In Milan in 1968 the composer Antonio Bartoccetti founded the group JACULA, with a view to transform into music a series of theological-philosophical and esoteric observations. Jacula released the albums "In Cauda Semper Stat Venenum", "Tardo Pede in Magiam Versus" and "Pre Viam". "In Cauda Semper Stat Venenum" was printed in 300 copies 10 promo and distributed to nun sects! Substantially it is an album for church organ and electric guitar with recited vocal parts. The project would end in 1972, then evolve into "Antonius Rex" and more album would follow under that name. Antonius Rex is still active having release a great album in 2006 and another coming in 2009. Line-up / Musicians Anthony Bartoccetti/guitar,bass,vocals Charels Tiring/keyboards Doris Norton/drums,effects Fiamma Dallo Spirito/vocals,violin,flute Discography(Album)
In Cauda Semper Stat Venenum 1969
1.Ritus 2.Magister Dixit 3.Triumphatus Sad 4.Veneficium 5.Initiatjo 6.In Cauda Semper Stat Venenum
JUNIPHER GREENE was a Norwegian progressive rock band who were formed in Oslo in 1967. The initial line-up included Bent Aserud on guitars, keyboards, flute and vocals, Geir Bohren on lead vocals, drums and sax, Helge Groslie on keyboards, Freddie Dahl on guitar and vocals and Oyvind Vilbo on bass. They released their ambitious debut album in 1971 called "Friendship". It stands as one of Norway's earliest progressive album and the country's first double LP.They were one of Norway's best bands together with RUPHUS and HOST, although they only released one album in 1973 "Communication" (also very good) before splitting in the mid 70s. Two compilation albums, "Best Of" (1975) and "Rewind" (1981), which also featured a number of unreleased tracks recorded between 1969 and 1980, were issued. Helge Groslie left the band to join TITANIC in 1972, Aserud and Bohren kept the JUNIPHER GREENE name for various incarnations during the 80s, although these were very different to the original group. Line-up / Musicians Helge Groslie/vocals,keyboards Bent Aserud/guitars,flute,harp,vocals Oyvind Vilbo/bass,vocals Geir Bohren/drums,vocals Freddy Dahl/vocals,guitars,vibraharp Discography(Album)
Friendship 1971
1.Try To Understand 2.Witchesi' Daughter 3.Music For Our Children 4.A Spectre Is Haunting The Peninsula 5.Sunrise/Sunset 6.Magical Garden 7.Autumn Diary 8.Maurice 9.Attila's Belly-Dance 10.Friendship
French drummer Jacques Thollot started playing with jazz bands at an early age towards the end of the 1950's, being recognized as a prodigy child. One can find clips of him from 1958 playing the drums at the age of 13 in a night club with a jazz band (Barney Wilen Trio). He would pass his teenage years in this surrounding developing his musical vision which would be much wider and more experimental than what he used to play during that time. His first release, which is also the most striking one, released on the Futura Records in 1971, is called "Quand Le Son Devient Aigu, Jeter La Giraffe A La Mer"; it is a splendid example of spacey-like, fragile and imaginative compositional style fusing jazz, electronic experiments, psychedelic elements and rock together, culminating in a blissful listening experience and it has earned Thollot the place in the NWW list. Thollot went on to release 4 more albums, "Watch The Devil Go" (1975), Résurgence (1977), Cinq Hops (1978) and most recently Tenga Niña (1996). Whereas the first album is the one of most interest to those looking for the avant-prog/experimental side of his, the others are more jazz-oriented and include vocals. Of these the most notable and recommended is Cinq Hops with its more structured and direct approach (compared to Quand Le Son.) and contains and female-vocals fronting in a chant-like style with the rest of the band providing an ethereal atmosphere, making this a very pleasant album to listen to with a touch of Magma-like zeuhl elements and style. Line-up / Musicians Jacques Thollot/drums,percussion,piano,organ,effects Discography(Album) Quand Le Son Devient Aigu, Jeter La Girafe A La Mer. 1971
1.Cecile 2.Position Stagnante De Reaction Stationnaire 3.Enlevez Les Boulons, Le Broiseur Se Desagrege 4.Mahagony Extraits 5.Qu'Il Se Fassent Un Village, Ou Bien C'est Nous Qui S'en Allons 6.Aussi Long Que Large 7.Quiet Days In Prison 8.De D.C. Par J.T. 9.Virginie Ou Le Manque De Tact 10.N.G.A. 11.Aussi Large Que Long 12.Quand Le Son Devient Aigu, Jeter La Girafe A La Mer 13.Marche 14.A Suivre
