Monday, August 18, 2014

‘Rock ‘N’ Blues Fest’ -A Tribute to Johnny Winter is ‘Triumphant’ in Clearwater


-Concert Review
  By Ray Shasho

Rock ‘N’ Blues ‘Hippiefest’ –‘A Tribute to Johnny Winter’ was welcomed with open and peace-loving arms by an enthusiastic Ruth Eckerd crowd on Saturday night. The show was originally to be headlined by blues guitar legend Johnny Winter who passed away on July 16th.  Without the shows most noted and consistent act over the decades, you’d think there might be some mixed emotions encompassing the Hall about the evening’s events …. But not in Clearwater baby! The crowd responded energetically and altogether entertained by four captivating performances embodied with Rock, Blues, R&B, Jazz, and Psychedelic melodies.  

KIM SIMMONDS: A near capacity Ruth Eckerd audience began an evening of ‘Hippiefest’ fun and festivities with British Blues legend Kim Simmonds of Savoy Brown. Since 1966, Simmonds has been founding member, lead guitarist, vocalist, and songwriter of the band. Savoy Brown was part of the UK blues progression that helped to regenerate and popularize blues music in America throughout the 60’s. Kim Simmonds /Savoy Brown are the epitome of what rock and roll was and should always be. Deep-rooted, pure, artistic, manifesto, virtuoso, everlasting … these are the components that should land Kim Simmonds in the rock and roll hall of fame. Savoy Brown was also responsible for launching classic rock favorites Foghat. Simmonds is genuine rock and roll heritage. He opened the show with “Going to the Delta” spotlighting a track from his latest album with the same title. Simmonds ensued with “Nothing Like the Blues” and “Cobra,” more tracks from his latest release Going to the Delta. Kim Simmonds concluded his set with “Poor Girl” from the 1970 release Looking In followed by a rousing applause from a jubilant Clearwater crowd which truly appreciated  rock prodigiousness throughout the night. 

PETER RIVERA: Onstage next and quietly slipping behind a huge set of drums was the heart, soul, original voice and beat of Rare Earth, a very hip band of musicians that played an incredible mix of music comprised of rock, funk, soul, and psychedelic fusion. Rivera became the undisputed leader of Rare Earth, the only white band to score hits with the Berry Gordy, Jr. Motown Record label. In 1974, Rare Earth was the opening act for the California Jam …sharing the stage with Earth Wind & Fire, The Eagles, Seals & Crofts, Black Oak Arkansas, Black Sabbath, Deep Purple, and Emerson, Lake and Palmer.

In 1992, Peter Rivera performed with the Classic Rock All Stars. The core lineup became Jerry Corbetta(Sugarloaf), Mike Pinera (Blues Image, Iron Butterfly & Alice Cooper), and Dennis Noda (Cannibal & the Headhunters). The band became very successful and toured extensively until Dennis Noda’s death, and the diagnosis of Alzheimer’s to Jerry Corbetta.
Although Rare Earth was at the height of its success between 1970 to the mid 70s, a resurgence of their material has been spotlighted on countless advertisements, television shows, movie trailers and motion pictures. Rare Earth has sold over 30-million records worldwide and was inducted into The Michigan Rock and Roll Legends Hall of Fame.

Peter Rivera immediately ‘Funked Up’ the house with the Rare Earth classic “Hey Big Brother” a huge crowd-pleaser at the California Jam in 1974. Rivera commented during the song that ‘Big Brother’ is watching us more than ever …through Facebook, cell phones, and late night internet surfing … while stirring the crowd. The song was a Top 40 hit and featured on the critically acclaimed Rare Earth In Concert album (1971). Rivera followed with Rare Earth’s psychedelic rock version of “(I Know) I’m Losing You”(1970) from the Ecology album. Peter Rivera was phenomenal throughout the night … looking extremely fit and dapper while his prodigious drumming skills and vocals were impeccable. Rivera’s next classic tune … “Get Ready” lifted Rare Earth into superstardom. Rare Earth’s 21:30 version on their 1969 album by the same name was shortened for Top 40 radio airplay. “Get Ready” reached #4 on Billboard’s Hot 100. Peter Rivera concluded his set with a song that instantly raised the Ruth Eckerd audience to their feet, while they boogied to the soulful/ rock/ funk/ Top 40 classic “I Just Want to Celebrate” (1971) from The One World album.  …While all the performances of the evening were outstanding … Peter Rivera’s set was simply the best of the evening. 

