Joni Mitchell-Shadows and Light (1980)

This renowned Canadian singer-songwriter began her artistic career in the mid-1960s in her native country, achieving great prestige in the folk music scene of Ontario and the surrounding areas. Towards the end of the decade, she decided to try her luck in the United States. One night, while performing at a club in New York, she met David Crosby, who was impressed by Mitchell's talent and decided to mentor her for a time in America. Her early albums led her to be considered the "female Bob Dylan," in addition to achieving resounding success on the American charts. Albums such as "Clouds" (1969), "Ladies of the Canyon" (1970), "Blue" (1971), "For the Roses" (1972), and "Court and Sparks" (1974) propelled her to worldwide fame and acclaim. Although she would truly enter the annals of rock music when she composed the song "Woodstock", for the legendary festival, which, in the voices of Crosby, Stills, Nash & Young, would take on an apotheotic and epic dimension. Towards the mid-seventies, Joni Mitchell, until then associated with folk rock, singer-songwriter music, and country, began her first forays into the world of jazz. In 1979, she decided to record an album with bassist Charles Mingus, which she would not live to see finished, as he died during the recording process. Mitchell completed it on her own and released it under the title "Mingus" (1979), and shortly afterward, she went on tour to promote the album. During this tour, a promotional film called "Shadows and Light" was made, and one of the concerts was released as a double album of the same name, which was commercially released a year later. For this tour, Mitchell assembled a top-tier lineup of musicians, including guitarist Pat Metheny, bassist Jaco Pastorius, keyboardist Lyle Mays, drummer Don Alias, and saxophonist Michael Brecker. The album's repertoire consists of songs from his latest works, along with a few classics and the generational anthem "Woodstock", performed in a jazz style. The stark, electric folk-jazz sound is evident throughout the live performance, as in the chromatic melodies of "The Dirty Cleaner from Des Moines" and the arranged "Furry Sings the Blues". Meanwhile, the gritty "Black Crow", the melodic "Amelia" featuring a dazzling Pat Metheny, and the brilliant "Edith and the Kingpin" and "Shadows and Light" form an extraordinary document worthy of the best live rock albums. “Shadows and Light” is a translucent masterpiece of jazz and folk, embodying both the singer’s personal freedom and the instrumental majesty of an entire colossal band.

Demian-Demian (1971)

Hailing from Texas, Demian was a short-lived band that began as Bubble Puppy and released a superb psychedelic rock album under that name in late 1969. Led by guitarists Rod Prince and Todd Potter, the rest of the lineup consisted of bassist and vocalist Roy Cox and drummer David Fore. After this debut album, the band relocated to California and changed their name to Demian to avoid potential issues with their previous record label. In California, the band toughened their sound, reinforcing their guitar lines towards a hard rock style. Several years later, they secured a contract with a new label and released their self-titled debut album, which featured a wealth of melodic twin guitar work that linked them in some ways to contemporaries like Mountain, Steamhammer, and Wishbone Ash. This first and only album by Demian is an excellent example of early seventies hard rock and blues rock with elements of heavy psych, with a robust production. Standout tracks include the energetic "Face The Crowd", "Windy City", "Todd's Tune" and "Only A Loner", the folk rock "Love People", the bluesy "Coming", or the psychedelic "No More Tenderness" and "There You Go With My Baby".

Isotope-Illusion (1974)

Rooted in the Canterbury sound, Isotope was a short-lived band that, with two solid albums, burst onto the progressive rock scene, leaving a lasting impression on fans of the genre in the mid-seventies. Centered on the prominence of their leader, guitarist Gary Boyle, who, along with keyboardist Brian Miller, released their self-titled debut album, "Isotope", in 1974 a well-crafted jazz-rock record that, despite its high quality, went somewhat unnoticed by the general public. For their next album, "Illusion", released the same year, Laurence Scott replaced Miller, and former Soft Machine member Hugh Hopper took over on bass from Jeff Clyne. On this new release, Gary Boyle takes on a more prominent role, and his guitar work is outstanding. Hopper also showcases his experience, injecting considerable power into the tracks with his energetic bass playing. “Illusion” was their best work, where the band affirmed their class, reaching high levels within the progressive Canterbury sound.

