11762 - VICTOR WOOTEN - SOUL CIRCUS (2005)

VICTOR WOOTEN
''SOUL CIRCUS''
APRIL 12 2005
60:30
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01 - Intro: Adam 00:10 (Adam Wooten)
02 - Victa 04:55 (Bootsy Collins, Future Man, Victor Wooten)
03 - Bass Tribute 05:11 (Future Man, Victor Wooten)
04 - Prayer 05:47 (Saundra Williams, Victor Wooten)
05 - Natives 04:00
06 - Can't Hide Love 04:36 (Skip Scarborough)
07 - Stay 04:56
08 - On And On 04:52 (Speech, Saundra Williams, Victor Wooten)
09 - Cell Phone 04:23 (Count Bass D, Victor Wooten)
10 - Back To India 04:31 (Speech, Victor Wooten)
11 - Soul Circus 04:30
12 - Higher Law 04:35
13 - Take U There 00:29
14 - Ari's Eyes 05:00
15 - Outro: Kids 00:09 (Adam Wooten, Arianna Wooten)
16 - Bass Tribute (Reprise) 02:25
Tracks By Victor Wooten, Except As Indicated
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Victor Wooten - Bass guitar, Tenor bass. Drum Programming, Keys, Vocals, Background Vocals, Electronic drums, Sitar Bass.
Double bass, Drums, Production
Steve Bailey - bass, vocals, fretless bass, acoustic bass
J.D. Blair - drums
Oteil Burbridge - vocals
Dennis Chambers - drums
T.H. Subash Chandran - ghatam, konnakol, vocal percussion, jaw harp, moorsing
Alvin Chea- vocals
Jeff Coffin - saxophone
Bootsy Collins - vocals
Count Bass D - rap
John Cowan - vocals
Bill Dickens - vocals
Future Man- keyboards, vocals, voices
Gary Grainger - vocals
Barry Green - trombone
K. B. Ganesh Kumar - kanjira
Keith Leblanc - vocals
Will Lee - bass, vocals
Howard Levy- harmonica
Raymond Massey - drums, snare drum
Christian McBride - vocals
Rod McGaha - trumpet
Bill Miller - flute, shaker, frame drum
Rhonda Smith - vocals
Speech - vocals, rap
T. M. Stevens - bass, vocals
Kurt Storey - bass, voices
Shawn "Thunder Wallace - saxophone
Saundra Williams - vocals
Holly Wooten- background vocals
Kaila Wooten - vocals
Regi Wooten - guitar, nylon-string guitar
Roy Wooten - cajon, box
Divinity Roxxd? - vocals/rap
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REVIEW/AMG
Ronnie D. Lankford, Jr.
Anyone who knows anything about Victor Wooten knows that he's one of those rare souls: he gains a rep for playing the bass. Soul Circus, however, isn't just an extravaganza for bass players. Wooten, as it turns out, is also a heck of a writer and, as the listener will learn on the first track, a fine singer. The unusual first track, "Victa," is a funky, soulful hymn in praise of -- who else -- Wooten himself, while "Bass Tribute" offers accolades to those who've come before him. If the subject matter sounds a bit strange, the confident delivery, understated humor, and fine songwriting make it all work. Soul Circus' production is a nice merger of keyboards, drums, lots of bass, and multiple voices. While this combination and Wooten's production does provide a blueprint sound for the album, it's never predictable. "Back to India," for example, combines soul and sitar for an unusual but winning mixture. There are other oddities like "Cell Phone," complete with dialer effects, spiritually tinged material like "Prayer" and "Back to India," and songs about the power of love such as "Can't Hide Love." Overall, Soul Circus has the adventurous, confident feel of an old Sly Stone album while still being completely of its time. It's also certain that the album will convince listeners that Wooten, while still a fine bass player, has many talents.
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BIOGRAPHY/AMG
Heather Phares
Bassist Victor Wooten began his musical career early. At age three, his brother Regi taught him to play bass, and at age five he made his stage debut with his four older brothers in the Wootens, playing songs by R&B mainstays like James Brown, Sly & the Family Stone, War, and Curtis Mayfield. After playing regional tours and opening for acts like Mayfield and War, the Wootens recorded an album in 1985. However, the record received little commercial or critical response, and eventually the Wooten Brothers found other gigs. By 1988, Victor Wooten moved to Nashville to join a rock band, and the following year met Béla Fleck, the banjo player for New Grass Revival. Fleck was forming a jazz group to appear on a TV show; he recruited Wooten, his brother Roy on drums, and Howard Levy on keyboards and harmonica. As the Flecktones, the group earned numerous accolades, including four Grammy nominations and a number one album on the jazz charts.

