Tag: John Jowitt

Review – Nataraja – Spirit At Play – by John Wenlock-Smith

This album, Natajara’s Spirit At Play’, really appealed to me having a fondness for jazz fusion and knowing the Mahavishnu Orchestra catalogue pretty well, as I do. Guitarist Jack Jennings is new to me but here, on this rather splendid album, he combines his love of Jimi Hendrix with his passion for the Raja’s of northern India to fine effect.

This album may be a fairly challenging listen for the casual listener, however, bearing in mind that it was recorded live in just one day. The levels of skill on display here are really astonishing, you have the flamboyant guitar of Jennings anchored with the superb and sympathetic rhythm section of John Jowitt (bass) and Andy Edwards (Drums), the subtle analog synths of Richard Charles Boxley adding delicate textures over the top in a very sensitive way. It does help if you like Indian classical music, Ravi Shankar or John Mclaughlin’s ‘Shakti’, all of which have connections to this style of music. Overall, I would definitely recommend this to the more adventurous types who will find much to appreciate within this release. The album is produced by Phi Yaan Zek, which is a good enough reason to be even remotely interested in this music, as he is excellent in his own right.

Back to ‘Spirits At Play’, it has just five tracks, two relatively short, one medium and two very long tracks, both over ten minutes in length. The sound is crisp and punchy throughout with great separation between all of the instruments. I do especially like how fluid Jack Jennings playing is as he can really let rip on these tracks, he is most competent indeed and can play a blinder, as he does on title track Spirit At Play, where he plays an extended solo with great skill, flair and at lightning speed too! It is really remarkable playing, you really appreciate the strong support he gets from John and Andy ,both of who are really great on here. Raag Hansadwhani – Vinayaka is another excellent track being bathed in synths in its opening section These a bubble and are not overpowering at al,l leaving room for Jack to improvise freely, which sound really good here. He is a player of both taste and style and that shows clearly here.

As I say not an easy listen, in fact it can be rather intense and dense music at times. That said, it does sound very good, if not a little different to most modern music. Within the music you do get a sense of the measure of respect that Jack has for this form and of how he is seeking to honour and respect this by through his own interpretations of these Raja’s. I think that he should be both noted and applauded for bringing this fresh and vibrant translations and interpretations to this live arena as he does here.

Released 23rd March, 2024.

Order from bandcamp here:

Spirit At Play | Nataraja (bandcamp.com)

Review Phi Yaan-Zek – Interdimensional Garden Party – by John Wenlock-Smith

I first came across Phi Yaan-Zek as many others may have, through the pages and tracks on Prog Magazine, although at that time it didn’t really grab me. I was probably on a different musical phase ,as is often the way with me. However, I recently read a review of his latest album from a writer for The Progressive Aspect whose eloquent words piqued my interest, hence this review.

In all the years of my life I have never really been a big fan of Frank Zappa, although I can clearly see his influence in this music. I certainly like it here, for sure, and definitely in the humour contained within these tracks. Phi is certainly a very fine musician and can play a very mean guitar line when required. He also enlists an extraordinary cast of collaborators, like Andy Edwards and John Jowitt of Frost* and he also has a couple of Aristocrats in tow to give this music much flair and finesse.

It has strong touches of psychedelia along with certain hippyish elements, but these are woven into the overall sound of the album. I am certainly highly impressed by all of this excellent and exciting music, it is all wonderfully produced with excellent guitar skills on display. The music also has jazz elements at times, giving the sound a definite jazz/fusion blend.

An outstanding track is track Wickety Wickety, which is a cross between a rumbling song, something like Nelly The Elephant but with brass embellishments. It is rather a fun piece but utterly engrossing and captivating. This whole album is different, it is definitely a positive sounding album and will imbue feelings of well being and contentment. Above all, this music is good fun and we should all be glad of that, especially at this time. Also notable is Anomaly Temporal with an almost reggae swing and spoken vocal from , this also has a touch of Star Trek to it and rounds out with an excellent instrumental finale.

I really enjoy the instrumental flourishes that abound throughout this very imaginative album, it really is a fascinating and captivating listen. Phi is a very fluid guitarist, think of folks like Steve Vai and you won’t be far off the mark, but he is also very melodic in tone and, whilst he can shred with the best, he works for the track, not just to stun.

