Tony Williams - Believe It, 1975 (Jazz Rock/Fusion)

August 21, 2013, 2:47 pm

≫ Next: Fantasio Daze, '60s/'70s (Dutch Psych/Prog)

≪ Previous: The Spiders - The Spiders Story, 1966-1968 (Pop/Rock)

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1. Snake Oil 6:30
2. Fred 6:48
3. Proto-Cosmos 4:02
4. Red Alert 4:39
5. Wildlife 5:22
6. Mr. Spock 6:15
7. Celebration 4:01
8. Letsby 6:34

Allan Holdsworth - Guitar
Alan Pasqua - Electric Piano, Clavinet
Tony Newton - Bass
Tony Williams - Drums

Wiki:
"In the spring of 1975, Williams put together a quartet he called The New Tony Williams Lifetime featuring bassist Tony Newton, pianist Alan Pasqua, and guitarist Allan Holdsworth.[3] This lineup recorded two albums for Columbia/CBS Records, Believe It in 1975 and Million Dollar Legs in 1976. These albums were reissued on one CD in 1992 as Lifetime: The Collection. After recording Million Dollar Legs, guitarist Allan Holdsworth departed and was replaced by Marlon Graves for the subsequent tour undertaken to support the album.
In 1977, Williams parted ways with Graves, Pasqua, and Newton and formed another Lifetime lineup with entirely new personnel consisting of Mike Hoffmann (lead guitar), Gerry Mule (2nd guitar), Paul Potyen (keyboards), and Michael Formanek (bass). This lineup recorded demos for the Columbia label but had no official releases and played a small number of live gigs performing material from 'Ego' and the two New Lifetime albums 'Believe It' and 'Million Dollar Legs.'
In July 1978 Williams toured Japan with Ronnie Montrose (guitar), Brian Auger (keyboards), Mario Cipollina (bass) and special guest Billy Cobham also on drums for a series of concerts. They were billed as the Tony Williams All Stars. Later that year he released The Joy of Flying, an eclectic solo album featuring a mix of styles and collaborations with Herbie Hancock, Cecil Taylor, Tom Scott, Stanley Clarke, Michael Brecker, George Benson, and Jan Hammer.[4] It also contains 'Open Fire' recorded by the All Stars earlier that year.
In 1979, Williams formed another all-new Lifetime featuring Tod Carver (guitar), Bunny Brunel (bass), Bruce Harris (keyboards), and Tom Grant (keyboards). The band's sound was a major departure from the former New Lifetime's classic fusion, with the high-energy shredding heard on Believe It and Million Dollar Legs largely abandoned in favor of a cerebral and groove-laden approach that emphasized mood and melody over technical virtuosity. As with the 1977 band the 1979-era Lifetime played a small number of live gigs and no studio recordings are known to exist. Toward the end of this period Williams pared-down the lineup to a trio and played some gigs with Tom Grant on keyboards and Bunny Brunel on bass.
In late May 1980, Williams and a new trio incarnation of the Lifetime featuring Patrick O'Hearn on bass (miscredited as Patrick O'Hara) and Tom Grant on keyboards recorded the little known Play or Die album for the Swiss label PS Productions. Stylistically, the recording found Williams returning to high energy keyboard-dominated instrumental fusion reminiscent of the 1975 album On the Mountain by Elvin Jones, Jan Hammer and Gene Perla.
At the time of his death Williams was writing and rehearsing with guitarist Lyle Workman (who had appeared on Williams' 1996 solo release Wilderness) to form yet another incarnation of the Lifetime."



Believe It

or

Believe It

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Fantasio Daze, '60s/'70s (Dutch Psych/Prog)

August 22, 2013, 3:37 pm

≫ Next: Johnny Hallyday - This Is Johnny Hallyday, 1960-1962 (Rock & Roll)

≪ Previous: Tony Williams - Believe It, 1975 (Jazz Rock/Fusion)

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1. Names & Faces– The Killer
2. Sense Of Humour– Sunset Show
3. Cinderella– Town To Town
4. Crown's Clan– No Place For Our Minds
5. Human Orchestra– The Silly One
6. St Giles System– Swedish Tears
7. Sound Of Imker– Train To Doomsday
8. Bag– Tripdream
9. Phoenix– Ode To Jimi Hendrix
10. Tykes, The– Hey Girl
11. Turquoise– Daughter Of Johnny Ray
12. The Dream– The Doting King
13. Bag– Nothing Will Remain
14. Crying Wood– Blue Eyed Witch
15. Eddysons, The– Cousin Pretty
16. OPMC– Firechild
17. Adjeef The Poet– Eek, I'm A Freak
18. Opus– Master Of My Fate
19. Bobby Green Selection– I Never Saw The Love So Clear
20. Group 1850– Don't Let It Be
21. Jeep– The Rain

cduniverse:
"UK CD reissue of the original stunning double 10' album featuring 21 tracks of killer '60s Dutch Psych/Progressive music, all taken from original singles.
Holland produced some of the best Psych of the '60s and here you can check out a previously unknown Group 1850 single, 'Don't Let It Be', the truly stunning 'The Killer' by Names and Faces, Bag's 'Trip Dream', St. Giles System's 'Swedish Tears' plus many other tracks by Dutch bands who played alongside giants such as Pink Floyd and Led Zeppelin in the late '60s and early '70s."



