Tony Reeves may not be as well referred to as Greg Lake of Emerson, Lake & Palmer or Chris Squire of Yes, to mention two of the celebrity bass players in progressive rock and roll. But he possessed his own unique market in the world, as an associate of Colosseum, Greenslade, and Curved Air flow through the 1970s, and finished up getting that field’s response to John Entwistle along with his incredibly prominent and complicated bass sound. Strangely enough, he began in jazz, in support of moved into rock and roll very steadily, once he’d adopted the electrical bass. Reeves was created in southeast London in 1943, and went to Lewisham Grammar College, where his close friends included long term drummer Jon Hiseman and long term keyboardist Dave Greenslade. Reeves’ significant fascination with music dated from his teenagers, and even though his teenager years coincided using the skiffle growth and the 1st influx of home-grown rock and roll & move in Britain, he initially wished to find out an instrument definately not the very center of rock and roll & move: the trombone. He’d loved what he’d heard about it within the jazz rings he’d paid attention to, and was wanting to find out it, but there have been no opportunities for the device in his college orchestra. There is, however, a clear chair for the double bass, which became his device; he also discovered to learn music, using the objective of switching to trombone once the chance arose. That hardly ever occurred, but he became critical enough over the bass to consider up classical schooling as well, and in addition began playing with little groupings and dance rings at age group 15. One of the last mentioned was an clothing known as the Wes Minster Five, led by Wes Minster (true name Brian Smith), including his close friends Hiseman and Greenslade on drums and piano, respectively, in addition to Clive Burrows on saxophone (and, at one stage, Zoot Cash). They gained several local skill competitions and performed to American viewers at surroundings bases in Britain. Reeves’ initial completely professional group participation was using a dance/present band at age group 16 — he found consider this knowledge invaluable for working out it provided him in playing a large number of well-known criteria from across many years of music. His understanding was also broadened greatly through the work he held for quite some time in the product quality control division in the Decca Information factory, which included his hearing the label’s whole output, from middle ages traditional music to the favorite edges of Chubby Checker et al. (which Decca had under permit in Britain). He later on became an archive plugger for Pye Information, and it had been around that point, in past due 1964, that he surely got to listen to the Vince Guaraldi solitary “Solid Your Fate towards the Blowing wind.” He experienced that having a different set up and more of the pop approach, the quantity is actually a strike, and brought it to Pye manufacturer John Schroeder, who was simply already entertaining the thought of piecing together a pop instrumental group to create music which was not the same as the Liverpool defeat that dominated the graphs at that time. Schroeder first got it documented by a program group that included Reeves, pianist Johnny Pearson, and drummer Kenny Clare, utilizing the name Noises Orchestral. Issued in January of 1965, it had been picked up with the pirate radio place Radio London, and it ultimately reached number 3 in Britain. That led to Reeves’ appearance on the tv screen present The surface of the Pops, within Seems Orchestral, which continued to make many years of recordings in a variety of incarnations. He consequently became an associate to maker Tony Hatch at Pye, and done records by Show Six as well as the Alan Bown Arranged, amongst others. He later on left the business and became a freelance maker at various brands and the innovative director from the Greenwich Gramophone Business. Amid all that activity, he were able to squeeze in a few recording program use guitarist Davy Graham in 1966. Reeves handed through various organizations, like the Mike Taylor Quartet, the brand new Jazz Orchestra, as well as the Peter Lemer Quintet, founded by the near future Gong and Mike Oldfield key pad player, which included Hiseman on drums. It had been around that same period that he discovered to play electrical bass, the opportunity coming up whenever a bandleader friend discovered himself in ownership of a bass he didn’t want, directed at him in payment of the personal debt — despite his emotions of disdain for the idea of the electrical bass, Reeves got it and discovered to try out the device, and after just a couple weeks, he was instantly an associate of John Mayall’s Bluesbreakers. This seeming fluke was the task of Hiseman, who acquired already joined up with Mayall’s music group and who suggested Reeves once the head asked the drummer if he understood of worthwhile bassists. He lasted for under four months, nonetheless it was another learning knowledge on a musical instrument which was still not used to him, and was lengthy more than enough for Reeves to seem for the Bare Cables album. Away from their firing by Mayall, he and Hiseman shaped the hard rock and roll/intensifying group Colosseum, together with their shared longtime friend Dave Greenslade. It had been with Colosseum that Reeves became an innovator, plugging his bass into Leslie audio speakers, a technique that guitarists have been using for a long time but few if any bassists got tried up compared to that period — in conjunction with his adding the wah-wah peddle to his bass (motivated partly by Jimi Hendrix’s audio), it produced Reeves probably one of the most unique players from the period, with a audio all his personal. Alongside John Entwistle from the Who, he was among the loudest & most aggressive-sounding bassists of his period, making it practically a lead device on Greenslade’s recordings. He and Dave Greenslade remaining Colosseum after two albums, but discovered another home collectively professionally within the key pad player’s namesake group. As he described inside a 2003 interview with rock and roll journalist Dmitry M. Epstein on his DME Music Site, Greenslade was mostly of the bandleaders who valued the sheer level of his playing. Additionally, as there is no business lead guitarist within the group Greenslade’s lineup — simply two key pad players — it had been tailor-made for Reeves, with plenty of area for his bass, and his use the group provides became one of is own longest-standing interactions. He also managed to get into the last incarnation of Curved Atmosphere, in 1976, within a lineup that included drummer Stewart Copeland. Additionally, Reeves was in charge of obtaining Benny Gallagher and Graham Lyle, two close friends from London, to become listed on Tom McGuinness and Hughie Flint, filling in the lineup of the group McGuinness Flint. He were able to maintain his submit program are well, playing on information by Sandy Denny, John Martyn, Terry & Homosexual Woods, Paul Kent, and Chris de Burgh through the early and middle-’70s. By the end of the 10 years, Reeves became a member of the semi-professional jazz music group Big Main, whose lineup also included saxophone virtuoso Dick Heckstall-Smith, and it has continued using them since. Through the 1980s, he also created MTR Ltd., a business that produces professional audio gear. Recently, he continues to be associated with the reunion of Greenslade in the change of the 20th hundred years in to the 21st. But mainly, furthermore to creating and working his business, Reeves spent most his amount of time in the 1990s and beyond playing jazz, that was where he began.
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