1975
THE YEAR IN WHICH ANYTHING WAS POSSIBLE
January
A guitarist that has been known to me since the 1970s due to his long association with ECM Records, it has only been recently that I've really come to know and appreciate his skill and genius as a technical wizard of both acoustic and electric guitar formats, as well as his high intelligence and creativity in conditions requiring structure, support, and improvisation. I am now unafraid to include John in the highest circle of jazz-rock fusion guitarists (with the likes of John McLaughlin, Jan Akkerman, Volker Kriegel, and Al Di Meola). Recorded June 21-22 of 1974 and then released in January of 1975.
1. "Lungs" (12:08) organ and electric guitar trading incandescent flares for solos over some equally-stunning drum play. In the fourth minute, just as the two melody-makers start to really duel, the music slows down, spreads out, leaving a lot of space for some spacey organ and volume-controlled and echoed electric guitar note play while Jack gives a virtual clinic in cymbal and bass drum play which turns into a tom-tom and snare clinic as well. This is easily as powerful and virtuosic as anything the Mahavishnu Orchestra ever produced. At the beginning of the eighth minute the band resets and restarts with some kind of low-bass note play (from Jan Hammer, of course) providing a kind of funky rhythmic propulsion for Jan, John, and Jack to slowly, very deliberately, start contributing notes, riffs, and other idiosyncratic flourishes and musical catchphrases from here to the song's end. What this has to do with lungs, I'm not sure. (22.5/25)
2. "Love Song" (4:34) Jan Hammer's piano and John Abercrombie's acoustic guitar are here recorded performing a beautiful duet. These guys really hear each other--which is why this lovely conversation sounds so respectful and co- ordinated--like a dance--and not unlike something Chick Corea and Al Di Meola might have done together. (9.75/10)
3. "Ralph's Piano Waltz" (5:21) a more typical jazz swing with a great melody "hook" This is a John Abercrombie composition that became one of his signature songs--one that he re-recorded on several other studio albums and, of course, performed live with many of his bands--and I wouldn't understand anyone who wouldn't be able to "see" why. Great performance by John with awesome support from Jan's organ play and Jack's stunning drum play. Though I have great trouble thinking of Jack DeJohnette as a "fusion" drummer, he is definitely on the short list of the best jazz drummers I've ever heard (probably #1): his creativity is a marvel to behold. (9.375/10)
4. "Red In Orange" (5:21) a furious syncopated opening sounds like it could come from both EMERSON, LAKE AND PALMER or the MAHAVISHNU ORCHESTRA though the jazz guitar play ends up sounding more like JOHN TROPEA or ERIC GALE during the early section, the Larry Coryell in the fiery second section, and then like John McLaughlin in the photon-speed final minute. Jan Hammer's dynamic organ play sounds like LARRY YOUNG (Khalid Yasin)--especially when in support mode--but then he fires up some amazing Keith Emerson-like stuff in his duels with John--and Jack is right there with them the whole way! (9.625/10)
5. "Remembering" (4:32) back to piano and acoustic guitar dueting, this one meandering a little more like something from the Americana or Chick Corea school of austere acoustic or atmospheric duet music. Despite the flourishes of virtuosity, the key and tempo changes are met with ease with both musicians delivering gorgeous melodies and variations on those melodies throughout. Both musicians are showing their masterful ability to bring the listener back to the security of "home" by positing the occasional, perfectly-timed, dominant "comfort" chord. (Thank you!) There is, however, something very warm and humane about this song--this style of duet music--that feels more inviting and engaging--more personable--than the "competitive" duets that Al Di Meola became known for. (9.25/10)
6. "Timeless" (11:57) ominous low-end synth chord provides the steady foundation for John to noodle around improvisationally using a very gentle, soft tone on his electric guitar. I love this kind of electric guitar performance where volume and dynamic take a backseat to heart-felt feeling and sensitivity. In the fifth minute there is a transition into a section in which Jan sets forth a patterned bass line over which John plays off of with equally-interesting, beautiful fluidity and melodic sense. Jack joins the puff parade with his brushes, rarely beating anything dynamic, instead keeping to the same delicate sensibilities as his band mates. Jan is allowed to jump in a couple of times with his MiniMoog and the song never really changes or shifts or deepens again, just plays out with this same bass-line-led motif to the end. A nice exhibition of a certain kind of solo improvisational music but not a really engaging or deeply interesting song from a listener's standpoint. (22/25)
Total Time: 43:53
Jan Hammer has always come across as a much weaker keyboard player in my mind due to the fact that I've seen and heard mostly his performances where he is playing on either his stage "keytars" or dueling with guitarists and/or violins by using the right-hand upper registers of his computers, thus, I never thought the guy had a left hand. On several albums from the 1970s that I've stumbled across over the past couple of years I've been impressed to hear Jan Hammer as a more "complete" keyboard player: playing piano, organs, Fender Rhodes, Moogs, and, as here, lots of bass as a substitute for the more typical upright or electric bass player.
