Amazing stuff! You seem to have more notes than I do on my instruments?

Hell yeah, as I am a big fan of Holdsworth, you are playing amazing man!

v1.04 - 1/22/2022
composed by: Paul Jackson, Mike Clark
guitar: Harry Jacobson
produced by: Jeff Volkman

Swamp Thing - featuring Harry Jacobson - guitar

I was recently pleasantly surprised, as I rediscovered some pretty cool fusion style music I had produced over a quarter century ago. This old music marks the time I first got introduced to midi sequencing.
For those that want to know more, here's a few interesting details as to how this music came to be.
Just for context... at the time (1995), I knew absolutely nothing about computers, and the world of personal computers, including pc based DAW, was still waiting for me to discover a couple years later on.
So... besides my electric guitar, the only other musical "tool" I had at my disposal to produce most of my home-studio "desktop" music at the time was my one and only keyboard, a Korg T-3 "workstation". 
This exciting, and recently introduced keyboard offered plenty of great synth sounds, but also had built-in midi sequencing abilities. This feature interested me very much realizing the great potential it offered coming from a composer's viewpoint.
Working on and constructing full length multi-instrumented compositions and productions using the Korg T-3's built-in sequencer was not easy. A tiny screen and just a few push buttons to access all the editing functions made for a highly tedious experience compared to using the standard everyday DAW systems most musicians are accustomed to these days. What was even more crazy was I had just gotten rid of my old multi-track Tascam cassette recorder, as I was pretty fed up with all the technical problems associated with the old tape machine technology. So I was determined to do any future music productions using digital recording. In my case, after completion of my work of sequencing for multiple instrumentation for this particular tune, I was  also faced with the challenge of playing and recording my guitar parts straight through the entire piece without any overdubbing or editing, as I was recording directly onto a 2-track (stereo) DAT. Everything had to be pre-mixed as perfectly possible as it all would go directly onto a stereo recording. That means all T-3 derived sounds, such as drums, percussion, bass, keyboards, etc., had to first be mixed within the Korg T-3's own built-in mixer. Then my guitar had to be mixed and recorded in one pass, together with the T-3's mixed stereo output, going through a small audio mixer feeding the final mix to the stereo DAT machine.
Challenging and time consuming for sure... but some will understand... creative energy and inspiration has a way of overcoming these kind of obstacles, which is exactly what happened to me. Within two years I managed to finish off about a half dozen decent tracks in this manner, in which afterwards I finally realized I really needed a update to a full sized computer based audio work station in order to continue and advance in my creative endeavors.
That said... it was the lessons I learned from these first days of sequencing on my old Korg T-3, that helped me a whole bunch as I advanced into today's standard DAW technology.
I hope everyone gets a chance to enjoy some of this music that belongs to this special group of tracks, an "album" so to speak, which I titled "FusionRama".

GUMBO GIG (Audric Jankauskas-1995)

I believe just about every musician has had the exciting experience in which they rediscover music recordings they did from way back in their past... music that was practically forgotten about.
So, it was a pleasant surprise for me to rediscover some pretty cool fusion style music I had produced over a quarter century ago. This old music marks the time I first got introduced to midi sequencing.
For those that want to know more, here's a few interesting details as to how this music came to be.
Just for context... at the time (1995), I knew absolutely nothing about computers. The world of personal computers, including pc based DAW, was still waiting for me to discover a couple years later on.
So... besides my electric guitar, the only other musical "instrument" I had at my disposal to produce most of my home-studio "desktop" music at the time was my one and only keyboard, a Korg T-3 "workstation". 
This exciting, and recently introduced keyboard offered plenty of great synth sounds, but also had built-in midi sequencing abilities. This feature interested me very much realizing the great potential it offered coming from a composer's viewpoint.
Working on and constructing full length multi-instrumented compositions and productions using the Korg T-3's built-in sequencer was not easy. A tiny screen and just a few push buttons to access all the editing functions made for a highly tedious experience compared to using the standard everyday DAW systems most musicians are accustomed to these days. What was even more crazy was I had just gotten rid of my old multi-track Tascam cassette recorder, as I was pretty fed up with all the technical problems associated with the old tape machine technology. So I was determined to do any future music productions using digital recording. In my case, after completion of my work of sequencing for multiple instrumentation for any particular tune, I was faced with the challenge of playing and recording my guitar work straight through the entire piece without any overdubbing or editing, as I was recording directly onto a 2-track (stereo) DAT. Everything had to be pre-mixed as perfectly possible as it all would go directly onto a stereo recording. That means all T-3 derived sounds, such as drums, percussion, bass, keyboards, etc., had to first be mixed within the Korg T-3's own built-in mixer. Then my guitar had to be mixed and recorded in one pass, together with the T-3's mixed stereo output, going through a small audio mixer feeding the final mix to the stereo DAT machine.
Challenging and time consuming for sure... but some will understand... creative energy and inspiration has a way of overcoming these kind of obstacles, which is exactly what happened to me. Within two years I managed to finish off about a half dozen decent tracks in this manner, in which afterwards I finally realized I really needed a update to a full sized computer based audio work station in order to continue and advance in my creative endeavors.
That said... it was the lessons I learned from these first days of sequencing on my old Korg T-3, that helped me a whole bunch as I advanced into today's standard DAW technology.
I hope everyone gets a chance to enjoy some of this music that belongs to this special group of tracks... an "album" so to speak... which I titled "Fusion Quest".

