Bill Hart Band
Atlanta, Georgia, United States | INDIE
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CD Review: Subject to Change - Bill Hart (March 31, 2008)
by Vince Lewis.
Subject To Change
Subject To Change
Bill Hart is currently based in Atlanta, GA. He has been head of the guitar program at the Atlanta Institute of Music for fifteen years. Born and raised in Canada he began playing guitar at a very early age. His early influences were Jimi Hendrix and Jimmy Page. After hearing a jazz guitarist playing in a music store Hart decided to explore that intriguing style.
He attended Guitar Institute of Technology in Hollywood, California and graduated with honors. While there, Hart had the opportunity to study with Mike Stern, Steve Kahn and Wayne Krantz. He has opened for jazz greats such as Herbie Hancock, Acoustic Alchemy and Yellow Jackets. His style is similar to his mentors, but maintains its own unique voice.
This self-produced CD, Subject To Change, is a high energy fusion experience. It is comprised of all original compositions. Hart is a skilled composer as well as a solid guitarist in this genre. “On My Way Home” opens the set. His solos are technically sound, and his tone ranges from clean classic rock to John Scofield-like overdriven fusion.
Mike Stern makes a cameo appearance on “What Are You Doing.” This tune has a bluesy funk feel. Stern also appears on “This is Why.” Other titles include “Loose Gravel,” “You’re Next” and “Inside Out.”
Hart is joined by bassists Enrico Galetta and Gary Wilkins. Drummers are Tom Knight, Charles Marvray and Jeff Van Veen. Ahsa Ahla provides percussion on five tracks.
Fans of the fusion genre will enjoy this recording. Hart plays with great intensity and emotion and is a quality performer in this style.
Title: Subject to Change
Release Date: 2008
Producer: BMH Records
Track Listing
1. On My Way Home
2. Out for June
3. Jim Gilligan
4. Sara's Song5 Anna Banana
6. Loose Gravel
7. Subject to Change
8. You're Next
9. Canadese Africano
10. What Are You Doing
11. This Is Why
12. Inside Out
13. Spazio Aperto
14. It's Working
15. Cerchi Nel Grano - by Vince Lewis
Hart’s early training was fairly non-traditional. As a teenager, he spent time playing in theater’s performing “The Rocky Horror Picture Show” and “Little Shop of Horrors.” Fascinated by the mathematical precision of music, Bill attended the Guitar Institute of Technology in Hollywood, California, graduating with honors. Bill has studied under master guitarists: Mike Stern, Steve Khan, Wayne Krantz and Scott Henderson. Bill’s true joy comes from playing his original compositions. Bill Hart has opened for jazz greats such as Herbie Hancock, Marcus Miller, Lou Rawls, Yellow Jackets, Acoustic Alchemy, Joey Defrancesco, Norman Brown, Rippingtons and Mike Stern.
Hart’s new release Subject to Change ignites the fusion flame to explosive heights. On this latest outing, Hart again collaborates with long time friend and teacher Mike Stern (guitar) along with, Enrico Galetta (bass), Gary Wilkins (bass), Charles Marvray (drums), Tom Knight (drums), Jef Ven Veen (drums), Ahsa Ahla (percussion). This superb release combines jazz, blues, funk, rock and groove aspects. The result is an uncompromising performance of nonstop stream electric guitar ecstasy.
“On My Way Home,” leads the CD off with forceful rhythmic interaction between guitarist, Bill Hart and drummer, Tom Knight. The interaction between these two players is filled with sparked climaxes and fast-paced communication. Hart is a master of the electric jazz, like contemporaries Pat Metheny and John McLaughlin; his solos resemble horn lines with sustained tones and sliding phrases normally played by horn players. However, in this ensemble there is the added bonus of power-driven sounds associated with rock.
“Sara's Song” is an emotionally emotive and musically rich piece inspired by Hart’s eldest daughter and her journey into life. Sara was born pre-mature 1-lbs 11oz., Hart the diligent father stayed by her side for nine weeks in the hospital. He would bring his guitar and write music that ended up on his first solo record. Under the duress of uncertainty, the most poignant cut on Subject to Change manifested.
“What Are You Doing” features long time friend and 4-time Grammy nominated guitarist Mike Stern. The two paint the sound canvas with brilliant and vivid colors strokes of slick burning guitar lines and aggressive multi-phonic patterns. The chemistry between these two players is almost like the kinship that twins share of non-spoken understanding and deep appreciation.
“Cerchi Nel Grano” ends the outing with an upbeat tone. A syncopated, funky feel gives sections of open space for each musician to fully express their musical voice. Searing guitar lines by Hart coupled with a powerhouse backbeat by drummer, Charles Marvray and percussionist, Ahsa Ahla give this cut an almost African overtone. This cut is an appropriate choice for the closing words of a well-rounded, well-conceived project.
