Canadian brass rock band LIGHTHOUSE were formed in Toronto 1969. Unusually, the band leader Ronn "Skip" Prokop (born 13 December 1946 in Ontario) was a drummer, he has played previously with artists such as Janis Joplin, Carlos Santana and Al Kooper before forming his first band THE PAUPERS. Of these, the Kooper connection is probably the most significant, as the music of Lighthouse is based around a solid brass section and big arrangements, similar to those of BLOOD SWEAT AND TEARS and CHICAGO (TRANSIT AUTHORITY).Prokop's ambitions were made clear from the outset when the first line up of Lighthouse had no less than 11 members. The were quickly picked up by RCA Victor, who release the bands self titled debut in 1969. Further albums followed quickly, but the punningly titled "Peacing it all together", their third release, would see the end of their relationship with RCA. The move to GRT records coincided with the recruitment of vocalist Bob McBride, whose contribution to the fourth album "One fine morning" proved to be a commercial turning point for the band. The album spawned the bands first two hit singles, including the striking title track. Prokop's penchant for jazz/fusion and classical music led to a number of live collaborations with orchestras which, when combined with the band's appearances at a number of high profile pop/rock festivals (they declined an offer to appear at Woodstock though), meant Lighthouse's fortunes continued in the ascendancy. Perhaps realising letting the band go had been a touch premature, RCA quickly put together a compilation of the material they still owned in 1971, in the form of the rather cheekily titled "One fine light" compilation. The following year, the band's first live album, the superb "Lighthouse live" was released, becoming Canada's first platinum selling album. Singer Bob McBride would leave the band after the release of the "Sunny days" album, a time which in retrospect was the beginning of the end for the band in both commercial and creative terms. Despite the fact that it was on reality his band, Prokop left in 1974 after the next album "Good day". The rest of the band soldiered on for a while, but the soul of the band had gone, and they eventually bowed to the inevitable and split in 1976. Line-up / Musicians Dick Armin/cello Ralph Cole/guitar,vocals Don Dinovo/viola Paul Hoffert/keyboards Keith Jollimore/vocals,wind Bobby McBride/percussion,vocals Pete Pantaluk/trumpet Skip Prokop/guitar,drums,vocals Howard Shore/saxophone Larry Smith/trombone,vocals Louis Yacknin/bass Discography(Album) One Fine Morning 1970
1.Love Of A Woman 2.Little Kind Words 3.Old Man 4.Sing Sing Sing 5.1849 6.One Fine Morning 7.Hats Off (To The Stranger) 8.Show Me The Way 9.Step Out On The Sea 10.Sweet Lullaby
Excellent early-70's Italian progressive trio (still around today) with classical stylings, featuring keyboards to the fore and a unique dreamy/powerful style. Le ORME was one of the three major Italian groups, the other two being PFM and BANCO. This band is usually considered as the Italian EMERSON, LAKE & PALMER and even BANCO DEL MUTUO SOCCORSO by the Italian singing. Its music is based upon organ developments and soli reminding Seventies groups which works are essentially built upon keyboards parts. The band's truly classic period begins with their third next releases. "Uomo Di Pezza" (1972) is one of Le Orme's definitive Italian progressive rock albums. Although there is definitely an significant EMERSON, LAKE & PALMER influence here, as in the bombastic Moog and Hammond workouts countered by mellow balladry. It's not quite as integrated a feel as would characterize their next two albums, "Felona E Sonora" and "Contrappunti", though its fantastic nonetheless, and one of Le ORME's three essential albums. "Collage" and especially "Florian" offer a music tinged with classical music. "Felona E Sonora" (1973) is probably one of my top favorite Italian progressive rock albums. "Contrappunti" (1974) is another fantastic Le ORME album, and really the close of their classic trilogy. This album would effectively close out the band's streak of success."In Concerto" is an excellent live album from 1974 with many unreleased tracks. "Piccola Rapsodia Dell' Ape" is more recent, an excellent mixing of Progressive and Italian baroque music. "Collage" and especially "Florian" offer a music tinged with classical music. In 1993 the