Shrieve, Michael

Artist: Michael Shrieve + David Beal
P: 1988
Two of the foremost drummers of rock and new age blend their exceptional talents with the latest technology to create a landmark album. On The Big Picture, Michael Shrieve and David Beal produce fully orchestrated music using electronic drum pads and digital samplings. Through this system, a drumpad can sound like a trumpet, violin, voice, or it can create a completely new sound. Though originally composed on computer, all the music on The Big Picture was played entirely with drumsticks. This album is a refreshing celebration of rhythm and melody. The pieces compose a dazzling menu, ranging from the exotic to the mischievous, all sharing a compelling vibrancy and excitement. The Big Picture opens a new door for percussionists. It puts the percussionist on a plane with traditional front line soloists and it elevates him to orchestral arranger, with infinite combinations of sounds, timbres, rhythms and instrumentations at his disposal.

Artist: Klaus Schulze, Michael Shrieve & Kevin Shrieve
P: 1986
Transfer Station Blue combines the talents of one of America's great rock percussionists with electronic music's most influential masters. Michael Shrieve, former percussionist with Santana and numerous other groups, and Klaus Schulze, Germany's great synthesizer genius, combine their talents to create a new and powerfully distinctive music. Space rhythms that will get your heart and body moving. Instrumentation includes electronic drums, synthesizers and electric guitar.
Great style with the following famous instruments used by Klaus Schulze: Yamaha CS 80, Fairlight, Grumar GDS und PPG Wave 2.3.

Artist: Michael Shrieve
P: 1994
Progressing with guitarist Carlos Santana from his early Afro-Cuban rock and pop-based successes to his experimentation with jazz fusion, drummer Michael Shrieve subsequently released a string of fine solo recordings of his own. This one features guitar hero Bill Frisell and the ever-inventive organist Wayne Horvitz for a rather divergent set featuring ethereal soundscapes, loose grooves, and crunching opuses. Here, Shrieve provides sturdy backbeats to coincide with some nicely placed fills and his acute implementations of the dynamic. This effort highlights Frisell's wily and rather slithery guitar work, enhanced by the glowing sonic characteristics of the production, when viewed upon as a whole. The band is apt to soar skyward via climactic overtures in concert with a crash-and-burn methodology. Needless to say, this affair represents a potent concoction of jazz fusion melded with folksy themes and an avant-garde-type swing vamp, evidenced on "The Glass Tent." Yet, after a string of enterprising solo outings, Shrieve's solo career quieted down to a near whisper during the late '90s and into the new millennium.