JAKKO M. JAKSZYK

Surprisingly mellow and personal album from this vocalist-guitarist best-known from his work with King Crimson and Robert Fripp, but who also has played with The Tangent and Level 42, and collaborated with many others as a session musician. On this solo release (his 6th), there are some lovely tunes and autobiographical lyrics that create a nice atmosphere, but also occasionally veer a bit too much toward 70's soft rock. Quite pleasant, but doesn't pack much of a punch, or create a lasting impression. Best tracks are the very personal and extended track, Son of Glen and (Get a) Proper Job. Rating: 3

I'm a little puzzled why this is labeled Canterbury since there is nothing close to that musical genre on this album. This is a mellow but catchy record with elements of R&B and pop. It's very smooth, well produced and played, but the only songs that sound somewhat like prog are "(Get A) Proper Job" or "Son of Glen", which is the highlight for me. If mellow pop is your thing, there is a lot to enjoy. Nice vocal harmonies, good musicianship, and the production is nice. It's a very safe upbeat decent album. Far from Canterbury. I recommend you stream this before buying.

In the monumental history of progressive rock, few can claim to be as eclectic and productive as, with a fascinating life and career to boot, than Jakko M. Jakszyk. He has played with such celebrated bands as 64 Spoons, Dyzrhythmia, Rapid Eye Movement, Level 42, The Lodge, The Tangent, and most recently, his childhood idol King Crimson and its varied offshoots: Jakszyk Fripp Collins, and 21st Century Schizoid Band. He has collaborated or worked as a session musician with Fjieri, Steve Wilson, Tom Robinson, Peter Blegvad, Danny Thompson, Gavin Harrison, Richard Barbieri, Mick Karn, Dave Stewart and Irish singer Louise Patricia Crane. His solo albums are equally prized possessions: The Romantic Glee Club (2006), Waves Sweep the Sand (2009) and Secrets and Lies (2020). Needless to say, I have been a lifelong fan of his artistry and uniqueness.

It is incredibly rare and impressive at the same time, for a person to wait literally a half a century to finally figure out the truth about their origins, a reality that has even intrigued my maternal mother's authenticity for decades, until her passing revealed the veracity of her plight. Something Central and Easter Europeans have been bedeviled with after the upheavals of two cataclysmic World wars. Needless to say, this is a revelatory epiphany of sorts, a final and peaceful reckoning that deserves on its own a standing ovation.

Jakszyk was born in 1958 in London, the son of Irish singer Peggy Curran and an unknown American airman (now we know its Glen Tripp). At 18 months of age, he was adopted by two European refugees Polish Norbert Jakszyk and his French wife, Camille. The young boy grew up in a childhood best described as unhappy; his adoptive parents' nationalities led to an unsettled home life. He explained, "There was a lot of confusion ? English was a second language for both of them, so although I could understand them both, they often couldn't understand each other ? it led to all sorts of daft misunderstandings and rows." Jakszyk was frequently in conflict with Norbert, although the two would reconcile later in life. In 1977, he tracked down his birth mother Peggy, who had settled in Arkansas; he and Peggy would eventually meet in 1984. Jakszyk would later reconstruct his complex family history in an extended radio piece, "The Road to Ballina". The instrumental "Ode to Ballina" opens up this album in mournful respect, piano and fluted Irishness combine with melancholia as Caroline Lavelle plays the cello as if a deliverance. Before moving into vocal territory on "Somewhere Between Then and Now", this set of songs are a deeply rooted personal set of declarations that merit perhaps more than usual attention to the lyrics, therefore I urge fans to consider reading the words throughout, to better empathize with the artist. Starting out pastoral and bucolic with a twist in the English style of Prog-Folk, the jazzy, sunshiny pace rapidly accelerates into the passionate stylistics the man is famous for. Jakko can sing beautifully and most convincingly, as well as playing exceptional guitar lines, that shy away from overt gratuitous displays. Gavin Harrison supplies his usual world-class syncopation on the next few tracks.

Paternal relationships can often be complicated, even in good times, as emotions do not always appear voluntarily, from both parties really. It's not easy being a father and neither is it being a son. There can be layers of pent-up guilt and aching regret, and 'an armoury of questions' on "How Did I Let You Grow So Old", as poignant elegy to the male interface as humanly possible. It's frankly emotive to the point of suffering. Norbert makes a cameo appearance that really seals the deal. Here once again, the smoky piano enhances the vintage veneer of history, a hushed voice exuding a multitude of feelings. The guitar/voice duet is stunningly pulled off, the forlorn cello adding age into the equation of meaning. Legacy track.

