SIX

Two years after the departure of Robert Wyatt, SOFT MACHINE was diving deeper into the world of jazz fusion leaving the Canterbury sounds of its origins far behind. The year 1973 was the most productive year of the band's many lineups with two albums emerging and if that wasn't enough the first of these, SIX, was a sprawling double album with 15 tracks that added up to a staggering 76 minutes of nerdy jazz fusion workouts. Once again the band lost one more member and gained another as saxophonist Elton Dean stepped out only to be replaced by Karl Jenkins who impressively displays his many talents as oboist, saxophone player and pianist combined. The album is also unusual in that the first album was a live one while the second was one totally recorded in the studio.

While "Fifth" was arguably the most abstract and difficult to grasp album amongst the greater SOFT MACHINE canon, SIX on the other hands takes a more refined approach and offered tangible grooves and a more accessible sound. While the band had been on the verge of dropping all of the rock aspects altogether, SIX delivered the perfect mix between steady rock beats and streamlined jam-like processions along with the jazz improvisation that had become the SOFT's signature style after Wyatt left and took any considerations of lyrics along which would find their new domain in Matching Mole. SIX pretty much latched onto the new standard that the band would carry on up to the final 70s release "Softs" and once again found yet another member of Nucleus claiming musical asylum with the arrival of Jenkins.

Two albums worth of instrumental jazz fusion is admittedly a lot to take in but surprisingly the powerhouse musical outfit known as SOFT MACHINE was quite amazing in how it could craft memorable and instantly lovable jazz fusion tracks. The first album featured the early live performances of the new lineup and established the band's new style of rockin' a bass and drum groove with an accompanying horn section. As with most SOFT MACHINE albums that differ so greatly in approach, the common thread that connects all of them remains Mike Ratledge's distinct Canterbury tones forged through his intricate keyboard playing. Tracks are both upbeat and slowed down to a percussion less trickle. The live album is really hard to believe that it's really live because the artists are so in tune with each other and the production sounds are so good. The only real indication that they are indeed live recordings is the audience participation that becomes it's most energetic at the end of "Riff II."

The studio recorded album features a lot more interesting uses for the keyboard as a major player. The opening album two track "The Soft Weed Factor" showcases Ratledge's cyclical keyboard playing loops as a key element that that percolates over the bass and drum and allow the soft sensual sax moments. The following "Stanley Stamps Gibbon Album (for B.O.)" offers yet another approach with knotty angular keyboard runs ushering in a faster tempo jazz rock session with heavier saxophone contributions. "Chloe And The Pirates" offers a psychedelic effect with oscillating synthesizer sounds and harkens back to the "Fourth" album. The closing "1983" contrasts greatly from the rest of SIX as it evokes a spooky horror soundtrack with spidery keyboard tinkling, a heavily distorted bass. The percussion only features sporadic cymbal action and lots of bass keys on the piano. It's actually unique to anything on any SOFT MACHINE album and the most overtly avant-jazz of all.

While it may sound like a chore to sit through two albums worth of post-Wyatt SOFT MACHINE jazz fusion, this one actually flows quite nicely as the tracks cede well into the others and the instrumental interplay is top notch. Jenkins seemed to have brought a sense of organization to the SOFT's dystopian approach on "Fifth" and the accessibility is a nice reprise from the overt complexities that had been brewing since "Third." Whereas "Fifth" was more heady in its recondite pursuit of detachment, SIX provides a more hypnotic and relaxing affair that allows you to just go along for the flow. The album is definitely much easier on the ears and requires less investment for it to sink in. The SOFTS were so dedicated to their craft at this point that "Seven" would soon emerge in the same calendar year of 1973.