Fantasio Daze

or

Fantasio Daze

Johnny Hallyday - This Is Johnny Hallyday, 1960-1962 (Rock & Roll)

August 23, 2013, 2:56 pm

≫ Next: Yuganaut - This Musicship, 2006 (Avant-Garde Jazz)

≪ Previous: Fantasio Daze, '60s/'70s (Dutch Psych/Prog)

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1. Wap-dou-wap
2. Si Tu Me Telephone
3. Retiens La Nuit
4. Nous, Quand On S'Embrasse
5. Twistin' U.S.A.
6. Toi Qui Regrettes
7. Sam'di Soir
8. Viens Dansez Le Twist
9. Let's Twist Again
10. Douce Violence
11. Danse Le Twist Avec Moi
12. Tu Peux La Prendre
13. Avec Une Poigne De Terre
14. Il Faut Saisir Sa Chance
15. Noud Les Gars, Nous Les Filles
16. Oui Mon Cher
17. Le P'tit Clown De Ton Coeur
18. Ce S'rait Bien
19. Ce N'est Pas Mechant
20. Tu Parles Trop
21. Kili Watch
22. Une Boum Chez John
23. Mon Septieme Ciel
24. Bien Trop Timide
25. Tu M'plais

1. Oui J'ai
2. T'Aimer Follement
3. J'Etais Fou
4. Laisse Les Filles
5. Souvenirs, Souvenirs
6. Pourquoi Cet Amour
7. Je Cherche Une Fille
8. J'Suis Mordu
9. Itsy Bitsy Petit Bikini
10. Depuis Qu'ma Mome
11. Le Plus Beau Des Jeux
12. Je Vent Me Promener
13. 24000 Baisers
14. Sentimental
15. Ton Fetiche D'Amour
16. Tu Es La
17. Tutti Frutti [Live]
18. Knocked Out
19. A New Orleans
20. Mon Vieux Copain
21. Hey Pony
22. Si Tu Restes Avec Moi

Wiki:
"Influenced by Elvis Presley and the 1950s rock revolution, Hallyday became famous in the 1960s for singing rock and roll in French. His debut single, 'Laisse les filles' was released on the Vogue label in March 1960.[10] His first album, Hello Johnny, was released in 1960. In 1961 his cover of 'Let's Twist Again' sold over one million copies, and was awarded a gold disc. It topped almost every European chart, although the track did not appear in the UK Singles Chart. He appeared on the American The Ed Sullivan Show with American singing star Connie Francis in a show that was taped at the Moulin Rouge nightclub in Paris. He also staged many appearances in the Paris Olympia under the management of the late Bruno Coquatrix. For their first concert, The Jimi Hendrix Experience opened for Johnny Hallyday in Évreux on 13 October 1966. Black and white footage, also from October 1966, exists of Hallyday partying with Hendrix, his manager Chas Chandler and others.
At the end of the 1960s, Hallyday made a string of albums with Mick Jones and Tommy Brown as musical directors, and Big Jim Sullivan, Bobby Graham and Jimmy Page as session musicians. These are Jeune Homme, Rivière... Ouvre ton Lit (aka Je suis né dans la rue) and Vie. On Je suis né dans la rue, Hallyday also hired both Peter Frampton and the Small Faces. Amongst their contributions are the songs 'Amen (Bang Bang)', 'Reclamation (News Report)' and 'Regarde Pour Moi (What You Will)' which are variations of Small Faces and Humble Pie – which was Frampton's band – tracks and they can be heard playing on the album. Often forgotten is Hallyday's non-LP single and EP track 'Que Je T'aime' from the same sessions. By 1969 alone, his sales of records exceeded twelve million.
One of Hallyday's later concerts, 100% Johnny: Live à La Tour Eiffel in 2000, attracted an audience of 500,000 and 9.5 million television viewers (the show was broadcast live on French TV). In December 2005, Hallyday had his third number-one single in France, 'Mon Plus Beau Noël' (after 'Tous ensemble' and 'Marie'), dedicated to his adopted daughter Jade. Shortly before announcing his retirement from touring, he released a blues-flavored album, Le Cœur d'un homme, on 12 November 2007. The album hit #1 in both France and French-speaking Belgium. In addition to the lead single 'Always', Le Cœur d'un homme features 'T'aimer si mal', a duet with bluesman Taj Mahal and 'I Am the Blues', an English-language song written for Hallyday by U2 frontman Bono. His next album, Ça ne finira jamais, released in 2008, another #1 on the French album chart, and its lead single, 'Ça n'finira jamais', also reached #1. In 2008 he recorded a series of acoustic songs with French musician Drexl Jonez. Hallyday's most recent album, also a #1 hit in France, is Tour 66: Stade de France 2009, a live set recorded at Stade de France during his farewell tour with appearances by Drexl Jonez on the guitar.
French movie producers Michèle and Laurent Pétin introduced Johnny Hallyday to Hong Kong film director Johnny To. Hallyday was cast as the main role of To's Vengeance after meeting with the director in early 2008. The shooting began in November 2008 and concluded in February 2009."



This Is Johnny Hallyday

or

This Is Johnny Hallyday

Yuganaut - This Musicship, 2006 (Avant-Garde Jazz)

August 23, 2013, 3:00 pm

≫ Next: Annette Peacock - I'm The One, 1972 (Avant Rock/Fusion)

≪ Previous: Johnny Hallyday - This Is Johnny Hallyday, 1960-1962 (Rock & Roll)

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1. Running 4:58
2. Stumblechuck 6:10
3. Channeling 4:18
4. Whacked in the Head 4:01
5. Time Cycle 10:15
6. Internal/External 4:22
7. Missing Limbs 3:19
8. Stimulus 3:09
9. Gobble Gobble 9:43
10. Statement 3:06
11. Perspective 8:59
12. Hymn for Roscoe 10:09

Stephen Rush - Animal Sounds, Bells, Clapping, Double Ocarina, Effects, Euphonium, Fender Rhodes, Harmonica, Maracas, Moog Synthesizer, Ocarina, Recorder, Slide Whistle, Vocals, Voices, Whistle (Human)
Tom Abbs - Bass, Cello, Didjeridu, Percussion, Tuba, Violin
Geoff Mann– Drums, Cornet, Vibraphone, Mandolin, Whistle, Flute, Mbira, Tambourine

