Martin Barre is an English rock musician best known for his work with progressive rock band Jethro Tull, with whom he recorded and toured from their second album in 1969 to the band's initial dissolution in 2012. In the early 1990s he went solo, and has recorded four studio albums and made several guest appearances.
Originally released on ECM in 1971, and here reissued on CD in Japan, this historic date features the two British bassists engaged while at the top of their powers, exploring not only tonality and the dynamic and harmonic possibilities that exist between two double basses, but also the expanded notions of how the different players' styles and musical intuitions dovetail, rather than work in opposition. Holland's pizzicato attack is far more languid and lush than Phillips,' whose style is over the top; they approach each encounter as one in which sheer propulsiveness becomes an aesthetic.
Promotional album, in a limited edition run of 500 copies. A couple of years before the release of "A Trick Of Memory" (the first Martin Barre solo work wich includes his own material and was properly distributed), this CD was released and distributed through the Jethro Tull fanzine "A New Day", in a limited edition of 1000 copies on CD and Cassette (500 copies of each format). Martin Barre was the guitarist of Jethro Tull for over 43 years, his sound and playing was a major factor in their success. Album sales have exceeded 60 million units and they continue to be played worldwide, representing an important part of classic rock history.
This set was also issued as two separate LPs under John Surman’s name, Vogue VJD 505/1 and VJD 505/2. Rare bit of free jazz by this trio of British players from the early 70′s. The music is very intense, without any of the noodling that sometimes ruins Brit sessions from the time. Surman plays baritone, soprano, and bass clarinet, and he really blows like mad in some passages. The sound quality of this album is stunning! In the autumn of 1969, John Surman decided to make a break and joined forces with Barre Phillips and Stu Martin, to form a group they called The Trio. Phillips had a varied background, having worked as a sideman with Archie Shepp, Jimmy Giuffre and George Russell, as well as performing solo in Leonard Bernstein and the New York Philharmonic.
A decent debut album, featuring a lively mix of hard rock and R&B with progressive rock, folk, and blues sources. It is one of those all too rare albums that brings you something new every time you play it.
STAGE LEFT is Martin Barre's third studio CD, released in 2003. The title is a reference to his hallowed position on the Jethro Tull stage assignment. It was the first album of Martin Barre to be released both in U.K and in the United States. Stage Left was supported with a tour in small venues. Featuring 13 instrumental tracks (and one with vocals, "Don't Say a Word"), Barre moves through a wide range of guitar-based styles including (but not limited to) classical and blues acoustics, progressive rock, acoustic folk, 80s-styled finger picking and even ambient electronic styles.