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Only album by the Mexican Prog group Codice, which is a most impressive debut, considering it's a double album with two solid hours of original music. Led by guitarist Marco Corona, who also composed all of the music on this album, the group also includes keyboardist Mario Mendoza, bassist Arturo Garcia, drummer David Martinez and female vocalist Luis Maldonado. The music is similar to other South American Symphonic Prog, dominated by guitar and keyboards soloing during the lengthy instrumental passages. The melodic contents and the arrangements are surprisingly well executed and the music soars from start to finish, which is much better that most neo-Prog albums recorded at the time. The second CD is dedicated to a multi-part suite, almost an hour long, quite an ambitious undertaking. Overall this is a most enjoyable album, which holds the listeners attention throughout the entire duration and most Prog fans should enjoy it immensely. Sadly nothing was heard of the group since the release of this album, which seems like a great pity, as they definitely had a great potential. Perhaps one day? If so, I'll be there to listen!

 

 

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Arriving in Britain in 1951 form Jamaica, where he was born, 22 years old saxophonist Joe Harriott would soon become one of the central figures of the British Jazz scene and a decade later he would emerge as a prophet of the new exploding British / European Jazz revolution. Harriott's tragic death at a ridiculously young age robbed Jazz enthusiast of one of the genre's greatest talents much too early, especially in view of the relatively limited recorded legacy left by him. Therefore any release with music recorded by Harriott is a most joyous occasion, especially when the material is not available elsewhere. This fantastic collection covers the years 1954-1956 and presents Harriott in a variety of settings from small ensembles, like the Tony Kinsey group, of which he was a regular member, to large ensembles like the short-lived Ronnie Scott Orchestra. Listening to these tracks one can easily understand why Harriott stood apart from the rest of the British players. Not taking anything for granted, especially not the Bop tradition, he always sounded like nobody else. His Caribbean background probably sparked his exuberance and highly energetic attack, and these, combined with his natural genius made him a monster performer and brilliant improviser. This music is a holy grail of early British Jazz, and anybody interested in this field absolutely must listen to this album. But honestly, anybody who has a pair of decent ears must recognize the brilliance included herein. Absolutely essential!

 

 

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7^th album by the excellent Spanish Prog group Amarok, definitely one of the most interesting ensembles active in contemporary Prog, which follows the direction the group initiated earlier to distant itself from the Symphonic Prog clichés and incorporating World Music influences into their music. With the incredible riches of the Spanish cultural background, which are all present here, the music also borrows from other Mediterranean and even Middle Eastern sources, creating a wonderful amalgam of musical traditions with modern music. Led by multi-instrumentalist / composer Robert Santamaria, Amarok also includes a great flute player Manel Mayol, saxophonist Mireia Sisquella and a superb vocalist Marta Segura. Bassist Alan Chehab and drummer Renato Di Prinzio complete the lineup. In addition to the six group members ten guest musicians participate in the process of creating this great album, playing a plethora of different instruments. The overall effect is truly stunning and listeners with developed musical taste should enjoy this album immensely. Highly recommended!

 

 

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2^nd album by US Prog group Puppet Show, recorded almost 10 years after their debut album was released. The band continues the direction set a decade earlier, playing contemporary Symphonic Prog. Of the six tracks present, three are expanded composition timing at well over 10 minutes each. The instrumentation is typical, with a lead singer backed by a guitar / keyboards/ bass / drums lineup. The music is very well developed and arranged and the instrumental skills of the players are excellent. Although there is nothing groundbreaking here, this is a solid effort and many Prog fans will find this album completely satisfying.

 

 

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British pianist / composer Alex Maguire has been associated with the Canterbury scene as the man behind the keyboards in several ensembles led by Canterbury heroes, such as Pip Pyle and Phil Miller, as well as a member of the reformed Hatfield And The North. Extensive touring all over Europe led Alex to meet many distinguished European musicians, among them the Belgian guitarist Michel Delville, with whom Maguire developed a special rapport. Several years later Maguire and Delville met again, forming a sextet comprised of leading Belgian musicians, captured performing live on this album. The music played by the sextet, composed mostly by Maguire, is similar in spirit to the Canterbury scene Jazzy excursions, spiced with Fusion, Free and other delicacies. Extensive soloing, superb interplay and an atmosphere of camaraderie can be easily sensed here, resulting in some truly uplifting music produced by these musicians. A must to all Canterbury fans!

 

 

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Only album by US Prog group Mirthrandir, a rare lost gem from 1970s, brought back to life on this CD reissue. The band was a sextet comprising of two guitarists, a keyboards player, a bassist, who also played flute, a drummer and a vocalist, who also plays some trumpet parts. The music is typical Symphonic Prog, with good melodies and extensive instrumental passages. The lead singer's falsetto voice was often criticized as the group's only weakness, but in fact it is quite good and certainly not more annoying than other vocalists in Prog with similar voice characteristics. The music is overall excellent, with multi-part expanded lengthy tracks, one timing almost 15 minutes. Considering the fact that the US contribution to Prog was quite limited, this is definitely one of the better efforts of its kind. Prog fans will definitely love this album to bits.