Gilgamesh-Another Fine Tune You've Got Me Into (1978)

Gilgamesh was one of the leading bands of the so-called Canterbury sound, yet they never achieved the fame or recognition of other contemporaries like Soft Machine, Hatfield and the North, National Health, or Caravan. Founded in the early 1970s by the extraordinary keyboardist and composer Alan Gowen, their style leaned towards jazz-rock and light jazz fusion, which they brilliantly showcased across a series of exuberant albums. Their first album, the self-titled "Gilgamesh", didn't arrive until almost the end of 1975, and it managed to capture the attention of the general public and music critics in England and Europe. Three years later, with the addition of veteran Soft Machine bassist Hugh Hopper, who replaced Jeff Clyne, they released their second and final album, "Another Fine Tune You've Got Me Into". The lineup, in addition to Hopper and Gowen, included drummer Trevor Tomkins and guitarist Phil Lee. With this second album, the band completed the circle of their magnificent jazz style, from the light and dynamic "Darker Brighter", "Play Time", and "T.N.T.F.X". to the epic and emotive "Bobberty Theme from Something Else", and including the acoustic beauty of "Waiting" in short, a great album made by talented British musicians. Sadly, several years later, Alan Gowen passed away from leukemia, thus bringing Gilgamesh's promising adventure to an end.

The Doobie Brothers-Takin´It to the Streets (1976)

In 1975, The Doobie Brothers were at the height of their popularity, having produced some of the best albums in American rock, such as "Toulouse Street" (1972), "Captain and Me" (1973), and "What Were Once Vices Are Now Habits" (1974), which had earned them five platinum records and sold several million albums. After this last album, they experienced their first setback with "Stampede" (1975), in which the band shifted their country and folk rock sound, with elements of rhythm and blues, towards a more soulful direction. After this last album, former Steely Dan member Michael McDonald joined the band. Along with guitarists Tom Johnstone, Patrick Simmons, and Jeff “Skunk” Baxter, bassist Tiran Porter, and drummers Keith Knudsen and John Hartman, they recorded their sixth album, “Takin’ It to the Streets,” which returned them to success. In this new release, the band continued to evolve towards soul, funk, and jazz, while subtly maintaining the country and blues-infused rock of their earlier work, a style that linked them to Steely Dan. Tracks like the irresistible “It Keeps You Runnin´”, the funk “Wheels of Fortune” and “8th Avenue Shuffle”, the soulful “Takin’ It To The Streets”, the jazzy “For Someone Special” or “Turn It Loose”, the latter with that characteristic American rock sound from their previous albums, make up a record that would be the starting point for the sound that would end up making them even bigger in the following years.

KGB-KGB (1976)

In the mid-1970s, the rise of supergroups was constant, and one such group emerged when five of the greatest musicians from the American and British blues and rock scenes joined forces in Los Angeles to form a band they called KGB (the acronym for the former Soviet intelligence agency). These musicians were guitarist Mike Bloomfield, drummer Carmine Appice, bassist Ric Grech, keyboardist Barry Goldberg, and vocalist Ray Kennedy. The careers of these five musicians were marked by their involvement with the legendary bands Electric Prunes, Blind Faith, Family, and Vanilla Fudge. This iconic project released only two albums, the first of which was released on the MCA label and self-titled. On this debut album, the five musicians delivered a work with a wide variety of sounds, demonstrating the versatility of all its members. Tracks like the funky "It's Gonna Be A Hard Night" contrast with the exotic, reggae-tinged "Workin' For The Children", while a melancholic vein is present in "Midnight Traveler" and "Baby Should I Stay Or Go". The bluesy side is found in the opening track "Let Me Love You", where Bloomfield demonstrates his virtuosity on the six strings, or in the soulful "I've Got a Feeling", not forgetting brilliant cuts like the laid-back "High Roller" or the rhythm and blues "Sail On Sailor". Later, without Mike Bloomfield or Ric Grech, replaced by guitarist Ben Schultz and bassist Gregg Sutton, they released the mediocre "Motion" (1976), which marked the end of the short-lived career of this formidable group of talents.

