The second section of my on-going list of reviews of the studio album releases from the 1960s and 1970s, here including only those albums that contributed to the first two waves of the Jazz-Rock Fusion bandwagon: the often-awkward experimentations and initial efforts to blend jazz with the new technologies and sounds coming available to musicians through the advances of electronics, expansion of technologies and equipment in the recording studios, and eventual introduction of music into the computer world. This page presents the albums that I've had the time to get to know and review whose achievements, in my personal appraisal, fell short of qualifying them for immortalization with an assignation of "masterpiece" status.

Near-Masterpieces

(89.0 to 90.0)

FREDDY HUBBARD Polar AC (1975)

The veteran trumpeter was getting on board the jazz-rock fusion train, here using a virtual who's who of proven J-R Fuse musicians in his recording sessions: Ron Carter, Bob James, Hubert Laws, George Benson, Airto, though it was mostly the "Quiet Storm"-genre of radio shows that was playing "Jazz Lite" music like this. Released by CTI Records on April 18, 1975, despite the fact that Freddie had left Creed Taylor and CTI Records some time before, the label decided to take advantage to the growing amount of radio play "Jazz Lite" music like this was garnering. The material released here comes from previously-unreleased recording sessions with Creed and Rudy Van Gelder back as far as 1972 and 1973.

I originally purchased this album because of the lineup of collaborating artists (I was hugely into Bob James, the Laws brothers, and Ron Carter during this period) but also cuz Freddy was covering two of my all-time favorite soul/R&B songs--both made famous by The Stylistics: "People Make the World Go Round" and "Bethca By Golly, Wow." The former of which Freddie made the best version of the song I've ever heard: here, on Polar AC.

Freddy had been notably trying some of the new rock-infusions on his previous albums from the early 1970s, but had been using his own or the studio's musicians to do so, and they just were't getting it. So, for Polar AC he called in some of the heavy hitters--musicians who had served time on the front lines: with Miles and Tony--including the three drummers here, Jack DeJohnette, Lenny White, and Billy Cobham and percussionist/drummer Airto Moreira.

1. "Polar AC" (6:57) a Cedar Walton tune covered with the help of Jack DeJohnette on drums. (13.125/15)

2. "People Make the World Go Round" (5:50) Lenny White is the drummer on this one. A personal favorite. (10/10)

3. "Betcha By Golly, Wow" (8:09) a good song that actually gets better when Freddie starts to take liberties with the melody lines. (13.5/15)

4. "Naturally" (5:52) a Cannonball Adderly song helped out by Billy Cobham. The song even sounds like a nostalgic look back into the post-My Favorite Things 1960s. Even Hubert Laws' flute feels so Sixties. Pleasant and melodic with very solid traditional jazz play (and sounds) from Freddie's supporting musicians. (8.875/10)

5. "Son of Sky Dive" (13:20) a reconditioning of the title song from one of Freddie's first attempts to foray into the Jazz-Rock Fusion idiom--a more latin rhythm form released in 1972 on which he used a lineup that included Billy Cobham, Airto Moreira, Ray Barretto, Ron Carter, Keith Jarrett, Hubert Laws, and George Benson. This one's better. Lenny White was pretty good, too. Sounds and plays out like "Love Connection Version 1." I absolutely LOVE Lenny White's drum play as well as Ron Carter's bass and keyboard support from George Gables. This is great modern-day jazz without collapsing into the quagmire of an abyss of "Smooth Jazz." (27.5/30)

90.0 on the Fishscales = A-/4.5 stars; a near-masterpiece of jazz-rock fusion.

ABRAXIS Abraxis (1976)

From Belgium, this album finds COS's Charles Loos and Jean-Paul Musette moonlighting from their Canterbury band to explore some more the more serious jazz-side of Jazz-Rock Fusion.

Line-up / Musicians:
- Jean-Paul Musette / bass
- Jack Mauer / drums
- Tony Malisan / drums
- Dirk Bogaert / flute, vocals
- Paul Elias / guitar
- Charles Loos / keyboards

1. "Clear Hours" (2:32) great upbeat jazz rock fusion with a light funk to it (not unlike some of COS' music from this time--the Viva Boma era). The use of bright, cheerful flute in the mix is delightful--as is the wonderful (9/10)

2. "Valse De La Mort" (16:14) opening with a very serious, slow-paced almost classical pastiche with flutist Dirk Bogaert leading the way over piano, classically-played acoustic guitar, and bass--no drums. In the fourth minute the music even moves more into the domain of classical sounding music as Bogaert and pianist Charles Loos duet--eventually becoming a more sonata form for Loos' dynamic solo piano until 5:22 when Charles hands it over to Dirk: solo flute time. Hi-hat, and metronomic bass drum and rim shots enter near the end of the seventh minute supporting Dirk while he finishes his solo. At 7:49 deep thrum of electric bass and electronic keyboard enter, setting up a kind of dreamy yet-suggestive carpet for guitarist Paul Elias to start up some electric guitar soloing. In the tenth minute the band really explodes beneath Paul's fiery guitar playing as the drummer bursts into full kit exposition. A return to soft carpet mode for a bit while electric piano solos, exploding again for Charles to switch to a Moog-like synth for some soloing, but then everybody re-gels into a softer, gentler motif as they return to acoustic instruments (except for Jean-Paul's electric bass). Flute and piano dance around one another for several minutes while the guitar and toms sit out (thought nuanced cymbal play remains in full participation). Charles takes over again for a piano solo in the 14th and 15th minutes while flute-like organ chords support from beneath. A whole band acoustic bridge at 14:45 moves into a brief transitional series of chaotic jazz chords before the band comes out the other side with a nice little two-chord HATFIELD AND THE NORTH funky motif and palette--which they then use to take the song to its end. I'm not sure how the composer came up with the progression of all of these very different (and seemingly unrelated) motifs for the movements of this suite but it all seems to work--and they're all rather expertly, even adroitly, convincingly, transitioned from one to the next. The composition and performances are all top notch. The song, however, does not contain enough catchy melodies or hypnotic grooves to earn my top marks. (27/30)

3. "Sweetank" (4:26) using a rather unusual combination of upper and lower register electric funky bass, wah-wahed distorted electric piano to fill the middle ground of the rhythm track, and funk drumming with electric guitar, flute, and some electric piano and Moog synthesizer sounds to fill the lead positions, this is a catchy tune with a great chord progression to push and pull all of the odd sounds together. Nice blues-jazz guitar work from Paul Elias. There's even time for a solo from virtuoso bassist Jean-Paul Musette--here paired up perfectly with an astute drummer (which one?). The final minute of flying Jazz-Rock is sublime for its seamless flow of three different motifs. (9.3333/10)

4. "Billy The Keith" (3:54) either the flute is being fed through a sound effect processor or Charles Loos' keyboard combination is replicating a wobbly flute sound (probably the former as Charles other sounds seem to occupy a lot of hands--or tracks). The song is a bit too subdued for my tastes though I comprehend the difficulty it is to play all of the tracks of this subtly-nuanced weave while maintaining some semblance of cohesion. (8.75/10)

5. "Jeronimo" (1:58) a quick exploration of a particular set of melody ideas that seems to inspire the whole band into solidarity and high-discipline. (4.5/5)

6. "Bolle Winkel" (6:46) a more theatric composition that reminds me of some of the great music from A Chorus Line though the drumming sounds very Billy Cobham-like. The second minute sees the band take a left turn down a high speed lane in which many of the band members can be seen to be hanging out their privvy clothes on the laundry lines above. An odd, almost crazy cacophonous choice of instrumental sounds and ejaculations ensues until Jean-Paul's breathy flute screams its way to the front in the fourth minute, inciting a riotous response from the bass, wah-wah-ed guitar, and electric keys. At 4:45 everybody but the drums and bass cut out for a rather dynamic (and great!) bluesy pseudo-classical Bob James-like piano solo--which almost takes us to the end. This is a song that kept getting better and better the further it went along. (13.5/15)

7. "Arhumba" (1:42) moving back into the near-classical realm of jazz music, this piece sounds like something transposed from a Django-Grappelli duet. (4.375/5)

Total time: 37:34

89.95 on the Fishscales = B+/4.5 stars; a near-masterpiece of Jazz-Rock Fusion exhibiting some very highly-skilled musicianship and composition. Were this album longer--to have included but one more full-length composition--it may have earned masterpiece status.

NOVA Blink! (1975)

Napolitano bands Osanna and Cervello unite (reuniting brothers Danilo and Corrado Rustici) for some groovin' jazz-rock fusion. Released by Arista Records in 1975 after being produced by Rupert Hine at Eel Pie Studios in London, England during August and September, Blink! probably reached the public in October or November.

Line-up / Musicians:

- Corrado Rustici / lead vocals, acoustic (2) & electric guitars

- Danilo Rustici / electric guitar

- Elio D'Anna / alto (2,3,6), soprano (1,3,5) & tenor (4,6) saxophones, flute (2)

- Luciano Milanese / bass

- Franco Lo Previte / drums

With:

- Morris Pert / percussion

1. "Tailor Made - Part 1 & Part 2 (5:09) what starts out sounding rather funky turns into driving blues-rock when the singing starts, but in the instrumental intervals between vocal passages it's highly-charged Jazz-Rock Fusion! Saxophonist Elio D'Anna is on fire but so is that rhythm section! What a temperamental song from these headstrong lads! (9.25/10)

2. "Something Inside Keeps You Down - Part 1 & Part 2 (6:11) opens as a kind of meandering, wandering "warm-up" or "practice" session turns into something quite else when Corrado Rustici enters singing in a high almost-falsetto voice. After two minutes, the singing shuts down and the band folds into a heavy rock motif that is anchored by some awesome deep bass playing and amazing drumming from Franco Lo Previte. Heavy and brooding but not bombastic or pedantic, this is very solid instrumental (9.25/10)

3. "Nova - Part 1 & Part 2 (7:10) opening with some funky rhythm guitar, Franco enters with some stunning drum work while everybody else settles into the rock 'n' roll groove. Elio takes the lead with some awesome sax screaming--on multiple instruments--while the guitars work out from beneath who's the lead and who's the rhythm. The brothers duke it out with Danilo shrieking out his more blues-anchored style before giving it up to Luciano Milanese's bass by way of short bursts from Elio and little brother Corrado with his fire-breathing machine gun. Elio gets another solo sixth minute which allows us to focus more on the different playing styles of the Rustici brothers: Danilo being all blues-orented while Corrado is so much more Mahavishnu--which is especially demonstrated when he finally lets loose in the final 30 seconds with some of his fire and brimstone. (13.5/15)

4. "Used to Be Easy - Part 1 & Part 2 (5:12) picked and strummed electricguitar chords over which Corrado starts singing in his higher-pitched vibrato voice that I'm so familiar with from my love of the band's Vimana album. The music beneath is sounds quite firmly founded in blues-rock, though you can tell from both his vocal and guitar that Corrado is very much interested in going a different direction (Elio, too); as a matter of fact, the rhythm section of Franco, Luciano, and Danilo all feel so firmly rooted in the blues-rock forms that this is the first time I'm conscious of the rift that must have led to their departure from the band. (8.66667/10)

5. "Toy - Part 1 & Part 2 (4:21) nice semi-funky rock with some jazzy elements coming from the rhythm guitar, lead sax, and drums (a bit)--the rest is more instrumental jam-band rock. By the time they get to the third and fourth minute the infectious groove has gotten so inside your being that the solos become quite enjoyable. I can't believe how 180 my view of this song became over the course of its four minutes! (9/10)

6. "Stroll On - Part 1 & Part 2 (10:33) hard-drivin', blistering-paced, near-metal blues rock with rather coarse and aggressive vocals from Corrado while the band races forward for the first six-and-a-half minutes, Luciano Milanese sounds very much like he's trying to match the speed and style of Percy Jones. Then they slow down a bit, allowing for a bit of space within which the various instrumentalists are able to clearly, patiently inject their solo--though the highlight of the entire song is Elio and Corrado's paired melody lines during the song's final two minutes; the two are in sync! (17.75/20)

Total Time 38:36

Interesting to contrast the two guitar styles of brothers Danilo and Corrado: the former is far more blues-rock oriented with lots of note bending and favoring a much more "dirty" sound while the latter is clearly a student/emulator of the technical wizardry of Mahavishnu John McLaughlin. At times Corrado's vocals sound so much like David Bowie! As accomplished as the musicians are, the sound engineering mix is not very enjoyable: the bass and drums are mixed farther forward than any of the other tracks! And Luciano Milanese is no Percy Jones (future member/contributor to the band) but he and drummer Franco Lo Previte are quite a force as a rhythm team. Though the music is often far too close to standard blues rock in both sound palette and style, I have come away very impressed with the power and presence of this album. I think the power of the music even helped me to cast aside my initial myopic orientation to only being open to Jazz-Rock Fusion. This is not Jazz-Rock Fusion. Still, it is my opinion, that the band's core trio's next move--to move to London, England, where they will use studio musicians in supporting rolls to record their next albums--is the best move they could have made.

89.89 on the Fishscales = B+/4.5 stars; a near-masterpiece of hard-driving technically-awesome jazz-infused bluesy rock 'n' roll music.

TOOTS THIELEMANS - PHILIP CATHERINE Toots Thielemans & Friends (1974)

Recorded for Keytone Records in Amsterdam in May of 1974.

Line-up / Musicians:

- Toots Thielemans / harmonicas, electric guitar

- Philip Catherine / guitars

- Chris Hinze / flutes

- John Lee / bass

- Gerry Brown / drums, percussion

- Joachim Kühn / piano, electric piano

A1. "Bé Bé Créole" (4:51) the first half of this sounds, to me, like a lesson in Harmonica 101 as presented on a show like Sesame Street; the second half like the more advanced class one mike take in one's junior or senior year. Thus, this makes, for me, all of the other instruments providing the base music relegated to the realms of cogs of dispensability: their efforts seem wasted. (8.66667/10)

A2. "Monologue" (4:08) a little more interesting from the lead instrument perspective, but sounding, in the end, like Chris Hinze's pre-Combination days of self-aggrandizing easy listening music to show one's skill at adapting other people's melodies, ideas, and styles to make "your own" compositions. (8.75/10)

A3. "T.T." (6:11) now here is a jazz tapestry in which M. Thielemans tries to find his way (instead of leading the others from his own melody-play): and it's one of his own compositions! The skills of pianist Joachim Kühn and drummer Gerry Brown get far more exposure on this and Toots actually backs off to let others have some of the spotlight. (8.875/10)

A4. "Two Generations" (4:11) now we're talkin'! Thanks for stepping in (or up) Chris! Piano and flute start it off before harmonica joins them, but the real boost comes 90 seconds in when Joachim leads the rhythm section into an explosion into a powerful SANTANA-like vamp over which Chris, Toots, and Philip Catherine take turns offering some kick ass solos over some seriously rowdy-rockin' all-out Jazz-Rock Fusion. A GREAT song. Easily my favorite song on the album. Like a Santana jam, I wish it would have gone on forever! (9.75/10)

B1. "Why Did I Choose You" (3:50) a Latin pop song (bossa nova by Michael Leonard) turned Smooth Jazz instrumental. Nice music by tightly-bonded group of very proficient musicians. Nice harmonica performance; very cool guitar support (Toots?) (8.875/10)

B2. "Uncle Charlie" (6:30) opens as a Louisiana swamp blues harmonica song that becomes funked up with the full band in support. Philip's raunchy distorted guitar actually fits fairly well over the steady funk-lite Billy Cobham-style jazz-funk. And it's not all dominated by a saccharine harmonica. Nice song, Toots! (9/10)

B3. "Friday Night" (3:46) Philip Catherine's lone compositional contribution to Toots' album involves some awesomely beautiful Spanish guitar (where was Philip when John McLaughlin and the guys were imagining some acoustic trio candidates?) While the song never really launches: it stays in the intro-interlude "limbo-land" the whole time, exploring wave after wave of guitar runs with near-"Theme from Midnight Cowboy" melodic hooks the entire time. It is, however, gorgeous. (9/10)

B4. "L'éternel Mari" (5:28) Joachim Kühn has created a great song here--one that stands up perfectly well with any lead instrument (reminding me a lot of something that could've come from either of Herbie Hancock's first two Head Hunters albums)--or none at all. The contributions of the harmonica up front are minimal enough to not take much away from Joachim, Philip, and John's performances: it's fine but man this awesome song could've served some really great artistry--from artists who were really deeply inspired and motivated to exploring the experimental sounds and technologies coming available in the mid-70s. (9/10)

Total time: 38:55

I really respect Toots Thielemans as a master of his instrument, as a fearless, ground-breaking musician, but for heaven's sake: it's a harmonica! I've already expressed my relative disdain for one-dimensional, melody-only musical instruments (the saxophone is my most disliked) and, as creative as one can be on the highly limiting harmonica, it's really about who one surrounds oneself with. Yes, the harmonica can deliver melodies with achingly-beautiful, heart-piercing emotion, but not every time: there are only so many "Theme[s] from A Midnight Cowboy," "Isn't She Lovely"s, and "Brand New Day"s that come across an artist's studio charts over the course of a lifetime.

Also, for getting second-to-the-top billing, Philip Catherine's contributions are certainly lower profile than what one might have expected. It is a bit fun (and insightful) to hear a little unscripted spoken commentary recorded (and published) in between the songs.

89.90 on the Fishscales = B+/ stars; what feels like a waste of time, effort, money, and talent turns out to present enough high-quality music to qualify as an excellent "near-masterpiece" of Jazz-Rock Fusion. The problem is that it astounds me to envision what this album could have been!

FROM Power On! (1972)

With this sophomore release from 1972, this German band showing tremendous growth, moving the band's music fully into the realm of Jazz-Rock Fusion. Power On! was recorded in Germany for CBS at Tonstudio Walldorf, though I am not sure which one though probably the one in Frankfurt am Main because of Rainer Maria Ehrhardt's involvement in its production.

Line-up / Musicians:
- Gustl Mayr / tenor saxophone, soprano saxophone, bells, co-composer (1)
- Viktor F. Belgrove / congas, vocals, percussion, steel drums
- Kurt Bong / drums, gong, timpani, percussion

- Klaus Gobel / piano, composer (2) electric piano, organ
- Dieter Von Goetze / electric bass, composer (1,3)
With:

- Horst Lubitz / arrangements, conductor

- Roland Schneider / arrangements, conductor

1. "Festival Rock / Use the Bridge" (17:30) right from the beginning of this piece one can sense the DRAMATIC change in musical approach the band has grown into: using an approach that is much more in tune with the fusion trends going on at the time in contemporary Jazz-Rock Fusion. The sound engineering is still strikingly pristine, almost ECM/ahead of its time, while the constructs are much more similar to those of Herbie Hancock's Mwandishi-era albums or even Miles Davis: more spacious, more drawn out, not so hurried to get the music into a compact form and package. The addition of electric piano to Klaus Gobel's keyboard repertoire is especially telling, considering that he was very much organ-centric on their previous album, 0611 Cat Quarter (released in the previous year). What a difference a year can make! Though the core quartet has remained the same, there are new collaborators on this album than on Cat Quarter in the form of busy percussionist Viktor F. Belgrove and two conductor/arrangers. I love the mix of the instruments so much as everybody seems up front and close--as if the listener is sitting in the middle of a circle of the players. Would that all albums could feel this intimate!

At the beginning of the second minute the band falls into an awesome funky groove that drives somewhere in the third or fourth gear so tthat the individual soloing can begin. Fender Rhodes is first before a quiet slowdown bridge returns the band to the opening motif before they turn down a completely different alley for some Santana-like latin funk over which Gustl Mayr solos enthusiastically with his tenor sax. Speaking of enthusiasm, it definitely shows in every single musician's performances: these guys are fully, 100% engaged. In the second half of the ninth minute the melodists back off so that Viktor Belgrove and Kurt Bong can have some solo time. Then, at the end of the tenth minute, the band comes back with Klaus Gobel back to his organ while the rest of the band puts together a kind of another new motif--this one swinging a little more and which sees Klaus' organ playing a big role despite nice contributions from everyone else. In Gustl Mayr's solo in this portion of the suite we hear him going off with more fire and brimstone than we're used to hearing from him. (He's usually quite melodic and restrained.) Once again Gustl's organ playing style during his turn in the spotlight reminds me more of that of Rod Argent than anyone else--though he is quite fond of "returning to order" with the long sustained chords familiar to everybody from Steve Winwood's play on "I'm a Man." Nice suite. I really would have loved to hear more of that second, more-funky motif. (32/35)

2. "Catalyst" (9:18) opens with a more familiar 1960s organ-based jazz-rock approach that might have come from Stevie Winwood's SPENCER DAVIS GROUP or one of BRIAN AUGER's projects. Drummer Kurt Bong gets quite a little solo time in the second minute before the rest of the band is allowed to rejoin, this time with Gustl soloing on his tenor in a more 1950s bop style of jazz. In th e fifth minute everybody cuts out for about a minute of odd but interesting African tribal chant and drum music, but then, just as suddenly, everybody returns to full-band jazz, picking up the bop motif as if nothing had interrupted them, only this time the create a new pattern by slowing way down every 20 or 30 seconds for brief bluesy organ passages, repeating this pattern over and over four or five times until the song's end. An okay song. (17.5/20)

3. "Fog in Rossert" (7:11) built over a pretty cool bass line, this one starts out kind of funky before slowing down at the end of the first minute for Gustl to play a pretty melody that must have been lifted by David Shire for his song "With You I'm Born Again" which became a massive hit worldwide when it was performed by Billy Preston and Syreeta (Wright) for the 1980 film soundtrack Fast Break. Fortunately, the song moves back and forth between this motif and the funky opener with another interesting percussion interlude in the sixth minute before everybody comes back together for the low-key finish. (13.375/15)

Total Time 33:59

As alluded to in my review of FROM's only other album, I really respect and like the talents, commitment, and engineering of From's music. I only wish the band had been able to pull off another song or two to solidify the fact of their commitment to the new jazz/Jazz-Rock Fusion that they seem to be matriculating toward--or that they had stayed together for at least one more album cuz they had so much potential. After this album release all three of the founding quartet broke off into separate projects--some as band leaders, a few in other jazz combos.

89.82 on the Fishscales = B+/4.5 stars; a near-masterpiece of early "mainstream" "First Wave" Jazz-Rock Fusion--an album that I highly recommend to all prog rock lovers--and especially jazz and J-RF lovers--if only for the experience of hearing such an incredibly tightly-performed band rendered with such phenomenal sound engineered.

THE ELEVENTH HOUSE Introducing The Eleventh House with Larry Coryell (1974)

With 1969's Spaces (released, mysteriously, some 19 months after it was recorded), it felt as if guitarist Larry Coryell might have been a little reluctant to jump fully on board the Power Rock infusion of the Jazz-Rock Fusion movement, but then I'm sure he could see the commercial, critical, and financial success his band mates from that album were having: John McLaughlin and Billy Cobham with the Mahavishnu Orchestra, Miroslav Vitous with Weather Report, and Chick Corea with his Return To Forever project.

Tapping into some of his more adventurous New York City-based friends, this was what he came up with. Though recorded in 1973 at Vanguard's 23rd Street Studio in New York City, Larry's loyal label did not release Introducing The Eleventh House with Larry Coryell until February of 1974.

Line-up / Musicians:
- Larry Coryell / guitar
- Randy Brecker / trumpet
- Mike Mandel / piano, ARP synth
- Danny Trifan / bass
- Alphonse Mouzon / percussion

1. "Birdfingers" (3:07) Alphonse Mouzon gets us started, showing off a little of his skills before the song's swirling melody lines are launched by Larry Coryell and Randy Brecker and, later, Mike Mandel. Man! These guys are all moving!--especially the afore-mentioned trio. Great opener putting it all out there! (9.75/10)

2. "The Funky Waltz" (5:10) using a "Papa Was a Rolling Stone"-like bass and cymbal foundation the synth, trumpet and electric guitar lines established over the top are nice though the weird "fireworks"-like synth flares are pretty annoying. Larry's mute/wah-affected solos in the second and third minutes have the sound that is similar to that of the pedal steel that I hear from Steely Dan guitarist Jeff "Skunk" Baxter on Can't Buy a Thrill or the horns from the Pretzel Logic album. (8.66667/10)

3. "Low-Lee-Tah" (4:17) opening with a reverbed guitar arpeggio display similar to something we all heard on the Mahavishnu albums. The rest of the band slowly joins in, not yet shifting the tempo into anything above first gear but maintaining a great atmosphere of potential energy. Randy Brecker takes the first solo. I wish they had mixed him better: more a part of the song instead of feeling outside of the others. Larry takes the next solo using lots of bending of notes on the fretboards like John McLaughlin does with his special scooped frets for his Indian music. Pretty cool but not perfect. (9/10)

4. "Adam Smasher" (4:30) A bit of a Steely Dan sound to this one with the funk bass and drums and clavinet. Mike Mandel's Fender Rhodes takes the first solo sounding like the next Bob James generation of the Herbie/Chick sound. Randy's solo is interesting for his virtuosic use of the muting device. Larry's solo is next: he's using a wah-pedal/device that gives another shape and sound to his dextrous guitar play. (It almost sounds like the talkbox tube made famous by Peter Frampton.) (8.875/10)

5. "Joy Ride" (6:08) more laid back music that allows more space for the musicians to be heard and appreciated. During the first two minutes as the band establishes the foundations and framework of the song, Larry's guitar playing sounds almost like he's playing an acoustic: so smooth and fluid. Later he gets more aggressive and fiery in his particular way. The keys are particularly noticeable throughout, feeling something between Herbie Hancock and Bob James. I like the picking up of the pace in the fifth minute for the duelling between Larry and the wah-effected ARP and trumpet. Overall, another song that is perhaps a little too simple in its basic construct: like having white bread when you want wheat or rye. (8.75/10)

6. "Yin" (6:03) more power jazz-rock fusion that seems to be trying to sound like Billy-Cobham led Mahavishnu music. I like Larry's abrasive rhythm guitar while supporting Randy Brecker's great first solo. His solo in the third minute over the high-speed rhythm track below is awesome--as is the hard-driving work of bassist Danny Trifan and drummer Mouzon. Perhaps the best song on the album. Randy, Alphonse, and Danny are extraordinary. (9.75/10)

7. "Theme for a Dream" (3:26) slow and dreamy with a bit of a feel of an interlude song from a Broadway musical. The kind of musical landscape that spawned the Easy Listening and Smooth Jazz genres of music. Larry's muted and effected guitar sounds a lot like the virtuosic background guitar play of Steely Dan's great guitarists like Larry Carlton, Jay Graydon, Dean Parks, Hugh McCracken, and Lee Ritenour. It's pretty! (8.875/10)

8. "Gratitude 'A So Low'" (3:21) a solo electric guitar song from Larry. Not very melodic nor even super impressive! (8.666667/10)

9. "Ism - Ejercicio" (3:59) trying to be heavy and ominous, it's just not working: neither the chord progression, low end, or pacing. The bass-and-drum race of the second minute is an odd and not altogether engaging motif, nor is the next heavy, plodding Mahavishnu-like blues-rock motif over which Randy's muting play solo ensues. Then there is the YES-like motif in the final minute in which Alphonse's drumming sounds out of sync with the others. (8.6666667/10)

10. "Right On Y'All" (4:21) a fairly together fast-driving song with more sounds and stylings that remind me of Steely Dan as well as some annoying cowbell, guitar play, and synth noises. (8.75/10)

Total Time 44:22

All of Larry's bandmates are quite competent with drummer Alphonse Mouzon receiving a lot of attention for his dynamic work, but, for me, it is trumpeter Randy Brecker who keeps stealing my attention away from the others--even from Larry himself. I agree with other reviewers that the songwriting on this album seemed to take a back seat to A) fitting into the genre and B) showing off the skills of the individual musicians.

For as talented and skilled as Larry Coryell was, he must have had a stubborn streak running deep inside cuz the dude never quite fit in--never became as famous, always stuck to a very eccentric agenda and style of music--even his guitar sound remained "stuck" inside some kind of dirty, raunchy, macho that sounded as if he had to make more noise than everyone else. Maybe he had some kind of inferiority complex that he was compensating for. Maybe it's because he had to wear glasses. Or because he was from Seattle. But he had cool hair! My point is: the dude never really moved to the front of the class and I think this had a lot to do with his stubbornly eccentric choices: he wanted to be different and he was; it was just not the kind of 'different' that propels one to the top of the charts or in front of sold-out arena-size audiences.

89.75 on the Fishscales = B+/4.5 stars; there are some great, top tier J-R Fuse tunes and performances here--some real highs--but there are also a few duds, making this album as a whole the kind of middle of the road.

(The SAN FRANCISCO) GIANTS Giants (1977)

An all-star band of veritable who's who in the early Latin/jazz-ified R&B/funk scene that was, apparently, the brain child of Santana percussionist Mike Carabello and Sly & The Family Stone founder and drummer Greg Errico; the "band" was originally called "Attitude." The material for the album that would become Giants was recorded for Mike Carabello's Far Out Productions over the course of several years, starting in 1971, using studios in San Francisco (Columbia Studios and Wally Heider Studio) and Los Angelis (Mike's Far Our Studio) but never released until 1977/78 (not 1979).

Lineup / Musicians:

- Greg Errico (SLY & THE FAMILY STONE) / Drums, Synthesizer, Producer

- Mike Carabello (SANTANA) / Organ (B2), Congas

- Doug Rauch (THE VOICES OF EAST HARLEM, THE LOADING ZONE, GÁBOR SZABÓ, SANTANA, LENNY WHITE) / Bass

- Doug Rodrigues (THE VOICES OF EAST HARLEM, SANTANA, BETTY DAVIS, MANDRILL, LENNY WHITE, MAND / Guitar

- Wendy Haas (SANTANA, AZTECA) / Piano, Vocals (B3)

With:

- Carlos Santana (SANTANA) / Guitar (B2, B3)

- Neal Schon (SANTANA, JOURNEY) / Guitar

- Lee Oskar (WAR) / Harmonica (A3, A4)

- Greg Rollie (SANTANA) / Organ

- Robert "Bobby" Vega (LEE OSKAR) / Bass [Fuzz] (A3, A4)

- Chepito Areas (SANTANA) / Percussion (A3, A4, B1)

- Rico Reyes (SANTANA, AZTECA) / Percussion (A3, A4, B1)

- Herbie Hancock (MILES DAVIS, solo) / Piano (B1)

- Mike Garcia / Vibraphone (B2)

- Victor Pantoia (CHICO HAMILTON, WILLIE BOBO, GÁBOR SZABÓ, HERBIE MANN, HERBIE HANCOCK, AZTECA, BETTY DAVIS) / Congas

- Bianca Thornton-Oden (LEE OSKAR, VAN MORRISON) / Vocals

- Coke Escovedo (AZTECA) / Vocals

- Gene Washington / Vocals

- Jody Moreing (SINCERELY, SAN JOSE) / Vocals

- Linda Tillery (THE CULTURAL HERITAGE CHOIR, THE LOADING ZONE, solo) / Vocals

A1. "Attitude" (3:25) pure R&B funk from the very first note, the song uses a female-dominated choir to present the "attitude" chorus between which various voices (male and female) take turns belting out their lyric. Great vocal arrangement as well as improvisations. This is not quite Disco, more like EW&F/UNDISPUTED TRUTH proto-Disco. (9/10)

A2. "They Change It" (3:29) opens with an excellent funk groove not unlike some of SLY & THE FAMILY STONE's earlier songs. It's no surprise, then, that a full choir joins in to "recite" or chant the lyrics in a "Thank You For Lettin' Me Be Myself" fashion. The bass is so funky! And the drumming, percussion, and support guitars are right on board! An amazing funk song that is diminished a bit by its kind-of-corny lyrics and vocal arrangement. (9.25/10)

Kilimanjaro suite :

A3. "The Village" (4:30) a WAR-like palette that is dominated by the free-wheelin' percussion play beneath treated harmonica/whistling and organ. Very cool! Would be so fun to see performed live. There are, however, a few glitch-like issues with timing/synchrony. (8.875/10)

A4. "The Summit" (4:38) the percussionists lay back from soloing and settle into a nice groove that allows Lee Oskar to take the lead on his saxophone-sounding harmonica. I love this kind of African drum-centric music. (9/10)

B1. "Pancho Villa" (5:11) organ and timbales open this one before congas and other percussionists, bass. electric piano, and trumpet join in. It is my understanding that it's pretty much the SANTANA lineup performing percussives and organ (Greg Rollie) I'm going to assume that it's Herbie Hancock on the keys (though it doesn't sound like his style of play so it could be Wendy Haas), but I'm wondering who the (uncredited) trumpet player is (Eddie Henderson?) as well as the violinist. My understanding is that this might be conga player Mike Carabello's composition. Too much simplicity as if a bare bones track established expressly to support soloists. Problem is, it's not recorded very well from the soloists' point of view and the solos aren't that noteworthy. (8.5/10)

B2. "Fried Neckbones and Home Fries" (6:32) a cover of a song written and performed by percussionist Victor Pantoja's long-time collaborator and friend, Willie Bobo, here rendered as an instrumental. It has a completely SANTANA-esque Latin/Caribbean sound and feel--especially with Carlos, the man himself's guitar solo (later taken over by Neal Schon) as well as some rather wild organ soloing from conga player Mike Carabello in the opening minute. Mike Garcia's vibraphone solo in the fourth minute is a bit simple yet harmonically interesting. Apparently this song was recorded in 1971 for Mike Carabello's solo project called "Attitude" but never found its release until Greg Errico could put things together for a full album six years later. Rated up for its excellent sound and solos; down for its simplistic, repetitive four-chord foundation. (8.875/10)

B3. "In Your Heart" (5:40) opening with a "Long Train Runnin'" sound and feel the driving, funky groove is soon joined by a choir of female-dominated voices singing in some quite lovely melodies and vocal arrangements. I can so easily get lost in wonderful weaves of rhythm instruments and percussion work like this. Apparently, a Doug Rauch and Wendy Haas jam that features Neal Schon on a spectacular display of lead guitar and, of course, Greg Errico on drums and Mike Carabello on congas. Very cool, kind of cinematic song! (9.3333/10)

Total time: 33:25

According to interviews with Errico and Carabello, the album took so long to find a label willing to release the material (most of which had been recorded in 1971) due to the predominant "party first, business later" attitude of the musicians at the time of the recording sessions. This would also explain the jam-like foundational structure of many of the songs as well as the "early" Santana sound prevalent throughout the album. All I know is that I'll take any chance I can get to hear anything the Santana crew were doing up to and during the Caravanserai era. I also love the song creators' unique visions for use of choir vocals throughout the album. Very cool!

89.73 on the Fishscales = B+/4.5 stars rated down for brevity; an awesome display of Caravanserai-like jazz-funk jamming from a veritable Latin funk-rock all-star band. Highly recommended!

ATMOSPHERES Featuring Clive Stevens Voyage to Uranus (1974)

Clive Stevens and "friends"' second and final album together--both published within the same calendar year. Recorded at The Record Plant in New York, with Jimmy Ienner serving as the producer, it was released by Capitol Records in August of 1974. Multi-instrumentalist Ralph Towner and guitarist John Abercrombie return from two years before while the rest of the rhythm section has been replaced.

Line-up / Musicians:
Clive Stevens / electric tenor saxophone, soprano saxophone, alto flute, echoplex, wah wah pedal
Michael Thabo Carvin / drums
David Earl Johnson / congas, timbales, assorted percussion
Stu Woods / electric bass
John Abercrombie / electric guitar, acoustic guitar
Ralph Towner / electric piano, clavinet, 12 string acoustic guitar

1. "Shifting Phases" (6:55) a great galloping horseback riding rhythm track over which John Abercrombie's jazz guitars and Clive Stevens' saxophone swoop and soar; great energy straight off the bat with the bass, drums, and rhythm guitar's funky groove. Great engineering in that every instrument is fully defined--though I don't like the dirty distortion effect used on Ralph Towner's Fender Rhodes electric piano. I like the fact that each of the instrumentalists remains actively engaged and creatively contributing while other band members are having their turns soloing. I'd give this full marks were it a little more memorable in the melody department. (14/15)

2. "Culture Release" (6:50) The song opens up with some impressive whole-group showmanship over the course of 30-seconds of complex chord and melody transitions but then the song settles into a high-speed R&B form within which clavinet, guitar, and soprano sax trade lightning fast bursts of soloing; it's constructed like a geometrical mathematical until the soloists (clavinet, electric guitar, sax, electric bass, and drums) start trading barbs at the end of the first minute, then it sounds like Todd Rundgren's first Utopia album. Drummer Michael Thabo Carvin gets the clear-out effect for an extended isolated solo in the third and fourth minute, and then everybody comes back together just like at the beginning as if they were calmly starting over: no problem! And the jam continues! Great performances--even Michael Thabo Carvin's extended drum solo--considering the lightning speed of the main rhythm track. Never quite heard the clavinet solo like Ralph Towner plays it here. Very impressive--though, again, I wish there were more attention to melody than riffing. (13.5/15)

3. "Inner Spaces and Outer Places" (5:15) slowing it down with some low-end chord play from Stu Woods and Ralph Towner while John Abercrombie's guitars and Clive Stevens' multiple horns loosely provide a lazy, unsynchronized melody over the top. In the second minute the sonic field thins as the low-end chords stop while two guitars solo, at the same time, as if in completely different universes! Saxes and Fender Rhodes give a kind of Steely Dan support while the rhythm section offers a solid foundation beneath. Weird that I find myself listening more to Ralph Towner's chord play, Stu Woods' bass lines, or David Earl Johnson's congas more than the rest; I guess I'm not much of a fan of either of the guitarists' sound choices or their soloing styles. (8.875/10)

4. "Un Jour Dans Le Monde" (4:43) aqueous and dreamy soundscape established by Ralph's Fender and Clive's saxophone. The gentle arpeggiating of the guitar tracks also helps. This is the kind of song that is challenging for percussionists to contribute to without disturbing the mood--bass, too--but Stu, David, and Michael do a fair job. Nice melody established from the beginning and perpetuated nicely by Clive and the John Abercrombie throughout the entire song. Nice song texturally but sometimes a little draggin' (9/10)

5. "Voyage To Uranus" (5:52) opens side two as if a continuation or variation on the previous song with sax leading the melody and guitar, Fender, and percussion helping to fill the field with gentle, dreamy stuff. Once the intro is moved passed, the rhythmatists establish an equally-gentle and -melodic foundation over which Clive solos. There's a little Bob James-like feel to this music despite a slightly-more-active bass and percussionist. Clive's solos are rather engaging, not off-putting as so many sax solos can be (for me), but Ralph's Fender Rhodes work (and John Abercrombie's rhythm guitar work) is a bit too saccharine like so much of Bob James' arrangements. (8.75/10)

6. "Electric Impulse From The Heart" (4:15) opening with a rather mysterious yet-melodic arpeggioed keyboard chord sequence similar to many of JEAN-LUC PONTY's songs over the next ten years but, at the same time having a little RETURN TO FOREVER/MAHAVISHNU edginess to it--all in rather gentle support of Clive's effected saxophone play. The hypnotic song slips by so quickly that I find myself surprised each time when it ends. (8.875/10)

7. "Water Rhythms" (8:44) a one minute long intro that seems to be built around a jazz-rock-infused R&B motif turns into a more forward-moving smooth jazz motif with some heavier drumming, more dynamic soul-R&B rhythm guitar strumming, slightly more brash sax and Fender Rhodes soloing--all of which takes it out of its smooth categorization and places it firmly into the realm of some kind of neighborhood-cruising R&B. In the last two minutes a rising-and-then-falling sequence of full chords of ominosity repeat themselves a few times before the band brings it all to a crashing end. Interesting. Not my favorite but a solid, decent song. (17.75/20)

8. "Return To The Earth" (5:15) Clive on flute is supported by 12-string guitar picking and delicate bass and drum play with rich electric piano arpeggiations and chord sequences. At the end of the third minute John Abercrombie's electric jazz guitar solos as Ralph Towner accompanies on one of the 12-strings. This is more like the kind of stuff I was hoping for! With all of the tracks of guitars plus Fender Rhodes it is obvious that Ralph and John are each using multiple tracks--and these are the tracks that my brain gravitates to. An interesting--and totally unexpected--way to end the album! (8.875/10)

A collection of very impressive performances, to be sure, coming through in interesting, unusual compositions. Though I like the sound engineering better on this album than it's predecessor, I like the dynamic diversity and whole-band entanglement of their debut better; this album feels more like a Clive Stevens album whereas the eponymously-titled debut felt more reliant on collaboration.

89.625 on the Fishscales = B+/4.5 stars; a near-masterpiece of melodic jazz rock fusion. While there are some songs not to be missed here, there are several that just miss the mark.

BRIAN AUGER'S OBLIVION EXPRESS Closer to It! (1973)

Gone is singer Alex Ligertwoood and here are the Latin percussives of Lennox Laington. (Praise be to the SANTANA-infused era of Jazz-Rock Fusion.)

Line-up / Musicians:
- Brian Auger/ organ, piano, electric piano, Moog, Mellotron, vocals
- Jack Mills /guitar
- Barry Dean / bass
- Godfrey MacLean/ drums, cowbell
- Lennox Laington / congas

1. "Whenever You're Ready" (6:20) Lennos Laington's conga play leads the way to open this song (and album) while drummer Godfrey MacLean and bassist Barry Dean slowly join in before Brian's Hammond leaps into the spotlight. At the end of the second minute Brian jumps into the fray with his voice--which is mixed oddly into the background--behind all of the other instruments! As always, Brian has a very nice voice, but it's his dynamic organ play that raises smiles and eyebrows. The rest of the band is so nicely tight! Experimental echoed-keyboard "hits" occupy the sixth minute and lead the band to its fadeout conclusion. (9/10)

2. "Happiness Is Just Around The Bend" (6:31) Fender Rhodes and Moog weirdities front this laid back Latinized groove song while Brian continues singing from the next room over. (8.875/10)

3. "Light On The Path" (4:56) starts out sounding as if I were actually listening to Santana's Caravanserai, but then Brian's Hammond defines it and then I'm relegated to thinking it's music from the cutting room floor of Caravanserai : almost deserving of having been included in that amazing album. The lead guitar work of Jack Mills is awesome: very much in the Carlos, Neal Schon, Doug Rodriguez style and sound. I really like this song despite the fact that it's just a vamp set up for instrumental solos. Nice original composition by the collective. (9/10)

4. "Compared To What" (7:53) opening with a cool, relaxed groove from guitar, bass, drums, and congas that is enhanced by Brian's bluesy Hammond, this 1935 penned Eugene McDaniels classic receives a nice blues-rock update. Brian doesn't start adding vocals (sounding like Grand Funk Railroad's Don Brewer) until the 3:00 mark, noodling and jiving along on his organ in the meantime. Godfrey MacLean, Barry Dean, and Lennox Laington do a most excellent job holding down the rhythm section while Jack Mills' guitar is a bit lame as a soloist. And a real ending (no fadeout)! (13.375/15)

5. "Inner City Blues" (4:31) from the very start this sounds like it's going to be a tightly similar rendition of the Marvin Gaye song, but then Brian's doubled-up vocal "Da-das" and organ enter to give it a very different angle. Brian's performances are very good--as are those of the entire rhythm section (especially Jack Mills' interesting rhythm guitar play)--but it's so hard to stand up to a song that is already a classic, "perfect." (8.875/10)

6. "Voices Of Other Times" (5:56) an Auger-Dean composition that works really well as a follow-up to the Marvin Gaye song: flows straight from "Inner City Blues" the way that Marvin's (and Carlos') songs all flow so seamlessly throughout the two classic LPs that Brian is drawing so much inspiration from. I actually like this song quite a bit: It's melodic, it grooves, it's funky, the instrumental performances are flawless, the lyrics are engaging, even Jack Mills' Carlos Santana-imitative guitar solo works. (9.125/10)

Total Time: 36:15

As my esteemed prog reviewer emeritus Rollie Anderson (Chicapah) writes, Mr. Auger was obviously very inspired by hearing Santana's ground-breaking Caravanserai release near the end of the previous year. His new band hires and results from their March 1973 recording sessions confirm this emphatically!

Though I can't help but agree with Brian's vocals often standing out as the "weak link" it's not because he has a bad voice or sings out of tune, it's mostly cuz he's taken on singing on covers of classic tunes that often have a very distinctive, iconic vocal. What really means is that Brian has some rather big cajones! And he never butchers a song, just makes it his own (when perhaps it never really needed that).

89.62 on the Fishscales = B+/4.5 stars; a near-masterpiece of Caravanserai- and What's Going On-like Jazz-Rock Fusion. An eminently enjoyable listen!

THE DON ELLIS ORCHESTRA Live in 3 2/3 / 4 Time (1967)

Due to the popular response of Don's performance at the Monterey Jazz Festival in September of 1966, a record album was quickly prepared for release: 'Live' At Monterey ! This album contained three recordings from September 18th's historic performance with one track ("Concerto for Trumpet" [11:50]) from a live performance that occurred a month later at the Pacific Jazz Festival (10/8/66). The Don Ellis phenomenon was so rabid (with sightings of "Where Is Don Ellis?" bumper stickers rising across the country), and the sales of the first album so encouraging, that Liberty Records was quick to try to assemble a second live recording in order to try to take advantage of the wave of Monterey/Don Ellis buzz.

This album, Live in 3 2/3 / 4 Time, was prepared from more recordings from the live performance at Pacific Jazz Festival as well as three songs from a March 27 of the following year. (The list of songs extracted from this performance at Shelly's Manne-Hole in Los Angeles would grow to number eight with the release of an expanded CD version in 2000.) As usual, the highly-charged, amazingly-synchronized and -harmonized arrangements (only two of which are original Don Ellis compositions--though one song, "Thetis," comes from Don's long-time collaborator and friend, Hank Levy) are a marvel to listen to and, I think you'll find, quite often stir one's core enough to force you to get out of your seat and dance!

Line-up / Musicians:
Don Ellis / trumpet, quarter-tone trumpet

- Saxes & Woodwinds:
Ruben Leon - alto sax, soprano sax, flute
Joe Roccisano - alto sax, soprano sax, flute, clarinet
Tom Scott - alto sax, saxello, flute, clarinet
Ira Schulman - tenor sax, flute, clarinet
Ron Starr - tenor sax, flute, clarinet
John Magruder - baritone sax, flute, clarinet, bass clarinet

- Trumpets:
Glenn Stuart
Alan Weight
Ed Warren
Bob Harmon

- Trombones:
Ron Myers
Dave Wells
Dave Sanchez
Terry Woodson - bass trombone

- Rhythm Section:
Dave Mackay - piano
Ray Neapolitan - bass
Frank De La Rosa - bass
Dave Parlato - bass
Chuck Domanico - bass
Steve Bohannon - drums
Alan Estes - drums, timbales
Chino Valdes - congas, bongos

Mark Stevens - percussion

Original Liberty/Pacific Records vinyl release in 1967:

A1. "Orientation" (11:20) more fun in 7/8 + 9/8 starting out, of course, with the rhythmatists: congas and percussion, bass, drums, and piano. When the horns start joining in it is with what seems to be an unusually reckless/wild abandon, but they all come together at about 1:45 for an Ira Schulman sax solo with accents coming from multiple banks of horns, high and low. Awesome! And SO danceable! A little lull at 3:50 as the sax finishes up before solo time is given to conga player Chino Valdes for about a minute. Horn swell leads into a cool polymetric multi-sax solo section before another horn swell at 6:05 opens the door for the band leader to take his solo. Oddly enough Don's trumpet may be the worst recorded instrument in the orchestra. Despite this fact, his solo keeps climbing the mountain, being assisted by some seriously swelling horns and rhythm section play (which is greeted with some appropriately appreciative audience response at 8:15). The next big swell occurs in the middle of the tenth minute and it is drum-led, which is pretty cool. The big finish features multiple banks of horns going their own way, though not quite as or independently as that wild opening. Awesome! (19/20)

A2. "Angel Eyes" (5:41) a slow, pensive, and plodding "Porgy and Bess"-like old-style R&B crooner with Don's piano- and horn-supported trumpet carrying the melody in place of the human voice as it would have been sung in 1946 when Earl Brent and Matt Dennis first penned it. Nice melodies. (8.875/10)

A3. "Freedom Jazz Dance" (5:54) Eddie Harris' song performed in "seven," featuring pianist Dave Mackay and saxello player Tom Scott. Pretty cool--especially when Mackay goes low onto his keyboard. The "saxello" is a weird sounding sax that sounds like it comes straight from the streets of New Orleans (I think it's a flange-wah effect applied to the channel mic-ing Tom's tenor sax). The percussion and rhythm section are, of course, amazing, adding layer upon layer and volume and power the further the song progresses. Awesome! (9/10)

B1. "Barnum's Revenge" (4:36) one of Don's sax players, Ruben Leon, arranged this 3 2 2 time song from "Won't You Come Home, Bill Bailey?" Very interesting but it does play out more like a whole-band teaching exercise than an audience-targeted crowd pleaser--at least until Don and the drummers and trombonists get their chances to embellish. (8.75/10)

B2. "Upstart" (9:02) this is the song from the album: the one in 3 2/3 / 4 time--the second original composition on the album. The moderately paced foundation has a kind of near-Latin (say, Southern California) feel to it over which Don takes the first solo followed by a bridge of stellar, purposely-staggered horn banking before a clarinet solo by Ira Schulman takes the next spotlight. Following the percussionists and rhythm section members is easy to do and quite fun for the challenge of trying to parse out the odd time signature. Bird-like discordant clarinets pepper the upper end during the next extended bridge while the band and horn banks plod beneath--even getting the end. (17.5/20)

B3. "Thetis" (8:27) composed and arranged by Don's long-time friend and associate, Hank Levy, this one starts out like a slow-moving train before finally taking off and featuring rondo-like layers of multi-instrumental sections circling over and around one another. In the third minute everybody congeals into a single direction of very spicy Caribbean-rhythmed music over which Ruben Leon's soprano sax solos. The next is Don's trumpet and then Dave Mackay's piano. The solos are great--these are very professional performers, but it's as if one cannot help but be drawn to the rhythmatists--which, accordingly, get their own solo time in the seventh minute. (17.5/20)

Total time: 44:00

Track listing for the 2000 CD release:

1. Orientation
2. Angel Eyes (Denni s, Brent / arr. Don Ellis)
3. Freedom Jazz Dance (Eddie Harris / arr. Don Ellis)
4. Barnum's Revenge (Ruben Leon / arr. Ruben Leon)
5. Upstart
6. Thetis (Hank Levy / arr. Hank Levy)
7. Bossa Nueva Nova (Hank Levy / arr. Hank Levy)
8. Opus Five (Howlett Smith / arr. Howlett Smith)
9. Seven Up (Howlett Smith / arr. Joe Roccisano)
10. Johnny One-Note (Jaki Byard / arr. Jaki Byard)
11. Freedom Jazz Dance (alternate) (Eddie Harris / arr. Don Ellis)

I am usually loathe to listen to much less review live album recordings but Don Ellis has become quite another matter: his song introductions, quick quirky sense of humor, and educational approach are so darn charming and disarming!

89.58 on the Fishscales = B+/4.5 stars; If you are at all interested in sharing in the experience of those first waves of the truly-groundbreaking Don Ellis Orchestra experience, then I highly recommend finding this album to listen to! Plus, these songs are not available on other albums and are here for your entertainment and amazement.

P.S. If you get the chance to listen to the CD release of this album, do so: the additional five songs from the March 27, 1967 performance at Shelly's Manne-Hole in L.A. are every bit as worthy of hearing as the original six songs on the 1967 vinyl release.

STANLEY CLARKE Children of Forever (1973)

Generally regarded as another Return To Forever album, the main difference being the substitution of vocalist Andy Bey ant Dee Dee Bridgewater for Airto Moreira and Flora Purim.

Line-up / Musicians:
- Stanley Clarke / bass fiddle, electric bass, arrangements (1)
With:
- Dee Dee Bridgewater / vocals
- Andy Bey / vocals
- Pat Martino / electric & 12-string guitars
- Chick Corea / electric & acoustic pianos, clavinet, arrangements (2-5), producer
- Arthur Webb / flute
- Lenny White / drums, tambourine

1. "Children Of Forever" (10:42) an odd song that sounds part Broadway musical part gospel song. Despite some odd quirks and descrepencies in the sound quality and mix levels, many of the idiosyncratic trademark riffs and tricks of both Chick and Stanley are on full display in this song--trademarks that will become much more refined and as the varieties in sound-treatments and instrumental choices increase over the next few years. The real weakness of this odd, odd song is in the weird vocals (and lyrics): they sound as if they are coming straight off of a stage of a production like Pippin, Hair, or Godspell.only a much lower grade/quality play. (17.375/20)

2. "Unexpected Days" (5:53) despite the same quality of sound engineering for the vocalists and instrumentalists, the switch to lone vocal leadership of Dee Dee Bridgewater is more palatable (I guess I'm finding Andy Bey's stiff and formal vocals to be too contrasting to those of the gorgeous and souluful Ms. Bridgewater. The music and instrumental passages on this one are much better--far more engaging and more-fully sculpted--on this song than on its predecessor--the contributions of Arthur Webb's flute and the electric piano, in particular, adding a lot of serene accessibility. (8.875/10)

3. "Bass Folk Song" (Clarke) (7:59) feeding an acoustic double bass through a wah-wah pedal is an interesting experiment. This song is credited to Stanley but it sure exudes all of the Latin qualities of a Chick Corea song. The pairing up of the flute with Chick's electric piano to present the dominant melodies is nice, but the motif used beneath the frenzied instrumental noodling of the song's middle and final sections becomes a little tedious to the point of creating anxiety. Too many notes! (13.125/15)

4. "Butterfly Dreams" (6:52) a very nice traditional jazz tune with vocals. Here, on his own, with this kind of jazz music behind him, Andy Bey sounds awesome: kind of like the great Joe Williams or even. Nice jazz guitar solo in the first instrumental passage between vocals. The integrating comaraderie between Chick's piano, Stanley's double bass, and Lenny's jazz drumming is quite noticeable, quite comforting, and definitely magical. This is definitely my favorite song on the album (despite it being the least fusionistic of them all). (14.25/15)

5. "Sea Journey" (16:26) gentle BOB JAMES-like music to support the GAYLE MORAN-like vocal performance of Dee Dee Bridgewater, the opening motif definitely previews many of Chick's Jazz-Rock Fusion albums like The Mad Hatter, Musicmagic, and even a little of Romantic Warrior. especially when he and Lenny take off in the fourth minute with the galloping motif that supports Chick's Fender Rhodes solo play. Finally, Lenny gets a little of the spotlight! (I've got to keep reminding myself that this is officially a Stanley Clarke album, not a Chick Corea or RTF album.) At 6:07 we return to the previous smooth motif where Andy Bey gets to take his turn in the lead. He does his androgynous best to sound like Dee Dee (though a bit more like Nina Simone, Chaka Khan or Gayle Moran). At the eight-minute mark Stanley steps in front of the still-wailing Andy with his bowed wah-wah-effected bass fiddle. The ensuing solo is so RTF: so vintage Chick and Stanley! At the ten-minute mark Stanley steps back into his background bass role as guitarist Pat Martino steps up with his jazz guitar to solo while Chick and Lenny offer their off-setting accents and flourishes. At the end of the twelfth minute Arthur Webb and Chick's right handed Fender Rhodes re-introduce the opening melody, allowing Pat to finish while re-establishing the more cushiony fabric for Dee Dee to return to the front--this time singing with more of her own soulful jazz style than that of the future Mrs. Corea (i.e., Gayle Moran). Andy and Stanley really take off beneath Dee Dee's scatting vocalese in the fifteenth and sixteenth minutes as Chick's electric piano continues to express side notes, riffs, and alternate chords right up to the song's end. I love this one! Definitely another favorite. (27/30)

Total time 47:52

This album definitely proposes three observations regarding the progression of Chick Corea, Stanley Clarke, and Lenny White's induction into the fairly new, experimental world of Jazz-Rock Fusion: 1) they are not yet fully committed (they remain somewhat-stubbornly loyal to many of jazz's "sacred" tenets), 2) they are not yet certain or clear on exactly what defines Jazz-Rock Fusion, and 3) they have been slow to jump on the bandwagon of the latest and greatest advances in technology available to both musicians of their specific specialties but also to the members of the sound engineering room.

89.58 on the Fishscales = B+/4.5 stars; an inconsistent though future-illuminating exploration into First Wave Jazz-Rock Fusion that earns near-masterpiece status. Chick is definitely flying at Jonathan Livingston Seagull speeds while his young protégés are learning, working hard to try to catch up.

DON ELLIS ORCHESTRA Shock Treatment (1968)

Recorded on February 18 & 19 of 1968, this is the album that caused such a stir in the public eye because of the record company (Columbia)'s massive mess up with its initial mastering and publication. Here' the story in Don's own words extracted from a letter he sent to the "Chords and Discords" forum of DownBeat magazine immediately following the magazine's review of (the first version) of the album:

“Regarding the review of my record Shock Treatment by Harvey Pekar (DB, Sept. 19), I would like to set the record straight on some little known facts in connection with this album. The copy that was reviewed was one about which I am embarrassed and not proud. The story behind this is as follows:

Upon completion of the album, I did the mixing and editing here in California and then sent the finished product to New York. It wasn’t until the album was already released that I heard a pressing. Much to my horror, I found that without consulting me the whole album had been changed around—rejected masters and unapproved takes were used (not the ones which I had selected and edited), the wrong tunes were on the album, unauthorized splices were made which disturbed the musical flow of some of the compositions (beats were even missing from bars), whole sections were cut out, some of these being the high points of the album. Therefore the liner notes, which were done to the original album, do not agree with what is actually on the album, calling attention to solos and high spots which are not there. I’m surprised that this wasn’t mentioned in the review! Also, the wrong personnel is listed on the jacket. When I discovered what had happened I was, naturally, disturbed and asked Columbia to redo the album. They graciously consented and I was able to change the album back to its original form except that I left Mercy Maybe Mercy, which my producer particularly liked, in place of Zim, which I hope will appear in a future album. Unfortunately, they were not able to call back all the thousands of albums which had already been released. However, they did send a note to the reviewers telling them that the copy which they had received was defective, and to please not review it until they received the corrected copy. It looks as if Down Beat didn’t get that letter. In conclusion, let me state that I have no quarrel with Harvey’s review, but I do wish that he or someone else would review the correct album.”

Great story: One that illustrates, once again, how obtuse record companies can be to the desires, preferences, and wishes of their artists as well as to how little say/control an artist has over the finished product of their work. What they think will sell is not always in line with the artist's creative vision for their finished product--in this case, not nearly in line.

