OREGON
Jazz Rock/Fusion • United States
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A world jazz precursor, Oregon was born in 1970. Originally composed of multi-instrumentalist Collin Walcott on tabla, sitar and dulcimer, Glen Moore on bass, clarinet, viola and piano, Paul McCandless on woodwind instruments and the famous Ralph Towner on guitar, piano, synthesizer and trumpet.
The traditional jazz influence was reduced in favor of an eastern musical structure.
The music's aesthetic is quiet, introspective and meditative, but the improvisation's predominance is common to traditional jazz. The sitar/tabla couple contributes to the eastern mood while the lyrical use of oboe makes an occidental counterpoint.
Similar artists and bands are Collin walcott, Codona, John Abercrombie, Shakti, Larry Coryell, Paul Winter.
With the second release "Music of Another Present Era" in 1970 and its follow-ups "Distant Hills" and "Winter Light" on Vanguard label, Oregon became one of the leading improvisational bands of the time, offering an excellent synthesis of western and eastern music, along with classical music, jazz, folk, and avant-garde influences. The band released numerous albums on Vanguard label throughout the 1970s, and then made two records for ECM label in 1983. The group disbanded after Walcott's death in a car accident in 1984, who eventually been replaced by percussionist Trilok Gurtu for a band's reformation in 1987 ( last album on ECM), the band assuming a more conventional soft jazz orientation.
First two albums are highly recommended, along with the fourth "Distant Hills". The best is probably the second one « Music of Another Present Era » released in 1973, maybe the most progressive in nature.
Why this artist must be listed in www.progarchives.com :
Oregon deserves a place in the Jazzrock category as a brilliant world jazz precursor, their music being an accomplished synthesis of many genre, the perfect weeding of western and eastern music.
Discography:
Our First Record, studio album (1970)
Music of Another Present Era, studio album (1973)
Winter Light, studio album (1974)
Distant Hills, studio album (1974)
In Concert, live (1975)
Together (w/Elvin Jones), studio album (1976)
Friends, studio album (1977)
Out of the Woods, studio album (1978)
Violin, studio album (1978)
Moon and Mind, studio album (1979)
Roots in the Sky, studio album (1979)
In Performance, live (1980)
The Essential Oregon, studio album (compilation) (1...read more
OREGON forum topics / tours, shows & news
- Oregon & Garbarek on PA, but Gismonti isn't?
- The Wall - Portland, Oregon 05/22/2012
- Progressive Rock from Portland Oregon
- a post about Oregon
- Oregon
OREGON Videos (YouTube and more)
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Oregon - Beneath An Evening Sky
(8 min 42 sec )Added by Prog Geo
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Redial : Oregon Live
(8 min 30 sec )Added by Prog Geo
Buy OREGON Music
![]() | Lantern Imports 2017 | $12.04 $9.00 (used) |
![]() | Winter Light Vanguard 1990 | $9.03 $5.90 (used) |
![]() | Out Of The Woods/Roots In The Sky / Oregon Bgo Records 2017 | $10.73 $10.72 (used) |
![]() | Distant Hills Vanguard 1987 | $8.37 $4.16 (used) |
![]() | Music Of Another Present Era Vanguard 1988 | $8.42 $5.00 (used) |
![]() | Out of the Woods Discovery / Wea 1993 | $9.97 (used) |
![]() | Moon and Mind Vanguard 1990 | $9.92 $9.91 (used) |
![]() | 45th Parallel CBS Records 1990 | $29.99 $5.83 (used) |

More places to buy OREGON music online
- DOUG LARSON IMPORTS — Buy prog rock music and rarities (Free shipping on orders over 10 cds)
- AmazonMP3: Search for OREGON DRM-Free MP3 Downloads @ Amazon.com MP3
- Try Amazon Prime Music (30-day free trial)
OREGON discography
Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

OREGON top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
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OREGON Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
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OREGON Videos (DVD, Blu-ray, VHS etc)
OREGON Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)
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OREGON Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)
OREGON Reviews
Showing last 10 reviews only
Oregon Jazz Rock/Fusion
Review by Argonaught

Style-wise, the Together is definitely not "rocky" at all (thankfully!). And it's jazzier than many, if not most other Oregon records I can think of. In this album, Oregon are fusing together the sonic language and the sensibilities of the post-bop jazz with with their favorite exotic "world folk" sounds and rhythms .. and finely tune the whole assembly to oscillate at the frequency of the classic electric fusion.
How they are doing this, I can't say, but the result is quite spectacular.
I highly recommend this to everyone who likes fusion "with a twist", or avant-gaardish, but not crazy contemporary jazz with additional structure and dimension to it.
Oregon Jazz Rock/Fusion
Review by
Warthur
Prog Reviewer

