Wednesday, February 01, 2012

Murphy's Law - Urban Renewal 1975






Well, this is why I do this, finding a treasure of a record that has apparently been completely lost to time...

Here's a really special treat and discovery for all of you out there, a fabulously well-written rock album with progressive touches. We remember the beautiful and generous Ipanema Isabel discovered this group with her post of Murphy and Salt and their huge hit Last Illusion, a song I've now sung something like a million times: "friendship is the only beast that's never been known to bite until it's dead" (cf. here: http://prognotfrog.blogspot.com/2010/11/jf-murphy-salt-last-illusion-usa-1973.html)
Well, it turns out that songwriter Murphy actually put out 5 albums in total, and this is his last big record, a swan song featuring what sounds like an artist at the peak of his powers.

First off, we can't move on without mentioning the incredible photos of this band, in their full-on neanderthal seventies attire and facial hair. The latest DNA studies do confirm that homo sapiens interbred with the neanderthals some 60,000-20,000 years ago (mostly in Europe), with some 4-5 percent of our DNA being actually from them. Interestingly, our species also interbred with an obscure group, another distinct species of hominid, called the Denisovans from central Asia and Siberia. Perhaps this is the final explanation for the continued existence of mullets. Anyways, I defy anyone to look at the back cover of the record without laughing out loud-- it's impossible. I think Murphy is the one with the lambchops. Notice how the others are mostly wearing tanktops ("wifebeaters")-- how attractive! And why is the guy with the potbelly and baseball bat standing in front? Is he standing guard over some philly steak sandwiches? I defer again to my wife's comment which you've heard before, "they were all stoned back then..."

It turns out the music on this record is actually very good, although the first comment I heard from my wife was, "Is that a cow mooing on that song?"
Yes, we're talking about the seventies here, and of course, there will be a cow mooing on one song. Note also the last song on side 1: "beer barrel polka" I think it's safe to pass this one by without even a listen, of course what we have here is the band members drunk and stoned attempting to do a polka while falling over each other-- pretty much de rigueur for this time period.

I've said this so many times before, it boggles the mind that satellite radio and FM radio play the same oldies over and over again when there are songs equally good and undiscovered to hear-- what's wrong with these people, they never want to hear anything new? Hours go by before I ever hear anything I haven't heard before. But here we have several really tuneful, perfectly executed rock songs with a lot of dynamism and enough original hooks and chord changes to make it eminently interesting and constantly new with some left over to hang up 4-5 jean jackets. And all of this barrels on with the force and energy of J F Murphy's fantastic singing.

Pay attention to the first track on side B because it's the progressive instrumental masterpiece, showing how good an arranger and writer this guy was ("Doze Jazz Guys"). The last track on the album is Leonard Bernstein's West Side Story in a medley, plus Gershwin's Rhapsody thrown in for good measure, but really I would say he does a pretty good job of it-- it's not quite as good as Stern Combo Messien's Rhapsody though (on their live album). Of course, SCM is an all-out prog band. Murphy is responsible for all the writing and arranging, as far as I can see.

I would like also to hear from the man himself, we've heard from many artists on this blog, mostly complimentary comments relating to their pride in their work resurfacing. I personally think J F Murphy is a great, great songwriter, who should stand along the other great songwriters rock in the seventies produced, like Jackson Browne, etc. His gruff baritone voice in particular really is perfect for this style. And what is he doing now I wonder?

CREDITS:
Bass – Russell Warmolts
Design – Earl Klasky
Drums – John Reilly
Engineer – Jack Sherdel
Guitar, Trombone, Flute, Vocals – Joe Parrino
Harmonica, Chimes, Other [Vibes], Percussion – George Christ
Producer – Jimmy Jenner
Saxophone, Flute, Clarinet, Bagpipes – Ron Allard
Vocals, Keyboards, Twelve-string Guitar, Rhythm Guitar – J.F. Murphy

TRACKS:
A1 Bagpipes
A2 Mad Monk
A3 Those Magnificent Clowns
A4 Bushwackers
A5 The Seabird & The Flying Dutchman
A6 Almost A Take (Beer Barrel Polka)
B1 Doze Jazz Guys
B2 I'd Rather Be
B3 Somebody To Believe In
B4 Usin' You
B5 Urban Renewal (Medley From West Side Story)

Song samples and links will be up shortly.

