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Showing only albums and live's | Based on members ratings & JMA custom algorithm | 60 min. caching

SOFT MACHINE Third Album Cover Third
SOFT MACHINE
4.75 | 53 ratings
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YES Fragile Album Cover Fragile
YES
4.87 | 10 ratings
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SANTANA Caravanserai Album Cover Caravanserai
SANTANA
4.68 | 43 ratings
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PARLIAMENT Mothership Connection Album Cover Mothership Connection
PARLIAMENT
4.85 | 9 ratings
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CURTIS MAYFIELD Superfly Album Cover Superfly
CURTIS MAYFIELD
4.96 | 6 ratings
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KING CRIMSON Larks' Tongues In Aspic Album Cover Larks' Tongues In Aspic
KING CRIMSON
4.65 | 33 ratings
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STEVIE WONDER Innervisions Album Cover Innervisions
STEVIE WONDER
4.73 | 14 ratings
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JOHN ZORN Magick Album Cover Magick
JOHN ZORN
4.83 | 8 ratings
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STEELY DAN Aja Album Cover Aja
STEELY DAN
4.65 | 23 ratings
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YES The Yes Album Album Cover The Yes Album
YES
4.79 | 8 ratings
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MARTIN DENNY Exotica Album Cover Exotica
MARTIN DENNY
4.94 | 5 ratings
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FRANK ZAPPA The Grand Wazoo (The Mothers) Album Cover The Grand Wazoo (The Mothers)
FRANK ZAPPA
4.58 | 38 ratings
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jazz related Music Reviews

BLUE EFFECT Conjunctio

Album · 1970 · Jazz Related Improv/Composition
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siLLy puPPy
There were two great early prog rock bands that emerged in the former Czechoslavakia in the city of Prague, capital of the current Czech Republic. MODRY EFEKT (or Blue Effect) began merely as a blues rock band but displayed meagre progressive touches on their debut “Meditace (Kingdom Of Life)” whereas JAZZ Q PRAHA formed all the way back in the early 60s were predominantly inspired by the late 50s avant-garde jazz greats such as Ornette Coleman, Cecil Taylor and the great Sun Ra. While MODRY EFEKT managed to release their debut album the same year, this collaborative effort between the two groups would be JAZZ Q PRAHA’s debut appearance and the album had such an impact on both bands that it would forever steer their cross-pollination efforts into entirely unforeseen musical arenas. This album is unusual in many ways.

First of all only the first and last tracks are the only collaborative efforts that feature both bands playing together. The second track is a MODRY EFEKT only affair and the same goes for JAZZ Q performing the third. Secondly, this album came out all the way back in 1970 behind the Iron Curtain where almost every aspect of an artist’s creative process was controlled by the state. It is an astounding miracle that these two bands could have created something this utterly wild and complex at this early stage of progressive rock’s history when many of these tracks remind the listener of contemporary and future acts. Most likely this is because the album is entirely instrumental with no lyrics so censorship was unneeded since there are no references to politics. This music is insanely advanced and is one of those crazy complex prog albums that will require many jazz, prog and classical appreciation classes to master any intelligible understanding on much of the album’s run.

