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IF

Jazz Rock/Fusion • United Kingdom


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If biography
IF was a seminal jazz-rock band formed in 1969 as Britain's answer to the pioneering US bands Blood, Sweat and Tears and Chicago. The main difference was that IF did not have a trumpet or trombone player and featured two saxes instead. Essentially a live band, true to its strong jazz influences IF was probably the only jazz-rock group, both then and now, to feature solos by all the band members, not just by the lead instruments.

They toured extensively in Europe and the States during the early Seventies, performing at most of the major venues and festivals of the day (Newport, Reading, Fillmores East & West, Whiskey A-Go-Go, The Marquee, etc.) and shared billings with, amongst others, Miles Davis, Muddy Waters, Willie Dixon and Leon Russell as well as many of the classic rock bands of the day, such as Cream, Traffic, Yes, Black Sabbath, Grand Funk Railroad, Ten Years After, KISS, Dr. Hook and the Medicine Show, and Lynyrd Skynyrd.

Like the early Chicago, they were difficult to classify with any of their contemporaries; they seemed out of place wherever they played, and were considered too jazzy when billed with groups with a more rock orientation and too bluesy or loud when billed with more jazz-oriented bands.

IF thus became one of the most highly-acclaimed groups of the Seventies to never quite make the big time, despite good record sales and full venues. The band was managed and its albums produced by Lew Futterman, who had previously produced US jazz/soul stars Brother Jack McDuff and J.J. Jackson, amongst others. Signed on by Chris Blackwell, an enthusiastic early fan, to Island Records in the UK and to Capitol Records in the US, their first album, IF (1970), entered the charts in both the States (Billboard) and the UK, as well as winning a design award for its cover, and was followed that same year by IF 2, also released on Island and Capitol.

The albums IF 3 (1971) and IF 4 aka "Waterfall" (1972) were accompanied by heavy touring schedules in the States and Europe, especially in Britain and Germany, where the band appeared on TV (BBC's Top of the Pops/Old Grey Whistle Test in the UK and one of their tracks was used as a signature tune for the news in Germany). Finally, in the summer of 1972, the band had to come off the road in the middle of a US tour when Dick Morrissey was admitted to hospital for major surgery. As a result of the break-up, the band members went off to work on other projects.


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If 3If 3
Import · Limited Edition · Remastered
Repertoire 2007
Audio CD$9.50
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If 4If 4
Import · Limited Edition · Remastered · Special Edition
Repertoire 2007
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Europe 1972Europe 1972
Import
Repertoire 1997
Audio CD$7.96
$9.04 (used)
Fibonaccis Number / More Live IfFibonaccis Number / More Live If
Import · Remastered
Repertoire 2010
Audio CD$10.89
$63.46 (used)
What Did I Say About TWhat Did I Say About T
Import
Repertoire 2008
Audio CD$7.88
$10.16 (used)
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IF shows & tickets


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IF discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

IF top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.74 | 43 ratings
If
1970
3.56 | 24 ratings
If 2
1970
3.65 | 17 ratings
If 3
1971
3.42 | 16 ratings
If 4
1972
4.06 | 17 ratings
Waterfall
1972
3.24 | 8 ratings
Double Diamond
1973
4.06 | 8 ratings
Tea Break Is Over....
1974
3.38 | 6 ratings
Not Just Another Bunch Of Pretty Faces
1975

IF Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.50 | 2 ratings
If 4 on Tour in Germany, April '72
1972
3.34 | 10 ratings
Europe 1972
1997

IF Videos (DVD, Blu-ray, VHS etc)

IF Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
This Is If
1973
4.50 | 2 ratings
Anthology 1970-72 (What Did I Say About The Box Jack?)
2008

IF Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
Raise the Level of Your Conscious Mind
1970
0.00 | 0 ratings
Far Beyond
1971
0.00 | 0 ratings
You in Your Small Corner
1972

IF Reviews


Showing last 10 reviews only
 If 2 by IF album cover Studio Album, 1970
3.56 | 24 ratings

BUY
If 2
If Jazz Rock/Fusion

Review by apps79
Special Collaborator Neo Prog Team

3 stars If were trully creative during their brief stint in the 70's and shortly after the release of their debut, who had entered the charts worldwide and even won a prize for its front cover artwork, a second album saw the light in 1970.''If 2'' was now recorded both at the Hit Factory in New York and the Island Studios in London with Lew Futterman as a producer.The album was released, of course, on Island in UK and on Capitol in the US.

