Includes performances by Bryan Ferry, Frank Zappa, Robert Fripp, Simon Phillips, Terry Bozzio, Allan Holdsworth, John Wetton and Bill Bruford!
Nominated for 2019 induction into the Rock & Roll Hall of Fame for his innovative work along with Roxy Music, Eddie Jobson is considered the definitive musicians’ musician. “1971-1979 The Band Years” is the first of five planned compilation albums, one for each decade of Jobson’s outstanding career as an award-winning composer and internationally acclaimed keyboardist and electric violinist.
This first double-CD release features tracks from Jobson’s band years in the ’70s, including his work as a member of Curved Air, Roxy Music, Frank Zappa & The Mothers, and UK – the progressive-rock supergroup he co-founded with John Wetton, Allan Holdsworth and Bill Bruford. Classic tracks include Curved Air’s “Metamorphosis,” written by Jobson at the age of 17; Roxy Music’s “Out of the Blue”; and UK’s “In The Dead of Night.” All tracks have been digitally remastered for this special compilation.
Includes performances by Bryan Ferry, Frank Zappa, Robert Fripp, Simon Phillips, Terry Bozzio, Allan Holdsworth, John Wetton and Bill Bruford.
2CD and 8-page booklet with personal liner notes for all 21 tracks
DISC 1
1) Spanish Dream [live synthesizer solo from 1971 – Age 16]
2) Metamorphosis [Curved Air album “Air Cut”]
3) Armin [Curved Air album “Air Cut”]
4) On a Still Night [Eddie Jobson – early solo recording]
5) Yesterday Boulevard [Eddie Jobson – early solo recording]
6) As The World Turns [Bryan Ferry – non-album track]
7) She Sells [Roxy Music album “Siren”]
8) A Song for Europe [Roxy Music album “Stranded”]
9) Out of the Blue [Roxy Music album “Country Life”]
10) Läther [Frank Zappa – live recording]
11) In The Dead of Night [UK album “U.K.”]
12) By The Light of Day [UK album “U.K.”]
13) Presto Vivace & Reprise [UK album “U.K.”]
DISC 2
1) Alaska [UK album “U.K.”]
2) Time to Kill [UK album “U.K.”]
3) Nevermore [UK album “U.K.”]
4) Danger Money [UK album “Danger Money”]
5) The Only Thing She Needs [UK album “Danger Money”]
6) Rendezvous 6:02 [UK album “Danger Money”]
7) Caesar’s Palace Blues [UK album “Danger Money”]
8) Carrying No Cross [UK album “Danger Money”]
Classical prodigy and teen star — Award-winning film composer — “A musical genius” (Editor-in-chief of Emmy magazine) — Electronic music innovator — Nominated for 2019 induction into the Rock & Roll Hall of Fame — World music and jazz record producer — Lecturer on The Art & Science of Music — Electric violin virtuoso — Award-winning pianist
With an international reputation as the definitive musicians’ musician, British musician Eddie Jobson has been recognized as a musical genius since childhood. As a piano and violin prodigy, he was awarded a Diploma of Distinction by London’s Royal Academy of Music at the age of 8, performing with his first professional orchestra at age 10. At 16, he was appointed as the Young Persons’ Representative to the British Government’s Arts Council and, the same year, performed his debut concert at the University of Newcastle – one of the first live concerts to feature the electronic music synthesizer. By age 17 he had acquired a worldwide record deal with Warner Bros. to record his first full album, playing violin, synthesizer and piano.
Transitioning away from classical music and still only 17, he became orchestrator for British singer Bryan Ferry, leading to Jobson becoming a full member of the influential art-rock group Roxy Music, contributing to their first number-one album as synthesist and groundbreaking electric-violinist. Eddie’s proficiency in re-sculpting and professionalizing the Roxy sound played a major role in the band’s success and their considerable influence on the likes of U2, The Talking Heads and many of the ’80s new wave rock/pop groups. Jobson’s early pioneering work as a teen, along with the other Roxy members and fellow synthesist Brian Eno, has resulted in a nomination for 2019 induction into the Rock and Roll Hall of Fame.
Remaining in the rock and jazz world after Roxy, Eddie – still only 21 – was “discovered” by American music icon Frank Zappa and flown to Los Angeles to replace both jazz greats George Duke on keyboards and Jean-Luc Ponty on violin, in Zappa’s only four-piece lineup. Returning to England in 1978 after several albums and world concert tours with Zappa, Jobson then formed the internationally acclaimed progressive-fusion band UK with jazz-guitar legend Allan Holdsworth, King Crimson vocalist John Wetton, and original Yes drummer Bill Bruford. The UK albums, along with his other work with King Crimson, Yes, Jethro Tull and with members of Deep Purple and The Who, established Jobson not only as one of the top keyboardists in rock, but also as, arguably, the top rock violinist in the world.
