Galen Weston

“...beautifully written and warmly performed … What he calls influences and styles are really his own colors on his sonic palette. He chooses his colorful tones and approaches extremely well and keeps the hues and tones completely original. --Travis Rogers, JazzTimes”

Guitarist and composer Galen Weston unleashes a lifetime of music on his ambitious debut album, Plugged In. After laying down his guitar for more than a decade, Weston breathes life into his almost forgotten songs, recording 10 original tracks and two covers with fine craftsmanship and intense focus, while showcasing an unwavering dedication to tonal quality and nuance.

Fueled by jazz and rock guitarists such as Mike Stern,Wes Montgomery, Mark Knopfler, Eric Johnson and Steve Vai, the record showcases his formidable guitar talents in the company of some of finest cross-genre musicians in Canada: David Woodhead (fretless bass), Al Cross (drums), Matt Horner (piano & keyboards), Richard Underhill (alto saxophone) and Rick Shadrach Lazar (percussion); as well as a guest appearance by Prague-born vocalist Lenka Lichtenberg. It was produced in Weston’s own Rose Room Recording Studio by Jim Zolis.

“This album represents a two-year journey of writing and recording across a vast musical territory. It’s a sonic and personal exploration with my Yellow Stratocaster, ES-335 and other instruments. The album is the culmination of many hours spent taming the howling of vintage Big Muffs, cleaning tape heads on old echo machines, and tweaking the tone knobs onclassic Marshall and Fender amps in the simple yet enduring search of great tones,” says Weston.

The album’s official Toronto release featuring The Galen Weston Band will take place on Thursday, November 26th at Tattoo Queen West, which is located at 562 Queen Street West. Other dates include: Friday November 13th in Hamilton, ON (The Pearl Company); and Thursday, November 19th in Oakville, ON (The Moonshine Cafe). The Galen Weston Band will also be showcasing at the Association of Performing Arts Presenters (APAP) Conference in New York City January 16th and 17th.

“A refined player from Toronto, Galen Weston straddles a of styles on his auspicious debut as a leader. From his singing six-string work on the urgently funky “Bensonite" to his mellow lyricism on the melodic anthem “The Yellow Guitar," his soulful expression on “Song for Daphne" or his unapologetic chops showcase on the fusiony “Tasteless," Weston wails with conviction and rare facility. Definitely a talent deserving of wider recognition.” —Bill Milkowski, author of JACO: The Extraordinary and Tragic Life of Jaco Pastorius and co-author of Here And Now: The Autobiography of Pat Martino

About Galen Weston

Galen first picked up a guitar at age 11, a Sears acoustic he got for his birthday. Although a consolation prize to the electric guitar he had asked for, he played without pause until he earned enough money to buy his own. Two years later, with the new electric guitar in hand, Galen started exploring by plugging it into an amplifier and boom box to less than ideal results at first, which ignited his desire to further experiment. His musical education began with the clandestine AC/DC and KISS records he snuck home and studied for hours, with great focus on the guitar. He joined his first band at age 15, playing backyard parties in his hometown of Freelton, Ontario (population 500). A few years later, Galen was turned on to jazz by an older musician friend, who generously gave him two boxes of records. From that treasure box, Galen discovered the music of Mike Stern, Weather Report, and Pat Metheny, setting him on a new musical trajectory.

The next step on this path led Galen to attend Humber College, one of the most respected jazz education programs in North America, where his musical tastes and abilities matured but were cut short by a dire need to earn a living. Like many artists, Galen put away his guitar for many years and pursued other jobs, from construction to finance, before building his own Internet-based company with the goal of returning to music 'one day'.

