Monday, 20 August 2018
Unfortunately the only album from this mucho talented crew headed by the guitarist who so generously gave his name to the kwartet, this represents Euro-fusion at its best with a minimum of self-inflated improvised dawdling and a maximum of composed passages and riffs, with the typical emotional resonance of their version of this US artform:
The last track, called me Take me There. Note that Gerry Brown is the drummer.
With regards to the prior elements of Eef's discography, 1977's Blue Capricorn is a very agreeable guitar-by-numbers easy listening instrumental album (though take note of the gorgeous arrangement on the Albers-composed title track) reminiscent of late Jan Akkerman instrumental albums, and 1980's Brothers with the dynamic duo John Lee/Gerry Brown is electric but a bit on the too bluesy side.
Friday, 17 August 2018
Recall in 1981 the Barok Jazz Kwintet made the 33 Mini Jazz Klub (though on this LP the word jazz is quite supplementary). This one is a modern chamber orchestra record such as I dearly love and others, I'm sure, dearly hate. In case you need a point of comparison, it's similar to the Peabody College album, but the first one I posted. The last track begins with an inauspicious panting percussion syncope mess that sounds like an ancient jazz fan (as they always are now) who lost his walker and fell to the floor and is now desperately trying to activate the clapper with his arthritic fingers to call his middle-aged grandkids to help him get up again, that then luckily transforms into an interesting modern classical 'take' on swing similar to Stravinsky's Ragtime but more organically competent, especially when the piano solo at the end is included for that comparison:
Enjoy it (hopefully)...
Wednesday, 15 August 2018
Monday, 13 August 2018
Here's something my friend sent way back earlier this year that I've enjoyed enormously in the intervening time with its intense mixture of truly, truly progressive music. We have everything we could ask for: oddball ballads, chamber or modern classical compositions, electronic weirdness, abrupt and angular RIO, the entire wide and bizarre gamut of kaleidoscopic sounds we expect from truly, brilliantly creative musicians, guys who don't give a hanging sh** about being popular, the only thing they seem to care about is finding new ways to assemble complicated de-Fouriered sound waves in heretofore never heard ways or impressing their fellow musicians whose jaws drop at the sound of a bizarre melody with the thought, "how does that even work???"
As an example of a tune that seems designed to be commercial but, obviously, will never be played for you at work on your favourite stupid station endlessly playing "Everybody Dance Now!" & "Candle in the Wind," a tune fittingly called Fallen Mind:
For their skills at instrumental composition (and arrangement) consider the following mini-masterpiece I've listened to 100s of times, called Sonata in Blue:
The Reporters shouldn't need an intro, but I'll quote the discogs summary, which sounds like it was written by the artists:
Based in suburban Detroit, formed in the mid-1970s by high school chums Steve Gore and Steve Kretzmer, the Rascal Reporters made music together for over 30 years, until Gore's death in March, 2009. Call it Progressive Rock, Avant-Garde Pop, Sound Collage, Experimental, Rock in Opposition, Sentimental Tear Jerkers, Quirky Folk Tunes for Casio, Elevator Music from Hell, or whatever category you like, this duo of Steve Kretzmer (keyboards, percussion, vocals, guitars) and Steve Gore (keyboards, percussion, vocals, guitars) delighted in confusing audiences and smudging the lines between genres over the course of one 7" single and 7 studio albums.
There's an enormous amount of music to slog through here, but take your time, it's worth it. And don't be put off by the RIO label since so much of the music isn't.
PS: The other release I've been enjoying enormously this year is the lost Missus Beastly album, In the Diving Bell: strongly recommended to everyone, truly another lost masterpiece. What a shock to see that one turn up.
I wouldn't want to post it since it's an official GoD release.
I wouldn't want to post it since it's an official GoD release.
Friday, 10 August 2018
Here's an ultrarare unearthed from the bowels of ebay by my amazing friend, sniffer out of masterpieces like truffles from the earth.
From the Encyclopaedia of Electronic Music:
Jeff Blanks is an Atlanta-based musician who recorded this instrumental disc inspired by Olias of Sunhillow by Jon Anderson. The music features a similar mix of prog, Celtic music and EM, with a stronger emphasis on the latter.
Track A4, A Midsummer's Daydream:
Wednesday, 8 August 2018
I posted his piano conclave 2 weeks ago, here's his 1977 MJK entry. Unlike the previous this is all-out high interest Rhodes electric piano fusion along the lines of the second Coronarias Dans album, thus highly recommended. Consider the 1st track:
With the second side presenting to us more of a Keith Jarrett vibe. Sadly there is no more to seek out in this series, so far as I know, though others may disagree. With what we already have we can certainly thank Panton for such a wealth of treasures.
