Album Notes

Ever since his days with garage bands in Oklahoma, Kyoti (then Kyle Turner) held onto an impossible dream: a band comprised of guitars that played music usually associated with horns.

Kyoti hoped to combine his passion for WWII cartoon music by Carl Stalling and Scott Bradley with the Led Zeppelin and Jeff Beck rock influences he shared with almost every rock musician.

This dream, however, would lay dormant until he gave up on his plans for the Presbyterian ministry and decided to move to New York.

In order for a musician to survive in New York, one must, in the musical sense, be able to maintain a multiple personality; that is, you've got to be able to play different styles of music in order to get enough gigs to make your rent.

Just one gig won't be enough - in a town where a closet costs $1,300 a month to live in, the $50 (or less) you make playing CBGB's doesn't go very far.

It is in this harsh environment that the miracle of Kyoti, the band, occurred.

In the '90's, young Kyoti could be found at any given original rock club in the City, playing bass for any one of six or seven different original acts (an intensity he and the other members of the band maintains to this day).

This dizzying experience would expose Kyoti to all kinds of music, ranging from East Village Punk to '70'S Funk to High Society Big Band.

He would also come to know a vast community of fellow musicians, all working hard to make ends meet in a town where live music is present, but threatened by economics, "tenant rights", and a growing sense of obsolescence in the face of canned music and dj's.

Upon meeting dynamic guitarist Jon Fritz at the Bitter End in 1999, Kyoti realized that his dream, long neglected, might be reached.

Kyoti's association with Jon Fritz led to another multi-band veteran, Jay Gogan, a contemporary of Fritz' who would be the backbone of the "Section"...that is, the three guitarists who would act as the horn section.

The third came in the form of David Patterson, the unique guitarist from Atlanta, who had just gotten off a tour with Shawn Mullins.

Drummer Rich Kulsar, who has been an integral part of rhythm sections with Kyoti in an array of bands in NYC, seemed the obvious choice for the new act.

Finally, Diana White, with her fluid playing style and irrepressible spirit, fills the rhythm guitar spot to round out the band, who, in their performances in clubs around the City, bring the "Can Do" Big-Band era musician's ethic to a revolutionary new rock form.