Jan Akkerman
Band members Related acts
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- Jan Akkerman -- guitar, lute, synthesizers, bass
supporting musicians: (1972) - Japp van Eyck -- bass - Pierre van der Linden -- drums, percussion - Ferry Matt -- keyboards - Bert Ruiter -- bass - Frans Smit -- drums, percussion
supporting musicians: (1974) - Carmen Appice -- drums, percussion - Tim Bogart (RIP) -- bass - George Flynn - harpsichord, keyboards - Ray Lucas -- drums (1974) - Daniel Waitzman -- flutes (1974)
supporting musicians: (1977) - Rens Benerink -- bass - Brune Castelucci -- drums, percussion - Joachm Kuhn -- keyboards - Cees van der Laarse -- bass - Pierre van der Linden -- drums, percussion - Nippie Noya -- percussion
supporting musicians: (1981) - Jim Campagnola -- sax
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- Peter Banks and Jan Akkerman - Brainbox - Focus - Erik van Eldik & the SHakin' Hearts - The Hunters - Johnny and His Cellar Rockers - Joachim Kim Band - Mushroom
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Genre: rock Rating: *** (3 stars) Title: Profile Company: Sire Catalog: SAS 7407 Year: 1972 Country/State: Holland Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: 5627 Price: $20.00
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With Focus making international commercial inroads with their single 'Hocus Pocus' it was only natural that the individual and members would benefit from the public's interest in the group. Lead guitarist Jan Akkerman was one of those who benefited from the publicity via the release of 1972's "Profile". Ironically, feeling the set wasn't representative of his current interests, Akkerman did not want the collection released.
In terms of chronology, most of the material for the album dated back to 1969 when Akkerman was still a member of Brainbox. Produced by Tom Griek and backed by an all-tar cast of Dutch musicians including future Focus members Pierre van der Linden and Bert Ruiter, the instrumental collection almost seemed like an attempt to highlight Akkerman's instrumental prowess to outfits looking for a new lead guitarist. The side long improvisational 'Fresh Air' found Akkerman displaying his versatility and guitar prowess over a twenty minute composition that included stabs at everything from straight ahead rock ('Must be My Land') to blues (the atmospheric 'Fresh Air - Blues Notes for Listening'), and jazz-rock fusion moves ('The Fight'). Technically it was a stunning performance showcasing Akkerman's diversity, though it probably didn't have a great deal of appeal to folks just looking for a memorable song. Side two went in a totally different direction featuring shorter, more focused numbers. Several tracks spotlighted Akkerman's interest in medieval and baoque-era music. Underscoring that interest 'Kemps Jig', 'Etude', and 'Minstrel / Farmers Dance' all featured Akkerman on lute (something he'd explore even further with his next LP) while 'Andante Sostenuto' showcased a beautiful performance on Spanish guitar. Again, it probably had limited appeal to your average rock fan, but was definitely different and worth a listen. Somewhat at odds with the rest of the material on side two, 'Stick' was a pedestrian blues-rocker. 'Blue Boy' offered up a nice slice of pop-rock showing Akkerman had been listening to at least some Stax, while 'Maybe Just a Dream' was a beautiful mid tempo ballad. With a vocal either of the latter two selections would have made for a dandy single. Not a great album, but still better than most debuts and guitar hounds should treasure it.
"Profile" track listing:
1.) Fresh Air (instrumental) (Jan Akkerman) - 19:50 a.) Must be My Land b.) Wrestling To Get Out c.) Back Again d.) The Fight e.) Fresh Air - Blues Notes for Listening f.) Water and Skies are Telling Me g.) Happy Gabriel?
