Progressive Music reviews page 14

Secret EyePhosphene featuring Lol Coxhill and friends :

The plum, the orange and the matchbox (US,2005)*°

This new release of Phosphene entered a new direction in style. Featuring Lol Coxhill and others it’s clear that some (free and improvised) jazz influence is involved. This new direction with sounds building up in half-dialoguing improvisations does not make the orientation obvious. We hear free jazz on “Doctor Silence”, or half ambient-experimental psychedelic reverbed glass like sounds with additional sax on “O Paline”, spacey electronic toy-like (almost healing sounds) spheres on “Spheries”, and almost too nervous electronica and saxes on “his masters vice”, until the challenging title track, “the plum, the orange and the matchbox”. The last track, “Henry the ninth” comes back a bit to some more harmonic spheres with spacey ambient voice-like keyboards directing its own world close to the sax sound improvisations.

Audio : "Spheries", "Golf: an Antechamber to Death","The Plum, The Orange and The Matchbox", "Henry The Ninth"(or here), "Zepheid Variable"

& http://www.cduniverse.com/productinfo.asp?pid=6986231&style=music&frm=lk_jzmtz

Info : http://www.phosphene.debrett.net/plumorange.htm

& http://www.secreteye.org/se/phosphene.html#a20

Homepage : http://www.phosphene.debrett.net

Interview : http://www.erasingclouds.com/0428cavanagh.html

Dutch review : http://www.kindamuzik.net/artikel.php?id=11489

Lol Coxhill page : http://www.lolcoxhill.com/

Earlier release I reviewed on http://progressive.homestead.com/progressive.html#anchor_51

Silber MusicRollerball : Catholic Paws / Catholic Pause (US,2005)**°'

Rollerball is Mini Wagonwheel, bass, keyboards, percussion, guitar, Mae Star, vocals, keyboard, sampler, accordion, Gilles, drums, percussion, electronic drums, Amanda Mason Wiles, alt sax, vocals, S. De Leon S., trumpet, clarinet, vocals, keyboard, percussion, with Ben Wright on tuba, Italian Jacopo Andreini on alto sax, vocals, percussion, Jamie Smith (Dang Head) on clarinet, Dylan Hinkley (Dang Head) on valve trombone, Molly Griffith, cello, Bruno Dorella, drums, The Led, vocals.

This is already their 11th album. And I must say it is a hard ball to break. Their music is genre crossing (indie post-)rock with jazz and other elements, with an intelligent, complex developed and matured sound. There is a variety of structures, song orientated, theatre related, freeminded jazz improvisational, with lots of switches and elements of experimenting, hard to describe its varied focus, because it’s always somewhere in some mix.

Audio "Erluzie"

Info : http://www.silbermedia.com/rollerball/

VoiceprintBrian Hopper : If Ever I am (UK,rec.2000-2003, iss.2004)*°'

-with Robert Wyatt, Hugh Hopper, Frances Knight, Robert Fenner, Graham Flight, Ansy-

Someone who is easily overlooked in Soft Machine is sax player Brian Hopper, Hugh’s brother, even when he participated with Wilde Flowers, but also on Soft Machine vol 2 (with “Hope for Happiness”), their BBC sessions, and on the great on the great “Spaced” album published later. While Wilde Flowers early experiences lead to Canterbury groups Soft Machine and Caravan, the first band never had an official recording. While Wilde Flower had much of Brian’s attention in it, a few years back he had the desire to make a new recording based upon original material they used to play, and with original members. It was almost impossible to get all the members together to develop together the material, so instead Brian used his own multi-tracked recordings resulting from Wilde Flowers and solo material and then invited the guests to contribute. Because of the limitations in development of the project, very much compromising through some private programming, it often has a somewhat lonely jazz feeling, especially on “Akamalaka”, and “Tarzapark Rarka” and elsewhere. The liner notes explain “Hope For Happiness” was actually from a longer suite, a raga-saga which grew out of a fascination with Indian Music. The interpretation here gives very much an idea of where this inspiration came from and how the composition is built. I only wish it was recorded with the help of true Indian musicians and (Canterbury) rock band members to explore its development full. “For Freedom” is a track in cooperation with Robert Wyatt where Robert challenged Brian that he could use easily more techno Groove Beats to it, which he did, somewhat successfully, in combination with some spacey samples from a side project of his, The Happy Accidents. In general I like the cooperations with Hugh Hopper and Robert Wyatt on the various tracks at most.