Line-up / Musicians:
- Don Ellis / quarter-tone trumpet
Rhythm Section:
- Mike Lang / piano, clavinet, Fender piano
- Ray Neapolitan / bass, sitar
- Frank De La Rosa / bass
- Dave Parlato or Jim Faunt / bass
- Steve Bohannon / drums
- Chino Valdes / congas, bongos
- Mark Stevens or Ralph Humphrey / timbales, vibes, miscellaneous percussion
- Alan Estes or Joe Pocaro / miscellaneous percussion

Saxes & Woodwinds:
- Ruben Leon / alto & soprano saxophones, flute
- Joe Roccisano or Joe Lopez / alto & soprano saxophones, flute
- Ira Shulman / tenor saxophone, piccolo, flute, clarinet
- Ron Starr / tenor saxophone, flute, clarinet
- John Magruder / baritone saxophone, flute, clarinet, bass clarinet
Trumpets:
- Glenn Stuart, Alan Weight, Ed Warren, Bob Harmon,

Trombones:

- Ron Myers or Vince Diaz, Dave Sanchez
- Terry Woodson / bass trombone

INITIAL 1968 unsanctioned Columbia Record company vinyl RELEASE:

A1. "A New Kind of Country" (Hank Levy) (4:10) (/10)
A2. "Mercy Maybe Mercy" (Hank Levy) (3:22) (/10)
A3. "Opus 5" (Howlett Smith) (8:05) (/15)
A4. "Beat Me, Daddy, Seven to the Bar" (edit) (3:03) (/10)
A5. "The Tihai" (7:16) (/15)
B1. "Milo's Theme" (4:26) (/10)
B2. "Star Children" (3:22) (/10)
B3. "Homecoming" (3:03) (/10)
B4. "Seven Up" (Howlett Smith / arr. Joe Roccisano) (3:58) (/10)
B5. "Zim" (John Magruder) (3:58) (/10)

Total Time 44:43

SECOND June 26, 1968 "Santa Maria" VINYL PRESSING:
A1. "A New Kind of Country" (Hank Levy) (4:10) (/10)
A2. "Night City" (Ellis, MacFadden / arr. Don Ellis) (2:58) (/10)
A3. "Homecoming" (3:00) (/10)
A4. "Mercy Maybe Mercy" (Hank Levy) (3:22) (/10)
A5. "Opus 5" (Howlett Smith) (9:22) (/20)
B1. "Star Children" (3:18) (/10)
B2. "Beat Me, Daddy, Seven to the Bar" (6:15) (/10)
B3. "Milo's Theme" (4:24) (/10)
B4. "The Tihai" (8:40) (/20)

Total Time 45:29

THIRD 2005 Columbia (Terra Haute) VINYL PRESSING
(Same as the second but with slightly different liner notes):

2003 Koch Jazz (Sony Music)) CD release:
1. "A New Kind of Country" (Hank Levy) (4:10) sounds like a modernized big band standard (with some electrified instruments and recording techniques) waiting for a young crooner to sing over the top--like Don is here definitely taking advantage of all of the Latin-infused musics infiltrating the American music scene in the 1960s--especially and probably Stan Getz (and, to a lesser degree) Paul Desmond more than any others. Could have been a theme song to one of the game shows of the day--like The Dating Game or The Newlywed Game. (8.875/10)

2. "Night City" (Ellis, McFadden / arr. Don Ellis) (2:56) the co-composers must have been trying to reach the wider record-buying audiences of the day (1967) with this very LAWRENCE WELK-like song. Elaborately arranged MITCH MILLER-like choral vocals (male and female) are accompanied by a Latin rhythm to create this rather heavy-hearted song. I like it though it is not very progressive or particularly fusionary. Also could be a tribute to the great music being written for Broadway musicals by new artists like Burt Bacharach and Stephen Schwartz. (8.875/10)

3. "Homecoming" (3:02) sounds so familiar--like the more emotional old-time music that was so popular with moms and pops on the old porch settings. (Could've fit in Gershwin's Porgy and Bess.) (8.75/10)

4. "Mercy Maybe Mercy" (Hank Levy) (3:20) sounds like a watered-down version of Billy Page's "The 'In' Crowd" (8.75/10)

5. "Zim" (John Magruder) (3:59) a fan favorite from the first release that Don grew to like specifically because of the enthusiastic feedback he received. Composer and, here, bandmate John Magruder came up with several memorable songs for Don and the Orchestra over the years. (9.25/10)

6. "Opus 5" (Howlett Smith) (9:19) nice polyrhythmic foundation over which muted horns play makes for a cool start. In the second minute a bridge serves as a kind of rewind so that everything starts over, only this time the full horn section--in two different lines--can recapitulate the superceding melody--and then piano and very odd upper-end bass make themselves known to be the soloists for the second half of the third and first half of the fourth minutes. Lead trumpet takes over at 3:30. Rest of horns slowly creep back in in the middle of the fifth minute before backing off to a softer bank, but, man! I keep getting lost in the rhythm lines! Congas and drums actually get some spotlight before horn banks bridge into more "team-sharing" section of rather complex multiple team-interplay. By the time we get to the eighth minute there are so many layers working together at the same time (like 9 or 10!) that it shocks me that they all can stay on their own path--and it all works incredibly well blended together! Amazing! What a design (composed by pianist/composer Howlett Smith)! (19.25/20)

7. "Star Children" (3:21) weird song with weird combination of sedate jazz with choral vocals. (8.666667/10)

8. "Beat Me, Daddy, Seven to the Bar" (6:12) this spirited blues-rock vamp makes me feel as if I'm at a party in a Peter Sellers movie from the day--maybe even a pool party--which gets kind of "serious" when the percussionist (conga player) is given sole occupancy of the recording tape. Supremely tight performances of yet-dated music. (8.75/10)

9. "Milo's Theme" (4:23) experimentation with echo effects on Don's trumpet and then all the instruments to follow. Weird but pretty cool! (And using very pretty and melodic cinematic music to do it). I love hearing artists take chances like this. The ensuing horn and then full band harmonized buildups are wonderful (if "Big Band Era" dated), but then we return to the modulation effects experimentation for the finish. Cool! (9/10)

10. "Seven Up" (Howlett Smith / arr. Joe Roccisano) (3:59) like a blast from the past with this one sounding like the soundtrack music for either "I Dream of Jeannie" or "Bewitched" (maybe that's why I love it: I grew up on those shows). Awesome jazz bass walking beneath Don's trumpet and his complex, multi-horn accompaniment. Again, to think that we're at an episode of some dance routine on the Lawrence Welk Show is not a far-off stretch of the imagination, but those big explosions of horns and alternating cutesie flute and muted-horn passages are so fun! (8.875/10)

11. "The Tihai" (8:44) Don's preferred edit and mix of this one sounds. There are moments where the melodic rhythm track feels and sounds like something from The Flinstones cartoon soundtracks of the day and others that feel like soundtrack music to an Elvis Presley (or Our Man Flint or Pink Panther) beach movie scene. And then, surprise of all surprises, there is the Konnakol Carnatic Indian percussive vocal exchange taken from the South Indian traditions at the six-minute mark. Odd use of minor keys at times where popular tradition would have made different choices. (18/20)

12. "Zim" (alternate take) (John Magruder) (4:00) a much more smooth-flowing "Take Five"-like version of the tune; this was not Don's preferred version of the song but he was serving popular demand from the response of listeners from those who had purchased or heard the original unapproved version on Columbia's initial release of the material. I can't say that I dislike it. The mix ius a bit muddier than the other one, but that almost gives it an era-appropriate psychedlic acid-trip feel! (9/10)

13. "I Remember Clifford" (Benny Golson / arr. Terry Woodson) (5:25) a more traditional lounge jazz tune like something you might have heard at Rick's Café in Casablanca. (8.875/10)

14. "Rasty" (2:52) another song that sounds like a Big Band remnant brought into the late 1960s for renovations. (8.666667/10)

Total Time 65:42

While most of music on this album does sound (almost laughably) out-dated and anachronistic one cannot the technical and compositional skills required put together and then pull with such tight (and professional) performances--captured in just two days in the recording studio!

I've decided to post my rating and ranking according to the version of music published in CD from in 2003 because this release offers the listener a fine cross-section of the two original releases.

89.58 on the Fishscales = B+/4.5 stars; a near-masterpiece of large-spectrum jazz and jazz-rock performances of cutting-edge compositions.

P.S. That girl photographed for the album cover has some long-ass toes!

MIROSLAV VITOUS Infinite Search (1970)

This childhood friend of Jan Hammer had made the move to the United States after winning a scholarship to the Berklee College of Music in 1966. After a stint with flugelhorn pioneer Clark Terry in Chicago, he matriculated to New York at the invitation of Miles Davis in 1967 where he met Herbie Mann with whom he recorded two albums--one that was to come after this.

Infinite Search was recorded on October 8, 1969, with Herbie Mann producing. This January publication was one of the first releases of Herbie Mann's new label, Embryo Records. The album is also remarkable for bringing on board four of jazz-rock fusion's hottest fairly-young phenoms in John McLaughlin, Jack DeJohnette, Herbie Hancock, and Joe Henderson.

Lineup / Musicians:

- Miroslav Vitous / double bass

- Jack DeJohnette / drums (A1 thru B2)

- Joe Chambers / drums (B3)

- Herbie Hancock / electric piano

- John McLaughlin / guitar

- Joe Henderson / saxophone

A1 "Freedom Jazz Dance" (10:54) a basic show of fiery bass and drum skills with a notable display of unhinged guitar pyrotechnics in the sixth and seventh minutes. Despite the electrified contributions of Herbie Hancock and John McLaughlin, this music is still well inside the realms of what I'd call jazz. (17.5/20)

A2 "Mountain in the Clouds" (1:51) more display of Miroslav's youthful exuberance (he was only 22 when this album was recorded) with matching support from Jack DeJohnette. (4.375/5)

A3 "When Face Gets Pale" (7:38) a much more melodic and soothing dynamic from more processed (electric) sound palette, both Herbie and John softly and beautifully dance around on the wings while Miroslav sprints his seven and a half minute marathon. The drums remains more in the background while Joe Henderson doesn't even make an appearance. A much more pleasant listen than the previous two songs but I am still pretty surprised at the speed with which Miroslav thinks he needs to move in order to express himself. A top three song for me. (13.5/15)

B1 "Infinite Search" (6:49) slowing things down even further--even Miroslav himself!--Jack even relegating himself to brushes--it is Herbie's excellent, dreamy chord play that I most love about this song--though I do enjoy Miroslav's bass play when it's at this tempo: he's quite melodic in his play. Fascinating how John McLaughlin--the John McLaughlin--can discipline himself to sit in the background playing two notes over and over! But, I guess that's what the song calls for. Once again there is a notable absence of any saxophone. A top three song, for sure. (13.75/15)

B2 "I Will Tell Him on You" (11:00) sax and bass present the main melody near the start while everyone else tries to support, but then Miroslav takes off: racing toward some finish line that nobody else can see. Jack DeJohnette does the best at feeding off of the bassist's unbound energy but Herbie is also well-matched in his support. Joe Henderson and John McLaughlin don't get to spend enough time on the front lines, but are also up to the task when asked to join in--in that frenetic fifth minute, for example (Go! Jack!) And then, for John, the sixth and seventh (in which Miroslav is amazingly restrained despite still speeding along on autodrive). Herbie's solo in the eighth minute sounds so much like mice scurrying over the floor on their nighttime escapades, then being interrupted by the pouncing cat. Even Jack gets some spotlight in the ninth and tenth minutes. This song must have been the reward everyone received for showing up for these recording sessions. When everyone comes back together at the end of the tenth minute it is to recapitulate the melody themes of the opening minute. Good though still quite "traditional jazz" in both form and style. (17.5/20)

B3 "Epilogue" (6:57) a gentle, atmospheric closer. With jazz and jazz-rock fusion I am not always such a sucker for the slow and spacious songs or passages, but there is something quite arresting to Miroslav's melodies and the band harmonic constructs that I can really pick up on during these slower passages--something that penetrates deeper when there is space and time with which to process and let them reverberate and resonate. My other top three song. (14/15)

Total Time:

89.58 on the Fishscales = B+/4.5 stars; a near-masterpiece of pre-adolescent Jazz-Rock Fusion.

DONALD BYRD Black Byrd (1973)

Donald's first album giving the reigns of both production and composition to NASA aerospace engineer Larry Mizell. (Larry has writing credit on all seven of the album's songs. Donald has none.) Larry and his 11-month-younger brother, Fonce, were both D.C. born graduates of Howard University: Larry in engineering, Fonce in music. The brothers had only moved out to California early in 1972, with the aim of starting their own record production company (Sky High Productions). Black Byrd was recorded on April 3rd and 4th at The Sound Factory in Hollywood, California though one other date was required (Nov. 24) before the album could be mastered (perhaps for the re-recording or overdubs to he album's title song: to give it that "Papa Was a Rolling Stone" sound and feel). It was released by the Blue Note label in February of 1973.

Line-up/Musicians:
- Donald Byrd / trumpet, flugelhorn, electric trumpet, vocals
- Allen Curtis Barnes / flute, oboe, saxophone
- Roger Glenn / saxophone, flute
- Fonce Mizell / trumpet, vocals
- Larry Mizell / vocals, composer, producer
- Dean Parks / guitar (A1, B1)

- Wilton Felder / bass (A1, B1)

- Bobbye Hall Porter / percussion (A1, B1)

- David T. Walker / guitar (A2, A3, B2, B3, B4)

- Chuck Rainey / bass (A2, A3, B2, B3, B4)

- Stephanie Spruill / percussion (A2, A3, B2, B3, B4)

- Kevin Toney / piano
- Freddie Perren / piano, synthesizer, vocals

- Joe Sample / piano, electric piano

- Harvey Mason / drums

- Keith Killgo / drums

- Perk Jacobs / percussion

- Barney Perry / guitar

A1. "Flight Time" (8:30) a remnant from the previous album's recording sessions?--or perhaps something generated by the momentum established by those sessions. The music is more sedate, engineered more for the exposition of singular musicians, one at a time, at the front, with the rest of the band serving more in support roles, not garnering much attention. Even the solos from the lead instruments (trumpet and flute) are more linear and focused, less conversant, than the music on the rest of the album (and on successive albums)--until, that is, the fifth minute when everybody seems to have been given the green light to go, explore, show off (at least for a minute). It's nice but it also helps me to be appreciative of the busy and nuanced weaves of the band's future songs. The busy free for all has some of the same joi de vivre of Hugh Masakela's "Grazin' in the Grass." (17.5/20)

A2. "Black Byrd" (8:00) ominous funk from bass and synth with percussion and Fender Rhodes accents open this one before flutes and wah-wah-ed "Shaft"-like rhythm guitar joins in. Small male choir joins in near the beginning of the second minute talking about "walking along playing our song" while a muted horn and horn-like rhythm guitar squawk and converse between and behind the vocal passages. Truly revolutionary (as far as my experience goes--though there are reminisces here of the instrumental music rendered by The Temptations for their version of "Papa Was a Rolling Stone"--which was released in September! (13.75/15)

A3. "Love's So Far Away" (6:00) high quality, smooth-yet-rollicking and grooving funk-jazz with an awesome bass line (and style) that will be emulated by Les Nemes on one of my all-time favorite albums, HAIRCUT 100's Pelican West. (9.125/10)

B1. "Mr. Thomas" (5:15) nice full, complex, but not-too-busy, example of melodic jazz-funk. (8.875/10)

B2. "Sky High" (5:59) a song titled after Larry & Fonce's new music production company! Smooth melody lines over straightforward jazz-pop with some pretty adventurous bass walking from Chuck Rainey. This is definitely upbeat and happy music--and everybody contributing seems on board with this. Male choir enters in the second half with its background delivery of the usual hokey lyrics. Besides Chuck's awesome bass play, there are great performances here from all of the trumpeters and flutists as well as the rhythm guitarist, drummer, and keyboard players. (8.875/10)

B3. "Slop Jar Blues" (6:00) a nice, easy-going, Cosby Kids-like groove over which the winds and lead trumpeter and flutist have a great dialogue. I wonder if the solo voce "Slop Jar" lead vocalist is Donald, Fonce, or Freddie Perren. Another great engineered and mixed weave of instruments with Chuck Rainey's bass, the lead flute and trumpet, and the percussionists getting especially prominent treatment. (8.75/10)

B4. "Where Are We Going?" (4:40) the two-chord piano opening that proves to be the foundation for the rest of the song inspires (and supports) another great bass performance from Chuck Rainey while flutes, trumpets, and pianos play around within the mix. At 1:37 another singular male vocal performance starts that makes me wonder who it is. Motown-style b vox soon follow. Curiously, that's when Donald's trumpet really starts to fly around: in and between the vocals and recitations of the main melody from the flutes. There is a Classics IV/Atlanta Rhythm Section "Stormy" feel to the chords and melodies of the foundational progression. All in all it's a nice smooth jazzed-up Soul/R&B song, despite its obvious references to other Motown classics (including Marvin Gaye's What's Going On?) (9.125/10)

Total Time: 43:17

By far the most melodic and pop-oriented music and album that Donald Byrd had released up to this time, I find it odd that an album so overwhelmingly dominated by one man and his production company's hired guns gets credited to the non-composing band leader instead of the principal generator of the finished product but such was the way of the music industry back in 1972/3. The shifts in both style and sound quality from Donald's previous release are so pronounced that one almost wants to ask if this is perhaps a different artist altogether--especially with respect to the list of musicians contributing to this album as compared to those on Ethiopian Knights: Wilton Felder, Joe Sample, and David T. Walker are present on Black Byrd, but, to what capacity as there are a whole host of other musicians present here filling in the same roles that the Jazz Crusaders were filling?

89.56 on the Fishscales = B+/4.5 stars; a near-masterpiece of wonderfully-rendered blend of Smooth Jazz and Funk-Jazz.

ASSOCIATION P.C. Rock Around the Clock (1973)

This Pierre Courbois album has the interesting distinction of having four songs (the first four) with wind player Karl-Heinz Wiberny and no keyboard player, followed by three songs without winds but with keyboard virtuoso Joachim Kühn sitting in with his (loud) electric piano.

Line-up / Musicians:
- Toto Blanke / guitars, Ring-modulator, Nogoya-harp
- Joachim Kühn / E-piano (5-7)
- Siggi Busch / bass, kontrabass
- Pierre Courbois / drums, percussion
- Karl-Heinz Wiberny / sax, basset-horn, flute, Chinese schalmei (tracks 1-4)

1. "Phenis" (5:03) Oriental-sounding guitar chords with Oriental-sounding cymbal play wrapping around Toto's guitar (the Nogoya-harp?). There is an element of Popol Vuh and other Eastern-influenced Kosmische Musik bands here. In the third minute Toto picks up his pace with lots of fast-picking and tremolo-strumming as drummer Pierre and bass player Siggi join in--Pierre taking over fully for about a minute to the song's end. There is supposedly some reed instrument present being played by Karl-Heinz Wiberny but I do not hear it. (My guess is that it would be the credited "Chinese schalmei" due to the overwhelming Chinese flavor of this song.) I actuall ylike this song--it does a pretty decent job of conveying, consistently, the Asian/Chinese feel and flavor from start to finish. (8.875/10)

2. "Polar Anna" (6:40) kind of an exhibition of hyper-fast rhythm section supporting some high-flying almost-free jazz from the soloists above--first sax player Karl-Heinz Wiberny (for the first four minutes) and then fast-picker Toto Blanke for the final three minutes. Not a very melodic song--very jazzy--but very impressive instrumental skills on display (especially from the bass and drums). (8.875/10)

3. "Mirrored Dimensions" (2:40) a spacey start turns industrial (long before there was such a thing as "industrial" music) but I guess it still retains its Kosmische links. I actually like this rather unique sound exploration: cymbals, deep warbly sax notes, bowed contrabass, and wildly bent electric guitar notes. Brilliant! (5/5)

4. "Shirocco" (3:38) Siggi on double bass to open this one for about a minute of very cool sound exploration (untreated!) In the second minute he eschews exploration for more straightforward bass play, though still soloing, before Karl-Heinz Wiberny joins in with a very odd Oriental (Middle Eastern?) brass reed instrument. (Though it could be the Chinese schalmei, as credited in the album's liner notes, it sounds to me more like a bagpipe-like instrument.) The two play out as a loosely-structured duet in this loose, Middle Eastern sound palette. (8.75/10)

5. "Rock Around The Cock" (6:43) with a funky opening like this (sounds like Herbie's Head Hunters at their most funky with a super-funky bass player like Stanley Clarke) you'd never expect Bill Haley's song to be the template. As a matter of fact, we're over two minutes in and I'm still hearing nothing that remotely resembles the 1955 hit classic; I feel more as if I'm immersed in a super funky Mwandishi walkabout. Joachim Kühn's Eumir Deodato-like electric piano, Siggi Busch's funky bass, Pierre Courbois' Amazing Billy Cobham-like drumming, and Toto Blanke's raunchy Eric Gale/Larry Coryell-like electric guitar take this to a level that not many funk bands have ascended to! Despite my expectations being blown out of the water, I loved this song! (9.33333/10)

6. "Autumn In March" (7:45) scaled down slow and delicate instrument play opens this before the foursome are conjoined for the expression of a loosely-synchronized and rhythmically-linked jazz motif. Despite the fully electrified instrumental palette, these accomplished jazz artists are still very much playing jazz first and foremost, making this a clear representative of Herbie Hancock, Tony Williams, and Miles Davis-like First Wave Jazz-Rock Fusion. Both Toto and Joachim's solos are very flashy, dissonant and discordant, as all adventurous, boundary-pushing jazz musicians were doing in the 1960s, yet highly skilled. Again: a very impressive display of musicianship that fails to strike much of my "enjoyment" chords. (8.75/10)

7. "Cap Carneval" (9:07) the album's final song (and the final song of the three that include keyboard genius Joachim Kühn) starts off with a kind of one-chord free-for-all: for two minutes drummer Pierre Courbois is going crazy wild below Joachim's "stuck" one-chord electric piano pounding while Toto and Siggi noodle around with equal abandon somewhere in-between. Then, in the third minute, it's Joachim's turn to noodle around with crazy reckless abandon while Pierre, Siggi, and Toto manage to "hold it together" with some frenetic though structured noodling beneath. I don't like the volume given Joachim's electric piano as he's able to so easily dominate the others. Still, Pierre and Siggi cannot avoid being noticed as their frenzied play is mind-bogglingly rapido. At 6:40 Joachim, Siggi, and Toto take a beer break while Pierre solos for a minute, but then they all come busting back in, racing to the end. (Which makes me wonder: who won? I'd guess Joachim.) Impressive but only enjoyable for the skills on display: there is little or no melody--even in chord progression. (What chord progressions?) (17.5/20)

Total time: 41:36

Though by no means a bad album, the music here is expressing a kind of fusion that is more akin to that of free jazz infused with World musical ideas and sounds (much as many German contemporaries were experimenting with at the same time.) Pierre Courbois' version of this East-West fusion, however, comes across as much more rooted in classic jazz or the more recent free forms of "free jazz" which, unfortunately, renders it practically dissonant, atonal, chaotic, and, for me, not very enjoyable. (I appear to need melody and structure.) I will never, however, argue that these musicians are not virtuosi of their respective instruments--which is what makes rating these songs and album so incongruous: I know they are geniuses, I just don't like all of their music on this album!

89.444 on the Fishscales = B+/4.5 stars; a near-masterpiece of First Wave Jazz-Rock Fusion.

BRIAN AUGER'S OBLIVION EXPRESS (1970)

An album that puts on display how seriously the mercurial keyboard wiz had been affected by the music coming from Jimi Hendrix, Tony Williams, John McLaughlin, and even Jeff Beck; gone are Julie Driscoll and Brian's Doors-style keyboard melody making; abandoned are The Trinity and the "Wassenaur Arrangement" Dutch musical commune experiment; here are the heavy bass and drums, searing sound effects on guitars and keys.

Line-up / Musicians:
- Brian Auger / keyboards, vocals
- Jim Mullen / guitar
- Barry Dean / bass
- Robbie McIntosh / drums

1. "Dragon Song" (4:30) power Jazz-Rock with every bit as much heaviness as anything John McLaughlin or Tony Williams were doing at the same time. The bass, drums, organ, and searing electric guitar work scream "Hendrix Lifetime Devotion"! An incredible song! (9.75/10)

2. "Total Eclipse" (11:38) more heavy instrumental jazz-rock, though at least a little slower and steadier than the album's opener. Great guitar and experimental (for Brian) keyboard play. Engaging as Brian seemed to have a gift for making. (18/20)

3. "The Light" (4:24) the first song with any vocals here shows Brian trying to engage the hippy-trippin' culture but with a high-speed ride rather than some dreamy peacenik stuff. Despite great performances from Brian and bassist Barry Dean, the melodies and hooks just miss the mark. (8.75/10)

4. "On the Road" (5:28) a song whose music is stylistically more oriented toward American blues-rock or even Southern rock of the Band/Allman type. Multiple voices are used to choral sing the lyrics. Nice instrumental performances but just not my kind of music. (8.6667/10)

5. "The Sword" (6:36) more rock that has that Americana or American Rock base and feel--sounding a lot like early Grand Funk Railroad at its base though with much more impressive instrumental performances. (8.6667/10)

6. "Oblivion Express" (7:45) sounding more like Don Brewer-led GRAND FUNK Railroad and the heavier rock 'n' roll from EMERSON LAKE & PALMER. (13.25/15)

Total Time 40:21

A lot of male energy was expended in the creation of these songs! Those were the times!

89.43 on the Fishscales = B+/four stars; an excellent foray into the heavier rock-oriented side of Jazz-Rock Fusion that was being pioneered at the time by Cream, Jimi Hendrix, Tony Williams, and John McLaughlin.

THE NEW TONY WILLIAMS LIFETIME Believe It (1975)

An album that is as notable for luring guitar phenom Allan Holdsworth away from a pretty good gig with The Soft Machine as it is for being one of the legendary drummer's finest. The album was recorded in New York City early in 1975 for Columbia Records and released in October. The two years spent with Tony (actually living with him in his NYC apartment!) have often been cited by Mr. Holdsworth as the most transformative experience of his life.

Line-up / Musicians:

- Tony Williams/ drums, vocals, arrangements

With:

- Allan Holdsworth / guitar

- Alan Pasqua / piano, clavinet

- Tony Newton / bass

1. "Snake Oil" (6:30) opening with a truly funked up bass, the surprisingly-raunchy guitar from Allan Holdsworth enters with Tony's surprisingly straightforward drumming to establish a foundational framework within which the band members work in their little nuances of extras until 1:40 when Allan begins a guitar solo of subtly varied guitar chords based on the foundational flow. The band is very tight but, again, surprisingly stiff and unadventurous--until Alan Pasqua starts a clavinet solo around the three-minute mark. Thereafter one can hear Tony start to loosen up and fly around his drum kit beneath the rigid form of his bandmates. In the sixth minute, Allan launches on a surprisingly controlled and "slow" solo for about a minute, and then the song just slow fades! Wow! Kind of weird--and definitely unexpected! (8.75/10)

2. "Fred" (6:48) one of Allan's compositions, it is surprisingly melodic and smooth--especially Allan Pasqua's keyboard parts (which Allan matches with his soft guitar chords for the first two minutes. Tony's play is nice. Electric piano gets the first solo--a surprisingly extended two minute jaunt during which Tony's drum play just gets more and more dynamic. Allan finally enters as the soloist at 3:45--but it's Tony again who garners all my attention--even after 4:25 when Allan finally starts to cook, it's Tony that I am enjoying the most. How can a drummer be this "melodic"? Nice guitar solo finally ends about 5:37 whereupon we reenter the lush keyboard-and-guitar chord sequence of the opening. Nice tune. Great drum display! My favorite. (13.75/15)

3. "Proto-Cosmos" (4:02) a nice driving jazz-rock tune on which Tony once again shines despite more-than-adequate performances from his band mates--just nothing as extraordinary or dynamic as Tony's play. (8.875/10)

4. "Red Alert" (4:39) opening with a rock sound that sounds like the sound palette of Edgar Winter's "Frankenstein." At the end of the first minute bass player Tony Newton is the only one left carrying the song forward as everybody else clears out for a stupendous Allan Holdsworth solo. This is the first time on the album that Allan has displayed any of the fireworks that we heard on his last album prior to this one, The Soft Machine's Bundles. Alan Pasqua gets the next solo on his electric piano in the second half of the third minute. I love how both Holdsworth and Newton (as well as Williams) embellish their own "support" play beneath Pasqua--this is the first time the three have done this to this degree. (8.875/10)

5. "Wildlife" (5:22) a slow, melodic arrangement with upper register electric piano and electric guitar presenting and carrying the BOB JAMES-like melody forward from the start. Holdsworth takes his time taking the first solo slot--and never hits third gear, just maintains and supports the basic melody, pretty much. Pasqua's clavinet is a nice second keyboard and Newton's bass play is the most loose and satisfying that we've heard beneath Pasqua's cool electric piano solo in the fourth minute. I LOVE how the bass and drum play--both fairly straightforaward and sedate--give the feeling of pushing: giving more power and even trying to push the pace up a notch. Really cool feeling! Otherwise, just a nice song. My second favorite song. (9/10)

6. "Mr. Spock" (6:15) another song that seems to have more of a rock and pop orientation--at least until the speed is finally established at the one-minute mark. In the second minute, Alan Pasqua takes the first solo with silence from Mr. Holdsworth beneath--which makes Tony's play even more noticeable. Nice bass play from Mr. Newton. Even Tony's straightforward play is filled with such nuance and subtlety! Holdsworth puts in a decent solo in the fourth minute with Pasqua now completely dropping out. Cool idea! Tony's solo play in the second half of the fifth minute (beneath Holdsworth somewhat annoying distorted three-chord guitar play) feels a little bit "amateurish" for its showy-ness. (8.87510)

Total time 33:36

Overall this is a nice album of almost proto-Smooth Jazz on which Tony Williams shows us some of the amazing power he controls in his most basic drum play. The rest of the quartet are adequate in their play but rarely jaw-dropping. The songs are a little too formulaic with the way in which they are set up to harbor a succession of individual solos (except for "Fred").

89.42 on the Fishscales = B+/4.5 stars; a near-masterpiece of jazz-rock fusion. The album recording experience that Allan Holdsworth credits for being the most significant learning experience of his musical career.

TIHOMIR POP ASANOVIC Majko Zemljo (1974)

Yugosloavian keyboardist formerly of the band, TIME, recorded this, Yugoslavia's first rock keyboard album, in 1974 in Zagreb for Jugoton Records. The album title means "Mother Earth."

Line-up / Musicians:
- Tihomir Pop Asanović ‎/ Hammond, Fender Rhodes & Hohner e-pianos, Moog, arrangements, conducting
With:
- Mario Mavrin / bass

- Dusan Veble / tenor saxophone
- Ozren Depolo / saxophones, alto & soprano (5)

- Petar "Pero" Ugrin / trumpet (1-5)

- Stanko Arnold / trumpet (1,3-5)

- Boris Sinigoj / trombone (1,3-5)

- Dado Topić / vocals (1,2,5,7), bass (2,8)
- Janez Bončina / vocals (1,5), guitar (7)
- Ladislav Fidry / trumpet (2,4), flugelhorn (4)

- Dragi Jelić / guitar solo (2)

- Nada Zgur / vocals (4,7)
- Bozidar Lotrić / trombone (4)
- Marjan Stropnik / bass trombone (4)
- Joze Balazić / trumpet (4)
- Ratko Divjak / drums, percussion (4,5,7)
- Braco Doblekar / congas, percussion (4,5,7)

- Josipa Lisac / vocals (6)
- Doca Marolt / vocals (7)
- Peco Petej / drums (8)

1. "Majko Zemljo" (3:32) opening with some spacey synth noises, this one quickly falls into a brass rock sound similar to bands like Blood Sweat & Tears. I like the contrasting use of two alternating male vocalists. (8.875/10)

2. "Balada o liscu" (6:06) slow pop-jazz ballad with percussion and hi-pitched droning saw synth pervading the first three minutes beneath the vocalist. Then the horns enter and the tempo picks up, creating a more dynamic base, but then it all falls back into the slow pop motif for the fifth minute. Interesting and not bad--the singer is good (the sound engineering not as much). (8.875/10)

3. "Berlin I" (5:30) opens with some funky organ notes joined immediately by some smooth funk rhythm play from bass, drums, and percussion before being taken up a notch by banks of horn section accents and melody lines. The real player here, however, is Tihomir with his Brian Auger/Eumir Deodato-like funky organ play constantly exploring beneath the horns and horn soloists. This is such a great groove though laid-back in an "2001/Also Sprach Zarathustra" kind of way--at least until 3:40 when a very bluesy bridge signals Tihomir "Pop"'s turn for a solo. Very bluesy. Great two-handed work! Great cohesion from the rhythm section. (And no guitar!!) (9.25/10)

4. "Tema za pop LP" (3:39) Hohner clavinet with the rhythm section establish a very 70s funky base over which horns and female vocalists establish some hip-1960s surf- and bassa-nova-infused sounds and melodies. More great organ work beneath the horns which continues to remind me of the greats of the late 1960s like Auger, Rod Argent, Steve Winwood, and Jerry Corbetta (SUGARLOAF). Hip and cool but very dated. (9/10)

5. "Rokenrol dizajner" (2:56) more "early" R&B-modelled BS&T- and Chicago-inspired jazz-rock. Vocals enter in the second minute sounding not unlike Bill Withers. Some excellent bongo and trumpet play in the third minute before Pop plays his organ off of his clavinet in a very cool way. Banked horns and drums loosen up a little in that final 30 seconds and then poof! It's over! (9/10)

6. "Ostavi trag" (4:55) bass, sustained organ chords, and hand percussion support female vocalist Josipa Lisac's very passionate Lulu/Yvonne Ellemann-like vocal (presumably in Croatian). Electric piano and percussionists play off of each other in the instrumental passage occupying the third minute. Nice, smooth/chill soprano sax solo in the final minute. (8.875/10)

7. "Telepatija" (2:56) the choral vocal dominated attempt to recreate the Latin/Caribbean sounds of Sergio Mendes' Brazil '66 and Santana. Nicely coopted and performed--especially in the alternating group conversations between the women and men. (8.875/10)

8. "Berlin II" (4:41) Another song that feels a little mired in the surf- and burgeoning hippie culture of the mid- to late-1960s--yet, again, I can only compliment Pop for his excellent integration and acculturation of said sounds and styles: heard on an American radio station I have no doubt that nearly all listeners would be tricked into thinking/believing that this music had to be coming from an American or perhaps even English band. (8.75/10)

Total Time: 34:15

The musicianship, compositional quality, and vocal performances are all deserving of superlatives--even in spite of the fact that Pop Asanovic is trying so hard (and accomplishing so well) the emulation of so many jazz-rock and jazz-pop musical styles that became popular in America during the 1960s.

89.375 on the Fishscales = B+/4.5 stars; a near-masterpiece of very solid and enjoyable jazz-rock and Latin-rock infused music. Definitely recommended to all my fellow jazz-rock/fusion lovers.

BILLY COBHAM Spectrum (1973)

The Panama-born drumming phenom's first foray as a solo artist/bandleader. Impressive albeit dense jazz fusion by an extremely gifted, energetic drummer and his studio hires, I never heard this album in its heyday but had to wait till seeing all of the acclaim here on ProgArchives to discover it. Again, the performances are impressive--and polished--much moreso than the Mahavishnu stuff that came before it--BUT there is not a lot of engaging meat or melody here--not a lot of "fat" to this meaty collection of songs. The few songs I return to are more as a reminder of how much growth Billy Cobham did from his 1970 stint with his original band, New York, to here. The dude must have worked his fat off! The subtleties and nuances expressed herein by Mr. Cobham's virtuosic playing are truly astonishing, I just like a little more melody to keep me engaged. Plus, I'm not really much of a fan of Mr. Hammer's style or sound palette. (Also, I think I was always a bit turned off by his one-handed approach--something he may have perfected in order to promote his mobile keyboard play; left hand/bass clef play is often what really draws me into a keyboard player's style.) nor of Mr. Bolin or Mr. Tropea's guitar tone selections and styles. With horn, keys, and some guitar soli trying to attract and keep the listeners attention, it seems that I always fall into listening to the mesmerizing playing of Mr. C. Plus, his drums are recorded so well: every sound and nuance captured so clearly and balanced. Recorded in New York City at Electric Lady Studios on May 14-16 of 1973, the album was produced by Billy, himself, and then released by Atlantic Records on October 1.

Line-up / Musicians:
- Billy Cobham / percussion, Moog synth drum (4,6b), producer
With
- Tommy Bolin / guitar
- John Tropea / guitar (5b)
- Jan Hammer / electric & acoustic piano, Moog synthesizer
- Joe Farrell / flute (2b), soprano (2b) & alto (5b) saxophones
- Jimmy Owens / flugelhorn (2b,5b), trumpet (5b)
- Lee Sklar / Fender bass
- Ron Carter / acoustic bass (2b,5b)

- Ray Barretto / congas (2b,5b)

1. "Quadrant 4" (4:20) this must be a song that Jan Hammer and Billy Cobham had left over from their last Mahavishnu Orchestra sessions--the ones that left them frustrated for the lack of input allowed/honored/valued from bandleader John McLaughlin. Jan and guitarist Tommy Bolin get most of the spotlight as Lee Sklar and Tony run a pretty tight ship beneath--neither too flashy but so competent in their tight hold of the speedy rhythm track. Impressive performances but not my favorite kind of music. (8.75/10)

2. "Searching For The Right Door / Spectrum" (6:33) Bandleader Billy Cobham starts this one off as a drum solo right from the get go: just him playing as if a one man band with his expanded drum kit. The "Spectrum" second half is a horn-supported funk jazz-rock piece with one awesome Ron Carter double bass performance (and ear worm riff). Horns and keys get the first mini solos before Joe Farrell is pushed out front with his soprano sax. Billy and Ron are just chewing up that underside! Jimmy Owens gets the next solo on his flugelhorn. Jan Hammer's support on Fender Rhodes is exquisite. The horns team up for the bridge into Jan's solo as Joe Farrell switches to flute for support. Good solid jazz-rock. (8.875/10)

- a. Searching For The Right Door (1:24)
- b. Spectrum (5:09)

3. "Anxiety / Taurian Matador" (4:44) more Cobham showmanship to open this one before the rest of the band are allowed to join in. When they do it's once more at break-neck speed--as if everybody's swarming down a country road on motorcycles, weaving rather recklessly among one another, with Jan and Tommy Bolin exchanging friendly and unfriendly shouts at one another as they go while Lee Sklar and Billy hold down the sane, steady pace. Impressive; I'm just not a fan of this type of speed jazz. (8.75/10)
- a. Anxiety (1:41)
- b. Taurian Matador (3:03)

4. "Stratus" (9:50) is like hearing music from the future as Billy Cobham's partner in the opening 3-minute duet is a computer-sounding keyboard. But then everything bursts out of the cosmic soup into a celestial form that is quite similar in form and sound to something from the Mahavishnu project. The rolling bass line is undoubtedly that which prog lovers are drawn to (as well as the masterful drumming display) while the Fender Rhodes holds the song to a key and the fiery guitar of Tommy Bolin burns through the space-time continuum. Jan Hammer is the next artist to get a solo and it's a great one--despite my brain's insistence and listening to the rhythm guitar work of Mr. Bolin. All the while Billy Cobham moves around his kit as if he only has to think it in order for it to happen--it is at times unbelievable how little space is allowed to exist between his stick hits. Though not a great tune, it is catchy (especially that iconic bass line) and very impressive in the instrumental departments. (18.25/20)

5. "To The Women In My Life / Le Lis" (4:11) now for a little of the future music that we'll soon be calling "Smooth Jazz." The stellar solos are still there (Jan Hammer's Moog) and the contributions of the clavinet and horns definitely add a dimension, but the smooth Latin melody and Latin bass and drum & percussion lines are quite simple and melodic in a way that previous jazz-fusion artists were often loathe to supply. (9/10)
- a. To The Women In My Life (0:51)
- b. Le Lis (3:20)

6. "Snoopy's Search / Red Baron" (7:39) a simplified funk piece of funk that harkens back to music like Herbie Hancock's for Bill Cosby Fat Albert and the Cosby Kids show as well as to other Southern Rock-funk R&B blues fusions. A solid song but nothing with plenty of nuanced performances that is nothing that I really feel compelled to sing, hum, or dance to. (13.375/15)
- a. Snoopy's Search (1:02)
- b. Red Baron (6:37)

Total Time: 37:17

A prog lover is want to compare this classic album to the one from the other great jazz-rock fusion drummer of the period, Tony Williams' New Lifetime's Believe It!, but they're really two very different beasts. Believe It! (which I just happened to review immediately before Spectrum) is the very clear and concise work of a jazz quartet whereas Spectrum shows a drummer with a more broad and very subtle-swift brushing of many more sounds with the sweeping motions of his sticks; Tony's mastery is shown through a tremendous variety of dynamics employed to his hits within very precise rhythms coming from a much smaller, more traditional jazz kit while Billy's drum kit seems to be a much more expanded Carl Palmer-like kit within which he tries to hit as many items with as fluid and fast a display as if to sound like a wind storm sweeping through a variety of landscapes, both natural and man-modified.

89.33333 on the Fishscales = B+/4.5 stars; a collection of solid songs from virtuoso musicians whose overall impression is one of a "near-masterpiece" instead of a true masterpiece. There is a difference between "masterful performances resulting in songs that are very interesting to listen to" and "great songs that I'm drawn back to for repeated listens over and over because I love the music so much." For an album that is a masterpiece because it has eminently enjoyable music on it, go to Billy's three Drum 'n' Voice albums issued between 2000 and 2011.

ENERGIT Energit (1975)

Legit Jazz-Rock Fusion from Czechoslovakia that is quite mature and dextrous if somewhat derivative/imitative of the power fusion bands that formed in the USA and England a few years earlier. The band's only album was recorded by for Supraphon Records at Studio Dejvice and Mozarteum in Prague-Dejvice.

Line-up / Musicians:

Jan Vytrhlík / Electric Bass

Emil Viklický / Electric Piano, Moog Synthesizer

Lubos Andrst / Guitar, Composer

Rudolf Ticháček / Saxophone [soprano and tenor]

Jiří Tomek / Congas (tracks: A, B2 to B4)

With:

Anatoli Kohout / Drums (tracks: B2)

Josef Vejvoda / Drums (tracks: A, B4)

Karel Jenčík / Drums (tracks: B1, B3)

A. "Ráno (Morning Part I)" (17:25) opens with a brooding Latin-based RETURN TO FOREVER-like MAHAVISHNU motif over which guitarist Lubos Andrst plays an impressive Jan Hammer-like solo for the third and fourth minutes. Bridge at 3:30 leads into a motif shift: this one being more syncopated and funky--especially from Jan Vytrhlík's bass and Emil Viklický 's electric piano. Also the conga play of Jirí Tomek stands out more in this passage as sax and electric piano try leading in the melody-making department while everybody else seems to be having a fantastic SANTANA-like jam beneath them. Rudolf Tichácek's soprano sax playing is okay: always coming in bursts, never smoothing out or choosing melody over dynamics. The next solo is from Emil's electric piano: his being a little smoother than Rudolf's but still conforming to the more-percussive staccato approach for its delivery. But, once he gets going he'll occasionally get into some runs or some cool chord progressions. At 10:20 there is a slowdown and break for transition into a slightly different motif for Lubos to take another try at the lead. His playing approach definitely treads more into the territory of John McLauglin and Larry Coryell, though my brain keeps hearing Jan Hammer more than any guitarist. I like the way Emil Viklický keeps prodding the soloists (not just Lubos) with his keyboard interjections--pushing them to go further than they might without him. In the fifteenth minute there is a complete deconstruction of the rhythm track while Lubos and Emil continue to play around a bit, then in the first half of the 16th minute the band returns to the opening RTF-like motif as Rudolf takes us out with his soprano sax. (31.25/35)

B1. "Paprsek Ranního Slunce (The Early Sunray)" (4:40) countrified jazz rock that sounds like Jay Beckenstien's SPYRO GYRA merged with the OZARK MOUNTAIN DAREDEVILS and DIXIE DREGS. Impressive guitar play begins around the two-minute mark and then seamlessly leads the band into a cool Mahavishnu-like motif switch. Now, this is great J-R Fusion! At least until it shifts back to BOB JAMES "Angela" territory at the four minute mark. Luckily it ends with some more of those impressive keyboard-and-electric guitar machine gun runs. (8.875/10)

B2. "Noční Motýl (Night-Butterfly)" (7:50) electric guitar harmonics open this, reinforced with electric piano play--which soon occupies two tracks, the two electric pianos using completely different settings. The more piano-sounding ep begins taking the lead from the guitar with some classical-like runs, but then, in the fourth minute a deep, pulsing, muddy foundation is committed to by the full rhythm section, which sets Emil Viklický off on a Fender Rhodes tirade before heavily-effected (Moog-sounding) electric guitar joins in and pushes his way to the front. A Moog synthesizer enters and begins competing with Lubos for the lead, dueling and playing off one another with a ferocity comparable to (yet never quite achieving the heights of) that of John McLaughlin and Jan Hammer. This doesn't last very long before the band devolves into a rich, Fender-dominated sound field for a lovely finish. Definitely a top three song for me. (13.75/15)

B3. "Apoteóza (Apotheosis)" (2:55) more Mahavishnu Orchestra-inspired Jazz-Rock Fusion that includes another presence of the Moog synthesizer. (8.875/10)

B4. "Ráno (Morning Part II)" (4:05) what starts out as a kind of a loose, unstructured unwinding for all of the instrumentalists turns into a simple conga solo for the fadeout finish. (8.66667/10)

Total Time: 36:55

89.27 on the Fishscales = B+/four stars; an excellent addition to any prog lover's music collection--especially if you like the dynamic Jazz-Rock Fusion of early versions/experimentations of the Mahavishnu Orchestra, Larry Coryell, and Return To Forever.

MIKE MAINIERI Journey Thru an Electric Tube (1968)

Youthful and intrepid vibraphonist Mike Mainieri breaks loose from his years of playing for other band leaders to present the world with eight original compostions (six of which are all his; the other two composed in part or whole by his vocalist muse, Sally Waring).

Line-up / Musicians:

- Mike Mainieri / vibraphone

- Hal Gaylor / double bass

- Chuck Rainey / electric bass

- Donald MacDonald / drums

- Jeremy Steig / flutes

- Warren Bernhardt / piano, organ

- Joe Beck / electric guitar

- Sam Brown / guitars [electric & classical]

- Sally Waring / vocals

A1. "It's All Becoming Clear Now" (5:21) a very upbeat and rousing rock-infused jazz panoply. Great, enthusiastic performances across the board. (9.3333/10)

A2. "The Wind" (5:15) jazz vocalist Sally Waring torches the audience with an in-your-face performance--one that is supported by a skillful group of professionals who offer Sally plenty of space while making the background quite interesting with their many injections of personal riffs, nuances, and accents. Mike is awesome, of course, as are the guitarists, piano, and flute. All of the electrified accoutrements do certainly add a different dimension to what would otherwise have been a classic blues-jazz tune. (8.875/10)

A3. "Connecticut Air" (2:47) a song that is credited solely to Sally Waring, it presents itself as an almost orchestra-supported (coming from a surprisingly-uncredited violin or chamber strings team) stage/theater-like piece. Quite lovely (though nothing resembling any of the burgeoning-in-1968 forms of Jazz-Rock Fusion). (9/10)

A4. "We'll Speak Above The Roar" (6:16) opens up straight off the bat as a kind of hippie West Coast rock (or Off-Broadway stage rock musical) tune turns into a Beat-generation-like tune in the second motif 's(which rotates with the hippie-rock opening one) walking bass, rhythm guitar work, and "in-crowd" vibraphone play. All of it are quite stereotypic of the late 1960s-early-1970s "party crowd" music--like something that would be befitting to the soundtrack of the hit television shows Laugh In or a "hip" Peter Sellers movie. The third motif is blues-rock--which turns into more of the Godspell-Hair-like stage musical music for the final minute before a quick fade out ends it all. Interesting and entertaining if rather dated. (8.875/10)

B1. "The Bush" (2:54) a weave of guitars, bass, vibes, flute, piano, and drums is very cohesively rendered here--presenting several melodies and motifs that border folk and country-western or blues-rock sound palettes. Funky white man's music that, again, might have been a successful soundtrack for a television commercial or montage. (8.75/10)

B2. "I'll Sing You Softly Of My Life" (4:45) here we find the band dancing around some bossa nova like sounds, rhythms, and structures. Then, in the middle of the second minute, there is a very sudden and even odd turn toward a more classical music sound before the band rejoins and slowly and steadily slides (seamlessly) back into the bossa nova sounds and forms. I actually think this a rather brilliant composition: so effortlessly and convincingly melding and "fusing" multiples of these Latin American sounds and stylings into one fully-American-sounding song. Fascinating! And a tough song to perform, I imagine. (10/10)

B3. "Yes I'm The One" (0:47) sounds and feels as if I just happened to stroll behind the stage of a musical show going on and then chose not to stop but continue on my merry way, exiting out the other end of the building! (The other Sally Waring composition, btw.)

B4. "Allow Your Mind To Wander" (13:53) opens as a free jazz tune that is not as crazy and chaotic as many free jazz tunes can be; in fact, it sounds rather like a pit orchestra priming, prepping, and tuning for the opening of their big stage musical. Interesting and quite possible fun for the musicians (though it is, I'm sure, unreproducible), the overall effect is more like background music for an opening night exhibition in a New York City art gallery (as well as a waste of my not-very-valuable time). (25.5/30)

Total time: 41:37

I don't mind any of these tunes despite their datedness. In fact, I find Mike's compositional imagination quite admirable--even remarkable ("I'll Sing You Softly of My Life" and "It's All Becoming Clear to Me Now," in particular). Obviously, there was some great stuff in the waters of Connecticut in 1968!

I love this April 6, 2020 review on rateyourmusic.com by a reviewer who calls himself "Famepollution":

This might be the most interesting boring album ever. On one hand this album screams local lounge act goes into the studio to make a hip contemptorary record featuring the latest styles in cool music. The whole album screams free with a purchase of membership in the colombia records club. It smacks of martini swilling middle aged hugh hefner types trying to understand the new hippie thing.

Overall it comes off both pleasant, and mundane. There are a few numbers here that are decent, but not essential.

it's just there is 14 minute free freak out thing here. It's not a great take on the genre... it's just, this album sounds commerical and some how, the '60s were so weird that this commercial sounding record has a 14 minute jazzrock interstellar overdrive. Again, not a great version of it, but just the idea that these second rate lounge jazz artists felt the need to put one on here blows my mind.

89.26 on the Fishscales = B/four stars; a very entertaining and interesting little time capsule flashback into the hipster/wannabe world of white East Coast 1968. It's fun, it's sad, it's rather clever musical compositions, and, essentially, it's a little microcosm of all that was in the spirit and intentions of early Jazz-Rock Fusion experimentalists.

JASPER VAN'T HOF Eyeball (1974)

Recorded in The Netherlands on March 16 & 17, 1974 (in between the two recording dates of Charlie Mariano's Cascade!!) Six of the songs here are attributed to band leader van't Hof, three to bassist John Lee.

Line-up / Musicians:

- Jasper Van't Hof / acoustic piano, keyboards
- Zbigniew Seifert / violin
- Wim Overgaauw / electric guitar, banjo
- John Lee / electric bass
- Gerry Brown / drums, percussion

A1. "Bax" (7:50) a truly obnoxious syncopated two-note bass anchoring this otherwise interesting song into hell spoils, for me, the wonderful performances of Gerry Brown (amazing!), Jasper van't Hof, and violinist Zbigniew Seifert. I think Jasper thought he was Herbie Hancock or something. I feel sorry for John Lee (to be held hostage like that). (13.25/15)

A2. "Viber Snake" (5:12) opening with some loose and very sparse piano and bass support to some absolutely wonderful "flamenco jazz" guitar work from Wim Overgaauw. At the very end of the third minute Wim stops and the plaintive notes of Zbigneiw's violin are doubled and backed by Jasper's piano chords and Wim's guitar chords and other frivolous flourishes. Interesting composition. (8.875/10)

A3. "Eye-ball 1 (Piano Solo)" (3:37) a jazzified classical piece in the Keith Emerson tradition? Sounds an awful lot like something Keith would do. It sounds a lot like a jazzy rendition of an Aaron Copeland song. (8.75/10)

A4. "Hyrax" (5:55) the first of John Lee's contributions is, unfortunately, another song in which John finds himself trapped into a endless syncopated two-note cycle while everyone around him gets to play, explore, and, hopefully, have fun. There is a bit of a dour, "hard-work" feel to the performances. Some weird, wah-wah-ed synth work from Jasper is the highlight of this otherwise one-dimensional song (at least, one dimensional during the solo-support passages). Luckily, Gerry is allowed enough freedom to display his prodigious talent. Turns out that Zbigniew's violin is also being fed through a distorting wah-effects pedal, as his solo is quite reflective of Jasper's. Wim's syncopated rhythm guitar chord hits provide a distracting accent (almost negatively so), but the main melody is pretty good--and performed in an interesting way. Fade out. (8.875/10)

B1. "Schwester Johanna" (6:15) this fast-paced display of instrumental virtuosity sounds like Jean-Luc Ponty playing with the Pat Metheny Group, but it's not. It's Zbigniew Seifert and Jasper van't Hof. But, man! John Lee, Gerry Brown, and Wim Overgaauw's rhythm guitar are sure smokin' up the joint! This six-minute sprint would be a test of anyone's stamina and concentration! (9.5/10)

B2. "Laur" (4:17) moody volume-controlled bass chords open this with spacey synth single notes notes and whistles and exotic percussion sounds. Then Zbigniew and Jasper enter with violin and Vangelis-like Fender Rhodes. This beautiful little dreamy jazz tune is a John Lee composition! But it's so very mature, multi-dimensional, and polished! Take me to this person (or place), please! (9/10)

B3. "One Leg Missing" (3:06) opens with what sounds like some East Asian percussion and instruments (banjo, violin, and spaced-out plucked eighth notes on the bass) providing what sounds like the cacophony of a small third world village celebration (for a big meal). Gerry's play soon turns to his drum kit, where he puts on quite a display of drum mastery. (8.875/10)

B4. "Eye-ball 2 (Piano Solo)" (4:57) solo Jasper. It's very smooth and melodic, flowing beautifully on top as the left hand chord hits provide some referent points. Nice work from a confident and thoughtful player. I'm not usually much of a fan of solo piano work, but this is the kind of stuff I can enjoy. (8.875/10)

B5. "The Rev" (4:20) the final John Lee composition is another surprisingly loose and more-than-two-dimensionally-constructed tune. Zbigniew and Jasper (on synth) open things up by introducing the kind of loosey-goosey, happy-go-lucky melody before backing off for Wim to take a turn in the lead with an odd-sounding guitar (like it's an elephant being muted inside a milk bottle) mixed very quietly into the near background. Zbigniew gets the next solo before Jasper's electric piano takes a turn. Then the song is faded out. A solid song that presents nothing really great or innovative. (8.75/10)

Total time: 46:32

Jasper knows his way around a keyboard but is still fairly new to how to use the new technologies and their sounds (especially single note synthesizers) thus there is a lot of experimentation with the manipulation of sound going on here. What one can certainly say with some confidence is that he and his collaborators can play! In fact, this album contains what is, in my opinion, one of the best displays of the talents of Gerry Brown that I've ever heard.

89.21 on the Fishscales = B+/four stars; an excellent display of Second Wave Jazz-Rock Fusion.

DON ELLIS ORCHESTRA Electric Bath (1967)

Late in 1967, Columbia Records releases their first collaboration with The DON ELLIS ORCHESTRA in the form of a studio album entitled, Electric Bath. Fresh out of the euphoric haze of two very successful live albums and a year of almost continuous touring to festival and rock 'n' roll audiences, Don welcomed the new partnership with Columbia producer John Hammond and with it the chance to work out some of his ideas in a studio setting. Over the course of two days in September (the 16th & 17th) the band put down on tape several songs, five of which would end up on the Grammy Award nominated and Down Beat magazine "1968 Album of the Year."

1. "Indian Lady" (8:07) When I first heard the opening bars to this piece, I was immediately drawn to a comparison to the music of ROBERT WYATT's "Little Red Riding Hood Hit the Road" from his 1974 comeback album, Rock Bottom. The song, played in 5/4 time throughout (and released as a single in a shortened three-minute version), is actually rather famous for its almost-comical multiple "attempts" to end throughout the song. Despite the large ensemble of musicians, the music somehow comes across smoothly, far more easy for the brain to accommodate than one might expect. Heck! There are even some melodic HERB ALPERT-like riffs and motifs. (13.5/15)

2. "Alone" (5:32) soothing and filled with gorgeous melodies, this one reminds me of some of the mellower pieces on my beloved 1970s albums by Eumir Deodato and Bob James as well as many of the jazzy television music providing background and mood for popular television shows that I would watch as a small child in the late 1966s--like I Dream of Jeannie, Bewitched, and The Newlywed Show. Lots of big banks of horns. (9.5/10)

3. "Turkish Bath" (10:29) dynamic music with an Indian base coming from the sitar, tabla and other Indian percussion, as well as flutes and slurring horns. Once set in motion the Latin rhythms and melody structure give it a feel quite similar to Billy Page's song "The 'In' Crowd" as made popular by Dobie Gray and Ramsey Lewis. Who knew that Indian instruments, big band horns, and electric clavinet could be melded together so easily into a bassa nova song?!! (18/20)

4. "Open Beauty" (8:27) beautiful and yet haunting in a psychedelic way thanks to the electric effects applied to the keyboard and vibraphone. Unusual for the minimal presence of drums or other percussives. The extended quarter-tone trumpet solo with echo effect from 5:30 to 8:05 is also remarkable for its particular singularity. (17.5/20)

5. "New Horizons" (12:21) this is a song that sounds to my untrained ear like a pretty standard big band jazz piece. If there are extraordinary things happening I'm not able to pick them up; it's just another long piece with minimal melodic hooks played within a base of a Latin-rock rhythms. (21.75/25)

Total Time 44:56

The musicianship is incredible all-around; how 20 musicians can play such complex music so seamlessly and cohesively is nothing short of amazing. Don's mission to open the West up to the odd meter times "naturally" used in the rest of the world's folk traditions had begun in earnest and would not quit through the rest of the Sixties, only take a slight Bulgarian left turn in the Seventies thanks to his meeting and pairing up with Bulgarian jazz and piano sensation Milcho Leviev.

89.1666667 on the Fishscaels = B+/4.5 stars; a near-masterpiece of boundary-pushing jazz-rock fusion.

JOHNNY HAMMOND (SMITH) Gears (1975)

The same studio machine that delivered so many of Blue Note's Donald Byrd/Blackbyrd albums (as well as some by Bobbi Humphrey, Roger Glenn, as well as songs and records by The Jackson Five, L.T.D., Rance Allen, Gary Bartz, and Taste of Honey): the Mizell brothers and their company, Sky High Productions.

Line-up/Musicians:

- Johnny "Hammond" (Smith) / Electric Piano, Organ, Synthesizer

- Harvey Mason / Drums

- Chuck Rainey / Electric Bass

- Jerry Peters / Piano, Electric Piano

- Roger Glenn / Flute, Vibraphone

- Larry Mizell / Keyboards [Solina], Arranger [Vocals], Producer

- Fonce Mizell / Clavinet, Backing Vocals

- Craig McMullen / Guitar

- John Rowin / Guitar

- Hadley Caliman / Tenor Saxophone

- Julian Priester / Trombone

- Michael White / Violin

- Kenneth Nash / Cymbal, Gong, Percussion

- William Jordan / Vocals [Recitation] (A2)

A1. "Tell Me What To Do" (5:16) (8.75/10)
A2. "Los Conquistadores Chocolatés" (5:56) (8.75/10)
A3. "Lost On 23rd Street" (6:36) (8.75/10)
B1. "Fantasy" (6:06) (9.25/10)
B2. "Shifting Gears" (5:19) (8.75/10)
B3. "Can't We Smile" (4:35) smooth groove with vocal choir and incredible bass playing beneath violin, electric piano, and odd synth sounds. (9.25/10)

89.1667 on the Fishscales = B+/4.5 stars; a near-masterpiece of Jazz-Funk.

BLUE EFFECT (MODRY EFEKT) Benefit of Radim Hladík (1974)

M. Efekt was now under the leadership of guitarist Radim Hladík but their earlier collaborations with Jazz Q led to their imploy of Jazz Q's founding members Martin Kratochvil and Jiří Stivín for supplemental keyboard (Fender Rhodes) and flute and alto sax, respectively.

Line-up / Musicians:
- Radim Hladík / acoustic, electric & Hawaiian (steel) guitars, ring modulator, arrangements
- Lesek Semelka / piano, organ, vocals
- Josef Kůstka / bass, violin, vocals
- Vlado Čech / drums
With:
- Martin Kratochvíl / Fender electric piano
- Jiří Stivín / flute, alto saxophone

1. "Shoes (Boty)" (9:57) borrowing a profusion of themes from bands like Pink Floyd, Led Zeppelin, Thin Lizzy, Derek And The Dominoes, George Harrison, Tangerine Dream, Can, and Nektar, M. Efekt's obvious effort to please their crowd of listeners with such a series of appropriated mock-ups reminds me of the scene in Philip Kaufman's 1989 film adaptation of Milan Kundera's international best-seller, The Unbearable Lightness of Being in which Tomaz and Tereza are in a bar with their friends while a local rock band plays "edgy" rock music and especially their risky in-the-face-of-authority Czech rendering of The Beatles "Let It Be"--only these guys are more talented, versatile, and infinitely more creative than that band. The alternate version of David Gilmour's "Great Gig in the Sky"--with Jiří Stivín's wonderful flute play--is my favorite motif explored in the suite. (17.75/20)

2. "Tea-Room (Čajovna)" (4:01) nice, fully expanded power blues-rock trio music in which Radim Hladík occupies not one, not two, not three, but four tracks for his various electric guitar riffs, sounds, and fills. Interesting and entertaining even if it feels more like a vehicle created explicitly for Radim's study of a particular form and melody. (8.875/10)

3. "Jigsaw Puzzle (Skládanka)" (5:49) Jazz Q flutist Jiří Stivín is quite prominent on this composition: using a near Thijs van Leer style. As a matter of fact, the whole song bears a remarkable similarity to both FOCUS and YES songs and stylings--as if the two have been merged together. Add the crazed wordless "speaking in tongues" vocals in third minute followed by some rapid-speed electric guitar soloing (though by no means in the same league as Jan Akkerman or Steve Howe) and you've completed the checklist for Focus Clone. I might give this higher marks were the rhythm track not so chaffingly irritating. (8.875/10)

4. "Lost-And-Found (Ztráty a nálezy)" (5:12) delicately picked acoustic guitars, swelling percussion, flute, and organ start this one off until the band falls into the groove of a blues-rock song in order to offer up a spacious, womb-like place of supportive bluesy-rock drum, bass, and acoustic rhythm guitars for Radim to take an extended solo, expressing himself as if he were channeling or Eric Clapton, while Josef Kůstka dances with him on his electric violin. At 1:45 the band falls into a nice PROCOL HARUM "Whiter Shade of Pale" groove that supports an emotion-laden echo-and-reverbed electric guitar solo from Radim (the Clapton style still dominating his expression). This continues to the song's final minute when the band is (rough) cut back to the acoustic guitar strumming with squealing guitar and violin motif of the opening minute. (8.875/10)

5. "Hypertension (Hypertenze)" (12:30) Jimmy Page. Jimi Hendrix. Jan Akkerman. Eric Clapton. These are some of the guitarists and guitar styles I hear when listening to the fiery noodling of Radim during the opening two minutes of this. Martin Kratochvíl gets the next spotlight before Radim and Jiří Stivín on alto sax begin a section in which they trade off ten-second outbursts in a three-way duel, each shifting from a variety of sound effects for their respective instruments with each and every turn while the bass, drums, and rhythm guitars pulse and sway with a wildly-pulsating rhythm track that reminds me of that which will be TALKING HEADS' foundation for their classic African-based songs from Side One--especially "Crosseyed and Painless" and "The Great Curve." The crazy, cat-yawling solo opposite Radim's excellent rhythm guitar work could be either a synthesizer, a heavily-treated violin (or electric guitar), or even, perhaps, a crazily-treated saxophone, I don't know which, but it's effective as hell! The music slows down in the first half of the sixth minute as Radim takes up several tracks as he solos variations on a single riffs back and forth between his own guitars with Martin, Josef, and Vldo holding space for him from beneath. In the eighth minute Radim's volume pedaled guitar notes slowly back off as bassist Josef Kůstka is given solo support from Martin and Vlado, then, at the very end of the tenth minute, we come out of that section with some heavy riffing and "distant" space-synth portamento in the background. Radim shreds and rages until a choir of wordless vocalese steps in to establish a melody line that will take us out. Though Radim is there, it is Jiří's alto sax that is given the main spotlight here and he simply tears it up--even emerging on a second (and/or third?) track toward the very end--as the vocalese-supported main theme plays on till the very end. The very cool elements of this song far outweigh its defects. (23/25)

Total Time 37:29

While I appreciate the talent and creative appropriation and synthesis involved in the making of this album, I do not particularly like my J-R Fusion or Prog Rock to be founded in blues structures nor blues-rock sound. Also, for as talented as Radim is as a guitarist, he seems to be "stuck" within a set number of sounds and styles--most of which are not among those I favor or particularly enjoy.

89.167 on the Fishscales = B/four stars; an ingeniously-crafted collection of songs representing several blues-rock styles found in the music of the early progressive rock artists and musicians.

