Lars Fredrik Frøislie is the keyboardist for iconic bands like Wobbler, Tusmørke, White Willow, and projects like The Chronicles of Father Robin. Lars never stops?he's always creating something interesting. He owns an impressive collection of analog keyboards, including a Chamberlin Mellotron, which is almost impossible to find. Well, he's got one.

This is his second solo album in two years. The first, Fire Fortellinger, received very positive reviews. Frøislie, a lover of '70s prog?especially Italian prog?decided to sing in his native Norwegian, which gives the music a unique touch.

Once again, as with the previous album, Frøislie plays all the instruments, including vocals, and he does it remarkably well. He shares duties again with bassist Nikolai Hængsle and flutist Ketil Einarsen.

Gamle Mester is a bit stronger than Frøislie's previous album. The music is now more complex and slightly less folk-oriented. The keyboards take on a new dimension, and the compositions are inspired by mythology?the power of the gods over mere mortals.

The album feels warm and shares many similarities with Wobbler?except this time, Andreas Prestmo is missing. For fans of that band still waiting for something new, this record helps fill the void, but at the same time, it stands strong on its own. Personally, I think this album is changing certain parameters more than simply repeating what's already been done. I don't know how, but there's a lot of originality here, even though it clearly carries many influences. Lars Fredrik Frøislie, despite wearing his inspirations on his sleeve, manages to stand out and carve out a world entirely his own.

A great record to keep in mind in this extraordinary 2025.

— First review of this album —

A Wonderful Nightcap

Claudio Fucci was born circa 1952 in the town of Carosino near Taranto, later living in Milan. He started writings songs in the late 1960s, and by the '70s he was collaborating with the likes of Come Le Foglie and Banco. After the release of his own 1974 self-titled work produced by Eugenio Finardi, he would work with keyboardist Dario Piana again on the Le Mani project. But aside from a soundtrack project, it would be over 30 years before Fucci followed up his 1974 debut. The resulting Synkretiko is a country mile from anything resembling 21st century progressive rock, but it is a surprisingly warm and engaging return for Fucci nonetheless. This is not a progressive rock album even to the extent of his earlier work, but it is a good pop/rock album with a heavy dose of that wonderful Italian touch. It's very well decorated with two dozen great musicians including his old buddies, Eugenio Finardi and Dario Piana.

Synkretiko is an album for people who already know they like stuff like Battisti, Stephano Testa, Mario Barbaja, Gigi Pascal, or Gianni D'errico. The songs run the typical pop song template and length, but they are catchy, fun, and colorful. "Graffiti Italiani" is a festive opener with a bouncy folk feel adorned with fiddle. "Il Silenzio E Il Tuono" is another with a folky-country rock vibe that sounds great with Fucci's gregarious voice. "Sebastiano" is more bluesy with raucous electric guitar and organ that reminded me of Faces "Stay with Me." "Come Un Poeta" veers into a light and melodic jazz groove. And "Via C. Baroni" is a grand, romantic-sounding ballad. As you can see, the album's style is free and engaging, but the quality is very high. These songs will stick in your ears for days after. For such a late entry in the game, Fucci succeeds here. If this is to be his nightcap, it is sweet on the lips indeed. La musica della vita!

Gone are both founder Yochok'o Seffer and recent acquisition Didier Lockwood, here come percussionist Michel Séguin, wind player François Debricon, trombonist Hamid Belhocine, and a young Manu Katché on drums (the first recorded presentation of the future superstar).

1. "Merci Jacky" (7:20) opens with a Smooth Jazz-like feeling before Jaco Pastorius-like bass joins the percussion and steady one-chord electric piano motif. Key change at 0:50 continues the one-chord foundation approach while Gérard Prévost and Michel Séguin continue to impress (especially the former). 2:00 the reins are handed over to "Faton" for a solo that could come from lighter J-R Fusion players like Donald Fagen, Michael Omartian, or Greg Phillinganese. chord progression sequence in the fourth minute leads into a much more developed motif (though it feels the same because the drum and percussion lines are much unchanged) but trombone and saxophone now join in while the keyboard/synth and bass lines are now more sophisticated, melodic, and, frankly, interesting. Fuzz synth mirrors bass play for a score of seconds before circus-like sounds and chord progression take us into the dismantling finish. Nice, fun and light. Good opener. (13.25/15)

