Record Reviews
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  | JOHN ABERCROMBIE ~ TIMELESS
ECM 1047 (Barcode: 042282911421) ~ USA ~ Jazz-Rock Fusion
Recorded: 1974 Released: 2000
This is the debut album for the ECMFind albums on this label label by US guitarist John AbercrombieFind albums by this artist and his second release as a leader. With keyboardist Jan HammerFind albums by this artist and drummer Jack DeJohnetteFind albums by this artist, this is a perfect early Fusion ensemble and the album was recorded at the epicenter (chronologically) of the big Fusion explosion, but it is much more focused and artistic than most of the stuff recorded at the time. In fact although the spirit of Fusion floats in the air, the album wanders all over the place, often touching even Free Jazz. These musicians are of course Masters of the trade and everything they do is just perfect, which holds true now, three and a half decades later. In retrospect this is one of the true classic Fusion recordings and not much done in the years that followed surpassed it, or even got to the same level. A classic indeed!
Visitors' Comments
Christopher Brice
Delightful; as Adam says, many different styles, but Hammer at all times keeps his restraint, matching Abercrombie´s style and not playing as if he was duelling with Jeff Beck! Lovely subtle stuff from Jack DeJohnette as well.
| | | CD 1 Recommend To A Friend |
  | JEFF BECK ~ ORIGINAL ALBUM CLASSICS
SONY 888751056329 (Barcode: 888751056329) ~ UK ~ Jazz-Rock Fusion
Recorded: 1971 - 1977 Released: 2015
This Box Set collects reissues of five albums by the legendary British guitarist / composer / bandleader Jeff BeckFind albums by this artist, originally released on the EpicFind albums on this label label between 1971 and 1977. They are: “Rough And ReadyFind albums with this title” (1971), “Jeff Beck GroupFind albums with this title” (1972), “Blow By BlowFind albums with this title” (1975), “WiredFind albums with this title” (1976) and “Jeff Beck With The Jan Hammer Group LiveFind albums with this title” (1977). Those are the third to seventh albums recorded by Jeff Beck, except the two albums (one studio and one live) recorded by him as part of the short lived Beck, Bogert & AppiceFind albums by this artist trio.
The first two albums included here were recorded by the second incarnation of the Jeff Back GroupFind albums by this artist (the first incarnation recorded the first two Back’s albums “TruthFind albums with this title” and “Beck-OlaFind albums with this title”), which included vocalist Bobby TrenchFind albums by this artist, keyboardist Max MiddletonFind albums by this artist, bassist Clive ChamanFind albums by this artist and drummer Cozy PowellFind albums by this artist. Stylistically these were transitional albums between Rock and Jazz-Rock Fusion, which was Beck’s main interest in the years that followed.
The next two albums present some of Beck’s most admired work as a guitarist, both being purely instrumental and clearly moving deeply into Jazz-Rock Fusion, but with the unique characteristics of his superb sense of melody and fabulous improvisational abilities, which have but a few equals among the world’s guitar heroes. Beck is accompanied by Middleton, bassist Phil ChenFind albums by this artist and drummer Richard BaileyFind albums by this artist on “Blow By Blow” and Middleton and Czech keyboardist Jan HammerFind albums by this artist, American bassist Wilbur BascombFind albums by this artist and drummer Narada Michael WaldenFind albums by this artist on “Wired”.
The live album is a full-blown Fusion affair on which Back is supported by Hammer and an all American team of violinist Steve KindlerFind albums by this artist, bassist Fernando SaundersFind albums by this artist and drummer Tony SmithFind albums by this artist. Not surprisingly the music sounds not far from Mahavishnu OrchestraFind albums by this artist.
Overall this is a real treat to all guitar fans and undeniably some of the most exciting music recorded in the 1970s.
Side Note
The "Original Album SeriesFind albums with this title" by Warner Bros.Find albums on this label, the "Original Album ClassicsFind albums with this title" by SonyFind albums on this label, the "5 Original AlbumsFind albums with this title" by UniversalFind albums on this label, the Box Sets by RhinoFind albums on this label and other similar releases are an archetypal example of how good intentions turn sour. Although these new editions often bring back to life some of the best music ever made on this planet, which in many cases has been lost in the tides of time and was unavailable on the market for ages, they suffer from an unforgivable disregard for the essence of cultural values and general sloppiness, contrary to human decency, which requires as to treat our Cultural Legacy with respect and loyalty.
The Box Sets produced under these monikers have no discographical information whatsoever about the lineups, musician names, composers, lyricists, dates and places of recording, original release data and even basic copyright data (the last is strictly illegal BTW). Although the original LP sleeves are reproduced, they are often edited and information (which would be in most cases too small to be readable) is removed. Most importantly these Box Sets don't include any booklet offering a historical background and perspective about the Artists and the Music, which are extremely important and vital to the preservation of our Culture and passing the knowledge to the next generations.
In short the fact that these Box Sets are meant to be inexpensive, does not mean that they have to be cheap. Considering the fact how many times this music has been sold over and over again by the labels, this is a crying shame!
| | Updated: 31/07/2021Posted: 31/07/2021 | CD 5 Mini-Sleeve Box Set Remastered Essential Recommend To A Friend |
  | JEFF BECK ~ ORIGINAL ALBUM CLASSICS VOL.2
SONY 886976605124 (Barcode: 886976605124) ~ UK ~ Jazz-Rock Fusion
Recorded: 1980 - 2000 Released: 2010
This Box Set collects reissues of five albums by the legendary British guitarist / composer / bandleader Jeff BeckFind albums by this artist, originally released on the EpicFind albums on this label label between 1980 and 2001. They are: “There & BackFind albums with this title” (1980), “FlashFind albums with this title” (1985), “Jeff Beck`s Guitar ShopFind albums with this title” (1989), “Who Else!Find albums with this title” (1999) and “You Had It ComingFind albums with this title” (2001). Those are the third, fourth, fifth, seventh and eighth solo studio albums recorded by Jeff Beck. The soundtrack “Frankie`s HouseFind albums with this title” (1992 with Jed LeiberFind albums by this artist), as well as the sixth album “Crazy LegsFind albums with this title” (1993) are missing in this Box Set, as usual for unexplained reasons. The “Flash” album includes a couple of bonus tracks not present on the original album.
The musicians playing on these albums include some of the best players, both in the UK and USA, such as keyboardists Jan HammerFind albums by this artist and Tony HymasFind albums by this artist, bassists Mo FosterFind albums by this artist and Doug WimbishFind albums by this artist, drummers Simon PhillipsFind albums by this artist, Carmine AppiceFind albums by this artist and Terry BozzioFind albums by this artist and many, many others.
Musically Beck flirts on these albums with diverse environments, such as Jazz-Rock Fusion, Pop and Rock. Except for the “Flash” album, which features vocal contributions by Beck and other guests, including Rod StewartFind albums by this artist on one track, the rest of the material is mostly instrumental and displays Beck´s guitar pyrotechnics at their full scale.
Overall, this is a real treat to all guitar fans and a great showcase of Beck’s undeniable talent as one of the greatest guitarists of all time.
Side Note
The "Original Album SeriesFind albums with this title" by Warner Bros.Find albums on this label, the "Original Album ClassicsFind albums with this title" by SonyFind albums on this label, the "5 Original AlbumsFind albums with this title" by UniversalFind albums on this label, the Box Sets by RhinoFind albums on this label and other similar releases are an archetypal example of how good intentions turn sour. Although these new editions often bring back to life some of the best music ever made on this planet, which in many cases has been lost in the tides of time and was unavailable on the market for ages, they suffer from an unforgivable disregard for the essence of cultural values and general sloppiness, contrary to human decency, which requires as to treat our Cultural Legacy with respect and loyalty.
The Box Sets produced under these monikers have no discographical information whatsoever about the lineups, musician names, composers, lyricists, dates and places of recording, original release data and even basic copyright data (the last is strictly illegal BTW). Although the original LP sleeves are reproduced, they are often edited and information (which would be in most cases too small to be readable) is removed. Most importantly these Box Sets don't include any booklet offering a historical background and perspective about the Artists and the Music, which are extremely important and vital to the preservation of our Culture and passing the knowledge to the next generations.
