1966

January

THE FREE SPIRITS Out of Sight and Sound

Recorded by Rudy Van Gelder and Bob Thiele sometime late in 1966 (the band members had only started hanging out in June, soon jamming--mostly at a Manhattan club called Scene which was located near the theater district. (The band members claim that they performed a total of perhaps 30 times.) The release of The Free Spirits' album, entitled Out of Sight and Mind, occurred in early 1967, probably in January. Though considering himself a protégé of Gábor Szabó, The Free Spirits was Larry Coryell's first New York City band since his move from Seattle in 1965. Though all of the band members (except Columbus "Chip" Baker) had backgrounds in playing jazz music, Larry Coryell steered their music toward the electrified free-form chaos that rock and roll was moving toward. (Artists like The Beatles, Bob Dylan, The Kinks, The Rolling Stones, The Byrds, and The Yardbirds were already making their impact on music and pop culture; The Who and Jimi Hendrix had not yet broken into the public eye).

     The band was over-the-moon excited to get Thiele and Van Gelder--two legends behind many of the greatest jazz records in history--but the generation gap with its Old Guy "expert/experience" attitude versus Young artist "enthusiasm" made the experience a nightmare, resulting in a near-consensus opinion that it failed miserably in their goal of capturing their dynamic live sound. Thiele and ABC had determined that the Spirits were making a pop album and had thus locked in a 3-minute maximum length restriction for each song. The less than satisfactory result (the boys had been in the habit of routinely jamming on a single song for up to 15-minutes at a time) is the main reason why everyone in the band strongly recommends the interested listener to seek out the 2011 release of the tapes made Live at the Scene February 22, 1967, for a more accurate representation of the band's music and energy.)

February

Impulse! Records releases JOHN COLTRANE's watershed avant garde album, Ascension. His first studio album since the revolutionary A Love Supreme, it represents his pronounced move away from the more-typical quartet or quintet format as well as his move toward free jazz--the endorsement of which--by the world's most respected and revered jazz musician--made it both "real" and acceptable, making the album one of jazz history's most significant landmarks.

March

Polydor Records releases, in Europe only, the proto-punk rock album Black Monk Time by German-based American garage band, THE MONKS. The band consisted of children of American children of military families stationed abroad (here near Köln, Deutschland). The album's lyrics' aggressive anti-VietNam War stance bypassed German censorship due to its English lyrics and the distraction produced by its wild (some reviewers have called it "demented"), aggressive sound--which is why it might not have been considered for American release. (It was not released in the US until 1994.) Today it is widely considered among the first (if not the first) punk rock albums (nine years before Punk became a thing).

April

May

May 9 - A&M Records releases HERB ALPERT & THE TIJUANA BRASS' sixth album, What Now My Love. The album of Herb's now-standard "Ameriachi" music would occupy Billboard Magazine's top album spot for nine weeks and appear in the year-end top 20 in terms of record sales (along with four other Tijuana Brass albums).  

May 16 - Capitol Records releases THE BEACH BOYS' landmark album, Pet Sounds. Despite a rather lukewarm reception in the USA, it was promoted in the UK as "the most progressive pop album ever." Pet Sounds was recognized for its ambitious production, sophisticated music, and emotional lyrics and is now considered to be among the greatest and most influential albums in music history.

June

Though recorded on December 24 (Christmas Eve) of 1964, Blue Note did not release Wayne Shorter's Speak No Evil album until June of 1966. (This rather unusual time delay may perhaps be attributed to the success and sales of Wayne's July 1965 release of his August 3, 1964, recordings--an album entitled Juju). The Speak No Evil album represents Wayne in a phase of his career in which the now 31-years old was not only an experienced and highly-respected saxophonist but also a burgeoning bandleader. He was also going through a divorce.       In late 1964 Miles Davis was still trying to form a solid quintet--what would become his second "great quintet"--but he was having trouble filling his saxophone chair. Herbie Hancock, Ron Carter, and infant drummer Tony Williams were already on board. Since the recording sessions for the Second Great Quintet's first album occurred in January of 1965, it can be deduced that Wayne's employment of Herbie and Ron for Speak No Evil provided a kind of "audition" effect for Wayne's invitation to join Miles et al. for the recording sessions. (The album's title, E.S.P., comes from the band members' collective awe at the kind of "telepathic" connection they all had with each other from the very start of those sessions.) For Wayne to willingly step into the rarified but controlled world of Miles Davis was a risk, but it was one that paid off handsomely.

June 27 - Verve Records releases rock music's first double album (and second double album in music history after Dylan's Blonde on Blonde, released just the week before!): THE MOTHERS OF INVENTION (Frank Zappa)'s Freak Out!

  

July

July 18 - Columbia Records releases THE BYRDS' third studio album, their first since the departure of principle songwriter Gene Clark and their first album to contain no covers of Bob Dylan songs. Containing such hit songs as "Eight Miles High," "5D (Fifth Dimension)" and "Mr. Spaceman," Fifth Dimension is recognized as the band's most inconsistent album yet is also considered one of the very first protoypical/foundational albums of the psychedelic rock music scene.

August

August 1 - SERGIO MENDES & BRASIL '66 Herb Alpert Presents Sérgio Mendes & Brasil '66 - Despite the fact that Brasillian bossa nova and other Latin and Caribbean music traditions had been leaking into the United States for over a decade--and the fact that Sérgio Mendes had been releasing albums for over six years--this album rode the coattails of its massive international hit, "Mas que nada" into full public consciousness.

August 5 - EMI / London releases THE BEATLES last studio album before their retirement from live concert performing, Revolver. The album has since become regarded as one of the greatest and most innovative albums in the history of popular music, with recognition centred on its range of musical styles, diverse sounds and lyrical content.

September

DON ELLIS ORCHESTRA 'Live' at Monterey ! 

 

From recordings from September 18, 1966, day three of that year's Monterey Jazz Festival. During Sunday afternoon's legendary set, trumpeter and bandleader Don Ellis used his off-beat humor and educational speaking skills to connect with the audience, teaching them what made his songs unusual (the very, very odd time signatures and polyrhythms being played by his 20-person stage "orchestra"). The young audience members responded with a surprising affection as well as a very unexpected inclination to dance!

     An amazingly intimate and accessible recording of this genre-bending modern big band ensemble on a large stage at a large outdoor concert in 1966. Several writers I've come across cite this performance--the Don Ellis Orchestra performance at the 1966 Monterey Jazz Festival--as one that blew people away, and inspired many, many musician-performers into wildly radical changes to their approaches to music and performance. Reputedly, Don Ellis never wrote or played a song in straight time (4/4) and this is certainly true for this concert. At Monterey, Ellis was expressing his recent enchantment-bordering-on-obsession with Eastern musics, particularly Indian.

     In my own journey to become familiar with this album I have been intensely aware of the rhythm section. The three bassists, the three drummers and the handful of percussionists on stage during the performance are all impressively tight and attention-attractingly skilled. One of these drummers, a very young Ralph Humphrey, (read: "Ralph Humphrey--The Legend of Odd Meters" in DRUM! magazine) later played with Frank Zappa, Chick Corea, and for a while, Seals & Crofts, and L. Subramanian.

     Another drummer, also young, Steve Bohannon, has received mention from several writers with respect to his short-lived legacy as a fearless (Steve would have said, "naïve") musician despite his few years (he died in a automobile accident in 1969 at age 21).

     Here we are treated to some very clear recordings of these drummers' exceptional prowesses. Apparently it was this performance and recording that propelled Ellis into the world's view. For the next thirteen years his music, recordings, performances, and books would stir controversy in the jazz and music world. (What I wouldn't give to own one of the "Where is Don Ellis?" bumper stickers that ran rampant after the Monterey concert!) What continues to amaze me about this album is how well it has preserved the passion and energy of the performances of that day--and how much I enjoy all of the songs and the light-heartedness of the performances.

A five star masterpiece of progressive music from a VERY serious envelope-pusher. This album is also a treasure that we are very lucky to have.

October

October 24 & 25 - Miles Davis' "second great quintet" records the music that would become the February 16, 1967 Colombia Records release, MILES DAVIS QUINTET Miles Smiles. The session presents the world with one of the greatest quintet lineups in jazz music history with 33-year old tenor saxophonist Wayne Shorter, 26-year old pianist Herbie Hancock, 29-year old bassist Ron Carter, and 21-year old drumming phenom Tony Williams. 

November

December

Live at the Village Vanguard Again! JOHN COLTRANE the only recording of 'Trane's quintet featuring his wife Alice, Pharoah Sanders, Jimmy Garrison, and drummer Rasheid Ali. The covers of his classic standards "Naima" and "My Favorite Things" allowed listeners context in which to try to get used to and/or understand John's movement into free jazz.

Part 1: My Highest-Rated "Classic Era" Jazz-Rock Fusion Albums, Part 1: The Masterpieces of the First and Second Waves

The albums I've posted below present my personal reviews. The albums are revealed in an order dictated by a metric rating that each album has received from my "Fishscales" rating system. The Compendium is as yet incomplete, which means that there is always room to add more albums--that the list will be growing continuously (probably to the day I die). There will be albums that you are looking for--that you might expect to find here--that are missing. This would be due to the fact that I might be as-yet unfamiliar with this album or that I have considered it too minor and thus unworthy of my list. Your comments would be appreciated so that I can address and/or correct any oversights in this area. 

This installment of my Compendium is limited to the "Masterpieces" of the First and Second Waves of Jazz-Rock Fusion.

The Masterpieces

1. HERMANN SZOBEL Szobel (1976)

After reading Nick Mannion's intriguing review of this album (and phenomenon) last week, my curiosity was so piqued that I listened to the album on YouTube. Like everybody else, I was utterly blown away. So I went searching for more on the story of this artist, the making of this album, and, of course, the story of what happened to Hermann after he disappeared. When I stumbled upon the very recent YouTube interview of bassist Mike Visceglia (the last surviving member of the band that made this album with Hermann) as conducted by insightful (and passionate) YouTube reviewer (and drummer), Andy Edwards (ROBERT PLANT, IQ, MAGENTA, FROST*, RAIN, LEY LINES), I was, again, blown away. What an 

amazing story!

18-year old Austrian piano prodigy Hermann Szobel came to the United States to contact his mother's brother, a shaker and mover in the music industry who was going by the name of Bill Graham. (Yes, that Bill Graham.) Legend has it that Hermann walked into the first studio he could find, which happened to be one in the middle of recording an album for and with Roberta Flack. Somewhere along the line he disrupted everything while proclaiming, "I am the greatest pianist in the world!" or something to that effect. Intrigued, the session musicians in attendance--which included bassist Anthony Jackson--urged the young man to demonstrate his skills. Apparently he blew everyone away, prompting several of the musicians to recommend him to Arista's top brass. He earned a contract--even getting beneath the prestigious umbrella of the big label, not just the small jazz-only subsidiary. Set up in a studio apartment on or near Times Square (thanks, Uncle Bill!), Szobel was set up with several musicians that other people thought would be a good fit for collaborating with the young genius. Whittled down to a quintet, the band rehearsed all Winter, Spring, and Summer of 1975, the band members practically living with Hermann until the album was finally recorded in October and November of '75 at The Record Plant. It was then released by Arista in January of 1976.

Line-up / Musicians:

- Hermann Szobel / piano

- Michael Visceglia / bass

- Bob Goldman / drums

- Dave Samuels / percussion, marimba, vibraphone

- Vadim Vyadro / tenor saxophone, clarinet, flute

1. "Mr. Softee" (6:45) so much bombastic power in Hermann's piano play, but then you get these amazingly-inspired collaborators to join in--young artists who totally shared and committed to Hermann's vision--and who had worked together for months pounding away at these songs in order to perfect them to Hermann's liking--and you can't help but be impressed. There is some very strong jazz funk in the bones of this song but the influence of Frank Zappa is also definitely obvious as well as modern classical composers like John Cale (with whom bassist Mike Visceglia had already been working). Other free jazz and European jazz trends can also be heard.

      Too bad about the sudden fade out at the end; the song/jam obviously went on longer (and I for one would love to hear it) but I get it: you only have two 19-minute sides to work with. Excellent song and music: commanding the listener's attention in very much the same way Norwegian band SEVEN IMPALE did with their debut album, 2014's City of the Sun. (14.75/15)

2. "The Szuite" (12:30) a classically-styled and -constructed suite that definitely qualifies more for the neo-and pseudo-classical chamber type of music that Belgian/French bands Univers Zéro and, a little later, Présent would soon be doing. So many times as I listen to Hermann's piano play I feel as if I'm listening to the piano music or stylings of Franz Liszt or Sergei Rachmaninoff! After 90 seconds of brewing and bubbling the music bursts forth in a fullness with a very somber and serious yet melodic SEVEN IMPALE motif. (Of course I realize that my reference points are totally reversed since the band members of Seven Impale wouldn't even be born for another ten years or more. It's just what I know, here, now, in 2024, to compare this music to.) Lots of repetition of riffs for Dave Samuels to show off his prodigious talents on the tuned percussives, and then there is a rest period for the rest of the band while Hermann solos on his piano for about 11:24, very much carrying forward the ideas and melodies expressed by Dave's work during the previous minute or two. Here I am rather reminded of Keith Jarrett's sound and work from his massively popular worldwide hit, The Köln Concert (an album that was released in January of this same year that Hermann and band were creating, perfecting, and, eventually, recording this album). When the other musicians rejoin I am more reminded of UZED again in some very complex, classically-oriented avant-garde music (which is masterfully composed and performed). These performances are just so tight, the composition so mature and perfect, it's really hard to find fault or flaw. Even if I don't always like the styles represented, here they're so good, so sensible and flowing (and, often, melodic--which is, unfortunately, important to me) that I do. I love this! (24.5/25)

3. "Between 7 & 11" (5:08) a song with big, funky, heavily-treated jazz bass that transpires with lots of syncopated, stop-and-go rhythmic elements coming from the careful, deliberate drums and percussion instruments, as well as that of Hermann's percussive piano. There is some kind of presence of an electric synth or treated percussive instrument flitting and floating around in the background of the opening couple of minutes. Then the song kind of restarts, with lots of staccato bursts and note play from the whole band as well as from Vadim Vyadro's tenor saxophone while Hermann fills the spaces between whole-band forays with impressively fluid piano runs and Rachmaninoff-like chord progressions. As the song develops both the speed and seem to compact and compress, culminating in more jazz-like soloing from Vlad's sax. Impressive if more mathematical song. (9.333333/10)

4. "Transcendental Floss" (6:08) This song is much more in line with some of the more rhythmically expressive jazz and jazz-rock artists of the time like McCoy Tyner and Tony Williams and Billy Cobham. Thank goodness for the presence (and talents) of such incredibly adaptive Jazz-Fusion artists like drummer Bob Goldman, funk bass player Mike Visceglia, and virtuosic vibraphone, marimba, and percussion player Dave Samuels (who had a long career as a vibraphonist/marimba player in the jazz/Latin music world) cuz there is some awesome funk going on here! as well as a very familiar SEVEN IMPALE vibe. Interesting final coda before the song finally cuts out. (Also SEVEN IMPALE-like)  (9.5/10)

5. "New York City, 6 AM" (6:45) opens with some interestingly processed/treated/engineered percussion play--which cuts out after about 90 seconds whereupon Mike's deep, chunky "underwater" bass enters and leads the band into its slow, pensive, almost minimalistic weave. This is so rich! I love how all of the layers and instruments (and engineering effects) play with one another. The music may not be as sophisticated as the previous songs, but the construction and engineering are absolutely masterful! Definitely capturing an early morning big city vibe. The biggest problem with the ending of this song (and album) is that it leaves me starving for more! (14.5/15)

Total Time 37:16

I understand why so many people have trouble categorizing this music. I personally feel the music of this album is more Jazz-Rock Fusion (as Mike Visceglia and Andy Edwards elucidated: 1975 was the absolute peak for all possible combinations of existing musical traditions), but the piano play is definitely Avant Garde/RIO--the kind that bands like Univers Zero and Present would soon be exploring. The contrast in styles between Hermann's piano play and the lively and virtuosic jazz-rock play of the rest of the band is one of the things that makes the music so intriguing. After hearing the story about the headstrong personality of Mr. Szobel, I kept wondering how Hermann even allowed, much less was open to, this "jazz-rock dilution" of his music--if it had anything to do with the demands of Arista (his record company). But the more I heard about Hermann's demanding, controlling personality, I couldn't help but conclude that the eclectic cross-pollination represented in the album's music must have been fully idealized by its leader and composer. The fact that Mr. Visceglia so clearly claims to having spent "months" living in Hermann's Manhattan loft practicing these pieces attests to Hermann's shared passion for the product that resulted in Arista's 1976 release. 

This music is so well performed (and recorded in single takes--with everyone playing live, together, in the recording studio, all at the same time!) that the listener can really tell how hard the musicians had worked to render it as perfectly as Hermann wished. Truly an incredible achievement of musical documentation! 

96.7778 on the Fishscales = A/five stars; an unquestionable masterpiece of progressive rock fusion music. This is definitely one of finest studio albums I've ever heard (as well as one of the highest rated albums I've ever reviewed).  

2. LONNIE LISTON SMITH & The Cosmic Echoes Astral Traveling (Jan. 1, 1973)

Fresh out of his rotating apprenticeships with Pharoah Sanders, Gato Barbieri, and Stanley Turrentine (after cutting his milk teeth with Betty Carter, Roland Kirk, and Art Blakey's Jazz Messengers), on this January 1, 1973 release the keyboard master Lonnie Liston Smith nominates himself as one of the all-time kings of serious jazz-musicians who turned almost exclusively toward the creation of absolutely beautiful, positive, stress-reducing mood music.

Line-up / Musicians:

- Lonnie Liston Smith / piano, electric piano [Fender Rhodes]

- Cecil McBee / bass

- James Mtume / congas, percussion 

- Sonny Morgan / congas, percussion

- David Lee, Jr. / drums

- Joe Beck / guitar

- George Barron / saxophones [tenor, soprano]

- Badal Roy / tabla

- Geeta Vashi / tambura

A1. "Astral Traveling" (5:30) an awesomely soothing bass and percussion groove (using several classical Indian instruments) over which Lonnie plays an incredibly spacious echoing Fender Rhodes. The interplay of tabla, tambura, two congas, and drums is sublime! George Barron is invited in to introduce an absolutely to-the-core soothing melody on his soprano saxophone--and then he provides the finishing recapitulation in the final minute. But the most amazing sorcerer in this magical song is bass player Cecil McBee. What an amazing song! What vision! Sheer perfection or beyond! (11/10)

  
A2. "Let Us Go Into The House Of The Lord" (6:30) a veritable shower of exotic percussion and electric piano within which George Barron soothes and woos us with his sublime saxophone play. (9.25/10)  

A3. "Rejuvenation" (5:50) with piano and a more-traditional jazz combo core, this song sounds a lot like a joyful, whimsical Latinized take on some Vince Guaraldi Peanuts music. So eminently enjoyable and good-feeling! This is the kind of music you want playing in your kids environment: skating on the outdoor rink, playing nighttime basketball on the driveway beneath the floodlights, receiving them when they return from school each day. There's also quite a little borrowed in Lonnie's piano chord play from McCoy Tyner's piano play on John Coltrane's version of "My Favorite Things." How do you go better than that? (9.5/10)

B1. "I Mani (Faith)" (6:10) with its long, lingering opening intro, this one sounds very much like something from the John Coltrane/Pharoah Sanders/Alice Coltrane school of improvisational jazz. George really gets to stretch out on this one--entering some kind of free-jazz transcendental "zone" in the third minute--which he sustains over the next two minutes as the wind-on-the-lake cacophony of the introductory barrage continues. In the fifth minute, then, the surface of the lake begins to smooth and George follows suit, drifting inexorably back down to Earth like an autumn leaf. (9/10)

B2. "In Search Of Truth" (7:04) another soothing groove that conjures up cosmic connections even more than anything I've ever heard from Germany's Kosmische Musik musicians and songs. Once again the employment of Indian instruments (the droning tambura and tabla mixed in with the congas) secures the hypnotic portal required for pure transcendence. (15/15) 

B3. "Aspirations" (4:20) an exploration of beauty through the pulsations of Lonnie's chorused electric piano, tout seul. Perhaps this was music that inspired VANGELIS for some of his beautiful soundtrack music for Blade Runner et al. Perhaps it even inspired Fred Rogers (or, more accurately, Fred's virtuoso pianist music director, Johnny Costa) to bring a Fender Rhodes (or Fender Rhodes-like sound) into his studio for his episodes of Mister Rogers' Neighborhood. Lonnie's song here definitely conveys the life-affirming that seems to have become his adoptive message and raison d'être. (9/10) 

Total time: 35:24

96.54 on the Fishscales = A/five stars; an absolute masterpiece of genre-expanding Jazz-Rock Fusion--one that proclaimed the fact that there is plenty of room in the Jazz and Jazz-Rock Fusion worlds for music that strives to effectively raise spiritual consciousness not just express the player(s)' cosmic ecstasy. Highly recommended to all music lovers--and especially to those who like to use music to reach higher states of spiritual receptivity.

