JAN AKKERMAN

Jan Akkerman has been releasing solo albums since 1968, and of course, his resume as a professional musician includes helping to form the band "Brainbox", played in the musical "Hair" and also was guitarist for the band "Focus" for a time. He was also once voted Best Guitarist in the World by Melody Maker. All the while, however, he kept producing solo albums.

In October of 2019, he released his 22nd solo album called "Close Beauty". This album includes Akkerman on guitars, Coen Molenaar on keyboards, David De Marez Oyens on bass, and Marijn van den Berg on drums. The album is all instrumental and has 12 tracks that fill a total run time of over 64 minutes.

Jan's incredible talent show through immediately in the first track "Spiritual Privacy (Sunset Tango)" with his acoustic guitar picking as his rapid, somewhat percussive fingering technique make the notes fly by you at lightning speed as the rhythm section and keys support his exceptional playing with a moderate tango beat. The supporting instruments don't have to do much because Jan steals the show with his more than adequate playing. This is followed by "Beyond the Horizon", which continues with a moderate beat, this time more rock oriented. The featured instrument is this time an electric guitar supported by a lusher background. The fusion sound comes into play as the music continues, but the background stays in a supporting roll as the guitar again takes the spotlight. The middle section is a bit more intense, but it remains soft and lush overall. Even though these first two tracks are well done, some may think they are a bit too long since the both exceed the 7 minute mark, and remain quite unchanging throughout. But Jan's talent can't be denied.

A few shorter tracks follow with "Reunion" and the title track "Close Beauty". The first one returns to the acoustic guitar, but with a solid, booming drum beat that moves things forward with more purpose. The keys come in later and play in tandem with the guitar during the main melody. "Close Beauty" is quite smooth and laid back, very melodic and lush. "Retrospection" is actually a medley of 4 songs melded together into one track. It starts with a pensive, yet linear style similar to a Bartok melody only supported by organ. The sudden shift to a lively jazz/rock that melts to another lush fusion sound brings in the band. This changes to a more direct, yet almost orchestral sounding section that is inspired by a WWI story of 2 soldiers marching together through the trees. It has a somewhat classical feel to it, almost pastoral, led more by the keys. After this the music moves along in a steady, more straightforward style, softly pushed forward by the keys, organ and guitar. It's quite an excellent and well constructed track. "Passagaglia" is another shorter track. It consists only of a 12 string guitar from Italy tuned in 5th intervals.

"Tommy's Anniversary" returns to the longer form with a 8+ minute track. It is based on a song written by Tom Barlage who plays sax and flute for Dutch progressive band "Solution". The music is a smooth sounding jazz/rock fusion, that just rolls along while Jan plays with grace, making what he does sound so natural and easy. Again, the other instruments provide mostly backup while Akkerman takes the melody and improvisation soaring around sweeping the listener along with it. The length on this track this time is not a problem as it shifts around a bit more, grows in amazing intensity as it goes changing tone as the guitars change and returns to a softer sound at the end. Excellent track.

This is followed by another group of shorter tracks starting with the upbeat and sly "Don Giovanni", the lady killer of the legend. It's a bit more based on the fast, yet bluesy style of Jan's playing. Some pizzicato playing keep the track sounding sharp and distinct while the guitar stays smooth and well-phrased, laying on a soft blanket of sustained synths, a slight symphonic edge to it all. "Meanwhile in St. Tropez" continues with a soft, yet more direct sound, while "French Pride" offers up a catchy groove. The track was originally supposed to be called "French Fries" but was misnamed and the title stuck. There are some interesting harmonies in the guitar chords that make it all sound quite unique, yet the beat will keep you bouncing. "Fromage" is a dedication to 3 blues kings BB, Freddy and Albert King. Interestingly enough, the music is straightforward, and upbeat, jazz groove, though the guitar does play a catchy blues-inspired solo in the middle. The heavy synth chords that play during the main melody sections tend to take away the blues inflection however.

"Good Body Every Evening" ends the album with another 8+ minute track which uses a rhythm guitar that pushes the lead guitar to take on a more gospel style. The background is smooth and steady, with a good backbeat. The groove does bring to mind a bouncing gospel choir as the foundation keeps the jazz vibes going and by the end of the track, it even gets a bit funky.

This album is quite excellent and has a great degree of variety to keep everyone interested. All through the varying jazz/rock fusion styles, the constant and amazing talent of Akkerman shows though unashamedly. The production is quite amazing making it so that every instrument can be heard quite plainly, and every supporting layer is important in each track. A few of the tracks tend to wander on a bit long, especially at the first of the album, but as the album continues, it becomes much more entertaining and interesting. No doubt, however, that through it all, Akkerman leaves no question in anyone's mind that he is a technical genius and is playing is amazing. This is a beautiful album, full of excellent musicianship, great melodic passages and sublime improvisation, and amazing sounds and textures. It is quite accessible with only a few complex sections, but even then everything flows along very smoothly. Easily, this is a four star album.