Lee Morgan-The Sidewinder (1964)

Lee Morgan was a prodigious trumpeter from Philadelphia who rose to fame as a member of Dizzy Gillespie's band and the Jazz Messengers, led by Art Blakey, during the 1950s. In 1956, Morgan began recording his own solo albums on the prestigious Blue Note label, while simultaneously continuing to collaborate with jazz greats such as John Coltrane and Hank Mobley. Among his most acclaimed recordings is "Moanin'", with the Messengers. His album and song "The Sidewinder", a contagious, upbeat soul jazz track, made him one of the label's most successful artists for years. Other tracks on this renowned album include dark jazz experiments such as "Totem Pole" and "Hocus Pocus", in which Joe Henderson's vigorous saxophone contrasts sharply with Morgan's elegant trumpet, backed by a fine band comprised of bassist Bob Cranshaw, drummer Billy Higgins, and pianist Barry Harris.

Peter White-Caravan Of Dreams (1996)

Peter White is a talented British guitarist from Luton, in the north of England, with a career spanning more than four decades. Considered one of the most versatile and prolific British guitarists, he has consistently steered his acoustic style towards smooth jazz and pop-rock, combining it with a unique and captivating sound. Peter White rose to international fame when he joined Al Stewart's band in the mid-70s, becoming a key figure in the creation of the Scottish musician's legendary albums "Year of the Cat" and "Time Passages". However, in addition to this, White has collaborated frequently with other artists such as Billy Joel, Grover Washington Jr., and Richard Elliott. His solo career began in 1990 with the album "Réveillez-Vous", after which he has released nearly twenty albums, some of them reaching the top positions on the North American and British jazz charts such as "Caravan of Dreams" (1996), "Glow" (2001), "Confidential" (2004), "Here We Go" (2013), "Smile" (2014) or "Groovin'" (2016).

Mezquita-Recuerdos de mi Tierra (1979)

Under the spell of the fusion of Arab and Castilian cultures, one of the most formidable bands in Spanish progressive rock emerged. Formed a few years before Spain freed itself from an authoritarian regime that had somewhat restricted the artistic expression of Spanish groups, Mezquita was founded in the emblematic city of Córdoba, a magical place where the Arabs held an impressive Islamic stronghold in the heart of the vast Spanish empire. The band consisted of José Rafael García (guitar), Randy López (bass), Rosca López (keyboards), and Rafael Zorrilla (drums). It wasn't until the end of the 70s that Mezquita released their first full-length album, "Recuerdos de mi Tierra" (Memories of My Land), where they showcased their extensive cultural heritage reflected in music full of instrumental virtuosity with fascinating flamenco and Spanish guitars, ardent Mellotron sounds, and a traditional folk melodic base, all under a style that fused jazz rock, flamenco, and the usual demands of progressive rock.

Aunt Mary-Janus (1973)

Aunt Mary was one of the most interesting bands to emerge from Norway during the 1970s. Their style combined diverse influences ranging from psychedelia to pop-rock, with hints of blues and the most avant-garde sounds of proto-progressive rock. The band consisted of Bjoern Christiansen (guitar and vocals), Per Ivar Fure (flute, harmonica, saxophone, and organ), Jan Leonard Groth (keyboards, guitars, and vocals), Svein Gundersen (bass), and Kjetil Stensvik (drums). After signing with Polydor, they released their debut album in mid-1970, a much more accessible work than their subsequent recordings, featuring less keyboards in favor of wind and string instruments. Several years later came their second album, "Loaded", which leaned towards harder rock territory without completely abandoning progressive sounds. However, it was their third release, "Janus", that would bring them their definitive work, a solid album showcasing the band's considerable talent. The boisterous "Path of Your Dreams" and the lively prog track "For All Eternity", along with the Beatles-esque "All We've Got to Do Is Dream" and "Mr. Kaye", are among the most accessible tracks, while the progressive vein is present in the bluesy improvisational "Stumblin' Stone" and the symphonic progressives "Candles of Heaven" and "What a Lovely Day", thus concluding a remarkable progressive album by this short-lived and intriguing Norwegian band.