Issue #24 Extra!: Reissues
The Graham Collier Septet - “Deep Dark Blue Centre”
Billy Currie - “Stand Up and Walk”
Claire Hammill - “Voices”
Troya – “Point of Eruption”
The Graham Collier Septet - “Deep Dark Blue Centre”
(Disconforme SL 1957 CD, 1967/2000, CD)
The roots of English jazz-rock are traceable to a rogue member of the 1960’s who received an education and paid his dues in Ronnie Scott’s London Club. Graham Collier was one of those few musicians to attend Berklee College of Music in the US and return home to meet somewhat of an indifferent reception to his modern lessons learned. “Deep Dark Blue Centre” features three future fusion luminaries who would go onto greener pastures, including Karl Jenkins (Baritone sax, oboe), John Marshall (drums) - both to be key members in Nucleus and then in Soft Machine, and Phil Lee (Gilgamesh and National Health). Icon trumpet player Kenny Wheeler is also a member of this group for a 1967 Decca recording of new pieces from Collier’s enlightened state of mind (except for “Blue Walls”). The tone across the six tracks is standard jazz charts with a distinct flair for Miles Davis modes. Jenkins’ oboe unisons with Lee’s guitar phrases breaks into a Wes Montgomery style solo, which is in keeping with the style of the day. When the group gets free, it’s still a bit confined to minimal parameters (as heard on the mid-section of “El Miklos”) so as not to intimidate sensitive audiences. Harry Beckett replaces Wheeler on “Hirayoshi Suite” and gives a bouncy solo atop Marshall’s toms. The closing title piece relies on a pastel moods with Mike Gibbs stating a somber theme before the ensemble joins for a group interlude that transitions to a Jenkins baritone solo offset by Marshall’s cymbals. All indicators on this project showed that these were small beginnings for musicians who would move forward as the 1970’s approached. I highly recommend the album for fans chasing down jazz roots of Soft Machine and Nucleus - Jeff Melton
Troya – “Point of Eruption”
(Garden of Delights CD 049, 1976/2001, CD)
I can enjoy melancholy music, and Troya’s sole release from 1976 generally fits that description. It opens in a primitive vein with Trespass-era organ, and then broods with a somewhat classical pretense. The listener is invited to indulge in a desperate tale of sorrow; to sob rivers of tears in our hero’s nadir of despair. Then the vocal starts, and the deplorably unconscionable subject turns out to be that the girl this guy likes is going off to college in another town “to study somewhere; without parents - live on her own.” Well dip me in mucous and call me phlegmatic, but I fail to be moved by the poor wretch’s sophomoric verse. He would have been much better off singing in German or couching his lyrics in nonsensical metaphor. In “Battle Rock” he joins the army and relishes inflicting bloodshed on the enemy, and at this point I get the uncomfortable feeling that the climax of the disc will be some over-the-top extravaganza where his commander orders him to attack the girl’s college dormitory. Mercifully, bad lyrics don’t spoil the rest of the disc. The truly sad thing is that the music is actually very good. It’s dominated by some great organ and fuzzed guitar, backed by very good drumming, but hard to hear bass. The sound quality is from another era: Trespass again. Musically it’s a bit reminiscent of Novalis, and even a bit of Biglietto Per L’Inferno (on lithium). Not a mind-blower but full of involving instrumental themes. – Mac Beaulieu
Billy Currie - “Stand Up and Walk”
(Arena Music, pzlcd102, 1992/2001, CD)
The second solo album by violinist and composer Billy Currie (ex Ultravox, Visage) traces a narrow path down a lush musical side road. Having completed his tenure with those bands, moving into a semi-romantic vein was a logical choice for Currie since he seemed to be gravitating in that direction. Vocalist Susanna Bramson adds wordless vocal on nearly half the cuts as melodic counterpoint, in an Enya style. Currie’s grasp of full keyboard arrangements was demonstrated on his first album, Transportation (which featured Steve Howe), and it’s a bit more sedate in these twelve tracks. The album’s title track evokes a gypsy mood, which could have suited a performance underneath foreign film credits. Dreamy themes and the nature of the work give the overall album an eighteenth century feel. Similar comparisons can be made to Eddie Jobson’s solo work (e.g. Theme of Secrets) as heard on “Liberation” with its passionate violin intro. Currie procured some of Rick Wakeman’s equipment for use on “Ukraine” which is based on a Russian theme. Currie undertakes a path into ambient music terrain with “Requiem” by playing some meditative no frills piano. Closing out the disc are two tracks that contrast greatly: a Christmas piece, and an Irish jig. No wonder that Howe was evaluating Currie’s skill as a possible band member. Detailed Liner Notes give the composer’s blow-by-blow account of each piece. The composer’s keen sense of space and pacing makes the album a tour de force given the electronic trend of the day. - Jeff Melton
Claire Hammill - “Voices”
(Blueprint, BP308CD, 1985/2001, CD)
Claire Hammill’s notoriety as a female vocalist in this singer/songwriter genre is unfortunately not common knowledge. Possibly her most recognizable contribution was carrying the lead vocal for Steve Howe on “Look Over Your Shoulder” from his 1979 self-titled album. Voiceprint negotiated with the artist to re-issue her entire catalogue this year. Voices is the eighth album in the set from 1985 and was a first take (so to speak) on the new age sound but with a different compositional slant. The emphasis set was primarily in layered vocals with no lyrical content. The technique had proven viable to other composer’s arrangements including Mike Oldfield (on Hergest Ridge) and Jade Warrior’s backdrop for sections of Kites (where the approach was used sparingly but to great effect). The disc’s ten tracks are linked to a theme development that is seasonal and sensory without being ponderous or gimmicky. One of the best tracks is “Tides” which relies on a repeated phrase with a lucid melody line and a pillowed chorus. The only lyric on the disc is on “Moss” which sports a dizzying sexy German narrative. Sampling capability was in its infancy in this time period, when the new Prophet 2000 was the “to-have” toy of the era and the album exploits use of the tool (similar to Kate Bush or Jane Siberry). The album predates both Enya and Karl Jenkins’ Adiemus, while holding firm as a collection of vocal acrobatics and keen arrangements. - Jeff Melton