - \t1986\t - \tStory Of Moses\t - \tBob Moses with Metheny, Okoshi, Strickland, Quintero & Harris28.\t - \t1986\t - \tDay In - Night Out\t - \tMike Metheny29.\t - \t1986\t - \tSong X\t - \tOrnette Coleman, Metheny, D. Coleman, DeJohnette and Haden30.\t - \t1987\t - \tMichael Brecker\t - \tMichael Brecker with Metheny, Kirkland, Haden and DeJohnette31.\t - \t1987\t - \tStill Life (Talking)\t - \tPat Metheny Group32.\t - \t1988\t - \tWorks II\t - \tPat Metheny33.\t - \t1989\t - \tReunion\t - \tGary Burton with Pat Metheny, Will Lee, Peter Erskine and Mitchel Forman34.\t - \t1989\t - \tLetter from Home\t - \tPat Metheny Group35.\t - \t1989\t - \tElectric Counterpoint\t - \tSteve Reich.36.\t - \t1990\t - \tReunion\t - \tGary Burton37.\t - \t1990\t - \tParallel Realities\t - \tJack DeJohnette with Pat Metheny, Herbie Hancock38.\t - \t1990\t - \tTell Me Where You're Going\t - \tSilje Nergaard39.\t - \t1990\t - \tQuestion and Answer\t - \tPat Metheny & Dave Holland & Roy Haynes40.\t - \t1992\t - \tToys\t - \t(on \"Let Joy And Innocence Prevail\")41.\t - \t1992\t - \tTill We Have Faces\t - \tGary Thomas, Metheny, Murphy, Cox, Howard, Carrington, Moss.42.\t - \t1992\t - \tSecret Story\t - \tPat Metheny Group43.\t - \t1993\t - \tWish\t - \tJoshua Redman album with Charlie Haden, Billy Higgins44.\t - \t1993\t - \tYin and the Yout\t - \tPaul Wertico Pat plays guitar on \"Don't Look Back\" only45.\t - \t1993\t - \tParallel Realities live...\t - \tMellon Jazz Festival 1990, DeJohnette, Metheny, Hancock & Holland46.\t - \t1993\t - \tThe Road to You\t - \tPat Metheny Group47.\t - \t1994\t - \tNoa\t - \tAchinoam Nini48.\t - \t1994\t - \tI Can See Your House from Here\t - \tJohn Scofield & Pat Metheny49.\t - \t1994\t - \tZero Tolerance for Silence\t - \tPat Metheny50.\t - \t1995\t - \tWe Live Here\t - \tPat Metheny Group51.\t - \t1996\t - \tPursuance\t - \tKenny Garrett album with Brian Blade, and Rodney Whitaker52.\t - \t1996\t - \tPassaggio per il paradiso\t - \tSoundtrack by Pat Metheny53.\t - \t1996\t - \tThe Sign of 4\t - \twith Derek Bailey, Gregg Bendian, and Paul Wertico54.\t - \t1996\t - \tPassaggio per il paradiso\t - \tPat Metheny55.\t - \t1996\t - \tQuartet\t - \tPat Metheny Group56.\t - \t1997\t - \tBeyond the Missouri Sky (Short Stories)\t - \tCharlie Haden & Pat Metheny57.\t - \t1997\t - \tImaginary Day\t - \tPat Metheny Group58.\t - \t1998\t - \tLike Minds\t - \tGary Burton with Pat Metheny, Chick Corea, Roy Haynes, & Dave Holland59.\t - \t1998\t - \tThe Sound of Summer Running\t - \tMarc Johnson with Pat Metheny, Bill Frisell, & Joey Baron60.\t - \t1998\t - \tDreams\t - \tPhilip Bailey61.\t - \t1998\t - \tBabe: Pig in the City\t - \twith E.G. Daily (on \"A Heart That's True\")62.\t - \t1999\t - \tTraveling Miles\t - \tCassandra Wilson63.\t - \t1999\t - \tThe Elements: Water\t - \tDave Liebman with Pat Metheny, Billy Hart, and Cecil McBee64.\t - \t1999\t - \tSimply Said\t - \tKenny Garrett. Pat plays on \"Sounds Like Winter\" & \"Simply Said\".65.\t - \t1999\t - \tTime Is of the Essence\t - \tMichael Brecker. Pat plays guitar and wrote \"Timeline\" & \"As I Am\".66.\t - \t1999\t - \tJim Hall & Pat Metheny\t - \tJim Hall67.\t - \t1999\t - \tA Map of the World\t - \tPat Metheny68.\t - \t2000\t - \tTrio -> Live\t - \tPat Metheny Trio with Pat Metheny, Bill Stewart & Larry Grenadier69.\t - \t2000\t - \tTrio 99 -> 00 \t - \tPat Metheny Trio with Pat Metheny, Bill Stewart and Larry Grenadier70.\t - \t2001\t - \tNocturne\t - \tCharlie Haden. Pat plays on \"Noche de Ronda (Night of Wandering)\".71.\t - \t2001\t - \tReverence\t - \tRichard Bona. Pat plays on track number 6.72.\t - \t2001\t - \tThe Move To The Groove Session (feat. Jimmy Heath)\t - \tPat Metheny & The Heath Brothers73.\t - \t2002\t - \tUpojenie\t - \tAnna Maria Jopek74.\t - \t2002\t - \tSpeaking of Now\t - \t75.\t - \t2003\t - \tPortrait of Jaco: The Early Years, 1968-1978 Disc 1\t - \tInterview and live75.\t - \t2003\t - \tPortrait of Jaco: The Early Years, 1968-1978 Disc 2\t - \twith J. Pastorius & B. Moses76.\t - \t2003\t - \tOne Quiet Night\t - \tPat Metheny77.\t - \t2004\t - \tRarum IX \/ Selected Recordings\t - \t78.\t - \t2005\t - \tSue\u00f1a La Alhambra\t - \tEnrique Morente album, renowned Spanish flamenco singer.79.