Gwendal-Gwendal (1974)

Gwendal is a legendary French band that masterfully fused Celtic and Breton influences with jazz and rock elements. Its founder was saxophonist and flautist Youenn Le Barre, who, along with bassist Roger Schaub and guitarist Jean-Marie Renard, was one of the band's core members for many years. Their self-titled debut album, "Gwendal", was released in 1974, showcasing the rhythms and folk influences of Ireland and medieval music. On this first release, instruments like the violin and flute were the driving force behind a distinctly traditional style. However, by then, other artists such as The Horslips, Alan Stivell, Gryphon, and Clannad had already explored this eclectic fusion of traditional and avant-garde sounds, releasing seminal works that would have a profound impact on the world of modern music. Despite having a musical philosophy still undefined, this debut album showcases interesting creative contributions such as the rhythmic "An Dro-Nevez", the reflective "Planxty-Birke", the intriguing "Patrick's Day", and the minimalist "Deu Tu Ganene". Starting with their third album, "Á Vos Désirs" (1977), they incorporated drummer Arnaud Rogers, an instrument that would broaden Gwendal's musical palette, adding a deeper, more jazz-influenced dimension to their rich and distinctive style.

Magnum-On A Storyteller´s Night (1985)

With cover art that perfectly reflects the music within, Magnum's fifth album, "On A Storyteller's Night", became one of their best works, perfectly capturing their addictive style that brilliantly blends epic, melodic rock, and progressive structures. It's replete with great keyboard passages, courtesy of Mark Stanway, the powerful hard rock guitars of Tony Clarke, and the impressive vocals of singer Bob Catley. From the energetic "Just Like An Arrow" to the melodic "The Last Dance", passing through the infectious "Endless Love", the AOR "Two Hearts", and the epic and glorious "Haw Far Jerusalem", Magnum showcased their great musical diversity, producing everything from semi-progressive albums like "Chase The Dragon" and "Wings Of Heaven" to clear concessions to high-quality melodic rock such as "The Eleventh Hour", "Vigilante", and "Goodnight L.A".

Earth, Wind & Fire-The Best of Earth, Wind & Fire, Vol1 (1978)

Earth, Wind & Fire managed to turn every song they composed into a true anthem for an entire generation, whether it was funk, rock, soul, disco, or R&B. They are also one of the most successful bands of all time, with nearly 100 million records sold and seventeen Grammy nominations, winning six and countless other accolades. In 1978, with only seven albums released, they launched the compilation "The Best of Earth, Wind & Fire, Vol 1", which became a massive success, selling over 6 million copies thanks to an impressive collection of great songs like "Got to Get You Into My Life", "Fantasy", "Love Music", "Getaway", "September", and "Sing a Song". The band continued to release work until 2014, reaping success after success such as the million-selling albums "I Am" (1979), "Faces" (1980), "Raise!" (1981) or "The Essential" (2002).

Steeleye Span-All Around My Hat (1975)

"All Around My Hat" perfectly encapsulated Steeleye Span's nascent style, blending their folk sound with more accessible, commercial rock. It subtly replaced their usual fusion of artful folk and traditional folk from their earlier works, particularly their predecessors "Now We Are Six" (1974) and "Commoners Crown" (1975). For this new album, curiously released months after "Commoners Crown", the band, led by the duo Maddy Prior and Tim Hart (vocals and guitars respectively), expanded their musical horizons into the realm of folk-influenced rock, highlighting Bob Johnson's powerful electric guitar riffs. With a repertoire full of attractive songs such as "All Around My Hat", "Gamble Gold", "Hard Times Of Old England", "Sun Waves" or "Dance With Me", with this album, the eighth chronologically of Steeleye Span, they would achieve their greatest commercial success, achieving a gold record in the British charts and considerable sales outside the United Kingdom.

Boomerang-Boomerang (1971)

From the ashes of the legendary Vanilla Fudge emerged several bands: Cactus and Boomerang. Cactus was led by drummer Carmine Appice and bassist Tim Bogert, while keyboardist Mark Stein would form the core of Boomerang. To form Boomerang, Stein recruited several unknown musicians, starting with guitarist Richard Rameriz, bassist Jo Casmir, and drummer James Galluzi. Their only release was the self-titled "Boomerang," a decent hard rock album that drew from the sonic sources of other contemporary bands such as Vanilla Fudge, Led Zeppelin, and Steppenwolf, but with a clear psychedelic undercurrent. Rameriz's heavy guitar riffs, Stein's dense organ, and the dusty, southern rock-influenced rhythm are the common denominator of an album that, despite containing a commendable repertoire, would fail spectacularly, overshadowed by the success of his former bandmates in Cactus. Powerful hard rock tracks like "Cynthia Fever", "The Peddler" or "Juke", the country rock "Hard Time", the bluesy boogie "Mockinbird", the attractive southern rock "Fisherman" or the melodic ballad "Brother's Comin' Home", have enough merit for this release to have had greater media and commercial recognition.

Fischer-Z-Red Skies Over Paradise (1981)

Fischer-Z were one of the most successful and well-known post-punk and new wave bands of the early 1980s. Formed in 1977 by guitarist and activist John Watts, along with David Graham (bass), Steve Liddle (drums), and Steve Skolnik (keyboards), this quartet built a strong reputation over several years on the London club and pub circuit, thanks to their blend of punk rock and synth-pop with elements of pub rock and ska and reggae rhythms. Signed to United Records, they released their debut album, "World Salad", in mid-1979, which featured biting political themes of the time and a catchy, basic pop-rock style. With their next full-length album, "Going Deaf For A Living", Watts solidified the group's style, firmly establishing their music as a vehicle for conveying political ideas through the short narratives of their songs. On their first two albums, they featured sarcastic songs like "Pretty Paracetamol", "The Worker", "So Long", and "Room Service". With "Red Skies Over Paradise", their third release, they made clear political references to the Cold War between capitalist and communist countries, starting with the ironic cover art. This ironic narrative is present in songs like "Battalions of Strangers" and "Cruise Missiles", which contrast with melancholic love songs like the moving "Marliese". With this last album, Fischer-Z achieved their best creative and commercial work, selling over a million copies and, incidentally, becoming their epitaph. Shortly after, John Watts ended the band, at least for six long years, before reviving them with new members, but showcasing their usual forceful political messages mixed with other, more repetitive songs.