The album is only 39 minutes and 45 seconds in length but the beginning track “Coniunctio I” swallows up 19 minutes and 15 seconds of its real estate. This is by far the most demanding track on the entire album as it begins with screeching saxes and erupting organs swirling around in a cacophonous din before it finally cools down into a bass driven groove with a 60s psychedelic rock vibe complete with echo effects and ghostly guitar licks. After a couple minutes or so it turns into a heavy rock sequence that offers a taste of heavy blues rock with a sizzling sax that spirals out of control into free jazz territory along with some kind of whistling noises and frenetic organ counterpoints. Wow! There’s nothing i can think of from this period of prog history that matches the intensity of this track and were only about five minutes in which enters i swear a louder version of Miles Davis’ “Bitches Brew” which ironically came out the same year only half a globe away (before the internet or even legal access to American music) as a bass groove chugs along and keyboards dance Voodoo rituals around the bass driven campfire. After seven minutes it erupts into a bluesy guitar rock frenzy as Radim Hladík delivers one of the most demanding guitar solos of the era. Even Jimmy Page or Hendrix didn’t get this heavy. After eight minutes it changes abruptly to a pastoral symphonically embellished flute solo that slowly ratchets up the tension into a jazzified melody with an oscillating keyboard effect and some kind of bells. The mood remains placid and subdued for a while as a jazz bass line finally enters and eventually sounds more like hard bop but then a Thelonious Monk style piano run casually strolls into the picture and then goes plain nuts but finally at the 14 minute mark an ostinato bass line hypnotically entrances while a fluttery flute line plays over it but after a couple minutes it ventures into a segment that reminds me of that frenetic part of Pink Floyd’s “Saucerful Of Secrets” before the organ solo part begins. This track is phenomenal! At this early stage it has everything prog all rolled up into one. It has symphonic aspects, psychedelia, dissonance, heaviness, pastoral segments, blues, jazz, classical. Wow! A masterpiece of the ages.

“Návštěva u tety Markéty, vypití šálku čaje“ is performed only by MODRY EFEKT and along with the next track by JAZZ Q PRAHA provides a centrifuge effect that allows the listener to distinguish which elements of the first track were provided by each band. It also allows a break in the freneticism and over-the-top complexity with a significantly more light-hearted bluesy rocker in a psychedelic rock framework that utilizes a beautiful flute to weave a melody like a fluttering butterfly through the track’s shorter six minute time run. If you are familiar with MODRY EFEKT’s debut then you will realize that the blues rock, the melodies and the psychedelic parts of CONIUNCTIO are in their camp and this second track provides all of those musical elements and creates a beautiful flute dominated psychedelic rock track that also becomes heavy with guitar and soloing. In fact, it sounds a lot to me like many of those Focus tracks such as “Eruption” on their second album only with more erratic rocking parts.

“Asi půjdem se psem ven“ is solely performed by JAZZ Q PRAHA and like the MODRY EFEKT track gives an insight into which aspects of CONIUNCTIO belong to the band’s signature sound. This track is straight out of the jazz playbook which starts off somewhat straight forward but soon spirals out into avant-garde jazz heaven and reminds me a lot of some of the space jazz that Sun Ra & his Space Arkestra were pumping out in the mid to late 60s. The time signatures of each instrument all exist in their own musical world and the combo thereof results in a cacophonous din that apexes in a frenetic John Zorn type of saxophone frenzy a good decade or so before he was assaulting eardrums with his own similar style.

“Coniunctio II” continues the collaboration of the first track but is completely different. It begins with a sumptuous flute melody but is backed up by a jarring dissonant guitar counterpoint and quickly picks up and becomes a rather Hendrix-esque guitar jam type sound with a Tullish flute accompaniment and at this point is the most normal sounding track of the album. It remains jammy sounding but ratchets up the tempo, dynamics and finds more instruments joining in until it reaches a cacophonous crescendo but at the heart of it remains a bluesy rock jam despite all the horns whizzing away at light speed.

CONIUNCTO is one of my favorite albums ever to have emerged from the old Soviet dominated Eastern European block. This album titillates not only in a musical sense as it simultaneously pleases and assaults the senses but is fascinating to experience such a great work from the “forbidden” part of the world where the likelihood of a prog masterpiece emerging was virtually nil and only mere months after King Crimson, East Of Eden, High Tide, Marsupilami and other British prog bands were getting started. This album also shows the strong promise of collaborative efforts. Often these sorts of projects end up becoming watered down but the two bands found the right dynamic synergy to push each other further, the results of which steered MODRY EFEKT’s path more towards jazz and likewise JAZZ Q added more rock elements when they would finally release their debut three years later. This one is an absolute under the radar masterpiece. Be warned though that this is nearly a 10 on the progometer as it is dense, complex and often impenetrable especially when the JAZZ Q elements are on full steam. This album has all the elements of early prog rolled into one package. It’s heavy at times, it’s pastoral and symphonic at times, it’s psychedelic, it’s jazzy, it’s bluesy. It can be highly melodic with happiness inducing hooks or it can be dismally frightening with dissonant avant-garde jazz outbursts. One of my faves.

