Some Projects & Collaborations
Below are a few of the different projects and collaborations that Roy has been involved in.
Fuse Patrol
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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 included 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 was a combination of classically jazz styled and fusion based originals which culminated in a CD entitled Barney's Bounce.
For more information about the group please check out Fuse Patrol's Facebook page, YouTube group or their website.
Jazz Patrol
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Jazz Patrol was 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 This version of the group was comprised of four seasoned musicians: Eric Braverman on Drums; Tony Ventura and Gene Torres on bass; Nick Stefanacci on Sax; and myself. The music was in the classic jazzrock/fusion style and served as a platform for the various member's original music. An album entitled Leeward Motion was made at the time.
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.
Roy Suter & Don DePascale
From the liner notes of the CD, "Playing for Keeps"
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.
© 2013 by Lambchop Music. All rights reserved.
Steinar Gregertsen
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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".
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 the two 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
The Reddish Fetish - LLEGUE
Roy Suter - Piano and Keyboards, J Hacha De Zola - Vocals, Ben Golder-Novick - Tenor Sax and Clarinet, Indofunk Satish - Trumpets, Ian Kenselaar - Double Bass, Sean David Cunningham - Violins, Jason Green - Guitar, Jose Yogui Rosario - Congas, Jason T. Reddish - Drums and Percussion.
Back in the late 1960'ws, saxophonist Bill Reddish led the Reddish Fetish, a group in South Florida that blended together jazz, rock, avant-garde explorations and aspects of World Music to form its own unclassifiable fusion of exciting and influential music. The innovative electric bassist Jaco Pastorius often sat in with the influential group and considered Bill Reddish to be a mentor. Unfortunately the Redish Fetish never recorded but on LLEGUE, his recording debut as a leader, Bill's ason drummer-percussionist Jason T. Reddish has revived the group's now-legendary musicr and sound. He utilizes an octet that also includes pianist-keyboardist Roy Suter, Ben Golder-Novick on tenor and clarinet, trumpeter Indofunk Satish, violinist Sean David Cunnigham, guitarist Jason Green, bassist Ian Kenselaar, and Jose Yogui Rosario on congas.
Llegue, which translated to English is “Arrived,” symbolizes that Jason Reddish has arrived as a band leader. A close listen to the end of the opening number
“Journey Into Satchidananda” finds Rosario on congas quietly saying “Llegue” as the ship lands. The release was named at that moment. The wide-ranging set, which is filled with memorable ensembles and concise solos, ranges from Alice Coltrane’s atmospheric and haunting “Journey Into Satchidananda” and Wayne Shorter’s funky “Fusion Flower” (which has some particularly heated trumpet playing from Satish) to “5 Sleeves” (“Greensleeves” in 5/4 time), “Moanin’,” a stretched-out version of “All The Things You Are,” Charlie Parker’s “Confirmation,” and “Shango Can Fly” which finds the drummer
leading some wild ensembles. In addition, J Hacha De Zola has guest vocals on “Senor Blues” and “Lush Life.”
Llegue is not only an homage to Bill Reddish, but an exhilarating visit to a time when many different styles were colliding and creating exciting new music
with unlimited potential. In addition to looking at an undocumented past, Llegue gives listeners a possible path to the future of creative music.