In short the fact that these Box Sets are meant to be inexpensive, does not mean that they have to be cheap. Considering the fact how many times this music has been sold over and over again by the labels, this is a crying shame!
| | Updated: 03/09/2021Posted: 03/09/2021 | CD 5 Mini-Sleeve Box Set Bonus Tracks Recommend To A Friend |
  | STANLEY CLARKE ~ THE COMPLETE 1970S EPIC ALBUMS COLLECTION
SONY 886979312227 (Barcode: 886979312227) ~ USA ~ Jazz-Rock Fusion
Recorded: 1974 - 1979 Released: 2012
American bassist / composer / bandleader Stanley ClarkeFind albums by this artist is one of the iconic figures of the Jazz-Rock Fusion explosion, which swept the world in the late 1960s / early 1970s. His distinctive and virtuosic bass lines have set standards, which are followed to this very day, with very few bass players being able to play as technically perfect as he always did and even fewer to be as inventive, groundbreaking and innovative. Although primarily associated with Fusion and the electric bass guitar, Clarke always was (and still is) an exceptional acoustic bass player with a superb Jazz technique and sensitivity.
Clarke first came to prominence as a member of the first lineup of the legendary Chick CoreaFind albums by this artist´s ensemble Return To ForeverFind albums by this artist, where his bass lines shaped the music as significantly as Corea´s keyboard wizardry. Clarke stayed with the original band for several years and remained a Corea´s friend and collaborator in the decades that followed. In parallel to his work with Return To Forever, Clarke started a solo recording career, which produced some of Fusion´s and later also Funk´s greatest moments.
Following the release of his debut solo album on PolydorFind albums on this label, he switched to the NemperorFind albums on this label label (currently owned by SonyFind albums on this label) and later on to the EpicFind albums on this label label (a subsidiary of ColumbiaFind albums on this label). He recorded five albums for Nemperor between 1974 and 1979, the last of which was a live double LP. In the 1980s and early 1990s his albums were released on Epic. This Box Set includes all the five albums released on Nemperor and as a bonus also a live album recorded during Clarke´s band tours in 1976-1977, which was released only in 1991.
Of course the list of names of the musicians, who play alongside Clarke on these albums, reads like an encyclopedia of American music of that period. To mention just a few: keyboardists Jan HammerFind albums by this artist, George DukeFind albums by this artist, Chick CoreaFind albums by this artist, David SanciousFind albums by this artist and others, guitarists Bill ConnorsFind albums by this artist, Jeff BeckFind albums by this artist, John McLaughlinFind albums by this artist and others, drummers Tony WilliamsFind albums by this artist, Steve GaddFind albums by this artist, Lenny WhiteFind albums by this artist, Gerry BrownFind albums by this artist and others and a myriad of other musicians. Clarke composed almost every note played here, with very few exceptions, and the music is absolutely marvelous and ass-kicking, as it was at the time it was recorded.
Clarke was often criticized for utilizing his vocals on some of these albums, which of course was not one of his fortes, but since the vocals are relatively scarce and in retrospect really not that bad, that point of criticism id completely insignificant in view of the majestic content of the music contained herein.
Every bass player today, consciously or subconsciously, directly or indirectly is influenced one way or another by what Stanley Clarke played over the years, and this Box Set is a great way to celebrate his talent. Brilliant stuff!
| | Updated: 26/01/2019Posted: | CD 7 Mini-Sleeve Box Set Remastered Recommend To A Friend |
  | AL DI MEOLA ~ SCENARIO
CBS 5099702571821 (Barcode: 5099702571821) ~ USA ~ Jazz-Rock Fusion
Recorded: 1983 Released: 1983
This is the 6th studio album by American guitarist / composer Al Di MeolaFind albums by this artist, recorded in 1983 and his last release on ColumbiaFind albums on this label Records. Most of the tracks were recorded by Di Meola and keyboardist Jan HammerFind albums by this artist, who play all the instruments. Bassist Tony LevinFind albums by this artist and drummer Bill BrufordFind albums by this artist play on one track and drummer Phil CollinsFind albums by this artist plays on another track. The album presents nine tracks, four of which were composed by Di Meola, two by Hammer and three co-composed by them both.
Although the music on this album is not diametrically different from earlier Di Meola efforts, being a mixture of superb melodies, Jazz licks, Fusion Groove and Folkloristic accents, the sound of the album is dominated by synthesizers and early electronic devices, which was the curse of the 1980s. The presence of Hammer as the main co-contributor / composer also influenced the result, and Hammer’s passion with electronic music is omnipresent here. The resulting music sadly sounds dated today, despite the obvious talents of its creators.
As a result, this is the least successful album by Di Meola in retrospect, with his guitar playing hardly present and the World Music influences appearing only sparingly. Perhaps the pressures form the record label to produce a more commercial product were behind the scenes. Happily, Di Meola returned back on track with his following albums.
Overall, this is a reminder of the closing chapter of Di Meola’s stint with Columbia, which does not maintain the same vitality and freshness as his earlier albums, which still sound quite brilliant today. Of course for Di Meola completists, this album worthy its place in the collection, but not essential to general public.
| | Updated: 01/03/2024Posted: 01/03/2024 | CD 1 Recommend To A Friend |
  | AL DI MEOLA ~ SPLENDIDO HOTEL / ELECTRIC RENDEZVOUS
BGO 0927 (Barcode: 5017261209276) ~ USA ~ Jazz-World Fusion
Recorded: 1980 - 1982 Released: 2010
This is a reissue / remaster of the 4th and 5th studio albums by American guitarist / composer Al Di MeolaFind albums by this artist: “Splendido HotelFind albums with this title” from 1980 and “Electric RendezvousFind albums with this title” from 1982, released on ColumbiaFind albums on this label Records. He is supported by his regular band at the time with keyboardist Philippe SaisseFind albums by this artist, bassist Tim LandersFind albums by this artist, drummer Robbie GonzalesFind albums by this artist and percussionist Eddie ColonFind albums by this artist. Many guest artists appear on these albums, including pianist Chick CoreaFind albums by this artist, keyboardist Jan HammerFind albums by this artist, bassist Anthony JacksonFind albums by this artist, drummer Steve GaddFind albums by this artist, guitarist Paco De LuciaFind albums by this artist, percussionist Mingo LewisFind albums by this artist and others. “Splendido Hotel”, originally a 2LP album, presents eleven tracks, seven composed by De Meola, one co-composed with Saisse, one by Saisse, one by Corea and one a pop standard. “Electric Rendezvous” presents eight tracks, five composed by Di Meola, and one each by Saisse, Hammer and Lewis.
The music is the usual splendid mixture of superb melodies, Jazz licks, Fusion Groove and Spanish / Latin / Mediterranean / Flamenco Folkloristic accents, which was De Meola’s home turf. There is plenty of brilliant guitar playing by Di Meola and excellent parts by the guest artists, and although these two albums are not surprising or innovative as far as Di Meola’s output in the first decade of his career is concerned, they withstand the test of time splendidly and still sound great today.