Tuesday, January 31, 2012

Birdland "Darkness Of Light" (1980,former-YUGO,jazz rock)

Birdland "Darkness Of Light" (1980,former-YUGO,jazz rock)

You can read the information of this band  here.
This first album  is the masterpiece as well as the 2nd album.
I will UL only WAV(LOSSLESS) file because mp3 is ULed  here
The mp3  file  has also good sound quality .








track1

ふるさとのなつかしい民謡 Furusato no natsukashii minyoh (1970,jazz rock,Japan ,omnibus)

ふるさとのなつかしい民謡 Furusato no natsukashii minyoh (1970,jazz rock,Japan ,omnibus)

This is a LP that was released as a series for the instrumental easy listening music.The series were released   at leaset about 15 LPs from 1970 to 1971 in Japan as mail order only ,not sold in the shops at all.
This album is the tenth album of the series and all of the tracks are Japanese traditional music called 民謡 "Minyoh".Some  sing,others dance to the song.But in this album ,Minyoh are cooked as jazz rock.
Very delicious and cool !!!!!

side A
1. そうらん節 Sohran Bushi  1:01
2. 北海盆唄 Hokkai Bon Uta  1:45
3. 斉太郎節 Saitara Bushi  1:40
4. 花笠踊り Hanagasa Odori  1:20
5. 相馬盆唄 Sohma Bon Uta  2:09
6. 草津節 Kusatsu Bushi  1:31
7. 小諸馬子唄 Komoro Mago Uta   2:07

side B
1. 佐渡おけさ Sado Okesa  2:21
2. 串本節 Kushimoto Bushi  1:39
3. 安来節 Yasugi Bushi  2:23
4. よさこい節 Yosakoi Bushi  1:41
5. 黒田節 Kuroda Bushi  2:10
6. おてもやん Otemoyan  2:04

played  by...
ジミー竹内とザ・エキサイターズ Jimmy Takeuchi & The Exciters
A-1,6,B-2,6
中島安則とラテン・リズム・キングス Yasunori Nakajima & Latin Rhythm Kings
A-2,4,5
中村八大とニューサウンズ・オーケストラ Hachidai Nakamura & Newsounds Orchestra
A-3,7,B-1,4
原信夫とシャープス・アンド・フラッツ Nobuo Hara & Sharps and  Flats
B-4,5


track9

Saturday, January 28, 2012

Gold - "Night Ride" {USA} [1979]

Killer little known private press with all original songs written by lead singer/guitarist Bob Wamnes. Great driving hard rock/blues rock/classic rock with some good fuzz guitar and rough vocals thoughout. Sort of a garage/bar band feel. Recorded in Florida. Sounds more early to mid 70's. Label - Sun Song 7783 - Florida private press rock LP. Interesting stuff, ranges from straight-up hardrock to a couple laid-back numbers to the prog / jazzrock style "New York, New York". Somewhat lo-fi recording (done on a Teac 3340S, according to the back cover) - http://www.popsike.com/



01 Boogie
02 Rock and Roll
03 Everlasting End
04 Love City
05 Night Ride
06 Ain't nobody
07 Hard lovin woman
08 You (know my secrets)
09 New York New York
10 Til you go

Thanks to Osurec :o)

Side A...
Side B...

link in comments...

Thursday, January 26, 2012

Jun Fukamachi "Alien Majyu Kyo" (1985,prog fusion,Japan)

Jun Fukamachi "Alien Majyu Kyo" (1985,prog fusion,Japan)

Alian Majyu Kyo (エイリアン魔獣境) was very famous SF novel in Japan at that time.
This album is a imaginary  original soud track of the novel.
It has never been released as CD format  since  the first release in 1985.
I believe it is a forgotten Japanese prog fusion gem.
Enjoy !!!!!


