Arnaud Quevedo & Friends, Electric Tales, 2020 Tracks: Electric Overture (1:32), The Dark Jester (7:24), The Electric Princess Part 1 (9:06), The Electric Princess Part 2 (9:02), Entering… (Impro) (4:11) Mushi’s Forest (6:21), Flower Fields (Impro) (3:26), The Hypothetical Knight (6:24), Hope (5:07), Electric Dreamer (3:49)
For the second in my series of reviews of French artists (see number 1 here), we have Arnaud Quevedo & Friends, a guitar-centered jazz fusion outfit based in La Rochelle, France. The group centers around Arnaud Quevedo, a guitarist and music teacher at Conservatoire La Rochelle. Bassist Noé Russeil joins Quevedo on both records, as does double bassist Éva Tribolles. Both also provide vocals. Lucille Mille plays flute and sings on Electric Tales, Julien Gomila plays saxophone on that record. There is a much larger cast on Roan, composed of more stringed and blown instruments. While Quevedo plays drums on Electric Tales, that duty is expertly handled by Anthony Raynal on Roan.
One of the primary differences between the two records is the lyrics on Electric Tales are in English while they are in French on Roan. I prefer the French vocals because they sound more natural to both the music and for the singers. Some of the English lyrics, like on “The Dark Jester,” are really difficult to understand.
Jazz is the name of the game here, but it remains tied to the rock world throughout. Electric Tales periodically reminded me of The Tangent, another band that heavily leans on jazz. “The Electric Princess” Parts 1 and 2 are almost entirely instrumental, with some more easily understandable lyrics near the end of part 2. The guitar and flute are prominent throughout, balancing the jazz with a rock feel. Continue reading “Arnaud Quevedo & Friends – Double Album Review”→
If there’s a theme this month, it might be “musicians going for it” — whatever the era, whatever the wisdom they assimilate along the way. Another common factor: all of these are strong contenders for my end of the year favorites list! As usual, purchasing links are embedded in each artist/title listing; where available, album playlists or samples follow each review.
Bill Bruford, Making a Song and Dance: completists may go pale, but this isn’t another massive “collect ’em all” box a la Bruford: Seems Like A Lifetime Ago or Earthworks Complete. Rather, it’s a judiciously curated, career-spanning set targeted at a wider market and chosen by the man himself. Organized to reflect the creative roles Bruford posited for expert drummers in his doctoral dissertation Uncharted, discs 1 and 2 cover his years as a “collaborator” in ongoing bands, (mostly Yes and King Crimson), while discs 3 and 4 lay out his qualifications as a jazz-oriented “composing leader” in the above bands and other occasional combos. But if your listening experience is like mine, discs 5 (“The Special Guest”) and 6 (“The Improviser”) will provide the freshest material and perhaps the niftiest surprises; Bruford sits in with everyone from folk-rock iconoclast Roy Harper to speed-fusion guitarist Al DiMeola to the Buddy Rich Big Band, then contributes equal amounts of chops and space to music conjured from thin air with (among others) daringly lateral pianists Patrick Moraz and Michael Borstlap. When the man said he retired from performance because he couldn’t think of anything more to play, he wasn’t kidding — based on the evidence collected here, he’d already done it all. Not only does Making A Song and Dance give an ample picture of Bruford’s stylistic range, it brilliantly charts the growth of an essential artist down the decades.
Vashti Bunyan, Wayward – Just Another Life to Live: indirectly named after a Biblical queen, Vashti Bunyan’s thirst for meaning led from a middle-class childhood through Oxford art school to a London fling as a wannabe pop chanteuse (her debut single was a Mick Jagger/Keith Richards offcut). Adrift in the aftermath, Bunyan seized what seemed a golden opportunity: a journey with her paramour from the Big Smoke to a new life in the Hebrides, undertaken by horse-drawn wagon. That unlikely odyssey forms the heart of this evocative, compelling narrative; laboriously heading north through the heart of England, Bunyan gains understanding of the natural world, of the extremes of human kindness and cruelty — and of her own animating passions, her sturdy inner core. She also writes the deceptively simple, uncommonly rich songs that became her lovely 1970 album Just Another Diamond Day. The fulfillment (and dissolution) of Bunyan’s quest, her immersion in “lookaftering” children and stepchildren, and her artistry’s rebirth when the Internet rediscovered her music in the early 2000s provide the epilogue to this tale of a wandering soul’s coming to terms with the beauty and the beastliness of life. Highly recommended.