\t - \t2005\t - \tSong X: Twentieth Anniversary\t - \tPat Metheny & Ornette Coleman incl. 6 unrel. records80.\t - \t2005\t - \tThe Way Up\t - \tPat Metheny Group81.\t - \t2006\t - \tMetheny Mehldau\t - \tPat Metheny & Brad Mehldau82.\t - \t2007\t - \tPilgrimage\t - \tMichael Brecker with Metheny, Mehldau, Hancock, Patitucci, and DeJohnette83.\t - \t2007\t - \tMetheny Mehldau Quartet\t - \tPat Metheny & Brad Mehldau, Larry Grenadier and Jeff Ballard84.\t - \t2008\t - \tDay Trip\t - \twith Antonio Sanchez & Christian McBride85.\t - \t2008\t - \tTokyo Day Trip\t - \twith Antonio Sanchez & Christian McBride (live)86.\t - \t2009\t - \tQuartet Live!\t - \tECM87.\t - \t2009\t - \tMourning Becomes Electra\t - \tNew Group Theater off-Broadway production88.\t - \t2010\t - \tOrchestrion\t - \tPat Metheny89.\t - \t2011\t - \tWhat's It All About\t - \tUK chart peak: #16490.\t - \t2012\t - \tUnity Band\t - \tPat Metheny with Chris Potter, Ben Williams and Antonio Sanchez91.\t - \t2012\t - \tThe Orchestrion Project\t - \tPat Metheny92.\t - \t2013\t - \tLa noche m\u00e1s larga\t - \tConcha Buika93.\t - \t2013\t - \tTap: John Zorn's Book of Angels | Vol. 20\t - \twith Antonio S\u00e1nchez - composed by John Zorn94.\t - \t2014\t - \tKin (<-->)\t - \tPat Metheny Unity Group","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/15029_h_0.jpg","feeRange":"please contact"}

{"key":"231495","name":"Medeski Martin & Wood","bio":"Medeski Martin & Wood, or MMW, is a jazz trio originally formed in Brooklyn, NY in 1991, consisting of John Medeski on keyboards, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.Medeski Martin & Wood was initially a straightforward acoustic jazz trio, but Medeski quickly added a Hammond organ when the difficulties of touring with a piano became apparent. This more soul jazz oriented direction led to the incorporation of other musical genres, including funk, hip hop, trip hop and free jazz. Medeski has also utilized a number of different keyboard instruments, such as a mellotron, a melodica, and a clavinet, among others.With each successive album, Medeski Martin & Wood have become harder to pin down. Having long ago transcended their soulful organ-groove basics to enter a more expansive world of snappy beats and backbeats, eerie atmospheric effects, post-lounge riffing, and the occasional jazz overture, they occupy their own category. They have also worked with a number of other artists, including John Scofield.1991. Beginnings and Endings.The Cold War was done, the Gulf War just begun and somewhere in the heart of Brooklyn, Medeski Martin and Wood were born in the sun. Playing music together for the first time that summer there was an instant connection - described by all three as being very natural, very organic and very strong. As complicated as their individual pasts might have been up to that point, their collective future together as a band had just become extremely simple - stick together and make music.This is exactly what happened.The trio grew and evolved as naturally and organically as their first jam session. They had no real plan and kinda made things up as they went along (still do in fact). First, it was the gigs at the village gate, then opening it up a bit at the old knitting factory. The guys held onto their various side-gigs and all three continued to work with other artists and groups (still do in fact) but the trio was un-derivative, un-jazz and unlike anything they had ever experienced before. They were having a great time.Billy's pop's place in Jersey was the band's \"office\" where they would use the computer, the copy machine and general office supplies to create press kits and book tours. What started out as a john lurie joke became the first official name of the band COLTRANE'S WIG which was quickly replaced by the law-firm like MEDESKI MARTIN AND WOOD (friend and fellow lounge lizard oren bloedow suggested they use their last names\u2026 Billy picked the order). Soon, the first little tour was booked around the northeast. Packing into Billy's old ford van, they would take off for short runs, hanging out, sleeping on floors and coming back home. Only a few months after their