Incredible jazz rock from Soft Machine – recorded after Robert Wyatt left the group, and for some reason, a bit overlooked because of that fact – but still a pretty darn great album, awash in long tracks with plenty of jazzy touches – still finely crafted in the sublime crossover mode that was coming out of the UK at the time, and of which Soft Machine was one of the strongest proponents! There's loads of strong fusiony moments built around keyboards and guitar – almost funky at times, and stretching forth with a freely exploratory sound! 12 cuts in all – with titles that include "Day's Eye", "Down The Road", "The German Lesson", "The French Lesson", "Nettle Bed", "Bone Fire", and "Snodland". (Rock, Jazz) LP, Vinyl record album

Incredible jazz rock from Soft Machine – recorded after Robert Wyatt left the group, and for some reason, a bit overlooked because of that fact – but still a pretty darn great album, awash in long tracks with plenty of jazzy touches – still finely crafted in the sublime crossover mode that was coming out of the UK at the time, and of which Soft Machine was one of the strongest proponents! There's loads of strong fusiony moments built around keyboards and guitar – almost funky at times, and stretching forth with a freely exploratory sound! 12 cuts in all – with titles that include "Day's Eye", "Down The Road", "The German Lesson", "The French Lesson", "Nettle Bed", "Bone Fire", and "Snodland". (Rock, Jazz) CD

A beautifully burning double-length set from Soft Machine – proof that the group were really at the height of their powers during the early 70s – magically blending together jazz, rock, and fusion into one soaringly spacey new sound! The work here is a key fore-runner of countless trends to come – including recent keyboard-heavy work on the cosmic club scene – particularly 4 Hero and the generation of others that sprang up in their wake. Soft Machine have a similar British bent for blending styles here – using jazz elements that are on a par with their best contemporaries in the straighter part of that genre – but fusing them together with a more pulsating approach to rhythm that pushes all the solo bits wonderfully! There's a fair bit of groove heavy tracks here that still sound as fresh today as when they were recorded – and the album features great drums from John Marshall, keyboards from Mike Ratledge, bass from Hugh Hopper, and a wide variety of reeds from Karl Jenkins. The album's a rich tapestry of long and short tracks, all woven together – and titles include "All White", "Between", "Riff", "EPV", "Stumble", "5 From 13", "Riff II", "The Soft Weed Factor", and "Chloe & The Pirates". (Rock, Jazz) LP, Vinyl record album

The seminal debut of Hatfield & The North – a group that maybe came a bit late in the UK prog scene of the early 70s, but who had a huge influence for decades to come! The quartet are a late transformation of the earlier Canterbury sound – leaner, maybe jazzier, and with a great ear for warm tones and organic elements that help hold the complexity of their music to the surface of the planet. Plus, there's this more open, honest quality to some of the work – especially the vocals – that quality, say, that made Matching Mole so different than Soft Machine. The whole lineup is an all-star affair – Richard Sinclair on bass and vocals, Pip Pyle on drums, Phil Miller on guitars, and Dave Stewart on organ, piano, and tone generator – plus some nice guest sax and flute from Geoff Leigh of Henry Cow, and vocals from Robert Wyatt on one track. Titles include "The Stubbs Effect", "Calyx", "Licks For Ladies", "Bossa Nochance", "Big Jobs No 2", "Lobster In A Cleavage Probe", and "Rifferama". This CD edition includes the bonus tracks "Let's Eat Real Soon", "Fitter Stoke Has A Bath" and "Your Majesty Is Like A Cream Donut". (Rock, Jazz) CD

A really early piece of music from the great Karl Jenkins – the British instrumentalist that most folks know for his work in Soft Machine in the mid 70s – heard here a few years before, on a beautiful composition that mixes his jazz inclinations with some of his more serious ambitions! The album features one long work, divided up into movements – played by a lineup of some of the hippest British jazz players of the moment – including Ian Carr on flugelhorn, Ray Warleigh on alto, Alan Skidmore on tenor, Brian Smith on soprano, Chris Spedding on guitar, and Frank Ricotti on percussion! There's a solid, soaring vibe to "Penumbra II" – as the piece builds slowly, with some great piano from Jenkins himself – then really takes off, with added help from Dave MacRae on electric piano, Ray Babbington on bass, and John Marshall on drums – all at a level that mixes modal energy with some solos that step out nicely, but never too free or outside! CD

