Recorded Juli 1st.-11th. at Hookfarm Studios, Copenhagen.
Mixed Juli 14th.-17th. at Easy Sound, Copenhagen.
Essential LP from veteran UK jazz guitarist Gary Boyle recorded while living in Denmark in the early 80's. Super enjoyable, varied album that goes from the killer fusion boogie of Jeanies Dance to the bluesy mellow vocal cut So Many Times Before...
01. Snap Crackle 5:17 02. Hayabusa 4:10 03. Electric Glide 3:59 04. Morning Father Joys 5:04 05. Gaz 6:39 06. It's Almost Light Again 4:16 07. Grumble 2:35 08. Brat No. 2 4:20
Bass Guitar – John Giblin (tracks: A2, B1, B3), Phil Chen (tracks: A1, A3) Drums – Richard Bailey (tracks: A1, A3), Simon Phillips (tracks: A2, B1 to B3) Guitar – Gary Boyle, Gary Moore (tracks: A2, B1), Kenny Shaw (tracks: A4, B4), Robert Awhai (tracks: A1, A3) Keyboards – Pete Jacobsen (tracks: A1, A3) Percussion – Simon Morton (tracks: A1, A3)
India’s contribution to Western popular music arcs from Sir Cliff Richards, Britain’s original teen idol, to rock and roll’s greatest voice Freddie Mercury, and from the father of Indo-jazz John Mayer to Vijay Iyer, perhaps the most lauded pianist in contemporary jazz. But there is another name, less well known but equally significant, that bridges these two worlds – rock and roll and jazz – and adds Indian colour to the history of rock and roll.
Gary Boyle, born in Patna in the waning days of the Empire, and highly regarded by peers, critics and industry giants, is possibly the greatest guitarist you’ve never heard of. Coming of age in the frenetic early years of rock and roll, Boyle’s story of a childhood spent in Bihar’s railway towns to playing with a veritable who’s who of jazz and rock such as Eddie Harris, Brian Auger, Dusty Springfield and Jimi Hendrix, is one of the most unlikely of rock and roll tales.
The firey guitarist from Isotope and Brian Auger's Trinity here presents eight tracks of jazz-rock, tight unison playing interspersed with jazzy solos. Consummate musicianship from all involved. Boyle himself ranges from a John Goodsall-like instrumental rock to almost a Wes Montgomery tone on other tracks, even acoustic on one track. Boyle has few equals on six strings and this is one of his best.
Bass – Doni Harvey (tracks: A1, B2 to B4), Steve Shone (tracks: A2 to B1)
Clavinet, Piano, Synthesizer – Dave MacRae (tracks: A2, B1, B3)
Drums – Jeff Seopardie (tracks: A2, A4, B1), Simon Phillips (tracks: A1, B2 to B4)
Electric Piano, Piano, Synthesizer – Zoe Kronberger (tracks: A2 to B1, B4)
Electric Piano, Synthesizer – Rob Lumley (tracks: A1, A4 to B4)
Guitar – Gary Boyle
Percussion – Morris Pert (tracks: A2, A4 to B2, B4)
Synthesizer [Mini-Moog] – Rod Argent (tracks: A1)
Voice – Maggie Pert (tracks: A2)
After ISOTOPE broke up guitarist extraordinaire Gary Boyle decided to record a solo album and "The Dancer" is the result. Released in 1977. I have been waiting , waiting and waiting for years to see this in CD form, as it possesses a mythical attraction that is quite unexplainable. Of course being an unashamed fan of Isotope certainly helps in all the self-imposed adulation I exert towards this unique solo debut from the Irish guitarist. 'The Dancer', won the 1978 Montreux Jazz/Pop Award, which may mean something to some.
Back in the early 70s there was something extremely attractive when Brits attempted jazz with such luminary giants as the Soft Machine, Caravan, Ian Carr's Nucleus, Brian Auger, Brand X, Colosseum II, National Health, Hatfield and the North etc?. Something about their quirky sound, the mischievous lyrics and of course, that delightful tongue slammed in cheek sense of humor. Toss in some scintillating technical prowess and voila! Hooked for life!