All composed and arranged by Jun Fukamachi

personel
Jun Fukamachi 深町純 ....key
Hideo Yamaki 山木秀夫....ds  (ex,KAZUMI BAND、SHOGUN、近藤等則IMA )
Yasuo Tomikura 富倉安生.....eb
Akira Wada 和田アキラ .....eg  (Prism)
All of the members are from  a Japanese fusion band "Keep"

track list

エイリアン魔獣境 (side A)
1. Requiem  7:29
2. Treasure Hunter  4:07
3. The Dinosaur Age   4:41
4. Twilight Zone   2:55

エイリアン魔界航路(side B)
1.Neptune  4:50
2. The Legend of the Ark  4:34
3. Lima 3:20
4. Wandering in the World of Spirits  6:16

track1

Tuesday, January 24, 2012

Messengers - First Message (Germany,1975)



"We're not trying to start a revolution
With words we may say,
We're not trying to practise prostitution
With music that we play--
We just enjoy what we do,
Hope you enjoy it too--"

This is the forward to the record written by the band. Great, huh?

Some time ago we shared the second album from this huge german band (Children of Tomorrow), the highlights of which were the Stravinsky homage, Sacrewinsky, and the Colony Suite. This is their debut effort, less adventurous and more soul-rock. Most songs are written by the amazing Bernhard Jobski, although the band has about a dozen members. Note that this is the same man who is responsible for the masterpiece one-off symphonic record Einstein in Eden from 1981.

A good point of comparison for this record would be Morse Code from Canada, in their earlier days, or Dr. Music. The simplicity of the songs is surprising considering the education of Jobski. Vocals are by Antonia Maas, who sounds sometimes like a german Mary Hopkin. To me, it's a bit annoying and distracting that a cover version of Stevie Wonder's All is fair in love appears as the first song on side 2. The next song Ballerina is my definition of a throwaway song with no redeeming qualities. If this was a person, it would be a dangerous offender on death row that lost all his appeals and is due to be electrocuted tomorrow and hopefully, the chair will malfunction and there will be hours of smoke. Subsequently "Actions" demonstrates a few progressive soul moves. Note the unfortunate title "Gang bang" (another Jobski composition, a bluesy rocker), and listen carefully to the lyrics, "Being the only girl in a rocknroll band... she never wants a f---ing gang bang." No kidding?
The last track is recorded live in Berlin at the "Treibhaus", very reminiscent of Chicago, standard american horn-rock.
Otherwise, the songs are pretty accessible and enjoyable.

What led them to abandon the fm-radio tunes for a full-out progressive album their next time round? I'm guessing the 'time was right' in Germany, the late seventies were without a doubt a heyday for prog in that country although it had been abandoned elsewhere. How sad that this heyday only lasted a few short years before being swept away by synthesizers, new wave and punk. Yet in that brief shining moment we have uncountable treasures still to explore... So stay tuned in the next couple of weeks...

Members:
Antonia Maas (lead vocals), Joe Körner (trombone, [tenor horn] saxhorn, vocals), Peter Förster (soprano saxophone, alto saxophone, tenor saxophone, clarinet, flute), Bernhard Jobski (trumpet, flugelhorn, piccolo, backing vocals), Thomas "Doc" Neviger (trumpet, flugelhorn, percussion, vocals), Peter Tüllmann (trumpet, flugelhorn, percussion, backing vocals), Nono (keyboards, backing vocals), Michael Gechter (guitar, violin, vocals), Thomas "Keule" Schiedel (bass, piano, 12-string guitar), Olaf "Vicking" Gustafsson (drums, percussion, backing vocals), Stefan Holm Jr. (percussion, congas), Erling Jensen (vocals), Jürgen Scheele (trumpet, flugelhorn), Thomas Glanz (keyboards), Earl Stanley Bostic (bass), Frank Lüdeke (woodwinds)

Actions:




Gangbang:

Saturday, January 21, 2012

Natdamperen - Boogieman eats "frikadeller" 1976




Continuing on with Natdamperen, this from 1976 carries on with the long drawn out jazz jam sessions a la From, here in particular the band is performing live, you can hear a bit of applause and the sound is far from perfect compared to the previous studio recording (even taking into account some warps on the first record and scratches on this rip). It's all instrumental, and very little of the simple kebnekajse folk-jazz appears, except in a reprise of the song pa gaden from the first album and the last song, by Nordenhof (who is the pianist). All tracks are written by saxophonist Ole Kuhl, except where I've indicated others, and the live concert took place at the Peoples House in Arhus on June 3 and Aug. 6, 1976. Note that their last album, Visions, went on to more accessible and listener-friendly fuzak, with tighter songs and simpler melodies.

And the cover? Apparently a menhir or dolmen with a face, with the band name written in sci-fi font, what a crazy drawing! This time by Teddy Sorensen.