A Show of Hands
As the '90s progressed, Wooten added a solo recording career and numerous collaborations to his duties in the Flecktones. Along with solo albums like 1996's A Show of Hands and the following year's What Did He Say?, Wooten contributed to albums by friends like David Grier, Paul Brady, and Branford Marsalis' Buckshot LeFonque. His third solo album, Yin-Yang, which featured appearances by Fleck, Bootsy Collins, and the Wooten Brothers, was released in 1999. Live in America from 2001 documented four years on the road in a double-disc package. After tours with the Flecktones and a 2001 release/tour with the group Bass Extremes, Wooten returned to his solo career in 2005 with the album Soul Circus. Released in 2008, Palmystery included turns by violinist Eric Silver and harmonica player Howard Levy.
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WEBSITE
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Soul Circus

11254 - SCOTT HENDERSON, STEVE SMITH, VICTOR WOOTEN - VITAL TECH TONES (1998) (REPOST)

SCOTT HENDERSON, STEVE SMITH, VICTOR WOOTEN
''VITAL TECH TONES''
JUNE 9 1998
60:04
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1 /Crash Course
Scott Henderson / Steve Smith / Victor Wooten 7:00
2 /Snake Soda
Scott Henderson / Steve Smith / Victor Wooten 5:35
3 /Dr. Hee
Scott Henderson 8:55
4 /Everglades
Scott Henderson / Steve Smith / Victor Wooten 9:39
5 /Two for One
Steve Smith / Victor Wooten 5:22
6 /King Twang
Scott Henderson / Steve Smith / Victor Wooten 4:09
7 /The Captors
Scott Henderson / Steve Smith / Victor Wooten 7:51
8 /Giant Steps
John Coltrane 5:44
9 /Lie Detector
Scott Henderson / Steve Smith / Victor Wooten 5:49
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Scott Henderson /Guitar
Steve Smith /Drums
Victor Wooten /Bass, Vocals
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REVIEW/AMG
Robert Taylor
Calling this group a power trio would not be fair, as it would be too much of an understatement. Guitarist Scott Henderson, bassist Victor Wooten, and drummer Steve Smith are three of the most inventive jazz-rock players who have pushed the style into uncharted waters during the late '80s and throughout the '90s. The clever name Vital Tech Tones infers each members primary bands: Smith's Vital Information, Henderson's Tribal Tech, and Wooten's Bela Fleck and the Flecktones. The combined talent level of the band is astounding and the music created here is a reflection of not only their technical abilities, but also their compositional talents. The program maintains a jazz-rock fusion feel, but there is enough variety in the compositions that raise this above just another blowing session. That being stated, the cover of "Giant Steps" has to be heard to be believed, as does the Jimi Hendrix-influenced "Lie Detector." A very rewarding session that proves that jazz-rock fusion can still be played with conviction, honesty, and integrity.
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BIOGRAPHY/AMG
Bill Meredith
Guitarist Scott Henderson moved from his native South Florida to Los Angeles in 1980, and formed the group Tribal Tech in the mid-'80s with bassist Gary Willis. Their jazz fusion output grew increasingly harder-edged, especially with the additions of keyboardist Scott Kinsey and drummer Kirk Covington in the early '90s, but Henderson still had a restless need to experiment. Solo blues CDs Dog Party (1994) and Tore Down House (1997) satisfied his fascination with Stevie Ray Vaughan and Albert King; all-improvisational Tribal Tech discs Thick (1999) and Rocket Science (2000) showed that this supremely talented band didn't need to write in order to record. But Henderson still wanted to blend his love for improvisation with rock influences Jimi Hendrix and Jeff Beck into a format outside of Tribal Tech, so he formed a trio in 1998 called Vital Tech Tones. Also featuring Steve Smith (former drummer for rock band Journey and leader of the group Vital Information) and Victor Wooten (bassist for Bela Fleck & the Flecktones) Vital Tech Tones took their name by using a portion of each of the three principals' primary acts.

