Although far better referred to as a consummate sideman when compared to a leader, British-born pianist Peter Lemer bridges the distance between jazz and progressive rock, playing and saving thoroughly in both classes. Created in London in 1942, Lemer researched piano in the Royal Academy of Music, supplementing his traditional research with an immersion in the most recent currents in jazz. For a while, he was students of Paul Bley as the Canadian free of charge jazz pianist was surviving in London. (Lemer later on protected Carla Bley’s “Ictus” like a many thanks to his previous instructor.) Through the ’60s, Lemer was a normal fixture on the brand new jazz picture in London, showing up in lineups beside giants of English jazz like Elton Dean and Dick Heckstall-Smith even though leading his personal groups aswell. Lemer only documented one album like a innovator, however. Supported with Nisar Ahmad Khan on tenor sax, John Surman on baritone and soprano sax, Tony Reeves on bass, and John Hiseman on drums, Lemer released Regional Colour (made by potential Jimi Hendrix collaborator Eddie Kramer) on New York’s famous ESP-Disk label in 1966. Unlike many jazz people, nevertheless, Lemer slipped very easily in to the fusion and intensifying scenes from the ’70s. Adding body organ and synthesizer to his arsenal of devices, Lemer performed and documented with famed intensifying rockers like Mike Oldfield (on his QE2 recording and tour) and ex-Hatfield as well as the North/Country wide Wellness guitarist Phil Miller furthermore to his typical slate of jazz gigs. Lemer was also briefly an associate of both Gilgamesh and past due-’70s fusion team Pierre Moerlen’s Gong. Located in the intensifying music middle of Canterbury, Britain, Lemer still performs and sometimes records like a sideman in a number of designs and lineups.