Month: October 2023

Review – John Lodge – Days of Future Passed – My Sojourn – by John Wnelock-Smith

The deaths of Ray Thomas in 2017 and Graeme Edge in 2021 were the final nail in the coffin (sorry) for the almost sixty year period of existence for the Moody Blues, an era which the band had seen many highs and lows. This period saw their early transition from humble beginnings as a R n’ B band in Birmingham, along with contemporaries like The Idle Race and the Spencer Davis Group, through to their reinvention and revitalisation with the addition of John Lodge and Justin Hayward, replacing Denny Laine and Clint Warwick. This led to a the string of successes including their debut album ‘Days Of Future Passed’ in 1967 and the legendary Nights In White Satin single that took the charts by storm, not just once but three times, in1967, 1972 and 1979! It was an album that introduced the world to a new sound, aided in part with the unveiling of brand new sounds with the Mellotron.

‘Days Of Future Passed – My Sojourn’, this new interpretation from John Lodge, will take you back to that time in 1967 when ‘Days Of Future Passed’ was initially released on the new progressive imprint of Decca Records, Deram, that was created in order to publicise the new Deramic sound from the label. This sound was actually a false stereo sound, until this time most music was released in mixed in mono, both for ease of mixing but also because the public tended to hear music from single speaker playback like the Dansette or transistor  radios. The Decca Panoramic Sound (later shortened to Deramic) was a huge step forward to the stereo sounds that emerged shortly afterwards and this album was the flagship release to unveil this new sound and ,with which, Decca hoped to sell their radiograph to the public.

It is possibly hard to conceive today just what a huge improvement in sound this system was. It was actually ground breaking and innovative and this album was able to reap the benefits of the system and, as such, was a major step in sound engineering, even now, nearly 60 years on, this is still astonishing. I often think that The Moody Blues did not receive the full respect and admiration that they were due, as without them their innovations prog as we know it would not have existed. Now, 56 years, on John has revisited this pivotal album and recreated it anew with a few tweaks and additions. To my ears, he has done an excellent reinterpretation of this seminal work.

John has utilised his 10,000 Light Years Band on this album, with particular mention to musical director Alan Hewitt who has done a wonderful job in the orchestrations the album utilises in such an enlivened manner, meaning it is not just a pale recreation, it is a really impressive piece of work. This new imagining really benefits from the time that has elapsed since the original album, as the technological advances in that time allow for a fuller sound, one in which every instrument has space to be heard clearly. I also really like that John was able to get Graeme Edge involved in the project, with his poetry on Morning Glory opening the album and, on Late Lament, drawing the album to a close.

The album is composed of seven parts across its 17 tracks, these range from very brief interludes to the longer tracks that round out the album and the album sounds really spacious. The record also has Jon Davison of Yes singing on Tuesday Afternoon and Nights In White Satin, alongside John himself. I was especially taken with the great bass sounds the album has and the excellent ensemble playing of the 10,000 Light Years Band, especially the guitar work of Alan Duffy and the keyboards of Alan Hewitt, who both shine throughout.

You tend to forget just what a huge step forward the original album was and the run of success that followed in its wake, as the run of albums that followed bridged the gap between the past and the present. The Moody Blues were at the forefront of progressive music at the time and were really pushing the envelope in terms of sound and craftsmanship.

It helps if you can hear the two versions together as you can hear the difference in sound immediately and can enjoy the journey the album takes you on. For me, the longer and rockier tracks like Tuesday Afternoon, Peak Hour and Nights In White Satin are the standouts, the guitar runs on Tuesday Afternoon are magical, light and dextrous, as are the two poetry/spoken words segments with Graeme Edge’s Brummie voice clearly present. This is the first time he had actually read his own poems on record, normally Mike Pinder had read them on the albums. This was Graeme’s last ever recording as he sadly died very soon after this, so, for this reason alone, it is good to hear him on this album,

The production is lush, crisp and clear and the album artwork is really warm and wonderfully crafted with the definite touch of Roger Dean, although this is not credited.

This is an album that will reach into your heart with its gentleness and beauty and will refresh your soul as its hidden depths are re-discovered. I urge you to hear this masterpiece as a balm for modern times, it is most highly recommended.