VANILLA FUDGE: While each of the acts on the bill had the same supporting musicians, most likely to save time between acts … Vanilla Fudge had (3) original members onstage. Legendary drummer/singer/songwriter/ Carmine Appice … lead singer/ keyboardist/composer/ Mark Stein, and lead guitarist/ vocalist … Vince Martell. ‘The Fudge’ opened with “Take Me for a Little While” from their debut album Vanilla Fudge (1967).  The band dedicated their next song to Johnny Winter, a profound and beautifully performed Curtis Mayfield composition … “People Get Ready.” Carmine Appice’s vocal rendition of the song was awe-inspiring. The band followed with the Jr. Walker & the All-Star classic hit “Shotgun” which was performed by Vanilla Fudge on ‘The Ed Sullivan Show’ in 1969. 
           
One of the evening’s magical moments was Carmine Appice performing an incredible drum solo. Brooklyn native Carmine Appice has attained one of the most illustrious rock resumes in music history. The accomplished drummer, singer, and songwriter tours as a key member with classic rock legends Vanilla Fudge and Cactus. Appice also tours with The Rod Experience, a historical tribute to Rod Stewart and his band featuring original members. Carmine Appice joined Rod Stewart’s band in 1977 and co-wrote the mega hit “Da Ya Think I’m Sexy” and “Young Turks.” Vanilla Fudge concluded their set while raising the Ruth Eckerd roof with their psychedelic/ rock/ mega hit of 1967 “You Keep Me Hangin’ On” (#6 Billboard Hot 100 Hit). It was a truly remarkable set by rock folklore. 

EDGAR WINTER: Winter entered the stage wearing an all-white outfit, coordinating perfectly with his long blondish/white hair. Edgar’s appearance and persona exhibited ‘professional rock star and performer’ all the way! Winter expressed his gratitude to everyone for letting him continue with the series of ‘Rock ‘N’ Blues Fest /Hippiefest’ concerts as a tribute to his late big brother Johnny Winter. An emotional Edgar Winter stated that performing music helps him with the healing process. Winter performed an interesting mix of rock, jazz, and the blues. The second half of his set was devoted to Johnny Winter. Edgar Winter always lights up his audiences with charismatic and energetic performances. Winter’s eclectic musical styles crossover into multiple genres including …blues, jazz, pop, and country, but he’s especially revered as a rock hero. Edgar Winter opened his set with the Chuck Berry penned classic “Johnny B. Goode” which was also a favorite of Brother Johnny’s.
He followed with “Tobacco Road.” In 1970, Edgar Winter released his first studio album entitled Entrance and the “Tobacco Road” track featured Brother Johnny on guitar, harmonica, and vocals. The song also successfully lifted Edgar into the limelight.  Next …Winter told the Clearwater audience the story behind the next song on his setlist “Frankenstein.”Winter stated … “I wrote the song years before it was recorded, or at least I came up with the original riff. When I was playing with my Brother Johnny in the late 60’s and no one knew who I was or if Johnny even had a brother and I had not yet recorded an album. He’d do the first part of his set with a blues trio and then say … “And now I’m going to bring on my little Brother Edgar!” So I’d walk out and the crowd would go … Oh, look there’s two of them!” Winter demonstrated both instrumental and athletic abilities on his performance of “Frankenstein.” The 67 year old Winter performed unwaveringly across the stage … wailing on saxophone, dropping to his knees while manipulating the keyboards and synthesizer, and aggressively beating out musical rhythms on the standup drums. Edgar’s performance of “Frankenstein” was simply explosive!!!

In 1972, the classic lineup of The Edgar Winter Group was born … Edgar Winter (vocals, keyboards, synthesizers, saxophone, and drums), Dan Hartman (bass, vocals), Ronnie Montrose (guitar, vocals), and Chuck Ruff (drums, vocals). The Edgar Winter Group scored huge commercially with the release of … They Only Come Out at Night. The album landed at #3 on Billboard’s Hot 200 and remained on the charts for an amazing 80 weeks. By 1986 the album became double platinum. They Only Come Out at Night spawned the classic rock mainstays … “Frankenstein,” (#1 Billboard hit -written by Edgar Winter).

