World Fusion

Here's and early release by 1/2 of Special EFX [before they teamed up]

A native of Budapest, Hungary, percussionist George Jinda began playing the piano when he was six but switched to drums by age ten. Tony Williams along with African and South American rhythms were early inspirations, but it was Jack DeJohnette who Jinda declared his idol. Jinda and his family moved in 1966 to New York City, the place where he would meet guitarist Chieli Minucci in 1982. The two formed one of the most successful smooth jazz bands ever, Special EFX. In 1992 Jinda shared the stage with Miles Davis in Japan and started work on his World News project. Special EFX released 13 albums before artistic differences separated the two in the mid-'90s. The split was friendly and Minucci agreed to let Jinda keep recording under the Special EFX name. The first Minucci-less album, Here to Stay, was released in 1996, and Jinda took the band on the road. Jinda had been dealing with asthma and diabetes for quite some time and in 1997 the two conditions worsened, causing him to suffer a debilitating stroke. The long-term effect was myoclonic disorder, a neurological disorder that left Jinda with no control over his body's physical functions. The bedridden Jinda was cared for by his wife, Nivea, and the two gave their blessings to handing Special EFX back to Minucci. After a long battle, Jinda passed away in early 2001. ~ David Jeffries, All Music Guide



1 American Vogue 2:07
Synthesizer - Alain Wisniak
2 Funky Daddy 4:40
3 The Wheel Of Love 4:07
4 Goodbye Louis 4:16
5 Dividing 3:08
6 Nostalgia 3:40
7 Funny Side Of The Strut 3:49
8 Absolution 3:15
9 Open Bridge 1:20
10 Dead Pan 3:10
11 American Vogue N° 2 2:05

Related Artists:::

Arranged By - J. L. Bucchi* (tracks: A1, A2)
Artwork By - César Andreini
Bass, Effects [Fuzz Phaser] - Didier Batard
Bongos, Congas, Percussion - Tiboom
Engineer - Alain Wisniak , Jean-Louis Bentolina
Flute, Saxophone - Jeff Seffer
Guitar - Pascal Bournet
Keyboards, Synthesizer - Jean-Louis Bucchi
Photography - Michel Adda
Producer, Drums, Percussion - George Jinda
Written-By - D. Batard* (tracks: A1, B6) , G. Jinda* (tracks: A3, A5, B4) , J. L. Bucchi* (tracks: A4, B1, B2, B4) , J. Seffer* (tracks: A2, B3, B5)
Notes
Recorded at Marnes-La-Coquette Studios (France)

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Keyboardist Jan Fukamachi released a series of solo albums in the mid-late 1970's. During the 80's , was a member of the band Keep along with guitarist Akira Wada who went on to form Prism.
Fukamachi's keyboards style and virtuosity is such that is is sometimes referred to as the Japanese version of Chic Corea.

Versatile keyboard player, Massive fusion of Jun Fukamachi work. It is a rare piece of his work.



1. Meikyu (5:50)
2. Hateruma (6:53)
3. Shinku (9:27)
4. Rokuyu (18:40)




Related Artists:::

Jun Fukamachi -- (key)
Takeru Muraoka--(sax)
Shuici "Ponta" Murakami--(dr)
Kenji Omura--(g)
Ray Ohara--(b)

320hq

rar

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1. It's You--7:38
2. Neutrino--9:16
3. Aprés Un Rêve (After A Dream)--2:55
4. The Minority--7:47
5. The Sea Of Dirac--10:55

Related Artists:::

- TRACKS 1,4 -
Jun Fukamachi : keyboards
Howard King : drums
Tony Levin : bass
Eric Gale : guitar
Steve Khan : guitar
Crusher Bennett : percussions
Ernie Watts : saxophone (on 1)
- TRACK 3 -
Jun Fukamachi : keyboards
- TRACKS 2,5 -
Jun Fukamachi : keyboards
Steve Gadd : drums
Anthony Jackson : bass
Barry Finnerty : guitar
Crusher Bennett : percussions
- HORN SECTION (on 1,4,5) -
Randy Brecker : trumpet
Michael Brecker : tenor saxophone
Barry Rogers : trombone

320k

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I can't find any good info in English but it's a very nice album.

Tracks;
01. Jazz Tsunagi
02. Fantail Forest
03. JL 723
04. Jackpot
05. Jazuka ?
06. Groove K
07. Fantail Forest (solos)
08. Funky Funk
09. Endless Daylight
10. Jakuzure
11. Tri Tetra Tones
12. Hip Jive

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Enjoy the ride

Supple and subtly devastating jazz rock that seems to float a few feet off the ground from this offshoot of Placebo, who were effectively Belgium's answer to Nucleus, something that could equally be said about Solis Lacus as well. Thats the sort of factoid guaranteed to assure pricked ears and plastered grins in my social orbit and these cats make it all just sound so bloody effortless; their liquidly expanding and contracting rhythmic sense, elegiac Ian Carr-like trumpet phrasing and overall aerated Rhodes-washed atmospherics causing this at different times to glance off of both Transit Express and Hal Galper as well. Monster caliber.

LineUp:
Richard Rousselet - trumpet, flugelhorn, percussion
Robert Jeanne - tenor & soprano saxophone
Michel Herr - piano, Fender Rhodes electric piano
Nick Kletchkovsky -electric bass
Bruno Castellucci - drums, percussion
or
Félix Simtaine - drums (in Peace Please & Remake)

The Solis Lacus album was recorded in April 1974 ("Remake" only) and May 1975 at Madeleine studio, Brussels.
The Perspective album was recorded on January 28, 29, 1978 at Morgan Studio, Brussels.
CD (B Sharp CDS 082 : reissue on CD of B Sharp LPs 1001+1003)

Tracks;
01. Utopic Cities 7:02
02. Peace Please 6:15
03. Open Air 5:40
04. Little Green Man 4:42
05. Sea Of Tranquility 8:45
06. Remake 5:10

VERY HIGHLY RECOMMENDED!!!

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Thanks to dragonfly for the original files. D/L'd this awhile ago and had it on a flash drive. back in mid 2007. Great sound and picture.

You have , Dimension themselves, then Casiopea themselves + a guest guitarist that I don't know. Then Dimension,Casiopea and Netti Tropical Jazz Big Band all together for Asayake. A great show..

