Jonesy

Jonesy are one of the great British Progressive Rock bands of the early 1970s who, despite recording some of the most impressive and intelligent music of the era, sadly failed to make a commercial impact. The band was formed in 1971 by guitarist John Evan-Jones, who emigrated to Australia with his brother Trevor in the 1950s. By the mid-1960s, the Jones brothers had formed the band Chaos And Co and had enjoyed success. Returning to the UK in 1969, John forged a career as a session guitarist but by 1971 had formed Jonesy with Jame Kaleth (mellotron, keyboards, vocals), David Paull (bass, vocals) and Jim Payne (drums, percussion).

Jonesy are one of the great British Progressive Rock bands of the early 1970s who, despite recording some of the most impressive and intelligent music of the era, sadly failed to make a commercial impact. The band was formed in 1971 by guitarist John Evan-Jones, who emigrated to Australia with his brother Trevor in the 1950s. By the mid-1960s, the Jones brothers had formed the band Chaos And Co and had enjoyed success. Returning to the UK in 1969, John forged a career as a session guitarist but by 1971 had formed Jonesy with Jame Kaleth (mellotron, keyboards, vocals), David Paull (bass, vocals) and Jim Payne (drums, percussion).

Jonesy are one of the great British Progressive Rock bands of the early 1970s who, despite recording some of the most impressive and intelligent music of the era, sadly failed to make a commercial impact. The band was formed in 1971 by guitarist John Evan-Jones, who emigrated to Australia with his brother Trevor in the 1950s. By the mid-1960s, the Jones brothers had formed the band Chaos And Co and had enjoyed success. Returning to the UK in 1969, John forged a career as a session guitarist but by 1971 had formed Jonesy with Jame Kaleth (mellotron, keyboards, vocals), David Paull (bass, vocals) and Jim Payne (drums, percussion).

Rhythm team David Paull and Jim Payne left Jonesy after the release of the band's debut No Alternative. In their stead came Gypsy Jones and Plug Thomas, along with trumpeter/woodwind player Alan Bown and string arranger Ray Russell upending their previous sound. "Masquerade," which opened their sophomore Keeping Up set, immediately introduced the new crew across a dizzying array of genres. Shades of new romantics to come haunt the early passages, but then the song rounds on funk, delves deep into moody waters, pooling around woodwind and trumpet solos whipped to a froth by the lush strings while operatic vocals soar overhead.

Rhythm team David Paull and Jim Payne left Jonesy after the release of the band's debut No Alternative. In their stead came Gypsy Jones and Plug Thomas, along with trumpeter/woodwind player Alan Bown and string arranger Ray Russell upending their previous sound. "Masquerade," which opened their sophomore Keeping Up set, immediately introduced the new crew across a dizzying array of genres. Shades of new romantics to come haunt the early passages, but then the song rounds on funk, delves deep into moody waters, pooling around woodwind and trumpet solos whipped to a froth by the lush strings while operatic vocals soar overhead.

JONESY were an early 70's band in the style of KING CRIMSON but with the unusual element of electric trumpet from Alan Bown. Other band members were John Evan-Jones - guitar & backing vocals, Jamie Kaleth - lead vocals & keyboards (including some excellent Mellotron), Gypsy Jones - lead vocals, bass guitar & recorders and Plug Thomas - percussion and backing vocals.

Following on from their debut album No Alternative and sophomore set Keeping Up, Jonesy released Growing in 1973, their third and final album for the Dawn label. Overseen by top-notch producer Rupert Hine, it was certainly the best sounding set of the batch, and arguably their most adventurous, but that wasn't necessarily a good thing. The almost-12-minute long set closer "Jonesy" was a case in point. What should have been an exciting epic instead disintegrates into overindulgent improvisation. It starts off strong enough with the instruments circling around the organ and Mellotron, the electric guitar then storms in, and the piece pushes into R&B laced with funk and wah wah guitar. But then it fragments into a series of disjointed solos, and never really comes back together, although at times it's intriguing how the various instruments can evoke a genre with just a few notes or chords…

Jonesy were an important piece of the early stage in UK's Progressive rock attack. The band was formed in 1971 by brothers Trevor and John Jones, while the original line-up included also Terry Cutting and Berbie Hugley. However this line-up wouldn't live on. Trevor had arguments with his brother John related to the band's musical direction and now the line-up included new members David Paul (bass/vocals), Jim Payne (drums/percussion) and Jimmy Kaleth (various keys/vocals). With this formation Jonesy recorded their first album ''No alternative'' in 1972. The eponymous opener sets you in the general mood of the album with its rockin' riffs, great breaks and intense percussion work, typical of the early-70's UK Prog bands…

Clifford Brown - The Clifford Brown Big Band In Paris (1953) {Prestige OJCCD-359-2 rel 1989}
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© 1953, 1989 Prestige / Fantasy / OJC | OJCCD-359-2
Jazz / Bop / Hard Bop / Big Band / Trumpet

Although Lionel Hampton forbid his sidemen from recording during their trip to France in 1953, many of the musicians fortunately ignored his orders; the band broke up soon anyway. Trumpeter Clifford Brown is heard on this LP mostly with a big band actually put together by Gigi Gryce. A few of these tracks are excerpts but the two takes of "Brownskins" and "Keeping up with Jonesy" are fairly long as is a nearly eight-minute "Chez Moi." The music is not essential but Brownie did not live long enough to record anything less than excellent.