A Compendium of "Classic Era" Jazz-Rock Fusion Albums: 1972

January

WEATHER REPORT I Sing The Body Electric (released in May)

I have a bit of a problem with 45% of this album's music coming from Live concert recordings as I am never happy with live recordings or live performances of music intended for studio recording. The band's sophomore album sees the exit of the percussion duo of Alphonse Mouzon (gone to work with McCoy Tyner) and Airto Moreira (to work with some solo ideas as well as in lineups with Chick Corea, Freddie Hubbard, Antonio Carlos Joabim, Johnny Hammond, Hubert Laws, Flora Purim, Gato Barbieri, and Grover Washington, Jr.), here replaced by Eric Gravatt and Dom Um Romão. All Side A selections recorded in Columbia studios, New York City, in November of 1971 (A1, A2) and/or in January 1972 (A3, A4). All Side B selections were recorded during a "standing room only" concert performance in Tokyo, Japan, on January 13, 1972, in Shibuya Kokaido Hall. The album was released on the 26th of May, 1972.

LARRY CORYELL Offering (released in August)

Guitar god and "Godfather of Jazz-Rock Fusion" Larry Coryell's second foray into the studio with the same four musicians, including keyboard player Mike Mandel--the only member of this quintet that will be invited to become a part of the Eleventh House supergroup. Recorded January 17, 18 and 20, 1972 at Vanguard Studios in New York City under the production of Daniel Weiss, the album was released by Vanguard in August.

Line-up / Musicians:
- Larry Coryell / guitar
With:
- Mike Mandel / electric piano with fuzz-wah
- Steve Marcus / soprano saxophone
- Mervin Bronson / bass
- Harry Wilkinson / drums

February

LES McCANN Invitation to Openness (released in February)

Les' deepest foray into the rich waters of Jazz-Rock Fusion leads him down the road Miles Davis paved with In a Silent Way and Bitches Brew--complete with the use of multiple drummers and upright and electric bass players, embellishing and decorating the road with and even Deodato territory.

Line-up/Musicians:
- Les McCann / piano, electric piano, Moog synth
- Corky Hale / harp
- Yusef Lateef / flute [pneumatic], oboe, sax [tenor], percussion [plum blossom & temple bells]
- David Spinozza / guitars [acoustic & electric]

- Cornell Dupree / guitars
- Jimmy Rowser / double bass

- Bill Salter / electric bass

- William "Buck" Clarke / African hand percussion

- Ralph McDonald / percussion

- Donald Dean / jazz drumming

- Alphonze Mouzon / drums, percussion

- Bernard Purdie / drums, percussion

A. "The Lovers" (26:11) awesome tension-filled beauty, music for contemplation and daydreaming, with harp, Moog synth, awesomely rich electric piano and rhythm guitar play with a lot of sounds and melodies that sound as if drawn from other cultures and traditions--like India or Egypt. I love this song! Much more than anything on In a Silent Way and Bitches Brew: it sounds so much more full, thorough, and fun! The music here reminds me a lot of Julian Priester's Love Love album: hypnotic simple groovin' that just takes you deep into your imagination--to one's happiest exotic places. (48.25/50)

B1. "Beaux J. Poo Boo" (13:12) sounds like a DEODATO-funked up DON ELLIS song, it contains some very cool sounds from Yusef Lateef and the percussionists. (22/25)

B2. "Poo Pye McGoochie (And His Friends)" (12:34) a suite of multiple themes and styles, some pastoral, some experiments with the sounds and treatment of Les' Fender Rhodes, some pre-Weather Report "Birdland"-like jazz-funk, some low-structured avant garde, mostly melodic (though sometimes chaotic and/or frenetic). Interesting--and by no means bad--but not my cup of tea. (21.875/25)

Total Time: 51:39

91.125 on the Fishscales = A-/five stars; a minor masterpiece of electric piano-based Jazz-Rock Fusion.

HERBIE HANCOCK Crossings (released in May)

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

ATMOSPHERES (Featuring Clive Stevens and Friends) Atmospheres (released in January of 1974)

Raw Jazz-Rock Fusion from Bristol, England-born bandleader Clive Stevens. Recorded in New York City on February 5th, 1972, with reputedly no rehearsals (three months before the demise and official breakup of John McLaughlin's first incarnation of the Mahavishnu Orchestra), the album wasn't released (by Capitol Records) until January of 1974. Why it took over two years for this album to be released is a mystery I'd like to know more about. Seeing this lineup of all-stars, I found myself especially curious--and excited--to hear this.

Line-up / Musicians:
- Clive Stevens / tenor sax, sopr sax, flute, perc
- Ralph Towner / electric piano, ring modulator
- Steve Khan / 6 & 12 str guitars
- John Abercrombie / electric guitar
- Harry Wilkinson / perc
- Rick Laird / bass
- Billy Cobham / drums

PERIGEO Azimut (released in 1972)

A ground-breaking Jazz-Rock Fusion band from Italy that is new to me, thanks to PA compendium of so many things Italian, James Baldwin. This is the band's debut album. It was recorded and released by RCA Italiana at their own Studios in Roma in 1972. Apparently, several members of Perigeo would go on to historic acclaim in solo and other projects, including keyboard virtuoso Franco D'Andrea and saxophonist Claudio Fasoli as well as the band's leader, bassist/composer Giovanni Tommaso from Lucca in Tuscany.

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

1. "Posto di non so dove" (6:12) Listening to the first song of Azimet, I'm immediately blown away by the Demetrio Stratos-like vocals (a year before anybody'd heard of Demetrio Stratos), the brilliant Don Pullen-like piano, as well as the truly distinctive saxophone. The transition near the beginning of the fourth minute reminds me of early Premiata Forneria Marconi and Banco Del Mutuo Soccorso. I wonder if they (or Tommaso) had ever heard of the Giuseppi Logan Quartet. Beautiful! And so refreshingly new! (9.25/10)

2. "Grandangolo" (8:22) The second song seems to convey a feeling and stylistic approach that Eumir Deodato would make popular a year later in America with crème de la crème American jazz players--though there are also Tony Williams Lifetime feelings to it as well (despite the excellent funky bass). I'm am loving this rhythm section! Drummer Bruno Biriaco is quite impressive! The Fender Rhodes soloing is okay and the raunchy electric guitar is great but it's this rhythm section! They are so tight! Great smooth saxophone soloing in the sixth minute. (I love the engineering effects used on it.) And I love the quick descent into frenzied chaos for the final minute before pulling it together for the final coda! It's so Tony Williams like! (18/20)

3. "Aspettando il nuovo giorno" (3:55) The spacious third song opens with the nice Fender Rhodes and electric bass interplay. As sax joins in and then drummer's cymbal play, the keyboard moves to a repeating chord progression while electric guitar and sax solo over the gentle jazz. This part reminds me of both The Soft Machine and Miles Davis. Quite a pleasant listen. (9/10)

4. "Azimut" (7:18) Side Two's title songs seems to continue the spacious forms from the previous song, though this one a little more free jazz-like. Piano, bowed bass and tuned percussion sounds. This sounds so much like the opening of Return to Forever's "The Romantic Warrior"! (Did Chick steal it from Tommaso?) As the song develops further, it reminds me more of the works of Alice Coltrane and Pharoah Sanders in the late 1960s. Then, halfway through, the band pauses to come together for a structured full band presentation--one in which the presentation of the main melody is traded off among the instrumentalists in a kind of call-and-response rondo! Cool! Then Franco goes off on a wild piano solo while guitar and bass keep the vehicle on the road (with drummer providing some very entertaining accents and embellishments). Once again I am reminded of the jazzier post-Third work of The Soft Machine (as well as Ian Carr's post-Nucleus albums). (13.5/15)

5. "Un respiro" (1:30) The second song on Side Two opens with gentle Fender Rhodes chords supporting the twin melody-making of saxophone and Tommaso's reverbed vocalise. Very cool little interlude! (4.6667/5)

6. "36° parallelo" (9:51) The final songs breaks out sounding very much like a song from The Soft Machine. The dirty electric guitar takes the first lead over the steady drummer, Fender Rhodes chord play, and machine gun note-delivery of the bass. The rhythm section is really moving! And the melody lines are awesome! I especially like saxophonist Claudio Fasoli's sound and style. Impressive drum solo in the fourth minute. These guys can all play but the drummer, keyboardist, saxophonist, and bass player are all of the very highest caliber! A little too oriented toward the individual solos throughout the second half, which kind of turns me off, but excellent jazz. (17.875/20)

90.36 on the Fishscales = A-/five stars; an excellent jazz-rock fusion album--one of the best j-r fuse debut albums ever! A minor masterpiece of Jazz-Rock Fusion.

MOVING GELATINE PLATES The World of Genius Hans

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

Line-up / Musicians:

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

March

VOLKER KRIEGEL Inside: Missing Link (released in 1972)

The sophomore album release by the German guitar genius. Missing Link was recorded as a double album between March 20-23, 1972, at Waldorf Studio, Mörfelden-Walldorf (near Frankfurt/Main), Germany, with two lineups: one for the first two days and a slightly different one for the final two days. It was then published by MPS Records with the help and backing of BASF Records later in the year. All tracks are Volker Kriegel compositions except where noted.

Line-up / Musicians:
- Volker Kriegel / electric guitar, acoustic guitar, octave guitar

- John Taylor / electric piano
- Cees See / percussion, voice, flutes, effects
- John Marshall / drums (Disk One)

- Peter Baumeister / drums (Disk Two)

- Albert Mangelsdorff / trombone (A1&2, B1&2)
- Alan Skidmore / soprano saxophone, tenor saxophone (A1&2, B1&2)
- Heinz Sauer / tenor saxophone (A1&2, B1&2)

April

DONALD BYRD Ethiopian Knights

I love it when a well-established, experienced and respected musician continues to grow and be open to new trends and ideas. Here Donald Byrd makes his second foray into the new world of electric and rock-infused Jazz Fusion, presenting some pretty great early examples of funk-drenched J-R Fuse.

Recorded on August 25 & 26 of 1971, the album was released by Blue Note on April 1, 1972.

Line-up / Musicians:

- Donald Byrd / trumpet, composer

- Wilton Felder / electric bass

- Ed Greene / drums
- David T. Walker / electric guitar [rhythm]

- Greg Poree / electric guitar [rhythm]

- Joe Sample / organ
- William Henderson / electric piano
- Harold Land / tenor saxophone
- Thurman Green / trombone

- Bobby Hutcherson / vibraphone

A1. "The Emperor" (15:40) Funk! listen to that inventive Fender Rhodes play, that groovin' uptempo electric bass, that sexy, adventurous trumpet, the fun the blues-guitarists are having playing creative rhythm guitar, the wonderful unity of the total rhythm section. (28/30)

A2. "Jamie" (4:00) a little organ and acoustic guitar Latin thing that is closer to blues or Latin pop than fusion and or funk; it feels like a cover of a pop song (one that I do not know but which sounds very familiar). The prominence of the guitars makes me appreciate their talents more. (8.75/10)

B1. "The Little Rasti" (17:44) after a long 80-second drum intro, the funk is back, maybe even heavier and stinkier--definitely more hypnotic--than on the opener! Nice long solos given to a wah-wah guitarist, saxophonist Harold Land, and organist Joe Sample before Donald gets his turn (in the 11th minute). After. the fourteenth minute electric piano and trombone are given some shine, kind of together, before the other?) electric guitarist is given a turn and then Donald finishes things off with a now-heavily-echoed trumpet. If there's a flaw to the song it's that the main groove, as great as it is, goes on unbroken and with very little variation or enhancement for 15 minutes, a bit too long even with interesting solos going on over the top. (It is under conditions such as these that I think of the genius expressed by albums by Herbie Hancock, Eddie Henderson, and Julian Priester over the next couple of years where the musicians are each allowed to be inventive, even improvisational, all at virtually the same time instead of waiting for their assigned turn, which was the more standard jazz tradition.)

BTW: If I were a drummer, playing along with this song would be my daily warmup and cardio-opener. Such a great groove by Wilton Felder and Ed Greene. (31.25/35)

Total Time: 37:09

90.667 on the Fishscales = A-/five stars; a minor masterpiece of early, experimental jazz-rock fusion.

DONALD BYRD Black Byrd (released in 1973)

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

Line-up / Musicians:
- Donald Byrd / trumpet, flugelhorn, electric trumpet, vocals
- Allen Curtis Barnes / flute, oboe, saxophone
- Roger Glenn / saxophone, flute
- Fonce Mizell / trumpet, vocals
- Larry Mizell / vocals, composer, producer
- Dean Parks / guitar
- Wilton Felder / bass
- Bobbye Hall Porter / percussion
- David T. Walker / guitar
- Chuck Rainey / bass
- Stephanie Spruill / percussion
- Kevin Toney / piano
- Freddie Perren / piano, synthesizer, vocals
- Joe Sample / piano, electric piano
- Harvey Mason / drums
- Keith Killgo / drums
- Perk Jacobs / percussion
- Barney Perry / guitar

BRIAN AUGER'S OBLIVION EXPRESS Second Wind (1972)

Continuing to reinforce new patterns, Brian and the Express use only Oblivion Express original compositions to populate this entire album. (Many thanks to newcomer Alex Ligertwood, formerly of the Jeff Beck Group.) Released in April of 1972, Brian Auger's second installment with his new "Oblivion Express" project sees some bluesy rock with the keyboard wizard taking more of a back seat to his band mates. Though Mullen and Dean would stick around for upcoming Oblivion Express albums, drummer Robbie McIntosh would go on to found and ground worldwide jazz-rock sensation, AVERAGE WHITE BAND and singer Alex Ligertwood would front SANTANA from 1979 to 1992. The band would really gel for their next two albums, Closer to It and Straight Ahead.

Line-up / Musicians:
- Brian Auger / organ, electric piano, piano
- Alex Ligertwood / vocals, tambourine
- Jim Mullen / guitar
- Barry Dean / bass
- Robbie McIntosh / drums & percussion

A1. "Truth (7:46) an Alex Ligertwood original, there is a pretty awesome organ, guitar, and bass sequence that hooks the listener in for the verses. Nice work with the b vox as the song develops and deepens. (8.875/10)

A2. "Don't Look Away (6:01) a Ligertwood, Mullen, and Dean composition that starts out sounding very much like something from the 60s jazz pop--exploring some "hooks" that might make listeners get locked in. Unfortunately, the rather loose and blues-Southern-rocky vocal detracts and sidetracks from the goal or objective. (8.75/10)

A3. "Somebody Help Us (6:29) an uptempo cruise-mobile with some awesome rhythm guitar play. Sounds like all that will come out on STEVE MILLER BAND's great 1976 album, Fly Like an Eagle. Nice song with nice performances that all work well together despite sounding like the sound engineers are stuck in the 1960s. (9/10)

B1. "Freedom Jazz Dance (5:25) written by Brian, Alex, and Eddie Harris slows it down, even roots it in some soulful funk-R&B (Jim Mullen's guitar play sounding like B.B. King!) I like the shifts and twists and turns it takes--even stylistically--though the vocal sounds so much like Jeff Beck Group's Bobby Tench (Alex's successor in that band). Great bass play from Barry Dean. Fun Keith Emerson-like organ play from Brian. (9/10)

B2. "Just You, Just Me (6:15) a favorite of mine, this is all Brian. I like Alex's less aggressive vocal approach and the band's concentration on the Jazz-Rock Fusion side of their musical expression. Great bass play, awesome electric piano, and solid time-keeping from Robbie MacIntosh. (9.25/10)

B3. "Second Wind (6:39) another Brian Auger exclusive, it opens with awesome interplay between Jim's guitar and Barry's bass over some straight time-keeping from Robbie and some supportive organ chord play from Brian. (It sounds a lot, to my ears, like the concurrent work of The Soft Machine.) (8.875/10)

Total Time 32:06

B+/4.5 stars; a near-masterpiece of bluesy rock that has enough J-R F elements to be included therein.