initial get together, MMW went into BABY MONSTER studios to record their debut album - NOTES FROM THE UNDERGROUND which they released independently on hap-jones records.1992. On the map?Sort-of. With a record to their credit, solid gigs in NYC and a few short runs out into the rest of the land MMW had officially risen above the notes from the underground and started making some noise. Still taking baby steps, letting things develop naturally, and just making music (which at this point in time had the ability to change in style nightly\u2026 depending on the place, time and space they were playing). Watching the boys play back then (and now) it was (and is) obvious that they were not trying to become rock stars, or jazz legends\u2026they weren't trying to become anything other than themselves.Despite their commitment to each other, Medeski Martin and Wood still wasn't a full time job. In order to make a living (and experiment in sound) they continued to work as individuals within the deeply rich mines of New York City's downtown scene - an incestuous melting pot of music, style and sounds. Recordings, gigs and tours with other artists and other bands was a way of life for Billy, John and Chris and it was through one of these tours that MMW hooked up with their unofficial fourth member - LIZ PENTA.Liz (who booked CBGB'S GALLERY at the time) was in Europe on tour with Marc Ribot's band (The Rootless Cosmopolitans) which included Sim Caine and Chris Wood. Chris told Liz about MMW and Liz convinced the band to play CB's later in the year. They did. Liz freaked (passing them the legendary post-show \"note\") and kept bringing them back, drawing more people every time.1993. Marriage.First major commitment was the record deal. Manager #1, MISSY ROGERS, procured a deal with GRAMAVISION (pre-RYKO days) who in turn released \"It's a Jungle in Here\" in the summer of 1993. The deal put M M and W on paper, bound together officially for the first time. That same year the trio repeated their vows, this time by signing papers together for a vehicle - the fabled, no-named R\/V. With new records and their new vehicle, they continued their journey - non-stop touring.1994. You're either on the bus or you're off.Having recently left CB's gallery the band invited MS. PENTA (see 1992) to join them, in the R\/V, as road manager. The first run of the year saw co-billing with the NYC collective LOST TRIBE. Then a four month journey took them on a full sweep of the United States and Canada. MMW (who by now had the road down to an organic science) would find the closest r\/v park, campground or state park\u2026waking up either in a sketchy KOA or in the midst of sacred grounds.Spending every day together for weeks and months on end, every night a new city, a new resting spot, a new slice of life. Shit was crazy. Playing together and living together\u2026in one small, but recreational, vehicle a family was formed. Everyone had a role: Medeski was the cook, Martin was the mechanic, Wood was the organizer, and Liz did the biz (this was pre-cell phone days too). All four shared the driving responsibilities. The four way marriage was working\u2026 and the music was flowing. The band took four days off from touring that summer to document some of the new sounds resulting in the DAVID BAKER co-produced FRIDAY AFTERNOON IN THE UNIVERSE.1995. New year's resolutions.Liz, will you be our full time manager? She said yes. The band played on.Her first move was to find the group a real agent and with some help from everyone's adopted sister, and current fabulous babe\/road manager, INA JACOBS they hired a punk-rock outfit, RAVE BOOKING, that instantly put the band on another long 4 month tour. Living in New York City is all about downsizing (it's the lack of space y'know?) and by this time in life the band decided to downsize completely. They were on tour SO OFTEN that they gave up their apartments in the city because\u2026 they were never home. And the hard-work started to pay off. Creeping out from the underground, it became strangely obvious, that the momentum was shifting, that things were slowly taking off, that they were selling more records and attracting more fans everywhere