Press & Reviews

Greg Grant: "We Have Eyes"
Written by Erica Parfit

With a wicked guitar style and vocals reminiscent of early David Gray, Greg Grant's newest cd "We Have Eyes" is a rocking tribute to the simple life. Having grown up in New York City, Grant's newest cd gives homage to his adopted home of Montana. Songs like "Bigger isn't Better", "21st Century Pioneer", and "Montana is My Home" speak of the joys of living away from the hectic bustle of cities; enveloped in the peace of Montana. Scattered within this theme, are songs filled with clever statements like: "living with a woman who was once half my age", and "I wanted to write us a happy ending, but with you, I've run out of ink". It is obvious that Grant enjoys writing as much as he enjoys playing.

As for playing, the instrumentals on this newest album show an instrumentalist with talent. "We Have Eyes" contains guitar, drums, bass, congas, dumbek, shakers, alto sax, ebow, and vocals; all contributed by Grant. The guitar is a driving force, pushing the music along with lively aptitude. The rhythm section is an intricate and diverse mix, and the other instruments contribute the delicious filling; making this cd a tasty, rocking mix.

"We Have Eyes" is just right for a summer day, outside on the porch, or by the lake. Bring it along for the perfect musical accompaniment to a day out enjoying the wonders of our beautiful state.

Greg Grant - Jupiter Watches
Written by Joel Dunham

Singer/Songwriter Greg Grant obviously has had a lot of time to brew his complex and detailed style of writing and playing music. There is no doubt that he is an accomplished player in this business: he wrote, recorded, produced, sang, played the saxophone, flute, organ, and guitar for all of the tracks on this 65-minute record. Despite his versatility, though, it is Grant's guitar playing that is the highlight and backbone of this album. Grant's guitar lines are filled with mini-flourishes, bookends of phrases that are done-up with impossibly fast ornamentation. Among the multiple time changes, Grant's guitar flows freely like a country brook, rapidly colliding with rocks, twisting, creating eddies, and joyfully splashing its way downstream. Though the term "folk-rock" might deter some of you, let me emphasize that Grant has created a wonderful little way of writing and playing for himself that is so definitely unique. Complimenting his guitar, Grant possesses a raspy tenor, akin both to Dave Matthews and David Gray. The energetic drums of Guido Perla and the solid acoustic double-bass of James Whiton keep up well with Grant's acoustic flurries and whirlwinds. Interspersed throughout the album are Grant's saxophone and electric guitar solos, which usually are appropriately supportive of the whole groove rather than swallowing up the background.

At first the tracks that are the most impressive are the upbeat jaunts that most easily showcase Grant's playing ability and spirited songwriting. Such is the case with the stuttering guitar lines on "Kings and Queens", with the pretty harmonics-driven chorus of "You and I", and the Hispanic flavor of "Sunshine." Upon closer inspection, though, it is during the more moody, quieter tracks that Grant displays his best success in creating unique textures and feelings. The pervasive, almost inquisitive bowed-bass work on "Impossible Goodbye" helps establish the track's slight uneasiness. When the accompaniment drops out entirely (intermittently) on the last verse, Grant's lone, jittery guitar also achieves a sense of unsurety. (With the use of the saxophone Grant really starts sounding like Dave Matthews here.)

Some of the strongest material on the album is entirely instrumental, however. "Blind to What I See" is a dreamy track that achieves an introspective tone despite its feisty, carefully picked guitar work. The weaving melody of "Tired Wanderer" might be the most beautiful on the whole record. Unfortunately, an electric guitar solo blares a little too loud and trivializes this otherwise excellent track. (Grant also makes the same mistake by making the electric guitar solo a little too prominent in the mix during "Mrs. Green Blues.") "Like Carlos Vamos", another instrumental track, ends the album on a strong note.

Grant's lyrical material reveals him to be a sort of hopeful hippie. As the rather admittedly hokey cover art shows, Grant is interested in the heavenly bodies perhaps observing and knowing what we humans are up to. The stars are mostly seen as benevolent beings who are perhaps disdainful of our more foolish activities. "They Know Our Names": "The stars are shining down/It's amazing how/We forget that they/Watch us all our days." Earlier in the track Grant engages in some foolish new age earth-worship: "The time has come/To kneel upon the ground/And praise our mother earth/Realize what's she's worth." Later in the album, on "The Same," this interest in the sky takes a more appealing and challenging approach, however. The track is brimming with this silky, mysterious energy, much like that of the Doors' "The End." Grant uses a sustained organ to support the song's winding, yet confrontational structure. "Don't take your eyes off the sun/Or stare too long/You will find the way/If you ask the sun." Despite the conjoined dare and warning, Grant still doesn't escape falling into some sort of animism.

