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There was a mini-genre of singer/songwriters in the late '60s and early '70s that has never gotten a name. They were folky but not exactly folk-rock and certainly not laid-back; sometimes pissed off but not full of rage; alienated but not incoherent; psychedelic-tinged but not that weird; not averse to using orchestration in some cases but not that elaborately produced. And they sold very few records, eluding to a large degree even rediscovery by collectors. Jeff Monn, Paul Martin, John Braheny, and Billy Joe Becoat were some of them, and Sixto Rodriguez was another on his 1970 LP, Cold Fact. Imagine an above-average Dylanesque street busker managing to record an album with fairly full and imaginative arrangements, and you're somewhat close to the atmosphere. Rodriguez projected the image of the aloof, alienated folk-rock songwriter, his songs jammed with gentle, stream-of-consciousness, indirect putdowns of straight society and its tensions.
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The Táin is the name of a music album by Irish rock band Horslips. Their second studio album, it was Horslip's first attempt at making a concept album, an idea they would return to in 1976 with The Book of Invasions: A Celtic Symphony. The Táin was based on the Táin Bó Cúailnge (The Cattle Raid of Cooley), one of the most infamous legends of Early Irish literature, dealing with the war between Ulster and Connacht over a prize bull. The songs tell the story from the points of view of Cúchulainn, Queen Maeve of Connacht and Ferdia, among others. Horslips continued their Celtic Rock style of fusing traditional Irish music and rock, using traditional jigs and reels and incorporating them into their songs. For example, Dearg Doom is based on O'Neill's March, while The March of the King of Laois forms part of "More Than You Can Chew".
The Táin was released in Ireland in 1973 independently, in the UK by RCA/Oats and by Atco in the US. It was reissued in the UK in 1978 by DJM.
"Dearg Doom" was arguably the most popular track on the album and was included in Tom Dunne's 30 Best Irish Hits compilation, released in 2003. Along with "Faster Than The Hound", it was performed by the band on BBC's Old Grey Whistle Test. "Dearg Doom's" main guitar riff was incorporated into "Put 'Em Under Pressure", the anthem of the Republic of Ireland's Italia '90 campaign, reintroducing the song to a younger audience.
01."Setanta" (instrumental) – 1:15
02."Maeve's Court" (instrumental) – 1:41
03."Charolais" – 4:03
04."The March" (instrumental) – 1:34
05."You Can't Fool The Beast" – 3:43
06."Dearg Doom" – 3:07
07."Ferdia's Song" – 2.44
08."Gae Bolga" (instrumental) – 1:15
09."Cú Chulainn's Lament" – 3:07
10."Faster Than The Hound" – 5:39
11."Silver Spear" (instrumental) – 2:06
12."More Than You Can Chew" – 3:18
13."The Morrigan's Dream" (instrumental) – 3:25
14."Time to Kill!" – 5.02
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Happy to Meet - Sorry to Part is the name of an album by Irish rock band Horslips. It was first released in Ireland by the end of 1972 as their debut album. Before this, they had released the same year three singles: Johnny's Wedding/Flower amang Them All and Green Gravel/Fairy King in Ireland and The High Reel/Furniture overseas. Happy to Meet - Sorry to Part was also released the following year in United Kingdom, Germany, France and United States. In 1978, the LP was re-released in UK together with The High Reel, added as the last track.
This is widely considered to be the first celtic rock album ever recorded. With this, Horslips took the lead in Irish music of the time and created an original mixture from traditional Irish tunes and rock music. The album's name itself is that of an Irish jig.
Get ready for the ride of your life through Irish folk-rock styles. The opening track of the group's debut album, with its pipes, button accordion, and percussion, could pass for any Chieftains record, but then the electricity kicks in on "Hall of Mirrors," and the rest is melodic rock, not so much folk-rock as folkish rock, recalling early Genesis.