Robert Fripp, Exposure:After King Crimson “ceased to exist” in 1974, Fripp withdrew from the music industry, pursuing a spiritual sabbatical. Reinvigorated, he dipped his toe back in the water via guest shots with David Bowie and Blondie, then moved to New York City to get serious about returning to active service. Exposure was Fripp’s calling card for his “Drive to 1981,” self-described as research and development for what might come next; along with nods to his current production work with Peter Gabriel and Daryl Hall, ghosts of Crimson past (the metallic “Breathless”) and future (“NY3,” with ‘found vocals’ from Fripp’s argumentative neighbors draped over cyclical odd-time riffs) haunt the album. But there’s also New Wave 12-bar blues (“You Burn Me Up I’m A Cigarette,” with tongue-twister lyrics gamely tackled by Hall), furious punk energy (“Disengage,” featuring Peter Hammill’s improvised, gleefully atonal vocals cutting across Fripp’s proto-shred guitar and Phil Collins’ blunt, brutal drumming), and surprising amounts of gentle lyricism (Hall on “North Star”, Terre Roche on “Mary”, Gabriel on a gorgeous solo piano “Here Comes the Flood”). What binds these disparate tracks together is the innovation of Frippertronics — the solo guitar looping set-up that Fripp then took to concert halls, dance clubs, restaurants and record stores on a low-budget promotional tour — weaving in, out, between and behind it all to unify the album and give it a futuristic impetus. As strange and compelling a beast as any Fripp has brought us over the years, Exposure is a wild, worthwhile listen in and of itself, while providing distinctive previews of coming attractions. The new “Fourth Edition” features a discreetly energizing remix by Steven Wilson, plus previous versions (including an unreleased master with Hall as the primary vocalist) on a bonus DVD. For those with deeper pockets, the 32-disc box set Exposures exhaustively archives Fripp’s studio and live work from 1979-1981 — including the Frippertronics concert at Peaches Records in Detroit that completely exploded my own musical boundaries. (More of this boundary-breaking beauty can be found on the new release of 1981 Frippertronics, Washington Square Church.)
Short, sharp shocks this month: all albums and EPs reviewed below come in under the old school LP limit of 45 minutes! Purchasing links are embedded in each artist/title listing; album playlists or samples follow each review.
Entransient, Ghosts in the Halls: My hometown’s very own prog-metal band lays out the cards for all to see on their Facebook page: “Melodic neo/post-prog rock from Michigan. Influenced by Anathema, Alcest, and Porcupine Tree.” The good news is that guitarists Matt Schrauben & Doug Murray, bassist Nick Hagen, drummer Jeremy Hyde and vocalist/keyboardist Scott Murray refine those influences into a distinctive blend, marked by rich atmosphere and a towering core sound. The opening epic “Parasite” grabs hold immediately with its games of acoustic/electric musical chairs; “Synergize” and “Last Strawman” drive forward without mercy, as Murray testifies fiercely over bare grooves and fuzzed chords alike. More reflective moments like the title track, “Misplaced” and “Where the Shadows Lie” dial down the tempos and the lyrical angst while keeping the edge intact as the band prowls lush, more aerated soundscapes. (Kudos for Hagen’s mixing and engineering, as well as for the mastering work of The Pineapple Thief’s Steve Kitch; the band’s dynamic and textural range is captured with crystalline clarity throughout.) Entransient has an open, readily appealing touch to their music; as they blaze a fresh trail in a style that easily collapses into cliché, they’re well worth a listen.
Envy of None: No, this sounds nothing like Rush, even with Alex Lifeson’s guitar work in the mix. (If that’s what you want, the new anniversary edition of Moving Pictures is now available — and getting glowing reviews from unlikely sources like Pitchfork, for pete’s sake.) Lifeson does provide satisfying crunch, acoustic contrast, and creative lead work in spades, bedding in seamlessly with fellow core players Andy Curran (bass & guitar) and Alfio Annibalini (guitar and keys). They weave a darkly enticing aural mesh that cradles the understated, seductive singing of Maiah Wynne; her breathily fragile volleys, playing off the sticky minimalist hooks embedded in EoN’s web, are what might really ensnare you. Musically, this is all about basic song forms deployed in ambient/industrial/goth/post-rock styles; the seasoned instrumental interplay and Wynne’s preternaturally mature vocal work are what elevate the album above the obvious genre markers. So it’s old-fashioned chemistry and star quality, from veterans and newcomer alike, that turn out to be key to Envy of None’s appeal. Try it on that basis and see if it grabs you.