Perhaps the strongest track overall is "Hands", the last track in which Grant sings. For the first and the last time on the album, Grant shows some full-fledged, real heartbreak here, and the result is lovely. A breathy flute mourns over the affair, and Grant placed a wonderful little false stop at the end of every chorus. You have to love the way that Grant lilts "California", pouring all of his heartache into the word. Finally, Grant did a good job suppressing his naturally spirited guitar playing here, and instead made it supportively wistful. Beautiful.

This Montana man has flown under the radar for too long. The time has come for bearded folkies and jam-band fans everywhere to prick up their ears and take notice. Maybe we've found a likely candidate to dethrone that Dave Matthews himself. That would be one welcome regime change (among others), in this reviewer's opinion.

An email From: Derek Sivers / CD Baby
Subject: IMPORTANT: Musth on FRONT PAGE!

Greg -
I love your "Musth" CD so much I'm going to feature it on the FRONT PAGE of CD Baby for a few days. THE DATE (mark it down somewhere) Thursday, October 25th I'm telling you in advance because I'd like to co-ordinate this with you to make it work even better. EMAIL YOUR FANS/FRIENDS ON THAT DAY. Spread the good news. Sometimes people need to see that other people love you, too, y'know? My advice (from past experience) is to email them your EXACT LINK to your page instead of just sending them to the CD Baby homepage, because some people only read their email weeks later. TELL EVERYONE TO GO TO: http://www.cdbaby.com/group/greggrant

What to tell them? That's up to you, of course. But I will letcha know that I'm REALLY picky about what goes on the front page. We get about 40 new albums a DAY coming in here now, (about 12,000 total), and yours is one of the best I've ever heard.

But just remember the date. It should go up at midnight, California time, on Thursday, October 25th, and stay there for three days. Wait 'til you've seen it with your own eyes to do the email.

Love ya!
-- Derek Sivers
president, CD Baby

In the Missoulian's "Entertainer," October 3, 2002
Walk with Grant down 'Bisbe Street'
By ERICA PARFIT for the Missoulian

Jazz journeys in the night
ARTIST: Greg Grant
RECORDING: "Bisbe Street"

There are certain qualities about jazz that set it apart from other genres. Instead of merely telling a story, jazz creates a mood, then plays on imagination and emotion to present its saga. It does this in a way that lets each mind create a story that is just a little different from any other. When I listen to "Bisbe Street" by Greg Grant, of northwestern Montana, my mind's eye depicts a certain setting, and a particular time of evening, and although I'll describe those, to another listener, there may be a whole other story.

Though the album carries a running theme, there is a separate story behind each song. "When It Falls Down" comes to my ears as a solitary wanderer, cloaked in loneliness, strolling through a cobblestoned night. He looks in on well-lit groups of friends, laughing and dancing. In "The Loneliest Immortal," I hear a parade of dancers, also moving in the night, but here, there is a dark festivity. "The Going" sings to me of a group of mysterious women dancers, weaving a tale with their feet, hips, and snapping its rhythm with their fingers. "Bisbe Street," the title track, is almost mystic in its full, echoing sound, as if inspired by the mighty cathedral on the street of its creation. A snare trill gives the tune the opposing feeling of armies marching in the background of this mighty sound.

Each song on "Bisbe Street" was created on the streets in Barcelona, Spain. Grant's alto saxophone echoes through this album, much like it may have many Spanish summer nights, as he kept company with the cathedral on Bisbe Street near an arch, where he loved to play. Every song carries in it a sense of night, as if all were written within the confines of sunset to dawn. Even the most lively tunes hold the respect of the stillness of night. Harmonies are full, hollow sounds, like the notes that bounce and weave down a long stone street.

Grant's musical moods are so inviting that each of the musicians joining him in creating this album has captured the language with fluency. Guido Perla's rhythm is more than a beat keeper. His snare, bass and cymbals hold the mood created by the clear, hollow sax, while creating an even more complex story line. James Whiton adds a double bass sound, which gives the music a depth like that of a river winding through the midnight hour. Grant brings in a Hammond organ for "The Calling," giving the song a cathedral feeling, and Billy Oskay joins the group on violin in "Tears for Marseille," a gentle yet passionate tune.

For any who love to close their eyes and let music grab them by both ears, transporting them along its notes, into their own imaginations, Grant has a spaceship for that very purpose. His long, echoing style, with its turns and dips, creates a transportation device out of a not so ordinary saxophone. "Bisbe Street" is a story-packed, mood-enhanced jazz journey.

- "Bisbe Street" is available at Rockin' Rudy's, Budget Tapes and CDs, and off the Web at www.alteredstaterecords.com.