91.667 on the Fishscales = A-/five stars; a minor masterpiece of fringy jazz-rock fusion from three of Jazz-Rock Fusion's all-stars (two of which are lesser known). An album that I highly recommend to any prog lover who love it when virtuosic musicians can meld together really well.
RETURN TO FOREVER No Mystery (released in February)Chick's second album with guitar phenom Al DiMeola completing the quartet lineup, no Mystery was recorded at The Record Plant in New York, during January of 1975 and then released on Columbia Records in February.
Line-up / Musicians:
- Stanley Clarke /Bass [Acoustic, Electric], Organ [Yamaha], Synthesizer, Vocals
- Lenny White /Drums, Percussion, Congas, Marimba
- Al Di Meola /Guitar [Electric], Acoustic Guitar
- Chick Corea /Piano [Acoustic], Electric Piano, Clavinet, Organ [Yamaha], Synthesizer, Drums [Snare], Marimba, Vocals
THE BRECKER BROTHER The Brecker Brothers (released in April)
Though they'd been trumpeting around NYC since the late 60s, this was the brass brothers' first attempt at leading their own band. The result is one of the early examples of what I call the Second Wave of the Jazz-Rock Fusion movement. The material for the brothers' debut band as bandleaders was recorded in New York City in January of 1975 at Todd Rundgren and Moogy Klingman's Secret Sound Studio and then released in April by Arista.
Line-up / Musicians:
- Randy Brecker / trumpet, electric trumpet, flugelhorn, vocals (8), composer, arranger & producer
- Michael Brecker / tenor sax
With:
- Bob Mann / guitar
- Don Grolnick / keyboards
- David Sanborn / alto sax
- Will Lee / bass, vocals (5)
- Harvey Mason / drums
- Christopher Parker /drums (5)
- Ralph MacDonald / percussion
LONNIE LISTON SMITH & The Cosmic Echoes Expansions (1975)
Recorded on November 25 & 26 of 1974 by Bob Thiele for Flying Dutchman Records, Lonnie & The Echoes' third album together, Expansions, was released early in 1975.
Line-up / Musicians:
- Lonnie Liston Smith / Piano, Electric Piano, Keyboards [Electronic Keyboard Textures]
- Cecil McBee / Bass
- Leopoldo / Bongos, Percussion
- Michael Carvin / Clavinet
- Lawrence Killian / Congas, Percussion
- Art Gore / Drums
- Michael Carvin / Percussion
- Leopoldo / Bongos, Percussion
- Michael Carvin / Clavinet
- Lawrence Killian / Congas, Percussion
- Art Gore / Drums
- Michael Carvin / Percussion
- Donald Smith / Flute, Vocals, Vocal Textures
- Dave Hubbard / Saxophones [Tenor, Soprano], Flute [Alto]
A2. "Desert Nights" (6:45) Lonnie switches to piano while the rhythm crew establish a slow-groovin' motif to quell us into nighttime submission while flute, sax, piano, and drums take turns spewing forth their subdued solos, flourishes, and fills. Lonnie's piano pounding feels a little unsuited to the desert vibe being bouyed by the others but then, who knew he'd have had a history with Don Pullen? (8.875/10)
A3. "Summer Days" (5:53) a happy-go-lucky two key samba sounding like something from a Herb Alpert or Sergio Mendes song. Here we find Lonnie once again reverting to the acoustic piano as his main voice. (8.75/10)
B1. "Voodoo Woman" (4:13) a very engaging song that is built over a more insistent beat (due to the prominence of the clavinet). Flutes, hand percussives, and Lonnie's flanged Fender Rhodes make this rather two dimensional song rise above the Easy Listening fare of artists like the more-pop-oriented Bob James, The Crusaders, Grover Washington, Jr., and Hubert Laws but don't quite take it into the arena of the jazz-funk greats like War, Mandrill, Osibisa, Kool & The Gang, Earth, Wind & Fire, the Ohio Players, or The Isley Brothers. (8.875/10)
B2. "Peace" (4:13) a gentle song with Donald Smith back in the vocal driver's seat--very much a vocal-centric song that sounds as if it is built over a variation of Leon Russell's "This Masquerade" chord and melody lines. Very pleasant and jazzy but nothing earth-shattering or ground-breaking. (8.75/10)
B3. "Shadows" (6:20) another gentle melody line around which is constructed a weave of bass, flanged drums, congas and other hand percussives, and rich electric piano and synth strings textures. Dave Hubbard plays a gentle sax over the top before Lonnie takes over with his delay-echoed Fender Rhodes. (He must have really been trying hard to figure out how to use this echo effect. It's really hard to do--and Lonnie by no means crushes it.) The overall music is actually good but diminished by (8.875/10)
B4. "My Love" (5:40) how can one not like this beautiful song! Donald Smith sings a flawless vocal over a great musical tapestry of support. This is a song I would love to see live--to dance with my beautiful wife to. Lonnie's piano playing is absolutely perfect for this, and the two-key motif so lovely and romantic--with the usual awesome work of the rhythm & percussion team beneath. (9.25/10)
Total time: 39:08
The Cosmic Echoes continue on their funk-imbued quest to promote the manifestation and realization of higher states of consciousness.