INTERVIEW WITH CASIOPEA
DOUBLE MARKET-DIMENSION
TONES-DIMENSION
SE LE NE -DIMENSION
IF-DIMENSION
ARE YOU GONNA WIN-DIMENSION
INTERVIEW
GO ON-CASIOPEA
MEDLEY**-CASIOPEA
UNICORN-CASIOPEA + GUEST
FIGHTMAN-CASIOPEA
ASAYAKE--DIMENSION,CASIOPEA, NETTI TROPICAL JAZZ BIG BAND

** SONGS IN THE MEDLEY ARE:::
LOOKING UP
MISTY LADY
BLACK JOKE
MID MANHATTAN
CONJUNCTION
THE SKY
ECCENTRIC GAMES
LET IT RAIN
TOKIMEKI
FREAK JACK

DIMENSION ARE-- TAKASHI MASUZAKI [G]
KAZUKI KATSUTA [S]
AKIRA ONOZUKA [K]
GUESTS:: TOMOHITO AOKI [B]
MASAHARU ISHIKAWA [DR]

CASIOPEA ARE-- ISSEI NORO [G]
AKIRA JIMBO [DR]
YOSHIHIRO NARUSE [B]
MINORU MUKAIYA-[K]

RAR
THIS VIDEO HAS NOT BEEN DOCTORED IN ANYWAY..

One of the most visible figures on the Afro-Cuban jazz scene, Gonzalo Rubalcaba is anything but a straightforward revivalist. PASEO, the pianist's 2004 release, takes the listener on a journey ("paseo" translates as "journey" or "walk") that obliquely references Afro-Cuban forms through the filters of hard bop, fusion, and elements of modal and free jazz. There is a driving, fragmentary funk backdrop to much of PASEO, with electric bassist Jose Armando Gola and drummer Ignacio Berroa creating a fantastic, push-pull interplay that lends a pulsing, contemporary feel.In Rubalcaba's compositions one can hear Cuban forms ("El Guerrillero" is rooted in the son) and nods to North American jazz (one recognizes the influence of Miles Davis's early electric period, especially when--as on "Paseo Con Fula" Rubalcaba plays the electric keyboards). Luis Felipe Lamoglia's saxophone work is mercurial, and perfectly integrated into the framework (on the atmospheric "Santo Canto" he seems to play only for tension and texture). The Latin elements are here in skeletal form, with such an array of complex textures and influences mixed in that the result is something entirely new. PASEO is testament to the fact that Rubalcaba is responsible for some of the best jazz of the early 2000's.



Tracks


01. El Guerrillero
02. Prelude In Conga / Homage To Hilario
03. Bottoms Up
04. Sea Change
05. Paseo con Fula
06. Meanwhile
07. Santo Canto
08. Quasar
09. Los Buyes


Featuring


Gonzalo Rubalcaba: Piano,Keyboards,Percussion
Luis Felipe Lamgolia: Saxophone
Jose Armando Gola: Bass
Ignacio Berroa: Drums


Recommended!!!


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Stone Free: A Tribute to Jimi Hendrix is a 1993 album recorded by various artists in tribute to Jimi Hendrix. The artists were drawn from many genres of popular music. Contributors include his classic rock contemporaries Eric Clapton and Jeff Beck, legendary blues man Buddy Guy, classical violinist Nigel Kennedy, alternative pop/rock bands Belly and Spin Doctors, hip hop artists P. M. Dawn, among others. According to the liner notes, the "artists were encouraged to not only record one of their own personal favorites but to also place their stamp on Jimi's songs." Several artists recorded radically different interpretations, particularly, P. M. Dawn, The Cure, Nigel Kennedy and Pat Metheny. Some artists, on the other hand, recorded versions that were rather similar to the originals.

The band M.A.C.C. is made up of Mike McCready (guitarist from Pearl Jam), Jeff Ament (bassist from Pearl Jam), Matt Cameron (drummer for Soundgarden and later for Pearl Jam), and Chris Cornell (singer of Soundgarden and later Audioslave). The cover of "Hey Baby (Land of the New Rising Sun)" is their only known recording. All four members of this group had previously worked together on the Temple of the Dog project.

"Surprises At Every Turn"
You don't have to be a fan of every contributor to this tribute album to enjoy the effort and end results that were achieved. You don't even have to be a tremendous Hendrix fan. What you get is an eclectic set of interpretations of the songs of a very talented individual. Of course, it helps if you can play guitar, which I suspect is why the strongest tracks involve Eric Clapton, Jeff Beck, and Vernon Reid (Living Colour). Even so, this collection goes a long way to proving just how far ahead of his time Jimi Hendrix was. Maybe that's why his music doesn't sound as dated as some others from that era, and maybe that's why this compilation of talent works so well. By A Customer



"Clear a space in your CD case for this one!"
Move on over, let P.M. Dawn, Beck/Seal, the Cure, Body Count, Buddy Guy et al., take over. An eclectic tribute album of Hendrix's greatest tunes featuring rockers, rappers and R&B artists. The Cure's cover of "Purple Haze" or Body Count's "Hey Joe" or P.M. Dawn's "You Got me Floatin' is worth the purchase price alone. Even if you didn't grow up with Henrix as a staple diet for your rock n roll body, this offering is a fourteen course meal of his musical buffet. One is left with the feeling that this collaborative group of muscians, aside from their own creative interpretative presentations, have given great reverence to a man and his music that has enormous staying power. Two thumbs and eight fingers up! By silverstone@bearvalleylodge.com (Bear Valley, CA)

Stone Free is as good of a tribute recording as you will find. You can take any style of music and change it's genre to make a new sound but this CD was able to keep the vibe and make it fresh. All the performers were able to put their mark into the heart of each song. When I first heard The Cure doing Purple Haze, I thought "this won't work" but now I find it has all the colors and textures that Jimi was famous for. Jimi was always the first to explore new ways to get the "Love" into his music so it would be appropriate to let these artist do the same. Buddy Guy just belts out Red House, Clapton nails Stone Free just as the rest give their all to create a total package. I can listen to this entire CD and not want to stop. Jimi would play music with everyone he could so he could keep creating new ideas and in many ways that is what he has done here. I can imagine all these great musicians working with him and coming up with this experience. Jaco, Beck, Chrissie, Buddy and Jimi all jam'n up good times sure works for me. By El Basso (Lincoln, NE USA)

Track listing & Personnel:

01. Purple Haze - The Cure
02. Stone Free - Eric Clapton/Nile Rodgers/Bernard Edwards/Tony Thompson
03. Spanish Castle Magic - Spin Doctors
04. Red House - Buddy Guy/Billy Cox
05. Hey Joe - Body Count
06. Manic Depression - Seal/Jeff Beck
07. Fire - Nigel Kennedy
08. Bold as Love - The Pretenders
09. You Got Me Floatin' - P.M. Dawn
10. I Don't Live Today - Slash/Paul Rodgers/The Band Of Gypsys
11. Are You Experienced? - Belly
12. Crosstown Traffic - Living Colour
13. Third Stone From the Sun - Pat Metheny
14. Hey Baby (Land of the New Rising Sun) - M.A.C.C.