Winter performed “Free Ride” (#14 Billboard hit -written by Dan Hartman) next which was definitely a crowd-pleaser bringing everyone at the Hall to its feet. Winter then played musical conductor, singing Scat (using his voice as an instrument) ala Ella Fitzgerald while exhibiting his jazz influence. Winter would scat a particular piece vocally and each member of the band would have to play it on their instruments verbatim. There were also hints of Blind Willie Johnson’s/Zeppelin arrangement “Nobody’s Fault But Mine” and The Who’s “Won’t Get Fooled Again” riffs.
Edgar Winter devoted the second half of his set to Brother Johnny performing “Highway 61 Revisited” with Savoy Brown’s Kim Simmonds joining him onstage. The finale of the evening was an incredible rendition of “Jumpin’ Jack Flash” that featured Edgar as conductor of a band with Peter Rivera, all the members of Vanilla Fudge, and the shows band of proficient musicians … guitarist- Doug Rappoport, bassist- Koko Powell, and drummer- Jason Carpenter. All three are incredible musicians and had multiple moments during the show to shine.

If there was any part of the show I would change, it would be during Edgar Winter’s set.  Although Rappoport was an excellent guitarist, it appeared as though Winter was spotlighting the performer with lengthy guitar solos.  I would have preferred more Edgar Winter tunes and Johnny Winter tribute songs and perhaps a little less scatting and guitar solos.
All in all it was an incredible evening enjoyed by all! 
Special thanks to Jeff Albright of the Albright Entertainment Group.
Edgar Winter official website                              Edgar Winter on Facebook
Vanilla Fudge official website                             Vanilla Fudge on Facebook
                                        Peter Rivera official website                               
                                      Doug Rappoport official website

Coming up NEXT … Legendary guitarist/singer/songwriter Randy Bachman (The Guess Who, BTO, Bachman & Turner) …
Don Wilson guitarist, pioneer, and co-founder of ‘The Ventures’… Keyboard extraordinaire Patrick Moraz (YES/The Moody Blues)… Al Kooper (The Blues Project, Blood, Sweat & Tears, Bob Dylan, and responsible for the success of Lynyrd Skynyrd… Country Music’s shining new star -19 year old Mary Sarah … Folk/Rock singer & songwriter Jonathan Edwards (“Sunshine”) and  …Legendary keyboardist Keith Emerson (The Nice, Emerson, Lake & Palmer)

Contact music journalist Ray Shasho at rockraymond.shasho@gmail.com

Purchase Ray’s very special memoir called ‘Check the Gs’ -The True Story of an Eclectic American Family and Their Wacky Family Business … You’ll LIVE IT! Also available for download on NOOK or KINDLE edition for JUST .99 CENTS at amazon.com orbarnesandnoble.com 

  - Please support Ray by purchasing his book so he can continue to bring you quality classic rock music reporting.“Check the Gs is just a really cool story ... and it’s real. I’d like to see the kid on the front cover telling his story in a motion picture, TV sitcom or animated series. The characters in the story definitely jump out of the book and come to life. Very funny and scary moments throughout the story and I just love the way Ray timeline’s historical events during his lifetime. Ray’s love of rock music was evident throughout the book and it generates extra enthusiasm when I read his on-line classic rock music column. It’s a wonderful read for everyone!”    …stillerb47@gmail.com  
                         


COMING SOON… 
Ray’s exciting new book project entitled ‘SAVING ROCK AND ROLL’

© Copyright rayshasho.com. All Rights Reserved 

All photos my Mark Javer







Saturday, August 16, 2014

Violinist Extraordinaire Jean- Luc Ponty and ‘YES’ Legend Jon Anderson Merge Creative Forces and Ask Fans to Help with Artistic Control

By Ray Shasho
-Interviewed August 8th 2014
An Interview with Jean-Luc Ponty:

