Jazz Related Rock

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Like its close cousin RnB, rock grew out of the 1940s jazz genre known as jump blues. Needless to say, rock and jazz have had a close relationship from the very beginning. The jazz related rock section at JMA pays tribute to those rock artists who display a certain amount of competent jazz influence in their music. This influence can be displayed via virtuoso extended jam sessions, jazz influenced harmonic language, big band style horn charts or a combination of all this and more.

Jazz artists who utilize rock in their music can be found in the Classic Fusion, (Post 70s) Eclectic Fusion and Post-Fusion Contemporary genres.

jazz related rock top albums

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

SOFT MACHINE Third Album Cover Third
SOFT MACHINE
4.65 | 48 ratings
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FRANK ZAPPA The Grand Wazoo (The Mothers) Album Cover The Grand Wazoo (The Mothers)
FRANK ZAPPA
4.66 | 34 ratings
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FRANK ZAPPA One Size Fits All (as Frank Zappa And The Mothers Of Invention) Album Cover One Size Fits All (as Frank Zappa And The Mothers Of Invention)
FRANK ZAPPA
4.59 | 32 ratings
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FRANK ZAPPA Over-Nite Sensation (The Mothers) Album Cover Over-Nite Sensation (The Mothers)
FRANK ZAPPA
4.60 | 26 ratings
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AREA Arbeit Macht Frei (Il Lavoro Rende Liberi) Album Cover Arbeit Macht Frei (Il Lavoro Rende Liberi)
AREA
4.66 | 15 ratings
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FRANK ZAPPA Hot Rats Album Cover Hot Rats
FRANK ZAPPA
4.50 | 46 ratings
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HATFIELD AND THE NORTH The Rotters' Club Album Cover The Rotters' Club
HATFIELD AND THE NORTH
4.58 | 18 ratings
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FRANK ZAPPA Waka/Jawaka Album Cover Waka/Jawaka
FRANK ZAPPA
4.53 | 22 ratings
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SOFT MACHINE Grides Album Cover Grides
SOFT MACHINE
4.69 | 9 ratings
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FRANK ZAPPA Imaginary Diseases Album Cover Imaginary Diseases
FRANK ZAPPA
4.78 | 6 ratings
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FRANK ZAPPA Shut Up 'n Play Yer Guitar Album Cover Shut Up 'n Play Yer Guitar
FRANK ZAPPA
4.71 | 7 ratings
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NATIONAL HEALTH National Health Album Cover National Health
NATIONAL HEALTH
4.55 | 11 ratings
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jazz related rock Music Reviews

GONG Camembert Electrique

Album · 1971 · Jazz Related Rock
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siLLy puPPy
No this isn’t quite the “Radio Gnome Triology” despite the first short track being titled “Radio Gnome” but despite the lack of Steve Hillage’s spaced out echo guitar trippiness, Daevid Allen in cahoots with Gilli Smyth manages to create a healthy dose of Canterbury psychedelia on his own terms. CAMEMBERT ELECTRIQUE is the second release by Daevid Allen’s GONG and probably one of the most rockin’ of the entire GONG discography. On this release it is Daevid Allen who plays guitar and bass as well as handling the expected vocal duties. BTW although my remastered copy says the first track is “Radio Gnome” i see it listed as “Radio Gnome Prediction” on the very first vinyl release as well as other subsequent releases. How clever, hmmm?

This is an interesting transition album that feels like it has connections to the heavy psych of the 60s while branching out its tentacles into a new 70s space rock style garnished with all the zaniness and humor that the Canterbury scene was so famous for. If you listen to the old Wilde Flowers and Soft Machine demos with Daevid Allen still in the band, you can trace some of these riffs to those days, only with the addition of Gilli Smyth’s famous space whispering and the excellent addition of Didier Malherbe’s excellent sax and flute to create some really good solid musical madness on this one. This is a great example of how to combine the Canterbury whimsy with space rock, progressive heavy rock and healthy doses of anarchic psychedelia with totally original experimental elements.

This indeed was time of the birth of the space age hippie music and Daevid Allen’s decade long roster of ideas that were suppressed and underdeveloped really were allowed to bloom for the first time on CAMEMBERT ELECTRIQUE. This is really a fun album! Musically, lyrically, rhythmically etc. Just look at the zany titles of the songs: “Mister Long Shanks, O Mother, I Am Your Fantasy,” “Dynamite: I Am Your Animal,” “Fohat Digs Holes In Space!” This is just wonderful music being melodic, demented, innovative, unique, experimental, daring, sacrilegious, comical, uproarious and above all spaced out, maaaan! While most of GONG’s discography displays complex band interactions, this is the one that screams out that it’s Daevid Allen’s baby and what a cute and adorable little baby it is! Sadly Daevid passed away recently on 13 MARCH 2015. Thank you Daevid for all this excellent music and R.I.P. No doubt this music will entertain for a very long time to come :)

