Fusing the rhythms of funk with the hard-driving guitar sounds of rock, this album brings together everything I love about this genre: hypnotic, interlocking grooves and the raw power of rock.

It had been over ten years since my last instrumental rock album, Pay On Demand was released. Well, now I'm Coming Back For More!

This album is a musical journey of the highs and lows of the year. The arrangements are guitar-heavy, emphasizing melody, feel, and tone. Composing and producing this album was truly a healing experience for me. I hope you can relate to it and find comfort and joy in my music.

The album artwork is courtesy of my good friend, accomplished drummer, and graphic novel illustrator Youenn Kergoat.

I've always enjoyed the allure of contemporary jazz. The fusion of jazz and other genres such as rock, funk, classical, and world music, creates a rich and eclectic sound. 

Color Tones is a collection of original and reworked contemporary jazz cuts. A mix of new tunes and cover tunes including a contemporary jazz version of Can't Hide Love (Skip Scarborough), and instrumental renditions of Wichita Lineman (Jim Webb) and Moody's Mood (Eddie Jefferson).

Right after my last project was finished and released, my thoughts immediately turned to what to do next. Smooth, contemporary, or acid jazz - whatever you want to call it - is a musical style I have always enjoyed listening to. The genre fuses jazz, funk, soul, R&B and disco. The style – a throwback to the 70s and 80s – is upbeat, fun to play and produce. 

Taking cues from Barry White, The Isley Brothers, Donna Summer, Kool and the Gang, Gloria Gaynor, Average White Band, and Earth, Wind & Fire, this album is a collection of original tunes and covers of Playing Your Game Baby (Austin Johnson and Smeed Hudman), Every Kind of People (Andy Fraser), Tell the World How I Feel About You Baby (John Whitehead, Gene McFadden and Victor Carstarphen), and What You Won't Do For Love (Bobby Caldwell and Alfons Kettner). 

The cover art is an original illustration created by my daughter, Jocelyn LeSaux. I hope you have as much fun listening to it as I did recording it!

I was a teen during the golden years of Jazz Rock | Fusion. I listened to Weather Report, Steve Khan, Herbie Hancock, Return to Forever, Mahavishnu Orchestra, Jan Hammer, Jean Luc Ponty, Brecker Brothers, and so many others.

The combination of the complexity of jazz, and the energy and intensity of rock was hard to ignore. In addition, the genre incorporated elements from various musical styles, including funk, R&B, and electronic music. This allowed for a wide range of expression and innovation

This all-instrumental album is a nod to this style of music. The arrangements are true to the era with vintage synths and keyboards, drums, bass, and guitar. I picked an electrical theme for the album title, and all of the tunes playfully reference that theme in some way.

This is the Latin rock album I had been waiting to record for years. This music is my homage to all of the early Santana music. 

The first time I heard Santana was when my older brother brought their first album home and played it on our turntable.  The cover art and stinging guitar tones layered over the Latin rhythms were mesmerizing. I was forever hooked on Latin Rock!  

This collection of tunes was inspired by the music of Santana, my roots (mis raíces).  Any similarities with Carlos Santana’s tone and style are completely intentional!  I hope you have as much fun listening to this music as I did composing and performing it. Get up, dance and enjoy! La música es la vida!

Although I had never really played in this style, I was always intrigued by progressive metal. The intricate compositions, complex rhythms, unorthodox harmonies, and frequent meter changes were a major draw for me. 

Before starting to write tunes for this album, I completely immersed myself in the music of Dream Theater, Derek Sherinian, Planet X, Simon Phillips, Steve Weingart, and Virgil Donati. Then I set out to provide my own spin on the genre. Using the periodic table of elements as the basis for the project provided an interesting way to give the album some cohesion.

Pay On Demand is the first album I released after setting up my home studio, Moose Tracks. The name of the album comes from the Line 6 PODxt guitar amp and effects modeler used to record all of the guitar tracks. 

All of the tunes came to me very quickly, probably due to the excitement of the new home studio environment and all of the possibilities before me. The tracks are heavily influenced by my guitar heroes Joe Satriani, Steve Vai, and Eric Johnson.

In an era marked by division and strife, too much time is spent emphasizing our differences while in fact, we have more in common than we realize. 

We often forget to stop and appreciate what we already have, and instead focus on what we want next. But not everyone has what they need, and for those fortunate enough to do so, we should try to help one another. 

This new tune has its roots in spiritual music; a style fitting for what I felt at the time.

It's been over a year since Jeff Beck's passing, and I've been eager to record a tribute to him. I chose The Pump from the There And Back album. The tune penned by Tony Hymas and Simon Phillips showcases Jeff at his finest. 

Jeff profoundly influenced my approach to guitar playing. He didn't just play the guitar; he attacked it! He's the reason why I bought my Fender Stratocaster. I was lucky enough to see Jeff in concert a few times. I always walked away mesmerized. He is truly missed. 

We all have done or said something we wish we hadn't and would want to take back. But we know that's not possible. This tune is about owning what we say and do because, you can't turn back the hands of time. 

This intimate arrangement features nylon string guitar accompanied by upright bass, drums, piano and strings.

Donny Hathaway wrote and recorded one of the best holiday songs ever. Here, I play a smooth jazz guitar version of this great tune.  

Originally released in 1970 to moderate acclaim, the song gradually became a holiday staple and has since been interpreted by numerous renowned recording artists. The song was composed by Donny Hathaway and Nadine Theresa McKinnor.

The original artwork is courtesy of my daughter, Jocelyn LeSaux.