(side
2) 2.) Etude (instrumental) (Carcassi) - 1:30 3.) Blue Boy (instrumental) (Jan Akkerman) - 2:24 4.) Andante Sostenuto (instrumental) (Diabelli) - 4:05 5.) Maybe Just a Dream (instrumental) (Jan Akkerman) - 2:33 6.) Minstrel / Farmers Dance (instrumental) (Jan Akkerman) - 2:45 7.) Stick (instrumental) (Jan Akkerman) - 3:30
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Genre: classical Rating: *** (3 stars) Title: Tabernakel Company: ATCO Catalog: SD-7032 Year: 1974 Country/State: Holland Grade (cover/record): VG+/VG+ Comments: gatefold sleeve Available: 1 Catalog ID: 5525 Price: $20.00
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With Focus at their commercial zenith,1974 saw guitarist Jan Akkerman given an opportunity to release what was technically his third solo LP - the Geoffrey Haslam produced "Tabernakel". Long fascinated by the Renaissance lute, Akkerman had previously purchased one of the instruments (he outbid the Museum of Copenhagen to purchase an instrument made by East German craftsman Amon Meinel) and after spending considerable time and energy locating tutorial material and ancient scores, began teaching himself how to play the instrument. Some of his initial efforts showed themselves on the "Focus III" LP - checkout 'Elspeth of Nottingham'. Satisfied with his capabilities, in 1974 Akkerman went into a New York studio with a collection of all-star musicians including drummer Carmen Appice and bassist player Tim Bogart, spending two weeks recording this LP. In spite of the rock musician lineup, anyone expecting to hear a collection of Focus-styled progressive moves was going to be largely shocked by this LP. Working with Columbia University-based professor and harpsichord player George Flynn, side one found Akkerman all but abandoned his rock and progressive roots in favor of an instrumental set heavy on 15th century covers, including works by John Dowland, Anthonie Holbourne and Francis Pilkington. C'mon, what do you mean you've never heard of any of them? Even the handful of Akkerman originals such as 'Javeh' and 'House of the King' (the latter previously recorded by Focus) were inspired by Tudor stylings, though the latter boasted an all electric arrangement, including Akkerman's lone electric guitar solo. That selection also served as one of the standout performance offering up a strange but effective meld of 15th style and 20th century technology. Showcasing a multi-section suite, side two's 'Lammy' was more of a hit-or-miss endeavor, though the electric guitar-sitar-effect solo on 'She Is' was pretty darn cool. In contrast to side one, the flip side brought in the rock players and fell into more of a progressive/experimental niche. Geez, there was even an Appice drum solo. So by now you've probably figured out this set isn't going to be for everyone. I was certainly skeptical the first couple of times I played the album. That said, this was one of those magical sets that I've put on a CDR in my Sony CD jukebox. Everyone has some 'soundtrack' they rely on to relax and "Tabernakle" frequently serves as my choice. It may not be rock and roll, but it sure is pretty and makes for one of those fantastic rainy Sunday morning LPs ...
"Tabernakel" track listing:
1.) Britannia ((instrumental) (John Dowland - arranged by Jan Akkerman and George Flynn) - 3:55 rating: **** stars 'Britannia' was a wonderful introduction to Akkerman's Renaissance concept. To this day I'm surprised how well the mixture of classical influences and rock drums work. The track actually builds up considerable energy as it plows along. Great track for a walk. 2.) Coranto for Mrs. Murcott (instrumental) (Francis Pilkington - arranged by Jan Akkerman) - 1:26 rating: **** stars A beautiful Akkerman solo effort, I always find myself wondering how long it took him to master the instrument. 3.) The Earl of Derby His Gilliard (instrumental) (John Dowland - arranged by Jan Akkerman) - 1:36 rating: **** stars Another pastoral melody, it was a shame these pieces were so short. 4.) House of the King (instrumental) (Jan Akkerman) - 2:23 rating: **** stars And just when you were getting acclimated to the album's classical charms, along comes the rocker 'House of the King'. With backing from drummer Carmen Appice and bassist Tim Bogart, it was atypical of the album, but my pick for the standout performance. The song was actually a remake, Focus having recorded a more conventional arrangement on their 1972 "Focus III" LP. YouTube has a promotional video they filmed for it: Focus - House of the King - YouTube The track was also tapped as an Akkerman single in Holland:
- 1973's 'House of the King' b/w 'Javeh' (Atlantic catalog number ATL10427)
5.) A Galliard (instrumental) (Anthonie Holbourne - arranged by Jan Akkerman) - 2:10 rating: **** stars Admittedly I had to look up the definition of a galliard - "a lively dance in triple time for two people, including complicated turns and steps." And that definition stands in contrast to this slow, but beautiful performance. 6.) A Galliard (instrumental) (John Dowland - arranged by Jan Akkerman) - 1:31 rating: **** star In contrast to the previous track, 'A Galliard By John Dowland' did have a danceable flavor. 7.) A Pavane (instrumental) (Thomas Morley - arranged by Jan Akkerman) - 3:05 rating: *** stars Obviously I don't have a problem showcasing my musical ignorance. I had no idea what a pavan was. "A stately and formal Spanish dance for which full state costume is worn; -- so called from the resemblance of its movements to those of the peacock." And having seen an example of people dancing to a pavan I get it. You can feel the song's measured and ornate vibe. 8.) Javeh (instrumental) (Jan Akkerman - George Flynn) - 3:22 rating: ** stars The heavily orchestrated 'Javane' sounded like a piece of music that had been scored for a movie. I guess it was pretty, but the orchestration was discordant and ultimately it just didn't do much for me.
