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There are still a lot of Jazz albums left to be added, following the massive Jazz additions last month, but I start this month with a new Steve Hillage DVD, which is a must for his fans:

Guitarist / composer Steve Hillage is one of the most important figures of the British Progressive Rock scene. His entire 1970s / 1980s discography was recently beautifully remastered and now we can actually see some live footage of his incredible performances. Filmed for the German television this show captures the Steve Hillage Band at the peak of their powers, with Hillage on guitar, Miquette Giraudy on keyboards, Clive Bunker (Jethro Tull) on drums, Colin Bass (Camel) on bass, Christian Boulé on rhythm guitar, Phil Hodge on keyboards and Basil Brooks on keyboards and flute. This was the group’s tour following the release of “L” and some of that album’s material is included, as well as some tunes from the debut album. In addition to the splendid music, a recent (2007) interview with Steve and Miquette is also included. Brilliant stuff and an absolute must for Hillage fans.

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Here is the second new Steve Hillage DVD, which is a must for his fans:

Guitarist / composer Steve Hillage is one of the most important figures of the British Progressive Rock scene. His entire 1970s / 1980s discography was recently beautifully remastered and now we can actually see some live footage of his incredible performances. Filmed by British television this show captures the last version of the Steve Hillage Band, with Hillage on guitar, Miquette Giraudy on keyboards, Dave Stewart on guitar, John McKenzie on bass and Andy Anderson on drums. This was the group’s tour following the release of “Live Herald” and some of that album’s material is included, as well as some tunes from earlier albums. Three bonus tracks from concerts in Germany, filmed two years earlier, are included as bonus material. In addition to the splendid music, a recent (2006) extensive interview with Steve and Miquette is also included. Brilliant stuff and an absolute must for Hillage fans.

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Today I start adding a bunch of new releases on the new reissue label Reel Recordings, which brings back to life some amazing stuff from the 1970s both previously unreleased and released at the time but long since unavailable. This is mostly quite weird stuff and covers Avant-Rock, Jazz (mostly Free) and Improvised Music – exactly the sort of music that is worth listening to:

After leaving the Soft Machine (of which he was a founding member) and recording the debut solo album (“Joy Of A Toy”), guitarist / singer / composer Kevin Ayers formed the Whole World band to record his second album (“Shooting At The Moon”) and support its release by touring. This live recording captures the performance of Ayers and his band at the legendary London’s Hyde Park free concert, which had on the bill the most famous bands of the time performing in front of a 100,000 strong public – a record attendance to a rock venue in UK up to that time. Pink Floyd performed their “Atom Heart Mother” suite for the first time at that concert. Ayers and his cahoots, including David Bedford on keyboards, Lol Coxhill on saxophones, Mike Oldfield on bass and Robert Wyatt on drums, storm through a bunch of Kevin’s song with vengeance, as appropriate for such eclectic gig, and the whole set is captured exactly as it happened – a true piece of rock history. Coxhill’s brilliant contributions were always my favorite part of that particular band. The sonic quality might not be perfect, but considering this was a “field recording” done 37 years ago – who gives a damn? Priceless stuff!

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Here is the next new release on the new reissue label Reel Recordings, which brings back to life some amazing stuff from the 1970s both previously unreleased and released at the time but long since unavailable. This is mostly quite weird stuff and covers Avant-Rock, Jazz (mostly Free) and Improvised Music – exactly the sort of music that is worth listening to:

Scottish drummer / composer Ken Hyder and his Talisker ensemble were one of the most interesting groups on the UK Free Jazz scene in the mid-1970s. I recall hearing their performances several times at London’s typical jazz venues and those were always most enjoyable. As Hyder states in the liner notes for this reissue, he decided to go back to his Scottish / Celtic roots after playing for years American influenced music, while overlooking their own traditional music. This amalgam of Scottish roots and melodies with the powers of Jazz improvisation creates something completely new and quite surprising. The attempt to find the unifying elements of all music, regardless of its tradition or source is exemplified here beautifully. The band, an unusual quintet, with two horns and two bass players, includes Hyder on drums with Davie Webster on alto sax, John Rangecroft on tenor sax and clarinet, Lindsay Cooper and Marc Meggido on bass. The music is mostly composed by Hyder or arranged by him based on traditional motifs. This album captures a really unusual and often sadly forgotten moment of the splendid UK Jazz scene at that time and it’s really great to have it back. Most wholeheartedly recommended!