3. JULIAN PRIESTER aka "PEPE MTOTO" Love, Love (January 1974)

Known more as Herbie Hancock's trombonist during the Mwandishi-era sex- and septets, this was Julian's first release after the formal disbanding of Herbie's Septet--here released and recorded under Manfred Eicher's new ECM label, as was Bennie Maupin's solo release of the same year, The Jewel in The Lotus. While Maupin used four of the Septet to help record his album, Julian almost accomplished this album as a one-man solo project, playing the roles, himself, of bass trombone, tenor trombone, trombone [alto], baritone horn, horn [post], flute, cowbell, percussion [small], synthesizer [Arp 2600, Prototype Arp String Synthesizer], producer, mixer, and composer on all songs with only synthesizer expert Patrick Gleeson (the seventh and final addition to Herbie's Septet) and drummer Ndugu Leon Chancler from his former band. 

Working under his Mwandishi alter ego name, "Pepe Mtoto," Julian here is exploring the "cosmic music" that he found himself attracted to in the 1960s while working with Sun Ra and his Arkestra.

LIneup / Musicians:
Julian Priester ("Pepo Mtobo") / trombone, horns, whistle, flute, percussion, synthesizers
Patrick Gleeson / synthesizers
Hadley Caliman / flute, saxophone, clarinet
Mguanda David Johnson / flute, saxophone
Bill Connors / electric guitars
Bayete Umbra Zindiko (Todd Cochran) / piano, clavinet
Ron McClure / electric bass (1)
Nyimbo Henry Franklin / electric bass (2)
Ndugu Leon Chancler / drums
Kamau Eric Gravatt / drums, congas

1. "Prologue/Love, Love" (19:30) an extremely engaging groove with some very Deodato-like keyboard and bass play providing the spine of the entire side-long song. The overall feel does have more of a long-play Krautrock feel despite the business of the contributing musicians (particularly keyboard artist Todd Cochran and electric guitarist Bill Connors but also bassist Ron McClure). The drums, percussion, and bass are incredibly solid and steady throughout, which offers the soloists very fecund ground on which to perform their psychedelic gymnastics. It feels as if all of the soloists were given plenty of room and encouragement to experiment and "go off"--even during the live recording. As a result, this is a great, eminently enjoyable, and also very soothing and hypnotic song. (37/40)

2. "Images/Eternal Worlds/Epilogue" (18:24) a song that seems founded far more in more-traditional form and structure despite the rogue bass playing of Henry Franklin. In the third minute, drummer Ndugu Leon Chancler and electric pianist Todd Cochran seem to fall back into Deodato-like mode, yet are free enough to expand upon their foundational forms to express themselves with admirable abandon. Pat Gleeson and Priester also seem to be having a creative free-for-all, spewing forth all kinds of animal-like noises (Julian seeming to concentrate on the elephantine). Even the sax player in gets into the act in the sixth and seventh minutes. This is some cosmic ride: entropy rules! Thus it is quite unexpected when the whole band suddenly shifts in the eighth minute into a sudden shift into a low-piano chord and cymbal-guided "Love Supreme"-like motif, congealing over the next two minutes into such tightly -engaged and -focused unit that their gradual, almost imperceptible transition into what feels like a high-speed Latin rumba line by the eleventh minute made me wonder (more that once) if I was still listening to the same album--or even the same band! These are obviously very serious and very skilled jazz musicians. Pianist Todd Cochran is especially impressive but so is everyone else. They are so tight! So skilled! So professional! After the first rather psychedelic song of hypnotic space funk and the chaotic opening seven minutes of this, I would never in a million years have predicted this amazingly sophisticated "big band" jazz! I love this song--immediately wanted to play it again and then left it on repeat for the whole morning! Wow! (39/40)

96.25 on the Fishscales = A/five stars; an amazingly fresh expression of the relatively new Jazz-Rock Fusion idiom containing free-form experimentation over super-solid rhythm play, spanning the spectrum from the spacey-psychedelic to the most professional big band sound. One of the finest J-R Fuse albums of its time (with great sound thanks to Manfred Eicher and his ECM label); definitely in my Top 10 Jazz-Rock Fusion Albums of prog's "Classic Era."

4. LENNY WHITE Venusian Summer (1975)

An album offering quite a diverse palette of what Jazz-Rock Fusion was offering at the time of its making, the truly surprising element of these songs is how well they were composed and how amazingly well each song's multitude of tracks were recorded and mixed (not to mention performed).

Line-up / Musicians:
- Lenny White / drums, composer, arranger, producer
- Doug Rauch / bass
With:

- Doug Rodrigues / guitars (A1, A2, B2) 

- Raymond Gomez / guitars (A1, B2)

- Jimmy Smith / organ (A1) 

- Onaje Allan Gumbs / electric piano, clavinet (A2, A4, B2, B3)

- David Sancious / keyboards, synthesizer [MiniMoog] (A2, A4)

- Weldon Irvine / organ (A2)

- Patrick Gleeson / synthesizer (A3, A4, B1)

- Peter Robinson / synthesizer (A3, A4)

- Tom Harrell / synthesizer, flugelhorn (A3, B3)

- Hubert Laws / flute (A4)

- Larry Young / organ (B2) 

- Al Di Meola / guitar (B3)

- Larry Coryell / guitar (B3)

A1. "Chicken-Fried Steak" (4:33) credited to New York City homeboys Doug Rauch and Doug Rodrigues, this is tight and funky music but not really great prog or jazz-rock. (8.75/10)

A2. "Away Go Troubles (Down The Drain)" (3:21) another song Lenny credits to the two NYC Dougs (and himself), this one is more sophisticated funk: there are several highly-demanding tracks woven together here in absolute vacuum-sealed tightness. Jimmy "Hammond" Smith is awesome and the bass play alone seems near impossible! (8.875/10)

"The Venusian Summer Suite:
- A3. Part 1. "Sirenes" (4:28) lots of ethereal/heavenly synth and fluegelhorn play from keyboard triumvirate of Patrick Gleeson (Mwandishi synth master), Pete(r) Robinson (the same dude from QUARTERMASS, Swedish band ABLUTION, and BRAND X), and trumpeter Tom Harrell (the song's orchestrator). It's long and kind of dull but very space-cinematic and probably experimental song for 1975--kind of similar to the work Klaus Schulze was doing at the same time. A Lenny White composition! (8.75/10)

- A4. Part 2. "Venusian Summer" (6:38) the suite kicks into full form with a very engaging/infectious DEODATO-kind of cinematic funkness. The synth players (Gleeson and Robinson), clavinet (Robinson) and rhythm guitarists (uncredited), and, later, Hubert Laws' flute, David Sancious' MiniMoog, and Onaje Allan Gumbs' piano soloists are so locked in it's crazy! But it's free-flowing Doug Rauch that really drives this bus! (9.5/10)

B1. "Prelude To Rainbow Delta" (1:10) Patrick Gleeson doing some synthesizer magic as an intro-prelude to the next song (which it bleeds into). (4.5/5)

B2. "Mating Drive" (7:40) between the "support" work of organist Larry Young, clavinet player Onaje Allan Gumbs, and hyper-speed bass player Doug Rauch this Lenny White composition would suffice as an incredible song but then put over the top one of the greatest electric guitar performances of all-time from a relative newcomer in one Raymond Gomez (with a very strong Doug Rodrigues in close support/assistance) and this one qualifies as one of those Golden Tickets into Prog's Hall of Valhalla. And that's not even mentioning the dreamy final 90-seconds beneath which Lenny gets to really show off his chops (for once). Amazing amazing song! One of my favorite songs of all-time! Such creative vision! (16/15)

B3. "Prince Of The Sea" (11:37) a great song (and Lenny White composition) over which two of jazz-rock fusion's greatest/most influential guitarists go head to head. Opened slowly, almost like a pastoral float down a lazy, gentle stream, is the distant plaintive calls of a bird over some piano and flugelhorn work. The acoustic piano beneath it all is quite lovely. In the second half of the fourth minute one of the electric guitar gods (Larry Coryell) shows up to give his demo of his powers. Onaje Allan Gumbs' shows up with piano, electric piano and organ ofr a bit as some really fine rhythm guitar (DiMeola) seethes in the background. At the seven-minute mark he is finally let loose--and man does he let you know who the new kid on the block is! All other pretenders are now demoted to demi-god status! Organ notes the transition to the axe-to-axe cmbat at 9:00, with Larry in the Right channell and Al in the Left. Lenny and Doug Rauch are, all this time, observing from their sentinel posts, but even their own performances can't help but ramp up from the carry-over effect from the raging warriors. A minute later the two guitar gods agree to team up and, for a brief 40 seconds they are united, but then their independent energies can't help but take them into soaring heights before crashing down into the sea Definitely one of the fiercest one-on-one guitar battles you'll ever hear--and a great, great moment in the history of prog rock and jazz-rock fusion. (20/20)

I cannot fathom how anyone hearing this album could not be blown away by the musicianship here. Doug Rauch on bass, Lenny White on drums, along with a veritable who's who of jazz fusion all-stars guesting throughout, all playing as if their life depended on it. The song "Mating Drive" alone has got to be one of the greatest achievements in music performance with peak Lenny, Doug, Onaje Allan Gumbs, Doug Rodrigues, organist extraordinaire Larry Young, and the most under-recognized super guitarist of all-time, Ray Gomez, shredding the vinyl grooves with nothing but fire and brimstone! This album has it all: cinematic themes, four-keyboard electronica, funky fun, frenetic screams, players taxing their fingers and brains at break-neck speeds (check out Larry Coryell trying to keep up with Al Di Meola on "Prince of the Sea"). Another of my "closet favorites" from the 70s, this one has stood the test of time and remains one of my go-to albums for joy and exuberance. If you've never heard it, don't miss out! Venusian Summer has got some of the most amazing moments of virtuosity, passion, and beauty ever put to vinyl!

As a post script I have to add, again, for the sake of attracting attention, the number of INCREDIBLE individual performances here are so high caliber, so stunning, that this alone should make this a must listen--an album for study. As I said in my opening statement, I cannot fathom how anyone hearing this album--really listening with their fully-present self--could not be blown away by the musicianship here. There are very few albums that I've heard in my lifetime that achieve this level and number of "WOW! What the f¥¢∑ did I just hear?" responses. Plus, this may be the recorded peak of supernova bass player Doug Rauch's career! That alone, makes this a "can't be missed" listen.

95.55 on the Fishscales = A/five stars; a high-flyin' masterpiece of jazz-rock infused progressive rock music (this despite the funk of the first two songs). Definitely one of my Top 10 Favorite Jazz-Rock Fusion Albums of prog's "Classic Era."

5. AREA Crac! (1975)

The second AREA album I'd ever heard (after Arbeit Macht Frei), there was so powerful of an impression made on me by this latter album that I failed to follow up by exploring other AREA albums for years. Luckily, I got unstuck and moved outward, into the band's other discography.
Coming two years and one album after Arbeit (with Caution Radiation Area having been released in 1974), the growth in musicianship, studio mastery, and tightened song-writing skills is quite noticeable here. While Arbeit shocked with musical and lyrical force and brashness (it was the band's debut release), Crac! supplies proof that this band is not just a political force but that it must be looked at and respected from a musicianship perspective as well. It is an album of astounding musicianship--virtuoso performances that rival anything else the jazz or jazz fusion worlds has ever created. The amazing thing is that this album stands up perfectly even today--it sounds as if it could have been made today. I will go even farther as to say that this album exceeds my heretofore respect and reverence for all-things Mahavishnu as I think the sound engineering and overall production far surpass those of any of the Mahavishnu Orchestra albums. And the musicians and compositions are so tight! Thus, I find myself wanting to proclaim Crac! as perhaps the best jazz-rock fusion album of all-time! And drummer Giulio Capiozzo may be the best jazz-rock fusion drummer I've ever heard!

Line-up / Musicians:
- Demetrio Stratos / vocals, organ, harpsichord, percussion, steel drums
- Giampaolo Tofani / electric guitar, EMS synth, flute
- Patrizio Fariselli / electric & acoustic pianos, ARP synth, bass clarinet, percussion
- Ares Tavolazzi / electric & acoustic basses, trombone
- Giulio Capiozzo / drums & percussion

1. "L'elefante bianco" (4:33) Demetrio's powerful voice opens the album right in your face as he and piano declare their intentions. By the end of the first minute we've apparently heard enough from Demetrio for the song catapults into a kind of jazzy version of fast-paced folk theme. At 2:30 we return to piano and voice, but this time the band gradually joins in and builds up into a modern rock variation of that amphetamine-laced Middle Eastern-tinged folk (or is it classical?) theme. Excellent musicianship and a great opener. (9/10)

2. "La mela di Odessa" (6:27) opens with a kind of SUN RA-spacey free-form jazz sound and style, that moves quickly into a drum and percussion display before harpsichord, Arp synth and electric bass join in and move the song into structure and drive. Nice TONY WILLIAMS/MAHAVISHNU feel to this one until, after 3:10, things shift to funk land. The clavinet, synths and horns are prominent along with Demetrio's commanding Zappa-like vocal performance--all in spoken form. So tight! Drummer Giulio Capiozzo is extraordinary (as is Demetrio). (9.25/10)

3. "Megalopoli" (7:53) opens with some play on the Arp synthesizer before Demetrio joins in with multiple tracks of his voice free-styling. Electric piano and bass clarinet join in the atmospheric play before a drum roll takes us out and into a new funky jazz excursion with a great melodic base. Demetrio's wordless vocal scatting over the top is, at first, like a substitute for a lead guitar or sax, but then gives way to an extraordinary jam between drums, bass, electric piano, organ, and synth. The Mahavishnu Orchestra was never this tight or well recorded! Incredible drumming! Why is this guy never included in the talk of the greatest of the greats? (15/15)

4. "Nervi Scoperti" (6:35) Every time I hear this song I think I am listening to one of the all-time greatest prog fusion songs ever created and that, thus, it has to be a product of Corea/RTF, Miles, Mahavishnu, Cobham, Williams, Weather Report, or even a straight jazz genius. But it's not. It's AREA! Astounding, stupendous, incredible, jaw-dropping performances from everybody in the band. What a band! This one deserves extra-credit for being exactly what I said: one of the very best jazz fusion songs of all-time. (11/10)

5. "Gioia e rivoluzione" (4:40) opens like a JOHN COLTRANE, TEMPTATIONS or MAGMA song before switching radically to an acoustic guitar-based, countrified jam. The lyric of Demetrio's vocal throughout is obviously meant to be the center of attention. Otherwise, it is an okay pop song for delivery to the common folk. (8.5/10)

6. "Implosion" (5:00) a little more Zawinal/Weather Report-ish than the previous jazz fusion masterpiece. More melodic and showcasing of individuals (especially the extraordinary bass player, Ares Tavolazzi). (10/10)

7. "Area 5" (2:09) an ejaculatory expression of free-form improvisational jazz. (4/5)

Total time 37:17

An album of astounding musicianship--virtuoso performances that rival anything else the jazz or jazz fusion worlds has ever created. The amazing thing is that this album stands up perfectly even today--it sounds as if it could have been made today.

95.36 on the Fishscales = A/five stars; a true masterpiece of progressive rock music--mostly cutting edge jazz fusion. Amazing! Definitely one of my Top 10 Jazz-Rock Fusion Albums of prog's "Classic Era."

6. CARLOS SANTANA and MAHAVISHNU JOHN MCLAUGHLIN Love Devotion Surrender (1973)

In 1973 I received this album in the mail as the Columbia Record Club's "Record of the Month." I'd heard Santana's hits--even the long versions on our local album-oriented FM station, WABX--and I was already a big fan of Latin rhythms due to my dad's joyful obsession with Herb Alpert & The Tijuana Brass and Sergio Mendes & Brazil '66, but I was not, by any means, prepared for what Love Devotion Surrender unleashed. (At this point in my life [in 1973 I was turning 15] I'd never even heard of John Coltrane much less heard any of his music.) Even when I saw John McLaughlin with his Mahavishnu Orchestra on Don Kirshner's late night television show, Rock Concert, doing things on his double-neck electric guitar that I didn't understand, I couldn't comprehend what I was seeing. I think this is why this album didn't quite click with me for a while. I listened to it--a lot. (I didn't own many albums at this time--though I had what I thought was a pretty impressive collection of Soul/R&B 45s). I always thought that I was listening to two guitarists of two completely different levels of competency. I didn't know Coltrane or his works and had only begun to know some jazz and fusion but had found an implicit love for the guitar, guitarists, and their solos (Jeff Beck mostly). So I stuck with it.

     After the 70s, the album pretty much fell off my radar. Until a few years ago, I don't think I'd heard it in over 30 years. Now I listen to it with a sense of awe and wonder that makes me feel young again. I feel so fortunate that we have this testament to the genius and inspiration of all of these masters in their peak years. Larry Young. Dougie Rauch. (Both taken from us far too soon--and both among my very favorite instrumentalists from the 1970s.) Billy Cobham. Don Alias. Michael Shrieve. Mingo Lewis. Jan Hammer.
     Now I find myself listening to Love Devotion Surrender multiple times per month. It is, to my mind, to my heart, one of the peak achievements in jazz-rock fusion collaborations. Yes, I wish I had more control of the sound mix (I want so badly to listen to JUST Dougie Rauch and JUST Larry Young and JUST Billy Cobham), but I just feel so fortunate to have it all that I won't complain. For people in the know, Larry Young's organ play magically provided a bridge between the two guitarists and their individual styles (as he'd done so magically between Tony Williams and John McLaughlin on the landmark 1969 Emergency! album) with Larry's two hands somehow representing each one of the leaders. But this is difficult for the unschooled, ignorant listener to pick up due partly to the often poor mix of the individual instruments.

     In response to the criticism of the album's music selection--regurgitation of already been done songs and themes, one- and two-chord song structures, and "faux" or "fad" spiritualism--I can only say that 1) there is definitely something so much bigger being expressed here than composition and 2) there is virtuosity feeding virtuosity to higher heights; Love Devotion Surrender has what feels to me like genuine expression of genuine feeling, genuinely ecstatic joy; whether its origin be of spiritual nature, drug or alcohol use, or sleep deprivation, interpersonal respect, I don't care: I cannot help but repeat how fortunate we are to have these sessions documented and preserved. It is proof of the historic meeting and melding of two tsunamic forces of nature in the forms of Santana's Caravanserai lineup and the near-to-break up First Incarnation of the Mahavishnu Orchestra. The album (and my admiration for both John McLaughlin and Carlos Santana) even prompted a visit to Sri Chimnoy's vegan restaurant in Haight Ashbury the first time I ever visited San Francisco.   

Line-up / Musicians:
- Carlos Santana / acoustic & electric guitars
- John McLaughlin / acoustic & electric guitars, piano
With:
- Khalid Yasim (Larry Young) / organ
- Doug Rauch / bass
- Billy Cobham / drums
- Don Alias / drums, percussion
- Jan Hammer / drums
- Michael Shrieve / drums
- Armando Peraza / congas
- James "Mingo" Lewis / percussion (unconfirmed)

1. "A Love Supreme" (7:48) a masterful condensed rendition of the Coltrane classic that does a great job of capturing the essence of the original while being elevated and celebrated by these two spiritually-infused guitarists. The opening alone does an amazing job of announcing what the listener is in for: not your typical Santana album! Organist Khalid Yasim (formerly known as "Larry Young") gets the honor of playing a little while the expanded band takes their time gelling and grooving. Then it's off to the races as John and Carlos take turns of about 10-to-20 seconds each in a noncompetitive duel of ascendent transcendence. The choral chant of the title begins in the sixth minute while Khalid gets another chance to show off his amazing skills. (14/15)

2. "Naima" (3:09) acoustic guitar duets don't get much more beautiful than this. Beautiful respite between the two bookends of Side One. (9.25/10)

3. "The Life Divine" (9:30) the drumming and percussion play on this one is alone worth the price of admission, but then you get John and Carlos--and Larry! and Armando and Mingo--and "the note"! (at the end of the fourth minute). The best engineered (though still lacking) and most fully-invested feeling song of the album. The band was obviously warmed up by this point--and the soloists on firing on all cylinders. (19.5/20)

4. "Let Us Go into the House of the Lord" (15:45) John's domination of the song's first four-minutes is a bit excessive (and selfish?) but he was probably just in "the zone." After this, the song just really kicks in with everybody just smooth-groovin' beneath and with Carlos--until the second half of the sixth minute when Khalid, Billy, Shrieve, and the percussionists start to play. When John re-takes the lead at the end of the seventh minute it is tasteful and only to open the way for Khalid to take off. What a solo! (Too bad his volume is mixed beneath that of the percussion and guitarists playing rhythm chords.) With all that Afro-Latin rhythm around him he probably couldn't help being inspired. It's not until well into the 12th minute that the two guitarists start "duelling" i.e. playing off one another--both displaying incredible moments of tenderness and melodic beauty in their still-fiery play. I really like the extended/prolonged ending. Not the best song on the album--nor the best sound engineering--but still a treasure for capturing these two at this particularly numinous point in both of their lives. (28/30)

5. "Meditation" (2:45) John on gentle piano chord play while Carlos expresses his profound inspiration and gratitude with a steel-string acoustic guitar. I simply can't find a flaw with this one--nor a reason to devalue it as less than a full, completed song composition. (10/10)

Total Time 38:57

I love the beautiful two acoustic pieces--especially John's "Meditation"--and "Let Us Go Into The House of The Lord" may just be my favorite jazz-fusion jam of all-time. And give me those Santana conga and bass lines all day long! I feed off of them!

