They may sound like the quintessential English prog band but, in fact, Westfauster hailed from the rust belt, Cincinnati to be precise, and this gem of an album was initially released on the Nasco label in 1971. A guitar-free trio, the band did encompass a rhythm section, a variety of keyboards from harpsichord to Moog synthesizer, and a flute and saxophone within their multi-instrumental ranks. The Moody Blues and the Beatles were Westfauster's avowed influences, and you could hear subtle inflections of both on In a King's Dream. Blissful jazz ripples through the epic "Everyday," one of a clutch of flute-led numbers on the set. On that song, it's twinned with piano and organ; on "Blind Man's Epitaph" the flute flutters and flies amidst the harpsichord and choral vocals; and the harpsichord itself is showcased again on the Beatles-esque "Low Sun"…
Originally released on Stax's short-lived Enterprise label, this finds Detroit harp man Aaron "Little Sonny" Willis backed by Memphis players working in an early-'70s blues-rock groove. The Bar-Kays provide the horn blasts, and although it would be a sin for Memphis players to overplay on anything, nothing here really catches fire; the whole session stays in low gear throughout.
Jonathon was a huge man, very huge according to the people who met him, he also had a huge voice and wide open way of musical thoughts. His roaring theatrical version of "Sympathy For The Devil" made an effect by the time it's release, but couldn't drift the album to make the splatter that he expected and the sales stood in low numbers. That of course means nothing at all, the rest album keeps the high stature, from the opening "In Quest Of Unicorn" to his aspect of the Bee Gees "To Love Somebody" we are tasting some great vocal work, supplemented by musicianship which is practically beyond reproach.
It is odd that Bull Angus didn't make a larger impact at the time; their brand of post-psychedelic heavy blues successfully crossed between jam-happy Southern rock and budding Prog. The material was often compared to heavyweights like Uriah Heep and Atomic Rooster as well as homegrown Grand Funk Railroad, but the band's dexterity and large roster meant they could occasionally leave hardrock behind and dabble in early Crimson-style folk. Despite all this, Bull Angus never earned a cult following and has remained underappreciated to this day.
It is a pity that this LP is long out of print (and that the Catalyst label went out of business quite awhile ago), for it gives listeners an excellent example of the playing of pianist Ahmad Jamal in the mid-1970s. His group (comprised of guitarist Calvin Keys, bassist John Heard, drummer Frank Gant and Seldon Newton on conga) was temporarily larger than usual, and Jamal stretches out on three originals (including "Effendi") and a lengthy remake of his biggest hit, "Poinciana."