As you know ,Gonzalo Rubalcaba (from Cuba) is one of the greatest jazz pianists all over the world.
In his early career ,he recorded this brilliant jazz rock live album in 1987. You will be surprised his miraculous progressive keyboard playing a lot. The following album is the same as my post....Discogs BTW It is famous that Cuban vinyls are not good condition very much....but mine is really near-mint one,so happy you will enjoy this forgotten gem without any mental stress. And,he also released "vol2" but I don't own it yet,so please share it if you have the file.
It was surprisingly easy to find the complete original rip of Chez Wahlberg on a Friday night I had nothing better to do... good for you guys to have found out it was incomplete, which I never thought would happen and in fact had forgotten about. On the same backup CD I found the album she did after the Vol. VI one (obviously) which was distinctly inferior, though there are a couple of great songs, esp. the "Over the Weekend" number and the incredible sound of the electric piano on "Free Again". There must be only a handful of people in the world who even knew of the existence of this album, at least until now.
The gorgeous track "After Me" that closes the album out should have been a hit.
Check out the hilarious lyrics for "Loving in the present tense:"
I'll do this first since as you can tell from what I wrote this is one of my favourite discoveries from the last couple of years. I'll post a wav, please use a standard program like xrecode to convert to mp3. If anyone can help with these reuploads I would appreciate it greatly.
Apologies for being so quiet, but I would like to open the door to any requests in the meantime.
And thanks to http://progressreview.blogspot.com for helping fulfill some requests. I urge everyone to bookmark that website and follow it daily as I've seen so many interesting things in there. I believe it may still prove to be a worthy successor to this location and I might switch to contributing there.
Everyone please have a happy holiday period and merry christmas as the case may be, in particular to isabelbc, wherever you may be.
This was requested in the Quartet Music posts. I asked the "new kid on the block" if he had it, and he apparently does. So I'll send you to him, because for now, I am going on vacation for a few weeks. Good luck everyone, and hopefully you will be entertained in the meantime there, it seems you will. http://progressreview.blogspot.com
I guess people might have misunderstood a bit what I was doing in the last few weeks, I meant to post my own personal favourites-- maybe using terms like best or masterpiece was wrong-- that I heard in the last year or so. I guess few read the introduction, which is OK, and I understand since it was pretty long-winded. I wouldn't claim that it will turn out these are the favourites for everyone, it's obvious people have different tastes, so I apologize if you're disappointed, I honestly do. Please, no more crazy fighting, my purpose is to share music with as many people as possible and I've said that multiple times. I guess the odd thing is there are people who don't like it. But you can't make everyone happy, as you can see from the political situation in the United States. In fact you can't even make a minority of people happy.
As usual I check nowadays to make sure a post hasn't been posted before -- I've had enough comments about that issue already (and again, sorry about the mistake with matrix, I was completely wrong with that one, though I still think it's great music!) So I was shocked and fell off the chair to see this unknown new blog had already posted this album: http://progressreview.blogspot.com/
So I'll just send you there.
A representative piece is the "Morning Song," which has a fugue-like structure played between organ, flute, and electric guitar, with the drummer giving a wave-like sound with his cymbals in the background. Simply astonishing.
What a beautiful cover! The paintings with musical instruments and nature scenery are a hallmark of the Eastern European covers, right? We've seen them before. But I love this one, so typical of the seventies, with its darkly surrealistic background similar to an Yves Tanguy.
To make up for yesterday's pulled-down post of Matrix (which I urge everyone to buy to hear) I'll post this one, which probably hasn't been released to CD yet, though I might be wrong since I scarcely have time to check on all these things. Derived from the famous hoard of Berlin I alluded to earlier, this one compared to Matrix is interesting in that it is squarely in the European fusion style or perhaps Russian fusion style, versus the Matrix which was US-style fusion. On the other hand, it suffers slightly from featuring over-long improvisations in my opinion.
After today I'll say goodbye until after my holidays for a bit.