GEORGE BENSON White Rabbit

This Jazz-fusion album was recorded at Van Gelder Studios between November 23–30, 1971 and then released in April 1972 by CTI Records. The album contains four covers of a variety of famous songs and one original composition by the artist/bandleader at the end of the album.

Line-up / Musicians:

- George Benson / electric guitar
- Herbie Hancock / electric piano

- Ron Carter / bass
- Billy Cobham / drums
- Airto Moreira / percussion, vocals

- Jay Berliner / acoustic guitar
- Hubert Laws / flute, flute [alto], oboe, English Horn

- Phil Bodner / flute, flute [alto], oboe, English horn

- George Marge / flute, flute [alto], clarinet, oboe, English horn
- Romeo Penque / English horn, oboe, flute [alto], clarinet, bass clarinet

- Jim Buffington / French horn

- Jane Taylor / bassoon
- Gloria Agostini / harp
- Wayne Andre / trombone, horns [baritone]
- Alan Rubin / trumpet, flugelhorn

- John Frosk / trumpet, flugelhorn
- Phil Kraus / Vibraphone, percussion

- Don Sebesky / conductor, arranger, orchestrator

Special guest:

- Earl Klugh / acoustic guitar (B2)

A1. "White Rabbit" (6:55) I love the Latinized and orchestra-filled support for this cover of the Jefferson Airplane classic. The switch from his earlier 1971 CTI release (with organist Clarence Palmer, drummer Jack DeJohnette, and percussionists Albert Nicholson and Michael Cameron) to Herbie Hancock, Billy Cobham, Airto Moreira, for his rhythm section (with Ron Carter on both LPs, of course) is the difference between night and day. Great rendition; perhaps the best instrumental cover of this song that I've ever heard. Herbie, Airto, and the orchestra are amazing. (14/15)

A2. "Theme From Summer Of '42" (5:00) harp, vibes, and full banks of orchestra wind instruments open this as Jay Berliner's active and virtuosic acoustic guitar play sets up George for the exposition of the main melodies of the famous film theme song. Surprisingly, it's Jay who gets the majority of the time in the sun on this one as George pretty much exits after the first 1:40 and then again after 4:10. Jay's performance is truly one for the ages: a display of truly virtuosic classical guitar play--even when he's not in the lead. (9.5/10)

A3. "Little Train (from Bachianas Brasileiras #2" (5:40) here we get George and Don Sebesky's interpretation of a famous classical piece from Brasilian composer Heitor Villa-Lobos. The music is a bit simplistic and early Smooth Jazzy (not unlike the fare presented to the world by L.A. artist David Axelrod)--Billy Cobham's drumming is particularly incongruous with the rest of the smooth, orchestral vibe. Even Ron Carter feels somewhat out of place--though Herbie does an adequate job with his solo and support play. The song really comes alive when Airto Moreira begins to add his Pat Metheny Group-like wordless vocalese in the fifth minute. (8.875/10)

B1. "California Dreaming" (7:15) more wonderful acoustic guitar work from Jay Berliner opens this as Herbie's rich Fender Rhodes, harp, orchestra, and bass contribute their own enrichment techniques. That's just the intro. Once the song has moved into the body of the song Jay becomes a Jose Feliciano-like acoustic guitar accompanist as the flutes/winds, Vibraphone, bass, and Latin percussion add their own accents and textures while Jay and George present and carry the song forward. Once again, Billy Cobham's drums just feel out of style with this format, with this instrumental palette. Herbie is unusually quiet but definitely in the mix throughout; it's really George, Jay, and Don's show--though I'm not nearly the fan of this Jay Berliner performance as I was on the "Theme from Summer of '42." (13.375/15)

B2. "El Mar" (11:00) a gorgeous, richly rendered song that is a George Benson original composition and resonates as my favorite song on the album. There is one great melody line that is repeated intermittently over the course of the song's 11 minutes but it is populated with layers of brilliant if subtle contributions from the session's full complement of guest artists. We even get some vocal contributions from Airto Moreira in his native Portuguese as well as some soul-invigorating key changes in surprising places. And I love the crescendo in the very middle that brings up blast of Spanish horns before we settle into Herbie's wonderful Fender Rhodes solo (dig that "smear" effect at the end of it--around the 7:00 mark). Though Airto's vocals are only in the background during the final two minutes, they are still so charming! I really like this team of Herbie Hancock and George Benson. (19.125/20)

Total Time: 36:16

A very interesting and, ultimately, very satisfying listening experience; an album that I will enjoy coming back to again over the coming years.

92.68 on the Fishscales = A/five stars; an excellent if somewhat-flawed masterpiece of early Jazz-Rock Fusion. The artists haven't got the medium perfected but their imaginative interpretations are greatly appreciated and duly rewarded.

FRANK ZAPPA The Grand Wazoo (released on November 27)

Frank wrote the bulk of the music for this album while convalescing after being assaulted in London in December of 1971. The Grand Wazoo was recorded in Los Angeles at Paramount Studios in April and May of 1972. The music here is diverse, each of the five songs presenting a completely different feel and mood with some of Frank's most serious, straightforward, and sedate, though still demanding of his band mates' skill sets--especially the album's longest song, the title song.

Line-up / Musicians:
- Frank Zappa / guitars, vocals (3), percussion (4), arranger & producer
With:
- Janet Neville-Ferguson / vocals (1, 2)
- Ilene Rappaport ('Chunky') / vocals (3)
- Tony Duran / guitar (1, 2) & rhythm guitar (5)
- Don Preston / Minimoog (1, 2)
- George Duke / keyboards (3-5), vocals (3)
- Sal Marquez / trumpet & vocals (1, 2)
- Bill Byers / trombone (1, 2)
- Ken Shroyer / trombone (1, 2, 3)
- Malcolm McNabb / brass (1, 2)
- Ernie Tack / brass (1, 2)
- Ernie Watts / saxophone solo (3)
- Mike Altschul, Joel Peskin, Earl Dumler, Tony Ortega, Joanne Caldwell McNabb, Johnny Rotella, Fred Jackson / woodwinds (1, 2)
- Alex Dmochowski ('Erroneous') / bass
- Aynsley Dunbar / drums
- Alan Estes / percussion (1, 2)
- Bob Zimmitti / percussion (1, 2)
- Lee Clement / gong (4)

May

PAUL WINTER CONSORT Icarus

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 1, 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

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

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

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

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

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

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

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

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

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

Total Time: 39:20

George Martin claimed for years (it's in his autobiography!) that, "Icarus is the finest album I've ever produced." That's a pretty bold statement after all that Sir George contributed to the music world, but in this case, I am not going to disagree.

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

HERBIE HANCOCK Crossings

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

Line-up / Musicians:
- Herbie Hancock / acoustic & electric pianos, Mellotron, percussion
With:
- Bennie Maupin / soprano sax, bass clarinet, alto & piccolo flutes, body percussion
- Eddie Henderson / trumpet, flugelhorn, percussion
- Julian Priester / bass & tenor & alto trombones, percussion
- Patrick Gleeson / Moog synthesizer
- Buster Williams / acoustic & electric basses, percussion
- Billy Hart / drums, percussion
- Victor Pontoja / congas
- Candy Love / chorus vocals
- Della Horne / chorus vocals
- Sandra Stevens / chorus vocals
- Scott Beach / chorus vocals
- Victoria Domagalski / chorus vocals

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

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

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

Total Time 46:21

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

suffered from poor sound engineering.)

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

SANTANA Caravanserai (released in October)

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

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

The newly-directed band toured extensively, enjoying their time together on and off stage, while at the same time trying to hone in and frame up some songs for a new album. They were eventually able to get some great, collaborative material to shape up for the making of what would become Caravanserai. Recorded in San Francisco, at Columbia Studios, between February 12 and May 5 of 1972. Though Carlos and Michael intended the album to be a "full album listening experience" from the very start, they ended up breaking the song order up into two very distinct sides, both flowing from opening notes into and through the music to a cohesive and comprehensive conclusion at each end. Side One is considered the Spiritual Side whereas Side Two is referred to as the "Percussionists Side."

WEATHER REPORT I Sing The Body Electric

I have a bit of a problem with 45% of this album's music coming from Live concert recordings as I am never happy with live recordings or live performances of music intended for studio recording. The band's sophomore album sees the exit of the percussion duo of Alphonse Mouzon (gone to work with McCoy Tyner) and Airto Moreira (to work with some solo ideas as well as in lineups with Chick Corea, Freddie Hubbard, Antonio Carlos Joabim, Johnny Hammond, Hubert Laws, Flora Purim, Gato Barbieri, and Grover Washington, Jr.), here replaced by Eric Gravatt and Dom Um Romão. All Side A selections recorded in Columbia studios, New York City, in November of 1971 (A1, A2) and/or in January 1972 (A3, A4). All Side B selections were recorded during a "standing room only" concert performance in Tokyo, Japan, on January 13, 1972, in Shibuya Kokaido Hall. The album was released on the 26th of May, 1972.

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

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

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

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

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

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

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

Total Time: 46:28

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

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

June

THE SOFT MACHINE Five

Goodbye Robert, goodbye to all vocals; hello to refugees from Ian Carr's Nucleus. An album that was recorded in November of 1971 and February of 1972 and then released in June of 1972.

Line-up / Musicians:
- Mike Ratledge / Lowrey organ, Fender Rhodes
- Elton Dean / alto saxophone, saxello, Fender Rhodes
- Hugh Hopper / bass
- Phil Howard / drums (1-3)
- John Marshall / drums (4-7)
With:
- Roy Babbington / double bass (4-7)

1. "All White" (6:06) opening the album with a very serious, very heavy jazz commitment, the music develops as something that could come off of one of Miles Davis' Second Great Quintet albums or one of Herbie (Hancock) or Wayne (Shorter)'s solo side projects. Though Hugh Hopper's bass is rather dull with its near-metronomic riff repeating over and over, Phil Howard's drumming is quite satisfactory. Mike Ratledge holds down the middle ground more as a mirror and reinforcement for the rhythm section (until the very end) while Elton Dean commands attention with his continuous play of his sonorous soprano sax. Interesting. (8.75/10)

2. "Drop" (7:42) water drop sound effects paired up with delay and echoing organ (Mike Ratledge) and Rhodes (Elton Dean) noodlings make this, to my mind, a further exploration or variation on the Terry Riley-inspired opening and closing sections of Third's "Out-Bloody-Rageous." In the third minute the rest of the band starts to join in and try to establish a syncopated quick-step motif within which Mike continues soloing à la Herbie Hancock while Elton Dean steps in with his kazoo-sounding "saxello" for an extended stream of electrified nasal fuzz play. Interesting. (13.125/15)

3. "M C" (4:57) an introductory barrage of echoing and reverberating electric piano runs is then greeted by Phil Howard's free-form drumming. In the second minute the quartet seems to want to try to pull something together but each musician seems to be, for whatever reason, reluctant: as if standing on the sidelines, watching one another while holding space with ramblings from their own instruments, waiting for the signal to gel and jump into a forward-moving direction. Despite its pervasive feeling of indecision and neutrality, I find myself liking this song quite a bit; it's like a lineup of race horses, caged in their starting gates, waiting for the gun to go off. (But it never does!) Very cool! Great way to end Side One! (9/10)

4. "As If" (8:02) by now I'm getting the distinct feeling that Elton Dean thinks that he's in charge--that this is his album as the "lead" instruments over the top of the relegated-feeling support of the "rhythm section" are overwhelmingly his. On this one it's the alto sax for the first five minutes before Roy Babbington's bowed double bass gets some extended shine (over Hugh Hopper's steady, hypnotic bass line). John Marshall's drumming stands out for its crisp, prominent sound, as well as for his quickness and decisiveness. Yet, despite the sharing of the spotlight, it definitely felt like Elton Dean's song--his decision to give newcomers Roy and John some time to "introduce" themselves. (13.25/15)

5. "L B O" (1:54) an eruption of drumming like something we've heard from Tony Williams and Billy Cobham. Though John Marshall is an impressive drummer, this is not a very winning solo. (4.3333/5)

6. "Pigling Bland" (4:24) a mellower, more-melody-driven near-Canterbury-feeling song in which the rhythmatists are allowed to shift and move, stop and start--and it works really well beneath Elton Dean's saxello soloing: giving the song a very interesting and engaging foundation and, perhaps, pressuring Elton to play something a little more melodic than he normally does. Cool speed shift and new motif for the last minute. I love the Nucleus effect! (9.25/10)

7. "Bone" (3:29) bowed double bass, bubbling electric bass, waves from cymbal crashes, and deep thrumming organ drone notes precede the introduction of some creepy spacey organ notes and "distant" piccolo/ocarina "jungle" noises. The feel here is both early Vangelis and early/proto World Music--perhaps even something inspired by the soundtrack to Stanley Kubrick's 2001: A Space Odyssey. Though I wish it could have developed a little more, I do like it. (8.875/10)

Total Time 36:34

Definitely not as bad an album as many reviewers want to claim: though I am glad the band did not choose to continue to forge a path through the dark woods of avant garde "free jazz," there is a lot of authentic jazz experimentalism going on in these songs--which is admirable for what feels like its genuine sincerity.

88.78 on the Fishscales = B/four stars; a solid collection of experimental jazz/Jazz-Rock Fusion tunes and études that connote advancement and progress for this band. This album result is not unlike some of the experimental albums we all know and lament that were released but we wish had been left in the artists' private libraries yet we also recognize were necessary for the artists' progress. Think Herbie Hancock, Wayne Shorter, Miroslav Vitous, Joe Zawinul, Tony Williams, Toto Blanke, Jan Hammer, John McLaughlin, Jan Akkerman, and many more and the experimental "duds" that they published (as songs or albums) but which served as stepping stones in their growth and development. That is what this album, Five feels like for me.

MILES DAVIS On the Corner (released in October)

Recorded in June and July of 1972 it was then released on October 11. The album represents Miles most adventurous eclecticism to date (and maybe ever) as he is here trying to blend East and West, Pop and Jazz, Funk R&B, and lots of African rhythmic traditions--sometimes all at once!