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Here is the next new release on the new reissue label Reel Recordings, which brings back to life some amazing stuff from the 1970s both previously unreleased and released at the time but long since unavailable. This is mostly quite weird stuff and covers Avant-Rock, Jazz (mostly Free) and Improvised Music – exactly the sort of music that is worth listening to:

Guitarist / composer Ray Russell was a dominant figure on the British Jazz scene in the late 1960s / early 1970s, making numerous seminal recordings as sideman and leader in a wide variety of styles ranging from Jazz-Rock Fusion, modern Jazz and even avant-garde Free Jazz. This reissue of his classic album shows him at the extreme edge of his work in the field of Free Jazz and is a wonderful example of the genre, similar to the work done earlier by John McLaughlin with John Surman on “Where Fortune Smiles”. Accompanied by a splendid group of musicians that includes Harry Beckett on trumpet, Gary Windo on sax, Daryl Runswick on bass and Alan Rushton on drums, Russell presents a series of his compositions, which vary from contemplative pieces to group improvisation mayhem, all performed splendidly. Beckett is more prominent on the quieter pieces and Windo leads the massive “wall of sound” sections, with his incredible virtuosity. The album achieved little attention at the time of its release, but now 35 years after it was recorded, it can be really appreciated in full and in the proper historic perspective. Definitely worth checking out!

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Here is the next new release on the new reissue label Reel Recordings, which brings back to life some amazing stuff from the 1970s both previously unreleased and released at the time but long since unavailable. This is mostly quite weird stuff and covers Avant-Rock, Jazz (mostly Free) and Improvised Music – exactly the sort of music that is worth listening to:

Saxophonist Gary Windo was one of the most prominent figures on the British Jazz scene. A brilliant player and improviser, he led his own group as well as cooperated with ensembles such as Brotherhood Of Breath, Centipede, Matching Mole and others. He also worked with many musicians associated with the Canterbury scene, like Hugh Hopper and Robert Wyatt. He played also with Pink Floyd’s drummer Nick Mason. Gary died in 1992, sadly prematurely when his immense contribution to music was cut short much before it was exhausted. This album presents Gary in a series of improvised music pieces recorded with his pianist wife Pam in a duo, trio (with Frank Perry on percussion) and quartet (with Harry Miller on bass and Louis Moholo on drums) settings. The music is a superb example of spontaneous creation, complex and demanding, but richly rewarding. Intended to Free Jazz and Improvised Music enthusiasts.

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Here is the next new release on the new reissue label Reel Recordings, which brings back to life some amazing stuff from the 1970s both previously unreleased and released at the time but long since unavailable. This is mostly quite weird stuff and covers Avant-Rock, Jazz (mostly Free) and Improvised Music – exactly the sort of music that is worth listening to:

Scottish guitarist G. F. Fitz-Gerald is an avant-garde musician best known for his 1970 “Mouseproof” album. His activities span Psychedelic, Avant-Rock and Free Jazz. This album presents him in cooperation with one of the greatest British improvisers, saxophonist Lol Coxhill, performing a series of musical “conversations”. Recorded live at the Edinburgh Fringe Festival and selected from hours of material, this is a most wonderful window into the intimate world of spontaneous music creation by two masters. Coxhill is at his best here, always lyrical and often strangely romantic, even at the very peak of heated improvisation. The interplay is telepathic and inspired. Not an easy listening, but a most rewarding intellectual experience. Intended for Improvised Music enthusiasts.

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It’s time to return to the fantastic Vocalion label and add the rest of their catalog, which was mostly added last month. Here is the first in the new batch:

Writer, poet and painter Terry Durham recorded this one-off, strangely beautiful album for the Deram label and disappeared from sight. The fact that a major record label released such unusual and unconventional production proves the incredible atmosphere of the late 1960s, before the record industry became completely ruthless and unsympathetic to innovation and musical progress. The album includes a series of poems by Durham, which he recites (partly in spoken word and partly singing) on top of a magnificent musical background composed and orchestrated by John Coleman. The words and music fit one another perfectly and Durham’s poems stand the test of time beautifully. Although the full list of musicians participating in the recording is not given, a most notable, and again highly unusual appearance by Free Jazz saxophone giant Evan Parker is one of the highlights of the album. Guitarist Alan Parker also makes a notable appearance and the composer’s piano playing is featured as well. Make no mistake – this is not a Jazz album at all. In fact it’s almost impossible to categorize at all, as it transcends genres and conventions at will. For the lack of a better solution I placed it under Progressive Rock, but it belongs probably more to a non-existent Poetry and Music sub-genre (as opposed to Poetry and Jazz which is a real sub-genre). Genres aside, this is a wonderful memento of a great time, which sounds today as good as it ever did. Wholeheartedly recommended to the adventurous listeners.

