Record Reviews
27 Reviews Found. Use search to find more reviews or follow the links in the review text.
  | ROLF KUHN / JOACHIM KUHN ~ RE-UNION IN BERLIN
B.FREE 6271 ~ GERMANY ~ Jazz
Recorded: 1965 Released: 2016
This is a reissue of a legendary album by brothers: clarinetist Rolf KuhnFind albums by this artist and pianist Joachim KuhnFind albums by this artist recorded in a quartet setting with bassist Klaus KochFind albums by this artist and drummer Reinhard SchwartzFind albums by this artist originally released in 1965 by CBSFind albums on this label in West Germany. Joachim Kuhn, Koch and Schwartz formed the Joachim Kuhn TrioFind albums by this artist, the first modern / Free Jazz group in East Germany. Rolf, the older brother, who lived at the time in West Germany, joins the trio to form a sensational quartet, recording this, one of the pivotal modern German / European Jazz albums. The album presents five original compositions, three composed by Joachim and two by Rolf, recorded at the renowned Amiga Studios in East Berlin.
The music is a fascinating mixture of tradition and modernism, with Rolf exploring completely novel approach to the clarinet and Joachim developing his advanced harmonic structures, which were about to turn him into one of the greatest pioneers of European Jazz. This album and the "SolariusFind albums with this title" album recorded a year earlier and released on the AmigaFind albums on this label label constitute the early iconic recordings by the Kuhn BrothersFind albums by this artist, which to this very day sound absolutely stunning and lost nothing of their power of expression and historic significance.
As usual in such circumstances, it is truly amazing that this music, which signifies the freedom of expression and intellectual liberty, was recorded at the heart of the most oppressive regime behind the Iron Curtain, similar to the numerous other Free Jazz recordings released by the East German Amiga label. This phenomenon deserves a serious historical study, which strangely has not been tried so far.
For connoisseurs of early European Free Jazz and listeners interested in the development of Jazz in Europe, this album is an absolute must have. But of course the album offers sublime music, which any serious Jazz fan anywhere on this planet should be able to enjoy and appreciate, regardless of its historic significance. A true gem!
| | Updated: 08/10/2018Posted: 08/10/2018 | CD 1 Digipak Recommend To A Friend |
  | MAYNARD FERGUSON ~ M. F. HORN / M. F. HORN 2 / M. F. HORN 3
BGO 1110 (Barcode: 5017261211101) ~ CANADA ~ Brass Rock
Recorded: 1970 - 1973 Released: 2013
This is a reissue of three albums by Canadian Jazz trumpeter / composer / bandleader Maynard FergusonFind albums by this artist. These are the second, fourth and fifth albums Ferguson recorded for CBSFind albums on this label in UK after he signed with the label in late 1968, following his move to the UK from India. The first two albums were produced by the brilliant arranger / conductor Keith MansfieldFind albums by this artist, who worked with Ferguson on all his UK recordings except the last, i.e. the third album included here, which was produced by Teo MaceroFind albums by this artist and which was mostly recorded in UK and had some minor touches added later in the US. "M. F. HornFind albums with this title" was released as "The World Of Maynard FergusonFind albums with this title" in the US.
Upon his arrival in UK Ferguson made a dramatic shift in his approach to the Big Band Jazz he played for so many years previously. Influenced by what was happening in music at the time, especially the birth of Jazz-Rock Fusion, and the Brass Rock ensembles like Blood, Sweat & TearsFind albums by this artist, ChicagoFind albums by this artist, ChaseFind albums by this artist, FlockFind albums by this artist and many others, he was determined to pursue this new direction as well. Obviously the British scene was a highly fertile ground, with many British Jazz musicians already very much involved in that idiom. The "M. F. Horn" series of albums reflects that glorious period perfectly!
The first two "M. F. Horn" albums and the album "Alive & Well In LondonFind albums with this title" (released as "Maynard FergusonFind albums with this title" in the US), which was "sandwiched" between them, follow a similar formula of presenting a mixture of wonderful arrangements of popular songs and original compositions, arranged by Mansfield, Kenny WheelerFind albums by this artist, Adrian DroverFind albums by this artist and John CameronFind albums by this artist and performed by a dreamy band that features such luminaries as trombonists Chris PyneFind albums by this artist and Derek WadsworthFind albums by this artist, saxophonists Pete KingFind albums by this artist and Brian SmithFind albums by this artist, pianist Pete JacksonFind albums by this artist, percussionist Frank RicottiFind albums by this artist and other top British Jazz players at the time.
"M. F. Horn 3Find albums with this title" is somewhat different in the choice of material, as it does not include covers of popular material but includes soundtracks, Jazz standards and no less than three original compositions by pianist Pete Jackson. It is generally considered as the Jazziest album of the "M. F. Horn" series, probably due to the fact that Macero produced it, but in retrospect it is undoubtedly an integral part of the same musical direction and spirit.
Overall these albums are great piece of the Ferguson´s recorded legacy, which is certainly worth being remembered. The magic Brass Rock / British Big Band period is certainly a pinnacle of his creativity, and a superb addition to the idiom, which has a lasting value and deserves an honorable place in any serious music collection. An absolute must!
| | Updated: 29/05/2020Posted: 29/05/2020 | CD 2 Slipcase Remastered Recommend To A Friend |
  | MAYNARD FERGUSON ~ THE BALLAD STYLE OF MAYNARD FERGUSON / ALIVE & WELL IN LONDON
BGO 1206 (Barcode: 5017261212061) ~ CANADA ~ Brass Rock
Recorded: 1969 - 1971 Released: 2016
This is a reissue of two albums by Canadian Jazz trumpeter / composer / bandleader Maynard FergusonFind albums by this artist. These are the first and third albums Ferguson recorded for CBSFind albums on this label in UK after he signed with the label in late 1968, following his move to the UK from India. Both albums were produced by the brilliant arranger / conductor Keith MansfieldFind albums by this artist, who worked with Ferguson on all his UK recordings.
Upon his arrival in UK Ferguson made a dramatic shift in his approach to the Big Band Jazz he played for so many years previously. Influenced by what was happening in music at the time, especially the birth of Jazz-Rock Fusion, and the Brass Rock ensembles like Blood, Sweat & TearsFind albums by this artist, ChicagoFind albums by this artist, ChaseFind albums by this artist, FlockFind albums by this artist and many others, he was determined to pursue this new direction as well. Obviously the British scene was a highly fertile ground, with many British Jazz musicians already very much involved in that idiom.
However his ambitions had to be postponed for a while, due to the fact that CBS was mostly a Pop / MOR repertoire oriented label and wanted, at least until the label heads could be persuaded otherwise, start Ferguson´s CBS stretch with a much more commercial recording, which resulted in the recording of "The Ballad Style Of Maynard FergusonFind albums with this title". The material consisted of eleven arrangements of well known movie themes and other popular songs, but in the capable hands of Mansfield and his superb orchestra, which included some of the best British Jazz musicians at the time, and of course Ferguson´s fabulous trumpet playing characterized by the piercing high notes, the album, although certainly widely appealing, remains a masterpiece of Jazz flavored popular orchestral music.
"Alive & Well In LondonFind albums with this title" (a.k.a. "Maynard FergusonFind albums with this title") is a completely different story. It followed the recording of the second album for CBS entitled "M. F. HornFind albums with this title" (a.k.a. "The World Of Maynard FergusonFind albums with this title"), which gave a birth to a series of "M. F. Horn" albums, and which opened a new chapter in Ferguson´s recording legacy, which find him playing a soaring Jazz-Rock / Brass Rock arrangements of popular songs and original material by the members of the orchestra.
