Self taught, John picked up guitar in 1966, after having studied clarinet for a period of time. Concentrating at first on rock and the possibilities of instrumental performances in a progressive rock format, John became interested in freely improvised music with a focus on generating extended sound statements and solo performance options. There have been four recordings, which have received considerable air play on alternative and college radio across North America, Western and Eastern Europe, along with reviews in leading trade journals and press. Tours have included festivals in Russia and Lithuania. His music was invited for performance consideration at the American Pavilion at the 1991 Bienal-Sao Paulo, Brasil.



An improvisational performance features JOHN BRUCE WALLACE exploring, exploding, and exhuming the avant geist. Seeking to redefine our notions of music through the use of negative melody and non-rhythmic structure, compositions are improvised extemporaneously on solo electric guitar without the use of tape, tape dubbing, computers or synthesizers. The idea is to utilize a few basic tones and then present relational possibilities inherent in those tones.

Mr. Wallace is interested in the textural aspects of the sounds, in the physical dimensioning of each note, of the geometric quality of the sound. He is also 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. His 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. Influences as diverse as wind instrument breathing techniques, piano hand exercises, and woodwind and violin fingering styles are routinely incorporated into the standard fingering and theories behind the guitar.

Critics and fans have noted that he is able to produce complex musical riddles wherein his performances have 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.



[I]ncredibly interesting guitar improvisation, [i]f you are into guitar you will be into this from John Bruce Wallace. Incredibly talented. Susie Mudd, MARYLAND MUSICIAN, Baltimore, MD

Wallace is one of those rare exceptions. Charles S. Russell, EAR MAGAZINE, New York, NY

Sinuous solo guitar improvisations...rippling, resonant sound. Mark Jenkins, WASHINGTON CITY PAPER, Washington, DC

An aggressive, wailing guitar sound--astonishing and extremely individual--that one has never heard before. Grigory Valov, TIF, Arkhangel'sk, Russia

Wallace can very obviously play. [L]engthy meditations, often very spiked and twisted...often wild and unpredictable. Ken Egbert, OPTIONS, Santa Monica, CA

[I]ndividual sustain-drenched notes hang in the air, decaying naturally. Robert Iannapollo, CADENCE, Redwood, NY

Wallace interprets the improvised pieces with many harmonics, with inconsistent rhythms over fractured changes. Philippe Renaud, NOTES, Nantes, France

[H]is playing is a lot less predictable than that of many guitar warriors, and the best of it has a savage beauty that Eddie Van Halen couldn't achieve with six months of overdubs. Mark Jenkins, WASHINGTON CITY PAPER, Washington, DC

He invented a new technique of playing while continuously changing the pitch of his electric guitar. Svetlana Korel'skaya, ARKHANGEL'SK, Arkhangel'sk, Russia

[R]efreshing to hear music of such originality and quality for a change. Don Reimus, WOUI Radio, Chicago, IL

I really like the new material and it will be played for a long time (we still play "Plumbing" regularly). Rockin' Patrick Mokrane, Knight After Productions (CITR and CFRO Radio), Vancouver, British Columbia, Canada

[A] composer working to create a new voice for the electric guitar...creating a new approach to the instrument. Tim Brady, Opus Novus, Bradyworks, Codes d'Acces, Montreal, Quebec, Canada

The music is clearly developed, powerful, and expressive. Rick Petrie, WITR Radio, Rochester, NY

Really great improvisation for guitar. Dwight Loop, Earwaves Radio Network, KSFR Radio, Santa Fe, NM



Electro Static Time Line

Electro Static Time Line 2000

Loud Noises In A Corner: Engagements On Urban Terrain

Loud Noises In A Corner: Engagements On Urban Terrain 1994

John Bruce Wallace In Russia

John Bruce Wallace In Russia 1991

Plumbing the Depths of Reason

Plumbing the Depths of Reason 1990

Krank Kauls Disturb My Sleep

Krank Cauls Disturb My Sleep 1988



Musical samples from Loud Noises In A Corner
"03101993-2-Evening" (265k MP2)
"02181993-2-Afternoon" (182k MP2)
"02181993-1-Afternoon" (Real Audio)

