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| 1. | Britannia by John Dowland
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| 2. | Coranto for Mrs. Murcott by Francis Pilkington
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| 3. | The Earl of Derby, His Galliard by John Dowland
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| 4. | House of the King
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| 5. | A Galliard by Anthonie Holborne
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| 6. | A Galliard by John Dowland
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| 7. | A Pavan by Thomas Morley
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| 8. | Javeh
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| 9. | A Fantasy by Laurencini of Rome
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| 10. | Lammy: I Am/Asleep, Half Asleep, Awake/She Is/Lammy, We Are/Last ...
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Jazz / Rock, Jazz Instrument, Guitar Jazz, Art Rock
Alan Rubin Trumpet
Albert Block Flute
Alfred Brown Viola
Arnold Eidus Violin
Carmel Malignaggi Violin
Carmine Appice Drums
Charles Russo Clarinet
Daniel Waitzman Flute
David Gahr Photography
David Sackson Viola
Dominick Gravine Trombone
Earl Chapin French Horn
Elliot Rosoff Violin
Emanuel Vardi Viola
Eugene Levine Bass
Frederick Buldrini Violin
Gene Orloff Violin
Gene Paul Engineer
Geoffrey Halsam Producer
Geoffrey Haslam Remixing, Producer
George Flynn Adaptation, Glockenspiel, Keyboards, Piano, Remixing, Conductor, Flute Arrangement, Harpsichord, String Arrangements, Arranger
George Koutzen Cello
George Ricci Cello
Guy Lumia Violin
Harold Bennett Flute
Harry Cykman Violin
James Buffington French Horn
Jan Akkerman Remixing, Percussion, Organ, Guitar (Bass), Guitar (Acoustic), Lute, Guitar, Adaptation, Arranger, Synthesizer, Guitar (Electric), Bass
Jesse Levy Cello
Joel Kerr Engineer
Joseph B. Wilder Trumpet
Joseph Malignaggi Violin
Kathryn Kienke Violin
Kermit Moore Cello
Lewis Eley Violin
Lucien Schmit Cello
Norman Carr Violin
Norman Seeff Photography, Design
Phil Bodner Oboe
Raoul Poliakin Violin
Ray Alonge French Horn
Ray Lucas Drums
Richard Maximoff Viola
Robert Alexander Trombone
Russ Savakus Double Bass
Selwart Clarke Viola
Seymour Berman Viola
Stephen Johns Tuba
Tim Bogert Bass, Guitar (Bass)
Tony Miranda French Horn
Walter Kane Bassoon
This album -- which, despite being third in most discographies, was actually Jan Akkerman's first official solo album -- must have been a real shocker to a lot of Focus. Rather than working from the flashy, electric guitar side of the group's sound, Akkerman chose to expand on the lute sound that he'd explored on Focus III's "Elspeth of Nottingham." Tabernakel represented Akkerman at his most formalistic, playing almost entirely in a classical idiom on lute and acoustic and electric guitars (with one brief side trip to the bass). The repertory is drawn largely from 16th century Tudor England, including compositions by John Dowland and Antony Holborne, rearranged by Akkerman and harpsichord virtuoso and scholar George Flynn. He gives one major concession to progressive rock in the form of the fuzz-laden reinterpretation of "House of the King," which misses the flute part from the Focus original but is still worth hearing as a guitar showcase. Tabernakel is otherwise the real article as far as its classicism -- the 14-minute-long "Lammy" comes close to being pretentious without quite crossing the line, and all of the album is a fascinating solo departure for the guitarist. What makes this album doubly intriguing is that apart from Flynn, Akkerman's accompanists come entirely from the rock world: Tim Bogert, Carmine Appice, and veteran r&b drummer Ray Lucas, none of whom seems to skip a beat in their work here. Recorded at Atlantic Records' studios in New York and released in 1974, when Focus was still near the peak of its fame, Tabernakel sold reasonably well at the time, but had been unavailable from the late '70s until 2002, when Wounded Bird Records reissued it in a good-sounding CD edition. ~ Bruce Eder, All Music Guide
Jan Akkerman
Active Decades: '70s, '80s, '90s and '00s
Born: Dec 24, 1946 in Amsterdam, The Netherlands
Genre: Rock
Styles: Jazz Instrument, Guitar Jazz, Piano Jazz, Art Rock
A musician of nearly legendary prowess, Jan Akkerman for a time eclipsed Eric Clapton, Jimmy Page, and Jeff Beck among reader polls in England as the top guitarist in the world. Akkerman was born in Amsterdam, Holland, and showed his musical inclinations early, taking up the guitar while still in grade school. His taste and interests were extraordinarily wide-ranging, from pop/rock to classical, with room for blues, Latin, and other influences. He joined his first band, Johnny & His Cellar Rockers, in 1958, at age 11, which included his boyhood friend Pierre van der Linden on drums. Later on, the two were members of the Hunters, an instrumental group whose sound was heavily influenced by that of the Shadows. He acquired a special interest in the lute while on a visit to England during the mid-'60s, during which he saw a performance by legendary classical guitarist Julian Bream, whose repertoire of medieval works also fascinated Akkerman. This interest, which broadened to embrace a fixation on medieval England and its countryside, later manifested itself in such works as "Elspeth of Nottingham" from Focus III.
During the late '60s, Akkerman, van der Linden, bassist Bert Ruiter, and singer Kaz Lux formed Brainbox, who were good enough to get a recording contract with Parlophone Records. He was involved with an early incarnation of the group Focus, founded by conservatory-trained flutist Thijs Van Leer, but didn't join until after that group had issued its unsuccessful debut album -- he took Van der Linden with him from Brainbox and, with Van Leer and bassist Cyril Havermans (later succeeded by Ruiter) from the original Focus, formed a new group of that name. With Akkerman's virtuoso guitar work and arrangements coupled to Van Leer's classical influence (and his yodeling on their breakthrough hit, "Hocus Pocus"), the new group found a large international audience beginning in 1972, which transformed Akkerman into a superstar guitarist.
His solo career actually dated from 1968, though his attempt at a solo album, later titled Guitar for Sale -- containing his covers of numbers such as "What'd I Say," "Ode to Billy Joe," and "Green Onions" -- was so primitive by the standards of the time that it was deemed unreleasable until Akkerman started topping reader surveys in the mid-'70s. Profile, released in 1972 after he'd begun making some headway with his reputation, also dated from 1969 and his days with Brainbox. Akkerman's first real solo album reflecting his music and interests at the time appeared in 1974, in the form of Tabernakel, which was recorded during the summer of that year at Atlantic Recording Studios in New York -- having finally acquired a medieval lute of his own, he taught himself to play it and the results comprise more than half of this LP, made up of authentic medieval music and originals composed in a medieval mode. It was certainly the most unusual record ever to feature the playing of Tim Bogart (bass) and Carmine Appice (drums), as well as soul drummer Ray Lucas.
After leaving Focus in 1976, Akkerman began releasing a stream of solo albums, which frequently embraced classical, jazz, and blues, and started leading his own bands. Much of his work during the 1980s wasn't released officially outside of Holland, but his periodic recordings with Van Leer, coupled with efforts to revive Focus with its two major stars, kept his name circulating in international music circles. The only problem that Akkerman faces derives from the sheer eclecticism of his work, which makes him very difficult to categorize -- two different branches of Tower Records in the same city listed him as a jazz and a rock artist, respectively, but one could just as easily make a claim for him as a classical artist.
---Bruce Eder, All Music Guide |
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