Love songs, you ask. Partnerships are not easy either, as some of us know full well. Often, romantic souls rely on parallel circumstances that provide a foundational comfort . On "This Kiss Never Lies", Jakko found that relief within the Irishness of her mother, so it should not come as a surprise that Louise Patricia is from Northern Ireland, and you know, the thin fine line between mother and wife becomes apparent. Musically and lyrically, this is one of his loftiest achievements, a perfect tune in a myriad of ways, heartfelt, honest and genuine, three attributes currently vying for top spot of disappearing species on the verge of extinction. He found the love of his life.

An electric guitar-led Reprise of "Ode to Ballina" acts as a change of pace intermezzo , and as such is a perfect foil to live it up a tad on "I Told You So", a more affirmative testament to the courage of fighting for resolution, never surrendering to despondence. Ian Mosley keeps the tempo pulsating and fresh, as if a renaissance of sorts is about to occur.

"Get A Proper Job" was something that must have stuck in the artist mind, when declaring as a teenager, I want to be a musician often brought about verbal thunder and lightning or maybe a volcanic eruption. Hungarian drummer Zoltan Csorsz of Flower Kings and Lifesigns repute handles the brief percussive banter. It doesn't last long, but neither did their relationship between son and father at the time.

The title track is not only the proggiest here, it's also the most significative of the story as we all discover who Glen Tripp really was. Django Jakszyk (son of Jakko) is on bass and Gavin shoves him along for the ride. Lest we forget that just because Jakko enjoys playing with Fripp, he still mans a wild guitar on his own merits and his display here matches his lead vocalist prowess, which were never in doubt anyway. Talk about salvation. An absolute corker of a track.

It took me multiple decades to realize why this particular artist had such a hold on my psyche, and the clue was there all along in the title of his solo album: The Romantic Glee Club. Yes, I am proud to admit I am and always will strive to be a hopeless romantic. His finest moment yet. Bravo, Jakko.

5 Ancestry trees

A 21st Century Schizoid Man

I first became aware of multi-instrumentalist Jakko M. Jakszyk through his involvement with ex-King Crimson members in the brilliant 21st Century Schizoid Band in which Jakko was the lead vocalist and guitarist. Some of his mates from that band in Ian MacDonald, Mel Collins, and Ian Wallace are also participating in this solo album as well as Robert Fripp. One of the songs featured on this album, the very nice instrumental Catley's Ashes, was previously performed with the 21st Century Schizoid Band as can be heard on their fantastic live album Pictures Of A City - Live In New York.

The Bruised Romantic Glee Club is an eclectic set of songs and instrumentals of generally good quality. The sounds are occasionally jazzy, occasionally folky. The presence of Dave Stewart from Hatfield & The North and Soft Machine bassist Hugh Hopper might explain why this has ended up under Canterbury Scene even though the music it is not generally in that style. Trying to find relevant comparisons, Colin Bass' An Outcast Of The Islands album and Hogarth-era Marillion came to my mind. Jakko is a good singer and writer as well as a great guitar player. Occasionally his guitar sound reminds me of that of Allan Holdsworth. The mellow, jazzy The Things We Throw Away reminded me of the style of Steve Morse.

The main album feature Jakszyk originals while the bonus disc features various cover versions including two King Crimson songs. Pictures Of An Indian City is Crimson's Pictures Of A City done with strong influences of traditional Indian music and it is thus very different from the original. The other King Crimson number is Islands which is very nicely adapted by Jakko. I wasn't previously familiar with the other songs being covered here, but they are generally good songs. I enjoyed this album.

To write the complete story of this overlooked British musician in a few lines is just impossible.Jakko M. Jakszyk was born in London and in 1958 and started his career with the promising group 64 Spoons in late-70's.During the next two decades Jakszyk tried to list up his career either through sparse solo efforts (sometimes simply refered as Jakko) or through several group appearances like in The Lodge, Level 42 or Dizrhythmia.He became wider known as a member of the King Crimson tribute act 21st Century Schizoid Band in 2002 and in 2006 he returned with his more accomplished solo album ''The Bruised Romantic Glee Club'' released on IcenI label.