BLUE EFFECT Meditace

Album · 1970 · Jazz Related Rock
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siLLy puPPy
Formed in the late 60s in what was the former Czechoslavakia which was very much behind the Iron Curtain and musically speaking a million miles away, yet certain bands not only kept up with the times with underground bootleg albums but also managed to weather the political storms and emerge as one of the most successful bands of the era from Eastern European nations. MODRY EFEKT (in the Czech language) or BLUE EFFECT (but have also gone by M. EFEKT, MODRý EFEKT and THE SPECIAL BLUE EFFECT) formed in Prague (now the Czech Republic) in 1968 and led by vocalist and guitarist Radim Hladík who would remain the constant member in the band’s initial two decade plus run. While soon becoming one of Czechoslavakia’s major jazz-fusion and progressive rock bands of the ages.

MEDITACE is a fine mix of Czech language 60s type sounding music primarily based in blues rock not unlike early Led Zeppelin but even at this stage they were showing traces of progressive rock as they were recording this in 1969 with many track including the opener “Paměť lásky” showing less influence from blues and rock and more Western classical elements dominating whether it include choral vocal arrangements, symphonic atmospheres or instrumentation. MODRY EFEKT were masters at creating strong catchy pop rock hooks even at this early stage in their development and although there is no progressive touches of the jazz-fusion type, tracks like “Blue Efect Street” show extremely strong ear worms with bluesy guitar workouts and clever arrangements including the use of a sitar. Most of all MODRY EFEKT demonstrate how beautiful rock music can sound in their native Slavic language tongue although side two was recorded in English which proves that the band had their sites on cracking into the international market from the beginning.

While MEDITACE is laced with excellent rock and pop tracks for their time and place, what’s really lacking at this point is a sense of cohesiveness for an album style as the tracks flounder back and forth from blues rock to classically symphonic and then to folky with almost Motown type walls of sound and then back to more Western generic sounding blues rock. Overall not a bad debut at all especially for being in a region of the world that controlled every aspect of artistic integrity however it would take the soon to be released second album with their country’s other progressive rock giants Jazz Q to steer the band into the more familiar jazz oriented progressive rock that they would stick with for the rest of their days. While i wouldn’t call this debut essential by any means, it certainly shouldn’t be skipped over either. It is quite the pleasant listen if not polished into perfection.

THE "SLEEPWALK" GUITARS OF DAN & DALE / THE SENSATIONAL GUITARS OF DAN & DALE Batman And Robin

Album · 1966 · Exotica
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siLLy puPPy
Now here’s a little oddity from the 60s in celebration of the life of the great Adam West who played the first BATMAN on the 60s campy tongue-in-cheek TV series. Due to the popularity of the series it seems that everyone was trying to make a buck off of it and this relic from 1966 was brought to life by a New Jersey toy company trying to get in on the action. After all everyone was getting a piece of this pie by latching on to that catchy theme song riff and and that famous na-na-na-na-na-na-na-na sing-along theme track. Amongst those copping a feel were Neal Hefti, The Who, The Kinks, Jan and Dean, Link Wray, Nelson Riddle, The Marketts, The Ventures, Bruce & The Robin Rockers, The “V” Rangers, The Revengers, Bob Kuban & The In-Men, Al Caiola & His Orchestra, The Standells and Sun Ra. Wait a minute? Whaaaat? SUN RA?