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Here is the next item in the new batch of Vocalion additions:

Like many other American Jazz artists, trumpeter / bandleader Maynard Ferguson left the US in the late 1960s for Europe, where Jazz was accepted as a legitimate Art Form and highly appreciated. European audiences were more receptive to new sounds and musical experimentation, be it Free Jazz or Jazz-Rock Fusion, and therefore an ideal refuge for many frustrated American musicians. Ferguson resided in UK between 1968 and 1972, where he was warmly received and his talent promptly recognized. He recorded four albums in UK for the CBS label, which are considered the pinnacle of his recorded legacy. This album combines two of these albums, the last and the first of his UK recordings. In spite of the differences between the two albums they both showcase Ferguson’s amazing abilities as an instrumentalist. His famous high-pitched cadenzas and screaming, soaring finales are of course legendary. “M. F. Horn 2” is an excellent Jazz-Rock Fusion album, similar to the work of American bands like Blood, Sweat & Tears and Chase or British bands like If, but rather than leading a combo, Ferguson is riding the powerful locomotive of a full-fledged big band / brass orchestra, which of course makes a huge difference to the overall sound. Conducted by Keith Mansfield, a brilliant arranger and producer, the band comprised of the absolute best British Jazz horn players at the time and sounds like a million dollars. The clever and sophisticated arrangements suit Ferguson’s abilities perfectly and the album is an absolute blast from start to finish. “The Ballad Style Of Maynard Ferguson” is a complete contrast, showcasing the trumpeter’s solos against a lushly playing orchestra, directed again by Keith Mansfield, who also arranged the music. Some Jazz fans might shrug at this music, considering it almost a Pop effort, but honestly anybody who can appreciate great trumpet performance and a superb orchestra supporting the soloist will find this certainly worth their while. Great stuff!

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Here is the next item in the new batch of Vocalion additions:

Following an almost five years long exile in the UK, trumpeter / bandleader Maynard Ferguson returned to the US in 1973. His new producer for Columbia was no other than Teo Macero, famous for his long association with Miles Davis. The album “M. F. Horn 3” was still recorded mostly in UK and featured the same incredible big band that played with Ferguson on “M. F Horn 2” and only the finishing touches were done in NY. Stylistically the album is also quite similar to its predecessor, presenting powerful version of Jazz-Rock Fusion with brass, brilliantly arranged and splendidly executed. The next album, a double recorded live in NY, was to be his ultimate recording. Fronting a great big band, which included several European players who played on his previous albums, as well as new American players, Ferguson plays brilliantly, pushing the band to unbelievable heights. The material selected for the recording is more mainstream Jazz than the distinctive Jazz-Rock Fusion predecessors, but the high energy and dominant rhythm section create a special blend, which is quite different from traditional American big band music. This was Ferguson’s finest hour and his future attempts to capture wider audiences by performing covers of popular hits were sadly forgettable. This stuff is it – sheer genius at work and a must for any big band enthusiast.

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A short break in the new batch of Vocalion additions to introduce a couple of albums on the splendid Hux label and especially this new release, which brings to life an album hoped would be released for years:

Saxophonist / flautist / composer Harold McNair has been one of the greatest (and sadly unsung) heroes of the British Jazz scene. A brilliant instrumentalist he was one of the busiest studio musicians and took part in countless recording sessions, including those by famous Rock acts. He was a permanent member of Donovan’s group and recorded many albums with him. Of course he was also active on the Jazz scene, both as a leader and sideman. He recorded several albums, of which this is the last released while he was still alive, shortly before his life was tragically cut short by lung cancer at a ridiculously young age. His last eponymous album was released posthumously. This beautiful album was recorded with Harold’s musician friends and admirers, all great stars and Jazz heroes themselves: Keith Tippett and Alan Branscombe on piano, Colin Green on guitar, Rick Grech and Danny Thompson on bass and Terry Cox and Tony Carr on drums. Harold plays saxes and flute – my preferred instrument in his hands. The music has a slight Caribbean feel, and includes one original composition by Harold. It’s difficult for me to shed the nostalgic attachment to this album, as Harold has been one of my favorite musicians for a very time, but I think the albums stands the test of time beautifully and should be enjoyed by most Jazz loving people around the globe. Bliss!