John Fean sounds like he's playing folk melodies even as he plays runs on his electric guitar on "The Clergy's Lamentation," and the group follows this with an anthem-like piece of Gaelic rock ("An Bratach Ban") with a dance-like instrumental break. "Bim Istigh Ag Ol" is probably the best track on the album, and "Hall of Mirrors" and "Furniture" remained in their stage act for years, the latter, with its superb middle section — favorably recalling Steve Howe's playing with Yes on their early albums — transformed into a 15-minute epic.
And just when you think you've got them pegged as a progressive folk-rock outfit, they deliver the exquisitely languid, almost impressionistic "The Shamrock Shore" and the playful "Dance for Yer Daddy," which sounds like the Chieftains with vocals until Fean's electric guitar kicks in. And Fean's playing on "The Musical Priest," by itself, is worth the price of the album.
01. "Happy to Meet" (instrumental) – 0:48
02. "Hall of Mirrors" – 5:29
03. "The Clergy's Lamentation" (instrumental) – 4:39
04. "An Bratach Bán" – 2:04
05. "The Shamrock Shore" – 4:34
06. "Flower Amang Them All" (instrumental) – 2:04
07. "Bím Istigh Ag Ól" – 3:43
08. "Furniture" – 5:13
09. "Ace and Deuce" (instrumental) – 3:35
10. "Dance to Yer Daddy" – 4:37
11. "Scalloway Ripoff" (instrumental) – 1:54
12. "The Musical Priest" (instrumental) – 4:33
13. "Sorry to Part" (instrumental) – 1:32
14. "The High Reel" (instrumental) – 2:43
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The 1st of four excellent studio albums by this very underrated British band.
Prior to working under the name Hookfoot, they served as Elton Johns backing band in the late 60s. But for those who dislike Elton's music, "Don't let it Bring You Down", because their music sounds nothing like the 'Rocket Man's!
It's a perfect fusion of hard rock, blues and jazz, done far better than many of their contemporaries at that time. The opening track 'Bluebird' originally penned by Stephen Stills while he was with Buffalo Springfield, is the best album opener ever! This fast paced heavy version will definitly please you. The harp playing is fantastic.
Then you have a ballad like 'Mystic Lady', which evokes 'Steely Dan' type vocal harmonies, before there was a 'Steely Dan'.
Ian Duck and Caleb Quaye are both brilliant guitarists, and Caleb makes great use of the Leslie, much like Joe Walsh. He's also a great acoustic player. At times when the two of them use their twin lead attack they remind me of 'Wishbone Ash' a little, especially on 'Mystic Lady'.
The rhythm section of Dave Glover-Bass, and Roger Pope-Drums are among the best to come out of England at the time.
There is also a cool jazz excursion called 'Wim Wom' where Caleb switches between guitar and keyboard.
These songs are all very well played, and won't disappoint even the most critical.
In the previous review by 'zombeels', he said "great version of Neil Young's 'Down by the River' ". That song never appeared on this album, although a great version of Neils 'Don't Let it Bring You Down' does.
Here are the liner notes, word for word, by Elton John: "For the last three years, Hookfoot and I have been friends. We've all struggled together, and at last their first album is ready. For me they are potentially the best new English band. This album is only the beginning".
Elton was right, because each album they released was super, I only wish they would have received more recognition for their material.
I think it's interesting to note that Caleb Quaye is the son of popular 1940's-50's jazz musician Cab Kaye. Cab's father (also named Caleb Quaye) was from Ghana. He was a well known jazz percussionist in the 1930's-40's.
Hookfoot's Caleb Quaye is also the older brother (by 26 years, and a different mother) of the more recent UK jazz/reggae and 'BRIT Award' winning artist Finley Quaye.
I think if Neil's 'Crazy Horse' was impregnated by a heavier bluesy 'Steely Dan', and that bastard child was raised by Cactus, his name would be 'Hookfoot'.
