Jon Hiseman

Drummer Jon Hiseman was born in 1944 to an artistic family in the southeastern London burg of Woolwich. In the Addey and Stanhope School (progressive, rare co-educational school) he met David Greenslade and Tony Reeves, with whom he formed a jazz trio. In the early 1960s, Hiseman played with Neil Ardley, with whom he and Tony Reeves helped found the New Jazz Orchestra (where he met his life-long partner and wife, saxophonist/composer Barbara Thompson). In 1966, he replaced Ginger Baker in the Graham Bond Organisation, where he met Dick Heckstall-Smith (as well as one of Britain's first Mellotrons). He also played for a brief spell with Georgie Fame and the Blue Flames. In 1968 he and Tony Reeves left to join Heckstall-Smith in John Mayall's Bluesbreakers where they participated in the April recording sessions that would result in the album Bare Wires before This is where he and Heckstall-Smith met trumpet Henry Lowther, who would contribute to both the first Colosseum album as well as Jack Bruce's debut solo album, Songs for a Tailor. After a brief tour of concert dates following the recording (and release) of  Bare Wires, Mayall disbanded the seven piece band due to its being too big for many club venues to stage! Hiseman, Reeves, and Heckstall-Smith took this as a sign to form their own band,  which became Colosseum, there reuniting with Reeves and Hiseman's old school-mate, David Greenslade.

THE NEW JAZZ ORCHESTRA Western Reunion London 1965 (1965)

A band founded by 20-year old Jon and Stanhope mate Tony Reeves with experienced bandleader Neil Ardley serving as director. Material for the album was recorded at Decca Studios in London in March of 1965 and then released by Decca Records in June. This is the time in which Jon met and started dating saxophonist Barbara Thompson. The two married on July 29, 1967.

Line-up / Musicians:
- Neil Ardley / band leader, director, conductor/arranger
- Jon Hiseman / drums

- Tony Reeves / bass

- Mike Barrett / piano (A1 to A4, B1 to B4)
- Les Carter / flutes
- Trevor Watts / saxophone [alto], flute
- Barbara Thompson / saxophone [alto]
- Dave Gelly / saxophone [tenor]

- Tom Harris / saxophone [tenor]
- Sebastian Freudenberg / saxophone [baritone]

- Ian Carr /trumpet, flugelhorn

Trumpets: Mike Phillipson, Tony Dudley , 
Bob Leaper

Trombones – John Mumford, Paul Rutherford
Trombone [bass] – Peter Harvey

- Mick Palmer / French horn

- Dick Hart / tuba

With:

- Lionel Grigson / piano (A5),

A1. "Big P"
A2. "Shades Of Blue"
A3. "So What"
A4. "If You Could See Me Now"
A5. "Tiny's Blues"
B1. "Milestone"
B2. "Django"
B3. "Maria"
B4. "Western Reunion"

JOHN MAYALL & THE BLUESBREAKERS Bare Wires (1968)

Recorded at Decca West Hampstead Studios on the 3rd, 9th, 24th and 30th April 1968; released by Decca Records on June 21.

Line-up / Musicians:

- John Mayall / vocals, harmonica, piano, harpsichord, organ, harmonium, guitars
- Tony Reeves / double bass, bass guitar
- Jon Hiseman / drums, percussion
- Mick Taylor / guitars, Hawaiian guitar

- Henry Lowther / cornet, violin 

- Chris Mercer / saxophones [tenor, baritone]

- Dick Heckstall-Smith / saxophones [tenor, baritone]

"Bare Wires A Suite By John Mayall"
A1. "Bare Wires"
A2. "Where Did I Belong?"
A3. "I Started Walking"
A4. "Open Up A New Door"
A5. "Fire"
A6. "I Know Now"
A7. "Look In The Mirror"

"Another Side"
B1. "I'm A Stranger"
B2. "No Reply"
B3. "Hartley Quits"
B4. "Killing Time"
B5. "She's Too Young"
B6. "Sandy"

THE NEW JAZZ ORCHESTRA Le déjeuner sur l'herbe (1969)

The big band jazz orchestra that Jon had helped found with Neil Ardley and Tony Reeves back in 1964 only recorded two albums for their own release. This was the second of those. The album featured two compositions by Neil's former mate, Mike Taylor, a brilliant musician and composer who suffered from mental illness which led to his erratic behaviour and eventual drowning in the River Thames on January 19, 1969. While the material for this album was recorded on September 17 & 18 of 1968, it was not released to the public until February of 1969 (Verve Records).

Line-up / Musicians:

- Neil Ardley / director, conductor, composer
- Jon Hiseman / drums

- Jack Bruce / bass

- Frank Ricotti / Vibraphone, marimba

- Ian Carr/ trumpet, flugelhorn

- Dave Gelly / clarinet, bass clarinet, saxophone [tenor]

- Jim Philip / flute, clarinet, saxophone [tenor]

- Dick Heckstall-Smith / saxophones [tenor & soprano]

- Barbara Thompson / saxophones [tenor & soprano], flute
Trumpets: Derek Watkins, Harry Beckett, Henry Lowther
Trombones: Derek Wadsworth, John Mumford, Michael Gibbs, Tony Russell

Tuba: George Smith

A1. "Le Déjeuner Sur L'Herbe"
A2. "Naïma"
A3. "Angle"
A4. "Ballad"
B1. "Dusk Fire"
B2. "Nardis"
B3. "Study"
B4. "Rebirth"

COLOSSEUM Those Who Are About to Die Salute You (Morituri Te Salutant) (1969)

The material for the new band's first album was recorded in November of 1968 and then released by Fontana Records in March of 1969. 

Line-up / Musicians:
- James Litherland / guitar, lead vocals
- Dave Greenslade / Hammond organ, piano, vibes, backing vocals (6)
- Dick Heckstall-Smith / tenor & soprano saxophones
- Tony Reeves / bass, co-producer
- Jon Hiseman / drums
With:
- Henry Lowther / trumpet (1)
- Jim Roche / guitar (7)

1. "Walking in the Park" (3:51) the effects of the band members' Blues/R&B "training" is very evident with their choice to cover this Graham Bond song: from its opening bass riff the structure is rooted solidly in the Blues traditions. Where the band shows Jazz influences are in David Greenslade's organ play, Jon Hiseman's very active and surprisingly creative use of syncopation and machine gun fills, as well as the volume of the "horn section" of Henry Lowther and Dick Heckstall-Smith. James Litherland's vocal is great but it's more the presence of that gravelly male voice that reminds us of the heavier musical styles forming and erupting in the late 1960s. There's a lot of work to do before a higher quality of sound engineering and the band members' individual styles blend together in the cohesive style that is to come, but the talent is definitely on full display! (9/10)

2. "Plenty Hard Luck" (4:23) another blues form over which Dave and Jon put on a clinic of Cream- and Argent-like Power Rock while Dick and the rest of the band seem to lag a bit "behind" in the rudiments of the Blues World. James Litherland's vocal seems of secondary importance--and he struggles a bit to deliver lead guitar on a level anywhere near Jon, Dick, and Dave's. As the song opens with a fade in (from a previously-established jam) it is no surprise that the song's compositional credit goes to the whole band. Busy Jon Hiseman is a little overpowering of the overall music--especially when Tony and James are playing in such safe and rudimentary Blues territory. Toward the very end the band's overall sound seems to finally begin to blend better. (8.667/10)

3. "Mandarin" (4:27) an instrumental that quickly makes room for Tony Reeves to display his bass skills with an unusually-unaccompanied and -long (over 90 seconds) solo. When Jon rejoins in the middle of the third minute Tony clicks on the wah-wah effect, turns up the volume a bit, and continues . . . until 3:40! A gong crash signals the return of the full band into a form and palette that seems totally new and previously un-introduced (which leads me to believe that this song's four and a half minutes was excerpted from a much longer jam--one that started with the whole band motif that is displayed here at the end). In all honestly, Tony is not a very impressive (or even good) bass player--even with the effects turned on! But I would have loved to hear more of the whole band jam that was allowed to come through at the very end! (8.25/10) 

4. "Debut" (6:20) another song founded on a Blues structure, this one, unfortunately, puts some disappointing restrictions on Jon Hiseman's drumming--which diminishes the quality of both his performance and the song, overall. Solos from Dick and Dave are fine enough (Dave is actually quite a fine organist--very creative and not afraid to use odd/new effects), but over this rather dull and dated foundation it just doesn't have any staying power. And then, unfortunately, plugging James' lead guitar into the mix (at the very end!) does nothing to improve the song or palette. (8.667/10) 

5. "Beware the Ides of March" (5:34) a clear nod (and rather blatant take on the PROCOL HARUM monster hit--the slow dance of the decade: "A Whiter Shade of Pale"), it does allow plenty of room for Jon to impress (and, boy! does he!), Dick to add his own creative , as well as Dave to show off his advanced organ skills--as well as some cool piano & harpsichord after the 2:20 shift, before the band's ramp up in the fourth minute into a hard-driving, fast-paced Power Rock motif with James Litherland's loud but fitting lead guitar and the rest of the band's frenzied, frenetic letting-loose play up to the 4:52 mark. Great stuff! A real album highlight for me. But then they return to the sax-led "Whiter Shade" motif to close things out. Rated up for that amazing middle section (as well as for Dave and Jon's creative skills displays). (9/10)

6. "The Road She Walked Before" (2:39) this bluesy R&B tune from Dick Heckstall-Smith leans much more into both recent Jazz and R&B traditions that had proved successful in the Pop World (with artists like Dave Brubeck, Ray Charles, and Herbie Hancock). I really like this one (as it is far less blues-based).  It is, interestingly, the album's only composition attributed to a single member of the band. (9/10)

