John Bruce Wallace is a free jazz solo performer interested in freely improvised music with a focus on generating extended sound statements within the options afforded through solo performance. His approach incorporates totally improvised sound expressions with emphasis on deconstruction of structure and pattern, upon which one can become comfortable and rely on during a performance, while generating a narrative of the moment. He is interested in the textural aspects of the sounds, in the physical dimensioning of each note, of the geometric quality of the sounds, as-well-as being concerned with the timbre of every note and passage, and with the rhythmic structure of the relationship of each note to its neighbors within the musical neighborhood.

 

Compositions are improvised extemporaneously on solo electric guitar without the use of tape, tape dubbing, computers or synthesizers. The sounds are generated from the mind through the hands and fingers. The idea is to utilize a few basic tones and then present relational possibilities inherent in those tones. The improvised compositions often incorporate sonorous multi-tonal qualities, dense, interwoven passages embellished with harmonic and micro-tonal sound statements, or silence further defined by irregular syntaxed rhythms and primitive beats. These extempore compositions incorporate complex musical riddles wherein are displayed the qualities of multiple instrument arrangements, incorporating voicings that bring to mind horns, sax, chimes, cello and strings, and percussion as well as various guitar timbres: All in the service of exploring, exposing, exhuming, and exploding the human GEIST.

 

An acknowledged accomplished, guitar virtuoso, John Bruce Wallace is a musically innovator likened to Ornette Coleman, hailed as a composer in the ranks of Cage, Stravinsky, Eben, Arvo Pärt, Glenn Branca, and Hutchenson, compared and contrasted as a guitarist to Eddie Van Halen, Robert Fripp, Fred Frith, Hendrix, Rhys Chatham, Buckethead, and Frank Zappa. An incredibly challenging improviser, master of tonal dimension, expander of compositional style, John embodies the mastery of emotions in his playing. Several people familiar with his Sound Improvisions have likened them to a “Sound Track to Life”. One noting that he was watching events unfold on the street where he lives while listening to one of John’s recording and it struck him that the music was a perfect audio backing to the developing street events. After a performance in Arkhangel’sk Russia a veteran of the USSR’s Afghanistan war told John that the music experience was a catharsis relieving the pain he endured on the loss of several friends during engagements in that conflict.The emotive quality of the improvisation released those emotions, freeing him to move on in his life. The strength of emotive expression crossed cultural and language boundaries in a universal expression.

 

He has shared performance billings with: Tim Hodgkinson, Evan Ziporyn, John King, Vladimir Tarasov, ZGA, Enver Izmaylov, Burhan Ocal and Jazz Band Arkhangel'sk. Tours have included festivals in Russia and Lithuania, where he was awarded fourth place at the Vilnius Jazz Festival. His music was invited for performance consideration at the American Pavilion during the 1991 São Paulo Art Biennial, in São Paulo, Brazil. Unique Performances have included a performance at a New York City Institute for the Mentally Disabled, as well as street performances.

 

He has recorded and release over forty albums of extended sound statements, through either Throne of Bael Records or Waving Bye Records available via various sites on the Internet. He has recorded collaborations with Siegfried Grundmann, Wilfried Hanrath (Hauchzart Ensemble), Antonella Eye Porcelluzzi, Michel Mnomized, Pete Swinton, and Ewald Wöstefeld (Vaders Orchestra). In addition to his solo recordings, John has had compositions included in two compilations on Throne of Bael Records. His recordings have received radio and Internet airplay across the United States, Canada, Europe, Russia, Central and South America, Australia, and Asia. His performances and recordings have been reviewed in leading foreign and domestic trade journals and publications.  Recent sound statements are available on SoundCloud at https://soundcloud.com/john-bruce-wallace , more detailed information is available at his All-About-Jazz Website https://musicians.allaboutjazz.com/johnbrucewallace and at his ReverbNation Site https://www.reverbnation.com/johnbrucewallace9?profile_tour=true&profile_view_source=complete_profile_continue&kick=201648. His most recent release is available from Throne of Bael Records at their bandcamp site: https://throneofbael.bandcamp.com/album/taming-the-day

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In the early 1990's John became afflicted with Meniere's Disease, a disorder of the inner ear that usually affects both hearing and balance. It is 

characterized by episodes of vertigo and by fluctuating or permanent tinnitus and hearing loss, which presented unique challenges to performances 

and recording, the resolution of these allowed an expansion of thought as to how sound production was perceived in terms of amplification and 

microphone placement. In 2010 his right hand was severely mangled by a dog bite, again presenting unique challenges for John since his playing styleincorporates use of fingers, pick, and various other sections of the right hand in bringing forth the tones he prefers.

 

John exhibited an affinity for the performing arts at an early age, first in acting, playing the lead roles in grade school plays, later he expanded his 

interests to include singing solo for his grade school classmates. By high school John had found “the Guitar” and would perform almost daily during 

summers on his family’s front porch for the traffic passing by.  Bands formed during this time were all short lived usually breaking up due to 

disagreements over the musical direction that the group members wanted to go in. John’s early influences included Sun Ra, Pink Floyd, Frank Zappa, Rahsaan Roland Kirk, and Jimi Hendrix. After high school, John moved to Portland, Maine, to pursue music. He started several 

groups which all failed due to musical differences, although one failed after the band’s equipment was stolen. However, during this time he would 

fill in on guitar for a number of traveling bands that were performing in night clubs in Portland. He was also at this time becoming more influenced by Experiential Rock and Jazz. During this time John met and became friends with Count Basie and several members of the Electric Light Orchestra 

(Wilfred Gibson (violin), Colin Walker (cello), Mike Edwards (cello)). Lee Crabtree of the Fugs and Holy Modal Rounders was a friend shortly before his

untimely death, as was Bill Chinnock.