89.29 on the Fishscales = B+/4.5 stars; a near-masterpiece of early Easy Listening / Adult Contemporary / Smooth Jazz.
February
MICHAL URBANIAK Fusion III (1975)
A name whose presence in the musicians' credits of so many pop and jazz albums of the 1970s seems rather ubiquitous yet he also remains quite mysterious for the fact that one never hears his name mentioned along side the other violin virtuosi of the era (e.g. Jean-Luc Ponty, Jerry Goodman, Darryl Way, PFM's Maruo Pagani, Arti e Mestieri's Giovanni Vigliar, David Cross, Ray Shulman, Dave Swarbrick, Robbie Steinhardt, and, of course, Eddie Jobson). Also, one must remember he is also a Montreux Jazz Festival award-winning saxophone player! Listening to this I cannot help but wonder why. This is Michal's first album made without his core of native Polish musicians, incorporating a full complement of American jazz-rock musicians--a veritable Who's Who of the Jazz-Rock Fusion movement. It was recorded at Electric Lady studios in New York City for CBS late in 1974 and then released to the public by Columbia Records on February 1, 1975.
Line-up / Musicians:
- Michal Urbaniak / Electric violin, violin synthesizer
- Urszula Dudziak / Voice, percussion, electronic percussion
- Wlodek Gulgowski (Pop Workshop) / Electric piano, Moog, and electric organ
- Anthony Jackson / Bass guitar
- Steve Gadd / Drums
- John Abercrombie / Guitars
With:
- Joe Caro / Guitar (A3)
- Gerald Brown / Drums (A3, B1)
- Larry Coryell / Guitar (B1)
- Larry Coryell / Guitar (B1)
- Bernard Kafka / Voice (B3)
A1. "Chinatown [part 1]" (5:24) opening with a keyboard riff that conjures up memories of many Jean-Luc Ponty songs, it quickly turns Mahavishnu as the blazing guitar of John Abercrombie takes us out of the intro and into the somewhat sparse-yet-funky motif the rest of the band establishes over the next minute. Man! is John flying! And man! is this band in synch! The syncopation coming from Steve Gadd's concise drumming is met and accented by everyone else with concise perfection. Urszula and Michal;s doubled up lead melody takes us through a section of even more Mahavishnu-like complexities, which only continues and intensifies as Michal's wailing electric violin blazes on and the rhythm team below handles some incredibly difficult Cobham-like funk from beneath--and this never lets up for the entirety of the song! Astonishing! Amazing realization of the great violinist's compositional skills. (9.75/10)
A2. "Kujaviak Goes Funky" (6:12) A song that was originally composed by keyboardist Wlodek Gulgowski's band-mate and songwriting partner from his previous project, POP WORKSHOP, saxophonist Zbigniew Namyslowski (and which appeared as the last song on that band's final release, Song of the Pterodactyl released in 1974). Here Michal and Ula lead us through a slowed down RTF/J-LP-like opening of step-by-step unfolding and unstable music that has us on the edge of our seats, expecting tangents or changes in direction in each and every minute while Michal's violin and then Wlodek Gulgowski's Moog and, later, John Abercrombie's guitar, solo at the god-like levels of the greats of their ilk, like Jean-Luc Ponty, Jan Hammer and Chick Corea, and John McLaughlin and Al Di Meola, respectively. The whole band playing at an incredible level of technical wizardry that I thought only occupied by the likes of Mahavishnu Orchestra and Return To Forever. but no! Michal Urbaniak's Fusion is every bit as good--maybe even smoother and better engineered than the afore-mentioned superstars. I guess sometimes it takes a great song to inspire the performances of the current band members. (9.5/10)
A3. "Roksana" (5:42) here employing guests "Gerald" Gerry Brown for drums, Joe Caro for the guitars, and featuring scat vocalizations of percussionist Urszula Dudziak, the band cruises along with admirable skill, speed, and solo performances from Michal, percussionist Urszula Dudziak creating some rather unusual yet-highly-skilled wordless scat vocalization, and excellent electric piano work from Wlodek Gulgowski. Quite simiilar to The Mad Hatter-era Chick Corea. I just love the mood of joy and ease projected by this song. (9.25/10)
A4. "Crazy Kid" (2:35) another heavily-processed single track of percussive pre-Bobby McFerrin vocalese scatting from Ula in the same vein as previous a cappella tracks like "Kama Ula" from the band's previous album for Columbia, Atma. (8.875/10)