''If 2'' is again characterized by inventive and tight songwriting, combining the technical aspects of Jazz and Psychedelic Rock with Pop flourishes and Soul melodies.The first side of the LP is quite cool, maybe too much relying in the mix of psych organs, electric guitars and smooth sax melodies in just about the same motive, but the tracks contain good melodies, fine instrumental jamming parts and certainly J. W. Hodkinson's excellent voice.''Sunday day'' is propably the best cut with its dominant 60's influences, the doomy sax lines of Dick Morrissey and the loose guitar work of Terry Smith.The second side opens with the best piece of the whole album and one of If's better compositions, ''I couldn't write and tell you'', which lyrically is rather weak, but the music is more than rewarding.Very rich Jazz Rock with psychedelic grooves and dynamic Hammond organ, that rise as the track unfolds, and great KLAUS DOLDINGER-like wind instrumental parts, while Hodkinson's voice is absolutely great.The remaining two tracks explore the boundaries of smooth or more energetic Jazz Rock with commercial vibes and catchy choruses with less instrumental inventiveness but nevertheless tight performances by the band.

Another nice release by this intelligent British combo.Hardly you is able find a group, that can combine virtuosity and accesibility with such comfort and ''If 2'' is such an album, especially rewarding for fans of late-60's Proto Prog or Jazz Rock.Recommended.

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 If by IF album cover Studio Album, 1970
3.74 | 43 ratings

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If
If Jazz Rock/Fusion

Review by presdoug

5 stars British seventies jazz-rock group If are not focused on now, not even as much as their contemporaries like Colosseum and Chicago, partly, i think, because the original band split in 1972 unlike Chicago, and did not enact a high profile reunion, like Colosseum did. It is a shame that time has not been that favorable to interest in this amazing band, because musically, they were of the highest caliber, and this debut album an excellent effort, all the way around.

If-If was released in the days of pioneering jazz-rock, and opened doors for the band- rightly so, as it is a strong and cohesive effort, with no weak songs or weak musicians playing in the lineup. This debut tells of a true band, a collaborative effort, where all musicians and lead singer are equally important to the music being conveyed, with the result that they keep you interested and musically stimulated all the way through every track on this record.

Vocalist J.W. Hodgkinson is quite good, and has a strong delivery without a lot of screaming or shrieking the way some vocalists do. All instrumentalists blossom individually without ever loosing touch with the overall cohesive spirit being conveyed, and the result is music that is exciting and fascinating to follow. There are drums, two sax players, keys, flute, guitar, and bass here and they do some really interesting things that are much more appealing than their colleagues Chicago or B,S and T. Whereas i have grown tired of those two bands, not so with If, who for me, have stood the test of time well. This group are in finest form in the first album here, and also If 3, their greatest oeuvre. The music on If's debut is so stimulating and pleasing to hear, i often find myself forgetting that it is over four decades old!

And like Colosseum, the band had a legendary live appeal that must have been a sight to behold back in the day. Well, this great record is the next best thing to being there. I highly recommend it, and give it five stars.

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 If by IF album cover Studio Album, 1970
3.74 | 43 ratings

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If
If Jazz Rock/Fusion

Review by stefro
Prog Reviewer

4 stars Charting the same jazz-rock course as the likes of Chicago, Blood Sweat & Tears, Satisfaction and Trifle and featuring future Foreigner drummer Dennis Elliot amongst their ranks, Britain's If were a talented seven-piece who produced handful of noteworthy albums during the early part of the 1970s, though overall their style was somewhat poppier than the fusion groups who were re-popularizing the jazz genre at that time, the likes of Nucleus, Soft Machine and John McLaughlin's Mahavishnu Orchestra. The First album, titled simply 'If', is undoubtedly their best, with catchy hooks adorning the softly-played jazz rhythms and a strong focus on structured song-writing as opposed to improvisational jams. However, that's not to say If are a pop band per se, far from it, and tracks such as the lengthy, eight-minute 'What Did I Say About The Box Jack?' and the cool instrumental 'Dockland' are testament to If's melding of styles and tones. Their real ace, though, lies in the shape of frontman J. W. Hodgkinson, whose deep, bassy vocals add a whole new dimension to the jazz-rock formula. Vocals in fusion or jazz-rock are difficult to pull of, hence the poppier nature of this material, yet here the combination works beautifully, adding a rich lyrical layer to proceedings. Subsequent albums would repeat the sonic trick with slightly diminishing returns, though both If2 and If3 are still recommended. A graceful, enjoyable and extremely well-crafted debut, this unique mixture of jazz, rock, pop and orchestral flourishes proves a delightful surprise indeed.