95.0 on the Fishscales = A/five stars; I have absolutely no reservations about proclaiming this album, flawed as it may be, a masterpiece of progressive rock music and a pinnacle and landmark of the jazz-rock fusion "movement."




7. SBB Pamiec (1976)

Had I heard this or any SBB album in the 70s I might not have favored FOCUS/JAN AKKERMAN and RETURN TO FOREVER/AL DI MEOLA/CHICK COREA/STANLEY CLARKE/LENNY WHITE so much. This is perhaps the best match of emotion and virtuosic jazz fusion I've ever heard--and I do like this album more than the other three highly acclaimed SBB studio albums (1981's Momento z banalnym triptykiem and 1978's "Slovenian Girls"). Not so complex or complicated as to lose listeners but by no means simple or uniform, these songs are well composed and extremely well performed.

     The band's third album, released on September 27, 1976, contains three masterfully-constructed and rendered songs that show off their newly-found freedom and inspiration to express themselves in the long megalithic forms that progressive rock and jazz-rock fusion bands had been routinely using to fill whole sides of vinyl albums.

Line-up / Musicians:
- Jozef Skrzek / grand piano, Fender Rhodes electric piano, Hammond organ, Moog synth, bass, vocals
- Antymos Apostolis / guitars
- Jerzy Piotrowski / percussion

1. "W Kolysce Dioni Twych (Ojcu)" (9:07) the album's opener sucked me in from the opening notes like a PFM or RTF classic. Just beautiful music! And then it matriculates into an absolutely AWESOME groove at the 5:20 mark. (I love the subtle but masterful interplay of the instrumentalists during the minute before the guitar and vocal solos begin.) The switch at the seven minute mark saddened me, but then I was able to relax into it and enjoy. The drums are so tight! Keyboard work is fun! It segues back into a recapitulation of the beautiful intro section for the final 45-seconds with guitar and voice(!) leading the high register melodic notes. (19/20)

2. "Z Ktorych Krwi Frew Moja" (10:14) had almost the same effect on me as the opener: sucking me right into its emotional, melodic weave. The vocal, electric guitar, and background vocals at the one minute mark bring forth a beautiful hook. This B section returns until at 2:37 we have a subtle bass keyboard solo. The hypnotic mid-section supports an adequate guitar solo before everything slows down to a spacey FOCUS-like section at 6:55. RPI-like vocals at 7:35. Still AKKERMAN/VAN LEER-like guitar & organ background throughout. This one didn't reach the heights nor sustain it as dramatically as the opener (though the ending two minutes is stronger vocally) but it's still an excellent, emotional song. (18.75/20)

3. The album's side-long epic, "Pamiec w Kamein Wasta" (19:48) opens with synth "waves" and some very slow, subtly developing space music. It sounds like a prelude/interlude piece from the soundtrack of 2001: A Space Odyssey--the part where the evolutionary chimps are figuring out the use of weapons (leading up to Ricard Strauss' "Also Sprach Zarathustra"). Eventually the song evolves into a "Court of the Crimson King"-like song (especially the Michael Giles-like drumming). At 10:15 an ELP "Tarkus"-like section starts up before evolving into what sounds (incredibly) like a cross between EUMIR DEODATO's "Also Sprach Zarathustra" and a JEAN-LUC PONTY classic. Great fun following the drums, bass, keyboards, and volume pedal controlled guitar both separately and stepping back to hear the effect of the woven mix. AT 14:55 there is an shift into a more funky rhythm section to support a three-minute electric guitar solo. Not quite AL DI MEOLA but a very nice solo anyway. The next shift is into another chorale-led section (nicely displaying the drummer's prowess) that brings me back to a familiar PHAROAH SANDERS/GINO VANELLI feeling. Fade out is as it started: spacey keys and synth waves. Great song despite the divertissement section to support the lengthy guitar solo. (38/40)

Total time: 39:30

My CD version has two bonus songs, "Niedokonczona Progresja" (6:24) (9/10) and "Reko-reko" (4:31) (7/10), the first a slow piano-based song that builds slowly into a kind of TONY BANKS/ANTHONY PHILLIPSian piece (with some awesome frenetic synth soloing), while the second song starts out with the melodrama of a great GINO VANELLI song. Later the presence of a mouth organ makes it take on a little bluesy feel. I can see why theses songs did not make the cut for this album as they don't have the development of the other songs--they are in fact kind of one-dimensional, though still very melodic.
     Based on the material presented on the original album this is in my opinion a very important 4.5 star contribution to the prog catalog. Essential, as it is, IMHO, the first SBB album that I would recommend to the curious listener.

94.68 on the Fishscales = A/five stars; a true masterpiece of jazz-rock infused progressive rock music; one that has earned its place in my Top 10 Jazz-Rock Fusion Albums of the "Second Wave" of prog's "Classic Era."

8. TERJE RYPDAL Bleak House (1968)

A 21-year old Norwegian guitarist bursts onto the world scene with some highly experimental "future" jazz in which he fuses together multiple genres of jazz and rock (with shocking facility) into tightly-designed compositions that profess a maturity and musical understanding far beyond his years. Recorded in three days during early October, its release date is somewhat controversial: either late in 1968 or early 1969.

Lineup / Musicians:
- Terje Rypdal / guitar, flute, vocals, producer
With:
- Tom Karlsen / drums (1)
- Christian Reim / piano, organ (1, 3, 5)
- Jon Christensen / drums (2-5)

- Terje Venaas / bass (2-5)
- Carl Magnus Neumann / alto sax & flute (2, 5)
- Hans Knudsen / baritone sax (2, 5)
- Jan Garbarek / tenor sax, flute & bells (2-5)
- Kjell Haugen / trombone (2, 4, 5)
- Tore Nilsen / trombone (2)
- Øivind Westby / trombone (2)
- Ditlef Eckhoff / trumpet (2)
- Jarl Johansen / trumpet (2-5)
- Kåre Furuholmen / trumpet (2, 4)
- Knut Riisnæs / tenor sax (3), arranger & conductor (2, 4, 5)
- Frode Thingnæs / trombone & tuba (4, 5)
- Frøydis Ree Hauge / horn (5, 6)
- Odd Ulleberg / horn (5, 6)

1. "Dead Man´s Tale" (7:03) Hawai'in guitar over Hammond organ and blues band (with loud kick drum) over which Terje sings in a very lovely emotional voice. Total blues. Beautiful interplay between the Hammond and Terje's voice, guitar, and flute. Christian Reim's Hammond play is actually good even if his instrument is recorded a little dirty. (14/15)

2. "Wes" (4:15) big band horns with Terje's chameleonic guitar. The rhythm section sets up a couple of excellent swing patterns that they smoothly from, back and forth, over the course of the album. Great song with great solo performances from Wes and saxophonist Jan Garbarek. At times Terje's guitar sounds Wes Montgomery-like, at others less so. (9.25/10)

3. "Winter Serenade" (6:04) imitation wolf sounds with delicate piano tinkling and percussives open this before the piano takes over. Guitar sneakily joins in during the first half of the second minute with a lot of wobbling sounds--single string and whole fretboard. Horns and drums add a variety of wind-like bursts and gusts as the storm arrives and its intensity increases, varies, and wavers. Ingenious orchestration of musical instruments to achieve such a mirroring "reproduction" of Mother Nature. (9/10):
- a) Falling Snow
- b) Snow Storm
- c) Melting Snow

4. "Bleak House" (7:05) this one starts out soft and slow, sounding very Sixties, but then the loud big band horns join in and the song becomes something totally different--even transforming the guitarist right before our ears. It's part Larry CORYELL, part DON ELLIS ORCHESTRA! The bass, drums, guitar, and saxophone performances are all excellent but it's those horns that carry this one over the top! An excellent, lively, and very melodic song. (14.25/15)

5. "Sonority" (5:21) a song of stunning emotion and tenderness--even from the horns! Terje's electric guitar expresses a feeling of such depth, pain and beauty as to evoke tears. I've only heard Roy Buchanan do it as well! The best song on a great album and one of the prettiest jazz songs I've ever heard. (10/10)

6. "A Feeling Of Harmony" (2:29) acoustic guitar, flute, and wordless voice scatting from the artist alone. Feels sounds like an intimate moment from Maestro John Martyn. (9.5/10)

Total time 33:05

94.29 on the Fishscales = A/five stars; a shocking revelation of masterful jazz-rock fusion A remarkable achievement of music for 1967-68 with some breathtakingly beautiful music. One of the finest and most unforgettable musical listening experiences I've ever had the privilege of experiencing.

9. JUKKA TOLONEN The Hook (1974)

Recorded in Stockholm 5-11 August 1974 at Marcus Music AB and produced there by Måns Groundstroem but not released by Love Records until December.

Line-up / Musicians:
- Jukka Tolonen / guitar, piano, composer
With:
- Esa Kotilainen / Moog, clavinet, accordion
- Pekka Poyry / soprano & alto saxophones, flute
- Jan Kling / tenor sax
- Torgny Nilsson / trombone
- Bertil Löfgren / trumpet
- Seppo Paakkunainen / baritone saxophone (2)
- Heikki Virtanen / bass
- Esko Rosnell / drums, percussion

1. "Aurora Borealis" (12:56) a very unusual sound and stylistic palette for a song dedicated to an atmospheric phenomenon. (I just would have never conjured up a borderline-funk-jazz-rock tune to do the deed.) Jukka is climbing further into the jazz-rock lexicon for his musical expression with even greater commitment to jazzy horns and the latest funky-jazz technologies in electronic keyboards. The second movement of the suite is quite cool, starting out in the second minute of the tune, it tests out the infusion of new synth sounds and low-end horn arrangements within his piano-and-bass jazz-rock mainline. Then there is a brief return to the first movement followed by another go round the second motif that lasts until the end of the fourth minute before the music seems to devolve and fall apart, but, no! This is just a clever "bridge" into the third movement, which starts at about the 4:50 mark: it is two-chord vamp in which even more new funky techniques and new synth sounds (one that is a bit familiar to all lovers of Kool And The Gang's "Summer Madness"). This movement is even a step higher in terms of listener enjoyment, thanks to the great synth play of Esa Kotilainen and amazing space-sax play of Jan Kling on tenor sax and the perfect support from Jukka's piano, Heikki Virtanen's awesome bass play, and Esko Rosnell's very cool drumming and percussion work. Even when this motif switches into a funkier variation with Heikki's ramped up bass play and Jukka's excellent rock guitar with Esa Kotilianen's clavinet joining Jukka's piano it remains at such a high level of musicianship and engageability. I love songs like this in which it just keeps getting better and better the further you go. Though I don't like the title (it doesn't feel fitting to me) I love this song--especially those last two movements! (23.5/25)

2. "Starfish" (6:17) a very full rendering of this audience-pleasing composition with a full-scale horn section arrangement, jazz rhythm guitar, and multiple variations on a very catchy melody establishing a very sophisticated multi-layered orchestra-like composition that reminds me quite often of the perspective that composers like Bill Conti (Rocky OST) and Burt Bacharach. (10/10)

3. "The Sea" (8:22) another amazingly rich, mature, multi-layered orchestra-sounding song that sound like an all-time favorite Adult Contemporary hit from a French romantic film soundtrack. That two-chord piano riff! (As if stolen from Teddy Randazzo, Bobby Hart, and Bobby Weinstein's song "Hurt's So Bad" which became such a big hit for Little Anthony And The Imperials in 1965 and Linda Ronstadt in 1980.) If I didn't know better, I'd say that young Jukka is destined for greatness as a composer for orchestral music--or even as a orchestra conductor. Absolute beauty and awesomeness! (19.5/20)

  
4. "The Hook" (8:36) now we get a big-band sounding R&B motif--with accordion and all the horns (including the low end pulsing bass ones)--and some great guitar work, acoustically, rhythmically (both acoustically and electrically--with wah-wah), and in the lead tracks. Is Jukka trying to go for the Billy Cobham/Herbie Hancock kind of iconic bass-anchored stuff of Spectrum and Head Hunters with a little Also Sprach Zarathustra thrown in there for good measure? This is definitely a pretty radical shift from the previous three songs, though Jukka continues the masterful display of thinking of songs as lush tapestries of multiple threads of sophisticated and melodic particles and waves all woven together into an awesome work of art. (18.25/20)   

5. "Together" (3:15) a return to simple, gentility, though with the time and key shifts to denote masterful songwriting skill: a duet with hissself between his piano and his Roy Buchanan-sensitive skillful guitar play. Nice finish to a great album. (8.75/10) 

Total Time: 39:26

As stated above: I think this might be the breakout album that proves Jukka's extraordinary talent for sophisticated orchestral-level arrangements. 

94.12 on the Fishscales = A/five stars; a full masterpiece of amazingly layered compositions rendered beautifully by Måns Groundstroem for the world to cherish and uphold for all time! One of my favorite Jazz-Rock Fusion albums I've heard from the Scandinavian worlds--maybe even one of my favorite Jazz-Rock Fusion albums of all-time! Certainly one of the most unique and creative!

10. SANTANA Caravanserai (1972)

Caravanserai is the culmination of a synthesis, if you will, of so many things coming together for Carlos and Michael Shrieve. Ever the explorer of new musics and new books, Michael was getting into spiritual exploration through Eastern teachers, at this point, mostly Parahamansa Yogananda, and, of course, he was sharing them with his brother Carlos. At the same time, they had both just had their ears and minds blown by hearing John McLaughlin's Mahavishnu Orchestra's The Inner Mounting Flame and seeing them live in concert. For a time, in fact, they became groupies: attending as many Mahavishnu concerts as they could; feeding off of the energy and expanding their minds and instrumental landscapes through the sonic and spiritual force of the Mahavishnu and the whole band's stunning virtuosity. Carlos and Michael knew it was time to evolve.

     Within this same time frame, Carlos had seen and heard Doug Rauch and Doug Rodrigues perform as musicians for The Voices of East Harlem. He was immediately smitten with Doug Rauch's Mahavishnu-like style and enthusiasm, so he asked if he'd like to start joining his "new band" for some jam sessions--the result being an extensive road trip of constant touring, constant experimentation with a new more improvisational-oriented "live jam band" style of making music "in the moment." Michael and Carlos both credit Doug Rauch's infectious enthusiasm and endless flow of musical ideas for becoming a driving force behind the realization of this album project as well as for the preceding practice tour and following world tour.

     The newly-directed band toured extensively, enjoying their time together on and off stage, while at the same time trying to hone in and frame up some songs for a new album. They were eventually able to get some great, collaborative material to shape up for the making of what would become Caravanserai. The album is intentionally broken up into two very distinct sides, both flowing from opening notes into and through the music to a cohesive and comprehensive conclusion at each end. Side One is considered the Spiritual Side whereas Side Two being the "Percussionists Side."

 
Line-up / Musicians:
- Carlos Santana / lead guitar, percussion, vocals (6), co-producer
- Neal Schon / guitar (1, 3-6, 8-10)
- Doug Rauch / guitar (2, 3), bass (2-6)
- Gregg Rolie / organ, piano (6)
- Tom Rutley / acoustic bass (1, 6, 8-10)
- Michael Shrieve / drums, co-producer
- Jose 'Chepito' Areas / timbales, congas (7), bongos (8)
- James Mingo Lewis / percussion, congas (2, 4-10), bongos (7), piano (9), vocals (6)
- Armando Peraza / percussion, bongos (9)
With:
- Rico Reyes / vocals (6)
- Douglas Rodrigues / guitar (2)
- Wendy Haas / piano (1, 8)
- Tom Coster / electric piano (9)
- Lenny White / castanets (6)
- Tom Harrel / orchestral arrangements (10)

1. "Eternal Caravan of Reincarnation" (4:28) crickets and Hadley Caliman's solo saxophone signal the dawning of a new era. About halfway in, the band joins in to provide a gentle, welcoming instrumental intro to the soul-augmenting jazz that is the new orientation of Carlos, Michael, and all of their new band members. (9.25/10)

2. "Waves Within" (3:53) Carlos and Neal Schon (yes, that Neal Schon!) exchanging emotional and electrical guitar-fire (with newcomer bass-player Doug Rauch also on rhythm guitar!) Incredible earworm melodies created repeated seven-step chord progression. A song that is credited to Doug Rauch and Gregg Rollie. (10/10)

3. "Look Up (To See What's Coming Down)" (2:59) the funk is also here: the percussion and bass certainly let you know it! Great guitar interplay between Neal, Doug, and Carlos. Another song credited to Doug Rauch and Gregg Rollie (as well as Carlos) and including Doug's guitar assistance. (9.25/10)

4. "Just In Time To See The Sun" (2:19) the jamming becomes more insistent: power chords and relentless rhythm play driving this one along. Carlos's singing is okay but I know how important his spiritual message is, so it rings true. (8.875/10)

5. "Song of the Wind" (6:02) great little tune carried by the bouncy organ and steady percussion. What beautiful music--and beautiful guitar play: melodic as hell and so emotional! The other band members must have been so inspired and confident while listening to Carlos' passion: no wonder their subtle flourishes and nuances are so perfect! Neal Schon is listed as one of the authors of this one. (9.75/10)

6. "All the Love of the Universe" (7:36) the last song on Side One is oriented like a Sly & The Family Stone jam song with Chicago-like whole-band choral vocal singing. (They're really not very good as a choir). Doug Rauch's rapid fire funk bass sounds like a cross between Percy Jones' machine gun and a Disco bass. Interesting song with a lot of energy--both kinetic and potential--but probably my least favorite song on the album. (13/15)

Side Two is often referred to as "the percussionists' side."

7. "Future Primitive" (4:12) opens with an atmosphere created by space-synths (uncredited but probably provided by Michael Shrieve) that is really just a setup (and, later, underlying texture) for percussionists José "Chepito" Areas and Mingo Lewis to jam in some kind of Cuban polyrhythmic language. (4.5/5)

8. "Stone Flower" (6:14) Carlos and Michael adopt this Antonio Carlos Joabim instrumental and put their own lyrics to it (and sing it: together). Yes, the melody does sound like it was lifted from some of the recent Brazilian-based bassa nova pop songs that had been seeping into American pop radio but that's just exemplifies the broad range of music that Carlos and especially Michael were listening to at that time. Great "Nature Boy"-inspired solo from Carlos. Also, acoustic bass is used on this one instead of Doug's funky electric--here provided by Tom Rutley. Man that organ and expanded lineup of percussionists really brings this to life! (8.875/10)

9. "La Fuente del Ritmo" (4:33) a wild ride that is driven by pure Latin rhythms as written and led by Mingo Lewis. The song also introduces two new band members who would become fixtures for a while in percussionist Armando Peraza and keyboard artist Tom Coster. (9/10)

10. "Every Step of the Way" (9:04) this Michael Shrieve song opens with the total feel of a Miles, Herbie or Mahavishnu song. (It actually sounds a lot like the music the band would issue on their next album, Love Devotion Surrender, a collaboration with John McLaughlin and some of the Mahavishnu members). The nuclear detonation occurs at the three-minute mark, unleashing a barrage of energetic play from every goddam member of this band--including some who were not members (horns ! (I agree with ProgArchives admin &. reviewer Sean Trane: "Every Step of the Way" escorts the listener to a divine orgasm.) Turn this one up to 11! It deserves a 6! One of Jazz-Rock Fusion's all-time great songs! (21/20)

Total Time: 51:20

It is so exciting to discover albums from 35-40 years ago that I'd never heard before and find myself totally blown away by the 'new' music I hear. Again, thank you Max and ProgArchivists: my world of music has never been so blown open. Caravanserai is an album whose first listen flooded me with such nostalgia; I had never before realized how much Carlos' guitar playing and his Latin rhythms and amazing organists influenced my core musical likes and values until I listened to this album. Hearing "Waves Within" I was (and am each time I listen to it) overcome with a flood of emotion taking me back to the Eden that was my formative pre-teen years.
     While I understand the derogatory comments bestowed upon the atmospheric "introludes" ("Eternal Caravan of Reincarnation" and "Future Primitive"), I love them and find them essential to the spiritual journey Santana is taking us on.
     Through the years I have enjoyed many of the singers and lyrics of Santana songs, however, I quite agree that on this album their presence are, overall, IMHO, out of place with and even detract from the spirit of the rest of the music. And while many of Carlos' extended solos are backed by simple two-chord repetitions, the band is always jamming their hearts out: they're in the same cosmic groove that allows Carlos to soar--and soar he does: The man is a true master of 'stumbling' upon incredibly catchy, melodic riffs while negotiating the fret board at seeming break-neck speed. Amazing talent. Truly a god channeling the divine!
     A wonderful album with outstanding work from Michael Shrieve, Neal Schon, Mingo Lewis and Greg Rolie--not to mention the Devadip and the new kid on the block, Doug Rauch!

