Record Reviews
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  | JULIE DRISCOLL / BRIAN AUGER / TRINITY ~ LIVE ON AIR 1967-68
LONDON CALLING 5031 (Barcode: 5053792503117) ~ UK ~ Jazz-Pop Fusion
Recorded: 1967 - 1968 Released: 2019
This is an archival release of TV and live club performances by the legendary British vocalist Julie DriscollFind albums by this artist and keyboardist / composer Brian AugerFind albums by this artist and his TrinityFind albums by this artist, which were at the peak of their commercial success when these recordings were made. The Trinity lineup changed several times in this period and included guitarists Gary BoyleFind albums by this artist and Vic BriggsFind albums by this artist, bassists Roger SuttonFind albums by this artist, Rick LairdFind albums by this artist and Dave AmbroseFind albums by this artist and drummers Clive ThackerFind albums by this artist, Micky WallerFind albums by this artist and Clem CattiniFind albums by this artist. The album presents twelve tracks recorded in UK and France, which include several versions of the same songs, overall seven songs from the repertoire of Driscoll and Auger albums released at the time. The quality of these historic recording varies but overall is good enough to be listened to and enjoyed in full.
Auger is of course one of the forefathers of Jazz-Rock Fusion and his Hammond performances are second to none to this very day. Deeply rooted in Jazz, Auger managed to create a wonderful amalgam of Jazz / Groove / Soul / Rock, which proved be as popular at the time as the most commercial recordings. He is still active today, five decades later.
Driscoll was one of the most idiosyncratic British Pop stars of all times and her performances in the late 1960s stand proudly side by side by the most important female Rock vocalist of the era. She later married the British Avant-Garde pianist / composer Keith Tippett and changed her vocal style into innovative Avant-Garde vocal Jazz explorations. She is also still active today, five decades later. One of the tracks on this album offers a recording of Driscoll supported by a large orchestra, which is absolutely unique in her discography.
Considering the fact that the recorded legacy of Driscoll, Auger and the Trinity is relatively limited, every scrap of recorded music featuring their unique talents is invaluable.
Side Note
Obiterdictum Ltd, a company based in Cyprus (oh well you know the story… copyright laws and legal issues) releases mostly live recorded radio broadcasts from the 1960s on and offers an amazing source of music which was never officially released by some of the best Classic Rock and Jazz artists. The catalogue offers five hundred releases, which is an absolute treasure chest of music history, often appearing for the first time.
Although the sound quality and sometimes also music quality range from absolutely brilliant to pretty poor, most of the material is surely listenable, especially after being remastered recently, and more importantly offers music which is not available elsewhere.
The company releases the albums under several sub-labels: Air CutsFind albums on this label, EchoesFind albums on this label, Hi HatFind albums on this label, HotspurFind albums on this label, InterferenceFind albums on this label, KeyholeFind albums on this label, KlondikeFind albums on this label, Live On VinylFind albums on this label, London CallingFind albums on this label, OrbitFind albums on this label, Rox VoxFind albums on this label and Sound StageFind albums on this label. There is no ironclad logic as to what material appears on which label, except perhaps some internal considerations by the Obiterdictum owners.
Approach with caution, but keep in mind that some of these releases are absolutely brilliant!
| | Updated: 27/07/2019Posted: 27/07/2019 | CD 1 Digipak Remastered Recommend To A Friend |
  | JOE HARRIOTT / JOHN MAYER ~ INDO-JAZZ SUITE
RHINO 081227960148 (Barcode: 081227960148) ~ UK ~ Jazz-World Fusion
Recorded: 1966 Released: 2013
This is a reissue of one of the most groundbreaking and revolutionary British Jazz albums, a debut recording by the ensemble that comprised of Jazz and Classical Indian Music players, which resulted in the birth of Jazz-World Fusion. The Jazz players, led by legendary saxophonist / composer Joe HarriottFind albums by this artist, a pioneer of British Free Jazz and again here of the British World-Jazz Fusion, included also trumpeter Eddie BlairFind albums by this artist (although most sources say Kenny WheelerFind albums by this artist, but I have the original LP), pianist Pat SmytheFind albums by this artist, bassist Rick LairdFind albums by this artist (although most sources say Coleridge GoodeFind albums by this artist, but I have the original LP) and drummer Allan GanleyFind albums by this artist. The Indian players included violinist / harpsichord player / composer John MayerFind albums by this artist, sitar player Diwan MotiharFind albums by this artist, tambura player Chandrahas PaigankarFind albums by this artist and tabla player Keshav SatheFind albums by this artist. The double quintet (or tentet) is completed by Classical flautist Chris TaylorFind albums by this artist. Together the ensemble performs four original compositions, all by Mayer.