Seventh Key-Seventh Key (2001)

In early 2000, bassist Billy Greer, formerly of Kansas' second incarnation, and guitarist Mike Slamer, formerly of the band led by Steve Walsh Street, founded Seventh Key, a group that navigated between melodic rock and hard rock. At the start of 2001, they released their debut album, which, in addition to keyboardists David Manion and Igor Len and drummer Chet Wynd, also featured some members of Kansas, including Phil Ehart, Steve Walsh, Steve Morse, and Rich Williams. On this first album, the hard rock guitar riffs of Slamer, Morse, and Williams, along with Manion's keyboard flourishes and the irresistible vocal harmonies courtesy of Greer and singers Terry Brock and Steve Walsh, are the common thread running through most of the tracks. From attractive mid-tempo tracks like "Only The Brave", "Missy", "Surrender" or "When Love Is Dying", to catchy AOR tracks like "Everytime It Rains" and "Forsaken", passing through the energetic "The Kid Could Play" or "Prisoner of Love", they all together make up an excellent work highly regarded by fans of adult-oriented rock, which would have a brilliant continuation several years later with "The Raging Fire".

Todd Rundgren-Initiation (1975)

This is probably Todd Rundgren's most progressive solo work, considered by many to be a masterpiece of avant-garde rock, offering everything from energetic tracks to astonishing instrumental exercises on keyboards and guitars. Released in 1975, "Initiation" was his sixth album outside of his band Utopia, and on it the guitarist and producer surrounded himself with a wide range of collaborators, including Edgar Winter, Rick Derringer, David Sanborn, Dan Hartman, Rick Marotta, and Roger Powell, among others. With an unusual runtime of nearly 70 minutes, Rundgren managed to fit a repertoire twice as long as almost any other record released at the time onto just one side of the original vinyl. While the album features several songs with a clear conventional rock feel, it also contains many progressive and experimental moments. The heavy tracks "The Death of Rock and Roll" and "Eastern Intrigue" are perhaps the most peculiar among all the conventional ones, contrasting sharply with the pleasant "Real Man" or the extravagant "Born to Synthesize", an a cappella song sung by Todd himself. However, the expansive "Initiation", "Fair Warning", and especially the hallucinatory instrumental suite "A Treatise on Cosmic Fire" are the high points of this surprising recording by the blond guitarist from Pennsylvania.

Judas Priest-Sin After Sin (1977)

In 1977, Judas Priest was still finding its way, and despite having released the commendable "Rocka Rolla" (1974) and "Sad Wings of Destiny" (1976), these were far from defining the style that would propel them to fame years later. For their next album, "Sin After Sin", they moved away from the dark and melancholic sound of their previous record, raising the tone and adding much more aggression that would lay the foundation for their future work. They distanced themselves from the blues influences that had shaped greats like Black Sabbath, Led Zeppelin, and Deep Purple, and with their incendiary guitar duels perhaps the best in history (with all due respect to other legendary bands like Wishbone Ash and Thin Lizzy) and the accelerated tempos in some tracks, heavy metal began to grow and take shape. Tracks include true anthems like "Sinner" or the amazing version of Joan Baez's "Diamonds And Rust".

Judas Priest-Painkiller (1990)

"Painkiller" is one of the most memorable heavy metal albums ever recorded, a powerful record created by gods of the genre like Judas Priest. With this, their twelfth album, the British group reached the next level within their classic heavy metal style, featuring the blistering and lightning-fast guitar riffs of KK Downing and Glenn Tipton, Rob Halford's anguished and aggressive screams, Ian Hill's heavy and driving bass, and the prodigious, hyperactive double bass drumming of the newly added Scott Travis. Composed of ten tracks, the entire album is incredibly solid, dizzying, powerful, rhythmic, and tremendously catchy. Tracks like "One Shot At Glory", "Night Crawler", "A Touch Of Evil", "Painkiller", "Metal Meltdown", "Hell Patrol", "Battle Hymn" or "Leather Rebel" make up one of the most commercially successful and critically acclaimed albums worldwide, also representing a milestone in heavy metal, mainly due to the wide influence and impact it had on many subsequent bands.

Judas Priest-Turbo (1986)

In 1986, Judas Priest showcased their experimental side with the release of "Turbo", a controversial yet successful album where they first used synthesizers and embraced (albeit quite subtly) heavy pop. At the height of their success, Rob Halford and company dared to flirt with the styles that, at the time, most rivaled hard rock and heavy metal: the glamorous and commercial sound of American glam metal. Much like Iron Maiden did during those years, synthesized guitars are used elegantly, at least in tracks like the monumental "Turbo Lover", which would become an instant heavy metal classic. "Locked In" and "Private Property" follow a similar path, featuring the immense talents of K.K. Downing and Glenn Tipton on guitars and a driving rhythm section comprised of Dave Holland and Ian Hill. However, there are also glimpses of the usual Judas Priest sound with the ironic "Parental Guidance", the carefree "Wild Nights, Hot & Crazy Days", and the heavy rock of "Reckless". Despite being maligned by many of their more orthodox fans, "Turbo" is the album that best balances raw, powerful heavy metal with the rock/pop of the 1980s.

Judas Priest-Killing Machine (1978)

"Killing Machine" is the second album released by the British band Judas Priest in 1978, and the first to feature the same lineup as their previous album, "Stained Class". Interestingly, this album was released in the United States three months later than in the rest of the world, and was also retitled "Hell Bent For Leather". While maintaining a very high level of musicianship, this release adjusts the sound towards more basic parameters to make it more accessible and commercially viable. Even so, it remains a powerful heavy metal album, with thrilling, hard-hitting songs. Tracks like "Hell Bent For Leather", "Running Wild", "Delivering The Goods", "Evil Fantasies", and "Killing Machine" form the solid backbone of the album's heavy metal, while the melodic "Before The Dawn" is the only piece that offers a brief respite from the relentless pace of the rest of the album. "Killing Machine" is considered the perfect transition between the classic hard/heavy rock sound with some progressive tendencies of their previous works and the dark and accelerated tone of conventional heavy metal of their subsequent releases.

