The Ghoulies' Dogged by Dogma from 1982 [FLAC limited time only]

 

This one is very similar to 64 Spoons.  That was a very popular post, and I'm happy to see many were not familiar with that sadly neglected album.

The story goes:

The Ghoulies was a short-lived project masterminded by Charlie Summers [NB no other albums from him] and featuring no less than Dave Stewart and Pip Pyle (both ex cult band Hatfield And The North) alongside a host of anonymous Welsh session musicians. Summers got in touch with Dave Stewart through mutual acquaintance Green Gartside (Scritti Politti's vocalist, whom Stewart had approached to sing on his debut solo single What Becomes Of The Broken Hearted). With his regular drummer Nigel Harris having moved to London, Summers also managed to get Pyle involved, and recording sessions took place in Cardiff sometime in 1981. He then founded his own label, Lounging Records, ultimately selling around 3000 copies, which unfortunately was not enough (in spite of John Peel's support) to envision doing more projects under the Ghoulies banner.

It's really quite stunningly good too.  The mix of fusion and songwriting is superb.  It's endlessly interesting, and the lyrics are well worth paying attention to, eg: "listening to my neighbors, singing songs and dropping bombs..."

What a riff that opens up the hilarious paean to / homage to / satire of Social Workers:

A track called CS's [Custard Slices ?] is really remarkable for its sheer originality, note the descending chromatic chord change in the verse:

Not long ago I was reading a news article about how a popular (current) melody was plagiarized and the argument for the defense was, 'there are only 12 notes in music therefore purely by random chance, a melody will be the same as another' which just made me throw up and laugh-- simultaneously.  First of all, these cases are common and for ex. even happened with Stairway to Heaven, it's generally agreed the phenomenon here is cryptomnesia (you don't realize you're remembering something you heard long ago, and think it's your own creation, considered an honest mistake.)  

But there are so many problems with the 'random assortment of 12 notes' argument, which on mathematical grounds of course, sounds convincing-- starting with the fact a melody is not 'just' 12 notes, it could have two octaves (24 notes) for ex., it could repeat notes several times, it could be 12 notes long or 144 notes long.  But what about timing, and chord changes?  The melody has to involve rhythm, which can be quite intricate, plus there are numerous lengths to a given note, etc.  What about chords?  Well, as I've mentioned so many times before on this blog, sometimes artists use the same dumb chord progressions and sometimes as in this song, they come up with a sequence that is totally original, unique, and I guarantee, has never been heard before in recorded music by its sheer oddness.  Let's put those elements together, is there really a finite number of songs? You are now combining three different things that have therefore an exponential increase in the combinatorial possibilities.  What about classical music, where there might not even be a melody or chords, as in the best Stravinsky?  Could you say there's a finite number of Bach fugues? Mozart sonatas?  I think that's ridiculous based on the fact these are a lot more intricate than pop songs.  What about jazz, where improvisation is always by definition unique and never imitated note for note?  What about an infinite song that lasts forever, or until there is any kind of termination to the cosmos or listeners? you could change one or a few notes anywhere on this melody and you'd have a new infinite song, obviously, like Cantor's diagonal argument).

In short, this argument was ridiculous although it was presented in court (by a statistician!), and any actual musician or songwriter, guaranteed, would laugh at the idea there's a finite number of songs to write. Think about other arts--what about novels, or poems? Surely we can imagine the number of these must be infinite too.  You could make the argument if there are an infinite number of universes you could put one song in each--but that's absurd, not only is our universe finite so far, every time I read the news today I'm made painfully aware our species' lifespan is quite finite too.

In the meantime enjoy this album...

64 Spoons: Landing on a Rat Column, from the late 1970s [FLAC limited time only]

It's hard to believe such brilliant, original, completely professionally played music was never released or even enjoyed back in the day.  It's inventive, funny, interesting, always full of new ideas, and never ceases to amaze me to this day.  Note that these tracks were put together in 1992 but written and performed back in the late 1970s, as noted on the database page:

All tracks arranged and produced between 1978 and 1980.

Tracks 2 to 7, 16 were recorded at Guildford University, Yamco, Portland and Air Studios.

Track 8 was recorded at Brittania Row Studios.

Tracks 9 to 13 were recorded at Berry Street Studios.

