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Stanley Clarke & Victor Wooten @ the Boulder Theater

STANLEY CLARKE BAND Exploding into the jazz world in 1971, Stanley was a lanky teenager from the Philadelphia Academy of Music. He arrived in New York City and immediately landed jobs with famous bandleaders such as: Horace Silver, Art Blakey, Dexter Gordon, Joe Henderson, Pharaoh Saunders, Gil Evans, Stan Getz, and a budding young pianist composer named Chick Corea.

All of these musicians recognized immediately the ferocious dexterity and complete musicality the young Clarke possessed on the acoustic bass. Not only was he expert at crafting bass lines and functioning as a timekeeper in the bass- traditional role, Stanley also possessed a sense of lyricism and melody gained from his bass heroes Charles Mingus, Scott LaFaro, and others, including non-bass players like John Coltrane. Clarke recognized the opportunity to propel the bass into a viable melodic soloist role and was uniquely qualified to do just that.

Stanley Clarke became the first bassist in history to headline tours, selling out shows worldwide, and have his albums certified gold. The word "legend" was used to describe Stanley by the time he was 25 years old. In 1997 Epic/Sony released: By this tender young age, Stanley was already a celebrated pioneer in fusion jazz music. He was also the first bassist in history to double on acoustic and electric bass with equal virtuosity, power, and fire. His artistry has spanned classical, jazz, R&B and pop idioms. He has already succeeded in a multitude of diverse careers, any one of which would be satisfactory to anyone else. Yet he still pushes on, as invigorated and as passionate about music as that teenage prodigy from Philadelphia with a dream. The Biography of this incredible musician, like Stanley himself, is a continuing work in process.

VICTOR WOOTEN He is an innovator, composer, arranger, lecturer, producer, vocalist, and multi-instrumentalist. He is a skilled naturalist and teacher, a published author, a magician, husband and father of four, and a five-time Grammy award winner. But those gifts only begin to tell the tale of this Tennessee titan.

Victor, known for his solo recordings and tours, and as a member of the Grammy-winning super group, Bela Fleck & The Flecktones, has won most every major award given to a bass guitarist. He was voted Bassist of the year by Bass Player Magazine three times and is the only person to have won the award more than once.

Continuing to grow as a person, artist, and teacher, Victor Wooten is always willing to share his gifts with all who desire to learn. Offering CDs, DVDs, lectures, workshops, and camps, as well as his groundbreaking novel The Music Lesson (Berklee Publishing - a division of the Penguin Group) Victor Lemonte Wooten is guaranteed to remain a positive force in the music industry.

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Astronauts Enjoy First Ever "Wake-Up" Song Performed Live - Big Head Todd and The Monsters

Big Head Todd and The Monsters will be at Houston's NASA Mission Control Center early tomorrow morning to become the first band ever to wake-up U.S. astronauts with a live performance. The band will play their original song "Blue Sky" at 3:23 am CST, and the live performance will be beamed up to Commander Steve Lindsey and the other five crew members to wake them for Shuttle Discovery's second to last day in space.

"Blue Sky" - which was originally written by the band as a tribute for the first post-Columbia flight, STS-114 - was the top vote-getter in NASA's "Top 40 Song Contest," where the voting for shuttle wake-up songs was opened to the public for the first time in history. "Blue Sky" recieved 722,662 votes, or 29 percent of the 2,463,774 total.

Anyone can tune in to NASA TV http://www.nasa.gov/ntv today at 3:23 CST to watch the performance live. It will also be documented and replayed several times on NASA TV throughout the day and available on the web (www.nasa.gov/shuttle).

Tower of Power Celebrate 40TH Anniversary

TOWER OF POWER CELEBRATE ITS 40TH ANNIVERSARY WITH ALBUM, DVD AND REUNION.   New Collection Features TOP alumni like Lenny Pickett and Chester Thompson; Special Guests Include Soul Legend Sam Moore.

It’s spring! As we celebrate the start of the baseball season, the end of the basketball season and the release of Tower of Power’s 40th Anniversary album, the operative phrase in everyone’s ears is “We Came To Play.” But then, Tower of Power has “come to play,” every single time they take to the stage over the last 42 years.  The horn driven soul and funk machine has toured consistently playing to so(u)ld out crowds around the world.  And after 40 years, four of the original musicians still play with the band.