After their collaboration on "First Wind", they made these three interesting albums. Frank Ricotti was a session musician and library music contributor as you can see here: http://rateyourmusic.com/artist/frank_ricotta
He did make this highly interesting album called "Vibes" in 1981 which features a couple of very well-written and progressive tracks, though the majority of it is library muzak. Worth hearing for the great 2-3 tracks.
As for de Albuquerque, he moved into the pop-prog direction, away from the folk of "First Wind" with two phenomenally well-composed albums. http://rateyourmusic.com/artist/michael_de_Albuquerque
These are the kind of professionally-played and smooth pop prog records only the British could do well, think Argent, Greenslade, Mike Hugg, or perhaps Stackridge. The imaginativeness of the arrangements, as was the case with The Beatles, is what I love the most here. There are ordinary tracks, but then out of the blue you hear some really interesting progressive chords or passages. Highly recommended!
Simply the best fusion you can imagine on one album. Notice the track called 'Thetan' -- a reference to scientology, most likely because one of the members was one? It's a bit unlikely since in the early seventies this was still part of the most secret inner rituals of scientology. Thanks to multiple exposes and the internet, everyone can now read the 'secrets of scientology' involving thetans that were supposed to cause people to die of shock when they read them-- more likely die of laughter... Here you can have a listen to Thetans:
All the usual comments apply, the things I've said dozens of times before:
-the compositional quality is so high this rivals anything written by Stravinsky, Prokofieff, etc.
-why is this not played in symphony halls instead of the same tired old classical compositions we should all be so sick of hearing?
-the amount of work these composers put into this record is utterly incredible
-the cover art is so beautiful in these old masterpieces -- what is the chance some of our favourite album covers will be displayed in art galleries someday?
-there is no more advanced or perfect music than such a combination that uses everything humanity has created: pop, rock, classical, folk, and jazz, and combines all streams into a seamless whole
-what is it about music that makes it so beautiful? of all arts, it seems to be the most abstract kind of intellectual exercise, although rooted in the auditory sense, it has a level of abstraction not achievable with any other sense and functional MRI shows, as I said before, multiple levels of brain from the bottom emotional areas to the topmost cortex are involved in its enjoyment
For comparison purposes, this album is similar to the amazing Kolibri - Winterserenade which isabelbc posted here some 2 years back or so. (Btw, when I looked at that post recently I read some comments requesting their first album Tsamadou. I listened to that one and was very disappointed, it's purely ordinary folk and even has cover versions of pop songs like some Jim Croce (if I remember correctly). Not one to request.)
On the back of the record this comment: "Three composers, interpreters and improvisers reveal to us their universe: an original new chamber music which molds and transforms many resonances of classic, jazz, and folklore..."
Regarding the title, I read with great sadness a recent article discussing the last stands of the baobab tree in Madagascar, as usual, the suggestion that they will be all gone in a few years if the environment continues to deteriorate. For those like me who grew up on the baobab thanks to Le Petit Prince such information is especially depressing. I've spoken often about how cooperation evolved in humans and made them the masters of the planet, but this altruistic impulse is forever at war with the more basic selfish impulses which have existed in life forever. Simply, cooperation evolved at a time when humans were in small groups and competed with other small groups for scarce resources (like prog albums?). Obviously a cooperative group did much better than a group of selfish cheaters. However, we are now all one tribe, one huge tribe, and in our society it's the selfish cheaters who are favoured, for various reasons. It's interesting that now nature has set us up for a huge challenge since we must all cooperate to preserve the earth as our living home, the question arises, will the new instincts of altruism win out and thus will we preserve ourselves as a species? or the old selfish instincts win and we fall into fighting and murderous competition for a dwindling supply of food? This huge moral combat will play out in the lifetimes of my children who are now 4 and 6, which is why the subject is so intensely interesting to me.
Like the little prince, will we feel so sad about our lost home that we will go back to our friend the snake and let him bite us?
This is their first LP, I posted the other two last year. As is so often the case in these situations this first installment is the best and features the most ingenious compositions. In particular, the classical music influence comes through very strong and clear. These guys are very similar to Oregon and Ralph Towner as I mentioned earlier.
