Jazz Related Rock

Jazz music community with reviews, MP3 (free download/stream) and forums

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 | 35 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 | 33 ratings
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FRANK ZAPPA Over-Nite Sensation (The Mothers) Album Cover Over-Nite Sensation (The Mothers)
FRANK ZAPPA
4.60 | 27 ratings
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AREA Arbeit Macht Frei (Il Lavoro Rende Liberi) Album Cover Arbeit Macht Frei (Il Lavoro Rende Liberi)
AREA
4.64 | 16 ratings
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FRANK ZAPPA Hot Rats Album Cover Hot Rats
FRANK ZAPPA
4.50 | 47 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 | 23 ratings
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FRANK ZAPPA Imaginary Diseases Album Cover Imaginary Diseases
FRANK ZAPPA
4.79 | 7 ratings
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SOFT MACHINE Grides Album Cover Grides
SOFT MACHINE
4.69 | 9 ratings
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FRANK ZAPPA Shut Up 'n Play Yer Guitar Album Cover Shut Up 'n Play Yer Guitar
FRANK ZAPPA
4.72 | 8 ratings
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YES The Yes Album Album Cover The Yes Album
YES
4.86 | 5 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy JMA!

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jazz related rock Music Reviews

YES Relayer

Album · 1974 · Jazz Related Rock
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siLLy puPPy
Hot on the heels of their “Tales From Topographic Oceans” tour Rick Wakeman decided to jump ship from the mighty YES due to creative differences with “Tales From Topographic Oceans,” the whopping double album that dipped too much into the ethereal imagination of vocalist Jon Anderson. In order to find the proper replacement to fill Wakeman’s hard-to-fill shoes, the band searched high and low and even auditioned Vangelis who didn’t quite fit in with this crowd. After the dust settled they settled for the Swiss keyboardist Patrick Moraz whose only real band experience was with the progressive rock band Refugee. The band sallied forth without Wakeman and without him conjured up one of their most complex and challenging albums of their career with RELAYER. This album is really perfect in every way. It takes all the complexities and diverse elements found on pretty much all of their previous works and stitch them together in creative new ways while still adding a lot of experimentation to the mix. This is probably one of the most complex albums that took me the longest to appreciate. The music is so jittery and bombastic that i didn’t know what hit me the first time i heard this. I couldn’t understand why anyone would like this. Granted it was one of the first progressive rock albums i got into along with other YES albums, but happily after a gazillion and one listens to this i can honestly say not only has it aged well, but it has gotten better after each subsequent listen and continues to do so to this very day.

There are many similarities with previous albums although there are many more differences. The album attempts to take the variety of diverse complexities from “Tales…” and condenses them into a single three track album which in that regard is similar to “Close To The Edge” where the first track “The Gates Of Delirium” takes up a whole side on the original LP and side two consists of two tracks. There is less time for spaced out wandering and more focus on extremely tight band interactions that spiral out a healthy amount of variations on different complex melodies. After the mixed reviews of “Tales…” the band returned to the top of the charts with RELAYER as it was a huge hit on both sides of the Atlantic. This is probably one of the most complex albums i can think of to actually hit the top 5 on the Billboard album charts and be certified gold soon after its release. Obviously YES had no problem carrying on without Wakeman and i believe that without him is the reason they could experiment even more leaving behind the classical keyboard approach and taking on harder sounds where the keyboards were more designed to be a surreal fugue behind the guitar and bass.

The album begins with the monstrous behemoth “The Gates Of Delirium” which at 21:50 remained their lengthiest single track for much of their career. The track is based on Leo Tolstoy’s “War And Peace” and has different sections that run the gamut of symphonic progressive rock, hard rock, experimentalism and even some musique concrète. The very last section called “Soon” was actually released as a single. This song was designed to convey the feel of a battle scene where each section segues into the next ranging from the chaotic to the melodic as heard in the “Soon” section which concludes the horrific battle with a melodic prayer offering hope for the future. The battle scene is notorious for the crashing of car parts that Alan White and Jon Anderson would collect and hang up to randomly bang upon. There is one chaotic part where Alan White pushes the whole collection over creating a massive cacophony.