Info on Brian Hopper : http://calyx.club.fr/mus/hopper_brian.html

Label entry of this release : http://www.voiceprint.co.uk/voiceprint.php/Catalogue/Labels/Voiceprint/VP338CD

Small review : http://members.chello.nl/a.rotshuizen/sm-new2004.html

Info and discography of songs on Wilde Flowers (with audio) : http://www.strongcomet.com/wyatt/wilde.htm

Another Hugh Hopper release and some Soft Machine releases are reviewed on http://progressive.homestead.com/progreview.html#anchor_29

Universal MusicVienna Art Orchestra : Art & Fun (Ö,2002)***/***°

This is a double CD celebrating the 25 year existence of this 20 piece big band in a style which never would have expressed themselves this way without the heritage of some American giants like Duke Ellington & Art Ensemble Of Chicago. The leader and composer is Mathias Rüegg. In this project he compiled 80 compositions which derived from 450 arrangements and compositions, to express the stylistic range of this orchestra. There’s a more traditional jazz kind of big band brass jazz, with room for sax solo’s, and developing moods. Unusually the band also adapts a few electric passages (bass, guitars), especially on “Fun & Art”, mostly to create some kind of dialoguing to the developed layers. On “Art goes funk” I recognised some African element. An enjoyable release.

After an earlier first try and successful experiment, called “Marquis De Satie”, which is also included, Mathias asked electric guitarist Martin Koller to add a full CD with remixes. A ‘DJ-kind of mixing’ always is done best by dedicated musicians with an ear for music, but also with some technical engineering qualities to handle this. His manipulations are very successful, with a funk touch mixed with a German art-techno kind of ..jazz. To the recordings were added some additional electric guitar and bass, rhythms and rhythmic remixes to complete the new compositions bringing them to a renewed territory. The multi-layered manipulations and re-mixes were done on a ‘mac g4’ with, according to the liner notes, “emagic logic audio” and “elixir strings”, and for the final editing, some analogue “neve-twist”. The combinations of the orchestra, with a new groovy rhythmic evolution uploaded with sophisticated contrasts, works very well. One can recognise the original group performances, but the reproduced effects changes, musically and technically still improve the music to add an extra layer of composition, which is more technically contrasting, and still very fluent, and thankfully also groovy. All elements together make fine contrasts, on a base of logically made rhythms, with a few times mixed in changes. Not to forget there are also quiet, atmospheric multispaced modern sound mixes with its own kind of worked out time spans. This bonus CD became my favourite of the 2.

Audio : http://www.vao.at/v2/display.php?id=113

Audio of older works : http://dartin.tripod.com/vao.html?discs/discs-idx

Homepage : http://www.vao.at/v2/index.php

with this item : http://www.vao.at/v2/display.php?id=126

Other page : http://dartin.tripod.com/

Article : http://www.emarcy.com/artists.asp?artist_id=65

German article : http://www.jazzecho.de/page_2572.jsp

German review : http://www.pop-info.at/2002/vao.htm

French review : http://www.citizenjazz.com/article3456222.html

Gig review here (or here)

Textile Rec.The George Burt/Raymond MacDonald Quintet

with Lol Coxhill and Future Pilot Aka : Hotel Dilettante (US,2005)*°

A good thing about this new group is that they didn’t really came completely from jazz improvisational ideas, so they also don’t really fall back too much on any pre-dated or recognisable jazz patterns. The group started, according to the press notes, in a folk idom in the Pentangle/Martyn style, with Andy Shanks and Jim Russell, something which might only be suspected on this release, -if really-, on some tiny details, like in the acoustic string improvisation on “Mindful”. They were formed after working with Lindsay Cooper in improvisation workshops. Here the group reconsidered all its experiences again, in cooperation with the old jazz giant Lol Coxhill. They also have the cooperation of Nicola MacDonald's on vocals and Sushil K Dade (Futur Pilot Aka). Lol Coxhill of course remains often recognisable. The group style itself remains less recognisable where it is directing to or where it is inspired from other than the moment, moving forward into an area like a predating- or pre-styled jazzimprovisation, with enough direction to be really enjoyable..

Label info : http://textilerec.free.fr/index.php?...

Info on group : http://www.jazzservices.org.uk/band/1496.htm

Older release : http://www.fmr-records.com/catalogue/latest.htm

Interview with MacDonald : http://hi-arts.co.uk/mar05_interview_raymond_macdonald.htm

Cuneiform Rec.Forgas Band Phenomena : Soleil 12 (F,2005)****

I guess “Soleil” also refers to Magma’s Soleilmoon label, perhaps in a wish still to belong to that scene (as a drummer with vision next to Christian Vander), even when drummer Patrick Forgas was perhaps even more influenced by the Canterbury scene, in this case especially the later period of a more jazz and jazzrock fusing direction.* Patrick's expression here is one of a more controlled warm sound ; jazz performed like artrock. His band is an 8-piece band performing brass instruments with drums, guitars, a J.L.Ponty like jazzviolin and a bit of electric piano. The music is in the right mood from start to finish. The tracks are rather long, but are built up and evolve in a convincing way. The listener I guess should have no notice of the time during the musical experience.

