FROM

The sophomore release from this German band showing tremendous growth, moving the band's music fully into the realm of Jazz-Rock Fusion.

1. "Festival Rock / Use the Bridge" (17:30) right from the beginning of this piece one can sense the DRAMATIC change in musical approach the band has grown into: using an approach that is much more in tune with the fusion trends going on at the time in contemporary Jazz-Rock Fusion. The sound engineering is still strikingly pristine, almost ECM/ahead of its time, while the constructs are much more similar to those of Herbie Hancock's Mwandishi-era albums or even Miles Davis: more spacious, more drawn out, not so hurried to get the music into a compact form and package. The addition of electric piano to Klaus Gobel's keyboard repertoire is especially telling, considering that he was very much organ-centric on their previous album, 0611 Cat Quarter (released in the previous year). What a difference a year can make! Though the core quartet has remained the same, there are new collaborators on this album than on Cat Quarter in the form of busy percussionist Viktor F. Belgrove and two conductor/arrangers. I love the mix of the instruments so much as everybody seems up front and close--as if the listener is sitting in the middle of a circle of the players. Would that all albums could feel this intimate! At the beginning of the second minute the band falls into an awesome funky groove that drives somewhere in the third or fourth gear so tthat the individual soloing can begin. Fender Rhodes is first before a quiet slowdown bridge returns the band to the opening motif before they turn down a completely different alley for some Santana-like latin funk over which Gustl Mayr solos enthusiastically with his tenor sax. Speaking of enthusiasm, it definitely shows in every single musician's performances: these guys are fully, 100% engaged. In the second half of the ninth minute the melodists back off so that Viktor Belgrove and Kurt Bong can have some solo time. Then, at the end of the tenth minute, the band comes back with Klaus Gobel back to his organ while the rest of the band puts together a kind of another new motif--this one swinging a little more and which sees Klaus' organ playing a big role despite nice contributions from everyone else. In Gustl Mayr's solo in this portion of the suite we hear him going off with more fire and brimstone than we're used to hearing from him. (He's usually quite melodic and restrained.) Once again Gustl's organ playing style during his turn in the spotlight reminds me more of that of Rod Argent than anyone else--though he is quite fond of "returning to order" with the long sustained chords familiar to everybody from Steve Winwood's play on "I'm a Man." Nice suite. I really would have loved to hear more of that second, more-funky motif. (32/35)

2. "Catalyst" (9:18) opens with a more familiar 1960s organ-based jazz-rock approach that might have come from Stevie Winwood's SPENCER DAVIS GROUP or one of BRIAN AUGER's projects. Drummer Kurt Bong gets quite a little solo time in the second minute before the rest of the band is allowed to rejoin, this time with Gustl soloing on his tenor in a more 1950s bop style of jazz. In th e fifth minute everybody cuts out for about a minute of odd but interesting African tribal chant and drum music, but then, just as suddenly, everybody returns to full-band jazz, picking up the bop motif as if nothing had interrupted them, only this time the create a new pattern by slowing way down every 20 or 30 seconds for brief bluesy organ passages, repeating this pattern over and over four or five times until the song's end. An okay song. (17.5/20)

3. "Fog in Rossert" (7:11) built over a pretty cool bass line, this one starts out kind of funky before slowing down at the end of the first minute for Gustl to play a pretty melody that must have been lifted by David Shire for his song "With You I'm Born Again" which became a massive hit worldwide when it was performed by Billy Preston and Syreeta (Wright) for the 1980 film soundtrack Fast Break. Fortunately, the song moves back and forth between this motif and the funky opener with another interesting percussion interlude in the sixth minute before everybody comes back together for the low-key finish. (13.375/15)

Total Time 33:59

As alluded to in my review of FROM's only other album, I really respect and like the talents, commitment, and engineering of From's music. I only wish the band had been able to pull off another song or two to solidify the fact of their commitment to the new jazz/Jazz-Rock Fusion that they seem to be matriculating toward--or that they had stayed together for at least one more album cuz they had so much potential. After this album release all three of the founding quartet broke off into separate projects--some as band leaders, a few in other jazz combos.

B+/4.5 stars; a near-masterpiece of early "mainstream" "First Wave" Jazz-Rock Fusion--an album that I highly recommend to all prog rock lovers--and especially jazz and J-RF lovers--if only for the experience of hearing such an incredibly tightly-synchronized band rendered with such phenomenal sound engineering.

Early German blues-jazz obviously inspired by the new electric developments coming from New York City as well as the portable electric organ work of some of the extraordinary keyboard players who were pushing boundaries in the late1960s. One thing that makes this album stand out is that it is made up entirely of original compositions--mostly by saxophonist Gustl Mayr.

1. "Lollipop Mainliner" (4:22) sounds so Sixties-ish: like a mash up of "surf rock" and organ blues-rock. The construct definitely comes from the blues idiom. Interesting long slow down at the three-minute mark followed by the reprise- restart of the main theme to close. (8.75/10)

2. "Goose Pimples" (4:42) opens up sounding like a variation on Gerwshin's "Porgy and Bess," but then it goes full blues with some soprano saxophone soloing above the organ, bass, and drums. Organ takes over the lead soloing throughout the second minute before giving way to the sax again. (8.75/10)

3. "Chicks" (4:25) James Brown-like R&B--like "Mustang Sally" with a slight influx of surfer music. (8.5/10)