This album includes eleven popular songs, arranged by Mansfield, Kenny WheelerFind albums by this artist, Adrian DroverFind albums by this artist and John CameronFind albums by this artist and performed by a dreamy band that features such luminaries as trombonist Chris PyneFind albums by this artist, saxophonists Pete KingFind albums by this artist and Brian SmithFind albums by this artist, pianist Pete JacksonFind albums by this artist, percussionist Frank RicottiFind albums by this artist and others.
Overall these albums are great piece of the Ferguson´s recorded legacy, which is certainly worth being remembered. The magic Brass Rock / British Big Band period is certainly a pinnacle of his creativity, and a superb addition to the idiom, which has a lasting value. Wholeheartedly recommended!
| | Updated: 19/04/2020Posted: 17/04/2020 | CD 1 Slipcase Remastered Recommend To A Friend |
  | AL DI MEOLA ~ SCENARIO
CBS 5099702571821 (Barcode: 5099702571821) ~ USA ~ Jazz-Rock Fusion
Recorded: 1983 Released: 1983
This is the 6th studio album by American guitarist / composer Al Di MeolaFind albums by this artist, recorded in 1983 and his last release on ColumbiaFind albums on this label Records. Most of the tracks were recorded by Di Meola and keyboardist Jan HammerFind albums by this artist, who play all the instruments. Bassist Tony LevinFind albums by this artist and drummer Bill BrufordFind albums by this artist play on one track and drummer Phil CollinsFind albums by this artist plays on another track. The album presents nine tracks, four of which were composed by Di Meola, two by Hammer and three co-composed by them both.
Although the music on this album is not diametrically different from earlier Di Meola efforts, being a mixture of superb melodies, Jazz licks, Fusion Groove and Folkloristic accents, the sound of the album is dominated by synthesizers and early electronic devices, which was the curse of the 1980s. The presence of Hammer as the main co-contributor / composer also influenced the result, and Hammer’s passion with electronic music is omnipresent here. The resulting music sadly sounds dated today, despite the obvious talents of its creators.
As a result, this is the least successful album by Di Meola in retrospect, with his guitar playing hardly present and the World Music influences appearing only sparingly. Perhaps the pressures form the record label to produce a more commercial product were behind the scenes. Happily, Di Meola returned back on track with his following albums.
Overall, this is a reminder of the closing chapter of Di Meola’s stint with Columbia, which does not maintain the same vitality and freshness as his earlier albums, which still sound quite brilliant today. Of course for Di Meola completists, this album worthy its place in the collection, but not essential to general public.
| | Updated: 01/03/2024Posted: 01/03/2024 | CD 1 Recommend To A Friend |
  | MICHAL URBANIAK ~ FUSION
COLUMBIA 5099706552529 (Barcode: 5099706552529) ~ POLAND ~ Jazz-World Fusion
Recorded: 1973 - 1974 Released: 1998
This is a reissue of the first US album by Polish Jazz violinist / composer Michal UrbaniakFind albums by this artist, released originally on the ColumbiaFind albums on this label label in 1974. The album was actually recorded in Germany in June of 1973 and released that year by CBSFind albums on this label on the European market under the title "Super ConstellationFind albums with this title", since the group was called Michal Urbaniak ConstellationFind albums by this artist. The US release added one track recorded in the US by Urbaniak with American musicians, which was used as the title track of that edition. The Constellation was a quintet which included also Urbaniak´s wife at the time, vocalist Urszula DudziakFind albums by this artist, two keyboardists: Adam MakowiczFind albums by this artist and Wojciech KarolakFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist, all top Polish Jazz musicians at the time. Constellation recorded also a live album in May of 1973, called "In ConcertFind albums with this title", which was released in Poland as Vol. 36 of the legendary Polish Jazz series, and included mostly live versions of the same material that is included on this album. The album presents seven original compositions, six by Urbaniak and one by Karolak.
The album is one of the most unique Fusion albums of all time, presenting a sensational amalgam of Fusion and Polish Folklore, pioneering the Jazz-World Fusion idiom light years ahead of anybody else. Dudziak´s vocalese pyrotechnics were completely innovative at the time and the double keyboards lineup, which allowed usage of early electronic wizardry, topped with Urbaniak´s idiosyncratic violin sound created a tapestry of sound unmatched by any other group on both sides of the pond.
The fact that Columbia released the album was truly surprising, as this music is completely European at its very core, which usually was way above the heads of American music industry executives. It took a Jewish Columbia executive Sol RabinowitzFind albums by this artist and his visionary openness to give Urbaniak a chance on the US scene, which sadly did not last for very long. Urbaniak recorded two more albums for Columbia: "AtmaFind albums with this title" (1974) and "Fusion IIIFind albums with this title" (1975) before the label gave him the boot.
In retrospect this album remains to this very day as one of the best Fusion albums ever recorded and is an essential chapter in Fusion history. It is also one of the best Polish Jazz albums of all time. Sadly Urbaniak did not manage to repeat the Artistic peak he reached on the Columbia recordings and although he is still active today, his triumphant days are long gone.
| | Updated: 08/09/2019Posted: 30/07/2019 | CD 1 Remastered Essential Recommend To A Friend |
  | TONY OXLEY ~ FEBRUARY PAPERS
DISCUS 099 (Barcode: 5051078983028) ~ UK ~ Avant-Garde Jazz
Recorded: 1977 Released: 2020
This is a reissue, first time on CD, of an iconic album by British Jazz drummer / composer / bandleader Tony OxleyFind albums by this artist. The album presents seven original compositions by Oxley, recorded by three lineups: a quartet with violinists Philipp WachsmannFind albums by this artist and David BourneFind albums by this artist and bassist Barry GuyFind albums by this artist (two tracks), a trio with Wachsmann and guitarist Ian BrightonFind albums by this artist (two tracks) and finally solo percussion and electronics (three tracks).
Oxley held a pivotal position in British Jazz since the mid 1960s, when he became the house drummer at Ronnie Scott´s club in London, which gave him an opportunity to play with the visiting prominent American Jazz stars and top British Jazz musicians. He was highly respected and always considered as truly extraordinary player, with his own perception of the role of drums within the Jazz idiom, but more importantly the concept of Jazz itself and its transformation into Improvised Music, which was developing at the time. Hearing Oxley performing live was for me always an extraordinary experience, regardless of the circumstances. Even within a most "straightforward" mainstream environment, his drumming was always on a different conceptual plane, although he managed to "keep time" perfectly and without a hitch.
Since the late 1960s Oxley started to be featured on a long series of revolutionary British Jazz albums recorded at the time, many of which remain as absolutely essential examples of modern British Jazz and serve as unsurpassed achievements of that boisterous creative period, like those recorded with Gordon BeckFind albums by this artist, Howard RileyFind albums by this artist, Alan SkidmoreFind albums by this artist, John McLaughlinFind albums by this artist, John SurmanFind albums by this artist, Michael GibbsFind albums by this artist and others.
His recording career as a leader started in 1969 with the release of two albums for CBSFind albums on this label: "The Baptised TravellerFind albums with this title" (1969) and "4 Compositions For SextetFind albums with this title" (1970), which in retrospect are considered as absolute gems of British Jazz discography. Those were followed by the album "IchnosFind albums with this title" (1971) released on RCAFind albums on this label. Following the disappointment with the major labels, which showed no interest in promoting these albums, Oxley joined guitarist Derek BaileyFind albums by this artist and saxophonist Evan ParkerFind albums by this artist as co-founder of the IncusFind albums on this label label, which was one of the first independent artist owned labels in Britain. He recorded two albums for the label: the eponymous "Tony OxleyFind albums with this title" (1975) and finally this, his fifth album as a leader "February PapersFind albums with this title" (1977).