The trio recorded their self-titled debut CD in only ten days at Smith's Neverland Studio in 1998, and the largely improvised release featured previously unearthed facets of all three musicians. Smith's drum sound is huge and his playing Tony Williams-like, especially on the opening track, "Crash Course"; Henderson reworks his Allan Holdsworth influences into the title track from Tribal Tech's second album, "Dr. Hee"; and Wooten displays his incredible arsenal on "Two for One" and John Coltrane's "Giant Steps." Amid the Tribal Tech improv albums; Vital Information's 2000 release, Live Around the World; and the Flecktones' studio CD, Outbound, Vital Tech Tones managed a follow-up in 2000 called VTT2. Taking slightly more time (15 days) and eschewing Smith's home studio in favor of the Tommy Tedesco Studio in Los Angeles, the trio sounded more at ease, democratic, and more like a band instead of a collection of individual talents.

A more composed CD, VTT2, shows Smith raising the bar on tracks like "The Litigants" and "Drums Stop, No Good," and Wooten flailing on "Catch Me if You Can" and doing his patented bass slap/vocal rap on the opening, "VTT." An inspired Henderson responds with a fuselage of new tones and fiery solos, especially on lengthy tracks like "SubZero" and the closing track, "Chakmool-Ti." Perhaps a research and development unit for this trio's primary groups, Vital Tech Tones is particularly a showcase for Henderson's blend of Jimi Hendrix tones and Allan Holdsworth effects. The three musicians involved are all at or near the apex of their respective instruments' greatest musical athletes, making for some dizzying, Olympian exchanges. Picture Hendrix's Band of Gypsys trio 30 years after, and one has a close approximation of Vital Tech Tones.
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10912 - GREG HOWE, VICTOR WOOTEN, DENNIS CHAMBERS - EXTRACTION (2003)

GREG HOWE, VICTOR WOOTEN, DENNIS CHAMBERS
''EXTRACTION''
OCTOBER 7 2003
50:13

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1 Extraction 06:13
2 Tease 06:07
3 Crack It Way Open 05:59
4 Contigo 06:30
5 Proto Cosmos 04:15
6 A Delicacy 02:24
7 Lucky 7 06:02
8 Ease Up 06:20
9 Bird's Eye View 06:19
All Tracks By Greg Howe

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Greg Howe – Guitar, Guitar Synthesizer, Keyboard
Dave Cook/Additional Keyboard, Keyboard Solos
Dennis Chambers/Drums
Victor Wooten/Bass

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ABOUT THE ALBUM
WIKIPEDIA

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REVIEW/AMG
Greg Prato
Although he's primarily known as a heavy metal shredder, guitarist Greg Howe can pretty much adapt to any style thrown his way -- including jazz fusion. And this is precisely the style that is featured throughout 2003's Extraction, which saw Howe joined by such top-notch instrumentalists as Victor Wooten on bass and Dennis Chambers on drums (as well as David Cook on keys). Longtime fans of Howe who are hoping for at least a glimpse of his hard rock roots are out of luck here, as the tunes often recall the carefree fusion days of the 1970s, when such artists as Billy Cobham, Stanley Clarke, and Al di Meola were consistently giving a clinic with chops-heavy tunes. As far as modern-day fusion goes, Extraction is pretty darn consistent from front to back, as evidenced by such uptempo ditties as "Extraction" and "Crack It Way Open," as well as more tranquil moments like "Tease" and "Ease Up." Howe, Wooten, and Chambers have certainly succeeded in summoning up a heavy '70s vibe throughout Extraction, and as a result, the album wouldn't sound out of place played between School Days and Where Have I Known You Before.

