Lyle Workman hasn’t just had a successful career—he’s had three. As a sideman and first-call session musician, he’s toured and recorded with everyone from Beck and Sting to Frank Black, Tony Williams and Todd Rundgren; as a composer for film and television, he’s written music for box office blockbusters that have earned over a billion dollars worldwide, including Superbad, The 40 Year Old Virgin, and Forgetting Sarah Marshall; and as a songwriter and solo artist, he’s written a hit single and earned praise from guitar heroes like Steve Vai and Steve Lukather. Now, Workman is set to bring all three of his disparate worlds together with “Uncommon Measures,” a stunning new instrumental collection featuring a 63-piece orchestra captured live at Abbey Road Studios in London. “This record ties together all the different threads of who I am as an artist,” explains Workman. “It was four years in the making due to my film and TV schedule, but it’s really the culmination of a lifetime in music.” Bursting at the seams with soaring arrangements and virtuosic performances, ‘Uncommon Measures’ plays like the score to some epic film from an alternate dimension, mixing elements of progressive rock, jazz fusion, and romantic classical music with gleeful abandon. The songs here are living, breathing entities, constantly growing and evolving in ways both subtle and drastic, and the production is similarly unpredictable, veering from larger-than-life bombast to whispered intimacy and back, sometimes within the very same track. Grand as the record is, though, it’s Workman’s eye for detail and gift for melody that remain front and center throughout. He paints vivid, emotional portraits on the album with his evocative guitar and keyboard work, crafting an immersive, cinematic universe plumbed entirely from the depths of his subconscious in spontaneous, improvised writing sessions. The result is a record as extraordinary as it is unexpected, a captivating, transportive song cycle that manages to scale the heights of joy and sadness, love and friendship, self-discovery and celebration, all without a single word. “I’ve always felt like the muse is much more intuitive and in touch with my emotions than I am,” says Workman. “Writing these songs, I tried to just go into this tabula rasa state of mind, a meditative place where I could let the music tell me where to go.” Indeed, music has been a faithful guide for much of Workman’s life. Born and raised in San Jose, California, he fell in love with The Beatles at an early age and taught himself guitar by listening to their records. While Workman’s tastes would expand over the years—Genesis and Yes brought him to Mahavishnu Orchestra and Miles Davis, which led him to Ravel and Debussy—he would always hold a special place in his heart for the simple pleasures of a perfectly crafted pop song. After studying music in college, Workman joined a band out of Sacramento called Bourgeois Tagg, which landed a deal with Island Records, and co-wrote the hit single “I Don’t Mind At All,” which climbed the charts on both sides of the pond and helped earn the group performances on the Tonight Show, Top Of The Pops, American Bandstand, and their European equivalents. Bourgeois Tagg proved to be a launching pad for Workman, who, after recording two albums with the band, soon began picking up work in the studio and on the road with a wide array of big-name artists. “The great thing about being a sideman is that every gig is an education,” he reflects. “Whether I’m working with artists like Beck or Sting, Todd Rundgren or Frank Black, Norah Jones or Bryan Adams, they’re all worlds unto themselves, and playing with them is a chance to step inside their heads and understand how they create.” In many instances, the influence flowed both directions. Workman co-wrote songs on Sting’s ‘57th & 9th,’ for example, and composed the track “Machu Picchu,” which appeared on late jazz icon Tony Williams’ final album, ‘Wilderness.’ “I was a huge fan of Tony’s playing with Miles Davis and beyond,” says Workman, “so it totally blew my mind when he invited me to come to his place and start collaborating. We worked on ideas together for about a month, and when we recorded ‘Machu Picchu,’ we had Stanley Clarke and Herbie Hancock playing it with us. It was an incredible experience.” As a sideman, Workman learned what it took to help bring other artists’ visions to life, a skill set that also made him ideally suited for the world of film and television. Gigs writing commercial jingles gave way to composing jobs for indie films, which opened the door to major studio releases and a connection with Judd Apatow, who began hiring Workman to score his films and television series. Successful as he became, though, something was still missing for Workman. He’d released a trio of well-received solo albums in the ’90s and early 2000s, but as his sideman and film composing careers exploded, he found that he had to put his own artistic visions on the backburner. “I absolutely love all the work I get to do with other artists and filmmakers,” he explains, “but sometimes