Chris Hinze Combination plus Metropole Symphony Orchestra with Parcival, 1976, by request

 

2 alternate covers, as you can see.  I was pretty thrilled when I first saw this as LP because let's be honest, Hinze is a genius and performed with so many brilliant artists in the glory days of fusion of the 70s, particularly in the stuff he put out with Charlie Mariano.  You can see his discography here, and the combination one here. I especially love the 'solos duos trios' releases. I guess subsequently he went in the easy listening and ethnic folky new age directions.

Information here. Hinze of course is the composer of the whole work. Surprisingly it has not been released to CD, ever. Normally I love this kind of stuff where fusion and jazz are combined with a classical orchestra in an original way hopefully with a bit of creative, advanced composing, not baroque or simplistic classical borrowings, like Chuck Mangione did so perfectly well as I mentioned in posts before.  Well I guess what's 'wrong' with this work is that it doesn't get amalgamated seamlessly, with a mixture of classical parts, simple pop-like songs, gospel, and fusion outbursts here and there throughout. Sometimes you get all three types in one track, but not conjoined, just one style followed by another style with abrupt transitions. I thought Deep Purple's famous Concerto for Group and Orchestra suffered from the same affliction, more so actually since it had no fusion aspect, though lots of people love that one. For some incomprehensible reason.

It's also surprising because in the year 1976 one would have expected something stunning since it was such a fertile year for this kind of thing.

Anyways, it ends like this:

Praise Poems, Vol. 2

 

Again some really standout tracks on this second installment, with a bit of lovely fusion.  Information here.  Standouts are for sure Joe B's The Dude (no LP from him that I can see), Third Stream's In a Galaxy Far Away, and Seeds of Fulfillment with The Provider.

The Dude:

In a Galaxy Far Away:

It's amazing that this was never released on an LP considering how stunningly great it is with the spacey synths and the beautiful groove...

Praise Poems, Vol. 1

 

Obviously, I encountered this series whilst in hot pursuit for stuff by Geoff Tyus who will be appearing shortly on his own, but one of his compositions appears on this series. I thought I'd listen to it to get an idea of his work, in general, and I was pleased by what I heard. I'm going now to explore the whole series, which is wonderfully done, chiefly because they took a lot of really unknown stuff unbelievably found in the deepest parts of old vinyl crates, sometimes or maybe usually only on EPs or singles, and I guarantee you've never heard of any of these artists just like me, and it offers us avenues to explore in the case where there are LPs left unripped, still to be brought to light. 

Each installment in this 'franchise' (as they say in Hollywood as if it was a junk food place) contains some gems, sometimes not more than a couple which is understandable in any compilation case, but sometimes there's some really standout stuff. Despite the description there is a mixture of traditional jazz songs with vocals (no standards or cover versions, thank god), almost no funk, but quite a bit of soul and folk music too. In general the majority could be described as soul songs with an early but rarely later 70s style.

There is no rock, there is no electric music, just a bit of light fusion here and there. In terms of the latter, the best track from the first installment is Innerflight's Tribute to Ruffian which unfortunately was derived from an EP, there is no LP for this wonderful group to explore further:

Gotta love all the thought that was put into that piece.

The track called Praise Poems from which the series presumably derives its name is truly lovely despite the Bob Dorough like vocalist:

Japanese Fusion guitarist Masayoshi Takanaka in Seychelles (1976), An Insatiable High (1977), and ST (1977)

 

From discogs:

Chinese-Japanese guitarist, born in Tokyo as Masayoshi Liu; by 4th grade name changed to Masayoshi Takanaka when he became a naturalised Japanese citizen.

First in the band Escape in the late 1960s, playing US military bases in the greater Tokyo area. Professional debut as a stand-in guitarist for Apryl Fool, wearing his school uniform.

The music here, as might be expected, is very smooth fusion, with the usual tropical and Brazilian elements typical of the late 70s years. This is not quite at the level of the recently found  Akiyama, who blew me away. More like the very laidback Teruo Nakamura.

From Seychelles; Tropic Birds:

ST from the next LP, An Insatiable High:

Xhol Caravan Hamburg 1969, by request, limited time only

 

Info here:

NDR radio broadcast recorded live at the Jazzhouse at Brandstwiete, Hamburg, Germany on July 7, 1969.

℗ 1969 NDR / Xhol Caravan. © 2022 Garden of Delights.

Made in Germany.

Packaged in a standard jewel case with black tray and 32-page booklet.

Probably everyone here knows this band, brief description again from discogs:

XHOL was one of the first bands who participated at the end of the '60s to the launch of the Krautrock movement in Germany. Nevertheless their music cannot be categorised. Their roots came from rhythm’n blues with soul tendencies. With their second album “electrip” they rapidly found their own style which can be considered as an original fusion of free jazz, psychedelic rock and electronic experimentations. Very dynamic their jazz rock can sometimes be compared with the spirit of the psychedelic soul developed by Soft Machine. However the unusual use of electric instruments and electronic manipulations made Xhol absolutely unique. After "Electric", the band carries on their musical adventure with two great and totally free jazz rock albums. Dominated by endless, electric and cool improvisations "Hau Ruk" is a must for fusion and jazz lovers. Their last studio album “Motherf**kers GmbH" recorded in 1972 is a monument. All the compositions have their own feelings, sometimes delivering captivating and powerful blues, kraut, and jazz elements. However this album put the stress on a second fascinating side of Xhol’s musical universe: experimental organ works and psych-folk interludes. This last album is nearer to Krautrock mesmerizing musical themes, more twisted, spacey and devoted to avant-garde. Xhol’s influence on a bench of german prog bands and on the adepts of free rock music in general is undeniable.