Tracks 2 to 7, 16 were mixed at Air Studios.

The live tracks were recorded in venues in Barnet, Chartham and Watford.

Track 1 was recorded on a Revox in Lyndon's house in 1979.

The rest was re-mixed at Turbot Sound Studios on 20.9.91.

Pretty much any track could be randomly picked out as a volunteer to demonstrate the strength of the compositions and creativity and you'd be blown away, assuming you never heard this collection before.  Note that lead vocalist and guitarist, Jakko Jakszyk, went on replace Adrian Belew in King Crimson after 2013.  Which makes sense.  There is a lot of British humor or rather humour in here too.  An intro to one song goes like this: "This next song, isn't jazz-rock, because we don't play jazz-rock at all. It isn't jazz-rock, and it isn't a song, and also we're not going to do it. So next we're going to play a jazz-rock number called..."

I love that the track called Weird Granny has a jumpy Police / 1980s pop influence but employs utterly nonsensical chords to express the strange melody and lyrics, reminding me of the my old favourite and brilliant German band Zauberfinger:

On Aggressive Traveling note the really original and composed middle instrumental passage, mixing dynamic fusion and lovely electric guitar solowork:

Note the distinct Gentle Giantish vibe to the track curiously titled The Do's And Dont's Of Path Laying:

And the arrangement, with the (digital) horns and synths is really stunning. Not to mention the way the musicians handle the odd time signatures.  It's so rare to encounter an album on which every single track is worth hearing and savouring and ultimately remembering.

German bass player Sigi Busch: The Age of Miracles (1975) [FLAC] and A New Way of Living (1980)

 

Like so many others this gentleman has appeared before on these blog 'pages' for ex. he was a member of the group Jazz Track if you recall them from back here.  As well, mentioned in connection with Attila Zoller and the great Toto Blanke here.  Importantly for the fusion fan he was in Pierre Courbois' Association PC in the early 70s.  In addition he played with Manfred Schoof who I really love, and have posted a few times too.  The discogs intro:

Siegfried „Sigi“ Busch is a German jazz bass player, born on 29 October 1943 in Krefeld. He has published several textbooks on bass playing and music theory and used to teach at the Jazz-Institut Berlin as a professor (now retired).  On his releases as a band leader and on his (now defunct) personal website the abbreviation Sigi is used for his first name, but some releases to which he has contributed have occasionally credited him as Siggi Busch.

The Age of Miracles with both a lovely title and lovely cover painting with its deep dark hues and gorgeous flower boasts the presence of both Wolfgang Dauner and Charlie Mariano, consider as sample the title track:

From A New Way, which is just as good though from 1980, I love the oddly titled Strango Flango:

Japanese band Mugen in 3 from the 80s

 

Very similar to Asturias, but lacking the electronics and more classical symphonic, Mugen:

Japanese symphonic progressive rock band founded in 1984 and disbanded in 1989.

They made 3 in total all with classical European or painterly references, eg Leonardo, Lady of Shalott, Homage to Gustave Moreau, etc. I know some folks adore this type of music but for me it really leaves me kind of cold, mostly because it's so clearly derived from a mix of classic progmeisters such as Genesis and the old Brits like Renaissance, Gryphon with the baroque importations plus classical chamber stuff, add to that heavy on the strings, but luckily quite a bit of the gorgeously tender mellotron plays...  What disappoints me the most is the chord progressions are so inevitably predictable with none straying beyond the basics, eg A minor / G / F / E7, as an example, circle of fifths type stuff (C, A minor, D minor, G7).

Here and there are some nice listenable moments, for ex. Leonardo from the first album is reminiscent of my old fave Mr. Sirius (whose arrangements and chords are stunningly original in side by side comparison):

Salome from the 2nd album has some very Genesis parts in the middle but not quite as urgently cohesive as their works:

Anyways, you get the idea.  The mellotron that scoots in and out of songs here and there is a joy to hear, as always, and thanks to them for that.

Back to Gunter Lenz Springtime with Roaring Plenties from 1980, flac limited time only

 

Following up from the Znel album just posted, this looked interesting. 

Gunter Lenz:

German jazz bassist and composer.  Born July 25, 1938 in Frankfurt am Main, Germany. Cousin of Peter Trunk.