Overall, this is a marvelous reminder of the early days of Di Meola’s recording career, full of virtuosity, superb compositions and passionate performances by him and his cohorts, which were the leading American Fusion musicians at the time. They are a must in any serious Jazz-Rock Fusion / Jazz-World Fusion record collection.
| | Updated: 28/02/2024Posted: 28/02/2024 | CD 2 Slipcase Remastered Recommend To A Friend |
  | JERRY GOODMAN / JAN HAMMER ~ LIKE CHILDREN
WOUNDED BIRD 0430 (Barcode: 664140043022) ~ USA ~ Jazz-Rock Fusion
Recorded: 1974 Released: 2006
Only album by this duo, formed following the demise of John McLaughlinFind albums by this artist’s Mahavishnu OrchestraFind albums by this artist Mk. I in 1973. Jerry GoodmanFind albums by this artist and Jan HammerFind albums by this artist were the founding members of MO and played on the seminal three first albums by the group. This album is quite different from the fiery pyrotechnics used in MO and concentrates on presenting a gentler and more personal side of both musicians. Hammer composed most of the music for this album (with Goodman contributing on three tracks), which varies a lot stylistically between Funk, Fusion and Progressive. Between the two of them they play a myriad of instruments, with Hammer handling all keyboards and percussion and Goodman playing electric and acoustic violins and guitars. Hammer shines on the moog synthesizer, his main solo instrument, and Goodman displays again his amazing violin technique, which resembles his work with FlockFind albums by this artist (before MO). The album lost none of its charm in time and is still a prime example of well-played and sophisticated Fusion music. Since Goodman’s recording heritage is rather sparse, it’s great to see this album back in circulation. Recommended!
| | | CD 1 Recommend To A Friend |
  | JAN HAMMER ~ MALINY MALINY
PROMISING MUSIC 44109 (Barcode: 602517845954) ~ CZECHOSLOVAKIA ~ Jazz
Recorded: 1968 Released: 2009
1st album by Czech pianist / composer Jan HammerFind albums by this artist, who would later become one of the cornerstone musicians of US Jazz-Rock Fusion movement as a member of John McLaughlinFind albums by this artist´s Mahavishnu OrchestraFind albums by this artist, as well as leader of his own groups. This live recording at the legendary Munich Domicile club, a meeting place of German and European Jazz scene for many years, is in many ways quite accidental. Hammer and his compatriot bassist George MrazFind albums by this artist (Jiri in Czech) were in Munich "in transit" actually heading for the US to join the Berklee College of Music in Boston, where they both received a scholarship. Of course they had been warmly received in Munich and gigged extensively waiting for the US trip to finalize. While there, the Soviet Block armies invaded their homeland in the infamous 1968 abrupt end of the "Czech Spring", one of the darkest moments of the Eastern-European history. Hammer and Mraz made the decision not to look back and moved to the US permanently, joining many other famous Czech musicians who were destined to build their career there, like Miroslav VitousFind albums by this artist for example. This recording is Hammer´s debut, presenting him on acoustic piano and organ, playing a set of his original compositions in a trio format with Mraz on electric bass and resident Domicile drummer (originally from Netherlands, but mostly active in Germany) Cees SeeFind albums by this artist on drums. The most striking effect of this recording is not hearing the "early" Hammer, already a highly accomplished pianist at the time with extensive classical training, but his Jazzy approach, which in years was about to move to the background of his output, which I personally see as a great shame. The music is also very interesting, with Hammer combining many Eastern-European motifs with Jazz, like many other Eastern-European musicians did at the time, creating some of the most memorable tunes in the process (see parallel work of Polish Jazz musicians). This is definitely a great historical document of the era and one can only be grateful to Promising MusicFind albums on this label for unearthing and reissuing this lovely musical glimpse into the past. As usual, the remastering, sound quality, packaging and extensive liner notes are beyond reproach. Warmly recommended!
| | | CD 1 Mini-Sleeve Oversampling Remastered Recommend To A Friend |
  | JAN HAMMER ~ MELODIES
WOUNDED BIRD 5003 (Barcode: 664140500327) ~ USA ~ Classic Rock
Recorded: 1977 Released: 2005
3rd album and the last released as under the Jan HammerFind albums by this artist Group flag. With time Hammer gets completely disassociated with the jazz and fusion elements and moves steadily towards rock. This album marks the transition very clearly, with some fusion elements still there (especially in the instrumental passages), but rhythmically the music is all funk. Hammer’s fusion fans were of course devastated watching him deserting the genre he so excelled in, but Hammer was determined to move on. Therefore it would be unfair to judge this album from the fusion perspective. As a funk album this is still a very good album by any parameter. The melodies are well written, the rhythmic part is as funky as they get and even the vocals (fortunately Hammer does not attempt to sing by himself and leaves the job to people who can sing) are more than adequate. Hammer can still play the hell out of his keyboards, making them sound more and more like a guitar. Worth investigating.
| | | CD 1 Recommend To A Friend |
  | GARY HUSBAND ~ DIRTY & BEAUTIFUL VOLUME 1
ABSTRACT LOGIX 027 (Barcode: 700261307053) ~ UK ~ Jazz-Rock Fusion
Recorded: 2010 Released: 2010
This is the first of two albums by British drummer / keyboardist / composer Gary HusbandFind albums by this artist recorded with a host of friends, all of which are superstars of British and international Jazz, Rock and Jazz-Rock Fusion, like guitarists Allan HoldsworthFind albums by this artist, John McLaughlinFind albums by this artist, Robin TrowerFind albums by this artist, Steve HackettFind albums by this artist and Steve ToppingFind albums by this artist, keyboardist Jan HammerFind albums by this artist, violinist Jerry GoodmanFind albums by this artist and bassists Jimmy JohnsonFind albums by this artist, Steve PriceFind albums by this artist, Mark KingFind albums by this artist, Laurence CotileFind albums by this artist and Livingstone BrownFind albums by this artist. The various lineups perform twelve pieces, seven of which are original compositions by Husband and one is co-composed by him.
The music, as expected after reading the lineup, ranges from Rock via Fusion to Jazz, presenting a coherent picture of musical virtuosity and compositional elegance. In contrast to many other similar projects based on the same idea of recording an album with many superstars, which usually fail miserably to achieve any substantial musical value, this attempt works wonderfully from start to finish with no dull moments to spare. The stylistic variety and the different atmospheric vistas present a superb collage of intelligent and fascinating music, which is a pleasure to listen to.
As expected, the album is full of exceptional soloing. Husband keeps it all together with his dynamic and powerful rhythm drive, contributing a few keyboard solos on the way. The main point here is the mutual respect these stellar musicians have for each other, putting any competition and ego trips out of the way and concentrating on the final result. Husband turns out to be a wonderful catalyst here, able to create ad hoc lineups that sound as if they were playing together for ages.
In short this is not only Fusion heaven, but a comprehensive overview of the genre in the most open minded approach possible, which encompasses everything between Rock and Free Jazz. Husband´s openness towards similarly remote sub genres was always one of his most remarkable qualities. This is definitely a must for all Fusion lovers, but every connoisseur of good music should be able to enjoy this immensely!
| | Updated: 06/07/2016Posted: 06/07/2016 | CD 1 Mini-Sleeve Recommend To A Friend |
  | GARY HUSBAND ~ DIRTY & BEAUTIFUL VOLUME 2
ABSTRACT LOGIX 033 (Barcode: 700261344836) ~ UK ~ Jazz-Rock Fusion
Recorded: 2012 Released: 2012
This is the second of two albums by British drummer / keyboardist / composer Gary HusbandFind albums by this artist recorded with a host of friends, all of which are superstars of British and international Jazz, Rock and Jazz-Rock Fusion, like guitarists Allan HoldsworthFind albums by this artist, John McLaughlinFind albums by this artist, Robin TrowerFind albums by this artist, Ray RussellFind albums by this artist, Wayne KrantzFind albums by this artist, Neil TaylorFind albums by this artist, Alex MachacekFind albums by this artist, Jimmy HerringFind albums by this artist and Mike SternFind albums by this artist, keyboardist Jan HammerFind albums by this artist, saxophonist Sean FreemanFind albums by this artist and bassists Jimmy JohnsonFind albums by this artist, Teymur PhellFind albums by this artist, Mark KingFind albums by this artist, Laurence CotileFind albums by this artist and Livingstone BrownFind albums by this artist. The various lineups perform eleven pieces, five of which are original compositions by Husband and one is co-composed by him.
The music on this set is less diverse stylistically and explores mainly the various possibilities of the Jazz-Rock Fusion idiom, with accents and variations influenced mainly by the presence of the different guitar players on these tracks. Each and every guitarist contributes his very personal stylistic nuances, presenting overall a wonderful kaleidoscope of guitar Fusion pieces. The melodic themes of all these pieces fit very well together, which turns this seemingly unconnected collection of pieces into a coherent album, which is a thrilling listening experience.