5 star songs: "Waves Within," "Look Up (To See What's Coming)," "Song of the Wind," "Every Step of the Way."

94.09 on the Fishscales = A/five stars; a true masterpiece and shining beacon of light from the young and still-forming Jazz-Rock Fusion movement--and one of my Top 20 Jazz-Rock Fusion Albums from prog's "Classic Era." One of the few concert tours for which I wish I had been a "Deadhead"/groupie.

11. RETURN TO FOREVER Where Have I Known You Before (1974)

Recorded at the Record Plant in New York City in July and August of 1974, the world's introduction to guitar phenom Al Di Meola was released by Polydor in September. Replacing fan favorite Bill Connors was no easy feat, but the 22-year old guitarist brought a lot more to the table besides jaw-dropping speed.

Line-up / Musicians:
- Stanley Clarke / bass, organ, percussion [chimes, bell tree]
- Lenny White / drums, percussion
- Al Di Meola / guitar
- Chick Corea / piano, clavinet, organ, synthesizer, percussion

A1 "Vulcan Worlds" (7:51) The iconic song from the album with Stanley's slap bass and Tony's Billy Cobham-like drumming has Stanley, Chick, and Al playing with interesting sounds and effects on their lead-blistering instruments. The first real instrumental section starts at 2:10 with a brief Chick MiniMoog solo followed by an equally-brief bass solo before yielding back to Chick for an extended solo. At 3:30 Stanley takes the reins back for a few seconds as if to bridge/hand off to Al for an impressive solo in which he slowly builds up with a distorted sound toward some of his famous machine gun runs. But it is Stanley's solo in the fifth minute that really takes the prize, showing the world who's Number One. Chick and Al get the seventh minute--with Al revealing more of his prodigious talent. Then the band goes into a near-"Midnight Cowboy" melody motif to close out the song in the final minute. (14.5/15)

A2 "Where Have I Loved You Before" (1:01) the first of Chick's piano interludes sounds so Oscar Peterson-like (at least, they do to these untrained ears)! (4.5/5)

A3 "The Shadow Of Lo" (7:34) See: even jazz-rock fusionists can make beautiful laid-back music! The pace does pick up in the third minute but it remains constant in its commitment to melody and smoothness. Al and Chick both get plenty of chances to shine while Lenny and Stanley remain pretty steadfast in their duties as rhythmists. The final couple minutes sees the band picking up a funk theme that sounds like a variation on Rufus' "Tell Me Something Good." (14.25/15)

A4 "Where Have I Danced With You Before" (1:12) acoustic piano solo with a little acoustic guitar support. (4.5/5)

A5 "Beyond The Seventh Galaxy" (3:11) I love the full rock bass on this one as Lenny crashes away and Al and Chick fill the top. The opening themes are presented and carried forward by the trio of Chick, Al, and Stanley! Then Chick gets to fill the next section with multiple keyboards at once. Al gets a left channel solo in the third minute. (I hear a little of "Alice" in some of the melody lines coming out of Chick!) (8.875/10)

B1 "Earth Juice" (3:45) heavy rock-funk line with near-disco drumming and percussion accompaniment along with Chick's Fender Rhodes over which Al gets full leadership (despite Stanley's amazing bass play beneath and Chick's almost constant accents between Al's lines). Nice song though it is not my favorite sound to come from Al's electric guitar. (8.875/10)

B2 "Where Have I Known You Before" (2:09) Bill Evans-like solo piano: quite dramatic and beautifully melodic. The right hand might be a little more aggressive and dynamic than Bill ever gets, but it's still so beautifully melodic! (5/5)

B3 "Song To The Pharoah Kings" (14:21) the song opens with an extended MiniMoog-over-organ solo passage. At 2:10 there's a shift to a different palette of electronic keyboard sounds with the rhythm section of Lenny and Stanley (and Fender Rhodes and clavinet) joining in at the end of the third minute. A little tango-like rhythm pattern is established by Stanley and Chick, with Stanley maintaining the oscillating chord progression, while Chick takes the first solos. Lenny gets to impress in the sixth minute (man! is he awesome!) before Stanley steps to the front at the end of the sixth. Man! is he amazing! (As is Chick's support beneath). Al finally gets to step up after an awesome bridge in the beginning of the eighth minute, but it's a slow, Latin build through Chick's layers of keys that gets him there, finally, in the middle of the ninth minute--duelling with Chick's screaming MiniMoog until 8:50 when he finally gets the stage all to himself. He does not disappoint though some of his playing feels a bit soulless--a feeling that is only augmented by the very connected and dynamic performances of his three band mates beneath and around him. Chick gets rest of the tenth minute as Al moves into some pretty awesome rock rhythm guitar and Stanley and Lenny continue to fly around beneath. Wow! How could anyone possibly compete with this amazing foursome? The song plays out with everybody hitting their chords together while Lenny boisterously accents it all from beneath. The very final 30-seconds is as good as any of the other moments of the song with the incredible dexterity on display. Wow! (28.75/30)

Total Time: 41:24

To my ears and brain, the music on this album is a serious step up from that of the second RTF album. The debut album stands alone as a very nice Chick Corea project, but Hymn of the Seventh Galaxy is to me merely an attempt to emulate and compete with John McLaughlin and his Mahavishnu Orchestra. And who can blame Chick for this? Everybody else was doing it! And the Bill Connors quartet may have been the best at it, but the three Al DiMeola-staffed RTF albums present a sound and engineering step up into the realms of that of progressive rock music: clean, clear capture of dynamic instrumental performances throughout each and every song, start to finish; gone are the thin, watered-down soundscapes of Teo Maceo and David Rubinson; here are the vibrant soundscapes that Bruce Douglas envisioned with his 1969 work with Hendrix and John McLaughlin's Devotion (an album I much prefer to the early Mahavishnu albums). Here is the sound vibrancy and quality of Boston, Aja, and the computer/digital age beyond.
     20-year old Al will get better (as we'll see on No Mystery and Romantic Warrior) but Lenny, Stanley, and Chick are definitely at the top of their game! And the compositions are simply perfect for these instrumentalists! Bravissimo!

93.95 on the Fishscales = A/five stars; an incontrovertible masterpiece of prog-rock-satisfying jazz-rock fusion; one of the shining moments of the apex of the movement.

12. CHRIS HINZE COMBINATION "Sister Slick" (1974)

Recorded on a 16-track recorder in Weesp, Holland, on May 25th, 26th, 29th, 30th 1974 with Emile elsen engineering for producer, arranger, and principal composer Chris Hinze.

Line-up / Musicians:
- Chris Hinze / producer, writing, arrangements, flute, alto flute
- Rob Van Den Broeck / piano, grand piano, electric piano, soloist
- Jasper Van 't Hof / piano, electric piano, soloist, organ
- Henny Vonk / vocals
- Jan Huydts / piano, grand piano, synthesizer, soloist
- Philip Catherine / acoustic guitar, electric guitar
- Gerry Brown / percussion, drums
- John Lee / bass, writing
- Robert Jan Stips (Supersister, Golden Earring) / organ

1. "Skyrider" (8:28) a song that opens with Jan Huydts' piano playing (with synthesizer strings supporting) a variation of the second movement (Adagio sostenuto) of Sergei Rachmaninoff's 1900–1901 Piano Concerto No. 2 in C minor, Opus 18, a song that classically the trained composer (and son of a world class orchestra conductor) would have been intimately familiar with. (The Raspberries' Eric Carmen's would make an international hit song, called "All By Myself," based upon the same theme. Perhaps Eric heard Chris's version, though it is far more likely that he picked it up from his music studies with his Aunt Muriel who was a concert violinist with the Cleveland Orchestra when it was under the direction of George Szell--who had built "the world's greatest symphonic instrument". ªº) Anyway, at the end of the first minute, the song jumps into a long (90 seconds) proggy segue into an "electric" orchestra symphonic bridge (which sounds tremendously like something fellow Dutch band FOCUS had done or would do), which ultimately empties out onto an RETURN TO FOREVER-like funk-jazz showpiece for instrumental virtuosity. Philip Catherine gets one of the first solos while John Lee and Gerry Brown provide a very Stanley Clarke-Lenny White-like foundation speeding along beneath. All the while, composer Chris Hinze's flute is buried a little into the mix, giving it the feeling/effect of being a supportive thread in the large tapestry being created. In the sixth minute Chris's flute is moved to the front while Philip's stll-raging electric guitar soloing is moved back into the far background (but you can still hear him!) A Chick-Corea-like electric piano is right there on the right side, supporting, embellishing, and encouraging the others. Man! That segue in the eighth minute is intense--and so well played!

     From the start to finish of this song I began to wonder if this is an example of Chris trying to emulate the Deodato move that the Brazilian bandleader made in co-opting a piece of classical music on his recent world-wide hit album, Prelude. (Eumir had made a jazzed-rock fusioned version of Richard Strauss' "Also sprach Zarathustra"--which had been re-made famous and popular by its use in the fairly recent sci-fi film, 2001: A Space Odyssey. The song had achieved massive success around the world in 1973.) Was Chris hoping to achieve similar commercial success with his own jazz interpretation of a particularly accessible classical music theme?

     Whatever his motivations or influences, I think Chris has achieved something quite extraordinary here. The sound engineering/mix could be a little better, but I think he has found the perfect ensemble of musicians necessary to do this great song justice. (19/20)

2. "Easy Answering" (8:41) flute-led smooth jazz with a definite foot in the realms of funk-jazz (due to the processing and forward mix of John Lee's distorted funky bass). Philip Catherine's lead guitar work in the first half of this one is much more in line with the electric jazz guitar players of the late 1960s than the modern styles (and sounds) promoted by the likes of Mahavishnu John McLaughlin, Bill Connors, and the latest phenom, Al Di Meola. Henny Vonk's wonderful "smooth-scat" vocalese is used prominently throughout the song's second half. She sounds strikingly similar to Flora Purim (as opposed to Urszula Dudziak or Annie Haslam--the three most well-known female vocalists attempting this style of wordless scat-singing at the time). A very solid song with lots of entertainment value; well worth repeated listens in order to try to pick up all of the wonderful contributions of the ensemble's individuals. (18.5/20)

3. "I Like To Feed A Smile On Your Face" (5:21) more of John Lee's stanky funk bass, fast and forward, drives this song as well if not more than the song's melodies and excellent drumming. I wish the sound recording/engineering choices had been a little better: the mix is a bit unbalanced and there is a scratchiness and disappointing distortion throughout. I love Philip Catherine's "tarnished and degraded" electric guitar sound. I like the spread on this one: John Lee's bass low and center; Philip Catherine's stinky rhythm guitar in the right channel, the dirty Fender Rhodes in the left channel, the drummer covering the entire field from down below, and Chris's flute in the very middle (but not mixed forward at all). Everybody is made equal in importance in this kind of mix. Cool! At the same time, one can definitely get a sense for the limitations a 16-track recorder places on the engineer and producer: there is only so much sound one can jam into each and every song. Hence, the single track, start-to-finish allocations of the individual musicians' performances (with volume and panning dials the main method of singling out the soloists.) (9/10)

4. "Unity" (9:44) a delicate, richly-melodic electric piano motif (that Steely Dan would base their iconic 1976 song, "Aja" on) opens this one. At the end of the first minute the piano backs down and Chris's low, breathy flute takes the lead, soon supported/dueted with Henny Vonk's Burt Bacharach-like vocalese. The song takes an unexpected and almost-awkward shift--twice!--in the second minute (at 1:15 and again, more permanently, at 2:05). Then we're off to the races as John and Gerry power an awesome cruise over which the Fender Rhodes takes the lead for a bit before a brief bridge early in the fourth minute leads to a complete stop. The music is again picked up, at first by solo flute, and then by the full band, shifting into a Latin-based section that actually uses two different motifs (with three different bass patterns!) over which Chris and Philip provide the lead entertainment. I love Philip's reactive rhythm guitar play here! But I really love the brave stylistic switches throughout  this awesome song. The Latin'Caribbean motifs in particular give it so much life! Again, I can't help but wonder if Donald Fagen and Walter Becker had any exposure to this song or album before setting into the creation of their Aja album. A real gem of a song, this is! (19/20)

5. "The Second Coming" (6:28) John Lee's single contribution to the album's compositions, it opens with a brief introductory period before shifting into third gear with a more-loose- and broad-spectrum-than-usual jazz-rock fusion motif over which flute, wordless voice, and  electric guitar share the initial exposition of the main melody. Then everybody settles back to support Chris's flute with John doing that chunky free-floating "dirty" bass thing he's been doing pretty much the entire album. Electric piano and far off Arp Synth strings provide an awesome floating feeling (quite similar to the way Lenny White incorporates this effect on his Venusian Summer album) as Philip Catherine takes the lead (twice! in two different channels!) The fullness and smooth groovity of the entire song is so enticing, so lilting, so enjoyable that I feel that I could float along this river/stream forever! Definitely one of the best John Lee compositions (and renderings) I've yet heard. Awesome! A perfect song!(?) (10/10)

6. "Sister Slick" (5:03) floating Arp Odyssee synth--sounding like something from a GONG album!--over which a syncopated rhythm track is laid down. It's complex and herky-jerky but not enough to totally alienate the listener; one can still pick up and appreciate the fine performances of the musicians despite the rather loose and "undefined" roles everyone has been assigned. (Which, in this respect, gives the song a kind of bluesy "practice workout" feel: i.e. feeling as if the composition was not properly finished; they'd captured a rather one-dimensional jam on tape and decided to keep it and stick it on the end of the album. The slow fade out at the end also adds weight to this theory: strongly suggesting that this jam went on for some time after the cut was made.) (8.875/10)

Total Time 43:45

The flow and style of this entire album has, to my ears and mind, the feel of that of DEODATO's masterful 1973 album release, Prelude--which was released in January of 1973 and rose to international fame and acclaim on the backs of both the amazing hit song "Also Sprach Zarathustra (2001)." Like Prelude, Deodato had employed a pre-eminently perfect matched flutist for his album in the personage of Hubert Laws--a long-established jazz artist that Chris admired greatly. We also know from Chris's heritage, musical training, and ever-evolving, ever-eclectic musical tastes that he was very prone to like a new style or trend, learn and master it, and then use his new information and skill to create new music and, being a producer and independently wealthy music studio owner, produce an album using the finest musicians within his reach (which could be achieved easily if money was never a restriction).  

93.75 on the Fishscales = A/five stars; a full-blown, indisputable masterpiece of peak era Jazz-Rock Fusion. HIGHLY RECOMMENDED! The whole world should know this album!  

ªº from music critic Donal Henahan's New York Times obituary article on the passing of George Szell (31 July 1970). "George Szell, Conductor, Is Dead". The New York Times. p. 1. ISBN 9780405111532. 

13. FERMÁTA Pieseň z hôľ (Songs from Ridges) (1976)

The Slovakian band's sophomore album disspells any worry about a "slump": instead, the band shows how serious they are--and how hard they've been working since their debut. The album was recorded in Czechoslovakia in the 1976 and released by Opus label at the end of the year or beginning of 1977.

Line-up / Musicians:
- Frantisek Griglák / guitar, vocals, Fender Rhodes & synth (5)
- Tomás Berka / Fender Rhodes, synth, percussion
- Anton Jaro / bass
- Cyril Zeleňák / drums, percussion
With:
- Milan Tedla / violin, Jew's harp

1. "Pieseň z hôľ (Song From Ridges)" (11:07) the use of a wide sonic field with this bass and guitar opening catches the listener a little off guard but quickly flows into quite an awesome display of music with breathtaking performances from all four of the musicians (though especially guitarist Frantisek Griglák: the virtuoso has arrived!) Anton Jaro's nuanced bass play is brilliant, drummer Cyril Zeleňák's play quite solid and in the pocket, while maestro Tomás Berka's play on Fender Rhodes and synth are as extraordinary and inventive as ever. But really, giving Frantisek Griglák's guitar playing two (or more) tracks to show off his new, near-Jan Akkerman skills is almost unfair to the others. At the end of the sixth minute Cyril is given an additional track for some interesting "background" conga play. Then the band moves slightly into a different Al Di Meola-like lane with new guitar sounds and new synth sounds--all the while with Anton and Cyril holding down the blistering pace from below with astonishing ease. Now this is some powerful Jazz-Rock Fusion on the level of RETURN TO FOREVER. Probably the best--and my favorite--song on the album. (19.5/20)

2. "Svadba na medvedej lúke (Marriage On A Bears Meadow)" (4:15) the band puts on display how closely they've been keeping up with the Anglo-American Jazz-Rock Fusion scene with some Billy Cobham-like drumming, smooth-yet-funky Stanley Clarke like bass playing, and dreamy, experimental synth and Fender Rhodes play. Excellent, excellent song. Love the Cobham-like drum intro! Probably the best--and my favorite--song on the album. (9.75/10)

3. "Posledný jarmok v Radvani (The Last Fair In Radvaň)" (4:31) simple drums and wildly inventive-yet-melodic bass play from Anton Jaro (the guy is a metronomic miracle!) The band gets their funk out! Listen to guitarist Frantisek Griglák's funky guitar plucking! Plus, there are some amazing whole-band riffs, bridges, and weaves. Definitely a very intricately constructed composition that required a lot of practice to perform as well as some extraordinary skill to pull off. Probably the best--and my favorite--song on the album. (9.75/10)

4. "Priadky (Spinning)" (7:37) a slow, spacious opening with Fender Rhodes chords and percussion sounds gradually start building up tension and speed until Tomás chord play establish a rhythmic pattern upon which the rest of the band jump on board around the 90-second mark, forming one of the most engaging, melodic and yet funky jazz-rock themes I've ever heard. Amazing! Tomás work has never been better! So creative! And, with a little maturity he's figured out how the use of space within his playing can be advantageous. Frantisek's guitar only sneaks in during the fourth minute, eventually taking the lead in the sixth minute with more of a rock-blues-rock staccato style. (not my favorite.) Then, in the sixth minute, things slow down for a Fender and synth reset before Anton and Cyril re-establish an amazing groove over which percussion and Frantisek's rhythm and background lead work contribute. The real stars of the show here, for me, are Anton and Tomás. Probably the best--and my favorite--song on the album. (14.25/15)

5. "Dolu Váhom (Downstream Váh)" (2:20) one-man band Tomás Berka presents a theme that funksters Anton and Cyril join. It turns out that Frantisek's absence is only due to the fact that he's also playing a synth, duelling with Tomás. It's nice, made great by the rhythm section, but nothing to write home about. (8.875/10)

6. "Vo Zvolene zvony zvonia (Bells Are Ringing In Zvolen)" (10:10) with a kind of DEODATO "Also Sprach Zarathustra"-like display of smooth melody-making the band here express their future goals of creating more accessible progressive rock/jazz-rock fusion. The addition of Milan Tedla's violin to the mix is quite nice--here taking the first solo in the third and fourth minutes. Next is one of Tomás' synths as well as some additional percussion sounds. The whole groove is just a little too laid back--even at 5:10 when the rhythm section shifts into a cutesy stop-and-go motif over which Tomás switches to a different synth sound for a solo. A minute later they switch back to the original smooth groove for another violin solo--this one turning into a bit of a duel between Tomás' array of synth (and Fender Rhodes) sounds and Milan's violin (as well as himself). (Who does he think he is? Jan Hammer?) Another thing that irritates me about this song is the slight/subtle shifts in tempo--are they trying to be cute or just showing off their astute skills?  Plus, I'm not really a fan of the rapid and frequent keyboard sound shifts--as if purely to show off the number of sounds he's found. The skills on display are undeniable; it's the effect that bothers me: as if entertainment is the only end worth working toward, not the skill of comaraderie and working out intricate weaves as a whole band. (17.5/20)

Total Time: 40:00

I don't know why I'd never been steered toward this album before (due to the super-high acclaim given to the sublime Huascaran, obviously) but from a purely jazz-rock fusion perspective THIS is my favorite Fermáta album! It's so perfect! And so funky!

93.68 on the Fishscales = A/five stars; a veritable masterpiece of Jazz-Rock Fusion! Were it not for the disappointing weaknesses of the final two songs, this might be among my top five J-R Fuse albums of all-time! 

