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JAZZ ROCK/FUSION

A Progressive Rock Sub-genre


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Jazz Rock/Fusion definition


  1. Jazz Fusion is jazz that is strongly influenced by other styles of music. Jazz fusion is an ambiguous term that provides the first level sub-set down from Jazz. Jazz rock is a sub-sub set from jazz via jazz fusion. The ambiguity comes from an American tendency through the 90's and until now, to freely interchange jazz rock and jazz fusion, when in fact the latter term covers most hybrids of jazz fused with other forms of music. The roots of jazz rock can be traced back to RnB influenced soul-jazz artists such as Les McCann, Grant Green and Jimmy Smith, and young British jazzers such as Graham Bond, Ginger Baker, John McLaughlin, Jack Bruce, Georgie Fame, who were forced to use electronic instruments because the local club's acoustic instruments were reserved for the older established jazz musicians. Probably the first jazz artists that released recordings that mixed modern rock (circa 60s) with jazz were Larry Coryell, Jeremy Steig, Charles Lloyd, The Soft Machine, and The (Jazz) Crusaders. Meanwhile rock artists such as Cream, Grateful Dead and The Jimi Hendrix Experience were getting a lot of publicity and fame with their lengthy improvisations based on blues, rock, psychedelia and some jazz. These rock artists had an impact on Miles Davis who generated a lot of media attention to this new jazz-rock genre with his Bitches Brew album. From there the genre grew and exploded into numerous different directions. One of these directions was brass rock as exemplified by bands like Dreams, Chicago, BS&T and If. These bands combined elements of jazz, rock and classical music with arrangements for brass and woodwinds.

  2. Many other styles of music have been combined with jazz to create fusion including traditional music from around the world, R'n'B, rock, electronic music and pop music and jazz from Africa, Latin America, India and other places. One of the earliest examples of the use of the term fusion comes from the Indo-jazz fusion of Joe Harriott and John Mayer. Some of the more popular early practitioners of fusion included Weather Report and Herbie Hancock's Sextant. A few years later Shakti appears on the scene and expands the boundaries of fusion further, foreshadowing the World Fusion movement of the 90's.

  3. In part Nu.jazz grew out of the British acid jazz scene of the late 80s and early 90s, whilst modern leaders of nu.fusion cite Miles Davis and Jon Hassell as the godfathers of the genre. As the genre began to develop it took on other influences such as world beat/jazz fusion, psychedelic trip-hop, post-rock and mixtures of ambience with modern jazz. The jazz with electronia experiments that Jon Hassell was conducting in the late 80's, with the likes of Eno, were to be a major influence especially on the dance side of nu.jazz, sometimes known as nu.fusion. Three main elements make nu.jazz different from the more traditional jazz (rock) fusion. First of all there is less of an emphasis on instrumental virtuosity in nu.jazz (especially nu.fusion). Second, more use of electronics (especially skilled turntablism) and studio trickery that emphasizes sound textures. Third, nu.jazz tends to use more modern rhythms such as drum'n'bass, hip-hop, post-rock, and various mixtures of world beat rhythms. Progressive nu.jazz artists such as Bugge Wesseltoft, Nils Petter Molvaer and the Esbjörn Svensson Trio (E.S.T.), combine complicated compositions with modern rhythms to create new unheard of soundscapes - while the former two are leaders of nu.fusion, and with more emphasis on jazz playing, EST have been the leaders in straighter nu.jazz. Nu.jazz is loosely connected to other newer jazz fusion genres, particularly the more progressive live, jazz jam bands such as Medeski Martin & Wood or Garaj Mahal. It may seem that the only difference between the two genres is the country the artist is from or what scene they came up through.li>

Only the most progressive of nu jazz, jazz-rock and fusion artists are listed on Progarchives, although accceptability or not here may vary from person to person. All artists have elements of progressive rock in their music (e.g. Jean Luc Ponty, Bill Bruford or David Sancious) or they represent the most forward-looking and progressive element in their genre (e.g. Miles Davis, Herbie Hancock or Weather Report). It should be noted that those many Canterbury jazz rock fusion bands, e.g. Soft Machine, Soft Works, Soft Heap, Soft Machine Legacy, Gilgamesh etc. are to be found under the CANTERBURY heading in Prog Archives.