Japanese progrock label Crime Records released the 2-CD "Live Orme" with live-material from '75-'77. A far more captivating document than "In Concerto" from '74.Their story goes on. After "Piccola Rapsodia Dell' Ape" (1980), in 1982 the band decides to break up. In 1986 they rejoin only for concerts but in 1990 a further work is issued ("Orme"). In 1992 Tony Pagliuca leaves the band, replaced by Michele Bon. That year they obtain the title of best Live-Act band seen in Italy. They never give up symphonic prog and their further works show it clearly. In spite of the success obtained by their live performances, in 1996 they publish a suite ("Il fiume"). After obtaining a great success at the Los Angeles PROG FEST and at the PROG EAST in Quebec, they commit themselves to the new work which will be finished in 2001 ("Elementi"). This latter, together with "Il fiume", will be part of a trilogy completed, in 2004, by "L'infinito". The trilogy, a mix of songs and instrumental pieces, tells about the mankind through the 4 elements of the universe. In 2005 they are invited at the NEARFEST concert in Pennsylvania. Their music may well be considered as a continuous commitment in PROG ROCK: over the last 42 years they never gave up their passion. They also tried to convey PROG Rock to the people by participating to song contests such as Festival di Sanremo, a very popular TV music happening in Italy. LE ORME is one of the few foreign bands who have been produced by a British label. The Famous Charisma Label issued "Felona e Sorona" in English, lyrics by Peter Hammil, after their tour in England in 1973. Line-up / Musicians Aldo Tagliapietra/vocals,bass,guitar Toni Pagliuca/keyboards Michi Dei Rossi/drums Discography(Album) Felona E Sorona 1973
1.Sospesi Nell'Incredibile 2.Felona 3.La Solitudine Di Chi Protegge Il Mondo 4.L'Equilbrio 5.Sorona 6.Attesa Inerte 7.Ritratto Di Un Mattino 8.All'infuori Del Tempo 9.Ritorno Al Nulla
La Pentola Di Papin was a short-lived band from Sondrio, formed in 1976 and releasing one album before breaking up soon after. Some have noted this was one of the last true Italian Prog albums, which is of course nonsense. RPI never ended but continued to evolve as did progressive rock in general. What they actually mean is that Zero 7 is one of the last albums to sound like 1971. For while this album was released at the time of Jet Lag and Locanda Delle Fate, it sounds more like the psych-hard rock stew of the early classic period. Whether the band intended to revisit the period so intentionally is anyone's guess. As my friend John notes in his Italian Prog blog there are two ways you can approach Zero 7. The cynical way is to note that the album was already 6 years out of style the day it was released, the other way it to kick back and enjoy a late entry to the early classic period sound. Like many RPI bands these guys were obviously fans of the organ-heavy hard rock sound in the Deep Purple school and there isn't a whole lot of deviation, complexity, or experimentation. Instead the sound lies somewhere between New Trolls, psych rock and Italian pop. The songs are dominated by swirling Hammond organ and squalling fuzzy psych guitar throughout, often trading off long solos or doubling up for a heavy sound. The bass and drums support the early 70s love fest with a very warm, out front, and live performance sound. You can just visualize this rhythm section jamming in the studio, probably a small room with a lot of sweat and smoke going into the mics. The tracks themselves are on the basic side of hard prog bands, not too complex, mostly song-oriented with decent vocals and occasional longer instrumental sections. "Una Vecchia Storia" has a nice Rick Wright piano homage with chords resembling Great Gig In The Sky. There's nothing wrong with the songs per se, they just aren't particularly adventurous, though they certainly rock at times. The less than dynamic production works to their advantage here by giving them a bit more bar room authenticity. The stereo separation is not subtle at times; someone was having fun panning the sound back and forth. Line-up / Musicians Ferruccio Bettini/vocals,keyboards Angelo Lenatti/guitar,vocals Dory Dorigatti/bass Bruno Stangoni/drums Discography(Album) Zero-7 1977