14. MAHAVISHNU ORCHESTRA Birds of Fire (1973)

The nearly-universally acclaimed peak of Jazz-Rock Fusion, the Orchestra's second studio album. The band was still fresh, still inspired, not yet road-weary and spiritually exhausted by Mahavishnu John's uncompromising rule and order. The album was recorded in August of 1972 in sessions at CBS Studios in New York City and Trident Studios in London, England, and then released by Columbia Records on March 26, 1973. 

Line-up / Musicians:
- John McLaughlin / guitars
- Jan Hammer / piano, Fender Rhodes, Moog
- Jerry Goodman / violin
- Rick Laird / bass
- Billy Cobham / drums, cymbals, percussion

1. "Birds of Fire" (5:41) gongs and tightly fingered guitar and keyboard arpeggi open this, a two-chord major/minor flow, over which the virtuosi take turns expressing their pent-up energies with pyroclastic displays--John McLaughlin taking up more of that solo time than the others. Sometimes it's the instrumental play of the artists on "standby" that impress as much as the front-and-center man, but it's always the multi-player mirrored solos, like the fifth minute here, that impress the most. (9.25/10)

2. "Miles Beyond" (Miles Davis) (4:39) bluesy-jazz from Jan Hammer's keys open this one before the funk bass and drums join in. Jerry Goodman and the Mahavishnu take the first turn at expressing (Mile's) melody line before a stripped-down gap of Fender Rhodes support allows Goodman an odd pizzicato violin solo. Ramping back up into full-band repetition of the six-chord progression, John and Jerry take turns unleashing their demons--performing at the end in tandem. Not my favorite song melodically but the musicianship cannot help but impress. (8.75/10)

3. "Celestial Terrestrial Commuters" (2:53) The drumming and keys are so tight but this is one of Rick Laird's more impressive displays. It is remarkable that Jan Hammer can maintain the rhythmic support on the Fender Rhodes while also joining in on the triple-enunciation runs of such fast, fluid lines with the guitar and violin. (9/10)

4. "Sapphire Bullets of Pure Love" (0:22) a sudden cacophony of electric sounds produced by all of the musicians flailing away at once.

5. "Thousand Island Park" (3:19) opening with a Baroque-classical feeling--played on all-acoustic instruments! Rick's loud double bass being the only offset to the tight weave between piano, steel-string acoustic guitar, and violin. Feels very much like the inspiration for RTF's "Medieval Overture." Nice! (9.25/10)

6. "Hope" (1:55) a cool, tension-filled piece that is brief but very powerful; like an antithesis to the album's final song, "Resolution." This song could/should have been expanded into something bigger. (5/5)

7. "One Word" (9:54) Billy Cobham's amazing drumming open this one before the band join in with a couple ominous deep chord progressions. Things quiet down at the end of the first minute, but then what sounds like a freight train barreling out from behind a desert mountain comes speeding at us before arriving to settle into a DEODATO/WHO-like funk rhythm pattern within which Rick Laird gets the first solo. I love the way the rest of the virtuosi support with wild flourishes of their pent up energy, all the while Billy (and amazing rhythm guitar) just keeps the train rolling along at top open-road speed. When Rick falls back into the rhythm flow, his lines are as flawlessly impressive as Billy's. In the meantime Jan, Jerry, and John take turns spitting out quick licks from their instruments until at 5:50 they can no longer abide by the turn-taking rule. But then Billy jumps in to stop them as he launches into a solo that just gets jaw-droppingly more and more complex as it goes on. After two minutes Jan and the others try to push back into the mix but only after the third minute is over does Billy finally lets the others back in. From there it is four person sprint to the end. Who won this one? I have to give it to Billy. (19.5/20)

8. "Sanctuary" (5:01) a serene yet surprisingly-disturbing song to follow the frantic pace of the previous ten minutes. Great slow-developing melodies over Billy's punctuating drumming and a some awesome Minimoog play from Jan Hammer. Feels unresolved at the end: remitting and surrendering. (9.5/10)

9. "Open Country Joy" (3:52) opens like some happy-go-lucky song coming out of a Grateful Dead jam--from one of their good trips. Violinist Jerry Goodman is particularly central to the "country" melody in the opening minute, but then there is this terribly confusing, long pause, out of which the full band bursts with unbound passion and energy, flying through their solos (and collective bridges) with unheard-of speeds. At 2:40 we slow down and once again fall into that devil-may-care "Afternoon Delight" space. Very interesting song. (9/10)

10. "Resolution" (2:08) One of my all-time favorite Mahavishnu songs, I know it's just a continuous chord progression over which John, Jerry, and Jan climb chord by chord to the top of their scales, but it's so beautiful: an étude we would all love to have recorded. (5/5)

Total Time 39:44

It took me a long time to really like the funk-oriented or screaming guitar work of early jazz fusion artist John McLaughlin. His sound, his speed and emotion awed me, but I never found myself really liking it--until the sound smoothed out in the collaboration with Carlos Santana, when Stanley and Al joined RTF, when Jean-Luc and Narada Michael Walden came to join the later incarnation of Mahavishnu Orchestra. Again, I attribute this phenomenon to my untrained ears--I was too young and inexperience to be able to take in all of the notes--"too many notes" the Emperor says in Amadeus. Well, as a thirteen and fourteen year old, I definitely had the mushy, malleable brain and sensibilities of Emperor Joseph II. "There are just so many notes that the human ear can tolerate in the course of one sitting" (paraphrased and adapted to this particular situation). Now as I listen to this music I am awed but at the same time I am enjoying the music, the collaborative, instinctual journeys each musician is prodded and provoked to explore due to their companions' virtuosic daring. At the same time, there are some songs on the album that are not up to the standards of quality sound recording that I've come accustomed to--especially with regards to the keyboards and guitar (or perhaps it's just over use of distortion). The highlights for me are not when the individual musicians are trading machine gun insults but when the whole band are working a melody/riff together. As Inner Mounting Flame announced the arrival of a new form of music, Birds of Fire showed resoundingly that this music was real, was not going away, while also perfecting it, thus making it a masterpiece of jazz fusion and one of its shining representatives to the world of progressive rock music.

93.61111 on the Fishscales = A/five stars; a shining masterpiece of Jazz-Rock Fusion--one that fully expresses the many variables and influences available to J-R Fuse artists. Not only a landmark album for the sub-genre but probably one of THE most influential albums of any genre on future music and musicians. For me this is definitely a Top 20 Jazz-Rock Fusion from the "Classic Era," however, it is not an album that earns a place in my list of "Top 20 Favorites."

15. PASSPORT Looking Thru (1973)

Line-up / Musicians:
- Curt Cress / drums, electronic percussion
- Klaus Doldinger / saxophones [soprano & tenor], Moog, electric piano, Mellotron

- Wolfgang Schmid / bass
- Kristian Schulze / electric piano, organ

1. "Eternal Spiral" (3:59) complex and cruisin' (8.875/10)

2. "Looking Thru" (7:58) smooth yet intricate with an AWESOME funky second motif in the middle. Go Wolfgang Schmid!  (14.5/15)

3. "Zwischenspiel" (1:31) a wonderful acoustic guitar solo with piano accompaniment. (5/5)

4. "Rockport" (3:31) clavinet and unusual synth sounds with pulsing near-Disco beat coming from the rhythm section over which Klaus' multi-saxes belt it out. Very poppy but infectious. (8.875/10)

5. "Tarantula" (3:48) prolonged effected-saxophone squirts panning across the sonic field with minimal support from the rest of the band eventually results in a quite wonderfully bombastic sax opening which signals the release of the funky bass, drums, and clavinet beneath. A little too cheesy-radio friendly with its many hooks there are some seriously innovative ideas here. I'm so glad Klaus chooses a tenor sax for most of his work--including background playing. (9.25/10)

6. "Ready for Take Off" (4:47) opens like something from an RTF album--that hasn't come out yet--before dialing in on a bluesy-teasy jazz-lite tune. Klaus once again shows his wonderfully flamboyant mastery of so many tricks one can play on a saxophone. The "flute" synth melody line in the "chorus" is definitely an earworm; the keyboard work overall is amazing. Mega kudos Kristian Schulze! (9/10)

7. "Eloquence" (5:12) more experimental play with odd synth sounds before drummer Curt Cress joins in. The two actually make for a great duet--but then the bass and other keys join in--as does Klaus on his soprano sax--gathering momentum in a cool jazz motif with great keyboard  and bass playing among the sophisticated key and chord changes. An excellent jazz-rock fusion tune that definitely falls more to the jazz side than some of the other stuff on the album. (9.33333/10)

8. "Things to Come" (2:45) more weird synth-generated sound explorations before the full band, in a very muted-top end form, enters in a driving rock-like motif to support a frenetic and very loose jam from multiple saxophones. Kind of cool! (8.875/10)

Total Time 33:31

Does Klaus and his Passport crew get enough credit? I don't think so. There is a lot of pandering to the listener going on yet the music never fails to be sophisticated and dextrous--and definitely jazzy or funky most of the time.

93.54 on the Fishscales = A/five stars; though a little schlocky and syrupy at times, this is definitely a collection of highly-skilled performances of some very clever and ingenious compositions and ideas. I cannot diminish the masterful music here. 

16. MAHAVISHNU ORCHESTRA Apocalypse (1974)

After John McLaughlin's failed attempt to keep the original Mahavishnu Orchestra placated and nurtured, he went to Carlos Santana and found new inspiration. Add in a mix of musicians who couldn't wait to play with him--including the violinist he'd hoped to have for his first incarnation of the Mahavishnu Orchestra--and a new hope arises for a new version of his ground-breaking experiment in power jazz-rock. Add to the mix the London Symphony Orchestra and we have the makings of something very interesting.

Line-up / Musicians:
- John McLaughlin / guitars, vocal composer
- Gayle Moran / keyboards, vocals
- Jean-Luc Ponty / violins (electric & baritone electric)
- Ralphe Armstrong / bass, double bass, vocals
- Michael Walden / drums, percussion, vocals, clavinet (?)
With:
- London Symphony Orchestra:
- Hugh Beau / orchestra leader
- Michael Tilson Thomas / piano (2), orchestra conductor
- Michael Gibbs / orchestration
- Marsha Westbrook / viola
- Carol Shive / violin, vocals
- Philip Hirschi / cello, vocals

1. "Power of Love" (4:13) descending piano chords are soon joined by horn/wind section of orchestra sounding very cinematic. Classical guitar joins in around the one-minute mark and then Jean-Luc Ponty's heavily-treated electric violin as the orchestral strings swirl around the individual soloists quite magnificently, repeating the same ascending melody line. Sounds like a dream come true: guitar, violin, and piano power trio with London Symphony Orchestra. Wow! So beautiful! I could/should loop this on an eternal repeat! (10/10)

2. "Vision Is a Naked Sword" (14:18) crescendoing cymbals precede an ominous bowed-bass intro over which dynamic drumming of Narada Michael Walden joins in. At the 1:25 mark the horn-led full orchestra joins in spouting out a continued ominous chord progression. It's furious and powerful, it's bold and beautiful. Then things settle down in the fourth minute for a bit while Jean-Luc begins his time up front, but the orchestra swells again before dropping off, leaving an open space that drummer Walden gladly fills. A whole-band primordial soup then ensues in which all of the individuals are arpeggio-riffing with no apparent coherent goal until the Orchestra jumps in and starts doing its own version of arpeggio riffing, trampling over the individual soloists for a bit. In the middle of the seventh minute the two sides (orchestra and individualists) seem to reach a balance as all members' inputs are being heard. The eighth minute unveils a surprising change of pace and motif as playful bass and very playful funky rhythm guitar establish the grounds for Michael and Jean-Luc to play over. It's one big happy playground! Since there is so little egocentric flash and flare here, this makes me think that this is quite possibly the best Mahavishnu composition I've ever heard. John's interesting muted "rhythm lead" guitar is given the front for the tenth and eleventh minutes before teaming up with Jean-Luc and Gayle to release a spray of bullets in tandem before the orchestra jumps in to take over. But then, at 12:50, the rock band takes over gelling in a cool weave of fertile soil over which the Orchestra rises to the front as the soloist! The finish is typical Mahavishnu flare but it's brief and conclusive. A surprisingly egalitarian composition! (28.5/30)

3. "Smile of the Beyond" (8:00) Gayle sings in her beautiful operatic voice with the accompaniment of the London Symphony Orchestra for the opening four minutes. It's quite lovely if a little protracted! Then, as if another song, the band launches into a very pop-sounding rock form built around the melody of Gayle's vocal (which is continued internittantly in the background by a Gayle Moran-led choir), guitar, drums, bass, and violin all firing at high speed. But then, in the seventh minute, the rock elements disappear whereupon Gayle and the LSO return as the sole musical elements to the finish. Interesting blend; I'm not sure it worked, overall. (13.125/15)

4. "Wings of Karma" (6:06) full orchestra (mostly strings) takes the first two-minutes before the Fender Rhodes-led chords introduce a moderately-paced song form, but then when everybody in the Mahavishnu Orchestra joins in it becomes a very odd almost-disharmonious mix of incongruous playing--almost as if every individual is flying off in their own directions with little guidance or adherence to the keyboard pace and melodies. The instrumentalists are all very impressive (especially, I have to say, the young drummer), but I'm not sure it all works--this despite the song's title. The band once again drops off in lieu of Michael Tilson Thomas closing out the song with an all-orchestra finish. Not my favorite. (8.75/10)

5. "Hymn to Him" (19:19) a pretty orchestral opening is blended (finally!) with the rock and electric instruments from the very beginning--which is the way it should be--with the rock quintet emerging with the song's dominant form only in the fourth and fifth minutes, finally establishing ascendency at 5:10. The way the orchestra has been interwoven up to this point in a give-and-take kind of way is absolute perfection--nothing short of amazing! The barrage of instrumental fireworks (from John and Michael, at first, with a little craziness from Ralphe Armstrong, then Jean-Luc in the eighth minute) that ensues is is nicely balanced by Gayle's patient Fender Rhodes chords and occasional LSO flares. In the seventh minute John produces an absolutely amazing rock guitar solo. At the eight-minute mark, however, there is a total changeover into what feels like an orchestra-less jazz-rock motif. This is nice, with Gayle's Fender Rhodes getting some lead time and John's eccentric electric wah-ed guitar strumming in support in their usual fascinating way. (The man is truly an unheralded genius at accenting rhythm guitar support.) Ralphe gets the next extended solo in the tenth and eleventh minutes--a solo that seems to just keep on going even when Jean-Luc takes over in the front-and-center position.
     At times on this album it feels as if Jean-Luc is convinced that he needs to come from more of a blues-rock orientation. This is unfortunate because, in my opinion, he is much more noticeable and effective as a melodic rock soloist. Anyway, he does get some stunning firecrackers in--especially in opposition to John's machine gun Roman candle spray. And I love how the drums and bass pick up the pace in the fifteenth minute! But then the LSO jump back into the mix (to great effect) as the rest of the jazz-rockers try to keep their barrage flowing. It seems that only Michael Walden and Jean-Luc Ponty are willing to stay the course--until the 17-minute mark when the fleet reaches the calmer waters of the port bay--at which time they unleash some beautifully-ecstatic bursts of celebratory sounds as the orchestra slowly cradle them into port.
     A brilliant if still not perfect composition. I really think the blend of the two orchestras here is not only some of the best I've ever heard between jazz or rock band and symphonic orchestra but incredibly inter-supportive with stunningly-beautiful melodies coming from multiple fronts. (37.75/40)

Total Time 51:56

I found it very comforting and reassuring that John did not feel the need to jump out of the blocks with bullets spraying--that the first song, "Power of Love" showed the kind of restraint and beauty that can only come with serene confidence; this just let me know that this time around using the Mahavishnu Orchestra moniker--this "incarnation"--he was feeling far less need to impress. But then, as the album plays on, I find myself tiring a bit of the LSO-Mahavhisnu-LSO format used by all of the songs. I know you have to get your money's worth of such an esteemed group as the LSO (and Michael Tilson Thomas), and I don not mean to belittle the orchestra arrangements and performances: they're amazing--but I really am surprised at the fact that the Mahavishnu Orchestra gets only about 50 percent of the album's 52 minutes. Also, as impressive as Michael Walden's skills are, he is, for my tastes, a little too cymbal-happy (not unlike my major complaint of Who drummer Keith Moon). Perhaps if the cymbals weren't mixed so high as to shade some of the band's other sounds it wouldn't be so annoying. And then there's the fact that John's acquisition of his "dream" partner in violinist Jean-Luc Ponty results is so little front time for the fiddle master. Too bad. At the same, I do call this my favorite Mahavishnu album. I really love the experimentalism of the next album, Visions of the Emerald Beyond--on which Jean-Luc has far more face time and Michael less temerity--and I've always felt a little "left out" or put off by the machine gun showmanship of the first two (three counting the live Eternity album). On Apocalypse, there's just something comforting about the cushioning that the LSO provides.

93.45 on the Fishscales = A/five stars; a true masterpiece of jazz-rock fusion and what I consider the Mahavishnu Orchestra's best album of finely-crafted fusion songs. For me this is definitely a Top 20 Jazz-Rock Fusion from the "Classic Era," but more, it is an album that also earns a place in my Top 10 "Favorites."

17. HERBIE HANCOCK Fat Albert Rotunda (1969)

Recorded in two sessions at Van Gelder Recording Studios, Englewood Cliffs, New Jersey, in May and June of 1969, where it was engineered by Rudy Van Gelder (of course), I find it interesting that an early or proto- Jazz-Rock Fusion album could be achieved using the seasoned jazz musicians Herbie here employs (which were the same musicians he used on his previous solo album, The Prisoner). This also marks Herbie's first album produced and released by Warner Brothers Records. It was released on December 8, 1969.

Line-up / Musicians:
- Herbie Hancock / synthesizer, piano, piano (electric), arranger, conductor, vocals

- Buster Williams / double bass, electric bass, percussion (2, 3, 4)

- Albert "Tootie" Heath / drums
- Johnny Coles / trumpet, flugelhorn
- Billy Hart / drums, percussion

- Joe Henderson / flute (alto), sax (tenor)

- Garnett Brown / trombone

With:

- Joe Farrell / flutes and saxes (1, 7)

- Arthur Clarke / bariton sax (1, 7)

- Billy Butler / electric guitar (1, 7)

- Eric Gale / electric guitar  (1, 7)

- Jerry Jemmott / electric bass (1, 7)

- Bernard Purdie / drums (1, 7)

- Ernie Royal / trumpet (1, 7)

- Joe Newman / trumpet  (1, 7)

- Benny Powell / trombone  (1, 7)

A1. "Wiggle Waggle" (5:48)  sounds like one of those rollicking R&B/Jazz-Lite songs that populated so many "hip" films of the late 1960s--like Peter Sellers' The Party. Great performances from trumpeter  (9/10)

A2. "Fat Mama" (3:45) sounds like an inspirateur for Eumir DEODATO's future "Also Sprach Zaarathustra - 2001" international hit. I find it curious that the performances of the two electric guitarists has gone uncredited (and unrecognized) all these years. The fuzzy guitar-like sound accompanying the rhythm track start to finish could be a heavily-distorted sax but the appearance of a second guitar in the middle of the second minute is unequivocally an electric guitar--making it obvious that there are two rather distinct guitar sounds occurring throughout the song in the background within the rhythm section. I'm guessing that somehow Billy Butler and Eric Gale were somehow forgotten when compiling the credits for the album. Nice, steady work from the rhythm section and some great smooth Fender Rhodes play from Herbie with cool punctuation and enhancements from the horns here and there throughout. (9.2510)

A3. "Tell Me A Bedtime Story" (5:00) a song that bodes well for future Pop- and Smooth-Jazz/Easy Listening star (and producer) BOB JAMES, it is a lovely Fender Rhodes-dominated song with syncopated Latin-suggested rhythm and cinematic "LA Smooth" horn arrangements that definitely predict Bob's Smoth Jazz. This is the first song on which the drumming really strikes me as perfect--and it's brushwork! Johnny Coles' trumpet work and Joe Henderson's flute playing are also quite sublime. Beautiful. Definitely a top three song for me. (9.5/10)

A4. "Oh! Oh! Here He Comes" (4:05) another early-funk song with a clear influence on DEODATO's upcoming music. Amazing! Sounds like DAVID AXELROD's 1968 landmark album, Song of Innocence, which, of course, was facilitated by the core work of LA's famous session band, The Wrecking Crew. Buster Williams' electric bass line was lifted a decade later by John Entwistle for The Who's hit song, "Eminence Front." The rhythm guitar work (again: uncredited) is esssential but the bass and drumming are so great: just like the work of The Wrecking Crew (Carol Kaye, Hal Blaine, and Don Randi, specifically).  My favorite song on the album. (9.75/10)

B1. "Jessica" (4:11) beautiful old time lounge piano jazz that starts out with trombone establishing the main melody over Herbie's piano. The main melody does sound familiar--as if from a classic film theme song ("Summer of '42"?) or perhaps a Bill Evans song. Joined by flute and more intricately arranged and performed horns, this kind of stuff doesn't get any better than this--even if Bill Evans were in the leadership position. Too bad the piano is not very well recorded (or just sounds crappy). My other top three song. (9.5/10)

B2. "Fat Albert Rotunda" (6:27) funky jazz-R&B with plenty of percussion and rhythm guitar flare. (The rhythm guitar is uncredited but sounds a lot like the style and work of Eric Gale.) Buster Williams' electric bass play is a little messy, but Herbie is really rockin' it with his Fender Rhodes and the horn accents and diversions provided Joe Henderson, Johnny Coles, and Garnett Brown are perfect. (9/10) 

B3. "Lil' Brother" (4:25) more David Axelrod/The Wrecking Crew-like cinematic funk-R&B fare with some highly spirited performances coming from the guitarists and horn players--especially Joe Henderson and Arthur (C.) Clarke on his Space Odyssey baritone sax. In fact, the band is so animated as a whole that Herbie's electric piano is mostly drowned out by the others! (9.3333/10)

Total Time: 33:59

Nothing gives one the idea of the influence a particular artist may have had to his contemporaries until you hear a popular and acclaimed album from the era that you've never heard before, which is the case with this album for me. The music on this album shows me how much influence the L.A. scene was having on Herbie (particularly from film, television, and David Axelrod and The Wrecking Crew's influence) but it also illustrates how much a single album can influence another future star, in this case the one and only Eumir Deodato as well as fresh Berklee grad Bob James.