Line-up / Musicians:
- Miles Davis / trumpet
With:
- Dave Liebman / soprano saxophone (1)
- Carlos Garnett / soprano (2) & tenor (4) saxophones
- Chick Corea / Fender Rhodes electric piano
- Herbie Hancock / Fender Rhodes electric piano, synthesizer (2-4)
- Harold "Ivory" Williams / organ, synthesizer
- John McLaughlin / electric guitar (1)
- David Creamer / electric guitar (2-4)
- Collin Walcott / electric sitar (1, 3, 4)
- Khalil Balakrishna / electric sitar (2)
- Paul Buckmaster / cello, arrangements (uncredited)
- Badal Roy / tabla
- Bennie Maupin / bass clarinet (2)
- Michael Henderson / electric bass
- Jack DeJohnette / drums
- Billy Hart / drums
- Al Foster / drums
- Don Alias / percussion (1) (uncredited)
- James "Mtume" Foreman / percussion (2-4) (uncredited)

July

FRANK ZAPPA Waka / Jawaka

Released by Bizarre/Reprise Records on July 2, 1972 after being recorded in Los Angeles at Paramount Studios on April 17-21 and May 5. The material had been conceived of and composed during Frank's wheel-chair-bound recovery from being assaulted in London in December of 1971. The question I have from the line-up of musicians and the curiously nebulous recording dates attributed to The Grand Wazoo is whether or not the material for both albums was generated from the same April and May recording sessions done at Paramount Studios.

Line-up / Musicians:
- Frank Zappa / guitar, acoustic guitar (3), percussion (1), Fx & vocals (3), producer
With:
- Chris Peterson / vocals (2, 4)
- Janet Ferguson / vocals (3)
- Tony Duran / slide guitar (1-3), vocals (3)
- Peter Kleinow / pedal steel guitar solo (3)
- Jeff Simmons / Hawaiian guitar & vocals (3)
- George Duke / electric piano (1), tack piano (2)
- Don Preston / piano & MiniMoog (4)
- Sal Marquez / trumpet, chimes (1, 4), flugelhorn (4), vocals (2-4)
- Joel Peskin / tenor sax (2)
- Mike Altschul / bass flute (4), bass clarinet (4), piccolo flute (2, 4), baritone (2) & tenor (4) saxes
- Kenny Shroyer / trombone & baritone horn (4)
- Billy Byers / trombone & baritone horn (4)
- Alex Dmochowski / bass, fuzz bass (4), vocals (3)
- Aynsley Dunbar / drums, tambourine & washboard (3)

1. "Big Swifty" (17:23) I've read comparison's to Miles Davis work of the same period as well as the "space jazz" and "free jazz" references and, while I hear them, too, I feel there is more similarity to some of the musical themes and melodies from Sketches of Spain than Bitches Brew or Jack Johnson. The guitar-centered music of middle section sounds more like something from Eric Clapton or The Allman Brothers but then as Sal becomes reactivated (in the 12th minute) and the horn section joins in (in the 14th minute) the music become more original and interesting. (This is my favorite section of the song.) Though, yes, I hear less of the Frank Zappa sound and stylings in this side-long epic, I do not hear the kind of music that I would call innovative or progressive Jazz-Rock Fusion; it's more of one long, loosely-structured jam session. There plenty of skillful and inventive solo performances and impressive multi-instrumental weaves, but no mind-blowing breakthroughs. (30.75/35)

2. "Your Mouth" (3:12) I knew it! I knew Frank couldn't go an entire album without some social satire delivered over a parody of some conveniently-imitatable style of music, here Black Gospel-styled R&B, complete with a full choir of Black-sounding choral vocalists. (8.75/10)

3. "It Just Might Be a One-Shot Deal" (4:16) more quirky music that is more of the "natural" Frank Zappa RIO style despite Peter Kleinow's C&W pedal steel guitar (the highlight of the song). Not my style of music but I can appreciate all that it takes to perform such music for such a demanding "conductor"/composer. (8.75/10)

4. "Waka / Jawaka" (11:18) To my ears this is the crown jewel of this album. The tightly-entwined and layered instrumental interplay is so impressive--and all performed over such a nice, fairly smooth Latin-based rhythm base. I find it quite remarkable to hear the horns' note play matching the speed of Frank's guitar legato so perfectly--and then to find out that trumpeter Sal Marquez actually charted Frank's guitar note play and replicated it, note for note, on three different tracks in order to achieve the effect we all hear. Wow! Then throw in Don Preston's awesome MiniMoog play and some inspired lead guitar play from Frank in the second half and we have some galloping music. Then throw in the horn section-enhanced big band bridges and transitions and we have a real winning and surprisingly nostalgic piece of cinematic music. (18.75/20)

Total Time 36:09

Though many people refer to this album as "Hot Rats 2" (Perhaps due to that album's title's two words printed on the faucet handles on the album cover's art), I don't quite see it as such. To me the expanded horn and wind sections of this album's "big band" lineup connote a move toward Jazz-Rock Fusion. Plus, the songs here are much more loose and jazzy--especially the three on Side Two--realizing a move away from the quirky, humorous, satire and often-avant-classical sophistication of his previous discography. Many other reviewers--both of the day and with today's perspective--accuse Frank of falling into a pattern of mimicking the concurrent music of Jazz-Rock Fusion pioneer Miles Davis. I see this pattern and concur with the comparison while also agreeing that Frank never quite captured the human energy and spirit that Miles' corps did. I actually see the Jazz-Rock Fusion "period" of Frank's discography as a bit of a sellout: a period that does not serve to fully and adequately exploit the creative genius and strivings to be the most demanding, intelligent, and nonconforming composer in opposition to commercial rock 'n' roll trends that epitomize the essence of and unbound genius of Francis Vincent Zappa.

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

JAY BERLINER Bananas Are Not Created Equal

A collection of funked-up Jazz-Rock renditions of mainstream hit records that Mainstream Records released in 1972 on behalf of Jay on July 2, 1972.

Line-up / Musicians:

- Jay Berliner / guitars

- Gordon Edwards / bass
- Ray Barretto / congas
- Jimmy Johnson / drums
- Cornell Dupree / guitars

- Joe Venuto / mallets, tambourine
- Paul Griffin / piano, clavinet, organ, electric piano

- Wade Marcus / arranger, conductor, composer (A1, B3)

A1. "Getting The Message" (3:59) some wild and crazy clavinet play almost buries the guitar work of the band leader. The main clavinet melody sounds like Stevie Wonder with "Superstition" while Jay's guitar is also befitting that song and its sound palette. In the third minute Jay turns on the fire-breathing dragon effect on his guitar for a bit while Paul Griffin re-cranks up his clavinet for another round of the main motif. Some searing dragon guitar in that final minute! (9/10)

A2. "I Just Want To Be There" (3:50) a cover of a recent (1972) single release by the "Smooth and Easy Soul" group, The Independents, features some really awesome organ, wah-wah rhythm guitar, up-front down-and-dirty electric bass, and, of course, melodic lead guitar. (8.875/10)

A3. "Papa Was A Rolling Stone" (5:28) while the clavinet, lead guitar riff, and wah-wah volume-controlled rhythm guitar play are all awesome, they do not quite align with the bass and cymbal play to replicate the music of The Temptations' iconic song (another early 1972 release). Obviously, Jay, Wade, and Paul really loved the (fairly new) clavinet sounds being explored by Stevie Wonder, War, Billy Preston, and Bill Withers. The use of zither and Jay's sitar-sounding lead guitar make for a novel and interesting approach/sound palette--verily making the song all their own. I happen to like all of this! (9/10)

A4. "Hey Western Union Man" (3:05) a cover of the Leon Huff and Kenny Gamble song that Jerry Butler made a hit back in 1968 is here given a make-over with clavinet, electric piano, chunky bass, and well-placed congas from Ray Barretto. Jimmy Johnson's drums are so perfectly in the pocket here that I can really pick up on each and every nuance he adds to his play. I can't say that I knew this song before hearing this version--which probably explains why it feels like a bit of an odd choice. Obviously it meant something to somebody in the studios. (8.875/10)

A5. "Stormy" (4:14) a sexy, funky version of the popular hit song with Gordon Edwards really reaching for the stars with his full-fretboard play over the simple drums, quiet organ, strummed rhythm acoustic guitar, and tinkerbell vibes. Paul's electric piano and Cornell Dupree's amazing support rhythm electric guitar are what bring out the best of Jay's lead guitar--in both performance and tone (which resembles that of George Benson in the upcoming years). There's even time for Jay to really push his steel-string acoustic guitar into the spotlight at the end--which is always awesome. (9.25/10)

B1. "Use Me" (3:04) Paul Griffin's clavinet is off-the-charts funky as is the work of bassist Gordon Edwards and the two guitarists (each on multiple tracks, electric and acoustic). Jay plays his lead like George Benson or Wes Montgomery with chords doing all the melody work--until, that is, the chorus bridge. Then it's Cornell's turn to really let it loose on his own un-effected electric jazz guitar--which Jay almost shades with his fire-ball dragon's breath guitar flares at the end of the verse and chorus. Excellent version. (9.125/10)

B2. "We've Come Too Far To End It Now" (4:35) another emotional Jazz-Rock version of this emotional early-1972 hit song from The Miracles. Electric piano and Motown-like rhythm guitar and simple bass lines keep a spacious soundscape for Jay to lay down his soulful electric guitar lead. A very nice, even impressive, display of guitar skills and techniques--especially from Jay but also from Cornell. (8.875/10)

B3. "Stickball" (4:30) the other Wade Marcus original has clavinet and some pretty awesome wah-wah rhythm guitar and congas to support the core rhythmatists and melodists (Jay's fiery lead guitar sound that also sounds almost clavinet-ish--and is familiar from his upcoming work with Eumir Deodato). I love how Jimmy Johnson and Ray Barretto keep the spaces filled while the bass and clavinet leave a lot of gaps that the guitars don't really fill. Though not particularly catchy from a melody perspective, this is a nicely-crafted, coolly-performed weave that feels cerebral but comes across with just the right amount of spirit (which we call "The Funk"). Jay's heavily-effected machine gun sitar sound in the final minute is pretty awesome. (9/10)

B4. "I'm Still In Love With You" (4:14) a schlocky version of the great Al Green hit. Gordon Edwards is awesome on electric bass, and Paul Griffin's support organ play is actually really cool despite it feeling like the work of a funeral home chapel player. It's nice to here Jay playing acoustic guitar because he is so gifted at it (even better than Earl Klugh, in my opinion). Once Jay takes the lead one forgets that this is a cover and is forced to sit back in astonishment at the guitarist's incredible skills. They're on a par with Paco De Lucia and John Williams! (9.25/10)

Total time: 37:00

I find it unfortunate that Jay was apparently not much of a composer as I always enjoy and find myself supporting an artist's own compositions, but not one song on this album can be traced back to him or his collaborators (except A1. "Getting the Message" and B3. "Stickball" which came from arranger/conductor Wade Marcus). Also, the album is rife with awesome keyboard performances--on a wide variety of instruments (including organ, clavinet, and electric piano) but nobody is given any credit for these performances: Paul Griffin is credited as the pianist (only); Joe Venuto is the tuned percussion player, and; Cornell Dupree and Jay are supposedly only guitarists. So who played all of the keys? And why were they not credited?

90.278 on the Fishscales = A-/4.5stars; a very soulful album of Soul-Jazz-Rock led by a true virtuoso of

the modern Jazz guitar. Plus, if you like clavinet and big chunky, funky bass, you'll probably love this.

OUT OF FOCUS Four Letter Monday Afternoon (released late in 1972)

The peak of achievement from this uber-talented band from München, Bundesrepublik Deutschland: a 94-minute of finely polished music that was recorded in 1972 at Bavaria Musiksctudios between July 17 and 28 and then published later in the year by Kuckuck Schallplatten. (FYI: there was at least another 94 minutes of excess music from these recording sessions that was left on the cutting room floor or studio shelves gathering dust until someone saw fit to dust them off and publish them on two albums, Not Too Late released in 1999 and Rat Roads in 2002, respectively.)

Line-up / Musicians:
- Remigius Drechsler / guitars, Tenor saxophone, flutes, stylophone, voice
- Hennse Hering / organ, piano
- Moran Neumüller / Soprano saxophone, vocals
- Klaus Spöri / drums
- Stephen Wishen / bass
+ Hermann Breuer / trombone
- Peter Dechant / acoustic guitar, vocals
- Grand Roman Langhaus / bongos
- Jimmy Polivka / trumpet
- Ingo Schmid-Neuhaus / Alto & Bariton saxes
- Michael Thatcher / organ

IAN CARR Belladonna

Belladonna was released by Universal Records in July of 1972. It is, in effect, a NUCLEUS album, however, I can see how and why Ian Carr dropped that moniker for this album in that only one musician (Brian Smith) (other than himself) remains from the original Nucleus albums (Elastic Rock and We'll Talk about it Later). (Apparently, Ian had long ago conceived of starting fresh--starting a new band--separating himself from the Nucleus ensemble.