they went. from every corner of the US, to EUROPE and even JAPAN, MMW was planting flags\u2026 all over the map.MEG ENNS escaped Atlanta, Ga where she had owned and operated HOMAGE (a coffeehouse\/ club\/art gallery and favorite venue for MMW) to go on tour as merchandiser, soon to be tour manager, to present day president of INDIRECTO (MMW's merchandise company).1996. The year of the shack.If the band felt the momentum shifting in 95, 96 might have been the year it became official. They sold the r\/v and stared touring by bus; landed a spot on the h.o.r.d.e. tour and recorded their best selling album to date - the legendary \"Shack-Man\". No MMW story would be complete without a nod to the hawaii shack that serves as the band's home away from home.Not to be confused with SHACKLYN, MMW's eastern most bat cave in the back-alleys of Brooklyn, THE SHACK is located deep in the heart of HAWAII's big island. you'll need a guide to find it and an ideal candidate would be it's owner MR. CARL GREEN - an old friend of BOB MOSES who introduced the band to his special enclave and the accompanying tree-house which CARL calls home. Nestled along shores of pristine ocean and surrounded by timeless jungle, the shack became the MECCA of MMW and the boys decided to rent the spot full-time, year round. With solar powered energy, a few generators, and the guidance of david baker, the band immortalized the experience by rolling the tape for a month in June. On a shoe-string budget, the band delivered \"SHACK-MAN\" to Grammavision in july\u2026 and became official free agents.By the time \"Shack-Man\" was released later that summer the band had cut-back on the marathon touring, limiting their runs to 6 weeks or less. And to celebrate the release of the new record MMW kept it close to home and curated an 8 week celebration with a Monday night residency at the KNITTING FACTORY. These SHACK PARTIES became a testament to the past, present and future of MMW with highly anticipated sold-out shows that brought incredible excitement to the air\u2026and guests to the stage, including the debut of their affiliation with DJ Logic who was asked to spin records in between sets and also join them on stage to jam.As noted, the past few years witnessed a general vibe that SOMETHING was going on, that the tide was turning, that the band was growing, that shit was changing. Slow and steady wins the race. But nothing could prepare them for the pleasant surprise of what happened next. By the time word got out that MMW was free and clear of a record deal, a very serious bidding-war was called to order. The biz was abuzz. In sum there were no fewer than 17 labels courting the services of this intriguing instrumental trio. Feeling like the label and its chief (the legendary BRUCE LUNDVALL) ultimately understood their music best and assured them plenty of room to grow\u2026 in any direction\u2026 MMW settled into their new home - BLUE NOTE RECORDS.1998 - 2005. The Blue Note years.Their first release on the new label was Combustication in 1998. Recording sessions took place in Manhattan, and the album featured DJ Logic scratching and sampling on three tracks as he had done live during the Shack-Man tour. It was a slower and less groove-based sound than Shack-Man and showed the group's continued growth. The tracks included the Sly Stone hit \"Everyday People,\" which begins by deconstructing the tune to the point of rhythmic obscurity only to be returned to the song's more familiar pop sound. Another track featured the traditional Hawaiian tune \"No Ke Ano Ahiahi,\" perhaps a lingering mood from the band's Hawaiian retreat.Released in 2000, Tonic was MMW's second full-length album on the Blue Note label. Tonic was a return to the group's first release, Notes from the Underground. The album is a live recording which was assembled over a nine-day period while the band played at the popular New York club also called Tonic. The set list included pieces by John Coltrane, Duke Ellington, Billy Roberts, and Bud Powell. The band masterfully worked in their various rhythmic pleasures covering swing, Latin, soul, and even Jimi Hendrix on their cover of \"Hey Joe.