Lots of great music has crossed the metaphorical Progarchy transom this month! Purchasing links are embedded in each artist/title listing; album playlists or samples follow each review.
The Flower Kings, By Royal Decree: Fun fact: this is the third double album in a row from king of Kings Roine Stolt and his merry band. And like 2019’s Waiting for Miracles (which started the streak)it’s compulsively listenable from start to finish. Fresh out of lockdown, Stolt, singer Hasse Fröberg, keyboardist Zach Kamins, drummer Mirko deMaio and alternating bassists Jonas Reingold & Michael Stolt laid down 18 songs in the studio, negotiating the twists and turns of wildly varied material (some of which dates back to the early 1990s) with energy, precision and evident delight. Not a trace of metal here, and I hear much more psychedelia, fusion and Eurofunk in the mix than stereotypical “prog” — but to my ears, that’s what makes goodies like the unpredictable opener “The Great Pretender”, the ravishing ballads “A Million Stars” and “Silent Ways”, and the off-kilter eccentricity “Letter” so fresh and fun. There are plenty of serious lyrical moments too, as in “The Soldier” and “Revolution”; but, by and large, By Royal Decree is the sound of Stolt and company refreshed and revisiting their optimistic roots, soaring on the wings of one marvelous melody after another. It’s as much a joy to hear as it must have been to create.
I thought I didn’t have a big list of favorites from this year’s listening — until I revisited my six-month survey from back in June and added in the good stuff I’ve heard since then! The listing below incorporates links to full or capsule reviews, or other relevant pieces on Progarchy and elsewhere; albums I haven’t written about yet get brief comments, along with my Top Favorites of the year. Most of these are available to check out online in some form; if you find yourself especially enjoying something, use that Christmas cash and support your choice with a purchase! And the winners are . . .
Rob Koral – Wild Hearts – 2021 Tracks: Show Me The Way (5:46), Funky “D” (7:14), Summer (8:12), Take Me Back (4:40), Saving Grace (7:18), The Showdown (5:17), The Beyond (5:00), Hold Tight (5:37)
Part jazz, part classic rock, part blues, and all with a sprinkling of prog over the top for good measure. That’s probably the best way to describe Rob Koral’s new album, Wild Hearts. Rob has played on over 30 records, and he is most well known for his work with the band Sketch. He is also a founding member of the band Zoe Schwarz Blue Commotion.
The songs on Wild Hearts are very upbeat, reminding me a little of the first Jethro Tull record and of Blodwyn Pig. The music is relatively simple – guitars by Rob Koral, Hammond organ by Pete Whittaker, and drums by Jeremy Stacey. The album sounds extremely fresh, which is likely due to the group recording the songs live in studio on one day in December 2020. I think that approach is best for this kind of jazz-blues instrumental music. It begs for improvisation. Rob wrote all the music, but he says that he didn’t tell Pete and Jeremy what to play. The result is music with form that still breathes. You can even hear the little hand movements on the guitar strings and the little natural noises you would get playing live. There’s even a sense of space from the room the recorded the music in. These elements add warmth to the recording, as well as bring a vintage feel to the music.
The Hammond organ really makes this record stand out for me. It adds such a rich atmosphere to the songs, even when the guitar is taking center stage. The drums have a jazzy improv feel that sets the perfect stage for the guitars and organ. My only really critique is perhaps a little bit of repetition throughout, but that also may be a result of the album being recorded live in a day. As such it’s quite an achievement. In a way it feels like a live jazz show. A song like “The Beyond” especially has that feel of anticipation as the soloing switches back and forth between guitar and organ. The longer guitar solo builds gradually over a very simple but effective drum beat. It’s smooth with a little bit of grit on the lower ends.
Wild Hearts’ strength as an album is it takes jazz and rock and strips them down to the basics. There’s nothing overly complicated here, but the extended jamming gives the songs room to grow and breath. It’s a solid album that has a positive and upbeat tone to it, sure to please on repeated listens.
