John Bruce Wallace

John Bruce Wallace a/k/a jacewbal was born February 6, 1950, in Calais, Maine, United States. 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. Encouraged by his father to take up trumpet, he began studying clarinet while in grade school. 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.[4] 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 Experimental music, Progressive Metal, Avant garde, Rock, and Jazz.

On an invite to come to New York City to further develop musically, John gained insight into the inner musical culture opening potential doorways to pathways for future exploration. This move focused John's attention more closely at free improvisation, 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.[3]

Being recognized for developing a new approach to electric guitar, the prime focus of his musical work is the expansion of the voicings of the electric guitar through improvised compositions.[2][5] 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 - while generating a narrative of the moment.[6][7] His improvised compositions often incorporate 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.[2][3] His music was invited for performance consideration at the American Pavilion during the 1991 São Paulo Art Biennial, in São Paulo, Brazil.[3][8] His recordings and performances have received reviews in leading foreign and domestic trade journals and publications as well as online media.[2][3][5][7][8] In the independent music magazine Forced Exposure it was written about John,"For a guy whose list of desert islands discs contains works by Scelsi, Globokar, Kagel, Xenakis & others of the same ilk, it's interesting to hear such a loud, aggressively rock-like, feedback laden approach to solo...electric guitar."[9]

Tours have included festivals in Russia and Lithuania, at the Vilnius Jazz Festival.[10][11] In his Jazz Podium review of the Vilnius Festival Bernd Jahnke wrote "Solo guitarist John Bruce Wallace, in free improvisation, revamped the modern guitar tradition and, using the technical possibilities of his instrument, transferred it into an individual sound language."[5]

In a 1994 review of Wallace's improvisational album Loud Noises in a Corner: Engagements on Urban Terrain, Mark Jenkins wrote in Washington City Paper "Wallace 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."[12]

His recordings have received radio and Internet airplay across the United States, Canada, Europe, Russia, Central and South America, Australia, and Asia.[13][14][15][16][17][18]

With the release of the album Taming The Day he joined the roster of Throne of Bael Records[19] an experimental record label in the United Kingdom and has made his Discography available via Internet media services.[20][21] He has recorded collaborations with Wilfried Hanrath (Hauchzart Ensemble), Pete Swinton, Antonella Eye Porcelluzzi, Vaders Orchestra (Ewald Wöstefeld), Siegfried Grundmann, and M. Nomized. In addition to his solo recordings, John has had compositions included in two compilations on Throne of Bael Records.

• The Pundit's Theme[22] 2019
• Loss At The Scales Of Non-Such[23] 2018
• Non-Such And Pretenders[24] 2018
• Aural Parables From Mountain Tops and Valleys[25] 2018
• Improv For The Children[26] 1991/2018
• Incantations And Redemptions[27] 2018
• At The Druid's Feast[28] 2018
• Imperious Inferences[29] 2018
• Quantum Occlusion of Time[30](2018)
• Temporal Fazia[31] 2018
• Solitary Midnight Vespers[32] 2018
• Night Cries of Soulful Reckoning[33](2017)
• 2:30 am Prelude to Angst[34](2017)
• Talisman[35][36](2017)
• Memories[37][38](2004 - 2016)
• Was Was Not[39](2017)

• Electronic Breakdown In The Morning - (John Bruce Wallace & Siegfried Grundmann Collaboration on Basetrack: 'Uebermensch' by John Bruce Wallace: E-Guitar and Effects, Siegfried Grundmann: Arrangement, Electronics and Effects)[40] 2020
• Attenuated Lifeforce Articulation - (Collaboration on ORGASMUSLIEDER by ORGASMUSLIEDER Antonella Eye Porcelluzzi "Attenuated Lifeforce Articulation" by John Bruce Wallace)[41][42] 2020
• Panic Virus (COVID - 19) (Usa) - (ANDREAS N°24 - Virus - Compilation - FRACTION STUDIO (M. Nomized) COMPILATION - 2020) [43] 2020
• J M Basquiat Emotive Stroke - (A collaborative track based on For JM Basquiat by SRIGALA (Pete Swinton))[44] 2020
• Unscheduled Clarity In Flashes Of Not - (VadersOrchestra Collaboration and rework with Vaders Orchestra (Ewald Wöstefeld)on John Bruce Wallace composition "Unscheduled Clarity in Flashes of Not".[45] 2019
• Portland - Waiting In Phase - (John Bruce Wallace Collaboration on Portland a Wilfried Hanrath composition for open collaboration)[46] 2019
• Memories - (by John Bruce Wallace and VadersOrchestra (Ewald Wöstefeld))[47]2019

