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YES Fragile Album Cover Fragile
YES
4.75 | 27 ratings
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STEVIE WONDER Songs in the Key of Life Album Cover Songs in the Key of Life
STEVIE WONDER
4.80 | 13 ratings
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PARLIAMENT Mothership Connection Album Cover Mothership Connection
PARLIAMENT
4.81 | 11 ratings
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FRANK ZAPPA The Grand Wazoo (The Mothers) Album Cover The Grand Wazoo (The Mothers)
FRANK ZAPPA
4.66 | 51 ratings
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SOFT MACHINE Third Album Cover Third
SOFT MACHINE
4.65 | 64 ratings
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YES Close To The Edge Album Cover Close To The Edge
YES
4.67 | 23 ratings
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JIMI HENDRIX Are You Experienced (Jimi Hendrix Experience) Album Cover Are You Experienced (Jimi Hendrix Experience)
JIMI HENDRIX
4.63 | 39 ratings
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NATIONAL HEALTH Of Queues and Cures Album Cover Of Queues and Cures
NATIONAL HEALTH
4.67 | 19 ratings
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YES Relayer Album Cover Relayer
YES
4.64 | 25 ratings
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YES The Yes Album Album Cover The Yes Album
YES
4.64 | 23 ratings
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CURTIS MAYFIELD Superfly Album Cover Superfly
CURTIS MAYFIELD
4.85 | 6 ratings
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KING CRIMSON Larks' Tongues In Aspic Album Cover Larks' Tongues In Aspic
KING CRIMSON
4.58 | 48 ratings
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jazz related Music Reviews

GREGG ALLMAN Searching For Simplicity

Album · 1997 · Blues
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Mssr_Renard
This album Gregg made with guitarist Jack Pearson, who was brief in the Allman Brothers Band. It has a warm production, courtesy of Tom Dowd. There is no jamming, just straight forward bluesrock, albeit in a mellowish way.

There are some Allman-penned tracks like the classic Whippin' Post, here in a stripped down version. Apparently Gregg was instructed by roady Red Dog, to do so, because of the succes of the unplugged version of Layla by Eric Clapton.

Another great Allman-song is House of Blues and Come Back and Help Me, wich is cowritten by Jack Pearson.

Almost all other songs are oldies, like Dark End of the Street, wich is favorite of Duane Allman.

In fact this album is a return to form, when you compare it to Laid Back. The eighties are all but done for, and Gregg sounds sincere and shows us once more that he is one of the best bluesvocalists around.

Another favorite song of mine on this album is the funky bluessong Rendez-Vous with the Blues.

The cd-booklet offers no extra information but somewhere on the album you can also here Derek Trucks on slideguitar.

If only this album would receive a vinyl reissue, than my Allman-vinyl-collection would be complete.

A great blues-album by one of the best bluessingers around. And some stellar guitaplaying by underrated guitarist Jack Pearson.

GOV'T MULE Gov't Mule

Album · 1995 · Jazz Related Rock
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Mssr_Renard
While still in The Allman Brothers Band, Warren Haynes and Allen Woody teamed up with drummer Matt Abts to fullfill their dream of a powertrio.

There are some tunes here written by the band and a few covers ,most notably Mr Big by Free, an heavy bluesrock-band from the seventies.

The music on this album is exactly that: heavy bluesrock with a few suprises like the acoustic Doplhineus and the Coltrane-tribute simply called Trane, wich is the jazziest, jammiest song on this album.

All the songs on this album find their way in the liveset of the Mule, where some songs can stretch out, like the Allman Brothers like to stretch out songs to.

The music is played almost live entirely, with only some guitarparts and some vocals overdubbed. The production and overall sound is heavy, with only Dolphineus a moment of rest.

Left Coast Groovies has some funk/fusion elements, as it is a tribute to Frank Zappa.

Gov't Mule will enhance their sound and leave the bluesrock behind and focus on more jamrock with (especially on Dose) some jazzrock-elements. But here on their debut, they sound like a fullblown heavy bluesrock band. Heavier than Allman Brothers. A great debut, and the Mule will remain my favorite band since 1994 until now.

