JAMES VINCENT
''SPACE TRAVELER''
1976
43:46
1 - The Garden; Mankind
-The Garden
Bass – Verdine White
Drums – Harvey Mason
Percussion – Patrick M. Murphy
Strings, Horns – Jack Nitzsche
-Mankind
Drums – Clyde Stubblefield
Percussion – Carla May, Leon Chancler, Patrick M. Murphy
String & Horn Arrangements - Ronald Stockert
2 - Drifting Into Love
Backing Vocals – Clydie King, Shirley Mathews, Vinetta Fields
Bass – Verdine White
Congas – Patrick M. Murphy
Drums – Freddy White
Strings, Horns – Jack Nitzsche
Tambourine – Carla May
3 - Alone; Space Traveler
-Alone
Classical Guitar – James Vincent
-Space Traveler
Backing Vocals – Peter Cetera
Bass – Verdine White
Drums – Freddy White
Percussion, Congas – Patrick M. Murphy
Strings, Horns – Jack Nitzsche
4 - Firefly
Backing Vocals – Ronald Stockert
Bass – Verdine White
Drums – Harvey Mason
Horns – Larry Klimas, Ralf Rickert
Percussion – Patrick M. Murphy
5 - Song For Jayme
Backing Vocals – Carla May
Congas – Patrick M. Murphy
Drums – Clyde Stubblefield
Strings, Horns – Jack Nitzsche
6 - How I'm Gonna Miss You
Backing Vocals – Clydie King, Peter Cetera, Shirley Mathews, Vinetta Fields
Bass – Verdine White
Drums – Harvey Mason
Percussion – Patrick M. Murphy
Strings, Horns – Jack Nitzsche
7 - Stepping Up; Walking On Higher Ground
-Stepping Up
Bass – Verdine White
Drums – Harvey Mason
Percussion – Patrick M. Murphy
Strings, Horns – Jack Nitzsche
-Walking On Higher Ground
Bass – Verdine White
Drums – Harvey Mason
Percussion – Patrick M. Murphy
Saxophone – Steve Douglas
Strings, Horns – Jack Nitzsche
8 - Moonday
Bass – Verdine White
Congas – Patrick M. Murphy
Drums – Harvey Mason
Percussion – Mayuto
Saxophone – Jay Migliori
ABOUT THE ALBUM
Recorded in 1975 and released in 1976. Definitely my most commercially successful project. The single hit the top forty in several markets with no touring support. It was said that if the release had been a year later with the "Star Wars" movie being released, it would have been a possible number 1 hit. R&B jazz fusion would best describe the style. I was at the time on an extended visit to Kauai, Hawaii that turned into almost a year visit, to the complete frustration of my label and management. If you like the funky sounds of the mid seventies you should love this record.
BIOGRAPHY
By AMG
James Vincent Dondelinger, 1943, Chicago, Illinois, USA. Raised on Chicago’s South Side, for decades the home of contemporary urban blues, Vincent took up the guitar at an early age. Inevitably, he drew inspiration from the blues but also from diverse musical forms including jazz, fusion and salsa. Guitarists whom he emulated were similarly varied, among them B.B. King, Johnny Smith and Chet Atkins. In the mid-60s, he began playing in local clubs and was heard and hired by a very popular Chicago band, the Exceptions. In 1968, in addition to playing club engagements, Vincent developed as a studio musician performing backing tracks for many of the artists signed to Chess Records. Meanwhile, he was also advancing his aspirations as a songwriter and composer. When an opportunity arose in 1969 to join the rock band, H.P. Lovecraft, Vincent moved to San Francisco. There, he also met and worked with Jerry Garcia, and was especially impressed by John McLaughlin’s Mahavishnu Orchestra whose fusion style prompted him in new directions. A recording contract launched him on a solo career but he continued to work with other artists on their records. All of this kept him very busy, so much so that he turned down an offer to join Earth, Wind And Fire. Among the bands and individual artists with whom he worked during this period were Rufus, Azteca, Santana, Etta James and Gregg Allman.
The fact that Vincent has never been content to be pigeonholed, allied to his liking for many musical genres can be charted through the years of his recordings, moving from the relative simplicities of early rock displayed on the 1971 recording Culmination, through funky R&B fusion in the mid-70s, to a late 70s form of the same thing but with lyrics that highlighted Vincent’s intervening religious conversion. The result, 1978’s Waiting For The Rain, with its blend of secular and sacred music, was widely praised and sold well. By the start of the 80s, through his lyrics, Vincent’s music spoke more overtly of his Christianity but, musically, it continued to display a solid jazz and blues feel. It was therefore quite different from the increasingly popular pop rock style of religious music. In the mid-80s, he dropped out of music and became a lumberjack in northern California but eventually returned to the scene after a 12-year absence and with a 17-year gap between albums. That return to the recording studio, Second Wind, is more overtly jazz rock fusion and largely eschews lyrics in favour of powerful instrumentals. Despite, or perhaps because of, his split career, Vincent’s music maintains interest and is frequently rewarding for its early unpretentiousness and its latter-day subtleties.