A very ambitious 2CD release, which nicely sums up Jakszyk's various influences, and includes guest appearances be several huge names of the Progressive/Art Rock scene like Gavin Harrison, Mel Collins, Ian Wallace, Robert Fripp, Hugh Hopper, Dave Stewart or Ian MacDonald among others.Through the years Jakszyk built great friendships with plenty of important musicians of the British/Canterbury school of Prog, eventually determining his overall style of songwriting and composing.And ''The Bruised Romantic Glee Club'' is a nice document of his career and music background, containing elements from Singer/Somgwriter styles, Canterbury Prog, British Prog, Art Rock and Jazz Fusion.Some pieces are just romantic singing ballads, performed with a deeply artistic mood, others are closer to KING CRIMSON or even VAN DER GRAAF GENERATOR from their various, different era's, containing plenty of sax improvisations and solos, crunchy guitars, smooth Mellotrons and even good interplays.A fair part of the album though is dedicated to somekind of BRUDFORD-ian Fusion with an evident Canterbury edge sometimes with sharp but melodic guitars, deep bass lines and superb drumming by Gavin Harisson.Among these progressive tunes Jakszyk cleverly added some mellow instrumental pieces with strong Classical and Jazz references, containing among others soft pianos, strings, synths or saxes.

Regard this one as the personal trip of Jakko M. Jakszyk though the years, a lovely introduction to British Prog through the ages, having strong vintage and contemporary echoes.And while this album is not a masterpiece, it will definitely satisfy a very wide audience of listeners with different tastes.Warmly recommended.

I really want to love this album, and I'll surely give it the effort it deserves, but I found the first disc fairly bland. The songwriting is just not that strong. There is a sameness to the songs (execution- wise) and none are particularly memorable. I'm also not a big fan of the 80's (or is it 90's?) sound of the instruments. Though technically proficient, some of these musicians seem to lack the poetic intangibles that these emotional songs deserve, and thus they (the songs) sound somewhat antiseptic.

If Jakko stuck with Brooks, Collins, MacDonald and Stewart for instance, I think the songs would have been given more room to stand on their own, so to speak. But I also realize that I am biased toward a more classic sound, so read this review with that in mind.

The second disc is like manna to my ears (mixed metaphor?)! The only improvement would have been to use vintage instruments exclusively. The Cow renditions, particularly Citizen King, are reason enough to purchase this disc. As Long As He Lies...however, is the crown jewel in this release - a beautiful, faithful rendition of a sublime tune which has always existed in murky sonics. Thank you, Jakko, and for this I round up to 3 stars.

Well, I finally found a copy, using that global detective Dick Trace the Internet to full effect and I am glad to report that the hunt was well worth the patience, the despair and ultimately the chase. As my dearest colleague Raff has so succinctly phrased in her effusive review, this is one of those personal little unknown ditties that will charm the pants off some unexpectant fan, in my case similar to my deep felt adoration of John G. Perry's 2 stupendous solo albums Sunset Wading and Seabird. It's just one of those ethereal enigmas that boggle the mind, no logic, just a kindred spirit that hits some invisible mark in one's musical psyche.

Now she has very nicely detailed this prolific studio /session artist's career, so we won't enter the throes of repetition but what does need some recall is the simple surreal cast of iconic players that grace the grooves here and who provide clear understanding of why they are so incredible. Case in point Gavin Harrison's superlative drumming (we all know how blessed Porcupine Tree are with him behind the kit, anyone seeing him live will nod in complete agreement), well lets just say he is bloody brilliant. Next up, the legendary Mel Collins needs no introduction, easily Britain's most renowned prog sax player with all due respect to the late Elton Dean. He sizzles here as per his usual self. Now, throw in such stalwarts as Mark King of Level 42 fame (when Holdsworth was on board, they were awesome), Canterbury icon Dave Stewart on keys and the famed double bassist Danny Thompson , you know this will be special. As if that wasn't enough, names such as recently departed Ian Wallace and Hugh Hopper, fretless bassist John Giblin and stickman Nick Beggs as well as cellist Caroline Lavelle, drumster Clive Brooks, flautist Ian McDonald, saxist Gary Barnacle and percussist Pandit Dinesh adorn the 2 discs Jakko has proffered. Yes, this is very eclectic Brit prog with hints at that intelligent/adult pop the islanders seem so adapt at dishing out. Just great listening music, full of life and gusto, obviously played with deep affection (glee?) and complete mastery. Of course Robert Fripp could not resist adding his 2 cents worth, anointing this 2 CD project with a little dab of "rouge royalty"! Highlights are many, certainly not everyone's cup of tea, this is one of those extremist albums which in my opinion (shared with quite a few and opposed by many) is what makes this precisely so ?..let me find the apt word? precious! That some of my colleagues doubt the prog elements here is beyond my understanding, as the ultimate modus operandi to find out if something is really prog, remains the candlelit room , the glass of fine wine , a comfortable chair and letting the music flow around you, unchallenged by any outside interference. I love this stuff, correctly very near The Tangent (Jakko infused the brilliant "Not as Good as the Book" album with this style, Tillison's best work yet IMHO). This is just gorgeous music, uncontrived, highly personal, deeply evocative, profoundly honest and heartfelt , period!

