Sarabande

Jon Lord

Polydor

What's the keyboard player from Deep Purple once the loudest band in the world doing composing music for the Philharmonia Hungaria, conducted by Eberhard Schoener? Such a valid question comes about six or seven years too late. Jon Lord has already composed three 'concertos for group and orchestra'. The first of these was performed by Deep Purple, live in the Royal Albert Hell with the Royal Philharmonic Orchestra in 1969, in which Lord states that he 'presented the Orchestra and group as one would expect them — as antagonists'.

The second was cut a year later in the studio with Deep Purple and a slightly less grandiose orchestra plus Yvonne Elliman; and the third was recorded during a performance by Jon Lord (with friends Tony Ashton, Ray Fenwick, Pate York. Glen Hughes and David Coverdale, not to mention the Munich Chamber Orchestra), in 1975. Despite an early 'antagonistic' approach by group to orchestra and vice-versa in Lords first concerto, the second and third works, known as 'The Gemini Suite' and 'Windows; A continuo on Bach' respectively' demonstrate that the marriage of the classics and rock is the fantasy of a demented rock musician, but is a reality.

With 'Sarabande', Lord proves once and for all that the two music forms are completely miscible, and can form a most holy alliance. There's nothing holy about the cover of the album: in fact it provokes rather bizarre thought upon careful examination. For those of you who don't even slightly fancy Deep Purple's sounds, each away your prejudices for forty minutes, for you'd be making a grave mistake to dismiss this album as being the same sort of music.

Would you believe that Jon Lord can compose and play 'Dave Brubeck-type piano jazz' (albeit in a slightly electronic style) enmeshed in a baroque dance suite influenced by the style of Bach? Well, whether you believe me or not, it's true. If you can imagine some laid-back licks from a guitarist that sounds like Carlos Santana with a classical backing, then that's what you're in for if you listen to the album's third track, 'Aria'. There are six more tracks, plus a 'finale' on the album. According to Lord, the theme begind the music is that of a baroque dance suite. A from of music which was brought to its highest level by Bach. The title of each track is the name of a dance used in one of the dances suites, and I have tried to use the same tempo and feel as an original sarabande, gigue etc.

Assisting the good Lord are Mark Navseef (on 23 instruments: from Israeli 'Talking-drums' to wood blocks), Andy Sommers on classical and electric guitars, Paul Karass on electric bass, Pete York on drums, and of course the 87 piece Philharmonia Hungaria. Production of the album, and oh what a brilliant piece of production it is, is credited to Lord and former Deep Purple producer Martin 'The Wasp' Birch.

While probably not being the rock album of the year, nor anything to get up and go to Dr. John's Disco with, 'Sarabande' will be of interest to those at all into the extending of rock music's idioms, be it influenced by Bach or Brubeck.

Selsanore Loggin.