

In the 1970s, I used to go to a record shop in Cavendish Square. I can’t remember the name, but there I bought an album called “Dinosaur Swamps” by the band The Flock. I listened to it over and over because it was different to what was going on at the time. Now we’ll get into this band, but what I want to say is that it’s amazing that whilst I forgot about it, this band actually led to my interest later in bands like King Crimson and Weather Report.
All of this surfaced the other day because I was listening to a mini feature that Chris Pryor, the Rock Professor, had put out on the band called Lighthouse, a Canadian band. It was a recording that Chris had made somewhere in the 1990s with that music lover Leon Economides. So there was a lot of history there, and both of them were amazed how many instruments the band used, and that they couldn’t really play their music unless they had about 12 or 13 members in the band. But that was the band Lighthouse. The Flock band also played some interesting music, and I think it was the shoots for different styles of music. And later we can see how these bands actually influenced the next generation of bands, so there’s always this sort of progression from one type of music to another.
I don’t know if there are any bands that do this sort of stuff these days, not that I’ve heard of. I’ve got a short list at the end. But it’s worth remembering these bands because they did play an influential role in the progression of jazz, rock, blues type music.
So you may ask, when last did I listen to Dinosaur Swamps? Well, it was last year, to tell you the truth, and I think I listened to it on Spotify, and I was quite amazed how deep the music was, or rich it was, in instruments and the type of music they were playing. And I think that’s why they weren’t that popular—because they were advanced. They were breaking new ground, and people don’t like the breaking of new ground unless it’s in that sort of popular music genre. Anyway, there are bands today that are following in that spirit. Let’s just say spirit, because they’re completely different. That pioneering spirit of bands like The Flock, Lighthouse, King Crimson, and Weather Report.
Anyway, it’s been interesting reflecting on those fossil bands that played such an influence in a different path to what was popular music at the time, like your Grand Funk Railroads, and then later your Queens and your Santanas and your Led Zeppelins. Bands that are played to death on desperate “cool” radio shows with a new generation just as desperate to be cool and all knowing about music. Those first bands were the real pioneers, the breakthrough bands, not all of that other pop rock stuff.
The Flock
The Flock was an American band from Chicago that combined rock with jazz, improvisation and unusual instrumental textures. Their music is generally classified as jazz rock, or early jazz fusion. The band was formed around 1965–1966, initially growing out of a group called the Exclusives, led by vocalist-guitarist Fred Glickstein and saxophonist-vocalist Rick Canoff.
The best-known line-up included:
· Fred Glickstein — guitar, vocals and organ
· Jerry Goodman — electric violin, guitar and vocals
· Jerry Smith — bass and vocals
· Ron Karpman — drums
· Rick Canoff — tenor saxophone and vocals
· Tom “T.S. Henry” Webb — tenor saxophone, flute and vocals
· Frank Posa — trumpet
· John Gerber — saxophones, flute, banjo and vocals
The Flock became notable because Jerry Goodman’s amplified violin gave the group a distinctive sound, while the horns, flute, organ and rhythm section produced an expansive jazz-rock texture. Their music could move between hard rock, free-form jazz, psychedelic rock, folk and occasional country influences.
Dinosaur Swamps
Dinosaur Swamps was The Flock’s second album and was released in September 1970 in the United States on Columbia Records. Some sources refer to it as a 1971 release because of later catalogue or reissue dating, but the original release is generally identified as 1970.
The album followed the group’s 1969 debut, The Flock. It was more varied and, in places, more country-influenced than the first album, and it did not sell as strongly. The debut reached approximately No. 48 on the Billboard album chart, while Dinosaur Swamps reached about No. 96, so the band achieved recognition but was not a major mass-market success.
The Flock’s career was short. A proposed third album, reportedly titled Flock Rock, was left unfinished, and the group had effectively broken up by 1972. Jerry Goodman subsequently became well known as a member of the jazz-rock group Mahavishnu Orchestra.
Lighthouse
Lighthouse was a Canadian band formed in Toronto in 1969 by drummer and vocalist Skip Prokop and keyboardist and vibraphonist Paul Hoffert. It was conceived as a large “rock orchestra,” combining rock with jazz, classical music and swing.
The original band had approximately 13 members, unusually large for a rock group. The line-up included:
· Skip Prokop — drums and vocals
· Paul Hoffert — keyboards and vibraphone
· Ralph Cole — guitar and vocals
· Grant Fullerton — bass and vocals
· Vic “Pinky” Dauvin — percussion and vocals
· Ian Guenther — violin
· Don DiNovo — violin and viola
· Howard Shore — saxophone
· Keith Jollimore — saxophone
· Dick Armin — cello
· Peter Pantaluk — trumpet
· Larry Smith — trombone
· Bob McBride — vocals
Personnel changed considerably over the years, so the exact membership depended on the period being discussed.