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Back to the new batch of Vocalion additions, which are just phenomenal:

2^nd solo release by saxophonist / composer John Surman and one of the most pivotal recordings of the era, which defines modern British Jazz. If Surman was still searching for a clear direction on his debut album, recorded just a year earlier, he surely found it here. This is phenomenal music, from start to finish. The basis of the group that recorded this album is Surman’s quartet with Surman on baritone and soprano sax and bass clarinet, John Taylor on piano, Barre Phillips on bass and Tony Oxley on drums. On two tracks the lineup is expanded with the addition of other great players like Harold Beckett on trumpet, Mike Osborne, John Warren and Alan Skidmore on saxophones and Chris Pyne and Malcolm Griffiths on trombone and a few others. Surman’s previous rhythm section with Harry Miller on bass and Alan Jackson on drums is present on one track. The music was all composed by Surman except one track, which was composed by his collaborator, also baritone saxophonist John Warren (see their album together “Tales Of The Algonquin”). In short, this is one of the greatest recordings of the modern British Jazz formative years and a must in any serious record collection.

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Here is the next addition from the new batch of Vocalion additions, which are just phenomenal:

The title of the debut album by saxophonist / composer Alan Skidmore is indeed appropriate for the occasion, as this is a recording of such beauty and excellence, that is happens extremely rarely. Alan, son of veteran British Jazz figure Jimmy Skidmore, earned his own reputation by storming the modern British Jazz in the late 1960s. He participated in numerous pivotal recordings as sideman, and his debut turned out to be just it – the absolutely perfect example of what was happening at the time. If I had to select just one album, which represents the British scene at that time, this would be it. Skidmore on tenor sax leads a perfect quintet with Kenny Wheeler on trumpet, John Taylor on piano, Harry Miller on bass and Tony Oxley on drums (yes they were John Surman’s rhythm section as well). Of the six exquisite compositions present, two are by John Surman, and the rest by Tony Oxley, John Warren, John Taylor and Alan Skidmore, each contributing one composition. Whatever I’ll say here does not come even close to listening to this music, so do yourself a favor and grab a copy – this is something I’ve been listening to for almost 40 years and it still grabs me each and every time, so it must be really special. Essential stuff!

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Here is the next addition from the new batch of Vocalion additions, which are just phenomenal:

This strange and beautiful album would have never been released at the time if not for the openness of the Deram label to issue even the most eccentric material, as long as it had musical merit. The Chitinous Ensemble was as fictitious as they come, so named by cellist / composer / arranger Paul Buckmaster, who assembled the musicians to perform an ambitious piece of orchestral music he composed. Buckmaster was a gifted and accomplished musician, who was in great demand in UK as arranger and composer, working with top Rock stars like Elton John, the Bee Gees (see “Odessa”) and even the Rolling Stones (see “Sticky Fingers”). He also composed numerous film scores, including the amazing soundtrack for Roman Polanski’s “Macbeth”, where he cooperated with the Third Ear Band. The ensemble Buckmaster assembled to perform this complex extended composition includes a large string section and a large deployment of his Jazz buddies, all top British Jazz players like Ian Carr on trumpet, Chris Lawrence on bass, John Marshall on drums and many more. The music is a mixture of classical influences with Jazz-Rock rhythmic patterns and modern sound vistas, all combined together into a wonderful sonic experience. It sounds absolutely great today as if time only enhanced the intrinsic beauty included therein. Wholeheartedly recommended for more adventurous listeners.

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Another break in the Vocalion releases to add a new Polish Jazz album by my friend Zbigniew Wegehaupt:

Polish bassist / composer Zbigniew Wegehaupt is a late bloomer. Although his phenomenal bass performances have earned him the title of the best and most reliable player on the local scene and a job as sideman in the consistently best ensembles over the years – a status many players would be proud and honored to hold – his career as a leader took a quantum jump only about four years ago with the release of his second solo recording, the eponymous “Zbigniew Wegehaupt Quartet”. His debut album “Sake” was recorded in 1983 – 21 years earlier. Since his ability as a player is already well established, Wegehaupt now concentrates on his composing duties. Since the last album unearthed some of his work, which was sitting in the drawer for a while, this new album is all about presenting his new compositions. It’s a real pleasure for me to admit that he stands up to the challenge with grace and glory. The album includes a set of great tunes, quite different from each other, but all prime examples of contemporary Jazz at its best. They are interesting on both the melodic and the rhythmic planes, with clever structures, which leave space for solos but emphasize the ensemble unity. The quartet, which performs the music, is a perfect vehicle for this music: Wegehaupt on bass, Jerzy Malek on trumpet, Marcin Masecki on piano and the new member, Israeli drummer Ziv Ravitz. Each of these players excels in his area: Malek has a beautiful tone and deep lyricism, Masecki is a phenomenal pianist with outstanding technique (both play on the previous album as well) and Ravitz is completely unique with his complex polyrhythmic approach, which extends way beyond keeping time. Although Wegehaupt is my friend, I’m confident that my assessment of this album is fairly objective and therefore I can easily – and with a clear conscience – recommend it to every Jazz lover around. Give it a try and see that great music is still being made today. Tota(l) satisfaction guaranteed!