Dick Heath
John 'Easy Money'
Martin 'Alucard' Horst
(Edition 3.2. Nov 2009)

Current Team Members as at 12/24/14

Evolver (Scott)
Man With Hat (Phil)
Darkshade (Mike)
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Jazz Rock/Fusion Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Jazz Rock/Fusion | More Top Prog lists and filters

4.36 | 947 ratings
KIND OF BLUE
Davis, Miles
4.33 | 1184 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.29 | 652 ratings
IN A SILENT WAY
Davis, Miles
4.28 | 617 ratings
ROMANTIC WARRIOR
Return To Forever
4.26 | 893 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.28 | 528 ratings
SPECTRUM
Cobham, Billy
4.30 | 244 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.25 | 643 ratings
BITCHES BREW
Davis, Miles
4.26 | 270 ratings
HIROMI'S SONICBLOOM: TIME CONTROL
Uehara, Hiromi
4.24 | 540 ratings
ABRAXAS
Santana
4.23 | 735 ratings
ELEGANT GYPSY
Di Meola, Al
4.23 | 656 ratings
CARAVANSERAI
Santana
4.30 | 139 ratings
STADACONÉ
Sloche
4.26 | 237 ratings
LES PORCHES
Maneige
4.24 | 303 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc
4.35 | 88 ratings
THE COLOURS OF CHLOË
Weber, Eberhard
4.27 | 185 ratings
TILT - IMMAGINI PER UN ORECCHIO
Arti e Mestieri
4.30 | 122 ratings
SVěT HLEDAčů
Blue Effect (Modrý Efekt; M. Efekt)
4.28 | 139 ratings
SVITANIE
Blue Effect (Modrý Efekt; M. Efekt)
4.28 | 149 ratings
A BENEFIT OF RADIM HLADÍK [AKA: MODRÝ EFEKT & RADIM HLADÍK]
Blue Effect (Modrý Efekt; M. Efekt)

Jazz Rock/Fusion overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Jazz Rock/Fusion experts team

CRNA DAMA [AKA: BLACK LADY]
Smak
NAWYKI PRZYRODY
Robotobibok
ETNA
Etna
HALLUCINATION ENGINE
Material

Latest Jazz Rock/Fusion Music Reviews


 Free Love by KALEIDON album cover Studio Album, 1973
3.28 | 19 ratings

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Free Love
Kaleidon Jazz Rock/Fusion

Review by Igor91

4 stars Kaleidon was an Italian jazz rock/fusion band that was founded by keyboardist Stefano Sabatini out of the ashes of his former psychedelic pop group, Free Love. I actually listened to their single, "Sandy," and it sounds like simple, run of the mill psychedelic pop, nothing like what Stefano Sabatini would would end up doing later with Kaleidon. Sadly, two members of Free Love were killed in a severe auto accident, with Sabatini and one other member surviving the crash. Sabatini decided to carry on, and after some line up changes, Kaleidon came into being. Kaleidon released their sole album, "Free Love" (named in honor of his previous band) in 1973. The album quietly sank into oblivion, and the band soon broke up.

I stumbled into Kaliedon like I have some other obscure bands - on YouTube suggestions. Most of the time these albums are obscure for a reason, they suck. But every once in a while I am pleasantly surprised, and that was the case with Kaleidon's "Free Love."

My first reaction while listening to this LP was that it sounded a little bit like another Italian jazz rock/fusion band, Dedalus. The use of the effects-laden electric piano by Sabatini resembles that of Dedalus' Fiorenzo Bonansone on that band's debut. The sizzling sax work by Kaliedon's Massimo Balla matches that of Marco di Castri from Dedalus. One major difference, however, between Kaliedon's "Free Love" and Dedalus' debut is that Kaleidon's work is a more laid back affair. Kaleidon leans more jazz than rock, but the rock is definitely there. If I were to try and put a sub-genre label on the band's sound, I would say it is "Stoner Jazz" {(C) 2018 Igor91}. You read it here first (ha ha). As for the music...

