BRIAN AUGER

This is almost a split album, were it not for Brian Auger and the Trinity playing on all the tracks. There's two sides of the album, each representative of the two main creative forces here. The first side, "Auge", consists of Brian Auger leading the Trinity through a range of mostly-instrumental tracks, which are decent enough; the second side, "Jools", consists of a clutch of songs recorded with regular collaborator Julie Driscoll, who knocks it out of the park (as usual) with her excellent vocals. These psychedelic-tinged soul-jazz numbers may be artifacts of their time, but it's a time certainly worth revisiting in Julie's company, and there is an extent to which the "Auge" side feels like little more than a warm-up act. Three stars for side 1, four stars for side 2.

By 1972 Auger had to be one of the busiest men in the rock field.Not only he was fully commited to his own ''oblivion express'', but he had also become an entry in Roland Kovac New Set, a band with which he released a handful of albums during the year.But he also found time to work on his brainchild's next effort, he had actually invited Alex Ligertwood from Troc to join them on lead vocals, so he could focus on his instrumental work.Again the Advision Studios in London was the place of the recordings of ''Second wind'', released in 1972 as well on RCA.

With ''Second wind'' Brian Auger's Oblivion Express would find again their way into efficient and tricky music, the album walks exactly on the thin line between the style of the debut and the somewhat flat offerings of ''A better land''.The accesible influences and playful parts are still present in a great number of funky and Soul influences, but the music is more professional, recollecting the jazzy flavors of the debut and eventually delivering a decent amalgam of intricate and more poppy tunes.Auger shines with his work on Hammond organ, while his piano moments are coming straight out of a Jazz band, the supporting group is always consistent with some muddy bass lines, smooth guitar moves and solid drumming.The album balances dangerously between in-your-face organ-drenched paces and the jazzy abnormalities, where the pieces begin as typically song-structured and end up being a storm of piano and organ tortuting.Alex Ligertwood is definitely a welcome addition on vocals, delivering a nuance of a more rockin' attitude, moreover strengthened by the mass of rhythmic parts.A couple of tracks are still weak, dominated by dated psych and Pop leftovers of the 60's, but the bulk is going the right way with a nice sense for instrumental originality and vocal balance.

Back on track for Brian Auger's Oblivion Express, a sweet little album of jazzy, psych and Fusion elements, recommended for all lovers of organ-based light Prog/Psych.

Recorded after their split with Julie Driscoll, Befour found the Trinity steering away from wide- eyed psychedelic pop to get down and dirty with some jazz fusion material. This might have alienated fans of their prior work, but it did at least position Auger as one of the more interesting of the early prog keyboardists, even if his work isn't as widely celebrated as the likes of Keith Emerson, Dave Greenslade, Tony Banks, Rick Wakeman or Hugh Banton in retrospect. Punchy without being obnoxious, clever without being pretentious, and technically complex without being dull, it's as confident a transition from psychedelia to progressive rock as ever I've seen.

A steady performer, elder statesman of the British Jazz-Rock scene, AUGER has been delivering quality material for decades. Indeed, he is so steady that his predictable approach to the Hammond organ has become repetitive and somewhat tedious.

So, what's new here? Well, there is a bit and that's not always a plus. This release appears to have been designed to promote his very talented children while daddy provides a familiar background.

Daughter SAVANNAH has a sweet, endearing voice and sings in the finest tradition of female Jazz vocal. Son KARMA AUGER on drums is on his way to challenge PIERRE MOERLEN, or BILL BRUFORD when it comes to sharp, tight delivery on the skins.

So, what's wrong with this album? Nothing much really, but nothing much right, either. A family promotion designed not to offend, but to appeal to the masses in a compromised way. Some of the tunes are little more than elevator music and when it comes to the horns, it appears that AUGER had sacrificed his identity in order to gain recognition by the US music market. Such attempt by many have failed "big time" before and AUGER's approach is but another casualty.

Enjoyable, but hardly essential work. .

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Befour seems to be the forgotten runt of Brian Auger's litter, coming after break-up of the Trinity with Julie Driscoll and prior to the increasingly jazz-fusion style he pursued with Oblivion Express, but it's actually my favourite Auger album.

Recorded at Advision in 1970 with Eddie (ELP and Yes) Offord producing, something of the Spirit of Prog appears to infuse Mr Auger, even to the extent of doing a couple of nifty classical interpretations of Faure's Pavane and Albinoni's Adagio in his signature groovy jazz-rock style.