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Here is the other new addition on the Hux label, promised earlier:

This is one of those legendary albums that a lot of people have heard about, but very few actually heard, or at least until recently when the album was reissued. American harmonica player Peter Ivers was a polymath, a Renaissance man of many talents. He was not only a gifted musician / composer, but also a writer, TV personality and avid follower of martial arts. His love for the Blues induced his decision to pick up the harmonica as his tool of musical expression, but his usage of that instrument was completely different and almost avant-garde in comparison to the instrument’s Blues roots. Active on the lively Boston scene, Ivers rubbed shoulder with many famous garage (and not so garage) local bands and by sheer fluke of luck landed a contract with Epic – a major record label (subsidiary of Columbia). For the recording of his debut album Ivers assembled a great group of musicians, which was quite “different” in every respect. By listing the instruments played by the group’s members: harmonica, oboe, bassoon, sax, guitar, acoustic bass, percussion and intermodulator (an early electronic instrument) one already sees that this was no ordinary group by any means. Add to this the fantastic female vocalist Yolande Bavan, who fronted the band and poet Tim Mayer, who supplied the lyrics and you get one of the most unique US bands of the era, which is often compared to Captain Beefheart or early Frank Zappa in their unorthodox musical approach. This debut album is special in every respect: the complex music, the unusual use of the woodwinds and brass and the mesmerizing vocals, all combined creating a weird and wonderful sonic experience. Naturally the album was a total commercial flop and although Epic did record a send album with the band, it was shelved. The only glance of that album – a single - is featured here as bonus tracks. The second album was recorded with another sensational female vocalist, Asha Puthli. Ivers went on to record two more albums for Warner Bros., but these were significantly less successful. He died mysteriously in 1983. This album remains to this day as one of the most interesting documents of an era, when everything was conceivable and some of it doable. Very interesting!

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Back to the fabulous Vocalion releases, hoping to finish the lot without further interruptions:

Canadian born saxophonist / composer John Warren and British Jazz giant John Surman were “soul brothers” in many respects: both played primarily the baritone saxophone, both composed fabulous modern Jazz and both played together on many of the period’s pivotal albums. This joint effort was the culmination of their work together, which remains as one of the greatest European Jazz albums of all times. Warren composed all the music, which includes four shorter pieces and the extended five-part suite, which gives the album its title, all performed by a Big Band, comprising of the creme de la creme of British Jazz musicians at the time. It includes trumpeters Kenny Wheeler and Harry Beckett, sax players: Mike Osborne, Stan Sultzmann, Alan Skidmore, John Surman and John Warren, pianist John Taylor, bass players: Harry Miller and Barre Phillips and drummers: Alan Jackson and Stu Martin (and other less known players). The compositions, arrangements, orchestration and performances are all stellar from start to finish and the overall quality of the music is completely outstanding and miles ahead of any competition. It is interesting to compare this album with any Big Band recording made at the same time in America and see that the Brits left their American counterparts aeons behind by that time. I have been harshly criticized many times (by Americans of course) for saying that although Americans invented Jazz, Europeans perfected it. Anybody listening to this album and still not admitting this to be true must be completely deaf. To me this is a perfect album, one of very few that deserves to be called “perfect” in every respect. Beyond essential!

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Here is the next addition on the fabulous Vocalion label:

American tenor saxophonist Paul Gonsalves belongs to the same school of big tone / lush virtuosi like Coleman Hawkins and Ben Webster, who spent most of his playing career with Big Bands, lead by Count Basie, Duke Ellington and Dizzy Gillespie. Therefore this particular album is especially interesting, as it captures Gonsalves in a small combo situation and additionally his fellow musicians are all young British players, who were used to play modern Jazz, rather than American mainstream. The “old timer” proves that he can stand up to the challenge with flying colors and delivers his usual fluent solos, invigorated by the flow of energy present in the studio. He is accompanied by a group of splendid musicians, which includes trumpeter Kenny Wheeler, trombonist Dave Horler, pianists Stan Tracy and Alan Branscombe, bassists Dave Green and Kenny Napper and drummer Benny Goodman. The material includes mostly Jazz standards with one original composition by Stan Tracy. Good mainstream Jazz, but lovers of the British scene will surely enjoy the contributions by Wheeler and both pianist in an unusual setting.