A5. "Prehistoric Bird" (5:19) another slightly-more-angular RETURN TO FOREVER-like funk tune that was written by keyboardist Wlodek Gulgowski for his former band, POP WORKSHOP, and its 1974 fusion release entitled, Song of the Pterodactyl. This version includes some very innovative sound from bassist Anthony Jackson's electric bass--especially the full chord play (the kind of which RTF bassist Stanley Clarke would make great use of on next year's Romantic Warrior album). The lead instrumentalists all seem to be travelling at those breakneck speeds first championed by the first incarnation of the Mahavishnu Orchestra, including Ula's scatting voice, Michal's violin, John Abercrombie's extraordinary electric guitar, Wlodek Gulgowski's Moog, and, of course, Anthony Jackson's amazing bass. With its title and angular rhythmic and melody lines I find myself falling into almost constant comparisons to Japanese band BONDAGE FRUIT's first two amazing albums. Almost too amazing to process! (Are we sure that this isn't a song on which the great Larry Coryell is also collaborating? I swear in that last minute that the screaming lead guitar belongs to none other than The Godfather of Fusion! If it's not then even greater kudos need to be offered to the sadly under-acknowledged other-worldly skills of Mr. Abercrombie.) Also, the opportunity should never go unpassed with which to acknowledge the incredible gift and skill that Urszula Dudziak possesses: to be able to keep up with those machine-gun-fast melody lines, matching the other soloists note for note with such flawless timing is nothing short of miraculous--especially in this pre-digitized era where every thing had to be synched up live! (9.333333/10)
B1. "Bloody Kishka" (4:21) the other song on the album on which Gerry Brown sits at the drum kit in place of Steve Gadd also features peak fusion-era Larry Coryell on guitar. As much as I've always loved the drumming of Steve Gadd (he is definitely the most impressive drummer I've ever seen in a live concert setting), I have been feeling an increasing appreciation and love for the smooth, super-filled funk playing of Gerry Brown. I've come to cherish his play as the only drummer on a par with Lenny White and Billy Cobham. (Jack DeJohnette may be in a category all to himself.) BTW: this is a charming song with cute, catchy, excellent melodies and flawless whole-band funk support. I'm so tuned in to the amazing work of Gerry and bassist Anthony Jackson that I almost forget to pay attention to Michal and Wlodek Gulgowski's main melodies much less Larry's excellent "underwater" guitar solo. Great performances from Wlodek Gulgowski and Urszula Dudziak as well (first and foremost for her percussion work but also for more of those wonderful main-melody-duplicating wordless vocals). Definitely a top three song. (9.25/10)
B2. "Cameo" (4:41) gorgeous melodies over a J-L Ponty-like slow-funk support--I mean, it sounds almost exactly like something off of Aurora or Imaginary Voyage.which is weird since both of these albums were released after this album. Maybe it was Michal's work that pushed Jean-Luc into his string of albums on which he really began exploring his increasingly-highly-processed electric violin sounds!? Whatever. Michal is definitely in the same category of haunting melody-making as Ponty and Vigliar. (9/10)
B3. "Stretch" (6:20) more great funky jazz-rock of the Third Wave style and sound production stupendously cohesive performances from Steve Gadd, Anthony Jackson, and his Polish compatriots (Wlodek and Urszula). Such a solid, mature song. (9.33333/10)
B4. "Metroliner" (4:44) another GREAT Jean-Luc-like jazz-funk song with great melodies throughout as well as stupendous work from the rhythm section that also features a breath-takingly amazing guitar solo from John Abercrombie. (9.5/10)
B5. "Chinatown [Part II]" (3:56) a loosy-goosy chance for each of theband members to let loose (great way to end an album cutting session!) Not the most pleasant listen but an awesome display of skill and fun. (8.875/10)
Total time: 49:14
Overall I don't hear a lot of distinctive sound or melody play from Michal on his electric violin; it all sounds very similar to the sound and amazing sense of melody-delivery that Jean-Luc Ponty and Giovanni Vigliar possess. It's a good thing I love the sound, work, and albums of Jean-Luc Ponty so much since it allows me easy access to the genius of this composer/violinist. Also, high commendations should be awarded to Michal for the genius decision of employing this particular team of support musicians: they can really deliver the funk; they're definitely one of the most skilled, cohesive ensembles I've ever heard. Now that I've heard one of Michal's solo albums, I feel quite compelled to go back and listen to the rest of his discography--which is a problem in that he has a dozen solo studio album releases from the Seventies alone!