In 1974 a new incarnation of GARYBALDI was formed by Bambi Fossati along with old cohort Maurizio Cassinelli, bassist Roberto Ricci and Indian percussionist Ramasandiran Somusundaram as BAMBIBANDA & MELODIE. Their only album has the usual leading role for Bambi's guitar, but the use of percussion gives a more Latin-inspired feel that sometimes reminds Santana. Percussionist Ramasandiran Somusundaram, previously active as session musician, also released an album and no less than three singles (in a more commercial vein) between 1974 and 1976 on the Magma label. Bambi Fossati kept playing under the name of BAMBIBANDA for some years before reforming the old group in late 80's with a new line up including Marco Mazza (guitar) and Carlo Milan (bass) along with Maurizio Cassinelli, and they released an album, more song-oriented, in 1990, as Bambi Fossati & GARYBALDI. Line-up / Musicians Bambi Fossati/guitar,vocals Maurizio Cassinelli/drums Ramasandiran Somusundaram/percussion Roberto Ricci/bass Discography(Album)
Bambibanda E Melodie 1974
1.Pian Della Tortilla 2.Libera E Felice 3.Calabuig! 4.Piccolo Gitano 5.Mare Delle Terre Medie 6.Canto Del Sole
In 1971, around the frontman Kosuke ICHIHARA (sax, flute), LOVE LIVE LIFE were formed as a free-form rock project. Each member was one of the most famous and talented Japanese rock- or jazz-session musicians in those days - Toshiaki YOKOTA (flute, sax), Kimio MIZUTANI (guitar), Takao FUJII (guitar), Hiro YANAGIDA (piano, Hammond organ), Chito KAWACHI (drums), Naomi KAWAHARA (percussion), and Masaoki TERAKAWA (bass). They had a strong ambition to produce an intensively improvised rock album like of the British jazz rock scene, and for this purpose they needed a strong, and simultaneously flexible vocalist. Very luckily they could recruit Akira FUSE, one of the most famous Japanese pop-ballad singers, as 'PLUS ONE'. LOVE LIVE LIFE + ONE's one and only album 'Love Will Make A Better You' (1971) has eclectic flavor with psychedelic, avantgarde, jazz and rock essences, that can be appreciated much all over the world. Album is a perfect exemplar of the Japanese psych super-session scene. The most successful album by impresario Ikuzo Orita (responsible for Foodbrain and Shiniki Chen), the disc paired a nimble crew of improve freaks (like guitarist Kimio Mizutani) with mainstream pop star Akira Fuse and his band, along with a songbook by saxophonist Kei Ichihara. The resultant album is rich in Sly Stone-influenced funk and wild guitar solos from Mizutani and Takao Naoi. Though Fuse wasn't the only mainstream star to dabble in the avant-garde -- normally he covered the Carpenters and other lite American fare -- his star presence insured that the album never flew too far into self-indulgence. The disc's second side, in fact, contains four of the more superbly arranged tunes in the Japanese psych canon, containing sweet choruses, pumping post-McCartney bass, shredding guitar, and exhilarating breaks (especially the horns on the disc-closing "Facts About It All"). In under four and a half minutes, the album's title track is simultaneously hook-filled and sonically overwhelming, both freewheeling and utterly controlled. The nine-minute "Shadows of the Mind" is an ESL mini-epic rendered as orchestral free jazz that bursts into machine gun John Barry-isms. Even Mizutani and Naoi's guitar-offs are fit perfectly into the bigger tapestry (which, in turn, dissolves into strings before phase-shifting back into the verse). The focus is especially present on the disc's requisite 17-minute jam, the side one-filling "The Question Mark," which builds patiently from fuzz miasma to a shrieking pulse without ever showing its hand. Line-up / Musicians Kosuke Ichihara/sax,flute Toshiaki Yokota/flute,sax Kimio Mizutani/guitar Takao Fujii/guitar Hiro Yanagida/piano,organ Chito Kawachi/drums Naomi Kawahara/percussion Masaoki Terakawa/bass Akira Fuse/vocals Discography(Album)
Love Will Make A Better You 1971
1.The Question Mark 2.Runnin' Free 3.Love Will Make A Better You 4.Shadows Of The Mind 5.Facts About It All