Similar to sports teams, however, Tower of Power has had numerous players take free agency with other musical prospects. So the 40th Anniversary show gave the band an opportunity to stage their version of “Old Timer’s Day,” bringing 20 former members to work with the ongoing ten player line-up.

“When we were young and we’d lose somebody, it seemed like the end of the world,” TOP founder Emilio Castillo told Gary Graff.  “But it started happening at such an early age in our career, and we always overcame it and always got great people to come in.”

Captured live at the Legendary Fillmore Auditorium in San Francisco in 2008, this extraordinary show welcomed such former members as Greg Adams, TOP’s trumpeter and arranger for 20 years and subsequently one of the architects of the “smooth Jazz” sound; Chester Thompson, who moved on to play keys for Santana and Elton John; and chart topping “smooth jazz” sax player and first call session guy Richard Elliott.

At a show recorded on the band’s actual anniversary, former TOP member Lenny Pickett, long time sax player for the Saturday Night Live band, joined in. He’s in the bonus footage and is interviewed.   Legendary vocalist Sam Moore, of Sam and Dave, added to the funkified festivities with “I Thank You,” and Otis Redding’s “Mr. Pitiful.”  The DVD is dedicated to Steve “Skip” Mesquite, long time alto player for TOP, who made the show and passed on shortly afterward.

The CD and DVD package is a slam dunk of soulful funk, with such great Tower of Power hits as “What is Hip?” “You’re Still A Young Man,” the ever timely “Only So Much Oil In The Ground,” and “This Time It’s Real.” After 40 years, this band can clearly still hit it out of the ballpark.

“It was probably the most special night of our entire career,” said Castillo. “Getting together and playing again with those guys we’d spent so much time with on the road. It was magic.”

Golden Dogs Announce Spring Tour Dates, To Play SXSW

At the end of a hard year of touring in support of their second album ‘Big Eye Little Eye’, which took them by way of Britain and Germany, straight across the USA sharing stages with Canadian luminaries like Feist and Sloan, those who witnessed its fury likely had no inkling it was the end of a chapter for the band. The long awaited homecoming was bittersweet; there were big changes on the horizon. For starters, the band had been released from their record contract; a contract they had been locked into for years that now left them 100% in control of their business affairs. In another twist of fate, their long time bass player, Stew Heyduk, decided to leave the country and get married in Hawaii. Within weeks of being at home and somewhat directionless, the question began looming: “What now?” While there are always songs brewing on lead man Dave Azzolini’s hot plate, the idea of going straight into recording another album wasn’t an attractive one. They needed a break from being Golden Dogs.

Without trying to force movement into the intimidating ‘next album’ phase, the couple began spending more time hanging at a little garage studio on Toronto’s east side, operated by their good friends Carlin Nicholson & Mike O’Brien - this duo now known as Zeus. The whole crew had a lot of fun just writing and recording tunes they had written and while Nicholson honed his engineering chops, everyone nurtured and developed their production skills. As well, the studio was a very welcome place for other musician friends to pop by. Friends like Neil Quin (ex-Golden Dog/future Zeus member) and Afie Jurvanen (Bahamas) who ended up playing a solo on the Golden Dogs album as a return favor for Azzolini playing piano on one of the Bahamas tracks he recorded there.

The spirit was described by Azzolini: “It was very much a ‘best idea wins’ situation and the songwriter always had final veto power. It made for a very comfortable environment to make music. It was just musicians getting together to bounce ideas off each other.” This was a great time to forget about being in a band, and to just get back to playing music for it’s own sake, with a group of friends riding the same wave and just soaking in the energy of the studio. The result is titled Coat of Arms, and it brilliantly displays the musical union Azzolini, Grassia, Knox and company have found with each other, and the band seems to be more confident and commanding than ever before. One marvels at the way they can seem playful and sweet on a track like LESTER, yet terrifyingly savage on BURST or DARKROOM.

The most obvious and wonderful difference this time around is that Ms. Grassia takes a giant leap forward and can be heard taking the lead on almost half the album with a range spanning from sweet & psychedelic (UNDERWATER GOLDMINE) to seductive (AS LONG AS YOU LIKE) to furious pop madness on songs like WHEN THE MOVIE’S OVER, and CHEAP UMBRELLAS. Her vocal performances while drumming (AS LONG AS YOU LIKE and LESTER) is quickly becoming a Golden Dogs secret weapon and quite an impressive element to their live shows.