Judas Priest-Ram It Down (1988)

In 1988, heavy metal was immersed in the sounds favoring the speed of thrash and glam that dominated MTV, leaving the genre's more traditional bands at a crossroads: whether to stick to their established philosophy or explore these styles that were trending at the time. In this context, Judas Priest had attempted to commercialize their style with "Turbo" (1986), a synthesizer-heavy album that was panned by their most devoted fans but nevertheless gained many new followers. Despite the commercial success of "Turbo", the band didn't want to continue down that path, or at least not so blatantly, and several years later released the challenging "Ram It Down", an album that straddled the line between their classic heavy metal and some of the experimentation they had showcased on their previous work. On "Ram It Down", Judas Priest returned with their fiercest and coldest sound, crafting a precise heavy metal album with the dizzying riffs of Glenn Tipton and K.K. Downing and the thunderous rhythm section of Dave Holland and Ian Hill. Songs like the galloping title track, the accelerated "Heavy Metal" and "Hard As Iron", the conventional heavy metal/hard rock tracks "Come And Get It", "Monster Of Rock", and "Love You Death", the dramatic "Blood Red Skies", and the experimental cover of Chuck Berry's "Johnny B. Goode" (the latter two being the closest to the sound of their previous album), not only demonstrated a profound reflection on the path forward but also showcased the astonishing vocal range of Rob Halford, who was at the peak of his powers during those years.

Judas Priest-Defenders Of The Faith (1984)

Considered by their most die-hard fans as one of Judas Priest's last great albums, "Defenders of the Faith" continued the triumphant path of its predecessors, "British Steel" (1980), "Point of Entry" (1981), and "Screaming for Vengeance" (1982). On this occasion, the band even transformed their visceral style into aggressive heavy metal, with countless instrumental pyrotechnics driven by their two ruthless guitarists, K.K. Downing and Glenn Tipton, and supported by the blistering rhythm section of bassist Ian Hill and drummer Dave Holland. Special mention must be made of the soaring vocals of a sublime Rob Halford in immeasurable form. Thrilling heavy metal tracks like "Freewheel Burning" or "The Sentinel", along with the raw "Jawbreaker", "Rock Hard Ride Free", "Love Bites", "Some Heads Are Gonna Roll" or "Heavy Dute", make up the amazing repertoire of one of the essential albums in the history of heavy metal.

The Herbie Hancock Group-Head Hunters (1973)

Once Herbie Hancock concluded his "Mwandishi" period (essentially a fusion of free jazz, modal jazz, and tribal sounds), he returned to a more conventional, funk-infused jazz style with the release of "The Herbie Hancock Group: Head Hunters". For this album, Hancock reunited his band Sextant, which included Bennie Maupin, Paul Jackson, Harvey Mason, and Bill Summers. Comprising four expansive tracks, from the opening "Chameleon", Hancock makes it clear that the material presented here differs considerably from his previous work. A tour de force in clear jazz-funk style, the jazz-rock influences of "Bitches Brew" are represented in the dynamic "Sly" and the ethereal, atmospheric "Vein Melter", while the jazz-fusion track "Watermelon Man" provides the most accessible moment on the entire album. This "Head Hunters" is, along with works such as "Crossings" (1972), "Sextant" (1973), "Thrust" (1974), "Man-Child" (1975) or "Mr. Hands" (1980), the creative pinnacle of one of the greatest jazz rock pianists in history.

Barclay James Harvest-XII (1978)

Barclay James Harvest's ninth album was the last to feature their main keyboardist and one of the band's founders, Wolly Wolstenholme, who left due to musical differences with the rest of the lineup. It was also the last album on which they used the Mellotron, replacing it thereafter with more cutting-edge synthesizers. While "XII" is a more harmonious and balanced album than its predecessor, "Gone To Earth", it lacks tracks as popular and catchy as "Hymn", "Love Is Like A Violin", "Poor Man's Moody Blues", and "Sea Of Tranquility", which appeared on the previous release. The most emotional moment is undoubtedly the song "Berlin", a clear ode to the German city divided at that time by the Berlin Wall, a tremendous success in Germany and the rest of Europe. On the other hand, the solid rock of "Fantasy: Loving Is Easy" becomes the only counterpoint to an album full of beautiful soft rock melodies such as "Classics: A Tale of Two Sixties", "Turning In Circles" or "Sip Of Wine", while the progressive vein appears in the majestic "Science Fiction: Nova Lepidoptera" and "In Search Of England", to end with the pleasant "Fiction: The Streets Of San Francisco", inspired by the famous American police series of the 70s. As in all the previous records, this would once again flood the charts in Germany and central and northern Europe, places where the band gathered a very large legion of fans.

Barclay James Harvest-Once Again (1971)

"Once Again" is one of the classic symphonic rock albums of the 70s, possessing the unique appeal and fascination of that era. Unfairly condemned by the British press as mere Moody Blues clones, this unfortunate and arbitrary assertion would weigh them down during their early years. However, it must be acknowledged that in certain musical structures they vaguely recall the aforementioned Moody Blues, primarily due to the extensive use of the Mellotron in these early years by their keyboardist, Stuart "Wooly" Wolstenholme. Surrounded by progressive pieces with melancholic and poignant traits like "Galadriel" and "Mockinbird", there are others with a clear character of emotive British folk, such as "Vanessa Simmons," or vigorous rock songs like the opening track "She Said" and "Ball and Chain". Meanwhile, the thematic "Happy Old World" and the orchestrated "Lady Loves" undoubtedly hint at certain influences of the aforementioned Moody Blues. Ultimately, with this second album, Barclay James Harvest succeeded in creating a progressive album of simple compositions, adorned with brilliant arrangements, definitively establishing their peculiar and essential sound, which would become the hallmark of the British group in the following years.

Barclay James Harvest-Turn Of The Tide (1981)

Despite the refinement of a pleasant and melodic rock/pop sound with progressive tendencies, Barclay James Harvest's ninth album is far removed from the symphonic/progressive path they had forged in their previous releases. "Turn of the Tide" became their second album without original keyboardist Woolly Wolstenholme, who had left the band precisely because of its more mainstream direction, something that would become particularly evident in the works he didn't participate in. To replace him, the rest of the lineup (John Lees, Les Holroyd, and Mel Pritchard) had hired keyboardists Kevin McAlea and Colin Browne, two musicians who, despite not possessing Wolstenholme's instrumental prowess, fulfilled their roles professionally. "Turn of the Tide" unfolds through a series of welcoming and warm soft rock compositions that are easy to listen to, where the bright treble, so typical of early digital recordings, is more than evident. Tracks like the rock songs "Highway for Fools" and "Death of a City", despite their quality, lack the enthusiasm of yesteryear. Others, like the emotive "How Do You Feel Now?" and "In Memory of the Martyrs", or the pleasant soft-rock tracks "Back to the Wall", "Echoes and Shadows", or "I'm Like a Train", show, despite everything mentioned above, a quality musicality full of melancholic vocal performances and sophisticated, tasteful instrumentation.