01. Bluebird 4:00
02. Mystic Lady 5:08
03. Movies 4:52
04. Nature Changes 5:32
05. Wim-Wom 3:20
06. Don't Let It Bring You Down 4:05
07. Coombe Gallows 3:07
08. Crazy Fool 4:50
09. Golden Eagle 5:32
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Hookfoot was a British rock band, active from 1970 to 1974.
Formed by Caleb Quaye (guitars, piano and vocals) and three fellow DJM session musicians, Ian Duck (vocals, guitars and harmonica), Roger Pope (drums) and David Glover (bass), the band were also backing musicians for Elton John, appearing together on most of his early recordings for DJM. Fred Gandy (bass - formerly of Bluesology) replaced David Glover, who left after the release of the second album.
Hookfoot was a quintet formed at the end of the '60s as a recording unit by a half-dozen session players associated with Dick James' publishing and later with his DJM Records label. They never made much of an impression on the charts, despite their work being licensed to A&M Records, through which they released four LPs in the U.S.A. Ian Duck (vocals, harmonica), Dave Glover (bass), Roger Pope (drums, vocals), and Caleb Quaye (guitar, vocals) were the original lineup, with Bob Kulick (guitar, vocals) coming in alongside Quaye, and Fred Gandy joining on bass later.
01.A Peace One - 1.46
02.You Better Get On - 7.16
03.Death Song - 6.36
04.First Things First - 3.05
05.Wide Open Funky Spaces - 4.13
06.S.B.W. - 2.37
07.Shoeshine Boy - 12.13
08.A Peace of Two - 0.55
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Hookfoot was a quintet formed at the end of the '60s as a recording unit by a half-dozen session players associated with Dick James' publishing and later with his DJM Records label. They never made much of an impression on the charts, despite their work being licensed to A&M Records, through which they released four LPs in the U.S.A. Ian Duck (vocals, harmonica), Dave Glover (bass), Roger Pope (drums, vocals), and Caleb Quaye (guitar, vocals) were the original lineup, with Bob Kulick (guitar, vocals) coming in alongside Quaye, and Fred Gandy joining on bass later.
Hookfoot was a British rock band, active from 1970 to 1974.
Formed by Caleb Quaye (guitars, piano and vocals) and three fellow DJM session musicians, Ian Duck (vocals, guitars and harmonica), Roger Pope (drums) and David Glover (bass), the band were also backing musicians for Elton John, appearing together on most of his early recordings for DJM. Fred Gandy (bass - formerly of Bluesology) replaced David Glover, who left after the release of the second album.
Other occasional members of the band were:
Bob Kulick (guitar, vocals),
Mick Grabham (bass)
Peter Ross (harmonica, vocals)
01. Tradin' Riffs 4:50
02. Rockin' on the Good 5:08
03. Maybe Tomorrow 3:15
04. Surely Lost Our Way 2:45
05. In Many Ways (You're So Beautiful) 4:35
06. Three Days Out 4:50
07. Ridin' on a Thunderstorm 6:05
08. Take It Where You Want It 1:15
09. There's a Chance 3:42
10. Roll of Drums 5:37
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Ocalist/multi-instrumentalist Caleb Quaye was the mastermind fronting the largely forgotten Hookfoot. Quayle started his professional musical career as a member of Long John Baldry's backing band Bluesology. When Baldry decided to disband the group in 1967 Quaye struck out as a solo act releasing an obscure 45 on Philips:
- 1967's 'Baby Your Phrasing Is Bad' b/w 'Woman of Distinction' (Philips catalog number BF 1588)
When the single disappeared without a trace, Quaye turned to sessions and live working, including supporting former Bluesology keyboardist Elton John. His work with John led to a steady paycheck as a house musician signed to Dick James Music (DJM) which also happened to have signed Elton John to a recording contract. It also introduced him to fellow DJM employees Ian Duck, David Glover, and Roger Pope. Duck, Glover and Pope had a lengthy history themselves having started out as members of The Soul Agents, The Loot, and The Final One. With all four working together in support of various Elton John projects, in 1969 Quaye convinced them to join him in forming a band - Hookfoot and were promptly signed by DJM (A&M acquiring US distribution rights).