What now? Coat of Arms will be released on Dine Alone April 26th 2011. Feeling up-beat and optimistic about the new direction, Azzolini boasts that “the versatility of this new line up opens up a whole new world of possibilities for Golden Dogs live shows and the future of our recordings…there are so many directions we can go…and we’re going to try all of them.”

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Golden Dogs tour dates:

Mar 17: SXSW @ Hole in the wall (day party)\

Mar 19: SXSW @ Paradise on 6th

Mar 22:  Portland @ Wonder Ballroom**
Mar 23: Seattle @ Showbox**
Mar 24: Vancouver @ Biltmore**
Mar 26: Missoula, MT @ Wilma Theatre**
Mar 27: Jackson, WY @ Q Roadhouse**
Mar 29: Ames, IA @ The Maintenance Shop**
Mar 30: Omaha, NE @ Waiting Room**
Mar 31: Minneapolis, MN @ Varsity Theatre **
Apr 1: Madison, WI @ The Majestic**
Apr 2: Chicago, IL @ The Vic**
Apr 3: Pittsburgh, PA @ Mr. Smalls**
** w/ State Radio

Sarah Jarosz To Release "Follow Me Down" on May 17th

What Sarah Jarosz’s acclaimed debut, Song Up In Her Head, suggests, Follow Me Down—due out May 17, 2011 on Sugar Hill Records—confirms: she is constitutionally incapable of getting stuck in a rut. Her approach to acoustic music is expansive and vital; she sees no need to choose between old-timey and modern material; between picking, singing and writing; between experimenting and reviving tradition. She does all of it, and pushes it all further, on her new album.

“I definitely could have just made a record that was similar to the last one—pretty rootsy,” reflects Jarosz. “That would have been a representation of a side of me. But I have all these new sounds and ideas and I just didn’t want to hold back on this one.”

A lot has changed in the two years since the world outside the festival-going bluegrass and old-time music communities—home to many longtime Jarosz fans—was introduced to the young singer/songwriter/instrumentalist. Her music caught on quickly with audiences across the age spectrum. There have been GRAMMY and Americana Music Award nominations, a trio of Austin Music Awards, invitations to perform on “Austin City Limits” and “A Prairie Home Companion” and appearances at Bonnaroo, Newport and Telluride—and lots of digital downloading, a rarity for a roots act.

The most important difference is that Jarosz cannot be called a kid anymore. She’ll turn twenty within a week of Follow’s release. Instead of going straight to work as a full-time musician, as many before her have done, she left her hometown of Wimberley, TX—30 miles outside of Austin—and headed to Boston’s New England Conservatory to study contemporary improvisation on an elite scholarship.

“I wanted something to push me out of my comfort zone,” Jarosz says. “I wanted to be playing things that I might not normally play.” And she has had plenty of opportunities to do just that, from Jewish and world music ensembles at school to wildly unpredictable live jams with Punch Brothers and Mumford & Sons. That keen, open-minded attitude speaks volumes about her maturity.

Like her first album, Jarosz co-produced Follow Me Down with Gary Paczosa (Alison Krauss, John Prine, Chris Thile). Only this time, they had a college course schedule and high profile gigs to work around. They did a session with Punch Brothers in New York, another in Boston with her talented young trio mates Alex Hargreaves and Nathaniel Smith and several in Nashville with some of the acoustic world’s finest pickers and singers, including Bela Fleck, Jerry Douglas, Stuart Duncan, Viktor Krauss, Dan Tyminski, Shawn Colvin and Darrell Scott.

Jarosz’s growth can be felt throughout the resulting eleven tracks. The grooves are more adventurous, for starters on the first single “Come Around”.  She comments, “I know for some purists out there, it’s like, ‘Why do you have to have drums?’ For me, it’s like, ‘Why not?’” And she has explored alternative ways of using her already-strong voice (see her Radiohead cover “The Tourist” and Radiohead-inspired original “My Muse”; Bob Dylan’s folk hymn “Ring Them Bells” is the album’s other cover).

There’s no missing the breadth in Jarosz’s songwriting. She is just as comfortable penning the tragic old-timey “Annabelle Lee” - an adaptation of Edgar Allan Poe’s final poem, or a modernized Appalachian ode to secret love like “Run Away” as she is cultivating contemporary singer-songwriter introspection in a song like “Here Nor There”. But her playing—be it on mandolin, octave mandolin, clawhammer banjo or acoustic guitar—never takes a back seat. She started “Peace”—one of two instrumentals on the new album—when she was twelve, and finished it at college. And it is that hunger to let her music keep growing—along with her formidable abilities—that make Jarosz so exciting to watch.