Yes! Sun Ra but only under the guise of THE SENSATIONAL GUITARS OF DAN & DALE which included Sun Ra himself along with members of his Arkestra. Together they teamed up Al Kooper’s Blues Project and created this album marketed towards children with catchy surf guitar rhythms based around themes on the BATMAN TV series and the album title being BATMAN AND ROBIN. Although anonymous on the album it is known that Sun Ra performed on the organ, along with his Arkestra mates John Gilmore and Marshall Allen on saxes, Jimmy Owens on trumpet and Tom McIntosh on trombone. From the Blues Project Steve Katz and Danny Kalb played guitars.

Since this was a money grab of sorts, the Tifton label taylor made for this project decided in order to keep licensing fees as well as royalties to a minimum, all the tracks except for the “Batman Theme” itself were based on whatever was in the public domain therefore everything from Chopin’s “Polaise Op. 53,” Tchaikovsky’s “Fifth Symphony” and the love theme from Romeo and Juliet were pirated and arranged into generic rock ’n roll and surf guitar riffs that sometimes sounded suspiciously too close to contemporary popular music icons like The Beatles (“The Riddler’s Retreat” comes a little too close to “She Loves You’s” signature melodic touches.) While most of the tracks are instrumental rock ’n roll jams, there are a couple tracks including the “Batman Theme” that have an uncredited vocalist who hits all the right notes so gracefully that i wish she were included on more of the tracks!

The whole incarnation known as DAN & DALE is a little murky as they released a whole slew of substandard releases and it’s unknown but rather dubious that either Sun Ra or Blues Project had anything to do with them. Don’t in anyway expect anything close to the extraterrestrial space jazz that Sun Ra & His Arkestra were churning out by the minute in the same time period of the 60s. This album was designed for kids and is nothing more than kitschy garage rock mixed with surf rock and space age pop albeit with some jazzy touches but what a fun little collection of numbers they churned out as the band takes bland and seemingly uninspired titles such as “Batman and Robin Over The Roofs” and add life to them with a tasteful masterful musicianship that adds a zest to the simple songs like only true professionals can.

While i wouldn’t call this a long lost masterpiece by any stretch of the imagination, i can recommend this if you want to feel like you’ve fallen into an Austin Powers movie that simulates the era and in the midst of the groovy light shows in a smoked filled nightclub setting you can imagine this groovy music playing in the background while wild stoned-out hippie chicks are dancing the Watusi, the Hully Gully or just free floating across the dance floor! For a kids’ based album this one is real treat to listen to and one that has all the sweeter taste having the great Sun Ra & his Arkestra members involved.

URBANITY Urban Soul

Album · 2016 · Jazz Related RnB
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kev rowland
The collaboration between Albare and Phil Turcio started 27 years ago when Albert Dadon – aka Albare – was looking for a new pianist for his band. At the time, Phil had just turned 18. Albare recalls, “He was not even the youngest member of the band then; our drummer just turned 17.” “These guys sounded so good, it was a pleasure already to play with them.” Phil explains that he and Albare hear music in the same way, “Everything I throw at Albare comes back as if I would have played it myself.” Albare and Phil Turcio have now formed a new band with just the two of them, with Albare providing guitars and sitar, and Phil providing keyboards, piano and programming.

Each time I play this I think of George Benson, and the smooth jazz scene from the late Seventies. There is a strong relationship between the two musicians, with fluid soloing and harmonisation between the lead instruments, and the feeling is of two guys just relaxing and having fun with what they are doing. The stand out song is a cover, namely an emotional and delicate take on “Angie”, which almost deconstructs the original as it turns it into something very special indeed. It is a song I have always enjoyed, and I prefer this to the original, such is its power. Overall, this is a good album to wind down to at the end of the day, and although this isn’t my favourite form of jazz, they certainly do it well.