Befour is largely made up of non-original covers, which might be taken by some as a lack of inspiration, but what amazing covers several of them are. The two real standouts are a version of No Time To Live that trumps Traffic's original for existential angst with wonderful vocals from guitarist Gary Boyle and brilliant Hammond work from Auger. It is matched by Maiden Voyage, where the transition from the jazz piano and horns of Herbie Hancock's original to organ and guitar works wonderfully well. Mr Auger once again just totally rocks the Hammond on this track, and really was on top form when this album was made. The one group original, Just You Just Me, has a cool groove and excellent vocals from Auger.

Try to get the infinitely superior cover art with the group reflected in rainwater, which far better reflects the mood of the album than the more common flowers and group pics version. Befour reminds me of a rainy autumn day in London - I quite like rainy autumn days in London and I love this album. Four and a half stars rounded up to five.

Brian Auger's Oblivion Express first album selftitled from 1971 is considered one Brian Auger best works in his long career and one of the most intresting hammond driven jazz rock/progressive rock albums of first part of the '70s. Trinity his first band now is history Brin Auger allowing in his music lots of instrumental arrangements going from jazz rock to progressive rock with some spacey ingredients thrown in, the result is more then ok to my ears. The album is powerful and gives to the listner no rest from first to last piece with hammond running all over plus a quite good guitar work and druming. I'm not bothered at all by the vocal lines Auger voice is pleasent to my ears, really is more then ok like on The road, very pleasent vocal parts and groovy instrumental sections. Not a weak moment here on this release, only energic pieces with intresting creative passages all over. One of my fav musicians keyboardists and albums. 4 stars maybe in places 4,5 stars. recommended for sure.

In 1971 Auger helped with the production and appeared in the sole release of Mogul Thrash, while at the same time he entered again the Advision Studios with his supporting group to record Oblivion Express' second album ''A better land''.The same year the sophomore release of the group saw the light on RCA.

What a huge dissapointment to see this great band after a nice debut turning the sound into more Pop, Psych Rock and R'n'B sounds.Generally ''A better land'' can be considered as a melodic Psychedelic/Pop Rock album with no connections to the early Jazz/Fusion style of Oblivion Express.Full of delicate vocals, smooth piano lines, melodic guitar work with jazzy touches and a laid-back drum/bass support, the album is an easy-going travel with tendency towards more emotional songwriting and no signs of technical or virtuosic passages.The music is very mellow, the tracks are simplistic and the atmosphere remains soft all the way.Auger's monster organ sounds are totally absent except for a couple notable solos, his Hammond now plays the secondary role of filling the sound in most of the tracks and the lack of his energetic runs are more than evident.

Unimpressive jazzy melodic Psych Rock.Questions about this sudden turn in sound remain until today.Only for archivists, collectors and die-hard fans of Psychedelic/Jazz Rock.

The master of Hammond organ Brian Auger was born in London in 1939, where he would produce some of his best music.His first band was Steampacket along with Julie Driscoll, with whom he would form Brian Auger & the Trinity in 1968 (featuring Gary Boyle of Isotope).With Trinity Auger produced two albums mixing Jazz, Blues and R'n'B, before founding his most prolific band Brian Auger's Oblivion Express in 1970.With Jim Mullen on guitars, Barry Dean on bass and Robbie McIntosh on drums Auger would record Oblivion Express'es eponymous debut at Advision Studios in London in November 1970, released the following year on RCA.

Side A contains some of the best early-70's Jazz-Rock to be heard, both the short ''Dragon Song'' and the long ''Total eclipse'' are pure Jazz-Rock/Fusion delights with some powerful, dominant bass lines by Dean, Auger performing incredibly on organ and some fine jazzy guitar soloing by Mullen.''The light'' on the other hand is closer to the sound of Trinity, groovy organ- based Fusion/R'n'B with plenty of vocals by Auger with a positive taste at the end.On the flipside ''On the road'' kicks off with more of the same style, pleasant Fusion with good jazzy guitar soloing and Auger rather performing on the background this time than delivering any virtuosic notes except the middle solo.With ''Sword'' the band seems to lack inspiration, another long organ/guitar-led rockin' Fusion cut, very similar to the previous to the point you can't set them musically apart.The last track ''Oblivion Express'' has a certain DEEP PURPLE vibe on its groove, being a good blend of organ-based Heavy Rock and guitar-based Jazz-Fusion with Mullen in pure orgasm by the middle and some fiery almost EMERSON-ian organ offerings by Auger later.

It's a pitty tha the album did not maintain the high inspiration of the first pair of compositions.But again the rest of it is played with some great passion and energy, so Brian Auger's Oblivion Express'es entry in discography can be listened easily even today.Strongly recommended...3.5 stars.