Prodigious violinist/composer/ Jean- Luc Ponty and legendary ‘YES’ lead vocalist/ songwriter/ Jon Anderson have united their musical mastery to originate the Anderson Ponty Band, and with the formation of a new musical venture enters a debut album soon to exhibit new music and classics re-imagined. Anderson & Pontyare also excited to include their fans in the experience. Music enthusiasts can pledge to their Kickstarter campaign (already in-progress) entitled the Jon Anderson & Jean-Luc Ponty Project. By contributing you can receive various items related to the project including an invite to the dress rehearsal in Aspen, Colorado where the CD will be recorded, VIP show tickets, and an invitation to the post show band party.
As of August 15th …$67,576 has been pledged, but a total of $95,000 is needed to hit goal with only 8 DAYS to go! (The minimum pledge is only $1.00) The project will only get funded if they hit goal by Sunday August 24th at 1:55 PM EDT.  Join the ‘Jon Anderson & Jean-Luc Ponty Project’ and help these incredible legends reach their goal for recording a new album…  Contribute and join in on the musical journey HERE
The musical blend of Jon Anderson’s angelic vocalizations of progressive rock virtue and Jean-Luc Ponty’s awe-inspiring instrumentation of jazz-fusion & classical essence… will undeniably be spectacular!

JEAN-LUC PONTY was taught by his classically trained parents who were also music teachers. He learned to read musical notes before he learned the alphabet. Ponty was taught the violin and piano, but at the age of eleven his father asked him to choose only one instrument so he would be proficient with a single instrument instead of mediocre at several.  
After graduating from the Conservatoire de Paris, it appeared that Jean-Luc was on the way to a prodigious classical music career and eventually performed with a major symphony orchestra. But Ponty also began to establish a musical appetite for jazz music which led to Jean-Luc recording his debut “bebop” album entitled Jazz Long Playing in 1964.

Ponty’s notoriety flourished and was asked to perform at the Monterey Jazz Festival in 1967, which lead to a U.S. recording contract with World Pacific label. Ponty’s subsequent releases featured such jazz luminaries as Svend Asmussen, Stéphane Grappelli, Stuff Smith, Gerald Wilson, George Duke, and Niels-Henning Orsted Pederson.  Ponty had conquered classical music and jazz as a critically-acclaimed artist and now it was rock music’s turn.

In 1969, Frank Zappa composed the music on King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa. The release featured an array of virtuosos including …Frank Zappa and George Duke. Ponty moved to Los Angeles after Zappa asked him to join the Mother of Invention tour.
Jean-Luc Ponty performing on Frank Zappa albums …Hot Rats (1969),Over-Nite Sensation (1973), Piquantique (1973), Apostrophe (1974), Shut Up 'n Play Yer Guitar (1981), The Lost Episodes (1996), One Shot Deal (2008), Road Tapes, Venue 2 (2013)
While heavily in demand …Jean-Luc Ponty was asked to perform on numerous projects. Ponty contributed on Elton John’s Honky Chateau album and several recordings with John McLaughlin’s Mahavishnu Orchestra  Apocalypse and Visions of the Emerald Beyond.

Ponty signed as a solo artist with Atlantic Records in 1975 and over the next decade released 12- consecutive albums reaching the Top 5 on Billboard’s Jazz charts and selling millions of copies. Ponty also became one of the first jazz artists to have a music video.
Jean-Luc scored huge commercially with … Imaginary Voyage (1976 -reaching #2 on Billboard’s Jazz charts) Enigmatic Ocean (1977- reaching #1 on Billboard’s Jazz charts), Cosmic Messenger (1978 -reaching #2), Mystical Adventures (1982- reaching #2), and Individual Choice (1983- reaching #2).

In 1995, Jean-Luc Ponty joined forces with guitarist Al Di Meola and bassist Stanley Clarke to record The Rite of Strings which followed with a tour of the U.S., South America, and Europe.
In 2005, Ponty toured with Stanley Clarke on double bass and Bela Fleck on banjo.
In 2011, Jean-Luc joined Chick Corea and Return to Forever for a series of concerts.

Ponty’s daughter is singer/pianist/composer Clara Ponty.

TODAY: Jean- Luc Ponty is as busy as ever … an exciting collaboration and album with Jon Anderson and a new album with Stanley Clarke forthcoming.

I had the great pleasure of chatting with Jean-Luc Ponty recently about his latest collaboration with ‘YES’ legendary songster Jon Anderson …Jon Anderson & Jean-Luc Ponty Project/Kickstarter campaign …. Working with Frank Zappa…  Daughter Clara Ponty …Chick Corea/Return to Forever …Stanley Clarke … Acoustic vs. Electric Violin … Classical vs. Jazz & Rock …And much-much more!