Barclay James Harvest-Baby James Harvest (1972)

Underestimated by many of their more orthodox fans for veering towards predictable influences and abandoning their own sound, the fourth album by the British band Barclay James Harvest was the last released under the progressive Harvest label. Comprising six tracks, it is undoubtedly the most accessible of the four released up to that point, showcasing the influences that the British press would regularly criticize. The songs inspired by the ingenious melodies of The Moody Blues, such as "Delph Town Morn" and "One Hundred Thousand Smiles Out", somewhat overshadow the rest of a repertoire that includes commendable pieces like the rocking "Thank You", the epic progressive "Summer Soldier", and the orchestrated "Moonwater". With this album, Barclay James Harvest marked the end of their first era, putting an end to their orchestral and symphonic experiments to focus on more conventional and musically accessible productions for a wider audience, achieving considerable commercial success.

Electric Light Orchestra-Secret Messages (1983)

The successor to the futuristic and seminal "Time" was Electric Light Orchestra's tenth album, "Secret Messages", which became another splendid work brimming with the sophistication and class characteristic of leader Jeff Lynne's compositions. Recorded with the same lineup as their previous albums (Jeff Lynne, Richard Tandy, Bev Bevan, and Kelly Groucutt), plus the addition of Louis Clark, Dave Morgan, and Mik Kaminski, Lynne chose recording studios in the Netherlands, specifically in the city of Hilversum, in the north of the country. Unlike the previous album, which was saturated with synthesizer sounds that underpinned its conceptual story, this release features guitar-driven pop-rock melodies under excellent production, where the elegantly executed music becomes captivating and evocative. There they are to corroborate it, from beautiful ballads like "Take Me On and On", "Stranger" or "Letter From Spain", to galloping rock pieces like "Danger Ahead", "Four Little Diamonds" or "Rock 'n' Roll is King", passing through captivating songs like "Train Of God" or "Loser Gone Wild".

Barclay James Harvest-Ring Of Changes (1983)

Released amidst the synth-pop and new wave craze, Barclay James Harvest gave us their twelfth studio album, "Ring of Changes". Now a trio after Stuart "Woolly" Wolstenholme's departure several years prior, John Lees, Les Holroyd, and Mel Pritchard, with valuable contributions from Kevin McAlea and Bias Boshell on keyboards, continue the stylistic vein of their previous album, "Turn of the Tide", released in 1981. This album features a subtle shift towards folk and acoustic sounds, including a symphonic orchestra on some tracks. Despite being considered a minor album in the British group's discography, "Ring of Changes" still boasts moments of brilliance such as "Looking from the Outside", "High Wire", and "Paraíso dos Cavalos", where BJH's melodic approach, their main strength, remains intact, and a solid, albeit somewhat understated, instrumental and symphonic foundation is still present. Other tracks, like "Fifties Child", perhaps suffer from being a watered-down copy of the iconic "Hymn". On the other hand, "Midnight Drug" retains a freshness and dynamism that at times dangerously approaches the new wave sounds of the era. However, although this album doesn't reach the creativity of the group's previous work, it still has enough merit to be considered one of their magnificent albums of the 80s.

Skagarack-Hungry For A Game (1988)

Heirs to the best melodic rock created in Northern Europe, the Danish band Skagarack established themselves as the perfect alternative to other Scandinavian bands of the genre such as Europe, Alien, and Treat. Formed in the mid-eighties, their core consisted of Alvin Otto (drums), Torben Schmidt (vocals), Jan Petersen (guitar), Tommy Rasmussen (keyboards), and Morten Munch (bass). Their debut album was a clear statement of intent, in which harmonious vocals, captivating melodies, and powerful guitar riffs opened the doors to the pantheon of Scandinavian melodic metal. Two years later, they released their second album, "Hungry For A Game", which, under the Polydor label, once again delivered an excellent work of great melodies, powerful hard rock tracks, and emotive songs with unforgettable choruses. From the brilliant title track, an irresistible song with great vocal choruses, to the infectious "Joanna", the Danish band shows their incredible ability to create potential melodic rock hits, as also shown by the overwhelming "Somewhere In France", "Boys" or "Always In a Line", not forgetting the precious ballad "This World".

The Don Harrison Band-The Don Harrison Band (1976)

The Don Harrison Band was a short-lived group popularly known in North America for featuring two of Creedence Clearwater Revival's most famous members: bassist Stu Cook and drummer Doug Clifford. Along with guitarist Don Harrison and fellow guitarist Russell DaShiell, they formed The Don Harrison Band in 1975, releasing the albums "The Don Harrison Band" in 1976 and "Red Hot" the following year, both on Atlantic Records. Their self-titled debut is undoubtedly their best recording, an album that subtly evokes the country rock, swamp rock, and rhythm and blues influences of Creedence Clearwater Revival. On this first album, standout tracks include the swamp rock anthem "Sixteen Tons," undoubtedly the most tangible example of the Creedence sound, along with the fun "Romance," the southern-tinged "Who I Really Am," the rock and roll "Rock and Roll Records," the folky "Fame and Fortune," the blues rock "Sometimes Loving You," and the melodic "Living Another Day." The album's strong commercial reception led to them opening for The Rolling Stones at the 1976 Knebworth Festival. After the second album, the band definitively broke up, with Cook and Clifford joining Southern Pacific, before later reforming their old band as Creedence Clearwater Revisited, but without brothers John and Tom Fogerty.

Nova-Blink (1975)

Fondly remembered by European fans of 1970s progressive jazz-rock, Nova was an Italian band formed by members of other Italian groups such as Osanna and Cervello. These included guitarists Corrado and Danilo Rustici, who, along with saxophonist Elio D'Anna, formed the band in London in the mid-seventies. Between 1975 and 1978, they released four superb albums focused on expansive, jazz-oriented progressive improvisations. Given the instrumental prowess of its members and their growing reputation, they soon secured a deal with Arista Records to finance their debut album, released in 1975 under the title "Blink". This first release featured, in addition to Rustici and D'Anna, bassist Luciano Milanese, drummer Franco Lo Previte, and Morris Pert, percussionist for Brand X. Composed of an eclectic fusion of styles ranging from jazz rock to sumptuous funk rhythms and intense blues rock, all underpinned by grand instrumental passages. From the powerful jazz rock with a blues undercurrent of "Tailor Made", to solid exercises in classic and heavy rock such as "Something Inside Keeps You Down", spirited jazz fusion with funky rhythms like "Nova" and "Toy", and dizzying blues rock like "Stroll On", this album, while lacking the consistency of their later releases, showcases the diverse guitar styles of its two leaders and the driving force of the rhythm section. These elements, combined with creative musical lines, make Nova's debut album a truly remarkable listening experience of high-level progressive jazz rock.