Style and Records
Lighthouse’s music is usually described as jazz rock, brass rock or rock-classical fusion. Its arrangements used horns, strings, percussion and vibraphone alongside the conventional guitar, bass, keyboards and drums. This made Lighthouse less like a small jazz-rock combo and more like a touring ensemble with a full orchestral colour.
The band’s best-known songs included “Sunny Days,” “One Fine Morning,” “Pretty Lady” and “Hats Off.” Lighthouse won the Juno Award for Best Canadian Group in 1972, 1973 and 1974, and therefore had considerably greater mainstream success in Canada than The Flock had in the United States.
There are different ways of counting Lighthouse records. If you count the main early studio and live catalogue, there were about 9 albums through the original 1969–1976 period. If you count the broader catalogue including compilations, later releases and reissues, the figure is more like 17 to 23 albums. The difference arises because some discographies count only original studio and live albums, while others include compilations and later editions. The Canadian Walk of Fame describes the group’s broader catalogue as 23 albums, while another recent profile gives a figure of 17.
Lighthouse’s first major period ended with its break-up in 1976, although the group later reunited several times and has continued performing in changing forms. It is therefore more accurate to say that Lighthouse disbanded in 1976 in its original major period, rather than claiming that it permanently disappeared.
Shared Musical Territory
The Flock and Lighthouse belonged to the broad movement usually called jazz rock, jazz fusion or, in some cases, brass rock. This music developed when rock musicians began using jazz ideas such as extended instrumental passages, improvisation, complex rhythms, electric keyboards, amplified violin, horns and larger ensembles.
The Flock’s main base was Chicago rock and jazz. Its characteristic instruments were electric violin, saxophones, trumpet, flute and organ. Its main genre was jazz rock and psychedelic jazz fusion. The ensemble was usually seven or eight musicians. Commercially, the band was respected and innovative, but only moderately successful.
Lighthouse’s main base was Toronto rock, jazz and classical music. Its characteristic instruments were horns, strings, vibraphone, percussion and keyboards. Its main genre was jazz rock, brass rock and rock-classical fusion. The ensemble originally had about 13 musicians. Commercially, Lighthouse was much more popular in Canada, with hit singles and Juno Awards.
The percussion element was important because these groups were moving beyond the straightforward four-beat rock format. Drums were combined with congas, additional percussion, hand percussion, Latin rhythms and shifting jazz patterns. In Lighthouse’s case, the enlarged ensemble created a layered, almost orchestral effect; in The Flock’s case, the rhythm section supported long, exploratory instrumental passages.
Connection with Little Feat
Little Feat was not simply a continuation of The Flock or Lighthouse, but it developed within the same wider late-1960s and 1970s interest in mixing genres. Formed in Los Angeles in 1969, Little Feat combined Southern rock, blues, country, funk, jazz, New Orleans rhythm and swamp-rock influences.
The connection is strongest in the use of interlocking rhythms rather than simple rock patterns, jazz-influenced instrumental breaks, funk and New Orleans grooves, congas and other percussion instruments, a mixture of electric and acoustic sounds, and songs that allowed musicians to improvise on stage.
When Paul Barrère and percussionist Sam Clayton joined Little Feat, the group’s rhythm became more elaborate and dance-oriented. Little Feat’s music was therefore related to jazz-rock fusion, but its central identity was more rooted in Southern rock, New Orleans funk, blues and swamp music than in the experimental jazz-rock of The Flock.
Connection with Taj Mahal
Taj Mahal was also part of this broad movement toward musical cross-pollination, although he came from a different tradition. He was primarily a blues musician who expanded the blues by incorporating Caribbean, African, reggae, gospel, Hawaiian and other world-music elements.
His connection with these bands lies less in a direct band-to-band influence and more in a shared willingness to use hand percussion and unusual rhythm instruments, African and Caribbean rhythmic ideas, steel drums, kalimba, tuba and other non-standard sounds, extended instrumental arrangements, and blues, rock, jazz and folk traditions in the same performance.
It would therefore be misleading to classify Taj Mahal simply as a jazz-rock musician. He is better described as a blues, blues-rock and world-music artist whose work overlapped with the same wider period of experimentation that produced The Flock, Lighthouse and the more rhythmically adventurous side of Little Feat.
The Wider Musical Development
A useful way to see the development is: rock and psychedelic rock moving into jazz rock and fusion, and then into funk-, Latin- and world-influenced rock.