EBERHARD WEBER Yellow Fields (1976)

With the creation of 1976's Yellow Fields (which was recorded in September of 1975) we find Eberhard returning to a jazz combo/quartet format for the exposition of the exploration of his rather unique musical ideas. It helps that he has chosen three of my very, very favorite European jazz and Jazz-Rock Fusion musicians as his collaborators.

Line-up / Musicians:
- Eberhard Weber / double bass
With:
- Charlie Mariano / soprano saxophone, shehnai, nadaswaram
- Rainer Brüninghaus / piano, synth
- Jon Christensen / drums

1. "Touch" (4:58) I am not usually much of a fan of the saxophone but Charlie Mariano has a rare gift for playing with sound and style that rarely irks my sensitive nervous system. Eberhard's underwater bass is the second most attention-grabbing performer here while Rainer and Jon do excellent work holding down the rhythmic foundation of an eminently-enjoyable song. (9.3333/10)

2. "Sand-Glass" (15:40) with a tuned percussion melody that sounds Gamelan (and, thus, marimba), Jon, Eberhard, and Rainer create a peaceful if-oddly-melodized foundation within which bass, Fender Rhodes, soprano sax, and even Jon's cymbal work have plenty of room to add infinitely creative and never-overdone flourishes, flashes, nuances, undertones and overtones. At the end of the fifth minute Charlie switches to the nasally sound of the shehnai for his soloing for about two and a half minutes. Then it's back to his soprano sax--here doubled up--before giving way to Rainer's Fender Rhodes. The creative, fluid play of Eberhard on his underwater bass is so unusual--and yet prepares one for the sounds and stylings he dominates with on his next album, The Following Morning (my favorite of his). Jon Christensen really shines in this section of the song: truly playing off of his band mates and their own expressions of fervor and subtlety. The style subtly shifts over the course of the 12th minute as Eberhard and Jon change their approach to more of a straightforward rock-like bass-and-drum team approach while Rainer continues his almost-too-subtle/gentle Fender Rhodes play. (He really could have stepped up more--or the engineers could have mixed him in front of the cymbals, Gamelan marimba, and bass instead of burying him in the back. A pretty decent composition that shows some of the exploration Eberhard was into at the time--and which he will improve upon/perfect on future albums. (26.5/30)

3. "Yellow Fields" (10:05) I hear a LOT of CHICK COREA and RETURN TO FOREVER in the structure and performances of this song--especially from Rainer and Jon; Eberhard and Charlie sound more like they're from WEATHER REPORT. Therefore, I call this a clever merger of the two, something that could only be managed by four absolute virtuosos of their instruments--which we have here. The only thing really missing from this tune are hooks that anchor themselves in the listener's memory. (17.75/20)

4. "Left Lane" (13:35) with extended sections with only Rainer and Eberhard playing with and off of each other, this one really preps the listener for the duo's next album, The Following Morning on which there will be no drumming, loads of lush orchestration, as well as plenty of areas, like this, where the two are left alone in a large, starkly-empty space. Eberhard convinces Rainer to back down from an extended solo with the establishment of a structured bass line that ushers Jon and Charlie back into the jazz mix, with Charlie taking the lead with his rapid-fire spewing of notes on his soprano sax. At the ten-minute mark Charlie relinquishes the lead for Rainer's Fender Rhodes. It's a nice solo, egged on by Jon and Eberhard's flawless though relentless encouragement. Nice. Charlie returns to a subdued lead for the final ninety seconds, being joined in the last minute by tracks of his nadaswaram and shehnai until the song's slow final fadeout. (26.66667/30)

Total time 44:18

89.1667 on the Fishscales = B+/four stars; an excellent addition to any Jazz or Jazz-Rock Fusion lover's music collections. Recommended if mostly for the magnificent displays of virtuosity from all four of the contributors.

ISOTOPE Illusion (1974)

Highly-acclaimed jazz-rock fusion from a British quartet of seasoned musicians--including Hugh Hopper and Gary Boyle. Produced by Poli Palmer, Illusion was recorded in August of 1974 at Rockfield Studios in Monmouth, Wales, and then released by Gull Records in November.

Line-up / Musicians:
- Gary Boyle / guitars
- Nigel Morris / drums
- Laurence Scott / keyboards
- Hugh Hopper / bass

1. "Illusion" (3:54) nicely-partitioned jazz-oriented rock music, drummer Nigel Morris and mutli-keyboard-playing Laurence Scott seem more deeply connected in keeping the rhythm track on a tightly-formed course while the disturbingly-distorted bass of Hugh Hopper and wah-wah-ed rhythmic guitar play of Gary Boyle seem to be the more adventurous and experimental explorers on top. I think I'm most impressed with Mr. Scott on this one. (8.875/10)

2. "Rangoon Creeper" (6:01) weird boring funk. Laurence Scott again gets the chance to show off his tow-handed skills. (8.5/10)

3. "Spanish Sun" (7:50) great display of Gary Boyle's technical skill on the John McLaughlin-like guitars (especially the electric). I like the minimal support from the other band members; the song could probably even exist without them but they add something (besides their solos). (13.5/15)

4. "Edorian" (2:01) seems like a reprise of the two opening songs--especially in the sound palette choices. I like the doubling up of the keys and guitars while Hugh Hopper just wanders off on his own--apparently as tripping and his fuzz-tone bass. (4.3333/5)

5. "Frog" (2:31) a MAHAVISHNU'/"Vashkar"-like song with more drugged-out bass but nice lead guitar over the tight rhythm section of Nigel and Laurence. (I guess I'd better get used to the fact that Hugh Hopper will never contribute to the rhythmic structure and linear pacing of any of these songs, that it is, in fact, keyboard player Laurence Scott that will be playing the role usually expected/relegated to the bass player in tandem/association with the drummer.) (8.75/10)

6. "Sliding Dogs / Lion Sandwich" (5:58) I can see the draw to this one: for the fine execution of its mathematical structure--especially as it gets complicated with multiple tracks moving in off-set rondo--but it's not my favorite style of jazz-rock fusion. (Plus, Hugh Hopper's bass sound is already driving me to distraction and dislike.) (9/10)

7. "Golden Section" (5:15) at least on this song Hugh Hopper is able to show off some skills despite his fuzz-tone bass as he mirrors Gary's melody lines over the opening 1:20. After that, there's really nothing very special here: just over extended Fender Rhodes play with some sometimes-interesting bass exploration beneath. Even the song's main theme is nothing to write home about. (8.75/10)

8. "Marin Country Girl "(2:10) delicate interplay between piano and guitar with minimal support from bass and drums. The bass play may even be a second guitar, not Hugh Hopper's bass (which is highly likely due to the fact that it is not electric). Very nice. (4.5/5)

9. "Lily Kong" (2:32) what starts out rather simply, as a fairly straightforward weave, turns more complex until it is rudely faded away from our listening capabilities. Foul! (4.5/5)

10. "Temper Tantrum" (3:46) two tracks dedicated to electric guitar, bass and drums mixed kind of to the rear, with panning/reverberating keys floating in the in-between, Gary establishes quite an awesome little duel/battle with himself--between the two guitars (one that reminds me quite a bit of the amazing future duel between Al Di Meola and Larry Coryell on Lenny White's "Prince of the Sea"). Now this is Jazz-Rock Fusion! Best song on the album! (9.5/10)

Total Time: 51:58

The music here is definitely not connecting with me the way it has for many other music lovers. I am impressed with the sound and with the guitar playing of band leader Gary Boyle, but I do not find the compositions as substantive or dynamic as I like. And I absolutely do not understand the affinity to or allegiance to Hugh Hopper--whose obsession with the abhorrent sound created by the singular bass effect he seems so stubbornly attached to over the album's first seven songs is almost enough to drive me away; a keyboard could (and should) do the work that he is so praised for! Kudos to Laurence Scott for coming in from relative obscurity and holding his own next to these other giants.

89.12 on the Fishscales = B/four stars; an excellent if totally confusing and sometimes off-putting example of experimentation within the fairly-new Jazz-Rock Fusion genre of music.

POP WORKSHOP Song of the Pterydactyl (1974)

This international conglomerate of global expats are back to record their second and final album--recorded and prodoced in Sweden at the Europa Film Studio--covering producer Wlodek Gulgowski and saxophonist Zbigniew Namyslowksi compositions (four each) only, this time, instead of imitating Tony Williams, they got Tony Williams--the real Tony Williams--to play on their album!

Line-up / Musicians:
- Zbigniew Namyslowski / alto saxophone [electrified], flute, cello
- Mads Vinding (Burnin' Red Ivanhoe, Secret Oyster) / electric bass [Fender]
- Tony Williams (Anthony Williams) / drums
- Wlodek Gulgowski / electric piano [Fender Rhodes], synth [Synthi], other keyboards
- Janne Schaffer / electric guitar

1. "Prehistoric Bird" (5:20) a Wlodek Gulgowski composition (which was also used on the next project Wlodek participated in, MICHAL URBANIAK's Fusion III). It's a great composition rendered here pretty well but the version on Michal's album is better (thanks in no small way to the vocal inputs of the one and only Urszula Dudziak). (9/10)

2. "Song of the Pterodactyl" (6:52) a Zbigniew Namyslowksi composition that has some nice/interesting chord and melodic progressions within/over which some odd synth, strings (guitar and electrified cello?), and get to insert their personal interpretations befitting the song's title (and theme). I very much like Tony's driving play in the third minute but then he feels as if he goes off topic--loses his interest or concentration--in the fourth and has trouble staying engaged thereafter (lending credibility to my theory that his drum parts were added later--played and recorded as he reacted in real time to the music on all of the other pre-recorded tracks). That's definitely an electrified cello (sounding like a Chinese erhu or the Japanese shamishen) in the seventh and eighth minutes. A weird song in which new, funk- and synth-developed sounds are attempted to be channeled as animal sounds. (13.125/15)

3. "High Priest" (5:39) a Wlodek Gulgowski composition that is very dynamic, very demanding, very impressive, and exceedingly-well performed. (9.3333/10)

4. "Dillema" (6:59) a Zbigniew Namyslowksi composition that contains a great bass performance from Mads Winding to go along with some amazing support from Wlodek's Fender Rhodes electric piano beneath . There's a smoothness to this one that predicts the Smooth Jazz and Yacht Rock stuff about to start coming out in the second half of the 70s. But, here it works fine. A few interesting (odd) sound engineering choices within the song (which, for me, indicate a rushed production process) but otherwise it's a pretty good song. (13.25/15)

5. "Watussi Dance" (4:46) a Wlodek Gulgowski composition opens with some unusually-effected clavinet and wah-wah rhythm guitar before funky bass and drums punctuates the rhtyhms from below. Zbigniew's heavily-effected sax takes the initial lead, giving the groove a little HEADHUNTERS/RUFUS/BILL COSBY sound and feel. A very pleasant and, yes, danceable modern funk tune. (9.125/10)

6. "Mammoth" (5:31) a Wlodek Gulgowski composition with a dreamy, gentle feel for the flute lead that sounds like it's derived or inspired by classical pieces. The soaring, flitting background flute "birds" are a neat effect, but then a shuffle at the end of the second minute ushers in a plodding low-end melodic theme that is obviously supposed to represent some behemothic creature (the mammoth). Janne Schaffer uses the entrance and demonic presence of this theme to start shredding on his guitar sounding as if a hunter/predator bird was trying to terrorize the lumbering quadruped. (This kind of reminds me of what Blue Öyster Cult was trying to do with "Godzilla" and Bondage Fruit with "T-Rex.") Janne is sure having fun tearing up the atmosphere around the poor pachyderm. (I just wish I liked his shredding style. It's kind of like Larry Coryell in that some of his sound and style choices for his guitar soloing are just too abrasive for me.) (8.875/10)

7. "Ozzy Bear" (5:49) a Zbigniew Namyslowksi composition that is rare for the lack of Zbigniew's sax (which shows absolutely no sign until 1:50). I guess it's his flute that presents the first melodies in tandem with Janne's guitar. Great engineering mix of the bass, Fender Rhodes and drum lines. (Here, for the first time, Tony's drums feels like he's actually with the band, not just punched in later.) Nice Fender Rhodes solo follows Zbigniew's solo then we return to the flute-and-guitar led motif that opened the song for the final minute. (8.875/10)

8. "Kuyaviak Goes Funky" (7:15) a Zbigniew Namyslowksi composition that was also covered for Wlodek Gulgowksi's next project, MICHAL URBANIAK's Fusion III. Heavily-muted and -effected sax and guitar precede some spacious keyboard and synth solo efforts. The sound palette throughout this song is just weird: everybody's instrument is being run through some kind of weird funk-(farm animal)-oriented/imitative series of effects and treatments and the song's (minimal and loose) repetitive and rather tedious foundation just serves to support the solos of the odd animals over the top. No thanks, not for me! (13/15)

Total Time: 49:11

Thank goodness for the fact of Janne Schaffer outgrowing his obsession with that awful heavy-distortion sound he used on the band's previous album. I do, however, fell as if the engineering and production are not quite as "spherically" perfect as it was on the previous year's release, Vol 1. For the most part Tony's drums feel distant, separate, as if he was recorded while playing along with the rest of the band's previously-recorded tracks (perhaps he was, in fact, recruited to replace a predecessor whose previously-recorded performance[s] was deemed less-than-satisfactory). At the same time, his extraordinary talents seem rather wasted (underutilized) on this album. Still, this is peak era Jazz-Rock Fusion of a very high quality, if a little more rag-tagged, rushed, or unpolished feeling.

89.04 on the Fishscales = B/four stars; an excellent if quirky collection of songs that attempt to use onomatopoeic sounds to create anthropomorphic sounds as if they're representing the animal world.

BRIAN AUGER's OBLIVION EXPRESS A Better Land (1971)

Brian's second venture into serious Jazz-Rock Fusion with his Oblivion Express lineup and it represents quite a new era in his artistry in that every single song here is the product of one or more members of the Oblivion Express!

Line-up / Musicians:
- Brian Auger/ keyboards
- Jim Mullen / guitar
- Barry Dean / bass
- Robbie McIntosh / drums

1. "Dawn of Another Day" (4:18) opens exactly like José Féliciano's version of The Doors' "Light My Fire" but then piano, electric bass and vocals enter to give it its own identity. It still feels very founded in and reflective of the idealistic hippie 1960s--with lyrics sounding all flowers and rainbows. A very likable, enjoyable song. I especially like the spaciousness of the song as well as the inventive vamp for the finish. (9/10)

2. "Marai's Wedding" (4:22) two acoustic guitars, one soloing dynamically, the other providing some colorful rhythm guitar support. Piano, bass, and drums joins in after about 30 seconds, establishing a very folk-flavored rock song in the vein of The Band (the music) or perhaps Crosby, Stills, Nash & Young (the harmonized choral vocals). This traditional Scottish folk song (originally titled "Mairi's Wedding" not "Marai's") is here re-arranged by Jim Mullen. (8.785/10)

3. "Trouble" (3:12) again I am only hearing The Band when I listen to this song: blues rock foundation with lots of acoustic and twangy Southern fried electric instrumentation. A solid song with more whole-group choral singing, but, despite meaningful words, not my cup of tea. (8.75/10)

4. "Women of the Seasons" (5:00) this one has the sound palette of one of the OZARK MOUNTAIN DAREDEVILS' prettier songs--like the ones composed by Larry Lee. (8.875/10)

5. "Fill Your Head with Laughter" (3:49) this one sounds like something by RARE EARTH, THREE DOG NIGHT or Don Brewer-singing GRAND FUNK RAILROAD or one of the late 60s' love and positivity Broadway musicals. A nice pop-radio-friendly rock song. (8.875/10)

6. "On Thinking It Over" (5:23) yet another group harmony vocal presented pop song that really is crying out for the same crowds as The Association, Godspell, The Cowsills, Hair, and The Rascals. Nice melodies sending out those positive vibes. (Remember when the USA was a place of hope and optimism for the rest of the world?) (8.75/10)

7. "Tomorrow City" (3:30) the group choral vocal approach is really settling in: they're actually quite good. The melodies and stylings here (including the use of congas) for the first time bear some resemblance to the music presented on their 1974 masterpiece, Straight Ahead, just grounded a lot more in the music and zeitgeist of the 1960s: this is a great song though it is still not jazz much less jazz-rock fusion. (9/10)

8. "All the Time There Is" (3:29) back to the Doors chords and sound palette, the group vocal presentation this time is less harmonized, more multiple voices/tracks presenting the same melody notes. This is a very likable tune with several earworm-like riffs, hooks, and moments--and a Brian Auger electric piano solo (though the e.piano is treated with a kind of odd effect--making it sound more like that of Ray Manzarek's "Riders on the Storm" sound). (9/10)

9. "A Better Land" (5:30) at least they're trying to get back to some jazzier and/or bluesier sounds and stylings here: Brian's first and only time perched behind his organ renders it automatically more likable and interesting. Nice bass play from Barry Dean. (8.875/10)

Total Time 38:33

There is very little on this album to indicate Brian Auger's skill and former-propensity for keyboard-dominated music. As a matter of fact, the appearances of Brian's legendary Hammond organ or smooth electric piano play is something you have to actually look for--actively search!--on this album. I guess the Oblivion Express is truly a collaborative unit with a democratic approach to song-making and this is their final push for the positive/optimistic output of politically-motivated artists like Marvin Gaye and The Band.

89.028 on the Fishscales = B/four stars; a collection of very enjoyable, pop-and-radio-oriented songs that begins to show signs of future Oblivion Express with the material on Side Two. Though this is not the music we generally associate with either Brian Auger or The Oblivion Express, it is still finely-crafted music.

OUTOF FOCUS Not Too Late (recorded in 1972, not released until 1999)

An album of discarded material that was recorded during the late Müncheners' 1972 sessions that produced the Four Letter Monday Afternoon album. (The band broke up and never released any albums after 1972.

Line-up / Musicians:
- Moran Neumüller / vocals, Tenor & Soprano saxes, flute
- Remigius Drechsler / guitars, choir
- Klaus Spöri / drums
- Stephan Wischeu / bass
- Wolfgang Göhringer / guitars, choir
- Ingo Schmid-Neuhaus / Baritone & Alto saxes

1. "That's Very Easy" (9:04) opens as a more jazzified music that feels as if it came out of the recent 1960s--like something from THE ANIMALS or ARGENT (even without any keyboards!) spiced up with Moran Neumüller's Mick Jagger singing voice. (I keep hearing Mick singing the theme song to the current Apple TV series, Slow Horses, "Strange Game," virtually every time I hear Moran sing.) Te instrumental passages are, of course, the much larger portion of the song, with a very nice pastoral jazz section in the middle over which Moran's acrobatic flute solos for quite some time before the music ramps up to some heavier pschedelic blues-rock in the seventh minute. The guitar work in this section of the song is as powerful as anything I've ever heard by Clapton or Page. I'm not sure if it's newcomer Wolfgang Göhringer or founding member Remigius Drechsler. Cool song/suite that definitely has its progginess. (18/20)

2. "X" (10:57) a song that bursts out as if from the 1960s (or a 1970s porn soundtrack). Awesome! The music blends and smooths out for the second minute in which Ingo Schmid-Neiuhaus' alto sax solos. The two-burst horn-section-led theme that opened the song then returns as if as a chorus before we return to a smoother section over which the guitars take a more prominent role: one soloing in a JOHN TROPEA-like blues-jazz fashion while the other plays gentle rhythm in support. Drummer Klaus Spöri really shines! The guitarists are also good--very creative in their solos--one doing a pretty amazing TERRY KATH solo in the eighth minute. (17.875/20)

3. "The Way I Know Her" (3:36) with its Spanish-style played acoustic guitars, this little folk pop song sounds very cute--almost in a DONOVAN-like way. Moran's singing and flute playing are, of course, front and center in all respects of this fine little song. (8.875/10)

4. "Y" (7:51) sounds like an étude mélange getting ready for some of the other more polished/finished songs that would be released in 1972. Based around a "Take Five" kind of motif. I like the exploration of melodies as performed by the both of the guitarists and both of the saxophone players. (13.125/15)

5. "Spanish Lines" (9:11) a song whose opening could very easily be mistaken for something from THE ALLMAN BROTHERS but then with the joinder of the Spanish-styled horns and new chord sequences we have something that kind of fits the style suggested by the title. But then, quite suddenly, at the 2:00 mark the band turns down a downhill path that presents some interesting and carefully-manouevered territory in which bass and rhythm guitars and even the soloing saxophone seem quite trepidatious while the drummer is willing to take his chances by travelling at more-dangerous speeds--descending out of the high grounds to find everyone as excited and on-board as he is with the thrilling speeds, wind blowing through their hair in their open-top 1935 Mercedes-Benz 770. (17.75/20)

Total Time: 41:39

88.97 on the Fishscales = B/four stars; an excellent collection of songs that never made the grade for the band's final 1972 94-minute album but are here put on display for their worthiness. These are much more developed "finished"-sounding songs compared to the stuff on the follow-up album to this one, 2002's Rat Roads. but they do not have the blessing of the one amazing song that Rat Roads has.

JAMES "MINGO" LEWIS Flight Never Ending (1976)

The one and only attempt by young percussion virtuoso of SANTANA fame to produce an album as a bandleader. Recorded and produced by Mingo, it was released by Columbia Records in September of 1976.

Line-up / Musicians:

- Mingo Lewis / Congas, Percussion, ARP Odyssey synthesizer, MiniMoog, Clavinet [Hohner D6], ARP Pro Soloist, Yamaha Acoustic Piano, Gong

- Eric McCann / Bass

- David Logeman / Drums

- Randy Sellgren / Guitars [Electric and Acoustic]

- Michael Kapitan / Synthesizers [MiniMoog, ARP Odyssey, ARP String Ensemble, Oberheim 4 Voice, Electric Piano [Fender Rhodes], Organ [Yamaha YC-30] arrangements, writing

With:

- Kincaed Miller / Synthesizer [ARP Pro Soloist], Clavinet (6)

- A. Louis Bramy / Hand Bells (5,7,8)

1. "Aba Cua" (1:36) a drum circle of hand percussionists expressing with vocal chant/call (with no response). (4.33333/5)

2. "Frankincense" (7:02) a high-flying if loosely-conjoined hydra of instrumentalists moving along as if in the same direction yet without many constraints. Sounds very much like something that could have come from Al Di Meola's first two albums except the drummer is trying too hard, the bass line too monotonous, and the sonic field too disparate and incongruous despite all staying admirably on the same pace, the solos too repetitive and monotonous. (13/15)

3. "Heartsong" (8:20) great performances with excellent engineering and effects of a nice composition. Though there is more cohesion in sound and more variation in tempo and motif here, unfortunately, the song uses the same weird, slightly-flanged drum sound from the previous song--which might work with a less-frenetic drummer but this guy must think he's Keith Moon. I do, however, like the guitar solo of Randy Sellgren: he blazes with great consistency and "real" feeling fire. The motif change at 4:30 is perfect: from racing to regal and beautiful, everybody fully engaged with this one (except the drummer who starts flailing away beneath the guitarist's in the sixth minute. The fully-rock motif that starts at 5:50 is okay, very Jan Hammer-like, which supports a sweltering ARP Odyssey synth solo over the seventh and eighth minutes before everybody comes together for the finale--which is cheesy and poor. (17.75/20)

4. "The Wizard" (7:35) a song that is familiar to us all from Al Di Meola's cover of it on his debut album, Land of the Midnight Sun. A great song for racing along the highway, packed with memorable melodies and musicianship, but this version is more percussion dominant and contains a rather annoying high-pitch droning synthesizer note for a big chunk of its more dynamic sections. Overall, it's a little too loose and chaotic for my ears and brain. (13.25/15)

5. "Visions Of Another Time" (6:30) opens with what sounds like an Egyptian melody theme as introduced to them by the Anunnaki, again percussion and fast-pacing are the two predominant elements though there are some melodic elements worth pursuing that are led by multiple synths while the rhythmatists go crazy beneath. It's just a little too much chaos for my puny little brain. Then, lo! and behold! the music suddenly shifts into a "All Along the Watchtower" kind of chord progression with clavinet and harpsichord leading while someone (probably Mingo) sings a NewAge-y message over the top. The new Latin-based motif is okay--at least taming the percussionists into a more refined crew--but the vocal and guitar lead are only okay. (8.75/10)

6. "Trapezoid" (4:46) funk of the Parliamentary kind with multiple instruments dripping with funk in a pretty perfect weave of funkiness: bass, clavinet, multiple synths, drums, rhythm guitar, and congas all propelling this monster of a song forward in "Space Race" way that Billy Preston would be proud if not envious of! I only wish there was a more catchy melody to hook everybody in. (9.5/10)

7. '"Maginary Monsters" (1:02) experimental synth play. They must be drunken monsters. (4.33333/5)

8. "Flight Never Ending" (8:30) though this album is teeming with similarities to AL DI MEOLA's Land of the Midnight Sun album of the same year, none more than this somewhat cinematic suite: of its 8:30 about eight minutes and 29 seconds feel as if they are straight out of Al Di's world. How could this be possible, you might ask--especially when this album was released to the public a full month before Al's? Well, James had toured with Al's previous band, RETURN TO FOREVER (as well as Santana) and been a major contributor to the recording sessions for 22-year old Al's debut solo album which occurred in July and August of 1975 (sic [?!] More likely July and August of 1976). "Mingo" was surely inspired to try to replicate the energy and sound of the wave he'd been riding for the past three years and quite possibly was able to finagle the support from Columbia for this album--which became a "one-off" despite his playing on four other Al Di albums (as well as Billy Joel, The Tubes, and Todd Rundgren) over the next decade. But who are these no-name musicians? As alluded to in my opening statement, this would have been a worthy inclusion to any Al Di Meola album--even with "Randy Sellgren" playing guitar. (18/20)

Total Time 45:21

This much attention and volume given to frantic percussionists is Al Di Meola sound-alike Randy Sellgren is rumored to have been a psuedonym for another artist who had to stay hidden due to conflicting contractual obligations. That would help explain the fact that guitar phenom Randy appears on no other albums in music history--though there are Randy Sellgren's mentioned in the engineering/production credits to a few albums over the years--nothing else as a guitarist. Weird, hunh?

88.92 on the Fishscales = B/four stars; a worthy album of inclusion in one's Jazz-Rock Fusion collection--though not necessarily for the light of heart; an album that contains many moments of individual virtuosity as well as a bucketload of memorable moments is somewhat weighted down by the "Emperor Joseph II Syndrome": sometimes there are just "too many notes"--and not always coherently arranged. The album also suffers slightly, in my opinion, from some questionable sound engineering choices.

BILLY COBHAM Crosswinds (1974)

Drummer Billy Cobham's sophomore effort at bandleader Crosswinds was recorded early in 1974 in NYC at Electric Lady Studios (produced by he and engineer Ken Scott) and then released in April by Atlantic Records.

Line-up / Musicians:
- Billy Cobham / drums, percussion, arrangements, orchestration & co-producer
With:
- John Williams / Acoustic Bass (tracks: A2)
- John Abercrombie / Acoustic Guitar (tracks: A2), Guitar (tracks: A1, A4 to B3)
- John Williams / Bass, Acoustic Bass (tracks: A1, A4 to B3)
- George Duke / Keyboards (tracks: A1, A2, A4 to B3)
- Billy Cobham / Percussion
- Lee Pastora / Percussion [Latin] (tracks: A1, A4 to B3)
- Garnett Brown / Trombone (tracks: A1, A2, A4 to B3)
- Randy Brecker / Trumpet (tracks: A1, A4 to B3)
- Michael Brecker / Woodwind (tracks: A1, A4 to B3)

1. "Spanish Moss - A Sound Portrait" :
- a. "Spanish Moss" (4:11) human-generated wind sounds (synths and cymbals and gongs) open this one before the whole band jumps into a highway-driving cruise through New Jersey or the Taconic Parkway. Beautiful scenery A gorgeously-constructed song with subtle and heavily-nuanced performances from all of the performers--especially Billy, Lee Pastora, and keyboard artist George Duke. (9.25/10)
- b. "Savannah The Serene" (5:14) some gentle drums and bass over which Randy Brecker solos in the first minute. I adore John Williams' sensitive bass play on this song. Also George Duke's expert and mature--and innovative--keyboard work. (9.75/10)
- c. "Storm" (2:52) George Duke wind synth washes with Billy's heavily-flanged tom-tom and cymbal play taking over in the second half of the first minute. Interesting. Did Billy have fun with this? In the end, it must have been hard to feel satisfied. (4.375/5)
- d. "Flash Flood" (5:08) how could this movement be from the same suite as the previous experimental piece? Musically, they have seemingly nothing to do with one another. At the same time, the polyphonic and polyrhythmic Latin rhythms and horns are wonderful. John Abercrombie's heavily-effected electric guitar solo in the third and fourth minutes is unfortunately contrasted with "real time" Fender Rhodes and, thereby almost lost. Too bad cuz it's a rather nice solo. (9/10)

2. "Pleasant Pheasant" (5:21) constructed over a funk bass line with clavinet and Fender Rhodes and straightforward drumming we get solos from Michael Brecker on sax and then Randy. It's a solid brass rock instrumental with great pace and energy but, unfortunately, it's just one of those songs that feel like they're a dime a dozen; nothing special here except for solid performances. In my opinion a 35-minute album should showcase new and exciting musical ideas not just high quality renditions of things that have already been done. (8.5/10)

3. "Heather" (8:40) very soft and mellow atmosphere, like something for late night radio, created by George Duke's sensitive Fender Rhodes play and John Williams' bass while Billy accompanies without drawing any attention to himself. Michael Brecker's sax gets the first solo--and a thing of beauty it is. Then George gets to tinkle the upper ivories of his Fender while Billy begins to show a little more life beneath--for a minute, but then everybody just kind of backs off--including the soloist! Again: It just feels kind of strange (and wasteful) to dedicate almost nine of your 35 minutes to a song of this minimal dynamic I mean, I get the textural nuance and maturity of restraint it takes to perform--and feel this kind of music, but when your reputation comes from being one of the most talented and dynamic drummers who ever held sticks, this seems a waste. (Kudos to Billy and George for having the courage to incorporate this one into their album--and to Columbia Records for sponsoring it!) (17.375/20)

4. "Crosswind" (3:42) Lee Pastora comes out on top with regards to who draws the most of my attention on this one. (Which is a backhanded way of saying, "What a waste!") (8.5/10)

Total time 35:08

I have to admit to being quite disappointed in having given this album so much of my attention today--this despite some fine work from innovative keyboard artist George Duke and rock solid performances from the Brecker Brothers. Billy gave up a lot of prestige to offer this to what I expect was his expectant fan base. After such a fine start with the wonderful Spanish Moss sound portrait, the rest just didn't live up to the same standard of dynamism.

88.91 on the Fishscales = B+/four stars; an inconsistent album of jazz-rock fusion in which a ridiculously-average or overly-subtle Side Two failed to live up to the expectations set by the wonderful Side One suite.

ARENA Arena (1975)

Australian studio/sessions musicians lured into breaking in a new recording studio just outside of Melbourne--Crystal Clear Studio--the band recorded and produced the album in 1975 and then released it (themselves!) early in 1976.

Line-up / Musicians:
- Ted White / saxophone, flute
- Peter Jones / keyboards, piano
- Graham Morgan / percussion, drums
- Bob Arrowsmith / bass
- Charlie Gould / guitar

1. "Journey In Threes" (6:30) drums, funked up bass, clavinet, saxophone, and guitar open this one with a GENTLE GIANT-like circus romp, then there is a long spacious pause before the band kicks back in at 1:20, this time in a very tightly arranged nearly-Reggae weave with tenor sax in the lead and guitar doing accent strums and notes. The bass is now more straightforward (the previous sound I called a "funked up bass" may have been, in fact, the left hand on the clavinet). Clavinet gets the second solo spot but the sax comes back for the third--this time with a little more vim and vinegar. Very interesting! And danceable in a DON ELLIS way. I don't know why I like the clavinet so well! (9/10)

2. "Scope" (5:05) BRUFORD-like syncopated complex opening weave turns into a little smoother jazz at the 30-second mark with bass and drums weaving a tightly Then, at 1:45 the band stops at the stop sign, looks both ways, then takes a left turn down one of the Fender Rhodes as keyboardist Peter Jones starts flying over his plastic keys. Another stop at another stop sign at the 3:15 mark results in another change of direction--this one more straightforward as the car cruises out onto the Nevada desert where we watch it fade away into the distance. Very interesting, complex jazz-rock fusion--all of the motifs sewn together here are quite complicated. Impressive! (9/10)

3. "Duke" (3:50) a duet of moody sax and supportive lounge Fender Rhodes gives this opening a late night French Film Noire or Femme Fatale feel. Nice performance if a bit stereotypic. The guys must have been in a mood. (8.75/10)

4. "Scrichell Cat" (6:30) more music that feels like something from an old black and white film--until the three-chord rock bridges. Sax is again offered the lead role while bass, drums, Fender Rhodes, and wah-rhythm guitar provide support and accents. Oddly simplistic compared to the mind-bogglingly complex music of the opening two songs. Charlie Gould's electric guitar finally gets a solo around the four-minute mark--it's nice! He's got a very nice tone and very flowing, technically sound run capabilities. When he pairs up with the sax in the sixth minute it works remarkably well and then they parts ways to return to the rock motif for an extended period over (beneath) which the searing ROBERT FRIPP-like guitar play continues to the very end. (8.875/10)

5. "Keith's Mood" (7:34) The angular, sometimes discordant Robert Fripp guitar sound and style starts off right from the opening note of this one while drums, bass, and saxophone play Coltrane or Ornette Coleman to the Robert. Around the two-minute mark the band takes a divergent path to explore a trash-filled alley that empties out next to the church onto main street in the form of a blues-based R&B passage. Sounds like The Isley Brothers, past (the Sixties) and future (Harvest for the World, Go For Your Guns. etc.) An extended drum solo fills the sixth minute and more sounding quite traditional jazz except for the use of a large floor tom. At the end of the eighth minute the rest of the band returns, playing some grroup scales before suddenly stopping. Interesting and impressive but not very engaging (or danceable). (13/15)

6. "The Long One" (6:32) this one sounds like early Herbie Hancock as he explored the landscapes and sonic possibilities of early funk and R&B-infused jazz-rock. Sax is the lead melody-maker but the funky bass and Fender Rhodes play a huge role in the song's overall feel. Very cool in the early-1970s meaning of the word. Fender Rhodes takes the next solo in the fourth minute while the bass, guitar, and drums do a great job of maintaining the funky base. The nuances of each instrumentalist's contributions to this song are really quite something to behold--and even study! Not my favorite song or song style but definitely praiseworthy for these incredibly mature performances. (9/10)

7. "Turkish Defunked" (7:41) Waht?! a straigt-time beat?! (Wait 20 seconds.) Oh! They were just messing with me! Back to some funk with some Eastern European/Middle Eastern sounds coming from the sax(es). When the opening mood and sound palette have been established, the sax drops out for an extended Fender Rhodes solo that sounds quite a bit like Ray Manzarek. Sax resumes the lead as Ray continues to add sass and bluesy funk around the sides. Cool song that has its feet more in jazz than R&B-rock but goes back to the Turkish theme enough to confuse us. In the sixth we finally get the return of the burning sound of Charlie (Glenn's nephew) Gould's fuzzy electric guitar, but then the band switches gears, gets more staccato rhythm-brained before finally returning to the main theme for the finale (while Charlie continues his nonstop Fripp runs from behind). High quality performances of a diversified composition.(13.5/15)

Total Time 43:42

I can see how the AVERAGE WHITE BAND inspired the world.

88.91 on the Fishscales = B+/four stars; an excellent addition to any Jazz-Rock Fusion lover and an album that I think any and every prog lover can and would appreciate.

ABLUTION Ablution (1975)

Swedish experimental Jazz-Rock Fusion with the help of Quartermass keyboard player Pete Robinson (later a member of Brand X). The band's only album was recorded at Europa Film Studios in Stockholm with Anders Henriksson producing and then released by CBS Records in February of 1975.

Line-up / Musicians:
- John Gustavsson / Fender electric bass
- Barry De Souza/ drum, trumpet
- Ola Brunkert / drums, percussion

- Björn Jayson Lindh / flute, electric piano [Fender Rhodes]

- Janne Schaffer / guitar
- Pete Robinson / keyboards [Fender Rhodes, clavinet, organ, ARP 2600]
- Malando Gassama / percussion

1. "Bluegaloo" (6:25) a B+ funk track in a Herbie Hancock Headhunters style with successive solos from flute, electric guitar, drums and percussion, and electric piano (with flute and horn accents and embellishmnts). Nice jam with nice sound but there's really nothing very innovative from the soloists in terms of the sound or styles. (8.75/10)

2. "Woodchurch Sorceress" (1:50) creepy cinematic flute and percussion in-the-woods kind of stuff. (4.25/5)

3. "Kokt Tvätt" (5:51) flourish-filled launch into a repeating bar of odd rock-riffs arranged into a groove over which flute and electric piano solo and stuff. Not your typical Jazz-Rock Fusion; more like drawing from the older stuff of the earlier experimental work of Tony Williams, Freddie Hubbard, Herbie, and even Miles Davis. Nice drumming and percussion work. Pete Robinson and bassist John Gustavsson are a little too free and crazed for me. (8.75/10)

4. "The Nard Finished Third" (7:08) more funky like something from PARLIAMENT, WAR, or THE AVERAGE WHITE BAND than jazzy. Over the first few minutes it's all about the funk with little attention given to solos or jazziness. The third minute finally sees some soloing but this is all rock guitar (again like Parliament). I guess this reminds me also of Larry Coryell's eccentric Jazz Fusion. Again I must commend the percussion work of Malando Gassama and Ola Brunkert as well as dummer Barry De Souza (or is it Ola Brunkert on this one?). The flute play in the next section is quite flamboyant--more akin to that of Ian Anderson or Thijs van Lier than Joe Farrell or Hubert Laws. (13.25/15)

5. "Equator" (5:51) a quick-out-of-the-gate percussive sprint leads into a section of frenzy before the band finally settle into a still-frantically-paced and performed body akin to something John McLaughlin or Larry Coryell might have something to do with. Guitarist Janne Schaffer comes out of the first turn as the first true soloist before the percussion team takes over for a "solo" of their own. Then Pete Robinson, Janne Schaffer, and John Gustavsson start to trade barbs, back and forth, around the triangle, before settling into a side-by-side race of all-out soloing. The "chorus" brings the band back into harmony despite the frenetic energy feeding the soloing instincts of every one in the band. Wow! (9.25/10)

6. "Third Meter Stroll" (6:40) opens with lone bass acting as if he's trying to find his way through a cave system in the dark. Crazy-man Björn J'son Lindh joins in on his bat-fluttering flute while synthmeister Peter Robinson adds his own version of mammalian scurrying and fluttering action. The song goes on like this for the duration of the entire 6:40 as the hiker/spelunkerer continues down the tunnels on a steady if stop-and-go, look-and-listen, bump-and-learn mode. (8.875/10)

7. "The Visitor" (9:54) opening with an awesome deep thrum like the Talking Heads' "The Overload" within and over which guitar, percussionists, and wind instruments add their incidentals. Pretty cool--and, I'm sure, a lot of fun for the percussionists/sound effects artists! I wonder if Brian Eno or any of the Heads heard this song before heading into the Remain in Light sessions. (17.75/20)

Total Time 43:39

Interesting for the wide variety of Jazz-Rock Fusion styles adapted here as well as for the experimentalism used to try to create a variety of cinematic moods.

88.91 on the Fishscales = B+/four stars; an excellent collection of experimental Jazz-Rock Fusion songs and tracks. A very interesting listening experience!

COMPANTIA ELÈCTRICA DHARMA Diumenge (1975)

Catalàn Jazz-Rock Fusion pioneers from Barcelona--their debut album, before they managed to imbed their j-r Fuse within traditional Catalàn musical traditions. Recorded on the 4th and 5th of February, 1975, at Estudis Gema 2 in Barcelona, the band helped produce this for both Edigsa and Zeleste record labels for its release in April.

Line-up / Musicians:
- Esteve Fortuny / electric & Spanish guitars
- Jordi Soley / piano, Fender Rhodes, Moog
- Joan Fortuny / soprano saxophone
- Carles Vidal / bass
- Josep Fortuny / drums, percussion

1. "Fesomies Urbanes" (5:26) awesomely rich Jazz-Rock Fusion of the funk-infused sort; a cross between Headhunters-era Herbie Hancock and Return To Forever. I love the support of the too-heavily-reverbed soprano saxophone by the electric wah-wah rhythm guitar and Fender Rhodes keyboard (they almost bury the sax!). Jordi Soley's Moog sound choice and play is very fresh/refreshing as well. Bass player Carles Vidal is solid though a bit too muted while drummer Josep Foruny is great in his pacing and support. (9/10)

2. "Lila" (4:17) water sounds beneath a soloing Spanish guitar open this one for about 40-seconds before bass, Fender Rhodes, and soprano sax join in with some very nice harmonic support. But it's the guitar that's the center and star of this show: displaying some pretty amazing skills in a kind of unique style along the way. The sax and Fender get some solo time in the third and fourth minutes, but, again, it's really Esteve Foruny's show on his Spanish guitar. (9/10)

3. "Capità Trueno" (10:16) back to RTF style and sound palette, though this time the guitar has a bit more Johnny Mac style to it--and the soprano sax certainly flavors the music differently than anything contemporary MO or RTF are doing. On this song the bass, electric guitar, and Fender Rhodes are mixed as if in the same universe while the sax and drums feel as if they're on different continents: the former a small church and the latter a distant tunnel of an underground cave system. Though all the musicians are competent at their instruments--and perform proving such--they really do not seem to always be "in the same song," that is, there's just a little too much separation and distance between the melodies and rhythms to make me feel a cohesive unity for this composition. Is it more mathematical--or more independent "free jazz" they're trying to merge within the RTF style? At 6:55 there is an interesting--and pleasant--shift in tempo and key which allows the sax a better bed over which to lay down his next solo. This is the first time in this song that I've felt as if the band had "come together" with a common vision for the song. The sax player is good--expressive and talented--but that weird, overly-reverbed sound is quite annoying. (17.5/20)

4. "Lalila" (1:16) more acoustic guitar play: either two or just one with a long-delayed echo effect employed. At the 0:45 mark Joan Fortuny enters with her soprano sax and then the song fades out! (4.25/5)

5. "Eufòria" (4:24) again the band seems to be trying to emulate the Return To Forever formula with guitar, drums, and bass propelling the song along while keyboards and sax add their own spices. At the same time, it's guitarist Esteve Fortuny who takes the first (and, it turns out, only) solo--one that is quite like Larry Coryell (in sound) and/or Corrado Restuci (in style) more than J. McLaughlin or Al Di. (8.75/10)

6. "L'harmoniosa Simfonia D'un Cos. Part 1" (4:17) opening with percussion bells and saxophone with spacious Fender Rhodes, bass, and guitar chords providing some accompaniment and mood-manipulation beneath. This one really sounds like the music that will represent the band NOVA either during the same year or just after this release. Unfortunately, despite the nice sound base, it never really develops much or takes off until "part 2." (8.875/10)

7. "L'harmoniosa Simfonia D'un Cos. Part 2" (3:39) the rhythm is added so that the song can move forward. It's a nice, city driving pace but it is highlighted by the top being down so the listeners can enjoy the sun, wind, and exo-urban scenery. Here all of the instruments seem to be in perfect synchrony while still supporting the soloing of Joan Fortuny's soprano sax. (9.125/10)

8. "El "bailaor" Còsmic" (4:22) a slow, spacey opening like something from a Larry Coryell album turns into a nice movin' bass-and-drum generated J-R F flight over which keyboard artist Jordi Soley gets a chance to show his stuff on his Fender Rhodes, that is, before guitarist Esteve Fortuny jumps in and takes over with his rather aggressive electric jazz guitar play. I like the more Latin (Catalàn?) rhythmic touches in the foundation. I also like the band's tightness on this one. (9/10)

9. "Tema Dels Carrers Radioactius" (1:50) another shaker and mover that shows the band firing on all cylinders--with fairly good precision timing, too. Too bad it's so brief. (4.5/5)

Total time 39:47

88.89 on the Fishscales = B+/four stars; a wonderful display of peak-era, somewhat Latin and Return To Forever-influenced Jazz-Rock Fusion. The family needs another year or two to polish their collective vision and timing skills, but I can only recommend this one highly!

GEORGE DUKE Faces in Reflection (Jul 1974)

The peak of George Duke's solo Jazz-Rock Fusion work, Faces in Reflection was recorded early in 1974 in Germany, it was then released by the German record label, MPS, in July.

Line-up / Musicians:
- George Duke / keyboards, ARP Odyssey synth vocals (2,9)
With:
- John Heard / double bass
- Leon "Ndugu" Chancler / drums

1. "The Opening" (3:18) rollicking RTF-like racing music.. (8.875/10)

2. "Capricorn" (5:06) bluesy like a slavery field work song. I can feel the deep emotions being released. (8.875/10)

3. "Piano Solo No 1+2" (2:21) not really the piano I was expecting: a strangely electrified piano and … piano? Nice music. Part two is definitely different and yet clearly a continuation of the same sound(s). (4.33333/5)

4. "Psychosomatic Dung" (5:03) funky schlock that will become all the rage within the next three years minus all the dynamics from the rhythm section. Ndugu gets some shine in the fourth minute before George lets loose on the wah-wah clavinet and Fender Rhodes. (8.75/10)

5. "Faces In Reflection No.1" (Instrumental) (3:37) nice foundation with some excellent soloing and sound use but lacking fullness and development. (Perhaps George should've had one more collaborator). Probably one of my top three songs. (8.875/10)

6. "Maria Tres Filhos" (5:09) this one not only sounds like a Chick Corea song, it may be! (It isn't: it's written by the great Brazilian songwriter Milton Nacimento.) Nice percussive work throughout from Ndugu but even more so during his extended solo in the fourth minute. (8.75/10)

7. "North Beach" (6:26) a long keyboard solo that sounds like wah-pedal rhythm guitar play and a bunch of sound effects. It's actually kind of cool. (8.875/10)

8. "Da Somba" (6:18) a song that races along on the power of the collective energy of all three highly-attuned musicians. John Heard's extended bass solo pales when compared to other contemporary bass players like Stanley Clarke, Buster Williams, Ron Carter, or Eddie Gomez. (8.75/10)

9. "Faces In Reflection No.2" (Vocal) (2:19) a final vocal supporting song--the tension here is quite cool--making the listener crave for more. My favorite piece on the album. (5/5)

Total time 39:37

Clearly influenced by Chick Corea's RETURN TO FOREVER releases, there is no arguing with George Duke's talent and skill. The biggest issues I have with the music on this album are in the sound recording and reproduction department as well as in the area of composition. Perhaps George needed an escape from the crazy control that was even the world of Frank Zappa. (George is recorded saying that Faces in Reflection "was the first LP that really said what I wanted to say.") The heavy sound effects used on bassist John Heard's double bass seem to mimic those of RTF bass player STANLEY CLARKE. Leon "Ndugu" Chancler's drum playing is quite good but the sound engineering of his drums (not cymbals) suffers from a murky-muted compressed feel.

88.85 on the Fishscales = B+/four stars; an excellent addition to any Jazz-Rock Fusion lover's music collection. Definitely an album that gets better with repeated listens.

SLOCHE J'un oeil (1975)

Québecois band of jazz- and funk-oriented musicians release their first studio album. Recorded in July and August of 1975 at RCA Victor Studios in Montreal, the band's production of the album was overseen by Gaétan Desbiens before being released in December of the same year.

Line-up / Musicians:
- Caroll Bérard / acoustic & electric guitars, percussion, vocals
- Réjean Yacola / piano, Fender Rhodes, Wurlitzer, Clavinet, celesta, Minimoog, percussion, vocals
- Martin Murray / Hammond B3, Minimoog, Wurlitzer, Solina, saxophone, percussion, vocals
- Pierre Hébert / bass, percussion, vocals
- Gilles Chiasson / drums, percussion, vocals

1. "l" (8:52) starts very spacey with lots of synths playing around, as if trying to find a groove to attach themselves to. When the groove does arrive it sounds quite a bit like some Canterbury Santana--or maybe KHAN. Little keyboard interlude at the 4:54 mark brings us back to the searching chaos of the intro. The organ eventually directs everything into a kind of "Big Bang/Creation" crescendo. By 6:20 we're groovin' again--almost Motown-ish (the rhythm guitars--remind me of THE ISLEY BROTHERS, AVERAGE WHITE BAND, or WAR). Then the clavinet comes in! It's BILLY PRESTON! Fun song if a little dated. (17.5/20)

2. "Le kareme d'Eros" (10:50) begins like a piano bar player warming up his fingers with a bombastic pseudo-classic piece before getting into a CHICK COREA-like rhythm and style at the 1:10 mark. The melody established by the (Still) solo piano at 1:45 sounds a bit cinematic--as if to confirm that we are in the piano bar (with Billy Joel). At 3:15 the pianist starts to show off his classical licks à la KEITH EMERSON. At 3:45 a MAGMA-like choir makes quite an impressive (and welcomed) entrance--all over a repeating Chick Corea "Falling Aice" descending chord progression. Let the wild rumpus begin! The ensuing duelling electric guitar and keyboard sound very much like LARRY CORYELL'S performance on LENNY WHITE's forgotten classic Venusian Summer. Cool little bit. by 8:55 we've left that and gone into a more RETURN TO FOREVER-like passage. Interesting song that I'm not sure really works--even if it is supposed to portray little Cupid's random exploits. (17.75/20)

3. "J'un oeil" (4:43) relies on the repetition of a very familiar poppy riff until the wonderful clavinet-backed choral-vocal section begins. At 2:10 we go back to the introductory repetitive riff for a bit, until it slows down with a spacey organ and high-register electric guitar melody take over. Switch back to the choral-vocal section for the last minute. At times this is very Yes Fraglie quirky and funky--and even humorous. (8.875/10)

4. "Algebrique" (6:30) is a bit more cohesive and yet GENTLE GIANT- and YES-like in its structural shifts and staccato rhythms. An interesting ZAPPA-like part begins at the 2:10 mark, with synth and voices grabbing the listener's attention. At 3:28 begins a sudden foray into territory covered by TODD RUNDGREN'S UTOPIA's in "The Ikon." Luckily, they don't stay there long--though the drummer more and more sounds to me like a drummer from Todd's mid-70s posse. The heavier, more KING CRIMSON-esque final minute is my favorite part of this, my favorite song from this album. (9/10)

5. "Potage aux herbes douteuses" (7:07) begins again very much like the AVERAGE WHITE BAND, shifts to a little GINO VANELLI coda, then back to the A part, coda B before shifting into second gear with a fun off-tempo section. This seems to be very much an exercise in band odd tempos, though the insidious climb up the scale is enjoyable and interesting. At 3:30 the choral enters for a different coda before the THIJS VAN LEER-like organ play takes us to an extremely FOCUS/CAMEL-like section--which then combines with the choral beautifully. Wonderful! Interesting ANT PHILLIPS-like end! (13.5/15).

Total Time 38:25

This is a fairly recent discovery of mine, thus, as I go to rate it, I take into consideration both the impact it has on me today (a bit dated and immature) as well as my imagined impact the album would have had on me in the 70s or 80s (probably like Camel's Moonmadness.) I think it is a good album that has indications of a band that could (have) evolve into a great band. Like a funked up CAMEL or FRUUPP. 3.5

88.83 on the Fishscales = B+/4.5 stars; an excellent debut of very enjoyable funked up prog rock. Not quite pure Jazz-Rock Fusion but, at the same time, I consider the funky music here just jazzy enough to qualify for the Jazz-Rock Fusion lists.

MARC MOULIN Sam Suffy (1975)

Though I was first introduced to this music via a YouTube posting of the 2005 release with all of MEDIAMOTION's remixes, I decided to go back to the original vinyl for my definitive review.

Line-up / Musicians:
- Marc Moulin / keyboards
- Garcia Morales / drums

With:
- (uncredited) / bass (1)
- Richard Rousselet / Flugelhorn & Trumpet (2, 5, 6, 7)
- Philippe Catherine / Guitar (2)
- Bruno Castellucci / Drums (2)
- Jasper Van't Hof / Keyboards (3)

A1. "Le Saure" (6:00) since this was before sampling existed, I am going to go out on a limb and guess that Marc himself took on the duties of laying down the awesome electric bass track. The rest of the music has wah-wah-volume-pedal-controlled Charles "Skip" Pitts/"Shaft"-like rhythm guitar and piano-like electric piano with a whole bunch of interesting experimental synthesizer sounds parading around on top. I surmise that it is Marc, as well, who undertook the guitar part as it is also uncredited as otherwise. Awesome rhythm track. (9/10)

A2. "Misterioso" (1:43) Marc and Placebo-mates Philippe Catherine (guitar) and Richard Rousselet (flugelhorn) playing an indiosyncratic tribute to Thelonious Monk over drummer Garcia Morales funky/syncopated drum play. (4.375/5)

A3. "From" (3:35) mysterious cinematic music performed by Marc with keyboard maestro Jasper Van 't Hof and Garcia Morales' orchestral percussion support. But who played the STEVE HILLAGE-like "floating" guitars and the autoharp? Interesting and effective--even memorable. (8.875/10)

A4. "La Bougie" (4:14) fast-panning heavily-reverbed electric piano chord play opens this before Marc's synth bass and Garcia Morales' solid, driving drum track establishes a funky and rhythmically-mathematical rhythm track. Here Marc toys around with a synthesizer for his initial leads before giving way to his solo Brian Auger-like (electric? or electrically-enhanced?) piano. Whereas the bass lines offered on some of the other songs must come from a stringed instrument, this one is obvious that it's a synthesizer bass being played by the keyboardist's left hand. (8.75/10)

A5. "Le Beau Galop" (1:58) bluesy piano and trumpet. N'Orleans here we are! (4.25/5)

A6. "Le Blouse" (4:37) a deeply-hypnotic EARTH, WIND & FIRE/BOBBY CALDWELL-like rhythm track that has my sampling-self salivating (I can understand the crowded lineup of Acid Rock and other 1990s and 2000s Hip Hop artists for sampling this.) Everybody will recognize this enticing groove for its presence in slightly adulterated form in "La femme d'argent" the massive hit from French band AIR's downtempo electronic classic 1998 debut/breakthrough album, Moon Safari. Steely Dan-like piano chord hits are peppered effectively throughout the song, over the amazing bass 'n' drum rhythm track, and the bass line is doubled up by a heavily-treated synth "boing! (spring)" sound in the main meaty sections of the song. Marc chooses an odd synth to quietly, almost unobtrusively, lead for the first half of the song, alternating with his "piano" for the choruses and electric piano for the solo in the extended instrumental passage that takes us to the end, but, otherwise, there's not much to this! (8.875/10)

B1. "Tohubohut" (17:20) (35.25/40)

a. "Tohubohut I" (5:11) single piano chord hit, water in the tub-or-sink splashing sound, bass drum hits, toms, eventual awesome BARRY WHITE "(I'm Gonna Love You) Just a Little More Baby"-like solo drum track build before the synth bass and synth horns and, later, real trumpet form the meat of the tune. Nice Acid Jazz beat before there was such a thing as "acid jazz." If Bruno Castellucci is this good at imitating the drum patterns of Barry White songs (especially this, Barry's best song ever), it's no wonder that his drumming on Jan Akkerman's 1977 masterpiece, Jan Akkerman seduces me so. (9.25/10)

b. "Tohubohut II" (4:09) 90 seconds of synth sound experimentation through chord progression hits, sounding exactly like the work of synth pioneer LARRY FAST on his early SYNERGY albums. Around the two-minute mark the music shifts into a funky Cobham-like drum, bass and reverberating Fender Rhodes groove over which Richard's "distant" wah-wahed muted trumpet solos. Then Marc steps to the fore with his right hand on the piano while his left continues to play the reverb Rhodes chord pattern (and funky synth bass line). (8.875/10)

c. "Tohubohut III" (2:10) Richard Rousselet's trumpet soloing in what sounds like animal sounds (predominantly elephant) while something Marc is playing makes warthog grunting sounds--for two minutes! Quite playful, somewhat humorous, but, ultimately, selfish and masturbatory. Not sure I really wanted or needed to hear this! (4/5)

d. "Tohubohut IV" (2:07) really fun, oddly-timed, hugely-spaced piano and trumpet hits. It's like performing (or being subjected to) one of Miles Davis disciplinary exercises--the ones that mess with your mind! I have to admit that it's kind of cool though not exactly the kind of music you want to listen to for relaxation, love-making, or background ambiance. (4.75/5)

e. "Tohubohut V" (3:40) provides a return to the theme, palette, and style of the suite's opening movement. (8.875/10)

Total Time: 38:46

A lot of the music on this album feels quite experimental. In fact, I'd say Marc was more interested in fooling around with all of the new technologies in sound and sound engineering--especially with his synthesizers--than he was in creating new masterpieces of music that other musicians will want to emulate. It's all for entertainment: for both Marc and his perceived audience. (Witness the bass synthesizer throughout the album.) The music is smooth, funky (but not stanky), and quite serene, never really disturbing or grating. Marc's melody lines and chord progressions are, I'm sure, advanced and jazz-calculated but, like Bob James, they rarely stray outside the average, uneducated listener's comfort zone.

88.75 on the Fishscales = B/four stars; eminently entertaining and futuristic smooth jazz that is powered by Marc Moulin's creative curiosity and his drummers' considerable prowess. Just not the masterpiece other people are claiming (that I was sincerely hoping to find).

AXIS Axis (1973)

The response to the Anglo-Italian progressive rock phenomenon from a very competent Greek band. Weird to see and hear a prog band that has no guitarists. It was recorded at Studio Hérouville (inside the Chateua d'Hérouville) in June (Side One) and April (Side Two) ("Pa Bu Ga Di" was recorded at Église Évangelique Allemenande in Paris and then released by Riviera Records in the Autumn of 1973. This was the band's third and final studio album release.

Line-up / Musicians:
- Dimitris Katakouzinos / bass
- Demis Visvikis / keyboards, vocals, percussion
- Chris Stassinopoulos / drums
- George Hadjiathanassiou / drums & percussion

1. "Waiting a Long Time" (4:26) more like across between URIAH HEEP and BLACK SABBATH. I like it but this is not Jazz-Rock Fusion. Really nice work on the keyboards.(8.875/10)

2. "Sewers Down Inside" (6:19) moody atmospheric music trying to be both Jazz-Rock Fusion and Space Music at the same time--like Stomu Yamash'ta's Go project. The vocals at the end sound like familiar. (9.125/10)

3. "Materializing the Unlimited" (5:03) Where the benefit of two drummers shows. Again, I love the creativity of keyboard maestro Demis Visvikis. Kind of long and drawn out with the raunchy, dirty imitation guitar two chords played over and over. (8.75/10)

4. "Asymphonia I" (5:05) piano, double bass, and percussion in an old-fashioned jazz style. Goes Don Pullen and Stanley Clarke in the third minute with its pounded piano chords and bowed bass. Nice drumming as well. (8.875/10)

5. "Suspended Precipice" (1:48) a jazzy composition that at times seems more advanced on the J-R Fuze evolutionary scale, but also slips into older blues-rock forms at times, and then bleeds into/becomes the next song. (4.5/5)

6. "Roads" (5:05) slowed down and bluesy while also projecting from the bass a little "Lucky Man" 'tude, then goes more jazz-rogue as the Demis launches into his solo. The drums and bass sound so good! I wish the electric piano solo were a little more creative or proggy. There's an interesting drum solo in an extended section of the second half with a kazoo-sounding Canterbury Hammond organ solo to follow. They're obviously giving a little nod to The Softs as well. Rated up purely for the awesome groove and sound presented by the rhythm section. (9/10)

7. "Asymphonia II" (2:50) bleeding over from "Roads," we slide back into the near free-for-all of Don Pullen/Ornette Coleman-like free jazz: for the first 90 seconds everybody is just going Animal wild, and then they try to incorporate space and pauses into their performances as if to try to trick one another! Interesting! Excellent skills on display; it's just not the most satisfying music to listen to. (8.75/10)

8. "Dancing Percussion" (2:38) another display of atmospheric keyboard work over which the band creates of a percussion-generated wall of sound. (4.375/5)

9. "Pa Vu Ga Di" (3:44) organ and choir sounding like Mellotron but it's real church music (from a real church setting?) Percussion starts getting a little loose and then, at 2:35, the drums, bass, and organ go full rock beneath the church choir. Interesting! I've rarely considered bringing prog into the church service! It's more common to try to bring church sounds and stylings into the prog studio. (8.75/10)

10. "The Planet Vavoura" (4:05) back to hard-drivin' rock-infused jazz-rock. The bass and drums are motoring while Demis tries to capture that Canterbury sax-saw-organ sound for a pseudo-sax solo over the top. Mellotron enters and slows everybody down for a bit before the band reconvenes for a dramatic finish. (8.875/10)

Total Time 41:03

The album starts off with absolutely no connection to the Jazz-Rock Fusion movement, but then, rather surprisingly, turns jazzy in the middle--a commitment that the band then maintains over the course of the rest of the album.

88.75 on the Fishscales = B+/four stars; a very good exhibition of prog rock from some very fine, very talented musicians. The songs just needed a little more polish and refinement.

WEATHER REPORT Tale Spinnin' (1975)

Following the ground-breaking Mysterious Traveller--many prog and jazz-rock fusion lover's all-time favorite Weather Report studio release--was no small challenge.