2. "Typhareth (Beauté)" (12:44) I love the presence, prominence of trombone coming from unconventional trombonist Hamid Belhocine. The flanged bass (with its great solo in the eleventh minute) is cool, too--especially due to the loving support that Faton's hypnotic keyboards play below him. This is a very easy-going, gentle and melodic tune which lulls the mind into perhaps failing to notice all of the lovely subtleties going on in the soil and underbrush. Truly a lovely song. (23.75/25)

3. "Troupeau De Bisons Sous Un Crane" (3:32) Hand claps and congas! A light, fun, and upbeat tune that seems to reflect a carefree, fearless Cajun-like attitude. Nice! A little Weather Report feel to this--and so nice to hear a lower- register saxophone for a change! (8.875/10)

4. "Binah / Comprehension Feminine" (5:04) dreamy ethereal combination of piano, flute, and EBERHARD WEBER-like flanged electric bass start this one out as cymbals and metal percussives add to the effect while flutes, percussives, change, trombone enters. At 3:00 there feels like a shift in temperament: as if the sun has come out and there's a reassurance that everything will be okay. But then it goes back to the more dreamy, less settling motif for the final minute. Nice! Interesting! Creative. (8.875/10)

5. "Les Temps Changent" (8:44) keyboard, congas, and café chatter open this for about 30 seconds before bass, drums and horn section enter to move the song forward--but slowly, with lots of stutter steps and shifting, twisting dance moves--before finally letting Faton lead us into the pedestrian lanes of the cobblestone shopping area of la vieille ville. As we walk the troupe gets more stylish, more swaggy and cocky with its self-assured, attention-getting footwork and audaciousness. I love it: These were the Seventies! This is a perfect representation of the Black-positive attitudes that styles, clothing, and music were expressing at the time--and François Debricon's expressive tenor saxophone solo in the seventh minute is the perfect cherry on top! This is followed by an ensemble finale which feels as if it were choreographed by Mandy Moore for a street scene in La La Land. (18/20)

Total Time: 37:24

Like reviewer/friend John Davies, I find much more hiding in this music than what might appear at first listen: besides eminently-impressive musicianship from all involved, there are plenty of compositional and improvisational intricacies that might be masked by the easy-on-the-ears melodic sensibilities that François offers the listener.

A-/five stars; a minor masterpiece of Third-moving-into-Fourth Wave Jazz-Rock Fusion. Very engaging and upbeat while being deceptively intricate and sophisticated.

Yes -Tor -Mato

Tormato is the album with which Yes closed out the extraordinary decade that saw them reach the peak of progressive music and become the legendary group they are today. Tormato is an album I have a special affection for, as it was my entrance into this great band. Although many consider it mediocre, I've always found it extraordinary?not quite on the level of Close to the Edge or Fragile, but far better than what the band would go on to produce in the mid-eighties.

Tormato came after a glorious period for the band. They had just recorded an incredible album Going For The One and completed an extremely successful tour. By then, Yes was already considered one of the best bands in the world, almost on the same level as giants like Led Zeppelin and Black Sabbath. That's why, when they entered the studio to record Tormato, Yes had carte blanche to do whatever they wanted.

It's important to place ourselves in the historical context of 1978. The musical landscape had changed drastically. It wasn't just disco anymore?punk and new wave were now dominating the market and leaving a strong impression. Yes wasn't punk or new wave, but people still liked them. The Police were the band of the moment?everyone liked them, and many wanted to be like them.

After Going for the One, which featured the return of the band's prodigal son Rick Wakeman, things seemed to remain stable?at least on the surface. The problem was that the band had no new music composed. Everything they had was discarded, as the members couldn't agree on the sound they wanted for this new record, which already had a working title: Yes Tor, named after some hills near Dartmoor, Devon, close to where Steve Howe lived.

The cards were on the table, and the players were ready. Wakeman arrived at the studio with a range of new polyphonic keyboards, which significantly reduced the amount of gear he needed. The Polymoog and the Birotron would come to define the album's sonic character. Meanwhile, Chris Squire had discovered the Mu-Tron pedal, which gave his bass a distinctive, more modern effect?closer in line with the evolving sounds of the time. Steve Howe opted for single-coil guitars to create a sound that was softer yet more piercing.

Production duties were handed back to Eddie Offord, who hadn't worked with Yes since Relayer in 1974. This album wasn't just another record?it felt more like a reunion of old friends, eager to show off their new toys but lacking a clear direction. As the days passed and ideas floated in and out, the sessions turned increasingly frustrating. Chris wanted to sound like The Police, Alan White was pushing for a heavier rock vibe, Steve aimed for something more experimental, Rick wanted to explore his new keyboards, and Jon Anderson?curiously?didn't even want to sound like himself. He was trying for a deeper tone, searching for something different.

