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.
- 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)
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.
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.
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)
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)
- Gustl Mayr / tenor saxophone, soprano saxophone, bells, co-composer (1)
- Viktor F. Belgrove / congas, vocals, percussion, steel drums
- Kurt Bong / drums, gong, timpani, percussion
- Dieter Von Goetze / electric bass, composer (1,3)
With:
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!
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
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.
- Larry Coryell / guitar
- Randy Brecker / trumpet
- Mike Mandel / piano, ARP synth
- Danny Trifan / bass
- Alphonse Mouzon / percussion
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)
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
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)
- 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)
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!
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.
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
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)
- 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)
Total time 47:52
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.
“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.”
- 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
- 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,
- Terry Woodson / bass trombone
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)
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)
Total Time 65:42
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)
- Freddie Perren / piano, synthesizer, vocals
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
89.56 on the Fishscales = B+/4.5 stars; a near-masterpiece of wonderfully-rendered blend of Smooth Jazz and Funk-Jazz.
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)
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)
Total time: 41:36
89.444 on the Fishscales = B+/4.5 stars; a near-masterpiece of First Wave Jazz-Rock Fusion.
- 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)
Total Time 40:21
Line-up / Musicians:
- Tihomir Pop Asanović / Hammond, Fender Rhodes & Hohner e-pianos, Moog, arrangements, conducting
With:
- Mario Mavrin / bass
- Ozren Depolo / saxophones, alto & soprano (5)
- Janez Bončina / vocals (1,5), guitar (7)
- Ladislav Fidry / trumpet (2,4), flugelhorn (4)
- 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)
- 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)
Total Time: 34:15
- 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)
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)
- 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)
- a. To The Women In My Life (0:51)
- b. Le Lis (3:20)
- a. Snoopy's Search (1:02)
- b. Red Baron (6:37)
Total Time: 37:17
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)
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.
Line-up / Musicians:
- Zbigniew Seifert / violin
- Wim Overgaauw / electric guitar, banjo
- John Lee / electric bass
- Gerry Brown / drums, percussion
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)
Total time: 46:32
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: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)
- 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
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.
Line-up / Musicians:
- Eberhard Weber / double bass
With:
- Charlie Mariano / soprano saxophone, shehnai, nadaswaram
- Rainer Brüninghaus / piano, synth
- Jon Christensen / drums
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)
Total time 44:18
- 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)
Total Time: 51:58
- 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)
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)
Total Time: 49:11
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/ 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)
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
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.
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
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)
Total Time: 41:39
Line-up / Musicians:
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
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)
- 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)
Total time 35:08
- Ted White / saxophone, flute
- Peter Jones / keyboards, piano
- Graham Morgan / percussion, drums
- Bob Arrowsmith / bass
- Charlie Gould / guitar
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)
Total Time 43:42
Line-up / Musicians:
- John Gustavsson / Fender electric bass
- Barry De Souza/ drum, trumpet
- Ola Brunkert / drums, percussion
- Pete Robinson / keyboards [Fender Rhodes, clavinet, organ, ARP 2600]
- Malando Gassama / percussion
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)
Total Time 43:39
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
- George Duke / keyboards, ARP Odyssey synth vocals (2,9)
With:
- John Heard / double bass
- Leon "Ndugu" Chancler / drums
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
- 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
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)
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
- Marc Moulin / keyboards
- Garcia Morales / drums
- (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)
A5. "Le Beau Galop" (1:58) bluesy piano and trumpet. N'Orleans here we are! (4.25/5)
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).
- 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)
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
- 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)
Total Time: 43:10
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.
- 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)
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.
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)
Total Time 43:21
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 / 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:
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)
Total Time 37:18
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.
- Martin Kratochvíl / electric piano, Moog, composer, güiro (B3), organ (A1, B1), piano (A3, B4), synthesizer (A1-A4)
- 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)
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)
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
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)
- 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)
- 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)
Total Time: 34:57
Line-up / Musicians:
- Peter Friis Nielsen / bass, double bass [electric double bass]
- Ole Streenberg / drums
- Claus Bøhling / electric guitar
- Kenneth Knudsen / electric piano, piano
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)
Total time 39:10
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.