Line-up / Musicians:
- Ian Carr / trumpet, flugelhorn
With:
- Brian Smith / tenor & soprano saxophones, alto & bamboo flutes
- Allan Holdsworth / guitar
- Dave MacRae / Fender electric piano
- Gordon Beck / Hohner electric piano (1,4-6)
- Roy Babbington / bass
- Clive Thacker / drums, percussion
- Trevor Tomkins / percussion (1,3,4)

1. "Belladonna" (13:42) an album that sounds very much as if it is taking its cues and inspiration from the post-Bitches Brew work of Joe Zawinul & Wayne Shorter (who had just launched their WEATHER REPORT project with both the self-titles debut and 1972 release, I Sing the Body Electric, both having been released prior to Belladonna's July recording sessions) and especially, Herbie Hancock, whose Mwandishi and Crossings albums had also both been released prior to Belladonna's recording sessions. (In case you were wondering, Chick Corea's Return to Forever album had its European release in September of 1972, two months after, Belladonna came out.) While Brian Smith's soprano sax is the real start of this show, Gordon Beck's peaceful Hohner electric piano is a key component to its success. While Brian's play and melodies are quite pleasing, even enjoyable, the song never gets elevated into anything but a long late night contemplative--and, perhaps a fitting inspiration for Vangelis Papathanassiou for the spacey "New Age" music that would occupy his attention for the rest of his life. (26.333/30)

2. "Summer Rain" (6:13) after a 90-second slow and deliberated intro in which Ian's trumpet and Brian's tenor sax set the melodic groundwork, this song is blessed by a dynamic breakout performance on the "dirty" Fender Rhodes by a Kiwi age-mate of Ian's, Dave MacRae (who would stay with Ian for the next three Ian Carr/Nucleus albums). I find myself not only absolutely mesmerized by this piece, but actually loving both the sound and melodies created by Dave and his Fender Rhodes. (It's the same sound that French downtempo chillout band AIR used so successfully on their massively-popular 1998 debut album, Moon Safari.) Bass, jazz guitar (mixed far-left into the background) and chill drums progress throughout the length of the song. Weird to hear Allan Holdsworth--the Allan Holdsworth--relegated to playing rhythm/background jazz guitar using neither his own trademark scales nor his own "trademark" sound.(9.6667/10)

3. "Remadione" (3:48) flutes take up a full two minutes of this song's opening while dirty Fender Rhodes electric piano (L) and more rock/proggy lead electric guitar gently support. The third and fourth minutes see the full band engage in another AIR-like downtempo motif while Dave and Allan ramp up considerably their "duel." (9/10)

4. "Mayday" (5:41) opening with the "Shaft"-like cymbal play and over all sound of Bitches Brew and Mwandishi/Crossings, Allan is strumming away wildly in the background while Dave MacRae and Gordon Beck. At 3:35 the band's rhythm section feels as if it finally "falls into" the song's main motif--which is an awesome jazz-rock groove while Brian continues soloing. The finish is tailed off with a coordinated horn section riff and poof! It's over! I'm not so great a fan of Brian's sax solo (most of the time I don't even hear it) but the bass and double keyboard play are awesome. (9.125/10)

5. "Suspension" (6:15) opening tracks dedicated to bamboo flutes, electric pianos, and percussion sounds is kind of cool--definitely evoking garden and/or Japanese/Asian images/feelings. Roy Babbington's bass enters around 1:15, soloing on its own as if trying to find its place in the mix, but then suddenly at 1:55 he "falls into" a steady riff that becomes the foundation for the rest of the song--and which Allan Holdsworth doubles up with his own lowest octave strings. Meanwhile the bamboo flute and Gordon Beck's dreamy Hohner electric piano continue to explore the background but now we add Ian's trumpet up front left and, soon, Dave MacRae's dirty Fender Rhodes in the right channel. The bamboo flutes disappear as Ian and the two electric pianos continue to explore their passions on their own tracks with their own separately effected instruments (Dave's Rhodes getting particularly wild--sounding like a wile organ or heavily-treated lead guitar). Despite a rather mundane and pastoral opening, this one became something quite interesting--especially with that cool Fender Rhodes sound flailing aggressively away in the final third. (9.125/10)

6. "Hector's House" (4:33) though definitely firmly rooted in the rock traditions, this one has one of the more convincing jazz-rock feels to it--all built on a riff and motif that is not so far from the opening song, "Song for the Bearded Lady" from We'll Talk about it Later. Brian Smith really tears an awesomely-smooth high-speed performance on his soprano sax in the second and third minutes while Allan Holdworth really rips up the soundwaves in the fourth with his jazz-rock guitar shredding. Once again there are such highs in this song to offset the lows/deficiencies. (9.125/10)

Total Time: 40:12

One of the most significant outcomes of the making of this album is the meeting of young Allan Holdsworth and elder statesman Gordon Beck as the two would forge a life-long friendship that would result in their collaboration on no less than four albums over the next few decades.

90.47 on the Fishscales = A-/five stars; a minor masterpiece of highly-creative First or Second Wave Jazz-Rock Fusion.

August

MAHAVISHNU ORCHESTRA Birds of Fire (released in 1973)

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

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

LARRY CORYELL Offering

Guitar god and "Godfather of Jazz-Rock Fusion" Larry Coryell's second foray into the studio with the same four musicians, including keyboard player Mike Mandel--the only member of this quintet that will be invited to become a part of the Eleventh House supergroup. Recorded January 17, 18 and 20, 1972 at Vanguard Studios in New York City under the production of Daniel Weiss, the album was released by Vanguard in August.

Line-up / Musicians:
- Larry Coryell / guitar
With:
- Mike Mandel / electric piano with fuzz-wah
- Steve Marcus / soprano saxophone
- Mervin Bronson / bass
- Harry Wilkinson / drums

1. "Foreplay" (8:10) on this Coryell composition, Fender Rhodes player Mike Mandel provides a BRIAN AUGER-like support to Larry's musical machinations. Drummer Harry Wilkinson is quite adept at adding his own flourishes and nuances while bass player Mervin Bronson, like Mandel, sticks pretty close to the script. Saxophonist Steve Marcus is nowhere to be heard. Very nice play from all of the instrumentalists but the five chord rising progression gets a little exhausting after a while--(kind of like foreplay), but Man! can Larry Coryell move at some blistering speeds! (13.5/15)

2. "Ruminations" (4:17) Sax, guitar, and keys lead the way with rather complex arpeggio melody play of a four chord sequence on this Mike Mandel composition until the one minute mark when everything switches direction: moving down a smoother, more harmonically-horizontal chord sequence (at a rather breakneck pace) that sounds more oriented traditional jazz despite the active Herbie HANCOCK-like Fender Rhodes piano. Steve Marcus' soprano saxophone definitely does his best to match/keep up with Larry's incendiary electric guitar keys, usually going back and forth but often overlapping each other as if racing toward an end--and end that coincidentally arrives at 3:45 when the band switch back into a more modal style like the opening (though not quite the opening). The song then is given the engineer's fade to bring it to a close despite the musicians' continued play. This is definitely a song that helps illustrate why Larry Coryell is given so much credit for launching and test-driving the fusion of rock into jazz music. (9/10)

3. "Scotland I" (6:41) another ascending theme, this time from bass player Mervin Bronson, repeating the same six note climb over and over while saxophone, guitar, and drums go crazy all at the same time. The fifth minute is my favorite part when all of the melody instruments team up to spit out a supersonic melody line between each of Mervin's ascents. Despite the fullness of this soundscape, Larry and Steve continue firing impressive solo flourishes and runs over the cacophonous weave going on around them (obviously using second tracks for their additional sound contributions). All in all, this is a very mathematically-committed song that I'm not sure I really like--this despite the very impressive technical skills on display. Chris Squire's "Hold Out Your Hand" is quite reminiscent of this. (8.875/10)

4. "Offering" (6:46) a song that is credited to drummer Harry Wilkinson (despite my hopes that it would tie into the song of the same title from John Coltrane's final album, Expression, as it is a favorite of mine). The song is set up with a winning and infectious bass line that sounds quite a bit like Chicago's Peter Cetera's play on the band's 1969 debut album, Chicago Transit Authority. The bass is coupled with some very impressive Billy Cobham-like play from drummer Harry Wilkinson. From there the song resembles something like FOCUS' "Answers? Questions! Questions? Answers!" or "Anonymous Two" (from their 1973 release, Focus III) in the way that the guitar, saxophone, and keyboards all seem to launch into their own separate universes for long, continuous (and very impressive) soloing over the busy-yet-hypnotic play of the rhythm section. I don't know if it's the infectious rhythm section or the tasteful weave of multiple soloists all playing rather melodically at the same time, but I love this song. It's my favorite on this album. Definitely an example of a rock song played by rock musicians who are trying out their jazzy chops. From start to finish this song just feels like a treasure trove that is constantly revealing new things with each and every listen. (14.5/15)

5. "The Meditation of November 8th" (5:12) a spacious, contemplative song of reverb-treated soprano saxophone, electric guitar, electric bass, and metallic percussives all played with feeling and thoughtful emotion in a way that previews (or reflects) the works of Terje Rypdal, Jan Garbarek, and Pat Metheny. Very nice and sympathetic--not unlike some of the works of the early electric guitar masters of the 1960s. Perhaps this song is even intended as an homage to one such musician (someone who died on November 8th)? I've seen that some reviewers have called this song "boring" or "slow" and "hard to get into" but I find myself responding quite oppositely: I love the space that the band allows me--space to get inside and look at the sounds and notes and harmonies from multiple perspectives. I like this one very much. My second favorite song on the album. (9.33333/10)

6. "Beggar's Chant" (8:03) a bluesy foundation leads to some very bluesy playing from all of the instrumentalists. Man! These guys are so professional--and so proficient. There is quite a John Tropea/Jay Berliner-like DEODATO "Also Sprach Zarathustra" sound to Larry's guitar playing on this one (my least favorite sound and solo on the long 9-minute album version of the song). Definitely my least favorite song on the album and yet it's still damn good! (13.25/15)

Total Time 39:09

An album whose musicianship has little to no fault, whose intricately constructed and performed songs all rival anything that Herbie, Mahavishnu, or Chick Corea's Return To Forever ever put together, but, somehow, still feels as if could be better. Impressive keyboard player Mike Mandel seems at times to fade into the woodwork or wallpaper while guitarist Larry Coryell and soprano saxophonist Steve Marcus's explosive soloing styles (and sounds) have never been among my favorites, yet here, on Offering, I find myself deeply engaged and excited/willing to re-listen to each and every song multiple times: there's just this feeling that there is so much more to discover within the dense and complex weaves of each song. A big question I have is: Why are drummer Harry Wilkinson and bass player Mervin Bronson never mentioned in the conversations of great Jazz-Rock Fusion musicians?

91.6777 on the Fishscales = A-/five stars; not only does this work out analytically as a masterpiece of Jazz-Rock Fusion, it feels like one! HIGHLY recommended--especially to any of you progsters that have never really gotten into Larry Coryell.

September

PASSPORT Second Passport

Klaus Doldinger's second album using the "Passport" moniker, for which he had to get an entirely fresh set of musicians to try to support his vision, his compositions, including two Americans, keyboard artist John Mealing and drummer Bryan Spring. This marks the beginning of bassist Wolfgang Schmid (later known as Wolfgang Schmid-Grandy)'s six-year, six album commitment to Klaus. The album was recorded at Dieter Dierks' home studio in Stommeln during the spring of 1972 and then released by Atlantic Records on September 8.

Line-up / Musicians:
- Klaus Doldinger / soprano & tenor saxes, electric piano, synthesizer
- John Mealing / electric piano, organ
- Wolfgang Schmid / bass guitar,
- Bryan Spring / drums

1. "Mandragora" (3:46) very modern synth, clavinet, and electric bass noises open this one before drummer Bryan Spring and bassist Wolfgang Schmid align in an awesome cruisin' groove with clavinet right there with them. Though Klaus' multiple saxes present the main melody, it's his funky synthesizer that takes the first solo. In the third minute it's time for solo tenor sax. The melodies are okay, but it's the rhythm track that is so winning! (9.3333/10)

2. "Nexus" (5:23) here the rhythm section have some fun playing around with a wild game of tag before settling into a surprising R&B groove for Klaus to solo over while John Mealing plays around with his electric piano somewhere in the middle. Bassist Wolfgang Schmid and drummer Bryan Spring are playing like Titans (or monsters), as if they're in The Flintstones primal drum band--a theme that becomes even more pronounced in and throughout the fourth and fifth minutes. Not even Klaus' emotional soprano sax can take my attention away from this primal groove--not until the final 15 seconds when the band wind it down does the hypnotic effect fade. Nice! (9/10)

3. "Fairy tale" (7:32) gently echoing soprano sax notes float off into the mountain foothills while the gentle breeze tinkles the wind chimes and cymbals. Electric piano and bass notes join in slowly, transforming the porch-view into a trek into the foothills. Beautiful melodies issued by Klaus are apparently borrowed from a famous German folk song (which is even credited in the album's liner notes). Pleasant Herbie Hancock-like pastoral electric piano play during John Mealing's solo in the fifth minute. How can people discount this artist's abilities?! There is so much feeling and nuance in his play (not all flash and flare). Klaus returns with his soprano sax in the sixth minute as the rhythm section tightens up a bit--but not too much: just raising the tension levels a notch or two--but then Klaus' hypnotic echoed-melodies convince everyone to back down again to the gentle support roles they initially exhibited. Nice song! (13.75/15)

4. "Get yourself a second passport" (4:03) another funky clavinet-led R&B opening and acceleration is enhanced noticeably by the wah-wah and volume pedal modified rhythm guitar. (Wolfgang?!?!) Nice rhythm play beneath Klaus' soprano sax and "flute" synth solos. Wolfgang is really on fire in the "Can't Get Next to You" third and fourth minutes. Klaus switches to multiple instruments on multiple tracks to issue the main melody. Pretty cool! (8.875/10)

5. "Registration O" (9:24) Opening like a kind of campy burlesque song, the bass and low-end heavy drums are reinforced by a low-end organ bass as Klaus blasts away rather wildly on his tenor sax. I find it interesting how Klaus has mixed the organ's bass pedal line as the most forward, highest volume track in the song. Synth "saw" solo in the fourth minute is followed by a searing organ solo. But the biggest surprise (and highlight) to this heavy, MAGMA-esque tune is bassist Wolfgang Schmid's very good wah-ed electric guitar solo in the fifth and sixth minutes--it's even rousing enough to rile Bryan Spring into some risky drumming. But, with the advent of the seventh minute, everybody congeals again to a uniform goal, allowing the main bass melody to carry everybody to the eighth minute where they devolve the song in order to break into a new up-tempo motif with a cruisin' groove similar to that of the album's opening song. This then plays out in a jam as John and Klaus express their unbound feelings through organ, electric piano, and sax. Weird but powerful and definitely memorable. (17.5/20)

6. "Horizon beyond" (6:46) a fairly straightforward composition that is made so dynamic and entertaining by Wolfgang and Bryan. Plus, the sax play on this one (soprano) is one of the better/more accessible ones (for me). Even John's Hammond organ solo in the fifth and sixth minutes is great (though, admittedly, made better by Bryan Spring's drumming and Wolfgang Schmid's matching bass play). Nice melodies coming from both Klaus and Wolfgang. (14/15)

7. "The cat from Katmandu" (4:38) opens with a bass-and-drums straightaway: and then the multi-track conglomeration of several of Klaus' saxes presenting the melody (which is also quite catchy). And the throbbing organ chords in the background add a ton to the groove--a groove that becomes rather trance-inducing to we on the dance floor! This is also a sound that previews the sound that American saxophonist David Sanborn becomes so well known for. (9.75/10)

Total Time: 41:32

Due to superior production attention and techniques, even in 1972 Passport was exhibiting sound far in advance of that of most record companies in the USA; the production value here sounds like something from 1975 or 1976! (I urge you to compare this album to other 1972 releases in the jazz, rock and prog world: you will be very hard-pressed to find anything to measure up to this one.) The band have Dieter Dierks and Jörge Scheuermann at Dieter's state-of-the art home-based recording studio in Stommeln as well as bandleader (and producer) Klaus Doldinger's almost anal-retentive attention to detail to thank for this.