Line-up / Musicians:
- Joe Zawinul / piano, Rhodes, Tonto & ARP 2600 synths, melodica (1,4), organ (2,6), steel drums (3), out (4), mzuthra (4), vocals (4), West African xylophone (4), cymbals (5), orchestration, co-producer
- Wayne Shorter / soprano & tenor saxophones, co-producer & mixing
- Alphonso Johnson / bass
- Leon Ndugu Chancler / drums, timpani, marching cymbals
- Alyrio Lima / percussion

1. "Man in the Green Shirt" (6:28) I really love the interplay of drumming, percussion, bass, and electric piano in this song. The horns are nice, and the weird synthesized Nature sounds entertaining, but it's the great coordination of high speed play from the rhythmatists that impresses and engages me the most. (9.375/10)

2. "Lusitanos" (7:24) opening with quirky comi-funk before synth, keys, and horns present a WR-type of melodic/chordal statement. Between regular repetitions of this chorded theme Wayne and Joe take turns adding their respective solos but the sonic field is so layered that it's almost full: practically burying any soloist's attempts. But then the band thins it out, keeping only the bare bones, so that Wayne and Joe can trade solos on soprano sax and piano, respectively--Joe even going so far as to solo twice: as if duelling with himself! Then Wayne takes a turn on his tenor sax: first within the full band weave, then with the open field laid out for him. No matter who's soloing, Joe is always adding quirky little sound injections from his circus collection of synth and hand tools. Alphonso Johnson's bass is creatively effected but it seems to handcuff him into playing some rather simple lines and a lot of single tone repetitions. (13.125/15)

3. "Between the Thighs" (9:33) the Weather Report circus show continues as Joe seems pretty set/obsessed with incorporating as many unusual quirky sounds and instruments into his songs as possible. So far in three songs, almost 24 minutes of music, there has really never a minute passed without some randomly fresh sound being injected haphazardly into the mix. It's almost like he's going for a citation in the Guinness Book of World Records for the most instruments played (or included) in a single song (or album). (Being a big fan of Andreas' Vollenweider's "busiest multi-instrumentalist I've ever encountered," Pedro Haldemann, as well as Pat Metheny's legion of upper-stage multi-instrumentalists, Mr. Zawinul may find that he has a little competition.)

So many times on this album I'm hearing riffs and samples that predict the cumulative breakout that 1977's "Birdland" will be for them.

The best funk and groove in this song is, for me, in the song's final minute. (17.75/20)

4. "Badia" (5:20) reaching into the orient for inspiration. (It's okay: the band had now been there--on their tours--several times.) Odd percussion, reeds, sqealy synth, pregnant bass couplets, cymbal play, and treated horn and mzuthra make for an interesting and very spacious weave. Melodica and oud are also prominent. How confusing it must have been for dynamic creatives like Alphonso Johnson and Leon Ndugu Chancler to have been so shackled like this. (8.75/10)

5. "Freezing Fire" (7:29) funk that finally taps the tremendous skill and potentialities of the relatively untested and untried bass funk master. A song that grooves and flows, feeling a little more like a Jazz-Rock Fusion tune, despite the continued barrage of incidentals injected as accents throughout the length of the song. Again, it's the drum 'n' bass unity that interests and impresses me, not the parade of creative sound injections that Joe (and Alyrio?) can muster. Just give me Alphonso and Ndugu and I'd be a happy camper! Great foundation; weird and "novelty" level entertainment. (But, Joe: I don't come to your albums for surprise and novelty: I come for the grooves and weaves!) (13.3333/15)

6. "Five Short Stories" (6:56) one of those interesting-but-ultimately-off-putting musical equations (or masturbatory exercises) that Joe and Wayne like to work through with their band. Slow and methodic, sometimes melodic; definitely cerebral and mathematical. Quite the challenge to stay engaged/interested--especially over seven minutes. (13/15)

Total Time: 43:10

The smooth, careful, and calculated side of Jazz-Rock Fusion, here presenting a lot of interesting ideas (many of which will be more fully developed on future albums). With Joe and Wayne monopolizing all of the compositional duties I think they still had not realized what they had on their hands with the recent acquisition of 24-year old bass genius Alphonso Johnson. As demonstrated on Eddie Henderson's Sunburst album that was recorded and released at about the same time as this one, the kid is nothing short of a creative genius; he has ideas, he has the chops to star--to lead--and he has a bag of his own compositions bursting at the seams (two of which ended up on that Sunburst album). Don't get me wrong: the compositions on Tale Spinnin' are all fine, mature, presenting ground for a lot of great performances and some rather memorable songs and riffs, they're just not quite as dynamic and powerful as those on Sunburst. I think it a terrible thing that Joe and Wayne "wasted" so much talent that came their way (though many would look at it as "mentored," "groomed," or "developed").

There is some great music here, just too much entertainment-oriented circus noise.

88.63 on the Fishscales = B/four stars; an album of sophisticated, busy, multi-layered music that is often overly-gilded in what amounts to circus entertainment tricks. Too bad! I love the bones and basic constructs of a lot of this music.

PUPPENHAUS Jazz Macht Spazz

Recorded in 1973 at SWF Studio in Baden-Baden, Germany, the material was not released as an album until 2009 (with 25 minutes of live material from 1974 tacked on).

Line-up / Musicians:
- Frank Fischer / bass
- Bea Maier / drums
- Büdi Siebert / flute, saxophone
- Herbert Binder / guitar
- Thomas Rabenschlag / keyboards

1. "Anfang" (10:41) whoever thought this aggressive FOCUS-like music was Jazz-Rock Fusion? I guess the people who listen past the introduction! But those alternating motifs are definitely far more rock/prog rock than J-R F. Then the third motif, in the third minute, feels way more rooted in 1960s blues rock despite its jazzy sax and flute contributions and Frank Fischer's impressively fluid bass play. The new alternating aggressive motif seems to come straight out of KING CRIMSON's playbook. Then there is an impressive drum display with only Frank's three note machine gun bass play to support Bea Maier's nuanced drum play before guitarist Herbert Binder joins in with some long-held notes screaming and bending their way into the front line. Interesting how close Herb's guitar sound imitates a Canterbury organ. In the ninth minute there is a return to the FOCUS-like aggression before a sudden electric piano chord arpeggiates us into a dreamy passage over which Büdi Siebert lulls us into his spell with his beautiful flute play. The final 35 seconds sees a return to the aggressive rock chord play of the opening. Pretty great song! (17.875/20)

2. "Jazz Macht Spazz" (7:54) a nice mid-tempo song that cruises along while Büdi cajoles us with his soprano saxophone. Around the three minute mark the band switches into closed top, windows up mode while negotiating a slightly rougher part of town through Thomas Rabenschlag's electric piano. Then the rhythm section drops out for the sixth minute as Büdi picks up his ethereal flute with Thomas' vibrating electric piano chords supporting beneath. The band returns to a slightly-slowed down variation of the opening motif for the final two minutes--which enables both Bea Maier and Büdi to ejaculate their solo flourishes between and over e. piano and rock guitar power chords. (13.25/15)

3. "Swingende Elefantenkompanie" (10:47) starting out slowly--like an orchestra tuning--but then the rhythm section comes bursting forth with a blistering pace over which Herbert rock guitar shreds followed by Büdi's tenor sax. Yes, there are jazz elements to this music, but so much more belong to the domains of either rock or prog rock. The performances are impressive, yes, but nothing here really grabs me enough to want me to come back--this despite the music's similarities to that of Canadian band LIGHTHOUSE. Then, almost exactly at the four-minute mark, quite suddenly and unexpectedly (as if the start of an entirely new and different song), the music stops with the band immediately returning with a very smooth WILL BOULWARE-like "Feel Like Makin' Love"-like song, sound, and style: dominated by Thomas Rabenshlag's gentle electric piano play and Büdi Siebert's winsome flute. Then, around the seven-minute mark the rhythm section takes a few measures to ramp back up into a kind of frenzied-Disco hysteria which crash-ends after about a minute, leaving a New Orleans-style military marching motif in its wake. this motif slowly begins to unravel, soon becoming full-on chaos, before then shifting into a high speed though delicate motif in which horns and guitar play accents on Thomas' dirty electric piano frenzy, off and on, over and over, during the course of the next minute with drummer Bea Maier pounding away with great vim and fervor underneath until the sudden end. Whew! What a weird ride that was! I'm not sure how to rate it though I have to give them credit for being unique in their vision of that which can constitute a jazz-and-rock fusion. (17.5/20)

4. "Let The Pig Out" (5:58) opening with 90 seconds of breathy, voicy flute play which culminates in some of Büdi's human-made pig noises supplanting his flute. Then the band kicks in with a five chord KING CRIMSON progression that turns frenetic in an almost avant-garde, but more comic way. This is a motif that displays some very skilled and disciplined team work as well as creative adaptation of the heavier KCrimsonian sound (reminding me of the humorous aspect of 21st Century's SEVEN IMPALE). I'm rating this up for its skill level and humor, not for its effectiveness at making me want more. (9/10)

5. "Improvisationen" (17:04) Though the music here is rather straightforward cruisin' speed jazz-rock fusion--with extended solo time for Büdi Siebert's tenor sax and, later, Thomas' Herbie Hancock-like treated electric piano--there is some rather extraordinary bass guitar playing here from Frank Fischer (the part I enjoy the most). Büdi picks up his flute for an extended solo in the mid-section--expanding upon the woodwind's sound with his own voice (though never as amazingly as Thijs van Leer). Frank gets a turn to display his bass creativity in the beginning of the song's final third, then Herbert Binder finally gets some front time (though rather hidden and often muted) before Thomas and Bea move the song more into the comedic/novelty range with some Disney/Mother Goose- and nationalistic/military-like themes flourished for their audience (and, I suppose, for themselves). (31/35)

Total Time 42:24

88.625 on the Fishscales = B/four stars; a fun and skilled expression of jazz-rock fusion creative interpretation. Recommended for the experience of seeing once more one of the many ways the new idiom can be envisioned.

TOTO BLANKE Tales of Tomorrow (1978)

This 1978 release is a real late-comer to the First, Second, and Third Waves of the Jazz-Rock Fusion movement. Tales of Tomorrow contains more of the German guitar virtuoso's sound experimentations captured for publication. And to make things weirder: other than a guest string quartet, the entire album's music and sounds are created by Toto tout seul! At least some of the weirdness has been worked into fairly competent song structures.

Line-up / Musicians:
- Toto Blanke / electric & acoustic guitars, Roland synth guitar, bass, bouzouki, bandoneon, ring modulator, PPG synth & sequencer, drum machine, composer & co-producer
With:
- Jörg Kramer / violin (1,3,8)
- Makar Niedrig / violin (1,3,8)
- Marian Lale / viola (1,3,8)
- Thomas Schultze / cello (1,3,8)
- Herman Josephs / arranger & conductor

1. "Overture" (0:42) string quartet opener. Nothing Earth-shatteringly innovative or expressive. (But quite a contrast to that which is following!) (4.375/5)

2. "I'm A Stranger Here Myself" (4:22) sound 40 years ahead of its time with its computer-sounding early drum machine rhythms at the song's foundation. Then all the layers of affected guitar sounds woven above! If this is Jazz-Rock Fusion then Kraftwerk and Bill Nelson are members, too! (8.75/10)

3. "Aliso Samba" (4:06) opens with string quartet before Toto's bass and acoustic guitar join in and, eventually, take over. The solo acoustic guitar (with bass, rhythm guitar, and bandoneon support) is awesome. Strings rejoin and swell in the final minute as Toto wraps things up. A very pleasant, upbeat song! (9/10)

4. "Roland The Giant" (5:02) I love how adventurous Toto was: always exploring the furthest edges that new technologies could allow the music (and musician) to travel. Here he's preparing us for "Music for Vacuuming," Jon Hassell, and Adrian Belew as well as Annette Peacock's Sky-skating. (8.75/10)

5. "Ostfriesisches Festtagsbegrabnis" (1:05) bandoneon and bouzouki. (4.25/5)

6. "Casablanca" (6:32) ring modulator and PPG sequencer open this one before Toto's George Harrison-toned electric guitar enters and begins his soloing. He's such a gifted, creative guitarist! It's too bad he got all obsessed with sound modification cuz he can really play! Weird manipulations of volume (performed, obviously, in the recording engineer's booth) make for an unfortunate cheap-sounding production. Too bad! Not even the Rodrigo-like Spanish guitar finish can save this one. (8.75/10)

7. "Rush Hour" (1:50) high-speed PPG sequencing with effects and volume modification while Toto's distorted electric guitar wails in the background (and through some other effects modifiers). (4.25/5)

8. "Pork Pie" (3:43) string quartet sounding very dire and serious open this one before turning George Martin/BEATLES-like. Synths and layers of electric guitars join in while Roland guitar synths and ring modulator provide the leads. Interesting ideas. (8.75/10)

9. "New Years Eve" (3:17) multiple layers of acoustic guitars playing some Spanish-themes and -styles give this a very AL DI MEOLA- and JOHN McLAUGHLIN-like feel and quality. Beautiful little song. In the second half, multiple layers of acoustic guitars: most of them strumming in a fast Latin/Spanish style while a steel-string acoustic provides the lead melody in fast time. (9/10)

10. "Flat Top And The U.S. Sad Cats" (9:11) mysterious bass line, volume-controlled bandoneon chords, over which two very different guitars solo: one wah-wahed that presents a very horn-like sound (though muted); the other more distorted and slightly compressed at the high-end that provides intermittent flourishes and machine gun blasts of runs while the cat-like sounding horn-guitar continues playing steadfastly over the fretboard. Again, very interesting but nothing I really want to hear repeatedly. (17.5/20)

11. "Sunday Morning The 26th Of February" (3:31) bandoneon cords and wonderful acoustic guitar soloing that sounds just like John McLaughlin playing with Zakir Hussain and the Shakti gang. Stunningly beautiful. Just like the Mahavishnu. (9.666667/10)

Total Time 43:21

Though this is quite experimental, there is little to no fusion of jazz and rock going on here. As a matter of fact, with the collaboration of any other jazz or rock musicians, I'd be hard pressed to have much hope for such. I should have known better.

88.61 on the Fishscales = B/four stars; an album of mixed energy and results: some are absurdly experimental--absolute frozen examples of what people were trying at the time (only, Toto chose to publish all of his experiments instead of learning from them for more mature future compositions), others are stunningly beautiful samples of Toto's guitar genius and skill.

STANLEY CLARKE School Days (1976)

Stanley's highly-regarded sophomore release, his second as a band leader and principal composer, serves well to continue to cement his legacy as one of the greatest bass players of all time. Released on Nemperor Records on October 8, 1976, School Days was recorded in New York at Electric Lady Studios and A&M Studios in June of the same year.

Line-up / Musicians:
- Stanley Clarke / acoustic, piccolo & electric basses, piano, gong, handbells, chimes, vocals, arranger, conductor & co-producer
With:
- Raymond Gomez / electric guitar (1,3,5)
- John McLaughlin / acoustic guitar (4)
- Charles Johnson / electric & acoustic guitars (6)
- David Sancious / keyboards (1), Mini-Moog (2,3), organ (3), electric guitar (5)
- George Duke / keyboards (6)
- Gerry Brown / drums & handbells (1,3)
- Steve Gadd / drums (2,5)
- Billy Cobham / drums & Moog 1500 (6)
- Milt Holland / percussion (3), congas & triangle (4)
- String Section:

David Campbell, Dennis Karmazyn, Lya Stern, Thomas Buffum, Janice Adele Gower, Marcia Van Dyke, Karen Jones, Robert Dubow, Ronald Strauss, Rollice Dale, Gordon Marron, John Wittenberg, and Marilyn Baker

- Brass Section:

Jack Nimitz, Buddy Childers, Lew McCreary, Dalton Smith, Robert Findley, Gary Grant, George Bohanon, William Peterson, Stuart Blumberg, and Albert Aarons

1. "School Days" (7:51) drums and bass chords open this one before Ray Gomez' horn-like treated electric guitar solos. Interesting in a very heavy RTF/rock 'n' roll way, but there's something missing: it all feels like an (over-)extended intro until the bridge at the end of the second minute. David Sancious' synth play is rather unique. The scaled-down (bass chords removed) passage from 2:45 to 6:45 allows for Stanley to start up, escalate and realise a pretty impressive electric bass guitar solo (four minutes long!). Also, drummer Gerry Brown is a pretty good foil for Stanley's play. Interesting end with Stanley humming over the piano. (13.33333/15)

2. "Quiet Afternoon" (5:09) a gentler, more pop/radio-oriented tune that is based over Stanley's piano play and Steve Gadd's distinctive drum sound (soft toms and bass drum). Stanley uses his piccolo bass for some soloing despite the presence of his standard electric bass play in the rhythm track. David Sancious gets some extended time for some MiniMoog soloing in the third and fourth minutes. Interesting--and melodic in a Minnie Ripperton/Maria Muldaur way. (8.875/10)

3. "The Dancer" (5:27) nice percussion-rich song with Milt Holland, Ray Gomez, Gerry Brown, and David Sancious playing around within the busy weave. Nice but nothing extraordinary. (8.75/10)

4. "Desert Song" (6:56) John McLaughlin on the acoustic guitar gives Stanley the inspiration to perform a SHAKTI-like bowed double bass solo within the first 1:45 of this acoustic duet. He then drops the bow for some amazing straight bass in the third minute. John finally gets his turn on his newly-created (by master luthier Mirko Borghino) scalloped-fretboard acoustic guitar around 3:15. Along with Milt Holland's congas and triangle, the song progresses very much like a Shakti song--but Stanley and John's rapport seems to really work: it seems very easy and sympathetic.

Stanley takes back the lead again at 5:15, returning to his bowed bass for the rest of the song. I can't help myself: I'm such a sucker for this kind of music. (13.5/15)

5. "Hot Fun" (2:55) a little foray into funk-rock--including some extra support from strings and brass. Fun! Stanley can definitely play funk! (8.875/10)

6. "Life Is Just a Game" (9:00) orchestral support for a cinematic piece like a contemporary film theme song (one that would run through the credits at the end of the movie). Billy Cobham, George Duke, guest on this one with Charles "Icarus" Johnson on guitars. Something is missing from this song--from all of the performances: a kind of cohesive enthusiasm for the song. Some of the performances are impressive (though not Icarus Johnson, or Billy Cobham [his drums are recorded with some weird effects--perhaps through is Moog 1500], or even George Duke--and the orchestration seems excessive and perhaps unnecessary.) (17.5/20)

Total Time 37:18

I just don't connect with Stanley's musicality: his compositions, melodies, arrangements, and vision do nothing for me except augment my already-healthy respect for his virtuosity as a bass player.

88.54 on the Fishscales = B/four stars; a nice album to continue our appreciation for Stanley Clarke, bassist extraordinaire.

BUSTER WILLIAMS Pinnacle (1975)

The double bass player from Herbie Hancock's Mwandishi team decides to go out on his own to produce some Mwandishi-like jazz-rock fusion. Recorded in 1975 at Blue Rock Studios, August 6, 7, 11, and 14, it was published by the Muse label in November.

Lineup / Musicians:

- Buster Williams / basses, electric and acoustic

- Onaje Allan Gumbs / keyboards

- Billy Hart / drums

- Guilherme Franco / percussion

- Woody Shaw / trumpets (A3, B2)

- Earl Turbinton / soprano sax (A3, B1, B2), bass clarinet (A1, A3)

- Sonny Fortune / flutes, soprano sax (A1, A3)

- Suzanne Klewan / vocals (A2, A3)

A1 "The Hump" (11:26) a little too busy for my tastes--and the wind instruments are not so well recorded. As the song starts and slowly establishes its form and style (while the band leader solos on his Fender electric bass) I'm feeling as if I'm hearing the chords and melody of what will become Bob James' famous song, "Angela" (the theme song to the TV show, Taxi), but then when the full workup is accomplished the rest of the song sounds more like some of the playful funk jazz from Bill Cosby's Fat Albert and the Cosby Kids--on which Buster played, of course). Onaje Allan Gumbs creative and experimental "space synth" work sounds like something from the Star Trek television series soundtracks--and is the same that he will use on Lenny White's Venusian Summer. (17.66667/20)

A2 "Noble Ego" (6:52) an okay song with some excellent double bass exposition. The wordless group scat-chant vocals are a bit odd for their choice of syllables. Pianist Gumbs has obviously studied at the Chick Corea school of piano and keyboard play because his piano play as both accompanist and soloist mirror that of the Spanish Lepruchaun (even his spacey synth injections are similar to Chick's!) But the real star here is the master bass player. (13.33333/15)

A3 "Pinnacle" (4:41) Onaje Allan Gumbs' Fender Rhodes play is so rich and welcome. The electric bass and more-rock-formatted drums give this a true J-R Fusion feel. The choral chant vocals are fun in a spiritual way. The first half offers Billy Hart's exciting drum play, then the melodic keys and sax and Freddie Hubbard-like trumpet play steal the show. (8.875/10)

B1 "Tayamisha" (6:29) classic modal jazz between Buster and Billy (with some help from Guilherme Franco's percussion work) start this one out before the rest of the band join in. Onaje Allan Gumbs' piano, Earl Turbinton's soprano sax, and Buster's double bass take the traditional solo spots. Very nice jazz but not really much of a fusion with rock. (8.875/10)

B2 "Batuki" (14:10) the jewel of the album, it opens, of course, with some of Buster's dynamic and inventive double bass play, at the 45-second mark the rest of the band joins in to help Buster create a finely harmonized wave of gentle, melodic jazz. Sax, flutes, keys, and drums do an awesome job of establishing the song's Stevie Wonder-like weave before trumpeter Woody Shaw is given the first solo in the fourth minute. There is a double-timing of some of the instrumentation at the start of the fifth minute just as saxophonist Earl Turbinton is given his solo, but then everything slows way down and thins out for Buster's next solo in the sixth and seventh minutes--a solo that nears the EBERHARD WEBER sound standard that I love so much, supported by Onaje Allan Gumbs' dreamy flange-panned Fender Rhodes. It isn't until well into the tenth minute that Buster relinquishes the lead to allow Allan a chance to shine (wonderfully supported by both Billy Hart and Buster). In the end this is a great sounding song that only disappoints in its lack of sustained memorable melodies over the course of its 14-minutes. (27.5/30)

I don't know where Buster and the gang found this percussionist, Guillerme Franco (he'd previously worked with McCoy Tyner, Lonnie Liston Smith and Keith Jarrett), but I love his mischievous injections of odd and singular percussion instruments throughout--as well as his use of the Flexitone--the signatory open sound to Ronnie Laws' mega hit, "Always There."

Buster Williams is without a doubt a virtuoso of the double bass; it is sad how little mention or credit he is given for his contributions to so many great jazz and jazz-rock fusion albums--especially the six Mwandishi lineup albums of 1972-4.

88.53 on the Fishscales = B+/four stars; an excellent representative of the jazz-side of prog's "Classic Era" of Jazz-Rock Fusion.

JAZZ Q (MARTIN KRATOCHIVÍL) Elegie (1976)

Pianist Martin Kratochvil enters his thirties by leading his Czechoslovakian group of jazz/fusion artists, Jazz Q, through their fourth studio album since their debut in 1973.

Line-up / Musicians:
- Martin Kratochvíl / electric piano, Moog, composer, güiro (B3), organ (A1, B1), piano (A3, B4), synthesizer (A1-A4)

- Přemysl Faukner / bass
- Libor Laun / drums
- Frantisek Francl / guitar, vocals (A2), triangle (A3)
- Jan Hrubý / violin (A2, A3, B4)
- Jiří Cerha / vocals (A2)
- Jiří Tomek / congas (A2, A4, B2)
- Ladislav Kantor / vocals (A2)
- Lenka Filipová / acoustic guitar (B4), vocals (B1)
- Michal Gera / trumpet (A2), maracas (B3)
- Michal Vrbovec / cowbell (B3)
- Ondřej Konrád / blues harp (B1)
- Tomás Procházka / percussion (A3), claves (B3)
- Zdeněk Prouza / cello (B4)

- Frantisek Lhotka / cello (B4)

A1. "Slunovrat" (5:35) more like a slightly-funked up FOCUS song: some skillful expression of a challenging composition rendered quite well. (9/10)

A2. "Naděje" (7:00) opens sounding quite a little like one of JEAN-LUC PONTY's hypnotic weaves within which violinist Jan Hrubý does a fine job representing the new Jazz-Rock Fusion sounds and stylings of the electric violin. After almost two minutes with Jan's violin supplying the studied lead, Michal Gera's heavily-treated trumpet (sounding a lot like a wah-wah pedaled electric guitar) takes the lead. The third round of this 90-100 second repetition/rondo of a movement is given to Martin Kratochvíl to solo over using his own unique Moog sound choice. The fourth and final "round" allows electric piano and loosely-organized other members (wordless voice, guitar, trumpet, and violin) to let the song end-- very loose and unceremoniously, I might add. I must say that each of the soloists presents themselves in very unique sound choices and that they express themselves in ways that are flashier for their use of the strange effects and sounds than for their technical speed or skill. Too bad there isn't a little more oomph or zip to the main motif. (13.375/15)

A3. "Citadela" (3:20) strings synth and pounding left-hand piano chord play supports a solo from electric bassist Přemysl Faukner. Odd but "cute" song. (8.75/10)

A4. "Tanec" (3:45) Side One's fourth song bursts forth as if coming straight off of a HERBIE HANCOCK album from 1973 or 4. Great Cobham-like drum play, great Larry Coryell-like electric guitar soloing, great Latin percussion, great bass and Fender Rhodes support and leads. A very solid, very American-sounding funky Jazz-Rock Fusion tune. (9/10)

B1. "Létavice" (5:20) the basic quartet sans drums taking turns soloing over a two chord vamp that, at times, descends one key per measure with the bass pretty much holding center of one particular key. It's okay; interesting. (8.75/10)

B2. "Toledo" (7:35) built over a Spanish rhythm motif nuanced bass and drums and rhythm guitar hold down the rhythm track while Martin and Frantisek take turns soloing in Spanish melodies that are quite similar to those used by America's great Latin-protagonist, Chick Corea--even using the same synth and keyboard sounds Chick would use. The performances of the soloists are more impressive than is the muisc they've contracted to play over (it's a bit stereotypic and one-dimensional). (13.25/15)

B3. "Zravá Dáma" (5:20) a very playful exploration of deep Herbie Hancock-like funk conveyed through the white man's filters of order and easy-on-the-brain melodies. Radical change in the second minute as the song goes into a full percussion-only motif, but then it comes back to the funky with a little more distroted guitar for the final minute or so. Weird construct with some enjoable white man's exploration of American funk. (8.75/10)

B4. "Věstba" (1:55) piano, strings and acoustic guitar doing a modern avant-garde piece. (Pre-RATIONAL DIET.) (4.375/5)

Total Time 39:50

Havung come here straight after listening to Extra Ball's Birthday debut I can't help but be underwhelmed by both the lower level of instrumental mastery of the musicians in Jazz Q but also at the immaturity of their acquisition of mastery of the skills and technologies with which to emulate much less surpass American Jazz-Rock Fusion of the day. This is what I would definitely call a "second tier" album (and band) representing the Jazz-Rock Fusion ilk.

88.53 on the Fishscales = B/four stars; an excellent Eastern European response and contribution to the Jazz-Rock Fusion revolution going on in America.

MOVING GELATINE PLATES The World of Genius Hans (1972)

Definitely more on the jazzy side of what we call Canterbury music. Moving Gelatine Plates' second album--released only a year after their surprisingly mature debut--displayed a better quality of recording and engineering to equally mature and accomplished instrumental jazz arrangements. Other than their self-titled debut album's great "London Cab," I like this album hands down over the debut. There is more warmth in the songs and performances here--and a feeling that the band is more relaxed, as if they are just grooving and enjoying themselves and their unique sound. Recorded from December 7 through 15, 1971, at Studio Des Dames and Studio Johanna, The World of Genius Hans was produced by Claudio Delcloo for CBS Records, which released it in February of 1972.

Line-up / Musicians:

- Maurice Helmlinger / Hammond & Capri Duo organs, trumpet, alto, soprano & tenor saxophones, flute & backing vocals (1-7)
- Gérard Bertram / electric, 12-string & Leslie guitars, vocals (1-7)
- Didier Thibault / bass, guitar, synth & vocals (1-12)
- Gérard Pons / drums (1-7)
With:
- Claude Delcloo / backing vocals (1-7)
- Jean-Pierre Laroque / bassoon (1-7)
- Michel Camicas / trombone (1-7)
- Guy Boyer / vibraphone (1-7)

The opening song, the fourteen-minute epic title song, 1. "The World of Genius Hans" (14:05), is a very jazzy piece with some quite technically challenging ensemble sequences all working coherently and cohesively together. (27/30)

2. "Funny Doll" (4:29) opens with some light, bouncy interplay between sax and lead guitar with snappy bass and drum play beneath. Towards the end of the first minute the band gels into a full sound just before a male voice sings to us in a kind of Benmont TENCH kind of raspy way. The following jazz section is quite lovely, with the band playing really tightly and with some awesome multi-instrumental melodies. In the fourth minute it starts to get a little more mathematical just before a very fun section with a circus-master like vocal saying "good-bye" to us. Awesome song! (10/10)

3. "Astromonster" (6:20) opens with a rolling bass playing beneath some guitar, bassoon, and percussive oriental-sounding staccato melody weave. Then things slow down for a bit, as if to reset, before opening the third minute with some more straightforward, driving ensemble jazz with organ and fuzz bass. The fourth minute then brings in another shift--almost a bolero kind of Latin section with a very Santana sound and feel to it (except for the drums). The Santana-like melody is carried forward by the guitar until, at the end of the fifth minute, a faster paced start-and-slow alternating pattern is established for about a minute. The final minute sees a very slowed down regurgitation of one of the song's main melodies--from the flute! Weird but awesome song. (9/10)

The next song, 4. "Moving Theme" (3:56), feels like an étude, like a song created to exercise the group's dexterity and entrainment timing. Not particularly melodic or enjoyable except in the way one can appreciate the band members' command of their instruments and their ability to play tightly. It could just be what its title says: a theme for moving! (8/10)

5. "Cauchemar" (3:53) is a fast-paced piece that kind of follows one format for its entire four minutes--even trying to establish a melody line that follows the pop ABACAB-type of flow. (8.5/10)

6. "We Were Loving Her" (3:19) is a slow-to-unveil-itself piece that has a kind of MATCHING MOLE/SOFT MACHINE experimental feel to it. The song has nice melodies expressed by the saxophone in the last minute. (8.5/10)

7. "Un jour..." (1:30) has quite a SATIE feel to it despite it's being a bass and saxophone duet. (2/2.5)

Total Time: 37:05

Perhaps not as silly as their debut but not as serious either. While not my favorite type of Canterbury music--I go for the more melodic fun stuff of Caravan and Supersister--it is not my least. The musicians and compositional team of MGP are definitely amazingly good and awesomely confident. What feels like their step forward in World of Genius Hans is how relaxed and fun the band feels to be on this album. Too bad they never generated the interest or fan base to sustain their passion.

88.48 on the Fishscales = B/four stars; a wonderful addition to any Canterbury-loving prog lover's music collection.

FREDDIE HUBBARD Sky Dive (1972)

Though Freddie had been collaborating for a couple of years with a group of musicians who dabbled with/ circulated on the fringes of the burgeoning Jazz-Rock "Fusion" scene--including Airto Moreira, Ron Carter, Ray Barretto, Jack DeJohnette, Hubert Laws, and, to a lesser degree, George Benson. Freddie's attempts at allowing more rock and electric elements into his stage and studio performances seemed hindered by his own allegiance to (and enjoyment of) more recent trends in jazz--like "hard bop" and "cool jazz." One problem was his relative aversion/avoidance to Latin influences like Afro-Cuban rumba and Brazilian bassa nova--two forms of popular jazz that had had huge influence in American music in the 1960s.Well, this album sees Freddie finally getting his foot in the door--thanks in no small part to his employment of Billy Cobham, Airto Moreira, and Ray Barretto--the former two of whom had been students/musicians with Miles and Carlos Santana and Joe Zawinul's Weather Report (Airto), the latter who had crossed over with the likes of Herbie Mann and Edgar Winter. This is the first album of Freddie's that I feel he has finally figured out how to fuse some of rock 'n' roll's innovations into his jazz music.

Recorded by Creed Taylor on October 4 & 5, 1972, CTI released the album in January of 1973.

Lineup / Musicians:

Freddie Hubbard / Trumpet

Ron Carter / Bass

Billy Cobham / Drums

Kieth Jarrett / Piano, Electric Piano

Airto Moreira / Percussion

Ray Barretto / Percussion

Hubert Laws / Flutes [C-flute, Alto Flute, Bass Flute], all solos

Wally Kane / Bass Clarinet, Piccolo

Don Sebesky / Conductor, Arranger

With:

Trumpets & Flugelhorns: Alan Rubin, Marvin Stamm

Trombones: Garnett Brown, Wayne Andre, Paul Faulise [Bass Trombone]

Tuba: Tony Price

Winds: Phil Bodner [Flute, Alto Flute, Bass Clarinet, Piccolo]; George Marge [Flute, Alto Flute, Clarinet, Bass Clarinet]; Romeo Penque [Flute, Alto Flute, Clarinet, Oboe, English Horn]

1. "Povo" (12:33) after an introductory extract from some man's speech the band enters, settling immediately into a somewhat funky laid-back groove for the solos of George Benson, Freddie, Hubert Laws, and Keith Jarrett (electric piano). A very pretty, engaging, and well-constructed grooving piece that I enjoy from start to finish despite its standard format of turn-taking alternating singular solos over the rhythm section. It's a good thing the basic rhythm track is so good. (22.75/25)

2. "In a Mist" (7:04) sounds like an old-time classic jazz piece with small acoustic combo and some side action big band horns. No infusion of rock (or anything else) here. Keith Jarrett's piano sounds to me like Thelonius Monk. I'm really not interested in old-time jazz, just Jazz-Rock Fusion. (12.75/15)

"Naturally" (5:53) (only available on the CD release) opens up sounding like the late-night musings of a band playing for the thinning crowd of mellowing lounge drinkers. Freddie steps it up a notch with the second verse--the rest of the all-acoustic band keeping up. Hubert Laws gets the second solo on one of his flutes, during which the horn section begins to show itself with gentle accents. Guitarist George Benson is next with his jazz guitar (sans vocal mirroring)--for which the horns and winds combine to provide some dreamy, gentle support. I'm not really into this song cuz I'm looking for Jazz-Rock Fusion, not jazz.(8.5/10)

3. "The Godfather (from the Paramount Motion Picture The Godfather)" (7:21) solo trumpet opens this one with a jazzy rendering of the well-known movie theme. Bassist Ron Carter gets the next shot--also tout seul--then pianist Keith Jarrett joins in and Ron steps into the support role as Billy Cobham's soft jazz drums (mostly brush and cymbal work) joins. Freddie returns to the lead as a bank clarinets add their support from the wings, later the horn banks. Keith Jarrett gets a nice solo in the sixth minute. Finishes off with a repeat of the solo trumpet opening. (8.5/10)

4. "Sky Dive" (7:40) a return to the world of electricity with a smooth, Latin-flavored song. Nice solos from Freddie (a really long one!), George Benson, Hubert Laws, and Keith Jarrett (again on electric piano) as well as really nice work from all of the support staff--especially Billy Cobham as well as some really smooth arrangements for horns and winds from Don Sebesky. (13.5/15)

Total time: 34:38

88.46 on the Fishscales = B/four stars; a very nice jazz album with a couple of fine Jazz-Rock Fusion songs (one funk-lite, the other Latin-lite).

PEKKA POHJOLA Harakka Bialoipokku ("The Magpie") (1974)

Finnish composer and bassist extraordinaire's second coming out party--only this one is much more serious (more like a work party) as the young maestro works out some equations roaming around inside his head. Recorded by Måns Groundstroem in Sweden at Marcus Music studio in Solna, Harakka Bialoipokku was released in December by Finnish label Love Records.

Line-up / Musicians:
- Pekka Pohjola / piano, bass, electric piano (6)
With:
- Coste Apetrea / guitar (6)
- Pekka Pöyry / alto & soprano saxes
- Eero Koivistoinen / tenor, soprano & sopranino saxes
- Paroni Paakkunainen / alto & baritone saxes, piccolo flute
- Bertil Löfgren / trumpet (2,5)
- Tomi Parkkonen / drums & percussion (1-4)

1. "Alku ~ The beginning" (2:10) solo piano using modal chord progression like a John Coltrane or Magma song. (4.375/5)

2. "Ensimmäinen aamu ~ The first morning" (5:35) bright, cheerful j-r fusion of a proggy inclination--quite a little of a Weather Report feel. Where does Pekka find these great drummers? (I like that he gives them great sound.) The motif established in the second minute has a processional feeling to it--like a jazzed-up classical piece. The next run through the full motif everybody goes more jazz, blurring the "lines" of the original motif quite a bit, but then they all come back together for a tight recapitulation of the original processional. The fourth time through it's the horns (and Pekka's hi-rpm bass) who elevate the song into Zappa Land. So precise and tight! The last time through the band is more relaxed, the notes a little more subdued, yet it sounds so Zappa-like! Excellent composition! (9/10)

3. "Huono sää / Se tanssii... ~ Bad weather / Bialoipokku dances" (6:55) reflective piano-based song--in fact, an étude. The exploration of low end possibilities is the total focus throughout the first two minutes with the horns doing as much work as the piano and bass. It's not until the 2:20s that the melody finally reaches mid- and upper ranges. Another song that could almost be classified under the Zeuhl sub. Even when the music bursts into happy-county fair mode at 4:45 could it still be befitting a Magma or Present song--especially when it soon shifts again into a faster gear. (13.25/15)

4. "...ja näkee unta ~ Bialoipokku's war dream" (4:35) poppy Arthur-like Burt Bacharach music. Very bouncy with a very syncopated bass-and-piano led melody line over very steady rhythm section. Horns jump on board the melody providing volume and accents to the bass-and-piano lines while the drumming moves in and out of military snare work. Interesting and very mathematic. J.S. Bach would love this one, I'm sure. (8.875/10)

5. "Hereilläkin uni jatkuu ~ Bialoipokku's war" (4:42) piano turns CHCAGO! More mathematical jazz-rock of particular interest to those who love complex whole-group arrangements of music that is primarily intent on exploring odd time signatures. A big switch around 3:25 leads into a different-sounding yet-still-CHICAGO-like passage with bass and soprano sax performing the most attention-grabbing duties. Impressive if not as enjoyable or memorable as one would like. (8.875/10)

6. "Sekoilu seestyy ~ The madness subsides" (4:18) rich Fender Rhodes sounding as if it came out of a Smooth pseudo-Jazz pop album like Art Garfunkle or Stephen Bishop. Rich rolling electric piano play matched by melodic bass play beneath supports Coste Apetrea's fine Jan Akkerman-like electric guitar play over the top. Again there is more of an étude feeling to this one--even after 2:55 when it becomes a lone electric bass solo there seems to be some kind of mathematical problem being worked out in Pekka's mind. (8.875/10)

7. "Elämä jatkuu ~ Life goes on" (6:42) a kind of laid-back swing--like the theme for the end of a long day--where Pekka is still working his heart out while the tenor and alto saxes are the only ones that are allowed to loosen up a bit. (8.875/10)

Total Time: 34:57

Compositionally this album is amazing: Pekka is really stretching his wings. Performatively-speaking it's top notch all around--from everyone though the standards are never so high as those Pekka places on himself. But there is less room for playful improvisation within these very tightly written and disciplined songs. Even the melodic--and especially the harmonic--sensibilities are impressive and often quite catchy and enjoyable--it's just that the album has much more of a cerebral feel to it. Hopefully Pekka will have a patch in the future where everybody can just have fun.

88.39 on the Fishscales = B/four stars; an excellent album of artistic "problem solving" of the Jazz-Rock Fusion kind, one that is only lacking a bit in the fun and memorable melody departments.

CORONARIAS DANS Visitor (1975)

Danish band with 4/5ths of the membership of SECRET OYSTER. This SteepleChase album release, recorded at Rosenberg Studios in Cøpenhagen, Denmark, in February, July, and Novmeber of 1973, did not reach the public until November of 1975.

Line-up / Musicians:
- Peter Friis Nielsen / bass, double bass [electric double bass]
- Ole Streenberg / drums
- Claus Bøhling / electric guitar
- Kenneth Knudsen / electric piano, piano

1. "Se Det" (5:15) a song that opens as a kind of dreamy bass and Fender Rhodes duet with both musicians wandering rather aimlessly around their instruments for 90 seconds before settling into a pattern that the drummer and guitarist can join. Then it's keyboardist Kenneth Knudsen leading the way with his electric piano while the bass and drums gather momentum from beneath. The foundational pattern (especially the repeated bass riff) gets rather monotonous and, eventually, annoying. I wish Peter Friis Nielsen would change it up or at least embellish--at least a little bit! Ends with a Eumir Deodato-like dreamy chord overlay. (8.75/10)

2. "Morning" (8:13) thoughtful bass play over an open space which is soon permeated by equally gentle, almost wind-chime-sounding electric piano play. Bassist Peter Friis Neilsen sounds very much like Eberhard Weber: mysteriously floating over his long-neck fretboard, producing notes that seem to say so much more than that of a single pitch. Around the four-minute mark drummer Ole Streenberg's contributions (on mostly cymbals) begin to become more noticeable--as do those of Kenneth Knudsen's electric piano, with the keyboard eventually, slowly, supplanting the bass as the lead instrument. A not-unpleasant song that sounds nearer to free jazz but also has some of the palette of Herbie Hancock's Mwandishi-era music. (13.25/15)

3. "Esrom" (1:47) Peter Friis Nielsen's solo bass sounding like any bass solo ever despite his use of near-Eberhard Weber effects. Cool when it gets doubled up near the end. (4.375/5)

4. "Don't Know" (5:10) high-speed Jazz-Rock of the Mahavishnu/RTF nature with sound quality that reminds me more of CERVELLO's Melos: the effects used to process the lead guitar are already dated while the rhythmatists beneath the soloing electric guitar (including a track dedicated to wah-wahed rhythm guitar) have a bare Mwandishi-like sonic field. Nice discipline and skills on display. The foundational groove gets a little monotonous after … a minute or two--more like numbing. (8.875/10)

5. "Visitor" (3:23) more skills exhibitionism from the bass and drum players while Kenneth Knudsen wanders around his treated (wah-wah) Fender Rhodes and guitarist Claus Bøhling occupies the spotlight up top. Again Claus is using that odd combination of effects on his axe making him sound similar to some of Larry Coryell's sound incarnations. (8.75/10)

6. "Tied Waves" (5:24) gentle waves of sustained electric piano chords and fills spaciously (and melodically) open this one sounding like a pensive Herbie Hancock while Ole and Claus feel their way around from beneath (the latter sounding a bit like Eberhard Weber). There's actually something profoundly engaging about this--especially in the combination and interplay of the aqueous sounds coming from Peter's bass and Kenneth's keyboard. For some reason I have to give this unusual song a top three song commendation. (9/10)

7. "Sagittarius" (1:10) bumpin' electric piano over fully-formed "Latin" rhythm track. I respect Peter, Ole, and Kenneth for their attempt at infiltrating Chick Corea territory. (4.375/5)

8. "Which Witch" (8:48) opening with some angsty aggression, this one kind of awkwardly straddles a pseudo-funky rock style that sounds like some of the fusionary experiments of early Larry Coryell. The guitar is once again in the lead position while everybody else (including a track of wah-wah rhythm guitar) tries to keep the train running a top speed (without derailing). Definitely representative of an earlier, more formative stage of Jazz-Rock Fusion (like three or four years earlier). It's pretty good if you like to hear long soloing by a single instrument over some disciplined and nicely coordinated rhythmatists working hard beneath. In the final minute the straight-running train is given the signal to slow down, something the band does in an interesting, very cool way. (17.75/20)

Total time 39:10

Interestingly, there are several songs in which I can barely notice the presence of a guitar, which makes me wonder if this was really a trio with only occasional sessions using the credited guitarist.

88.38 on the Fishscales = B/four stars; an excellent display of creative, textural early-Seventies Jazz-Rock Fusion from some pretty talented and disciplined musicians.

MILES DAVIS Bitches Brew (1970)

I've been listening to this album with great attention for the past couple years, trying to fully comprehend the accolades it has received over the years--especially from a prog perspective--as well as in the context of Miles' own personal evolution. What I've truly come to appreciate, more than anything else, is Miles' amazing, almost unique desire to grow, to absorb all that he hears, to gather, listen to, and integrate the leading innovators of the younger generations around him. His track record is truly astounding (and perhaps a bit of a psychological issue: feeding like a vampire off of fresh, young blood and then taking all the credit). For fifteen years Miles had been learning how to command and squeeze the best out of his studio musicians in as little time as possible, and Bitches Brew offers yet another example of this.

After a year of introduction to modern psych-pop culture via socialite wife Betty Mabry, the changes in Miles manifest in everything from clothes, food, and cars, to music, social circles, and concert attendance choices. Miles was now hep to Hendrix, Sly Stone, James Brown, The Byrds, Aretha Franklin, and Dionne Warwick/Burt Bacharach. Then came the 1969 Newport Jazz Festival in July. Witnesses say that after that--after seeing James Brown staged next to Frank Zappa and the Mothers and Dave Brubeck and Art Blakey, as well as a roster that included Sun Ra and his Arkestra, Roland Kirk, Herbie Hancock, Bill Evans and Freddie Hubbard, B B King, Sly and the Family Stone, Led Zeppelin and Blood, Sweat and Tears--Miles was super stoked to get back into the studio. (His first funk-infused album, In a Silent Way was already in the can but would not be released for another three weeks!) He was itching to try out some of the musicians and styles and recording techniques that he'd been hearing, seeing, learning about. Over the course of three days in August, using a kind of revolving door of musicians and multiple instrumentalists at each main instrument (three keyboard players, two drummers, two bass players [one acoustic, one electric], four drummers [not all at once; two at a time], and three percussionists, three horn players and electric guitarist John McLaughlin, the expanded or "new style big band" ensemble rehearsed and laid down six long tracks, only one of which had been composed and performed before ("Miles Runs the Voodoo Down" was one of the songs he played in his 24-minute set with his quartet at Newport--which may be one reason that song occupied all of Saturday, August 20). Then it was Miles' permission given to producer Teo Macero that led to much of the magic that we hear in the final release as he used many editing techniques in the post production, including tape loops, tape delays, reverb chambers and echo effects as well as splicing and micro-edits. In effect, it is the production work of Teo Macero that really brought Miles' work and Bitches Brew into the realm of modern sound recording and, thus, the attention and adulation of experimental rock and jazz musicians. While not the start of the jazz-fusion movement (that honor would have to be wrestled for between Gary Burton, Herbie Mann, Don Ellis, Larry Coryell, and Jimi Hendrix [this latter due to his influence on The Soft Machine), Bitches Brew was certainly the album that blew open the floodgates for musicians EVERYWHERE to experiment and dabble in the "dark arts." For me, the contribution of Bitches Brew is more in the story, the lineup, the production, the rather noticeable (some might say "drastic") shift in the direction of Miles' sound, not in the songs, per se. I find the songs interesting but none have ever found their way into my jazz-rock/jazz fusion playlists. Thus my four star rating: while the entire album is fascinating and essential for the observation of the evolution of Miles Davis, I would not recommend any of these songs as introductions to the world of jazz-rock fusion.

Line-up / Musicians:

Bass – Dave Holland
Bass [Fender] – Harvey Brooks
Bass Clarinet – Bennie Maupin
Trumpet – Miles Davis
Drums – Don Alias, Jack DeJohnette, Lenny White
Electric Guitar – John McLaughlin
Electric Piano – Chick Corea, Joe Zawinul (tracks: A to C1, D2), Larry Young (tracks: A, C1 to D1)
Percussion – Jim Riley
Soprano Saxophone – Wayne Shorter

A "Pharaoh's Dance" (19:25) the long, slowly developing opening is kind of unusual for its meandering, amorphous way, but eventually the band members seem to get into their own individual grooves. One can easily sense that the trumpet player is in command with each other soloist getting a nod of permission for their turns in the spotlight, no more. The song chugs along, moving but never really getting anywhere; it's like a 19-minute video clip of a train motoring through Wyoming. (35/40)

B "Bitches Brew" (26:45) this one is quite a bit more diversified and dynamic than the opener: with enough twists and turns, stops and gos, to keep it interesting. (48.5/55)

C1 "Spanish Key" (17:30) definitely a more rock-oriented rhythm track, which is probably why the keys and guitar (and drums) are more aggressive and abrasive. (31/35)

C2 "John McLaughlin" (4:23) If this was Miles' nod to John, why didn't he let the guitar innovator use more of the distortion and other effects he was using on his other State-side shows and recording gigs? (8.75/10)

D1 "Miles Runs The Voodoo Down" (14:03) just a little too much on the bluesy side of R&B for my tastes, though I actually love the perfect recording and mix of all the instruments in the weave. My favorite part is the tenth and eleventh minutes when the Chick Corea's dirty Fender Rhodes and Larry Young's organ (as well as the bassists) go bat shit crazy--not a typical phenomenon in a Miles song. (26.5/30)

D2 "Sanctuary" (10:54) opens with rich Fender Rhodes support of Miles' plaintive, almost-tender trumpet play. I love it when Dave Holland and Bennie Maupin join during the second minute, Bennie trying to second Miles' melody line (but being a bit off). Until the song gels into its "solid form" at 3:!5 the drummers feel as if they're just warming up, each in their own universe. Joe Zawinul also has a rather unusual way of play off the beat (Teo Maceo's choice?) and yet, this is probably the album's most accessible song for me and, thus, my favorite. (18/20)

A little more exciting, diverse, and dynamic than its predecessor, In a Silent Way, I still have great difficulty understanding what people see in this album's music that elevates it to such high ratings. I understand the landmark it represents historically in the rise and development of that which will become the Jazz-Rock Fusion sub-genre, but there are very few moments on this album in which my blood gets pumpin' or my brain gets blown away by the solos, duels, or interface of these expanded lineups and their "new and exciting" electrified instruments. I mean, had I heard them in the day--in the context of what was going on sonically, evolutionarily, at that time, sure I would probably have been impressed. But, would it have made me inspired to become a musician? Would I have been blasting these songs across the Quad from my dormitory windows? Would I have been wearing out the grooves of my vinyl copy because I was playing it so much? I seriously think not!

Total Time: 93:00

88.29 on the Fishscales = B/four stars; a ground-breaking album, as they say, but to me this is just a rather messy conglomeration of highly creative musicians who have been given a certain amount of instruction, a little more freedom, and a lot of time. I mean, let's give credit where credit is due: Teo Macero took the tapes from the recording sessions and made whatever he thought sounded good to him, right? I mean, how much say did Miles or any of the other musicians have in the finished product that was released seven months after the recording sessions? Probably very little, so, then, in reality, how much credit should Miles receive for this product? Did he ever perform these songs live, in concert, the way they appeared here on vinyl? I seriously doubt it. I think we've been giving too much credit to a bandleader who had very little to do with the product that the world and posterity can own when in fact it is, according to what I've read, Teo Macero who shaped the finished product.

DONALD BYRD Electric Byrd (1970)

Recorded on May 15, 1970, Van Gelder Studio, Englewood Cliffs, New Jersey, we see with this album Donald's deeper dive into a commitment to both electric instrumentation with the prominent featuring of electric bass (from experienced jazz bassist Ron Carter, a man that did not stick with it for very long despite his electric bass play being very highly in demand) heavily-effected electric guitar and new special effects used on several of the other instruments in order to add a new "psychedelic" pastiche to his music. Also, Donald is here effectively using melody lines that intentionally fall out of line with the foundational keys and scales they're generally used in, giving the music a strongly disorienting, even "drugged" feeling. The album was released by Blue Note in November.

Line-up / Musicians:

- Donald Byrd / trumpet
- Jerry Dodgion / alto sax, soprano sax, and flute
- Frank Foster / tenor saxophone and alto clarinet
- Lew Tabackin / tenor saxophone and flute
- Pepper Adams / baritone saxonphone and clarinet
- Bill Campbell / trombone
- Hermeto Pascoal / flute (on "Xibaba" only)
- Wally Richardson / guitar
- Duke Pearson / electric piano
- Ron Carter / bass
- Mickey Roker / drums

- Airto Moreira / percussion

A1. "Estavanico" (11:00) for this song's first seven minutes Rudy Van Gelder convinces Donald and his crew to pull out all the stops on reality-based music: bending, distorting, panning, pitch-shifting all kinds of tracks while Donald, for his part, convinces his musicians to slip in some "off" or "sour" notes from time to time as if to prove or at least amplify the "drugged out" state being expressed in the music. The musicians who seem to be having the most trouble "fitting in" to the new style are experienced bassist Ron Carter and saxophonist Frank Foster; the rest seem to fall easily into the act of being under hallucinagenic sedation--especially the awesome flutes and percussionists. A pretty cool, bold, and successful foray into the counter culture. (17.75/20)

A2. "Essence" (10:30) late night jazz with some electrified accoutrements: walking bass, electric piano, and electric guitar. The sound effects added to the recording of the flute and cool drumming style provide some of the more interesting elements to the song. As experienced as Ron Carter was at this time, you'd think he'd have done a better job of finding his place in the groove; as it is he just feels lost and out of his element. Jerry Dodgion's heavily-effected (echoed) sax is interesting as is the berimbau and echoed trumpet and other percussives. The muted electric guitar is totally weird and irritating--even when the echo effect is applied to it. Could this have been the one and only take of a poorly rehearsed composition? (17.25/20)

B1. "Xibaba" (13:35) to me this is the album's most interesting song because of the fact that there is so much space in it--space with which to take in every sound and echo, every jingle and jangle, every electric piano chord and At the same time there is this rather heroic presence of the self-proclaiming, screaming (and echoing) trumpet. It feels as if the conquering young Spanish-Roman hero has returned, alone, to his home town, with all the excitement of fresh victory bursting to be shared, but when he reaches the normally-peopled public places he finds them empty, the city desolate, his cries echoing off of the stone walls of the empty open places, hallways and streets and edifices. The structure formed at the end of the fifth minute merely suggests the hero's more resolute walk around the streets and alleys as he fixes to his determination to find people--find his family and friends--but all he finds are ghosts and reverberations of his own echoing voice. I find this song intriguing as it heartily feeds my own imagination's tendency to visualize and storyboard the music I hear. For me, this song is more about impressions than technical prowess or sophistication. (27/30)

B2. "The Dude" (8:00) a suped up song that sounds as if it came from the overdubbing of a Motown foundational track. The R&B is strong with this one, Obi-wan. Though the "Motown" rhythm section remains tight and the soloists dancing lightly over the top sensitive, respectful, and creative, the song really doesn't do enough over the long run to make it memorable. (13/15)

Total Time: 43:48

I have to say that I respect Donald Byrd, now almost age 40, for his adventurousness. I also love the fact that engineer and recording studio owner Rudy Van Gelder was able to remain so fascinated with and invested in the latest greatest technological advancements in sound recording and engineering. The two coupled with a cast and crew who were at least able to try--to go along with their leader and producer's weird and whimsical requests (orders)--despite their own training, predilections and reservations. Many people look back upon the experiments and fumbles into the world of "psychedelics" as a laughable mistake--many with regrets--but I like it: it is all so entertaining (and nostalgic).

88.235 on the Fishscales = B/four stars; an excellent second and further sortie into the world of electronic sound manipulation--one that definitely qualifies as a pulsating representative of the First Wave of Jazz-Rock Fusion.

BERITS HALSBAND Berits Halsband (1975)

Recorded for Forsaljud Records, August 10-17, 1975, in an old Swedish folk school in Hudiksvalls commune that was converted into a studio (Forsa Studio) in the same year that this record was made. This Swedish house band recorded this album live in the studio on a two-track tape recorder! The album was then released in December.

Line-up / Musicians:
- Göran Frost / bass
- Michael Lindqvist / drums
- Jonas Lindgren / electric piano, violin
- Mats Anton Karis / flute
- Olof Söderberg / guitar
- Per Lejring / piano
- Thomas Brandt / saxophone
- Tommy Adolfsson (ARCHIMEDES BADKAR) / trumpet
- Bengt Ekevärn / trumpet

1. "Myror I Köket" (11:45) Very brave and unique jazz-rock fusion with electric foundation and great Spanish/Latin-sounding trumpet play. Very engaging foundation and rhythm track as well. A delightful downshift at 5:40 allows space in the upper end for flute to be heard. Too bad these guys didn't get a few more chances to practice and refine this (or have multi-tracks for overdubbing). (23/25)

2. "Elhamokk" (9:45) the drumming is excellent, the coordinated delivery of lines and chords by the rest of the band quite extraordinary--like the synchronic timing of a big band. For some reason I hear a very strong hint of both Spanish and Balkan melodic traditions in this music. I also feel a bit of the high school band class in the performances--which makes the song get a little old and dull over it's ten minute length. (17.333333/20)

3. "Halvvägs Hildur" (19:00) has quite a Mwandishi-era Herbie Hancock feel to it with its sprawling length and excellent solos from guitarist Olof Söderberg and trumpeter Tommy Adolfsson (along with the consistently impressive drumming of Michael Lindqvist). Still hard to believe this was all recorded live, in one take, with no layering or overdubbing. The stylistic shift in the eighth minute into a more drummer-driven cruise machine makes a big difference in its power and engageability. Nice electric piano work and accents from the horn section. Again, the drumming is most impressive: it feels like a cross between Billy Cobham and Tony Williams. A full stop-and-shift in the 11th minute turns into a more pregnant earworm of a rhythm track over which horns and electric guitar begin an attempt to carry a melody forward together. Lot's of angular riffs thrown into the spaces between phrases as the bottom cruises along unperturbedly. The end is a bit of a disappointment. I liked that middle section the best. (35/40)

4. "Flaxöras Hemliga Återkomst" (8:40) a song that takes a little too long with its drawn out introductory motif to develop and turn into anything interesting--and then turns out to be a little more avant-garde than expected. Too bad the rhythm track wasn't allowed to develop a little more. (17.25/20)

Total Time 49:10

Too bad these guys A) didn't stay together (the bulk of the band members did reappear for one song ["Peter Yogurt = Peter Yoghourt"] as Berits Halsband on a 1980 Ton Kraft Records compilation album entitled Levande Music Från Sverige = Live Music from Sweden), B) didn't have a quality studio, engineer and/or producer for this album, C) didn't have the chance to polish and perfect their music, cuz this is wonderful stuff! It's not as exciting or rock-dynamic as Return To Forever or Mahavishnu Orchestra--rather, more mellow and melodic as was the habit of much of the northern Continent at the time. Too bad the solid and engaging rhytm tracks were often stifled into remaining so constant for so long.

88.17 on the Fishscales = B/four stars; an excellent if rather raw exposition of fresh if under-developed Jazz-Rock Fusion.

LARRY CORYELL Planet End (1975)

An album with a most impressive list of collaborators! This 1975 album is made of tracks left from 1970's Spaces sessions and 1974's Introducing Larry Coryell and the Eleventh House sessions. That is why we have two tracks with Eleventh House, two with McLaughlin, Miroslav Vitous and Billy Cobham, and one solo. The album was released by Vanguard Records sometime in 1975.

Line-up / Musicians:
- Larry Coryell / guitar, all instruments (4)
With:
- Mike Lawrence / trumpet (1,3)
- Mike Mandel / electric piano & synth (1,3)
- Danny Trifan / bass (1,3)
- Alphonse Mouzon / percussion (1,3)
- John McLaughlin / guitar solo (2,5)
- Chick Corea / electric piano (2)
- Miroslav Vitous / double bass (2,5)
- Billy Cobham / drums (2,5)

1. "Cover Girl" (5:38) Larry and company with new and more electronic effects. (8.75/10)

2. "Tyrone" (11:38) impressive performances from a lineup of Jazz-Rock Fusion's All-Time Greats (John McLaughlin, Chick Corea, Billy Cobham, Miroslav Vitous, and of course, the Godfather of Fusion himself) on a song that never really invites the listener in. Eleven-and-a-half minutes is a long time to be sitting on the outside looking in, listening and waiting, hoping to get the magic ticket into the inneren Sanktum. But, for me, at least, it never comes. (17.5/20)

3. "Rocks" (4:48) the most melodic and yet most traditionally-jazz start to any song on the album, but then it takes off and speeds down the autobahn at breakneck speeds with all the abandon of a top-notch jazz-rock band that is intent on impressing. Nice funk coming from Mike Mandel's Fender Rhodes and some awesome semi-muted trumpet from Mike Lawrence. I really like this Randy Brecker composition. (So, where was Randy when his song was being recorded?) (9/10)

4. "The Eyes of Love" (3:21) an acoustic guitar piece that includes multiple tracks all performed by Larry. Nice even if it is a little more on the Hendrix & Bayou bluesy side for my likes. (8.875/10)

5. "Planet End" (8:45) back to the same combo of all-stars from the album's second song, "Tyrone," including Billy Cobham, Miroslav Vitous, and John McLaughlin. Since Larry and Miroslav get the initial leads we get to hear the wonderfully-creative chord-play of the Mahavishnu in the role of accompanist. As always, I find myself far more intrigued by John's "rhythm" guitar work than anyone else trying to solo or drive the song from the rhythm section. As a matter fact, there is a frame in the fourth minute where it feels as if drummer Billy Cobham actually loses his connection with the rest of the players! (Maybe he dropped a stick, cuz right after he gets back up to speed and really shows some amazing chops!) (17.5/20)

Total Time 34:10

To my ears and brain, this album feels like the dumping ground for a lot of "extras"--songs that failed to make other albums and were here collected, dusted off, merged onto one tape, and published. Nice performances by some very skilled and proficient jazz-rock fusion all stars but, ultimately, lacking any music or melodic in-roads for the Whereas the previous Larry Coryell album that I reviewed was one of my favorite and most enjoyable listening experiences in a long time, this album has set me back once again in my journey to love and enjoy the music and guitar playing of Larry Coryell, this album experience was more akin to those I've had in response to listening to Bitches Brew, Emergency!, or even the first Mwandishi album--too founded in the (still) foreign language that was 1960s Hard Bob jazz.

88.04 on the Fishscales = B/four stars; a solid display of jazz-heavy Jazz-Rock Fusion that sounds as if it comes from the earlier days of the movement rather than a true 1975 album would/should be; an album that is as dense and inaccessible to the ignorant outsider as any Hard Bop 60s album.

WEATHER REPORT Black Market (1976)

Though the band had long been established--inspired by Miles Davis' Bitches Brew sessions in the summer of 1969--ths is one of the band's most popular albums. It was recorded for CBS Records at Devonshire Studios and released by Columbia Records in March of 1976.