Released 22nd September, 2023.

Order from Burning Shed here:

John Lodge (burningshed.com)

Review – Andreas Schaerer, Kalle Kalima Invting Tim Lefebvre – Evolution

“Music is the tool to express life—and all that makes a difference.” – Herbie Hancock

Music is a unique form of art. It allows us to express our emotions and creativity through beautiful notes, melodies, and lyrics. It can influence and exert a substantial effect on us, making music a compelling art that helps us in so many ways.

Music accompanies us on life’s great highs and gives us solace when we suffer life’s great lows. Without music, life would have no colour and the greatest music lights up our lives in so many ways and, every now and then, these musical gems come unbidden into my life. Thanks to JazzFuel music, this gorgeous album born from a collaboration between renowned vocalist Andreas Schaerer and esteemed jazz guitarist Kalle Kalima, arrived recently and It has been a totally immersive and emotive musical journey while I got to know it.

‘Swiss vocal acrobat Andreas Schaerer and Finnish guitarist Kalle Kalima have some things in common. As artists, each is essentially in a category completely of his own. Both are musicians who can always conjure something special from their chosen instruments. Both are known on the international jazz scene for the completely distinctive and original ways their music constantly crosses genres. Both have played together for several years in the quartet A Novel Of Anomaly. And now they have recorded a first album together in which the focus is on the two of them. However, for this “evolution” (as the album title has it), they have also involved – and drawn inspiration from – a musician whom they both admire, Tim Lefebvre. The American bassist has worked with many pop and jazz stars, notably Sting, Elvis Costello, David Bowie, Mark Guiliana, Wayne Krantz…Lefebvre’s involvement in the Michael Wollny Trio’s breakthrough was, incidentally, anything but tangential. In other words, his playing is at home in practically every context.

Listeners familiar with Schaerer’s and Kalima’s previous work may find “Evolution” somewhat surprising. “An album is such a different platform from playing live on stage,” explains Schaerer. “Over the course of our many recordings, we have become increasingly aware quite how differently one has to play.” That awareness has also resulted in a particularly careful focus on the post-production phase of ‘Evolution’.

Taking turns, Schaerer and Kalima each contributed both an idea and a song text (three of these are in fact by Kalima’s wife Essi) before developing these versions in the studio together. Each piece therefore bears an unmistakable and very personal signature, not just musically, but also in the lyrics. “Kalle and I are also processing some deeply personal and intimate thoughts and experiences in some of the lyrics. And, of course, it’s also about things that are currently bothering us in the world, from artificial intelligence to the question implicit in the album title, as to whether evolution is stagnating.‘

This splendid jazz evolved release opens with the delicate Rapid Eye Movement where Kalle shows his penchant for the ever changing colours of folk music, his guitar dancing lightly in your mind as Andreas’ vocal flows warmly over the top, a superb lesson in how less is more. The haunting, psychedelic tension of Trigger is highly evident in Andreas Schaerer’s falsetto vocal and the edgy, spine-tingling guitar, it’s all very disturbing in a deeply creative way and gets under your skin as it crawls menacingly along. There’s a laid back, almost funky vibe to the stylish charms of Pristine Dawn, Andreas low vocal reminiscent of Bob Dylan in places as Kalle’s chic, jazzy guitar lays down a cool groove. Evolution does just that throughout its five minute running time. There is a definite free-form jazz atmosphere to this clever, intricate piece, especially as we get further into the song and Kalle’s guitar gets wild and dramatic before the song comes to a close with a wonderfully improvised ending.

