02. Dance (5:06)
03. Glimpse (4:40)
04. Blues I (4:01)
05. Woodcut (12:47)
06. Blues II (3:11)
Keith Tippett / piano
Roy Babbington / bass
Julie Tippetts / guitar, vocals , recorder , mandolin
Frank Perry / percussion
Keith Bailey / percussion
Produced by Robert Fripp
It destroys and it constructs it to music that King Crimson listened in the debut album exactly. Forward and classics. It is talked as a valuable album that contains the ideal and the reality. However, the ideal and thought as directionality of King Crimson at that time might always contain the part of the revolution and old and be advanced. Tried proceeded band to the next step has already been expressed by "In The Wake Of Poseidon" announced in 1970.
It is said that time when Robert Fripp met Keith Tippett is about 1970. It is said that both confirmed the goodness of a music character each other in "MARQUEE" to which King Crimson performed at that time. Keith Tippett requested the pursuit of the aimed music character of "You Are Here...I Am There" of the album of own group. The part where impression had been received for a music character each other appeared remarkably when "In The Wake Of Poseidon" was performed. It kept revolutionizing it with Music's pursuit in "Lizard" and ..King Crimson.. "Islands" afterwards. However, the fact where King Crimson has the element of Improvisation might not have been able to be made if there was no part of activity and the stimulation of Keith Tippett.
Keith Tippett to contribute to music with high quality in King Crimson has proceeded to the next step with the flow that builds the relation of trust with Robert Fripp. "Keith Tippett Group" of own group might have been established with an original methodology for the field of Jazz and Prog Rock of Britain at that time. And, the creation and the idea that Keith Tippett considers appear remarkably exactly in the work of this group at that time.
Keith Tippett that receives the flow from 1st album of the group that appoints Giorgio Gomelsky known on business of The Yardbirds and Magma and attempts the pursuit of own music character further pursues the development of the music character from "Centipede" further. The pursuit of the music character that arranges an indispensable musician in the field of Jazz/Prog Rock at that time has developed in "Dedicated to You,But You Weren't Listening". And, an original music character that contains the element of Jazz that Keith Tippett thinks about reflects the flow that splendidly exactly catches an age at that time in the work.
Robert Fripp that built the relation of trust was appointed to the producer and the recording was done in this album. And, the overwhelming might and the idea of this album have respect produced as a flow that contains the music character that Keith Tippett exactly creates enough. And, the musician who participated in the recording of the album might also be exactly contributing to the element of this album. The album of Soft Machine is Bass of Roy Babbington widely known. And, the idea that doesn't use the form of the drum. Those parts are done enough by Frank Perry and Keith Bailey. And, appointment and the activity of Julie Driscoll(Tippett) that builds both relations that public and private matters enhanced for Keith Tippett at that time might draw out the music character of this album enough. The element of order in addition to the flow as Free Jazz might exist, too, when talking about the part of the performance of Keith Tippett. The performance where not only an indecent part but also a variegated sound and expression of feelings are had both will offer the listener originality and the charm. It will be able to be said that the part with the performance to feel expression of feelings, thought, and the sense of beauty in addition to the ability to process the space because of the sound will expand the width of the music character of this group.
"Song" is a tune with the element that continues a complete, transparent feeling. The piano consistently continues a beautiful melody. The line of Bass has the action that lifts a piano melody. The performance of Keith Bailey to make good use of the bell and cymbals, etc. also splendidly consistently makes the atmosphere of the tune. The performance that completely processes the space has the flow that may be continued to the end of the tune. The flow that order and the improvisation are had both has succeeded as an idea.
The sound of the guitar that does the mute from the part that looks like the sound in which the glass is beaten twines round "Dance". The melody is done disorder it and has the part of abstract. It is a tune of which the element of the improvisation went out strongly. The scat of enchantment Julie Tippett also considerably contributes to the tune. The performance establishes one flow repeating the improvisation.
"Glimpse" is a tune of which the element of the improvisation went out. The piano and the percussion instrument create one space and reach the peak. It might be ..establishment of the percussion instrument in close relation to the sound of Bass to make good use of the bow.. ..contribution.. worthy. The tune pulls the part that flows further in the space by the group. I will be able to feel the part with expression of feelings and order in the flow of the improvisation.
As for "Blues I", the scat twines round the space that flows quietly. The processing of a consistent space continues the directionality of this album. An experimental element might be a strong tune. It advances as the guitar and the piano have dismantlement and construction.
"Woodcut" has completely decided the element of this album. The flow with the part of the improvisation is pulled by the piano and Recorder and starts. The flow that excludes the sound to the minimum has established an original flow as an idea. Recorder and the piano create the world of an original improvisation. The flow continues long time. The flow that completely processes the space will not advance as a flow of a simple improvisation though it reaches the peak at the end of the tune.
Mandolin of "Blues II" that Julie Tippett performs is impressive. Julie Tippett that played the guitar and Recorder might have contributed to this album very much. And, it had the role to expand the width of the entire composition. The sound of advanced disorder it Mandolin is continued and hurtles through space. The percussion instrument doesn't appear. However, one flow is drawn as a complete improvisation.
The idea to listen in this album one would be attempt and be challenge that Keith Tippett at that time created. And, music to listen in this album shifts further in the form of Trio and develops into "Overy Lodge".
Review by Kazuhiro