Line-up / Musicians:
- Joe Zawinul / Yamaha grand piano, Rhodes electric piano, ARP 2600 & Oberheim Polyphonic synths, orchestrations, co-producer
- Wayne Shorter / soprano & tenor saxophones, Computone Lyricon, co-producer
- Alphonso Johnson / basses (1,3-5,7)
- Jaco Pastorius / fretless bass (2,6,8-10)
- Narada Michael Walden / drums (1,2)
- Chester Thompson / drums (3-7)
- Don Elias / congas & percussion (1,6)
- Alejandro "Alex" Acuña / congas, percussion (2-5,7)

1. "Black Market" (6:30) (8.5/10)

2. "Cannon Ball" (4:40) the band's first contribution from Jaco Pastorius (9/10)

3. "Gibraltar" (7:49) (13.5/15)

4. "Elegant People" (5:03) the percussionist's treat (9/10)

5. "Three Clowns" (3:27) (8.5/10)

6. "Barbary Coast" (3:10) Jaco's first compositional contribution to the band. This is Jaco doing Jaco while the band supports. (8.5/10)

7. "Herandnu" (6:38) Alfonso Johnson penned this final song of the album--and a beauty it is! For me this is the band at their most dynamic and joyful. Very Steely Dan-like. (9/10)

Total Time: 37:17

While the performances are masterful throughout this album, I don't feel that the compositions are as strong or as memorable as those from other WR albums. While the sounds or stylings of Joe Zawinal and Wayne Shorter never really wowed me, the ensemble sound, unusual (and engaging) melodies, and great performances from the extraordinary Weather Report rhythm section always drew me in. Here we are graced with various combinations of contributions from bassists Alphonso Johnson and Jaco Pastorius, drummers Narada Michael Walden and Chester Thompson, and percussionists Don Elias and Alejandro "Alex" Acuña. What a treat!

88.0 on the Fishscales = B/four stars; an excellent acquisition for any Jazz-Rock Fusion lover and a landmark album in the discography of Joe Zawinul and Wayne Shorter's ever-transitioning band.

PLACEBO Balls of Eyes (1971)

An interesting album from creative composer and keyboard experimentalist Marc Moulin on which he surrounds himself with a group of competent musicians--including a full "big band" contingent of horn players--in order to manifest the full blown, three-dimensional explorations of his compositions--many of which feel like outward explorations of his own mental musical brain-teasers.

Line-up / Musicians:
- Marc Moulin / keyboards, synthesizers
- Nick Fissette / trumpet
- Richard Rousselet / trumpet, other horns
- Alex Scorier / saxes, flute
- Frans Van Dijk / trombone
- Johnny Dover / bass clarinet, saxophone, flute
- Francis Weyer / guitars bass
- Nick Kletchkovski / bass
- Freddy Rottier / drums, percussions

1. "Inner City Blues" (5:10) an awesome cover (and tribute) to one of the greatest artists and albums of the 1970s. The piano is not recorded very well, but the instrumental palette and unusual vocal performances (and engineering) by Guy Theisen are worth every penny spent on recording this one. (9.125/10)

2. "Planes" (3:01) jazzy and creative instrumental jazz-rock with interesting structure and experimental keyboard sounds and solo styling. Perhaps a little too mathematical and, therefore, simplistic in its construct, it is still quite interesting. (8.75/10)

3. "You Got Me Hummin'" (6:12) piano musings and mental (mathematical) experimentations accompanied by metronomic horns, drums, and bass. Again, this is interesting from a mathematical perspective. The sudden appearance of Guy Theisen's David Clayton-Thomas (Blood, Sweat & Tears)-like scratchy male vocal at 2:20 comes as quite an unexpected surprise. The bass and horn accents get a little funkier after Guy's first go-round, but the song plays out quite like a B,S & Tears song. (8.75/10)

4. "Humpty Dumpty" (2:35) this one has the lightness and sound palette of an early Canterbury Style song (shades of future COS) while the horn section provides accents and counterpoint to Marc's treated electric piano musings. (8.875/10)

5. "Aria" (4:48) This sounds very much like a continuation or variation on the music and theme of the previous song--using the exact same instrumental sound palette with perhaps a little more creative freedom and volume given to Nick Kletchkovski's excellent bass play and a different timbre coming from the now-reed/woodwind-dominated horn section. Marc's electric piano is still ubiquitous--and he plays a wicked clavinet solo in the fourth and fifth minutes--but I like the dominance of the horns as the presenters of the main melody and several of the front-and-center solos. (9/10)

6. "Showbiz Suite" (7:28) more explorations of the typical Dave Stewart Canterbury sound palette with pretty cool horn arrangements jumping off of Marc and Nick's fairly constant one-chord bass anchor. Here Marc is definitely experimenting with several synthesizer sounds as well as a variety of effects applied to his electric piano. The thing that makes this special--exciting and interesting--is the looser, freer expression coming from all directions: Freddy Rottier's drumming is more enthusiastic and creative, as is Nick's bass play and several of the brass and reeds corps. The three movements of the suite are quite distinctive from one another: each driven by Marc's left hand chord play on his warm electric piano. Too bad the recording of the horns is so scratchy (bad mics?: all of the plug-in instruments seem fine). The group horn arrangement in the final movement is very similar to the style American band Chicago was (13.25/15)

7. "Balls Of Eyes" (2:02) Marc's solo piano musing here sounding like something Thelonious Monk might do just for practice or amusement. (4.25/5)

8. "Oh La La" (1:01) sounds like an excerpt from a live performance in which some full choir is singing over the band's Latin-infused big band Rockabilly. (4/5)

Total time: 32:17

88.0 on the Fishscales = B/four stars; a nice display of musical musings that are imitative variations on common Jazz-Rock and early Canterbury Style sounds, songs, and structures.

GEORGE DUKE Feel (1974)

George's second solo studio album release of 1974 (on October 28), this one containing a few guests who were not present on Faces in Reflection. It was recorded by Baldhard Falk in Hollywood, California, for MPS (Musik Produktion Schwarzwald) Records earlier in 1974.

Line-up / Musicians:

- George Duke / keyboards, synth bass (1,5,9), vocals (2,4,10)

With:

- Flora Purim / vocals (8)

- Frank Zappa / guitar (2,6)

- John Heard / bass, double bass

- Leon "Ndugu" Chancler / drums & percussion (3)

- Airto Moreira / percussion

1. "Funny Funk" (5:18) George experimenting with more new sounds. (8.75/10)

2. "Love" (6:06) a partly vocal song featuring Frank Zappa using Ernie Isley's guitar tone. (8.75/10)

3. "The Once Over" (4:39) a spacey, moody HERBIE HANCOCK-like start before a mood change occurs in the second minute prompting a reset into rhythm-oriented foundation. The return to reverberating Fender Rhodes chords at 2:20 is interesting, but it remains a percussionist's song until its RTF-like final second flourish. (8.875/10)

4. "Feel" (5:40) more vocals--this time with electric piano and synths backing them. At the end of the first minute the rhythm section joins in as George flies through a short but effective synth solo. Then we settle into a gentle, syrupy pop song that predicts the smooth R&B jazz pop music of GEORGE BENSON, NARADA MICHAEL WALDEN, and MICHAEL FRANKS. More extraordinary synth soloing over the Fender Rhodes-led rhythm track. Definitely a top three song despite its lack of jazz orientation. (9/10)

5. "Cora Joberge" (3:50) dynamic electric piano with delay effect eventually gets support from flourishes from synth and drums before funkified bass and steady cymbal play join in. Poor recording of "dirty" effected electric piano. There are parts of this that remind me of Terry Riley or somebody else in the pioneering phase of electronic keyboards. (8.75/10)

6. "Old Slipper" (5:41) funky jam with multiple keys filling the sonic field as well as serving as lead instruments. The multiple personalities of George Duke! Perfect syncopated support from Ndugu and John. Interesting but not very noteworthy. An unstable" synth note introduced around the three-minute mark signals the upcoming transition into a proggy and then Parliamentarian passage--the latter of which find Frank Zappa's very-distorted guitar jumping in and shredding away. (8.75/10)

7. "Tzina "(2:01) dreamy/spacey keyboard play from multiple keyboard instruments/tracks (including some strings emulator) results in a kind of cinematic interlude. (4.375/5)

8. "Yana Aminah" (4:33) Airto's wife, Flora Purim, graces this Latin song with her vocal tracks, singing in English. Too bad the lyrics weren't more poetic nor the layered vocal tracks more polished and better synchronized. Overall this sounds very much like a song Stevie Wonder would have written for his wife, Syreeta Wright. Still, it's a pretty decent song; George could very easily have had a career in writing/producing pop songs. (8.75/10)

9. "Rashid" (3:36) starts out as a KOOL & THE GANG or CAMEO kind of funk song, then turns a sharp left at 1:49 onto a speedway for a hyperspeed synth solo that plays out for the rest of the song. (8.66667/10)

10. "Statement" (1:15) another pretty little cinematic interlude sounding like something from Patrick Moraz's solo album, I. (4.5/5)

Total time 42:39

More of the same sound issues I had with Goerge's previous album (from the same year). I have to say that there has been a slight improvement in performance contribution from both Ndugu and John Heard.

87.96 on the Fishscales = B/four stars; another excellent album to add to any Jazz-Rock Fusion lover's music collection. Not quite as good as his other 1974 release, Face in Reflection, but still worthy of listening to (and enjoying).

MOMBASA African Rhythms & Blues (1975)

53-year old expat trombonist Lou Blackburn was living in Germany when he was wooed into trying to lead a band into adventuring in the new world of Jazz-Rock Fusion while, at the same time, celebrating the musical history and forms of Africa. Material for the album was recorded in Köln, Germany, on April 14, 1975, with H. Manfred Schmitz producing for Spiegelei Records--who released the album to the public later in the year.

Line-up / Musicians:
Lou Blackburn / Trombone, Leader [Shawn]
Donald Coleman / Conga, Bamboo Flute
Charles Jefferson / Trumpet, Flugelhorn, Kalimba
Gerald Luciano / Bass (Electric), Percussion, African drums [Domba]
Cephus McGirt / Drums

1. "Nairobi" (7:33) wah-wahed bass with drums and multiple percussion tracks creating an infectious groove over which trombonist Lou Blackburn solos. In the fourth minute trumpeter Charles Jefferson joins Lou for some harmonized horn banking before launching out on his own to dominate the fifth minute. Despite the electric bass, this song follows more of a traditional jazz form and sound. The play of the two soloists is solid but containing nothing to write home about whereas the bass and percussionists (and vocal leader) are pretty flashy. (13.5/15)

2. "Massai" (8:04) an okay song that feels more like an educational test for the band's unified syncopation and less of a dance or pop tune. (12.75/15)

3. "Holz" (4:23) Donald Coleman's bamboo flute plays over a slow, spacious weave of African percussion instruments. Nice for an African processional, not much else. (8.25/10)

4. "Kenia" (6:49) electric line sets up the African melody that the group chants with an African choir vocal until about 45-seconds in the band kicks into what sounds like it could be full Juju music but then it takes a few turns and feels more Caribbean or Santana-like as active bass, cowbell, congas, and Charles Jefferson's flugelhorn take us into the Carnival. Muted trumpet and trombone join together for a few coordinated bank bursts before a round of African chanting signals a turn toward full Santana-like Jazz-Rock Fusion for Lou to solo over. All throughout Gerald Luciano remains quite nimble in dancing over the fretboard of his electric bass and drummer Cephus McGirt as well on his rock-expanded kit throughout the song. The song finishes with a minute of all percussion (and some chanting) with Gerald's dancing electric bass. (13.25/15)

5. "Makishi" (2:36) bass, drums, and percussion (including clapping) provide a base for African call and response vocals. (4.375/5)

6. "Shango" (7:48) an African melody line is presented by Gerald's bass, within which Donald Coleman's congas and the two horn players weave their instruments. The musical weave smooths out so that the horn players can take turns soloing. The bass play takes the lead over the course of the song, really stepping into it in a jazzy Motown fashion, especially shining in the final two or three minutes. (13.5/15)

Total time: 37:15

The players are experienced and seasoned but the music of this first expedition is rather prosaic, more like simple jams based around traditional African rhythms and melodies from different regions and cultures of the continent. While Africa is trying to be celebrated here, it's really the electric bass, American brass, and variety of percussive instruments that should take the bows.

87.8333 on the Fishscales = B/four stars; a very interesting if under-developed idea for musical project. I look forward to a little growth as I move forward from this band's debut.

WEATHER REPORT Weather Report (1970)

The international conglomeration that is to be known as "Weather Report" makes its debut. Fun to see two Central European-born collaborate on a successful jazz-rock fusion band. (Joe Zawinul was born in Austria and Miroslav Vitous in what was then Czechoslovakia.) The band seems to have been very sure to evenly distribute the compositional duties (or credits) between its three principle songwriters as three are attributed to Joe, three to Wayne, and three to Miroslav.

Line-up / Musicians:

Joe Zawinul – Electric and acoustic piano
Wayne Shorter – Soprano saxophone
Miroslav Vitous – Electric and acoustic bass
Alphonse Mouzon – Drums, voice

Airto Moreira – Percussion

A1 "Milky Way" (2:30) an atmospheric mood-setter by Joe and Wayne. (4.375/5)

A2 "Umbrellas" (3:24) an almost-funky (Miroslav does not quite have the comprehension for that which makes funk bass play yet) composition from the three principle songwriters is saved by a sharp turn in the final 45-seconds. Drummer Alphonse Mouzon and percussionist Airto Moreira are, surprisingly, not much better at bringing the funk. (8.66667/10)

A3 "Seventh Arrow" (5:20) an interesting song that seems to succeed despite not really hitting the funk on all cylinders nor presenting any melodies worthy of "earworm" status. I like Joe's use of experimental sounds from his electronic keyboard (a proclivity that he will continue to feed for the rest of his life). (8.75/10)

A4 "Orange Lady" (8:40) soft and spacious (and drumless) sax and Fender Rhodes interplay for the first 3:30. Then spacey electric bass and playful percussives are allowed to join in. Interesting. Alphonse's wordless vocalese can be heard far in the studio background starting at the end of the sixth minute. I don't know if this was composer Joe Zawinul's intention, but the song has a simple, naïve lullaby-like feel. (17.25/20)

B1 "Morning Lake" (4:23) another spacious impressionistic lullaby--this time coming from the mind of Miroslav Vitous. Joe's creatively playful electric piano play is especially noteworthy. (8.75/10)

B2 "Waterfall" (6:18) a composition credited to Joe Zawinul, this one presents a whole-band weave that is the most satisfying on the album for its solid form and generous melody-making. (8.875/10)

B3 "Tears" (3:22) A Wayne Shorter tune, this one actually kicks in and moves--for several teasingly brief passages, dropping back to complete stops every 30-seconds or so each time it does. Alphonse Mouzon's very pleasant voice (again wordless vocalese) works very well here. Nice tune! (9.125/10)

B4 "Eurydice" (5:43) the only things that set this Wayne Shorter composition apart from more conventional jazz songs is its prominent placement of both Airto Moreira's playful percussion work and Joe's equally-prominent placement of his electric piano track despite its mostly-support role. Miroslav's walking bass lines are constant and perhaps more critical to driving the song forward than Mouzon's drum play. (8.75/10)

Total Time: 39:55

One of the things that really set Weather Report on its own is present here, from the very start: that is, the lack of guitars. Obviously, Joe and Wayne really wanted to be considered more jazz-oriented (which seems a bit ironic with so many atmospheric/impressionistic songs to their credit) than rock plus, I'm sure, they wanted the sound experimentations of their own instruments to garner all of the attention. Too bad that the electric piano Joe used predominantly at this time sounds so much like that of children's television host Fred Rogers. And too bad that both Kenny G and Najee chose to use Wayne's soprano sax as their main tools.

87.70 on the Fishscales = B/four stars; a nice exposition of fresh ideas from this group of idealistic breakaway artists--two of whom had found a partner for fruitful collaboration that would last for quite some time.

TERJE RYPDAL Terje Rypdal (1971)

It had been a few years since Terje's previous solo album, his incredible debut, Bleak House (1968) as he'd been studying in graduate school under George Russell--a man whose album George Russell Presents The Esoteric Circle (recorded in October of 1969 and released locally as "Jan Garberak with Terje Rypdal's Esoteric Circle"--considered by some as Jan Garbarak's debut album--but it was not published internationally until late 1971 by Bob Thiele's Flying Dutchman label) is considered one of the most important and influential albums in the history of Norwegian music. George was an American-born jazz musician who had chosen to make his home in Oslo in the early 1960s where he even became a professor at Norway's Conservatory of Music--where Terje and Jan Garbarek, Jon Christensen, and Arild Anderson all met and played in the school's jazz orchestra that recorded George Russell's Electronic Sonata for Souls Loved by Nature (recorded April 28, 1969; released January 1, 1971).

Line-up / Musicians:
- Terje Rypdal / guitar, flute
With:
- Inger Lise Rypdal / vocals
- Bobo Stenson / electric piano (1, 2, 4, 5)
- Tom Halversen / electric piano (3)
- Jan Garbarek / tenor sax, flute, clarinet
- Ekkehard Fintl / oboe, English horn
- Arild Andersen / bass & double bass (1-4)
- Bjørnar Andresen / bass (5)
- Jon Christensen / percussion

1. "Keep It Like That - Tight" (12:10) spacious-yet-steady syncopated bass and drums over which Terje issues strums of odd distorted electric guitar chords for five minutes. Then there is a dramatic shift (spliced?) into a slightly more straightforward section of same palette, different rhythm pattern, over which Jan Garbarek's tenor sax screeches and wails. At 8:49 the electric piano of Bobo Stenson suddenly rises into the middle of the mix (a blocked track that is now 'faded in'?) but it's Terje's distorted guitar that soon takes over in the lead position with some aggressive and abrasive soloing over the more-Miles Davis-like sound palette. Even some of the rhythmic and palette constructs feel as if they're direct imitations of In a Silent Way and some of Bitches Brew.) (17.25/25)

2. "Rainbow" (7:05) bowed bass and triangle and nut shell shakers open this one with a sinister feel. Oboe and clarinet join in to make a soundscape that feels like an outer space version of a Paul Winter Consort piece. Interesting, eerie, and cinematic. I'd love to see the music charts for this one! (13/15)

3. "Electric Fantasy" (15:45) more "space symphony" music using different instruments to create an initial sonic field to the previous song: drums, electric bass, Herbie Hancock Mwandishi-like electric piano, reverb-effected winds, fast-reverbed (and/or flanged) wah-ed electric guitar chords and even vocalese (courtesy of Inger Lise Rypdal) offer sound into a vacuum: the notes/chords fast-fading off into the distant stars as soon as they're issued. Very cool effects but about as memorable, melodic, or engaging as the previous song--even in the 11th-minute when the release of aggression and volume are ramped up (which all ends in the 12th-minute as everything goes back to the space music of the opening). Weird to claim one's highlight to be the vocalise from the female voice. (26/30)

4. "Lontano II" (3:10) more sinister music, this time feeling more industrial: as if music coming out of the mouths of tunnels or holes in the Earth. Bowed and effected bass and strained guitar chords, finger percussion, but mostly a show of engineering effects. (8.666667/10)

5. "Tough Enough" (4:45) solo electric guitar opening: some fast picking turning into gentle John McLaughlin-like chords, played off of by bassist Bjørner Andresen and Jon Christensen's drums. Though I don't really like this guitar sound and its blues-rock nature, the instrumental play and mix is my favorite on the album: there's actual motion and as if a story is being told as opposed to the spacious generations of soundscapes of all of the previous songs. These guys can play! (8.75/10)

Total time: 42:57

87.41 on the Fishscales = B/four stars; not my favorite Terje album or sound exhibition.

THE SOFT MACHINE Sixth (1973)

Featuring the contributions of yet a third defection from Ian Carr's Nucleus in the personhood of uber-talented Karl Kenkins, the band is now rocking as a quartet with absolutely no vocals. Released in February of 1973, the album's material was recorded in the UK in October, November, and December of 1972 (some of it live in concert settings) for CBS Records.

Line-up / Musicians:
- Karl Jenkins / oboe, baritone & soprano saxes, electric & grand piano, celesta
- Mike Ratledge / organ, electric & grand piano, celesta
- Hugh Hopper / bass, sound effects (15)
- John Marshall / drums, percussion

LP 1 - Live Album (41:45)
1. "Fanfare" (0:42)
2. "All white" (4:46)
3. "Between" (2:24)
4. "Riff" (4:36)
5. "37 1/2" (6:51)
6. "Gesolreut" (6:17)
7. "E.P.V." (2:47)
8. "Lefty" (4:56)
9. "Stumble" (1:42)
10. "5 from 13 (for Phil Seamen with love & thanks)" (5:15)
11. "Riff II" (1:20)

LP 2 - Studio Album (34:40)
12. "The soft weed factor "(11:18) Mike Ratledge and Karl Jenkin's minimalist motif on multiple tracks of electric pianos. Nice weave but it's no Phillip Glass or Steve Reich. Bass and drums kick in during the fourth minute, then soprano sax and organ doubling up the melody line over the top. Seems there are nice multiple contributions from each of the band members but the song never really amounts to much besides a jazz-rock weave with the original minimalist tracks--which alone cover the final two minutes. (17.5/20)

13. "Stanley stamps Gibbon album (for B.O.)" (5:58) a more aggressive and sinister motif based once again on a minimalist piano arpeggio turns a little funkier in the second half of the first minute and yet Ratledge's left hand of his piano continues to maintain a short, two-part arpeggi as the song's foundation for the whole of time that Karl Jenkins solos with an heavily-treated/effected soprano sax (three plus minutes)--or is it a celesta keyboard? (8.75/10)

14. "Chloe and the pirates" (9:30) a mild sonic landscape that definitely perpetuates a Canterbury sound and sound over the spacious three minute opening. Karl Jenkins' treated oboe is the lead instrument on this one while Mike maintains a free and frisky support from his seat at the electric piano. John Marshall's drumming is simple but nuanced and supplemented by some conga and other percussion additions while Hugh Hopper's bass is rolling and deep as if perhaps fretless or using extra thick strings. At 6:46 there is a glitch leading into what feels like a loop/repeat of two note electric keyboard riff while the organ rises and performs just beneath the oboe. A "Tomorrow Never Knows"-like reverse track of some instrument also rises to the top, actually ending the song as the lead and only forward sound. Interesting. (17.5/20)

15. "1983" (7:54) nefarious and slightly-bombastic dual pianos and bass play a cinematic motif of suspense while John's heavy ride cymbal play and Hugh's weird "speeded up" bottle-metallophone riff gets repeated to death on top. (13/15)

Total Time: 76:25

With my distrust and aversion to live recordings, I make it a habit to not review live albums, so only LP 2, the studio recordings, earn my attention here.

87.31 on the Fishscales = B/four stars; a fairly good though consistently experimental Still, the studio LP of this release feels as if the boys were very curious and somehow satisfied with releasing to the public the results of their curiosities and experimentations with little regard for any kind of "finished song" product.

Michał URBANIAK GROUP Inactin (1973)

Recorded in 1972 for Germany's Spiegelei label (at Stuttgart's Horst Jankowski Studios), this is another album of 100% Michał Urbaniak compositions as performed by his loyal band of virtuoso collaborators--though, in truth, it sounds and feels a lot like a collection of scraps and outtakes from the Paratyphus B sessions. The album was released in 1973 after the band had already started touring Germany and Poland with a new lineup (now calling themselves "Michał Urbaniak Constellation"), had already recorded a live album in May for Polskie Niagrania Muza/Pronit/PolJazz Records (released as Podróż na południe [Moving South]), and then signed a new contract with CBS for whom they recorded the material for Super Constellation at Walldorf Studios in June (which was released in Europe late in 1973 and would then be re-released in America six months later as Fusion).

Line-up / Musicians:
- Michał Urbaniak / electric violin, violectra, soprano sax

- Urszula Dudziak / vocal, Dynacord, Echocord, percussion
- Adam Makowicz / Fender piano, Hohner clavinet
- Roman Dylag /

- Barcus Berry / bass and electric bass
- Czesław Bartkowski / drums, Paiste cymbals

- Branislav Kovacev / conga-drums

1. "Inactin" (6:58) a funky groove that feels like a slow summertime cruise through the 'hood in a convertible with lots of banter being engaged by sidewalk passers-by. At 3:30 the music cuts out, making way for some very idiosyncratic a cappella electronically-effected scatting (sounding to my imagination like the scurrying of mice around the house under the cover of darkness). The happy-go-lucky music returns at 5:45 and gradually re-establishes the neighborhood groove from the first half, only with Urszula still scatting above. (13.375/15)

2. "Alu" (3:58) with this gentle, spacious song we've re-entered the realm that will be explored more next year by HATFIELD AND THE NORTH. Roman Dylag is given quite a bit of time and room in the spotlight to solo his double bass. Ula's melliflous vocalese are gorgeous. (8.875/10)

3. "Ekim" (5:49) solo experimental electric violin opens this one before Roman's now-Barcus Berry-miked (and thus electronically treated and processed) bass enters and joins in. The combination of Michał's screeching and wining violin paired with Ula's equally feline vocalese and Adam Makowicz's obnoxious clavinet work is a bit disturbing--not unlike some of the work Herbie Hancock experiemented with in his electronic-dominated phase of operations. I understand and appreciate the skill involved to create this stuff, but using an historical perspective, it was kind of a waste of time and vinyl. (8.6667/10)

4. "Silence" (3:31) bowed violin and electrified bass perform a slowly-evolving space-atmospheric duet that is supported by some loosely--almost-randomly--played Fender Rhodes and percussion. Another song that is so predictive of some of the musics that are to come (including some of the great intros to Lenny White songs on Venusian Summer.) (8.75/10)

5. "Fall" (7:42) even more experimental sound production of the avant garde/free jazz sort. It gets even crazier when Ula's IRENE PAPPAS/GILLI SMYTH-like orgiastic scatting and Adam's frantic clavinet play double up in the fifth minute. Wild! (Yes, even wilder than anything published by GONG). Not even the somewhat-coalescent coming together of the band in the final minute can save it from future skips. (13/15)

6. "Groovy Desert" (5:01) faded in as if an excerpt from an extant jam, the groove devolves (while drummer retools or takes a little beer break) into an Adam Makowitz, Czesław Bartkowski, and Branislav Kovacev tuning and brief exploration of two separate themes joined together. Was this album just material grabbed from the cutting floor of the previous album--scraps and discards that the record label pasted together in order to try to make a few Marks from this band of now expats? (8.25/10)

7. "Lato" (8:06) the music of this song reminds me of the very first post-Bitches Brew recordings that Wayne Shorter, Joe Zawinul, Herbie Hancock, and Chick Corea did with their new bands (many members of whom were also in situ during Miles' seminal sessions). that they would eventually be calling WEATHER REPORT, "Mwandishi," and RETURN TO FOREVER, respectively. Nice stuff, a liitle rough in organization--feeling a lot like exploratory jam-like session play--but, unfortunately, not my favorite direction that J-R Fusion took. (13.25/15)

Total time: 41:04

An album filled with such renegade experimentation, so much so that it seems to beg the question from us 21st Centurians, "What was going on here?" It's not that it's not admirable and skillful, it's just that it offers very little audio pleasure. I stand by my deduction that this is probably an effort by Spiegelei Records to eke out some more money from their now lost (moved to New York City) commodity. I feel that the album's lack of a citation/credit for a producer only lends to this theory.

87.25 on the Fishscales = B/four stars; a very interesting (and perhaps historically significant) collection of "songs" from the end of Michał and Urszula's time in Europe. Recommended for all those curious about the roots and unusual experiments of infant Jazz-Rock Fusion.

MILES DAVIS In a Silent Way (1969)

In a way, a more accessible album than Bitches Brew, In a Silent Way offered the Miles listener a gentler show of transition from the exclusive world of jazz into the world of pop-rock-funk-jazz fusion. Enlisting the contributions of hot shot young bloods Herbie Hancock, Tony Williams, John McLaughlin, and Joe Zawinal, Miles continued to rely on bassist Dave Holland and saxophonist Wayne Shorter as well as recent band stalwart, Chick Corea. The biggest development with In a Silent Way came in the form of giving Columbia Records producer Teo Macero the green light to employ engineering thus taking the "live" sound out of the music and creating a fabricated, even stylized and/or fabricated music. (Teo was a big fan and student of classical music formats, thus the three movements, exposition, development, and recapitulation, used in the reconstruction of Miles' band's studio recordings.) The music here is surprisingly sedate and accessible for such a "revolutionary" and "innovative" album. Nothing is offensive or repellant but then nothing, to my ears and mind, is neither particularly mind-blowing or ear-catching. I guess it's more of the fact that there are two side-long pieces presented here--something bands like The Soft Machine, Colosseum, Magma and other jazz and jazz-rock bands picked up on fairly quickly. While many hardcore jazz musicians turned their thumbs down to the new commercialized jazz coming out of Columbia and Miles, many others found inspiration and a new freedom to explore--many of them members of Miles' own studio sessions. The two songs are great if subdued, with my favorite performances on "Shh/Peaceful" coming from Dave Holland (bass) and Larry Young (organ) and on "In a Silent Way/It's About That..." from Miles and Wayne Shorter and the funk of Dave Holland and the keyboard players. Tony doesn't get much time to shine and John's guitar is so subdued without any effects enhancements that it sounds quite dull and even tame. I guess what we're really all in awe of is Teo's shaping of the music into pop-like songs (despite 19 minute lengths).

Line-up / Musicians:

- Dave Holland / Bass
- Tony Williams / Drums
- Chick Corea / Electric Piano
- Herbie Hancock / Electric Piano
- Josef Zawinul / Electric Piano, Organ
- John McLaughlin / Guitar
- Wayne Shorter / Saxophone [Tenor]

- Miles Davis / Trumpet

A "Shhh / Peaceful" (18:17) nice clarity and definition in the soundscapes but the only fire is coming from the keyboard players. And shame of Miles for forcing Tony to play hi-hat for 18-minutes straight! (35/40)

B1 "In A Silent Way" / B2 "It's About That Time" (mixed together by Teo Maceo) (19:53) opens like a variation on some national anthem or famous folk song. (a Civil War dirge?!) as a Fender and John McLaughlin's guitar reverently move their way through. In the third minute Wayne's soprano sax takes the lead. In the fourth Miles' trumpet. The splice into "It's About That Time" at 4:05 is fairly smooth, though one can tell that the IATT jam was well under way in the place that Teo chose to start it. Repeating frog-like bass "ribbits," rim shots and light cymbal play from Tony, gentle evenly spaced Fender Rhodes chord progressions, delicate guitar flourishes and occasional organ chords, second drummer at the end of the eighth minute as the tension slowly builds to the point at which bass and organ start up a "Birdland"-like melody. Then everybody slows down for a little reset around 9:10 before the multiple keys start a discordant interplay of the same chord presentations. Soprano saxophone takes the lead for the next couple minutes. Again, I would think if I were Tony Williams I would have been totally incensed and humiliated over the task that bandleader (a penalty/punishment for his wanting to go solo? If not, certainly the impetus for his leaving the Miles Davis fold. Miles finally enters in the thirteenth minute. Teo somehow splices into a new section in which the band is cooking on a different level (with Tony given a little freedom, finally) but this is quickly ended in favor of a scrimped down, more staccato version of the "Birdland" motif as Miles continues to hold the lead. In the 16th minute everything slows down and finally comes to a stop--where Teo splices in another section of the "In a Silent Way" Civil War dirge with John and the Fenders painstakingly making their way through the fields of fallen dead as before. Miles enters at 17:45 to give the battlefield his Aaron Copeland-like version of "Taps." Interesting but shamefully void of volume, dynamic diversity, or flashy displays of instrumental virtuosity. (34.75/40)

Total Time: 38:12

Personally, I don't understand why this album is given such acclaim: the music is okay, the musicianship fine, and, yes, there are electronic instruments used and the expanded lineup with three artists covering the keyboard positions is rather novel, but the sound production and compositional dynamics are completely devoid of any of the fire and passion that define the jazz-rock fusion subgenre. Are we giving credit just for the novelty of three electric keyboard players, a dynamic drummer, and a tamed- and toned-down guitar lion? I mean, musically there is very little on this album to excite me in the way that John McLaughlin and his Mahavishnu Orchestra, the latter-day Mwandishi lineup, Italy's Area, later Return to Forever and Weather Report, and Jean-Luc Ponty will generate.

87.1875 on the Fishscales = B/four stars; a surprisingly dull and suppressed 38 minutes of music from a lineup that had incredible potential. In the military we would call this "unrealized potential" or "a dud."

PLACEBO Placebo (1974)

Marc Moulin's third rendering of his compositions using the jazz-rock Placebo support crew--many of whom have remained with him since they started working for him in 1970 (Fissette, Rousselet, Scorier, and Weyer, in particular). New to the crew are virtuoso guitarist Philip Catherine, drummer Garcia Morales, and bass player Yvan de Souter.

Line-up / Musicians:
- Marc Moulin / keyboards, synthesizers
- Yvan de Souter / bass
- Garcia Morales / drums

- Philip Catherine / guitar

- Francis Weyer / guitar

- J.P. Oenraedt / percussion

- Nick Fissette / trumpet
- Richard Rousselet / trumpet, other horns
- Alex Scorier / saxes, flute

1. "N. W." (6:38) a real bass player! Disco-lite drums. And some more dimensional and dynamic horn arrangements and playing. The problem here is that the band feels stuck in (trapped, confined, sentenced to) a warp of "Papa Was a Rolling Stone"-like intro--for the entire six-and-a-half minutes! And the explorations up top are quite minimal. What is Marc thinking with this one? Was this intended for a soundtrack to a Black Exploitation film? (17/20)

2. "Plotselling" (7:37) more music that sounds more appropriate to a soundtrack to a film--a section of coastal driving in which the protagonist detective has to work out some issues in his head--which, of course, would be narrated over the montage and soundtrack music. The usual repetitive left-hand electric piano chords drive this one ad nauseum, but then the muted trumpet, and tout seul drums get some solo time that feels incongruous with "background" soundtrack music. When the rest of the band re-emerges in the sixth minute it is with a different motif: guitars, bass, and horn section accents providing the minimalistic mathematical backdrop to trumpet, and then, synthesizer solos. (13.125/15)

3. "Bosso" (3:20) fast, driving, and dynamic despite still feeling constrained to the production of one very monotonous form. (8.75/10)

4. "Dag Madam Merci" (3:10) now we're gettin closer to the kind of music Marc produced that became so popular among the samplers in the Acid Jazz and Hip Hop world of the 1990s (the sounds that made French electronic band AIR so successful). And there's enough expansion of variety to start feeling like some of Herbie Hancock's early fusion work. (8.875/10)

5. "Hop Hop" (4:32) more two-chord music that benefits from having a Herbie Hancock pop-jazz feel and some nice performances from the collaborators (that are well-recorded, too). Marc's age-mate Philip Catherine's acoustic guitar soloing is not to my tastes but the music has some nice pep to it. (8.75/10)

6. "Tanga" (3:33) the presence of an uncredited accordion is a bit mystifying but I love me some accordion! Marc employs several new, odd synth sounds for his solo injections between the accordion and horn arrangements. Cute but inconsequential. (8.66667/10)

7. "Stomp" (7:35) monotonous bass synth riff with syncopated though-monotonous drumming and very monotonous rhythm guitar chord play, and B,S & T/Chicago-like horn section accents all peppered with annoying synth and trumpet solo riffing leads up to a section with more extended synth soloing (is that a Casiotone?) from Marc. And absolutely no variation or deviation from the main rhythm track from start to finish! Nauseating! (13/15)

8. "S. U. S." (4:22) though still built around a rather stiff, mechanical rhythm track, the light and flighty flute and horn work and flanged rhythm guitar and Latin-funky drum and percussion work make this song probably the most enjoyable of the album! (9/10)

Total Time: 42:37

87.167 on the Fishscales = C+/3.5 stars; an improvement over the two previous Placebo albums--including supported by much better sound engineering and production--there is still something quite stultifying about Marc's compositions that make me feel sorry for the restraints imposed upon his collaborators.

HERBIE HANCOCK Sextant (March 30, 1973)

The band is loose and funked up, maybe having more fun now that they're all so comfortable with each other, and with Herbie really going out there with his experimentations into electronic keyboards and sounds but, on the other end, there seems to be less attention to quality sound engineering on this album than on Mwandishi and Crossings.

Line-up / Musicians:

- Herbie Hancock / Steinway piano, Fender Rhodes, Mellotron, Hohner D6 clavinet, handclaps
With:
- Bennie Maupin / soprano sax, bass clarinet, piccolo, cabasa, kazoo
- Eddie Henderson / trumpet, flugelhorn
- Julian Priester / bass, tenor & alto trombones, cowbell
- Patrick Gleeson / ARP 2600 & Soloist synths
- Buster Williams / electric (with wah-wah & fuzz) & acoustic basses
- Billy Hart / drums
- Buck Clarke / congas, bongos

- Billy Bonner / Fx

1. "Rain Dance" (9:18) lots of experimental sounds here (mostly synthesizer generated). Drums and bass are probably the two most prominent and loyal to their acoustic origins than any other instrument here. As a matter of fact, there is very little input from the horn players on this one. Interesting for the fact that it previews the later world of computer sounds and sequencers but not really a song that I enjoy or wish to hear repeatedly. On the outlying edges of what I'd call music. (17/20)

2. "Hidden Shadows" (10:12) funky with quite a variety of keyboards under Herbie's hand (including Mellotron!), there is quite a bit more dynamic range in this sonic presentation of this song than that of the previous Mwandishi albums. (18/20)

3. Hornets (19:31) I wouldn't doubt that this song was the inspiration for the famous SNL "Killer Bees" sketches a year or two later, as trumpet, clavinet, kazoo, ARP, percussion, and other crazed sounds coming from Bennie Maupin all contribute to a serious attempt to reproduce the chaotic busy-ness of the eusocial wasps known as "hornets." Crazy yet brilliant, chaotic yet so disciplined and focused. Just like hornets. Though Herbie and Billy Hart make a strong play for the title, Bennie Maupin, however, is by far the craziest hornet of them all. Entertaining and fun/funny, historically important, but not really a song that draws me back. (I wonder if the band were able to replicate this song live, in concert.) (34.5/40)

Total Time 39:02

86.875 on the Fishscales = B; four star; a solid piece of progressive rock music from the domain of experimental jazz-rock fusion--where it may be deserving of more acclaim and accolades.

DONALD BYRD Fancy Free (1969)

Recorded at Rudy Van Gelder's studio in Englewood Cliffs, New Jersey, on May 9th and June 6th of 1969, the music here was definitely experimental, definitely exploring the new sounds of electrified instrumentation and fusions of non-traditionally jazz music traditions (like blues, rock, soundtrack, and even African) with jazz. It was released by Blue Note Records in December of 1969.

Line-up / Musicians:
- Donald Byrd / trumpet
- Frank Foster / tenor and soprano saxophone
- Julian Priester / trombone
- Jerry Dodgion / flute
- Lew Tabackin / flute
- Duke Pearson / electric piano
- Jimmy Ponder / guitar
- Roland Wilson / bass
- Joe Chambers / drums
- Leo Morris / drums
- Nat Battis / percussion
- John Richardson / percussion

A1. "Fancy Free" (11:50) a song that offers a lot of memories for Detroiters due to its daily use on WJZZ beneath its community calendar notifications, Ronald Wilson's double bass and Leo Morris' drums seem to anchor the music in the jazz traditions while John Richardson and Nat Battis' Latin percussion with Duke Pearson's use of the smooth tones of an electric piano propel it forward, into the new realms of Jazz-Rock Fusion. Donald's trumpet and Jerry Dodgian's flute add more to the overall smooth sedating effect. (22/25)

A2. "I Love The Girl" (8:35) solo electric piano opens this, sounding like someone playing background music for a television show like Mr. Rodgers' Neighborhood. After 90 seconds Donald steps up to the microphone while bass, brushed drums, and subtle rhythm guitar add their nuanced support. This, too, sounds like background music for some film or a cover of a film theme song. The arrival of Frank Foster's tenor sax in the sixth minute somehow gives the music a little more credibility--as if the great Dexter Gordon had just stepped in, legitimizing this as Jazz. Duke's vibe-sounding effect on his electric piano is given the front in the eighth minute while soothing horns support from behind. (17.5/20)

B1. "The Uptowner" (9:05) jazz combo with electric piano integrated within provides the foundation for a bank of horns to enter and posit their melodies on this Mitch Farber composition. The bandleader himself takes over soon after, presenting a kind of HUGH MASALELA-type trumpet style and sound. As a matter of fact, the main motif coupled with the leads (Frank Foster in the fifth minute) give the song a very upbeat, party-like feel not unlike some of the happy-go-lucky songs and melodies made famous by Hugh and others in the Sixties. Jimmy Ponder gives a very flashy guitar solo in the seventh minute--one that sounds part CHUCK BERRY, part GEORGE BENSON. (17.5/20)

B2. "Weasil" (9:50) a Chuck Hendricks composition that is very solidly rooted in the RAY CHARLES-like blues-rock music of the previous decade. Joe Chambers' drumming is noticeably more rock-oriented but Duke Peterson's electric piano chord progressions and playing style are very close to Ray's blues. Nicely arranged and performed but not the kind of music that I like or enjoy. (17.5/20)

Total Time: 39:12

I can certainly see/hear the seeds of commitment to the new sounds and stylings of Jazz-Rock Fusion--which was, of course, still in its infancy

86.875 on the Fishscales = B-/3.5 stars; a finely-crafted and very well-performed (and recorded) sample of one of Mr. Byrd's evolutionary shifts. It's not quite ground-breaking J-R Fusion yet but it's trying.

ASSOCIATION (Pierre Courbois) Sun Rotation (1971)

Another go round with Pierre, Toto, Jasper, and, this time, all Siggi (who's picked up the electric bass). After the previous year's Earwax, I am very excited!

Line-up / Musicians:
-Jasper van't Hof/ E-Piano, Orgel (electric piano, organ)
-Toto Blanke/ Gitarren (guitar)
-Sigi Busch Bass/ Kontrabass (bass)
-Pierre Courbois/ Schlagzeug (drums)

1. "Idee A" (4:30) engineered far more toward the accentuation of the electrified elements of the music than anything on Earwax (8.75/10)

2. "Suite":
a) "Scorpion" (6:47) spacey experimental soundscapes of a 2001: A Space Odyssey-like cinematic disorder opens up this suite as everyone in the band busies themselves with some unrestricted free-form play--yet there is a flow and tempo and even the shadows of some structural elements including harmony and interplay. The second half goes (13.25/15)
b) "Neuteboom" (5:42) buoyed by a very repetitive bass and circus-organ arpeggio line, guitar and electric piano are sent soloing while drummer and bandleader Pierre Courbois messes around with perfect timing beneath. Interesting--and a little annoying after five minutes of the same bass line--though not quite so much when Toto and Jasper begin to try to weave their way into the bass and organ's line. (8.75/10)
c) "Scorcussion" (5:56) Pierre is left alone to express on his drum kit. At the end of the third minute of Pierre's soloing Toto starts to inject some noise burst from his fuzz guitar while Jasper adds a spray of chords, flourishes, and crazed hits from his electric piano. At the end of the fifth minute everybody backs off to zero before Toto is given space for some target practice for his alien space ray gun. Despite my understanding the band's effort to take Herbie Hancock's spacey experimentation further, this is just not my cup of tea. (8.5/10)

3. "Silence" (0:18)

4. "Don Paul" (3:09) more jagged, angular jazz musings and exercises in cohesion and cooperation, this one opens a little too aggressively and then just as suddenly and quickly moves into a solo of Siggi's double bass. Eventually, he's joined by brushed drums and dissonant chord play from Toto's un-effected guitar. These guys are obviously so comfortable and proficient at their instruments that they can easily and smoothly do just about anything, but this is not the type of musical listening that I choose to come back to: there's just too much of the crazy Tony Williams Lifetime Emergency! avant garde experimentation going on here for my liking. (8.375/10)

5. "Totemism" (16:45) These guys are obviously so comfortable and proficient at their instruments that they can easily and smoothly do just about anything, but there's just a little too much of the crazy Tony Williams Lifetime Emergency! avant garde experimentation going on here for my liking. (Didn't I already say that?) Luckily, about two minutes into it the quartet gels into a forward-moving, single-direction motif over-and within which all of the individual musicians still find the freedom to move about and pave their own way. Having heard enough of Toto Blanke's guitar playing now to appreciate his skills, I have to say that when he plays like this--like 1960s jazz guitar with an experimental edge-- I am not a fan: impressed, yes, but not a fan. Jasper van't Hof is experimenting with way too much distortion on his electric piano which gives it a very "dirty" sound than I also do not like. This would probably be a very fun song to experience in a live jazz club scene but it is really not my kind of jazz (or jazz-rock fusion)--and here they're forcing 17-minutes of it down my throat! (30.375/35)

6. "Frau Theunisse"n (1:10) a FOCUS-like jam that seems to be coming out of some other jam (it's faded in to get started) but then is over far too quickly. (4.5/5)

Total time 44:17

86.84 on the Fishscales = B-/3.5 stars; a very good display of experimental, loosely-performed avant garde electrified jazz that feels like a detour down the wrong (but, I get it: necessary) direction. Check it out for yourself but this is no album that I will return to soon--maybe ever.

PLACEBO 1973 (1973)

Marc Moulin's second studio album release of his keyboard-centric compositions while using the same trio of jazz-rock support musicians and an expanded horn & reed section to help express his funky jazz-rock bordering on Jazz-Rock Fusion musings.

Line-up / Musicians:
- Marc Moulin / keyboards, synthesizer
- Nick Fissette / trumpet
- Richard Rousselet / trumpet, other horns
- Alex Scorier / saxes, flute
- Frans Van Dijk / trombone
- Johnny Dover / bass clarinet, saxophone, flute
- Francis Weyer / guitars, bass
- Nick Kletchkovski / bass
- Freddy Rottier / drums, percussions

1. "Bolkwush" (4:40) continuing where he left off on 1971's Balls of Eyes, Marc combines Canterbury sounds and stylings with the horn-expanded jazz-rock of American bands like Chicago and Blood, Sweat & Tears. While the left-hand of his electric piano continues to be the main driver in his compositions, the complexity of the arrangements offered his complementary instrumentalists has increased. I still like very much his horn arrangements as well as the drumming and bass play of Nick Kletchkovski and Freddy Rottier, respectively. (8.875/10)

2. "Temse" (4:40) Again, an increase/improvement in compositional complexity is here--as well as Marc's signature synthesizer experimentations (he and Herbie Hancock's Pat Gleeson would've been fast friends!)--but the dominance of the fast repeating two-chord left-hand electric piano playing becomes quite annoying quite quickly: it's too loud, distracting and detracting from the performances of the other musicians! (8.75/10)

3. "Phalène" (7:50) the crowd noises (and sound quality of the recording) betray the possibility (fact?) that this is a live recording. Once again I find myself feeling quite strongly that this song is an experimental working out of one of Marc's mental mathematical problems--one of what I imagine were dozens (for each problem). Were the herd bells really necessary? The horn play is really the most redeeming element of this one. (13/15)

4. "Balek" (4:20) fast-pulsing synthesizer bass open this one, expressing in a two-note pattern, followed by standard, metronomic rock drums. Synthesizer, horn blasts, and electric piano join in along the way with some soloing done by Marc (using several keyboard sounds) and a saxophone. Yet another execution of a possible solution to one of Marc's math-musical ideations. (8.75/10)

5. "Polk" (3:20) finally a fairly loose and predominantly funk-marinated Jazz-Rock Fusion song. Motile electric piano, dynamic drums, congas, and rhythm electric guitar lend themselves to a much more lively, vibrant, and full core over which the offerings of the horn section and other solos (predominantly coming from Marc's keys) can shine. (8.875/10)

6. "Only Nineteen" (3:50) using the same sound palette of instruments (and sounds) as the previous song, the motif explored here feels like a variation on a riff from Paul Desmond's "Take Five" or Billy and Gene Page's "The 'In' Crowd" (or a combination of the two). Though it is lively and uptempo, Marc's electric piano is the dominant instrument throughout--which makes it, for me, get a little boring. (8.75/10)

7. "Red Net" (5:40) a slowed-down variation on the structure and melodies of Frank Sinatra's version of Ervin Drake's 1961 composition, "It Was a Very Good Year." Frank Rottier's drums are so far in the background and the horn section's inputs so minimal that this might as well have been a solo electric piano piece--and I'm just not that big of a fan of keyboard soloing. (8.6667/10)

8. "Re-union" (5:20) a single droning bass synth note opens this one before Marc adds a few more keys to create chord movements to the drone. By the time we're knee-deep into the second minute I'm convinced this is like a TANGERINE DREAM exploration of a BACH organ prelude. Interesting but, I have to repeat a complaint that I registered with another one of Marc's albums: couldn't these experimental explorations of possible solutions to the personal mental musical problems that Marc is obviously inundated (and fixated) with be left to his own private, in-home sessions? I mean, this is exactly the kind of playing around that my brother and I used to do with analog and computer keyboards we began acquiring in the 1980s--but we never felt we needed to publish them as a means to filling out a full album's worth of music! (8/10)

Total time: 39:40

I'm beginning to feel a little cheated by Marc Moulin--genius that he is--for making the public suffer unto his musical musings and experimental explorations to solutions of his mathematical quandaries. Most of the time, the performances of his supplemental musicians seems relegated to expression or extensions of things he himself could do (and would have done)--they feel that superfluous and expendable!

86.67 on the Fishscales = C/three stars; an inconsistent and often filler-feeling collection of renderings of Marc Moulin songs that leave me feeling sorry for the wasted time of the contingent of excellent supplemental musicians hired to deliver them.

WEATHER REPORT I Sing The Body Electric (1972)

I have a bit of a problem with 45% of this album's music coming from Live concert recordings as I am never happy with live recordings or live performances of music intended for studio recording. The band's sophomore album sees the exit of the percussion duo of Alphonse Mouzon (gone to work with McCoy Tyner) and Airto Moreira (to work with some solo ideas as well as in lineups with Chick Corea, Freddie Hubbard, Antonio Carlos Joabim, Johnny Hammond, Hubert Laws, Flora Purim, Gato Barbieri, and Grover Washington, Jr.), here replaced by Eric Gravatt and Dom Um Romão. All Side A selections recorded in Columbia studios, New York City, in November of 1971 (A1, A2) and/or in January 1972 (A3, !4). All Side B selections were recorded during a "standing room only" concert performance in Tokyo, Japan, on January 13, 1972, in Shibuya Kokaido Hall. The album was released on the 26th of May, 1972.

Line-up / Musicians:
- Joe Zawinul / electric & acoustic pianos, ARP 2600 synth (1)
- Wayne Shorter / reeds
- Miroslav Vitous / electric & acoustic basses
- Eric Gravatt / drums
- Dom Um Romão / percussion (2)
With:
- Chapman Roberts / vocals (1)
- Joshie Armstrong / vocals (1)
- Yolande Bavan / vocals (1)
- Andrew White / English horn (1)
- Hubert Laws / flute (1)
- Wilmer Wise / D trumpet & piccolo (1)
- Ralph Towner / 12-string guitar (2)

1. "Unknown Soldier" (7:57) a great mood-setter, manipulating the listener's emotions as a cinema soundtrack is supposed to. Would that all WR music would do this as masterfully. Eric Gravatt's cymbal play is key, as are the spacious playing of the other three principle musicians. So disciplined! Once the drums go military-snare, the enlisted support of other musicians begins--and the principles go off into a frenzy of free-jazz. I've never heard Wayne Shorter go so fast! In the sixth minute the music returns to the more disciplined, spacious play as the opening. Very interesting--and surprisingly dynamic--song! (13.5/15)

2. "The Moors" (4:40) picked notes from Ralph Towner's 12-string guitar open this one, soon bursting into John McLaughlin-like runs of remarkable speed as well as a flurry of syncopated strumming of muted and unmuted blues chords and harmonics. At 1:44 soprano sax, percussion, and bass notes join in before drums and keys also kick in, creating a fast-moving jam over which Wayne holds long, smooth notes. It is very surprising to me how much the performers packed into this little 4:40 song! (9/10)

3. "Crystal" (7:16) spacey wind-synth sounds with slow conga beat open this one before multiple saxophones enter, obviously recorded on different tracks. Keys support. Drums add some stuff here and there but it's really Wayne's multiple saxes and Joe Zawinul's multiple tracks of keyboards that are doing all the movement. Heavily-distorted bass joins in during the fourth minute, going off on his own direction--as have all three of the principle musicians at this point. The mix really doesn't sound very good. Drummer Gravatt has moved to percussion: he keeps trying to join in with his congas but it really doesn't fit, so he gives up and moves to wind chimes with some additional ride cymbal.

Early experimentation with multi-tracking. It just feels like warm ups--as if it should never have been committed to tape/vinyl. Should we forgive them? (12/15)

4. "Second Sunday in August" (4:09) piano, percussion, distant drums, more horrible-sounding distorted bass, and spry and upbeat soprano sax. I like the piano and sax; the rest you can dispose of, thank you very much. (8.66667/10)

5. "Medley: Vertical Invader / T.H. / Dr. Honoris Causa" (Live *) (10:10) (/20)
6. "Surucucus" (Live *) (7:41) (/15)
7. "Directions" (Live *) (4:35) (/10)

Total Time: 46:28

* Edited from recordings at a concert January 13, 1972 in Shibuya Kokaido Hall, Tokyo, Japan.

86.333 on the Fishscales = B-/3.5 stars; a fair representation of studio songs which show the engineering and sound experimentation the band was going through. I do not review recordings of live performances.

Other Decent J-R Fuse Albums:

AREA Caution Radiation Area (1974)

An album that upset and disturbed a lot of people who had been blown away by the band's debut the year before, Arbeit Macht Frei. Caution Radiation Area put on display too much edge, too many aggressive and experimental sounds and constructions--often fully going over to the realms of jazz-rock fusion and even avant garde music. The album was recorded early in 1974, after the arrival of new bass player Ares Tavolazzi, and then released to the public by Cramps Records on April 5 of the same year.

Line-up / Musicians:

- Demetrio Stratos / vocals, organ, harpsichord, steel drums, percussion
- Paolo Tofani / guitar, flute, EMS synthesizer
- Patrizio Fariselli / piano, electric piano, ARP synthesizer, bass clarinet
- Ares Tavolazzi / bass, double bass, trombone
- Giulio Capiozzo / drums, percussion

1. "Cometa Rossa" (4:00) employing some Arabian folk instruments and melodies, the song does a great job of setting up Demetrio's astounding a cappella vocal in the middle. (9/10)

2. "ZYG (Crescita zero)" (5:27) pure instrumental jazz tending toward the crazed world of avant garde. BUT the musicianship is incredible and performed so tightly. Astonishing! (10/10)

3. "Brujo" (8:02) an extended foray into unstructured musical chaos--like a long ELP, GENESIS or TODD RUNDGREN intro--the jazz musicianship of the song in the fourth and fifth minutes is quite CHICK COREA/RETURN TO FOREVER-like (though it also sounds like the crazed section of YES' "Gates of Delirium" between the 8:00 and 13:00 minute marks). The final two minutes of eerie synth-supported cave-like vocals does little to make the song more endearing. (12.5/15)

4. "Mirage" (10:27) opening with four minutes of free-form sound experimentation, the rhythm section finally kicks in with a hard-driving structure over (and beneath) which the synth and horn experimentations continue. At 5:45 everything cuts out and we're exposed to multiple tracks of Demtrio's whispering voices, gutteral word recitations, and haunted ghost screams. Breaking glass at 7:10 stops the vocal mayhem, unleashing, instead, a cacophony of instrumental mayhem. ("Ahem! A little humanity, please!") Droning synths, fast-running double bass, underscore the out-of-control guitar shredding before Fender Rohdes enters to bring in some calm and order--within which sax and Demetrio vocalise scat. Ends with some Tibetan-like monastic chants. Weird song that retains little significance this many years later. (16/20)

5. "Lobotomia" (4:23) an instrumental synth solo of electronically-distorted sound waves. Interesting but four and a half minutes of this? But, heck! Many other mainstream artists were doing it! (E.g. Todd Rundgren, Keith Emerson, Herbie Hancock, Chick Corea, Larry Fast, Jan Hammer, and George Duke). (8/10)

Total Time: 32:19

85.38 on the Fishscales = B/four stars; a wonderful example of the kind of experimentation going on within music and particularly progressive rock music in 1973-4.

THE SOFT MACHINE Fourth (1971) If one had never heard the previous albums with their quirky beginnings in psychedelia one might enter into the world of Mike Ratledge, Hugh Hopper, Robert Wyatt, and Elton Dean thinking that these guys are 1) serious jazz musicians and 2) great masters of their instruments. The only problem is: There is very, very little here that feels or sounds like Canterbury style music--a little in "Kings and Queens" and "Virtually part 3." That's it.

While Dean's saxes will become more refined and creative in his more free-form future, the playing here of Robert Wyatt is the first and only time that I found myself thinking that "this is a really impressive musician." Ratledge and Hopper are really good and the addition of double bass from NUCLEUS founder Mike Babbington is awesome. Also, I still think it rather unique and brave of the band to go without a guitar player.

Line-up / Musicians:

- Mike Ratledge / Lowrey organ, Hohner pianet, piano
- Elton Dean / alto sax, saxello
- Hugh Hopper / bass guitar
- Robert Wyatt / drums
With:
- Roy Babbington / double bass (1,3,4,6)
- Mark Charig / cornet (2-4)
- Nick Evans / trombone (1,2,4)
- Jimmy Hastings / alto flute (6), bass clarinet (1,6)
- Alan Skidmore / tenor sax (1,6)

1. "Teeth" (9:15) Jazz! Free jazz! At least, from the saxophone. From the opening notes this song presents the band as a jazz band with little or no ties to its previous incarnations. It's too bad as this is not one of the album's better songs--even the recording mix is "off." (15/20)

2. "Kings and queens" (5:02) slow and melodic with the gentle waves of keys, toms, and cymbals to support. Ratledge is brilliant in his support and Wyatt and Hopper and Dean are impressive as well. (8.75/10)

3. "Fletcher's blemish" (4:35) pure free-form jazz in which the musicians exhibit some great control and, surprisingly, cohesiveness. (8.5/10)

4. "Virtually part 1" (5:16) jazz, pure and simple, with some nice structural experimentation. The barebones-ness of this piece gives each instrumentalists plenty of space in which to shine. (8.5/10)

5. "Virtually part 2" (7:09) enter the Lowrey organ--the last vestige of the Canterbury sound--and multiple tracks given to Elton Dean for his two instruments. Great instrumental performances--especially true of Robert Wyatt--but nothing very special melodically or emotionally. (12.5/15)

6. "Virtually part 3" (4:33) sees a step back from pacing and walls of sound as the drums check out and everybody else goes into "tuning mode." The electric bass of Hugh Hopper takes the lead while everybody else offers a kind of gentle support. It's actually kind of pretty music despite the fuzzed bass up front. (8.75/10)

7. "Virtually part 4" (3:23) smoother and more cohesive, even melodic. My favorite section of the album and the one that allows me to keep this album in the list of Canterbury favorites. (9.5/10)

Total Time: 39:13

84.12 on the Fishscales = B-/low four stars; a nice jazz album for its time but not a very glowing representative of the Canterbury Scene.

AREA Maledetti (1976)

The last Area studio recording with Demetrio Stratos as part of the band, Maledetti was recorded at Fono Roma Studios in Milano, it was released by Cramps Records in December of 1976.

Line-up / Musicians:

- Demetrio Stratos / vocals, voice filter (4), Hammond organ (2-4,6), piano (6), bells
- Giampaolo Tofani / electric guitar, (Serge) Tcherepnin synth (3,4,7)
- Patrizio Fariselli / piano (4,6), electric piano (3,4,6), prepared piano (7), ARP Odyssey synth (3,4,6)
- Ares Tavolazzi / electric (3,4) & acoustic (2,3) basses
- Giulio Capiozzo / drums (3,4)
With:
- Eugenio Colombo / kazumba ? (1)
- Steve Lacy / soprano sax (2,3,7)
- Paolo Salvi / cello (5)
- Giorgio Garulli / contrabass (5)
- Umberto Benedetti Michelangeli / violin (5)
- Armando Burattin / viola (5)
- Hugh Bullen / bass (2,6)
- Walter Calloni / drums (2,6)
- Anton Arze /txalaparta (3)
- Jose Arze / txalaparta (3)
- Paul Lytton / percussion (6,7)

1. "Evaporazione" (1:45) a wonderful and powerful introduction to the crazed and unique mind and world of Demetrio Stratos. (4.5/5)

2. "Diforisma Urbano" (6:18) slightly discofied jazz-rock fusion of the funky kind being churned out in the second half of the 1970s by such bands as JAN AKKERMAN, SBB, STOMU YAMASH'TA's GO, JAN HAMMER, GEORGE DUKE, LENNY WHITE, and JEFF BECK. Excellent for that fare. (8.75/10)

3. "Gerontocrazia" (7:30) Demetrio, soprano sax, and an African marimba open this one with a very African folk feel until cello takes over at 2:40 as sole companion of Demetrio's singing. At 3:36 the full electrified contingent joins in though carrying a North African melody as its standard. Then at 4:20 we get another drastic shift into a more JAN HAMMER/MAHAVISHNU-like passage in which jazz-rock drums support multi-instrumental presentation of high-speed melody-noodling. A minute later the whole-group presentation breaks down to allow for singular soloists to present their interpretations. At 6:25 the passage ends and we are bridged back to the North African melody section for the song's finish. Interesting! (13.5/15))

4. "Scum" (6:30) piano-based WEATHER REPORT, JOE SAMPLE or even DONALD FAGEN-like jazz fusion with fretless bass in the initial lead and synths and electronic keys adding their voices after a minute. Nice, virtuosic DON PULLEN-like piano solo in the third minute continuing on until the ELP/YES-like 4:23 mark. Experimental synth noises take over, setting the stage for a Demetrio Stratos political vocal recitation (oddly, electronically treated). (9/10)

5. "Il Massacro Di Brandeburgo Numero Tre In Sol Maggiore" (2:20) a BACH string quartet with a little organ support from Demetrio. (4.5/5)

6. "Giro, Giro, Tondo" (5:55) Single note synth drops support a multi-track, multi-voice Demetrio onslaught before drums and keys smash their way into the song at the one minute mark. By 1:45 there is a full-band jazz-rock tapestry playing out over which Demetrio sings a fairly straightforward (for him) impassioned vocal. (8.75/10)

7. "Caos (Parte Seconda)" (9:00) a sonic free-for-all in which every band member is set loose in the studio with the intention, it would seem, to pluck and strike, clink and clank, wah and wang, fizzle and fazzle, strafe and staccato anything and everything they can A) come in contact with or B) imagine and invent. Methinks Demetrio, saxophonist Steve Lacy, and all percussionists had the most fun during this one. I'm guessing that only the most patient, most curious, or else detached and unexpectant listeners will find enjoyment in this one. (14/20)

Total Time: 39:18

84.0 on the Fishscales = B/four stars; another wonderful, well-produced display of the kind of politically-charged experimental music being done within the progressive rock movement in the mid-1970s.

