Some Projects & Collaborations

Below are a few of the different projects and collaborations that Roy has been involved in.

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Fuse Patrol originally began when I joined the J.A.E. Trio around the summer/fall of 2015.  It's four members include Eckersid Silapaswang, a student of Jazz guitarist, Dave Stryker; Jason Reddish, a student of Ralph Armstrong; & Michael Carvin; Chris Pott a graduate of Berklee School of Music, and myself.  The music is a combination of classically jazz styled and fusion based originals.

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For more information about the group please check out Fuse Patrol's Facebook page, YouTube group or their website at http://www.fusepatrol.com.

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Jazz Patrol is a jazz/fusion group which began as an extension of my involvement many years ago with the piano based "Jazz Patrol", an electric keyboard based quartet in Long Island., NY  It is comprised of four seasoned musicians: Eric Braverman on Drums; Gene Torres on bass; Nick Stefanacci on Sax; and myself. The music is in the classic jazzrock/fusion style and serves as a platform for the various member's original music.

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For more information about the group please check out the Jazz Patrol YouTube group.  Their CD, Leeward Motion is available from Amazon or Apple Music.at http://www.jazzpatrol.com.

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From the liner notes of our CD, Playing for Keeps:

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Don DePascale & Roy Suter are two musicians that have been creating a "buzz" among the jazz community.  Don DePascale on trumpet & flugelhorn and Roy Suter on piano and keyboards  released a CD, "Playing for Keeps", that is a fitting vehicle for demonstrating their superb abilities.

How much music can two guys make?  Let your ears be the judge. You may be surprised.  People are used to the melodically thick sounds that result when groups of four or more musicians collaborate.  For their debut CD, Don DePascale and Roy Suter demonstrate that they can create a rich and musically complex body of work without the use of overdubbing or other artificial recording studio enhancements.  Hearing them for the first time, people are frequently amazed to learn they're hearing the product of only two musicians.

DePascale, heard on trumpet, cornet and flugelhorn can cite influences as diverse as jazz legend Lennie Tristano and the Tonight Show band--though its his hearing at a very young age Miles Davis playing with Charlie Parker that remains the most profound influence on his musical direction.  Suter's versatile keyboard style has served him well in a variety of musical contexts, including stints in the 70s and 80s with such varied groups as Mercury recording artists Creation and the acid-rock group Sir Lord Baltimore, as well as Pickwick/Delite recording artists Zakariah.  He's also played with such varied musicians as Bill Frisell, T.M. Stevens, Phyllis Hyman and Claudio Roditi.  But it's the early influence of jazz greats such as Herbie Hancock and Chick Corea that is more evident in the set presented here.

Whether tackling the cool, cerebral melodies of a classic Miles Davis composition ("All Blues, "So What"), or the buoyant, bossa-nova rhythms of an Antonio Carlos Jobim selection ("Triste"), the veteran pair's combined years of musical experiences come to the fore in a sound that is confident, original and complete.

How much music can two guys make? Let your ears be the judge.

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© 2013 by Lambchop Music. All rights reserved.

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I met Norwegian lapsteel guitarist Steinar Gregertsen  a number of years ago online in an internet music forum and we began a long distance collaborative effort playing on both of our recordings.  Sadly, Steinar passed away in Feb. 2012.  The following includes some  biographical information and two of the reviews received from his last CD, "Standing Next to a Mountain".

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About Steinar

Since the turn of the millenium Norwegian Lapsteel guitarist, Steinar Gregertsen, wrote music for a wide variety of clients.  In 2001 he wrote, performed and later recorded “Canal Street Suite” for the opening of the Canal Street Jazz And Blues festival in Arendal, where he had the pleasure of collaborating with one of Norway’s finest interpretors of traditional folk music: Kirsten Bråten Berg.  In 2002 he wrote all music for the ballet “Olav Liljekrans”, again collaborating with Kirsten Bråten Berg.

Later that year he wrote and recorded all the music for a multimedia show, designed for the closing arrangement of the “Sørlandet i 100” jubilee. It was performed live in an outdoors setting on Dec. 21, in a freezing minus 10C....   He participated as a composer and guitarist on the CD “spor.sørland” which was well received by the press (a ‘5’ on the dice in “Dagbladet”).

He produced music for commercials and jingles, and finished writing and producing music for a six-episode TV documentary, “Kripos”, which aired on Norwegian national TV (NRK1) in 2004.  

In 2006 he released his first solo CD, called "Southern Moon Northern Lights" - an album of mostly instrumental music.

In 2010 Steinar produced his 2nd CD, called "Standing Next to a Mountain".   

Here are some reviews:

Guitar Player Magazine, February 2011

"Covering Hendrix tunes - let alone recording a whole album of them - is risky business. Yet in this case, the superb musicianship, sublime tones, and superlative arrangements justify the effort. Gregertsen's lap-steel and weissenborn playing are particularly majestic, effectively evoking Jimi's aestethic without becoming derivative."

Barry Cleveland

The Absolute Sound Magazine, Sept. 2010

"Countless guitar slingers have paid heartfelt tributes to guitar god Jimi Hendrix. None, however, surpasses this one by Norwegian guitarist Steinar Gregertsen. He has the requisite chops to pull off such an audacious project, and his deep love of Hendrix’s music comes across in every soulful reading of every

potent tune. But it’s his creative arranging and inventive layering of guitars that make this far more than just another wellmeaning collection of Jimi covers.

A slide guitar demon, Gregertsen flaunts jaw-dropping command throughout. His version of “I Don’t Live Today” opens as a haunting acoustic guitar Delta blues meditation before erupting into a full-blown, heavy-metal barrage with his lap steel fed through distortion and wah-wah pedals. His lyrical reading of “Angel” cleverly opens with the riff from “Burning of the Midnight Lamp” before smoothly segueing to the oft-covered power ballad. An intimate reading of one of Jimi’s loveliest ballads, “May This Be Love,” features the fragile, forlorn voice of Claudia Scott, who also appears on a gentle lap steel-vocal duet of “Bold as Love.” Gregertsen lets his guitar sing the plaintive melody of “Drifting,” which he delivers with uncanny feeling. On the quirky side is a bluegrassy version of “Manic Depression” played by dobro and banjo."

Bill Milkowski

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