The added bonuses of delightful packaging, scintillating covers of KC classics "Pictures of a City" and "Islands" and mostly, the scarcity of the release itself gives it a treasure status in my eyes and leaves me no choice than a full ***** here. Please more like this .

5 sandy grey beaches

Thanks Raff, it took awhile but I got it done

Jakko is perhaps best know among Prog fans for his involvement with 21ST CENTURTY SCHIZOID BAND, although he did play on THE TANGENT's "Not As Good As The Book". Then again Jakko has played guitar and sung on a lot of albums over the years. This solo work is a double album with the first disc being songs about his life, while the shorter (around 35 minutes) second disc are covers of songs that were the soundtrack to his life. His three favourite bands were SOFT MACHINE, HENRY COW and KING CRIMSON so we get covers of songs from those bands on dic two. We get a who's who of UK Prog musicians helping him out including Fripp, Hopper, Harrison (Gavin), Giles, MacDonald, Wallace, Brooks (Clive), Collins (Mel), Stewart (Dave) etc. As Snobb mentions in his review this isn't really Canterbury music but rather a collection of songs where the lyrics take the spotlight. Not that there isn't some outstanding instrumental music here because there is, it's just that the lyrics take precedent. So it's a hit and miss recording for me.

I'm so impressed with some of this while at other times the opposite is true.The packaging and liner notes are very well done, very detailed.This album has garnered a lot of critical acclaim and i'm glad I own it, but for now 3 stars is all I can muster. I have to mention as well that there is quite a bit of mellotron on this disc along with many other instruments. Oh yeah I have to mention that PORCUPINE TREE's Richard Barbieri's wife Suzanne adds some vocals on one track. Remember she did the same on "Up The Downstair" way back when.

If you are Canterbury Scene fan, never heard about Jakko M. Jakszyk and are attracted by long list of ageing Canterbury/Prog stars, participated on this album, please read this review before you will pay your money for this double album.

I don't want to go deep in history, you can find it elsewhere (ok, Jakko as session musician played on Dave Stuart solo albums, etc. and one time even was touring guitarist with pop band Level 42). Most important is what we have there on this Jakko's double album. And - it's far not a Canterbury sound!

Each of two album's CDs are different: second one contains Jakko's covers of well-known prog songs from 70-s, played with star musicians from that time. If you checked Jakko's story, then you know one of his most recent project was King Crimson's tribute band "21st Schizoid Band", so he has good experience in that field. To be honest, some compositions there sound quite nice (ok, no one is better than original, or even near that), but at least you can listen some versions of songs you like played in slightly different form, often participating some great musicians. Don't think there is another reason this disc was recorded than Jakko's wish to play material he likes with some great original musicians, but at least these recordings, even if too much rounded and polished, has relations with progressive rock.

Then - there is one more disc, this time with original material. Few great names participates there as well, but it doesn't help. I don't speak about Canterbury sound, you will hardly find it even on disc two of this album. But music on disc one varies from pop-rock to just pop, and Level 42 comes to mind very soon.

So, having this double album you will be able always to choose what you like to listen first - short CD with prog covers or long one with pop songs. Now you're ready - make your decision.

Ah, yes -almost forgot: there is one more relation between Jakko and Canterbury sound. He married Michael Giles ' (one of early King Crimson member) daughter Amanda!

My rating is 2,5, rounded to 3.

Anything that has members of Level 42, King Crimson and Egg collaborating together is, to be honest, a very amazing thing. Touching everything from jazz-fusion to psychedelia to the ever interesting and immersive Canterbury Scene, Mr. Jakszyk's "The Bruised Romantic Glee Club" is one of those rare extravagenzas that should be more known about and appreciated than it actually is, because there is an intimacy and chemistry here that you won't find often.

A double album, with side one being originals and side 2 being covers of bands that Jakko admires, 'Glee Club' has quite a few high points on both sides of the coin. Tracks like 'When We Go Home" and "The Things We Throw Away" are appropriately emotional and make very fine use of Jakko Jakszyk's unusually accomplished vocal abilities, while his covering of King Crimson's 'Islands' (which features Fripp himself) is apt and intimate in all the right places. Frequent use of sax, woodwinds and piano flesh out some of the more cinematic touches here and there, while Jakko's distinctive guitar stylings brush in and out to keep the compositions focused and energized when needed.

Basically, while I often consider collaborations overrated and rarely resulting in material that hits the mark more than these artists are capable of doing on their own, the ensemble that Mr. Jakszyk assembled here has worked wonders with material that could have possibly fallen on its face otherwise, and hence I recommend this with little complaint to anyone looking for something good to add to their prog. collection.

So yeah...five stars and a big thumbs up from the Ant-man!