The music, however, is often built around either 1) rather simple ideas and structures or 2) Klaus' fiery saxophone solos. Though there is no denying that Klaus is a very skilled saxophone player, his sound and style does absolutely nothing to help win me over into the crowd of saxophone fans. I'll even go further in saying that it is most often the work of his band mates that engages me despite my aversion to saxophone leads. While many reviewers find it difficult to find skill or accomplishment in the instrumental performances on this album, I find myself so impressed that I wonder if I'm listening to the same album these other reviewers are listening to. Drummer Bryan Spring and certainly bass player Wolfgang Schmid are very dynamic, engaging, even exciting to listen to, while keyboardist John Mealing is definitely no slouch. What are these other reviewers hearing/seeing that I'm missing? The sound recording is so clear and pristine that each musicians' contributions are fully on display; there can be no questioning their skill and talent--and with the knowledge of Klaus Doldinger's rather exacting expectations and standards, I find it hard to find fault in these performances: they're most likely doing exactly what Klaus has asked of them--and I hear a ton of creative inputs coming from each and every musician through each and every song!

92.08 on the Fishscales = A-/five stars; a minor masterpiece of rockin' and funky Jazz-Rock Fusion that feels two to three years ahead of the curve on the historical J-R Fuse trajectory. The sound production alone is well-worth any prog-lover's attention and appreciation: You gotta hear it to believe it!

DEODATO Prelude (released in January of 1973)

Another addition to my list that may surprise many readers but take pause to read that list of musicians contributing to this album: it's a practical Who's Who of Jazz-Rock All-Stars! Plus, the album produced an anomaly in the world-wide Top 5 hit single, "Also Sprach Zarathustra"--a phenomenon that may have changed the course of Jazz music forever!

Prelude was recorded in September of 1972 at Van Gelder Studios in Englewood Cliffs, New Jersey, produced by Creed Taylor, and then released to the general public by CTI Records in January of 1973.

Lineup / Musicians:
Eumir Deodato / piano, electric piano
With:
- Ron Carter / electric bass, double bass
- Stanley Clarke / electric bass
- Billy Cobham / drums
- John Tropea / electric guitar
- Jay Berliner / guitar
- Airto Moreira / percussion
- Ray Barretto / congas
- Hubert Laws / flute
Horn Section:
Trumpets: John Frosk, Marky Markowitz, Joe Shepley, Marvin Stamm
Trombones: Wayne Andre, Garnett Brown, Paul Faulise, George Strakey / trombone
French horns: Jim Buffington, Peter Gordon
Flutes: Phil Bodner, George Marge, Romeo Penque

Strings:
Violins: Paul Gershman, Emanuel Green, Harry Lookofsky, David Nadien, Gene Orloff, Eliot Rosoff
Violas: Emanuel Vardi, Al Brown
Cellos: Harvey Shapiro, Seymore Barab, Charles McKracken

CHICK COREA Return to Forever

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

Recorded on February 2 & 3 of 1972, it was not released in the US until 1975 though it received an ECM release in Germany and Japan in September of 1972.

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

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

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

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

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

Total Time 46:48

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

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

October

FREDDIE HUBBARD Sky Dive (released in 1973)

Though Freddie had been collaborating for a couple of years with a group of musicians who dabbled with/ circulated on the fringes of the burgeoning Jazz-Rock "Fusion" scene--including Airto Moreira, Ron Carter, Ray Barretto, Jack DeJohnette, Hubert Laws, and, to a lesser degree, George Benson. Freddie's attempts at allowing more rock and electric elements into his stage and studio performances seemed hindered by his own allegiance to (and enjoyment of) more recent trends in jazz--like "hard bop" and "cool jazz." One problem was his relative aversion/avoidance to Latin influences like Afro-Cuban rumba and Brazilian bassa nova--two forms of popular jazz that had had huge influence in American music in the 1960s.Well, this album sees Freddie finally getting his foot in the door--thanks in no small part to his employment of Billy Cobham, Airto Moreira, and Ray Barretto--the former two of whom had been students/musicians with Miles and Carlos Santana and Joe Zawinul's Weather Report (Airto), the latter who had crossed over with the likes of Herbie Mann and Edgar Winter. This is the first album of Freddie's that I feel he has finally figured out how to fuse some of rock 'n' roll's innovations into his jazz music. Recorded by Creed Taylor on October 4 & 5, 1972, CTI released the album in January of 1973.

Lineup / Musicians:

Freddie Hubbard / Trumpet

Ron Carter / Bass

Billy Cobham / Drums

Kieth Jarrett / Piano, Electric Piano

Airto Moreira / Percussion

Ray Barretto / Percussion

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

Wally Kane / Bass Clarinet, Piccolo

Don Sebesky / Conductor, Arranger

With:

Trumpets & Flugelhorns: Alan Rubin, Marvin Stamm

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

Tuba: Tony Price

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

RETURN TO FOREVER Light as a Feather (released in 1973)

The deal is sealed: Chick Corea's Return To Forever is more than just a single album issue: it's now a band, a collective with a singular purpose: to explore the expanding and ever-elastic boundaries of the new medium that will become known as Jazz-Rock Fusion. The material that made the album was recorded in London, England at IBC Studios on October 8 and 11 of 1972.

Line-up / Musicians:
- Chick Corea / electric piano, producer
- Joe Farrell / flute, tenor saxophone
- Stanley Clarke / double bass
- Airto Moreira / drums, percussion
- Flora Purim / vocals, percussion

SANTANA Caravanserai

The newly-directed band toured extensively, enjoying their time together on and off stage, while at the same time trying to hone in and frame up some songs for a new album. They were eventually able to get some great, collaborative material to shape up for the making of what would become Caravanserai. Recorded in San Francisco, at Columbia Studios, between February 12 and May 5 of 1972, it was then released by Columbia Records on October 11. Though Carlos and Michael intended the album to be a "full album listening experience" from the very start, they ended up breaking the song order up into two very distinct sides, both flowing from opening notes into and through the music to a cohesive and comprehensive conclusion at each end. Side One is considered the Spiritual Side whereas Side Two is referred to as the "Percussionists Side."

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

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

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

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

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

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

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

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

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

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

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

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

Total Time: 51:20

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

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

MILES DAVIS On the Corner

Recorded in June and July of 1972 it was then released by Columbia on October 11. The album represents Miles most adventurous eclecticism to date (and maybe ever) as he is here trying to blend East and West, Pop and Jazz, Funk R&B, and lots of African rhythmic traditions--sometimes all at once!

Line-up / Musicians:
- Miles Davis / trumpet
With:
- Dave Liebman / soprano saxophone (1)
- Carlos Garnett / soprano (2) & tenor (4) saxophones
- Chick Corea / Fender Rhodes electric piano
- Herbie Hancock / Fender Rhodes electric piano, synthesizer (2-4)
- Harold "Ivory" Williams / organ, synthesizer
- John McLaughlin / electric guitar (1)
- David Creamer / electric guitar (2-4)
- Collin Walcott / electric sitar (1, 3, 4)
- Khalil Balakrishna / electric sitar (2)
- Paul Buckmaster / cello, arrangements (uncredited)
- Badal Roy / tabla
- Bennie Maupin / bass clarinet (2)
- Michael Henderson / electric bass
- Jack DeJohnette / drums
- Billy Hart / drums
- Al Foster / drums
- Don Alias / percussion (1) (uncredited)
- James "Mtume" Foreman / percussion (2-4) (uncredited)

1. "On The Corner / New York Girl / Thinkin' One Thing And Doin' Another / Vote For Miles" (19:55) starts out quite funky and quite rhythm-oriented as Dave Liebman and Miles take turns tooting their horns until clearing the top deck to make way for John McLaughlin's (rare) wah-wah-treated muted-horn-sounding electric guitar solo. I love how the keyboardists start to become active toward the end of John's solo, each making his presence known among the pack of hungry wolves. John's rhythm work in the New York Girl and Thinkin' One Thing and Doin' Another are quite interesting (and surprisingly loud) while Miles and the horns and keyboard artists take turns raising their voices above the rhythmatists. He then gets another solo in the 12th and 13th minutes--a loose one that sounds more like the work of Jan Akkerman or Roye Albrighton--all the while the horn players recharge and re-enter with new aplomb and abandon while Harold Williams droning organ haunts the background and Don Alias' cowbell sounds like a railway laborer pounding stakes into railroad ties. Yet another guitar solo in the 16th minute is more aggressive, less rhythm chord oriented, more McLaughlin-like. Miles' variably-muted (and treated?) trumpet barks from somewhere in the background and Michael Henderson's bass line drops down an octave and becomes a little funkier for a bit before the band kind of clears their palette, letting the Indian instruments (tabla, sitar, synthesizer, and other percussives) play out to the song's end. Interesting ride! There are so few high points or memorable highlights that it begs the same question I have when listening to all of the long-playing jams on In a Silent Way and Bitches Brew: what makes these so great? Where are the great performances, the great riffs, hooks, and solos that highlight so many of the great Jazz-Rock Fusion songs? I mean, there is great collective collaborative play and interplay, but no real showpiece performances. What, exactly, was the point? (35.5/40)

2. "Black Satin" (5:16) tabla and sitar give this funk tune a different aspect from the get go, but once the funk is engaged--from 0:34 on--it's really a funk fest with some really odd sounds and sound combinations playing within the rhythm track but over and above the drums, bass, and percussion instruments. The way the hand claps dominate is fascinating--and fun! I have to say that from an experimental, thinking-outside-the-box perspective, this is a really great song! (9.75/10)

3. "One And One" (6:09) more funk with odd, outside the box percussion sounds and rhythmic combinations and permutations as well as unusual uses and treatments of the horns (soprano sax and trumpet). Michael Henderson's heavily-wah-wah-ed bass is also quite unusual. All in all it makes for quite a companion to the previous song in that both are truly avant garde rhythmic adventures--ones that seem to preview some of the work of Bill Laswell and, to a lesser extent, Marcus Miller, MonoNeon (Dwayne Thomas, Jr.) and Thundercat (Stephen Bruner). Not quite as developed or engaging as "Black Satin" it is definitely interesting. (8.875/10)

4. "Helen Butte / Mr. Freedom X" (23:18) the rhythm section continues from the previous (two) song(s) with the added inclusion of more horn and keyboard work (especially Harold "Ivory" Williams' organ) as well as more standard sounds coming from the drummers' drums. Also, multiple keyboards are adding their own bass sounds to the one provided by Michael Henderson's bass guitar. The second half of the song ("Mr. Freedom"?) is much more percussion oriented. I bet this would be awesome to watch performed live on a stage but as an exercise in engaging, enjoyable dedicated headphones or doing-the-dishes listening it's not as fun as it might be to be groovin' with it live. Also, it's just not as broad-spectrumed as "Black Satin" or varied as the opening epic. (44/50)

Total time 54:38

Though funk is the name of the game here, it is the creative genius of the multitude of percussionists (three drummers, two percussionists and a tabla player!) and keyboard artists (no less than Herbie Hancock, Chick Corea, and Harold Williams) that get me. All this and Michael Henderson's impressive bass discipline and supposedly one trumpeter named Miles Davis!

89.20 on the Fishscales = B+/4.5 stars; a masterpiece of rhythmic experimentation that, unfortunately, results in what I consider only a near-masterpiece of Jazz-Rock Fusion.

MISSING LINK Nevergreen!

Proggy Jazz-Rock Fusion from Deutschland--produced and engineered by Dieter Dierks. Released in Germany in October of 1972, this is, sadly, the band's one and only album (though members would go on to help form such bands as MISSUS BEASTLY and EMBRYO).

Line-up / Musicians:
- Markus Sing / guitar
- Gunther Latuschik / saxophone
- Gabriel Dominik Mueller / vocal
- Dieter Miekautsch / keyboard
- Dave Schratzenstaller / bass
- Holger Brandt / drums

1. "Spoiled love" (5:19) opens with heavy rock chords and sound palette that sounds just like it comes from the kind of Black Sabbath or albums that SPINAL TAP made their name on for their parodies. Getting into the meat of the song there are some ELP-like sounds and chord progressions (and skill displays) before the organ and bass fall into line for the support of Gabriel Dominik Mueller's excellent voice to sing over. Great song established with stellar performances from all of the instrumentalists though especially Markus Sing's amazing lead guitar solo in the third and fourth minutes. I love how it goes soft for Dieter Miekautsch's electric piano solo (with added Mellotron later) for the final motif as bassist Dave Schratzenstaller's Greg Lake-like lines remind the listener of KING CRIMSON's In the Court of the Crimson King. Saxophone joins in with a little over a minute to go before Gabriel returns in the final minute; here he reminds me a lot of Roye Albrighton's voice for NEKTAR. (9.5/10)

2. "Song for Ann" (2:49) a great Keith Emerson-like piano solo. Stunningly gorgeous! (5/5)

3. "Time will change" (5:31) very disciplined almost-mathematical Jazz-Rock that is built a little like Paul Desmond's "Take Five" while sporting some "I'm a Man" descnding chords to regularly bridge the band into a reset. Nice piano, electric guitar, and saxophone. A new blues-rockin' motif starts around 2:45 which eventually supports the TRAFFIC/VAN MORRISON-like vocals that arrive in the fourth minute. (How much this reminds me of the 1990s HAPPY MONDAYS!) Awesome bass and rhythm guitar play along with Gabriel's excellent blues-rock vocal. Not my favorite style of music but definitely a great construct with quite excellent and creative performances from everybody in the band. (9.125/10)

4. "Only me" (5:07) more power psychedelic blues-rock that seems quite inspired by bands from a few years earlier like Traffic, Blood, Sweat & Tears, and even Santana. (8.875/10)

5. "Sorcery" (5:23) a blues-rock vamp over which sax, electric guitar, and keys elicit some impressive solos--especially Markus searing wah-wah guitar. The sound palette drifts into some really nice ALLMAN BROTHERS territory in the fourth and fifth minutes just before everybody throws any restraint to the ground for a free-for-all race to the finish. (8.875/10)

6. "Filled up" (6:26) More interestingly-constructed music that seems to have its hands in several pies: rockabilly, Baroque, and even the angular, anachronistic quirk of Gentle Giant. The vocal section in the fourth and fifth minutes is like GG being performed by Peter Hammill's VAN DER GRAAF GENERATOR or The Netherlands' FOCUS. Interesting--and definitely way more proggy than jazzy. Too bad Gabriel's vocal track is recorded/processed rather poorly. (8.875/10)

7. "Kids hunting" (6:11) on this one I hear a 60s rock start turn VDGG with some AREA injected into the music in the second minute. Vocals enter at the three-minute mark with a kind of DEREK SHULMAN style of singing used in the first vocal motif. But then the band switches to a more rapid-paced rock motif in which Gabriel's voice sounds more like Sabbath's Ozzie Osborne. The vocal performance is nice but, again, it's recorded/rendered rather poorly--like Grand Funk Railroad's early renderings of Mark Farner's lead vocals. (9/10)

Total Time: 36:46

Too bad these talented musicians (and songwriters) didn't stay together: there is some very high-quality musicianship as well as highly-creative song construction going on here. Only guitarist Markus Sing and keyboardist Dieter Miekautsch went on to contribute to any other successful bands (Konstantin Wecker and Missus Beastly/Embryo, respectively).

90.77 on the Fishscales = A-/five stars; a minor masterpiece of creative, skillfully-rendered progressive rock music. Despite the Jazz-Rock Fusion classification, I only hear rock-derived progressive rock here.

