Music for Film, Television & more…
GreyEgg GrayAnt as an album is guitar driven rock. Odd rock, that is definitely rock, or is it? It’s Zebra Rock. The song lyrics and the feel of each song are definitely not for your average beer drinking rock listener. There isn’t even one simple feel good party song on the album, except for maybe “Where You Are”. It has a subtle dark edge to it, though.
They all feel good and have a fun playfulness to them, but there is a vibe to them them that has weight, it’s not party music, unless you are out in the woods or desert or jungle or at home in your apartment or house in the city, ready to feel good but while you are thinking about things. This is not mindless, ooh baby, let’s get it on music. Nothing against music like that, this just isn’t it. This music has a lot of depth to it, so if you want something light and fun and mindless, better find something else to listen to. If you are ready to groove to music that is upbeat and will make you want to dance or move something but also take you on a mental journey, then this is your album.
We Have Eyes
This cd has instruments and sounds that are very real and authentic sounding. Minimal production gives this album a realness that is becoming more rare in this age of technology and computers. Even a lot of acoustic or folk music these days often has a very studio feel to it, which can be good or bad. This recording has no click tracks and no fancy effects or studio techniques, just music being made in the room and recorded well. Greg played all the instruments – vocals, guitars, saxophone, percussion, bass and drums.
Bisbe Street [Jazz Instrumental]
The instrumental songs on this album were all born in Barcelona, Spain. I lived there off and on between 1994 and 1999. Because of the generosity of the people there, and their love of life and music, I was able to live happily for a few years playing these songs on the street. My favorite spot was near an arch on Bisbe Street, near the cathedral. I usually played there at nighttime, my favorite time to play. Really, it was more like playing in a concert hall built with cobblestones and bricks than playing on the street of a city. This album was recorded on two inch analog tape with two fantastic musicians: James Whiton on double bass and Guido Perla on the drums. Overdubs were done at Straw Bale Studio.
February Saxtronica [Instrumental]
Even if it doesn’t sound like it at times, this album uses only alto and tenor saxophones with effects to make all the sounds. At times I sang through the saxes as well. I used to make my living playing saxophone on the street in the 90’s (it was a lot easier and more enjoyable to do in Europe) everyday. I was inspired by Robert Fripp and Brian Eno who were the only two people I knew of who used loopers. This album is kinda the one I wished I had recorded back then but never did. Better late than never!
I am super glad that I finished the RPM Challenge (record an album, from start to finish, in the month of February with no preconceived ideas). I wasn’t sure I would as I got a super late start on my album. I basically did it the last week of February and finished on the last day of February. I wanted to keep it simple, just saxophones, in order to save time. It was a 15 hour album including mixing and mastering.
Usually I obsess over stuff a bit and like to listen and think about what I’ve done and revisit it later to make changes or improvements. Well, not this time! It was very liberating to have no plan and no ideas but to just make sounds and record them and develop the ideas that came out in my improvisations right then and there and BAM, that’s it, move on to the next one. At 15 hours for an album I wasn’t sure if I would like it enough to share it, but I do like it and I hope some other people do as well!
Organic and original genre crossing rock. Funky, jazzy, soulful, sometimes folky, sometimes electronic; psychedelic and full of feeling. This is an album that has a full sound but doesn’t suffer from overproduction. Once again Greg played guitar, saxophone and sang with James Whiton on double bass and Guido Perla on drums. Many of the songs were recorded in the moment, capturing the feeling of three great musicians in a room just doing what they love to do – playing music. It’s a rock album, but all three musicians are well versed in jazz and improvisation and this freedom definitely comes through. This is almost like an album and a half – the first ten songs feature the band playing upbeat songs, and the next five songs are just Greg, taking the listener deep inside. In this time of computerization and plastic disposable music, this is an album of real musicians playing real music with a real message.
After the Crash
After the Crash was recorded at the Straw Bale Studios, an off the grid solar-powered studio constructed of straw bales. Greg writes intimate introspective songs that are musically pure and simple. He sings from the heart and beautifully blends diverse genres such as jazz, folk rock, classical and world. Fans of the Dave Matthews Band might appreciate Grant whose voice reminds me of Dave’s and many of his tunes have that distinctive international sound. Greg’s songs about love and life run smoothly into each other as tones and moods subtly change. The opening track ‘In Love Again’ opens with good guitar rifts, insightful lyrics and a soulful sax. ‘Serpent Lady’ has a mysterious Spanish feel with flamenco guitars and a sassy sax. -Laura T. Lynch of Kweevak.com
Music for driving at night or hanging out in a dark room. Experimental instrumental music that dives into your subconscious. Very image provoking. Great film music. Freely improvised.
The spirit of this recording was total spontaneity and freedom. Greg and Jon improvised freely in the studio without any preconceived ideas. After a bulk of material was recorded, they picked out the magical moments that they liked. Some were good enough “as is”. Others warranted overdubbing, also improvised, and ended up as multi-layered sonic excursions.
It goes deep and will take you into your subconscious… Some of the places it takes you are marvelous, indeed. This music is pure; it comes straight from its source, passing through Jon and Greg, but it’s way beyond them. This is truly channeled music in the sense that neither Jon nor Greg consciously played it, but allowed it to flow out of them.
“In the languages of northern India, Musth (from a word of Persian origin) translates as ‘a state of intoxication’. It is used to describe altered behavior in either humans or elephants. Various Sanskrit words used to describe this state come from the word mada, which can mean “hilarity”, “rapture”, “excitement”, “sexual enjoyment”, “lust”, or “inspiration”.
Musth is Jon Bernson playing drums and percussion and Greg Grant playing nylon string guitar and alto saxophone.