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Here is the next addition on the fabulous Vocalion label:

Keyboardist / composer / arranger Nick Ingman was one of the most important arrangers on the UK music market in the 1970s. As part of the Production Company run by ex-EMI stuff producers George Martin and Norrie Paramor, he arranged albums for some of Britain’s most famous Pop and Rock stars. In parallel he released albums with his own compositions, which had a strong Jazz influence. Ingman studied with bassist / composer Graham Collier, who deeply influenced his approach to music, as well as at the Berklee School of Music in Boston. This is the last of the seven solo albums Ingman recorded and is the most Jazz influenced of them all. It’s a masterpiece of arrangement, which employs a large Big Band / Orchestra and a group of first rate session musicians and Jazz soloist. Ingman composed six of the eleven tracks on this album. Beautifully recorded and performed, this is a prime example of instrumental music, which is extremely difficult to categorize. The closest I can come up with is orchestral Jazz-Rock Fusion. Great stuff!

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Here is the last (for the time being) addition on the fabulous Vocalion label:

The funny part of the story behind this album is the fact that there never was a Terry Cavendish. The name is a completely fictitious. So where does it come from? Well, Cavendish was a name of a British “music library” – a company specializing in recording music, which was later licensed to radio, TV and film produces to serve as background / incidental music. The actual “brain” behind the music on this album is trumpeter / composer / arranger Ray Davies. Davies was strongly influenced by Jazz and Funk at the time and the album is a beautiful example of Big Band / Orchestral music, spiced with a funky rhythm section, creating a superb blend of skillfully arranged and beautifully performed instrumental music, which is quite unique even today. Davies used the top session musicians in his band, really the cream of the crop, and a fantastic rhythm section, which drives this at all times and makes it go where normal Big Band music rarely goes. This is the true 1970s sound, which completely disappeared from the face of the earth later on. The bonus material is taken from other Cavendish recordings and was also composed / arranged by Ray Davies. People who love the powerful sound of a Big Band / Orchestra and Funk will have a field day with this.

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Today’s new addition is something I’ve been waiting for to appear for quite a while. Finally the wonderful Sunbeam Records released it on CD and it’s a real pleasure to be able finally to offer it to others:

Pianist / composer Mike Taylor was the most enigmatic figure on the British Jazz scene in the 1960s. His genius was almost completely unknown to most and just a handful of close friends / musicians had the opportunity to work with him and hear his music. His eccentric personality, which bordered on the mentally unstable and his tragic death at a ridiculous young age cut his career short, leaving a legacy of just two albums, of which this is the first. Anybody listening to this album will surely realize that this is one of the most daring and earliest modern British Jazz recordings and it parallels (in time and complexity) to the most advanced Avant Garde Jazz experiments happening across the Atlantic. Taylor’s unprecedented and unconventional approach to music was so ahead of its time that it’s truly mind-boggling. The quartet playing on this recording includes Taylor on piano, Dave Tomlin on soprano saxophone, Tony Reeves on bass and Jon Hiseman on drums (the last two were of course to form the band Colosseum a few years later). The sound of the quartet is somewhat similar to John Coltrane’s legendary quartet, but Taylor plays quite differently than McCoy Tyner of course. The music includes three Jazz standards (on what used to be Side A) and three original compositions by Taylor (on Side B). The treatment of the standards is an absolute hair-raising experience, with Taylor de-composing / de-structuring the original harmony and re-assembling the pieces together in a completely new way. His original compositions are awesome as well, exposing a new musical universe. The entire album is a knockout from start to finish and listening to it over 40 years after it was recorded should still produce Goosebumps on every sensitive listener’s skin. BTW people unaware of Jon Hiseman’s early Jazz days should check out his recording with another great British pianist Howard Riley on Howard’s debut album “Discussions”. Taylor was about to record only one more album, called simply “Trio”, with Jon Hiseman and Jack Bruce on bass (Bruce was very much involved with the British Jazz scene before his adventure with Cream – see Jack’s debut album “Things We Like”), who was a friend of Taylor, as were the other members of the Graham Bond Organization. Also it’s really strange that Taylor’s fate was in many ways similar to that of Bond’s, both ending their lives in a suicide / accident, following a long period of mental instability. This album is a central piece of the puzzle forming the birth of modern British Jazz and no serious follower of that scene can afford not to have this album in his collection. Beyond essential!

