“Underground Sounds of 1968” has an eclectic mix of music during a very creative period; some will be familiar, others not. CD one has big hits like ‘Fire’, ‘This Wheel’s on Fire’ and ‘I’m the Urban Spaceman’ rubbing shoulders with an obscure Genesis track (‘One Eyed Hound’) and nearly made it bands like Dantalian’s Chariot (‘World War Three’ and ‘Soma (Parts One and Two)’, Eyes of Blue and Tomorrow. Of course, the musicians from many of these bands went on to greater things.

The moment the "flowing" 7/8 phrase at the beginning of this piece came to Kenichi Morimoto, he felt confident it would become a strong composition. From there, the rest of the music unfolded almost unconsciously, with little deliberate effort involved in the writing process. The result was a beautiful piece that didn’t quite resemble anything in his usual musical vocabulary. The contrast between its "flowing" beginning and its unexpectedly "cunning" nature is what gave rise

TWELVE WAYS TO SPOT BEBOP JAZZ Ø  Small groups: drums, bass, horns, pianos with equal roles.   Ø  More complex than swing jazz with several rhythms possibly going on at the same time.   Ø  A faster and more frenetic pace.   Ø  Improvisation and jamming.   Ø  Democratic: skilful interplay, highlighting an individual’s virtuosity.   Ø  Not intended as dance music.   Ø  Most likely originating in New York.   Ø  Associated with a policy breaching segregation barriers i.e. mixed r