I am now learning that I am a being in which Heart and emotion are more valued and valuable than Mind and intellect.

Melody crosses straight into the Heart/emotion conveying warmth or pain.

Technical skills and complexities like Mathematics (form and structure) provide information that the Mind/intellect can appreciate and enjoy.

Language is the tool of deceit and persuasion by which we either give our power away or try to take it from another (or our Selves).

Therefore, let the information I receive be that which feeds my Heart (which is, in many cultures, a more direct line to the Soul & Spirit).

Outlier Bands / Albums

(that is, whose sound cannot quite be considered Jazz-Rock Fusion)

MANEIGE Les porches (1975)

The Québecois band of serious musicians take a step forward from their previous album, their self-titled debut, in both compositional freedom and sound production.

Line-up / Musicians:
- Alain Bergeron / piano, flutes, saxophone
- Jérôme Langlois/ piano, guitar, clarinet, string arrangements
- Yves Léonard / electric bass, tuba
- Gilles Schetagne / drums, percussion
- Vincent Langlois / percussion, piano solo (1e)
With:
- Denis Lapierre / electric guitar (3)
- Raôul Duguay / trumpets & vocals (1f)
- Peter Schenkman / violin
- Albert Pratz / violin
- Walter Babiak / violin
- Bill Richards / violin
- Paul Picard / bongos & xylophone (3a, 3b)

1. "Les porches de Notre-Dame" (19:14) The opening epic is so refined and majestic--opening with a section that feels as stately as a Russian nationalist song. (It's not very proggy, though; more classical.) "Suite I" is so gorgeous, sounding very much like the modern day Greek Prog Folk band, CICCADA. Suite II sounds and so French! Like Ravel, Fauré, or Debussey--with its piano, flute and tubular bells/vibraphone trio format, while "Suite III" shows the band's sound beginning to take on a jazzier, more-MIKE OLDFIELD sound palette while the arrangements and melodies harken back more to folk traditions. (Province-mates CONVENTUM sounded a bit like this in 1979.) The "Déscouverture" section is more classical (using an upright piano?) The final section "Les porches" is the first to use any electrified instruments--including a vocal addition in which a quite unusual male voice sings. The effect is quite romantic and emotional! The song wends its way into a three-chord major-minor-minor "Stairway to Heaven" blues-rock end progression and pace while piano, electric guitar, trumpet, and, later, saxophone weave their individual noodling to the song's end.

Other than the closing movement, there is very little jazz or rock in this suite, but it is absolutely awesome, start to finish! (40/40):

a) Ouverture (3:03)
b) Suite I (2:34)
c) Suite II (0:45)
d) Suite III (3:25)
e) Désouverture (2:48)
f) Les Porches (6:50)

2. "La grosse torche" (1:24) folk melodies given a bit of a symphonic prog sound. (4.375/5)

3. "Les aventures de saxinette et Clarophone" (15:41) This is far more straightforward jazz with a little jazz-rock à la THE SOFT MACHINE than the opener--and it's a kind of B-level jazz-less-rock at that. It has a prolonged opening section in which nothing is really established or developed (other than sound palette). The middle section ("Chapitre I, épisode 2") finally establishes a structure rhythm and repeated chord progression over which vibes, saxes, and clarinets take turns soloing. About ahlfway through an electric guitar enters to solo a bluesy solo before the suite moves into the next movement. With "Chapitre II, épisode 1" the music becomes sax-dominated--even into the next section, "Chapitre II, épisode 2," where it gets really weird: with some crowd noises before a section which feels as if the listener is shut in a closet. (Why? To avoid the crowd? To think? The thoughts may provide one great idea, but that idea is quickly forgotten and left behind in lieu of the usual banal patterns and habits of the day. Weird.) The final section is much more disciplined and cerebral before falling into the sway of a friendly little folk melody.

A fine effort full of character, wit, beauty, and creativity, and excellent performances, but, personally, I prefer the band's self-titled debut album over this one. (27.5/30):

a) Chapitre I, épisode 1 (3:47)
b) Chapitre I, épisode 2 (5:16)
c) Chapitre II, épisode 1 (1:31)
d) Chapitre II, épisode 2 (2:34)
e) Chapitre III (2:33)

4. "Chromo part I" (2:36) now this is jazz rock! Kind of cheesy bass play but great flutes and reeds. (4.375/5)

5. "Chromo part II" (1:37) part two of the Chromo suite, this one has some of the pretentiousness of a Canterbury act but then flies into some serious jazz-rock territory. (4.375/5)

Total Time 40:32

French jazz fusion band Maneige's most highly acclaimed album opens with a superb side-long folk-classical epic, "Les Porches de Notre-Dame" but then falters a little with two brief pieces that feel more like practice études and one other strange epic, "Les aventures de saxinette and clarophone." The band's winds section and tuned percussion players are deserving of superlatives.

95.59 on the Fishscales = A/five stars; a certifiable masterpiece

ATOLL L'araignée-mal (1975)

Top notch symphonic prog from France with amazing production, composition, power, and melody.

Line-up / Musicians

- André Balzer / lead vocals, percussion
- Christian Beya / guitar
- Michel Taillet / Eminent synth, clavinet, percussion, backing vocals
- Richard Aubert / violin
- Jean Luc Thillot / bass, vocals
- Alain Gozzo / drums, percussion, backing vocals
With:
-Bruno Géhin / piano, Fender electric piano, Mellotron, Mini-Moog

- Laurent Gianez / sax (5)

1. "Le Photographe Exorciste" (9:10) theatric three-part suite with very theatric opening section, prog-rich mid-section and then brilliant electric guitar exhibition in the finale section. (18.333/20)

2. "Cazotte N°1" (6:00) speedy jazz-rock fusion-infused prog with violin and tight jazz-rock rhythm corps fully featured. Overall, this song feels like a highly-competent and wholly-original blend of 1975 Fusion III-era MICHAL URBANIAK, No Mystery RETURN TO FOREVER, and second-incarnation MAHAVISHNU ORCHESTRA's Apocalypse. I find Michel Taillet's clavinet and bassist Jean Luc Thillot's work to be very impressive throughout this excellent piece. (9.75/10)

3. "Le Voleur d'extase" (7:30) electric violin with pastoral electronic prog instrumentation in support open this before André Balzer steps in to start singing (with a heavily-treated but still-recognizable and admirable display of emotion). After only one introductory verse the band shifts into high gear to take us into a very theatric section in which a choir of vocalists add their "ho, ho, ho" punctuation points to the band's music. Kind of PFM "L'isola di niente" like. Cool! several other different and separate instrumental motifs are explored over the next couple of minutes before there is a little break in which Michel Taillet's or Bruno Géhin's keyboard bridges the band into a new more ALLMAN BROTHERS-like motif in which guitarist Christian Beya solos impressively in a Southern Rock style over the clavinet, Fender Rhodes, thick jazz bass, and fiery drums of Alain Gozzo. Impressive and by no means a weak song, just not as good as the others on the album. (13.375/15)

4. "L'Araignée-Mal" (21:20) since I first heard this song, I've considered it one "classic era" progressive rock's pinnacle/mountaintop prog epics. (38.5/40):
- a. Imaginez Le Temps (6:40) Impossibly gorgeous! Prog perfection in every way possible! I love the synths and violin. (10/10)
- b. L'Araignée-Mal (5:05) starts off rather dully but builds with amazing emotion coming from the vocals, drums, bass and panning synths. (10/10)
- c. Les Robots Débiles (3:35) great bass, guitars, and keys in this dynamic and diverse (mostly) instrumental section. And I love the clavinet as a foundational piece. The vocals, while continuing to be full of power and emotion, might be a bit over the top here. (9.5/10)
- d. Le Cimetière De Plastique (6:00) (9/10)

I also love how the four sections aren't stop and go, the music shifts and blends from one movement to the next.

Total time 44:00

94.07 on the Fishscales = A/five stars; a certifiable masterpiece of progressive rock music of the very highest order and caliber. L'araignée-mal deserves to be in the conversation with all of the very best albums of the Big Six, best RPI, and best Jazz-Rock Fusion albums of the 1970s.

DR. DOPO JAM Entrée (1973)

Wonderful theatric psychedelic avant-garde jazz music from Roskilde, Danemark.

Line-up / Musicians:
- Lars Bisgaard / vocals
- Lars Rasmussen / lead guitar, violin
- Kristian Pommer / rhythm guitar, piano, Moog, vocals, composer & arranger (excl. 6)
- Anders Gaardmand / tenor & soprano saxophones, flute
- Poul "Skak" Snitker / trumpet, flute, bass, composer & arranger (6)
- Vagn Hansen / bass
- Niels "Vejmand" Christensen / drums
- Bent Clausen / drums, vibraphone

1. "Essentia Suite" (25:04) a very entertaining and enjoyable adventure in musical theatre. I have to admit to being quite surprised at how well it flows, how well recorded it is, and how engaged I remained throughout. I love the forward mixing of all the instruments and the stellar clarity and definition of each and every instrument. The music does get a little too-rock 'n' roll at times--especially in the Elvis-like final movement. (47.5/50)
- a. Opening "HELLO"
- b. Essentia I, Sanquine
- c. Essentia II, Choleric
- d. Essentia III, Melancholic
- e. Essentia IV, Phlegmatic
- f. Qvinta Essentia: VITA
- g. Overture: Absorbia
g.a. Heart-Theme, Solaria
g.b. Brain-Theme, Lunaria
g.c. Liver-Theme, Jupiter
g.d. Kidney-Theme, Venus
- h. VI: The Complete Pentagram

2. "Samelam-Samelam" (4:10) blues-rock feeling as if resuscitated from the late 1950s. Great in the instrumental portion after Lars says, "Sock it to me, Baby." How can I help but not like this music?!(8.875/10)

3. "Entree's" (3:54) a little 1960s game show theme music or else an overture to a peppy moralistic hippie-happy stage musical. Whatever this is, it's delightful! Keyboard artist and band leader Kristian Pommer should get more credit for his wonderful clavinet playing here. The rhythmists Bent Clausen and Niels "Vejmand" Christensen as well. Heck! Everybody is spot on with this one! (9.25/10)

4. "Spring-Theme-Summer-Theme" (3:55) a delightful piece of music very much in the vein as Billy and Gene Page's big 1964 hit, "The In Crowd." (9.3333333/10)

5. "In The Morning" (2:01) another gorgeous piece that feels as if it would be a perfect fit for the American Tribal Love-Rock Musical, Hair. (5/5)

6. "Desserts: Forest-Flower-Picking-Preludium" (7:29) sounds very much like something SUPERSISTER would have been putting out at the same time: quirky yet sophisticated and driven by the attention span of someone with Attention Deficit Disorder. Nice extended lead (fuzz) guitar work from Lars Rasmussen Probably the weakest total package on the album (it feels like a bit of studio jamming filler)--both compositionally and sound engineering-wise--but still better than 95% of the stuff out there! (8.75/10)

Total time 46:33

While never too complex musically, the ideas are quite wild and expressive in an almost-spontaneous way. All the music is actually quite melodic, pretty, and even quite danceable. Well recorded and engineered, lead singer/vocalist Lars Bisgaard is quite talented--blessed with a beautiful voice and a perfect English accent. The comparisons to the music of both Frank Zappa and the Canterbury Scene artists are quite warranted as well as Brass Rock bands like Chicago and Blood, Sweat and Tears. The musicianship is quite high with all instruments being present with absolute confidence and competency.

I'm going to have trouble grouping this album with the true jazz-rock fusers yet the amazing number of styles and sounds experimented and fused with here definitely deserve some kind of major recognition, however, at the same time, I will understand all of the people who will exclaim that if I admit this album into my J-R Fuse compendium then Frank Zappa's stuff should be as well. Maybe I will!

93.38 on the Fishscales = A/five stars; an excellent masterpiece of chameleonic music theater from some pretty focused musicians.

P.S. I will not be including the band's follow-up album, Fat Dogs & Danishmen in my compendium because I feel that it shows the band "overstaying their welcome" in the Frank Zappa world of inanities:

I find this album far less satisfying than its predecessor mostly due to the feeling of conceit and ego coming from the singer and sound. It's as if the band now knows how clever, refreshing, and unique they are and are basking in the glory and attention. Also, on a similar trajectory to that of Frank Zappa, the slide into "potty humour" I find rather cheap and unnecessary. Silliness for the sake of laughs and shock and silliness is just not my cup of tea: it's one of the things that turned me sour on our own beloved and late Colin Tench as well as The Beatles and Frank Zappa. The sound production is still quite nice, the musicianship a little more relaxed and "easy," while the band retains its admirable stylistic flexibility. Don't get me wrong: I still enjoyed the music quite a lot; it's just that I fail to find the joy or purpose in producing this kind of music. I mean: Do these humans, now fifty years on, look back with any kind of pride at this album? Or does it cause more of a cringe/embarrassment factor? They can be proud of their musicianship and, I'm sure, revel in the good feelings of comaraderie for the times and compatriots involved in the creation of these times.

JOHN ABERCROMBIE & RALPH TOWNER Sargasso Sea (1976)

Two guitar virtuosos blending their sensitive-yet-fluid styles for an album of duets. It's hard to imagine anything better.

Line-up / Musicians:
- John Abercrombie / acoustic & electric guitars, composer
AND
- Ralph Towner / 12-string & classical guitars, piano, composer

1. "Fable" (8:41) like a stripped down "Blue in Green." Absolutely beautiful in every aspect imaginable. (19.5/20)

2. "Avenue" (5:19) veering into the Spanish/Flamenco traditions. (And these guys aren't even Spanish! That's what I'm talking about when I use the word "virtuoso": an artist's ability to easily morph into a variety of styles while convincing the listener that that style is the one and only/best style that he/she plays.) (9.5/10)

3. "Sargasso Sea" (4:01) opening with discordant chords doesn't faze me: the sounds are too good. (It's kind of hard to make a 12-string sound discordant--unless it's out of tune.) Ralph's piano tinkers away beneath both 12-string and volume-pedal-controlled electric guitar. The construct is what I imagine a song made in which the musicians only play half of what is on the song charts: skipping half of everything in each measure. The sounds being produced the electric guitar in the second half, coupled with the discordant chords being played on the 13-string, are a bit weird and, to me, nonsensical. (8.75/10)

4. "Over and Gone" (2:51) four tracks, four guitars, starting with a classical guitar soloing over the gentle support of a second strummed classical guitar, but then the duo are joined by two steel-stringed acoustic guitars playing with and within the melody lines that make up the weave of this brief but beautiful song. (9/10)

5. "Elbow Room" (5:11) strummed steel-string acoustic guitar supports a soloing twangy, echo-effected electric guitar. Not my favorite though I love listening to creative, reactive rhythm guitar play like this. (8.66667/10)

6. "Staircase" (6:25) the same instrumental sound palette as the previous song with much gentler playing styles to both the acoustic guitar support and the twangy-electric guitar soloing. The song definitely gets better in the second half when only acoustic guitars are being played (again deploying more of a Spanish chord and melody structure and style as in "Avenue"). (8.875/10)

7. "Romantic Descension" (3:17) as suggested by the title, this is a duet of stunning beauty, supple interaction; two musicians expressing while on the absolute same wavelength. Even prettier than anything on John McLaughlin's tribute to Bill Evans, Time Remembered. (10/10)

8. "Parasol" (5:24) a song that sounds like something that might come from Pat Metheny: brilliant, erudite chord phrasing from Ralph's gentle and respectful acoustic guitar while John solos up top with his slightly twangy electric guitar. Piano joins in around the half-way point while the support guitar continues, eventually moving to the front for some Chick Corea-like soloing while the two guitars support with uncommon elegance. I'm not as much a fan of the melodies in this one, but the structure and respectful interplay is gorgeous. (9.333/10)

Total Time 41:09

What I appreciate the most about this album is the way the artists seem to prize beauty over flash and flair: the egos never became more important than the emotional inputs and elegant results of every song. I feel as if this is such a rare achievement in the world of music. Perhaps this is one of the gifts that Manfred Eicher and his ECM label were able to bestow upon the world: a label that seemed to value the way their published product soared and resonated above money, time, and egos; where timeless beauty was prized over commerce and fame. The only negative of taking the time to get to know this album (and write its review) is the fact that I'm looking for Jazz-Rock Fusion, not so much straight folk-jazz like this.

92.92 on the Fishscales = A/five stars; an album displaying the stunning connection between two guitar masters. It DEFINITELY doesn't get any better than this!

STAN GETZ Getz/Gilberto (1964)

Don't overlook the fact that both Antonio Carlos Jobim and Astrud Gilberto grace this album--it's not just Stan Getz and Joao Gilberto.

Line-up/Musicians:
- Antonio Carlos Jobim / guitar, piano
- Astrud Gilberto / vocals
- Joao Gilberto / guitar, vocals
- Milton Banana / drums
- Stan Getz / tenor sax
- Tommy Williams / bass

A1. "The Girl From Ipanema" (5:15) can a song get more perfect than this one?! (10/10)

A2. "Doralice" (2:45) Joao Gilberto is a smooth singer but not quite as smooth as Stan Getz is with his breathy tenor sax. Sexy! (9.125/10)

A3. "Para Machuchar Meu Coração (To Hurt My Heart)" (5:07) another bossa nova song that sounds like a classic with a slightly louder presence given to both the percussion and to Antonio's piano. Even Joao's voice is mixed much more into the foreground--as if he's singing to you while you're in his arms on the dance floor! Also unusual for the bulk of the album is the amount of time that the singing is given versus that to Mr. Getz' sax (or S. Jobim's piano). I have to admit that this song is not my favorite--the melodies don't grab me as well as many of the album's other songs--and yet the smooth, perfectly-arranged and -mixed instrumental performances seem flawless. (8.875/10)

A4. "Desafinado" (4:05) another iconic song, sung so smoothly by Joao Gilberto over the perfect Spanish guitar and piano tinkling support. At the end of the second minute Joao stops singing and Stan jumps right in over the exact same accompaniment and motif, playing rather closely with the main melody, only branching out on his own in his second time through the verse. Beautiful (which is an understatement). The finale with Joao's vocalese bass notes and the little is (9.5/10)

B1. "Corcovado" (4:15) Astrud and Joao take turns spinning their magical voices over Jobim's piano and Joao's Spanish guitar while Tommy Williams and Milton Banana hold the line beneath all of them. Stan merely makes appearances in-between the vocals. Beautiful. Probably a hit in Brasíl as popular as "The Girl … " (9/10)

B2. "Só Danço Samba (Jazz Samba)" (3:30) another beautiful and subtly nuanced romantic dance tune with Joao performing the lead vocal over piano, plucked guitar chords, bass and brushed drums with Stan providing a longer, more impassioned sax solo in the second and third minutes. Great melodies, rhythm, and some flashy sax play from the maestro. (9.125/10)

B3. "O Grande Amor" (5:25) this one opens with some plaintive sax play with minimal support from Jobim's piano beneath. Then the rhythm section joins in, ramping the pace up into a danceable bossa nova. At the 1:15 mark Stan backs down as Joao enters singing in a much lower (almost strained) voice. He sounds serious and contemplative. Stan returns in the third minute for the next solo, eventually yielding to Antonio's piano for a bit before retaking the lead for the final minute. Nice. I can definitely see why Stan Getz was so popular: he's so smooth and respectful of the audience's love for melody and emotion. (9/10)

B4. "Vivo Sonhando" (2:52) the usual lineup and sound palette with Joao opening up in the lead with his singing, by the end of the first minute it turns to Stan's sax to take the lead, and, I swear, he out smooth's one of the smoothest voices I've ever heard with a very breathy, delicately performed solo to the song's end. (9.25/10)

Total time: 33:14

How can one find fault with this sublime and pacifying collection of songs? And does anyone else notice the remarkable similarities in Jobim's piano playing style to that of modern master, Diana Krall? No wonder Ms. Krall has covered so many bossa nova, samba, and other Latin styled songs. Again, this, my first direct exposure to the saxophone play of Stan Getz, definitely conveys many reasons for Señor Getz's tremendous popularity and place in the history of both jazz and popular music.

92.34 on the Fishscales = A/five stars; a masterpiece of absolutely sublime genre-blending, cross-cultural music. How could one deny the popularity of bossa nova in the United States when albums like this were being made?

FLAMENGO Kuře v Hodinkách (1972)

Great Jazz-Rock from Czechoslovakia.

Line-up / Musicians:
- Jan Kubik / saxophone, flute, clarinet, vocals
- Pavel Fort / guitar, vocals
- Ivan Khunt / organ, vocals
- Vladimir Guma Kulhanek / bass guitar, vocals
- Jaroslav Erno Sedivy / drums
- Vladimir Misik / vocals, guitar

1." Kure V Hodinkach (Introdukce) / Chicken In The Watch (Introduction)" (2:30) what a warm and inviting saxophone sound and style with an equally warm hard rock sound palette to match. Organist Ivan Khunt presents an astonishingly saxophone sound. Bassist Vladimir Guma Kulhanek is so in the pocket! And Jan Kubik's used of multiple tracks for his wind instruments all help to create such a warm envelope of sonority! (4.5/5)

2. "Rám Prístích Obrazu / Frames Of Future Picture"s (4:00) reverting more into a heavy blues-rock pastiche, with Jan Kubik (or Vladimir Misik)'s rock vocals the band's music certainly takes on much more of a BLOOD SWEAT AND TEARS-like blues-jazz-rock sound. Except for the drums, the instruments and voices are very well recorded and rendered. Great JC Superstar-like scream from Jan to close it out. (8.875/10)

3. "Jenom Láska Ví Kam / Only Love Knows Where" (2:55) more heavy blues-based jazz rock with some very URIAH HEEP similarities. Nice guitar work in the solo during the end of the second minute. I like this well enough though it's not the Jazz-Rock Fusion I came here for. (8.875/10)

4. "Já A Dým / Me And The Smoke" (4:55) flute and acoustic guitar paint a very plaintive folk feeling in the intro, then Jan joins in singing with a emotive performance that suddenly turns at 1:25 into JTULL territory before landing in some beautifully melodic SANTANA turf. Great fully-prog song. My favorite song on the album. (10/10)

5. "Chvíle Chvil / Moment Of The Moments" (4:20) more rock-oriented jazz-rock on which Ivan's organ is the most notable yet--despite the leadership of the saxophone and guitars. Another song that plays out more like a URIAH HEEP, Led Zeppelin, or Black Sabbath song. It is, however, pretty and memorable. I even like the use of left and right channels to compartmentalize some of the instruments. (9/10)

6. "Pár Století / Some Centuries" (6:30) pensive electric guitar chords picked and plucked open this song giving it quite a full latency of potential energy--potential that is soon revealed, in small pieces, through, first, vibraphone, then bass, spaced out tom-tom and delicate cymbal play, and "background" reverbed lead vocal. Great melodies and harmonic relations throughout! At 4:15 the band switches gears: traveling down a light, jazzier, happy-go-lucky side path for a flute-led and vibraphone-dominated motif. Then they switch back into a heavier version of one of the earlier motifs for the closing. Awesome construct! My second favorite song. (9.75/10)

7. "Doky, Vlaky, Hlad A Boty / Dockyards, Trains, Hunger And Shoes" (4:30) another jazz-rock tune: a rock form displayed with jazz clothing and accoutrements. The lyrics sung in the band's native tongue give it a familiar FERMÁTA or SBB feel though served over a kind of LIGHTHOUSE/URIAH HEEP music. I love the interplay between the lead guitar and saxophone in the final couple minutes. (8.875/10)

8. "Stále Dál / Further On" (3:15) a song that opens like some kind of cross between JTULL and CREAM. The dual ejaculation of the melodies in the chorus are examples of pure rock bliss. (9.125/10)

9. "Kure V Hodinkach / Chicken In The Watch " (5:30) the title song, in my opinion, always raises expectations. This one lives up to any expectations--especially when based on the buildup after the previous eight songs. This is a most excellent song in many aspects: sound palette, construct and performance, creative idoisyncracies, vocal and melodies, and sound engineering. This song would have received heavy radio play on the album-oriented FM stations in my hometown of Detroit back in the day. Great song. My other top three. (9.25/10)

Total time: 38:25

Not a Jazz-Rock Fusion album, more like a hard rock album with jazz-rock tendencies, whatever it is it is an example of excellent songwriting, performance, and sonic rendering.

92.06 on the Fishscales = A-/five stars; a most excellent minor masterpiece of jazz-rock-tinged heavy progressive rock. If you like Uriah Heep, Jethro Tull, Lighthouse, or the heavier rockers of the early blues--rock and progressive rock scenes, you will love this!

DIDIER LOCKWOOD New World (1979)

French violinist records an album for MPS in the Netherlands with an international all-star cast. Here we find Didier deciding to reach backward toward a more classic acoustic-oriented jazz, sounding very much like the music Stéphane Grappelli and the great European jazz violinists of the 1950s and 60s. Didier even goes so far as to cover several jazz "classics"--as if he feels he has to prove himself to the Jazz community.

Line-up / Musicians:
- Didier Lockwood / violin, bass-violin
With:
- John Etheridge / guitar (5,8,9)
- Jean-Michel Kajdan / guitar (5)
- Gordon Beck (Nucleus, Allan Holdsworth) / piano
- Francis Lockwood / piano (6)
- Niels-Henning Orsted-Pedersen / bass
- Anthony "Tony" Williams / drums

1. "Vieux Pape" (5:19) opening with a sound palette and style that sounds completely acoustic Sixties, this Didier composition is highly melodic and richly-full with the busy, virtuosic jazz musicianship of pianist Gordon Beck, bassist Niels-Henning Orsted-Pedersen, and drummer extraordinaire, Tony Williams while Didier puts in a performance that would make him worthy for competition with the great Jean-Luc Ponty. Beck's wonderful piano play is capped by a solo that finds me thinking of the late, great Chick Corea. Lovely! Then Niels-Henning Orsted-Pedersen takes a turn in the spotlight and he's also quite wonderful--projecting lovely melody despite moving along the fretboard of his stand-up double bass at breakneck speeds. (9.25/10)

2. "Autumn Leaves" (5:24) a fully-jazz expression of the jazz classic (which was originally composed by Frenchmen Joseph Kosma and lyricist Jacques Prévoert when titled "Les feiulles mortes"--meaning "dead leaves"). Great performances--especially if you like high quality jazz musicianship. Also, I never really realized how wonderfully this song's main melody lends itself to expression on the acoustic violin. A kind of revelation! Gordon Beck's pristine solo in the second minute is so clean, crisp and yet beautiful. And Niels-Henning Orsted-Pedersen's walking bass line so perfect for holding it all together. (9.3333/10)

3. "La Manufacture De Sucre Engloutie" (3:50) gorgeous piano chord play opens this song--a composition credited to both Gordon Beck and Didier. Listening to this song truly is like being in the presence of humans possessed with a direct line to otherworldly beauty. I can definitely see how anomolous music mathematician Allan Holdsworth forged such a deep and lasting bond with Mr. Beck. (9.75/10)

4. "New World" (5:04) composed by Didier's brother, Francis, the ensemble really has fun with this one--especially, methinks, Didier and Tony. A great listen of impressive musicianship. (9.25/10)

5. "The Last Blade Of Grass" (4:26) the first song to sound a little like J-R Fusion with electrified violin, electric guitars, this song is attributed to guest fusion guitarist Jean-Michel Kajdan. Jean-Michel's performance is particularly impressive for its fiery dexterity as well as emotional expressiveness. Matter of fact, the rest of the band seem rather sleepy when set beside J-M's play: as if they're all stunned, standing in jaw-on-the-floor shock, as they go through their motions perfunctorily while Jean-Michel plays. In fact, it takes a full 20-to-30 seconds after Jean-Michel pauses for the others to re-focus and put some passion back into their own play--including the next soloist himself (Didier)! In the end, everybody gets up to speed and the song finishes well, but those first two minutes were extraordinary! (9.3333/10)

6. "My Memories Of You" (5:40) interesting that this Francis Lockwood-penned song title and sound, chord progressions all sound like a song of a similar name that would find its way onto Vangelis Pappathanassiou's soundtrack for the 1982 sci-fi film Blade Runner. This duet between the Lockwood brothers finds the one using electrified violin, the other using a standard grand piano. (8.875/10)

7. "Giant Steps" (2:10) an interesting sprint through one of the giants of jazz history. (4.5/5)

8. "Pent-up House" (2:31) a Sonny Rollins song that Django Reinhardt and Stéphane Grappelli made their own on which guitarist John Etheridge quite capably takes the role of Django, while Didier, of course, takes that of Stéphane. Quite a respectful and faithful rendering. (9.125/10)

9. "Zbiggy" (6:55) a tribute to the recently-deceased Polish-born jazz violinist Zbigniew Seifert. Perishing of cancer at the age of 32, "Zbiggy" had been an early pioneer of electrified violin sounds and an active member of the "free jazz" movement though he contributed significantly to the J-R Fusion albums of Volker Kriegel, Jan "Ptaszyn" Wróbleweski, Jasper van 't Hof, Joachim Kühn, Hans Koller, Charlie Mariano, and Glenn Moore's Oregon. Didier's song here allows his collaborators (Tony Williams, John Etheridge, Gordon Beck, and Niels-Henning Orsted-Pedersen) to also pay tribute to their lost compatriot. Kind of a two-chord high-speed, dynamic vamp that allows for lots of soloing. (13.375/15)

Total Time: 41:19

It's all great acoustic jazz--maybe "rock" can be tagged onto the descriptive referents, but it's really just jazz. To me, this album is more of a retrospective tribute to Jazz history than a step forward in the evolution of Jazz-Rock Fusion. At the same time, after repeated listens I've come to appreciate the absolute genius of the performances of these jazz stalwarts. Beautiful!

91.99 on the Fishscales = A/five stars; while not what I would consider an expression or full-fledged Jazz-Rock Fusion, this is without a doubt a wonderful expression of music, musicianship, and jazz of the absolute highest quality and must, therefore, be extolled as a masterpiece of music--general Götterdämmerung-ed music--no matter what genre or category you choose to assign it to.

OPUS-5 Contre-courant (1976)

Part symphonic rock, part jazz-rock fusion (especially in the piano), part folk (especially in the harmonium-like vocal harmonies), this band from Québec sounds like a cross between Maneige, Harmonium, and Sloche (which just happen to be all Québec bands).

1. "Les temps des Pissenlits" (9:10) Central to the success of this great song is the HARMONIUM-like earworm choral vocal repeated over the course of the second two-thirds. (18.5/20)

2. "Il Çtait magicien" (11:40) opens like a CAMEL-RICK WAKEMAN piece. Other sounds and motifs that are familiar remind me of RENAISSANCE, TRAFFIC, ELP, and even ELTON JOHN. Not always cohesive or easily flowing, there is so much great music and musicianship on display here that I can't help but rate it highly. Strange that it goes so quite/delicate with two minutes to go. Quite anti-climactic. (18/20)

3. "Les saigneurs" (9:21) opens with anachronistic sounding steel-string guitar work--Anthony Phillips "Private Parts and Pieces"-like. At the end of the second minute tom-toms usher in a choral vocal section that sounds very much like a FOCUS-like play on classical traditions. Even the piano play and stop-and-go forms used feel FOCUS and/or GENTLE GIANT like. In the fourth minute, the musicians stop for a totally a cappella section before heading back into a jazzy flute and piano led "Moondance" like motif. Quite complex and virtuosic. The sixth and seventh minutes find the music alternating between precise jazz motifs and "Ancient"-sounding vocal responses. Then we move into a more pop music sounding section with gentle melodies and a simple instrumental chordal weave. (18.75/20)

4. "Le Bal" (5:42) sounds quite a bit like early Genesis--even the quirky story form structure of the song. Very nice keyboards and vocals. Quite and interesting and engaging song. (9/10)

5. "Contre-courant" (3:55) nature/harbor sounds mixed with odd synth sound lead into brief choral bank before the piano-based rock motif takes off in a GENTLE GIANT/FOCUS direction--lots of quirk playing off of very serious sounding classical riffs and motifs. Fascinating! Especially if this is, as it feels, intended to be a kind of tongue-in-cheek classical-rock fusion. (9/10)

Despite the obvious skill and virtuosity of all of the musicians involved, central to the band's achievements are the keyboard play of Olivier Du Plessis: he is a marvel to listen to. I am also quite impressed by the bass and flute playing and the vocals.

91.56 on the Fishscales = A-/five stars; an excellent contribution of FOCUS/CAMEL-like progressive rock music. In fact, this music--and the temperament conveyed through it--is quite on the same par as all of the afore-mentioned bands. I call this a masterpiece! (It's just not true Jazz-Rock Fusion.)

KORNI GRUPA (KORNELYANS) Not an Ordinary Life (1974)

Sophisticated prog rock from the Serbian portion of the former Yugoslavia. I can see why this band is considered one of, if note the, greatest rock/prog bands ever to come out of that nation state.

Line-up / Musicians:
- Zlatko Pejakovic / lead vocals
- Josip Bocek / electric & acoustic guitars, backing vocals
- Kornelije Kovac / keyboards, backing vocals
- Bojan Hreljac / bass
- Vladimir Furduj / drums

1. "Rising" (2:14) quite lovely, well produced, keyboard-led instrumental proggy Jazz-Rock. (4.625/5)

2. "Not an Ordinary Life" (10:16) sounding very much like a cross between early QUEEN, RARE EARTH, and early URIAH HEEP. I'm quite surprised to hear the excellent command of English spoken/sung throughout this song. Great change to an adventurous, theatric RARE EARTH-like motif around the three-minute mark. Some truly excellent drumming, guitar, and keyboard play during the extended solo patch in the middle. In the seventh minute the music switches into a very prog-rock focus with its CHRIS SQUIRE "Close to the Edge" bass line and dynamic (if also circus-like) keyboard play. A rather surprisingly mature and sophisticated composition pulled off with excellent musicianship and excellent sound quality! At 8:45 the music then moves into a grooving Jazz-Rock motif over which guitarist Josip Bocek shreds (in two tracks!) while lead singer Zlatko Pejakovic takes us out with his theatric vocal performance. (19.125/20)

3. "Generation 1942" (6:32) here exhibiting a style more similar to bands like CHICAGO and STYX (and Starcastle and, yes, Yes), the music is so pleasant, well-composed, and creatively rendered I find in total shock. I don't particularly like this style of music (it's now rather dated) but I definitely appreciate the skill and creative genius that went into its creation and production. (9/10)

4. "Fall of the Land of Women" (5:30) employing a distortion-making effect to Zlatko's voice gives this heavy prog song an Arthur Brown-like quality--but it's also in the forcefulness of his vocal delivery. The hard-driving MUSEO ROSENBACH/LE ORME-like music is quite complex with high-quality rock solos from multiple keys and electric guitar as well as solid tracks contributed by bass, drums, percussion, and acoustic guitars. Bassist Bojan Hreljac and keyboard wiz Kornelije Kovac are particularly awesome. (8.875/10)

5. "Temporary Parting" (3:58) solo piano and organ play from Kornelije opens this one before the arrival of a Jon Camp-like bass and syncopated drumming from Vladimir Furduj expose what is obviously a RENAISSANCE-like effort. Even the motif change at 3:00 is in full compliance with the Renaissance approach to making prog out of classically-inspired pieces. (9/10)

6. "Man with a White Flag" (11:43) another heavy rock motif opens this (sounding like a heavier GRAND FUNK RAILROAD or maybe URIAH HEEP) while Zlatko and his background singers sing in quite the GRAND FUNK style. There's a little Gentle Giant and Thin Lizzy in the instrumental passage between the first vocal section and the second. The vocal excellence really rises to the top in the second vocal section, even successfully transforming to monastery-like male choir in the fifth minute. Nice doubled-up synth solo in the sixth minute. The stylistic switch at the end of the seventh minute into a more high-powered-blues-rock motif--for Kornelije's piano solo--is awesome. Then the softer synth and organ-founded motif over which Zltako's voice sings so tenderly is equally impressive. Pulsing bass at the austere nine-minute mark gradually form into another dramatic motif: where Zlatko's URIAH HEEP-like treated voice performs as if from a cage. This culminates in a rising pitch bridge to a more cruising rock motif over which Kornelije returns to his bluesy piano soloing--during which the music is slowly faded out over the course of about 25 seconds. Though, again, this is not particularly my favorite kind of musical style--even in the prog rock form it is in--I cannot help but admire and appreciate the skill and maturity it took to put this together and perform it so flawlessly. (18/20)

Total Time 40:13

Considering that this band's 1972 debut album was only the fourth full-length studio album released in Yugoslavia of a rock band, the production here (in 1974) is incredible. The band had had six or seven years to work together before the recording of this album and it shows in both the skill level of the musicians but also in the sophistication of the compositions. The fact of the band's desire to make its mark in both the radio-friendly pop culture and the more instrumentally-lauded world of progressive rock music is also markedly present here.

91.50 on the Fishscales = A-/five stars; though I would never call this music "Jazz-Rock Fusion" I am over-the-moon impressed with every aspect of it. Quite entertaining (theatric) and excellent progressive rock music. Highly recommended for any and all progheads--especially if you like the spirit and styles of prog's "Classic Era" best.

CHASE Chase (1971)

If the Don Ellis Orchestra produced Blood Sweat and Tears and they composed for Broadway musicals.

Line-up / Musicians:
Bill Chase - trumpet
Ted Piercefield - trumpet, lead vocal on "Handbags and Gladrags" and "Boys and Girls Together"
Alan Ware - trumpet
Jerry Van Blair - trumpet, lead vocal on "Hello Groceries"
Phil Porter - keyboards
Dennis Johnson - bass guitar, vocals
Angel South - guitar, vocals
Jay Burrid - percussion
Terry Richards - lead vocals

1. "Open Up Wide" (3:48) amazing full-throttle brass rock. (8.875/10)

2. "Livin' In Heat" (2:54) a little Broadway musical feel to this one (as well as BS&T). I guess the lead vocals hear must be attributed to Dennis Johnson. (8.875/10)

3. "Hello Groceries" (2:56) R&B brass rock. Jerry Van Blair's lead vocal is pure R&B. (8.75/10)

4. "Handbags and Gladrags" (3:23) slowed down New Orleans funereal music start turns into New York City open air style jazz-rock. Love the wavy, layered horn arrangements in the back ground. Lead vocalist Ted Piercefield sure sounds like David Clayton Thomas. (9/10)

5. "Get It On" (2:59) (8.666667/10)

6. "Boys and Girls Together" (2:56) Ted Piercefield again in the lead vocals. (8.666667/10)

7. "Invitation to a River" (14:13) so much like the soundtrack and arias from a single act of a Broadway musical. Even so, it would be considered great, moving theater music. (27.75/30)
a) "Two Minds Meet" - Dennis Johnson again on lead vocals?
b) "Stay" - slow and atmospheric with choral background vocals supporting Dennis' plaintive lead.
c) "Paint It Sad" - there's that David Clayton Thomas sound and feel again.
d) "Reflections" (ad lib) - Astounding horn play--especially from lead trumpeter Bill Chase.
e) "River" - more akin to the slow and plaintive music and lyrics of the second movement.

Total time - 33:09

The horn play is amazing throughout this album--so crisp and clear, creative and powerful--but the songs aren't always as engaging and are rarely inventive or forward-thinking (except for the horn arrangements) as some of the other J-R Fusion artists of the day. I feel that Bill and company's compositional and stylistic orientations are quite similar to the music Stephen Schwartz was doing for musical theater.

91.02 on the Fishscales = A-/five stars; a minor masterpiece of theatric brass rock.

AZTECA Azteca (1972)

Another San Francisco band out of and in the vein of a funked up Latin-Cubano/SANTANA sound (including the contributions of several of Carlos' key collaborators like the Escovedo family).

Lineup / Musicians:
- Paul Jackson / Acoustic Bass, Electric Bass [Fender]
- Victor Pantoja / Congas, Vocals
- Lenny White / Drums, Vocals
- George Muribus / Electric Piano
- Flip Nuñez / Organ

- George DiQuattro / Piano [Acoustic], Clavinet
- Mel Martin / Soprano Saxophone, Tenor Saxophone, Baritone Saxophone, Flute, Piccolo Flute
- Bob Ferreira / Tenor Saxophone, Flute, Piccolo Flute
- Coke Escovedo / Timbales, Producer
- Tom Harrell / Trumpet
- Jules Rowell / Valve Trombone
- Wendy Haas / Vocals
- Errol Knowles / Vocals

- Pete Escovedo / Vocals
- Rico Reyes (SANTANA) / Vocals

With:

- Jim Vincent / Guitar (tracks: A3, A5, B1)
- Neal Schon / Guitar (A3, A5, B1)

A1. "La Piedra Del Sol" (1:13) definitely a polite introduction to the sound palette the rest of the album will hold: horns, percussion, and electric keys, guitars, and bass, here given an orchestral form. (4.5/5)

A2. "Mamita Linda" (3:40) like a professionally-crafted Latin drum-line from Havana or Panama City, this one flows pretty well (Paul Jackson's bass sound is a little incongruous) and then the Cuban-style piccolo, timbales, piano, and group male vocals are awesome! (Now I see where the Miami Sound Machine got their sound.) Excellent music! Who says musica Cubano isn't full-fledged jazz?! (9/10)

A3. "Ain't Got No Special Woman" (5:59) a little Curtis MAYFIELD flair for vocalist Rico Reyes to sing over. More blues-based R&B than J-R fusion. Nice guitar work from Jim Vincent and Neal Schon in the third and fourth minutes which is then followed by a sudden shift into a purely-Latin section to close. (8.875/10)

A4. "Empty Prophet" (5:27) a very soulful male vocal performance is supported as if by a studio orchestra giving this song more of a Lou Rawls or Coleman Hawkins feel. Very well done though definitely not belonging in the domain of Jazz-Rock Fusion. (9/10)

A5. "Can't Take The Funk Out Of Me" (4:22) again I am so reminded of the music of CURTIS MAYFIELD's debut albums despite the Parliament-like funk horns and vocal arrangements. Errol Knowles' raspy soul/R&B vocal is wonderfully supported/accented by the gospel-like background choir. Lenny White is a real standout as is the clavinet play from George DiQuattro, and this is one of the better Paul Jackson performances on the album. Rated down for not being as fusiony as the others. (8.75/10)

"Peace Everybody" (4:30) Paul and Lenny open this one as if in a competitive race. And then the rather crisp and well-arranged horns join in with the percussionists and rest of the band to support a choral vocal of the title words. The anti-war vocals in between the choral chants are quite like those of The Fifth Dimension or a Stephen Schwartz Broadway musical. This reminds me a lot of Billy Cobham's first band, DREAMS--even when the AVERAGE WHITE BAND section that supports Mel Martin's dynamic saxophone solo in fourth minute. (9/10)

"Non Pacem" (6:39) an excellent multiple motif song with choir vocals like Giants with some excellent solos from Tom Harrell on trumpet and Mel Martin on Soprano Saxophone as well as super solid contributions to the rhythm track from multiple percussionists. Latin jazz-rock funk rarely gets better than this! (10/10)

"Ah! Ah!" (3:24) a repetitious blend of Cubano-style horn-and-percussion-based structure with R&B electric instruments and a very Caribbe-sounding vocal arrangement. (8.875/10)

"Love Not Then" (5:00) such a pretty R&B groove--right up there with The Fifth Dimension, Dionne Warwick, Gladys Knight & The Pips, and even Marvin Gaye. Great instrumental performances of an awesome arrangement. I love both the smooth female lead and boy choir background vocals. This could have/should have been a radio hit! (9/10)

"Azteca" (4:45) a scrum of horns, percussion and bass notes opens this before all falling into line for a fairly smooth and melodic, almost Curtis Mayfield R&B-like jam. I love the structure of this with its shifts into Cubano and more-straightforward jazz motifs. Love the enthusiastic piano play from George DiQuattro as well as the drumming of Lenny White! (9.25/10)

"Theme: La Piedra Del Sol" (1:52) as if the opening song had been veritably cut in two, this feels as if it picks up in the middle of something and then proceeds to usher (and march) us into the night. Nice. Very professional. (4.625/5)

I'm surprised at how often I find myself finding Paul Jackson's bass play (and sound) to be the weak link in the individual songs on this album. The compositions are superlative with all of their Caribbean influences

90.875 on the Fishscales = A-/five stars; a minor masterpiece of Latin-grounded music of a variety of styles (not all jazz or Jazz-Rock Fusion oriented). Still, highly recommended for the sake of the highly sophisticated conpositions and arrangements.

BRIAN AUGER, JULIE DRISCOLL & THE TRINITY Street Noise (1969)

The Julie Driscoll/Brian Auger Trinity collaboration comes to an end with this double album: which is a perfect testament to an amazing singer and her wonderful support crew musicians. I think it only just that this "support crew" is given their due: their own Side (Three); time to shine on their own.

Line-up / Musicians:
- Brian "Auge" Auger / organ, piano, electric piano, vocals
- Julie "Jools" Driscoll / vocals, acoustic guitar
- Clive "Toli" Thacker / drums & percussion
- David "Lobs" Ambrose / 4- & 6-string electric bass, acoustic guitar, vocals

LP Side One:
1. "Tropic of Capricorn" (5:32) syncopated cymbal play with matching organ, piano and bass notes leads into the establishment of a kind of ELP/"Take Five" jazzy blues-rock motif, which then smooths out with vocals into what sounds very much like something from THE SOFT MACHINE's second album. The ensuing instrumental section adds some Ray Manzarek-style organ soloing while Clive Thacker and David Ambrose keep the rhythm section very interesting yet very tight. This is really cool stuff--including a really impressive (and so well-recorded) drum solo in the fifth minute! (9.5/10)

2. "Czechoslovakia" (6:21) rockin' music that sounds like both a Sandy Denny-led JEFFERSON AIRPLANE and a pissed-off Grace Slick-led RENAISSANCE (and even Canterbury bands like EGG and The Soft Machine). This Julie Driscoll is a force! The stripped down guitar + Julie center passage is so powerful--so much like the very best of the strong-Mama female singers of the second half of the 1960s. It's important to remember the Czechoslovakian uprising of 1968 that was so brutally suppressed by the Soviet army. (9.25/10)

3. "Take Me to the Water" (4:17) the "Negro spiritual" (that must surely have influenced Al Green's "Take Me to the River") here done in a fairly standard (for the time) gospel blues style in which it opens as a dirge before shifting into gear as a wake-like celebration. Very powerfully rendered. As I said above, this Julie Driscoll is a force! (This is really my first fully-focused exposure to her singing.) (8.875/10)

4. "Word About Colour" (1:38) Julie's anguished voice, here accompanied by a lone acoustic guitar, delivers another very powerful vocal. More bluesy folk than jazz-rock but that's okay. (4.625/5)

LP Side Two:
5. "Light My Fire" (4:21) Yep, The Trinity did a cover of the Doors' monster hit. Stripped down, bluesy, with some awesome funk/R&B bass from David Ambrose and virtuosic blues organ from the band leader. Julie gives a very passionate rendering and interpretation to the Jim Morrison vocal and Clive Thacker is rock solid. (9/10)

6. "Indian Rope Man" (3:22) here The Trinity take on a rather obscure Richie Havens song and give it the SPENCER DAVIS GROUP treatment. Stevie Winwood could not have done it better. The band is so tight! And what an organ solo by Brian! (9.125/10)

7. "When I Was a Young Girl" (7:03) droning organ softly cushions and floats Julie's plaintive vocals on their version of this 1952 Tex Galdden song that had been made famous by Feist and, more recently, Nina Simone. Tom's and gentle arpeggiated bass chords are added as the song goes on. Man! I find it hard to imagine anyone recording/performing this song better than Julie does here. Incredible! Makes Grace Slick's most impassioned vocals pale in comparison. Still, these amazingly emotional vocal performances do not help make either Jazz-Rock Fusion or Progressive Rock music launch. (14/15)

8. "Flesh Failures (Let the Sunshine In)" (3:04) a version of this song far more attuned to the stage performance from Hair than any of the pop versions that had been made by the likes of The Fifth Dimension and The Spencer Davis Group in the first years of its existence. Great performance from Julie but also from Brian's loud organ. (8.875/10)

(Hair premiered on Broadway on April 11, 1968. It had premiered the year before [on October 17] Off Broadway [at Joseph Papp's Public Theater] but was such an immediate hit that it was moved to Broadway within six months. Its first soundtrack recording was released on May 6, 1968, as performed by the original Broadway cast. Within the first two years of its existence, the song was covered by other artists on vinyl recordings no less than 20 times. Hair was, by the way, the first rock musical to play on Broadway.)

LP Side Three (the "no Julie" side):
9. "Ellis Island" (4:10) a flat-out crazy display of solo organ play over a tight blues-rock motif. And the organ is recorded so cleanly! I have to reward the band, and especially Brian, for this one. (9.125/10)

10. "In Search of the Sun" (4:22) gentle-yet-insistent psychedelic blues-rock with Brian singing the lead vocal. He's really good! Not unlike Spurogyra's Martin Cockerham. Solid if unspectacular song. It's just so solid, so mature and well-polished that I have to reward it. (9/10)

11. "Finally Found You Out" (4:12) more great blues-rock with great organ play--not as up-front in-your-face as his work on "Ellis Island" but definitely more dynamic and passionate. The guy is massively good! Piano and a more laid back background motif provided by the "cool" rhythm section. Song fades out. Apparently, there "wasn't time" to add the vocal/singing track before the song/album had to go to press. (9.25/10)

12. "Looking in the Eye of the World" (5:02) a real "old"feeling blues piano-and-voice tune that sounds like something right out of Mark Isham and Charlélie Couture's music from the 1988 film, The Moderns. (One of my all-time favorite soundtracks.) (9/10)

LP Side Four:
13. "Vauxhall to Lambeth Bridge" (6:31) Julie is back with a more blues-folk-Americana-like performance that rivals anything Sandy Denny, Maddie Prior, Laura Nyro, Grace Slick, Karen Dalton, or even Nina Simone were doing at the time. The instrumental accompaniment is solely Dave Ambrose's MASON WILLIAMS-like acoustic guitar. Wonderful song with a vocal performance that stands out, for me, as one of the greats. (9.75/10)

14. "All Blues Davis" (5:41) piano, bass, and drums launch into a unified march through a MILES DAVIS song with Julie Driscoll providing a true blues vocal over the top (something that is not present in Miles' original version from the 1959 masterpiece, Kind of Blue). Julie's performance sounds very much like the kind of highly-individualistic take Nina Simone would put on a classic song like this. Brian's piano work is great though the way the piano's sound is rendered on the record leaves a lot to be desired. (9/10)

15. "I've Got Life" (4:28) the weirdest and weakest song on the album, sounding far too much like an aberrant white Baptist corruption of a Negro Spiritual. The organ and other instrumental performances are awesome; it's just Julie's misfitted performance that grates. Too bad. I hate to see this amazing album with so many incredible Julie performances maligned and diminished. (8.375/10)

16. "Save the Country" (3:58) Julie's cover of Laura Nyro's peacenik anthem. The blues-jazz bent that Dave and Brian give the song is awesome. Julie's vocal seems a little loose and haphazard--not as well versed or invested as her other performances. Plus, it's poorly recorded. Then there's the unfortunate circumstance of giving little room or for the voices of the instrumentalists--other than David's excellent electric bass. Brian and Clive seem relegated to orchestra pit musicians for a rock musical. (8.5/10)

Total Time: 74:02

Though this album is by no means a straight up jazz-rock fusion, prog, or even jazz-rock album, it has many elements throughout the album that would make strong representation to all three of the newly-emerging musical genres. Where the album's music clearly stands out is in the stunningly powerful performances by singer Julie Driscoll, the dynamic organ play of Brian Auger (both in support and in lead capacities) as well as the near-virtuosic performances of the rhythm section performers, Clive Thacker and David Ambrose. Too bad about the album's final two songs.

90.78 on the Fishscales = A-/five stars; a masterpiece of folk- and psychedelic-tinged jazzy blues rock that happens to present some of the finest female vocal performances of the 1960s.

MISSING LINK Nevergreen! (1972)

Proggy Jazz-Rock Fusion from Deutschland--produced and engineered by Dieter Dierks. Sadly, this is the band's one and only album.

Line-up / Musicians:
- Markus Sing / guitar
- Gunther Latuschik / saxophone
- Gabriel Dominik Mueller / vocal
- Dieter Miekautsch / keyboard
- Dave Schratzenstaller / bass
- Holger Brandt / drums

1. "Spoiled love" (5:19) opens with heavy rock chords and sound palette that sounds just like it comes from the kind of Black Sabbath or albums that SPINAL TAP made their name on for their parodies. Getting into the meat of the song there are some ELP-like sounds and chord progressions (and skill displays) before the organ and bass fall into line for the support of Gabriel Dominik Mueller's excellent voice to sing over. Great song established with stellar performances from all of the instrumentalists though especially Markus Sing's amazing lead guitar solo in the third and fourth minutes. I love how it goes soft for Dieter Miekautsch's electric piano solo (with added Mellotron later) for the final motif as bassist Dave Schratzenstaller's Greg Lake-like lines remind the listener of KING CRIMSON's In the Court of the Crimson King. Saxophone joins in with a little over a minute to go before Gabriel returns in the final minute; here he reminds me a lot of Roye Albrighton's voice for NEKTAR. (9.5/10)

2. "Song for Ann" (2:49) a great Keith Emerson-like piano solo. Stunningly gorgeous! (5/5)

3. "Time will change" (5:31) very disciplined almost-mathematical Jazz-Rock that is built a little like Paul Desmond's "Take Five" while sporting some "I'm a Man" descnding chords to regularly bridge the band into a reset. Nice piano, electric guitar, and saxophone. A new blues-rockin' motif starts around 2:45 which eventually supports the TRAFFIC/VAN MORRISON-like vocals that arrive in the fourth minute. (How much this reminds me of the 1990s HAPPY MONDAYS!) Awesome bass and rhythm guitar play along with Gabriel's excellent blues-rock vocal. Not my favorite style of music but definitely a great construct with quite excellent and creative performances from everybody in the band. (9.125/10)

4. "Only me" (5:07) more power psychedelic blues-rock that seems quite inspired by bands from a few years earlier like Traffic, Blood, Sweat & Tears, and even Santana. (8.875/10)

5. "Sorcery" (5:23) a blues-rock vamp over which sax, electric guitar, and keys elicit some impressive solos--especially Markus searing wah-wah guitar. The sound palette drifts into some really nice ALLMAN BROTHERS territory in the fourth and fifth minutes just before everybody throws any restraint to the ground for a free-for-all race to the finish. (8.875/10)

6. "Filled up" (6:26) More interestingly-constructed music that seems to have its hands in several pies: rockabilly, Baroque, and even the angular, anachronistic quirk of Gentle Giant. The vocal section in the fourth and fifth minutes is like GG being performed by Peter Hammill's VAN DER GRAAF GENERATOR or The Netherlands' FOCUS. Interesting--and definitely way more proggy than jazzy. Too bad Gabriel's vocal track is recorded/processed rather poorly. (8.875/10)

7. "Kids hunting" (6:11) on this one I hear a 60s rock start turn VDGG with some AREA injected into the music in the second minute. Vocals enter at the three-minute mark with a kind of DEREK SHULMAN style of singing used in the first vocal motif. But then the band switches to a more rapid-paced rock motif in which Gabriel's voice sounds more like Sabbath's Ozzie Osborne. The vocal performance is nice but, again, it's recorded/rendered rather poorly--like Grand Funk Railroad's early renderings of Mark Farner's lead vocals. (9/10)

Total Time: 36:46

Too bad these talented musicians (and songwriters) didn't stay together: there is some very high-quality musicianship as well as highly-creative song construction going on here. Only guitarist Markus Sing and keyboardist Dieter Miekautsch went on to contribute to any other successful bands (Konstantin Wecker and Missus Beastly/Embryo, respectively).

90.77 on the Fishscales = A-/five stars; a minor masterpiece of creative, skillfully-rendered progressive rock music. Despite the Jazz-Rock Fusion classification, I only hear rock-derived progressive rock here.

PASSPORT Garden of Eden (1979)

For Garden of Eden Klaus Doldinger has managed to retain the participation of the new core of collaborators that he had on the previous year's Ataraxia (Sky Blue); the only loss (and it is significant) is of the Louis brothers, Elmer and Roy (percussion and guitar, respectively).

Line-up / Musicians:
- Klaus Doldinger / saxophones, keyboards, clarinet
- Willy Ketzer / drums, percussion
- Kevin Mulligan / guitar, vocals
- Dieter Petereit / bass
- Hendrik Schaper / keyboards
Guest musicians:
- Kathy Bartney / vocals (4-6)
- Horst Ramthor / harp (2a)

1. "Big bang" (3:53) a long spacey/atmospheric synth intro is joined by Disco drums, percussion, and the rest of the band while Klaus steps in with a soprano sax to lead the way. There is a little bit of the ELOY sound emanating from this as well as, in the later portions, some JACO PASTORIUS-imitative bass play. (8.6667/10)

2. "Garden of Eden": (8:51) (18.875/20)
a) "Dawn" (1:54) the beautiful and soothing pastoral Nature intro that I've always loved. Yes, Mike Oldfield, and may have been source inspirations for this. (5/5)
b) "Light I" (1:53) enter Kevin Mulligan's English vocals, presented in a kind of YES/Jon Anderson mode. Then drums and electric guitar begin to introduce themselves before a second verse. Sax, Moog, and electric guitar add their ten cents worth along the way. (4.375/5)
c) "Light II" (5:04) now launching into a fun, forward-moving passage that reminds one of the music of NARADA MICHAEL WALDEN and THE ELOY as well as future Trevor Horn projects like The Buggles and Frankie Goes to Hollywood. Nice vocal melodies from Kevin and Kathy Barney. Excellent jazzy New Age prog. (9.5/10)

3. "Snake" (4:49) gorgeous journey down a lazy river. Great slow, drawn out melodies. (9.5/10)

4. "Gates of paradise" (3:47) more Hiram Bullock/Narada Michael Walden-like music, here bringing out the funk with some new slap bass and deep thrum chords. Vocals are okay, though the melodies are great, it's just that the multi-track (chorused?) effect on a lead vocalist that was popular at the time (as with Narada Michael Walden's treatment of his own voice as well as some of Al Jarreau's): a little schlocky. There's also a little more of the NOVA sound here. (8.875/10)

5. "Dreamware" (5:00) Disco with all of the concurrent tricks: slap-and pluck bass, Ernie Isley guitar sound in the rhythm (styled like George Johnson), Evelyn Champagne King hand claps, electric piano chords, and synth sound used for the solo over the top. Great quality upbeat and uptempo disco dance music. (9.125/10)

6. "Good Earth smile" (5:04) another pop/radio-oriented tune that has one foot in the world of American Gospel-oriented Southern Rock and one in the Weather Report school of Adult Contemporary jazz. (8.6667/10)

7. "Children's dance" (3:39) another song that seems to come straight out of the WEATHER REPORT repertoire of happy-go-lucky pop tunes. (8.75/10)

Total Time: 35:03

By far the proggiest of Klaus' albums. When they're proggy, the songs are really great. When he tries to turn back toward the latest trends in Jazz-Rock Fusion and Weather Report/Crusaders pop jazz it falls into the category of average (for that time very good).

90.57 on the Fishscales = A-/five stars; an album blessed with great prog but then also cursed with schlocky, now-dated pop. Fortunately for we prog lovers, the progginess and high quality of the other explorations wins out.

JAZZ Q Symbiosis (1974)

A band from Czechoslovakia that I'd not heard of before this album. How such wonderful and creative music was coming out of Communist countries is a bit of a mystery to me--as well as how they were gaining access behind the "Iron Curtain" to the "Western" music that was obviously inspiring is equally curious. I might need to bone up on my 20th Century history a little.

Line-up / Musicians:
- Jiř Rotter, Leek Semelka, Pavel Dydovič, Vladimr Mik / backing vocals
- Vladimr Padrůněk / bass
- Jan Kubk / clarinet
- Jiř Tomek / congas
- Alexander Čihař / double bass
- Michal Vrbovec / drums
- Martin Kratochvíl / electric piano, piano, organ, harpsichord, leader
- Frantiek Francl / guitar
- Joan Duggan / lead vocals
- Radek Pobořil / trumpet

1. "Ze tmy do světla (From Dark to Light)" (6:05) plodding, cinematic music that is suddenly disrupted by an androgenous, at-times almost Janis Joplin ("Pearl")-like vocal from Joan Duggan: singing Portia's famous "The quality of mercy is not strained, …" from William Shakespeare's Merchant of Venice. while employing a little of John McLaughlin's "Resolution" beneath parts of it. (8.75/10)

2. "Ztracená láska (Lost Soul)" (6:05) a much-more-blues-rock song with raspy Pearl-like vocals singing what sounds like more famous poetry over some Jeff Beck like heavy blues-rock music. Joan Duggan's voice is strong, powerful, confident, and definitely the best part of these songs, but it's raw, bluesy style is not usually one of my favorites. Maybe the excellent musicianship beneath her helps elevate her performances. (8.875/10)

3. "Hvězdný pták (Starbird)" (7:25) opens as a beautiful, heavily emotional song to support the gorgeous vocal (in English) from Joan Duggan. Though slow and sometimes simple (and plodding) the music of the first three and a half minutes is filled with so many wonderfully interesting and engaging nuances and flourishes, and then there is an all-instrumental period in the fifth and sixth minutes in which electric guitar and electric piano get the chance to solo--and then the shift to Latin rhythms and scatting for the final 0:45 is totally wonderful. Not your usual prog lover's jazz-rock fusion song, but an excellent song anyway: great melodies (14/15)

4. "Čaroděj (The Wizard)" (16:25) opens with 75 seconds of gentle electric piano play before bass line, rhythm guitar line, and drums and percussion line up to set up the Latinized rock foundation over which Joan Duggan again sings. She is quite a talent! After a couple of minutes supporting the vocal, the rhythm section continues on in the same SANTANA-like vein in support of a nice Martin Kratochvíl electric piano solo. In the seventh minute we see the return of Joan Duggan in the spotlight. I really like her vocal style: it reminds me a bit of Annette Peacock. Guitarist Frantiek Francl gets a little shine in the eighth minute before the music completely stops to allow some spacious electric piano chords to support electric bassist Vladimr Padrůněk's solo over the next two minutes. I really enjoy the dynamic range exhibited in this one: the upbeat happy-go-lucky parts supporting Joan's fun vocal contrasted with the heavier, more serious passage given to the bass solo and beyond. The musicians fall a little into more rudimentary blues-rock toward the end, but it's still a great listen. (27.5/30)

5. "Epilogue" (3:25) dreamy electric piano, electric bass, and "distant" horns and percussion populate this instrumental's sonic field as we bring the album to a close. It's a cross between Rainer Brüninghaus and "Auld Lang Syne." (8.75/10)

Total Time 39:25

To my mind (and ears), this is album's music is a step backwards for this band--or, at least, as step away from Jazz-Rock Fusion (which is, I have to admit, what I'm always hoping to find) and more into heavy blues-rock.

