Artist description David Savage, composer and performer (instrumental and vocal), using multitrack recording.

Music Style Eclectic cross-genre mixes of rock, pop, jazz, folk, electronic, blues, children's, alternative, groove, experimental, ambient, environmental, poetry.

Musical Influences in no particular order: folk, rock, pop, jazz, swing, bebop, big bands, Motown, world music, electronic, Bob Dylan, John Cage, the book: Tuning of the World, Spike Jones, Little Richard, Elvis, The Beatles, Clifford Brown, Maynard Ferguson, Chet Baker, Clark Terry, Hugh Masekela, Cannonball & Nat Adderly, Art Blakey, Eric Satie, The Troubadors of King Baudwin, Robert Moog, Gene Autry, Roy Rogers, Billie Holiday, Frank Sinatra, Fleetwood Mac, Incredible String Band, John Fahey, Buffy Sainte Marie, The Doors, Leon Russell, Jack Kerouac, Allen Ginsberg, Hermann Hesse, Woodie Guthrie, Soupy Sales, Zen Buddhism, Ken Nordine's Word Jazz, Lord Buckley, Frederico Fellini, Phil Ochs, and many, many more.

Similar Artists no one I know - entirely original :)

Artist History I've been composing and performing music since 1953 when I got my first harmonica. I've written several hundred songs, four volumes of which are copyrighted under the titles Road Songs, Vols. I - IV (1973 - 1978). In 1974 two songs I wrote were released on a 45 rpm record (Parapsychology Congress Stomp and Romp, and Kohoutek). I've performed on cornet, piano, saxes, guitar, harmonicas, tambourine, cowbell, recorder, etc. at weddings, in clubs, coffee houses, and on street corners. I've performed instrumentally and vocally as a solo artist and in duos, trios, quartets, quintets, and in concert band in high school. The first band I played with was in 1960. In 1965 I played in a band in a summer resort for the season. I have been creating multitrack recordings since 1958.

Group Members me, myself, and I: David Savage

Instruments cornet, harmonica, keyboards, tenor sax, alto sax, flute, trombone, guitar, dumbek, cowbell, tambourine, claves, castanets, train whistle, conch shell

Albums Back Home (October, 2003), Click Me (October, 2003), Spirit Forever (August, 2003), Spirit Wing One (February, 2003), Songs of War (October, 2001), Cosmic Mountain (March, 2001), Cosmic Venus (March, 2001), Haiku-choo Chew (February, 2001), Lost My Head at Forest Pond (January, 2001), Lost Mountain (November, 2000), Rain & Crickets, Vol. 1 (June, 2000), Absolute Silence (June, 2000), Showtime on Venus (May, 2000), Kohoutek b/w Parapsychology Congress Stomp & Romp, a 45 rpm on the Mankind Music label (1974)

Press Reviews Michel Nolet (www.mp3.com/Michel Nolet) reviews "Plasma 5 End to End": "I just listened to your latest work: "Plasma 5 End to End". Amazing! It's the first piece that I hear from you in that particular genre, but let me tell that you seem to be in full control of your craft. Superb adventures in sound. Never a boring moment. Definitely worth coming back to often because one listening session is not enough to savor all the hidden treasures in there. Must have been fun working on this baby. A real master work. If you don't mind me doing a comparison, while I was listening to the piece it reminded me of Todd Rundgren's "A wizard, a true star" which is one of my all-time favorite work of music....Once again regarding your latest offering, you started exploring a new path in your creative work and it looks quite promising." "Absolute Silence" was mentioned in the March/April 2001 issue (No. 34) of "Adbusters" magazine (on page 15). Bill Binkelman, of Wind and Wire, has this to say about "Showtime on Venus": I was impressed with the sense of whimsy and light-heartedness of the music (something that is so lacking in a lot of this music). I really like the imagination in David's music. It's something different (melodic but not mundane or syrupy) - which nowadays is saying something. Plus his song titles are too much! I love 'em. Well done, David. (5/29/00) I do think that what I heard was quite unique. And I do love your knack for writing interesting and funny titles. Best wishes, Bill Binkelman, Editor and Webmaster, WIND & WIRE, New Instrumental Music Reviews and More. (5/30/00) I think you have some real talent for kinetic rhythms and cheerful melodies. That's a lot more rare than you would imagine in this industry. My best wishes to you. It's nice to know there are some original thinkers out there. (7/16/2000) Put this release from synthesist David Savage in the "love it or hate it" column. I say the preceding for two reasons. One, a lot of people can't imagine having much honest-to-god fun with synthesizers. There isn't a lot of bouncy, goofy and cheerful music made with synths (other than insipid Top 40 vocal music, but that's another story). Two, this CD has a decidedly low-tech feel to it (something that never prevented me from going gaga over a CD but some people think a CD has to be run through a million-dollar mixing/mastering process to be worthy of attention). But, that would be totally out of place with a CD this wacky (in the best possible use of the word). How else would you characterize a CD with song titles like the fabulously funky and uptempo "Waving Cats." I positively love it! Not everything here is flat-out for grins. David tries his hand at more serene stuff too. But for my money, the success of Showtime on Venus rests squarely on cuts like "Tap Dancing on the Moon," the jazz-inflected title cut, the breezy "Jiggling Giggling Skeletons," the aptly-named "Seven League Strut" (with a boastful rhythm obviously), and the album closer "Dancing In my Grave" which marries bottom-bass rhythms with a cheery synth line and flowing melody. Dancing indeed!"Pacific Dawn" is a nice "pretty song" which twinkles and shines; "Volcano Moonlight" has an almost island/primal feel (firelight sacrifices anyone?); and the rest of the songs all spin on their own axes, providing a light-hearted take on electronic keyboard-driven music. Yes, there is a certain sameness to this recording. As I said, it's low tech. But if you tire of the same strum and drang of a lot of ambient and electronic music (why are so many artists so serious?), this is the antidote. It's like an direct infusion of fun. Purists may be advised to stay away; but for listeners needing a smile now and then, the line forms here! Bill Binkelman, WIND and WIRE, New Instrumental Music Reviews and More, http://www.windandwire.com (7/16/2000)

Location Vienna, VA - USA

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