Proejcts
At the age of 9, Muzz received his 1st instrument to annoy his family with, a set of kiddy drums. Having had an old Jukebox in the basement of his house, Muzz promptly set the kit up in front of it, and began his marginal music career. By the time his eleventh birthday came around, there was only one thing to have, an electric guitar. Thus began a four-decade relationship with the guitar, bass, and any other instrument that would be amusing for a month or so. Home recording was an essential part of a musician’s life in the late ‘70’s, and Horn and his sidemen were fumbling through Sound on Sound, reel to reel tape decks learning how to write a song. This practice became routine with the ‘cassette’ generation, and Muzz plugged along at home, after work with his drum machine, guitar and 4-trac, for several more years. From garages, to basements, to highschool gymnasium gigs, a steady flow of pop, southern rock, jazz rock and original compositions were stumbled through from New Jersey, to Colorado, to California and back, giving him enough disgust for the business of music to want to quit in 1989. As fate would have it, he switched to bass playing with a Manhattan band called Tough Sheep, having a one-off gig at the infamous CBGB’s Gallery. The band dissolving and he starting television school, playing music was last on the list. After a short career in the television and cinema industries, he fell back into the music scene in Brussels in 1993. Beginning with jam sessions, to forming a ‘covers’ trio, to forming a world music group called Silverbird, featuring digereedoo and gongs, the Euro ambiance was settling in to his work as a co-composer, lyricist, and instrumentalist. As blues was the choice of the working musicians of the day, he worked with singers, Nico Backton, Bob Christopher, Phil Clayton and Bill Roseman, to name a few. Deciding to go it alone, Muzz began doing a Delta blues duo with string bassist Sanderson Poe (of Ginzu fame), where the two had a steady gig in a fabric shop. From hosting the Phil’s Jazz Kitchen Blues Jam, to performing a steady weekend gig there, with digereedoo playing percussionist, Frank Eisenblatter, named Yogi Te, whom featured such guests as Puggy, in an instrumental drone jam. At the same time he was attempting to produce a singer named Korin Foy’s first 6 song e.p., featuring the likes of saxophonist Joe Higham. Over 15 years ago, Horn re-created himself as blues front-man Geezer Young, after being a sideman-guitarist and mercenary to any gig he could find. Breaking from the “norm” he designed an 8-string resonator guitar to finally identify himself as an artist, whilst earning himself a solo gig warming up John Mayall in Lessine. (Lessine critique?) From playing at the CBGB’s Gallery with Tough Sheep in New York in the late ‘80’s, to jamming with several of Belgium’s blues artists at the Blues Corner in Brussels through the ‘90’s, Horn’s trademark sound has charmed a lot of people over the years, leading him to open for John Mayall in 2010 in Lessine. His studio work with Nico Backton and Earthman Doublewood has earned him even more appreciation throughout the local scene, as a mutli-instrumental asset, doubling on lap steel, banjo, and bass guitar. After releasing two full Cds as Geezer Young, (Guru Blues -2010/Blues From A Broad -2013), he has re-invented himself in his own name on his third, yet debut album, as “Muzzy Horn” No Regular Joe serves up the funkier side of the Muzz, while blending back into blues, country and folk tracks. As well as music, Muzz Horn has worked on and produced two of his own super 8 films, as well as sculpting, gifting several stone sculptures throughout America and Europe from 1981 to the present. 2009 – session guitarist, banjo, lap steel for; Dave DeBerg, 5 tracks 2009 – session banjo, lap steel for; Earthman Doublewood/Bad Blood, 5 tracks 2008 – session slide guitarist for; Roman/Any Place But Home, 6 tracks 2007 – session guitarist for; Nico Backton/Blues at My Front Door, 2 tracks
