The year in which Disco settles in, Yacht Rock gains a foothold, and Smooth Jazz begins to dominate the commercial markets in the Jazz world.
January
BRIAN AUGER's OBLIVION EXPRESS Happiness Heartaches
Brian Auger's Oblivion Express with Lenny White?!! In 1976!? Man! I gotta hear this! Recorded in July-August of 1976 it then charted in February 1977 indicating a late 1976 or early 1977 release by Warner Bros. Records.
Line-up / Musicians:
- Brian Auger / Hammond, electric & acoustic piano
- Alex Ligertwood / vocals, rhythm guitar
- Lennox Langton / percussion
- Lenny White / drums, percussion
- Jack Mills / lead guitar
- Clive Chaman / bass
1. "Back Street Bible Class" (5:26) Clive Chaman's funky bass sound has got me distracted despite the funk-white-boy R&B group vocals. Great rhythm guitar work from Jack Mills. Very interesting musically, kind of Southern-Rock boring from the vocal/lyrical perspective. (Not unlike Doobie Brothers or The Allman Brothers.) I'll give vocalists Alex Ligertwood credit: he definitely gives it his all! It's just a little over-the-top in that awkward/cringy way that was quite common at this time in the 1970s. Plus the engineering and final mix down are kind of shoddy. Plus, I don't like the use of acoustic piano in the mix. (It's been a long time since I've heard Brian bring an acoustic piano into his songs.) (8.75/10)
2. "Spice Island" (8:54) I find myself really looking forward to Lennox Langton's unique and unusual percussion performances--and this one is a great one. The song has quite the STEELY DAN sound and feel through the first minutes. Ligertwood even has a Donald Fagen/Stevie Wonder vibe going into his vocal performance. (Nice work, Alex!) The Oblivion Express has some amazing chameleonic powers! The instrumental passage in the fourth minute is incredibly rich (and beautiful!) with great flanged rhythm guitar, acoustic nylon-string guitar solo paired up with Brian's gorgeous Fender Rhodes play. At 5:25 Lenny switches gears with some syncopated play that triggers a slide back into the lush DAN- and WEATHER REPORT-like "Yacht Rock" (with some very strong 1976 JAN AKKERMAN overtones from Alex Ligertwood's flanged rhythm guitar). I love this section! Brian, Lenny, and whoever is playing that amazing Jan-Akkerman-guitar have got me hooked and I don't want them to let go! (19.125/20)
3. "Gimme A Funky Beat" (4:36) a Latin-jazzy funked-up R&B tune with an awesome vocal performance from Alex. Man this band is firing on all cylinders. Great, great anthemic song that should have had a presence on the R&B charts with anything Earth, Wind & Fire, George Benson, or Gino Vannelli was making at the time. Clive Chaman is really moving! (Is it my imagination but has that dude improved his skills tenfold from the band's previous album?!) Such a great sound palette! Now this is R&B funk that is still fully within the fold of Jazz-Rock Fusion! (9.375/10)
4. "Never Gonna Come Down" (5:30) another song that conjures up associations to other musicians contemporary to this time period: particularly STEVIE WONDER's great stuff. I can definitely see from performances like this how and why Carlos Santana plucked Alex from Brian's clutches (once Brian tired of the J-R F/Funk-R&B). This clever composition is credited to the band's Trinidad-born bass player. It's strong--and incredibly well performed--but not quite memorable enough to garner top marks. (8.875/10)
5. "Happiness Heartaches" (5:09) A rich and surprisingly-sophisticated slow jam that manages to retain its full-jazziness despite Alex's bluesy pop vocal performance. (Talk about guys who have come a long way: Alex Ligertwood has become so flexible, skilled, and confident at any style he tackles. And FINALLY the engineer is recording and mixing his vocals right where they need to be: up front! Mega kudos, Neil Schwartz!) Once again there are similarities here to much of the music that established jazz artists are making at this time that are successfully crossing over into pop radio favor. (8.875/10)
6. "Got To Be Born Again" (4:12) Another great funk jam rhythm track woven together by the ensemble of Lenny White, Lennox Langton, Clive Chaman, Brian's electric piano chord play and the two amazing rhythm guitarists: Jack Mills and Alex Ligertwood. Alex's multi-track vocal performance is quite animated and dynamic, very engaging and entertaining though perhaps not quite melodic or lyrically capable of "hooking" the listener as well as one would hope. (8.875/10)
7. "Paging Mr. McCoy" (4:29) an instrumental song that is based on one motif repeating itself over and over. It falls short of the level of professionality established by the previous songs, making it sound like a last-minute filler, because of the poor engineering, mix, and lack of "finish" or development. Still, the jam is nice for its display of Lenny White's drumming prowess as well as that of Brian on the piano (and Moog). (8.75/10)
Total Time: 38:16
Other than Lenny replacing/filling in for Dave Dowle the band is the same as the one that put together their previous 1976 release, Reinforcements, but the sound engineering on this album is much more inconsistent than that of its predecessor: at times far better than anything The Oblivion Express has had since the gorgeous Straight Ahead, at others filled with "mistakes" and flaws that gives me the feel that it was rushed and/or uncared for fully. At the same time, this is definitely my second favorite Oblivion Express album!
90.78 on the Fishscales = A-/five stars; a collection of jazz-funk-founded tunes that qualifies in my opinion as a minor masterpiece of Third Wave Jazz-Rock Fusion.
Line-up / Musicians:
- Lenny White / Synthesizer, Bass, Piano, Arranger, Conga, Drums, Keyboards, Timbales, Moog Synthesizer, Producer, Oberheim, Horn Arrangements, Roto Toms, Announcer, Mini Moog, Arp Strings, Moog Drum
A1. "Big City" (5:22) a case in example that an impressive line up of musicians doesn't necessarily guarantee a great tune. Trying too hard and not really capturing the funk they're going for. (8.75/10)
A2. "Sweet Dreamer" (4:42) a sweet tune (the best thing on the album) with Bay Area legend Linda Tillery singing from her heart. Great bass play from Paul Jackson with awesome solos from Ray Gomez and Herbie Hancock. (9.25/10)
A3. "Interludes" - both are nice:
A5. "Ritmo Loco" (1:08) electronic computer and acoustic percussion. The acoustic play is outstanding. (4.5/5)
B1. "Dreams Come And Go Away" (3:34) a smooth rock-jazz tune that sounds like something Eric Clapton was doing around the same time. Maybe this one shouldn't have been an instrumental. Too much of a jam. (8.75/10)
B2. "Enchanted Pool Suite":
a. "Prelude" (1:31) beautiful near-classical (I hear Ralph Vaughn Williams) duet between Jerry Goodman and Jan Hammer (4.5/5)
b. "Part I" (2:18) add Miroslav Vitous and harpist Lois Colin to the mix and then, later, Michael Gibbs' orchestra and Patrick Gleeson's synth. (4.375/5)
c. "Part II" (5:39) a Herbie Hancock-infused smooth jazz piece à la Earl Klugh. It works. Due to Michael Gibbs' orchestration, Gary King's bass with Lenny's drumming, and Jan and Jerry's continued contributions. (9/10)
B3. "And We Meet Again" (live) (6:41) a blues vamp captured live (cuz that's all these guys can come up with once they're all surreptitiously thrown together on stage without practice or forethought). (8.75/10)
Side 1
1. "Mechelwind" (9:24) some American Southern rock-influenced themes and sounds with some very rock-like drumming, bass, and guitar playing. (Much of this song reminds me of American bands like THE OUTLAWS, DIXIE DREGS, early JEAN-LUC PONTY and perhaps Molly Hatchet and even a little bit of Lynyrd Skynyrd). Several impressively-sophisticated weaves back some nice rock-oriented solos. (18/20)
2. "Alabaster Keaton" (3:06) using variations on fairly familiar jazz melodies (from the flutes and acoustic guitar) the band presents a piece that sounds like some of the more folk-classical explorations of FOCUS. (8.875/10)
3. "Wrdlbrmfd" (5:33) a piece that has a more modern discordant edge to it (not unlike VAN DER GRAAF GENERATIOR while also preparing us for bands like SEVEN IMPALE). Once the initial weave has been beaten to death, the band shifts into a more relaxed though still-mathematical motif within which saxes, violin and guitar get to take some turns doing some soloing (but how boring for the rhythm section of bass, drums, and rhythm guitar). A good song but nothing to write home about. (8.75/10)
Side 2
4. "Elephen Elephants" (8:40) a little attempt at some JTULL both rhythmically and sound palette wise. This becomes especially evident when the flute and saxes become the lead instruments. There is also a bit of KCRIMSON feel to parts of this as well as a tastefully done (and well-recorded), extended, multi-part drum solo in the middle. When the band is allowed to rejoin it is through the heavily-effected ministrations of a picked electric guitar followed by some very pretty and enjoyable saxophone playing. Christoph Kreiger's echoed electric violin gets the next solo before the band uses a couple of sequences of slowly-ascending arpeggiated chords to close down the song. (17.5/20)
5. "Herbstzeitlos" (2:27) what opens like a mathematical exercise--and étude--ends up supplying enough grist for some melody making over the top. It's actually a decent little song! (9/10)
Recorded at Studio Barbarossa, Munich, May 25 & 26, 1976 and is generally agreed to have been released on Enja Records early in 1977.
A2. "Estrelle" (9:51) a 90 second intro of descending double-steps from both Eberhard and Siggi set up Lala for a hard driving rhythm track over which Benny performs strongly as if he's channeling Freddie Hubbard! I guess he can play! Eberhard, Lala, and Siggi are all over the place in a really cool motif supporting Benny's long solo. At the four-minute mark Benny finally yields, to Siggi, who plays a fairly standard slightly-flanged jazz guitar solo. This dude is talented! Meanwhile, there is no rest for Eberhard and Lala as they continue to play beneath--until a quieter sixth minute when there is a subtle hand-off to Eberhard for his turn in the limelight. I like Siggi's Jan Akkerman-like rhythm support! All this while Benny must've gone out for a smoke cuz he doesn't return until the eight-minute mark when he steps back into the lead to take the song to its conclusion over the rhythm section's Disco beat. (18.3333/20)
Line-up / Musicians:
- Curt Cress / drums, berimbau
- Klaus Doldinger / soprano & tenor saxes, organ, Moog, flute
- Elmer Louis / percussion
- Roy Louis / electric guitar
- Wolfgang Schmid / bass
Guest musicians:
- Mats Björklund / guitar (8)
- Wilson Das Neves / atapaques, pandeiro (4)
- Roberto Bastos Pinheiro / surdo (4)
- Noel Manuel Pinto / cuica (3-4)
- Clélio Ribeiro / berimbau (4)
- Marcello Salazar / percussion (4)
- Pedro Santos / percussion, whistles (3-4)
1. "Bahia do sol" (5:53) celebratory noises from some kind of street music festival opens this before guitar and organ arise to take over the auditory spectrum. Piano and tenor sax enter to present the chord base and lead melody. It's very David Sanborn-like. In the third minute the bluesy piano is left with Wolfgang Schmid's bass to support a twangy electric guitar solo from Roy Louis. The Burt Bacharach-Aurthur-like sax theme returns in the fourth minute and takes us into the funked up fifth and sixth as organ and piano jam it up from beneath in a kind of New Orleans style. (I think of Dr. John). Nice tune whose solid performances supercede my aversion for this kind of music. (8.875/10)
2. "Aguamarinha" (4:10) another DAVID SANBORN-like opening led by Klaus' tenor sax turns way better when Klaus stops playing the sax. A wonderfully funky groove lies beneath those schlocky sax lines--which the band take marvellous advantage of in the ensuing two minutes as they support a wonderful muted/wah-wah-ed guitar solo from Roy Louis. At the three-minute mark Klaus's sax returns to take over. I must admit that the time through the main theme is much more pleasurable now that the passions of all the other musicians have been unleashed. (9/10)
4. "Sambukada" (4:30) an African village jam: all sorts of percussion and wind instruments open this before the jazz band join in with bass, drums, sax, and electric piano--this latter which is the instrument of choice for Klaus' first solo despite the saxes being the lead instrument for the exposition of the main theme. In the second half of the third minute a treated nasal-sax takes steps into the spotlight for the next solo. Then there is a return to full interplay of the African instrumentation peppered with Curt's drumming and a synth solo from Klaus. Happy and joyful. (8.75/10)
5. "Iguaçu" (8:42) opening with more African instruments, only scaled down quite a bit from the huge lineup of the previous song, the rock-jazz palette and themes are introduced almost immediately over the top of the bird/animal-like chattering horn/whistle/squeeze box that plays beneath it all in the same left channel as the parrot/bird in the album's third song. A Weather Report "Birdland"-like quiet passage takes over in the third and fourth minutes, allowing the percussives and incidentals coming from Kurt's keyboards (especially his clavinet) to shine through quite clearly along with some nice upper-octave rhythm guitar play from Roy. A return to full force sound occupies the fifth minute before there is a return to the quiet "Birdland" motif in the sixth through the seventh. Again the band slowly rebuilds its full palette into full-force fast-paced jazz-rock fusion while Klaus plays a soprano sax. I really like the rhythm work of this guitarist! (17.75/20)
Total Time: 40:47
90.78 on the Fishscales = A-/five stars; a collection of jazz-funk-founded tunes that qualifies in my opinion as a minor masterpiece of Third Wave Jazz-Rock Fusion.
LENNY WHITE Big City
The former-Return To Forever drummer's second solo album since leaving Chick's band, the follow-up to 1976's Venusian Summer, one of my all-time favorite Jazz-Rock Fusion albums. Recorded in 1976 between June and September, it was not officially released by Nemperor Records until 1977.
- Lenny White / Synthesizer, Bass, Piano, Arranger, Conga, Drums, Keyboards, Timbales, Moog Synthesizer, Producer, Oberheim, Horn Arrangements, Roto Toms, Announcer, Mini Moog, Arp Strings, Moog Drum
With:
- Brian Auger / Organ, Piano, Electric Piano (A1, B3)
- Clive Chaman / Bass (A1)
- Alex Ligertwood / Guitar (A1)
- Jack Mills / Guitar (A1 [Soloist])- Lennox Laington / Congas (A1)
TOWER OF POWER horns (A1);
- Lenny Pickett / Tenor Sax, Lyricon (A1 [Soloist])
- Emilio Castillo / Tenor Sax (A1)
- Greg Adams / Trumpet (A1)
- Mic Gillette / Trombone, Trumpet (A1)
- Stephen "Doc" Kupka / Baritone Sax (A1)
- Linda Tillery / Vocals (A2)
- Paul Jackson, Jr. / Bass (A2)- Patrick Gleeson (HERBIE HANCOCK)/ Synthesizer (Eu on A2, B2), Arp Strings (A2, A4), Brass (arranged and programmed on B2.c), Producer
- Ray Gomez / Guitar (Acoustic), Guitar (A2), Arranger & Composer (A4), Guitar (Electric), Performer, Soloist (B1 [second solo], B3 [right channel])
- Marcus Miller / Bass [weird] (A3.a)
- Verdine White (EARTH WIND & FIRE) / Bass [very funky] (A4)
- Herbie Hancock / Keyboards, Electric Piano (A2, A4)
- Onaje Allan Gumbs / Piano (B1)
- Neal Schon / Guitar, Guitar (Electric), Soloist (B1 [first solo], B3 [left channel])
- Jerry Goodman / Violin (B2.a, B2.b)
- Jan Hammer / Piano (B2.a), MiniMoog (B2.b), Piano, Electric Piano, and Mini Moog (B2.c
- Miroslav Vitous / Acoustic Bass (B2.b)
- Gary King / Bass (B2.c)
- David Earle Johnson / Congas (B2.c)
- Alex Blake / Bass (B3)
- Bennie Maupin / Saxophone (Soprano) (B3)
- Mike Gibbs / Piano, Orchestration (A3.b., B2)
- Michael Gibbs' Orchestra:
Violins: Michael Comins, Harry Cykman, Barry Finclair, Paul Gershman, Harold Kohon, David Nadien,
John Pintavalle, Max Pollikoff, Marvin Morgenstern, - Lamar Alsop / Violin, Viola
- Al Brown / Viola
Cellos: Jesse Levy, Charles McCracken, Alan Shulman
- Homer Mensch / Double Bass
- Homer Mensch / Double Bass
- Lois Colin / Harp (B2.b)
Flutes: Raymond Beckenstein, Harvey Estrin, Walter Levinsky
A1. "Big City" (5:22) a case in example that an impressive line up of musicians doesn't necessarily guarantee a great tune. Trying too hard and not really capturing the funk they're going for. (8.75/10)
A2. "Sweet Dreamer" (4:42) a sweet tune (the best thing on the album) with Bay Area legend Linda Tillery singing from her heart. Great bass play from Paul Jackson with awesome solos from Ray Gomez and Herbie Hancock. (9.25/10)
A3. "Interludes" - both are nice:
a. "Egypt" (1:00) a funky interlude?! Pretty good! (4.5/5)
b. "Nocturne" (1:24) swelling orchestral strings and harp. Nice. (I hear "Happy Birthday" melody in there--as well as a theme from Midnight Cowboy.) (4.375/5)
b. "Nocturne" (1:24) swelling orchestral strings and harp. Nice. (I hear "Happy Birthday" melody in there--as well as a theme from Midnight Cowboy.) (4.375/5)
A4. "Rapid Transit" (3:59) the closest thing on the album to exhibiting Lenny's potential as both composer, band leader, and drummer but still lacking anything as extraordinary as the music and textures of Venusian Summer. (8.87510)
A5. "Ritmo Loco" (1:08) electronic computer and acoustic percussion. The acoustic play is outstanding. (4.5/5)
B1. "Dreams Come And Go Away" (3:34) a smooth rock-jazz tune that sounds like something Eric Clapton was doing around the same time. Maybe this one shouldn't have been an instrumental. Too much of a jam. (8.75/10)
B2. "Enchanted Pool Suite":
a. "Prelude" (1:31) beautiful near-classical (I hear Ralph Vaughn Williams) duet between Jerry Goodman and Jan Hammer (4.5/5)
b. "Part I" (2:18) add Miroslav Vitous and harpist Lois Colin to the mix and then, later, Michael Gibbs' orchestra and Patrick Gleeson's synth. (4.375/5)
c. "Part II" (5:39) a Herbie Hancock-infused smooth jazz piece à la Earl Klugh. It works. Due to Michael Gibbs' orchestration, Gary King's bass with Lenny's drumming, and Jan and Jerry's continued contributions. (9/10)
B3. "And We Meet Again" (live) (6:41) a blues vamp captured live (cuz that's all these guys can come up with once they're all surreptitiously thrown together on stage without practice or forethought). (8.75/10)
Total time: 38:28
88.97 on the Fishscales = B+/4.5 stars; a near-masterpiece of diverse and loosely tied together Jazz-Rock Fusion that qualifies for the Fourth Wave or "Smooth Jazz" phase of the movement. A little too inconsistent, scattered, and perplexingly diversified to be highly recommended. Exactly who is this Lenny White and what kind of music does he really want to make?
AERA Hand und Fuss
Line-up / Musicians:
- Klaus Kreuzeber / Soprano alt-sax & flute
- Peter Malinowski / bass
- Christoph Krieger / violin
- Lucky Schmidt / drums (vocal)
- Muck Groh / guitar, vocals (7)
- Als Gast Onkel Latzi / Bariton-saxophone & oboe (7)
A German Fusion band from Nürmberg that was led by guitarist Muck Groh. They were active from 1975 to 1983. The album Hand und Fuss was recorded between September 14–18, 1976, at Tonstudio Hiltpoltstein and probably released by Erlkönig Schallplatten at the end of the year or early in 1977.
- Klaus Kreuzeber / Soprano alt-sax & flute
- Peter Malinowski / bass
- Christoph Krieger / violin
- Lucky Schmidt / drums (vocal)
- Muck Groh / guitar, vocals (7)
- Als Gast Onkel Latzi / Bariton-saxophone & oboe (7)
Side 1
1. "Mechelwind" (9:24) some American Southern rock-influenced themes and sounds with some very rock-like drumming, bass, and guitar playing. (Much of this song reminds me of American bands like THE OUTLAWS, DIXIE DREGS, early JEAN-LUC PONTY and perhaps Molly Hatchet and even a little bit of Lynyrd Skynyrd). Several impressively-sophisticated weaves back some nice rock-oriented solos. (18/20)
2. "Alabaster Keaton" (3:06) using variations on fairly familiar jazz melodies (from the flutes and acoustic guitar) the band presents a piece that sounds like some of the more folk-classical explorations of FOCUS. (8.875/10)
3. "Wrdlbrmfd" (5:33) a piece that has a more modern discordant edge to it (not unlike VAN DER GRAAF GENERATIOR while also preparing us for bands like SEVEN IMPALE). Once the initial weave has been beaten to death, the band shifts into a more relaxed though still-mathematical motif within which saxes, violin and guitar get to take some turns doing some soloing (but how boring for the rhythm section of bass, drums, and rhythm guitar). A good song but nothing to write home about. (8.75/10)
Side 2
4. "Elephen Elephants" (8:40) a little attempt at some JTULL both rhythmically and sound palette wise. This becomes especially evident when the flute and saxes become the lead instruments. There is also a bit of KCRIMSON feel to parts of this as well as a tastefully done (and well-recorded), extended, multi-part drum solo in the middle. When the band is allowed to rejoin it is through the heavily-effected ministrations of a picked electric guitar followed by some very pretty and enjoyable saxophone playing. Christoph Kreiger's echoed electric violin gets the next solo before the band uses a couple of sequences of slowly-ascending arpeggiated chords to close down the song. (17.5/20)
5. "Herbstzeitlos" (2:27) what opens like a mathematical exercise--and étude--ends up supplying enough grist for some melody making over the top. It's actually a decent little song! (9/10)
6. "Ad Absurdum" (5:06) this is a song that seems to indicate that the band needed to get a little Frank Zappa-like parody out of their system--here making fun of some of the musics used in American westerns or even some of the old Country & Western musics. The skills are obviously all here, I just don't find the humor of FZ-like parodies particularly entertaining (they're usually quite inane and dehumanizing). (8.75/10)
7. "Kamele On" (5:35) using a blues bass and drum rhythm track as foundation material, the guitarist band leader finally lets himself loose. The Allman Brothers-like guitar work is quite impressive; too bad the music supporting him from beneath gets a little stale. But then there is a switch at 3:30 into a new motif that is more mathematical but then they switch back to the first rhythm motif for an Spanish-Arabian take on the opening. I like it! (8.875/10)
Total Time: 39:48
Total Time: 39:48
An album of diverse and highly creative and mature compositions that are not as guitar-centric as one might expect having a guitarist for their leader and main composer. As a matter of fact, I commend Muck on the way his compositions get the entire band involved. While this shows little or no tendencies toward following the rising tide of melodic Smooth Jazz, there is a rockishness that seems to be pulling them away from the true J-R Fusion movement.
88.61 on the Fishscales = B/four stars; an excellent album to add to any prog lover with a proclivity for creative "Third Wave," pre-Smooth/Easy Listening jazz-rock fusion.
BENNY BAILEY - EBERHARD WEBER - SIGI SCHWAB - LALA KOVACEV Islands
Recorded at Studio Barbarossa, Munich, May 25 & 26, 1976 and is generally agreed to have been released on Enja Records early in 1977.
Line-up / Musicians:
- Benny Bailey / trumpet, flugelhorn
- Eberhard Weber / bass
- Lala Kovacev / drums
- Siggi Schwab / guitar, sitar
- Lala Kovacev / drums
- Siggi Schwab / guitar, sitar
A1. "So Far As I Know" (8:54) pretty straightforward jazz played with a little of Siggi's George Benson-like guitar stylings while Eberhard & Lala stay pretty straight and narrow. Benny Bailey is not a terribly impressive trumpeter to me. The song's best moments come from Siggi--both in his solo section and his rhythm support. (17.625/20)
A2. "Estrelle" (9:51) a 90 second intro of descending double-steps from both Eberhard and Siggi set up Lala for a hard driving rhythm track over which Benny performs strongly as if he's channeling Freddie Hubbard! I guess he can play! Eberhard, Lala, and Siggi are all over the place in a really cool motif supporting Benny's long solo. At the four-minute mark Benny finally yields, to Siggi, who plays a fairly standard slightly-flanged jazz guitar solo. This dude is talented! Meanwhile, there is no rest for Eberhard and Lala as they continue to play beneath--until a quieter sixth minute when there is a subtle hand-off to Eberhard for his turn in the limelight. I like Siggi's Jan Akkerman-like rhythm support! All this while Benny must've gone out for a smoke cuz he doesn't return until the eight-minute mark when he steps back into the lead to take the song to its conclusion over the rhythm section's Disco beat. (18.3333/20)
B1. "To Fly Or Not To Fly" (6:42) some serious funk over which Benny really pours out the Freddie Hubbard histrionics: just blowin' it out! The fretwalkin' bass play of Eberhard and the constancy of Siggi's rhythm guitar work and Lala's tight drumming remind one of James Brown's old JB's--even when Siggi gets his solo in the fourth minute his play is so tight, so subtle and nuanced, whereas Eberhard's solo in the fifth minute is more audacious and bold. These guys are so good! (9.125/10)
B2. "One Of Those Love Songs" (4:33) dreamy, floating on top of the gently rolling Mediterranean Sea music, though Benny's trumpet solo seems to come more from a bygone era--from the Sixties. Those flange effects that it seems that all of the other instruments are being fed through are really powerfully sedating. Nice melodies from Benny but, again, he's projecting from a nostalgic place in his past whereas Eberhard and Siggi seem to be dreaming of their last August vacation in the Greek Isles. (9.25/10)
B3. "Remember The Islands" (9:11) despite the occasional presence of Benny and his muted flugelhorn this song carries so much of the feel and stylings of JAN AKKERMAN's self-titled album from earlier in the year that I can't believe that Siggi, Lala, and Eberhard hadn't been listening to it before/during these sessions OR if the recording information can be trusted, perhaps Jan and his crew had been listening to Siggi and Lala over the past year (since Jan and Kaz Lux had recorded their extraordinary Eli album) and it is they who are influenced by Benny's rhythm section. (19.25/20)
Total time: 39:21
91.98 on the Fishscales = A-/five stars; a minor masterpiece of wonderfully-eclectic and forward-looking hybrids held slightly back only by the band-leaders sometimes-"old style" horn playing.
PASSPORT Igauçu
With this album, the band's seventh, the employ of Brasilian and African musicians the band moves more closely toward the realm of pop-oriented Adult Contemporary Smooth Jazz. Thankfully, they choose to retain a very firm footing in some nasty funky-town. Recorded (Probably at Dieter Dierks' home studio in Stommeln) in 1976, all sources seem to point to an early 1977 release date.
Line-up / Musicians:
- Curt Cress / drums, berimbau
- Klaus Doldinger / soprano & tenor saxes, organ, Moog, flute
- Elmer Louis / percussion
- Roy Louis / electric guitar
- Wolfgang Schmid / bass
Guest musicians:
- Mats Björklund / guitar (8)
- Wilson Das Neves / atapaques, pandeiro (4)
- Roberto Bastos Pinheiro / surdo (4)
- Noel Manuel Pinto / cuica (3-4)
- Clélio Ribeiro / berimbau (4)
- Marcello Salazar / percussion (4)
- Pedro Santos / percussion, whistles (3-4)
1. "Bahia do sol" (5:53) celebratory noises from some kind of street music festival opens this before guitar and organ arise to take over the auditory spectrum. Piano and tenor sax enter to present the chord base and lead melody. It's very David Sanborn-like. In the third minute the bluesy piano is left with Wolfgang Schmid's bass to support a twangy electric guitar solo from Roy Louis. The Burt Bacharach-Aurthur-like sax theme returns in the fourth minute and takes us into the funked up fifth and sixth as organ and piano jam it up from beneath in a kind of New Orleans style. (I think of Dr. John). Nice tune whose solid performances supercede my aversion for this kind of music. (8.875/10)
2. "Aguamarinha" (4:10) another DAVID SANBORN-like opening led by Klaus' tenor sax turns way better when Klaus stops playing the sax. A wonderfully funky groove lies beneath those schlocky sax lines--which the band take marvellous advantage of in the ensuing two minutes as they support a wonderful muted/wah-wah-ed guitar solo from Roy Louis. At the three-minute mark Klaus's sax returns to take over. I must admit that the time through the main theme is much more pleasurable now that the passions of all the other musicians have been unleashed. (9/10)
3. "Bird of paradise" (5:36) bird noises (parrots?) traipse along in the left channel throughout this slower, gentler, more pastoral BOB JAMES-ish tune. The band is tight, the funk coming from Wolfgang and drummer Curt Cress is real, but then the bottom nearly drops out as a long organ-supported passage supports a pretty cool, spacious, and impressionistic soprano sax solo from the bandleader. Bass, drums, electric piano, and percussion instruments return in equally quirky, impressionistic displays as the music slowly coalesces back into something resembling the opening theme. Very pleasant, with nice melodic hooks to carry with you once the song is over. I like it way more than I thought I was going to. Probably one of my top three songs from the album. (9.125/10)
4. "Sambukada" (4:30) an African village jam: all sorts of percussion and wind instruments open this before the jazz band join in with bass, drums, sax, and electric piano--this latter which is the instrument of choice for Klaus' first solo despite the saxes being the lead instrument for the exposition of the main theme. In the second half of the third minute a treated nasal-sax takes steps into the spotlight for the next solo. Then there is a return to full interplay of the African instrumentation peppered with Curt's drumming and a synth solo from Klaus. Happy and joyful. (8.75/10)
5. "Iguaçu" (8:42) opening with more African instruments, only scaled down quite a bit from the huge lineup of the previous song, the rock-jazz palette and themes are introduced almost immediately over the top of the bird/animal-like chattering horn/whistle/squeeze box that plays beneath it all in the same left channel as the parrot/bird in the album's third song. A Weather Report "Birdland"-like quiet passage takes over in the third and fourth minutes, allowing the percussives and incidentals coming from Kurt's keyboards (especially his clavinet) to shine through quite clearly along with some nice upper-octave rhythm guitar play from Roy. A return to full force sound occupies the fifth minute before there is a return to the quiet "Birdland" motif in the sixth through the seventh. Again the band slowly rebuilds its full palette into full-force fast-paced jazz-rock fusion while Klaus plays a soprano sax. I really like the rhythm work of this guitarist! (17.75/20)
6. "Praia lame" (2:58) more Weather Report-like palette that turns into some more DAVE SANBORN-like funk music before Klaus launches on a BOB JAMES-like Fender Rhodes solo over his masterful funkster support crew. These guys are so good! This little thing is one of my top three songs! (9.125/10)
7. "Heavy weight" (4:30) a heavily-funked-up piece that, unfortunately, moves along in territory that is a little too montonous and one-dimensional for my liking. (8.75/10)
8. "Guna Guna" (4:28) moving into the Funk/R&B territory of so many American bands--like DAZZ, Kool & The Gang, The Brothers Johnson, and The Isley Brothers--Klaus even tops it off with some of that reverbed multi-tracked (or chorused) DAVE SANBORN sax spouting off from the backdrop. Luckily these guys are really good--and there is some awesome soloing from guest guitarist, the young Mats Björklund, to entertain us. The jam is cut short by a long, slow fadeout (which means that in the studio it went on for much longer). It's good but this is not the direction I wanted to see the Jazz-Rock Fusion movement travel. (8.875/10)
Total Time: 40:47
Here we have eight songs performed at such a high level, by great musicians who, you can feel, are fully on board with Klaus' musical vision. However, what diminishes the end product for me is the sway and attraction Klaus is feeling from the draw of more popular, commercially-successful forms and styles of music: like the Bob James/David Sanborn jazz-lite and funk-R&B. I mean, I don't begrudge him: everybody is feeling it: even Miles and Burt Bacharach, Herb Alpert and The Isleys, The (Jazz) Crusaders and Herbie Hancock! There is comfort born of commercial and financial success! I'm just sad to be recounting, historically, the demise of the exciting peak years of discovery and experimentation that bread and defined Jazz-Rock Fusion.
89.167 on the Fishscales = B+/four stars; an excellent album of funky Jazz-Rock Fusion.
89.167 on the Fishscales = B+/four stars; an excellent album of funky Jazz-Rock Fusion.
A collection of Third Wave Power Fusion songs from a quartet that seems inspired to imitate and/or replicate the energies of Lenny White, Return To Forever, and even George Benson. Recorded at Criteria Recording Studio, Miami, Florida, in September of 1976, Joyous Lake was released by Warner Bros. early the following year, with some sources listing January 15, 1977
Line-up / Musicians:
- Pat Martino / guitars, synthesizers [EML 101 Synthesizer, Flexiglass], percussion
- Delmar Brown / electric piano [Fender Rhodes], synthesizers [EML 500 Synthesizer, Oberheim Polyphonic Synthesizer]
- Mark Leonhard / electric bass
- Kenwood Dennard / drums, percussion
A2. "Pyramidal Vision" (7:34) "wind" and pulses of bass riffs open this before Kenwood Dennard enters beating every part of his kit with Animal-like abandon before Pat and Delmar join in offering both grounding melody and Pat Metheny-like secondary motifs and melodies. Mark Leonhard finally settles into a groove (octave alternative notes of descending chord progression), but this only lasts for the duration of each of the second motif "chorus" sections. I absolutely love the chorus sections but lament for their relative brevity. The main body of the verses offers some really technically-impressive performances in order to make the weaves sound good, they're just not as melodically friendly as the choruses. (13.5/15)
GARY BURTON Passengers
A2. "Nacada" (4:11) it's nice, it's gentle, it's a Pat Metheny composition! The two bass players are prominent, getting to do their own thing, but it's just a little too soporific. (8.75/10)
A3. "The Whopper" (5:28) a song that sounds a lot like a Pat Metheny composition (because it is). I like the effort to make this one complex, sophisticated, and nuanced, with both bass players playing important roles, though Gary's vibraphone gets the lion's share of the lead time. In the fourth minute we get one of the first great Pat Metheny solos! Weird that it's opposed by Eberhard's own meanderings. (It doesn't work well; I try to block out Eberhard's work.) It does have hints of some of Pat's amazingly memorable melodies despite the syncopated sophistication. (8.875/10)
B1. "B & G (Midwestern Night's Dream)" (8:23) the third and final Pat Metheny composition is more pensive and cerebral with some pretty sophisticated (and unusual) chord progressions. I think the first solo is going to Steve Swallow, though it could be a tamed Eberhard. Pat's own solo starts in the middle of the fourth minute and it's another good one. Gary's solo comes next. He just makes it sound so easy--like he doesn't care how impressive it is so long as he feels comfortable in it. (17.75/20)
B2. "Yellow Fields" (6:58) of course a cover of an Eberhard Weber song (his last album released was titled after it), the first 2:30 is just a show for the composer but then they bust out a great smooth moving motif in which every one is involved in the fully-texturized weave. Pat gets the next solo--one of his Missouri specials with clever chord progressions mixed with unusual legato runs. A whole band bridge signals Gary's turn. Here Steve Swallow really gets to show his stuff while Pat and Danny support solidly but rather quietly. The whole band kind of takes us out by carrying the main melody to the finish. (13.25/15)
B3. "Claude and Betty" (6:16) unpredictable (perhaps mathematical) jazz chord progressions that the band expresses on this Steve Swallow composition, while Pat, Eberhard, and Gary embellish slightly over the top (as if adding a little something extra while still working from within the construct). Interesting. (8.875/10)
Line-up / Musicians:
- Eberhard Weber / double bass
With:
- Rainer Brüninghaus / piano
- Philharmonic Orchestra, Oslo / French horn, oboe, cello
1. "T. On A White Horse" (10:52) (20/20)
2. "Moana I" (10:10) (20/20)
3. "The Following Morning" (12:04) far more spacious and less melodic and less flowing that the previous two rather lush and sweeping song. The piano and double bass are more bare and authentic sounding--more jazzy--and less processed and engineered--the very thing that makes the album's sound feel like proggy fusion. I have, however, grown to like this one. Rated down for so much "empty" space. (21.875/25)
4. "Moana II" (7:42) this one is just a weird variation of the other Moana--with Rainer doing things that make him sound bored and Eberhard sounding as if he's just trying anything that comes to mind--like the first practice session out which "Moana I" came. Kind of unprofessional sounding filler. (12.25/15)
Total time 40:48
The arrival of this music--including Side One, a "perfect" side (an all-too-rare feat)--caused a profound awakening, such a dramatic transformation in my listening adventures and tastes, that I will forever be indebted to Eberhard and Rainer. Side Two is, unfortunately, far below the level of breathtaking beauty and much more experimental with 'soundscapes' than Side Two. Otherwise, this would be one of my favorite albums of all-time.
Wait a minute! It still is! I just turn it off after "Moana I"!
NO DRUMS! What a joy! What a revelation: that music doesn't have to have a 'beat'--or that it doesn't have to be provided by a standard drum kit. Hail to Brian Eno for turning off the drums! Hail Peter Gabriel and his WOMAD! Hail to Bill Bruford and his Simmons electronic drum kit! Hail to Zakir Hussein and his non-Western percussion! Hail to Mickey Hart and his ethnic musicology! Hail to Glen Velez and his hand drums!
If you want a trip to some of the most beautiful, peaceful inner mindscapes you could ever imagine, program "T. on a White Horse" and "Moana I" to play and repeat, over and over and over. I call this blissful place heaven!
I also love the orchestral support throughout the first two songs (something sadly lacking on Side Two's offerings). I'm really having trouble giving this album less than five stars, for it is such an unusual music listening experience, yet, the third and fourth songs, as mentioned, are far less appealing and engaging than the transportive first two. "T. on a White Horse" and "Moana I" are, IMHO, an essential experience of the mastery of truly 'progressive' music. This will be one of those rare times when the pieces of an album will earn the album a high rating despite the true 'adjusted rating' of the whole.
Line-up / Musicians:
- Billy Hart / drums (A1, A2, B1, B3)
A2. "Man Of The Light" (9:45) after a minute of solo violin intro piano, pulsating bass, and active drums
join in as Zbigniew and Joachim's right hand play a mind-boggling series of chords as if they were MIDI-ed together. Amazing! Then Joachim launches into a purely-jazz solo at the three minute mark while his left hand pounds the chords as if he's chasing something with a whole line of Howitzers. For some reason, Billy Hart's active drums feel fitting, appropriate, for this song--perhaps because the main melody and chord lines above are delivered with much more space than the previous song. I really like the flow of the key and chord progressions throughout this: they work within the expectations of my fairly-rigid programming. How Cecil McBee and Joachim stay so perfectly linked throughout the chord play is nothing short of a miracle to me. In the eighth minute it seems that Billy might either be tiring out as his dynamism and volumes both back down. Great song! (18.625/20)
94.06 on the Fishscales = A/five stars; a fully-certifiable masterpiece of Jazz that contains just enough elements of 1970s Jazz-Rock Fusion ideas and developments to allow me to justify its inclusion within the Compendium--within the mainstream lists of J-R F albums (though there is far more Hard Bop Jazz here).
Line-up / Musicians:
- Jean-Paul Musette / bass
- Jack Mauer / drums
- Tony Malisan / drums
- Dirk Bogaert / flute, vocals
- Paul Elias / guitar
- Charles Loos / keyboards
1. "Clear Hours" (2:32) great upbeat jazz rock fusion with a light funk to it (not unlike some of COS' music from this time--the Viva Boma era). The use of bright, cheerful flute in the mix is delightful--as is the wonderful (9/10)
2. "Valse De La Mort" (16:14) opening with a very serious, slow-paced almost classical pastiche with flutist Dirk Bogaert leading the way over piano, classically-played acoustic guitar, and bass--no drums. In the fourth minute the music even moves more into the domain of classical sounding music as Bogaert and pianist Charles Loos duet--eventually becoming a more sonata form for Loos' dynamic solo piano until 5:22 when Charles hands it over to Dirk: solo flute time. Hi-hat, and metronomic bass drum and rim shots enter near the end of the seventh minute supporting Dirk while he finishes his solo. At 7:49 deep thrum of electric bass and electronic keyboard enter, setting up a kind of dreamy yet-suggestive carpet for guitarist Paul Elias to start up some electric guitar soloing. In the tenth minute the band really explodes beneath Paul's fiery guitar playing as the drummer bursts into full kit exposition. A return to soft carpet mode for a bit while electric piano solos, exploding again for Charles to switch to a Moog-like synth for some soloing, but then everybody re-gels into a softer, gentler motif as they return to acoustic instruments (except for Jean-Paul's electric bass). Flute and piano dance around one another for several minutes while the guitar and toms sit out (thought nuanced cymbal play remains in full participation). Charles takes over again for a piano solo in the 14th and 15th minutes while flute-like organ chords support from beneath. A whole band acoustic bridge at 14:45 moves into a brief transitional series of chaotic jazz chords before the band comes out the other side with a nice little two-chord HATFIELD AND THE NORTH funky motif and palette--which they then use to take the song to its end. I'm not sure how the composer came up with the progression of all of these very different (and seemingly unrelated) motifs for the movements of this suite but it all seems to work--and they're all rather expertly, even adroitly, convincingly, transitioned from one to the next. The composition and performances are all top notch. The song, however, does not contain enough catchy melodies or hypnotic grooves to earn my top marks. (27/30)
3. "Sweetank" (4:26) using a rather unusual combination of upper and lower register electric funky bass, wah-wahed distorted electric piano to fill the middle ground of the rhythm track, and funk drumming with electric guitar, flute, and some electric piano and Moog synthesizer sounds to fill the lead positions, this is a catchy tune with a great chord progression to push and pull all of the odd sounds together. Nice blues-jazz guitar work from Paul Elias. There's even time for a solo from virtuoso bassist Jean-Paul Musette--here paired up perfectly with an astute drummer (which one?). The final minute of flying Jazz-Rock is sublime for its seamless flow of three different motifs. (9.3333/10)
Line-up / Musicians:
- Gary Moore / guitars, vocals (3)
- Don Airey / Fender Rhodes, Steinway grand piano, ARP Odyssey, ARP Solina, Minimoog, Hammond organ, clavinet
- John Mole / bass
- Jon Hiseman / drums, tubular bells, Latin percussion, gong, producer
1. "Put It This Way" (4:54) new conclusions: guitarist Gary Moore is definitely a rock guitarist; keyboard player Don Airey is definitely a prog wannabe, and; drummer Jon Hiseman is definitely one of the finest Jazz-Rock Fusion drummers/artists of his day. This song, however, feels just like one of Jan Hammer's pointless going-nowhere-fast songs: impressive musicianship but accomplishing little to no imprinting into my brain's pleasure centers or memory banks. (8.75/10)
2. "All Skin and Bone" (3:49) very catchy and groovin' with lots of cool drum and synthesizer inputs with Gary Moore's "distant" guitar note inputs. A very cool, earworm of a song--one that I will love to come back to again and again over the course of the rest of my lifetime despite the fact that it sounds more like an exercise or practice étude. Yet another demonstration of the supreme drumming skills of Jon Hiseman. (10/10)
4. "The Scorch" (6:02) opens like something from a Ralf Hütter and Florian Schneider (Kraftwerk) album that turns into something more akin to Patrick Moraz's Story of I, Larry Fast's SYNERGY, or even some of STYX's or Keith Emerson's work about this time. Gary Moore's counterpoint guitar play is much like the twin guitar work Scott Gorham and Brian Robertson were doing in Thin Lizzy. This is one of the few songs that I've heard in which drummer Jon Hiseman feels out of his element. Gary's switch to Jan Akkerman-sounding electric guitar for the final minute is cool. Again, I get the feeling that this song is more of a polished jam, not really a fully-developed song composition. (8.875/10)
89.11 on the Fishscales = B+/4.5 stars; a more-focused album than their previous release--this time sounding like a more cohesive Jazz-Rock Fusion exhibition--whose overall song quality falls short due to a lack of effort applied to the finishing aspects of each song.