90.50 on the Fishscales = A-/4.5 stars; a minor-masterpiece of interesting and unusual vocal jazz-rock music.

DREAMS Dreams (1970)

Jazz-infused rock music in the CHICAGO/BLOOD SWEAT & TEARS vein from New York City. Recorded in 1970 at three CBS studios in New York City and Chicago, the band's first of only two albums was released in November by Columbia Records.

Line-up / Musicians:

Michael Brecker - Tenor Sax & Flute

Randy Brecker - Trumpet & Flugelhorn

Billy Cobham - Drums & Percussion

Jeff Kent - Keyboards, Guitar & Vocals

Doug Lubahn - Bass & vocals

Barry Rogers - Trombone & Wagner Tuba

Edward Vernon - Vocals

John Abercrombie - Lead Guitar

1. "Devil Lady" (3:33) a very concise BS&T-modeled song. (I get the very distinct feeling that the iconic LaBelle song, "Lady Marmalade" pretty much lifted the music from this song,.) Solid song that might have deserved radio airplay. (8.75/10)

2. "15 Miles to Provo" (3:01) a more mainstream pop-oriented song of the CHICAGO, Jimmy Webb or Eric Burden orientation--except for the elaborate play of the horn section that joins in (and dominates) late in the first minute. Besides the dynamic (though oddly engineered) horn play, I like the organ play here from Jeff Kent. (8.75/10)

3. "The Maryanne" (2:25) a very pretty strummed-acoustic guitar-based love song, bass and horns join Doug Lubahn and Edward Vernon as the song progresses. Nice. (9.25/10)

4. "Holli Be Home" (5:42) delicate cymbal play with electric guitar harmonics makes for a very pretty opening. "Distant" horns join in before Ed Vernon takes the lead in vocals. He's mixed a little into the back of the mix--sounding like a song from Broadway's Godspell. The horns are so amazing in support--even getting lead time third minute's instrumental passage (with electric guitar and Tenor Sax). Such a well-constructed song; too bad the sound mix is a little off. Nice song! (9.25/10)

5. "Try Me" (5:10) hard driving jazz-infused rock music with Sly Stone-like vocals, very tight, dynamic, and essential horn play, solid bass play, and emphatic drum play. Watch out world: here is Billy Cobham! (9/10)

6. "Dream Suite: Asset Stop/Jane/Crunchy Granola" (15:21) the first movement is a totally-R&B groove with tenor sax to start it out before the band chimes in and supports vocalist Edward Vernon on a very David Clayton-Thomas-like bluesy-rock performance. The wild horn interplay in the brief instrumental passage in the fourth minute is quite remarkable--and it continues after Ed's next soulful passage. (A great vocal performance here, by the way.)

The transition into the second movement, "Jane" is quite murky--almost uneventful as the band members just seem to peter out. At the end of nearly a minute of this nebulous amorphous pool the band reemerges with a more blues-oriented song. One simply cannot help but notice the dextrous skill of these musicians in so many instances of this album, here Billy Cobham's lightning fast fills and the horn players' remarkably precise accents.

The third and final movement of this is hard-drivin' jazz-rock fusion, "Crunchy Granola," sounds like it could come from Side One of CHICAGO's 1969 debut album, Chicago Transit Authority--the most accomplished and jazz-rock side of that wonderful album. Billy really gets to shine here beneath all of the funky elements interplaying above. It presents as a long high speed jam until the final two minutes when the music again devolves into the kind of soup of malaise that occurred at the end of the first movement--but is now rescued by an impressive Billy Cobham drum solo. Cool! Wish it had all been as catchy and dynamic as that first movement. (26.5/30)

7. "New York" (5:43) announced by a repeated horn bank chord before dynamic bass, drums and keys jump in--with choral vocals singing a very engaging melody with anthemic lyrics. Great organ and tenor sax performances in the first instrumental passage, trumpet in the second, electric guitar in the third. Such a great, lively tune! The horns, bass, and group vocals are the definite winners here! (9.75/10)

These musicians are so well-adapted to one another --and the horns are incredibly tight when they need to be yet incredibly skilled when they contribute as individuals.

90.278 on the Fishscales = A-/4.5 stars; a near-masterpiece of incredibly well-performed jazz-infused rock music from a veritable all-star lineup of future Hall of Fame artists.

KORNI GRUPA (KORNYLANS) Korni Grupa (1972)

An early fan-favorite from Belgrade, Yugoslavia (now Serbia).

Line-up / Musicians:

- Zlatko Pejakovic / lead vocals

- Josip Bocek / electric & acoustic guitars, backing vocals, arrangements (1)

- Kornelije Kovac / organ, piano, electric piano, harpsichord, vibes, backing vocals

- Bojan Hreljac / bass, percussion

- Vladimir Furduj / drums, congas, tambourine

1. "Glas sa obale boje" (4:27) except for the two tracks devoted to THIN LIZZY-like "twin" guitars, this song sounds like a song from a GRAND FUNK RAILROAD album of this time. Nothing Jazz-Rock Fusion about this bombastic prog-related song. (But it may have been popular in Yugoslavia). (8.5/10)

2. "Put na istok" (14:20) (26.66667/30):

- Prvi dan - more solid proto-prog like blues-rock sounding like something coming from Latin America at the same time. (8.5/10)

- Drugi dan - shifting a bit into slightly more funk and jazziness--and then TRAFFIC-like, then back to blues-rock with a little more power. (8.6667/10)

- Dilema - the BANCO MUTUO SOCCORSO (or AREA) comparisons are warranted for this gentle little baroque keyboard-centric movement. (4.5/5)

- Zemlja - AREA might be the more appropriate band to compare the final movement to--especially dute to the hard-infusion of Serbian/Balkan/Ottoman music. (5/5)

3. "Moj bol" (10:27) more disciplined jazz-rock with true jazz foundations, electric instrumentation as well as Serbian percussion play. Vocals joining in during the second and third minutes again feel very RPI-like--the whole song's vibe becoming much more BANCO-like from here on despite some very TRAFFIC/"Low Spark of High-Heeled Boys" passages. Nice searing electric guitar soloing in the eighth minute. Quite an excellent and deeply satisfying song. (18.5/20)

4. "Bezglave Ja-Ha horde" (6:46) more nice-flowing Jazz-Rock Fusion that is a vehicle for vocals from the very start--again giving it a very RPI sound and feeling. But it's so good! The vocalist has the voice and talent quite like AREA leader DEMETRIO STRATOS! If this had appeared on an RPI album during the same year it would have been an instant classic! (14.5/15)

5. "Tata Ko i mama Spo" (4:12) opening like a GEORGE HARRISON song, guitars (acoustic strumming, "weeping" electric soloing in the background). Full band joins in as vocalist starts to sing his powerful. voice--this time reminding me very much of LOS JAIVAS' lead vocalist Eduardo "Gato" Alquinta on the Pablo Naruda album. It's okay for a 1960s blues/folk rock song. (8.5/10)

Total Time 40:12

Not pure Jazz-Rock Fusion, more of an eclectic run through early blues-rock prog rock with some jazz-infusions and, more, lots of local ethnic melodies and styles as well as ethnic Serbian instruments. There are more instances of the band showing its being inspired by Grand Funk, Traffic, Santana, and Banco Del Mutuo Soccorso than any jazz-rock fusion band.

90.20 on the Fishscales = A-/4.5 stars; a minor masterpiece of early but eclectic (and imitative) prog music.

LARRY CORYELL Basics (Recorded in 1968 and 1969; released in 1976.)

Though not released until 1976, the songs collected and packaged here were recorded in sessions that happened in 1968 and 1969. The music here is predominantly blues and blues-rock with very little Jazz-Rock Fusion

Line-up / Musicians:
- Larry Coryell / guitar, vocals
With:
- Michael Mandel / organ
- Ron Carter / electric bass
- Chuck Rainey / electric bass
- Bernard Purdie / drums
- Steve Haas / drums
- Ray Mantilla / percussion
- uncredited / saxophone (1,7)

1. "Call to the Higher Consciousness" (5:17) a very basic blues rock song constructed from a very basic blues chord progression. Larry, an oddly uncredited saxophone soloist, and congas take turns playing over the basic blues rhythm track as provided by front-mixed bass, drums, Ray Mantilla's percussion play, and Mike Mandel's distant organ. Sounds like a garage practice session for a new high school "band" of 16-year olds (albeit, gifted 16-year olds). No disrespect to Larry, but Ray is the only one here on this recording that sounds like he's on a professional level. (8.66667/10)

2. "Slow Blues" (4:22) pure blues. Some top notch blues guitar play from the bandleader--and I've seen/heard a lot of the greats! And pretty well recorded (as opposed to song #1). A solid blues song with some praise-worthy lead guitar work. (9/10)

3. "Friday Night" (2:22) more blues rock, this time with a little more Swamp fell and a lot more Buddy Guy-like rock orientation to it. I can hear quite a bit of Stevie Ray Vaughn in this one. Great bass and drum play from Chuck and Bernard. (I'm assuming.) (4.75/5)

4. "Half a Heart" (3:30) a SANTANA-like song that has a melody to hook onto as well as some mature structure with multifarious chord sophisticated progressions and more stunning lead guitar work (though much more rock-oriented on this one) and vocals! In the second half of the second minute. (He's got a really good voice!) Is this the song that spawned Becker and Fagen's "Do It Again"? Sure sounds like it! (9.33333/10)

5. "Sex" (4:32) a rock-sided blues rock tune with a looseness that reminds me of a Stevie Winwood song. Great percussion and bass work while Larry wows us yet again with his ROGER McGUINN/Byrds-like/inspired 12-string lead guitar work. (9.25/10)

6. "Tyrone" (3:00) Larry covering a Larry Young composition with the same lineup and sound palette as the previous song. There is a little "Walk on the Wild Side" feel coming from the bass players lines. Nice solid team of drums and congas behind Larry's impressive guitar phrasing and skills. (8.875/10)

7. "Jam with Albert" (2:55) could the uncredited saxophone player on songs 1 & 7 be none-other than ground-breaking musician Albert Ayler--a man who would be dead within two years of these recording sessions (at the ripe young age of 34)? Given Larry's ubiquitous and fearless full immersion into the New York City music scene since his arrival in 1965 my hypothesis would not be a far stretch--and with the way the musical performances unfold on this song, I would not put it past the two, either. Nice rock song that feels and sounds like something that could've come off of a Jeff Beck album of the same time (Larry is really cooking on that rock guitar--and the rhythm trio [bass, drums, and congas] are incredibly tight!) (8.875/10)

8. "Organ Blues" (5:19) the only song on the album in which an organ plays a significant role, the interplay between Larry and Mike Mandel feels very loose and comfortable: both very mutually respectful and supportive. (This song represents the birth of a long and very industrious collaborative relationship for the two.) Otherwise a very standard-sounding blues song--one that sounds as common as an I-IV-V or I-VI-IV-V progression is in rock music. (8.875/10)

Total Time 31:17

I don't know if the music on this album is ordered in chronological order according to when they were first recorded , but they almost play out like that: simplest first, most sophisticated/mature toward the end. Most all of my individual song ratings are higher than my musical tastes would have predicted. This is due to the fact of nice sound recording, great instrumental performances--especially from the often-jaw-dropping play of one Lorenz Albert Van DeLinder III (aka Larry Coryell).

90.167 on the Fishscales = A-/five stars;a minor masterpiece of Blues Rock that might very well also be considered an example of proto-jazz-rock fusion--certainly an astonishing display of guitar pyrotechnics: each song a master class unto itself. HIGHLY recommended to any fan of the evolution of the electric guitar and for any fan of the highest caliber guitarists who ever wielded an axe.

FINNFOREST Finnforest (1975)

Line-up / Musicians:
- Pekka Tegelman / acoustic & electric guitars, bass (6, 7)
- Jukka Rissanen / organ, piano, el. piano, synthesizer
- Jussi Tegelman / drums

1. "Mikä yö!" (5:27) the extended solo church organ in the beginning of this does not prepare one for the CAMEL-like onslaught of guitars and drums that join in the second minute. A very cool, very prog-centric song that I feel bears little to no commonality to anything going on in the world of Jazz-Rock Fusion. (9.25/10)

2. "Sanaton laulu" (3:51) 30-seconds of BACH-like organ arpeggi precede the joinder drums and, later, Andy Latimer-like guitar. In the third minute there is a total shift into a more guitar-centric motif but then the song comes to an end that feels almost Midlothian Again, Camel is the dominant model for this very well rendered song. (9/10)

3. "Happea" (4:39) using stop-and-go syncopation makes this high-speed song feel like it comes from the world of EMERSON, LAKE AND PALMER or TRIUMVIRAT. Guitarist Pekka Tegelman's chosen guitar sound and style here emulate those of Dutch virtuoso JAN AKKERMAN. At the halfway point things slow down for the adoption of a FOCUS-like passage in which the Thijs Van Leer-like organ leads over the solid rock drumming of Jussi Tegelman. This takes to the song's end. A very nice song that mystifies me with its two completely different motifs. (9.125/10)

4. "Koin siipesi" (2:52) now for something more slowed down, spacious, spacey, and PROCOL HARUM-organ like within which Pekka plays an acoustic guitar with the aplomb of JAN AKKERMAN on Focus' gorgeous "Love, Remembered" (from 1973's Focus III). The drum sounds and stylings and wah-wah-ed electric guitar at the end make it different but still very pretty. (8.875/10)

5. "Paikalliset tuulet" (4:17) and off to the races Jussi and Pekka take us. Pekka's machine gun distorted-guitar gushes are met with some trills and frills from Jukka's organ in the second minute before Pekka and Jukka start a section in which two new, over-dubbed tracks duel it out over the continued play of the previous full palette. Then there is a spacey drum solo in the third minute in which Jussi's drums are all processed through a flanger. Pretty cool! (8.875/10)

6. "Aallon vaihto" (4:54) the first song that bears any crossover resemblance to Jazz-Rock Fusion music, this one sounds like a song from one of Larry Coryell's power trios. Jussi Tegelman's drumming skills really show and shine on this one and brother Pekka is a very good bass player! (9/10)

7. "Kunnes" (4:34) tense, dramatic organ, bass, and drums entwine to create a motif that might sound familiar if coming from pretentious Jazz-Rock Fusion artists like The Mahavishnu Orchestra, Cervello, Area, or Fermáta (and, later--in the 21st Century--MAD CRAYON). Nice guitar, keys, and drumming. (9/10)

8. "P.S." (1:40) obviously the capture of a nice idea that never got developed into a full-scale song. (4.375/5)

Total Time: 32:15

I can definitely see why some fans extol this album and band high-enough to name their I find no flaws with this album other than the fact that there is a lot of imitation going on. Since the trio has chosen such a high echelon of bands/artists to imitate, and since they've done such a great job "making it their own," I can give them a pass. I applaud their creativity and high standards of musicianship.

90.0 on the Fishscales = A-/4.5 stars; the music on this album is of such a high quality--so well meted out and rendered--that I want to assign a full five star rating, BUT there are still plenty of areas to grow (including band originality/identity), so I'm going to only give four.

TOSHIYUKI MIYAMA AND HIS NEW HERD (MASAHIKO SATO) Yamataifu (1972)

This is an artist/composer (and his arranger) who no doubt was extremely inspired by America's Free Jazz, Post Bop, and more-recent Jazz-Rock fusion experimentation. My feeling is that, as a modern big band leader and world music enthusiast, he would have gotten on famously with American band leader DON ELLIS.

Line-up / Musicians:
- Masahiko Sato / arrangement, electric piano
- Toshiyuki Miyama / conductor
- Masao Kunisada / bass
- Masaru Hiromi / drums
- Kozaburo Yamamoto / guitar
- Yoshinobu Imashiro / piano
- Kazumi Oguro, Shinji Nakayama / alto saxophone
- Miki Matsui / baritone saxophone
- Kiyoshi Saito, Shoji Maeda / tenor saxophone
- Masamichi Uetaka, Seiichi Tokura, Takeshi Aoki, Teruhiko Kataoka / trombone
- Bunji Murata, Kenichi Sano, Koji Hadori, Kunio Fujisaki / trumpet

A. "Ichi" (19:21) Is this really jazz-rock fusion? Despite its definite inspiration from both John Coltrane, Ornette Coleman, and Pharoah Sanders, it also expresses a debt to Tony Williams, Don Ellis, and Miles Davis. It's definitely avant garde--like 1960s big band avant garde--and, I believe, highly scripted. There's even a similarity here to the earliest music published by Magma. The longer it plays, the more I find myself liking it! The odd electronic sounds remind me very much of some of the weird sounds coming out of Teo Macero's treatment of Miles Davis' band's Bitches Brew songs as well as Herbie Hancock's upcoming work with his Headhunters and beyond while it also traipses into the realm of soundtrack electronica.

Part 2 of the jam sees a turn toward a quieter, more sparsely populated instrumental palette while the individual and banked horns take turns blasting their two cents worth, again sounding more Big Band-like (even more DON ELLIS-like) as the instruments reconstitute and rebuild their momentum. Fascintating, interesting, entertaining, (36.75/40)

B1. "Ni" (12:17) weird sound and harmonic experiments in discordant, sound-fx-type chiller music that, while employing the latest in electronic instrumental sound that were commonly being incorporated into the jazz-rock infusionists, is not as Jazz-Rock oriented as it is avant garde classical--though there is a lot in common here, for me, with the awful stuff coming from Miles Davis' Bitches Brew. It also reminds me of the chaotic cacophonous music used in the pre-cognition chimpanzee scenes in the 2001: A Space Odyssey soundtrack. The drumming, when there is any (after the 6:50 mark), sometimes outright sucks, at other times comes across as absolutely brilliant. This is a very impressive "song"--especially for the development and evolution of avant-garde jazz. It is certainly entertaining, but not exactly what I'd call enjoyable music--and certainly not the type of music you would use for a dance party. (21.5/25)

B2. "San" (4:53) opens up with some fast moving lounge jazz of a very serious nature. But then the big band horns enter and make it obvious that this music could hardly be played in a dark, smokey jazz lounge--at least not the ones made de rigeur since the secretive Underworld mentality of the Beatnik and BeBop eras had formed around this kind of music. Then, the crazy, polyphonic and polymetric practices of Toshiyuki's music takes over. Again: impressive if not very cozy or heart-warming. (9.25/10)

Total Time 36:31

Not the kind of music I was expecting from a 1972 "Jazz-Rock Fusion" release: this is more akin to the work that French-Belgian bands UNIVERS ZERO and PRÉSENT would be doing at the end of the decade.

P.S. The version I found of this album has the black and red cover and is titled "Yamataifu" with MASAHIKO SATO listed as one of Toshiyuki's collaborators--the arranger and electric pianist.

90.0 on the Fishscales = A-/4.5 stars; an excellent, possibly masterpiece-level recording of avant garde Jazz-Rock that would most highly recommended to those prog lovers who are into highly technical yet experimental avant garde music.

GINO VANNELLI Storm at Sunup (1975)

The Canadian brother-brother team of singer-songwriter Gino Vannelli and keyboard wizard Joe Vannelli let loose with their third studio album, this one broaching the popular and expression-expanding domain of Jazz-Rock Fusion and continuing their unusual and unorthodox championing of the use of keyboards alone in providing their songs' bass lines and horn sounds as they did on 1974's Powerful People (grâce à keyboard maestro, Richard Baker).

Lineup / Musicians:

Gino Vannelli / Vocals, Composer

Joe Vannelli / Electric Piano, Piano, Synthesizers, Engineer

Graham Lear / Drums

Sergio Pastora / Congas, Bongos

Richard Baker / Organ, Organ (Bass), Synthesizer, Synth Horn Arranger

John L. Mandel / Percussion

With:

Jay Graydon / Electric Guitar

Don Bailey / Harmonica

Jerome Richardson / Saxophones [Tenor & Soprano]

A1A. "Storm At Sunup" (6:37) one of the best jazz-rock fusion jam songs by non-jazz fusion artist ever made--and then it runs into the wonderfully seductive radio hit song "Love Me Now." Genius! (10/10)

A1B. "Love Me Now" (3:44) One of my favorite Gino Vannelli love songs, it has everything plus the unusual and effusive sexuality spilling over like a volcano. (9.5/10)

A3. "Mama Coco" (3:06) a very cool and unusual Latin funk love song--like something that should be coming out of Motown or Stax. (8.75/10)

A4. "Father And Son" (3:13) a bare-bones love-and-gratitude song. Not as jazzy, more classic crooning. (8.4/10)

B1. "Where Am I Going" (7:47) The song's weakness are the bare areas in which Joe's electric piano exists tout seul as well as its melody choices. It sounds like it's trying to do a reprise of the album's immaculate opener. The Vegas-like smoothed-out final two minutes of Latin grooving is the song's highpoint. (13.125/15)

B2. "Keep On Walking" (3:49) opening with Don Bailey's plaintive harmonica is a nice touch. The heart-wrenching Soul song that follows is simple yet made quite powerful by Gino's extraordinary vocal performance. (8.75/10)

B3. "Love Is A Night" (3:51) a little more funky R&B presented in which to try to ground Gino's ethereal vocal. The song's only failing is how similar it sounds to Side One's hit, "Love Me Now." (8.875/10)

B4. "Gettin' High" (3:25) talking drum and bass line open this one before Joe's Fender Rhodes and Gino's sexy story-telling voice join in to present another extraordinarily smooth and unique vocal performance. Jerome Richardson's saxophone in between Gino's verses is a nice touch, as is the infusion of Latin percussion early in the third minute. (8.875/10)

Total time: 35:31

Already clearly bridging the waters of pop music and jazz fusion since their debut Storm at Sunup definitely tests the J-R Fusion waters more than ever before--especially with the album-opening suite of "Storm at Sunup" and "Love Me Now." In my opinion the Joe and Gino team presents music history with one of the most advanced fusion arranger-composers in history--and it's not just Gino's unusually jazzy vocals but the amazingly full and sophisticated Latin-jazz and funk arrangements they give each and every song they produce. The percussion team of drummer Graham Lear, conga/bongo player Sergio Pastora, and general percussionist John L. Mandel are extraordinary in the way they're given so much freedom and light in which to shine.

89.74 on the Fishscales = B+/4.5 stars; a near-masterpiece of jazz-infused, electronically-drenched, and percussion-rich songs over which exist the masterful vocal performances of one of music's all-time great voices.

CHICAGO Chicago Transit Authority (1969)

The debut album by the group from the city of its name--a group whose seven founding members would stay the same through ten years and eleven studio albums (one a "greatest hits")--until the tragic death of singer-guitarist Terry Kath (one of Jimi Hendrix's most respected and studied guitarists). A pretty remarkable phenomenon.

Line-up / Musicians:
- Terry Kath / electric & acoustic guitars, lead (1,9,12) & backing vocals
- Robert Lamm / piano, Wurlitzer, Hammond, Hohner pianet, maracas, lead (2-11) & backing vocals
- Lee Loughnane / trumpet, claves, backing vocals
- James Pankow / trombone, cowbell, brass arrangements
- Walter Parazaider / saxophones, tambourine, backing vocals
- Peter Cetera / bass, lead (4,9,11) & backing vocals, agogo bells
- Daniel Seraphine / drums, percussion

LP 1

Side One ("The Jazz-Rock Fusion Side")
1. "Introduction" (6:35) a mostly-instrumental song that does exactly what the title says: introducing the band and its complex, multi-layered Jazz-Rock Fusion orientation. The displays of time signatures, variety of mood motifs, with some very complex layering and stellar individual performances fully demonstrate the virtuosity of the collective which, then, reflects on the talents of all of the individuals as well. For me it's the playing of drummer Daniel Seraphine, bass player Peter Cetera, and trombonist James Pankow that really stand out. The septet is so tight! Absolutely brilliant! What an album opener! (9.75/10)

2. "Does Anybody Really Know What Time It Is?" (4:35) Robert Lamm's jazzy solo lounge piano in the opening 75 seconds is definitely misleading for what is to come. What a big, anthemic song it becomes! Lee Loughnane's trumpet looms so big over the top! And then there are the timeless lyrics as sung so powerfully by Robert Lamm. (Great b vox, too!) And then, of course, there are the iconic horns. Wow!(9.5/10)

3. "Beginnings" (7:54) one of the best/my favorite J-R Fuse songs of all-time. Terry Kath's acoustic rhythm guitar performance is one of the strongest you'll ever hear. The horns are perfect throughout--even moreso in the closing jam--as is Peter Cetera's rock-solid bass and Daniel Seraphine's drums--but the closing jam's vocal chant and percussion play is so rollicking fun: as infectious as anything Santana ever played on stage! (15/15)

Side Two ("The Blues-Rock Side")

4. "Questions 67 and 68" (5:03) A very cool composition that is, in my opinion, flawed a bit by the incongruity of Terry Kath's dirty-distorted (though dynamic) lead guitar play with the pristine clarity of the piano and vocals of Peter Cetera. The bass and horn blasts are a good match for Terry's lightning guitar runs, and the song, overall, is quite engaging--especially with sections like the "Up, Up and Away" motif in the third minute--but there are inconsistencies. (9/10)

5. "Listen" (3:22) blues rock with Latin percussion arrangement. This song feels as if was written five or six years before and revived for this album as one of the final fillers to make it a double album. One of Robert Lamm's raspy-raunchier vocal performances. The musicians just don't do enough to elevate it to the level established by the first three songs. (8.5/10)

6. "Poem 58" (8:35) interesting that this little-considered song is the band's longest of the first disc of their debut album. Rooted in R&B, Terry Kath, Peter Cetera, and Danny Seraphine set themselves up as a little power trio à la CREAM or the BAND OF GYPSYS so that Terry can show off more of his guitar skills and ideas. I imagine this to be one of the songs to have earned Jimi Hendrix's notice and adulation. At 4:50 the band's palette and orientation changes quite radically as the rhythm section opens up and slows down and the horns join in. Vocals and background vocals take over the foreground for a minute before Terry's searing blues-rock lead moves into the very front of the song while the other instrumentalists maintain their support with a James-Brown-like motif. And to think that, lyrically, this turns out to be a love "poem" just strikes me as odd and incongruous. (There is a little incongruity and unaddressed, even subliminal, conflict within several of the Chicago songs.) (17.5/20)

LP 2

Side One ("Terry Kath's Side")
7. "Free Form Guitar" (6:47) I was always fascinated by this song in my early teens: first of all for its experimental sound(s), but also for the fact that a band and record company would allow a song like this to A) be recorded, B) be considered for representation on an album to be published, and B) finally included on the internationally-published and marketed vinyl product. The cajones! Musically, this is mostly listenable as a curio, a time-capsule representation of the skills and technological experimentation and capacity available in 1968-69. (13/15)

8. "South California Purples" (6:11) I got to know and love this song because I played this side of CTA to death: I LOVED "I'm a Man," was fascinated by "Free Form Guitar" and really enjoyed the DEEP PURPLE-like simple bass, guitar, and drum pattern and the solos that could be played over and within it. (8.875/10)

9. "I'm A Man" (7:43) an absolutely iconic cover of Steve Winwood's famous song originally released by the Spencer Davis Group in January of 1967. Terry Kath's performances--on both electric guitar and vocal--are nothing short of ground-breaking--and the percussion work, organ, and background vocal performances are not far behind. (14/15)

Side Two ("The Political Side")
10. "Prologue (August 29, 1968)" (0:58) Led by the famous "The whole world is watching" crowd chant from the Democratic National Convention hosted by the city of Chicago in 1968, the band then tries to make sense of the events through song and lyric with the following song.

11. Someday (August 29, 1968)" (4:11) The band's processing of the events of the crowd demonstrations at the Democratic National Convention in 1968. (8.75/10)

12. "Liberation" (14:38) the album's longest song, 7:45 of it is a power rock guitar jam, the second part turns more bluesy but that ninth minute seems to revert into a vehicle for more of Terry Kath's free-form guitar --or at least it threatens to do so: this time the rest of the band members are right on board with Terry, presenting their own creative sounds to try to match or support Terry's acid-psych tripping. Then, from 11:30, the music breaks down into very lovely gentle blues-rock jam. (Is this where some of Dutch band FOCUS got their ideas?) I love the genuine emotion of Terry's "Thank you, People" before the frenetic Chuck Berry finale. (26.333333/30)

Total Time: 76:36

This album had/has such a different feel than any/all other Chicago albums (even the half-jazzy VII or the avant/RIO II); it is a true collection of experimental/progressive songs--many of which are on the jazz-rock side of the spectrum. From start to finish each song is testing boundaries, pushing composers' and performer's limits. The fact that radio play was achieved by any of these songs is miraculous cuz they're all long songs (much longer than the proscribed 2-3 minute AM pop standard), yet I heard over half of these songs on the FM radio in my home town of Detroit. (Thank you, WABX!)

The double album's first side is it's most thorough and complex whole-band rendering of some very advanced compositions--truly befitting of the new jazz-and-rock fusion movement. Side Two presents three songs that sound much more representational of an older, more foundational "blues-rock" incarnation of the band. Side Three seems to bend/cater to the band's most experimental member, guitarist Terry Kath. (I think they all understood what a genius they had in the form of Terry.) Side Four seems to allow the band to express the angsty zeitgeist of the Vietnam/Civil Rights/Nixon times. This does not make a fully or even partially perfect "jazz-rock fusion" album, but there are definitely lots of musical elements being fused into this album's whole.

89.45 on the Fishscales = B+/4.5 stars; rated up for creativity and sheer guts; a minor masterpiece of early or proto-jazz-rock fusion.

OUT OF FOCUS Wake Up! (1970)

The debut from this München-based band, Wake Up! is an album of psychedelic blues-rock music in the vein of The Rolling Stones, Cream, or even early Jethro Tull.

Line-up / Musicians:
- Remigius Drechsler / guitar
- Hennes Hering / keyboards
- Moran Neumüller / vocals, saxes, flutes
- Klaus Spöri / drums
- Stefan Wisheu / bass

1. "See how a white negro flies" (5:48) a song that opens announcing clearly that the band is firmly entrenched in blues rock sound palettes of the previous two years. Flutes and organ add some spice over the top of the insistent motif. Vocalist Moran Neumüller sings in a haunting voice similar to other psychedelic blues rock icons of the late 1960s. Remigius Drechsler's distorted lead electric guitar solos in the fourth minute. Again, this could come straight out of anything that CREAM or BUFFALO SPRINGFIELD had been doing in the previous two years. Though derivative, it is a very solid example of late 1960s psychedelic blues-based rock 'n' roll. (8.875/10)

2. "God saved the queen, cried Jesus" (7:28) the Mick Jagger-like vocals and provocative lyrics give this early Jethro-Tull-like song some teeth. With the much softer, delicate instrumental passage in the fourth minute, with its Ian MacDonald-like extended flute solo, serves notice of the band's prog aspirations. This is then followed by a heavier section over which Moran's flute continues to be the main soloist. Singing and guitar soloing follows before the JTULL-like finish. Pretty remarkable song! (13.5/15)

3. "Hey John" (9:35) opens with a pensive bass, guitar, a cymbal note-by-note interplay overwhich Moran's flute sings mellifluously. When the full band kicks into full dynamics it is with a very familiar LED ZEPPELIN-like descending four-chord progression. Things spread out again for the entrance of Moran's Mick Jagger-like vocal, delivered in a kind of Robert Plant style. In fact, the whole song feels like a replication/variation of Zep's "Heartbreaker." Nicely done extended tribute (though Remigius is not Jimmy Page and drummer Klaus Spöri is no John Bonham). I really like Hennes Hering's unusual Hammond solo in the middle. Also, I'd like to commend the clean, clear sound gleaned from Stefan Wisheu's electric bass: it's very important to the overall "mature" and "professional" sound of the album. (17.75/20)

4. "No name" (3:06) opening with Moran's a cappella voice, almost whisper-sung, before the band bursts into a heavy blues rock motif with flute, theatric vocals, Hammond, and electric guitar each adding their distinctive flourishes. I love the cute little upper register guitar garnishes over the bass and Hammond in the instrumental mid-section. Kind of cool! (9/10)

5. "World's end" (9:55) a fairly simple chord structure presents this anthemic feeling--as if the band is truly expressing their thoughts, concern, and confusion over the state of the world's social-political scene (the Cold War tensions and the misguided expeditions of the American military [Vietnam]). There is quite a feeling of Krautrock solidarity in the hypnotic commitment to such strict rhythmic foundations in this one--at least up until the quite passage that serves as a reset and reconfirmation of the overall insistence to the song's and then ends up surprising us by starting a new motif for the 45 seconds of the song. Trippy! And powerful. Definitely a great representation of the angst of 1970. (18.5/20)

6. "Dark, darker" (11:37) Moran's vocal is mixed quite uniquely for this song: as if in an isolated, separated chamber. The music is remarkably simple and almost emotion-lessly mathematical in its rhythmic foundations, giving the musicians the feeling that they're "dialing it in" i.e. not fully invested. Even in the circular three-chord instrumental jam supporting the frantic flute solo in the song's middle third feels too rote (especially in the bass, guitar, and organ play). Then there is a pause that allows a reset, which sees the band filling the final three minutes of the song with some militaristic pulse-running before everything ends with some crashing instruments and musicians (whose fatigue is well-captured on tape during the final minute of recording: "Are we done?" and "Ughhh!" being expelled as the musicians shut down, unplug and put away their instruments. Weird and sadly anti-climactic song. (17.25/20)

Total Time: 47:29

With four unusually-long songs crammed into this 47 and a half minute long album, one can only guess at the band's full intentions. What I love most about the songs on this album is the clear "team" approach to song construction and performance on display with each: no one musician/artist is really trying to grab the spotlight; everybody seems fully supportive of the effort to present fully-developed and fully-integrated songs.

89.34 on the Fishscales = B+/4.5 stars; a near-masterpiece of angst-filled compositions that feel so precisely representative of the zeitgeist of the times. If it weren't for the weakness of the final "song of exhaustion" this would probably qualify as a masterpiece.

WIGWAM Fairyport (1971)

The the this is the founding quartet's third album since forming in 1968, it is their first to fully satisfy all of the requirements of inclusion into the Jazz-Rock Fusion and/or Progressive Rock music categories. Their version of jazz-rock fusion is far simpler, far more melody-driven and even pop-friendly than the stuff coming out of Herbie Hancock or the Mahavishnu Orchestra.

Line-up / Musicians:
- Jukka Gustavson / vocals, acoustic & electric pianos, organ
- Jim Pembroke / vocals, harmonica, piano (2,12), electric piano (14)
- Pekka Pohjola / bass, violins, acoustic guitar (10), piano (8-9), celeste & harpsichord (9), backing vocals (3)
- Ronnie Österberg / drums, congas, percussion, backing vocals (3)
With:
- Jukka Tolonen / guitar (2,7,13)
- Eero Koivistoinen / soprano saxophone
- Pekka Pöyry / soprano saxophone
- Tapio Louhensalo / bassoon
- Risto Pensola / clarinet
- Hannu Sexelin / clarinet
- Unto Haapa-aho / bass clarinet
- Ilmari Varila / oboe

1. "Losing Hold" (7:06) though the whole band plays tight, cohesive music throughout this song, it is the Canterbury-like keyboards of Jukka Gustavson that lead and draw the most notice. The lead vocals (assuming they're by Jim Pembroke due to their being English) are quite similar to those early vocals of prog icons Peter Gabriel and Roye Albrighton. I love the melodies of this song if not-so-much the bluesy-organ-rock style. Prog Hall-of-Famer Pekka Pohjola's bass prowess really shines in the instrumental second half. (14.25/15)

2. "Lost Without A Trace" (2:29) delicate vocal with piano accompaniment--all by Jim Pembroke. (8.75/10)

3. "Fairyport" (6:53) theatric Elvis Costello-like vocals over piano with the combo in relatively sedate attendance; this is truly a pop song. It's not until the 2:20 mark when a lounge-jazz piano style takes the band into a lounge jazz style not unlike that of Vince Guaraldi. When the lead instrument becomes a dirty organ at 3:25 the music turns full blues-rock--old blues rock. Too bad. Luckily it turns another corner at 5:05 into a. chamber/folk type of music with oboe and clarinet before reverting to the Elvis Costello motif for the final minute. (13.5/15)

4. "Gray Traitors" (2:48) a song that starts out sounding very much like a vehicle for one of PeterGabriel's weird little stories, eventually turns symphonic instrumental for the next song to continue. (8.875/10)

5. "Caffkaff, The Country Psychologist" (5:22) piano and voice, with the piano chords following the vocal melody almost note for note--at least for the first 90 seconds. Then organ joins in but can't quite extricate the main melody/motif from those note-for-note piano chords. It feels more like a bare-bones practice for a song intended for a stage musical. At 2:39 the percussion and electric piano, then organ, try to hijack the music over to a jazz idiom--unsuccessfully for the first 45 seconds but then accomplished, moving the mood into a more DAVE BRUBECK "Take Five" like motif. Pekka's bass playing finally gets to shine a little bit despite the three keyboards maintaining dominance over the solos. (8.75/10)

6. "May Your Will Be Done Dear Lord" (5:28) this one seems to be based over a CAROLE KING-like piano chord progression. Organ, flute, bass and drums are not, however, being forced to follow along--are given freedom to fill space with their own melodious lines. The vocal is more plaintive, less confident and theatric. The sax and other wind instruments' contribution in the fifth minute is awesome! A very engaging song that ends up being a bit too loose and unpolished for high marks. (8.875/10)

7. "How To Make It Big In Hospital" (3:01) The band's attempt at either the Rolling Stones or Velvet Underground?! Nice bass work from Pekka. (8.6666667/10)

8. "Hot Mice" (3:19) a very nice, melodic lounge music that has the trademark changes of late 1960s Broadway musical--like Steven Schwartz or Burt Bacharach. (9/10)

9. "P.K.'s Supermarket" (2:20) polka style rhythm tracks over which barrel-hall piano plays. Sounds very French--though it's also very light and happy-go-lucky. I really like this! (4.75/5)

10. "One More Try" (3:26) more music theatre storytelling with voice paired up with piano, chord for chord. It's engaging and intimate, but then after the 1:30 mark the music takes a turn into post-Beat jazz with congas and Hammond organ being accompanied by drums and Pekka's great bass play. At the end of the third minute the music switches back to the opening motif but stays instrumental--never returns to vocal message-carrying. (8.875/10)

11. "Rockin' Ol' Galway" (2:27) sounds like something from Dr. John or the quirkier side of Peter Gabriel ("Counting out Time," "La Dolce Vita," or excuse me) as well as something like but too melodic and pretty for Frank Zappa. Once again Pekka Pohjola's bass play is quite remarkable. (8.875/10)

12. "Every Fold" (3:07) multiple voice vocals carry this tune over piano, bass, and drums. Distant organ and heavily-effected NEKTAR-like voice join in the background during the second minute. It ends up sounding almost like a BEATLES song. (8.75/10)

13. "Rave-Up For The Roadies" (17:20) * now this is different: the band really jamming like a JIMI HENDRIX EXPERIENCE song--for seventeen long guitar-dominated minutes (raunchy electric guitar play courtesy of guest Jukka Tolonen). Though multi-themed and not too far off from the sound and musical style of the PINK FAIRIES, this is really not my cup of tea. (30.33333/35)

* Recorded Live at Hämis Club, Helsinki, 6th June 1971

Total Time: 65:35

88.94 on the Fishscales = B/four stars; an excellent progressive rock album; I'm not going to be able to include this in my Jazz-Rock Fusion lists due to its much greater pop-orientation. This is more like a cross between lounge jazz, 1960s Off-Broadway Music Theater, and Canterbury Style: playful, melodic music for the masses.

WIGWAM Being (1974)

The Finnish band's fourth studio album but first since several members had flown off to try solo projects of their own (Pekka's 1974 release, Pihkasilmâ Kaarnakorva being the most notable). A collection of songs that show the band members' (Jim Pembroke's) movement away melodic, mainstream music theater toward a more humorous and satirical Frank Zappa and Canterbury form of musical expression. The first four songs of Side One flow one song into the next without formal breaks, giving the impression of a conceptually-sequenced suite. The music is far more sophisticated than those on their previous albums--jazzy but more quirky and prone to very sudden--and quite frequent, unannounced--melodic and stylistic shifts.

Line-up / Musicians:
- Jim Pembroke / vocals, voice, piano (3,10)
- Jukka Gustavson / vocals, piano, organ, Mini-Moog & VCS-3 synths
- Pekka Pohjola / bass, violin, piano (4), Mini-Moog (7)
- Ronnie Österberg / drums, percussion, backing vocals (3)
With:
- Taisto Wesslin / acoustic guitar
- Unto Haapa-aho / bass clarinet
- Paavo Honkanen / clarinet
- Pentti Lasanen / clarinet, flute
- Juhani Aaltonen / solo flute
- Erik Danholm / flute
- Kai Veisterä / flute
- Pentti Lahti / flute
- Seppo Paakkunainen / flute
- Pekka Pöyry / soprano sax, flute
- Ilmari Varila / oboe
- Aale Lingren / oboe
- Juhani Tapaninen / bassoon
- Jukka Ruohomäki / VCS-3 assistance
- Erkki Kurenniemi / VCS-3 assistance

1. "Proletarian" (2:10) (4.375/5)
2. "Inspired Machine" (1:25) back to music theater? cabaret music? (4.375/5)

3. "Petty-Bourgeois" (2:58) like something straight out of a HATFIELD AND THE NORTH album--only with the vocal theatricity of Peter Gabriel. (8.875/10)

4. "Pride of the Biosphere" (3:15) pure vocal theatre--all performed over solo theatre organ. (8.875/10)

5. "Pedagogue" (9:11) definitely music that could have come from one of the Canterbury Scene's vocal masters: The early Soft Machine, Matching Mole, Hatfield and the North or Caravan--perhaps more this latter band, though the vocal sounds more like something IAN ANDERSON would've done around this same time with Jethro Tull. (18/20)

6. "Crisader" (4:47) the next song sounds like a little more organ-dominated continuation of the previous song. (8.75/10)

7. "Planetist" (3:08) an instrumental in which the wind instruments play a huge role. Very FOCUS-like. (9/10)

8. "Maestro Mercy" (2:32) flowing straight out of "Planetist," Jim's vocal here seems to harken back to some late 1960s blues-rock psychedelia--the organ-based opening like PROCOL HARUM. (9/10)

9. "Prophet" (6:11) another more-vocal/lyrics driven song that has some very nice music to fill the copious spaces between the lyrics. Nice to hear the vast improvements in sound engineering as well the band members' new instrument acquisitions. (8.875/10)

10. "Marvelry Skimmer" (2:32) another song that launches without break straight out of the previous song, this one is much more blues-centric as the organ and LEON RUSSELL-like vocal lead the way over the fairly straightforward 1960s blues-rock dirge. (8.75/10)

Total Time 38:09

I would have to categorize this music as more consistent with the parameters of avant/RIO music vocal or early vocal Canterbury music (à la Robert Wyatt or Kevin Ayers). The music is all ver ypleasant--very melodic--and highly entertaining, and the musicianship of the contributors is top notch (which is necessary to accomplish such demanding, sophisticated song structures). I love the band's improved sound engineering as well as the assorted new instruments they've added to their repertoire--and I love the confidence Jim Pembroke has gained in his quirky vocal storytelling as well as the band's new proclivity for more complicated time and key signature shifting. There are a lot of significant steps forward the band has made to get here--for which I offer my sincerest admiration and congratulations.

88.875 on the Fishscales = B+/4.5 stars; of all the WIGWAM albums, this is easily my favorite. However, it is another album that I won't be able in good conscience to include in my Jazz-Rock Fusion lists--not because it's not prog: no! It's pure prog but far more of a Canterbury or avant garde/RIO nature than J-R Fuse. Still, highly entertaining and highly recommended.

MANEIGE Maneige (1975)

The Québecois scene of progressive rock is really catching fire at the time that these six gentlemen are coming together for their first studio album.

Line-up / Musicians:

- Denis Lapierre / acoustic & electric guitars

- Jérôme Langlois / piano, organ, clarinet

- Alain Bergeron / flute, saxophone

- Yves Léonard / acoustic & electric basses

- Gilles Schetagne / drums, percussion

- Vincent Langlois / percussion, piano (4)

1. "Le Rafiot" (21:22) Any fan of The Lamb Lies Down on Broadway's "The Waiting Room" will be loving the opening four minutes to this great side-long epic. After that exhibition of percussion interplay, the band members' classical training really comes out (though there are slight hints of folk and jazz influences). The pianist, Jérôme Langlois, seems to be the leader (Is he using an upright piano?), but the contributions of the bass guitarist, flutist, and tuned percussionist(s) are not insignificant. There are similarities to Dutch band FOCUS' more acoustic-grounded songs, as well as to British proggers, RENAISSANCE, but there is also so much from classical and folk traditions: at times I feel as if I'm hearing a small orchestra's coverage of some obscure AARON COPELAND piece. More technically accomplished than emotionally-appealing, this does deserve high marks for performance and composition. (36/40)

2. "Une Année Sans Fin" (6:39) a kind of cabaret or vaudevile jazz piece that has real suggestions of avant garde/Rock-In -Opposition intentions, this one becomes more melodic and engaging in some of its short-lived motifs used during the second and third minutes. Nice JON CAMP-like electric bass play. I have to admit that I am quite surprised at how central the flutes and xylophones are. (8.75/10)

3. "Jean-Jacques" (4:13) barrel-hall piano that is trying to sound classical, is soon joined by bass, xylophone, drums, and flute. There are classical, folk, and jazz elements used throughout this one. Again, the electric bass has a familiar JON CAMP feel to it while some of the main motifs feel like 21st Century Greek artist, CICCADA. (8.875/10)

4. "Galerie III" (7:50) drums and xylophone open like something orchestra but then woodwind horns give it a whole other texture. A brief section of heavy bass chords in the second minute let you know that this song is not going to be but rather something quite more oriented to the avant-garde stylings becoming explored in England, France, and the Low Countries at this time. There are several extended parts that are more melodic, more mellow, offset by several more heavy-rock parts. An interesting song. Like its title, I think we're catching snapshots of several disparate styles just as one might if you moved from room to room in an art gallery. An odd thing to try to make into a song! (13/15)

Total time 40:04

88.83 on the Fishscales = B/four stars; an excellent debut album of avant and classical-founded music coming from some very well-trained French-Canadian musicians. Though this album is definitely on the more-classical and even jazz-oriented edges of the 1970s prog scene, it's just not jazzy enough to qualify, in my opinion, for the Jazz-Rock Fusion lists.

HANNIBAL Hannibal (1970)

A jazz-rock one off from Birmingham. The musicians were obviously inspired by COLOSSEUM, CHICAGO, and BLOOD SWEAT AND TEARS as well as PROCOL HARUM, The SPENCER DAVIS GROUP and even Andrew LLOYD-WEBER.

Line-up / Musicians:

- Alex Boyce / vocals

- Adrian Ingram / lead guitar, composer

- Bill Hunt / Hammond organ, French horn

- Cliff Williams / tenor saxophone, clarinet

- Jack Griffits / bass

- John Parkes / drums

1. "Look Upon Me" (6:13) Oh! The bluesy kind of jazz-rock, not really what I'd call fusion. The music shifts to BLOOD SWEAT & TEARS territory for the second motif and chorus (part of which sounds as if it is intentionally lifted from Andrew LLOYD WEBER's Jesus Christ Superstar: Jesus' emotional performance in the "Garden of Gethsemane" scene (and song). There's quite a little of The Animals' "Don't Let Me Be Misunderstood" in there, too. Nice musicianship and pretty good sound reproduction throughout. (8.75/10)

2. "Winds of Change" (7:26) more music that feels as if it's on the verge of going PROCOL HARUM or ANIMALS with some nice (and original) melodic singing over the top of interesting, subtly shifting and changing instrumental performances beneath. The slower middle section sounds a lot like The SPENCER DAVIS GROUP, even when it picks up. The sound of the Hammond organ is so domineering despite the wonderfully performed and mixed bass and drums. The guitar and horn accents are pretty cool, too. The final sections up the tempo while letting the instrumentalists go unrestricted for a bit. Great blues-feeling song. (13.5/15)

3. "Bend for a Friend" (10:27) opens with a guitar and bass riff that sounds like a Sergio Leone film score. The rest of the band joins in and proceed to set up a motif that is quite stereotypic for what we consider "Indian music"--that is, the music of Native Americans (as depicted, of course, in the soundtracks of film and the occasional Indian-themed hit song). At the three-minute mark the motif switches to a different, more strident and jazzy interpretation of yet another fairly familiar N.A. melodic theme. Guitarist Adrian Ingram goes a bit crazy on his electric guitar, again bridging the jazz and blues-rock worlds throughout his solo: part Hendrix, part Johnny Mac (or Randy California). At the 5:30 mark there is another, rather radical thematic change--this one feeling as if we've started a completely different song. It's cinematic like something befitting a B-movie horror flick. At 6:30 we again stop to listen to a solo saxophone solo: that's right: a solo with absolutely no accompaniment. Finally, 45-seconds in drummer John Parker joins saxophonist Cliff Williams' chorused woodwind. Then in the tenth minute the rest of the band throbs their way back in before lining up to finish the song with original pseudo-Native American motif. Interesting song. (17.5/20)

4. "1066" (6:28) (a reference, I take it, to either the Norman Invasion or the Battle of Hastings.) opens with a bluesy motif beneath Alex's recitation of words and terms tied into the year 1066. But then the music turns anachronistic--almost "mediæval"--with flutes, bass, organ, and harpsichord and a Michael Giles-like drumming touch. I find this anachronistic motif the most interesting and favorite of the album. Next is a rather spacious percussion-dominated passage that is quite reminiscent of King Crimson's quiet passage in The Court of the Crimson King's "Moonchild." Bass and drums get their time in the spotlight here. Hearing this makes me wonder if Carl Palmer and Greg Lake heard this song before (finally) rendering Greg's 10-year old song "Lucky Man" to tape. A very interesting song that never really seems to gel into something consistent or cohesive. (8.875/10)

5. "Wet Legs" (4:44) a kind of jazzy intro morphs into another Blues-Rock riff-based alternating four-chord progression. In the second minute of this completely-instrumental song there is a temporary detour down a jazzy sidestreet, but then we return fairly quickly to the original motif for some funky organ play and slow ROBIN TROWER-like guitar soloing (ending in "The Note": a single guitar note that is held for 45 seconds of slow decay while the organ continues to bounce around rather excitedly). The two motifs cycle around a couple more times before the song cashes out. (8.875/10)

6. "Winter" (8:06) a song that sits on the fence from its very opening notes as to whether it's prog or J-R Fusion, soon reveals its (surprise!) blues-rock nature. Syncopated drumming is the only truly jazzy element over the first few minutes as a descending four-chord motif beneath vocalist Alex Boyce's R&B voice drives the song until the instrumental vamp of the fourth and fifth minutes. Here a different rock rhythm motif is played beneath Alex Ingram's guitar soloing. The dude has obviously had some training in both blues and jazz guitar play (and may revere artists like Wes Montgomery and John Mayall) as he unleashes a truly nicely evolving solo over the course of its three minute length. Then the band suddenly stops and lays down a very spacious, mellow, and gorgeous gentle JIMMY WEBB-like motif to finish the song with. Great song though I wouldn't really call this Jazz-Rock Fusion--or even Jazz-Rock. (13.5/15)

Total Time 43:24

88.75 on the Fishscales = B+/four stars; an excellent album of well-crafted, superlatively-performed, and nicely-recorded Blues-Rock-moving-into-Jazz-Rock songs. Highly recommended to all lovers of progressive rock--especially if you're into the origins and development of Progressive Rock Music.

BURNIN' RED IVANHOE Right On (1974)

The band's fifth and final album before migrating over to the more-Jazz-Rock-oriented Secret Oyster.

Line-up / Musicians:
- Ole Fick / electric & acoustic guitars, vocals
- Kenneth Knudsen / piano, Fender Rhodes
- Karsten Vogel / soprano & alto saxophones, organ
- Jess Stæhr / bass, guitar & lead vocals (4)
- Bo Thrige Andersen / drums
With:
- Ole Prehn / bass (4)
- Karsten Lyng / lead guitar & vocals (4)

1. "August Suicidal" (4:32) sounds like a slightly more sophisticated 1960s Eric Burdon with The Animals or Arthur Brown's Crazy World. Organ, racing drums, guitar, and bass with pompous male vocalist singing and screaming over the top. Interesting bass guitar solo in the third minute. (8.875/10)

2. "When I Look Into Your Eyes" (3:40) slow, polished 1960s psychedelic rock. They musicians are skilled and very disciplined, but I hear absolutely no elements in this song that would lead me to think, "Jazz-Rock Fusion." However, I greatly admire the control and maturity the band displays on this musical expression. (9/10)

3. "La Beauté Du Buste" (4:50) soprano saxophone, bass, and wah-wah-ed Fender Rhodes electric piano each soloing at the same time, forming an interesting and surprisingly palatable weave. Now, this could qualify for significant J-RF points--though there is nothing here that doesn't sound like it was inspired by Yes Fragile shorts or The Doors' L.A. Woman. (8.875/10)

4. "Make Me Look Away" (5:40) this one feels almost straight out of the American South: like a Doors venture into Crosby, Stills, Nash & Young; Arthur Lee's LOVE; The Eagles and Joe Walsh before they became one. The earliest Lynyrd Skynyrd. Very solid, great Southern Rock with one heck of a lead guitar sound (and, for that matter, that of the rhythm guitars, too) and skilled and passionate guitar soloing (from multiple guitars!). This could easily have been a major hit on FM radio stations in America! (10/10)

5. "Rockin' Rambler" (11:42) a cross between Creedence Clearwater Revival, Grand Funk Railroad, and Uriah Heep. More stellar sound production and mixing that fully and clearly captures the work of these talented musicians. The song itself is really just a 12-minute two-chord vamp within which Ole Fick sings (and talks) in his VAN MORRISON/JIM MORRISON/MICK JAGGER blended style while Karsten Vogel toots his alto sax along-side. The palette thins in the seventh minute while Ole and Karsten continue vamping. Kenneth Knudsen gets some shine on his Fender Rhodes in the tenth minute before a major slow down, space out takes over (though I can still feel/hear the "absent" two-chord vamp right up to Karsten's final squeak. (17.625/20)

6. "Tell Me" (5:20) back to the Eric Burdon & The Animals (or War) style and sound with Ole following the bass and sax's seven note rising scale melody line exactly during the verses. The choruses are a little more free and interesting, but those repeating verses get pretty irritating. Nice professional ROBIN TROWER-like guitar solo in the third and fourth minutes. A fine, polished performance of a somewhat weak composition. (8.75/10)

7. "Accident" (0:15) bloody nothing. Is the 15-second gap between songs the "accident."

8. "After The Carcrash" (3:00) treated electric guitars slowly weave their picked melodies with one another for the first 1:15. Then Karsten joins in with his plaintive sax. It's like a funereal dirge. Multiple sax tracks woven together are what take us out over the final minute. Kind of magical, that ending. (8.875/10)

Total time 38:59

No matter how finely crafted, performed, recorded, and produced these songs are (and there is a LOT of finery here) this album is in no way, shape, or form a Jazz-Rock Fusion album.

88.64 on the Fishscales = B/four stars; an excellent collection of finely rendered Southern Blues-Rock songs. Would have been great to play in rotation with my Rolling Stones, Doors, Uriah Heep, Crosby, Stills, Nash, Lynyrd Skynyrd, and Eric Burdon albums.

KEITH JARRETT, JAN GARBAREK, PALLE DANIELSSON, JON CHRISTENSEN Belonging (1974)

Recorded in for ECM Records on April 24 & 25 of 1974, this was Keith Jarrett's first collaboration with this European quartet--an ensemble that became known as "The Belonging Quartet" due to this album's title and which whom he would collaborate with some frequency over the next 20 years. The album included all Jarrett compositions recorded by Manfred Eicher in single takes (Keith was adamant about not doing multiple takes of any songs--and minimal rehearsal--and, apparently, quite a stickler for his "rules.")

Lineup / Musicians:

- Keith Jarrett / piano, composer

- Jan Garbarek / saxophone

- Palle Danielsson / bass

- Jon Christensen / drums

A1. "Spiral Dance" (4:08) the drum and piano intro is okay (reminding me a lot of Jay Beckenstein's SPYRO GYRA) but then when Jan Garbarek's sax(es) join in and Palle Danielsson lets loose it really pops and swings. When Jan is leading the melody-making the music definitely feels more J-R Fusionen, but when it's just the piano trio it feels more like basic, standard jazz. (8.875/10)

A2. "Blossom" (12:18) a solo piano intro is joined at the end of the first minute by "Aud Lange Syne" sax play and spacious bass and brushed drums (mostly snare and cymbals), still, it's kind of cool how Jan plays within and outside of (but definitely connected to) Keith's improvisational piano playing. Again, I find myself reminded over and over of a Christmas song: like Nat King Cole's "Christmas Song." A little too close for comfort, despite the improvisational weaving. Also a lot of VINCE GUARALDI-like style and note-choosing from Keith. I can see why people credit Keith as being an heir to the great Bill Evans (even though Bill was still alive during the decade this album was made). But then, as with the previous song, the Jarrett soloing (and withdrawal of Jan's saxes) yields a far more standard jazz palette and less of an experimental Fusion feel. In the ninth minute there is a lovely "conversation" between Keith and Palle: these guys really are connecting--all of them--though Jon's play on the kit is pure support. As a song, something that I enjoy, this is great. As a display of leading-edge J-R Fuse it is rather poor--which makes it quite the challenge to rate. Keith Jarrett's hypnotic mastery of his instrument certainly makes it special. (22.375/25)

A3. "'Long As You Know You're Living Yours" (6:11) some gospel-sounding blues that's here given a full band treatment. When Jan Garbarek joins in with his saxophone in the second minute I am immediately taken into the world of 1970s (early) DAVID SANBORN. Though David made some great, even iconic songs ("The Chicago Song" to be sure) that sonorous almost whiny and "dirty" distorted sound that he introduced to the world on Todd Rundgren's Initiation album has never really sat well with me--in fact, may even have contributed to my dislike (or helped me to realize that I had no love) for the saxophone. (8.5/10)

B1. "Belonging" (2:12) a piano piece that seems to borrow, both melodically and harmonically, from other famous song riffs (that I'm unable to pinpoint at the moment). (4.375/5)

B2. "The Windup" (8:26) more joyful, upbeat, regionally-inspired (New Orleans?) piano-based music that conjures up the music of modern day spiritual savant, JON BATISTE. Despite the rollicking happy feel, this feels more jazzy than fusion; perhaps the closest instrument to infusing rock, folk, or world styles would be the drumming of Jon Christensen. His work here is also extraordinary. I mean, all of the performances here are virtuosic, but, for me, Christensen's drumming really stands out. (17.5/20)

B3. "Solstice" (13:15) contemplative piano and bass are soon joined by a-little-more-sonorous sax and brilliantly-reactive piano. Everybody is pretty much improvising (Jon merely doing occasional brush or cymbal work in the background) but Keith Jarrett's ability to play off of the others--especially Jan's saxophone--is quite extraordinary. (This may be my first instance of truly appreciating and understanding the near-universal acclaim and adulation Mr. Jarrett has always garnered from critics.) I can only imagine how the others--despite each of their own virtuosity--must, at times, get lost in Keith's genius--even cower in the light of his almost-superhuman powers.

It's songs like these that always serve to diminish my esteem for the instruments that are restricted to single expression (like, here, Jan's saxophone). Though I've often found myself marveling at Jan Garbarek's saxophone playing (especially for the companions he selects to collaborate with), this is one of those songs that just makes me feel, "He's just a saxophone player." Also becoming obvious to me as I listen to this song is how much Keith Jarrett's playing style must have influenced that of Pat Metheny's primary collaborator: Lyle Mays.

While I don't love this song (it is not one of those songs that I'm going to play because of the emotional response it evokes in me; if I did choose to play it, it would be more for the intellectual interest and experience) I appreciate the genius on display through it. (27/30)

Total time: 56:30

88.625 on the Fishscales = B/four stars; an excellent jazz album from four virtuosic consummate jazz musicians.

ARCO IRIS Arco Iris (1970)

My first exposure to the music of this highly-acclaimed band from Argentina! I'm excited as I love the inextricably entwined infusion of Latin and indigenous folk traditions poured into South American musics.

