Improvised solo electric guitar live
Guitar: John Bruce Wallace
Copyright 2018 John Bruce Wallace

At The Druid's Feast is comprised of five non-separable parts: Part 1: The Aura of Sorcery, Part 2: Time Not for Misadventure, Part 3: Entities of Disjunctive Parallel, Part 4: Loss At The Scales of Non-such, Part 5: The Solitary Dimension of Banality.

He invented a new technique of playing while continuously changing the pitch of his electric guitar. Svetlana Korel'skaya, ARKHANGEL'SK, Arkhangel'sk, Russia

Solo guitarist John Bruce Wallace, in free improvisation, revamped the modern guitar tradition and, using the technical possibilities of his instrument, transferred it into an individual sound language. Bernd Jahnke (1992) Presentation Zeitgenoessischer Spielarten Improvisierter Musik Vilnius '91". Jazz Podium No. 1 1992, Stuttgart, Germany

His sizzling electric distortion...thick and saturated tone captures a kind of steel industrial sound, gently relating to the development of the urban situation, and technological society on which he comments, and to the worldly issues faced by modern development. Wallace's music comes out like a giant question with no apparent answer...tapping the human interior's post pro-harmonic feedback. LaDonna Smith, the improvisor, Birmingham, AL

He plays with a loud, sustained, rockish tone but within that range he leaves room for varied expression…Wallace’s aggressive guitar sound finds its roots in the guitar noise of Glenn Branca and Rhys Chapman. Sonny Sharrock and Jimi Hendrix are also in evidence…[I]ndividual sustain-drenched notes hang in the air, decaying naturally. Robert Iannapollo, CADENCE, Redwood, NY

At The Druid's Feast

Improvised solo electric guitar live
Guitar: John Bruce Wallace
Copyright 2018 John Bruce Wallace

At The Druid's Feast is comprised of five non-separable parts: Part 1: The Aura of Sorcery, Part 2: Time Not for Misadventure, Part 3: Entities of Disjunctive Parallel, Part 4: Loss At The Scales of Non-such, Part 5: The Solitary Dimension of Banality.

 He invented a new technique of playing while continuously changing the pitch of his electric guitar. Svetlana Korel'skaya, ARKHANGEL'SK, Arkhangel'sk, Russia

Solo guitarist John Bruce Wallace, in free improvisation, revamped the modern guitar tradition and, using the technical possibilities of his instrument, transferred it into an individual sound language. Bernd Jahnke (1992) Presentation Zeitgenoessischer Spielarten Improvisierter Musik Vilnius '91". Jazz Podium No. 1 1992, Stuttgart, Germany

His sizzling electric distortion...thick and saturated tone captures a kind of steel industrial sound, gently relating to the development of the urban situation, and technological society on which he comments, and to the worldly issues faced by modern development. Wallace's music comes out like a giant question with no apparent answer...tapping the human interior's post pro-harmonic feedback. LaDonna Smith, the improvisor, Birmingham, AL

He plays with a loud, sustained, rockish tone but within that range he leaves room for varied expression…Wallace’s aggressive guitar sound finds its roots in the guitar noise of Glenn Branca and Rhys Chapman. Sonny Sharrock and Jimi Hendrix are also in evidence…[I]ndividual sustain-drenched notes hang in the air, decaying naturally. Robert Iannapollo, CADENCE, Redwood, NY

"An aggressive, wailing guitar sound--astonishing and extremely individual--that one has never heard before." Grigory Valov, TIF, Arkhangel'sk, Russia​.
John Bruce Wallace is a free jazz solo performer interested in freely improvised music with a focus on generating extended sound statements within the options afforded through solo performance. An acknowledged, accomplished guitar virtuoso, John Bruce Wallace is a musical innovator likened to Ornette Coleman, hailed as a composer in the ranks of Cage, Stravinsky, Eben, Arvo Pärt, Glenn Branca, Alexander Scriabin and Hutchenson. He has been compared and contrasted as a guitarist to Eddie Van Halen, Robert Fripp, Fred Frith, Hendrix, Rhys Chatham, Buckethead, and Frank Zappa. He is an incredibly challenging improviser, master of tonal dimension, expander of compositional style.
John embodies the mastery of emotions in his playing. Several people familiar with his Sound Improvisions have likened them to a “Sound Track to Life”. One noting that while he was watching events unfold in his urban neighborhood it struck him that the music was a perfect audio backing to the developing street situations. After a performance in Arkhangel’sk Russia, a veteran of the USSR’s Afghanistan war told John that the music experience was a catharsis relieving the pain he endured on the loss of several friends during engagements in that conflict.The emotive quality of the improvisation released those emotions, freeing him to move on in his life. The strength of emotive expression crossed cultural and language boundaries in a universal expression.
He has shared performance billings with: Tim Hodgkinson, Ken Hyder, Evan Ziporyn, John King, Vladimir Tarasov, ZGA, Enver Izmailov, Burhan Ocal, and Jazz Band Arkhangel'sk as well as many others. Tours have included festivals in Russia and Lithuania, where he was awarded fourth place at the Vilnius Jazz Festival. His music was invited for performance consideration at the American Pavilion during the 1991 São Paulo Art Biennial, in São Paulo, Brazil. Unique Performances have included a performance at a New York City Institute for the Mentally Disabled, as well as street performances. 
He has recorded and released twenty albums of extended sound statements, the eighteen most recent are available via various sites on the Internet. His recordings have received radio and Internet airplay across the United States, Canada, Europe, Russia, Central and South America, Australia, and Asia. His performances and recordings have been reviewed in leading foreign and domestic trade journals and publications.