Brian Auger is one of the best interpreters Hammond organ, and a great jazz musician. Despite all the 60 has got to be appreciated and judged fabulously, until 1969 was able to release the album that launched him as a star. This "Open" is the debut album of Trinity, a sort of backing band of same Auger and Julie Driscoll, secretary of Giorgio Gomelsky in 60's and ex Steampacket (with the same Auger). Recorded in 1967 in five hours at London's Chappel studio "open" is not a Prog album in the strict sense but, at the same time, Open is not a Proto Prog album. Due to the greater maturity than other contemporary Prog albums "Open" already plays Prog, remaining, however, a simple example of jazz rock, although very eclectic. Sure there are times now almost ridiculous songs ("Lament For Miss Baker, for me) but it is hard to miss that "Open" is a good example of Jazzy Prog POP.

The opening track is "In and Out" (Montgomery), a fantastic composition of POP Jazz with a delicious big band arrangements, melodic guitar and hammond in a sort of musical duel. Hammond soli are great. "Isola Natale" (Brian Auger) is another great track, example of West Coast Jazz with a fantastic echo of "She's Not There" of Zombies as in "Isola Natale" is more than a veiled reference to it in the beautiful Hammond riffs. "Black Cat" (Brian Auger) is a powerful savage Rhythm'n'Blues with big band arrangements, great Hammond and Auger voice. "Lament For Miss Baker" is just a lament with a savage feel and good piano intro a la Nina Simone. "Tramp" (Fulson Mc Cracklin) is the debut song by Julie Driscoll in Open. "Tramp" is a good Soul Funky song (and previously a hit for Otis Redding and Carla Tomas) that is perfect for Julie's strident voice. Good in this song the riff of horns and good is also Hammond solo by Auger. "Why (Am I treated So Bad)" (Staples) is another good song for Julie and is perfect for the gentle atmosphere of the B side of "Open",presenting more or less the same style as the previous song but with a slower Soul rhythm and without a big band arrangement, despite the presence of horns. "A Kind Of Love In" (Auger, Driscoll) is another Rhythm'n'Blues song with great power and magic (and feeling). "Break It Up" (Usher) is another Rhythm'n'Blues, today not perfect but with good power, good piano and Funky Soul vocal parts (male chorus, female soloist). "Season Of The Witch" (Leitch) is yet another cover of Donovan's hits, here expanded enormously (but without becoming psychedelic). "Season Of The Witch" is a perfect song for Julie's voice, powerful, strident and magic. This is the last song of Original "Open" Lp but 2004 Sanctuary remastered version present also 4 bonus tracks."I've Gotta Go Now" (Pappalardi) is a perfect Rhythm'n'Blues/ Rock'n'Roll song but with POP atmosphere, although powerful and engaging, as well as a little wild and previously unreleased. "Save Me" (Ousley, Franklin, Franklin) is a great Funky Soul, perfect for Julie's voice with good horns and great power. "Save Me" was the second Trinity single, first with Julie. "The Road To Cairo" (Ackles) is a great song out in a sinle, a great relaxing power ballad with great strings and julie interpretation. Probably "Road To Cairo" is my preferred song in this edition of "Open" but at that time it was normal so magical songs as "road To Cairo" were not included in an LP. "This Wheel's on Fire" (Danko, Dylan) is another song for a single release (with "Black Cat"!), that present a good contortion of the atmospheres original, thanks to a Bluesy Beat arrangements. Too bad that the tape in the archives was not totally perfect, because it presents a slight distortion.

What I understand from listening to "Open" is that they are in front of a really nice album. Regardless of whether we want to consider "open" Prog or Jazz (not that it changes a lot) this should be stated. One side of the album is anything to Auger, the other is all for Julie. And the atmosphere change. Of course, many songs are similar. But Julie is the presence of changing things. A natural talent (probably greater than that of Brian Auger) made ​​ available to the Trinity and dosed carefully, so that, once the album is to me a little sad and I have to start tp listen to "open".

Today "Open" can not be called a masterpiece. Maybe it was not even in 1968. Nonetheless, "Open" is a little gem in the ocean of Jazz and Rock.

Brian Auger is a master of the keyboards, especially synthesizers. Yet his music so engaging with Trinity has become a very interesting sort of fusion, but in this album, a little too commercial. It is a serious fault, because it's really well written and arranged. But it forces me to not be fully satisfied.

"Search Party" is an album that contains songs recorded in 1977, 1980 and 1981 (with a bonus track on CD recorded in 1980), recorded with various musicians. I can say without a shadow of a doubt that the compositions on this album will not have points of excellence, but, nevertheless, these songs are in possess of some degree of intricacies typical of Jazz and Fusion. If, as I search the music. I'm going to look feeling and magic... I find much feeling and magic in "Search Party". Unfortunately, to my ear, "Search Party" is an album without those virtuosity that I would expect from Brian Auger and for this fact a little flat.

But apart from that I noticed, "Search Party" is a good example of Fusion, maybe a little flat and commercial. But really honest.