     Another fascinating aspect of this album is how different it sounds to both his work on The Prisoner--while using basically the same lineup--and on the final Second Great Quintet albums with Miles as well as the next solo albums he would do after In a Silent Way (with, again, a completely different lineup of musicians): the "Mwandishi" trilogy. It would not be until 1973's Head Hunters that Herbie would begin returning to the funk/R&B sound and energy that is so dominant on this album!

93.33 on the Fishscales = A/five stars; a wonderful, amazing, eminently engaging and enjoyable excursion through the late 1960s world of film and television score music making performed by one of Jazz's most adventurous and trend-following artists. Though this is early funk, and very cinematic-like, it definitely has its place in the development of that which would become Jazz-Rock Fusion--particularly influential to the nurturance and development of the funky side of J-R F. I have to say, this is one of my favorite type of Jazz-Rock Fusion styles, so it will come as no surprise to see that Fat Albert Rotunda has lept into my top 20 masterpieces of First Wave Jazz-Rock Fusion.

18. EXIL Fusionen (1975)

Individualistic fusion from Germany sounding like a big band treading into the world of Jazz-Rock Fusion. The album was recorded at Tonstudio Zuckerfabrik in Stuttgart, Germany, and released to the public in by Fhuzl Produktion in 1975.

Line-up / Musicians:
- Jotwin / vocals, cello
- Berndt Steiner / guitar, drums
- Georg Eckl / electric piano
- Eva Lutz / violin, cello
- Bewin / tenor saxophone
- Bernd Funk / percussion

1. "Nur Ein Klein Wenig" (3:12) a very classical exposition of jazz music from some musicians that sound very seasoned. The band includes both violin and cello with saxophone over a very solid drum and bass and percussion trio. Georg Eckl's electric piano becomes more prominent about half way through, just before a dramatic stops and restart in order to shift into a kind of beer-hall band tune with comic vocals reminding me of bands like Samla Mammas Manna. (8.875/10)

2. "Kurzes Hundeleben" (8:43) a well-formulated and well-executed two-part jazz exodus in which all of the proficient musicians themselves quite well. One can easily listen to each and every one of the individual musicians the entire way through this long song and be equally entertained and impressed. Plus, there is a DEODATO-like "Also Sprach Zarathustra" feel and palette to this song with electric piano, drums, and percussion creating quite an impressive foundation in and of themselves. Keyboardist Georg Eckl is quite impressive as are drummer Berndt Steiner and percussionist Bernd Funk. (19/20)

3. "Die Gute Alte Anna" (5:33) here the band explores some of their native folk traditions using both FLAIRCK- and AFTER CRYING-like classical and jazz perspectives. Warm and intimate, this more acoustic music is inviting and highly engaging--even with the German folk vocals. Halfway through there is another radical shift into a more COMUS/SPIROGYRA-like aggression and abrasive humor vocals. I love it all! (9.25/10)

4. "Schuhe 1" (6:58) Beatnik jazz-like sound with heavy emphasis on the presence of percussion, saxophone, and electric piano. It even sounds like it's been recorded in an underground cave like a Beatnik black room. (13.5/15)

5. "Ohne Uns" (4:14) what started with the uptempo Beatnik jam that began at the end of the previous song here smooths out a bit to continue with a form that revolves around Jotwin's folksy singing before falling into some more fast-moving instrumental music rife with loud drums, hand percussion, and electric piano with saxophone and cello up front and center leading the melody play. Could this music have been heard by the Norwegian youngsters that became SEVEN IMPALE? (9.125/10)

6. "Seifenblasenleiden" (9:51) opens like a piece of classical music by a small orchestral chamber ensemble--even with the rock drums--before slowly morphing into a chamber version of, and variation on, the main, opening motif of King Crimson's "21st Century Schizoid Man." Eventually, the jazz nature of these musicians takes over and the song veers off into several interesting motifs: the first more loose and wild, the second more sedate and spacious with lots of room for improvisational inputs. At 6:25, in the middle of this slowed down section, cellist Jotwin enters with a singing voice that gives this song a feel very much like fellow German band ELOY. Violin, cello, electric piano, and tenor saxophone continue to give this song a very mellow jazz-rock feel--even when the tempo and intensity start to pick up in the eighth minute. I really love this song! It's a perfect illustration of the blend of classical, jazz, and pop that ends up becoming prog! (19.5/20)

Total Time 37:34

I normally don't like saxophone but, like that in SEVEN IMPALE's aggressive progressive rock, I like this. 

93.24 on the Fishscales = A/five stars; a very impressive masterpiece of jazz-rock fusion from a group of very well-seasoned musicians all coalescing quite wonderfully. 

19. HERBIE HANCOCK Thrust (1974)

After the final sessions with his Mwandishi collaborators, Herbie was all-in for the Funk and all-in for exploring the latest sounds that technology could provide. Thrust is the result of his deep dive--one of the first jazz artists and jazz albums to take music into the third, more melodic and pop-oriented, wave of Jazz-Rock Fusion. Recorded in San Francisco at Wally Heider Studios, the album was released by Columbia Records on September 6, 1974. 

Line-up / Musicians:
- Herbie Hancock / ARP Odyssey 2600 String & Soloist synths, Fender Rhodes, Hohner D6 clavinet, co-producer
With:
- Bennie Maupin / saxophones [soprano & tenor], saxello, bass clarinet, alto flute

- Paul Jackson / electric bass
- Mike Clark / drums
- Bill Summers / percussion

1. "Palm Grease" (10:37) using simpler structures, simpler melodic hooks, simpler more pop-oriented rhythm patterns, Herbie turns his music into a product that is more oriented toward the entertainment of the masses instead of something trying to impress the traditionalists. The musicians he has chosen to surround himself on this one are, of course, incredibly solid but also carry that single-minded vision of serving the masses and thus help in producing eminently listenable, enjoyable, and danceable songs. Great drumming from Mike Clark and great bass play from Paul Jackson while Bennie Maupin and Herbie test all the funk sound boundaries with their futuristic sounds. (17.75/20)

2. "Actual Proof" (9:40) with the smooth synth strings and floating flute, this one crosses both the Stevie Wonder-like funk and Bob James-like Smooth Jazz worlds despite the wonderfully funky bass and clavinet play. From a keyboard-perspective, this song lets me know that Herbie had heard Eumir DEODATO's hit-generating music from Prelude. From a bass and drums perspective I can hear that Paul Jackson and Mike Clark had been hearing the stuff that Buster Williams and Stanley Clarke as well as Billy Cobham and Lenny White were doing since the Bitches Brew sessions; just stupendous play from both of them! One of the coolest funk-laden Smooth Jazz songs you will ever hear! (19.75/20)

3. "Butterfly" (11:17) awesome late night cabana smooth jazz with Bennie Maupin's bass clarinet and saxello carrying a lot of the melody load--but from the back! Herbie sits back with his synth strings supporting the scene for the first two minutes before revealing his clavinet and Fender Rhodes while Bennie solos. The drums, percussion and bass are simple--like a good R&B rhythm section in relax and groove mode throughout Bennie's two-plus minute solo. Herbie takes the next extended solo--for the next five minutes!--on his Fender. Lovely. What a great earworm of a bass riff! At 7:00 Herbie moves to his clavinet for a bit and, with it, the band into a great funkified variation of the main theme before he returns to a more vibrant solo form on his Fender. (19/20)

4. "Spank-A-Lee" (7:12) an exercise in pure funk à la the recent STEVIE WONDER work (think "Boogie on Reggae Woman"). The four rhythmatists are wonderful--and obviously having a great time grooving with one another, but from the one-minute mark on it's really the Bennie Maupin show and I'm not really a sax man. While not as catchy or melodic as the previous songs, it is still demonstrative of some mighty high talent. (13.375/15)

Total Time 38:46

I think that humble, uber-talented bandleader Herbie Hancock here demonstrates that he is finally convinced that his keyboard playing can be front and center--as the main attraction--and that all of the funk tendencies taking over the radio waves and technological advances going on in keyboard instrumentation needed tending to--and advantage taken of. While I loved his 1960s work and his Mwandishi period, I am LOVING this stuff WAY more! 

93.167 on the Fishscales = A/five stars; a certifiable masterpiece of Second Wave Jazz-Rock Fusion, my favorite Herbie album of all-time, and one of my favorite albums in the J-R Fuse lexicon. 

20. GATEWAY Gateway (1975)

An ECM production of the collaborative music of three of the greatest jazz musicians to have graced the  vinyl and plastic grooves of last 40 years of the 20th Century. 

Line-up / Musicians:

- John Abercrombie / guitar
- Dave Holland / double bass
- Jack DeJohnette / drums

1. "Back-Woods Song" (7:54) starts out sounding a bit like an ALLMAN BROTHERS song before the three start exerting their jazzy virtuosity. John Abercrombie, whom I've come to recognize as one of the greatest jazz guitarists ever, really puts on a display of CHET ATKINS-like virtuosic subtlety, also like Chet, often covering the low and middle ranges as well as rhythm--despite the fact that he's got one of the best rhythm sections ever assembled beneath him. The ECM sound is, as one comes to expect, incredibly well recorded, engineered, and rendered unto tape: it seems that every tiny little nuance of each players' performance is captured with pristine accuracy. Dave Holland is such a lyrical bass player that I don't for a minute lament the absence of vocals or words, and when he's soloing, we get to observe the creative/inventive rhythm strokes of Mr. Abercrombie--one of the areas that he excels in a way similar to that of John McLaughlin and Jan Akkerman. While I don't really like this style of music, I find myself sitting back while bathing in the enjoyment of hearing these fine musicians captured for all time, just for me. (13.75/15)

2. "Waiting" (2:13) interesting little loose piece with Dave's bass providing the focal material. Innocuous and forgettable. (Even as I just heard it two minutes ago.) (4.25/5)

3. "May Dance" (11:04) a piece that sounds a lot like the old jazz of the 1960s when the free-jazz artists were really starting to take off. Jack sounds like he's doing the best job playing off of John's lead guitar work, but then Dave Holland is so adept, so attuned that he may be not only in perfect synchrony but also perhaps the lead instrument. Heck! I understand free-jazz so poorly that maybe Jack's the lead--or all three could be racing off in their own direction. What let's me know that the artists aren't too far out there is the fact that there is some cohesion in the form of the pacing. John's guitar play in the sixth minute is so bizarre it reminds me of the free-form guitar playing of Sonny Sharrock or Robert Fripp. We get a nice extended bass solo in the seventh and eighth minutes as Dave and Jack back off to provide only minimal assistance. When double bass players solo like this I feel that they're really just practicing scales and inventing inversions and chords, never really thinking in terms of melody. In the meantime Jack and John's subtleties are equally, if not more, mesmerizing. Oh, to be in their heads in order to gain some inkling of comprehension for what they are doing! Though this is not my favorite form of music, at least with this song I am able to stay with the guys: I'm not driven away by the dissonance or anarchic chaos. (17.75/20)

4. "Unshielded Desire" (4:52) this song starts out as a Jack DeJohnette drum solo (with emphasis on the cymbal play). John enters about 30-seconds in with some wah-wah-ed staccato machine gun note play, but I find myself still glued to Jack's performance. I'm astonished to find that over two minutes into the song it's still a duet: nary a sign of Dave Holland! And yet, it's brilliant! It's breath-taking! The edge of Jazz-Rock Fusion but fascinating! At the end of the fourth minute the boys turn on the rock afterburners and really charge it up! Wow! Terry Kath and Danny Seraphine: eat your hearts out! (9.5/10) 

5. "Jamala" (7:47) delicate cymbal play with sparse- and subtle-ly played volume controlled electric guitar note play and quiet, mostly accenting bass far beneath. John hits some stunningly beautiful riffs and runs, providing just enough space in between to allow the simple listener, such as myself, time to digest the offerings. Such pristine clarity in the guitar notes (and cymbals)! Though the music of this song falls more into the realm of pure jazz, it is still quite accessible and totally enjoyable. On the version I have access to, this song is over seven minutes long--with the final three minutes spaciously evolving into some aggressive, distorted, more-rock-oriented guitar and band play for the final minute. Wow! Now that was unexpected! (13.875/15)

6. "Sorcery 1" (10:56) Jack, followed by a very melodic Dave Holland, establishing a song with some blues-rock attitude. I like it! John enters with the same aggressive, distorted guitar tone that snuck into the end of the previous song. Now this is cutting edge Jazz-Rock Fusion of the highest order! These three musicians are so gifted! To be able to deliver this kind of cohesive music while playing at such high levels of virtuosity--and making it all feel as if it's so EFFORTLESS! Incredible! John sounds as if Jimi Hendrix were gifted, and Dave as if Noel Redding had a clue, and Jack as if Mitch Mitchell had some skill and restraint! The musicians' performances are so mesmerizing that the song's eleven minutes pass by in the blink of an eye! Dave's intuition for holding back! Jack's intuition for providing such brilliant accent to John's guitar! And John! The dude that makes it all feel so Power Trio rock 'n' roll! Not a note wasted and yet not a note that isn't jaw-droppingly shocking! One of the best trio songs I've ever heard! Total perfection! (20/20)

Total Time: 44:46

Gateway's variety surprises me. The level of virtuosity coming from all three musicians even comes as a surprise. (I mean: I knew, but I never KNEW!) And then put that immaculate ECM production value from Manfred Eicher into the mix and you have an indisputable masterpiece of Jazz-heavy Jazz-Rock Fusion. 

93.09 on the Fishscales = A/five stars; a total masterpiece of Jazz-Rock Fusion. If everyone heard that last song, "Sorcery I", alone, there would be a reshuffling of the greatest power trio songs of all-time. Step down Jimi, Eric, Larry, Stevie Ray, and Johnny Mac! There was a trio that was way better than you! And please, let's start adjusting our pantheon of guitar greats to include Mr. John Abercrombie at or near the very top!  

21. AREA Arbeit Macht Frei (1973)

The first album released by Milan's Cramps Record label, it was recorded early in 1973 and released sometime within the same year.

Line-up / Musicians:
- Demetrio Stratos / lead vocals, organ, steel drums
- Gianpaolo Tofani / lead guitar, VCS-3 synth
- Patrizio Fariselli / piano, electric piano
- Victor Edouard ('Eddie') Busnello / sax, bass clarinet, flute
- Patrick Djivas / bass, double bass
- Giulio Capiozzo / drums, percussion

 
1. "Luglio, agosto, settembre (nero)" (4:27) an obviously-ethnic music-based song, (9/10)

2. "Arbeit Macht Frei" (7:56) (13.5/15)

3. "Consapevolezza " (6:06) The grooves laid down in "Consapevolezza" at the 1:25 and 2:15 marks are among the prettiest I've ever heard. (10/10)

4. "Le Labbra del tempo" (6:00), and the ever-so smooth (9.5/10)

5. "240 chilometri da Smirne" (5:10) deposit, IMHO, some of the tightest, most enjoyable jazz/ jazz-rock grooves of the 60s or 70s. All performers test the creative boundaries of their respective means of expressivity--the LEON THOMAS-like voice experimentations of Demetrio Stratos, the guitar play of Gianpaolo Tofani, woodwinds, keys, the jaw-dropping bass play of Patrick Djivas, and, especially, drumming of Giulio Capiozzo, are all "out there." (10/10),

6. "L'abbattimento dello Zeppelin" (6:45) leans heavily toward the avante garde, the center four songs.  I absolutely LOVE the lore around this song: that the band was asked during a live performance in some pub bar to play some Led Zeppelin. Knowing no Led Zeppelin songs, the band launched into an improvisation based loosely on what they'd heard of "Whole Lotta Love," it got recorded, and then tagged onto the end of this album! (9/10)

The mixing and recording of this album are amazingly clear and balanced for a 70s record.

Having loved the vocal talents and stylings of Leon Thomas for many years, I was immediately into Demetrio Stratus's singing. Such emotion and passion! As if his soul is on fire! Without question a masterpiece of progressive music if ever there was one! The only direction of improvement needed is in the area of sound recording and reproduction (and that will come).

93.08 on the Fishscales = A/five stars; a landmark album for Italian, European, and world music as well as for Jazz-Rock Fusion; Definitely a Top 20 Favorite Album from J-R Fuse's "Classic Era."

22. CHICK COREA Return to Forever (1972)

During the two years after participating in the August 1969 recording sessions for Mile Davis' seminal album, Bitches Brew, Chick had participated in the recording of many diverse albums--from Miles Davis' live albums to Wayne Shorter and Larry Coryell's experimental First Wave Fusion albums Supernova and Spaces, respectively, but more, he chose to hang around his more steadfast jazz compatriots Jack DeJohnette, Dave Holland, Eric Kloss, Joe Farrell, and Gary Burton. Return to Forever marked his own first 

Line-up / Musicians:
- Chick Corea / Fender Rhodes electric piano
With:
- Joe Farrell / flute, soprano saxophone
- Stanley Clarke / bass, double bass (4)
- Airto Moreira / drums, percussion
- Flora Purim / vocals, percussion

1. "Return to Forever" (12:06) now I know where the idea for The Northettes (and other Canterbury female vocals) came from! Flora Purim's angelic and ethereal wordless vocalese performs as if another instrument in the weave with Chick's Fender Rhodes, Stanley Clarke's fairly-untreated electric bass, Airto Moreira's classical jazz drumming, and Joe Farrell's background flutes. (24/25)

  
2. "Crystal Silence" (6:59) a beautiful Fender Rhodes song that features the respectful and only intermittent inputs of Joe Farrell's soprano sax and Airto Moreira's shakers and bells--a song that would be expanded upon significantly with vibraphonist Gary Burton on the album of the same name that would come out later in the same year. (14.5/15)

3. "What Games Shall We Play Today?" (4:30) a gentle Latin-bossa nova light (reminding me of Burt Bacharach/Hal David's "Do You Know the Way to San Jose?") with Flora actually singing over the Fender Rhodes, Latin drums and bass lines and BOB JAMES-like keyboard and flute melodies. A light, innocuous song illustrating Chick's pop capabilities. (8.875/10)

4. "Sometime Ago / La Fiesta" (23:13) the whole of Side Two is occupied by this sprawling tune--a -part suite that starts out with Chick's vibrating Fender Rhodes being reacted to from the right side by Stanley's gentle, respectful double bass play. Eventually, in the third minute, Chick backs off to allow Stanley some solo time bowing his bass. Then Joe Farrell's flute and Airto's full drum kit get into the act for a couple minutes of more active, full-ensemble play until things begin being dismantled at the end of the seventh minute. By 7:30 a new more Latin/Brasilian motif starts up over which in the ninth minute Flora Purim begins singing (a rather simple, cheesy English lyric--which makes me wonder how beautiful this might have been had it been sung in Flora's native Portuguese tongue). Both Chick and Joe continue mirroring and creating variations on the main melody that Flora's vocal uses (rather rigidly, I might add). Both are creative but never really getting very daring--until, finally, the 12th minute when Chick and Airto seem to egg one another on--sweeping Joe up into the frenzy (with piccolo?). Overall, this light and delightful second movement lasts for about six minutes before there is a slow down and return to Chick's solo Fender Rhodes, tout seul. For the next couple of minutes he continues to gently, introspectively explore the main melody that he, Flora, and Joe had just been using before a slow down and complete stop at 15:25 signals an opportunity for the whole band to jump back in with a more percussive Latinized version of the four chord vamp they'd been using, this time with Joe playing his soprano sax up front. At 7:18 the whole key signature shifts and with it the melody line, now sounding much more aligned to a different, more Spanish theme and melody (Olé!)--but the shift was so subtle! If you weren't paying attention you might not even notice it! Joe swoops and soars covering the entire octaval capacity of his sax until the 20th minute when the band pretty much comes together to carry the melody together. Then Chick, Airto, and Stanley switch into a different kind of style while maintaining their carry of the same melody (basically), giving Joe a break for a minute. Stanley is walking all over that fretboard and Chick is really hammering and tickling his keys. Then Flora's hand percussion and Joe's sax step back in to liven up the final 90 seconds. Fun, melodic, sophisticated, though not as individually flashy as future RTF albums. (41/45)    

Total Time 46:48

An album that really explored the more spacious, contemplative potential of the newly emerging wave of Jazz-Rock Fusion, Chick used his Return To Forever project as a means to exploring his curiosities with the world of electrified instruments and emerging new sound treatments--as well as some of his fire and vigor. 

