I have played a musical instrument off and on since I was eight years old. I started with the violin for a few years and later sang in the school choir. At eighteen I picked up the guitar for the first time. The first artists that really influenced my guitar style were Eric Clapton and Carlos Santana. During most of the 70s I played in a number of bands that played 50s to 70s rock, standards and a few original pieces at weddings, bars and private parties.
In the early 70s I became very interested in the early English progressive rock movement. I was into bands such as the Moody Blues, Genesis (when Peter Gabriel and Steve Hackett were in the band), Pink Floyd, Camel, Yes and King Crimson. The passionate, melodic playing of Andy Latimer, the spacey blues style of David Gilmour and the textural and inventive playing style of Steve Hackett have all had a good deal of influence on the way that I approach the guitar. I played in a few progressive rock ensembles in the late 70s and early 80s. Most notably was the short-lived but prolific, The Providence Project, which only lasted eleven months. However, we did record some of our material at a 24-track studio. We also received some airplay of our two-song demo on Greg Stone's "Stone Trek" radio program on KOME.
In 1982 it was the beginning of MTV and a new style of pop music was emerging that I could appreciate. At that point, I decided that I wanted to meld my progressive rock leanings into a pop format. It was during this time period (in June of 1984) that I first met Katheleen Michaels. Katheleen and I were the nucleus of an 80s pop band called Basic French that was fairly typical of that era. That was another short lived, but very creative, musical venture for me. It was also the beginning my friendship and musical partnership with Katheleen.
In 1987 I met another life long friend and musical compatriot when I first connected with Phil Hudson. Phil is an excellent singer, songwriter and musician. We worked together in a band called Big Storm that was eventually renamed Voodoo Economics. That band was together for about two years and played a number of gigs around the San Francisco Bay Area. We had a short residency at a downtown San Jose club called Marsugi's. Phil and I started working for a Silicon Valley start-up company. Our busy hi-tech careers and the usual "musical differences" led to the demise of the band.
From 1989 to 1998 I worked on various musical projects off and on with Katheleen and Phil. After a long absence of working together, Katheleen called me up in July 1997 and asked me if I would be interested in helping her in the studio. She wanted to record some songs that we had written together previously plus some new songs she was working on. I was very excited about the offer and jumped at the opportunity. We began rehearsing the material in July 1997. Recording on "Faces, Traces & Timelines" began in September 1997. The CD was completed and released in December 1998.
1999 saw a few ups and downs due to some unfortunate circumstances beyond my control. In 2000 things began to look up for me musically. I began working on a project with Phil Hudson and several other friends. We worked on the project in Nathan DeMello's recording studio with Nathan himself at the helm. The project was a "back to my roots" musical journey. Personal circumstances put a halt to that project about mid steram. I hope to finish the project at some point. We were all really happy with the results of what we had produced up to that point. The sessions went really well and the camaraderie was fantastic. We had a lot of fun and that's what making music is really all about.
2002 and 2003 were very productive and rewarding years for me musically. I worked in the recording studio co-producing a project with "of the Arcane" and performing with them at several benefit shows. Phil and I played quite a few gigs during those years. There were several highlight gigs during that period. We opened for Dave Mason at the Brookdale Lodge in the Santa Cruz Mountains.
During that same time period we also played a house concert with Vienna Teng and Terami Hirsch. Since that time Vienna has kicked her career into high gear. Terami has experienced some positive success as well. I wish them both the absolute best because they are wonderful people and very talented songwriter/musicians.
Phil and I also played several shows with our friend, John Kozak, from "of the Arcane" joining us. The most memorable show was a benefit for The Acting Shakespeare Company and a series called "Sonnets and Strings". It was an eclectic bill with us performing songs in between readings of sonnets, an opera singer, and a classical guitarist. That was a fun show!
2004 through 2006 were very challenging years on a personal level because of several difficult events that struck my family. My father became terminally ill in early 2004 and passed on in early 2005. My wife also suffered from a stroke that left her paralyzed on her right side.
Since the end of 2006 things have stabilized a good deal. My wife and I have relocated from the San Francisco Bay Area to the Central Valley of California. I have been recording in my home studio. The music I have been creating is more in the ambient meets prog rock vein. That project is called Azure Blue Skies and is featured prominently on my ReverbNation player here on my home page. On a rare occasion I try to connect with Phil Hudson and John Kozak to work on music. They live a good distance away from me so it has been difficult to connect. I always enjoy making music with them.
2012: This past year I met a new virtual friend via a Moody Blues discussion group who is an excellent musician based in the UK. His name is Nigel Spencer. We worked on a long distance collaborative song together. The song is called "Cerulean Skies". Here is a link to it at the SoundCloud page we created for this project: https://soundcloud.com/spencermazur/cerulean-skies. I am looking forward to working again with Nigel on more music together in the future.