Now stay tuned to our blog because in the next few weeks in addition to what I've already mentioned we'll be killing time with more private pressed progressive new wave as well as some really tasty and salty early rock, still geologically mining the past decades for those beautiful lost gems.

Davistime:



Pa gaden:

Tuesday, January 17, 2012

April Orchestra presente Michel Magne Vol. 21 (1977)




I got this record in honour of all the wonderful library sites that share April Orchestra and all the other musicians and composers who made this particular genre. Michel Magne is well known in progressive circles of course as creator of albums La Terre and L'eau. I presume it's the same person as here. Mostly he was involved in film scores, I noticed he is credited with "Barbarella" which is one movie I think everyone should see as a taste of the craziness of sixties culture and film.

This record is mostly orchestral works that sound very much like soundtrack pieces. The first side is co-composed with Pierre Delanoe while the second side is only Magne. B is a little bit more adventurous and experimental with some highly enjoyable compositions, e.g. the toccata. On the fourth and fifth tracks some great choral singing is featured. The second last track, Butterflies of crystal moons in two parts is a particular standout with its Messiaen-like composition.

If this was shared before in some other blog I apologize, especially to myself since this makes purchasing the vinyl a waste of money for me.

In any case this rip goes out to the folks who found and shared so many incredible library records on their blogs. It never ceases to amaze me how these european composers spent so much time and effort writing music for these records destined to be shelved.

A1 Chanson Pour Pleurer A Deux 4:06
A2 Les Amoureux De Californie 4:37
A3 Le Village Englouti 3:53
A4 Le Pays De L'Amour 4:00
A5 La Lettre Et La Réponse 4:30
A6 Noël Sans Cheminée 2:56
B1 Galop En Fusion 1:17
B2 Cuivres En Chasse 1:08
B3 Toccata Délices Et Orgues 2:36
B4 Délivrance 2:06
B5 Coeur Fêlé 1:05
B6 Nocturne Des Profondeurs 2:06
B7 Magnamagma 0:45
B8 Papillons Des Lunes De Cristal Part 1 2:56
B9 Papillons Des Lunes De Cristal Part 2 1:20
B10 Papillons Des Matins Endormis


Toccata:


Papillons des lunes de cristal:



Coming soon: completions of some rare private pressings from Germania and another lost album from one of the great masters of progressive and jazz from that great and amazing musical country.

Wednesday, January 11, 2012

Yasuo Inada & Bemi Family "Kankaku Shikou"(Japan,prog,1974)

Yasuo Inada & Bemi Family "Kankaku Shikou"(Japan,prog,1974)

About 1973,A.R.P(5 members) played in Tokyo,Japan.They played funk music at that time .
Yasuo Inada was a member of the band.
In 1974,the band disbanded and re-unioned.It was called "ARP",not "A.R.P".
The members were
稲田保雄 Yasuo Inada....Key
福田郁次郎 Ikujirou Fukuda....B
福田幾太郎 Ikutarou Fukuda....G
藤井章司 Shouji Fujii....Ds

The band released the only single "サンシャイン"(means ..Sunshine)
but surprisingly,the name of the band was changed into "Yasuo Inada & Bemi Family" on the cover of the single.So the three members except Inada got angry very much .The three members didn't know about the changing of the band's name.
After that ,the member was changed partly.

稲田保雄....Key
藤井章司....Ds
志村昭三 Shouzou Shimura....E.G

By these three members,"感覚思考" (kankaku shikou) was recorded in 1974.
After that,this band changed into "Bemi Family" but no studio recording at all ... one live track in a compilation album(in 1977) was left.It seems that it was a just pop rock .

side A
01 original No.1 (from Claude Debussy)....19:22
side B
02 original No.2 (from Beethoven).....10:33
03 original No.3 (from Beethoven).....6:07

We can enjoy this mp3 file thanks to my friend who shared this mega rare gem..
Enjoy !!!


More information
here thanks to Tom


track 1

Tuesday, January 10, 2012

Natdamperen 1975 (Denmark)

Think Kebnekajse hybridized with Swedish Ibis or German From and you've got the idea here. Half the instrumental tracks are rocked scandinavian folk songs and half are drawn-out jazzy jams, mostly in the key of A. Unfortunately the crosspollination procedure is not quite seamless since the tracks simply alternate, with the folk songs being tracks 1, 3, 6, and 8, and the jams being 2, 4, 5, and 7. Not much info that I can find about this band, who went on to produce two more albums. Let's hope the next double-lp turns up soon ;-).

