Dennis Detheridge - MELODY MAKER   February 27, 1971

Airforce's Last, Riotous Gig

All good things must come to an end, and true to this tradition, Ginger Baker's Airforce was finally grounded at the Belfry at Sutton Coldfield, near Birmingham, on Saturday. It must surely be something of a tragedy for British rock that we will never hear this band again. It was rich in talent and promised so much. At the Belfry they did a one hour warm-up session, took a short break, and came back for a 90-minute work-out that built up into a frenzy of musical excitement. Propelled by the indefatigable Baker, Airforce were the complete band, possessing all-round strength vocally and instrumentally, as well as making instant visual impact. Graham Bond and the other horns wailed and wailed and Ginger paid a thunderous farewell to his brainchild. He never put a stick wrong and had an uncanny sympathy with Speedy Acquaye on African drums. The band was given a great ovation from an audience who will boast for years to come that they had the privilege of seeing Ginger baker's Airforce in full flight.

Tony McNally - NEW MUSICAL EXPRESS   May 8, 1971

Graham Bond

Only a few months ago Airforce eventually demobbed at the Belfry, Sutton Coldfield. Many of the people there thought it a great honour that they should see the last gig. But they must have felt even prouder last week, when Graham Bond played one of his first dates with his new band, Magick. Graham, Steve Gregory (flute, tenor); Diane Stewart (vocals, percussion); Gasper Lawal (percussion), all played there before and now with this new band they still put over their musical feelings in a big way, but are slightly less inhibited. Pugwash Weathers, drums and Graham Hedley Williams, guitarist have been brought in and the whole thing blends to produce some exciting sounds. Bond still dominates the band, with the strength of his organ and occasional blow on alto. The numbers are based with a strong African rhythm and progress along simple riffs, with little evidence of set arrangements. Although there is nothing great about the vocals, the soloists come forward and do what they want. The freedom within this band makes them happy, and it is passed onto the audience. The Belfry was only half full, but the crowd were enthusiastic after a good set by Galliard, who could do big things. Magick can become a little overpowering, but more important is the full effective force of their act.

Michael Watts - MELODY MAKER   August 14, 1971

No doubt about it. Jack Bruce took the honours from Larry Coryell during their stint together at Ronnie Scott's last week. The reason were both musical and related to the esteem in which he is held by audiences in this country. On the Wednesday that I went down it was at least half full with students and heads who were bopping to the music; it made a pleasant change from the usually staid atmosphere that prevails there. If they were expecting a re-run of Cream riffs and tunes they would have come sadly amiss, however. The material consisted of large chunks taken from Jack's recent album "Harmony Row": there was "Smiles And Grins", "Can You Follow" and "Folk Song", with loose improvisations of other numbers. This was mixed in with Coryell's own writing, which was emphatically rock-structured; it will all be heard on his next album. I caught the second half of the second set, with Coryell playing delicate, understated guitar on Bruce's "Folk Song", which has probably the prettiest melody on the album. Then they moved into the "The Great Escape", with Bruce propelling things along a catchy sustained riff, before closing with a number that had the title (apparently) of "Give Me Power". Coryell is a highly inventive guitarist and blessedly restrained in his use of volume. In fact, restraint seemed to be the keyword to his playing. As often as not his guitarwork was more of an embroidery on Bruce's bass riffs. Jack took charge of the numbers, occasionally moving up front to the mike for a vocal spot, but usually dominating the proceedings from the back. With precision and in a style that in texture suited admirably the air of delicate control onstage, it play rock music intelligently and without resorting to excesses and histrionics. The set that followed was not quite as successful. Bruce brought on his old mate Graham Bond, who tended to be too overpowering. All in all, however, the three-piece combination worked well. It will be interesting to see Bruce and Coryell again after they come back from their Belgium dates with Mitch Mitchell, who's more of a pushing drummer than Marshall.