GEORGE BENSON In Flight
The follow up to George's massive hit Breezin'--an album that sat atop the Jazz album charts for record sales for all 52 weeks of 1976 while it became Jazz' first certified platinum selling record (selling over 3 million copies). (It remains, to this day, one of Jazz' all-time biggest selling albums.) In Flight was recorded and mixed at Capitol Records, in Hollywood, California during August through November of 1976 and then released on February 4, 1977 by Warner Brothers Records.
A2. "The Wind And I" (5:04) the solid funk-lite foundation of this Ronnie Foster composition helps support some nice soloing from George and Ronnie. The strings are a bit thin and cheesy. (8.875/10)
2. "Hymn of the Uranian Sequels" (7:03) Unfortunately this Jean-Luc Ponty-like groove song suffers a bit from a compressed feeling: it's as if all of the high ends of the sound spectrum have been dampened/muted. Also, this is just too loose and underdeveloped to stand up to the extremely high standard of the amazingly full and sophisticated compositions that Michal had been penning up to this point (except for the other scrap heap from his previous German record label,
3. "Piece for 15 Strings" (4:35) a duet between Michal's 5-string electric violin and Emmett Chapman's treated ChapmanStick (the other 10 strings). Definitely previewing the spacey violin sound that will become Jean-Luc Ponty's standard about this time but more this song demonstrates far more of the sonic potential and versatility of the ChapmanStick than expected. It also demonstrates, once again, Michal's affinity for exploring the latest innovations in technology. (8.875/10)
4. "In the Wake of Awakening" (6:37) tom-tom-heavy drums with heavily "warped" fretless bass and odd ChapmanStick-like chords coming from the keyboard (an oddly-destabilized [chorused] clavinet?). Lyricon, Ula-scatting, and perform most of the soloing over the top of the underwater rhythm section. Kind of cool, interesting, but not my favorite sound palette. Plus, it has a weird little coda tagged onto the end that seems like more of a "loose end." (8.75/10)
5. "Aflatus" (5:10) Gentle GILLI SMYTH-like Ula vocalese accompanied by slowly played, slow-to--decay heavily-echoed and -reverbed electric violin for the first 2:20 before Ula's vocalese turns to her African/Santería-style percussive scatting--only with a heavily-processed sound product. Meanwhile, Michal's violin must've turned off an effect or two as it starts sounding more present, more defined. Again, interesting, but not a very pleasant or danceable song. (8.6667/10)
Total Time 43:19
A1. "Pure Imagination" (5:22) though I never liked the opening 20 seconds of this version of one of my all-time favorite songs, the rest of the song provides a wonderful rendition as well as a staunch example of the newly-dominant Smooth Jazz. This was, in fact, the piece that made me a superfan of flutist Hubert Laws. I never liked the way the piano was recorded/engineered on this song. (8.75/10)
A2. "Where The Wind Blows Free" (6:44) the magic in this song comes from the earworm of the chord progression of the main theme as well as the wonderful "side" work of the strings. One of the few songs on BJ4 that I still like today. (8.875/10)
A3. "Tappan Zee" (6:51) the magic in this song that I still like is the floating/drifting piano soloing that Bob does throughout: it almost sounds as if he's just playing around--as if he is unaware that he's being recorded or that he could care less about what his soloing sounds like he's just having fun being in the moment. Otherwise, this song is too sprawling and patchworked for my tastes. (13.125/15)
B1. "Nights Are Forever Without You" (6:25) the magical element of this comes during Eric Gale's guitar solo: the sublime motif played by the rhythm section beneath him, otherwise it just sounds too TV theme song like--the main melody too directly imitative of the vocal line of the 1976 pop hit by England Dan & John Ford Coley. (8.75/10)
B2. "Treasure Island" (6:41) A song I used to adore I now only really like for the gorgeous, spacious intro (before the guitar chords enter and ruin it); after that it just becomes the practice ground for the nauseating schlock that will become the massively overheard "Angela (Theme from "Taxi")" I do still enjoy Art Farmer's trumpet play and the strings work in the end section. (8.875/10)
B3. "El Verano" (4:55) I've always absolutely adored the intro and opening section of this song. In fact, I think I'd have to admit that this song still sends me into heart-wrenching throes of deep nostalgia--which means a lot. Though I now have less tolerance for the Smooth Jazz that BJ and songs like this helped usher in (that replaced the high-skill and experimental risky songs that peak-era Jazz-Rock Fusion had produced) I understand when perfection is so good that it becomes timeless. (9.5/10)
Total Time: 36:21
1. "Birdland" (5:57) iconic (though never a favorite of mine). (8.875/10)
RETURN TO FOREVER Musicmagic
The final studio album of Chick Corea's 1970s Return To Forever project. It was recorded in January and February of 1977 at the Caribou Ranch outside Boulder, Colorado, and then released in March by Columbia Records.
Line-up / Musicians:
2. "Hello Again" (Clarke) (3:49) proto-Smooth Jazz with Stanley singing a soulful love song with Gayle over some pretty but also cheesy music. (8.875/10)
RONNIE LAWS Friends and Strangers
This chart-topping album was recorded at ABC Recording Studios, Los Angeles, California; Davlen Recording Studios, North Hollywood, California; and The Chateau Recording Studio, North Hollywood, California during the months of January, February and March 1977, where it was produced by The Crusaders' Wayne Henderson. It was officially released on the Blue Note label in March 1977.
A1. "Goodtime Ride" (5:04) with a brilliant weave of multiple guitars and keys to make a thick funk "Space Race"-like bed for Ronnie and drummer Steve Guiterrez to set in forward moyion makes up the awesome "Emminence Frpny"=like opening motif. The seconf motif that the song alternates with severa; times over its five minutes is So;id J=R F. (9/10)
A2. "Saturday Evening" (4:33) with group vocals presenting the title theme this songs presents a solid radio- and dance-friendly song over which Ronnie and pianist Bobby Lyle offer some awesome solos (and support). (9/10)
A3. "Friends And Strangers" (4:46) another two-moyif blend , this one with more group vocals for tehe presentation and repetition of the message of the main title as well as some solos from Ronnie on soprano and Larry Dunn playing some Parliament-like Arp and Moog. (8.875/10)
A4. "Nuthin' 'Bout Nuthin'" (5:08) with an almost-gospel-like congregational choir singing a nearly-constant stream of lyrics (mostly the title on heavy repeat) this song has some energy that helps to hide the similarities to Ronnie's previous smash hit, "Always There." Also, there is much more funk, dynamism, and changes and bridges in this one that "AT" --everything mixed on high levels. (9/10)
B1. "New Day" (6:17) starting Side Two with something deeply emotional is smart: here the extremely soulful tenor sax is almost countered by the slap bass and swirls of electric piano and metallic percussion, but then things kick into gear in the second minute and we have another very heavy funk tune, thanks to the slap bass play of Donnie Beck and the synth and clavinet work of Larry Dunn as well as the amazing weave presented by the rhythm guitarists (Melvin, Roland). With such a thick funk weave it's even hard to notice much less pay attention to Ronnie and his (chorused) layers of saxophone or Bobby Lyle's electric piano. A great song in terms of bringing the funk but kind of weak for melody lines and lead soloing. (9.125/10)
A2. "Lemme At It" (4:16) here George has the assistance of uber-talented dillittante musician Charles "Icarus" Johnson playing lead guitar in order to fuse rock power rock tinged with a bit of Southern Rock with the RTF-like Jazz-Rock--probably conceived while working with guitar phenom Al Di Meola. Solid! (9/10)
B1. "Ómi (Fresh Water)" (4:50) the Brasilian feel is so well presented with such a percussion-heavy palette that it makes me wonder who wasn't playing percussion on the opening of this one! Awesome to hear the composer's trombone playing the lead over the dynamic Latin weave--and to have the wordless vocalese of the female background singers worked into the mix as well. (9/10)
90.0 on the Fishscales = A-/4.5 stars; an excellent near-masterpiece of funk-filled yet-diverse Jazz-Rock Fusion that bridges the Third Wave of sophisticated Power Fusion with Funk/R&B and Latin-Jazz and Fourth Wave Smooth Jazz. I think George was hoping to launch a few hits.
Guitar master Al Di Meola's sophomore release as a band leader and his most highly-acclaimed album of all-time. The internationally acclaimed jazz-fusion album was recorded between December 1976 and January 1977 and then released in April 1977 by Columbia Records.
Line-up / Musicians:
- Al DiMeola / electric 6- & 12-string and acoustic guitars, ARP synthesizer (2), ARP String Ensemble & piano (6), castanets & maracas (2), timbales (4), producer & arranger
With:
- Paco De Lucia / acoustic guitar (3-second solo)
- Jan Hammer / electric piano & Mini Moog (1, 6)
- Barry Miles / electric & acoustic pianos, Mini Moog (4)
- Anthony Jackson / bass guitar
- Steve Gadd / drums (1, 6)
- Lenny White / drums (2, 4), timbales (2)
- Mingo Lewis / percussions, congas (2, 4, 6), shakers, timbales, cowbell, organ & background synthesizers (1), ARP Odyssey & ARP sequencer (1)
2. "Midnight Tango" (7:28) a murkily-engineered song that always felt to me as if Al was pandering to the new wave of radio- and adult-friendly Smooth Jazz audiences. It's nice as elevator music. it's not until the first riff of Al's fiery electric guitar leap out from the dross of everything behind it at 4:15 that I finally find myself sitting up with any kind of hope. Alas! That one little riff, as magnificent as it is, is not enough to save the song--even when played over and over … and over and over. Nor is the oddly-tacked on Latin percussion party at the end. (13.125/15)
3. "Mediterranean Sundance" (5:14) the world's introduction to the fiery genius of Flamenco master Pace De Lucia. What an extraordinary piece! (So which one of The Trio is passion, which one fire, and which one grace?) If I have one complaint of this song it's of its length: a have always felt that it's too long, that the novelty of these guys flying around their fretboards in their friendly duel is just a bit overwhelming. (9.5/10)
Total Time: 37:18
By the time I heard this album I'd already been familiar with Carlos SANTANA, John McLAUGHLIN, and RETURN TO FOREVER, so I was primed for some amazing guitar pyrotechnics--which this album (and Al's predecessor, his solo debut) more than provided. While many people here on PA revere the work in the 1970s of keyboard wizard Jan HAMMER, I've never really been drawn in by his playing, his choice of sounds or his compositions, so this album loses a little on me when I can compare it to Al's contributions to RTF (which had Chick COREA, Stanley CLARKE and Lenny WHITE), Lenny WHITE (which had Onaje Alan GUMBS), or Stomu YAMASH'TA's GO (which had Steve WINWOOD and Klaus SCHULZE). The acoustic guitar duet with Paco DE LUCIA, "Mediterranean Sundance" (5:14) has always been a favorite of mine, and "Elegant Gypsy Suite" is impressive no matter how you look at it. The other songs are impressive compositions, technically amazing and performed at the highest level but have lost some of their lustre over the years. "Midnight Tango" is elegant and beautiful but seems a bit simple and immature now. It is, however, brought up a notch by Lenny's wonderful drum play. The album is very well recorded, mixed and engineered though at times it feels a bit sterile (and others murky), but it is undoubtedly a wonderful representative of a (then) young genius showing his precocious talents.
Line-up / Musicians:
- John Goodsall / electric & acoustic guitars, sitar, backing vocals, effects
- Robin Lumley / piano, Fender Rhodes electric piano, autoharp (5), clavinet, synthesizers (Minimoog, ARP Odyssey, Roland String), backing vocals, effects
- Percy Jones / bass, autoharp (7), marimba (8), effects
- Phil Collins / drums, lead vocals, piano (3), effects
- Morris Pert / percussion
1. "Sun in the Night" (4:25) with John Goodsall's sitar and an overall Indian feel (including melodic chant vocals from Phil, John, and Robin), the band start off with quite a BEATLES-like tribute. I actually like this song quite a bit. (8.875/10)
2. "Why Should I Lend You Mine" (11:16) the BEATLES-like sound palette is somehow continued despite the more-African Jújù guitar and Percy's free-floating fretless bass. Allan Holdsworth-like guitar in the center lead is cool but then it is followed by a pretty cool NOVA Vimana-like "jungle mystique" passage in which everybody's sound contributions are very quite and subdued: more mood-influencing than virtuosic or flashy-demonstrative. (They're trying to replicate the awesome harp & percussion interlude in the middle of YES' "Awaken.") At 8:30 the individuals begin to ramp up their volumes and with John making some AL DI MEOLA/CORRADO RUSTICI-like runs before the song starts to decay and rest again. Despite it's Vimana-"Awaken" references, I absolutely love this song! (Probably cuz I love Vimana and "Awaken.") (19/20)
4. "Hate Zone" (4:41) on this somewhat funky tune John and Percy try their best to replicate the funky sounds that JAN AKKERMAN created on his two 1976 releases. (9.125/10)
92.98 on the Fishscales = A/five stars; despite its imitative nature, this is definitely a masterpiece of Third Wave Jazz-Rock Fusion; Moroccan Roll is a far-better album than I ever gave it credit! It just took two years of submersion into the world of "classic era" Jazz-Rock Fusion for me to be better able to appreciate it!
Line-up / Musicians:
- Radim Hladík / acoustic & electric guitars
- Oldřich Veselý / acoustic & electric pianos, organ, ARP & string synths, vocals
- Fedor Freso / bass, bass mandolin, percussion, vocals
- Vlado Čech / drums, percussion
1. "Vysoká Stolička, Dlhý Popol / High Chair, Long Ashes" (10:12) sounds like a cross between early (pre-Wakeman) Yes and early Emerson, Lake and Palmer with some strains of Focus, Eloy, Hawkwind, Nektar, and Camel (and even a little Gentle Giant and Colosseum) thrown in there in equal parts. A song that seems to have thoughtful construction but at times may not express a cohesive, coherent purpose--often feels incomplete or unfinished--as if they were waiting for the arrival of one more band member who might provide the "missing piece" that would/could make this feel complete. Nice sound--with great engineering--of nice performances; it just feels as if it's lacking . . . a purpose, a raison d'être. (17.875/20)
2. "Ej, Padá, Padá Rosenka / Dew Is Falling, Falling" (6:36) a FOCUS-like opening with some searing Steve Howe-like guitar flurries turns even more FOCUS-like when the band settles into a church-like organ-based vocal section at the end of the first minute. The sound and styles of Radim Hladík's guitar wavers between those of 1972 Robert Fripp and 1972 Jan Akkerman. The singer's voice sounds a bit strained. All in all it is still an impressive and enjoyable song. (9/10)
3. "V Sobotu Popoludní / On Saturday Afternoon" (4:15) the band starts off in third gear and then proceeds to build a cool BILLY COBHAM-like tune. The insistence of the tandem bass-and-drum lines is clear and undeniable. The next motif sounds a lot like some of Italian band AREA's driving music from Crac! or even some of the peak J-RF from the likes of Lenny White or Tony Williams circa 1975-6. My favorite song on the album (probably because it is really the one that is the most genuinely founded in Jazz-Rock Fusion). (10/10)
Total Time 40:38
Line-up / Musicians:
- Pat Metheny / 6- & 12-string electric guitars, 15-string harp guitar
With:
- Lyle Mays / piano
- Eberhard Weber / bass
- Danny Gottlieb / drums
1. "Watercolors" (6:30) thus begins Pat's settling into the guitar sounds and group soundscapes that have become signatory to him and his collaborations. Take this song to the 1987, 1997, or 2007 "Group" and they'd all say, "Yep. This is our sound." After only knowing Eberhard Weber for his underwater electric bass sounds for 40 years, I find it such a pleasure to hear him playing within the "confines" and expectations of a standard jazz combo. And here we have a nice introduction to Pat's life-long collaborating companion, the great Lyle Mays--here only on piano but what a great start! The melodies, skills, jazzy phrasings, and clarity of sound are such a delight to hear. While I find absolutely no fault with this song, it does not reach out and grab my heart the way many of Pat and Lyle's future tunes will. (9.333/10)
2. "Icefire" (6:08) solo Pat on his 15-string harp guitar, offering a glimpse into the eternally-curious sound-pioneering side of one of Jazz, Jazz-Rock Fusion, and progressive rock's most adventurous, creative, well-rounded, and skilled musicians. The strums of the harp chords get a little boring (thank goodness he takes a break from them in the mid-section of this), but the melody lines created by Pat's main fretboard are spellbinding and gorgeous--sometimes soul-crushingly so. (9.25/10)
4. "Lakes" (4:46) a nice, melodic jazz piece that previews many future masterpieces (as well as Bob James' work for Touchdown and "Angela"). The cohesion and timing of the whole quartet is actually quite remarkable and should be duly recognized. Lyle's piano solo in the middle is, unfortunately, the only detractor from such a whole-group achievement as his role within the mix seems much more important than the expression of his own melodic ideas, and, thereafter, the band never really re-congeals as it had for the first two minutes while Pat finishes the song in the spotlight. Too bad. Those first two minutes were quite magical. (9/10)
Recorded between February 28 and March 12, 1977, the album was released by RCA Victor in May of 1977.
Line-up / Musicians:
- Marius Lorenzini / electric & acoustic guitars, vocals
Ann Ballester / acoustic & electric pianos, synthesizers (ARP Odyssey & Omni, Oberheim polyphonic), vocals
- Josquin Turenne des Prés / bass, guitar, vocals
- Alain Gouillard / drums
1. "Vedra" (6:35) nice Fender Rhodes-driven jazz-rock fusion of the Third Wave. (8.875/10)
2. "À la source du rêve" (7:45) a song that sounds quite a bit like something straight off of JEAN-LUC PONTY's albums of the previous year, Aurora and Imaginary Voyage. For me, it's drummer Alain Gouillard that really shines on this song--especially in the second motif with some Bill BRUFORD-like sound and techniques. Marius Lorenzini's acoustic guitar play is quite like the modern Django-style that Daryl Stuermer uses on the Jean-Luc albums mentioned, while Ann Baellester's multi synth-dominated play is quite fresh and adventurous, though always quite melodic. She really shines. And, did I mention bassist Josquin Turenne des Prés' excellent funk play with his Anthony Jackson sound? A most engaging, enjoyable, and impressive song, even if it is rather simply constructed; the lively, energetic play of all of the instrumentalists makes something "simple" into an impressive display of complexity. (13.875/15)
3. "So Deep Inside" (5:45) Trying to blend with some Chick Corea/Al Di Meola riffs and themes with the There's even some part (in the fifth minute) that reminds me of UK's debut album! Like a lot of the music on the next band's next album, I can hear beginning strains of similarities to the quirky music of 2010s Camembert unconventional fringe Zeuhl. (8.875/10)
4. "Le temps d'un solo" (5:43) weaving their creative instrumental play with a somewhat STEELY DAN sound palette over another fairly simple (two-chord) construct allows for plenty of opportunity to show some flash--they're all doing it: from drummer Alain Gouillard's Steve Gadd-like rudiments to Marius Lorenzini's Jeff "Skunk" Baxter guitar tone and style, even down to Josquin Turenne des Prés' Chuck Rainey-like funk bass playing. Nice! (8.875/10)
7. "Alone, Completely Unknown" (6:55) Ahh! Here we get the first serious evidence of the band's future direction and predilection! Some quirky Jazz-Rock Fusion founded, at first, in some of the basic tenets and lessons of Second Wave J-R Fusion, but then stepping down a pop-rock side street when the vocal motif starts. The signs of this being only the infancy of this path lie in the interesting vocal arrangement: alternating male and female dialogue similar to that which HUMAN LEAGUE will exploit in a few years on their monster hit, "Human." A cute, likeable song that, when compared to the much more sophisticated weaves of the next album, feels infantile and simplistic. (13.125/15)
Total Time 44:28
I can see why so many reviewers elevate this album above its successor: it's quite melodic and its simpler instrumental palette does make it a bit more accessible and engaging. The musicianship is also incredibly high, but the quirky, unusual complexity of the next album--with a full complement of five musicians working relentlessly on some very challenging and more mature compositions--makes it superior to me.
Line-up / Musicians:
- Ara Tokatlian / flute, tenor & soprano saxes, piano, Fender Rhodes, Mini-Moog & PS 3000 synths, native winds, vocals
- Ignacio Elisavetsky / guitar, vocals
- Guillermo Bordarampé / bass, acoustic guitar, bandura, alto vocals
- Jose Luis Perez / drums, percussion
- "Elemental De Tierra" :
1. "Gob (Maestro-Mago De Los Gnomos)" (5:58) awesome opeing with some very impressive drums-and-percussion interplay with distant saxophone and Fender Rhodes adding accents in the backgrround. At the very end of the first minute the band shifts into a punctuated Mahavishnu/RTF-like performance of electronic instruments. Man! This drummer is so good! (And his drums are recorded so perfectly for this kind of dynamic power Jazz-Rock Fusion!) Surprisingly, Ara Tokatllian's tenor saxophone takes the first significant solo--really flying off into near-Coltrane free jazz realms with his reckless abandon! But the support crew keeps me well engaged--and makes Ara's craziness quite tolerable. Bass player Guillermo Bordarampé is also quite impressive, but the work of percussionist Jose Luis Perez may rival that of both Ara's sax and his own drumming! It's really hard to imagine Third Wave Power Jazz-Rock Fusion being any better than this! (10/10)
2. "Destilando El Perfume De Los Minerale"s (4:58) with the gentle piano and flute opening to this it's hard to fathom its supposed-connection to the previous song (within the umbrella of the "Elemental de tierra" suite title). Vocals and soaring saw-synth enter with Guillermo's melodic bass as Ara's piano and synths expand their involvement beneath the singing. There is some feeling of RPI bands like PFM and Maxophone as well as Chick Corea in this as well as some KHAN! Pretty but nothing as Earth-shattering as the opener. (8.875/10)
4. "Djin (Maestro-Mago De Los Salamandras)" (3:52) metronomic piano chords support a rather bombastic intro with drums, bass, and multiple searing guitars exposing the power this band is capable of. But, this only lasts about 50 seconds before the storm passes and we're left with piano and soprano sax (and, soon, flute) to deliver some gentle pastoral beauty for about a minute before the drums-and-duo-guitars explode onto the scene again. This cycle continues until the pastoral and main theme combine to softly take us out. (9.25/10)
6. "Necksa (Maestro-Mago De Las Ondinas)" (8:07) opens to quickly establish a cool Jazz-Rock Fusion bass and drum groove, funky yet well-steeped in rock, before tenor saxophone presents the main melody. The bass player's style sounds like Stanley Clarke with the thick bass lines mixed with heavy bass chords. So cool! An extended "pause" or "repeat" in which no real soloing is going on is then followed by another explosion of sax melody-making before the music shifts into a different motif--one that seems to combine a 1960s spy-theme with the big RTF sound palette. At 5:45 things thin out, making way for the arrival of vocals: first all female choir, then male. By 6:30 the music turns back to all-instrumental with a more Latin rock sound and feel while a spacey synth and flute fly above the rhythm guitar and heavy bass work. Excellent! (14/15)
- "Elemental De Aire" :
7. "Los Nacidos Del Viento" (3:57) a gentler, more spacious soundscape is created over which breathy, gentle male vocalist (doubled up?) joins in sounding like a cross between something between classic NEKTAR, CAMEL, CELESTE, PFM, and modern DEVIN TOWNSEND. Sax and odd synth sounds take the lead in the fourth minute before volume-pedal-controlled electric guitar notes and flute provide bird-like sounds to take us out--while the gently-arpeggiated electric guitar chords that started it all continue throughout and right to the end. Very pretty. Almost more prog folky than JRFuse. (9.125/10)
8. "Paralda (Maestro-Mago De Los Silfos)" (8:09) a rock-heavy Jazz-Rock Fusion song built around a variation of Henry Mancini's "Peter Gunn" while deploying a heaviness that well-emulates the peak music of VAN DER GRAAF GENERATOR: this is truly remarkable! At 4:45 the band takes a detour down a JAN HAMMER-like road so that Ara Tokatlian can show off his synth prowess--in two channels--in opposition to his guitarist, Ignacio Elisavetsky. An extraordinary duel (triel?)--one that is right up there with anything Mahavishnu or RTF or their numerous offshoots and imitators ever did. (14.25/15)
Total time 39:20
What a lineup! This is not The Jazz Crusaders--it may not even be The Crusaders now that Wayne Henderson has moved on: What Tom Scott's L.A. Express has done is expanded their lineup to include several more of L.A.'s very, very top in-demand studio musicians for a project that may have turned out their best music . . . ever! Recorded at Hollywood Sound Recorders, Hollywood, December 1976 and then released by Blue Thumb Records on May 25, 1977. Despite the fact that Free as the Wind topped the Jazz charts for a few weeks I still consider it one of their tragically under-valued albums.
A2. "I Felt The Love" (5:10) this Stix Hooper contribution carries with it the funk and attitude that Donald Fagen and Walter Becker were able to so ably capture on their Aja album. Wilton Felder does a great job leading the way over the first two minutes. In the third minute there is a slight shift toward Bob James-dom as we move into Joe Sample's extended solo: not only his keyboard sound but the funk-lite support that exudes from the band (the bass, clavinet, and guitars), the horns, the orchestra. Then it seems as if the whole neighborhood gets involved to take us home. Great song! Probably my favorite song on the album. (9.333/10)
A3. "The Way We Was" (5:24) this Robert Popwell composition feels as if it's paving the way for the world to get used to the music of both Rickie Lee Jones and Bob James Touchdown and Taxi/Angela phenomenon. A bluesier feel and foundational palette than the previous songs due to the swampy organ and guitar performances as well as the Black party/celebratory background voices throughout (which makes me think I'm listening to an episode of Sanford and Son, Chico and the Man, or Starsky and Hutch. The music is good, the musicianship excellent, but it's not really in my realm of preferences. (8.875/10)
A4. "Nite Crawler" (4:45) a Larry Carlton composition that is just too bare-boned and simple: it reminds me more of something from either a David Sanborn or Kenny G album. Larry's countrified guitar sounds and Joe Sample's Bob James electric piano sound fitted over "Stix" Hooper and Robert Popwell's mundane, white toast rhythm track just turn me off--make me think I'm listening to elevator music. This lineup is just too talented to let shlock like this make the final cut. (8.667/10)
B2. "Sweet N' Sour" (8:57) back to the full-studio format with the orchestral lines being much more active and, at times, almost independent (before going "Shaft" finale in the third minute). Joe's electric piano sounds so frail and delicate throughout his solo--which makes me wonder how and why he chose that particular group of settings on his keyboard. An electric guitar solo takes over the fifth minute as the band quiets down to let (Larry?) get started, but after about 30 seconds they're done: the rest of the band comes back in, building up to full force ("Shaft" pulses)--which seems to be the signal for the turnover to the next soloist (this time Wilton Felder). The next round brings on some scattered instruments before a horn section of saxophones picks up the baton--around which the rest of the band rallies and builds the usual wall of sound before yielding to another electric guitar solo that becomes enmeshed within a (couple of) sax solo(s). Pretty cool if theatric/cinematic sounding song. (17.5/20)
Line-up / Musicians:
- Eddie Henderson / trumpet (1, 2, 4-8), flugelhorn (3, 8), arrangements (4, 8)
With:
- Dianne Reeves / vocals (2, 5)
- Howard King / vocals (5)
- Lee Ritenour / guitar (1, 5)
- Al McKay / guitar (2, 6)
- Patrice Rushen / piano (2), electric piano (2, 5), clavinet (1, 2), Strings Ensemble (1, 5), Mini-Moog (6), bass (5), percussion (1, 2, 6), vocals (2, 5), arrangements (2, 6)
- George Cables / electric piano (3, 4, 7, 8), clavinet (4, 7), Mini-Moog & Strings Ensemble (7), arrangements (3, 7)
- Charles Mims Jr. / Mini-Moog (1), electric piano & clavinet (6)
- James "Mtume" Foreman / piano (1), percussion (3, 4), congas (4, 6, 7), vocals (2, 5), arranger (1, 5)
- Manny Boyd / sax (2,4,6), flute (7)
- Connie Henderson / flute (7)
- Julian Priester / trombone (2, 4-7)
- Paul Jackson / bass (1-7)
- Howard "Locksmith" King / drums (1-7)
- Skip Drinkwater / percussion (4-6), producer
- Philip Bailey / congas & bongos (1, 2)
1. "Say You Will" (4:28) so this is how it's going to be: Disco Jazz-Funk! There is the skillfully-played musicianship coupled with repetitive dance grooves with their instrumental riff "hooks" and engageable melodies. The main melody as presented by Eddie on his trumpet prepares us for Debbie Harry's awesome 1980 hit, "Rapture," while the mesmerizing bass 'n' drum line beneath feels as if it came straight out of The ISLEY BROTHERS' 1975 release, The Heat Is On (like a slightly less bass-heavy "Fight the Power"). (8.875/10)
2. "Open Eyes" (3:53) slow it down to Bob James pace, Paul Jackson's funky note-sliding bass line is so cool! Active horn section, Patrice Rushen's clavinet, and choir sultry background vocals make for a great cocky-urban groove to fall into. Here the effect of the percussion ensemble is felt and Eddie really lets us hear his trumpet talents. Nice--though it is faded out to end it (indicating, of course, that the original jam went on for some time longer). (9/10)
3. "Morning Song" (5:38) discarding the Disco and R&B stylings for a song is a good thing. Here they are reaching back into the soulful early 70s with a Bob James/Steely Dan kind of spacious style. I like this very much as it reminds me much more of the true essence of some of those original pioneers of Jazz-Rock Fusion--the ones who were seeking to catch listeners with melody, comfort, and ease. Eddie's lead trumpet play is quite smooth and modest, rarely showing his skills, settling more for the engaging melodies of the classic soul singers of the 1960s. (8.875/10)
4. "Movin' On" (5:54) I'm wondering if the "dirty" production on George Cables' electric piano intro was intentional or not. No matter. After 30 seconds of solo electric piano, the band appears with a Disco-lite motif that predicts HERB ALPERT's 1980 hit, "Rise." George's clavinet play above Paul Jackson's centering bass line is great while the electric piano strays and spices things up beneath the steady beat provided by the Locksmith. The long reverbed trumpet notes are pretty cool even if they are mixed a little further back than I would have expected (or liked). With so many percussionists employed for this song I would have expected more noticeable action coming from that department, but no. My favorite part of the song (beside the clavinet and Fender Rhodes play) is Manny Boyd's excellent sax solo in the third and fourth minute. Again, like Herb Alpert in "Rise," Dr. Eddie stays the course pretty firmly with his long-sustained reverb note playing throughout. (9/10)
5. "Return to the Source" (4:32) a song that sounds like a slow-motion version of one of The Isley Brother's popular uptempo funk songs from their Heat Is On-Harvest For the World-Go for Your Guns period (1975-1977). Eddie's muted trumpet play is awesome, the pace a little discombobulating because it's slower than you would want or expect, but it does allow for plenty of chances to observe the talents of band members like the rhythm guitarists and vocal choir. Great rhythm guitar work from Lee Ritenour and some of the album's best trumpet playing by Eddie. (9/10)
6. "The Funk Surgeon" (4:59) fully committed to the Disco era: multiple rhythm guitars, slap and pluck bass, bass- and hi-hat-centered drums, EWF-like horn section, Patrice Rushen's novelty sound of duck-like Mini-Moog--it's all here for a dance-floor novelty song. Which is sad for the way in which Eddie's trumpet becomes so secondary (or tertiary) to the music--even going so far as getting buried within the mix instead of up front. (8.75/10)
7. "Beyond Forever" (4:38) one of the most interesting songs on the album--mostly due to its mid-song tempo increase and the remarkable instrumental performances that come with that. Not only are the performances of Paul Jackson, George Cables, and Locksmith off the charts impressive, the composition (by George Cables) displays a songwriter who is anything but complacent--someone who wants to continue to keep the exciting, exploratory nature of jazz alive within the music industry. Great song! (Too bad they faded it out again: I would love to hear what else they had to say!) (9.375/10)
8. "Connie" (3:05) an Eddie Henderson composition that finds the flugelhorn player expressing from a tradition that feels closest to that of Miles Davis and/or Freddie Hubbard. George Cables is Eddie's lone accompanist--on a sparkling Fender Rhodes. Very reflective and introspective. I love Eddie's emotional side. (9.25/10)
Total Time: 37:07
FERMATA Huascaran
3. "Solidarity" (6:34) a song that shows how well the band, and especially keyboard speicalist Tomás Berka had studied and perfected the emulation of RtF leader Chick Corea's music and style. this one like "The Magician" or "Majestic Dance." (9/10)
4. "Huascaran II" (11:13) another Return to Forever imitation on which drummer Karol Oháh and bassist Ladislav Lučenič get to show quite prominently their own mastery of the styles and sounds of Lenny White and Stanley Clarke, respectively. On the front end, Frantisek and Tomás do their part in closing the amazing circle of imitation (of "The Medieval Overture"). The extended outro (1:50) of synth-generated birdsong and kick drum-generated heartbeat is a bit over the top. Great imitation. Wish it had more originality to it. (17.75/20)
Total Time: 38:58
Though too often a pretty obvious imitation of Return to Forever's Romantic Warrior, this is quite an exceptional album for its musicality and musicianship. Imitation is, after all, the highest form of praise, n'est-ce pas?
Line-up / Musicians:
- Joaquín "Max" Sunyer / electric & acoustic guitars
- José "Kitflus" Mas / piano, electric piano, synthesizer, clavinet
- Primitivo Sancho / bass
- Jordi Colomer / drums
1. "Sentiments" (1:50) wonderfully potent atmosphere that begins to deliver big time with the MAHAVISHNU-like finish. Wow! Great start! (5/5)
2. "Andalusia, Andalusia" (5:37) such great sound coming from the drums, hefty electric bass, and joaguín "Max" Sunyer's Al Di Meola/Corrado Rustici-like electric guitar! It builds and forms, and fills the sonic landscape just like a RETURN TO FOREVER tune. Keyboard maestro José "Kitflus" Mas has a sound palette and style that is to my ears more similar to that of JAN HAMMER than Chick Corea--and there's nothing wrong with that--though his keys are often oddly mixed just behind the other band members. Still, Kitflus and Max keep us mighty entertained with their lightning-fast runs performed in perfect synchrony. Great first full song even if a bit overly RTF. (9.25/10)
5. "Magic" (6:23) human-made dog barking and other sounds open this one up until a coaches whistle announces the real start to the song: a delightfully funky affair that presents some very engaging melodies amidst some quirky sounds and riffs. The funk bass seems quite reinforced and perhaps even enhanced by Kitflus' clavinet while Jordi's drums hold a pretty steady Billy Cobham-like beat but it's the keys that are definitely the star of this show! Nice, tight, easy-going. (9/10)
JEAN-LUC PONTY Enigmatic Ocean
2. "The Trans-Love Express" (3:56) great groove with everybody clicking and in sync. Nice sound engineering--though the keyboards sounds will be better in the future albums. (8.875/10)
3. "Mirage" (4:54) hypnotic and beautiful--especially the sound of Jean-Luc's heavily-effected electric violin. (9.25/10)
4. "Enigmatic Ocean"
Part I (2:20) synth and percussion opening to which Jean-Luc and, later, the rest of the band are added. The establish some fair groundwork for the suite (4.375/5)
Part II (3:35) a fast pace does not guarantee a great song: technical skill is certainly on display, but melodies are certainly lacking. (8.875/10)
Part III (3:43) the funky side, of course. Daryl's work on rhythm is exemplary. Allan is beyond reproach. (9/10)
Part IV (2:24) a nice closing to what never really felt like a suite of connected movements. (8.875/10)
5. "Nostalgic Lady" (5:20) another beautiful song with great melodic sensibilities expressed from Ralphe, Allan and Jean-Luc. (9.25/10)
6. "Struggle Of The Sea Turtle"
Part I (3:32) one of the most purely perfect and original of Jean-Luc's songs here. Perfect balance between the band members. (9.5/10)
Part II (3:33) using some of the melodic hooks of "Part I" the band chugs along--interestingly, at a variety of speeds. Steve Smiths best drumming on the album. (9/10)
Part III (6:05) opens with Ralphe's coming out party. Then Allan gets his turn with a weird synth. Daryl gets a solo but is then followed by Allan--who is so smooth and amazing it makes Mr. Stuermer look amateurish--which is sad cuz he is not. And the the song--and the album--just suddenly fades out! It's over! And it makes no sense! (8.875/10)
Total Time 45:00
91.18 on the Fishscales = A-/five stars; a minor masterpiece of proggy jazz-rock fusion. The album has some great individual performances but lacks the amazing flow and sound engineering of the next album.
- Morris Pert / percussion
A3. "Now That We're Alone" (1:30) beautiful EBERHARD WEBER-like bass and electric piano. (4.675/5)
A4." Lullaby for a Sleepy Dormouse (for Georgie)" (5:25) gorgeous Smooth Jazz motif over which Gary does some very nice EARL KLUGH-like nylon string guitar playing. (8.75/10)
B2. "Pendle Mist" (5:40) cymbals, bass, and Fender Rhodes take the first 1:45 to create a very mysterious, sexy, and spacious late-night motif which Gary finally joins playing in his Al Di Meola-sounding acoustic guitar. It's a really nice piece for the space that allows the musician and listener plenty of time to hear the nuanced skills of these mature performers. I love the fact that everyone seems to hold value for the mood their setting rather than move into some of the flashy soloing that they might be craving. Beautiful. I know I'd play this on repeat around midnight for a ruminative sit in my NYC penthouse apartment if I had one. (9.33333/10)
STEELY DAN AjaThough popular and received a ton of pop radio play, this album was, to me, a masterpiece of "almost" jazz fusion. I mean, look at the musicians involved with the project it reads like a Who's Who of the Jazz fusion scene in LA in the mid-70s: Joe Sample and Larry Carlton of the Jazz Crusaders, Wayne Shorter, Steve Gadd, Victor Feldman, Tom Scott, Jim Horn, Chuck Findley, Denny Dias, Jay Graydon, Steve Khan, Dean Parks, Lee Ritenour, Pete Christlieb, Don Grolnick, Michael Omartian, Richard "Slyde" Hyde, Plas Johnson, Jackie Kelso, Lou McCreary, Bill Perkins, Bernard Purdie, Chuck Rainey, Ed Greene, and Jim Keltner and Rick Marotta!!! FAgan and Becker orchestrating a fusin big band! Tight, one of the best recorded and engineered albums I had heard up to that point (so far superior to their previous albums in terms of sound engineering). The album sounds, to this day, like a sonic wet dream. After months of recording sessions and editing time ABC Records was finally able to officially released Aja on September 23, 1977.
To be sure, one of the iconic albums of the 70s--with every song evoking memories of sunshine and ease (my college days). A masterpiece that stands up over time better than 95% of the stuff that came before or since.
JAN AKKERMAN Jan Akkerman
Let's start with Side 2:
B1. "Streetwalker" (6:59) has got to be one the ten greatest electric guitar songs ever recorded. Subtle accompaniment (though listen to those drums!) allow Jan to display his rhythm virtuosity before, between, and while (!) diving into several extraordinarily diverse lead techniques in his solos. The timing and emotion are extraordinary--even/especially that of the orchestra! What a composition! [16/15]
B2. The rhythm/strumming work in "Skydancer" (5:14) is mesmerizing, though the song lacks a hook to really bring the listener into the song: it really sounds more like a track over which Jan gets to play around, over and over, trying to embellish the infinite variations of the chords and chord progressions he's experimenting with. At least, that's the first two minutes. Then it switches into a funk-fest of rhythm guitar freakishness before settling back into a more-jazzier style. Great interplay in the fourth minute between Jan's chords and Michael Gibbs' strings chords. The final minute alternates between funky guitar soloing, chord stroking, and the guitar-orchestra duet. [8.875/10]
B3. "Floatin'" (5:13) notes a reunion with Pierre van der Linden, friend and drummer extraordinaire from Brainbox and Focus days. (Jazz-Fusion drummer Bruno Castelucci performs batterie on all other songs.) The song only makes one one realize A) how much beyond the Focus era Jan already has traveled, B) just how good Bruno Castelucci is, C) just how Rock and Roll-oriented Pierre is, and D) just how much a better fit Bruno Castelucci is for this period of Jan's career. The opening melody lines are interesting for their StanleyClarke/"piccolo bass" sounds. Nice keyboard work from Joachim Kühn. Drums and keys get to shine the most on this one. [8.75/10]
B4. The album's last song, "Gate to Europe" (3:03) is a minor-keyed work on the acoustic guitar with orchestral accompaniment somewhat prescient of the Claus Ogerman sessions (which are beautiful in their own right, though they are intended to augment and display Jan on his electric guitar). The guitar work in the piece has more of a Baroque classical feel to it than jazz or rock (almost Christmas carol-like). [8.75/10]
Now to Side 1:
A1. "Crackers" (4:19) is a very catchy disco-sounding song with more subtle, almost background, lead guitar work. There is a very nice foundational keyboard performance from Joachim Kühn playing piano and Fender Rhodes at the same time and a great tandem disco performance from Bruno and bassist Cees van der Laarse, but there is only guitar highlight: one feckin' amazing albeit oh-so brief lead guitar solo in the third minute (a tease of things to come); otherwise Jan's performance is mostly more display of his awesome rhythm guitar instincts and techniques. [8.875/10]
A2. "Angel Watch" (9:51) is a lushly orchestrated ten minute song in which the drums compete with, yet embellish and accent Jan's extraordinary work in first section (about three minutes). (Great bass play from Cees van der Laarse as well.) The second disco-fied section allows the bass some ascendancy while Jan's treated guitar spits and stutters just before a section of muffled Wes-Montgomery-like chord playing. The disco heats up as Joachim Kühn sounds Don Pullen-like on an acoustic (yes: acoustic) piano solo-which only gets Jan riled up as he takes over: flaming the other jazz artists to cinders with a flashy (though strangely soul-less) foray into speed for speed's sake. The final two minutes allows slap-bass and gentle strings to take the song out with a long fadeout. Wow. What a strange yet extraordinary ensemble piece--one that would fall flat on its face were it not for Michael Gibbs' orchestral bridging. [18.5/20]
A3. Side 1 ends with the gorgeous, etheric (not unlike some of Jean-Luc Ponty's pre-"Smooth Jazz" work around this same time), "Pavane" (5:32) The swirling keys accompanying Jan's chorus statement are too cool! The treated guitar effects that Jan uses here are not unfamiliar to the later Focus days, strumming not unlike the amazing Eli work, Jan is all over the fretboard and in and out of the time-space continuum (as we know it) with this one. The drumming, bass, and strings are simply too perfect in support. The song's dénouement is rather protracted: it's only weakness, in my opinion. [9.5/10]
Total time: 40:13
A2. "Living Inside Your Love" (5:28) taking a recent jazz-pop hit tune (an Earl Klugh-Dave Gruisin composition that first appeared on Earl Klugh's popular breakout album of the previous year, Living Inside Your Love) and bringing it into the fold of popular cover tunes certainly does a lot to increase the value and audience to a song. Despite the vocal track being imbedded into the weave of the music and dispersed among multiple voices, Googie Coppola's performance here is quite remarkable--like a blend between Minnie Ripperton, Patti Austin, Deniece Williams, Lani Groves, and even a little bit of Diana Ross. It's such a great song--such ear candy--that it'd be hard to ruin it even if you didn't have an amazing singer to bring it to light. (9.125/10)
SHAKTI Natural Elements
8. "Peace of Mind" (3:21) is an absolutely gorgeous song which seems to truly capture the astounding Beauty of true Peace. (10/10)
BILLY COBHAM Magic
Another new lineup of collaborators does not mean Billy Cobham will sacrifice any of his integrity: he remains firmly committed to the high-fallutin' principles of high-quality, sophisticated Jazz-Rock Fusion. The album was recorded at Electric Lady Studios and Manta Sound and then released in November 1977 on the Columbia label.