*Includes full cover and booklet scan*

Related items:

Jimi Hendrix Tribute - "In From The Storm" (1995)

Jimi Hendrix - "Voodoo Soup" (1995)

Jimi Hendrix - South Saturn Delta (1997)

The Jimi Hendrix Experience - "Live at Winterland" (1986)

Jimi Hendrix - "Rainbow Bridge 2" (1995)

Jimi Hendrix - "Live at the Isle of Wight" (1970)

Jimi Hendrix - "The Concerts" (1982)

Jimi Hendrix - "Woodstock" (1994)

Jimi Hendrix - "Stages" [4 CD Box] (1991)

Enjoy!
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A descendant of various generations of Cuban musicians, Gonzalo Rubalcaba has become known as one of the top pianists of Jazz around the world. Giraldilla is an excellent example of his work.
Rubalcaba's follow-up to Mi Gran Pasion couldn't have been more unlike its predecessor. Musicians from a country where the phones don't work are set down in a high-tech German studio. It's strident, sprawling, and brilliant. World music? This is it. Dissonant counterpoint worthy of an Austrian, percussion that only a Cuban could play and the excitement of a young world-class pianist still learning to control his power.



Tracks


01. Rumbero
02. Proyecto Latino, Pts. 1 - 4
03. Encuentro
04. Giraldilla
05. Presidente
06. Campo Finda
07. Comienzo


Featuring


Gonzalo Rubalcaba: Piano,Keyboards
Mario Garcia: Guitar,Keyboards
Felipe Cabrera: Bass
Horacio “El Negro” Hernandez: Drums
Roberto Vizcaino: Percussion
Reynaldo Metían: Trumpet


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"In From The Storm"

1995 A Jimi Hendrix tribute by industry legends
Produced & Engineered by Edie Kramer
Words & Lyrics by Jimi Hendrix

"In from the Storm" (RCA Victor) is a star-studded tribute to Jimi, with heavyweights including Carlos Santana, Sting, John McLaughlin, Spin Doctor Erik Schenkman and Brian May of Queen joining Hendrix alumni Noel Redding, Billy Cox and Buddy Miles. On the Lonnie Smith Trio's "Purple Haze" (MusicMasters), jazz organist Smith, guitarist John Abercrombie and drummer Marvin "Smitty" Smith retool and extend four Hendrix tunes.



"An awesome tribute to the Massiah of the electric guitar"
There is no reason why this album should be below 5 stars. Before Jimi Hendrix perished, he said that his dream was to be able to see other cats jamming to his music and his goal in the seventies was to be a formal student of music theory and to jam with a live orchestra. When I got this album I got chills on my spine because of the musical impact and of what I read in past Hendrix interviews. Miles Davis was stunned by the young guitarist's capabilities. Gil Evans wanted to start a project with Jimi Hendrix. Both Jazz inovator and Conducter were left influenced and inspired. This album, In From The Storm is proof of how professional musicians of all genres became influenced and passionate of Jimi Hendrix's music. To conclude, this album is great and to hear Santana, Sting, John Mclaughlin, Stanley Clarke and the London PhilHormononic Ochestra was just awesome. By Obest Montellano (Orange, Ca)



"Give this a Chance"
When I first heard this I was put off by the orchestra but the more I listen the more the orchestra adds. The rhythm sections are excellent as are the guitarists and vocalists. I defnitely would have enjoyed more cuts without the orchestra but again the added strings and brass are an extra sonic adventure. The more I hear this cd the better I like it. I bet Jimi digs it! By Lu-ann Woo-o'brien (Pahoa, HI United States)



This recording has the best fidelity of any CD in my collection. The sound is astounding. The artists do Jimi a great tribute.... One of the finest CDs available...By Andrew L. Kramer.



This CD has some amazing moments. It's a wonderful group of top flight players. It also sounds like they enjoyed being part of a great project.



This recording has the best fidelity of any CD in my collection. The sound is astounding. The artists do Jimi a great tribute.... One of the finest CDs available...

Carlos Santana, Robben Ford, Brian May, Taj and whoever else is on here are very good guitarists, but they get buried beneath the orchestration and in some cases get devoured by the tunes themselves.

John McLaughlin, on the other hand, does not. His version of "The Wind Cries Mary" is timeless. It's what ever cover ought to aspire to (what Jimi did to "All Along the Watchtower" and "Hey Joe") - he takes the original song, and through his own vision and personality, pushes it farther. His solo is simply phenomenal. Just the sound he gets from that guitar is a killer, sort of After the Rain (his 1995 Coltrain Tribute album) plus distortion. It really sounds wicked. In sort of a winsome tribute, he goes nuts on the vibrato bar at the end of the song.

Track listing & Personnel:

01 - And the Gods Made Love ----------------------- Tony Williams, The London Metropolitan Orchestra

02 - Have You Ever Been to Electric Ladyland --- Buddy Miles, Steve Lukather, Stanley Clarke, The London Metropolitan Orchestra

03 - Rainy Day, Dream Away ------------------------ Robben Ford, Stanley Clarke, Taj Mahal, The London Metropolitan Orchestra

04 - The Wind Cries Mary ---------------------------- John McLaughlin, Sting, The London Metropolitan Orchestra

05 - Spanish Castle Magic --------------------------- Carlos Santana, Stanley Clarke, Sass Jordan, The London Metropolitan Orchestra

07 - In From the Storm ------------------------------- Corey Glover, Eric Shenkman, Billy Cox, The London Metropolitan Orchestra

08 - Drifting --------------------------------------------- Steve Vai, Corey Glover, Billy Cox, Tony Beard, The London Metropolitan Orchestra

09 - Bold as Love -------------------------------------- Steve Vai, Paul Rodgers, The London Metropolitan Orchestra

10 - Burning of the Midnight Lamp ------------------ Doug Pinnick, Eric Shenkman, Noel Redding, The London Metropolitan Orchestra

11 - Purple Haze --------------------------------------- Buddy Miles, Bootsy Collins, Steve Lukather, The London Metropolitan Orchestra

12 - One Rainy Wish ---------------------------------- Brian May, Cozy Powell, The London Metropolitan Orchestra

*Includes full cover and booklet scan*

Related items:

Jimi Hendrix - "Voodoo Soup" (1995)

Jimi Hendrix - South Saturn Delta (1997)

The Jimi Hendrix Experience - "Live at Winterland" (1986)

Jimi Hendrix - "Rainbow Bridge 2" (1995)

Jimi Hendrix - "Live at the Isle of Wight" (1970)

Jimi Hendrix - "The Concerts" (1982)

Jimi Hendrix - "Woodstock" (1994)

Jimi Hendrix - "Stages" [4 CD Box] (1991)

Enjoy!
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John McLaughlin remains one of the more fascinating Miles Davis
alumni because, like John Coltrane before him, his growth as a
musician, band-leader, innovator and artist (believe me, they
are all separate things!) can easily be traced on record. Also,
like Coltrane, his advancement along those lines is steady and
phenomenal. This particular CD is a landmark because it is here
where all of these qualities first fuse as a complete, satisfying
and prodigious whole.

