1975

And joining the ranks of long forgotten bands that existed decades ago and have finally found a release for their music in the modern era is the Ann Arbor, Michigan based band called THE FOURTH WORLD QUARTET. This trio of brothers that included Benjamin R. Miller (electric guitar, alto saxophone), Laurence B. Miller (bass clarinet) and Roger C. Miller (piano, percussion) came from a musical family even though their father was an ichthyologist. However by playing Dvorak and Saint-Saëns during their childhood for them at bedtime instead of reading stories seemed to pay off in the musical department.

The brothers performed in countless bands during the 1960s but it wasn't until the year 1975 that the trio would meet alto saxist Jack Waterstone in a college class and that's when the whole idea of THE FOUTH WORLD QUARTET would come together. These four guys existed in a tight-knit unit for two years and recorded eleven tracks that would end up sitting in the vaults for decades to come that is until Cuneiform Records resurrected these lost artifacts from its eternal crypt and lovingly gave this band its debut album in 2021 some 36 years after the majority of the compositions were crafted.

While progressive rock and experimental music was the norm of the 1970s, some acts were just too weird and unorthodox for even the crowds into those types of outsider weirdo musical expressions and for my liking some of these archival releases prove to be of exemplary quality. Simply titled 1975, this collection of gems existed out of any established musical paradigm of the era. Perhaps bands like Henry Cow, Univers Zero or Art Zoyd would be the closest musical lineage but these guys were in the USA where even more accessible prog rock had a harder time making an impact on the general public. Had these guys moved to Belgium or France to bedazzle the public with their strange hybrid of avant-garde jazz and chamber rock laced with psychedelic touches, they may have been more than a mere footnote in history.

The Miller brothers were musical nerds to say the least with interests that ranged from the Stooges and Frank Zappa to the more demanding workouts of Karlheinz Stockhausen and Eric Dolphy all of which make an indelible imprint on the stylistic approach THE FOURTH WORLD QUARTET would make their own. The eleven tracks on this album sound timeless and do not indicate any particular era, scene or geographical location. While the opening "Reverse Coil Distinction" sounds like some sort of avant-garde jazz comp from the 60s that could've been an obscure recording of Ornette Coleman or Sun Ra for that matter, the album equally entertains the notion of chamber rock that become the staple sound of the soon to be Rock In Opposition movement set forth by Henry Cow.

By the time these guys were recording these complex twisted tunes that deftly mixed angular piano rolls with squawking saxophones, a bass clarinet and a part-time electric guitar, Henry Cow had only released its debut album "Legend" which may have provided the inspiration to go for the avant-garde jugular however even if that was the case, THE FOURTH WORLD QUARTET was more on the jazz side of the equation with the saxes and bass clarinet providing the bulk of stentorian outbursts oft in utter chaotic turbulence as heard on the jagged and angular tumultuousness of "Journey To Bubbleland." Other tracks like "Winter's Dream" actually employ a melody with this one sounding like an early rendition of the theme song of "The Simpsons" television series some twenty years before its popularity.

"Bubble On The Storm" reflects the true nature of this quartet as each musician pretty much exists in his own stream of consciousness and weaves a mere part for a larger tapestry much like 20th century classical musicians. For the most part the album showcases pianos seemingly in battle with the horn section while the percussion and occasional guitar parts show up to break the monotony. "Tnoona" is downright frightening as it casts an ominous sonic spell thus making it the most dreadful of the lot. "Ambrosia Triangle" is even further removed from reality with silent pauses more important than the punctuated pointillistic Stockhausen inspired instrumentation. The short "Renard The Fox" with a thumping groove is the most accessible piece and although sounding a bit like a marching band manages to escape into the avant-garde for a few moments.

Generally speaking 1975 begins things in a jazzy mode and then slowly becomes more avant-garde and experimental with only the final "Renard The Fox" ushering the album out on an accessible note. These guys were clearly quite talented and ahead of their time. Had they the initiative and the ability to move to England or some other receptive European destination, THE FOURTH WORLD QUARTET could have easily given Henry Cow a run for its money but as history unfolded this group would only last until 1977 with the members moving on to other projects. Most notably Roger Miller would go on to form Mission of Burma and Birdsongs of the Mesozoic. The music on 1975 is highly innovative and represents a completely forgotten slice of American avant-prog / jazz-rock that would have been erased from history if not for the outstanding patron saints of underground music such as Cuneiform Records. This is one that i purchased and have found quite a few satisfying return visits. Highly recommended for fans of Henry Cow, Art Zoyd, Univers Zero, Present, Miriodor and other knotty sophisticated angular workouts.