(side
2) 'A Fantasy By Laurencini of Rome' was another Akkerman solo effort. All I can add is it was a stunningly pretty performance.
I'm not an Akkerman biographer and the man if very private about his personal life. That said, I believe 'Lammy' was inspired by his then wife. I'm too lazy to pull the LP and look, but I believe she's pictured on the album's inner sleeve. Clocking in at about fourteen minutes, the six- part suite finds his all-star cast more involved and finds Akkerman working in more of a progressive mode. Pretentious might be another description.
i.) I Am (Jan Akkerman - George Flynn) - rating: ** stars Well, 'I Am' opened up with "B" flick horror movie organ and mad monk chants. Perfect track to scare the crap out of your young kids on Halloween. ii.) Asleep, Half Asleep, Awake (Jan Akkerman) - rating: ** stars The song title was actually a pretty good description of the tune. Lots of ominous George Flynn keyboards and the sound of tinkling glass. Isn't that want we all wake up to? iii.) She Is (Jan Akkerman - George Flynn) - rating: ** stars Well I liked the electric sitar (or it was a treated guitar). But when the melody turned jazzy and the focus turned to Appice's drum solo and Bogert's bass runs the song became totally unnecessary. iv.) Lammy, We Are (Jan Akkerman - George Flynn) - rating: *** stars The title section found Akkerman returning to a strong and enchanting melody, though the heavy orchestration didn't do the song any favors. v.) The Last Will and Testament (Anthonie Holbourne - arranged by Jan Akkerman and George Flynn) - rating: *** stars 'The Last Will and Testament' marked a brief return to side one's Renaissance influences work. vi.) Amen (Jan Akkerman - George Flynn) - rating: *** stars With a chanting chorus, 'Amen' sounded like it had been recorded as part of a Catholic high mass.
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Genre: progressive Rating: *** (3 stars) Title: Jan Akkerman Company: Atlantic Catalog: SD-19159 Year: 1977 Country/State: Holland Grade (cover/record): VG / VG Comments: minor ring wear; no sticker on cover Available: 2 Catalog ID: 4546 Price: $10.00 Cost: $66.00
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While living in Brussels, Belgium this was the first album I bought from a local music store. Interestingly 1977's "Jan Akkerman" was recorded at the same time Akkerman was recording an album with former Brainbox singer Kaz Lux. In addition to being recorded at the same time, "Jan Akkerman" and the Lux collaboration "Eli" shared the same backing bands. Produced by Richard DeBois, "Jan Akkerman" found Akkerman abandoned his rock stance in favor of a mix of MOR funk (the single 'Crackers') and heavily orchestrated fusion-oriented tracks such as the seemingly endless 'Angel Watch', 'Skydancer, and 'Floatin''. To be honest, the funk and fusion-oriented material simply didn't do much for me though I'm sure there are legions of Akkerman fans out there who adore this type of stuff. Not only that, but with a few exceptions Akkerman's instantly recognizable brittle guitar stylings were largely absent from the mix. Sure, he spun off a couple of nice segments on 'Streetwalker' and the extended 'Angel Watch' but those were few and far between highlights. That left the spotlight seemingly on keyboard player Joachm Kuhn. Kuhn was certainly a talented performer, but then you didn't shell out your hard earned cash to hear him. To my ears the overall impression was one of disappointment. Adult contemporary jazz just wasn't what I was expecting. Admittedly the LP sported one of the most fascinatingly grotesque cover photos in my collection. There's just something about Rens Benerink's design that gives me the heebie jeebies every time I look at it.