Hannibal-Hannibal (1970)

Brass rock wasn't exclusively an American style; bands from other parts of the world also emerged that fused jazz with rock, classical music, blues, and progressive rock, but they had less media and commercial success than the genre's flagship bands, such as the American groups Chicago Transit Authority, Blood, Sweat & Tears, If, A.B. Skhy, and Dreams. Hannibal was one of those bands that emerged in the wake of the aforementioned groups and was formed in Birmingham, England, in the late 1960s. Short-lived, they only released one album in 1970, featuring Alex Boyce (vocals), Adrian Ingram (guitar), Bill Hunt (Hammond organ), Cliff Williams (tenor saxophone and clarinet), Jack Griffiths (bass), and John Parkes (drums). With a style based on elaborate compositions that navigate between blues rock and jazz rock, this band would manage to create an excellent repertoire in which the avant-garde jazz "Winter", the blues rock-jazz "Wet Legs" and "Look Upon Me", the hypnotic and psychedelic "Winds of Change", the experimental jazz-blues "Bend for a Friend" or the dark and progressive "1066" stood out.

UFO-Lights Out (1977)

UFO are legends within the world of hard rock, but they were almost equally unfairly relegated by many fans to mere second-rate acts compared to other great bands of the genre, despite having produced a colossal and brilliant discography. One of those impressive works is their mythical "Lights Out", a true masterpiece of British hard rock, released in 1977 as their sixth album up to that point. The mere presence of guitarist Michael Schenker, demonstrating his enormous talent and virtuosity, is more than enough reason to consider this album a simply masterful work. But in addition to Michael Schenker, Phil Moog showcases his excellent vocal range, delivering a memorable performance, as does the rest of the band, composed of Paul Raymond (guitar and keyboards), Pete Way (bass), and Andy Parker (drums). Power, rhythm, melody and energy are what UFO leaves on record in the grooves of this album, highlighting the vigorous "Too Hot to Handle With", "Just Another Suicide", "Gettin' Ready" and "Electric Phase", in addition to the semi-progressive epic "Love to Love", while the beautiful ballad "Try Me", or the successful version of the Americans Love, "Alone Again Or", put the brakes on such a robust repertoire of magnificent songs of the best hard rock of the late 70s.

Casiopea-Casiopea (1979)

Casiopea symbolizes the best of Japanese jazz, inspired by smooth jazz, funk, and rock—a group that has been one of its leading exponents for decades. This Japanese band has always revolved around its leader and principal composer, Issei Noro (guitar), the only member who has remained with the band since its founding in the mid-seventies, despite countless lineup changes over nearly five decades. Several years after its formation, and after successful participation in various jazz festivals, they released their first full-length album with Minoru Mukaiya (keyboards), Takashi Sasaki (drums), and Tetsuo Sakurai (bass). This debut also featured collaborations with three of the greatest musicians on the North American jazz fusion scene: David Sanborn, Michael Brecker, and Randy Brecker. Although their style was still developing, on this first recording, the Japanese band created a fascinating fusion album blending melodic jazz, vigorous rock, and rhythmic funk. The funk rhythm is present throughout much of the album, especially in the dynamic tracks "Dream Hill" and "Black Joke." Meanwhile, the progressive "Space Road," the smooth jazz of "Tears of the Star," and the addictive jazz fusion of "Swallow" showcase Casiopea's great eclecticism. From this point on, the band would enjoy a prolific career, releasing over fifty albums, both studio and live, making them one of the most prolific labels in the history of jazz-rock.

Moon Martin-The Very Best of Moon Martin (1999)

John David Martin (better known as Moon Martin) is one of the most intriguing artists of the new wave movement. He began playing in several local Oklahoma bands in the late 1960s before moving to Los Angeles and forming a band called Southwind, with whom he released three albums that had little impact. However, his work as a songwriter and session musician for artists such as Linda Ronstadt and Gram Parsons, among others, paved the way for his solo career. In 1978, he released his first album, "Shots from Cold Nightmare", which featured several standout tracks, including "Nights Thoughts", "Victims of Romance", "Cadillac Walk" (which became famous after being recorded by Willie DeVille), and especially "Bad Case of Loving You" (released by Robert Palmer a year later, which became a major commercial success). From then on, some of his songs were included on the albums of various artists, and Moon Martin established himself as a solo artist. The new album "Escape from Domination" (1979) and the singles "Rolene" and "No Chance" are key pieces, ushering in the 1980s with the LP "Street Fever", which cemented his status as one of the best artists of the following decade. In 1979, Moon formed his own group, The Ravens, with Jude Cole (guitar), Dennis Croy (bass), and Rick Croy. In 1982, he released his fourth album for Capitol Records, "Mystery Ticket", followed in 1984 by "Mixed Emotions". From this point on, Martin distanced himself from his solo career and dedicated himself to songwriting for other musicians, although he released a few albums in the following decades with little commercial success. Tracks like "Bad Case of Loving You" more than justify why this man went down in pop-rock history. It has all the ingredients of a great song: warmth, rhythm, desperation, a catchy chorus, and unforgettable guitar riffs.

Magna Carta-Lord Of The Ages (1973)

Magna Carta is one of the most talented bands to emerge in the late 1960s amidst the burgeoning British folk progressive movement. Formed in London in 1969 by Chris Simpson, Glenn Stuart, and Lyell Tranter, they quickly became one of the most promising English folk-rock groups, drawing on influences from the American West Coast style of The Byrds and the British folk of Fairport Convention, all wrapped in orchestral arrangements and rich vocal harmonies. Their first albums, "Magna Carta" (1969), "Seasons" (1970), and "Songs From Wasties Orchard" (1971), were released in this stylistic vein. Two years later, the band underwent its first lineup changes, with guitarist Stan Gordon replacing Tranter, and the addition of Dave Peacock on bass, Gerry Conway on drums, Danny Thompson on double bass, and Jean-Alain Roucel on keyboards. With this lineup, they recorded "Lord of the Ages", the album that would definitively establish Magna Carta's reputation. Beneath its enigmatic cover, designed by Roger Dean, this album is Magna Carta's most progressive production, featuring the epic title track nearly ten minutes of sweeping progressive passages the addictive "Wish It Was", the restrained folk of "Two Old Friends", the medieval-tinged "Falkland Green", and the melancholic "Father John". "Lord of the Ages" is a masterpiece of British progressive folk, an album brimming with refined details and, with certain jazz influences, became Magna Carta's debut work.