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GH/WEBSITE
VW/WEBSITE
DC/WEBSITE

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10906 - BASS EXTREMES: STEVE BAILEY VICTOR WOOTEN - JUST ADD WATER (2001)

BASS EXTREMES: STEVE BAILEY VICTOR WOOTEN
''JUST ADD WATER''
OCTOBER 23 2001
67:16

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1 Tropical Storm 06:11
2 Portrait of Tracy 05:35 (Jaco Pastorius)
3 Dump Cake 04:21
4 Vapor Rising 00:57
5 What Jamaican? 05:45
6 Double Oh Six 04:41
7 By, You 06:24
8 Three of Us 05:30
9 Mocha Soca 05:56
10 Rainey Daze 03:13
11 Hoosier Pasture 03:20
12 Music of the Spheres 06:31
13 Rapid Descent 08:42
Tracks By Steve Bailey & Victor Wooten, Except 2

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Steve Bailey/Bass 6-String Fretless On 1 to 11, 13
Oteil Burbridge/Bass On 3, 6
Anthony Jackson/Bass On 5
John Patitucci/Bass On 8, 9
Billy Sheehan/Bass On 13
Victor Wooten/Bass 4-String Fretted On 1 to 11, 13
Dennis Chambers/Drums, Bass On 9

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WIKIPEDIA/STEVE BAILEY

WIKIPEDIA/VICTOR WOOTEN

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7205 - SCOTT HENDERSON, STEVE SMITH, VICTOR WOOTEN - VitalTechTones (1998)

SCOTT HENDERSON, STEVE SMITH, VICTOR WOOTEN
''VITALTECHTONES''
JUNE 9 1998

60:04

1 /Crash Course
Scott Henderson / Steve Smith / Victor Wooten 7:00
2 /Snake Soda
Scott Henderson / Steve Smith / Victor Wooten 5:35
3 /Dr. Hee
Scott Henderson 8:55
4 /Everglades
Scott Henderson / Steve Smith / Victor Wooten 9:39
5 /Two for One
Steve Smith / Victor Wooten 5:22
6 /King Twang
Scott Henderson / Steve Smith / Victor Wooten 4:09
7 /The Captors
Scott Henderson / Steve Smith / Victor Wooten 7:51
8 /Giant Steps
John Coltrane 5:44
9 /Lie Detector
Scott Henderson / Steve Smith / Victor Wooten 5:49