The opening track, "Kaleidon," starts off with some atmospheric, jazzy noodling (in a good way), gradually building until it settles into a cool beat laid down by drummer Giovanni Liberti, joined by Franco Tallarita's nice fuzz bass groove. Sax and wah-wah laced e-piano jam over this for a while, then the beat shifts, becomes faster, and the jamming continues. Very cool and chill psychedelic jazz rock here, sweet! Track 2, "Inverno," begins with some light, tribal drumming, accompanied by e-piano and bass softly wafting over it all. The sax joins in, livening it up a bit, but this tune is very mellow and spacey. "Dopo La Festa" follows, opening with a drum crash, then some psych-jazz improvisation. This eventually resolves to a nice jazz jam over a stuttering beat and more great bass work by Tallarita. The fourth tune, "Polvere," starts with a repeating bass line, soon to be joined by the rest of the group, and the jazz jam begins again, with occasional bridges connecting each section of the jam. "Oceano" is next, where the flute makes an appearance here, played by Balla, and is a welcome change of pace, adding to the tapestry being woven as you listen to the album. The tune is another superb jazz rock jam with lots of great interplay by all members of the band. The final track of the LP is "Free Love," and is a straight-up jazz tune, with stellar piano work by Sabatini supplemented with beautiful sax soloing by Balla. A nice, quiet, rather non-psychedelic ending to the album, but it works.

Kaleidon's "Free Love" is not a jazz rock/fusion masterpiece, but it is a splendid example of the great music that came out of the early 1970's that most people never got to hear. If there is one flaw in "Free Love," it is that there is not much variation from track to track. But, at the same time, that's what makes it a solid, consistent album to sit and listen to from beginning to end. If you want a physical copy, I would imagine original copies are extremely rare and pricey. It was reissued on CD back in 1994 on the Mellow Records label, but those are rare and expensive as well. Luckily, the Italian label BTF reissued the LP on vinyl in 2014, and copies seem to be readily available on your internet site of choice. Also, you've got to love that album cover art! (What is it?!)

To wrap this up, Kaleidon's "Free Love" is a heavy dose of psychedelic jazz rock, best enjoyed late at night with friends over drinks, or other party favors of your choice. Kaleidon were not a ground-breaking unit, but they made one hell of an album within its genre, and should be recognized for just that. Four stars.

 Freddie are You Ready / Kite by WIGWAM album cover Singles/EPs/Fan Club/Promo, 1975
4.00 | 8 ratings

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Freddie are You Ready / Kite
Wigwam Jazz Rock/Fusion

Review by Matti
Prog Reviewer

4 stars Nuclear Nightclub (1975) is among the biggest classic albums in the history of Finnish popular music. It represented a total change in direction. Gone for their solo careers were the progressive / jazz rock -oriented members Jukka Gustavson and Pekka Pohjola. Most likely the band would have just called it a day, if the former Tasavallan Presidentti bassist Måns Groundstöm hadn't arrive to lift up the spirit of the remaining trio. Both Gustavson and Pohjola were important composers for Wigwam, but the songwriting didn't however become the territory of Jim Pembroke alone; guitarist Pekka Rechardt, who had already appeared on the live double album Music from the Twilight Zone, had a huge impact in that sense too.

This single, containing two songs from Nuclear Nightclub, preceeded the album and thus gave a good idea of what was coming. Both Rechardt's 'Freddie Are You Ready' and Pembroke's 'Kite' are excellent songs and great examples of the new, fresh "deep pop" style of Wigwam. On the producer's seat was the very gifted rock musician Pave Maijanen (in his first work as a producer!), and he certainly was the right choice in the whole musical chemistry. The music wasn't half as progressive as the "old" Wigwam, but as pop music it was simply perfect. I can't even choose which song I like more. 'Freddie' has slightly more twists and it feels joyful while 'Kite' has always charmed me deeply by its dreamy soundscape and melodies, not forgetting the electric guitar solo in the middle. Both songs are full of good melodies and the airy sound is exciting and elegant in a way that no Finnish pop music had ever been.