After those endless sessions, very little could be salvaged. The material was taken to Eddie Offord, who ended up abandoning the project because he found it dull and uninspired. Eventually, the band had to take over the production themselves. Slowly, out of that chaos, Tormato began to take shape. But why Tormato, if the album was supposed to be called Yes Tor?

Although the original plan was to have Roger Dean design the cover, he never really connected with the band's vision this time. Instead, as with Going for the One, Yes contacted Hipgnosis again. The final concept came from a photo featuring a smashed tomato, which immediately struck a chord with the band. It symbolized their frustration, mockery, and protest toward the whole recording process. For years, it was believed that the band members themselves had thrown tomatoes at the photo in anger. In truth, it was Aubrey Powell from Hipgnosis who hurled tomatoes at his own creation, frustrated after it was rejected by other bands. Yes empathized with that gesture, and Yes Tor becoming on Tormato.

The music on Side one opens with "Future Times / Rejoice", composed entirely by Anderson, whose lyrics here are unusually direct. The track features Chris Squire using the Mu-Tron pedal, adding that now-iconic touch to his bass tone.

"Don't Kill the Whale" originated from a bass line and acoustic guitar part created by Squire, which Anderson developed further using a poem he had written. The lyrics were inspired by a TV program about saving tigers, which led him to write about whale conservation. Their friend Terry Doran also played a role in sparking the theme. Wakeman added a Polymoog sound resembling whale calls, which shaped the track's unique identity. The song was an instant hit and it was the first major hit for the band since Roundabout.

"Madrigal" is a short, delicate piece driven by Wakeman's harpsichord, written at Anderson's suggestion to explore the madrigal form of English evening song.

"Release, Release", originally titled The Anti-Campaign, was co-developed by Anderson and White and reflected the social and political unrest of the time. The song features automatic double tracking on drums and a live crowd sample?allegedly from a football match?to energize the instrumental break. It caught the attention of Atlantic Records president Ahmet Ertegun, who even suggested the whole album follow its more straightforward rock sound. Anderson later admitted the song was difficult to perform live due to the vocal range it demanded.

On the other side starts with "Arriving UFO", a sci-fi-inspired track based on a theme Anderson developed after watching Close Encounters of the Third Kind. Wakeman composed the instrumental midsection.

"Circus of Heaven" tells a whimsical story aimed at children, complete with unicorns, elves, and a circus arriving in a quiet Midwestern town. The story was inspired by Ray Bradbury and was something Anderson shared with his son Damion, who voices the child at the end. Musically, the song is notable for Squire's reggae-style bass line.

"Onward" is a lush ballad written entirely by Squire, featuring orchestral arrangements by Andrew Pryce Jackman. Squire considered it one of his best compositions, and it was later revived on stage in 1996 with a new acoustic intro by Steve Howe called "Unity".

Finally, "On the Silent Wings of Freedom" closes the album on a high note, built around Squire's bass with a distinctive Mu-Tron Envelope Shaper effect, giving it a driving, pulsating energy.

As a side note, some original cassette and 8-track editions included a hidden track called "Richard", written by Anderson. Though it was omitted from later reissues.

In the end, Tormato it is a fascinating record in the Yes story. It's an album born from frustration, and experimentation, but it still carries moments of brilliance musical extremes hated by many and loved for others. While it may not reach the heights of their masterpieces, it reflects a band trying to adapt, to evolve, and to remain true to themselves in a rapidly changing musical world. For some, it's a misstep. For others? like me?it's a misunderstood gem, full of character, tension, and charm. And above all, it marked the last time this classic lineup would record together until much later, making Tormato both an ending and a turning point in the history of Yes. I still believe that this record needs more love from the fans.

The fifth album from Sky is in similar "easy listening classical ditties for rock group" territory to their previous album, Forthcoming. The major difference appears to be that whilst Forthcoming was fairly placid, this is positively jaunty - why, on Telex From Peru there's threats to actually creep back towards rock, to the extent that Sky ever rocked, though there's still gentler moments like Then and Now. As with the previous album, it's a collection of entirely acceptable background music, but isn't much more than that. Individual listeners will have to decide whether the crisp production and pleasing musicianship saves it from being muzak or pushes it into that category.