This should be the band’s official third release, but I count 7 previous Patrick Forgas related albums on his website. This particular album should not be unnoticed by jazzrock-fusion lovers.

Audio : http://www.cduniverse.com/search/xx/music/pid/6938833/a/Soleil+12.htm

Homepage : http://calyx.club.fr/forgas/index.html

Label info : http://www.cuneiformrecords.com/bandshtml/forgas.html

Line-up details : http://www.progarchives.com//Progressive_rock_discography_CD.asp?cd_id=9886

Other reviews : http://www.allaboutjazz.com/php/article.php?id=19689

& http://www.copperpress.com/new/reviews/html/120105forgas.html

& http://www.onefinalnote.com/reviews/f/forgas-band/soleil-12.asp

& http://www.seaoftranquility.org/reviews.php?op=showcontent&id=2862

& http://www.squidco.com/miva/merchant.mvc?...

Review of older P.F. album : http://www.cs.uu.nl/people/jur/reviews/synchronicite.html

* -"Although the title does read like the catalogue number of one of Alain Lebon's releases, there is NO relation to the Soleil Zeuhl label. "

- "Although he has collaborated with a number of Magma alumni, as you rightly point out, Patrick Forgas's main influence is the Canterbury scene, and Soft Machine in particular;

- "to make things clearer re: his discography, Patrick's debut album, "Cocktail", came out in 1977 under the name "Forgas"; then there were two solo albums as "Patrick Forgas"; then 2 "Forgas Band Phenomena" albums; then another "Patrick Forgas" album in 2001. So "Soleil 12" is indeed the THIRD release by the "Forgas Band Phenomena" project. Other than his debut release, the other albums are solo efforts, and musically quite distinct to his work with/as FBP." Aymeric Leroy / executive producer, "Soleil 12"

Acuarela Discos12Twelve : L'Univers (SP,2006)****

12Twelve made with "L'Univers" is a really great and vividly inspired jazz related album with a truthful/honest heart for music, with jazz only as one of the elements.

The first track on this album, “Mr.Gesus” sounds most like great jazzrock recalling the true “black energy” in jazz, in a simplified way. The quartet definitely has a jazzdrummer, but is not really a jazzband. “La Habitacion De Albert” is much more post-rock with an art feeling and more with jazz echoes, really nice. Also “Professor Ali” has a couple of ideas compiled which are rooted in improvisational jazz and groovy jazz-rock, with an approach that comes from different areas, adding psychedelic groovy echoes into the mix. The short “Qè 4°” is more free jazz and experimental, an interlude which leads to the groovy improvisation on “Il Monstro” made with jazz harmonies (guitar, sax, drums) and funky rhythm guitar. The next couple of tracks are short, moody jazz ideas, with a second experimental free-music idea on “Yotuel”, also kept short enough to convince, before going back to the smooth groove. “Intonarumor I”, with somewhat melancholic organ, could be related to the late Soft Machine improvisations, and even when this is still different, I recognize at least the interests. Finally, “3001”, with echoing rhythm guitar recalls eventually newer/modern rhythmic genres while the group’s doesn’t leave the certain jazz rooted fellowness.

12Twelve is Jaume L. Pantaleon : guitar ; Jens Neumaier : keyboards, effects and saxophone ; Jose Rosslea : drums and Javier Garcia : bass. Produced by Steve Albini (Big Black & sound engineer for Nirvana, The Pixies and PJ Harvey).

This is their third, very sucessful album.

Audio : "Mr.Gesus", "La Habitacion De Albert", "Professor Ali"

Homepage : http://www.12twelve.net/

Label : http://www.acuareladiscos.com

Spanish info on group : http://www.soundsinacoma.com/grupo.php?referencia=7

& http://www.heineken.es/music/articulo.asp?id=2450&palabra=12Twelve

Concert pictures : http://www.metronomemusic.net/conci_12twelveza2006.htm

Other reviews and descriptions : http://www.darla.com/catalog/search.asp?id=11124 &

http://cdn.scratchrecords.com/... & http://www.cargorecords.co.uk/...

http://www.dotshop.se/ds/browse.php?lid=15

Spanish reviews : http://personales.alumno.upv.es/mimarsa1/avantfolk/reviews/review128.htm

& http://www.eramagazine.net/entrevistas/12twelve.html

& http://laganzua.net/discos/archivo/ardiscos47.html

Cuneiform Rec. The Mahavishnu Project : Return to the Emerald Beyond (US,2007)***'