Another group from Genova, this young three-piece was one of the Italian bands with the strongest classical influences. They were formed in 1971 by guitarist Dellacasa, that had collaborated with I GIGANTI in their « Terra In Bocca », with the drummer Vitanza only 16 year old! A keyboards trio in the same style as ELP or Le ORME in Italy, their first album was « Passio secundum Mattheum », with Bach-inspired music and lyrics on the Gospel. This Genova based band's debut album's magnetism lies primarily in its concept which, as the title suggests, is pertaining to Christ's dramatic last days but only according to a singular source ' the gospel of Saint Matthew, often referred to as the Passions. The beauty behind this concept is that it tells a story in a simple yet heart rending manner, without it being homiletic. Musically speaking the record explores symphonic dimensions reached not only by ELP, but also by Genesis in tracks like Ultima Cena (the intriguing supper coincidence) or Getzemani which oozes an abundance of influences in terms of keys treatment not only from the above mentioned giants, but also from Deep Purple, Yes and even Eloy for that twist of spaceyness. The jazz influence is another chief constituent of the whole, although at first they may seem slightly disconnected from the main theme. Present in both parts of I Testimoni (the witnesses) via piano and drums, it raises a fairly compelling question regarding its presence: why are there emotionless straight-forward jazz sections in a crucial moment of the plot, where the false witnesses accuse Jesus of having declared that he would destroy the temple and then rebuild it in three days? The answer is that the senselessness of the jazz bits overlaps the duplicate attitude of nonchalance and lack of emotion emitted by the witnesses. As seen above, the soundscape manages to intertwine effortlessly with the visual thread, emerging into a burst of sentiments. Thus the emotions grow more and more till they reach an overwhelming apex: from the uplifting choir on Introduzione and the rather mellow acoustic guitar and harpsichord driven Il Giorno Degli Azzimi accompanied by the elegant narration of the Passover preparations, to the dynamic operatic choir from The Trial; from the witnesses false statements rendered in a counter-tenor vox, in a very similar vein to some of Annas' bits from Jesus Christ Superstar to the yet again mellow and sweet but at the same time excruciating Il Pianto which displays an absolutely beautiful blend of keys, acoustic guitar and flute; from the surprising Giuda where harsh guitars and drums alternate with a jazz section denoting insolence to Il Calvario featuring dramatic operatic choir, morbid church organ keys, and drums reminiscent of ancient ships where they would set the rowing rhythm of the slaves; all this only to paint one of history's most tragic paintings. But because the Providence had other plans, the end fulminates in a reiterated theme of the heavenly choir present at the very beginning of the record accompanied by the now regulars ' guitar, piano and drums. Line-up / Musicians Marcello Giancarlo Dellacasa/guitar,violin,bass,vocals Oliviero Lacagnina/piano,organ,Moog, strings,vocals Alfio Vitanza/drums,bongas,flute,vocals Discography(Album) Passio Secundum Mattheum 1972
1.Introduzione 2.Il Giornio Degli Azzimi 3.Ultima Cena 4.Getzemani 5.Il Processo 6.I Testimoni I 7.I Testimoni II 8.Il Pianto 9.Giuda 10.Il Re Dei Giudei 11.Il Calvario 12.Il Dono Della Vita 13.Mese Di Maggio
One of the effects of reform within the Catholic Church in Italy during the 1960s was the emergence of the ''Messa beat'' (literally translated as ''Mass beat''), a branch of Christian music with particular appeal to young people due to its combination of rock and religion. Its spread during the 1970s resulted in a flood of albums inspired by Gospel texts with accompaniment of traditional and electric instruments. The discs were produced by religious labels and sold through specialist religious bookshops but were issued in such limited numbers that they went virtually unnoticed and consequently are nowadays extremely rare. In the vanguard of Christian progressive bands were MESSAGGIO 73, GENFUOCO, and QUEL GIORNO DI UVE ROSSE. However with ''Trasparente'', LA SORGENTE produced what is arguably the finest of all the religious albums, progressive or otherwise. There is some dubiety regarding the album's year of release but most sources have it as 1981.In spite of the harsh economic recession and the socio-political turmoil of The Years of Lead, Italian progressive releases of the late 1970s and early 1980s tended to be of the melodic sort and ''Trasparente'' epitomises this with its delicate acoustic-based fusion of chamber-pop, Mediterranean folk and soft RPI. The cover artwork of the dove of peace set against a sky-blue background gives a clue to the type