"83198856" (Real Audio)
"83198949" (Real Audio)

Electro Static Time Line (MP3) Sound Track #1 from Electro Static Time Line







"Jazz Days '91," Arkhangel'sk Jazz Festival, Arkhangel'sk, Russia, 1991

"Jazz '91 Vilnius," Vilnius, Lithuania, 1991






Egbert, Ken; "Reviews" review in Options, Los Angeles, Nov./Dec. 1990, p.158

Gill, J. Doug; "Record Reaction" review in Maryland Musician, Baltimore, November 1990, p.52

Hurwitz, J.; "In the Mailbox this Month" review in DC Music WWWeb, DC Music; Washington, DC, Vol. 1, #2, November 1995

Iannapollo, Robert; "Hodgepodge & Shorties" review in Cadence, Redwood, NY, May 1992, p.20

Jahnke, Bernd; "Praesentation zeitgenoessischer Spielarten improvisierter Musik Vilnius '91" in Jazz Podium, Stuttgart, Germany, No. 1, 1992

Jenkins, Mark; "Sound Check" review in Washington City Paper, Washington, DC, October 28, 1994, p.45

___________; "Club Land" review in Washington City Paper, Washington , DC, October 12-18, 1991, p.33

___________; "Club Land" review in Washington City Paper, Washington, DC, June 2-8, 1989, p.24

Korel'skaya, Svetlana; "Stages" festival review in Arkhangel'sk, Arkhangel'sk, Russia, October 1991, p.6

Korolenko, P.; "Arkhangel'sk-91, International Jazz Days" in _________, Arkhangel'sk, Russia, October 1991, p.13

Malok; "Elec./Industrial/New Age" review in Sound Choice, Ojai, CA, #16 Winter 1991, p.63-64

Mudd, Susie; "The Red Rocker Report" in Maryland Musician, Baltimore, November 1990, p.11

__________; "The Red Rocker Report" in Maryland Musician, Baltimore, September 1989, p.11

__________; "The Red Rocker Report" in Maryland Musician, Baltimore, July 1989, p.12

__________; "The Red Rocker Report" in Maryland Musician, Baltimore, May 1989, p.10

Renaud, Philippe; "Cassettes" review in Notes, Nantes, France, October 1991, p.63

Rusch, Bob; "The Questionnaire" interview in Cadence, Redwood, NY, January 1993, p.37-38

Russell, Charles; "Earviews" review in EAR, New York, December 1989, p.53

Smith, LaDonna: "reviews, reviews, reviews, reviews, reviews" review in the improvisor, Birmingham, AL, Vol. XI, March 1996, p.138-139

Valov, Grigory; "Bitches Brew (Vilnius Jazz'91)" festival review in TIF, Arkhangel'sk, Russia, #16, 1992, p.4-7

Wallace, John Bruce; Genesis: Involvement: Generation, University Press of America, Washington, DC, 1981







John Bruce Wallace is represented by:

Jace W. Ball Creative Enterprises, P.O. Box 66083, Washington, D.C. 20035-6083



Recordings are distributed by:

Forced Exposure, P.O. Box 9102, Waltham, MA 02254-9102

617-629-4773 (PH), 617-629-4774 (FAX);

Wayside Music, P.O. Box 8427, Silver Spring, MD 20907-8427; and

Waving Bye Records, P.O. Box 66083, Washington, DC 20035-6083


John Bruce Wallace Internet E-Mail


Copyright 2000, John Bruce Wallace, ALL RIGHTS RESERVED
Page Design and Layout by John Bruce Wallace and Todd Ouellette, 1995, revised by John Bruce Wallace 1996, 1997, 1998, 1999 and 2000
Sound files digitized by Todd Ouellette, 1995 and John Bruce Wallace, 1998, 2000
Sound files are Copyright 1994, 1998, and 2000 John Bruce Wallace, All Rights Reserved