This outfit made 4 albums in total, but only 2 from the time that interests us.  Note that the Bob Degen composition Children of the Night opens the album, here given a big band arrangement of course, sounding therefore quite a bit fuller and more intense than the solo piano version for sure.  The next track is a nice homage to Charlie Mingus, echoing his sinuously long melodic lines, who I guess died in that year from ALS, also known as Lou Gehrig's disease, a horrible affliction.  I've mentioned Mingus so many times before as a seminal influence on me, particularly in relation to the Teo Macero homage album here. Obviously, Teo's CD was a bit superior to this composition which presumably was written by Gunter.  The title track is way too bluesy for my tastes.  The penultimate is a 'post bop' number and those are virtually all identical and interchangeable, so that leaves the last track called Speed Freak, with its 20 seconds of composed music at the start followed by 8 minutes of aimless improvisations, too bad you couldn't make a whole track out of those first few seconds, I didn't check if that one nice 20 second bit gets repeated anywhere else in the 8 minute track (thus 24 times longer) but by the looks of it, probably it does:

Orchestre Bekummernis from the 1980s, with Luc Le Masne, limited time only

 

Info here:

Large experimental/jazz/rock orchestral ensemble led by Luc Le Masne.

Often referred to as "Le Grand Orchestre Bekummernis"

There's a lot to slog through here, and you'll understand what I mean.  It's true this is quite similar to the earlier posted German Andromeda, but more orchestral, chamber, and classical composed.  But the mix of fusion, jazz, and classical is a good amalgam here.  From Nosi, the really beautiful composition called II. Bleu goes through all the dynamics of different emotions:

Of course, a lot of the composition is atonal, modern classical, but the instrumentation which is about half based on big band, makes up for the slightly sterile cold and clinical quality of their classical stuff. There's also, as you'd expect, a lot of libraryish or soundtrack type composed stuff with the usual bombastic violins smashing out the movie themes.

From Cercle de Pierres, the 7th track Aquhorthies:

3PM - Better Late than Never, 1981 [FLAC limited time only]

 

For sure I completely forgot about this one, suggested by a commenter recently, it's a one-off from this instrumental fusion band from North Carolina, and it features front and center Jerry Peak, who plays bass and synths on there, handling most of the compositions too, who was on the Pruett and Davis Time's Arrow.  There is some of that early 80s slapped-bass smooth 'n' funky fuzak sound in there (eg Brecker Bros) but it's minimized, thankfully.

The title track is great, amazingly it even has a thumping Crimsonesque passage (like their Mars) in the middle--too bad there isn't more like this on the record:

More Pruett & Davis, Breaking the Rules, from 1993 CD

 

Another CD from them that appeared earlier, in 1993, than this one.  Note the reappearance of Ascension, Karen's Lullaby, Winter's Ending, and Cape Spear, etc.  However these are reworked versions, despite the self-plagiarism

A track called Destin South didn't appear on the other 2 already posted, but it's not as good as some of the other reused material:

A couple of other songs similarly cannot be found on the previous posts.

And Advanced Happy Valentines Day, for those observers, who believe in such things...

Back with the other requested Pruett & Davis, Winter's Ending (USA, 1981)

 

Some earlier work from these two guys posted before here.  Note that:

Recorded Live at the East Lansing Blues and Jazz Festival—April 11, 1981.

All compositions by Rick Pruett except New Car by Mike Davis. 

Also, on the left channel is Pruett and the right Davis.  If I listened more carefully it would be interesting to differentiate the two playing styles.  And gotta love that picture of the mixing board and old tape reels on the back of the album, for those who remember such things from the past.  As on the last work, the playing is extremely professional and therefore extremely enjoyable.

Karen's Lullaby with its special extra-resonant tuning is so harmonious, perhaps a little new agey, but that's OK here, as a break from the complex prog stuff:

Of course the title track, and it's a lovely one, is the one that showed up on that new age collection I posted back here.

The Requested Pruett and Davis Group's Time's Arrow (USA, 1997)

 

The second release from these guys, see here. Note that these 2 only played together, there are no other releases on which they appear solo, the two being Rick Pruett and Mark Davis.

If you recall the French Canadian band (soon to be French American band) Connivence (or French-Panamian band ?) with their light guitar-based instrumental fusion, this is similar. The playing is beautifully tight and highly, perfectly, professionally rapid if you know what I mean, recalling the magicians of yore like Coryell.