AMG:
"Get your boarding passes ready and queue up for an interstellar journey in This Musicship piloted by Yuganaut, a crew of three intrepid explorers skilled in traveling the byways of space and time in the spirit of such previous pathfinders as Sun Ra, the Art Ensemble of Chicago, and Miles Davis in his '60s and '70s electric period. Stephen Rush, Tom Abbs, and Geoff Mann create genuinely unpredictable soundscapes throughout this highly diverse disc, but always with attention to organic development and flow. Rush's 'Stumblechuck,' with its comparatively mainstream trio lineup of electric keyboards, bass, and drums in a happily swinging tempo, is one of the most conventional pieces here, although an almost kazoo-like Moog used to state the theme and overlay the Rhodes interjects a skewed sensibility. Rush's Moog work seems informed and inspired by the mighty Ra, but he also easily conjures up a Bitches Brew vibe. (The keyboardist has led an impressive Bitches Brew project as a faculty member of the University of Michigan.) Meanwhile, Rush grabs his euphonium when an improvisation calls for it - not to mention other handy items and embellishments like elk call, slide whistle, 'frog,' and 'theatrics.' Abbs might primarily be a bassist in Yuganaut, and a wildly inventive and nimble bassist at that, but he also wraps a tuba around himself and keeps a didgeridoo and violin within easy reach. And while Geoff Mann (Herbie's son) is a propulsive, hyper-swinging, and coloristic drummer, his vibes and cornet are also there as needed, along with mbira (which imparts a traditional African flavor to 'Internal/External') and even mandolin.
Acoustic and electronic instruments are combined in a seemingly endless array of juxtapositions as the band moves from free-floating timbral/textural explorations of deep space to groove-based earthiness, outright noise, wild 'n' woolly unidentifiable sounds, and everything in between, sometimes guided by graphic scores. Highlights include the aforementioned 'Stumblechuck,' Mann's 'Gobble Gobble,' in which a midtempo off-meter vamp emerges out of formlessness to serve as foundation for a nicely cruising modal jazz workout (with the threesome playing both inside and outside the groove), and one of the most successful collective improvisations, 'Perspective,' which moves briskly from interlude to interlude (including a section bordering on outright - and uncharacteristic - menace) in nearly telepathic fashion. Wrapping everything up is a killer extended version of Rush's 'Hymn for Roscoe,' the title track from the keyboardist's 2000 quartet release that featured the Art Ensemble's Mitchell himself as guest. Here as performed by Yuganaut, the piece is an amalgam of freedom, funk, street march shuffle, and understated bluesy elegance (with some lovely arco work from Abbs in consort with Rush's clear-as-a-bell Rhodes), and once again an apt homage to the Chicago reed master. Moving well past the late jazz writer Whitney Balliett's 'sound of surprise,' Yuganaut prove that their chosen style of musical expression can be the sound of something genuinely startling. Free improvisation can also be the sound of something indulgent if not in the right hands, and the three multi-instrumentalists of Yuganaut thankfully avoid this potential pitfall in their spirited exchanges."



This Musicship

or

This Musicship

Annette Peacock - I'm The One, 1972 (Avant Rock/Fusion)

August 24, 2013, 1:09 pm

≫ Next: Echoes of an Era - Echoes of an Era, 1982 (Jazz)

≪ Previous: Yuganaut - This Musicship, 2006 (Avant-Garde Jazz)

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1. I'm the One 6:57
2. 7 Days 3:58
3. Pony 6:23
4. Been & Gone 2:25
5. Blood 2:04
6. One Way 6:21
7. Love Me Tender 3:53
8. Gesture Without Plot 3:34
9. Did You Hear Me Mommy? 1:46

Annette Peacock - Electric Vibraphone, Piano, Synthesizer, Vocals
Perry Robinson - Clarinet
Michael Moss - Sax (Tenor)
Mark Whitecage - Sax (Alto)
Tom Cosgrove - Guitar
Apache Rose Peacock - Piano
Paul Bley - Piano, Synthesizer
Mike Garson - Organ, Piano
Stu Woods - Bass
Glen Moore - Bass
Rick Morotta - Drums
Laurence Cook - Drums
Airto Moreira - Percussion
Barry Altschul - Percussion
Dom Um Romão - Percussion
Orestes Vilató - Percussion

AMG:
"Annette Peacock's work as a vocalist, pianist, and composer is austere, cryptic, laconic, minimalistic, and relentlessly individual. Her dry delivery and penchant for stark, stripped-down musical 'environments' have made her something of a cult figure and an icon of the avant-garde. An early participant (1961-1962) in Dr. Timothy Leary's psychedelic culture experiments and a longtime adherent of Zen Macrobiotics, Peacock has been releasing albums since 1968. But her career has been marked by fairly long periods of silence; this partly explains her relative obscurity.
Aside from a brief period of formal study at Juilliard during the 1970s, Peacock is entirely self-taught. Born in Brooklyn, she began composing by the time she was five. Her first professional association was with saxophonist Albert Ayler, with whom she toured Europe in the 1960s. She soon began to write in an idiom she calls the 'free-form song,' which emphasizes the use of space in contrast to the busy, cacophonous tendencies of free jazz. During this period she met and married her first husband, the double bass virtuoso Gary Peacock. She also began to write material specifically for the avant-garde pianist Paul Bley and his trio. For decades, Bley has remained one of her most devoted interpreters.
Among her other accomplishments, Peacock is an unsung pioneer of electronic music. Years before the commercial emergence of synthesizers, she received a prototype from inventor Robert Moog. This prompted her to synthesize her own voice, which according to most reports had never been done before. Ultimately these experiments brought about an innovative 1971 album, The Bley/Peacock Synthesizer Show.
Despite her decidedly unorthodox profile, Peacock has had several interesting points of contact with mainstream culture. In 1978 she sang three songs on Feels Good to Me, a minor classic by progressive rock drummer Bill Bruford. Her song 'My Mama Never Taught Me How to Cook' appears on the soundtrack of Kevin Smith's 1997 film Chasing Amy. And a sample from Peacock's song 'Survival' crops up in 'Tell 'Em Yu Madd' by Militant the Madd Rapper featuring Busta Rhymes. Most notably, David Bowie has shown interest in Peacock's work over the years. On his 1999 album Hours, the rock legend makes a fairly explicit reference to Peacock's song 'I'm the One.' Bowie subsequently invited Peacock to collaborate.
Pianist Marilyn Crispell saluted Peacock with a 1997 ECM disc titled Nothing Ever Was, Anyway: The Music of Annette Peacock. Peacock's one-track guest performance on the album ended a 12-year recording hiatus (her longest yet). But her official return to the studio came in 2000 with her own An Acrobat's Heart, also on ECM. Although many of her compositions appeared on Paul Bley's ECM titles through the years, Peacock had never herself previously recorded for the German-based label."



