When the machine starts up, perhaps with a straight attitude, "Sport" the results are truly formidable. It is the
February 4, 1970 when the machine invades the soft fair hall in Croydon. the group is no longer the same as the last recording effort published the year before), but sees in it fiatisti also two of the new generation of jazz musicians such as Elton Dean of Albion and Lyn Dobson (the first will continue for many years, ' experience in the band, with the second - already memorable part of the band Manfred Mann - all will be revealed essentially a valid artistic collaboration).
The concert that evening February will have to wait thirty years to be fully documented on Compact Disc (except for a fragment of the composition "Facelift" proposed in the third official album of the group and an infinite number of illegal discs in this regard).
Despite this incredible time lapse, the material proposed is still quite bold and innovative for its time and although email is more unequivocal certainty of the intention of muscisti involved in moving towards a form of electric jazz more and more potentially " intro-versus-through, the quality of music has produced quite incredible considering the times. In
great sweep and the rhythm section (Wyatt and Hopper) as extraordinary is the work (all too often unfairly forgotten) of Ratledge on keyboards, while the two horns is "merely" entrusted with the task of adding the most "jazzy" sound and the attitude to improvisation.
definitely a listener who provides care and concentration, but still offers a great change in musical aesthetic satisfaction.
February 4, 1970 when the machine invades the soft fair hall in Croydon. the group is no longer the same as the last recording effort published the year before), but sees in it fiatisti also two of the new generation of jazz musicians such as Elton Dean of Albion and Lyn Dobson (the first will continue for many years, ' experience in the band, with the second - already memorable part of the band Manfred Mann - all will be revealed essentially a valid artistic collaboration).
The concert that evening February will have to wait thirty years to be fully documented on Compact Disc (except for a fragment of the composition "Facelift" proposed in the third official album of the group and an infinite number of illegal discs in this regard).
Despite this incredible time lapse, the material proposed is still quite bold and innovative for its time and although email is more unequivocal certainty of the intention of muscisti involved in moving towards a form of electric jazz more and more potentially " intro-versus-through, the quality of music has produced quite incredible considering the times. In
great sweep and the rhythm section (Wyatt and Hopper) as extraordinary is the work (all too often unfairly forgotten) of Ratledge on keyboards, while the two horns is "merely" entrusted with the task of adding the most "jazzy" sound and the attitude to improvisation.
definitely a listener who provides care and concentration, but still offers a great change in musical aesthetic satisfaction.
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