Keyboard whiz Rod Argent, the amazing drummeister Simon Phillips, the fluid Steve Shone on bass , Automatic Man's Doni Harvey , Caravan's Dave McCrae as well as some Brand X members (Lumley, Pert) provide the support crew for Boyle, whose style is in the profound Mahavishnu crenel and unabashedly so. The deluge of notes is enough to send most Malmsteen fans to the showers, a sonic blitzkrieg that is spell-binding. On "Cowshed Shuffle" , little time is wasted to blow your speakers sideways , providing some meteoric performances from Simon (darn is he good!) , with Doni's funky-jazz bass yo-yoing in and out while Rod Argent's bubbly Mini-Moog duels with Boyle's ardent guitar (playing with my words again!) . Thrill seekers will love the shining Steve Shone bass and Jeff Seopardie drum interplay on the title track, another torrid sonic troika between Macrae's stupendous clavinet, Zoe Kronberger's various keys and Boyle's fulminating guitar. "Lullaby For a Sleepy Doormouse" is pure aural velvet, with more sultry fretless bass from Shone and some sparkling acoustic guitar fingering from the mad Irishman while "Almond Burfi" provides the more raucous, electric guitar-led continuation. If you have any doubts that this man can play, well check out his technique, my goodness! "Pendle Mist" has the Harvey/Phillips duo leading the misty charge, Boyle's towering acoustic guitar crisply raffling among the sinuous e-piano musings (Lumley), gradually spiraling into a hypnotic jewel that stands the test of time. "Apple Crumble" is raunch revisted , this time featuring a Dave Macrae performance on e- piano and an ARP synthesizer solo for the ages, while Harvey tortures his four string stick , leering at the mach II drumming of Phillips . What does Gary do? Well, he lays down a perverted axe solo, all speed and seduction. The set ends on my favorite track, "Maiden Voyage ?For Brian Auger", a piece written by no other than Herbie Hancock and has that laid-back confident shimmer that makes this such an audio delight. Playful, intelligent, technically supreme but highly charged in emotional content. When jazz-rock is performed so eloquently, how can one not be inspired?
This was a masterpiece in 1978 and it remains one today, a simply superlative performance that all jazz-prog fusion fans need to hear and witness to believe.
Hearing Isotope guitarist Gary Boyle's debut solo album for the first time way back when, the album seemed like a bold and daring progressive guitar showcase -- and it's aged exceptionally well across three decades. Boyle plays like a cross between Steve Hackett and John McLaughlin, and his backing band -- including Rod Argent on organ and Morris Pert and Simon Phillips on percussion and drums -- is just as good at the same level of playing. Boyle has a great bag of songs and tricks that he parades out here in full glory. The 2006 CD reissue only enhances the crispness of the sound and, in the process, the precision of the playing and the detail of what all of these musicians are doing. This is a very busy record, encompassing elements of progressive rock and jazz, and even a little tribute to Brian Auger in "Maiden Voyage."
This album represents the earliest known recordings of Brand X circa 1975-76
The first 5 tracks are the complete BBC sessions, re-named for some reason.
Tracks 1, 2 and 3 were recorded at the BBC in February 1976, with Goodsall, Lumley, Jones and Collins in attendance.
Tracks 4 and 5 were recorded at the BBC in July 1976, with the same band, plus Preston Hayman on percussion.
The sixth track is a live improvisation.
This album is a collection of recordings made in the BBC studios before any Brand X albums were recorded. It shows the band in the process, almost complete, of coming up with their unique brand of fusion, featuring tight, fast playing and exciting compositions.
The songs show many of the themes and melodies that would come to comprise some of the songs on the first few albums. The sound quality isn't quite as good as their official studio albums, but it is still very good.
While I would recommend most of the albums that do not have Phil Collins the singer on them (Phil Collins the exceptional drummer is a different story) before this one, it is still a nice album by one of the premier fusion bands.
his is another excellent fusion banquet from the inspired Brand X, certainly in terms of volume of its discography; one of the more successful and prolific acts ever. As the humorous proviso on the back cover "Warning! Highly Contagious" states, this is an infectious virus that has deep burrowing power and wastes no time in setting down to the task of supplying a steady dose of delirium. The opener is a rumbling groove fest, led by the contagious fretless Percy Jones bass, syringed by some deadly drumming and some feverish effusions from guitarist John Goodsall and keyboardist Franz Pusch. "Stellarator" showcases Jones' dripping style, his massive fingers cajoling, twisting and caressing his fabled instrument (an Ibanez fretless), while Marc Wagnon adds a barrage of Midi-vibes and Goodsall some Midi-vapor guitar. Drummer Frank Katz does his finest "boom-boom- tchak" imitations, keeping it all tight and funky. "Virus" starts out like rabid creature, spooky, determined and unrelenting within a highly binary beat, chugging inexorably into maximum acceleration, fluffed with oddball vocal samples, bizarre sonic collages like a lovely "reverse guitar solo" that reeks of Steve Hillage, some jingle, some jangle and weird vocal chanting! Percy Jones' bass retains all my focus, as I choose him to be my sonic conductor and there are few as exhilarating as him! The final segment morphs into out right symphonics , featuring some mellotronish string sweeps that are muscularly propelled by the furious rhythm. "XXL" is Goodsall's moment in the spotlight, a