I’ve got to give special mention to the brilliant bass playing from Tim Lefebvre, a musician who has been such an inspiration for both Andreas and Kalle, on this album he just stays there in the background and delivers the most sublime bass playing, sometimes on electric and sometimes on double bass. “We played with Tim for the first time at the big Jubilee concert celebrating 30 years of ACT. The chemistry was so good, we decided we would keep in touch. When I called him about ‘Evolution’, he didn’t hesitate for a second”, Schaerer remembers. “It was then really impressive how quickly he could connect emotionally with the music. It’s crazy how he grooves on a track like SloMo, and how we were able to play ourselves into a frenzy over Kalle’s guitar track.” And he’s not wrong about SloMo, the bass is simply superb and Kalle’s incendiary guitar trades blows with Andreas’ vocal tricks, clicking and popping sounds, beatboxing and polyphonically layered vocalise, to deliver a free-form jazz extravaganza. Song Yet Untitled has a layered, cinematic feel to its slow burning atmosphere and Kalle’s guitar almost talks to you while Andreas delivers a haunting, ethereal vocal performance that has you holding your breath. There’s a calm reflection about the glorious Untold Stories, a song that has more of a singer/songwriter feel than pure jazz. The guitar has a more of a formal feel to it, as if following guidelines but this does not make it any less than the other pieces on this sublime album, especially on the intricate, flowing solo that Kalle delivers mid way through the track. Andreas’ vocal has a keening edge to it, although there is still a warmth at its core, and the whole piece leaves you in state of rapt contemplation.

Multitasking, with its humorous plays on words and philosophical theme, is typical of Andreas. It’s a fast paced track where his vocal tricks are brought into play again, especially the grin inducing ‘mouth trumpet’ solo and Kalle plays along merrily, his guitar almost dancing as he plucks each note. Despite there being no words, there’s a wondrous lyrical quality to the wistful and nostalgic So Far, a quiet, hushed piece of music that will lift any anger or stress that you may be feeling. Tim Lefebvre leaves his talented mark on Piercing Love with a beautiful solo intro on his elegant double bass before Andreas delivers a mesmerising vocal. Kalle contributes his usual exquisite guitar playing, including a stunning solo, and we are treated to another fine ‘mouth trumpet’ performance by Kalima. The album closes with the hypnotic, melancholy Sphere where Kalle’s superlative guitar once again sings out, entrancing every listener. Andreas’ voice has a sorrowful catch to it which, along with the heartbreaking guitar, gives the song a stark and yet darkly beautiful aura. It is a beautifully plaintive way to close out the song and the album.

To be honest, I don’t know if you can call this ‘Jazz’ in the true sense of the word, with ‘Evolution’ Andreas Schaerer and Kalle Kalima have ripped up the rule book and rewritten what a jazz album can really be. What I can say about it is that is is a truly incredible collection of highly personal and intimate songs that will resonate with anyone who takes the time to explore this fascinating musical journey. It certainly expresses life in all its glory and that is so important in this day and age.

Released 29th September, 2023.

Buy from ACT here:

Evolution | CD | ACT 9746-2 (actmusic.com)

Buy from Juno in the UK:

Andreas SCHAERER/KALLE KALIMA/TIM LEFEBVRE – Evolution Vinyl at Juno Records.

John Wenlock-Smith interviews Malcolm Galloway of Hats Off Gentlemen It’s Adequate

John Recently had a Q&A session with Malcolm Galloway of Hats Off Gentlemen It’s Adequate.

JWS: How did the band come about?

MG: At school I learned to play the tuba classically, and taught myself guitar and keyboard. Mark Gatland (bass guitarist) and I played music together at school. I was then distracted for a couple of decades by becoming a doctor, but continued to be passionate about music. After a positive reaction to my involvement in a hospital pantomime, I started playing my own songs at solo acoustic gigs, or with Kathryn Thomas on flute as an acoustic duo. I was also going to jam nights at the Fiddler’s Elbow in Camden, where I met guitarist Ibon Bilbao and drummer Rudy Burrell, both great musicians who helped encourage me to push my music forward. 

Mark came to see me playing a solo acoustic set in a pub and we decided to get back to making music together. Hats Off Gentlemen It’s Adequate evolved from being me on my own or with Kathryn, to a variable combination of myself and Mark with combinations of Ibon, Rudy and/or Kathryn. When Rudy moved out of London and couldn’t regularly play with us any more, Mark and I developed a very close way of working together that allows us to perform live with us pre-recording some parts, and playing guitar/bass/vocals (and sometimes keyboards) live as a duo. 

JWS: Why have you chosen the self release method of working?