Jarka was the early 70's Spanish band of keyboardist Jordi Sabates. He plays piano, electric piano and organ, backed by bass and drums . Playing with a strong jazz sensibility, Jarka also differed from their Spanish contemporaries in the noticeable lack of any influence from Spanish culture or folk music. They released just two albums in early seventies, which were re-released in 1992 both on one CD. The music on Ortodoxia is predominantly in a jazz-fusion style reminiscent, perhaps, of Soft Machine or other early 70s European jazz-rock groups. Sabates' definitely carries the group with his deft playing, laying down some tasty jazz licks on the piano as well as occasionally turning to the organ or electric piano for more of a fusion approach. The primarily acoustic bass playing of Alfonso de Lucas is also quite impressive, showing a strong familiarity and versatility with the jazz idiom. With these two players coming from an obviously solid jazz background, the drumming, although quite tasteful and inventive, seems a little out of place with its more rock influenced styling, perhaps reminiscent of Robert Wyatt. The album overall is rather average; there is some good playing and some nice moments, but nothing that really stands out as spectacular. The 2nd album adds some guests, but the overall sound is still firmly on the keyboards with rhythm section. Some parts are quite jazzy, while others sound like early progressive rock mixed with a sort a Canterbury jazz/rock sound. Expanded to a four piece, with the addition of a guitarist as well as a new drummer, the album is a significant improvement over their first. Sabates' playing really shines here, and it is obvious that he could have held his own in any of Miles' line-ups. His style is probably most reminiscent of Herbie Hancock; somewhat impressionistic with a keen sense of chordal colors. His chops work best on the piano, but he also knows how to make his Fender Rhodes growl and bite, and there is some fine playing featuring that classic jazz electric piano sound as well. The guitar, present on maybe half the tunes, is also excellent, and may remind some of a slightly less aggressive John McLaughlin in his Miles Davis days. Line-up / Musicians Jordi Sabatés/keyboards Alfonso de Lucas/bass Pedro van Eeckout/drums Danny Somoza/guitars Discography(Album) Ortodoxia 1971
1.Osceli Rescaldat 2.Popiada 3.Resposta 4.Sube la silla roja 5.L.I.A.I 6.Noche de Pez 7.Retorna 8.No Estes Cohibido 9.Ortodoxia
José CID is a pretty famous Portuguese musician who made a progressive concept album in 1978 as well as a rare single which are both packaged here together and sounding very good. His style is very similar to the French take on symphonic rock with lots of string synths, Mellotron and a very simple melodic style. The guitar work is also amazing and works well with the keyboards. Lyrics are sung in native Portuguese and are quite well done."10.000 Anos Depois entre Vénus e Marte", Portuguese for "10,000 Years after between Venus and Mars" is a complete paradox of the present music composed and played by José Cid. "The concept is that Earth was destroyed except for one man and one woman who leave on a spaceship. 10000 years later, they return to Earth restored to its primal beauty". This album is considered by many to be one of the Mellotron masterpieces. Fans of spacey French symphonic rock and late '70s ELOY should really like this one. An excellent album. Line-up / Musicians José Cid/pianos,synthesizers,strings,Mellotron,vocals Josi Carrapa/guitar Ramon Gallarza/drums,percussion Zé Nabo/bass,guitars Guilherme Scarpa Inãs/drums,percussion Mike Sergeant/guitars Discography(Album) 10,000 Anos Depois Entre Venus E Marte 1978
1.O Ultimo Dia Terra 2.O Caos 3.Fuga Para O Espaco 4.Mellotron O Planeta Fantastico 5.10,000 Anos Depois Entre Venu E Marte 6.A Partir Do Zero 7.Memos 8.Vida (Sons Do Quotidiano)
Jellyroll consisted of Roger Troy (lead vocals-bass), Tim Heding (keyboards-background vocals), Ed Setser (guitar), Stu Perry (drums-percussion), Lee Asch (alto-tenor-baritone saxophones), Dave Parkinson (tenor saxophone) and Bob Thorne (trumpet), also featured on the album is Cosme Joseph Deaguero on Conga. In a sea of imitators of the Blood, Sweat & Tears/Chicago sound, Jellyroll is the real thing, exceptional musicianship with some fine guitar by Ed Setser and of course strong vocals, all original tunes here, some with the help of Richard Podolor, who also produced the album, the only exception being a cover version of Aorta’s “Strange”. Line-up / Musicians Roger Troy/vocals,bass Tim Heding/keyboards,vocals Ed Setser/guitar Stu Perry/drums,percussion Lee Asch/alto,tenor,baritone saxophones Dave Parkinson/saxophone Bob Thorne/trumpet Cosme Joseph Deaguero/сonga
Discography Jellyroll 1971
1.Restless Feeling 2.Search For A Memory 3.Strange 4.Trying To Forget Someone Too 5.Quick Trip 6.Help Me Over 7.Come On, Baby 8.Follow Me 9.At The Beginning Of Tomorrow 10.Hard Times 11.Standing On The Inside