The music on this album has nothing to do with Jazz in the conventional meaning of the idiom, but it is a perfectly logical continuation of the musical development that is documented on the four a.m. albums. Oxley breaks the conventional barriers and pushes the envelope towards Avant-Garde, which calls for new forms of expression not related to melody, harmony or even the usual sound expected from the instruments. Such extensive use of electronics was almost completely unheard of at the time of course and although early Improvised Music was already present on the scene, it was rarely as uncompromising and far-fetched as what Oxley decided to capture herein. Although bold spirited, the music offers a delicate, almost intimate sound and allows the listener to absorb every nuance of these performances.
The solo percussion / electronics pieces are of course the most surprising ones here. Improvised music is usually about group improvisation, but Oxley is one of the first improvisers to undertake the daring effort to freely improvise on his own, proving that such form of expression is both possible and valid.
Listening to this album today, with over four decades of perspective, enables me to extend my appreciation of this momentous historic effort from a new angle. Improvised Music is of course alive and kicking today and I am constantly exposed to a huge number of such recordings. I have to say that most of those contemporary efforts sound pretty pale in comparison to what Oxley managed to capture for posterity then. Despite the limited possibilities, surely compared to what is available today as far as electronic devices are concerned, his imagination and creativity remains unchallenged.
Kudos to Martin ArcherFind albums by this artist, the man behind DiscusFind albums on this label Records, for bringing this piece of musical history back to circulation – much appreciated! For Avant-Garde / Improvised Music enthusiasts, this is a Holy Grail!
| | Updated: 02/01/2021Posted: 03/10/2020 | CD 1 Mini-Sleeve Remastered Recommend To A Friend |
  | SOM NOSSO DE CADA DIA ~ A PROCURA DA ESSĘNCIA: AU VIVO 1975-1976
EDITIO PRINCEPS 04 (Barcode: 7898901556046) ~ BRAZIL ~ Jazz-Rock Fusion
Recorded: 1975 - 1976 Released: 2004
These live recordings are the only available document of the legendary Brazilian 1970s Prog / Fusion band Som Nosso De Cada DiaFind albums by this artist. Following the release of their debut album SnegsFind albums by this artist in 1974, the band embarked upon intensive touring and performances, but the lack of commercial success, lack of interest from record labels, etc. (the usual hardships of 1970s Prog artists) led to internal frictions and four years after the band was formed it disbanded and disappeared from the scene. The band recorded their 2nd legendary album AmazôniaFind albums by this artist in 1975, which was picked by CBSFind albums on this label Brazil, but released only two years as Som NossoFind albums with this title with intensive overdubs and remix, completely changing the original masterpiece into a commercial funk album. These live recordings present the group in its full glory playing their great material, including the full original version of the “Amazônia” suite. Most of the tracks are extensive instrumental improvisations, mostly over 10 minutes long and one over 17 minutes long, which show the virtuosity of the players. The double keyboards line and exceptional spacey lead guitar offer endless peaks of energy floating somewhere between early Pink FloydFind albums by this artist and Weather ReportFind albums by this artist. This is fantastic music and in spite of the technical flaws of the recording every fan of good music should be grateful this is available for us to enjoy. Most warmly recommended!
| | | CD 2 Recommend To A Friend |
  | SOFT MACHINE ~ BUNDLES
ESOTERIC 2196 (Barcode: 5013929729629) ~ UK ~ Canterbury Scene
Recorded: 1974 Released: 2010
By 1974 the legendary Soft Machine switched record labels from CBSFind albums on this label / ColumbiaFind albums on this label (after releasing five magnificent albums on that label) to EMIFind albums on this label´s progressive HarvestFind albums on this label label, on which they would release the band´s last four albums before their epic story would finally come to an end. But the label switch was in fact only an exterior manifestation of the deep changes that the group was experiencing at the time. In retrospect, the four Harvest albums mark a completely new phase in the band´s musical direction, leaving behind the Free Jazz / Improvised Music extremes in favor of more structured and composed music, with strong melodic elements and almost mainstream Jazz-Rock sound. The most significant factor, which brought about the change, was Elton DeanFind albums by this artist´s replacement by oboe, saxophone and piano player Karl JenkinsFind albums by this artist, who also became the most prolific composer of the band´s new material. The second factor was the decision to include a permanent guitarist into the band´s ranks, which was to change the sound significantly from Jazz to Jazz-Rock. This was the first of the Harvest albums, with the Soft Machine lineup comprising of Jenkins, keyboardist Mike RatledgeFind albums by this artist, guitarist Allan HoldsworthFind albums by this artist, bassist Roy BabbingtonFind albums by this artist and drummer John MarshallFind albums by this artist. Saxophonist Ray WarleighFind albums by this artist helps out on one tune. The music is quite different from anything the band recorded previously, based upon shorter and beautifully composed melody lines. There is still plenty of improvisation by the players, but it´s much more settled and well organized. Holdsworth delivers some of his best playing to date but the overall level of musicianship is astounding. In retrospect this is still one of the best British Jazz-Rock albums and a magnificent piece of music history. An absolute must!
| | | CD 1 Oversampling Remastered Recommend To A Friend |
  | SOFT MACHINE ~ SOFTS
ESOTERIC 2202 (Barcode: 5013929730243) ~ UK ~ Canterbury Scene
Recorded: 1976 Released: 2010
By 1974 the legendary Soft Machine switched record labels from CBSFind albums on this label / ColumbiaFind albums on this label (after releasing five magnificent albums on that label) to EMIFind albums on this label´s progressive HarvestFind albums on this label label, on which they would release the band´s last four albums before their epic story would finally come to an end. But the label switch was in fact only an exterior manifestation of the deep changes that the group was experiencing at the time. In retrospect, the four Harvest albums mark a completely new phase in the band´s musical direction, leaving behind the Free Jazz / Improvised Music extremes in favor of more structured and composed music, with strong melodic elements and almost mainstream Jazz-Rock sound. The most significant factor, which brought about the change, was Elton DeanFind albums by this artist´s replacement by oboe, saxophone and piano player Karl JenkinsFind albums by this artist, who also became the most prolific composer of the band´s new material. The second factor was the decision to include a permanent guitarist into the band´s ranks, which was to change the sound significantly from Jazz to Jazz-Rock. This was the second of the Harvest albums, with the Soft Machine lineup comprising of Jenkins, saxophonist Alan WakemanFind albums by this artist, guitarist John EtheridgeFind albums by this artist (who replaced Allan HoldsworthFind albums by this artist), bassist Roy BabbingtonFind albums by this artist and drummer John MarshallFind albums by this artist. The last founding member of Soft Machine, keyboardist Mike RatledgeFind albums by this artist left in the midst of recording of this album and his contribution here are minor. The music is a continuation of the direction set by its predecessor, based upon shorter and beautifully composed melody lines. There is still plenty of improvisation by the players, but it´s much more settled and well organized. In retrospect this is still a very solid album by a great band and an absolute must to all Soft Machine fans.
| | | CD 1 Oversampling Remastered Recommend To A Friend |
  | SOFT MACHINE ~ ALIVE & WELL: RECORDED IN PARIS (EXPANDED EDITION)
ESOTERIC 2234 (Barcode: 5013929733428) ~ UK ~ Canterbury Scene
Recorded: 1977 Released: 2010
By 1974 the legendary Soft MachineFind albums by this artist switched record labels from CBSFind albums on this label / ColumbiaFind albums on this label (after releasing five magnificent albums on that label) to EMIFind albums on this label´s progressive HarvestFind albums on this label label, on which they would release the band´s last four albums before their epic story would finally come to an end (for the time being).
