Half live, half studio, all adventurous. Six is Soft Machine’s 1973 album: an ambitious double set that captures the band at a fascinating turning point.

The short version

The sixth album by Soft Machine, released in early 1973 as an ambitious double LP — one disc recorded live, the other in the studio. It marked a key change in the band’s story: saxophonist Elton Dean had gone, and multi-instrumentalist Karl Jenkins had joined, taking over reeds and much of the keyboard and writing duties alongside Mike Ratledge. Bassist Hugh Hopper and drummer John Marshall completed the line-up. Praised for its superb sound and adventurous playing, Six was even voted jazz album of the year in a leading British poll. It captures Soft Machine deep in their jazz-fusion phase, exploring new ground on stage and in the studio alike.

Jenkins joins

By 1973, Soft Machine had settled into a stable and highly accomplished jazz-fusion line-up. Elton Dean had left the band, and his place was taken by Karl Jenkins, a former Nucleus musician who quickly became a key writer and player. He joined Mike Ratledge, the last remaining founder, along with bassist Hugh Hopper and drummer John Marshall — also from Nucleus. Six documents this group both live, on record one, and in the studio, on record two, with the live disc recorded so cleanly that the audience is barely audible. It was Hugh Hopper’s last album with the band; soon after, he would leave and go on to form Soft Heap with Elton Dean.

The sound

The sound is adventurous, exploratory jazz-fusion — sophisticated, groovy and full of invention. On the live disc, the band stretches out with real energy: Hugh Hopper’s angular bass lines and John Marshall’s powerful drumming drive the music, while Karl Jenkins and Mike Ratledge trade keyboard and reed solos. The studio disc is more composed and experimental, ranging from the sweeping, multi-part ‘Soft Weed Factor’ to the eerie electronics of ‘1983.’ Together, the two halves show the many sides of this line-up — tight and grooving one moment, abstract and searching the next. Reviewers often praise Six for its excellent sound and its blend of accessibility and adventure.

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The songs

‘Riff,’ from the live disc, is one of the album’s catchiest moments — a punchy, memorable Karl Jenkins theme anchored by Hugh Hopper’s angular bass. ‘The Soft Weed Factor,’ the eleven-minute studio centrepiece, is a highlight of the record, building slowly through hypnotic, interlocking parts. And ‘Chloe and the Pirates,’ a Mike Ratledge composition, is a beautiful, atmospheric piece, among the most lyrical the band ever recorded.

Reception and legacy

Six is one of the more admired albums of Soft Machine’s fusion years, praised especially for its pristine sound and the strength of its playing. The mix of live energy and studio experimentation gives it a satisfying range, and it captures an important, stable line-up at its peak. It stands as a high point of the band’s Karl Jenkins era, and as a fascinating document of British jazz-rock in full flight. For fans of the jazzier side of Canterbury — and of the closely linked Nucleus — it is a rewarding and impressive listen.

The verdict

Six is Soft Machine at a compelling crossroads: adventurous, exploratory jazz-fusion, sophisticated, groovy and beautifully recorded. Come for the catchy ‘Riff,’ the sweeping ‘Soft Weed Factor’ and the lovely ‘Chloe and the Pirates.’ The double format gives you the best of both worlds — the band’s live fire and its studio craft. For fans of British jazz-rock and the more serious end of the Canterbury scene, it is one of the essential later Soft Machine albums.

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