I came to think of this music for a reason: the soon touring "Wigwam Experience" (featuring Jukka Gustavson and Pekka Rechardt) turned out to be the real thing, Wigwam celebrating its 50 years, when Jim Pembroke announced he'll be joining in. These two classic songs are likely to be heard in the concerts this autumn. [If this was a pop site, I would give 5 stars. But since both songs are on the album as well, it's a firm four-star case.]

 Skin Alley by SKIN ALLEY album cover Studio Album, 1970
3.72 | 36 ratings

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Skin Alley
Skin Alley Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars John Peel apparently discovered these guys playing live somewhere and invited them to do a live gig on his show. I really like their sound with the vocals, organ and flute all being for the most part warm and nostalgic for me. A sort of melancholy too bringing CAMEL to mind at times. Two of the guys play mellotron although it's only featured on two tracks. A four piece with sax and harpsichord also in play. There are five really good tracks on here and the only two I'm not into amount to less than 3 minutes so a very solid 4 star album in my books.

"Living In Sin" is an excellent opener and the lyrics from a bye gone day talking about "sin" which is usually boasted about these days and a non-issue. Pulsating bass with a beat and flute as vocals and organ join in. A CAMEL vibe here and the guitar arrives before 1 1/2 minutes. It comes to the fore around 2 minutes as the vocals step aside. Sax replaces the guitar before 3 1/2 minutes some nice prominent bass too. Flute and that earlier sound with vocals returning late.

"Tell Me Why" is my favourite. It's melancholic with picked guitar, mellotron and sad vocals to start. The chorus is meaningful and moving with 60's sounding harmonies. Pulsating organ before 3 minutes during an instrumental section. Just a killer tune. "Mother Please Help Your Child" has meaningful lyrics and after a dramatic intro it settles right down with flute as reserved vocals join in and solemn organ. It turns fuller 1 1/2 minutes in with passionate vocals. The chorus is downright sad then themes are repeated. Some powerful lyrics here.

"Marsha" obviously a Brady Bunch reference(kidding) is an excellent almost 7 1/2 minute instrumental. Love this organ led tune as bass and drums standout as well early on. Sax before 3 minutes as the organ steps aside but it's back before 5 minutes replacing the sax. The sax is back a minute later but the organ continues this time pulsating powerfully before settling back. "Country Aire" has this fairy sounding flute with harpsichord. So not my thing(haha). It's better a minute in though when the drums, bass and more arrive. "All Alone" has relaxed organ to start as bass and drums join in, sax too then reserved vocals. Very laid back then it's fuller after 2 minutes but it settles back quickly. A sax solo follows then organ as it stays laid back. Vocals are back before 6 minutes then it turns fuller with sax after 7 minutes but again it's brief. "Night Time" opens with flute, drums and bass then it kicks in quickly with mellotron too. Nice. Vocals just before a minute. Back to that opening theme and I just love the sound of this one. Some rare piano 2 1/2 minutes in.

"Concerto Grosso(Take Heed)" is but 26 seconds of harpsichord. "(Going Down The)Highway" has a catchy rhythm and is blues flavoured with pulsating organ and vocals. Sax 1 1/2 minutes in as the vocals step aside then the organ takes over. Vocals return but this isn't one of my favs.

Kind of a weird cover not representing the music in any way. I guess they thought it was funny. Anyway the music here is quite amazing for the most part, just a big fan of their sound and easily 4 stars for this one.

