It was only the second time that Frank and Adam had played together. And although Frank and Kenny had played together many times before as hired guns in other people’s projects, this was the first time they would really jam. There was no discussion before they played short of “hi, how are you?” and one and a half hours later it was apparent that something very special had just transpired. Inspired by Miles Davis’ Bitches Brew / Live Evil period, Ornette Coleman and John Coltrane’s devotion to freeing the musician and listener and the Abstract and Dadaist Art Movements of the 20th century… What does Funkwrench sound like? One astute writer has described them as crash-landing the P-Funk Mothership in Electric Ladyland.
They are not believers in pigeon holing, pre-defining or packaging and are determined to remove as much of the “business” from their “music business”. Their ultimate mission: to truly jam, explore, stretch and communicate with each other, the audience and with some attainable yet un-maintainable Universal Truth. The Riff. The Groove.
The Sound. Kenny Vaughan – Guitar On stage and in the recording studio, Kenny Vaughan is the consumate, 21st Century guiTarzan. His style, both as a soloist and ensemble player, includes Rock ‘n Roll, Blues, Country, Soul, Western Swing, Jazz (he took lessons from Bill Frizell) and Tomorrow-Grass. Born in Oklahoma and raised in Denver, Colorado, he was electrified as a teen by front-row exposure to the likes of British Invasion titans the Yardbirds, the Jeff Beck Group, the Animals and Led Zeppelin; seminal experiences that inspired him to spend his life mastering the various musical forms mentioned earlier.
Dedication and experimentation have enabled him to forge his own unique style of guitArchitecture. If he was a ball player, he could cover all the bases. If he was a SkyCap, there is no bag he couldn't lift and carry. After stretches in Chicago and NYC as a young man fronting his own band, the Jonny Three, he moved to Nashville in 1987, where he has since toured and recorded with a roster of artists that include Marty Stuart, Lucinda Williams, Patty Loveless, Rodney Crowell, Kim Richey, Tim O'brien, Greg Garing, R.
B. Morris, the RRAF, Mindy Smith and Hayes Carll. Married to singer-musician Carmella Ramsey, they have two daughters, Velvet and Talia. In 2000 he was named Best Guitarist in the Nashville Scene Music Awards. Frank Swart – Bass A transistor radio tucked under his pillow at night, Frank discovered the secret sounds of late night Soul DJ’s and the Psychedelic Revolution when most kids his age were sound asleep dreaming of Big Wheels and Devil Dogs.
He was also listening in a very different way; the reverb on the snare drum, why the guitar sounded that way...these things mattered! It was to be several more years before he’d actually get his hands on a musical instrument but he knew then what he wanted. He finally began playing bass and abusing a “borrowed” Wollensak 2-Track tape machine at 13 and was gigging shortly thereafter. Playing bass, writing, recording and the pursuit of a cool vibe, sound, groove has been a way of life for Frank ever since. Born and raised in Boston with short stints in New York and Los Angeles and a long run in San Francisco where he co-lead the Acid Jazz groups Junk and post junk trio, he and his family now reside in Nashville Tennessee.
As a bass player, engineer, producer and writer some of the artists Frank has worked with are Angelo, Billy Nayer Show, Blackalicious, Joseph Bowie, Johnny Clyde Copeland, Flea, Patty Griffin, Jerry Harrison, Morphine, Bijou Phillips, Pixies, Kim Richey, Philip Steir, Phoebe Snow, Pete Townshend, Narada Michael Walden and Bernie Worrell. Adam Abrashoff - Drums In approximately 3411 BC, Adam Abrashoff is credited to be the first human to smelt copper and tin into the alloy known as bronze, thus ushering in the Bronze Age. Shortly thereafter, he used a sharpened bronze chunk to hollow out a log, and stretched an animal hide across it, creating what is now called a drum. In 426 BC, he brought the drum to the Roman Empire, where they used it on the battlefield.
In 1621, Adam was studying alchemy in Turkey. He met a man named Avedis Zildjian. Together they developed the "Cymbal". (In 1623 Avedis starts a nearly 400 year legacy of cymbal making.) 1759: Mr.
A stretches "gut" across the bottom drum head, creating the "snare drum", which plays an important part in both the American Revolutionary and Civil Wars. Then in 1929, Abrashoff invents the modern drum set. Finally, Adam Abrashoff began playing drums in 1988. Early drum heroes included Buddy Rich, Neil Peart and David Garibaldi.
This led to a thorough love, and study of jazz, prog rock and funk. Abrashoff began listening to everything from Yes, King Crimson and Zappa to James Brown, The Ohio Players, Sly Stone, and the Meters to Coltrane, Tony Williams, Elvin Jones, Chick Corea, and Mahavishnu Orchestra. Adam began teaching and playing professionally in his early twenties. He quickly became "top call" for road and session gigs in the Akron/Cleveland area.
He moved to Nashville in the fall of 2006. On any given night, you can catch Abrashoff in one of his many bands around town: Funk / Soul with Mindy McQ, Blues / Southern rock with The Cosmic Blues Authority, Jazz / Fusion with the Nashville Potato Guns and of course, Acid Funk / Hypno-Groove with Funkwrench. When Frank Swart, of the Post Junk Trio, called up his buddy Kenny Vaughan and asked him if he wanted to jam, he had no expectations beyond an afternoon of making music with a friend. After getting Cleveland area session-drummer Adam Abrashoff in on the fun, it became obvious that the trio was onto something special. Although it was the first time that these three seasoned musicians were playing together as a trio, the instant chemistry that formed was undeniable.
Inspired by Miles Davis’ Bitches Brew / Live Evil period, Ornette Coleman and John Coltrane’s devotion to freeing the musician and listener and the Abstract and Dadaist Art Movements of the 20th century… What does Funkwrench sound like? One astute writer has described them as crash-landing the P-Funk Mothership in Electric Ladyland. They are not believers in pigeon holing, pre-defining or packaging and are determined to remove as much of the “business” from their “music business”. Their ultimate mission: to truly jam, explore, stretch and communicate with each other, the audience and with some attainable yet un-maintainable Universal Truth. The Riff.
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