University of Virginia Library

Lighthouse: Talented 13-Man Amalgam

By Gordon E. Hogg

The popular music cult in the
United States is just now becoming
aware of the musical offerings of
our close neighbor, Canada, as
evidenced in the past few years by
the popularity of folk singers Joni
Mitchell (who seems to be a sort of
musical expatriate anyway) and
Gordon Lightfoot, and guitarist
Neil Young, presently of Crosby,
Stills, Nash & Young (previously
with Crazy Horse and — why not?
— the Buffalo Springfield).

The fact is that there is such a
vast amount of young and powerful
talent in Canada, and some of it is
just reaching the recording studios.
An excellent example of this is Skip
Prokop's Lighthouse, a 13-man
amalgam of musicians from such
diverse beginnings as the Toronto
Symphony Orchestra and studio-backing
stints around Los Angeles.
Prokop's name has been associated
with Peter, Paul, and Mary, and
more recently with the Bloomfield
Kooper machine on the "Live
Adventures" LP. He has displayed a
remarkably accurate sense for instrumental
blend, bringing together
his drums, a guitar, electric bass,
vibes, piano, organ, two electric
violins, two electric 'cellos, two
trumpets, a saxophone and a
trombone, and successfully producing
a powerful, yet not obnoxious,
sound. Prokop, the bass
player Grant Fullerton, and percussionist-vocalist
Pinky Dauvin present
reasonably good vocals, trying
not for complex harmonies or
phrasing beyond their capabilities,
but adequately supplementing the
gigantic instrumental sound that is
Lighthouse.

Ralph Cole, the only American
and guitarist for the group, displays
excellent dexterity as a rhythm
guitarist and secondary instrumentalist,
but in his solos and occasional
licks he impresses me only
with his repetition of somewhat
unimaginative motifs, especially in
the otherwise excellent "Eight
Miles High."

Versatile

The most striking and versatile
member, at least on record and in
stage performances, is organist-vibist-planist
Paul Hoffert, who is
also chief arranger and musical
director for the group. He has a
deep and rich knowledge of jazz,
and a rare appreciation and understanding
of rock music — in his
keyboard technique he is capable of
unique applications and combinations
of the two, especially in "If
There Ever Was a Time" and "Ah I
Can Feel It."

The horn section can easily
out-lay anything Blood, Sweat, and
Tears can honk out (even if they do
release still another single) — the
fleugelhorn solo in "Whatever Forever"
comes most quickly to my
mind. Although Prokop's vocal is
wispy in "Follow the Stars," the
song is a definite showpiece for the
horns, who come together with
uncanny unity and clarity, and with
beautifully intricate style.

Bassist Grant Fullerton is endowed
with the best voice of the
group, and is featured in most of
the 10 songs included on the album
(RCA LSP-4173, if you're still
reading this). His treatment of
Havens' "No Opportunity Necessary"
does the writer more than
justice. His quick, sure, and well-balanced
bass style makes the
listener pleasantly aware and impressed,
but not oppressed or
annoyed, which is sometimes the
case with Jack Bruce's occasionally
overbearing and tasteless bass technique
in later Cream (or his own)
compositions.

The strings, although prominent
and surprising on stage, are sometimes
missed or underplayed on the
disc. Their sound blends smoothly,
and takes the bite out of Ralph
Cole's sometimes too-electric guitar.
"Don't Say Goodbye" makes
their presence obvious, with a 'cello
introduction and tastefully interpreted
interplay between the violins
and guitar throughout.

Lighthouse, at least as an experimental
group, is indeed a very
successful endeavour — their sound
is unique and self-confident; they
have in their midst a gifted
composer and arranger; they have
the talent and drive to become
extremely popular, if they can be
listened to and appreciated. Look
out for Lighthouse — maybe even
listen o them.