Jon Young Thropugh Native Eyes

First of the Big Bands is a studio album by Tony Ashton of Ashton, Gardner and Dyke and Jon Lord of Deep Purple, released in April 1974 by Purple Records in the UK and Europe and Warner Bros. Records in the US. The project was Ashton's and Lord's brainchild and continuation of their working relationship after Ashton Gardner & Dyke helped out on Jon Lord's soundtrack album The Last Rebel from 1971. Stylistically, First of the Big Bands was the precursor to Paice Ashton Lord's Malice in Wonderland album from 1977. Most of the album was recorded at Air and Apple Studios, London, with additional work being completed at De Lane Lea and Island.

Jon & Vangelis' first two albums really seemed to be building up to this point. With Private Collection, the two artists (Jon Anderson of Yes fame and Vangelis) have created what feels just a bit like a classical work. Truly the nearly 23-minute "Horizon" really feels a lot like a modern symphony. It is definitely the culmination of their work together, their most ambitious effort. The shorter cuts on the album all have their moments and surely hold up to anything from the previous releases, but "Horizon" stands far above them all. It combines the best elements of Anderson's work in Yes with the electronically classically tinged stylings of Vangelis to produce a work that is near masterpiece in its quality. It is a life-affirming, positive piece. Among the other highlights of the disc are "Deborah" and "He Is Sailing."

Vocalist Jon Anderson and master synthesist/composer Vangelis draw upon their legendary individual histories and more than two decades of classic collaborations to create this very spiritual and musical synergy, which combines elements of rock, classical, symphonic, jazz, soul, electronic new age, and worldbeat. Best known, respectively, as the lead singer of Yes and the Oscar-winning composer of "Chariots of Fire," the duo has released several extraordinary tandem recordings over the years, beginning with the 1976 album Olias of Sunhillow. This is the sixth of the series, and was originally released in 1991…

In one sense, it's heartening that Jon Anderson has decided to explore music far outside the confines of Yes on his solo albums - and it would have been even better if the album actually worked. On 1994's Deseo, he delved into Latin music, and he returns to that territory on The More You Know, adding elements of worldbeat and smooth soul to the mix. Coming from Anderson, it's a bit of a surprise, albeit a welcome one, and for a few songs, the entire enterprise sounds quite promising. By the end of the disc, it almost collapses under its own weight, since Anderson relies more on sound than songs. Still, the very fact that he's trying something new is quite exciting, and the handful of songs that work make The More You Know worth a listen from hardcore fans.

The Hoochie Coochie Men was a renowned Australian blues group composed of former Rainbow, Black Sabbath and Ozzy Osbourne bass player Bob Daisley, guitarist and singer Tim Gaze and drummer Rob Grosser. The recurring member of the band was former Deep Purple keyboard player Jon Lord who first performed with The Hoochie Coochie Men in February 2003 after an injury which prevented him from performing his usual concert setlist on piano. The band was also joined on stage by various harmonica players. The Hoochie Coochie Men's second studio album, Danger: White Men Dancing features guest performances from vocalists Ian Gillan, Jimmy Barnes and Jeff Duff.

Sarabande is the second solo album by Jon Lord recorded in September 1975 near Düsseldorf (Germany). The orchestra was conducted by Eberhard Schoener. The complete Sarabande suite was premiered in live performance in Budapest on 18 September 2010 and later in Sofia on (30 October) and Essen (15 November). Lord amended the 1975 orchestrations, and also orchestrated Aria, which was played on piano and synthesizers on the recording, and Caprice which was simply a group performance on record. 'Finale' was made-over to allow the ‘parade of themes’ section -which was done with tape-loops on the recording- to be played live.

Jon Anderson records naturally sound like Yes records, and not only because of his high, frequently double-tracked tenor. Anderson, who wrote, arranged, and produced Song of Seven, his second solo album, fills his overstuffed arrangements with dense keyboard textures and sparkling acoustic guitar strumming, just like the music of his band. For parts of this album, he evokes touches of early rock & roll and seems to be singing of romance, but by late in the second side, amid sound effects of birds and children, his keening vocals, in melodies seemingly borrowed from Anglican hymnals, are going on about the strength of dreams and stairways of love. Restraint is not one of Anderson's characteristics.

Excellent historywise, poor soundwise. A welcome '65 live recording by a band famous for including a young Jon Anderson at harmony vocals, though you wouldn't know by hearing only. Typical repertoire for the era, quite competent playing, excellent guitar parts sometimes sounding well ahead of their time…