QUIET SUN Mainstream

Album · 1975 · Jazz Related Rock
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siLLy puPPy
QUIET SUN is a strange little beast. The jazz-fusion band existing in the Canterbury Scene was one of the few to incorporate highly distorted rock guitar in its sound. The band actually started under the ridiculous Pooh And The Ostrich Feather moniker in 1970. The band’s existence has everything to do with Robert Wyatt who with Bill McCormick the bassist brought this idea into fruition. MAINSTREAM is the first and only offering from this band which formed and disbanded and then reunited and because of Phil Manzanera’s success in Roxy Music allowed this group to reform and record these ideas and finally release this wonderful musical magic in 1975.

The band consisted of percussionist old-school friend Charles Hayward (This Heat, Mal Dean’s Amazing Band, Radar Favourites, Dolphin Logic), bassist Bill MacCormick (Matching Mole, Robert Wyatt, 801 w/ Manzanera, Eno, etc) and of course, Phil Manzanera, who is most famous for his lead guitar work in Roxy Music but is also less famous for his Latin American music hailing from Colombia and Venezuela. This album, however, was his very first collaborative effort and what a beautiful one it is.

While MAINSTREAM incorporates all those wonderful, delectable sounds that make up the Canterbury scene of jazz-rock fusion like the beautiful jazz-rock offerings of Hatfield and the North, QUIET SUN offers some serious rock guitar to the mix above and beyond the call of duty. It didn’t hurt that Brian Eno participated in the project as well as long time music critic and Nick Drake popularizer Ian MacDonald who not only contributed as a lyricist with QUIET SUN but also lent his vehement support of the band’s credentials in the progressive musical world.

Really, how can you go wrong with such progressive classics titled “Mummy Was An Asteroid, Daddy Was A Small Non-Stick Kitchen Utensil”? The Canterbury scene is here in full swing with the addition of excellent guitar contributions. The musicianship is absolutely brilliant and the tracks may need a bit of time to grow on you but ultimately they have won me over big time. This is an album that whispers in my ear that it’s time to hear it again.

When i ordered this i expected a simple original album format but i ended up with the 2011 remastered version that is in a strange form of a booklet that explains the entire history of the band and although it doesn’t fit neatly in the midst of my CD collection, it does present itself as a standout amongst the crowd in not only packaging but also in its unique approach of incorporating the Canterbury Scene with the hard rock that dominated the mid-70s. I, for one, find this to occupy a unique niche in all of music history at a particular time and place. The irony is that this album which was an idea of the earliest of 70s almost never came to be. I am grateful that it did because it is one beauty in the making.

ANIMALS AS LEADERS Animals As Leaders

Album · 2009 · Jazz Related Rock
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siLLy puPPy
The brainchild of founder Tosin Abasi from Washington DC, the all instrumental jazz-fusion meets djent project ANIMALS AS LEADERS is more or less his baby although the band tours and presents itself as a full-fledged musical collaboration. This creative outlet began with Abasi’s involvement as the guitarist in the tech metal core band Reflux. After the band ceased to be, Abasi was approached by the metal record label Prosthetic Records who were majorly impressed with his chops and wanted him to record a solo album but Abasi declined feeling the idea was self-indulgent and instead he took a year off to study music in an academic setting to further his growing interest in jazz, classical guitar and composition. After he finished his homework he took Prosthetic up on their offer and then proceeded to let it all rip and roar. He chose the name ANIMALS AS LEADERS after reading the novel “Ishmael” by Daniel Quinn which dealt with the subject of anthropocentrism.

In 2009 Tosin released his first album playing his eight-string guitar and bass as well as co-producing with his partner in crime Misha Mansoor who handled engineering, drum programming and mixing. This album got a lot of praise when it came out due to its challenging virtuosic performances that add a lot of variety and spice to the often impressive but sterile compositions that many a virtuoso can dish out. A child of his time, Abasi pretty much handled all the duties formerly requiring an army of talents to accomplish and if he had been ten to twenty years older he could have easily fit in on the Shrapnel Records label that ushered in all kinds of young talented virtuoso guitarists to the world. Some of those artists like Tony MacAlpine and Greg Howe seem like antecedent influences to Abasi’s work, but i also hear some Pat Metheny in some of the lighter fluffier pieces, some mid-tempo ones bringing Allan Holdsworth and even Shawn Lane to mind and of course, the undeniable palm-muted technique of djent tech thrashers Meshuggah in the metallic edge that many of these tracks dish out.