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Hookfoot was a quintet formed at the end of the '60s as a recording unit by a half-dozen session players associated with Dick James' publishing and later with his DJM Records label. They never made much of an impression on the charts, despite their work being licensed to A&M Records, through which they released four LPs in the U.S.A. Ian Duck (vocals, harmonica), Dave Glover (bass), Roger Pope (drums, vocals), and Caleb Quaye (guitar, vocals) were the original lineup, with Bob Kulick (guitar, vocals) coming in alongside Quaye, and Fred Gandy joining on bass later.
HOOKFOOT, created by Southampton based musicians vocalist Ian Duck, bassist Dave Glover and drummer Roger Pope, was virtually the side act to their day jobs as session musicians for ELTON JOHN. The band started life as an R&B band THE SOUL AGENTS in 1965. A name change to THE FINAL ONE then led to HOOKFOOT. The debut album, which found the band ploughing a similar Country Rock furrow to COCHISE and covering songs by NEIL YOUNG, saw the addition of vocalist Peter Ross.
HOOKFOOT turned up en masse to supply the session music for solo artist JOHN KONGAS debut of
the same year on Elektra Records as Quaye, Pope and Glover provided the backing.
The follow up album had HOOKFOOT joined by second guitarist American Bob Kulick. A period of flux followed as Kulick quit (later finding notoriety with session work for KISS and his stints with BLACKJACK, BALANCE, MEAT LOAF and SKULL). To keep things on the move after Glover departed COCHISE guitarist MICK GRABHAM subbed on bass. Third album 'Communication' had the band up to full strength with bassist Fred Gandy.
Guitarist Caleb Quaye appeared on numerous 70's Rock projects including THE WHO's 'Tommy' Extravaganza, COLOSSEUM man Dick Heckstall-Smith's 1972 solo album, COCHISE's debut 'Swallow Tales', Grabham's 'Mick The Lad' solo effort and ex HAWKWIND man Steve Swindells 1974 solo album. The guitarist has also worked with Paul McCartney and Pete Townsend.
Far from the heaviest Rock Band HOOKFOOT nevertheless produced some interesting albums with worthy guitar work courtesy of Quaye.
Glover became a studio engineer in later years working with CINDERELLA among others.
01. Crazy Day Running Around
02. They'll Never Find Us Up There
03. To Stay Would Bring Me Down
04. Forty Winks
05. Oh Joanna
06. Here I Come
07. And Nothing Changes
08. Cruisin'
09. The Love That You Saved
10. Just a Little Communication
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Alan Skidmore (born Alan Richard James Skidmore, 21 April 1942, London) is a tenor saxophonist of jazz and blues music, son of the saxophonist Jimmy Skidmore.
Skidmore began his professional career at 16 and early in his career toured with comedian Tony Hancock. In the mid to late 1960s he worked with John Mayall's Bluesbreakers and Ronnie Scott's group. In the 1970s, he was part of Keith Tippett's jazz fusion bigband project Centipede and worked - among others - with Soft Machine, The Nice, Graham Collier, Brotherhood of Breath, Mike Gibbs, Elton Dean, Kate Bush and Curved Air. He has since played with many other musicians in blues and jazz, including Chick Corea, Alexis Korner, Georgie Fame, and the Van Morrison band.
