by Wassily Kandinsky

Excerpts from
Mp3 Excerpts
Excerpts from


Miles,Monk & Mom

Heaven's Reply

Excerpt 1
Excerpt 2
Excerpt 3
Excerpt 4
Excerpt 5
Excerpt 6

Big Sur 9-14-2000

Excerpt 1
Excerpt 2
Excerpt 3
Excerpt 4
Excerpt 5

Autasia Pt. I

Excerpt 1
Excerpt 2
Excerpt 3
Excerpt 4
Excerpt 5
Excerpt 6
Excerpt 7
Excerpt 8
Excerpt 9
Excerpt 10

Greg Sherman
Blue Hotel
Jeff Joad and the Joads

NEW! Latest GNOSIS Ratings
NEW! A-I In-Depth Interview
NEW! Aymeric Leroy Speaks!!
NEW! The Greg Sherman Interview
NEW! Expose BajaProg Review
In Scaruffi's Top 100 Prog
Piero Scaruffi's Glass Page
Glass Makes DPRP Best of 2001
Glass play "Progman Cometh"
NEW! Guitarnoise Interview
Glass at BajaProg 2002
The Aural Innovations Review
The DPRP Review
The Progressiveworld Review
Glass Makes The GEPR!
The 1st Prognaut Interview
The Prognaut Review
The Glass Reunion Concert
The ProgWest Concert
The First NSTTS Reviews
The Greg Sherman Solo CD
The Jeff Sherman Solo CD



Copyright 2002 Relentless Pursuit Records


Studio circa "Above & Beyond"
Studio circa "Home"

As a founding member of Glass, Jeff had an early start in experimenting with new ways to express his artistic vision. At the inception of the band in 1969, he was the primary songwriter and wrote most of Glass' early songs on the bass guitar - not thought of typically as a composition tool. But to Jeff it seemed as natural as writing a rhythm figure or song melody in an unusual time signature. Glass matured and their music expanded to include new technologies and influences so Jeff saw the need to take up the electric piano and eventually incorporated playing bass pedals into his role in the band. He also uses acoustic and electric guitars to great advantage on Glass pieces like "Broken Oars" and "Home". Furthermore, he credits the open-mindedness (and patience!) of his band mates, Greg Sherman and Jerry Cook with providing him with the necessary creative room to explore his somewhat unorthodox musical approach.

Jeff's formal musical education started at age eight when his parents bought him a second hand accordion. He pestered them for lessons and they finally relented. But the remote Northwest town he grew up in had no professional musicians, so the job of teaching music was given to a family friend to whom accordion playing was a hobby.

Later after moving to Port Townsend, Washington Jeff picked up electric guitar as so many budding musicians did when the 60's Rock Renaissance took firm hold. It was also during this period he taught himself to play bass guitar when the bass player in an early band was forced to quit. It was this shift that was the final piece in the elevation of Glass to an all-original-material progressive rock trio. The sound felt right to the three childhood friends and Glass was born.

Active in both the Port Townsend High School Concert Band playing saxophone and later with the High School Orchestra where he played cello, he became exposed to the great classical composers. In his senior year of high school he wrote an experimental avant' guarde orchestra piece that was performed live with select members of the high school orchestra and the very first iteration of Glass. He was 17 years old.

After his earlier tenure in Glass he went back to his musical roots - 60's rock and R&B and pursued a career as a songwriter. Then came a career move to Los Angeles, California where he formed several bands including Alen Rench and The Vicegrips to showcase his hook-laden-but-strange brand of Pop Rock. After being exposed to life in the barrios of The San Fernando Valley and Downtown L.A.s Skid Row, he evolved once more into a songwriter of what can only be described as Political Folk Rock. Having taken up the cause of "The Common Man" he created an alter ego - Jeff Joad - a fictional long-lost brother of Steinbeck's famous migrant family portrayed in "The Grapes of Wrath". He then started doing homeless outreach for Southern California's displaced and forgotten through various organizations such as The Frontline Foundation. This led to a stint working with the LA-based Project Xela-Aid where he became further educated in the disparity between the 1st and the 2nd Worlds. He joined Xela-Aids in-county project in Guatemala, Central America two years running where he provided onsite musical entertainment to the throngs of native Guatemalans who had to wait hours to get medical help at the groups make-shift clinics. Upon his return to The States he wrote his tour-de-force album "Judgment of the Flame" and put the Jeff Joad career on hold. He was exhausted and ready to go on to something new. Then came the long-awaited Glass Reunion. Musically reunited with his long-lost childhood friends Greg and Jerry (actually he has stayed close with brother Greg who supplied Hammond organ on much of Jeff Joad's music) the cycle of his creative path now seems to have come full circle. He lives in Southern California and continues to write and perform with Glass. He also maintains connections with Project Xela-Aid.

Current career milestones include a recent signing with Musea Records who will release his third solo work, "Gauguin" in the Spring of 2007. He's also completed recording his fourth solo album entitled " 'Branes". Short for "Membranes", it is a conceptual work loosely based on the 11 dimensions theoretically possible in quantum physics' String Theory.

Studio (another angle) circa "Home"


Upcoming Release:

Jeff Sherman

Fall 2008

Gazul (Musea) Records


Ensoniq Dsk1 Sampler, Ensoniq Dsk8 Sampler,'74 Alembic Small Standard Bass, KORG O1W Sampler, KORG KP2 KAOSS Pad Dynamic Effect Controller, Fatar StudioLogic MP-113 Bass Pedals,"Soundforum" Virtual Synthesizer software (by Stephan Schmitt), Line 6 DL4 Delay Modeler Pedal, Modified and Collected Digital Nature Sound Sources, Assembled Dream Bird Chorus Sample, Original Digital Sound Sample Modification Recordings, Modified Samples of 'Tantric Harmonics' by the Gyume Tibetan Monks, Modified Gregorian Chant Samples performed by the Schola of the Hofburgkapelle of Vienna, Modified Bass Samples and Loops, Bottleneck Slide Bass, Rainstick


KORG MS2000 Synthesizers

Currently OOP
Can be custom ordered by emailing this address:

Jeff Sherman
(featuring Hugh Hopper)
Relentless Pursuit Records RD4135


Ensoniq Dsk1, Ensoniq Dsk8, Mellotron, Magnus Chord Organ, Thorn Inlay Custom Bass, '73 Gibson J-45 Acoustic Guitar, Alesis H-16 Drum Machine, Digital Samples, Analog Tape Recordings, Original Digital Sound Sample Recordings, Flute, Ashtray, Shovel, Assorted Silverware


Acoustic Piano (on "Euphoria. . Core Recording), Synthesizers

Hugh Hopper:

Monster Fuzz Bass, Double-Speed Bass, Looped Effects, Tape Loops


Above & Beyond

Jeff Sherman
Relentless Pursuit Records RD4133

Per the artist's wishes:
There will only be 246 original Relentless pressings. Each CD is hand numbered and initialed by Jeff.


Fender Rhodes Piano, Ensoniq Dsk1, Ensoniq Dsk8, Hohner Pianet, Arp Odyssey, Mellotron, Sequential Circuits Prophet 5, KORG O1W-FD, Fender Precision Bass, Thorn Inlay Custom Bass, Electric Sax-Synth, Fatar StudioLogic MP-113 Bass Pedals, Alesis H-16 Drum Machine, Digital Samples, Analog Tape Recordings


Acoustic Piano



Elton Dean and Jeff
rehearse for Progman Cometh


[Relentless Pursuit]
Relentless Pursuit Records relentls@ix.netcom.com
Copyright 2008