Jo Jo Gunne – Jumpin’ The Gunne (1973)

FrontCover1Jo Jo Gunne is an American rock band, formed in Los Angeles, California, United States, in 1971 by Jay Ferguson (keyboards, vocals and guitar) and Mark Andes (bass guitar and vocals) after they had left Spirit. The group’s name is derived from “Jo Jo Gunne”, a Chuck Berry song that peaked at #83 as a single in November 1958.

Ferguson and Andes, along with Mark’s brother Matt Andes (born February 6, 1949; guitar, vocals) and William “Curly” Smith (born January 31, 1952, Wolf Point, Montana; drums, vocals, and harp), were signed to Asylum Records. Jo Jo Gunne had a Number 6 hit in the UK Singles Chart with the song, “Run Run Run”, taken from their first album, Jo Jo Gunne (1972), which peaked at 27 in U.S. charts, and received airplay on U.S. album-oriented rock FM radio stations. The song reached number 30 in Canada.

The group did not maintain the commercial momentum of their first release. They broke up in 1975.

Following the first album, Mark Andes left the band after a falling out with his brother Matt and Ferguson and was replaced by Jimmie Randall. Randall introduced a brighter bass sound and helped increase the band’s overall volume.


Matt Andes left after Jumpin’ the Gunne, and he was briefly replaced by Starr Donaldson (born September 23, 1950). A more permanent replacement was found in John Staehely (born 25 January 1952, Austin, Texas), who had played on Feedback, the Spirit album that followed Ferguson and Andes’s departure. Staehely’s overdriven guitar was a complete change from Matt Andes’s Ry Cooder style slide guitar.

After the band broke up, Ferguson recorded several solo albums, including the hit singles “Thunder Island” and “Shakedown Cruise”, and scored TV shows and mostly non-notable movies. Mark Andes next joined Firefall and, later, Heart. Smith went on to have a career as a session drummer, and also played with Spirit in the 1980s and Boston from 1994 to 2000.

The band’s first album Jo Jo Gunne was released in 1972 and the first single “Run, Run, Run” became a top 40 hit with the album riding the charts to #57 on Billboard’s Top 100 Albums. Their second album Bite Down Hard was a minor success peaking on the Billboard Top 200 chart at #75.


The fact that there was no breakout single failed to generate interest and sales for the band. The album was produced by Bill Szymczyk who was best known at the time for his production work on Joe Walsh’s Barnstorm and B.B. King’s Completely Well which featured the hit single “The Thrill Is Gone”.

The band’s third album Jumpin’ the Gunne failed to rise any higher than #169 on the Billboard Top 200 chart, due in large part to the album cover’s depiction of an obesely fat naked woman flying over the group in bed. The band’s fourth album, So…Where’s the Show?, featured new guitarist John Staehely. Staehely’s harder edged sound complemented Ferguson’s songs giving the band a much harder rock sound than on their previous efforts.


The original line-up temporarily got back together around 1992. In a July 1995 interview in Vintage Guitar Magazine, Mark Andes recalls: “Curly Smith called me up and noted that it was the twentieth anniversary of when that band had formed; Steve Lukather took us into the studio and we recorded a lot of new material, but it didn’t go anywhere”.

They began recording again in 2005 in Santa Barbara at Jay Ferguson’s studio. The 2005 recordings were eventually put out as an album, Big Chain, on Blue Hand Records. The music was co-produced by the band and engineered by Ferguson. (wikipedia)


And here´s theird 3rd album:

Jay Ferguson wrote all ten of the songs on Jumpin’ the Gunne, an album produced by Bill Szymczyk and the third disc by this offshoot of the group Spirit’s. By this time, Mark Andes was gone — he would join Firefall and later Heart — leaving his brother Matt Andes on guitar and Jay Ferguson on keyboards, lead vocals, and second guitar, and leaving them to their own devices. There is just something that doesn’t catch on here. “At the Spa” and “Monkey Music” both have their moments, but in these grooves there is none of the intensity of their first hit “Run Run Run” or Ferguson’s later signature tune, “Thunder Island,” which came during the middle of Firefall’s string of hits. “To the Island” isn’t “Thunder Island” by any stretch, while “Getaway” sounds a bit like a Doobie Brothers outtake. Jo Jo Gunne was a decent concert pairing opening for the Doobies after their Run Run Run debut LP.


The sounds on “Couldn’t Love You Better” pretty much sum up this disc — nondescript album rock with an LP cover which is the most politically incorrect sight you can imagine. All four bandmembers are in a big brass bed staring at the ceiling where a large and flabby woman is floating through the room while a small pig looks up at her. On the inside cover the pig and the large woman are nose to nose, and the album credits are written on the woman the way you see cuts of beef written out on a drawing of a cow at a butcher shop. If this is supposed to be funny or hip, it isn’t, and the concept falls flatter than the music. The enigma of the offshoots of Spirit is in all its glory on Jumpin’ the Gunne, musicians who should have stayed with the original program. Three-fourths of this band would reunite with Randy California, Ed Cassidy, and Mark Andes for the live album, Spirit of ’84, and though everything is in tune enough here, and is perfectly recorded by Bill Szymczyk, there is just no material to speak of. This would have been a perfect time for the group to do an album of other people’s tunes. There’s energy, but without a hook and melody it dissipates into thin air. Which begs the question, what’s worse — an album like Portsmouth Sinfonia Plays the Classics, which is just awful, or an album of strong musicianship which is unlistenable? (by Joe Viglione)

Indeed, the artwork for this album is awful … but the music isn´t bad … good rock from this period  … listen to “Turn The Boy Loose”, “I Wanna Love You”, “Red Mead” or “High School Drool”.