Subject to Change is a triumphant Junior release, a blend of searing chops, engaging melodies and infectious grooves, enhanced by the inspiring sound of long time friend Mike Stern who special guests appearances “What Are You Doing” and “This Is Why.” Subject to Change exemplifies Hart’s verve for guitar driven melodies and further establishes his place among the top fusion guitarists of today.
- Reviewed By: Geannine Reid
Jazz guitarist Bill Hart has been doing his thing for a few years, traveling around the world and playing with the kind of fervor and passion that comes from someone who loves his music and his instrument of choice. Subject To Change (self-released) is an album by someone who shows a love not only for jazz, but for mid to late 70's funk, and because of that also plays music that is very much in the lines of fusion.
Hart is the one in charge throughout the album, playing with the kind of power and precision heard in the playing of Al Di Meola, Robert Fripp, and Steve Hackett. He's mindblowing on the electric guitar, but he also eases up and plays acoustically, showing a level of musicianship that makes him someone everyone should get a chance to listen to, especially in songs like "Sara's Song", "Anna Banana", and "Inside Out". The laid back acoustic material works well with the more uptempo songs. If there's a problem with this album, it's that I felt some of the music played by his band almost sounds like it came out of a box, as if anyone could have bought it, played over it and said "here, this is my album". This is evident when they get into funk mode, and while I'm a diehard funk fan, the other musicians played it as if they were being controlled by Sir Nose. If you're going to offer funk, I want to smell it. Fortunately Hart saves it by not only getting into the existing groove but coloring the strokes that aren't there.
Subject To Change is for guitar junkies who enjoy riffs offered by the pound, this guy is equipped with the ammo and has reserves when you think his fretboard gymnastics has run its course. It would be interesting to hear him collaborate with other musicians. - The Run-Off Groove
Discography
Bill Hart- This is Why
Bill Hart- Subject To Change
Bill Hart- Watch The Sky
Bill Hart- Think About It-CD
Bill Hart- Think About It-DVD
Bill Hart- Solo Jazz Guitar CD/Book
Photos
Bio
Bill Hart, born and raised in Canada; he began playing guitar at the nine years old and immediately felt drawn to the instrument. Bill would find every opportunity to covertly rendezvous with his guitar and a lifelong connection was formed.
Initially, he played rock, influenced by the diverse guitar styles of Jimi Hendrix, David Gilmour of Pink Floyd, and Led Zeppelin’s Jimmy Page. One day, in a music store, he saw a jazz musician playing a guitar and doing the most incredible things. Bill wanted to know how the guitarist played that amazing music. Thirty years later, Hart modestly says he is still trying to figure it out. Nowadays, Hart is the one playing the amazing music.
Hart’s early training was fairly non-traditional. As a teenager, he spent time playing in theater’s performing “The Rocky Horror Picture Show” and “Little Shop of Horrors,” where he was the designated musician, providing live music for the shows.
Fascinated by the mathematical precision of music, Bill attended the Guitar Institute of Technology in Hollywood, California, graduating with honors.
Bill has studied under master guitarists Mike Stern, Steve Khan, Wayne Krantz and Scott Henderson. Bill’s true joy comes from playing his original compositions.
Bill Hart has opened for jazz greats such as Herbie Hancock, Marcus Miller, Lou Rawls, Yellow Jackets, Acoustic Alchemy, Joey Defrancesco, Rippingtons and Mike Stern.
Hart has been the head of the guitar program at the Atlanta Institute of Music for fifteen years, teaching and mentoring over 2500 students.
He has participated in numerous music clinics with seminar partners such as Scott Ambush and Joel Rosenblatt (Spyro Gyra), Mike Stern (Miles Davis Band), Adam Nitti (Steven Curtis Chapman), Shane Theriot (Neville Brothers) and Jimmy Herring (Grateful Dead, Wide Spread Panic).
Bill Hart is a master guitarist and composer. With roots in rock, blues and influences from modern jazz and funk, Hart’s original compositions are creative and harmonically rich. Expertly played by extraordinary musicians, each performance on his latest CD, Subject to Change is a textural journey of colors through rhythmic complexities and expressive compositions, truly an experience in musical communication from the soul. It’s a treat for any true connoisseur of music.
Hart’s new release Subject to Change ignites the fusion flame. What kind of fusion, one might ask, since jazz has been fusing in all kinds of directions for decades? For Hart, the answer is; whatever musical connection appeals to him and remains accessible to a wide listening audience.
This time out, Hart again collaborates with long time friend Mike Stern (guitar) along with, Enrico Galetta (bass), Gary Wilkins (bass), Charles Marvray (drums), Tom Knight (drums), Jef Ven Veen (drums), Ahsa Ahla (percussion).
This stellar offering aptly combines the jazz, blues, funk, rock and groove aspects that are prominent in Hart’s style. The result is groovin’, high-voltage performances offered in a virtually nonstop stream of burning ideas and well-crafted compositions. This is state-of-the-art electric jazz.
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