JAZZ Q was formed in 1964 by Martin Kratochvil (piano) and Jiri Stivin (woodwinds). In their early years, they were inspired by the late 50s free jazz happening in America. By the late 60s though, after becoming familiar with the English rock scene, Kratochvil decided to go in a more electric and groove-based direction. Jiri Stivin wasn't keen on playing this style and left shortly after recording their debut LP from 1970 "Coniunctio", which was a collaboration with a severed line-up of Blue Effect, and stylistically was a mish-mash of rock, fusion and free jazz. Kratochvil completely revamped the line-up with guitarist Lubos Andrst (Framus 5, Energit), bassist Vladimir Pudranek (Energit, ETC) and drummer Michal Vrbovec. In this line-up they recorded what may be their best known album "Watchtower". Frantisek Francl replaced Andrst and the band also worked with the English singer Joan Duggan on their next LP, "Symbiosis" from 1974. Amongst the scores of sound-alike jazz-rock bands present at the time, JAZZ Q really found their own voice, although it could be argued that later stuff was more stylistically definable. JAZZ Q was also one of the few long-lasting Czech fusion bands, being active from 1964 till 1984. In 2004 they have regrouped in a classic lineup, although Francl is substituted by Zdenek Fiser, another jazz-rock veteran from the IMPULS fame. Line-up / Musicians Frantiek Francl/Guitar Vladimr Padrůněk/bass Martin Kratochvl/synthesizer,organ Michal Vrbovec/drums Joan Duggan/Vocals Radek Pobořil/Trumpet Jan Kubk/Clarinet Jiř Tomek/Congas Alexander Čihař/Double Bass Jiř Rotter/Backing Vocals Leek Semelka/Backing Vocals Pavel Dydovič/Backing Vocals Vladimr Mik/Backing Vocals Discography(Album) Symbiosis 1974
1.From Dark to Light 2.Lost Soul 3.Starbird 4.The Wizard 5.Epilogue
Jazz critics will argue the JOHN ABERCROMBIE is the guitarist of his generation who has pushed the boundaries of improvisation, whilst relating to the traditions of jazz. However, ABERCROMBIE has equally been at home with jazz rock fusion having a style that places him readily amongst the top ten jazz rock guitarists. His importance has been shown through the release of a number of classic recordings under his own names and as a collaborator especially through the 70's and 80's, and then again working with Hammond organist DAN WALL in the 90's. As one of the main artists recording for the ECM, he has been allowed to mature independently as a true jazz musician and during this time not be shy using new technology to add to the old. 'Born 1944, JOHN ABERCROMBIE grew up on the East Coast of the USA, picking up the guitar from the age of 14. In the late 60's he toured with organist JOHNNY HAMMOND for weeks at a time, playing as some serious jazz night spots in NYC. During the late 60's, ABERCROMBIE met the BRECKER BROTHERS who were involved in a burgeoning New York jazz rock scene. From this early collaboration, ABERCROMBIE was invited to play with DREAMS, and is to be heard on the band's debut album released by Columbia. Following graduation from Berklee in 1969, ABERCROMBIE moved back into New York City full time, becoming in the subsequent few years an in-demand session musician, recording with GIL EVANS, GATO BARBIERI, BARRY MILES and many other artists. He also became a regular with CHICO HAMILTON'S group. It was as the guitarist in BILLY COBHAM'S post-'Spectrum' band that ABERCROMBIE first began attracting widespread attention among the general public. The group maybe considered an expanded version of DREAMS, that recorded in short order COBHAM's 'Crosswinds' 'Total Eclipse' and 'Shabazz' albums. As a result ABERCROMBIE found himself part of a touring group travelling the rock circuit, playing large concert halls and arenas, along side the likes of the DOOBIE BROTHERS. Nevertheless, doubts crossed ABERCROMBIE's mind as to whether this was what he wanted to do.As luck has it, ABERCROMBIE soon ran into Manfred Eicher at the Montreux Festival, who invited him to record an album for ECM. A seminal jazz rock album 'Timeless' resulted, receiving virtually unanimous critical acclaim for the original trio work with JAN HAMMER (unusually playing Hammond) and JACK DEJOHNETTE (drums). Collaborations with both musicians were to continue, the most notable being the trio, plus MICHAEL BRECKER, rejoined for 'Night'. 