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Terry Medeiros | Forever More

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United States - California - LA

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Jazz: West Coast Jazz Blues: Jazzy Blues Moods: Featuring Guitar
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Forever More

by Terry Medeiros

What you’ve got here is California, west coast original jazz and blues instrumental music featuring electric guitar, acoustic bass and grooving drums.
Genre: Jazz: West Coast Jazz
Release Date: 

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  Song Share Time Download
1. Chicken Breath
3:14 $0.99
2. Turk\'s Blues
6:24 $0.99
3. Twelve Bars On Friday
4:37 $0.99
4. Movin\' Smooth
5:30 $0.99
5. Forever More
5:05 $0.99
6. Very Pentatonic
5:19 $0.99
7. Cha-Cha-Cha-Cha Changes
3:08 $0.99
8. Water Roads
4:50 $0.99
9. Zah Bah Doo Bay, Yah Bah Doo Bah
2:47 $0.99
10. Idea Latina
4:29 $0.99
11. C Minor Study (a)
3:46 $0.99
12. C Minor Study (b)
3:44 $0.99
Downloads are available as MP3-320 files.


Album Notes
“Love For Sale” was the beginning. Had to transpose melody and chords on the spot. No way. Forty three years, countless gigs and nothing. Good grief! Time to change. Back to the wood-shed. Mastery of the guitar was the goal. Jazz was and is the vehicle. Al Vescovo introduced me to the cats. Mike Saluzzi saw my potential and tutored me on. Jamey Aebersold two, five, one cadences, getting it together, how to play jazz, how to learn tunes, which tunes to learn. Fake books. Ted Mayer hipping me to the band in a box, gigs and students. I suck, more practice, I suck less. Every Tuesday, guitar night with John Pisano, what was that song? Shapes, intervals, metronomes, practice and more practice. Soon the songs started to show up. Forever More, Chicken Breath, Twelve Bars On Friday, slowly they started to take form. William Bongiovanni said OK to playing along on bass. Korey Mall said OK a short time later with his drums. Sometimes six, seven, eight hours a day, practicing, learning, picking it out. No golf, Zazen, just sit.

Forever More
Lovers embrace as the setting sun
Goes down in the west
The ocean blue slowly turns to grey
The day comes to rest

The shoreline runs away to the south
A point lies in between
There are no words that can be used to
Define what this can mean

You know that we have
Been in this
Place once before
The silence of the ending day speaks
To us forever more

Lovers awake as the rising sun
Comes up in the east
The ocean grey slowly turns to blue
We gather for the feast

The shoreline runs away to the south
A point lies in between
There are no words that can be used to
Define what this can mean

You know that we have
Been in this
Place once before
The silence of the ending day speaks
To us forever more
©2008Terry Medeiros/Guard Dog Music



to write a review

Leslie Connors

Forever More
Terry Medeiros has a slow hand but a Midas touch. On his latest album, “Forever More,” Medeiros conjures various moods with the sign language of his guitar; it speaks in riffs, this blue beauty. On “Turk’s Blues,” Medeiros is coolness defined, peeling off layers of spellbinding notes that find the Route 66 which bridges the nocturnal glow of the blues with the velvety softness of smooth jazz. Medeiros coasts on an easygoing groove that is meant for lights-out listening, letting William Bongiovanni’s supple bass lines complete its hypnotic spell. The title track is especially lovely as Medeiros crafts a blues lullaby, introspective yet unguarded in its romanticism.
Unlike many other contemporary releases in either the jazz or blues field, “Forever More” works better as a whole; it isn’t meant to be sliced into pieces but devoured from beginning to end, letting its ever-changing emotions be openly felt. “Twelve Bars on Friday” has a swagger in its step; even when moving to a more swinging rhythm Medeiros still has that laidback chill to his playing. You can call it grace under fire but it’s a reflection of Medeiros’ mastery of the guitar, an icy self-confidence that doesn’t need showing off.
Drummer Korey Mall delivers a sturdy, shuffling beat to “Very Pentatonic.” Although this is a solo album in name, Medeiros and his bandmates do gel as an actual trio at times, especially on “Cha-Cha-Cha-Cha Changes” and “Zah Bah Doo Baby Yah Bah Doo Bah,” which are snappy and feed off the energy of the collective.
“Forever More” is made for headphones. The attention to detail that Medeiros, acting as the album’s producer, places on it needs to be appropriately experienced. No note is wasted and each one is sharply recorded. Just like its title suggests, this one’s a keeper.

Leslie Connors, “Critique: Forever More (CD) Terry Medeiros,” Jazztimes.com (January 4, 2011)

Mickey Sal

Forever More
This great guitar player knows where to take his music and plays it with a sophisticated blues sense. Very highly skilled presentation that is very listen!able and artistically right up w/the other top players. Pay attention to Terry Medeiros!


Terry Medeiros Forever More (Guard Dog Music)
Terry Medeiros spent large parts of his career playing guitar in Hawaii and San Francisco including opening for the Doors, working at the Fillmore, and appearing on a countless number of studio sessions. He moved to Los Angeles in 1987, worked with the blues group Raging Sun, and in recent years has switched to Jazz
On Forever More, Medeiros performs 11 of his originals in a trio with bassist William Bongiovanni and drummer Korey Mall. Although the guitar-bass-drums lineup may make one think of a rockish power trio, the music is actually quiet, gentle West Coast cool jazz. The power and intensity are felt beneath the surface and at a low volume. Sort of like Jimmy Raney’s playing in the 1950’s although not at all derivative.
The songs, which are sometimes based on common chord changes, are attractive and have fresh melodies. Medeiros has a fine command of the bop and cool jazz vocabulary. Bongiovanni and Mall are closely attuned to the guitarist’s ideas, and together they form a tight trio, one that is well worth hearing.
This fine small label set is available from www.terrymedeiros.com.
Scott Yanow, “Terry Medeiros Forever More (Guard Dog Music)” L.A. Jazz Scene 266 (November 2009) at 15