Amy Black's 'One Time' Streets 3/29/11

Singer/songwriter Amy Black will release her sophomore album entitled One Time on March 29, 2011. After a decade of success in the business world, Black is taking a chance and following her music dreams with this new release. The rootsy collection of revealing and authentic tunes was recorded with producer, Lorne Entress (Lori McKenna, Bittertown). Available digitally, the album’s foundation is a traditional American roots sound but it’s not without a dash of rock and soul. “My goal was to create music that successfully merged the acoustic and electric instrumentation that I love,” says Black. “I tend to be drawn to a classic sound and paid my respects to some of the great music of the past when I wrote this album.”

Black worked with Entress to bring the perfect cast of characters together – top-notch musicians, including singer/songwriter Mark Erelli on vocals, guitar and lap steel and Nashville’s favorite fiddle player, Stuart Duncan. With Entress’ guidance the players have created a rich and compelling album. The music spotlights traditional roots instruments like Dobro, fiddle, mandolin, pedal steel and upright bass as well as the smooth and classic sounds of the electric guitar. “Making One Time was an incredible experience for me,” says Black. “As happy as I am to get the music out there, I’m also sad that the creation process is over. My favorite part of making this record was witnessing these incredible musicians doing what they do best. I can’t wait to get back in the studio with them again.”

In her debut album Amy Black & The Red Clay Rascals, Amy paid tribute to her favorite songwriters. With One Time, Amy’s powerful voice and presence are matched by the commanding range of her own song writing as seen in the nine originals on the album. The characters in “Molly” and “Whiskey And Wine” ache with bittersweet yearning in a world of pleasure and pain. “All My Love” simmers with seduction, while “Meet Me On The Dance Floor” is a flirty delight. “Stay”, featuring harmony vocals by Amy’s little sister Corrie Jones, swings with grown-up romance and “Run Johnny” crackles with bluesy menace.

“This album is really a tribute to my southern roots and is dedicated to my Granddad who grew up dirt poor in Alabama,” says Black. After putting himself through college, Black’s grandfather worked for the Tennessee Valley Authority for decades before pursuing his dream of starting his own business. This can-do tenacity along with a flare for storytelling, are traits passed along to Black. “He was a bit of a showman and I think I got that from him,” says Black. “He passed away during the production of the album and I’m proud to honor him with this music.”

In the album’s potent title track, "One Time," the plaintive lyric “Time for you to make a break/And show what you’re good for” could describe Black’s bold step with this new release. “I decided a few years back that it was now or never,” says Black. “I love music way too much to sit on the side lines. You only get one chance at this life, and I’m taking mine.”

For more information or to purchase the album visit www.amyblack.com.

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Amy Black tour dates:

03/12/2011 - Lowell, MA - The Backpage
04/03/2011 - Cambridge, MA - Club Passim (
One Time Release Party)
04/22/2011 - Cambridge, MA - Toad
06/10/2011 - Shirley, MA - The Bull Run

Zero @ Great American Music Hall | 3/4 & 3/5

For the first time in nearly 20 years, ZERO returns to the Great American Music Hall for a two-night special event: March 4th and 5th. Almost two decades ago, the quintessential Bay Area band recorded 'Chance in a Million' at the historic venue.

The band reunites to commemorate the music and to benefit band mate, Judge Murphy, who is battling liver cancer, awaiting transplant.  Tickets on sale now and selling fast. Thanks for supporting the cause to benefit a brother.

ABSOLUTE ZERO

Recorded at Avatar Studio in Santa Rosa, California in the early eighties, the studio recording Absolute Zero marks the inception of the ZERO instrumental repertoire.

Featuring Steve Kimock on guitar and bass and Greg Anton on drums and keys, this 80's recording is being released for the first time, available exclusively at the upcoming ZERO shows.

Featuring such songs as Tear Tags Off Mattresses, Severe Tire Damage and Theme From Nancy Germany, this 5-song EP will surely delight any ZERO fan. The album will be officially released after the GAMH shows.

KIMOCK'S SPRING NEW YORK CITY RESIDENCY

Steve Kimock has confirmed a three-week spring residency at Sullivan Hall in NYC on Wednesday, March 23th, March 30th and April 6th.

