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14 Jan 2017

Kahvas Jute “Wide Open” 1971 Australia Heavy Prog Psych

Kahvas Jute “Wide Open” 1971 ultra rare  Australia Heavy Prog Psych
full spotify
https://open.spotify.com/album/1fVKF7SLS34PnzBmuiWWrn

full spotify (Remastered with bonus tracks) 

https://open.spotify.com/album/3bUE8WT7SirqYynFYghuj9

watch  milesago

http://www.milesago.com/artists/kahvas.htm


A progressive hard rock combo based in Sydney and active initially between 1970-74. Their album “Wide Open” is renowned for the stunning guitar playing and the strength of the songwriting. The band went on to become one of the finest acts of the era, but they never recorded again until mid 2005 when they decided to reform and try out a few new songs , much in the vein of their original album. 
Musically, the album fits somewhere between the likes of Cream and Blodwyn Pig, with nods in the direction of Led Zeppelin, the Jeff Beck Group etc. It's a very English sound, but far from being a slavish copy of the overseas role-model the album bears a uniquely Australian flavour. The tightly structured songs and the superb guitar work of Dennis Wilson and Tim Gaze combine to place the record head-high in the progressive stakes. Furthermore the whole shebang is held together by the restlessly exploratory bass style of the great Bob Daisley and the muscular, yet agile drum patterns of Dannie Davidson. 
There was no hype to the band, just an unpretentious bunch of musicians capable of producing inventive and enduring music. Not only did the band earn a reputation as one of the best live bands of the period, they also released one of the great Aussie progressive albums in Wide open. As the title suggests, Wide Open is a free-flowing, expansive blending of rock, jazz and blues, with a touch of folk thrown in for good measure, a hard-as-nails progressive blues rock extravaganza strong on rhythm and melody, and bristling with exceptional guitar interplay. 
After their demise in 1974 Wilson joined Chariot, Davidson went on to session work and Daisley moved to England and became bassist with outfits like Ritchie Blackmore's Rainbow ,Gary Moore Band, Widowmaker and Ozzy Osbourne 's Blizzard Of Ozz.There is much discussion that Bob Daisley is the highest record selling Australian artist of all time... 
I was there in 1970 at Festival Studios in Paternoster Row when Kahvas Jute’s seminal album Wide Open was recorded, and I was there again thirty five years later at The Basement gig where the band revisited and reworked some of the material from that first album, as well as showcasing new songs that somehow fitted seamlessly with what had gone before. At the same time, these new songs offer a logical and natural evolutionary movement into a second album, as if the intervening years were merely a glitch in the creative timestream. 
Kahvas Jute came together from the remnants of Mecca (Bob Daisley and Dennis Wilson) and Tamam Shud (Tim Gaze and Dannie Davidson), and in 1970 they were the first of their kind in Australia, maybe the world. In 2005, they are possibly the last of their kind and, though a series of heavy, guitar-based rock genres has existed in the years between, I would describe Kahvas Jute as one of a kind. Though they started in 1970 with intentions of emulating the music coming out of the UK at the time – The Hendrix Experience and Cream in particular – what they ended up becoming was something as unique as, yet apart from, those major influences. 
The Kahvas Jute rhythm section began its journey as Bob Daisley and Dannie Davidson in 1970, experimenting with and extrapolating on Hendrix and Cream power pop constructions. In 2005 it is Bob Daisley and Mark Marriot, invested with a whole new set of influences and experience. This rhythm section exists in a parallel engine room universe of their own making, inhabited only by themselves. 
When Kahvas Jute stepped out of the Tardis in 2005 and started playing “Free” from the Wide Open album, my skin tingled. The freshness, the enthusiasm, the clarity of intention, the shear joy of executing a creative vision, poured from the Basement’s little stage. In 1970, the songs on Wide Open represented a departure for Dennis Wilson from the power pop of Mecca, apparent in songs like “Black Sally” and “Side Street Man” from Mecca’s final single. 
In the years since, Dennis has performed with numerous bands of his own (Dennis Wilson Band, Deltoids, Catch 22) and other people (Le Bop, Doc Span Band, Under Rapz with Steve Gilpin) as well as writing and recording material with Chariot and Swanee, and releasing two solo albums and singles. He features on recordings by Loaded Dice, Screaming Tribesmen, Electric Pandas, Ol’ 55, Jackie Orszaczky and Olivia Newton-John. His songs have seen live performances by the likes of ex-Steely Dan members Elliot Randall and Jeff “Skunk” Baxter. His music appears in the Cannes award-winning movie “Going Down,” as well as the ABC TV series “Four Corners”, and episodes of Steve Irwin’s “Crocodile Hunter” and “Croc Files”. 
Tim Gaze’s adventures since 1970 are no less spectacular. He has enjoyed a long career as one of Australia’s pre-eminent and most sought after session guitar players/vocalists. His music features on the surf film soundtracks “Morning Of The Earth,” (1972), “Band on the Run” (1982), “Sultans 2 – The Power Strikes Back,” and the subsequent “Sultans” 3, 4 and 5. He has written for, recorded and performed with Miss Universe, Ross Wilson, Ross Hannaford, Ariel, Stevie Wright, Tim Gaze Band, Rose Tattoo, Skin Game, Brothers of the Bell, Big Secret, Gyan, the Peter Wells Band, a re-formed Tamam Shud, The Bushwackers, The Blues Doctors, The Hoochie Coochie Men and Jimmy Barnes. 
For Bob Daisley, his song “Ascend” represented the beginning of a songwriting journey that has taken him around the world, and his songs onto the albums of artists such as the patriarch from the reality TV sitcom The Osbournes, Widowmaker, Uriah Heep, Black Sabbath, Mother's Army, Warren DeMartini, Stream, Gary Moore, and of course his twenty first-century Australian projects, The Hoochie Coochie Men, Living Loud (not to mention guesting on kazoo and melody bass on a track on The Zarsoff Brothers 2005 album “Mixed Business”) and - full circle - the fresh-from-the-Tardis version of Kahvas Jute. 
After forming in 1971, Kahvas Jute earned an immediate reputation on the live scene and issued their only album, Wide Open, in January the following year. The album remains a classic progressive rock album, exemplifying their expansive tunes and outstanding guitar work. "Free"/"Ascend" was issued as a single in July 1971. Guitarist Tim Gaze left the band and they continued as a three-piece, traveling to the U.K. in June 1971, where they made little impact and broke up. Bassist Bob Daisley played with several heavy metal bands and appeared as a session player for guitarists such as Yngwie Malmsteen and Stevie Vai. Dennis Wilson eventually revived Khavas Jute in May 1973 with drummer Dannie Davidson and bassist Scott Maxey. They supported Bo Diddley on his Australian tour in October 1973. In March 1974, Maxey was replaced by Peter Roberts, but by May, the band changed its name to Chariot....by Brendan Swift....~