of music therein, and every song speaks of pious sentiment with lyrics such as: ''I am here, my voice will reach Your ear, and You will hear my love for You now.'' LA SORGENTE fully explore the creative possibilities opened by the meeting of rock music with the realm of faith; the outcome is an intimate work full of restrained yet richly sensuous melodies that reflect the pastoral setting of the lyrics. These are complemented by refined instrumental passages where RPI features are obvious, with the most common artifice being the classic combination of flute, violin and piano. Synthesizer and organ occasionally mingle with 12-string guitar, which is the album's other main unifying characteristic. ''Trasparente'' is considered extremely rare and Paolo Barotto, in his reference book of Italian prog and psych ''Il Ritorno del Pop Italiano'', gives it a rarity rating of ''almost impossible to find.'' At the moment the chance of a re-release seems remote despite Barotto also proclaiming ''Trasparente'' as ''the best of the religious albums'' and stating that ''once discovered it will become one of the most sought after collectables.'' As such, LA SORGENTE are probably destined for legendary cult status although they wouldn't be out of place alongside CELESTE in the forefront of soft RPI bands. Line-up / Musicians Pino Carella/vocals,piano,keyboards Bruno Raia/vocals,,guitar Stefano Martinelli/flute,ottavino,virginal,vocals Daniele Giuliani/violin,vocals Walter Destri/bass Franco Rossetti/drums,percussion Discography(Album) Trasparente 1981
1.Prologo 2.Tutto Si Fermera 3.Tutta La Mia Vita 4.Liberaci Dalla Notte 5.Trasparente 6.La Vecchia Terra 7.Quella Sera D'Inverno 8.Jesus, Oh Jesus 9.Salmo 131 10.Salmo 150 11.Salmo 142
Duo formed by Jordi Batiste (cult artist who played in the legendary catalan psych/proto prog band Máquina! and Grup De Folk, among others) and Ia Clúa (ex-member of the mega obscure catalan proto prog band Estratagema). Their discography consists in two studio LP's (plus a couple of live ones), albeit only the first of them is the most memorable of the two: it is an eclectic cult album, highly praised even by foreign music lovers. The second one, "Chichonera's Cat", lacks both the progressive elements as well as that mystic aura that makes "Un Gran Día" a cult work. Line-up / Musicians Ia Clúa/vocals,Guitar,Piano,Bass Juan Soriano/percussion Jordi Batiste/Bass,Vocals,Guitar Max/Vocals,Guitar Discography(Album) Un gran día 1972
1.Un gran dia 2.Max 3.Sifón 4.Sleeping Rock 5.Oliba 6.Amèrica to you 7.Pallarès 8.Sky into the bus 9.Anna 10.Morrisong
Of all the Basque "folk" groups, Lisker might be the one least Basque folk (bar the hard rocking Sakre), but it is certainly not the least interesting, on the contrary. While their folk roots can still be heard (at times), it is clear that Lisker preferred a good hard-rocking psych rock, powered by a fuzz guitar and a gorgeous flute. This double guitar and flute quintet recorded a sole eponymous album in 79, released on the second Basque label Xoxoa and sporting an intriguing old window artwork. The quintet is build around Ernesto Gomez (ac guitar and vocals), and develop a mainly instrumental high energy prog filled with enthralling solos and good interplay, which can be anachronistic given that it comes a decade lateObvious comparisons to early Jethro Tull are correct, but one might want to think also of De De Lind in the heavier moments. Actually the crystal-clear and crisp flute answers brilliantly to the over-powering fuzz bluesy guitar. While often rocking hard, the album knows how to respect a truce: the lovely acoustic arpeggios of Ametz Jazarriak are a pure joy, and the build up is very impressive. This is easily the opening side's highlight, but the other two tracks are both excellent. Indeed Bakardade Tristea starts on acoustic arpeggios and a flute (worthy of Genesis' Tresspass), before the group enters and Gomez's singing, fitting well the group's psych feel but not really meaningful lyric-wise, and Alberdi's soaring guitar send the track on orbit into your mind. The flipside has only two tracks, the heavy-riffing Garajeko Melodia, which develops is a wild jam (some lengths are observed, but nothing worth recriminating about), and the even lengthier finale which holds some excellent interplay, but is also slightly demonstrative, but again nothing to be worried about: this is more suited to the early 70's than the early 80's. Line-up / Musicians Julian Alberdi/guitar Jabier Zabala/bass Jesus Gil/flute Ernesto Gomez/guitar Jose Antonio Salado/drums Discography(Album) Lisker 1979
