JACK BRUCE

Jack Bruce was of course part of the legendary power trio CREAM that thrilled audiences in the latter half of the sixties. This is Jack's third solo album released in 1971. What actually drew me to this one was the lineup. A trio including John Marshall (NUCLEUS, SOFT MACHINE) on drums and Chris Spedding (NUCLEUS) on guitar. Jack is an impressive bass player and he can sing too. The music here is of the fairly straight forward singer songwriter style with piano and vocals dominating. A disappointment for sure as I was anticipating that the focus would be on the instrumental work, but it's not. This is almost Folky at times and the Jazz / Fusion roots of Spedding and Marshall are no where to be found.

"Can You Follow" is mellow with piano and vocals. "Escape To The Royal Wood (On Ice)" is a top three for me. Piano and drums early as the vocals join in. An uptempo tune that reminds me of the STRAWBS. I like the bass and vocal melodies 2 1/2 minutes in. "You Burned The Tables On Me" is uptempo with the vocals and piano standing out. "There's A Forest" is laid back with piano and vocals. "Morning Story" is another top three. Just a great sound here then it settles back as the vocals and piano stand out. "Folk Song" is mellow with reserved vocals.

"Smiles And Grins" is finally a song where there's some focus on the instrumental work. Well that is until around 1 1/2 minutes in when the vocals arrive. Nice bass and drum work before 3 1/2 minutes when the vocals stop for a short time. "Post War" is my final top three. A bright tune with good lyrics and the guitar is interesting too here. "A Letter Of Thanks" is different as the vocals are almost theatrical. "Victoria Sage" opens with vocals and piano then it picks up with organ and a beat a minute in. The vocals and piano continue. "The Consul At Sunset" has a Spanish vibe to it and i'm not a fan.

Well some good songs here for sure but for the Prog fan i'm sure you'll be left wanting.

A very welcome surprise indeed, this belated reissue documenting the The Jack Bruce Band's 1975 British tour adds another excellent chapter to the ex-Cream bassist's already impressive discography. Recorded at the Manchester Free Trade Hall in England and featuring a line-up comprised of Bruce(bass, vocals), Mick Taylor(guitar), Carla Bley(keyboards), Ronnie Leahy(piano) and Gary Bruce(drums), the imaginatively-titled 'Live '75' finds this particular five-piece in fine form, churning out an impressive set featuring mainly Bruce originals and topped off with a fiery, twelve-minute rendition of Cream's signature piece 'Sunshine Of Your Love'. Add an expertly-crafted, twenty-five minute version of 'Waterfalls', a similarly-sized delivery of 'Smiles & Grins' and a seventeen-minute long blending of both Bruce's 'One' and 'You Burned The Tables On Me' and what you have is a truly epic recording that really does leave no stone unturned. Fans of both Bruce's varied solo work, his time with Cream, the three similarly-styled Baker Gurvitz Army albums(featuring Cream cohort Ginger Baker) and classic rock staples such as Chicago, Dave Mason and Humble Pie will surely be in dreamland with this excellent double-live offering that also shows what a prolific period the 1970's was for one of Rock's most iconic bassists. Highly recommended, 'Live '75' could just be one of the reissues of the year.

STEFAN TURNER, STOKE NEWINGTON, 2012

Another wonderful jazz-rock and progressive-pop record from Jack Bruce.

Reducing the backing band from his debut to guitarist Chris Spedding and drummer John Marshall, Jack Bruce continued to play a wide range of instruments himself for his second solo album Harmony Row. If not as commercially successful as his debut, it remains a more satisfying album on many levels.

Tonally Harmony Row occupies similar territory for 'Songs for a Tailor,' with Bruce's piano featuring heavily, usually more prominent than his trademark 'busy' bass. The album weaves a range of moody pieces into a more cohesive collection, aided by the fact that the spangled ferocity of some of Spedding's playing has been eased off. Without a brass section too, the album has a bluer feel, though 'You Burned the Tables on Me' still cooks and there's a tension within 'Morning Story', whereas the blues-rock of 'A Letter of Thanks' gives way to more rock than blues.