But the label switch was in fact only an exterior manifestation of the deep changes that the group was experiencing at the time. In retrospect, the four Harvest albums mark a completely new phase in the band´s musical direction, leaving behind the Free Jazz / Improvised Music extremes in favor of more structured and composed music, with strong melodic elements and almost mainstream Jazz-Rock sound. The most significant factor, which brought about the change, was Elton DeanFind albums by this artist´s replacement by oboe, saxophone and piano player Karl JenkinsFind albums by this artist, who also became the most prolific composer of the band´s new material. The second factor was the decision to include a permanent guitarist into the band´s ranks, which was to change the sound significantly from Jazz to Jazz-Rock.
This, the group´s 1st formal live album, was the third of the Harvest albums, with the Soft Machine lineup comprising of Jenkins, violinist Rick SandersFind albums by this artist, guitarist John EtheridgeFind albums by this artist (who replaced Allan HoldsworthFind albums by this artist), bassist Steve CookFind albums by this artist and drummer John MarshallFind albums by this artist. It was recorded live at the Parisian "Theatre Le Palace, Monmartre". The music includes material from the two previous Harvest albums, as well as previously unrecorded tunes. There is plenty of improvisation by the players, but it´s much more settled and well organized.
Overall, in retrospect this is still a very solid album by a great band and an absolute must to all Soft Machine fans. This expanded edition includes a whole second CD of previously unreleased material recorded at the same concert dates.
| | Updated: 06/07/2024Posted: | CD 2 Oversampling Remastered Bonus Tracks Recommend To A Friend |
  | SKIN ALLEY ~ TWO QUID DEAL
ESOTERIC 2244 (Barcode: 5013929734425) ~ UK ~ Jazz-Rock Fusion
Recorded: 1972 Released: 2011
This is the 3rd album by the great British Jazz-Rock ensemble Skin AlleyFind albums by this artist, originally released on the TransatlanticFind albums on this label label after they left CBSFind albums on this label, which is considered to be their best and most consistent recording. The group members were all brilliant musicians and played several instruments each, which gives the music a wide scope and versatility. The music, composed mostly by guitarist Bob JamesFind albums by this artist and bassist Nick GrahamFind albums by this artist, is superb from start to finish. In short this is an excellent album in every respect and an absolute must to every fan of early Jazz-Rock / Prog on this planet. Unfortunately at the time of its release it gained very little attention and was quickly removed from the shelves, remaining a hidden gem for so many years. It’s great to see it back in circulation.
| | | CD 1 Oversampling Remastered Bonus Tracks Recommend To A Friend |
  | FIELDS ~ CONTRASTS: URBAN ROAR TO COUNTRY PEACE
ESOTERIC 2488 (Barcode: 5013929458840) ~ UK ~ Progressive Rock
Recorded: 1972 Released: 2015
This is the second album by British Prog trio FieldsFind albums by this artist, led by keyboardist Graham FieldFind albums by this artist, which included guitarist / bassist / vocalist Frank FarrellFind albums by this artist (who replaced the original bassist Alan BarryFind albums by this artist) and drummer Andy McCullochFind albums by this artist. The recording of this album was interrupted after the trio was dropped by their label (CBSFind albums on this label Records) and the album was never released at the time. This release includes the eight tracks that the trio managed to record as well as the demos of three additional tracks that were made at the time. Nine of the tracks were written by Field and two were co-written by Field and Farrell.
The music is a wonderful amalgam of melodic songs and Jazzy arrangements, all masterly put together by Field and featuring his superb keyboards playing. This continued the approach Field already displayed as a founding member of the group Rare BirdFind albums by this artist, which he left to form Fields. The music also projected a typical "Englishness", which blissfully ornamented the output by many of the British Prog bands at the time, a quality that is impossible to describe and is only recognized by listeners familiar with the recorded work by these bands.
Sadly Field left the career of songwriting and performing as a Rock musician and British music lost a great composer and very unique keyboards player, who might have contributed many more splendid pieces of music, like those present here. Thankfully this lost gem is finally available for all Prog fans to enjoy, as usual better late than never. Wholeheartedly recommended!
| | Updated: 24/01/2017Posted: 24/01/2017 | CD 1 Oversampling Remastered Bonus Tracks Recommend To A Friend |
  | HOWARD RILEY ~ FLIGHT
FMR 026 (Barcode: 786497181124) ~ UK ~ Jazz
Recorded: 1971 Released: 1995
British pianist / composer Howard RileyFind albums by this artist has been a pivotal figure of the modern British Jazz and later Improvised Music since the late 1960s. Completely unorthodox and original, his approach to music making is a complete innovative universe, in which he and some of his close collaborators created the next plane in the history of Jazz in particular and music in general. Although the European Avant-Garde exploded a few years later then the first wave of US Free Jazz pioneers like Ornette ColemanFind albums by this artist, Albert AylerFind albums by this artist, Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist, it developed in a new direction rather than copying or following the path initiated by the US giants. As radical as the US Free Jazz might have appeared at the time, it was after all deeply rooted in the Jazz tradition and in many respects developed as an extension of Bebop.
The Europeans, most of them in their twenties when they initiated the European Free Improvisation school, had little, if any, experience playing Bebop and the new direction was developed spontaneously rather than consciously (or sub consciously). The social upheaval and general anti-establishment wave that swept Europe in the late 1960s might have served as a psychological background for these musical developments, as the quest for freedom of expression and rebellion against established musical forms was the central motif of the European Free Improvisation movement. Young European musicians in Britain, Germany, France, Netherlands and even behind the Iron Curtain (Poland, East Germany) decided to take a bold step towards exploration of a new musical universe, unbound by any preconceptions and limitations - harmonic, rhythmic or otherwise.
The movement started in the late 1960s but only truly crystallized by the early 1970s, and this album is certainly one of the first focal point of European Free Improvisation. It was Riley’s fourth solo album following his daring debut DiscussionsFind albums with this title from 1967 and two trio albums recorded for CBSFind albums on this label (AngleFind albums with this title & The Day Will ComeFind albums with this title). Exceptionally gifted bassist Barry GuyFind albums by this artist, who was a member of Riley’s trio from the very beginning, took part in all the recordings, and would be his partner for many years to come. However, the decisive factor and the catalyst, which turned this recording into a momentous leap forward was the participation of one of Europe’s most inventive and original drummers – Tony OxleyFind albums by this artist. The resulting trio – Riley / Guy / Oxley – turned out to be an unstoppable musical hurricane of exploration and spontaneous invention beyond anything previously encountered.
The album starts with a furious barrage of a 20 minutes long collective improvisation, which moves between trio, duo and solo performances of immense intensity and complexity. Some incredible sounds are extracted from the respective instruments, creating an incredible collage of sonic expressions. In complete contrast, the second part of the album is a complete anti-climax, with the trio performing some contemplative music, quiet and delicate and at times almost lyrical, as on the two ballads. Make no mistakes here – this is not a return to mainstream Jazz. These quiet pieces are as free and improvised as they come, but the fury of expression is subdued here and replaced by the balance between sound and silence, interplay and caressing the instruments. Overall this is a monster album, revolutionary, innovative and groundbreaking.
