Shark, I think we are talking strictly Prog here. What about Dick Parry's sax on Money.

David Jackson rocks.  Mel Collins' work on the KC stuff is incredible.

 Uh, anyone out there ever hear of the (apparently) little-known David Sanborn? He's not here, so I voted for Weather Report stalwart Shorter.

 If it's "strictly prog" (difficult, if not impossible to pin down) Danbo ol' pal, then what is Shorter doing here? Are Spyrogyra (one word) and Weather Report "prog" now? When did prog absorb jazz?

This is symptomatic of the confusion around our age-old question: What the heck is "Progressive Rock" anyway? If "prog" is an abbreviated or contracted form of "progressive rock," where's the rock in the two bands named above? If we are to include jazz fusion here, surely we should also include so-called "new age" music as well! To my ears, Andreas Vollenweider, Patrick O'Hearn, Eddie Jobson (Theme of Secrets), and even Mannheim Steamroller are closer to the sound and spirit of "prog" than the jazz-fusion artists. And what do we do with "world" acts like Baka Beyond, Deep Forest, and Dissidenten? What about Dead Can Dance? What about bands like Steeleye Span, and classic Fairport Convention, who fuse Celtic/traditional and rock? As I've suggested before, with each new barely-qualified inclusion  and sub-genre, the overall heading becomes more meaningless as a category and tool to find similar-sounding music. (A lot of the "prog metal" comes to mind -- before you know it, Sabbath and Cooper & Purple will be here, and others will be pressing for Marilyn Manson --retch -- and Slipknot -- puke!) Whether I like Sabbath et al (I do) doesn't enter into it. We can't just assume that "I like prog, so all that I like is prog." Is electric blues "prog?" Surely it represents a "progression" or augmentation of solo-guitar acoustic blues.... Beethoven was a "progression" upon Hayden. Should he be here? Is all good music that stands out from the majority "prog?"

I don't have the answers -- except when it comes to arranging and recording my own collection -- but I think we'll never resolve this one, because it's a matter of personal taste. I think Zappa was a great musical innovator, satirist, and social critic, but I don't think he belongs here -- he stands on his own. Do you think that Frank would have lumped (lumpy gravy?) himself in with Genesis, Yes, and ELP? The Tubes were closer to the spirit of Zappa (but far below his artistic stature and originality) than Yes were. Shall we add them next? How about David Byrne and Talking Heads? Sparks? Chameleons UK?

ok, I'll repeat this then:

Joren wrote: How about Ian Underwood?

I mean, have you heard his solo's on Uncle Meat and Hot Rats? That rocks!

shark wrote: A saxophonist poll without heavy-weights like Michael Brecker, Branford Marsalis, David S Ware, Steve Coleman, Sonny Rollins and David Murray? Surely not?!

I saw Dave Murray live twice (one time with Odean Pope). That was amazing!

 Jimbo: Don't you mean "lift" muzac, you lime-sucking tar?

(Sanborn's very talented, though. Not all his stuff is MOTR!)

shark wrote: A saxophonist poll without heavy-weights like Michael Brecker, Branford Marsalis, David S Ware, Steve Coleman, Sonny Rollins and David Murray? Surely not?!

I wanted to submit a poll with artists that went beyond their classical jazz training.

