THE NICE

Who would have thought that The Nice would be playing together again in the 21st Century? Certainly not me, and although I came to The Nice through ELP, it was a band that I had been interested in for a long time. When I was given the opportunity of seeing them in concert I grabbed it with both hands and had a great time. This triple CD set is taken from the concert that was recorded in 2002 in Glasgow. The first CD is The Nice, with Dave Kilminster, and he certainly fits in well with the old blokes! Keith Emerson played the concert with his normal abandon, and I seem to remember that both Lee Jackson and Brian Davison played with huge grins on their faces.

The Nice were one of the most important bands in the progressive rock vanguard, bringing more than a hint of classical music into proceedings which gave rock an air of respectability, while at the same time managing to upset everyone by setting fire to a version of the Stars & Stripes during a performance of "America". No fire this time, but "America" (combined with "Rondo") is the opening number ? proving as if it were needed that they don't need vocals to make an impact. Of course there are 'proper' songs as well, and special mention should be made of "Cry Of Eugene" which all these years on is still a powerful song.

The second CD finds Keith alone, as he performs "A Blade Of Grass" and "A Cajun Alley" then a new line-up takes centre stage. Dave is back on guitar, but they are now joined by Pete Riley on drums and Phil Williams on bass. To cheers from the crowd, Keith announces that they are going to play "Tarkus", all 21 minutes of it! It has been adapted from the ELP version so that it is an instrumental, with Dave playing Greg's vocal lines on the guitar. To hear this was one of the highlights of the concert for me, and on CD it comes across with great power. A raucous "Hoe Down" (which Aaron Copland could never have conceived of) completes this section of the concert.

There is just time for the old boys to come back on and all six (yes, two drum kits) blast their way through "Fanfare". There is just enough time for "Honky Tonk Blues" and it is all over. Well, nearly. The third CD contains an interview with Keith, Brian and Lee talking about the glory days. One of the joys of this album is that it is possible to hear the bum notes, the fluffs, as this is a band on stage that are having a ball. There is no need to go back and adjust all the errors as that takes out the soul of the performance. If you had been there on that night this is what you would have heard, and what a fantastic time you would have had.

One of my all time Hammond dominated favourites, this third album by the Nice is by far their best succeeded. A superior Keith Emerson can be heard in live versions at the Fillmore East in New York of their famous Rondo (an adaptation of the Brubeck Blue Rondo A La Turk and one of the greatest renditions of a Bob Dylan song "She Belongs To Me". Under the virtuoso hands of Emerson this seemingly simple song grows out to become a brilliant progressive rock composition, one of the nicest of all Nice recordings.

The album also contains the strange but great "Azrael Revisited", a beautiful jazz piano version of the disarming and touching song by the tragic Tim Hardin, an exuberant version of the final Rondo of Lalo's Symphony Espagnol Opus 21 and last but certainly not least the great own Emerson composition For Example, a very jazzy piece with some great brass arrangements added. This last composition would appear some years later in an equally brilliant version on the fifth album of the Dutch band Ekseption.

This album is so important in the history of progressive rock, because it's a huge step forward in musical regard and it already shows us a mature and highly gifted Keith Emerson, assisted on drums by an equally great Brian Davison and by a somewhat less brilliant Lee Jackson on bass, who also acts as an even somewhat less brilliant singer. Still an album that shook progressive rock history and that should belong to you!!

The problem with most of the reviews is that they take the Nice out of context, and having only hindsight missed the unfolding story. Firstly these guys where pioneers, and there simply wasn't anybody doing what the NICE made their bread and butter. This is not techno-flash, but rather some young men learning how to play progressively. Who cares if Lee's vocals are not up to the standard of Greg Lake, he wasn't yet around, but when ELP played they played on the shoulders of the work done here. And what a body of work it is, this was the period when bands worked their nuts off to make a honest living. There wasn't yet stadium rock, but there was this impressive little Jazz-rock band from England, that managed to shock the Americans.

The Nice was a whopping great statement of intent, and we should recognize their importance in the history of Progressive Rock Music.

So lets review the CD.

There are several variations available, but the Majority have additional tracks.

