Bitrate:320K/s
Year:2005
Time:50:18
Size:115,5 MB
Label:Shunyata Records
Styles:Blues/Mix
Art:Front
Tracks Listing:
1. Pack It Up - 4:17
2. Body and Fender Man - 4:31
3. You're Gonna Need Me - 5:19
4. Get Your Business Straight - 4:15
5. Gee Baby Ain't I Good to You - 3:33
6. A Real Mother for You - 5:58
7. Take out Some Insurance - 5:20
8. Messin' with the Kid - 2:57
9. I Love You More Than You Will Ever Know - 6:52
10. Since the World Ended - 7:11
1. Pack It Up - 4:17
2. Body and Fender Man - 4:31
3. You're Gonna Need Me - 5:19
4. Get Your Business Straight - 4:15
5. Gee Baby Ain't I Good to You - 3:33
6. A Real Mother for You - 5:58
7. Take out Some Insurance - 5:20
8. Messin' with the Kid - 2:57
9. I Love You More Than You Will Ever Know - 6:52
10. Since the World Ended - 7:11
Musicians:
John March - Guitar;
Tim Scott - Bass and Vocals;
Jeff Young - Keyboards;
Steve Ferrone - Drums.
John March - Guitar;
Tim Scott - Bass and Vocals;
Jeff Young - Keyboards;
Steve Ferrone - Drums.
For guitarist John March and the Zen Blues Quartet, 'living the dream' is the perfect analogy. It was an epiphany after all, that John experienced while standing in a misty mountain forest near the town of Assisi in Central Italy. "In that very moment I had a clear vision of this music. Of a day spent recording music with my friends, simply because we can. No other agenda, no mission to fulfill, just music for the sake of music."
It only took one phone conversation with musician pals back in the U.S. for John's moment of Zen to begin cutting through more than just the Italian fog. The path of enlightenment was about to shine on the "ultimate" garage band. (Of course you realize when I use the term 'garage band,' it's with the caveat that the musical combo in your carport has also played, or recorded with Jimi Hendrix, the Stones, Stevie Wonder, Bonnie Raitt, Eric Clapton, C,S and N...)
"I think my entire life I've wanted to do something that has meaning to me. And I've been really blessed that I have friends who are really good artists and musicians and creative people who seem to be willing to put up with my…uh…eccentric views."
Turns out, John's friends were more than accommodating. They happen to include a couple of Grammy winners not to mention some of the recording industry's all time greatest session players. The original ZBQ included Tim Scott on bass, keyboardist Jeff Young and Steve Ferrone on percussion. "I told them I wanted to go into the studio and record nine or ten of our favorite Blues and Soul tunes, but make them ours, play them how we wanted to. I also wanted to play 'live' with all of us in the same room."
The end result was the debut, self-titled CD from the Zen Blues Quartet. The album reflects not only the diversity and spontaneity John was seeking, but is further enhanced by each member's collective and creative influences. Songs ranging from the full service Doc Pomus-Duke Robillard penned 'Body and Fender Man,' through the desperation in Al Koopers's 'I Love You More Than You Will Ever Know,' to the unique and very trippy cover of Mose Allison's, 'Since the World Ended.' (Headphones are highly recommended.) From beginning to end, the project takes you on a fast-paced and personalized joyride that you want to take repeatedly. March and his friends accomplished what they had set out to do. The Blues in their truest sense, "not constrained by form. It has rules and structure, but the beauty and power are in the moment, and in the humanity that the players each bring to the music."
Fans and critics agreed. But it was an unexpected and encouraging phone call from the Delta-born master himself that alleviated any reservations the group may have had. Nothing like personal approval from Mose Allison to validate your project and corroborate that your approach to the music had been well worth the risk. You can almost hear the smile in John's voice as he quickly adds that it's more than mutual admiration. "I think he (Allison) is one of the greatest blues writers of all time."
As a non-traditionalist, it's to be expected that March's influences run the gamut. "For me Mose Allison and Jimmy Reed as storytellers; I love the lyric and live content, especially Mose. As a blues guitar player, I actually listen to a lot of guitar players; but also listen to a lot of vocalists and pianists. Oscar Peterson is a huge influence on me."
It only took one phone conversation with musician pals back in the U.S. for John's moment of Zen to begin cutting through more than just the Italian fog. The path of enlightenment was about to shine on the "ultimate" garage band. (Of course you realize when I use the term 'garage band,' it's with the caveat that the musical combo in your carport has also played, or recorded with Jimi Hendrix, the Stones, Stevie Wonder, Bonnie Raitt, Eric Clapton, C,S and N...)
"I think my entire life I've wanted to do something that has meaning to me. And I've been really blessed that I have friends who are really good artists and musicians and creative people who seem to be willing to put up with my…uh…eccentric views."
Turns out, John's friends were more than accommodating. They happen to include a couple of Grammy winners not to mention some of the recording industry's all time greatest session players. The original ZBQ included Tim Scott on bass, keyboardist Jeff Young and Steve Ferrone on percussion. "I told them I wanted to go into the studio and record nine or ten of our favorite Blues and Soul tunes, but make them ours, play them how we wanted to. I also wanted to play 'live' with all of us in the same room."
The end result was the debut, self-titled CD from the Zen Blues Quartet. The album reflects not only the diversity and spontaneity John was seeking, but is further enhanced by each member's collective and creative influences. Songs ranging from the full service Doc Pomus-Duke Robillard penned 'Body and Fender Man,' through the desperation in Al Koopers's 'I Love You More Than You Will Ever Know,' to the unique and very trippy cover of Mose Allison's, 'Since the World Ended.' (Headphones are highly recommended.) From beginning to end, the project takes you on a fast-paced and personalized joyride that you want to take repeatedly. March and his friends accomplished what they had set out to do. The Blues in their truest sense, "not constrained by form. It has rules and structure, but the beauty and power are in the moment, and in the humanity that the players each bring to the music."
Fans and critics agreed. But it was an unexpected and encouraging phone call from the Delta-born master himself that alleviated any reservations the group may have had. Nothing like personal approval from Mose Allison to validate your project and corroborate that your approach to the music had been well worth the risk. You can almost hear the smile in John's voice as he quickly adds that it's more than mutual admiration. "I think he (Allison) is one of the greatest blues writers of all time."
As a non-traditionalist, it's to be expected that March's influences run the gamut. "For me Mose Allison and Jimmy Reed as storytellers; I love the lyric and live content, especially Mose. As a blues guitar player, I actually listen to a lot of guitar players; but also listen to a lot of vocalists and pianists. Oscar Peterson is a huge influence on me."
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