As on its predecessor, Husband plays drums and keyboards on the various pieces, always with great taste and his usual virtuosity. His drumming approach is another solidifying element of this entire collection, which again manages to sound like a complete pre-planned album as opposed to a random collection of tunes, in spite of such diverse lineups taking part in the proceedings.
As usual this is Fusion Heaven, not only because of the incredibly high level of individual performances, but mainly because it is all about music and not individual ego trips which often haunt Fusion to its death. Therefore I can only wholeheartedly recommend this album to all Fusion lovers, especially since really good Fusion albums are so incredibly scarce these days. Hats off, Maestro!
| | Updated: 09/07/2016Posted: 09/07/2016 | CD 1 Mini-Sleeve Recommend To A Friend |
  | OLAF KUBLER & JAN HAMMER TRIO ~ TURTLES
ENJA 9512 (Barcode: 063757951223) ~ GERMANY ~ Jazz
Recorded: 1968 Released: 2007
This is an archival live album by German saxophonist Olaf KublerFind albums by this artist recorded with two young (at the time) Czech Jazz musicians, who just escaped from Czechoslovakia following the Soviet Pact invasion of the country, keyboardist Jan HammerFind albums by this artist and bassist Jiri MrazFind albums by this artist (a.k.a. George MrazFind albums by this artist) and Dutch drummer Cees SeeFind albums by this artist. German drummer Michael DennertFind albums by this artist plays on two tracks. The music was recorded at the legendary Munich’s Jazz Club “The Domicile”, which was an epicenter of the German / European Jazz and a mecca for international Jazz between 1965 and 1981. The two Czech refugees lived in the musician’s rooms above the club for several months, before they emigrated to the US. The album presents ten tracks, two of which are originals by Kubler, three are originals by Mraz, one an original by Hammer and the remaining four are standards.
The music is typical modern European Jazz of the late 1960s, mostly Bebop based but featuring original compositions. Although pretty young at the time, both Czechs prove to be excellent players already, which explains their smooth and immediate integration into to top US scene, following their arrival there. The original compositions are all as strong as the standards. But of course the album is first and foremost a genuine piece of Jazz history of the turbulent, but highly interesting times. Personally it immediately strikes the fabulous memories of the many nights I had the opportunity to spend at “The Domicile”, watching the modern European Jazz during its formative years.
Considering the fact that the music was recorded at rather Spartan conditions, the sound quality / clarity is quite remarkable, and the remastering presents all the nuances of the music in perfect condition.
Overall, this is a remarkable document of the European Jazz history in one of the epicenters of its development. For people familiar with Hammer’s Fusion explorations, his acoustic piano work here should be a revelation. Mraz was already a great bassist then, and remains so to this very day. This is a great little gem, sadly often overlooked and definitely worth an honorable place in any serious record collection.
| | Updated: 30/05/2023Posted: 30/05/2023 | CD 1 Remastered Recommend To A Friend |
  | MAHAVISHNU ORCHESTRA ~ LIVE AT THE BERKELEY COMMUNITY THEATER NOVEMBER 9, 1972
RENAISSANCE 901 (Barcode: 630428090125) ~ UK ~ Jazz-Rock Fusion
Recorded: 1972 Released: 2024
This is an archival live album by the original lineup of the legendary Fusion group Mahavishnu OrchestraFind albums by this artist, led by British guitarist / composer / bandleader John McLaughlinFind albums by this artist, with American violinist Jerry GoodmanFind albums by this artist, Czech keyboardist Jan HammerFind albums by this artist, Irish bassist Rick LairdFind albums by this artist and American (born in Panama) drummer Billy CobhamFind albums by this artist. The 2CD album presents nine lengthy tracks, taken form the group’s debut album “The Inner Mounting FlameFind albums with this title” and the not yet released at the time second album “Birds Of FireFind albums with this title”. All the music was composed by McLaughlin except one tune composed by Miles DavisFind albums by this artist.
The album is an incredible document of the way Mahavishnu Orchestra sounded and performed in their early days, with an obvious emphasis on improvisation. Two of the tracks are over twenty minutes in duration and another three well over ten minutes, which naturally allows for extensive soloing and group improvisation, which is rarely heard on the group’s studio albums. Although McLaughlin is at the epicenter of the performances, Goodman and Hammer get plenty of opportunity to show their improvising chops, as does the rhythm section of course.
Listening to the music over fifty years later plainly shows that the early 1970s were Fusion’s finest hours and everything since then was a slow degradation of the genre. McLaughlin freshly out of Miles Davis group is in absolute top form, and shows that he was the Godfather of Jazz-Rock Fusion after experimenting with improvisation while still living in UK and playing with Graham BondFind albums by this artist, Brian AugerFind albums by this artist and others and perfecting his stellar stylistics with Tony WilliamsFind albums by this artist and Miles Davis. It’s worthwhile to mention that the two pivotal American Jazz-Rock Fusion groups of the time, Mahavishnu Orchestra and Weather ReportFind albums by this artist, had more European input / influence than American, which is hardly surprising.
Overall, this is an immensely important historical document of the Jazz-Rock Fusion genre, which shows one of the most interesting, innovative and influential bands, recorded live and at the full splendor of its powers. Despite the sound quality, which is not ideal, but allows a painless listening experience, the quality of the music is monumental and the retrospective opportunity to relive these moments is an absolute bliss, lasting for two whole hours! Essential!
| | Updated: 11/11/2024Posted: 11/11/2024 | CD 2 Essential Recommend To A Friend |
  | MAHAVISHNU ORCHESTRA ~ THE COMPLETE COLUMBIA ALBUMS COLLECTION
SONY 886979303423 (Barcode: 886979303423) ~ UK ~ Jazz-Rock Fusion
Recorded: 1971 - 1973 Released: 2011
To make things perfectly clear before we go any further, this Box Set includes music recorded by the first version of the seminal ensemble Mahavishnu OrchestraFind albums by this artist, which lasted for about a couple of years between 1971 and 1973 and released three albums on ColumbiaFind albums on this label. Subsequent versions of Mahavishnu Orchestra continued to release albums on Columbia, but those are not included here and will hopefully be released in the future as a separate Box Set.
British guitarist / composer John McLaughlinFind albums by this artist arrived at the epicenter of the revolutionary Jazz scene quite by chance, via his old friend bassist Jack BruceFind albums by this artist and his first American employer drummer Tony WilliamsFind albums by this artist, which eventually led to McLaughlin joining the Miles DavisFind albums by this artist group and playing a crucial role in creating the groundbreaking music Davis was forging at the time. Prompted by Davis, while still a part of his group, McLaughlin formed his first ensemble, which in retrospect turned out to be one of the most extraordinary Jazz-Rock Fusion ensembles, setting an example so powerful that now, over forty years later, it still reverberates and is being used as a definition of the genre.
Mahavishnu Orchestra was extraordinary in many ways. It brought together musicians from many different countries and cultural backgrounds: American violinist Jerry GoodmanFind albums by this artist, Czech keyboardist Jan HammerFind albums by this artist, Irish bassist Rick LairdFind albums by this artist and Panamanian drummer Billy CobhamFind albums by this artist, all virtuosi on their respective instruments. Such aggregation of talent is of course beneficial for the music, but can prove to be strenuous as far as personal relationships are concerned. Also, as far as the musical direction was concerned, McLaughlin and the ensemble had to create their own environment, as they were walking on a path, which was previously undiscovered.
McLaughlin had complete freedom while with Davis, which enabled him to stretch out and play expanded solos without any harmonic or rhythmic restrictions. Mahavishnu Orchestra was completely opposite: precise and sharp like a razor blade, with everything clicking on a beat and often following a neck-breaking speed. It is evident McLaughlin struggled with this new framework initially, only to conquer it gloriously. He composed almost all the music the ensemble played, with just an occasional contribution by Hammer, Goodman and Laird.