4. "Gargoyle" (4:46) the closest song to proto-prog Blues-Rock like something Brian Auger, Rod Argent, or even Keith Emerson might do. Gustl Mayr's wonderful soprano sax play is more akin to that of John Coltrane. This song really swings! My favorite song on the album. (9/10)

5. "Mood Blue" (4:10) a great movin' Jazz-Rock piece which really showcases Klaus Gobel's talents on the organ. The chorus bridge is a bit like the structure and chords of Steve Winwood's "I'm a Man." (8.875/10)

Side Two: "Fancy Suite" : 6. "Cat Quarter" (5:49) more organ and sax supporting jazzy R&B. (8.75/10)

7. "Dig It" (5:28) old-time blues construct that was probably very popular in the band's local beer halls. Sax gets the lead over the standard jazz drumming and fret-walking bass line but, of course, Klaus gets his time in the sun as well. (8.6666667/10)

8. "Fancy Soul" (5:15) opens with some adventurous bass play before sax, brushed drums, and sustained organ chords join in. This is jazz from the deep South: sad and emotive. Nice work from bassist Dieter Von Goetze and Gustl Mayr on the soprano sax--and I really like Klaus's restrained, respectful organ: giving full support and shine to Gustl. At the halfway point Gustl takes over the lead, mirroring Dieter's melody lines with great care and respect while still adding his virtuosic riffs and flourishes, and then Dieter is given the lead for the final minute and more. Nice! Another one of my top three songs. (8.875/10)

9. "Ruck-a-Sack" (4:10) another song that feels as if it would have been a great favorite in the local pubs and beer halls- -it feels like an "old standard": full of simple catchy melodies and playing patterns. Nice cymbal play from drummer Kurt Bong. (8.666667/10)

Total time: 44:46

On the positive side, these songs are all recorded extremely well: with all instruments being rendered clearly and cleanly defined, but the soundscapes are a bit too sparse and spacious for my tastes. From a distance, this really is less Jazz-Rock Fusion despite its used of electric bass and organ; it's more jazzy Blues Rock.

B/four stars; a beautifully-rendered collection of original music that all feels familiar in the way that popular jazz "standards" do. If you like melodic organ and sax play within a competent jazz combo, you might love this.

As a jazz and fusion enthusiast I was surprised for having spent so many years without knowing this album. This is a truly hidden gem. Great jazz album that flirts with that prog aura. It certainly deserves 5 stars as the compositions are very inspiring, and the jams very equilibrated. Not that usual virtuosity showoff we see in some many later instrumental albums. The second track "Catalyst" feels a lot more proggy for the genre. The kind of sound you would find in Ronnie Foster's Mystic Brew.

It's a shame that this album was only shown to me via youtube's suggestions in a random day. I've searched so many times in the past for the jazz rock/fusion genre in ProgArchives and this album should be in the top albums, at least in my opinion, but it is not even in the top 100.

4.5 stars. This is a killer album out of Germany 1971 from a band called FROM. A five piece, they released two studio albums in the early seventies this being the second one. No guitar but a variety of keyboards including some of the best sounding electric piano you'll ever hear. Tenor sax, soprano sax, drums, bass and a percussionist who adds a lot including steel drums, congas, percussion and vocals. We get three tracks only with a side long opener and two on side two of course.

The long opener is my favourite for the electric piano mostly but man there's just so much that I like about this track. The drumming is top notch along with all the musicians here. Just a pleasure to listen to this album. NUCLEUS comes to mind every time I spin the opener. Early NUCLEUS actually. Miles Davis comes to mind as well for the often trippy jamming that goes on. So many odd sounds come and go too like timpani, bells and more. The sax player is prominent along with the keyboardist who plays a fair amount of organ on that second track which is my least favourite but still really good. It's called "Catalyst". Steel drums in this one too, not exactly a favourite sound of mine. Vocals along with an ethnic vibe. The closer "Fog In Rossert" opens with organ and sax but they give way to the amazing sounding rhythm section rather quickly. The sax and organ will return. There's that electric piano. Bass only before 4 minutes as electric piano joins in and it starts to rebuild. Sax will help out the rest of the way.

This isn't about complex compositions or arrangements as they tend to jam a lot but for me it's about the "sound" and that electric piano, bass, drums and sax all sound incredible. Jam away boys!

In an idealized world this album from this German group calling themselves From should be very much a classic in fusion, as far as I'm concerned. Probably with the name "From" it's an easy name to get lost in the shuffle, no matter how good it is. Of course this never being reissued, still to this day only available as a rare vinyl LP, has a lot to do with its obscurity. This is fusion of the top order, with lot of great sax and electric piano playing, and when the Hammond organ rears its head, it's frequently in Brian Auger territory, but the occasional Keith Emerson circa-The Nice moves rear its head. Totally recommended for those who enjoy In a Silent Way-era Miles Davis, Soft Machine, Brian Auger, etc. If you disliked how fusion became, where it was frequently dismissed as technical showoffmanship, this definitely hearkens back to the early days of fusion. There's also a slight Canterbury feel as well, probably due to some of the Soft Machine-like passages, and electric piano. Plus the sax playing is very tasteful and never wanders into smooth jazz. The jamming is top-rate and never gets tedious or overstays its welcome, unless too many jams you might run into regardless of genre., It's also a crying shame this wasn't reissued, other than the band name, because it was released on a major label (CBS), I could have easily seen this being released on Columbia in the States, but never had. There those mystery albums why they never made it and this is one of them, because it's truly a wonderful fusion classic worth having, unfortunately you'll have to open your wallet for a used LP copy, which don't turn up too often. Fusion doesn't get much better than this!