92.66 on the Fishscales = A/five stars; one of the most impressively consistent displays of excessively high skill and compositional and performance perfection ever put to vinyl (or tape). And I'm not just talking about a couple of the songs, I'm including the whole album, start to finish. An album that now sits in my Top 20 J-R Fusion Albums of All-Time! You'll come away blown away by not only the music here but the skills on display from every single member of this band! Visionary and ahead of his time, when you listen to any album by Michal Urbaniak you MUST take into consideration that the songs you are listening to were recorded and released BEFORE any of the references your brain wants to compare them to!
After listening intimately and with great rapture to Michal's first seven albums over and over during the past week I have to say that I think he has supplanted all of my other heroes of the Jazz-Rock Fusion movement at the top of the hierarchy: the most consistently best compositions, the most consistently interesting, innovative, and high-quality sound production, he attracted/chose the absolute highest caliber of musicians to collaborate with (many of whom are still woefully unsung), and the albums that he created have all felt absolutely incredible start to finish--and remain albums that not only keep me coming back but eliciting pure joy and excitement with every thought of doing so.
STEVE KUHN Trance (1975)
Recorded at Generation Sound Studio NYC, November 11 and 12, 1974; released by ECM Records on February 1, 1975.
Line-up / Musicians:
A2 "A Change Of Face" (4:56) Steve moves over to the electric piano. A pretty little intro is suddenly shattered at 0:25 by Steve Swallow and Jack DeJohnette's launch into a fun and very upbeat motif. This is so fun and multi-dimensional: covering several moods, both slow and contemplative and fast and playful, even busy and athletic. (9.375/10)
A4 "The Sandhouse" (3:45) gentle, swaying piano-based music with Steve Swallow's deep electric bass and Jack's cymbal play reacting to and embellishing the decays of Steve's left hand chords and movements. There is melody to this one, often quite pretty in a Debussy/Fauré kind of way. Again, a song that is far more Jazzy than Fusionen. I really like the furioso buildup and crescendo. (8.875/10)
B1 "Something Everywhere" (7:47) a great high-speed Third Wave Latin Jazz-Rock Fusion tune that uses a nice samba groove. This song keeps Jack DeJohnette, Steve Swallow, and Sue Evans very busy! Delightful electric piano work, as well. I think Mr. Kuhn is my favorite--and the one I have the most sympathy for. Chick, Al and the RTF gang would be proud. A top three song, to be sure. (14/15)
B2 "Silver" (2:54) delicate, trilly piano improvisations (right hand) turn more dynamic as the left hand begins to band around at the lowest ends of the keyboard. Interesting and uncommon. (8.875/10)
B3 "The Young Blade" (6:15) active Jazz-Rock Fusion electric bass, piano, and drums, all three of the musicians are definitely coming from Jazz substructures as most everything here feels jazzy, even the solos, only they're electrified/amplified. Nice playing throughout; the dudes can definitely hold a fast pace! (9/10)
B4 "Life's Backward Glance" (3:08) pretty neoclassical piano with bass and tuned percussion within which Steve recites a meta-like joke about a story within a story that actually creates a Möbius Loop. High marks for the story joke; nice job with the music. (8.875/10)
Total Time: 34:52
A2. "Chain Reaction" (5:35) a solid song with a great chorus., there's a little pre-Disco tension here, great drumming, and the presence of both Wayne's wonderful trombone and Larry's decisive guitar. (9/10)
A3. "I Felt The Love" (2:28) an excellent, STEELY DAN-like instrumental sound palette for this sweet little tune. (9.125/10)
A4. "Mellow Out" (2:44) nice, catchy R&B riffs in this Smooth Jazz tune with a cool step-up transition at the half way point. (4.375/5)
Total Time: 43:23
- Steve Kuhn / piano, electric piano
- Steve Swallow / electric bass
- Jack DeJohnette / drums
- Sue Evans / percussion
- Steve Swallow / electric bass
- Jack DeJohnette / drums
- Sue Evans / percussion
