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SOFT MACHINE Third Album Cover Third
SOFT MACHINE
4.75 | 51 ratings
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SANTANA Caravanserai Album Cover Caravanserai
SANTANA
4.68 | 40 ratings
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YES Fragile Album Cover Fragile
YES
4.91 | 8 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
4.64 | 30 ratings
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STEVIE WONDER Innervisions Album Cover Innervisions
STEVIE WONDER
4.73 | 13 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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FRANK ZAPPA The Grand Wazoo (The Mothers) Album Cover The Grand Wazoo (The Mothers)
FRANK ZAPPA
4.58 | 38 ratings
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MARTIN DENNY Exotica Album Cover Exotica
MARTIN DENNY
4.94 | 5 ratings
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JIMI HENDRIX Are You Experienced (Jimi Hendrix Experience) Album Cover Are You Experienced (Jimi Hendrix Experience)
JIMI HENDRIX
4.58 | 27 ratings
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jazz related Music Reviews

FREDRIK THORDENDAL'S SPECIAL DEFECTS Sol Niger Within

Album · 1997 · Jazz Related Rock
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siLLy puPPy
Coming at ya with the complexity of a calculus equation on a physics exam in the rocket science department at MIT, the mastermind himself behind the extreme metal band Meshuggah unleashes his first solo outing to the world under the moniker FREDRIK THORDENDAL'S SPECIAL DEFECTS. Apparently not satisfied with the strangeness and angular extreme metal that Meshuggah delivers on a regular basis, THORDENDAL really lets it all loose on SOL NIGER WITHIN, which not only takes the jazz elements and high tech metal approach of Meshuggah but increases everything exponentially and adds all kinds of delicious ingredients to make one uniquely strange and satisfying edition in the world of djentology.

Some of this music itself doesn't sound too overly different than the jazz metal fusion that i have heard from Buckethead on occasion but on this release we get a lot of diverse elements that incorporate a djent based guitar riffage with shrieked black metal type vocals that remind me a bit of Cradle Of Filth's gothic take on the subgenre. Although the album is broken down into 29 tracks on the original release and include two extras on the 1999 re-release titled SOL NIGER WITHIN: Version 3.33 with a few changes like the organ missing, the album really comes off as one continuous track that morphs and evolves from one phase to another. The track listings are fairly unimportant as it really seems like they were randomly imposed on the musical flow.

While this is usually complimented to THORDENDAL as a solo project, this is in fact very much a conglomerate of musical talents that create some interesting avant-garde metal. Amongst others the most notable talents on board here include Morgan Ågren (drums) and Mats Öberg (keyboards) who were both performing with Frank Zappa at one point. Other non- metal instruments include the sax, church organ and yikaki, which is a long wooden instrument played by Australian Aborigines. While most tracks have their feet in the extreme metal world, some such as "Cosmic Vagina Dentata Organ" do not. This all church organ track was nixed from the 3:33 version for whatever reason. I own the first release and find the jettisoned track to be a very interesting intermission in the flow of the album.

While the subject of the lyrics involved seems to be based in the sci-fi world reminding me of the world of Voivod, there is an alien theme i detect going on here as well and the term SOL NIGER, which means the black sun, was referred to by alchemists to reflect the psyche's feeling tone under the frigid and unrelenting influence of the planet Saturn. Some tracks like "Sensorium Dei" are just sublime in how it utilizes strange mathematical timings with tripped out guitar solos and deftly balances silence with extreme noise. This is a highly recommended slice of avant-garde metal heaven if you are seeking the strange, unorthodox and built-by- intelligent-design world of FREDRIK THORDENDAL which utilizes philosophy, mathematical musical construction and all the extreme metal brutality you would expect from his output.

While i don't own the 3:33 version, i did find myself impressed enough with this album to check out the two extra tracks on this version for the sake of comparison. The two extra tracks are "Missing Time" which clocks in at 11:31 and "Ooo Baby Baby" which is only a mere 1:15. This version also emits "Painful Disruption" which is merely a 29 second freaky guitar frenzy that sounds like something Steve Vai would conjure up with a Zappa type of feel. "Missing Time" sounds more like a more recognizable jazz-fusion guitar piece with some narration about alien abductions. "Ooo Baby Baby" is a highly aggressive dent guitar assault that is short and to the point. It has a nice strange ending. Overall, i say stick to the original. The extra tracks are nice but i like the omitted ones more.