From his original, startling early work with Miles, to Tony Williams' Lifetime (an overlooked power-trio if ever there was one!) to Mahavishnu Orchestra, to his forays into Eastern music
and mysticism, this is where it all comes together for McLaughlin. It marks the first time that his astounding technical mastery emerges at the service of a highly ordered
musical intelligence, and not the other way around.
With the help of such friends as Billy Cobham, Jean-Luc Ponty,
Carlos Santana, Jack Bruce, Tony Williams, Patrice Rushin, David
Sanborn and others, McLaughlin weaves a program of personal,
astounding and beautiful music. Every tune represents a different marker along McLaughlin's personal musical journey, and each and every one of them is a gem. From the swaggering edge of "New York On My Mind," to the Latin-soul of "Friendship,"
to the exquisite beauty of "Every Tear From Every Eye," each tune
just gets better and better, just as McLaughlin did over the course of his career to this point. This is where we bid adieu
to McLaughlin, the enfant-terrible of jazz guitar and say hello
to McLauhlin the mature artist for the first time. And what an
artist he emerges as!!! This is one of the very few PERFECT jazz
albums ever made! There is no filler, no dead-weight, nothing on it anywhere that isn't of the first and highest order.
Get it!



If you listen to McLaughlin's version of “My Foolish Heart” from 1978's Johnny McLaughlin - Electric Guitarist, it's hard to logically explain how the same guitar player had also produced the sounds found on so many of his earlier records. It's hard to reconcile this tune with his approach on his debut Extrapolation, Miles' Tribute to Jack Johnson, Larry Coryell's Spaces, and various recordings by the Mahavishnu Orchestra and Shakti. None of those earlier performances would have prepared you for McLaughlin's beautiful treatment of Victor Young and Nat Washington's jazz standard. His warm and serene arrangement sounds like the antithesis of what McLaughlin was known for.

Electric Guitarist was meant to be a comeback record for McLaughlin. Columbia Records was none too pleased that McLaughlin had produced three straight records with his Indian acoustic world music group Shakti. These records would eventually reach legendary status, but at the time they sold embarrassingly poorly. There was hope at Columbia that Electric Guitarist would bring John McLaughlin back to the top of the record sales heap. In the end, although it sold well, it did not sell as many records as Columbia had hoped.

Electric Guitarist features many of McLaughlin's contemporaries, including Chick Corea, Stanley Clarke, Jack DeJohnette, Billy Cobham, Narada Michael Walden, Carlos Santana, Jerry Goodman, and David Sanborn. There is not one weak cut on the entire album. Electric Guitarist also marks the first recorded use of McLaughlin's scalloped fretboard electric guitar, an idea from his Shakti experience that gave him a brand new sound. McLaughlin was able to bend notes and even chords beyond limits. This technique opened up a whole new vocabulary for his compositions.
Key cuts to play really loud include a duet with Billy Cobham, ”Phenomenon-Compulsion,” and “Are You the One? Are You the One?,” featuring Tony Williams and Jack Bruce. This tune harkens back to the great Tony Williams Lifetime that featured McLaughlin, Bruce and the late Larry Young on organ. Even though, for obvious reasons, Young couldn't make this gig, he would have loved this tune. “Do You Hear The Voices You Left Behind,” based upon the changes of Coltrane's “Giant Steps,” is an unrelenting jazz force that McLaughlin, Chick Corea, Stanley Clarke and Jack DeJohnette play for all they are worth.
Many all-star recordings do not live up to their promise. This album is not one of them. Johnny McLaughlin- Electric Guitarist was the last important recording of the initial jazz-fusion movement.

Released in 1978, Johnny McLaughlin - Electric Guitarist was really the first album, for me, which indicated just how varied John McLaughlin's talents really were. Sure, I had listened to Extrapolation, Jack Johnson, Larry Coryell's Spaces, a must have for all McLaughlin fans, Mahavishnu and Shakti. But none of those great albums prepared me for McLaughlin's lovely interpretation of the jazz standard "My Foolish Heart".

Track Listing:

1. New York on My Mind - (5:45) (J.McLaughlin)
John McLaughlin - electric guitar; Jerry Goodman - violin; Fernando Saunders - bass; Stu Goldberg - electric piano, organ and mini-moog synthesizer; Billy Cobham - drums.
2. Friendship - (7:00) (J.McLaughlin)
John McLaughlin - electric guitar (2. guitar solo); Carlos Santana - electric guitar (1. guitar solo); Tom Coster - organ; Neil Jason - bass; Michael Walden - drums; Alyrio Lima - percussion; Armando Peraza - congas.
3. Every Tear from Every Eye - (6:50) (J.McLaughlin)
John McLaughlin - electric guitar; David Sanborn - alto sax; Patrice Rushen - piano; Alphonso Johnson - Taurus Bass Pedals and Bass; Tony Smith - drums.
4. Do You Hear the Voices that You Left Behind? - (7:39) (J.McLaughlin)
John McLaughlin - electric guitar; Chick Corea - piano, mini-moog; Stanley Clarke - acoustic bass; Jack DeJohnette - drums.
5. Are You the One? Are You the One? - (4:41) (J.McLaughlin)
John McLaughlin - electric guitar; Jack Bruce - bass; Tony Williams - drums.
6. Phenomenon: Compulsion - (3:21) (J.McLaughlin)
John McLaughlin - electric guitar; Billy Cobham - drums.
7. My Foolish Heart - (3:22) (V.Young & N.Washington, arr. by J.McLaughlin)
John McLaughlin - electric guitar
Recorded at Sound Mixer Studios (tracks: 1.3.6.7.) in New York and Devonshire Studios (tracks: 2.4.5.) in N. Hollywood, CA.
Recording dates: January 16 (2.), January 18 (5.), January 20 (4.), January 26 (1.), January 28 (3.), January 30 (6.), February 2 (7.), 1978.
Produced by John McLaughlin in association with Dennis McKay.
'Do You Hear The Voices That You Left Behind?' is dedicated to John Coltrane.