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John Surman was one of the very few saxmen in England to find a significant audience in rock during the late '60s, playing gigs regularly at venues like the Marquee Club in London. Also a clarinetist of some renown, and no slouch on keyboards either, the atmospheric sounds that Surman creates on his horns has been a major asset to the ECM label ever since the late '70s; but, before that, he was an extremely prolific artist on Deram, Futura, Dawn, and Island, cutting seven solo albums between 1968 and 1974 on those mainstream pop-oriented labels, as well as recording with Morning Glory on Island. One of England's top jazz players of the past several decades, Surman is particularly strong on the baritone. Surman played in jazz workshops while still in high school. He studied at the London College of Music and London University Institute of Education in the mid-'60s, played with Alexis Korner and Mike Westbrook until the late '60s, and recorded with the latter until the mid-'70s. He was voted best soloist at the 1968 Montreux Festival while heading his band. Surman worked with Graham Collier, Mike Gibbs, Dave Holland, Chris McGregor, and John McLaughlin in the '60s, and toured Europe with the Kenny Clarke/Francy Boland big band in 1970.
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Avant-reedist John Surman's self-titled Deram debut straddles the past and future of British jazz. Recorded in collaboration with altoist Mike Osborne, bassist Harry Miller and pianist Russell Henderson, the disc's first half comprises four succinct workouts that channel the Caribbean textures and rhythms so influential on the evolution of Britain's postwar musical culture -- Surman's potent baritone is kept in check here, and while the performances pulsate with warmth and energy, their straight-ahead approach proves much too limiting. Which makes the second half of John Surman that much more radical -- a sidelong, three-part suite recorded with jazz-rock titans including trumpeter Harry Beckett, bassist Dave Holland and trombonist Paul Rutherford, the music erupts with invention and passion, exploring the deepest reaches of sound but never lapsing into self-indulgence.
Biography:
Born in Tavistock, Devon in 1944, composer/multi-instrumentalist John Surman is one of the key figures in a generation of European musicians who have crucially expanded the international horizons of jazz during the past thirty years or so. Long acknowledged as an improviser of world class, Surman has also composed a body of work which extends far beyond the normal range of the jazz repertoire. Already, by the late 60s, it was clear that Surman was a phenomenon. He started out as a teenager playing the music of fellow Devonian Mike Westbrook, and then amazed the London establishment with displays of extravagant instrumental proficiency combined with a passionate, rumbustious imagination.
As a soloist, Surman's early career took shape in the melting pot that produced a number of fine British musicians during the 60s. As well as his association with Westbrook, there was varied experience with the blues of Alexis Korner, hard bop with Ronnie Scott’s octet, mainstream jazz with Humphrey Lyttleton, South African township influences with the Brotherhood of Breath and jazz-rock with John McLaughlin. During this period he forged lasting relationships with composer John Warren, pianist John Taylor and bassist Dave Holland, with whom he co-led an exciting trio featured on his first album for Deram ‘John Surman’.
Surman also lead his own Octet in 1968 and performed in the big band directed by Mike Gibbs, but the formation of The Trio, in 1969, can be seen as a watershed in terms of his international profile. This unit, with expatriate Americans Barre Phillips (bass) and the late Stu Martin (drums) became one of the busiest and musically vital groups on the European circuit.
Surman also featured (with Karin Krog) in the European DownBeat pollwinners group that toured Japan in 1970, further enhancing his reputation on the international front.
By the mid-seventies, Surman had produced a couple of important albums - the solo project Westering Home, and Morning Glory, with Terje Rypdal , John Marshall, Chris Laurence, Malcolm Griffiths and John Taylor.
The Trio SOS, with Alan Skidmore and Mike Osborne proved another ground breaking project, combining electronics with the dynamic soloing of three fine saxophonists.
He had also begun a long-term collaboration with the American choreographer/dancer Carolyn Carlson, and was based at the Paris Opera with her company for some time.
In 1978, he recorded in duo both with Stan Tracey (Sonatinas) and also the Norwegian singer Karin Krog (Cloudline Blue). In addition he toured and recorded with the quartet of bassist Miroslav Vitous until 1982.