Slovak pianist, bass guitarist, composer. Born November 23, 1948 in Kukučínovo (Želiezovice district, former Czechoslovakia, presently Slovakia).
Monday, 6 August 2018
Piotr Figiel was posted earlier by our indefatigable PR correspondent and proved popular, I was sniffing around for more in his discography and came across this item released shortly thereafter with pop-funk-soul singer Urszula who made a number of albums back in the day, mostly apparently unavailable (digitally) now. So don't expect any instrumental hammond etudes here at all.
The first and title track will give you an idea of how well they melded classic motown funkin it up with pop styles a la Bacharach:
And in fact a couple of tracks throw in those muted trumpet or flugelhorn fills that are so so typical of the 60s Burt B. hits.
The final track, on the other hand, represents the best of imitation-US soul-pop balladry with that typical European touch of emotional intensity:
Ah that glorious sound of seventies pop: just listen to how the acoustic guitar chords complement the sustained hammond organ.
Saturday, 4 August 2018
Member of The Entourage Music & Theatre Ensemble, that lasted from 1970 to 1983, when Joe Clark died.
Known to play guitars, keyboards, and percussion.
And that he does, plus vocalizing, on this his first solo release from 1981 which follows very organically from his Entourage work, cf., the meditative and highly Ralph-Townerish title track:
Apologies for the scratches, not described as such on purchase. Reminds me a lot of William Ackerman and his Windham Hill records output and their stable of artists from the early 80s.
And bonus, it's not all acoustic, on occasion he develops a very pleasant electric fusionary tension, as on Bone Lake:
Note that the piece called "Shores of God" the piano sonata with viola solo appeared in the Entourage CD unreleased collection and thus is quite familiar to us.
I get the impression he followed this with new age material which is probably of somewhat less interest.
Wednesday, 1 August 2018
You might recall I posted the 76 and 78 albums of this very Jazz-Q-like fusion group already. Also in a somewhat futile attempt at being complete, I bought and ripped a later one, viz. from the dangerous year 1982, here and then concluded that the 1985 5th album was hardly worth hearing. Note the info in the database:
Czechoslovak jazz combo. Formed 1968 in Prague, led by Laco Deczi. In the 1970s essentially identical to the Czechoslovak Radio Jazz Orchestra rhythm section and soloists. After a line-up change in the mid-1980s, featuring Deczi’s son Vaico Deczi on drums, and after Deczi’s immigration to New York, the group evolved to Cellula New York which is still actively performing as of 2012.
Big surprise to me then that they also made this 1979 EP with more material along the same lines. I should've looked more carefully or rather, not assumed that the EP would be stuff already released on the LPs. How generous the makers of this Mini Jazz Klub series were to never recycle a track from anything already put out! In any case the compositions here proved to be disappointing (btw note the curious absence of Laco Deczi here), teaching me again to not attempt to complete the discography of Jazz Cel(l)ula:
Maybe next year I'll complete it.
Incidentally, I'll add in the Czech fusionary collection Third Eye which features a number of tracks that I've already uploaded for your entertainment (Jazz Fragment, Klavier Conclave, SHQ), plus the great Jiri Stivin...
Monday, 30 July 2018
A mystically beautiful folk record from 1970 from a one-off artist called Tom Pohlman (actually quite similar to the Entourage-related Bob Brown I just posted) thematically addressed to John. (See below for info.)
If you click on the first link there above this sentence you'll notice there's a record available to you for purchase, in the amount of 1600 dollars. The lowest it sold for apparently on discogs was in the 700s. So really, be prepared for the fury of your wife. Or, instead, you can just follow this blog and save yourself a whole load o' cash. I remember long ago reading Tom Hayes saying that albums described for example on popsike or record collector's guide as 'superb loner folk or psych' really just boil down to simple songs with vocals on acoustic guitar with nothing progressive to get us excited about. Well this record really does fit the bill here. Consider how beautiful the instrumental ST opener to the second side is:
The Ganges' soaring emotional grace and beauty just left me speechless:
It's a shame the vocals were so badly recorded (on what is a private pressing I guess) it's very hard to tell what he's saying.
Can you believe it? After so many albums hunted for, caught and bagged, eviscerated and set up on the wall as trophies?
Thanks be to all those who help in the quest, as always... Please, I beg you, don't let the flow of beautiful gems ever end.... that would surely break my heart...
(though have the opposite effect on my family...)
PS. Note the following information clearly contemporaneous from this post:
1970 folk music recorded in the Baltimore area, including musicians Tom Pohlman, Bill Campbill, Howie Bloom, Mike Parloff, Jim Queen, Mark Seidelson, and Janet Miller. Corner and edge wear, splits beginning in about 3 places, light rings front and back...
