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Topic Closed4 little gems (117)

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Poll Question: Which one do you prefer ?
Poll Choice Votes Poll Statistics
1 [16.67%]
2 [33.33%]
2 [33.33%]
1 [16.67%]
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hellogoodbye View Drop Down
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Direct Link To This Post Topic: 4 little gems (117)
    Posted: November 26 2014 at 11:32
Abstract Truth : Silver Trees
http://www.youtube.com/watch?v=958C9xxxVkM

François Faton Cahen : Great Winds
http://www.youtube.com/watch?v=uCjuZlSddZ4

Iguana : St
http://www.youtube.com/watch?v=pCiVKXCMqhU

Hajime Tachibana : H
http://www.youtube.com/watch?v=YbcE8h2NfR8
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Direct Link To This Post Posted: November 26 2014 at 11:38

Tracklist

A1Iguana
A2Southampton Blues
A3Price Of Love
A4Power Of Love
B1I Don't Need No Buddy
B2Ron's Tune
B3Prostitute
B4Grey Day Lady
B5Celluloid Samba

Credits


The mysterious British band Iguana was formed in Southampton in early 70's and released one excellent album originally in 1972 on label Polydor Records. and then disappear without a trace. The core of the band was guitarist/vocalist Bruce Roberts, bass-player John Cartwright and drummer Pete Hunt, The trio was augmented by strong dual brass-section - Ron Taylor on alto sax and tambourine and Chris Gower on trombone also piano played here by Don Shinn.

Despite the album being released on the well-known Polydor label, it quickly became one of its most obscure items, since for some strange reason nobody was interested in the great blend of loud jazz-rock and energetic heavy rock stuffed with progressive elemenets.

The sound of Iguana is rich and colorful, based on permanent juxtapositions of heavy, some what funky guitar sound and jazzy saxophone riffs – most of the songs are catchy and easy-to-get-into, in spit'e of their complex structures, alluding stylistics soul unique, sophisticated and richly orchestrated with vocals reminiscent of Mike Patto.

Though most of the tracks are vocal-driven, there are enough space for adventurous instrumental excursions, the band achieves a perfect balance between song-oriented as is the longest piece on the LP, almost 9-minute 'Price Of Love' reminding Colosseum, Mogul Thrash and other brass rockers of the 1970s. Actually Brainchild's 'Healing Of The Lunatic Owl' would be the closest comparison to Iguana’s. debut, only if Brainchild work was closer to progressive realms, Iguana veers more towards pure rocking sound, making the accent on sheer intensity of the early British rock music.
by Adamus67
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Direct Link To This Post Posted: November 26 2014 at 17:17
Going with the former ZAO keyboardist. The fact he has Vitous and DeJohnette playing on Great Winds only helps with my vote.
"The wind is slowly tearing her apart"

"Sad Rain" ANEKDOTEN
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Direct Link To This Post Posted: November 26 2014 at 18:24
I didn't expect another vote from you, my friend Wink
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Direct Link To This Post Posted: November 26 2014 at 20:37
Originally posted by hellogoodbye hellogoodbye wrote:

I didn't expect another vote from you, my friend Wink

I'm like a bad rash that won't go away.
"The wind is slowly tearing her apart"

"Sad Rain" ANEKDOTEN
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Direct Link To This Post Posted: November 26 2014 at 22:56
Only know Cahen but voted for Hajime Tachibana.
Magma America Great Make Again
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Direct Link To This Post Posted: November 27 2014 at 00:25
Same as John, Darryl Smile
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Direct Link To This Post Posted: November 27 2014 at 00:32

Hajime Tachibana ‎– H

Label:
Yen Records ‎– YLR-28002
Format:
Vinyl, LP, Album 
Country:
Released:
Genre:
Style:

Tracklist

A1If0:53
A2H (Theme From Clubfoot)3:14
A3Robin's Eye View Of Conversation3:52
A4Alps 24:50
A5Soprano Silhouette3:29
B1The Bassman From LDK4:13
B2BQ2:27
B3Piano Pillows1:45
B4Alps3:42
B5Guitar Genius3:08
B6Memorial1:38

Companies etc

Credits


http://www.youtube.com/watch?v=DwOIPV2PqVM
http://www.youtube.com/watch?v=uLnv5HtV4wk

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Direct Link To This Post Posted: November 27 2014 at 04:08
One vote for Iguana. The four options are really good though Wink
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Direct Link To This Post Posted: November 27 2014 at 04:16
Thanks man Smile

 

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Direct Link To This Post Posted: November 27 2014 at 04:35
You really scared me with that picture LOL
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Direct Link To This Post Posted: November 27 2014 at 04:47
LOL
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Direct Link To This Post Posted: November 27 2014 at 10:48
Thumbs Up Awesome gems! Never heard any of them before.
Listen to Learn, Learn to Live and Live to Listen
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Direct Link To This Post Posted: November 27 2014 at 10:50
Thanks Leonardo Wink
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Direct Link To This Post Posted: November 27 2014 at 15:50


Prologue. Francois "Faton" Cahen was one of the founding members of the excellent French band Zao. Under his own name, Cahen released several albums, though "Great Winds" is a special one. Created with the help of a few other Jazz-Fusion legends, this album had become one of the true hallmarks of the genre. However, an opportunity to release it on CD is offered only in 2000, when another new division of Musea Records was named with the title of this legendary album.

