NIGEL MAZLYN JONES

— First review of this album —

Nigel contacted me via email recently and of course we started reminiscing about music and how long we had known each other (30 years), and it was only then that I discovered he had released an album of very different styles back in 2007. I always think of Nigel as primarily an acoustic guitarist in the same vein as Roy Harper, Rog Patterson, Gordon Giltrap etc, and had no idea there had been an album of remixes which had far more in common with the dance scene than his normal pursuits. In 1998 radio producer Dr Keith Halden, created a visual montage based on the words of the NMJ song "Planet for $ale" for BBC 2 TV Scotland. Following on from that, various artists friends and producers became involved in a project to produce something quite different to his norm, creating re-mixes from the original NMJ recordings and samples. The musicians involved include Guy Evans of Van Der Graaf Generator, Carla Vallett, Steve Jolliffe, Phil Beer, Margaret Phillips and Bliss (NMJ provides vocals, guitars and bass on all tracks while everyone else is only involved on a couple), and the tracks have been remixed by Steve Hillage System 777, Banco de Gaia, Guy Evans, John Acock and Keith Halden.

The album received a new burst of life a few years ago when Banco de Gaia released a video of "Breathe a Little Life" (available on YouTube) to tie in COP 26. To say the video is perfect, and perfectly frightening, is understating the power of the images and I highly recommend everyone watch it ? this has also been released on the 2023 Banco de Gaia album, 'Altered Realities'. This is not my normal style of music at all, but somehow all those involved have captured the essence of NMJ and turned his music into something very different yet has not removed all traces of him and his humanity. The next most prominent musician on this album is Guy Evans, who plays on three tracks, and has worked with NMJ for years (I highly recommend the 1997 album, 'Mazlyn Jones and Guy Evans with Nik Turner and Friends') and they understand what they are trying to achieve together, so Evans can be providing highly complex fills yet never takes over from NMJ.

There is something about this album which really speaks to me, and there is no doubt it has not dated in the slightest. We get the percussion led "A Wing and a Prayer" which totally offsets the insect sounds and commentary of "Doctors' Orders" which has much more of a dance beat and sound, while that in turn is in contrast to the piano of Margaret Phillips and vocals of Carla Vallett on "Only Passing Through". The repeated question of "Who'll give us two pence for a dead old globe, who'll breathe a little life into these dying nations, who'll give a little love to the sick and the old?" is powerful and hurting, passionate and hard to hear. I have loved NMJ for years, and this album may be totally different to his other works, but I am so very glad indeed that I have finally come across it.

This has been way too long coming, in fact this is the first acoustic based album from Nigel Mazlyn Jones in thirteen years, I just hope that we don't have to wait so long for the next one! This contains his trademark use of 12 string guitars and Glissando bowed techniques, and he has here been joined by some guests including Guy Evans (who has worked with NMJ for more than 30 years now) of Van Der Graaf Generator on drums and percussion, Rog Patterson on Chapman Stick, fretless bass and acoustic (and it's about time he released some new solo material as well!), Jo Lucy on violin, Oscar Morse on sax, Jim Nield on electric guitar, Rob Phillips on fretless bass, Margaret MJ on piano and Dave Reeves on harmonicas.

The only word to describe this album is "beautiful", as the listener is entranced by the sounds coming out of the speakers. There are long instrumental passages where one is taken to a new world by Nigels's deft 12-string technique, and others where they are more songs-based and the guests come in and out of the music as they play their part and then leave again. Only a few of the songs have four people involved, while three are just Nigel. For those who have never come across NMJ before, his style is a cross of Anthony Phillips and Roy Harper, with just a touch of Gong and Steve Hillage here and there. The result is a world of incredibly well-arranged music where space is a permanent fixture and one is allowed to breathe in the notes and live in NMJ's world. Inspired as ever by his love of the Cornish coast, this album is essential for anyone who enjoys great music. The last words belong to Nigel, "We sail the tiny raft of our lives and this small planet Earth is the raft that carries us all. Rafts are fragile, not permanent, and held together with hopes and dreams. So I set my sails well . . . What say you my friend, let's strike out for the ocean?" Released as a digi pak with an insert, this is truly essential. www.nigelmazlynjones.com

If one was "there" when prog was in the mainstream, it can be hard to separate the emotional impact of an old favourite from any sense of objectivity. Conversely, it can be equally difficult to appreciate a 40 year old work that is first brought to one's attention, since it can masquerade as a cheap copy of more familiar classics of the time. However, once in a great while one is treated to a lost gem that unassumingly offers links in the musical chain that gradually approaches, but never quite attains completeness. Such is the case for the obscure debut by the equally obscure NIGEL MAZLYN JONES.