Ray Telford - SOUNDS   September 4, 1971

Country Club Benefit For UCS

Bruce, Spedding, Bond - fine blowing

Rock and roll shared aa platform with strong politics at the Hampstead Country Club on Thursday and it was a triumph on both counts. In short, the music coming from Jack Bruce, Chris Spedding, John Marshall, Dick Heckstall-Smith and Graham Bond contained all the strength and determination of the cause they were supporting - the plight of the Upper Clyde Shipbuilders. I none way or another it was quite an emotional experience, again musically, although there were a few mindless idiots in attendance who missed the whole point of the project by demanding only music and to hell with helping UCS. It was good to hear Bruce, Bond and Heckstall-Smith blowing together again. Jack Bruce was as confident and articulate as ever on bass and was nicely supported through the set by the very loose yet together drumming of John Marshall. Chris Spedding, too, contributed his fir share and, to me at least, he works better in a group of this kind where he can switch effortlessly from a crackling rhythm guitar to helping out the organ with a few complimentary licks. Among the more instantly recognizable songs were "Rope Ladder To The Moon", "Politician" and "We're Going Wrong", along with numbers taken from Bruce's second solo album. It was obvious that there hadn't been a great deal of rehearsal among those concerned because there were slip ups under the smooth surface which would never have happened otherwise but it certainly was one of the slickest ever jam sessions I've heard in a long time.

Chris Charlesworth - MELODY MAKER   September 11, 1971

Jumping Jack's Flash

Judging by the weather this week, the title of Saturday's free concert in Hyde Park - "Farewell To Summer" - was a little premature. And that's my only criticism of an afternoon of excellent music, well organized and efficiently promoted. The sun was shining at mid-day and about 60,000 gathered on the Queen's lush garden. Many had slept the night in the park to ensure a good seat at the front of the stage. Formerly Fat Harry opened the proceedings with a tight but uninteresting set. They were followed by King Crimson, who played the shortest set I've ever heard from the new group. Choosing from their material from the softer numbers in their catalogue, it was singer Boz who stole the honours. They ended with "Schizoid Man", which has become their anthem, and really deserved to carry on longer. As it was probably Crimson's last London concert for some time, it was a pity the cheers for more went unheeded. Presumably the strict regulations about playing in the park (I remember Canned Heat being "switched off" last year) prevented more. Roy Harper may not have been everybody's cup of tea, but he provided a break between the electricity of Crimso and Jack Bruce. Jack Bruce's name alone no doubt attracted the crowd and the new band he brought with him fulfilled all expectations. With Chris Spedding on guitar, John Marshall on drums, Graham Bond on keyboards, and art Themen on sax, the group mixed with rock and jazz superbly. Bruce again proved he is the master of the bass guitar. His technique is so good that the bass becomes a lead instrument within the group. He chose material old and new, from slow blues to lively rock and, surprisingly, included the Cream favourite "Politician". John Marshall's funky drumming, Chris Spedding's well trained guitar and Graham Bond's contribution from the organ, all combinated with Jack's vocals to climax an afternoon of both exciting and inventive music.