The second track “Soundchaser” is easily one of my all-time favorite pieces of musical magic. This track embodies virtually every possible trait of progressive rock that i could imagine. It shows deep emotional connection, outstandingly technical prowess, consonance, dissonance, fantastic structure, OMG soloing, perfectly balanced dynamics between the bombastic and subtle and an excellent adaption of adding funk and jazz-fusion to the YES sound. It is just perfectly paced with Steve Howe’s guitar solos being amongst the strongest highlights of an impressive-in-every-way track. The slide guitar adds a slippery slide feel with proggy time sigs to die for with punctuated vocal interruptions a la Jon Anderson’s “cha-cha-cha’s” . I really want this to be a twenty minute track as well as its mere 9:31 isn’t quite enough musical bliss for me!

The last track “To Be Over” is the most accessible track on the album that creates a complex melodic arrangement of the guitar and electric sitar. It starts out as a lovely ballad with dreamy vocals accompanied by slide guitar and a nice mellow break after the frenetic outbursts of “Soundchaser.” The counterpoint soloing keyboards are heaven on Earth. This song builds in tempo and breaks into a more hard rocking sound while retaining the overall mellow feel of the introductory melody only with more energetic guitar, bass and drum action. A great way to wind down one of the most bombastic symphonic progressive rock albums in all of history.

And if all the music wasn’t enough. RELAYER has one of my favorite album covers of all time by Roger Dean. The silver and grey wrap around ice cavern scene offers up a dreamy fantastical Tolkien type landscape that complements every aspect of the music. It offers the placid otherworldliness with the contrasting hues of grey with the dangers that lurk ahead as witnessed by the serpent that stands in the way of the path to the magical kingdom. I really don’t have desert isle lists and the like because my musical tastes are as fickle as a breeze changing at the drop of a hat. I find most music can be satisfying at some particular moment and then not so at others but RELAYER is an album that satisfies anytime, anywhere and as frequently as i want. I still have a hard time retaining these melodies in my head yet they are as pleasant to hear every single time, therefore RELAYER is without doubt my current all-time favorite YES album and a mandatory desert-isle pick for its ability to be the musical gift that never stops giving me what i want out of it. 5 stars to the 5th power and beyond. It doesn’t get much better than this.

PHISH Fuego

Album · 2014 · Jazz Related Rock
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VerticalUprising
That'll do, Phish, that'll do. The band's 2014 release of Fuego promised many fans a comeback for those in want and need of a new record. For me, at least, on listening, they delivered. Although the band seems to be tightrope walking on their guitar strings and seem to be trying harder to do a bang up job, they do accomplish just that. In fact, it somehow seems that they are trying to revive the progressive flare that the band had back in the early 90's.

The one track that I absolutely adore is the opening title track. It is extremely memorable, and the band has quite a lot of energy going towards it. From the jazz-rock highlighted opening to the downright prog rocking middle and end, this song signifies Phish's reincarnation. But alas, this song is the most memorable, because the rest of the songs follow the same path of the time-weathered sound the band had and has still. Another great thing about the album is that, for the most part, the alternative-style that they had taken on with their early-late 2000's that I never really enjoyed.

So, all in all, this album was not a flop, whatsoever. For an example of something that wasn't as satisfactory is the band Boston's release of Life Love and Hope in the year prior. Now this was an album that the band sort of shriveled up and died, mostly due to their overwhelming irrelevancy in the market. However, even though Phish may be even less known today, they're still able to make a great album to please their fans no matter what. For my rating, I'd give it somewhere between 3.5/5 and a straight out 4. But, for the sake of Phish, I've rounded it to give them the benefit. Here's to them.