The Album. To be honest, Weather Report is the only Jazz-Rock Legend, the music of which I don't like. It is because, unlike Mahavishnu Orchestra, Return To Forever, and Oregon (not to mention Brand X, which is my favourite Jazz-Fusion band), Weather Report's music is, on the whole, based on the structures of swingy jazz, and not on the Jazz-Rock-y ones. So, I am very much impressed with the performance of Miroslav Vitous on the "Great Winds" album -- the musical structures of which are far from most of the known forms of Jazz-Fusion and especially those in Weather Report. While not being consistently unified, the stylistics of this album is more than unique and can't be compared either to Cahen's old band Zao, nor to anything ever created under the banner of Music's Muse. The first five compositions on the album I consider uncommon pearls of Progressive. What's especially interesting is that different soloing instruments play a prominent role on each of these compositions. Trade Wind (track 1) is benefited by the piano. A Froggy Day (track 2) is the only composition on the album in which the powerful and very diverse parts of the real drums are on the forefront of the arrangements. Oriental Wind (track 3) is in all senses the hour of triumph of Miroslav Vitous, who, by the way, plays the contrabass with the bow throughout the album. Spirit of the Wind (track 5) is a festival of percussion instruments, while the parts of piano and contrabass sound like they are being performed in the distance. While there are no percussion instruments, with the exception of cymbals, on Zephir (track 4), they, in my view, play a very significant role. Well, it's time to tell you about the musical and stylistic characteristics of these and both of the remaining tracks on the album. First off, it should be clear to anyone that the Great Winds never blow randomly. All their capfuls, blasts, and even hurricanes can only seem to be created impromptu and, thus, the real improvisations aren't their cup of tea. The same characteristics have all the musical incarnations of the Great Winds that are featured on this album. While the overall stylistics of it can be defined as a unique blend of Classic Symphonic Art-Rock and Jazz-Fusion, most tracks on the album, being examined separately, turn out to be rather different amongst themselves. Both the jazzy improvisation-like solos feature three of them, - Trade Wind, A Froggy Day, and Chapel of the Wind, - and symphonic passages of the piano and contrabass, which, as you already know, sounds like a violin here. While all four of the remaining tracks still contain some elements of Jazz-Fusion, for the most part they consist of symphonic structures. As I've already mentioned above, the first five compositions on the album are masterpieces. All of them are filled with diverse and intensive arrangements consisting of highly virtuosi and intriguing interplay between the piano and contrabass, which for the most part sounds like a magical three-voice violin (tenor, baritone, and bass). Especially impressive, though, is Oriental Wind (track 3), which is just filled with a wide variety of wonderful Eastern colours. Here, Vitous plays his contrabass with such diversity and virtuosity as Subramaniam plays his real violin. Undoubtedly, (at least for this reviewer), "Great Winds" was Vituos's hour of triumph. IMHO, he has never played as incredibly impressive as here. Unfortunately, both the last tracks on the album are in many aspects inferior to all the previous ones. In its entirety, Whirlwind (track 6) consists of only the violin-like solos and passages of contrabass, all of which are masterful yet, musically, rather abstract. Mostly mellow and melodious, Chapel of the Wind (track 7) is on the whole a good piece, though it is more accessible than any previous tracks on the album. Also, while a guest drummer, the famous jazz musician Jack Dejohnette, is credited on this piece, in fact, I hear only Michel Sequin's percussion instruments.

Summary. Despite the fact that the last two tracks on "Great Winds" aren't as impressive as all of the preceding compositions, I must admit that on the whole, this is one of the most unique Jazz-Fusion albums I have ever heard. Furthermore, it is amazing to know that it was just an acoustic trio who created such a musical palette that is rich in everything related to a quality and full-fledged Progressive Rock. Highly recommended to the experienced lovers of both the Classic Jazz-Fusion and Art-Rock genres.

VM. February 19, 2002

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Direct Link To This Post Posted: November 28 2014 at 05:52

Last weekend I decided to explore London's Portabello Road, a road famous for it's street market. In amongst all the little stalls were a number of interesting record shops. These are the kind of record shops that cause wallets to tremble and have been known to bring platinum credit cards to their knees as they contain mostly rare and collectable vinyl (£750 for a picture disc of Wing's 'Back to the Egg' anyone?) 

Most of the staff at the shops had either not heard of Rodriguez's 'Cold Fact' or were vaguely aware of it. However what I did find was a copy of Abstract Truth's 'Silver Trees'. It contained a small sticker saying 'Rare South African Heavy Prog Album'. Rare? yes, South African? of course, Prog Album? definitely, but heavy, I don't think so. This is somewhat psychedelic prog that is full of swirling organ, steady rhythmic bass and loads of flute. In fact 3 of the 4 members of the group are credited as playing flute and it this that gives the album a lightness to it. 

Also of note is that there is only one song over the 4 minute mark, an unusual trait in a prog rock album. The long song is the title track that features some awesome guitar from Ken E Henson and intricate organ playing from Peter Measroch. 

Another interesting touch is the African Jive sound on the opening track 'Pollution' and the harpsicord on 'Moving Away', the former placing the album in Africa, the latter placing the album in Medieval Europe, both giving the album a sense of timelessness and universal appeal. 

It's this wonderful brew of psychedelic, rock, jazz, classical, blues, funk and jive that makes this a special album that should be sought out, and with the wind instruments playing a major role on the album, this could make a really good (Retro) Fresh Flute Salad. 
-- John Samson, SA Rock Digest #144, February 2002
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Direct Link To This Post Posted: November 28 2014 at 12:17
Great Winds for me.

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