"Jan Akkerman" track listing: 1.) Crackers (instrumental) (Jan Akkerman) - 3:50 rating: **** stars Normally a funk-jazz mash-up like the instrumental 'Crackers' wouldn't capture my ear, but this was one of those rare exceptions. Yeah, it may have been a little to George Benson-ish for my tastes, but Akkerman found a great groove on this track. Light and breezy; hideously catchy. Shame nothing else on the album came close. I can remember hearing it on Dutch radio and eventually buying a copy of the parent LP. The track was even released as a promotional single in the US.
US pressing - 1977's 'Crackers' (mono) b/w 'Crackers' (stereo) (Atlantic catalog number 3478) Dutch pressing - 1977's 'Crackers' b/w 'Wings of Strings' (Atlantic catalog number ATLN 11014) 2.) Angel Watch (instrumental) (Jan Akkerman) - 10:05 rating: *** stars I guess the extended ballad 'Angel Watch' was majestic. Musically this was a heavily orchestrated ballad with Akkerman trotting out his patented guitar stylings against the orchestration. About three minutes in the tune morphed into more of a jazz exercise with bassist Rens Benerink and keyboard player Joachm Kuhn getting some spotlight time. The track had its moments, but it was long !!! 3.) Pavane (instrumental) (Jan Akkerman) - 5:30 rating: *** stars 'Pavea' is another track Akkerman's fans rave about, but I find it almost new-age-ish. Yes, the melody was mildly captivating and his playing remained impressive, but it wasn't anything to shake you by the seat of your pants.
(side
2) I really wanted to like this slice of jazz-funk, but it just didn't strike a chord with me. Not sure when it was recorded, but YouTube has a performance of the tune taken from German television - WDR's Jazzline: Jan Akkerman - Streetwalker - YouTube Maybe due to the fact he's supported by a tight and symptahetic band, the live version beats the studio original. If the live version had been on the album I would have given it two additional stars. 2.) Skydancer (instrumental) (Jan Akkerman) - 5:05 rating: *** stars 'Skydancer' was jazzy, but Akkerman's playing was crisp and interesting, introducing an unexpected funky edge about halfway into the tune. 3.) Floatin' (instrumental) (Jan Akkerman) - 5:10 rating: ** stars '70s adult contemporary jazz is just one of those musical niches that I don't get. Technically I'm certain it's impressive, but to my ear 'Floatin'' was just bland. 4.) Gate To Europe (instrumental) (Jan Akkerman) - 3:00 rating: *** stars Showcasing Akkerman's lovely acoustic guitar work, 'Gate To Europe' ended the album with one of the prettiest melodies he has ever written. The track has always reminded me a touch of something off Mark Knopfler's "Local Hero" soundtrack. The song would have been even better without Roger Webb's needless orchestration.