Kahvas Jute is a progressive rock milestone and a consummate example of underground psychedelic hard rock at its most inventive and powerful. As the title suggests, a free-flowing and expansive musical blending of rock, blues and jazz, and to leaven out the sound there’s a touch of acid folk thrown in for good measure. 
It’s a very English-influenced sound but far from being a slavish copy of the overseas role model, the album bears a uniquely Australia flavour. It continues to be held as one of Australia ’s prime rock collectables, with original pressings of the album selling for as much as US$600.00 on eBay in recent years. 
The tightly structured songs and the superb guitar work of Dennis Wilson and Tim Gaze (Tamam Shud) combine to stamp the record as a tour de force, where style, content, technique and sonic bearing meet in perfect equilibrium. 
Furthermore, the whole shebang is held together by the restlessly exploratory bass lines of the great Bob Daisley (who later went on to a stellar international career with Rainbow, Ozzy Osbourne, Gary Moore, Uriah Heep, Chicken Shack – the list is endless!) and the muscular, yet agile drum patterns of Dannie Davidson (Tamam Shud, Band Of Light). 
Is it any wonder then that all these elements add up to make Wide Open one of the most sought-after artefacts of the entire Aussie progressive rock era? 

Reformation: 
On the 17th July 2005 , Kahvas Jute, featuring new drummer Mark Marriott (an experienced session player), played a gig at famed Sydney venue The Basement which was filmed for future DVD release. 
The set list that night featured six tracks from Wide Open, seven new songs, a cover of Cream’s ‘Politician’ plus an impromptu jam on the old Yardbirds number ‘The Nazz are Blue’ featuring guest vocalist Jimmy Barnes (5 of the audio tracks feature as bonus tracks on the CD reissue). 
If anything, the gig showed the band to be better musicians than ever, with the added elements of experience and maturity shining through, while also managing to capture the Kahvas Jute sound to perfection. 
Aztec Music’s reissue of Wide Open has been digitally remastered by Dennis Wilson. Packaged in our usual 6 panel digi-pak, with rare photos, and liner notes by Ian McFarlane.....~


Call it patriotism, or maybe just nostalgia. What better time or place could there have been than Australia in the early seventies? Wide Open is a summer record, and as the blossom-filled global warming Spring comes on I’ll be putting my Infinity speakers out the back door and blasting this baby whilst pottering around with my hippie gardening project of turning my yard back into native Australian bush. 
Yes they sound very much like Cream especially on the heavier tracks, “Odyssey”, “She’s So Hard to Shake” and the extended closer - not just the band but Dennis Wilson’s vocals as well. On the other six however they sound rather like Khavas Jute. It’s a mellow vibe but still rock, with satisfyingly rough and raw guitar tones. Every song has hooks – vocal lines, guitar patterns - and after the verses and choruses they crank up those twin guitars again for more rockin’ out. 
I confess again that Australian rock was a pretty primitive thing in the early seventies and some of the lead here does blast that basic blues sound, but the goodtime hippie vibe is present. “Love for everyone.” So amongst these slim pickings I fancy Wide Open may be in the top half dozen Aussie LPs of the era. The name Khavas Jute loosely translates as “department for the enforcement of consumption of marijuana”; or "coppers' stash". Or something like that. Plus my speakers have the same name as the record label. Neat!...by....SandyMc ...~


