For those unaware, the arrival of guitarist Alan Holdsworth into the ranks of Soft Machine in December 1973 marked a significant change in tone and style for the venerable jazz-rock institution.

Having started out as an experimental pop group in the mid-1960s, Soft Machine had undergone several changes not only in its personnel but in its music.

By the early 1970s albums such as Third, Fourth, boasting long-form compositions in complex and adventurous arrangements, secured their reputation as the UK’s leading jazz-rock performers.

With albums such as Fifth, Six, and Seven navigating a beguiling path through austere free-jazz meditations, minimalist overtures, and immersive proto-ambient sound worlds, the arrival of guitarist Allan Holdsworth in the ranks of this musical institution in December 1973 brought a new and excitingly bold dynamic into the group’s interlocking riffs and elegant themes.

Galvanizing the group’s fanbase at home and in both Europe and America, Holdsworth’s lightning-fast runs and edgy riffing made Soft Machine gigs a must-see, hot-ticket event, as he brought a rockier perspective to Karl Jenkins’ compositions.

By the time of this Bremen Radio broadcast in January 1975, Mike Ratledge (keyboards), Karl Jenkins Sax, Oboe, Keyboards) Roy Babbington (bass), John Marshall (drums), and Holdsworth had been working together for a year. Constantly honing their collective abilities in concert, the quintet had already recorded their first (and only) studio album together, Bundles, in July 1974.

Although not released until March 1975 the setlist at Bremen is largely drawn from Bundles in a sparkling performance that many fans felt outshone the studio versions of this material.

Of interest to fans of this later period in the band’s history, there are early versions of Song Of Aeolus and the bare structural bones of Ban-Ban Caliban later refined and developed on their next studio album, Softs, trading here as Riff III.

Beautifully remastered by guitarist and MoonJune Records artist, Mark Wingfield, this is without doubt one of the very best archival Soft Machine releases. Capturing a cracking set by a lineup at the very top of their game, Floating World Live is an indispensable counterweight to the group’s sole studio album, Bundles.

1. Floating World [4:51]
2. Bundles [4:53]
3. Land Of The Bag Snake [5:06]
4. Eaeling Comedy [6:08]
5. The Man Who Waved At Trains [4:56]
6. Peff [6:29]
7. North Point [4:05]
8. Hazard Profile, Part 1 [4:46]
9. J.S.M. [10:13]
10. Riff III [8:40]
11. Song Of Aeolous [4:17]
12. Endgame [6:39]
13. Penny Hitch (Coda) [2:40]

Recorded by Dietram Köste at Post-Aula, Bremen, Germany, January 29th, 1975, this quite stunning live show flashback recording opens on the veritably translucent title track Floating World and the propulsive, drum and guitar-fed Bundles, and then we get the rhythmically expansive Land Of The Bag Snake, the preciseness of musical bass art that subtly drives Eaeling Comedy, the fluctuating warmth of The Man Who Waved At Trains, before we are brought forth the free flowing, Tull-esque percussion of Peff.

Along next is the digitally-charged North Point and the prog rock magnificence of Hazard Profile, Part 1, and they are in turn backed seamlessly by the John Marshall drum solo work of J.S.M., the funky drum and guitar piece Riff III, the absolutely beautiful Song Of Aeolous, the set rounding out on the strident prog rocker Endgame, closing on the all-encompassing, laid low soulful jazz balladry of Penny Hitch (Coda).

While it’s true to say Holdsworth’s remarkable flights across the fretboard dominate a scorching set as the principal instrument, there’s plenty of space for others in the group to step into the spotlight. Roy Babbington’s bass solo, here titled Ealing Comedy is a masterclass in exploring texture and melody. Mike Ratledge’s use of the EMS suitcase synthesizer on North Point conjures exotic sound worlds utilizing percussive-style sequencers with harsh, ear-bending sonorities and modulations.

And no Soft Machine set would be complete without a drum solo and in JSM, John Marshall, always one of the most musical and thoughtful of performers, demonstrates why he was so highly regarded by both fans and critics alike.

Official Purchase Link

www.softmachine.org