David Axelrod - Song of Innocence [1968]

What started out as a jazz/rock experiment throw-away, decades later reveals itself as a lost classic. Along with Miles' work at the time, this was a very early example of the sound that would later become Jazz Fusion. Producer, arranger, and engineer David Axelrod made his mark with Cannonball Adderley, Lou Rawls, and the Electric Prunes. Song of Innocence made critics turn their heads in its day, regarding it as a visionary curiosity piece; today it's simply a great, timeless work of pop art that continues to inspire over four decades after its initial release.

After forming a band with a couple of yer typical garage-rockers of the time, Axelrod signed with Capitol and this masterpiece was his very first release. An instrumental concerto based on the works of William Blake, 'Song of Innocence' is entirely unique: neither Rock, Jazz, Classical, nor Easy Listening, the album blends elements of all four into a richly layered whole. While this may sound like a potentially pretentious train-wreck waiting to happen, nothing could be further from the truth. This is simply one of the most unique musical efforts of the last several decades. Distorted guitars, funky bass lines and drums that were shockingly loud for 1968, blend with churchy organ and symphony-size orchestras on songs like 'Holy Thursday' and the epic closer 'The Mental Traveler.'

"Imagine if Brian Wilson had suddenly decided to turn SMILE into a prototype for Isaac Hayes's soundtrack to SHAFT, and you're halfway there."

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Terje Rypdal - Whenever I Seem To Be Far Away [1974]

Terje Rypdal is a marvelous, fluid guitar player, who manages to sound natural in every setting in which he appears. On this one we get a few radically different styles throughout. First up it's heavy and fuzzed, technically weaving in and out very sparingly and tastfully. Towards the end of the album though is some full-flight Gilmour-like playing, complete with the backing of the Sudfunk Symphony Orchestra.

Pete Knutsen (Electric keyboards and Mellotron) is amazing on this record, reminding me of Ian McDonald.. as if he had come straight out of 'In The Court'. Odd Ulleberg on the French horn also blows a whole lot of awesome! I'm not really familiar with these backing guys but i'm interested in seeking out some of their other works after hearing this.

It's an interesting mix of free jazz and the jazz fusion flavour of the time. The use of Mellotron gives it a unique European symphonic-proggy kinda sound, progressive jazz? I don't know.. tags are stupid but this is great, check it out.

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Mouse on the Keys - An Anxious Object [2009]

Once every few days i get in supreme blog trawl mode. One of my regular stop offs is TheSirensSound, which more times than not offers up something fresh for my liking. Last year some time i discovered Mouse on the Keys' Sezession EP and was instantly hooked. "An Anxious Object" has been one of the albums i've had my eye on for a while, big expectations. They've stepped it up even another notch here! The drumming throughout is phenomenal, but i knew that coming in. The second half of the album in particular is mind blowing. The funky 'Double Bind' has one of my favourite beats in a long long time. The drumming + bass here is just awesome. The next track 'Soil' cruises along at a nice pace before unleashing an absolutely incredible extended sax solo, the definitive highlight of the album for me.

One of the sleeper albums of the year for sure. It won't quite be top 5 material for me, but it will be up there somewhere. If you dig some of the other jazzy Japanese post-rock bands like Toe, this is for you.

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Dave Liebman - Lookout Farm [1973]

John Abercrombie is quickly becoming one of my favourite guitarists. Thus, i have been interested in hearing some of his other work splattered throughout the ECM catalogue. While on my hunt, i stumbled apon this little gem. Liebman himself, being new to me, blew me away with his beautiful saxa-ma-phone playing. On these three extended tribal themed jams, his playing is sparse, but very melodic. The tribal percussion is absolutely incredible. We got congas, bongos, tablas, tambourines and cowbells belting along into a wild fury! Particularly in the second track where they kick it into one hell of a funky jam, as Abercrombie takes the front and opens right up.

This is a wonderful record, another ECM gem.

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Keith Jarrett & Jack DeJohnette - Ruta And Daitya [1973]

This limited, overlooked, and incredibly rare album was recorded in early 1971 while both were playing with Miles Davis. Keith Jarrett and Jack DeJohnette created this set of seven pieces in a largely improvised context. These were Jarrett's last explorations with electric keyboards but though he was soon to become a staunch pro-acoustic advocate, his work here is inventive and bracing.

While not all electric (Jarrett plays standard piano, as well as bamboo flute), there's a wonderful funkiness to be heard. Elsewhere--such as on the title track--the gospel inclinations that would be a core element in his later pieces can be heard. DeJohnette's broad percussion palette foreshadows his own future work, which drew upon varied world musics. This set is varied and delightful--a hidden chapter in both men's discographies.

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Sumner Mckane - Two If By Sea [2006]

.. And I'm back again. Decided i would share one of my favourite hidden gems with you folks today. Sumner McKane, the incredibly talented guitarist/composer from Maine has very quietly put together an outstanding body of work over the years, which sadly will probably never receive the attention it truly deserves. His way of playing draws influence from various kinds of Country & Jazz, but he really has his own unique thing going on that i absolutely love!

It's kind of odd to say, but if i had to use a non-musical term to describe Mckane's music it would simply be "home". From the very first moment you hear his amazing chord progressions and layered guitar melodies you immediately feel that "homing" sense of nostalgia throughout. Does that even make sense or am i talking complete shit? Either way, it's incredibly powerful, and very relaxing. Each sound has been very carefully put together by McKane himself, hell he plays every instrument present except the bass.

The production is another one of the selling points here. The effect and reverb pedals are used sparingly, but always tastefully throughout the entire record and add to the wonderful ambience. Over-lapping the fine finger-picking guitar work is the various sounds of bells, waves gently crashing on the rocks and all kinds of things McKane himself likes to describe as "Ambient Americana".

It may take a few listens to sink in but once that lovely nostalgic pull has you, it will draw you in every time!

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Larry Coryell - Spaces [1970]

Much like the Joe Farrell post the other week and perhaps even more so with this one, all i have to do is mention those involved and it should sell. We're talking Coryell, McLaughlin, Corea, Vitous and Cobham.

In fact, fuck it. Nothing more needs being said.

Absolutely phenomenal, enjoy!

Link: http://sharebee.com/8f82d26e

Jean-Luc Ponty - Cosmic Messenger [1979]

As music evolved throughout the 1970s alot of people took on the attitude of the Scientist; experimenting, testing, grafting, surgically recombining to create unique hybrids. Too often these creations were nothing more than ghastly Frankensteins - massive, lumbering assemblages, and all together not quite human. On Cosmic Messenger Jazz, Funk, Rock, and Classical are all expertly and elegantly fused in an amazingly fluid unity. It is a virtouso performance of what's best about music. Rhythm and percussion so tightly bound, laying down thunderous grooves over, around and through which Jean-Luc rockets, gallops, marches, bops, drifts, glides, and floats.

While JLP is clearly in another world when it comes to violinists, the bassist and guitarist heard here are no slouches themselves, and sometimes seemingly steal the show. Amazing album, a must have for your Jazz Fusion collection.

Link: http://sharebee.com/2ef0ad0f