TheUnheardMusic
we focus, largely, on improvised music
Globally Warmer Summer 2002 Issue

Greg Grant: After the Crash [GG: guitar/vocals/sax] CD funky-strummy acoustic song-poet a la' Paul Simon/Richie Havens, with the added smootch of alto sax by the songwriter...so's ya know the horn-dude knows the chartz...gotcha throaty Marc Cohn-like vocal tone/delivery (that's a compliment) and no slouch on the strings and reeds...ODD LYRIC: "with lips red from cherries picked from the vine" (?)...show me a cherry vine!!! COOL SONG IDEA: Grant's concept of being held prisoner by angles...sort of reminds me of my Massachusetts song-poet friend James O'Brien's work.

State of the Arts September/October 2003
Greg Grant: Jupiter Watches
Produced and recorded in 2003 by Altered State Records, Fortine, MT

Northwest Montana Musician Greg Grant's new compilation of original tunes showcases his guitar and saxophone finesse with melodies ranging from moody and emotionally evocative, to rhythmic and rocking.

The Fortine-based guitarist and alto saxophone player also plays organ and flute ands adds plaintive vocals to the mix. James Whition and Guido Perla supply bass and drum tracks, respectively. Grant recorded his own tracks at his Strawbale Studio in Fortine, with the other tracks recorded in Corbett, OR.

Grant's background in Spanish guitar and jazz techniques surfaces in the new recording, which is seasoned with hints of both genres. But Jupiter Watches defies any musical moniker- some songs clearly rock, (listen to the electric guitar wail on "Mrs. Green Blue's") while others have a reggae feel ("Sunshine," "Kings and Queens"). Hot electric guitar riffs, a jazzy sax solo, or Latin rhythms fuel other songs, with an occasional foray into "space music" - instrumentals with hypnotic grooves and cryptic melodies ("Blind to What I See," "Tired Wanderer," "Like Carlos Vamos").

It all adds up to an unpredictable and entertaining mix- proof once again that musical talent isn't confined to big cities, big labels or big names. Visit www.AlteredStateRecords.com for more information.

http://www.art.state.mt.us/

State of the Arts Nov/Dec2008
- Mariss McTucker
Greg Grant: We Have Eyes
Engineered and mixed in 2007 and 2008 at Strawbale Studio, Fortine, MT.

New York City native and Fortine musician Greg Grant has put out a self-penned album extolling his love of the land and aversion to so-called progress. He does it with lots of up-tempo numbers in which he plays everything (guitars, saxophone and a bagful of percussion instruments) and production FX.

Rhythmic throughout, Grant's fifth CD kicks off with punched-up slide guitar ("Out of Ink"), and leads into "Bigger Isn't Better," with its catchy intro hook and sparse drums, and what sounds like Grant singing in unison with himself.

His sandpapery baritone anchors the reggae-infused "Montana is My Home"; there's the soft, folky "She's a Girl"; and the spooky and jazzy "Everything Is Alright." The album ends with the hypnotic instrumental, "Don't Give Up." Good production values here, and – get this – liner notes say the songs were recorded with solar power.

That's how you get off the grid!

Visit Grant at www.asrmusic.net

Greg Grant
Jupiter Watches

Sax player Greg Grant's latest release is more organic and genre-crossing rock. It's singer/songwriter music that, according to his website, is "funky, jazzy, soulful, folky, electronic; psychedelic and full of feeling."

Can't really argue with that description. Grant sings and plays guitar on this, in contrast to last year's instrumental CD, "Bisbe Street." All three musicians are well versed in jazz and improvisation and it really shows.

www.alteredstaterecords.com
By SCOTT PRINZING, For The Outpost
http://www.billingsnews.com/story?storyid=8378&issue=187

Issue #56
Greg Grant & Jon Bernson - MUSTH:

We reviewed a great little CD from Greg in issue # 55, "BISBE STREET". This album (came in the same package) features Greg's intriguing alto & nylon string guitar against equally enchanting drums and percussion by Johnathan Bernson. Much less formatted, a lot closer to improvised... though the hardcore in improv-land will protest that it's not "out" enough. Don't let that stop you from enjoying the sensitive and emotional excursions through the spaces between the notes, though. The players are totally in synch with each other, and never let go of the awareness necessary for creation. I find myself enjoying this even more than "BISBE STREET", most likely because it is improvised. "Across The Courtyard" (track 3) is a wonderful example of what can happen when the energies are allowed to gel slowly, actually growing into a tune. Some of the cuts could be (just) a little longer, perhaps, but (I understand), you record what you play! For listeners who want music that is highly original with tasteful colors, this gets our MOST HIGHLY RECOMMENDED!