Released originally on the legendary TurtleFind albums on this label label, this reissue finally brings this musical treasure back to life, for all the people who never had the opportunity to hear it at the time. Although Riley would prove to be very prolific and record many exceptional albums in the future, this one is especially dear to my heart, as it opened windows nobody previously knew existed. A musical Magnum Opus, beyond essential!
| | Updated: 12/04/2019Posted: | CD 1 Remastered Essential Recommend To A Friend |
  | NIEMEN ~ ODE TO VENUS
GREEN TREE 118 (Barcode: 4015689001183) ~ POLAND ~ Progressive Rock
Recorded: 1973 Released: 2003
This is the 2nd album recorded by Polish singer / keyboardist / composer / lyricist / poet Czeslaw NiemenFind albums by this artist as part of his 4 albums deal with CBSFind albums on this label. It was recorded in Germany (same as the debut CBS release “Strange Is This WorldFind albums with this title”) and with the same musicians: Józef SkrzekFind albums by this artist on keyboards and electric bass, Apostolis AnthimosFind albums by this artist on guitar and Jerzy PiotrowskiFind albums by this artist on drums, but without Helmut NadolskiFind albums by this artist, who returned to Poland. Skrzek, Apostolis and Piotrowski were about to form SBBFind albums by this artist soon after, and the album’s sound bears a strong resemblance to the early SBB albums as these sessions crystallized their sound and their unique approach to Jazz-Rock. Skrzek composed and co-composed several of the tracks present here, which of course emphasizes even more the process of the build-up of the trio as a future independent unit. Their parting with Niemen was unfortunately not a happy one, as he felt they were using his name and popularity as a vehicle for their success, but such incidents are of course quite common in the music world. Dominated by the Jazz-Rock attitude, the album presents some superb melodies and excellent musicianship, but is slightly less adventurous than its predecessor. Nevertheless it is as good if not better that most of the music created at the time by other Western European or American musicians. Niemen’s powerful music, his completely unique vocals and the virtuosity of his band create together a musical experience that stands the tides of time wonderfully and remains a superb achievement of Polish musical heritage. It goes without saying that the album is an absolute must for any Niemen fan, but most Prog and Jazz-Rock lovers anywhere in the world should be able to enjoy this great music.
| | | CD 1 Remastered Recommend To A Friend |
  | NIEMEN ~ STRANGE IS THIS WORLD
GREEN TREE 119 (Barcode: 4015689001190) ~ POLAND ~ Progressive Rock
Recorded: 1972 Released: 2003
Polish singer / keyboardist / composer / lyricist / poet Czeslaw NiemenFind albums by this artist was one of the greatest musical geniuses to come out of Eastern Europe. His extraordinary life and personality has been already a subject of several books, but much more will be written about him in the future, especially since he’s sadly no longer with us. Niemen and his music served as a lighthouse to generations of East European musicians, who had limited access to music recorded and released in the Western world. His prophetic vision and out-of-this-world talent enabled him to create a whole universe of music, which was so powerful, pioneering and light-years ahead of its time, that it single-handedly educated whole generations of musicians, who studied, copied and learned from the Master. With the release of his debut album in 1967 (entitled “Dziwny Jest Ten SwiatFind albums with this title”, or “Strange Is This WorldFind albums with this title” in Polish), Niemen was instantly crowned as the absolute monarch of Eastern European Rock, and his subsequent releases, which documented his faster-then-light development, were all absolute musical marvels, cherished and adored by fans and musical peers alike. Following his stellar career in Poland, Niemen tried to build up a career in the West. He moved to Italy, where he performed and released several singles, but his music was obviously way too advanced for the popular market. He did manage however to get signed by CBSFind albums on this label Europe, with a contract to record 4 albums. The first 3 of these albums were recorded in Germany and the last in the US. This is the first of these albums and presents Niemen at his absolute best in every respect. With enough material written over the years for his Polish releases, Niemen selected just four of his most notable compositions, rearranging them musically and spiritually for the (then) present, including the translation of the lyrics into English and expanding the framework of the songs dramatically. The phenomenal quintet that recorded this music includes Niemen on vocals and organ, Józef SkrzekFind albums by this artist on keyboards and electric bass, Helmut NadolskiFind albums by this artist (a visionary Polish Avant-Garde musician) on acoustic bass, Apostolis AnthimosFind albums by this artist (as the name suggests a Greek born Polish resident) on guitar and the extremely talented young drummer Jerzy PiotrowskiFind albums by this artist. People, who are somewhat familiar with the Polish scene, might know that Skrzek, Apostolis and Piotrowski were about to form SBBFind albums by this artist, the greatest Polish Prog / Jazz-Rock group of the 1970s, soon after leaving Niemen’s group. The music on this album is majestic and sublime in every sense – dramatic vocals, superb instrumental work, beautiful melodies and complex arrangements, all coming together just perfectly. Nadolski inserts some incredible Avant-Garde bow work and Apostolis supplies some of the hottest guitar licks ever recorded. It is extremely difficult to categorize this music as far as genres are concerned, as it constantly shifts between Prog, Jazz-Rock and even Free Jazz. Niemen was simply beyond any one single musical category, producing total music, which is eternal and always stimulating. In retrospect this music remains 100 % valid and relevant today, with very few examples of anything done then and since to rival its brilliance. Of course only very few people beyond Poland ever heard about Niemen, but that is definitely their problem. Beyond essential!
| | Updated: 12/04/2019Posted: | CD 1 Remastered Essential Recommend To A Friend |
  | NIEMEN ~ MOURNER`S RHAPSODY
GREEN TREE 120 (Barcode: 4015689001206) ~ POLAND ~ Progressive Rock
Recorded: 1974 Released: 2003
This is the 4th and last album recorded by Polish singer / keyboardist / composer / lyricist / poet Czeslaw NiemenFind albums by this artist as part of his 4 albums deal with CBSFind albums on this label. Following the recording and release of the first three albums in Germany, CBS decided to pass the torch to the parent company in US, ColumbiaFind albums on this label Records, and this album was recorded in New York. Produced by one of Columbia’s resident producers Sol RabinowitzFind albums by this artist, who had a lot of experience with Jazz-Rock, and surrounded by some of the best US players at the time, the album had all the potential to become a monster hit, but alas things turned out differently. The music world was obviously not ready to accept a non-English speaking artist to the hall of fame, regardless of how good he really was. The players on the album include (among others) Jan HammerFind albums by this artist (drums), Rick LairdFind albums by this artist (bass), Steve KhanFind albums by this artist (guitar), John AbercrombieFind albums by this artist (guitar), Don GrolnickFind albums by this artist (keyboards) and another great Polish musician, violinist Michal UrbaniakFind albums by this artist. Niemen wrote all the music for this album, some of it new and some taken from his Polish releases. The sound quality and production are the best he ever had up to that point and the album is perfect in every respect, except perhaps for the producer’s effort to “Americanize” the final result in order to make it more accessible. This affected the slick sound the album (similar to many other Columbia albums at the time), but overall the album is an absolute knockout. Niemen’s complex, but beautiful melodies and his unique vocal delivery are completely unrivalled. The album’s title track (taken from the Polish album “EnigmaticFind albums with this title”) gets here an absolutely stunning new arrangement, using a choir to deepen the already profoundly dramatic atmosphere of the suite. In short, this is a monster album, sadly overlooked at the time by Western music community, but a momentous achievement for one of the most unique Artists on this planet. One can not even imagine what one is missing not ever listening to this album. Essential listening!