Much of the material on this collection is quite late in the bands history. She belongs to me is by far my favorite track, but other highlights include Hang on to a dream, which showcases Emerson's wonderfully lyrical piano. Rondo 69, is a joy and would be one of the few tracks to make the jump to ELP. Diary of an empty, indeed has some rather raw vocals.

The recordings are rather muddy which is a shame, and this sometimes lets the set down. Worth 4 Stars, but only just, and there are better The Nice Records and anthologies.

This Receiver Records 1996 issue is a bit of a mixed bag, production wise. It kicks off with an absolutely dreadful copy (4th generation cassette?) of the signature title track 'America', but picks up the sound quality from there with only a few lapses thereafter. The song 'Happy Freuds' is mislabeled as 'Happy Friends'. Another misstep was to include 'Little Arabella', which is simply a mono AM radio broadcast of the album version from "Ars Longa Vita Brevis", perhaps for the sake of completion. On the plus side, there are titles that do not appear elsewhere on official Nice releases; a fun, impromptu jam with Roy Harper on the Sonny Rollins tune 'St. Thomas', as well as three others, 'Better Than Ever', 'Sombrero King' and 'Aries', which raises this compilation's desirability to collectors of The Nice, most of whom already own umpteen live versions of the other tracks on offer here. There are decent notes, with productions credits and broadcast dates: 1967, 1968, 1969 & 1970. Overall, an interesting souvenir for fans, but not a good introduction for novices. And don't overpay, prices on this vary widely, from $8 to $35(US)!

In spite of the dark sound which the remastered (?) version published by Virgin Records in 2005 presents, the music in this album can still hold its vibration and energy.

This posthumous work was compiled after the band's scattering by manager Tony Stratton-Smith on the last studio recordings The Nice made with materials both new and previously recorded live or studio. There is a new version -without chorus- of Tim Hardin's 'Hang on to a Dream' and a better one it is, with full of keyboard solo and improvisation with extends to over 12 minutes. A clear precedent of 'Take a Pebble' for the contemporary first E, L & P album. A new Bob Dylan cover is new material to finish the A side of the original album: 'My Back Pages'. Dylan was a favourite with The Nice (see 'Country Pie' stuffed with Bach's music; or the electrifying live rendition of 'She Belongs to Me' on different albums) and here they paid tribute to his music again with an energetic version of this Dylan standard which evolves from verses to solo to new themes and back to verse again in full progression.

On the B side there are studio versions of 'Pathetique' (Tchaikovsky's 6th Symphony's 3rd movement) -impeccable, frantic, with an unbeatable Hammond organ sound and blues cadenzas which I'm sure it would have delighted the Russian composer- and Leonard Bernstein/ Steven Sondheim's 'America (2nd Amendment)', which also extends itself in pleasure over 10 minutes.

The Cd closes with two encores being two performances for BBC 'Sound of the Seventies' of Country Pie and Pathetique which add to the mythical live reputation of those pioneers The Nice were.

A certain completion of a short but meteoric career and a fine addition for the fan's collection.

The work was commissioned for the Newcastle Arts Festival and premiered with a full orchestra conducted by Joseph Eger on October 10, 1969 (the recorded version is from October 17 in Croydon's Fairfield Halls). The title refers to the city's five bridges spanning the River Tyne (two more have since been built over the river), and the album cover features an image of the Tyne Bridge.

Now I have to say that "Five Bridges" was one of the first prog albums I've heard and that, soon after, entered in my discography. Important is the fact that "Five Bridges" for me is all that I seek in Prog: technique, feeling, magic, intricate musica and great musicians. So I consider "Five Bridges" a small masterpiece. That certainly is not perfect. By the way, the strings sound a little outdated, because they are too disconnected from parts of the Rock band. This is really impossible to notice because it is so obvious even a defect in the group and orchestra compositions that to Jon Lord wrote in the same period for Deep Purple. What is surprising is that the parts of the rock band are so ripe (and near ELP) that still sound full of power, magic and feeling. However, although there is a part of Jazz in this suite, Rock parts are more linear than those of ELP. The 2nd side start with "Intermezzo 'Karelia Suite'" by Sibelius (studio version is on "Ars Longa Vita Brevis"). This live version is great: than the studio version sounds more raw, and for this reason, more engaging. Besides, this version of "Intermezzo" is distorted, becoming a Jam Session. Now... "Pathetique (Symphony no. 6 3rd movement)" by Tchaikowsky ((Emerson obviously has a penchant for Russian musicians) is the masterpiece of the mix between Rock group and orchestra because in this case the integration between Rock group and orchestra is perfect. Although "Pathetique" is already a little gem "Country Pie/ Brandenburg Concerto No. 6 (a medley Between Dylan and Bach) is the perfection of Emerson's style. This medley is the most outgoing Rock from the mind of Keith Emerson (even if only as an arrangement) and is no longer surprising that Emerson arrived at these levels, even rearranging pieces of classical music, in future. "One Of Those People" close "Five Bridges" and it is the only studio track of the album but sure not a memorable song.