John McLaughlin was a very dedicated and disciplined musician who had his own guidance, an Indian guru, who gave him a spiritual name to go with him, which made John decide to start a group and project under the name of Mahavishnu Orchestra. Their first album, a jazzfusion-rock album with the electric energy of let’s say Hendrix, was nothing like anything ever heard before, and caused a thrill, also amongst lovers of the slowly developing progressive music genre. It still is a remarkable and enjoyable album that continues to surprise after all these years. Unfortunately much of the jazzfusion-thrill was soon going to feel like an overexposed technicality for the public. Leading into an over-emphasised technical mastering, leaving no space to breath, after the moments of having taken the breath away first, this was soon going to give a too elite feeling to the new pop genres, as the positive idea for having a “progressive” music soon was ready to fail and turn against itself, leading to almost the opposite, a raw realness, the punk movement… In this whole change that was destined to happen, John McLaughlin had his own evolution. In the repertoire of the Mahavishnu Orchestra, the band’s live energy remained most noticeable, without showing well a second chance to give the same compact highlight of its start, but it developed more improvised ideas, and created its own area like a genre or a method on its own. In that way I am sceptical to the birth of a tribute band, but Mahavishnu Project within the meaning of such a "genre" with skills was very spontaneously developed to its own standards, with mostly further development of live energy, that continued to give life, starting from the point where the last band had left off in the late ‘70s ; John McLaughlin improved.

As a live concert it has all the elements that were there, melodic at times, very genre-like, with little surprises but with some very good moments of increased energy thanks to individual improvisation skills. With such a big band for the album, a second drummer wouldn’t have been wrong, and could have made it even better. Also, with doubling its ambition and time for a studio album as well would have even given an extra surprise to it, something which didn’t happen yet. As a live band there surely is a development which has a professional starting point that succeeds to convince enough in that way I hope it will get an extra continuation. For a further development of the band, for a possible studio project, I hope that the band will give also opportunities of breathing energy into it, before falling into the melodic mistakes of late progressive music, and the neo-progressive genre that continued this. In some way it still is mostly the nostalgia and love for the music that keeps this music very alive. I am waiting for the next creative step that adds also a strange element to be able to go to the next level of a creative challenge.

Most of this album was based upon the compositions from the latest Mahavishnu Orchestra album, a fundament which was never performed live in its full core, until now..

PS. When the group Mahavishnu Orchestra ceased to exist, John MCLaughlin continued first with much renewal with his Indian Shakti group.

Audio : "Eternity's Breath","Lila's Dance", "Can't Stand Your Funk", "Pastoral", "Faith",

"Cosmic Strut", "If I Could See", "Be Happy", "Earth Ship", "Pegasus","Opus 1",

"On The Way Home To Earth", "Smile of the Beyond", "Vital Transformation",

"Sister Andrea" & on http://music.allofmp3.com/...

Homepage : http://www.mahavishnuproject.com

with info : http://www.mahavishnuproject.com/html/rtteb.html

Other reviews :

http://www.allaboutjazz.com/php/article.php?id=24695

http://www.popmatters.com/pm/music/reviews/31349/the-mahavishnu-project-return-to-the-emerald-beyond/ & http://www.thephoenix.com/article_ektid35813.aspx &

http://www.waysidemusic.com/ProductInfo.aspx?productid=RUNE%20242-243

& http://www.seaoftranquility.org/reviews.php?op=showcontent&id=4764

& http://www.artistdirect.com/nad/store/artist/album/0,,3861930,00.html

& http://www.bagatellen.com/archives/reviews/001568.html

& http://www.pritchardschool.com/jazzrock/artists.html

& on http://www.92y.org/...

Interview with drummer Gregg Bendian : http://www.allaboutjazz.com/php/article.php?id=24586

Akatzia Rec. Alissid Jazz! : Tapes On Trees (RU,2006)****

The Alissid Jazz group (-Aliss refers to band leader Alexander Alekhin-) and project does not always sound the same, but this album is an elegant, smooth jazz-orientated song album, with a professional and warm sound and approach. The female singer has a great voice and interpretation skills. She is accompanied by Rhodes and piano, and sax, harmoniously. Not all songs are in the jazz area, but the smoothness of the singing is, with honest emotionality. Whenever flutes are used, these are ethnic flutes, sometimes bring in a small ethnic tune as another element. Suddenly, after 8 tracks with this convincing moody approach, the style changes a bit more towards triphop on a few tracks, and they also experiment a bit with more modern rhythms, on jazz drums, while keeping the same, tasteful feeling. It is strange to hear them with this kind of experiments interpreting “Summertime”. This makes the song different from all other versions, while the core is kept entirely intact. A fine, tasteful album with great jazz flavours.

Info : http://www.alissidjazz.com/eng/

Intro on group : http://www.soundclick.com/bands/pageartist.cfm?bandID=378555

Label info : http://akatzia.com/

PS. The band not always remains so much into jazz/song territory. Next album is reviewed in the World Fusion section :

Akatzia Rec. Alissid Jazz! & Nikolay Oorzhak : Oorjazz (RU/TUV,2007) ?

review on

http://psychevanhetfolk.homestead.com/WORLDfusion.html#anchor_77