Saturday, November 21, 2015

David Sancious - 1981 - On the Bridge

David Sancious 
1981 
On the Bridge




01. What If? (2:33)
02. Sunday (4:04)
03. Silent Scenes (3:04)
04. Invisible Dance (3:34)
05. Sleight Of Hand (4:05)
06. The Eyes Have It (6:23)
07. Morning (5:33)
08. Flight of Light (3:10)
09. The Bridge (16:20)

- David Sancious / piano



I just recently acquired this extremely rare album from a used record store for a buck twenty five. Sixty-seventy percent of the cuts are solo piano improvisations that simply soothe the soul. The remainder are proggy synth laden tracks in the same vein as Tangerine Dream. All the pieces are awesome but the highlight is the 16 minute title track which is a soaring spacy prog piece that one can't help but get totally lost in. The man is a genius.

David Sancious - 1979 - Just as I Thought

David Sancious 
1979 
Just as I Thought




01.Run (3:07)
02.Just As I Thought (1:27)
03.Again (5:11)
04.The Naked I (2:38)
05.Valley Of The Shadow (5:48)
06.Suite (For The End Of An Age) (8:05)
07.Remember (1:20)
08.And Then She Said (4:53)
09.Again (Part II) (3:09)

-David Sancious/ Guitar, Percussion, Piano, Organ, Vocals, Mini Moog, Polymoog
-T.M. Stevens/ Guitar
-Eve Otto/ Harp
-Jeff Berlin/Bass
-Ernest Carter/ Percussion, Drums
-Khabir/ Ghani Vocals
-Brenda Madison/ Vocals


 It is David Sancious of "Musician in the musician" and the praised keyboard player in Peter Gabriel. And, the technology and knowledge that masters not only the keyboard but also very various musical instruments might be the points that should be exactly praised.
The activity of David Sancious after it had resigned from E.Street Band that led Bruce Springsteen in 1974 might always have offered the listener the work with high quality in which all Music's genres were exactly covered.

It is necessary to evaluate the talent of David Sancious known by competing with musicians such as Stanley Clarke, Peter Gabriel, and Sting high. It is likely to be able to listen to the work at time when the talent, the sense, and the idea were blocked most remarkably in his work in the 70's.

David Sancious forms "Tone" of own band in 1974. A recent work was time of the creation where his very a variety of element and idea were blocked. David Sancious is indeed well versed for Progressive Rock. Making those element and sound is expressed by the album of the "Tone" name.

David Sancious And Tone dissolves by "True Stories" announced in 1978. However, the desire of the created music enchanted the listener with the revolution in the flow that he announced the album by the name of Solo. The part where Eddy Offord had been appointed as a producer as well as "True Stories" of the former work concretely showed the music that David Sancious exactly created. The flow that the element of Jazz/Fusion and Prog Rock is taken to completion S well taking the sound of symphonic might be a result of bringing forth of the work of Eddy Offord and the creation of David Sancious splendidly. It is refined further, and all good parts might be developed and the creativity cultivated in the work of "Tone" been extracted. And, it is a work that should be able to be called the sound Jazz Rock/Prog Rock completely refined.

"Run" starts in the line of Bass that David Sancious plays. And, the original sound that David Sancious plays twines round the melody of the guitar with a complete sense. The rhythm of Ernest Carter keeps fast Passage and supports the tune. David Sancious plays the guitar well. The sound and has finished ..Jazz-Rock that the quality in which "Bruford" and Allan Holdsworth in the 70's are reminiscent is high... Progressing the tune not to forecast by making good use of fast and slow has a completely progressive flow.

"Just As I Thought" becomes complete piano and the rhythm that intermittently repeats the rhythm of the odd number and advances. The idea of David Sancious accompanies a good fusion of Jazz/Fusion and Prog Rock attended with an original sound. The composition and the flow of piano Chord are also preeminent. A variegated sound makes one space. There are only 30 second of one minute tune. However, creativity is exactly proportional to the album. And, Jeff Berlin takes charge of Bass in this tune.

"Again" might be a tune that gives width as the entire impression of this album. How the creation of David Sancious is not biased to one genre might be understood. Making the keyboard and a piano melody and the sound is splendid though the tune advances around the song. The gentle ballade sung by Kabir Ghani might have had a moving flow. Solo of the keyboard performs moving solo while using a progressive sound. It is a tune with which the part where David Sancious is good is exactly blocked.