-Rotcod Zzaj
Rotcod Zzaj, aka Dick Metcalf
Perpetrator & Instigator, Zzaj Productions
http://home.comcast.net/~rotcod/

Issue #55
Greg Grant - BISBE STREET:
Some really nice jazz on this CD in from Greg. His alto work is nicely complimented by drums from Guido & double-bass (with wah-wah on some of the cuts) by James. Styles range from "h-o-t" to "ballad" jazz, very effectively! Strange journeys this gent has taken (from reading the bio/liners), all 'round the planet... born in NYC, now based in Montana! All the songs on this album were composed in Barcelona, Spain... there is also some level of improvisation & a heavy dose of spirit that can only come from a player who has been around! There is a heavy tone to most of the pieces, & a DEFINITE flavor of the Mediterranean zone (which kind of makes sense, when you stop & consider where the tunes originated). My favorite cut (for upbeat) is "Mil Cositas", the opening track! Nice groove-based little thing that blends really well. Greg's sax has a deep "bite" that reaches out & "grabs" your ears, pulling you ever deeper in... a great little CD that gets a HIGHLY RECOMMENDED for jazz listeners who like to groove on life & the living thereof.

-Rotcod Zzaj
Rotcod Zzaj, aka Dick Metcalf
Perpetrator & Instigator, Zzaj Productions
http://home.comcast.net/~rotcod/

Geoff Wilbur's
Renegade Newsletter August - October 2002
Greg Grant- After the Crash
Altered State Records, P.O. Box 191, Fortine, MT 59918

Psychedelic, mellow, folky, jazzy, straightforward rock 'n roll. "In Love Again" is an engaging journey, mixing a groovey modern rock-ish flavor. "Serpent Lady" has a similarly catchy feel. "The Saddest Hardest Thing," meanwhile, is folkier. Great range; a mixture of styles with broad appeal, suitable for festivals, clubs, arenas, or coffeehouses. by Dan Macintosh

Greg Grant,
Bisbe Street
(Altered State, 2002)
Bisbe Street is named for the area in Barcelona, near the cathedral, where Greg Grant spent many hours playing the tunes he composed and the music he enjoys. This CD consists entirely of compositions "born" in Barcelona.

Grant plays alto sax and sometimes drums on the CD but, multi-talented fellow that he is, he can also play guitar and sing. He was born in New York City and is now based in Montana, but the interim years saw him leading a nomadic existence, traveling Canada, Central America, the U.S. and Europe. He spent three years in Spain. He expresses admiration for and admits to the influence of many diverse musical styles: jazz, rock, folk, techno, blues and flamenco, and Bisbe Street is a blend of cultures and a fusion of international influence.

Sometimes the sound is intriguingly innovative, but sometimes I found myself checking the CD player to reassure myself it was not stuck in a loop! At times the music has a hypnotic, Arabic quality, Greg's sax and the double bass of James Whiton melding and interweaving sinuous patterns to the gently persistent beat of Guido Perla's percussion. Strains of a Spanish fiesta can be ascertained, then slip away as blues momentarily dominates, then is overtaken with a feel of jazz.

Altered State Records pride themselves on promoting experimental sound, and with Greg Grant, they certainly have an adventurous style of music to promote. Apart from the occasional heavily repetitive phrasing, the album is intriguing, unpredictable and slightly unsettling; its smooth sax playing, normally soothing, is instead thought-provoking and with a faint, barely discernable whiff of the sinister. Grant's skills could be well utilized in providing atmospheric and memorable soundtracks, should he wish to explore that direction.

I am not quite sure whether I actually like the music or not, but if you like sax, quite like jazz and are open to new concepts and novel sound structures, then give this CD a try. Grant has travelled extensively; his horizons are perhaps wider than we commonly perceive them to be.

- Rambles
written by Jenny Ivor
published 21 December 2002
http://www.rambles.net/grant_bisbe02.html

Greg Grant,
After the Crash
(Altered State, 2001)

I just survived After the Crash, and I am creeped out. Greg Grant sings with the voice of a man living in an alley, with a knife and a psychotic break for company. Some strange sound manipulation makes Grant's already rough voice sound like it's coming from the end of a dark tunnel while the notes of his guitars and saxophone leap up right in your ear.

Grant starts his album with a kind of love song. Anyone looking at the lyrics might think "In Love Again" was an optimistic tune. The ominous, hungry music and Grant's halting delivery turn the upbeat lyrics into a phobic fret over the power of love. "The Saddest, Hardest Thing," a somewhat sad song about love that's simply not meant to be, feels more relaxed than the sure-love message of "In Love Again." A soft saxophone solo at the end carries the resigned regret of the song better than the often conflicting lyrics. Love never seems a solidly good thing in this world. The lover is usually captured, by passion or, as in "Serpent Lady," by magic. The feel changes entirely with "Serpent Lady," as guitar and percussion turn Latin for an ensorcelling woman.

