Fourth / Fifth

Very much "of its time", these CDs (along with Third and Six) very much encapsulate where jazz was at in the early seventies. Nothing like that watered down disco pap that got foisted off on us as "jazz-funk" later in the 70's, this is much more free-form and travellin'.

Fourth is perhaps more accessible than Fifth, but the latter has the edge as regards excitement, and somehow seems a more structured and coherent offering. This is offset by the more vibrant childlike enthusiasm and ebullience of Fourth. But crikey, what a pair of absolute gems - and on one CD for a gorgeous price ...

Later SM offerings (7th onwards) seemed to lose a lot of the charm of this quintessential period in their development, but they were still miles ahead of whatever serious competition they had - which wasn't a great deal.

I had completely forgotten how good these things were (had the vinyl years ago, they got ripped, I never replaced till now) until this CD dropped onto the mat just now. Can't review this objectively, anything I say has been said before by the other reviewers. All I can say is: get it and play it to everyone you know. Loud.

I must say that "virtually" is a masterpiece. How most people review music is a fusion of references from similar music, or from some sort of explanation of internal reflections. Either woud take a long time in this case. The genius of the music is its' flowing, gentle exposition of a theme and transformation into and out of focus, plays on instrumental sounds rather than notes, ideas rather than melodies, images rather than illustrations.

If any of the band members are reading this, I have to say this. For twenty years this record has been part of my life. And yet, I do not know how exactly to write a tribute to it - the words don't quite describe its ability to scintillate and tantalise, and remain on the edge of description, like a mirage, forever evident and yet unreachable.

Thank you, my dear friends. I wish you all the best.

'Teeth', taken at a furious rate with Ratledge's possessed and stuttering organ solo gives way to Hugh Hopper's brooding 'Kings and Queens' this is a showcase for Elton Dean's more subdued yet intense playing which leads on to Deans own free workout the shuddering 'Fletchers Blemish'.

Hugh Hoppers 'Virtually' Parts 1 - 4 close 'Fourth' with a suite that includes the playing of other free luminaries of the time such as the cornet player Mark Charig,Trombonist Nick Evans and the Coltranish tenor of Alan Skidmore.

A year on and a dissatisfied Wyatt had gone on to form the excellent Matching Mole ( a play on the French for Soft Machine )and the drum chair was in a period of transition from Phil Howard to the redoubtable Mr John Marshall.

The music now had an even freer feel, as on the opener 'All White' and moments of surreal experimentation as with the sound effects on the Ratledge led 'Drop' with its gorgeous intro and fuzzed organ.

'MC' follows in a similar vein to 'Drop' before the free workout of 'As If' and John Marshall's, I am a master, statement on 'LBO'.

Ratledge's 'Pigling Bland' shows us the direction 'Six' would take (recorded after the departure of Elton Dean) and the album closer 'Bone' is an odd piece of minimalism to be sure.

Highly Recomended