MG: We like having the freedom to make whatever music we want, and to be able to design the whole package ourselves, so that hopefully the artwork and the music come together as a whole. I am extremely conflict averse, so not having to negotiate things with a label is helpful. I’m also not really sure what a label would add for us at the moment.

JWS: You also have a minimalist classical solo career as well, why is this?

MG: I’ve always had a parallel interest in contemporary classical and rock music. I was particularly influenced by the American composer Steve Reich’s music. Some of the music I want to write fits into a song structure, some fits as instrumental bits between the songs on a predominantly rock album. Other music I want to write just wouldn’t fit a HOGIA album. Often my classical pieces are long, and gradually explore evolving patterns generated by the interaction of simple motifs, with less of a melodic focus than the HOGIA songs.

JWS: How do you determine whether something should be for the group or yourself? Is there a criteria you utilise?

MG: I think the two sides of my music are coming closer together. In our new album (‘The Light Of Ancient Mistakes’) there is a track, Goodbye Cassini, which originally started as a classical minimalist piece, but then evolved into a flute-led instrumental. The Anxiety Machine is an instrumental divided into three sections, which also exists as a much longer continuous piece, which as a longer piece could be one of my classical pieces, or as a shorter version as a Hats Off Gentlemen It’s Adequate instrumental. So far, anything I’ve done with vocals has been labelled as Hats Off… . Generally the solo pieces are likely to be longer, more gentle, less likely to have a song-like structure, and to be more classical and/or minimalist.

JWS: Have any of the songs ever crossed over?

MG: Mark, Kathryn and I did play a concert at the National Gallery where we played both some of the less angry-sounding HOGIA songs and my minimalist music and video art. 

Some of my classical/minimalist music has started to use drums, so there is some cross-over there.

JWS: I have listened with great interest to  both your own albums and the band efforts. There has been a great progression in the material, how do you choose where to focus your thoughts on, what inspires you musically these days?

MG: I generally have numerous tracks in the process of being written at any time, and usually some of the minimalist music at the same time as the band material. I like to be able to pause writing in one sound-world, and jump into another contrasting musical space. I can then come back to the first piece refreshed. My main limitations at the moment for writing are physical – I have Ehlers-Danlos Syndrome, which causes chronic pain and joint problems. My hands and wrists get swollen, which I find frustrating. For example today, I had music in my head I wanted to write down, but couldn’t do much composing due to my wrist.

JWS: You obviously have a love of science, science fiction and of literature as well, how does this influence the direction you take?

MG: I listen to a lot of audio-books, and often a situation, character or even a phrase just jump out as inspiring a piece of music, whether in terms of a narrative or a musical theme. In the last two HOGIA albums there have been several tracks directly inspired by books. I’ve got a folder on my phone of books that I want to go back to as song inspiration. I’ve enjoyed combining songs inspired by real world historical events and those inspired by related themes in fiction in the same album. I’m currently relistening to a biography of Werner Heisenberg as research for a possible song.

JWS: how do you temper your frustrations politically, do you use that as an impetus into your writing?

MG: I am hugely frustrated at what appears to be a rise in racism, homophobia, and other forms of the dehumanisation of others. Most people, if they met one-to-one would get on well, but there seems to be a drive to get groups of relatively powerless people to hate each other, to deflect attention from those who benefit from division. Sadly, I think we need to be constantly vigilant against the resurgence of hatred. This is a recurrent theme in my songwriting.

JWS: Which do you prefer – live shows or recording and why?

MG: I enjoy both. Live performing is very important for me – it brings me a great deal of joy. How we perform the same piece varies a lot between shows, depending on how we feel and the response of the audience. I really love live performance, with that sense of spontaneous communication. On the other hand, in a recording, we have the time and space to decide exactly how we want everything to sound, and shape it in detail. 

Bonus Question 

JWS: If you were to highlight three tracks to introduce someone to your music which would you choose and why?

MG: Refuge, Walking To Aldebaran and Century Rain

Century Rain

This is one of my favourite tracks from the ‘Nostalgia For Infinity’ Album. I like the structure – it takes musical ideas and develops them in a fairly complex structure, while retaining a recurrent melodic chorus. Kathryn has some great flute parts on that one. When we play it live, it feels like we’ve been on a real journey by the end. I think the later chorus being faster than the earlier choruses helps give it that narrative direction.