After recording and releasing the first two albums ("The Inner Mounting FlameFind albums with this title" and "Birds Of FireFind albums with this title"), the group recorded a third studio album, which was scrapped and laid hidden in the vaults, only to be released twenty six years later as "The Lost Trident SessionsFind albums with this title". A live recording at NY Central Park, called "Between Nothingness & EternityFind albums with this title", became the group´s third and last album recorded by the first lineup.
This Box Set includes the four a.m. albums and a bonus CD, which comprises of previously unreleased additional material from the live recording, which became the third album. There is also one earlier live recording added as a bonus track on the first album.
Of course this music is so brilliant and so important, that recommending it any further is simply superfluous. It is an absolute classic and a timeless ingredient of music history, which should be an essential cornerstone of any music collection.
| | Updated: 26/01/2019Posted: | CD 5 Mini-Sleeve Box Set Remastered Bonus Tracks Essential Recommend To A Friend |
  | CHARLIE MARIANO ~ HELEN 12 TREES
PROMISING MUSIC 44104 (Barcode: 602517546547) ~ USA ~ Jazz
American saxophonist / composer Charlie MarianoFind albums by this artist was a fascinating musical figure and a prime example of the difference between the American and the European approach to music in the late 1960s / 1970s. With an established career as a Bebop player in the US, Mariano left his home to travel extensively in the Far East, exploring the culture and music of India, Japan and other Asian countries. Upon his return the West, he settled in Germany and became involved with the local / European scene, not willing to return to the limited and narrow-minded American music scene at the time.
He was a member of many Avant-Garde groups, which at the time expanded the musical boundaries of both Jazz and Rock music, including such legendary outfits as EmbryoFind albums by this artist, Pork PieFind albums by this artist and United Jazz + Rock EnsembleFind albums by this artist. This recording for the legendary MPSFind albums on this label label, organized by the producer Joachim BerendtFind albums by this artist, presents a fascinating aspect of his activity at the time and in retrospect remains as one of his all time best albums. With a dreamy ensemble, which includes the Polish violin virtuoso Zbigniew SeifertFind albums by this artist, Czech keyboards wizard Jan HammerFind albums by this artist, British superstars: bassist Jack BruceFind albums by this artist and drummer John MarshallFind albums by this artist and Indonesian percussionist Nippy NoyaFind albums by this artist (resident in Germany), Mariano delivers a fantastic session, featuring six of his originals and one composition by Hammer. He plays soprano and alto saxophones, flute and his beloved Indian reed instrument called nagaswaram, which became his trademark.
The music is a great mixture of many musical elements, including strong World Music influences, some Free Jazz and some Jazz-Rock Fusion. This strange amalgam works extremely well, creating a unique atmosphere, which is on one hand different from most other efforts at the time and on the other hand includes them all. Seifert “steals” the show every time he plays, as his virtuosity is overwhelming, but the ensemble work is overall superb, with plenty excellent solos. Uneven rhythmic patterns, “strange” melodies, great performances – all the elements that make music interesting and challenging are here for the listener to enjoy. This is a true classic of the era when daring was considered part of the norm. This beautifully remastered and packaged reissue is most welcome by many Mariano and European Jazz fans all over the globe. A must!
| | Updated: 12/04/2019Posted: | CD 1 Mini-Sleeve Oversampling Remastered Recommend To A Friend |
  | NIEMEN ~ MOURNER`S RHAPSODY
GREEN TREE 120 (Barcode: 4015689001206) ~ POLAND ~ Progressive Rock
Recorded: 1974 Released: 2003
This is the 4th and last album recorded by Polish singer / keyboardist / composer / lyricist / poet Czeslaw NiemenFind albums by this artist as part of his 4 albums deal with CBSFind albums on this label. Following the recording and release of the first three albums in Germany, CBS decided to pass the torch to the parent company in US, ColumbiaFind albums on this label Records, and this album was recorded in New York. Produced by one of Columbia’s resident producers Sol RabinowitzFind albums by this artist, who had a lot of experience with Jazz-Rock, and surrounded by some of the best US players at the time, the album had all the potential to become a monster hit, but alas things turned out differently. The music world was obviously not ready to accept a non-English speaking artist to the hall of fame, regardless of how good he really was. The players on the album include (among others) Jan HammerFind albums by this artist (drums), Rick LairdFind albums by this artist (bass), Steve KhanFind albums by this artist (guitar), John AbercrombieFind albums by this artist (guitar), Don GrolnickFind albums by this artist (keyboards) and another great Polish musician, violinist Michal UrbaniakFind albums by this artist. Niemen wrote all the music for this album, some of it new and some taken from his Polish releases. The sound quality and production are the best he ever had up to that point and the album is perfect in every respect, except perhaps for the producer’s effort to “Americanize” the final result in order to make it more accessible. This affected the slick sound the album (similar to many other Columbia albums at the time), but overall the album is an absolute knockout. Niemen’s complex, but beautiful melodies and his unique vocal delivery are completely unrivalled. The album’s title track (taken from the Polish album “EnigmaticFind albums with this title”) gets here an absolutely stunning new arrangement, using a choir to deepen the already profoundly dramatic atmosphere of the suite. In short, this is a monster album, sadly overlooked at the time by Western music community, but a momentous achievement for one of the most unique Artists on this planet. One can not even imagine what one is missing not ever listening to this album. Essential listening!
| | | CD 1 Remastered Essential Recommend To A Friend |
  | CARLOS SANTANA / JOHN MCLAUGHLIN ~ LOVE DEVOTION SURRENDER
COLUMBIA 63593 (Barcode: 074646359327) ~ USA ~ Jazz-Rock Fusion
Recorded: 1972 Released: 2003
This is the most quintessential Fusion album of all times. Although sadly neglected and almost forgotten (both by critics and listeners) over the years, it stands out as a beacon of musical enlightenment for posterity. The album came to be as a result of many parallel events and personal / musical paths crossings. Carlos SantanaFind albums by this artist and John McLaughlinFind albums by this artist became close after becoming disciples of Guru Sri Chinmoy. Although they were both aware of each other’s work before this musical cooperation, they operated in quite separate musical areas. McLaughlin at this point had already a glorious career stretch behind him with his pioneering work on the UK Jazz-Rock scene, his revolutionary work with Miles DavisFind albums by this artist, the visionary contributions in the Tony WilliamsFind albums by this artist LifetimeFind albums by this artist and of course his brilliant Mahavishnu OrchestraFind albums by this artist output. Santana’s roots were deep into Latin music and rock, but he was rapidly transforming his musical focus into jazz and Fusion. Influenced by his band’s drummer Michael ShrieveFind albums by this artist, who was a jazz buff, Carlos discovered a new musical world and was swallowing everything he could lay his ears on. This included the works of Mahavishnu Orchestra, of which he was a devoted fan, but also the work of Miles Davis and John ColtraneFind albums by this artist. The actual get together was most probably orchestrated by ColumbiaFind albums on this label’s chief Clive DavisFind albums by this artist (both Santana and Mahavishnu Orchestra were signed by Columbia Records), suggesting a John Coltrane tribute album featuring both guitarists. The album was recorded almost immediately after Santana finished recording the pivotal CaravanseraiFind albums with this title album, which marked a series of dramatic changes both in the band’s musical direction (a move towards jazz and Fusion) and personnel changes (the forming of Santana Mk. II). A meeting of two great talents is always a dangerous affair, and this one could have proven either disastrous or absolutely divine – fortunately the latter did happen. The reason it did turn out to be such a success is twofold: First the musicians truly loved Coltrane’s music and felt the spiritual side of it (Coltrane went through a process of soul searching and seeking enlightenment in Eastern beliefs as well). Coltrane’s “A Love Supreme” is really a musical mantra very similar to a Hindu chant, which of course is as much a spiritual music as it ever gets. The beautiful “Naima” (the other Coltrane composition featured here) is also deeply spiritual, as are the two McLaughlin’s compositions and the traditional chant, which serves as the base for the remaining track of the album. Having established the musical / spiritual base of the session the rest was up to the participating musicians, which (again) most fortunately turned out to be ideal. Both Santana and McLaughlin brought with them associate musicians – Carlos brought selected members of his band (Armando PerazaFind albums by this artist – congas, Doug RauchFind albums by this artist – bass and Michael Shrive – drums) and John brought Mahavishnu Orchestra members (Billy CobhamFind albums by this artist – drums and Jan HammerFind albums by this artist – drums(!)). Veteran jazz drummer Don AliasFind albums by this artist was also invited, but the greatest and perhaps most crucial role was entrusted upon the organ player Larry YoungFind albums by this artist – John’s former partner in Lifetime. Young provides the foundation and glue, which makes this session work. With two lead guitarists exchanging licks at the speed of light and the super-power expanded rhythm section pulsating mercilessly, this session would have never worked without Young’s brilliant work. He fills the spaces, provides the balance and the sanity, the ground on which the soloist are able to build their sky-high towers. Of course the main attraction is the spectacular work by the two soloists, so different and yet so completely complimentary of each other. Santana’s sublimely melodic feel (truly unparalleled to this very day) and McLaughlin’s extraordinary improvisational abilities just merge into one continuous flow of musical bliss. Their exchanges are in perfect harmony, not competing but supplementing each other – fire and grace incarnate. This remastered edition enhances the originally muddy sound tremendously and the two bonus tracks are priceless. There is nothing but Love of music, Devotion to talent and Surrender to divinity on this album, the Mother of all Fusion albums! Beyond essential!
