With a whirlwind of instrumental styles fusing classical, rock, blues, jazz, world music, progressive, as well as the quintessential California musical genre surf music, the California Guitar Trio's stunning virtuosity and sly sense of humor have earned them an enthusiastic following and wide notoriety, with significant crossover in the progressive, acoustic and classical music scenes.
CGT is an amazing trio of innovative guitar players that come from or are inspired by the Robert Fripp school of guitarrist. These live interpretations stand as a great overview of both their work and the ability to transform different styles and other's work into the trio's musical style…
The three talented members of the California Guitar Trio met in 1987 at a guitar workshop taught by Robert Fripp. Like Fripp, the CGT favors a trebly, textured sound and expresses its unity in complex but sweet fugues that fuse elements of pop, jazz, Americana, world music, and other diverse sounds. This 10-year retrospective begins with "Yamanashi Blues," (the title track from their highly acclaimed first album) in which acoustic guitars imitate kotos and mirror the relentless beauty of Mt. Fuji. Other selections display the trio's awesome technical skills. "Pathways," another title track from a much-beloved album, rocks mightily despite having no drums and then segues into an intense classical-derived number. Other CGT favorites here include the vaguely sinister "Happy Time in Fun Town" and three-fifths of the furious "Train To Lamy" suite. For the uninitiated, this retrospective is good place to start.
Since 1998, the California Guitar Trio has regularly toured with expanded versions of the band. The fan favorite is no doubt the quintet form with King Crimson members Tony Levin and Pat Mastelotto. A live album, Live at the Key Club, was made available in 2001 through the CGT Direct Collectors' Series. CG3+2 takes the quintet in the studio to record their repertoire. The track list includes a couple new CGT compositions, jams and studio constructions credited to the whole group, a few more of those incredible covers the band is known for, and a few old favorites revisited.
…The first thing that struck me was how comfortable Lams appeared to be with the material. One gets the impression that he has lived with this music for many years, absorbing it deeply into his unconscious so that it reemerges in his playing with minimal intellectual intervention. Of course, this all-important spiritual dimension must be combined with exceptional technical ability and seasoned performance skills to create lovely music and I'm happy to report that's the case. A novel take on Bach's timeless reperto ire.