1.Kalean festa 2.Amets jazarriak 3.Bakardade tristea 4.Garajeko melodia 5.Eldarniotik iheska
Labanda was a Spanish musical group Celtic music and folk-rock, originally from Madrid. Although the end of their career they recorded a song, its most characteristic repertoire consists of traditional instrumental pieces or traditional inspiration, as evil dreams, arranged in a nearby Gwendal of French style. The group, which was called at first band Rory McGregor, was founded in 1979 and dissolved in 1986 returned in 1987 with another formation. Line-up / Musicians Luis Silva/mandolin,viola Joaquín Blanco/flute,percussion José María Silva/bass Pedro Guerrero/guitar,percussion Jean François André/violin Tony Vázquez/drums Discography(Album) Fiesta campestre (Rockmería) 1981
1.Fiesta campestre 2.La mujer del músico 3.La vaca 4.Rockmería 5.Un camino de cerveza 6.Filomena 7.Los padres ya están aquí 8.Celtas con filtro 9.No mires ahora
LOS CANARIOS was a Spanish band that started playing back in the late 60's. At the beginning, they played Soul and R&B influenced music, singing mostly in English. Recorded in the Seventies, "Circlos" shows an adaptation of VIVALDI's "Four Seasons" with a rock and Hispanic flavour. This is a concept album with an interesting story line that goes from the creation of the Earth to the Apocalypse in 2700 A.C. The music reminds of this era, with a predominant Hammond organ, a blend of rock and classical music in the style of THE NICE and other EKSEPTION. This album is a heavy and dynamic work in its own right with plenty of synth and organ work as well as guitar. Vocals (in English) are heard throughout but the album is dominated by instrumental sections. "Ciclos" is a classic of the Spanish progressive scene. Line-up / Musicians Alain Richard/drums,percussion Antonio Garcia de Diego/guitar,vibraphone,vocals Mathias Sanvellian/Hammond,piano,violin Christian Mellies/bass,synthesizer Alfredo Carrion/choral arrangement and conducting Teddy Bautista/keyboards,synthesizers,vocals Rudmini Sukmawati/vocals Discography(Album) Ciclos 1974
LA MAQUINA DE HACER PAJAROS was the band created by Charly García after dissolution of SUI GENERIS. It was a project which leave the folk genre of SUI GENERIS to achieve the symphonic rock. In the short life of this band, two LP's were recorded: "La Máquina de Hacer Pájaros" (1976) and "Películas" (1977). Inspired on the "elaborated" rock of STEELY DAN and the GENESIS "symphonism", Charly García formed the best of the Argentine bands in the progressive genre. «We are the YES of Third World», synthesizes García. But for that time, none of the LP's was successful, being recognized after. LA MAQUINA was the most deep and complex intent of the symphonic rock in Argentina, and García introduced in it the new of two simultaneous keyboardists (himself and Cutaia). Maybe this new style was the most significant barrier between the band and the people, habitued to most simple SUI GENERIS. LA MAQUINA DE HACER PAJAROS dissolved by internal trouble, nearest 1977. El Festival del Amor was the last show of LA MAQUINA, at a full Luna Park, in november 11, 1977, where they played together with Nito Mestre, León Gieco, Raúl Porchetto, Gustavo Santaolalla, Markoff brothers, and other. Between the musicians that formed part of the band in the show were David Lebón, the SUI GENERIS acoustic basement (Rinaldo Rafanelli - Juan Rodríguez), and the CRUCIS musicians Aníbal Kerpel and Pino Marrone. The highlight of the show was the beautiful version of Violeta Parra's "Volver a los diecisiete", which wasn't succesful between the audience, not habitued to South American folk music.Charly García, after failed attempts to create la BANDA DEL AMOR (with David Lebón and other musicians), convinces David Lebón to go to Brasil and create the project of his new band, SERÚ GIRÁN. Line-up / Musicians Oscar Moro/drums,percussion Jose Luis Fernandez/bass,guitar,vocals Gustavo Bazterrica/guitar,vocals Carlos Cutaia/organ,Mellotron,piano, Charly Garcia/piano,synthesizer,guitar,vocals Discography(Album) La Máquina de Hacer Pájaros 1976
1.Bubulina 2.Como mata el viento norte 3.Boletos, pases y abonos 4.No puedo verme más 5.Rock and roll 6.Por probar el vino y el agua salada 7.Ah, te ví entre las luces