Here’s my interview with the legendary proficient violinist, multi-instrumentalist, composer, musical pioneer, former member of Frank Zappa and The Mothers of Invention, Mahavishnu Orchestra, Return to Forever, and the newly formed Anderson Ponty Band … JEAN-LUC PONTY.
Ray Shasho: Hello Jean-Luc, where am I calling you to?
Jean-Luc Ponty: “I’m in the south of France right now on the French Riviera, also touring Italy and Switzerland … beautiful weather here, a bit balmy like Florida. It looks more like California than Florida but the weather is nice here.”
Ray Shasho: Let’s first discuss the Kickstarter campaign…‘Jon Anderson & Jean-Luc Ponty Project’ which will help fund a new album of classics and new material by the newly formed …‘Anderson Ponty Band.’ As of August 15th … the project has raised $67,576 with a goal of $95,000.00 and only 8 days to go.
Jean-Luc Ponty: “The project was our manager’s idea and Jon and I went along with it. There were record labels interested but he was eager to use the tools of today and the internet. But it is great because we feel the fans are part of it and feels less business-like somehow, not having to deal with business people and record companies. This time it’s more between us and the fans. Either way, we’re still going to record the CD, so it will work one way or another.”
Ray Shasho: So what types of costs will the Kickstarter funds contribute to?
Jean-Luc Ponty: “It will cover roughly a month of work. All the expenses of rehearsing and having the band, we will all reunite in Aspen, Colorado and then the rehearsals begin on August 30th and I will arrive a few days later because I’m finishing a tour in Europe. But the band and technicians start getting together August 30th in Aspen. It covers all the expenses including recording. I think the return will be much more rewarding financially because the difference you get paid from a record company as an artist and owning the masters is very different… it’s like one to six roughly. For me it’s about having total artistic control and we own it. I saw some of my greatest albums early in my career on which I have no control at all. For example … decisions in distribution, remastering, or spreading the tracks in different compilation formats are out of my hands. I see a lot of messages from fans that would like to hear many of my songs remastered with the latest technologies and I have nothing to say about it. About fourteen years ago I started to try and control more of my productions. It involved too much of my time so what we decided was to make license deals and have them distributed by labels, but the good thing is that I am the owner of what I recorded since the year 2000.”
Ray Shasho: I was extremely excited when I first heard the news about you and Jon Anderson forming a band together … I knew immediately that the music and dynamism you both share would mastermind an incredible bond.
Jean-Luc Ponty:  “Jon and I really gel very well. It just came up like that! I was contacted a year ago to contribute a violin solo on a song that he was producing. He liked the solo and one thing led to another. Then Jon got the idea of singing on one of my songs … “Mirage.” Spontaneously he took the song and sang half way through it and then sent it to me, and I was so impressed how good it sounded and how it worked really well with my music. In a way, I thought we should have done that year’s ago … but better late than never. (Laughing)”
Ray Shasho: Will “Mirage” be on the new release?
Jean-Luc Ponty: “Yes, right now we are working on it and trying to make a new version. So we’ll see how that works.”
Ray Shasho: Jean-Luc, do you have an idea when the new CD may be released?
Jean-Luc Ponty:  “I hear around February of 2015, that’s the plan so far and what we are shooting for.”
Ray Shasho: You’ve been asked to play with so many legendary performers… including Frank Zappa. What was it like working with Zappa?
Jean-Luc Ponty: “It was unexpected for me because coming from classical music, I thought rock or jazz would be fun … just a vacation. (Laughing) In fact, I found out, and rightly so, that it was very serious and demanding. So I felt it was very similar to being in a symphony orchestra with a conductor that demands specific ways to play the music. But then I learned that this was the way to do it if you want to get close to perfection. When we were on the road, I remember comments from other musicians about our band, that we were so tight. At times it was a little difficult because Frank was very demanding, but I respected that because he had so much talent and creativity. That’s what I learned from Zappa and even Jon McLaughlin. If you want to succeed you have to be a strong leader, and I applied that when I started my own group soon after, and indeed it works, but it works if you have a strong and valid comfort, then musicians will respect you. If you don’t really know what you’re doing or the music is not up to par then that’s when musicians will not respond so well.”
Ray Shasho: Your daughter Clara Ponty is a pianist, singer and composer?
Jean Luc Ponty: “She is doing some very good music but is also struggling, like I warned her. But she still wanted to stick to music which is her passion. So what can I say? Last year at a Festival in France they invited me to play with my daughter, and we put a band together and rehearsed. While rehearsing I said wow, this is nice, it’s different because she is singing and has a few vocals and some of her compositions are very good. But it’s feminine and very emotional; it’s a lot about feelings. Although I don’t only have technique and energy in my music, so there is still some of that. It was a good contrast and worked great together. So after that I said let’s do more. In the beginning I wanted her to prove herself first, and then she got a contract with Universal in the late 90’s and released an album that was number one on New Age Radio. So she was doing very well until the music business started changing, especially for instrumental music. But she has recorded several albums and has a good following already.”
Ray Shasho: Jean-Luc, who was some of the musicians or artists that got you interested in playing the violin?
Jean-Luc Ponty: “It started with my father; my parents were music teachers in a small town in France. My father played several instruments but violin was his main instrument. My mother was a piano teacher. They both taught me to read music when I was five years old and I think I was reading notes before the alphabet. (All laughing) Then they began teaching me violin and piano. When I was eleven, my father asked me to choose one of the two so I could become really good at one instrument instead of only mediocre on several instruments. I chose violin, maybe because of the father figure… I don’t know I never spoke to a psychiatrist about it. (All laughing)”