Roy Carr - NEW MUSICAL EXPRESS   September 11, 1971

Hyde Park Concert

After the confusion that reigned at Weeley. it has become quite apparent that you don't need every band that lives, breathes and plugs in to stage a large yet still highly enjoyable event. Last Saturday's freebee in Hyde Park, once again, demonstrated that all that is required is a couple of top contrasting attractions, the same quota of supporting artists and an experienced stage crew to provide at least six hours of releaxed music in open air. The combination of this all-important chemistry was responsible for both King Crimson and Jack Bruce's Band presenting extremely enjoyable sets before an appreciative crowd. Thankfully, there were no obvious hang-ups and each band was able to perform in a convivial atmosphere . . . . . Even though he included a re-work of an old Cream song for old-time sake, Jack Bruce to his credit has managed to shake off most of his past associations, to concentrate on his new career. Looking extremely happy and with Graham Bond, John Marshall and Chris Spedding for musical company, Bruce maintained the stature he has built up over nearly a decade on the international scene. His first offering was a hard rockin' original called "You Burned The Tables On Me" and while he demonstrated that he was indeed in fine voice, he thundered out a strong bass riff while Graham Bond played some rolling and very rocky interjections at the piano. A number in 7/4, "Smiles And Grins" followed which had Spedding knocking out some nice quotes while John Marshall maintained the time signature with apparent ease at the drums. In complete contrast, a rather doomy interpretation of Carla Bley's "Detective Writer's Daughter" lasted for some time and included a cross-pattern of improvised contribution from Bond on alto, Spedding and Bruce. Among the other numbers that followed tenor saxist Art Themen swelled the band to a quintet during an excellent old Eddie Boyd blues standard. Obviously well satisfied with his set and the crowd's appreciation, Bruce thanked everyone for attending and we all trundled off home.

Ray Telford - SOUNDS   September 11, 1971

Beauty And The Bruce

Despite some newspapers being bent on stirring it up between the hippies and Hell's Angels, Saturday's Hyde Park event with Formerly Fat Harry, King Crimson, Roy Harper and Jack Bruce's new band was only responsible for six hours of good music and a lot of people enjoying themselves. Bill-topper Bruce was as impeccable as ever. He has around him now what I consider to one of the best bands on this side of the Atlantic and they proved it as they literally stormed through every number. Opening with "You Burned The Tables On Me", the distinguished voice and bass guitar playing and the equally unmistakeable guitar playing of Chris Spedding cut through magnificently. It looked as though nostalgia played a big part in this Bruce comeback. I say comeback because, to the rock fans present, this was the Jack Bruce of Cream and he had at last come home to them. "Politician" hadn't changed much since the days of Clapton, Baker and Bruce played it and although it was so obvious that this was no Cream, I guess that a lot of people were closing their eyes and imagining. With Jack were once again Graham Bond on organ and saxes, John Marshall, drums, Chris Spedding, guitar and Art Themen, saxes. They were much better rehearsed since I last saw them and Chris Spedding in particular was in fine form as he and Bruce took the band to towering heights. Some of the audience, though, strangely enough, couldn't take it and a steady steam of mournful faces took their leave of the concern after the band's second number. The reason I never fathomed but I hope those who did exit have a chance to redeem themselves at a future gig.

Dick Meadows - SOUNDS   October 2, 1971

Bruce

I suppose the Upper Clyde Shipbuilders will be glad of the money and that's the main thing. Don't misunderstand, this Jack Bruce Band benefit concert was a nice one, but 10 hours of darkness of Bumpers in London was a bit of a strain. Unless you are into carrots or something. This was the second UCS effort by Bruce and only the third time his new band has worked live. It was also the first of a series of combined UCS/BIT concerts. That Bruce is to take band on the road is good news indeed, for on Sunday they were full of the power and fire one has come to associate with the bassman. I don't think I can ever remember being disappointed by Bruce's bass playing and it was the same here. He was majestic and unpredictable at the same time, happy to play the blues, a ballad or edge towards the improvisations of jazz. His understanding with Chris Spedding seemed immediate, while his old boss Graham Bond commuted to great effect between organ and piano. "You Burned TheTables On Me" and "Letter Of Thanks" were outstanding numbers with John Marshall pinning the sound down on drums at the back. The arrival of saxophonist Art Themen heralded the start of a happy, high-flying close to the set.