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
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)
- 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
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)
Total Time: 43:48
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
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)
Total Time 49:10
88.17 on the Fishscales = B/four stars; an excellent if rather raw exposition of fresh if under-developed Jazz-Rock Fusion.
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)
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)
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
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.- 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)
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.
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.
- 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)
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
GEORGE DUKE Feel (1974)
1. "Funny Funk" (5:18) George experimenting with more new sounds. (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)
Total time 42:39
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
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)
Wayne Shorter – Soprano saxophone
Miroslav Vitous – Electric and acoustic bass
Alphonse Mouzon – Drums, voice
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)
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)
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)
Total Time: 39:55
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)
Total time: 42:57
- 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)
Total Time: 76:25
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).- Michał Urbaniak / electric violin, violectra, soprano sax
- Adam Makowicz / Fender piano, Hohner clavinet
- Roman Dylag /
- Czesław Bartkowski / drums, Paiste cymbals
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)
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)
Line-up / Musicians:
- Tony Williams / Drums
- Chick Corea / Electric Piano
- Herbie Hancock / Electric Piano
- Josef Zawinul / Electric Piano, Organ
- John McLaughlin / Guitar
- Wayne Shorter / Saxophone [Tenor]
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
- Marc Moulin / keyboards, synthesizers
- Yvan de Souter / bass
- Garcia Morales / drums
- Richard Rousselet / trumpet, other horns
- Alex Scorier / saxes, flute
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)
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.
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
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
- 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)
Total Time: 39:12
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.
-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)
Total time 44:17
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
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
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.
- 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)
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.
AREA Caution Radiation Area (1974)
Line-up / Musicians:
- 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
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)
Total Time: 32:19
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.
Line-up / Musicians:
- 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)
3. "Fletcher's blemish" (4:35) pure free-form jazz in which the musicians exhibit some great control and, surprisingly, cohesiveness. (8.5/10)
Total Time: 39:13
AREA Maledetti (1976)
Line-up / Musicians:
- 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)
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)
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
Outlier Bands / Albums
- 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.
b) Suite I (2:34)
c) Suite II (0:45)
d) Suite III (3:25)
e) Désouverture (2:48)
f) Les Porches (6:50)
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.
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
ATOLL L'araignée-mal (1975)
Top notch symphonic prog from France with amazing production, composition, power, and melody.
Line-up / Musicians
- 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
- 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)
Total time 44:00
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
- 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
Total time 46:33
- 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)
Total Time 41:09
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
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
- 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
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)
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)
Total time: 38:25
- 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)
Total Time 40:13
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.
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
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
Lineup / Musicians:
- Paul Jackson / Acoustic Bass, Electric Bass [Fender]
- Victor Pantoja / Congas, Vocals
- Lenny White / Drums, Vocals
- George Muribus / Electric Piano
- Flip Nuñez / Organ
- 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
- Rico Reyes (SANTANA) / Vocals
- Neal Schon / Guitar (A3, A5, B1)
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)
"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)
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)
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)
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
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.
- 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)
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)
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)
Total Time: 36:46
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.
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)
Total Time: 35:03
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.
- 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)
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
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)
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)
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)
Total Time 31:17
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.
- 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)
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)
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)
Total Time: 32:15
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.
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
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)
Total Time 36:31
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:
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)
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)
CHICAGO Chicago Transit Authority (1969)
- 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
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)
Side Two ("The Blues-Rock Side")
LP 2
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)
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
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.
- Remigius Drechsler / guitar
- Hennes Hering / keyboards
- Moran Neumüller / vocals, saxes, flutes
- Klaus Spöri / drums
- Stefan Wisheu / bass
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)
Total Time: 47:29
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
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)
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
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)
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
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)
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)
Total time 38:59
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.")
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)
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.
- 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
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)
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)
Total time 38:22
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!
Line-up / Musicians:
- 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)
- Andy Gadsden / saxophone (A1, A5, B1, B3, B6)
- Mark Harowitz / pedal steel guitar and banjo (A6)
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)
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)
Total Time: 43:16
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.
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
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)
- 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)
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)
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)
Total Time 38:10
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.
- 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":
- 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)
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
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)
Total Time: 49:11
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
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)
Total Time: 34:53
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
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)
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.
Total Time 99:00
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.
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