As for "The Naked I", the arpeggio of a beautiful, acoustic guitar by Davis Sancious is impressive. The obbligati of the keyboard with the anacatesthesia twines well, too. The part where the tune that fast and slow is put as a composition of the album and the fraction is short is arranged might succeed as one of the senses, too.

"Valley Of The Shadow" is a tune that the element of Prog Rock unites completely in Jazz/Fusion. The tune explodes because of the sound of the keyboard with Spacey's element. A powerful rhythm twines round a beautiful piano melody. The tune reaches the peak at once and shifts to solo of the keyboard. The combination of the sounds of the keyboard is indeed variegated. And, the excitement continues. It returns to the theme again and the guitar twines. This flow will be reminiscent of the element of Bruford in the 70's, too. The part of the negotiation with the keyboard and the guitar might be exactly a highlight of the tune with the tension continued. The technology of David Sancious that surely expresses these ideas is splendid. The composition in which the top is repeated always surely raises this album-quality.

As for "Suite:For The End Of An Age", Spacey's sound twines from the explosion of a free tempo round an intermittent rhythm. The song of Kabir Ghani twines round the rhythm of the rhythm of five. The tune might be very ..Spacey.. Jazz/Fusion/Prog Rock. The tune combines the rhythms of 7 and 5 from complex development and advances in fast Passage. Development is very progressive. In addition, the tune shifts from the development of the rhythm in close relation to the complexity to the piano. The flow of the float in the space suddenly shifts to the rhythm of 12 and rushes into the Spacey part. The tune returns to the first theme and reaches the peak. They will never get tired by the flow.

"Remember" starts by a solemn piano melody. The sense of the melody of David Sancious might be splendid. The tune ..short composition.. has finished with the part of the intro. However, the concept of the album continues.

"And Then She Said" has the start where a progressive keyboard twines round a beautiful piano sound. It might be development where a good element of Jazz/Fusion is included. The sound in which the anacatesthesia is given is made and it becomes intense and advanced development is composed well as an idea. The method of Jazz/Fusion has been exactly taken well. Solo of Bass might be exactly straightening of Jeff Berlin. The composition that returns from solo of Bass to the theme is also splendid.

"Again Part 2" that decorates the end of the album is a sequel of "Again", too. A gentle piano theme touches it with a grand impression. Grand flow by the chorus's introduction. And, a perfect idea and it is technological of David Sancious. They might have completed the album. (From Progarchives)

David Sancious - 1978 - True Stories

David Sancious
1978
True Stories



01. Sound of Love (5:22)
02. Move On (4:41)
03. Prelude #3 (4:08)
04. On The Inside (1:58)
05. Fade Away (4:58)
06. Ever The Same (7:04)
07. Interlude (2:19)
08. Matter Of Time (9:52)

- David L. Sancious / keyboards, guitars, vocal
- Gerald J. Carboy / bass guitar, vocal
- Ernest "Boom" Carter / drums
- Alex Ligertwood / vocal
- Patti Scialfa / vocal
- Gail Boggs / vocal
- Brenda Madison / vocal
- Gayle Moran / vocal
- Chris Mckevitt / synth


Progressive Rock/Jazz masterpiece from David Sancious, the most talented keyboardist of the American rock era. Sancious creates an amazing album of spiritual music along with his bandmates. Easily one of the lost gems of the 1970's, an album ranking up with the best of both the Prog rock and Jazz fusion worlds.

David Sancious - 1977 - Dance of the Age of Enlightenment

David Sancious 
1977
Dance of the Age of Enlightenment 




01. Overture - Wake Up (To A Brand New World) (4:43)
02. 1st Movement (Dance of The Glory and Playfulness) (12:06)
03. 2nd Movement (Dance of Purification) (5:19)
04. The Dawn (4:16)
05. 3rd Movement (Part I & II) (4:12)
06. 4th Movement (Dance of Serenity and Strength) (4:30)
07. Gone Is The Veil of Illusion (Part I) (5:29)
08. Dance of Gratitude and Devotion (Part II) (2:05)

- David L. Sancious / keyboards, guitars, vocal
- Gerald J. Carboy / bass guitar, vocal
- Ernest Boom Carter / drums
- Alex Ligertwood / vocal
- Patti Scialfa / vocal
- Gail Boggs / vocal
- Brenda Madison / vocal
- Gayle Moran / vocal
- Chris Mckevitt / synth