Peter Rideout wrote:  If it's "strictly prog" (difficult, if not impossible to pin down) Danbo ol' pal, then what is Shorter doing here? Are Spyrogyra (one word) and Weather Report "prog" now? When did prog absorb jazz? This is symptomatic of the confusion around our age-old question: What the heck is "Progressive Rock" anyway? If "prog" is an abbreviated or contracted form of "progressive rock," where's the rock in the two bands named above? If we are to include jazz fusion here, surely we should also include so-called "new age" music as well! To my ears, Andreas Vollenweider, Patrick O'Hearn, Eddie Jobson (Theme of Secrets), and even Mannheim Steamroller are closer to the sound and spirit of "prog" than the jazz-fusion artists. And what do we do with "world" acts like Baka Beyond, Deep Forest, and Dissidenten? What about Dead Can Dance? What about bands like Steeleye Span, and classic Fairport Convention, who fuse Celtic/traditional and rock? As I've suggested before, with each new barely-qualified inclusion  and sub-genre, the overall heading becomes more meaningless as a category and tool to find similar-sounding music. (A lot of the "prog metal" comes to mind -- before you know it, Sabbath and Cooper & Purple will be here, and others will be pressing for Marilyn Manson --retch -- and Slipknot -- puke!) Whether I like Sabbath et al (I do) doesn't enter into it. We can't just assume that "I like prog, so all that I like is prog." Is electric blues "prog?" Surely it represents a "progression" or augmentation of solo-guitar acoustic blues.... Beethoven was a "progression" upon Hayden. Should he be here? Is all good music that stands out from the majority "prog?" I don't have the answers -- except when it comes to arranging and recording my own collection -- but I think we'll never resolve this one, because it's a matter of personal taste. I think Zappa was a great musical innovator, satirist, and social critic, but I don't think he belongs here -- he stands on his own. Do you think that Frank would have lumped (lumpy gravy?) himself in with Genesis, Yes, and ELP? The Tubes were closer to the spirit of Zappa (but far below his artistic stature and originality) than Yes were. Shall we add them next? How about David Byrne and Talking Heads? Sparks? Chameleons UK?

The so-called "New Age" (aka Electronic music) is a sub-genre of progressive music : it includes artists such as Mike Oldfield, Marcus Viana (who played with the symphonic prog band Sagrado Coraçao da terra), and even Tangerine dream and Synergy. Zappa played jazz-fusion, another subgenre of the progressive music, that also includes Bruford, Kenso, Brand X, Mongol...

Mel Collins...David Jackson really but not on poll

Ian Underwood should be mentioned as well.

lucas wrote: Yes, I know, these artists are not all 'prog'. Personally, my favourite one is Jan Garbarek, as he is the most creative and the most eclectic (he played with musicians from Pakistan, with Zakir Hussain, with Anouar Brahem, with David Torn, with Agnes Buen Garnas...). He has a very unique style and managed to blend jazz with world-music elements with lots of brilliancy. You can't die without having listened to his magic phrase. Good polls !

Malherbe is just as eclectic as Garbarek. listen to his solo albums:

Didier Malherbe

 
In the ambience of the freaky revolution in Paris in May 1968, he met Australian singer, guitarist and poet, ex-Soft Machine member, Daevid Allen, with whom he was to create Gong along with Gilli Smyth.

This international community band incubated in Deya, Mallorca, and toured France and Europe before it was taken on to the British scene starting at Glastonbury Festival in June 1971. Virgin Records signed them, and their album 'Camembert Electrique' hit the charts. Gong toured extensively around the U.K. and Europe, while producing the albums of their legendary Radio Gnome trilogy: 'Flying Teapot', 'Angel's Egg' and 'You'.

During this time Didier also played sessions for the soundtrack to 'Chappaqua' with Ravi Shankar, free jazz with austere vegetarian and yogi, Burton Greene - Aquariana (BYG vol 8529308) '69, contributed to Kevin Ayers' 'Whatevershebringswesing' (Harvest SHVL800) '72 and 'Comus To Keep From Crying' (Virgin V2018) '74.

In 1975, when Daevid Allen split from Gong, Didier formed other line-ups with Steve Hillage, Mike Howlett, Pierre Moerlen recording 'Shamal' (Virgin), then with Alan Holdsworth, Mino Cinelou for the album 'Gazeuse' (Virgin).

 

Didier's turn to leave Gong came in 1978. Back in France, he put together his 5-piece Bloom band, releasing an eponymous jazz-rock style album on EMI - a single was also released 'Dansecorla/Bong' (Sonopresse 2660872127) '80. Throughout the early 1980's, he was touring and recording with numerous artists, including:

guitarist Yan Vagh Weinmann
synth player Jean-Philippe Rykiel
guitarist Pierre Bensusan with whom he recorded Spices (CBS), Solilai (Rounder), and Compilations (Chant du Monde LDX74808)
Jean-Yves Liveaux
Ivan Lantos
Patrice Meyer - Dromedaire Viennois (FMR0986) '86
Yan Emeric - Melodic Destiny
Olivier Kowalski in 'Lillidrops'
Jacques Higelin - guested on Aïe (EMI France)
Brigitte Fontaine
Pip Pyle's band L'Equipe Out - Equipe Out (52 Rue Est RE004) '86
 
From 1985 to 1988, he was part of Faton Bloom, along with Faton Cahen, the original pianist for Magma. This group played big jazz festivals and released a CD Faton Bloom (Cyronic MAD3029). In the later 80's, he toured the U.S. with Pierre Bensusan, and Japan with Brigitte Fontaine.