| | | CD 1 Remastered Bonus Tracks Essential Recommend To A Friend |
  | HEIKKI SARMANTO SERIOUS MUSIC ENSEMBLE ~ A BOSTON DATE
PORTER 4002 (Barcode: 656605854625) ~ FINLAND ~ Jazz
Recorded: 1970 Released: 2008
This is one of those albums, which immediately invoke the recurring question: "How many recordings like this one remain hidden and unreleased all over the world?" The fact that it took 38 years for this gem to surface is criminally negligent, to put it mildly, with the only solace being the proverbial better late than never. Finnish pianist / composer Heikki SarmantoFind albums by this artist has been one of my favorite musicians for the last four decades, always awe-inspiring and never disappointing. His life-time achievements indisputably deserve a book-sized biography (unfortunately not written yet) and his role as Europe´s leading Jazz personality and a prominent creator of the emancipated European Jazz is sadly little known outside of a tiny circle of connoisseurs and researches. In fact the entire Finnish music scene often appears to be the one of world´s best hidden secrets, which is amazing in view of the miraculous contribution of Finnish musicians and composers to the Pantheon of the overall human musical culture. Apparently even the most devoted music fans and critics often suffer from chronic narrow-mindedness and Xenophobia, with Americans leading the camp, with pride and remarkable consistency, over the years.
Although recorded in 1970, this session does not reflect Sarmanto´s early musical steps. He was 31 years old at the time and already a seasoned musician, with extensive Classical Music education (a graduate of the Helsinki Sibelius Music Academy - the country´s most prestigious musical education institution) and extensive Jazz experience going back almost a decade earlier as member of several Jazz ensembles active on the country´s burgeoning scene. In 1964-65 Sarmanto took part in the recording of Finland´s first modern Jazz album, the legendary "The Modern Sound Of FinlandFind albums with this title" by saxophonist / flautist Esa PethmanFind albums by this artist, and his piano playing on that album already sounds refined and focused. In 1968 Sarmanto was the first Finn to be awarded a scholarship at the Berklee College of Music in Boston, which gave him a chance to get some formal Jazz education (the Jazz department of the Sibelius Academy would be established only in the early 1980s, and of course Sarmanto would be appointed its first department head).
Sarmanto used his time in Boston not only to expand his formal Jazz horizons, but also to mingle and play as much as he could on the local Jazz scene, which was quite active at the time. The Berklee students and the local musicians often gigged together and soon enough ensembles were formed. Following a brief home visit in 1969, during which Sarmanto recorded his first album as a leader, a live sextet recording released as "Flowers In The WaterFind albums with this title" (on which Pethman is also featured), he returned to Boston to "wrap up" his Berklee affairs. During that period he formed the quintet, quite accidently, which is often the best way for things to happen, which is featured on this semi-professional recording. The quintet consists of Sarmanto on piano, another Finnish giant, saxophonist / flautist Juhani AaltonenFind albums by this artist, who followed Sarmanto to Berklee but lasted only one semester (without a grant the finances were just against all odds), Czech bassists George MrazFind albums by this artist, who also arrived in Boston on a Berklee grant (together with compatriot pianist Jan HammerFind albums by this artist), escaping the brutal Warsaw Pact forces invasion of their homeland, following the brief "Spring of Prague" in 1969, the first major crack in the Berlin Wall. The remaining two musicians were guitarist Lance GundersonFind albums by this artist and drummer Craig HerndonFind albums by this artist, both Bostonians at the time. The quintet was nicknamed, half-jokingly, The Serious Music EnsembleFind albums by this artist, a name which would stick to several Sarmanto´s groups in the future, featuring the core of this quintet.
The three Europeans and two Americans obviously had no difficulty in communicating musically, and it´s hardly surprising that they chose to play mostly Free Form, for several reasons. The air was still reverberating with the sounds of Albert AylerFind albums by this artist, Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist, with the US Free Jazz scene at its peak by the end of the 1960s (unfortunately soon to be almost completely neglected, passing the torch to the Europeans). The limited, if any, rehearsal time the ensemble had before entering the studio, obviously left most of the content to be developed at the spur of the moment, making collective improvisation the only logical path to follow. And perhaps the youthful spirit of rebellion had also something to do with it, considering Berklee´s extreme conservatism, which is legendary even today. Aaltonen, the oldest and most experienced musician on board, already had extensive Free Jazz practice, after playing with Finnish pioneers of the genre, most notably with drummer Edward VesalaFind albums by this artist, and his contributions are the most consistent, with remarkable power of expression, intensity and technical brilliance rivaling the Masters of the genre.
The six pieces played during the session, all composed by Sarmanto, are performed in one continuous flow with no gaps between them. Typically, after a briefly stated theme, the musicians enter a series of exchanges, with one, two or even three players soloing simultaneously, with the rhythm section frequently changing the tempo. Most of the material is up-tempo, except for the beautiful ballad, which ends the set (dedicated to Margareth ChaloffFind albums by this artist, the legendary piano teacher), which is the gentlest and most structured piece on the album, featuring the exquisite bass work by Mraz and more typical of Sarmanto´s future output. In many respects the session is quite typical European Free Jazz, resembling many similar musical encounters happening in Europe at the time, especially in the UK, but also in Poland, Germany and the Netherlands. It is quite distinctly different from American Free Jazz, which demonstrates rawer and more spontaneous approach but lacks the European Classical Music background, which is deeply implanted in the minds of European musicians, evident even in the most extreme Improvised Music experiments. In many respects, this session is probably one of the most "European sounding" recordings ever captured at a US studio.
It is really interesting to compare this session with the material recorded by the almost identical quintet (exchange Mraz with Heikki´s brother bassist Pekka SarmantoFind albums by this artist) just a few months later and released as Sarmanto´s second (first studio) album "CounterbalanceFind albums with this title" (also reissued on PorterFind albums on this label Records). With Aaltonen playing exclusively flute and Sarmanto switching to Fender Rhodes, this seems to be a completely different group, even if still pretty much in the Free vain. The European influence simply becomes overwhelming, changing the music dramatically. Even if the sound quality of this recording is not up to modern digital standards (the recording was most probably not intended to be commercially released), the musical content and the immense historical importance of this session make it an indispensible document of the highest value.
Kudos to Luke MoslingFind albums by this artist, the brave owner of Porter Records, for releasing this treasure and making it available to us, the music lovers, and saving a lost gem from extinction. Sarmanto´s followers worldwide will be obviously delighted to hear this, as should be every connoisseur of good music, especially those who follow the emergence of the modern European Jazz. Brilliant stuff!