This album was supposed to be released in 1977 but because of a dispute between Sancious' old label Epic and his new one Arista over ownership rights, it wasn't released until 2004 ! This album continues pretty much in the same path as the previous one but we do get vocals on a couple of tracks. Those two vocal tracks if anything lower my opinion of it.
"Overture" features vocals that come in quickly including some cringe worthy backing vocals.This is really wimpy except for the bass. "1st Movement" opens with vocal melodies followed by drums and organ a minute in. A calm with vocal melodies return then it kicks in once more before we get a steady rhythm with lots of keyboards 3 1/2 minutes in. The tempo shifts often after 6 1/2 minutes. The best part of the song is 11 minutes in.

"2nd Movement" opens with atmosphere before an orchestral-like soundscape takes over. A calm follows then it kicks back in quickly. Best parts are after 2 and 4 minutes. "The Dawn" is laid back with a beat and keyboards leading the way. "3rd Movement" opens with a flury of keyboards and drums then it settles as contrasts continue. "4th Movement" is led by piano throughout. "Finale Part I" has a Middle Eastern vibe with vocals. "Finale Part II" is my favourite tune as it's filled with atmosphere only.

David Sancious - 1976 - Transformation

David Sancious
1976 
Transformation
 


01. Piktor's Metamorphosis (6:33)
02. Sky Church Hymn #9 (8:49)
03. The Play and Display Of The Heart (6:27)
04. Transformation (The Speed Of Love) (18:07)

- David L. Sancious / keyboards, guitars, vocal
- Gerald J. Carboy / bass guitar, vocal
- Ernest "Boom" Carter / drums
- Alex Ligertwood / vocal
- Patti Scialfa / vocal
- Gail Boggs / vocal
- Brenda Madison / vocal
- Gayle Moran / vocal
- Chris Mckevitt / synth



Sancious second album came a bit bizarrely with a similar artwork of orange skies at sunset, just like its previous and debut album To say that if the container looked the same,and deduct that the content was the same as the debut is something I wouldn't do, but there is a bit of that. The awesomely gifted Sancious was breaking grounds with his risky mix of jazz and symphonics without actually sounding cheesy or cliché or being part of Sinatra's generation. The man was using modern jazz rock/fusion ala RTF or later WR, but instilling a good dose of classical music, a bit like McLaughlin had done with MO, but quite achieving the same results, which is where Sancious innovates. This album is actually attributed to DS and Tone, which is his back up band, roughly the same players than on the debut, including bassist Carboy and drummer Carter, and an appearance of Gayle moran, already a guest on the previous album.
Just four tracks on this album, three of them medium-sized on the A-side, but the longer of these Sky Church Home is good blues but overstaying its welcome at 9 minutes. The other two tracks are much more interesting for the progheads, as the opening Metamorphosis takes you through a bunch of challenging rhythms, and entwining solos of keyboards and guitars (both handled by Sancious) and even gets a bit of growled vocals in until you feel dizzy. After Sancious' fiery guitar pyrotechnics on the blues tracks, Play And Display Of The Heart is a welcome rest, a slow-starting fusion piece starting on a classic piano (and later a slightly more jazzy guitar, but not at first) and remains in the mostly in the symphonic (sorry to use this word for a sole piano) realm.

The flipside's sidelong Transformation returns more to the enthralling music of Metamorphosis (mmmhh!! I think the titles are a solid hint), slowly rising from the ashes under a hundred percussion instruments slowly crescendoing (a bit like the Moody Blues had done so typically in their classic period), and once the track is under way, it turns out that it should've been subtitled speed of light or speed of sound rather than Love.Sancious' rocky guitar histrionics are much of the appeal on this album and the groups support him well, providing studious and well kept rhythm. All I heard from Sancious is the first two albums, but this mother is definitely his better tracks spread over the two discs. After a dizzying quarter hour of all-out music reaching some real heights, the track slowly fades with the same percussion instruments that had started it. Outstanding playing from everyone, even if Moran's voice is an acquired taste (not by me), but her interventions are rather insignificant in regards to the tracks' enormous stature. Its amazing that Sancious' two epic label albums didn't get more recognition (although they sold rather well, back then) and is not a household name among fusionheads. Part of the explanation might be that both album were out of print for many years, and only received a reissue in Columbia's Master Of jazz Rock in the early 90's, and now finally a third recently. Both his first two albums are very much worth your investigation, the forst being more even, while this one is presenting Sancious' masterpiece.

