If - What Did I Say About The Box, Jack? (1970)

If - What Did I Say About The Box, Jack? (1970) from the album "If 1" (1970)

If was Great Britain's contribution to the jazz-rock movement begun and popularized in the late '60s/early '70s by Blood, Sweat & Tears and Chicago. Formed in 1969 by Melody Maker jazz poll winners Dave Quincy, Dick Morrissey, and Terry Smith, the band never found popular success in the United States. However, If produced several albums noteworthy for placing jazz players in a pop/rock band context and producing a true fusion of the two genres without diluting the players' improvisational skills. Unlike most of their horn-band contemporaries, If had no brass players in the band, relying solely on the saxophones of Dick Morrissey and the flute and saxophones of Dave Quincy. But what really gave If its unique sound were the vocals of J.W. Hodgkinson and the guitar of Terry Smith. Hodgkinson's vocal timbre was unusual -- smooth, flexible, and strong in the high end, sounding like no other vocalist. Smith's trebly guitar sound was also unique, combining a rocker's use of sustain with the jazz fluency of Wes Montgomery and Django Reinhardt. The original incarnation of If produced five excellent albums between 1970 and 1972, but these albums failed to find an audience. Morrissey soldiered on with the If name for two more albums with a totally different lineup and a more generic rock-type sound, but these, too, went nowhere. Drummer Dennis Elliott was later a member of the platinum-selling rock band Foreigner. (allmusic)
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If is Englands answer to Chicago or the much less proggy Blood Sweat & Tears, and with no small surprise the UK answer approaches Chicagos quality and easily surpasses BS&T. But comparing If to Chicago is at best unsatisfactory and at worst is misleading: not more instrumental than Chicago (and no trumpet or trombone), If is also less of a straight brass rock outfit, and more of a real jazz rock group, often coming close to Colosseum or Brian Augers Oblivion Express, than the pure mushy garbage RnB of BS&T or Electric Flag. The septet is based around wind players Dave Quincy and Dick Morrissey, the main songwriters. The original line-up on this album will remain unchanged much like their US alter-ego Chicago for quite a while.

Starting out on the absolutely delightful Reaching Out On All Sides (also issued as a single), the group shows a real knack for writing inventive jazzy tunes that have a rock edge, while making it interesting for demanding music fans. All Sides comes with a good searing guitar solo, underlined by Mealings organ, then the saxes come in a very Heckstallian fashion. Hodgkinsons voice is fairly close to Chicagos singer. The lengthy instrumental About The Box is probably the A-sides highlight, with Morrisseys flute drawing a long solo before the two saxes cut away in a Heckstall manner, allowing for Smiths guitar to wallow much like Clempsons did. This second track is probably the most Colosseum-like of the album. Rounding off the first side is the 7-mins What Can A Friend Say, which boasts a very brassy rhythmn blues, in this case reminiscent of Chicago or The Flock, but boasting yet another stellar electric guitar.

The flipside is made of four shorter tracks, with the rapid 100 mph soul number Woman, Can You See? track, where the repeating sax riffs and chorus and a sizzling solo of the same instrument. Conscious Mind did not steal its name, as it is easily the easiest track on the album, this being the attempt at mass exposure via the single. Best forgotten if you ask me. Dockland is a strange and slow (almost doomy) track, which seem to emphasize dark atmospheres, but Smiths guitar is again the main solo instrument, again a bit reminiscent of Hisemans tribe. The closing Promised Land is an upbeat funky track that contains plenty of intricate arrangements, but cannot escape a pop feel, but positively said. The bonus tracks are no added value as they are the single version of two album tracks, therefore only adding a déjà-entendu feel.

Recently, Repertoire records just re-issued the first two in a mini-lp format, and I only wish theyd get the license to do the same with the next two, but whether this is likely is difficult to say since the first two were issued on Island records, while the next two were on United Artists. In either case, this first album is an absolute must for those wanting to find the perfect link between brass-rock (since If did not have brass instrument proper, but woodwind instruments) and jazz-rock.(ProgArchives)

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