Jon Hiseman got here up with the idea for his band Colosseum in a single second in 1968 – though the concepts had in all probability been swirling in his thoughts for a while.
“I used to be on a sightseeing vacation in Rome,” the late drummer instructed Prog in 2010. “We have been on the excessive level of the Discussion board overlooking the Senate Home on the left and the Colosseum on the precise. I had my head in my arms. I turned to [wife] Barbara and mentioned, ‘I’m leaving John Mayall. I’m going to type a band and name it Jon Hiseman’s Colosseum.’ Her reply was typical: ‘Go for it!’”
He continued: “The identify had come to me virtually as I spoke. It simply had the precise ring to it in an age when something went. I noticed the band as being in a direct line from all of the others I’d loved – largely large band or fashionable jazz teams – however with a totally completely different rhythmical base, with complicated interactive rock rhythms, plus improvised solos and vocals.”
Hiseman had a “very particular” shortlist of companions, and he rapidly signed up keyboardist Dave Greenslade, saxophonist Dick Heckstall-Smith, bassist Tony Reeves and guitarist Jim Roche – rapidly changed by James Litherland after which Clem Clempson.
They have been all proud of the identify and the perspective behind it. “There have been no dissenting views,” Hiseman mentioned. “It was form of taken as a right instantly. Inside 18 months I felt we have been effectively sufficient recognized to name the band simply Colosseum.”
The group have been initially lively for less than three years – however from 1968 to 1971 they created pioneering progressive jazz-rock that, it’s mentioned, popularised your complete style. After greater than 20 years of silence they returned in 1994, and proceed at the moment, albeit with a collection of line-up adjustments behind them.
In 2014 Prog chosen 5 tracks from Colosseum’s first run that finest signify the artistic power and character that’s all the time powered their music.
Beware The Ides Of March
From These Who Are About To Die Salute You (1969)
Beginning off as a thinly-disguised fantasia on A Whiter Shade Of Pale, it then finds organist Greenslade briefly nodding in direction of Bach’s Fugue In D Minor. A syncopated R&B part with a keening guitar solo from Litherland ends in an intense ensemble exercise, earlier than the opening theme is coolly restated.
Valentyne Suite
From Valentyne Suite (1969)
Cut up into three ‘Themes’ and largely written by Greenslade, this 17-minute piece encompasses garish horn figures, concord vocals, some free-flowing organ work and thrilling, high-velocity Hiseman drumming. He and Heckstall-Smith composed the ultimate part with its unison passages and brooding motifs.
Misplaced Angeles
From The Grass Is Greener (1970)
New arrival Clempson makes his mark – each as lead vocalist and lead guitarist – on the track, written with Greenslade and launched on this US-only album. Sufficient turbulent instrumental themes and indulgent solos are packed in that the piece is finest heard because the prolonged blowout on Colosseum Stay.
Time Lament
From Daughter Of Time (1970)
Certainly one of Colosseum’s most intricate compositions, it comes over like a pastoral, string-based piece, then a soul ballad, then a cool jazz musing. However it’s continually disrupted by the looks of a convoluted, serpentine essential theme and turns into one thing else fully.
Tanglewood ’63
From Colosseum Stay (1970)
Hiseman melds jazz rock and three-part harmonies on this piece by composer Mike Gibbs. Chris Farlowe, Clempson and Mark Clarke sing wordless chorales whereas Heckstall-Smith delivers a outstanding double sax solo, earlier than main the band right into a reprise of the primary motif.