you need to articulate your own thoughts and feelings as a writer, too. There’s a singular satisfaction that comes from creating something that’s a pure expression of yourself.” And so Workman embarked on the epic journey that would become ‘Uncommon Measures,’ beginning at first by shutting off his mind and simply letting the music flow in his Los Angeles studio. From those improvised guitar and keyboard sessions, he began shaping discrete songs, some short and sweet, others clocking in at ten minutes and consisting of multiple suites and movements. Next, he assembled an all-star band to help flesh out the core material, tapping drummers Vinnie Colaiuta (Joni Mitchell, Frank Zappa) and Matt Chamberlain (Bob Dylan, Bruce Springsteen) along with bassist Tim Lefebvre (David Bowie, Wayne Krantz) and pedal steel wizard Greg Leisz (Eric Clapton, Jackson Browne,) among other A-Listers. Finally, with the intoxicating grooves of a fully realized rhythm section in place, Workman began the lengthy back-and-forth process of creating orchestral arrangements with John Ashton Thomas, the orchestrator extraordinaire behind films like Black Panther and Captain Marvel. “For the most part, I’d start with an orchestral mockup using computer samples, which John would then take and run with,” says Workman. “On the track ‘Arc of Life,’ though, I used guitar to map out the harmony and counterpoint intended for strings, woodwinds, and brass, and then had John apply it to the orchestral domain along with his own brilliant embellishments, which make the piece even more grand and dynamic. John and I grew up with the same influences, so there’s a personal and professional kinship between the two of us, along with a deep mutual respect for each other’s musicianship, that made the record such a joy to create." When it came time to record the orchestra, Thomas cherry-picked 63 of London’s finest players and gathered them at Abbey Road for nine-and-a-half hours of pure magic. The session was a “pinch me” moment for Workman, both as a kid who grew up obsessed with The Beatles and as a composer finally seeing his vision come to life. “Being in that studio with the orchestra playing my songs, it was like hearing everything go from black and white to Technicolor,” he explains. “They added a soul and a humanity to everything that was just so beautiful and three dimensional.” That soul and humanity lies at the heart of ‘Uncommon Measures,’ which showcases not only Workman’s unparalleled musicianship, but also his profound empathy and expansive emotional vocabulary. Tracks like the dizzying “North Star” and pulse-pounding “All The Colors Of The World” balance breakneck guitar runs and instrumental fireworks with moments of deep calm and poignant reflection, while more playful tunes like the ecstatic “Noble Savage” and funky, horn-fueled “Unsung Hero” revel in the joys of creative freedom. As the record progresses, Workman finds himself looking inwards more and more, appreciating the beauty in melancholy with the meditative “Labyrinth Of Love” and finding hope for the future on the expansive “Rise And Shine.” As varied as the tracks here are—the final song, “Our Friendship,” is actually a Thomas composition inspired by the pair’s working relationship—there’s an underlying cohesiveness that binds the collection as a whole, a unified approach to the music rooted in a radical exploration and embrace of the self. “If there’s any one thing that ties all of these songs together,” says Workman, “It’s the power of expressing yourself at all costs, of free falling into the music with complete abandon. When I’m working on a film or someone else’s record, there are always parameters to follow and opinions to consider, but here, there were no boundaries at all. I could do anything I wanted.” For an artist like Lyle Workman, when the possibilities are infinite, the infinite becomes possible. ‘Uncommon Measures’ is proof of that. Turkish vocalist and visionary MelBreeze’s album titled “I Love Paris” is a beautiful modern album featuring many talented artists. Produced, Recorded, Mixed, and Mastered by Scott Kinsey c/o Wishbone Studio and Kinesthetic Music. Now, after years of collaborating with Scott Kinsey, they’re debuting her first co- produced album, I Love Paris. The songs are born out of countless jam sessions where they riffed off each other, creating a fertile improvisational foundation. The album, chalked full of standards interpreted in untraditional ways, is a delight to discover. Whether it’s a Turkish children’s game song making an appearance in “Sentimental Journey.” Or improvised spoken word, creating a moment of storytelling in the middle of “I Love Paris.” Each song is a titillating reinterpretation of songs you know and love. Explore the journey of I Love Paris, and you, too, will fall in love with the odyssey. We are excited to announce the launch of Blue Canoe Records Radio - streaming live 24 . x 7 x 365 days a year. Click to listen to the live stream. Blue Canoe Radio currently has 29 programs and shows - click here to see the weekly schedule and speciality programs.