93.03 on the Fishscales = A/five stars; despite the feeling that these guys are just getting into their exploration and exhibition of Jazz-Rock Fusion, the music here is so melodious and the musicianship so high (though never mind-blowing as the future RTF individuals would display) this is truly a masterpiece of First or Second Wave Jazz-Rock Fusion. (First for the exploration of "uncharted territory," second for the use of forms and sounds that are already being explored by others--like Weather Report.)    

23. HERBIE HANCOCK Mwandishi (March 1971)

An album of brave, masterful performances, production, and mutually supportive collaboration--the first in a series of albums produced over the course of three years in which experimental techniques in collaboration, song structure, and sound manipulation were radically explored. Even the discordant, unstructured 'free jazz' parts of "Wandering Spirit Song" are eminently listenable, enjoyable, even add to the spiritual 'letting go' space and process that the band has lulled you into by that time. Though some people choose to begin this period of Herbie's creativity with the 1969 album Fat Albert's Rotunda because it marked his first release under his new Warner Brothers label after some years in the Blue Note stable, I choose to begin with this album due to the fact that it's the first appearance of the lineup of musicians that he played with over the next five years--his so-called "Mwandishi sextet."

Line-up / Musicians:
- Herbie Hancock / Fender Rhodes electric piano, arrangements
With:
- Eddie Henderson " Mganga" / trumpet, flugelhorn
- Bennie Maupin "Mwile" / bass clarinet, alto flute, piccolo
- Julian Priester "Pepo Mtoto" / tenor & bass trombones
- Buster Williams "Mchezaji" / bass
- Billy Hart "Jabali" / drums
- Leon Chancler "'Ndugu" / drums, percussion
- Ronnie Montrose / guitar (1)
- Jose Cepito Areas / congas & timbales (1)

1. "Ostinato (for Angela)" (13:10) starts the album off with an incredibly infectious groove and many fascinating production effects that introduce the listener to the new Herbie: Engineer and Producer. Herbie's fender playing is the glue over which his band mates perform highly entertaining, often unusual solos, but these are never obtrusive or outside or above the thread and weave of the group's mix (a feat due, in part, to the recording engineering). The use of two drummers (at times flanged!) and along with a percussionist is, to my ears, highly entertaining and enjoyable. Eddie Henderson's lead trumpet play is great, as is Bennie Maupin's bass clarinet, but it's Herbie's keyboard work that I find most engaging--whether it's in the lead or support role. Again, however, it's the effects used on the instruments and track orientations that make the sound of this song so ground-breaking and fascinating. (23/25)

2. "You'll Know When You Get There" (10:15) is a beautiful piece of kind of ambient jazz in which echo and space, slow tempo, and subtlety are kings for the day. It's easy to float off and let go of this one, but so worth paying attention if you can/when you do. The first half is almost an Eddie Henderson solo but then the music congeals again in a truly beautiful and intricate weave in the fifth minute. Great bass play from Buster Williams and awesome interplay of sometimes-conflicting or tension-building melodies by Herbie, Bennie, and others. Truly a masterpiece of experimental jazz music. (19/20)

3. "Wandering Spirit Song" (21:28) My favorite of this album of sublime music. This is for me a soundtrack for deep spiritual introspection and regeneration. Amazing things music can do! Definitely a masterpiece of music--offering the highest gifts to humans that other humans can give: transportation and transcendence. Kudos to Buster, Herbie, and the horn players and percussionists for this mighty piece. (37/40)

Total Time 44:50

92.94 on the Fishscales = A/five stars; a masterpiece of experimental jazz fusion and, by inclusion, a milestone in progressive rock music. Despite the fact that I like the lineup's next album, Crossings, better (due, I think to the fresh injection provided by Patrick Gleeson's synthesizers and the all-female background vocalists), this one rates slightly better on my Fishscales metric system (in the Top 25, in fact).

24. HERBIE HANCOCK Crossings (May 1972)

Of Herbie's three Mwandishi sextet/septet albums, this is my favorite. Recorded in San Mateo, California on February 15-17 at Pacific Recording Studios, Herbie was convinced by producer David Rubinson to take the session tapes over to Patrick Gleeson's Different Fur studio in San Francisco in order to experience some of Dr. Pat's synthesizer/sound magic. The rest is history as thereafter Gleeson became a band fixture both on and off the stage (much to the chagrin and discomfort of the rest of the all-Black band).

Line-up / Musicians:
- Herbie Hancock / acoustic & electric pianos, Mellotron, percussion
With:
- Bennie Maupin / soprano sax, bass clarinet, alto & piccolo flutes, body percussion
- Eddie Henderson / trumpet, flugelhorn, percussion
- Julian Priester / trombones [bass, tenor & alto], percussion

- Patrick Gleeson / Moog synthesizer
- Buster Williams / basses [acoustic & electric], percussion

- Billy Hart / drums, percussion
- Victor Pontoja / congas
- Candy Love / chorus vocals
- Della Horne / chorus vocals
- Sandra Stevens / chorus vocals
- Scott Beach / chorus vocals
- Victoria Domagalski / chorus vocals

1. "Sleeping Giant" (24:48) Herbie's lone compositional credit on the album manages to fill an entire side of the album and, to my ears, represents the most structured jazz-like tune on the album. Opening with an awesome polyrhythmic percussive tribute to Africa, the song jumps into more Western-friendly arenas with bass and electric piano in the fourth minute. This is a sonic palette and style that will be replicated with much success by the likes of Emir Deodato and Brian Auger within the next year. A song that plays out like a smooth MILES DAVIS song (despite the Fat Albert-like theme interjected into the twelfth minute). (46.25/50)

2. "Quasar" (7:25) though the structure and flow are quite unusual and experimental, the sounds used, for the most part, are pretty straightforward traditional jazz instruments. (14/15)

3. "Water Torture" (13:54) piccolo and percussion and strange ARP and Moog sounds open this Bennie Maupin composition, truly mimicking some of the sounds of water. That feeling and sensation of waterflow somehow is maintained continuously, though in varying forms, throughout this extraordinary piece.
     After 90 seconds an actual musical soundscape is built around bass, keys, and clarinet while percussives and trumpet play around on the edges. (28/30)

Total Time 46:21

Here the band (now ready to become a septet since the reluctant though-official addition of synthesizer guru and token white person, Patrick Gleeson) is more seasoned, working seamlessly, almost effortlessly, in cohesion. The music feels more rehearsed, more repeatable, and still quite organic despite the addition of Patrick Gleeson's synthesizers and sound treatments and the advent of spacier sonic backdrops. The production is so clean and clear, with each instrument standing prominently in the mix wherever its place. (The previous album had a more equanimous washed feel to it and the next album, Sextant,

suffered from poor sound engineering.)

92.89 on the Fishscales = A/five stars; a masterpiece of progressive rock music coming from the jazz-rock fusion subgenre. My favorite of Herbie's three "Mwandishi" albums--earning a Top 20 ranking among my Favorites.




25. CERVELLO Melos (1973) 

The debut--and only studio album release--by Napolitano natives Cervello is eclectic, exotic, unusual, and interesting. Introducing to the world 17-year old guitar phenom, Corrado Rustici. This album is one of the best recorded and mixed albums from this classical Rock Progressivo Italiano scene--especially in the drums department. Also, all chord presentations coming from the guitars are so harmonically unusual when thrown into the rest of the melodic key structure. Truly an innovative and experimental adventure in music making. Recorded in 1973 in Napoli and released by Dischi Ricordi S.p.A., on September 23, 1973.

Line-up / Musicians:
- Antonio Spagnolo / 6 & 12 string acoustic guitar, bass, pedal, recorder, vocals
- Giulio D'Ambrosio / electric sax (contralto & tenor), flute, vocals
- Corrado Rustici / guitar, recorder, flute, vibraphone, vocals
- Gianluigi Di Franco / lead vocals, flute, small percussion
- Remigio Esposito / drums, vibraphone

1. "Canto del Capro" (6:29) opens with three minutes of weird, creepy psychedelia before establishing a fairly fast-paced psych rock song. The musicians are performing very tightly, at a very high level of competency. The dissonant flutes, guitar plucks, and reverse electric guitar over long, steady Mellotron chord progression are so fresh and creative. An odd but brilliantly inventive song. Brave youths! (9.5/10)

2. "Trittico" (7:19) opens with strong vocal sung over electric guitar arpeggi, trading the lead with flutes and vibes. Again, such an unusual and inventive foundational sound and construct! Guitar harmonics takes the lead in the third minute before vocal effects project the singers' voices to be in several places in the sound. Then, suddenly, at 3:06 the band kicks into high gear with rapid fire lead guitar licks, drum flourishes, sax, bass, and vocal stepping into the oddly-timed pace. Everything drops back into pastoral pace at 4:20--though lead guitar is playing his arpeggi at a much faster (William Tell Overture) speed. These guitarists are so talented--moving in and out of time signatures, in and out of acoustic and electric sections, in and out of strumming and picking. The song has a very odd fade-in and fade out closing of "la-la-la" drunk men's vocal chorus. Amazing song! (14/15)

3. "Euterpe" (4:32) opens with acoustic guitars and recorders before vocalist. I love the vocals of Gianluigi di Franco because they feel so common and relaxed, not forced or operatic or melodramatic. This song is John McLaughlin-inspired Corrado Rustici's breakout song--the one that lets us know just how fiery his lead style is. And yet, the fact that he has held back (or been held back) over the first 14-minutes of this very adventurous, very experimental album, just let's me know how band-oriented and non-ego driven this young man was. (9.5/10)

4. "Scinsione (T.R.M.)" (5:43) Probably the weakest song on the album, but still exploratory and innovative, not straightforward at all, it just doesn't have the beauty, surprise- or wow-factors of the previous songs. The sustained, almost-droning synth occupying the background throughout (and then climbing to the fore in the final minute) is absolutely brilliant--as is the multi-tracks of Corrado dueling with himself at the end. (9/10)

5. "Melos" (4:58) Vibes, slow acoustic guitar picking, gentle voice is soon joined by Pete Giles-like drumming, flutes to make for a gorgeous if slightly King Crimson-like song. The interplay of multiple vocalists in the second minute is cool. The two-guitar interplay that follows with singing over the top is a little awkward, but the cacophonous buildup that follows with Corrado's blistering, bluesy guitar soloing over thick mix of saxes and Mellotrons is awesome. (9.5/10)

6. "Galassia" (5:48) opens with cymbal play soon joined by distant flutes, guitar picking and voices. By the time the one minute mark arrives the soundscape had moved more forward--except for the vocals that soon ensue--which remain in the far background. Drums, guitars, flutes, even Mellotron are all forward of the voice. Vibes and electric guitar take turns soloing over the acoustic guitar pretty picking--until voice and Mellotron jump in to declare their messages. At 3:25 everything drops out for a brief vocal section before a heavy, frenetically paced instrumental section comes crashing in. This insistent, crazed weave seems to creep steadily forward even till the end. (9/10)

7. "Affresco (1:11) is an adventure into space and effects with vocal, flutes, and picked guitars weaving together over the top--the most forward presentation of sound on the album! Surprise and flawless. (4.5/5)

92.86 on the Fishscales = five stars; A; a true masterpiece of progressive rock music and one of my favorite albums from the classic period of Rock Progressivo Italiano.




26. ARTI E MESTIERI Tilt - Immagini per un orecchio (1974) 

Recorded in Roma, Italia, at Chantalain Studio, Tilt was released by Dischi Ricordi on April 1, 1974 and later Cramps Records.

Line-up / Musicians:
- Luigi "Gigi" Venegoni / electric & acoustic guitars, ARP2600 synthesizer (8), co-producer
- Beppe Crovella / acoustic & electric pianos, ARP2600 & Eminent synths, Mellotron, Hammond organ
- Giovanni Vigliar / violin, vocals, percussion
- Arturo Vitale / soprano & baritone saxes, clarinet & bass clarinet, vibraphone
- Marco Gallesi / bass
- Furio Chirico / drums, percussion

1. "Gravità 9,81" (4:05) opens the album with an energetic burst before backing off to allow for an almost chamber strings intro. At the one minute mark everybody in the band jumps into a fully-formed JEAN-LUC PONTY-sounding song of high speed, tight sequencing of high complexity, and very catchy melodic presentation with violin in the lead. At the two minute mark things break and shift to a slightly slower tempo a different structure as the bass and saxophone become more prominent. Amazing drumming throughout and nice presence of Mellotron in the background. At 3:40 we return to the violin theme of the second minute for the finale. Tight song of melodic and instrumental perfection. (9.5/10)

2. Strips (4:39) drum kit and piano and synth bass line open this before the 'tron and violin enter and the drums kick into full gear. Saxes enter later with a second melody introduced into the weave. After 90 seconds things stop and restart with vocals! Multi-voiced, gentle, even sappy--as acoustic guitars, xylophone, and Mellotron accompany in a gentler fashion than the previous section. At the three minute mark the vocals end and piano, violin, xylophone and acoustic guitar take turns with the melody in between singing sections while drums and bass support in a kind of staccato way for the final two minutes of the song. Unexpected and nice! (9/10)

3. Corrosione (1:37) opens with Mellotron strings before bass, keys, and cymbals crash in with two-stroke pattern over which roto-toms and sax. It turns out that this song is merely a bridge between "Strips" and "Positivo / Negativo" as both songs bleed into each other. A kind of three-chord experiment over which drummer gets to play and sax and keys hold down the melody and chordal structure before going into: (4.5/5)

4. "Positivo / Negativo" (3:29) opens with slow, forceful single-stroke strums of a 12-string guitar accompanied by congas. Violin, synths, cymbal play and vibraphone join in. The tempo shifts a couple of times as vibraphone takes a brief turn at lead until at 1:40 things stop, new keyboard instrument takes over the "strum" of the guitar as rest of band jumps it at breakneck speed to allow shapeshifting extravaganza of solo-turn-taking--saxes, violin, electric guitar, vibes, and then all in unison!--and this while the bass and drums are terrorizing the rhythm tracks beneath. Wow! Impressive! (9.5/10)

5. "In Cammino" (5:36) opens with some beautiful slow sax and, later, vocalise melody-making with piano and brushes providing some support. At 1:45 there is a stop as piano and electric piano provide a pretty bridge into a new section in which full band supports violin and sax dual lead melody establishment. Frequent stops, breaks, tempo and stylistic shifts follow though the busy bass, drums, and keys remain at the foundation of it all throughout. Nice electric piano and electric guitar soloing in the fifth minute. Man, this band is tight! J-RF doesn't get much better than this! (9.5/10)

6. "Farenheit" (1:15) opens as if a little piano interlude ditty, but after the first run through the piece, seconded by sax, and then full rhythm section for the third, and sax and violin for the fourth and fifth. (4.25/5)

7. "Articolazioni (13:24) opens a bit like something from PFM's Per un amico, slow and exploratory, not ready to commit to full song but willing to play around with a theme. At the one minute mark there is a pause before the band kicks into a mid-tempo, full band jazz-rock exposition with violin, sax and electric guitar providing the melody in triplicate. Music shifts behind speeded up, frenetic drums yet slowed down bass and keys while violin, sax, and guitar take turns teaming up or independently carrying the melody forward. At 2:46 there is another break before soprano saxophone restores the melody while drums and bass provide a slow, sparse, stoccato accompaniment. At 3:17 a cool drum roll across the toms signals a new full-on dynamic commitment, but this is short-lived as a lot of shifts and transition/transformations occur before a slightly more straightforward (Brian Auger-like) singing section begins by the end of the fourth minute. Cool tension in the transition at the 5:00 mark and thereafter--a kind of preview of BRUFORD/UK-ishness. Speaking of which, man is this drummer amazing! soft and loud, subtle and intricate, fills and cymbal work that have blinding speed, and always in command as the staunch time-keeper. Very cool instrumental sections broken up by brief vocal sections play out with lots of vibes, 'tron, violin and sax in the lead. One neat thing about this band seems to be that the lead instrument is always propelling the songs' melodies with very detailed, intricate, and often-doubled up melody lines and that the actual "solos" are actually very few and brief. At 10:30 there is a big downshift in both tempo, delicacy, and mood with vibes and violin establishing the melody while drums do all kinds of wildly impressive subtleties before sensitive singing enters. At l1:45 band amps up for the full exposition of the current melody before 'tron and flanged strummed electric guitar guide us into a kind of GENESIS "As Sure as Eggs Is Eggs" finale. Great song with dazzling but never over-the-top or overwhelming complexity, constant beauty in the melodies. (24/25)

8. "Tilt" (2:29) an exercise/étude in synthesizer weirdness--including special effects being applied to saxophones and violin. Not exactly melodic or very memorable, it is a fitting representative of the infatuations that new technologies must have been causing adventurous musicians in the early 1970s. (4/5)

Total Time 36:34

How is this album, this band not as famous and talked about as other Italian prog from the mid-70s? The instrumental prowess, mature songwriting, broad dynamics, and great production here is to my mind on par with PFM, Banco, and Cervello and even AREA! Prog of ANY era does not get better than this--especially in the fact that acoustic and folk elements are worked in and there were no computers! Where are people finding the deficiencies or inadequacies! Not in melody. Not in sophistication. Not in sound quality. Is it in the seeming lack of originality? (I read all the comparisons to Mahvishnu and Jean-Luc Ponty.) Break out albums happen. The fact that they emulated--that they inspire other musicians to create in a similar style--should be rewarded not penalized! To strive to be the best--to go through doors that other geniuses have opened--should be lauded and encouraged, not denigrated and discouraged! They may even end up refining something to make it even better! But it could never happen if they are discouraged from trying. I have no hesitation calling this album a masterpiece of progressive rock music--composition and performances of the absolute highest caliber---and, best of all, very accessible/engaging and enjoyable (as opposed to some of the obtuse and jarring music made by Mahvishnu, Miles, and even Yes. Check this album out everybody! It's a work of genius, passion, and inspiration from start to finish. It should be heralded as one of the shining pieces of 1970s progressive rock music--not just RPI or jazz-rock fusion.

92.81 on the Fishscales = A/five stars; a true masterpiece of jazz-rock fusion from the classic era of Rock Progressivo Italiano. One of my Top 10 Favorite Jazz-Rock Fusion Albums from prog's "Classic Era."

27. RALPH TOWNER Solstice (1975)

Recorded in December of 1974 in Oslo's Arne Bendiksen Studio with Jan Erik Kongshaug sitting behind the engineering console, it was released during the following year by ECM--perhaps as late as September. Many consider this album as a defining moment--even one the crowning achievements--of Manfred Eicher's ECM label.