I have already written extensively about this music so I´ll only reiterate that it is completely unique, insanely ahead of its time and heroically pioneering, combining two idioms that seemed to be completely separated from each other. Thanks to Mayer´s superb compositions and his understanding of European music, he was able to amalgamate the Jazz improvisations and the Indian ragas and other traditional forms, despite the disparity in melody, harmony and above all rhythmic patterns between these two idioms. The result is simply divine and honestly, despite many attempts to replicate this amalgam by other musicians over the time, nothing sounds as natural, elegant and aesthetically perfect as this music.
It is worth to ponder why this seemingly impossible blend worked out so well; the answer of course requires the understanding of the cultural and social atmosphere that existed in Britain in the mid-1960s, but especially so in London, which became the cultural center of the world with musicians from the British Commonwealth flooding the London scene and bringing with them their own musical traditions: Caribbean, Indian, African and others. All these cultures were embraced and absorbed without reservations of phobias, a natural, voluntary multiculti music being created in the process in Pop, Rock and Jazz. The music on this album and the further recordings by the [AJoe Harriott and John Mayer Double Quintet} are a wonderful example of that brief, but enchanted period of the British Music history.
This album is an absolutely essential recorded document of the development of British and later European Jazz, which deserves to be listened to and studied by every music student in the world. This is music of everlasting value and its message of human tolerance, acceptance and unity is a beacon of hope, especially in the Dark Age we are living in now.
| | Updated: 20/05/2016Posted: 16/05/2016 | CD 1 Essential 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 |
  | 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 |
  | ANNIE ROSS ~ ME AND MY BABY – AN EVENING WITH ANNIE ROSS
VOCALION 8451 (Barcode: 765387845124) ~ UK ~ Jazz-Rock Fusion
Recorded: 1971 Released: 2009
British singer Annie RossFind albums by this artist has spent many years in the USA, where she came to fame as one of the most important and innovative Jazz vocalists and is mostly known for her part in the vocal trio Lambert, Hendricks & RossFind albums by this artist, which revolutionized the group vocal approach in Jazz. Upon her return to the UK, Ross continued to record, perform and even acted in the movies. This album is a document of her one-women show at the Hampstead Theatre, where she performed a vide range of Jazz, Bossa Nova and even Progressive Rock (yes! She sings a King CrimsonFind albums by this artist song as well) material, accompanied by a wonderful band, which included keyboardist Dave MacRaeFind albums by this artist (another Prog connection, as we was at the time a member of Matching MoleFind albums by this artist), guitarist Gordon EdwardsFind albums by this artist, bassist Rick LairdFind albums by this artist (Mahavishnu OrchestraFind albums by this artist) and drummer Dave MontgomeryFind albums by this artist. This was 1971 and anything was possible! Of course this recording is very different from what most Annie Ross fans would expect to hear from her, and therefore quite special in every way. I have no idea how many people are even aware of this rare album, but surely many will be interested to check it out!
| | | CD 1 Remastered Recommend To A Friend |
  | RONNIE SCOTT QUARTET ~ BBC JAZZ CLUB 1964-1966
RHYTHM AND BLUES 063 (Barcode: 5060331752219) ~ UK ~ Jazz
Recorded: 1964 - 1966 Released: 2020
This is an archival album by the British Jazz quartet led by legendary saxophonist Ronnie ScottFind albums by this artist, known worldwide as the co-owner / co-founder (with Pete KingFind albums by this artist) of London’s most iconic Jazz Club, established in 1959 and located first at 39 Gerrard Street and in 1965 moved to the nearby current location (yes the club is still functional today) at 47 Frith Street. In all those years the Ronnie Scott’s Jazz Club became the de facto European Mecca not only for British Jazz, but for top Jazz Artists from all over the world.
