Jon Lord - Sarabande 1976

Format: APE (image + .cue + log)

Genre: Symphonic Rock

Release Date: 1983

Label: Line Records

Notes

Recorded between 3rd and 6th September 1975 at the Stadt Halle
Oererckenschwick near Dusseldorf with the Dieter Dierks Mobile Recording Studio
using AGFA P.E.M. 408 master tape.
Engineered by Martin Birch (The WASP).
Remixed by Martin Birch at Musicland Studios (Munich), assisted by Hans Menzel.
Mastered at Kendun Recorders in Burbank CA.
Produced by Jon Lord and Martin Birch.

Jon Lord - keyboards

Paul Karass - bass

Mark Nauseef - percussion

Andy Sommers - guitar

Pete York - drums

and the Philharmonia Hungarica conducted by EBERHARD SCHOENER

Review from purplerecords

Founder member of Deep Purple, keyboard player Jon Lord needs little introduction to rock audiences. Yet classical music had been a huge part of his musical education, and echoes of his love for the genre imbued the early Deep Purple albums. His interest was then channeled into a series of classical/rock experiments which lasted throughout the seventies.

Jon Lord based his material on a set of dance suites, interpreted with a string orchestra and modern rock instrumentation. His own keyboard playing was stunning, ranging from gentle piano work to heavy Hammond organ riffs. The guitar was played by Andy Summers, just prior to his joining The Police.

A crash of orchestra and cymbals opens this huge work. The title piece is strong, with a cool bass line and Lord's infectious synth, built up with masses of horns, strings, and percussion shifting from Latin moves and sweeping winds to jazzy and romantic encounters. This is *orchestral* rock more than it is *symphonic*, and the record is bold even for 1976.

In the 11-minute 'Guige' we hear remnants of Dave Brubeck's proto-fusion and even Bo Hansson's distant impact, as instruments talk to each other in spirited conversation. The second half grooves smoothly into hip street rhythms, Arabian sand storms, Eastern treasure and T.E. Lawrence. 'Caprice' is first-rate syn-phonic rock sewn into a fascinating quilt of opera, pomp and circumstance and is benefitted by Eberhard Schoener's firm conducting.

Unfortunately, at the time it was released, the album went mostly unnoticed in the storm of Deep Purple's 1976 tour and their split.

Jon Lord - Gemini Suite (1971)

Genre: Symphonic Rock
Format: ape + cue + log
Released: 1971
Label: Line Records

01. Guitar

02. Piano

03. Drums

04. Vocals

05. Bass

06.Organ

After the cold reception of his first orchestral release, Jon Lord wisely decided to disassociate such work from the Deep Purple name -- even though the lineup here is largely the same. Those who enjoyed "Concerto for Group and Orchestra" will find even more to love here, while the many Deep Purple fans who didn't care for "Concerto" will probably remain unimpressed. Still, even though "Concerto" saw listeners suffering through orchestral noodling for a few minutes of ass-kicking rock, this time around the band and orchestra are better integrated. The first movement contains an eminently sample-worthy bit of ice-cool jazz in a drum roll and walking bassline by Paice and Glover before descending into brittle percussive piano soloing, while the third movement has some wonderfully dissonant bass soloing over the brass and percussion sections by Glover. And in a goofy but appropriate period touch, the London Symphony Orchestra members are listed by their astrological signs, rather than by "woodwinds" or "strings."

Review by Paul Collins

Uli Jon Roth - Under A Dark Sky 2008

Genre: Symphonic rock
Format: wv + cue + log
Released: 2008
Label: Steamhammer / SPV

01. S.O.S.

02. Tempus Fugit

03. Land of Dawn:
I) Techno Man
II) Land of Dawn
III) Lion Wings

04. The Magic Word

05. Inquisition

06. Letter of the Law

07. Stay in the Light

08. Benediction

09. Light & Shadows

10. Tanz in Die Dammerung:
I) Destination Twilight
II) Morgenrot
III) Searchlights From Hell
IV) Seelenschmerz
V) Inside The Titanic
VI) Fama Errat
VII) Requiem For The Nations
VIII) Morituri
IX) Rex Tremendae
X) Star Peace
XI) Tanz In Die Dämmerung
XII) Silence

Uli Jon Roth : guitars, bass, keyboards
Mark Boals, Liz Vabdall, Peter Ewald, Kerstin Domros, Michael Flexig, Akasha Dawn Roth, Gwen Adams : vocals
Michael Ehre : drums
Nippy Noya : ethnic percussion
Chris Lowe : orchestral percussion

Ex-Scorpions guitar virtuoso Uli Jon Roth is at it again with another solo project sure to excite his fans. Uli Jon Roth’s “Under A Dark Sky” is a continuation from his acclaimed 1996 symphonic legends album “Sky of Avalon”. Additionally, Roth not only has a knack for music, but he also dabbles in painting, writing poetry, and even creating instruments. I could only imagine what amazing journey awaited me.

Roth has become famous over the years for his great technical ability at performing some excellent neo-classical creations. He has been said to be the inspiration for countless guitar players across the world, and is even in Germany’s “Walk of Fame” in Gronau. This epic and ambitious piece of work surely is a testament to those wonderful accolades.

When you begin to listen to this album it almost has an ominous feel to it. With the opening track named “S.O.S” you begin to wonder if maybe you should turn back, but realize that there is too much temptation to do so. A Martin Luther King pop culture reference seems to supply itself in the first track as well. Soaring orchestral and choir musings begin to awaken themselves and you really get a feel for what the entire album is going to be about. Throughout Roth is phenomenal in his own style, but you have to be ready for an avant-garde musical approach.

In addition to Roth and all of his other musical elements Mark Boals, currently of Royal Hunt, and Liz Vandall, ex Sahara, lend their lead vocal talents. These two provide the impetus for the entire album seeming like two wondering spirits telling an elaborate story of humanity in a surreal world of possibility. Tracks like the epic three part “Land of Dawn” is an excellent example of these two working their magic. The last and greatest epic on the album “Tanz in Die Dammerung” brings the two singers to an even more incredible conclusion of musical majesty.

“Under A Dark Sky” unfortunately has a real tendency to carry on pretentiously. Sometimes you wonder if you are listening to one long track only later to find out that you have listened to four tracks. Other times you wish that some of Roth’s musical themes were not so quickly abandoned from one track to the next because of how good they were. The last piece on this album, already mentioned before in Tanz in Die Dammerung, is excellent in its own right but can be difficult to listen to because of its grand scope, so if patience is not your thing you might want to steer clear.

Review - James