While the influences on board are plenty, what i find refreshing about the debut album by ANIMALS AS LEADERS is how some fresh new takes on these techy fusion guitar jams play out. While the album is clearly created to show off Abasi’s technical wizardry, he was prescient enough to know that wizardry alone for wizardry’s sake had been played out and that extra oomph was needed to guarantee a pleasant listening experience. Well, pleasant this is indeed with lots of chops to excite my hunger for lightning fast guitar runs configured with insanely fast and unpredictable progressive time signatures alternating between quiet cozy numbers and rowdy rockers that unleash monster riffage and extreme bass frenetics.

My only complaint is that this album may be a tad too long for its intensity and contains a couple tracks that seem a little redundant but overall i find this to be a beautifully constructed modern day jazz-fusion guitar and bass extravaganza with beautiful atmosphere, crystal clear production and a musical passion that keeps the quality sizzling. OK, one more complaint. I wish there would have been a real drummer. While the programmed drumming is far from unpleasant or bad in any way, it really is no proper substitute for a talented jazz-fusion drummer who can really bring out the best in a band like classic Bill Bruford did in Yes. Excellent album but not quite a classic.

PHISH Fuego

Album · 2014 · Jazz Related Rock
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Unitron
Phish-Fuego

'Fuego' is the twelfth studio album by progressive/jam rock band Phish. I was introduced to Phish fairly recently, a friend played their album 'A Picture of Nectar' for me and I really enjoyed it. That was the first album I heard, but 'Fuego' is the first Phish album I got for myself. After listening, I can safely say that Phish has not lost their touch after all these years.

In typical Phish fashion, this album has many different elements to the music. Anything ranging from jazz, hard rock, jam rock, and blues, creating a great progressive rock album. The opening title track is one of my favorites, beginning with some great piano and unique drumming. There is some hard rock guitar before great A capella. This song never really stays the same, changing from melodic rock parts to experimental drum/keyboard jams. Three minutes through there is an awesome guitar solo, playing over some great drumming by Jon Fishman. This song is definitely the main highlight of the album. '555' is another one of my favorites, having a great combination of blues rock and jazz. It has an awesome bassline and a really catchy chorus. 'Sing Monica' and 'The Line' are two other really good tracks, both being catchy. 'Wombat' is silly, yet pretty catchy. None of the other songs, while good, stand out to me as much.

Overall, I wouldn't call it as good as 'A Picture of Nectar'. It's still a great album, especially taking in to account the fact that these guys have been playing for many years now. If you want some good experimental rock, this would not be a bad choice at all.

Hope you found this review helpful.

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KING CRIMSON Live At The Orpheum

Live album · 2015 · Jazz Related Rock
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EntertheLemming
A Scarcity of Standing Room

One of the great consolations afforded by the Crim's vast eclectic output is that even at their most willfully impenetrable, piously abstruse or drippily soporific, they are seldom predictable and at the very least their abject chaff is some of the most harvestable chaff available. Discipline Global Mobile's ever growing silos of repatriated bootlegs and official live recordings are testimony to our voracious appetite for what can be some extremely indigestible fodder. Kudos are therefore due to 'this Fripp' winning a seemingly losing battle against the institutionalised exploitation of musicians and their lack of protection from copyright piracy that he has waged for nigh on 40 years. By his own account, Bob has described this as a dispiriting and ruinously expensive fight against the legal obfuscation of his previous management and the complicity of a judiciary swayed by precedents set by industry practices that have never been sufficiently challenged or subjected to any form of rigorous scrutiny. Similar to those exorcists who have expelled demons and prevailed, all will testify that every victory is accompanied by the death of yet another little portion of their human soul. Bob Fripp has never done 'safe', his courtiers are never allowed to 'tread water' and despite his measured urbane mildness and inscrutable candor his sworn enemies have always been mediocrity and conservatism.

Why then has he granted royal assent to the release of 41 minutes of the most anodyne and tame Crimson to have hit the shelves since erm...In the Wake of Poseidon? (another pale imitation of a former glory in their discography)

There's a danger here in falling into the trap of judging this record by what it does NOT contain i.e. as if it were a clumsily truncated souvenir of a much lengthier statement of intent that featured performances of Larks' Tongues in Aspic, Part I, The Light of Day and the title track from A Scarcity of Miracles, VROOM, Level Five, Pictures of a City and what is becoming the increasingly revisionary encore 21st Century Schizoid Man

I'm at a loss as to the reasons for such zealous editing unless there were fidelity issues with the available recordings, but that being the case, wouldn't they have been able to reassemble the entire performance from other shows on the itinerary? Either way, it's a very 'white bread' choice of material that gazes longingly in the rear view mirror while straying perilously close to stalling in the middle of the road. Second guessing the Frippmeister is invariably futile but I suspect that what has been dubbed the 'Seven-Headed Beast of Crim' will prove to be about as feral as Mr & Mrs Fripp's agoraphobic pet white rabbit 'Willyfred'

First of all, new boy Jakko Jakszyk is a demonstrably fine guitarist and decent singer who cut his teeth in the '21st Century Schizoid Band' but if you wanted fresh young blood to forge the way ahead consistent with a progressive mandate, would you recruit from a Crimson tribute band? (that's like asking a historian to read your palm) His voice is hopelessly unsuited to the otherwise excellent One More Red Nightmare where he's about as convincing as a chunky beggar who commutes to work. On the up-side, his vocals and guitar on Starless are excellent and merely serve to confirm that perhaps his tonsilry is more comfortable within the ballad realm.

