John Onder | Faith, Hope, Love, Passion, & Pain

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Startlingly Fresh Records YouTube Video

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United States - Alabama

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Rock: Instrumental Rock Rock: Progressive Rock Moods: Featuring Bass
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Faith, Hope, Love, Passion, & Pain

by John Onder

Instrumental rock featuring virtuosic bass playing
Genre: Rock: Instrumental Rock
Release Date: 

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  Song Share Time Download
1. Rocker
3:48 $0.99
2. D Dawg
3:47 $0.99
3. Seventh Heaven
3:44 $0.99
4. Adge's Blues
5:16 $0.99
5. Gee Three Summit
3:34 $0.99
6. A.M.F.
4:17 $0.99
7. Adrianne's Silliness
3:35 $0.99
8. Modally Maddening
4:07 $0.99
9. Plow Right Through
4:14 $0.99
10. Time Is of the Essence
3:12 $0.99
11. Abro
4:15 $0.99
12. Light and Hope
3:54 $0.99
Downloads are available as MP3-320 files.


Album Notes
Faith, Hope, Love, Passion, & Pain is the debut album by veteran bass phenom John Onder. The all-instrumental set is a southern fusion extravaganza, reflecting the influence of his regional predecessors like Sea Level, the Dixie Dregs, Glenn Phillips Band and the various backing ensembles for Col. Bruce Hampton. Each song is almost classical in its construction, with sophisticated rhythms, phrasings and textures. They have movements, expansive shifts in emotional color and theme, and passages drenched in jazz, funk, gospel, roots rock, and rhythm and blues.

A few years ago, Onder decided to write an entire album on the bass, although some of the songs go back many years. He already had some bits and pieces worked out when he invited producer Jim Cavender to oversee the project. Together, they recruited some of Huntsville, Alabama’s most talented musicians to join in. The result is an uplifting collection of tunes brought to life by organist Newt Johnson, drummers Mike Dendy and Scot Holder, violinist Lynnece Henry, guitarists Microwave Dave Gallaher, Hunter Copeland, Jason Humphress and Cavender himself. Rounding out the sound is Tom Barker on harmonica, Billy Bargetzi on trombone, Ken Watters on trumpet, and Steve Motz on tenor sax.

Onder’s playing, though, that’s the thing. With nothing but his hands and bass, he evokes a myriad of images and moods. His soloing is at times reminiscent of fiery flamenco guitar, while elsewhere it just gives up the funk. It is not necessary to know that on “AMF” the bass line and chordal comping behind the organ solo are being played simultaneously by Onder, but it’s fun to keep that in mind. There are many such delights to be found here.



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