Scott Henderson /Guitar
Steve Smith /Drums
Victor Wooten /Bass, Vocals

REVIEW
by Robert Taylor
Calling this group a power trio would not be fair, as it would be too much of an understatement. Guitarist Scott Henderson, bassist Victor Wooten, and drummer Steve Smith are three of the most inventive jazz-rock players who have pushed the style into uncharted waters during the late '80s and throughout the '90s. The clever name Vital Tech Tones infers each members primary bands: Smith's Vital Information, Henderson's Tribal Tech, and Wooten's Bela Fleck and the Flecktones. The combined talent level of the band is astounding and the music created here is a reflection of not only their technical abilities, but also their compositional talents. The program maintains a jazz-rock fusion feel, but there is enough variety in the compositions that raise this above just another blowing session. That being stated, the cover of "Giant Steps" has to be heard to be believed, as does the Jimi Hendrix-influenced "Lie Detector." A very rewarding session that proves that jazz-rock fusion can still be played with conviction, honesty, and integrity.
------------------------------
BIOGRAPHY
by Bill Meredith
Guitarist Scott Henderson moved from his native South Florida to Los Angeles in 1980, and formed the group Tribal Tech in the mid-'80s with bassist Gary Willis. Their jazz fusion output grew increasingly harder-edged, especially with the additions of keyboardist Scott Kinsey and drummer Kirk Covington in the early '90s, but Henderson still had a restless need to experiment. Solo blues CDs Dog Party (1994) and Tore Down House (1997) satisfied his fascination with Stevie Ray Vaughan and Albert King; all-improvisational Tribal Tech discs Thick (1999) and Rocket Science (2000) showed that this supremely talented band didn't need to write in order to record. But Henderson still wanted to blend his love for improvisation with rock influences Jimi Hendrix and Jeff Beck into a format outside of Tribal Tech, so he formed a trio in 1998 called Vital Tech Tones. Also featuring Steve Smith (former drummer for rock band Journey and leader of the group Vital Information) and Victor Wooten (bassist for Bela Fleck & the Flecktones) Vital Tech Tones took their name by using a portion of each of the three principals' primary acts.

The trio recorded their self-titled debut CD in only ten days at Smith's Neverland Studio in 1998, and the largely improvised release featured previously unearthed facets of all three musicians. Smith's drum sound is huge and his playing Tony Williams-like, especially on the opening track, "Crash Course"; Henderson reworks his Allan Holdsworth influences into the title track from Tribal Tech's second album, "Dr. Hee"; and Wooten displays his incredible arsenal on "Two for One" and John Coltrane's "Giant Steps." Amid the Tribal Tech improv albums; Vital Information's 2000 release, Live Around the World; and the Flecktones' studio CD, Outbound, Vital Tech Tones managed a follow-up in 2000 called VTT2. Taking slightly more time (15 days) and eschewing Smith's home studio in favor of the Tommy Tedesco Studio in Los Angeles, the trio sounded more at ease, democratic, and more like a band instead of a collection of individual talents.

A more composed CD, VTT2, shows Smith raising the bar on tracks like "The Litigants" and "Drums Stop, No Good," and Wooten flailing on "Catch Me if You Can" and doing his patented bass slap/vocal rap on the opening, "VTT." An inspired Henderson responds with a fuselage of new tones and fiery solos, especially on lengthy tracks like "SubZero" and the closing track, "Chakmool-Ti." Perhaps a research and development unit for this trio's primary groups, Vital Tech Tones is particularly a showcase for Henderson's blend of Jimi Hendrix tones and Allan Holdsworth effects. The three musicians involved are all at or near the apex of their respective instruments' greatest musical athletes, making for some dizzying, Olympian exchanges. Picture Hendrix's Band of Gypsys trio 30 years after, and one has a close approximation of Vital Tech Tones.

7206 - SCOTT HENDERSON, STEVE SMITH, VICTOR WOOTEN - VitalTechTones 2 (2000)

SCOTT HENDERSON, STEVE SMITH, VICTOR WOOTEN
''VITALTECHTONES 2''
MAY 23 2000
56:27

1 - VTT 1:32
2 - SubZero 7:03
3 - The Litigants 7:06
4 - Puhtainin' Tuh 5:15
5 - Drums Stop, No Good 3:10
6 - Catch Me If U Can 4:23
7 - Nairobe Express 4:09
8 - Who Knew 7:11
9 - Time Tunnel 4:38
10 - Chakmool-Ti 11:42

Scott Henderson /Guitar
Steve Smith /Drums
Victor Wooten /Bass

REVIEW
by Jim Newsom
Talk about a power trio! Emphasizing the ROCK half of jazz-rock fusion, Vital Tech Tones brings together three monster players of the genre, blends their creative juices and virtuosic abilities, and creates a truly vital sound that reinvigorates and re-establishes fusion as a viable part of the musical landscape. Most of the songs on this recording started with drummer Steve Smith giving his rhythmic ideas to bassist-extraordinaire Victor Wooten, who developed a groove over which guitarist Scott Henderson worked melodies and harmonies. Such a simple, straight-forward, jam-oriented process is risky, but these three have the goods to pull it off, in the process creating a fresh electric music unique for its time.