\" Also in 2000, MMW played to sold out arenas while touring with the Dave Matthews Band.In December of 2000, Medeski, Martin & Wood released The Dropper. The album was recorded in the Brooklyn, New York, studio the group built to create the album. Many of The Dropper's tracks evolved out of experimentation with new instruments and sounds. On the surface, The Dropper may be called avant-garde noise. The album features both the trio's hard groove on several tracks and introduces a dark and moody tone similar to that of Radiohead.April of 2002 saw the release of Uninvisible, an even more wildly experimental album that picked up where The Dropper left off. The release saw their music being brought to an even wider audience than they enjoyed before, being well-received by fans of jazz fusion, jam bands, and experimental music in general. The album featured a brash five-piece horn section from the Brooklyn-based Antibalas Afrobeat Orchestra, turntablists DJ Olive and DJ P Love, and, for a spoken-word number, craggy-voiced Southern rock eccentric Col. Bruce Hampton.End of the World Party (Just in Case) followed two years later in 2004 and continued the musical trends of Uninvisible. Produced by the band and Dust Brother John King, End of the World Party (Just in Case) was the end result of group improvisations on stage and in the group's Brooklyn studios from which melodic motifs and polyrhythmic beats were sculpted into a dozen comparatively short tracks in the four to five minute range. The song \"End of the World Party\" would later be featured on the show Grey's Anatomy and can be found on the show's soundtrack. Although the album failed to achieve a breakthrough mainstream success, End of the World Party (Just in Case) is generally seen to be more accessible to non-jazz listeners than most previous MMW albums.The retrospective Note Bleu: The Best of the Blue Note Years 1998-2005 was released in 2006 as the band departed from the label.2006 - Present. Continued innovation.No longer signed to anyone else's record label, the band established their own label, Indirecto Records. It was said to be an outlet for the band's music as well as a return to the methodology of the band's early years: releasing their own music, their own way, in its own time. The trio's first Indirecto release, Out Louder, came in September of 2006 and was a four-way collaboration with guitarist John Scofield, which true-to-form is heavy on group improvisation, irresistible grooves, rich harmonies, and strong melodies. It was the first album released under the name \"Medeski Scofield Martin & Wood,\" since 1998's A Go Go was released under Scofield's name alone. \"A Go Go was John's record and we were essentially sidemen, where Out Louder musically comes from all of us\" explained Wood.In 2008, the band did yet another career-first, releasing an all-children's album titled Let's Go Everywhere on Little Monster Records. Two more MMW albums would follow later in the year, Zaebos: Book of Angels Vol.11, which featured the trio playing the compositions of John Zorn, and Radiolarians 1, the first in a planned trio of albums to be released on the band's Indirecto label.","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/231495_h_0.jpg","feeRange":"please contact"}

{"key":"17048","name":"Kenny G","bio":"Kenneth Bruce Gorelick (born June 5, 1956 in Seattle, WA), better known by his stage name Kenny G, is a Grammy winning American saxophonist. His fourth album, Duotones, brought him breakthrough success in 1986. Kenny G's main instrument is the soprano saxophone, but he also on occasion plays alto and tenor saxophone. He started playing the saxophone when he was 10 years old, in 1966. Kenny G has long been the musician many jazz listeners love to hate. A phenomenally successful instrumentalist whose recordings make the pop charts, Kenny G's sound has been a staple on adult contemporary jazz and smooth jazz radio stations since the mid-'80s, making him a household name. Kenny G is a fine player with an attractive sound (influenced a bit by Grover Washington, Jr.) who often caresses melodies, putting a lot of emotion into his solos. Because he does not improvise much (sticking mostly to predictable melody statements), his music largely falls outside of jazz. However, because he is listed at the top of \"contemporary jazz\" charts and is identified with jazz in the minds of the mass public, he is classified as a jazz artist.","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/17048_h_0.jpg","feeRange":"100,000 - 200,000"}

