The Nice: Pioneers of Art Rock and Classical Fusion…
The late 1960s saw the emergence of a music scene where boundaries between rock, jazz, and classical music began to blur. Among the most influential trailblazers of this movement was The Nice, a British band that became an early vehicle for the immense talents of keyboard virtuoso Keith Emerson. Combining rock energy with classical sophistication, The Nice laid the groundwork for progressive rock and art rock, influencing generations of musicians.
Origins: From Backing Band to Breakout Stars
The Nice initially came together in May 1967 as a backing band for British soul singer P.P. Arnold, who had been brought to the UK by The Rolling Stones’ manager Andrew Loog Oldham. The original lineup featured Keith Emerson on keyboards, David O’List on guitar, Ian Hague on drums, and Lee Jackson on bass and vocals. While their primary role was to provide support for Arnold’s performances, it quickly became evident that the group possessed its own creative ambitions.
As the months passed, the chemistry within the band flourished, particularly Emerson’s innovative approach to the keyboard. By September 1967, The Nice parted ways with Arnold, signaling a transition from sidemen to standalone artists. Around the same time, Brian “Blinky” Davison replaced Ian Hague on drums, solidifying the classic lineup that would go on to define the band’s unique sound.
The Birth of a New Sound
In November 1967, The Nice released their debut single, “The Thoughts of Emerlist Davjack,” a title that cleverly fused the members’ surnames: Emerson, O’List, Davison, and Jackson. The song’s eclectic mix of baroque-influenced melodies, heavy organ riffs, and experimental production showcased the band’s willingness to push musical boundaries. This single also became the title track of their debut album, released in early 1968.
The Thoughts of Emerlist Davjack is often regarded as one of the first art rock albums, blending the raw energy of rock with the structural complexity of classical music. Emerson’s virtuosic keyboard work, heavily influenced by classical composers such as Mozart, Bach, Sibelius, and Tchaikovsky, stood out as the defining element of the band’s sound. At a time when the electric guitar dominated rock music, The Nice placed the Hammond organ and piano at the forefront, giving their music a distinctive character.
Tracks like “Rondo” further exemplified the group’s penchant for classical experimentation. Based on Dave Brubeck’s jazz composition Blue Rondo à la Turk, the piece was transformed into a dynamic, rock-oriented instrumental featuring frenetic keyboard solos and shifting time signatures. This bold reinterpretation highlighted Emerson’s ability to seamlessly integrate diverse musical influences into a cohesive whole.
Live Performances and Theatrical Flair
The Nice quickly gained a reputation for their electrifying live performances, which often featured theatrical and unpredictable elements. Emerson, in particular, became known for his flamboyant stage presence, which included stabbing knives into his Hammond organ to produce dissonant tones and spinning the instrument during solos. This dramatic approach to performance foreshadowed the theatricality of later progressive rock acts like Emerson, Lake & Palmer, and Genesis.
Their concerts also served as a platform for extended instrumental explorations, with Emerson frequently incorporating excerpts from classical compositions into his improvisations. These performances were not only groundbreaking musically but also visually captivating, helping to establish The Nice as one of the most innovative live acts of their time.
Classical Influence and Controversy
The Nice’s incorporation of classical music into their rock repertoire was both their defining feature and a source of controversy. Their 1968 adaptation of Leonard Bernstein’s America (from West Side Story) exemplified this approach, transforming the original into a bombastic rock anthem with politically charged undertones. The band added a middle section featuring the chanted words “America is pregnant with promise and anticipation, but is murdered by the hand of the inevitable,” a critique of U.S. imperialism during the Vietnam War.
While the song became a staple of their live shows and a fan favorite, it also faced backlash for its provocative content. Bernstein himself reportedly disapproved of the band’s rendition, though this did little to diminish its impact or popularity.
Lineup Changes and Artistic Growth
The departure of guitarist David O’List in late 1968 marked a turning point for The Nice. While O’List’s contributions had been integral to the band’s early sound, his exit allowed Emerson to take greater creative control. This shift led to a more keyboard-centric style, with Emerson’s virtuosity becoming the primary focus.
The band’s subsequent albums, including Ars Longa Vita Brevis (1968) and Nice (1969), saw them delve even deeper into classical and avant-garde territory. Ars Longa Vita Brevis featured an ambitious, multi-part suite that combined original compositions with adaptations of classical works by composers like Jean Sibelius. This album solidified The Nice’s reputation as pioneers of art rock, pushing the boundaries of what rock music could achieve.
The Beginning of the End
By 1970, tensions within the band began to surface. Emerson’s increasingly dominant role and the group’s relentless touring schedule took their toll, leading to creative and personal disagreements. The release of their final studio album, Five Bridges, marked both a high point and a conclusion for the band. The album, which included a live performance of the title suite with a full orchestra, was a bold experiment in fusing rock and classical music on an unprecedented scale.
Despite their artistic achievements, The Nice disbanded later that year. Emerson went on to form the legendary progressive rock trio Emerson, Lake & Palmer, where he continued to explore the fusion of classical and rock music. For many fans, The Nice’s dissolution marked the end of an era, but their influence on the burgeoning progressive rock movement was undeniable.
Legacy
Though their career was relatively short-lived, The Nice left an indelible mark on the music world. As one of the first bands to successfully integrate classical forms into rock, they paved the way for the progressive rock explosion of the 1970s. Bands like Yes, Genesis, and King Crimson all drew inspiration from The Nice’s bold experiments and technical prowess.
The band’s work also served as a showcase for Keith Emerson’s prodigious talent, establishing him as one of the most innovative and influential keyboardists in rock history. His fusion of classical training and rock sensibility became a template for countless musicians who followed.
Today, The Nice is remembered as a groundbreaking force in the evolution of art rock and classical fusion. Their willingness to challenge conventions and explore uncharted musical territory remains an inspiration to artists seeking to push the boundaries of genre and tradition. In many ways, The Nice was not just a band but a bridge between musical worlds, uniting the past and present to create something timeless.
