Keef Hartley Band - Seventy Second Brave 1972

b. 8 March 1944, Preston, Lancashire, England, d. 27 November 2011. Together with Colosseum, the Keef Hartley Band of the late 60s forged jazz and rock music sympathetically to appeal to the UK progressive music scene. Drummer Hartley had already had vast experience in live performances as Ringo Starr’s replacement in Rory Storm And The Hurricanes. When Merseybeat died, Hartley was enlisted by the London-based R&B band the Artwoods, whose line-up included future Deep Purple leader Jon Lord. Hartley was present on their only album, Art Gallery (now a much sought-after collector’s item). He joined John Mayall’s Bluesbreakers and was present during one of Mayall’s vintage periods. Both Crusade and Diary Of A Band highlighted Hartley’s economical drumming and faultless timing. The brass-laden instrumental track on John Mayall’s Bare Wires is titled ‘Hartley Quits’. The good-natured banter between Hartley and his ex-boss continued onto Hartley’s strong debut, Halfbreed. The opening track, ‘Hearts And Flowers,’ has the voice of Mayall on the telephone officially sacking Hartley, albeit tongue-in-cheek, while the closing track ‘Sacked’ has Hartley dismissing Mayall! The intervening music features some of the best ever late-60s jazz-influenced blues, and the album remains an undiscovered classic. The band for the first album was comprised of Miller Anderson (b. 12 April 1945, Johnston, Renfrewshire, Scotland; guitar and vocals), Gary Thain (b. 15 May 1948, Wellington, New Zealand, d. 8 December 1975, Norwood Green, Middlesex, England; bass), Peter Dines (b. 17 December 1944, Hertford, England, d. 28 January 2004; organ) and Spit James (guitar). Later members to join Hartley’s fluid line-up included Mick Weaver (aka Wynder K. Frog) organ, Henry Lowther (b. 11 July 1941, Leicester, England; trumpet/violin), Jimmy Jewell (saxophone), Johnny Almond (flute), Jon Hiseman (who guested on percussion and congas) and Harry Beckett. Hartley, often dressed as an American Indian, sometimes soberly, sometimes in full headdress and war paint, was a popular attraction on the small club scene. His was one of the few British bands to play the Woodstock Festival, where his critics compared him favorably with Blood, Sweat And Tears. The Battle Of North West Six in 1969 further enhanced his club reputation, although chart success still eluded him. By the time of the third album both Lowther and Jewell had departed, although Hartley always maintained that his band was like a jazz band, in that musicians could come and go and be free to play with other aggregations. Dave Caswell and Lyle Jenkins came in and made The Time Is Near.... This album demonstrated Miller Anderson’s fine songwriting ability and producer Neil Slaven’s excellent production. They were justly rewarded when the album briefly nudged its way into the UK and US charts. Subsequent albums lost the fire that Hartley kindled on the first three, although the formation of his Little Big Band and the subsequent live album had some fine moments. The recording at London’s Marquee club saw the largest-ever band assembled on the tiny stage; almost the entire British jazz/rock fraternity seemed to be present, including Chris Mercer, Lynn Dobson, Ray Warleigh, Barbara Thompson and Derek Wadsworth. By the time Seventy Second Brave was released, Anderson had departed, having signed a contract as a solo artist. He was clearly the jewel in Hartley’s crown (or headgear) and the cohesion that Anderson gave the band as the main songwriter, lead vocalist, and lead guitar was instantly lost. Future recordings also lacked Slaven’s even production. Hartley and Anderson came together again in 1974 for one album as Dog Soldier but Hartley was largely inactive in music for many years apart from the occasional tour with John Mayall and sessions with Michael Chapman. In the mid-90s he had a carpentry business in Preston, Lancashire, and although it was alleged that he no longer owned a drum kit, attempts were made in the mid-90s to re-form the original line-up of this highly undervalued band (which certainly warrants reappraisal in the 21st century). However, the reunion never transpired, and Keef Hartley died on 27 November 2011 at the age of 67. AMG.