Line-up / Musicians:
2. "AC/DC" (5:27) spacious Latinized funk with the Escovedo family well-engaged (sister Sheila ["E"] having only burst onto the music scene in the previous year), it's bassist Randy Jackson who, as on the previous song, seems to dictate the pace, space, and melodies! After 90 seconds of spacious syncopation, the electric keys enter and smooth things out--over which Peter Maunu lets loose with a pretty awesome NEAL SCHON-like guitar solo while Randy funks things up below with some slap and pluck bass playing. Then Joachim Kühn takes a turn on the MiniMoog play provding us with an awesome and even rather amazing solo. Then things kind of let us down gently to the full stop finish. (9.25/10)
3. "Leaward Winds" (3:39) a melodic and Easy Listening tune on a par with those of Bob JAMES in that the musicianship is still top notch and subtly sophisticated. A little Steely Dan feel in the keyboards and chord progressions while Peter provides another super-engaging guitar solo up top. Mark Soskin is next with his piano solo while also sassing things up beneath with some Oberheim synth stuff. (9.25/10)
5. "'Antares' - The Star" (5:11) another great tune with lots of carnival-esque Latin flavor (grâce à the Escovedo family, again) with some equally great drum play from Billy, instinctual bass play from Randy Jackson, guitar and clarinet play. (I am unexpectedly loving the presence of the clarinet on these songs!) (9.125/10)
6. "Magic/Reflection In The Clouds/Magic Recapitulation" (13:33) opens like a response to the previous year's RETURN TO FOREVER release, Romantic Warrior, but then turn a bit more toward a George Duke-like sound. I'm not liking the flanged, compressed-muted effect imposed upon Billy's drums but ti's fine on Randy Jackson's fretless bass. The presence of the Oberheim synth is also a bit odd--bridging Billy's work more into the world of progressive rock than ever before. Add the male and female jazz/Broadway vocals in the middle of the song (performed by Pete Escovedo and Kathleen Kaan) also give this more of a Chick Corea aspect. This is followed by a gorgeous piano solo from Joachim Kühn and then some nice electric guitar from Peter Maunu that is paired nicely with the Gayle Moran-like voice of Kathleen Kaan. The aggressive/abrasive final minute is just weird--and meant to reinforce the fact that this is Billy's music, Billy's band, Billy's album. A pretty cool, pretty eclectic suite that is, unfortunately, engineered rather strangely. (26.75/30)
Total Time 39:21
COLOSSEUM II War Dance
- Mark Leonhard / electric bass
- Kenwood Dennard / drums, percussion
A1. "Line Games" (3:55) Kenwood Dennard sounds like Lenny White! and the rest of the band sound like RTF wannabees (and they do a very credible job in doing so)! Great pacing, great teamwork, great melody lines, great use of "modern" effects. A top three song for sure. (9.5/10)
A2. "Pyramidal Vision" (7:34) "wind" and pulses of bass riffs open this before Kenwood Dennard enters beating every part of his kit with Animal-like abandon before Pat and Delmar join in offering both grounding melody and Pat Metheny-like secondary motifs and melodies. Mark Leonhard finally settles into a groove (octave alternative notes of descending chord progression), but this only lasts for the duration of each of the second motif "chorus" sections. I absolutely love the chorus sections but lament for their relative brevity. The main body of the verses offers some really technically-impressive performances in order to make the weaves sound good, they're just not as melodically friendly as the choruses. (13.5/15)
A3. "Mardi Gras" (9:07) after a stutter-step opening couple bars the band shifts into third gear for a spell to establish the two-motif pattern that will carry through the length of the rest of the song. Pat's guitar sound and styling on this Latinized Pat Metheny-like song feels closest to that of GEORGE BENSON. The fast motif is set up as a three-chord vamp with alternating octave notes coming from the bass helping to drive the high-speed chase but then downshifting into a more syncopated looky-loo cruising speed for the alternating motif (in which Delmar's Fender Rhodes gets to start his extended solo). The musicianship, sound palette, and melodiousness of the weaves and solos are so nice that I find this quite an enjoyable ride. High marks to be sure. My favorite song on the album. (18.75/20)
B1. "M'wandishi" (5:27) since there never was a song on Herbie's albums using this name I know the song is meant to be a tribute/homage to the Jazz-Rock innovator. Both Delmar's synth and Pat's sounds are treated with a kind of wah-wah effect to make it almost sound like play with bubbles. While the playing is impressive the overall effect of the popcorn effect of the lead instruments makes this one feel more like a novelty song--like Hot Butter's "Popcorn" or Ulla Dudziak's "Papaya." (8.875/10)
B2. "Song Bird" (7:52) the weave and melodies of this one fall short of settling into a groove--even when the rhythm section slips in (and out) of Disco. Mark Leonhard, Kenny and Pat are quite impressive (Pat again sounding more like George Benson while the rhythm section sounds more like something from Lenny White's Venusian Summer or Big City albums). There is a lot of impressive interplay and soloing just not as many candy earworms to make it either memorable or evocative of return visits. (13.375/15)
B3. "Joyous Lake" (7:25) this one cruises along at a fairly brisk speed using the same octave-alternating bass trick to propel the rhythm and chordal progression along while Pat, Delmar, and Kenwood profess their support but, unlike "Mardi Gras," the high speed of this chase never lets up. Nice Oberheim synth solo from Delmar in the fifth minute--and nice violin-sounding effect for Pat's last solo. My third favorite song on this very impressive, high-quality Jazz-Rock Fusion album. (13.625/15)
Total Time: 41:36
Total Time: 41:36
One of the most enjoyable "must review" albums I've come across this year! The second and third times through were just as satisfying and impressive as the first. While Pat's composition style offers nice complexity, his performers seem to make something routine out of them, each musician kind of doing one thing really strongly: Kenwood Dennard a remarkable Lenny White impersonation; Delmar Brown a "future Lyle Mays"; Mark Leonhard the alternating octave note playing, and; Pat's part contemporary George Benson and part future Pat Metheny work.
91.32 on the Fishscales = A-/five stars; a wonderful minor masterpiece of Third Wave Jazz-Rock Power Fusion. Mega kudos to Pat and the band for some really impressive music!
91.32 on the Fishscales = A-/five stars; a wonderful minor masterpiece of Third Wave Jazz-Rock Power Fusion. Mega kudos to Pat and the band for some really impressive music!
Recorded in November 1976 at Talent Studio, Oslo, by Manfred Eicher for January 1977 ECM release.
Line-up / Musicians:
- Gary Burton / vibraharp
- Pat Metheny / electric guitar
- Steve Swallow / bass guitar
- Dan Gottlieb / drums
- Eberhard Weber / bass- Pat Metheny / electric guitar
- Steve Swallow / bass guitar
- Dan Gottlieb / drums
A1. "Sea Journey" (9:15) a Chick Corea composition (17.75/20)
A2. "Nacada" (4:11) it's nice, it's gentle, it's a Pat Metheny composition! The two bass players are prominent, getting to do their own thing, but it's just a little too soporific. (8.75/10)
A3. "The Whopper" (5:28) a song that sounds a lot like a Pat Metheny composition (because it is). I like the effort to make this one complex, sophisticated, and nuanced, with both bass players playing important roles, though Gary's vibraphone gets the lion's share of the lead time. In the fourth minute we get one of the first great Pat Metheny solos! Weird that it's opposed by Eberhard's own meanderings. (It doesn't work well; I try to block out Eberhard's work.) It does have hints of some of Pat's amazingly memorable melodies despite the syncopated sophistication. (8.875/10)
B1. "B & G (Midwestern Night's Dream)" (8:23) the third and final Pat Metheny composition is more pensive and cerebral with some pretty sophisticated (and unusual) chord progressions. I think the first solo is going to Steve Swallow, though it could be a tamed Eberhard. Pat's own solo starts in the middle of the fourth minute and it's another good one. Gary's solo comes next. He just makes it sound so easy--like he doesn't care how impressive it is so long as he feels comfortable in it. (17.75/20)
B2. "Yellow Fields" (6:58) of course a cover of an Eberhard Weber song (his last album released was titled after it), the first 2:30 is just a show for the composer but then they bust out a great smooth moving motif in which every one is involved in the fully-texturized weave. Pat gets the next solo--one of his Missouri specials with clever chord progressions mixed with unusual legato runs. A whole band bridge signals Gary's turn. Here Steve Swallow really gets to show his stuff while Pat and Danny support solidly but rather quietly. The whole band kind of takes us out by carrying the main melody to the finish. (13.25/15)
B3. "Claude and Betty" (6:16) unpredictable (perhaps mathematical) jazz chord progressions that the band expresses on this Steve Swallow composition, while Pat, Eberhard, and Gary embellish slightly over the top (as if adding a little something extra while still working from within the construct). Interesting. (8.875/10)
Total time: 40:31
I think Pat and Eberhard are moving beyond simple melodic hooks and definitely beyond groove music: they've become fully-matured jazz musicians with fully-matured jazz minds. Thus there is a lot more challenging music in this album, less easy-listening earworms and hooks than what we've been hearing in Gary Burton Quartet music up to this point. It is, therefore, no small surprise to me that this becomes the last album to use these artists--that Pat and Danny would move off to pair up with Lyle Mays and Mark Egan while Eberhard would move more toward exploring his symphonic/concerto/sonata/chamber-like music that he explored on The Following Morning.
88.53 on the Fishscales = B-/four stars; an excellent album of exceedingly cerebral jazz music that sees all of the Gary's protegés being drawn away from the more-accessible Smooth Jazz or Jazz-Rock Fusion formats that he believes in and supports. For a time they are going to move into the center of Jazz.
88.53 on the Fishscales = B-/four stars; an excellent album of exceedingly cerebral jazz music that sees all of the Gary's protegés being drawn away from the more-accessible Smooth Jazz or Jazz-Rock Fusion formats that he believes in and supports. For a time they are going to move into the center of Jazz.
EBERHARD WEBER The Following Morning
My first exposure to the liquid bass sound of European jazz great Eberhard Weber. Side One of this album has been a mainstay fixture in my life since 1979, harboring two absolutely perfect songs, rendering its whole as that incredibly rare phenomenon: a perfect side. The album was recorded in August 1976 at Talent Studio in Oslo, Norway and then officially released by ECM Records early in 1977.
- Eberhard Weber / double bass
With:
- Rainer Brüninghaus / piano
- Philharmonic Orchestra, Oslo / French horn, oboe, cello
1. "T. On A White Horse" (10:52) (20/20)
2. "Moana I" (10:10) (20/20)
3. "The Following Morning" (12:04) far more spacious and less melodic and less flowing that the previous two rather lush and sweeping song. The piano and double bass are more bare and authentic sounding--more jazzy--and less processed and engineered--the very thing that makes the album's sound feel like proggy fusion. I have, however, grown to like this one. Rated down for so much "empty" space. (21.875/25)
4. "Moana II" (7:42) this one is just a weird variation of the other Moana--with Rainer doing things that make him sound bored and Eberhard sounding as if he's just trying anything that comes to mind--like the first practice session out which "Moana I" came. Kind of unprofessional sounding filler. (12.25/15)
Total time 40:48
The arrival of this music--including Side One, a "perfect" side (an all-too-rare feat)--caused a profound awakening, such a dramatic transformation in my listening adventures and tastes, that I will forever be indebted to Eberhard and Rainer. Side Two is, unfortunately, far below the level of breathtaking beauty and much more experimental with 'soundscapes' than Side Two. Otherwise, this would be one of my favorite albums of all-time.
Wait a minute! It still is! I just turn it off after "Moana I"!
NO DRUMS! What a joy! What a revelation: that music doesn't have to have a 'beat'--or that it doesn't have to be provided by a standard drum kit. Hail to Brian Eno for turning off the drums! Hail Peter Gabriel and his WOMAD! Hail to Bill Bruford and his Simmons electronic drum kit! Hail to Zakir Hussein and his non-Western percussion! Hail to Mickey Hart and his ethnic musicology! Hail to Glen Velez and his hand drums!
If you want a trip to some of the most beautiful, peaceful inner mindscapes you could ever imagine, program "T. on a White Horse" and "Moana I" to play and repeat, over and over and over. I call this blissful place heaven!
I also love the orchestral support throughout the first two songs (something sadly lacking on Side Two's offerings). I'm really having trouble giving this album less than five stars, for it is such an unusual music listening experience, yet, the third and fourth songs, as mentioned, are far less appealing and engaging than the transportive first two. "T. on a White Horse" and "Moana I" are, IMHO, an essential experience of the mastery of truly 'progressive' music. This will be one of those rare times when the pieces of an album will earn the album a high rating despite the true 'adjusted rating' of the whole.
91.40 on the Fishscales = A-/five stars; a minor masterpiece of pristine jazz-rock fusion. For me, The Following Morning represents the absolute peak of the wonderful Weber-Brüninghaus-ECM relationship.
ZBIGNIEW SEIFERT Man of the Light
Zbigniew Seifert's debut solo album was recorded between September 27 and September 30, 1976, at Tonstudio Zuckerfabrik in Stuttgart, Germany. Because of this, some sources or reissues may reference "1976" as its release year but MPS Records did not officially release Man of the Light until early 1977.
Line-up / Musicians:
- Zbigniew Seifert / violin
With:
- Cecil McBee / bass (A1 to B1, B3)- Billy Hart / drums (A1, A2, B1, B3)
- Joachim Kühn / piano (A1, A2, B1, B3)
And:
- Jasper Van't Hof / electric piano, organ (B2)
A1. "City Of Spring" (6:37) with the solid backing of this group of virtuosi in Zbigniew's rhythm section it is interesting to hear Joachim Kühn's piano be the big attention-getter. (He is amazing!) Zbigniew's legato play up top is impressive--and often engaging--yet, to my ears, they sound just like another violin. I suppose if he were presenting more ear candy melodies instead of more jazz-like harmonically-driven runs I might attach more. Even Joachim's solos, as impressive as they are technically, lack the kind of familiar/friendly melodies that my central nervous system is wired to "like." Billy Hart is great but he may be a little overactive for my tastes on this. The quality of play is not inquestion, it's whether or not this kind of high-powered dynamics are really necessary to make this song soar. (9/10)
A2. "Man Of The Light" (9:45) after a minute of solo violin intro piano, pulsating bass, and active drums
join in as Zbigniew and Joachim's right hand play a mind-boggling series of chords as if they were MIDI-ed together. Amazing! Then Joachim launches into a purely-jazz solo at the three minute mark while his left hand pounds the chords as if he's chasing something with a whole line of Howitzers. For some reason, Billy Hart's active drums feel fitting, appropriate, for this song--perhaps because the main melody and chord lines above are delivered with much more space than the previous song. I really like the flow of the key and chord progressions throughout this: they work within the expectations of my fairly-rigid programming. How Cecil McBee and Joachim stay so perfectly linked throughout the chord play is nothing short of a miracle to me. In the eighth minute it seems that Billy might either be tiring out as his dynamism and volumes both back down. Great song! (18.625/20)
A3. "Stillness" (5:00) the lone song not composed by the violinist bandleader, it's a Cecil McBee composition. It's very spacious, with Zbigniew's play sounding very much like many solos we've heard from Stéphane Grappelli or Jean-Luc Ponty. Cecil's bass work is awesome with lots of fast-arpeggiated chords and a kind of Eberhard Weber or David Darling feel to his beautiful acoustic instrument. I don't think I've heard enough music in which the acoustic bass and violin dance with each other like this. It makes me very happy. Also, I'm not sure how they got it, but there's a feeling of some chamber strings playing an accompanying role throughout this fine song (probably Jasper's organ or synth--or an actual strings arrangement compiled by Cecil and Zbigniew on separate tracks). Quite lovely. Quite evocative. (9.5/10)
B1. "Turbulent Plover" (7:27) an upbeat, melodic, and uptempo song that immediately conjures up Jean-Luc Ponty music but also Herbie Hancock fare due to the dynamic presence of the piano-led jazz trio in the rhythm section. Cecil is walking that bass neck like he's motoring across a New Mexico desert while Jaochim's left hand and Billy's cymbal-dominated drum play cheer him on. The solos from Zbigniew and Joachim are so frenzied that one might feel they're feeling some kind of urgency or panic (like Cecil)! Every element of this amazing song works so well together--though I am much more inclined to call this music Hard Bop Jazz than Jazz-Rock Fusion; the only thing that resembles the J-R F movement are the whole-band recitations of the complex and dynamic chord progressions. (14.75/15)
B2. "Love In The Garden" (6:12) guest Jasper Van't Hof makes the rich soil of support for Zbigniew's gorgeous Vaughan-Williams-like violin performance with his volume-pedal-controlled washes of organ chords. Awesome! (9.375/10)
B3. "Coral" (6:54) the scattered and unhinged melody choices here--by Zbigniew (playing on two strings--or tracks) and everybody on board (they all feel slightly out of synch--though this may be part of the overall plan: it may all make perfect sense in harmonic terms)--makes for a challenging listen. Each musician's performance is an absolute beautiful marvel to follow, separately, individually, but together there is just something slightly off that makes the whole feel as if its a weave of four different soloists, each in their own world, playing without really hearing the others. At the same time, there is something unmistakably beautiful--and powerful--happening here. It's like listening to quadnaural beats on headphones (instead of binaural): all meant to confuse the brain into submission through the flood/bombardment of disparate lines/waves of information. (14/15)
Total time: 41:55
Total time: 41:55
I think we're lucky that there weren't more violinists in Jazz or Jazz-Rock Fusion because I find that their sounds and performances become a little redundant due to the similarities of sound and limitations of stylistic differences between them. Jean-Luke Ponty, Michal Urbaniak, Jerry Goodman, Darryl Way, unfortunately, they all sound the same to me. The difference maker for this album happens to come from the lineup of collaborators: Wow! Two of Europe's best Jazz/Jazz-Rock Fusion keyboard players matched up with two of the United States' best Jazz rhythmatists. They're all impressive but no one more than Joachim Kühn on the piano.
Though I was ready to write this one off after the first listen due to the above statements and to the more-Hard Bop sounds and feel to this music, I cannot help but be won over by the amazing coalescence of these four (five?) musicians: such high-level virtuosi, all, creating such complex streams of play on their respective instruments yet making it work as a perfectly-blended whole each and every time (a little less so with the opening number).
94.06 on the Fishscales = A/five stars; a fully-certifiable masterpiece of Jazz that contains just enough elements of 1970s Jazz-Rock Fusion ideas and developments to allow me to justify its inclusion within the Compendium--within the mainstream lists of J-R F albums (though there is far more Hard Bop Jazz here).
ABRAXIS Abraxis
From Belgium, this album finds COS's Charles Loos and Jean-Paul Musette moonlighting from their Canterbury band to explore some more the more serious jazz-side of Jazz-Rock Fusion. Material for the album was recorded in December of 1976 and then released by the International Bestseller Company (IBC) early in 1977.
- Jean-Paul Musette / bass
- Jack Mauer / drums
- Tony Malisan / drums
- Dirk Bogaert / flute, vocals
- Paul Elias / guitar
- Charles Loos / keyboards
1. "Clear Hours" (2:32) great upbeat jazz rock fusion with a light funk to it (not unlike some of COS' music from this time--the Viva Boma era). The use of bright, cheerful flute in the mix is delightful--as is the wonderful (9/10)
2. "Valse De La Mort" (16:14) opening with a very serious, slow-paced almost classical pastiche with flutist Dirk Bogaert leading the way over piano, classically-played acoustic guitar, and bass--no drums. In the fourth minute the music even moves more into the domain of classical sounding music as Bogaert and pianist Charles Loos duet--eventually becoming a more sonata form for Loos' dynamic solo piano until 5:22 when Charles hands it over to Dirk: solo flute time. Hi-hat, and metronomic bass drum and rim shots enter near the end of the seventh minute supporting Dirk while he finishes his solo. At 7:49 deep thrum of electric bass and electronic keyboard enter, setting up a kind of dreamy yet-suggestive carpet for guitarist Paul Elias to start up some electric guitar soloing. In the tenth minute the band really explodes beneath Paul's fiery guitar playing as the drummer bursts into full kit exposition. A return to soft carpet mode for a bit while electric piano solos, exploding again for Charles to switch to a Moog-like synth for some soloing, but then everybody re-gels into a softer, gentler motif as they return to acoustic instruments (except for Jean-Paul's electric bass). Flute and piano dance around one another for several minutes while the guitar and toms sit out (thought nuanced cymbal play remains in full participation). Charles takes over again for a piano solo in the 14th and 15th minutes while flute-like organ chords support from beneath. A whole band acoustic bridge at 14:45 moves into a brief transitional series of chaotic jazz chords before the band comes out the other side with a nice little two-chord HATFIELD AND THE NORTH funky motif and palette--which they then use to take the song to its end. I'm not sure how the composer came up with the progression of all of these very different (and seemingly unrelated) motifs for the movements of this suite but it all seems to work--and they're all rather expertly, even adroitly, convincingly, transitioned from one to the next. The composition and performances are all top notch. The song, however, does not contain enough catchy melodies or hypnotic grooves to earn my top marks. (27/30)
3. "Sweetank" (4:26) using a rather unusual combination of upper and lower register electric funky bass, wah-wahed distorted electric piano to fill the middle ground of the rhythm track, and funk drumming with electric guitar, flute, and some electric piano and Moog synthesizer sounds to fill the lead positions, this is a catchy tune with a great chord progression to push and pull all of the odd sounds together. Nice blues-jazz guitar work from Paul Elias. There's even time for a solo from virtuoso bassist Jean-Paul Musette--here paired up perfectly with an astute drummer (which one?). The final minute of flying Jazz-Rock is sublime for its seamless flow of three different motifs. (9.3333/10)
4. "Billy The Keith" (3:54) either the flute is being fed through a sound effect processor or Charles Loos' keyboard combination is replicating a wobbly flute sound (probably the former as Charles other sounds seem to occupy a lot of hands--or tracks). The song is a bit too subdued for my tastes though I comprehend the difficulty it is to play all of the tracks of this subtly-nuanced weave while maintaining some semblance of cohesion. (8.75/10)
5. "Jeronimo" (1:58) a quick exploration of a particular set of melody ideas that seems to inspire the whole band into solidarity and high-discipline. (4.5/5)
6. "Bolle Winkel" (6:46) a more theatric composition that reminds me of some of the great music from A Chorus Line though the drumming sounds very Billy Cobham-like. The second minute sees the band take a left turn down a high speed lane in which many of the band members can be seen to be hanging out their privvy clothes on the laundry lines above. An odd, almost crazy cacophonous choice of instrumental sounds and ejaculations ensues until Jean-Paul's breathy flute screams its way to the front in the fourth minute, inciting a riotous response from the bass, wah-wah-ed guitar, and electric keys. At 4:45 everybody but the drums and bass cut out for a rather dynamic (and great!) bluesy pseudo-classical Bob James-like piano solo--which almost takes us to the end. This is a song that kept getting better and better the further it went along. (13.5/15)
7. "Arhumba" (1:42) moving back into the near-classical realm of jazz music, this piece sounds like something transposed from a Django-Grappelli duet. (4.375/5)
Total time: 37:34
89.95 on the Fishscales = B+/4.5 stars; a near-masterpiece of Jazz-Rock Fusion exhibiting some very highly-skilled musicianship and composition. Were this album longer--to have included but one more full-length composition--it may have earned masterpiece status.
Total time: 37:34
89.95 on the Fishscales = B+/4.5 stars; a near-masterpiece of Jazz-Rock Fusion exhibiting some very highly-skilled musicianship and composition. Were this album longer--to have included but one more full-length composition--it may have earned masterpiece status.
February
COLOSSEUM II Electric Savage
Intrigued by my exposure to and listening/review process of the band's debut album, Strange New Flesh, I had to jump straight into this album--especially when I saw that this album was dedicated to instrumental music. (As talented as Mike Starrs is/was, I felt with each song that he contributed to that as soon as his voice entered the song it became something totally different than what it was before or without him.)
This album was recorded over six days during a Christmas 1976 holiday break between touring dates and then released by MCA Records in either January or February of 1977.
- Gary Moore / guitars, vocals (3)
- Don Airey / Fender Rhodes, Steinway grand piano, ARP Odyssey, ARP Solina, Minimoog, Hammond organ, clavinet
- John Mole / bass
- Jon Hiseman / drums, tubular bells, Latin percussion, gong, producer
1. "Put It This Way" (4:54) new conclusions: guitarist Gary Moore is definitely a rock guitarist; keyboard player Don Airey is definitely a prog wannabe, and; drummer Jon Hiseman is definitely one of the finest Jazz-Rock Fusion drummers/artists of his day. This song, however, feels just like one of Jan Hammer's pointless going-nowhere-fast songs: impressive musicianship but accomplishing little to no imprinting into my brain's pleasure centers or memory banks. (8.75/10)
2. "All Skin and Bone" (3:49) very catchy and groovin' with lots of cool drum and synthesizer inputs with Gary Moore's "distant" guitar note inputs. A very cool, earworm of a song--one that I will love to come back to again and again over the course of the rest of my lifetime despite the fact that it sounds more like an exercise or practice étude. Yet another demonstration of the supreme drumming skills of Jon Hiseman. (10/10)
3. "Rivers" (5:48) a little bluesy Procol Harum-like soft rock ballad (performed before a small live audience). Awesome Eef Albers/Robert Fripp-like guitar solos in third and fourth minutes (two different tracks). If the song were rated on its guitar work alone it would earn higher marks but Gary's vocal performance (and sound engineering of such) comes up a little short. (8.875/10)
4. "The Scorch" (6:02) opens like something from a Ralf Hütter and Florian Schneider (Kraftwerk) album that turns into something more akin to Patrick Moraz's Story of I, Larry Fast's SYNERGY, or even some of STYX's or Keith Emerson's work about this time. Gary Moore's counterpoint guitar play is much like the twin guitar work Scott Gorham and Brian Robertson were doing in Thin Lizzy. This is one of the few songs that I've heard in which drummer Jon Hiseman feels out of his element. Gary's switch to Jan Akkerman-sounding electric guitar for the final minute is cool. Again, I get the feeling that this song is more of a polished jam, not really a fully-developed song composition. (8.875/10)
5. "Lament" (4:38) a song that feels like a slowed down Christmas version of a classic four-chord 1960s bubblegum pop hit like The Kinks "You Really Got Me." Cringeworthy jam and filler. (8.375/10)
6. "Desperado" (5:58) a more exciting, professional construct that still presents itself as something that was rushed along and, therefore, never fully developed or polished despite its sophisticated riffs and elements: another hodge-podge of ideas all smooshed together but never really smoothed over (especially in the transitions but also in the nuances within). (8.6667/10)
7. "Am I" (4:15) built around a very simple spacious melody, the soft jazzy bass and drum play give this a kind of Narada Michael Walden level of sincerity and interest, the gentle Smooth Jazz foundation offers Gary Moore some choice opportunities to display his propitious talent and skill. Not bad for a Smooth Jazz tune: definitely putting it's four minutes to good use. (8.875/10)
8. "Intergalactic Strut" (6:00) another song that feels thrown together but not polished. The musicianship is impressive (despite a rather sub-par performance from drummer Jon Hiseman) but the end result just feels like pressed high-speed Third Wave Jazz-Rock Fusion. There's a CAMEL-esque section in the middle of the song before the band returns to the high speed RTF/Mahavishnu motif it started with. Not a bad song. If only the band and its engineers and production team had had the time to put more into the end product (other than the excellent album art work). (8.875/10)
Total Time 41:24
Total Time 41:24
I have to say that the second half of this album's material feels quite pressed and unpolished--especially in the performances and contributions coming from the rhythm section. I'd never before heard "poor" drumming performances from Jon Hiseman until hearing this album and bassist John Mole is certainly not up to the level of predecessor Neil Murray or the other musicians on the album. Also, keyboard player Don Airey playing feels just a little more forced and rote than his creative layering of the previous album. Though this album presents a much more cohesive Jazz-Rock Fusion front--especially as opposed to the previous album's multiple personality exhibit.
89.11 on the Fishscales = B+/4.5 stars; a more-focused album than their previous release--this time sounding like a more cohesive Jazz-Rock Fusion exhibition--whose overall song quality falls short due to a lack of effort applied to the finishing aspects of each song.
The follow up to George's massive hit Breezin'--an album that sat atop the Jazz album charts for record sales for all 52 weeks of 1976 while it became Jazz' first certified platinum selling record (selling over 3 million copies). (It remains, to this day, one of Jazz' all-time biggest selling albums.) In Flight was recorded and mixed at Capitol Records, in Hollywood, California during August through November of 1976 and then released on February 4, 1977 by Warner Brothers Records.
Line-up / Musicians:
- George Benson / guitars, vocals
- Phil Upchurch / bass
- Stanley Banks / bass
- Jorge Dalto / clavinet, piano
- Harvey Mason / drums
- Ronnie Foster / electric piano, synthesizer [Mini-Moog]
- Harvey Mason / drums
- Ronnie Foster / electric piano, synthesizer [Mini-Moog]
- Ralph MacDonald / percussion
- Phil Upchurch / rhythm guitar, bass (B2, B3)
A1. "Nature Boy" (5:58) an eminently enjoyable rendition of one of Jazz-Pop's all-time greatest songs. The funk presence of electric piano, clavinet, thick electric bass, rhythm guitar, Latin percussion, and strings makes for a perfect bed for this ultimate lounge song to lie. George's voice is remarkably unprocessed and both his voice and lead guitar are mixed surprisingly low: into or within the overall soundscape. (9.125/10)
A2. "The Wind And I" (5:04) the solid funk-lite foundation of this Ronnie Foster composition helps support some nice soloing from George and Ronnie. The strings are a bit thin and cheesy. (8.875/10)
A3. "The World Is A Ghetto" (9:41) for me this has always been the gem of the album: starting with great strings arrangements that I expect from my favorite conductor of Jazz orchestral music, Claus Ogerman. The music in support of George's rather thin guitar is solid, cheerfully bouncy. I love the interlude bridges between the chorus and verses--my favorite parts of the song. I always remember being surprised that George took so long to start singing on this one (the fifth minute) since he'd made such an impact on recent albums with his vocal covers and interpretations, but his (thin) guitar is such a pleasure to listen to. Ronnie Foster's electric piano solo is great with the bouncy left hand chords, rhythm guitar (courtesy of the great, oft-overlooked Phil Upchurch) and strings is awesome if brief. Then George jumps in singing, at first a little weak and thin but eventually grabbing the performance with gusto--which leads into an amazing vocalese-accompanied-guitar solo. So cool! Almost on the same par as STEVIE WONDER (he sounds like Stevie!). Yes, by this part of song you can feel the enthusiasm pervading all of the musicians' performances. Awesome! And then it gets even better! That ninth minute to song's end is just amazing. (19.125/20)
B1. "Gonna Love You More" (4:37) a song that sounds like George is definitely taking advantage of riding on the coattails of Breezin'--but when George starts singing in a more Al JARREAU-like voice and tone it makes it sound different, fresh. Jorge Dalto's piano solo at the end of the second minute after George's first vocal verse is a welcome change. There's just so much Breezin' in the music, good thing he's chosen to sing Morris Albert's lyrics and then take the Al Jarreau sound into Stevie Wonder territory at the end. (8.875/10)
B2. "Valdez In The Country" (4:29) a great two-chord smooth jazz groove opens this Donny Hathaway composition but then the ensemble backs down a bit around 0:40 when George's guitar enters to take the lead. A quick turnover to Ronnie Foster half a minute later and then we're back to a ramped up George on guitar for pretty much the rest of the song. This one is a pretty solid and engaging J-R F song displaying George's great guitar skills. (9/10)
B3. "Everything Must Change" (8:07) from the opening strains of the strings-supported ensemble of this Bernard Ighner song one can tell that we're in for a bombastic ballad. The song just fails to come together for the first three and a half minutes as George fulfills the singing portion--but then after this the band funks things up thanks to Phil Upchurch's rubbery bass, Jorge Dalto's bouncy piano, and, of course, George's lead guitar. Too bad they had to strip everything down for Jorge's solo in the sixth minute but I guess they had to use something to segue back into the main vocal motif. Thank goodness for the strings, Phil's bass, Jorge's piano, and George's vocal-cum-guitar play. (13.125/15)
Total Time: 38:19
Total Time: 38:19
The engineering and final mix of the songs on this album lack the spherical/surround sound and feeling of George's previous album, Breezin' which is surprising since that feature was one of the winning aspects of that massively-popular album. Also, Claus Ogerman's arrangement (and the recording of) the strings is too syrupy--sounding as much as synthesized or 101 Strings-like multi-dubbed as the work of a true orchestra.
90.83 on the Fishscales = A-/five stars; a satisfying minor masterpiece of Jazz-Rock Fusion's Fourth Wave slide into the soon-to-be-dominant Smooth Jazz idiom.
MICHAL URBANIAK's FUSION Smiles Ahead
Apparently the husband-wife team either didn't make any money for the Arista company or else they were too much to handle because suddenly they are back in Europe recording this album for the legendary German label MPS (the first of two albums they would release in 1977 for Joachim Berendt's pro-Polish company) recorded at the famous Zuckerfabrik studio in Stuttgart, Germany in November of 1976.
Line-up / Musicians:
- Michal Urbaniak / Violin, Lyricon, synthesizers
- Urszula Dudziak / Vocals, electronic percussion, synthesizer
With:
- Harold Ivory Williams / Keyboards (1, 2, 4, 8)
- Robert Anthony Bunn / Bass (1, 2, 4)
- Transcending Sonship (Woody Theus) / Rhythm-sounding color (drums & percussion, voice) (1, 2, 6)
- Emmett Chapman / ChapmanStick (3)
- Joe Caro / Guitar (8)
- Basil Farrington / Bass (8)
- Steve Jordan / Drums (8)
1. "Smiles Ahead" (10:55) (17.25/20) :
- a) "Smiles Ahead" (4:00) more of that feeling of band fatigue (standard bass play, very boring keys) while the engineering department continues to over-compress the high ends.
- b) "From Smiles to Smiles" (2:07) Ula playing within an echo chamber--like a little kid in a big room. (4/5)
- c) "More Smiles Forever" (4:48) Ula leads the band into a carnival madhouse. It's a little more lively and enthusiastic but still less "invested" than anything Michal's composed before. (Maybe here are the signs that the couple's marriage is on the decline: the collaborative fires are dwindling.)
6. "Schwarzwald Vibes" (2:55) synths and synth washes with synthetic and treated percussion sounds dispersed throughout. Very cinematic and creepy. (4.33333/5)
7. "Sunday Melody" (1:19) rapid fire Ula-scatting. Reminds me of Cos's Pascale Son. Entertaining and joyful. (4.375/5)
8. "Autobahn" (4:45) a song that was left over from the previous album (Body English) starts out as a steady one-and-a-half chord first 3:25 over which Ula gets free reign to perform her magic--this time with little or no sound-warping effects on her voice. (8.75/10)
Unfortunately, this album feels more like another attempt to grab a bunch of underdeveloped or unfinished pieces of sound experimentation (many of which feature Urszula performing her unique vocal craft)
87.21 on the Fishscales = B-/3.5 stars; an interesting representation of Michal and Urszula's experimentalism but not one of their most engaging or inspired song collections.
BOB JAMES BJ4
Recorded at Van Gelder Studios, Englewood Cliffs, NJ in November - December, 1976, and then released by CTI Records on February 24, 1977. This is an album I played to death back in college. I now listen to it with both fond nostalgia and cringe-worthy embarrassment as I find magical moments mixed with others of pure schlock and/or discomfort.
Line-up / Musicians:
- Bob James / Fender Rhodes, Acoustic Grand, clavinet, Arp Odyssey, Oberheim Polyphonic, arranger, conductor
- Gary King / bass
- Steve Gadd / drums
- Ralph MacDonald / percussion
- Eric Gale / guitar
- Art Farmer / trumpet, flugelhorn
- Hubert Laws / flute, alto flute
- Gary King / bass
- Steve Gadd / drums
- Ralph MacDonald / percussion
- Eric Gale / guitar
- Art Farmer / trumpet, flugelhorn
- Hubert Laws / flute, alto flute
With:
John Frosk, John Gatchell - trumpet
Eddie Daniels - tenor saxophone, flute, clarinet
George Marge - alto recorder
Romeo Penque - tenor saxophone, bass clarinet, tenor recorder
Sidney Weinberg - oboe, English horn
Max Ellen, Paul Gershman, Harry Glickman, Emanuel Green, Harold Kohon, Charles Libove, David Nadien, Matthew Raimondi - violin
Lamar Alsop, Emanuel Vardi - viola
Charles McCracken, Alan Shulman - cello
Eddie Daniels - tenor saxophone, flute, clarinet
George Marge - alto recorder
Romeo Penque - tenor saxophone, bass clarinet, tenor recorder
Sidney Weinberg - oboe, English horn
Max Ellen, Paul Gershman, Harry Glickman, Emanuel Green, Harold Kohon, Charles Libove, David Nadien, Matthew Raimondi - violin
Lamar Alsop, Emanuel Vardi - viola
Charles McCracken, Alan Shulman - cello
A2. "Where The Wind Blows Free" (6:44) the magic in this song comes from the earworm of the chord progression of the main theme as well as the wonderful "side" work of the strings. One of the few songs on BJ4 that I still like today. (8.875/10)
A3. "Tappan Zee" (6:51) the magic in this song that I still like is the floating/drifting piano soloing that Bob does throughout: it almost sounds as if he's just playing around--as if he is unaware that he's being recorded or that he could care less about what his soloing sounds like he's just having fun being in the moment. Otherwise, this song is too sprawling and patchworked for my tastes. (13.125/15)
B1. "Nights Are Forever Without You" (6:25) the magical element of this comes during Eric Gale's guitar solo: the sublime motif played by the rhythm section beneath him, otherwise it just sounds too TV theme song like--the main melody too directly imitative of the vocal line of the 1976 pop hit by England Dan & John Ford Coley. (8.75/10)
B2. "Treasure Island" (6:41) A song I used to adore I now only really like for the gorgeous, spacious intro (before the guitar chords enter and ruin it); after that it just becomes the practice ground for the nauseating schlock that will become the massively overheard "Angela (Theme from "Taxi")" I do still enjoy Art Farmer's trumpet play and the strings work in the end section. (8.875/10)
B3. "El Verano" (4:55) I've always absolutely adored the intro and opening section of this song. In fact, I think I'd have to admit that this song still sends me into heart-wrenching throes of deep nostalgia--which means a lot. Though I now have less tolerance for the Smooth Jazz that BJ and songs like this helped usher in (that replaced the high-skill and experimental risky songs that peak-era Jazz-Rock Fusion had produced) I understand when perfection is so good that it becomes timeless. (9.5/10)
Total Time: 36:21
89.04 on the Fishscales = B/four stars; an excellent collection of era-defining Smooth Jazz songs from one of the absolute masters of the genre.
March
WEATHER REPORT Heavy Weather
An album that brought world fame to an otherwise obscure and rather run-of-the-mill jazz-rock fusion band because of the radio-friendly mega hit, "Birdland." Recorded between late 1976 and early 1977 was officially released in March 1977 by Columbia Records.
Lineup / Musicians:
- Joe Zawinul / synthesizer [Oberheim Polyphonic, Arp 2600], piano [acoustic], vocals, melodica, electric piano [Fender Rhodes], guitar, tabla
- Wayne Shorter / saxophones [soprano and tenor], composer (4, 6)
- Jaco Pastorius / bass, mandocello (1, 7), drums (3), steel drums (6), vocals (1), composer (3, 8)
- Alejandro "Alex" Acuña / drums, congas and tom toms (5), handclaps (7)
- Manolo Badrena / tambourine (1), congas (3 5, 6), vocals (4, 5), timbales (5), percussion (6, 7)
1. "Birdland" (5:57) iconic (though never a favorite of mine). (8.875/10)
2. "A Remark You Made" (6:51) beautiful melodies and performances but the song is so dang slow--and it just seems to drag more and more the longer it goes. Almost irritating! Still, that Zawinal synth solo toward the end is great. (13.33333/15)
3. "Teen Town" (2:51) a Jaco Pastorius showpiece, otherwise it's not much musically. (8.6667/10)
4. "Harlequin" (3:59) slow, melodic and memorable, this is one of my three favorite songs on the album and perhaps my favorite Weather Report song (that I've ever heard). (9/10)
5. "Rumba Mama" (2:11) is this where Pat Metheny got the idea to do this expanded percussion section jam so often? Weird that this is a live recording (Why couldn't they have done it in the studio.) (4.25/5)
6. "Palladium" (4:46) the second best song on the album with all band members in sync and hitting on all cylinders. I wish it were a little more melodic. (9.5/10)
7. "The Juggler" (5:03) another decent song: it's fairly slow and spacious with lots of individual subtleties woven together but the song never seems to get into full gear. Another top three song. (8.875/10)
8. "Havona" (6:01) another top three song: the most dynamic song on the album. Jaco and Alex's performances are sublime. This is jazz fusion! (9.5/10)
Total time: 37:49
Though I never listened to this album as much as its companion, the previous year's, Black Market, I do like it.
91.6667 on the Fishscales = A-/five stars; a minor masterpiece of full-blown Jazz-Rock Fusion--one my Top 20 Favorites from the "Third Wave" of prog's "Classic Era."
RETURN TO FOREVER Musicmagic
The final studio album of Chick Corea's 1970s Return To Forever project. It was recorded in January and February of 1977 at the Caribou Ranch outside Boulder, Colorado, and then released in March by Columbia Records.