 Acqua Libera by ACQUA LIBERA album cover Studio Album, 2016
3.95 | 2 ratings

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Acqua Libera
Acqua Libera Jazz Rock/Fusion

Review by andrea
Prog Reviewer

4 stars Born in Siena in 1970 from the ashes of two other bands called respectively Arf Arf and I Diamanti, Livello 7 had been active until 1976, initially as a cover band and then playing original music inspired by bands such as Weather Report and Perigeo. Although they were very popular in their home town, in those years the band never had the chance to release an album. After the band split up, one of the former members of Livello 7, Franco Caroni, turned to jazz and in 1983 formed another band called Juice Group to play fusion but the project had an ephemeral life. It wasn't until 2013 that Franco Caroni met with some other musicians to work on the material of his previous bands and on some new composition forming a new band, Acqua Libera. After a hard, painstaking work in the studio, in 2016 Acqua Libera self- released an eponymous debut album with a line up featuring, along with Franco Caroni (bass), Jonathan Caradonna (keyboards - from Profusion), Fabio Bizzarri (guitar - from Vicolo Margana) and Marco Tosi (drums, percussion - also from Vicolo Margana). It's a real good work where jazz rock and progressive rock influences are perfectly blended with great musicianship and maturity...

The opener 'Tempi moderni' (Modern Times) is a wonderful track where melody and rhythm give life to the shadows and lights of a modern, busy world. The title seems to refer to a 1936 silent comedy film written and directed by Charlie Chaplin in which his iconic Little Tramp character struggles to survive in the modern, industrialized world while on a short video posted by the band on YT they chose a drawing of Battersea Station (without flying pigs) to symbolize the good and bad consequences of modernity and progress...

The following 'Nautilus' is another excellent piece that could be a perfect score for an exotic maritime adventure. The title refers to the fictional submarine captained by Nemo featured in Jules Verne's novels Twenty Thousand Leagues Under The Sea (1870) and The Mysterious Island (1874)...

The nocturnal 'Alla luce della luna' (Under the moonlight) comes from the old repertoire of Livello 7 and was originally entitled 'Undiciottavi' (Eleven-eight time) after its time signature. It's a long, complex piece that evokes dreamy atmospheres and far echoes coming from the dark side of the moon...

The lively, light-hearted 'Mr. Lou' was composed in the eighties by keyboardist Luigi Campoccia and comes from the legacy of the Juice Group. It was re-arranged by Acqua Libera that gave to it a new life. It leads to the more recent 'Marcina' where strange, haunting waltzes merge into cheerful jazzy passages and vice versa...

The title of the following 'Sans tambour ni musique' (With no drums, no music) was taken from the verse of a poem by Charles Baudelaire: "And long hearses, with no drums, no music, file slowly through my soul: Hope, conquered, cries, and despotic atrocious agony plants on my bent skull its flag of black" (translation by Geoffrey Wagner from Selected Poems of Charles Baudelaire, Grove Press, 1974). Here the music blossoms like a flower of evil in a rainy spring day...

Then comes the tense, frenzied 'Quo vadis'. Quo Vadis (Latin for "Where are you going?") is also the title of a 1951 American epic film directed by Mervyn LeRoy and set in ancient Rome during the final years of Emperor Nero's reign. Although in the liner notes you can't find any link between this track and the film, I think that it could be a really good soundtrack for a thriller...

The last track, 'Prog Mood', is another piece taken from the repertoire of Livello 7 and was originally entitled 'Seiottavi' (Six-eight time). It's a piece full of energy and sudden changes in atmosphere that closes and album that absolutely worth listening to...

 King Kong - Jean-Luc Ponty Plays The Music Of Frank Zappa by PONTY, JEAN-LUC album cover Studio Album, 1969
3.93 | 55 ratings

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King Kong - Jean-Luc Ponty Plays The Music Of Frank Zappa
Jean-Luc Ponty Jazz Rock/Fusion

Review by WFV

4 stars This collaboration feels natural from the first note to the last. Zappa's personality shines through of course but Jean Luc Ponty plays a great second fiddle. There's a few Mothers songs but the real winners are How Would You Like a Head Like That and Music for Electric Violin and Low Budget Orchestra. A must for the Zappa fan and the Ponty fans, a curiosity for the uninitiated. Ponty plays fusion leader for the first time, and while I do find his instrument too shrill from time to time, he's obviously a virtuoso of the highest order so listening is still fun for me. I love this album because it is a true left field entry into the Zappa oeuvre and Music for Electric Violin and Low Budget Orchestra helped bridge my interest in orchestral and classical music. I would consider this an early fusion classic and an album I'm guessing John McLaughlin listened over and over
 Fritt Fall by KORNET album cover Studio Album, 1977
3.55 | 15 ratings