Ian Middleton - NEW MUSICAL EXPRESS   October 2, 1971

Jack Bruce

In an effort to discard its teenybopper image, Bumpers, in London's West End, last Sunday afternoon threw the first of a series of progressive rock concerts. Promoted by Evensong, the proceeds go to UCS, BIT and other organizations. Starting early afternoon and going through to Monday morning, the main attraction was obviously Jack Bruce's new band. Scheduled to appear around 9.30 p.m., the band finally went on stage an hour later. A shame as towards the end of the set many people had left to catch their last trains and buses. But the music was well worth the wait. A few blues runs by Graham Bond on piano as a warm up, then suddenly . . . Wham! Straight into an exciting version of "You Burned The Tables On Me" which set the audience afire. From the very first bar, Bruce and his band hit you musicially in the guts. The sound was solid yet allowing individual freedom. Throughout it all, Jack's bass was the fulcrum of the rhythm. The beautiful about the band is it doesn't blast you all the time; it give you the chance to recover from the heavier numbers with searing solos by playing numbers in a quieter vein. "Detective Writer's Daughter" was such a number with Bond switching to organ and alto. The piece built up strongly before he launched into his solo. The number illustrated one of the best aspects of the band - a splendid use of dynamics. Throughout the set, jack was in fine voice, be it on ballads or rock numbers. His bass playing was at times bordering on the incredible. From his recent album, "Harmony Row", came the fast "Letter Of Thanks". Guitarist Chris Spedding wailed away an weaved a musical cobweb of sheer delight. For the lovely ballad, "Folk Song", Jack took over the piano stool whilst Bond played sustaining chords on organ; Spedding on acoustic guitar and drummer Marshall using brushes. Brought up on jazz, each member of the band is aware of the importance of dynamics and the use of light and shade in music. Their interplay is very rewarding; happens spontaneously and creates an excitement few other bands obtain. Guest soloist was Art Themen on tenor. He came on for "Verdegree" (at last that sounded like the title) and played a lovely slow rolling blues built up to Spedding screaming around the frets of his guitar. The real high spot of the evening was the final number, "Powerhouse Sod". A lengthy work-out, everyone had the chance to shine. And shine they did. Drummer John Marshall had been laying down some beautiful rhythms during the set and his playing was sympathetic and complimentary to Bruce's bass. During his solo here, he went into some great polyrhythms.

Mark Plummer - MELODY MAKER   October 2, 1971

Jack Bruce

It's good to see rock musicians taking a positive stand in politics for once, not just talking about the revolution but getting up and playing a gig to benefit the men at UCS like Jack Bruce and others did at London's Bumpers Club on Sunday. Jack Bruce knows what the men in Glasgow face if the docks close downs, but one gets the feeling that benefit are really only there to benefit the bands playing as much as the men they are meant to be helping. Enough said, for Bruce's music has a lot in common with Glasgow and the working class culture with its strong melody lines and honesty. At Bumpers he used his semi-permanent band with Graham Bond on Organ, piano and occasional sax, ace guitarist Chris Spedding, John Marshall on Drums, and towards the end of the set Art Themen on tenor sax. Their music lays somewhere between straight heavy rock music and looser side of jazz blowing, without losing the beauty of either or isolating a rock audience. Pete Brown and Piblikto, Audience, Renaissance and Sattva, all played competent sets before Jack Bruce, but I'm afraid none of them hat the extra something that makes a set stick out like Bruce's.

Pete Matthews - MELODY MAKER   January 15, 1972

Bond and Brown

Watch out Brigitte, there's a new BB on the scene: Bond and Brown. Following the demise of Magick and Piblikto! Graham Bond and Pete Brown are teaming up regularly after many a year on the road for the first time since their poetry and jazz days in the early 60s. They chose London's Temple on Friday to unveil their new venture. Bond, looking fit and relatively slim, deposited a carton of take-away squid at his side and waded into "Jam In F". Pete's trumpet giving way to talking drums as they picked up speed. The hyper-funky "Freaky Beak" brought the best out of the squid squad's rhythm section - Old Pibloktian Ed Spevock on drums and bassist "Lyle" Harper (ex-Gass and Juicy Lucy). But microphone trouble intervened, redenering vocals and sitter-in Dave Thompson's soprano inaudible on the "tell it like it is" tale of the ins and outs of the shark-in-fested music biz. A lot of momentum was lost on "Travelling Blues" while the sound system was battered into shape, despite some friendly guitar from a member of Flying Fortress, but Brown's "Computer" - a feature for lead and rhythm drums - kept the percussion heads happy before the combo steamed out in style with "Twelve Gates To The City". Graham's wife Diane joining the joyful vocal and generally shaking a leg and tambourines. You don't have to consult the cards to foresee that with a little more rehearsal this package could offer a lot of entertainment, showcasing as it does old and new faces, not a little humour and a load of jumping music - the latter especially subtly dominated the proceedings with some very tasteful keyboard work. Watch out especially for his wah-wah piano and completely independent right handed organ work.