Line-up / Musicians:
- Chick Corea / piano, Fender Rhodes, clavinet, synthesizers (MiniMoog, Moog 15, Polymoog, ARP Odyssey), vocals, co-producer
- Gayle Moran / piano, Hammond B3, Polymoog, vocals
- Joe Farrell / flute & piccolo, tenor & soprano saxophones
- James E. Pugh / tenor trombone
- Harold Garret / baritone horn, tenor & bass trombones
- John Thomas / trumpet (lead), flugelhorn
- James Tinsley / trumpet, piccolo trumpet
- Stanley Clarke / electric & acoustic & piccolo basses, vocals, co-producer
- Gary Brown / drums
- Gayle Moran / piano, Hammond B3, Polymoog, vocals
- Joe Farrell / flute & piccolo, tenor & soprano saxophones
- James E. Pugh / tenor trombone
- Harold Garret / baritone horn, tenor & bass trombones
- John Thomas / trumpet (lead), flugelhorn
- James Tinsley / trumpet, piccolo trumpet
- Stanley Clarke / electric & acoustic & piccolo basses, vocals, co-producer
- Gary Brown / drums
1. "The Musician" (Corea) (7:12) okay music with fine individual performances with a vocal over the top that does not work. (13/15)
2. "Hello Again" (Clarke) (3:49) proto-Smooth Jazz with Stanley singing a soulful love song with Gayle over some pretty but also cheesy music. (8.875/10)
3. "Musicmagic" (Corea, Moran) (11:00) less smooth jazz but trying too much to bridge the popularity gap à la Weather Report. Stanley's piccolo bass seems a gimmick to join Jaco Pastorius territory. (17.33333/20)
4. "So Long Mickey Mouse" (Clarke) (6:09) more saccharine schlock with Stanley and Gayle again exchanging love signals, at first through vocalese "la-las." The song kicks in with some potent horn blasts at the end of the second minute but then returns to the "la-las" before settling into a third gear Romantic Warrior-like vamp for dueling. (8.75/10)
5. "Do You Ever" (Moran) (3:59) actually a pretty song with some deep philosophical questions. One of the only songs from the album that I remember carrying with me away from the listening experience. (8.875/10)
6. "The Endless Night" (Corea, Moran) (9:41) an almost nice set up for a nice j-r fuse epic turns silly with some of Chick's MiniMoog sound choices and sad with Gayle's vocal but does eventually become more serious fusion (with some great drumming and pretty cool Hammond work). Gayle and Stanley's dual voices are actually very nice when they stay in their lower registers together. (17.5/20)
Total time 41:50
Total time 41:50
If you want to really experience the amazing energy of Chick's Return to Forever at the end of their stay I would strongly suggest you try their 1978 triple vinyl live album LIVE - The Complete Concert. The sound quality is out of this world as are the performances of Chick, Stanley, and drummer Gerry Brown.
87.45 on the Fishscales = B-/four stars; a lot of chaotic results with very mixed messages within amazingly clean sound production from some amazing musicians who have been duped by promise of mass popularity (and sales/$).
This chart-topping album was recorded at ABC Recording Studios, Los Angeles, California; Davlen Recording Studios, North Hollywood, California; and The Chateau Recording Studio, North Hollywood, California during the months of January, February and March 1977, where it was produced by The Crusaders' Wayne Henderson. It was officially released on the Blue Note label in March 1977.
Line-up / Musicians:
- Ronnie Laws / saxophones [tenor, soprano], vocals
- Donnie Beck / bass, guitar
- Steve Guiterrez / drums
- Bobby Lyle / piano
- Larry Dunn / synthesizers [Arp 2600, Moog, Steiner-parker, Synthi-aks], Fender Rhodes (B4)
- Roland Bautista / guitars
- Melvin Robinson / guitars
With:
- Vance "Mad Dog" Tenort / percussion (A1)
- Nathaniel Phillips / bass (A4, B2)
Group vocalists (A2, A4. B2): Debra Laws, Eloise Laws, Saundra "Pan" Alexander
Strings (A2, A3):
- cellos: Nat Gershmann, Pat Bergstrom
- violins: Barbara Durant, Carroll Stephens, Elliott Fisher, Hyman Goodman, Jerry Reisler, Paul Shure, Polly Sweeney, Bill Nuttycombe
- violas: Barbara Simons, Leonard Selic
A1. "Goodtime Ride" (5:04) with a brilliant weave of multiple guitars and keys to make a thick funk "Space Race"-like bed for Ronnie and drummer Steve Guiterrez to set in forward moyion makes up the awesome "Emminence Frpny"=like opening motif. The seconf motif that the song alternates with severa; times over its five minutes is So;id J=R F. (9/10)
A2. "Saturday Evening" (4:33) with group vocals presenting the title theme this songs presents a solid radio- and dance-friendly song over which Ronnie and pianist Bobby Lyle offer some awesome solos (and support). (9/10)
A3. "Friends And Strangers" (4:46) another two-moyif blend , this one with more group vocals for tehe presentation and repetition of the message of the main title as well as some solos from Ronnie on soprano and Larry Dunn playing some Parliament-like Arp and Moog. (8.875/10)
A4. "Nuthin' 'Bout Nuthin'" (5:08) with an almost-gospel-like congregational choir singing a nearly-constant stream of lyrics (mostly the title on heavy repeat) this song has some energy that helps to hide the similarities to Ronnie's previous smash hit, "Always There." Also, there is much more funk, dynamism, and changes and bridges in this one that "AT" --everything mixed on high levels. (9/10)
B1. "New Day" (6:17) starting Side Two with something deeply emotional is smart: here the extremely soulful tenor sax is almost countered by the slap bass and swirls of electric piano and metallic percussion, but then things kick into gear in the second minute and we have another very heavy funk tune, thanks to the slap bass play of Donnie Beck and the synth and clavinet work of Larry Dunn as well as the amazing weave presented by the rhythm guitarists (Melvin, Roland). With such a thick funk weave it's even hard to notice much less pay attention to Ronnie and his (chorused) layers of saxophone or Bobby Lyle's electric piano. A great song in terms of bringing the funk but kind of weak for melody lines and lead soloing. (9.125/10)
B2. "Life In Paradise" (6:59) a ballad with all the accoutrements of Adult Contemporary Smooth Jazz--including an all-female choir of vocalists to coo and seduce the listener with their siren-like entreats. Great rhythm guitar performances from both Roland and Melvin as well as some nice synth and keyboard play from both Bobby and Larry. Ronnie chooses multiple tracks of airy flute to express himself on this one before jumping to the front with his female-vocal-backed soprano saxophone. Another eminently-satisfying Smooth Jazz classic. (13.5/15)
B3. "Same Old Story" (4:40) a nice PRINCE-like jam tune over which Ronnie solos on his tenor sax. The problem exhibited here is how repetitive Ronnie's phrasings have become (again, like variations on his ground-breaking performance on "Always There"). There's nothing to dislike here, it's just that this song sounds like the band (leader) have run out of ideas--or else like a jam song that the band might play during the buildup to Ronnie's stage entrance, exit, or bathroom break. (8.875/10)
B4. "Just Love" (3:23) nice way to end an album: showing a lot of gratitude with pensive soprano sax and heavenly keyboard washes to float our way out. (4.5/5)
Total Time: 41:02
Total Time: 41:02
While not an earth-shattering or ground-breaking Jazz album, the standards of consistency and sophistication set by this album have lasting value to the heights that the Smooth Jazz mode of expression will have to achieve in order to stay in the public's favor (which it will for the next eight to ten years). Though the quality of composition on Side Two is a bit of a come-down from the sophistication of those on Side One, overall the album achieves a very high standard of quality in terms of sound, engageability, and performance.
89.84 on the Fishscales = B+/4.5 stars; a near-masterpiece of funky, radio- and dance-friendly Adult Contemporary Smooth Jazz.
BENNIE MAUPIN Slow Traffic to the Right
Bennie just kept plugging along--as did many of his well-seasoned J-R Fuse collaborators: evolving with the infusing tides of funk, dynamics, smoothness, and commercial-consciousness (and pressure). Slow Traffic to the Right was reputedly released by MCA Records in either February or April of 1977.
Line-up / Musicians:
- Bennie Maupin / bass clarinet, soprano & tenor saxophones, saxello, flute, alto & piccolo flutes, Oberheim polyphonic synthesizer, backing vocals
- Onaje Allen Gumbs / conductor, arrangements, piano (5)
- Patrice Rushen / clavinet, Rhodes electric piano, piano
- Nathan Rubin / Concertmaster, Strings
- James Levi / drums
- Eddie Henderson / flugelhorn, trumpet
- Blackbird McKnight / electric guitar
- Pat Gleeson / synthesizers (Oberheim Polyphonic, E-mu Polyphonic)
- Craig Kilby / trombone
- Paul Jackson / bass (1,2)
- Ralph Armstrong / (3-6)
1. "It Remains to Be Seen" (8:01) opens sounding like soundtrack music to a sci-fi film, when the full band finally joins in during the second half of the first minute it's with a melodic funk.Throughout the rest of the song the music is surprisingly uniform and simple though melodic: until the fifth minute when the piano arrives it feels very much like a BOB JAMES song. Luckily, Patrice Rushen's piano solo with its backing electric piano gets the blood boiling a bit--especially when the horn sections accents come in. Then the song mellows for a bit with some smooth choral vocals before going out with some engaging whole group participation rhythmic clapping to the funk. (13.25/15)
2. "Eternal Flame" (4:34) opens with the dreamy sonic landscape of a mellow Ronnie Laws or Tom Scott song. Bennie takes the lead from the start, soloing on the lower registers of his soprano sax while the lush keyboard-rich music beneath seems to carry us gently downstream. Nice key/chord changes here and there giving the song a kind of cinematic feel. (8.875/10)
3. "Water Torture" (4:52) another gently funky BOB JAMES-like songcraft that provides the vehicle for several lead instruments to contribute their smooth, melodic solos over the top: Bennie's tenor sax, Patrice Rushen on Fender Rhodes, all with gorgeous horn (and "strings") accents and banks on the sides, in the pockets between the solos. Beautifully composed and "orchestrated" though this is a far cry from either the rough, raw space music of the Mwandishi sessions (Jewel in the Lotus) or the power funk of Thrust or Spaceball. (9/10)
4. "You Know the Deal" (7:03) this one starts out a little more funky and a little more smoothly orchestrated--like something inspired by Eumir Deodato's work in 1973--but things go robotic BOB JAMES-like with a very blandly repeated rhythm track beneath Bennie's sax soloing. Also, the overall mix of this instrumental palette is rather foggy: nothing is as clear and defined as one might like; everything feels kind of washed into the same spacestream. At the same time, there is something really cool about the way everything is blended: as if the individuals have sacrificed their identity for the sake of oneness/coalescence. (13.25/15)
5. "Lament" (1:52) acoustic piano opens this before being joined by Bennie's bass clarinet for this tender, introspective piece. (4.5/5)
6. "Quasar" (5:53) another fairly long (45-seconds) cinematic intro eventually reveals a pleasant bass-launched and rich and smooth synth-dominated sonic field over which trumpeter Eddie Henderson is given first shot at leading. His play is quite dynamic: with lots of short and staccato notes and bursts; I'd almost call it "old school" but I have to admit that it's very welcome after an album in which everything seems so washed and homogenized. Luckily, the basic rhythmic and melodic foundation of this one is fairly hypnotic. (9/10)
Total Time 32:15
Though I certainly appreciate the skills it took to realize such tightly-perfected soundscapes and compositions, I'm saddened for the restraint and restrictions imposed upon this cast of incredibly talented musicians (many of whom had been collaborating with Bennie since Bitches Brew and/or Mwandishi): I loved so much the era in which multiple musicians were given the green light to move freely--even experimentally--and at all times!--behind and within the sonic landscapes as opposed to this new style where the composer, band leader, and/or producer is seemingly on a quest for perfect chart rendering.
89.04 on the Fishscales = B+/four stars; an excellent addition of the new smoother Jazz-Rock Fusion for the J-R Fuse enthusiast to enjoy as pleasant background music.
April
GEORGE DUKE Reach for It
The album was recorded at Paramount Recording Studios in Los Angeles and then released by Epic Records on April 4, 1977. Six George Duke original compositions along with another two that he co-wrote, one contributed by drummer Leon "Ndugu" Chancler ("Hot Fire") and one other cover of a song by Brailian Horn player Raoul de Souza ("Ómi").
Line-up/ Musicians:
- George Duke / keyboards, vocals
- Charles Icarus Johnson / guitars, vocals (A4, B4)
- Manolo Badrena / congas, bongos, percussion [miscellaneous]
- Leon "Ndugu" Chancler / drums, tom toms (Remo roto-toms], timbales, vocals (A4, B3)
- Leon "Ndugu" Chancler / drums, tom toms (Remo roto-toms], timbales, vocals (A4, B3)
With:
- Raul De Souza / trombone (B1)
- Stanley Clarke / bass (B3)
- Mike Sembello / guitar (B3)
- Stanley Clarke / bass (B3)
- Mike Sembello / guitar (B3)
Background vocals: Deborah Thomas, Dee Henrichs, Sybil Thomas
A1. "The Beginning" (1:50) how fun it would have been to have been an adventurous keyboard player in the 1970s! Every week a new keyboard comes out, every day two or three new sounds are discovered on your new toys. I know when I got my hands on a Prophet 5 there were so many experiments to perform on every sound with every modulation effect--not to mention running them through guitar pedal effects as well! Here George has wowed enough people with this sound and ditty that he's convinced it should be allowed to reach public ears. Makes me wonder how many 1970s keyboard players were lured into the realm of making film, television, and commercial jingle soundtrack music. (4.5/5)
A3. "Hot Fire" (5:31) here George tries his hand at the Santana/Chick Corea brand of Latinized Jazz-Rock Fusion, letting his piano work fit in with the amazing weave of percussion work from Manolo Badrena and Ndugu Chancler. Since no bass player is credited to either this song or the album, I'm going to have to assume that the awesome bass play has to be attributed to George Duke's left hand. Awesome song. (9.375/10)
A4. "Reach For It" (4:53) picking up on the music coming out of George Clinton's Parliament/Funkadelic as well as The Ohio Players and perhaps The Brothers Johnson we have a funk tune expressing the deep cover fun and joy of the Black World. The male chorus of George, Icarus, and Ndugu are awesome as they are offset by the joyful chorus vocals of Deborah Thomas, Dee Henrichs, and Sybil Thomas. This song also includes the amazing fuzz-bass work of another uncredited musician, I'm told it's one "Byron Miller." (9/10)
A5. "Just For You" (4:27) a song that definitely tightly emulates the sound and stylings of EARTH, WIND & FIRE. Were it not for the weak rather nondescript opening 30 seconds, I feel that this could/should have been a major radio slow dance hit for George. Simply gorgeous! George's multiple tracks and layers of keyboard sounds is amazing! (9.333/10)
B1. "Ómi (Fresh Water)" (4:50) the Brasilian feel is so well presented with such a percussion-heavy palette that it makes me wonder who wasn't playing percussion on the opening of this one! Awesome to hear the composer's trombone playing the lead over the dynamic Latin weave--and to have the wordless vocalese of the female background singers worked into the mix as well. (9/10)
B2. "Searchin' My Mind" (3:41) a radio-oriented soul/funk/R&B tune with Deborah Thomas handling the lead vocal duties. The chorus sounds suspiciously like some other Adult Contemporary band who's one hit wonder appeared just before this year. And I swear there is a real musician playing a slap bass on this! (an Instagram post seems to claim that George had a long-time loyal band member by the name of Byron Miller who was the bass player on a lot of these songs. If so, I wonder why Byron goes uncredited on anything else I've ever found about this album.) (8.75/10)
B3. "Watch Out Baby!" (5:23) a playful song that helps express musically the typical 31-year-old male libido: another one of those sex tape soundtracks. Too bad for the lady involved that the song is cut-off at the exact moment of the man's orgasm. It does seem unfair. The music is fine--soundtrack like--and the radio-theater performances are fine--it's just, in my opinion, another song about one of the more private yet mundane things in the animal world. Do we really need to have these things on record albums? I guess if they're in books, in films, and infiltrating television and video, why not audio record albums? (8.6667/10)
B4. "Diamonds" (6:45) More music that previews the 1980s world that brings us artists like The SOS Band, Stephanie Mills, Luther Vandross, and Cameo. A nice RTF-like jam song that allows for each and every musician to really fly and express themselves fully--each contributing essential ingredients to the weave and overall fullness of this awesome song. The wordless chorale vocals make me think I'm at some summer music camp or outdoor concert in which audience participation is a key element. (13.5/15)
B5. "The End" (1:06) not quite a bookend/mirror image of the album's opener, this is more Star Wars cantina space café like. (4.375/5)
Total Time: 42:16
Total Time: 42:16
An album in which George's genius and proclivity for adaptation, adoption, and fusion really shine. PLEASE NAME THE BASS PLAYER(S)!
90.0 on the Fishscales = A-/4.5 stars; an excellent near-masterpiece of funk-filled yet-diverse Jazz-Rock Fusion that bridges the Third Wave of sophisticated Power Fusion with Funk/R&B and Latin-Jazz and Fourth Wave Smooth Jazz. I think George was hoping to launch a few hits.
AL DI MEOLA Elegant Gypsy
Guitar master Al Di Meola's sophomore release as a band leader and his most highly-acclaimed album of all-time. The internationally acclaimed jazz-fusion album was recorded between December 1976 and January 1977 and then released in April 1977 by Columbia Records.
Line-up / Musicians:
- Al DiMeola / electric 6- & 12-string and acoustic guitars, ARP synthesizer (2), ARP String Ensemble & piano (6), castanets & maracas (2), timbales (4), producer & arranger
With:
- Paco De Lucia / acoustic guitar (3-second solo)
- Jan Hammer / electric piano & Mini Moog (1, 6)
- Barry Miles / electric & acoustic pianos, Mini Moog (4)
- Anthony Jackson / bass guitar
- Steve Gadd / drums (1, 6)
- Lenny White / drums (2, 4), timbales (2)
- Mingo Lewis / percussions, congas (2, 4, 6), shakers, timbales, cowbell, organ & background synthesizers (1), ARP Odyssey & ARP sequencer (1)
1. "Flight Over Rio" (7:16) a song whose first 90-seconds always felt to me as if the band were being forced to play through a blizzard; it feels almost artificially slowed down! By contrast the second motif that starts at 1:38 is more humanly paced--enough so that Al is able to show his seemingly-superhuman powers and prowess on his axe. Hearing this song brings to light the fact that I"ve never really liked the sounds projected from the MiniMoog: I guess they're just a little too unnatural for my tastes. (This also makes reminds me of the fact that I've never been much of a fan of Jan Hammer--ever.) Weird song. (13/15)
2. "Midnight Tango" (7:28) a murkily-engineered song that always felt to me as if Al was pandering to the new wave of radio- and adult-friendly Smooth Jazz audiences. It's nice as elevator music. it's not until the first riff of Al's fiery electric guitar leap out from the dross of everything behind it at 4:15 that I finally find myself sitting up with any kind of hope. Alas! That one little riff, as magnificent as it is, is not enough to save the song--even when played over and over … and over and over. Nor is the oddly-tacked on Latin percussion party at the end. (13.125/15)
3. "Mediterranean Sundance" (5:14) the world's introduction to the fiery genius of Flamenco master Pace De Lucia. What an extraordinary piece! (So which one of The Trio is passion, which one fire, and which one grace?) If I have one complaint of this song it's of its length: a have always felt that it's too long, that the novelty of these guys flying around their fretboards in their friendly duel is just a bit overwhelming. (9.5/10)
4. "Race With Devil On Spanish Highway" (6:18) a song that takes an unnecessarily long time to develop and reach its form and ease. (3:18, to be exact.) Nice instrumental skills on display but, to my mind, that is not reason enough for a "song" like this to exist. All flash and glitz, no guts or beauty. (8.666667/10)
5. "Lady Of Rome, Sister Of Brazil" (1:46) acoustic guitars (12-string and steel-string) in duet. I've always had quite a soft spot for this little one. (4.75/5)
6. "Elegant Gypsy Suite" (9:16) an interesting mix of acoustic instruments (guitars and percussion) and electric. Once again Steve Gadd is relegated to things I consider far beneath him--at least until 90-second mark. Does anyone else out there find Anthony Jackson's "tone-destabled" bass sound annoying? Al is extraordinary no matter what he's doing but I'm never convinced that any of the other musicians or sounds are right for this. As a matter of fact, I can't help wondering if Al's solos alone wouldn't be enough to carry an audience into heaven. More mosquito-annoying MiniMoog to take us into another super-slowly developing motif (one filled with Latin charm and gorgeously seductive melody--if only he'd stay there!) A song"suite" that never really seems to reach its potential. (17.75/20)
Total Time: 37:18
By the time I heard this album I'd already been familiar with Carlos SANTANA, John McLAUGHLIN, and RETURN TO FOREVER, so I was primed for some amazing guitar pyrotechnics--which this album (and Al's predecessor, his solo debut) more than provided. While many people here on PA revere the work in the 1970s of keyboard wizard Jan HAMMER, I've never really been drawn in by his playing, his choice of sounds or his compositions, so this album loses a little on me when I can compare it to Al's contributions to RTF (which had Chick COREA, Stanley CLARKE and Lenny WHITE), Lenny WHITE (which had Onaje Alan GUMBS), or Stomu YAMASH'TA's GO (which had Steve WINWOOD and Klaus SCHULZE). The acoustic guitar duet with Paco DE LUCIA, "Mediterranean Sundance" (5:14) has always been a favorite of mine, and "Elegant Gypsy Suite" is impressive no matter how you look at it. The other songs are impressive compositions, technically amazing and performed at the highest level but have lost some of their lustre over the years. "Midnight Tango" is elegant and beautiful but seems a bit simple and immature now. It is, however, brought up a notch by Lenny's wonderful drum play. The album is very well recorded, mixed and engineered though at times it feels a bit sterile (and others murky), but it is undoubtedly a wonderful representative of a (then) young genius showing his precocious talents.
I'm going to buck tradition here and claim my undying allegiance to Al's debut album over this one: despite Al's prodigious and unarguable talent, the music here just feels too showy, too scattered and afraid to commit to anything much less reach for its true potential.
88.39 on the Fishscales = B/four stars; an excellent j-r fuse album for any prog lover's music collection but more to serve as a showpiece, not for the enjoyable musical listening experience.
BRAND X Morrocan Roll
After bursting onto the scene with in the previous year with their exciting Unorthodox Behaviour album, expectations were high for the future of this band of RETURN TO FOREVER-like British Jazz-Rock Fusion wannabes. The big question would be: How long would Genesis drummer extraordinaire, Phil Collins stay involved? So far, he seemed pretty committed. And, how long would the band remain so obsessed with the American fusion masters to the exclusion of their own creative ideas? It was recorded in London at Trident Studios between December 1976 and January 1977 and then released as a vinyl LP on the Charisma label in the UK and Passport Records in the US in April 1977.
- John Goodsall / electric & acoustic guitars, sitar, backing vocals, effects
- Robin Lumley / piano, Fender Rhodes electric piano, autoharp (5), clavinet, synthesizers (Minimoog, ARP Odyssey, Roland String), backing vocals, effects
- Percy Jones / bass, autoharp (7), marimba (8), effects
- Phil Collins / drums, lead vocals, piano (3), effects
- Morris Pert / percussion
1. "Sun in the Night" (4:25) with John Goodsall's sitar and an overall Indian feel (including melodic chant vocals from Phil, John, and Robin), the band start off with quite a BEATLES-like tribute. I actually like this song quite a bit. (8.875/10)
2. "Why Should I Lend You Mine" (11:16) the BEATLES-like sound palette is somehow continued despite the more-African Jújù guitar and Percy's free-floating fretless bass. Allan Holdsworth-like guitar in the center lead is cool but then it is followed by a pretty cool NOVA Vimana-like "jungle mystique" passage in which everybody's sound contributions are very quite and subdued: more mood-influencing than virtuosic or flashy-demonstrative. (They're trying to replicate the awesome harp & percussion interlude in the middle of YES' "Awaken.") At 8:30 the individuals begin to ramp up their volumes and with John making some AL DI MEOLA/CORRADO RUSTICI-like runs before the song starts to decay and rest again. Despite it's Vimana-"Awaken" references, I absolutely love this song! (Probably cuz I love Vimana and "Awaken.") (19/20)
3. "...Maybe I'll Lend You Mine After All" (2:10) this seems like a continuation of the quiet "jungle mystique" passage that finished the second half of the previous song--even picking up one of the melodies from "Awaken" on the keyboards. (4.375/5)
4. "Hate Zone" (4:41) on this somewhat funky tune John and Percy try their best to replicate the funky sounds that JAN AKKERMAN created on his two 1976 releases. (9.125/10)
5. "Collapsar" (1:35) I love this little interlude: it reminds me of a mix of MIKE OLDFIELD's Tubular Bells main theme with some spacey Prog Electronic synth work--maybe even the second Alan Parsons Project album, I Robot. (5/5)
6. "Disco Suicide" (7:55) a suite that contains interlaced but consecutive motifs that each emulate something from RETURN TO FOREVER's Romantic Warrior from the previous year (especially the bass, guitar lines, keyboard soloing (Moog whistles) and PHIL's pure-LENNY WHITE imitative drumming). They certainly did a great job of imitating Chick, Al, Stanley, and Lenny--even editing and packaging it all into one song! (13.5/15)
7. "Orbits" (1:38) a Percy solo. Cute and very Stanley Clarke-like. I like the dramatic engineering effects. (4.5/5)
8. "Malaga Virgin" (8:28) the full band goes out for a "Duel of the Jester and the Tyrant"-like cruise: everybody pumping at full speed as John and Robin take turns trying to establish melodies when it's Percy's bass line that really holds everything down. Phil's drumming is incredible. Percy and Morris Pert get to play off one another in the third minute while John tries some Al Di Meola acoustic guitar riffing alongside them and fill supports with his lite drum and cymbal play from beneath. Robin jumps in with a MiniMoog in the fourth minute as John recedes into Al Di "Race with the Devil" rhythm guitar work. Then, at 4:25, everyone stops and resets into another pensive, cautious slow and perspicacious walk through a mine field. Robin's piano and John's laser-fast Al Di runs on the acoustic guitar play off of Percy's fretless and Morris and Phil's delicate flanged cymbal play--until 7:32 when a pluck bass chord signals the run to the finish line: Fender, electric guitar, machine gun bass lines, and incredible speed drumming. Again, a near-perfect play on the RTF suite from the end of Romantic Warrior. I might even like this one more than the original: it's a little more cohesive/unified. (18.5/20)
9. "Macrocosm" (7:24) yet another song that opens just like a "classic" J-R Fusion power tune: like Mahavishnu Orchestra's "Meeting of Spirits"--but the sound is so good! All the gents are super impressive here but Robin Lumley's Jan Hammer imitation is incredible--his best work on the album! And I mustn't leave out acknowledging John Goodsall's amazing, near-Al Di Meola guitar work. If the Mahavishnu Orchestra had had the technology to make their instruments make these sounds I probably would have liked The Inner Mounting Flame better. (14.75/15)
Total Time 49:32
Total Time 49:32
I have several takeaways from listening to this album: 1) these guys are really good at imitation; 2) they make far more sophisticated music than I ever gave them credit for (I've owned this album since the late 70s but never really returned to it very often); 3) Phil Collins is an amazing drummer; 4) Percy Jones IS one of my favorite bass players of all-time (I prefer his work much more to that of Jaco Pastorius); and, 5) John Goodsall is a top tier guitarist. Why he doesn't get more notice or credit I'm not sure cuz he is every bit as deserving to be talked about in the same conversations with the other J-R F giants.
92.98 on the Fishscales = A/five stars; despite its imitative nature, this is definitely a masterpiece of Third Wave Jazz-Rock Fusion; Moroccan Roll is a far-better album than I ever gave it credit! It just took two years of submersion into the world of "classic era" Jazz-Rock Fusion for me to be better able to appreciate it!
BLUE EFFECT (MODRY EFEKT) Svitanie
Despite carrying forward only two of the band's founding members, this is the sixth studio album using the "Blue Effect / Modry Efekt" monikers. Recorded in January 1977 in Pezinok, Slovakia, Svitanie
was officially released in 1977 in Czechoslovakia on the Opus label.
- Radim Hladík / acoustic & electric guitars
- Oldřich Veselý / acoustic & electric pianos, organ, ARP & string synths, vocals
- Fedor Freso / bass, bass mandolin, percussion, vocals
- Vlado Čech / drums, percussion
2. "Ej, Padá, Padá Rosenka / Dew Is Falling, Falling" (6:36) a FOCUS-like opening with some searing Steve Howe-like guitar flurries turns even more FOCUS-like when the band settles into a church-like organ-based vocal section at the end of the first minute. The sound and styles of Radim Hladík's guitar wavers between those of 1972 Robert Fripp and 1972 Jan Akkerman. The singer's voice sounds a bit strained. All in all it is still an impressive and enjoyable song. (9/10)
3. "V Sobotu Popoludní / On Saturday Afternoon" (4:15) the band starts off in third gear and then proceeds to build a cool BILLY COBHAM-like tune. The insistence of the tandem bass-and-drum lines is clear and undeniable. The next motif sounds a lot like some of Italian band AREA's driving music from Crac! or even some of the peak J-RF from the likes of Lenny White or Tony Williams circa 1975-6. My favorite song on the album (probably because it is really the one that is the most genuinely founded in Jazz-Rock Fusion). (10/10)
4. "Svitanie / Dawning" (19:35) long, prolonged spacious organ and bass guitar intro is supported by electric guitar, synth, and cymbal incidentals. I like this! It's like a church processional. Radim's volume-controlled guitar notes are quite Jan Akkerman-like. The vocals and synth work that arrives in the fourth minute and builds into some YES-and-JON ANDERSON-like sounds is pretty cool--especially if you don't mind such blatant imitation of the great Brits. Here one can recognize that those volume-controlled guitar notes are really more akin to Steve Howe's work. At the end of the sixth minute there is a spacious bridge to a new variation of the organ-and-bass motif, with more gentle and sporadic cymbal support before Fedor leads the song into a different direction--one that become more blues-rock based. The blues rock motif provides Radim the impetus and inspiration for a pretty awesome bottleneck solo on his guitar (though it could be a pedal steel guitar). Then there is a patch with some chunky bass and drum soloing. The sound quality throughout is impeccable even if this is not my favorite style or sound of music (and not even close to what I consider "Jazz-Rock Fusion"). The guitar soloing turns full-on rock 'n' roll. At the 11-minute mark acoustic guitar takes over the lead play over bass chords and new church organ sounds. Nice play from Radim. The next solo (in the thirteenth minute) still feels like guitar, only one that is very uniquely effected. Then, in the fourteenth minute, Radim bursts out with his loudest Jan Akkerman sound to try to outrun the master. In the fifteenth minute there are multiple instruments all soloing against, with, and off of one another for very short bursts of time, with Radim switching from sound to sound until settling onto a trumpet-like volume-controlled sound for the rest of that minute, and then moving back to some sounds that are quite familiar to us lovers of JAN AKKERMAN's work on "Answers? Questions! Questions? Answers!" I like Radim's ballsy inspiration. He's obviously quite talented. Even though very pleasant group vocals enter in the 19th minute to help bookend and guide the song to an end, the song seems too blatantly set up for Radim to rather-conceitedly show off his skills (and toys). (17.75/40)
Total Time 40:38
I just have to say that if this is Jazz-Rock Fusion then so is Focus, Yes, Lark's Tongues in Aspic, and Änglagård.
93.28 on the Fishscales = A/five stars; though not necessarily fresh or unique music, I cannot deny the masterpiece quality of the performances and skills displayed on this album. The bulk of this music, however, feels more like skilled progressive rock music than Jazz-Rock Music.
93.28 on the Fishscales = A/five stars; though not necessarily fresh or unique music, I cannot deny the masterpiece quality of the performances and skills displayed on this album. The bulk of this music, however, feels more like skilled progressive rock music than Jazz-Rock Music.
May
PAT METHENY Watercolors
The first glimmers of Pat Metheny Group patterns and behavior: welcome Lyle Mays and Danny Gottlieb into Pat's rather idyllic world! Welcome Pat and Lyle to the world of Manfred Eicher's ECM magic! Thank you, Eberhard for your presence and wizardry. Behold: a masterpiece of Jazz-Rock Fusion that portends a vein of the Domain that manages to remain true to the spirit of the founders and creators of the sub-genre. Recorded in February 1977 at Talent Studio in Oslo, this May 1, 1977 ECM Records release was Pat's second solo album.
- Pat Metheny / 6- & 12-string electric guitars, 15-string harp guitar
With:
- Lyle Mays / piano
- Eberhard Weber / bass
- Danny Gottlieb / drums
1. "Watercolors" (6:30) thus begins Pat's settling into the guitar sounds and group soundscapes that have become signatory to him and his collaborations. Take this song to the 1987, 1997, or 2007 "Group" and they'd all say, "Yep. This is our sound." After only knowing Eberhard Weber for his underwater electric bass sounds for 40 years, I find it such a pleasure to hear him playing within the "confines" and expectations of a standard jazz combo. And here we have a nice introduction to Pat's life-long collaborating companion, the great Lyle Mays--here only on piano but what a great start! The melodies, skills, jazzy phrasings, and clarity of sound are such a delight to hear. While I find absolutely no fault with this song, it does not reach out and grab my heart the way many of Pat and Lyle's future tunes will. (9.333/10)
2. "Icefire" (6:08) solo Pat on his 15-string harp guitar, offering a glimpse into the eternally-curious sound-pioneering side of one of Jazz, Jazz-Rock Fusion, and progressive rock's most adventurous, creative, well-rounded, and skilled musicians. The strums of the harp chords get a little boring (thank goodness he takes a break from them in the mid-section of this), but the melody lines created by Pat's main fretboard are spellbinding and gorgeous--sometimes soul-crushingly so. (9.25/10)
3. "Oasis" (4:05) Pat opens this one by creating mirage-like waves with the finger-picking arpeggios of his 12-string guitar chords while Lyle and Eberhard support from beneath with ever-so-delicate sound waves that sound like plaintive animal cries. As nature-imitative as any music you-ll ever hear: befitting of Mark Isham's Never Cry Wolf soundtrack or something to accompany any desert videography. (9.75/10)
4. "Lakes" (4:46) a nice, melodic jazz piece that previews many future masterpieces (as well as Bob James' work for Touchdown and "Angela"). The cohesion and timing of the whole quartet is actually quite remarkable and should be duly recognized. Lyle's piano solo in the middle is, unfortunately, the only detractor from such a whole-group achievement as his role within the mix seems much more important than the expression of his own melodic ideas, and, thereafter, the band never really re-congeals as it had for the first two minutes while Pat finishes the song in the spotlight. Too bad. Those first two minutes were quite magical. (9/10)
5. "River Quay" (4:57) on this tune the band feels as if they are bending to the will and expectations of external/comercially-motived forces: here creating something that feels more fitting as a radio friendly, easy listening piece. Luckily, this will rarely be the direction Pat and Lyle forge for their music in the future. But, here we have an example of the Will Boulwaire/Rainbow-"Feel Like Makin' Love"-like direction they could have gone had they chosen. So much skill! (9.125/10)
- Suite:
6. I. "Florida Greeting Song" (2:32) some more loosely-constructed jazz that portends Pat's works with both Charlie Haden and Ornette Coleman--this despite the late establishment of a more-directional motif due to Pat's fast-strumming guitar play and Danny Gottlieb's fast-driving drumming. (4.375/5)
6. I. "Florida Greeting Song" (2:32) some more loosely-constructed jazz that portends Pat's works with both Charlie Haden and Ornette Coleman--this despite the late establishment of a more-directional motif due to Pat's fast-strumming guitar play and Danny Gottlieb's fast-driving drumming. (4.375/5)
7. II. "Legend of the Fountain" (2:32) Spanish-sounding impressionistic jazz using nothing but Pat's solo guitar play. Quite lovely. I fail, however, to see the connection between the two movements of the "suite." (4.5/10)
-
8. "Sea Song" (10:18) opening with waves of Lyle's beautiful piano conjoined with Pat gentle finger picking of fairly static chords and Eberhard's gorgeous, long-sustained soft-horn-like bowed-bass notes. In the middle of the second minute Eberhard steps back, leaving lots of space for Pat to step forward--bringing Lyle with him. The two then wanders into a mid-section in which they seem to be meandering like mice over coastal grasslands--a section that lasts for over two minutes as the two weave their melodic lines over, around, and separate from one another. Then Eberhard returns with his now-signature fretless electric "underwater bass" play (as does Danny's active mostly-metal percussion play). All in all, it's quite lovely, quite evocative of a windblown Cliffs of Dover- or Carolinian Coastal-like look out over the expanse of sea. Well done, guys! Music really does not get much better than this, folks! (20/20)
Total Time: 41:48
8. "Sea Song" (10:18) opening with waves of Lyle's beautiful piano conjoined with Pat gentle finger picking of fairly static chords and Eberhard's gorgeous, long-sustained soft-horn-like bowed-bass notes. In the middle of the second minute Eberhard steps back, leaving lots of space for Pat to step forward--bringing Lyle with him. The two then wanders into a mid-section in which they seem to be meandering like mice over coastal grasslands--a section that lasts for over two minutes as the two weave their melodic lines over, around, and separate from one another. Then Eberhard returns with his now-signature fretless electric "underwater bass" play (as does Danny's active mostly-metal percussion play). All in all, it's quite lovely, quite evocative of a windblown Cliffs of Dover- or Carolinian Coastal-like look out over the expanse of sea. Well done, guys! Music really does not get much better than this, folks! (20/20)
Total Time: 41:48
The skill exhibited by these musicians throughout this album is rather astounding. Couple that with the sound that Manfred Eicher produces from his ECM recording and mastering and you get one pristine album of highly-precise and skillful rendering of exceedingly-high-quality compositions.
94.51 on the Fishscales = A/five stars; a masterpiece of creative and innovative Jazz-Rock Fusion. Let the new masters and upholders of the Faith be known and worshipped!
94.51 on the Fishscales = A/five stars; a masterpiece of creative and innovative Jazz-Rock Fusion. Let the new masters and upholders of the Faith be known and worshipped!
ÉDITION SPÉCIAL Aliquante
- Marius Lorenzini / electric & acoustic guitars, vocals
Ann Ballester / acoustic & electric pianos, synthesizers (ARP Odyssey & Omni, Oberheim polyphonic), vocals
- Josquin Turenne des Prés / bass, guitar, vocals
- Alain Gouillard / drums
1. "Vedra" (6:35) nice Fender Rhodes-driven jazz-rock fusion of the Third Wave. (8.875/10)
2. "À la source du rêve" (7:45) a song that sounds quite a bit like something straight off of JEAN-LUC PONTY's albums of the previous year, Aurora and Imaginary Voyage. For me, it's drummer Alain Gouillard that really shines on this song--especially in the second motif with some Bill BRUFORD-like sound and techniques. Marius Lorenzini's acoustic guitar play is quite like the modern Django-style that Daryl Stuermer uses on the Jean-Luc albums mentioned, while Ann Baellester's multi synth-dominated play is quite fresh and adventurous, though always quite melodic. She really shines. And, did I mention bassist Josquin Turenne des Prés' excellent funk play with his Anthony Jackson sound? A most engaging, enjoyable, and impressive song, even if it is rather simply constructed; the lively, energetic play of all of the instrumentalists makes something "simple" into an impressive display of complexity. (13.875/15)
3. "So Deep Inside" (5:45) Trying to blend with some Chick Corea/Al Di Meola riffs and themes with the There's even some part (in the fifth minute) that reminds me of UK's debut album! Like a lot of the music on the next band's next album, I can hear beginning strains of similarities to the quirky music of 2010s Camembert unconventional fringe Zeuhl. (8.875/10)
4. "Le temps d'un solo" (5:43) weaving their creative instrumental play with a somewhat STEELY DAN sound palette over another fairly simple (two-chord) construct allows for plenty of opportunity to show some flash--they're all doing it: from drummer Alain Gouillard's Steve Gadd-like rudiments to Marius Lorenzini's Jeff "Skunk" Baxter guitar tone and style, even down to Josquin Turenne des Prés' Chuck Rainey-like funk bass playing. Nice! (8.875/10)
5. "La ville en béton" (5:00) sounds very much, to my ears, like a slightly different instrumental palette performing a slightly more laid-back variation/version of the previous song. It's nice if a little pre-Yacht Rock smooth. Then add in the male vocal here and it only serves to add to the Steely Dan vibe. (8.875/10)
6. "La fille du ruisseau" (6:45) even more Steely Dan-inspired music that begins to show signs of some of the quirk that I associate with Pierre "Cheese" Wawrzyniak's fringe-Canterbury style band from Strasbourg, Oiapok. The addition of Ann Ballester in the vocal mix--with her Mélanie Gerber sound-alike voice--definitely contributes greatly to this feeling--while the bass, drum, and rhythm guitar render it so completely into the Steely Dan wheelhouse. Ann's Jan Hammer-like synth soloing with Marius' Larry Coryell-sounding guitar flourishes are the two elements that serve most to keep this song in the Jazz-Rock Fusion world. (13.375/15)
7. "Alone, Completely Unknown" (6:55) Ahh! Here we get the first serious evidence of the band's future direction and predilection! Some quirky Jazz-Rock Fusion founded, at first, in some of the basic tenets and lessons of Second Wave J-R Fusion, but then stepping down a pop-rock side street when the vocal motif starts. The signs of this being only the infancy of this path lie in the interesting vocal arrangement: alternating male and female dialogue similar to that which HUMAN LEAGUE will exploit in a few years on their monster hit, "Human." A cute, likeable song that, when compared to the much more sophisticated weaves of the next album, feels infantile and simplistic. (13.125/15)
Total Time 44:28
I can see why so many reviewers elevate this album above its successor: it's quite melodic and its simpler instrumental palette does make it a bit more accessible and engaging. The musicianship is also incredibly high, but the quirky, unusual complexity of the next album--with a full complement of five musicians working relentlessly on some very challenging and more mature compositions--makes it superior to me.
Though Gong's Mireille Bauer (vibraphone, marimba, percussion) and one of Magma's great bass players, Francois Grillot, worked with the band during some late studio sessions for some songs that never got developed enough to be included on this album, they (and their songs: "Camara" and "Aurore") would become prominent members on the band's next album, their masterpiece, Horizon Digital.
I'm not sure if I would have been dissing this album as much had I not started with Horizon Digital, but I am so glad that I did. This is wonderful music but definitely, in the contextual perspective of knowing the fullness and maturity of the compositions of Horizon Digital, this is, to my mind, analogous to comparing Genesis' Trespass with Nursery Cryme or Yes' The Yes Album with Close to the Edge.
89.26 on the Fishscales = B+/4.5 stars; a near-masterpiece of Third Wave Jazz-Rock Fusion. Highly recommended--but only if you promise to follow up with their next album, Horizon Digital.
ARCO IRIS Los Elementales
The seventh studio album released by this amazing band of virtuosic musicians from Buenos Aires. Released on the Cabal label, it has been cited as having a May 1977 release date following recording sessions in April 1977.