MIRIODOR Signal 9

Album · 2017 · Jazz Related Rock
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kev rowland
So the Canadians are back with their ninth studio album, and a slight change in line-up as they move back to a quartet, but as all of the guys play multiple instruments anyway there isn’t a noticeable difference in that area. As with the excellent ‘Cobra Fakir’, the first word that springs to mind is “staccato”, as this is music that is rapidly moving around and for the most part doesn’t have time for long held-down chords but just wants to get on with it. Coming from a RIO/Avant background, they have been listening to some of the early Canterbury bands as well as to King Crimson and Art Zoyd to create something that is always interesting and complex, and just a little different to much that is available within the prog scene, let alone mainstream.

It is the type of album that will polarise opinions, as those who like it will enjoy it a great deal, while others will fall into the “what on earth are you listening to” camp, and won’t give this album the time it both needs and deserves to get the most out of it. This is complex, with lots of melodies and counter-melodies, with Bernard Falaise often crunching the guitar against myriad keyboard sounds, but that can all change in an instant. It is music that does demand respect and attention, and those prepared to do just that will get a great deal out of this, as it is incredibly rewarding.

jazz related movie reviews

KING CRIMSON Neal And Jack And Me

Movie · 2004 · Jazz Related Rock
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Sean Trane
This DVD will please many of the third Crimson phase fans combines two tours: the Beat tour and the Three Of A Perfect pair. Oddly enough, they are presented in a non- chronological order, but this is a very minor point. One of the things I was particularly uneasy about was Bruford's use of electronic percussions and drums and we get a load of those "things" and like all technology novelty, the risk is that it ages poorly and sadly here, it is the case. Another point I had not appreciated is the stage presence of Adrian Belew, which is clearly copied from David Byrne from his collaborations with The Talking Heads - I love the T Heads, but Belew's stage antics are too derivative and ill fitted for Crimson. There are a few tracks present twice and most notably the boring Mate Kusadai.

Strictly on the visual front, Crimson was clearly making efforts to look hip and appeal to a more new-wave-ish public. Those were the days! But I never said that they were good, either!

Among the bonuses, are a video clip and a few titbits, but sadly still missing is that mini- concert footage filmed for the Discipline release and them playing four tracks in front of a red curtain. I may be severe with my rating of this DVD but I am not a real fan of that era.

GONG Classic Rock Legends

Movie · 2000 · Jazz Related Rock
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seyo
This video contains live performances from 1990 Live on TV album. Four original members of GonG are present: Pip Pyle, Didier Malherbe, Gilli Smyth and an oddball-harlequin persona of the spiritus movens, Daevid Allen.

Performance is focused on their legendary Radio Gnome Invisible trilogy, with 3 starters from Camembert Electrique. Since I have no idea what GonG looked like on scene back in the early 1970s (that is, before I took a peek at several Youtube clips recently), I guess this DVD makes up a lot for that, the age of the performers notwithstanding.

In fact, seeing these unique art-performers in their senior age can just assure you how the music and art in general can surpass generations, years and ages if you wish. Musicianship is great, movie direction very good with several cameras shooting from different angles, while only the engagement of the dancers to invoke the mystical gnomey creatures may be seen as too over-stressed.

The finale presents perhaps too long goodbye with the extended "I Am You" jam, but when Daevid jumps down into the audience you can actually see the highly emotional and spiritual connection between the band and the people, done in an almost religious-like chanting. This is excellent video and should be seen by all those who have at least some knowledge of the Planet GonG trilogy repertoire!

BILL BRUFORD Bbc Rock Goes To College: Live 1979

Movie · 2006 · Jazz Related Rock
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Dick Heath
I remember seeing this originally on BBC 2 a few weeks after it was recorded in one of the canteens of Oxford Poly, and getting a mix of intense pleasure. In particular pleasure from the tour de force that Holdsworth had developed into (and screamed out at me on Feels Good To Me)and the unknown bass-wiz Jeff Berlin. But there was disappointment over Annette's contribution to the set - when her husky voice breathed sex at me on the album.