The most powerful songs on After The Crash give Grant's paranoid delivery and rough voice a plot to wrap themselves around. "Angles" reads and sounds like a schizophrenic rant, as some ambiguous "they" hides the truth from "us." "Closed Eyes" sings the glory and use of oppression and lies, seemingly straight from "their" throats.

After The Crash ends with the title song, a twisting, atmospheric instrumental that sums up all the contradictions of the album. It's a very hard album to listen to all the way through. The contradiction between Grant's rough vice and sweet instruments sets up a surreal and creepy clash that makes After The Crash the musical equivalent of a psychological horror novel. I can't say I enjoyed the album, but it certainly gave me some vivid mental videos.

- Rambles
written by Sarah Meador
published 7 December 2002
http://www.rambles.net/grant_after01.html

Bisbe Street by Greg Grant
Composer and musician Greg Grant lived (off and on) in Barcelona, Spain for five years. The music you will hear on his latest recording, Bisbe Street, is influenced by that wonderful experience. Here is happy, upbeat and smooth jazz that will start your toes to tapping.

The eleven songs you will hear are classic original jazz that transported this reviewer to a better mood---of harmony, distant places and the satisfaction of knowing that you are listening to really cool music. Each song is carefully crafted of just the right notes, just the right beat, and played by just the right musicians.

Greg is excellent on his super-sexy alto sax, and on one number, Hammond organ. If that's not enough, this super-talent plays drums on tracks 6 through 10. He is very ably assisted by Guido Perla on drums; and James Whiton on double bass. The result is three superb musicians playing as one---one heart and one mind---it is that smooth.

Bisbe Street is named for the cobblestoned street near the cathedral, where Greg played his music on many nights. People would stop and stay to listen to the passion of these inspired songs. Just Greg and the passersby. Indeed Greg refers to Barcelona as a magical city---and this album is clear evidence of unseen forces that enabled such creativity.

Bisbe Street is cool jazz that is as good as it gets, and that's no surprise to me. After all, Greg Grant also gave us After the Crash (see my review), another showcase of this man's talent. In short, Bisbe Street is great!

Richard Fuller
Senior Editor
www.metarev.com

Greg Grant: After the Crash
After listening to After the Crash, this reviewer is convinced there is nothing Greg Grant can't do, musically. This recording is a showcase for his talents as a composer, lyricist, guitarist, sax player, singer and arranger.

Each of the nine songs on this great album reflect an amalgamation of Greg's learning experiences along his road to inspiration. You will hear influences of many different styles; from jazz to rock, folk to techno; classical to electronic; and Flamenco, Arabic and ambient.

Greg's musicianship is only equaled by his vast abilities to write both words and melodies. For instance, on track 6, Closed Eyes, we hear " Now's the time/ for you to close your eyes/ now's the time to close your eyes/ I can see/ you will find a way/to see/ I can see something up ahead/ but it's better if you don't."

And in Angles we hear. "There's a way out of this/ a way to escape from this/ all I need is a friend/ I don't know how much/ longer I can go/ I think I'm nearing my end/ these angles keep me a prisoner/ I cannot get free/ if they knew a way to free me/ do you think they'd help me to see?"

Greg has traveled the globe, always finding influences you will readily discern in his music. Thus, After the Crash offers inspirations from New York, Barcelona, Canada, Central America and the rest of Europe, as well. The end result is a recording you will listen to over and over again. After the Crash brings joy from both its lyrics and its freedom-filled approach to music.

This reviewer found a rare talent in Greg Grant, and an excellent recording in After the Crash!

Richard Fuller
Senior Editor
www.metarev.com

Greg Grant: After the Crash and Bisbe Street

Two recent recordings capture the versatility of Fortine guitarist, saxophonist and songwriter Greg Grant. A self-described "sonic adventurer," Grant showcases his wide-ranging interests on Bisbe Street and After the Crash.

Bisbe Street is an evocative collection of songs Grant composed during the mid- to late 1990s, when the artist frequently spent his evenings playing saxophone near the cathedral on Bisbe Street in Barcelona.

Featuring Grant, James Whiton on bass and Guido Perla on drums (with a violin solo on one number by producer and engineer Billy Oskay), the all-instrumental album mixes musical styles – including jazz, ballads, and Flamenco tunes – in a melodic tribute to the Spanish city.