Line-up / Musicians:
- Gustavo Santaolalla / guitar, lead vocals, piano (9), organ & guiro (10), Fx (7,9), composer, arranger & producer
- Ara Tokatlian / flute, citarina (2), piano (3,5,7,10), tenor sax (7,9,10), claves (10), backing vocals
- Guillermo Bordarampé / bass, cello (2,8-10), timbales & Fx (7), maracas (10), backing vocals

With:
- Danais Wynnycka "Dana" / vocals (6) - uncredited

1. "Quiero Llegar" (3:51) using a bossa nova/"Take Five" rhythm pattern and palette foundation, some quite lovely folk vocals give it a SERGIO MENDES & BRASIL '66 kind of feel, but then at 1:45 the music takes a turn into a more rock and surfer-rock form for an extended instrumental passage. The first minute of the instrumental passage is early-60s sounding while the final minute takes on more of a DOORS sound and feel with the introduction of a rock electric guitar to deliver a rather aggressive solo. The delicately delivered vocals alone are worth numerous repeats. (9/10)

2. "Hoy Te Miré" (2:21) almost pure folk music with its all-acoustic instrumental palette (simply-strummed acoustic guitar, bass, vocals and background vocals). At 0:58 there is a sudden speed up with an electric lead guitar, but these instances are very brief and only happen twice and are followed by a return to the delicate folk music of the opening only with a zither-like instrument replacing the strummed acoustic guitar (citarina?) (8.875/10)

3. "Camino" (3:57) Prog Folk of a rock nature that turns blues rock with the instrumental final minute. I'm a sucker for these indigenous clay flutes used in South American music. A surprisingly well-composed and rendered song. (8.875/10)

4. "Coral" (1:16) an interesting blending of church/monastic choir vocals with ethnic/indigenous traditions. (4.375/5)

5. "Te Quiero, Te Espero" (2:36) delicately picked electric guitar chords with perfectly-matched electric bass support the delicate harmonized folk vocals of Gustavo and mates. Great, heart-wrenching melodies and harmonies. Reminds me of the power of Tracey Thorne's early solo music. Piano enters at the end to carry the melody home. (9.125/10)

6. "Luli" (0:41) Dana's operatic vocal is a little more warbly with her vibrato than I'm comfortable with. (4.25/5)

7. "Canción De Cuna Para El Niño Astronauta" (4:02) great soundscape created by classical guitar, saxes, and heavily-reverbed "room" of drums, electric bass, electric guitar and one extraordinary lead vocalist. (Still Gustavo?) A song that could have fit in perfectly with the psychedelic rock wave hitting San Francisco in the late 1960s. Awesome. (9.75/10)

8. "Y Una Flor (El Pastito)" (1:57) delicate anachronistic acoustic folk instruments like harp and recorders help found a folk sound for a song that is more folk or liturgical than prog but still excellent and impressive. (4.5/5)

9. "Tiempo" (5:42) sax and rock band instrumentation (heavy electric bass) set up a blues rock flow over which Gustavo sings with a fire and aggressiveness that he doesn't use much on the rest of the album. At 1:30 the music shifts into a little more rock-oriented blues-rock for a brief passage before settling into a full-on psych rock/R&B passage with lots of free-form additions to the music--including wild purcussion and vocal sounds and some proficient wah-wah guitar soloing--all delivered over a very solid and groovy bass and drum rhythm pattern. Nice! Then there are a couple more odd shifts that let me know that this song is really a suite--the final passage being piano and flute delivering a pastoral finish. (8.875/10)

10. "Y Ahora Soy" (11:59) opening with an ominous bass arpeggio that is repeated over and over as it is joined by electric guitar, saxophone and theater/orchestra-like drums. At the one-minute mark the band switches gears to introduce a more jazzy palette and motif over which saxophonist Ara Tokatlian lays down his "vocal" melody for about 90 seconds. Then there is another stop and pause before the citarina and clay flute enter to introduce a more ethnically-traditional theme, but this lasts only about a minute before Gustavo and the rock band rejoin to present some awesome blues-rock music in which vocals, sax, and wah-wah-ed electric guitar take turns playing off one another. A sudden stop and pause at 5:27 seems to want to last, but then everybody comes back in full volume to continue the exposition of the same blues-rock motif--both the heavy and more-plaintive side of it (chorus and verse, respectively). At 7:20 another stop and pause clears the palette for entrance of a Latinized instrumental passage (that sounds like "Tequila") over which Ara saxophone and an interesting variety of percussion instruments weave and solo. At 9:30 that lead instrument becomes a distorted electric guitar. Not anything mind-blowing in terms of ground-breaking or musicianship, this is merely an interesting "first" epic. (21/25)

Total time 38:22

The vocal skills and sensibilities exhibited by these artists are definitely advanced: they all carry their tunes with near-perfect pitch, perfect harmonies, perfect inflection and pronunciation, and perfect dynamics; the vocals alone make this a wonderfully enjoyable listening experience. The infusion throughout this album of more ethnic instruments, melodies, and vocal stylings that are more traditional to South American cultures is something that adds tremendously to its inherent charm.

88.625 on the Fishscales = B/four stars; a very solid and eminently enjoyable debut album from these talented and adventurous musicians. I am left feeling quite excited to continue to move forward chronologically in my exploration of Arco Iris' discography!

P.S. I don't know why this band is listed among ProgArchives' Jazz-Rock Fusion artists as I hear very little jazz in this music; I'd be inclined to call this Prog Folk or Crossover.

ALPHONZE MOUZON Funky Snakefoot (1973)

After breaking out on his own solo career the previous year with the fairly-successful The Essence of Mystery the respected Jazz-Rock Fusion drummer strives for more of the Soul/R&B market.

Line-up / Musicians:

- Alphonze Mouzon / drums, vocals (A2 to A4, B1 to B4), organ (B3), piano [Tack] (A1), synthesizer (A1, A3, A4, A6, B1 to B4)

- Gary King / bass (A1 to B1, B3, B6)
- Harry Whitaker / clavinet (A3, A5, B4)
- Ray Armando / congas, bongos (A1, A2, B1)
- Leon Pendarvis / electric piano (A1, A2, A4, B1, B2), organ (B3, B4), piano (A3, A5)
- Mike Mandel / electric piano (programmed by synthesizer) (A3, B6)
- Richie Resnicoff / guitars (A1, A2, A4, B1, B3)
- Angel Allende / percussion (A1)

- Steve Berrios / percussion (A1)

- Harry Whitaker / piano (A1, A2, A4, A6 to B3)
- Andy Gadsden / saxophone (A1, A5, B1, B3, B6)
- Mark Harowitz / pedal steel guitar and banjo (A6)

- Barry Rogers / trombone (A1, A5, B1, B3, B6)

- Randy Brecker / trumpet (A1, A5, B1, B3, B6)

A1. "I've Given You My Love" (4:43) opens up like an ABBA dance tune before quickly veering into the funkier pre-Disco realm. Alphonze's synth solo takes the first extended solo, then pianos, rhythm guitar, and horn blasts punctuate a bridge after the chorus to return to the verse and start over--with the lame synthesizer continuing to solo/announce the melodies (as if it were a human voice delivering lyrics). It's good, solid, definitely danceable and melodic, just not as interesting as--more like the music a TV talk show band would use between guests or to introduce a guest. It's definitely better in the final two minutes when organ and horns are more prominent. (8.875/10)

A2. "You Don't Know How Much I Love You" (4:40) opens with a drum beat like Barry White's "I'm Gonna Love You Just a Little More, Baby" but then blends in some Marvin Gaye What's Going On before turning into something more like "Love's Theme" (with lyrics). This is definitely Al's poorest vocal performance on the album: there are way too many moments in which his pitch fails to stay in key. (8.375/10)

A3. "I Gotta Have You" (2:46) a song that plays out as a kind of humorous cheeky Stevie Wonder-like song. Very simple chord and rhythm structure over which Al sings the title lyric with a few add ons for emphasis. The dude is feeling sex-deprived. Same drum sound, same voice sound issues, and same synth drilling teeth from behind. (8.5/10)

A4. "My Life Is So Blue" (4:37) a song that is set up to be a little more classy, even elegant, with both it's construction, sound palette, and Gino Vannelli-like vocal styling. High marks for effort, demerits for coming across with too much schlock. (8.875/10)

A5. "Funky Snakefoot" (3:45) great drumming, great bass playing from Gary King, and great clavinet play from Harry Whitaker open this one, quickly establishing a very refreshing groove. Trumpet, piano, and trombone solos from Randy Brecker and Barry Rogers, respectively, in the second minute are brief but powerful. Andy Gadsden's saxophone in the fourth, also before the song fades out. Very high-spirited and fun! Easily the best song on the album (perhaps the only one). (9.3333/10)

A6. "My Little Rosebud" (2:02) a very openly tongue-in-cheek Country-Western parody. Mark Horowitz' pedal steel guitar and banjo play are actually quite impressive. (4.25/5)

B1. "A Permanent Love" (4:20) more upbeat, uptempo soulful dance music over which Alphonze sings. The dude shows a little passion and feeling for this lyric; with the addition of the horn sections accents, the music sounds a little like contemporary Stevie Wonder. The lyrics are definitely meant to be the focal point of this one but the horn section is fun (would be fun to be a part of). (8.875/10)

B2. "The Beggar" (4:35) funky synth bass line opens this before cool, solid drum beat joins in. Electric piano, synth, organ, and Alphonze's voice join in. Too bad A's Eddie Murphy-like voice is recorded, engineered and mixed so oddly throughout this album (far into the back--almost muted). Again, the lyrics are meant to be the star of this song--much in the vein of popular social commentarist Gil Scott-Evans, methinks. The song is faded out right in the thick of A's rather impassioned delivery of lyrics. How odd!(8.75/10)

B3. "Oh Yes I Do" (4:35) bluesy-R&B that sounds a bit like The Temptations "Can't Get Next to You." Al starts singing right from the start: once again sounding very much like the voices Eddie Murphy would make popular on his Saturday Night Live musical skits, only, I don't think Al is trying to be comical. The Steohen Winwood blues organ chord progression keeps things organized as Al uses his drums and favorite synth sound to rouse a little more energy over the final two minute's instrumental passage. (8.75/10)

B4. "Tara, Tara" (3:35) nice drumming and keyboard work over this song that mimics Billy Preston, Stevie Wonder and predicts K.C. and the Sunshine Band a little. The drumming is impressive, I just wish it had been recorded and mixed a little better. (8.875/10)

B5. "Where I'm Drumming From" (1:20) sounds like someone fooling around on an early drum machine: rapid fire here, there, everywhere! (Is this where the sound was recorded from to make my first drum machine's programmed sounds?) It's as if a guitarist turned on the record button and just proceeded to spit out 90 seconds of runs. (4/5)

B6. "Ism" (3:08) opens with drums as if to impress--and they're flanged! Then big bombastic jazz chords are played over the continued impressive drumming with synth banks, horns, synth bass chords. I actually like these angular chord progressions though the drumming gets a little pompous and over-zealous from time to time. The man is all Animal tom- and cymbal-crashing--not even the cool flange effect can keep me from feeling embarrassed for Al's apparent need to impress. (9/10)

Total Time: 43:16

A jazzed-up Soul/R&B album with each and every song intended to have possible pop radio play (if only the Soul/R&B charts). It's fun, with no real low/deficiencies it's just not top tier production. Also, Alphonze just doesn't have the voice or vocal talent to pull of radio-quality hits and his drumming is quite often embarrassingly over the top: as if the 25-year old feels some overwhelming drive to prove his skillfulness. (Was he dissed by the critics early on in his career?)

87.60 on the Fishscales = B-/3.5 stars; an interesting and often enjoyable display of Soul/R&B wannabe from a supposed upper-level Jazz-Rock Fusion. I had much higher expectations than this was able to delliver.

EMERGENCY Entrance (1972)

An album of brass-enhanced pop jazz-rock music not unlike that of Blood Sweat and Tears: the band's lead singer John Redpath's voice is pretty much a dead ringer for that of David Clayton Thomas.

Line-up / Musicians:
- Hanus Berka / Saxophone, flute, keyboards, mellotron
- Frank Diez / Guitar
- Otto Bezloja / Bass
- Jiøí Matousek / Keyboards
- John Redpath / Drums, vocals,
- Curt Cress / Drums

1. "Why Am I Doin' It" (7:50) built a bit more like CHICAGO's version of "I'm a Man" this one rocks, it rolls, and it blues-rocks, it even jazz-rocks a little. Nice Terry KATH/David CLAYTON THOMAS vocal from drummer John Redpath but the song does over-stay its welcome a bit despite saxophonist Hanus Berkas enthusiastic play. (13.25/15)

2. "Happiness" (7:00) piano-based blues rock that sounds very Southern USA like the Allman Brothers, Leon Russell, Dr. John, or even Van Morrison. (12.75/15)

3. "Journey" (7:30) a very-Sixties Bay area-sounding blues rocker built over a repeating three-chord piano arpeggi does ramp up for a bit in the third minute form some brass-rock before reverting to the original motif for some bluesy piano pounding. Nice recording engineering delivering clear tracks for each and every one of the instruments. Very solid. (13.5/15)

4. "Emergency Entrance" (11:20) opens with a nice weave of drums, percussion and bass before weird mosquito-like synth joins in with piano and rhythm guitar. Flute takes the next solo (I'm assuming that the mosquito-synth was intended as the first) with mostly-percussion backing. A bit like instrumental palette and sound beneath Van MORRISON's "Moondance"--or if it were extended into an instrumental jam. Organ, piano, saxophone (briefly), and electric guitar get the next solos, in that order--all of it pretty "raunchy" (though cleanly recorded). It's a nice song for displaying the capabilities of the band's individuals. The second movement of the song is pure blues--with saxes, low-end guitar, and organ takin' us into the Swamp. There is crescendos at in the tenth minute with some whole-band blasts and then some high-tailin' runnin' out for the final minute. (17.5/20)

5. "Killin' Time" (10:20) a two-part suite that starts out quite gently, even emotionally beautiful reminding me of some of NEKTAR's more tender moments. John Redpath's vocals are also very gentle--like BOZ SCAGGS on "Harbor Lights." But then the song jumps into a different gear, coming together for some more Southern Rock bordering on Chicago melodically. Here John's vocal is much more than something from an Allman Brothers or Blood, Sweat and Tears album. After a brief saxophone solo the song moves into its second phase: this one more organ-based and organ-dominated like something from an early Brian Auger or ROD ARGENT jam. Jiøí Matousek is a very talented organist! Sax takes the next solo--here reminding me of why I don't like this overgrown kazoo. I have to admit that overall this is a pretty cool song. (18.25/20)

Total time: 44:00

While I came here because of my deep dive into Jazz-Rock Fusion--something this album is NOT--I have to admit that I really enjoyed this experience. My several listens through Entrance has helped soften my rather dismissive "complex" against blues-rock.

88.53 on the Fishscales = B+/four stars; an excellent album of proggy/jazzy Blues-Rock music--one of the best of its kind that I've heard.

COLOSSEUM The Grass Is Greener (1970)

This album is apparently quite the anomaly in that most of these songs have appeared on previous Colosseum albums but here they employ a different lineup of musicians. Plus, this was an album that was released only in North America--which seems to indicate that the band (or record company) was trying to gain a foothold across The Pond--one that they had obviously failed to gain with their previous releases. The offerings here are jazz-tinged psychedelic rock album that predicts the music of GENTLE GIANT while reaching back to familiar West Coast psychedelic power rock bands like like The Doors, Spirit, as well as taking advantage of the way paved by more successful British Invaders like The SPENDER DAVIS GROUP, PROCUL HARUM, and LED ZEPPELIN.

Line-up / Musicians:
- David Clempson / guitar, vocals
- Dave Greenslade / Hammond organ, piano, percussion
- Dick Heckstall-Smith / tenor & soprano saxophones, woodwind
- Tony Reeves / bass, co-producer
- Jon Hiseman / drums
With:
- James Litherland / vocals (3)
- Neil Ardley / string quartet arrangements (3), big-band arrangements (4)

1. "Jumping Off the Sun" (3:00) psych rock in a GENTLE GIANT vocal form. The music is a bit closer to the psych rock bands of the late 1960s--like SPIRIT but those vocals sound just Derek Shulman. The musicianship is very high, very tight. (8.75/10)

2. "Lost Angeles" (5:30) this one sounds like a sophisticated THE WHO song with Paul Weller singing the vocal. Drummer Jon Hiseman is so good that you can tell that the rest of the band feeds off of (or is driven by) his powerful skill. Great Jimmy Page-like guitar solo from David Clempson in the third minute. The rest of the band around him (including a second guitar track) are equally great: all focused on delivering the unmitigated CREAM-like power that Hiseman and the spirit of this song seem to demand/require. I can finally hear Dick Heckstall-Smith's sax in the final minutes of this one. Excellent song. (9.3333/10)

3. "Elegy" (3:26) a famous song that brings to mind both SPENCER DAVIS and BRIAN AUGER. Guest vocalist James Litherland has a great, soulful voice. The song's basic chord progression and melodic hooks work very well: a very memorable song. The role of the soprano sax and Neil Ardley's strings is noticeable but not a major contributor. (9.66667/10)

4. "Butty's Blues" (6:45) yes, full on organ-lead blues: the first song on which Dave Greenslade gets to really shine. He's very good--with an excellent horn arrangement behind him from Neil Ardley and excellent bass and drum play from Tony Reeves and Jon Hiseman. Once the amazing "big band" intro is over at 1:28, the song turns into a very typical blues/blues-rock tune--like something JOHN MAYALL or ROBIN TROWER would do. But then the horns return to remind us of the modern juxtaposition and Dick's tenor sax takes a solo in place of the second vocal verse. The dynamic whole-band finish is awesome! I normally don't like blues/blues rock but the participation of the horns makes this very dynamic and exciting. (13.5/15)

5. "Rope Ladder to the Moon" (3:42) an outlier in that this song had not appeared on any previous Colosseum releases, the song was picked up Jack Bruce and made more famous as one of his anthemic concert favorites. It is a very cool song with great vocal, lyrics, melodies, and full-band support music. Rated up purely on the vocal performance & clever lyrics (and delivery). I have the feeling that this song may also have been influential to Derek Shulman and his brothers. (9/10)

6. "Bolero" (5:28) one might laugh upon seeing this title on the page but the band actually do Ravel's original quite some justice with this heavy, full power-rock version. Nice keyboard and sax play over Jon's impeccable drumming, but it's David Clempson's fiery, bold-like-TERRY KATH electric guitar solo that really gives it its unique identity. It is one of those great, truly original and, therefore, iconic guitar solos. As a matter of fact, it's so good (and the rest of the bands' performance on his coattails) that you are actually transported into forgetting that this is Ravel's "Bolero"!! (9.125/10)

7. "The Machine Demands a Sacrifice" (2:48) another song lifted off of the previous year's Valentyne Suite album, this one has a psychedelic feel not unlike that of Iron Butterfly's "In-a-gadda-da-vida"--especially in the drum-and-bass-centered music. (8.75/10)

8. "The Grass Is Greener" (7:31) one of the pieces lifted from the actual "Valentyne Suite," this one is gentler and more prog-tempered than the album's other tunes--probably because it's an instrumental on which the band hope to show off their skills as musicians. I'm surprised at the uncredited full-horn ensemble opening as well as the slower TRAFFIC/Southern Rock tempo. It seems as if all of the band's instruments gain some showing here with full-spotlight solos from Hammond organ, bass, volume-pedal-controlled electric guitar, even sax and drums. The tempo shift into high speed for final three minutes (as well as the long, protracted dénouement at the end) will become such a template for so many Southern Rock bands like LYNYRD SKYNYRD, MOLLY HATCHET, CHARLIE DANIELS, and THE OUTLAWS. (The Allman Brothers were already doing it--so maybe Colosseum picked up the idea from them.) (13.125/15)

Total Time 38:10

I very much like this album: it has great musicianship--feeling as if each member of the band is fully committed to and engaged with each song. At the same time, despite the presence of horn sections on several songs and despite the excellent (probably virtuosic) musicianship, I could probably never be convinced that this music is Jazz-Rock Fusion. It's just progressive blues-rock psychedelia dressed up in some jazz fittings.

88.125 on the Fishscales = B/four stars; though I find the skillful and tight musicianship on this album to be exceptional, the songs are not always aligned with my own personal preferences. At the same time, I can definitely imagine the success and popularity that an album like this would have created in 1970/71.

BURNIN' RED IVANHOE Burnin' Red Ivanhoe (1970)

The second album released by Denmark's first progressive rock band results in a cornucopia of psychedelic rock with some infusion of jazz, though more blues, sounds and instruments.

Line-up / Musicians:

- Ole Fick / electric & 12-string (2) guitars, vocals

- Kim Menzer / mouthharp, trombone, tenor saxophone, flute, percussion (2)

- Karsten Vogel / soprano & alto saxophones, organ, piano (3)

- Jess Stæhr / bass, acoustic guitar (2)

- Bo Thrige Andersen / drums, percussion (2)

1. "Across The Windowsill (7:40) rooted in psychedelic pop music of the Argent/Animals ilk, this is a song that sounds like it could have come from the Sixties. Oh. Wait! It did! Four chord rock for the jam in the third through minutes over which Ole Fick solos on his electric guitar. Karsten Vogel's organ sound and riffs are straight out of the Animals' repertoire and Ole's voice is pure late Sixties Steve Winwood or Mark Farner. The most interesting thing in the song is the weird sounding saxophone soloing through the seventh and eighth minutes. All in all it's a very solid song for its time. (13.25/15)

2. "Canaltrip" (5:21) with their acoustic instruments only we get a conglomeration of Django-ed "Take Five" played in a relaxed Beatnick circle. Two acoustic guitarists, two percussionists, and Kim Menzer's tenor saxophone playing over five minutes of a two-chord cycle. Interesting--especially the purposely-raunchy sax play--but not sure it's worth five minutes of attention. Though Kim's sax play is awesome (as far as saxophone play goes), perhaps this one would have been better off left in the practice room. (8.75/10)

3. "Rotating Irons" (8:19) harmonica leads us into a very laid-back, San Francisco-sounding blues-rock tune. Nice, steady play from the Lou Reed bass and drums. Free floating bluesy electric guitar joins for a bit before Ole Fick enters with a raspy shout vocal. This is as good as anything coming out of the U.S.'s West Coast psychedelic scene of the late 1960s. A slight increase in both tempo and intensity occurs at the end of the fourth minute as the organ's two chords and Kim's mouthharp rejoins, but it's really Ole's show: guitar and vocal alternating in the spotlight like a true star of the blues (B.B. King comes to mind). Very solid and engaging for this kind of music. (18/20)

4. "Gong-Gong, The Elephant Song" (5:40) opens with one chord held long and hard while multiple horns spin around with the shaker percussion. Then the band jumps into gear with a near-surfer three-chord guitar riff repeated ad nauseum within a rhythm section that is moving along at a runner's pace. Kim's mouthharp takes the lead for a good long minute before any sign of the reeds returns, but then a motif switch allows the alto sax to grab the lead while the band returns to the pseudo-surfer motif.around the four minute mark the wind group comes together for a bit to announce room for the second saxophone, and then it just kind of ends, with each instrument sticking around a bit as if unsure if they're really supposed to stop. Nice solid jamming that yields nothing very memorable. (8.75/10)

5. "Near The Sea" (3:58) here Ole sings as if he's Electric Dylan while the band accompanies him with some gentle folk R&B. Electrified folk, if you ask me. (8.75/10)

6. "Secret Oyster Service" (9:48) five minutes of spacious, pensive, bare-minimum of instrumental support for an extended tenor saxophone solo before the band breaks into a "I'm Just a Singer in a Rock 'n' Roll Band"-like rock motif only to continue to support a now-more frenetic saxophonist. in the eighth minute a second saxophone starts his engine and gets into the act while the others continue their crazy pace down the mountainside. While Karsten Vogel's alto screeches and wails, the rest of the band coalesces into a harmonically-texturalized flow for the big finish. Okay; that was that! (17.25/20)

Total Time: 40:46

I'm not convinced this album should be anywhere near the Jazz-Rock Fusion classification; if it's due to their future production (and Kim Menzer's wind instrument acumen), I get it, but I'll not be including this album among the mainline J-R F albums.

87.94 on the Fishscales = B/four stars; a nice display of burgeoning talent getting their chops in line. Not sure I'd recommend this album to anyone other than the die-hard fans of 1960s blues psych but it's not bad!

CHASE Pure Music (1974)

The third and final album from this stellar group of brass rock musicians.

Line-up / Musicians:

- Bill Chase / trumpet, electric trumpet, flugel horn

- Jay Sollenberger / trumpet

- Joe Morrissey / trumpet

- Jim Oatts / trumpet

- Wally Yohn / keyboards

- John Emma / guitar, vocals

- Dartanyan Brown / bass, vocals

- Tom Gordon / drums

- Jim Peterik / vocals

1. "Weird Music No. 1" (5:38) as if trying to meld several style/traditions together at once--over a kind of Spanish foundation. Weird? Yes. Remarkable. Also yes. Great (and inventive) horn arrangements with the weird synth (and keyboard) work of Wally Yohn. I love the big horn build up around the four-minute mark before backing off for bass and tubular bells to fill beneath as more weird keyboard sounds gradually join in. Interesting. (8.875/10)

2. "Run Back To Mama" (3:11) a BLOOD SWEAT AND TEARS revival/update song. (8.75/10)

3. "Twinkles" (7:12) swirling piano arpeggi with beautifully melodic flugelhorn soloing over the top. bass and drums join in in the second minute. At the four minute mark everybody backs out so that the bass player, Dartanyan Brown, can have an extended solo all on his own. The others slowly rejoin in the fifth minute, at first in support but then merging into a variation of the song's original Alice Coltrane-like motif. (13.25/15)

4. "Bochawa" (5:47) uptempo blues-rock music with weird synth and support from the band of horns. Nice horn solos between two trumpets as the other trumpets accent and support from behind. The song builds and builds in intensity into the fourth minute before a very funky Hammond organ solo takes over the lead. The horn section gradually rejoin--at first as if far in the background, but then stepping closer and closer to the front. Pretty cool stuff! Did I mention how great the bass and drums are? It seems as if everybody is screaming at the top of their volume scales in the last minute. Great horns and solos over kind of standard musical foundation. (8.875/10)

5. "Love Is On The Way" (3:45) okay vocal song probably meant to be radio-friendly. (8.5/10)

6. "Close Up Tight" (7:36) built over a funk groove from the rhythm section that sounds as if it were lifted from CHICAGO's "Introduction" from their 1969 debut album, Chicago Transit Authority. Not up to the dynamic and enthusiastic standard set by the original. I love the experimental synth sound used by Wally Yohn in his extended solo in the fifth and sixth minutes: it may, in fact, have saved the song for me! (13.25/15)

Total time 33:39

This album sounds far more commercial and radio-oriented and far less Stephen Schwartz-like.

87.86 on the Fishscales = B/four stars; an excellent addition to any prog lover's music collection--especially if you love amazingly tight arrangements of top notch brass sections.

FROM 0611 Cat Quarter (1971)

Early German blues-jazz obviously inspired by the new electric developments coming from New York City as well as the portable electric organ work of some of the extraordinary keyboard players who were pushing boundaries in the late1960s. One thing that makes this album stand out is that it is made up entirely of original compositions--mostly by saxophonist Gustl Mayr.

Line-up / Musicians:

- Gustl Mayr / tenor saxophone, soprano saxophone, composer

- Dieter Von Goetze / electric bass

- Kurt Bong / percussion, drums

- Klaus Gobel / organ, composition (1)

1. "Lollipop Mainliner" (4:22) sounds so Sixties-ish: like a mash up of "surf rock" and organ blues-rock. The construct definitely comes from the blues idiom. Interesting long slow down at the three-minute mark followed by the reprise-restart of the main theme to close. (8.75/10)

2. "Goose Pimples" (4:42) opens up sounding like a variation on Gerwshin's "Porgy and Bess," but then it goes full blues with some soprano saxophone soloing above the organ, bass, and drums. Organ takes over the lead soloing throughout the second minute before giving way to the sax again. (8.75/10)

3. "Chicks" (4:25) James Brown-like R&B--like "Mustang Sally" with a slight influx of surfer music. (8.5/10)

4. "Gargoyle" (4:46) the closest song to proto-prog Blues-Rock like something Brian Auger, Rod Argent, or even Keith Emerson might do. Gustl Mayr's wonderful soprano sax play is more akin to that of John Coltrane. This song really swings! My favorite song on the album. (9/10)

5. "Mood Blue" (4:10) a great movin' Jazz-Rock piece which really showcases Klaus Gobel's talents on the organ. The chorus bridge is a bit like the structure and chords of Steve Winwood's "I'm a Man." (8.875/10)

Side Two: "Fancy Suite" :

6. "Cat Quarter" (5:49) more organ and sax supporting jazzy R&B. (8.75/10)

7. "Dig It" (5:28) old-time blues construct that was probably very popular in the band's local beer halls. Sax gets the lead over the standard jazz drumming and fret-walking bass line but, of course, Klaus gets his time in the sun as well. (8.6666667/10)

8. "Fancy Soul" (5:15) opens with some adventurous bass play before sax, brushed drums, and sustained organ chords join in. This is jazz from the deep South: sad and emotive. Nice work from bassist Dieter Von Goetze and Gustl Mayr on the soprano sax--and I really like Klaus's restrained, respectful organ: giving full support and shine to Gustl. At the halfway point Gustl takes over the lead, mirroring Dieter's melody lines with great care and respect while still adding his virtuosic riffs and flourishes, and then Dieter is given the lead for the final minute and more. Nice! Another one of my top three songs. (8.875/10)

9. "Ruck-a-Sack" (4:10) another song that feels as if it would have been a great favorite in the local pubs and beer halls--it feels like an "old standard": full of simple catchy melodies and playing patterns. Nice cymbal play from drummer Kurt Bong. (8.666667/10)

Total time: 44:46

On the positive side, these songs are all recorded extremely well: with all instruments being rendered clearly and cleanly defined, but the soundscapes are a bit too sparse and spacious for my tastes. From a distance, this really is less Jazz-Rock Fusion despite its used of electric bass and organ; it's more jazzy Blues Rock.

87.59 on the Fishscales = B/four stars; a beautifully-rendered collection of original music that all feels familiar in the way that popular jazz "standards" do. If you like melodic organ and sax play within a competent jazz combo, you might love this.

BURNIN' RED IVANHOE WWW (1972)

More psychedelia with more effected sound production and some jazz and proggy tendencies.

Line-up / Musicians:
- Ole Fick / guitar, percussion, vocals
- Kim Menzer / violin, trombone, flute
- Karsten Vogel / soprano & alto saxophones, organ, piano, composer (excl. 6)
- Jess Stæhr / bass, percussion
- Bo Thrige Andersen / drums

1. "The W.W.W. Suite":

- i. "Second Floor, Croydon" (8:37) Ole sings in a John Lennon-effected voice over some John Lennon-like music to open this one before the spacious pause in the beginning of the second minute which ends with the band launching into a Brit-Rock sounding pseudo-R&B theme. Sounds like BR Ivanhoe's version of "Don't Let Me Be Misunderstood." The sound engineering is different from their previous album: more effects used on the bass and vocals with warmer treatments given to the organ, drums, and flutes--and with everybody brought more forward in the mix, making it much more intimate, as if the listener is inside the instrumentalists' circle on stage instead of 20 feet away. The organ, drums, and guitar playing are rather primitive while the vocalist and seem more adventurous. Nice sound but a little too primitive to garner high marks. (17/20)

- ii. "W.W.W." (6:07) droning amplifier feedback sound opens this one, holding for quite a while as organ, bass, cymbals, and violin gradually add their subtle experimentations and interjections. This loose weave of cacophonous tuning and warmup jamming continues well into the second half of the song until some peaceful flute- and whale-like violin notes seemingly soothe and calm the rest of the band members. Very interesting and, I have to admit, somehow enjoyable--not unlike a POPOL VUH listening experience. (8.75/10)

- iii. "Avez-Vous Kaskelainen" (4:47) the band here slowly congeals into a "Driver's Seat"-like organ-driven groove within which wah-wah-ed violin and electric guitar flit and float. Like an experimental DOORS jam that never made it to album. (8.75/10)

- iv. "Kaske-Vous Karse Mose" (3:49) Karsten Vogel's soprano sax gets to lead this with some nearly free-jazz playing, but not before his organ and Kim Menzer's flute set up a hypnotic, nearly-Krautrock foundation. Also featuring multi-tracking! (8.875/10)

5. "All About All" (4:08) strummed John Lennon-like acoustic guitar opens this one before the band jumps into a BADFINGER-like pop song about the band's history: musically and geopolitically. Fun and funny with some nice soprano sax playing throughout. (8.875/10)

6. "Oblong Serenade" (6:25) another Beatles imitation, this one from the Fab Four's psychedelic peak years. Pounded piano, trombone, and multiple track dedication to loose drunken-fun vocals gives it a lot of Magical Mystery Tour feel--as does the kazoo-like soprano sax play in the third minute. At 3:47 Jess Stæhr and Bo Thrige Anderson double the pace, providing the impetus to the rest of the soloists to up their energy levels--which Karsten Vogel, Ole Flick, and even a weak Kim Menzer do nicely on. their sax, electric guitar, and trombone, respectively. (8.875/10)

7. "Cucumber-Porcupine" (5:21) bass, bass drum, guitar, and alto sax all chime in on punctually playing a "Stand By Me"-like progression of riffs before flute, sax, and group choir vocals peel off to make their own melody lines. Drummer Bo Thrige Anderson eventually smooths out his rhythmic support into more of a rock style, but the bass and electric guitar continue to chug through the song's original staccato progression till the very end. The happy song seems to want to end the album with a feeling of laid-back cohesion and commisseration--as if we're all in this together and it's gonna be all right. Nice. (8.875/10)

Total Time 39:14

While I like the new, richer sound palette and experimental moods of the band being expressed on this album, I do not think it to contain many memorable songs: so many feel unfinished, as if the band were using these studio sessions to become more proficient with the new (and old) sounds of their instruments, work out new ideas and skills, as well as try to figure out how the individual band members can better serve the needs of the collective. Once again, I cannot in good faith consider this album a shining example of Jazz-Rock Fusion music; there is more of a jazz-like experimentalism being expressed here, but there is really very little jazz. More R&B than jazz.

87.19 on the Fishscales = B-/four stars; a likable collection of songs in which a band is doing a lot of experimentation. But the question must be asked: How much of it is for themselves and their own growth and entertainment and how much for their audience?

OUT OF FOCUS Out of Focus (1971)

The sophomore studio album from these talented München-based musicians.

Line-up / Musicians:
- Remingius Drechsler / guitars, stylophone, tenor saxophone, flutes, voice
- Hennes Hering / organ, piano
- Moran Neumüller / soprano saxophone, vocals
- Klaus Spöri / drums
- Stephen Wishen / bass

1. "What Can a Poor Boy Do" (5:52) URIAH HEEP-like Hammond organ-led music over which Moran Neumüller gives an acerbic Damo Suzuki-style vocal performance. Moran's sax and Hennes Hering's organ have turns soloing and amping up the angst of the song in the sedcond and third minutes before bass and guitar take a turn "conversing" over Klaus Spöri's delicate cymbal play. The song continues to play out with alternating, sometimes brief and conversant blues-rock soloing for the duration of the song to its odd/cutesy end. Oh, no! Is the band stepping down: settling for lower, more radio-friendly styles and standards? That would be such a shame--especially after their amazing debut album from the year before. (8.6667/10)

2. "It's Your Life" (4:31) folk-sounding picked acoustic-guitar-based music that sounds just like British Prog Folk bands SPIROGYRA and/or COMUS. No drums, electric bass, organ, flute, and second or third acoustic guitar tracks accompany Moran's Martin Cockerham-like voice. (8.875/10)

3. "Whispering" (13:34) very sparse organ and cave-immersed whisper-spoken vocal open this one before the full band takes over at the end of the first minute. There's a little jazziness in this due to weave of the wah-wah-ed guitar, organ, and tenor saxophone--but they're all playing such simplistic melodies within the two-chord weave. Really disappointing. More like spiritless, automaton play of the "Dark, darker" final song of the Wake Up! album (the only disappointing song on that album). As the horns and organ support Remingius Drechsler's extended electric guitar solo throughout the fifth, sixth, and seventh minutes the listener achieves a numbed state of hypnosis due to the droning repetition of the rhythm-keepers. Sax takes over the lead in the eighth minute while the others drone CAN-like underneath. (25.75/30)

4. "Blue Sunday Morning" (8:20) swirling Hammond organ played over plodding dreary, leaden drone-like Krautrock supports Moran's Mick Jagger-in-a-heroine-stupor spoken vocal. In the sixth minute the bass, organ, and drums begin to ramp up their intensity while Moran's vocal becomes more insistent, but then the unique sound of a "Stylophone" (like an early version of a Casiotone) begins an extended solo--which sounds like George Harrison singing along with one of his electric guitar solos from the same period. The music beneath takes on an outro jam in the vein of URIAH HEEP or TRAFFIC as the music plays on and out--fading out over a period of 25 seconds. (17.5/20)

5. "Fly Bird Fly" (5:09) flute soloing with less mellifluous flow, more jumping around in a staccato fashion, as picked guitar supports before the full band joins in with a bluesy-jazz motif that sounds a lot like something by VAN MORRISON from the same period. Mick Jagger vocals are followed by some nice swirling organ and clear-toned electric guitar solos. (8.66667/10)

6. "Television Program" (11:45) I knew it was only time before Moran could suppress one of his long, impassioned social justice speeches. The music in support is solid and tightly performed but, once again, too drone-metronomic with another two-chord motif spanning the first seven minutes. A quiet passage in the eighth minute precedes a more potent VAN DER GRAAF GENERATOR/SEVEN IMPALE-like two-chord saxophone-led motif that takes us out for the final three-plus minutes of the album. (21.875/25)

Total Time: 49:11

I'd call this album quite a step down from the focused energy of their debut; it's as if they had fallen under the spell of the CAN-like pioneers of rhythmic drone music that we call and associate with the term "Krautrock." I have not, however, fallen under this same spell--occasionally a song evokes that "Kosmische" feeling in me, but, for the most part, no.

86.98 on the Fishscales = B/3.5 stars; not the album to start your introduction to this immensely-talented band; this is very much a disappointment when compared to the band's debut but even moreso when placed alongside the three albums of recorded material that came after (all of which came from the recording sessions that turned out the band's third and final album, 1972's Four Letter Monday Afternoon). I recommend that you skip this one and go right to the excellent Four Letter Monday Afternoon, Not Too Late, or Rat Roads.

MOGUL THRASH Mogul Thrash (1971)

Recognize any of those band members' names? Right!?!? Was this an early "supergroup"? Not when several of the future superstars had not yet made names for themselves.

Line-up / Musicians:

- James Litherland / guitar, vocals

- Malcolm Duncan / tenor saxophone

- Michael Rosen / trumpet, Mellophone, guitar

- Roger Ball / alto, baritone & soprano saxes, brass arrangements

- John Wetton / bass, guitar, vocals

- Bill Harrisson / drums

With:

- Brian Auger / piano (5), producer

1. "Something Sad" (7:32) Britain's answer to brass-rockers CHICAGO. (13/15)

2. "Elegy" (9:37) The GUESS WHO's "No Time." Melodic when it becomes vocal-driven like Canada's LIGHTHOUSE. Quite nice rock 'n' roll but this is no Jazz-Rock Fusion. (18.25/20)

3. "Dreams Of Glass And Sand" (5:07) nice drum intro is filled out with highly-coordinated and syncopated guitar, bass, and horns to support James Litherland's (and John Wetton's--in b vox role) vocal. Nicely composed and performed. Drummer Bill Harrisson is impressive. (8.875/10)

4. "Going North, Going West (part 1)" (5:00) a bit of an ALLMAN BROTHERS feel to this one due to rhythm guitar and James' lead vocal sound and melody style. Nice when the sax gets to soloing in fourth minute. (8.75/10)

5. "Going North, Going West (part 2)" (7:07) the slowed down, sparsely populated lull after the saxophone storm. The instrumental portion is pure TERRY KATH Chicago, the vocals toward the end a return to a kind of LIGHTHOUSE/ALLMAN BROTHERS sound. (13.5/15)

5. "St. Peter" (3:39) pure pop-rock. (8.5/10)

6. "What's This I Hear" (7:17) Led Zeppelin-like B-grade Blues Rock (The GUESS WHO); not even remotely j-r fusion--not even the gentle saxophone lull in the fourth minute can make it so. (12.75/15)

Total Time: 47:57

An album of far more rock-infused music than your serious American Jazz-Rock Fusionists (a term that had not yet been coined much less accepted in the music world), BLOOD SWEAT AND TEARS, early CHICAGO and of course COLOSSEUM are the bands that come to mind as I listen to this. Great drumming and horn arrangements with some overplaying by aggressive bass player John Wetton (a problem I have with his bass playing throughout his career).

86.97 on the Fishscales = B-/3.5 stars; good but not top notch by any stretch of the imagination--especially the further you progress into the album.

EXMAGMA Goldball (1974)

Though started by Detroit-born American German-based soldier Fred Braceful, this German trio really packs a punch--and displays some very progressive writing and recording techniques.

Line-up / Musicians:
- Thomas Balluff / organ, electric piano, clavinett-c effects
- Fred Braceful / sonor drums, percussion extraordinaire
- Andy Goldner / fretless electric bass, electric guitar, alto sax, tape recorder

1. "Marilyn F. Kennedy" (2:30) an awesome super-funky bass and clavinet-heavy high energy weave of organ, bass and drums that sound as if they're right in your lap (or brain)! (9.25/10)

2. "Dada" (3:36) slowing it down with space and multiple tracks dedicated to each musician for two electric pianos, bass and two guitars and lots of drum and percussive sounds, this three-part song definitely succeeds in rendering Dadism unto music. The final section has some awesome searing soloing from a heavily-treated electric guitar. (9/10)

3. "Adventures With Long S.tea" (2:53) again multiple instrumental tracks given to each performer, the slow, heavy, almost plodding weave has quite the math rock sound and formula--almost in the realm of KCRIMSON Red or "Discipline." Nice display of skills. (8.875/10)

4. "25 Two Seconds Before Sunrise" (4:53) spacey/psychedelic blues-rock on display here with some very interesting special effects and excellent superfluous percussion work. The first couple minutes feel as if the band is just showing off its sounds without every really congealing into a song with purpose, but then it never does meld into anything other than a plodding display of effects. (8.66667/10)

5. "Groove Tango Wolperaiso" (2:35) an étude of fusing blues with rock using all kinds of riffs pasted together with a glue of electronic/engineering effects. Very weird and, I have to say it: very German. (4.375/5)

6. "Jam Factory For People Insane" (4:04) with its Iggy Pop-like Beat era or punk rock vocal performance, this one comes in with quite a little surprise. After the vocal intro section, the song contains quite a display of drum and percussion acumen while rhythm guitar, bass, and organ play mathematically-conjured chords in support like robots, then it devolves into a TODD RUNDGREN-like A Wizard, A True Star-like party. (8.75/10)

7. "Habits" (5:57) like something off of Miles' Bitches Brew or Herbie's Mwandishi albums, this is bass and guitar-driven song is very spacious allowing it to contain lots of layers of busy-ness. (8.75/10)

8. "Dance Of The Crabs" (0:53) another little étude based on a circular chord sequence. (4.375/5)

9. "Greetings To The Maroccan Farmers" (6:36) opening with noises as if from a kitchen or workshop, the clearing of one's nasal passages signals the introduction of some actual musical instruments: piano with drum preparation sounds and percussion and, later, strums and hits on the frames and strings of various stringed instruments (including a snare drums' steel coils, a zither, and some unplugged electric guitars), breathy horn blows, shakers, nose flutes, goats bleats, more clanging of kitchen and workshop utensils and containers, all the while the piano playing a kind of soundtrack to rodent activity. All in all, a very interesting attempt at rendering a soundtrack to a real world situation (a Moroccan farm). Interesting but was this really necessary? Especially as the album's longest song? (8.5/10)

10. "Last But One Train To Amsterdam" (0:56) another brief whole-band dive into a mathematically-constructed chord sequence. (4.375/5)

Total Time: 34:53

Overall, I appreciate the talents and skills of the musicians but more I find myself enjoying and awed by the visionary recording and engineering techniques on display here: these guys are very uniquely focused, adventurous and gutsy!

86.96 on the Fishscales = B-/3.5 stars; despite the engineering prowess and obvious instrumental talent on display here, the album is not a very successful display of rock, jazz, jazz-rock, Jazz-Rock Fusion, or progressive rock; this is more the type of songs collected by Krautrock bands like Neu, Faust, or perhaps Can.

DZAMBLE Wołanie o słońce nad światem (1971)

A very successful album release this Polish band that sadly disbanded soon after its publication.

Line-up / Musicians:

- Andrzej Zaucha / vocals

- Jerzy Horwath / organ, piano

- Marian Pawlik / bass, guitar

- Jerzy Bezucha / drums

- Benedykt Radecki / drums (10-12)

With:

- Marek Ałaszewski / vocals (5,6)

- Marek Pawlak / vocals (5,6)

- Janusz Muniak / flute, soprano & tenor saxophone

- Zbigniew Seifert / soprano saxophone (6,7,9)

- Tomasz Stańko / trumpet (6,7,9)

- Michał Urbaniak / bass, soprano & tenor saxophone, violin

- Jerzy Bartz / drums (1,5,9)

- Józef Gawrych / drums (1,5,9)

- Kwartet wokalny / backing vocals (2)

- Kwartet smyczkowy / string quartet (7)

1. "Święto strachów" (5:10) (8.66667/10)

2. "Hej, pomóżcie ludzie" (2:45) a song with an anthemic chorus that sounds like it was probably a big hit in Poland. (4.5/5)

3. "Muszę mieć dziewczynę" (3:02) violin is prominent contributor to this one. (8.66667/10)

4. "Naga rzeka" (4:57) the flute-led instrumental passage in the middle is founded on a motif sounding very much like Carole King's "I Feel the Earth Move." Nice song. (9/10)

5. "Dziewczyna, w która wierzę" (3:44) great Latin-oriented CHICAGO-like beat and rhythm track supports some interesting choral vocals that sound like something coming from a Cuban brass band! Once again the motif used for the instrumental section feels borrowed. (8.75/10)

6. "Masz przewrócone w głowie" (3:28) sounds like a borrowed Aretha song usurped by macho men and a gospel choir. (8.5/10)

7. "Wymyśliłem ciebie" (2:59) half Bond cinema, half Chicago/Andrew Lloyd-Weber Jesus Christ Superstar. (8.75/10)

8. "Szczęście nosi twoje imię" (3:15) except for the John Coltrane-like soprano sax work, this one is very close/imitative of BLOOD, SWEAT AND TEARS. (8.5/10)

9. "Wołanie o słońce nad światem" (10:36) a not very successful blend of DOORS-like pop music with big band progressive jazz. I wish it weren't the case but this is the weakest song on the album--a blending of styles that feels more like a medley of hits than a prog/jazz suite. (17/20)

Total time: 39:59

More proggy and brass poppy than Jazz-Rock Fusion, it's very vocal-centric. I'm told that I would like this album much more if had command of the Polish language. Vocalist Anrzej Zaucha commands a very respectable voice sounding like a cross between Greg Lake and David Clayton Thomas. I don't like or approve of the band's habit of usurping music from big American hits for the instrumental passages even if they do have good taste in the song motifs they "borrow." It's masterful but hardly indicative of a band that wants to create their own compositions and sound--more like that of a cover band in the process of converting to/experimenting with original compositions.

86.67 on the Fishscales = C+/3.5 stars; a creative and synthesizing band of pop-oriented rockers whose music draws a bit too much from other artists. As musicians they are very good. Their excellent vocalist would go on to achieve martyr-legendary status after an early death.

DEMON FUZZ Afreaka (1970)

An odd cornucopia of blues-rock, brass-rock, jazz-rock, Afro-rock music that gives the listener the feeling that this band was still forming, still trying to figure out the direction it was going to go with its music.

Line-up / Musicians:

Sleepy Jack Joseph / Bass

Ayinde Folarin / Congas

Paddy Corea / Congas, Flute, Saxophone

Steven John / Drums

W. Raphael Joseph / Guitar

Ray Rhoden / Organ, Piano

Clarance Brooms Crosdale/ Trombone

Smokey Adams / Vocals

A1. "Past Present And Future" (9:50) heavily-distorted rock bass play with the accompaniment of cymbal play opens this one before sax, trombone, and electric guitar join in acting as a kind of horn section. W. Raphael Joseph's guitar takes the first solo, a brief one, before Ray Rhoden's organ takes over while the bass and percussionists below keep the momentum moving forward. Sleepy Jack Joseph's two note bass line gets rather annoying so I feel quite relieved when the music shifts at 4:20 to a more R&B-oriented parade plod. The horns feel as if they're supposed to be the featured sound in this section but they don't do anything exciting or adventurous. Then a little bridge at the six-minute mark signifies a shift into a keybaor-less section in which Raphael solos again (again briefly). Then the organ returns and another very monotonous four-note rhythm track is established to support a trombone solo. This music is so very simple! Even the drumming sounds so rudimentary (not to give the drummers rudiments a bad name). (16.5/20)

A2. "Disillusioned Man" (4:58) nice conga rhythm track opens this one before Keith Emerson-like organ joins in, leading the in-rushing of the rest of the bands, this time with sax acting more alone. Vocals start before the end of the first minute, a kind of Soulful variation of the BLOOD SWEAT & TEARS shtick. Smoky Adams has a nice voice: he pulls of some nice melody-making with some thoughtful lyrics over some very interesting music. The now-interesting near-minimalist weave then supports an extended soprano sax solo from Paddy Corea. (His instrument sounds much like an Irish Uilleann pipes.) A much more impressive song than that sad opener. (8.875/10)

A3. "Another Country" (8:28) after hearing the opening of this, the album's third song, I had to check back with the year of publication of this album: its rhythm tracks sound so 1969/70 Blood Sweat & Tears/Chicago Brass Rock! More singing on this one--a song that is more complicated musically, which makes Smokey Adam's job more difficult (finding a catchy, smooth-flowing melody to fit this herky-kerky music would be tough). A big shift into a different motif occurs in the third minute to what will become the firm but gentle support for an extended tenor sax solo. The new motif, while quite simple, is in actual fact quite hypnotic. Weird! (17.5/20)

B1. "Hymn To Mother Earth" (8:10) what begins as a kind of a turns into a rather plaintive ballad of hope Luckily, it turns back into a driving, though still simplistic, blues-rocker with some nice work from the rhythm section--especially drummer Steven John. At the halfway point another brass-led motif bridges us into a nice, hypnotic rhythm pattern for a sax solo. The music returns to the ecologically-motivated vocal motif around the six minute mark and thereafter continues flowing in and out of the dynamic and slow motifs--like a Jimi Hendrix Experience song style. Overall, this is a very interesting song--especially in its construction but also for the fact that Smokey Adams can manage a fairly successful, even-keeled vocal over the top. (13.25/15)

B2. "Mercy (Variation No. 1)" (9:20) Opening with an obnoxious riff of organ arpeggio played with a slightly more interesting rhythm track from the rest of the band which then gradually straightens out to provide support and guidance for trombone and saxophone solos over the next few minutes. The percussion play within this one makes it, in my opinion, the only song that treads across the ocean into some native African sounding musical territory. Nice work Aynde Folarin, Paddy Corea, Steven John, and Sleepy Jack! Organist Ray Rhoden tries to inject some Egypt into the mix with a stereotypic Black Land arpeggio in the final minute. An okay song that still could have been better--more dynamic and energetic as so many drum-and-percussion-oriented African traditional musics are. (17.5/20)

Total time: 39:46

I do not feel or hear any profound or obvious connection to African music other than the possibilitiy of the performers being likely African-American. I do, however, hear a very slight Jamaican/Reggae inflection in a lot of the songs. Overall, this is a very pleasant, almost innocuous album to listen to, but there is nothing here that I feel is very fresh or innovative.

86.62 on the Fishscales = B-/3.5 stars; a fair album from musicians that can obviously do better--especially compared to that lame opening song. Would that the Side One had been more like Side Two--and Side 2 been more adventurous.

ARCO IRIS O El Regresso a la aurora (1972)

My second exposure to the wonderfully creative music of this Argentine band.

Line-up / Musicians:
- Gustavo Santaolalla / acoustic, 12-string & electric guitars, charango, harmonica, percussion, voice, composer & libretto
- Ara Tokatlian / flute, alto, tenor & soprano saxes, keyboards, erke, erkencho, sicuri, quena, pincuyos, percussion, voice
- Guillermo Bordarampé / bass, double bass, percussion, voice
- Horacio Gianello / drums, percussion
With:
- Danais Wynnycka "Dana" / voice of Amancay
- José Ferrari / voice of The Maestro

CD 1 - "Acto primero" (47:23)
1. "Obertura" (12:52) Wow! What an intro: a mini-symphony for an overture! Jazz-rock, to be sure, but most of the time I'm feeling more of a Psychedelic Prog Rock vibe. I'm surprised right off the bat that I almost like the saxophone sound and style used by Ara Tokatlian. Though I'm not so enamored of the electric guitar sound effects selected by Gustavo Santaolalla, I am very much impressed and won over by his command of the acoustic guitars. (22.25/25)
2. "La canción de Nahuel" (5:53) interesting blues-rock dirge--especially if it's supposed to be our "hero"'s theme song! (8.75/10)
3. "Canto del pájaro dorado" (3:30) the first half is contemplative, almost desert-pastoral, but then it turns to South American themes for the second half. Well conceived, performed, and engineered. (8.875/10)
4. "Viaje astral" (2:25) gentle electric guitar arpeggi with sax, synths, organ, citarin, flutes and other incidentals meandering around the village square before piano, percussion, bass, and group vocals funnel us into a "Take Five"/bossa nova-like motif. Feels short and incomplete. (4.375/5)
5. "Tema del Maestro" (2:52) flute and Spanish guitar provide a gentle folk tune for the arduous travels of our hero. In the second minute the Teacher enters with wisdom and advice. Nahuel leaves with a little better clarity of his mission--and glimmers of how to accomplish/succeed. (4.5/5)
6. "Iluminación" (1:59) the melodic theme of the previous two songs is here carried forward and amplified by the band--especially by Ara's sonorous and nasal-sounding saxophone. (4.375/5)
7. "Hoy he visto al rey (Gira)" (3:29) finally we get to hear some of Gustavo's beautiful upper register voice on this Spanish-American folk song. Wonderful Simon & Garfunkel-like harmony arrangements with the background vocals. (8.875/10)
8. "Sígueme" (1:48) blues rock that sounds like both Blood, Sweat & Tears and Andrew Lloyd-Weber theatre music. (4.3333/5)
9. "El negro" (1:54) la musíca Sud Américan! Feels very colloquial. (4.25/5)
10. "Los campesinos y el viajero" (2:18) Caribbean rock that feels as if the band is trying to pull back to Anglo-European-style musical styles and sounds. (4.3333/5)
11. "El estudioso" (2:28) another cute little interlude. I feel like we're on a Canterbury Tales-like caravan pilgrimage--with lots of down time within which the tired travelers have to tell their stories. The second half is an energetic instrumental piece that could support a story of rollicking (mis) adventure grossly hyperbolized. (4.375/5)
12. "Oración de la partida" (2:53) Flute, synth flute, and slowly strummed Spanish guitar present yet another more-regionally-representative (and significant) piece of music. Too bad it had to stay in dirge-mode the entire three mintues. (4.25/5)
13. "Epílogo: Salvense ya" (3:02) opening with some very nice PENTANGLE-like guitar and singing, the music remains idiosyncratically South American--especially with the melodic and harmonic choices made for their delivery of their Spanish lyrics. Great composition with some awesome vocal performances--on a par with some of the stuff created by Serge Fiori or some of the other more-passionate male folk singers. Sadly, it's just not Jazz-Rock Fusion! (9/10)

CD 2 - "Acto segundo" (51:37)
14. "Recuerdo di mi ser" (3:43) another delivery mechanism for some gorgeous, almost-monastic-like vocal music, here using spacious guitar and bass with echoed flute to back Gustavo and the others. (9.125/10)
15. "Los siete peregrinos" (2:34) this sounds like something the USA's THE ASSOCIATION could/would've done at the end of their production career. It's pretty. Too bad it never reaches the heights of an Association song. (8.75/10)
16. "Tema de Amancay" (2:09) flutes and picked acoustic guitar support the near-operatic vocalese of Danais Wynnycka--here playing Nahuel's muse, Amancay. (4.625/5)

17. "Busco a Dios en Mí y en el Sol (Hombre)" (17:10) John Coltrane-sounding sax opens this one while bass, organ, chorused electric guitar, and percussives jockey around for position behind Ara. Then, surprise, surprise, at the one-minute mark the band unleashes a campy Rockabilly theme over which Gustavo sings with some power. Okay, we finally get some music that sounds like (early) Jazz-Rock. (I'm not quite ready to offer the "fusion" mantle.) The blues Hammond organ, however, takes over in the seventh minute, relenting only at 7:20 for the fuzzy electric guitar but thankfully providing us some much needed relief from an overly-long three-chord vamp (but not really as the three-chord structure returns to anchor the fuzz guitar solo). At 9:05 everybody cuts out to make way for an all-hands-on-deck percussion jam. The talking drums are the most interesting, of course, but the animated vocalizations and many playful percussive ejaculations are pretty entertaining, as well. This section goes on until 13:45 when the guitar and organ begin to reassert themselves and drive the percussives back to their place in the rhythm section. Thereafter the music settles into a blues-rock motif that borders on pure blues due to the bluesy lead guitar solo, but then at 15:30 the jumps onto a downhill autoroute for a bit before coming back to Earth with a rockin' blues-jazz vamp. A little too messy and rudimentary for superlatives. (30.5/35)
18. "Deserción del viajero" (0:49) sounds like a Los Jaivas call-to-prayer.
19. "La duda de los campesinos" (2:11) the continuation of the previous song. Sounds like a Serge Fiori vehicle for strong vocal delivery of his foreign language message. (8.75/10)
20. "El aliento de Dios" (3:17) another cool Prog Folk song that very easily compares to the 1970s output of Harmonium or some of the softer RPI bands like Maxophone or Celeste. (9/10)
21. "El viajero delata a los peregrinos" (2:17) the one-minute intro for this one sounds so much like something from an early URIAH HEEP, DEEP PURPLE, or PROCOL HARUM song. Then it turns more acoustic exploration like an early Jazz-Rock experimentalist like Terje Rypdal or Larry Coryell. (4.5/5)
22. "Persecución de los peregrinos" (6:51) what starts out with a proclamatory royal horn blast turns into another interesting, texturized, ambient jazz-rock exploration of space and acoustics. Around 1:15 the YARDBIRDS/LED ZEPPELIN blues-rock bass, drum, and guitar riffing begins, laying down a three chord pattern that provides the low end support for saxophone and, later, two channels of concurrent electric guitar soloing. Must've been fun for Gustavo. At the four-minute mark the music is smoothed out by some organ while Gustavo and one (or both) of the other men take turns with the lead vocal. A weird little theatric "bridge" at 5:43 interrupts the otherwise-five-minute flow of the two-chord Yard-Zep motif. The song is most interesting for its theatric vocal contributions to Nahuel's story. (8.75/10)
23. "Viaje por las galerías subterraneas" (2:44) charango, bowed double bass, and soprano saxophone tell this unusual little colloquial story. (4.375/5)
24. "Salida al inmenso lago - Iluminación" (1:31) a female vocalese-with-guitar bridge that takes us from the charango theme to a rather melodramatic theme that kind of tells me that we're nearing the end of our story. (4.875/5)
25. "Reencuentro con Amancay - Oremos" (2:13) opening with an odd little "singing in the bathroom stall" routine from Gustavo, it then turns into a Spanish guitar supported vocal ballad delivery. Nice construct with wonderful voice and flute arrangements. (4.875/5)
26. "Las colinas y el Maestro" (0:46) the flute and guitar duet conclusion of the previous song.

27. "Epílogo: Sudamérica" (3:29) again, the feel of this spirited song and full orchestrated rock arrangement makes me feel as if I'm in the audience at the performance of a stage musical. I would stand and clap for this one. (8.875/10)

Total Time 99:00

I know 1972 was still fairly early in the development of Jazz-Rock Fusion as its own entity, but I find myself feeling almost 100% that embracing this epic concept album under the J-R Fuse umbrella is a mistake. This feels to me much more akin to the outputs of Psych, Canterbury, and Symphonic prog rockers than to those of any or all of the artists experimenting with or even dabbling with the new Jazz-Rock Fusion combinations and permutations. The fact of so much straight-time blues-rock-based rhythm structure is one of the key points in defense of my declaration. As a matter of fact, I'd call this album's music much closer to Québec band Harmonium's last studio album, Heptade, than anything I've ever heard from the true closet of Jazz-Rock Fusion albums. Though I am not a fan of the saxophone, Ara Tokatlian's Elio D'Anna (OSANNA, NOVA)-like sound and style is one that I often find enjoyable.

86.54 on the Fishscales = B-/3.5 stars; though I am very impressed with the band's creativity and vocal and acoustic instrument talents--and I enjoy very much the experience of listening to this music--it does not stand up at all well as a Jazz-Rock Fusion album. It does qualify, in my estimation, as either a nice rock opera representative of either the Prog Folk or Blues-Rock domains. I will not deny the significance this album, band, and music might have to Argentinians and/or Sud Américanos, but in terms how it fits into and/or contributes to the Progressive Rock or Jazz-Rock Fusion lexicons, I'd call this more akin to Proto-Prog like It's A Beautiful Day, The Collectors, Jefferson Airplane, Led Zeppelin, or Spirit. Still, I'm going to bump this up to a four star rating due to the overall entertainment value. The vocals and ingenious song designs alone may be worth it.

KORNELYANS Ordinary Life (1974)

Line-up / Musicians:

- Zlatko Pejakovic / lead vocals

- Josip Bocek / electric & acoustic guitars, backing vocals

- Kornelije Kovac / keyboards, backing vocals

- Bojan Hreljac / bass

- Vladimir Furduj / drums

1. "Rising" (2:14) (/5)

2. "Not an Ordinary Life" (10:16) (/20)

3. "Generation 1942" (6:32) (/10)

4. "Fall of the Land of Women" (5:30) (/10)

5. "Temporary Parting" (3:58) (/10)

6. "Man with a White Flag" (11:43) (/20)

Total Time 40:13

on the Fishscales = / stars;

A Compendium of "Classic Era" Jazz-Rock Fusion Albums

Friday, November 8, 2024

Part 2: 1967-1976, Other Great Albums

Michał URBANIAK GROUP Inactin (1973)

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Proto-Jazz-Rock Fusion: The albums that led to making Jazz-Rock Fusion real

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