In 1989 he added the WX7 Yamaha wind synthesizer to his set-up. He met Daevid Allen again and joined the Gong fold once more as a member of Gongmaison. 1990 saw the release of 'Fetish', his second solo album, even though it involved the participation of 15 musicians. This album explores passion and other aspects of Fire through a great diversity of moods, including folky, jazzy, French Rap, and electronic jungles...
 
In 1991 and 1992, he was a member of 'Shapeshifter' Gong, appearing on the album of the same name, and joined Shortwave, with Hugh Hopper, Pip Pyle, and Phil Miller.

 
His third album, 'Zeff', was released in October 1992, for the Tangram in France. The title of the album is derived from Zephyr, and is also the name he gave to a plastic, circular bass flute which he played for Vangelis on the soundtrack of Ridley Scott's movie '1492 Conquest of Paradise', as well as on the daily jingles for France Television 3. The album was a huge hit in France.
 
1994 saw the release of his fourth solo album 'Fluvius', which featured Loy Ehrlich on keyboards and ethnic string instruments like hajouj and bolong, Henri Agnel on guitar, mandolin and sarod, Shamal MaÏtra on tablas and percussions, Didier played sopranino and soprano saxophones, classical, piccolo and bamboo flutes.
This record completed a series on the elements: Bloom-earth, Fetish-fire, Zeff-air, Fluvius-water.

Having spent many years absorbing musical and rhythmic influences from around the world, Didier developed an avid interest in collecting new and exotic instruments, each of which offers the opportunity to explore and embrace new styles of playing and approaches to composing.
With each solo album, Didier surprises the listener with newly discovered or mastered instruments and sounds, making every record unique to itself, filled with a fresh excitement and spirit of adventure.

1995's solo album, http://www.planetgong.co.uk/octave/cd/hadouk.shtml - 'Hadouk' , is really a duet with Loy Ehrlich from the Fluvius band. Didier plays Armenian doudouk, Ukrainian double-flute, bamboo-clarinet, ocarinas, while Loy accompanies on hajouj, kora, boolong, sanza, djembe, and others. The result is yet another adventurous musical journey, quietly couched in beautiful melodies and structures.


In 1996/97 Didier toured with 'Hadouk', with a 'classic' Gong line-upand and with guitarist-singer Pierre Bensusan, with whom he released the duet album 'Live au New Morning'.

When he's not busy playing, recording and rehearsing, Didier spends his time working on an extensive collection of sonnets which he has composed over the years. 128 of these were published in 2002 as 'L'Anche des Métamorphoses', which Didier also performs as a one-man show.

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With a passion for always forging ahead into uncharted territory, Didier desires to liberate the spirit of each wind instrument he encounters. The act of liberating the spirit of the instrument is what, in turn, liberates the spirit of the listener. Because of the mastery of myriad instruments and his ability to blend styles seamlessly, he has remained one of the most-demanded studio session musicians in France, and is admired the world over.

Ric Schaffer (Kansas City, USA)

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http://www.planetgong.co.uk/octave/disco/didier.shtml - Didier's Discography

http://didiermalherbe.com/ - Didier's website: www.didiermalherbe.com

his wide range of influences as well as the many woodwind instruments he plays (some of them self-designed) makes me vote for him

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A shot of me as High Priestess of Gaia during our fall festival. Ceterum censeo principiis obsta

Great post, I wish there would be a 'storing place'(alphabetically or attached to the record section) for posts like yours!

I voted Mel Collins out of that list, but still I miss not seeing Dick Parry up above...

What about a mention for Dick Heckstall-Smith of Colosseum (now sadly no loger with us having died at the end of 2004).

He played the best sax solo I've ever heard - the February's Valentine part of Colosseum's Valentyne Suite. Awesome!

Mel Collins.

This is cool...

Mel Collins but actually it is David Jackson, who was forgotten only by mistake.

All these guys are great....