Personnel:

* John McLaughlin - Guitar, Main Performer, Producer
* Narada Michael Walden - Drums
* Fernando Saunders - Bass
* Tony Smith - Drums
* Carlos Santana - Guitar
* Stu Goldberg - Organ, Synthesizer, Piano (Electric)
* Stanley Clarke - Bass
* Billy Cobham - Drums
* Chick Corea - Synthesizer, Keyboards, Piano
* Neil Jason - Bass
* Alphonso Johnson - Bass
* Alyrio Lima - Percussion
* Jerry Goodman - Violin, Vocals
* Jack Bruce - Bass
* Patrice Rushen - Piano, Vocals
* Tom Coster - Organ
* Jack DeJohnette - Drums
* David Sanborn - Saxophone, Sax (Alto)
* Tony Williams - Drums
* Armando Peraza - Conga

*Includes full cover and booklet scan*

Related items:

John Mclaughlin - "Compact Jazz" (1993)

John Mclaughlin - "Devotion" (1970) [1992]

John Mclaughlin - "Electric Dreams" (1978) [1992]

John Mclaughlin - "The Promise" (1995)

John Mclaughlin Trio - Qué Alegría (1992)

John Mclaughlin - "Extrapolation" (1969)

John Mclaughlin - "Where Fortune Smiles" (1970)

Tony Williams - 'Turn It Over' (1970)

Tony Williams - "Emergency!" (1969)

Fuse One - "The Complete Recordings" (1989)

Larry Coryell - 'Spaces' (1970)

Miroslav Vitous - Mountain in the Clouds (1969)

Mahavishnu Orchestra - 'The Lost Trident Sessions' (1973)

Mahavishnu Orchestra - "Apocalypse" (1974) [1990]

Mahavishnu Orchestra - "Birds Of Fire" (1973)

Visions of an Inner Mounting Apocalypse: 'A Fusion Guitar Tribute' (2005)

Stanley Clarke - Live 1976 - 1977 (1991)

Stanley Clarke - "School Days" (1976)

Danny Gottlieb - Aquamarine (1987)

Miles Davis - A Tribute to Jack Johnson (1970)

Miles Davis - "Big Fun" [Japan Import] (1974)

Miles Davis - "Live Evil" [Japan Import] (1972)

Miles Davis - "Get Up With It" [Japan Import] (1974)

Miles Davis - "Bitches Brew" [Remastered] (1970)

Miles Davis - "In A Silent way" (1969)

Billy Cobham/Colin Towns/hr-Bigband Meeting Of The Spirits: A Celebration Of The Mahavishnu Orchestra (2006)

Carlos Santana, John Mclaughlin - "Love Devotion Surrender" (1973)

A Tribute To John Mclaughlin And Mahavishnu Orchestra - "Mahavishnu Re-Defined" (2008)

Enjoy!
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On Jaco's 30th birthday (December 1st, 1981), he held his own "surprise" party at Mr. Pip's in Ft. Lauderdale, Florida. This recording documents the birthday party concert with 11 tracks. The Peter Graves Orchestra and other Jaco favorites were brought together as The Word of Mouth Band for this spirited performance. Peter Erskine contributes liner notes for this release and is also the album's producer.

Reviews:

The live set celebrating the 30th birthday of Jaco Pastorius features band members from each part of his career.
The gig is what one would expect from a band performing before an appreciative audience, and that is what it makes it so special. The solos are great and Jaco's range as a bassist is captured in the nearly 70 minutes of music.
The hot rendition of Jaco's classic, Liberty City, is worth the price of the CD. The music is as fresh today as it was back in 1981. It truly was a good evening! By Mr. Richard D. Coreno "Mr. C" (Berea, Ohio USA)

The blasting, amzingly energetic opening track, 'Soul Intro-The Chicken', in fact it was my 'wake-up- song for quite a long time (Truly fills you up with energy, you should try it...), So I wasn't surprised by it. The hardest to eat was "Invitation". The theme tune is cool, but it gets very abstaract as it goes on, and it was hard for me to dig. The rest was good.
However, on a second and third listening, you start hearing things you didn't hear at first. Jaco's cool bass lines, cool horn phrases, nice and inspiring improvisions. Now, it is one of my favorite CDs, and I recommend it to every Jaco fan and every Jazz Musician. By Nimrod (Israel)



This stellar live set features Jaco Pastorius at the height of his powers as one of the greatest musicians of all time. It documents Jaco's 30th birthday party held at Mr Pips in Fort Lauderdale FL Dec 1st 1981. For me it's hard to put into words how great the music on this album really is, all I really can say is it must be experienced to truly be appreciated. It brings together players from Jaco's early years on the south florida scene and guys from all the previous bands he had been in to date. In my opinion what really makes this record special is having the saxophone duo of Mike Brecker & Bob Mintzer as the principal soloists. The sparks of improvisational fury created between these two is intense to say the least. Of the two I think Micheal Brecker sounds the best he was awesome on this date, breathing fire through his tenor fluid and with a seemingly endless supply of ideas. In the drum chair is the great Peter Erskine who played with Jaco in Weather Report and the rhythmic hookup these two developed as a rhythm section on the road is shown here in full splendor. Along side Erskine is Don alias on percussion I think one of the great jazz percussionists to come along in history, the music wouldn't be the same without his added grooves on conga & bata drums. Jaco loved him some world percussion sounds and its all over almost everything he recorded in his career. Thats the core quintet, you've also got full trumpet & sax section two steel drummers french horn and tuba for a grand total of 23 players. The music is taken from two shows that where played that evening thats why the music doesn't flow from song to song like it was one continuos set cause its not. Music wise you get most of Jaco's classic compositions. They start off with a funky version of the Pee Wee Ellis tune The Chicken one of my favorites then they do a short sweet version of Continuum onto the center piece of the album the Kaper master piece Invitation which is played only by a quintet with Brecker & Mintzer as the soloists. This performance is mind blowing each player turning in a astounding musical feet during its 20 minute length. There's also Three Views Of a Secret,Liberty City, Punk Jazz a loose version of Reza & Domingo which is one of Jaco's oldest compositions written when he was part of Wayne Cochran & The C.C Riders and a brass reading of Happy Birthday,after all it was a birthday party. To all that complain that the big band over shadow jaco's playing are missing the point of Jaco's big band writing, they forget that despite Jaco's amazing talent as a bassist he was still the bass player who's main job is to support the melody & harmony,Jaco knewn that, which is why he's not overplaying all over everyones parts. He cuts loose on The Chicken with his funky signature 16th note muted funk & burns on Invitation & Domingo. I recommend this album to anyone who appreciates great big band jazz fusion. It's a classic! By Anthony R. Guarriello "Jonathan Guarriello" (Rutherfordton NC)

JACO

Track listing:

01. Soul Intro (Pastorius) / The Chicken (Ellis) 8:00
02. Continuum (Pastorius) 2:34
03. Invitation (Kaper) 17:43
04. Three Views of a Secret (Pastorius) 5:56
05. Liberty City (Pastorius) 8:11
06. Punk Jazz (Pastorius) 4:35
07. Happy Birthday (M. & P. Hill) 1:48
08. Reza (Pastorius) 10:36
09. Domingo (Pastorius) 5:39
10. Band Intros 2:37
11. Amerika (Traditional) 1:43