The last solo album by Jan Akkerman as of 2018 captures Jan in a relaxed mood, not willing to experiment but possessing the usual guitar licks and feeling to incorporate various influences into a live-felt performance.

Not much focus is laid on the compositions; playing quality and contemporary feeling are featured. And that is why every listener will be easily drawn into the world of Jan's music.

The title track is a prime example of that - a peaceful instrumental partnership and feeling as relaxed as anything from the after 2000's focus.

The longest track, "Joy" gets going for almost 9 minutes long and while there is not much developed, the groove is steady and offers plenty time for exotic instruments such as trumpet.

Fernando & Minibar harkens back to the jazz-rock period of 77-78. It is a fine laid-back and positive track.

This is a good non-essential album for those that do not expect progressive symphonic rock in the Focus vein. This record grooves and leaves a positive impression by one of the leading 70's prog-rock guitarists.

There are not many official Jan Akkerman's live recordings but this one captures him in a fine and relaxed mood. Present all all periods of his creative life starting from blues tracks, Focus period, solo career with classical and jazz guitar to slow guitar lad-back instrumentals. The sound is good and all players show enough passion to play together. The standout tracks include Slowhand and indeed, all Focus-penned compositions that are not always played in the entire length to let guitar shine. What I miss here is a single track from his high quality jazz-rock eponymous album.

This recording serves as a good live testament of some important tracks in Jan Akkerman's career and document the high-quality playing of a seasoned master being after the zenith of his prolific career.

This record proves that Jan had something to say about jazz-rock and even fusion. More than competent player but also showing empathy for music - showing when to play less but with a great feeling.

The album starts lightly but erupts into a furious fusion jam after 5 minutes of the second track - a complete difference from the studio version. "Pavane" lets listeners breath out and enjoy the jazzy chords slightly reminiscent of Mahavishnu Orchestra or Brand X.

Still, even here, the mesmerizing fingerprinting technique can be heard.

The version of "Crackers" is faster and more lively than on the studio album, the player's symbiosis is mindblowing,listen also to the passionate saxophone and fender rhodes solo.

The only Focus reference "Tommy" might be welcome but is disruptive a bit. The last track "Azimuth" is a pleasant and lighter than the previous pieces.

Overall, this is a great record showcasing Jan's live phenomenal abilities as a versatile guitar player.

The eponymous album by Jan Akkerman might have meant that there is a new step in his musical career after leaving Focus and/or a shift in the music. Regardless of any of this assumptions are correct, this output has a special and esteemed position in Jan's catalogue. His guitar playing is sometimes ornate, sometimes subtle and less aggressive than in the past but tasty at all times - jazz-rock and even fusion soundscapes have taken the lead here. Fans of progressive rock but also jazz-oriented listeners will find a plenty to discover.

The first track "Crackers" has amazed me with its swinging bass and guitar lines; its rhythm line is very interesting. The second, lenghty track "Angel Watch" is the first real treat for fusion supporters, fluid licks and breath-taking guitar runs are on display. In terms of melody and progression, it is a less interesting track but full of laid-back sunshine. Let's not forget the tasty but short piano solo.

"Pavane" could be the track most reminiscent of Focus on this album as it is less jazzy and more reflective.

Perhaps the biggest soloing highlight is "Streetwalker" -rhythmically fully rooted in the mid 70's funky groove but instrumentally showing jaw-dropping Jan's pyrotechnics. Close your eyes and focus on this guitar...

"Skydancer" features an interesting melody and melancholy - it is more about atmosphere then progression and soloing. If you can, listen to the breathtaking live fusion version on the 1978's Live in Montreux.

"Floatin'" will raise you from your seat, the dazzling fender rhodes solo is incredible and unusual for a progressive rock album. Jan lets his companions shine through on this track. The only acoustic and symphonic track is a well fitting last track to this 4-star album.

A very unusual record in Jan's repertoire. The start of the record seems to come from a bad dream - haunting and dramatic vocal that partly sings partly speaks. The instruments don't save this inferior track, unfortunately. The vocals appear on almost each track and they are an acquired taste. On tracks such as "Guariad Angel" or "Can't fake a good time", the vocals are unnecessary - they disturb more than they enrich.

"Tranquilizer" is an instrumental refreshment and while it doesn not bring much new, the track at least does not have any vocals.

Disco echoes come to surface on "There he goes". "Strindberg" is perhaps the best sung track with mellow keyboard arrangements and also one of the highlights. The remaining tracks are mainly instrumental but not of a high quality as they feel unfinished.