Line-up / Musicians:
- Ara Tokatlian / flute, tenor & soprano saxes, piano, Fender Rhodes, Mini-Moog & PS 3000 synths, native winds, vocals
- Ignacio Elisavetsky / guitar, vocals
- Guillermo Bordarampé / bass, acoustic guitar, bandura, alto vocals
- Jose Luis Perez / drums, percussion
- "Elemental De Tierra" :
1. "Gob (Maestro-Mago De Los Gnomos)" (5:58) awesome opeing with some very impressive drums-and-percussion interplay with distant saxophone and Fender Rhodes adding accents in the backgrround. At the very end of the first minute the band shifts into a punctuated Mahavishnu/RTF-like performance of electronic instruments. Man! This drummer is so good! (And his drums are recorded so perfectly for this kind of dynamic power Jazz-Rock Fusion!) Surprisingly, Ara Tokatllian's tenor saxophone takes the first significant solo--really flying off into near-Coltrane free jazz realms with his reckless abandon! But the support crew keeps me well engaged--and makes Ara's craziness quite tolerable. Bass player Guillermo Bordarampé is also quite impressive, but the work of percussionist Jose Luis Perez may rival that of both Ara's sax and his own drumming! It's really hard to imagine Third Wave Power Jazz-Rock Fusion being any better than this! (10/10)
2. "Destilando El Perfume De Los Minerale"s (4:58) with the gentle piano and flute opening to this it's hard to fathom its supposed-connection to the previous song (within the umbrella of the "Elemental de tierra" suite title). Vocals and soaring saw-synth enter with Guillermo's melodic bass as Ara's piano and synths expand their involvement beneath the singing. There is some feeling of RPI bands like PFM and Maxophone as well as Chick Corea in this as well as some KHAN! Pretty but nothing as Earth-shattering as the opener. (8.875/10)
- "Elemental Del Fuego" :
3. "Cristalizando Los Rayos Del Sol" (4:26) the heavier side of Jazz-Rock Fusion, bordering on Jazz-Rock or straight-up Prog. Complex with plenty of magical individual performances from all of the musicians (though the drums are a little poor in their volume levels), the multi-voice vocal enters around the two minute mark, delivering a round of lyrics before giving way to folk flute and then a powerful section with some great chord progessions supporting both electric guitar and synth solos. Then we're back to the group lyrics for another round of the same, this time with synth, sax, organ and then guitar offering the harmonized "solos" till the end. (9.5/10)
3. "Cristalizando Los Rayos Del Sol" (4:26) the heavier side of Jazz-Rock Fusion, bordering on Jazz-Rock or straight-up Prog. Complex with plenty of magical individual performances from all of the musicians (though the drums are a little poor in their volume levels), the multi-voice vocal enters around the two minute mark, delivering a round of lyrics before giving way to folk flute and then a powerful section with some great chord progessions supporting both electric guitar and synth solos. Then we're back to the group lyrics for another round of the same, this time with synth, sax, organ and then guitar offering the harmonized "solos" till the end. (9.5/10)
4. "Djin (Maestro-Mago De Los Salamandras)" (3:52) metronomic piano chords support a rather bombastic intro with drums, bass, and multiple searing guitars exposing the power this band is capable of. But, this only lasts about 50 seconds before the storm passes and we're left with piano and soprano sax (and, soon, flute) to deliver some gentle pastoral beauty for about a minute before the drums-and-duo-guitars explode onto the scene again. This cycle continues until the pastoral and main theme combine to softly take us out. (9.25/10)
- "Elemental De Agua" :
5. "Despertar De Los Hijos De La Mañana" (3:45) electric piano playing two chords opens this before the rest of the band crashes the party with some quite bombastic play: everybody but the bass (and piano) seeming to scurry off into their own soloing. By the arrival of the second minute things are calming down, eventually leaving just the piano and flute to play for us, but then--just as with the previous song--the cycle of pastoral beauty being broken by 20-to-30-second bursts of bombast continue--until a bass and cymbal crash at 3:26 signals the intro to the next song of the suite. Wonderful stuff! (9.25/10)
5. "Despertar De Los Hijos De La Mañana" (3:45) electric piano playing two chords opens this before the rest of the band crashes the party with some quite bombastic play: everybody but the bass (and piano) seeming to scurry off into their own soloing. By the arrival of the second minute things are calming down, eventually leaving just the piano and flute to play for us, but then--just as with the previous song--the cycle of pastoral beauty being broken by 20-to-30-second bursts of bombast continue--until a bass and cymbal crash at 3:26 signals the intro to the next song of the suite. Wonderful stuff! (9.25/10)
6. "Necksa (Maestro-Mago De Las Ondinas)" (8:07) opens to quickly establish a cool Jazz-Rock Fusion bass and drum groove, funky yet well-steeped in rock, before tenor saxophone presents the main melody. The bass player's style sounds like Stanley Clarke with the thick bass lines mixed with heavy bass chords. So cool! An extended "pause" or "repeat" in which no real soloing is going on is then followed by another explosion of sax melody-making before the music shifts into a different motif--one that seems to combine a 1960s spy-theme with the big RTF sound palette. At 5:45 things thin out, making way for the arrival of vocals: first all female choir, then male. By 6:30 the music turns back to all-instrumental with a more Latin rock sound and feel while a spacey synth and flute fly above the rhythm guitar and heavy bass work. Excellent! (14/15)
- "Elemental De Aire" :
7. "Los Nacidos Del Viento" (3:57) a gentler, more spacious soundscape is created over which breathy, gentle male vocalist (doubled up?) joins in sounding like a cross between something between classic NEKTAR, CAMEL, CELESTE, PFM, and modern DEVIN TOWNSEND. Sax and odd synth sounds take the lead in the fourth minute before volume-pedal-controlled electric guitar notes and flute provide bird-like sounds to take us out--while the gently-arpeggiated electric guitar chords that started it all continue throughout and right to the end. Very pretty. Almost more prog folky than JRFuse. (9.125/10)
8. "Paralda (Maestro-Mago De Los Silfos)" (8:09) a rock-heavy Jazz-Rock Fusion song built around a variation of Henry Mancini's "Peter Gunn" while deploying a heaviness that well-emulates the peak music of VAN DER GRAAF GENERATOR: this is truly remarkable! At 4:45 the band takes a detour down a JAN HAMMER-like road so that Ara Tokatlian can show off his synth prowess--in two channels--in opposition to his guitarist, Ignacio Elisavetsky. An extraordinary duel (triel?)--one that is right up there with anything Mahavishnu or RTF or their numerous offshoots and imitators ever did. (14.25/15)
Total time 39:20
After starting with the band's early releases, and now skipping ahead to this full-fledged Jazz-Rock Fusion-bordering-on-Proggy album, I have to admit my astonishment at the growth and progress the band has achieved. They were always good--with great musicianship top to bottom--but to so wonderfully blended the sounds and styles of such high in such an impressive way is beyond all expectations.
93.61 on the Fishscales = A/five stars; a full-blown masterpiece of proggy Jazz-Rock Fusion: on the same level as the best from Fermáta, SBB, Jan Hammer, or any of the early RPI classics! HIGHLY RECOMMENDED--especially if you profess yourself a prog lover!
93.61 on the Fishscales = A/five stars; a full-blown masterpiece of proggy Jazz-Rock Fusion: on the same level as the best from Fermáta, SBB, Jan Hammer, or any of the early RPI classics! HIGHLY RECOMMENDED--especially if you profess yourself a prog lover!
THE CRUSADERS Free as the Wind
What a lineup! This is not The Jazz Crusaders--it may not even be The Crusaders now that Wayne Henderson has moved on: What Tom Scott's L.A. Express has done is expanded their lineup to include several more of L.A.'s very, very top in-demand studio musicians for a project that may have turned out their best music . . . ever! Recorded at Hollywood Sound Recorders, Hollywood, December 1976 and then released by Blue Thumb Records on May 25, 1977. Despite the fact that Free as the Wind topped the Jazz charts for a few weeks I still consider it one of their tragically under-valued albums.
Line-up / Musicians:
- Wilton Felder / saxophone- "Stix" Hooper / drums, percussion
- Joe Sample / keyboards
- Larry Carlton / guitars
- Dean Parks / guitars
- Robert Popwell / bass
- Ralph MacDonald / percussion
- Roland Bautista / guitars (B1, B3)
- Ralph MacDonald / percussion
- Roland Bautista / guitars (B1, B3)
- Arthur Adams / guitar (B4)
- Paulinho Da Costa / percussion (B1)
A1. "Free As The Wind" (6:17) seeming to take a lesson from the excellent fully-orchestrated music that fellow L.A. artist David Axelrod had been putting out consistently since 1968, Joe Sample gets the full studio involved in this song credited to him: here embedding their funk-lite within some excellent horn and orchestra arrangements. Quite the upbeat, melodic, and enjoyable jam. A great cruisin'-down-the-highway tune. A top three song. (9.25/10)
A2. "I Felt The Love" (5:10) this Stix Hooper contribution carries with it the funk and attitude that Donald Fagen and Walter Becker were able to so ably capture on their Aja album. Wilton Felder does a great job leading the way over the first two minutes. In the third minute there is a slight shift toward Bob James-dom as we move into Joe Sample's extended solo: not only his keyboard sound but the funk-lite support that exudes from the band (the bass, clavinet, and guitars), the horns, the orchestra. Then it seems as if the whole neighborhood gets involved to take us home. Great song! Probably my favorite song on the album. (9.333/10)
A3. "The Way We Was" (5:24) this Robert Popwell composition feels as if it's paving the way for the world to get used to the music of both Rickie Lee Jones and Bob James Touchdown and Taxi/Angela phenomenon. A bluesier feel and foundational palette than the previous songs due to the swampy organ and guitar performances as well as the Black party/celebratory background voices throughout (which makes me think I'm listening to an episode of Sanford and Son, Chico and the Man, or Starsky and Hutch. The music is good, the musicianship excellent, but it's not really in my realm of preferences. (8.875/10)
A4. "Nite Crawler" (4:45) a Larry Carlton composition that is just too bare-boned and simple: it reminds me more of something from either a David Sanborn or Kenny G album. Larry's countrified guitar sounds and Joe Sample's Bob James electric piano sound fitted over "Stix" Hooper and Robert Popwell's mundane, white toast rhythm track just turn me off--make me think I'm listening to elevator music. This lineup is just too talented to let shlock like this make the final cut. (8.667/10)
B1. "Feel It" (4:15) some very catchy melodies over some Pete Townsend-meets-Ronnie Laws'-"Always There" rhythm guitar work from Dean Parks and Roland Bautista (who, coincidentally, was the actual guitarist on Ronnie Laws' "Always There"), respectively, as well as the group chant-vocals and dual sax-and-sitar-like-guitar leadership sounds too much like "Always There," even when it hits the second Bob James-like motif, but then you really feel the "Always There" feel from 1:40 on as Wilton belts out those long loud notes and the band gathers beneath in such a perfectly-supportive chord progression (both motifs). I love the clarity of instrumental definition on this whole-group composition and some of the fresh ideas being brought to the table by Joe and percussionist-extraordinaire Paulinho Da Costa. Despite the near-carbon-copy of Ronnie Laws I still love this song! (9/10)
B2. "Sweet N' Sour" (8:57) back to the full-studio format with the orchestral lines being much more active and, at times, almost independent (before going "Shaft" finale in the third minute). Joe's electric piano sounds so frail and delicate throughout his solo--which makes me wonder how and why he chose that particular group of settings on his keyboard. An electric guitar solo takes over the fifth minute as the band quiets down to let (Larry?) get started, but after about 30 seconds they're done: the rest of the band comes back in, building up to full force ("Shaft" pulses)--which seems to be the signal for the turnover to the next soloist (this time Wilton Felder). The next round brings on some scattered instruments before a horn section of saxophones picks up the baton--around which the rest of the band rallies and builds the usual wall of sound before yielding to another electric guitar solo that becomes enmeshed within a (couple of) sax solo(s). Pretty cool if theatric/cinematic sounding song. (17.5/20)
B3. "River Rat" (2:29) back to another to another schmaltzy-if-funky David Sanborn-sounding tune for Wilton's final contribution to the album, leading to saxophone as the lead instrument over an ensemble of funk players who seem to be each trying to out-funk the others. Interesting. (4.333/5)
B4. "It Happens Everyday" (5:40) opening with Joe Sample on piano (playing a solo piece that is remarkably similar to my all-time favorite song of his, "Midnight and Mist" from his 1979 solo album, Carmel). The band adds some delightfully-delicate magic to Joe's composition--nuanced inputs coming from every single one of Joe's collaborators, even percussion and strings! But it's all Joe's show: leading the way start to finish with his piano play. Beautiful and so well rendered! (9/10)
Total Time: 42:54
Total Time: 42:54
I really love the sophisticated, highly-layered funk tunes of this album. Unfortunately, it's burdened by some cringe-worthy stuff as well.
89.36 on the Fishscales = B+/four stars; an excellent album of lightly-funky Smooth Jazz--some of it of the highest quality, some of it pure schmaltz.
June
July
EDDIE HENDERSON Comin' Through
Recorded in Eddie's "backyard"--in San Francisco--at Wally Heider Studios sometime in 1977, the album is reputed to have had a July release from Capitol Records.
- Eddie Henderson / trumpet (1, 2, 4-8), flugelhorn (3, 8), arrangements (4, 8)
With:
- Dianne Reeves / vocals (2, 5)
- Howard King / vocals (5)
- Lee Ritenour / guitar (1, 5)
- Al McKay / guitar (2, 6)
- Patrice Rushen / piano (2), electric piano (2, 5), clavinet (1, 2), Strings Ensemble (1, 5), Mini-Moog (6), bass (5), percussion (1, 2, 6), vocals (2, 5), arrangements (2, 6)
- George Cables / electric piano (3, 4, 7, 8), clavinet (4, 7), Mini-Moog & Strings Ensemble (7), arrangements (3, 7)
- Charles Mims Jr. / Mini-Moog (1), electric piano & clavinet (6)
- James "Mtume" Foreman / piano (1), percussion (3, 4), congas (4, 6, 7), vocals (2, 5), arranger (1, 5)
- Manny Boyd / sax (2,4,6), flute (7)
- Connie Henderson / flute (7)
- Julian Priester / trombone (2, 4-7)
- Paul Jackson / bass (1-7)
- Howard "Locksmith" King / drums (1-7)
- Skip Drinkwater / percussion (4-6), producer
- Philip Bailey / congas & bongos (1, 2)
1. "Say You Will" (4:28) so this is how it's going to be: Disco Jazz-Funk! There is the skillfully-played musicianship coupled with repetitive dance grooves with their instrumental riff "hooks" and engageable melodies. The main melody as presented by Eddie on his trumpet prepares us for Debbie Harry's awesome 1980 hit, "Rapture," while the mesmerizing bass 'n' drum line beneath feels as if it came straight out of The ISLEY BROTHERS' 1975 release, The Heat Is On (like a slightly less bass-heavy "Fight the Power"). (8.875/10)
2. "Open Eyes" (3:53) slow it down to Bob James pace, Paul Jackson's funky note-sliding bass line is so cool! Active horn section, Patrice Rushen's clavinet, and choir sultry background vocals make for a great cocky-urban groove to fall into. Here the effect of the percussion ensemble is felt and Eddie really lets us hear his trumpet talents. Nice--though it is faded out to end it (indicating, of course, that the original jam went on for some time longer). (9/10)
3. "Morning Song" (5:38) discarding the Disco and R&B stylings for a song is a good thing. Here they are reaching back into the soulful early 70s with a Bob James/Steely Dan kind of spacious style. I like this very much as it reminds me much more of the true essence of some of those original pioneers of Jazz-Rock Fusion--the ones who were seeking to catch listeners with melody, comfort, and ease. Eddie's lead trumpet play is quite smooth and modest, rarely showing his skills, settling more for the engaging melodies of the classic soul singers of the 1960s. (8.875/10)
4. "Movin' On" (5:54) I'm wondering if the "dirty" production on George Cables' electric piano intro was intentional or not. No matter. After 30 seconds of solo electric piano, the band appears with a Disco-lite motif that predicts HERB ALPERT's 1980 hit, "Rise." George's clavinet play above Paul Jackson's centering bass line is great while the electric piano strays and spices things up beneath the steady beat provided by the Locksmith. The long reverbed trumpet notes are pretty cool even if they are mixed a little further back than I would have expected (or liked). With so many percussionists employed for this song I would have expected more noticeable action coming from that department, but no. My favorite part of the song (beside the clavinet and Fender Rhodes play) is Manny Boyd's excellent sax solo in the third and fourth minute. Again, like Herb Alpert in "Rise," Dr. Eddie stays the course pretty firmly with his long-sustained reverb note playing throughout. (9/10)
5. "Return to the Source" (4:32) a song that sounds like a slow-motion version of one of The Isley Brother's popular uptempo funk songs from their Heat Is On-Harvest For the World-Go for Your Guns period (1975-1977). Eddie's muted trumpet play is awesome, the pace a little discombobulating because it's slower than you would want or expect, but it does allow for plenty of chances to observe the talents of band members like the rhythm guitarists and vocal choir. Great rhythm guitar work from Lee Ritenour and some of the album's best trumpet playing by Eddie. (9/10)
6. "The Funk Surgeon" (4:59) fully committed to the Disco era: multiple rhythm guitars, slap and pluck bass, bass- and hi-hat-centered drums, EWF-like horn section, Patrice Rushen's novelty sound of duck-like Mini-Moog--it's all here for a dance-floor novelty song. Which is sad for the way in which Eddie's trumpet becomes so secondary (or tertiary) to the music--even going so far as getting buried within the mix instead of up front. (8.75/10)
7. "Beyond Forever" (4:38) one of the most interesting songs on the album--mostly due to its mid-song tempo increase and the remarkable instrumental performances that come with that. Not only are the performances of Paul Jackson, George Cables, and Locksmith off the charts impressive, the composition (by George Cables) displays a songwriter who is anything but complacent--someone who wants to continue to keep the exciting, exploratory nature of jazz alive within the music industry. Great song! (Too bad they faded it out again: I would love to hear what else they had to say!) (9.375/10)
8. "Connie" (3:05) an Eddie Henderson composition that finds the flugelhorn player expressing from a tradition that feels closest to that of Miles Davis and/or Freddie Hubbard. George Cables is Eddie's lone accompanist--on a sparkling Fender Rhodes. Very reflective and introspective. I love Eddie's emotional side. (9.25/10)
Total Time: 37:07
Though full of plenty of funk and creativity, this album definitely presents a full commitment to the sounds and styles that were dominating the world of radio- (and sales-) friendly pop music at the time.
90.16 on the Fishscales = A-/4.5 stars; a collection of masterful songs that perfectly reflect so much all that was going on in the dance, radio, and Jazz-Rock Fusion world at the time (mid-1977).
90.16 on the Fishscales = A-/4.5 stars; a collection of masterful songs that perfectly reflect so much all that was going on in the dance, radio, and Jazz-Rock Fusion world at the time (mid-1977).
August
The Slovakian band's third album release--the universally acclaimed one. Could the difference maker be the dynamic bass play of Ladislav Lučenič? or the expanded keyboard array of Tomas Berka? Recorded in June of 1977 at OPUS Studio in Pezinok, Czechoslovakia, it was released by the Opus record label in August.
Line-up / Musicians:
- Frantisek Griglák / guitar, piano, synths (Roland, Arp, Elka Strings)
- Frantisek Griglák / guitar, piano, synths (Roland, Arp, Elka Strings)
- Tomás Berka / piano, Fender Rhodes, Hohner, synths (Roland, Arp, Elka Strings)
- Ladislav Lučenič / bass
- Karol Oláh / drums, percussion
With:
- Peter Oláh / vocals
- Dezider Pito / cello
1. "Huascaran I" (13:41) beautiful four-part symphonic piece that at times has the feel of Todd Rundgren's Utopia, at times the beautiful melodic sensibilities of something by Return to Forever, THE ELOY, or some RPI band like PFM. (28.5/30)
2. "80 000" (7:30) opens with a 90-second keyboard chord play that is an obvious nod to the opening to RETURN TO FOREVER's song "The Duel of the Jester and the Tyrant" from their 1976 release, Romantic Warrior. But then it moves into a motif that feels all Mahavishnu Orchestra before switching back to RtF at 2:40. Guitarist Frantisek Griglák has definitely expanded his guitar repertoire to include some pretty direct imitation of some well-studied Al DiMeola pyrotechnics. (13.5/15)
- Ladislav Lučenič / bass
- Karol Oláh / drums, percussion
With:
- Peter Oláh / vocals
- Dezider Pito / cello
1. "Huascaran I" (13:41) beautiful four-part symphonic piece that at times has the feel of Todd Rundgren's Utopia, at times the beautiful melodic sensibilities of something by Return to Forever, THE ELOY, or some RPI band like PFM. (28.5/30)
2. "80 000" (7:30) opens with a 90-second keyboard chord play that is an obvious nod to the opening to RETURN TO FOREVER's song "The Duel of the Jester and the Tyrant" from their 1976 release, Romantic Warrior. But then it moves into a motif that feels all Mahavishnu Orchestra before switching back to RtF at 2:40. Guitarist Frantisek Griglák has definitely expanded his guitar repertoire to include some pretty direct imitation of some well-studied Al DiMeola pyrotechnics. (13.5/15)
3. "Solidarity" (6:34) a song that shows how well the band, and especially keyboard speicalist Tomás Berka had studied and perfected the emulation of RtF leader Chick Corea's music and style. this one like "The Magician" or "Majestic Dance." (9/10)
4. "Huascaran II" (11:13) another Return to Forever imitation on which drummer Karol Oháh and bassist Ladislav Lučenič get to show quite prominently their own mastery of the styles and sounds of Lenny White and Stanley Clarke, respectively. On the front end, Frantisek and Tomás do their part in closing the amazing circle of imitation (of "The Medieval Overture"). The extended outro (1:50) of synth-generated birdsong and kick drum-generated heartbeat is a bit over the top. Great imitation. Wish it had more originality to it. (17.75/20)
Total Time: 38:58
Though too often a pretty obvious imitation of Return to Forever's Romantic Warrior, this is quite an exceptional album for its musicality and musicianship. Imitation is, after all, the highest form of praise, n'est-ce pas?
91.6667 on the Fishscales = A-/five stars; a minor masterpiece of Return To Forever Romantic Warrior worship and another one of my Top 20 Favorites from the "Third Wave" of prog's "Classic Era."
ICEBERG Sentiments
The third studio album release from these maturing artists: all their hard work and previous experimentation have finally paid off with this Jazz-Rock Fusion album that shows the band finally committed to one style of music. The album was recorded between May 10–14, 1977, at Estudios Sonoland in Madrid and then released in August by Bocaccio Records.
- Joaquín "Max" Sunyer / electric & acoustic guitars
- José "Kitflus" Mas / piano, electric piano, synthesizer, clavinet
- Primitivo Sancho / bass
- Jordi Colomer / drums
1. "Sentiments" (1:50) wonderfully potent atmosphere that begins to deliver big time with the MAHAVISHNU-like finish. Wow! Great start! (5/5)
2. "Andalusia, Andalusia" (5:37) such great sound coming from the drums, hefty electric bass, and joaguín "Max" Sunyer's Al Di Meola/Corrado Rustici-like electric guitar! It builds and forms, and fills the sonic landscape just like a RETURN TO FOREVER tune. Keyboard maestro José "Kitflus" Mas has a sound palette and style that is to my ears more similar to that of JAN HAMMER than Chick Corea--and there's nothing wrong with that--though his keys are often oddly mixed just behind the other band members. Still, Kitflus and Max keep us mighty entertained with their lightning-fast runs performed in perfect synchrony. Great first full song even if a bit overly RTF. (9.25/10)
3. "A Sevilla" (5:13) another very powerful and dynamic rock-infused funky jazz song that owes much to RTF but also to Mahavishnu Orchestra and Weather Report despite its roots in Spanish folk melodies. The "dirty" sounds of the bass and electric guitar are understandable for giving the song a little edginess but Much of drummer Jordi Colomer's play reminds me of Lenny White but there's also some flashes of Cobham and even Bruford in there as well. (9/10)
4. "Ball De Les Fulles" (5:30) a song whose sound palette for some reason reminds me more of MAHAVISHNU ORCHESTRA or even GEORGE DUKE than the previous stuff. I'm not a real fan of Max's very "dirty" almost fuzzy guitar tone but I can find no fault with his play. Kiftlus' mastery of clavinet might just be more impressive than his Fender Rhodes play. Primitivo Sancho's bass playing is solid if mixed a little too open on the low end and Jordi Colomer's drumming is as masterful as ever. (8.875/10)
5. "Magic" (6:23) human-made dog barking and other sounds open this one up until a coaches whistle announces the real start to the song: a delightfully funky affair that presents some very engaging melodies amidst some quirky sounds and riffs. The funk bass seems quite reinforced and perhaps even enhanced by Kitflus' clavinet while Jordi's drums hold a pretty steady Billy Cobham-like beat but it's the keys that are definitely the star of this show! Nice, tight, easy-going. (9/10)
6. "Joguines" (3:00) a song to show off Max' prowess on steel-stringed acoustic guitar as well as Kitflus' on piano. There's still electric bass and Oberheim-like strings but it's a nice change up from the fire and smoke of the all-electric stuff. Plus, there are some very pretty lines and playing from both Max and Kitflus. (9/10)
7. "Alegries Del Mediterrani" (9:17) this one takes the listener on a musical journey that is surprisingly smooth and melodic--especially the first three minutes. The band tries to go full-speed RTF in the middle section but ends up crossing more into GEORGE DUKE or UTOPIA territory--except for that amazing drummer: Jordi Colomer is definitely on another plane of consciousness throughout this section! At the six-minute mark the music takes another detour, starting with a rather raw and raunchy bridge that opens up into another more smooth and melodic motif similar to the opening, only this time guitarist Joaquín Sunyer shows up with a laser sword to cut and slash his way through and over the rest of the band--at least until the final minute when everybody returns to the second full-speed motif. Nice finish! (18.5/20)
Total Time: 35:50
Total Time: 35:50
Though nothing on this album quite lived up to that pretentious proggy opening title song, the rest is definitely of incredibly high caliber and worthy, as a whole, of mention along side some of the greatest J-R Fuse albums of the mid-1970s. The instrumental virtuosity is all there, now the only step left for these guys is the full integration or "fusion" of the band's four members into one, fully synchronized and entrained unit making music that is holistic. That is what the next album (and, sadly , their last) will put on display. An amazing "arc" of growth to behold: self-awareness and enthusiasm turns into self-discovery and, then, finally, self-realization.
91.50 on the Fishscales = A-/five stars; a minor masterpiece of dynamic and hard-drivin' Jazz-Rock Fusion of the early Third Wave, taking its inspiration from the likes of Return To Forever, The Mahavishnu Orchestra, and other masters of the domain.
September
JEAN-LUC PONTY Enigmatic Ocean
This was the first of Jean-Luc Ponty's true jazz fusion masterpieces (though many will argue on behalf of Aurora and Imaginary Voyage). It's funky (as was the soft jazz of the time) and well displays the virtuoso talents of several of its young contributors--including super guitarists Daryl STUERMER (just before he left to take on a life-long GENESIS/PHIL COLLINS gig) and Allan HOLDSWORTH, bassist-extraordinaire Ralphe ARMSTRONG, keyboardist Allan ZAVOD, and drummer STEVE SMITH. Many place their attention on the title suite but I've always found that I much prefer both "Mirage" (4:23) and "Nostalgic Lady" (5:24) to the two suites--both of which put on display much of the electronic effects that will become Jean-Luc's signature sound(s) for years to come as well as this groovy, almost dreamy rhythm structure and pacing. This is a pretty great album, but I still hold strong in my feeling and belief that Ponty's best album is the next one, Cosmic Messenger with Individual Choice being his second best--these two having, IMHO, much better sound production than Enigmatic Ocean. The album was recorded between June and July 1977 at Kendun Studios in California and then released on September 1, 1977, by Atlantic Records. The album reached #1 on the Billboard Jazz album chart that same year.
Line-up / Musicians:
- Jean-Luc Ponty / 4- & 5-string electric violins, violectra, piano (5), bells, conductor & orchestrations, producer
With:
- Allan Holdsworth / lead electric guitar
- Daryl Stuermer / lead & rhythm electric guitars
- Allan Zavod / clavinet, piano, electric piano, synthesizer, organ
- Ralphe Armstrong / bass and fretless bass (5)
- Steve Smith / drums, percussion
1. "Overture (0:47) great intro/opening. (4.75/5)
- Jean-Luc Ponty / 4- & 5-string electric violins, violectra, piano (5), bells, conductor & orchestrations, producer
With:
- Allan Holdsworth / lead electric guitar
- Daryl Stuermer / lead & rhythm electric guitars
- Allan Zavod / clavinet, piano, electric piano, synthesizer, organ
- Ralphe Armstrong / bass and fretless bass (5)
- Steve Smith / drums, percussion
1. "Overture (0:47) great intro/opening. (4.75/5)
2. "The Trans-Love Express" (3:56) great groove with everybody clicking and in sync. Nice sound engineering--though the keyboards sounds will be better in the future albums. (8.875/10)
3. "Mirage" (4:54) hypnotic and beautiful--especially the sound of Jean-Luc's heavily-effected electric violin. (9.25/10)
4. "Enigmatic Ocean"
Part I (2:20) synth and percussion opening to which Jean-Luc and, later, the rest of the band are added. The establish some fair groundwork for the suite (4.375/5)
Part II (3:35) a fast pace does not guarantee a great song: technical skill is certainly on display, but melodies are certainly lacking. (8.875/10)
Part III (3:43) the funky side, of course. Daryl's work on rhythm is exemplary. Allan is beyond reproach. (9/10)
Part IV (2:24) a nice closing to what never really felt like a suite of connected movements. (8.875/10)
5. "Nostalgic Lady" (5:20) another beautiful song with great melodic sensibilities expressed from Ralphe, Allan and Jean-Luc. (9.25/10)
6. "Struggle Of The Sea Turtle"
Part I (3:32) one of the most purely perfect and original of Jean-Luc's songs here. Perfect balance between the band members. (9.5/10)
Part II (3:33) using some of the melodic hooks of "Part I" the band chugs along--interestingly, at a variety of speeds. Steve Smiths best drumming on the album. (9/10)
Part III (6:05) opens with Ralphe's coming out party. Then Allan gets his turn with a weird synth. Daryl gets a solo but is then followed by Allan--who is so smooth and amazing it makes Mr. Stuermer look amateurish--which is sad cuz he is not. And the the song--and the album--just suddenly fades out! It's over! And it makes no sense! (8.875/10)
Total Time 45:00
91.18 on the Fishscales = A-/five stars; a minor masterpiece of proggy jazz-rock fusion. The album has some great individual performances but lacks the amazing flow and sound engineering of the next album.
GARY BOYLE The Dancer
Indian-born British guitarist Gary Boyle gathers behind him a veritable who's who of UK prog and fusion artists to create an album of blended Third and Fourth Waves Jazz-Rock Fusion styles. The Dancer had a September release.
Line-up / Musicians:
- Gary Boyle / guitar
- Robin Lumley / keyboards- Gary Boyle / guitar
- Morris Pert / percussion
With:
- Rod Argent / MiniMoog (A1)
- Simon Phillips / drums (A1, B2, B3, B4)
- Doni Harvey / bass (A1, B2, B3, B4)
- Zoe Kronberger / keyboards (A2, A3, A4, B1, B4)
- Dave McCrae / Clavinet (A2, B1), Arp Synthesizer & Electric Piano solo (B3)
- Maggie Pert / vocals (A2)
- Jeff Seopardie / drums (A2, A4, B1)
- Steve Shone / bass (A2, A3, A4, B1)
- Simon Phillips / drums (A1, B2, B3, B4)
- Doni Harvey / bass (A1, B2, B3, B4)
- Zoe Kronberger / keyboards (A2, A3, A4, B1, B4)
- Dave McCrae / Clavinet (A2, B1), Arp Synthesizer & Electric Piano solo (B3)
- Maggie Pert / vocals (A2)
- Jeff Seopardie / drums (A2, A4, B1)
- Steve Shone / bass (A2, A3, A4, B1)
A1. "Crowshed Shuffle" (5:08) great skills on display on this song that feels like something between JAN HAMMER and GEORGE DUKE. Great drumming from Simon Phillips and almost-Percy-Jones-bass from Doni Harvey not to mention the majestic presence of Rod Argent on MiniMoog and Brand X's Robin Lumley on Fender Rhodes and other keyboard sounds. Rod's MiniMoog soloing dominates the first three minutes of the song--and it is great! When Gary's guitar finally takes over in the lead, his picking/plucking style and sound and fiery runs are quite reminiscent of that of the great Larry Coryell. Rod and Gary duel it out for the final 45 seconds before the song is, sadly, faded out. (9/10)
A2. "The Dancer" (7:30) some quirky, funky music over/within which Gary tries to Al Di MEOLA us. I love the rhythm guitar-like clavinet play of Dave McCrae here. Bassist Steve Shone (someone heretofore unknown to me) is quite excellent--shining very brightly in a long solo during the third and fourth minutes. A very good song despite traveling a rather whimsical, mercurial route. (13.25/15)
A3. "Now That We're Alone" (1:30) beautiful EBERHARD WEBER-like bass and electric piano. (4.675/5)
A4." Lullaby for a Sleepy Dormouse (for Georgie)" (5:25) gorgeous Smooth Jazz motif over which Gary does some very nice EARL KLUGH-like nylon string guitar playing. (8.75/10)
B1. "Almond Burfi" (5:02) another cute, quirky, funky ABAC form that relies on one or two chords for structure per motif. Cute clavinet and bass teamwork while Gary solos in both Larry Coryell jazz and rock styles. At 3:45 the drums suddenly shift, taking us into a new synth-led proggy motif within which we fade out. (8.75/10)
B2. "Pendle Mist" (5:40) cymbals, bass, and Fender Rhodes take the first 1:45 to create a very mysterious, sexy, and spacious late-night motif which Gary finally joins playing in his Al Di Meola-sounding acoustic guitar. It's a really nice piece for the space that allows the musician and listener plenty of time to hear the nuanced skills of these mature performers. I love the fact that everyone seems to hold value for the mood their setting rather than move into some of the flashy soloing that they might be craving. Beautiful. I know I'd play this on repeat around midnight for a ruminative sit in my NYC penthouse apartment if I had one. (9.33333/10)
B3. "Apple Crumble" (3:18) fast near-disco funk over which synthesized guitar, Fender Rhodes, and othe r synth sounds add their two or three cents. It flies, it excites, it entertains. (9/10)
B4. "Maiden Voyage (for Brian Auger)" (4:15) very nice, smooth, two-chord that sounds strikingly like Captain & Tennille's "The Way I Want to Touch You" over which Gary solos on his plug-in-miked acoustic guitar before switching to his electric for some more Larry Coryell-like melodic guitar shredding. I love the WES MONTGOMERY-like gentle chord play that takes us out during the fadeout. (8.875/10)
Total Time 37:48
Total Time 37:48
In my humble opinion, Gary excels as an acoustic guitarist while his electric guitar playing, though excellent, sounds as if he is playing as a Larry Coryell clone. Despite this "flaw," the music here is quite excellent--often containing very high musical skill--and eminently enjoyable.
89.17 on the Fishscales = B+/4.5 stars; a near-masterpiece of Third and Fourth Wave Jazz-Rock Fusion that would be an excellent addition to any prog lover's music collection.
STEELY DAN AjaThough popular and received a ton of pop radio play, this album was, to me, a masterpiece of "almost" jazz fusion. I mean, look at the musicians involved with the project it reads like a Who's Who of the Jazz fusion scene in LA in the mid-70s: Joe Sample and Larry Carlton of the Jazz Crusaders, Wayne Shorter, Steve Gadd, Victor Feldman, Tom Scott, Jim Horn, Chuck Findley, Denny Dias, Jay Graydon, Steve Khan, Dean Parks, Lee Ritenour, Pete Christlieb, Don Grolnick, Michael Omartian, Richard "Slyde" Hyde, Plas Johnson, Jackie Kelso, Lou McCreary, Bill Perkins, Bernard Purdie, Chuck Rainey, Ed Greene, and Jim Keltner and Rick Marotta!!! FAgan and Becker orchestrating a fusin big band! Tight, one of the best recorded and engineered albums I had heard up to that point (so far superior to their previous albums in terms of sound engineering). The album sounds, to this day, like a sonic wet dream. After months of recording sessions and editing time ABC Records was finally able to officially released Aja on September 23, 1977.
Line-up / Musicians:
- Donald Fagen / lead & backing vocals, synthesizer, whistle (2)
- Walter Becker / bass (3), guitar (2,5-7)
With:
- Larry Carlton / guitar (1-3,5-7)
- Denny Dias / guitar (2)
- Lee Ritenour / guitar (3)
- Jay Graydon / guitar solo (4)
- Steve Khan / guitar (4)
- Dean Parks / guitar (6,7)
- Victor Feldman / electric piano (1,3,7), piano (5,6), vibraphone (5,6), percussion (2,4,6)
- Joe Sample / clavinet (1), electric piano (2)
- Michael Omartian / piano (2)
- Paul Griffin / electric piano & backing vocals (4)
- Don Grolnick / clavinet (4)
- Tom Scott / tenor saxophone (1), lyricon (4), horns arrangements & conducting
- Wayne Shorter / tenor saxophone (2)
- Pete Christlieb / tenor saxophone (3)
- Jim Horn / saxophone
- Plas Johnson / saxophone
- Jackie Kelso / flute & saxophone?
- Bill Perkins / flute & saxophone?
- Chuck Findley / brass
- Lou McCreary / brass
- Richard "Slyde" Hyde / brass
- Chuck Rainey / bass
- Paul Humphrey / drums (1)
- Steve Gadd / drums (2)
- Bernard Purdie / drums (3,5)
- Rick Marotta / drums (4)
- Ed Greene / drums (6)
- Gary Coleman / percussion (4)
- Jim Keltner / percussion & drums (7)
- Venetta Fields / backing vocals (1,3,6)
- Clydie King / backing vocals (1,3,6)
- Sherlie Matthews / backing vocals (1,3,6)
- Rebecca Louis / backing vocals (1,6)
- Timothy B. Schmit / backing vocals (2,5,7)
- Michael McDonald / backing vocals (4,6)
- Donald Fagen / lead & backing vocals, synthesizer, whistle (2)
- Walter Becker / bass (3), guitar (2,5-7)
With:
- Larry Carlton / guitar (1-3,5-7)
- Denny Dias / guitar (2)
- Lee Ritenour / guitar (3)
- Jay Graydon / guitar solo (4)
- Steve Khan / guitar (4)
- Dean Parks / guitar (6,7)
- Victor Feldman / electric piano (1,3,7), piano (5,6), vibraphone (5,6), percussion (2,4,6)
- Joe Sample / clavinet (1), electric piano (2)
- Michael Omartian / piano (2)
- Paul Griffin / electric piano & backing vocals (4)
- Don Grolnick / clavinet (4)
- Tom Scott / tenor saxophone (1), lyricon (4), horns arrangements & conducting
- Wayne Shorter / tenor saxophone (2)
- Pete Christlieb / tenor saxophone (3)
- Jim Horn / saxophone
- Plas Johnson / saxophone
- Jackie Kelso / flute & saxophone?
- Bill Perkins / flute & saxophone?
- Chuck Findley / brass
- Lou McCreary / brass
- Richard "Slyde" Hyde / brass
- Chuck Rainey / bass
- Paul Humphrey / drums (1)
- Steve Gadd / drums (2)
- Bernard Purdie / drums (3,5)
- Rick Marotta / drums (4)
- Ed Greene / drums (6)
- Gary Coleman / percussion (4)
- Jim Keltner / percussion & drums (7)
- Venetta Fields / backing vocals (1,3,6)
- Clydie King / backing vocals (1,3,6)
- Sherlie Matthews / backing vocals (1,3,6)
- Rebecca Louis / backing vocals (1,6)
- Timothy B. Schmit / backing vocals (2,5,7)
- Michael McDonald / backing vocals (4,6)
Side One:
1. "Black Cow" (5:10) starts the album off with very cool groove. Once you've played this song you can't stop: you just have to play the whole album. Amazing background vocals and horns. Lyrically astounding. I love intellect in the lyrics. (9.25/10)
1. "Black Cow" (5:10) starts the album off with very cool groove. Once you've played this song you can't stop: you just have to play the whole album. Amazing background vocals and horns. Lyrically astounding. I love intellect in the lyrics. (9.25/10)
2. "Aja" (8:00) is without a doubt the coolest jazz song to get pop air play! The instrumental jam is mesmerizing! I love the electric piano, "Oriental-infused" instrumental section that starts early in the third minute that culminates, of course, with STEVE GADD's amazing drum play beneath Wayne Shorter's sax solo. (14.5/15)
3. "Deacon Blues" (7:37) like "Black Cow" this song just sucks you into the coolness of the groove. Sit back and enjoy the story, enjoy the incredible background vocals and tight jazz performances. Yacht rock at its finest. (14.5/15)
Side Two:
4. "Peg" (3:57)) the "big" hit from the album is, IMO, the weakest song on the album. Tight performances can't overcome a bit too much repetition. Amazing bass line from Chuck Rainey. I love Don Grolnick's clavinet. sweet guitar solo from Jay Graydon. Nice lyricon sax from Tom Scott. I never grew accustomed to (or liked) Michael MacDonald's voice. (8.75/10)
5. "Home at Last" (5:34) a "pop" song about Ulysses! I was and still am blown away by this song (it's my favorite on the album). The extended instrumental parts are sheer magic and bliss. I want to be tied to the mast!! (10/10)
6. "I Got the News" (5:06) sounds like a funked up "Kid Charlemagne"--very cool jazz piano work, nice bass and drum work--and very tight, precise performances across the board--it's just not melodic or engaging enough for my tastes--though I do like the second motif that starts at the two-minute mark. (8.75/10)
7. "Josie" (4:33) has one of the most infectious rhythm guitar riffs ever put to vinyl. Add to that another amazing bass track from Hall-of-Famer Chuck Rainey and super tight performances from the rest of the legions and POW! a great song that hooks you in and never lets go. I always hated that this song had to end! (10/10)
Total Time 39:54
To be sure, one of the iconic albums of the 70s--with every song evoking memories of sunshine and ease (my college days). A masterpiece that stands up over time better than 95% of the stuff that came before or since.
94.69 on the Fishscales = A/five stars; an amazing, sure-fire, timeless masterpiece of pop jazz-rock fusion. It's also one of the best sound productions ever pressed to vinyl. Another on of my Top 10 Jazz-Rock Fusion Albums of the "Fourth Wave" of prog's "Classic Era."
October
JAN AKKERMAN Jan Akkerman
Recorded in The Netherlands at Soundpush Studios in Blaricum as well as Morgan Studios in London, England, Jan Akkerman was released by Atlantic Records in October of 1977.
