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  1. en.wikipedia.org › wiki › Love_(band)Love (band) - Wikipedia

    Tjay Cantrelli (born John Barberis) – woodwind (1966–67; died 1985) Frank Fayad – bass guitar, backing vocal (1968–73, 1982; died 2014) George Suranovich – drums, backing vocal (1968–70, 1978, 1982; died 1990) Jay Donnellan – lead guitar (1968–69, 1982) Drachen Theaker – drums (1968–69; died 1992)

    • 1965–1996, 2002–2005, 2009–present
    • See members section
    • Johnny Echols, Mike Randle, David Green, Rusty Squeezebox, James Nolte
  2. 29. Juli 2021 · 570 subscribers. Subscribed. 9. 316 views 2 years ago. Saxophonist and Flautist Tjay Cantrelli's sax solo from the LOVE album "Da Capo" 1967. ...more.

    • 4 Min.
    • 316
    • Leonard Los
  3. For the interlude, which features Johnny Echols' guitar playing and Tjay Cantrelli's (real name John Barberi) saxophone playing, the time signature shifts from 3/4 to 5/8. [4] [7] Echols has described the song as "a kind of a jazz waltz ", though noting that the song isn't very danceable. [4]

    • November 1966
  4. Lee then recruited Tjay Cantrelli (born John Barberis), a jazz saxophonist and flautist whom he had crossed paths with in the early 1960s, bringing the band to a seven-piece.

    • January 1967
    • June 17 and 20, 1966 ("7 and 7 Is"), September 27 – October 2, 1966
  5. 21. Sept. 2007 · I don't mean to come across as disrespectful in anyway, but there are plenty of Love fans who would give their eyeteeth to know what became of Tjay Cantrelli. It has just been assumed that he is dead. His soloing on Stephanie Knows Who, Orange Skies, She Comes in Colors and Revelation is brilliant!

  6. Explore Tjay Cantrelli's discography including top tracks, albums, and reviews. Learn all about Tjay Cantrelli on AllMusic.

  7. 29. Mai 2014 · Feed in the quizzicality of Ken Forssi and Alban “Snoopy” Pfisterer’s looping bass and drums groove, and the culture-crossing episodes emphasised by Tjay Cantrelli’s woodwind and keyboard-led passages, and there’s no denying that Love’s ‘Da Capo’ has, in abundance, the kind of inherent musical magic few groups could ever come close to possessing.