TRAFFIC Far From Home

Album · 1994 · Jazz Related Rock
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Traffic is by far one of my favorite bands of all time. The innovative music they cranked out in such an early stage of progressive rock was nigh unparalleled by many other bands. Traffic split up rather early in the seventies (in '74), but at the same time had released a studio album practically every year up to that point since their debut in 1967. The split couldn't be more appropriate. Traffic was releasing great material seemingly effortlessly, until that year with When The Eagle Flies, debatably their weakest album of the period. They went quiet for three decades until in 1994, they released a sudden comeback album out of the blue. This was none other than Far From Home, a haphazard assemblage of 90's pop rock and very vague progressive undertones. Was it as great as any of the classics? No, not really. Now you could say that with such an old band as Traffic, thinking that an album released thirty years after their golden era would be as great as when the band was young is wishful thinking. I don't believe that Far From Home should match any of their old albums in the slightest. To me, a comeback album is one that is more of a callback to old material, replicating it slightly but with other sounds and gadgets to make up for weak points. This is especially the case when an album is such a flash-fire like Far From Home was (the band released and nothing subsequently). But this didn't happen. FFH was a complete overhaul of Traffic's sound, demolishing the eclectic folk influence, the progressive construction, and any semblance of what made Traffic Traffic. If every element of the band was removed, then what exactly was left? Nothing particularly remarkable.

Far From Home, in layman's terms, is a glorified Steve Winwood solo album, the only difference being that drummer Jim Capaldi from the original lineup joined him on it. The album is over-saturated, much like Winwood's albums, with harmonized synth keyboards, slow echoing drumming, and soul backing vocals. To call Far From Home a prog record would be a stretch, but you could make a case for it. The album does have many Latin and salsa jazz influences, no matter how badly used they may be. Funnily enough this album features some of Traffic's longest tracks, which have little-to-no experimentation in them; this may be a trap for you if you're going into the album looking for some hardened progressive rock, so it's better to be aware. Winwood's vocals in their early stages were quiet, yet when required were able to belt out power notes. However after spending the 80's successful with just using the latter, Winwood's over-enthusiastic yell became the centerpiece of the vocal arrangements. Capaldi, who I know is a great drummer, is restricted within this genre with slow, linear drum patterns that rarely shift from their solid mold. Mick Dolan and Davy Spillane appear as newcomers to the band, on rhythm guitar and Uilleann pipes (a type of Irish bagpipe) respectively. Even with their presence though, it's undoubtedly primarily Capaldi and Winwood doing the work.

The album has some pretty good moments, the title track is stand-able and features one of those super-filtered guitar solos from Winwood at the end of the song. The tracks that I always come back to are that of 'Nowhere Is Their Freedom', a punchy film-score esque epic, and the wonderful closing instrumental 'Mozambique'. The other tracks are forgettable, but I wouldn't necessarily go so far as to say they wouldn't appeal to anybody because this music definitely still has an audience.

Far From Home is not a fantastic record. It has more ups than downs, and unfortunately isn't that great of a resurrection of such a classic band. Yet if you are open minded I'm sure this album would have it's fans. My two- cents don't mean anything in the wider picture. Happy listening.



To think of it, maybe Traffic needed a little more Mason after all. If anyone can do campy right, it's him.

KING CRIMSON Lizard

Album · 1970 · Jazz Related Rock
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L

While KING CRIMSON took the world by storm only a year previous in 1969 with their game changing debut, their follow up “In The Wake Of Poseidon” has always felt to me like a collection of B-sides from the leftover bin of tracks from the initial sessions that created them. With LIZARD, the second album of 1970 and third album overall, it feels like Robert Fripp and company took the whole project to a new level of complexity by not only keeping the previous elements that came before but also by upping the ante in pretty much every way. While not the only top class album to take complexity to new levels in the year 1970 (to my knowledge only Marsupalami, Soft Machine and Magma were contenders at this level), Robert Fripp steered his KING CRIMSON project into new grounds a mere fourteen months after the extraordinary “In The Court Of The Crimson King” was unleashed on an unsuspecting public and proved that he was a serious force to be reckoned with. LIZARD is a testament to a focused individual driven to evolve light years above the newly aroused competition nipping at his heals. LIZARD hasn’t always been a bonafide masterpiece in my world but i can happily say that i’ve reached a point of understanding where it all makes perfect sense.