In the 1980s, Eddie put rock music and concert touring aside and focused on electronic music and the innovative world of computer music. He created the first music video to feature CGI, as well as the world’s first album performed entirely on the Synclavier Music Computer. Featured in TIME magazine, this critically acclaimed album was one of the very first all-digital CD releases.
The 1990s saw Jobson move into the world of television and film scoring – an award-winning side-career that culminated in him becoming choral director for Disney on two major movies and the soundtrack composer on numerous films, TV shows and 3D theme-park experiences. Fascinated with all musical forms, he left the world of Hollywood in 2000 and formed a musicians’ label called Globe Music as a vehicle for producing a diverse array of jazz and world-music artists. This period also saw Eddie working with the Tuvan throat singers; composing for and conducting both the City of Prague Philharmonic and The Bulgarian Women’s Choir, and also functioning as the choir’s spokesperson at Harvard University and on multiple classical radio broadcasts.
An unexpected return to the concert stage in 2008, saw Jobson perform to a festival audience of more than 200,000 people in Kazan, Russia, leading to ten more years of world tours until his permanent retirement from live concerts in 2018. In 2017, Jobson received the Lifetime Achievement Award at the Progressive Music Awards in London.
Five new double-CD releases are being released to commemorate Jobson’s almost fifty years as one of the world’s most respected musicians. Eddie is also currently producing six video lectures on The Art and Science of Music.
Los Angeles – Celebrating the 40th anniversary of UK’s critically acclaimed self-titled debut record released on Polydor in 1978, Eddie Jobson is making this seminal album available on vinyl for the first time since its original release. It will be released on April 21st, and available exclusively to Record Store Day participating retailers worldwide. The record is pressed on 180 gram vinyl, and includes an 8 page full color booklet designed exclusively for this release. The album is remastered from the original tapes located at Abbey Road Studios in London, which is the same master that was used in the now out of print “Ultimate Collector’s Edition” box set that compiled all the works of UK’s 3 albums, along with rarities, live material and 5.1 versions across 18 discs.
“I’m pleased to recognize the 40th Anniversary of this seminal album with this carefully remastered vinyl release. This is now a legacy recording, made even more significant with the recent passing of both Wetton and Holdsworth, that I hope will represent a benchmark for future musicians.” – Eddie Jobson
The Music
In October 1977 the new supergroup featuring Eddie Jobson, Bill Bruford, John Wetton and Allan Holdsworth entered the rehearsal room, each armed with a panoply of musical ideas. Each song, theme, part or riff was logged in, like a jigsaw piece, and so the organizing and arranging of the individual pieces began. External expectations were high, not just for what these four individual innovators might create together, but because Trident Studios in Soho was already booked to record the results of their highly anticipated collaboration.
The music of UK would be developed over several weeks. Wetton would reintroduce “Thirty Years,” a song first tried out with the Wakeman trio; Bruford brought in some harmonic, but mostly rhythmic ideas. Holdsworth’s contributions revolved around his distinctive chord voicings, forming the foundation of such tracks as “Nevermore” and “Mental Medication.” Meanwhile, Jobson – the more formal composer of the group – brought in pages of musical notation that included the entire “In The Dead of Night” suite, minus vocal melody lines, but including “By The Light of Day” and the Zappa-influenced “Presto Vivace,” along with a complete version of “Alaska,” the verse of “Time To Kill” and half of “Nevermore.” The myriad musical ideas were painstakingly stitched together, mainly by Bruford and Jobson, but it would be Wetton’s melodic and lyrical sense that would ultimately glue the disparate stylings into something resembling cohesive songs. Notwithstanding the considerable stylistic contributions of Holdsworth and Bruford, with a full sixty percent of the new album material emanating from Jobson’s compositions, and with the addition of Wetton’s vocal melodies and lyrics, the first UK album truly marked an auspicious beginning to the highly symbiotic Jobson-Wetton writing partnership.
Trident Studios, December 1977
The “U.K.” album was recorded over a six-week period. Holdsworth’s classic guitar solo on “In The Dead of Night” was created on the fly. Wetton’s dense harmonies were carefully overdubbed over the course of many hours. Jobson created the entire electronic section of “Nevermore” on the studio’s massive ARP 2500 modular synthesizer. An amalgam of classical, jazz, rock and electronic, the first UK album was considered truly groundbreaking; Rolling Stone magazine called it “The great white hope of progressive music.”
