Jerry Cantrell - The Official Web Site for exclusive news, photos, and information.
As one of the most influential guitarists of his generation, Jerry Cantrell has made a permanent mark on today’s rock music. His heavy- yet organic-style, paired with soulful songwriting, helped shape the success of the legendary ‘90’s band, Alice in Chains. Echoes of Cantrell’s haunting and melodic music still permeate the modern rock genre, and many new bands unapologetically site Cantrell as a vital influence. Cantrell penned many of Alice in Chains’ innovative songs including “Rooster,” “Would?” and “No Excuses,” which have become rock anthems of this generation.
After five platinum and multi-platinum albums with Alice in Chains, Cantrell honed his singer/songwriter talents, and in 1998 he embarked on a solo career. Boggy Depot (Columbia), his first solo release, was an introspective musical exploration dipping into elements of both rock and country. Cantrell’s sophomore release, 2002’s double CD, Degradation Trip, (Roadrunner), proved to be an intricate 25-song rock and roll masterpiece: raw, powerful and bleeding with emotion.
Famous for his musical integrity, Cantrell is one of the most well respected rock musicians of today. His uncompromising creativity has made him a living legend of rock and roll with a thriving international fan base. Currently working on a new album, he continues to perfect his art. Now Cantrell is gearing up to hit the road again to showcase some of his new songs as well as some old favorites. Cantrell is also collaborating with Billy Duffy of The Cult on a side project, “Cardboard Vampyres.”
The buzz on Jennifer Batten began rising from the guitar underground in the late '80's. The guitar magazines promptly picked up on Jennifer, chronicling her savvy musicianship and highly original approach to the electric guitar in print. On Guitar for the Practicing Musician's premier compilation record, G.P.M.'s editor wrote, "It was Jennifer's version of John Coltrane's "Giant Steps" that was considered by her peers the 'scariest'and most requested cut on the disc."
At one point Batten was in 6 different bands at once playing everything from straight ahead rock, to metal, to fusion, to funk. Her video credits have included Natalie Cole's "Wild Women Do", Michael Jackson's "Moonwalker", Sara Hickman's "Take It Like A Man", and a feature interview in Hot Guitarist's video magazines premier issue ...
Official website for jazz and jazztronica recording artist Chris Standring.
"Groovalicious!" sounds like just the sort of thing Austin Powers might say if he heard the deliciously funky, ultra-hip and vibey, retro-jazz-soul flavors on Chris Standring's long awaited follow-up to Hip Sway, his hit 2000 recording which defined the urban-minded contemporary jazz experience as we crossed millenniums.
Since the release of Velvet, his 1998 debut as a solo artist, The British born guitarist has titled his discs as a way of defining the places his creative muse has taken him. Velvet, whose single "Cool Shades" went Top 10 for over three months on Gavin/Radio & Records' airplay charts, came at a time when Standring was into the ambient European phenomenon known as the "chill out movement." The seductive moniker of Hip Sway, whose title track featuring sax great Richard Elliot peaked at #2 and was one of 2000's most played songs, captured the retro-flavored, dance floor ready, funk-soul-jazz 60's mindset explored by Standring with his bandmates Rodney Lee (keyboards), Dino Soldo (sax), Andre Berry (bass) and Dave Karasony (drums). The title of the 2001 U.K. and Europe only compilation release Shades of Cool is obviously self-perpetuating ...
Nefertiti recordingartist, composer, arranger, jazz/classical guitarist, producer, CULEA™ Productions studio owner and swordmaster Emiel van Egdom with 5 worldwide distributed CD's to his name. Newest releases: Clues (with Belgian Artist/Painter Jan Bosschaert Hybrid Groove, w/Brian Bromberg, Bob Militello, Sheppard, Joel Taylor, Eric Gale Bill Cantos.
Billy Jones, blues guitar:
This blues bandleader, who sings and plays guitar and calls his music "bluez," began releasing his own compact discs in 2001. When Billy Jones substituted a "z" for an "s," he was not trying to make the name of his beloved genre closer to the way a drunken bar patron might pronounce it at the end of the night. Rather, "bluez" is all about being independent from the big-time music business, a stance more often taken by indie rockers. While in reality even the biggest blues labels are nothing but small independents, these firms still represent too big a clique for Jones, who prefers issuing material on his own Cyborg-Blue imprint.
Though apparently not documented on many available recordings, Jones' involvement with blues goes back to his childhood. He was supposedly considered something of a prodigy, studying with artists such as Little Johnny Taylor, Rufus Thomas, and Larry Davis, among others. When he became a teenager he hit the road, musically hitting a variety of styles in the bands of the beautiful Chaka Khan, the tasty Chocolate Milk, and the rhythmically astute Bar-Kays. This background certainly ought to supply him with the goods to create a contemporary vision of roots music. He sees himself as part of a new movement in this genre, described colorfully as follows in his own promotional material: "...it ain't your grampa's music, or that same ol' predictable stuff that you may find at big corporate labels...But then...what do these 'fat cat' record company guys know about what's happening on the streets right now?" ...