7. "Backwater Blues" (7:35) yes, we're definitely reverting to the Blues--the Deep Southern Blues of the Mississippi-Louisiana Bayou juke joints. I have to admit that James Litherland's excellent here vocals the early performances of Rod Stewart and Robert Plant--and the guest appearance of guitarist Jim Roche on lead guitar was definitely a stroke of genius. Both Tony Reeves and Dick Heckstall-Smith really excel: confirming some tremendous talent at playing the blues; Tony is so disciplined, so precise, and Dick is amazing at expressing the Blues to its absolute limits with both of his saxes (first tenor, then soprano, then two tracks merged together!) Very cool. I don't normally like the Blues much but I cannot help but extol the performances here. This is a great rendering of some classic Blues--the only "flaw" in the sound palette might be Jon Hiseman's too Jazz-flashy drumming! (14/15) 

8. "Those About to Die" (4:49) a very spirited song that features some rather astonishing organ work from Dave Greenslade and some very interesting thematic shifts in the composition. Solos in this instrumental also appear from Dick and James, but it's Dave that really rises above the crop. Once again Jon's busy drum work feels a little too Tony Williams-jazzy/busy--which, unfortunately, is not befitting of the song's over all vibe. (8.875/10)

Total Time 39:38

A very different version of Those Who Are About to Die, Salute You was released in the USA by Dunhill Records in July of 1969. Here is the track list from US 1969 LP :
A1. "The Kettle" (4:19)
A2. "Plenty Hard Luck" (4:20)
A3. "Debut" (5:13)
A4. "Those Who Are About to Die, Salute You" (4:47)
B1. "Valentyne Suite" (15:18) :
- a) "Theme One: January's Search"
- b) "Theme Two: February's Valentyne"
- c) "Theme Three: Beware the Ides of March"
B2. "Walking in the Park" (3:49)

Total Time 37:46

88.77 on the Fishscales = B/four stars; an excellent debut album that shows a band of Blues-trained musicians hell-bent on making something more vibrant and dynamic than their past bands--more on the level of Cream, Argent, or even Procol Harum. Also, I don't know if the songs were ordered on the album in the chronology of their creation, but the band does seem to show signs of gelling better the further the album progresses--which is also born out with their successive work on Jack Bruce's album as well as their own sophomore release, Valentyne Suite.  

JACK BRUCE Songs for a Tailor (1969)                                               

The highly-revered bass player's first solo album release finds Jack supported in part by members of Colosseum (Dick Heckstall-Smith and Jon Hiseman), in part Nucleus (Chris Spedding and drummer John Marshall). Bruce was, of course, a former member of Cream (with guitarist Eric Clapton and drummer Ginger Baker), Manfred Mann, John Mayall's Bluesbreakers (with Eric Clapton), and both the Graham Bond Organization (with Baker and Heckstall-Smith) and Graham Bond Quartet (with Baker and guitarist John McLaughlin) as well as Alexis Korner's Blues Incorporated (his first collaboration with Baker and Heckstall-Smith). The material that became Songs for a Tailor was recorded in London in April and May of 1969 and then released in Britain by Polydor Records on August 29 of 1969 (Oct. 6 in the States by ATCO). 

Line-up / Musicians:
- Jack Bruce / vocals, bass, piano, organ, guitar (5, 7, 9), cello (5), composer & arranger
With:
- Felix Pappalardi / vocals (5, 9), percussion (7), guitar (9), producer
- George Harrison / rhythm guitar (1)
- Chris Spedding / guitar (2-4, 6, 9, 10)
- Harry Beckett / trumpet (1, 6, 8)
- Henry Lowther / trumpet (1, 6, 8)
- Dick Heckstall-Smith / tenor (1, 6, 8, 11) & soprano (1) saxophones
- Art Themen / tenor saxophone (1, 6, 8)
- John Mumford / trombone (8)
- Jon Hiseman / drums (1-4, 6, 8-10)
- John Marshall / drums (5, 7)

1. "Never Tell Your Mother She's Out of Tune" (3:41) R&B Brass Rock with a complex syncopated construction that uses dissonant chords from both the horn section as well as an unusual progression for the odd vocal melody to sing over. The drumming is particularly tight but it's the horn arrangements that really knock your socks off. Jack's bass playing is impressive, especially toward the end when he starts to stray outside the main riff he created to found the song over. Not a great nor memorable song except for the unusual horn arrangements. (8.875/10)

2. "Theme for an Imaginary Western" (3:30) sounding like a PROCOL HARUM song with both vocal melody, band's chord progression, organ and piano dominance, and pace, Jack's voice has a kind of jazzy VAN MORRISON quality and styling to it. Another okay song. (8.75/10)

3. "Tickets to Water Falls" (3:00) a brief piano intro turns into another unusual jazzy song with a bit of a Caribbean flavor to it despite its loud free-flowing Jazz-Rock bass and multiple keyboards and spicy rhythm guitar (which Chris Spedding later turns into a bit of a George Harrison-like solo). Very interesting. (8.875/10)

4. "Weird of Hermiston" (2:24) a Blues-Rock based song that again crosses into that area of music that is more commonly traversed by artists like Van Morrison, The Band, Jethro Tull, and George Harrison--this might even be considered proto-Americana! (8.75/10)

5. "Rope Ladder to the Moon" (2:54) a Blues-Rock song that sounds very much like it could have come from one of JETHRO TULL's earliest albums. I like this one. Even the vocal sounds as quirky and adventurous as something Ian Anderson (or Van Morrison) would do. (8.875/10)

6. "The Ministry of Bag" (2:49) this one is pure Memphis Blues--as if Booker T & The M.G.'s and The Memphis Horns are on board from start to finish. Jack's singing is aggressive and bluesy like young Dr. John or Wilson Pickett. A top three song. (9/10)

7. "He the Richmond" (3:36) Jack's strumming acoustic guitar opens this where he is joined by John Marshall's drums and his own bass while singing a vocal as if channelling a combination of Richie Havens, Ian Anderson, and Dr. John. The uncredited harmonizing vocals of the second minute are really unusual--and cool! A top three song for me. (9/10)

8. "Boston Ball Game 1967" (1:45) loud horns and pounding piano dominate this one so much that Jack's multiple vocal(s) tracks are nearly drowned out (and seem to have to force themselves to be heard). Kind of cool but could've been turned into something more. (Or else.) (4.375/5)

9. "To Isengard" (5:28) acoustic guitars strumming and picking while multiple vocal lines are tracking--the lead using a delicate, high-pitched timbre (that sounds like Rod Stewart trying to sing up high). Very interesting. I really like the vocal harmonies as well as the interplay between Jack and Chris' two guitars. At 3:15 there is a brief stop out of which explodes a uptempo motif that spreads things out among bass, drums, and the psychedelic sound creations and play of Chris Spedding's electric guitar. While I prefer the first half, I did enjoy the second half, too. My final top three song. (8.875/10)

10. "The Clearout" (2:35) trying to go back to the Cream world? Heavy power chords from both electric guitar and bass over Jon Hiseman's Ginger Baker-like militaristic drumming. Not my favorite use of these talented artist's skills. And I didn't even mention the Roger Daltry-like singing or lyrics over the Beatles' "Birthday"-like melody line. (8.75/10)

Total time 31:42

Jack can certainly impress with his bass playing--as if he could be the father of Jaco Pastorius--but his active and jazzy lines (and sound) are not always as fitting to the music and his vocal stylings and lyrics aren't quite the kind of stuff for the AM charts. 

88.55 on the Fishscales = B/four stars; while I definitely appreciate the uniqueness of Jack's talents and vision, I find most of the music on this album to be almost confusing and messy, and the lyrics to be nearly impregnable and, probably, written from a very personal, albeit creative perspective (not unlike those of Van Morrison). 

COLOSSEUM Valentyne Suite (1969)

The energetic supergroup's second album release within the same calendar year. For Valentyne Suite they've lost contributing songwriter and guitarist John Roche, but they may be the better for it. With a lineup like this it would really be hard to go wrong! The album was recorded in the Summer of 1969 and then released in the U.K. by Vertigo Records in November.

Line-up / Musicians:
- James Litherland / guitar, lead vocals
- Dave Greenslade / Hammond organ, piano & vibes (5), backing vocals (4)
- Dick Heckstall-Smith / tenor & soprano (2) saxophones, flute (4)
- Tony Reeves / bass, co-producer
- Jon Hiseman / drums, drum machine (? 4)
With:
- Neil Ardley / string quartet arrangements (2) & conducting (3)
- Barbara Thompson / saxophone & flute (6,7)

1. "The Kettle" (4:25) opening with music that sounds like full-on guitar-centric power rock à la THE JIMI HENDRIX EXPERIENCE, CREAM and BLIND FAITH. They even have two tracks dedicated to James Litherland's blazing guitar soloing as well as some very dynamic bass and drum playing. A powerful song--especially for an opener to a rock 'n' roll album--but not anything even close to resembling Jazz-Rock Fusion. (9.125/10)

2. "Elegy" (3:10) a very famous jazzy intro with the wah-wah-ed Hammond and iconic guitar chords. Great bluesy vocal from James Litherland. I can definitely see where bands like Canada's Lighthouse and The Jeff Beck Group got some of their inspiration. Great song. (9.5/10)

3. "Butty's Blues" (6:44) built over a classic blues chord progression, this song serves as a vehicle to put on display David Greenslade's prodigious Hammond organ skills as well as the introduction of Neil Ardley's awesome horn and orchestra arrangements. Another excellent vocal performance from James Litherland--one that doesn't even start until the very end of the second minute--makes me wonder why this guy isn't mentioned along with the greatest blues rock singers of all-time. I'm not a huge fan of classic blues but this rock- and orchestra-embellished tune is stunning! Some great sax play from Dick Heckstall-Smith. (9.25/10)

4. "The Machine Demands a Sacrifice" (3:52) another blues-rocker that sports a raspier and background vocal supported vocal from, I'm assuming, James Litherland. (His voice on this one almost sounds blown--at the end of its capacity.) I hear no drum machine, just machine-like drumming. (8.75/10)