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Invited upon a late night meeting in a Dunkin Donuts in Portland Maine by ABC Vice-President for Late Night Programming Robert Shanks (producer ofABC’s Don Kirshner’s Rock Concert) to come to New York, John embarked on the next phase of his musical saga. Six months after their meeting 

John arrived at ABC and was referred to Shep Gordon of Alive Enterprises (Management for Alice Cooper). As is the norm in the World of Rock 

Ascension, much time was spent ‘wearing out one’s pants from the outside in’ bench sitting for auditions and interview appointments, where looks 

and attitude carry more weight than talent. The payment of dues was on. During this time John also met Elizabeth Gilbert of Columbia Records’ John 

Hammond’s office. Interesting adventures from this association included being sent to audition for the position of lead guitar for Bruce Springsteen 

and being the guitarist in a short lived jazz group fronted by Lewis MacMillan from Lionel Hampton’s organization. The Springsteen audition, 

arranged as a debt repayment due to John Hammond’s influence in Springsteen’s career, did not happen as Mike Appeal (Springsteen’s manager at 

the time) dismissed John out of hand saying that there was “room for only One Star in the band”. These and similar life experiences, encountered 

while participating in the popular music business with an inside perspective greatly disillusioned John to the belief that the importance of the 

quality of talent counted as a value considered in the priorities regarded as essential by A&R (Artists and Repertory) executives to achieving ‘Fame 

and Fortune’ as a rock star, as-well-as exemplifying the tremendous shallowness of the whole popular culture within our society.  This moved him 

to look more closely at jazz and ‘free jazz’ as practiced in Europe, by established artists such as Ornette Coleman, Anthony Braxton, Sun Ra, Cecil 

Taylor, Derek Bailey, and by certain young artists at the time beginning to work in Alphabet-city on New York’s lower East side, some of whom he 

has since shared performance billings with; music expressions that place great value on quality of talent, originality, and uniqueness, as the 

appropriate voice for his sound statements.  A brief association with David Amram further influenced John’s examination of contemporary classical 

music as an ingredient in the musical porridge in his head. Professional experience at the time came from involvement as a Jazz Guitarist for a 

band fronted by Lewis MacMillan, noted Jazz Historian, New York, New York; Recording Consultant to George Bookhard Management, New York; and 

Talent Scout to Elizabeth Gilbert, Administrative Assistant to John Hammond, Columbia Records, New York. John also renewed the acquaintance 

with Count Basie and met Helen Humes. Also an evening at Andy Warhol’s Factory and regular evenings at CBGBs, as well as the fabled Cedar 

Tavern and St. Mark’s in the East Village, where John engaged in the discussions of the moment, all proved most educational. Regulars met there 

included Allen Ginsberg. Adventures crossed paths with the Ramones, Blondie, Laurie Spiegel, and Meredith Monk.

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John finds supplemental expression through painting and computer generated art. The need to express graphically traces back to when he was in 

grade school. As with his musical sound statements the concern is with the human condition and how we find ourselves in an alienating 

environment. Figurative images have explored the emotional aspects of the human experience, painted in oil done in a style that incorporated the 

use of his fingers in lieu of brushes; abstract images have explored the definition of the surface, as–well-as color. He has exhibited in several shows in New York City and Washington, DC, as-well-as, shows in Chicago, Minneapolis, Missouri, Maryland, Maine, and Virginia, with positive reviews in the local art-press. Of his paintings and graphics it has been said: Like El Greco, Picasso and de Kooning he paints distorted figures that inhabit 

mysterious, bleak, and alienating environments.  Some of his figures seem to be working; others huddle together or stand in contorted postures.  He

is like Van Gogh and Monet in paint application.  His vivid colors, blacks, and whites charge the work with a deep emotional impact. Since he uses up to twenty layers of color, there is an extreme tension between the layers of underpainting and a malaise in surface tone as well as a uniquely 

structured surface.”[He] produces harsh, sometimes frightening compositions in violent colors, evoking an atmosphere of alienation which 

bespeaks the human dilemma with painful clarity” (Dennis Wepman, “The Human Dilemma” in Manhattan Arts, March 1988).

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He also holds degrees in Philosophy from the University of Southern Maine (USM) and Information Systems Management from the University of 

Maryland University College (UMUC), a Certificate in Information Management from UMUC, and a Certificate in Legal Studies from Antioch School of 

Law. He studied Philosophy at the University of Oregon. He has published a monograph in philosophy on solipsism, as well as papers on Artificial 

Intelligence and Consciousness, and Information Systems Management.

 

He shares with the late Columbia Records Producer and Jazz impresario John Hammond, Sr. the distinction of being the subject of a volume of 

poems, titled John Poems, by the former New York and Nashville poet El Gilbert.

 

His production company, Jace W. Ball Creative Enterprises, serves as an outlet for his music and painting endeavors, as well as graphic arts and 

record production, and IT Consulting.