I'm The One

or

I'm The One

Echoes of an Era - Echoes of an Era, 1982 (Jazz)

August 25, 2013, 2:42 pm

≫ Next: Stomu Yamash'ta - Modern Music for Percussion, 1971 (Modern Composition)

≪ Previous: Annette Peacock - I'm The One, 1972 (Avant Rock/Fusion)

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1. Them There Eyes 3:52
2. All of Me 4:35
3. I Mean You 3:28
4. I Loves You, Porgy 6:29
5. Take the 'A' Train 6:26
6. I Hear Music 4:22
7. High Wire - The Aerialist 6:29
8. All of Me 4:16
9. Spring Can Really Hang You up the Most 16:09

Chaka Khan - Vocals
Joe Henderson - Sax (Tenor)
Freddie Hubbard - Flugelhorn, Trumpet
Chick Corea - Piano
Stanley Clarke - Bass
Lenny White - Drums

AMG:
"In 1982, soul goddess Chaka Khan did the unexpected when she recorded this excellent, straight-ahead jazz LP. Regrettably, the album was released under the name Echoes of an Era instead of under Khan's own name - so it wasn't nearly the big seller it probably would have been if Elektra had fully exploited Khan's connection with the project. But while Echoes of an Era was the victim of questionable marketing, it was a creative triumph. Joined by Joe Henderson on tenor sax, Freddie Hubbard on trumpet and flugelhorn, Chick Corea on acoustic piano, Stanley Clarke on upright bass, and Lenny White on drums, Khan demonstrates that she is quite capable of handling hard bop and straight-ahead jazz. Corea, Clarke, and White had all been members of the fusion powerhouse of the '70s Return to Forever, but make no mistake - Echoes of an Era is very much an acoustic bop date. With White producing and Corea handling the arrangements, the singer swings aggressively and really soars on Thelonious Monk's 'I Mean You' and Duke Ellington's 'Take the 'A' Train,' as well as on 'Spring Can Really Hang You Up the Most,' 'All of Me,' and 'I Loves You Porgy.' In fact, Khan's jazz singing is so strong that one cannot help but wonder what would have happened if jazz had been her dominant direction instead of R&B."



Echoes of an Era

or

Echoes of an Era

Stomu Yamash'ta - Modern Music for Percussion, 1971 (Modern Composition)

August 26, 2013, 2:45 pm

≫ Next: Twenty Sixty Six And Then - Reflections!, 1972 (Heavy Prog)

≪ Previous: Echoes of an Era - Echoes of an Era, 1982 (Jazz)

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1. : Hans Werner Henze: Prison Song 6:43
2. : Toru Takemitsu: Seasons 16:30
3. : Peter Maxwell Davies: Turris Campanarum Sonantium 17:12

Stomu Yamash'ta - Percussion

discogs:
"'Prison Song' was composed in 1971 (specifically for this recording), based on 'The Leg-Irons' (from the Prison Diary of Ho Chi Minh).
'Seasons' was composed in 1970 in two versions (four performers vs. one performer), then revised in 1971 (the version presented here). The revised version was first performed by Stomu Yamash'ta in Paris at the concert of the Journées de Musique Contemporaine in 1971. All instruments made by François and Bernard Baschet.
'Turris Campanarum Sonantium' was composed in December 1970 (specifically for Stomu Yamash'ta). "



Modern Music for Percussion

or

Modern Music for Percussion

Twenty Sixty Six And Then - Reflections!, 1972 (Heavy Prog)

August 26, 2013, 2:46 pm

≫ Next: Elton Dean - Just Us, 1971 (Jazz/Fusion)

≪ Previous: Stomu Yamash'ta - Modern Music for Percussion, 1971 (Modern Composition)

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1. At my Home 7:57
2. Autumn 9:06
3. Butterking 7:17
4. Reflections on the Future 15:48
5. The way that I feel today 11:11
6. Spring 13:02
7. I wanna stay 3:59
8. Time can't take It Away 4:40

Geff Harrison - lead vocals
Gagey Mrozeck - guitars
Veit Marvos - keyboards
Steve Robinson - keyboards
Dieter Bauer - bass
Konstatin Bommarius - drums
+
Wolfgang Schoenbrot - flute
Curt Cress - drums

progarchives:
"2066 & Then are: Geff Harrison on lead vocals, Gagey Mrozeck on guitars, Dieter Bauer on bass, Konstatin Bommarius on drums and Steve Robinson with Veit Marvos both sharing duties on organ, electric piano, vibes, synthesizer, mellotron and vocals (the name '2066 & Then' comes from adding an extra thousand to the number 1066, year of the historical battle of Hastings). Their heavy progressive style has been compared to that of Deep Purple, Vanilla Fudge and Iron Butterfly. After releasing their first album, individual members got involved in different projects that never really stood the test of time, so 'Reflections on the Future' is their only legacy, and a fine one at that.
Their dramatic organ-drenched, complex music sometimes dons symphonic elements, but the band isn't afraid to dive into some heavy guitar/organ jamming either, featuring elements of jazz, some high-octane rhythmic parts and quick changes, mixed with weird psychedelic electronic effects - the hoarse vocals, however, perhaps better suited to conventional hard rock, may take some getting used to.
Their record company (Second Battle) re-released the album in 1991 under the name 'Reflections on the Past'. Considered a collectors item, it also contains unreleased masters and some bonus practice sessions from an early rehearsal session in 1991. In 1994, the cd 'Reflections!' came out, compiling tracks from both, plus some which had been considered for a second album that never materialized. A combination of poor sales and a ruined German economy at the time sadly forced the premature death of this fine German band, only months after the release of their first album.
If you enjoy ELP, The Nice and Jethro Tull or some of the bands mentioned above, do check out this Germanic prog band. Some killer material awaits you."



Reflections!