Visitors' Comments
Dr. Rafael Augusto Lara Palmeros
One of the most impressive, extraordinary and wonderful work from real modern European Jazz.¡¡Very essential!!. More of five stars.
| | Updated: 29/09/2017Posted: | CD 1 Recommend To A Friend |
  | HEIKKI SARMANTO ~ EVERYTHING IS IT
PORTER 1514 (Barcode: 656605789521) ~ FINLAND ~ Jazz-Classical Fusion
Recorded: 1972 Released: 2011
"Everything Is ItFind albums with this title", recorded on September 13 & 14, 1972, was the fourth album released by Finnish pianist / composer Heikki SarmantoFind albums by this artist. Born June 22, 1939 Sarmanto was considered already a "veteran" of the modern Finnish Jazz scene at the time. A graduate of the Sibelius Academy in Helsinki, Sarmanto contributed his talents to multiple local ensembles active on the burgeoning Finnish Capital´s Jazz club scene and participated in several landmark recordings in the 1960s. His earliest recordings (1962) were with saxophonist / flautist Esa PethmanFind albums by this artist as a regular member of his group, culminating with the recording of "The Modern Sound Of FinlandFind albums with this title" (1964), which is considered as the first completely original modern Finnish Jazz album. In the following year Sarmanto recorded the album "For Friends And RelativesFind albums with this title" (1965) as a member of the Christian Schwindt – Otto DonnerFind albums by this artist quintet, also considered as an early milestone of Finnish Jazz.
In 1968 Sarmanto was the first Finn to be awarded a scholarship at the Berklee College of Music in Boston, which gave him a chance to get some formal Jazz education (the Jazz department of the Sibelius Academy would be established only in 1983, and of course Sarmanto would be appointed its first department head). Sarmanto used his time in Boston not only to expand his formal Jazz horizons, but also to mingle and play as much as he could on the local Jazz scene, which was quite active at the time. The Berklee students and the local musicians often gigged together and soon enough ensembles were formed.
Following a brief home visit in 1969, during which Sarmanto recorded his first album as a leader, a live sextet recording released as "Flowers In The WaterFind albums with this title" (recorded July 8, 1969) he returned to Boston to "wrap up" his Berklee affairs. During that period he formed a quintet, quite accidently, which is often the best way for things to happen, which played mostly Free Jazz based on the heritage of Albert AylerFind albums by this artist, Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist. The quintet recorded a session at a local studio, which was formally released on CD only 38 years later as "A Boston DateFind albums with this title" (recorded September 18, 1970, released 2008) on PorterFind albums on this label Records. The quintet consisted of Sarmanto on piano, another Finnish Giant, saxophonist / flautist Juhani AaltonenFind albums by this artist, who followed Sarmanto to Berklee but lasted only one semester (without a grant the finances were just against all odds), Czech bassists George MrazFind albums by this artist, who also arrived in Boston on a Berklee grant (together with compatriot pianist Jan HammerFind albums by this artist), escaping the brutal Warsaw Pact forces invasion of their homeland, following the brief "Spring of Prague" in 1969, the first major crack in the Berlin Wall. The remaining two musicians were guitarist Lance GundersonFind albums by this artist and drummer Craig HerndonFind albums by this artist, both Bostonians at the time. The quintet was nicknamed, half-jokingly, The Serious Music EnsembleFind albums by this artist, a name which would stick to several Sarmanto´s groups in the future, which featured the core of this quintet.
Following his graduation from Berklee Sarmanto returned to Finland, with Gunderson and Herndon following suit (they both decided to live in Finland for a while). Since Mraz opted to stay in the US and Aaltonen already returned to Finland earlier, Sarmanto had four members of his quintet in place. Mraz was replaced by Sarmanto´s brother, bassist Pekka SarmantoFind albums by this artist, and this new lineup recorded Sarmanto´s second (first studio) album "CounterbalanceFind albums with this title" (recorded June 8, 1971 - also reissued on Porter Records). A remarkable album, which features Aaltonen playing flute exclusively and Sarmanto switching to Fender Rhodes, and seems to be recorded by a completely different group, even if still pretty much in the Free Jazz vain. The European influence simply becomes overwhelming, changing the music dramatically.
Recorded just three months after "Counterbalance", "Like A FragonardFind albums with this title" (recorded September 14, 1971), the third album by Sarmanto, was the first giant step in Sarmanto´s exceptional musical journey. In contrast to his earlier recordings, which consisted of separate and unrelated musical themes, this is the first time Sarmanto, the composer, undertakes the task of producing a concept album, which consists of a series of compositions connected by one common idea. The result becomes a Jazz Mass, a novel idea, which Sarmanto will pursue again in the future with the extraordinary "New Hope Jazz MassFind albums with this title" (1979).
"Everything Is It", which followed a year later, was another giant step in the same direction, but on a grander scale in every direction. The ensemble is expanded into a Big Band; the music includes a fully developed suite in four parts, which lasts for over 28 minutes and two additional pieces, both lengthy as well (7 and 11 minutes); the scope of the compositions now amalgamates elements of Jazz, Folklore and Classical music.
In retrospect Sarmanto´s audacity and vision are truly prophetic, since such attempts to create cross-genre music would become commonplace only decades later. The Big Band assembled for this recording is a bona fide Who´s Who of Finnish Jazz at the time and includes the finest soloists, many of which were leaders of their own ensembles. Consisting of three trumpets, two trombones, six saxophones, piano, bass and two drummers (another bold decision by Sarmanto) the Big Band enables the composer a much wider scope of tonal expression, which of course he takes full advantage of. The vocal parts, or the libretto (in English), written by Diana GlassFind albums by this artist, is performed by a young and promising soprano from the Opera of Helsinki – Taru ValjakkaFind albums by this artist. The level of musicianship and individual improvisation is absolutely brilliant and is great evidence of how talented these musicians were. Considering the fact that this complex and challenging music was recorded in just two days emphasizes this fact as well.
This is European Jazz at its best, taking the essence of the Jazz spirit and combining it flawlessly with other musical sources to create a perfect amalgam. It remains untouched by the tides of time, a classic. Thanks to Porter Records for making this musical treasure available again!
Side Note
The above are my liner notes included on this album's artwork.
I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years.
The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.
| | Updated: 19/09/2018Posted: | CD 1 Mini-Sleeve Remastered Recommend To A Friend |
  | SHQ ~ [S+H]Q + FRIENDS
INDIES HAPPY TRAILS 731 (Barcode: 8595026673120) ~ CZECH REPUBLIC ~ Jazz
Recorded: 1964 - 1965 Released: 2016
This is the fourth of a series of eight reissue / archival albums presenting the recorded legacy of one of the Godfathers of Czechoslovak modern Jazz, vibraphonist / pianist / saxophonist / composer / bandleader Karel VelebnyFind albums by this artist and his SHQFind albums by this artist ensemble. All the music is beautifully remastered and the album comes with extensive liner notes, extremely well researched and full of discographical information, sadly only in Czech language (which works fine for me, but probably less so for other enthusiasts who also might be interested).
This album presents material captured during three recording sessions from November 1964. The eight tracks that were recorded during these sessions were released as the second SHQ LP, shortly after the release of the debut.
The SHQ lineup on these sessions included the basic quintet with Velebny, who played vibraphone and piano, tenor / baritone saxophonist / flautist Jan KonopasekFind albums by this artist, trumpeter Laco DecziFind albums by this artist, bassist Jan ArnetFind albums by this artist and drummer Laco TroppFind albums by this artist, which was extended by a plethora of other musicians to form lineups varying from a septet to a thirteen piece band, which included: guitarist Rudolf DasekFind albums by this artist, trombonist Zdenek PulecFind albums by this artist, bassist Jiri MrazFind albums by this artist (a.k.a. George MrazFind albums by this artist), East German (at the time) pianist Joachim KuhnFind albums by this artist and many others.