Kahvas Jute were an unfortunately short-lived late 60s/early 70s "hard" rock/psychedelic rock outfit from Australia. Well short-lived as far as the studio was concerned releasing only one album although it looks like they limped on until the late 70s as a live band including numerous personnel changes and a change of name to Chariot. 
The band's main claim to fame is the twin lead guitar attack of Dennis Wilson and Tim Gaze. This aspect of their sound reminds me most of Wishbone Ash. Unfortunately it reminds me most of Wishbone Ash's first two albums Wishbone Ash and Pilgrimage rather than the far superior Argus. Like Wishbone Ash's first two albums the band seems to think that "soulful" twin lead guitar playing is all that is required to make good music. They fail to inject enough good songwriting or creativity and, most importantly, heaviness for a supposedly hard rock band. Speaking of which, I wouldn't trust these genre labels too much, this is barely hard rock, with quite a soft, slow or midtempo and attempted soulful sound in parts. (Medium rock? Does that exist?) Apart from the virtuosic guitars and a few progressive leanings, it's also definitely not prog. Heavy psych is probably fair enough but just be aware it isn't that heavy. Perhaps just slightly progressive psychedelic rock? 
Having said all the above I don't want to skewer the band too much. They are actually a good band and I do actually enjoy listening to this one album wondering what might have been if they had been able to release a few more. But these weaknesses mean that I can't enjoy the album as much as I could. The biggest problem for me though is that this is one of those albums where the opening track is just so much better than anything else. It is unbelievable really just how good 'Free' is compared to the remainder of the album. This track is one of the slower and softer tracks but is one of the few where the twin guitar attack is so effortlessly soulful and moving. After this almost every track just bludgeons you with its indiscernible twin guitar wankery or total lack of creativity. Track after track is mostly generic blues/psychedelic rock with barely an interesting moment amongst them. All of it is bland but none of it is bad mind, well nothing until we get to the closing 'Parade of Fools'. Presumably this is supposed to no holds barred jam or "wig out" as modern music journalists would call it but it's just so pedestrian and lengthy for the sake of it. No thanks. 
All in all, a promising album, but nowhere near as good as it could have been....by...Bitterman ...~


Wonderul prog-ish Aussie hard rock 
I've owned this album since it first came out on vinyl and it has remained on my playlist constantly ever since. Opening track "Free" is a little deceptive, being a ballad of sorts. However listen to tracks like "She's so hard to shake" and "Parade of Fools" and I am sure you will be convinced that this wonderful gem of an album should be owned by anyone keen on early 70's hard rock. Twin lead guitarists Dennis & Tim are legends in Australia guitar history. Both are still gigging. In fact I saw Dennis Wilson (yes I know there is another more well known Dennis Wilson) play at a small basement nightclub in Cronulla (in Sydney) just last month and he blew everyone away with his Hendrixy style. This album is also noted for bringing Bob Daisley to the recording world. He of course has since played with UK hard rock royalty (Ozzy Osborne, Uriah Heep, Gary Moore) and even with Yngwie etc etc etc. His playing on this album is mind-blowing with a slightly fuzzed up Cream-like sound but with more bottom end..really cool. Both guitarists get a fantastic sustained sound, very modern. Far better than many other hard rock guitar sounds from 1971. As Aussie predenter legend Molly would say "Do yourself a favour......"..by....szusza ...~

After forming in 1971, Kahvas Jute earned an immediate reputation on the live scene and issued their only album, Wide Open, in January the following year. The album remains a classic progressive rock album, exemplifying their expansive tunes and outstanding guitar work. "Free"/"Ascend" was issued as a single in July 1971. Guitarist Tim Gaze left the band and they continued as a three-piece, traveling to the U.K. in June 1971, where they made little impact and broke up. Bassist Bob Daisley played with several heavy metal bands and appeared as a session player for guitarists such as Yngwie Malmsteen and Stevie Vai. Dennis Wilson eventually revived Khavas Jute in May 1973 with drummer Dannie Davidson and bassist Scott Maxey. They supported Bo Diddley on his Australian tour in October 1973. In March 1974, Maxey was replaced by Peter Roberts, but by May, the band changed its name to Chariot. ~ Brendan Swift...~ 














Personnel: 

Dennis Wilson - Guitar, Vocals, Acoustic, Bottleneck, Wah Wah Guitars 
Bob Daisley - Bass, Vocal Harmonies 
Dannie Davidson - Drums (tracks 1-9) 
Tim Gaze - Guitar, Vocals, Piano, Steel Guitar 
Mark Marriott - Drums (tracks 10-14) 


WIDE OPEN 
(Remastered with bonus tracks) 
Track Listing: 
1. Free 
2. Odyssey 
3. Up There 
4. She’s So Hard to Shake 
5. Vikings 
6. Steps of Time 
7. Twenty Three 
8. Ascend 
9. Parade of Fools 

Bonus Tracks – Live at the Basement 2005 
10. Politician 
11. She’s So Hard To Shake 
12. Ascend 
13. Ascension 
14. Parade Of Fools 


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