***Mode Plagal -III -fantastic Greek Jazz with folk infusions!***

Mode Plagal, a pioneering jazz-folk Greek fusion group offering a unique approach to traditional music, has created a signature sound both familiar and refreshingly new, that has led to their album topping many lists of the best recordings of 2001 in Greece. This is a work produced with great care, with an international audience in mind, including excellent bilingual liner notes (with a special English-only text on the history of vernacular Greek music), and the high caliber (and high profile) of guest singers. All those things are simply supportive of the main ingredient of the album, the group itself. Propelling the music with a verve and dignity that shows both great musicianship and deep admiration for the original material, Mode Plagal reinvent it without betrayal. Joyful and vibrant, their versions are an adaptation of the age-old material for contemporary society, conserving the tradition's intrinsic value in a way that no amount of faithful interpretation ever can. This is music produced over centuries, where reinterpretation was part of its appeal. The skillful performances of that material have an easy air, despite the apparent novelty of the jazz orchestration. It appears that Mode Plagal thought long and hard about the way their music would sound, but then performed it with total abandon. The high point of this album, and the difference from the previous two, is the participation of four noted guest performers. They deliver some of their best interpretations on record. Savina Yannatou is her usual wildly improvisational self, but it's quite rare for her to allow herself so much leeway, certainly more than on any of her solo records with the possible exception of the live Terra Nostra. Theodossia Tsatsou, who is best known for her ethereal vocals with her former band Blé and her ensuing solo career, delivers a highly original version of a twentieth century drunkard's song. Eleni Tsaligopoulou offers a minimalist but highly effective version of an immigrant's song in a career-high performance. Yiota Vei elaborates and attenuates lyrics that in the hands of a lesser singer would have appeared banal. Her treatment brings forth the soul of the songs, especially on "Deli Papas." The importance that Greeks have been placing on 'levendià,' a traditional manly characteristic and a word that is really untranslatable, comes to life with her performance. That this is a song about a priest is just indicative of her ability. Also featured is Evgenios Spatharis, a voice that is familiar to every Greek as the chief contemporary performer of "shadow plays," a traditional theatrical form of Middle Eastern ancestry akin to a puppet show, where the heroes are visible only through their projections on a screen. That is the only one that loses a lot of its majesty for non-Greek speakers, as the hilarious improvised dialogue is impossible to reproduce. Mode Plagal have once again developed their particular niche, this time through the help of their esteemed guests, and it seems that the sky is the limit for them. Together with the 'Greeks & Indians' co-operative, they should be considered the pre-eminent ambassadors of the much-maligned vernacular Greek music in the 21st century, a worthy accolade for a group of rare musical instinct.» (Nondas Kitsos, CDRoots) PART 1 PART 2

Toto Blanke -Electric Circus (More Brilliant Jazz-Fusion Krautrock Prog!)

Toto Blanke was Guitarist in the German-Dutch avant-jazz band Association PC, achieving fame as one of the most dazzling fusion guitarists in Europe. As soloist, group leader, and Electric Circus, he's been prolific and varied. From fiery fusion akin to Mahavishnu Orchestra, via spacey Dauner territoty and some weirdo jazz Heldon diversions, onto FOOL'S PARADISE, which does its utmost best to defy description! Toto also works with Czech jazz guitarist Rudolf Dasek, doing classical jazz.

Jazz-rock at its finest!

Agitation free- The oTher Sides of Agitation Free (1999)

*Psychelatte says: Very unlike their previous spaced out music but as a jazz-fusion experiment I enjoyed this album very much.

1. Atlantic Overcrossing (5:34)
2. Abulafia (6:17)
3. 6th Floor (5:11)
4. Deliverance (4:24)
5. Latino Catherine (3:37)
6. Get It Out (4:21)
7. Offstage (2:47)
8. Song Für Den Proletariersohn, Teil 1 (5:38)
9. Song Für Den Proletariersohn, Teil 2 (2:55)
10. Song Für Den Proletariersohn, Teil 3 (1:36)

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Lighthouse -One Fine Morning (1971)

"Love of a Woman" -Lighthouse

Unlike The Ides of March, which hit it big out of the gate with "Vehicle" and then dropped out of sight, it took this 11-man Canadian group four albums to finally have a hit.

A far brighter and jazzier song than "Vehicle," "One Fine Morning" could have easily been mistaken for Chicago or BS&T. This was a huge band with a big sound -- an unmistakable electric rhythm guitar riff that any beginner could play, all kinds of horns, a string section, shaking tambourines, a funky bass over the extended drum bashing intro, and suitably jazzy electric piano solo.

Somehow, and you have to give them a lot of credit, they get this monstrosity moving in a fast-moving groove, building to a big blast of a climax. You have to love these 70's horn-driven singles that didn't fade out -- they ended in one colossal blasted chord.

Again, a good song that becomes great when heard in its full extended album version...(more)

****Subject Esq -Subject Esq (1972 Fantastic Kraut Jazz-Fusion, great songs, forerunner of 'Sahara' band****

"What is Love?" -Subject Esq. Great track from a *SUPERB* prog rock album-check it out!

SUBJECT ESQ. were a German band from the early 70s. The music is rather typical early 70s proto-prog with elements of JETHRO TULL (for the flute-guitar interplay), early YES, and the occasional saxophone riffs remind of early VAN DER GRAAF GENERATOR. There are some spacier and/or symphonic parts that recall NEKTAR, GENESIS (around "Trespass"), and maybe early ELOY. The band continued under the new name SAHARA after this album. Second album of German progressive, "For All The Clowns" is more straighter with an overdose of progressive influences, notably FOCUS / YES and CARAVAN and a potpourri styles.