Listen Live Now Bass phenom and multi-grammy winning artist Jimmy Haslip, re-releases his albums titled, "Red Heat (feat. Joe Vannelli)" and "Nightfall (feat. Joe Vannelli)". Jimmy and Joe's collaboration is a remarkable partnership in masterful artistry, both in performance and production. Fans of Jimmy and Joe will be moved by the memorable compositions, incredible playing, and masterful interplay displayed on both albums "Red Heat" and "Nightfall". Gergo Borlai is a monster drummer, and composer from Budapest, Hungary. His latest album titled, "The Missing Song" is an original tribute album dedicated to influential drummers that have inspired Gergo. All the song titles are named after nine chosen famous drummers. All songs composed and arranged by Gergo Borlai except “Terry” composed and arranged by Alex Machacek. "The Missing Song" will surely inspire many drummers and musicians just as Gergo'sinfluences have inspired him. Gergo Borlai has appeared on more than a 500 albums, received two lifetime achievement awards and two "gold record awards," as well as the Golden Drumstick Prize and the Artisjus Lifetime Achievement Award. Besides being a band member and session/studio musician of world renown productions and with Grammy awarded musicians, Gergo also became a clinician/educator all over the globe. Some of the names Gergo has performed and recorded all over the planet: Gary Willis (USA), Jimmy Haslip (USA), Scott Kinsey (USA), Jeff Lorber (USA), Scott Henderson (USA), Nathan East (USA), Dean Brown (USA), Vinnie Moore(USA), Jeff Beal (USA), Matthew Garrison (USA), Tom Scott (USA), Bob Mintzer (USA), Hiram Bullock (USA), L. Shankar (India), Tony McAlpine (USA), Vernon Reid (USA), Terry Bozzio (US), Al DiMeola (USA), Hadrien Feraud (F), Yolanda Charles (GB). Stream | Download | Buy - The Missing SongKeyboard wizard, multi-instrumentalist and composer Cody Carpenter delivers a stunning progressive album titled, "Control". This is Cody's third Blue Canoe Records release and it features guest appearances from Jimmy Haslip, Scott Seiver, Virgil Donati, Junior Braguinha, and Jimmy Branly. Learn More About This Album - click hereBuy | Stream This Album - click hereJoseph Patrick Moore updates the catalog with his 12th solo release, "Nevada Sun". Two years in the making, Mr. Moore has teamed up with...well, himself...to produce just right album at exactly the right time. He produced the album and plays every instrument himself while, per his usual modus operandi, spanning genres from smooth jazz to Persian groove...from pop to funk and even a reggae-tinged number. For nearly two decades Joseph Patrick Moore has been touring, recording, and establishing himself as an artist with a unique voice and a diversity of talents. His skills as bassist, composer, arranger, producer, author, educator and founding partner of Blue Canoe Records and Blue Canoe Digital. Moore's music and creative vision echo the spirits of Quincy Jones, Herbie Hancock and Miles Davis to name a few. Over the years, Mr. Moore has played with some of the great musicians of our time including Earl Klugh, Stewart Copeland (The Police), Bob James, John Popper, Derek Trucks, Michael Tolcher (A&M/J Records), Colonel Bruce Hampton, Bo Bice (American Idol) and many others. The record label he created in 2003, Blue Canoe Records, recently put out two releases of trios that included 22-time Grammy Nominee and 3-time winner Jimmy Haslip (former Yellowjackets bassist and founding member). In his "spare time", Mr. Moore is an on call artist for the Cirque du Soleil show, “KA” at the MGM in Las Vegas...he keeps talented company. "Nevada Sun" opens with the title track, a funky pop number that reaches out and grabs listeners attention straight out of the gate. Mr. Moore lays down a solid foundation with the drums keeping steady time against soaring guitar injections. Meanwhile, bouncy keyboard textures give way to a melody that grips the heart immediately until finally a solitary voice leads listeners gently to “Movement of Light”. Smooth jazz radio is tailor made for Nevada Sun's second track. Piano and a strong rhythmic figure point the listener to the genius of JPM's signature bass melodies. The journey of “Movement of Light” really highlights Mr. Moore's multi-instrumental talent and melodic sensibilities. Further into "Nevada Sun", "Fearless" is like an infusion of cotton candy. It opens with an elastic piano hook on the upbeat...reggae style. Aside from the attention it garners, the steady island vibe and the sparse instrumentation in places really allow for the delivery to breathe in a resoundingly hopeful and playful way. "Fearless" is bound to be a go-to track on "Nevada Sun". Once again Joseph Patrick Moore delivers the goods. The fusion of styles along with the constant pop and jazz sensibilities will make "Nevada Sun" rise to the top of your playlists. Be on the lookout for multi-media renditions of tracks from the album produced and filmed by, you guessed it, Joseph Patrick Moore!
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