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Reflections!

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Elton Dean - Just Us, 1971 (Jazz/Fusion)

August 27, 2013, 2:58 pm

≫ Next: Krokodil - An Invisible World Revealed, 1971 (Heavy Psych)

≪ Previous: Twenty Sixty Six And Then - Reflections!, 1972 (Heavy Prog)

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1. Ooglenenovastrome 15:18
2. Something Passed Me By 5:31
3. Blind Badger 6:41
4. Neo Caliban Grides 6:53
5. Part: The Last 5:48
6. Banking on Bishopsgate 20:30
7. Fun Cup 4:28

Elton Dean - Sax (Alto), Saxello, Electric Piano
Marc Charig - Cornet
Nick Evans - Trombone
Mike Ratledge - Organ, Electric Piano
Jeff Green - 6 String Electric Bass, Guitar
Roy Babbington - String Bass
Neville Whitehead - Electric Bass
Phil Howard - Drums
Louis Moholo - Drums

AMG:
"A welcome reissue of music first recorded in 1971 and 1972, shortly before Dean left the popular British jazz-rock group the Soft Machine, which he had officially joined only a short time earlier, in late 1969. On this recording, Dean plays alto sax, saxello and electric piano and is aided by a group of musicians which includes two additional Soft Machine members, Mike Ratledge on organ and electric piano and Roy Babbington on string bass. One of Dean's compositions on Just Us, 'Neo-Caliban Grides,' was actually recorded by the Softs, however, in spite of the obvious parallels, Dean's group is by no means a Soft Machine knock off. The absence of drummer/vocalist Robert Wyatt and bassist Hugh Hopper reduces both the rock element and the experimental electronics, while the presence of the additional musicians - especially Marc Charig on cornet - gives Dean's group a fuller sound and one that is much more in the jazz tradition. Charig's contributions on horn and those of an electric guitarist on several tracks, invite some obvious comparisons with the Miles Davis electric band of the Bitches Brew era. And with the extraordinary recording by the Davis group having been released only two years earlier in 1969, its influence on hip young British jazz players would have been substantial. Dean's prominent use of the electric keyboards also provides an obvious parallel with the contemporaneous Davis group."



Just Us

or

Just Us

Krokodil - An Invisible World Revealed, 1971 (Heavy Psych)

August 28, 2013, 2:48 pm

≫ Next: Caspar Brötzmann/Page Hamilton - Zulutime, 1996 (Avant-Garde)

≪ Previous: Elton Dean - Just Us, 1971 (Jazz/Fusion)

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1. Lady Of Attraction 4:21
2. With Little Miss Trimmings 1:42
3. Oddyssey In Om 15:19
4. Green Fly 4:23
5. Looking At Time 14:03
6. Last Doors 4:00
7. Pollution - Bonus track 3:41
8. Krokodil Session Part 1 - Bonus track 11:26
9. Krokodil Session Part 2 - Bonus track 11:42
10. Don't Make Promises 3:59
11. Hurra! 3:05

Mojo Weideli - flute, harmonica, vocals
Walty Anselmo - guitars, sitar, bass, vocals
Terry Stevens - bass, guitar, mellotron, vocals
Düde Dürst - drums, percussion, vocals

progarchives:
"Krokodil was a Swiss band that emerged in the late 60's as a blues-rock band that put progressive touches into their music. They were of German-Swiss extraction with bassist and guitarist Terry Stevens being the only foreigner in the band, coming form England. They were regarded as the Swiss version of the Groundhogs due to their first album. However, from their 2nd album Swamp they started to introduce a psychedelic sound to their music, a sound which is very much dominant on Invisible World Revealed. In that album they make use of mellotron, organ, harmonica and flute all backed up by an acoustic guitar which give the album an exotic and stoned feeling to it. The eastern and Indian influences in this album are present through the sitar and tabla in the 15 minutes suite Odyssey In Om. The blues here gives way to the psychedelics, ethnic sounds and vocal harmonies, but it is still there. Getting up For The Morning continues the same style (in a new label, Bacillus) but they became more succinct in their approach to composition and it was more of a song oriented album than its predecessor.
A band not to be missed by anyone who likes blues, psychedelic and ethnic in his music and does not mind them being mingled together. Even though they are tough to find, their 3rd album is very much worth the bother."



An Invisible World Revealed

or

An Invisible World Revealed

Caspar Brötzmann/Page Hamilton - Zulutime, 1996 (Avant-Garde)

August 29, 2013, 2:56 pm

≫ Next: Luiz Bonfa - Le Roi De La Bossa Nova, 1963

≪ Previous: Krokodil - An Invisible World Revealed, 1971 (Heavy Psych)

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1. Zulutime 11:14
2. Head Hunter 7:18
3. Hit Single 11:30
4. Dream Date 7:43
5. Suburban Blight 5:56
6. Imbiss 4:15

Caspar Brötzmann - Guitar
Page Hamilton - Guitar

AMG:
"Just the thought of pairing Caspar Brötzmann and Page Hamilton has some intense implications. Independently, both had been sonically investigating the ambiguous and organic for years before recording Zulutime. Brötzmann, whose spirit of musical investigation was perhaps handed down genetically by his father (free jazz phenom Peter Brötzmann), had been actively working soundscapes since he was a teenager in Germany. Page Hamilton, however, is most notably recognized as an indie rocker in the early-'90s band Helmet. On any Helmet album, one will find sonic explorations of a sort, albeit constricted into a 4/4 time measure. Helmet was Hamilton's baby, but it could be argued that grungecore was selling his classical training a little short. More closely related projects could be found with his collaborations in Glenn Branca's wall-of-sound symphonies.
Zulutime is a great meeting between two guitarists of a like mind. The sound is deep, resonant, and confrontational -- but also contemplative. The two waste no time in hitting the listener hard with aggressive feed and fuzzy distorted chords. At the halfway mark, the ironically titled 'Hit Single' takes the listener to warmer places, letting some open space take over for aggression by means of slight feedback and the tapping of muted strings. It is a much welcomed change, as the first half can be a little overbearing. There's no time signature here, so the musicians flow quite independent of each other, but the trance-inducing result is as cohesive as this kind of stuff gets."



