The 10 Guitar Project CD has a review in the September edition of Limelight Magazine. Here is a preview.
“The orchestration of the leader David Reaston encompasses moments of metal chaos, lucid telepathy and fluid swing” – Peter Wockner, Limelight Magazine. September 2010.
Album available at http://www.cdbaby.com/cd/10GuitarProject/
”I love the fluidity , the intensity and the musicality of the compositions and playing on this cd. ” – Lionel Loueke.
The 10 Guitar Project Album is now available online at http://www.cdbaby.com/Artist/10GuitarProject
and on iTunes.
The Cd is also available at Birdland Records in Sydney.
Album Launch is at the Basement on Tuesday 29th June. 9:30PM
Tickets are now available at moshtix
“the largest cast of notable Sydney guitarists seen in one place at one time” – Sydney Morning Herald.
Assembled by David Reaston, the group features the combined guitar talent of Aaron Flower, Ben Hauptmann, Carl Dewhurst, Tim Rollinson, Jeremy Sawkins, Jess Green, Julian Curwin, Sam Rollings and Dave de Vries. Jamie Cameron will feature on drums. This show is a must see for any guitar enthusiast.
Welcome to a new year. I just arrived back in Sydney from another trip to New York, and back teaching at AIM. Some exciting things planned this year: 10 Guitar Project will release their debut album; Reaston Kay Effect on tour; a possible recording with the Max Sharam trio. Stay tuned to the website for dates. David.
New Video footage from the 10 Guitar Project’s performance at the Basement on 30/09/09 has been added to the Media page of this website. Check it out!
WED 30th SEPTEMBER. 9:30PM
THE BASEMENT. 29 Reiby Place, Circular Quay
Guitarmageddon is here…again! The 10 GUITAR PROJECT returns to the Basement featuring some of Sydney’s finest jazz guitarists in Carl Dewhurst, Ben Hauptmann, Tim Rollinson, Aaron Flower, Jess Green, Julian Curwin, Sam Rollings, Arne Hanna, Jono Holmes, David Reaston, with Jamie Cameron (drums). The group will be playing the compositions of David Reaston, who founded the group in 2007.
‘What’s the collective noun for 10 electric guitarists? The unkind might suggest a 60-string racket, or even a catastrophe. Most people would be polarised into finding the idea either hellish or heavenly. The madman/prophet making it happen was David Reaston, who assembled the largest cast of notable Sydney guitarists seen in one place at one time, including Tim Rollinson (d.i.g) and Julian Curwin (Monsieur Camembert, the Tango Saloon).’ – John Shand, SMH, May 2008
http://www.myspace.com/10guitarproject
To get tickets click here:
http://www.moshtix.com.au/Event.aspx?id=29945&pLock=&vip=&skin=&ref=CAL
Make sure you listen to ABC Classic FM Jazztrack program this month. Mal Stanley will be playing tracks from ‘The 10 Guitar Project’ session we recorded for the show back in February 2009. Jazztrack happens every Saturday and Sunday 5 -7pm on ABC Classic FM nationwide.
Also, the Reaston/Kay Effect have some gigs coming up in July, most notably a gig presented by SIMA at the Sound Lounge, Seymour Centre on Friday July 31st. Hope to see you there.
The Reaston/Kay Effect’s 2008 self-titled album is available online through cdbaby.com, amazon.com, iTunes or by clicking the icon below.
Sydney Morning Herald. Thursday 29 May 2008
‘Pulling the right strings’
10 GUITAR PROJECT
Excelsior Hotel, May 27
Reviewed by John Shand
“What’s the collective noun for 10 electric guitarists? The unkind might suggest a 60-string racket, or even a catastrophe.
Most people would be polarised into finding the idea either hellish or heavenly. The madman/prophet making it happen was David Reaston, who assembled the largest cast of notable Sydney guitarists seen in one place at one time, including Tim Rollinson (d.i.g) and Julian Curwin (Monsieur Camembert, the Tango Saloon).
The little stage at the Excelsior looked like a forest, so dense was it with guitarists and, tucked behind a thicket of drums and cymbals, the exceptional Jamie Cameron. But the sound engineer did a sterling job and, against the odds, the 10 guitarists restrained their collective volume so we could hear what Reaston had in mind.
His compositions and arrangements embraced many options, ranging from a smattering of collective free improvisation to stonking unisons and onto the predictable employment of bass riffs, chords and solos…”