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Jon Hiseman came up with the concept for his band Colosseum in a single moment in 1968 – although the ideas had probably been swirling in his mind for some time.
“I was on a sightseeing holiday in Rome,” the late drummer told Prog in 2010. “We were on the high point of the Forum overlooking the Senate House on the left and the Colosseum on the right. I had my head in my hands. I turned to [wife] Barbara and said, ‘I’m leaving John Mayall. I’m going to form a band and call it Jon Hiseman’s Colosseum.’ Her reply was typical: ‘Go for it!’”
He continued: “The name had come to me almost as I spoke. It just had the right ring to it in an age when anything went. I saw the band as being in a direct line from all the others I’d enjoyed – mostly big band or modern jazz groups – but with a completely different rhythmical base, with complex interactive rock rhythms, plus improvised solos and vocals.”
Hiseman had a “very definite” shortlist of companions, and he quickly signed up keyboardist Dave Greenslade, saxophonist Dick Heckstall-Smith, bassist Tony Reeves and guitarist Jim Roche – quickly replaced by James Litherland and then Clem Clempson.
They were all happy with the name and the attitude behind it. “There were no dissenting views,” Hiseman said. “It was kind of taken for granted immediately. Within 18 months I felt we were well enough known to call the band just Colosseum.”
The group were initially active for only three years – but from 1968 to 1971 they created pioneering progressive jazz-rock that, it’s said, popularised the entire genre. After more than two decades of silence they returned in 1994, and continue today, albeit with a series of line-up changes behind them.
In 2014 Prog selected five tracks from Colosseum’s first run that best represent the creative energy and character that’s always powered their music.
Beware The Ides Of March
From Those Who Are About To Die Salute You (1969)
Starting off as a thinly-disguised fantasia on A Whiter Shade Of Pale, it then finds organist Greenslade briefly nodding towards Bach’s Fugue In D Minor. A syncopated R&B section with a keening guitar solo from Litherland ends in an intense ensemble workout, before the opening theme is coolly restated.
Valentyne Suite
From Valentyne Suite (1969)
Split into three ‘Themes’ and largely written by Greenslade, this 17-minute piece encompasses garish horn figures, harmony vocals, some free-flowing organ work and thrilling, high-velocity Hiseman drumming. He and Heckstall-Smith composed the final section with its unison passages and brooding motifs.
Lost Angeles
From The Grass Is Greener (1970)
New arrival Clempson makes his mark – both as lead vocalist and lead guitarist – on the song, written with Greenslade and released on this US-only album. Enough turbulent instrumental themes and extravagant solos are packed in that the piece is best heard as the extended blowout on Colosseum Live.
Time Lament
From Daughter Of Time (1970)
One of Colosseum’s most intricate compositions, it comes over like a pastoral, string-based piece, then a soul ballad, then a cool jazz musing. But it’s constantly disrupted by the appearance of a convoluted, serpentine main theme and becomes something else entirely.
Tanglewood ’63
From Colosseum Live (1970)
Hiseman melds jazz rock and three-part harmonies on this piece by composer Mike Gibbs. Chris Farlowe, Clempson and Mark Clarke sing wordless chorales while Heckstall-Smith delivers a remarkable double sax solo, before leading the band into a reprise of the main motif.