I

Only two years into the band’s formation, Fripp was already seeing a rotating door policy of musicians who just couldn’t jive with his ambitious visions. In only a year since the debut that ignited the progressive rock powder keg, vocalist and bassist Greg Lake jumped ship to join Emerson, Lake and Palmer. Drummer Michael Giles and wind instrumentalist Ian McDonald would jump ship together to create a lighter version of KC called McDonald And Giles (but McDonald would reunite on “Red”) leaving Fripp as the only original member on LIZARD. The new KING CRIMSON circa last half of 1970 featured Fripp on guitar, Mellotron, synth, organs and other sundries, Mel Collins (Circus) on sax and flute, Andy McCulloch (Manfred Mann, Fields, Greenslade, Crazy World Of Arthur Brown) on drums and Gordon Haskell (Les Fleur de Lys), a long time school friend of Fripp who had contributed one vocal track previously on “Poseidon” and now took the role as lead vocalist on side one. Jon Anderson of Yes would join in for the long behemoth title track that encompassed the entire second half of the original LP release. Also on board were the phenomenal Keith Tippett who also played as a session keyboardists on “Poseidon” as well as other session musicians who added oboe, cornet, trombone and extra vocals.

Z

Everything about LIZARD is more ornate than anything before starting with the album art cover itself. The original LP release was graced by two sides of medieval art with one side spelling KING and the other CRIMSON. While the music doesn’t exactly lead to anything medieval per se save a few classical guitar workouts by Fripp, the album does display a sense of Renaissance in the music scene with its relentless fusion of classical, rock and jazz with the greatest emphasis on the latter. The jazz elements on here are off the hook with saxophone solos, jazzified song structures within the tracks and even segments of progressive big band interaction in full swing. Therefore if you don’t haven’t gotten an A in your jazz appreciation course you probably won’t enjoy this as much as the full-blown jazz fusionist lovers. Miles Davis appears to have been a major influence on this one since the very same year as the KC debut, Davis himself was adopting rock into the jazz world. A year later and following in the footsteps of other rock to jazz fusionists like Frank Zappa and The Mothers Of Prevention, KING CRIMSON was gracefully taking it on to create equally complex and sophisticated music.

A

Just to give you a sense of how complex this album is, most of the lyrics are actually represented in the art work itself. For example, the “I” in CRIMSON is a caricature of The Beatles and is a direct reference to the track “Happy Family” which referred to the breakup of the band. The lyrics get even more detailed about certain aspects of the band. The artwork and lyrics go hand in hand to create a much larger story as does the music thus creating a never ending level of complexity that the listener can delve into as deeply as the listener wants. The downside to all this complexity including the hardcore jazz aspects is that it is a bit alienating for the uninitiated and non-adventurous listeners especially following much more digestible tracks like “20th Century Schizoid Man” that had put KING CRIMSON in the eyes and ears of a totally new generation of music lovers only a year prior. LIZARD perhaps had gone too far too fast for many fans, however this album is not without its instant gratification. There are melodies aplenty to be savored albeit with allusions to all kinds of obscurities in the mix, both lyrically and musically. The music literally has taken decades for fans to catch up with.

R

The album seems to be as divided musically as it is divided from the front and back side of the album cover. Side one sporting Haskill’s vocals is the jazzier of the two sides which focuses more on the jazz meets rock aspects fueled with dissonant yet melodic hooks and horn heavy segments with occasional avant meanderings, whilst side two is much more in the symphonic prog world with Jon Anderson displaying sublime vocals and a glimpse into his future solo career projects. It also has a propensity to delve into the world of free jazz and the avant-garde including warped time perception and utter detachment from the musical world altogether. While the two album sides are clearly delineated by style, they somehow form a cohesive mood and feel after many listens. The prog behemoth that constitutes the title track includes four segments with the third being subdivided into three subparts and successfully manages to create a frenzied prog workout that takes the listener on a true musical journey very much in accord with classical music symphonies, operas, concertos and sonatas. The transitions from one style to another are somewhat subtle as they never just jump into each other’s turf. The transitions are gradual like gentle sand dunes slowly changing the topography of a vast desert where mirages from a camel ride slowly merge into each other. It’s really hard to grasp upon just a listen or two how much was put into this one.

D

The simple truth is that LIZARD is one of the very first progressive rock albums that is like climbing Mt Everest. You need to acclimate yourself to comprehend its sheer intensity. For the uninitiated this is the equivalent of a sea level dweller accustomed to an ample air supply gasping for air in an oxygen depleted environment and thus will come across like an atmospheric hypoxia induced sleepless night at the base camp where only groggy faded memories of what occurred will semi-percolate into the consciousness. This is an album that is a true 10 on the progometer scale. A code red, 3rd degree progressive jazz/classical/rock behemoth of the ages. That means that it requires several stages of musical development to truly “get it.” You must not only have your rock and classical musical sensibilities in top shape but you will go nowhere until your jazz appreciation skills have been fine tuned and honed to the point that mutli-genre fusion is like second nature. A true work of art that was perhaps overly ambitious for its era but sophisticated enough to evoke a sheer sense of timelessness.