The artist started playing alto sax at the age of nine, inspired by Zoot from the Muppets, and has since performed in a variety of jazz, rock and blues ensembles. He took up guitar, drums and voice in recent years, and also plays organ on one tune from Bisbe Street. The album was recorded in 2001 at Big Red Studio, Corbett, Ore.

Closer to home, the artist recorded After the Crash this past winter at his solar-powered studio constructed of straw bales – demonstrating conclusively that you don't need a big studio or a bunch of professional studio musicians to turn out some high-quality music on disk.

With the exception of some background vocals, the CD captures the sound and feel of Grant's live shows. By utilizing a looping device to repeat the guitar lines, Grant is able to embellish his live performances with soulful alto sax solos.

The feel of the music varies between folk rock and jazz, Flamenco and world music. Topically, it ranges from love songs ("In Love Again," "The Saddest Hardest Thing") to searches for truth and meaning in a confused world ("Angles," "Pure Moonlight").

Grant, a native of New York City, studied classical music and jazz at Oberlin Conservatory, and has since traveled in Europe, Central America, Canada and the United States, gleaning new inspiration and influences en route.

For further information on the albums, visit www.alteredstaterecords.com.

– Kristi Niemeyer
http://livelytimes.com/feature_articles/music/Greg_Grant.html

www.lightwordreviews.com
Winter edition, 2002
AFTER THE CRASH- Greg Grant

Presentation: World traveled, multi-talented guitarist, alto saxophonist, composer, lyricist, singer- Greg Grant provides a highly entertaining, unique blend of various world styles. The CD was recorded in a solar-powered studio constructed with straw bales resulting in a sensually cushioned one of a kind sound influence.

Noteworthy: Lyrics are imaginative and enjoyable on multi levels of awareness such as the Flamenco influenced piece "Serpent Lady"..."you rise each morning to bite the head off the sun...to gaze upon what lies beyond..." In the "After the Crash" instrumental we discern influences from various countries, and the composition is soul-stirring and totally unique.

Details: Altered State Records, POB 191, Fortine, MT 59918. 406.882.4613. CD., $15.00. www.alteredstaterecords.com

GREG GRANT- AFTER THE CRASH:
After the Crash is the sophomore release by singer/songwriter Greg Grant, who also plays alto sax and acoustic guitar on this nine-track collection. Grant originates from New York and started playing music at a young age. He was inspired by the Muppet Zoot to learn the saxophone. For a number of nomadic years he traveled and was exposed to a variety of musical styles that he has incorporated into own sound. Greg has settled in Northwestern Montana and recorded After the Crash at the Straw Bale Studios, an off the grid solar-powered studio constructed of straw bales. Greg writes intimate introspective songs that are musically pure and simple. He sings from the heart and beautifully blends diverse genres such as jazz, folk rock, classical and world. Fans of the Dave Matthews Band might appreciate Grant whose voice reminds me of Dave's and many of his tunes have that distinctive international sound. Greg's songs about love and life run smoothly into each other as tones and moods subtly change. The opening track 'In Love Again' opens with good guitar rifts, insightful lyrics and a soulful sax. 'Serpent Lady' has a mysterious Spanish feel with flamenco guitars and a sassy sax. Greg is a multi-talented artist and After the Crash captures his varied skills and styles in a collection of free expressive songs.

¥ Recommended Tracks: (1,3) [USA/MT 2001 - web]
(Review by Laura Turner Lynch for www.Kweevak.com)

"Hate Your Music"- APRIL 2002
GREG GRANT: AFTER THE CRASH This is a disc I would never listen to again. That may be because of my own shortcomings. Fans of Dave Matthews (which I am not) may enjoy this. It is a mostly acoustic album featuring Greg and his musings on love, loving and being lonely (because of love). Greg is an excellent guitar player, and the production on this disc is superb. The best thing about it for me is the picture on the back of the case. Apparently this album was recorded in an off the grid, solar-powered studio built with straw bales. One can only imagine Ed Begley Jr. slumped over the mixing board. Part of me feels that Greg is getting an unfair review, because I'm not sure what he could do to improve this disc. It's just not the sort of thing I would listen to.....
Bobbie and Olivia were not around.
www.hateyourmusic.50megs.com



GREG GRANT (Bisbe Street)
Jon says: If you are a fan of the Night Court TV theme, than this is for you! There are instrumentals galore, inspired mainly by Greg's tenure as a street musician in Barcelona, Spain. With titles like "Mountains, Rain, Poverty" and "Tears for marseille" one has to thank Greg for not adding lyrics. The playing is top-notch, and the Cd has a professional sound. I am not a jazz fan. I am not an instrumental fan. I really don't like any emphasis being put on a saxophone. So Greg didn't really stand a chance with me. If those ingredients interest you, check it out...
Bobbie and Olivia not available.