Personnel:

Jaco Pastorius: Bass
Michael Brecker: Tenor Saxophone
Bob Mintzer: Bass Clarinet, Soprano and Tenor Saxophone
Dan Bonsanti: Saxophone, Woodwinds
Gary Lindsay: Saxophone, Woodwinds
Randy Emerick: Baritone Saxophone
Kenneth Faulk: Trumpet
Brian O'Flaherty: Trumpet
Brett Murphey: Trumpet
Jerry Peel: French Horn
Peter Gordon: French Horn
Russ Freeland: Trombone
Mike Katz: Trombone
Dave Bargeron: Trombone, Tuba
Peter Graves: Bass Trombone
Othello Molineaux: Steel Drums
Peter Erskine: Drums
Don Alias: Conga
Oscar Salas: Percussion

*Includes full cover and booklet scan*

Related items:

Jaco Pastorius - "Jaco Pastorius" (1976) [2000]

Pastorius / Metheny / Bley / Ditmas - 'Jaco' (1974)

Pat Metheny - 'Bright Size Life' (1975)

Weather Report - "This Is This" (1986)

Weather Report - "Weather Report" (1982)

Weather Report - "I Sing The Body Electric" (1972) [Remastered]

Weather Report - 'Heavy Weather' (1977) [Remastered]

Weather Report - "Black Market" (1976) Remaster [1991]

Weather Report - "8:30" (1979) [1994] [Remastered]

Enjoy!
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In a Silent Way is a 1969 album by jazz trumpeter Miles Davis. Although previous Davis records and live performances had already begun the shift to jazz fusion, In a Silent Way featured a full-blown electric approach. For this and other reasons, it is usually regarded as the first of his fusion recordings. It is also the first recording by Davis that was largely constructed by the editing and arrangement of producer Teo Macero. Macero's editing techniques are said to have incorporated elements of classical sonata form in Davis' recordings for In a Silent Way. Both of the extended tracks on the album consist of three distinct parts that could be thought of as an exposition, development and recapitulation. The last six minutes of the first track are actually the first six minutes of the same track repeated in exactly the same form. With this "trick" the track took on a more understandable structure.

The album featured virtuoso guitarist and newcomer John McLaughlin, who had one month prior to the February 18th In a Silent Way session recorded his classic debut album Extrapolation. At the request of Tony Williams, McLaughlin moved in early February from England to the US to play with The Tony Williams Lifetime. Williams brought McLaughlin to Davis' house the night before the scheduled session for In a Silent Way. Davis had not heard the guitarist before, but was so impressed that he told him to show up at the studio the next day. McLaughlin would go on to great fame in the 1970s as leader of the Mahavishnu Orchestra.

Davis' next fusion album, Bitches Brew, showed him moving even further into the area that lay between the genres of rock and jazz. The dark, fractured dissonance of Bitches Brew ultimately proved to be instrumental in its success; it far outsold In a Silent Way.

Miles Davis

Track listing:

1. "Shhh"/"Peaceful" (Miles Davis) – 17:58
2. "In a Silent Way" (Joe Zawinul)/"It's About That Time" (Miles Davis) 19:57

Personnel:

* Miles Davis – trumpet
* Wayne Shorter – soprano saxophone
* John McLaughlin – electric guitar
* Herbie Hancock – electric piano
* Chick Corea – electric piano
* Joe Zawinul – organ
* Dave Holland – double bass
* Tony Williams – drums

*Includes full cover and booklet scan*

Related items:

Miles Davis - A Tribute to Jack Johnson (1970)

Miles Davis - "Big Fun" [Japan Import] (1974)

Miles Davis - "Live Evil" [Japan Import] (1972)

Miles Davis - "Get Up With It" [Japan Import] (1974)

Miles Davis - "Bitches Brew" [Remastered] (1970)

Fusion For Miles - A Tribute In Guitar, 'A Bitchin' Brew' (2005)

Enjoy!
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Here's and interesting one sent to me by sasha716, they also sent 3 others.

Tipographica biography:::
Of all the new bands that have emerged from Japan's bourgeoning underground progressive scene TIPOGRAPHICA have got to be right at the top along with HAPPY FAMILY. They are definitely in the RIO vein with noticeable shades of early HENRY COW, PICCHIO DAL POZZO and HARTFIELD & THE NORTH, (free) jazz and instrumental/classical ZAPPA ("Hot Rats", "Waka Jawaka", "The Grand Wazoo", "Studio Tan", etc.). All of the musicians are nimble, adept, and have extremely proficient control over their instruments. Blazing guitar, honking sax - super tight arrangements - brilliant muscianship. If you love mid-70's Frank ZAPPA this band will blow your mind.

TIPOGRAPHICA existed from 1986 until 1998 and who released four albums in the 90s. They play completely instrumental music, basically a rhythmically complex type of jazz-rock. If you like melodic symphonic rock or neo-prog, you probably won't like their music. RIO freaks, jazz or jazz-rock lovers, and fans of ZAPPA or complex music in general definitely should try one of their albums. Any of their four albums is a good place to start. Well, if you like exploring the progressive music, sooner or later you'll have to meet them and acquire their Canterbury inspired New Music. ESSENTIAL!!!



Studio Album, released in 1993


1. "aked lunch
2. Infinity street car
3. Blue heaven but be unsolved
4. The turf have disordered gravity
5. Prostitute robot (made by soni)
6. Like a new type apes
7. f you are an aggressor, keep slowly and certainly
8. Forest tipographical

Related Artists:::

- Tsuneo Imahori / guitar
- Naruyoshi Kikuchi / saxophone
- Osamu Matsumoto / trombone
- Akira Minakami / keyboards
- Hiroaki Mizutani / bass
- Akira Sotoyama / drums

Releases information>>>

1993 / CD / God Mountain / #005


320hq

rar

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This a Portuguese band from the 70’s but only have recorded his first album.
The music is a fusion jazz Progress, with good guitar solos, vibraphone and violin
I don’t have more information of this exelent band.

Another fantastic contribution of our friend Pedro Neves from Portugal.



Tracks


01.8765
02.Cromatona
03.Tanana
04.Anjos
05.Zagreb Blues
06.Minha Prima
07.Solavanco
08.Tiruri
09.Pre-Arabes
10.Cidade


Featuring


Joao Pinheiro: Drums
Jorge Pinheiro: Vibraphone,percussion
Manecas (Antonio Monteiro): Viola
Paulo Viana: Keyboards
Xico Ze: Bass,Acoustic Bass
Ze Machado: Violin


Highly Recommended!!!