5. "The Valentyne Suite" (16:51) an ambitious song with solid compositional goals but lacking a little of the skills necessary to pull it off as well as they designed it. (31.125/35)
 - "Theme One: January's Search" (6:25) the dramatic opening pays homage to both THE NICE and PROCOL HARUM as well as previews the heights aimed for by Keith Emerson with his "Tarkus" and "Karn Evil" suites. The biggest difference here is the amazing contributions of Dick Heckstall and Barbara Thompson's horns here delivered through the use of multiple tracks. At 3:20 we enter into a new motif via Dave Greenslade's solo Hammond organ--resulting in a bluesy rockabilly sound as Dave solos and the others support. (The drums here sound a little out of place.) I like all the pitch-shifting Dave is fooling around with on his organ but this is not my favorite type of music. But, that opening half was amazing. (9/10)
 - "Theme Two: February's Valentyne" (3:33) wordless choir vocals and sax support a slowed down PROCOL HARUM-like passage. The support musicians slowly ramp up their contributions as Dick Heckstall-Smith gets deeper into his sax solo: the Hammond and bass in particular. However, Jon Hiseman's drumming, again, feels a little weak. (8.75/10)
 - "Theme Three: The Grass Is Always Greener" (6:55) back to blues rock for some spotlighting of bassist Tony Reeves and the guitar playing of James Litherland. (He's good but, in my opinion, a much better singer than guitarist.) Finally Jon Hiseman's drumming fits--his skills show. (13.375/15)

Total Time 35:02

Not an album that I'm willing to attach the "Jazz-Rock Fusion" moniker to--even despite the jazzy-ness of the Side Two-long "Valentyne Suite." Though I revere the drumming of Jon Hiseman, he has not yet, by this album, reached the peak of his skills and talents, whereas the rest of the band seems to really be at the top of their creative instincts. And, again, why singer James Litherland isn't among the list of iconic vocalists from this era is a mystery to me. Perhaps if he'd have had a voice in the Suite it could have been even more powerful. 

90.333 on the Fishscales = A-/five stars; a wonderful album of ambitious song rendering whose performance results almost reach the heights of the band's compositional visions. This is no Jazz-Rock Fusion but it definitely qualifies as an early or prototype for all future progressive rock music.

COLOSSEUM The Grass Is Greener (1970)

This album is apparently quite the anomaly in that most of these songs have appeared on previous Colosseum albums but here they employ a different lineup of musicians. Plus, this was an album that was released only in North America--which seems to indicate that the band (or record company) was trying to gain a foothold across The Pond--one that they had obviously failed to gain with their previous releases. The offerings here are jazz-tinged psychedelic rock album that predicts the music of GENTLE GIANT while reaching back to familiar West Coast psychedelic power rock bands like like The Doors, Spirit, as well as taking advantage of the way paved by more successful British Invaders like The SPENDER DAVIS GROUP, PROCUL HARUM, and LED ZEPPELIN. The album was released in January of 1970 by Dunhill Records.

Line-up / Musicians:
- David Clempson / guitar, vocals
- Dave Greenslade / Hammond organ, piano, percussion
- Dick Heckstall-Smith / tenor & soprano saxophones, woodwind
- Tony Reeves / bass, co-producer
- Jon Hiseman / drums
With:
- James Litherland / vocals (3)
- Neil Ardley / string quartet arrangements (3), big-band arrangements (4)

1. "Jumping Off the Sun" (3:00) psych rock in a GENTLE GIANT vocal form. The music is a bit closer to the psych rock bands of the late 1960s--like SPIRIT but those vocals sound just Derek Shulman. The musicianship is very high, very tight. (8.75/10)

2. "Lost Angeles" (5:30) this one sounds like a sophisticated THE WHO song with Paul Weller singing the vocal. Drummer Jon Hiseman is so good that you can tell that the rest of the band feeds off of (or is driven by) his powerful skill. Great Jimmy Page-like guitar solo from David Clempson in the third minute. The rest of the band around him (including a second guitar track) are equally great: all focused on delivering the unmitigated CREAM-like power that Hiseman and the spirit of this song seem to demand/require. I can finally hear Dick Heckstall-Smith's sax in the final minutes of this one. Excellent song. (9.3333/10)

3. "Elegy" (3:26) a famous song that brings to mind both SPENCER DAVIS and BRIAN AUGER. Guest vocalist James Litherland has a great, soulful voice. The song's basic chord progression and melodic hooks work very well: a very memorable song. The role of the soprano sax and Neil Ardley's strings is noticeable but not a major contributor. (9.66667/10)

4. "Butty's Blues" (6:45) yes, full on organ-lead blues: the first song on which Dave Greenslade gets to really shine. He's very good--with an excellent horn arrangement behind him from Neil Ardley and excellent bass and drum play from Tony Reeves and Jon Hiseman. Once the amazing "big band" intro is over at 1:28, the song turns into a very typical blues/blues-rock tune--like something JOHN MAYALL or ROBIN TROWER would do. But then the horns return to remind us of the modern juxtaposition and Dick's tenor sax takes a solo in place of the second vocal verse. The dynamic whole-band finish is awesome! I normally don't like blues/blues rock but the participation of the horns makes this very dynamic and exciting. (13.5/15)

5. "Rope Ladder to the Moon" (3:42) an outlier in that this song had not appeared on any previous Colosseum releases, the song was picked up Jack Bruce and made more famous as one of his anthemic concert favorites. It is a very cool song with great vocal, lyrics, melodies, and full-band support music. Rated up purely on the vocal performance & clever lyrics (and delivery). I have the feeling that this song may also have been influential to Derek Shulman and his brothers. (9/10)

6. "Bolero" (5:28) one might laugh upon seeing this title on the page but the band actually do Ravel's original quite some justice with this heavy, full power-rock version. Nice keyboard and sax play over Jon's impeccable drumming, but it's David Clempson's fiery, bold-like-TERRY KATH electric guitar solo that really gives it its unique identity. It is one of those great, truly original and, therefore, iconic guitar solos. As a matter of fact, it's so good (and the rest of the bands' performance on his coattails) that you are actually transported into forgetting that this is Ravel's "Bolero"!! (9.125/10)

7. "The Machine Demands a Sacrifice" (2:48) another song lifted off of the previous year's Valentyne Suite album, this one has a psychedelic feel not unlike that of Iron Butterfly's "In-a-gadda-da-vida"--especially in the drum-and-bass-centered music. (8.75/10)

8. "The Grass Is Greener" (7:31) one of the pieces lifted from the actual "Valentyne Suite," this one is gentler and more prog-tempered than the album's other tunes--probably because it's an instrumental on which the band hope to show off their skills as musicians. I'm surprised at the uncredited full-horn ensemble opening as well as the slower TRAFFIC/Southern Rock tempo. It seems as if all of the band's instruments gain some showing here with full-spotlight solos from Hammond organ, bass, volume-pedal-controlled electric guitar, even sax and drums. The tempo shift into high speed for final three minutes (as well as the long, protracted dénouement at the end) will become such a template for so many Southern Rock bands like LYNYRD SKYNYRD, MOLLY HATCHET, CHARLIE DANIELS, and THE OUTLAWS. (The Allman Brothers were already doing it--so maybe Colosseum picked up the idea from them.) (13.125/15)

Total Time 38:10

I very much like this album: it has great musicianship--feeling as if each member of the band is fully committed to and engaged with each song. At the same time, despite the presence of horn sections on several songs and despite the excellent (probably virtuosic) musicianship, I could probably never be convinced that this music is Jazz-Rock Fusion. It's just progressive blues-rock psychedelia dressed up in some jazz fittings.  

88.125 on the Fishscales = B/four stars; though I find the skillful and tight musicianship on this album to be exceptional, the songs are not always aligned with my own personal preferences. At the same time, I can definitely imagine the success and popularity that an album like this would have created in 1970/71.

JACK BRUCE Things We Like (1970/71)

A reunion, of sorts, in effect as all participants in this studio product had played with Jack in former bands; The Graham Bond Quartet (Bruce & McLaughlin), The Graham Bond Organization (Bruce & Heckstall-Smith), and Jack's previous album, Songs for a Tailor (with Hiseman). (Hiseman and Heckstall-Smith had, of course, been playing for a couple years together in David Greenslade's Colosseum--three albums worth.) Things We Like was released by Polydor Records in the UK at the end of 1970 and by Atco in the USA at the beginning of 1971. 

Line-up / Musicians:
- Jack Bruce / double bass, arranger & producer
With:
- John McLaughlin / guitar (3 - 7)
- Dick Heckstall-Smith / saxophones [tenor & soprano]
- Jon Hiseman / drums

1. "Over The Cliff" (2:56) a quick riff from Dick Heckstall-Smith's tenor sax launches bassist Jack Bruce and drummer Jon Hiseman into a rapid-paced expression of fairly straightforward Hard Bop Jazz. There is little to no input from John McLaughlin's guitar but Dick, Jack, and Jon are more than up for the trio presentation. Interesting and respected but this is not really my preferred type of music. (8.875/10)

2. "Statues" (7:35) more blues-based Hard Bop Jazz from Dick, Jack, and Jon in which the trio dance around one another in tight and attentive circles, each playing their own consistent melody lines--Dick even going for the two-saxes in the mouth at the same time trick a couple times. In the fifth minute there is a cease and desist order so that Jack can bow his bass a bit, but then Jon rejoins with meagre little  input from Dick (and, interestingly, none from John McLaughlin) before Jack steps back to let Jon have the spotlight a couple of times before the recapitulation of the opening themes over the final 35 seconds. Fine musicianship. (13.5/15)

3. "Sam Enchanted Dick" - medley (7:28) bass and electric guitar recite the song's main melodies over Jon's drums for the first 30+ seconds before John is loosed with his distorted tone to solo for about a minute. Then it's Jack's turn in the third minute. John's chord accents are all I can pay attention to (for I am a HUGE fan of John's fascinating "rhythm guitar" choices). At 3:37 we hear the first squirts of Dick's, tenor sax--which leads, of course, to an extended solo for him (and yet my ears still find themselves paying attention to John's caustic chord interjections). Double saxes for a bit in the seventh minute before Dick's play on "Sweet Georgia Brown" lead to the song's finish. (13.5/15)
    a. "Sam Sack"
    b. "Rill's Thrills"