The bonus tracks include three rare recording from 1965 of a short-lived SHQ quartet lineup comprising of Velebny, Dasek, Mraz and drummer Milan MadarFind albums by this artist and one track recorded in 1964 by the quintet lineup above, all released on a Various Artist compilation LP or a SHQ compilation LP.
The music, similarly to the debut album, includes mostly American standards, with just two original compositions (one each by Dasek and Velebny), but this time the large ensemble arrangements take the music quite away from its Bebop origins, and shows more sophisticated approach to orchestration and harmonic structures, bringing back the music to its European base. The bonus tracks are in contrast mostly original and point towards future development of the SHQ identity.
As expected the performances are phenomenal and with the presence of the formidable guests the music shows a much wider scope of local Czechoslovak talent and beyond. In retrospect the list of the names is a sad indication of the tragic fate of Czechoslovak Jazz, which resulted in many of its finest musicians fleeing their homeland. For example both Konopasek and Mraz fled to US, Kuhn fled to West Germany to join his older brother Rolf KuhnFind albums by this artist and additional famous Czech musicians like Miroslav VitousFind albums by this artist, Jan HammerFind albums by this artist and others did the same, before the "Velvet Revolution" finally freed Czechoslovakia from the Socialist shackles.
For fans of European Jazz and its history, the entire series is an absolute must, and the fact that most of this music is available on CD for the first time makes it an absolute treasure. Absolutely brilliant!
My personal thanks to Jaromir KratochvilFind albums by this artist, the owner of Indies Happy TrailsFind albums on this label, for his friendship and the incredible job he is doing to keep this music alive!
Side Note
Since the 1950s Czechoslovakia had a highly developed Jazz scene, certainly in proportion to its population, which included many successful ensembles and even Big Bands, as well as Jazz clubs, festivals and publications, all this in spite of state censorship and political limitations. The similar situation existed since the 1960s as far as Rock (including Progressive Rock and Jazz-Rock Fusion) was concerned, resulting in many excellent, interesting and innovative ensembles.
The music was relatively well documented by the three state owned record labels: SupraphonFind albums on this label (founded in 1927), PantonFind albums on this label (founded in 1968) and OpusFind albums on this label (founded in 1971 and based in Bratislava, created on the base of Slovak division of Supraphon). Following the "Velvet Revolution" in 1989, the state owned record labels were privatized, with Supraphon dominating the local market.
However, Supraphon was quite reluctant as far as exploring its vast back catalogue is concerned, and this is where the small independent Indies Happy TrailsFind albums on this label Records, a reissue label dedicated to the preservation of the recorded legacy of Czechoslovak music, owned and run by the devoted enthusiast / historian Jaromir KratochvilFind albums by this artist, founded in 2007, comes in. Over the years the label released a plethora of brilliant music, reissuing long deleted LPs and extensively exploring the archives in search of bonus material.
The quest of Indies Happy Trails is similar to what the GADFind albums on this label Records label, run by Michal WilczynskiFind albums by this artist, is doing for Polish music, with similar consistency and praiseworthy dedication.
| | Updated: 26/02/2020Posted: 26/02/2020 | CD 1 Remastered Bonus Tracks Recommend To A Friend |
  | VARIOUS ARTISTS ~ PIANO JAZZ IN CZECHOSLOVAKIA
JAZZHUS 7643 (Barcode: 4714816786435) ~ CZECHOSLOVAKIA ~ Jazz
Recorded: 1965 - 1967 Released: 2012
This is a reissue / remaster of an album originally released by the Czechoslovak SupraphonFind albums on this label label in 1968. It presents six Czech and Slovak pianists, who shaped the Czechoslovak Jazz scene in the 1960s: Jan HammerFind albums by this artist (before he left for the US), Ladislav GerhardtFind albums by this artist, Rudolf RoklFind albums by this artist, Josef BlahaFind albums by this artist, Karel RuzickaFind albums by this artist and Ludek SvabenskyFind albums by this artist. Each of them presents two tracks, recorded in a classic piano trio format, except Rokl, who presents just one track (together eleven tracks). The Ruzicka tracks are recorded in a quartet setting. The music is a mixture of original compositions and Jazz standards. All the tracks were recorded in 1967, except the Rokl track, recorded in 1965. The original album was produced and includes liner notes by my dear late Friend Antonin MatznerFind albums by this artist. The remastered edition offers brilliant sound quality, considering the music was recorded almost sixty years ago.
The music is a splendid document of the incredibly high level of the Eastern European Jazz scene behind the Iron Curtain, at that time. Czechoslovak Jazz musicians were producing brilliant albums, which still sound incredible today and every bit as advanced musically as anything happening on the Western side of Europe, being an integral part of the exploding European Jazz emancipation. The musicians featured here were to produce many more excellent recordings in the future as leaders or members of other ensembles.
Overall, this is a brilliant time capsule, which offers a unique glimpse on the Czechoslovak Jazz scene at the time. Considering that these tracks were recorded spatially for this compilation, this album is a must for collectors of East European Jazz albums and of course Jazz piano trio lovers :)
| | Updated: 14/12/2024Posted: 14/12/2024 | CD 1 Mini-Sleeve Remastered Recommend To A Friend |
  | VARIOUS ARTISTS ~ POLISH RADIO JAZZ ARCHIVES VOL.31
POLSKIE RADIO 2076 (Barcode: 5907812244149) ~ POLAND ~ Jazz
Recorded: 1966 Released: 2018
This is the thirty-first installment in the series of releases initiated by the Polish Radio, which presents archive Jazz recordings from the radio vaults. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only available additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venues, including the annual Jazz Jamboree Festival and many other festivals as well.
The tracks presented here were recorded live in October 1966 during the ninth Jazz Jamboree Festival in Warsaw and are the third volume of a collection of tracks from that event.
The first four tracks present the American violinist / vocalist Stuff SmithFind albums by this artist, accompanied by an ad hoc trio which included Czech (at that time) pianist Jan HammerFind albums by this artist, Swedish bassist Kurt LindgrenFind albums by this artist and Italian drummer Franco ManzecchiFind albums by this artist. The quartet performs four standards and the entire set is rather unimpressive to say the least. Smith died shortly after this appearance and these ware among his last recordings.
The next track presents a quartet led by Swedish trombonist Eje ThelinFind albums by this artist with French saxophonist Barney WilenFind albums by this artist (mistakenly listed as Wilen Barney), Swedish bassist Palle DanielssonFind albums by this artist (misspelled as Danielsen) and American drummer Billie BrooksFind albums by this artist. The quartet performs one lengthy (almost half an hour long) just about entirely improvised piece of Free Jazz, which at the time was considered quite Avant-Garde, but portrays the rapid development of European Jazz at the time, catching up with the Free Jazz developments in the US.
The next track presents a quartet co-led by two USSR Jazz musicians: guitarist Nicolai GrominFind albums by this artist and saxophonist Georgy GaranianFind albums by this artist, with bassist Adolf SatanowskiFind albums by this artist and drummer Aleksander GoretkinFind albums by this artist (all the Russian names are misspelled). The quartet performs one original composition by Gromin, kept in the mainstream Jazz idiom.
The next and last and most interesting track presents a Polish / Czech quintet comprising of trumpeter Tomasz StankoFind albums by this artist, saxophonist Jan Ptaszyn WroblewskiFind albums by this artist, pianist Jan Hammer, bassist Jacek BednarekFind albums by this artist and drummer Grzegorz GierlowskiFind albums by this artist. The quintet performs one original composition by Stanko, brilliant and typical of the era, which is an absolute cherry on top of the entire album and reflects the strength of the Polish Jazz scene at the time.
The beautifully restored sound quality is excellent and the warm ambience of the analog recording is a true joy. As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes / booklet, which should convey the circumstances at which this music was recorded and its importance to the development of Jazz in Poland. Nevertheless this is an absolutely essential piece of Jazz history which every Jazz fan will surely consider an absolute must.
| | Updated: 12/04/2019Posted: 01/05/2018 | CD 1 Digipak Remastered Recommend To A Friend |
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