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EQUIPMENT
Guitars:
Gibson Les Paul Custom
Guild F512
Guild D40c
Rafael de Cordoba 1a.
Amplification:
Mesa Boogie
Trace Elliot
Effects:
Lexicon
TC Electronics, Boss
Why Genesis?
Why progressive music?
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To
anyone who loves the music of Genesis, the answer is apparent. To
all others, my reasons are the following: I have studied, played
and listened to many diverse forms of music: classical (in all its
forms from Baroque to dodecaphonic, minimalist to aleatoric),
classic rock, jazz, fusion, folk and of course "prog".
In my opinion, the only style that can satisfy all those loves is
progressive music in the best sense of that word. And the closest
to my heart is Genesis. (Oh those chord progressions! Most of you
know what I mean. You've had those chills down your spine.)
As a guitarist, you have the opportunity to play electric,
12-string acoustic and classical guitar with all the varied
characteristics that those instruments imply. And the diverse
roles the guitar plays in the music means that it's always
exciting to play. From composed and improvised solos to chordal
backing to true polyphonic interplay with the other musicians,
it's all there. Even in sections of the music when I'm not playing
it's still exciting and fulfilling.
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Greg has a degree in music/classical guitar study from New Jersey
City University where he first met "Miles" Standish, Foxtrot's
bass player. He teaches guitar at Monmouth Academy of the
Musical Arts in Marlboro, NJ.
For Greg, Foxtrot is a continuation of work done with his previous
band "Creation Theory", a New York based Genesis tribute
band that played early Genesis classics such as Supper's Ready and
Cinema Show as well as the music of such diverse prog bands as
King Crimson, Yes, Pink Floyd, Jethro Tull and Happy the Man.
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Influences: Steve Hackett (obviously), Steve Howe, Robert Fripp,
John McLaughlin, Allan Holdsworth, Julian Bream, Dusan Bogdanovic,
Gyorgy Ligeti.

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"Greg and a certain Mr. Hackett" |
READ MORE BIOS
Michael Palschakov
Brian Caufield Robert "Miles"
Standish James Jeffries
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