{"key":"56724","name":"Chambao","bio":"Chambao is a flamenco-electronic band originally from Malaga, Andalucia, Spain, known for a 'flamenco chill' sound that fuses flamenco sounds and palos (forms) with electronic music. The name of the band is taken from an improvised form of beach tent that is constructed as a means of sheltering from the wind and sun.The band started by a trio of musicians from Malaga: Mar\u00eda del Mar Rodr\u00edguez Carnero (aka La Mari), Eduardo and Dani (who left the band in 2005). They have released two albums of their own. In 2003, they were winners of the Premio Ondas musical award for their debut album, Endorfinas en la mente (Endorphins in the Mind).","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/56724_h_0.jpg","feeRange":"please contact"}

{"key":"15055","name":"Al Di Meola","bio":"Al Di Meola's highly celebrated career has spanned a wide range of emotions into a unique style embodying the artists world inspired influences. From the velocity and heat of his early solo efforts to the challenge and triumph of the \"Di Meola \/ McLaughlin \/ De Lucia (Guitar Trio)\", from the Brazilian explorations of \"Cielo e Terra\" and \"Soaring Through A Dream\" to the global romanticism and Tango inflection of Al's acoustic group \"World Synfonia\" (self titled debut) and the 2nd \"World Sinfonia\" recording Heart of the Immigrants.From the beginning of his solo career, where records like \"Land of the Midnight Sun\", \"Elegant Gypsy\" and \"Casino\", were amongst the highest selling records of any instrumental artist at that time. Al Di Meola continues to make, with respect, startling achievements in music pioneering while the decline of U.S. radio continues to elude most interesting contemporary music.Al Di Meola, again and again, reveals himself as a seasoned gifted contemporary composer and a player of deepening grace and evocative lyricism. He has been continually sited by many of the top prominent Music critics around the world for his virtuosic guitar work and compositions. Al's intrigue with complex rhythmic syncopation combined with provocative lyrical melodies always incorporating, sophisticated harmony at the root of these serious but heart felt works is central and foremost.His awesome technique and musical depth can be traced back and is world renown with his debut with Chick Corea and \"Return to Forever\" in 1974. In 1980, marked the triumph of the \"Super Guitar Trio\" with Paco De Lucia and John McLaughlin. The record \"Friday Night in San Francisco\" became a landmark recording resulting in wide acclaim. The result of which, surpassing two million records in sales. They toured from 1980 through 1983 and reunited for a 3rd CD \"Guitar Trio\" in 1996 follow by a world tour. In early 1996, Al Di Meola formed a new trio with the likes of jean Luc Ponty, and Stanley Clarke (The Rite of Strings). Di Meola has assembled what he describes as his \"best group by fit in my career\". The name of this new group is the \"Al Di Meola World Sinfonia 2000\". Featuring musicians from Argentina, Cuba and Israel.He has recorded over 21 records (CD's) of his own including his new solo acoustic guitar record \"Winter Nights\". A very intimate recording of Di Meola himself alternating between two gorgeous vintage acoustic guitars and a bandura (a 48-string harp like instrument) played by a musician from Ukraine named Roman Hrynkiv. The music is centered on a holiday winter theme with songs ranging from four originals, four Christmas related pieces and two well-known pop pieces. One being \"Mercy Street\" by Peter Gabriel and \"Scarborough Fair\" by Paul Simon. Di Meola's choice of music on this record combined with his originals has a particular concurrent thematic mood.Al believes this record is audibly the best sounding record he's ever recorded. In addition to Roman Hrynkiv on bandura, Hernan Romero, Al's friend