The album presents three sessions featuring the quartet: three tracks from 1964 (with an announcement by Scott) with pianist Stan TraceyFind albums by this artist, bassist Malcolm CecilFind albums by this artist and drummer Jackie DouganFind albums by this artist; three tracks from 1965 with Tracey, bassist Rick LairdFind albums by this artist and drummer Ronnie StephensonFind albums by this artist; and finally five tracks from 1966 (with announcements by Humphrey LittletonFind albums by this artist) with Tracey, bassist Freddy LoganFind albums by this artist and drummer Bill EydenFind albums by this artist with great American vocalist Mark MurphyFind albums by this artist (resident at that time in UK) on two tracks, accompanied only by the piano trio.
The music is all mainstream Jazz and all the tracks are standards, but it shows Scott as an excellent player with a personal delivery and a keen eye (well ear) for the musicians he selected for the quartet, which were definitely some of the finest players around at the time. Tracey of course was also a full-fledged composer and leader of his own, and was the house pianist at Ronnie’s Jazz Club for over seven years (1960-1967), definitely not by chance.
Although Scott himself was not swept by the charms of the British Jazz revolution, which created a new sound and approach to the music, and remained faithful to the American (mostly Bebop) tradition, he was very open-minded as a person and respected the young and experimenting generation. He offered the club at the old location for as long as the lease lasted, which was named the “Old Place”, to be used by young musicians to rehearse and perform and the “house musician” position was offered to such distinguished modernist as Tony OxleyFind albums by this artist.
Overall this album is a nice reminder of Scott – the saxophonist and is a valuable addition to his recorded legacy, especially since this material is available here for the first time and offers quite reasonable sound quality.
| | Updated: 10/07/2021Posted: 10/07/2021 | CD 1 Recommend To A Friend |
  | STAN TRACEY ~ LAUGHIN` AND SCRATCHIN`
JAZZ HOUSE 608 (Barcode: 751848670824) ~ UK ~ Jazz
Recorded: 1965 Released: 1997
This is an album which presents archival / informal recordings by the Godfather of modern British Jazz, pianist / composer Stan TraceyFind albums by this artist, recorded live in a trio format at the famous Ronnie Scott´s Club in London, featuring bassist Rick LairdFind albums by this artist (later of Mahavishnu OrchestraFind albums by this artist fame) and drummers Ronnie StephensonFind albums by this artist or Bill EydenFind albums by this artist. The trio performs seven pieces, two of which are originals by Tracey and five are standards.
Between 1959 and 1965 Tracey and his trio served as the house band at the Ronnie Scott´s Club (the original one at Gerrard Street) and accompanied scores of visiting musicians, mostly from the US, such as Johnny GriffinFind albums by this artist, Sonny RollinsFind albums by this artist, Ben WebsterFind albums by this artist, Stan GetzFind albums by this artist, Wes MontgomeryFind albums by this artist, Roland KirkFind albums by this artist and many, many more. Playing with these Giants obviously served as a wonderful opportunity for Tracey to polish his chops, but more importantly to develop his own style as a player and composer, which differed from the standard American Bebop approach.
The selections included on this album are all pretty long in duration and as such are wonderful documents of Tracey´s idiosyncrasies as a piano player, with his quite unique approach to the instrument, similar in some ways to what Thelonious MonkFind albums by this artist was doing. Tracey plays mostly chords, vamping and boogieing all over the keyboard, only occasionally playing out the melody notes. His interpretation of the Monk tune present here is simply amazing.
The rhythm section bravely keeps up with the governor, standing with him shoulder to shoulder even during the unexpected twists and turns he takes along the way. Although the sound quality of this album is far from ideal, the music is absolutely stunning and more than compensates for the technical limitations.
Albums like this are precious pieces of Jazz history captured for eternity, which are still valid today and are definitely worth listening to, especially by the young generation, which missed it in real time. Great stuff!
| | Updated: 24/03/2016Posted: 24/03/2016 | CD 1 Recommend To A Friend |
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