Line-up / Musicians:

- Ralph Towner / 12-string guitar, classical guitar, piano
- Eberhard Weber / cello, bass instrument
- Jan Garbarek / flute, saxophones [soprano & tenor] 

- Jon Christensen / drums, percussion

A1. "Oceanus" (10:58) a very cool, very fresh sound with Jon Christensen and Ralph Towner keeping busy on their respective instruments while Eberhard Weber almost drones away on his bowed electric bass (or cello) and Jan Garbarek fills the front with periodic exhalations from his sonorous tenor sax. The quartet amps up the intensity and volume a bit in the fifth minute before Ralph enters into a jazzy 12-string solo. I'm hard pressed to tell you whether or not the syncopated rhythm 12-string work is the same track with Ralph playing it all at once or whether there is a completely separate track dedicated explicitly to each (lead and rhythm). Jon Christensen's infinitely-nuanced cymbal and snare work is so patiently deployed, responding to Ralph's guitar work that it almost feels as if the two were joined at the brain. And Jan and Eberhard's contributions are so respectful, so reactive and ego-less. (I think that would be the quality I can claim to like best with regards to Jan's saxophone playing: his patient response to both external and internal "calls to action.") Brilliant and enjoyable song despite lacking much in the way of melody. (Weird to think that Eberhard's drone-like bass notes may have been the most melodic in the song--at least in terms of a Western sensibility of what is "melodic.") (18/20)

A2. "Visitation" (2:32) an exercise in Nature and primordial recreation. (4.333/5)

 
A3. "Drifting Petals" (6:56) Ralph on solo piano playing a playful, gentle, introspective pastoral tune is joined in the second minute by Jan's flute. In the third minute, drums, reverberated fretless electrified bass, and Ralph's 12-string guitar step forward to creepy-crawl an exercise in hypervigilance--one that each of these ECM masters are completely up to task. The whole-band dynamic interplay in the fifth minute--both loud and soft--provides a real emotional peak. And the return to gentle piano arpeggi and guitar flute for the final minute is a display of sheer perfection in symmetry. (13.75/15)

B1. "Nimbus" (6:25) here is where I see fodder and inspiration for Pat Metheny's own solo acoustic guitar work. My favorite song on the album: it's absolutely gorgeous music. After 2:30 of exquisite solo acoustic guitar work the band is slowly coaxed into joining Ralph: first Jan's flute, then a slow entry of Jon' beautifully nuanced drumming, along with more tracks of Ralph's guitars and two tracks of Eberhard: one on bowed cello and one on upright double bass. Once full speed has been reached Ralph's awesome 12-string play is met face-to-face with Eberhard's dynamic double bass play and the entry of Jan's perfectly-balancing tenor sax. I don't always like Jan's work (or that of any saxophonist) but this is amazing--and powerful! Great, rousing band interplay over the course of those final couple minutes. Wonderful music even acoustic musicians can make thanks to the magic of multi-tracking! (10/10)

B2. "Winter Solstice" (3:58) Ralph playing near-Spanish style classical guitar with Jan meeting and matching him all along the way with his soprano sax. Man! These two are so in sync--so attuned! And both are definitely putting their full virtuosity on full display. Though I'm not such a fan of the melodies chosen/played by the two, I am so incredibly impressed by their astonishing timing in conveying them that I can't help but be won over. Standing ovations for this one! (9.75/10)

B3. "Piscean Dance" (3:33) funk in acoustic jazz?!? Jon Christensen and Ralph are definitely trying their best to demonstrate its possibility! Definitely a song that both impresses and endears both artists to me even more. (9.3333/10)

B4. "Red And Black" (1:12) electric guitar, volume-controlled whale sounds from Eberhard's electrified bass, and Ralph's acoustic guitar explorations--all coming together as if purely intended as an exploration of a certain sound possibility. (4.375/5)

B5. "Sand" (4:07) droning (and, probably, heavily-effected) sustained bowed cello notes joined by double bass notes with soprano sax splatterings and, eventually, Jon's funky drum play and effected 12-string guitar strums and gentle pickings all come together to create a sound palette that sounds remarkably similar to that which Corrado Rustici, Elio D'Anna, Percy Jones, Renato Rosset, and Narada Michael Walden will be creating for their 1976 NOVA album, Vimana. (9.33333/10)

Total Time: 40:57

I am emotionally and mentally blown away by the music Ralph and his virtuosic friends (and Manfred Eicher's production crew at ECM) have created for this album! I'm still blown away that they could create funk music without the employment of any electronic instruments!

92.79 on the Fishscales = A/five stars; a masterpiece of some of the finest, most creative guitar-centered acoustic jazz you are likely to ever hear.

28. MICHAL URBANIAK Fusion III (1975)

A name whose presence in the musicians' credits of so many pop and jazz albums of the 1970s seems rather ubiquitous yet he also remains quite mysterious for the fact that one never hears his name mentioned along side the other violin virtuosi of the era (e.g. Jean-Luc Ponty, Jerry Goodman, Darryl Way, PFM's Mauro Pagani, Arti e Mestieri's Giovanni Vigliar, David Cross, Ray Shulman, Dave Swarbrick, Robbie Steinhardt, and, of course, Eddie Jobson). Also, one must remember he is also a Montreux Jazz Festival award-winning saxophone player! Listening to this I cannot help but wonder why. This is Michał's first album made without his core of native Polish musicians, incorporating a full complement of American jazz-rock musicians--a veritable Who's Who of the Jazz-Rock Fusion movement. It was recorded at Electric Lady studios in New York City for CBS late in 1974 and then released to the public on Columbia Records on February 1, 1975.

Line-up / Musicians:
- Michał Urbaniak / electric violin, violin synthesizer
- Urszula Dudziak / voice, percussion, electronic percussion
- Wlodek Gulgowski (Pop Workshop) / electric piano, Moog, and electric organ
- Anthony Jackson / bass guitar
- Steve Gadd / drums
- John Abercrombie / guitars

With:

- Joe Caro / guitar (A3)

- Gerald Brown / drums (A3, B1)
- Larry Coryell / guitar (B1)

- Bernard Kafka / voice (B3)

A1. "Chinatown [part 1]" (5:24) opening with a keyboard riff that conjures up memories of many Jean-Luc Ponty songs, it quickly turns Mahavishnu as the blazing guitar of John Abercrombie takes us out of the intro and into the somewhat sparse-yet-funky motif the rest of the band establishes over the next minute. Man! is John flying! And man! is this band in synch! The syncopation coming from Steve Gadd's concise drumming is met and accented by everyone else with concise perfection. Urszula and Michał's doubled up lead melody takes us through a section of even more Mahavishnu-like complexities, which only continues and intensifies as Michał's wailing electric violin blazes on and the rhythm team below handles some incredibly difficult Cobham-like funk from beneath--and this never lets up for the entirety of the song! Astonishing! Amazing realization of the great violinist's compositional skills. (9.75/10)

A2. "Kujaviak Goes Funky" (6:12) A song that was originally composed by keyboardist Wlodek Gulgowski's band-mate and songwriting partner from his previous project, POP WORKSHOP, saxophonist Zbigniew Namyslowski (and which appeared as the last song on that band's final release, Song of the Pterodactyl released in 1974). Here Michał and Ula lead us through a slowed down RTF/J-LP-like opening of step-by-step unfolding and unstable music that has us on the edge of our seats, expecting tangents or changes in direction in each and every minute while Michał's violin and then Wlodek Gulgowski's Moog and, later, John Abercrombie's guitar, solo at the god-like levels of the greats of their ilk, like Jean-Luc Ponty, Jan Hammer and Chick Corea, and John McLaughlin and Al Di Meola, respectively. The whole band playing at an incredible level of technical wizardry that I thought only occupied by the likes of Mahavishnu Orchestra and Return To Forever. but no! Michał Urbaniak's Fusion is every bit as good--maybe even smoother and better engineered than the afore-mentioned superstars. I guess sometimes it takes a great song to inspire the performances of the current band members. (9.5/10)

A3. "Roksana" (5:42) here employing guests "Gerald" Gerry Brown for drums, Joe Caro for the guitars, and featuring scat vocalizations of percussionist Urszula Dudziak, the band cruises along with admirable skill, speed, and solo performances from Michal, percussionist Urszula Dudziak creating some rather unusual yet-highly-skilled wordless scat vocalization, and excellent electric piano work from Wlodek Gulgowski. Quite simiilar to The Mad Hatter-era Chick Corea. I just love the mood of joy and ease projected by this song. (9.25/10)

A4. "Crazy Kid" (2:35) another heavily-processed single track of percussive pre-Bobby McFerrin vocalese scatting from Ula in the same vein as previous a cappella tracks like "Kama Ula" from the band's previous album for Columbia, Atma. (8.875/10)

A5. "Prehistoric Bird" (5:19) another slightly-more-angular RETURN TO FOREVER-like funk tune that was written by keyboardist Wlodek Gulgowski for his former band, POP WORKSHOP, and its 1974 fusion release entitled, Song of the Pterodactyl. This version includes some very innovative sound from bassist Anthony Jackson's electric bass--especially the full chord play (the kind of which RTF bassist Stanley Clarke would make great use of on next year's Romantic Warrior album). The lead instrumentalists all seem to be travelling at those breakneck speeds first championed by the first incarnation of the Mahavishnu Orchestra, including Ula's scatting voice, Michał's violin, John Abercrombie's extraordinary electric guitar, Wlodek Gulgowski's Moog, and, of course, Anthony Jackson's amazing bass. With its title and angular rhythmic and melody lines I find myself falling into almost constant comparisons to Japanese band BONDAGE FRUIT's first two amazing albums. Almost too amazing to process! (Are we sure that this isn't a song on which the great Larry Coryell is also collaborating? I swear in that last minute that the screaming lead guitar belongs to none other than The Godfather of Fusion! If it's not then even greater kudos need to be offered to the sadly under-acknowledged other-worldly skills of Mr. Abercrombie.) Also, the opportunity should never go unpassed with which to acknowledge the incredible gift and skill that Urszula Dudziak possesses: to be able to keep up with those machine-gun-fast melody lines, matching the other soloists note for note with such flawless timing is nothing short of miraculous--especially in this pre-digitized era where every thing had to be synched up live! (9.333333/10)

B1. "Bloody Kishka" (4:21) the other song on the album on which Gerry Brown sits at the drum kit in place of Steve Gadd also features peak fusion-era Larry Coryell on guitar. As much as I've always loved the drumming of Steve Gadd (he is definitely the most impressive drummer I've ever seen in a live concert setting), I have been feeling an increasing appreciation and love for the smooth, super-filled funk playing of Gerry Brown. I've come to cherish his play as the only drummer on a par with Lenny White and Billy Cobham. (Jack DeJohnette may be in a category all to himself.) BTW: this is a charming song with cute, catchy, excellent melodies and flawless whole-band funk support. I'm so tuned in to the amazing work of Gerry and bassist Anthony Jackson that I almost forget to pay attention to Michał and Wlodek Gulgowski's main melodies much less Larry's excellent "underwater" guitar solo. Great performances from Wlodek Gulgowski and Urszula Dudziak as well (first and foremost for her percussion work but also for more of those wonderful main-melody-duplicating wordless vocals). Definitely a top three song. (9.25/10)

B2. "Cameo" (4:41) gorgeous melodies over a J-L Ponty-like slow-funk support--I mean, it sounds almost exactly like something off of Aurora or Imaginary Voyage.which is weird since both of these albums were released after this album. Maybe it was Michał's work that pushed Jean-Luc into his string of albums on which he really began exploring his increasingly-highly-processed electric violin sounds!? Whatever. Michał is definitely in the same category of haunting melody-making as Ponty and Vigliar. (9/10)

B3. "Stretch" (6:20) more great funky jazz-rock of the Third Wave style and sound production stupendously cohesive performances from Steve Gadd, Anthony Jackson, and his Polish compatriots (Wlodek and Urszula). Such a solid, mature song. (9.33333/10)

B4. "Metroliner" (4:44) another GREAT Jean-Luc-like jazz-funk song with great melodies throughout as well as stupendous work from the rhythm section that also features a breath-takingly amazing guitar solo from John Abercrombie. (9.5/10)

B5. "Chinatown [Part II]" (3:56) a loosy-goosy chance for each of theband members to let loose (great way to end an album cutting session!) Not the most pleasant listen but an awesome display of skill and fun. (8.875/10)

Total time: 49:14

Overall I don't hear a lot of distinctive sound or melody play from Michał on his electric violin; it all sounds very similar to the sound and amazing sense of melody-delivery that Jean-Luc Ponty and Giovanni Vigliar possess. It's a good thing I love the sound, work, and albums of Jean-Luc Ponty so much since it allows me easy access to the genius of this composer/violinist. Also, high commendations should be awarded to Michał for the genius decision of employing this particular team of support musicians: they can really deliver the funk; they're definitely one of the most skilled, cohesive ensembles I've ever heard. Now that I've heard one of Michał's solo albums, I feel quite compelled to go back and listen to the rest of his discography--which is a problem in that he has a dozen solo studio album releases from the Seventies alone! 

92.66 on the Fishscales = A/five stars; one of the most impressively consistent displays of excessively high skill and compositional and performance perfection ever put to vinyl (or tape). And I'm not just talking about a couple of the songs, I'm including the whole album, start to finish. An album that now sits in my Top 20 J-R Fusion Albums of All-Time! You'll come away blown away by not only the music here but the skills on display from every single member of this band! Visionary and ahead of his time, when you listen to any album by Michał Urbaniak you MUST take into consideration that the songs you are listening to were recorded and released BEFORE any of the references your brain wants to compare them to!

After listening intimately and with great rapture to Michał's first seven albums over and over during the past week I have to say that I think he has supplanted all of my other heroes of the Jazz-Rock Fusion movement at the top of the hierarchy: the most consistently best compositions, the most consistently interesting, innovative, and high-quality sound production, he attracted/chose the absolute highest caliber of musicians to collaborate with (many of whom are still woefully unsung), and the albums that he created have all felt absolutely incredible start to finish--and remain albums that not only keep me coming back but eliciting pure joy and excitement with every thought of doing so.

29. PERIGEO Abbiamo Tutti un Blues da Piangere (September 1973)

Italian band Perigeo's sophomore studio album, it was produced for RCA records in Roma by Gianni Grandis and then released in September of 1973. It's nice to see the band's lineup stay the same from their debut album as I am curious to watch their development both as a band as well as virtuoso musicians.

Line-up / Musicians:
- Bruno Biriaco / drums, percussion
- Franco D'Andrea / acoustic & electric pianos
- Claudio Fasoli / alto & soprano saxophone
- Tony Sidney / guitar
- Giovanni Tommaso / vocals, basses

1. "Non c'é Tempo da Perdere" (8:48) vocal-led up-tempo jazz-rock that starts out with a long intro of instrumental roaming as piano and cymbals are busy feeling around beneath the ethereal male vocals. It reminds me of some of Tony Williams' compositions. I like Franco D'Andrea's Fender Rhodes style, but drummer Bruno Biriaco grabs most of my attention throughout this one. (18/20)

2. "Déjà Vu" (4:58) I know that I'm hearing an uncredited violin in the lead during the intro to this sax-led song (or is it Giovanni Tommaso bowing his double bass?). So who was it? Piano and guitar arpeggi provide the initial support for the sax (and continued violin) I really like the unconventional melody lines throughout this one--more jazz like than rock: more like a Coltrane or Magma composition. (9.5/10)

3. "Rituale" (7:31) great jam that just sucks the listener in deeper as it builds and builds. Kind of like a classic Traffic (Stevie Winwood), Allman Brothers or Joe Cocker jam. I just love this! It's so fun--and so funky! (15/15)

4. "Abbiamo Tutti un Blues da Piangere" (6:08) acoustic guitars (two tracks) on display for the first minute before bass takes the lead over some very gently-picked steel-string guitar. Keys first make a mark at the two-minute mark (with cymbals) but only a couple chords for the first 30-seconds, then full complement of toms and Fender Rhodes join in as the full band kicks into sync. Soprano sax takes the lead from the three-minute mark over some awesome bluesy-jazz groovin'. So solid! Too bad I'm not more of a fan of the saxophone family. (8.875/10)

5. "Country" (3:03) more keyboard-centred DEODATO-and DONALD FAGEN-like music. Quite brief. (9.125/10)

6. "Nadir" (3:46) gentle Fender Rhodes with equally gentle saxophone over the top. Switch in the second minute to fiery electric guitar teaming up with the sax to carry the melody forward. I really like American-born guitarist Tony Sidney's fire! (9.5/10)

7. "Vento, Pioggia e Sole" (9:40) It feels obvious to me that American-born guitarist Tony Sidney had been hearing either John McLaughlin or Cervello's Corrado Rustici because his guitar playing has progressed in directions reflecting this style of pyrotechnical flourishing. Such solid drum and bass play throughout. Great jazz piano solo in the last quarter of the song. (18/20)

Total time 43:48

I don't get why some reviewers have rated this album lower than their debut as I see no flaws or weaknesses in this album. Keyboard artist Franco D'Andrea's playing is far more supportive, serving in a mostly accompanying fashion than flashy noodling, which is fine, but, knowing that he develops into such a virtuosic solo jazz piano artist makes one wonder what was going on with him during the composition and recording of this session. Tony Sidney's guitar and Claudio Fasoli's sax seem to take far more of the lead/front stage on this album--which is fine since both are very good and have grown so much since the year before--while the rhythm section has just gotten tighter and more mature.

92.5 on the Fishscales = A-/five stars; a minor masterpiece of jazz-rock fusion--even better, in my opinion, than its predecessor--the band's highly-regarded Azimut. One of my Top 20 Favorite Jazz-Rock Fusion Albums from prog's "Classic Era."




30. PAUL WINTER CONSORT Icarus (1972)

Not your typical Jazz-Rock Fusion since there is little rock, R&B, or funk infused into these songs: what Paul Winter and company gives you is more of a classical, folk, and world music infusion with jazz--which is exactly why I've chosen to include this review among this list: to help illustrate how broad the styles of the sub-genre are. The album was released by Epic Records on May 1, 1972.

Lineup / Musicians:
- Paul Winter / soprano saxophone, vocals
- Paul McCandless / oboe, English horn, contrabass sarrusophone, vocals
- David Darling / cello, vocals
- Herb Bushler / bass guitar
- Ralph Towner / classical guitar, 12-string guitar, steel-string guitar, piano, bush organ, regal organ, vocals
- Colin Walcott / drums, kettledrums, congas, surdo, tabla, mridangam, bass marinda, sitar
- Billy Cobham / drums (4, 6)
- Milt Holland / Ghanaian percussion (6)
- Barry Altschul / random percussion
- Larry Atamanuik / drums (1)
- Andrew Tracey / dobro (9)
Chorus on "Minuit": Janet Johnson, Paul McCandless, Bob Milstein, Paul Stookey

1. "Icarus" (3:02) one of THE anthems for the environmental/ecological movement--and a beautiful song, to boot. (10/10)

2. "Ode to a Fillmore Dressing Room" (5:32) wonderfully pregnant weave of multiple beautiful tho-sad melodies open this one before David Darling, Herb Bushler, and Ralph Towner put together a more pastoral Spanish theme over which Colin Walcott's sitar and other Indian instruments as well as Towner's amazingly sensitive guitar provide direction and mystical melody. Colin really gets cooking in the fourth and fifth minutes while Ralph supports from beneath. Then the winds and cello and percussion enter to give Colin a cushion for a safe landing. Brilliant! (9.5/10)

3. "The Silence of a Candle" (3:22) piano and voice open this one before being joined by bass and cello for the chorus. A surprising song for a jazz-rock album but perfectly appropriate for a band whose vision of activism was went far bigger than music alone could take them. (9/10)

4. "Sunwheel" (4:52) cello, funky bass, strumming guitar, rollicking drums (from Billy Cobham!) and percussion, cor anglais, and soprano saxophone converge to create this melodic jam that plays out like a little funkier version of "Icarus." (8.875/10)

5. "Juniper Bear" (3:10) essentially a tabla and 12-string duet. Okay. (8.666667/10)

6. "Whole Earth Chant" (7:42) one of the more complex and complete compositions on the album included Ralph Towner's Regal organ and Paul McCandless' contrabass sarrusophone as well as electric bass guitar Ghanaian percussion from Milt Holland and Billy Cobham's rather tame drums as well as David Darling's "funk cello" and Paul's soprano sax. There is funky transition in the fifth minute led by Billy and David into the rousing Ghanaian finish. (14.25/15)

7. "All the Mornings Bring" (3:48) wordless vocals and timpani open this before Ralph sets up a kind of WILLIAM ACKERMAN/Windham Hill style of song. After the intro the reed horns lead the way into a harmonized melody and then the rest of the troupe joins in with great jazz-rock drumming and bass playing from Colin Walcott and Herb Bushler, respectively. Paul McCandless' oboe play is superlative--one of my favorite expositions on the entire album. (9.375/10)

8. "Chehalis and Other Voices" (5:26) opens with some classical guitar and classical/chamber-sounding horn and cello arrangements. Quite lovely--and played very much like something out of an English folk song like Elgar, Delius, or Britton--or Copeland in the US--might have penned. This just goes to show you how accomplished/virtuosic classically-trained Ralph Towner really was--as well as how well-trained were the other members. I love it! At the end of the fourth minute David Darling starts "scraping" his cello fretboard in the way he was known to, a manouevre that kind of signaled everyone to back off so that Ralph could go solo classical. At 4:40 the rest of the "chamber quintet" rejoin to accompany Ralph's harp-like guitar to the song's close. (9.3333/10)

9. "Minuit" (3:06) falling back into the more Western/Americana/Copeland sound-style, the band creates a fairly simple, thin foundation over which they all sing (including folk singer Janet Johnson and Peter, Paul, and Mary's Paul Stookey!) Nice anthemic sing-a-long that I'm sure went over big with audience participation in intimate concert settings. Not proggy or even jazzy, it's a pretty little song. (8.875/10)

Total Time: 39:20

Recorded in 1971, the album's producer, the George Martin, claimed for years that, "Icarus is the finest album I've ever produced." I won't disagree.

92.50 on the Fishscales = A/five stars; a masterpiece of world folk-oriented jazz-rock fusion created by visionaries of human potential that the rest of the world is still trying to catch up to.