Now here from the Beeb's archives is the original 70's video quality footage as originally shown on 625 lines. The pleasure points remain, with some details emphasised. However the disappointment is worse, in particular there is a promise of something special as Peacock flounces on part way through the set, dressed as the fashion queen,(thereby drawing the contrast with the blokes in the band). However,again the expectation of something special evaporates quickly - the diva can't 'deave' live in sympathy with the music, the band i.e. her vocals are poor. Fortunately we don't have to suffer this for long and thank goodness for the skip button.

Yes this is a short recording*, and isn't there a missed opportunity here? One DVD burn (of a copy of a copy, etc.) of this gig I saw some years ago and suffering horribly from colour dropout, had the addition of two extra numbers by Bruford recorded off from the Old Grey Whistle Test - here with I think Neil Murray deputing for Jeff Berlin. Surely the Beeb could had offered these as well?

*Interesting to see another Rock Goes To College recording of Herbie Hancock & the Headhunters recorded at the now defuncted Chelsea College, that had resurfaced on BBC 4 2 years ago, was an hour long.

STING Bring On The Night

Movie · 2005 · Pop Jazz/Crossover
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Slartibartfast
The concept here is a documentary of a band forming, The Blue Turtles Band, rather than a band at their peak or breaking up. Fortunately it is heavier on the music than the documentary.

The first half takes place in a French countryside chateaux and consists of presentable songs from nine days of practice sessions for what was to be their first show. Everyone in the band seems to be having a good time. The chateaux provides nice a nice backdrop to the sessions. The second half is the show itself.

Since this was Sting's first post Police effort, there's a lot of reworked Police songs mixed in with tracks from the first album. It's sort of like the Police meets jazz with Andy Summers ejected so Sting could play guitar. The band line up is primarily younger jazz musicians that already had a good reputation for work they had done before hooking up with Sting.

There are interview excerpts between the songs. One of the more interesting ones was Miles Copeland, Sting's manager and Stewart's brother going on about negotiations with the rest of the band. He was extremely dismissive of the band in relation to Sting when it came to monetary compensation. I suspect that was more about himself getting a bigger piece of the pie than a reflection on Sting, although I do recall him guest appearing on a Saturday Night Live show with Steve Marting and Steve introducing him as Stin-gy.

I originally saw this one in a theater and was really pleased to see it released being reworked with "high definition digital anamorphic picture transfer and digitally remastered surround audio." It actually does look a little sharper than I recall and I think the orginal sound was just stereo.

BILL BRUFORD Bbc Rock Goes To College: Live 1979

Movie · 2006 · Jazz Related Rock
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Slartibartfast
This is incredible. I had the good fortune of seeing Bruford, unfortunately post Holdsworth, at the now defunct Atlanta Agora. I did get to catch Holdsworth touring for his I.O.U. album, but that's another story. My first pass through this concert really gave me the goosebumps.

It is unfortunate that this DVD is only 41 minutes, but the set list is excellent. Four tracks from Bruford's best album, One of a Kind. Annette Peacock even shows up for a couple of songs. I always thought that she didn't fit in well with this kind of music, but it's nice to see her all the same. I hope I'm wrong, but I don't think there's any live video out there of Alan Holdsworth, so seeing him in action is a special treat. One of the things I remember most from seeing Bruford was that at times Jeff Berlin's picking fingers were a blur and seeing him again live, I know I wasn't imagining it. Dave Stewart, or as I like to call him, The Dave Stewart, not that Eurythmics guy, is also a lot of fun to see in action. I noticed he had a music stand with no sheet music, but a synthesizer diagram, interesting. And then of course there's Bill. Those of you who may dislike his electronic drum work, I'm not one, will be happy to him playing strictly acoustic. What can I say? He's really one of best drummers around. The audio quality is excellent and sometimes the camera man crop off Holdsworth's left hand when I'd like to see it, but other than that, this is really nice for a concert captured in 1979.

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