Barry Cleveland | Volcano

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World: World Fusion Electronic: Ambient Moods: Featuring Guitar
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by Barry Cleveland

Volcano is an explosive mixture of African and Afro-Haitian rhythms and progressive, jazz, ambient, and world music elements, featuring Michael Manring (bass), Michael Pluznick (percussion), Norbert Stachel (winds/reeds), Michael Masley (cymbalom) and mor
Genre: World: World Fusion
Release Date: 

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  Song Share Time Download
1. Makanda
4:51 $0.99
2. Tongue of Fire
4:56 $0.99
3. Secret Prescriptions of the Bedroom
5:30 $0.99
4. Black Diamond Express
4:08 $0.99
5. Ophidian Waves
5:36 $0.99
6. Obsidian Night
5:36 $0.99
7. Volcano
4:51 $0.99
8. Rhumbatism
4:44 $0.99
9. Dervish Circles
6:09 $0.99
10. Dark Energy
4:52 $0.99
Downloads are available as MP3-320 files.


Album Notes
Barry Cleveland's guitar playing combines psychedelic, ambient, progressive, funk, and various "world" music influences with unusual sounds created using unorthodox playing techniques and electronic processing.

Volcano is an explosive mixture of African and Afro-Haitian rhythms and progressive, jazz, ambient, and world music elements, featuring Michael Manring (bass), Michael Pluznick (percussion), Norbert Stachel (winds/reeds/EWI), Michael Masley (cymbalom/original instruments), and other extraordinary artists.

"There's little doubt that Cleveland has a full command of his instrument, both as a player and a shaper of sound, utilizing all manner of processing to create sounds that are at times distinctly un-guitarlike. ... But what is most revealing about his approach, as evidenced by Volcano, is that Cleveland sees the guitar more as a means to an end rather than the end itself. ... (Cleveland's music) isnt fusion per se, but it has some fusion elements, in particular some of Cleveland's guitar tones; it isn't exactly progressive, yet some of the complexities and thematic development might make it so; it isn't specifically world music, although the multi-rhythmic approach, melodies, and some textures certainly would place it within that definition; and it isn't jazz by any stretch of the imagination, yet collective improvisation plays a large part. ... In the end, it's an appealingly multilayered aural experience that continues to reveal new things with every listen."
John Kelman, All About Jazz

"Barry Cleveland's third album as a leader finds the renowned guitarist and composer exploring the nuances of rhythm. Drawing from a varied palette of traditions, timbres and tonalities, Volcano bridges the impressionist leanings of his previous releases with a more audacious, kinetic approach. Listeners will appreciate the disc's pulsing rhythms, inter-weaving melodies, and layers of evocative atmospheres."
Anil Prasad,

"Barry Cleveland's highly imaginative and resplendent guitar playing incorporates elements from a panoply of sources including, but certainly not limited to psychedelic special f/x, progressive rock, ambient and new age soundscapes, world, jazz, funk and other (re)sources. Like Jimmy Page, for instance, he sometimes bows his electric guitar. To that, add Cleveland's keen command of digital and analog recording studio devices and techniques. All told, you've a pretty talented cat on your hands. ... Volcano is an imaginative, somewhat heady album, yet with plenty of deep-rooted rhythms to keep the whole thing from exploding into the upper thermosphere. Cleveland's sonic cyclorama is a real treat. To quote Oliver Twist, 'Please, Sir, may I have some more?'"
Robert Kaye, Abstract Logix



to write a review

John Collinge, Progression Magazine

Sometimes spacey, oftentimes jazzy, this fascinating take on ethnic-flavored pro
Style: World fusion/progressive

Sometimes spacey, oftentimes jazzy, this fascinating take on ethnic-flavored progressive jazz brims with an Afro-Haitian multi-rhythmic undercurrent that is nothing short of infectious, beguiling, and ultimately seductive. Guitarist Barry Cleveland assembled a crack team of musicians that really goes to town on Volcano, including bassist extraordinaire Michael Manring, conga player/percussionist Michael Pluznick and vocalist Lygia Ferra. Flute and sax add to the mind-bending mix, full of complex little instrumental nuances and clever twists of melody.
The multi-dimensionality (hmm, first time I’ve used that term) of this album is impressive. Not only is there a lot going on most of the time, the music also has room to breathe. Things open with the happy melodicism of "Makanda" and flow through varied tones and moods. A favorite to these ears is "Secret Prescriptions of the Bedroom" featuring Ferra’s sensuous vocals. Other contrasts include the spacey ambience of "Obsidian Night,"and the head-trippin’, psychedelic swirl of "Dervish Circles."
Yet, whatever stylistic shift is hinted at on this disc, you’re never far from its jazz/ethnic foundation. Cool stuff!

Paul Hightower, Expose' Magazine

For this outing, San Francisco bay area guitarist Barry Cleveland has enlisted a
Though all are characterized by rhythmic grooves derived from non-Western sources, be it African, Latin, or Middle Eastern, each of these 10 tracks takes on a unique flavor of its own. This begins with the arsenal and artistry of percussionist Michael Pluznick who (along with an occasional army of percussionists) joins Cleveland on the basic tracks, joined by bass god Michael Manring whose work throughout is nothing less than astounding. Witness his amazing playing on the title track or the lightning fast lines on "Rhumbatism."
Cleveland’s guitar provides many of the leads and textures, ranging from frisky African lines ("Makanda") to buzzing Frippian leads ("Ophidian Waves") to waves of soundscapes ("Obsidian Night"), though he never takes the spotlight exclusively for himself. Joining him on many pieces is flute and reeds wizard Norbert Stachel who delivers performances that are very jazz-informed while remaining fresh and primal. Lygia Ferra lends deeply sensual vocals to two songs, best captured in the sweaty intensity of "Dervish Circles," where she is joined by Maxwell Taylor for a performance that I’ll bet left everyone reaching for a cigarette once it was over. Though his contributions are often overshadowed by his guests (Manring especially), this is nonetheless a remarkable collection, and further establishes Barry Cleveland as one of the most creative guitarists of our time.