| | | CD 1 Remastered Essential Recommend To A Friend |
  | NIEMEN ~ RUSSISCHE LIEDER
GREEN TREE 121 (Barcode: 4015689001213) ~ POLAND ~ Progressive Rock
Recorded: 1973 Released: 2004
This is the 3rd album recorded by Polish singer / keyboardist / composer / lyricist / poet Czeslaw NiemenFind albums by this artist as part of his 4 albums deal with CBSFind albums on this label. It was the last of the albums to be recorded in Germany and is the must unusual of all of his albums ever recorded. “Russische LiederFind albums with this title” (or “Russian Songs” in English) take Niemen back to his childhood and give him an opportunity to re-examine his musical roots. He was born is a small village in Bielorussia, near the Niemen river (his artistic pseudonym “Niemen” comes from that river’s name, his real name being Czeslaw Wydrzycki). His family was Polish (before WW II large parts of Bielorussia and Ukraine were part of the Polish State) and they immigrated to Poland in the late 1950s. As a highly sensitive and musical child, Niemen was exposed to a wide range of Russian music, both classical and folklore, which undoubtedly became deeply embedded into his musical personality and a well trained ear can often hear echoes of these influences in his later work. On this album Niemen performs 10 Russian folk songs, all arranged and performed by his own. He plays several instruments and overlays vocal tracks to achieve an effect of transcribing the original material into contemporary setting. Although almost completely detached from his usual Prog and Jazz-Rock output, this is a fascinating album, especially in view of the fact that the song’s musical treatment is highly original and unusual. Although some of Niemen’s fans found this album difficult to swallow, any sensitive music lover will recognize the artistic value of this recording. This reissue includes also 2 bonus tracks taken from the CBS single, which includes a single version of the “Strange Is This WorldFind albums with this title” title track and a non-album track – both extremely rare. Definitely worth investigating.
| | | CD 1 Remastered Bonus Tracks Recommend To A Friend |
  | HOWARD RILEY ~ ANGLE / THE DAY WILL COME
HUX 141 (Barcode: 682970001418) ~ UK ~ Jazz
Recorded: 1968 - 1970 Released: 2014
This is a reissue of the second and third albums by British Jazz pianist / composer Howard RileyFind albums by this artist, both recorded in a trio format with bassist Barry GuyFind albums by this artist and drummer Alan JacksonFind albums by this artist. Saxophonist / flautist Barbara ThompsonFind albums by this artist plays on one track of the debut album, which presents eight original compositions, all by Riley. The second album presents twelve original compositions, six each by Riley and Guy. These two albums were originally released in 1969 and 1970 respectively, by CBSFind albums on this label (the European branch of ColumbiaFind albums on this label). This reissue is in fact a reissue of the 1999 remastered editions of these two albums, which disappeared from the market immediately following their release.
Together with these two albums, CBS, initially under the Realm Jazz moniker and later just as CBS, released also several albums by other British Jazz musicians such as the first two albums by drummer / composer Tony OxleyFind albums by this artist, the first three albums by guitarist Ray RussellFind albums by this artist and debut albums by vibraphonist Frank RicottiFind albums by this artist and saxophonist Elton DeanFind albums by this artist, as well as albums by groups like Rock WorkshopFind albums by this artist, Soft MachineFind albums by this artist and others. All these are exceptional examples of completely non commercial / highly artistic music released by a Major record label, a phenomenon which reflected the spirit of that particular era and lasted for a very brief period of time, sadly never to be repeated again
By the time this music was recorded, i.e. by the late 1960s, British Jazz underwent a dramatic transformation, a quantum leap no less, from imitation to innovation. After copying the American Jazz tradition for decades, the post WWII generation rebelled and rapidly found its own methods of expression, embracing such diverse influences as contemporary European Classical music, World-Music and Rock and amalgamating them into a new identity, which would become first modern British Jazz and soon after copied all over Europe, including even the countries behind the Iron Curtain, modern European Jazz. In the aftermath of these remarkable events British Jazz scene was encompassing a diverse rage of stylistic alternatives, from Jazz-Rock and Jazz-World Fusions, via modern mainstream to a whole range of alternative / Avant-Garde experimentation including Free Jazz and Improvised Music.
It takes just a brief moment into the first album to realize that Riley belongs to the Avant-Garde oriented group of British musicians, who value freedom of expression and individuality more than convention and acceptance. Even on these two early albums he is already well advanced in his experimentation, keeping melody only as an entry point to his music, which is entirely based on the dialogue (or in this case trialogue) and collective improvisation, rather than on following the chord progressions of standards and keeping regular time signatures. Guy, who was just over twenty years old when this music was recorded, proves to be an ideal partner, a born adventurer and complete nonconformist. His bass playing on these two albums is an encyclopedic textbook of improvised music moves for fellow bassists, developed completely spontaneously and subconsciously. But it is Jackson, who is the biggest surprise on these albums, considering his almost entirely conventional background before these sessions as one of Britain´s most sought after modern mainstream drummers. His wonderful integration with Riley and Guy here is simply sensational and a superb proof of his open-mindedness and musicality.
In the years that followed these sessions Riley would record many more wonderful albums in many different settings, but these two albums would always symbolize his individuality and prophetic vision. The early signs of his exceptional abilities, which were about to push the boundaries of music and contribute to its development, influencing generations of players, are clearly evident herein, turning these albums into instant classics.
The most startling realization one is faced with, while listening to these two albums, is the fact that not only the music did not age or lost any of its relevance, but it still is right there on the forefront of the musical Art Form, exactly where it was almost fifty years ago. These iconic recordings have earned their position in the Pantheon of British Jazz right from the moment they were recorded, and their unavailability during most of the time that passed since was a crime against culture, somewhat repented by this current reissue.
| | Updated: 12/04/2019Posted: | CD 2 Remastered Essential Recommend To A Friend |
  | RAY RUSSELL SEXTET ~ FORGET TO REMEMBER
JAZZ IN BRITAIN 22 (Barcode: 5060774190166) ~ UK ~ Jazz
Recorded: 1970 Released: 2021
This is an archival album by British Jazz guitarist / composer Ray RussellFind albums by this artist, which presents a BBC session recorded in a sextet setting with trumpeter Harry BeckettFind albums by this artist, saxophonist Tony RobertsFind albums by this artist, trombonist Nick EvansFind albums by this artist, bassist Daryl RunswickFind albums by this artist and drummer Alan RushtonFind albums by this artist. The album presets seven tracks, five original compositions by Russell, two appearing twice in alternate versions.
Before this session Russell already recorded and released two seminal albums for CBSFind albums on this label (“Turn CircleFind albums with this title” and “Dragon HillFind albums with this title”) and some of the material present here would appear later on his third studio album (also on CBS) “Rites And RitualsFind albums with this title”.
The music is already deeply within the modern British Jazz mold, which developed around that time, plunging into open formats and Free Improvisation, but still based on clear melodic phrases serving as the starting points of each tune. Russell offered a completely idiosyncratic style, merging Rock attack with Jazz chord delivery, which made him a new voice on the scene. He eschewed the Fusion direction, staying firmly within the Jazz idiom at the time, sounding like an angry John McLaughlinFind albums by this artist on speed, but completely himself. His soloing on this album, which is much more opened than on the studio recordings, is absolutely hair-raising and deserves to be heard, since after fifty years of Jazz guitar there are very few examples of a more imaginative approach.
The other players support the leader amicably, with Beckett taking the rest of the soloing under his wings and the other two brass players heard mostly on the intros and outros but also soloing from time to time. The rhythm section is brilliant all the way and manages to swing gracefully despite the rather overall Free atmosphere.