4. "Born To Be Blue" (4:26) a gorgeous ballad with very sensitive performances from all four players. There is enough space in the soundscape of this song that I can very much appreciate the skills and creativity of each individual musician--which I need from time to time in order to better understand and value the musics I'm being exposed to. (9/10)

5. "HCKHH Blues" (8:59) there is an auspicious threat of power and havoc in this song's music from its very opening. Despite Jack and John's pulling tendency to want to drift over into the Louisiana Bayous,  Dick and Jon do a great job in keeping the spirit firmly anchored in less Southern traditions, more in the urban forms of expression. Finally pusuaded, John and Jack swing over to join Dick and John in their Coltrane-like explorations. (18.125/20)

6. "Ballad For Arthur" (7:42) pensive bass notes are embellished by delicate cymbal and snare play while Dick explores his own melody ideas. There is enough focus in Dick's playing that Jack and Jon both feel empowered to let their own playing go a bit into the realms of improvisational freedom--until, that is, John feels inspired to join in (around 1:50). Thereafter John's "commanding presence" effects a stoppage from Jon (no drums or cymbal sound for over a minute!) while Dick tries to figure out how to play background accompanist role to John's spacial musings. With Jon's boisterous Jack DeJohnette-like return in the fifth minute, we find the other three suddenly inspired to become quite a bit more dynamic: each flying off in their own directions while somehow it all still manages to make sense from a collective view. With a minute left to go there is a sudden buildup and burst into  controlled chaos before everybody backs out, spent. While I still don't "like" this kind of music, I understand anad appreciate the discipline and skill required to make it happen--to make it work. (13.5/15)

7. "Things We Like" (3:38) another this time more targeted and speedy foray into the reactive/responsive side of Jazz' free jazz movement. There is a playfulness to this one that makes it a bit more amusing and, thus, enjoyable. (8.875/10)

Total Time 48:04

Despite the presence (and influence) of metamorphosizing guitarist John McLaughlin on five of the album's seven songs, the rest of the band on this album (Bruce, Hiseman, and Heckstall-Smith) are all playing Jazz, standard, blues-based Jazz albeit at times what we've come to call their own versions of "free jazz." John is the only one pushing boundaries, injecting non-standard sounds, riffs, and epithets. One might also argue that Dick Heckstall-Smith is pushing for more free jazz representation. Were I more of fan of straight Jazz (I'm trying, folks!) I might like this album more. As it stands, I feel hard-pressed to even consider this "Jazz-Rock Fusion" much less call it such.

89.87 on the Fishscales = B+/4.5 stars; while Jazz afficionadoes might consider this a minor masterpiece of Jazz (or even Jazz-Rock Fusion), would call this a near-masterpiece and not a true representative of Jazz-Rock Fusion; to my mind Things We Like has got far more of the fire and focus of pure Jazz than it does of Fusion or progressive rock.

COLOSSEUM Daughter of Time (1970)

The last Colosseum album before everyone goes in different directions for a few years. Material for the album was recorded in the summer of 1970 at Landsdowne Studios in London, all of it (except for the live track, "Time Machine") being brand new or untested by concert performances. The sessions also suffered from various members' other commitments/scheduling conflicts. Still, the songs were painstakingly crafted before being sent out for mastering and then released in the UK by Vertigo Records in November of 1970, by Dunhill in the USA soon after. The band was able to rally and keep it together long enough to follow up the album's release with a fully-committed tour through out the winter of 1971 (whose high-spirited, high-quality performances have been captured for posterity on live recordings that were made available on the wonderful Colosseum Live 1971 release as well as bootlegs and several 2020 releases by Repertoire Records).

Line-up / Musicians:
- Chris Farlowe / vocals (1, 2, 5, 7)
- Dave Greenslade / Hammond organ, piano, vibes, backing vocals
- Dick Heckstall-Smith / tenor & soprano saxophones, narration (1)
- Jon Hiseman / drums & percussion

- David Clempson / guitar, vocals (3)
With:
- Mark Clarke / bass (1, 5, 7)

- Barbara Thompson / flute & saxophones & vocals (1-4)
- Louis Cennamo / bass (2-4, 6)
- Neil Ardley / brass & string arrangements (2, 4)
- Nicholas Kraemer / viola (2, 4)
- Jack Rothstein / violin (2, 4)
- Trevor Williams / violin (2, 4)
- Charles Tunnell / cello (2, 4)
- Fred Alexander / cello (2, 4)
- Derek Wadsworth / trombone (2, 4)
- Harold Beckett / trumpet & flugelhorn (2, 4)

- Tony Reeves / bass (8) (uncredited)

1. "Three Score and Ten, Amen" (5:36) Wow! This is a fully-formed Jazz-Rock band: with a foot in the theatre lights of the West End with their new vocalist Chris Farlowe's Jesus Christ Superstar-worthy voice and performance and the band's huge, almost orchetral BLOOD, SWEAT & TEARS sound! POWERFUL. EXCELLENT! (9.875/10)

2. "Time Lament" (6:04) a very cool orchestra-assisted opening one minute intro puts on display some amazing arranger skills (grace à old buddy Neil Ardley as well as to Jon's extraordinarily talented wife, Barbara Thompson). The fully-borne out song that emerges in the second minute is very broad and very deeply layered, sounding, again, like something almost orchestral or symphonic. Whereas the initial melody lines explored in the intro felt nostalgic of both old and recent film scores, the fully-fleshed out beast that emerges with Chris Farlowe's melodramatic vocal performance is at first Procol Harum-esque but then it turns very Symphonic Prog mixed with Jazz-Rock as well as a heart-rending lounge singer-like theme, all occurring in the instrumental passage lying between Chris' first and second vocal forays. Wow! has this band grown! (9.625/10)

3. "Take Me Back to Doomsday" (4:26) opening with a piano-based dinner theatre-sounding intro, the song starts to form and morph into something quite different--something at first more deeply emotional as Jon Hiseman's drums and Louia Cennamo's bass join in. But then the distorted electric guitars enter with their strumming and Jon ramps things up into something more aggressive and dynamic. However, the instrumental passages between composer David Clempson's vocal verses while still busy become much more dreamy and soothing (as are the "take me back" chorus sectiond that lead into those sections). Interesting and rather amazing! Even the ending fade out--using just the high end first--shows how much these guys have grown! (9.5/10)

4. "The Daughter of Time" (3:30) another long, rather theatric intro (50 seconds) opens this before Chris enters to once again command the spotlight in the same way that an Andrew Lloyd Weber lead character would on his West End stage. (Think Judas' performance in Jesus Christ Superstar). Cool song! (8.75/10)

5. "Theme for an Imaginary Western" (4:05) another one of the band's Procol Harum-like starts turns into something more Allman Brothers/rock-ballad like as Chris sings in a more personal, less theatric style with David Clempson's lead guitar walking around his fretboard the entire way. Choir of background vocalists is backed/enhanced by saxophones, organ, and probably Mellotron. It's good, well-rendered, just not the most lasting effect. (8.75/10)

6. "Bring Out Your Dead" (4:25) weird little organ-centric piece that sounds like a cross between THE NICE, PROCOL HARUM, and early FOCUS. Excellent song with great performances from the band at the bottom as well as all of the soloists on top. (Nice to hear Dave's organ back in a prominent place.) (9.125/10)

7. "Downhill and Shadows" (6:11) after a creative two-sax tracked Jazz-Bluesy opening, this one turns into pure Blues-Rock of the late 1960s kind. When Chris Farlowe enters one almost thinks that Jimi Hendrix has joined a brass-expanded version of CREAM or LED ZEPPELIN. Very good. Great sound and play from bass player Mark Clarke and great sax and guitar play from Dick and David Clempson, respectively; sounds like a preview of STEVIE RAY VAUGHAN. (9.125/10)

8. "The Time Machine" (live at the Royal Albert Hall, July 1970) (8:12) opening with quite the rousing drum solo from Jon Hiseman--it sounds like he's taking some surfer-beach jam and making it his own--really making it his own. If you hear the way Jon expresses himself through his drums with extreme melodic sense--not unlike the skill/gift of Billy Cobham--you might better understand why I hold this drummer as one of the pantheon of Greatest Drummers as I do. Otherwise, this would be just another drum solo. But, as it stands (and it is so well recorded!) it is highly engaging, impressive, and even enjoyable. (13.75/15)

Total Time 42:29

With the arrival of a competent lead guitarist it feels as if both Dave Greenslade and, moreso, Dick Heckstall-Smith's roles and prominence in the overall mixes have diminished. I do concur with several other reviewers, however, that this album represents Colosseum I's finest hour.

92.35 on the Fishscales = A/five stars; a masterpiece of very sophisticated, intricately-layered, fully-symphonic, wonderfully-composed and -rendered, proggy Blues-Rock Fusion.  

NEIL ARDLEY A Symphony of Amaranths (1972)

For this ambitious recording of original compositions--which were dedicated to "the two immortals who produced the greatest orchestral jazz music," Duke Ellington and Gil Evans--Neil resuscitated the old New Jazz Orchestra that he had directed and help found back in the early 1960s with Jon Hiseman and Tony Reeves (as well as Jack Bruce, Dick Heckstall-Smith, and Ian Carr and Henry Lowther). The music was recorded sometime in 1971 but it was not released to the public until sometime in 1972, probably early. The list of musicians is a veritable Who's Who of British Jazz Rock.