Irish Coffee-Irish Coffee (1971)

Irish Coffee was a Belgian hard rock band formed in the early 1970s, emerging from the ashes of a cover band called The Voodoo. In their short five-year career, tragically cut short by the death of their drummer in a car accident and serious injuries to another member, they released only one album in 1971. The lineup included singer and guitarist William Souffreau, drummer Hugo Verhoye, keyboardist Paul Lambert, bassist Willy De Bisschop, and guitarist Jean Van Der Schueren. Their generic hard rock style was driven by a heavy Hammond organ, clear psychedelic influences, and a driving rhythm that drew from funk and blues. Heavy boogie-rock tracks like "Can't Take It" showcase the established hard rock formula of the era, where clever compositions become intoxicating pieces, as is the case with the captivating "The Beginning of the End". Funk invades the rhythm of "The Show (Part 1)", while blues does the same for the second part of the same track. But misfortune would prevent this first and only work from having any further release, beyond a series of singles that years later would be included on the CD reissue of this forgotten progressive hard rock album.

Bennie Maupin-The Jewel in the Lotus (1974)

Saxophonist Bennie Maupin is primarily known for his contributions to high-caliber albums such as Miles Davis's "Bitches Brew", Herbie Hancock's "Mwandishi" era (1971-1973), and for being a member of Hancock's band, with whom he recorded "Headhunters" (1973) and "Thrust" (1974). However, his career also includes stellar appearances alongside artists like Horace Silver and McCoy Tyner, in addition to a solid solo career that has produced half a dozen acclaimed albums. One of these was "The Jewel in the Lotus", his solo debut, which featured much of Herbie Hancock's backing band, including Hancock himself on electric piano, as well as Buster Williams on bass, Charles Sullivan on trumpet, and drummers Bill Summers, Billy Hart, and Frederik Waits. With a style that differs substantially from his previous work in various collaborations, Maupin leans towards avant-jazz and experimental free jazz. Featuring intricate sounds, the pieces unfold with a distinctly avant-garde and experimental bent, largely eschewing melodic interpretation, though harmonically it remains brilliant and enjoyable jazz. Eerie passages immerse us in fascinating and addictive atmospheres with rich, atmospheric textures of fluid jazz, replete with psychedelic patterns that are simultaneously abstract and diffuse.

Eric Dolphy-Out To Lunch! (1964)

This is one of the most advanced albums of its time, and even today, fifty years after its release, it remains far ahead of its time. The product of a genius like saxophonist Eric Dolphy, "Out to Lunch" paved the way for future musical experimentation in jazz, an avant-garde approach that musicians like Frank Zappa, along with the Mothers of Invention, knew how to interpret perfectly. From the late fifties to almost the mid-sixties, Eric Dolphy established himself as one of the most respected jazz musicians, as well as one of the most popular in the media. His work with Charles Mingus opened the doors to exploring and fusing jazz with classical music. Recorded in early 1964, Dolphy assembled a formidable band for this recording, composed of bassist Richard Davis, vibraphonist Bobby Hutcherson, trumpeter Freddie Hubbard, and drummer Tony Williams. Months after the release of "Out To Lunch", just as he had finished a European tour presenting this album with Charles Mingus, Dolphy would suddenly pass away in the German city of Berlin.

Fish-Internal Exile (1991)

After leaving Marillion, Fish debuted with "Vigil In A Wilderness Of Mirrors", a work that, in some ways, was very much a continuation of what he was doing with his former band, showcasing a brilliant, reflective, and moving neo-progressive sound. After this first album, it wasn't long before the Scottish giant made another move, releasing his second album, "Internal Exile", just a year later. On this album, he continued in that neo-progressive direction but placed more emphasis on the lyrics and vocals, at the expense of the long instrumental passages, which are shorter and more concise, while still incorporating certain folk and Celtic sounds. Songs like the energetic "Shadowplay" recall Marillion's album "Misplaced Childhood", with its dazzling and precise rhythm, while the uplifting "Credo" and "Tongues" move towards heavy and raw rock. On the other hand, "Just Good Friends" and "Dear Friend" become the most accessible and commercial tracks, contrasting with the moving and powerful "Lucky." In Fish's own words, with this album he wanted to capture "a collection of stories of young people" inspired by his home country, and indeed, his reflective and poetic lyrics are part of the album's appeal and are, without a doubt, small works of art in themselves.

Dream Theater-Systematic Chaos (2007)

It's 2007, and Dream Theater were firmly established as the spearhead of progressive metal. That year, the band, led by John Petrucci and James LaBrie, along with Mike Portnoy, Jordan Rudess, and John Myung, released their ninth studio album, "Systematic Chaos", a work preceded by the phenomenal "Octavarium" from several years prior. While not a fully conceptual album, it explores recurring themes ranging from anti-war sentiment and science fiction to self-confessed vices. Undoubtedly, the most progressive tracks on the album are the expansive and instrumentally intricate "The Ministry of Lost Souls", a dark composition featuring an anthological performance by guitarist Petrucci, and the intriguing "In the Presence of Enemies Part 2", a progressive track divided into four sections with extraordinary work from the entire band. The rest of the album is comprised of intense, harrowing tracks like "In The Presence of Enemies Part 1", vigorous and accessible canvases like "Forsaken", powerful anti-war thrash metal like "Prophets of War", and Pink Floyd-influenced "Repentance". While not reaching the heights of works like "Images and Words", "Awake", "Metropolis Part 2 Scenes from a Memory", or "Six Degrees of Inner Turbulence", with this release Dream Theater continued to explore their majestic progressive structures, sublimely fusing them with heavy metal and a magical, grandiose epic feel.

Matrix-Tale Of The Whale (1979)

Matrix was another of the many second-tier American jazz-rock bands that released four interesting albums between 1976 and 1981. Hailing from Appleton, Wisconsin, their origins date back to 1974, specifically to Lawrence University, where four of its members were students. These were trumpeters and players of other instruments such as percussion and keyboards: Larry Darling, Jeff Pietrangelo, Mike Hale, and Kurt Dietrich. Along with the additions of Michael Bard (saxophone), Randall Fird (bass), Tony Wagner (drums), John Harmon (keyboards), and Fred Sturm (trombone), they gained considerable recognition by participating in various prestigious jazz festivals, such as Monterey and Newport. After two commendable albums clearly oriented towards the brass-rock style that linked them to Blood, Sweat & Tears; Following "Matrix" (1976) and "Wizard" (1978), in 1979, under the Warner Bros. label, they released their best work, "Tale of the Whale", a much more conventional and accessible album aimed at a wider audience. Ambient sounds reminiscent of smooth jazz, new age, and funk jazz-rock vibes are present in most of the tracks on this third album, which features the brilliant jazz fusion "Narouz", the ambient "Nessim" and the title track, the funky "The Fly", and the soaring "Galadriel".