MUSTH
Jon says: This is the third offering Greg Grant has sent me. I have to give this guy major credit for allowing me to review more of his music. That said, "musth" is my favorite of the Cd's he has sent me. The music is like a soundtrack to an old Bombay action movie. Titles like "Nightfall for India" "Midnight Caravan" and "Walking the Dunes" should give you an idea of what these guys were up to. The Cd notes tell us that MUSTH is sanskrit for "hilarity" "rapture" "excitement" "sexual enjoyment" "lust" and "inspiration". I prefer to imagine a cheaply made black and white action movie from Bombay. The Cd notes also let us know that this album was completely improvised, which leads into Bobbie's comments....
Bobbie says: "They made this up on the spot?"
Olivia says: "Do you like it?" (in response to my question "Do you like this?")

In the Missoulian's "Entertainer," March 14, 2002 Ethereal adventure
ARTIST: Greg Grant
RECORDING: " After the Crash"

Not many of Montana's musicians have attempted to tread upon the ground of pop music. Greg Grant, of Fortine, has taken a brave step that direction. Not only did Grant stride confidently onto the pop street, he also recorded his album, `` After the Crash,'' at a solar-powered, straw bale studio. And he achieved a nice sound. Much like Sting, Grant has a higher pitched voice that, because of a nice use of reverberation, seems to float. In fact, all of his music seems to have a floating quality. He plays his guitars with a light picking strum, playing off the gentle sound of an acoustic, and the drifting sound of an electric. Grant also plays the saxophone, straying away from the traditional jazz into a much more ethereal sound. Lyrically, `` After the Crash'' is a bit cliche, and Grant does have a tendency toward those decidedly pop words, such as yeayeayea, and heyayay, but the unique music and Grant's voice make this CD an enjoyable experience. The sounds of `` After the Crash'' can turn a lonely night into an imaginative adventure. -- `` After the Crash'' is available at Rockin Rudy's, or look on the Web at www.alteredstaterecords.com. -Erica Parfit

In the Missoulian's "Entertainer," November 14, 2002
Grant, Bernson in full flight on 'Musth'
By ERICA PARFIT for the Missoulian

Imaginative and intriguing
ARTIST: Musth: Greg Grant and Jonathan Bernson
RECORDING: "Musth"

Music is little without imagination: Without it, great musicians are humble; with it, humble musicians can achieve greatness.

And so it is imagination that drives the new CD "Musth," a whirlwind, improvisation-laden recording that at first listening seems barely notable, but subsequently reveals the truly imaginative minds behind it.

Saxophonist and guitarist Greg Grant, half of the force behind this recording, told me this was a polarizing performance; listeners either really like it or really didn't. This struck me as odd. After my first listening, I didn't find it especially stirring one way or the other. So I listened on.

The music is fairly stylized, which could be a selling or stalling point. The tone and rhythms suggest a band of wayfaring gypsies in a caravan. But like Miles Davis in his experimental jazz albums, these musicians do not follow many traditional melody patterns.

The most obvious splash of imagination is the use of the alto saxophone. The rhythms often play out in earthy, deep, solidly nomadic tones, whereas the saxophone comes in with its smooth, brass tone, giving the music an intriguing dichotomy. There is also the opposing forces of steady drums, plodding in time, and the meandering saxophone as it dances its way with the improvisation of a true jazz artist.

The two creators of "Musth" - Grant and Jonathan Bernson (on drums and percussion) - show a large amount of imagination and compatibility in their playing. Not only do they experiment with styles, mixing an ethnic sound with a saxophone and jazz, but every note played on this album is improvised. Grant seems to play along with Bernson's rhythms as if the saxophone were playing itself, and Bernson's drums are playful when keeping time with Grant's cascading melodies.

The track "Midnight Caravan" especially shows this impishness: As the song progresses, the two seem to be egging each other on to play faster, and the music swells. On the opposite end of this liveliness is "Funeral." Employing the use of a gong, Bernson's rhythms set a solemn tone, while Grant's guitar and saxophone give it tenderness. "Slowmoon" employs a hard, militant downbeat mixed with a jazzy improvisation one might expect to hear on Beale Street in Memphis.

The final track, "Colors," is a bright splash of music, a short conversation between the bongos and guitar, playing the sounds of simple happiness.

As Grant told me himself, "Musth" is not for everyone. Some may love it, some hate it. It is unusual, but interesting - an album, fittingly, for our intriguing times.

- "Musth" is available at Rockin Rudy's.

Erica Parfit is a free-lance writer who reviews music for the Missoulian. She can be reached at entertainer@missoulian.com.

Send your recording to Erica Parfit, c/o the Missoulian, P.O. Box 8029, Missoula MT 59807.