Benjamin Croft, Far and Distant Things, Ubuntu Music, 2021 Tracks: Overture (1:13), Far and Distant Things (6:13), Brock (4:47), S.A.D. (Spatial Awareness Disease) (6:21). Tudor Job Agency (6:25), S&R Video (5:07), The War Against Loudness (6:17), How Not To Win The Nobel Peace Prize (6:17), Than You, That’s What I Wanted To Know… (5:35), St Gandalf’s (1:55), The Cashectomy (6:25)
I don’t listen to as much jazz as I should, probably because it is such a diverse genre that I barely know where to begin. I’ve always enjoyed jazz music in live settings. I think the genre excels when played live because it is a highly experimental genre, allowing room for improvisation. When I was in college I loved attending the concerts put on by the faculty jazz band. They were always so much fun. I think I enjoy jazz for some of the same reasons I enjoy progressive rock, which obviously is heavily influenced by jazz. At its most basic, the technical musicality in jazz keeps me interested.
UK musician Benjamin Croft’s Far and Distant Things has been such an enjoyable CD to listen to over the past month and a half. Croft wrote and arranged all the tracks on the album, and he also played all of the keyboards. In addition to Steinway and Yamaha grand pianos, Croft plays a whole list of various synthesizers and keyboards, thus bringing in a bit of a prog texture to his jazz record. Perhaps those elements are why he sent us his CD for review, but regardless of why, this is an excellent album. At any rate, the artwork is certainly prog, featuring cover art (and other artwork on the CD and in the packaging) by Hugh Syme.
Beyond Croft on keyboards, the songs have a revolving cast of characters, with Tristan Mailliot or Laurie Lowe playing drums on most of the tracks, except for “St. Gandalf’s,” which features Chad Wackerman. Flo Moore and Henry Thomas share bass guitar duties on the record. Guitars and on the album are played by a few guests, as are the wind instruments. Garthe Lockrane’s flutes on “Overture” and “Brock” are really quite something. It brings in that element of classic progressive rock as well as a fresh classical texture.
As is typical in jazz, there’s a lot of soloing on each track – keyboards, guitar, bass, trumpets, flute. Not each one of those on every track, but you get my meaning. The playing is smooth and easy to absorb. Some jazz can be overpowering, but Far and Distant Things sets you right at ease. The drumming and bass create a smooth yet complex rhythm throughout the entire album. The interplay between piano, keyboards, and the various wind instruments is quite pleasant.
“How Not To Win The Nobel Peace Prize” is an interesting piece in the way it shifts over the course of the track. It starts off as a more typical jazz song before speeding up and morphing at the end of the song into more experimental territory before fading out. It’s a shame it fades out, because I wanted to hear where they were going. The title of the track, along with others on the album, hints at a bit of sarcasm, which I can always appreciate.
There are some rock moments on the record. “Far and Distant Things,” featuring Frank Gambale on electric guitar, is perhaps more rock than it is jazz, especially when you take the synths into account. “Tudor Job Agency” has its jazz moments, but the guitar, played by Barry Finnerty, has a Clapton-esque vibe to it. There is also a passage of some incredibly fast drum beats that add a rock element to the song.
Give Benjamin Croft’s Far and Distant Things a listen for a laid back Sunday afternoon or evening. Or for any day of the week. The music is exceptionally well-written and equally well-performed. It brings me back to simpler times when I could enjoy a live jazz show without worrying about… well all the things we seem to worry about these days. This instrumental album will take you a world away, if only for an hour.
As previously promised, a look at the big reissues landing in the next few months — especially those available in one or more box set formats. Ordering links are embedded in the artist/title listings below.
The Beach Boys, Feel Flows – TheSunflower and Surf’s Up Sessions, 1969-1971: between their initial impact and their imperial phase as timeless purveyors of fun fun fun, Brian Wilson and his family pursued heaviness and relevance in a market that thought it had outgrown them — at least for the moment. This slice of the Boys’ catalog features less slick, more homespun takes on their timeless concerns (the same amount of girls, less cars, more daily life), with Wilson brothers Dennis (on Sunflower) and Carl (on Surf’s Up) taking the lead. The brilliant moments — “This Whole World,” “Forever,” “Long Promised Road,” “Til I Die” for starters — outweigh the embarrassingly dated ones, and music to make you smile is never too long in coming. Available from The Beach Boys’ webstore as 2 CDs, 5 CDs, 2 LPs or 4 LPs (colored vinyl).