Zulutime

or

Zulutime

Luiz Bonfa - Le Roi De La Bossa Nova, 1963

August 29, 2013, 2:56 pm

≫ Next: Anna Deltsova & Corn's Children - Petite Fille

≪ Previous: Caspar Brötzmann/Page Hamilton - Zulutime, 1996 (Avant-Garde)

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1. Bonfá Nova 2:09
2. Cantiga Da Vida 2:00
3. Amor por Amor 2:23
4. Dor Que Faz Doer 2:02
5. Samba de Duas Notas 3:14
6. Teu Olhar Triste 2:27
7. Lila 2:30
8. Você Chegou 2:26
9. Santeleco 2:23
10. Balaio 2:38
11. Sorrindo 2:09
12. Bossa Em Ré 1:34
13. Você Chegou 2:32
14. Saudade Vem Correndo 2:49
15. Mania de Maria 2:35
16. Sincopado Triste 2:42

AMG:
"While it's true that Luiz Bonfá is a forgotten name among many bossa nova lovers - past and present - a forgotten name rarely associated with his younger peers he influenced (Jobim, Gilberto, de Moraes) who took the music to international popularity. Bonfá is a ghost whose shadow looms large over the music, whether he is well known or not. He composed both main themes for Black Orpheus, which ended up on the hit soundtrack. Here Bonfá does what he does best: play an amazing guitar, arrange a series of uncredited session players, sing, and dig deep into the roots of bossa nova as it comes out of samba, but then return it changed but folded into the tradition. Tracks like 'Samba de Duas Notas' ('Two Note Samba'), with its beautiful guitar/flute front line slipping around and through one another in the bridge, are typical of this man's artistry and innovative. The gorgeous ballad 'Lila' offers a portrait of Bonfá the balladeer. His deep, fluid fingerpicking style colors each melodic phrase, shades the changes, and offers a harmonic and technical invention that guitarists like Tal Farlow would kill for. 'Sudade Vem Correndo' comes off like a jazz tune with a horn section upfront and Bonfá leading the rhythm section, which includes a piano. He may get lost a little in the mix, which is ancient, but he's there setting the deep groove in the tune. His comping behind the pianist's solo actually gives him a wider palette to improvise upon. Ultimately, this is a beautiful set, one that singularly displays many but not all of Bonfá's gifts. It is deep bossa, but its airiness, light, and song-like qualities equal its technical excellence, and make it accessible to anyone interested in the music."



Le Roi De La Bossa Nova

or

Le Roi De La Bossa Nova

Anna Deltsova & Corn's Children - Petite Fille

August 30, 2013, 11:24 am

≫ Next: Los Dug Dug's - Dug Dug's, 1971 (Psych)

≪ Previous: Luiz Bonfa - Le Roi De La Bossa Nova, 1963

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Los Dug Dug's - Dug Dug's, 1971 (Psych)

August 30, 2013, 2:04 pm

≫ Next: The Trio - Real, 2006 (Jazz)

≪ Previous: Anna Deltsova & Corn's Children - Petite Fille

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1. Lost in My World 4:07
2. Without Thinking 1:34
3. Eclipse 2:41
4. Sometimes 2:26
5. Let's Make It Now 4:36
6. World of Love 3:27
7. I Got The Feeling 3:21
8. It's Over 3:32
9. Going Home 2:00
10. Who Would Look At Me? 3:16

Jorge De La Torre - Vocals
Armando Nava - Vocals, Guitar, Flute, Piano, Percussion
Gustavo Garayzar - Guitar
Genaro Garcia - Bass
Jorge Torres Aguayo - Drums

AMG:
"Mexican garage rock legends Los Dug Dug's were led by singer/multi-instrumentalist Armando Nava, born in Durango, Durango in 1946. At 15 he acquired his first guitar, and at 17 he joined his first band, Xippos Rock - when their original frontman quit, Nava assumed lead vocal duties, and after graduating high school the group toured the Tijuana region, with Nava's salesman father driving their van and conducting business along the way. While on the road, Nava made the executive decision to change their name from Xippos Rock to Los Dug Dug's - the name being the abbreviation of their home city and state - while playing in Texas he scored copies of early Beatles records, and the band became not only to the first in Mexico to cover the Fab Four, but also the first to sing all of their material (covers and originals) in English. After an extended stint as the house band at the Tijuana strip joint Fantasitas, Los Dug Dug's relocated to Mexico City in 1966 - a series of personnel changes were afoot, however, and soon only Nava and only vocalist Jorge de la Torre remained from the lineup that first set out from Durango. After earning a rabid fan following in Mexico City, the group signed to RCA to record their debut single, the children's television theme 'Chicotito Si, Chicotito No' - they also headlined a pair of 1967 films, El Mundo Loco de los Jovenes and Cinco de Chocolate y Una de Fresa. In all, Los Dug Dug's cut ten singles for RCA while in Mexico City, including covers of U.S. pop hits like 'California Dreamin'' and 'Hanky Panky.' After returning to Tijuana in 1968, Los Dug Dug's - now consisting of Nava, de la Torre, guitarist Gustavo Garayzar, bassist Genero Garcia, and drummer Jorge Torres Aguayo - took up residence at the popular Sans Sous Ci club. After American tourist Frank Mangano caught their act, he was so impressed that he offered to bankroll a trip to New York City - there the group played a handful of live dates and recorded a few demos, but Mangano refused to fund the $5000.00 musicians' union fees necessary to earn Los Dug Dug's the opportunity to play Manhattan's larger venues. With little choice except to return to Mexico, the group began work on its first LP for RCA Mexico, but long-simmering creative differences between Nava and de la Torre forced the latter's resignation after the album was completed, and by the time the resulting psychedelic opus Lost in My World appeared in 1971, Los Dug Dug's were essentially no more. The singles 'World of Love' and 'Eclipse' were nevertheless huge Latin American hits, and in 1972, Nava revived the group as a power trio - now, with the majority of Mexican groups singing in English, he reversed the trend, performing in Spanish on 1972's Smog. For 1974's Cambia Cambia, Los Dug Dug's sported a clean-cut look in keeping with their music's evolution to more concise, melodic pop approach - RCA did little to support the album, however, and 1975's El Loco proved their swan song. Despite endless lineup changes, Nava has nevertheless kept Los Dug Dug's an ongoing concern in the decades since - the group most often appears at his Mexico City nightclub La Reunion."