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Genre: progressive Rating: *** (3 stars) Title: Jan Akkerman Live Company: Atlantic Catalog: SD-19193 Year: 1978 Country/State: Holland Grade (cover/record): VG+/VG+ Comments: cut out; minor ring wear Available: 1 Catalog ID: 5454 Price: $10.00
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Recorded before
an appreciative crowd at the 1978 Montreaux Jazz Festival, "Jan
Akkerman Live" found the guitarist fronting a six
piece band. Working his way through six instrumentals, material such as
"Skydancer" and "Pavane" found Akkerman displaying his
usual sense of taste and refinement. Benefitting from a fuller rock sound,
the performances were tight and professional; Akkerman's leads on "Skydancing"
and "Tommy" underscoring his instantly recognizable sound. Less
impressive, exemplified by Bruno Casterlucci and Neppie Noya needless
percussion solos on "Crackers", several of the extended
instrumentals meandered into needless group jams. Elsewhere,
"Tommy" and the previously mentioned "Crackers"
bordered on pedestrian jazz-rock. Still, the overall result provided a
pleasant overview of Akkerman's catalog. (side 1)
(side
2)
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Genre: progressive Rating: ** (2 stars) Title: Oil In the Family Company: CNR Catalog: 0060 40 Year: 1981 Country/State: Holland Grade (cover/record): NM/NM Comments: still in shrink wrap; Dutch pressing Available: 1 Catalog ID: 5453 Price: $20.00
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Urban legend has it that 1981's "Oil In the Family" was inspired by a bet between guitarist Jan Akkerman and his record label. The bet centered on whether Akkerman could record a full album in 24 hours. It wasn't actually a bet rather former DJ/promoter Willem van Kooten heard one of Akkerman dance demos and asked him to provide a full album for release by the Dutch CNR label. Van Kootenin asked Akkerman to finish the album in two days. For better or worse Akkerman pulled it off. Produced by Gerrit-Jan Leenders, the collection reflected Akkerman's then-interest in disco and bass and drums idioms. Akkerman's made a career out of exploring different musical styles - check out 1974's Renaissance influenced "Tabernakel" so perhaps that wasn't a major surprise to his fans. All I can say is judging by material like the title track, 'Formula N-One' and 'Disc-O-Asis' his sudden fascination with disco wasn't a good thing. Even taking into account the tight deadlines Akkerman was working under, these six tracks were at best bland and forgettable. I know there are lots of Eurodisco fans out there, but to me this stuff wasn't any better than the dreck Cerrone, Jean Michel Jarre, or Giorgio Moroder were churning out for their disco-crazed fan base. The lone non-disco track 'Blue in the Shadow' was even worse, offering up a slice of adult contemporary lte-jazz. I'm not sure where the quote came from, but I think Akkerman got it correct: "The album was fun to make but repelled my audience, who hated it. It's a pity, as there's some interesting guitar stuff going on."
"Oil In the Family" track listing:
1.) Oil in the Family (instrumental) (A Rabb - Jan Akkerman) - 6:22 rating: ** stars Hum, the instrumental title track sounded like Akkerman had decided to record the album in a Moroccan disco ... Complete with syndrums, synthesizer washes and lots of Arabic percussion effects, this was going to be a challenge for some Akkerman fans to swallow. CNR released it as a 7" and 12" single in various European markets:
7" format - 1981's 'Oil In the Family (Crude)' b/w 'Oil In the Family (Fuel)' (CNR catalog number 141.795) 12" format - 1981's 'Oil In the Family (Crude)' b/w 'Oil In the Family (Fuel)' (CNR catalog number 154..054) 2.) Formula N-One (instrumental) (A Rabb - Jan Akkerman) - 9:40 rating: ** stars Well
the distinctive '80s feel was still here and 'Formula N-One'
retained a dance flavor, though it wasn't nearly as dominant on the title
track. Instead, with the treated guitar effects this one sounded like
piece of soundtrack work for something like "Miami Vice".
Completely forgettable and it seemed to stretch on and on and on ... (side
2) So could the song be as bad as the title would imply? Without a doubt. Musically this managed to blend the worst aspects of European disco, including mindless percussion, top-40 European pop and Arabian influences. Easy to imagine drunk patrons mindlessly bopping along to this one in a Marrakesh, or Amsterdam disco. This was another one that seemed endless. It loses an extra for that endlessness feeling 2.) No Doubt About It (instrumental) (A Rabb - Jan Akkerman) - 5:45 rating: ** stars Well, if you like cheesy disco synthesizers, burping bass and an adult contemporary jazzy sax solo (courtesy of James Campagnola), do I have a track for you. Just awful which must be why it was released as a single:
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1981's 'No Doubt About It' b/w 'Blue In the Shadow' (CNR catalog 141.823)
3.) Family Reprise (instrumental) (A Rabb - Jan Akkerman) - 1:03 rating: * star Well
it sounded like a continuation of every previous selection, but at least 'Family Reprise'
was mercifully brief. The good news is 'Blue in the Shadow' abandoned mindless disco. The bad news is it found Akkerman staking a claim to adult contemporary jazz. Thiis was the kind of stuff they played when you were on hold waiting for the airline to explain why your flight had been cancelled without any warning.
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2.) Lammy
(instrumental) 