WEBSITE
''SPACE TRAVELER''
1976
43:46
1 - The Garden; Mankind
-The Garden
Bass – Verdine White
Drums – Harvey Mason
Percussion – Patrick M. Murphy
Strings, Horns – Jack Nitzsche
-Mankind
Drums – Clyde Stubblefield
Percussion – Carla May, Leon Chancler, Patrick M. Murphy
String & Horn Arrangements - Ronald Stockert
2 - Drifting Into Love
Backing Vocals – Clydie King, Shirley Mathews, Vinetta Fields
Bass – Verdine White
Congas – Patrick M. Murphy
Drums – Freddy White
Strings, Horns – Jack Nitzsche
Tambourine – Carla May
3 - Alone; Space Traveler
-Alone
Classical Guitar – James Vincent
-Space Traveler
Backing Vocals – Peter Cetera
Bass – Verdine White
Drums – Freddy White
Percussion, Congas – Patrick M. Murphy
Strings, Horns – Jack Nitzsche
4 - Firefly
Backing Vocals – Ronald Stockert
Bass – Verdine White
Drums – Harvey Mason
Horns – Larry Klimas, Ralf Rickert
Percussion – Patrick M. Murphy
5 - Song For Jayme
Backing Vocals – Carla May
Congas – Patrick M. Murphy
Drums – Clyde Stubblefield
Strings, Horns – Jack Nitzsche
6 - How I'm Gonna Miss You
Backing Vocals – Clydie King, Peter Cetera, Shirley Mathews, Vinetta Fields
Bass – Verdine White
Drums – Harvey Mason
Percussion – Patrick M. Murphy
Strings, Horns – Jack Nitzsche
7 - Stepping Up; Walking On Higher Ground
-Stepping Up
Bass – Verdine White
Drums – Harvey Mason
Percussion – Patrick M. Murphy
Strings, Horns – Jack Nitzsche
-Walking On Higher Ground
Bass – Verdine White
Drums – Harvey Mason
Percussion – Patrick M. Murphy
Saxophone – Steve Douglas
Strings, Horns – Jack Nitzsche
8 - Moonday
Bass – Verdine White
Congas – Patrick M. Murphy
Drums – Harvey Mason
Percussion – Mayuto
Saxophone – Jay Migliori
ABOUT THE ALBUM
Recorded in 1975 and released in 1976. Definitely my most commercially successful project. The single hit the top forty in several markets with no touring support. It was said that if the release had been a year later with the "Star Wars" movie being released, it would have been a possible number 1 hit. R&B jazz fusion would best describe the style. I was at the time on an extended visit to Kauai, Hawaii that turned into almost a year visit, to the complete frustration of my label and management. If you like the funky sounds of the mid seventies you should love this record.
BIOGRAPHY
By AMG
James Vincent Dondelinger, 1943, Chicago, Illinois, USA. Raised on Chicago’s South Side, for decades the home of contemporary urban blues, Vincent took up the guitar at an early age. Inevitably, he drew inspiration from the blues but also from diverse musical forms including jazz, fusion and salsa. Guitarists whom he emulated were similarly varied, among them B.B. King, Johnny Smith and Chet Atkins. In the mid-60s, he began playing in local clubs and was heard and hired by a very popular Chicago band, the Exceptions. In 1968, in addition to playing club engagements, Vincent developed as a studio musician performing backing tracks for many of the artists signed to Chess Records. Meanwhile, he was also advancing his aspirations as a songwriter and composer. When an opportunity arose in 1969 to join the rock band, H.P. Lovecraft, Vincent moved to San Francisco. There, he also met and worked with Jerry Garcia, and was especially impressed by John McLaughlin’s Mahavishnu Orchestra whose fusion style prompted him in new directions. A recording contract launched him on a solo career but he continued to work with other artists on their records. All of this kept him very busy, so much so that he turned down an offer to join Earth, Wind And Fire. Among the bands and individual artists with whom he worked during this period were Rufus, Azteca, Santana, Etta James and Gregg Allman.
The fact that Vincent has never been content to be pigeonholed, allied to his liking for many musical genres can be charted through the years of his recordings, moving from the relative simplicities of early rock displayed on the 1971 recording Culmination, through funky R&B fusion in the mid-70s, to a late 70s form of the same thing but with lyrics that highlighted Vincent’s intervening religious conversion. The result, 1978’s Waiting For The Rain, with its blend of secular and sacred music, was widely praised and sold well. By the start of the 80s, through his lyrics, Vincent’s music spoke more overtly of his Christianity but, musically, it continued to display a solid jazz and blues feel. It was therefore quite different from the increasingly popular pop rock style of religious music. In the mid-80s, he dropped out of music and became a lumberjack in northern California but eventually returned to the scene after a 12-year absence and with a 17-year gap between albums. That return to the recording studio, Second Wind, is more overtly jazz rock fusion and largely eschews lyrics in favour of powerful instrumentals. Despite, or perhaps because of, his split career, Vincent’s music maintains interest and is frequently rewarding for its early unpretentiousness and its latter-day subtleties.
WEBSITE
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