In 2016 Rolling Stone selected the “U.K.” album as one of the Top 30 “best progressive-rock albums of all time.” Though, in a burst of collaborative brilliance, this towering lineup recorded only one album together, the pioneering musicians known as UK have still carved their place in rock history as one of the greatest progressive-rock bands of all time, and have left this classic recording as an exemplary standard for future musicians.
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The incredible Chicago based road warrior MARBIN has a new album.
MARBIN, one of the biggest treasures and musical talents found by MoonJune’s honcho Leonardo Pavkovic, is a progressive instrumental jam-jazz-rock-blues-fusion band based in Chicago, with a unique story that stands out in today’s music world. With a do-it-yourself approach and encouragement by Mr. MoonJune, MARBIN started touring extensively in 2011, bringing their original instrumental music to every part of the United States, performing also in Canada, Mexico, and Colombia. Through word of mouth, MARBIN has gained dozens of thousands of devoted fans all over the world and has sold over 25,000 of albums. MARBIN has released six albums: Marbin (2009; self-released), Breaking the Cycle (2011; MoonJune), Last Chapter of Dreaming (2013; MoonJune), The Third Set (2014; MoonJune), Aggressive Hippies (2015; self-release; marketed by MoonJune), and Goatman and the House of the Dead (2016; self-release; marketed by MoonJune). Israeli Jazz (2018, self-released), is their 7th release. The dynamic foursome co-led by two Chicago based Israeli expats, guitarist plus-quam-extraordinaire DANI RABIN and sax virtuoso DANNY MARKOVITCH, is hitting the road on March 23, 2018. If You have a chance to see this band, do yourself a favor!
An explosive mix of eclectic instrumental progressive jazz-rock fusion, blues, klezmer & Israeli music like You never heard before.
The first thing noticeable when Marbin‘s seventh album, Israeli Jazz, is done playing is that it doesn’t sound similar to any other jazz album to date. The unique blend of Dani Rabin’s distorted guitar with Danny Markovitch’s bright soprano sax tone, the fast unison lines, the intricate forms of the songs and how the music skips from one section to another, and the melodic and harmonic language the band uses in its compositions and solos. Markovitch explains: “To us, jazz is about the spirit of the music. At the heart of our music, there are always improvised solos over harmony and form. Good jazz always has a delicate balance between chaos, the solos, and order, the compositions/arrangements, and that’s the line we tread on while allowing ourselves to explore all the other aspects of music”. The second noticeable thing is that the album doesn’t sound overly Israeli. Rabin expands on that point: “Both Danny and I grew up in Israel listening to Israeli music, but we also grew up listening to jazz, rock, folk, and blues. We felt it’s appropriate to name the album Israeli Jazz because it gives a more whole and nuanced look to music that undeniably has Israeli roots, but at the same time is drawing from other traditions and fuses them into a coherent vision”.
MARBIN IS
Dani Rabin guitar Danny Markovitch sax Jon Nadel bass Blake Jiracek drums
“The hardest working band in America! Averaging 250 shows a year!”
“Far from being just another jazz-rock fusion band, Marbin occupies their own stylistic space. More an instrumental rock band than a jazz fusion band, Marbin’s music seems to come from the guitar hero world of Joe Satriani, Steve Vai, and Joe Bonamassa. But there’s a good deal of other stuff going on in their music. Steeped in blues, surf, and the folk music of their native Israel, in addition to jazz-rock, Marbin consistently avoids easy pigeonholing. Part of this is due to the fact that the band is based on the musical partnership of two virtuosos: guitarist Dani Rabinand saxophonist Danny Markovitch. People stopped thinking of saxophone as a virtuosic lead instrument in rock music decades ago, but Markovitch seems determined to change that view single-handedly.” – Dave Wayne, All About Jazz
“Jazz-fusion, rock, folk, blues, prog-rock, bits of heavy metal, and straight jazz…it’s all here folks in one nice little package. [Marbin is a] band that needs to be on your immediate radar if they aren’t already.” – Pete Pardo, Sea Of Tranquility
“Danny Markovitch might not be the best driver in the world, but he can play a heck of a sax, he is a monster.” – Allan Holdsworth (R.I.P.)