A Prayer for John (U. of Md. Diamondback) by Dave Bourdon
Tom Pohlman is looking for the right girl. In that way, perhaps, he's no different than any other guy on campus.
What sets Pohlman's search apart from others is that while he has met the girl he seeks, he does not know her name, anything about her personality or background. In fact, he knows only one thing about her. She is a human being.
Pohlman met her while walking back to his dorm room. Crossing the mall, he spotted her crying underneath a tree.
"When 1 saw her," he recalls, "it seemed like the whole tree was crying, too. I went over and said, 'Either you have a very bad cold or you're crying'...she said she was crying and I asked what the matter was. She said 'you wouldn't understand' and I said maybe I would.
"Then she told me her brother had just been killed in Vietnam.
"It really set me back. I sat down and said that perhaps I did understand a bit because my father had died last June."
Pohlman spent about five minutes comforting the girl. Finally, he says, "I asked her if she was religious and she said yes. I asked her if it would be prying if I asked her brother's name and she said it was John. I told her I'd say a prayer for John."
The chance meeting was still preying on Pohlman's mind that night. An amateur songwritier, he took his guitar, pencil and paper and walked to the floor stairwell. In half an hour he had composed a soft ballad intitled "A Prayer For John."
But when he woke the next morning, he realized he "could not use it unless it was all right with the girl. It was a personal thing even if it didn't mention any names. It was as much her song as it was mine."
The search began. Pohlman posted notices in every girls' dorm asking "the girl who was crying for John" to contact him.
He also advertised in the Diamondback. For his efforts, Pohlman has thus far received false alarms and prank calls.
At this moment, then, the fate of Pohlman's song is in limbo. Although he is quite opposed to the war, the song has no political overtones for several reasons. Essentially, he says, the song was meant to mourn the death of a human being, to express the sorrow of a close death, whether by war or any other cause. He says it best, "John is a human being. That's all John is. That's all I know about him." Another reason for his political abstention is that "perhaps the girl has feelings about the war. I'm sure she wouldn't like to hear he died for nothing."
Pohlman still has hopes of finding the lost girl, but he realizes his chances are dimming. "But mainly," he says, "I hope she's not crying anymore."
published in The Crescent student newspaper, November 21, 1969....by.....idler ...~
Friday, 27 July 2018
I reviewed these Swiss prog rockers before. They are most notable for the fact they continued producing records from this original one in 1981 all the way down to the present day, with apparently the same lineup, albeit making use of a great deal of recycling.
The instrumental opening of A Rebel is Not the Devil, despite one annoying skip, is simply superb:
As before some of the harder rocking bluesier tracks are a little paint-by-numbers in the hair metal style with the commonest electric guitar cliches of solos. Still, there are enough oddball chord changes and unique licks to make this quite an enjoyably spent 2/3 of an hour. As Caesar would have approved: "Rockituri te salutant!"
Wednesday, 25 July 2018
As the fortune teller predicted, we now switch away from the jazz and fusion of the past summer to return to our roots, US-style prog along the lines of Ariel - Perspectives, Spaces - Border Station, Jester, or the much beloved Canadian Machines have Landed, etc.
But similar to the case with Luna Sea where side a was more simplistic and commercialized and side b more driven in the progressive fusion direction, we really have just half an album here. For those looking for the wonderful banging of a rock rhythm section and dying again for the electric excitement of amplified guitars, this is anyways a blissful change. Consider the last part of Fugitive (A Suite in Three Movements):
Pretty good, right?
The information here suggests the band only made this LP, not so surprisingly. Checking the credits on the verso scan makes it clear the other entry in the discogs database is a mistake.
Monday, 23 July 2018
I love the overdoing of the accents, like those millennial females who go overboard with the caked on makeup and thick brown painted eyebrows... Not sure if y'all are sick of the slavova fusionova and jazzova, definitely I'm gettin' there, but here's some more (maybe return next post when I will give you a totally different taste).
In the course of hunting down the Vikliky oeuvre I encountered this rarity which looked promising, especially when one recalls the magnificence of the Gruntz Klavier Conclaves (not to mention the American version with the many hands...)
Perhaps not the ideal quality for these pages, especially after mentioning Gruntz, but oh well, this is how we learn what's worthy: one piece of 12 inches at a time.
Saturday, 21 July 2018
A fusion album which is oh so similar to the others from this era in Deutschland, like the exemplary Nimbus though inevitably and sadly not as good, but with titles like "Opium Haut Opi Um," Pudding Explosion," and "Zombie D' Amour:"
you know there will be some progressive tendencies, at least...
