Wednesday, 30 June 2021
Monday, 28 June 2021
Silenzi Osceni - Live In Roccella Jonica 1986 with Palle Mikkelborg by request, plus the 1984 Live Roccella Jonica
A one-off from this particular grouping of luminaries of humanity, see the credits:
Bass, Cello – Paolo Damiani
Drums – Tony Oxley
Trumpet, Flugelhorn – Palle Mikkelborg
Vocals – Tiziana Ghiglioni
Mostly written by P. Damiani, with a contribution from Oxley and a raga from someone else. So there's no voice for our old fave, Mikkelborg, except in his improvs.
Although there are great composed beginnings to these tracks, they inevitably get bogged down in the long improvisations I've mentioned before I find tedious and unnecessary.
The start of side b has a song with lyrics which are printed in both Italian and English on the inner record sleeve, a poem that I conclude Paolo was quite proud of:
Saturday, 26 June 2021
This is imitation seventies prog rock, with all that this implies. The group only made one album, way back in 2001. For example some tracks are very similar to Atlas (the Swedish band I mean famed for the brilliant Bla Vardag), or I guess people could say Anekdoten. Those later 'symphonic' prog bands to me all sound the same, and they lack the invention that I love so much from the classic stuff, even though all the trappings are there, with the odd time signatures, the hammond organs, synthesizers, etc., etc. It's as if the older prog was always simplified down to its basics. Then again here and there, some original brilliant artists come up with outta the ballpark stuff more recently, like the Zopp I recently posted, or the Brazilian Ramo that I always use as a point of comparison and that I've reuploaded a million times.
For ex., Square Root:
Friday, 25 June 2021
You just might casually notice the album is selling for 3000 dollars currently...
I recommend you first have a listen, which you can do today.
Anyone know what's up with this item?
Basically, the guy is talking over relatively generic music but his spoken words are quite the distraction.
What a shock coming off the wonderful sound of Jo Grinage too.
On some tracks they didn't even bother writing music, there's just a bit of percussion here and there. Title track:
Wednesday, 23 June 2021
Something by her was requested in the past, I think a couple of times.
Definitely she sounds very much like Nina Simone in her later (seventies) days, an artist whom I absolutely adored back in the days when I was 'into' American jazz. Long before she became cool on Starbucks playlists.
She made two albums only, the first of which is pricey while this one, which I think might be superior, is not at all expensive. That's such a typical circumstance in old LPs isn't it: 20 buck masterpiece, versus overpriced garbage. You can observe that it's mostly made up cover versions, including the abhorrent Autumn Leaves, and the somewhat less so though still nauseatingly overplayed Eleanor Rigby.
On the other hand, there are some hit-it-out-of-the-ballpark tracks, like the Ode to Kim:
Another original track, called Rain:
One more, Mother How I Miss You, very emotional in the spiritual sense:
It's worth noting the last two sampled tracks were written and arranged by one Nadi Qamar, noted here.
Reminds me too of the brilliant Roberta Flack, whose misfortune like so many others was to become 'too famous' for the one song First Time ever I saw Your Face, when in her older (first 2) albums there were such incredibly tender compositions.
Monday, 21 June 2021
Such a beyond brilliant expression of the fabulous fusion spirit of the seventies, with wacky songs (Ooh Gilbert) experimental passages, fusion, everything creative and wonderful, this was mostly written by Irish composer and keyboardist Jolyon Jackson who passed away shockingly early before the age of 40.
The track called Ooh Gilbert is such a masterful composition it just blows me away every time, with its satirical and snide ridiculing of the fame of Gilbert O'Sullivan tempered by jealousy of his success which the writer could never hope to achieve with this crazy progressive style of music:
And then Cat on the Keys demonstrates their remarkable aptitude with fusion performed by a virtuoso band:
Then, oddly enough, the collaborative album Jolyon did in 1980 reverted completely to Irish folk and jigs, giving up completely the progressive spirit.
Saturday, 19 June 2021
Wednesday, 16 June 2021
In 5 incredible albums this Aussie progressive folk outfit put out an amazing series of ingenious and brilliant LPs full of wonderful ideas, progressive themes, interesting melodies, everything creative you can imagine except no fusion. I've always been stunned by the heights of composition they put into the Live Sydney CD released in 2009, because of the great beauty of the work and the fact that the music was never heard back in the day when it could've been better appreciated. Both Love 200 and Sights of 1969 are 'sidelong' compositions that range over a huge variety of styles, the former is absolute perfection for me with the operatic singing voice of Shayna Karlin, who sings again in the offshoot band Extradition's only album called Hush. Surprising she disappeared after this early 70s period. A bit like Mary Hopkin who shot to fame with Paul McCartney's mentorship from 1968 and Those Were the Days then disappeared from the scene after Earth Song in 1971. As for the male singer, called Teddy Wilson, I've always been enamored of his wonderful vibrato singing style which he uses so judiciously in the songs.
I guess you could say their music is folk, but aside from that they delve into classical-style as in the Live album, piano pieces that always amaze me by their originality and thought. I noticed they did a cover version of the ridiculous I love Baba composition by Pete Townshend, dedicated to that fraudulent Indian guru guy. You'd think people learned the lesson with the Beatles in 1967 with that other yoga con artist. Those were the days indeed.
From Loving is Hard, the beyond inventive song called Rest Beloved wherein the piano patterns are simple, but utterly original:
From Extradition's Hush, the amazing song about women always gives me the chills:
Equally amazing for me is that cover photo of the beautiful face of Shayna.
I guess the other thing for me is that their best music was first of all unreleased, and second, came so early on.
Sunday, 13 June 2021
An interesting mix of electronic with slow-moving passages for the most part, and quite experimental music from the year 1984. I'm looking for help finding the requested In Time album from him, which came out earlier, anyone have it?
German composer, songwriter and keyboardist, working in jazz fusion, pop and disco fields. He was credited under his real name Jürgen Kochbeck on early releases before he launched a solo career. He is married to Sabine Bulthaup.
Note that he played in the Alto albums, both of which I really love, and in Skyline's Louise for a Night one-off prog rock LP, and the Es Wham Bang fusion album which is also well-known.
The last track called Todestango:
Friday, 11 June 2021
Here's an adorable old progressive fusion, guitar-based, from the Netherlands from the golden age of Dutch prog which you might have forgotten of. They made two albums, the first clearly forgettable, the second a masterpiece of the genre.
From the first album, Linda:
From the second, Goodbye Holiday