Over the years I've listened to this album hundreds of times and last night, listening again, I still found endless beauty and forms most magnificent as Darwin could have said.
A magnificent, superbly masterful American guitarist by the name of Tony Palkovic produced two seminal masterpieces of US-style fusion called "Deep Water" and "Every Moment" -- and thanks to osurec (the mighty osurec) again for introducing me to this brilliant and uncompromising artist. This is in the style of for ex. Mike Warren and Survival Kit or Mike Santiago and Entity (I always have trouble telling those two apart) or the Tony Dupuis album I posted last year. Tony P. is still active in music and just released an album called Esoteric: http://www.tonypalkovic.com/ http://www.tonypalkovic.com/esoteric_palkovic.html
I would really love to know if he has a day job, or if he is able to work only in music, because of his outstanding talents. I'd like to ask him what he thinks of these masterpieces of the past, and if he agrees with my constant thesis that the music of this period is superior to anything before or after. (Probably he would disagree, since he just made a CD.)
I just love this record, it's so full of energy, which is the prime reason I love fusion, but also it runs all over a huge variety of emotions and styles, and it's obvious he was classically trained because of the appearance here and there of classical chord progressions. So the sheer variety and creativity in here simply astounds me. I've mentioned this before as what I believe the single factor that explains to me why the progressive music was so good in this period, the fact that these musicians had such a great education to build on.
Bakmak - out of the blue (REUP in stereo below, the second link)
Bakmak - forward flight (REUP in stereo below, the second link)
(both are excellent)
Quartet Music - ST (posted next up)
Quartet Music - Ocean Park (REUPPED BELOW)
Quartet Music - Window on the lake (I posted it last year) (REUPPED BELOW)
Suburbanismo -- (Reupped two posts up)
Coalition - Mindsweepers -- (Reupped two posts up)
As usual, I will upload probably Monday or Tuesday if no one else does. Remember even though one person requests, about 50-150 people wind up downloading each link, so there's a huge need for these reups. I didn't realize this until I started doing it myself.
" Today we start a new series of obscure early 80s German progressive and fusion albums. We have 5 to report on that have arrived via various sources recently. Today's post is courtesy of Midwest Mike and is probably the rarest and most sought after of the bunch. Audite is a vocal heavy German language album, with a clear affinity for the classic 70s progressive rock sound. Sophisticated arrangements are apparent, and the electric guitar work in particular is exemplary. Synthesizers and even a little flute propel Audite to interesting status. No getting away from the canned early 80s production though. I was most reminded of Anabis' "Wer Will?" album though Anyone's Daughter "Piktors Verwandlungen" also sprang to mind. A good one for aficionados of the 80s German symphonic sound, though a bit of a slog for those looking for more dynamic instrumental input."
It was a priority none, a devastating assessment, guaranteed to cause it to languish in obscurity-- until now. I actually think it's excellent in the chosen style of 'seventies symphonic'. And as he said, it's rare as hell.
So here's a record from Tom's cd reissue wishlist.
On the back: "This record is dedicated to my mother, to my wife, to my son, special thanks to Herbie Hancock."
Thus [tracks titled] Jocelyn would be his mom, Sophia his wife presumably, "Naissance" refers to the son (whose picture is on the guitar?). I love the fact it could almost be a concept album since both birth and death appear here.