ANDRÉ FERTIER Clivage

Album · 1976 · Jazz Related Improv/Composition
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ANDRE FERTIER’S CLIVAGE remains one of the most celebrated obscurities in the underground Indo-raga and progressive rock scene and is therefore celebrated for their unique East meets West approach that they delivered on their three albums that began with this 1977 debut REGINA ASTRIS and ended with the 1985 “Kassiopee.” While the three albums all have distinct identities, they all share a similar amalgamation of Indian raga, jazz, drone and progressive rock workouts. To this day these albums have never seen a second pressing after their initial vinyl releases yet are heralded for being some of the best examples of the Indo-raga jazz fusion scene.

REGINA ASTRIS is divided up into three long tracks clocking in over the ten minute mark and a five minute finale. The general gist of the entire album is a drone-like monotonous rhtymm that is the product of the percussion section of Armand Lemal and Indian tabla playing of Patricio Villaurel which provides the skeletal structure for the jazzy saxophone workouts of Jean Pierre de Barba, the hypnotic bass line of Claude Duhaut and the violin of Mahmoud Tabrizizadeh to play around. This is a sort of a jam session as the track’s flow is typically long, rhythmic and trance inducing with the sax and violin adding melodic accoutrements to the mix. ANDRE FERTIER adds the extra touches with acoustic guitars and keyboards but they seem to be subdued under the mix of the ethnic influences that dominate the soundscapes.

REGINA ASTRIS is much jazzier than albums like “Mixtus Orbus” that were more psychedelic and magnanimous in nature. This one has a more down-to-earth feel as it connects directly to the jazz world with the sax contributions as well as the folk world when the violin dominates. As with all CLIVAGE albums, the main gist is for a rhythmic structure to burrow into the listener’s consciousness before unfurling the tapestry of melodic sounds that dance around each other. While the track “Moving Waves” is more upbeat with howling saxophone workouts, the title track is more contemplative traditional raga oriented and certainly can remind one of a less caffeinated Shakti at times.

CLIVAGE does an excellent job at arranging the tracks so that each element has a chance to shine thus allowing all four tracks to have their own personalities. However the raga elements whether tamped down or allowed to shine always make their presence known while the sax and violin usually trade off as opposed to battling it out. “Mama Swat” actually starts out bringing chamber rock acts like Univers Zero to mind before it lifts the darkened veil and brings in lighter tones to the mix. MIXTUS ORBUS is a fairly unique sounding album that keeps the listener engaged throughout the entire run and baffles the mind as to why this has never received a proper updated release. If there are any patron saints who are seeking to release long lost gems, then by all means add ANDRE FERTIER’S CLIVAGE’s three albums to the list. They are truly well deserved prog classics that more than deserve to be rediscovered.

ANDRÉ FERTIER Clivage With André Fertier & The Philharmonic Orchestra "Pro UNESCO" : Mixtus Orbis

Album · 1978 · Jazz Related Improv/Composition
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I'll jump on the masterpiece bandwagon with this one. It is truly musical ecstasy from beginning to end. This is very much 'raga rock' fusion with progressive rock compositional stylings but the jazz-fusion element is just as if not more prevalent. It is very minimalist and it reminds me of Terry Riley, Steve Reich or Philip Glass because it is very drone-oriented and the complexity comes from the sheer number of sounds overlaying each other including haunting female vocals of the sort you would hear on the original 60s Star Trek theme.

It starts out innocently enough with just a piano but then is joined by a violin, then a tabla. Every instrument repeats in loops. As more instruments come in, it allows other ones to go into variations. With nine different instruments on the album you can imagine how rich it becomes. The tension builds and builds into a sonic frenzy. The last track has the same formula but some exotic chanting is included.

Wow. At just over 30 minutes long divided into two longer and two shorter tracks, it goes by way too fast. It seems like it's just getting started and then it's all over leaving you torn between the ecstasy of having heard such beautiful music and the melancholy of knowing this is so obscure it hasn't seen the light of day on CD and that this was a fleeting moment in time that will never be repeated exactly like this again.

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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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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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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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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