BeBop Deluxe, Live in the Air Age:when Bill Nelson’s avant-glam guitar heroics didn’t generate bigger record sales, a live album was the next obvious move for this sterling British quartet. Better chart positions weren’t forthcoming, but 1977’s Live in the Air Age is an exquisite slab of BBD at work — Chuck Berry updated for the Apollo era, with a bit of Bowie/Mercury panache in Nelson’s vocals and blazing solos aplenty. Available from Esoteric Recordings as 3 CDs (adding the complete 1977 London concert) or 15 CDs/1 DVD (adding all surviving recordings from the 1977 British tour and a live television special).
George Harrison, All Things Must Pass: the quiet Beatle exploded on his first album after the Fabs’ breakup, immersing his radiant devotional compositions in Phil Spector’s patented Wall of Sound and drafting Ringo, Badfinger and the embryonic Derek and the Dominoes as his rock orchestra. The new remix scales back the symphonic swirl, brings forward George’s vocals, and gives the rhythm section a kick in the pants; just right to these ears. A serious contender for the single best solo Beatle album, well worth an immersion course. Available from the Harrison webstore in Standard (2 CDs or 3 LPs — limited colored vinyl available as well), Deluxe (3 CDs or 5 LPs), Super Deluxe (5 CDs/BluRay or 8 LPs) and Uber Deluxe (5 CDs/BluRay/8 LPs/various bespoke gimcracks/”artisan wooden crate” — you don’t wanna know what it costs) editions.
The Elements of King Crimson – 2021 Tour Box: the 7th annual compilation of tidbits from the Discipline Global Mobile archives, doubling as a concert program. This year’s selection of rarities focuses on the nine drummers that have called King Crimson their musical home (sometimes two or three of them at once). Studio snippets – like the one with Fripp, John Wetton on bass and Phil Collins on drums – live tracks, oddities, previews of coming attractions, and more. Available from Burning Shed or on Crimson’s current USA tour.
Lee Morgan, The Complete Live at the Lighthouse: never a mass media superstar, Morgan was nonetheless a jazz icon — one of the finest trumpeters of his day who played with heroes of the music like Art Blakey and John Coltrane, recorded more than 20 albums as a leader for Blue Note Records, and even managed to score a Top 25 pop hit with his funky “The Sidewinder.” This box (another product of jazz archivist Zev Feldman’s boundless energy) sets forth an entire weekend’s worth of recordings by Morgan and his dedicated, powerful 1970 band. Bennie Maupin on reeds, Harold Mabern on piano, Jymie Merritt on bass and Mickey Roker on drums bring the sophisticated, challenging compositions and spirited solos and backing; Morgan takes it from there, lyrical and fiery in turn. This is a great potential entry point if you want to explore jazz as a newbie, and a serious desert island possiblility for those already into the music. Available from Blue Note’s webstore as 8 CDs or 12 LPs.
Clive Nolan and Rick Wakeman, Tales by Gaslight: keyboardists Nolan (Pendragon, Arena) and Wakeman (Yes, Strawbs) box up their out-of-print concept albums Jabberwocky (with dad Rick W. reciting Lewis Carroll’s nonsense verse) and The Hound of the Baskervilles, adding a bonus disc collecting rough drafts of a 3rd album based on Frankenstein. Separate booklets and art prints for each of the 3 CDs included. Theatrical as all get out, and surprisingly good fun if you’re in the mood for Victorian-flavored melodrama. Available from Burning Shed.
Marillion, Fugazi: the band’s 1984 album, perceived as a “sophomore slump” at the time, is much more than a bridge between the feral debut Script for A Jester’s Tear and the early masterwork Misplaced Childhood, with plenty of gripping moments to recommend it. A new remix by Andy Bradfield and Avril Mackintosh compensates handily for the production nightmares recounted in this deluxe edition’s copious notes. Also includes a complete live set from Montreal; the CD/BluRay version adds bonus tracks, documentaries, and a Swiss television concert. Out September 10; pre-order from Marillion’s webstore as 4 CDs/BluRay or 4 LPs.
