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California Guitar Trio
The universe of guitar knows no boundaries for The California Guitar Trio. Since 1991, the group has enthralled listeners with a singular sound that fearlessly crisscrosses genres. The trio’s questing spirit drives it to explore the intersections between rock, jazz, classical, and world music. It even throws in the occasional surf or spaghetti Western tune for good measure.
Comprised of Bert Lams, Hideyo Moriya and Paul Richards, the group has established a unique, personal connection with audiences. In addition to dazzling musicianship and interplay, The California Guitar Trio’s (CGT) shows are full of captivating stories and humor that enable concertgoers to feel like they’re part of the music, not just spectators. In fact, the group’s goal is to transcend their instruments, so people focus on the music first, and its considerable technical prowess a distant second.
CGT’s 16 albums, streamed over 65 million times on Pandora, offer diverse snapshots of the group’s mercurial muse. The trio’s most recent release Komorebi showcases its acoustic side, with beautiful lush originals and innovative cover arrangements of Beatles, Beach Boys and more. Other highlights include Masterworks and album of classical works, with expansive takes on Bach, Beethoven, Arvo Pärt, and Schubert. Andromeda, which combines their many influences into a visionary album of original material; CG3+2, an exploration of kinetic rock territory in collaboration with bassist Tony Levin and drummer Pat Mastelotto; and Echoes, which reimagines timeless material by artists such as Mike Oldfield, Penguin Café Orchestra, Pink Floyd, and Queen.
In fact, the group’s goal is to transcend their instruments, so people focus on the music first, and its considerable technical prowess a distant second.
Jesse MarchantIt could almost be inferred that Jesse Marchant wrote the songs for his new album over a period of months in New York City during which a lot of his world had come out from under him, in what he has described as "a general period of falling outs, absence and abuse, both of self and of what should or could have been surrounding". But in the process of finding an end to that Marchant feels to have grown. One is not left to wonder why he chose to drop the moniker of his former releases (his initials JBM) for the use of his proper full name, nor why his voice and lyrics, recorded with a mouth-to-ear intimacy, emphasizing his deepening and wearying baritone, sit loud and naked atop the widescreen backdrop of the deep synthesizer and orchestral pads and arrangements, often reminiscent of “I’m on Fire” era Springsteen. There is a sense of wanting to take responsibility and a desire to have things seen and said clearly for what they are, directly.
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