Steely Dan a great American band, truly talented individuals, Becker and Fagan are geniuses with that unique immediately identifiable sound. I must admit in my formative years they absolutely blew me away, so I'm not sure how this album avoided my clutches. Was it worth the wait, I think it was, although I'm still a fan, that thrill of the new all those years ago has receded, become comfortingly familiar to the extent that it's hard to to disconnect oneself and give an objective view. What I will say that certain Steely Dan songs have a strong emotional pull on me, Do It Again, Rikki, Haitian Divorce, Dr Wu and on this album Razor Boy, ( I love that vibraphone/marimba and the pedal steel ) falls into this category not to mean it's best, I just get that similar kick from it, others like Bodhisattva, Boston Rag and My Old School are perhaps to well known to me from compilations. What I will say is while I may feel a little short changed on an immediately classic number this is still an intoxicationg listen, every track is a winner and a grower, listen closely and be overwhelmed by the musicianship, unadulterated class, the fresh sounds to me like Your Gold Teeth, with it's stabbing piano and funky rhythm overlayed with loose jazz guitar runs and King of the World are my big hitters.

Donald and Walt and their session musicians do a swell job at jazz fusion and this is just the second step of their discography.

5.0

Romanticism made a well-known path through the classical music legacy. Beethoven, Schubert, Chopin, to name only a few of them, were names firmly associated with that particular sort of pathos, which may be hard to define, but definitely seems to include a strong association linking the purity of the human soul with the majestic harmony implicit in the many levels of order found in Nature. Society is essentially a corrupted affair, but man is more than a mindless part of that sad state of things, and can steer away from it, seeking redemption in a pure contemplation of Nature's own wonders.

Like the precise ballet taking place in the skies every blessed night. And that is the subject matter of this short, but at the same time ambitious little work. A spiritual endeavour fed by clasical influences, as mentioned above, but taking finally the form of a Symphonic Rock suite in several movements, primorously put together by the multi-instrumentalist talent of the composer Julián Martínez.

The mind behind the proceedings clearly seems to be that of a pianist, rendering a pleasant starscape made of interweaving scales embellished with all sorts of trills, and likely minded resources taken from the baroque and romantic palette. But the tonal color is also enriched by resort to the sound of harpsichord, flute and some hints of mellotron, mainly in the background.

The articulation of the work follows also the traditional alternation between the more rapid, dense, and heavily orchestrated movements, like the opener, El Canto Del Bosque, with other relatively slower, transparent, and sparingly orchestrated ones, like the second track, Caminos De Cristal, to put some example.

Anyway, what comes out triumphant in the end is the strong sense of relaxed flow, and thoroughly achieved continuity that prevails from the first note, right to the last one of them, an accomplished result of flawless conception and execution that the listener cannot but be thankful for.

Here we find Dr. Eddie teaming up with several of his previous collaborators from both the Mwandishi days but even a Headhunter or two--including the one and only Herbie Hancock.

1. "Butterfly" [Herbie Hancock] (8:05) a remake of the Herbie Hancock "classic" (even though it's only four years old) with its creator taking part in the modernized version (as well as several Mwandishi alumni and Bennie Maupin who was one of the original Headhunters, too!) I love all of the innovative sounds Herbie, synth specialist John Bowen, and guitarist Ray Obiedo are employing to funk-up and "modernize" the song. So funny to have these songs re-covered A) so soon after their initial entry into pop consciousness and B) by members of the original lineup now four years "older"! LOL! It's even been discofied a bit! Though it is definitely different than the original, it's still a great song. (Perhaps its just one of those songs that you can never ruin no matter how you choose to approach it.) (14/15)

2. "Cyclops" [James Mtume] (5:18) Eddie and his record company felt good enough about this song to have released it as a 45-single! It's definitely catchy--like the instrumental ear candy that many jazz fusion artists were turning toward at this time--before Jazz-Rock Fusion was being spilled over into Smooth Jazz, Disco Funk, Adult Contemporary, Yacht Rock, 80s R&B and Hip-Hop, and even New Age. It feels as if the piano chords in this song were lifted directly off of the master tapes for the 1984 Soul/R&B hit song "Hey DJ" by The World Famous Supreme Team. It is a great, fun, highly enjoyable listen. (9.333/10)

