It is with deep sadness that I learned this morning that my dear cousin and lifelong friend, Jim Rodford, died this morning after a fall on the stairs. More details are not yet known about the exact cause of death.
Jim was not only a magnificent bass player but also from the first inextricably bound to the story of The Zombies. An enormous enabler for us. He was actually the first person ever to be asked to join the band, way back in 1961. Because he was in the top St.Albans band of the time (The Bluetones), he turned us down at first, but from day one helped us chart our course. He loaned us The Bluestones’ state of the art gear for our very first rehearsal, arranged the rehearsal space, and even showed Hugh the first kick and snare drum pattern our original drummer ever learned. He was responsible for the first song I ever wrote (for The Bluetones – which they recorded); the person who organised most of our early gigs, and the very first person outside the group ever to hear – and pass judgement on – our first record, “She’s Not There”(he loved it). Years later, he became founder member, with me, of Argent; and then, for eighteen years, throughout a hugely successful American period for them, was bass player for The Kinks.
Jim, always a hugely sought after musician, had also had long stints as a bass player with both The Mike Cotton Sound and the Lonnie Donegan band.
When Colin and I put together our second incarnation in late 1999, our first phone call was to Jim. He gave us absolutely unflagging commitment, loyalty and unbelievable energy for eighteen years, and our gratitude is beyond measure.
To the end, Jim’s life was dedicated to music. He was unfailingly committed to local music – an ever-present member of the local scene in St.Albans, where he had spent his whole life. Often, Colin and I would compare notes a couple of days immediately after a U.S. tour and discuss how long it would take us to recover from an intense, fantastic but exhausting couple of months – only to find out and marvel that Jim had already been out playing with local bands (often, but not always, with “The Rodford Files”, made up of talented family members) or giving charity shows or lectures on the St.Albans music scene.
His dedication was rewarded with Doctorate Of Music, granted to him last year by the University Of Hertfordshire.
Jim was a wonderful person, loved by everybody. When Colin and I, shocked and hardly able to talk, shared the news this morning, Colin said: ” I’ve never heard anyone say a bad word about him…”
He will be unbelievably missed. Goodnight and God Bless dear friend. – Rod x
Huge Announcement. Today I have released the first single from my forthcoming Instrumental Progressive Rock Album “Out To Sea”.It is called “The Architect (Tribute to Peter Banks)”.
I am also starting the pre-order process. The album will be out 2/9/18. I am still waiting to see if its ok if I can sell copies of the record on Cruise to The Edge.
The cover was painted by Paul Whitehead. Paul painted the covers of Trespass, Nursery Cryme, and Foxtrot for Genesis as well as many other classic covers. I could not be more proud of this album and I cannot wait for you to hear it
Track Listing 1. The Architect (Tribute to Peter Banks) 4.10
2. Out to Sea 4.16
3. De Boerderij (Tribute to Focus) 3.11
4. Roses Spread All Over The World 3.44
5. The Future According to Roye (Tribute to Roye Albrighton and Nektar) 6.23
6. The Dream 2.48
7. Sonja (Tribute to Sonja Kristina and Curved Air) 2.45
8. Dreaming in Stereo Suite 16.04
All songs written by Fernando Perdomo
All instruments by Fernando Perdomo
Drums on “The Dream” by Eddie Zyne
Recorded at Reseda Ranch Studios
Produced and Engineered by Fernando Perdomo
Mixed and Mastered by Zach Ziskin
Fernando Perdomo is represented by Ann Rinaldi, ACR Management
Album Cover Painting by Paul Whitehead
Back Cover Photo by Joel Barrios
Guitar Photos and Album Layout by Cyndi Trissel
Pre-Order Out to sea on Digital and CD formats (vinyl in the near future) Bandcamp
Buy “The Architect” on iTunes
The new solo album by Nth Ascension front man Michael-Alan Taylor will be released in 2018, Guinevere is the first video from his upcoming album Avalonia (The Chronicles of Guinevere), being released on Melodic Revolution Records Summer of 2018. We are pleased to give you a peek inside this stunning album revolving around the Arthurian Romances.
The video was shot completely on location at Pendragon Castle, Cumbria UK. It is a heartfelt tribute to Guinevere the Queen, from the heart of Lancelot. As he returns from battle to the castle where it all started, his memories of Guinevere flood back as he looks upon the ruin, battle weary and mortally wounded.The lush orchestration meets the beautiful landscape giving rise to a cinematic delight that draws you in and leaves you begging for more.
