Three years after Alive & Well: Recorded in Paris
(Harvest, 1978), Britain's Soft Machine suddenly resurfaced momentarily with Land of Cockayne
. Given the experimental nature of its glory days and a latter-day fusion masterpiece in Bundles
(Esoteric, 1975), it's understandable why Cockayne
has historically been considered Soft Machine's dullest moment. But time heals all wounds, and Esoteric's remaster reveals an album stronger than it seemed at a time when it was impossible not
to draw comparisons with the Soft Machine of days long past Land of Cockayne
didn't start life as a Soft Machine album, and the personnel bears little connection to even its final live incarnation. It was, in fact, a solo album from Karl Jenkinskeyboardist and erstwhile reedman who, according to unforgiving fans of the "classic" Soft Machine line-up, was singularly responsible for the group's creative decline. Listening to Jenkins' Soft Machine albums, starting with Six
(Sony, 1973), it may be true that the Nucleus alum's penchant for irregularly metered riff-er-amas, neoclassical anthems and hypnotic, Terry Riley
-informed minimalism was considerably distanced from the group's earlier compositional complexities, brooding abstrusities and avant-leaning freedoms. Still, based on Bundles
, and the recently unearthed group heard on NDR Jazz WorkshopHamburg, Germany May 17, 1973
(Cuneiform, 2010), Jenkins' writing was plenty compelling.
A marketing ploy, then, to bring attention to Jenkins' album by loaning it the Soft Machine monikerand one that largely backfired, the group's fan base a singularly unforgiving beast. On its own merits, nearly three decades later, it's by no means a masterpiece, but neither is it at all bad. Bringing back John Marshall
Soft Machine's longest-tenured drummer after joining halfway through Fifth
(Sony, 1972)and fellow Bundles
alum Allan Holdsworth
(largely relegated to session man status here, though he turns in characteristically fine solos on the simmering ballad, "Velvet Mountain," and fierier "Sly Monkey"), Cockayne
is also notable for other heavyweight contributions from the British jazz scene, notably John Taylor
who, hot off three ECM recordings with Azimuth, delivers an incendiary Fender Rhodes solo on one of the disc's longest tracks, "Panoramania."
Jenkins, playing a variety of synths including the relatively new Synclavier, creates a surprisingly broad palette for his recruits. Cream's Jack Brucewhose visceral fretless playing on the slow-disco groove of the opening "Over 'n' Above" is almost enough to get past its semi-cringe-worthy "nah nah nah" background vocalsis not quite Jaco Pastorius
on the Weather Report
-ish "Lotus Groves," but neither does the bassist need to be. And Ray Warleigh, who contributes some fine alto sax work throughout, brings the same ethereal bass flute to this disc's minimalist, trance-inducing "Palace of Glass" that he did to Bundles
' similarly complexioned "The Floating World."
Not a Soft Machine album, then, and certainly not an appropriate swan song for the group. But with Jenkins' largely fusion-esque writing providing plenty of room for committed, structure-based soloing, and a rhythm section that brings it throughout, Land of Cockayne
is an album that deserves to be reconsidered...and, ultimately, forgiven for what it's not and enjoyed for what it is
Over 'n' Above; Lotus Groves; Isle of the Blessed; Panoramania; Behind the Crystal Curtain; Palace of Glass; Hot-Biscuit Slim; (Black) Velvet Mountain; Sly Monkey; A Lot of What You Fancy.
Karl Jenkins: Synclavier synthesizer, Yamaha CS 80, Minimoog, piano; John Marshall: drums, percussion; Jack Bruce: bass; Ray Warleigh:alto saxophone, bass flute; Dick Morrissey: tenor saxophone; Allan Holdsworth: lead guitar; Alan Parker: rhythm guitar: John Taylor: Fender Rhodes; Tony Rivers: backing vocals; Stu Calver: backing vocals; John Perry: backing vocals.
FOR THE LOVE OF JAZZ
Since 1995, shortly after the dawn of the internet, All About Jazz has been a champion of jazz, supporting it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.
WE NEED YOUR HELP
To expand our coverage even further and develop new means to foster jazz discovery and connectivity we need your help. You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles
for a full year. This winning combination will vastly improve your AAJ experience and allow us to rigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today