TABERNAKEL
Jan Akkerman
•Jazz Rock/Fusion
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3.79
| 78 ratings | 12 reviews | 19% 5 stars
Excellent addition to any |
Studio Album, released in 1973 Songs / Tracks Listing 1. Britannia By John Dowland (3:59) - Jan Akkerman / electric (1,4,10) & acoustic (8,10) guitars, lute (1-3,5-7,9,10), bass (1), organ (10), percussion (4,10)
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JAN AKKERMAN Tabernakel ratings distribution
(78 ratings)
Essential: a masterpiece of progressive rock music(19%)Excellent addition to any prog rock music collection(45%)Good, but non-essential (24%)Collectors/fans only (10%)Poor. Only for completionists (1%)
JAN AKKERMAN Tabernakel reviews
Showing all collaborators reviews and last reviews preview | Show all reviews/ratings
Collaborators/Experts Reviews
SPECIAL COLLABORATOR Honorary Collaborator
Half of this album is a real renaissance treat. There were moments like this on "Profile" but on "Tabernakel" Jan really indulges us with time travel. A good chunk of Tabernakel consists of period music with Jan playing lute and acoustic guitars. This stuff is phenomenally beautiful, well done, and an absolute must for people who love acoustic music of any kind. The only low point in this first part of the album is the unfortunate "House of the King" which seems oddly out of place compared to the material around it.
And then there is the 14 minute "Lammy" following the layout on Profile where you get one long track amongst the many shorter ones. Does it work? I used to think so though in my recent pre-review spins I'm not so sure. There are some nice moments but there's also quite a bit of pointless noodling in this track. Things begin with a dramatic chorus of voices and spacey meditative section before the drums kick in around the 3 minute mark. Jan has some guests on this track including George Flynn, Tim Bogert, and Carmine Appice who just smokes in places. At 4 plus minutes the bass finally joins the fray followed by Jan's lead guitar. Now things begin to cook for a bit until the chorus ushers in a gorgeous mellow section around 8 minutes complete with strings. From this point forward is the strongest part of the song. Things build quite nicely with electric leads coming back over the strings. At 12 minutes the strum of a classical guitar shifts things again as Daniel Waitzman's flutes come in. Around 13 minutes the heavenly sounding choir vocals return to close the piece with Amen. A better second half than first half.
Jan and Focus fans likely have this album already but I would also recommend it to fans of old period music and acoustic music fans. For the rest of the prog base it's a toss-up. Good, but closer to 3 stars than 4.
SPECIAL COLLABORATOR Prog-Folk Team
Now, Akkerman does venture into areas never explored by the much folkier Blondel, particularly in the lengthy "Lammy" and "House of the King", both of which have a certain appeal but also break with the mood of the recording. The album succeeds best on other tracks that evoke textures and include more participation from the ensemble, the best of these being "Brittania", with participants feeding off and inspiring one another. "Earl of Derby" ups the ante on personal virtuosity and succeeds as such. Unfortunately, the majority of the selections sound more solo-ish and desperately in need of a greater context. Recommended mostly for Focus completists and fans of musical prodigies.
SPECIAL COLLABORATOR Honorary Collaborator
(I dedicate this review to my friend Dante Nieri, a real Focus fan).
PROG REVIEWER
SPECIAL COLLABORATOR Honorary Collaborator
The electric guitar is used very sparsely while giving more space to its acoustic counterpart, lute and organ. Even though two drummers are credited for their contribution, Tabernakel is mainly an acoustic affair with a few minor and one major exception to that rule. The album starts off with Britannia By John Dowland that was previously performed by Akkerman during his solo spot on the 1973 Focus At The Rainbow. This new take on the classic composition is much richer in its texture with orchestral sound backing up Jan Akkerman's performance. After two short acoustic pieces we get an out-of-the-blue drum intro that kicks off House Of The King with a bang. This is of course a re-recording of the the classic Focus track from their debut but with even more beauty added to it by the orchestral arrangement.
The remainder of side one carries on in the same stripped down acoustic tradition with only the slightly more mysterious sounding Javeh preparing us for what is about to happen on side two. A Fantasy By Laurencini Of Rome starts things off just where side one had left them with all the galliards preceding it. Once the first choir sounds of Lammy are heard it becomes obvious that something completely different is about to go down over the course of this 14 minute composition. We get an insight in many different sides of Jan Akkerman with even a section that can actually be described as fusion!
Even if I do enjoy all the individual moments that Tabernakel has to offer, I find it difficult to see it as one album since the different styles and compositions don't always necessarily work together that well. Still, there are enough interesting highlights that make me want to revisit this album from time to time and, thought that, giving me a better understanding for this release as a whole.