Line-up / Musicians:
- Jan Akkerman / guitar, composer & arranger
With:
- Joachim Kühn / keyboards
- Cees van der Laarse / bass
- Bruno Castellucci / drums
- Pierre van der Linden / drums (6)
- Nippy Noya / percussion
- Michael Gibbs / string & flutes arrangements
With:
- Joachim Kühn / keyboards
- Cees van der Laarse / bass
- Bruno Castellucci / drums
- Pierre van der Linden / drums (6)
- Nippy Noya / percussion
- Michael Gibbs / string & flutes arrangements
- Roger Webb / strings conductor
B1. "Streetwalker" (6:59) has got to be one the ten greatest electric guitar songs ever recorded. Subtle accompaniment (though listen to those drums!) allow Jan to display his rhythm virtuosity before, between, and while (!) diving into several extraordinarily diverse lead techniques in his solos. The timing and emotion are extraordinary--even/especially that of the orchestra! What a composition! [16/15]
B2. The rhythm/strumming work in "Skydancer" (5:14) is mesmerizing, though the song lacks a hook to really bring the listener into the song: it really sounds more like a track over which Jan gets to play around, over and over, trying to embellish the infinite variations of the chords and chord progressions he's experimenting with. At least, that's the first two minutes. Then it switches into a funk-fest of rhythm guitar freakishness before settling back into a more-jazzier style. Great interplay in the fourth minute between Jan's chords and Michael Gibbs' strings chords. The final minute alternates between funky guitar soloing, chord stroking, and the guitar-orchestra duet. [8.875/10]
B3. "Floatin'" (5:13) notes a reunion with Pierre van der Linden, friend and drummer extraordinaire from Brainbox and Focus days. (Jazz-Fusion drummer Bruno Castelucci performs batterie on all other songs.) The song only makes one one realize A) how much beyond the Focus era Jan already has traveled, B) just how good Bruno Castelucci is, C) just how Rock and Roll-oriented Pierre is, and D) just how much a better fit Bruno Castelucci is for this period of Jan's career. The opening melody lines are interesting for their StanleyClarke/"piccolo bass" sounds. Nice keyboard work from Joachim Kühn. Drums and keys get to shine the most on this one. [8.75/10]
B4. The album's last song, "Gate to Europe" (3:03) is a minor-keyed work on the acoustic guitar with orchestral accompaniment somewhat prescient of the Claus Ogerman sessions (which are beautiful in their own right, though they are intended to augment and display Jan on his electric guitar). The guitar work in the piece has more of a Baroque classical feel to it than jazz or rock (almost Christmas carol-like). [8.75/10]
Now to Side 1:
A1. "Crackers" (4:19) is a very catchy disco-sounding song with more subtle, almost background, lead guitar work. There is a very nice foundational keyboard performance from Joachim Kühn playing piano and Fender Rhodes at the same time and a great tandem disco performance from Bruno and bassist Cees van der Laarse, but there is only guitar highlight: one feckin' amazing albeit oh-so brief lead guitar solo in the third minute (a tease of things to come); otherwise Jan's performance is mostly more display of his awesome rhythm guitar instincts and techniques. [8.875/10]
A2. "Angel Watch" (9:51) is a lushly orchestrated ten minute song in which the drums compete with, yet embellish and accent Jan's extraordinary work in first section (about three minutes). (Great bass play from Cees van der Laarse as well.) The second disco-fied section allows the bass some ascendancy while Jan's treated guitar spits and stutters just before a section of muffled Wes-Montgomery-like chord playing. The disco heats up as Joachim Kühn sounds Don Pullen-like on an acoustic (yes: acoustic) piano solo-which only gets Jan riled up as he takes over: flaming the other jazz artists to cinders with a flashy (though strangely soul-less) foray into speed for speed's sake. The final two minutes allows slap-bass and gentle strings to take the song out with a long fadeout. Wow. What a strange yet extraordinary ensemble piece--one that would fall flat on its face were it not for Michael Gibbs' orchestral bridging. [18.5/20]
A3. Side 1 ends with the gorgeous, etheric (not unlike some of Jean-Luc Ponty's pre-"Smooth Jazz" work around this same time), "Pavane" (5:32) The swirling keys accompanying Jan's chorus statement are too cool! The treated guitar effects that Jan uses here are not unfamiliar to the later Focus days, strumming not unlike the amazing Eli work, Jan is all over the fretboard and in and out of the time-space continuum (as we know it) with this one. The drumming, bass, and strings are simply too perfect in support. The song's dénouement is rather protracted: it's only weakness, in my opinion. [9.5/10]
Total time: 40:13
I have recently been getting back into Prog, and this week, relistening to my considerable Jan Akkerman collection. This eponymous LP is simply blowing me away. I remember when I received it as a radio promo copy in 1977 how much I loved it, especially Side 1 with "Crackers," "Angel Watch," and "Pavane." But now, Side 2-the whole thing is just boggling my mind. The musicianship is extraordinary, even the Michael Gibbs orchestrations add such a lush, collegial atmosphere to Jan's unparalleled virtuosity. Since listening to all of my Focus discs, Eli, Tabernakel, and now this, I am prepared to dethrone John McLaughlin and proclaim Jan Akkerman as my favorite/the best guitarist ever! Akkerman can play! He can do it all: acoustic, lute, sitar, rhythm, jazz, classical, New Age, blues, and, of course, Rock and Roll! And this album is so well recorded! Kudos to Richard DeBois and Jan Schuurman. Were it not for the dated disco-ish rhythms and now-outdated keyboards, this would be a classic for the ages! Still, I can think of no other set of recordings that better displays Akkerman's virtuosity as a guitar player. Great emotion, amazing versatility in his stylistic approaches, literally unbelievable ease and fluidity of fingering and timing (stops, pauses and transitions). The variety of ways he can express himself within the framework of one song is astounding, mind boggling.
93.01 on the Fishscales = A/five stars; hearing this album may be essential for any prog fan due to the guitar skills on display. Also, Jan Akkerman is a testament to the fact that both lush orchestral strings and disco can not only coexist but work well with jazz-rock. It's fusion, after all! Jan Akkerman is an album that has maintained a top ten ranking in my list of All-Time Favorite Albums ever since it arrived in my possession as part of a box of "promotional copies" sent to our college radio station (of which one of my suite mates was the manager) back in the Fall of 1977. (It currently sits at #10.)
6-20-2025 addendum: For three years now I've been on what I call a "deep dive" into the history of the musical phenomenon that has come to be known as "Jazz-Rock Fusion"--especially its "classic era" (1966-1980). During that time I have come to appreciate this album even more than I originally had, but more, I've come to really appreciate the other musicians involved in Jan's project: Michael Gibbs, Bruno Castellucci, but especially keyboard virtuoso Joachim Kühn. In fact, he has steadily risen in my estimation to rank among my Top 10 Jazz-Rock Fusion keyboard players of the "Classic Era"--and this album is certainly a credit to his value to every album he contributes to: he is one of the masters of "fitting in" and masters of pleasing melodies, both of which I have come to truly appreciate.
BOB JAMES Heads
Recorded at Media Sound, Sound Mixers and A&R Studios, New York City, May-September 1977, Bob was definitely in the middle of a hot streak with songs from each of his previous four albums receiving regular rotational play on Adult Contemporary/Smooth Jazz radio shows. Bob's success in fact allowed him to start his own record production label in the summer of 1977: Tappan Zee Records, a subsidiary of the giant Columbia Records conglomerate. Heads was released by Tappan Zee on October 14, 1977.
Line-up / Musicians:
- Bob James / keyboards: clavinet, electric piano [Fender Rhodes], piano, synthesizer [Oberheim Polyphonic], bells [Oberheim Polyphonic Tinkle Bells]
With:
- David Sanborn / alto saxophone
- Gerry Niewood / saxophones [alto, tenor], alto flute
- Michael Brecker / saxophones [tenor, soprano]
- Grover Washington, Jr. / saxophones [tenor, soprano]
- Randy Brecker / trumpet
- Jon Faddis / trumpet
- Gary King / bass
- Alphonso Johnson / bass
- Will Lee / bass
- Andy Newmark / drums
- Steve Gadd / drums
- Alan Schwartzberg / drums
- Richard Tee / keyboards [acoustic rhythm]
- Jeff Layton / guitar
- Jeff Mironov / guitar
- Eric Gales / guitar
- Steve Khan / guitar
- Ralph MacDonald / percussion
- Michael Mainieri / Vibraphone
Vocals: Gwen Guthrie, Lani Groves, Patti Austin, Vivian Cherry
Members of the Orchestra:
Cello – Alan Shulman, Charles McCracken, Jonathan Abramowitz
English Horn, Flute, Baritone Saxophone, Oboe, Recorder [Sopranino] – George Marge
French Horn – Brooks Tillotson, Jim Buffington, Peter Gordon
Harp – Gloria Agostini
Oboe, Alto Saxophone, Alto Flute, Bass Clarinet – Phil Bodner
Tenor Saxophone, Clarinet, Flute – Eddie Daniels
Trombone – David Taylor, Tom Mitchell, Wayne Andre
Trumpet, Flugelhorn – John Frosk, Jon Faddis, Lew Soloff, Marvin Stamm, Randy Brecker
Viola – Al Brown , Manny Vardi, Lamar Alsop
Violin – Barry Finclair, Diana Halprin, Harold Kohon, Harry Cykman, John Pintavalle, Marvin Morganstern, Matthew Raimondi, Max Ellen, Max Pollikoff, Paul Gershman
A1. "Heads" (6:40) Rapper's Delight bass opening coupled with tubular bells melodic hook and bass/trombone notes made this popular to play while studying in my college dormitory but its infectious "magical" effect has long since worn off. (8.75/10)
A2. "We're All Alone" (5:32) another aberration of a contemporary pop hit (written and performed by Boz Scaggs) that turns out to be much better once it veers away from the main melody and theme. Yeah, these dudes are cookin' it in the second and third minutes and then again when the DEODATO "Also Sprach Zarathusra: 2001"-like section that ends the song starts. (9/10)
A3. "I'm In You" (6:47) a song that opens like a Disco BeeGees "Night on Disco Mountain" before turning to pick up Peter Frampton's lead melody from his hit of the same name--but this is quite an unrecognizable rendering of that song as so many odd instruments are used to take the place of the vocals (including synth saws and horn section blasts). To my ears this sounds more like a novelty song--one of those that gets radio play specifically for its odd sounds and Disco beat. It's not horrible--and definitely displays some sophistication and tightly-co-ordinated arrangements, it's just not that great of a song! (13/15)
B1. "Night Crawler" (6:17) another of those songs that I would include in my own playlist entitled "The Best of Bob James"--as much for its multiple earworm melody hooks but also for its tight, professional performances. (9/10)
B2. "You Are So Beautiful" (6:50) an instrumental arrangement of Billy Preston's amazing song--one that actually does justice to the original despite the liberties taken in its jazzification. Grover Washington, Jr.'s very heart-felt, respectful soprano sax play is one of the big reasons, but it's also got a lot to do with the spacious arrangement that Bob has made. The actual weakest part of the song is Bob's own bluesy piano solo! I love the whole-band chord hits (and progression) in the bridge in fifth minute and then the background vocal girls in the final two minutes. (13.375/15)
B3. "One Loving Night" (5:48) Bob's rendering of the famous Henry Purcell British folk song--here even incorporating a harpsichord-like keyboard sound (Bob's Oberheim Polyphonic "Tinkle Bells" setting). The orchestral arrangements added in the second minute even add to the respectful "classic" feel, but then, toward the very end of the second minute, the jazz-rock combo launches into a pretty funky movement (thanks in no small part to the bass play that sounds like Alphonso Johnson but goes uncredited as far as I can find). Nice, mature song rendition. The weakest part, for me, are the saxophone inputs. (9/10)
Total Time: 38:54
Yet another album on which less than half of the songs are original compositions (two of six). I find it quite interesting to realize, just now, that it's the two Bob James originals that I like the most--by far! (Time to get out of the business of banking on covers for sales and radio popularity, Bob!)
88.75 on the Fishscales = B/four stars; an excellent display of ever-maturing compositional acumen from one of Smooth Jazz's true masters.
JEREMY STEIG Firefly
Jeremy is here joining the CTI train, producing a modernized, pop-oriented display of Jazz-Pop with nice female vocals and expanded cast of contributors. The album was recorded in 1977 at Electric Lady Studios, New York City, on March 4 & 22 and April 11, 1977 and then released by CTI Records later in the year.
Line-up/Musicians:
- Jeremy Steig / flutes
- Gary King / bass
- Ray Mantilla / congas (A1 to B1, B4)
- Steve Gadd / drums (A1, A2, B2 to B4)
- Alan Schwartzberg / drums (A2)
- Eric Gale / guitar (A1 to B1, B4)
- John Scofield / guitar (B2, B3)
- Hiram Bullock / guitar [solo] (A1, B4)
- Hiram Bullock / guitar [solo] (A1, B4)
- Richard Tee / keyboards (A1 to B1, B4)
- Sue Evans / percussion (A1 to B1, B4)
- Sue Evans / percussion (A1 to B1, B4)
- Cliff Carter / synthesizer (A1 to B1, B4)
- Googie Coppola / vocals (A1 to B1)
Horns (A1 to B1, B4):
Trombones – Jerry Chamberlain, Sam Burtis, Tom Malone
Trombone [Bass] – Dave Taylor
Trumpets – Burt Collins, Joe Shepley, Jon Faddis, Lew Soloff
Trombone [Bass] – Dave Taylor
Trumpets – Burt Collins, Joe Shepley, Jon Faddis, Lew Soloff
A1. "Firefly" (11:55) fine funky with lots of catchy melodic and song-twisting hooks courtesy of the sweet Minnie Ripperton-like voice of Googie Coppola and Jeremy's very spirited flute performance, there is much borrowed here from the pages of the Disco Funk-R&B that was driving all of the dance clubs (now called "Discos" in the US), the rhythm section is quite potent with Gary King, Ray Mantilla, Sue Evans, Steve Gadd, a horn section and two guitarists (Eric Gale and Hiram Bullock) and two keyboard players (Richard Tee and Cliff Carter) adding their funky injections of spice and encouragement from the wings. It would have been a fun song to dance to but it was nothing that could've generated a following much less frequent radio play--this despite Jeremy and Googie's very enjoyable performances. (22.125/25)
A2. "Living Inside Your Love" (5:28) taking a recent jazz-pop hit tune (an Earl Klugh-Dave Gruisin composition that first appeared on Earl Klugh's popular breakout album of the previous year, Living Inside Your Love) and bringing it into the fold of popular cover tunes certainly does a lot to increase the value and audience to a song. Despite the vocal track being imbedded into the weave of the music and dispersed among multiple voices, Googie Coppola's performance here is quite remarkable--like a blend between Minnie Ripperton, Patti Austin, Deniece Williams, Lani Groves, and even a little bit of Diana Ross. It's such a great song--such ear candy--that it'd be hard to ruin it even if you didn't have an amazing singer to bring it to light. (9.125/10)
B1. "Everything Is Coming To The Light" (2:58) another very pretty vocal performance from this artist that is totally new to me: Googie Coppola. Where did she come from--what's her story--and why haven't we heard more of her? The song, however, struggles to get into second or third gears (8.75/10)
B2. "Hop Scotch" (7:25) turn up the funk! This is Herbie Hancock or Billy Cobham territory! Gary King is going wild with his bass lines and Richard Tee is really holding it all together as Jeremy lays it all out there but I find myself drifting off with Ray Mantilla's easy and hypnotic conga play more often than anywhere else. John Scofield's wah-wah guitar sneaking up in the middle while Jeremy is wailing away is a cool effect, as are the deep thrums of Gary King's low-end bass chords. The specially credited piano performance (and solo) by Richie Bierbach is nothing specially--especially as the song seems to be crying out, in my opinion, for an electric keyboard. Finding out that this song is a composition of drummer-extraordinaire Joe Chambers makes me get why it sounds so much like something composed by Narada Michael Walden. (13.875/15)
B3. "Sweet Hour Of Prayer" (2:01) a Gospel spiritual played at the very lowest breathy levels on Jeremy's flute and volume as Richard Tee supports on a reverb-panning Fender Rhodes. (4.375/5)
B4. "Grasshopper" (5:17) some great cinematic Blaxploitation funk on this Jeremy Steig compostion with more amazing flute play from Jeremy BUT it's the amazing guitar-with-vocals solo by Hiram Bullock in the middle (with the awesome horn accents) that makes this song something really special! Hiram's vocal expressing during his solo even seems to inspire Jeremy to go even further in his own next solo! So cool! Great composition, arrangement, and rendering! (9.375/10)
Total Time: 35:31
Total Time: 35:31
90.167 on the Fishscales = A-/4.5 stars; a near-masterpiece of funky radio- and dance-friendly Jazz-Rock Fusion.
November
SHAKTI Natural Elements
This album was my introduction to 1) Indian music, 2) tabla/percussion master, Zakir Hussain, 3) the (then) young violin virtuoso who styled himself as simply "Shankar," and, believe it or not, 4) John McLaughlin. Just hearing the combination of all these amazing, exotic instruments (including/especially John's custom-made guitar) was (and still is) a mind-blowing experience, but hearing them play such complicated music with such tightness, and such melodic beauty has landed this album permanently in my all-time top 20. I still get goose bumps every time I hear "Mind Ecology," "Face to Face," or "Peace of Mind"--they are that good, that powerful. Recorded in July 1977 at Aquarius Studios in Geneva, this was the third and final studio album from the original Shakti lineup, featuring John McLaughlin, L. Shankar, Zakir Hussain, T.H. "Vikku" Vinayakram, and Ramnad V. Raghavan, released by CBS/Columbia Records in November of 1977.
Line-up / Musicians:
- John McLaughlin / acoustic guitar, vocals, producer
- L. Shankar / violin, viola, vocals
- T.H. "Vikku" Vinayakram / ghatam, nal, kanjeera, morsing, vocals
- Zakir Hussain / tabla, timbales, bongos, dholak, nal, triangle, vocals
- John McLaughlin / acoustic guitar, vocals, producer
- L. Shankar / violin, viola, vocals
- T.H. "Vikku" Vinayakram / ghatam, nal, kanjeera, morsing, vocals
- Zakir Hussain / tabla, timbales, bongos, dholak, nal, triangle, vocals
- Ramnad V. Raghavan /
1. "Mind Ecology" (5:48) blasts you away with its amazing sonic onslaught--which seems to beckon one to take up Sufi trance dancing (the whirling dervish). (10/10)
2. "Face to Face" (5:56) is without question one of the most beautiful and technically stunning songs I've ever heard. McLaughlin's strumming, alone, takes one to another dimension! Music in absolute perfection! (11/10)
3. "Come on Baby, Dance with Me" (1:57) is a lot like a brief jazz rondo piece where each of the instruments takes turns carrying the main melody line before gelling to repeat it as an ensemble. Amazing technical feat! (4.5/5)
4. "The Daffodil and the Eagle" (7:01) feels as if some Indian musicians are laying around in the shade on a scaldingly hot day playing some lazy blues, then getting revved up, they take each other to task, first picking up the pace, then really sitting up and trying to out do one another. That fourth minute is so exhilarating to hear! Very bluesy, very McLaughlin-like. Shankar really blazes on this one. Really fun! (13.33333/15)
5. "Happiness Is Being Together" (4:27) begins like something out of a Santana or South American song catalogue--a mariachi, perhaps? I get so mesmerized when John McLaughlin is strumming! Another Shankar showpiece. (Or is that Itzhak Pehrlman? Wow!) John, in turn, is so cool and at ease--and so Spanish! (8.875/10)
6. "Bridge of Sighs" (3:52) slows it down to a very emotional pace with a very JONI MITCHELL feel. The space in this song is its most beautiful part--where its emotion really presents itself. The musicians get to show off the subtle dynamics they are able to coax out of their instruments on this one. (9/10)
7. "Get Down and Sruti" (7:01) is the showpiece for Zakir Hussein--one of the preeminent percussionists of the past 50 years. John's obtuse and unpredictable chord choices in the second minute are as mesmerizing as ever. This is followed in the third minute by Shankar's turn to seduce some incredibly slippery notes and runs out of his violin. Next Zakir takes his turn, filling the fourth minute and more with what sounds like herds of scurrying marmots or mongooses. Even Vikku Vinayakram gets a turn on his ceramic and metallic hand percussives (the traditional Carnatic instrument called the ghatam) before the konnakol voice chatter begins. Konnakol is the Carnatic Indian traditional vocalese call-and-response and vocal rhythmic repetitions that are more prominent in future SHAKTI albums and concerts. After this album, John McLaughlin even began working konnakol chatter into his concerts even when it wasn't in a Shakti format! (I have had good fortune and privilege of seeing a few of John's concerts). A song of unearthly musicianship. (13.5/15)
1. "Mind Ecology" (5:48) blasts you away with its amazing sonic onslaught--which seems to beckon one to take up Sufi trance dancing (the whirling dervish). (10/10)
2. "Face to Face" (5:56) is without question one of the most beautiful and technically stunning songs I've ever heard. McLaughlin's strumming, alone, takes one to another dimension! Music in absolute perfection! (11/10)
3. "Come on Baby, Dance with Me" (1:57) is a lot like a brief jazz rondo piece where each of the instruments takes turns carrying the main melody line before gelling to repeat it as an ensemble. Amazing technical feat! (4.5/5)
4. "The Daffodil and the Eagle" (7:01) feels as if some Indian musicians are laying around in the shade on a scaldingly hot day playing some lazy blues, then getting revved up, they take each other to task, first picking up the pace, then really sitting up and trying to out do one another. That fourth minute is so exhilarating to hear! Very bluesy, very McLaughlin-like. Shankar really blazes on this one. Really fun! (13.33333/15)
5. "Happiness Is Being Together" (4:27) begins like something out of a Santana or South American song catalogue--a mariachi, perhaps? I get so mesmerized when John McLaughlin is strumming! Another Shankar showpiece. (Or is that Itzhak Pehrlman? Wow!) John, in turn, is so cool and at ease--and so Spanish! (8.875/10)
6. "Bridge of Sighs" (3:52) slows it down to a very emotional pace with a very JONI MITCHELL feel. The space in this song is its most beautiful part--where its emotion really presents itself. The musicians get to show off the subtle dynamics they are able to coax out of their instruments on this one. (9/10)
7. "Get Down and Sruti" (7:01) is the showpiece for Zakir Hussein--one of the preeminent percussionists of the past 50 years. John's obtuse and unpredictable chord choices in the second minute are as mesmerizing as ever. This is followed in the third minute by Shankar's turn to seduce some incredibly slippery notes and runs out of his violin. Next Zakir takes his turn, filling the fourth minute and more with what sounds like herds of scurrying marmots or mongooses. Even Vikku Vinayakram gets a turn on his ceramic and metallic hand percussives (the traditional Carnatic instrument called the ghatam) before the konnakol voice chatter begins. Konnakol is the Carnatic Indian traditional vocalese call-and-response and vocal rhythmic repetitions that are more prominent in future SHAKTI albums and concerts. After this album, John McLaughlin even began working konnakol chatter into his concerts even when it wasn't in a Shakti format! (I have had good fortune and privilege of seeing a few of John's concerts). A song of unearthly musicianship. (13.5/15)
8. "Peace of Mind" (3:21) is an absolutely gorgeous song which seems to truly capture the astounding Beauty of true Peace. (10/10)
Total Time: 39:39
Bravo, Mr. McLaughlin and company. Thank you for this album.
It is hard and beautiful to remember that this is an all-acoustic album and could, therefore, be repeated in concert without the aid of electricity. Something I can't help but think about in these dangerous times: What will my favorite musics sound like in a post-petroleum world? The musicians of India and artists like John McLaughlin, Mickey Hart, Ry Cooder have already provided us with some clues to what that might be like. But rarely with the combination of beauty, joy, and astounding virtuosity of SHAKTI.
Bravo, Mr. McLaughlin and company. Thank you for this album.
It is hard and beautiful to remember that this is an all-acoustic album and could, therefore, be repeated in concert without the aid of electricity. Something I can't help but think about in these dangerous times: What will my favorite musics sound like in a post-petroleum world? The musicians of India and artists like John McLaughlin, Mickey Hart, Ry Cooder have already provided us with some clues to what that might be like. But rarely with the combination of beauty, joy, and astounding virtuosity of SHAKTI.
94.36 on the Fishscales = A/five stars; a masterpiece of both Jazz-Rock Fusion and East-Meets-West world music and one of my Top 20 Jazz-Rock Fusion Albums of All-Time.
BILLY COBHAM Magic
Another new lineup of collaborators does not mean Billy Cobham will sacrifice any of his integrity: he remains firmly committed to the high-fallutin' principles of high-quality, sophisticated Jazz-Rock Fusion. The album was recorded at Electric Lady Studios and Manta Sound and then released in November 1977 on the Columbia label.
Line-up / Musicians:
- Billy Cobham / drums, vocals (4), hand-claps (6), producer
With:
- Kathleen Kaan / vocals (6)
- Pete Maunu / guitars
- Joachim Kühn / acoustic (1, 2, 6) & electric (1) pianos, Mini Moog synthesizer (2)
- Mark Soskin / acoustic (1, 3, 4) & electric (4) pianos, Oberheim synthesizer (1, 3, 6)
- Alvin Baptiste / clarinet (2, 4, 5), vocals (4)
- Randy Jackson / bass
- Pete Escovedo / timbales (2, 5), vocals (6)
- Sheila Escovedo / congas (2, 5)
- Hojo / hand-claps (6)
- Dennis / hand-claps (6)
1. "On A Magic Carpet Ride" (5:08) despite the impressive RETURN TO FOREVER opening 20 seconds, this songdemonstrates that Billy has now climbed on board the popular Disco train. At the same time, this song shows off his new international ensemble and the fact that they can pull together an impressive yet accessible (and melodic) display of group cohesion and virtuosity. New bassist Randy Jackson is much more oriented to accents, melodies, and syncopation than his predecessor (Gattling Gun Doug Rauch) and much more comfortable within the newer Disco parameters. 23-year old guitarist Peter Maunu had only been present on a few recordings at this point in his storied career and Billy, always a quick study of fresh young talent, knew what a find he had here: letting him take the lead for a good chunk of the song. Really impressive piano play from Joachim Kühn (and/or Mark Soskin). Too bad they felt that they had to fade out after five minutes--right in the middle of some fine soloing by Peter Maunu. (9.333/10)
With:
- Kathleen Kaan / vocals (6)
- Pete Maunu / guitars
- Joachim Kühn / acoustic (1, 2, 6) & electric (1) pianos, Mini Moog synthesizer (2)
- Mark Soskin / acoustic (1, 3, 4) & electric (4) pianos, Oberheim synthesizer (1, 3, 6)
- Alvin Baptiste / clarinet (2, 4, 5), vocals (4)
- Randy Jackson / bass
- Pete Escovedo / timbales (2, 5), vocals (6)
- Sheila Escovedo / congas (2, 5)
- Hojo / hand-claps (6)
- Dennis / hand-claps (6)
1. "On A Magic Carpet Ride" (5:08) despite the impressive RETURN TO FOREVER opening 20 seconds, this songdemonstrates that Billy has now climbed on board the popular Disco train. At the same time, this song shows off his new international ensemble and the fact that they can pull together an impressive yet accessible (and melodic) display of group cohesion and virtuosity. New bassist Randy Jackson is much more oriented to accents, melodies, and syncopation than his predecessor (Gattling Gun Doug Rauch) and much more comfortable within the newer Disco parameters. 23-year old guitarist Peter Maunu had only been present on a few recordings at this point in his storied career and Billy, always a quick study of fresh young talent, knew what a find he had here: letting him take the lead for a good chunk of the song. Really impressive piano play from Joachim Kühn (and/or Mark Soskin). Too bad they felt that they had to fade out after five minutes--right in the middle of some fine soloing by Peter Maunu. (9.333/10)
2. "AC/DC" (5:27) spacious Latinized funk with the Escovedo family well-engaged (sister Sheila ["E"] having only burst onto the music scene in the previous year), it's bassist Randy Jackson who, as on the previous song, seems to dictate the pace, space, and melodies! After 90 seconds of spacious syncopation, the electric keys enter and smooth things out--over which Peter Maunu lets loose with a pretty awesome NEAL SCHON-like guitar solo while Randy funks things up below with some slap and pluck bass playing. Then Joachim Kühn takes a turn on the MiniMoog play provding us with an awesome and even rather amazing solo. Then things kind of let us down gently to the full stop finish. (9.25/10)
3. "Leaward Winds" (3:39) a melodic and Easy Listening tune on a par with those of Bob JAMES in that the musicianship is still top notch and subtly sophisticated. A little Steely Dan feel in the keyboards and chord progressions while Peter provides another super-engaging guitar solo up top. Mark Soskin is next with his piano solo while also sassing things up beneath with some Oberheim synth stuff. (9.25/10)
4. "Puffnstuff" (6:23) more peppy, bouncy, almost "light" Easy Listening Burt Bacharach-like Jazz-Rock Fusion; the Day of the Melody is here: all that showy-offy speed racing may be in the past. The performances in the weave above the rhythm track are still amply sophisticated but they are also fun and enjoyably melodic. I love the piano chord play and clarinet solo in the first two minutes. Then, in the third minute, there is a sudden and drastic shift in both mood, energy, and tempo as the band launches into a Discofied power J-R Fusion passage that presents/contains a Public service call to quit/desist from the use of marijuana! Funny! Then the band equally comically switches back to the opening "lite" and carefree melody and mood. Brilliant--both parts! Definitely a top three song--probably my favorite just for its quirky oddness and light-heartedness. (9.75/10)
5. "'Antares' - The Star" (5:11) another great tune with lots of carnival-esque Latin flavor (grâce à the Escovedo family, again) with some equally great drum play from Billy, instinctual bass play from Randy Jackson, guitar and clarinet play. (I am unexpectedly loving the presence of the clarinet on these songs!) (9.125/10)
6. "Magic/Reflection In The Clouds/Magic Recapitulation" (13:33) opens like a response to the previous year's RETURN TO FOREVER release, Romantic Warrior, but then turn a bit more toward a George Duke-like sound. I'm not liking the flanged, compressed-muted effect imposed upon Billy's drums but ti's fine on Randy Jackson's fretless bass. The presence of the Oberheim synth is also a bit odd--bridging Billy's work more into the world of progressive rock than ever before. Add the male and female jazz/Broadway vocals in the middle of the song (performed by Pete Escovedo and Kathleen Kaan) also give this more of a Chick Corea aspect. This is followed by a gorgeous piano solo from Joachim Kühn and then some nice electric guitar from Peter Maunu that is paired nicely with the Gayle Moran-like voice of Kathleen Kaan. The aggressive/abrasive final minute is just weird--and meant to reinforce the fact that this is Billy's music, Billy's band, Billy's album. A pretty cool, pretty eclectic suite that is, unfortunately, engineered rather strangely. (26.75/30)
Total Time 39:21
Hello and welcome, Randy Jackson! Peter Maunu! Welcome to American audiences, Joachim Kühn!
91.51 on the Fishscales = A-/five stars; a minor masterpiece of high quality Third Wave Jazz-Rock Fusion. I really am impressed by Billy's unwillingness to concede to the contemporary pressures to "sell out" and simplify for the masses: he stands staunchly-committed to the skillful and sophisticated (jazzy) side of Jazz-Rock Fusion. This is close to being my favorite Billy Cobham album from the 1970s.
91.51 on the Fishscales = A-/five stars; a minor masterpiece of high quality Third Wave Jazz-Rock Fusion. I really am impressed by Billy's unwillingness to concede to the contemporary pressures to "sell out" and simplify for the masses: he stands staunchly-committed to the skillful and sophisticated (jazzy) side of Jazz-Rock Fusion. This is close to being my favorite Billy Cobham album from the 1970s.
COLOSSEUM II War Dance
Jon Hiseman's resuscitated Colosseum lineup releases its third and final album--with the Gary Moore filling the guitar department! War Dance was recorded on various dates throughout 1976 and 1977 and then fashioned in 1977 for a November release on MCA Records.
Line-up / Musicians:
- Gary Moore / electric & acoustic guitars, vocals (4)
- Don Airey / Fender Rhodes, Steinway grand piano, ARP Odyssey, ARP Solina, Mini-Moog, Hammond organ, clavinet, tubular bells
- John Mole / bass
- Jon Hiseman / drums, percussion, gong, timpani, co-producer
2. "Major Keys" (5:18) this one has some great drumming to give it a very solid foundation while the layers above puts us in a realm that sounds like Japanese Jazz-Rock Fusion (Hiromi Uehara, Nankai TRIO, etc.) but then Gary's slide guitar soloing changes the dynamic a bit, but we always seem to come back to the Japanese sounds coming from the overall chordal structure and Don Airey's keyboard melody choices. Impressive skills on display to an overall pleasing song. (9/10)
4. "Castles" (5:50) opening with electric piano, bass, and Gary's plaintive vocal, this reminds me of many prog and Jazz-Rock artists that have tried to crossover into the AM or Adult Contemporary radio-friendly realms of pop music, sounding a lot like Focus Con Proby's "Wingless" or Narada Michael Walden's "Oneness Cry" (from I Cry, I Smile)--both of which came out about the same time as this--or even some Nektar, Eloy or Ambrosia--which definitely gives credence to the theory that this style of emotional near-ballad was definitely going on at this time. Nice voice. Pretty song. (8.875/10)
Total Time: 42:37
A1. "Tie Breaker" (7:03) it might be Smooth Jazz but it's definitely back to Michal's sophisticated, well-composed, multi-layered tapestry-making. (Thank god!) (13.375/15)
Total time: 45:10
Line-up / Musicians:
- Corrado Rustici / lead vocals, lead guitar, 6- & 12-string acoustic guitars, glockenspiel, triangle, gong, co-producer
- Renato Rosset / Fender Rhodes, piano, Minimoog, Polymoog, Hammond, clavinet
- Elio D'Anna / alto, baritone, soprano & tenor saxophones, flute
- Barry Johnson / bass, wind chimes, lead vocals (1, 7)
- Ric Parnell / drums & percussion
With:
- Nectar Smile Choir / backing vocals (4)
1. "You Are Light" (6:19) opens like something from the band's previous effort, Vimana, before getting a little disco- and jazz-imbued. The hooks in the second minute are reminiscent of both DAVE SANBORN and Narada Michael Walden's solo albums. Still, tit is a very engaging, enjoyable, and well-produced song. (8.875/10)
2. "Marshall Dillon" (3:53) a funked up jam in the vein of contemporary artists like Earth Wind & Fire, the Isley Brothers, Kool & the Gang, Ohio Players, Gap Band, Average White Band, and The Brother s Johnson over which Corrado's incendiary guitar is unleashed (but, unfortunately, much more processed). Very nice foundation from bass player Barry Johnson, Renata Rosset, and drummer Ric Parnell. Polished and well-engineered, just not "great." (8.875/10)
3. "Blue Lake" (6:50) rain, river, boat sounds over which Corrado and choir sing angelically. Elio's heavily-treated sax playing over the atmospheric music is nice--could have served more in the lead than the vocals. There are nice performances top to bottom though the mix is often surprising (bass so far forward and vocals and sax mixed into the rest of the soundscape). Renato's blend of keyboards is the song's perfect glue. The most surprising element is the complete restraint (or "absence") of Corrado's blistering guitar (until the very end). Almost a great song. (13.375/15)
4. "Beauty Dream - Beauty Flame" (6:22) a very beautiful pastoral song with subtle but beautiful chords and melodies and exquisite performances from the all-acoustic piano, acoustic guitar, flute, and "Nectar Smile Choir." Very much like Chick Corea's Return to Forever pieces like "The Romantic Warrior." (9.125/10)
5. "Golden Sky Boat" (6:09) starts out as a decent jazzy-rock song before Corrado's vocals and the funky Return To Forever driving chorus enter and dominate. The musicians are really all working out at top speed with bassist Barry Johnson and Renato Rosset's clavinet, Minimoog, and Fender Rhodes doing a masterful job in the low end. Corrado's guitar power chords are a sad joke, taking away from his true skills, talents, and tendencies. (8.666667/10)
6. "Loveliness About You" (5:53) the band here ventures into the sexy-lullabuy world of the future: the pop-pandering sounds (and lyrics) of that which will soon become known as "Smooth Jazz." It's pretty, it's romantic, it's very smooth, but it's moving far away from the complex hard bop and modal jazz forms and styles that launched the J-R Fusion movement. Almost like a watery AMERICA song. (8.875/10)
7. "Inner Star" (6:31) space cowboys! I mean: the sounds of American Country-Western music coming through rock 'n' roll instruments--à la American bands like the ATLANTA RHYTHM SECTION and LITTLE FEET. This is actually a fairly well-balanced song with interesting hooks and performance surprises and a very solid rhythmic base. Though I hate Corrado's guitar playing seemingly bending (down) to the will of the demands of the rock 'n' roll gods, it does help make for a more cohesive and effective song. (9/10)
8. "Last Silence" (5:11) pretty, dreamy music with Barry Johnson's fluid EBERHARD WEBER-like fretless bass and Renato's floating Fender Rhodes keyboard play providing all the cushion one might need to float off to sleep (or opium-induced Nirvana). With this song one can see how Corrado Rustici ended up moving into roles as studio musician (Narada Michael Walden, Angela Bofill, Phillis Hyman, Stacey Lattislaw, Teena Marie, Patti Austin, Aretha Franklin, Whitney Houston, George Benson, Sheena Easton, Kenny G, Calrence Clemons, Zuccharo, Ligabue) and record producer (Zuccharo Sugar Fornaciari, Loredana Berte', Paul Young, Randy Crawford, Elisa, Claudio Baglioni, Ligabue). (8.875/10)
Total Time 47:08
SONNY ROLLINS Easy Livin'
The Recording sessions took place between August 3–6, 1977, with most sources admitting to a late 1977 release from Milestone Records.
A2. "Down The Line" (7:59) not bad Fourth Wave Jazz-Rock Fusion (13.375/15)
A3. "My One And Only Love" (5:05) a little too slow and dragging for my tastes. Nice soprano sax play with solid professional support. (8.75/10)
B1. "Arroz Con Pollo" (5:37) nice support music for Sonny's okay soprano sax play up top. Nice to hear the band get to stretch out (especially Tony). (8.875/10)
B2. "Easy Living" (6:09) nice spacious, late night blues song but again such wasted talent! (8.875/10)
B3. "Hear What I'm Saying" (9:40) weird sound engineering (weird sax sound mixed far too forward with everybody else way back in the mix). (It gets better as the song goes along.) Nice to hear Paul Jackson stretched out and some Charles Johnson and George Duke solos. Tony is awesome, too. (17.75/20)
Total Time: 41:18
December
Line-up / Musicians:
- Gary Moore / electric & acoustic guitars, vocals (4)
- Don Airey / Fender Rhodes, Steinway grand piano, ARP Odyssey, ARP Solina, Mini-Moog, Hammond organ, clavinet, tubular bells
- John Mole / bass
- Jon Hiseman / drums, percussion, gong, timpani, co-producer
1. "Wardance" (6:09) the whole palette of this song sounds so much more proggy than J-R Fusion--more akin to Todd Rundgren's work with his UTOPIA project. The drumming and lead guitar work is a lot more nuanced and virtuosic but the work on the keys and bass are pretty simplistic/minimal. (No wonder I've never heard of either of them before.) The song has a bit of a Jan Hammer-wannabee feel when Don Airey is soloing--probably due to the continued repetition of the four-chord foundation going on beneath him--and this continues into Gary Moore's next solo (which is wicked impressive!) but then at 5:39 a Rick Wakeman-like bridge takes us into something that sounds way more YES-like in order to finish the song with a flourish. HIGH marks for Jon and Gary's performances; okay marks for the others (and for structure and overall sound palette). (9.125/10)
2. "Major Keys" (5:18) this one has some great drumming to give it a very solid foundation while the layers above puts us in a realm that sounds like Japanese Jazz-Rock Fusion (Hiromi Uehara, Nankai TRIO, etc.) but then Gary's slide guitar soloing changes the dynamic a bit, but we always seem to come back to the Japanese sounds coming from the overall chordal structure and Don Airey's keyboard melody choices. Impressive skills on display to an overall pleasing song. (9/10)
3. "Put It This Way" (3:42) an RTF Power Fusion motif over which Don Airey and Gary Moore play the main melody lines in tandem, sometimes exploring harmonically-different pathways. At about the 90-second mark the motif switches with John Mole and Jon Hiseman bringing in some funk into their high-speed chase music while Don and Gary trade solos: duelling and not. BRAND X is the best comparison to make for this song. (9.125/10)
4. "Castles" (5:50) opening with electric piano, bass, and Gary's plaintive vocal, this reminds me of many prog and Jazz-Rock artists that have tried to crossover into the AM or Adult Contemporary radio-friendly realms of pop music, sounding a lot like Focus Con Proby's "Wingless" or Narada Michael Walden's "Oneness Cry" (from I Cry, I Smile)--both of which came out about the same time as this--or even some Nektar, Eloy or Ambrosia--which definitely gives credence to the theory that this style of emotional near-ballad was definitely going on at this time. Nice voice. Pretty song. (8.875/10)
5. "Fighting Back" (5:54) a song that sounds a lot like a cross between Jeff Beck's "Going Down" and something by THIN LIZZY. Jon's hard-driving shuffle provides the band (more specifically, Gary) with some very fecund soil for world-beating solo expression--for which both Don and Gary seem more than willing to rise to the occasion. The legato lines are so crisp and distinctive. And I really admire the soloists respect for (and use of) space to temper and shine the effects of their solos--allowing the listener better time and ability to digest the fireworks. Overall I feel the same after listening to this as if I've just listened to a Steve Vai song: impressed, satisfied, but otherwise feeling absolutely no further compulsion to play it again (save for the occasion to impress a friend). (8.875/10)
6. "The Inquisition" (5:50) This song is constructed to impress us with its complexity and virtuosity of the musicians as it travels at a breakneck "Race with the Devil" speed while, again, offering fertile ground for the Gary and Don to impress. Nice to hear the acoustic guitar in fourth minute, but it's really Gary's Jan Akkerman-like electric that wows and awes. (Also, there is an apparent "Hocus Pocus" Focus sound and pacing to this song.) (At the same time, I think this is the song that finally allows me to categorize Gary as a guitarist: god-gifted and diverse though not quite as fast as Di Meola or Akkerman or the next generation of shredders like Satriani, Vai, and Petrucci. (9/10)
7. "Star Maiden / Mysterioso / Quasar" (6:24) This suite of songs in three parts. The first sounds a little like the new era of Weather Report that Jaco Pastorius is ushering in as well as some of the sounds that Al Di Meola is exploring. The second part, "Mysterioso," is constructed and paletted with the heavy ominosity of the music of The MAHAVISHNU ORCHESTR, Jan Hammer, and Billy Cobham. Gary's guitar play is quite prescient of some of the styles and sounds mentioned above: Satriani, Vai, and Petrucci. The final motif ("Quasar") sounds more like bands like STARCASTLE, UTOPIA, and PATRICK MORAZ. Interesting combination of puzzle pieces. I wonder why they decided to sandwich them all together and not develop each as separate songs. (9.125/10)
8. "Last Exit" (3:30) a monster of bombast, theatrical and heart-string pulling proggy-Jazz-Rock Fusion with Gary's heavy-Rundgren/Albrighton/Bullock-like sound and stylings and Don Airey's LARRY FAST-like future synth keyboard arpeggi transporting us into the stars. AWEsome and wonderful! What a song to go out with! (9.75/10)
Total Time: 42:37
This album is literally my first (known) exposure to the force that was Gary Moore. Seriously! It's April 8, 2026, and I cannot tell you of any album or song (that I know of) that Gary Moore participated on (though I suspect there are some). I've become quite a fan of Jon Hiseman as a drummer but also as a composer and bandleader and Don Airey and John Mole are totally new names to me.