STEFAN TURNER, STOKE NEWINGTON, 2012

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 Waterfall by IF album cover Studio Album, 1972
4.06 | 17 ratings

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Waterfall
If Jazz Rock/Fusion

Review by Easy Livin
Special Collaborator Honorary Collaborator / Retired Admin

4 stars The new and improved fourth album

Unlike the band's first three albums, "If 4" was not released in North America, reportedly due to management and contractual issues. Later the same year though (1972), this album appeared in its place in those territories. As can be seen from the track listing, no less than four of the tracks on this album also appeared on "If 4" with two ("You in your small corner" and "Svenska Soma") being replaced by "Paint your pictures" and "Cast no shadows". The track order too is completely different, with "Sector 17", which seems to have been pruned back a bit, losing its headline spot to this album's title song. The two new tracks were recorded by a a slightly different line up with a new rhythm section and without John Mealing.

The re-ordering of the tracks means that the album gets off to a much more satisfactory start, with two in your face slices of jazz rock ("Waterfall" and "The light still shines") providing a tight, brass fuelled, attention grabbing first 10 minutes or so. "Sector 17" retains the extended guitar noodling of "If 4", but the sax excesses are kept in check.

"Paint your pictures" is one of the two tracks unique to this album. The song leans on the blues side of the band, the simple backing rhythm supporting an extended lead guitar break and some fine brass. From the keyboards work, it sound like John Mealing may in fact still have been around for this recording. "Cast No Shadows" has a distinctly The Who feel to it in the Roger Daltrey like vocals. The track otherwise has more in common with Chicago than BS&T, being reminiscent of "Does anybody really know what time it is" (to these ears at least!). The album closes with "Throw Myself to the Wind", a straightforward jazz rock number with a toe-tapping rhythm.

For me, this is a far more satisfactory configuration of "If 4" than the UK release. The bland fusion experiments are kept firmly in check, with the album benefiting from a feel much more in line with If's previous releases.

The 2003 re-release of the album has three bonus tracks. The first two of these are a single A and B side which contained an edited version of "Waterfall" and "You in your small corner", the most commercial track on "If 4". The final track is a superfluous mono version of the radio edit of "Waterfall".

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 If 4 by IF album cover Studio Album, 1972
3.42 | 16 ratings

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If 4
If Jazz Rock/Fusion

Review by Easy Livin
Special Collaborator Honorary Collaborator / Retired Admin

3 stars Hope you like our new direction

"If 4" would prove to be the last album recorded by what was by and large the original line up of the band, before they disbanded and a new group using the same name was formed. Unlike the band's first three albums, "If 4" was not released in North America, but please see the entry for the album "Waterfall" for a North American release the same year. The tracks here were recorded live in the studio in front of an audience having been developed by the band at various gigs. The recordings are reportedly devoid of post production overdubs.

As a whole, the album represents the band's jazzier side, the opening 10+ minute "Sector 17" being a hope you like our new direction fusion style jam. There is plenty of energy in the performance, with guitarist Terry Smith and saxophonist Dave Quincy (who wrote the song) both being afforded plenty of space to display their talents. For me through, the track is very ordinary and indeed anonymous. This could be any of a number of bands and artists who resorted to rambling nonsense when the inspiration ran out.

Fortunately, things get back on track with the jazz rock of "The Light Still Shines", a song which reminded me of some of Alan Price's work. Here things are much tighter, J.W. Hodgkinson adding one of his fine vocals. "You in Your Small Corner" is the shortest track on the album and the last of the trio of Quincy compositions. Here we have the album's most accessible song, very much inspired by the anthems of Blood Sweat and Tears and complete with David Clayton Thomas like scat, plus a female backing vocal. I love it!

Side two of the LP sees the late Dick Morressey taking control, the opening "Waterfall" featuring plenty of his flute playing backed by a frantic rhythm and a good vocal refrain. "Throw Myself to the Wind" has a bit of a swing feel to it, the Blood Sweat and Tears similarities once again coming through. The album closes with Svenska Soma, the only song not to include a member of If in the writing credits. I have to admit defeat in my attempts to track down information on the composer (named as "Jonsson-Smith"). The track is another of the instrumental fusion jams, primarily focused on the sax section.