3. "Emotions" [Eddie Henderson] (4:59) gentle yet sophisticated with Paul Jackson's bass notes and bass harmonics forming much of the foundation with percussive drum play turning to full kit use in the second minute. Eddie's flugelhorn lead is quite melodic--quite like hearing a human voice pronounce its words quite intentionally. The involvement of the rest of the band seems minimal, other than Herbie's Fender Rhodes. (9/10)

4. "Prance On" [James Mtume] (5:16) another Mtume song that falls right into the Disco world that James would stick with throughout the 80s, there are CHIC-like clavinet, rhythm guitar strains, and background synth "strings" accents and flourishes that would become absorbed and exploited fully by Michael Jackson's songwriting/production crew from here (Off the Wall) through Thriller, but the bass is all disco and novelty Funk-Soul/R&B. Overall, it's a little too drawn out and monotonous. (8.875/10)

5. "Amoroso" [Bennie Maupin] (5:38) interesting funk R&B with some novelty sounds covered by some great percussion and trumpet play. Using a fairly dull, straightforward drum "program" the syncopation comes complete from the horns and bass teaming up to carry the melodic rhythm track while Herbie and muted Eddie solo among the flurries of other contributors sneaking in their inputs. (8.875/10)

6. "Mahal" [Eddie Henderson] (4:27) I'm not sure where Eddie was at this time in his life but I find it interesting that the three compositions credited to him on this album are all rather slow, gentle, and tender. Love? Loss? Sadness? Transition? How does the doctor use his music for therapy? There are wonderfully tender inputs from Herbie (muted clavinet), John Bowen (Oberheim strings), Julian Priester, and Paul Jackson on this lovely little tune. (9/10)

7. "Ecstasy" [Eddie Henderson] (3:25) dreamy Mr. Rogers' Neighborhood-like fairy dust coming from Herbie's JOHNNY COSTA-like Fender Rhodes is the only support Eddie uses to express his ruminative mood--like something from FRANK SINATRA's masterpiece of late-night regret, In the Wee Small Hours, or Freddie Hubbard on several of his song remakes on next year's The Love Connection. I really like contemplative songs like this: makes me think that some humans (without the aide of alcohol) are really thinking about their lives. A rather beautiful duet but not really anything contributing to the expansion of the Jazz-Rock Fusion idiom. (8.75/10)

Total Time: 37:08

A-/4.5 stars; a near-masterpiece of Third-entering-upon-Fourth Wave Jazz-Rock Fusion that illustrates that Eddie (and Herbie) are still committed to continuing to push the boundaries of that which is possible for the movement.

The Finnish prog band FANTASIA are known from their eponymous sole album (1975), one of the definitive classics of the 'smaller' Finnish prog acts of the seventies. The album line-up already changed in 1976 but the group disbanded in 1979 without further releases at the time. In the early 2010's guitarist-vocalist Hannu Lindblom gathered a new line-up under the name Fantasia, after the album had seen its first CD reissue. In 2017 was released this three-track EP of new material.

The instrumental 'Bosses låt' is a cover of a piece by the Swedish prog band Fläsket Brinner, featured on their 1971 album and composed by the band's organist Bo[sse] Hansson -- yes, the Sagan om Ringen guy. This version is sonically tighter and more emphasized on guitar whereas the original has also flute plus some sax in the end. Although the composition per se doesn't much progress, it is easy to recognize as an early 70's prog instrumental.

'Desert Storm' is composed by Lindblom to the English lyrics by Pirkko Hautamäki. Also this one is very 70's in style, slightly resembling the Meddle era Pink Floyd, or rather, A Tab in the Ocean era Nektar for the hard- rocking psychedelic atmosphere. Lindblom's vocals have aged and roughened but they're still ok. The playing is powerful especially for the organ and electric guitar.

'Tämä uni' (= This dream) turns out to be the same piece in different Finnish lyrics by Kari Ilmonen who had also written the lyrics for the album in 1975. "Good, but non-essential" three stars. The fourth star would need a little more material than one cover and one new tune in two langauages.

This is the project of one man with only one guest on bass. The music is rooted in the symphonic prog of the 1970s. The melodies are developed around lush keyboards and emotional vocal harmonies. Some acoustic passages bring Genesis and Hackett's style of playing. The flute passage adds to the retro prog feel that we have throughout the album. The guitars are never as heavy as some Neo-Prog bands, and the prominent use of acoustic guitar and flute provided an almost pastoral atmosphere. I am impressed by the quality of the songs from start to finish. For now, this album seems to be a step ahead of other albums from this project, because the songs have the edge that was missing. This could be in my top 10 albums this year!