Van der Graaf Generator, The Charisma Years, 1970-1978: VDGG may have shared the stage with Genesis in each band’s formative years, but they were a thoroughly different beast. Peter Hammill’s desperate existential narratives and the wigged out instrumental web woven by David Jackson, Hugh Banton and Guy Evans made for a unique, highly combustible chemistry — bonkers dystopian sci-fi narrative over free jazz one moment, raggedly soaring hymns to human potential the next. This 17 CD/3 BluRay set collects the band’s 8 studio albums from the Seventies, adding extensive BBC sessions, a live show from Paris, all surviving television appearances “and more.” Now available from Burning Shed; the four newly remastered albums in this box (H to He Who Am the Only One, Pawn Hearts, Godbluffand Still Life) are available as separate CD/DVD sets for those wanting a lower priced introduction to this underrated band’s indescribably stirring music.
The Beatles, Let It Be: the Fab Four’s star-crossed attempt to return to their roots – recording live in front of movie cameras – ultimately became their first post-break-up release, drenched with Phil Spector’s orchestral overdubs to cover the rough spots. With a new 6-hour Peter Jackson documentary on the sessions hitting Disney Plus Thanksgiving weekend, Apple unleashes a fresh stereo remix (the 4th in the series that kicked off with Sgt. Pepper’s 50th anniversary). Super Deluxe versions also include 27 sessions tracks, a 4-track EP and a test mix of Get Back, the proposed original version of the album. Out October 15th; pre-order from the Fabs’ webstore in Standard (1 CD or 1 LP), Deluxe (2 CDs with selected bonus tracks) and Super Deluxe (4 CDs/1 BluRay or 4 LP/1 EP) editions. (The companion book of photos and transcribed conversations from the sessions, Get Back, is released on October 12.)
Emerson Lake and Palmer, Out of This World – Live (1970-1997): a compilation of key live shows in ELP’s history: their 1970 debut at the Isle of Wight Festival; a career peak show at the 1974 California Jam; the 1977 full-orchestra extravaganza at Montreal’s Olympic Stadium; 1992’s comeback concert at London’s Royal Albert Hall; and a previously unreleased 1997 show from Phoenix, Arizona. Out October 29; pre-order from ImportCDs as 7 CDs or 10 LPs.
Joni Mitchell, Archives , Volume 2 – The Reprise Years (1968-1971): more archival recordings from the early days of Mitchell’s recording career. Home and studio demos, outtakes, unreleased songs, her Carnegie Hall debut and much more — a complete acoustic set recorded by a enraptured Jimi Hendrix, anyone? Out October 29; pre-order from Mitchell’s webstore on 5 CDs or 10 LPs (4000 copies only), The Carnegie Hall concert is available separately on 3 LPs (black or white vinyl).
Genesis, The Last Domino? Yet another compilation of Genesis’ greatest hits, fan favorites and core album cuts, released just in time for their first US tour in 14 years. No real surprises in the track selection, but the blurbed promise of “new stereo mixes” of four Gabriel-era classics is intriguing. Out November 19; pre-order from Genesis’ webstore on 2 CDs or 4 LPs. (The UK version of this compilation, out September 17, sports a slightly different track list.)
Elvis Presley, Back in Nashville:the King’s final sessions in Music City, stripped of overdubs a la last year’s From Elvis in Nashville box, that yielded material for three years worth of albums. 82 tracks encompassing country/folk, pop, religious music and Christmas music. Out November 12; pre-order from the Presley webstore on 4 CDs or 2 LPs.
In the Works (release date forthcoming):
Robert Fripp, Exposures: another exhaustive (and potentially exhausting) set from Discipline Global Mobile. This one promises to cover Fripp’s “Drive to 1981,” including his guest-star-heavy solo debut Exposure, the ambient Frippertronics of God Save the Queen and Let the Power Fall, and the egghead dance music of Under Heavy Manners and The League of Gentlemen. Tons of live gigs promised to supplement rarities and studio outtakes.
Marillion, Holidays in Eden: the new Marillion album (now officially titled An Hour Before It’sDark) may push this further back on the release schedule, but Steve Hogarth’s second effort with the boys (an intriguing effort that tried and failed to go commercial) is next up for the deluxe reissue treatment.