Line-up / Musicians:
- Neil Ardley / prepared piano, director/band leader, composer
- Chris Laurence / bass
- Jeff Clyne / bass
- Jon Hiseman / drums, percussion

- Stan Tracey / piano, celeste
- Karl Jenkens / electric piano
- Alan Brascombe / harpsichord

- Frank Ricotti / vibraphone, percussion

- Derek Watkins / trumpet
- Nigel Carter / trumpet
- Henry Lowther / trumpet
- Harold Beckett / trumpet
- Derek Wadsworth / trombone
- Ray Premru / trombone
- Dick Hart / tuba
- Barbara Thompson / woodwind, sax
- Dave Gelly / woodwind, sax, glockenspiel
- Don Rendell / woodwind, sax
- Dick Heckstall-Smith / woodwind, sax
- John Clementson / oboe
- Bunny Gould / bassoon
- David Snell / harp
- Sidonie Goossens / harp
- Jack Rothstein / violin, conductor
- Eric Gruenberg / violin
- Kelly Isaacs / violin
- Ken Essex / viola
- Charles Tunnell / cello
- Ivor Cutler / narrator
- Norma Winstone / vocal

A. "A Symphony of Amaranths" (24:59) a seriously classical composition and production with some jazzy elements but more of an Impressionist/Expressionist type of cinematic music. Absolutely, stunningly beautiful! Without hesitation I must say that this composition alone does tremendous justice to the two heroes to which he dedicated it. I find no flaw; correction: I find myself too small to even possibly due justice to any critique or criticism to this amazing piece of music. I wouldn't change a single note it feels so perfect, feeds my soul so completely. (50/50)

  - "Carillon"
  - "Nocturne"
  - "Entracte"

  - "Improptu"

B1. "The Dong With a Luminous Nose" (11:50) narrator Ivor Cutler recites the words of Edward Lear over Neil's wonderfully fitting jazz-infused orchestra soundtrack. (22.875/25)

"Three Poems": Norma Winstone sings the poetry lyrics of W.B. Yeats, James Joyce, and Lewis Carroll, respectively, during the following three musical renderings of Neil's own musical interpretations. Norma was fresh off of being voted by Melody Maker magazine as the top female Jazz Singer of 1971 (which makes this quite the coup for Neil).

 
B2. "After Long Silence" (4:09) Norma Winstone has an incredible voice: one that I would follow to the ends of the Earth. Her voice reminds me of the upbeat, positive tones of both Swing Out Sister's Corinne Drewery and No Small Affair's Demi Moore performance of "My Funny Valentine" as dubbed by Chrissie Faith. (10/10)

B3. "She Weeps Over Rahoon" (3:22) Norma, again, but this time singing a very different style: here sounding like a fuller voiced, whisper-toned version of the great modern avant prog singer Elaine di Falco (Thinking Plague, Francesco Zago projects for Fading Records/AltrOck Productions in the 2010s). (9.125/10)

B4. "Will You Walk a Little Faster?" (3:48) opening with some upper register scatting à la Ella or Urszula Dudziak, but once the song gets into full swing (pun intended) it's a showtune tour de force/extravaganza. Ver ysimilar to the skill level and stylings of Barbra Streisand's Broadway career and previewing the type of sounds and skills we'll soon be hearing from Renaissance's Annie Haslam. (9.25/10) 

Total time: 48:08

A zesty tongue-in-cheek version of the UK national anthem ends the album, but we don't need to count that (as fun as it was to hear everyone in the studio's control room cracking up at the end).

Neal was one of those incredibly gifted and talented humans whose artistic abilities almost require one to drop the mantle of "Renaissance Man" on his shoulders. What a loss to the music world it was that his career in the writing and publishing world spawned such a lucrative and demanding life for him. (Author of Britain's World Book Encyclopedia and founding member of the Dorling Kindersley [DK] "How Things Work" series of children's books--all of which led to sales in the multiples of millions.) Each of his symphonic, choral, and New Jazz Orchestra projects could have generated equal fame and, hopefully, fortune. But here we are.

96.43 on the Fishscales = A/five stars; a masterpiece of music no matter what kind you want to call it. I am so glad to have discovered this amazing album; I will cherish FOREVER!

DICK HECKSTALL-SMITH (Dust in the Air Suspended Marks the Place Where) A Story Ended (1972)

Nice album title. For all intents and purposes, on paper this album reads as just another Colosseum album--or, at least, an offshoot album, the only member of the previous album and successive tour being guitarist David Clempson. The album was recorded in March and April of 1972 at The Manor in Oxfordshire and then released by Bronze Records in June of 1972.

- Dick Heckstall-Smith / tenor & soprano saxes
With:
- Paul Williams / vocals (2, 4, 6)
- Chris Farlowe / vocals (5)
- Caleb Quaye / electric & acoustic (2, 4) guitars
- Chris Spedding / guitar (5)
- Graham Bond / organ (3, 5), vocals (3), piano (4), Moog (5)
- Dave Greenslade / piano (2)
- Gordon Beck / piano (4)
- Mark Clarke / bass, vocals (1, 3)
- Rob Tait / drums
- Jon Hiseman / congas & bongos & maracas (2), drums (5), production

1. "Future Song" (4:06) almost hard rock--even the vocal (courtesy of bassist Mark Clarke) is unusually aggressive--especially for something that is supposed to be grounded in Jazz-Rock Fusion. (This is more like Jazz-Rock if anything on the Jazz fringe.) The sax play of bandleader Dick Heckstall-Smith is, of course, supposed to be the featured element of this album, and it is quite prevalent--as is the work of electric guitarist. Powerful, an okay song, but by no means a contribution to J-R Fusion. (8.75/10)

2. "Crabs" (5:12) piano, bass, and drums support vocalist Paul Williams (and Dick's tenor sax) in a Dr. JOHN/LEON RUSSELL/TOM WAITS-like song and vocal performance. When the music moves into upbeat, uptempo mode for the choruses it sounds much more like the music of DAVID CLAYTON-THOMAS-led BLOOD, SWEAT AND TEARS (without the banked horns). Nice creative jazz-rock. (8.875/10)

3. "Moses In The Bullrushourses" (3:41) another song that sounds right out of the Blood, Sweat & Tears or early Joe Walsh catalogue of music. Vocalist Graham Bond gets a little lost and drowned out by the thick weave of music in which he sings. Nice group background vocals from Mark Clarke and Graham (on a second track). Graham's organ play is quite animated as well. (8.75/10)

4. "What The Morning Was After" (5:30) opens sounding like a variation on the opening to John Coltrane's "Acknowledgement" from A Love Supreme. But then the song restarts at 0:35 as an acoustic guitar-based early STEELY DAN-like tune (think "Doctor Wu"). At 2:35 there is even a cool shift into an uptempo BLOOD, SWEAT & TEARS/RICHIE HAVENS-like motif (reminding me very much of the first vocal motif and melody line in Steely Dan's "Aja"). A very cool song that I like very much for its idiosyncratic (and eclectic) construct and melody lines. (9.3333/10)

5. "The Pirate's Dream" (11:09) the only song with drum virtuoso Jon Hiseman sitting behind the drum kit. Chris Spedding is also a contributor to this heavy rocker with both prog and jazz-rock tendencies. Next to vocalist Chris Farlowe and bassist Mark Clarke, Dick is the busiest and most impressive performer on this odd journey of a song. The group vocals are also impressive and Graham Bond's presence as organist and Moog contributor is also notable and appreciated. (17.75/20)

6. "Same Old Thing" (6:41) an old-time swamp blues guitar beginning eventually is joined by drums and bass and Paul Williams' gravelly blues rock voice. Dick starts to sneak his sax into the spaces between verbal phrases in the way a blues guitarist does (and Caleb Quaye does in the channel opposite Dick). The tempo and motif switches a little at the two-minute mark and then, less than a minute later, Paul rests, making room for Caleb's classic jazz-blues-rock guitar to solo. Dick takes the next solo starting at 3:48: smooth and melodic with some nice, very solid bass and drums beneath him until the 4:37 mark at which time a second (and third?) saxophone joins in to play off of, take over from, and supplant the previous track. Paul returns to screech and scrawl out the songs finale JOE COCKER style. Very adroitly and creatively done, just not my kind of music. (8.875/10)

Total time: 36:19

I can see (and hear) the reasons for the respect if not love for this album as the musicianship is always at a high, high level and the songwriting is wonderfully creative. This is just not the kind of music that has ever turned me on. 

89.05 on the Fishscales = B/four stars; an excellent addition of blues- and jazz-rock-dominated music rendered by an assortment of highly-skilled musicians.

IAN CARR Belladonna (1972)

Belladonna was released by Universal Records in July of 1972. It is, in effect, a NUCLEUS album, however, I can see how and why Ian Carr dropped that moniker for this album in that only one musician (Brian Smith) (other than himself) remains from the original Nucleus albums (Elastic Rock and We'll Talk about it Later). (Apparently, Ian had long ago conceived of starting fresh--starting a new band--separating himself from the Nucleus ensemble. The album was produced by Jon Hiseman.

Line-up / Musicians:
- Ian Carr / trumpet, flugelhorn
With:
- Brian Smith / tenor & soprano saxophones, alto & bamboo flutes
- Allan Holdsworth / guitar
- Dave MacRae / Fender electric piano
- Gordon Beck / Hohner electric piano (1,4-6)
- Roy Babbington / bass
- Clive Thacker / drums, percussion
- Trevor Tomkins / percussion (1, 3, 4)

WOLFGANG DAUNER'S ET CETERA Featuring Jon Hiseman and Larry Coryell Knirsch (1972)

Recorded at MPS-Studio, Villingen, March 1972; released by MPS Records ‎later in the year, probably in the Summer.