This is clearly shown on My Favourite UFO which combines his fine guitar virtuosity with a strong tune to fine effect. This track has a dreamy type of sound and reminds me of 10CC in parts, it also has great bass from Bryan Beller of The Aristocrats. The song speeds up towards its conclusion and this proves very effective, as is the vocal from Ellie Williams. The next track Floating gives room for some free reign musical improvisation which is taken by Phi with Mike Keneally in tow, along with the fabulous and dynamic Aristocrats rhythm team of Beller and Marco Minneman. With Phi’s guitar floating over the top most efficiently and effectively, it really is a sublime piece of intent delivered really well.

Final track The Puffball That Ate My Village is another monster track with a similar pace to Wickety Wickety but with fiery guitar interjections and interplay between Phi and Chanan Hanspal, who play off against each other in a six string orgy of soloing. It’s all highly effective, especially with Andy Edwards‘ drums and Steve Lawson’s majestic bass playing that anchor it all together seamlessly. The song also features lots of guests adding chant type vocals, which really sounds good. When this track end there is a brief pause of about 2 minutes before A reprise of opener The Interdimensional Garden Party plays, this is a fitting close to an exceptional album but wait, there’s more as there is a brief untitled track that is basically the words spoken backwards deliberately.

This is a truly entertaining album with fabulous music and performances throughout. Definitely one of my album of the year contenders, outstanding. In a year that has seen so many really good albums, this one can truly stand tall and proud and I recommend it without hesitation, especially for its weirdness and sense of fun.

Released 7th October, 2022.

Order from bandcamp here:

Interdimensional Garden Party | Phi Yaan-Zek (pyzmusic.com)

Review – Drifting Sun – Forsaken Innocence

Drifting Sun are a UK-based Progressive Rock studio project. Their music has been described as dramatic, theatrical, and atmospheric, in the true style of Progressive Rock giants such as Dream Theater, Queensryche, Genesis and Jethro Tull, to name but a few of the bands that influenced their sound.

Or so says the PR material, well, with the addition of renowned greek solo artist and lead vocalist of Verbal Delirium, Jargon, I personally think you can add rock royalty Queen to that list!

I’ve long been a fan of this unique musical project, their amazing musicianship has touched areas of symphonic prog, progressive metal, hard rock and many others but this new album is truly the pinnacle of their work so far. It is pompous, ebullient and in your face at times but with a nod and a wink, and not a little humour, at times. Powerful vocals, soaring guitar lines and a monstrous rhythm section all contribute to a magical melting pot of musical brilliance.

There are no weak tracks on the album, opener King of the Country flies along at a breakneck pace with Pat Sander’s excellent keyboards leading the way. It’s when Jargon’s fine, distinctive vocals begin that I begin to feel we are being treated to something special here. In association with Pat’s keys, he gives me an impression of that great Queen track, Don’t Stop Me Now, but done with Drifting Sun’s own inimitable style and it gets me smiling immediately!.

Insidious is a more introspective track with a melancholy vibe engendered by the brooding vocals and dynamic keyboards, a dramatic and powerful piece of music. That melancholy feeling carries over into the melodramatic, theatrical inventiveness of Dementium, a pair of songs that take symphonic prog and elevate it to another level. New Dawn is a heartfelt, emotive track with a sincere vocal and Pat’s elegant piano giving an almost forlorn feel to the song, the emotion and passion are bared for all to hear, especially on the superb guitar solo.

Now things get really interesting with the two part title track. At over twenty five minutes in total, Forsaken Innocence Parts I & II is epic in every way and is some of the best music I have heard this year. A group of musicians at the height of their game and playing in perfect harmony, when that happens then music simply becomes a joy to listen to, every note resonating with you on a personal level. I suggest just sitting back and letting these impressive pieces of music just wash over you and marvel at the brilliance on show.

Time to Go is the final track on the album (not including the bonus track*) and brings things to a close with a clarity and calmness that just leaves you in a better place.

(*Bonus track Hand on Heart is a brief, but compelling, footnote to the album, authoritative vocals and energetic music delivering a short, sharp and effectual hit of Drifting Sun’s addictive music.)

‘Forsaken Innocence’ sees Drifting Sun step out of the shadows and cement their place at the top table of progressive acts in the UK. It’s an engaging, captivating and sensational listen every time you press play and is deservedly up there fighting for the honours of album of the year.