Oregon Jazz Rock/Fusion
Review by
snobb
Special Collaborator Honorary Collaborator

Music during all album is mostly relaxed, a bit melancholic, with strong roots in acoustic jazz. Musicians plays together for years so they sound as real band, not just few collaborators. Plenty world timbers and elements make their music more melodic and easy listening. Never cheesy, this album for sure is between well made pleasant and professional releases, but far not innovative one.
Most controversial moment in album's music for me is Towner's places where he uses guitar synth. Its sound,reminding flute music,modified by sound synthesizer, destroys almost acoustic,natural,warm and well balanced album's atmosphere. I never liked that instrument, even on much more energetic Alan Holdsworth albums. There it sound even more out of place.
Happily, there are enough compositions without guitar synth sound. They are mostly pleasant,a bit too comfortable, contemporary jazz with some world fusion elements. Nice to listen, but energetic level could be more intensive for me. Not sleepy, but not far from lullaby in some moments.
Anyway, band still can play a good music, after all this years. Don't expect surprises there, but compositional and technical level of the band is high enough to record very competent album.
Oregon Jazz Rock/Fusion
Review by
Mellotron Storm
Prog Reviewer

"Rapids" opens with sax and piano leading the way as it builds to a full sound then settles back. I like the percussion before 4 minutes as the sax solos. It settles again after 5 minutes then rebuilds after 6 1/2 minutes. "Beacon" opens with viola and aboe. Some percussion joins in as these sparse sounds continue. Cool tune. "Taos" opens with percussion that comes and goes. Bass 2 1/2 minutes in with synths as it builds.Tin flute too. Amazing sound here. Some classical guitar then it turns spacey late. "Beside A Brook" opens with piano and eventually we also get English horn and aboe helping out.
"Arianna" is interesting with the sounds that come and go together. Sitar, English horn and aboe on this one all create some great sounds.The tempo picks up 2 1/2 minutes in. "There Was No Moon That Night" opens with classical guitar followed by clarinet before a minute. It becomes intense briefly 2 1/2 minutes in. I like the clarinet 5 minutes in as the guitar and percussion help out. "Skyline" is a short piece with synths, bass and percussion. "Impending Bloom" is different. We get these vocal expressions that I like with a catchy rhythm. Piano after 1 1/2 minutes with english horn to follow. Musette (horn) takes over 5 minutes in.
A classy recording reminding me of Chamber Music. Intricate and beautifully done.
Oregon Jazz Rock/Fusion
Review by
lor68
Prog Reviewer

So my evaluation is "4 stars" inside a collection of experimental acoustic jazz..."3 stars" in a normal prog collection, especially if this "Out of the woods" is judged by a "prog purist".
Oregon Jazz Rock/Fusion
Review by
Kazuhiro
Prog Reviewer