Greg Grant: After The Crash
www.alteredstaterecords.com

Eh. Good intentions, ok guitar, very nice sax playing. Excellent girlfriend. I'd like to see some of these individuals get together and form bands -- the talent gets spread pretty thin otherwise. And heck, with a good band, the whole is a lot more than the sum of the parts. He seems like a nice guy, and he lives in a straw-bale studio off the power grid, in Montana, where I am guessing there is probably a special room with bright lights. When the shit comes down, put your money on the potheads who built their studios out of brick. (Norm Deplume)

http://www.demorama.com/reviews/archives/oct2002.html

Greg Grant - "Bisbe Street" (Altered State Records 2002, ASR002-D)
Musth - s/t (self-released 1994, Z06916)

From Aural Innovations #20 (July 2002)

Greg Grant has travelled to many places around the world, absorbing the atmosphere of different cities and different cultures into his music. Not to say that Grant plays world music; it definitely falls into the realm of jazz, but with hints and flavours of the places Grant has travelled. Bisbe Street focuses on his 3-year stay in Barcelona, and combines the worldly cosmopolitan feel of the streets of that city with Dave Brubeck influenced compositions and a plaintive, fiery, emotional approach to playing his alto sax.

This is easy to listen to, but it's far from so-called "smooth jazz", with it's stripped down instrumentation (along with Grant on alto sax is Guido Perla on drums and James Whiton on bass) and creative approach. The album kicks off in fine fashion with the jaunty Mil Cositas (which means something like "a thousand small things"), a fun romp in the tradition of Brubeck's classic Take Five . While there's honestly not much here for space and psych fans, Grant does delve occasionally into things a little freakier like the sliding, funky Silver Duck , with its cool wah-wah'd bass, and the almost spacy, Hammond organ drone of The Calling . Much of the album, though, stays traditional while still being inventive and engaging, with tracks like the soulful and melancholy When it Falls , the minimalist drums and sax of The Loneliest Immortal , and the lazy and affecting dance of the title track.

I've never been to Barcelona, and if Greg Grant doesn't quite conjure up visions of a city I've never seen, his music lets me know what it feels like to have been there. I really enjoyed this album.

Verging more into experimental and challenging, though still quite accessible territory is another of Grant's projects, this one called Musth . On Musth , Grant takes us on the backs of elephants into the heart of the Middle East and India. He chooses, however, to create his sound not on exotic eastern instruments, but with clever interpretations of Eastern sounds on his alto sax, similar to what Tony Scott did with his clarinet back in the late 60's on his classics Music for Zen Meditation and Music for Yoga Meditation . On this album, Grant also plays nylon stringed guitar and is joined by percussionist Jonathan Bernson.

There's less of a reliance on melody and structure here than there was on Bisbe Street , with more interest here in texture and soundscapes, showing Grant to be a player of both talent and versatility. And if the music is particularly evocative, so are the titles of the tracks, such as Midnight Caravan ,Cursed by Gypsies ,Darquitar (Seven Claws) ,Salt in the Wind , and Walking the Dunes , to name a few.

There are 14 tracks in all, most of them shorter studies in sound, all improvised, but they work together as a whole to create their exotic and intoxicating atmosphere. In fact, the word Musth, according to the liner notes, is a word of Persian origin, now used in the language of Northern India, and it means "a state of intoxication". A very appropriate title for this project.

Even though Bisbe Street and Musth are very different sounding albums, Grant does display a style on the alto sax that is definitely his own, and it can be heard throughout both of these excellent releases from Altered State Records.

Reviewed by Jeff Fitzgerald

Greg Grant: After the Crash

Guitarist, songwriter and sax player Greg Grant of Fortine demonstrates conclusively that you don't need a big studio or a bunch of professional studio musicians to turn out a high-quality music on disc.

Grant's second CD, After the Crash, was recorded this past winter at his solar-powered studio constructed of straw bales located near Fortine. With the exception of some background vocals, the CD captures the sound and feel of Grant's live shows. By utilizing a looping device to repeat the guitar lines Grant is able to embellish his live performances with soulful alto sax solos.

The feel of the music varies between folk, rock and jazz, Flamenco and world music. Topically, it ranges from love songs("In Love Again," "The Saddest Hardest Thing") to searches for truth and meaning in a confused world("Angles," "Pure Moonlight").

Grant, a native of New York City, began playing saxophone at age nine. He studied classical and jazz at Oberlin Conservatory, and has since travelled in Europe, Central America, Canada and the United States, gleaning new inspiration and influences en route. A self-described "sonic adventurer," Grant showcases his wide ranging interests on his new CD.

For further information on the album, visit www.alteredstaterecords.com