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Marching Song, Vols. 1-2
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Album: Marching Song, Vols. 1-2
# Song Title   Time
1)    Hooray!
2)    Landscape
3)    Waltz
4)    Landscape (II)
5)    Other World
6)    Marching Song
1)    Transition
2)    Home
3)    Rosie
4)    Prelude
5)    Tension
6)    Introduction
7)    Ballad
8)    Conflict
9)    Requiem
10)    Tarnished
11)    Memorial
 

Album: Marching Song, Vols. 1-2
# Song Title   Time
1)    Hooray!
2)    Landscape
3)    Waltz
4)    Landscape (II)
5)    Other World
6)    Marching Song
1)    Transition
2)    Home
3)    Rosie
4)    Prelude
5)    Tension
6)    Introduction
7)    Ballad
8)    Conflict
9)    Requiem
10)    Tarnished
11)    Memorial
 
Product Description
Product Details
Performer Notes
  • Personnel: Mike Westbrook (piano); Mike Osborne (flute, piccolo, alto saxophone); Alan Skidmore (flute, saxophone, tenor saxophone); John Warren (flute, alto saxophone, baritone saxophone); John Surman (saxophone, soprano saxophone, baritone saxophone); Brian Cockburn Smith (tenor saxophone); Dave Holdsworth, Dave Holdsworth, Kenny Wheeler (trumpet, flugelhorn); Greg Bowen, Tony Fisher , Ronnie Hughes, Henry Lowther (trumpet); Eddie Harvey, Mike Gibbs, Paul Rutherford, Malcolm Griffiths (trombone); Martin Fry (tuba); John Marshall , Alan Jackson (drums).
  • Liner Note Author: Dave Henderson.
  • As a two-part work that taken together was an instrumental commentary on the origination and folly of war, Mike Westbrook's albums of "marching songs" are considered both a high point in his career and a high point in progressive British jazz of the late 1960s in general. This CD reissue sensibly combines both LPs (originally issued separately, and simultaneously, as MARCHING SONG VOL. 1 and MARCHING SONG VOL. 2) into one package. There's no shortage of quite out-there sections, with the several-dozen strong cast of players--including such standout names as Kenny Wheeler on trumpet and flugelhorn, Barre Philips on bass, and John Marshall on drums--guaranteeing depth and richness to the arrangements. If it's consciously studied as a concept work, it's not so much an anti-war protest (although that sentiment's certainly implied by some of it) as a reflection of war's many moods and stages, from gung-ho patriotism to between-battle ennui and post-conflict exhaustion.
Professional Reviews
Record Collector (magazine) (p.96) - 4 stars out of 5 -- "Assembling some two-dozen key session players, he delivered obliquely orchestrated music that represented the light and shade, peaks and troughs of conflict."
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