• Hindsight At A Paused Moment Of Reflection[48] 2021
• Waiting For The Rapture OR Pancake Breakfast[49] 2020
• What Its Come Too[50] 2020
• And The Gods Told Jokes[51] 2020
• Tales From The Street[52] 2020
• Disturbance[53] 2020
• Can This Be Real[54] 2020
• Retreat From The Egress[55] 2020
• Threadbare Sexuality in Regalia[56] 2020
• Collaborations[57] 2020
• Cruzing The Seventieth Level[58] 2020
• So Say Us[59][60] 2020
• Saints of Later Day Politics[61] 2019
• Zarathustra's Retreat From Plato's Cave[62][63] 2019
• Under Armor of Cloistral Aspirations[64][65] 2019
• Taming The Day[66][67] 2018
• Choice Cuts[68] 2018
• The Boundary Of Time's Sway[69] 2018
• Shredding The Cultural Fabric[70] 2018
• Battle of Betwixt and Between[71] 2018
• A Long Way For Not[72] 2018
• Aural Parables From Mountain Tops And Valleys[73] 2018
• Lost To The Myths Of Idolatry[74] 2018
• Society: A tonal Improvisation Played Out In Nine Parts[75] 2018
• Society Shamans and Wizards[76] 2018
• At The Druid's Feast[77] 2018
• The Anguished Cries Of Discarded Souls[78] 2018
• Land O Goshen[79] 2018
• Illusion of Immanence[80] 2018
• Sirens of A Distance Shore[81] 2018
• Once This Way Has Passed[82] 2018
• Chapel of Lost Soli[83] 2018
• Angst After Evermore[84] 2018
• Watching Time Disappear[85] 2018
• Along Came Yesterday 2018
• Energized Exchange 2018
• Reflections 2017
• Impaled Dreams of the Believer 2000
• Riding the Cusp of Time 2000
• Electro Static Time Line[86] 2000
• Loud Noises in a Corner: Engagements On Urban Terrain[87][88][89] 1994
• John Bruce Wallace in Russia 1991
• Plumbing the Depths of Reason[90] 1989
• Krank Cauls Disturb My Sleep 1988

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.

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 titled Genesis: Involvement: Generation[91] "Deals with the philosophical issues concerning the problems of solipsism: the search for the 'self' and its relation to the world. Addressing such traditional questions as the nature of epistemological certainty, metaphysics, and the adequacy of logic and science as foundations of thought, the author expands his investigation to include an examination of the individual and the social sciences. The author draws upon the thought of various philosophers, contending that both metaphysical solipsism and epistemological solipsism are faulty notions seeded in an equally faulty endeavor The Quest for Certainty, concluding that it is necessary to return to the Socratic maxim, 'Know Thyself', as a pluralistic field of consciousness.",[91][92][93] as well as papers on Artificial Intelligence and Consciousness, and Information Systems Management.

In the early 1990s 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, random and extreme fluctuation of sound volume, 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, as well as refinement in left hand fingering and right hand fingering, percussive techniques, strum and 'string feathering'. In 2010 his right hand was severely mangled by a dog bite, again presenting unique challenges for John since his playing style incorporates use of fingers, pick, and various other sections of the right hand in bringing forth the tones he prefers.

• Official site