Released 27th October, 2021.

Order from bandcamp here:

Forsaken Innocence | Drifting Sun (bandcamp.com)

Review – Rain – Singularity – by John Wenlock-Smith

Rain are a new project that came to light during the first initial period of lockdown in the UK. So some time after 23rd March when the powers that be realised that this virus and pandemic were a lot more serious than had previously been acknowledged. So much so that ‘Herr Boris’ got serious and told us all to stay at home, not go to the pub, segregate and do not mix.

Now this in itself was unusual and very much outside of Boris’ perceived jocular foppish and playful demeanour where he likes to portray himself as a man of the people. It was that in this time that John Jowitt and Andy Edwards (both formerly of IQ and Frost*) decided to form a new group that would allow them to do what they do best, i.e., make some fine new music. To this end they drafted in Rob Groucutt (son of former ELO bass player Kelly Groucutt) who has followed in his fathers footsteps with a career in music and also adding Mirron Webb of Birmingham based band Hey Jester on guitar, vocals and lyrics and, as such, the stage was set.

Rain first appeared on the Fusion festival lockdown special in April debuting the song Devils Will Reign, which was certainly a strong and enlightening first peek into this new band,

The album ‘Singularity’ was released in November 2020 and it is a rather interesting listen, one that will stay with you for a long time. It is one of those albums that initially intrigues you, albeit in a good way, with that feeling continuing with repeated plays. As you do so, it begins to emerge what they are on about, for this is very much an album borne of the frustrations and limitations that lockdown periods have inflicted upon us all. Here Rain have channelled those feelings and thoughts into 5 gloriously crafted and formulated songs.

The album opens with Devils Will Reign which has two sets of lyrics, one from Rob Groucutt, the other from Mirron Webb, that Andy Edwards put together, finding that it worked particularly well. It is a song about one’s own personal demons which seem to come to the fore in times of doubt or when there is nothing else going on, times like a lockdown for example. This song really hits the mark right from the off, opening with gently plucked acoustic guitar and some subtle keyboard backing before the drums pick up the beat and then some strong percussive guitar riffing emerging. The song also features a very nifty Spanish type guitar solo that is exceptionally fine indeed.

Second song Dandelion is about the lies we get sold by those in power, especially as seen during this pandemic with test numbers etc. There are some remarkably interesting sounds on this song also referring to possibly the whole sorry saga of the lies surrounding Brexit and the dodgy Bus of Lies, all £350 million a week’s worth that simply disappeared somehow.

Walkaway is the first lengthy track and is about wanting to escape even if only temporarily. Again, there is some sublime playing on this track with a muscular section after the second chorus which really sounds good around the 3 min 45 mark. This includes with a nifty solo, Mirron, Rob and Andy all adding fantastic guitars to this mix. This is an exceptionally fine track indeed with superb vocals that really add to the tone of the song.

The Magician is the album’s second longest track at 11 minutes and 16 seconds, all of which is wisely used to craft a sinuous and twisting behemoth of a track with oblique lyrics which really suit the subject matter. This track speaks of a magician who hides the meaning behind the reveals so that the truth is meant to be unfathomable. The listener never really hears the hidden knowledge, implying that it is a drug trip or an interventional dimensional breakthrough. Which, of course, in itself hides what it is trying to say. Again, another fabulously diverse and rewarding track.

The final track, Singularity, is the title track to the album and, after the convoluted The Magician, this could be a gentle comedown or a return to the real world. It certainly is a far gentler track, free from the bombast that has been evident on the album this far. It has touches of Devils Will Reign, which adds emphasis to the song. Containing lots of ambient noises, including birdsong, it is a stunning finale to what has been a sensational and awesome set of songs. The musicianship throughout has been impressive and Rain certainly prove to be a significant new band with much promise for the future, once the virus is kicked into touch.

The album is well produced and sounds very impressive and, even as a late comer in the year, it still is impressive enough for me to rate it as one of my top twelve for 2020. This release is one that any fan of progressive rock (or who likes either Frost* or IQ) would enjoy and find much in it to admire and appreciate. 

Released 23rd November 2020

Order from the band’s bandcamp page here:

https://rainprogband.bandcamp.com/album/singularity