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Mike Walker

Born in Salford in 1962, Mike took fifteen years to realise, that his father's piano playing, his mother's singing, and his brother's guitar playing, might just have genetically predisposed him towards a love of corduroy. Realising, however, that careers in the King's cords were somewhat thin on the ground, Mike turned his attention to the chords of Kings. In his case, Mike's royalty comprised Wes, Joe, Pat, John, Larry, Tal et al.

After long months of solitary woodshedding, Mike launched himself upon the Manchester scene with River People, a much loved fusion band comprising Mike on his trusted, and even then, rusted 335 guitar; Paul Allen on fretless bass; Tim Franks on drums, and the always astounding Paul Kilvington (a.k.a. Bob Session) on keyboards.

Mike's playing drew the attention of Alan Butler, a vibraphone player of considerable, and deserved repute, who in the 1980's had a long running residency at the Malt Shovels, a well-known 'jazz' pub in Altrincham. Mike joined Alan's quartet in the mid-80's, where he needed to rapidly assimilate a new vocabulary suited to bebop oriented standards, and more contemporary jazz compositions. This he did.

During the five to six years that Mike was a member of Alan's quartet, he had begun to travel further afield, both musically and geographically, playing gigs with Mike Gibbs and Kenny Wheeler. It was with the Mike Gibbs band that Mike was called upon to deputise for an absent John Scofield, during which he was heard by Kenny, who asked him to play with his big band. Also at this time, returning to his fusion roots, Mike had formed a band with pianist and composer Roy Powell which they called Some Other Country. They were joined by bassist Gary Culshaw, and drummer Steve Gilbert. Mike and Gary had previously played together, and had already formed a deep, and almost telepathic, understanding and feeling for each other's playing. Some Other Country soon established itself as one of the North's favourite fusion bands, generating great excitement, and many devoted fans.

Mike's musical collaborations continued to expand during the late 80s and early 90s. One such was with Nikki and Richard Iles who had formed a band called Emanon, which provided a vehicle for the compositional and arranging skills of Nikki and Richard, and fertile ground for Mike's brand of inspirational playing. Nikki and Mike would subsequently enlist the skills of Gary Culshaw, and drummer Steve Brown, to form the Mike Walker Quartet, a group which entranced audiences with their empathic interplay.

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8
Album Review

Ross Lorraine: Heart of Mine: songs of Ross Lorraine

Read "Heart of Mine: songs of Ross Lorraine" reviewed by Bruce Lindsay


Heart of Mine is well named, as composer and keyboardist Ross Lorraine's compositions are at the heart of this album. But Lorraine takes something of a back seat when it comes to performing, leaving instrumental duties to some of the British jazz scene's leading players, and vocal duties to six of the scene's most talented singers; Claire Martin sings lead on three tracks, is part of the trio of backing vocalists, plays percussion and co-produced the album alongside Lorraine and ...

4
Album Review

Mike Walker: Ropes

Read "Ropes" reviewed by Duncan Heining


Ropes is Manchester-based guitarist Mike Walker's second album as a leader and it couldn't be much more different from his fusion-oriented debut Madhouse and the Whole Thing There (Hidden Idiom, 2008). This album is a jazz-with-strings affair and a fine one at that. The mood is mostly gentler, more reflective and more pastoral than on his debut. With Ropes, Walker has also significantly extended his compositional palette. Walker is an alumnus of the bands of George Russell, Mike ...

583
Album Review

Mike Walker: Madhouse and the Whole Thing There

Read "Madhouse and the Whole Thing There" reviewed by Roger Farbey


The debut album by British guitarist Mike Walker is surprisingly short, around forty five minutes, which is actually a good thing considering it seems an almost mandatory requirement nowadays to cram a full eighty minutes worth of sound into every CD, all of which is not necessarily worth hearing. Quality rather than quantity is the keyword here. This, however, is a well-considered six track sortie, with an unusual opener, The Latin-edged “A Real Embrace," evoking a very early Return to ...

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145

Festival

Howlin' Gwil and Big Mike Walker - Manchester Jazz Festival Day Five

Howlin' Gwil and Big Mike Walker - Manchester Jazz Festival Day Five

Source: The Ring Modulator by Adrian Stevenson

Simcock, Walker, Swallow & Nussbaum at Royal Northern College of Music. 27th July 2010Following Monday night's Jazz on 3 taster, the Simcock Walker Swallow Nussbaum group were over at the Royal Northern College of Music for a full set on Tuesday. It seemed like the entire North West jazz community were here for this sold out gig, as well as a few from Midlands and South. It was clearly a key gig to be at, with guitarist Mikes ...

" ... the highlight was hearing Mike Walker really playing at his peak and contributing so many pieces to the band’s material. Those who have known Mike’s playing for some years know that he is a world class player; it was great to hear him in a context that really matched this and brought out his full potential." Birmingham Jazz, May 22nd 2010 From the Simcock/Walker/Swallow/Nussbaum tour.

"Northern guitar heavyweight Mike Walker, overlooked by arts-funding bodies but never by musicians, makes a stunning debut here as leader. As always his solos are brilliant but so too is his writing. A collage of original verse, nutty voiceovers and hip fringe-jazz elements (Sergio Mendes, BB King, Steely Dan) blends into one ecstatic, deep-grooving whole. A True Embrace is a sexy samba for female voices and Iain Dixon's tenor sax. Dad Logic and I'll Tell 'im are absorbing jazz-rock modes, and an elegant brass miniature is incongruously called Still Slippy Underfoot. A Mancunian masterpiece." Jack Massarik, London Evening Standard, Saturday 5th July 2008

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Primary Instrument

Guitar, electric

Willing to teach

Advanced only

Credentials/Background

I've been teaching privately for 28 years. I have taught all levels from beginners to advanced. My teaching methods range from building a solid foundation of fundamentals i.e. fretboard knowledge through scales, arppegios, triads, chords etc. to more advanced techniques concerning theory, harmony, and improvisation. I also teach improvisation for any instrument, including vocals. Emphasis is always on the individual and their own personal voice.

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