PHISH Rift

Album · 1993 · Jazz Related Rock
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VerticalUprising
If you thought that Phish's first three releases were progressive, then this album is the creative peak of the band's specific progressive style. Not to say that this is any better than the album prior to this, A Picture of Nectar, which happens to be my favorite album by the band, but this is definitely more along the lines of what the usual prog-lover would enjoy. This album is more akin to something like an early 80's/late 70's band as opposed to a 90's jazz rock band. Taking that into account, let's dive into the review. The title track starts well enough, with a very cliche-style Phish sound of racing cowbell and lighthearted a Capella. I started to quickly notice that it had a much more dark and feel, almost like Rift was trying to contain a story within it. It was such a surprise, it hooked me to the rest of the album. 'Maze' is the song every talks about, with it's 'Llama' style quick pounding rhythm with melodic quiverings in the background. 'My Friend, My Friend' and 'Weigh' are two songs that are great jazzy blues numbers, and are A+ style songs for the Phish peruser. 'All Things Reconsidered' is a spin on the National Public Radio's iconic theme-song for their show titled "All Things Considered". It's an actually quite strange mix if you think about it, but nothing really surprising seeing as we're talking about Phish. 'Mound' has probably the best a Capella the members have performed in all of their time. It speaks the story of a "broken old man in a world unkind", and is really actually quite heart-touching. Quite fantastic if I do say so myself. That's all for true highlights that got me really hard, but trust me, the entire album is fantastic.

If you're looking for a highlight of the 90's, look towards the first four album of Phish's studio discography. This album has joined the ranks of the majestic three respectively. Go give it a listen.

PHISH Joy

Album · 2009 · Jazz Related Rock
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VerticalUprising
Over the years, Phish has had a knack for writing their own music. I don't mean in the way of coming up with their own compositions of course. What I mean is, they tend to play whatever they feel like regardless of boundaries or social musical norms. Phish revels in the times where they have a chance to produce more music simply for the enjoyment of both their peers and fans. 2009 was not an exception, where Anastasio and company jumped on the chance the rekindle the light that meant so much to them, as well as to many music listeners in the public. What came from this excitement was a bundle of creative happiness aptly titled "Joy". Phish wasn't doing too great during the 2000's, especially in the crowd that enjoy them most for their experimental jazzy qualities as well as their ode-like style reminiscent of Grateful Dead. Phish moved more away from this and closer to a pop-rock, alternative rock style that became explosively prominent during the late 90's and of course the 00's. Starting out the year with Farmhouse, whose title track is the most listened song of their discography to date, the disappointingly bland Round Room in 2002, and Undermind in 2004. Undermind seemed to be the temporary breaking point for these jazz giants, as they quickly descended into a hiatus that lasted a whole five years. As I said before, this created an environment where the entire band was ready to participate wholeheartedly. This also made for a very light-hearted album with more odes to earlier jazz bands, as well as a largely inspired tracklist that has some highlights that are much more melodic for Phish.

Joy starts out with perhaps the happiest song, titled 'Backwards Down The Number Line'. This song I've found to pick me up even when I'm in a bad mood. This is sort of expected, seeing as the song follows the happy highlights and feelings from Anastasio's life. At moments, you can almost notice him smiling during the song. That's something that is hard to do, even for a band like Phish. The track immediately after, 'Stealing From the Faulty Plan', is completely the opposite. A very 70's-esque beat and vocals, with some awesome drumming by Fishman. High pitched guitars lead the way, the way Pink Floyd sort of incorporated it in their more arts-y albums, especially '72 and afterwards. The backstory of the song is also the opposite of it's predecessor, this time following the story of Trey Anastasio's sister's death from cancer. Even with this morbid base the song still seems to throw up very jaunty moods and one of the greatest guitar solos ever to rock the band. The title track is a very...well, earnest. What I mean is, the song is the musical incarnate of good memories, ones that you'd remember from your childhood. In fact, the word "happy" is used numerous times throughout.

After 'Joy', the albums descends more into the jazzy Phish of the 80's and 90's. 'Sugar Shack' combines funk elements with bouncy dual vocals making for a very sing-a-long type track. 'Ocelot' is a clear ode to Grateful Dead, with more barreling piano and country feelings. I don't exactly love it, but it's obvious that the band (especially Anastasio) loves Grateful Dead and decided to make a song dedicated to their main influence. 'Kill Devil Falls', by no means a bad track, is perhaps my least favorite. It has a very boring mood that ceases to interest me very well. Again, not awful but definitely the one song that I'd pass. 'Light' has some interesting and unexpected Who-ish elements, especially with the gravely guitar and fluid drumming. 'I Been Around' is basically a little quick, funny song made solely by Page McConnell. I love the song just for it's comedic, almost skit styling, as well as of course Page's piano skills. The microphone effects makes it seem like he's almost right in front of you. 'Time Turns Elastic' is another one of my favorites. This thirteen minute long epic encompasses so much that I love about Phish, that it's hard to explain them all. I suggest that you listen to it for yourself to get really in touch with it, because this song is not only very progressive, but simply good. 'Twenty Years After' is the closer, and very much like 'Kill Devil Falls', is pretty boring. Although more compositionally complex, the songs retains mostly the same features that made me not like the former. Some interesting parts I've found to intrigue me, which at the very least kept me pretty enthralled to listen to it all the way through and come back to it occasionally.