rifferama fest chock full of funk, groove and sass, disgorging a wide variety of tones, from clean rippling chords via some wah-infected stretches to some sitar-sampled forays, again forcefully anchored by some concrete bass and drum foundations. "The Worst Man" has Percy in fine disposition, doing perverse things to that bass, in more than one channel, Goodsall doing Andy Summers guitar imitations (this can sound like an instrumental the Police going prog) , flutist Danny Wilding blowing a few background wisps. The title cut is a traffic-jam improv that has all the lads blasting away uncontrolled, Goodsall and Wagnon flashing the nimble fingers, while the low spark is held masterfully by the high heeled Jones/Katz duo. John in particular unleashes a monstrous solo that sizzles with abandon while Jones gets into a jaw dropping high speed rumbling finale. "Five Drops" is a Wagnon comp that highlights the amazing acoustic guitar skills of Mr.Goodsall (hello Al, John and Paco), awash in a sea of Midi-vibe symphonics that gently flow towards some imaginary jazz-cool atoll, palm trees swaying in the breeze. "Drum Ddu" is a hodge-podge of burping and belching bass, whizzing oasis-borne guitar phrasings, dancing calypso-vibraphones and slap happy percussives, all coalescing in a fusion cocktail that typifies the Brand X style, controlled euphoria with a slight English humorous slant. A total winner that stops on a dime. "Operation Hearts and Minds" is another jubilant Goodsall piece, surely more structured that the preceding maelstrom, within a classic jazz-rock foundation where the guitar wailing mightily as it soars uncannily into the caravanserai-like universe of early Santana. Amazing, I say and certainly a highlight track here! "Mr.Bubble Goes to Hollywood" is a typical Brand X drum solo that pounds, grounds and astounds, both lightning quick and expressive, with that impeccable fretless kicking in, lending support. Some have inquired how can I , the melodious prog romantic be so enamored with Brand X . Well, above all, I consider myself a bass freak, following the magic spell in the lower end with dedicated severity and when one has a Percy Jones as leader, well you can take me to your planet anytime. This edition has 2 hidden bonus tracks featuring the sadly departed drum genius Pierre Moerlen, an occasional friend and amigo of the band, without a doubt a huge talent among a crew of immense abilities. Both tracks stretch well beyond the 8 minute mark, so this just may be the apex, talk about bonus!!!!!
This is an intresting concert in LA. It's not perfect. This was the third show in Roxy in 23rd september 79.( after 21 and 22). So they played a bit tired and made some mistakes. It's a bit harder performance. They play songs with more rock influence. They play songs different. It sounds like they were in hurry. (Perhaps Collins wanted to go to record Duke). Collins talked a bit too much (as He said). He's a great drummer. Played well on this album. The sound quality isn't perfect, but not bad. I think it's a historical record. They didn't want to release this, I guess. These kind of recordings show, that these musicians are also people. They can be tired, they can do mistakes. So I think this is a good effort. I can imagine the smoke and noise in Roxy, and then the guys sit down to play jazz-rock... The audience enjoyed that very much.
- John Goodsall / guitar, MIDI guitar, all keyboards and samples triggered by MIDI guitar except keyboards on "Strangeness")
- Frank Katz / drums
- Danny Wilding / flute on "Kluzinski Reprise"
When I heard this, the first Brand X album in ten years, I thought, "This is very good, but there's something missing here." What's missing is Robin Lumley, or more generally, a keyboard player. While John Goodsall's guitar playing is as fast and as interesting as ever, Percy Jones bass playing is as great as Percy Jones almost always is, and Frank Katz' drumming makes you forget that singer who used to be a drummer, the lack of a keyboardist leaves the songs without that lushness and high-speed precision that Lumley added to the band.
Now, mind you, the songwriting is still like classic Brand X (without the Phul Colons pop songs, thankfully), and the entire disk from start to finish provides for a fantastic listening experience. So, for me, it's best to not try to compare this with the classic Brand X albums, and just sit back and enjoy.
Brand X has released some of the best fusion stuff ever. That said, this album, as stated in earlier reviews, sounds like some of the left-overs or outakes from "Do They Hurt", which in itself sounded like the left-overs from "Product". Not sure I understand slamming Phil Collins for HIS contributions, as Robin Lumley is the one who compiled this package -- it's almost a Lumley solo album with session players.
There are, however, a few bits that sound good, primarily the title track. "Is There Anything About" (the tune) is a great little jam, that almost sounds like it could have been a live track from "Livestock". Not a lot of substance, but it just cooks along, and contains just enough of that Brand X spontaneity and humor that the earlier material has.
"Ipanaemia" has a bit of a groove, and might have fit nicely on the 12" B-side of "Soho".
"A Longer April" is just a band version of "April" from "Product" with guest Ravenscroft on sax; personally I like the shorter April more.
"Swan Song" may have been more appropriately titled "Modern, Noisy and Effective", which in itself is an instrumental reworking of "Soho", utilizing the backing track from that song (but not nearly as good a melody).
The one track that needed not ever be released is "TMIU-ATGA" ("They're making it up as they go along"), which is one of the worst tunes I think I've EVER heard by ANY band (and CALLING it a tune at all is generous).