A1. "Trance" (5:54) gorgeous! I could play this simple but beautiful song over and over for hours. Piano, enrichening marimba chord arpeggi, a single bass chord played to exhaustion--more as a timekeeper, and all kinds of percussion toys played with in the back ground. Key change at 2:15 whereupon Steve Kuhn picks up the dynamics and tempo slightly on his piano incursions and Jack DeJohnette begins playing surfaces on his drum kit and percussion array with uber-delicacy. Final key changes start at 4:30 whereupon Steve K. continues taking the key down, one step at a time, with one arpeggiated chord after another. So cool! The rest of the crew maintain the delicate creativity that they have during the entire song. Absolutely masterful. (10/10)
A2 "A Change Of Face" (4:56) Steve moves over to the electric piano. A pretty little intro is suddenly shattered at 0:25 by Steve Swallow and Jack DeJohnette's launch into a fun and very upbeat motif. This is so fun and multi-dimensional: covering several moods, both slow and contemplative and fast and playful, even busy and athletic. (9.375/10)
A3 "Squirt" (3:00) real piano and drums interplay with Jack just as much in the lead as Steve is. Steve Swallow is involved but only punctuationally. Jack can play! (8.875/10)
A4 "The Sandhouse" (3:45) gentle, swaying piano-based music with Steve Swallow's deep electric bass and Jack's cymbal play reacting to and embellishing the decays of Steve's left hand chords and movements. There is melody to this one, often quite pretty in a Debussy/Fauré kind of way. Again, a song that is far more Jazzy than Fusionen. I really like the furioso buildup and crescendo. (8.875/10)
B1 "Something Everywhere" (7:47) a great high-speed Third Wave Latin Jazz-Rock Fusion tune that uses a nice samba groove. This song keeps Jack DeJohnette, Steve Swallow, and Sue Evans very busy! Delightful electric piano work, as well. I think Mr. Kuhn is my favorite--and the one I have the most sympathy for. Chick, Al and the RTF gang would be proud. A top three song, to be sure. (14/15)
B2 "Silver" (2:54) delicate, trilly piano improvisations (right hand) turn more dynamic as the left hand begins to band around at the lowest ends of the keyboard. Interesting and uncommon. (8.875/10)
B3 "The Young Blade" (6:15) active Jazz-Rock Fusion electric bass, piano, and drums, all three of the musicians are definitely coming from Jazz substructures as most everything here feels jazzy, even the solos, only they're electrified/amplified. Nice playing throughout; the dudes can definitely hold a fast pace! (9/10)
B4 "Life's Backward Glance" (3:08) pretty neoclassical piano with bass and tuned percussion within which Steve recites a meta-like joke about a story within a story that actually creates a Möbius Loop. High marks for the story joke; nice job with the music. (8.875/10)
Total Time: 34:52
91.62 on the Fishscales = A-/five stars; a minor masterpiece of Third Stream Jazz with three Jazz-Rock Fusion songs.
ABLUTION Ablution (1975)
2. "Woodchurch Sorceress" (1:50) creepy cinematic flute and percussion in-the-woods kind of stuff. (4.25/5)
3. "Kokt Tvätt" (5:51) flourish-filled launch into a repeating bar of odd rock-riffs arranged into a groove over which flute and electric piano solo and stuff. Not your typical Jazz-Rock Fusion; more like drawing from the older stuff of the earlier experimental work of Tony Williams, Freddie Hubbard, Herbie, and even Miles Davis. Nice drumming and percussion work. Pete Robinson and bassist John Gustavsson are a little too free and crazed for me. (8.75/10)
4. "The Nard Finished Third" (7:08) more funky like something from PARLIAMENT, WAR, or THE AVERAGE WHITE BAND than jazzy. Over the first few minutes it's all about the funk with little attention given to solos or jazziness. The third minute finally sees some soloing but this is all rock guitar (again like Parliament). I guess this reminds me also of Larry Coryell's eccentric Jazz Fusion. Again I must commend the percussion work of Malando Gassama and Ola Brunkert as well as dummer Barry De Souza (or is it Ola Brunkert on this one?). The flute play in the next section is quite flamboyant--more akin to that of Ian Anderson or Thijs van Lier than Joe Farrell or Hubert Laws. (13.25/15)
MAHAVISHNU ORCHESTRA Visions of the Emerald Beyond (1975)
An album in which all of John McLaughlin's recent influences can be felt: Jimi Hendrix, Carlos Santana, Shakti/Indian music, the Classical Impressionists, even the raw Larry Coryell sound. Released by Columbia Records in February of 1975, it was recorded in December of '74 at Electric Lady Studios under the guidance of co-production team of engineer Ken Scott and band leader John McLaughlin.