John Sivyer - Melody Maker   April 15, 1972

Bond and Brown

They're the antithesis of synthesis. I suppose by comparison with today's plastic music they sound incomplete, unfinished. But they're real people playing what they like - you can believe in them as individuals. Enormous legendary Bond - mad wiry Brown - a smiling bass player from Juicy Lucy - handsome drummer from Piblokto and gypsy daughter, Mrs Graham Bond. Just 36 arrived - to hear of course "Love Is The Law" as good as ever. I remember in'66, Bond with Ginger and Jack Bruce playing in an enormous aircraft hanger at Tangmore and filling it with sound. The management tried to refuse us entry until we removed our CDN Badges - yes, Bond's known good days and better days than today. But with his own inimitable brand of music - this man is a musician where others only play at youthful games of pretend. I forget how many Bond bands I've seen, but every time he's so damn committed it's unbelievable. And yet I can't help comparing this band to the Boots story, Diary of a Loser Musician, even to the way they will play for a percentage of the door, and from 36 people at ten bob a time, that's not a whole lot of bread! But it seems like a virtue to me in these days of massive concerts and enormous sums of money. Perhaps it has something to do with jazz. And Bond still plays jazz. His music is arguably best when it's played to a small but enthusiastic audience. And Bond I think knows this, unconsciously turning away anyone who isn't committed either by reason or by chance, playing small venues. Brown still writes piercing indictments of the system which Bond now sets to music, and somehow they complement each other exactly. I wonder what strange circumstance pushed these two together? Anyway - I think it's great - great to have PEOPLE making real solid music.

Valerie Wilmer -Melody Maker   May 13, 1972

Dr. John

. . . . . Graham Bond also sat in for the Roundhouse, but it was the unrelenting resilience of the two sensitive drummers and the exuberance of his two black girl singers that spurred Dr John and to his tumulterous reception . . . . .

Danny Holloway - NEW MUSICAL EXPRESS   May 13, 1972

Dr. John

. . . . . Dr. John brought an entourage of 12 including Graham Bond and Chris Mercer on saxes, Ronnie Baron on keyboards and a couple of former Ikettes as back-up singers . . . . .

Pete Matthews - MELODY MAKER   June 24, 1972

Bond and Brown

Despite the number of new musicians around, judging by the success of bands like Argent, it's never to late for the old guard to make it; hopefully there's still room for Bond and Brown, leading contenders for the dues-payers of the decade award, who played the Marquee on Friday. The addition of excellent ex-Paladin guitarist Derek Foley and a new PA has beefed up their sound and allows more varied arrangements to be forged from the horns and drums. In deference to being part of "An Evening With Blues" Pete and graham warmed up their vocal chords on Travelling (New Used Jews) Blues", before storming into "Makumbe", an Afro-Gospel number written by bassist Lyle Harper. Graham's wife Diane sang over a rattle of percussion from her congas, Pete's talking drums and drummer Ed Spevock's cowbell, before powerful three-part harmonies crashed in to lift off and push Graham's pounding piano solo into a funky orbit. Old favourites and new songs followed apace: "Lost Tribe" took "A Horse With No Name" into a Biblically parched setting; "(Got A Letter From A) Computer" chugged electronically into a crazed solo guitar piece of fuzz-wah harmonics and spaghetti-fingered strumming, all neatly wrapped up by a drum battle. Off their album followed "Ig The Pig", a typically strutting Bond composition. Appropriately, "Ig" turned into "Freaky Beak", the warning about the pin-striped minds that lurk behind the whiskery and flowered-shirted facades of business heads, before the psychotic final number "Milk Is Turning Sour In My Shoes", complete with some tight, chunky riffing from (Pete's) trumpet and sax.