This time too, the shorter songs are more thematically consistent with the other pieces. 'Can You Follow' is a beautiful introduction and companion piece to 'Escape to the Royal Wood' for instance. Brown's lyrics are a little more direct, constructing a narrative more often than referencing literature. Only on "Smiles and Grins' (another standout) does an almost disturbing circus feel come to the organ and we see the structure become more fluid than other songs, with a bit of an extended bridge and an instrumental outro. While 'Veronica Sage' misses the mark for me, 'The Consul at Sunset' does not - and showcases Jack Bruce's ability to support a lead vocal with some effective backing. It's languid piano chords are backed by acoustic guitar and percussion, rather than a full kit, and works as a pleasant island getaway.

Once again, this is a four-star album for me, and while it lacks the broader palette that his previous record is drawn from, the consistency of 'Harmony Row' is a real selling point. Overall if you like your pop to have a bit of jazz or to take chances with both structure and genre, then you will enjoy this - it's quite heartfelt at times but conceals a really satisfying approach to songwriting.

Jack Bruce slips out from under the shadow of Cream.

The first thing you'll notice on Songs for a Tailor is the way Bruce's unmistakable voice propels the album's short songs into a familiar place. At the same time, he has collected a set of songs that have a decidedly 'pop' feel to their rock, or even a 'jazz' feel to their pop. And I don't mean for 'pop' to suggest predictable, as these inventive pop songs offer something unusual and are more thoughtfully arranged than some of Cream's jam-based pieces.

Once again, Pete Brown is at the helm lyrically (often to the album's benefit) and although the Cream connections are not limited to that fact, ('The Clearout' and 'Weird of Hermiston' were demoed during Cream recording sessions) the bulk of this album shows Jack determined to move beyond the Cream sound, and succeeding.

It seems he wanted to release something more genre-blurring than either Cream or the album that his jazz combo had just recorded 'Things We Like', and so Songs For a Tailor was slotted in and released first. Perhaps some of that rushed feeling can be seen in the short, almost 'sketch-like' nature of some pieces, like the still-effective vocal layering of 'Boston Ball Game 1937' or the pastoral then scattered 'To Isengard.'

Other songs are more fully developed, such as the opener. Featuring George Harrison on guitar, 'Never Tell Your Mother She's Out of Tune' is backed by a small horn section and is a bit of a rocker, while the beautiful 'Theme from an Imaginary Western' is a classic. Other songs will stick with you too, like 'Tickets to Waterfalls' and the melancholy 'Weird of Hermiston.'

Songs for a Tailor has a strong first side with a more uneven second half, in an album that well deserves the attention of Jack Bruce and Cream fans, along with those interested in the more progressive or jazzy side of pop. This is an album that showcases Jack on many instruments, perhaps the most notable being piano. It's a key component to the record, and in much of the material on his next few albums too.

It's a four star debut for me. It has a charm that shouldn't be overlooked and while it won't suit every prog fan, it should please fans of the the progressive pop sub-genre,or even some jazz fans, and is essential for fans of Bruce.

— First review of this album —

There was a time when Robin Trower was mentioned as an heir to Jimi Hendrix' crown. I've heard a few of his albums, and while he has a similar blues base as Jimi, he just never had the same fire in his playing.

This album is a collection culled from the two albums, "B.L.T." and "Truce", made by Trower and Jack Bruce in the early nineteen eighties. While I like both Trower and Bruce quite a bit on other albums, and their playing here is not bad, the album just doesn't grab me. The songs are essentially blues- rock pieces, and neither artist seems to catch fire at any point. In fact, for an example, Life On Earth sounds drab. Compare it to Bruce's version on his "A Question Of Time" album. That recording is great.

Yeah, there are some good moments. Just not enough of them. 2.5 stars.

— First review of this album —

One would think that an album featuring Jack Bruce, David Sancious and Billy Cobham would be amazing. That was certainly what I was hoping for when I bought this LP at the time. Boy, was I mistaken.

The album is mostly weak (by Jack Bruce standards) pop songs, a little bit of light blues, and one (ugh) disco song. For the most part, all of the musicians lay low, preferring to let the compositions do the talking. Unfortunately, the compositions do little but mumble.

