The Coasts of Boemia

When we last left Harry Christophers and his cracker jack a cappella chorus the Sixteen, they were making fabulous recordings for the wonderful Collins label. But that was back in the halcyon days of the CD boom, those far off times called the '90s, when everyone with a little capital and a lot of taste could start a record label. Back in the '90s, Christophers and the Sixteen made more than a dozen wonderful recordings for Collins, among them one of the most moving recordings of Henry Purcell's Music for the Funeral of Queen Mary ever made. But the digital boom went bust and so did Collins, taking with it all of Christophers and the Sixteen's discs.

THE SAMURAI OF PROG was born in 2009, project and nickname of Marco BERNARD who worked on Colossus and Musea; its philosophy is to integrate guest musicians according to album releases; 15 including three per year since 2020, impressive. Kimmo PÖRSTI and Steve UNRUH forming the backbone, after covers of MARILLION and other groups, they embark on personal compositions from 2014 to make music of quality and emotion; themes on short stories such as Gulliver, Robinson Crusoe or Grimm's tales. Here it's S-F composed by Marco GRIECO for a symphonic prog stamped 70's. "Anthem To The Phoenix Star" on travel with the constraints of time and space as a preamble, a PINK FLOYD sound for bass, Marek's sax and Juhani's guitar, voice-overs including that of Clive NOLAN forming a spatial soundtrack where the synthesizer is king and where the universe shaped is indeed dystopia…

The Sons of Champlin released three albums on Capitol Records between 1969 and 1971 (Loosen Up Naturally, The Sons, and Follow Your Heart), none of which was a commercial hit for various reasons, but not for lack of musical quality. This 78-minute CD makes a reasonable selection of the highlights from those LPs, demonstrating that at their best, the Sons were a collection of talented musicians who packed their songs full of good solos that grew out of complicated arrangements. Although they were a part of the psychedelic San Francisco scene of the time, their music never quite fit the mold, leaning much more toward jazz and R&B than, say, the Grateful Dead. the Sons played instruments including saxophones and a vibraphone, not otherwise typical of the San Francisco Sound, and they were less interested in songs than in creating platforms for soloing. They might start a tune like "Love of a Woman" as a gentle, romantic ballad with an acoustic guitar, but midway through that would suddenly give way to a jazzy instrumental section in a different time signature, return to the ballad, then again go off into jazz.