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Keef Hartley Band - The Time Is Near 1970

At the time, the transformation from R&B into hard rock and prog rock seemed seamless, swept along a current of subtly shifting styles, a view today cemented by hindsight into inevitability. But all one has to do is listen to bands that fell by the wayside to see that the end result was in no way insured and that other paths beckoned, only to quickly become cul-de-sacs. Drummer Keef Hartley established his reputation upon joining British blues legends John Mayall's Bluesbreakers in 1967, performing on four of their albums before his departure the following year. That same year, Hartley formed his eponymous band around the axis of himself, bassist Gary Thain, and singer/guitarist/composer, Miller Anderson, with their musical horizons widened by a kaleidoscope cast of brass, keyboardists, and flügelhorn players. The group released The Time Is Near..., its third album, in 1970, a set that found the group moving into ever more esoteric pastures. Some critics complained the album was directionless, but au contraire, the band knew precisely where they were going and what their goal was -- to create a tapestry of sound that intricately weaves together American R&B with a decided Stax slant, intertwining funkier flavors with the brass flash of the earlier soul era, and crisscrossing it with jazz. Some songs are embroidered with a harder rock sound, others are threaded with bright splashes of Latin colors, and others still with more subdued acoustic passages. It takes several listens for the full aural impact to coalesce, a reflection of the song's lack of infectious hooks and strong melodies, a sign too of the band's growing proggy bend and jazzy leanings. But given enough time, the album begins to weave its spell, and its greatness starts to solidify. However, as a path to chart success, this album was a dead-end street; pop fans want instant gratification, and Time Is Near wasn't supplying that. But for more discerning audiences, this CD is a welcome return for a carefully crafted and gorgeously imagined set. AMG.

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Keef Hartley Band - The Battle Of North West Six 1969

The Battle of North West Six is the second album by the Keef Hartley Band. At the time, Hartley's six-piece group was appearing augmented with a brass section as The Keef Hartley Big Band, and a number of songs on the album feature this extended line-up.

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Keef Hartley Band - Overdog 1970

After the subtleties and suppleness of 1970's The Time Is Near..., the Keef Hartley Band's third full-length, the group returned the following year with Overdog, a set that kicks them into overdrive. Opening with a dramatic flourish of wah-wah guitar, the anthemic "You Can Choose" instantly wipes all memories of the intricate design of the preceding album off the board. Big and brash, "Choose" pounds rock into funk with savage delight. In contrast, "Plain Talkin'" is all grit and glory, strutting its Stax-y antecedents center-stage, and smugly smirking at their hard-rocking ex-Brit beat contemporaries, who lost the blues in their rush to rock. Elsewhere, "Overdog" puts paid to prog rock pretentiousness, as the band slyly slide from haunting wah-wah guitar and spacy effects straight into funk, and back out again through coursing, driving instrumental sections. It's a spliced styling that's reiterated to even more dramatic effect on "Theme Song." Keef Hartley's drums keeps those segments pulsing, but it's "Roundabout" that's his true showcase, as his skins rumble away under layers of dramatic brass passages and crash around the guitar solos. His drumming reaches an apotheosis on the song's 7" version, a blistering attack of swing-styled beats that prods the brass to even greater heights, while his crack drumming on the flip side of the single pushes the guitarist into hyper-speed and the horns into rousing solos of speed jazz, only to collapse into slower passages of big rock that slams straight into Detroit. After that, the gentler, jazzy excursions of "Imitations from Home" are a well-deserved breather, although not for Hartley, whose intricate patterns keep him on his toes. Only the Beatlesque "We Are All the Same" provides any concession to contemporary pop audiences, but KHB cared little for them, so intent were they on proving to rock fans that there was no need to desert R&B, soul, and funk in their search for more experimental music and/or harder sounds. On their last set, they delicately pointed out the possibilities; here they hammer it home. aMG.

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Keef Hartley Band - Overdog 1971

They forged jazz and rock sympathetically in the late '60s to appeal to the progressive rock scene. This is their fourth album.