Ph. Fosse - Rock & Folk   June 1972

PETE BROWN et GRAHAM BOND au Golf-Drouot

C'est au Golf-Drouot que Pete Brown et Graham Bond avalent choisi de se produire le temps de leur bref passage a Paris. Contrairement a toute attente, le succes poulaire ne fut pas aussi important que prevu et bien des habitués bouderent le Golf ce jour-la. Est-ce un signe, mais j'avoue que je suis personnellement reste perplexe quant. A la musique de Graham Bond. Le public, pris a contrepied n'a que tres rarement accroche a la musique bizarre et par trop folle de l'Anglais. Sans construction, ni style précis et surtout tres forte, trop meme, la musique de Graham Bond n'a pas enthousiasme les jeunes presents. La chant eur trompettiste Pete Brown ne m'a, quant a lui, pas du tout convaincu. Le chanteur fut mauvais, sans aucun feeling, avec une voix criarde, provocante, hargneuse, presque insoutenable. Pete Brown trompettiste sembla un instant rattraper le Pete Brown chanteur. La trompette sonna mieux d'entrée, assez soul, le doigte de Pete Brown assura de tres bons solos qui malherureusement se degraderent rapidement pour tomber dans une succession de notes inaudibles. Les interventions de Diana Bond ne releverent pas, helas, le niveau du spectacle. Sa voix, criarde comme celle de Pete Brown, peu melodieuse, acide meme par moments apporta tout de meme un certain soutien au phrase de Pete. Il n'y a vraiment pas grandchose a retenir de ce spectacle, sinon un mortel ennui. Rapidement, la sale plongea dans une demi-torpeur et il devient evident que le public repoussait totalement cette musique. Dommage, vraiment. On etait en droit d'attendre beaucoup mieux de celebrites comme Graham Bond et Pete Brown. Dommage egalement que tant d'energie et de talent soient gaspilles pour un resultat aussi mediocre. Le travail devrait pourtant permettre d'obtenir quelque chose de valable. Est-ce delibere ou simple passage a vide, je l'ignore. Quoi qu'll en soit, je souhaite le revoir et assister enfin a un spectacle total, de qualite et concret.

Martin Lewis - NEW MUSICAL EXPRESS   July 1, 1972

Bond And Brown

The amalgamation of Graham Bond and pete Brown has been destined since their various musical associations began a dozen years ago. Their first London gig since their formation and recent inclusion of guitarist was fittingly held at the Marquee, scene of many past triumphs. And what a joy! Bond, looking plumper, happier, more relaxed, teasing rhythmic riddles on organ with one hand, the other fingering his alto sax, and blowing solos - diamond hard - and as clear-cut as crystal perspex. The "New Used Jews Blues" included Pete Brown playing a delightfully innocent trumpet, and the whole thing was underlined by the other superb instrumentalists. Ed Spevock - "our Jewish reggae drummer" - has a solid sok-a-bok sound in perfect harmony with Brown's own talking drums, and Graham's very delectable conga-playing wife, Diane. Lisle Harper's bass was subduet, and dramatically correct, punctuating each phrase with items from his jazz-based syntax. It was on Brown's "Received a Letter From a Computer" and Graham's Dr. John-dedicated "Irwin Fig The Pig" that new, ex-Paladin guitarist Derek Foley started to impress. It's not easy playing lead to Graham Bond's unpredictable keyboard style, but he seems to be developing a strong sliding stride that matches the former's free -stepping finger dance. Certainly his youth boosts Bond & Brown to a more succulent sound. The audience lapped up all they were served, and clearly would have appreciated a longer sitting.