“I think it was because I thought it was the more expressive of the two. The violin you hold up against your body and very archaic. I do love the piano too but it’s a little more mechanical as an instrument. Piano was a great asset as a composer. I would have never written all the music that I had written if I hadn’t been a pianist. The violin is not so much of a composer tool. Then in the 70’s it gave me access to all the latest technology … synthesizers, organ, electric piano, and access to all these new sounds. So it became as important as what I was doing with my violin. It was a combination of all this together that built my personal musical comfort.”
Ray Shasho: You’ve used 4, 5, and 6 string violins?
Jean- Luc Ponty: “The standard is four, but in 1978-79, Barcus Berry brought me a prototype with five strings, and it’s actually the blue violin that you might have seen on some of the covers, it was actually my first blue violin. It was a little strange at first but I loved to have the additional string in the low edge. I quickly got use to it and it became my main instrument ever since. So I’m a five string guy.”

“Then in the 90’s, there was this guy in England who approached me and was making six string violins. There was also this guy in California making seven strings …it can become a gimmick after awhile.”
Ray Shasho: Do you prefer the electric violin sound over traditional acoustic?
Jean-Luc Ponty: “Not really. After I began playing jazz, coming from the conservatory with a four string acoustic classical violin, then playing in front of a microphone and stage, as soon as the drummer played the beat loud … that was it, I was covered. So it was out of necessity that I started looking for amplification in the early 60’s. It was just to get more volume. Once I started plugging in I realized different sounds and it was no longer the sounds of the traditional classical violin. There was no way to amplify the natural sound of the violin … I was just getting another sound.  It was like putting a microphone on an acoustic guitar, you also get a different sound. But somehow I liked it and suited well to play jazz. So that’s how it went for a few years until some rock guy’s discovered me, I guess because I was playing an electric instrument, they liked it, and I got called for Zappa, and they liked the sound. Once I got to play with rock bands I needed even more volume … then I got into big amplifiers.”

“At that time, engineers would go to rock bands like Franks Zappa’s to try new prototypes and Frank would tell me to try them … Wah-wah peddles, fuzz, phase shifters, or whatever. So since I had an electric instrument, I tried them with the violin. Sometimes I loved it and other times it didn’t work. In the 80’s, solid-body electric violins came out from Zeta, and then the first Midi violin that Zeta gave me had allowed me to plug into synthesizers. I have to say after exploring so much with all types of sounds, I never lost touch with the original violin. To keep my chops, I have to keep practicing on the traditional instrument all the time. With Jon and me, maybe we’ll have some acoustic sets during the show; otherwise I’ll really need the electric sound to fit with the instrumentation of the band.”