First of all I'll let Tom speak
"Following on from the Major Surgery post (4 days later, but such is my life), we have another fine record submitted by The AC - this time in the fusion category. Francis Moze is one of many ex-Magma alumni to have pursued a short career in the fusion field. Perhaps the most overt of these attempts was the collaboration of Lockwood, Top, Vander & Widemann, and their 1981 album so subtlety entitled "Fusion". It's not overly surprising, given that Magma were at heart a jazz group right from the beginning. However by the time of "Mekanik Destruktiw Kommandoh", the band had become so creative, it spawned an entire music movement that still survives today: Zeuhl. Moze was a veteran of the early Magma lineups, and later turned up on a couple of the more fusion oriented Gong ensembles. Thus his one sole album flew under the radar, unlike his bass playing brethren such as Paganotti and Top. The AC says: "Obscure fusion album by this former Magma bassist. At first glance, this would seem to be quite typical of other such early 80s French efforts from the likes of Francis Lockwood, Raymond Winter, etc. That is, light and glossy jazz fusion with not too much in the way of depth. That's not too far from the truth, but as the album goes on it reveals itself to be above average for this style, with some fairly engaging instrumental compositions and a pleasant overall atmosphere. Worth a look for genre fans." And that's exactly right, the album really gains momentum as it goes. Personally I'm a big fan of the McCoy Tyner styled staccato piano, and Moze's band utilizes this technique to great effect, propelling the music forward at an exciting rate. I'm rather certain our fusion readers will want to hear this one. Very nice record from perhaps a surprising source. "
And thereby he gave it a priority 3. I personally really love this record. I could listen to it all day, and there are days where I have done just that. The ingenious use of electric keyboards (Andy Emler) throughout is what really impressed me. There is a bit of the repetitive patterns characteristic of zeuhl but the best thing about this is just the strength of the compositions and the sheer enjoyment value. Consider the song Sophia. Starting off with a happy funky fusion vibe, Patrick Gauthier-like on a G suspended basis, note how halfway through the song it completely changes direction and goes to G minor with that gorgeous descending pattern on the electric piano-- subsequently traveling through various nice diatonic modulations before returning to electric piano soloing and closing it out with a really soft finale-- wow! The change in emotions is stunning. The feeling you get that he really loved whomever it was he had written this for, is palpable.
I don't think it's a detraction to say this music is so well-written you could see them playing it in your local Starbucks- [yeah fat chance that will ever happen, the people who get music for them are complete ignoramuses].
One last remark about Tom and cdrwl-- those who have followed the last few posts there may have made note of the utter admiration with which Tom has expressed his thanks to us here for discovering such utterly unknown gems as Gold - No Class Whatsoever and Rantz. So thanks to Tom for pointing that out (lol).
This is without doubt one of the best all-round rock records I've heard in the last year, in particular, the two last songs I've played literally hundreds of times, over and over again sometimes, they are just so perfectly beautiful in their own style of progressive, intricate, harmonious vocals with that great rock basis. Why, as I've said so many times before, was this album not on that Rolling Stones top 1000 list, soon to be 100,000 best albums list, when it's so damned good? Why did those last two songs, Monica, and Turn to Gray, not go to the top of the charts way back in the late seventies?? Why did I have to wait 24 years to hear this great record???
Monica, about a free spirit with 'long brown hair' - one of those 'standard' subjects for rock songs ever since Ruby Tuesday:
"Your new dreams are worth a try, but the ones you left behind don't die, they're mine"
What a cover drawing! On the left a clown is about to hang himself, on the right a huge ?chrysalis is hanging from the bare tree, but why are the two line-figures running towards it? Others might see something else here, I would love to hear some interpretations. I've said it before, the covers are always worth seeing on these old records, these artists cared so much about their presentation package, not just the music.
In style this is 'typical' German symphonic prog with some acoustic bases, I think everyone know what this means, I'm not going to insult you with examples or explanations. And note there is a part 2 coming for those who love this style! I made a mistake yesterday in calling it 'seventies symphonic' of course this is from the early eighties, though the style is definitely the seventies style I think you'll agree.
Of course this is from the Berlin stash or perhaps I should call it, my BC -- Berlin Connection -- in a nod to the cdrwl-- which you may have noticed is also updating at a frantic pace. So the fall will prove a bonanza for the rare prog rock fan.
I've spent many hours listening to trash to try to bring you the best of what I've heard. The next 2 albums will be stuff I've resurrected from Tom's cdrwl which I felt he unfairly maligned in his posts from last year, you can be the judges and juries for these (as well as the executioners for Tom). They at first were hard to like but over the course of the year I found I listened to them more and more and enjoyed them more and more, this is why I will present them to you. That kind of album: initially perhaps disappointing, but give it time, they turn out to be full of interesting intricacies. So without a doubt I call them personal "priority 2's"!