The only worthwhile track is Bird Alone, where for the first and third sections of the song, Bruce actually wrote some challenging music.

Since you can find this track on other collections, I would recommend getting it there.

Jack Bruce return to form and possibly his best album from "Cream" time.Long, 15-tracks album, with 8 full-new Bruce songs and some old great compositions, newely performed and recorded. Jack's voice is in excellent power and easy recogniseable. He mixes blues, blues, rock, jazz, Latin in one soulful,original excellent mix.

Eric Clapton plays guitar on Sunshine of Your Love and White Room as in old good times, but it doesn't sound as nostalgia. Just great new reading of old classics. Two other well known compositions ( Heart Quake and Dark Heart) are coming from another Bruce's project, BBM, and original guitarist Gary Moore adds his guitar on new versions as well. Dr.John plays his organ on two more songs.

Bruce's vocals is very sensitive, soulful and reminds David Bowie best works. Bruce's new team includes Latin percussion trio, which gives warm and jazzy atmosphere to all compositions.

Not very modern-fashioned music, but great recordings by excellent musician, besides his next album with the same team ( More Jack Than God) is his best work outside of Cream old time albums. Not pure fusion, but very attractive music as well.

3,5 rounded to 4.

Songs for a Tailor was Jack Bruce's first released album after his split with Cream, and although he displays some similar roots in psychedelic rock, blues and RnB/jazz as he did with Baker and Clapton, this album clearly shows that of the three, Bruce was by far the better and more creative writer. At this early point in his career Bruce sounds poised to rival the greats, Paul Simon, Stevie Wonder, Donald Fagen, take your pick, Jack Bruce really had it going on back then with the jazz influences and unique chord structures. Echos of The Beatles, Hendrix, Ceam, Robert Wyatt and Syd Barret are extended with techniques taken from early proto-fusion jazz artists and the new progressive rock scene in London. If Jack had assembled a permanent band playing this material, they would have been one of the best on the scene.

With half of jazz rock pioneers Colosseum on board along with Mountain's Felix Papalardi, and with songs that will show up on Mountain and Colosseum albums, this album takes on an almost 60s 'super group' vibe, possibly an answer to Jack's bandmate's effort in Blind Faith. But it's this lack of a real band that is this album's downfall too. Despite all the clever songwriting and excellent instrumental skills involved here, this still sounds like a 'solo album', which means a little bit better than a demo. There's a rushed unfinished feel to a lot of the production and a certain sameness that makes the songs somewhat numbing over extended plays. Having a real band on board would have pumped some life into these very deserving tunes.

Overall though, this is an excellent freshman effort from Jack Bruce, one of the best songwriters to come from the world of rock music.

Things We Like? Things I like, too.

First and foremost, be warned. This is a jazz album. There is no prog, or even rock, whatsoever on this album. Jack Bruce does not play a single note on his electric bass on this album. If you do not like pure be-bop, read no further.

What an unexperted twist from Jack Bruce on his second solo endeavor. A completely straight jazz album. And you know what? It's a very good jazz album. Bruce, it turns out, could have done just fine as an acoustic jazz bass player. And the band he has assembled here is first rate.

The majority of the songs here are primarily drums/bass/sax. John McLaughlin tends to lay back for the most part. But the drums, bass and sax are all so good, you hardly notice the lack of guitar most of the time, anyway.

For a jazz album, I'd rate it four stars, but no prog, it gets only 3 here.

Jack Bruce's first solo album starts out spectacularly, with Never Tell Your Mother She's Out Of Tune, a wonderful, bass heavy, fun song, with wild staccato horns. Is it progressive? Back in nineteen sixty nine it was. Then followed by the now classic Theme From An Imaginary Western, this album promises to be a great ride.

With this set, Bruce seems to be shedding the blues roots he, Eric Clapton and Ginger Baker used as the foundation for Cream, now moving towards the more experimental world of the progressive musician. This album being recorded in 1969, the songs still have somewhat of a simple feel, compared to Bruce's later works, but the foundation is definitely there.

Another highlight for this prog fan is Rope Ladder To The Moon, a spacy song with a hist of eastern themes.

This is a very good album, one that I find myself returning to frequently.