November

GARY BURTON & CHICK COREA Crystal Silence (released in 1973)

Recorded in Oslo, Norway on November 6, 1972 at Arne Bendiksen Studio for Manfred Eicher's relatively new ECM Records. The sessions included renditions of songs that had appeared (or would appear) on other albums, including a beautiful rendition of the title song which had already been recorded in a seven minute version for Chick's album, Return to Forever, an album that ECM released in Germany and Japan in September of 1972 but did not see an American release until 1975.

Lineup / Musicians:

- Gary Burton / vibraphone

- Chick Corea / piano, composer

VOLKER KRIEGEL Inside: Missing Link

The sophomore album release by the German guitar genius. Missing Link was recorded as a double album between March 20-23, 1972, at Waldorf Studio, Mörfelden-Walldorf (near Frankfurt/Main), Germany, with two lineups: one for the first two days and a slightly different one for the final two days. It was then published by MPS Records with the help and backing of BASF Records later in the year, probably in the Autumn. All tracks are Volker Kriegel compositions except where noted.

Line-up / Musicians:
- Volker Kriegel / electric guitar, acoustic guitar, octave guitar

- John Taylor / electric piano
- Cees See / percussion, voice, flutes, effects
- John Marshall / drums (Disk One)

- Peter Baumeister / drums (Disk Two)

- Albert Mangelsdorff / trombone (A1&2, B1&2)
- Alan Skidmore / soprano saxophone, tenor saxophone (A1&2, B1&2)
- Heinz Sauer / tenor saxophone (A1&2, B1&2)

A1. "Slums on Wheels" (13:24) John Marshall is a beast on the drums from the get go on this J-RF rocker. Guitarist and band leader Volker Kriegel uses a DANNY KORTCHMAR "It's Too Late, Baby" style acoustic guitar solo in the Alan Skidmore's soprano sax play in the second movement is so dynamic and exciting! And let's not forget the extraordinary drum playing of Nucleus' own John Marshall!

Eberhard Weber's bass play is fairly standard until the seventh minute when the band clears out and he's given solo time--then you know this is the one and only Eberhard Weber--two minutes he's given before the band slowly re-matriculates. The section that follows the bass solo is a bit odd--feeling meandering and out of place, and then Heinz Sauer's saxophone solo feels like it goes nowhere and never gels with the rest of the band, but at 12:15 there's a bit of a restart that helps the band to get back on track for the final minute. A truly remarkable multi-part song (or suite)! (28/30)

A2. "The "E" Again" (6:36) tediously repetitious rhythm track over which everybody seems to get a turn to solo (except the bass and drummer). The loose, laid-back feeling coming from all of the song's performers is kind of cool, but then, after six minutes it proves to be overdone. (8.70/10)

B1. "Zanzibar" (10:22) penned by Edu Lobo, this is a very catchy, melodic song that feels as if it's led by the big band-like horns. Great jazz funk bass play (in a style that I've never heard before from Eberhard) leads in over John Marshall's solid drumming over which Volker, then, takes the first extended solo on his jazz guitar. It's very GEROGE BENSON and Wes MONTGOMERY-like. From the 3:00 mark two tenor saxophones trade off the next solos. Again, these guys are very engaging and compelling (which is exceedingly rare for me: I am not nor have I ever been a fan of the saxophone). The grooving JAMES BROWN-like high-energy R&B jazz-rock fusion is so infectious! Amazing performances top to bottom! (19/20)

B2. "Missing Link" (12:03) some wild and crazy sounds being emitted here from all the band members but I ultimately reject this song for its overly-repeated foundation and 1960s-sounding guitar solo. Great, creative performances on top, but way too simplistic and repetitive--even in the suite's different motifs. (21.75/25)

C1. "Für Hector" (5:45) another hard-drivin' song based on a fairly rudimentary JAMES BROWN-like rhythm track (and "Shaft"-like introductory hi-hat play) that somehow inspires stellar performances from all soloists as well as the rhythm-makers. It's like they're pretending to be the JBs only at 45rpm speed instead of 33! Has there ever been a rhythm section as tight as these guys? Eberhard Weber and John Marshall are extraordinary! (9.25/10)

C2. "Remis" (4:26) a more Latin-based song that feels as if it came out of the Latin/Caribbean-crazed 1960s: 1960s hippie game show music! But so tightly performed! Very smooth, fluid jazz guitar play over acoustic rhythm section (and electric piano). (9/10)

C3. "Tarang" (10:00) a composition credited to Eberhard Weber, it opens up sounding like something from the Far East (not quite Indian, perhaps SouthEast Asian). The sound palette is very cool; not what one would expect on an album that presented those first six very Western songs. It's not until the second half of the third minute that we begin to hear any instruments familiar to the Western ear: double bass, drums, acoustic guitar, and electric piano. The sixth and seventh minutes present a long nearly-alone Eberhard Weber solo with clay hand drums before Fender Rhodes and drums start to reinforce both the pace and the harmonic structure. Interesting and definitely engaging despite a kind of lack of melody and harmony. I like it! (17.75/20)

D1. "Lastic Plemon" (5:21) another rampant-flowing R&B-based song in the James Brown tradition that flies along with everyone playing their 1960s parts. Well-orchestrated impeccably-performed song that never really grabs me. (8.875/10)

D2. "Janellas Abertas" (4:09) a short little four-part Caetano Veloso composition with double bass and symphonic percussion beneath Volker's extraordinary Spanish-style nylon-string acoustic guitar play. John Taylor also gets some time in the spotlight with his electric piano in the third movement, but everything returns to Volker's lap for the final beautiful section. (8.875/10)

D3. "Plonk Whenever" (4:06) another song that sends the musicians off to the races from the very start, arranged in some very complex "old jazz" forms and streams, sounding a lot like pre- or proto-Fusion Herbie, Wayne, Miles, Johnny Mac, and Tony. (8.875/10)

D4. "Definitely Suspicious" (5:55) acoustic guitar and gang come up with a rock/pop like construct with a bit of Latin and psych flavor over which Volker's simple rock/psychedelic electric and acoustic guitars take turns soloing for the first three minutes. The styles seem to move fairly cleanly between rock, psych-rock, and blues-rock. Fender Rhodes solo from John Taylor in the fourth minute before we return to Eberhard excels in a Danny Thompson kind of way while this song makes it clear that John Marshall is really meant to be a Jazz-Rock Fusion guitarist (not pop or jazz). Catchy enough melodies that I could see this getting some radio air time (back in the day). (9/10)

D5. "Finale" (0:10) Volker's cartoonish finish.

Total Time: 81:77

A much more jazz- and jazz-rock representative. The question is: How much of this album's superlatives are due to the guitarist, composer, and band leader and how much to the amazing all-star lineup he's enlisted in support? I mean, these collaborators keep performing at such a high level throughout the album (despite some weaker song foundations) that it's hard not to credit them, but could it also be the band leader's brilliant instruction and inspiring example motivating these amazing performances? Also, I must mention and commend the great sound the engineers and producers got out of this album. Also, I'm very much appreciative for this opportunity of seeing/hearing bass virtuoso Eberhard Weber in a far different light than anything I'd ever heard from him.

90.95 on the Fishscales = A-/five stars; a minor masterpiece of eclectic jazz, R&B, and Jazz-Rock Fusion pieces from a band of multiple virtuosi.

RONNIE FOSTER The Two-Headed Freap (1972)

This is the Jimmy-Smith-trained Ronnie Foster's debut solo album. It contains five original compositions and two covers of massively popular pop/Soul/R&B songs that were recorded at the Van Gelder Recording Studio on January 20 & 21, 1972, and then selected by Blue Note Records for November release.

Line-up / Musicians:

- Ronnie Foster / organ

- George Duvivier / bass
- Gordon Edwards / bass [Fender electric]
- Arthur Jenkins / congas
- Jimmy Johnson / drums
- Gene Bertoncini / guitar
- Gene Bianco / harp

- George Devens / Vibraphone [vibes], percussion

A1. "Chunky" (4:50) quite the high speed cruisin' song! (Reminds me of Boney James & Rick Braun's great tune "Chain Reaction" from their 2000 album Shake It Up but not quite as good.) Great groove and great organ play--and really impressive drumming and bass play from Jimmy Johnson and George Duvivier, respectively. Yes, without knowing when or who was making this music I'd almost be willing to guess it was coming from Italy's Nicolosi Family in the 2000s! Great start! (9.125/10)

A2. "Drowning In The Sea Of Love" (4:00) Ronnie is here covering the great Joe Simon hit from the year before. I love the contributions of George Devens Vibraphone and Gene Bertocini's guitar--working in weave-like melody-making with Ronnie's organ in the opening intro period they're almost as important as Ronnie! But then Ronnie steps into the spotlight and the other two recede to side support duties as the organ takes over wailing and swirling (though Gene's rhythm work is still awesome). (9/10)

A3. "The Two-Headed Freap" (4:19) sounding very much like Keith Emerson out of the gate, the organ-dominated song speeds along for 40-seconds before crescendoing and then suddenly slowing down to a Pink Panther sleuthing crawl in which each musician seems to stay a disciplined within a very simple but tight and syncopated five-chord weave. Around the two-minute mark Ronnie (almost reluctantly) steps into the spotlight to perform a Brian Auger-like solo over the sleuthing groove. It's quite entertaining and actually kind of fun! Big respect to Ronnie & the gang for designing much less pulling off this little cutie! (9/10)

A4. "Summer Song" (5:20) a steady, pedestrian two-chord vamp over which Ronnie shows off his two-handed organ skills. It's a rather awesome, funky stroll through the 'hood--like Cool Jazz in the 1970s, with great, locked-in, in-the-pocket, supportive performances from all of the band members. And Ronnie's organ work in the lead is really fun and likeable. (9.375/10)

B1. "Let's Stay Together" (4:50) now I see why the organ was such a popular instrument in 1950s and 1960s Smooth Jazz: it's just so melodic and its harmonic potentialities are so off-the-charts! Before hearing this song, I could never imagine an instrumental of Al Green's masterpiece coming even close to capturing the energy and vibe of the original but this nearly does! Ronnie really knows how to bring it! Again, big thanks to the wonderful work of the core rhythm section of Gene Bertocini, Jimmy Johnson and the two bassists! (9.375/10)

B2. "Don't Knock My Love" (4:30) the album's third and final cover song comes from Wilson Pickett but this one comes up a little short in terms of both band cohesion and capture and morph of the original material. (8.75/10)

B3. "Mystic Brew" (4:13) a nice, soft early-morning slow-wakeup song. I can see taking my time, walking around the beach house in my robe or jammies while slowly going through my morning routines--especially the kitchen routines and lounging on the ocean-side porch with my AM brew of choice. So the mood is set--undeniably so--so what's the music like--the musicianship and meat of the song? It's actually a little underwhelming and will have trouble arousing any attention to distract me from my blissful morning haze. (8.75/10)

B4. "Kentucky Fried Chicken" (5:00) what starts out a little monotonously ends up getting synched with itself and it's funky title due to Ronnie's fiery organ lead in the second half. (9/10)

Total Time: 37:19

89.84 on the Fishscales = B+/4.5 stars; even though the songs on this album are all rather simplistic arrangements of pop-jazz, it is still a near-masterpiece of totally-enjoyable, perfectly-performed organ-centric instrumental music.

FRANK ZAPPA The Grand Wazoo

Composed while convalescing in after being assaulted in London in December of 1971, The Grand Wazoo was recorded in Los Angeles at Paramount Studios in April and May of 1972 (at the same time as the material that ended up on Waka / Jawaka?) and then released on November 27.

1. "For Calvin (and His Next Two Hitch-Hikers)" (6:06) despite the vocals and story-telling format that sets up this song for its first two minutes, the music here is of a more complex, tension-filled Jazz-Rock Fusion type--one that reminds one of the Mahavishnu Orchestra (though it could also be perceived as perhaps a parody of the MO). It's humorous but also exhibiting incredible skill and timing. Frank Zappa at his most quintessential (and perhaps most satirical). Overall, the song may not make sense--it may not feel as if it accomplishes anything--it is an expression of intense discipline. (9.25/10)

2. "The Grand Wazoo" (13:20) pure jazz-rock served up CHICAGO style (jazzy and complex but leans more toward the funk of Santana, Osibisa, and Cymonde with a touch of Miles' expanded lineup and Chicago's instrumental song constructs) with tons of experimental sounds and sound treatments being tried by virtually everyone! Frank's using a talk box to shape his guitar solo sounds, wah-wah fx pedals, MiniMoog, a wide variety of percussion instruments, and lots of horn use--including extensive trombone presence and a fun(funny) kazoo-like muted trumpet solo in the seventh and eight minutes while all the other horns and winds seem to add their zoo-like cacophony of odd sounds. I also love how each and every instrument remains distinct and clearly defined throughout the song--as if you're right there on stage amidst the ensemble. The groove set down by Alex Dmoshowski, Aynsley Dunbar, Alan Estes, Bob Zimmitti, and Tony Duran is locked in and engaging from start to finish. And then the way everyone--especially the horns--come together near the end--in the eleventh minute--is sublime (though I'm not quite as big a fan of the "high school marching band" sound that emerges out of this in the 12th minute. Luckily, they return to rock for the bluesy section in the final minute for Don Preston's MiniMoog soloing and then the finale. (27.75/30)

3. "Cletus Awreetus-Awrightus" (2:57) kind of funked-up barrel-hall polka!?!? This one feels familiar in that many of the melodies used, the often outright humorous ejaculations, and quick-changes from motif to motif are now familiar to us from Frank and the Mothers' previous 12 albums. (8.875/10)

4. "Eat That Question" (6:42) opening with two-channels of chorused electric piano soloing from George Duke, the rest of the band kicks in toward the end of the first minute with a blues-rock motif that sounds a lot like something one of Stevie Winwood would have accomplished with one of his many bands--maybe the Spencer Davis Band, maybe Blind Faith. A jam song ensues in which some nice Fender Rhodes soloing occupies the first half before Frank takes over with some vocal-like wah-wah electric guitar for the bulk of the second half. The main pace and melodic flow of the motif definitely sound like Frank was trying to emulate the heavier blues rock 'n' roll of bands like Blind Faith, Cream, Led Zeppelin, and The Jimi Hendrix Experience. Solid but nothing ground-breaking, snide, or satirical. (8.875/10)

5. "Blessed Relief" (8:00) some very pleasant Fender Rhodes-displaying early "smooth jazz" with a gentle, soulful, and even hypnotic bass line, warbly keyboard sound and unadorned, sometimes-acoustic-guitar sounding guitar and gentle accents and adornments from a sedated horn and wind section. Very pleasant, very laid back and simple groove-with-it music that seems most uncharacteristic for FZ. (14/15)

Total Time 37:05

This is by far my favorite Frank Zappa album that I've yet heard as it avoids much of the sophomoric humor that make other songs and albums "old" and abrasive after one or two listens (this despite the underlying compositional genius and instrumental prowess of FZ and his always-highly-skilled bandmates). The Grand Wazoo feels like FZ proudly and simply putting on display his admirable songwriting/conducting genius, even showing a little more of his "humane" side with ample freedom for expression (improvisation) given to the contributions of his bandmates. This is an album that I enjoy returning to time and again. There is brilliance and astounding sophistication in FZ's music and yet it is so often trumped by the lyrical jokes. On The Grand Wazoo you get all of the former, front and center, and yet there is still plenty of joy and humor in the music itself--especially in the "Cleetus" and "Calvin" songs. Though I love hearing Frank shred on the guitar, this album only puts that side of him on display on one song ("Eat that Question"); I so much prefer this type of musical sophistication from the Mothers ensemble that I'll gladly sacrifice some of Frank's instrumental flare for the collective masterpiece of songs that he's produced for us here. As my journey into Frank's world continues to unfold I hope to find much more music like this, for that is what it will take to make me a fan.