and musical partner is assisting with production and acoustic rhythm guitar on two tracks.Among some of the names in his illustrious career, with whom Al has recorded or played with include the likes of Chick Corea, Luciano Pavarotti, Paco De Lucia, Paul Simon, Phil Collins, Santana, John McLaughlin, Larrv Coryell, Steve Winwood, Wayne Shorter, Herbie Hancock, Gonzalo Rubalcaba, Jaco Pastorius, Les Paul, jean Luc Ponty, Steve Vai, Frank Zappa, Milton Naciemento, Egberto Gismonti, Jimmy Page, Tony Williams, Stanley Clarke, Stevie Wonder, Irakere and many more.As \"World Sinfonia\" and \"Heart of the Immigrant's\" evocative melodies and rhythmic diversity were greatly influenced by the late Argentinian tango master Astor Piazzolla. On \"Kiss My Axe\", \"Infinite Desire\" and \"Orange and Blue\", he shows a broader cultural and musical scope. However, the friendship between Astor Piazzolla and Al Di Meola before his death, greatly moved the guitarist into deepening his considerable ties to the music of Argentina and the classical world. \"Piazzolla had a profound effect on my development as a musician and as a person. We became close friends often communicating by mail, which later during the coarse of this my admiration and desire to learn more about this great man intensified.\" \"Chick Corea is also another major influence in my life, he has always been a wonderful supporter, major musical inspiration and a friend.\" \"Playing with chick was the first significant step in my development as a player.\"Born in an Italian family, then, while growing up in Jersey City, NJ, United States, young Al Di Meola divided his time between guitar lessons and hanging out at the local salsa clubs. Influenced greatly by jazz guitarist Larry Coryell, Di Meola enrolled at Berklee College of Music in Boston, where his marathon practice sessions are still the stuff of legends (Al continues to be the technical master by which other guitarists are measured). \"We had three guys in one space; one in one room, one in the bathroom and I got the closet\". After a brief stint with keyboardist Barry Miles, Di Meola, at 19 was tapped by Chick Corea in 1974 for \"Return to Forever\". His star quickly ascended.Twenty-One recordings, countless awards, (including three gold albums) and six million albums later, Al Di Meola is still challenging himself and his music. \"Infinite Desire\" his 1998 release, \"Winter Nights\" the end of 1999 release,\" World Sinfonia 2000, The Grand Passion\" the 2000 release and \"Flesh on Flesh\" his May of 2003 release.Due in September 2006, his fifth Telarc release, Consequence of Chaos, offers a contemporary set of 15 original compositions and guest appearances by pianist Chick Corea, drummer Steve Gadd, keyboardist Barry Miles, and bassist John Patitucci, among others.","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/15055_h_0.jpg","feeRange":"10,000 - 30,000"}

{"key":"15164","name":"Avishai Cohen","bio":"There are two artists of this name: an Israeli jazz bassist and an Israeli jazz trumpet player Avishai E. Cohen.1. Avishai Cohen (born 1970 in Jerusalem) is an Israeli jazz bassist, composer and arranger. He was raised by a musical family, and as a child he started playing piano. After a few years he moved to the bass guitar. Later, after playing in the army for a while, he moved to New York City. After performing some small clubs, he was noticed by Chick Corea and was given a record contract. He has performed in two of Chick Corea's bands, \"Origin\" and the \"Chick Corea New Trio\".After having recorded \"Adama\" in 1997 and \"Colors\" three years later, Avishai decided to create his own label in 2003. The label released its debut CD, \"Lyla\" in September 2003. In February of 2005 Razdaz Recordz released \"At Home\", an album that was arguably Avishai Cohen's most compelling and striking new recording to date. That is until the artist conceived of, and recorded his newest studio CD, the spectacularly beautiful, \"Continuo\". Cohen\u2019s third recording on his label Razdaz Recordz, and his seventh as a leader, was recorded in Gothenburg, Sweden in December 2005 with Avishai's core trio of pianist\/keyboardist Sam Barsh and