His debut solo album, ‘Upon Reflection’ was recorded for ECM Records in 1979, launching a fruitful relationship with the company that continues to the present day, and includes four further solo records. Other albums include ‘Such Winters Of Memory’, with Karin Krog and Pierre Favre; and the 5-star Down Beat-rated ‘The Amazing Adventures Of Simon Simon ‘ with Jack DeJohnette.
During the 80s and 90s, John maintained an impressively high output of quality work. As an instrumentalist, he played in duo with DeJohnette, Albert Mangelsdorff, Karin Krog, Barre Phillips, John Taylor, and performed in more open group formations with peer group musicians such as Kenny Wheeler, Dave Holland, Elvin Jones, Jon Christensen and Mangelsdorff. In addition he toured and recorded in quartet with Paul Bley, Bill Frisell and Paul Motian.
Surman took part in several tours over a period of years with the great Gil Evans Orchestra - being a member of the band which performed and recorded live in Perugia with Sting, in addition to a number other special concerts that the band staged with the likes of Van Morrison and John McLaughlin.
The duo with Karin Krog remains an important part of his activity, and, on a number of occasions, this has been augmented by a choir of mixed voices.
In the UK, he has toured twice for the Contemporary Music Network, once with the 10-piece Brass Project, and later in duo with Jack DeJohnette.
As a composer, John has continued to work in the contemporary dance field, with Carolyn Carlson and for other companies in Europe. He wrote’ Private City’ for Sadlers Wells Royal Ballet with choreography by Susan Crow- the music is featured on the ECM album of the same name.
He was Composer in Residence at the Glasgow Jazz Festival in 1989, producing new work for the Surman/Krog duo plus choir, and re-forming the Brass Project (this group has also performed at the North Sea Festival, and at festivals in Portugal, France, Germany and the UK.
The Surman/DeJohnette duo devised new music with the Balanescu Quartet, commissioned by the 1990 Camden Jazz Festival.
He has also written music for theatre and TV, and has had music performed regularly by Radio Big Bands in Germany and Scandinavia. December 1993 saw the premiere of a new suite, commissioned for the Oslo Radio Symphony Orchestra and Quartet.
In 1994, Surman was commissioned by the Bath Festival, BBC Radio 3, the Arts Council and South West Arts, to write new music for various groupings from solo to Brass Project, and including the Nordic Quartet with Karin Krog, Terje Rypdal and Vigliek Storaas, to celebrate his 50th birthday year.
A further commission in 1996 from Salisbury Festival allowed John to return to a long-standing fascination with choral music, producing Proverbs and Songs, an extended work for solo saxophone, pipe organ (John Taylor) and the 80-strong Salisbury Festival Chorus, directed by Howard Moody, and premiered in Salisbury Cathedral. The concert was recorded for BBC Radio 3, and has now been released by ECM. This album was one of the Mercury Prize choices for ‘Album of the Year’ status in 1998. The piece continues to be popular and has been performed in a number of countries including France, Romania, Switzerland and the UK.
In 1998 he premiered a new chamber orchestra version of his acclaimed solo recording, The Road to St. Ives. The work was commissioned and performed by the Bournemouth Sinfonietta,
New music for saxophone and string quintet, (led by Chris Laurence), received its first performance at the Bath Festival 1998 and developed into the collection of pieces which can be heard on the ECM album ‘Coruscating’.
As well as expanding his horizons as a composer, Surman has continued to play live throughout the world. His unique solo performances reflect the special blend of acoustic and electronic music featured on recordings like ‘The Road To St Ives , ‘ A Biography of the Reverend Absalom Dawe’, and the popular ‘Private City’ by far his best-selling album. A solo visit to India took place in October 2003.
His duo with John Taylor toured in China towards the end of 1997 and continues to perform regularly throughout Europe and beyond.
He also appears in duo with Karin Krog , using a variety of electronics and keyboards - ( check out ‘Bluesand’ on Karin’s Meantime Records label) .
His quartet with John Taylor, Chris Laurence and John Marshall remains one of the most distinctive of European small bands and appeared in November 2003 at the Macau Festival and play in Poland during December.