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Enjoy!!!!

Collection contains an assortment of songs from the Tone Center Records catalog that feature fusion guitar great Scott Henderson. This is essentially a label "sampler", and shouldn't be viewed as a "Best Of" or "Greatest Hits" retrospective. Since it only covers material that is available on Tone Center, it only covers the last nine or so years of Henderson's long career.

And what a career it has been - In addition to his solo albums and prestigious sideman stints (Chick Corea, Joe Zawinul, etc), Henderson and bassist Gary Willis fronted Tribal Tech - arguably the most groundbreaking, adventurous jazz fusion band of the last 25 years. Tribal Tech effectively dissolved following their 2000 album Rocket Science, but their body of work holds the same importance to the genre as Weather Report or Return To Forever. Part of what made Tribal Tech stand out was Henderson's guitar work. A gifted improviser, his great strength has always been his ability to mix aggressive hard blues phrasing with a rich bop vocabulary. And no one plays jazz with a true rock tone the way Henderson does.

Having said that, Collection is a bit of a mixed bag. There's some great tracks here, but some curious choices too.

"Lola Fay", "Lady P", and "Hillbilly In The Band" come from Henderson's Well To The Bone album. I'm sure "Lola Fay" and "Lady P" (both vocal tracks) were chosen for the great, bluesy guitar playing they most definitely have. But the songs themselves don't do much for me. "Hillbilly In The Band", however, is an uptempo, country-inspired instrumental that is fun from start to finish. This is also one of those "curious choices" though. The live version of this song (from Henderson's aptly titled Live album from 2004) is superior to the studio version, in my opinion, and would have been a better choice.

"Snake Soda" and "Nairobe Express" were recorded with the band Vital Tech Tones; Henderson's collaboration with bassist Victor Wooten and drummer Steve Smith. These are two of the best songs in this collection. Henderson positively rips on both of these tunes. Vital Tech Tones recorded two great albums, Vital Tech Tones (1998), and VTT2 (2000). Both are well worth checking out.

There are two tracks here from Henderson's aforementioned 2004 live album; "Slidin'" and "Sultan's Boogie". "Slidin'" is jazz blues song that has some of Henderson's hippest playing on the album. Originally recorded as "Slidin' Into Charlisa" on Tribal Tech's 1992 release Illicit, this live trio version is more of a guitar-driven tune than the original. Henderson's trademark whammy-bar accents are everywhere on this track, and his solo during the uptempo midsection is peppered with cool jazz lines. "Sultan's Boogie" is a heavier, Arabian-influenced track with a cool vibe that's different from anything else on the album.



The Tribal Tech tracks in this collection are culled from the band's final two recordings - Thick (1999) and Rocket Science (2000). Both of these albums consist of completely improvised material (though the tracks were edited later, with some overdubs added as well). The band entered the studio and just jammed, with no preparation whatsoever. For me, the results from this approach were mixed. There are some wonderful tunes on Thick and Rocket Science, but there are some I could do without as well. Fortunately, two of the best tunes from those sessions are included here. "Space Camel" is trippy funk piece with some great melodies by keyboardist Scott Kinsey, and the deep-grooving "Thick" is an awesome jam with some great wah-wah soloing by Henderson.

If you're not familiar with Scott Henderson, Collection is a decent place to start, but you won't hear the whole picture. Henderson can play over chord changes with more authority than just about any guitarist I've heard. However, we only get hints of his heavy jazz side on this release. Pairing this CD with a great Tribal Tech album such as Illicit, or their "Best Of" collection, Primal Tracks, will give you a better idea of what Scott Henderson can do. by Rich Murray.

First let me say that I think Scott is definitely one of the very best guitarists on the planet. I saw him perform many times when I was a student at Musicians Institute. His best work however can be found on the following recordings when he was with Tribal Tech: Dr Hee, Nomad and their fourth recording simply titled "Tribal Tech." This fourth recording is the band at their peak .As Tribal Tech went forward the band went into more and more jams with the compositions suffering .Finally Scott went off into his blues / whammy phase which is without a doubt a step down and this Collection is a compilation from this later period . Several songs on this set are outstanding and if you don't have the originals it may be worth it to the die hard fan of which I am one . In the final analysis , if I want to listen to blues rock material I stick with the masters from the 60's and 70"s or with folks like SRV or Satriani. The recording Scott has yet to make is one of rocked out versions of jazz standards . I saw him play this way with students the whole year that I was at MI and he was always amazing. By Monkey Business (New York).

Scott Henderson

Track Listing:

1. Lola Fay
2. Space Camel
3. Lady P
4. Sultan's Boogie
5. Song Holy Hall
6. Clinic Troll
7. Hillbilly In The Band
8. Slidin'
9. Snake Soda
10. Thick
11. Nairobe Express

Personnel:

Scott Henderson - Guitar, Production, Mixing
Kirk Covington - Drums
John Humphrey - Bass
Gary Willis - A Few Basses, a Couple of Pedals, Production
Scott Kinsey - A Multitude of Keyboards too numerous to mention, Production
Steve Smith - Drums, Production
Victor Wooten - Bass, Production
TJ Helmerich - Engineering, Mixing

*Includes full cover and booklet scan*

Related items:

Scott Henderson, Steve Smith, Victor Wooten - "Vital Tech Tones" (1998)

Scott Henderson - "Well To The Bone" (2002)

Scott Henderson - 'Live 2005'

Tribal Tech - "Nomad" (1988)

Tribal Tech - "Face First" (1993)

Tribal Tech - Salzburg (1996)

Tribal Tech - "Thick" (1999)

Tribal Tech - Rocket Science (2000)

Tom Coster - "The Forbidden Zone" (1994)

Enjoy!
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This is a fantastic album; a true classic! A majority of the tracks on this CD are instrumentals, with the exceptions of "Hocus Pocus", featuring Thijs Van Leer's manic yodelling, and the title track "Moving Waves", in which the "lyrics" are more or less a Nostradamus-like reading, or a "quatrain" set to music.

As some have pointed out, "Hocus Pocus" is basically the bizarre curio on this album, as the 2nd track "Le Clochard (Bread)" with it's gentle, lilting classical guitar phrasings and Mellotron backing are indeed in sharp contrast to "Hocus Pocus". "Focus II" is a wonderful instrumental track, which sets the tone for the lengthy "Eruption", containing a "suite" of individual songs; most notably "Tommy" and "The Bridge", both of which amply display the screaming guitar pyrotechnics of Jan Akkerman.