The Flock explored this through electric violin, horns and extended improvisation. Lighthouse explored it through a large ensemble containing brass, strings, percussion and vibraphone. Little Feat absorbed related ideas into a more groove-based mixture of Southern rock, New Orleans funk, blues and jazz, while Taj Mahal brought comparable openness to the blues and world music.
Other artists associated with related territory include Chicago, Blood, Sweat & Tears, Soft Machine, Colosseum, Traffic, Weather Report, Santana, The Mahavishnu Orchestra, The Mothers of Invention and Sly and the Family Stone. They did not all sound alike, but they shared the period’s interest in expanding rock through jazz improvisation, horns, percussion, funk, Latin music and unusual instrumental combinations.
Modern Equivalents
Today, the closest equivalents are usually described as progressive rock, jazz fusion, experimental rock or instrumental fusion rather than simply “jazz-rock.” Jazz fusion itself began by combining jazz improvisation with rock, funk and rhythm-and-blues elements.
Good modern or still-active starting points include:
· Snarky Puppy — large ensemble jazz-funk fusion with horns, keyboards, electric bass and percussion; probably the closest modern equivalent to the collective spirit of Lighthouse.
· Jaga Jazzist — Norwegian experimental jazz group combining electronic music, rock, brass, woodwinds and complex percussion.
· Kneebody — energetic jazz-rock with distorted guitar, keyboards, horns and rock rhythms.
· The Aristocrats — instrumental progressive fusion led by guitar, bass and drums.
· Cory Wong — funk, jazz and horn-driven arrangements with strong rhythmic precision.
· GoGo Penguin — a more atmospheric piano-trio approach, combining jazz with electronic and minimalist influences.
· Dewa Budjana and Tigran Hamasyan — useful choices if you enjoy the more intricate, improvisational side of Weather Report and King Crimson.
· King Gizzard & the Lizard Wizard — not a direct copy, but their progressive, psychedelic and jazz-influenced work often uses unusual rhythms and extended forms.
· The Mars Volta — a more aggressive modern descendant of progressive rock, with complex structures, improvisation and Latin-percussion influences.
· Tool and Porcupine Tree — heavier or darker progressive-rock alternatives with some of King Crimson’s atmosphere and rhythmic complexity.
If you enjoy Lighthouse’s large, horn-and-percussion sound, try Snarky Puppy, Jaga Jazzist and Cory Wong. If you enjoy The Flock’s violin, horns and adventurous jazz-rock, try Kneebody, Jaga Jazzist and The Aristocrats. If you enjoy King Crimson’s complex progressive rock, try The Mars Volta, Tool, King Gizzard and Porcupine Tree. If you enjoy Weather Report’s keyboards, bass and electronic fusion, try Snarky Puppy, Tigran Hamasyan and Jaga Jazzist. If you enjoy the percussion and groove of Little Feat or Taj Mahal, try Snarky Puppy, Vulfpeck and Antibalas.
These groups are not identical copies of the older bands: modern musicians tend to blend jazz-rock with funk, electronic music, hip-hop, world music and progressive metal. The continuing link is the use of electric instruments, improvisation, complex rhythm, layered percussion and arrangements that go beyond a conventional rock song.
For the most direct listening route, start with Snarky Puppy, Jaga Jazzist, Kneebody and The Aristocrats; then move to The Mars Volta and Tigran Hamasyan for more experimental or demanding music.
Sources
- The Flock (band) – Wikipedia
- The Flock on Apple Music
- Dinosaur Swamps – Wikipedia
- The Flock: The Flock / Dinosaur Swamps album review @ All About Jazz
- The Flock (Part 3) – Forgotten Hits 60s
- Lighthouse (band) – Wikipedia
- Lighthouse – Canada’s Walk of Fame
- Lighthouse Discography – Qobuz
- Five Minutes With: Rock Band Lighthouse – Toronto Guardian
- Little Feat – Wikipedia
- Little Feat – Playing For Change
- Little Feat Musician – All About Jazz
- Little Feat | Encyclopedia.com
- Taj Mahal (musician) – Wikipedia
- Taj Mahal | Biography, Albums, & Facts – Britannica
- Jazz fusion – Wikipedia
- Sub-Genres We Play | Prog Radio
- LIGHTHOUSE-1969-1974 THE RISE OF LIGHTHOUSE – Derek’s Music Blog
- Lighthouse Discography – lighthouserockson.com
- Sam Clayton – Wikipedia
- Little Feat – Apple Music
- Taj Mahal: How He Turned the Blues Into a World Language – Blues Chronicles
- Henry Saint Clair Fredericks – Taj Mahal – Strathdee