This album IS available on CD, although it is definitely NOT the release to introduce new listeners to the band. Completists might be pleasantly surprised that there IS SOMETHING ELSE about.
John Goodsall / guitar on (2,3,5,6,7), vocals on (3)
John Giblin / bass on (2,6)
Phil Collins / drums on (2,6)
Robin Lumley / keyboards on (2,6)
"Cambodia" is probably the track that got my attention the first time I played this album. It has a very nuanced style through the sound creation the track produces. The other track that also attract me is "D.M.Z.". Musically, the band had tried to maintain their composition through the mix of heavier elements from jazz and rock. On musicianship I can hear how John Goodsall (guitar) had perfected his guitar-playing mode. Phil Collins drumming only share two tracks while major portion of drum isperformed by Michael Clarke. Am quite happy with the facts that Percy Jones plays more bass guitar than John Giblin. I personally prefer Percy Jones bass playing style than John Giblin because his style fits the music of Brand X really well. John Giblin whom I knew well through his contribution with Peter Gabriel. Giblin's style is more suitable with Peter Gabriel music, I think. Robun Lumley plays keyboard more than Peter Robinson.
I personally enjoy this album even though I prefer their "Morrocan Roll" album. Yes, it's an excellent addition to any prog music especially in the vein of jazz rock fusion . Keep on proggin' ..!
The two factions of Brand X did a little more tinkering in the interim, as if anyone actually cared who played what with whom anymore. The big difference here is that Percy Jones and Phil Collins are now split into different groups. Oh, and that the songs now suck. That would be the other big difference. Do They Hurt? is exactly the kind of wanky instrumental music that gives jazz fusion a bad name: pointlessly popping bass notes, crisp and sterile percussion, clashing keyboards and really annoying vocals (Percy Jones singing backwards on “Noddy Goes To Sweden,” John Goodsall singing unintelligibly into an old toaster or some such electric apparatus on “Act of Will”). At its best, Do They Hurt? sounds like outtakes from earlier, better Brand X albums (“Voidarama,” “Cambodia”). That’s really the best you can hope for: a few breaks where you don’t want to cover your ears and shout “Stop screwing around and play something!” It’s clear at this stage that Brand X doesn’t know what it wants to be when it grows old: maybe they had it right with “Euthanasia Waltz” all along. Was it really only two years ago that the band seemed ready to embark on a new and brighter chapter with Morris Pert playing percussion? Funny how ties fly when you’re halfing one. Even Monty Python’s Michael Palin, writing in on coconut-white horse, couldn’t rescue Do They Hurt? from the band’s self-destructive tendencies. And so another great progressive rock band goes geritol into that good night.
Released in 1979, "Product" was Brand X's fourth studio album in as many years. The nature of the line up would appear indicate a degree of turmoil in the ranks, with none of the band members playing on every track. Phil Collins, who had been missing from the previous album "Masques", returned to the drums stool for 6 of the 9 tracks. With him came keyboard player Robin Lumley, who plays on the same tracks as Collins.
Surprisingly, the music is also subject to some significant diversity, as demonstrated by the opening "Don't make waves". This song, which was actually released as a single, is a lightweight, pop based number on which Phil Collins sings. Given that Brand X was always mooted as an escape for Collins from the strictures of Genesis, it does seem odd that he should lead the charge back towards the chart cravings which were plaguing Genesis.
Things turn towards the more orthodox Brand X product with the fusion based "Dance of the illegal aliens". Guitarist John Goodsall is the only band member from the first track to also play on this number, the bass, drums and keyboards positions all being filled by alternative members. The line up for this track also contribute "Not good enough, see me" a meandering, rather unfocused affair.
"Soho" sees the "Don't make waves" line up sounding more than ever like "Ababcab" era Genesis, with Collins pure pop vocals dragging the band far from their roots. This line up, which excludes bassist Percy Jones who is the catalyst for the two traditional tracks on side one, dominate the second side of the album, playing on all but one of the tracks. On side two however, their contributions are more in line with what we would expect from a Brand X album. This tends to disprove the theory that the two line ups were pulling in opposite directions, the misunderstanding arising through the two pop orientated songs on the first side.
The four tracks on side two which feature the Collins/Goodsall/Giblin/Lumley line up are straightforward jazz rock pieces, similar to those which appeared on previous Brand X albums. They do not do a lot for me, although "..and so to F.." has a spirited repetitive chant, but those who enjoyed the band's previous output should be satisfied with what they hear. The only other track on side two is a dull two basses and drums affair called "Wal to wal", the title referring to the type of basses used.
"Product" is an album which tends to split the fans of Brand X, mainly due to the presence of the two pop orientated numbers which Phil Collins sings on the first side. Those aside, this is a pretty standard Brand X album.