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Fritt Fall
Kornet Jazz Rock/Fusion

Review by WFV

3 stars Later period fusion album expertly crafted. The group is a nice entry into the jazzrock world, obscure yet extremely competent. No real sustained fireworks and the interest lags a little from time to time but this is a great example of terrific music that has gone nearly unheard. I'll draw some parallels to Jukka Tolonen (Tasavallan Presidentti)'s work of the time in the area of accessible jazzrock. I'd say Tolonen is more funky overall but this is a really good album. Slsta Skrikrt and Platniklas, the longest tracks on the album, embody the spirit I feel they are attempting to convey.
 Similarity by EYOT album cover Studio Album, 2014
4.21 | 31 ratings

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Similarity
Eyot Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars EYOT are a band out of Serbia that is very much a piano driven affair with bass, drums and guitar. All instrumental as well I should mention and I reviewed their 2017 release about 6 months ago and the fact I'm back so quickly reviewing another from this band considering the mass amount of stuff I need to get to should tell you how much I like their sound. Piano driven music isn't usually my thing but the compositions are so well done and varied plus even the titles of these songs took some creative thinking in my opinion. I'd rate this higher than "Innate" but I haven't heard the first two albums. We also get some guest viola on one track and trumpet and sax on another.

Up first is "How Shall The Dust Storm Start?" and drums and bass lead the way as the piano comes in over top. It settles back around 3 1/2 minutes but the tempo does shift slightly at times. It picks back up with power after 6 minutes to the end. Nice. "Druids" is such a cool tune, very melancholic with piano and a beat to start, quite relaxed. It picks up after 1 1/2 minutes as the bass joins in along with viola. This is really good, quite meaningful. Viola only after 4 1/2 minutes to the end.

"Similarity" is the longest track at over 10 minutes. Drums and bass to start along with faint guitar expressions as the piano joins in. Why does this sound so good? Just a killer track that slowly builds before settling in around 4 minutes then it calms back down. It builds again and check it out after 8 minutes. So good! "Pools Of Purple Light" opens with piano and drums as the bass joins in. A fuller sound before 1 1/2 minutes but it settles back again quickly with some intricate guitar as well. It's building again after 4 minutes then a calm arrives a minute later with piano, guitar and drums, very laid back here. It stays this way to the end.

"New Passover" starts out with drums and piano as we get some energy here. Some power 1 1/2 minutes in but it's brief. We're cooking before 3 minutes. "Nirvana" is catchy and powerful to begin with but it settles quickly with bass and drums before the piano returns. It kicks in again around 1 1/2 minutes as contrasts continue. I like the calm after 3 minutes as it's kind of dark with bass and drums before the piano returns again.

"Walking On Thin Ice With Iron Shoes" opens with bass but soon a beat and guitar join in. Still it's relaxed. Piano just before a minute with a meaningful melody. Contrasts continue. A chilled tune(haha). I like how the bass is out front yet it's all so melancholic and laid back. "Blessing" ends it. It has this trippy beat with guitar playing over top in a laid back manner. Horns just before 2 minutes replace the guitar. Great sound 3 minutes in then it calms down with a beat and piano with horns over top. Piano takes the lead before 5 minutes. Horns are back. Such a good closer.

A band that exudes class and the music is so well composed and meaningful, I just think every one should check them out.

 Tutankhamon by ICEBERG album cover Studio Album, 1975
3.47 | 58 ratings

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Tutankhamon
Iceberg Jazz Rock/Fusion

Review by The Crow
Prog Reviewer

3 stars Debut album from one of the most unfairly forgotten spanish prog bands of the 70!

And unlike their posterior releases which are clearly more jazz oriented, Tutankhamon was a lovable attempt from this band to create a prog-rock album in the vein of Yes, Camel with a touch of King Crimson. So, it's nothing really new or truly original to be heard in this record, but it's surely worth your time nevertheless if you are into this kind of music.