drummer\/percussionist Mark Guiliana.New album \"Gently Disturbed\" released in 2008 performed by Avishai's trio. Avishai also shows more of his \"Avishai Cohen & Ensemble\" on their world tour.2. Avishai E. Cohen - trumpet player, who received the Clark Terry award. He recorded under his own name, with his brother and sister as the '3 Cohens', and with 'Third World Love'. Bio excerpt from his website (http:\/\/www.avishaicohenmusic.com\/):Albums under his own name are The Trumpet Player & After the Big Rain & Triveni II Avishai Cohen is a leading figure on the international jazz scene and one of the most sought-after players of his generation \u2014 \u201can assertive and accomplished trumpeter with a taste for modernism,\u201d according to Nate Chinen of The New York Times. Though deeply rooted in the bebop and post-bop tradition, Avishai is taking jazz in new directions, making waves as an improviser, composer and bandleader. Originally from Tel Aviv, he began performing at age 10. He toured the world with the Young Israeli Philharmonic Orchestra and went on to become the trumpet player of choice for many leading jazz, rock, pop, studio and television projects. He received a full scholarship to attend the Berklee College of Music in Boston, and in 1997 he placed third in the prestigious Thelonious Monk Jazz Trumpet Competition.Avishai came of age as part of the fertile scene at Smalls, the storied New York jazz club, where he developed his artistic vision alongside such friends and colleagues as pianist Jason Lindner, bassist Omer Avital and vocalist Claudia Acu\u00f1a. Here the imperatives of jazz tradition and innovation were not in conflict, but rather merged into one powerful creative stream. Avishai flourished in an environment where hard-driving swing, open-ended funk, Latin and Middle Eastern rhythms, complex extended forms and free improvisation converged under one roof, drawing enthusiastic audiences. All of Avishai\u2019s diverse work, as a leader, co-leader and sideman, is informed by this broad-minded legacy, which has given jazz new vitality and relevance in the 21st century.Avishai made his debut as a leader in 2003 with The Trumpet Player, a burning straightahead session with bassist John Sullivan (Roy Haynes), drummer Jeff Ballard (Chick Corea, Pat Metheny) and special guest Joel Frahm on tenor. His second album, After the Big Rain, is the last part of \u201cThe Big Rain Trilogy,\u201d a series of recordings that is now nearing completion. The trilogy also includes Before the Big Rain (part one), a large-group outing, and The Big Rain (part two), a trio encounter with Yonatan Avishai on piano and Daniel Freedman on percussion. Avishai\u2019s music is alternately moody and joyous, richly atmospheric yet beat-driven and grooving, suffused with compositional depth, inspired improvisation and a profound world-music influence. Avishai plays open and muted trumpet but also routes his horn through electronic effects that range from the dreamy to the snarling and distorted. He\u2019s been developing these sounds over the course of the last decade. \u201cWhen I play effects, I play a different instrument,\u201d he says. \u201cThe whole concept changes.\u201d Avishai\u2019s other credits range from touring with the celebrated French-American singer-songwriter Keren Ann, to sharing the stage with the great Bobby Hutcherson in the all-star San Francisco Jazz Collective. In addition, Avishai is the co-leader of Third World Love, with Omer Avital, drummer Daniel Freedman and pianist Yonatan Avishai, a group with four recordings to its credit. He also leads a funk-oriented band with bassist Me\u2019shell Ndegeocello and drummer Adam Deitch, and continues to perform extensively with the 3 Cohens, which he formed with his sister Anat and brother Yuval, both gifted reeds players. With his incredible instrumental skill and world-spanning musical interests, Avishai, in the words of critic Ben Ratliff, \u201chas all the power and tenacity he\u2019s going to need.Avishai is the chosen artist of Israel Cultural Excellence Foundation (IcExcellence) since 2004.","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/15164_h_0.jpg","feeRange":"please contact"}