Although VTT has been a studio-only side project for these three, they interact here as though they've been on the road together for several years. It's loud, it's raw, and it's awesome -- just what aging baby boomers need to cure their smooth jazz blues, just what generation X-ers need to take them away from the tedious sameness of the alt-rock world.
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BIOGRAPHY
by Bill Meredith
Guitarist Scott Henderson moved from his native South Florida to Los Angeles in 1980, and formed the group Tribal Tech in the mid-'80s with bassist Gary Willis. Their jazz fusion output grew increasingly harder-edged, especially with the additions of keyboardist Scott Kinsey and drummer Kirk Covington in the early '90s, but Henderson still had a restless need to experiment. Solo blues CDs Dog Party (1994) and Tore Down House (1997) satisfied his fascination with Stevie Ray Vaughan and Albert King; all-improvisational Tribal Tech discs Thick (1999) and Rocket Science (2000) showed that this supremely talented band didn't need to write in order to record. But Henderson still wanted to blend his love for improvisation with rock influences Jimi Hendrix and Jeff Beck into a format outside of Tribal Tech, so he formed a trio in 1998 called Vital Tech Tones. Also featuring Steve Smith (former drummer for rock band Journey and leader of the group Vital Information) and Victor Wooten (bassist for Bela Fleck & the Flecktones) Vital Tech Tones took their name by using a portion of each of the three principals' primary acts.

The trio recorded their self-titled debut CD in only ten days at Smith's Neverland Studio in 1998, and the largely improvised release featured previously unearthed facets of all three musicians. Smith's drum sound is huge and his playing Tony Williams-like, especially on the opening track, "Crash Course"; Henderson reworks his Allan Holdsworth influences into the title track from Tribal Tech's second album, "Dr. Hee"; and Wooten displays his incredible arsenal on "Two for One" and John Coltrane's "Giant Steps." Amid the Tribal Tech improv albums; Vital Information's 2000 release, Live Around the World; and the Flecktones' studio CD, Outbound, Vital Tech Tones managed a follow-up in 2000 called VTT2. Taking slightly more time (15 days) and eschewing Smith's home studio in favor of the Tommy Tedesco Studio in Los Angeles, the trio sounded more at ease, democratic, and more like a band instead of a collection of individual talents.

A more composed CD, VTT2, shows Smith raising the bar on tracks like "The Litigants" and "Drums Stop, No Good," and Wooten flailing on "Catch Me if You Can" and doing his patented bass slap/vocal rap on the opening, "VTT." An inspired Henderson responds with a fuselage of new tones and fiery solos, especially on lengthy tracks like "SubZero" and the closing track, "Chakmool-Ti." Perhaps a research and development unit for this trio's primary groups, Vital Tech Tones is particularly a showcase for Henderson's blend of Jimi Hendrix tones and Allan Holdsworth effects. The three musicians involved are all at or near the apex of their respective instruments' greatest musical athletes, making for some dizzying, Olympian exchanges. Picture Hendrix's Band of Gypsys trio 30 years after, and one has a close approximation of Vital Tech Tones.

3184 - VICTOR WOOTEN - Words And Tones (2012)