"Ship to Shore" is an engaging progressive folk album from 1976 that boasts two unique attributes - the man's inimitable emotive vocals, and his even more striking acoustic guitar style, at once strummed and picked. Other than on the weak opening cut "A Singularly Fine Day", he avoids lording his ample technique over his essential musical and lyrical messages.

Three tracks remain in focus for me long after the proverbial needle returns to its tonearm. "The Man and His Deer" is a gorgeous song with only Jones' guitar and accompanying mandolin. It lands somewhere between NICK DRAKE and AL STEWART, but more progressive than either, more like an intimate STRAWBS or DECAMERON track. Speaking of the latter, both JOHNNY COPPIN and DIK CADBURY play on several tracks, and well. "How High the Moon" is CAT STEVENS like, mesmerizing - think "Lady D'Arbanville" meets TRAFFIC's "John Barleycorn". But rather than appearing derivative, it actually insists upon consideration as an essential piece of 1970s prog folk. Finally, the title cut is pure epic and seems to presage some of DAN AR BRAZ's best strictly acoustic work.

Seek out the Kissing Spell reissue that includes a brace of bonus tracks that pre-date the album proper, the two longest of which, "All Brave Men" and "The Hunter and the Lady", are fully worthy of inclusion. It's time that "Ship to Shore" moor with the other venerable vessels of progressive folk from its defining decade.

Whilst this album does not reach the heights of the magnificent "Ship to shore, it still has plenty to offer. I suppose it must be hard to equal something so utterly brilliant. Still, I do feel that this album could not have been any better, considering. As with the predecessor the album is a mix of high-spirited tunes as well as deeply serene, magical landscapes of sounds, few have been able to produce. His effect-laden guitar is still at the helm and produces sounds of surreal character.

The opener, "All in the name of love", is a very melodic piece quite typical, in many ways, to the sound of the late 70's and this genre. I like it alot and makes me smile everytime i hear it. The next track is my favorite on the album. "Sentinel" is a quite dark, mezmerising and evocative track, slowly flowing past. It is great and I love it. That track matches nearly anything on his flawless debut. I will not further elaborate on the remaining tracks, simply state that it is a lovely bunch of songs.

The strenghts of Mazlyn Jones is his unique ability to craft music within the genre. Taking bits and pieces of prog, folk and pop he creates something that needs, craves and must be heard. If you at all are interested in one of the true geniuses of british folk, look no further. It is way up there with any of the greats. Top notch stuff and a worthy inclusion into any collection.

If there ever was something called progressive folk, this is it. I love Pentangle, Fairport Convention, John Martyn and the rest but this is truly unique, personal and something of a genius putting notes together and in the process creates a tapestry of sound, poetry and emotion. If you've missed this one I hope that this review will give you a reason to check it out.

I remember reading about this album in Record Collector (I think it was) many, many years ago. It was highly rated in a piece on british folk and I got intrigued, trying to acquire it for a long time. When I at last held it in my trembling hands I was not to be disappointed. What the album offers is very special and precious.

Nigel Mazlyn Jones plays the acoustic guitar and sings with great emotion. The fact that the guitar quite often is effect-laden in a John Martyn-ish way (only slitghtly more and in a personal way) gives the album a certain character which only helps to build the towers of emotion, brought forth by way of gentle, surreal and evocative sounds and even vision.

I would define the album as a symphony of progressive folk. Most of the tracks seem to cling together, creating this marvelous picture. Sometimes sinister and gloomy, sometimes jjoyful and light, always engaging and thrilling. "The man and the deer", for example, is quite a mezmerising piece of magic, while "Follow every sunset" is positive prog folk in the vein of Martyn, Sandy Denny and others. The title track is beyond description, being such a wonderful piece of vivid soundscapes and beauty. The music also brings forth the feeling of the lonely genius or mad man creating wonders to behold, locked away in the farthes tower in the deepst woods, somewhere in England. That, to me, is also the lure, because the music is so british, giving wings to my fantasy, producing ever more fantastical images. All brought to me by way of this extraordinary album.

"Ship to shore" is, simply put, a masterpiece in dire need of recognition. As it stands today it seems only a few heard of it and fewer still listened to the album. It is a shame. Hopefully my review can remedy some of that. My feelings towards this album are so passionate and as I write I feel frustrated by the lack of words to describe it's glory. I just wish for my ramblings to take hold and persuade you to give this genius and this album a spin. Please do.