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██▌ Artist...: Jakko M. Jakszyk ░▐██▌
░▐██ Album....: Son of Glen ░██▌░
▓▐██ Year.....: 2025 ▓▐██▓
▓▐██ Rel. Date: 2025-09-21 ░▐██▓
▐██ Genre....: Progressive Rock ██▌░
░ ██▌ Label....: Inside Out Music / Sony Music ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Album ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Ode to Ballina 2:12
2. Somewhere Between Then and Now 7:39
3. How Did I Let You Get so Old? 5:59
4. This Kiss Never Lies 7:05
5. Ode to Ballina (Reprise) 2:12
6. I Told You So 5:41
7. (Get A) Proper Job 1:36
8. Son ∙f Glen 10:22
42:46
In the monumental history of progressive rock, few can claim to be as
eclectic and productive as, with a fascinating life and career to boot,
than Jakko M. Jakszyk. He has played with such celebrated bands as 64
Spoons, Dyzrhythmia, Rapid Eye Movement, Level 42, The Lodge, The
Tangent, and most recently, his childhood idol King Crimson and its
varied offshoots: Jakszyk Fripp Collins, and 21st Century Schizoid Band.
He has collaborated or worked as a session musician with Fjieri, Steve
Wilson, Tom Robinson, Peter Blegvad, Danny Thompson, Gavin Harrison,
Richard Barbieri, Mick Karn, Dave Stewart and Irish singer Louise
Patricia Crane. His solo albums are equally prized possessions: The
Romantic Glee Club (2006), Waves Sweep the Sand (2009) and Secrets and
Lies (2020). Needless to say, I have been a lifelong fan of his artistry
and uniqueness.
It is incredibly rare and impressive at the same time, for a person to
wait literally a half a century to finally figure out the truth about
their origins, a reality that has even intrigued my maternal mother's
authenticity for decades, until her passing revealed the veracity of her
plight. Something Central and Easter Europeans have been bedeviled with
after the upheavals of two cataclysmic World wars. Needless to say, this
is a revelatory epiphany of sorts, a final and peaceful reckoning that
deserves on its own a standing ovation.
Jakszyk was born in 1958 in London, the son of Irish singer Peggy Curran
and an unknown American airman (now we know it's Glen Tripp). At 18
months of age, he was adopted by two European refugees Polish Norbert
Jakszyk and his French wife, Camille. The young boy grew up in a
childhood best described as unhappy; his adoptive parents' nationalities
led to an unsettled home life. He explained, "There was a lot of
confusion? English was a second language for both of them, so although I
could understand them both, they often couldn't understand each other ?
it led to all sorts of daft misunderstandings and rows." Jakszyk was
frequently in conflict with Norbert, although the two would reconcile
later in life. In 1977, he tracked down his birth mother Peggy, who had
settled in Arkansas; he and Peggy would eventually meet in 1984. Jakszyk
would later reconstruct his complex family history in an extended radio
piece, "The Road to Ballina". The instrumental "Ode to Ballina" opens up
this album in mournful respect, piano and fluted Irishness combine with
melancholia as Caroline Lavelle plays the cello as if a deliverance.
Before moving into vocal territory on "Somewhere Between Then and Now",
this set of songs are a deeply rooted personal set of declarations that
merit perhaps more than usual attention to the lyrics, therefore I urge
fans to consider reading the words throughout, to better empathize with
the artist. Starting out pastoral and bucolic with a twist in the
English style of Prog-Folk, the jazzy, sunshiny pace rapidly accelerates
into the passionate stylistics the man is famous for. Jakko can sing
beautifully and most convincingly, as well as playing exceptional guitar
lines, that shy away from overt gratuitous displays. Gavin Harrison
supplies his usual world-class syncopation on the next few tracks.
Paternal relationships can often be complicated, even in good times, as
emotions do not always appear voluntarily, from both parties really.
It's not easy being a father and neither is it being a son. There can be
layers of pent-up guilt and aching regret, and 'an armoury of questions'
on "How Did I Let You Grow So Old", as poignant elegy to the male
interface as humanly possible. It's frankly emotive to the point of
suffering. Norbert makes a cameo appearance that really seals the deal.
Here once again, the smoky piano enhances the vintage veneer of history,
a hushed voice exuding a multitude of feelings. The guitar/voice duet is
stunningly pulled off, the forlorn cello adding age into the equation of
meaning. Legacy track.
Love songs, you ask. Partnerships are not easy either, as some of us
know full well. Often, romantic souls rely on parallel circumstances
that provide a foundational comfort . On "This Kiss Never Lies", Jakko
found that relief within the Irishness of her mother, so it should not
come as a surprise that Louise Patricia is from Northern Ireland, and
you know, the thin fine line between mother and wife becomes apparent.
Musically and lyrically, this is one of his loftiest achievements, a
perfect tune in a myriad of ways, heartfelt, honest and genuine, three
attributes currently vying for top spot of disappearing species on the
verge of extinction. He found the love of his life.
An electric guitar-led Reprise of "Ode to Ballina" acts as a change of
pace intermezzo , and as such is a perfect foil to live it up a tad on
"I Told You So", a more affirmative testament to the courage of fighting
for resolution, never surrendering to despondence. Ian Mosley keeps the
tempo pulsating and fresh, as if a renaissance of sorts is about to
occur.
"Get A Proper Job" was something that must have stuck in the artist
mind, when declaring as a teenager, I want to be a musician often
brought about verbal thunder and lightning or maybe a volcanic eruption.
Hungarian drummer Zoltan Csorsz of Flower Kings and Lifesigns repute
handles the brief percussive banter. It doesn't last long, but neither
did their relationship between son and father at the time.
The title track is not only the proggiest here, it's also the most
significative of the story as we all discover who Glen Tripp really was.
Django Jakszyk (son of Jakko) is on bass and Gavin shoves him along for
the ride. Lest we forget that just because Jakko enjoys playing with
Fripp, he still mans a wild guitar on his own merits and his display
here matches his lead vocalist prowess, which were never in doubt
anyway. Talk about salvation. An absolute corker of a track.
It took me multiple decades to realize why this particular artist had
such a hold on my psyche, and the clue was there all along in the title
of his solo album: The Romantic Glee Club. Yes, I am proud to admit I am
and always will strive to be a hopeless romantic. His finest moment yet.
Bravo, Jakko.
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