The album opens with Tebas, a Little instrumental track with beautiful melodies which are very Yes influenced. After this track Prólogo introduces some powerful guitars and the fine vocals from Ángel Riba, who sings in a very passionate and solid style giving the band an extra amount of personality.

Sacerdotes has another great riff at the beginning and curious saxophone which contribute with some extra symphonic elements. The lyrics are sadly a bit ridiculous, but that's the weakest point of the band anyway. But this problem is not to be find in Amarna, an instrumental composition with some wah wah guitars, mellotron and a fine dark atmosphere.

Lying on the Sand has an enigmatic beginning and slow verses, and that's a good 70's standard prog-rock song excepting the lousy English pronunciation of Ángel... In my opinion, this mixture of Spanish and English lyrics was a mistake. They should have made the whole album at Spanish and after this experience is not a surprise that they became totally instrumental on their second release Coses Nostres.

Amenphis is another instrumental song with some Syberian Kathru influences while Himno al Sol is one of the centerpieces of the album, this time with even interesting lyrics and excellent guitars. And also, an excellent guitar and keyboards playing is to be find in La Muerte, a good instrumental ruined by a boring drums solo.

Close to God is a song that could have been recorded by The Flower Kings years later, being an obvious influence for this great Swedish band. And his beautiful and dreamy track is perfectly linked to Too Young to Be a Pharaoh, the best track of the album with a killer riff, great vocal interpretation and a guitar which could have been played by Steve Howe himself. After his adrenaline discharge, a reprise from Tebas closes the album in a fine way.

Conclusion: in a land so complicated for prog-rock like Spain, Iceberg managed to release a very solid 70's prog album which works almost like a single track. Coherent, well written and with very solid instrumental skills by the whole band.

Is was by no terms groundbreaking or truly original, with influenced that are a bit too obvious, but it will surely please you if you like the typical 70's prog rock made from the heart. Recommended!

Best Tracks: Tebas, Himno al Sol, Close to God, Too Young to be a Pharaoh.

My rating: ***1/2, rounded down to three stars.

 Daughter Of Time by COLOSSEUM album cover Studio Album, 1970
3.68 | 144 ratings

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Daughter Of Time
Colosseum Jazz Rock/Fusion

Review by GruvanDahlman
Prog Reviewer

4 stars I have been a fan of Colosseum for quite a few years now and have relished in the musical textures of their first two albums. I have especially come to love "Valentyne suite" but shied away from this one, "Daughter of time". Why that is I cannot account for. The bellow of Farlowe, perhaps? Anyway, I have since come to embrace this album wholeheartedly.

Progressive rock with a strong jazz and blues bottom, that is Colosseum in a nutshell. I Think that nowhere is this brew more evident than on "Daughter of time". In part "Valentyne suite" is their magnum opus, in no small part due to it's title trackclocking in at 17 minutes, but as a whole I feel that "Dauthter of time" is a much more focused and matured product. Sur, there is plenty of blues to go around but the edges have been rounded off and made slightly less evident, leaving the British blues boom behind, in a manner of speaking.

I have listened to Chris Farlowe's album "From here to Mama Rosa" (co-credited to The Hill) that came out in 1969. It is interesting to hear Farlowe's delicate steps towards all out jazz-rock on that album, especially in hindsight since the album sees him take such a massive step towards the really dense and heavy progressive rock on "Daughter of time".

And where to begin my superlative belch about to break free? Well, in short there is only one thing to say and that is that the first seven tracks out of eight are top class jazz-rock-prog. It doesn't get any better than this. The flow of jazz over a heavy rock bottom, wrapped up in a progressive vision of interstellar magnitude is simply breathtaking. (What the hell does that mean?)