 

 

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1^st album by Finnish Prog band Scarlet Thread, which continues the splendid tradition of Prog in that country. Rather that providing yet another senseless copy of typical 1970s Prog, the band builds its music around folk elements, mixing them with Psychedelic and Prog influences. In fact the album is as much Prog as it is modern instrumental Folk-Rock. The unusual instrumentation: guitar and bass - Jani Timoniemi, violin – Eini Pesala, flute – Anni Pesala and drums – Panu Koskela, creates a unique sound of the band, which is rarely encountered these days. The compositions are all lyrical and calm, but allow for plenty of interesting instrumental work, especially by the guitar, somewhat in the mold of early Mike Oldfield. This is definitely an impressive debut, which deserves to be listened to with attention. Recommended!

 

 

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1^st album by Finnish Prog band Aardvark`, which continues the splendid tradition of Prog in that country. As it often happens in Finland, the album is based on literary work and has a story behind the music, making it a concept album. The band has a beautiful sound, which emulates successfully the sound of the 1970s, preserving its unique qualities. Interestingly the album was recorded part by part in different locations around the world in such distant locations as New Zealand, Singapore and Finland – all thanks to modern technology. The group is fronted by vocalist Tero Arteli and the instrumentalist are guitarist Ari Naappa, keyboardist Riku Luostari, bassist Juha Sarkioja and drummer Timo Sivula. Layers of heavy organ sound and distinct lead guitar, supported by excellent rhythm section and fronted by impressive vocals all add up to a excellent debut album, which hopefully will be followed by more releases. This is a Prog fan's delight!

 

 

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1^st album by Finnish Prog band Giant Hogweed Orchestra, which continues the splendid tradition of Prog in that country. An instrumental quintet, with guitarists Anti Aalto and Mika Muinonen, flautist Jyri Traskelin, bassist Turo Sinkkonen and drummer Jaakko Kakko, the band combines acoustic sounds with Psychedelic space sounds in a unique way. The album has a beautiful atmosphere with slight Jazzy undertones and flows gently and melodically. The instrumental abilities are quite impressive, as are the compositions. It is very difficult not to like this album in view of the originality of the concept, which is splendidly executed. Prog fans, who like instrumental music, will be definitely delighted by this album. Definitely worth having!

 

 

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2^nd album by Finnish Prog band Groovector, which continues the splendid tradition of Prog in that country. Basically an instrumental quartet (some limited vocals – in English - are present), with guitarist Rauli Viitala, keyboardist Mikko Heininen, bassist Teemu Niemela and drummer Kalle Aalto, the band abandons the Symphonic sound of the 1970s, which dominated their debut album, and moves almost completely into Fusion influenced Prog, with great instrumental parts. Several guest musicians also participate to add to the album's overall sound. The compositions are all excellent, with well developed melodies and tasteful arrangements. This album should appeal both to Prog and Fusion fans, and the quality of the music deserves to be noted. Highly recommended!

 

 

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1^st album by Finnish Prog band Project, which continues the splendid tradition of Prog in that country. The band is a quintet, with guitarist Petri Ahola, keyboardist Tuuka Haapala, bassist Jii Rinnet and drummer Mika Koskela, fronted by vocalist Kristian Hannonen (who sings in English). The band plays complex, multi-part compositions, which mix elements of Prog, World Music and some ambient elements, creating a dark atmosphere. The overall performance is excellent, with splendid instrumental work and many unexpected turns and twists. This is a most impressive debut, hopefully to be followed by more of this interesting music. Recommended to Prog heads, wherever they might be hiding!

 

 

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4^th album by Jimi Hendrix, the greatest guitar player ever, and his first and only live recording that was released before his untimely death. The Band Of Gypsys was a short-lived trio, which brought the guitarist together with bassist Billy Cox and drummer Buddy Miles for the purpose of recording just one album, which Hendrix owed contractually to one of his previous music industry employers in the US as a result of litigation. In the midst of the confusion, which surrounded Hendrix during and after the recording of his last studio album ("Electric Ladyland") he was unable to come up with the highly anticipated follow up. Taking a break from these hectic attempts, he quickly formed the Band Of Gypsys and prepared the trio for the gig, which would be recorded live and produce the legally owned recording, clearing him from this obligation and allowing him to concentrate on recording the next studio album. The whole affair lasted just for about a couple of months, culminating with the 1969 / 1970 New Year recording of four sets at the legendary Fillmore East in NY. They would play only one more gig a month later and disband. Regardless of these convoluted circumstances, this album would become one of the cornerstone recordings of the era, inspiring generations of future musicians, as it was visionary and prophetic in every way. The four new songs Hendrix used for this album were beacons of his new musical direction, mixing Rock, Soul, Rhythm And Blues, Jazz and every other form of popular music known to man at the time, foretelling many new genres that were to be born generations later. The performances are truly inspired, with Hendrix playing some of the most amazing guitar sounds ever recorded, and the energetic and tight support of his rhythm section allowed him to stretch out and fly, soar, skyrocket, dive, freefall and do it again and again. This recording is a time capsule, an essential document not only of a sublime artists but of an era, in fact an end of an era, and what more appropriate anthem for the 1960s could be imagined, other then this album? The rest is of course history; in a few months Hendrix would be dead, the follow up studio album still unreleased, and in the 40 years since the time this music was recorded literally hundreds of live Hendrix recordings would appear in legal, semi-legal, bootleg and complete bogus form – proving beyond any reasonable doubt that the spirit of Jimi Hendrix is still among us.

 

 

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