Los Dug Dug's

or

Los Dug Dug's

The Trio - Real, 2006 (Jazz)

August 31, 2013, 2:39 pm

≫ Next: Karlheinz Stockhausen - Helikopter-Streichquartett, 1993 (Modern Composition)

≪ Previous: Los Dug Dug's - Dug Dug's, 1971 (Psych)

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1. Central Booking 5:41
2. New Child Is on the Way 5:47
3. Blue Zone See All 2 7:06
4. October Song 4:52
5. Second Thoughts 6:59
6. You're Not Alone 6:08
7. Dance on the Beach 5:07
8. Blues of Oz 6:02
9. Dali 8:19
10. Memories of Mom 5:10

Makoto Ozone - piano, Fender Rhodes piano
James Genus - upright bass, bass guitar
Clarence Penn - drums, percussion

AMG:
"A premier jazz musician in Japan, Makoto Ozone has made a successful transition to America, where he became equally prominent in this nation's improvisational community. He began on organ at four, then took up piano as a teenager. He went to Berklee in 1980 and studied composing and arranging. He was noticed by Gary Burton and later recorded with him and was part of his band. Ozone's striking ability (especially on mid-tempo pieces) and impressive technique made him a big hit at the Kool Jazz Festival. His 1984 debut recording featured Burton and bassist Eddie Gomez. It was a stunning example of complete knowledge and mastery of the full jazz piano spectrum. Ozone later worked with European pianist Michel Petrucciani and spent extensive time studying classical music."



Real

or

Real

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Karlheinz Stockhausen - Helikopter-Streichquartett, 1993 (Modern Composition)

September 1, 2013, 2:00 pm

≫ Next: 3 Hurel - 3 Hurel, 1973 (Anatolian Rock)

≪ Previous: The Trio - Real, 2006 (Jazz)

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Helikopter String Quartet, for 4 helicopters & string quartet 31:48

Arditti Quartet

AMG:
"Completed in 1993, Stockhausen's Helikopter requires four helicopters with pilots, four sound technicians, four television transmitters, a 4 by 3 matrix of sound transmitters, an auditorium with four columns of televisions and four columns of loudspeakers, a sound projectionist with mixing console, a moderator, and airborne string quartet.
This approximately thirty-minute long work begins with the introduction of the four string performers to the audience by the moderator who may also describe certain technical aspects of the piece. The performers head toward the four helicopters while the audience watches their approach over the video monitors in the auditorium. After embarking, the actions and sounds of each performer are carried back to the audio and video monitor stacks by 1: camera focused on close ups of the face, hands, bow, and instrument, 2: television transmitter, and 3: three microphones, including a contact mike on the bridge of the instrument, one directional mike for the vocal sounds, and a microphone mounted outside the helicopter which picks up the cyclic, rhythmic sound of the rotor blades.
Once the players are settled inside the cockpits, the helicopters ascend for about five minutes, which is calculated from the beginning of the ignition of the turbines. During the ascent, the audience sees the earth through the glass, also sees the performer, and hears the sound of the rotors both from the outside microphone broadcast to the loudspeakers and acoustically above the auditorium.
At the five-minute point, the instruments enter and the players produce steady pitches, one different tone per instrument, that are bowed at different specified rates (steady to fast tremolos). The pitches then gradually ascend and descend in glissandi with a consequent change in the rate of the bowing, making an effect that closely imitates or suggests the rhythmic heterodyning or fluttering of the helicopters' rotors. The frequently crossing pitch-lines and curves are notated in four different colors.
Once the instruments have begun playing, the helicopters fly in a circle within a radius of approximately six kilometers above the performance venue, individually varying the altitudes. At one extreme, if possible, they should fly high enough that the acoustic sound of the rotors will not reach the auditorium; or, at least, that the rotors' acoustic sound becomes far below that of the sound broadcast by the microphones into the loudspeakers.
The performers are kept in synchronization by a click-track that is transmitted to them. At various times, the performers in declarative tones call out numbers (in German or their native language)-1 to 5, 1 to 13, 1 to 7 to 1, etc., that test the sync among the players and also are correlated with lines and pitches by individual players. The structured sections (calculated to the tenth of a second) are the 'First formula cycle,' 'Second formula cycle,' and the 'Third formula cycle.'
Toward the end of the piece, there are more obvious correlations between the strings that play chords attacked together. During the five-minute descent, various bowings on odd parts of the fingerboard produce harmonic sounds that imitate the buzzing phase sounds of the engines.
After this spectacular visual and auditory onslaught, the cameras follow the players and pilots back to the auditorium. The moderator introduces the pilots and a general discussion ensues. Most days are programmed with at least three performances."



Helikopter-Streichquartett

or

Helikopter-Streichquartett

3 Hurel - 3 Hurel, 1973 (Anatolian Rock)

September 1, 2013, 2:01 pm

≫ Next: Secret Oyster - Straight to the Krankenhaus, 1977 (Prog/Fusion)

≪ Previous: Karlheinz Stockhausen - Helikopter-Streichquartett, 1993 (Modern Composition)

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1. Aşk Davası 2:45
2. Ve Ölüm 4:57
3. Haram 2:38
4. Gurbet Türküsü 3:02
5. Anadolu Dansı 2:08
6. Lazoğlu 3:00
7. Madalyonun Ters Yüzü 3:00
8. Diday Dom 2:06
9. Kara Yazı 2:55
10. Gül'e Ninn 2:51
11. Ölüm Al Ben 3:06
12. Pembelikler 3:50

Onur Hurel - Vocals, Bass
Feridun Hurel - Guitar, Saz Guitar
Haldun Hurel - Percussion, Vurgulu Sazlar

progressive.homestead:
"One of the most interesting groups of Turkish progressive music, a legendary sound. 3 brothers, Onur, Haldun, Feridun Hurel: 3 Hur-El. Their first band was at 1966 'Istanbul 4'.. Then 1970 3 Hur-El with their special sound. First LP 1972.
As an important differance, the three Hurel brothers didn't play cover songs or turkish music compositions. Feridun did the original composes and lyrics, and sang, also played a double-necked instrument : one neck for guitar, the other for turkish saz. Was a great combination. With special drums, percussions and combination of west-east instruments, they created a new synthesis. That was a great progressive sound of 70's, with great rhythms.
Their second LP 'Hurel Arsivi' , 1976, is their most important work (selections from singles) of the group, amazing rhytms, incredible guitar playing, some psych sounds and vocals...
A must listen."