What's always struck me as rather indefensible is the rough ride that the outgoing Adrian Belew was routinely shown by large swathes of the Crimson fanbase. What other member of a 1st Division Prog band was still perceived as the 'new boy' 20 years after the fact? For me, his vocal, guitar and compositional abilities dwarf those of Jakszyk but I seriously doubt that the jury will still be out on the latter 20 years hence. Maybe Uncle Bob just wanted a lower profile front-man?

Similarly, one of the conclusions begging to be drawn from this line-up (inferred or otherwise) is provided by the flute and sax contributions of Mel Collins who featured originally on four of the numbers included here. Notwithstanding Mel's impeccable credentials and unswerving good taste, at 67 years old, this seasoned session luvvy is never gonna be charged with Lese-majeste. Check out his solos however on Construktion of Light which shed some unprecedented erm..light on that rather unjustly neglected new millennium Crim issue.

There are three drummers on this album but scant evidence to justify their inclusion. (Does Robert harbor designs to eventually have his entire touring band seated in the manner of a Rock orchestra?) For those sad hirsute plankton in our midst, you are advised that Pat Mastelotto is mixed on the left, Gavin Harrison on the right and Bill Rieflin in the centre. The only track where a twelve limbed percussion critter is audibly present is on Construktion of Light where they do weave an attractive composite rhythm apportioned across the stereo spectrum.

The inclusion of Sailors Tale is a treat as I think it a vastly undervalued track in the Crim's output. Levin's visceral and guttural bass adds an even more pressing urgency to the propulsive groove and Bob conspires to replicate his sublime thrashing detuned strumming 'solo' (albeit in shortened form). The Letters is every bit as as overwrought and unwittingly comedic as that of the studio original. Sinfield's cod Gothic approximation of Lord Byron selling fish from a big frilly shirt has not aged well in the interim.

Unfortunately what new material is on display offers very little clues as to what the future holds for King Crimson: Banshee Legs Bell Hassle and Walk On, Monk Morph Chamber Music are but two wispy and perishable ambient scooby snacks the likes of which we have heard countless times before. I went to see the Crimson ProjeKCt (sic) last year in Brisbane, Australia which boasted a paltry TWO drummers and have to report that the entire ensemble of Adrian Belew, Tony Levin, Pat Mastelloto, Julie Slick, Tobias Ralph and Markus Reuter in their various permutations, provided more evidence of progressive intent and innovation that anything on Live at the Orpheum The foregoing is not sufficient cause for abdication just yet, but with every passing year, Toyah Willcox is starting to approach the mantle of a post-Punk Wallis Simpson.

You have to wonder who this release is aimed at as I fear there is too little novelty to stir the hard-nose Crimhead from his lair which leaves the tenuous 'Crimson virgin' demographic. If you belong to the latter then you are getting a well played and well recorded bite sized selection of no-brainer material culled from the years 1971 to 2000. From that perspective this album starts to make sense and might come to resemble USA from 1975 which perhaps served as a little appetiser for the considerably more expansive (and expensive) the Great Deceiver box set. We can but wait to see what type of main course will follow the aperitif represented by Live at the Orpheum

Robert Fripp is 68 years old and as far as being dragged through the digestive tract of a music industry's irritable bowel goes, has paid his dues several time over. If he wishes to see out his time as a performer by playing an unimpeachable back catalogue with his mates to critical and audience acclaim, who am I do deny him this thoroughly merited succour?

Just don't expect me to ask you to read my palm Bob.

jazz related rock 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.

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.

HATFIELD AND THE NORTH Classic Rock Legends

Movie · 2001 · Jazz Related Rock
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Sean Trane
Actually, this is nothing more than the TV special that got released some 12 years later after the live album. And this release does make a difference, compared to the live Cd. Actually only the respect I have for H & TN, stopped from giving less than two stars for that Cd because the recording was atrociously flat , poor quality and listless.

However, the DVD of that concert is much better and the sound quality is much better than the original Cd release. So the line-up is the same as Miller, Pyle and Sinclair are present and Sophia Domancich is replacing Dave Stewart. Although the newcomer is an impressive player, she does not however fill such gigantic shoes of Stewart. Actually on the latest 2005 tour , Alex Maguire does a credible job, though!

Highlight includes live favourites Matter Anyway and Going For a Song. A much fitter souvenir of that live one-shot reunion tour.

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