That day came fifteen years later in Greece when his wife, who always identified Galen as a musician first despite his long hiatus, introduced him to a local musician who would reignite Galen’s first love and change his trajectory once again. Looking for someone to accompany him, the enthusiastic performer compelled Weston to join him around the table with his guitar. Hours passed without notice and while others listened and danced, Galen’s musical instincts were rekindled. Upon his return to Toronto, the businessman almost immediately embarked on starting his musical career. With the same intensity and focus of that 11 year old boy holding his Sears acoustic guitar, Galen built the Rose Room Recording Studio, and spent the following two years crafting his debut album and celebration of a return to music,Plugged In. - All About Jazz

Galen Weston has been playing guitar for many years but don’t look in back catalogues for his name in the credits. Weston has spent an extended amount of time running the Internet business that he himself established. Now, and at long last, Weston has come to the end of a “two year journey” of preparation and has released his debut album “Plugged In” on the Blujazz label (BJ3430).
Weston claims inspiration from notable guitarists Eric Johnson, George Benson, Pat Metheny and more but the listener would do well to let comparisons fall by the wayside. Weston has a voice that is truly his own and he speaks through his much-loved guitars with single-minded originality.
Weston is joined on “Plugged In” by brilliant Toronto session players like David Woodhead on bass and Al Cross on drums with Matt Horner and Simeon Abbott on piano and keyboards, respectively. Richard Underhill adds his sax and Rick Shadrach Lazar his percussion. The lovely voice of Lenka Lichtenberg also makes a beautiful appearance.
The album opens with “Funk Opus #2.” It carries a rough-edged, albeit lyrical, theme with David Woodhead’s bass punctuating the melodic line. Al Cross adds a solid drum groove with swells from the keyboards of Simeon Abbott.
“Song for Daphne” is a beautiful ballad for Weston’s youngest daughter. The guitar is warm and narrative while the sax adds a sweet side voice and the organ and piano creating a backdrop for the exquisite guitar.
At 11:58, it is the longest piece on the album but that length allows wide expression for guitar and sax. The piano takes on a Gospel feel and the bass and drums keep a steady Jazz rhythm in play. This is beautifully written and warmly performed.
“Bensonite” has, of course, got George Benson in mind. There are the descriptive Benson Jazz-funk guitar riffs that are “morphed during the process to a bit of Larry Carlton style,” Weston says.
Weston is too modest in his attributions. What he calls influences and styles are really his own colors on his sonic palette. He chooses his colorful tones and approaches extremely well and keeps the hues and tones completely original.
“Bensonite” concludes with exciting batucada contributions and Brazilian rhythm. It doesn’t get much better than a fun samba to walk out the track.
“The Yellow Guitar (A Guitarra Amarela)” is a nod to his favorite guitar, his yellow Fender Stratocaster. This is the track that truly highlights how cleanly Weston plays.
Again he cites influences in the liner notes but again that should in no way detract from the marvelous musicianship of Weston himself. To concentrate on his inspirations is to miss the inspiration that Weston himself creates.
Although Weston may himself feel as if he has missed years of playing experience because of business endeavors, he has taken his life experiences and used them to create moving musical works. He writes of family and home and conveys to us what he has learned for himself.
When baseball great Buck O’Neill was asked if he regretted not being able to have a career in the Major Leagues but, instead, spending his career in the Negro Leagues, O’Neill replied, “I was right on time.” Appropriate.
“Rose Garden” is for Weston’s oldest daughter. There are stunning chord changes here and the gorgeous vocal intonations of Lenka Lichtenberg enhance the piece in extraordinary measures.
Underhill’s sax and Horner’s piano are coolly interactive together. Woodhead and Cross are equally cool and steady. It is almost a study in duets on this track, often switching between players.
Such a well-crafted and meaningful song. Rose must be an angel.
“Country” is an acoustic piece that is Weston’s treatment of the magnificent Keith Jarrett original on his splendid 1978 album “My Song.”
Woodhead has a wonderful bass solo here which works so well against Cross’ great play. Furthermore, for a guitarist to cover a Jarrett tune is rare but, in this case, absolutely lovely.
“Galen’s Vice—A Tribute to the 80s” is a ripping guitar tip of the hat to Jan Hammer’s Jazz-rock “Miami Vice” theme. The corps progression is set off against the wail of Underhill’s sax while Rick Shadrach Lazar works cool progression to enhance the Hammer effect.
What I thought was going to be a bit of a send-up piece turned out to be very interesting and a great showcase for Weston’s tightest moments.
“Austin” is one of the sharpest Jazz tracks on the album. Matt Horner does double-duty on piano and organ as Underhill interacts smartly with Weston.
Guitar, sax, keys and bass all get to smoke their solos. Gorgeous stuff. It is like a grand recognition of the great music scene in Austin, Texas.
“Tasteless” is a straight-ahead rocker. Woodhead and Cross get to have fun with rock rhythms and yet play beyond simple rock. This is deeper and more imaginative than the limitations often imposed by rock.
The tone changes drastically for “Like Someone in Love.” The song is a Jimmy Van Heusen cover but is reinterpreted nicely with a solo guitar intro.
It is warm and sweet and the guitar-bass-drums trio is completely effective. The cool chords are entirely memorable and Woodhead’s bass is creative and captivating. The trio is pianissimo during the bass solo creating a powerful resonance.
“Late and Never” is another rock-ish piece that Weston works over smartly. The crossing of rock guitar and rockabilly piano are too fun to resist.
The album concludes with “Rock Jam” which opens brilliant interplay between guitar and bass. The trio launches in full force for this one. There is a broad lyricism at work here and the trio is in the pocket at all the right places.
Galen Weston states that he is “on a mission to catch up with the years I lost in music.” Music has waited patiently for Weston. He is right on time.
~Travis Rogers, Jr. is The Jazz Owl
Visit Weston's website at: http://www.galenweston.org/
"Like" him on Facebook at:https://www.facebook.com/GalenWestonBand - Jazz Times