Refuge

This is an instrumental track that follows the true story of my great-grandmother’s escape from the Nazi’s during the Holocaust. Musically it brings together my rock and my classical side.

Walking To Aldebaran

This is probably my favourite track from our new album. It is more metal influenced than most of our music, although it jumps between metal, prog, classical, experimental and musical theatre-style sections. It is also quite playful. I’ve been enjoying playing this live. It was inspired by Adrian Tchaikovsky’s novella of the same name.

Hats Off Gentlemen It’s Adequate’s new album ‘The Light Of Ancient Mistakes’ is out now and available to order from bandcamp here:

https://hatsoffgentlemen.bandcamp.com/album/the-light-of-ancient-mistakes

JON GOMM & JO QUAIL ANNOUNCE ‘PARALLEL WORLDS TOUR’ 

Acoustic guitar virtuoso Jon Gomm and acclaimed composer Jo Quail have announced details on the ‘Parallel Worlds Tour’ set to take place across the UK in December this year and into January 2024.

Jon Gomm, the singer-songwriter and acoustic solo performer based in Yorkshire, known for his once-seen-never-forgotten guitar style is one of only three artists to have an Ibanez signature acoustic guitar (alongside Satriani and Steve Vai) and has been voted the world’s best acoustic guitarist by MusicRadar/ Total Guitar/ Guitar World. In 2020 he released his most recent album ‘The Faintest Idea’ on Kscope. Jon comments on Jo, 

“In Jo Quail I’ve found a musician who shares my vision of striving to use one instrument, and a load of technique, to create a sound as big and deep and detailed as possible, to build a world around the listener. Hopefully the two of us on the same show will be a fairly epic experience.” 

Following the release of her latest album ’The Cartographer’ last year on By Norse and European tours with Wardruna, Emma Ruth Rundle and Amenra, virtuoso cellist Jo Quail was invited by Robert Smith of The Cure to perform twice at his Meltdown curation and has been commissioned by the prestigious Roadburn Festival. She has also performed with the likes of Wardruna, Low, Battles, Boris and MONO amongst many other artists. Jo comments on Jon, 

“Virtuosic is one word to describe a performance from Jon, but does not come close to conveying the emotion and intent that threads through every song; awe-inspiring technical brilliance serving the music he creates. As two soloists, Jon and I share some similarities, yet we have strong individual musical identities, and to bring our worlds together for these unique concerts is an immensely exciting prospect.” 

Parallel Worlds UK tour – December 2023 & January 2024 

07/12/23 – Southampton, 1865

08/12/23 – Brighton, The Arch

09/12/23 – Frome, The Tree House

10/12/23 – Gloucester, Guildhall

11/12/23 – Swansea, Sin City

13/12/23 – Bristol, The Gryphon

14/12/23 – Bristol, The Gryphon

15/12/23 – Bristol, The Gryphon

16/12/23 – Worcester, St. Swithun’s

17/12/23 – Manchester, Deaf Institute

26/01/24 – London, Oslo

27/01/24 – Leeds, Old Woollen

Tickets are on sale now:

https://jongomm.com/shows

Concerts

Order Jon Gomm’s album ‘The Faintest Idea’: 

https://jongomm.lnk.to/TheFaintestIdea

Order Jo Quail’s album ’The Cartographer’: 

EU/World: bynorsestore.com

North America: bynorsestore.net 

Review – The Wood Demons – Angels Of Peckham Rye – by John Wenlock-Smith

I first came across this rather interesting and somewhat unusual sounding band very recently when they supported the Hats Off Gentlemen It’s Adequate chaps at their album launch for the splendid ‘Light Of Ancient Mistakes’ in that there London, my first time in “The Smoke” for several years, well March 2021 to be precise. I had not heard anything by The Wood Demons anywhere and, despite seeing their name in various gig promotions, I knew nothing about them,

Well, I saw and enjoyed their brief set, several songs from which appear on this great album. These includ the album’s title track Angels Of Peckham Rye, Arithmomania and All Heaven’s Breaking Loose, to name just three, although they might have also played The Odd Particle, come to think of it.