RANDAL CLARK Stargazer

Album · 2022 · RnB
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Carmel
Randal Clark is a contemporary Salt Lake City-based alto saxophonist and composer. Clark's dynamic playing crosses elements of jazz and smooth jazz to form a sophisticated fusion sound that is pleasing and based on groove. Clark's latest album, Stargazer, is the altoist leading various bands of fusion icons Jeff Lorber, Jimmy Haslip, Randy Brecker, Vinnie Colaiuta, Gary Novak, Paul Jackson Jr., Nick Kellie, Michael Thompson, David Mann, Oliver Leiber, and Scott Kinsey. "Pivot" is a funk-filled exploration of groove and melody. Clark leads an ensemble of Jeff Lorber on keyboards, David Mann on saxophones and flute, Jimmy Haslip on bass, Jimmy Branly on percussion, and Gary Novak on drums. Clark's playing on this Lorber original is expressive as his technique and lyricism combine to form powerful phrases. The groove is maintained as the composition flows through several riff-based melodies. Clark's improvisational style is one of energy and a beautiful tone to form colorful and musical lines. "All About It" is given a easy-going funk groove. Clark's alto saxophone sits perfectly above the ensemble of Jeff Lorber on keyboard, Kenji Aihara on guitar, Alec and Tara Clark on trumpets, Howard Summers on trumpet, David Mann on saxophone and flute, Jimmy Haslip on bass, and Vinnie Colaiuta on drums. Haslip and Colaiuta keep the song's motion moving forward as the horn adds many colors hits to the melody. Clark's soloing is tasteful and melodic as he expresses his methodology of building an organic and meaningful solo. Haslip also performs a musically defined solo. Stargazer has much to offer in its fusion-based smooth jazz appeal. Clark is a very expressive player, and everything he plays has heart and flow. Each composition gives the listener an opportunity to enjoy the music and its cornucopia of sounds. Each musician that performs on the album is equally masterful, and together they create a joyful aesthetic for the overall project sound, which is a beautiful musical experience.

JAMES BROWN Reality

Album · 1974 · Funk
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js
In 1974 James Brown was, to cop one of his favorite expressions, standing at the crossroads. In the late 60s and early 70s James was one of the most influential artists in popular music, his introduction of a new syncopated music called the ‘funk’ had a huge influence on RnB, rock, jazz, blues and gospel, but as the 70s progressed, new younger bands like Parliament, Earth Wind & Fire and the Ohio Players were making him seem more and more like yesterday’s news. Brown’s ‘74 opus, “Reality”, had some good tracks on it, but it also showed signs that James was starting to turn to material that was not of the same caliber as his previous output. There are no musician credits on “Reality“, so more than likely these are just studio cats, plus James and his long standing horn arranger, Fred Wesley.

The album opens fairly strong with the title cut and “Funky President”. Both songs have James rapping more politics than usual as he expresses concerns about the US being in a moral tailspin while also encouraging his fellow African - Americans to show unity with one another while expanding their independence and self reliance when dealing with the world of ‘the man’. The next two tracks are in an almost older RnB style, but real signs of trouble come when James tries to funkify folk classic, “Don’t Fence Me In”. Side two starts off on the ‘good foot’, but “I’m Broken Hearted” drags things down again with overlays of cringy male sex sounds. The album closes out with James’ version of “Who Can I Turn to”, a lounge classic that is just a bad fit for the Godfather of Soul.

The production on this album is super slick and orchestrated, far different from the raw power of his late 60s band, but the sparkly sheen is attractive in places, especially the flute arrangements and some well placed corny exotic harp glissandos. James voice is still in good shape on here and his energy level is high. There are enough good tracks on here to make this worthwhile to the James Brown fan, but for the newcomer, check out what James was doing previously with Bootsy on bass, that is some of the most kinetic music ever recorded on to vinyl.

DUKE ELLINGTON Anatomy of a Murder

Album · 1959 · Jazz Related Soundtracks
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js
The musical genre known as ‘crime jazz’ was gathering steam in 1959 when Columbia Pictures reached out to Duke Ellington and asked him to compose the music for “Anatomy of a Murder’. Duke was a natural for this job as many of the composers who worked the crime jazz field were borrowing heavily from the sounds of Ellington’s musical world. Needless to say, Duke’s resulting soundtrack was a success and lead to more work for him in this field. Billy Strayhorn is the co-composer on here, and certainly Ellington’s best work goes down when Strayhorn is involved. The tracks on here are relatively short, there are very few solos, so it is really down to Duke and Billy’s composing and orchestrating skills to make this one fly, and this is also why this is one of Duke’s more unique records, its almost all composition and very little jamming.

Lots of variety on here, slamming rock-n-roll backbeats with blaring horns and bawdy burlesque vamps make up the more aggressive tracks. Elsewhere, soft sounds that hang in the air indicate suspense, mystery or trepidation. There are some cool sexy jazz passages that display the Ellington band’s superior skills with ensemble tone colors and solo soliloquies from some of Duke’s top soloists, especially the extra slinky alto saxophone of Johnny Hodges and the classical violin of Ray Nance. The ensemble on here is one of Ellington’s best bands with well known names such as Clark Terry, Harry Carney, Paul Gonsalves, Russell Procope and many more veterans of the Ellington approach. One particularly novel tone color that adds an air of mystery on side two is the delicate sounds of the celesta played by Strayhorn and Ellington.

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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/Art Song/Folk
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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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