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.
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.
Barre Phillips’s music always seems to be more about the obscuring than about what is being obscured. Such a description, I hope, does not merely practice what it preaches, but instead gives insight into his modus operandi. For this suite of six parts, ranging from organic to synthetic and back again, Phillips is joined by frequent collaborator John Surman and vocalist Aina Kemanis. The combination proves to be a formidable one. Phillips brings a delicate intensity to every cell of musical information he divides, especially in the slow buildup of Part III, while Surman threads not a few needles with the bevy of reeds at his disposal.
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.
End to End is a solo bass album by one of the great pioneers of the idiom. Over the last fifty years Barre Phillips, California-born but long a resident of France, has periodically issued solo recordings, considering them the musical equivalent of diary entries (the first one, in 1968, was called Journal violone), updates on his ever-evolving relationship to his chosen instrument. This one, he says, will be the last of his albums in this format, so it is of special interest to those who have followed the story so far and, indeed, to anyone wishing to hear a masterful improviser at work, refocussing lessons learned in the course of a long, creative life. “It’s the end of a cycle,” says Barre, now 83, of the present recording. “Not a summing up, but the last pages of a journal that began fifty years ago.”