[TR24][OF] Galen Weston Band - Plugged In - 2015 (Fusion, Blues, Rock)

Galen Weston guitar
David Woodhead bass
Al Cross drums
Simeon Abbott keyboards on #1
Matt Horner piano
Richard Underhill saxophone
Rick Shadrach Lazar percussion
Lenka Lichtenberg vocals

http://www.cdbaby.com/cd/galenweston

Album Notes
Plugged In represents a type of sonic exploration; a two-year journey I took with my yellow Stratocaster, my ES-335 and many other beloved instruments. Drawing inspiration from many of my favourite jazz and instrumental rock influences, I spent hours taming the howling of vintage Big Muff’s, cleaning tape heads on old echo machines, and tweaking the tone knobs on my classic Marshall and Fender amps...all in the simple yet constant search for that perfect tone. I hope you enjoy the ride as much as I have.

Galen

An accomplished and refined player from Toronto, guitarist-composer Galen Weston cuts a wide stylistic swath on his long overdue debut as a leader. From his singing six-string work on the urgently funky "Bensonite", his mellow lyricism on the graceful "The Yellow Guitar," to his soulful expression on the gorgeous "Song for Daphne" and his unapologetic chops showcase on “Tasteless,” Weston wails with rare conviction and facility throughout Plugged In.

Accompanied by veteran Toronto session players: David Woodhead on fretless electric bass; Al Cross on drums along with versatile keyboardist Matt Horner; Richard Underhill on alto sax and Rick Lazar on percussion, the guitarist carves out some fresh new territory on this eclectic six-string manifesto.

Recorded at his beautifully-crafted, state-of-the-art Rose Room Studio in Toronto, Plugged In represents Weston’s return to guitar after following a lengthy period of running an internet business he founded. Now, after four years of dedicated woodshedding, he finds himself on the other side of the glass, cast in the performer’s spotlight. "I am on a mission to catch up from the years I lost with music," he explains.

His auspicious debut kicks off with "Funk Opus #2," a lyrical number that shows the influence of Texas guitar hero Eric Johnson. "I first heard Eric on the radio when I was working nights stocking shelves at a retail store," he recalls," and it definitely altered my life. "His affecting ballad "Song For Daphne," named for his youngest daughter, has already gained much attention on Facebook and SoundCloud. This tender number showcases Weston’s warm, inviting tone and expressive playing along with some potent testifying on the alto sax from Underhill.

"Bensonite" is a nod to one of Weston’s main jazz guitar influences. "The core of this piece started with George Benson in mind but morphed during the process to a bit of Larry Carlton style," says Weston. "It’s a fun song to play, particularly the samba outro." An infectious groover colored by Lazar’s churning percussion work, it has Horner switching to electric piano as Weston delivers some impassioned licks. This energetic number closes with a lively batucada jam that has the sound of cuica mingling with assorted Brazilian percussion.

"The Yellow Guitar(A Guitarra Amarela)"is a smooth offering that features some of Weston’s most seductive lines along the way. "I was going for Mark Knoppler here, I just love his tasteful playing," he says. "My solo was really trying to tap into some Stevie Ray Vaughan influence, particularly the clean playing on tunes like 'Riviera Paradise'".

For a change of pace, Weston delivers an intimate acoustic fingerstyle version of the melodious Keith Jarrett tune "Country" (from his classic 1978 ECM album, My Song). Woodhead contributes a singing fretless electric bass solo on this heartlandish number. Shifting gears radically, Weston and crew kick out Miami Vice style jams on "Galen’s Vice" - a tribute to the ‘80s. Underhill offers his plaintive alto cry throughout this piece while Weston dials up a quintessential ‘80s rock guitar tone on his incendiary solo here.

The soulful "Austin" has Horner doubling on piano and organ while Weston alternates between warm Wes Montgomery-styled octave playing and fluid single note lines on the engaging melody. Underhill really digs into this piece with abandon on his solo, Horner follows with some potent solo statements on both piano and organ and Woodhead contributes another wonderfully melodic bass solo.

The no-holds-barred rock anthem "Tasteless" is Weston’s tip of the hat to guitar god Steve Vai. His clean-tone re-imagining of Jimmy Van Heusen’s "Like Someone in Love" opens with a solo guitar intro that has Weston showcasing some accomplished chordal melody playing. Cross puts up a muscular backbeat behind the jazz standard as the core trio of guitar-bass-drums grooves along in mellow fashion.

"Late and Never" has Weston throwing his sustained, slightly distorted guitar lines around with rockish authority. There’s plenty of deft fingerstyle comping and slashing single note lines over a slamming groove before he takes it out in triumphant fashion with his distortion set on stun.