This album is something that I never expected liking so much, but I've found that giving it a chance and a thorough listen, that it is definitely a great album by any standards. Therefore, I give this album a rating of 4.5/5, and suggest that you go listen to it. Maybe it will fill you with as much joy as it did for me.

TRAFFIC The Low Spark of High Heeled Boys

Album · 1971 · Jazz Related Rock
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VerticalUprising
Traffic's 1971 release of the oddly named The Low Spark of High-Heeled Boys gives off an air of great stylistic qualities, and has deservingly been noted as the band's greatest achievement. Unlike Gentle Giant, another well known band of the eclectic progressive genre, Traffic's music tends to slow-dance over the line of folk rock, jazz, and of course eclectic rock. ,Low Spark b has many odd structures, which become very prominent as the album progresses. I found myself loving the album despite its thorough lack of tracks. Medieval sounding bard music slips in (much like Gentle Giant did) quite often. In the opening track 'Hidden Treasure', with soothing sounds that bring you sights of far off places and a subtle air of adventure. Although I found the track to be the only one I can't particularly listen to over again, mostly due to being so bland in light of the rest of its brethren. However, the track's slow tell-tale lyrics and minor progression is simply a lead into the eleven minute eponymous piece that is described as the center of the entire album. 'The Low Spark of High-Heeled Boys' is a track that seems much shorter than it actually is, mostly due to it's enjoyable yet sometimes repetitive nature. But smooth jazz it is so I won't delve too deep into it.

One small, mostly unnoticeable problem I had with Low Spark was the seemingly indecisive way Traffic chose the structure of the tracks. With every song there is a different listen, aside from a small similarity between the title track's climax and the straight up rocker of 'Rock & Roll Stew', but even then the latter being much more aggressive takes away any prior similarities that you'd hear while scrolling through the tracks. In my opinion, a variegated line up of tracks qualifies as an album that never gives you a dull moment.

On the point of the rockier tracks, the most distinguished being 'Rock & Roll Stew' and 'Light Up Or Leave Me Alone'. Having never been a fan of soft rock pretending to be greater than it is, the former of the two I've found to enjoy much more often. 'Light Up', especially during the later parts however does bring to the table alot of Who-like rocking, but because of this seems like a song stuck in the 60's. Enjoyable, yes of course, but not something I come back to very often. 'Rock & Roll Stew', living up to it's name, brings a great deal of mixed rock soup including some excellent funk. Combine that with the great vocals from Winwood and you have quite the delicious stew!

The slower tracks that the album retains are 'Many a Mile to Freedom' and 'Rainmaker'. The former sort of takes elements from the rest of the album, combining 'Hidden Treasure'-like softness and the subtle yet quietened rocking of 'Rock & Roll Stew'. This makes up for quite an adventure, especially one that I can sit through for seven and a half minutes and not complain about. 'Rainmaker' is perhaps my favorite song off of the album, being the one that first appealed to me while scrolling through the tracks. It bears a haunting melody and lyrics of a farmer reminiscing of his crops' unfortunate fate from drought. The theme of the song most likely derives to the tale of John Barleycorn told in the prior album, but I feel like this song takes the cake for most complex and best-sounding.

In an overall sense, The Low Spark of High-Heeled Boys is an album that goes very under appreciated in the world of the general music population, and unjustly so. If you haven't thoroughly heard or never heard this album at all, then I think you should find the vinyl and give it a spin. It is quite enjoyable. 4/5 rounded to 5.

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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