Surman has recorded prolifically for ECM over the years.
During the 1990s, he released solo albums and recordings with the Brass Project, the English quartet with Taylor, Laurence and Marshall, and with the Nordic Quartet.
He has also featured on two records with Paul Bley, Gary Peacock and Tony Oxley, and on the album, Thimar, with Anouar Brahem and Dave Holland.
Film scores for two Raphael Nadjari films ‘The Shade’ and ‘Apartment 5c’ featured in Surman’s output between 1999 and 2002. ‘Apartment 5c’ was recently released on DVD by mk2 editions.
Since 2000, Surman’s duo collaboration with Jack Dejohnette has been much to the fore, with two albums being released by ECM - the first ’Invisible Nature’ recorded live at the Tampere and Berlin Jazz Festivals and the second ‘Free and Equal’ in which the duo are joined by the10 piece chamber ensemble London Brass in a live concert recorded at London’s Queen Elizabeth Hall.
His motet,’Under the Shadow’ commissioned by the vocal quartet Red Byrd received it’s first performance on BBC Radio 3 in December of 2002.
For the past three years Surman has been ‘Composer in Association’ with the Sarum Chamber Orchestra, a professional orchestra based in Salisbury UK. In 2002 they performed Howard Moody’s transcription of ‘Road to St. Ives’. In 2003 the Orchestra was joined by a choir of voices gathered from schools in the Salisbury area for the first performance of Surman’s ‘In All Weathers’. January 30th 2004 will see the premiere of John’s new composition in Salisbury City Hall . The piece, ‘Ultimate Voyage’is written for saxophone, piano and orchestra.
JohnSurman is a perennial pollwinner, and in 1989 received the Bird Award at the North Sea Jazz Festival and a Wire Award for services to jazz in Britain. He was awarded an Honourary Doctorate in Music by Plymouth University in 1997 and the BBC voted him ‘Instrumentalist of the Year’ in 2002.
Surman's music transcends familiar boundaries. Although a deep love of the entire jazz tradition is an important element, he is equally affected by the melodic qualities of choral music and English folk music - "If I look back to what turned me on about music, it was what I heard before I ever came across any jazz." The surprise, and the enduring pleasure, of Surman's art is the contrast of simple, haunting melody, lush orchestral textures and intense improvisation.
01. Obeah Wedding Francisco 6:29
02. My Pussin' Roberts 5:53
03. Good Times Will Come Again Henderson 6:11
04. Carnival Rollins 5:46
05. Incantation Surman 5:44
06. Episode Surman 5:08
07. Dance Surman 10:05
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Album contains five previously unreleased masters recorded at various sessions in 1968 and 1969.
John Surman's Jazz in Britain 68-69 is an overview disc of his '60s band and one of the more enjoyable vintage British jazz records to come down the pipe in a while. These tunes are not the same ones that appeared on earlier albums or compilations. Vocalion has released these five tracks of vanguard European jazz with the hope that since some of these cuts are not well-known it will appeal to collectors of the material.
These tunes come from a number of different sessions, as evidenced by the alternate drummers -- Alan Jackson and Tony Oxley -- and the use of different instrumentation, like the three-horn modal piece "Bouquet Garni," from 1968 that places Surman in the company of only two other horn players (Alan Skidmore and Mike Osborne) and no rhythm section. For most of the other tracks, actually, Oxley is the drummer, Kenny Wheeler plays flugelhorn, and John Taylor plays piano (acoustic and electric). The music here is all over the place stylistically, but it hardly matters because all the players are fully engaged, and as an ensemble, they all shine and were seemingly looking forward to the impact the new jazz would have. A fine sounding, well-presented compilation by Vocalion and Decca.
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https://rapidshare.com/files/2779485982/John_Surman_1972.rar
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http://uploadmirrors.com/download/YMJBGQ4Y/John_Surman_1972.rar
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