Line-up / Musicians:

- Wolfgang Dauner / keyboards, electronic devices

- Günter Lenz / bass
- Jon Hiseman / drums
- Fred Braceful / drums, percussion
- Larry Coryell / guitars

A1. "The Really Great Escape" (4:20) the European version of the song that would become the title song of Larry Coryell's next album. Jon Hiseman's drumming (and the band) sounds so much like Jimi Hendrix's trios. Larry's voice is a bit underwhelming and unconvincing. It's good for its ilk but nothing groundbreaking. (8.75/10)

A2. "Sun" (5:00) really nice gentle jazz over which Wolfgang Dauner explores with his piano. Larry occupies two or three tracks: two rhythm (one electric and one acoustic?) while his bare electric flurries and scurries over the top. Jon's drumming is beautifully restrained (which is so unlike him!) and Günter Lenz's bass is steady and rock solid--even when Larry goes a little crazy in the fifth minute, really hyping the band up. But then things soften up down as Wolfgang's tinkling of the ivories continues to soothe and hypnotize. What a cool, creative, and unusual song! I LOVE it! Perfect First Wave Jazz-Rock Fusion! (10/10)

A3. "Yan" (12:50) this one opens with two full minutes of experimental noises created on a synthesizer (probably using dials as AREA and the Berlin School electronic artists were doing at this time). In the third minute Wolfgang's electric piano joins in and seems to be taking over but the synthesizer sounds resume playing around, reclaiming their leadership role, until the end of the fourth minute when a conga takes over, setting forth a simple rhythm pattern which is soon joined by Jon's spacious play on his drum kit and, later, by Larry's playful sound experimentation on his electric guitar and more of Wolfgang's creative synthesizer and tape editing clipping noises. Around the nine minute mark some louder drum/percussive noises are introduced but then it gets quiet again until radio-like clipped voices speaking in gibberish (or severely chopped-up language) as a frantic blowing also joins in. Then in the eleventh minute things get really quiet: 2001: A Space Odyssey quiet. And yes: it's eerie. It even builds into some cacophonous SWANS-like noise before everything comes "crashing in"--before coming out into the fully-formed piano-based jazz motif that is the start of the next song. Weird but understandable when the context of all the technological developments popping up at the time is taken into consideration. I can't say that necessarily "like" it but at least it has the gift of Mr. Time Machine, Jon Hiseman's impeccable sense of rhythm to keep us grounded in something in part sane! (21.25/25)

B1. "Tuning Spread" (11:05) piano based Jazz-Rock Fusion in which Wolfgang's piano, Günter's bass, and the drummer/percussionists weave each their own consistent (and not random/willy-nilly free jazz) rhythm patterns into one forward moving tapestry over which first Larry and then Wolfgang. The groove Günter, Wolfgang, Jon, and Fred have going in the sixth and seventh minutes is incredibly infectious: compelling the listener to get on his/her/their feet to move those hips. In the eighth minute the band opens up space for Jon to show a little of his drumming prowess, but then they all come back to the main groove (with Larry flurrying around within the mix) until they slowly break it down and close it out. A song with some excellent parts, some excellent surprises (I never thought the opening display of independently-minded musicians would ever come together into such an elegant and hypnotic groove like they did), and some excellent musicianship--across the board. (17.75/20)

B2. "Yin" (9:50) a wonderfully soothing yet psychedelic exploration of music's transcendental potential and effect on the human. There is some minimalist grooving, coming together to try to hypnotize the listeners (and perhaps entrain the musicians), and yet there is an awful lot of individual creativity and experimentation going on, as well. And, yes, for those true music historians: this is a song that Larry would adopt and carry forward to his recording sessions for his 1974 album Introducing The Eleventh House with Larry Coryell. (18/20)

Total time: 43:05

89.12 on the Fishscales = B/four stars; without the one experimental electronic song that has aged poorly this would have been a masterpiece of wonderfully experimental and grooving Jazz-Rock Fusion. I'm tempted to rate it as such anyway despite the flawed 13 minutes of annoying futility, but, rules is rools.

TEMPEST Tempest (1973)

After Ian Carr (Neucleus)'s Belladonna, guitar prodigy Allan Holdsworth finds himself lured off by Belladonna producer and Colosseum founder and drummer (and former John Mayall Bluesbreaker), Jon Hiseman to try out the power rock trio format ( . . . as a quartet). 

Line-up / Musicians:
- Paul Williams (John Mayall) / vocals, acoustic guitar, keyboards
- Allan Holdsworth / guitar, violin, vocals
- Mark Clarke (Colosseum, Uriah Heep) / bass, keyboards, vocals (6)
- Jon Hiseman (John Mayall, Colosseum) / drums, percussion, producer

1. "Gorgon" (5:44) here the quartet tries out the style and sounds of The Jimi Hendrix Experience. Though the song opens with 90 seconds of beautiful acoustic guitar chords being picked while Paul's heavily-effected voice give the music a very proggy psychedelic sound, once they establish the Experience sound they do a pretty good job! Paul Williams' lead vocal is actually quite like Jimi's and the music is solid with, of course, some great bluesy rock guitar work from Allan. Did I mention how great these guys blend as vocal harmonists? (9.25/10)

2. "Foyers Of Fun" (3:41) CREAM, RARE EARTH, with a little GRAND FUNK RAILROAD in the mix and some stellar rock lead (and rhythm) guitar work. This band is made up of four very top notch musicians who can pull off very high quality "reproductions" of other band's styles while still instilling their own talents, skills, and creativity to make them sound even better than the originators. (9/10)

3. "Dark House" (5:02) the first "weak" song on the album falls short not due to poor performances or sound but for the sake of being long and overly-drawn-out with no real relief or high points. (8.75/10)

4. "Brothers" (3:37) a little funk in this melodic rocker. Great drumming, rhythm guitar work and group vocals with Paul's Richie Havens-like lead. The problem is that the gospel-blues-like stops and slow downs are a bit disruptive to the overall flow and power of the music. Great little guitar solo in third minute. Not a particularly great or memorable song, but that musicianship! (8.875/10)

5. "Up And On" (4:19) Paul's David Clayton Thomas voice sings over a pretty standard rock anthem. Great performances from all--especially Jon Hiseman (who is quickly climbing in my esteem of all-time great prog/rock/J-RF drummers). Again, this is not necessarily anything to write home about, but the musicianship is amazing--earning it extra points. (8.875/10)

6. "Grey And Black" (2:29) sounds like STYX before Styx had really evolved into the Styx sound that Styx has become known for.  (4.375/5)

7. "Strangeher" (4:07) blues/blues-rock on the level with and in the style of ZZ TOP. Impressive but not my cup of tea. (8.667/10)

8. "Upon Tomorrow" (6:41) Allan plays the violin! And he plays it well! The accompanying jazz-rock music is awesome if a little rudimentary. Luckily they have Jon Hiseman to fill in all the spaces with plenty of drumming awesomeness. (Plus, a track of Allan's rhythm guitar and a joinder in the third minute of Allan on lead guitar in place of the violin). The rockin' vocal second half of the song is okay with Paul's Richie Havens-like vocal performance being a highlight more than the music and other band members' performances. (8.875/10)

Total Time: 35:00

There is no doubt that these guys could easily have made a career at this power rock format: they are so talented and so good at making every minute of their songs full of clever and skilled creativity.

88.89 on the Fishscales = B+/4.5 stars; an album displaying some truly astonishing musical skills! I have to admit that this album would most certainly have earned higher marks had the music been more in the styles that I prefer.

NUCLEUS Snakehips Etcetera (1975)

Ian Carr continues onward in his relentless pursuit of expanding the horizons of all that is possible from his grand idea of fusing elements and styles of various musics into the jazz-rock idiom. Jon served as the producer of Snakeships.

Line-up / Musicians:
- Ian Carr / trumpet, flugelhorn, piano, Moog, percussion
- Bob Bertles / soprano, alto & baritone saxophones, flute, voice, percussion
- Ken Shaw / electric & 12-string guitars, percussion
- Geoff Castle / keyboards, Moog, percussion
- Roger Sutton / bass, percussion
- Roger Sellers / drums, percussion

1. "Rat's Bag" (5:51) a little "Space Race" blended with a little Cosby Kids funk into an Average White Band form. Great funk tune. (9.125/10)

2. "Alive And Kicking" (9:30) percussion play, saxophone play, with Moog bass and wordless vocalese coming from Bob Bertles provides two minutes of entertainment as Ian and the band "warm up." In the third minute the band emerges from the chaos and fog of the intro into a Marvin Gaye-like motif with horns, wah-wah rhythm guitar, congas and full-fretboard electric bass play all contributing to the dance-and-work-it pace and drive of this engaging tune. In the fifth minute, Ken Shaw is given the green light to launch into a solo that starts out kind of jazzy but becomes, over time, quite searing and soaring in its rock nature: Ken is really flying--urged on by the excellent support of bass, drums, percussion, Fender Rhodes and accenting horn section. The band moves back to the main theme in the eighth minute before a wild crash/crescendo of cacophonic choas is unleashed by all instruments, all at once, at the 8:00 mark. Out of this slowly, gradually, emerges a kind of minimalistic arpeggio weave from Ken with Ian soloing alone above it. A great tune. (18/20)

3. "Rachel's Tune" (7:05) a song with DEODATO-like charm and earworm grooves and riffs that sink in and won't let go, the funk, the jazz, the fusion, the radio-friendly AWB sound--they're all here. Bob Bertles gets the first solo on his soprano sax,  (13.5/15)

4. "Snakehips Etcetera" (10:32) a great, melodic bass line is accompanied by congas and simple drum play to help found that which will become a Bitches Brew-like motif. The level of creative inputs into this song by each musician is off-the-charts virtuosic. (17.75/20)

5. "Pussyfoot" (4:06) flute in the lead over the rollicking Jazz-funk-fest offered by this one. It sounds quite Freddie Hubbard or Laws Family-ish. Bob can really play the flute! And the full-band support is great (if less creative than that which will emerge on this lineup's next album, Alleycat.) (9.125/10)

6. "Heyday" (7:45) down-home country 12-string guitar play opens this one sounding like something from one of Britain's early Folk Rock musicians is joined in the second minute by folk-jazz traps, multi-octave bass and Fender Rhodes lines. At 2:12 Ian and Bob join in (using multiple tracks) to form another thread made up of two different horn section lines. Meanwhile, Ken continues his 12-string legato until 4:25 when the horns break up the song's momentum and everybody switches to a new, more New-Wave/R&B motif over which Bob Bertles solos on his alto sax. A very pleasant, almost Brian Auger-laid-back-like motif that also harkens back to the blues rockers and jazz-rockers of the 1960s (Otis Redding, Wilson Pickett, the Memphis horns, Chicago, Blood, Sweat & Tears). Fun tune. (13.5/15)

Total Time: 44:49

Whilst a great album of individual performances and tons of creative experimentation, the band has yet to really gel into cohesive union; that would come with the next year's Alleycat. What I like best about this album is the comprehensive consistency from the rhythm section--especially Roger Sutton's excellent funk grooves, but the way they are all supported and enhanced by Roger Seller's drums, Geoff Castle's keys, and the ensemble's percussion contributions. It's a very consistent, high-level funk fest from opening note to the end of the penultimate song, "Pussyfoot." The two Rogers make one heck of a duo!

