Missionaria Protectiva

        Greenslade first came to attention as the keyboards player for the jazz-blues-rock fusion outfit Colosseum, for whom he composed the epic “Valentyne Suite,” a 17-minute, multi-section production that became the centerpiece of the album of the same name. Colosseum would eventually founder on the various ambitions of its members, finally drifting apart in 1971. Greenslade spent the next two years playing sessions and putting together a band that was notable for the fact that it performed progressive rock music without the benefit of a guitarist; the lineup included second keyboardist Dave Lawson, drummer Andy McCullough and Colosseum bandmate Tony Reeves on bass. This lineup released Greenslade and Bedside Manners Are Extra via Warner Bros. The third album, Spyglass Guest, broke the pattern, with guitarists Andy Roberts and Dave “Clem” Clempson (another former bandmate) delivering some six-string action. By the time the final Greenslade album arrived, Martin Briley had taken over

        In the early Seventies, Billy Cobham set a new benchmark for fusion drumming, marrying jaw-dropping jazz-honed dexterity with pulverizing rock power. The Panama-born drummer appeared on Miles Davis' groundbreaking  Bitches Brew  and, more strikingly, on  A Tribute to Jack Johnson , where his interplay with guitarist John McLaughlin set the tone for what the pair would accomplish together in the Mahavishnu Orchestra. Cobham's influence stretched far beyond jazz: Prog contemporaries Bill Bruford of King Crimson listened closely to what he was up to, younger drummers like Danny Carey of Tool learned from him, and even Prince plays a version of Cobham's "Stratus" in concert. There's maybe no bigger fan than Phil Collins, who has named Mahavishnu's  Inner Mounting Flame  as a key influence on his early style.  Crosswinds  (Atlantic,1974) https://www.sendspace.com/file/yyy9xw

        1951, Yazoo City, Mississippi, USA. Henderson moved to Detroit as a child and showed an early aptitude for music, in particular on bass. Indeed, he was something of a boy wonder, being employed as a bass player for the Fantastic Four, Detroit Emeralds, Jackson Five, Martha Reeves, Billy Preston and numerous Motown Records artists when aged only 13. He was then invited out on the road with the touring bands of both Aretha Franklin and Stevie Wonder. In 1968 Henderson was recruited by Miles Davis and spent seven years touring and recording with his band. A chance meeting with Norman Connors resulted in Henderson finally getting his own material recorded, duetting with Jean Carne on ‘Valentine Love’ from Connors’ Saturday Night Special album in 1975, which became a US hit single. He followed this up with the title-track to You Are My Starship, a platinum album and major hit single. On the strength of this success Henderson was signed direct by Buddah Records and released his debut

        Even if he had never progressed beyond the brain-rattling riffing of "2112" and "Xanadu," RUSH 's guitarist would have left his mark on Metallica and other like-minded metalheads. But he went on to fill out Rush's power-trio sound with a seamless mix of lush arpeggios and rock crunch that sounded like at least two players at once. "The guitar just had to make a broader statement," he says. Alex Lifeson reserves his most daring playing for his solos – just try wrapping your head around the extra­terrestrial lunacy of "Freewill."   Victor Anthem/Atlantic 1996 https://www.sendspace.com/file/v5nyzs

        The co-founder, keyboard player, and one of the three principal singers of the Moody Blues , Mike Pinder  was a very visible presence in early progressive rock circles. A pioneering user of the early electronic keyboard instrument the Mellotron as a substitute for a full orchestra, Pinder s work served as the model for the playing of musicians such as Barclay James Harvest , Strawbs , and, to a lesser degree, King Crimson , though the latter group quickly evolved its own sound with the instrument. During his years with the Moody Blues , Pinder  was known for the lush, dense sounds he generated from his Mellotrons (which yielded such high volumes in concert that the sound off his speakers created wind currents on the stage), which he modified so extensively by the beginning of the 1970s, that they became known unofficially in the rock press as "Pinder-trons"; and for his compositions, which were frequently steeped in a brand of mysticism that recalled the English Roman