The collection closes with "Rock Jam," which opens with a dialogue of clean fingerpicked chords and contrapuntal bass lines. Another potent power trio number, it slowly builds in intensity to some aggressive fretboard flights.

"With this debut I feel like I am really on a good path," says Weston, "and I have so much more to do!" Stay tuned.

Bill Milkowski

Bill Milkowski contributes to Down Beat and Jazziz magazines and is the author of “JACO: The Extraordinary and Tragic Life of Jaco Pastorius”

..beautifully written and warmly performed … What he calls influences and styles are really his own colors on his sonic palette. He chooses his colorful tones and approaches extremely well and keeps the hues and tones completely original. --Travis Rogers, JazzTimes

Guitarist and composer Galen Weston unleashes a lifetime of music on his ambitious debut album, Plugged In. After laying down his guitar for more than a decade, Weston breathes life into his almost forgotten songs, recording 10 original tracks and two covers with fine craftsmanship and intense focus, while showcasing an unwavering dedication to tonal quality and nuance.

Fueled by jazz and rock guitarists such as Mike Stern, Wes Montgomery, Mark Knopfler, Eric Johnson and Steve Vai, the record showcases his formidable guitar talents in the company of some of finest cross-genre musicians in Canada: David Woodhead (fretless bass), Al Cross (drums), Matt Horner (piano & keyboards), Richard Underhill (alto saxophone) and Rick Shadrach Lazar (percussion); as well as a guest appearance by Prague-born vocalist Lenka Lichtenberg. It was produced in Weston’s own Rose Room Recording Studio by Jim Zolis.

“This album represents a two-year journey of writing and recording across a vast musical territory. It’s a sonic and personal exploration with my Yellow Stratocaster, ES-335 and other instruments. The album is the culmination of many hours spent taming the howling of vintage Big Muffs, cleaning tape heads on old echo machines, and tweaking the tone knobs onclassic Marshall and Fender amps in the simple yet enduring search of great tones,” says Weston.

The album’s official Toronto release featuring The Galen Weston Band will take place on Wednesday, November 25th at Tattoo Queen West, which is located at 562 Queen Street West. Other dates include: Friday November 13th in Hamilton, ON (The Pearl Company); and Thursday, November 19th in Oakville, ON (The Moonshine Cafe). The Galen Weston Band will also be showcasing at the Association of Performing Arts Presenters (APAP) Conference in New York City January 16th and 17th.

“A refined player from Toronto, Galen Weston straddles a of styles on his auspicious debut as a leader. From his singing six-string work on the urgently funky “Bensonite" to his mellow lyricism on the melodic anthem “The Yellow Guitar," his soulful expression on “Song for Daphne" or his unapologetic chops showcase on the fusiony “Tasteless," Weston wails with conviction and rare facility. Definitely a talent deserving of wider recognition.” —Bill Milkowski, author of JACO: The Extraordinary and Tragic Life of Jaco Pastorius and co-author of Here And Now: The Autobiography of Pat Martino

About Galen Weston

Galen first picked up a guitar at age 11, a Sears acoustic he got for his birthday. Although a consolation prize to the electric guitar he had asked for, he played without pause until he earned enough money to buy his own. Two years later, with the new electric guitar in hand, Galen started exploring by plugging it into an amplifier and boom box to less than ideal results at first, which ignited his desire to further experiment. His musical education began with the clandestine AC/DC and KISS records he snuck home and studied for hours, with great focus on the guitar. He joined his first band at age 15, playing backyard parties in his hometown of Freelton, Ontario (population 500). A few years later, Galen was turned on to jazz by an older musician friend, who generously gave him two boxes of records. From that treasure box, Galen discovered the music of Mike Stern, Weather Report, and Pat Metheny, setting him on a new musical trajectory.

The next step on this path led Galen to attend Humber College, one of the most respected jazz education programs in North America, where his musical tastes and abilities matured but were cut short by a dire need to earn a living. Like many artists, Galen put away his guitar for many years and pursued other jobs, from construction to finance, before building his own Internet-based company with the goal of returning to music 'one day'.

That day came fifteen years later in Greece when his wife, who always identified Galen as a musician first despite his long hiatus, introduced him to a local musician who would reignite Galen’s first love and change his trajectory once again. Looking for someone to accompany him, the enthusiastic performer compelled Weston to join him around the table with his guitar. Hours passed without notice and while others listened and danced, Galen’s musical instincts were rekindled. Upon his return to Toronto, the businessman almost immediately embarked on starting his musical career. With the same intensity and focus of that 11 year old boy holding his Sears acoustic guitar, Galen built the Rose Room Recording Studio, and spent the following two years crafting his debut album and celebration of a return to music, Plugged In.
MICHAEL RICCI