Kimock's NYC residency will have a very different musical feel & flavor each week, with some of the best musicians based in New York City and beyond joining him such as Henry Butler, Adam Deitch, Marco Benevento, Andy Hess, John Molo, Pete Sears, Marc Friedman and more! Expect some legendary collaborations...hope to see you there.

For line-ups and more info visit www.kimock.com

Miles Davis, Albert King & Bill Evans get Definitive discs on Concord

Concord Music Group has assembled three new titles in its ongoing Definitive series, one of which marks the series’ initial foray into CMG’s vast blues catalog. The Definitive Miles Davis on Prestige; The Definitive Bill Evans on Riverside and Fantasy; and The Definitive Albert King on Stax span a total of 60 years and include the music of two monumental figures in jazz and an equally influential figure in the blues. Each of the two-CD collections is set for release on April 5, 2011.

The two dozen tracks of The Definitive Miles Davis on Prestige follow the creative evolution of the most revered trumpeter in the annals of jazz. Spanning the first half of the 1950s, the collection captures Miles at the beginning of his breakthrough to mainstream appeal, according to the liner notes by music journalist and historian Ashley Kahn.

“The purpose of this collection is to deliver a full, definitive overview of that very special period in Miles’s career,” says Kahn. “Its focus covers the nearly six-year period when the trumpeter was signed exclusively to Prestige. Disc 1 offers the best of his 1951 to ’56 sessions primarily as a leader of various ad hoc all-star ensembles. Disc 2 provides a generous sampling of Miles the bandleader, in ’55 and ’56, at the helm of one of the most groundbreaking groups of the day.”

The collection also chronicles Miles’s dramatic artistic growth over a relatively short time, says Nick Phillips, Concord Music Group’s Vice President of Jazz and Catalog A&R and the producer of the collection. “The years between 1951 and 1956 are not a huge amount of time, but the development by Miles — as a musician and as a bandleader — is pretty astonishing in this period,” says Phillips. “This culminates in what ended up being one of the most legendary groups in jazz, the Miles Davis Quintet, featuring John Coltrane.”

The Definitive Bill Evans on Riverside and Fantasy tracks more than two decades of recordings by a highly influential figure in jazz piano. “It would be difficult to think of a major jazz pianist emerging after 1960 who did not take Bill Evans as a model,” says jazz journalist Doug Ramsey, who wrote the liner notes for the 25-song collection that begins in the mid-1950s and ends in 1977. “Indeed, many seasoned pianists who preceded Evans altered their styles after hearing him.”

What’s more, “Evans had a profound effect on how musicians play jazz and how listeners hear it,” says Ramsey. “He is so much a part of the jazz atmosphere that many musicians — regardless of instrument — who came of age in the 21st century are not conscious that his concepts helped form them.”

The collection also gives proper attention on the second disc to Evans’s Fantasy-era recordings of the mid-1970s, says Phillips, who also produced the Evans collection. “Because the Riverside sessions are so acclaimed and so legendary, the Fantasy tracks are often overshadowed,” he says. “But in listening to this collection, you realize that Evans was still creating some amazing recordings throughout the Fantasy period with some high-caliber musicians, like Eddie Gomez, Kenny Burrell, Lee Konitz, Tony Bennett, Ray Brown, and Philly Joe Jones.”

The Definitive Albert King on Stax follows 15 years worth of recordings — from 1961 to 1975, plus a final track from 1984 — by a bluesman who’d spent the early part of his career playing to an African-American fan base in the roadhouses and theaters of the chitlin’ circuit. But by the latter half of the 1960s, the genre “was now attracting the rapt interest of young white listeners, their sensibilities opened wide by the muscular, in-your-face blues rock of the Rolling Stones, the Yardbirds, and Jimi Hendrix,” says roots music historian Bill Dahl in his liner notes for the collection. “These new converts were gravitating to the best the idiom had to offer. No single blues guitarist made a more stunning impact during that tumultuous timeframe than Albert King.”

“For as paradoxical as it might sound, you could make the case that Albert King was a cheery blues guy,” says Chris Clough, Concord’s manager of catalog development and producer of the Albert King collection. “He had that wry smile, and he often smoked a pipe. He was always well dressed and dapper. He was genuinely interested in putting on a show for his audience, and that sensibility comes through on these tracks.”

Dahl suggests that the years between 1966 and 1975 were a “Golden Decade” for King. “He was with Stax that entire time,” he says, “right up to the Memphis label’s unfortunate demise, cutting one enduring blues classic after another as he scaled the charts over and over again. In the process, King deeply influenced countless up-and-coming blues axemen, even though the ringing licks he coaxed out of his futuristic Gibson Flying V were all but impossible to accurately recreate.”