91.09 on the Fishscales = A-/five stars; a minor masterpiece of proggy Jazz-Rock Fusion exhibiting some stunning individual skills as well as pretty stellar compositional acumen. Too bad this band stopped trying after this!
MICHAL URBANIAK Urbaniak
Recorded at Powerplay Studios, Zurich, Switzerland, and Secret Sound Studios, New York City in August 1977, this is the second of the two albums Michal and Urszula would make for Joachim Berendt, the famous advocate of Polish jazz music.
Line-up / Musicians:
- Michal Urbaniak / Violin, Lyricon
- Michal Urbaniak / Violin, Lyricon
- Urszula Dudziak / Vocals, percussion, synthesizer
- R. Anthony Bunn / Bass
- Kenny Kirkland / Piano, Synthesizers
- Lurenda Featherstone / Drums
- Zbigniew Namysłowski / Saxophone
A2. "Strife" (6:13) a little more smooth, simple, and straightforward than I'd like to hear (sounding more like something from Joe Sample or his [Jazz] Crusaders or some of Jean-Luc Ponty's simple stuff from 1979-82) at least the sound isn't overly compressed and the musicians can be clearly, cleanly distinguished. Weird to hear Urszula singing out of time with the other melody makers (especially Zbigniew Namysłowski's saxophone). That's a first! Nice drumming and keyboard play. (8.875/10)
A3. "Mountaineers" (4:00) another unusually less-sophisticated, more-spacious weave from Michal that hits all of the radio-friendly buttons but falls short of anything propelling Jazz-Rock Fusion into anything that a future conveyance of background/elevator music. A lot of similarities to the music coming from STEELY DAN at around the same time (Aja and even previewing 1980's Gaucho). (8.75/10)
A4. "Weird Creatures" (7:03) another very simple funk-lite weave that seems like such a watered down version of Michal's former compositional skill and genius. Nice performance from drummer Lurenda Featherstone. Interesting to hear Michal's Lyricon mixed between a real live sax, a sax-like synth, and Ula's treated vocalese. (13.25/15)
B1. "Jasmine Lady" (8:22) Ula's gentle vocalizations here predate some of Bobby McFerrin's stylings from the 1980s--here presented within a gentle Caribbean-lite JAY BECKENSTEIN/ SPYRO GYRA-like smooth jazz weave--even moving toward choral presentation of the song title using words! How Bob James-like! Zbigniew Namysłowski's smooth DAVE SANBORN-like sax seems to get most of the spotlight on this one--which is okay cuz he's rather good. Michal's murky electric violin gets its first really distinctive solo spot in the fifth and sixth minutes as the rhythm section soothes and lulls us with its JEAN-LUC PONTY "I Only Feel Good With You"-like motif from below. As corny as parts of this are (which was all the rage at the time and for some time thereafter) this is the best, most complete and satisfying song on the album. I just noticed the attempt to incorporate something into the main melody that might sound Asian/Oriental: cringe-worthy--big fail! (18/20)
B2. "Always Ready" (7:08) Michal's soaring electric violin over richly-chorused Fender Rhodes electric piano opens this one for the first 1:40 before poorly plucked electric bass tries to initiate and introduce the main motif for the rest of the song. I don't really like the cheesy electric percussion sounds Ula is playing but am glad to hear her African-style scatting take the lead in the fourth minute. Michal is next up for the spotlight, playing his electric violin with the note-bending melodic sensibilities of both Jean-Luc Ponty and Hugh Marsh. The best lines in the song seem to be coming from Kenny Kirkland's Fender Rhodes. (13/15)
B3. "Stray Sheep" (5:08) an odd four-part suite that opens with another simplified smooth jazz piece that actually sounds more like something created for a television theme song or as an advertising jingle. After a minute of this motif, the band switches gear and puts their head down to try to create a solid cruising groove over which Zbigniew Namysłowski's sax gets some significant time to solo. The problem is that this rhythm track is quite lame--thin and almost aggravating. At 3:20 we switch again, this time quite radically, into a nice little syncopated jazz swing, over which Michal solos on his violin with beautiful charm and smoothosity. The song then ends with some kind of weird attempt at the employment/usurpation of some kind of Scottish drinking melody and sound palette. Weird. Some parts are embarrassing, some actually kind of nice. (8.666667/10)
Total time: 45:10
88.33 on the Fishscales = B/four stars; a step up from their other 1977 release, Smiles Ahead, but still a step down from the masterful music and compositions Michal was creating in the first six years of the decade. Recommended but more for fans of Jazz-Rock Fusion who can tolerate the movement's degraded descent into Easy Listening/Smooth Jazz.
NOVA Wings of Love
It is to me very weird to see the Nova albums from the mid-1970s listed as "Italian prog" when all four of them were recorded and produced in London with British producers and engineers with half of the musicians being Englishmen. The material that makes up Wings of Love was recorded at Trident Studios in London during June and July of 1977, was released later in the year on the Arista Records label.
- Corrado Rustici / lead vocals, lead guitar, 6- & 12-string acoustic guitars, glockenspiel, triangle, gong, co-producer
- Renato Rosset / Fender Rhodes, piano, Minimoog, Polymoog, Hammond, clavinet
- Elio D'Anna / alto, baritone, soprano & tenor saxophones, flute
- Barry Johnson / bass, wind chimes, lead vocals (1, 7)
- Ric Parnell / drums & percussion
With:
- Nectar Smile Choir / backing vocals (4)
1. "You Are Light" (6:19) opens like something from the band's previous effort, Vimana, before getting a little disco- and jazz-imbued. The hooks in the second minute are reminiscent of both DAVE SANBORN and Narada Michael Walden's solo albums. Still, tit is a very engaging, enjoyable, and well-produced song. (8.875/10)
2. "Marshall Dillon" (3:53) a funked up jam in the vein of contemporary artists like Earth Wind & Fire, the Isley Brothers, Kool & the Gang, Ohio Players, Gap Band, Average White Band, and The Brother s Johnson over which Corrado's incendiary guitar is unleashed (but, unfortunately, much more processed). Very nice foundation from bass player Barry Johnson, Renata Rosset, and drummer Ric Parnell. Polished and well-engineered, just not "great." (8.875/10)
3. "Blue Lake" (6:50) rain, river, boat sounds over which Corrado and choir sing angelically. Elio's heavily-treated sax playing over the atmospheric music is nice--could have served more in the lead than the vocals. There are nice performances top to bottom though the mix is often surprising (bass so far forward and vocals and sax mixed into the rest of the soundscape). Renato's blend of keyboards is the song's perfect glue. The most surprising element is the complete restraint (or "absence") of Corrado's blistering guitar (until the very end). Almost a great song. (13.375/15)
4. "Beauty Dream - Beauty Flame" (6:22) a very beautiful pastoral song with subtle but beautiful chords and melodies and exquisite performances from the all-acoustic piano, acoustic guitar, flute, and "Nectar Smile Choir." Very much like Chick Corea's Return to Forever pieces like "The Romantic Warrior." (9.125/10)
5. "Golden Sky Boat" (6:09) starts out as a decent jazzy-rock song before Corrado's vocals and the funky Return To Forever driving chorus enter and dominate. The musicians are really all working out at top speed with bassist Barry Johnson and Renato Rosset's clavinet, Minimoog, and Fender Rhodes doing a masterful job in the low end. Corrado's guitar power chords are a sad joke, taking away from his true skills, talents, and tendencies. (8.666667/10)
6. "Loveliness About You" (5:53) the band here ventures into the sexy-lullabuy world of the future: the pop-pandering sounds (and lyrics) of that which will soon become known as "Smooth Jazz." It's pretty, it's romantic, it's very smooth, but it's moving far away from the complex hard bop and modal jazz forms and styles that launched the J-R Fusion movement. Almost like a watery AMERICA song. (8.875/10)
7. "Inner Star" (6:31) space cowboys! I mean: the sounds of American Country-Western music coming through rock 'n' roll instruments--à la American bands like the ATLANTA RHYTHM SECTION and LITTLE FEET. This is actually a fairly well-balanced song with interesting hooks and performance surprises and a very solid rhythmic base. Though I hate Corrado's guitar playing seemingly bending (down) to the will of the demands of the rock 'n' roll gods, it does help make for a more cohesive and effective song. (9/10)
8. "Last Silence" (5:11) pretty, dreamy music with Barry Johnson's fluid EBERHARD WEBER-like fretless bass and Renato's floating Fender Rhodes keyboard play providing all the cushion one might need to float off to sleep (or opium-induced Nirvana). With this song one can see how Corrado Rustici ended up moving into roles as studio musician (Narada Michael Walden, Angela Bofill, Phillis Hyman, Stacey Lattislaw, Teena Marie, Patti Austin, Aretha Franklin, Whitney Houston, George Benson, Sheena Easton, Kenny G, Calrence Clemons, Zuccharo, Ligabue) and record producer (Zuccharo Sugar Fornaciari, Loredana Berte', Paul Young, Randy Crawford, Elisa, Claudio Baglioni, Ligabue). (8.875/10)
Total Time 47:08
Co-Producer Narada Michael Walden's presence is still very strongly felt in everything about this album--even the spiritually-oriented lyrics. The songs are, however, more standard in format and polish but the sound is, unfortunately, heading toward that "Smooth Jazz" realm that usurped all Anglo-American jazz-rock fusion artists (more like "labels) in the late 1970s and early 1980s. For my tastes this album is too polished and squeaky clean--ready for radio play--even R&B and Contemporary Jazz and Adult Rock Radio formatted stations.
89.02 on the Fishscales = B+/4.5 stars; a near-masterpiece of proggy jazz-rock fusion--though the album as a whole represents quite a varied sample of prog and Jazz-Rock Fusion as it stood in 1977.
Line-up / Musicians:
A1. "Isn't She Lovely" (6:39) nice Smooth Jazz cover of Stevie Wonder's classic hit (8.875/10)
- Sonny Rollins / saxophones (soprano, tenor)
- Tony Williams / drums
- Paul Jackson / electric bass (A2 to B3)
- Charles Icarus Johnson / guitars (A1 to B1, B3)
- George Duke / keyboards
With:
- George Duke / keyboards
With:
- Byron Miller / bass (A1)
- Bill Summers / congas (A1)
Recorded By [Additional] – Kerry McNabb (track A1)
- Bill Summers / congas (A1)
Recorded By [Additional] – Kerry McNabb (track A1)
A2. "Down The Line" (7:59) not bad Fourth Wave Jazz-Rock Fusion (13.375/15)
A3. "My One And Only Love" (5:05) a little too slow and dragging for my tastes. Nice soprano sax play with solid professional support. (8.75/10)
B1. "Arroz Con Pollo" (5:37) nice support music for Sonny's okay soprano sax play up top. Nice to hear the band get to stretch out (especially Tony). (8.875/10)
B2. "Easy Living" (6:09) nice spacious, late night blues song but again such wasted talent! (8.875/10)
B3. "Hear What I'm Saying" (9:40) weird sound engineering (weird sax sound mixed far too forward with everybody else way back in the mix). (It gets better as the song goes along.) Nice to hear Paul Jackson stretched out and some Charles Johnson and George Duke solos. Tony is awesome, too. (17.75/20)
Total Time: 41:18
With this talented of a posse, Sonny needed to do more upbeat, uptempo stuff to challenge them, keep them interested, show off the talent accompanying him.
88.667 on the Fishscales = B/four stars; a nice foray into the world of Jazz-Rock Fusion (much better than the previous year's effort) but still a lot of wasted talent and rather simplistic sax soloing.
December
CHUCK MANGIONE Feels So Good
One of the sages of popular Jazz, Chuck finally receives his due after being the mentor and launching place for so many young artists. The chart-topping album (containing all-original compositions by Chuck) was aided by the three-minute edited version of the albums' title song, which also topped charts around the world in the winter of 1978. Feels So Good was recorded and mixed at Kendun Recorders in Burbank, California, and then it was released by A&M Records on December 8, 1977.
- Chuck Mangione / flugelhorn, electric piano
- Chris Vadala / saxophones [soprano, alto, and baritone], flutes [piccolo and alto]
- Chris Vadala / saxophones [soprano, alto, and baritone], flutes [piccolo and alto]
- Grant Geissman / guitars [electric, acoustic, 12-string, and classical]
- Charles Meeks / bass
- James Bradley, Jr. / drums, congas, timbalesA1. "Feels So Good" (9:41) Ahh! The long version! What a melody, what a horn player, what a song! The rhythm guitar is bit white toast and the discofied bass and drum lines a bit schlocky but this Smooth Jazz hit is definitely a landmark for people and music. (#1 on the Billboard charts!) While I've never really liked the chorus, the verses are awesome, and Grand Geissman's lead guitar play/solos are quite iconic. I'm thankful for the radio edit cuz, at almost ten minutes long, it overstays its welcome a bit (though that New Orleans jazzy eighth minute is a bit of a highlight). (17.875/20)
A2. "Maui-Waui" (10:12) the B-side of the "Feels So Good" hit 45 rpm, it's smooth and gentle, definitely befitting the newly-emerging "Yacht Rock" medium. I can picture this one being played/performed under some tiki hut cabana in Florida during one of my Spring breaks there. Great background outdoor bar music. The blend of performances is so perfect and all so creatively nuanced (though the occasional travels across the toms by drummer James Bradley seem a bit over the top). Nice to hear Chris Vadala on the flutes and saxes. The song, however, really serves best as nicely-calming background music, nothing more. (17.5/20)
A3. "Theme From 'Side Street'" (2:03) opening with some wah-wah-rhythm guitar always gives me hope, and then the song develops into a great Latin Fusion piece that I really wish the band would have extended and continued developing. Awesome! (5/5)
B1. "Hide & Seek (Ready Or Not Here I Come)" (6:30) opens with some odd pulses of sound combinations, moving from one chord to another and then beginning a bounce around as Disco drums and funk bass and electric piano join in. Nice! Chuck's reverb-treated flugelhorn joins in after 90 seconds of establishing the main parameters of the song, sounding as if he's trying to blast through Herb Alpert's Lonely Bull. A minute later he stops and there are a series of brief but excellent solos from the electric piano, Chris' soprano sax, back to the electric piano, and then Grant's rather bare but twangy electric guitar. (As I hear all of these solos with their echoey reverb field I begin to understand that perhaps all of the lead instruments are being equally treated with a certain large-field reverb). Nice tune. (9.125/10)
B2. "Last Dance" (10:56) [note: this is not a cover of the award winning massive hit song by Donna Summer as some may expect] opening with some gently played long-held alto sax notes back by a bed of very spacious electric piano and guitar chords and notes, this one presents itself as something sleepy from/for the Latin world. In the second half of the second minute the song changes as Chuck's flugelhorn enters: the band seems to rally with a syncopated and staccato progression of chords traveling at a snail's pace beneath him. Other solos ensue including Grant's acoustic guitar, Chris' alto and baritone saxes. Unfortunately, the main melody sounds like a dramatically slowed-down variation of the main melodies of the album's opening song, "Feels So Good." Though not quite as innocuous as the excellent background music of "Maui-Waui" it is also not nearly as engaging or dramatic (much less dynamic) as the album's title song--making it wallow around somewhere in the friend zone: being not quite worthy of one's full attention but too staccato and nuanced to be relegated to elevator music. (17.333/20)
B3. "The XIth Commandment" (6:36) opening with a dramatic cinema-appropriate melody line and likewise-suitable "orchestra"-like support that sounds like something to a Spaghetti Western, the song switches, after Charles Meeks' lonely solo bass line bridge in the second half of the second minute, into something more mysterious with its Latin skin drums working their way into support of Charles' bass before Chuck and the others join in around the three-minute mark. At this point it's still feeling 100% like film soundtrack music but then, at 3:30 with James' switch to the drum kit and Charles' switch to a slap-bass approach, the pace peps up into something kind of pseudo-funky and nearly-Latin for Chuck and Chris to share and trade solos among the group's syncopated hand clapping and percussion fills--this before a big Hollywood symphonic ending. Weird song! (8.75/10)
Total Time: 45:58
Total Time: 45:58
88.92 on the Fishscales = B/four stars; an excellent collection of "different"-sounding Disco-era Latin-pop Jazz-Rock.
Line-up / Musicians:
- François "Faton" Cahen / piano, electric piano, synthesizers
- Hamid Belhocine / trombone
- François Debricon / saxophone, flutes
- Manu Katché / drums
- Michel Séguin / drums 'toubabou', percussion
- Gérard Prévost / electric bass
1. "Merci Jacky" (7:20) opens with a Smooth Jazz-like feeling before Jaco Pastorius-like bass joins the percussion and steady one-chord electric piano motif. Key change at 0:50 continues the one-chord foundation approach while Gérard Prévost and Michel Séguin continue to impress (especially the former). 2:00 the reins are handed over to "Faton" for a solo that could come from lighter J-R Fusion players like Donald Fagen, Michael Omartian, or Greg Phillinganese. chord progression sequence in the fourth minute leads into a much more developed motif (though it feels the same because the drum and percussion lines are much unchanged) but trombone and saxophone now join in while the keyboard/synth and bass lines are now more sophisticated, melodic, and, frankly, interesting. Fuzz synth mirrors bass play for a score of seconds before circus-like sounds and chord progression take us into the dismantling finish. Nice, fun and light. Good opener. (13.25/15)
2. "Typhareth (Beauté)" (12:44) I love the presence, prominence of trombone coming from unconventional trombonist Hamid Belhocine. The flanged bass (with its great solo in the eleventh minute) is cool, too--especially due to the loving support that Faton's hypnotic keyboards play below him. This is a very easy-going, gentle and melodic tune which lulls the mind into perhaps failing to notice all of the lovely subtleties going on in the soil and underbrush. Truly a lovely song. (23.75/25)
4. "Binah / Comprehension Feminine" (5:04) dreamy ethereal combination of piano, flute, and EBERHARD WEBER-like flanged electric bass start this one out as cymbals and metal percussives add to the effect while flutes, percussives, change, trombone enters. At 3:00 there feels like a shift in temperament: as if the sun has come out and there's a reassurance that everything will be okay. But then it goes back to the more dreamy, less settling motif for the final minute. Nice! Interesting! Creative. (8.875/10)
5. "Les Temps Changent" (8:44) keyboard, congas, and café chatter open this for about 30 seconds before bass, drums and horn section enter to move the song forward--but slowly, with lots of stutter steps and shifting, twisting dance moves--before finally letting Faton lead us into the pedestrian lanes of the cobblestone shopping area of la vieille ville. As we walk the troupe gets more stylish, more swaggy and cocky with its self-assured, attention-getting footwork and audaciousness. I love it: These were the Seventies! This is a perfect representation of the Black-positive attitudes that styles, clothing, and music were expressing at the time--and François Debricon's expressive tenor saxophone solo in the seventh minute is the perfect cherry on top! This is followed by an ensemble finale which feels as if it were choreographed by Mandy Moore for a street scene in La La Land. (18/20)
Total Time: 37:24
This is an album that shows David's growth and maturation as a songwriter and band leader: the music here is much more full and sophisticated than the work he did in the 1960s that led to his fame. He has figured out how to blend his orchestral with the laid back, jazz-rock funk that he burst onto the scene with on his famous tribute to works of William Blake in Song of Innocence. The bass, guitar, keys, and horns are definitely offered much more freedom to be creative, to be flashy, and to show off their own skills and ideas here than they were the albums from a decade before. While I miss Carol Kaye (who wouldn't?), the bass playing by JIm Hughart is quite exceptional. As with Song of Innocence, David's genius for spreading the melodies of his music across the entire band is displayed here--maybe at times even more successfully (like on the amazing "Terri's Tune"). At times the orchestrated approach makes one feel as if you're listening to a film or television soundtrack, but that doesn't matter because it's just great, eminently enjoyable music! Period! Definitely my second favorite of David's discography (which includes the two Electric Prunes liturgical renderings in 67 & 68). Strange Ladies is generally agreed upon to have been released in 1977.
A2. "Mujer Extrana (Strange Lady)" (9:18) a gentle, slow and steady melodic build (coming from the militaristic drum-paced rock combo) that feels a lot like a kind of bluesy R&B "Thrill Is Gone" like song. It then shifts at the 90-second mark with the addition of some new, discordant/counterpoint chords from the orchestra that bring in a little tension build up. The bluesy-rock Latin funk music continues with Don Randi's keys providing the most dominant forward momentum despite feeling a part of a whole-band weave throughout. A bass solo ensues for about 45 seconds before guitar, Rhodes seem to vie for the next solo but are then overthrown by loud orchestra swells and a rather insistent flute. At 7:20 a little reset lull allows everyone to kind of congeal into a whole-band march toward the finish line where it seems that only the snare and bass are strong enough to cross the finish line. Cool song! (18/20)
91.43 on the Fishscales = A-/five stars; a minor masterpiece of masterful blending of jazz-pop combo and full orchestra. Awesome and highly recommended.
Line-up / Musicians:
- Nicolas Mirkov / bass, guitar, saxophones [tenor, soprano]
- Alain Gandolfi / drums, percussion
- Philippe Vautrin / guitar
- Alain Mion / keyboards [Fender Rhodes, Clavinette, Mini Korg], organ [Hammond], piano
saxophone [soprano]
A1. "Devil's Dance" (2:30) a great upbeat, piano & guitar-based Disco tune to open the album. Nice! New bassist Nicolas Mirkov and guitarist Philippe Vautin prove their worth from the opening minute. Even though it's short, it could easily (and happily) have been extended as a long jam (with perhaps some saxes or more solo work from Alain or Nicolas). (9.3333/10)
A2. "Funk Around The Punk" (3:18) definitely funk with the whole band--bass, drums, keys, and rhythm guitar--all participating in the wholeness of a 70s funk song. Guitarist Philippe Vautrin does some pretty cool things with his guitar: partly rhythmic, partly lead (small chords and both plucked and strummed strings). Alain Mion is active on several keyboard tracks indicating multiple over dubs. No horns or winds (that I can detect) on this one. Cute and peppy--very much like a BOB JAMES song. (8.875/10)
A3. "Hurluberlu" (5:10) two chord blues-based funk-rock/R&B with a rolling bass line and driving drum beat so that Alain and Philippe can play around on top. Nice, interesting work from Philippe's fuzzy-flanged lead guitar over this awesome cruisin' song. Excellent work from bassist Nicolas Mirkov (who, by the way, is the sole composer credited for this song) as well as from drummer Gandolfi. (9/10)
A4. "Soul" (2:50) three-chord keyboard entry leads into a funky Disco song with cool clavinet, rhythm guitar, and K.C. & The Sunshine Band "Get Down Tonight" lead guitar work, plus saxophone solos in the second half. Actually a pretty cool and creative song! (9/10)
A5. "Datura" (2:30) bass and guitar provide the most important inputs on this song. Though it has two motifs, it is another song that feels simple, one-dimensional, like a warm-up song or étude/practice/audition tune. One of the few songs not totally credited to Alain Mion, the guitar work of Philippe Vautrin is purely rhythm guitar but co-composer Nicolas Mirkov's bass (and sax) are plenty funky. (4.625/5)
B2. "Mister J." (3:36) funky and perky little composition by drummer Alain Gandolfi that sounds like an American advertizing song. Female background vocalists enter in the second minute intermittently injecting the word some word that sounds perhaps more like "raina" than "régina." (8.875/10)
B3. "Régina" (5:00) the lone composition of guitarist Philippe Vautrin opens with guitar setting the chord progression, key, and pace. Funky bass, straightforward drums, keys, and clavinet "horns" plus real horns join in (the real horns gaining more traction the further into the song we go). (8.875/10)
B4. "Efficace Swing" (2:58) a nice little flute-led dittie that feels unfinished, more like an étude or practice song that never received the attention needed to finish it. Why is there no credit given to the flutist? (8.875/10)
B5. "Oh. Lord" (6:20) I love the etheric female vocalese singing like an angel over the church-like Hammond organ chords throughout the first half of this song. The little Hammond flurries in-between the two rounds of Alice Prévost's vocals is a little corny, but overall it's very cool. And then it ends. There is a rather long pause as if there is a whole new song starting, but I do recognize the same chords/key in the opening Fender Rhodes display. And then the bass, drums, and rhythm guitar-like chord play of Alain's left hand join in and provide a lovely funk-lite love song. (9.5/10)
Total Time: 37:52
Having had fun experimenting with many new electronic enhancements (including keyboards and synthesizers) on his previous solo album, 1976's Majesty Music, we see here Miroslav taking a more serious and more independent approach--using only a single percussionist as his collaborator for each song while relying on his own talents for all the rest of the sound generation. Recorded between January and July 1977 Arista's Freedom Records probably released this album late in 1977.
1. "Watching The Sunset Run" (8:02) a song that plays out more like a Weather Report song than any we've heard from the former WR member (and founder) as Miroslav plays his multiple tracks of basses with some periodic electric piano, ARP synth strings, and MiniMoog contributions with the cymbal-heavy multi-track contributions of long-time collaborator (and fellow Weather Report founding member) Don Alias. A cool song that also comes across as an OREGON/CoDoNa-like song. The melody production is okay, but the constant tension and urgency generated by the rhythm track is quite compelling. (13.75/15)
2. "Bassamba" (2:58) solo bass opens up with some flourishes and riffs before starting up a two-and sometimes three- chord Samba motif which Don quickly fall in line to support. Miroslav's bowed bass occupies the lead position while his electric piano and ARP synth strings add spice in the middle to give it a little Chick Corea flavor. Well done, Mr. Vitous! (9.125/10)
3. "Tiger In The Rain" (8:54) electric piano opens this one, playing a lot like Joe Zawinul (the man had just finished spending six years under the tutelage of his elder and fellow Eastern European)--for a long time before small contributions from Miroslav's other keys and basses as well as Don Alias' bongos and (later) timbales join in. I'm not sure what tiger Miroslav had observed to inspire this song--or if the title was just applied randomly from a saved list of previously generated song titles--but I don't see the connection--unless one were trying to account for the youthful play of a young cub experiencing the fascinating effects of the rain for its first few times. Not as interesting, developed, or dynamic as one might have hoped--and very little bass play! (17.25/20)
4. "Concerto In E Minor" (5:30) ARP strings and congas open this free-flowing, Indian-like song with electric piano and bowed electrified double bass that sounds remarkably similar to the low-end tones of SHAKTI's Shankar with his patented double-neck 10-string violin. There is a bit of a tempo and motif change in the fourth minute as Don and the electric piano start up a new pattern while Miroslav continues soloing with his bowed bass, but then the ARP strings kind of move to the front as Don and Miroslav step back a bit to make room for Miroslav's pizzicato double bass for the song's final minute. Odd and not feeling as "classical" as the title would seem to suggest. (8.75/10)
5. "Pictures From Moravia" (4:49) electric piano and bowed electrified double bass present and each play with the main melody while pizzicato bass and ARP strings add their periodic notes and flourishes. Things get a little heated in the second half of the second minute--especially with the bowed bass--but then shift in the third minute as the MiniMoog and electric piano sneak in for a little more shine. The ARP strings chords tend to spoil it for me; I think the song would have been much better with them left out. (They tend to "date" the music, as well.) (8.875/10)
6. "Sonata For A Dream" (5:39) opening with Armen's sparse, mostly-metallic percussion play, Miroslav focuses on (bombastic) piano as his main conveyor with ARP strings and MiniMoog providing a lot of the lead flourishes and melody. I do like the fact that this song presents a slowly building and more dynamic sonosphere than much of the album's other songs--even evoking some of the feelings that I feel are signatory to the experience of listening to a classical music sonata. (8.875/10)
Total time: 35:52
Despite years of collaborating with others (especially Joe Zawinul but also Herbie Mann and Wayne Shorter), I've always had this sense that Miroslav was a rather fiercely-independent artist, and I think that this album serves as proof of that. With his previous year's album he was still relying on collaborators while exploring new technologies but he was also taking on much more of the musical textures for himself: learning and attempting to take over the keyboards, electronics, and even engineering duties on Majesty Music, but now, with Miroslav we have the butterfly finally, if shyly, emerging from his cocoon to begin to create music that is most all of it his. A very challenging prospect, I've always thought that this "one-man band" approach (and attitude) can have a limiting, even detrimental, effect on the outcome--on the musical product. I've become convinced that collaboration, review, and feedback (even if it's critical), is important to a product that the public can and will connect with. Though Blue Note producer Michael Cuscuna is credited, I have a feeling that this was more Miroslav's solo project.
88.8333 on the Fishscales = B/four stars; an interesting and often intriguing album that presents one artist's vision most purely--with only one collaborator--a percussionist--to be held accountable to.
Line-up / Musicians:
- Marko Bitenc / vocals, percussion
- Franc Opeka / guitar
- Andrej Petkovic / drums
- Andrej Konjajev / keyboards
- Davorin Petric / guitar
- Marjan Lebar / bass
with:
- Mitja Bavcon / flute, guitar
- Slavko Lebar / guitar
- Marko Rudolf / Canon F-1
Side One:
Line-up / Musicians:
- Andrej Pompe / electric piano, mellotron
- Janez Hvale / drums
- Aleksander Malahovsky / saxophone
- Gabrijel Lah / bass
- Peter Gruden / guitar, vocal
Side A:
1. "Dez" (3:55) opening with a driving jazz-rock infused palette, the song is quickly given over to some solo and group vocals rendered in a style akin to Western artists like Spencer Davis Band, Chicago, Blood, Sweat and Tears, Lighthouse, and Santana. The music is slightly simple and rudimentary, as if it might have been one of the band's early works, but it's polished and the solos (guitar) are quite refined. (8.875/10)
2. "Sprehod" (4:45) set up almost like a light, airy song carrying a little bit of mystery in it--just like something from The Zombies ("She's Not There") or The Association. This is, however, an instrumental. It contains some nice melodic electric guitar soloing from Peter Gruden, using a kind of Gregg Allman tone on his guitar, with that hypnotic "She's Not There" groove going on beneath. Nice! Not really jazz-rock or even close to Jazz-Rock Fusion, but it's nice in a Santana kind of way. (8.875/10)
3. "Razmisljanje" (4:40) melodic instrumental lounge jazz-rock (sounding very much like an instrumental cover of some more famous song or melody) with Andrej Pompe's "dirty" electric piano claiming lead position over the smooth and solid bass and drum rhythm track. At 2:45 Andrej takes a background support position behind Peter Gruden's equally-dirty electric guitar--which goes on to perform a pleasing and dextrous HIRAM BULLOCK-like guitar solo. A very pleasing song with some impressive performances (I really like the cohesive, easy-going parity and skills presented by drummer Janez Hvale and bass player Gabriejel Lah.) (9.125/10)
4. "Oaza" (4:45) sax, electric piano and bass open this before the band shifts into gear with a jazz-rock motif over which distorted and gritty saxophone and electric piano solo before Peter Gruden steps in with some pop singing. The klezmer-like chorus melody then gets picked up by the horns and guitar and repeated a few times before shifting back to the motif for the second verse. The instrumental passage after the second chorus has the dirty electric piano carrying the chorus melody forward before pausing to let Aleksander Malahovsky step in with his sonorous saxophone to play out on the top to the song's end. Like a jazzy-pop song from the live band in The Unbearable Lightness of Being film. (8.75/10)
Side B:
1. "Brez besed" (7:20) the guitar tone and sound in the opening seconds sounds more like a Dobro playing some Americana music, but then the full band shifts into gear and we have a pretty nice Jazz-Rock groove that is grounded by some excellent flamboyant funk bass and solid rock drumming. Sax, electric piano and prominent rhythm guitar fall into line with the compelling tracks put up by the rhythmatists, sax and electric piano taking the first two blues-rock solos before guitarist Peter Gruden takes over at 3:45. His John Tropea-like solo is quite nice--quite expressive--and definitely could have gone on longer, but the band feels that it has to stop at a traffic light, wait for permission to move forward, and then decide which direction it wants to go from there. (13.5/15)
2. "Svit" (5:10) long Mellotron intro with percussion incidentals for 90 seconds before rhythm guitar and rest of the band fall into a nice third-gear two-chord groove so that Peter and Andrej can express themselves in solo guitar and solo Mellotron (! Yes: I shit you not!) Electric piano solo follows in the fourth minute. Overall, the song is fairly simple: about as demanding on the rest of the band as a Zombies song. Pure ear-candy. (8.875/10)
3. "Sled sonca" (5:10) more melodic jazz-rock--here picking up a kind of hypnotic LARRY CORYELL sound playing something CHRIS REA-like that could easily be considered Yacht Rock. The main rhythm track with its own melody is like an island theme from Gilligan's Island. (8.875/10)
Total Time: 35:45
89.167 on the Fishscales = B/four stars; an excellent display of jazzy rock music founded on iconic songs and styles of the British and American hit makers of the late 1960s.
Line-up / Musicians:
- Zdenek Fiser / guitar
- Pavel Kostiuk / keyboards
- Michal Gera / trumpet
- Jaromír Helesic / drums
- Frantisek Uhlír / bass
2. "Cervanky" (4:47) slow and reflective with delicate yet-nuanced performances from all of the musicians. The music keeps getting stronger, more dynamic (and, melodically, more 1960s game show-like) over the course of its almost-five minutes. (8.75/10)
3. "Osmikraska" (5:49) opening with some bowed electric bass (or cello) that has a very interesting effect plugged into it, the song then launches with the whole band moving into a great bass-and-drum-led groove with horn section. Great syncopation from the drums and bass while guitarist Zdenek Fiser solos and Fender Rhodes player Pavel Kostiuk supports. Trumpeter Michal Gera takes the next turn in the lead while bassist Frantisek Uhlír does some interesting moving around beneath. Bowed electric violin (or cello) gets the next turn before the band comes back together to recite the collective melody line with the horns fully involved. Cool song! (9/10)
4. "V klidu a pohode" (4:23) ominous melody line to open this slow, ruminative song of suspicion and paranoia. A little too herky-jerky for my tastes. (8.75/10)
5. "Sextant" (4:43) even though the title here seems to give a nod to Herbie Hancock, I hear a predominance of Mahavishnu Orchestra with Jan Hammer-type Moog soloing. (9/10)
6. "Cumulus" (5:03) a nod to Billy Cobham's "Stratus"? a very quirky and interesting song making footprints in several j-r fusion camps: funk, technical, Smooth, experimental, and (9/10)
7. "Riko" (4:45) smooth jazz with some admirably-tight whole-band playing--especially from the multiple instruments proposing the melody together. My favorite song on the album. (9.25/10)
8. "Povidlove hody" (5:26) from the start this sounds like an experimental practice étude--like one of the band's warm up songs. (8.5/10)
Total Time 38:58
Line-up / Musicians:
- Robert Genco / drums, percussion, vibes, vocals
- Hugo Heredia / sax, flute
- Luciano Biasutti / trumpet, flugelhorn
- Giorgio Cocilovo / guitars
- Tuccio Garofalo / e-piano, organ
- Silvio Condemi / bass, cello
2. "Beyond The life" (5:11) excellent emotional song sung very powerfully by Robert. Impressive guitar play from Giorgio Cocilovo but excellent sound and play from Tuccio Garofalo on electric piano, bassist Silvio Condemi, and Robert on drums. Beautiful Smooth Jazz. (9.75/10)
3. "All Recomposes" (5:24) a more symphonic approach to jazz pop. Sounds like a cross between Donovan and Greg Lake-led PROCOL HARUM. Robert really does have an excellent, very emotive singing voice. The song builds beautifully after Robert finishes singing the first verse, eventually climaxing in a kind of "Space Oddity" finish. (9.5/10)
4. "Nature And Transmigration" (18:32) this seven-movement suite starts out very atmospheric/pastoral for the first two movements--like a classically-formulated song, but then it gets funky with the arrival of the fifth minute. Flute solos over the first minute of this movement before Robert starts to sing, then electric guitar gets a turn to solo. The fourth "chapter" or movement starts at 6:57 and flattens out into more-Mahavishnu-like speed sprint with Hammond organ dominating the first minute but then turning over the reigns to electric piano while electric guitar shreds and bass and drums drive the song forward. At 11:18 we subtly shift into yet another motif--this one more rock-driven with the Fender taking the first solo over the hypnotic bass and hard-driving drums. When the trumpet takes over in the lead position the bass drops down an octave or two while Robert's drums get a little more adventurous. Some stop-and-go staccato play in the final portions of this allow Robert a little more show-time before settling into a slightly different pattern to support more electric guitar lead play. The sixth "chapter" finds the band settling into an-almost Canterburian rhythm for some silliness, but then, after a little Mont Campbell-like singing, everybody shifts gears to into some more jagged, angular jazz musicianship. The seventh and final "chapter" finds us listening to a flange-effected drum solo. Nothing here is quite as compelling or quite as beautiful as the other songs on the album. That third "chapter" is the best one here. (34.75/40)
5. "Passagio" (5:15) opens with a flange-effected drum solo (a continuation, obviously, of the previous song)--one that starts out impressively but then gets too simplistic. Eventually, the rest of the band joins in and establishes a kind of poppy STEELY DAN-like motif over which Griogio solos on electric guitar before and between Robert's charged singing. The guitar solo eventually sounds just like The Eagle's at the end of "I Can't Tell You Why" (sung by Timothy B. Schmit). Another beautiful song! (9/10)
Total Time 44:37
(The SAN FRANCISCO) GIANTS Giants (1977)
ZAO Typhareth
Gone are both founder Yochok'o Seffer and recent acquisition Didier Lockwood, here come percussionist Michel Séguin, wind player François Debricon, trombonist Hamid Belhocine, and a young Manu Katché on drums (the first recorded presentation of the future superstar). Recorded in August and September of 1977, it was released by RCA Victor late in the year.
Line-up / Musicians:
- François "Faton" Cahen / piano, electric piano, synthesizers
- Hamid Belhocine / trombone
- François Debricon / saxophone, flutes
- Manu Katché / drums
- Michel Séguin / drums 'toubabou', percussion
- Gérard Prévost / electric bass
1. "Merci Jacky" (7:20) opens with a Smooth Jazz-like feeling before Jaco Pastorius-like bass joins the percussion and steady one-chord electric piano motif. Key change at 0:50 continues the one-chord foundation approach while Gérard Prévost and Michel Séguin continue to impress (especially the former). 2:00 the reins are handed over to "Faton" for a solo that could come from lighter J-R Fusion players like Donald Fagen, Michael Omartian, or Greg Phillinganese. chord progression sequence in the fourth minute leads into a much more developed motif (though it feels the same because the drum and percussion lines are much unchanged) but trombone and saxophone now join in while the keyboard/synth and bass lines are now more sophisticated, melodic, and, frankly, interesting. Fuzz synth mirrors bass play for a score of seconds before circus-like sounds and chord progression take us into the dismantling finish. Nice, fun and light. Good opener. (13.25/15)
2. "Typhareth (Beauté)" (12:44) I love the presence, prominence of trombone coming from unconventional trombonist Hamid Belhocine. The flanged bass (with its great solo in the eleventh minute) is cool, too--especially due to the loving support that Faton's hypnotic keyboards play below him. This is a very easy-going, gentle and melodic tune which lulls the mind into perhaps failing to notice all of the lovely subtleties going on in the soil and underbrush. Truly a lovely song. (23.75/25)
3. "Troupeau De Bisons Sous Un Crane" (3:32) Hand claps and congas! A light, fun, and upbeat tune that seems to reflect a carefree, fearless Cajun-like attitude. Nice! A little Weather Report feel to this--and so nice to hear a lower-register saxophone for a change! (8.875/10)
4. "Binah / Comprehension Feminine" (5:04) dreamy ethereal combination of piano, flute, and EBERHARD WEBER-like flanged electric bass start this one out as cymbals and metal percussives add to the effect while flutes, percussives, change, trombone enters. At 3:00 there feels like a shift in temperament: as if the sun has come out and there's a reassurance that everything will be okay. But then it goes back to the more dreamy, less settling motif for the final minute. Nice! Interesting! Creative. (8.875/10)
5. "Les Temps Changent" (8:44) keyboard, congas, and café chatter open this for about 30 seconds before bass, drums and horn section enter to move the song forward--but slowly, with lots of stutter steps and shifting, twisting dance moves--before finally letting Faton lead us into the pedestrian lanes of the cobblestone shopping area of la vieille ville. As we walk the troupe gets more stylish, more swaggy and cocky with its self-assured, attention-getting footwork and audaciousness. I love it: These were the Seventies! This is a perfect representation of the Black-positive attitudes that styles, clothing, and music were expressing at the time--and François Debricon's expressive tenor saxophone solo in the seventh minute is the perfect cherry on top! This is followed by an ensemble finale which feels as if it were choreographed by Mandy Moore for a street scene in La La Land. (18/20)
Total Time: 37:24
Like reviewer/friend John Davies, I find much more hiding in this music than what might appear at first listen: besides eminently-impressive musicianship from all involved, there are plenty of compositional and improvisational intricacies that might be masked by the easy-on-the-ears melodic sensibilities that François offers the listener.
90.94 on the Fishscales = A-/five stars; a minor masterpiece of Third-moving-into-Fourth Wave Jazz-Rock Fusion. Very engaging and upbeat while being deceptively intricate and sophisticated.
RON CARTER Third Plane
The second album that was released from the material recorded with Herbie, Tony, and Ron at Jerry Rubenstein's new studio in San Francisco on July 13, 1977--this one released late in 1977 on Milestone Records due to contractual obligations.