Galen Weston has been playing guitar for many years but don’t look in back catalogues for his name in the credits. Weston has spent an extended amount of time running the Internet business that he himself established. Now, and at long last, Weston has come to the end of a “two year journey” of preparation and has released his debut album “Plugged In” on the Blujazz label (BJ3430).

Weston claims inspiration from notable guitarists Eric Johnson, George Benson, Pat Metheny and more but the listener would do well to let comparisons fall by the wayside. Weston has a voice that is truly his own and he speaks through his much-loved guitars with single-minded originality.

Weston is joined on “Plugged In” by brilliant Toronto session players like David Woodhead on bass and Al Cross on drums with Matt Horner and Simeon Abbott on piano and keyboards, respectively. Richard Underhill adds his sax and Rick Shadrach Lazar his percussion. The lovely voice of Lenka Lichtenberg also makes a beautiful appearance.

The album opens with “Funk Opus #2.” It carries a rough-edged, albeit lyrical, theme with David Woodhead’s bass punctuating the melodic line. Al Cross adds a solid drum groove with swells from the keyboards of Simeon Abbott.

“Song for Daphne” is a beautiful ballad for Weston’s youngest daughter. The guitar is warm and narrative while the sax adds a sweet side voice and the organ and piano creating a backdrop for the exquisite guitar.

At 11:58, it is the longest piece on the album but that length allows wide expression for guitar and sax. The piano takes on a Gospel feel and the bass and drums keep a steady Jazz rhythm in play. This is beautifully written and warmly performed.

“Bensonite” has, of course, got George Benson in mind. There are the descriptive Benson Jazz-funk guitar riffs that are “morphed during the process to a bit of Larry Carlton style,” Weston says.

Weston is too modest in his attributions. What he calls influences and styles are really his own colors on his sonic palette. He chooses his colorful tones and approaches extremely well and keeps the hues and tones completely original.

“Bensonite” concludes with exciting batucada contributions and Brazilian rhythm. It doesn’t get much better than a fun samba to walk out the track.

“The Yellow Guitar (A Guitarra Amarela)” is a nod to his favorite guitar, his yellow Fender Stratocaster. This is the track that truly highlights how cleanly Weston plays.