91.667 on the Fishscales = A/five stars; a masterpiece of fairly sedate and often-straightforward, serious and un-Frank Zappa-like Jazz-Rock Fusion. For a long time I didn't know that Frank had this kind of un-mischievousness in him!

GOOD GOD Good God (released in November)

A bunch of boys from Philly pulling off some truly mind-blowing performances: some are very like mid-70s PASSPORT, some more Mahavishnu-like, others Swamp blues from the deep South. Good stuff!

Line-up / Musicians:
- "Zeno Sparkles" (Larry Cardarelli) / guitar, vocals
- Cotton Kent / piano, e-piano, clavinet, soprano saxophone, marimba, vocals
- Greg Scott / soprano, alto & tenor saxophones
- John Ransome / bass
- Hank Ransome / drums, vocals
With:
- Johnny Almond / tenor saxophone (2)
- Bruce Solomon / trombone (6)
- Bob Martin / French horn
- Bob Shemenek / trumpet
- Larry Washington / congas

1. "A Murder Of Crows" (6:24) a Larry Cardarelli original that starts out sounding to my ears very much as if it came from the 1960s American band The Free Spirits but then steers into more structured and groove-oriented territory of European Jazz-Rock bands like Can, Embryo, Kraan, and Passport. There is just enough sophistication to lift it out of the realms of Krautrock, into the more praise-worthy neighborhood of Doldinger's Passport. Nice jazzy keyboard work from Cotton Kent on his electric piano, solid and steady rhythm play from John and Hank Ransome on bass and drums, respectively, and good, if unoriginal work from Greg Scott and "Zeno Sparkles" on sax and "dirty" electric guitar, respectively. The group vocals at the end are interesting enough to raise the final mark a notch. (8.875/10)

2. "Galorna Gavorna" (5:11) a Cotton Kent original opens sounding like an early Mothers of Invention parody of The Kinks' "All Day and All of the Night" or The Doors' "Hello, I Love You" but then the Ransome Brothers rhythm section falls into a great hypnotic groove while "Zeno" wah-wahs and Greg blows some awesome Coltrane-inspired tenor sax. This is jazz-rock fusion, though of a more rock-centric perspective. Zeno's turn to solo starts in the third minute and carries over to the 3:30 mark. He's no Terry Kath but it's good. The songwriter himself is next using some wah-wah-ed electric piano and countered by Zeno's flashes of rhythm guitar chords. At the end of the fifth minute everybody quiets down and self-fades away. Interesting! Quite the decent song! (9/10)

3. "King Kong" (8:53) yes, a cover of the Frank Zappa classic! I don't recognize the melodies (despite owning and loving both the 1967 original as presented on Side Four of the 1969 double album Uncle Meat and the album version composed for 1970's amazing Jean-Luc Ponty Plays the Music of Frank Zappa, nevertheless, this is truly classically-influenced Jazz-Rock Fusion of the kind Frank envisioned for his fully-composed version recorded for and with Jean-Luc. The keyboard, sax, and electric guitar work on this song definitely take seriously Frank's odd-timed composition with all of its detail and sophistication--all three lifting their performance levels up a notch or two--while the Ransome Brothers do a great job of toeing the line from beneath. (18/20)

4. "Dragon Song" (4:20) and now, to follow that extravaganza: a cover of the John McLaughlin classic! Wow! These guys are ambitious! I LIKE IT! The saxophone does not quite replace the Mahavishnu's fiery guitar but Zeno's guitar, Greg's clavinet, and John Ransome's spot-on bass fully capture the heavy baseline that makes "Dragon Song" so iconic. Zeno takes on the heavy load of imitating/replicating the Mahavishnu for the second solo, taking up the significant parts of third and fourth minutes before Cotton and Greg return with clavinet and sax rising up to take us out. Nicely done! The solos may not have been quite so fiery but I truly commend the band for duplicating the heat that makes the original so memorable. (9/10)

5. "Zaragoza" (6:31) another Cotton Kent original, it starts out a little like a loose Afro-Caribbean drunken song but then really tightens up with the next gear at the two-minute mark: drums and bass really crisping things while Cotton pounds and tickles those ivories. (Nice piano solo, Mr. Kent!) Somehow bass player John Ransome is giving the spotlight in the fourth minute while everybody else seems to quietly, deftly, back him--until Zeno emerges from the team unison as the soloist at the 4:00 mark, then we're all working on keeping up with the four-person rhythm section while watching Zeno soar. At 5:30 there is an odd "dismemberment" of each and every one of the band's lines, creating a bit of chaos before coming back together behind Cotton to carry the song to its finish. Interesting--and definitely jazzy. (9/10)

6. "Fish Eye" (8:37) a Larry Cardarelli original, it rises out of the cauldron like a 1960s R&B classic, settling in the ether as a seductive blues-rock piece that could have come from a BLOOD, SWEAT & TEARS album. The performances of each and every musician seem so locked in, so full of channeling the Southern blues. Amazing energy; amazing conviction! Zeno's vocals are incredible but then his dobro-sounding guitar play is so deep Swamp level that I'm have convinced he's channeling Clarence "Gatemouth" Brown, Stevie Ray Vaughan, or Roy Buchanan! Wow! And I don't really choose blues for my listening pleasure but here: I recognize great performances no matter what the avenue or medium. Greg Scott's alto sax solo is interesting for being so attuned to the song's main melodies harmonics, rarely ever hitting the notes or scales of the main melody. Fascinating! Mega kudos, guys, for really upping your game to take a human composition to such demonically high heights! (20/20)

Total Time 39:56

Some of the music, some of the individual performances, some of the collective performances are extraordinary; some are almost mundane or of an amateurish level of display. The album as a whole leaves me quite confused as I sense that the band really is able to lift themselves to extraordinary heights--as they did on "Dragon Song," "King Kong," "Fish Eye," and parts of "Galorna Gavorna" (Greg Scott's sax). And the Ransome Brothers as a rhythm section are locked and loaded: they can handle anything (even if they're recorded rather poorly). The band can obviously play many styles but the power and force of Larry Cardarelli's "Fish Eye" makes me think that the blues of the Deep South might be where they should have focused their energies.

92.34 on the Fishscales = A/five stars; an amazing collection of songs all performed at a raw yet-inspired level of proficiency while several rise to the level of "WTF?!!!" Surprise, surprise! Whatever happened to …? It's not straightforward Jazz-Rock Fusion, more like a band searching for their style, but it is powerful!

JUKKA HAURU Information

The Finnish Jazz-Rock Fusion scene is taking off--and not just in the circles emanating from Wigwam! Recorded at Finnvox studios, Helsinki, in July of 1972 and then released by Finnlevy late in the year.

Line-up / Musicians:
- Jukka Hauru / guitar, composition, producer, arrangements
- Raimo Wallen / tenor saxophone

- Reino Laine / drums (A2 to B5)

- Heikki Virtanen / bass (A1, B1-B5)
- Tapani Tamminen / bass (B5), double bass (A3, A5)
- Juhani Poutanen / arrangements, violin (A2, A5-B5)

- Olli Ahvenlahti / electric piano; piano (A5)
With:

- Tapani Ikonen / drums (A1)

- Markku Marstela / soprano saxophone (A4)
- Sakari Kukko / soprano saxophone (A1)
- Matti Jakola / vocals, other (A3)

1. "Mai-Ling" (6:16) interesting whole-band carry of the main melody while the simple militaristic rhythm section supports beneath. The two guitar tracks and saxophones are the most erudite--even if they are repeating "exotic" folk Eastern European melodies for the first three minutes. The second motif of guitar-led drums and bass only is a much better indicator of the high proficiency each musician possesses. Drummer Tapani Ikonen and bassist Heikki Virtanen impress (as does Jukka)! While the first part of this song sounded hokey and poorly planned and engineered, the second half more than makes up for it. (9/10)

2. "Room 1972" (1:52) sounds like music created to accompany a particular scene from an old silent film. A lot of sensibilities drawn from orchestrated classical music. (4.375/5)

3. "Jamsession the Finnish Yes Federation's Skinheaded Board" (1:33) a very entertaining Cheech and Chong-like skit in which a glossaphiliac expresses himself to his drug-stupored mate in multiple European languages, all of which prefaces a spirited outburst of New Orleans jazz-rock. A very memorable song. (5/5)

4. "No More Blues" (6:55) a song that uses music to express humor in a very sophisticated, almost jazzy-avant-garde fusion way. Multiple tracks moving through their improvised melody-making as if separately but it all works harmonically and counterpointedly. At 2:25 the band switches to a different path--one that is more high-speed Hendrix/CREAM-like blues-rock. At the same time I hear a lot of influence from CHICAGO and BLOOD, SWEAT AND TEARS. (13.5/15)

5. "Evil" (6:08) what starts out as a kind of jazzy variation of the opening of Ravel's "Bolero" turns more FOCUS-like with some excellent speed electric guitar play played over some beautifully woven folk melodies (especially from violinist Juhani Poutanen). The virtuosic similarities in melody and style between Jukka and Jan Akkerman are rather striking. Very creative, inventive song with some flashes of true brilliance from Jukka. A top three song. (9.25/10)

6. "Splitting" (3:24) jazz drums, bluesy electric bass, Fender Rhodes electric piano, and wah-wah distorted guitar that sounds like John Tropea in "Also Sprach Zarathustra." Nice display of skills and compositional capabilities--though the bassist always sounds a bit in his own universe. I do, however, like the disparate inputs of the horns and other instruments: it's cacophonic but somehow works as a cohesive weave. (9/10)

7. "Information" (4:35) an awesome weave between sax, violin, bass, and electric guitar that totally predicts the early J-R Fusion style of the great Jean-Luc Ponty. Awesome song. A top three for sure. (9.25/10)

8. "Refilling Valve" (3:40) strumming of the piano wires before the pianist commits to playing the keys--all the while the recording mike is obviously more focused and concerned with the sounds emanating from within the box than from through the piano frame as a whole. Some violin joins in in the second minute but then every body sits down (including the pianist and sound recording engineer) to listen to some lovely piano contemplations. I really respect the act of Jukka's giving pianist Olli Ahvenlahti this opportunity to express himself. Another quite memorable song--one that I really like. (8.875/10)

9. "What?" (4:44) opens with a motif that sounds like a song variation inspired by a motif in KING CRIMSON's "21st Century Schizoid Man." At 1:30 the band switches roads and moves onto the expressway with some standard drums, electric bass, Fender Rhodes, and electric guitar soloing (here Jukka still finding an anchor and inspiration in Robert Fripp's melody lines from "21st Century Schizoid Man"). I love Olli Ahvenlahti's Herbie Hancock-like electric piano accents thrown over the top of the frenetic bass and drum playing. (9/10)

10. "Waltz for the Straight Relatives" (2:25) a little FOCUS-like folk ditty that is repeated over and over with different layers and soloists for its two-and-a-half minutes. (4.375/5)

Total Time 41:32

Great compositions performed beautifully by some very skilled musicians. Too bad the sound treatments and engineering choices aren't a little more creative and advanced. (I'd love to have felt a little more cohesion in the overall sound blending of each song.) Though impressive in its variety of styles and influences (which, yes, includes Frank Zappa), I would have liked to have heard a selection of tunes that gave me a better sense of Jukka's preferences. (I know that's unfair--especially as most hyper-creatives are cursed with wanting to express each and every thought and idea flowing through them, so, I apologize.)

90.69 on the Fishscales = A-/five stars; a minor masterpiece of First Wave Jazz-Rock Fusion from a creative songwriter and his cast of highly-skilled instrumentalists.

December

THE SOFT MACHINE Sixth (released in 1973)

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

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

STOMU YAMASH'TA Come to the Edge: Floating Music

Recorded in 1972 and then released by King Records in December of 1972. An album of four quite distinct quirky, experimental Jazz-Rock Fusion songs that employ quite a wide range styles coming from unusual combinations of ethnically-diverse instruments, from horns and xylophone to chunky electric fuzz bass and vibraphone and even Japanese sho with steel drums.

Line-up / Musicians:
- Stomu Yamash'ta / percussions
With:
- Come To The Edge:
- Robin Thompson / organ, piano, soprano sax, sho
- Phil Plant / bass (1, 2)
- Andrew Powel / bass (3, 4)
- Morris Pert / drums, percussion
And:
Peter Robinson / piano (1)
Dave White / soprano sax (2)
I. Goffe / trombone (2)
R. Harris / trumpet (2)

1. "Poker Dice" (17:55) the first two minutes of Poker Dice are filled with tuned and untuned percussion instruments seeming to vie for the establishment of some kind of structure--against what feel like great obstacles. Finally, in the third minute, Phil Plant's bass, Robin Thompson's electric piano, and Morris Pert's drums figure out how to join in-- they, of course, bringing a structure: a jazz-rock rhythm section beneath Stomu's xylophone. (Somewhere in this song is a keyboard from Peter Robinson that is credited as a "piano" but may in fact be an electric piano with Robin Thompson playing the fuzzy "electric guitar" chords on an organ). In the middle of the sixth minute Stomu hands over the reigns to Robin as he relinquishes his vibes for a tambourine. At 6:40 there is a stoppage that is quickly though subtly filled with a newly refurbished jazz-rock fusion motif in which Stomu is again up front with his xylophone while the rhythmists now play with a much more stoccato urgency than before. At 8:30 Stomu again steps back and picks up a block as he lets Robin, Phil, and Morris share the spotlight for a bit. The melody lines created here sound a bit Renaissance's "Trip to Fair": like a dream walk through an empty carnival with lots of ghosts populating the soundscape. Nice drumming from Morris. At 11:50 there is a rather sudden motif shift, this one building like a Zeuhlish passenger train, with Stomu and Robin (and/or Peter) playing out their weird clown fantasies over Phil's insistent bass chords and Morris' near-military drumming. This, then, is the motif that carries us to the song's end. Interesting, entertaining, and especially enjoyable if you like music that weaves multiple keyboards together. (31/35)

2. "Keep in Lane" (8:38) drums and wild tribal vocalizations including Konnakol-like drum-vocals as well as theatric animal-like noises open this one but then, in opening seconds of the the second minute, a sax and horn section enter to define this song as a Latin party tune. The horns have a field day while Stomu and Morris battle it out with sticks on tuned drums and cymbals. It's weird to feel as if I'm in Cuba while listening to a Japanese composer's work! At 4:50 Stomu switches to his xylophone while the rest of the band continue on with their CHICAGO-like jazz-rock celebration. An excellent song for all of its performances, its compositional surprises, as well as for its joyous energy. The song closes with a return to the band's boisterous vocalizations accompanying the weave of the percussion instruments. (18/20)

3. "Xingu" * (13:08) This wonderful Canterbury-flavored song feels as if one of the great Canterbury bands of the day-- probably Caravan or Hatfield And The North--were to have guests Tito Puente and Magma's Bernard Paganotti, with his heavily-distorted chunky bass, sitting in to play a Canterbury song. My favorite song on the album. (23.25/25)

4. "One Way" * (11:55) the first three and a half minutes of this song sound as if a Native American clay pipe player (like R. Carlos Nakai--here as "sho" played by Robin Thompson) were playing with some Tibetan monks on their odd percussion instruments. Then Stomu brings in his vibraphone for a while before percussionist Morris Pert starts to unleash a wide variety of instruments commonly used in Western orchestral settings. Calypso steel drums are also present in the third fourth of the song before everybody quiets down and we return to Robin's sho leading the way to the song's end. A highly engrossing, enjoyable excursion into a fusion of cross-cultural traditional ethnic instruments. (22.5/25)

* Recorded live at Queen Elizabeth Hall, London, January 10, 1972.