A beautiful split album between British soprano sax genius Lol Coxhill and prog jazz keyboardist Stephen Miller. Coxhill's side is the standout one – as it features tunes that run from quirky solo numbers ("Tubercular Bells"), to hippy dippy ensemble ones ("Soprano Derivato", which features Robert Wyatt and Kevin Ayers), to experimental tunes with some great effects (like the "recorder echoes" on "Oh Do I Like To Be Beside The Seaside", or the cathedral organ on "In Memoriam".) Miller's side is sparer – and mostly features solo electric piano, played in a way that reminds us of the jazzier moments in Matching Mole or Soft Machine. LP, Vinyl record album

A crucial album from that moment when British jazz was colliding with progressive rock – in key ways that were really elevated past their roots on records like this! By the time of the record, trumpeter Ian Carr already had a great run on the left side of the UK jazz spectrum – and here, with his group Nucleus, he embraces all sorts of amazing sounds and styles – using plenty of electric piano from Soft Machine's Karl Jenkins, guitar from Chris Spedding, and a VCS3 synth from Keith Winter – alongside more familiar jazz elements on tenor from Tony Roberts, soprano and flute from Brian Smith, and additional trumpets from Kenny Wheeler and Harry Beckett! The great John Marshall plays drums next to bass from Jeff Clyne and Ron Matthewson – and the album's got a mighty sense of experimentation and power, on titles that include "Torso", "Snakehips' Dream", "Changing Time", "Spirit Level", and "Bedrock Deadlock". LP, Vinyl record album

Really mind-expanding work from British singer Julie Tippetts – an artist who's come a long way from the straighter soul sounds she was doing with Brian Auger in the late 60s! The album shows the same evolution expressed by many of Julie's British jazz rock contemporaries – a progressive, expanded sound that's brought in influences from different 70s strands in jazz and rock, and which exhibits a penchant for longer tunes that have a free interplay – yet one that's still pretty dedicated to rhythmic progression – ala mid 70s Soft Machine or solo work by Robert Wyatt! Keith Tippet plays piano on the session – which also has work from Elton Dean on reeds, Brian Godding on guitar, and Louis Moholo on drums – on tracks that include "Sunset Glow", "Mind Of A Child", "Lilies", and "What Is Living". (Vocalists, Jazz) CD

Really mind-expanding work from British singer Julie Tippetts – an artist who's come a long way from the straighter soul sounds she was doing with Brian Auger in the late 60s! The album shows the same evolution expressed by many of Julie's British jazz rock contemporaries – a progressive, expanded sound that's brought in influences from different 70s strands in jazz and rock, and which exhibits a penchant for longer tunes that have a free interplay – yet one that's still pretty dedicated to rhythmic progression – ala mid 70s Soft Machine or solo work by Robert Wyatt! Keith Tippet plays piano on the session – which also has work from Elton Dean on reeds, Brian Godding on guitar, and Louis Moholo on drums – on tracks that include "Sunset Glow", "Mind Of A Child", "Lilies", and "What Is Living". (Vocalists, Jazz) CD

Really dynamic work from a group who mix up equal parts jazz and prog, but with a very 21st Century vibe – almost as if they'd been digging the post-Robert Wyatt Soft Machine records of the 70s, then decided to craft something different of their own! The drums alone are fantastic – crackling with bold energy that's both skittish and focused at the same time – which really sets fire to the saxophone lines, explodes the keyboards, and continues to shake up all the other sounds in the mix too! Titles include "The Tower Of Blue Horses", "Fictions", "For Henry Moore", "Keep The Apidistra Flying", and "An Astrologer's Day". LP, Vinyl record album