CD version of "Five Bridges" present 5 bonus tracks, "The Thoughts Of Emmerlist Davjack" (probably the best song penned by Keith Emerson... Also if not Prog) and "America" are the most famous songs between the bonus tracks. But great is also "Flower King Of Flies".

In conclusion, recalling the "Five Bridges" is an album important to me, I can only recommend buying this album also if it is not a masterpiece. But that in music history is very important.

I'll be honest: "Ars Longa Vita Brevis" is not a masterpiece but it is probably the first true Prog Rock album in history. The Rock arrangement of Sibelius' "intermezzo from Karelia Suite" caused a scandal at the time, but today it still sounds like a piece innovative, fresh and magic. Although it was not the first example of such a mix (classic Music and Rock). Also good is the long suites in 6 parts that is the last track of the original album that contain the version of rearranged 3rd movement of "Brandenburg Concerto". But today this suite sound not so good as in 1968. For the rest "Ars Longa Vita Brevis" remain a good album but too typical of late 60's mentality in music.

Remain the fact that "Ars LOnga Vita Brevis" is a good example of early Prog and Symphonic Prog, also if in an embrional phase. But, sure, a good album.

The symphony orchestra dominates but The Nice knew how to make incredible music to massage the ears.

The name of this release is a reference to the five bridges of the city, encompassing the River Tyne. This curio begins with a bombastic massive orchestra sounding more like the soundtrack to the latest fantasy flick then anything else. The brass, strings and woodwind are perfectly balanced with dramatic temperance and beauty. The lovely flute passages are dreamy and whimsical; the violins are sweeping and emotional; the brass is vibrant and heavy; together a foundation is created to usher in The Nice's blazing 70s sounds. Welcome to "Five Bridges Suite", an amalgamation of 70s psych merged with symphony orchestra, led by Joseph Edger in October 10, 1969 written for the Newcastle Arts Festival.

Eventually, the Hammond infiltrates and the first song begins; sounding like ELP at its most manic. The vocals of Lee Jackson are raw but somehow work better than a smoother vocal because the musaic is smooth enough. Emerson is incredible on Hammond as usual and his earlier performances are always exciting. He is a dominant force and extrememly creative. The band are so tight and technical and with that majestic symphonic score it is little wonder this album peaks at the top of the all time greatest albums for The Nice. Later in the epic opening tracks, Emerson tinkles away on his grand piano and the music gets dreamier, with strings caressing the sound. The time sig is ever changing and intricate.

It is really the "Pictures of an Exhibition" album for The Nice, Emerson taking full control of the direction of the band. The tracks blend together but the shining lights are the awesome bass and Hammond trade offs and the sections where the sax comes in with the orchestra in full support. The 5 Bridges suite is a fantastic track especially the section 'Finale 5th Bridge' with some frenetic trumpet and glorious happy organ.

The late great Brian Davison is sensational on this live performance and an important asset to the sound. He really shines on 'Intermezzo, 'Karelia Suite'' it sounds a little like the driving beat of 'America' or 'Rondo' in places but has its own distinct feel; one of The Nice's better compositions. Jackson's pulsing bass is a real treat and the brass section is grandiose.

Emerson's solo near the end is very ELP sounding with robotic fluctuations and experimental squelches, low crunches and perhaps devoid of a knife in the keys but very similar distortion feeling quite disconcerting after the lush orchestrations. The closing section is bombastic and a pomp rock finale.