01. The Poke (5:06) 02. Masques (3:17) Black Moon (4:48) 04. Deadly Nightshade (10:54) 05. Earthdance (6:10) 06. Access to Data (8:04) 07. The Ghost of Mayfield Lodge (10:08)
John Goodsall / guitar Peter Robinson / keyboards Percy Jones / bass Chuck Bürgi / drums Morris Pert / percussion, Fender piano (3)
With: Norman Choir / credited on track 1 but unidentifiable
I've never met a Brand X album that I didn't like, and Masques is definitely one of the strongest of a stellar company!
For this one, Chuck Bergi takes over the skins from Phil Collins (who'll return to the fold for PRODUCT), and does a very stalwart and capable job. Founding band members John Goodsall (guitar) and Percy Jones (one of the all-time MASTERS of the fretless bass) remain, and percussionist Morris Pert is back to hit various and sundry instruments, objects and parts of Britain.
All of the songs on this disc are great, but I especially enjoy those by Pert: the powerful "Deadly Nightshade," the ebullient "Earth Dance," and the surprisingly pretty and delicate "Black Moon." (Goodsall's "Access to Data" is also awesome!) As always, the band leads the listener down many winding, weird and wondrous paths, with complex rhythms and time signatures. Throughout it all, their sense of timing is impeccable -- these are strictly top-shelf musicians!
But be warned: Brand X is typically not what I would classify as progressive rock. (There are, however, some genuine "prog" moments on the much more commercial -- and hence aptly named -- PRODUCT.) It's much more in the "jazz-fusion" vein: (generally) instrumental, electric, and often frantic. Thus, their music can be challenging and "difficult" for the uninitiated. (When I first heard them as a teen, I didn't much care for them, and dismissed their sound as "organized jamming." With age and more exposure to other forms of music, however, I finally "got" the band, and learned to love them!)
That said, if you have an open musical mind, and room for diversity in your collection, you'll likely grow to really appreciate this fabulously-talented band's unique, eclectic "brand" of music, and MASQUES would be a fine way to commence (or augment) your Brand X collection! Far out!
Live albums are often released to provide the bands some more time before the next studio album's release, but it's not always the case. Releasing a live album is also a cheap way of releasing a record, without too much studio expenses, but it's even worthier if most of the tracks are previously unreleased and such was the case of Livestock. Apparently recorded over (at least) two dates over the 76-77 years, since there is a drummer change, as Collins is missing out on two tracks (holidays are over, time to return to the day job), Ken Dennard filling in. (Ex-Pat Martino). The artwork shows a disgustingly rachitic woman's pair of legs coming out of a door and is no hint for the music.
Livestock is their third album and if it was recorded live, only two tracks were from previous albums. But the rest of the (unreleased) tracks are right on par with the excellence of their first two albums. Nightmare Patrol is, along with Macrocosm and Nuclear Burn, one of my fave tracks of BX. Next up is "?ish" and a personal favorite, slightly Santana-esque and the best of the new tracks. Both Euthanasia and Malaga Virgen (the only two tracks previously known) are rendered better in live than in their original studio versions. The lengthy two-part Isis Mourning is a delicate slow blues starter and is quite accessible.
This is the first album where Mr. Collins is not fully present (well, he did have a day job in a firm called Genesis) and his future coming and going will affects the cohesiveness of Brand X, IMHO. But in the meantime, he remains on the stool for most of this album, and he's brilliant.
John Goodsall / electric & acoustic guitars, sitar, backing vocals, effects
Robin Lumley / piano, clavinet, synthesizers, backing vocals, effects
Percy Jones / bass, autoharp (7), marimba (8), effects
Phil Collins / drums, lead vocals, piano (3), effects
Morris Pert / percussion
Second opus from this now-quintet, with the addition of percussionist Morris Pert, Moroccan Roll is born on an almost Canterburian pun, with an exotic Saharian artwork that has been retouched by high technology. The group is joined by Morris Pert, a percussionist that will beef up the sound of the group, but Pert will also become an important "songwriter" for the group.
One of the originality of this album is that it is Brand X's only with vocals (and even then mostly choirs) on the opening and closing tracks, but unfortunately it wasn't that good an idea. It doesn't help giving World Music credibility to the opening Sun In The Night, despite Goodsall's dabblings on a sitar. The Collins-penned double-shot "Lend" tracks (the lengthy titles might come from some Public Schoolboys friends of his that haven't fully grown up), but unlike what we'd expect, both tracks remains slow with the occasional Goodsall's McL-ian guitar bursts. A manic drum burst opens fire on the Hate zone, a full-funk piece where the group's five cylinders give it their best shot.