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Here is the next new addition on the wonderful Sunbeam Records:

Guitarist / composer Terry Smith was one of the busiest musicians on the British Jazz scene in the late 1960s. Voted the best Jazz guitarist in the 1968 polls, when this album was recorded, Smith was not only playing at the regular Jazz venues around London, but was also a member of the backup group of singer Scott Walker, who was at the peak of his popularity at the time. Walker, although extremely successful as a Pop artists, had a keen musical ear and was trying to get away from the sugary Pop image by employing some of the best Jazz musicians at the time In his band, which was led by no other than the legendary Ronnie Scott. Walker used his influence with his label (Philips) to offer a recording opportunity to some of the young and extremely talented musicians in the band, which led to the recording of this debut album by Terry Smith. As this album shows, Smith already had an extraordinary technique and feel for Jazz. Based on the tradition created by players like Kenny Burrell and Wes Montgomery, Smith took his guitar work a few steps further adding his personal touch. Of course just a few months later Smith would become one of the founding members of the British Jazz-Rock ensemble If, which successfully competed with their American counterparts like Blood, Sweat & Tears and Chicago. On this album Smith is accompanied by some of the best British Jazz musicians at the time, including Kenny Wheeler on trumpet, Ray Warleigh on sax and flute, Gordon Beck on piano and Ron Mathewson on bass. Of the eight tracks on this album, three are his originals and the rest standards, beautifully arranged for a big Jazz ensemble. Two of the tracks are performed by Smith’s trio with Bob Stuckley on organ and Chris Karen on drums. This is an excellent album by all means and it’s great to have it back from oblivion after all these years. Recommended!

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Here is the next new addition on the wonderful Sunbeam Records:

Australian born saxophonist / flautist composer Ray Warleigh was one of the busiest musicians on the British Jazz scene in the late 1960s. He was not only playing at the regular Jazz venues around London, but was also a member of the backup group of singer Scott Walker, who was at the peak of his popularity at the time. Walker, although extremely successful as a Pop artists, had a keen musical ear and was trying to get away from the sugary Pop image by employing some of the best Jazz musicians at the time In his band, which was led by no other than the legendary Ronnie Scott. Walker used his influence with his label (Philips) to offer a recording opportunity to some of the young and extremely talented musicians in the band, which led to the recording of this debut album by Ray Warleigh. Warleigh would become famous later for playing on album by the top Rock start like Nick Drake, Elton John, U2, Paul McCartney and many more. The format chosen for this album was “Jazz & strings”, which suited Warleigh’s superbly clear and lyrical style perfectly. The chosen material (all standards) was beautifully arranged for a large string orchestra and a Jazz rhythm section, which included some of the best British Jazz players at the time, like Gordon Back on piano, Kenny Napper on bass and Terry Cox on drums. The resulting album is a stunning debut, beautifully executed by all the musicians involved, and showing Warleigh to be a world class player, who can improvise freely and yet always stay within the melodic line. Jazz & strings albums have a tendency to fall into the “land of saccharine” very easily, but fortunately this is well avoided here, producing a most enjoyable Jazz album full of integrity and showmanship. It’s great to have this forgotten gem back in circulation.

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Here is the next new addition on the wonderful Sunbeam Records:

This is one of those obscure and completely forgotten musical gems recorded and released in the late 1960s, only to disappear from the face of the earth for many years and pop up again recently as one of the thousands of albums frantically reissued by specialist labels. American singer / songwriter Steve Baron created his group called Steve Baron Quartet with a few young Jazz oriented players and recorded this single album after playing with them for about a couple of years. Baron wrote all the songs on the album, which are a strange and beautiful mixture of Folk, Psychedelics and Jazz, as appropriate for the time when everything in music was allowed and possible. Most of the album is song oriented, but on a couple of tracks (and especially the final 11 minutes long track closing the album) long instrumental Jazz improvisations are present, showing the great talent of guitarist Bill Davidson and pianist Tom Winer. It’s very difficult to classify this album genre wise, so for lack of better terms I’ve placed it under Jazz-Rock, but it really is beyond any specific genre, just wonderful. Listening to this obscure gem makes me always wonder how many more such great recordings remain hidden in the past.

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Here is the next new addition on the wonderful Sunbeam Records:

Scottish guitarist / singer / songwriter G. F. Fitz-Gerald recorded his only album with a bunch of excellent musicians, including some legendary figures like singer Judy Dyble (Fairport Convention), tabla virtuoso Sam Gopal, sax and flute player Geoff Leigh and many others. The album was a complete commercial failure at the time of its release, disappearing entirely from the market, only to be remembered by a very few people who ever heard it as a gem of great interest. Finally after so many years the album was finally reissued, for all of us to enjoy. Fitz-Gerald moved on in the meantime into experimental improvised music (see his album with Lol Coxhill) and never recorded in the studio again. The album lost nothing of its original charm and magic and after all these years it’s still an absolute gem. Resembling the efforts of groups like Comus and perhaps Third Ear Band, this is a completely zany, funny, crazy, wonderful mixture of Psychedelics, Jazz, early Improvised Music and Folk. As usual with such mixtures, it is absolutely beyond any specific genre and placing it under Progressive Rock is the best I can do. I really recommend to everybody to try and get hold of a copy of this – it very well might eventually become your favorite album – you never know. Brilliant stuff!