***** star songs: Britannia By John Dowland (3:59)
**** star songs: Coranto For Mrs Murcott By Francis Pilkington (1:30) The Earl of Derby, His Galliard By John Dowland (2:00) House Of The King (2:25) A Galliard By Anthonie Holborne (2:13) A Galliard By John Dowland (1:35) A Pavan By Thomas Morley (3:08) Javeh (3:25) A Fantasy By Laurencini Of Rome (3:22) Lammy (14:05)
SPECIAL COLLABORATOR Honorary Collaborator
"Brittania" is quite the musical accomplishment, supremely elegant and dignified, especially when supported by the delicate orchestration that seeks only to edify the theme. Ray Lucas taps his drum kit sprightly, not wishing to bash the grandeur into any kind of submissive pose. In fact, the main melody is quite bold and chivalrous, keeping pace with a certain mood that is so typically British. The very brief "Coranto for Mrs. Murcott" is a sensual lute display, Jan flicking his lute with gusto, mannerism and a fair amount of flair. The pastoral "The Earl of Derby" sustains the baroque mood, echoing brilliantly with a flurry of technical phrasings that showcase Akkerman's mastery over his stringed instruments.
There will also be a mellower reworking of "House of the King" (originally performed on Focus III) as well as another Akkerman-penned tune "Javeh". The first is not as interesting as the original and has wound up on many other Focus and Akkerman albums, so it's a skip for me as it has no business being here. A duo of "Galliards" follow, one by Holborne and the other by Dowland, both deliciously evoking a court scene or a lavish banquet for the knights, with jongleurs, raconteurs, troubadours and minstrels all vying for the attention of the attending nobility. A more bucolic and serene "A Pavan" is next and it only adds more beauty to the set list. Delightfully vivid and exalting medieval selections that take you back to the very early days of prog , well before the Crimson Kings , the Gentle Giants, the Gryphons and the Tulls.
"Javeh" is a very high point of instinctive musical genius, expertly played on guitar, lute, harpsichord, a slew of strings including a most seductive violin, as well as various orchestral adornments to heighten the glory. Jan's fingers are lightning fast and lethally precise without being show offish. "The Fantasy" is reverential, universal and respectful, seeing Akkerman shining on his trembling strings as he plucks them with manifest desire and technical savvy.
Lastly an epic 14 minute prog rock affair called "Lammy" that features ex-Vannilla Fudge Tim Bogert and Carmine Appice (just having finished their gig with Jeff Beck) and it smokes as expected. Blasting into the stars with organ and choir, you almost expect Moses to show up with another set of commandments. A more ambient passage of iridescent streaks of sound, effects including various percussives and bells, only prop up the arrival of sitar-like shimmering that gets that heavy-jazz rhythmic treatment, bouncing bass and shuffling drums, who indulges in quite a drum solo, before the sweltering Bogert sets the next course of action, gently letting Akkerman's stinging licks enter the fray. Jan lets loose in a frantic display of rapid-fire genius, dribbling wildly like Johann Cruyff, caressing, mauling and at times abusing his fret board, proving once again his status among the guitar gods. A return to the opening angst only gives further fuel to the fire, yet the opposite happens, a deliriously beautiful passage of grandiose lavishness takes court, insanely well ministered by the sweeping orchestral colorations. Not all classical and rock collaborations worked back in the 70s but on this piece, they both clicked, apart and together. Akkerman was the outright master of making his guitar meow like a cat, a feat often replicated throughout his discography. A great piece of music that is put to bed with some more choral work, purely heavenly!
4 Dutch chests
Latest members reviews
The best solo album by Jan Akkerman as far as I am concerned. He matured in terms of playing and compositions sound not only more accessible but also impressive. The first couple of track are decent renditions of classical acoustic music. Brjtannia starts in a festive and joyous tone, followed ... (read more)
Report this review (#2118928) | Posted by sgtpepper | Thursday, January 17, 2019 | Review Permanlink
Akkerman's best solo effort. A rock guitar god playing a lute and making renaissancy musical pieces! A fantastic gem. Just the more electric version of House of the King gives a strange and unnecesary contrast and I think it's an excuse for Ray Lucas' skills as a drummer... but it doesn't ... (read more)
Report this review (#109276) | Posted by sircosick | Sunday, January 28, 2007 | Review Permanlink
Jan certainly pulls out all stops here to express his classical leanings. Next to Steve Howe, I can say that Jan is certainly one of the most diversified prog guitarists. Working with a great back-up including Vanilla Fudge alumnus Tim Bogart and Carmine Appice along with a full orchestra, Jan ... (read more)
Report this review (#85200) | Posted by marktheshark | Sunday, July 30, 2006 | Review Permanlink
Although gaining recognition for his electric prowess and avant-garde leads, one never really gets a grasp of the depth of his acoustic mastery until Tabernakel. A true musical craftsman on the lute as well as classical guitar, there is no doubt that Jan is one of the most well rounded guitar ... (read more)
Report this review (#80397) | Posted by | Monday, June 5, 2006 | Review Permanlink
Arguably Jan Akkerman`s best solo project and the one with the most appeal for fans of seventies progressive rock with Akkerman in full classical modus operandi. Collaborating with American composer George Flynn and a full orchestra the album was released at a time when his band Focus was at the ... (read more)
Report this review (#79794) | Posted by Vibrationbaby | Tuesday, May 30, 2006 | Review Permanlink
So I get to write a 'first' review! A joy here, because this is a favourite album of mine. I bought it when it first came out, being a huge Focus fan and having bought and enjoyed Profile. It's really a strange mixture, with Side One being almost exclusively late Renaissance lute music. Britta ... (read more)
Report this review (#70132) | Posted by Moribund | Tuesday, February 21, 2006 | Review Permanlink
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