Thursday, 19 July 2018
So thanks to our friend PR for covering my holidays as a locum-- I appreciated the respite from the chores of posting, and let it be said most of my summer is still unfortunately spent babysitting young children who are still not yet, thanks be to god, addicted to social media and the internet in general plus texting on their phones. Yes, let it be said there is much to recommend the innocence of childhood-- by innocence I mean unexposed to the uber-idiotic youtube that is. And I suppose I have some of that childhood spirit too since I wish said summer holiday would last much much longer, without the intrusion of electronics. PR? Not in the Cape again are you?
As I mentioned before in relation to his 1972 album, this one is not quite as strong, but still pleasant in the usual early 70s SSW Japanese style (as in the early Fukamachi I posted). Note it's not recorded in the database.
Tuesday, 17 July 2018
Friday, 13 July 2018
First up, all apologies (cf. Curt) for the extended holiday but all thanks too to PR for kicking in to give me a break at the beach (my turn, sucker...)
I was stunned when a friend sent to me the CD compilation of unreleased Entourage Music Group material, a band (discography here) I had never even heard of, but which was highly reminiscent of some of the best chamber music compositions on the Evergreen College albums-- remember those? So we're talking intellectual progressive jazz here, along the lines of Oregon for example. Going back into their (only 2) LP releases it's obvious we are dealing with some highly trained musicians with strong classical musical educations. In particular, the guitarist reminds me so much of Ralph Towner on a track called Neptune Rising:
Alternatively you could say it's like the fabulous Icarus from Paul Winter that so blew me away last summer. The thoughtfulness and emotion and intellectual drive just drive me to tears. Speaking of which, one of the best tracks from the CD compilation has exactly that title:
Reminds me a little of a modernized version of Ravel's famous string quartets. Subsequently reaching back into the oeuvre of these fine talents, I found the founder / leader of the group whose name is Joe Clark, created a mini-masterpiece with SSW Bob Brown in 1971 called Willoughby's Lament, consider this track called Interlude:
That series of chords accompanied by violins that follows each chorus really gets to me...
Will the musical wonders never cease?
The Entourage Music and Theater Ensemble was an ambient music group. The group was active from 1970 to 1983 and performed in theaters in combination with dance ensembles.
The primary members were founder and director Joe Clark (2) on saxophones and keyboards; Rusti Clark on viola and guitar; Michael Smith (9) on drums and percussion; and Wall Matthews on guitars, keyboards, and percussion.
Entourage formed in Baltimore, Maryland in the early 70's, relocated to Millbrook, New York, then moved to New London, Connecticut in the mid-seventies and finally re-settled in the Baltimore, Maryland area. The group disbanded after the death of Joe Clark in 1983.
I didn't include the CD, but bunched the remainder into one big file. Enjoy....
Thursday, 12 July 2018
Sunday, 8 July 2018
More from the Polish Jazz Series; this time a release from Sami Swoi, a well-known (in Poland, anyway) big band, playing "Round Midnight," a blues medley and more.
Saturday, 7 July 2018
Another Urbaniak release from the Polish jazz series. Posted in lossless, but will post in MP3 if requested.
Friday, 6 July 2018
Like the Mini Jazz Club series, there's a generally sublime series of recordings of Polish jazz, of which this recording is #24. It's pre-fusion Urbaniak and has an intensity I find lacking in his later recordings.
Tuesday, 3 July 2018
With all of the attention this blog has given Czech jazz and jazz-rock, we thought it would be a good idea to spend a bit of time posting some Polish jazz. This release, which is heavy on the Hammond organ is certainly a product of its time, but in a very cool way. And who doesn't like Hammond organ?
More Jun Fukamachi and probably the last one, this time for real: the rare 1982 Soundtrack to "Die Frau Mit Dem Roten Hut"
Sadly with this album I will have to close the book on the wonderful discography of Jun, who has given me, and hopefully you, so much pleasure in the last few months discovering his lost works.
From our wonderful resource the imdb,
In 1923 a Japanese comes to Munich and immediately falls in love with a street artist with a red hat, without knowing her past is. She turns to the Japanese, for the first time she thinks she has found her really great love- exotic strangers attract her. They say a lot, but they do not understand each other - but they can show their love. Nevertheless, the relationship is doomed to failure from the beginning. Disappointment, death and loss.
Not enough info in the synopsis to tell us the quality.
Clearly B1 競輪選手の死 whatever it's called introduces some really progressive composing:
The closing theme is just lovely--
Remember those days when soundtracks could have genuinely great music on a par with the best albums, not filled with has-been hits, facile radio pop songs, or generic symphonic orchestral garbage?