David Sancious - 1975 - Forest of Feelings

David Sancious 
1975 
Forest of Feelings




01. Suite Cassandra (8:45)
02. Come On If You Feel Up To It (And Get Down) (4:42)
03. East India (4:34)
04. Dixie A) March Of The Conditioned Souls, B) Civil War Of The Souls (6:15)
05. The Forest Of Feelings (7:49)
06. Joyce #8 (2:21)
07. Crystal Image (3:28)
08. One Time (5:40)
09. Further On The Forest Of Feelings (2:58)
10. Promise Of Light (2:34)

-David L. Sancious/keyboards, guitars, vocal
-Gerald J. Carboy/bass guitar, vocal
-Ernest "Boom" Carter/drums
-Alex Ligertwood/vocal
-Patti Scialfa/vocal
-Gail Boggs/vocal
-Brenda Madison/vocal
-Gayle Moran/vocal
-Chris Mckevitt/synth



David Sancious was born on November 30, 1953 in Asbury Park NJ. When he was still in his teens he was asked to join Bruce Springsteen's E Street Band as a keyboardist and occaisonal saxophonist. He stayed with that band for their first three albums. In 1974 Sancious split from Springsteen and formed David Sancious and Tone with drummer Ernest Carter and bassist Gerald Carboy. Tone's music was comparable to other 70's bands that mixed progressive rock and jazz fusion; ie Return to Forever, Bill Bruford, Camel, Jean Luc Ponty, Alan Holdsworth and Mahavishnu Orchestra. Sancious' keyboard playing revealed many influences such as French neo-classical piano music, Gospel and fellow synth/keyboardists Chick Corea, Keith Emerson and Jan Hammer. Playing in Tone also gave David the freedom to show off his talents as a guitarist as well. His guitar style owes a lot to Jimi Hendrix, as well as Jeff Beck and John McLaughlin.

Tone never got the recognition they deserved, but fortunately Sancious continues to remain in the limelight because of his highly valued sideman work with people like Sting, Peter Gabriel, Stanley Clarke, Billy Cobham, Seal, Eric Clapton, Jon Anderson and many more.

Sancious is a bit of an exception in the jazz rock world, as part of his background is deeply rooted in rock (he was after all part of Springsteen's E-Street Band and will later play with Peter Gabriel and Sting), but his oeuvre is also extremely drawn from classical music. With only a drummer (the good Ernest Carter that played some sessions on Born To Run) and a bassist (a very noticeable Gerald Carboy), Sancious manages to make an extraordinary Classical-jazz-rock album with his wide range of keyboards (and obviously a lot of dubbing too). This album is produced by the familiar Billy Cobham, who also contributes some percussion instruments on half the tracks
Starting with the amazing symphonic Suite Cassandra, Sancious should marvel those symphonic rock fans that always fear the jazz tonalities: if one album could convert them, this might be it. Followed by the funky and energetic Come On, where Sancious' guitar leave nothing to envy to others, David veers into a calm Asian tune where Indian and Far-East music merges (this is fusion like we are not used to and the track's title East India confirms it) to some of Billy's percussions and chimes from Alice Coltrane. Herbie Hancock is not far away in this track. The inaptly-named Dixie is anything but Southern Dixie-jazz sounding (even if Sancious is making an anti-racist statement in this track) and presents another steaming fusion of styles, this time nearing Ponty's later 70's albums and some Tangerine Dream-like electronics, if you can picture that!!!

With the title track comes the album's last lengthy track (a small 8 minutes and the start of the second side), where the mood is more into RTF and Chick Corea's world. A short funky Joyce is followed by a "Crystal Image"-clear classical piano. One Time plunges us into an Emersonian realm, but I think Keith would have to bow out, as he would've not managed to play (or write anyway) this classical piece with the jazz feeling that Sancious dares. Absolutely stupendous!! The title's track's reprise is again in the Ponty register.The album's CD version gets a bonus track, the short, ultra calm and reflective Promise Of Light, which blends in on the album quite well, but is nothing that special, but can serve as a very apt outro.

If you notice, a lot of the references or comparisons I gave while describing the tracks date after this album's release, and if not on purpose, I don't think this is an accident either. Sancious seems to be much a precursor with this album, and it is about time that progheads take notice of this amazing keyboardist that unfortunately is never cited in top "prog" lists, and this is really a criminal omission.