90.56 on the Fishscales = A-/five stars; a minor masterpiece of funky Jazz-Rock Fusion and a clear indicator of things that are to come.

NUCLEUS Alleycat (1976)

Great Herbie Hancock- and Miles Davis-inspired Jazz-Funk. I tell you: Ian Carr is one of THE least appreciated/most under-credited contributors to that which we call "Jazz-Rock Fusion"; the man consistently takes the genre into dimensions not-yet-imagined--and does so with bands that express a level of skill and virtuosity that is, in my opinion, unequalled and unparalleled in the world of J-R Fusion! This is without doubt one of my favorite Jazz-Rock Fusion albums of all-time. The album was produced by Jon Hiseman. 

Line-up / Musicians:
- Ian Carr / trumpet, flugelhorn, synth
- Bob Bertles / soprano, alto & baritone saxophones, flute
- Geoff Castle / keyboards, Moog
- Ken Shaw / guitar
- Roger Sutton / bass
- Roger Sellers / drums, percussion, timpani
With:
- Trevor Tomkins / percussion (1-3)

1. "Phaideaux Corner" (6:20) bass-master Roger Sellers has perfect control of all that is The Funk. Funk Jazz does not get much better than this! Not even from The AVERAGE WHITE BAND! (9.5/10)

2. "Alleycat" (14:05) for the first couple of minutes of this song I find myself thinking that Ian & Company had been studying Herbie Hancock's transition to funk-infused Headhunters music as well as some Steely Dan, but then it devolves into more of an exhibition of studies of Miles and Freddie Hubbard peppered with a few forays into pop-familiar styles and riffs. The musicians are having a ball: each exploring their own melody and accent lines as they feel drawn--especially guitarist Ken Shaw (both on rhythm and lead). The simple pop-rock-oriented motif that fills the final four minutes is great for Shaw to shine but rather schlocky for jazz-rock fusionists. (27.5/30)

3. "Splat" (11:40) another song that definitely unfolds as if it were a copy/imitation of Herbie Hancock's new Headhunters funk style, but then at the 1:30 mark we are treated to an odd and unexpected space-interlude for about 45 seconds before the band jumps right back into the funk. The accent work of the horn section and the animated conversations between Roger Sutton's bass, Ken Shaw's guitar, and Geoff Castle's Fender Rhodes are quite entertaining, even humorous. And did I mention the great drumming and percussion play from Roger Sellers and Trevor Tomkins? A great composition that is made even better by the wonderfully-engaged contributions of every single one of the musicians. A song that again reminds me of Ian Carr's genius at taking a style and making it better--taking it to unforeseen results--with the highest caliber of confidence, sophistication, and virtuosity. Not even Herbie ever took his funk as far or as high as this! (20/20)

4. "You Can't Be Sure" (4:10) Ken Shaw's 12-string acoustic guitar played country-pickin' style (to sound almost like a mandolin--quite like the "Heyday" song from the band's previous album) with Ian's muted trumpet and Roger Sutton's baritone bass lines interplaying with him come across as a great field conversation from the cotton fields of the American South. Not my favorite style of music, and not necessarily a song worth copying, learning, or emulating, it is definitely a display of creative virtuosity. (8.75/10)

5. "Nosegay" (4:40) a racing Fender Rhodes-led display of amazing funk/R&B dexterity and virtuosity. Brian is on fire, but then, so are Roger Sellers, Roger Sutton, Geoff Castle, and Ken Shaw's amazing rhythm guitar work on the wah-wah. Jazz, rock, Fusion, music doesn't get much better than this--nor musicianship get more impressive. I'm not one to wax rhapsodic about keyboard work very often, but Geoff Castle's work both leading the way and in the soloist's spotlight are attention-commanding--worthy of high, high praises. (10/10)

Total time 40:55

94.69 on the Fishscales = A/five stars; a masterpiece of Third Wave Jazz-Rock Fusion: Ian has once again taken the ideas spawned by others (Herbie Hancock, Miles Davis) and expanded upon them in ways that leave the progenitors IN THE DUST!!  

COLOSSEUM II Strange New Flesh (1976)

A band of some of Britain's finest prog rock musicians has its feet in rock, classic rock, and prog rock though they seem to be trying to exhibit their instrumental prowess as a power Jazz-Rock Fusion band. The official release date of the debut studio album by Colosseum II, entitled Strange New Flesh, was April 19, 1976. Released on Bronze Records, this album marked the beginning of the jazz-rock band led by Jon Hiseman and featuring guitarist Gary Moore.

Line-up / Musicians:
- Mike Starrs / lead vocals
- Gary Moore / guitars, vocals
- Don Airey / Fender Rhodes, Steinway grand piano, ARP Odyssey, ARP Solina, Minimoog, Hammond organ, clavinet
- Neil Murray / bass
- Jon Hiseman / drums, percussion, timpani, gong, producer

1. "Dark Side of the Moog" (6:17) a song that has a bombastic, proggy side to it, probably thanks to composers and lead instrumentalists Gary Moore and Don Airy. I hear Patrick Moraz, Brand X, and Jan Hammer in this music: great musicianship but there's something a little off (forced) that is difficult to explain. (9/10)

2. "Down to You" (9:05) a cover of a Joni Mitchell song picked up by Gary Moore that Don Airey has amplified and embellished with his own Renaissance-like piano-and-acoustic-guitar mid-section. Mike Starrs' lead vocal gives it a Journey-like sound and feel though I hear some of Robert Plant's bluesyness in there as well. The overall sound palette and engineering style just feels more Prog Wannabe Classic Rock oriented than Jazz-Rock Fusion. (17.625/20)

3. "Gemini and Leo" (4:48) a song whose music feels more oriented to the funk sounds and styles of contemporary artists like Jan Hammer and Billy Cobham, but then Mike Starrs' Robert-Plant-like vocal enters and suddenly Gary Moore is a blues-rock guitarist. Don't get me wrong: There is great musicianship throughout (especially coming from drummer Jon Hiseman and funk keyboardist Don Airey), it's just that something feels a little too cringeworthy--as if we're hearing a kind of music that the Western World might (should) be rather embarrassed about. (8.75/10)

4. "Secret Places" (3:59) another song that feels cringeworthy: like a classic rock band covering a Bay City Rollers or Loverboy song. The bass, drums, and keyboard work are wonderful but the vocals and guitars are pure hair band rock. (8.6667/10)

5. "On Second Thoughts" (7:30) schlocky/syrupy electric piano supports a weird "muted" electric guitar sound soloing away for the first minute of this song before bass and drums enter to establish the slow, plaintive music to support Mike Starrs' Gino Vannelli/George Michael-like vocal on what feels like a take Norman Connors' "You Are My Starship" music. Great blues-proggy Classic Rock sound with pretty amazing super-nuanced musicianship from everyone involved--even Mike's multiple tracks. (13.5/15)

6. "Winds" (10:23) a song that comes across as something more akin to the music of GINO VANNELLI, VAN DER GRAAF GENERATOR or American band BABYLON when Mike Starrs is singing, more like some supergroup when it's instrumental. The musicianship is so high quality that you find yourself feeling that this must certainly be an all-star conglomeration of Jazz-Rock Fusion artists, must certainly be a consortium of Southern Rock celebrities, must certainly be the finest gathering of Classic Rock musicians ever collected on one stage, and yet it's Colosseum II! Then it finishes with a vocal-led motif that feels as if taken straight off of Matthew Parmenter's great power epic from Unfolded Like Staircase, "The Storm" (or, rather, as if MP lifted the motif from this album for the most dramatic part of his song "The Storm").  I find myself loving this song more for it's amazing musicianship and overall feel than I find myself cringing from its schlocky excessive bombast. (18.25/20)

Total Time 42:02

The band definitely has the dynamic high-energy Mahavishnu/RTF thing going on but keyboardist Don Airey gives them a definite foothold in the prog element as well. Mike Starrs, however, anchors the band in the bluesy classic rock traditions more attuned to Led Zeppelin, Styx, and Journey. This album can only qualify as Jazz-Rock Fusion based upon the outstanding skills and jazzy instincts displayed by the musicians, while it is really not J-R Fusion so much as bluesy Classic Rock--a choice that is made self-evident by the presence and support of the use of singer Mike Starrs as one of the band's main tools of expression. I must add that I firmly hold drummer Jon Hiseman in the absolute highest esteem and keyboard player Don Airy and guitarist Gary Moore are right there with him--as is bassist Neil Murray--and Mike Starrs is certainly as talented and skilled as, say, the great Gino Vannelli--but together they have a quite enigmatic even nebulous identity. 

89.167 on the Fishscales = B/four stars; an album of absolute highest-class musicianship whose song presentations feel like hodge-podge pieces from different puzzles glued together almost haphazardly and with multiple and disparate goals in mind. Being exposed to this album is definitely one of the strangest listening experiences I've ever had in my lifetime!

COLOSSEUM II Electric Savage (1977)

Intrigued by my exposure to and listening/review process of the band's debut album, Strange New Flesh, I had to jump straight into this album--especially when I saw that this album was dedicated to instrumental music. (As talented as Mike Starrs is/was, I felt with each song that he contributed to that as soon as his voice entered the song it became something totally different than what it was before or without him.)

This album was recorded over six days during a Christmas 1976 holiday break between touring dates.