3 Hurel

or

3 Hurel

Secret Oyster - Straight to the Krankenhaus, 1977 (Prog/Fusion)

September 2, 2013, 3:08 pm

≫ Next: Horizont - Summer In Town, 1985 (Sympho Prog)

≪ Previous: 3 Hurel - 3 Hurel, 1973 (Anatolian Rock)

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1. Lindance 1:11
2. Straight to the Krankenhaus 2:45
3. My second hand rose 4:14
4. High luminant silver patters 5:34
5. Delveaux 7:51
6. Stalled angel 3:54
7. Rubber star 4:09
8. Traffic & elephants 6:10
9. Leda & the dog 5:47

Karsten Vogel - saxophones
Claus Bøling - acoustic & electric guitars
Kenneth Knudsen - keyboards
Jess Stæhr - bass
Ole Streenberg - drums

progarchives:
"Secret Oyster became somewhat of a super group when members of Burnin'red Ivanhoe, Coronarias Dans and Hurdy Gurdy formed this unit. By the end of BURNIN' RED IVANHOE's career (that spawned seven years), Karsten Vogel started forming a new band taking along with him BRI's drummer Thrige and often jazz-partner bassist Vinding with him. Knowing from the Danish circuit guitarist Claus Bohling, he enticed him into the band that took its name from a track from BRI's second album Secret Oysters Service. The last to join was keyboardist Knudsen, who had never played an electric instrument prior to entering this outfit, but was playing in a piano avant-garde trio. Knudsen would prove particularly helpful as the second songwriter of the group and allowing Vogel to leave the keyboards at will to play wind instruments.
Their sound recalled Mahavishnu Orchestra, Nucleus, Herbie Hancock's Mwandishi and Sextant albums as well as Miles Davis's Bitches Brew. Quite a success and this prompted their record company to release that album internationally but under the title "Furtive Pearl". After a line-up changze that saw the rhythm section get a complete overhaul (Staer for Vinding and Streenberg for Thrige) their second album, Sea Son, is even better but failed to get international public recognition, even if all connoisseur will mostly agree on this album being the band's apex. At one point the line-up of this group was also exactly the same as BURNIN' RED IVANHOE (after it got revived because they also developed rockier material) as well as a third outfit, "Day Of The Phoenix". This did not stop them from writing the music to a ballet "Vidunderlinge Kaelling" released as an album under the name of "Astarte", with very mixed results just a few months before their final album, the much better "Straight From The Krankenhaus" also known as "Orlander".
Aside from their confusion of their album names and general discography, Secret Oyster is a great jazz-rock/fusion outfit that deserved a lot more attention for they were almost as good as the groups named above.
All four original albums have received a thorough and outstanding remastering with added bonus tracks on the great label Laser's Edge. Secret Oyster got back together (Bohling, Vogel and Knudsen plus a new bassist and drummer) during the re-issues of their albums, touring the states and Denmark. Also maybe in the works, an un-released studio album (roots in the Astarte ballet deal) and a live album from these years could see the light of day in the following years."



Straight to the Krankenhaus

or

Straight to the Krankenhaus

Horizont - Summer In Town, 1985 (Sympho Prog)

September 3, 2013, 3:12 pm

≫ Next: BBC Prog Rock Britannia - An Observation in Three Movements

≪ Previous: Secret Oyster - Straight to the Krankenhaus, 1977 (Prog/Fusion)

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1. Snowballs 8:34
2. Chaconne 10:37
3. Summer In Town 18:46

Vladimir Lutoshkin - guitar, flute
Andrey Krivilev - vocal, keyboards
Sergey Kornilov - keyboards
Alexey Eremenko - bass guitar
Valentin Sinitsin - drums
Igor Pokrovsky - vocal
Yuri Beliakov - vocal
Sergey Alekseev - vocal

progarchives:
"Horizont (not to be confused with a Swedish band of the same name) began in the 70's as a school band in the Russian city of Gorky (now called Nizhny Novogrod). From straight rock, they moved on to baroque classical music and by the late 70's, they were clearly into RIO. After the release of their second album in '89, they simply vanished and no one, not even their record company, knows what became of them.
Their first album, "Summer in Town", is a little gem of 70's symphonic rock with strong classical tinges (Prokofiev comes to mind). It features carpets of keyboards, atmospheric voices (no vocals), harmonic melodies, soft guitars à la Steve Hackett, disquieting passages à la ELP plus mellotrons and flute galore. The more complex "Portrait of a Boy" is an entirely different album, abandoning most of the sympho-prog roots of the first for straight RIO. As opposed to the rather lively "Summer in Town", this one is gloomy, hard edged, full of dissonance and outrageous sounds, very close in style to Univers Zero. The musicianship on both albums is excellent, just as the sound quality which is on par with anything coming out of the UK or US of that era.
Both albums are recommended to all vintage symphonic prog fans although the second will likely appeal more to avant-garde buffs such as fans of Univers Zero and Present."



Summer In Town

or

Summer In Town

BBC Prog Rock Britannia - An Observation in Three Movements

September 4, 2013, 12:45 pm

≫ Next: Hans Edler - Elektron Kukeso, 1971 (Experimental Electronic)

≪ Previous: Horizont - Summer In Town, 1985 (Sympho Prog)

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