Again he cites influences in the liner notes but again that should in no way detract from the marvelous musicianship of Weston himself. To concentrate on his inspirations is to miss the inspiration that Weston himself creates.

Although Weston may himself feel as if he has missed years of playing experience because of business endeavors, he has taken his life experiences and used them to create moving musical works. He writes of family and home and conveys to us what he has learned for himself.

When baseball great Buck O’Neill was asked if he regretted not being able to have a career in the Major Leagues but, instead, spending his career in the Negro Leagues, O’Neill replied, “I was right on time.” Appropriate.

“Rose Garden” is for Weston’s oldest daughter. There are stunning chord changes here and the gorgeous vocal intonations of Lenka Lichtenberg enhance the piece in extraordinary measures.

Underhill’s sax and Horner’s piano are coolly interactive together. Woodhead and Cross are equally cool and steady. It is almost a study in duets on this track, often switching between players.

Such a well-crafted and meaningful song. Rose must be an angel.

“Country” is an acoustic piece that is Weston’s treatment of the magnificent Keith Jarrett original on his splendid 1978 album “My Song.”

Woodhead has a wonderful bass solo here which works so well against Cross’ great play. Furthermore, for a guitarist to cover a Jarrett tune is rare but, in this case, absolutely lovely.

“Galen’s Vice—A Tribute to the 80s” is a ripping guitar tip of the hat to Jan Hammer’s Jazz-rock “Miami Vice” theme. The corps progression is set off against the wail of Underhill’s sax while Rick Shadrach Lazar works cool progression to enhance the Hammer effect.

What I thought was going to be a bit of a send-up piece turned out to be very interesting and a great showcase for Weston’s tightest moments.

“Austin” is one of the sharpest Jazz tracks on the album. Matt Horner does double-duty on piano and organ as Underhill interacts smartly with Weston.

Guitar, sax, keys and bass all get to smoke their solos. Gorgeous stuff. It is like a grand recognition of the great music scene in Austin, Texas.

“Tasteless” is a straight-ahead rocker. Woodhead and Cross get to have fun with rock rhythms and yet play beyond simple rock. This is deeper and more imaginative than the limitations often imposed by rock.

The tone changes drastically for “Like Someone in Love.” The song is a Jimmy Van Heusen cover but is reinterpreted nicely with a solo guitar intro.

It is warm and sweet and the guitar-bass-drums trio is completely effective. The cool chords are entirely memorable and Woodhead’s bass is creative and captivating. The trio is pianissimo during the bass solo creating a powerful resonance.

“Late and Never” is another rock-ish piece that Weston works over smartly. The crossing of rock guitar and rockabilly piano are too fun to resist.

The album concludes with “Rock Jam” which opens brilliant interplay between guitar and bass. The trio launches in full force for this one. There is a broad lyricism at work here and the trio is in the pocket at all the right places.

Galen Weston states that he is “on a mission to catch up with the years I lost in music.” Music has waited patiently for Weston. He is right on time.

~Travis Rogers, Jr. is The Jazz Owl

Visit Weston's website at: http://www.galenweston.org/
"Like" him on Facebook at: https://www.facebook.com/GalenWestonBand
To purchase "Plugged In" on MP3 at Amazon, click the link below. - The Jazz Owl

BLUJAZZ
GALEN WESTON/Plugged In: A guitar tour de force date like the kind they don't make anymore, this Canadian guitarist was itching to get back in the saddle after being a responsible grown up for several years. Not at all the kind of stuff you get from a wannabe that's been practicing in front of the mirror and wants to dive in with today's tools at hand, Weston has the chops and depth that shows he could have been a monster if he was around when the big boys were there to put a push behind this kind of skillful and soulful instrumental music. Fleetly and nimbly jumping between styles and genres, every air guitarist within 50 miles of this record has a new hero to look up to. Well done. - The Midwest Record