Feature track on Deep Purple (Parlophone PCSM 6083) was April—a three part mini-concerto written by organist Jon Lord. At timet on other records Lord had shown an aptitude for adapting classical structure to group compositions but this was his first complete effort-piano, organ, accoustic and electric guitar, bass guitar and drums combining with a string quintet and seven piece wind section. April required up to eleven different tracks so it was basically a recorded concerto, not devised to be presented live. Lord's next effort is a much more important step forward.

At times the Concerto for Pop Group and Orchestra sounds like a modern day Vaughan Williams piece but this derivative nature is of little consequence. The first movement has its fair share of awkward moments—Lord has written for orchestra and group as separate entities and this has led to serious problems with balance and integration. The beginning is a lengthy orchestral introduction built around a theme introduced by the clarinet; tension mounts but it is shattered by the awkwardness of the entry of the brass section. Finally the group enters and it seems incongruous as Ritchie Blackmore's lead cuts an electronic swathe through the orchestra. Everything is much more unified once the group gets into the theme and leads up to the guitar cadenza but it is obvious that Lord has not quite mastered the task of presenting the group and orchestra as separate antagonistic forces.

The second movement is built around two evocative tunes introduced by the cor anglais and flutes. By this stage the composer is writing for orchestra and group together and the whole effect is much more relaxed and satisfying. The idea of using a vocalist in a concerto seemed rather out of place to me but Ian Gillan's tasteful lyrics sung in a sensitive manner blend well with the mood created by Lord. This movement is undoubtedly the highlight of the concerto—a memorable effort by Lord, orchestra and Deep Purple.

Loud brass chords over syncopated strings introduce the third movement. The percussion section is featured in 6/8 rhythm and is joined by drums and bass guitar and then by the whole group. This time there is no hesitancy as group and orchestra play at full blast. Blackmore introduces the allegro theme playing it in a straightforward classical manner then restates it in the typical Deep Purple style with plenty of syncopation and sliding into the notes. Drummer Ian Paice has always been kept in the background on previous records and he obviously revels in his lengthy drum cadenza which builds up and then allows the orchestra to take over and revert to the original theme. Most of the problems so apparent in the first movement have been solved and the balance in the finale, with brass and group fighting it out, is very good.

My overall impressions of this performance are most enthusiastic The individual work from group members is excellent and on the whole co-ordination with the orchestra is good. The work is obviously only a beginning for Lord. He is happiest when writing for the wind and string sections but no doubt he will master the rest. The 'live' recording in the Albert Hall has had its problems but the quality has not suffered too much.