Limited eight disc (six CDs + two NTSC/Region DVDs) box set from the prog rock icon. This set contains previously unreleased, remixed, or remastered material from the Bruford band of the late 1970s, presented in a 12" box complete with 16-page color booklet and a signed, numbered certificate of authentication. Four gatefold sleeves contain two discs each: Disc 1 (DVD): Feels Good To Me: 5.1 surround sound mix and original 1978 mix remastered; Disc 2 (CD): Feels Good To Me: 2017 Jakko Jakszyk remix from original master tapes; Disc 3 (DVD): One of a Kind: 5.1 surround sound mix and original 1979 mix remastered plus additional audio…

The band name says it all. Three members of this quartet worked at different times in the original Soft Machine (John Etheridge, Hugh Hopper, John Marshall) whilst the fourth (Theo Travis) has assumed the mantle once taken by the late and lamented musician, Elton Dean. They've come up with a program of music that pulls off the not inconsiderable feat of acknowledging the legacy at the same time as it forges ahead in new and distinct ways. The world would be a far more interesting place if more musicians operated on a similar level. Overall this a vibrant, adventurous fusion and free form jazz outing; it stands up well to the band's illustrious history and ought to be on any Soft fan's collection.

When an artist records one type of music exclusively for years, it's always amusing to hear the artist's manager, record company or publicist claim that he/she "defies categorization." The fact is that when an artist spends his or her entire career recording a specific style of music, categorization comes easy – and it's silly and dishonest to claim otherwise. But if any artist really does defy categorization, it's Robben Ford. The eclectic singer/guitarist is a compelling bluesman, but he's equally convincing as a jazz improviser and a pop/rock singer. On Supernatural, Ford's primary role is that of an easygoing pop/soft rock singer – although a pop/soft rock singer who often incorporates soul, blues or jazz.

One of the really serious Vertigo rarities, a British Jazz Rock group with a short life but some fine talent. Ben were saxophonist/flutist Peter Davey, keyboardist/pianist Alex Macleery, guitarist Gerry Reid, bassist Len Surtees and drummer David Sheen, the later coming from Graham Bond's band. Their only self-titled album, which contains four long, instrumental tracks, was released in 1971.
This one falls into the same category as Nucleus and If, it's technically competent Jazz Rock with some great solos and rhythms, varied climates, going from furious guitar moves and frequent instrumental interactions to a smoother keyboard/piano-driven music with a bit of a psychedelic enviroment, like Ray Manzarek playing the piano.

Between the cover art and the overall musical style, McLuhan is highly reminiscent of early underground British progressive rock bands - in particular, echoes of Warm Dust's style can be heard in the use of spoken word and brass instruments to craft a decidedly different texture from the rest of the pack. In fact, they were a US group, offering an intriguing style of progressive rock with fusion-derived flourishes. It's always melodic and nicely done. Definately of interest for fans of Zappa, Canterbury or just anyone who loves complex and rich eclectic yet melodic jazz-fusion with occasional bombastic organs.

It is the perfect sequel to "Reflections and Odysseys", their highly acclaimed debut that spawned an equally acclaimed series of live performances. The trio have taken the dynamics, textures, moods, and perfect blend of subtle detailing and big sonic gestures to new levels, and have picked up new elements of 60s psychedelia and punk energy along the way. If you ever wondered what would happen if a Krzysztof Komeda score for a Polanski movie collided with Fugazi, look no further; if you need to know what Chopin writing doom metal might sound like, you might just find the answer you seek. The prog and fusion elements you already know and expect are still here, but with different colours and markings. If "Reflections and Odysseys" was a first expedition into earth orbit, "Spacesailors" goes far beyond. This just might be their "moon landing" album.

Featuring some of the most stunning musicianship ever associated with England's Canterbury scene, Hatfield and the North's second LP features, like their eponymous debut, Dave Stewart on keyboards, Phil Miller on guitar, Richard Sinclair on bass and vocals, and Pip Pyle on drums (supplemented by a few guest instrumentalists and the ever-ethereal Northettes with their "la la" backing vocals). The participants show an admirable sense of restraint and, like their Canterbury peers, are careful to avoid the pomposity and bombast of better-known prog rockers of the era, such as Emerson, Lake & Palmer and Yes. The Hatfields' convoluted instrumental passages segue into the occasional Sinclair vocal vehicle, in which the exemplary bassist sings in a polite and mellow croon that utterly avoids melismatic displays, histrionics, or over-emoting; in other words, his style – closer to, say, Bing Crosby than, say, Joe Cocker – would likely cause many 21st century pop music listeners to scratch their heads with bemusement.

Formed in 1972, this ethnic/kraut jazz quintet (Jochen Leuschner, Reinhard Karwatky, Gerd Bock-Ehrmann, Deiter Kramer, and Ludwig Braun) released their self titled album the same year in a relative discretion. This album made an exploration in long / space rock improvisations relied on jazz grooves and weird electro -acoustic sounds. The "ethnic", mystical elements are obvious notably due to the acoustic percussions rhythm sections. Compositions are mainly instrumental and improvised, brightly showing the technical capacities of the musicians. After several departures the band will be organised under a trio form, recording in 1973 the seminal "Time Machine". This album features astonishing manifestations of freaky fusion jazz exercises mixed with weird experimentations and mysticism. This album was recorded at Dieter Dierk's mythical studio. After this very convincing effort, the band recorded what we can consider to be his masterwork "Electric Silence". It combines with passion a stylistic jazz rock to nice Eastern elements. A very pleasant journey in "kraut", "kosmische" eccentricities.

PSI is a classic defined German band formed in 1975, consisting of five musicians: Matthias Frey as keyboardist and vocalist, Volkmar Zimmermann as guitarist, Bodo Feldmann as bassist Robert Jahn as drummer, and Wilfried Junkler as saxophonist (also mentioned as percussionist). Frey is a more prominent artist, by solo works and collaborations in the genre, Trilok Gurtu or Wolfgang Tiepold being top personalities with whom he played or made music. PSI's referential style is jazz-rock, typical for the German influence, drawing on the Bavarian School of Missus Beastly, Passport, Muniu, taking however the progressive rock angle through some Kraan-like methods. Keen on an artistically music and satisfied by their improvisation impulse, the band shows class and distinguishes memorably.

Farout is a progressive/jazz rock band from Lappeenranta, Finland. It was founded in 1977 and was active until 1982 with various setups. Farout was the progressive rock champion in the Finnish Rock music contest in spring 1978. The band recorded their only LP-record so far for Kompass Records at Birdland Studios, Mellunmaki, Helsinki, in 1979. The creditable record engineering was done by Dan Tigersted, the studio guru of those days. He recorded the material on an 8-track recorder during five long working days.
The tenor saxophone and flute player, late Pekka Poyry guest starred on the record. Poyry, who died in 1980, became well known for his credits with e.g. Tasavallan Presidentti and Jukka Tolonen Band among numerous other recordings…

Before the arrival of Carlos Santana's eponymous band, the San Francisco rock scene drew the inspiration for its jam-oriented music mainly from blues, rock, and Eastern modalities. Santana added Latin music to the mix, forever changing the course of rock & roll history. On their groundbreaking debut album, the group mix Latin percussion with driving rock grooves. Santana's unique guitar style, alternately biting and liquid, vies with the multiple percussionists for the sonic focus.
Unlike later efforts, Santana's first album features an abundance of loose, collective compositions based on a couple of simple riffs ("Jingo," "Soul Sacrifice"). This approach allows for Santana and his bandmates to flex their improvisational muscles to fine effect…