Therefore, we do not think that the same performance repeats twice. In the thing of entering the best ten or not entering, the sonority might have been good by chance. The audience might be good and the hall be good. Therefore, if I understand when that is better, we add the section during the tune fast.
It is our ways, and the cooperative relationship is the one saying enough because there are only four people.
Other members also were always talking about zeal to music to the band as well as the remark of this Ralph Towner. It struck close to home to the band and the listener as a result on the boundary of this album. Therefore, how the death of Collin Walcott influenced the band and the listener for the band might be understood.
Distinguished services of Collin Walcott that introduces not only Sitar but even also the charm of Tabla to the field of Jazz Rock might be large. Many of original performance in David Darling and Codona that is. And, it is not only musical instruments of simple ethno and it should make a special mention of the point well versed in other musical instruments. Other members to say nothing of this can also find a similar point. And, the creativity was one of the charms of Oregon.
The album that had been announced through the label called Vanguard and Elektra always offered the music of fine quality for them as one shape and existence. And, the work in ECM assumed to be the most suitable for the sound of the band might have been an indeed new challenge for them. The content of the album that Oregon left ECM as a result will receive the impression in which the color of ECM is indeed reflected well.
"Oregon" that had been announced in 1983 offered the music of an extremely hard quality. On the other hand, this "Crossing" receives the impression with a little soft quality. And, this album has become the posthumous work of Collin Walcott for Oregon as a result. This album might be at a special position for the fan and the listener because the impression of the fact is strong. It is assumed that this album bears the part of a temporary compilation of the band in the opinion of the fan and is often recognized.
Ralph Towner uses Prophet 5 in this album as well as the album in 1983. The sound can be never emphasized and plays the role of the support of the tune. A mysterious color sense might be given by suitable for acoustic musical instruments. It is said that it likes Ralph Towner at this time and these musical instruments were used well.
The same thing will be able to be said for Paul McCandless and Glen Moore. The processing of a momentary agility and the space that produces the sound is overwhelming. The work of the band that leaves it for ECM has good quality that indeed reflects the age and a hard impression.
"Queen Of Sydney" is a tune by Paul McCandless. The melody by Prophet 5 makes the sense of serenity and the anacatesthesia. Melody of Oboe that plays mysterious music scale. Flavor with good percussion instrument in close relation to repeated melody. A little avant-garde impression is given. The construction of the line of a piano melody and Bass that goes out in the latter half of the tune makes an overwhelming, transparent feeling. The anacatesthesia of fine quality is exactly constructed.
"Pepe Linque" is a tune by Glen Moore. A transparent feeling extremely drifts in the tune. And, the melody with the race based on the rhythm of Swing is developed. The percussion instrument gives an original part that is as an impression because it uses Tabla. The melody of soprano Sax is glossy. And, the band is performing a light tune.
It is a tune where the flavor of the band was expressed well overall as for "Alpenbridge". Melody of arpeggio with tension with acoustic guitar. Their originality is shown according to the sound of Oboe and Sitar that it twines there. The melody is fantastic as much as possible.
"Travel By Day" is a tune by Collin Walcott. Melody of complete unison by Sitar and Bass. Each member uses well and performs the space. Especially, the melody that Sitar plays makes good use of harmony with Chord and the tension of Rock. The composition with the tension might be splendid.
A piano melody with expression of feelings sounds beautifully in "Kronach Waltz". Rhythm that is reminiscent of waltz rhythm and a few tangos. The feature the melody by Oboe and the press roll of Snare Drum.
"The Glide" starts the band while emitting the sound of Prophet 5 forward in union. Very fresh Jazz Rock is constructed. Each member is having them demonstrate characteristics of the sounds of acoustic musical instruments enough. The tune is very Jazz of fine quality. The composition in which each member's Solo is turned is splendid. The sound of Prophet 5 that supports the tune doesn't obstruct the tune. Part of Solo of piano and Oboe. And, the line of Bass that completely supports the tune. The tune is very high-quality.
"Amaryllis" is a tune with a transparent feeling very much. The melody of 12 bowstring guitar that Ralph Towner plays might be a performance for him. Obbligati of keyboard that gives composition in which tempo is not felt and grand impression. The tune will shift to Jazz Rock of fine quality and the element of ethnical before long. Various elements might mix and an advanced composition be a performance that they exactly do. A good flavor of the band is expressed well.
A wind instrument and a piano melody crosswire to "Looking-Glass Man". Twining of the line of the composition and Bass to make good use of the unison is complete. Especially, it is a composition in which twining of the melody concerning musical instruments is valued. The flow of this tune that excludes the rhythm is one of the charms of them.
"Crossing" gives a very a sound that each member plays pastoral impression. Beautiful piano melody. Part of guitar and wind instrument to get on the flow. And, twining of the drum that decides the impression of the tune increases degree of freedom. It might be ..composition of beauty very extremely and the quality.. finished.
It might be an album with the role of the compilation of the music character that the band cultivated exactly. And, the music of the quality after it is dedicated to Collin Walcott and the fan is here.
Oregon Jazz Rock/Fusion
Review by
Mellotron Storm
Prog Reviewer

I read where someone refered to this music as "acoustic jazz chamber music". Or something like that. "June Bug" kicks in quickly to an uptempo pace with percussion,aboe and acoustic guitar. Just a great sound with so much going on. "Vessel" is the longest track on here. Percussion of some sort to open as piano comes in gently. Some dissonant horns join in around 3 minutes. Bass clarinet too then the piano takes over. Percussion becomes the focus again in this laid back tune. "Sierra Leone" is very quiet with some sparse aboe until we get this World music sound around a minute. It's building.
"Ogden Road" opens with piano as a horn comes in and other sounds. Percussion around 1 1/2 minutes. The tempo continues to change. Acoustic guitar before 3 minutes. Horns 3 1/2 minutes. Aboe before 6 minutes with piano. Excellent track. "House Of Wax" opens with piano as sitar joins in. It seems out of place to me. "Hungry Heart" opens with percussion as aboe,bass,acoustic guitar and other sounds join in. "Orrington's Escape" is led by aboe but i don't like it. Thankfully it's very short. "Roots In The Sky" builds with horns,percussion and other sounds. It settles right down then builds a lot more slowly this time. "Longing,So Long" sounds like sounds from the jungle to open. Percussion and aboe follow with acoustic guitar. Some bass and piano too as the tempo continues to change.
So an impressive release that i need to be in the right mood for. I found this more jazzy than "Out Of The Woods" and that's probably why i liked it more. 3.5 stars.
Oregon Jazz Rock/Fusion
Review by
Mellotron Storm
Prog Reviewer

