Graham Collier’s ‘Songs For My Father’ is a mind-blowing, progressive jazz album of incredible depth. The simplicity of each song title belies its underlying complexity. Each tune is named only for its order on the album, with a subtitle that indicates its structure and time signature. Whether this is unimaginative or genius isn’t for me to judge. Regardless, this nomenclature provides some useful context around the chaos that occurs when the lines between improv and composition get blurry. You guessed it: this isn’t casual background music, and probably not an album for “lean back” listeners. There’s a very British sensibility that gives the record a very different quality than the American jazz of the time. I dig “Song One (Seven-Four)” and “Song Three (Nine-Eight Blues),” both teeming with surprises that lurk around every corner. A couple of the band members here would later branch off into the 70s Canterbury scene, joining forces with Gilgamesh and Soft Machine. Early echoes of that sound are in nascent stages of guitarist Phil Lee’s playing, as well as Alan Wakeman’s soprano solo on the opening track. Today’s post is in memory of my father, who was taken from this world on this day many, many years ago. Graham Collier–bass; Harry Beckett–trumpet, flugelhorn; Phil Lee–guitar; John Taylor–piano; Alan Skidmore & Tony Roberts–tenor sax; Bob Sydor–tenor/alto sax; Alan Wakeman–tenor/soprano sax; Derek Wadsworth–trombone; John Webb–drums. This one is scarce on vinyl (this is a first pressing on Fontana 6309 006, stereo) but available digitally everywhere.