Line‑up

Allen Hinds | Guitar

Natalie Cole, The Crusaders, Roberta Flack, Randy Crawford, James Ingram, Boney James

Matt Rohde | Keyboards

Prince, Christina Aguilera, Alanis Morissette, Jane’s Addiction, Maxwell, Kelly Clarkson

Travis Carlton | Bass

Robben Ford, Scott Henderson, Sara Bareilles, Michael Landau, Tak Matsumoto, Larry Carlton

Donald Barrett | Drums

Toni Braxton, George Benson, Sade, Seal, Pink, Colbie Caillat

Style

Blues‑inflected fusion guitar lines that sing first—then open into modern jazz vocabulary.

Keys paint the harmony (Rhodes/organ color, cinematic pads) while bass and drums lock a deep pocket.

Tight hits, elastic time, and room for risk: a groove band built for interplay and lift‑off.

Project profile

Allen Hinds Group sits right at the intersection where jazz harmony, blues articulation, and rock attitude share the same downbeat. The guitar speaks in long, vocal arcs—phrasing that’s as lyrical as it is punchy—while the rhythm section keeps the music grounded in an unshakeable, forward‑leaning groove. Matt Rohde’s keyboard palette expands the band’s harmonic spectrum: warm comping, organ grit, and modern textures that can turn a turnaround into a landscape. Travis Carlton anchors the low end with a pocket‑first sensibility—supportive, melodic, and always in dialogue with the kick—while Donald Barrett’s drumming is tuned for motion: dynamic control, clear subdivisions, and a song‑serving instinct that makes the ensemble feel both tight and open. The result is a Groove Fusion set that moves like a band and improvises like a conversation.

Member details

Allen Hinds | Guitar

Timbre/Articulation: vocal sustain with clean‑to‑edge transitions; blues articulation inside fusion lines.
Technique/Idiomatic: melodic development over chops; dynamic control, phrase‑ending punctuation.
Harmony/Rhythm: jazz‑aware changes, funk accents, rock‑leaning backbeat swagger; leads the form while leaving space for counter‑voices.
(“The guitarist exhibits the epitome of taste via these magnetic arrangements and memorably melodic song‑forms.” — Glenn Astarita, All About Jazz, 2016-10-10)

Matt Rohde | Keyboards

Timbre/Articulation: Rhodes warmth, organ bite, modern pads; touch designed for support and lift.
Technique/Idiomatic: arranger’s comping—voice‑leading clarity, rhythmic restraint, and strategic fills.
Harmony/Rhythm: pop/rock MD experience translated into fusion contexts; locks with bass to widen the groove’s harmonic “floor.”
(“Matt Rohde is a Los Angeles-based keyboardist, Musical Director, Arranger and Composer.” — Beth Rohde, Coast Music, 2025-09-28)

Travis Carlton | Bass

Timbre/Articulation: round low‑end with articulate note starts; melodic motion without crowding the guitar register.
Technique/Idiomatic: pocket‑first lines; syncopation and ghost‑note feel where the groove needs air.
Harmony/Rhythm: bridges blues language and fusion precision; supports solos by shaping the time and the harmony together.
(“Fueled by a top-notch group of musicians, including Travis Carlton … on bass…” — Mike Elliott, Rock and Blues Muse, 2019-01-07)

Donald Barrett | Drums

Timbre/Articulation: clean subdivisions, strong backbeat control, and dynamic shading across sections.
Technique/Idiomatic: session‑honed consistency; grooves that stay elastic while keeping the form readable.
Interplay/Roles: prioritizes song and feel; creates “runway” for guitar/keys while tightening ensemble hits.
(“An incredibly motivated and positive drummer, he’s since become a first call player for touring and session work…” — Craig Garber, Everyone Loves Guitar, 2021-08-13)