Guitar Greats

Vol 1 Features:
1. John Petrucci
2. Derek Trucks
3. Michael Romeo
4. Steve Stevens
5. Joe Satriani
6. Steve Lukather
7. Jake E Lee
8. Steve Morse
9. Vinnie Moore
10. George Lynch
11. Alex Skolnick

Vol 2 Features:
1. Steve Morse with School Of The Arts
2. Cameron Williams and Jess Franklin with Tishamingo
3. Alex Skolnick and Charlie Hunter
4. Michael Lee Firkins
5. Phil Upchurch with the Clinton Administration
6. Fareed Haque
7. Will Bernard with Robert Walter's 20th Congress
8. Frank Gambale with School Of The Arts
9. Oz Noy and Mike Stern
10. Charlie Hitchcock, Fareed Haque and Michael Lee Firkins with The Clinton Administration

It must have been difficult for Magna Carta’s Pete Morticelli to assemble this compilation of fine guitar driven performances. Probe him about his choices and he’ll divulge a tale about each of the creative aggregations featured on this album—aggregations that he fostered and nurtured. No question, to stand objectively, sometimes years after the fact, and single out ten tracks representative of the guitarist’s art must have been a chore—and a blast! Let’s look a little closer at each of these prime cuts.

“Fate Speaks” rumbles relentlessly forward. Culled from the first Explorers Club outing (Age Of Impact) on Magna Carta, it is distinguished by four-to-the-bar snare drum from Terry Bozzio and Yes-styled vocals from Bret Douglas and Trent Gardner. We’re listening to three guitarists here, la crème de la crème. For the solo, Dream Theater’s John Petrucci, at first almost audible in the shadows and then bursts forth, delivering his patent dancing, tugging lines with a dramatic resolution that sets up the vocal refrain. Don’t ignore the solid pad and sometimes-intricate contributions of James Murphy and Wayne Gardner as well as Derek Sherinian on keys! The ending is, again, a Yes-like (or maybe Crimson?) staggered eighth note figure that delivers the knock out punch.

Shades of Jethro Tull! This personnel configuration finessed together again by Magna Carta founder Peter Morticelli on the blues standard “Cat’s Squirrel” (from To Cry You A Song) is a real cracker! All that’s missing is Ian Anderson standing on one plaid leg. But Tull’s Clive Bunker and Mick Abrahams were members of the rhythm section that made Jethro Tull one of the biggest bands in the world circa 1971. There’s no mistaking Mick’s wet guitar textures or Bunker’s powerful and lumpy drumming. But here’s the real kicker. Then nineteen year-old Derek Trucks (notable now for his membership in the Allman Brothers Band, Eric Clapton’s band and his own Derek Trucks Band) meets the vibe head on with his slide work, best evidenced around 4:15, and then in the dual guitar with Abrahams. Nineteen years old! Derek wasn’t even born until well after Tull had peaked in popularity, yet he owns this track.

Michael Romeo (Symphony X) is up for a run at “Analog Kid” from Working Man. Only occasionally does vocalist Jack Russell reach up to stratospheric ranges of Geddy’s voice, but Romeo is more than willing to deal in the upper register, generating some palpable excitement. Portnoy is obviously comfortable interpreting the drumming of one of his main influences.

Here’s a treasure, an unreleased track from the Black Light Syndrome sessions: “Roadside America Medley”. Steve Stevens sets up a dreamy, slide-y vamp, broken only by an ostinato from Levin and light percussion from Bozzio. After a few minutes the trio steps up the energy, with Stevens alternating between sharing Levin’s ostinato and going into solo flight; meanwhile Bozzio mixes it up, displacing the backbeat and stating strict time. By the six-minute mark, Stevens has forgone the languid guitar texture of the intro and is full over-drive.