Line-up / Musicians:
- John McLaughlin / 6- & 12-string guitars, vocals
- Gayle Moran / keyboards, vocals
- Jean-Luc Ponty / violins (electric & baritone electric) (10 solo)
- Ralphe Armstrong / bass, double bass, vocals
- Michael Walden / drums, percussion, clavinet, vocals
With:
- Bob Knapp / flute, trumpet, flugelhorn, vocals
- Russell Tubbs / alto & soprano saxes
- Steven Kindler / 1st violin (5 solo)
- Carol Shive / 2nd violin, vocals
- Phillip Hirschi / cello
1. "Eternity's Breath Part 1" (3:10) taking a bit to get started, the band eventually establishes a Hendrix-like power motif over which some Indian scales are recited and repeated by the new soloists (Ponty and McLaughlin) and choral vocals perform. It's okay. Sounds a bit juvenile. (8.66667/10)
2. "Eternity's Breath Part 2" (4:48) more group chant vocals à la MAGMA over some complex but tightly performed group rock-jazz. McLaughlin takes the first solo--sounding very different from his "normal" self--more like Carlos Santana. He backs down into electric guitar power chords while Jean-Luc takes the next solo. Grand piano and strings and McLaughlin take the next motif before returning to the "love supreme" Hendrix group chant. Impressive play from everyone--nice composition. No wonder Jean-Luc took Ralphe Armstrong with him for his next three solo albums (Enigmatic Ocean, Cosmic Messenger, and A Taste for Passion). (9/10)
3. "Lila's Dance" (5:34) solo piano opens this one (and finishes it), leading into a nice little classical construct. At the end of the third minute the music takes a radical left into blues-rock in order for McLaughlin to take a wild Hendrix-like solo. Nice musicianship; I just don't really like the music. (8.875/10)
4. "Can't Stand Your Funk" (2:09) rhythm guitar, funk bass and drums, horns. Not much here, really; it's like an étude of a OHIO PLAYERS or early KOOL AND THE GANG song. (4.25/5)
5. "Pastoral" (3:41) birds introduce a piece that sounds Indian musicians taking on a Western classical composer (like Elgar or Delius)'s rendering of a traditional folk tune. Weird and, frankly, a little unexpected and out of place on a Mahavishnu Orchestra album. Yet well played! (9/10)
6. "Faith" (2:00) an unusual splicing of three different pieces, one that sounds like Larry CORYELL's abrasive guitar. (4.25/5)
7. "Cosmic Strut" (3:28) this one feels like a Jean-Luc Ponty composition: so funky and straightforward in the linear setup for a successive series of jazz solos. Confirmed by the presence of Jean-Luc himself in the "key" soloist's spot. I like the horn accents! And the clavinet and funk bass. Rudimentary for Jean-Luc, but it does all work. (9/10)
8. "If I Could See" (1:18) Gayle Moran's operatic voice over theatric strings, bass and horns. Like a big WHO rock opera kind of thing. Interesting. (4.5/5)
9. "Be Happy" (3:31) Bled into from the previous song (!!) we are off to the Jean-Luc Ponty races à la his great piece, "Egocentric Molecules," from Cosmic Messenger. The presence of John McLaughlin's pyroclastic guitar bolts makes it a bit different, though. Again, Jean-Luc takes the prime soloist's spot but he's challenged to a duel there by the Mahavishnu himself. It's pretty epic and awesome seeing these two go toe to toe. (I'm sure they both LOVED it!) Jean-Luc's song is simply the perfect vehicle for this. (9.5/10)
10. "Earth Ship" (3:42) a contrastingly gentle recovery song: very smooth and ambient with Fender Rhodes, gently walking bass, and soaring distant violin and flutes within which what sounds like Narada's voice singing as well as some bluesy McLaughlin guitar snippets. Nice! (9.25/10)
11. "Pegasus" (1:48) like instruments in a void: first fiery electric guitar strums followed by wafting violin swaths, ending with more of the percussive-like heavily-effected guitar strums. I find this one very interesting--worth further exploration. (4.75/5)
12. "Opus 1" (0:15) a quickly passing falcon is barely seen as it soars past.
13. "On the Way Home to Earth" (4:34) Narada Michael Walden puts together his best, most Lenny White-like drumming while John explores the sounds of his heavily-distorted guitar. A short break in the middle and then Michael is up and drumming again, this time with John's less-adulterated exploration of the upper-most frets of his electric guitar. It's very Hergest Ridge-like when the organ chords sneak up from underneath. I actually really like this one too despite it feeling, again, like an underdeveloped étude. (9.25/10)
Total Time 39:58
I couldn't agree with Ivan Melgar more: I always felt more engaged and satisfied by the second incarnation of the Mahavishnu Orchestra. The flash of the first incarnation never drew me back for reasons of pleasure, more for reasons of amazement and awe. And now, forty years later, I find Inner Mounting Flame and Birds of Fire hardly listenable, while Visions and Apocalypse have a warmth and friendliness that invite me in and keep me wanting to come back. Understand: Goodman, Cobham, Laird and Hammer are amazing and impressive instrumentalists but it was like they were all just waiting for their turn to flash--to solo--not really making music or songs; the second incarnation the MO seem more cohesive, playing memorable music, cohesive, repeatable songs. The first incarnation are jaw dropping amazing; the second incarnation produced music I want to listen to.
