I’ll never forget it. Circa 1990, I was on holiday with my parents in Kent, near the Cliffs of Dover.
A summer storm was chucking it down. Holed up inside, I flicked through some French music stations on my longwave radio.
Suddenly I heard this absolutely ridiculous guitar playing – deafeningly loud, hysterical, but totally precise, with great phrasing and notes that spluttered out in absurdly wide intervals.
The tone was heavily distorted but the feel was closer to jazz/rock than metal. And the rhythm section didn’t sound too shabby either.
By this time, I had heard Allan Holdsworth, Paul Gilbert, Yngwie Malmsteen, John McLaughlin, some pretty outrageous guitarists, but this was different. Who the hell was it? I strained my ears and just about heard the French DJ utter the words ‘Frank Gambale’.
Yes, it was the Italian-Australian wunderkind, the man who introduced so-called ‘sweep picking’ to a wider audience than before. And the album was revealed to be Live!, released 30 years ago this week and recorded at LA’s jazz/rock haven The Baked Potato on 21st August 1988.
What was really weird was that I had heard Gambale with the Chick Corea Elektric band before this, and even seen them live a few times, but he seemed pretty anonymous in that band.
Not here. To this day, ‘Credit Reference Blues’, ‘Fe Fi Fo Funk’, ‘Touch Of Brasil’ and ‘The Natives Are Restless’ sound like guitar landmarks.
But he was way more than a chops phenomenon – he’s an excellent composer too, clearly influenced by Chick Corea and Larry Carlton but with some moves all of his own.
The album also introduced me to the fantastic Joey Heredia on drums, a completely original player who can do fiery jazz/rock, spicy Latin and Police-style rock, sometimes all in the space of one tune. And the excellent keyboard player Kei Akagi was moonlighting with Miles Davis while playing some sh*t-hot stuff on this album.
Frank Gambale Live! was a key artefact in the golden age of shred guitar, and it gained him some crossover success with metal fans and lots of coverage in guitar magazines.
Sadly his solo career refused to fire after this release, with only moments of 1990’s Thunder From Down Under subsequently holding much interest for me, but this was a sporadically brilliant live jazz/rock album – and one of the best. (It has to be said, there’s not much competition – Larry Carlton’s Last Nite, Weather Report’s 8:30, Jeff Beck With The Jan Hammer Group Live!, Mahavishnu’s Between Nothingness And Eternity, and…er…)