Michael Hoffman, flutist, alto-saxophonist and lead(?) vocalist - his flute works do indeed create a solid Jethro Tull atmosphere (and it was, after all, a good period for anyone even pinching the moody stuff of the Tulls), plus intensify the best of the improvisation (though it seems an even work from the band, during each jam); the saxophone diem sound constantly brings the jazz energy, while as vocalist, Hoffman has an impact. Peter Stadler, with his keyboards, and the two guitarist of the show rival upon the heavy sound/rock moments, in an intensely cheerful, compact-drifting or (best of all) grouchy sentiment. Pittwohn's mouth-harp won't be pestilential for the sound of Subject Esq., but, true, you can't say great stuff about its role in the script.Wissnet and Rosekind, as bassist and drummer, do a "nicer" job.

Subject ESQ.'s style is generous, but somewhat minimal. Especially in "Alone" and "Giantania" (the second one stepping in as something precious), you get the feeling of easy and spontaneous themes, rock-like, with some expected full improvisations and peculiar drops and jumps of the sound. It gives a great on-going effect, but it makes the jam only practical and sensible. "What Is Love" is about the same, but it has a jazz light-pitch entire flavor. "5:13" is for the flute and mini keyboard-fusion, intense and mellow, creeling and hard-custard in the same time. "Mammon" is the big piece of the album, with a jazzy styled feeling, a heavy main jam forced to slow down into soft improvisations and dreamy vocals (with lyrics that aren't too unconvincing). "Durance is waiting" stands as a pretty and hard rock composition, with the guitars finally doing a big juice, and the vocal catch being animated.

1. Alone (5:22)
2. Giantania (6:42)
3. What Is Love (5:39)
4. 5:13 (4:31)
5. Mammon (12:40)
6. Durance Is Waiting (8:25)

- Michael Hofmann / flute, alto-saxophone, vocals- Peter Stadler / keyboards
- Stephan Wissnet / bass, vocals
- Alex Pittwohn / mouth-harp, 12-string-guitar, vocals
- Harry Rosenkind / drums
- Paul Vincent / guitars

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Bob Downes -Electric City (1970)

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Colosseum -Those Who Are About to Die Salute You (1969)

Colosseum's debut album is a powerful one, unleashing each member's instrumental prowess at one point while consolidating each talent to form an explosive outpouring of progressive jazz/rock the next. Those Who Are About to Die Salute You is coated with the volatile saxophone playing of Dick Heckstall-Smith, the thunderous keyboard assault of Dave Greenslade, and the bewildering guitar craft of James Litherland. Together, Colosseum skitters and glides through brisk musical spectrums of freestyle jazz and British blues, sometimes held tightly in place by Greenslade's Hammond organ, while other times let loose by the brilliancy of the horn and string interplay. Each song sparks its own personality and its very own energy level, giving the band instant notoriety upon the album's release in 1969. Not only did Colosseum sound different from other jazz fusion bands of the era, but they could easily take the unconventional elements of their style and churn them into palatable and highly significant musical thoroughfares. Some of the more compelling tracks include "Walking in the Park," led by its powerful trumpet segments, and "Pretty Hard Luck," which embarks on a stylish blues excursion with colorful keyboard sections on the periphery. "Beware the Ides of March" borrows a page out of J.S. Bach's notebook and turns his classical poignancy inside out, while "Mandarin" and "Backwater Blues" are created with the perfect jazz and blues friendship in mind, representing Colosseum's fused sound spotlessly. Best of all, the album never strays from its intensity or its creativity, the very foundation that the band is built on. Their next album, Valentyne Suite, mirrors the same instrumental congruity as Those Who Are About to Die, and is equally entertaining. ~ Mike DeGagne, All Music Guide

Tracks :

Walking in the Park
Plenty Hard Luck
Colosseum
Mandarin
Debut
Beware the Ides of March
The Road She Walked Before
Backwater Blues
Those About to Die

we salute you...

Manfred Mann-Chapter Three, Volume One (1969)

Manfred Mann Chapter III was formed in England in 1969 after the break up of Manfred Mann famous for their chart topping pop hits throughout the 1960s. Manfred Mann’s Chapter III had a more Progressive appearance and moved away from their Pop roots. Chapter III was formed after the break up of the (Chapter II) line up of Manfred Mann in 1969 which featured singer Mike D'Abo, not forgetting the legendary (Chapter I) line up in the early 60s which featured singer Paul Jones.

Manfred Mann's Chapter III turned their backs on three minute Pop singles and light hearted songs to develop a more Jazz and Progressive sound often had lengthy tracks with solos.
Manfred Mann's Chapter III only recorded Mike Hugg or Manfred Mann compositions this was deliberate to avoid lead guitar. Sadly for Manfred Mann's Chapter 3 the band had unsuccessful record sales and paid the price for this and unfortunate for Manfred Mann's Chapter III they had disbanded late in 1970. This is their first album, recorded between June and October 1969 in the Old Kent Road. (Bio Written by Progman)

Craig Collinge (drums)
Bernie Living (saxophone)
Brian Hugg (guitar)
Mike Hugg (keyboards, vocals)
Manfred Mann )keyboards)
Steve York (bass)

01 - Travelling Lady
02 - Snakeskin Garter
03 - Konekuf
04 - Sometimes
05 - Devil Woman
06 - Time
07 - One Way Glass
08 - Mister You're A Better Man Than I
09 - Ain't It Sad
10 - A Study In Inaccuracy
11 - Where Am I Going
12 - Sometimes (Mono)
13 - Mother (Aka Travelling Lady-Mono)
14 - Devil Woman (Single)
15 - A Study In Inaccuracy (Alternative Version)

The unusual sound of Mann