"Yellow Bell" is led by the aboe as bass, percussion and piano support. Piano takes the lead for a minute then the aboe returns. "Fall 77" is led by horns and is a mixture of Jazz and World music. "Reprise" features piano melodies only. "Cane Fields" is a percussion and aboe dominated track. "Dance To The Morning Star" has this odd sounding intro and outro. Acoustic guitar, bass, piano and other sounds come in between, then the aboe leads.
"Vision Of A Dancer" features aboe and sitar early then piano takes over. "Story Telling" is a short precussion tune. "Waterwheel" features more percussion and aboe leading the way. "Witchi- Tai-To" is sitar led early. It settles after 3 minutes with acoustic guitar, bass, percussion and other sounds. Aboe comes in.
For most OREGON fans this is their favourite. It's a beautiful recording no doubt about it. 3.5 stars.
Oregon Jazz Rock/Fusion
Review by
Neu!mann
Prog Reviewer

I would like to count myself among them, but until very recently I had never even heard the name of this renowned quartet. My thanks to BILL BRUFORD for the introduction: in his (recommended) biography the ex-YES / KING CRIMSON percussion ace mentions Oregon in connection with his 1997 collaboration with guitarist Ralph Towner ("If Summer Had It's Ghosts"). A chance search at my local public library immediately unearthed this gem, by coincidence made at the same Oakland, California venue where Bruford's band EARTHWORKS recorded their (likewise recommended) 2004 live CD "Random Acts of Happiness".
Veteran fans will know what to expect: an album of refined but exciting instrumental Jazz with subtle nods to global culture, in a style sometimes tagged 'World Fusion'. You can see it even in the track titles, many of them recalling a dusty African savannah: "Distant Hills", "Green and Golden", "The Prowler", and so forth.
The music itself is likewise sunny and expansive, with an eclectic mix of instruments suggesting more a Classical-Jazz hybrid rather than traditional Jazz-Rock Fusion: oboes and clarinet, English horn, and the occasional bowed acoustic bass. Add some exotic percussion, plus Towner's exquisite guitar technique, and the result is a very tasty package indeed, ranging in mood from the jaunty groovefest of "Crocodile Romancing" to more conventional Jazz ballads ("I'll Remember August") to a completely freeform improvisation not far removed from mid-'70s KING CRIMSON at their atonal best.
The album begins strong and only gets better. There's even a drum solo in the opening number of the set, something few bands would have the nerve to attempt, and fewer still with this degree of success. The four musicians on stage at Yoshi's sound like they've been playing together forever, which is practically true: Oregon is a group that has been around, in one form or another, longer than a lot of you reading this have even been alive.
Do yourself a favor and don't let them escape your attention, as I almost did.
Oregon Jazz Rock/Fusion
Review by
Finnforest
Special Collaborator Honorary Collaborator

Recorded in February 1983, this title was reissued in 2008 by ECM in a handsome but appropriately minimalist paper-sleeve edition. Oregon is a free spirited, mostly-acoustic "world-jazz" outfit who incorporate a wide range of eastern and western elements in their sound. Within an improvisational jazz framework the rhythm and mood can take any experimental avenue though the sound is never what I would describe as difficult or harsh. Though that does not mean this is lightweight or sleepy either. They are a thoughtful collective featuring acoustic guitars, piano, double-bass, synth, saxophone, oboe and percussion primarily, with occasional viola, English horn, sitar, clarinet, and wordless voice. Oregon has always been a frustrating band for me even as I realize how excellent they were. I realize this is highly sophisticated stuff and always try to give it 100% concentration when listening but invariably I drift. One of those bands whose enjoyment level may very well hinge on your ability to meditate. You have to really let go and let this wash over you. "The Rapids" is a lengthy dance of the soprano saxophone in a familiar (for Oregon) outdoor theme, very sunny in disposition. A bit of darker mystery creeps into "Beacon" courtesy of the oboe and viola. "Beside a Brook" finds Towner breathing beautifully at the piano for an extended period with English horn and oboe accompaniment. Oregon is never a noisy proposition like many bands are. This is almost the soundtrack to internal dialogue. Highly skilled musicians weaving bits and pieces off each other, with a completely uncluttered arrangement and flawless production. In the quiet spots (of which there are many) you can hear a pin drop, and almost zero hiss. There are moments in "Arianna" where the effect is positively mesmerizing ambient drifting, as if Eno had sat in with feistier musicians. In the closing "Impending Bloom" there are some call/answer vocalizations before the horns begin building in intensity to cap off the album. Oregon is tremendously hard for me to review as the music is so unique, so personal. They are not going to please everyone with their deliberate and patient sound but for those who do like this, you can look forward to album after album of similar musical dialogues. Oregon had a long and productive career and tried many variations on their central theme of studied improvisation. It is very well done and deserving the attention of anyone into acoustic jazz or improvisation, although it may be better to start with their early work. 7/10