Porcupine Tree, Deadwing:a promised deluxe set in the vein of 2020’s In Absentia. Internet gossip flared up when Steven Wilson, Steve Barbieri and Gavin Harrison were rumored to have reset the band’s legal partnership earlier this year; who knows how or when the Tree may blossom again?
Renaissance, Scheherezade and Other Stories: coming from Esoteric Recordings, the folk-prog quintet’s finest hour in the studio, melding orchestral grace with an Arabian Nights theme for the half-hour title track. If this is in the vein of other recent Renaissance issues, hope for a multi-disc set with a bonus live set and a surround remix.
What new music and archival finds are heading our way in the next couple of months? Check out the representative sampling of promised progressive goodies — along with a few other personal priorities — below. (Box sets based on reissues will follow in a separate article!) Pre-order links are embedded in the artist/title listings below.
Amanda Lehmann, Innocence and Illusion:“a fusion of prog, rock, ballads, and elements of jazz-blues” from the British guitarist/vocalist best known as Steve Hackett’s recurring sidekick. Available direct from Lehmann’s webstore as CD or digital download.
The Neal Morse Band, Innocence and Danger: another double album from Neal, Mike Portnoy, Randy George, Bill Hubauer and Eric Gillette. No overarching concept this time — just everything and the kitchen sink, ranging from a cover of Simon and Garfunkel’s “Bridge Over Troubled Water” to brand-new half-hour epics. Available from Inside Out as 2CD, 2CD/DVD or 3 LPs/2 CDs
Trifecta, Fragments: what happens when Steven Wilson’s rhythm section turns his pre-show sound checks into “jazz club”? Short, sharp tracks that mix the undeniable chops and musicality of Adam Holzman on keys, Nick Beggs on Stick and Craig Blundell on drums with droll unpredictability and loopy titles like “Clean Up on Aisle Five” and “Pavlov’s Dog Killed Schrodinger’s Cat”. Available from Burning Shed as CD or LP (black or neon orange).
As life in these United States opens up, my life finally seems to be settling down — at least for the summer. Which means it’s time to make up for the backlog of excellent albums (new and old) that I’ve heard since January, but haven’t written about here! Links to listen (to complete albums or samples) are included whenever possible.
New Albums:The Art of Losing (The Anchoress’ rich meditation on endurance) and the multi-versionadrenalin rush of Transatlantic’sThe Absolute Universenotwithstanding, most of the new albums I’ve loved so far have migrated towards jazz and classical — frequently with pianists at their center. Vijay Iyer’s Uneasy, made with bassist Linda May Han Oh and drummer Tyshawn Sorey, is a state of the art piano trio effort; blues and abstraction suspended in perfect balance and caught in an intimate, tactile recording. Canadian Bach and Mozart specialist Angela Hewitt shows off her range with Love Songs, a gorgeous confection of orchestral and art song transcriptions assembled in lockdown and performed with undeniable panache. The same goes for Danny Driver’s phenomenal rendition of Gyorgy Ligeti’s hypermodern 18 Etudes — virtuoso pieces whose serene surfaces turn out to be rooted in super-knotty counterpoint and off-kilter rhythmic cells. My favorite new album of 2021 to date? Promises by electronica artist Floating Points, spiritual jazz saxophonist Pharoah Sanders, and The London Symphony Orchestra, which manages to bring all of the above (well, except for the piano!) together in one glorious, 40-minute ambient epic.
Reissues: Big Big Train’s double-disc update of The Underfall Yardhas definitely had its share of listening time, between Rob Aubrey’s rich remix/remaster and the welcome bonus disc (featuring fresh recordings of the title track and “Victorian Brickwork” by the full band and brass quintet). With My Bloody Valentine’s catalog back in print, their masterpiece Loveless sounds as incredible as ever; crushing distortion and lush romanticism collide to channel the sublime. And Pete Townshend has masterminded a comprehensive Super Deluxe edition of The Who Sell Out, the band’s pre-Tommy high point. But my favorite reissues thus far have been It Bites’ The Tall Ships (especially the title track — what a power ballad!) and Map of the Past (a favorite of mine since its original release). With the then-unknown John Mitchell taking over from Francis Dunnery, IB sailed into the 21st century with their 1980s pomp intact, killer hooks, head-spinning riffs and all.