Line-up / Musicians:
- Gary Moore / guitars, vocals (3)
- Don Airey / Fender Rhodes, Steinway grand piano, ARP Odyssey, ARP Solina, Minimoog, Hammond organ, clavinet
- John Mole / bass
- Jon Hiseman / drums, tubular bells, Latin percussion, gong, producer

1. "Put It This Way" (4:54) new conclusions: guitarist Gary Moore is definitely a rock guitarist; keyboard player Don Airey is definitely a prog wannabe, and; drummer Jon Hiseman is definitely one of the finest Jazz-Rock Fusion drummers/artists of his day. This song, however, feels just like one of Jan Hammer's pointless going-nowhere-fast songs: impressive musicianship but accomplishing little to no imprinting into my brain's pleasure centers or memory banks. (8.75/10)

2. "All Skin and Bone" (3:49) very catchy and groovin' with lots of cool drum and synthesizer inputs with Gary Moore's "distant" guitar note inputs. A very cool, earworm of a song--one that I will love to come back to again and again over the course of the rest of my lifetime despite the fact that it sounds more like an exercize or practice étude. (10/10)

3. "Rivers" (5:48) a little bluesy Procol Harum-like soft rock ballad (performed before a small live audience). Awesome Eef Albers/Robert Fripp-like guitar solos in third and fourth minutes (two different tracks). If the song were rated on its guitar work alone it would earn higher marks but Gary's vocal performance (and sound engineering of such) comes up a little short. (8.875/10)

4. "The Scorch" (6:02) opens like something from a Ralf Hütter and Florian Schneider (Kraftwerk) album that turns into something more akin to Patrick Moraz's Story of I, Larry Fast's SYNERGY, or even some of STYX's or Keith Emerson's work about this time. Gary Moore's counterpoint guitar play is much like the twin guitar work Scott Gorham and Brian Robertson were doing in Thin Lizzy. This is one of the few songs that I've heard in which drummer Jon Hiseman feels out of his element. Gary's switch to Jan Akkerman-sounding electric guitar for the final minute is cool. Again, I get the feeling that this song is more of a polished jam, not really a fully-developed song composition. (8.875/10)

5. "Lament" (4:38) a song that feels like a slowed down Christmas version of a classic four-chord 1960s bubblegum pop hit like The Kinks "You Really Got Me." Cringeworthy jam and filler. (8.375/10)

6. "Desperado" (5:58) a more exciting, professional construct that still presents itself as something that was rushed along and, therefore, never fully developed or polished despite its sophisticated riffs and elements: another hodge-podge of ideas all smooshed together but never really smoothed over (especially in the transitions but also in the nuances within). (8.6667/10)

7. "Am I" (4:15) built around a very simple spacious melody, the soft jazzy bass and drum play give this a kind of Narada Michael Walden level of sincerity and interest, the gentle Smooth Jazz foundation offers Gary Moore some choice opportunities to display his propitious talent and skill. Not bad for a Smooth Jazz tune: definitely putting it's four minutes to good use. (8.875/10)

8. "Intergalactic Strut" (6:00) another song that feels thrown together but not polished. The musicianship is impressive (despite a rather sub-par performance from drummer Jon Hiseman) but the end result just feels like pressed high-speed Third Wave Jazz-Rock Fusion. There's a CAMEL-esque section in the middle of the song before the band returns to the high speed RTF/Mahavishnu motif it started with. Not a bad song. If only the band and its engineers and production team had had the time to put more into the end product (other than the excellent album art work). (8.875/10)

Total Time 41:24

I have to say that the second half of this album's material feels quite pressed and unpolished--especially in the performances and contributions coming from the rhythm section. I'd never before heard "poor" drumming performances from Jon Hiseman until hearing this album and bassist John Mole is certainly not up to the level of predecessor Neil Murray or the other musicians on the album. Also, keyboard player Don Airey playing feels just a little more forced and rote than his creative layering of the previous album. Though this album presents a much more cohesive Jazz-Rock Fusion front--especially as opposed to the previous album's multiple personality exhibit.  

89.11 on the Fishscales = B+/4.5 stars; a more-focused album than their previous release--this time sounding like a more cohesive Jazz-Rock Fusion exhibition--whose overall song quality falls short due to a lack of effort applied to the finishing aspects of each song.

COLOSSEUM II War Dance (1977)

Jon Hiseman's resuscitated Colosseum lineup releases its third and final album--with the Gary Moore filling the guitar department! War Dance was recorded on various dates throughout 1976 and 1977 and then fashioned in 1977 for a November release on MCA Records.

Line-up / Musicians:
- Gary Moore / electric & acoustic guitars, vocals (4)
- Don Airey / Fender Rhodes, Steinway grand piano, ARP Odyssey, ARP Solina, Mini-Moog, Hammond organ, clavinet, tubular bells
- John Mole / bass
- Jon Hiseman / drums, percussion, gong, timpani, co-producer

1. "Wardance" (6:09) the whole palette of this song sounds so much more proggy than J-R Fusion--more akin to Todd Rundgren's work with his UTOPIA project. The drumming and lead guitar work is a lot more nuanced and virtuosic but the work on the keys and bass are pretty simplistic/minimal. (No wonder I've never heard of either of them before.) The song has a bit of a Jan Hammer-wannabee feel when Don Airey is soloing--probably due to the continued repetition of the four-chord foundation going on beneath him--and this continues into Gary Moore's next solo (which is wicked impressive!) but then at 5:39 a Rick Wakeman-like bridge takes us into something that sounds way more YES-like in order to finish the song with a flourish. HIGH marks for Jon and Gary's performances; okay marks for the others (and for structure and overall sound palette). (9.125/10)

2. "Major Keys" (5:18) this one has some great drumming to give it a very solid foundation while the layers above puts us in a realm that sounds like Japanese Jazz-Rock Fusion (Hiromi Uehara, Nankai TRIO, etc.) but then Gary's slide guitar soloing changes the dynamic a bit, but we always seem to come back to the Japanese sounds coming from the overall chordal structure and Don Airey's keyboard melody choices. Impressive skills on display to an overall pleasing song. (9/10)

3. "Put It This Way" (3:42) an RTF Power Fusion motif over which Don Airey and Gary Moore play the main melody lines in tandem, sometimes exploring harmonically-different pathways. At about the 90-second mark the motif switches with John Mole and Jon Hiseman bringing in some funk into their high-speed chase music while Don and Gary trade solos: duelling and not. BRAND X is the best comparison to make for this song. (9.125/10)

4. "Castles" (5:50) opening with electric piano, bass, and Gary's plaintive vocal, this reminds me of many prog and Jazz-Rock artists that have tried to crossover into the AM or Adult Contemporary radio-friendly realms of pop music, sounding a lot like Focus Con Proby's "Wingless" or Narada Michael Walden's "Oneness Cry" (from I Cry, I Smile)--both of which came out about the same time as this--or even some Nektar, Eloy or Ambrosia--which definitely gives credence to the theory that this style of emotional near-ballad was definitely going on at this time. Nice voice. Pretty song. (8.875/10)

5. "Fighting Back" (5:54)  a song that sounds a lot like a cross between Jeff Beck's "Going Down" and something by THIN LIZZY. Jon's hard-driving shuffle provides the band (more specifically, Gary) with some very fecund soil for world-beating solo expression--for which both Don and Gary seem more than willing to rise to the occasion. The legato lines are so crisp and distinctive. And I really admire the soloists respect for (and use of) space to temper and shine the effects of their solos--allowing the listener better time and ability to digest the fireworks. Overall I feel the same after listening to this as if I've just listened to a Steve Vai song: impressed, satisfied, but otherwise feeling absolutely no further compulsion to play it again (save for the occasion to impress a friend). (8.875/10)

6. "The Inquisition" (5:50) This song is constructed to impress us with its complexity and virtuosity of the musicians as it travels at a breakneck "Race with the Devil" speed while, again, offering fertile ground for the Gary and Don to impress. Nice to hear the acoustic guitar in fourth minute, but it's really Gary's Jan Akkerman-like electric that wows and awes. (Also, there is an apparent "Hocus Pocus" Focus sound and pacing to this song.) (At the same time, I think this is the song that finally allows me to categorize Gary as a guitarist: god-gifted and diverse though not quite as fast as Di Meola or Akkerman or the next generation of shredders like Satriani, Vai, and Petrucci. (9/10)

7. "Star Maiden / Mysterioso / Quasar" (6:24) This suite of songs in three parts. The first sounds a little like the new era of Weather Report that Jaco Pastorius is ushering in as well as some of the sounds that Al Di Meola is exploring. The second part, "Mysterioso," is constructed and paletted with the heavy ominosity of the music of The MAHAVISHNU ORCHESTR, Jan Hammer, and Billy Cobham. Gary's guitar play is quite prescient of some of the styles and sounds mentioned above: Satriani, Vai, and Petrucci. The final motif ("Quasar") sounds more like bands like STARCASTLE, UTOPIA, and PATRICK MORAZ. Interesting combination of puzzle pieces. I wonder why they decided to sandwich them all together and not develop each as separate songs. (9.125/10)

8. "Last Exit" (3:30) a monster of bombast, theatrical and heart-string pulling proggy-Jazz-Rock Fusion with Gary's heavy-Rundgren/Albrighton/Bullock-like sound and stylings and Don Airey's LARRY FAST-like future synth keyboard arpeggi transporting us into the stars. AWEsome and wonderful! What a song to go out with! (9.75/10)

Total Time: 42:37

This album is literally my first (known) exposure to the force that was Gary Moore. Seriously! It's April 8, 2026, and I cannot tell you of any album or song (that I know of) that Gary Moore participated on (though I suspect there are some). I've become quite a fan of Jon Hiseman as a drummer but also as a composer and bandleader and Don Airey and John Mole are totally new names to me.

91.09 on the Fishscales = A-/five stars; a minor masterpiece of proggy Jazz-Rock Fusion exhibiting some stunning individual skills as well as pretty stellar compositional acumen. Too bad this band stopped trying after this!

An incredible drummer (one of my absolute favorites), but more, a force with a vision that saw fusionary potential for the expansion and improvement of his beloved musics far beyond their roots. Definitely one of the most important Fusionists of the British Isles.