From Jordan Rudess we have “Screaming Head”, which may refer somehow to Joe Satriani’s amp and which is certainly howling off the top. As he is want to do, Satriani kicks up excitement with any means at his disposal: flurries of notes, bends, octave jumps, and so forth. Rudess’ baroque interlude at 3:20 is somewhat at odds with the preceding feel, and certainly respite from Satriani, who comes on like a freight train immediately following the keyboard spot. His “octavider” device is particularly effective and he negotiates the upcoming modulation with a guitar phrase that’ll give you goose bumps.

Time for a slow, six-feel and Niacin’s “Things Ain’t Like They Used to Be”. Glenn Hughes is in his element; his range is wide and he is soulful. And Lukather is, well, Lukather. Whether comping, chording, or soloing, he is plain exciting—really at the top of his form. This is a track not to miss. It stitches a line between blues and rock, employing the full drama of each form. At times you wonder if it’s, maybe, Robert Cray lamenting about the man next door but you don’t dwell on the similarities because Lukather launches into one of the hottest solos on this album at around 4:20. At first glance you wouldn’t believe it, but that’s Dennis Chambers on drums and he’s digging in, sitting proud against the Hammond pad.

Hard to follow that one. So we take a left turn and re-visit “Working Man” (from Tribute to Rush of the same name). Sebastian Bach’s guttural vocals work a charm, while Mike Portnoy adds a playful drum track, filling holes with regularity. Then about two minutes from the intro comes Jake E. Lee’s guitar solo. For the most part, it’s in the upper register, which seems right for the song, as do his crazed bends, before he lapses into the ensemble figure on which the band fades.

Rarely has a track been as well named as “Cool Wind, Green Hills”, judging from the lush, open guitar intro. This is pleasant, tranquil stuff, well recorded, with the picking well articulated. Van Romaine constructs a drum part that is as Wertico is to Metheny—a marching travelogue. Steve Morse’s guitar part is a thing of beauty. Gradually, electric textures appear but never supercede the basic, acoustic vibe.

Relentless, over-driven fuzz guitar can add weight and glue to a tricky arrangement, especially one that fluctuates in terms of feel, time signature, and dynamics. Case in point: “Time Crunch”, from Jordan Rudess’ album Rhythm of Time. It’s precisely as the title suggests, a crunching of the numbers. The track could have been a mere series of exercises in manipulation of the basic quarter/eighth note tallies—were it not for Jordan’s overriding sense of melody. And you must check out the riveting solo by Vinnie Moore at 4:43: the Thinking Man’s flailing guitar! It’s unpredictable as all get out and pushes the composition along to its dramatic conclusion.

Another anthem from Working Man, in fact, “Anthem”. While we’re on the topic of time signatures, let’s vamp in 7/4, shall we, in this tribute to Rush. While Mark Slaughter gives Geddy a serious run for his money in the vocal department—a serious run—George Lynch is holding down the fort, until, he magically emerges from behind Slaughter’s trailing high register vocal line for a compelling solo. Deen Castronovo does a fine job of interpreting Rush without mimicking everybody’s drum idol, Mr. Peart.

The wait was worth it, speaking of the last tune on this excellent compilation. We have before us “Western Sabbath Stomp” (from Alex Skolnick trio’s Last Day In Paradise) and the haunting slide strains of Alex Skolnick’s guitar, first quoting a solo phrase from some lost backwoods broadcast and then with the full band center stage. This minor key lament is less the stuff of virtuosity than of superb taste and heaviness. These three musicians clearly listen: they nudge, probe, and shadow each other right to the last note, which, incidentally, comes all too soon.

Peter Morticelli has again assembled a collection that does two things: It provides a diverse selection of tracks of interest to guitarists, memorable for their overriding musicality. And it is a sign that perhaps Pete will free up more tracks from the Magna Carta vault and share them. That would be nice.