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It’s great to see the wonderful French small label Soleil Zeuhl back with not one but four new releases. Here is the first of those:

French trio BBI recorded just one album before the members moved on to other projects. The members were guitarist Laurent Imperato (ex-Xaal), bassist Philippe Bussonnet (Magma, One Shot) and drummer Jean-Claude Buire (ex-Offering). The album is quite similar to the instrumental Jazz-Rock Fusion guitar oriented music played by One Shot, driven by the superb bass lines played by Bussonnet. The music is highly energetic and improvised, with the guitar performing some wild pyrotechnics. The repetitive rhythmic patterns and the intensive sound of the French Zeuhl school, developed by the Magma camp, are of course the foundation, but this album is definitely more Fusion oriented that any of the Magma albums. Three of the six composition present here, written by Bussonnet will appear later in reworked form on the first One Shot album three years later. Magma and Zeuhl fans will jump on this album, but it is recommended to all listeners who love guitar power trios. Thanks to Soleil Zeuhl one more gem from the French heritage has been rescued from oblivion. The music was mastered and restored by the Israeli sound wizard Udi Koomran.

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CD

It’s great to see the wonderful French small label Soleil Zeuhl back with not one but four new releases. Here is the second of those:

Only album by French band Rialzu, one of the very few Prog groups active in the 1970s on the French Island of Corsica. Considered an ultra rare collector’s item for many years, here it is for the first time on CD with some bonus material. The members of the band combine elements of Symphonic Prog, Magma influences and Corsican folklore into a very interesting musical blend, creating a Prog gem. Although mostly instrumental, the album also includes some vocal tracks, sung in the Corsican language. The original album included only 3 tracks, two of which are extended compositions 16 and 11 minutes long. This reissue adds two live tracks recorded by the group before the album was recorded and a short video clip taken from a live show – all together a great reissue. The music is very original and quite different from the French mainland efforts at the time, which makes this effort quite unique. Kudos to Soleil Zeuhl for unearthing this lost gem and making it accessible to us all. Recommended!

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It’s great to see the wonderful French small label Soleil Zeuhl back with not one but four new releases. Here is the third of those:

French sextet Setna, led by drummer Nicolas Candé, who also composes all the music, is one of the most interesting new ensembles on the local scene. After a couple of years of buzz and anticipation, their debut album is finally here and it was well worth waiting for. Fronted by a superb female singer Natacha Jouët, they deliver some great music here, which combines Prog, Jazz, Ambient and slight Zeuhl influences, creating a magic atmosphere. The music is basically a long suite, divided into parts, but meant to be a continuous piece of music. Two keyboards players (one playing moog and both playing the Fender Rhodes – one of my favorite instruments with a immediately distinguishable tone), soprano saxophonist and a bass player complete the lineup, but they also employ four guest musicians on some of the tracks. The closest musical association would be Soft Machine (at their best) with female vocals. This is definitely one of the best debut albums I’ve heard recently and one can only hope they will continue whatever was started here with future surprises. There is something here for every lover of good music so I’m not confining my recommendation to any specific genre, just grab it and enjoy! A great addition to the splendid Soleil Zeuhl catalog as well as any decent record collection.

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It’s great to see the wonderful French small label Soleil Zeuhl back with not one but four new releases. Here is the fourth of those:

2^nd album by Japanese group Amygdala, which took the world by surprise with their debut album, a few years back. While they were only a duo on their debut album, here they have expanded the lineup to a trio and even added a guest soloist on some tracks. Formed by keyboards player Yoshiyuki Nakajima, who also writes all the music, and guitarist Yoshihiro Yamaji, they added the French drummer Daniel Jeand`heur (One Shot) and as guest musician another Japanese keyboards player Kenichi Oguchi (Kenso) to create a massive and complex sound. The result is truly remarkable and although a demanding listening experience, full of incredible performances and musical magic. People who loved their debut will of course be delighted by this new effort, and those who so far never heard them should do so ASAP. Stylistically the music covers Jazz-Rock Fusion and Zeuhl, but also a lot of other ground. Rather than try to classify one should listen with an open mind and let the music speak for itself. I doubt if anybody, who seriously likes serious contemporary music, could stay cold to this. A must for Zeuhl fans of course.

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