Lazy Farmer's sole album is solid and full-bodied (if conventional and unremarkable) British folk, with a repertoire heavily grounded in traditional tunes. Indeed, eight of the 12 tracks on Lazy Farmer are traditional in origin, while another, "The Cuckoo," is not exactly uncommon to the English-speaking folk world. With a quintet featuring four vocalists, two five-string banjo players, and two multi-instrumentalists in John Bidwell (flute, flageolet, guitar) and Jake Walton (dulcimer, hurdy-gurdy, guitar), the band has a richer, deeper sound than many British groups with a similar style. Collectors might be most attracted to this by the presence of noted U.K. folk figure Wizz Jones, though he wrote just one of the cuts, the wistful "When I Leave Berlin," which is one of the set's highlights. The cover of Ralph McTell's "Standing Down in New York Town" makes one wish they'd put more contemporary songs onto the album; the only other non-trad item is Derroll Adams' "Love Song," an especially melancholy rumination that benefits from some very nice vocal harmonies and trade-offs. Line-up / Musicians Wizz Jones/guitar,vocals,banjo Don Coging/banjo John Bidwell/flute,flageolet,guitar,vocal Jake Walton/dulcimer,guitar,vocal Discography Lazy Farmer 1975
1.Lazy Farmer 2.Standing Down in New York Town 3.Railroad Boy 4.Soldier's Joy/Arkansas Traveller 5.Turtle Dove 6.John Lover's Gone 7.Johnson Boys 8.Love Song 9.The Cuckoo 10.Sally in the Garden/Liberty 11.Gipsy Davey 12.When I leave Berlin
A band from near Viterbo, Seconda Genesi, have become famous among prog fans for one of the rarest (and much looked after) Italian albums of the 70's, Tutto deve finire, released in 1972 in just 200 copies, all with different painted covers, that has finally achieved a vinyl reissue thirty years after its initial release.Despite an unimpressive production the album is very good, with nice flute, Hammond organ and guitar playing to the fore, starting with the impressive Ascoltarsi nascere with a stunning rhythm acceleration, and also reveals some jazz influences. The group has been formed in 1971 by musicians coming from various experiences: De Carli and Leoni had played for a few years on cruise ships with Mhanas, Rocchetti was with his brothers in the group I Rokketti that also included Bonavera; Seconda Genesi only made a single live appearance, at the 2nd "Festival d'Avanguardia e Nuove Tendenze" held in Rome in June 1972, then they broke up soon after, disappointed by the bad distribution of their album.De Carli, with Bonavera and Rocchetti, had previously released an album in 1971, Naufrago in città, with the name Paride e gli Stereo 4 (included in the Akarma CD reissue of Tutto deve finire), also on Picci label with mostly acoustic songs, and after the band disbanded has kept playing in various bands, while keyboardist Alberto Rocchetti has long played with Italian singer Vasco Rossi. Line-up / Musicians Gianbattista Bonavera/saxophone,flute Paride De Carli/guitar Pier Carlo Leoni/drums Alberto Rocchetti/keyboards,vocals Nazzareno Spaccia/bass Discography Tutto deve finire 1972
1.Ascoltarsi Nascere 2.L'urlo 3.Se Ne Va Con Noi 4.Vedo Un Altro Mondo 5.Dimmi Padre 6.Breve Dialogo 7.Giovane Uomo 8.Un' Infanzia Mai Vissuta
Never consistently identified with any specific style of jazz or music in general, the improvisational guitar technique of Larry Coryell has lent its voice to a myriad of styles and moods of the musical spectrum. Jazz-rock fusion, blues, folk, contemporary classical, post bop, East Indian modal as well as forays into rhythmic Brazilian ethnic music make up some of the styles he has mastered over the course of 40 years of recording and performing. The configurations in which he performed were as equally as diverse and he has appeared in super bands, guitar duos, trios as well as a brooding unaccompanied soloist.Born in Galveston, Texas on April 2, 1943 Coryell grew up in the Seattle, Washington area where his mother introduced him to the piano at the tender age of 4. He switched to guitar and played rock music while in his teens. By 1965 he had relocated to New York City and began taking classical guitar lessons which would figure prominently in later stages of his career. Although citing Chet Atkins and Chuck Berry as early influences he also took cues from jazzmen such as John Coltrane and Wes Montgomery. He was