All songs are written by the sax player, Ole Kuhl.

The cover is a very odd black and white drawing, by one Mogeus Gissel, consisting of flying figures with wings and flying hearts drawn as if in the shape of crumpled pieces of paper. Also there are saxophones, waves, lightbulbs, airplanes, and oil derricks-- kinda odd, huh?

Track 1 Lille:



Track 5 Pa Gaden:

Friday, January 06, 2012

Orexis Communication 1980

Happy New Year to everyone out there in the blogosphere, and I promise we will be exploring tons of interesting stuff in the next little while, unearthing lost audiological treasures from the 60s, 70s, and 80s, mining this thick vein of apparently inexhaustible ultra-precious musical metals... with no end in sight, it looks like there is still more to discover for sure.

Our last installment in the Orexis file before we move on to completion of other bands, this one doesn't disappoint. In fact this entry is one of the best, without a doubt. Here's a band / artist who maintained incredibly high musical and imaginative standards through 5 albums -- Orexis, Inspiration, Reflection, Communication, and Georg Lawall Live, without really letting up at all the progressive spirit (similar to Alcatraz). This last album takes us out to 1980, when the world had pretty much given up on progressive music, but here nestled in Deutschland we still see the eagerness to fuse together every strand of human audiological experimentation: folk, classical, jazz, and blazing-fast virtuoso playing. The one element missing is the electric guitar. I cannot believe how sustained the compositions are and how unfair it is that Georg Lawall's work is lost to posterity and I hope the artists see it the way I do -- to share this immense priceless treasure from the past with as many people as possible.

I was excited to see the remarkable Budi Siebert playing saxes and flutes on this record along with Georg Lawall and the rhythm section of Lauer and Koinzer. What an incredible, amazing musician Siebert was / is and you can hear it in every note he plays on this set. Everything he touched turned to gold in this period of time.

We start with a quick uptempo ethno-folk jazz number called "Six o'rock." Here, use of the whole tones throughout make for a very interesting dreamy sound despite the uptempo. Thereafter a very beautiful evocative flute song called "Septemberly" really showcases our man Budi. Despite the old school jazz title this is a very progressive composed piece with odd changes.

The last piece on side 1 is another beautiful acoustic composition with an odd title (as seems the case throughout this record); it weaves together all kinds of gorgeous strands before kind of drifting out into nothingness at the end. Note the use of bowed playing of the double bass for deep sustained bass notes, later moving on to a cello-like use of plaintive high string notes with the bow. As mentioned before, these sustained notes on cello or (as here) on double bass always evoke the feeling of plaintive lamentation.

Side 2 opens with the awkwardly named Thelonious Harmonious, dedicated to Hermann Hesse (because of Siddhartha?). Part 1 (Communique) includes the Herbert Klein Tenor and altussolo and the choir of the god-vibration-monks introducing us with a classical choir composition getting us into a nice funereal mood. It passes into a pretty standard acoustic guitar E minor pattern with Budi's soprano sax singing out the song into more progressive territory (Vita Posterior). Really awkward title considering this song seems to be about reincarnation and death and has nothing to do with Thelonious Monk, musically.

Again the bassist is highlighted with a song, called "Bassicly". I admit to being a bit disappointed by this one slight dip in the musical quality since for the most part we hear an extended bass solo. The next track is one of the those typical german ethno-folk languorous slow evocative sunrise tracks with sitar playing from Lawall, e.g. Agitation free, Embryo, Dauner's Et cetera, etc. At least it builds up a bit of interest with Budi bringing in some sax winds to blow away the torpitude. Unfortunately we then get treated again to the descending minor guitar pattern (Led Zep's Babe I'm gonna leave you). This is the track that is co-written by Siebert. Probably this means it was mostly improvised.

The final track is a humourous jazz guitar thing. We've seen this on Lawall's records before. It reminds me a lot of association pc's toto blanke, which was almost 10 years before this record, showing how early and advanced association pc was in the sphere of complex euro-jazz.