Their sound is rather different, mixing in styles of progressive rock, psychedelia,  folk and even ambient and classical touches. Their line up consists of Rick Startin (keys, guitar, vocals), John Silver (bass), Simon Carbery (lead vocals, guitar), Ed Kontargyris (drums) and they also have a secret weapon in the lush and enticing violin of Naomi Belshaw. The album is a very satisfying listen but, for me, it’s the elegant violin parts that add the icing to a very tasty cake. In places I was reminded of Caravan as Simon Carbery has a similar vocal style to Pye Hastings and several of the tracks are in a ‘Caravan’ type sound.

Opener Arithmomania certainly made my ears prick up with stylish arpeggio guitar and clever juxtaposition of lyrics and how we can count numbers to show the scope of the world and help us define it but also not just reducing it to a series of measurements. This song reveals a sense of wonder in our world and will hook you in as it is a terrific opening track and one that shows what The Wood Demons are all about. It distils their craft into one decent length track that is blessed with that sublime violin. I’m waxing lyrically as this track has rapidly become one of the best things I’ve heard in ages, believe me when I say that, in a year full of exciting and often excellent music, this one stands out and confirms just how good a track this really is, utterly compelling. The Odd Particle is a busy instrumental that allows John Silver’s classy bass to lead us on a merry saunter whilst Naomi struts her stuff with superb pizzicato playing and plucking and Simon lays down some great guitar tones. It’s a shorter piece, very atmospheric and almost cinematic wide-screen in sound and has the whole band blending together in a glorious melding to create a really worthy piece of music.

This is in turn followed by the equally as memorable Big Game Fishing, which is simply a gorgeous song with a gentle but very sweet acoustic guitar part and earnest yet warm vocals. This is very folk like and almost like a sea shanty in parts although when the mellotron kicks in with its lush sound, you can tell this is actually a rather more intricate track. There are great harmonies in this song too and some great understated and dexterous bass playing on offer from John. Of course Naomi’s lovely violin swoops and soars throughout making it all very splendid indeed. Starstruck is a very fine song too and one that works well, it’s harder sounding with the guitars very much to the fore here, they have a real crunch and bite to them. This song is chock full of chunky, chugging riffs and excellent dynamics and it also has a somewhat discordant guitar break, which works especially well with the sax of Michael Wilkins to make a really great sounding track. This is in part powered by more fine bass work before the song enters a more gentle section with keyboard effects and chiming guitar arpeggios and fingerpicking. It’s all very pastoral and in complete contrast to how the track began, unsurprisingly the momentum gathers pace again and the whole band sound urgent as they return to the harder sound once again. This is very impressive and dynamic and a fabulous track ends on sustained guitar riffs.

Angels Of Peckham Rye is inspired by the story of poet William Blake who, aged 8, saw visions of angels in an oak tree in Peckham Rye. Blake also wrote the classic Jerusalem, as made famous by Emerson, Lake and Palmer on their ‘Brain Salad Surgery’ album and also Tyger Tyger Burning Bright, which was covered by Tangerine Dream for their ‘Tyger’ album in the 1980’s. This track is really rather good too, mixing eastern sounding violin lines into the overall sound to create some epic sounds and a riff not dissimilar to Rainbow’s Gates Of Babylon. It is all very impressive sounding and yet another excellent track. This leads into the album’s final track, All Heaven’s Breaking Loose, which is hinged on busy bass and guitar riffs, above all of which there is a soaring violin. This song is actually very energetic and there is a lot going on, with everyone seemingly doing their own thing but, somehow, it all seems to work and the track impresses greatly. There’s an excellent guitar solo from Simon, whose playing here is very effective and eloquently delivered and it ends the song, and indeed the album, in style.

At the live gig, the band also showcased a couple of new tracks that will, hopefully, appear on their next album but, for now, this will do very nicely. ‘Angels Of Peckham Rye’ is truly a splendid, interesting and engaging listen and one that you will want to return to frequently, I know I will. I do recommend this band and album to you, it’s worth it to hear that great violin!

Released 4th December, 2020.