DESERTED EYES – A ethereal and epic journey into the depths of the heart.
Dynamic and rhapsodic vocals summon forth the soul. Penetrate deeply into the inner darkness.
The narrator of the epic verse is a melodious and warm piano which is enveloped by softly beating drums which reluctantly release into turbulent and thunderous revelations while violin crescendos announce the sage-like proclamations for ecstatic surrender.
The song takes the listener beyond the vicissitudes of relationship and love – beyond the criteria of reciprocity and togetherness.
It casts a light on the individual within the relationship rather then the relationship itself. Expressing how one’s state of mind — if left unchecked and allowed to settle too long in dark and despondent moods —eventually wears away at the soul of the other — casting an immutable spell unwittingly upon the one you love.
Like water wearing away at stone – so affected by your state of mind, the eyes of your beloved – are left void – the soul having abandoned not only their body but their own dreams and aspirations as well.
Is there a way to reverse the spell?
Watch and listen to this epic tale. About
DESERTED EYES is a music journey by progressive art rock multi-instrumentalist Oh.
Boston, MA – Following three acclaimed CDs with his group Burnt Belief, Jon Durant has returned with his first solo album since 2011’s “Dance of the Shadow Planets.” Unlike his previous solo albums, however, “Parting Is” is a completely solo guitar album.
A deeply emotional and personal record, “Parting Is” takes the idea of a solo guitar album and transforms it into a stunning sonic landscape of texture and color. Many of the sounds on the album bear no relationship with traditional guitar, but there are no synthesizers employed at all. Everything is played by Jon Durant on guitars (with Durant also playing fretless bass on four pieces).
Durant commented: “In recent years, I have been spending a lot of time away from people and places I love very much. My two boys are out of the house, one graduated college and the other is a senior in college this year. We have a wonderful time when I get to see them, but then they go away and there is a bit of a pang as we part. Also, we have a second home on the other side of the country (Portland, OR) where I spend a fair bit of time and is also where much of this album began. Frequently my wife will join me for a long weekend, and I will stay on for another week or so, and of course, there’s the sadness when we part. What is reflected in this music is the sweet sorrow that comes from this parting – recognizing that it’s temporary but still longing for more time together.”
About the music, Durant stated: “On most days, one of the first things I do is grab a cup of tea or coffee, and begin to experiment with my guitar. The music that comes out is not done with any intention of becoming a composition, or a recording, but is rather more of a meditation. However, a friend heard a brief recording of one such piece and asked why I didn’t record more of them. When I began to do so, I felt a pattern was emerging that might be worth exploring.
“Many pieces begin as loops that I would play a melodic lead over. I recorded several of these, then began to deconstruct the loops and record the various parts as separate components which could become less loop like and more dynamic and flowing. The track, ‘Open Window’ is a perfect example of how that played out.”
That track, “Open Window” also provides an opportunity to explore the unusual sound and textures that Durant creates. The primary guitar which began as a loop is an electric 12 string. From there, multiple electric 12 string parts were layered in a minimalistic way. The melodic guitar is a fretless electric guitar, and the low tones (which sound a bit like the old Moog Bass Pedals) are generated from the fretless guitar. Also, swirling around in the background are Jon’s unique cloud guitar sounds, notes which hang in the air like clouds with no discernable beginnings or endings.
There are three solo cloud guitar pieces (“Clouds in Advance”, “Before the Rain Falls” and “Willamette Fog”) and two pieces which remained as a loop with lead guitar over the top. “The Room Where She Waits” is a loop of electric 12 String and the lead is fretless guitar. On “Evolve in Place”, the loop is an electric guitar with fretless guitar over the top.
Guitarist Jon Durant brings a unique sense of texture and melody to his instrument. His distinctive “cloud guitar” soundscapes and engaging lead work have graced numerous CD recordings and film soundtracks. As executive producer of Alchemy Records, he produces recordings for internationally acclaimed artists in his small home studio. Alongside Durant’s six solo albums and three Burnt Belief records (with Colin Edwin of Porcupine Tree), Alchemy has also released albums by artists Michael Manring, Gary Willis, Leni Stern/Wayne Krantz and others.