RENDEVOUS IN ARUBA (Audric Jankauskas-1995)

v1.02 - 3/27/2022
composer: George Duke
producer: Jeff Volkman

At A Glance

RED LINE (Audric Jankauskas-1995)

2) Fives (solo by fusionhood)

Proto-Cosmos  (with Emmanuel/Fusionhood Music on keys)

This is probably the most unique track from my "Fusion Quest" era. 
About 25 years ago, I composed and produces this rather experimental and progressive piece that starts off almost like a dark and mysterious movie soundtrack, incorporating Michael Brecker inspired lines as a "melodic" theme, but eventually morphs into a laid back jazzy groove in which a cool improvised exchange occurs between me on guitar and Ben Schachter on sax.  
To be clear... the entire first segment of this piece may possibly sound more like an improvised sax solo, but it really isn't. The entire adventurous theme was written out, which goes to show just how well Ben could read music on the spot (something I am not good at)!
BTW - This was the same recording session, on the same day, in which Ben Schachter also played sax on "Lunar Zone".
Interestingly, for fans of Ben Schachter, this recording may be the very first documented recording of him playing a tenor sax. Previous to this time, Ben Schachter was always seen and heard playing exclusively soprano saxophones. I remember he had just purchased a used tenor, and thought why not try it on my tune.
Like all tunes from the "Fusion Quest" era, other than my guitar (and in this case Ben's sax), all other sounds come from the Korg T-3.

The Tequila Monday Project

Play Guitar

Beyond All Limits by Woody Shaw with Fusionhood Music

The Paradigm Live´s Boss Pablo Say takes over Paradigm Live this week in a very techno set that was recorded Live at Input, Barcelona. 

🚩Genre : Techno

🚩Sub-Genre : Driving / Hypnotic / Peak-Time / Raw

-----TRACKLIST-----	
1.Pablo Say - Off Time (Original Mix) [JAM]  
2.Pablo Say - Everybody Is In The Place (Original Mix) [Unreleased] 
3.Pablo Say - Farewel Adress (Original Mix) [Ei8ht]  
4.Raxon - The Fall (Original Mix)[DSK RECORDS]  
5.Pablo Say - Simetric (Original Mix)[Unreleased]   
6.Pablo Say - I Will Show You (Original Mix) [Unreleased]  
7.Pablo Say - Generation (Original Mix) [Unrilis Promo]  
8.Pablo Say - AnTi - SyStEm (Original Mix) [Ei8ht]   
9.Pablo Say - The Darknes (Original Mix)  [Unreleased] 
10.Pablo Say - Don´t Stop (Original Mix) [Codex] 
11.Marco Faraone - Dangerous (Extended Mix) [DCLTD] 
12.Ango Tamarin, Efan Feekar - E Factory (Extended Mix)	[Arcane] 
13.Pablo Say - Outta Space (Original Mix) [Arcane Promo]				 14.Nicolas Vogler- Real Deal (Original Mix) [Suara]	 
15.Pablo Say - Music Has Changed My Life (Original Mix) [Codex] 
16.Drunken Kong - In The Air (Original Mix) [Tronic] 
17.Pablo Say - Working Out (Original Mix) [Arcane Promo] 
18.Pablo Say - You Should (Original Mix) [Unreleased] 
19.Drunken Kong - Strange Feeling (Original Mix) [Tronic]		
20.Pablo Say - Take Your Mind (Original Mix) [Unreleased]				 
21.Pablo Say - Old Child (Original Mix) [Terminal M] 
22.On/Off -  Heartbreak (Original Mix)	[Hypnostate]	 
23.Pablo Say - Come With Me (Original Mix) [Unreleased]				 24.Blakeit - Crash (Original Mix) [WHACK]		 
25.Pablo Say - Everybody In The Club (Original Mix) [Arcane] 
26.Fergie - Level Up (Extended Mix) [Armind (Armada)]		 
27.Pablo Say - Yu Ya Hey (Original Mix) [Unreleased] 
28.Pablo Say - Nuclear Fusion (Original Mix) [Unrilis]

Paradigm Live 019 Pablo Say Live At Input, Barcelona, Spain, Deborah De Luca Warm Up

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Musician based in Buenos Aires.
We make original music and beats, combining all sorts of styles.


CONTACT: fusionhoodmusic@gmail.com

2) Fives (solo by fusionhood)

Fusionhood Music

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