'Gateway' was released in November 1975; marking the first collaboration between ABERCROMBIE with DEJOHNETTE and bassist DAVE HOLLAND; ABERCROMBIE can be heard here as the leader and improviser with a straight jazz group. A second GATEWAY recording was released in June 1978. In 1979, ABERCROMBIE formed his own quartet, which included pianist RICHIE BEIRACH, bassist GEORGE MRAZ and drummer PETER DONALD, making three recordings: 'Arcade', 'Abercrombie Quartet', and 'M'. Through this period JOHN ABERCROMBIE was equally at home in main straight new jazz as jazz rock fusion.As is typical of the label and its artists, ABERCROMBIE has recorded with many other ECM artists; the most significant collaborations must surely be with drummer JACK DEJOHNETTE and with fellow guitarist RALPH TOWNER. ABERCROMBIE and TOWNER's 'Sargasso Sea' was released in 1976 with 'Five Years Later' in 1982 - a collaboration first heard on record on HORACEE ARNOLD's 'Tales of An Exonerated Flea' (1974).ABERCROMBIE's career with ECM Records has been marked with subtle changes of direction, whilst the range of recordings reflects a broad and deep range of influences and innovations, clearly not inhibited by vague boundaries between jazz and other genres of music. Line-up / Musicians John Abercrombie/guitars Jan Hammer/Hammond organ,piano,synthesizers ack DeJohnette/drums Discography(Album) Timeless 1975
1.Lungs 2.Love Song 3.Ralph's Piano Waltz 4.Red In Orange 5.Remembering 6.Timeless
The British
folk-rock trio Jade made one obscure album in 1970, Fly on Strangewings,
that might have sounded closer to 1968-1969-era Fairport Convention
than any other record not by Fairport themselves. Jade's lead singer,
Marian Segal (who also played acoustic guitar), had a very similar voice
and style to that of Fairport's woman singer of the late '60s, Sandy
Denny. Too, Jade blended parts of modern folk-rock and traditional
British folk in their songs, vocal harmonies, and arrangements. Jade
were not as big on traditional British folk as Fairport were by late
1969, however, recalling the Fairport albums What We Did on Our Holidays
and Unhalfbricking far more than the later 1969 Fairport record that
took a more traditional direction in repertoire, Liege & Lief. Jade
were also a wee bit more pop in their songwriting and arrangements
(which occasionally used orchestration) than Fairport, their inevitable
point of comparison. While Fly on Strangewings isn't as strong or
original as Fairport Convention's early albums, it can be heartily
recommended to anyone who loves the sound of early Fairport with Sandy
Denny on vocals, and wants something in a very similar style.Jade's
Marian Segal had been in a school band with future Fleetwood Mac
guitarist Danny Kirwan, and began singing in London folk clubs around
1966. In 1967 she formed a duo with singer, fellow acoustic guitarist,
and banjo player Dave Waite; he'd formerly been in the folk group the
Countrymen, who had a minor British hit single in 1962 with "I Know
Where I'm Going." By the end of the 1960s they'd moved away from
traditional folk to contemporary material and original songs, and were
managed by Jon Miller, who was in partnership with famous British music
publisher Dick James. They got a deal with James' DJM label and Miller,
who'd produce Jade's album, introduced them to singer and keyboardist
Rod Edwards, who became the third member of the band. Moving to a more
rock-oriented sound, the album benefited from session work by several
noted musicians of the time, including Michael Rosen (who'd been in the
underrated British folk-rock group Eclection), Pete York (of the Spencer
Davis Group and Hardin & York), Terry Cox (of the Pentangle), Pete
Sears (later of Jefferson Starship), top U.K. session drummer Clem
Cattini, and Mick Waller (who played with Jeff Beck and Rod Stewart
during that period).While their debut album had come out in the U.K. in
mid-1970 under the name Jade, there was another group of that name in
the U.S., so the album was billed to Marian Segal With Silver Jade when
it was issued by Bell in America in mid-1971. The group toured the
States in the summer of 1971, but split up that autumn, by which time
Segal was working on an unfinished solo album. Segal and Waite continued
playing as the Marian Segal Band with other musicians for a few years,
but didn't get a recording deal before they split up in the mid-'70s.
Fly on Strangewings was reissued on CD in 2003, with both sides of an
unreleased 1971 single (on which John Wetton plays bass) added as bonus
tracks. Line-up / Musicians Marianne Segal/vocals,guitar,percussion Dave Waite/guitar, bass,vocals Rod Edwards/keyboards,bass,vocals Discography Fly on Strangewings 1970
1.Amongst Anenomies 2.Raven 3.Fly on Strangewings 4.Mayfly 5.Alan's Song 6.Bad Magic 7.Clippership 8.Five of Us 9.Reflections on a Harbour Wall 10.Mrs. Adams 11.Fly Me to the North 12.Away from the Family