“Guitarist Dani Rabin and saxophonist Danny Markovitch generate lightning fast unison choruses and dynamic solo sprees atop the rhythm section’s tight, razor-sharp focus.” – Glenn Astarita, All About Jazz
“Marbin is a crazy talented group making music hard to pin down but easy to appreciate. –Victor Aaron, Something Else
“Let’s just say I’m completely blown away from this group and their albums.” – Zachary Nathanson, Music From the Other Side of the Room
Mar 23 – Indianapolis, IN (Mousetrap)
Mar 24 – Paducah, KY (Festiversary 3! at Paducah Beer Works)
Mar 25 – Chattanooga, TN (JJ’s Bohemia
Mar 26 – Johnson City, TN (Willow Tree)
Mar 27 – Knoxville, TN (Open Chord)
Mar 28 – Asheville, NC (Isis Music Hall)
Mar 29 – Greenville, SC (The Firmament GVL)
Mar 30 – Charlotte, NC (Evening Muse)
Mar 31 – Winston-Salem, NC (Muddy Creek Music Hall)
Apr 01 – Raleigh, NC (The Pour House)
Apr 02 – Richmond, VA (The Camel)
Apr 03 – Virginia Beach, VA (Shaka’s Live)
Apr 04 – Harrisonburg, VA (The Golden Pony)
Apr 05 – Roanoke, VA (5 Points Music Sanctuary)
Apr 06 – Beckley, WV (Melody’s)
Apr 07 – Charleston, WV (Boulevard Tavern)
Apr 08 – Lexington, KY (The Burl)
Apr 12 – Milwaukee, WI (Shank Hall)
Apr 13 – La Crosse, WI (Midwest Music Fest At The Root Note)
THE MAN WHO CHANGED GUITAR FOREVER Box Set & EIDOLON-a 2-CD Best Of, To Be Released on Manifesto Records on April 7th
Los Angeles, CA-based Manifesto Records will release a new, complete 12-CD box set by guitar innovator, jazz, and progressive rock legend Allan Holdsworth titled The Man Who Changed Guitar Forever, along with a 2-CD updated and expanded “best of” collection selected by the artist, titled Eidolon.
Manifesto Records referenced the box set’s seemingly portentous title from the cover story title featuring Holdsworth in Guitar Player magazine’s April 2008 edition. Given his humble nature, Holdsworth is a bit embarrassed by the title and finds the notion that he changed “guitar forever,” somewhat overblown—more befitting of names like Orville Gibson, Leo Fender, or Ned Steinberger.
Holdsworth, born in Bradford England in 1946, embarked on a solo career as composer and bandleader exclusively in 1979. Holdsworth’s career as producer, bandleader, and lead composer is documented in this box set, and with the artist’s 28-track selection of favorites in Eidolon. Both packages include extensive liner notes, and an updated 2016 interview with Holdsworth discussing each release, his history, and approach to the instrument.
From 1982 through 2003, Holdsworth recorded a dozen albums that have been lovingly put together for The Man Who Changed Guitar Forever collection. Featured on the box set are eleven remastered studio albums, starting with the 1982 studio release, Allan Holdsworth, I.O.U., and the archival 2003 live release, Then!, recorded live in Tokyo in 1990. All feature additional bonus tracks added for special editions or the original Japan releases, along with the original artwork and studio credits. Also included are the Grammy-nominated Road Games, (1983), Metal Fatigue (1985), Sand (1987), Secrets (1989), Wardenclyffe Tower (1992), Hard Hat Area (1993), None Too Soon (1996), The Sixteen Men of Tain (2000), and Flat Tire: Music for a Non-Existent Movie (2001).
Holdsworth has been recognized by many of the world’s most accomplished and unique rock and jazz guitar virtuosos. Luminaries including Eddie Van Halen, Carlos Santana, Frank Zappa, Pat Metheny, John McLaughlin, Joe Satriani, Tom Morello universally expressed reverence and astonishment at Holdsworth’s pioneering approach to his playing and vast vocabulary of “uncommon” chord voicings.
He further expanded the guitar’s orchestral potential with a range of electronic effects, then moved on to become one of the early innovators of guitar-based synthesizer controllers. In the nearly five decades Holdsworth has been touring, collaborating, and recording, he has created an immense sonic and musical legacy.
In the ‘70s he played with legendary Miles Davis drummer, Tony Williams and Cream bassist Jack Bruce as the band Lifetime, and toured with Soft Machine. He worked with former Yes and King Crimson drummer, Bill Bruford’s first solo project, Feels Good To Me, and subsequent recordings with Jean-Luc Ponty, and Gong. Bruford suggested Allan for the progressive-rock “supergroup,” U.K., which, along with Bruford, also featured John Wetton and Eddie Jobson.
Both The Man Who Changed Guitar Foreverand Eidolon will become precious to those who love the world’s great guitarists. Fans of deeply unique, sonically rich and pristine recordings of great musicians taking their music to the next level and beyond, will also be in awe of these collections.
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