Barry White-Can´t Get Enough (1974)

Barry White was an undisputed genius of romantic soul. His cavernous, deep voice and orchestral arrangements brimming with funk, soul, and rhythm and blues are iconic, and his music remains timeless and admired by millions around the world. This singer, songwriter, and arranger crafted a sound adorned with rich instrumental harmonies and sensual, irresistible melodies. Born in 1944, he grew up in one of Los Angeles' most disadvantaged neighborhoods and, as a young man, found himself in serious trouble with the law. Over time, Barry White dedicated himself to teaching himself to play the piano, listening to classical music and practicing for many hours a day. A few years later, he began playing as a session musician in his city's burgeoning music scene. During those years, he also began working as a composer and arranger in various recording studios, something that would prove vital to his later solo career. In the 1970s, White formed his own band, the Love Unlimited Orchestra, with whom he released albums influenced by soul and funk music, featuring refined classical arrangements. His recording debut came in 1973 with the album "I've Got So Much to Give", which included his first major hit, "I'm Gonna Love You Just a Little More, Baby". His deep voice, along with his romantic lyrics, quickly propelled him to the top of the radio airwaves worldwide. Throughout the rest of the 1970s, he continued to release a dozen successful albums, such as "Stone Gon". "Can't Get Enough". and "Just Another Way to Say I Love You". which contained hit songs like "Just the Way You Are", "It's Ecstasy When You Lay Down Next to Me", "You're the First, the Last, My Everything", and the famous "Can't Get Enough of Your Love, Babe". Although his fame gradually declined from the 1980s onward, he maintained his enormous popularity and great talent by regularly releasing albums that were well-received by the public, such as his 1994 album "The Icon Is Love", which brought him back to the heights of success. Throughout those years, Barry White earned numerous gold and platinum records and several Grammy Awards, and he is currently considered one of the greatest influences on countless contemporary R&B, soul, and funk artists.

Kaleidon-Free Love (1973)

The excellent Italian pianist Stefano Sabatini founded the Kaliedon project in the early seventies, a brilliant experiment that, despite going largely unnoticed, is a noteworthy work focused on free jazz and low-key jazz-rock, primarily due to the absence of an electric guitar. Its origins date back to the end of the previous decade when Sabatini himself led a psychedelic pop band called Free Love. However, a tragic car accident claimed the lives of two of the musicians, leaving Sabatini seriously injured. Years later, Sabatini formed a new band, which he named Kaliedon, recruiting Massimo Balla (saxophone and flute), Franco Tallarita (bass), and Giovanni Liberti (drums), while Sabatini himself handled the keyboards and electric piano. Their only release, titled "Free Love" as a tribute to his former band and released in 1973, is a true reflection of jazz driven by the sounds of the saxophone and electric piano. Composed of a series of elegant pieces of melodic jazz such as the homonymous "Free Love", the melancholic "Inverno'43" or the jazz fusion "Polvere", demonstrating in all of them the instrumental talent of Sabatini, one of the outstanding keyboardists of European jazz.

Arkus-1914 (1981)

Arkus is a Dutch band that has the distinction of being one of the very first to release a neo-progressive album, a subgenre that emerged in the early 1980s. Formed in the late 1970s by guitarist and singer Frans Smits, bassist John Bouman, drummer Erik Van Duin, keyboardist Jan-Henk Wiggerlinkhuizen, and guitarist Ron Willems, their debut album, "1914", was recorded and released privately by the band and is based on the writings of the renowned Dutch author Bert Voeten. This record is an effective example of early neo-progressive rock, featuring a repertoire full of catchy and cohesive melodies. However, the band's style leans more towards the atmospheric and melodic sounds of late 1970s progressive rock than the pastoral and theatrical style of the early 1970s.

Christmas-Christmas (1970)

Christmas was an excellent Canadian avant-garde psychedelic rock band formed in Ontario in late 1969. Created from the ashes of another Canadian band called Reign Ghost, it consisted of guitarist and singer Bob Bryden, vocalist Lynda Squire, and percussionist Helge Ritcher. However, some time later, Lynda Squire was replaced by guitarist Robert Bulger and bassist Tyler Reizanne, a lineup that solidified and went on to record several highly regarded albums. After a respectable debut release titled "Heritage," they released their best effort, this self-titled work, which, despite a truly horrendous cover, managed to create a record worthy of the best Canadian acid and psychedelic rock bands of the era. Here, the band delivers everything from psychedelic passages like the opening track "Just Suppose," to progressive exercises like "Christmas," and hypnotic experimental endeavors like "Jungle Fabulous," a sublime epic where they unleash their brilliant compositional and instrumental creativity.

Jane-Jane At Home Live (1977)

“Jane at Home Live” is another of those fantastic double live albums released in the 1970s, this one specifically from the legendary German band Jane, a vigorous group that during that decade moved between a fusion of classic rock with hard rock influences and elements of progressive rock. On their early albums, their progressive roots led them to create two superb works: “Together” (1972) and “Here We Are” (1973). On their third and fourth albums, “Jane III” (1974) and “Lady” (1975), they veered towards blues rock and more conventional classic rock, before returning to the progressive path with their next album, “Fire, Water, Earth & Fire” (1976), an effective and excellent concept album. The material for this double live album was captured from the tour following their last concert. In it, the German band delivers an intense and powerful performance of some of their most emblematic songs, such as the space rock epics "Windows", "Hangman", and "Daytime", interwoven with other sublime, avant-garde compositions of hard rock and blues rock. The album also showcases the immense skill of keyboardist Manfred Wieczorke and extraordinary guitarist Klaus Hess. "Live At Home" reflects everything from the virtuosity of its members to the immense instrumental creativity of their powerful progressive rock, as well as the band's remarkable ability to seamlessly transition from highly complex pieces to simpler structures.