Heavyweight Dub Champion & Mr. Anonymous @ Boulder Theatre

Heavyweight Dub Champion Founded in a log cabin at 9,000 feet in the mountains of Colorado, and now based in San Francisco, California, Heavyweight Dub Champion is a movement of interdimensional warriors representing the Army of the Last Champion. Firmly rooted in hip hop, dancehall, dub and electronic music, and performed on more than 50 channels of vintage analog and digital gear, HDC has gained much notoriety and a growing following from its high-intensity and visually captivating live performances. Founder and Last Champion Manifesto author Resurrector transcends space and time wielding an arsenal of deep revolutionary audio with support from a revolving crew of co-conspirators that include Totter Todd, Dr. Israel, A.P.O.S.T.L.E., Jillian Ann, MC Azeem and Stero-Lion. At the collective's core is the universal intention of inspiration, mind expansion and transformation through creative expression - all of which manifests in their collective artistic performance known as The Liberation Process.

Mr. Anonymous a.k.a. Jeep Macnichol started his music career as founding member and drummer of the Colorado based pop/jam band The Samples. For a decade, his musical journey included 6 national album releases, national touring for 9 months a year in every venue imaginable in every state, sharing the stage with Sting, Dave Mathews, Steel pulse, Flaming Lips, The Wailers, Sonic Youth, Blues traveler, the Horde tour, and a performance on the Jay Leno show. After 10 years, Macnichol decided it was time to follow new creative endeavors and dive into his love of Jamaican dancehall and reggae music.

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"Triple Ripple," An Experimental Play With The Bleak Contrasts Between Jazz And Rock

Progressive Jazz Fusion artist Anders Helmerson has released the title track, "Triple Ripple" from his third and groundbreaking new CD, available for purchase at iTunes.

"Triple Ripple" is no ordinary song according to Helmerson. As well as being the main track from the album, "Triple Ripple" is a combination of three songs all merged into one. "This particular track has more of a rock flavor to it than any other on the CD. It's a form of experimental play with the bleak contrasts between jazz and rock. The key was striking a balance between the two. The first part is an overture that builds up to a dramatic crescendo, while the second part transitions into the part three, which is the main theme of the song. Part three starts with a Rush inspired hard rock type of melody that gives the song a solid spine as more jazzy parts begin to evolve, and it continues to toggle between Jazz and rock."

He continued, "Triple Ripple" is a demonstration of the world's most spectacular drummer Marco Minneman and his ability to make it all sounds easy and fluent. But the fact is, what he is doing here, nobody else could do. Marco was recently touted to be the natural replacement for Mike Portnoy in Dream Theatre, but I am keeping my fingers crossed in hopes that he'll choose to stay with me."

The Anders Electric Jazz Rock sound delivers an eleven minute expansion piece with Triple Ripple, which has majestic classic synth sounds. The mix is bright and the bell tones have a serious tone. The first section features two ideas that show the flexibility of the band with harmony and time figures. The breakdown features all keys playing in triple meter with synth choral textures and flickering arpeggiated lines. The composition sets up for an extensive analog synth solo. The bass and the drums are all exceptional and keep up with an exhaustive range of breakdowns and accented hits throughout. This is serious electronic jazz rock!

"Helmerson lets his creativity take him to new heights which ultimately resulted in him creating his own genre of music which he dubs Progressive Fusion; a combination of long songs with virtuosos performed in complicated time signatures, elaborate melodies and harmonies that are built on pentatonic scales that are neither major nor minor. This musical mastermind fuses jazz and rock to create a sound that amazes listeners with the power of superior technique and great composing." MusicDish

Born in Sweden in February 1959, Anders Helmerson has had a life-long love affair with music. In the 1970's, Helmerson played in various short-lived bands and studied classical music in Denmark and Sweden, all the while becoming more and more interested in synthesizers and progressive rock. Helmerson completed his debut album, "The End of Illusion," in 1981. The album's lack of success caused him to turn his back on music for the next several years. He worked as a surgeon in Copenhagen, a GP in Norway and a ship's doctor on a cruise-ship, eventually discovering Rio de Janeiro, the catalyst for his return to music. In early 2002, Helmerson release his second album, "Fields Of Inertia" on the Brazilian label, Som Interior Productions.