“I’m going to record an album with Stanley Clarke in a couple of weeks and a French Gypsy guitarist and the best I’ve ever seen since Django Reinhardt. Also Stanley Love as well. The goal there will be to not use so many effects and try to be as basic as possible. So I like the idea to explore new ways with my playing on just the basic violin.”
Ray Shasho: I’m also excited about this new album you mentioned with Stanley Clarke. You’ve toured and recorded with Stanley and Al Di Meola as a trio over the years.
Jean-Luc Ponty: “Stanley and I first met in 1972. We’ve always enjoyed doing projects together once in awhile.”
Ray Shasho: You’ve also been a member of Chick Corea and ‘Return to Forever.’  
Jean- Luc Ponty: “I met Chick soon after I knew Stanley. Stanley and Chick asked me to join ‘Return to Forever’ after I left Mahavishnu Orchestra but I had started my own band and so I was hesitating because it was a great offer. ‘Return to Forever’ was doing great music, but I had invested my time and even my savings in putting a band together and thought maybe I’ll stick to that for now. I consider myself a lucky guy to keep breathing so long, still in shape to play, and being invited to do projects like with Jon Anderson in fact. Chick Corea invited me to join them again in 2011, and so I did. It was fun; no one was trying to push their egos and step on other guy’s toes at all.  It was really the experience of … let’s do the best music we can together, and everybody left their egos at the door for the sake of producing good music.”
Ray Shasho: Jean-Luc, here’s a question that I ask everyone that I interview. If you had a ‘Field of Dreams’ wish like the movie, to play, compose, or collaborate with anyone from the past or present, who would that be?
Jean-Luc Ponty: “Stravinsky, John Coltrane, Jaco Pastorius ... in fact we had talked about doing something together and he passed away too soon.”

“I was supposed to be a straight classical musician, starting with the education with my parents, and then studying in Paris. Then came so many unexpected encounters in my life, getting into jazz, getting into rock … so I consider myself happy and lucky for everything I was offered to do in my life, and now working with Jon Anderson… it was so unexpected and so exciting.”
Ray Shasho: Jean-Luc, thank you for being on the call today but more importantly for all the incredible music you’ve given us and continue to bring.
Jean-Luc Ponty: “My pleasure Ray, it was really nice talking with you.”

Join the ‘Jon Anderson & Jean-Luc Ponty Project’ and help these incredible legends reach their goal for recording a new album and give back artistic control …  
Contribute and join in on the musical journey HERE




Very special thanks to the great Billy James of Glass Onyon PR

Coming up NEXT  Don Wilson guitarist, pioneer, and co-founder of ‘The Ventures’… Keyboard extraordinaire Patrick Moraz (YES/The Moody Blues)… Al Kooper (The Blues Project, Blood, Sweat & Tears, Bob Dylan, and responsible for the success of Lynyrd Skynyrd… Country Music’s shining new star -19 year old Mary Sarah … Folk/Rock singer & songwriter Jonathan Edwards (“Sunshine”)… legendary keyboardist Keith Emerson (The Nice, Emerson, Lake & Palmer), and… guitarist/singer/songwriter Randy Bachman (The Guess Who, BTO, Bachman & Turner)

Contact music journalist Ray Shasho at rockraymond.shasho@gmail.com

Purchase Ray’s very special memoir called ‘Check the Gs’ -The True Story of an Eclectic American Family and Their Wacky Family Business … You’ll LIVE IT! Also available for download on NOOK or KINDLE edition for JUST .99 CENTS at amazon.com or barnesandnoble.com   - Please support Ray by purchasing his book so he can continue to bring you quality classic rock music reporting.
“Check the Gs is just a really cool story ... and it’s real. I’d like to see the kid on the front cover telling his story in a motion picture, TV sitcom or animated series. The characters in the story definitely jump out of the book and come to life. Very funny and scary moments throughout the story and I just love the way Ray timeline’s historical events during his lifetime. Ray’s love of rock music was evident throughout the book and it generates extra enthusiasm when I read his on-line classic rock music column. It’s a wonderful read for everyone!”    …stillerb47@gmail.com   

COMING SOON… Ray’s exciting new book project entitled ‘SAVING ROCK AND ROLL’

© Copyright rayshasho.com. All Rights Reserved