Jeff Kollman: Silence In the Corridor

Jeff Kollman: Silence In the Corridor


Jeff Kollman: Silence In the Corridor
Bill Meredith

A modern guitarist for all seasons, Los Angeles-based Jeff Kollman moves
seamlessly between everything from electric funk and metal to acoustic folk
and blues on his new CD, Silence In the Corridor. Released on his own
Marmaduke Records label, it’s the latest in a handful of solo efforts by
the prolific guitarist and songwriter, who’s also part of Red Hot Chili
Peppers drummer Chad Smith’s funky Bombastic Meatbats band.

Jeff Kollman: Silence In the Corridor

Jeff Kollman: Silence In the Corridor

Kollman opens his latest mostly-instrumental variety pack with anything but
silence. Cosmo Ray Vaughn salutes the late blues master Stevie Ray
Vaughan through one of the undervalued strengths shared by both guitarists
— rhythmic chording — as Kollman creates a blues/funk hybrid theme with
bassist Ric Fierabracci and drummer Shane Gaalaas.

The strutting West Coast Swagger follows by blending influences both
contemporary (Larry Carlton) and bluesy (Eric Johnson) as Kollman plays
electric and acoustic guitars, plus bass, with keyboardist Ed Roth (from
the Bombastic Meatbats) and drummer Adam Gust. One Last Remark is a
fleet-fingered solo acoustic guitar improvisation that includes a snippet
of scat-singing by Kollman, who’s also an underrated vocalist. More of that
talent comes later.

Other guest stars include drummer Joel Taylor (Al Di Meola, Andy Summers),
who paces Kollman’s haunting, bluesy title ode to deceased Irish guitar
icon Gary Moore; Bombastic Meatbats bassist Kevin Chown, who anchors the
acoustic flamenco piece Steer Clear of the Border Town, and bassist Jimmy
Johnson (Allan Holdsworth, James Taylor) on the mournful Song For James,
dedicated to the late Los Angeles recording engineer James Murray.

The New Nightmare is a mix of metal and funk that displays an Eddie Van
Halen influence and goes further toward the dark side through Kollman’s use
of guitar synthesizer, and the fiery, acidic Afgan Headtrip and
atmospheric, acoustic Time and the Inevitable are solo tracks that show
two vastly different sides of his sonic palette.

Still, the guitarist holds his most unorthodox cards until the very end of
the disc. A Day of Mourning is a somber duet with pianist Lao Tizer on
which Kollman plays acoustic guitar and electric bass to honor his late
father, Tom Kollman. The piece was even recorded on the 10th anniversary
of his death.

The guitarist then delivers surprising lead vocals and clean-toned guitar
on the closing Unforgettable, the 1951 Irving Gordon standard made famous
by Nat King Cole, to honor his late grandmother Helen Kollman. Complete
with a string arrangement, upright bass by Fierabracci and backing vocals
by family members, the track may sound out of place amid Kollman’s guitar
pyrotechnics. But like most of his work, it’s practically impossible to

Jeff Kollman (guitar, bass, vocals)
Ed Roth (keyboards)
Lao Tizer (piano)
Ric Fierabracci (bass)
Kevin Chown (bass)
Jimmy Johnson (bass)
Rufus Philpot (bass)
Shane Gaalaas (drums)
Adam Gust (drums)
Joel Taylor (drums)Jono Brown (drums, string arrangement)
Raul Pineda (percussion)
Azan Adhan (vocals)
Ella Kollman (vocals)
Lila Kollman (vocals)
Tricia Kollman (vocals)

1. Cosmo Ray Vaughn
2. West Coast Swagger
3. One Last Remark (improvisation)
4. Silence In the Corridor (tribute to Gary Moore)
5. Steer Clear of the Border Town
6. Song for James (R.I.P. James Murray)
7. The New Nightmare
8. Afgan Headtrip
9. Time and the Inevitable
10. A Day of Mourning
11. Unforgettable (dedicated to Helen Kollman)

Bill Meredith

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