In my opinion, this is one of the greatest progressive rock albums ever recorded! By Chuck Potocki (Highland, Indiana)

This album was so well composed and executed that it has easily stood the test of time. It is good music through and through; clever, exciting, beautiful and moving. This band of dutch guys really knew what they were doing and boy could they play. They were (and still are) essentially an instrumental outfit with the melody carried by guitar, flute, keyboards and occasionally vocals. Focus didn't appear to be too much swayed by music fashions or commercial pressures of the music business when they recorded this album and that is one of the reasons why "Moving Waves" still sounds as fresh and exciting today as it did when it was released in the early 1970's.

The album kicks off with the one that was released as a 45, "Hocus Pocus" a thunderous, relentless rocker composed by Akkerman and van Leer. Suitably titled and very clever, it has lots of surprises, tricks and dazzling guitar licks and is comewhat comical. Keyboardist Thijs (pronounced Tys) van Leer plays the jester with his wild flute playing, whistling, yodelling and other crazy vocal gymnastics, effortlessly hitting notes higher than Brian and Carl Wilson ever went on any Beach Boys recording. Not to be outdone, guitarist Jan Akkerman provides a lot of the thrills and excitement with his amazing gibson les paul antics and oh what a cracking job by the Rhythm section, drummer Pierre van der Linden and bassist Cyril Havermans.

In contrast to this on the next track Jan displays his talent as a classical guitarist by playing his own composition, the gentle, haunting "Le clochard". Nice touch by Thijs with the mellotron backing which adds a touch of weirdness and eeriness to the piece. GORGEOUS. Track 3 "Janis" is another Akkerman compostion and features Thijs on multitracked, interwoven flute parts. This is probably the weakest track on the album, but is still interesting to listen to. The impressionistic title track "Moving waves" is one of the sayings of Hazrat Inayat Khan set to music by Thijs on vocals and piano. Listen to the words with the music that van Leer has written. The rippling piano chords and the crecendos and diminuendos conjur up the image of the waves as they "become excited and then all calm together". The ascending last few chords rise with the waves as they "reach upwards" (to the moon). This is good composing. Track 5, oh yes! Thijs van Leer's "Focus II" with Jazz and Classical influences and the most beautifully sensitive guitar playing by Jan. It is typical of Akkerman to add expression with the use of dynamics and subtle phrasing to enhance a melody as he does on this magical piece. STUNNING, however the best is yet to come.

The last track is made up of several different compositions, most by Thijs who came up with the overall concept "Eruption", aptly titled lasting 23 minutes. It commences with a line of music borrowed from Monteverdi's "Le Orfeo" with Thijs on Hammond organ and Jan using his violin guitar effect (volume control tweaking. You hear a smooth note without the plucking). The music is mesmerizing and quickly grabs your attention. After a few minutes it bursts into life taking you on a journey through the most amazing music with stunning guitar solos that never get boring and a couple of incredibly skillful and creative drum solos which add hugely to the overall piece and don't lose one's interest for a second. The richly melodic guitar oriented section "Tommy/Pupilla" segment is spine tinglingly sublime. The range of musical styles in this piece is incredible, from the Renaissance-style "Orpheus" and "Dayglow" to the Latin American style organ solo segment of "The bridge". The impact of each composition is enhanced by the contrast between it and the next, but despite the great variety it all flows and makes musical sense. Thijs displays his talent a a flautist producing the richest timbres achievable on a flute. His jazz-rock hammond organ playing is fabulous. I wonder if dutchman Eddie van Halen was paying homage to Focus when he used the title "Eruption" for his ground-breaking guitar piece for solo guitar in the late 70's.

Musically the band were in a different league to any other at the time if you consider the musical progressions within each piece and the expertise of each musician. Technically brilliant with a lot of feel and a real understanding of music, Jan Akkerman is one of the best and most versatile guitarists in the business. Drummer Pierre van der Linden has a lot of musicality, not only providing the beat and rhythm, but hugely augmenting the music with his incredibly creative, expressive and skillful drumming. Cyril Havermans (later replaced by Bert Ruiter) plays a highly musical, rhythmic and solid bass. Multi-talented keyboardist, flautist and vocalist Thijs van Leer has a great gift for composition and has written music which stands among THE MOST EXCITING, ORIGINAL AND BRILLIANT ROCK/POP MUSIC EVER PRODUCED. By Sandydog (England)

Focus caught a wave in the US with their eccentric hit, Hocus Pocus. The song was novel and catchy enough to give Moving Waves some notice, although some were surely surprised at how unique Hocus Pocus was even within the context of the rest of the album. The rest of it is decidedly more serious and less focused, as it were. Short on vocals (thankfully so) and long on classically influenced instrumental suites, Moving Waves covers a lot of musical territory, sometimes within the same song. For serious prog rock fans it's a delicious cornucopia. For casual listeners who are expecting more songs like Hocus Pocus it can be maddening. The album's centerpiece, Eruption, is by far the most interesting song (plenty of opportunity as it comprises the last half of the album), even if its foundation is little more than an extended jam featuring lengthy keyboard and guitar solos by Van Leer and Akkerman. It's hardly a spontaneous affair though, carefully laid out to range from somber to achingly beautiful to borderline chaos with a keen sense of musical drama keeping it all tied together as it reaches an end that seems to arrive all too soon. If you really like Hocus Pocus, a compilation might be the way to go as most of them include the shorter, more accessible songs. If you're willing to hang on for the ride, Moving Waves offers a wild one indeed, but a very satisfying one as well. By Mark Gatzke (Plant City, FL USA)

Focus - "Moving Waves"

Track listing:

1. "Hocus Pocus" (Thijs van Leer, Jan Akkerman) – 6:42
2. "Le Clochard" (Jan Akkerman) – 2:01
3. "Janis" (Jan Akkerman) – 3:09
4. "Moving Waves" (Thijs van Leer, Inayat Khan) – 2:42
5. "Focus II" (Thijs van Leer) – 2:56
6. "Eruption:" -23:04

Personnel:

* Thijs van Leer – piano, Hammond organ, synthesizer, mellotron, harmonium, flutes, accordion, vocals
* Jan Akkerman – guitars, bass guitar, percussion
* Cyril Havermans – bass guitar, vocals
* Pierre van der Linden – drums, percussion.

*Includes full cover and booklet scan*

Enjoy!
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Here's a good sounding FM bootleg from that Japanese prog-fusion band, featuring Akira Wada and Jun Fukamachi. Tracks 2 and 6 are from Fukamachi's solo albums.



1. Radio Intro
2. Stick Freighter
3-4. Pan Neo
5. Departure in the Dark
6. Neutrino
7. Modja
8. Rock'n Rocked Rock


Akira Wada - guitar
Jun Fukamachi - keyboards
Yasuo Tomikura - bass
Hideo Yamaki - drums

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This is an original Post by Tjap and I want to say Thanks for all your effort Mate.
Cheers for you Martin.

Please don't ask me for the others lost posts.