Overall, this album feels like it has not been written and produced with proper care, so 2 stars only.

The best solo album by Jan Akkerman as far as I am concerned. He matured in terms of playing and compositions sound not only more accessible but also impressive. The first couple of track are decent renditions of classical acoustic music. Brjtannia starts in a festive and joyous tone, followed by two more solemn and intimate acoustic solo guitar piece. Out of both, I prefer the second more virtuoso track. "House of the king" is an accessible and catchy track reminiscent of Focus. Three more acoustic compositions follow before one "Jave", one of the album higlights that features also harpsichord and glockenspiel. "A fantasy" is a soft acoustic contemplative track.

"Lammy" is the epic flagship of Jan's solo output, starting ambitiously with church organ and choir vocals, switching into a section with drums and an instrument that reminds of sitar. A loosely contructed jam section follows but here, in comparison to the epic track on "Profile", the players do not solo aimlessly but seem to follow a structure. The latter part of the composition has fantastic strings, lute and a baroque feeling. If only for this last track, this album is highly recommended and fours stars at least guaranteed without any doubt. 4.5 stars.

"Because You're a Fly, Fly, That's Why"

This is an incredible album. I discovered this album through Jan Akkerman, who is, in my opinion, one of the greatest guitarists. He has a completely unique sound that is full of life. I had no idea who Kaz Lux was before I came across this album, but boy, this guy has one incredible voice which elevates this album from great to masterpiece. Each piece flows beautifully from one to another and feels apart of a cohesive whole.

I'm no expert in music, so bare with me. I really don't know the story behind this album but it comes across as a loose concept album about a man named Eli, and that is about all I got for ya. The album starts off with Lux's excellent vocals on 'Eli' and the music really doesn't kick in until a couple of minutes in, and even when it does, it is quite subtle. 'Guardian Angel' is a bit funky and jazzy, and 'There He still goes' is a bit disco flavored. Then tracks like 'Wings of Strings' and 'Fairytale' are quite ambient for me. Lux delivers his lyrics with such enthusiasm that I often find myself repeating them long after the album has shut off, trying my best to imitate his exact pronunciation of lines such as "Pur-fec-tion" and "Eli, Please." Overall, you won't find any display of technical virtuosity. There are no crazy guitar solos, no tony Bank like synths, no ten minute plus epic to munch on. In fact, this album focuses more on moods, and it is quite quirky. Some of the lyrics Lux sings might come across as rather odd like when he begins to recount a time when he killed a fly. "Yea, I've been watching a fly die. He didn't know why he had to die," yet it completely works. The best way to describe this album is subtle. The music is lush, surprisingly minimalistic (not to be confused with pop) yet never boring.

This is a masterpiece in my eyes. I love it from start to finish and there is something quite profound hidden within its quirks. The standout tracks being 'Eli' and "Naked Actress.' Please, give this a listen.

If I decided to become a Swiss monk or a hermit living off moss in desolate areas of Wales where the only movement you would observe would be the candidates for the Special Air Service this is the recording I would have with me. It is the closest Jan Akkerman came to Focus before really exploring his blues roots. I actually though that Thijs van Leer was a co writer/keyboard player on this diamond until I read the credits. There is a bit of everything on this. Latino, Bach, disco/funk. This is a piece of Jan Akkerman genius that is so overlooked. It didn't sell well and is long out of print. I have a vinyl copy of it that occupies a very special area of my collection. I think that if you go to Jan Akkerman's Youtube channel you can listen to this beaut in it's entirety.

A lost relic. Infinite stars.

Jan Akkerman and Claus Ogerman's 'Aranjuez' (1978) is defenitely among the most beautiful records in my collection. Claus Ogerman arrangemends for orchestra are moody, mysterious and stylish. He can easily switch between peacefull and darker atmospheres or between bombastic and fragile environments.

All pieces are symphonic with a modern classical music feel with loads of interesting harmonies, making this interesting for progressive rock listeners. All tracks have slow, soulful pace. As a listener of Frank Sinatra's all ballad string albums (I warmly recommend 'No Once Cares' and 'Only The Lonely'), I almost feel like this could almost have been a Frank Sinatra record - which is not too far from the truth since Claus Ogerman has also written arrangments for the Voice.

The guitar of Jan Akkerman have never sound more emotional engaging, more sensitive and well performed. His jazz guitar with a slight distortion is recorded beautifully and reminds us of moviesoundtracks of dessert and western movies. Great phrasing and storytelling. I wish this side of Akkerman would have been more prominent in his carrere.

Conclusion. Beautiful, relaxing and soulfull music for when the sun is down. Four stars, warmly recommended.