With regards to reup requests, please make requests at the latest or second latest post since I don't read the old posts or comments at all. (Comment moderation as explained a few times before is done by the blog owner, or by isabelbc when she was here, not by me, I'm not responsible for not publishing offensive insulting comments, although I agree they should probably be left off so as not to encourage misbehaviour or fighting.)
You will all recognize the title as the famous sci-fi novel by Arthur C. Heinlein in which a moon-sized ion-drive spacecraft filled with 5-year-old kids with IQs over 40,000 points each and mentally retarded computers return to their home planet, Equis, which has been devastated by nuclear war only to decide an intergalactic war might be the best way to 'cleanse the biosphere' of the remnant colonies of de-evolved humans, who now are slaves to advanced worms twenty feet long (advanced in the sense they can now do Euclidean geometry, but not non-Euclidean or Lobachevskian), whereupon the mind of god interferes with itself to decide entropy itself shall be reversed, leading to the collapse of the whole universe into a new rebirth on a hospital bed where Louis Gossett Junior arises as an infant reborn into the space and time of the seventies, the golden age of course of Charlie's Angels and Fantasy Island... But wait-- in the epilogue, it is revealed that the entire preceding 8000-page trilogy of novels was merely the memory of an aging computer about to be dismantled for spare parts in the fabled junkyards of Traxa the iron planet-- was it just a fantasy or truly a memory? bang bang, the computer breaks, we never know, we really don't care, we're just tired from reading such a long book, now we need to eat some chips
What I'm going to do (along with those pesky re-ups) in the next few weeks is feature some of the best progressive music I've heard in the last year that I've kept behind, from all over the world. Almost every day, just like over at Tom's cd reissue wishlist, I will bring out some hidden treasures that will rival your old masterpieces in quality, those albums that everyone considers masterpieces such as classic Genesis or classic PFM. At least in my opinion they rival our old standards-- please keep this proviso in mind, since musical taste is so individual many will disagree. The one thing you can't disagree with me about is the sheer progressiveness of the records I'll be featuring, and I'll make a point of stating the case. All of which will build up to the climactic announcement around mid-October of an album so good it really should be on those stupid Rolling Stones top ten albums of all times lists, or rather nowadays top thousand albums of all time (amplifying the number to placate those self-obsessed baby boomers, which adds an order of magnitude each decade that passes, predictably, so that by 2040 it will be top million albums of all time). And in the process I will tell you a story about a hidden trove of progressive gems found in the Kunstlerhaus of Berlin, Germany, that country I so love to make fun of, those people I so love to satirize (I 'm half German on my mother's side which is from where this tendency derives). When I found out this art museum had a repository (similar to the Svalbard Global Seed Vault in Spitzbergen, Norway containing seeds of every kind of plant on earth) of progressive albums, one copy each of every one ever made, I literally fainted and had to be woken up with smelling salts held by a little waif from an opera libretto. Now, I said, now I understand what it means to be the man who had everything.... cf.: http://prognotfrog.blogspot.ca/2010/05/return-of-man-who-had-everything.html
Quickly, I took copies of every album I had not yet seen and ran back to my taxi, Snowden-style, to take it all back home and slowly and gradually I worked my way through this treasure trove to assess what is good and what is forgettable…
I will repeat in the process the mission statement of the blog which is to popularize this most incredibly unknown and maligned style of music that I believe is one of the great apogees of human creativity. I will talk again about how brilliant minds operating from the young and exuberant rock arena of the sixties decided to broaden their horizons by incorporating into popular music and rock the ideas of classical and modern European music and jazz to craft an amalgam more beautiful than any before, more durable, shiny and shimmering than any music or even artform created heretofore, because of its intellectual appeal and emotional approachability and range... We will hear my favourite styles of course of fusion and RIO, the kind that combined the best of modern European music with rock (think ELP's borrowing of Bartok, or Art Zoyd), but also singer-songwriter styles, and the classic prog of Genesis as before said. Then in a few weeks I will show you an utterly unknown record even among the progressive collectors that can rival anything on that aforementioned idiotic Rolling Stones best albums of all time list or anything on any prog fan's top ten list. All this will end, as everything must eventually (including this blog and my life and the whole universe as a result of accelerating expansion), around 6 weeks from now when I have to go on holidays again-- too bad... Ready for it?
