17-12-2020 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1972-1977 >>Chick Corea, King Crimson, Mahavishnu Orchestra, Gentle Giant, Mikael Ramel, Grateful Dead, Neil Young, Tom Waits, Pat Metheny, Talking Heads, The Clash<<
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Talented pianist who has a wide palate of influences but was highly important in early fusion and jazz-rock. A masterful jazz pianist, Chick Corea is a celebrated performer whose influential albums have found him exploring harmonically adventurous post-bop, electric fusion, Latin traditions, and classical.
Arguably the definitive exponents of British progressive rock, spurred on by Robert Fripp's innovative guitar work. If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities. The absence of mainstream compromises and the lack of an overt sense of humor ultimately doomed the group to nothing more than a large cult following, but made their albums among the most enduring and respectable of the prog rock era.
Led by guitarist John McLaughlin, a band whose sophisticated improvisations and high-powered music helped pioneer the jazz-rock fusion of the '70s. One of the premiere fusion groups, the Mahavishnu Orchestra were considered by most observers during their prime to be a rock band, but their sophisticated improvisations actually put their high-powered music between rock and jazz. Founder and leader John McLaughlin had recently played with Miles Davis and Tony Williams' Lifetime. 
Acclaimed British progressive rock band noted for their meld of hard rock with classical music and medieval approach to singing. Formed at the dawn of the progressive rock era in 1969, Gentle Giant seemed poised for a time in the mid-'70s to break out of its cult-band status... Somewhat closer in spirit to Yes and King Crimson than to Emerson, Lake & Palmer or the Nice, their unique sound melded hard rock and classical music, with an almost medieval approach to singing.
favtraxmix label The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.
1972-1977
Return to Forever (Chick Corea)
What Game Shall We Play Today? (Chick Corea / Neville Potter)
from Return to Forever 1972
The legendary first lineup of Chick Corea's fusion band Return to Forever debuted on this classic album (titled after the group but credited to Corea), featuring Joe Farrell on soprano sax and flute, the Brazilian team of vocalist Flora Purim and drummer/percussionist Airto Moreira, and electric bass whiz Stanley Clarke. It wasn't actually released in the U.S. until 1975, which was why the group's second album, Light as a Feather, initially made the Return to Forever name. Nonetheless, Return to Forever is every bit as classic, using a similar blend of spacy electric-piano fusion and Brazilian and Latin rhythms. It's all very warm, light, and airy, like a soft breeze on a tropical beach...
Larks' Tongues in Aspic, Pt. 1 (Bill Bruford / David Cross / Robert Fripp / Jamie Muir / John Wetton)
Book of Saturday (Robert Fripp / Richard Palmer-James / John Wetton)
Exiles (David Cross / Robert Fripp / Richard Palmer-James)
from Larks' Tongues In Aspic 1973
King Crimson reborn yet again -- the then-newly configured band makes its debut with a violin (courtesy of David Cross) sharing center stage with Robert Fripp's guitars and his Mellotron, which is pushed into the background. The music is the most experimental of Fripp's career up to this time -- though some of it actually dated (in embryonic form) back to the tail-end of the Boz Burrell-Ian Wallace-Mel Collins lineup. And John Wetton was the group's strongest singer/bassist since Greg Lake's departure three years earlier. What's more, this lineup quickly established itself as a powerful performing unit, working in a more purely experimental, less jazz-oriented vein than its immediate predecessor. "Outer Limits music" was how one reviewer referred to it, mixing Cross' demonic fiddling with shrieking electronics, Bill Bruford's astounding dexterity at the drum kit, Jamie Muir's melodic and usually understated percussion, Wetton's thundering yet melodic bass, and Fripp's guitar, which generated sounds ranging from traditional classical and soft pop-jazz licks to hair-curling electric flourishes.
Birds of Fire (John McLaughlin)
Miles Beyond (John McLaughlin)
from Birds Of Fire 1973
Emboldened by the popularity of Inner Mounting Flame among rock audiences, the first Mahavishnu Orchestra set out to further define and refine its blistering jazz-rock direction in its second -- and, no thanks to internal feuding, last -- studio album. Although it has much of the screaming rock energy and sometimes exaggerated competitive frenzy of its predecessor, Birds of Fire is audibly more varied in texture, even more tightly organized, and thankfully more musical in content. A remarkable example of precisely choreographed, high-speed solo trading -- with John McLaughlin, Jerry Goodman, and Jan Hammer all of one mind, supported by Billy Cobham's machine-gun drumming and Rick Laird's dancing bass -- can be heard on the aptly named "One Word," and the title track is a defining moment of the group's nearly atonal fury...
Playing the Game (Kerry Minnear / Derek Shulman / Ray Shulman)
Cogs in Cogs (Kerry Minnear / Derek Shulman / Ray Shulman)
No God's a Man (Kerry Minnear / Derek Shulman / Ray Shulman)
from The Power And The Glory 1974
...When asked where he thinks ‘The Power and the Glory’ sits in the catalog of 11 albums Gentle Giant released in their 10-year existence, Derek pets his beard with the back of his hand, gazes out a second and says, "I think it’s part of the culmination of what Gentle Giant had become. A band has to go through the same processes as a person. A band is born, has a childhood and then goes into adulthood. I think we became an adult on ‘The Power and the Glory’. It was Gentle Giant becoming adults and the culmination of the best of our musicianship coming together as a band; it was a golden period for the band. Not to say any period before or after was better or worse, but it was a good period in being creative musically while gaining fan acceptance."...