Line-up / Musicians:
- Herbie Hancock / piano
- Ron Carter / bass
- Tony Williams / drums
- Ron Carter / bass
- Tony Williams / drums
A1. "Third Plane" (5:52) a nice little Latin-shaded tune composed and anchored by Ron that sees Herbie taking the melodic lead with vim, verve and a Antonio Carlos Jobim-like respect for space and clean phrasing. The drumming is solid though rarely Tony Williams-like in its fire and creativity. Still, an excellent, beautiful tune. (9.25/10)
A2. "Quiet Times" (7:50) a late night wanderer that slides into some Miles Davis Kind of Blue-like blues in its second minute while Ron's slip-sliding bass runs up front, Tony's brushed drums down beneath the others, and Herbie's piano somewhere in between. Though Ron is credited as the song's composer, he performs more as if this were so than on the album's opener (to which he is also the credited composer), soloing quite eruditely throughout fourth and fifth minutes. Herbie's piano play even brings in a lot of Kind of Blue phrasing and stylings. (13.625/15)
A3. "Lawra" (6:06) on this one the boys return to the light, performing a Tony Williams song that would also be exhibited in expanded form (9:43) on the September V.S.O.P. release of the Greek Theater concerts sandwiched around this date in the recording studio entitled The Quintet. (9/10)
B1. "Stella By Starlight" (8:24) another cover a jazz standard, yet another one that Miles helped to resuscitate make popular, this one a song from a film of the same name that came out in 1944 and whose music was composed by Victor Young. The song was made a jazz standard via covers by Charlie Parker, Chet Baker, Stan Getz, Bud Powell, Stan Kenton's big band as well as Nat King Cole before Miles grabbed it and twice revived it's popularity in 1955 and as part of his live concert standards in the mid -1960s. Nice rendition though I know the previous versions so little that it feels fresh and original (if a little scattered) to me. (17.75/20)
B2. "United Blues" (2:59) another Carter composition that displays Ron's propensity for bounce and syncopation with the trio being asked to hold fast and firm to a very clean and clear-cut discipline throughout. (8.875/10)
B3. "Dolphin Dance" (8:18) here reviving an old Herbie classic (originally from Maiden Voyage, it was inspired by a Count Basie tune), the band rises and falls with the ocean swells as Herbie and Ron swim playfully around each other while Tony seems content to watch like a mesmerized child. (18.5/20)
Total Time 38:03
If I have any complaint of this album it would be of the continued low levels of the drums and continued far-forward push of Ron's bass: I would like to have heard from these recordings at The Automatt a little more even leveling of the three instruments as I found myself tiring a bit at trying to work past Ron's bass playing, as amazing as it is, in order to hear Tony's drum play.
90.59 on the Fishscales = A-/five stars; a minor masterpiece of acoustic jazz that harkens back to the 1960s for both content yet offers the maturity and skill of musicians who have gained ten years of experience since their days under the tutelage of the great Miles Davis.
JONI MITCHELL Don Juan's Reckless Daughter
After two previous straight jazz-rock fusion album releases (The Hissing of Summer Lawns and Hejira) and a very hectic touring cycle (most recently with Pat Metheny, Lyle Mays, Don Alias, Michael Brecker, and Jaco Pastorius--a lineup that would be captured on tape on the 1979 Mingus tour as the Shadows and Light 1980 album release), Joni's dissatisfaction with the rock-oriented studio musicians she'd been associating with left her seeking to strip things down into much more bare-bones jazz--a jazz form much less dependent on American studio musicians. The album was released by Asylum Records on December 13, 1977.
Lineup / Musicians:
- Joni Mitchell / vocals, guitar, piano (4)
With:
- John Guerin / drums (1, 3, 4, 9)
- Wayne Shorter / saxophone (3, 4)
- Michael Gibbs / conductor (4, 9)
- Larry Carlton / electric guitar (5)
- Michael Colombier / piano (5)
- Jaco Pastorius / bass (1-4, 8, 9), bongos (6), cowbell (7)
- Don Alias / congas, clave (6), vocals (6), snare drum (7), sandpaper blocks (7), shaker (8)
- Alejandro Acuña / congas, cowbell (6), vocals (6), shakers (7), ankle bells (8)
- Manolo Badreno / congas (6), vocals (lead) (6)
- Airto Moreira / surdo (6), vocals (6)
- Chaka Khan / vocals (6, 7)
- El Bwyd / split tongued spirit (8)
- Glen Frey / background vocals (9)
- J.D. Souther / background vocals (9)
Disc One, Side One:
1. "Overture - Cotton Avenue" (6:35) multiple tracks with Joni's treated vocalise accompanied by an empty-concert-hall sound for her idiosyncratic acoustic guitar play opens this one before Jaco Pastorius' unique fretless joins in during the third minute. At 2:45 John Guerin's drums join in as Joni and Jaco settle into a structured song--"Cotton Avenue." Pop music taken to its jazziest extreme containing, of course, her inimitable delivery of her poetic lyrics. (10/10)
2. "Talk to Me" (3:40) a hard-drivin' acoustic guitar song supported by Jaco's distinctive fretless (on two channels). Incredible lyrics sung like a stream-of-consciousness harpy. (10/10)
3. "Jericho" (3:25) Joni, Jaco, and John are here joined by Weather Report saxophonist Wayne Report. He manages to squeeze a few notes and riffs behind Joni's non-stop singing, but, again, it's Joni's unusual melody-selection and the matching wildness of Jaco's bass note choices that rule the day. This was a song that was recorded earlier, live at Los Angeles' Universal Amphitheater in August of 1974. This version is so much better. Complete command, complete mastery, complete domination of the audience of one (me). (10/10)
Side Two:
4. "Paprika Plains" (16:19) a very long and protracted piano-and-voice piece that for some reason never bored or annoyed me, always sucked me in as I'd play the album through, over and over, back in 1977 and
1978. Michael Gibbs' orchestral contributions were equally mesmerizing, equally revered and enjoyed. The change in motif at 5:15 to what feels more like a piano sonata was always a bit disconcerting as, suddenly the feeling coming from the music was now more classical than jazz (though in reality, what is the difference), like something Debussy or Ravel--or even Fauré or Vaughn Williams--might have composed. (Perhaps this piece was the piece that got me started in my first exploration of Classical Music.) Joni and her piano bring us back to the opening motif around the 12-minute mark--and this time Jaco, John and Wayne join in--with a full-explosion of their vast sound beginning at 13:49. This is so good! Another song in which The Master of Words and Vocal Delivery mesmerizes and hypnotizes. She was so meant for jazz! Is there any lyricist better than her? (29/30)
Disc Two, Side One:
5. "Otis and Marlena" (4:05) what sounds more like a solo performance by Joni and her guitar, the sparse contributions of Larry Carlton, Michael Colombier, and John Guerin's snare are almost incidental. A lyrics-driven song that I've never really connected with. As such, it is my least favorite on the album. (8.66667/10)
6. "The Tenth World" (6:45) a percussion jam with five members of Weather Report, past and present. I have always loved this infectious jam of joyfulness. (14/15)
7. "Dreamland" (4:37) an extension or variation of the previous song with Joni in the lead vocalist and composer's driver seat despite the employ of the same cast as "Tenth World." Brilliant lyrics though the melody and hooks never quite did it for me. (8.875/10)
Side Two:
8. "Don Juan's Reckless Daughter" (6:40) a song that has become legendary for the bloody hand Jaco Pastorius incurred from his insistence at performing his neck-length whole-hand bass guitar slides live, without a break, over the course of the entire six minutes of the song. (They could have looped it.) Even without Jaco's performance, this is another favorite of mine: electrified guitar with drums, percussion, and occasion, background vocals. (9.25/10)
9. "Off Night Backstreet" (3:22) back to the "big empty hall" sound for Joni's guitar (two channels?) but with John and Paco (in two channels), Michael Gibbs orchestra, and occasional background vocals. Some real high points in this (guitar and fretless bass), yet also some irksome moments (b vox). (9/10)
10. "The Silky Veils of Ardor" (4:02) solo Joni with a fast-pick and gentle strum approach to her guitar playing that harkens back to her more country-folk styles of years before. Nice song but kind of out-of-place on this amazing album--a downer of an ending for this otherwise superlative jazz record. (8.66667/10)
93.97 on the Fishscales = A/five stars; an absolute masterpiece of bare bones vocal jazz and my #6 Favorite Album of All-Time.
Other Great Albums Released Sometime in 1976:
DAVID AXELROD Strange Ladies
This is an album that shows David's growth and maturation as a songwriter and band leader: the music here is much more full and sophisticated than the work he did in the 1960s that led to his fame. He has figured out how to blend his orchestral with the laid back, jazz-rock funk that he burst onto the scene with on his famous tribute to works of William Blake in Song of Innocence. The bass, guitar, keys, and horns are definitely offered much more freedom to be creative, to be flashy, and to show off their own skills and ideas here than they were the albums from a decade before. While I miss Carol Kaye (who wouldn't?), the bass playing by JIm Hughart is quite exceptional. As with Song of Innocence, David's genius for spreading the melodies of his music across the entire band is displayed here--maybe at times even more successfully (like on the amazing "Terri's Tune"). At times the orchestrated approach makes one feel as if you're listening to a film or television soundtrack, but that doesn't matter because it's just great, eminently enjoyable music! Period! Definitely my second favorite of David's discography (which includes the two Electric Prunes liturgical renderings in 67 & 68). Strange Ladies is generally agreed upon to have been released in 1977.
Line-up / Musicians:
Bass - Jim Hughart
Cello - Anne Goodman, Nat Gershman
Concertmaster - Bobby Bruce
Conductor - Earl Palmer (tracks: A1, A2, B3)
Conductor, Written-By - David Axelrod (tracks: A3 to B2)
Drums - Earl Palmer
Guitar - Billy Fender, Jay Gradon
Horns [Reeds], Woodwind - Buddy Collette, Ernie Watts, Jackie Kelso (tracks: B1, B3), William Green
Keyboards - Don Randi
Percussion - Mayuto Correa
Trombone - Benny Powell , Jimmy Cleveland
Trumpet - All Aarons , Bobby Bryant
Vibraphone - Gene Estes
Viola - Alex Nieman , Gary Nuttycomb , Rollice Dale
Violin - Arthur Brown, Bobby Bruce, George Poole, Janice Gower, John Santulis, Marilyn Baker
Bass - Jim Hughart
Cello - Anne Goodman, Nat Gershman
Concertmaster - Bobby Bruce
Conductor - Earl Palmer (tracks: A1, A2, B3)
Conductor, Written-By - David Axelrod (tracks: A3 to B2)
Drums - Earl Palmer
Guitar - Billy Fender, Jay Gradon
Horns [Reeds], Woodwind - Buddy Collette, Ernie Watts, Jackie Kelso (tracks: B1, B3), William Green
Keyboards - Don Randi
Percussion - Mayuto Correa
Trombone - Benny Powell , Jimmy Cleveland
Trumpet - All Aarons , Bobby Bryant
Vibraphone - Gene Estes
Viola - Alex Nieman , Gary Nuttycomb , Rollice Dale
Violin - Arthur Brown, Bobby Bruce, George Poole, Janice Gower, John Santulis, Marilyn Baker
A1. "Aunt Charlotte" (4:46) a long strings intro is slowly joined by bass, funky clavinet, and trumpet with horn section support and a near-disco Rocky-like palette (and feel). It's peppy with that clavinet and Rocky-like trumpet, but perhaps a little too cheesy. (8.875/10)
A2. "Mujer Extrana (Strange Lady)" (9:18) a gentle, slow and steady melodic build (coming from the militaristic drum-paced rock combo) that feels a lot like a kind of bluesy R&B "Thrill Is Gone" like song. It then shifts at the 90-second mark with the addition of some new, discordant/counterpoint chords from the orchestra that bring in a little tension build up. The bluesy-rock Latin funk music continues with Don Randi's keys providing the most dominant forward momentum despite feeling a part of a whole-band weave throughout. A bass solo ensues for about 45 seconds before guitar, Rhodes seem to vie for the next solo but are then overthrown by loud orchestra swells and a rather insistent flute. At 7:20 a little reset lull allows everyone to kind of congeal into a whole-band march toward the finish line where it seems that only the snare and bass are strong enough to cross the finish line. Cool song! (18/20)
A3. "Tony Poem" (4:50) Jim Hughart's funky Anthony Jackson-like bass along with Earl Palmer's expert drums and Don Randi's clavinet and electric piano along to reinforce it make for quite an introduction to this wonderful album's great sound and comforting groove-cruisin'. In the end, though, it just might be a little too cheesy in the way it pulls at the listener's "white man's overbite" dance strings. (8.875/10)
B1. "Mrs. O.J.A." (5:38) more of the gentle funk from the studio band is led this time around by the chord play of Don Randi on the Fender Rhodes, then a great little bass solo from Jim Hughart before the horn accents enter in the second minute. This is great use of the horns to amplify and contrast with the song's awesome funk chord progression, followed up by a great Jay Graydon's guitar solo as the spacious play of Don Randi's Fender Rhodes continues to steer the song down the river. The trumpet solo in the fourth and fifth minutes is a little over the top, but the entry and weightiness of the string and horn sections' chords help to offset it. (9.125/10)
B2. "Terri's Tune" (6:44) an absolutely perfect piece of music: I am amazed how smoothly David spreads his melody-carrying work among the entire ensemble. Then in the middle of the fourth minute there is a curious pause--which lasts a little longer than is normally comfortable--but then sees the best of the song rising out of its reset--with some great clarinet soloing from Jackie Kelso in the sixth minute. The final two minutes of the song offer what feels like the album's very best music and motif. Heart-wrenchingly beautiful. (10/10)
B3. "Sandy" (5:44) long solo bass intro is eventually joined by finger piano-like acoustic guitar, doubling up the bass's near-classical melody line. Second time through the guitar breaks off to make its own harmonizing melody line before the orchestra's flutes and winds take over to claim their own melody. Strings-backed rock combo then pick up a a gentle, slow and steady melodic build that feels a lot like a kind of Jimmy Webb song. Beautiful! Acoustic guitars remain the lead instruments--working in tandem--until the four-minute mark when Don Randi's Fender Rhodes takes a turn. Here the rhythm section does an excellent job of support as the guitars turn into the accent-providers while the soothing strings float around in the heavens above. Nice! (9.125/10)
Total time: 37:00
91.43 on the Fishscales = A-/five stars; a minor masterpiece of masterful blending of jazz-pop combo and full orchestra. Awesome and highly recommended.
CORTEX Vol. 2
The infectious popularity of Alain Mion's first CORTEX album obviously called for a follow up. The problem was in keeping his original band mates interested (and, I suppose, paid). Aside from drummer Alain Gandolfi (who, with Mion, would remain the core-constant throughout the Cortex career), an entire cast of newcomers has had to have been recruited in order to record an publish (and tour) with Alain's new songs.
- Nicolas Mirkov / bass, guitar, saxophones [tenor, soprano]
- Alain Gandolfi / drums, percussion
- Philippe Vautrin / guitar
- Alain Mion / keyboards [Fender Rhodes, Clavinette, Mini Korg], organ [Hammond], piano
saxophone [soprano]
- François De Bricon / saxophone [soprano]
- Alice Prévost / vocals
- Pascale Richard / vocals
A1. "Devil's Dance" (2:30) a great upbeat, piano & guitar-based Disco tune to open the album. Nice! New bassist Nicolas Mirkov and guitarist Philippe Vautin prove their worth from the opening minute. Even though it's short, it could easily (and happily) have been extended as a long jam (with perhaps some saxes or more solo work from Alain or Nicolas). (9.3333/10)
A2. "Funk Around The Punk" (3:18) definitely funk with the whole band--bass, drums, keys, and rhythm guitar--all participating in the wholeness of a 70s funk song. Guitarist Philippe Vautrin does some pretty cool things with his guitar: partly rhythmic, partly lead (small chords and both plucked and strummed strings). Alain Mion is active on several keyboard tracks indicating multiple over dubs. No horns or winds (that I can detect) on this one. Cute and peppy--very much like a BOB JAMES song. (8.875/10)
A3. "Hurluberlu" (5:10) two chord blues-based funk-rock/R&B with a rolling bass line and driving drum beat so that Alain and Philippe can play around on top. Nice, interesting work from Philippe's fuzzy-flanged lead guitar over this awesome cruisin' song. Excellent work from bassist Nicolas Mirkov (who, by the way, is the sole composer credited for this song) as well as from drummer Gandolfi. (9/10)
A4. "Soul" (2:50) three-chord keyboard entry leads into a funky Disco song with cool clavinet, rhythm guitar, and K.C. & The Sunshine Band "Get Down Tonight" lead guitar work, plus saxophone solos in the second half. Actually a pretty cool and creative song! (9/10)
A5. "Datura" (2:30) bass and guitar provide the most important inputs on this song. Though it has two motifs, it is another song that feels simple, one-dimensional, like a warm-up song or étude/practice/audition tune. One of the few songs not totally credited to Alain Mion, the guitar work of Philippe Vautrin is purely rhythm guitar but co-composer Nicolas Mirkov's bass (and sax) are plenty funky. (4.625/5)
B1. "Poxa" (3:25) this one sounds sappy enough to be a cover--like something that would likely end up as elevator music--but when the female background singers enter and start their "la-la-la-la-las" it kind of eliminates it from elevator heaven and renders it more of a soundtrack to some low-budget film. It's not bad--the musicians' performances are all fine--it's just a bit hokey. (8.75/10)
B2. "Mister J." (3:36) funky and perky little composition by drummer Alain Gandolfi that sounds like an American advertizing song. Female background vocalists enter in the second minute intermittently injecting the word some word that sounds perhaps more like "raina" than "régina." (8.875/10)
B3. "Régina" (5:00) the lone composition of guitarist Philippe Vautrin opens with guitar setting the chord progression, key, and pace. Funky bass, straightforward drums, keys, and clavinet "horns" plus real horns join in (the real horns gaining more traction the further into the song we go). (8.875/10)
B4. "Efficace Swing" (2:58) a nice little flute-led dittie that feels unfinished, more like an étude or practice song that never received the attention needed to finish it. Why is there no credit given to the flutist? (8.875/10)
B5. "Oh. Lord" (6:20) I love the etheric female vocalese singing like an angel over the church-like Hammond organ chords throughout the first half of this song. The little Hammond flurries in-between the two rounds of Alice Prévost's vocals is a little corny, but overall it's very cool. And then it ends. There is a rather long pause as if there is a whole new song starting, but I do recognize the same chords/key in the opening Fender Rhodes display. And then the bass, drums, and rhythm guitar-like chord play of Alain's left hand join in and provide a lovely funk-lite love song. (9.5/10)
Total Time: 37:52
The overall impression I have of this album is that it is a collection of interesting and fun ideas that the two Alains and their band mates were using for practice/workout sessions, most of which never really got fully developed or "polished." There are plenty of nice melodies and pleasant funk-lite grooves throughout, just nothing as amazing as the first album.
91.27 on the Fishscales = A-/five stars; though I really would not consider this a true masterpiece of top tier Jazz-Rock Fusion, the album is filled with brilliant, sometimes innovative ideas, excellent performances by all musicians involved and some great earworm-like ditties and hooks--and, of course, a core of silky-smooth funk! I sure miss the dreamy voice of Mireille Dalbray!
MIROSLAV VITOUS Miroslav
Having had fun experimenting with many new electronic enhancements (including keyboards and synthesizers) on his previous solo album, 1976's Majesty Music, we see here Miroslav taking a more serious and more independent approach--using only a single percussionist as his collaborator for each song while relying on his own talents for all the rest of the sound generation. Recorded between January and July 1977 Arista's Freedom Records probably released this album late in 1977.
1. "Watching The Sunset Run" (8:02) a song that plays out more like a Weather Report song than any we've heard from the former WR member (and founder) as Miroslav plays his multiple tracks of basses with some periodic electric piano, ARP synth strings, and MiniMoog contributions with the cymbal-heavy multi-track contributions of long-time collaborator (and fellow Weather Report founding member) Don Alias. A cool song that also comes across as an OREGON/CoDoNa-like song. The melody production is okay, but the constant tension and urgency generated by the rhythm track is quite compelling. (13.75/15)
2. "Bassamba" (2:58) solo bass opens up with some flourishes and riffs before starting up a two-and sometimes three- chord Samba motif which Don quickly fall in line to support. Miroslav's bowed bass occupies the lead position while his electric piano and ARP synth strings add spice in the middle to give it a little Chick Corea flavor. Well done, Mr. Vitous! (9.125/10)
3. "Tiger In The Rain" (8:54) electric piano opens this one, playing a lot like Joe Zawinul (the man had just finished spending six years under the tutelage of his elder and fellow Eastern European)--for a long time before small contributions from Miroslav's other keys and basses as well as Don Alias' bongos and (later) timbales join in. I'm not sure what tiger Miroslav had observed to inspire this song--or if the title was just applied randomly from a saved list of previously generated song titles--but I don't see the connection--unless one were trying to account for the youthful play of a young cub experiencing the fascinating effects of the rain for its first few times. Not as interesting, developed, or dynamic as one might have hoped--and very little bass play! (17.25/20)
4. "Concerto In E Minor" (5:30) ARP strings and congas open this free-flowing, Indian-like song with electric piano and bowed electrified double bass that sounds remarkably similar to the low-end tones of SHAKTI's Shankar with his patented double-neck 10-string violin. There is a bit of a tempo and motif change in the fourth minute as Don and the electric piano start up a new pattern while Miroslav continues soloing with his bowed bass, but then the ARP strings kind of move to the front as Don and Miroslav step back a bit to make room for Miroslav's pizzicato double bass for the song's final minute. Odd and not feeling as "classical" as the title would seem to suggest. (8.75/10)
5. "Pictures From Moravia" (4:49) electric piano and bowed electrified double bass present and each play with the main melody while pizzicato bass and ARP strings add their periodic notes and flourishes. Things get a little heated in the second half of the second minute--especially with the bowed bass--but then shift in the third minute as the MiniMoog and electric piano sneak in for a little more shine. The ARP strings chords tend to spoil it for me; I think the song would have been much better with them left out. (They tend to "date" the music, as well.) (8.875/10)
6. "Sonata For A Dream" (5:39) opening with Armen's sparse, mostly-metallic percussion play, Miroslav focuses on (bombastic) piano as his main conveyor with ARP strings and MiniMoog providing a lot of the lead flourishes and melody. I do like the fact that this song presents a slowly building and more dynamic sonosphere than much of the album's other songs--even evoking some of the feelings that I feel are signatory to the experience of listening to a classical music sonata. (8.875/10)
Total time: 35:52
Despite years of collaborating with others (especially Joe Zawinul but also Herbie Mann and Wayne Shorter), I've always had this sense that Miroslav was a rather fiercely-independent artist, and I think that this album serves as proof of that. With his previous year's album he was still relying on collaborators while exploring new technologies but he was also taking on much more of the musical textures for himself: learning and attempting to take over the keyboards, electronics, and even engineering duties on Majesty Music, but now, with Miroslav we have the butterfly finally, if shyly, emerging from his cocoon to begin to create music that is most all of it his. A very challenging prospect, I've always thought that this "one-man band" approach (and attitude) can have a limiting, even detrimental, effect on the outcome--on the musical product. I've become convinced that collaboration, review, and feedback (even if it's critical), is important to a product that the public can and will connect with. Though Blue Note producer Michael Cuscuna is credited, I have a feeling that this was more Miroslav's solo project.
88.8333 on the Fishscales = B/four stars; an interesting and often intriguing album that presents one artist's vision most purely--with only one collaborator--a percussionist--to be held accountable to.
IZVIR Izvir
Though it was called Yugoslavia, these musicians were from Slovenia and spoke (and sang in) Slovenian (among other Slavic languages [like Russian, Serbian, and Croatian]). The band apparently had some regional fame due to a couple minor hit singles and popular performances at outdoor concerts throughout Yugoslovia. While recorded in May-June 1977 its release on the RTV Ljubljana label is not certain--with some claiming a late 1977 release and others saying early 1978.
Line-up / Musicians:
- Marko Bitenc / vocals, percussion
- Franc Opeka / guitar
- Andrej Petkovic / drums
- Andrej Konjajev / keyboards
- Davorin Petric / guitar
- Marjan Lebar / bass
with:
- Mitja Bavcon / flute, guitar
- Slavko Lebar / guitar
- Marko Rudolf / Canon F-1
1. "Sel je popotnik skozi atomski vek" (12:08) strings synth, waves of cymbal crashes and hand bell jingles while electric guitar warms up with some notes and small chords until the second minute when the bass and full band gel into a hypnotic CAMEL-esque groove. Electric keyboard takes the first lead before vocalist Marko Bitenc enters with a theatric performance: half speaking, half singing--with female background vocalists. Nice! The keys seem to have the leadership role among the musicians as Andrej Petkovic seems to take the opening opportunities to fill with a few flurries. At 4:15 there is a dramatic shift into a brand new motif--one that presents an entirely new and different kind of energy: blues rock with clavinet and blues lead guitar with more rock-oriented drums and bass. Instrumental "chorus" at 6:15 serves to bridge and reset before the band starts round two of this new motif--but then, just as suddenly, everything stops and we're left with the big Itallian operatic voice of Marko Bitenc with just a lone electric piano to accompany him with gentle chords. The wooden (or clay) flute of guest Mitja Bavcon takes us to the nine-minute mark where organ, guitars, and fast hi-hat play takes us into another motif, this one dynamic in a somewhat funky R&B rock style over which Marko continues singing in his theatric RPI lead voice. The background singers are present and forceful throughout this section, lending great emphasis to Marko's words and voice. Nice rock guitar solo in the 12th minute which eventually takes us into the song's long fadeout. Pretty good stuff! (22/25)
2. "Oblak" (5:07) using a palette and style that sounds like 1960s Surf Pop taken toward early Doors and Lynyrd Skynyrd blues rock. Enter Marko in the second minute with his strong RPI voice. After his first verse and chorus the band subtly launch into a jazzified instrumental section reminding me of the early days of both The Animals or Argent. Nice guitar and organ solos here as the tight rhythm section chugs along. It's the datedness of the instrumental sounds coupled with an older rock form that makes me think, "Man! These guys must have been playing this song since the 60s." (8.75/10)
2011 Bonus:
3. "Medtem" (2:47) this one opens with a little more TEMPTATIONS-like Soul/R&B palette and style. Nice fast rolling bass and clavinet play. Marko's treated voice enters trying to be a white R&B voice like Gino Vannelli or something of the like. Both Davorin Petric and Franc Opeka take turns soloing on their respective electric guitars in the first instrumental passage. Too bad the sound recording (/10)
Side Two:
3. "Izvir" (5:40) disco! with a "Black Betty" form and pace! Great intricate instrumental play from drummer Andrej Petkovic, bassist Marhan Lebar, and clavinet player Andrej Konjajev. The two guitarists almost sound like some of King Sunny Adé's band members playing their Juju music guitars. Marko's vocal participation is rather secondary and more similar to the delivery of the vocal on Ram Jam's "Black Betty." Another song that the band had probably been developing and perfecting over the course of years. Well done! (9/10)
4. "Sareni pas" (2:52) though the instrumental performances on this funky tune are tight and nuanced the vocals render it more like a Slovenian version of some current or recent rock song from the West that I cannot place--Led Zeppelin's "Trampled Under Foot", I think. (8.75/10)
5. "Covjekov strah" (8:04) more ethnically-infused rock with some jazzy inflections and amplifications. A Southern California and Jamaican feel. I really like this rather loose vocal from Marko despite its poor effects and recording. Great guitar play that, again, feels as if came from an African or Caribbean musician and, once again, great keyboard play from Andrej Konjajev--he really gets the clavinet as well as the placement and appropriate usage of his other keys. Drummer Andrej Petkovic is also extremely talented: playing always what seem really appropriate for each moment and motif. Nice tune. (14/15)
6. "Vibrolux" (3:08) definitely the rock side of jazz-rock fusion; Herbie Hancock would be quite proud of this one. I am quite proud of drummer Andrej Petkovic for his tasteful solo to end the song (and album). (8.875/10)
Total time: 36:59
Total time: 36:59
This album is not always (or, perhaps, ever) a truly jazz-rock fusion album but the eclectic mix of musical forms and styles are performed by musicians of such high skill and talent that it might as well be. Plus, by 1976 jazz rock was already beginning to unravel and take on a myriad of new directions. This may be one of them.
89.22 on the Fishscales = B+/4.5 stars; a near-masterpiece of eclectic jazz-rock-pop fusion that I highly recommend for if only for the fun of it.
PREDMESTJE Brez Naslova
The debut album from this band from the former Yugoslavia. It's very melodic and ear-candy filled--not unlike the Easy Listening "Yacht Rock" that is becoming popular back in the States at this same time.
- Andrej Pompe / electric piano, mellotron
- Janez Hvale / drums
- Aleksander Malahovsky / saxophone
- Gabrijel Lah / bass
- Peter Gruden / guitar, vocal
Side A:
1. "Dez" (3:55) opening with a driving jazz-rock infused palette, the song is quickly given over to some solo and group vocals rendered in a style akin to Western artists like Spencer Davis Band, Chicago, Blood, Sweat and Tears, Lighthouse, and Santana. The music is slightly simple and rudimentary, as if it might have been one of the band's early works, but it's polished and the solos (guitar) are quite refined. (8.875/10)
2. "Sprehod" (4:45) set up almost like a light, airy song carrying a little bit of mystery in it--just like something from The Zombies ("She's Not There") or The Association. This is, however, an instrumental. It contains some nice melodic electric guitar soloing from Peter Gruden, using a kind of Gregg Allman tone on his guitar, with that hypnotic "She's Not There" groove going on beneath. Nice! Not really jazz-rock or even close to Jazz-Rock Fusion, but it's nice in a Santana kind of way. (8.875/10)
3. "Razmisljanje" (4:40) melodic instrumental lounge jazz-rock (sounding very much like an instrumental cover of some more famous song or melody) with Andrej Pompe's "dirty" electric piano claiming lead position over the smooth and solid bass and drum rhythm track. At 2:45 Andrej takes a background support position behind Peter Gruden's equally-dirty electric guitar--which goes on to perform a pleasing and dextrous HIRAM BULLOCK-like guitar solo. A very pleasing song with some impressive performances (I really like the cohesive, easy-going parity and skills presented by drummer Janez Hvale and bass player Gabriejel Lah.) (9.125/10)
4. "Oaza" (4:45) sax, electric piano and bass open this before the band shifts into gear with a jazz-rock motif over which distorted and gritty saxophone and electric piano solo before Peter Gruden steps in with some pop singing. The klezmer-like chorus melody then gets picked up by the horns and guitar and repeated a few times before shifting back to the motif for the second verse. The instrumental passage after the second chorus has the dirty electric piano carrying the chorus melody forward before pausing to let Aleksander Malahovsky step in with his sonorous saxophone to play out on the top to the song's end. Like a jazzy-pop song from the live band in The Unbearable Lightness of Being film. (8.75/10)
Side B:
1. "Brez besed" (7:20) the guitar tone and sound in the opening seconds sounds more like a Dobro playing some Americana music, but then the full band shifts into gear and we have a pretty nice Jazz-Rock groove that is grounded by some excellent flamboyant funk bass and solid rock drumming. Sax, electric piano and prominent rhythm guitar fall into line with the compelling tracks put up by the rhythmatists, sax and electric piano taking the first two blues-rock solos before guitarist Peter Gruden takes over at 3:45. His John Tropea-like solo is quite nice--quite expressive--and definitely could have gone on longer, but the band feels that it has to stop at a traffic light, wait for permission to move forward, and then decide which direction it wants to go from there. (13.5/15)
2. "Svit" (5:10) long Mellotron intro with percussion incidentals for 90 seconds before rhythm guitar and rest of the band fall into a nice third-gear two-chord groove so that Peter and Andrej can express themselves in solo guitar and solo Mellotron (! Yes: I shit you not!) Electric piano solo follows in the fourth minute. Overall, the song is fairly simple: about as demanding on the rest of the band as a Zombies song. Pure ear-candy. (8.875/10)
3. "Sled sonca" (5:10) more melodic jazz-rock--here picking up a kind of hypnotic LARRY CORYELL sound playing something CHRIS REA-like that could easily be considered Yacht Rock. The main rhythm track with its own melody is like an island theme from Gilligan's Island. (8.875/10)
Total Time: 35:45
89.167 on the Fishscales = B/four stars; an excellent display of jazzy rock music founded on iconic songs and styles of the British and American hit makers of the late 1960s.
IMPULS Impuls
Another awesome one-off from a short-lived Czech band.
Line-up / Musicians:
- Zdenek Fiser / guitar
- Pavel Kostiuk / keyboards
- Michal Gera / trumpet
- Jaromír Helesic / drums
- Frantisek Uhlír / bass
1. "Horni konec dolni konec" (4:07) two motifs, one funkier than the other and containing some nice dueling between trumpet, flanged electric guitar, double bass, and keyboard synth. (8.875/10)
2. "Cervanky" (4:47) slow and reflective with delicate yet-nuanced performances from all of the musicians. The music keeps getting stronger, more dynamic (and, melodically, more 1960s game show-like) over the course of its almost-five minutes. (8.75/10)
3. "Osmikraska" (5:49) opening with some bowed electric bass (or cello) that has a very interesting effect plugged into it, the song then launches with the whole band moving into a great bass-and-drum-led groove with horn section. Great syncopation from the drums and bass while guitarist Zdenek Fiser solos and Fender Rhodes player Pavel Kostiuk supports. Trumpeter Michal Gera takes the next turn in the lead while bassist Frantisek Uhlír does some interesting moving around beneath. Bowed electric violin (or cello) gets the next turn before the band comes back together to recite the collective melody line with the horns fully involved. Cool song! (9/10)
4. "V klidu a pohode" (4:23) ominous melody line to open this slow, ruminative song of suspicion and paranoia. A little too herky-jerky for my tastes. (8.75/10)
5. "Sextant" (4:43) even though the title here seems to give a nod to Herbie Hancock, I hear a predominance of Mahavishnu Orchestra with Jan Hammer-type Moog soloing. (9/10)
6. "Cumulus" (5:03) a nod to Billy Cobham's "Stratus"? a very quirky and interesting song making footprints in several j-r fusion camps: funk, technical, Smooth, experimental, and (9/10)
7. "Riko" (4:45) smooth jazz with some admirably-tight whole-band playing--especially from the multiple instruments proposing the melody together. My favorite song on the album. (9.25/10)
8. "Povidlove hody" (5:26) from the start this sounds like an experimental practice étude--like one of the band's warm up songs. (8.5/10)
Total Time 38:58
Very solid and nicely rendered performances of solid Jazz-Rock Fusion compositions.
88.91 on the Fishscales = B/four stars; an album of Jazz-Rock Fusion that is, I feel, actually better than its score indicates. I recommend you try it for yourself--especially if you're into Jazz-Rock Fusion.
ROBERT GENCO Oltra la vita (1977)
A very obscure Italian artist who only recorded this one album in 1977 but didn't get it released in CD form until 2011 (and later in digital streaming formats on Bandcamp).
Line-up / Musicians:
- Robert Genco / drums, percussion, vibes, vocals
- Hugo Heredia / sax, flute
- Luciano Biasutti / trumpet, flugelhorn
- Giorgio Cocilovo / guitars
- Tuccio Garofalo / e-piano, organ
- Silvio Condemi / bass, cello
1. "Angosia" (10:15) funky bass and drum line runs through the whole five-part jazz-rock suite. Excellent drumming and composition but the bass line gets rather old. The lead instruments over the top (flute, trumpet, electric guitar, electric piano, and reverbed voice)) do a pretty good job of distracting as do the accent horns in the third motif. (17.75/10)
2. "Beyond The life" (5:11) excellent emotional song sung very powerfully by Robert. Impressive guitar play from Giorgio Cocilovo but excellent sound and play from Tuccio Garofalo on electric piano, bassist Silvio Condemi, and Robert on drums. Beautiful Smooth Jazz. (9.75/10)
3. "All Recomposes" (5:24) a more symphonic approach to jazz pop. Sounds like a cross between Donovan and Greg Lake-led PROCOL HARUM. Robert really does have an excellent, very emotive singing voice. The song builds beautifully after Robert finishes singing the first verse, eventually climaxing in a kind of "Space Oddity" finish. (9.5/10)
4. "Nature And Transmigration" (18:32) this seven-movement suite starts out very atmospheric/pastoral for the first two movements--like a classically-formulated song, but then it gets funky with the arrival of the fifth minute. Flute solos over the first minute of this movement before Robert starts to sing, then electric guitar gets a turn to solo. The fourth "chapter" or movement starts at 6:57 and flattens out into more-Mahavishnu-like speed sprint with Hammond organ dominating the first minute but then turning over the reigns to electric piano while electric guitar shreds and bass and drums drive the song forward. At 11:18 we subtly shift into yet another motif--this one more rock-driven with the Fender taking the first solo over the hypnotic bass and hard-driving drums. When the trumpet takes over in the lead position the bass drops down an octave or two while Robert's drums get a little more adventurous. Some stop-and-go staccato play in the final portions of this allow Robert a little more show-time before settling into a slightly different pattern to support more electric guitar lead play. The sixth "chapter" finds the band settling into an-almost Canterburian rhythm for some silliness, but then, after a little Mont Campbell-like singing, everybody shifts gears to into some more jagged, angular jazz musicianship. The seventh and final "chapter" finds us listening to a flange-effected drum solo. Nothing here is quite as compelling or quite as beautiful as the other songs on the album. That third "chapter" is the best one here. (34.75/40)
5. "Passagio" (5:15) opens with a flange-effected drum solo (a continuation, obviously, of the previous song)--one that starts out impressively but then gets too simplistic. Eventually, the rest of the band joins in and establishes a kind of poppy STEELY DAN-like motif over which Griogio solos on electric guitar before and between Robert's charged singing. The guitar solo eventually sounds just like The Eagle's at the end of "I Can't Tell You Why" (sung by Timothy B. Schmit). Another beautiful song! (9/10)
Total Time 44:37
An incredibly-well recorded and produced album--especially considering its self-recorded and self-published history!
88.4375 on the Fishscales = B/four stars; an excellent little gem plucked out of obscurity for any prog lover historian.
An all-star band of veritable who's who in the early Latin/jazz-ified R&B/funk scene that was, apparently, the brain child of Santana percussionist Mike Carabello and Sly & The Family Stone founder and drummer Greg Errico; the "band" was originally called "Attitude." The material for the album that would become Giants was recorded for Mike Carabello's Far Out Productions over the course of several years, starting in 1971, using studios in San Francisco (Columbia Studios and Wally Heider Studio) and Los Angelis (Mike's Far Our Studio) but never released until 1977/78 (not 1979).
Lineup / Musicians:
- Greg Errico (Sly & The Family Stone) / drums, synthesizer, producer
- Mike Carabello (Santana) / organ (B2), congas
- Doug Rauch (The Voices of East Harlem, The Loading Zone, Gábor Szabó, Santana, Lenny White) / bass
- Doug Rodrigues (The Voices of East Harlem, Santana, Betty Davis, Mandrill, Lenny White / guitar
- Wendy Haas (Santana, Azteca) / piano, vocals (B3)
With:
- Carlos Santana (Santana) / guitar (B2, B3)
- Neal Schon (Santana, Journey) / guitar
- Lee Oskar (War) / harmonica (A3, A4)
- Greg Rollie (Santana) / organ
- Robert "Bobby" Vega (Lee Oskar) / bass [fuzz] (A3, A4)
- Chepito Areas (Santana) / percussion (A3, A4, B1)
- Rico Reyes (Santana, Azteca) / percussion (A3, A4, B1)
- Herbie Hancock (Miles Davis, solo) / piano (B1)
- Mike Garcia / vibraphone (B2)
- Victor Pantoia (Chico Hamilton, Willie Bobo, Gábor Szabó, HERBIE MANN, Herbie Hancock, Azteca, Betty Davis) / congas
- Bianca Thornton-Oden (Lee Oskar, Van Morrison) / vocals
- Coke Escovedo (Azteca) / vocals
- Gene Washington / vocals
- Jody Moreing (Sincerely, San Jose) / vocals
- Linda Tillery (The Cultural Heritage Choir, The Loading Zone, solo) / vocals
A1. "Attitude" (3:25) pure R&B funk from the very first note, the song uses a female-dominated choir to present the "attitude" chorus between which various voices (male and female) take turns belting out their lyric. Great vocal arrangement as well as improvisations. This is not quite Disco, more like EW&F/UNDISPUTED TRUTH proto-Disco. (9/10)
A2. "They Change It" (3:29) opens with an excellent funk groove not unlike some of SLY & THE FAMILY STONE's earlier songs. It's no surprise, then, that a full choir joins in to "recite" or chant the lyrics in a "Thank You For Lettin' Me Be Myself" fashion. The bass is so funky! And the drumming, percussion, and support guitars are right on board! An amazing funk song that is diminished a bit by its kind-of-corny lyrics and vocal arrangement. (9.25/10)
Kilimanjaro suite :
A3. "The Village" (4:30) a WAR-like palette that is dominated by the free-wheelin' percussion play beneath treated harmonica/whistling and organ. Very cool! Would be so fun to see performed live. There are, however, a few glitch-like issues with timing/synchrony. (8.875/10)
A4. "The Summit" (4:38) the percussionists lay back from soloing and settle into a nice groove that allows Lee Oskar to take the lead on his saxophone-sounding harmonica. I love this kind of African drum-centric music. (9/10)
B1. "Pancho Villa" (5:11) organ and timbales open this one before congas and other percussionists, bass. electric piano, and trumpet join in. It is my understanding that it's pretty much the SANTANA lineup performing percussives and organ (Greg Rollie) I'm going to assume that it's Herbie Hancock on the keys (though it doesn't sound like his style of play so it could be Wendy Haas), but I'm wondering who the (uncredited) trumpet player is (Eddie Henderson?) as well as the violinist. My understanding is that this might be conga player Mike Carabello's composition. Too much simplicity as if a bare bones track established expressly to support soloists. Problem is, it's not recorded very well from the soloists' point of view and the solos aren't that noteworthy. (8.5/10)
B2. "Fried Neckbones and Home Fries" (6:32) a cover of a song written and performed by percussionist Victor Pantoja's long-time collaborator and friend, Willie Bobo, here rendered as an instrumental. It has a completely SANTANA-esque Latin/Caribbean sound and feel--especially with Carlos, the man himself's guitar solo (later taken over by Neal Schon) as well as some rather wild organ soloing from conga player Mike Carabello in the opening minute. Mike Garcia's vibraphone solo in the fourth minute is a bit simple yet harmonically interesting. Apparently this song was recorded in 1971 for Mike Carabello's solo project called "Attitude" but never found its release until Greg Errico could put things together for a full album six years later. Rated up for its excellent sound and solos; down for its simplistic, repetitive four-chord foundation. (8.875/10)
B3. "In Your Heart" (5:40) opening with a "Long Train Runnin'" sound and feel the driving, funky groove is soon joined by a choir of female-dominated voices singing in some quite lovely melodies and vocal arrangements. I can so easily get lost in wonderful weaves of rhythm instruments and percussion work like this. Apparently, a Doug Rauch and Wendy Haas jam that features Neal Schon on a spectacular display of lead guitar and, of course, Greg Errico on drums and Mike Carabello on congas. Very cool, kind of cinematic song! (9.3333/10)
Total time: 33:25
According to interviews with Errico and Carabello, the album took so long to find a label willing to release the material (most of which had been recorded in 1971) due to the predominant "party first, business later" attitude of the musicians at the time of the recording sessions. This would also explain the jam-like foundational structure of many of the songs as well as the "early" Santana sound prevalent throughout the album. All I know is that I'll take any chance I can get to hear anything the Santana crew were doing up to and during the Caravanserai era. I also love the song creators' unique visions for use of choir vocals throughout the album. Very cool!
89.73 on the Fishscales = B+/4.5 stars rated down for brevity; an awesome display of Caravanserai-like jazz-funk jamming from a veritable Latin funk-rock all-star band. Highly recommended!