This Oneness-Surprize (1975)

This Oneness is another of those thousands of short-lived bands that only released one obscure and little-known album of estimable art rock. Their story is as simple as this: they were "basically" the backing band for singer Olivia Newton-John on a tour of North America in the mid-seventies. At the end of that tour, all the musicians involved decided to try their luck composing and recording the album "Surprise", a record with a multitude of influences ranging from jazz rock to progressive rock, including the more accessible melodies of American rock. The lineup of The Oneness consisted of Dale Strength (vocals and guitars), Robyn Lee (keyboards and vocals), Bernard Pershey (drums), Douglas Nelson (bass), and Greg Inhofer (keyboards and guitars). In their only recording they showcase an eclectic style that moves between complex and spacey pieces like "You Can't Do That/Surprise", to attractive and accessible melodies like "Please Let The Sunshine", passing through thrilling old school Canterbury jazz rock like "In Out In Out" or progressive jazz rock like "Surprise (Reprise/Go In Peace").

The Mahavishnu Orchestra-Visions Of The Emerald Beyond (1975)

After three intense albums, "The Inner Mounting Flame" (1971), "Birds of Fire" (1973), and "Apocalypse" (1974), the group led by John McLaughlin returned with the same lineup as on this latest release, marking the second iteration of the Mahavishnu Orchestra. It's worth noting that the previous album, "Apocalypse", featured new members: violinist Jean-Luc Ponty, keyboardist Gayle Moran, bassist Ralphe Armstrong, and drummer Michael Walden, replacing former members Jan Hammer, Jerry Goodman, Rick Laird, and Billy Cobham. With this new lineup, they recorded their fourth album, "Visions of the Emerald Beyond", recorded at Electric Lady Studios in New York in late 1974 and released in February 1975. In this new release, the band maintains its approach and musical style from the previous work, but subtly shifts towards bluesier territory, as we can hear in the opening tracks, "Eternity's Breath Part 1" and "Eternity's Breath Part 2". These tracks, with a solid bluesy foundation, ingenious violin solos, and Gayle Moran's excellent vocals, along with McLaughlin's guitar exploration, result in a very harmonious and balanced song. In "Lila's Dance", the band continues down the path of the previous track with an even bluesier approach, where McLaughlin takes center stage with a long and superb guitar solo. Meanwhile ,“Can’t Stand Your Funk”, as its title implies, is a clear example of funk jazz rock with a great combination of bass, rhythm guitar, and the powerful horn section. The melodic “Pastoral”, the coherent and very well-structured jazz rock “Faith”, the haunting “Pegasus”, and the superb and spacey “Earth Ship” make up an excellent album that, while not reaching the heights of their first two works, would maintain their position as one of the leading bands in the global jazz rock scene, alongside contemporary bands like Weather Report and Return to Forever, and would also complete an essential quadrilogy within the aforementioned style.

The Mahavishnu Orchestra-Apocalypse (1974)

In 1974, John McLaughlin reformed the Mahavishnu Orchestra, bringing in keyboardist Gayle Moran, violinist Jean-Luc Ponty, bassist Ralphe Armstrong, and drummer Michael Walden, who replaced Jan Hammer, Jerry Goodman, Rick Laird, and Billy Cobham, respectively. With this new lineup, he recorded the band's third album, which also featured the London Symphony Orchestra, conducted by Michael Tilson Thomas, as well as session musicians Marsha Westbrook (viola), Carol Shive (violin and vocals), and Philip Hirschi (cello and vocals). The fiery rhythm section of Armstrong and Walden propelled Ponty's rich instrumental passages and the London Symphony's orchestral arrangements, all underscored by McLaughlin's dark and gritty guitar work, creating an album that, as its title suggests, is apocalyptic. All of this is reflected in the captivating "Power of Love", with its astonishing work by the French violinist, a dark guitar, and subtle orchestral passages. The terrifying "Vision Is A Naked Sword", the orchestral interlude of "Wings of Karma", and the heart-wrenching "Hymn to Him" ​​combine to create another masterpiece of jazz-rock, demonstrating the immense creative capacity of the brilliant John McLaughlin.

The Mahavishnu Orchestra-Between Nothingness & Eternity (1973)

"Between Nothingness & Eternity" was the only live album officially released by the Mahavishnu Orchestra, and it came out amidst strained relations within the band, a situation that would lead John McLaughlin to reform the group shortly after its release. Composed of three extended tracks not included on their studio albums, it was recorded during the summer of 1973 in New York's Central Park and features the original Mahavishnu lineup: John McLaughlin (guitar), Jan Hammer (synthesizers and keyboards), Billy Cobham (drums), Rick Laird (bass), Jerry Goodman (violin), and Sri Chinmoy (vocals). Replete with intense jazz fusion/rock sounds, it showcases the astonishing instrumental mastery of each and every musician in the band, from McLaughlin's virtuosity on the six-string to Cobham's superb skill with the drumsticks, Hammer's powerful Moog synthesizer notes, and Jerry Goodman's tremendous talent on the electric violin. The live performance begins with the exhilarating "Trilogy Medley", a piece where the instrumental chemistry between all the musicians demonstrates they were at a superior level within the jazz-rock of that era. This is followed by "Sister Andrea", which maintains a similar style but slows the frenetic pace of the previous piece, veering towards progressive jazz-rock. The finale is reserved for "Dream", a tour de force of over twenty minutes divided between initial ambient and atmospheric sounds and a fiery jam session in its closing section. As we said at the beginning, this was the last official recording of the original band, a fact that would not surprise anyone due to the talent and individual ego of each of them, so a year later Mahavishnu would return with a completely different lineup except for its leader John McLaughlin.

Cannonball Adderley-Cannonball Adderley Sextet: Planet Earth (1969)

Cannonball Adderley was one of the greatest saxophonists in the history of jazz, a musician with a unique and innate ability to communicate his music to a wide audience and make it incredibly popular. With an established career behind him, in the mid-1950s he moved to New York from his native Florida, where he quickly became a sensation and ended up playing in Miles Davis's band. At the end of that decade, he released some of his masterpieces, such as "Somethin' Else" with Miles Davis, Hank Jones, and Art Blakey. During the 1960s, his soulful hard bop style shone through, and he recorded prestigious albums for the Riverside and Capitol labels, including "Know What I Mean" with Bill Evans and "Accent on Africa". With Capitol Records, his albums shifted towards more mainstream and commercial sounds, as demonstrated by his tremendous success "Mercy, Mercy, Mercy" in 1966. Towards the end of the sixties, the now-defunct Riverside label released the live album "Cannonball Adderley Sextet: Planet Earth", featuring notable collaborations with Joe Zawinul, Louis Hayes, Nat Adderley, Yusef Lateef, and Sam Jones. A technically impeccable album, it included a series of modern jazz compositions such as the soulful "Seventh Son", exotic performances like "Brother John", and intriguing hard bop like "Syn-Anthesia", all reflecting an avant-garde style with clear Eastern influences.