On the flipside, Collapsar (not to be confused with National Health's Collapso) is a short synth filler penned by Lumley and it doesn't even serve as an intro for his following Disco Suicide, an electric piano-led funky track, but certainly not my fave BX track, the synth sounds being cringe-y and the cheesy choirs and tubular bells are not helping either. Orbits is a bit Percy Jones' answer to Collapsar and just as useless, since it's no intro to his Malaga Virgen , an up-tempo track at the start where Jones tries to outdo Pastorius in the middle section, but is not helping his own composition in doing so. But Virgen's second half returns to the opening theme, before going bass-happy a second time. This writer doesn't understand all the hoopla on this track and much prefers the following monster-jam Macrocosm, the one BX track to rival with Nuclear Burn, with an overheating Goodsall guitar and an incredible end, as if the 5 cylinders of this group had problem stopping and misfired back on the track.
Robin Lumley / piano, Fender Rhodes electric piano, Moog
Percy Jones / fretless bass, marimba (5), acoustic bass (7)
Phil Collins / drums, percussion, tambourine, vibes (2)
While Genesis was in a delicate phase, looking for a new frontman and its guitarist was releasing his first solo album (Acolyte), Phil was patiently waiting in the wings and became involved in this project, composed of absolute then-unknown, if it wasn't for maybe Goodsall, whom had a stint with Atomic Rooster. Phil Collins' participation in Brand X will actually play a role in Genesis, since his dabblings into JR/F will guide his choice into hiring both Chester Thompson (Zappa, Weather report) and a tad latter Daryl Struemer (Jean Luc Ponty's group). Obviously when listening to Phil drum works on BX and comparing it with Genesis material, it's quite clear that Phil listened and impregnated himself of Billy Cobham's Spectrum album.
Out of the mists of a post-modern world in Nuclear Burn, rises a guitar that has obviously been influenced by Carlos McLaughlin and the rest of the formation slowly rises from the ashes to become an instant success. Outstanding stuff. The first few seconds of Euthanasia Waltz are again reminiscent of Caravanserai, but Goodsall's acoustic strumming saves it and allow Lumley's Rhodes and Jones' ultra bass to shine. The following track's name the ultra-funky Born Ugly cannot possibly be talking about itself because it is one of the best electric piano-led funk-fusion pieces, courtesy of Lumley's Rhodes, but Goodsall's guitar does more than its share. It could've been an RTF track on their No Mystery album, Lumley's piano style certainly aiming at Corea's, while Jones's usual Jaco-esque game is replaced by a Stanley Clarke slapping play. Out of the deep vinyl groove, comes Euphoric Hysteria, which hesitates between Mahavishnu and Santana, before deciding neither with Lumley's disputable synth sound. The title track is slowly emerging a clock-like rhythm and a rounded bass and the two spend their time twisting about your eardrums and diddle with your sanity, slowly deconstructing its propos. Not exactly a winner, but it shows another facet of the group for albums to come. Running Of Three returns to the influence of Carlos McL and if it wasn't needlessly "flamboyant", you could imagine yourself on my jazz-rock reference Caravanserai. The short and soft Touch Wood is a calm ending to a fiery album: a fitting outro.
A classic fusion album of the times but the real interest is that, as opposed to contemporary groups such as Return To Forever, Spiro Gyra, Weather Report or even JL Ponty, this had a definitely English twist to it and it was a welcome change (just like the post-Allen Gong jazz-rock albums are) but this is not really Canterbury-style either although some people have done that amalgam. IMHO, however, the better times for this sort of music had already passed along with the 1st generation groups such as Mahavishnu, Miles Davis, Nucleus, Soft Machine, Mwandishi, etc.... But this one is definitely a gem
Having been pushed to the periphery on his sophomore solo album, Kick Off Your Muddy Boots, Moody Blues drummer Graeme Edge wrestled back control for the follow-up, Paradise Ballroom. On Boots, singer/guitarist Adrian Gurvitz shared the limelight only with keyboardist Mickey Gallagher, leaving his own brother, bassist Paul, and his putative employer, Edge, to languish in the shadows. Now the tables were turned, as Edge insisting on co-writing all the tracks with Gurvitz (the drummer contributed only three on his debut), and promoted Paul to lead vocalist. This resulted in a much more coherent set, and a far funkier one, throwing the spotlight directly onto the rhythm section, bolstered by guesting Traffic percussionist Rebop Kwaku Baah. Of course, Gurvitz's lead guitar still splays across the album, but so does a full horn section, as the set sashays around disco, reggae, Motown, funk, and soul, the upbeat songs counterbalanced by gorgeous, introspective numbers. The discofied adaptation of "Everybody Needs Somebody" is inspired, the breezy "In the Light of Night" a delight, and the funky title track a soul-filled extravaganza
A solo album from a drummer is rarely cause to celebrate, for invariably it arrives stillborn. But Kick Off Your Muddy Boots is a solo set from Moody Blues' skin basher Graeme Edge in name only, and instead is really a showcase for the Gurvitz brothers, or more precisely singer/guitarist Adrian. Edge contributed only three songs to his set; the dreamy "Lost in Space," the introspective "Have You Ever Wondered," and dramatic "Somethin' We'd Like to Say," providing very tentative links to the Blues' own sound. The rest of the album, composed by Adrian Gurvitz, goes very much its own way. The fabulously funky instrumental "The Tunnel" flies furthest from the mothership, while a guesting Ginger Baker edges Edge into the shadows on the Chicago blues spectacular "Gew Janna Woman," the set's apotheosis. "My Life's Not Wasted" is nearly as epic, meandering from funk to blues, soul to orchestral overkill in one fell swoop. Swinging from the C&W-tinged rocker "Shotgun" to the sunny California-styled "Bareback Rider," Muddy Boots treads into as many musical pastures as possible, with the bonus "We Like to Do It" (the band's 1974 single) tossing ragtime into the mix. Keyboardist Mickey Gallagher provides excellent work throughout, his lovely soundscapes and delicate melody lines providing a perfect foil to Gurvitz's soaring leads and hefty riffs. The rhythm section is strong of course, but in the end, this is Gurvitz and Gallagher's show from start to finish, and what a show it is.