also inspired by the popular music of the day by the Beatles, The Byrds and Bob Dylan and worked diligently to meld both rock and jazz stylings into his technique. In late 1969 he recorded "Spaces", the album for which he is most noted. It was a guitar blow-out which also included John McLaughlin who was also sitting on the fence between rock and jazz at the time and the cogitative result formed what many aficionados consider to be the embryo from which the fusion jazz movement of the 1970s emerged. It contained insane tempos and fiery guitar exchanges which were often beyond category not to mention some innovating acoustic bass work by Miroslav Vitous and power drumming by Billy Cobham both of whom were to make contributions to Jazz rock throughout the `70s.Coryell was not content to sit back and rest on the laurels of "Spaces" and continued to rearrange the molecular configuration of modern music throughout the `70s. His albums had an improvisational jazz mentality with ubiquitous rock affections. By 1972 he had played the Montreux Jazz Festival in Switzerland and cut another acclaimed jazz rock album entitled "Barefoot Boy", recorded a Electric Lady Studios which drew Hendrix comparisons. The groundwork for the band he would lead from 1973 to 1975 The Eleventh House was laid down on the 1972 recording "Offering" which also included high school friend Mike Mandel. It was a hard rocking jazz -rock album with wah-wahed out guitar and keyboard improvisations, which would become a staple on the First Eleventh House album in `73 "Introducing Larry Coryell & The Eleventh House". Towards the mid `70s Coryell began to wander off into undiscovered territory, which concentrated more on acoustic playing. He seeked out other musicians' ideas and made an "ethno-jazz" album in 1975 with Ralph Towner from the folk-jazz band Oregon. It featured East Indian and Classical interpretations as well as his own compositions, which blended in beautifully with these atmospheres. He also began to perform in guitar duos with Steve Khan, another jazz-rock guitarist, as well as with the Gypsy influenced Belgian guitarist Philip Catherine. Catherine served as a catalyst in developing Coryell`s style giving it more depth and experimentation. The two acoustic albums they recorded together, "Twin House" and "Splendid" were technically brilliant and bright sounding and entered into guitar folklore alongside his previous "Spaces" recording with John McLaughlin. Influenced by the time he spent in Europe Coryell recorded a reflective solo acoustic album entitled " Impressions of Europe" as well as another album " The Lion and the Ram" which contained even further eclectic explorations. A brief return to the electric guitar yielded two albums, "Difference" and "Back Together Again", the latter, which reunited members of the last line-up of The Eleventh House as well as Philip Catherine on electric guitar, becoming one of the most exciting fusion albums of the `70s. He also guested on albums by jazz masters Stephane Grappelli and Charles Mingus during this period and by 1979 was touring Europe with a guitar super trio with old buddy John McLaughlin and flamenco guitar virtuoso Paco DeLucia. Personal matters cut short his participation in this project and in early 1980 he took a brief sabbatical from music.Throughout the `80s Coryell became a musicologist's nightmare as they struggled to categorize his music. A perpetual student of musical styles, Coryell never stopped exploring and investigating. In 1992 he recorded some of the smoothest laid back playing of his career on a live album recorded in South America with Brazilian Singer/songwriter/guitarist Dori Caymani on which he explored Brazilian rhythmic music. Coryell has remained active in the 21st century and has returned to electric work and has become a more of a straight line on the musical graph occasionally swinging, occasionally rocking it out and even playing the blues. In addition to his prolific recording and performing career Larry Coryell has been active in music education, broadcasting and journalism, and he has even designed his own line of guitars for Cort Guitars. Line-up / Musicians Larry Coryell/guitars John McLaughlin/guitars Chick Corea/piano Miroslav Vitous/bass Billy Cobham/drums Discography(Album) Spaces 1970
1.Spaces(Infinite) 2.Rene`s Theme 3.Gloria`s Step 4.Wrong Is Right 5.Chris 6.New Year`s Day In LA, 1968