Tomorrow to kick things off I will be presenting to you one of the rarest and most sought-after German symphonic rock albums from the seventies, you will not be disappointed, although, it's so rare it might be you've never heard of it. And so to quote now JFK when he stood upon the Berlin Wall long ago as sharpshooting GIs aimed their military assault rifles at the East German guards killing several hundreds that day to protect their president and Marilyn Monroe stood below holding the jelly donuts (stuffed with her vaginal secretions) up for him to eat for a taste of victory: "Ich bin ein Berliner"!! and by this he declared war upon all commies in Hollywood as well as all cubans and cubists and anti-mafia activists, as F-15s strafed the East Berlin streets with RPGs [rocket-propelled grenades] ... get ready cowboys, 'cuz it's gonna be one helluva ride...
I figured I would put all 3 albums in one post. Here is where the first 2 records were posted: http://prognotfrog.blogspot.ca/2012/01/natdamperen-1975-denmark.html http://prognotfrog.blogspot.ca/2012/01/natdamperen-boogieman-eats-frikadeller.html I guess I was wrong in thinking the last album had been posted by isabelbc. The first 2 I bought ripped and sold long ago, always of course selling them at a loss, so I could buy more... The cover of Boogieman is just so wonderfully freakish, isn't it? One of the best drawn covers I've ever seen. The style is free-form jazzy meandering with swirling hammonds and electric guitar doodling, a bit too improvised for my taste esp. in the second double-LP. In the last album they caved in to the profound influence of fuzak the smooth and easy-styled fusion that was prevalent everywhere in the world at the time but not completely: there is definitely still some of the old German From-styled psych craziness, so it's my favourite of the 3. Now tomorrow as you will see from the title of the next post, we will be saying goodbye to this past fortnight of fusion. I can't wait, stay tuned for that. And no, it's not that I'm getting married, unfortunately I'm already in that state.
Great cover, right? Gotta love that German sense of humour.
It's latin-styled fusion, with some progressive moves here and there, by request reupped. Not exactly the best exemplar of the style in my opinion. A 'priority none' certainly.
Note that Cry Freedom was also put up, you can see it at the Teo Macero Betrayal post. http://rateyourmusic.com/artist/holde_fee
This man with the odd name was a guitarist for the German band Cochise, which made many albums of mediocre ethnic-folky music that were very difficult (for me) to wade through. These passed with hardly a notice or song snippet worth remembering. Therefore it was a huge shock when this album turned out to be exceptionally beautiful folk, one of the most perfectly crafted chamber-folk albums I've heard in the last year along with the Larynx I put up some time back. Credit again to Sebastian at the growing bin for 'discovering' this album, or at least for me noticing it in that venue. He did another album before this. It sounds very similar to Emma Myldenberger or the astonishing chamber-folk outfit Radio Noisz Ensemble, known to all those who love prog, which was the same band essentially. http://rateyourmusic.com/artist/pit_budde http://rateyourmusic.com/artist/cochise_f1 http://rateyourmusic.com/artist/radio_noisz_ensemble http://www.discogs.com/artist/Pit+Budde
A masterpiece of perfectly and gorgeously played acoustic guitar, all instrumental -- playing at the highest level of accomplishment, mastery, and beauty, with additional colour provided by oboes, flutes, etc. Use of the oboe in particular always imparts a plaintive sound to everything around. One of the best in the style of as shige calls it 'healing guitar' music...
As bonus I have a wonderful re-rip of the Scope II album requested at the Scope I post last week, all credit to the magnificent multi-linguist Mr. Morgan for this. Don't forget to thank him for the efforts of purchasing the record and ripping it for us all.
[This album, being one of the best acoustic guitar albums I've heard in the last year, will serve as a great introduction to the announcement I will make soon. The one that, you know, is supposed to be really shocking. Except it won't be, because I built it up way too much.]