Overall, a bit of an up and down album (Iffy?!) by the band. The two extended jams aside, there is some decent material here. I can only assume that material was in short supply.

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 If 2 by IF album cover Studio Album, 1970
3.56 | 24 ratings

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If 2
If Jazz Rock/Fusion

Review by Easy Livin
Special Collaborator Honorary Collaborator / Retired Admin

3 stars Tarmac T. Pirate's not as bad as he sounds

In an age when band seem to take several years between albums, it may seem strange that If should have released this their second album in the same year as their first. Back in 1970 though, such an event was far from unusual, many bands working on a six month cycle of touring and recording. We should of course remember that back then around 40 minutes was the norm for an album, but even so, the workload on a band was intense.

"If 2" is very much a continuation of the eponymous début, the unchanged line up moving at times into more commercial territories while retaining the jazz rock tenets on which their sound was based.

"Your city is falling" is the first of the six tracks here, the album opening with a delightful up tempo number which sees pretty much all aspects of the band's make up taking centre stage. Dick Morrissey's "Sunday sad" is an unusual song for the band, setting out as a slower, more reflective piece. J.W. Hodkinson offers a fine vocal performance on this 8 minute classic, which also features some dynamic guitar work by Terry Smith. As the track develops, the sax section pick things up nicely transforming the track completely. The oddly named "Tarmac T. Pirate and the Lonesome Nymphomaniac" is very much in the Blood Sweat and Tears vein, the actual song being far better than its title.

The second side (of the LP) is in some ways a mirror image of the first. The opening Dave Quincy song "I Couldn't Write and Tell You" though is not as frantic as its peer on side one. The vocals here are very Roger Daltrey (Who) like, Quincy delivering a surprisingly rock orientated song where his sax talents are kept largely in the background. "Shadows and Echoes" was co-written by Lionel Grigson with his then partner Margaret Busby. The late Grigson was well known during the early jazz/fusion scene, and was in fact a a member of If prior to the recording of their first album. The songs focuses on the band's softer, lighter side, featuring flute and a fine vocal.

The closing Hodgkinson composed "Song for Elsa, Three Days Before Her 25th Birthday" once again has similarities with the work of Blood Sweat and Tears around the same time, especially in the David Clayton-Thomas like vocals.

In all, an album which for my money matches up well beside the band's fine début. There is a good variety of styles and sound here, the songs are strong, and the performances first rate.

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 If by IF album cover Studio Album, 1970
3.74 | 43 ratings

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If
If Jazz Rock/Fusion

Review by Easy Livin
Special Collaborator Honorary Collaborator / Retired Admin

4 stars They "moved the (rock) world just one step on"

Formed in 1969, If had already seen a change of line up (on the drum stool) by the time they came to record their début album released in 1970. Conveniently pigeon-holed as Britain's answer to the jazz rock of Chicago and Blood Sweat and Tears, there are in fact noteable differences between If and those bands. The twin saxophones in an otherwise standard rock line up give obvious hints of the band's leanings, but If were perhaps less concerned with catchy hooks and hit singles than their peers from across the pond. That said, there are echoes of David Clayton-Thomas in the fine vocals of J.W. Hodkinson.

The opening "I'm reaching out on all sides" (a track I first came across many years ago on the superb "Bumpers" sampler) actually features the lead guitar of Terry Smith more, the saxes being used to provide colours rather than as a lead instrument. The song makes for a superb introduction to the band. John Mealing, who would later go on to join the Strawbs, lays down a solid Hammond organ base for the instrumental "What Did I Say About the Box, Jack", the longest track on the album. The track offers Dick Morrissey (subsequently Average White band) the chance to display his skills on flute as part of what is a largely jazz workout.

"What Can a Friend Say" reminds me a bit of the Ides of March song "Vehicle". The rock side of the band returns, driven on by some fine gravel vocals, the centre piece of the song being a lengthy sax workout.

The second side of the original LP has four tracks to the first side's three. As might be implied, this means that the songs on this side are generally slightly tighter, although very much in the same vein. "Woman Can You See (What This Big Thing Is All About)" is an upbeat affair, with frantic vocals driven on by a pounding rhythm section and punchy saxes. There are suggestions here of songs such as Chicago's superb "25 or 6 to 4".