Despite the fact that album is titled "Jazz-Rock", is rather a Soul Jazz album, in which Norio Maeda revisits various classics from Jazz to Pop by R&B, including cover songs of The Beatles (Day Tripper, \Here, There & Everywhere), The Barkays (Soul Finger), The Temptations (My Girl), John Lee Hooker (Boom Boom) or Herbie Hancock (Watermelon Man). Titles include also two original compositions by Maeda (Snap Shot, Go Go A Go Go), Inagaki (Barock) and the killer track "Pata Pata" by Miriam Makeba. Norio Maeda was a pianist in charge of various experimental jazz projects (Super-Tri-Piano, Revolution), composer of background music for TV shows, films and animated series (Crusher Joe). He was also a sought-after arranger collaborating in particular with Helen Merrill, Takeshi Inomata, Akira Miyazawa, Martha Miyake, the Tokyo-Cuban Boys, Toshiyuki Miyama & His New Herd or Akira Ishikawa's Count Buffalos. He evolved within several jazz formations in groups The West Liners, The Third or with his Wind-Breakers.
he Jazz Rock anthem by the revolutionary pianist Masahiko Sato featuring Jiro Inagaki & his progressive Jazz Rock Band, the Big Soul Media where evolve Ryo Kawasaki, Yasuo Arakawa, Tadayuki Harada, Shunzo Ohno & Takeshi Inomata from the Sound limited. This versatile and prolific pianist has left his mark on the japanese jazz history thanks to several experimental projects & free jazz albums, was arranger for japanese & international artists, has also composed music for various television programs, films & animated movies whose the best known are Miyazaki's Panda Kopanda (1972) and the cult Belladonna (1973). Masahiko Sato started as professional musician in the Masaaki Fujita Quintet (1961) and joined the Toshiyuki Miyama's New Herd Big Band in the late sixties. In 1966, he entered the Berklee College of Music in order to become arranger and formed the Masahiko Sato Trio with the bassist Yasuo Arakawa & drummer Masahiko Togashi (1968-1971), recorded with it the first of three serie discs and won, for the first (Palladium), the Japan Jazz Award in the best debut album category. In 1970, with french violinist Jean-Luc Ponty, he released Astrorama (feat. Niels-Henning Ørsted Pedersen, Yoshiaki Masuo & Motohiko Hino) which paving the way for future international collaborations in considerable recordings as composer & arranger, inter alia, for Nancy Wilson, Wayne Shorter, Roy Haynes, Gary Peacock or Art Farmer, played also with Yohsuke Yamashita, for the singers Yoshiko Gotoh & Hirota Mieko, Motohiko Hino, Anthony Braxton or Hank Jones. In 1971, he formed the Sound Breakers featuring drummer Louis Hayes with whom released the experimental Free/Jazz Fusion album Amalgamation and joined in 1975, the Electro Keyboard Orchestra group alongside Yuji Ohno, Hiromasa Suzuki & Masao Yagi. In the late seventies, he participated with Hiromasa Suzuki, to the Tri Piano project created by Norio Maeda which released Pianic Pianism & Super Tri Piano (both recorded in 1977). Masahiko Satoh plays here in a groovy approach with free improvisations & sophisticated arrangements associated to the psychedelic expressions of Ryo Kawasaki plus the powerful skills of a swinging Inomata (as the great drum solo on Sniper's Snooze), all backed by the Soul Media Big Band led by Jiro Inagaki. Titles include three originals composed by Satoh, the Pop cover Bridge Over Troubled Water from Simon & Garfunkel, the Al Kooper' Somethin Goin On and the Psychedelic Soul tune Love & Peace. All tracks arranged by Masahiko Satoh.
Hiromasa Suzuki, a rare pianist / composer / arranger who wielded her skills in the group of Terumasa Hino and Akira Ishikawa. This work, combined with Big Soul Media, led by Jiro Inagaki, one of the best jazz rock groups of its time, is a concept that has the theme of “worldwide anti-war and peace”, which is unusual for a Japanese jazz work album.