Order from bandcamp here:

Angels Of Peckham Rye (album) | The Wood Demons (bandcamp.com)

Interview with John Lodge – by John Wenlock-Smith

Picture by Frank Piercy

JWS: Hello John, it’s John from Progradar here.

JL: Hello John.

JWS: How are you?

JL: I’m fine thanks and you?

JWS: Yes I’m fine as well, let’s talk about your new album (‘Days of Future Passed – My Sojourn’). I’ve heard it and I think it’s great, a bold reimagining off a truly classic album, reworked for the modern times.

JL: Thank you very much, I tried to stay true to the emotion of ‘Days of Future Passed’ but with a twist for 2023. Hopefully people can relate to it, especially the younger fans. Hopefully they will wonder what the original version was like.

JWS: Well, I went back to the original and compared the two versions. I really enjoyed going back and hearing it again but I also liked the new version as well. I especially liked the way your bass was more prominent.

JL: When we made the original, we recorded it with two four-track machines. Now, of course, we have far more technology available to use so we were able to get the sound we’d originally envisaged for it. We were able to give the sound for the bass more room and, indeed, all the instruments were given more space, their own space.

JWS: Well I think it’s worked well, it’s a great idea. You’ve not just taken an album, you’ve not merely replicated it, you’ve reimagined it and made it sound more modern and contemporary.

JL: Well that was what I was hoping for, I’m glad you like it.

JWS: I also like that you have Jon Davison of Yes singing Tuesday Afternoon on the new version, I think he sounds really great.

JL: John is a good guy, a great singer writer and a great guy as well. I know him from 2017 and the Royal Affair tour I did with Yes and Asia where I joined them for an encore of John Lennon’s Imagine. Jon joined me for a version of Ride My See Saw, which Jon has done on several occasions very memorably.

JWS: I also liked that you managed to get Graeme Edge involved with his poetry,

JL: Yes I asked Graeme if he be willing to be involved and he said that he’d love to as he’d never read his own poetry before. So Graeme and I went into the studio in Florida where he recorded his poetry, sadly he passed the next week, so he never got to hear the finished recording. but at least I was with him near the end.

JWS: You were big friends with Ray Thomas as well?

JL: Yes I first met Ray when I was 15 and we’ve worked together ever since. I do a song in his memory in my show, Legend of a Mind, in his honour. He was a remarkable man really, I miss him dreadfully .

JWS: It’s good that you uphold their memory in such a manner.

JL: Well I want keep these songs alive otherwise they will fade away! They don’t get played much, unless it’s in a medley, and they deserve more than that really.

JWS: Well I have both of Ray’s albums, and both of Graeme’s, on my shelf. I was listening to some of your back catalogue recently, including a set on the ‘Timeless Flight’ boxset of the ‘Blue Jays’, live from Lancaster University. You had the Trapeze boys with you on that show.

JL: Yes, Dave Holland, Terry Rowley and Mel Galley, fabulous chaps one and all! I produced their ‘Medusa’ album, they were a great band.

JWS: Listening to your albums, as I have been doing over the past few days, has given me a fresh appreciation for just how ground-breaking you were as a band. The music on those first six albums was beautifully crafted, intelligent and well thought out. I think people simply failed to recognise that beauty.

JL: I’m glad you said that because I feel that way as well. People tend to overlook that, I don’t think the media ever gave us a fair chance really but we were pushing the boundaries of where music was.

JWS: I used to love the sleeve artwork as they told the story as well, with their imagery and artwork supporting the music in a complementary manner.

JL: Well that’s what I’m so glad that vinyl is making a comeback. This new album is being released on vinyl in November, I’ve just had the masters from Germany, and it sounds great.

JWS: I think kids today miss the sheer joy of trawling through crates of vinyl, discovering stuff for themselves.

JL: That’s the issue I have with streaming, they dictate what you hear so, say Lennon’s Imagine, you only get to hear certain songs and omit songs like Jealous Guy.

JWS: Well John, my time has gone so I’d better let you go, but thank you for talking with me about things, I really enjoyed it and appreciate your tim.

JL: Well, thank you as well John, I’ve enjoyed talking with you too.

‘Days of Future Passed – My Sojourn’ was released 22nd September, 2023.