Credits:
All compositions are by Lawall, except 5 which is by Lauer and 6 which is by Siebert and Koinzer. Lauer plays a bow by Dorkler Bubenreuth. Album was recorded June 1980at Tonstudio Bauer by Carlos Albrecht.

Great cover photo again-- the band in a paper cutout stand up next to a turkish pipe and other odds and ends on a table.

Septemberly:


So Jetzt:

Wednesday, December 28, 2011

Ptolomy Psycon - "Loose Capacitor" {UK} [1971]

"Ptolomy Psycon - Loose Capacitor (EP). 1971 private. (catalog number HAT 1306 A).
This one has been on my curiosity list for a very long time. At least since Amber Soundroom had announced their intention to reissue it on vinyl (guessing this was around 2003/2004?). Leave it to The Alaskan Connection to have it on hand. And this one lived up to its reputation.
Ptolomy Psycon practically defines the raw UK underground of the early 1970s. I suppose the 99 count Holyground albums, or the hyper rare Dark album* can give you an indication of the recording quality. But the music is definitely influenced by the upcoming progressive rock movement, especially Hawkwind, Steel Mill, Jethro Tull and King Crimson. The AC also offers "Ptolomy Psycon has lots of that UK psychy proto-prog flavor. This was released as a 10" EP, in an edition of only 50 copies with homemade covers. The band were from the Birmingham area, and were supposedly all students in the same school (around 16-17 years old, I think). In fact, all the "orchestral" stuff you'll hear on this was apparently done by their school band, who they hired to play on the recording!"
Hopefully they recorded more than the 22 minutes found here, as this is a really good example of the early 70s UK deep underground scene.
" by Tom

01 Azrael...
02 Shadow Bright...
03 No One To Blame...


Thanks to Fusionaut and Tom! :o)

Link in comments...

Saturday, December 24, 2011

Tempo e Modo - "Um Mundo a Construir" {Portugal} [1980]

Um dos discos mais raros do rock progressivo português, prensagem privada de 300 cópias.

Banda oriunda de Riachos (Concelho de Torres Novas, distrito de Santarém)
- Pedro Ferreira (bateria e coros)
- Pedro Clara (guitarra eléctrica, guitarra acústica de 12 cordas e voz)
- João Lopes (guitarra baixo)
- Júlio Silva (sintetizadores, piano eléctrico, piano acústico e strings)
Convidado:
- Pedro Rocha (piano acústico, strings e sintetizadores).

Gravado nos estúdios JORSOM - RCS, Lda - Lisboa - Portugal Produção: Tempo e Modo e D. C. Rios
Capa - "OMEGA" Óleo de Antero Guerra Inácio

A1 Um Mundo a Construir
A2 Águas Sem Margens
A3 Instrumental I
A4 À Procura
B1 Castelos no Ar
B2 Putos Vadios
B3 Voando no Tempo
B4 Imaginação (Instrumental II)

more info

A1 Um Mundo a Construir...
A3 Instrumental I...
B3 Voando no Tempo...
B4 Imaginação (Instrumental II)...

link in comments...

Monday, December 19, 2011

Birdland - History of Love and Belief 1980

This album features Yugoslav musicians who created a band in Switzerland where they recorded three albums. Their first magnificent mahavishnu-hard rip-roaring fusion is an unforgettable supersonic smash through the ears, full of majestic and satanic guitar riffs and thundering basslines all momentumed to phenomenal crashlandings, not a single boring slow throwaway in sight. Their second from a year later which is featured here is not quite as good and energetic though it without doubt stands comparison, using the same high-energy and modal style chords (cf. McCoy Tyner in late sixties, with Miles Davis). Unfortunately both master Shige and myself obtained copies by an odd cosmic coincidence or alignment of the z-list stars and as a result we are spoiled here with two versions of rippery hereby enclosed beneath the fold, again I defer to master Shige for the musical quality of his equipment and care of his time.

Back of album includes credits as follows:
Borivoje Vukadinovic - bass
Predrag Bankovic - guitar (responsible for most of the composition, not surprisingly)
Peter Humi - drums
Boris Relja - piano (no slavic band complete without a boris)
Beat Rauch - percussion

Recorded live at sinus studio berne, Helvetia, Feb 28-29 1980...