VICTOR WOOTEN
''WORDS AND TONES''
SEPTEMBER 25 2012
68:43

1. Listen and Be Silent/1:35
2. Sword And Stone/5:00
3. Love Is My Favorite Word/3:10
4. A Woman's Strength/4:22
5. I Can't Make You Love Me/5:19
6. Brooklyn/6:47
7. Say Word/4:38
8. Be What U Are (I Love U More)/3:54
9. Get It Right/6:04
10. When U Grow Up/4:06
11. Overjoyed/6:06
12. Heaven/8:01
13. It's All Right/4:26
14. Love To Hear U Laugh/5:15
BIOGRAPHY
by Heather Phares
Bassist Victor Wooten began his musical career early. At age three, his brother Regi taught him to play bass, and at age five he made his stage debut with his four older brothers in the Wootens, playing songs by R&B mainstays like James Brown, Sly & the Family Stone, War, and Curtis Mayfield. After playing regional tours and opening for acts like Mayfield and War, the Wootens recorded an album in 1985. However, the record received little commercial or critical response, and eventually the Wooten Brothers found other gigs. By 1988, Victor Wooten moved to Nashville to join a rock band, and the following year met Béla Fleck, the banjo player for New Grass Revival. Fleck was forming a jazz group to appear on a TV show; he recruited Wooten, his brother Roy on drums, and Howard Levy on keyboards and harmonica. As the Flecktones, the group earned numerous accolades, including four Grammy nominations and a number one album on the jazz charts.
As the '90s progressed, Wooten added a solo recording career and numerous collaborations to his duties in the Flecktones. Along with solo albums like 1996's A Show of Hands and the following year's What Did He Say?, Wooten contributed to albums by friends like David Grier, Paul Brady, and Branford Marsalis' Buckshot LeFonque. His third solo album, Yin-Yang, which featured appearances by Fleck, Bootsy Collins, and the Wooten Brothers, was released in 1999. Live in America from 2001 documented four years on the road in a double-disc package. After tours with the Flecktones and a 2001 release/tour with the group Bass Extremes, Wooten returned to his solo career in 2005 with the album Soul Circus. Released in 2008, Palmystery included turns by violinist Eric Silver and harmonica player Howard Levy.

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3183 - VICTOR WOOTEN - Sword And Stone (2012)

VICTOR WOOTEN
''SWORD AND STONE''
SEPTEMBER 25 2012
62:00

1. Sword And Stone/5:01
2. Love Is My Favorite Word/4:07
3. Pass Me Not, O Gentle Savior/3:31
4. Get It Right/4:55
5. A Woman's Strength/4:22
6. It's All Right/4:01
7. Love To Hear U Laugh/5:27
8. Say Word/4:06
9. Be What U Are (I Love U More)/3:55
10. H.O.P.E./1:44
11. Brooklyn/6:26
12. Still Your Baby/3:40
13. Merlin/3:54
14. Keep It Low/6:51


BIOGRAPHY
by Heather Phares
Bassist Victor Wooten began his musical career early. At age three, his brother Regi taught him to play bass, and at age five he made his stage debut with his four older brothers in the Wootens, playing songs by R&B mainstays like James Brown, Sly & the Family Stone, War, and Curtis Mayfield. After playing regional tours and opening for acts like Mayfield and War, the Wootens recorded an album in 1985. However, the record received little commercial or critical response, and eventually the Wooten Brothers found other gigs. By 1988, Victor Wooten moved to Nashville to join a rock band, and the following year met Béla Fleck, the banjo player for New Grass Revival. Fleck was forming a jazz group to appear on a TV show; he recruited Wooten, his brother Roy on drums, and Howard Levy on keyboards and harmonica. As the Flecktones, the group earned numerous accolades, including four Grammy nominations and a number one album on the jazz charts.
As the '90s progressed, Wooten added a solo recording career and numerous collaborations to his duties in the Flecktones. Along with solo albums like 1996's A Show of Hands and the following year's What Did He Say?, Wooten contributed to albums by friends like David Grier, Paul Brady, and Branford Marsalis' Buckshot LeFonque. His third solo album, Yin-Yang, which featured appearances by Fleck, Bootsy Collins, and the Wooten Brothers, was released in 1999. Live in America from 2001 documented four years on the road in a double-disc package. After tours with the Flecktones and a 2001 release/tour with the group Bass Extremes, Wooten returned to his solo career in 2005 with the album Soul Circus. Released in 2008, Palmystery included turns by violinist Eric Silver and harmonica player Howard Levy.

DOWNLOAD