"Three scores and ten" opens up with a dramatic Choir and heavy rhythm before going off into a different beat, slowing down again in the chorus. Then there's a very special section at 3.50 with a spoken piece. Magic! "TIme lament" is a ballad-y type of songs with great soaring melody. "Take me back to doomsday" is stunning jazz-rock and the title track is similar in style to the cover of "Theme from an imaginary western", which is totally mindblowingly beautiful. "Bring out your dead" is an instrumental piece showcasing intricate time changes and muscial wizardry. "Downhill and shadows" brings back the blues roots of the band. Great track but less interesting than the other. "The time machine" is more or less a drum solo, so to me that is the least interesting of the tracks and the one that brings down the rating. Though I have to say that it is a marvellous solo, I fail to enthuse me to go through it again.

On the Esoteric edition there are, as always, alot of interesting bonus tracks. Of particular interest to me is "The pirate's Dream" that appears again on Dick Heckstall-Smiths solo album a couple of years later.

Ah, yes. "The bellow of Farlowe". Actually it fits in very well with the music on "Daughter of time". He complements it perfectly and his vocals are powerful and emotive, giving the album an extra dimension. One wonders what hade become of Colosseum had they recorded yet Another album.

To round things up before you nod off, this is a beuatiful, powerful and enthralling piece of progressive jazz-rock that fills my soul with joy, my body with movements resembling an itch to dance. Apart from "Downhill and shadows" (3 stars) and "TIme machine" (2 stars) the tracks on the album are all 5 stars. When I have calculated and reasoned with myself the final rating is four stars. An amazing album full of instrumental magic, astounding vocals and warmth and fullness that is next to none.

 Reflections by MIST SEASON album cover Studio Album, 2011
3.79 | 12 ratings

BUY
Reflections
Mist Season Jazz Rock/Fusion

Review by TenYearsAfter

4 stars Mist Season is a Finnish five piece formation featuring very experienced and skilled musicians. Once I got their first eponymous CD from 2004 as a promo, I was impressed with their pleasant instrumental blend of blues, jazz and rock. The work on piano,saxophone and guitar is outstanding and the rhythm-section very dynamic. In 2006 Mist Season released the successor entitled Woodlands, also instrumental. The band has made progression, with more variety and a wider range of instruments, from flute and accordeon to sitar and synthesizer. It took a while before Mist Season produced their third effort Reflections, in 2011.

And for the first the music contains vocal parts, from female singer Mirja Lassila (in two songs). Especially in the alternating Defending Hands her warm, a bit high pitched voice matches wonderfully with the folky music featuring twanging acoustic guitars and soaring flute.

From the 14 compositions three tracks feature short improvisations on the Grand piano, dubdued and tender. Also two short pieces on the acoustic ? and classical guitar: Summer Season in the vein of Steve Howe and Chaser like Steve Hackett is beautiful 'unplugged'' work. The other seven (instrumental) tracks are a progressive, very melodic blend of several styles, with the emphasis on a fusion of jazz and jazzrock (loaded with brass and woodwind instruments, especially the saxophone).

It's remarkable how easily Mist Season switches from style and atmosphere, and how outstanding all the instruments sound. A few examples.

The swinging Manaos (with a known theme): fiery electric guitar, fluent synthesizer flights and powerful saxophone.

Lobsterland Groove (written by fellow Skandinavian Roine Stolt): from dreamy with accordeon to flashy synthesizer runs and sparkling saxophone, accompanied by lush Hammond.

Matelda's Song: from soaring to mid-tempo with howling electric guitar.

And the highlight Sally And Jack : an intro with classical guitar, then dreamy with intense saxophone and a final part with a compelling guitar solo, between Gilmour and Latimer.

Mist Season also plays a Santana cover, no coincidence that the track Aqua Marine (an omnipresent trumpet) is from Santana his jazz/jazzrock era.

On this album you can enjoy frequently from a outstanding soli and a wide range of instruments, especially in Pan(jazzy piano) and Promenader (electric guitar,saxophone and synthesizer, in a jazzrock climate).

Highly recommended, if you like fusion, jazz and jazzrock, with lots of brass/woodwind instruments.

Just in case, the one moment PA mentions 2 social comments, the other moment zero social comments, it is really two social comments.

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