Total time: 51:36

Wow! I was not expecting this! A great adventure into a direction of ethnically-diverse Jazz-Rock Fusion that few musicians or bands ever explored.

90.02 on the Fishscales = A-/4.5 stars; a most-excellent collection of diverse and highly experimental yet-fully-Jazz-Rock Fusionary tunes from quite a visionary of the genre. Rated up for courageousness and innovation.

OUT OF FOCUS Four Letter Monday Afternoon

The peak of achievement from this uber-talented band from München, Bundesrepublik Deutschland: a 94-minute of finely polished music that was recorded in 1972 at Bavaria Musikstudios between July 17 and 28 and then published later in the year by Kuckuck Schallplatten. (FYI: there was at least another 94 minutes of excess music from these recording sessions that was left on the cutting room floor or studio shelves gathering dust until someone saw fit to dust them off and publish them on two albums, Not Too Late released in 1999 and Rat Roads in 2002, respectively.)

Line-up / Musicians:

- Remigius Drechsler / guitars, Tenor saxophone, flutes, stylophone, voice

- Hennse Hering / organ, piano

- Moran Neumüller / Soprano saxophone, vocals

- Klaus Spöri / drums

- Stephen Wishen / bass

+ Hermann Breuer / trombone

- Peter Dechant / acoustic guitar, vocals

- Grand Roman Langhaus / bongos

- Jimmy Polivka / trumpet

- Ingo Schmid-Neuhaus / Alto & Bariton saxes

- Michael Thatcher / organ

LP 1 (46:07):

1. "L.S.B." (17:37) very much like some evolved Big Band jazz--taking Don Ellis a bit further in terms of incorporating elements of avant/free jazz and electronics, but also quite a bit more reigned in in terms of the use of odd time signatures. Still, the song is quite entertaining for its multiple sax-connected multiple motifs covering a range of styles and tempos. There are a lot of elements of blues-rock at the core of a lot of this music (one can still hear the band that did Wake Up! just two years before). I really like the KINGSTON WALL-like vocal motif in the last third of the song. (31.75/35)

2. "When I'm Sleeping" (4:04) sounds like THE ROLLING STONES if they tried covering PETER HAMMILL song as well as a smooth Motown tune for the chorus and instrumental section. Hennse Hering's old-time saloon-like piano play in the background is a delight, as is Stephen Wishen's bass JAMES JAMERSON-like play and the sax work. I don't know why, but the recording of the drums is rather poor. This may be my favorite vocal performance from Moran. (9/10)

3. "Tsajama" (9:23) a great guitar and flute intro leads into an awesome motif with heavy organ and low bass notes weighing things down beneath the flute, guitars, and smoothly-drawn lines coming from the full horn section. Awesome in a Brian Auger/Eumir Deodato kind of way. Remigius Drechsler leads the way with his searing guitar play in the second and third minutes before Hennse's Hammond and the orgasmically-smooth horn section join in to double and back him. Such a great groove! In the second half of the sixth minute the horns, Hammond, and guitars back off and Moran enters in a singing capacity, using Japanese as his language. Interesting. Then he runs off into some poorly-synched scatting in the seventh minute before returning to leading the smoother, multi-channel melody in Japanese in the eighth. But then the band ramps up the pace and breadth of sound dynamics with a return of the horn section, inspiring Moran to gallop off with some more interesting horse-like vocalese scatting(?). (19/20)

4. "Black Cards" (9:38) a gentle weave of organ and electric guitar arpeggi opens this before flute, hand drums, and a second guitar join in. At the one-minute mark the bass jumps on board, ushering the band into a full blues-rock sound palette over which Moran turns back to his Mick Jagger voice for another vocal performance that reminds me of Mick singing his Slow Horses theme song. A return to the opening theme at the end of the third minute allows for a kind of 30-second reset from which they emerge with a VAN MORRISON "Moondance"-like motif over which Hennse solos on his Wurlitzer-sounding organ. This is a great, extended instrumental section with some gorgeous and dynamic flute soloing throughout. At the end we return to the blues swing theme for Moran to finish things off with his Moves Like Jagger. (18/20)

5. "Where Have You Been" (5:35) a gorgeous folk-rock song with one of Moran's most moving and melodic vocal performances. Powerful. Incredible flute solo in the "C" part: heart-wrenching. I know that Moran (and maybe his bandmates) had a very strong moral compass. We are so blessed to have the legacy of their passion and courage. (9.5/10)

Disc One earns itself a 91.84 score on the Fishscales.

LP 2 (48:09):

6. "A Huchen 55" (9:19) opens with mutliple flutes winding and wending their way through a rondo weave for two minutes before giving way to a faded in psychedelic blues-rock jam (that was already in progress). Hammond organ takes the first solo over the bass, drums, and guitar support. At the three-minute mark, a panoply of horns join in, each playing their own melody line but securing their comraderie through mutually-respective pauses and breaks. The music coming from the rhythm section beneath kind of hits a "I'm a Man" pulse-and-let-off pattern as the horns continue their fascinating and almost humorous interplay. In the seventh minute, electric guitar and Hammond start to inject their own flourishes and melodic ideas. By the eighth minute the horn players are starting to tire--and eventually peter out for a full minute or more while the Hammond and sassy electric guitar share a quirky little conversation of quips and epithets. At the end of the ninth minute, then, the bluesy jazz music is fadeout (the same way it came in) replaced by the flute weave that opened the song. (18/20)

7. "Huchen 55, B" (14:32) opening with the flute weave from the previous song bleeding over, a new already-in-progress R&B jam is faded in. The James Jamerson-like bass play that drives the music is once again emitting waves of groovy Motown sound, but this soon fades out to be replaced by Moran's solo flute play. He sounds so much as if he's trying to imitate the breathy play of maestro Jean-Pierre Rampal. Jazz guitars, trumpet, Hammond, each take their turn joining in beneath Moran's increasingly-avat garde flute stylings. In the seventh minute trumpeter Jimmy Polivka tries usurping the lead from Moran, but it is not that easy: Moran is riding along on pure inspiration. So Jimmy gives up. Hennse and Remigius each take their own turns, trying to nudge Moran out, but Herr Hering only seems to get stronger--until the 9:00 mark: then he gives way, sits back and lets the music unfold without him. The band seem to rise to the occasion with a JEFFERSON AIRPLANE-like creativity: slowly, carefully, deliberately. Hennse's excited Hammond is kept at bay via repressed volume, which allows the horns to have their time. In the twelfth minute Remigius steps to the fore and lays out one awesome blues-rock solo. The band is really into the jam here: fully entrained with everyone clicking--expelling their full creative juices. Awesome! Despite its looseness and lack of plan or developmental structure, this song plays out with some infectious power. Moran's multi-flute weave is once again used to bridge this song with the next one. (27/30)

8. "Huchen 55, C" (24:18) What a jam! Wild and crazy: from Moran's lyrics and vocal performance (sounding like a reckless/uninhibited Mick Jagger channeling PETER HAMMILL) to the reckless abandon with which everyone blasts and grooves out their passion. I mean, it feels as if everyone, all at once, is given the total green light to play whatever they feel inspired to play. This makes for some very creative and memorable solos--especially from the horn players (the multitude of saxes, of special note), percussionist, and Hennse's Hammond organ. Definitely Krautrock. Definitely hypnotic in a "Low Spark of High-Heeled Boys"-kind of way--a sound that would also seem to indicate the use of mind altering substances. The song's final three minutes are particularly entertaining for the frenetic yet-respectful free-for-all that gradually peters out, making way for yet another reprise of Moran's multi-flu

te weave. (45.5/50)

Disc Two earns itself a score of 90.50 on the Fishscales.

Total Time: 94:16

91.17 on the Fishscales = A-/five stars; a minor masterpiece of wonderfully-creative First Wave Jazz-Rock Fusion. One can definitely trace the influences and inspirations for each song on several levels but in the end the boys have achieved a mastery of their instruments and goals, enabling them to merge admirably their Krautrock influences with the Blues-Rock and Jazz-Rock Fusion trends they've been hearing. As with every other reviewer I've read, it's too bad this band didn't stay together.

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

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

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

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

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

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

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

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

Total Time: 41:39

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

OUT OF FOCUS Rat Roads (recorded in 1972; not released until 2002)

The second batch of "songs" (many existing in varied states of development or as unfinished jams) gleaned from the cutting floor of 1972's sessions for their Four Letter Monday Afternoon album (the band's last). Man! This band had so much untapped potential! And Jazz-Rock Fusion seemed the direction they were definitely headed.

Line-up / Musicians:
- Peter Dechant / guitar
- Remingius Dreschler / guitar
- Hennes Hering / keyboards
- Moran Neumüller / vocals, sax, flute
- Ingo Schmid-Neuhaus / saxophone
- Klaus Spöri / drums
- Stephan Wiescheu / bass
With:
- Hermann Breuer / trombone, keyboards
- Grand Roman Langhans / percussion
- Jimmy Polivka / trumpet
- Michael Thatcher / keyboards

1. "I'd like to be free" (7:15) strummed guitar chords open this tout seul until tenor sax joins in playing a simple variation on George Gershwin's "Summertime" from Porgy and Bess. The rest of the band gels around this theme, sprouting a very pleasant motif that gushes forward with solid momentum, thick bass and thin drums supporting Moran Neumüller's Bob-Dylan/Damo Suzuki-sounding voice singing, once again, in English but this time with less vehement social commentary, more a laid back statement of dreamy desire. The instrumental soloing in the. fourth and fifth minutes is excellent, separated by SPENDER DAVIS GROUP/BLOOD, SWEAT & TEARS-like bridges. A very pleasant and melodic song that could have made many radio listeners quite happy (but would, of course, require some editing in order to fit radio time formats). (13.375/15)

2. "Table talk" (12:03) opens like a DON ELLIS song with layers of multi-instrumental stuff going on all at the same time--including what sounds like a horn section--all seeming separate but eventually falling into a merger that works really well together even thought they still sound separate. (Very difficult to explain. Think of three bands on stage at the same time--bass and drums, keyboards and guitars, and horn section--each launching into their own totally unique song, at first somewhat awkwardly but eventually, somehow, entraining with one another into a multi-layered sound that works!) One of the coolest songs I've ever heard in my life. It's like Miles' Bitches Brew only everything makes sense and sounds good! (25/25)

3. "Rat roads" (5:16) a song that starts out as another slower, more spacious variation on the Gershwin "Summertime" theme that eventually speeds up and gels into a kind of Brazil '66 "Newlywed Game" theme song. Nice but definitely feels like an extract of an unpolished, incomplete song. (8.875/10)

4. "Fallen apples" (2:18) gentle tenor sax sax accompanied by gntle arpeggiated electric guitar chords and some cymbal and brush play. Pretty, (4.5/5)

5. "Straight ahead" (4:39) organ-led but not Brian Auger's version, more like a punched-in excerpt from a long jam that was recorded and achopped up and hashed out to make several songs on these later releases. Nice palette and performances but not a proper song; just a jam. (8.875/10)

6. "Tell me what I'm thinking of" (3:58) jazz chord progressions over which Moran sings. Kind of like "Take Five" with vocals. (8.875/10)

7. "Climax" (12:47) another song of multiple streams of individual musicians working independently--as if warming up or tuning their instruments--that smooths out for the second and third minute before beginning to take shape--to turning into something cohesive--in the fourth minute. It almost becomes Steve Reichian before the trombone, rhythm guitar, saxes and keys begin to merge over drummer Klaus Spöri's "Shaft"-like cymbal play. Bassist Stephan Wiescheu carries forward the trombonist Hermann Breuer's repeated pattern as the horns seem to go their own separate ways but then goes his own way when Hermann returns to carrying his mathematic melody line again. This is when the drums finally get to break out and, with the rest of the rhythm section, present a hard-driving motif over which the horns continue to add their loose change. At the end of the ninth minute we're left with only bass and drums and two electric guitars: one jazz strum-leading while the other picks delicately from behind. A cool song that the band has pulled off here: so creative! The final 90 seconds sees the gaggle of horns almost coming together for the first time. (22.125/25)

8. "Kitchen blues" (0:59) sounds like something that was recorded back in the 1930s. (4.3333/5)

9. "Good-bue honey" (0:31) sounds like something from a live, on stage jam. The guitarist in the lead sounds as if he's trying on some Chuck Berry. (4.25/5)

Total Time: 50:57

So these are the songs that didn't make the cut to be included on the 94-minute long double album

release back in 1972. Man! They had a lot of material! I find it quite interesting how founding member and Hammond organ expert Hennes Hering has been almost completely removed from the band's sound palette--here represented on only a couple of songs.

91.10 on the Fishscales = A-/five stars; an odd smattering of many outcasts from the Four Letter Monday Afternoon recording sessions now edited and released 30 years later. The mercurial album has somehow earned a masterpiece metric--based largely on the mind-blowing beauty of the album's second song. On the whole I would not call this album a masterpiece. "Table Talk," however, is, as I've said above, one of the most amazing songs I've ever had the privilege of laying witness to--thus making the acquisition of this album as a listening experience a HIGHLY recommended experience to seek out for yourselves.

FROM Power On!

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

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

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

- Horst Lubitz / arrangements, conductor

- Roland Schneider / arrangements, conductor

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

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

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

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

Total Time 33:59

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

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

A Compendium of "Classic Era" Jazz-Rock Fusion Albums

Wednesday, November 26, 2025

1972

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1978

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