Boullt earned global recognition for his visionary album Composition — a groundbreaking masterclass in fusion artistry. Boullt brought together some of the most legendary & influential jazz-rock musicians to create a deeply original, technically brilliant, and emotionally resonant work. The project drew worldwide critical praise, amassed over a million downloads, and cemented his place among the modern elite of fusion guitarists.

Composed, arranged, produced and performed by Lindsey Boullt.

Jerry Goodman – violin (Mahavishnu Orchestra, Dixie Dregs)
Derek Sherinian – keyboards (Dream Theater, KISS, Yngwie Malmsteen)
Stu Hamm – bass (Joe Satriani, Steve Vai)
Atma Anur – drums (Cacophony, Howe, Kotzen, MacAlpine)
Jeremy Colson  – drums (Steve Vai, Marty Friedman)
Jon Herrera – bass (Bass Player Mag Sr. editor)
Sukhawat Ali Khan – vocals (historic Indian/Pakistani lineage)
Peter Van Gelder – sitar (Zakir Hussein)
Mingo Lewis – percussion  (John Mclaughlin, Miles Davis, Al DiMeola)

Chris Manning – engineer (Metallica, Santana, Lucas Films)

Boullt’s album Composition drew international attention precisely because critics noted how rare it is for one artist to handle composition, arranging, production, and performance at that level. Reviews from global guitar press described it as “ambitious,” “cinematic,” and “technically stunning.” Many compared its scope to landmark fusion works like Allan Holdsworth’s Secrets or McLaughlin’s Birds of Fire — not for imitation, but for visionary ambition. Retrospective pieces and podcasts position him alongside boundary-pushers such as Steve Vai, Guthrie Govan, and Shawn Lane. It’s rare for a single project to unite such talent and receive such praise across continents.

In the modern landscape, few composers command such trust among elite musicians —  Boullt’s projects have featured collaborations with a roster that reads like a who’s who of modern music. His work is studied, celebrated, and continues to inspire musicians worldwide.

+++++++

Other RECORDINGS | Performances | PROJECTS 

Tony Franklin – bass (Jimmy Page, Whitesnake)
Greg Howe – guitar (Shrapnel, MichaelJackson)
Kai Eckhardt– bass (John McLaughlin, Garaj Mahaj)
Ric Fierabracci – bass (Chick Corea)
Chad Wackerman– drums (Allan Holdsworth, Frank Zappa)
Marco Minnemann – drums (the Aristocrats; Satriani)
Sean Rickman – drums (Shawn Lane, Herbie Hancock)
Joel Taylor – drums (Allan Holdsworth,  Al Di Meola)
Osam Ezzeldin –  keys (Billy Cobham, Zakir Hussein)

Jim Shirey – keys (Willie Nelson)
Ryo Okumoto – keys (Spock’s Beard, Eric Clapton)
Naima Shalhoub – vocals (solo artist, activist, educator)
Alex Carpani (Italy)– composer (Waterline album, released)
Faisal Zedan – percussion  (Syrian master percussionist)
Deszon Claiborne – drums (Taj Mahal, Angel Bofill)

Even before his international ranking as the #29 Best Fusion Guitarist in the World (Note.com Japan, 2020), Boullt had already secured a strong U.S. following among musicians, critics, and dedicated listeners who saw him as a cult-level figure of artistic integrity — someone who pursued greatness without commercial compromise. His name carries weight in conversations about artists who expanded the boundaries of American fusion and compositional guitar music.

https://en.wikipedia.org/wiki/List_of_jazz_fusion_albums

How to play like Allan Holdsworth” by Lindsey Boullt, Guitar Player Magazine, June 2004.

This article was included in the 2007 publication of “The GuitarPlayerBook 40 Years, a “best-of collection from the magazine’s four-decade history.” Jude Gold (former Sr. Editor GP mag) and I met in 2001-02. Jude asked me to write an article for the mag. So I wrote about the ‘great one’ Allan Holdsworth. The article made the June 2004 issue. In 2005, I met Allan.

In 2007, Jude included my article in Guitar Player magazine’s 40 Years book. Over the next few years, Allan and I spoke and crossed paths several times. I was able to tell him what he meant to all of us—that he was not only the most beautiful player, but the greatest guitarist and innovator of our lifetime. No doubt he had heard those words many times before. For guitar players back then, we waited with great anticipation for the next Holdsworth album. He gave hope to, and for, innovation itself.

He was better than everyone else.

‘Composition’ – the journey