Order the album here:

John Lodge – Days of Future Passed – My Sojourn (slinky.to)

Review – Z Machine – Merging Worlds by John Wenlock-Smith

I came across Z Machine, who hail from South Wales, via Facebook when they reached out for someone to listen to their music and I was very pleased to assist them with this. ‘Merging Worlds’ is a mixture of jazz fusion with some metallic edges and it also mixes in natural sounds to create something rather unique in its own way. The Band have a great sound and the use of Rob Harrison’s sax really works in their favour, as does having a drummer, Lester Greenhalgh, who is steeped in jazz which gives a lightness of touch, the high degree of talent and flair is also excellent. There are also two excellent guitarists in Gareth Piper and Owen Rosser who add significantly to the dense textures with some great licks and fills in the songs.

My initial thoughts were of Mel Collins work with King Crimson as the sound is heavy and dense with lots of room for the sax and flute to shine. Bassist Kristian Rees holds things down very tightly, his rumbling bass being another good fit to these songs. Well I say songs but they are all instrumental tracks, the album has six full tracks and six connecting pieces that act as a bridges between the tracks. This approach works especially effectively for the group and the use of natural and industrial sounds makes this a most interesting project and a very good listen too.

The album begins with Introduction – Amphibiospaien, the sound of birds and elephants, and what sounds like sirens but probably isn’t. This leads into Bonus Eruptus with a heavy riff and strong horns and drumming that powers the track along. There is also good interplay between the guitars and sax to create a most effective wall of sound with some great guitar fills. It’s all very musical and very Crimsonesque in parts and an excellent statement of intent from the band. This leads into the sequence track Interlude – Thunder in Paradise, which features thunder and percussion embellishments in a short piece. Big Old Hen is, again, very sax heavy with interjections by the guitars as the sax of wails most impressively. There are great dynamics at play here and also some great guitar flourishes and squeals that sound really impressive. This track, although short, has a lot going on throughout its seven minutes running time including a great guitar solo from Owen Rosser in which he channels his inner Mahavishnu as Rob Harrison adds supporting sax tones, another winner.

Interlude – Saltwash is next and this has radio chatter, electronica and what sounds like computer game noises before urgent drums lead in Myrtle the Turtle, Rob’s heavy sax playing a complicated syncopated riff, along with guitar fills. Thereafter aa short bass solo from Kristian takes the track into more heavy guitar licks and riffing as, again, the syncopated riff is repeated as drums crash all around the music with the guitarists peppering the riffs with tidy little fills and flourishes to sound really strong. It’s blistering and spirited and a really excellent track. Interlude – Whalespice Subdepth has ocean sounds along with train noises and then whale song and that leads us into Spacewalk with Kristian’s walking bassline accompanied by Robs Sax. There are yet more guitar embellishments courtesy of Gareth and Owen, who are both driving this track forward with drummer Lester Greenhalgh providing solid percussive support and drive. The middle part has a less urgent section where the band lesssen off and let the sax play languidly in places before regathering the tempo and moving forwards once again. I really like the interplay that is present in this track.

Interlude – Coyote Dusk features dogs barking and other night-time noises before Joining the Q opens with more solid bass work from Kristian. This shorter track has another great sax part from and more stylish guitar lines from Gareth and Owen, who follow the Sax melody with chiming arpeggios and harmonics. A short drum break from Lester then takes centre stage, eclipsed by the great fluid and lyrical guitar lines of Owen and Gareth who bring the track to a grand finale. Interlude – Driftscene has guitar tones and synths playing over forest noises before final track Synoceratus opens with a great flute over a quick bassline and guitars that are wailing in a most agreeable manner and tone. This piece burns like a Brand X outtake, it is most agreeable and satisfying to hear this degree of enthusiasm and dynamics being presented here. This is probably my favourite track of the entire album and really impresses, it’s a very good ending to what is a really strong album.

If you like the brassy strains of King Crimson this one might very well be for you. It is brilliant and incredibly interesting jazz  fusion for the modern age, I highly recommend this wonderful album.

Released 30th September, 2023.

Order from bandcamp here:

Merging Worlds | Z Machine (bandcamp.com)