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Keef Hartley Band - Little Big Band 1971

b. 8 March 1944, Preston, Lancashire, England, d. 27 November 2011. Together with Colosseum, the Keef Hartley Band of the late 60s forged jazz and rock music sympathetically to appeal to the UK progressive music scene. Drummer Hartley had already had vast experience in live performances as Ringo Starr’s replacement in Rory Storm And The Hurricanes. When Merseybeat died, Hartley was enlisted by the London-based R&B band the Artwoods, whose line-up included future Deep Purple leader Jon Lord. Hartley was present on their only album, Art Gallery (now a much sought-after collector’s item). He joined John Mayall’s Bluesbreakers and was present during one of Mayall’s vintage periods. Both Crusade and Diary Of A Band highlighted Hartley’s economical drumming and faultless timing. The brass-laden instrumental track on John Mayall’s Bare Wires is titled ‘Hartley Quits’. The good-natured banter between Hartley and his ex-boss continued onto Hartley’s strong debut, Halfbreed. The opening track, ‘Hearts And Flowers,’ has the voice of Mayall on the telephone officially sacking Hartley, albeit tongue-in-cheek, while the closing track ‘Sacked’ has Hartley dismissing Mayall! The intervening music features some of the best ever late-60s jazz-influenced blues, and the album remains an undiscovered classic.

The band for the first album was comprised of Miller Anderson (b. 12 April 1945, Johnston, Renfrewshire, Scotland; guitar and vocals), Gary Thain (b. 15 May 1948, Wellington, New Zealand, d. 8 December 1975, Norwood Green, Middlesex, England; bass), Peter Dines (b. 17 December 1944, Hertford, England, d. 28 January 2004; organ) and Spit James (guitar). Later members to join Hartley’s fluid line-up included Mick Weaver (aka Wynder K. Frog) organ, Henry Lowther (b. 11 July 1941, Leicester, England; trumpet/violin), Jimmy Jewell (saxophone), Johnny Almond (flute), Jon Hiseman (who guested on percussion and congas) and Harry Beckett. Hartley, often dressed as an American Indian, sometimes soberly, sometimes in full headdress and war paint, was a popular attraction on the small club scene. His was one of the few British bands to play the Woodstock Festival, where his critics compared him favourably with Blood, Sweat And Tears. The Battle Of North West Six in 1969 further enhanced his club reputation, although chart success still eluded him. By the time of the third album both Lowther and Jewell had departed, although Hartley always maintained that his band was like a jazz band, in that musicians could come and go and be free to play with other aggregations.

Dave Caswell and Lyle Jenkins came in and made The Time Is Near.... This album demonstrated Miller Anderson’s fine songwriting ability, and producer Neil Slaven’s excellent production. They were justly rewarded when the album briefly nudged its way into the UK and US charts. Subsequent albums lost the fire that Hartley kindled on the first three, although the formation of his Little Big Band and the subsequent live album had some fine moments. The recording at London’s Marquee club saw the largest ever band assembled on the tiny stage; almost the entire British jazz/rock fraternity seemed to be present, including Chris Mercer, Lynn Dobson, Ray Warleigh, Barbara Thompson and Derek Wadsworth. By the time Seventy Second Brave was released, Anderson had departed, having signed a contract as a solo artist. He was clearly the jewel in Hartley’s crown (or headgear) and the cohesion that Anderson gave the band as the main songwriter, lead vocalist and lead guitar was instantly lost. Future recordings also lacked Slaven’s even production. Hartley and Anderson came together again in 1974 for one album as Dog Soldier but Hartley was largely inactive in music for many years apart from the occasional tour with John Mayall and sessions with Michael Chapman. In the mid-90s he had a carpentry business in Preston, Lancashire, and although it was alleged that he no longer owned a drum kit, attempts were made in the mid-90s to re-form the original line-up of this highly undervalued band (which certainly warrants reappraisal in the 21st century). However, the reunion never transpired, and Keef Hartley died on 27 November 2011 at the age of 67. AMG.

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