With the usual BBC sound quality, this is a superb document of the era, obviously worth being heard by the fans of the period. Guitar freaks are in for quite a surprise obviously, so here it is, five decades old and still alive and kicking. Good job with keeping this music alive.
| | Updated: 30/05/2021Posted: 30/05/2021 | CD 1 Digipak Recommend To A Friend |
  | SBB ~ ANTHOLOGY 1974-2004
METAL MIND 001 (Barcode: 5907785025936) ~ POLAND ~ Progressive Rock
Recorded: 1974 - 2002 Released: 2004
This stupendous Box Set, released to celebrate the 30th anniversary of the legendary Polish Jazz-Rock / Fusion group SBBFind albums by this artist, is an attempt to present the entire recorded legacy of the band, as know at the time of the release. Later on two additional Box Sets and other releases unearthed more of their recordings, so this box is by far not a "complete recordings" collection.
The band was formed in 1971 in the southern Polish province of Upper Silesia and consisted of bassist / keyboardist / composer Jozef SkrzekFind albums by this artist, guitarist Apostolis AnthimosFind albums by this artist and drummer Jerzy PiotrowskiFind albums by this artist. They called themselves Silesian Blues BandFind albums by this artist and started to perform locally. By the end of that year Skrzek was approached by Poland´s leading Rock personality, Czeslaw NiemenFind albums by this artist, to join his new group formed in order to fulfill the international contract Niemen signed with CBSFind albums on this label Europe. Eventually Anthimos and Piotrowski also joined the band and the trio stayed with Niemen for about a year and a half, recording several albums with him, including the two albums released outside Poland: "Strange Is This WorldFind albums with this title" and "Ode To VenusFind albums with this title". By mid-1973 they left Niemen´s group, shorten their name to SBB and the rest is history.
From 1974 on SBB became the leading Polish Rock / Prog / Fusion band, recording a series of revolutionary albums and changing the face of music not only in their native country but in the entire Eastern European world living behind the Iron Curtain. SBB were also well known outside of Eastern Europe and in the span of the thirty years documented by this Box Set performed extensively in Western Europe and the USA as well. There is no doubt that their music influenced entire generation of Eastern European musicians, who had limited access to music made in the West and therefore SBB served for them as a musical role model for years.
This Box Set included twenty two CDs, which can be separated into several sub-groups. First there are the studio albums vs. the live recordings, which are the majority. Then there is the output by the original trio in the years 1974-1980 vs. the later recordings after the group was reactivated in 1991 and played with different drummers (Miroslaw MuzykantFind albums by this artist, Paul WerticoFind albums by this artist).
As far as the music is concerned, in retrospect one must admit that there was not that much change over the years, except perhaps for the fact that the group somewhat lost its steam in due process. Obviously the early recordings are the most groundbreaking, adventurous, inspired and therefore interesting. Both in the studio and live the early recordings are full of improvisation, which often borders with Avant-Garde Rock and exhibits strong Jazz / Fusion influences. The sessions with guest Jazz musicians like Tomasz StankoFind albums by this artist, Tomasz SzukalskiFind albums by this artist, Andrzej PrzybielskiFind albums by this artist and others are among the highlights in this Box Set. In time, and especially after the re-activation, the music turned more Rock oriented, and the added vocals did not help to make it more interesting. All the musicians involved are of course superb instrumentalists and there is plenty of great solos (guitar especially), but the magic is definitely lost.
There is also a problem of the same material being included repeatedly, although in different versions, but still basically the same. In contrast to Jazz, where each performance of the same tune can be completely different from every other, it does not happen here and a sizeable part of the music included here seems redundant to a degree. In retrospect perhaps it would have been wiser to split this box into two separate boxes, one with the early material, which is divine and another with the later stuff, which would be for the die hard fans only.
Overall this box includes some of the most important music made in Eastern Europe during the formative years of Rock history, and as such is invaluable. The size and contents of this limited edition Box Set might appear to be a bit megalomanic, but is lovingly excused by most.
| | Updated: 12/04/2019Posted: | CD 22 Mini-Sleeve Box Set Oversampling Remastered Bonus Tracks Recommend To A Friend |
  | ROLF + JOACHIM KUHN QUINTET ~ TRANSFIGURATION
MPS 602527224787 (Barcode: 602527224787) ~ GERMANY ~ Free Jazz / Improvised Music
Recorded: 1967 Released: 2009
This is a reissue / remaster of the legendary album by the German Kuhn Brothers, clarinetists / composer Rolf KuhnFind albums by this artist and pianist / composer Joachim KuhnFind albums by this artist. The quintet includes also German vibraphonist Karl BergerFind albums by this artist, French bassist Bernard GuerinFind albums by this artist and Italian drummer Aldo RomanoFind albums by this artist. The instrumentation mimics the classic lineup of the Benny GoodmanFind albums by this artist quintet, but the music is of course from another musical sphere. The album was conceived and produced by my Friend and Mentor Joachim BerendtFind albums by this artist, and was the first recording by the Kuhn Brothers following their unification in West Germany, but their third album overall, following the no less legendary “SolariusFind albums with this title” album recorded in 1964 and released in DDR on the AmigaFind albums on this label label and the “Re-Union In BerlinFind albums with this title” album recorded in 1965 and released in West Germany on the CBSFind albums on this label label. The album presents four tracks, three composed by Joachim Kuhn, and one co-composed by both brothers.
The album is an outstanding example of early European Free Jazz / Improvised Music, of the absolutely highest standard and imagination, which took the seeds of American Free Jazz of the period and took them to another plane, way more sophisticated, Artistic and imaginative. The performances are blood-chilling and absolutely unique, in many ways probably exposing the very peak of the Jazz creativity, which to be honest never managed to climb much higher than what can be heard here.
Although Joachim Kuhn is the focal figure of this album, and the music itself, Rolf Kuhn is for me the true hero of this session, considering the fact that he is deeply rooted in American Swing and Mainstream, playing in the US for many years, and yet manged to detach himself from that tradition in such a radical way, which is way more difficult than plunging into Improvising Music straight on, like his younger brother. Rolf’s death almost two years ago (2022) was a huge personal loss for me, since we have been Friends for so many years and I truly admired his talent and wisdom.
Overall, this is one of the most pivotal Jazz albums in European Jazz, despite the fact that it is only known by relatively very few Jazz listeners. I have owned a copy since day one and listened to this album countless times in the almost sixty years since it was released, and each and every time I managed to discover something new in the music. I can only hope some more listeners will discover it one day, although admittedly it is quite difficult to find a copy.
Side Note
The legendary German MPSFind albums on this label (Musik Produktion Schwarzwald) label, founded by Hans Georg Brunner-SchwerFind albums by this artist (HGBS) in 1963, first as SABAFind albums on this label Records and later on from 1968 as MPS Records, was the most important independent European record label, which had an enormous contribution to the development of European Jazz. For many years MPS cooperated with the legendary German producer / author Joachim BerendtFind albums by this artist, my Friend and Mentor, whose visionary approach and open-mindedness brought the crčme de la crčme of the Jazz (in the broadest meaning of the word) musicians from all over the world to the label. Between 1963 and 1983 MPS produced about five hundred albums, many of which are among the most important Jazz recordings on this planet.
In 1983 the MPS catalog was sold to UniversalFind albums on this label, which sadly resulted in all those artistic treasures to almost disappear from the face of the earth – a situation not only tragic but culturally criminal. Universal reissued a part of the MPS albums (probably 128 titles) on CD between 1999 and 2011 under the "Most Perfect Sound Edition" moniker.