GUITAR GREATS Vol 1

GUITAR GREATS Vol 2

Catalog # MA-1101-2

Download The Album Now

1. Steve Morse with School Of The Arts - `Portrait'
School Of The Arts - "School Of The Arts"
Magnatude Records MT-2315
Steve Morse - Acoustic Guitar
T Lavitz - Piano
John Patitucci - Acoustic and Electric Bass Guitar
Dave Weckl - Drums and Percussion

2. Cameron Williams and Jess Franklin with Tishamingo - `Get On Back'
Tishamingo - "The Point"
Magnatude Records MT- 2311
Cameron Williams - Guitar, Vocals
Jess Franklin - Guitar, Vocals, Organ, Electric piano
Richard Proctor - Drums, Percussion
Chuck Thomas - Bass, Backing vocals

3. Alex Skolnick and Charlie Hunter - `Scorch'
Alex Skolnick trio - "Transformation"
Magnatude Records MT-2305
Alex Skolnick - Guitars
Charlie Hunter - 8-string guitar
Nathan Peck - Double-bass
Matt Zebroski - Drums, percussion

4. Michael Lee Firkins - `Two Guns Left'
Michael Lee Firkins - "Blacklight Sonatas"
Magnatude Records MT-2306
Michael Lee Firkins - Guitar
Thomas Pridgen - Drums
Kai Eckhardt - Bass

5. Phil Upchurch with the Clinton Administration - `Flash Light'
The Clinton Administration - "One Nation Under A Re-Groove"
Magnatude Records MT-2301
Phil Upchurch - Guitar
Melvin Gibbs - Bass
Clyde Stubblefield - Drums
Robert Walter - Keys
Skerik - Sax
DJ Logic - Turntables and sound manipulations
Chuck Prada - Percussion

6. Fareed Haque - `Sassi Lassi'
From the Fareed Haque Group - "Cosmic Hug" Magnatude Records MT-2307
Fareed Haque - Electric Guitar, Steel String Guitar, Classical Guitar, Sitar Guitar, Keyboards
Kalyan Pathak - Tabla, Percussion, Voice
Jon Paul - Bass Guitar
Dan Leali - Drums
Dan Nimmer - Fender Rhodes, Electric Piano
J. Cappo - Keyboards and Electronics

7. Will Bernard with Robert Walter's 20th Congress - `Dump Truck'
Robert Walter's 20th Congress - "Giving Up The Ghost"
Magnatude Records MT-2302
Will Bernard - Guitar
Robert Walter - Hammond organ, Fender Rhodes, Piano, Synthesizers, Samples, Programming, Effects
Chuck Prada - Percussion
Cochemea Gastelum - Alto sax, Amplified alto sax, Flute, Bass clarinet, Effects
Joe Russo - Drums

8. Frank Gambale with School Of The Arts - `Gambashwari'
School Of The Arts - "School Of The Arts"
Magnatude Records MT-2315
Frank Gambale - Acoustic Guitar
T Lavitz - Piano
John Patitucci - Acoustic and Electric Bass Guitar
Dave Weckl - Drums and Percussion

9. Oz Noy and Mike Stern - `Downside Up'
From Oz Noy - "HA!"
Magnatude Records MT-2308
Oz Noy - Guitar
Mike Stern - Guitar
Anton Fig - Drums
Keith Carlock - Drum Intro
James Genus - Bass

10. Charlie Hitchcock, Fareed Haque and Michael Lee Firkins with The Clinton Administration - `Dance To The Music'
The Clinton Administration - "Take You Higher"
Magnatude Records MT-2303
Charlie Hitchcock - Rhythm Guitar and Guitar Solos
Fareed Haque - Rhythm Guitar and Guitar Solos
Michael Lee Firkins - Slide Guitar, Rhythm Guitar
Kai Eckhardt - Hot Wire "Big Apple" 5 String Bass
Cochemea Gastelum - Alto Saxophone, Flute, Bass Clarinet and Effects
Eric Levy - Wurlitzer Piano, Clavinet, Moog Synthesizer, Kurzweil 2500, Acoustic Piano
Stanton Moore - Drums
Chuck Prada - Percussion
Robert Walter - Hammond B-3 and Fender Rhodes