Matthew Andes (guitar, vocals)
Jay Ferguson (vocals, guitar, keyboards, steel drums)
Jimmie Randall (bass, vocals)
Curly Smith (drums, percussion, harmonica, vocals)


01. I Wanna Love You 3.51
02.To The Island 3.48
03. Red Meat 3.27
04. Getaway 3.31
05. Before You Get Your Breakfast 4.10
06. At The Spa 2.55
07. Monkey Music 3.23
08. Couldn’t Love You Better 3.00
09. High School Drool 3.36
10. Neon City 2.39
11. Turn The Boy Loose 4.28

All songs written by Jay Ferguson




Al Di Meola – The Infinite Desire (1998)

FrontCover1The Infinite Desire is an album by jazz guitarist Al Di Meola that was released in 1998.

With the help of new generations of guitar synthesizers and samplers, The Infinite Desire finds a mature, lyrical, more expressive Al di Meola casting his lot with Telarc, which until the late ’90s had concentrated its attentions upon aging acoustic jazzers. Indeed, he makes marvelously musical use of the new devices, creating sensuous, exotic layers of sound that lie easily upon the ear, without much of the usual harshness of digital instruments generated by those who haven’t bothered to master them. “Shaking the Spirits” in particular is a fascinating piece, loaded with dazzling Middle Eastern and African colorations, and the sampled trumpet sound he gets on “Valentina” is astoundingly lifelike. Also, di Meola’s playing became more unabashedly fluid in the ’90s; on the closest thing to a straight-ahead track, “Invention of the Monsters,” di Meola’s electric guitar curls intricately and swingingly around the bass of Tom Kennedy, Ernie Adams’ drums, and some synthesized brass. Di Meola’s co-conspirators change from track to track, although two who figure a lot in the sound and package are keyboardist Rachel Z (a former di Meola sidewoman) and bassist John Patitucci. Also check out Herbie Hancock on acoustic grand and Peter Erskine’s drums on “Istanbul,” and di Meola’s fairly good-natured duel with rock guitarist Steve Vai on “Race with Devil on Turkish Highway.” (by Richard S. Ginell)


Guitar god Al Di Meola’s Telarc debut,The Infinite Desire, may well be the crowning achievement of his career to date. Di Meola has covered a lot of musical ground throught his career, including the fusion of Return To Forever and his first several albums, his acoustic projects, his interpretation of flamenco and Argentinian tango, and his love of the music of Italy and surrounding Mediterranean lands. All of these influences can be found at various points throughout the disc. The styles may shift, but all of the skillful compositions are saturated with passionate, melodic lyricism for a truly moving listening experience. Prime examples include “Vizzini” (an Italian painter whose works inspired many of these compositions), “In My Mother’s Eyes,” and the title cut.


The simple beauty of Di Meola’s acoustic guitar is counterbalanced with lot of guitar technology. Di Meola employs a wide array of sampled sounds (tamboora, fretless bass, trumpet, accordian, organ, vocals, percussion, cymbals) to create interesting background textures throughout the program. On the title track, a looped sample of splashing water forms part of the rhythmic backdrop. Of course, there’s chops galore, too, on tunes such as “Invention of the Monsters” and “Race with Devil on Turkish Highway” – a duo with fellow technical wiz Steve Vai. But the chops displays and electronics truly serve the music, not vice versa. The only mis-step, in my opinion, is the disc’s opener, “Beyond the Mirage,” which employs mechanical, clunky drum loops (drum loops? from Al Di Meola?!?!?). Nevertheless, this is an excellent disc compositionally, technically, and emotionally. It’s one of those CDs that reveals more and more with each subsequent hearing.(by Dave Hughes)

Oh ! Such a superb album !


Ernie Adams (drums)
Pino Daniele (vocals)
Peter Erskine (drums)
Layla Francesca (vocals)
Herbie Hancock (piano)
Tom Kennedy (bass)
Al Di Meola (guitar, guitar synthesizer, cymbals, marimba, harp, percussion)
Oriana Di Meola (vocals)
Kabuli Nitasa (violin, vocals)
Gumbi Ortiz (percussion)
Mario Parmisano (keyboards)
John Patitucci (bass)
Steve Vai (guitar)
Rachel Z (keyboards)


01. Beyond The Mirage (Meola) 7.20
02. Shaking The Spirits (Meola) 6.31
03. Vizzini (Meola) – 4:54
04. In My Mother’s Eyes (Memory of Theresa) (Meola) 4.42
05. The Infinite Desire (Meola/Daniele) 5.29
06. Invention Of The Monsters (Meola) 3.06
07. Istanbul (Meola) 8.01
08. Azzura (Meola) 2.55
09. Big Sky Azzura (Meola) 6.07
10. Race With Devil On Turkish Highway (Meola) 4.05
11. Valentina (Meola) 4.47
12. The Infinite Desire (Vocal) (Meola/Daniele) 5.27



Al Di Meola