A unique and breathtaking collaboration between revered pianist and composer Hiromasa Suzuki and famous jazz rock group Big Soul Media led by Jiro Inagaki
01. Yottsu No Onegai 02. Awazuni Aishite 03. Keiken 04. Shiroi Cho No Samba 05. Marianne 06. Koigurui 07. Hana No Yoni 08. Anata Nara Dosuru 09. Moeru Te 10. Hadashi No Koi 11. Ai No Bigaku 12. Wakare No Samba 13. Doyo No Yoru Nanika Ga Okiru 14. Koibito
I recently found this album and it is quite rare from what I can find out about it. The album was recently reprinted on CD, but due to its limited release in Japan it is very hard to find. It's hard to put this album in any one genre because it has elements of funk, jazz, and other crossover elements. There is an instrumental cover of Kool & the Gang's "Funky Stuff" which is quite memorable and would fall firmly in the funk genre. Yet, tunes like "Breeze" and "Gentle Wave" sound like they belong on a Bob James album in that they are so heavily dominated by the use of the Fender Rhodes piano. Even when the horns come in they are so uncharacteristic of funk and that's what gives this album its multi-genre aspect. The tune "One for Jiroh" is a reworking of the jazz standard "I Remember Clifford," and while I couldn't find any info on this, it is quite possible Jiro lost a musician friend close to him ("I Remember Clifford" and its various reworkings seem to serve this purpose). In my own opinion, the most memorable track is "Four Up" which closes the album. Rhythmically and harmonically it reminds me a lot of Herbie Hancock's famous chart "Chameleon" and is a great solo vehicle for solos on saxophone and trombone. From what I could find on him, Jiro Inagaki was a saxophonist who was associated with jazz-rock and other hybrid genres of the late 60s-early 70s. If you like 70s Maynard Ferguson, Bob James and other types of mellow jazz-funk, you would probably enjoy this album.
Jiro Inagaki left the Jazz Rock to focus himself on the Jazz Funk movement, with an album as The Jazz Crusaders know how best to do, as evidenced the cover songs of Wilton Felder (That's How I Feel) & Joe Sample (Put It Where You Want It). For this new route, Jiro has recruited new members for his Soul Media group featuring Akira Okazawa, Tsunehide Matsuki & Norio Maeda in charge of the arrangements and who contributes to three compositions. This blend of Smooth Jazz & Funk, approaches of the sound from CTI recordings that Creed Taylor has could produced in the seventies.
Nagaki Jirō born October 3, 1933 is a Japanese jazz saxophonist, bandleader, and producer. He plays tenor saxophone, soprano saxophone, flute, and occasionally alto saxophone. Inagaki played tenor saxophone with Frankie Sakai's from 1954 to 1955, before joining Hajime Hana and the Crazy Cats. He performed with various Japanese jazz artists and band leaders such as George Kawaguchi and Hideo Shiraki during the 1950s and 60s.[1][2]
Inagaki formed the jazz-rock band "Jiro Inagaki & Soul Media" in 1969, which was active throughout the 1970s and included Shunzo Ohno, Tetsuo Fushimi, and ; Ryo Kawasaki (guitar); Masahiko Satoh (piano, arranger); (keyboards, arranger); (bass); and Takeshi Inomata and (drums) in its varying lineups. The band's albums Head Rock, In The Groove, and Funky Stuff have been reissued several times.
Sammy, a legendary female singer who was active for a short time in the early 1970s and suddenly disappeared from the scene. The powerful and soulful singing voice loved by jazz rock legends such as Akira Ishikawa and Jiro Inagaki has always numbed listeners. The three masterpieces are finally revived in analog.
This swell. This dynamism. An encounter with the soul media unleashed Sammy's soul. A dreadnought masterpiece containing the transcendental groovy "Rock Steady". A rare female singer, Sammy. Once you hear that soulful and powerful singing voice, you will never forget it. Jiro Inagaki, who heard the demo sound source for the first time, thought, "This is amazing. It's like Aretha Franklin." Not only the newly written original, but also old blues and hit songs of the same era are immediately dyed in "Sammy color". Fully backed up by Jiro Inagaki and Soul Media, who played a part in the development of jazz rock, this work has become a monster album with an extraordinary groove. "Rock Steady", which is often called the worst version, "Day Dreaming" like a breeze, groovy and emotional "Nobody Loves Me" and "Long Night" with Japanese lyrics are good. The songs are lined up. text by Yusuke Ogawa (UNIVERSOUND / DEEP JAZZ REALITY)
Long awaited releasing as CD of a secret masterpeice of soul music. Remarkable is the collaboration of Sammy and Jiro Inagaki & Soul Media. A Japanese rare groove masterpiece album, including the covers of -ROCK STEADY- and -WOMAN,