The three minute "Raise The Level of Your Conscious Mind" is by far the most accessible song on the album, and might have made a successful single. The track boasts a Guess Who type sing-a-long chorus and a wall of sound backing. "Dockland" slows things down somewhat, the track offering a Traffic like folk/fusion take on painting a picture of a "Dockland scene". The track offers Hodkinson the opportunity to really emphasise his vocal prowess.

The album closes with "The promised land", a track which does lean heavily on Blood Sweat and Tears for its inspiration. Mealing gets a final opportunity to add to fine keyboards to another pulsating jazz rock number.

In all, a fine début from a band who made some excellent music. In some ways, If were unlucky to be around when so many other great bands were trying to make their mark. It is perhaps time now for a reassessment of their excellent music, it deserves far more recognition that it gets.

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 If by IF album cover Studio Album, 1970
3.74 | 43 ratings

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If
If Jazz Rock/Fusion

Review by Matti
Collaborator Neo-Prog Team

2 stars Perhaps, if (!) I was more objective, I couldn't rate this so low, but I can't help that this album was a disappointment to me. I have found and enjoyed many Fusion artists recently (including COLOSSEUM which is one of the groups IF are compared to) and naturally I expected to like this British vintage debut too. But I found quite a little here that I wanted to listen multiple times. The problem is not with the music per se, but with my taste which just happens not to favour funky, brassy, souly, bluesy jazz-rock. Neither was I very fond of the vocals.

There were a couple of tracks with the flute up front rather than the saxes, which I liked more, but the whole album just didn't turn me on at all. No wonderful compositions, some OK at best. Skillful playing, definitely, but the aesthetics of this band didn't meet mine very well. So, take my humble opposite opinion (against the six praisings here) just as a notice that you may not enjoy this band as much as you might expect. It's not very progressive, for starters. But if you like (sorry to repeat the names jumping up again and again in previous reviews) the bands such as BLOOD SWEAT & TEARS and CHICAGO, forget my words and hear this yourself.

(I'm not always this subjective in my ratings; that is, for strong musicianship I sometimes give more stars than I actually enjoy the music personally, but I do think that we need shameless subjectivity when we rate albums here. It's the matter of our OWN feelings of the music. Naturally one has to know enough about the musical style/genre in question to make a worthy statement. Fusion IS one of the genres I enjoy. Brass-rock ain't, I admit, and had I known better that it's this style more precisely, I probably wouldn't have borrowed the CD at all - which, on the other hand, is prejudicious...)

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 Not Just Another Bunch Of Pretty Faces by IF album cover Studio Album, 1975
3.38 | 6 ratings

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Not Just Another Bunch Of Pretty Faces
If Jazz Rock/Fusion

Review by snobb
Special Collaborator Honorary Collaborator

3 stars If's last studio album isn't as good as their first albums. After many line-up changes, the band slowly changed their musical direction to more straightforward blues-soul-rock.

For sure, you still will find there their sax sound, but generally music became simpler, more guitar based, and in some sense repeated Chicago's evolution. Songs became better structurized, with catchier melodies and openly radio-friendly. Still some arrangements could be pleasant for jazz-rock fans. Some songs are simple blues-rock at the same time.

Still listenable album with some traces of nice earlier music time, but that's all. Mostly for fans.

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 Europe 1972 by IF album cover Live, 1997
3.34 | 10 ratings

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Europe 1972
If Jazz Rock/Fusion

Review by snobb
Special Collaborator Honorary Collaborator

3 stars This IF album was released with "Never Before Released Recordings" stated on cover. What is true only in part. In reality it contains four outtakes from band's fourth album (recorded live in studio) "Waterfall", and three extended tracks from their 1972 tour ( which gave enough recorded material for live album released before).

Songs even if has some additional energy, sounds not at the level of studio recordings (especially vocals). Album's songs even are placed in similar order, as on "Waterfall" . Possibly, most interesting composition on this album is final one, "What Did I Say About the Box, Jack,", which came from their debut album, but is extended till 20+ minutes there.

In all, album is softer, a bit more brass-pop oriented, than their debut, even if still have plenty of jazzy improvisations and brassy arrangements. Not a bad album for band fans, but far not necessary release for all others. In fact, doesn't add something new to band's existed recordings.

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Thanks to Sean Trane for the artist addition.

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