Since 2008 the German Promising MusicFind albums on this label label released some of the MPS recordings, but at a very slow pace.
In 2014 the German company Edel AG bought the MPS catalogue from Universal and released a series of 25 MPS albums on CD with a new slipcase graphic design, which brought all those excellent albums back to life. In 2015 Edel AG started to record and release new albums under the MPS moniker. In 2016 Edel AG released a series of 10 classic MPS albums on CD, which were beautifully remastered and re-packaged, presenting the original artwork and liner notes, as well as new liner notes and photographs. An obvious labor of love, these reissues are what the MPS catalogue truly deserves. This project was continued in 2017 with another series of 10 classic MPS albums released on CD. In later years some new reissues were released sporadically.
Over the years many SABA / MPS albums were reissued in Japan, which is often the only available source for these albums today, but that is a story in itself.
| | Updated: 08/07/2024Posted: 24/06/2024 | CD 1 Oversampling Remastered Essential Recommend To A Friend |
  | SOFT MACHINE ~ SEVEN (REMASTERED)
SONY BMG 768729 (Barcode: 828768729229) ~ UK ~ Canterbury Scene
Recorded: 1973 Released: 2007
7th album, which was the last recording Soft MachineFind albums by this artist did for CBSFind albums on this label. Following the release of SixFind albums with this title veteran SM member Hugh HopperFind albums by this artist announced his departure from the group. Hopper was not happy with the direction the group was taking, namely the less adventurous and jazz oriented Jazz-Rock, which dominated Six. Being a bold innovator and restless explorer, Hopper’s idea of well-organized and structurally sound music was unacceptable, and he decided to leave. For the third time in a row the band enlisted to their ranks a replacement from the band NucleusFind albums by this artist, this time the bass player Roy BabbingtonFind albums by this artist (who already participated on FourthFind albums with this title and FifthFind albums with this title). He switched from his acoustic bass to a six-string bass guitar and his integration into the band was completely smooth and natural, as he was already familiar with John MarshallFind albums by this artist and Karl JenkinsFind albums by this artist. The music, written mostly by Jenkins and Mike RatledgeFind albums by this artist, is more Jazz-Rock than ever, with rather shorter, but extremely well structured and perfectly executed pieces. The keyboards duets and quirky rhythm patterns are the familiar Jazz-Rock devices used, similar to other groups which played similar music at the time. Contrary to the general opinion, which states that this album is not as strong as the previous SM releases, I personally completely disagree and consider this to be as essential as all the other CBS recordings with some of the best and most memorable SM tunes on it. After this album SM switched to the Harvest label, recording several Jazz-Rock albums featuring guitar players Allan HoldsworthFind albums by this artist and later John EtheridgeFind albums by this artist, all of which are still waiting for proper remaster. Essential!
| | | CD 1 Oversampling Remastered Essential Recommend To A Friend |
  | MAYNARD FERGUSON ~ M. F. HORN 2 / THE BALLAD STYLE OF MAYNARD FERGUSON
VOCALION 8421 (Barcode: 765387842123) ~ CANADA ~ Jazz
Recorded: 1969 - 1972 Released: 2006
Canadian Jazz trumpeter / bandleader Maynard FergusonFind albums by this artist arrived in UK in late 1968, where Jazz was accepted as a legitimate Art Form and highly appreciated. European audiences were more receptive to new sounds and musical experimentation, be it Free Jazz or Jazz-Rock Fusion, and therefore an ideal refuge for many frustrated American musicians. Ferguson resided in UK between 1968 and 1973, where he was warmly received and his talent promptly recognized. He recorded five albums in UK for the CBSFind albums on this label label, which are considered the pinnacle of his recorded legacy.
This album combines two of these albums, the last and the first of his UK recordings. In spite of the differences between the two albums they both showcase Ferguson’s amazing abilities as an instrumentalist. His famous high-pitched cadenzas and screaming, soaring finales are of course legendary.
"M. F. Horn 2Find albums with this title" is an excellent Jazz-Rock Fusion album, similar to the work of American bands like Blood, Sweat & TearsFind albums by this artist and ChaseFind albums by this artist or British bands like IfFind albums by this artist, but rather than leading a combo, Ferguson is riding the powerful locomotive of a full-fledged big band / brass orchestra, which of course makes a huge difference to the overall sound. Conducted by Keith MansfieldFind albums by this artist, a brilliant arranger and producer, the band comprised of the absolute best British Jazz horn players at the time and sounds like a million dollars. The clever and sophisticated arrangements suit Ferguson’s abilities perfectly and the album is an absolute blast from start to finish.
"The Ballad Style Of Maynard FergusonFind albums with this title" is a complete contrast, showcasing the trumpeter’s solos against a lushly playing orchestra, directed again by Keith Mansfield, who also arranged the music. Some Jazz fans might shrug at this music, considering it almost a Pop effort, but honestly anybody who can appreciate great trumpet performance and a superb orchestra supporting the soloist will find this certainly worth their while. Great stuff!
| | Updated: 17/04/2020Posted: | CD 1 Remastered Recommend To A Friend |
  | SALENA JONES ~ THE MOMENT OF TRUTH / EVERYBODY`S TALKIN` ABOUT SALENA JONES
VOCALION 8422 (Barcode: 765387842222) ~ USA ~ Jazz
Recorded: 1969 - 1970 Released: 2006
Two great vocal albums by US singer Salena JonesFind albums by this artist, born at the same small town as Ella FitzgeraldFind albums by this artist, who came to prominence after she arrived in the UK and captured the British audiences with her warm, sensuous voice and great ability to interpret Jazz material. In Britain Jones recorded her first two albums, released on the CBSFind albums on this label label, both of which are presented here. Both albums were orchestrated and arranged by arranger / conductor Keith MansfieldFind albums by this artist, who was a superb master of his trade and whose orchestra included the best British studio and Jazz players at the time. The music covers a selection of popular vocal Jazz standards and other contemporary material, all beautifully performed with great feeling and masterly approach. The orchestral arrangements are absolutely stunning and full of superb short instrumental solos. The albums lost nothing of their charm over the years. Recommended to vocal Jazz enthusiasts.
| | | CD 1 Remastered Recommend To A Friend |
  | ELAINE DELMAR ~ SNEAKIN` UP ON YOU
VOCALION 8437 (Barcode: 765387843724) ~ UK ~ Jazz
Recorded: 1968 Released: 2007
British singer / actor Elaine DelmarFind albums by this artist is a prominent figure on the local entertainment scene, with several decades of activity on stage, cinema and recording studio. Delmar started her career as a Jazz singer in the mid 1960s, recording several albums for Denis PrestonFind albums by this artist, and then signed with the CBSFind albums on this label label, on which she released just the one album, now reissued on VocalionFind albums on this label. As opposed to her early strictly Jazz recordings, on this album Delmar presents repertoire drawn from the cinema and stage as well as contemporary songbook. Of course her Jazz inclinations are still very much audible, as are her natural charm and talent. The music is superbly arranged and the orchestral accompaniment perfectly executed, with that marvelous 1960s sound. In many respects this album is a perfect example of vocal albums made in Britain in the late 1960s / early 1970s, where arrangers and orchestra conductors were an integral part of the final result and the overall result full of brilliant details, both vocal and instrumental. They don´t make music like that any more, that´s for sure. This is a most pleasant trip don the memory lane, which lost nothing of its charm over time.
| | | CD 1 Remastered Recommend To A Friend |
|