First track, Birdland 1 starts off in either A minor or B minor (I can't tell) with a very chromatic and angular riff on guitar then abruptly descends to the minor second tone below, for some arpeggiated chords. Great modulation there. Unfortunately we are then 'treated' to about 8 minutes of virtuoso soloistic noodling.
Second Track, "Pureheart" is obviously keyboardist-written starting with an obbligato piano which passes into some really nice structured jazz sampling but after three minutes we can fast forward all the way through unless interest is to be left lost and bereft at the bottom of an oceanic ridge of meaningless notes.

Side 2 starts with Firebird (dedicated to Christy Doran, probably a pretty interesting lady by the sounds of it) some very McCoy-esque modalities intro into a high-nitro dzyan-like riff. It amazes me that 5 talented and super-fast musicians can create such orchestral music with just their instruments and psycho-energy alone in probably a few takes with no overdubs.
The continuation of Birdland ensues, at this point mentally following the relentless guitar becomes a bit wearying. The minor descending chord pattern is hard to enjoy when so overused in rock music (A minor - G - F - E as in Led Zep Babe I'm gonna leave you). In this case I think in B minor though I might be mistaken.
The last song again from pianist Relja starts with Kentonesque piano dissonances and moves into some acoustic guitar soloing... A little disappointing an ending, but there is another, a third album, which they did a year later (In a temple of silence).

Mention as usual must be made of the amazing cover photograph showing a picture of a white beach with a cliff or mountain almost evoking a post-nuclear holocaust scene, complementing well the title of 'history of love and belief' i.e., post-communist nothingness - ? evolutionary depredations of a windswept radioactive desert in five fusion riffs - ? I won't get into how soviet ecocide destroyed the Aral Sea, once the fourth largest lake in the world, by diverting all rivers for irrigation projects (mostly to make cheap cotton for domestic clothes) until today it is a tiny salt-swept cesspool of pesticide contaminations-- and sure you'll be grateful for that.

Birdland 1


Firebird

Sunday, December 18, 2011

Paul Nash - A Jazz Composer's Ensemble 1979

An absolutely brilliant long-lost classic private pressing from the US, composer Paul Nash's first record, and inevitably his best work. Mostly Mingus-style cool west-coast jazz with outstanding ensemble playing and serious classical overtones and harmonies. In a few self-written paragraphs on the back cover Paul Nash dedicates the album to Charlie Mingus himself (who sadly was to die a month later of amyotrophic lateral sclerosis). He mentions he usually begins his composition with solo guitar and singing, oddly enough.

Subtitle to the album "Featuring Mark Isham, with Eddie Marshall and Art Lande. "

A1 Marigail-Marigold 11:19
A2 Passing Glance 3:25
A3 Our Time Is Numbered 7:59
B1 Tamalpais Night 8:56
B2 The Joy 6:41
B3 Full Spiral 8:43

Many of the compositions were written by Paul in the early seventies, probably as compositional exercises. He is a graduate of Berklee College of Music in Boston although he wound up in San Fransisco after his education. Prior to starting his own band in 1977, he wrote music for these two formations: Jerry Granelli's septet, Canyon, and Noel Jewkes Jazz Octet, then called Jewkes and the Dr Legato Express. Perhaps in a later post these artists will show up-- certainly they sound well worth seeking out.

First track starts with what to me is a bit hackneyed chords of Dflat on top of C bass moving up a minor third. This progresses a bit but flounders in my opinion in incessant soloing for ten plus minutes.
Passing Glance features the inevitable rhumba-style beat we find on these old jazz records.
Our time is numbered finishes out side 1 with some wonderful almost big band ensemble playing, very majestically sublime, a nice carla bley-style descending melody evokes some kind of sunset feeling.

Side 2 opens with Paul's guitar intro into Tamalpais Night which jumps into chromatic and angular structures. Abruptly the song slows down to a crawl before hopping to the prokofieff sounds again.

Track "The Joy" is very much Mingus happy-bus style slinky riffs with a modulation every 2-3 chords winding its bubbly way downstream.

Highlight for me is the last track with its remarkably angular opening as if out of a movie soundtrack from film noir of the fifties. A gorgeous G minor melody then opens the zoo gates to the usual interminable soloing...

This is my christmas present for myself (owing to high cost), please enjoy in the so-called blogosphere.

Our Time is Numbered:


Full Spiral: