Representing the early years of the Jazz-Rock Fusion idiom, 1971 would herald the release of a wide spectrum of diverse and highly-experimental approaches to that which this new and exciting form of music which would only later be called "jazz-rock fusion."
In an aside, I would like to know what you people know about what was going on in 1971 that caused so many of Jazz and Jazz-Rock Fusion's all-stars and stalwarts (and/or production labels) to not release an album during that calendar year--to not even participate in any studio recordings?
January
HERBIE HANCOCK Mwandishi (released in March)An album of brave, masterful performances, production, and mutually supportive collaboration--the first in a series of albums produced over the course of three years in which experimental techniques in collaboration, song structure, and sound manipulation were radically explored. Even the discordant, unstructured 'free jazz' parts of "Wandering Spirit Song" are eminently listenable, enjoyable, even add to the spiritual 'letting go' space and process that the band has lulled you into by that time. Though some people choose to begin this period of Herbie's creativity with the 1969 album Fat Albert's Rotunda because it marked his first release under his new Warner Brothers label after some years in the Blue Note stable, I choose to begin with this album due to the fact that it's the first appearance of the lineup of musicians that he played with over the next five years--his so-called "Mwandishi sextet." The album was recorded in San Francisco a single session on New Year's Eve of 1970 at Wally Heider Studio C, produced by David Rubinson in January and then released by Warner in March. What a way to ring in the New Year!
Line-up / Musicians:
- Herbie Hancock / Fender Rhodes electric piano, arrangements
With:
- Eddie Henderson " Mganga" / trumpet, flugelhorn
- Bennie Maupin "Mwile" / bass clarinet, alto flute, piccolo
- Julian Priester "Pepo Mtoto" / tenor & bass trombones
- Buster Williams "Mchezaji" / bass
- Billy Hart "Jabali" / drums
- Leon Chancler "'Ndugu" / drums, percussion
- Ronnie Montrose / guitar (1)
- Jose Cepito Areas / congas & timbales (1)
FREDDIE HUBBARD Straight Life (1971)
Enlisting the support of a band of jazz's new guard: the younger up-and-comers who'd paid their dues in their 20s throughout the 1960s and were now ready to break out--to prove themselves as leaders and adventurists. Here Freddie and crew test the waters of the Latin-infused fusion of jazz with some rock and pop sounds à la Miles Davis, Tony Williams, and John McLaughlin. While the boys never get too far out of their hard bop and post-bop comfort zones, they do stretch themselves from time to time with unusually aggressive dynamics (for them) and the use of some electronic instruments and effects (particularly on Herbie Hancock's electric piano and George Benson's electric guitar). To my ears, their "busting out" is more akin to the musical explorations of the past five years done by the Don Ellis Orchestra--more like wearing black sunglasses with their standard, nondescript black suits and thin black ties.
The album was recorded on November 16 of 1970 at Van Gelder Studio in Englewood Cliffs, New Jersey, and then released in January of the new year by CTI Records.
Line-up/Musicians:- Freddie Hubbard / trumpet, flugelhorn
- Joe Henderson / saxophone
- Herbie Hancock / piano, electric piano
- George Benson / guitar
- Ron Carter / bass
- Jack DeJohnette / drums
- Weldon Irvine / tambourine
- Richie Landrum / percussion
A. "Straight Life" (17:30) fast and dynamic with lots of energy being expressed, even in the individual solos, each taken in its proper turn, of course. Great virtuosity on display but played so tightly! (30.75/35)
B1. "Mr. Clean" (13:30) has a mod, late-Sixties party feel to it, played loose and lax--like they're really letting their hair down. Everybody is playing loose and kind of in their own melody lines, all at the same time, which is/was really unusual for this time. So weird to hear Ron Carter and Jack DeJohnette playing as if they couldn't care less about holding down the rhythm section, hearing George Benson and Freddie (and, to a lesser degree, Herbie) playing so loosely over, beside, and within each other's tracks. (Herbie gets on board with the fierce independent thing somewhere around the fourth or fifth minute.) This is awesome stuff! At the end of the seventh minute everybody dials it down a bit so that Herbie's electric piano solo can be heard. Respect! It does not, however, stop Richie Landrum, Ron Carter, or Jack DeJohnette from throwing Herbie a little shade. Could this solo been one of Eumir Deodato's big inspirations for his career in Jazz-Rock Fusion? George B. gets the next solo respect--for the eleventh minute. (Do I hear a little funk coming from the rhythm section?) Great song--especially for being so early in the J-R Fuse thing. (23/25)
B2. "Here's That Rainy Day" (5:10) solo plaintive trumpet--as Freddie does so well--opens this one before George Benson's chord support joins in and then, in the second minute, Ron Carter's bass. Despite the occasional sound of Jack's snare coils vibrating, the trio are the only ones represented on this one. (8.75/10)
Total Time: 36:24
Total Time: 36:24
89.29 on the Fishscales = B+/4.5 stars; though registering as a near-masterpiece to me, the critic looking for Jazz-Rock Fusion, I can see how this album could be appreciated by true jazz aficionado.
MICHAEL NAURA QUARTETT Call (1971)
German/European music legend Michael Naura is back after his bout with polyserositis--and he's picked up the Fender Rhodes electric piano. The album was recorded in 1970 and released either late in 1970 or early in 1971.
Line-up / Musicians:
- Michael Naura / electric piano [Fender Rhodes], composer
A1. "Soledad De Murcia" (5:57) like most of the songs on this album this one starts out and continues to develop as if it's a cover of some other familiar pop song ("Hurts so Good") with some really cool STEVE JANSEN-like drumming, but it's not: like all of the songs on this album, this is supposedly an original composition from band leader Michael Naura. At the same time it makes for one of the amazingly soothing/comforting songs that help make this album so dear to me. The interplay of the four musicians is so warm and supportive--and yet creative and professional. Drummer Joe Nay is especially impressive as is bandleader/composer Michael Naura's generosity in giving so much shine to the other three musicians (while taking very little for himself). Yet the rich, thick vibrato of his electric piano provides all of the comfort and support necessary for his band mates to fly. And I love how we're hearing the beginnings of Eberhard Weber's fluid "underwater" sound coming from his bass playing. I love it! (9.75/10)
A2. "M.O.C." (3:37) upbeat and uptempo feel good danceable jazz with some great, active threads woven together from all four musicians. This one is more impressive for its individual performances fitting so well together into one weave without all of the nostalgic warmth of the opener. (9.125/10)
A3. "Forgotten Garden" (5:53) slow and steady, everything is spaced so far apart and yet the long-held notes reverberating from the Rhodes, Wolfgang's vibraphone, Eberhard's tonally-fluid bass, and even Joe Nay's delicate cymbal play. The main star, of course, is Wolfgan Schlüter, but it's the complete sonosphere of the whole that really carries me off to other worlds! Beautiful! And so serene. (9.25/10)
B2. "Don't Stop" (4:56) this one feels like a hard bop/blues-rock cover of a classic tune. Both Joe and Eberhard really shine on this one despite Michael and Wolfgang's command of the spotlight. (8.875/10)
B4. "Call" (5:03) like most of the songs on this album this one starts out and continues to develop as if it's a cover of some other familiar pop song, but it's not: like all of the songs on this album, this is supposedly an original composition from band leader Michael Naura--and it may just be the best, most cohesive whole-band collaboration on the album. Wolfgang Schlüter is remarkable on the vibraphone, Michael really engaged with his Rhodes support, and Eberhard and Joe seem so relaxed into the groove: it's as if they're all totally entrained to the groove. (9.125/10)
Line-up / Musicians:
- Michael Naura / electric piano [Fender Rhodes], composer
- Wolfgang Schlüter / vibraphone
- Eberhard Weber / bass
- Joe Nay / drums
A1. "Soledad De Murcia" (5:57) like most of the songs on this album this one starts out and continues to develop as if it's a cover of some other familiar pop song ("Hurts so Good") with some really cool STEVE JANSEN-like drumming, but it's not: like all of the songs on this album, this is supposedly an original composition from band leader Michael Naura. At the same time it makes for one of the amazingly soothing/comforting songs that help make this album so dear to me. The interplay of the four musicians is so warm and supportive--and yet creative and professional. Drummer Joe Nay is especially impressive as is bandleader/composer Michael Naura's generosity in giving so much shine to the other three musicians (while taking very little for himself). Yet the rich, thick vibrato of his electric piano provides all of the comfort and support necessary for his band mates to fly. And I love how we're hearing the beginnings of Eberhard Weber's fluid "underwater" sound coming from his bass playing. I love it! (9.75/10)
A2. "M.O.C." (3:37) upbeat and uptempo feel good danceable jazz with some great, active threads woven together from all four musicians. This one is more impressive for its individual performances fitting so well together into one weave without all of the nostalgic warmth of the opener. (9.125/10)
A3. "Forgotten Garden" (5:53) slow and steady, everything is spaced so far apart and yet the long-held notes reverberating from the Rhodes, Wolfgang's vibraphone, Eberhard's tonally-fluid bass, and even Joe Nay's delicate cymbal play. The main star, of course, is Wolfgan Schlüter, but it's the complete sonosphere of the whole that really carries me off to other worlds! Beautiful! And so serene. (9.25/10)
A4. "Take Us Down To The River" (3:58) a saturated sound palette that will eventually become derided for its posh hippy associations, I can't help but think of this as fresh and refreshing even now, 55+ years after the Fender Rhodes, electric bass, and vibraphone made their way into jazz and pop music. A little cheesy, yes, but still forward-thinking for its time. (8.875/10)
B1. "Why Is Mary So Nervous?" (5:28) an interesting song for the two different rhythm speeds the band moves back and forth between; it really does convey the kind of inconsistency that denotes nervousness. Nice drum solo from Joe in the fourth minute. Overall I think it a little odd, even weird, but definitely interesting--and well-performed with the final minute being the best of it. (9/10)
B2. "Don't Stop" (4:56) this one feels like a hard bop/blues-rock cover of a classic tune. Both Joe and Eberhard really shine on this one despite Michael and Wolfgang's command of the spotlight. (8.875/10)
B3. "Miriam" (11:05) dreamy, impressionistic, mostly vibraphone, Fender Rhodes, and bass interplay that, I have to say it, sounds a lot like some of the background music I used to hear on Mr. Rogers' Neighborhood back in the day--which is meant as no disrespect to the great jazz pianist Johnny Costa that Fred Rogers employed as music director for his show. My comment is only meant to note from where my feeling of "familiarity" comes. There are some nice solos given (and taken) by Eberhard (in the eighth and ninth minutes) as well as to Joe--plus the shut-down at the nine-minute mark to finish is really cool. (17.5/20)
B4. "Call" (5:03) like most of the songs on this album this one starts out and continues to develop as if it's a cover of some other familiar pop song, but it's not: like all of the songs on this album, this is supposedly an original composition from band leader Michael Naura--and it may just be the best, most cohesive whole-band collaboration on the album. Wolfgang Schlüter is remarkable on the vibraphone, Michael really engaged with his Rhodes support, and Eberhard and Joe seem so relaxed into the groove: it's as if they're all totally entrained to the groove. (9.125/10)
Total time: 39:00
90.56 on the Fishscales = A-/five stars; a minor masterpiece of wonderful Rhodes-and-vibe-driven Jazz-Rock Fusion.
February
VOLKER KRIEGEL Spectrum (1971) 27-year old guitarist Volker Kriegel had proved himself in the crossover band, The Dave Pike Set, and had even experimented with the creation of an album with his name on the headline (with jazz veteran and virtuoso violinist Don "Sugarcane" Harris), now it was time to take his considerable ideas, composition and guitar skills to the next level: as a band leader of his own band. Two of the members of this album's lineup of musicians would stay with Volker for the next few albums, keyboardist John Taylor having helped launched the guitarist's solo career on the Sugarcane Harris collaboration. Recorded at MPS Tonstudio in Villingen, West Germany, on February 1 & 2 of 1971, it was released by MPS sometime later in the year.
Line-up / Musicians:- Volker Kriegel / guitar, sitar
- John Taylor / electric piano
- Peter Trunk / bass, electric bass, cello
- Cees See / percussion
- Peter Baumeister / drums, percussion
LARRY CORYELL Barefoot Boy (released in June)
The Godfather of Jazz-Rock pumps out his fourth album as band leader and principal composer since the failed super nova that was The Free Spirits. The album was recorded live by Flying Dutchman Records' Bob Thiele at Electric Lady Studios in New York City on a single (unrecorded?) day in the Winter of 1971 and then released to the public in June.
Line-up / Musicians:
- Larry Coryell / guitarWith:
- Steve Marcus / soprano (1,2) & tenor (3) saxophones
- Michael Mandel / piano (3)
- Mervin Bronson / bass
- Roy Haynes / drums
- Lawrence Killian / congas
- Harry Wilkinson / percussion
HERBIE MANN Memphis Two-Step
Another album of jazz-funk/soul covers of previously-released material from other bands. It was released on Herbie's Embryo Records label on February 21, 1971.
Lineup / Musicians:
- Herbie Mann / flute, producer
With:
Tracks 1 & 2:
- Albert Vescovo / guitar
- John Barnes / drums
- Darrell Clayborn / bass
- Richard Waters / drums
- Albert Vescovo / guitar
- John Barnes / drums
- Darrell Clayborn / bass
- Richard Waters / drums
And:
- Melvin Lastie and Ike Williams / flugelhorns and trumpets
- George Bohanon / trombone and baritone horn
Track 3:
- Bobby Wood / electric piano
- Bobby Wood / electric piano
- Mike Leech / Fender bass
- Roy Ayers / vibes
- Bobby Emmons / organ
- Larry Coryell / guitar
- Reggie Young / guitar
- Gene Chrisman / drums
- Gene Chrisman / drums
Remaining tracks:
- Miroslav Vitous / bass
- Bruno Carr / drums
- Eric Weissberg / guitar
- Sonny Sharrock / guitar
- Carlos "Patato" Valdes / conga (4)
- Charlie Brown / guitar (4, 5)
- Eddie Simon / rainmaker (6)
- Richard Resnicoff / guitar (6, 7)
- Ron Carter / bass (6, 7)
MILES DAVIS A Tribute to Jack Johnson (1971)
Recorded over four months in 11 separate studio sessions, the music was then sculpted by
The material that Teo Macero would sculpt into the album that would become the February 21, 1971 Columbia Records release, was recorded on February 18, 1970 (songs 1-1 to 1-4); February 27 (1-5 to 1-9); March 3 (1-10 to 2-5); March 17 (2-6, 2-7); March 20 (2-8); April 7 (3-1 to 3-6); May 19 (3-7 to 4-2); May 21 (4-3); May 27 (4-4, 4-5); and June 3 (4-6 to 4-10); June 4 (4-11 to 5-2), and; April 7, 1970.
Line-up / Musicians:
- Miles Davis / trumpet
With:
- John McLaughlin / electric guitar
- Steve Grossman / soprano saxophone
- Herbie Hancock / Farfisa organ
- Michael Henderson / electric bass
- Billy Cobham / drums
- Teo Macero / orchestra conductor
- Brock Peters / the film voice of Jack Johnson
- Bennie Maupin / bass clarinet (2)
- Sonny Sharrock / electric guitar (2)
- Chick Corea / electric piano (2)
- Dave Holland / electric bass (2)
- Miles Davis / trumpet
With:
- John McLaughlin / electric guitar
- Steve Grossman / soprano saxophone
- Herbie Hancock / Farfisa organ
- Michael Henderson / electric bass
- Billy Cobham / drums
- Teo Macero / orchestra conductor
- Brock Peters / the film voice of Jack Johnson
- Bennie Maupin / bass clarinet (2)
- Sonny Sharrock / electric guitar (2)
- Chick Corea / electric piano (2)
- Dave Holland / electric bass (2)
- Jack DeJohnette / drums (2)
1-1. "Willie Nelson (Take 2)" (6:41)
1-2. "Willie Nelson (Take 3)" (10:21)
1-3. "Willie Nelson (Insert 1)" (6:33)
1-4 ."Willie Nelson (Insert 2)" (5:22)
1-5. "Willie Nelson (Remake Take 1)" (10:45)
1-6. "Willie Nelson (Remake Take 2)" (10:17)
1-7. "Johnny Bratton (Take 4)" (8:17)
1-8. "Johnny Bratton (Insert 1)" (6:38)
1-9. "Johnny Bratton (Insert 1)" (5:19)
1-10. "Archie Moore" (4:45)
2-1. "Go Ahead John (Part One)" (13:07)
2-2. "Go Ahead John (Part Two A)" (7:00)
2-3. "Go Ahead John (Part Two B)" (10:06)
2-4. "Go Ahead John (Part Two C)" (3:38)
2-5. "Go Ahead John (Part One Remake)" (11:04)
2-6. "Duran (Take 4)" (5:37)
2-7. "Duran (Take 6)" (11:20)
2-8. "Sugar Ray" (6:16)
3-1. "Right Off (Take 10)" (11:09)
3-2. "Right Off (Take 10A)" (4:33)
3-3. "Right Off (Take 11)" (5:58)
3-4. "Right Off (Take 12)" (8:49)
3-5. "Yesternow (Take 16)" (9:49)
3-6. "Yesternow (New Take 4)" (16:02)
3-7. "Honky Tonk (Take 2)" (10:04)
3-8. "Honky Tonk (Take 5)" (11:29)
4-1. "Ali (Take 3)" (6:50)
4-2. "Ali (Take 4)" (10:14)
4-3. "Konda" (16:29)
4-4. "Nem Um Talvez (Take 17)" (2:50)
4-5. "Nem Um Talvez (Take 19)" (2:54)
4-6. "Little High People (Take 7)" (6:52)
4-7. "Little High People (Take 8)" (9:28)
4-8. "Nem Um Talvez (Take 3)" (4:36)
4-9. "Nem Um Talvez (Take 4A)" (2:04)
4-10. "Selim (Take 4B)" (2:15)
4-11. "Little Church (Take 7)" (3:16)
4-12. "Little Church (Take 10)" (3:15)
5-1. "The Mask (Part One)" (7:47)
5-2. "The Mask (Part Two)" (15:45)
In the 19th minute, just as Michael was really starting to take off, Teo quick-fades that section out and quick-fades in a totally new motif, one that is much more lively and spirited (I'm assuming from a later version of the song on which Herbie had somewhat "mastered" the deficiencies and idiosyncracies of the decrepit old Farfisa that Miles had commanded him to play. [Herbie was not even scheduled to play on these sessions, he just happened to walk in to deliver something to somebody when Miles, who was noodling around on his trumpet in the studio room, rasped, "Play!" while pointing to the dust-covered unmaintained Farfisa pushed up against one of the shadowed walls--which was, supposedly, the only keyboard in the studio at the time of Miles "urgent" need.]) And then, a short time later, at 20:25, another totally new one is spliced in (one that sounds like a much more animated variation on the original Nashville-blues theme.) From here on out it's the Herbie and John show as both musicians continue to express through their now-famliar tools. Herbie, in my opinion, does far more with his Farfisa in this section than John ever accomplishes (still having yet to play any legato/lead riffs). Around 23:00 Herbie quits (or his track is simply cut out) in order to make room for the slow fade in of more of Steve Grossman's soprano sax. At 24:39 Steve stops, Herbie comes back, now manifesting some new, more-staccato, ideas, and John starts to solo as if he is a lead guitarist! And he is fiery! Using TONS of distortion, he solos until just before the song's final fade out. I would never call this song, or its music, and definitely not its musicianship, as anything virtuosic or innovative. It's dull, monotonous, under-developed, and, frankly, a waste of an engineer and producer's time. It's a wonder that Teo was able to make anything out of it. It also goes to show you what fame and will do for you: Even the worst of ideas and recorded material can be made/moulded into a published product because the money-making mucky-mucks at the top of the record company thinks they can get away with (and make money from) tagging the name any established money-generating artist onto their published product(s). (42.75/50)
The music of "Right Off" seems to me to be something that could/would serve more as inspiration to Rock 'n' Roll, Blues, and R&B musicians than those coming from a Jazz background. There are experts who have studied the tapes from the 11 studio recording sessions enough to know exactly which parts of the "song" Teo cannibalized from the studio sessions to make what was released on February 24th as "Right Off" but I don't. I do know that two factors have led me to discount my esteem for any "studio albums" released under the "Miles Davis" moniker. The first factor is the fact that the majority of the musicians who participated in these studio recording sessions have repeatedly claimed to have "not recognized" the music that was published on vinyl, which leads to the second factor: that the post-recording production of the studio recording tapes by Teo Macero have so altered the music that was played (and captured) in the studio that the very musicians who supposedly recorded the material find them nearly unrecognizable. With this kind of information how can one in good, clean conscience call these albums "Miles Davis" albums when in fact they are more Teo Macero re-mix editions? I have much more respect for the published releases of the original studio material than I do for the altered and adulterated product that Teo bit and spliced together. My final question here is: Didn't Miles care? I mean, I'm assuming that he had "final approval rights" since his name was on the published product as its artist. (Shouldn't the "artistry" credit go more to Teo since he is the one that fashioned and formed the music into their published forms?)
Another query line I have is how closely did Teo Macero have access to the film footage for which this music became the "definitive" soundtrack? Does the 52:27 of published material coincide precisely to the film footage? No! (I just watched the documentary film in order to gauge the level of involvement Miles/Teo's music had in the presentation.) Nominal and sparse; less than half of the film has musical accompaniment. There are many sections of the film in which there is no musical soundtrack. Several times themes from the familiar album are used, but most are on screen for only fractions of a minute and never in the fullness or order that Teo's published "soundtrack" seems to lay claim.
Final assessment: the musical excerpts used in the film make for excellent soundtrack clips. As stand-alone music and "songs," neither meet my palate of preferences. This music, this song, would never receive further review or airplay except under the auspices of historical and educational reference--certainly never for pleasure or for mood amelioration as background music.
2. "Yesternow" (25:34) a wonderfully-disciplined bass line is spaced apart with no assistance showing on the tape and only the occasional strum of John McLaughlin's wah-wah-ed guitar while Miles slowly, boldly enters to make his mark with lots of careful trepidatious. Billy Cobham begins to add some punctuation marks but the music still fails, even now ten minutes to ever really launch into any kind of groove or danceable pattern. Just as I write that, comes the entry of several other musicians and the fall into Herbie's Farfisa and Steve Grossman's soprano sax. Near the 13-minute there is drastic cut and splice in of more Bitches Brew-like material with Miles, another organ, and perhaps an entirely different lineup of collaborators. And then at 16:30 another sudden splice edit into another completely different motif with another completely different set of musicians (including, probably, Sonny Sharrock, Dave Holland, Chick Corea, and Jack DeJohnette and perhaps still John McLaughlin as well as Bennie Maupin). Around the 20-minute mark there are two fairly close-together shift-edits.
Though this "song" is thankfully more dynamic and diverse over its 25-minutes than the previous song, the Teo Macero's sudden splice-edits don't always work for me. Methinks it should have all been left to original tape source material and not attempted to be blended or edited into one sequential stream. (43.75/50)
Total Time 52:27
86.50 on the Fishscales = C-/three stars; interesting, especially from an historical perspective, but I would never consider this as essential to any music lover's collection. One would have to be historically-minded to want to pay money for this. If you want some real music from these sessions, I would recommend you buy the 2003 Columbia/Legacy release entitled "Miles Davis - The Complete Jack Johnson Sessions."
THE SOFT MACHINE Fourth
Recorded in October and November of 1970 at London's Olympic Studios, Fourth was released by Columbia (CBS) Records on February 28, 1971.
Line-up / Musicians:
- Mike Ratledge / Lowrey organ, Hohner pianet, piano
- Elton Dean / alto sax, saxello
- Hugh Hopper / bass guitar
- Robert Wyatt / drums
With:
- Roy Babbington / double bass (1,3,4,6)
- Mark Charig / cornet (2-4)
- Nick Evans / trombone (1,2,4)
- Jimmy Hastings / alto flute (6), bass clarinet (1,6)
- Alan Skidmore / tenor sax (1,6)
- Elton Dean / alto sax, saxello
- Hugh Hopper / bass guitar
- Robert Wyatt / drums
With:
- Roy Babbington / double bass (1,3,4,6)
- Mark Charig / cornet (2-4)
- Nick Evans / trombone (1,2,4)
- Jimmy Hastings / alto flute (6), bass clarinet (1,6)
- Alan Skidmore / tenor sax (1,6)
1. "Teeth" (9:15) Jazz! Free jazz! At least, from the saxophone. From the opening notes this song presents the band as a jazz band with little or no ties to its previous incarnations. It's too bad as this is not one of the album's better songs--even the recording mix is "off." (15/20)
2. "Kings and queens" (5:02) slow and melodic with the gentle waves of keys, toms, and cymbals to support. Ratledge is brilliant in his support and Wyatt and Hopper and Dean are impressive as well. (8.75/10)
3. "Fletcher's blemish" (4:35) pure free-form jazz in which the musicians exhibit some great control and, surprisingly, cohesiveness. (8.5/10)
4. "Virtually part 1" (5:16) jazz, pure and simple, with some nice structural experimentation. The barebones-ness of this piece gives each instrumentalists plenty of space in which to shine. (8.5/10)
5. "Virtually part 2" (7:09) enter the Lowrey organ--the last vestige of the Canterbury sound--and multiple tracks given to Elton Dean for his two instruments. Great instrumental performances--especially true of Robert Wyatt--but nothing very special melodically or emotionally. (12.5/15)
6. "Virtually part 3" (4:33) sees a step back from pacing and walls of sound as the drums check out and everybody else goes into "tuning mode." The electric bass of Hugh Hopper takes the lead while everybody else offers a kind of gentle support. It's actually kind of pretty music despite the fuzzed bass up front. (8.75/10)
7. "Virtually part 4" (3:23) smoother and more cohesive, even melodic. My favorite section of the album and the one that allows me to keep this album in the list of Canterbury favorites. (9.5/10)
Total Time: 39:13
Total Time: 39:13
If one had never heard the previous albums with their quirky beginnings in psychedelia one might enter into the world of Mike Ratledge, Hugh Hopper, Robert Wyatt, and Elton Dean thinking that these guys are 1) serious jazz musicians and 2) great masters of their instruments. The only problem is: There is very, very little here that feels or sounds like Canterbury style music--a little in "Kings and Queens" and "Virtually part 3." That's it.
While Dean's saxes will become more refined and creative in his more free-form future, the playing here of Robert Wyatt is the first and only time that I found myself thinking that "this is a really impressive musician." Ratledge and Hopper are really good and the addition of double bass from NUCLEUS founder Mike Babbington is awesome. Also, I still think it rather unique and brave of the band to go without a guitar player.
84.12 on the Fishscales = B-/low four stars; a nice jazz album for its time but not a very glowing representative of the Canterbury Scene.
STANLEY TURRENTINE Sugar (1971)
Recorded at Van Gelder Studios, Englewood Cliffs, New Jersey, November, 1970, and then released in 1971 by CTI Records, possibly early.
Line-up / Musicians:
- Stanley Turrentine / tenor saxophone
- Freddie Hubbard / trumpet
- George Benson / guitar
- Ron Carter / bass
- Lonnie Liston Smith / electric piano (track 1)
- Billy Kaye / drums (tracks 1-3)
- Butch Cornell / organ (tracks 2-3)
- Richard "Pablo" Landrum / congas (tracks 2-3)
- Freddie Hubbard / trumpet
- George Benson / guitar
- Ron Carter / bass
- Lonnie Liston Smith / electric piano (track 1)
- Billy Kaye / drums (tracks 1-3)
- Butch Cornell / organ (tracks 2-3)
- Richard "Pablo" Landrum / congas (tracks 2-3)
A2. "Sunshine Alley" (11:00) a very nice foray into the Jazz-Rock Fusion idiom. (18.25/20)
B. "Impressions" (15:30) a dynamic cover of one of John Coltrane's more enigmatic songs. (26.375/30)
The album as a whole shows Stanley & Company's flexibility, versatility, and openness to new ideas as well as to the fact that Stanley surrounded himself with top-notch musicians. It's not really a Jazz-Rock Fusion album, but the song "Sunshine Alley" certainly qualifies.
89.82 on the Fishscales = B+/4.5 stars; three excellent songs of which only one really helps the album qualify for the Jazz-Rock Fusion categorization.
March
HERBIE HANCOCK Mwandishi
An album of brave, masterful performances, production, and mutually supportive collaboration--the first in a series of albums produced over the course of three years in which experimental techniques in collaboration, song structure, and sound manipulation were radically explored. Even the discordant, unstructured 'free jazz' parts of "Wandering Spirit Song" are eminently listenable, enjoyable, even add to the spiritual 'letting go' space and process that the band has lulled you into by that time. Though some people choose to begin this period of Herbie's creativity with the 1969 album Fat Albert's Rotunda because it marked his first release under his new Warner Brothers label after some years in the Blue Note stable, I choose to begin with this album due to the fact that it's the first appearance of the lineup of musicians that he played with over the next five years--his so-called "Mwandishi sextet." The album was recorded in San Francisco a single session on New Year's Eve of 1970 at Wally Heider Studio C, produced by David Rubinson in January and then released by Warner in March. What a way to ring in the New Year!
Line-up / Musicians:
- Herbie Hancock / Fender Rhodes electric piano, arrangements
With:
- Eddie Henderson " Mganga" / trumpet, flugelhorn
- Bennie Maupin "Mwile" / bass clarinet, alto flute, piccolo
- Julian Priester "Pepo Mtoto" / tenor & bass trombones
- Buster Williams "Mchezaji" / bass
- Billy Hart "Jabali" / drums
- Leon Chancler "'Ndugu" / drums, percussion
- Ronnie Montrose / guitar (1)
- Jose Cepito Areas / congas & timbales (1)
1. "Ostinato (for Angela)" (13:10) starts the album off with an incredibly infectious groove and many fascinating production effects that introduce the listener to the new Herbie: Engineer and Producer. Herbie's fender playing is the glue over which his band mates perform highly entertaining, often unusual solos, but these are never obtrusive or outside or above the thread and weave of the group's mix (a feat due, in part, to the recording engineering). The use of two drummers (at times flanged!) and along with a percussionist is, to my ears, highly entertaining and enjoyable. Eddie Henderson's lead trumpet play is great, as is Bennie Maupin's bass clarinet, but it's Herbie's keyboard work that I find most engaging--whether it's in the lead or support role. Again, however, it's the effects used on the instruments and track orientations that make the sound of this song so ground-breaking and fascinating. (23/25)
2. "You'll Know When You Get There" (10:15) is a beautiful piece of kind of ambient jazz in which echo and space, slow tempo, and subtlety are kings for the day. It's easy to float off and let go of this one, but so worth paying attention if you can/when you do. The first half is almost an Eddie Henderson solo but then the music congeals again in a truly beautiful and intricate weave in the fifth minute. Great bass play from Buster Williams and awesome interplay of sometimes-conflicting or tension-building melodies by Herbie, Bennie, and others. Truly a masterpiece of experimental jazz music. (19/20)
3. "Wandering Spirit Song" (21:28) My favorite of this album of sublime music. This is for me a soundtrack for deep spiritual introspection and regeneration. Amazing things music can do! Definitely a masterpiece of music--offering the highest gifts to humans that other humans can give: transportation and transcendence. Kudos to Buster, Herbie, and the horn players and percussionists for this mighty piece. (37/40)
Total Time 44:50
92.94 on the Fishscales = A/five stars; a masterpiece of experimental jazz fusion and, by inclusion, a milestone in progressive rock music. Despite the fact that I like the lineup's next album, Crossings, better (due, I think to the fresh injection provided by Patrick Gleeson's synthesizers and the all-female background vocalists), this one rates slightly better on my Fishscales metric system (in the Top 25, in fact).
3. "Wandering Spirit Song" (21:28) My favorite of this album of sublime music. This is for me a soundtrack for deep spiritual introspection and regeneration. Amazing things music can do! Definitely a masterpiece of music--offering the highest gifts to humans that other humans can give: transportation and transcendence. Kudos to Buster, Herbie, and the horn players and percussionists for this mighty piece. (37/40)
Total Time 44:50
92.94 on the Fishscales = A/five stars; a masterpiece of experimental jazz fusion and, by inclusion, a milestone in progressive rock music. Despite the fact that I like the lineup's next album, Crossings, better (due, I think to the fresh injection provided by Patrick Gleeson's synthesizers and the all-female background vocalists), this one rates slightly better on my Fishscales metric system (in the Top 25, in fact).
WEATHER REPORT Weather Report (released in May)
On May 12, 1971, the international conglomeration that is to be known as "Weather Report" made its debut. Founding members Joe Zawinul and Wayne Shorter had enjoyed working together on Miles Davis' In a Silent Way and Bitches Brew and had both recently released solo albums (as had young Czech immigrant Miroslav Vitous--two!) The three were all in-between projects, looking for something new, found themselves contacting one another. The idea of forming their own band was thrown about, quickly gaining traction, and before you know it the trio were jamming, sharing ideas, hanging out. Over the course of the next months, material was conjured up and then the recruitment of other band members was bandied about with the idea of how to best realize their musical ideas. The recruiting process began and ran its course for a few more months and then practice sessions ensued. The recording sessions finally began in February, were completed by the end of March, and the album then released in May.
I find it fun to see how two Central European-born musicians became collaborators in a successful jazz-rock fusion band though they both had separate routes to get there. Joe Zawinul had been an Austrian-born piano prodigee while Miroslav Vitous came out of what was then Czechoslovakia yet they both had taken a similar route to the US: through scholarships to the prestigious Berklee School of Music in Boston.
- Joe Zawinul / Electric and acoustic piano
- Wayne Shorter / Soprano saxophone
- Miroslav Vitous / Electric and acoustic bass
- Alphonse Mouzon / Drums, voice
- Airto Moreira / Percussion- Wayne Shorter / Soprano saxophone
- Miroslav Vitous / Electric and acoustic bass
- Alphonse Mouzon / Drums, voice
NUCLEUS We'll Talk About It Later (1971)
Seasoned trumpeter Ian Carr had had his fill with co-leading a band and so branched out with his new band Nucleus. In 1970 the UK label Vertigo released the new band's debut album, Elastic Rock, to much acclaim and popular fervor. Next came an album from the same lineup, Songs Without Words, on which guitarist Chris Spedding received top billing. Recorded in 1970, the album We'll Talk About It Later was released in March of 1971.
Line-up / Musicians:
- Ian Carr / trumpet, flugelhorn
- Brian Smith / tenor & soprano saxes, flute
- Karl Jenkins / piano, Hohner Electra piano, oboe, baritone sax
- Chris Spedding / guitars, bouzouki, vocals (6)
- Jeff Clyne / acoustic & electric bass
- John Marshall / drums, percussion
1. "Song For The Bearded Lady" (7:25) upbeat, hard-drivin, great musical weave, great use of horns. At two minutes in the sound calms down to support Ian Carr's soloing. He sounds so much like American jazz great Freddie Hubbard it's uncanny! Background instrumentalists start getting a little frisky in the fourth minute (awesome!) but then Chris Spedding takes a turn in the lead as Karl Jenkins toys with him on the Hohner Electra piano in the opposite channel. in the fifth. Nice contrasting styles. Everybody remerges together for the final minute--an outro to bookend the intro. Definitely an iconic/signatory song for the fledgeling musical medium--one that most obviously influenced and inspired the Milanese artists AREA who would soon be creating the landmark album Arbeit Macht Frei. (14.333/15)
2. "Sun Child" (5:19) opens with some saucy, spacious bass, drums and guitar over which a soprano sax teases seductively. The interplay intensifies insidiously over the first couple minutes until it feels as if each instrument is kind of in their own world. The arrival of Ian's trumpet kind of soothes and shifts the direction and intensity of the collective, creating more space but less "competitiveness." (8.875/10)
3. "Lullaby For A Lonely Child" (4:21) opens with delicate bass, cymbal and electric piano interplay before controlled yet emotional trumpet takes the lead. Support is joined by gently picked guitar and saxes before a little whole-group chorus spaces out the next section of trumpet and bouzouki solos. Intensifies slightly for the second chorus but then bouzouki takes us to the end. Pleasant but nothing very extraordinary worth writing home about. (8.75/10)
4. "We'll Talk About It Later" (6:19) opens with some raunchier guitar sound accompanied by subdued bass, hi-hat, and Hohner electric piano. Accompanying instruments shift into second gear as the song becomes fully blues. Guitars (Chris on multiple tracks--one heavily wah-wah-ed), Hohner, and drums all shift into third and fourth gears as bass and muted trumpet remain rock steady until the second half of the third minute when Ian's "wah-wah-ed" (sordino) trumpet play takes on a more prominent roll. This has a very DOORS-like "The End" quality and sound. Chris Spedding's free-wailing guitar really stands out on this one. Cool exploration and experimentation thought not a great song. (8.875/10)
5. "Oasis" (9:49) opens as if all instrumentalists are in their own world, expressing their own moods, until around 1:50 the keys' chord selection become steady, guitar strums, bass line and cymbal play support this. Horns too, before trumpet goes off on a solo. Guitars, drums and keys start amping up their inputs as Ian continues to solo into the fifth minute. At the end of the fifth minute, Ian goes a little freestyle but then everybody else softens and backs down, making room for a prominent muted soprano sax solo in the sixth, seventh and eighth minutes. Drums begin to go rogue in the seventh and eighth before a calm appears in which Brian Smith continues playing his sax as Chris Spedding and Jeff Clyne's bass take more foreground prominence. Horn section enters to bring everybody together just before the end. (18/20)
6. "Ballad of Joe Pimp" (3:48) Vocals! Sounds like it could come off of an early SOFT MACHINE album. Horns take over after the first verse. A very Philly R&B/Soul feel to this one. Great, creative sound. (8.875/10)
7. "Easter 1916" (8:47) though a resuscitation of the "1916" songs on their debut, Elastic Rock, this sounds like a classic experimental late 1960s experimental jazz fusion song as BRAINTICKET-like vocals and keys are driven along by blues-rock bass, guitar and drums play. Its a great groove, despite it's odd meter. Melodic jazz sax solo in the third and fourth minutes becomes more free form in the fifth and sixth. Support instrumentation disappear in the seventh minute as drums solo while sax continues it's spitting and spouting. Awesome drum play! Ends with a familiar "Love Supreme" sound and drum solo. (18.75/20)
Total Time: 45:48
Over all I'd call this an exceptionally good collection of experimental jazz-rock fusion songs with the artists all sounding like they are coming from the jazz world trying to cross over into rock. Though not all of it stands up as being "fresh" since so much J-R Fusion has come since this album's 1971 release, most times it works very well. Definitely a wonderful accomplishment for it's time.
91.01 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music from the early era of jazz-rock fusion experimentation. Though Ian Carr would continue to use the Nucleus name for almost two decades, from here out it was well understood that this was his band and they were to play music his way: thus the consistently (almost absurdly) high turnover rate among band membership. In fact, three of Ian's major finds would soon become fairly steady members and compositional contributors to another of England's new Jazz-Rock Fusion bands: drummer John Marshall, multi-instrumentalist Karl Jenkins, and John Babbington will settle for some time with Mike Ratledge's The Soft Machine.
TONY WILLIAMS LIFETIME Ego (1971)
Recorded in February and March of 1971 and released in May by Polydor, all of the tracks on Ego were credited to Tony except "Some Hip Drum Shit" which was apparently a collaborative effort between the three percussionists.
Line-up / Musicians:
- Tony Williams / drums
- Ted Dunbar / guitar
- Ron Carter / bass, cello
- Larry Young / organ
- Don Alias / percussion
- Warren Smith / percussion
- Jack Bruce / vocals
- Ted Dunbar / guitar
- Ron Carter / bass, cello
- Larry Young / organ
- Don Alias / percussion
- Warren Smith / percussion
- Jack Bruce / vocals
BRIAN AUGER'S OBLIVION EXPRESS Oblivion Express (1971)
Recorded for RCA in November of 1970, the debut "Oblivion Express" album was then released in March of 1971. It is an album that puts on display how seriously the mercurial keyboard wiz had been affected by the music coming from Jimi Hendrix, Tony Williams, John McLaughlin, and even Jeff Beck. Gone are Julie Driscoll and Brian's Doors-style keyboard melody making; abandoned are The Trinity and the "Wassenaur Arrangement" Dutch musical commune experiment. Here are the heavy bass and drums, searing sound effects on guitars and keys.
- Brian Auger / keyboards, vocals
- Jim Mullen (Average White Band) / guitar
- Barry Dean / bass
- Robbie McIntosh (Average White Band) / drums
1. "Dragon Song" (4:30) power Jazz-Rock with every bit as much heaviness as anything John McLaughlin or Tony Williams were doing at the same time. The bass, drums, organ, and searing electric guitar work scream "Hendrix Lifetime Devotion"! An incredible song! (9.75/10)
2. "Total Eclipse" (11:38) more heavy instrumental jazz-rock, though at least a little slower and steadier than the album's opener. Great guitar and experimental (for Brian) keyboard play. Engaging as Brian seemed to have a gift for making. (18/20)
3. "The Light" (4:24) the first song with any vocals here shows Brian trying to engage the hippy-trippin' culture but with a high-speed ride rather than some dreamy peacenik stuff. Despite great performances from Brian and bassist Barry Dean, the melodies and hooks just miss the mark. (8.75/10)
4. "On the Road" (5:28) a song whose music is stylistically more oriented toward American blues-rock or even Southern rock of the Band/Allman type. Multiple voices are used to choral sing the lyrics. Nice instrumental performances but just not my kind of music. (8.6667/10)
5. "The Sword" (6:36) more rock that has that Americana or American Rock base and feel--sounding a lot like early Grand Funk Railroad at its base though with much more impressive instrumental performances. (8.6667/10)
6. "Oblivion Express" (7:45) sounding more like Don Brewer-led GRAND FUNK Railroad and the heavier rock 'n' roll from EMERSON LAKE & PALMER. (13.25/15)
Total Time 40:21
Total Time 40:21
A lot of male energy was expended in the creation of these songs! Those were the times!
89.43 on the Fishscales = B+/four stars; an excellent foray into the heavier rock-oriented side of Jazz-Rock Fusion that was being pioneered at the time by Cream, Jimi Hendrix, Tony Williams, and John McLaughlin.
As an interesting epilogue, three of Oblivion Express' lineup members (two from this album plus Steve Ferrone on 1974's Straight Ahead release) would go on to help form the popular Scottish jazz-rock band, AVERAGE WHITE BAND, but more, Brian's participation on the recording of the band MOGUL THRASH's lone album (self-titled, released in 1971) would see him working with two other future AWB members in Roger Ball and Malcolm Duncan!
OUT OF FOCUS Wake Up!
The debut from this München-based band, Wake Up! is an album of psychedelic blues-rock music in the vein of The Rolling Stones, Cream, or even early Jethro Tull. It was recorded at Union Studios, in München, over two months in 1970 (27 October to 7 December) and then released in March of 1971.
- 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)
4. "No name" (3:06) opening with Moran's a cappella voice, almost whisper-sung, before the band bursts into a heavy blues rock motif with flute, theatric vocals, Hammond, and electric guitar each adding their distinctive flourishes. I love the cute little upper register guitar garnishes over the bass and Hammond in the instrumental mid-section. Kind of cool! (9/10)
5. "World's end" (9:55) a fairly simple chord structure presents this anthemic feeling--as if the band is truly expressing their thoughts, concern, and confusion over the state of the world's social-political scene (the Cold War tensions and the misguided expeditions of the American military [Vietnam]). There is quite a feeling of Krautrock solidarity in the hypnotic commitment to such strict rhythmic foundations in this one--at least up until the quite passage that serves as a reset and reconfirmation of the overall insistence to the song's and then ends up surprising us by starting a new motif for the 45 seconds of the song. Trippy! And powerful. Definitely a great representation of the angst of 1970. (18.5/20)
6. "Dark, darker" (11:37) Moran's vocal is mixed quite uniquely for this song: as if in an isolated, separated chamber. The music is remarkably simple and almost emotion-lessly mathematical in its rhythmic foundations, giving the musicians the feeling that they're "dialing it in" i.e. not fully invested. Even in the circular three-chord instrumental jam supporting the frantic flute solo in the song's middle third feels too rote (especially in the bass, guitar, and organ play). Then there is a pause that allows a reset, which sees the band filling the final three minutes of the song with some militaristic pulse-running before everything ends with some crashing instruments and musicians (whose fatigue is well-captured on tape during the final minute of recording: "Are we done?" and "Ughhh!" being expelled as the musicians shut down, unplug and put away their instruments. Weird and sadly anti-climactic song. (17.25/20)
Total Time: 47:29
With four unusually-long songs crammed into this 47 and a half minute long album, one can only guess at the band's full intentions. What I love most about the songs on this album is the clear "team" approach to song construction and performance on display with each: no one musician/artist is really trying to grab the spotlight; everybody seems fully supportive of the effort to present fully-developed and fully-integrated songs.
89.34 on the Fishscales = B+/4.5 stars; a near-masterpiece of angst-filled compositions that feel so precisely representative of the zeitgeist of the times. If it weren't for the weakness of the final "song of exhaustion" this would probably qualify as a masterpiece.
Recorded in March and released by Douglas Records in June. John is already being lured into the Eastern / Indian musical traditions though there is also some solid Jazz-Rock Fusion on board as evidenced by the second of the two opening songs, "Peace 2" (12:18) (18.25/25) ["Peace 1" I consider more of a traditional Jazz tune. (7:15) (13.25/15).]
- John McLaughlin / acoustic guitar
With (on A1 & A2):
- Jerry Goodman / violin
- Dave Liebman / tenor & soprano sax, flute
- Charlie Haden / bass
- Billy Cobham / drums
- Airto Moreira / percussion
- Badal Roy / tablas
- Eve McLaughlin (alias Mahalakshmi) / tambura
- Jerry Goodman / violin
- Dave Liebman / tenor & soprano sax, flute
- Charlie Haden / bass
- Billy Cobham / drums
- Airto Moreira / percussion
- Badal Roy / tablas
- Eve McLaughlin (alias Mahalakshmi) / tambura
April
VOLKER KRIEGEL Spectrum (1971)
27-year old guitarist Volker Kriegel had proved himself in the crossover band, The Dave Pike Set, and had even experimented with the creation of an album with his name on the headline (with jazz veteran and virtuoso violinist Don "Sugarcane" Harris), now it was time to take his considerable ideas, composition and guitar skills to the next level: as a band leader of his own band. Two of the members of this album's lineup of musicians would stay with Volker for the next few albums, keyboardist John Taylor having helped launched the guitarist's solo career on the Sugarcane Harris collaboration. Recorded at MPS Tonstudio in Villingen, West Germany, on February 1 & 2 of 1971, it was released by MPS later in the year.
- Volker Kriegel / guitar, sitar
- John Taylor / electric piano
- Peter Trunk / bass, electric bass, cello
- Cees See / percussion
- Peter Baumeister / drums, percussion
1. "Zoom" (7:00) congas, sitar, bass, drum kit, bluesy flourishes from an electric piano, and multiple guitar tracks all enter, one at a time, merging into a Herbie Hancock-like synthesis with some great lead guitar, sitar, and electric piano soloing along with some very fine sound recording (with great definition given to each and every instrument in the mix). A very enjoyable J-R Fusion jam song. (13.75/15)
2. "So Long, For Now" (3:55) definitely an offering that sounds like (and may have inspired) Bachman-Turner Overdrive's "Blue Collar": great jazz guitar with perfect accompaniment from Peter Trunk's double bass play, John Taylor's electric piano. Peter Baumeister's drumming sounds a little stiff, like rudimentary jazz drumming 101 run through for the first time. (And it's mixed a little too loudly in the right side of center, sometimes distracting me from hearing/enjoying the other instruments--all of whom are much better, much more interesting than his.) Volker's play, crossing several stylistic lines within the course of the song with ease, even exuding confidence, is wonderful. (8.875/10)
3. "More About D" (9:14) a song that opens full of latencies and potentialities--much like a Joni Mitchell or Eberhard Weber song! Once the full band links up and launches into the meat of the song, there is some Return to Forever-like chords and Larry Coryell-like wildness as Peter Trunk, Cees See, and Peter Baumeister hold down a fairly-constantly moving rhythm track over which Volker solos in his jazz guitar with some of the freedom and reckless abandon that Larry, Sonny Sharrock, or Chris Spedding were doing about the same time. In the fifth minute everybody lets loose--lets go of time and structure for a bit of joyful chaos--but then they come back to support John Taylor's electric piano solo much in the same syncopated herky-jerky forward-moving way they did Volker in the first verse. This is a fairly good keyboard solo as far as keyboard solos go, but it is highlighted by the percussion--and-psychedelic guitar supported bass solo that follows. Peter Trunk impresses! The closing is satisfying for its psychedelic folk extension beyond the standard jazz close. Great tune! Very creative and adventurous. (18.75/20)
4. "Suspicious Child, Growing Up" (4:00) this one sounds like something straight out of The Haight, 1966 or 1967. Multiple tracks used by Volker for his acoustic and electric guitars while minimal electric piano, percussion, bass, and drums support him. I love how well Volker plays off of his own alternate tracks: making it seem and feel as if he's dueting/duelling with someone else sitting next to him in the same studio in Austin, Texas. A very cool, enjoyable song--and I'm not even a fan of this type of music! (9/10)
5. "Instant Judgement" (3:45) Volker's distorted guitars are played over this Rockabilly-like tune with considerable aggression and psychedelic effect. Not necessarily a great or memorable song but certainly representative of the day--where sound experimentation was all part of the game and almost de rigueur. How is that drummer Peter Baumeister can impress on this and feel so weak on "So Long, For Now"? (8.75/10)
6. "Ach Kina" (5:14) gently performed solo jazz electric guitar opens this before Volker launches into the real melody--one that is quite emotional and melancholy (but played very effectively to convey these "sad" emotions). Support comes from a jazz trio of bass, brushed drums, and second guitar playing rhythm chords. Very nice! And at times achingly heart-wrenching (especially in the fourth minute when Cees See's congas join in and Volker starts to take turns soloing between both of his two guitars). (9.25/10)
7. "Strings Revisited" (7:20) this one sounds like a thinned out, scaled down song from Miles Davis' Bitches Brew: dreamy, floating Fender Rhodes, percussion front and center, independent and adventurous double bass play, and, of course, electric guitar. As a matter of fact, also like Miles' revolutionary record, John Taylor's Fender Rhodes play takes on quite the same sound and mystique as those of Chick, Joe, and Herbie (though, of the three, perhaps more the latter). Volker's jazz guitar stylings, however, sound far more akin to those of Geroge Benson than Johnny Mac. Drummer Peter Baumeister is, unfortunately, nowhere in the same league as the Bitches Brew drummers. (13.375/15)
Total Time: 40:28
90.83 on the Fishscales = A-/five stars; a minor masterpiece of early and experimental Jazz-Rock Fusion--perhaps even beyond the early ventures of Bitches Brew participants Herbie Hancock, Wayne Shorter, Joe Zawinul, and Chick Corea! (But not John McLaughlin.)
Total Time: 40:28
90.83 on the Fishscales = A-/five stars; a minor masterpiece of early and experimental Jazz-Rock Fusion--perhaps even beyond the early ventures of Bitches Brew participants Herbie Hancock, Wayne Shorter, Joe Zawinul, and Chick Corea! (But not John McLaughlin.)
May
WEATHER REPORT Weather Report
On May 12, 1971, the international conglomeration that is to be known as "Weather Report" made its debut. Founding members Joe Zawinul and Wayne Shorter had enjoyed working together on Miles Davis' In a Silent Way and Bitches Brew and had both recently released solo albums (as had young Czech immigrant Miroslav Vitous--two!) The three were all in-between projects, looking for something new, found themselves contacting one another. The idea of forming their own band was thrown about, quickly gaining traction, and before you know it the trio were jamming, sharing ideas, hanging out. Over the course of the next months, material was conjured up and then the recruitment of other band members was bandied about with the idea of how to best realize their musical ideas. The recruiting process began and ran its course for a few more months and then practice sessions ensued. The recording sessions finally began in February, completed by the end of March, and then released in May.
I find it fun to see how two Central European-born musicians became collaborators in a successful jazz-rock fusion band though they both had separate routes to get there. Joe Zawinul had been an Austrian-born piano prodigee while Miroslav Vitous came out of what was then Czechoslovakia yet they both had taken a similar route to the US: through scholarships to the prestigious Berklee School of Music in Boston.
- Joe Zawinul / Electric and acoustic piano
- Wayne Shorter / Soprano saxophone
- Miroslav Vitous / Electric and acoustic bass
- Alphonse Mouzon / Drums, voice
- Airto Moreira / Percussion- Wayne Shorter / Soprano saxophone
- Miroslav Vitous / Electric and acoustic bass
- Alphonse Mouzon / Drums, voice
A1 "Milky Way" (2:30) an atmospheric mood-setter by Joe and Wayne. (4.375/5)
A2 "Umbrellas" (3:24) an almost-funky (Miroslav does not quite have the comprehension for that which makes funk bass play yet) composition from the three principle songwriters is saved by a sharp turn in the final 45-seconds. Drummer Alphonse Mouzon and percussionist Airto Moreira are, surprisingly, not much better at bringing the funk. (8.66667/10)
A3 "Seventh Arrow" (5:20) an interesting song that seems to succeed despite not really hitting the funk on all cylinders nor presenting any melodies worthy of "earworm" status. I like Joe's use of experimental sounds from his electronic keyboard (a proclivity that he will continue to feed for the rest of his life). (8.75/10)
A4 "Orange Lady" (8:40) soft and spacious (and drumless) sax and Fender Rhodes interplay for the first 3:30. Then spacey electric bass and playful percussives are allowed to join in. Interesting. Alphonse's wordless vocalese can be heard far in the studio background starting at the end of the sixth minute. I don't know if this was composer Joe Zawinul's intention, but the song has a simple, naïve lullaby-like feel. (17.25/20)
B1 "Morning Lake" (4:23) another spacious impressionistic lullaby--this time coming from the mind of Miroslav Vitous. Joe's creatively playful electric piano play is especially noteworthy. (8.75/10)
B2 "Waterfall" (6:18) a composition credited to Joe Zawinul, this one presents a whole-band weave that is the most satisfying on the album for its solid form and generous melody-making. (8.875/10)
B3 "Tears" (3:22) A Wayne Shorter tune, this one actually kicks in and moves--for several teasingly brief passages, dropping back to complete stops every 30-seconds or so each time it does. Alphonse Mouzon's very pleasant voice (again wordless vocalese) works very well here. Nice tune! (9.125/10)
B4 "Eurydice" (5:43) the only things that set this Wayne Shorter composition apart from more conventional jazz songs is its prominent placement of both Airto Moreira's playful percussion work and Joe's equally-prominent placement of his electric piano track despite its mostly-support role. Miroslav's walking bass lines are constant and perhaps more critical to driving the song forward than Mouzon's drum play. (8.75/10)
Total Time: 39:55
Total Time: 39:55
Despite the leadership falling to the two "elder statesmen" (Joe and Wayne were both in their late 30s), the band seems to have been good at sharing the compositional duties (or credits), as three songs are attributed to Joe, three to Wayne, and three to Miroslav.
One of the things that really set Weather Report apart from other bands at the time is its the lack of guitars. Obviously, Joe and Wayne really wanted to be considered more jazz-oriented than rock (which seems a bit ironic with so many atmospheric/impressionistic songs to their credit), plus, I'm sure, they wanted the sound experimentations of their own instruments to garner all of the attention. Too bad that the electric piano Joe used predominantly at this time sounds so much like that of children's television show hosted by Fred Rogers. And too bad that both Kenny G and Najee chose to use Wayne's instrument of choice, the soprano sax, as their own main tools.
87.70 on the Fishscales = B/four stars; a nice exposition of fresh ideas from this group of idealistic breakaway artists--two of whom had found a partner for fruitful collaboration that would last for quite some time.
TONY WILLIAMS LIFETIME Ego (1971)
Recorded in February and March of 1971 and released in May by Polydor, all of the tracks on Ego were credited to Tony except "Some Hip Drum Shit" which was apparently a collaborative effort between the three percussionists.
Line-up / Musicians:
- Tony Williams / drums
- Ted Dunbar / guitar
- Ron Carter / bass, cello
- Larry Young / organ
- Don Alias / percussion
- Warren Smith / percussion
- Jack Bruce / vocals
- Ted Dunbar / guitar
- Ron Carter / bass, cello
- Larry Young / organ
- Don Alias / percussion
- Warren Smith / percussion
- Jack Bruce / vocals
A2. "There Comes A Time" (5:54) what feels like another excerpt extracted from a much longer jam. Ted Dunbar's guitar is the main feature over the plodding bass, organ chord progression, congas, and fairly active drumming (that starts out sounding quite restrained and uninspired but then engages about two minutes into it). Tony's typical philosophical musings are here doubled up by either Jack Bruce or himself. A song that feels much more structured along the lines and scale of a pop or rock song than anything remotely resembling jazz. (8.75/10)
A3. "Piskow's Filigree" (3:52) opening with a dynamic display of drumming accompanied by wood block and other hand-manipulated percussion instruments from Don Alias and Warren Smith. Larry Young eventually starts to add some very timidly-place organ chord hits, but mostly this is a percussionists jam. In the second half the musicians really start to gel, to entrain. Cool! (8.875/10)
A4. "Circa" (6:27) church-like gospel organ music that seems to be built like a cheesy small-town church It feels so tongue-in-cheek sarcastic! Until, that is, the electric guitar jumps into the lead position. Then everybody steps up and aligns into a more serious flow. Funny to hear 33-year old Ron Carter act as the "elder statesman" by setting the pace so seriously, so fastidiously. A very odd, very "out of place" song--one that feels aberrant to both Jazz and Jazz-Rock Fusion--could be more suitable to a Henry Cow, Samla Mammas Manna, or Soft Machine/Matching Mole/Robert Wyatt album. (8.875/10)
A5. "Two Worlds" (4:26) unveiling yet another really odd song leaves one scratching one's head wondering "Where is Tony trying to take music?" And the rest of the band are apparently on board with him (which completely surprises me on Ron Carter's behalf)! At this point, I cannot help but ask, "Were these guys taking a lot of drugs?" (8.875/10)
B1. "Some Hip Drum Shit" (1:31) Nice collaborative work from the percussionists. (4.5/5)
B2. "Lonesome Wells" (Gwendy Trio) (7:29) more really weird vocals (with equally-weird lyrics). At least this time it's over some pretty good (though not really jazzy) music--music that sounds like Stereolab trying to play some Sly And The Family Stone music. The final minute or so feels like a SANTANA jam with Latin percussionists going crazy on several fronts. (13.25/15)
B3. "Mom And Dad" (5:42) relying on Larry Young's descending chord progression (as the previous song had) the percussionists and guitar have lots of room to express in periods of whole-group free-for-alls. An interesting experiment that is not without its positive results. (8.875/10)
B4. "The Urchins Of Shermêse" (6:25) more free-form drum and percussion play over guitar-led circular chord progression. Larry gets some shine-time on this one despite Tony's domineering drumming. The percussion interactivity is fascinating--especially with some of Tony's best play on the album going on--but the mathematical chordal-melodic experiment is a bit of a bust. (8.875/10)
Total time 42:18
Total time 42:18
I consider this album a collective of highly-disparate and often-disorganized song constructs that feel as if they've been thrown together rather haphazardly and with haste. Also, Tony seems immersed in anti-modal jazz, more percussion-oriented jam and psychedelic pop music than Jazz-Rock Fusion.
88.59 on the Fishscales = B/four stars; an excellent display of an artist in the full height of his powers and skills seeking experimental, sometimes extreme, avenues for expressing himself. One cannot fault him but I'm sure most listeners are hoping the Father of Jazz-Rock Fusion will soon return to either J-R F or classic Jazz.
88.59 on the Fishscales = B/four stars; an excellent display of an artist in the full height of his powers and skills seeking experimental, sometimes extreme, avenues for expressing himself. One cannot fault him but I'm sure most listeners are hoping the Father of Jazz-Rock Fusion will soon return to either J-R F or classic Jazz.
Line-up / Musicians:
- James Litherland / guitar, vocals
- Malcolm Duncan / tenor saxophone
- Michael Rosen / trumpet, Mellophone, guitar
- Roger Ball / alto, baritone & soprano saxes, brass arrangements
- John Wetton / bass, guitar, vocals
- Bill Harrisson / drums
With:
- Brian Auger / piano (5), producer
1. "Something Sad" (7:32) Britain's answer to brass-rockers CHICAGO. (13/15)
2. "Elegy" (9:37) The GUESS WHO's "No Time." Melodic when it becomes vocal-driven like Canada's LIGHTHOUSE. Quite nice rock 'n' roll but this is no Jazz-Rock Fusion. (18.25/20)
3. "Dreams Of Glass And Sand" (5:07) nice drum intro is filled out with highly-coordinated and syncopated guitar, bass, and horns to support James Litherland's (and John Wetton's--in b vox role) vocal. Nicely composed and performed. Drummer Bill Harrisson is impressive. (8.875/10)
4. "Going North, Going West (part 1)" (5:00) a bit of an ALLMAN BROTHERS feel to this one due to rhythm guitar and James' lead vocal sound and melody style. Nice when the sax gets to soloing in fourth minute. (8.75/10)
5. "Going North, Going West (part 2)" (7:07) the slowed down, sparsely populated lull after the saxophone storm. The instrumental portion is pure TERRY KATH Chicago, the vocals toward the end a return to a kind of LIGHTHOUSE/ALLMAN BROTHERS sound. (13.5/15)
5. "St. Peter" (3:39) pure pop-rock. (8.5/10)
6. "What's This I Hear" (7:17) Led Zeppelin-like B-grade Blues Rock (The GUESS WHO); not even remotely j-r fusion--not even the gentle saxophone lull in the fourth minute can make it so. (12.75/15)
Total Time: 47:57
An album of far more rock-infused music than your serious American Jazz-Rock Fusionists (a term that had not yet been coined much less accepted in the music world), BLOOD SWEAT AND TEARS, early CHICAGO and of course COLOSSEUM are the bands that come to mind as I listen to this. Great drumming and horn arrangements with some overplaying by aggressive bass player John Wetton (a problem I have with his bass playing throughout his career).
86.97 on the Fishscales = B-/3.5 stars; good but not top notch by any stretch of the imagination--especially the further you progress into the album.
The material for this album was recorded in late 1970 at Atlantic Studios in New York City and then released in the US in May 1971 (by Atlantic Records).
Line-up / Musicians:
- Joe Zawinul / electric piano
- Miroslav Vitous / bass
- Walter Booker / bass
- Herbie Hancock / electric piano
- George Davis / flute (1-3,5)
- Billy Hart / percussion
- David Lee / percussion
- Joe Chambers / percussion
- Jack DeJohnette / melodica (3), percussion (4)
- Earl Turbinton / soprano saxophone (1-3,5)
- Woody Shaw / trumpet (1,2,4,5)
- Jimmy Owens / trumpet (3)
1. "Doctor Honoris Causa" (14:47)
2. "In a Silent Way" (4:47)
3. "His Last Journey" (4:37)
4. "Double Image" (10:37)
5. "Arrival in New York" (1:59)
Total Time 36:47
on the Fishscales = / stars;
THE CRUSADERS Pass the Plate (1971)
Recorded at Wally Heider Studio 3 in Los Angeles and then released by Chisa Records in May of 1971.
Line-up / Musicians:
- Wilton Felder / saxophones
- Joe Sample / keyboards
- Arthur Adams / guitars
- Joe Sample / keyboards
- Arthur Adams / guitars
- Stix Hooper / drums
- Wayne Henderson / trombones
A1a. "Tap N' Shuffle"
A1b. "Sing For Your Keep"
A1c. "Beggin'"
A1d. "Haggin' Stomp!"
A1e. "Pennies, Nickels And Dimes"
-
A2. "Young Rabbits '71" - '72 (4:50) like something off a contemporary CHICAGO album: pure Chicago. Solid, competent, weird (just like the eclectic artsy stuff Chicago was doing at the time) and catchy. (9/10)
A1b. "Sing For Your Keep"
A1c. "Beggin'"
A1d. "Haggin' Stomp!"
A1e. "Pennies, Nickels And Dimes"
-
A2. "Young Rabbits '71" - '72 (4:50) like something off a contemporary CHICAGO album: pure Chicago. Solid, competent, weird (just like the eclectic artsy stuff Chicago was doing at the time) and catchy. (9/10)
B1. "Listen And You'll See" (5:27) (/10)
B2. "Greasy Spoon" (4:05) (/10)
B3. "Treat Me Like Ya Treat Yaself" (2:37) (/10)
B4. "Goin' Down South" (5:20) (/10)
B5. "Love Can't Grow Where The Rain Won't Fall (4:04) (/10)
Total Time: 42:15
I don't think I'd ever call this Jazz-Rock Fusion as much as Adult Contemporary or Pop Cover.
2. "Storm" (8:22) a more "normal" but still exploratory palette of jazz instruments. Gene's guitar, Frank's percussion, and David's vibes play a much bigger role here than one might expect, but the two drummers and two bassists are the guys that really shine beneath Wayne's rather fickle and desultory runs on his soprano sax. Billy and Al's wave-like battle give the song the feeling of being at sea. Again, the way the music is used to express Nature is quite wonderful: fulfilling in many ways the progressive potential that musicians were finding in the early 70s in both the Jazz-Rock Fusion movement but also in Progressive Rock in general. (18.3333/20)
4. "De Pois Do Amor, O Vazio (After Love, Emptiness)" (11:40) Wow! What a gorgeous song. The Latin near-samba song penned by drummer Bobby Thomas is performed with such tenderness as to evoke many pleasant visions of things like sunny beach cabanas, romantic island nights, and amorous dancing of the tango or "dirty" kind. For the first six minutes Wayne's soprano sax is so gentle, then he starts going wild, inciting a spirited street riot among his ensemble (though guitarist Gene Bertoncini has been a little more demonstrative throughout). But by the end of the eighth minute the rabble has spent its vim and has returned to a more calm and civil demeanor--Wayne returning to his romantic whispers and squeals. Another song that I like very much! (19/20)
WIGWAM Fairyport (released in December)
The the this is the founding quartet's third album since forming in 1968, it is their first to fully satisfy all of the requirements of inclusion into the Jazz-Rock Fusion and/or Progressive Rock music categories. Their version of jazz-rock fusion is far simpler, far more melody-driven and even pop-friendly than the stuff coming out of Herbie Hancock or the Mahavishnu Orchestra.
Line-up / Musicians:
- Jukka Gustavson / vocals, acoustic & electric pianos, organ
- Jim Pembroke / vocals, harmonica, piano (2,12), electric piano (14)
- Pekka Pohjola / bass, violins, acoustic guitar (10), piano (8-9), celeste & harpsichord (9), backing vocals (3)
- Ronnie Österberg / drums, congas, percussion, backing vocals (3)
With:
- Jukka Tolonen / guitar (2,7,13)
- Eero Koivistoinen / soprano saxophone
- Pekka Pöyry / soprano saxophone
- Tapio Louhensalo / bassoon
- Risto Pensola / clarinet
- Hannu Sexelin / clarinet
- Unto Haapa-aho / bass clarinet
- Ilmari Varila / oboe
Line-up / Musicians:
- Larry Coryell / guitar
With:
- Steve Marcus / soprano (1, 2) & tenor (3) saxophones
- Michael Mandel / piano (3)
- Mervin Bronson / bass
- Roy Haynes / drums
- Lawrence Killian / congas
- Harry Wilkinson / percussion
2. "The Great Escape" (8:39) the bass, guitar, and even rhythm section here is mired in some blues-rock with Larry himself playing something akin to Louisiana swamp guitar. The percussionists keep it real, though--keep the music anchored in urban life--and then saxophone player Steve Marcus tries to solidify the jazz roots of the song with some nice Charlie Parker-like playing--with Larry standing on the sidelines in silence. Much better. When Larry returns near the seven-minute mark it is with some nice rock/R&B effects and some very-precisely-nuanced playing--almost like one of the genius virtuosi from the Motown stable. I like the second half of this very much, not so much the first. (17.75/20)
A Paul Simon-like tortured folk-soul artist who can't get enough of the Fender Rhodes, the June 1970 release features Joe Zawinul, Tony Levin, Miroslav Vitous, Al Mouzon, Colin Wolcott, Ralph Towner and Mike Mainieri. This is, however, by no means a Jazz-Rock Fusion album; more like a jazzified Country-Western album. I'm quite surprised that Columbia Records endorsed or ordered the participation of these Jazz Fusion artists for the recording sessions of this album--especially since none of the music turned out to be anything like The Pentangle or other Jazz- and Prog-Folk artists.
PAUL WINTER CONSORT Icarus (released in May of 1972)
Not your typical Jazz-Rock Fusion since there is little rock, R&B, or funk infused into these songs: what Paul Winter and his pre-OREGON companions gives you is more of a classical, folk, and world music infusion with jazz--which is exactly why I've chosen to include this review among this list: to help illustrate how broad the styles of the sub-genre are. The album was recorded in pieces using four studios, Sea Weed Studios in Marblehead, Mass. (around which George Martin and his family enjoyed a lovely three-week seaside summer vacation), as well as Electric Lady Studios, The Record Plant, and Upsurge Studio in New York City. It was then mixed and mastered in England before going through a tumultuous time trying to get it published. Paul's original record company, A&M, had dropped them (before George Martin got involved). The next company, LA-based Capitol Records had backed the whole George Martin expedition (to the sum of some $65,000), but they suddenly had a new guy in the A&R position (after legend Artie Mogull had been unexpectedly fired). Despite the George Martin pedigree, the obtuse dude refused outright to even listen to it, saying, "Consort?! We don't want that! There are no 'consorts' on the charts)." The album was, however, finally released: by Epic Records on May1, 1972, unfortunately, to very meager reception and sales.
Lineup / Musicians:
- Paul Winter / soprano saxophone, vocals
- Paul McCandless / oboe, English horn, contrabass sarrusophone, vocals
- David Darling / cello, vocals
- Herb Bushler / bass guitar
- Ralph Towner / classical guitar, 12-string guitar, steel-string guitar, piano, bush organ, regal organ, vocals
- Colin Walcott / drums, kettledrums, congas, surdo, tabla, mridangam, bass marinda, sitar
- Billy Cobham / drums (4, 6)
- Milt Holland / Ghanaian percussion (6)
- Barry Altschul / random percussion
- Larry Atamanuik / drums (1)
- Andrew Tracey / dobro (9)
Chorus on "Minuit": Janet Johnson, Paul McCandless, Bob Milstein, Paul Stookey
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
2. "Maldonne" (6:51) harpsichord arpeggiated chord sequence with baritone sax and some percussion open this making it sound like something anachronistic from Gentle Giant or Gryphon, but then in the second minute it goes into eerie bordering-on-scary cinematic soundscape music not unlike the music that Italian jazz-proggers GOBLIN would be doing for Dario Argento films. Interesting and definitely jazzy rock or loosely-framed, schizophrenic Jazz-Rock Fusion. (13.5/15)
4. "Le prophète égaré" (2:16) a nice little mathematically-constructed tune that feels/sounds more like a whole-band warmup or "étude." Nice performances from all. Nice to hear more of the guitar and electric piano. (4.5/5)
7. "Outre-tombe" (2:50) bass drum rudiments open this one with baritone and soprano saxophones soon joining in to mirror the bass drums syncopated rhythm pattern. Organ, electric piano and basses soon join in. In the second minute the musicians all come together to define their roles, eventually setting up a cohesive motif over which Hatot's sax solos, followed by Jean-Pol Asseline's electric piano. The band then comes together for some great whole-band staccato chords to finish the song. Brilliant! (9.5/10)
8. "Parcours" (3:51) single note of an electric bass is repeated syncopatedly while electric piano, organ, multiple horns and drums gradually join in. The feeling here is the most Zeuhlish of the entire album yet it still remains firmly in the ZAO-like realms of experimental jazz-Jazz-Rock Fusion. A lot of it are really cool but it never really gels or morphs into anything super exciting. (8.875/10)
9. "Nos baignoires sont enchantées" (0:44) a series of four organ chords are hit in sequential staccato-ness, round and round, as bass, xylophone and organ right hand are woven over the top. Again African song styles and ZAO come to mind with this one. (4.5/5)
Total Time 35:43
91.47 on the Fishscales = A/five stars; a surprisingly-advanced injection of brilliantly-conceived and performed Jazz-Rock Fusion thrown into the briar patch of the sub-genre's earliest arrivals. Highly satisfying and highly recommended.
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)
Klaus Doldinger's first release using the "Passport" moniker. Unfortunately, he would have to come up with a whole new lineup of musicians in order to produce his next album. The album was released by Atlantic Records in October of 1971.
Line-up / Musicians:
- Klaus Doldinger / alto, soprano & tenor saxes, keyboards
- Jimmy Jackson / organ
- Olaf Kübler / tenor saxophone, flute
- Udo Lindenberg / drums
- Lothar Meid / bass guitar
1. "Uranus" (6:35) with the use of weird synthesizer sounds and multiple "chorus" saxophones in the lead, this one sounds futuristic--like something that would influence the next/new generation of German prog rockers (ELOY and ANYONE'S DAUGHTER are what immediately come to mind). Though I like the flutes as a complement to the rest of the sounds in the second motif, it's Udo Lindenberg's drumming that really holds my attention the most--that and the intriguing sound choices coming from Jimmy Jackson and Klaus Doldinger's keyboards. (8.75/10)
2. "Shirokko" (5:44) opening with Klaus's solo saxophone being fed through some delay, echo, and panning effects for a 55-second intro before the drummer and bass player breaks into a groovy 1960s jazzed (or funked)-up surfer music motif. Clavinet-like keyboard provides the R&B guitar-like rhythm play while multiple saxophones provide horn-section-like background fill. Some of Klaus and Olaf Kübler's saxes solo over the top as well as Jimmy Jackson's organ in the third and fourth. Excellent! The really superstar (besides Udo's smooth/relaxed drumming) is Lothar Meid's chill bass play. A top three song for me--probably my favorite. (9.125/10)
Line-up / Musicians:
- Brian Auger/ keyboards
- Jim Mullen / guitar
- Barry Dean / bass
- Robbie McIntosh / drums
1. "Dawn of Another Day" (4:18) opens exactly like José Féliciano's version of The Doors' "Light My Fire" but then piano, electric bass and vocals enter to give it its own identity. It still feels very founded in and reflective of the idealistic hippie 1960s--with lyrics sounding all flowers and rainbows. A very likable, enjoyable song. I especially like the spaciousness of the song as well as the inventive vamp for the finish. (9/10)
2. "Marai's Wedding" (4:22) two acoustic guitars, one soloing dynamically, the other providing some colorful rhythm guitar support. Piano, bass, and drums joins in after about 30 seconds, establishing a very folk-flavored rock song in the vein of The Band (the music) or perhaps Crosby, Stills, Nash & Young (the harmonized choral vocals). This traditional Scottish folk song (originally titled "Mairi's Wedding" not "Marai's") is here re-arranged by Jim Mullen. (8.785/10)
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
A2. "Uncle Albert / Admiral Halsey" (8:12) Paul McCartney's song is taken down to the bare bones and bluesified melodically, Freddie only gives the first verse its due before taking it on his own flight. There is a significant contribution from some uncredited orchestral strings here. The two minute mark results in a significant shift into a blues/R&B-jazzed-up "Admiral Halsey" section. Jack and Ron are even caught trying to funk things up (Jack's more military than you'd probably want) but Ron, George, and electric piano player Richard Wyandis are excellent at funking things up--George even stepping up to play a very aggressive jazz-structured blues solo. At 5:40 everybody cuts out for Ron to show off his groove thang before flutes, Fender, and drums join in to take us to the final minute's return to the stripped down, bare bones opening motif (again, with strings/orchestra). Interesting! And, admittedly, adventurous. (13.5/15)
90.54 on the Fishscales = A-/five stars; a minor masterpiece of creative and adventurous jazz-rock fusion that is often on the smooth cinematic side (due, perhaps, to the lush orchestral arrangements).
Line-up / Musicians:
- Carlos Santana / guitars, vocals
- Neal Schon / guitar
- Gregg Rolie / organ, piano, vocals
- David Brown / bass
- Michael Shrieve / drums, percussion, vibes
- Michael Carabello / congas, tambourine, percussion, vocals
- Jose 'Chepito' Areas / drums, timbales, congas, percussion, flugelhorn, vocals
With:
- Rico Reyes / lead (6) & backing (2,4,9) vocals
- Coke Escovedo / backing vocals, percussion
- Linda Tillery / backing vocals (5,8)
- Mario Ochoa / piano (6)
- Tower Of Power Horn Section / horns (5)
- Luis Gasca / trumpet (9)
- Gregg Errico / tambourine (2)
THE MAHAVISHNU ORCHESTRA The Inner Mounting Flame
Line-up / Musicians:
- John McLaughlin / acoustic (4) & electric guitars, producer
- Jan Hammer / piano (4), Fender Rhodes, organ (?)
- Jerry Goodman / acoustic (4) & electric violins
- Rick Laird / bass (excl. 4)
- Billy Cobham / drums (excl. 4)
1. "Meeting Of The Spirits" (6:52) Has there ever been a more mind-blowing opening song in history? Billy Cobham and John McLaughlin are, of course, the most impressive over the first three and a half minutes, but then in the softer sections you get to figure out that there are many times in which multiple instruments are carrying those lightning-speed melody lines all at the same time! (A phenomenon that the band build upon on their next album.) (14/15)
2. "Dawn" (5:10) this soft rather sedating start is in such a polar contrast to the whole vibe and energy of the previous song that it might leave some asking whether or not this is the same band! But then in the second minute some of the instrumentalists up front begin to express themselves through light-speed runs even getting Billy and Rick involved by the second half of the third minute. Jan, Jerry, and John are the main soloists up front but Billy Cobham's drum fills and cymbal play are often just as astonishing and competitive. Cool chord progression of whole-band arpeggi in the final minute. (8.875/10)
3. "Noonward Race" (6:28) a song that is very much in line with those of the JIMI HENDRIX EXPERIENCE--both in pacing, bluesy flavor, and fireworks. Jerry's distorted violin sound used during his extended solo in the second minute is interesting--and then to be followed by a similarly processed Fender Rhodes from Jan Hammer in the third makes for quite an interesting consistency. John's electric guitar, then, is almost "normal" sounding during his following solo. The turn-taking solos are impressive but it's the three-, four-, and five-in-one displays of speed and dexterity that I find most astonishing and ground-breaking (though I guess in the context of an orchestra or big band there is nothing really new or innovative there; it's more of this use in rock 'n' roll that feels new or innovative, I guess). (8.75/10)
4. "A Lotus On Irish Streams" (5:39) the acoustic side of the band: sweeping piano arpeggi and runs with flighty violin notes and astonishing flourishes from the steel-string guitar makes for an impressive expression of the trio format. Jan's play previews Rainer Brüninghaus' play with Eberhard Weber, John's guitar previews that which he expands upon with Shakti, and Jerry's violin sounds like a cross between Ralph Vaughan Williams' "Lark Ascending" and Stephane Grappelli. Very beautiful. A perfect masterpiece. (10/10)
5. "Vital Transformation" (6:16) a high-energy showpiece for the virtuosity of everyone in the band but Billy Cobham first and foremost. Here is where you get to hear more of those extraordinary passages in which the whole band is ripping through the space-time continuum at speeds that don't seem possible. It's no wonder that drummer Steve Smith chose this song title for the name of his jazz-fusion band in the 1980s. I find myself most drawn to the performances of Billy and John on this one. (9/10)6. "The Dance Of Maya" (7:17) a meditative start in which the band plays with an awesome chord sequence. A song that must have had a huge influence on Robert Fripp for the evolution/progression of his King Crimson project from the The Court of the Crimson King, Wake of Poseidon, Lizard, and Islands phase into Lark's Tongues, Starless, and Red. I've always hated the dramatic downshift at 2:33 into the two-chord blues motif--and the fact that they abandon the cool experimentation with chord progressions until the very end (where they do do the cool thing with interplaying/overlaying the chord progression motif over the blues chords. Also, I'm not much of a fan of the Clapton-style blues-wah-pedal guitar lead that John uses throughout the last five minutes of the song. (13.25/15)
7. "You Know, You Know" (5:07) another étude of chord progression possibilities, this time done slowly and with minimalist input and plenty of space. Billy Cobham is the only one to really try to break out of the restriction zone but not until the final minute though Jan Hammer's Fender Rhodes seems to send out probes in the third minute. Kind of a cool song! (8.875/10)
8. "Awakening" (3:32) another high-powered display of machine-gun declarations of force and vitality--in fact, these are probably the most impressive displays of the virtuosity and dexterity of each and every one of the five individuals gathered together to make the Mahavishnu Orchestra. Not only impressive but jaw-dropping. Too bad it's lacking in any kind of engaging melody but I think they were banking on impressing their audiences more than expressing any kind of timeless beauty (though, of course, there is a kind of beauty in virtuosity). (9/10)
Total Time: 46:34
Line-up / Musicians:
- Jasper van't Hof / E-Piano, Orgel (electric piano, organ)
- Toto Blanke / Gitarren (guitar)
- Sigi Busch / Bass, Kontrabass (bass)
- Pierre Courbois / Schlagzeug (drums)
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)
WIGWAM Fairyport (1971)
The the this is the founding quartet's third album since forming in 1968, it is their first to fully satisfy all of the requirements of inclusion into the Jazz-Rock Fusion and/or Progressive Rock music categories. Their version of jazz-rock fusion is far simpler, far more melody-driven and even pop-friendly than the stuff coming out of Herbie Hancock or the Mahavishnu Orchestra.
Line-up / Musicians:
- Jukka Gustavson / vocals, acoustic & electric pianos, organ
- Jim Pembroke / vocals, harmonica, piano (2,12), electric piano (14)
- Pekka Pohjola / bass, violins, acoustic guitar (10), piano (8-9), celeste & harpsichord (9), backing vocals (3)
- Ronnie Österberg / drums, congas, percussion, backing vocals (3)
With:
- Jukka Tolonen / guitar (2,7,13)
- Eero Koivistoinen / soprano saxophone
- Pekka Pöyry / soprano saxophone
- Tapio Louhensalo / bassoon
- Risto Pensola / clarinet
- Hannu Sexelin / clarinet
- Unto Haapa-aho / bass clarinet
- Ilmari Varila / oboe
1. "Losing Hold" (7:06) though the whole band plays tight, cohesive music throughout this song, it is the Canterbury-like keyboards of Jukka Gustavson that lead and draw the most notice. The lead vocals (assuming they're by Jim Pembroke due to their being English) are quite similar to those early vocals of prog icons Peter Gabriel and Roye Albrighton. I love the melodies of this song if not-so-much the bluesy-organ-rock style. Prog Hall-of-Famer Pekka Pohjola's bass prowess really shines in the instrumental second half. (14.25/15)
2. "Lost Without A Trace" (2:29) delicate vocal with piano accompaniment--all by Jim Pembroke. (8.75/10)
3. "Fairyport" (6:53) theatric Elvis Costello-like vocals over piano with the combo in relatively sedate attendance; this is truly a pop song. It's not until the 2:20 mark when a lounge-jazz piano style takes the band into a lounge jazz style not unlike that of Vince Guaraldi. When the lead instrument becomes a dirty organ at 3:25 the music turns full blues-rock--old blues rock. Too bad. Luckily it turns another corner at 5:05 into a. chamber/folk type of music with oboe and clarinet before reverting to the Elvis Costello motif for the final minute. (13.5/15)
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
MOVING GELATINE PLATES The World of Genius Hans (released in February of 1972)
Line-up / Musicians:
June
NUCLEUS Solar Plexus (1971)
Recorded in December of 1970, this was Ian Carr's relatively-new "jazz-rock fusion" project's third album release (though many cite Chris Spedding's Ian-Carr-less album from 1970, Songs Without Words as another Nucleus album, which would make Solar Plexus the band's fourth release). Here we see the final appearance on Nucleus/Ian Carr albums of Karl Jenkins, Chris Spedding, Jeff Clyne, and drummer John Marshall while at the same time we see the significant contributions of a number of hired guests to thicken and give variety to Ian's band's sound. The album was released by Vertigo Records in the middle of 1971, only a few months after they'd released We'll Talk About it Later. Apparently, Ian had composed all of this music himself with the intention of recording it with a new lineup of musicians but soon realized that his Nucleus collaborators were the only musicians capable of rendering it with any veracity to his original intentions, thus the use of Ian Carr's name in the group title.
Line-up / Musicians:
- Ian Carr / trumpet, flugelhorn (solo 6)
- Karl Jenkins / oboe (solo 3), baritone sax, electric piano
- Brian Smith / tenor (solo 6) & soprano (solo 5) saxophones, flute
- Chris Spedding / guitar
- Jeff Clyne / bass, double bass (solo 3)
- John Marshall / drums (solo 5), percussion
With:
- Keith Winter / VCS3 synthesizer
- Kenny Wheeler / trumpet & flugelhorn (1,2 solo,5,6)
- Harry Beckett / trumpet & flugelhorn (solo 3,4)
- Tony Roberts / tenor saxophone (solo 2), bass clarinet (solo 4)
- Ron Matthewson / bass (solo 4)
- Chris Karan / percussion
1. Elements I & II (2:12) full-on experimentation with the latest advances/offerings from the world of electronics: here a VCS3 synthesizer, courtesy of Keith Winter, joined by bowed double bass, flanged electric guitar notes, and metallic percussion noises. Interesting and, actually, rather structured! (4.5/5)
2. Changing Times (4:44) so many elements here that refer to other songs, other artists--like HERB ALPERT, OLATUNDE BABATUNJI, HUGH MASAKELA, BURT BACHARACH, and so many others An absolutely brilliant blend of so many styles and sounds: like a brief history of Jazz-Rock music! I'm glad! If anyone in the early Fusion world had a grip on where Jazz-Rock Fusion was coming from and the many, many arms and tentacles it could reach into, it was Ian Carr. A complete visionary! (9/10)
3. Bedrock Deadlock (6:52) opens sounding like a song from mediæval church music with oboe and bowed double bass dancing around one another in a kind of pre-tango pairs dance. Quite lovely--and brilliant! At 1:49, then, the classical music intro ends, there is a pause, and then a full band jumps into a weird motif that forces enters the listener to enter into a mish-mash of early-Beatles psychedelia. At 3:48 a horn section of saxes starts up a new expression of the main melodies--which is then countered by Ian Carr's own competing melody presentation from a horn section that he leads. Mix into the weave Chris Spedding and Jeff Clyne's own competing thread and we have a really cool, really beautiful weave of doubled up melodies--all supported by the rhythm play of John Marshall's drums paired up with Chris Karan's conga play. Cool mathematical exercise! (9.5/10)
4. Spirit Level (9:20) opening with another anachronistic weave of multiple "old" instruments that lasts about 60 seconds before turning into a little sprite-like dance between guests Tony Roberts' bass clarinet and Ron Matthewson's bass--which goes on for about two and a half minutes while late-night jazz brushed drums eventually join in as well as harmonically-arranged horn section. The bass clarinet and bass continue on well into the sixth minute before the band slides into a slightly more substantial jazz motif with sticks being used on the drum kit and Ian stepping up into the lead position while Chris Spedding, Ron Matthewson, Chris Karan, and the other horn players all fall into interestingly creative support roles. Another interesting song that sounds and feels like a journey through several time periods and styles. (18/20)
5. Torso (6:12) a song that feels somewhat rooted in the popular "beach rock" that became popular in the 1960s. There is also a Spanish hue to the song--quite like the Animals version of the classic tune, "Don't Let Me Be Misunderstood" (and the later version by Santa Esmeralda) as well as The Mamas And The Papas' chords from "California Dreamin'" and future [June of 1971] hit, "One Fine Morning" by Canadian band Skylark. A real rousing, rollicking, and engaging tune that makes you want to get up and move! (9.5/10)
6. Snakehips Dream (15:16) a song that starts out as if borrowing an old James Brown R&B motif to ge t started: bass, drums, two rhythm guitar tracks (on the left: more rhythm-oriented with lots of strumming of fast-changing chords; on the right with more jazz sounds and intonations. I'm guessing that Eumir Deodato and his guitarist John Tropea had this in mind when playing/recording for "Also Sprach Zarathustra (2001)"). Weird to just be noticing how there are virtually no keyboards on this album! The first four minutes of this are just as described: all R&B exploration of a theme, but then horns enter and start to fill some spaces and accent others until Brian Smith branches off into the sunlight to posit a smooth tenor sax solo over the hep R&B jam. At the 8:00 mark two different horn groups break off to perform a call-and-response passage that serves as a bridge to Ian's turn to solo--this time on a flugelhorn.
Meanwhile, Chris Spedding's two guitar tracks continue to improvise, exploring and entertaining just beneath the lead and rhythm sections. (27/30)
Total Time: 44:36
As suggested above, Ian Carr's vision for Jazz-Rock Fusion's potential is about as complete as anyone's that I've encountered: where others are imitators or simply jumping on a bandwagon with the other "cool kids" (like Miles, Freddie Hubbard, Art Farmer, Sonny Rollins, Herbie Mann, Jack DeJohnette, Donald Byrd and even Herbie Hancock (who was really more into exploring the latest and greatest technologies), Ian is actually totally committed, invested, and immersed in the movement--which I really admire. On Solar Plexus one can see Ian growing: spanning two worlds at the same time, with one foot still drawing from all that was fresh and innovative in the pop-jazz world of the 1960s while the other is in the forward-thinking, potential-realizing of his own imagination.
91.18 on the Fishscales = A-/five stars; another minor masterpiece of cutting-edge, exploratory Jazz-Rock Fusion from one of the true leaders and apostles of the movement.
WAYNE SHORTER Odyssey of Iska (1971)
Using a Miles-like expanded lineup of multiple musicians for each spot (three drummers, two bassists, two percussionists) Wayne reaches out to create some spacious, moody, and experimental Jazz-Rock Fusion. The man definitely was trying to push the envelope: which is the reason he's so beloved in the jazz and jazz-rock fusion worlds. The material for the album was recorded on August 25, 1970, at A&R Studios in New York and then released by Blue Note in June of 1971.
Line-up / Musicians:
- Wayne Shorter / tenor & soprano saxophones, composer (excl. track 4)
With:
- Gene Bertoncini / guitar
- Cecil McBee / bass
- Ron Carter / bass
- Alphonse Mouzon / drums
- Billy Hart / drums
- Frank Cuomo / drums, percussion
- David Friedman/ vibraphone, marimba
1. "Wind" (8:00) Jazz-Rock Fusion at its most experimental: pushing boundaries of rhythm and sound choices with Al Mouson, Billy Hart and Frank Cuomo playing only metallic percussives, Ron Carter and Cecil McBee playing off one another on electric bass and upright double bass, respectively, and guitarist Gene Bertoncini and vibraphonist David Friedman providing the melodic waves beneath Wayne's soprano sax--which is providing a most-excellent interpretation of the title character. I like this very much. I'm not usually a fan of any saxophone, especially the soprano, but this works very well. In fact, I'd say this is one of my favorite expositions of a soprano sax that I've ever heard. (14/15)
- Wayne Shorter / tenor & soprano saxophones, composer (excl. track 4)
With:
- Gene Bertoncini / guitar
- Cecil McBee / bass
- Ron Carter / bass
- Alphonse Mouzon / drums
- Billy Hart / drums
- Frank Cuomo / drums, percussion
- David Friedman/ vibraphone, marimba
1. "Wind" (8:00) Jazz-Rock Fusion at its most experimental: pushing boundaries of rhythm and sound choices with Al Mouson, Billy Hart and Frank Cuomo playing only metallic percussives, Ron Carter and Cecil McBee playing off one another on electric bass and upright double bass, respectively, and guitarist Gene Bertoncini and vibraphonist David Friedman providing the melodic waves beneath Wayne's soprano sax--which is providing a most-excellent interpretation of the title character. I like this very much. I'm not usually a fan of any saxophone, especially the soprano, but this works very well. In fact, I'd say this is one of my favorite expositions of a soprano sax that I've ever heard. (14/15)
2. "Storm" (8:22) a more "normal" but still exploratory palette of jazz instruments. Gene's guitar, Frank's percussion, and David's vibes play a much bigger role here than one might expect, but the two drummers and two bassists are the guys that really shine beneath Wayne's rather fickle and desultory runs on his soprano sax. Billy and Al's wave-like battle give the song the feeling of being at sea. Again, the way the music is used to express Nature is quite wonderful: fulfilling in many ways the progressive potential that musicians were finding in the early 70s in both the Jazz-Rock Fusion movement but also in Progressive Rock in general. (18.3333/20)
3. "Calm" (3:25) despite the fairly lively activity of the bass and rhythm makers, all is still quite gentle--we are persuaded so by the beautiful fullness of Wayne's tenor sax. (9/10)
4. "De Pois Do Amor, O Vazio (After Love, Emptiness)" (11:40) Wow! What a gorgeous song. The Latin near-samba song penned by drummer Bobby Thomas is performed with such tenderness as to evoke many pleasant visions of things like sunny beach cabanas, romantic island nights, and amorous dancing of the tango or "dirty" kind. For the first six minutes Wayne's soprano sax is so gentle, then he starts going wild, inciting a spirited street riot among his ensemble (though guitarist Gene Bertoncini has been a little more demonstrative throughout). But by the end of the eighth minute the rabble has spent its vim and has returned to a more calm and civil demeanor--Wayne returning to his romantic whispers and squeals. Another song that I like very much! (19/20)
5. "Joy" (9:00) while coming across a little more serious and circumspect than the title might suggest, even with the tempo and rhythm changes (and "A Love Supreme" melody use in the final third), this is the first song on this album that fails to engage or interest me; it's just free jazz drivel. (17/20)
Total time 40:27
Despite the disappointing listening experience of trying to penetrate the oddly-titled final song, this is an amazing album of wonderfully successful impressionistic music--one in which the bandleader and his entourage magically capture the essence of their song titles through their music. In fact, I'd have to say that this is one of my favorite Wayne Shorter products and one that I feel strongly that I will return to from time to time for the sheer fascination and enjoyment.
90.98 on the Fishscales = A-/five stars; a minor masterpiece of wonderful impressionistic Jazz-Rock Fusion.
Despite the disappointing listening experience of trying to penetrate the oddly-titled final song, this is an amazing album of wonderfully successful impressionistic music--one in which the bandleader and his entourage magically capture the essence of their song titles through their music. In fact, I'd have to say that this is one of my favorite Wayne Shorter products and one that I feel strongly that I will return to from time to time for the sheer fascination and enjoyment.
90.98 on the Fishscales = A-/five stars; a minor masterpiece of wonderful impressionistic Jazz-Rock Fusion.
The album was recorded in Finnvox and Hämis Club in Helsinki and Music Network in Sweden June 6, 1971 and then released by the Love label in December of 1971.
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
LARRY CORYELL Barefoot Boy
The Godfather of Jazz-Rock pumps out his fourth album as band leader and principal composer since the failed super nova that was The Free Spirits. The album was recorded live by Flying Dutchman Records' Bob Thiele at Electric Lady Studios in New York City on a single (unrecorded?) day in the Winter of 1971 and then released to the public in June.
Line-up / Musicians:
- Larry Coryell / guitar
With:
- Steve Marcus / soprano (1, 2) & tenor (3) saxophones
- Michael Mandel / piano (3)
- Mervin Bronson / bass
- Roy Haynes / drums
- Lawrence Killian / congas
- Harry Wilkinson / percussion
1. "Gypsy Queen" (11:50) melodic soprano sax leads the cohesive band through the jungle while sherpas Mervin Bronson, Larry Coryell, and machete-wielding drummer Roy Haynes and percussionists Larry Killian and Harry Wilkinson negotiate with any intruders or inhibitors to the band's progress on their self-pioneered pathway. In the fifth minute Larry Coryell uses his guitar to fight off a barrage of monkeys or giant mosquitos. Crazy experimental sounds and engineering techniques used throughout this section sounding at times like Godzilla on a rampage--or perhaps some of his radiation-mutated friends. In the ninth minute Larry returns to support while Steve Marcus returns with his sax and the tempo slows down a bit (or at least becomes variable). I am always pleasantly surprised to hear Larry Coryell play the supporting role to the solos of others cuz I'm never sure what he's going to do; here he strums loudly using his wah-wah-monster effect, never backing down on his volume, re-usurping his lead role in the tenth minute for a bit before giving some shine to his drummer and percussionists. There's nothing so shocking or innovative here but it is a damn fine, eminently-listenable song. (22.5/25)
2. "The Great Escape" (8:39) the bass, guitar, and even rhythm section here is mired in some blues-rock with Larry himself playing something akin to Louisiana swamp guitar. The percussionists keep it real, though--keep the music anchored in urban life--and then saxophone player Steve Marcus tries to solidify the jazz roots of the song with some nice Charlie Parker-like playing--with Larry standing on the sidelines in silence. Much better. When Larry returns near the seven-minute mark it is with some nice rock/R&B effects and some very-precisely-nuanced playing--almost like one of the genius virtuosi from the Motown stable. I like the second half of this very much, not so much the first. (17.75/20)
3. "Call to Higher Consciousness " (20:00) a very pacifying four-chord motif for minutes (with Michael Mandel on piano) over which Steve Marcus' tenor saxophone solos beautifully, emotionally, over the first five minutes. Then Larry takes his turn, throwing his darts rapid-fire for the next two and a half minutes before giving up the spotlight for the next two minutes to Mandel's ivory tickling. Mervin Bronson and the percussionists below remain quite committed to their sedating beat until 9:40 when everybody clears out for a Roy Haynes solo. I'm sorry but I've just got to say it: this solo is just incongruous--it just doesn't seem to fit the mellow, relaxing, meditative mood the title and previous ten minutes would suggest. At 13:30 it's over and the rest of the band charges onto the scene with a series of forceful blues-rock bursts that seem like they're signaling the end but no! Bassist Mervin Bronson and Michael Mandel's piano set up another motif to groove into--this one a little more jazz-rock like something by Brian Auger with a now-bass four chord progression and competing soloing going on by not only Marcus and Coryell but Roy Haynes as well. In the 18th minute Larry switches to full-on rock 'n' roll: heavily distorted power chords, but then he backs off and plays some extraordinary delicate lead machine gun riffs and runs as the rest of the band supports as gently as they did in the first nine minutes. Awesome slow, unravelling finish. As with all multi-part suites, this one is a tough one to assign a single number rating to. Aside from the disruption of the drum solo, this is really an excellent song with wonderful performances of a fairly simple yet-effective composition. (36.75/40)
Total Time 40:29
Total Time 40:29
I really like Larry's exposition of distinctly different styles on this album but more I love (and greatly respect) his restraint--especially in second and third songs but also on the supporting role he plays for over half of the opening song. Several of his solos are more concise and controlled--less rambling than he can sometimes do--and yet there are those frenzied ramblers as well (especially when he's experimenting).
90.59 on the Fishscales = A-/five stars; a minor masterpiece of various and some experimental styles of early jazz-rock and fringe jazz-rock fusion. There is some really nice music here with some very enjoyable solos. Even Larry's experimentation with sound and style are interesting and often astonishing. I can see why this album is a favorite with many other listeners/reviewers.
TIM HARDIN Bird on a Wire (1971)
July
PAUL WINTER CONSORT Icarus (released in May of 1972)Not your typical Jazz-Rock Fusion since there is little rock, R&B, or funk infused into these songs: what Paul Winter and his pre-OREGON companions gives you is more of a classical, folk, and world music infusion with jazz--which is exactly why I've chosen to include this review among this list: to help illustrate how broad the styles of the sub-genre are. The album was recorded in pieces using four studios, Sea Weed Studios in Marblehead, Mass. (around which George Martin and his family enjoyed a lovely three-week seaside summer vacation), as well as Electric Lady Studios, The Record Plant, and Upsurge Studio in New York City. It was then mixed and mastered in England before going through a tumultuous time trying to get it published. Paul's original record company, A&M, had dropped them (before George Martin got involved). The next company, LA-based Capitol Records had backed the whole George Martin expedition (to the sum of some $65,000), but they suddenly had a new guy in the A&R position (after legend Artie Mogull had been unexpectedly fired). Despite the George Martin pedigree, the obtuse dude refused outright to even listen to it, saying, "Consort?! We don't want that! There are no 'consorts' on the charts)." The album was, however, finally released: by Epic Records on May
Lineup / Musicians:
- Paul Winter / soprano saxophone, vocals
- Paul McCandless / oboe, English horn, contrabass sarrusophone, vocals
- David Darling / cello, vocals
- Herb Bushler / bass guitar
- Ralph Towner / classical guitar, 12-string guitar, steel-string guitar, piano, bush organ, regal organ, vocals
- Colin Walcott / drums, kettledrums, congas, surdo, tabla, mridangam, bass marinda, sitar
- Billy Cobham / drums (4, 6)
- Milt Holland / Ghanaian percussion (6)
- Barry Altschul / random percussion
- Larry Atamanuik / drums (1)
- Andrew Tracey / dobro (9)
Chorus on "Minuit": Janet Johnson, Paul McCandless, Bob Milstein, Paul Stookey
August
TERJE RYPDAL Terje Rypdal
It had been a few years since Terje's previous solo album, his incredible debut, Bleak House (1968) as he'd been studying in graduate school under George Russell--a man whose album George Russell Presents The Esoteric Circle (recorded in October of 1969 and released locally as "Jan Garberak with Terje Rypdal's Esoteric Circle"--considered by some as Jan Garbarak's debut album--but it was not published internationally until late 1971 by Bob Thiele's Flying Dutchman label) is considered one of the most important and influential albums in the history of Norwegian music. George was an American-born jazz musician who had chosen to make his home in Oslo in the early 1960s where he even became a professor at Norway's Conservatory of Music--where Terje and Jan Garbarek, Jon Christensen, and Arild Anderson all met and played in the school's jazz orchestra that recorded George Russell's Electronic Sonata for Souls Loved by Nature (recorded April 28, 1969; released January 1, 1971).
This one was recorded in Olso at the Arne Bendiksen Studio on August 12th and 13 and released at the end of the year.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
THE MAHAVISHNU ORCHESTRA The Inner Mounting Flame (released in November)
Perhaps the most stunning and genre-defining album of the entire Jazz-Rock Fusion movement, The Inner Mounting Flame was recorded at CBS Studios in New York City on August 14, 1971 and then released to the public on November 3, 1971.
Line-up / Musicians:
- John McLaughlin / acoustic & electric guitars, producer
- Jan Hammer / piano, Fender Rhodes, organ
- Jerry Goodman / acoustic & electric violins
- Rick Laird / bass
- Billy Cobham / drums
- Jan Hammer / piano, Fender Rhodes, organ
- Jerry Goodman / acoustic & electric violins
- Rick Laird / bass
- Billy Cobham / drums
September
DZAMBLE Wołanie o słońce nad światem
A very successful album that was recorded in 1969 but not released until September of 1971. This talented Polish band sadly disbanded soon after the publication of this album.
Line-up / Musicians:
- Andrzej Zaucha / vocals
- Jerzy Horwath / organ, piano
- Marian Pawlik / bass, guitar
- Jerzy Bezucha / drums
- Benedykt Radecki / drums (10-12)
With:
- Marek Ałaszewski / vocals (5,6)
- Marek Pawlak / vocals (5,6)
- Janusz Muniak / flute, soprano & tenor saxophone
- Zbigniew Seifert / soprano saxophone (6,7,9)
- Tomasz Stańko / trumpet (6,7,9)
- Michał Urbaniak / bass, soprano & tenor saxophone, violin
- Jerzy Bartz / drums (1,5,9)
- Józef Gawrych / drums (1,5,9)
- Kwartet wokalny / backing vocals (2)
- Kwartet smyczkowy / string quartet (7)
1. "Święto strachów" (5:10) (8.66667/10)
2. "Hej, pomóżcie ludzie" (2:45) a song with an anthemic chorus that sounds like it was probably a big hit in Poland. (4.5/5)
3. "Muszę mieć dziewczynę" (3:02) violin is prominent contributor to this one. (8.66667/10)
4. "Naga rzeka" (4:57) the flute-led instrumental passage in the middle is founded on a motif sounding very much like Carole King's "I Feel the Earth Move." Nice song. (9/10)
5. "Dziewczyna, w która wierzę" (3:44) great Latin-oriented CHICAGO-like beat and rhythm track supports some interesting choral vocals that sound like something coming from a Cuban brass band! Once again the motif used for the instrumental section feels borrowed. (8.75/10)
6. "Masz przewrócone w głowie" (3:28) sounds like a borrowed Aretha song usurped by macho men and a gospel choir. (8.5/10)
7. "Wymyśliłem ciebie" (2:59) half Bond cinema, half Chicago/Andrew Lloyd-Weber Jesus Christ Superstar. (8.75/10)
8. "Szczęście nosi twoje imię" (3:15) except for the John Coltrane-like soprano sax work, this one is very close/imitative of BLOOD, SWEAT AND TEARS. (8.5/10)
9. "Wołanie o słońce nad światem" (10:36) a not very successful blend of DOORS-like pop music with big band progressive jazz. I wish it weren't the case but this is the weakest song on the album--a blending of styles that feels more like a medley of hits than a prog/jazz suite. (17/20)
Total time: 39:59
More proggy and brass poppy than Jazz-Rock Fusion, it's very vocal-centric. I'm told that I would like this album much more if had command of the Polish language. Vocalist Anrzej Zaucha commands a very respectable voice sounding like a cross between Greg Lake and David Clayton Thomas. I don't like or approve of the band's habit of usurping music from big American hits for the instrumental passages even if they do have good taste in the song motifs they "borrow." It's masterful but hardly indicative of a band that wants to create their own compositions and sound--more like that of a cover band in the process of converting to/experimenting with original compositions.
86.67 on the Fishscales = C+/3.5 stars; a creative and synthesizing band of pop-oriented rockers whose music draws a bit too much from other artists. As musicians they are very good. Their excellent vocalist would go on to achieve martyr-legendary status after an early death.
RHESUS O Rhesus O (1971)
Pre-Magma jazz-rock fusion from a group of Frenchmen, several of whom would put in their time with Magma (Moze before and after Rhesus O; Asseline, after) and Zao (Monier). Moze would also serve as a key component of bands Gong and Françoise Hardy while bassist Guy Pederson would stay fairly firmly implanted in the jazz world for the many albums he collaborated on following this. Recorded early in the year, it was released by Epic Records in September or 1971.
Line-up / Musicians:
- Alain Monier / organ, percussion
- Alain Hatot / soprano & tenor & baritone saxophones, flute
- Jean-Pol Asseline / electric piano, harpsichord
- Francis Moze / electric bass, acoustic guitar, xylophone
- Serge Lenoir / electric bass
- Thierry Blanchard / drums, percussion
- Guy Pederson / double bass, electric bass
- Jean Stout / choir conductor
1. "Ciguë" (2:42) an excellent, very engaging, exemplary representative of early Jazz-Rock Fusion. Too bad it's so short! (9.5/10)
Line-up / Musicians:
- Alain Monier / organ, percussion
- Alain Hatot / soprano & tenor & baritone saxophones, flute
- Jean-Pol Asseline / electric piano, harpsichord
- Francis Moze / electric bass, acoustic guitar, xylophone
- Serge Lenoir / electric bass
- Thierry Blanchard / drums, percussion
- Guy Pederson / double bass, electric bass
- Jean Stout / choir conductor
1. "Ciguë" (2:42) an excellent, very engaging, exemplary representative of early Jazz-Rock Fusion. Too bad it's so short! (9.5/10)
2. "Maldonne" (6:51) harpsichord arpeggiated chord sequence with baritone sax and some percussion open this making it sound like something anachronistic from Gentle Giant or Gryphon, but then in the second minute it goes into eerie bordering-on-scary cinematic soundscape music not unlike the music that Italian jazz-proggers GOBLIN would be doing for Dario Argento films. Interesting and definitely jazzy rock or loosely-framed, schizophrenic Jazz-Rock Fusion. (13.5/15)
3. "Crier pour donner" (5:29) this gentler one starts out as if something from a lounge scene but then begins to go down some very adventurous pathways with multiple tempo and motif changes. Though the sax is playing the melody line for the first minute or so, it is the work of Guy Pederson's active double bass coupled with a second electric bass player and Alain Monier's steady organ accompaniment that draw my attention. The song fades out to end, which means, of course, that there was a lot more to the jam. Too bad! (9/10)
4. "Le prophète égaré" (2:16) a nice little mathematically-constructed tune that feels/sounds more like a whole-band warmup or "étude." Nice performances from all. Nice to hear more of the guitar and electric piano. (4.5/5)
5. "Préambule" (6:21) the second side opens up with another two-motif jazz-rooted composition in which horns, bass, the drummer's cymbal play, and organ are key elements. But in the beginning of the second minute the band swtiches gears and starts a whole-band gallop while Alain Hatot's tenor sax wails away quite excitedly over the top. His accompanists are quite active--especially bass players. Percussionist Thierry Blanchard jumps in during this gallop with his congas. At 3:30 there is a stop, leaving organist Alain Monier to fill the background with swirling long chords while percussionists apply their instinct-driven hits and noises. Basses and sax (this time soprano) join in during the fifth minute. At 5:30 the band leaves the fueling station and jumps back into a fairly-aggressive jaunt down the highway until it disappears upon reaching the seashore. (9.125/10)
6. "Eveil" (4:39) gentle pastoral piano chords with flute open this one--being joined by Thierry Blanchard's cymbal work for part of the first minute. Then, in the second minute, the band pulls together to play a near-Canterbury, near-Sixties Hippy motif that turns into a classic rock four-chord round over which some nice Rod ARGENT/Zombies-like music over which Monier, Hatot, and Blanchard extemporize. Nice tune. (9/10)
7. "Outre-tombe" (2:50) bass drum rudiments open this one with baritone and soprano saxophones soon joining in to mirror the bass drums syncopated rhythm pattern. Organ, electric piano and basses soon join in. In the second minute the musicians all come together to define their roles, eventually setting up a cohesive motif over which Hatot's sax solos, followed by Jean-Pol Asseline's electric piano. The band then comes together for some great whole-band staccato chords to finish the song. Brilliant! (9.5/10)
8. "Parcours" (3:51) single note of an electric bass is repeated syncopatedly while electric piano, organ, multiple horns and drums gradually join in. The feeling here is the most Zeuhlish of the entire album yet it still remains firmly in the ZAO-like realms of experimental jazz-Jazz-Rock Fusion. A lot of it are really cool but it never really gels or morphs into anything super exciting. (8.875/10)
9. "Nos baignoires sont enchantées" (0:44) a series of four organ chords are hit in sequential staccato-ness, round and round, as bass, xylophone and organ right hand are woven over the top. Again African song styles and ZAO come to mind with this one. (4.5/5)
Total Time 35:43
91.47 on the Fishscales = A/five stars; a surprisingly-advanced injection of brilliantly-conceived and performed Jazz-Rock Fusion thrown into the briar patch of the sub-genre's earliest arrivals. Highly satisfying and highly recommended.
OUT OF FOCUS Out of Focus (1971)
The sophomore studio album from these talented München-based musicians was recorded in München at Bavaria Musikstudios in June of 1971 and then released to the public by Kuckuck Schallplatten (Records) in September.
Line-up / Musicians:
- Remingius Drechsler / guitars, stylophone, tenor saxophone, flutes, voice
- Hennes Hering / organ, piano
- Moran Neumüller / soprano saxophone, vocals
- Klaus Spöri / drums
- Stephen Wishen / bass
1. "What Can a Poor Boy Do" (5:52) URIAH HEEP-like Hammond organ-led music over which Moran Neumüller gives an acerbic Damo Suzuki-style vocal performance. Moran's sax and Hennes Hering's organ have turns soloing and amping up the angst of the song in the sedcond and third minutes before bass and guitar take a turn "conversing" over Klaus Spöri's delicate cymbal play. The song continues to play out with alternating, sometimes brief and conversant blues-rock soloing for the duration of the song to its odd/cutesy end. Oh, no! Is the band stepping down: settling for lower, more radio-friendly styles and standards? That would be such a shame--especially after their amazing debut album from the year before. (8.6667/10)
2. "It's Your Life" (4:31) folk-sounding picked acoustic-guitar-based music that sounds just like British Prog Folk bands SPIROGYRA and/or COMUS. No drums, electric bass, organ, flute, and second or third acoustic guitar tracks accompany Moran's Martin Cockerham-like voice. (8.875/10)
3. "Whispering" (13:34) very sparse organ and cave-immersed whisper-spoken vocal open this one before the full band takes over at the end of the first minute. There's a little jazziness in this due to weave of the wah-wah-ed guitar, organ, and tenor saxophone--but they're all playing such simplistic melodies within the two-chord weave. Really disappointing. More like spiritless, automaton play of the "Dark, darker" final song of the Wake Up! album (the only disappointing song on that album). As the horns and organ support Remingius Drechsler's extended electric guitar solo throughout the fifth, sixth, and seventh minutes the listener achieves a numbed state of hypnosis due to the droning repetition of the rhythm-keepers. Sax takes over the lead in the eighth minute while the others drone CAN-like underneath. (25.75/30)
4. "Blue Sunday Morning" (8:20) swirling Hammond organ played over plodding dreary, leaden drone-like Krautrock supports Moran's Mick Jagger-in-a-heroine-stupor spoken vocal. In the sixth minute the bass, organ, and drums begin to ramp up their intensity while Moran's vocal becomes more insistent, but then the unique sound of a "Stylophone" (like an early version of a Casiotone) begins an extended solo--which sounds like George Harrison singing along with one of his electric guitar solos from the same period. The music beneath takes on an outro jam in the vein of URIAH HEEP or TRAFFIC as the music plays on and out--fading out over a period of 25 seconds. (17.5/20)
5. "Fly Bird Fly" (5:09) flute soloing with less mellifluous flow, more jumping around in a staccato fashion, as picked guitar supports before the full band joins in with a bluesy-jazz motif that sounds a lot like something by VAN MORRISON from the same period. Mick Jagger vocals are followed by some nice swirling organ and clear-toned electric guitar solos. (8.66667/10)
6. "Television Program" (11:45) I knew it was only time before Moran could suppress one of his long, impassioned social justice speeches. The music in support is solid and tightly performed but, once again, too drone-metronomic with another two-chord motif spanning the first seven minutes. A quiet passage in the eighth minute precedes a more potent VAN DER GRAAF GENERATOR/SEVEN IMPALE-like two-chord saxophone-led motif that takes us out for the final three-plus minutes of the album. (21.875/25)
Total Time: 49:11
Total Time: 49:11
I'd call this album quite a step down from the focused energy of their debut; it's as if they had fallen under the spell of the CAN-like pioneers of rhythmic drone music that we call and associate with the term "Krautrock." I have not, however, fallen under this same spell--occasionally a song evokes that "Kosmische" feeling in me, but, for the most part, no.
Recorded: April 19 & 20, 1971 and released by Flying Dutchman Records in September.
A2. "Save the Children" (4:55) a warm and friendly musical landscape on which Gil sings a wonderfully plaintive request for future consideration of our youth. Great performances from all of the musicians though Hubert Laws, Ron Carter, Bernard Purdie, and Brian Jackson stand out the most. Nice vocal, Gil. (9.25/10)
B2. "A Sign of the Ages" (4:05) at first sounds like a continuation of the previous song but then Brian and Ron begin to distinguish themselves with their lounge stage craft on piano and double bass while Gil laments the state of the world and the phenomenon of loneliness and isolation. (9/10)
86.98 on the Fishscales = B/3.5 stars; not the album to start your introduction to this immensely-talented band; this is very much a disappointment when compared to the band's debut but even moreso when placed alongside the three albums of recorded material that came after (all of which came from the recording sessions that turned out the band's third and final album, 1972's Four Letter Monday Afternoon). I recommend that you skip this one and go right to the excellent Four Letter Monday Afternoon, Not Too Late, or Rat Roads.
GIL SCOTT-HERON Pieces of a Man (1971)
Line-up / Musicians:
- Ron Carter / bass, bass [electric]
- Johnny Pate / conductor
- Bernard "Pretty" Purdie / drums
- Burt Jones / electric guitar
- Hubert Laws / flute, saxophone
- Brian Jackson / piano, electric piano
- Bernard "Pretty" Purdie / drums
- Burt Jones / electric guitar
- Hubert Laws / flute, saxophone
- Brian Jackson / piano, electric piano
A1. "The Revolution Will Not Be Televised" (2:59) a massively great song with Ron Carter and Bernard "Pretty" Purdie laying down an awesome groove for Gil to read his declaration while Hubert Laws' animated flute flits in and around the sonic field. (9.75/10)
A2. "Save the Children" (4:55) a warm and friendly musical landscape on which Gil sings a wonderfully plaintive request for future consideration of our youth. Great performances from all of the musicians though Hubert Laws, Ron Carter, Bernard Purdie, and Brian Jackson stand out the most. Nice vocal, Gil. (9.25/10)
A3. "Lady Day & John Coltrane" (3:10) another awesome soul song with great musicianship, great lyrics, and great vocal performance from Gil. Nice Fender Rhodes performance from Brian Jackson. Probably my third top three song. (9.5/10)
A4. "Home Is Where the Hatred Is" (3:15) an incredibly powerful lyric, sung with equally powerful conviction, served up over some very jazzy soul music. Nice solos from guitarist Burt Jones and Brian on his Rhodes. The most powerful song on the album. A definite top three. (10/10)
A5. "When You Are Who You Are" (3:01) a bit of a shlocky lyric (only so much positivity, please) is supported by some animated, jazzy R&B music. Nice sax, guitar, and piano performances. (8.875/10)
A6. "I Think I'll Call It Morning" (3:45) another warm and edifying lyric supported by some lite jazzy instrumental performances. (8.875/10)
B1. "Pieces of a Man" (4:22) cool jazz music defined by gorgeous double bass and piano and Gil's very sincere, emotional, sensitive, even reflective vocal performance. A top three song for me. (10/10)
B2. "A Sign of the Ages" (4:05) at first sounds like a continuation of the previous song but then Brian and Ron begin to distinguish themselves with their lounge stage craft on piano and double bass while Gil laments the state of the world and the phenomenon of loneliness and isolation. (9/10)
B3. "Or Down You Fall" (3:08) back to the powerful electric bass-and-flute propelled social commentary, this has a great sound palette and powerful lyrics but it's missing that great melody and fully-engaged heart that Gil was able to inject into previous performances. This is the first song on which the music alone is almost enough to elevate the song (above one of Gil's weaker performances). (8.875/10)
B4. "The Needle's Eye" (4:01) back to the more upbeat, jazzy music and more life affirming and encouraging messaging. Great performance from Ron Carter on electric bass and quite solid on the uber-important piano baseline. (8.875/10)
B5. "The Prisoner" (8:39) a long, drawn out, rather tedious "Pieces of a Man"-type monologue that is delivered over somewhat monotonous, unchanging music. How did the musicians get through all nine minutes of this?! Plus, the lyrics just don't register with me. (17.125/20)
Total time: 47:20
Total time: 47:20
91.77 on the Fishscales = A-/five stars; a minor masterpiece of Rock- and Jazz-infused vocal Soul/R&B. Ron Carter's bass work (and Hubert Laws' flute) as well as Gil's powerful deliveries of his powerful lyrics might be worth listening to this alone.
October
PASSPORT Passport - Doldinger
- Klaus Doldinger / alto, soprano & tenor saxes, keyboards
- Jimmy Jackson / organ
- Olaf Kübler / tenor saxophone, flute
- Udo Lindenberg / drums
- Lothar Meid / bass guitar
1. "Uranus" (6:35) with the use of weird synthesizer sounds and multiple "chorus" saxophones in the lead, this one sounds futuristic--like something that would influence the next/new generation of German prog rockers (ELOY and ANYONE'S DAUGHTER are what immediately come to mind). Though I like the flutes as a complement to the rest of the sounds in the second motif, it's Udo Lindenberg's drumming that really holds my attention the most--that and the intriguing sound choices coming from Jimmy Jackson and Klaus Doldinger's keyboards. (8.75/10)
2. "Shirokko" (5:44) opening with Klaus's solo saxophone being fed through some delay, echo, and panning effects for a 55-second intro before the drummer and bass player breaks into a groovy 1960s jazzed (or funked)-up surfer music motif. Clavinet-like keyboard provides the R&B guitar-like rhythm play while multiple saxophones provide horn-section-like background fill. Some of Klaus and Olaf Kübler's saxes solo over the top as well as Jimmy Jackson's organ in the third and fourth. Excellent! The really superstar (besides Udo's smooth/relaxed drumming) is Lothar Meid's chill bass play. A top three song for me--probably my favorite. (9.125/10)
3. "Hexensabbat" (4:27) using the heavy organ and "clavinet" sound from The Court of the Crimson King and driving Hammond and saxophone makes this song a very welcome proggy-side of the "new" jazz-rock fusion medium. Klaus's saxophone play leans far more to the sounds we've been hearing for a few months from Britain's VAN DER GRAAF GENERATOR. Another top three song. (9/10)
4. "Nostalgia" (5:13) taking his cues from the great WAYNE SHORTER, Klaus has got to be one of the other first/early users of sound engineering effects on his saxophones. Nice, evenly-paced low key song.(8.75/10)
5. "Lemuria's dance" (4:37) and Klaus's pioneering way of using multiple saxophones to create his DON ELLIS-like wall of strings- and/or horn section-like back texture has also got to be pretty innovative (as well as perhaps nodding back to his big band days). Drummer Udo Lindenberg again impresses: big time! (8.875/10)
6. "Continuation" (9:53) a song that starts out with a spacey bucolic motif that develops very slowly and deliberately within its atmospheric spaciousness before the band winds up in the second half ramping things up to another VAN DER GRAAF GENERATOR level of power: even going so far as to use similar sound palette and odd chord progressions. (17.5/20)
7. "Madhouse jam" (5:47) early MIROSLAV VITOUS/HERBIE HANCOCK/LARRY CORYELL-like funk using a rather simple bass and chord progression to define the rhythm track while adding some rock-like instruments like rhythm guitar and breathy flute; the whole foundation is just too blues-rock simplistic. Even WAR or BRIAN AUGER are more sophisticated and multi-directional than this. (8.5/10)
Total Time: 42:16
Total Time: 42:16
88.125 on the Fishscales = B/four stars; an excellent representative of the directions of possibilities in early Jazz-Rock Fusion.
BRIAN AUGER's OBLIVION EXPRESS A Better Land (1971)
Brian's second venture into serious Jazz-Rock Fusion with his Oblivion Express lineup and it represents quite a new era in his artistry in that every single song here is the product of one or more members of the Oblivion Express! The album was released by RCA Victor in October of 1971.
- Brian Auger/ keyboards
- Jim Mullen / guitar
- Barry Dean / bass
- Robbie McIntosh / drums
1. "Dawn of Another Day" (4:18) opens exactly like José Féliciano's version of The Doors' "Light My Fire" but then piano, electric bass and vocals enter to give it its own identity. It still feels very founded in and reflective of the idealistic hippie 1960s--with lyrics sounding all flowers and rainbows. A very likable, enjoyable song. I especially like the spaciousness of the song as well as the inventive vamp for the finish. (9/10)
2. "Marai's Wedding" (4:22) two acoustic guitars, one soloing dynamically, the other providing some colorful rhythm guitar support. Piano, bass, and drums joins in after about 30 seconds, establishing a very folk-flavored rock song in the vein of The Band (the music) or perhaps Crosby, Stills, Nash & Young (the harmonized choral vocals). This traditional Scottish folk song (originally titled "Mairi's Wedding" not "Marai's") is here re-arranged by Jim Mullen. (8.785/10)
3. "Trouble" (3:12) again I am only hearing The Band when I listen to this song: blues rock foundation with lots of acoustic and twangy Southern fried electric instrumentation. A solid song with more whole-group choral singing, but, despite meaningful words, not my cup of tea. (8.75/10)
4. "Women of the Seasons" (5:00) this one has the sound palette of one of the OZARK MOUNTAIN DAREDEVILS' prettier songs--like the ones composed by Larry Lee. (8.875/10)
5. "Fill Your Head with Laughter" (3:49) this one sounds like something by RARE EARTH, THREE DOG NIGHT or Don Brewer-singing GRAND FUNK RAILROAD or one of the late 60s' love and positivity Broadway musicals. A nice pop-radio-friendly rock song. (8.875/10)
6. "On Thinking It Over" (5:23) yet another group harmony vocal presented pop song that really is crying out for the same crowds as The Association, Godspell, The Cowsills, Hair, and The Rascals. Nice melodies sending out those positive vibes. (Remember when the USA was a place of hope and optimism for the rest of the world?) (8.75/10)
7. "Tomorrow City" (3:30) the group choral vocal approach is really settling in: they're actually quite good. The melodies and stylings here (including the use of congas) for the first time bear some resemblance to the music presented on their 1974 masterpiece, Straight Ahead, just grounded a lot more in the music and zeitgeist of the 1960s: this is a great song though it is still not jazz much less jazz-rock fusion. (9/10)
8. "All the Time There Is" (3:29) back to the Doors chords and sound palette, the group vocal presentation this time is less harmonized, more multiple voices/tracks presenting the same melody notes. This is a very likable tune with several earworm-like riffs, hooks, and moments--and a Brian Auger electric piano solo (though the e.piano is treated with a kind of odd effect--making it sound more like that of Ray Manzarek's "Riders on the Storm" sound). (9/10)
9. "A Better Land" (5:30) at least they're trying to get back to some jazzier and/or bluesier sounds and stylings here: Brian's first and only time perched behind his organ renders it automatically more likable and interesting. Nice bass play from Barry Dean. (8.875/10)
Total Time 38:33
There is very little on this album to indicate Brian Auger's skill and former-propensity for keyboard-dominated music. As a matter of fact, the appearances of Brian's legendary Hammond organ or smooth electric piano play is something you have to actually look for--actively search!--on this album. I guess the Oblivion Express is truly a collaborative unit with a democratic approach to song-making and this is their final push for the positive/optimistic output of politically-motivated artists like Marvin Gaye and The Band.
89.028 on the Fishscales = B/four stars; a collection of very enjoyable, pop-and-radio-oriented songs that begins to show signs of future Oblivion Express with the material on Side Two. Though this is not the music we generally associate with either Brian Auger or The Oblivion Express, it is still finely-crafted music.
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.
FREDDIE HUBBARD First Light
Recorded by Creed Taylor and Rudy Van Gelder at Van Gelder Studio in Englewood Cliffs, New Jersey, on September 14, 15, & 16 of 1971 and then released by CTI on October 12.
Line-up / Musicians:
- Freddie Hubbard / trumpet, flugelhorn
- Jack DeJohnette / drums
- Ron Carter / double bass
- Richard Wyands / piano
- George Benson / guitar
- Airto Moreira / percussion
- Phil Kraus / vibraphone
- Wally Kane / flute
- Hubert Laws / flute
Conducter and arranger: Don Sebesky
- Jack DeJohnette / drums
- Ron Carter / double bass
- Richard Wyands / piano
- George Benson / guitar
- Airto Moreira / percussion
- Phil Kraus / vibraphone
- Wally Kane / flute
- Hubert Laws / flute
Conducter and arranger: Don Sebesky
- George Marge / flute and bassoon
- Romeo Penque / flute, English horn and oboe
- Jane Taylor / bassoon
- Ray Alonge / French horn
- James Buffington / French horn
- Romeo Penque / flute, English horn and oboe
- Jane Taylor / bassoon
- Ray Alonge / French horn
- James Buffington / French horn
- Margaret Ross / harp
A1. "First Light" (11:00) nice two-chord vamp that take a minute or two to get into full gear. Once it does it becomes a very nice dance tune with some great trumpet play from Freddie. The second soloist to get a turn isn't up until the seventh minute: George Benson. If these two solos are any indication, the musicians on this album seem much more focused and driven to produce amazing music than on Freddie's last album, Straight Life. Both Freddie and George are much more dynamic, aggressive, and "show-offy" than they were on anything on Straight Life while the musicians playing in support seem to have their working orders very clearly charted out for them as they are all working very hard in support with very little flash or flourish shining through the soloists work. (Maybe a little from Jack DeJohnette, Airto, Phil Kraus, and one of the flutists.) Beautiful song! (18.75/20)
A2. "Uncle Albert / Admiral Halsey" (8:12) Paul McCartney's song is taken down to the bare bones and bluesified melodically, Freddie only gives the first verse its due before taking it on his own flight. There is a significant contribution from some uncredited orchestral strings here. The two minute mark results in a significant shift into a blues/R&B-jazzed-up "Admiral Halsey" section. Jack and Ron are even caught trying to funk things up (Jack's more military than you'd probably want) but Ron, George, and electric piano player Richard Wyandis are excellent at funking things up--George even stepping up to play a very aggressive jazz-structured blues solo. At 5:40 everybody cuts out for Ron to show off his groove thang before flutes, Fender, and drums join in to take us to the final minute's return to the stripped down, bare bones opening motif (again, with strings/orchestra). Interesting! And, admittedly, adventurous. (13.5/15)
B1. "Moment To Moment" (5:40) late night bareness on this Henry Mancini-Johnny Mercer composition with vibes, bass, and Fender Rhodes supporting Freddie's plaintive trumpet play. Orchestral support from flutes/winds, harp, horns, and, later, strings. The two-motif sides to the song do not work so well for me. (8.75/10)
B2. "Yesterday's Dreams" (3:55) like a cover of a classic 1960s movie theme, Freddie dons his muter for his trumpet play. Composer Don Sebesky's strings and orchestral enrichment are very heavy on this one, it sounds a lot like the lush music Bob James will soon be making, only still founded in the rich textures and seriousness of the 1960s. Beautiful. (9/10)
B3. "Lonely Town" (6:55) another late night majestic tune (from Leonard Bernstein's On the Town) that sounds like something from Frank Sinatra's best Ava Gardner Period music (except for the dulcet sounds of the Fender Rhodes). Great support from some masterfully arranged and recorded orchestra instruments. At 2:52 there is a sudden and pronounced shift into a more James Bond soundtrack theme and style, with bass, drums, Fender, and trumpet all stepping up to their microphones and the orchestra being pushed back into the background. Cool! though I do love the lush opening better. (13.375/15)
Total time: 35:42
This album exhibits quite a different sound and style from Freddie's previous album, Straight Life, in that
the use and presence of orchestration offers a whole different feel and texture to the information coming out of the speakers. Also, the soloists (mostly Freddie's trumpet and George Benson's guitar) are projected up front/top while the rest of the band members sounds have been kind of squashed into the background (sometimes with or even behind the orchestra). The lack of recognition to the individuals in the supporting rhythm section reflect not only the lack of respect for the less-than giant-like reputations (and egos) of these musicians but also the switch to a more-hierarchical distribution of power than Freddie had been using on the previous albums, Straight Life and Red Clay.
90.54 on the Fishscales = A-/five stars; a minor masterpiece of creative and adventurous jazz-rock fusion that is often on the smooth cinematic side (due, perhaps, to the lush orchestral arrangements).
SANTANA Santana 3 (1971)
Santana's Latin Rock fusion receives the release of its third album in October of 1971.
Line-up / Musicians:
- Carlos Santana / guitars, vocals
- Neal Schon / guitar
- Gregg Rolie / organ, piano, vocals
- David Brown / bass
- Michael Shrieve / drums, percussion, vibes
- Michael Carabello / congas, tambourine, percussion, vocals
- Jose 'Chepito' Areas / drums, timbales, congas, percussion, flugelhorn, vocals
With:
- Rico Reyes / lead (6) & backing (2,4,9) vocals
- Coke Escovedo / backing vocals, percussion
- Linda Tillery / backing vocals (5,8)
- Mario Ochoa / piano (6)
- Tower Of Power Horn Section / horns (5)
- Luis Gasca / trumpet (9)
- Gregg Errico / tambourine (2)
November
THE MAHAVISHNU ORCHESTRA The Inner Mounting Flame
Perhaps the most stunning and genre-defining album of the entire Jazz-Rock Fusion movement, The Inner Mounting Flame was recorded at CBS Studios in New York City on August 14, 1971 and then released to the public on November 3, 1971.
Line-up / Musicians:
- John McLaughlin / acoustic (4) & electric guitars, producer
- Jan Hammer / piano (4), Fender Rhodes, organ (?)
- Jerry Goodman / acoustic (4) & electric violins
- Rick Laird / bass (excl. 4)
- Billy Cobham / drums (excl. 4)
1. "Meeting Of The Spirits" (6:52) Has there ever been a more mind-blowing opening song in history? Billy Cobham and John McLaughlin are, of course, the most impressive over the first three and a half minutes, but then in the softer sections you get to figure out that there are many times in which multiple instruments are carrying those lightning-speed melody lines all at the same time! (A phenomenon that the band build upon on their next album.) (14/15)
2. "Dawn" (5:10) this soft rather sedating start is in such a polar contrast to the whole vibe and energy of the previous song that it might leave some asking whether or not this is the same band! But then in the second minute some of the instrumentalists up front begin to express themselves through light-speed runs even getting Billy and Rick involved by the second half of the third minute. Jan, Jerry, and John are the main soloists up front but Billy Cobham's drum fills and cymbal play are often just as astonishing and competitive. Cool chord progression of whole-band arpeggi in the final minute. (8.875/10)
3. "Noonward Race" (6:28) a song that is very much in line with those of the JIMI HENDRIX EXPERIENCE--both in pacing, bluesy flavor, and fireworks. Jerry's distorted violin sound used during his extended solo in the second minute is interesting--and then to be followed by a similarly processed Fender Rhodes from Jan Hammer in the third makes for quite an interesting consistency. John's electric guitar, then, is almost "normal" sounding during his following solo. The turn-taking solos are impressive but it's the three-, four-, and five-in-one displays of speed and dexterity that I find most astonishing and ground-breaking (though I guess in the context of an orchestra or big band there is nothing really new or innovative there; it's more of this use in rock 'n' roll that feels new or innovative, I guess). (8.75/10)
4. "A Lotus On Irish Streams" (5:39) the acoustic side of the band: sweeping piano arpeggi and runs with flighty violin notes and astonishing flourishes from the steel-string guitar makes for an impressive expression of the trio format. Jan's play previews Rainer Brüninghaus' play with Eberhard Weber, John's guitar previews that which he expands upon with Shakti, and Jerry's violin sounds like a cross between Ralph Vaughan Williams' "Lark Ascending" and Stephane Grappelli. Very beautiful. A perfect masterpiece. (10/10)
5. "Vital Transformation" (6:16) a high-energy showpiece for the virtuosity of everyone in the band but Billy Cobham first and foremost. Here is where you get to hear more of those extraordinary passages in which the whole band is ripping through the space-time continuum at speeds that don't seem possible. It's no wonder that drummer Steve Smith chose this song title for the name of his jazz-fusion band in the 1980s. I find myself most drawn to the performances of Billy and John on this one. (9/10)6. "The Dance Of Maya" (7:17) a meditative start in which the band plays with an awesome chord sequence. A song that must have had a huge influence on Robert Fripp for the evolution/progression of his King Crimson project from the The Court of the Crimson King, Wake of Poseidon, Lizard, and Islands phase into Lark's Tongues, Starless, and Red. I've always hated the dramatic downshift at 2:33 into the two-chord blues motif--and the fact that they abandon the cool experimentation with chord progressions until the very end (where they do do the cool thing with interplaying/overlaying the chord progression motif over the blues chords. Also, I'm not much of a fan of the Clapton-style blues-wah-pedal guitar lead that John uses throughout the last five minutes of the song. (13.25/15)
7. "You Know, You Know" (5:07) another étude of chord progression possibilities, this time done slowly and with minimalist input and plenty of space. Billy Cobham is the only one to really try to break out of the restriction zone but not until the final minute though Jan Hammer's Fender Rhodes seems to send out probes in the third minute. Kind of a cool song! (8.875/10)
8. "Awakening" (3:32) another high-powered display of machine-gun declarations of force and vitality--in fact, these are probably the most impressive displays of the virtuosity and dexterity of each and every one of the five individuals gathered together to make the Mahavishnu Orchestra. Not only impressive but jaw-dropping. Too bad it's lacking in any kind of engaging melody but I think they were banking on impressing their audiences more than expressing any kind of timeless beauty (though, of course, there is a kind of beauty in virtuosity). (9/10)
Total Time: 46:34
Breathtaking. Startling. Groundbreaking. Exhausting. I have resisted putting a review to pen (or computer) for this album because it is such an important album for the history and progress of progressive rock music. Despite the fact that John McLaughlin had introduced this new, raw, full-volume shredding sound and style to the world with the previous year's release of his Devotion album (with drummer Buddy Miles, bassist Billy Rich, and organist Larry Young), it took the lineup of crack virtuosi of this Mahavishnu Orchestra to express the team approach to explosive machine gun riff deliveries--both solo and collectively. And wow! Are these guys explosive! All five of them capable of rattling off rounds at clips that boggle the mind! And yet, amazingly, they also manage to incorporate and express melody and structure! Though the sound quality here is not yet where I like it to be (that will be better displayed on Birds of Fire), the gross effect of increased talent on display here is so far beyond what has come before. It's something totally new for jazz, jazz-fusion, rock and roll, and, most certainly, progressive rock music. I want to rate this with the highest amount of stars but it is, in my opinion, still an expression of a band just finding its way. It'll take the next album to express total superlatives. Still, this is a minor masterpiece and, so, still deserving of five stars. Thank god for Jimi Hendrix, Tony Williams, Miles Davis, and Indian music for giving Mahavishnu John McLaughlin the inspiration to create the Mahavishnu Orchestra!
90.83 on the Fishscales = A-/five stars; a minor masterpiece of music but an major landmark in the course of music history: the album that made Jazz-Rock Fusion and instrumental virtuosity in rock 'n' roll household terms.
90.83 on the Fishscales = A-/five stars; a minor masterpiece of music but an major landmark in the course of music history: the album that made Jazz-Rock Fusion and instrumental virtuosity in rock 'n' roll household terms.
ASSOCIATION P.C. (Pierre Courbois) Sun Rotation
Another go round with Pierre, Toto, Jasper, and, this time, all Siggi (who's picked up the electric bass). The follow-up to the previous year's exciting Earwax. Recorded at Windrose Studio, Hamburg, November 24-27, 1971, the album was released by MPS early in 1972.
- Jasper van't Hof / E-Piano, Orgel (electric piano, organ)
- Toto Blanke / Gitarren (guitar)
- Sigi Busch / Bass, Kontrabass (bass)
- Pierre Courbois / Schlagzeug (drums)
December
TERJE RYPDAL Terje Rypdal
It had been a few years since Terje's previous solo album, his incredible debut, Bleak House (1968) as he'd been studying in graduate school under George Russell--a man whose album George Russell Presents The Esoteric Circle (recorded in October of 1969 and released locally as "Jan Garberak with Terje Rypdal's Esoteric Circle"--considered by some as Jan Garbarak's debut album--but it was not published internationally until late 1971 by Bob Thiele's Flying Dutchman label) is considered one of the most important and influential albums in the history of Norwegian music. George was an American-born jazz musician who had chosen to make his home in Oslo in the early 1960s where he even became a professor at Norway's Conservatory of Music--where Terje and Jan Garbarek, Jon Christensen, and Arild Anderson all met and played in the school's jazz orchestra that recorded George Russell's Electronic Sonata for Souls Loved by Nature (recorded April 28, 1969; released January 1, 1971).
This one was recorded in Olso at the Arne Bendiksen Studio on August 12th and 13, 1971, and released at the end of the year.Line-up / Musicians:
- Terje Rypdal / guitar, flute
With:
- Inger Lise Rypdal / vocals
- Bobo Stenson / electric piano (1, 2, 4, 5)
- Tom Halversen / electric piano (3)
- Jan Garbarek / tenor sax, flute, clarinet
- Ekkehard Fintl / oboe, English horn
- Arild Andersen / bass & double bass (1-4)
- Bjørnar Andresen / bass (5)
- Jon Christensen / percussion
1. "Keep It Like That - Tight" (12:10) spacious-yet-steady syncopated bass and drums over which Terje issues strums of odd distorted electric guitar chords for five minutes. Then there is a dramatic shift (spliced?) into a slightly more straightforward section of same palette, different rhythm pattern, over which Jan Garbarek's tenor sax screeches and wails. At 8:49 the electric piano of Bobo Stenson suddenly rises into the middle of the mix (a blocked track that is now 'faded in'?) but it's Terje's distorted guitar that soon takes over in the lead position with some aggressive and abrasive soloing over the more-Miles Davis-like sound palette. Even some of the rhythmic and palette constructs feel as if they're direct imitations of In a Silent Way and some of Bitches Brew.) (17.25/25)
2. "Rainbow" (7:05) bowed bass and triangle and nut shell shakers open this one with a sinister feel. Oboe and clarinet join in to make a soundscape that feels like an outer space version of a Paul Winter Consort piece. Interesting, eerie, and cinematic. I'd love to see the music charts for this one! (13/15)
3. "Electric Fantasy" (15:45) more "space symphony" music using different instruments to create an initial sonic field to the previous song: drums, electric bass, Herbie Hancock Mwandishi-like electric piano, reverb-effected winds, fast-reverbed (and/or flanged) wah-ed electric guitar chords and even vocalese (courtesy of Inger Lise Rypdal) offer sound into a vacuum: the notes/chords fast-fading off into the distant stars as soon as they're issued. Very cool effects but about as memorable, melodic, or engaging as the previous song--even in the 11th-minute when the release of aggression and volume are ramped up (which all ends in the 12th-minute as everything goes back to the space music of the opening). Weird to claim one's highlight to be the vocalise from the female voice. (26/30)
4. "Lontano II" (3:10) more sinister music, this time feeling more industrial: as if music coming out of the mouths of tunnels or holes in the Earth. Bowed and effected bass and strained guitar chords, finger percussion, but mostly a show of engineering effects. (8.666667/10)
5. "Tough Enough" (4:45) solo electric guitar opening: some fast picking turning into gentle John McLaughlin-like chords, played off of by bassist Bjørner Andresen and Jon Christensen's drums. Though I don't really like this guitar sound and its blues-rock nature, the instrumental play and mix is my favorite on the album: there's actual motion and as if a story is being told as opposed to the spacious generations of soundscapes of all of the previous songs. These guys can play! (8.75/10)
Total time: 42:57
Total time: 42:57
87.41 on the Fishscales = B/four stars; not my favorite Terje album or sound exhibition.
The album was recorded in Finnvox and Hämis Club in Helsinki and Music Network in Sweden June 6, 1971 and then released by the Love label in December of 1971.
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)
4. "Gray Traitors" (2:48) a song that starts out sounding very much like a vehicle for one of PeterGabriel's weird little stories, eventually turns symphonic instrumental for the next song to continue. (8.875/10)
5. "Caffkaff, The Country Psychologist" (5:22) piano and voice, with the piano chords following the vocal melody almost note for note--at least for the first 90 seconds. Then organ joins in but can't quite extricate the main melody/motif from those note-for-note piano chords. It feels more like a bare-bones practice for a song intended for a stage musical. At 2:39 the percussion and electric piano, then organ, try to hijack the music over to a jazz idiom--unsuccessfully for the first 45 seconds but then accomplished, moving the mood into a more DAVE BRUBECK "Take Five" like motif. Pekka's bass playing finally gets to shine a little bit despite the three keyboards maintaining dominance over the solos. (8.75/10)
6. "May Your Will Be Done Dear Lord" (5:28) this one seems to be based over a CAROLE KING-like piano chord progression. Organ, flute, bass and drums are not, however, being forced to follow along--are given freedom to fill space with their own melodious lines. The vocal is more plaintive, less confident and theatric. The sax and other wind instruments' contribution in the fifth minute is awesome! A very engaging song that ends up being a bit too loose and unpolished for high marks. (8.875/10)
7. "How To Make It Big In Hospital" (3:01) The band's attempt at either the Rolling Stones or Velvet Underground?! Nice bass work from Pekka. (8.6666667/10)
8. "Hot Mice" (3:19) a very nice, melodic lounge music that has the trademark changes of late 1960s Broadway musical--like Steven Schwartz or Burt Bacharach. (9/10)
9. "P.K.'s Supermarket" (2:20) polka style rhythm tracks over which barrel-hall piano plays. Sounds very French--though it's also very light and happy-go-lucky. I really like this! (4.75/5)
10. "One More Try" (3:26) more music theatre storytelling with voice paired up with piano, chord for chord. It's engaging and intimate, but then after the 1:30 mark the music takes a turn into post-Beat jazz with congas and Hammond organ being accompanied by drums and Pekka's great bass play. At the end of the third minute the music switches back to the opening motif but stays instrumental--never returns to vocal message-carrying. (8.875/10)
11. "Rockin' Ol' Galway" (2:27) sounds like something from Dr. John or the quirkier side of Peter Gabriel ("Counting out Time," "La Dolce Vita," or excuse me) as well as something like but too melodic and pretty for Frank Zappa. Once again Pekka Pohjola's bass play is quite remarkable. (8.875/10)
12. "Every Fold" (3:07) multiple voice vocals carry this tune over piano, bass, and drums. Distant organ and heavily-effected NEKTAR-like voice join in the background during the second minute. It ends up sounding almost like a BEATLES song. (8.75/10)
13. "Rave-Up For The Roadies" (17:20) * now this is different: the band really jamming like a JIMI HENDRIX EXPERIENCE song--for seventeen long guitar-dominated minutes (raunchy electric guitar play courtesy of guest Jukka Tolonen). Though multi-themed and not too far off from the sound and musical style of the PINK FAIRIES, this is really not my cup of tea. (30.33333/35)
* Recorded Live at Hämis Club, Helsinki, 6th June 1971
Total Time: 65:35
88.94 on the Fishscales = B/four stars; an excellent progressive rock album; I'm not going to be able to include this in my Jazz-Rock Fusion lists due to its much greater pop-orientation. This is more like a cross between lounge jazz, 1960s Off-Broadway Music Theater, and Canterbury Style: playful, melodic music for the masses.
Definitely more on the jazzy side of what we call Canterbury music. Moving Gelatine Plates' second album--released only a year after their surprisingly mature debut--displayed a better quality of recording and engineering to equally mature and accomplished instrumental jazz arrangements. Other than their self-titled debut album's great "London Cab," I like this album hands down over the debut. There is more warmth in the songs and performances here--and a feeling that the band is more relaxed, as if they are just grooving and enjoying themselves and their unique sound. Recorded from December 7 through 15, 1971, at Studio Des Dames and Studio Johanna, The World of Genius Hans was produced by Claudio Delcloo for CBS Records, which released it in February of 1972.
- Maurice Helmlinger / Hammond & Capri Duo organs, trumpet, alto, soprano & tenor saxophones, flute & backing vocals
- Gérard Bertram / electric, 12-string & Leslie guitars, vocals
- Didier Thibault / bass, guitar, synth & vocals
- Gérard Pons / drums
With:
- Claude Delcloo / backing vocals
- Jean-Pierre Laroque / bassoon
- Michel Camicas / trombone
- Guy Boyer / vibraphone
- Gérard Bertram / electric, 12-string & Leslie guitars, vocals
- Didier Thibault / bass, guitar, synth & vocals
- Gérard Pons / drums
With:
- Claude Delcloo / backing vocals
- Jean-Pierre Laroque / bassoon
- Michel Camicas / trombone
- Guy Boyer / vibraphone
FROM 0611 Cat Quarter (1971)
Early German blues-jazz obviously inspired by the new electric developments coming from New York City as well as the portable electric organ work of some of the extraordinary keyboard players who were pushing boundaries in the late1960s. One thing that makes this album stand out is that it is made up entirely of original compositions--mostly by saxophonist Gustl Mayr. The album was recorded and released in 1971 in Germany for CBS records.
Line-up / Musicians:
- Gustl Mayr / tenor saxophone, soprano saxophone, composer
- Dieter Von Goetze / electric bass
- Kurt Bong / percussion, drums
- Klaus Gobel / organ, composition (1)
1. "Lollipop Mainliner" (4:22) sounds so Sixties-ish: like a mash up of "surf rock" and organ blues-rock. The construct definitely comes from the blues idiom. Interesting long slow down at the three-minute mark followed by the reprise-restart of the main theme to close. (8.75/10)
2. "Goose Pimples" (4:42) opens up sounding like a variation on Gerwshin's "Porgy and Bess," but then it goes full blues with some soprano saxophone soloing above the organ, bass, and drums. Organ takes over the lead soloing throughout the second minute before giving way to the sax again. (8.75/10)
3. "Chicks" (4:25) James Brown-like R&B--like "Mustang Sally" with a slight influx of surfer music. (8.5/10)
4. "Gargoyle" (4:46) the closest song to proto-prog Blues-Rock like something Brian Auger, Rod Argent, or even Keith Emerson might do. Gustl Mayr's wonderful soprano sax play is more akin to that of John Coltrane. This song really swings! My favorite song on the album. (9/10)
5. "Mood Blue" (4:10) a great movin' Jazz-Rock piece which really showcases Klaus Gobel's talents on the organ. The chorus bridge is a bit like the structure and chords of Steve Winwood's "I'm a Man." (8.875/10)
Side Two: "Fancy Suite" :
6. "Cat Quarter" (5:49) more organ and sax supporting jazzy R&B. (8.75/10)
7. "Dig It" (5:28) old-time blues construct that was probably very popular in the band's local beer halls. Sax gets the lead over the standard jazz drumming and fret-walking bass line but, of course, Klaus gets his time in the sun as well. (8.6666667/10)
8. "Fancy Soul" (5:15) opens with some adventurous bass play before sax, brushed drums, and sustained organ chords join in. This is jazz from the deep South: sad and emotive. Nice work from bassist Dieter Von Goetze and Gustl Mayr on the soprano sax--and I really like Klaus's restrained, respectful organ: giving full support and shine to Gustl. At the halfway point Gustl takes over the lead, mirroring Dieter's melody lines with great care and respect while still adding his virtuosic riffs and flourishes, and then Dieter is given the lead for the final minute and more. Nice! Another one of my top three songs. (8.875/10)
9. "Ruck-a-Sack" (4:10) another song that feels as if it would have been a great favorite in the local pubs and beer halls--it feels like an "old standard": full of simple catchy melodies and playing patterns. Nice cymbal play from drummer Kurt Bong. (8.666667/10)
Total time: 44:46
On the positive side, these songs are all recorded extremely well: with all instruments being rendered clearly and cleanly defined, but the soundscapes are a bit too sparse and spacious for my tastes. From a distance, this really is less Jazz-Rock Fusion despite its used of electric bass and organ; it's more jazzy Blues Rock.
87.59 on the Fishscales = B/four stars; a beautifully-rendered collection of original music that all feels familiar in the way that popular jazz "standards" do. If you like melodic organ and sax play within a competent jazz combo, you might love this.
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