Title track:

The final track, Cape Spear, really grew on me with its truly original chord progression:

Brazilian Glauco Sagebin with Alto Cumbia (1985)

 

A really lovely cover.  Nice rarity recommended by our Brazilian friend, kind of what you expect with smooth soft fusion, some slight progressive touches, mostly commercialized  however. 

Glauco Sagebin

Pianist and composer from Porto Alegre, Brazil whose reputation in his native Brazil is in the field of musical scores for soundtracks. His jazz recordings are a mix of soft, comfortable, soothing jazz with a Brazilian flavor.

Satelito Africano:

The Earth Explorer from Japan, 2009, Trans Europe Expression 2012: Recommended!

 

Starting in 2007 these guys made 5 magnificent progressive albums in the traditional chamber music style of, say, the 70s French group Carpe Diem.  Or Spheroe, or perhaps Shylock, the great classic stuff. I'll post a couple to give you an idea, but they are all easily purchasable on CD except the first which I'm having trouble obtaining and therefore help would be much appreciated.  

I recommend everyone check them out, these guys are not just unknown but wonderful.

First of all-too-brief introductory information:

Instrumental progressive rock/symphonic rock band from Japan that originally went under the name The Earth Explorer and then switched to the acronym TEE from the second release onward.

The 2009 is ST and musically quite strong in terms of lovely composition and intricate ideas, original too despite the throwback to 70s style.  Rather than hard fusion based on electric guitars, the style is more like the aforementioned Carpe Diem, where acoustic instruments mostly gentle flute play out instrumental melodies on top of a quartet group, that is quite hard-hitting in their energy despite the use of acoustic piano for the most part plus rhythm section and (electric) guitar. There are so many current or modern, recent bands that attempt to do symphonic prog, what's really great here is the sheer originality of the compositions. 

For ex., the one called Oiseau Bleu develops quite beautifully as it progresses from opening through flute melody, electric guitar melody, constantly changing in the same way those classics from the 1970s were so adept at:

The second album (name is homage to the Kraftwerk album, Trans Europe Express? this despite the difference in style) continues along the same lines. Note the ingenious interplay between flute and elec. guitar here on Intersection:

Really lovely find, many thanks to my friend for this one.

Makaya & The Tsotsis, from 1974

 

Again note the difference in visual quality between the CD cover above and 2 LP's below.

First of the Bob Degen albums, from 1974 info here.  Percussionist Makaya Ntshoko:

Born in Cape Town on 29th of October 1939, he grew up in Langa; died August 27, 2024.

Early on he learned from musicians such as George Castle (bass), Banzi Bangani (trumpet), Morris Goldberg (alto) and the drummers Columbus Phakamile Joya and Maurice Gawronsky. He teamed up with "Dan Boy" Danayi (alto) and Martin "Lilly" Mgijima and had the opportunity to jam and perform with Cups Nkanuka (tenor) and his Peninsula Stars.

In 1959 he joined fellow Cape musicians Dollar Brand and Johnny Gertze on a trip to Johannesburg where together with Kippie Moeketsi, Jonas Gwangwa and Hugh Masekela they formed the legendary Jazz Epistles. The group was committed to serious, progressive jazz and recorded their ground breaking album.

He actually made a bunch of albums back in the day mostly described as free jazz so of little interest to me.  The style of this one is really really meandering contemporary jazz with minimal direction, like a drunkard's walk through an empty park with not even any trees, or jungle animal predators to attack you.  Makaya's Song (a bonus track on the CD):

Bob Degen albums 1976 to 1978 by request

 

From discogs:

Robert William Degen

Profile: American jazz pianist, born on 24 January 1944 in Scranton, Pennsylvania, USA, based in Germany since the early 1970s.

He appeared with Harvie Swartz, way back here.  The music is contemporary jazz, and solo piano on 1976's Sequoia, and 1978's Children of the Night.  From Chartreuse, Woven Thoughts:

On the German big band album Gunther Lenz Springtime's Znel (1978) there is a touch of (very jazzy) fusion though amidst all the standard jazz eg. Gloomy Lights:

Also requested, the Karl Berger album From Now On, from 1967, free jazz.