The rest of the album is a hodge podge of ideas where some work and some don't but it is never less than engaging, if at times a little pretentious. The honky tonk cover of Bob Dylan's 'Country Pie', merging with the hilarious happy Hammond of 'Brandenburger concerto', and 'One Of Those People', the idiot brother of 'Are you Ready, Eddy', are maddening fillers. However, the rest of the album, especially the opening suite, is more than enough reason to get hold of this and treat your ears to a feast of The Nice at their absolute best and most daring.

This collection, released after The Nice was long broken up, and Emerson Lake & Palmer was filling arenas around the world, focuses primarily on the psychedelic aspects of the bands music. Well, that may be appropriate, as that is what made up most of their studio recordings. And the more symphonic tracks were mostly too long to fit on a one LP collection without dominating the release.

You do get a good idea from this as to what The Nice was about (minus the classical and jazz interludes Emerson would go off into when playing live). There is also a previously unreleased recording of Daddy, Where Did I Come From (a comedic piece, like Benny The Bouncer).

All in all, it's a fair selection from one of the original prog rock bands.

After many years of ignoring this album due to the lack of interest in Rock/Pop albums with artificial orchestral patches in the vein of Days of Future Passed and due to the very descriptive reviews I found in Prog Archives, decided to buy a copy of Five Bridges and was gladly surprised, because unlike most previous Orchestra and Band releases, THE NICE and THE SIMFONIA OF LONDON ORCHESTRA melt perfectly in a musical piece on which the Rock and Classical component are one new musical product.

The central piece of the album is "The Five Bridges Suite", which was commissioned for the Newcastle Arts Festival in honor to the architectural structure of the city, in reference to the 5 bridges over the River Tyne, was premiered in Newcastle on October 10, 1969, but was recorded on October 17..

Side A consists of the The suite which divided in five "Bridges" or Movements

"Fantasia - 1st Bridge)" starts as a relatively anodyne piece for orchestra and Emerson's piano, despite the efforts of the orchestra to create a pompous and brilliant sound, the piece sounds dated and boring. Luckily as soon as Emerson's piano starts, gets more interesting, as a fact sounds a lot as "Piano Improvisation" blended with "Piano Concerto N° 1" by ELP.

"Fantasia - 2nd Bridge" is a jazzy piece for band without orchestra in which the perfect timing of Davidson and the bass by Jackson are enhanced by the frenetic synths of Keith, a good finale for a movement that started weak despite the rough vocals.

"Choral - 3rd Bridge" is a piece for Vocals and orchestra with interruptions of the band, incredibly the voice of Lee Jackson sounds softer and much better than ever, which is followed by "High Level Fugue 4th Bridge" is a piece for piano and cymbals, more in the vein of what Emerson and Palmer did on Works

The suite ends with "Finale - 5th Bridge", my favorite movement, in which the band with additional horns really give a pure Prog Rock performance, brilliant and frenetic, announcing what Keith will do when joined by Lake and Palmer, an excellent closing for a good but uneven suite.

Side B consists of four individual tracks that start with "Intermezzo Karelia Suite", a new version of their Ars Longa Vita Brevis classic, that sounds excellent with the orchestra melting with the band, sadly one of those loud sonic excesses of Keith Emerson with cacophonic sounds partially ruins what could be the best rendition of Sibelius masterpiece.

Despite what most people say, I believe that "Pathetique (Symphony No. 6 3rd Movement)" is a magnificent adaptation of Tchaikovsky's work with an amazing keyboard work by Emerson, specially because he avoids the usual loud experimental synth sounds that ruin other pieces.

"Country pie / Brandenburg Concerto No. 6" is an unusual mix of Bob Dylan and Johan Sebastian Bach that incredibly blend perfectly, as if they were created to be rearranged and performed by THE NICE with a Keith Emerson in flames.

The album ends with a filler called "One of Those People" recorded from a BBC session if I'm not wrong, a totally anti-climatic ending for a good but uneven album. My version has 5 bonus tracks that are out of place in this album so will not review them.

Now is time for the difficult moment of rating the album, and I say difficult because this is one of the first occasions in which a band perfectly blends with an orchestra, the problem is that there are excellent, average and terrible tracks , so despite the marvelous moments and obvious achievements, will have to rate Five Bridges with only 3 stars that could have been 4 if it wasn't for the last track.