LIVE 05

This double concert album was recorded in new composition of the band, including Barbara Thompson on saxophones. It contains both classic works and songs from Tomorrow's Blues. They are compositions newly arranged and performed in a completely different way when compared to the old versions. If we take into consideration the fact that the skills of the musicians developed further in the meantime, we get a recipe for a masterpiece. And in fact this album is a real masterpiece. The musicians clearly wanted to refer to the famous album Live of 1971, which can be proven with the application of the fonts on the sleeve equal to the fonts on the album of 1971. The end of the album Live 05 is marked by the composition entitled Lost Angeles in a well developed and improvised form, just like it was the case in Live. And here is the end of the connections. And the music? It is simply thrilling! Almost all compositions included in the Live 05 deserve the appraisal. Their new versions are simply revealing. If you know previous versions, also so perfectly finished and performed in a master way, it is difficult to believe that you can have them even better. But it is so! Let me take Valentyne Suite as an example here. It starts in a classic way, with a motive run by organ supported with a saxophone. However, the bass line is run in a different way and it indicates certain surprises. The piano and saxophone duo is wonderful mainly thanks to the reliable Barbara, who then shows her skills in a beautiful, sober solo part, followed by a dynamic solo part of Dave with his organ. The second part starts in a sweet and melancholic way. The vocalise of Mark is a masterpiece, and then another saxophone solo entrance. The band accelerates during it, and an effective drum accent ends the second part, which makes an even bigger impression than it is achieved in the studio album. The third part is marked by a calm-down and a lazy riff of the guitar followed by organ. It is only a dynamic entrance of the drums, and a bass guitar solo part afterwards and one of the most beautiful moments of the album starts: Clem's solo part with the guitar. At first, a slow part with rare accords, developing into a quick and dynamic part with widened, Santana-like sounds. The rhythmic section is hilarious, and Clem enters into a trance producing sounds as series from a machine gun. And the final motive. Genial! Tomorrow's Blues is also exceptional. A long instrumental introduction again is one of the clearest moments of the album. When the main topic played with the organ appears, it becomes warm and wonderful. Chris starts to sing at the background of the repeating, guitar riff. Finally, the best part: reliable, wonderful Barbara in a moving solo part.