90.29 on the Fishscales = A-/4.5 stars; a very minor masterpiece of experimental jazz-rock fusion.
Chick's second album with guitar phenom Al DiMeola completing the quartet lineup, no Mystery was recorded at The Record Plant in New York, during January of 1975 and then released on Columbia Records in February.
Line-up / Musicians:
- Stanley Clarke /Bass [Acoustic, Electric], Organ [Yamaha], Synthesizer, Vocals
- Lenny White /Drums, Percussion, Congas, Marimba
- Al Di Meola /Guitar [Electric], Acoustic Guitar
- Chick Corea /Piano [Acoustic], Electric Piano, Clavinet, Organ [Yamaha], Synthesizer, Drums [Snare], Marimba, Vocals
A1. "Dayride" (3:15) bouncy, joy-filled Latin Chick opening is quickly assisted by the full band (plus some nice percussion over dubs). It's really Chick's show for the first half of the song with everyone else performing tightly proscribed tasks (quite competently, I might add--even spectacularly in the case of Stanley). The vocals in the middle of the third minute are a bit of a surprise--but they work--and then the multiple downshifts for the finish are really cool. (8.8/10)
A2. "Jungle Waterfall" (3:15) a little more Hendrix-like with some funk in the bass and guitar strumming, the chorus is different: definitely more rock/R&B than is typical for RTF. In the end, with little soloing (Al gets a little spotlight in the final 30-seconds), this feels more like an étude--a whole band exercise in cohesion. (8.8/10)
A3. "Flight Of The Newborn" (7:20) more funk-oriented music with Al doing more of that surprisingly dirty wah-strumming that he'd been doing in the first two songs. The shifts and little individual flourishes start to become more the style than not with some great runs by Al and some stellar interplay between the other three: it's really an awesome display of top notch Jazz-Rock Fusion. Al is not at his fiery best--mostly due to his persistent allegiance to the distortion of the wah-pedal. Definitely the best display of Lenny's supreme talents on the album so far. The fifth minute is filled with some of Stanley's signature electric bass runs which are always astounding as well as lyrical, and then Chick gets to play on his MiniMoog while Al joins Stanley and Lenny to provide the steady yet-spacious support that allows Chick to be prominent. (13.5/15)
A4. "Sofistifunk" (3:20) some extremely funky keyboard play is accompanied by far simpler and surprisingly less-funkier drums, bass, and guitar. The band is cohesive but the style they're going for seems to escape me. If it's sophistication they're going for, they may have achieved it, but it just doesn't feel natural to the band as a whole--maybe to Chick and Lenny, but not so much Al and Stanley. (8.75/10)
A5. "Excerpt From The First Movement Of Heavy Metal" (2:45) classical grand piano opening that turns into sophisticated jazz at 0:28 and then Hendrix blues-rock at 0:50. Stanley's bass play is out-of-this-world awesome from the get go, seeming to play multiple styles all at the same time: R&B, slap, metal chords, and more. Ends with more of Chick's grandeliquent piano bombast. (9/10)
B1. "No Mystery" (6:06) one of the more fully-developed songs on the album and one that more fully conveys the individuality of each of the band members (especially Chick and Stanley in the first third). Acoustic instruments. Al and Stanley's bowed double bass occupy the third minute until Chick's piano chords bring the full band back together. (Lenny's playing percussion only.) Al Di Meola--the Al we've all come to know and love--takes the fourth minute, eventually sharing the spotlight with Stanley and Chick. It's always such a delight to see & hear J-R Fuse artists show off on their acoustic instruments. I love Lenny's marimba play mixed in with the others as they all stop-and-go with their virtuosic flourishes over the final minute. (9/10)
B2. "Interplay" (2:15) piano and bowed double bass open this one sounding almost avant garde. At 0:53 Chick and Stanley inject a more Latin direction, each performing at incredible speeds and ideations: a precursor to the amazing work they do on Romantic Warrior's "Medieval Overture." (4.75/5)
B3. "Celebration Suite (Part 1)" (8:25) opens like a prog rock opera or tongue-in-cheek version of an overture to a classical opera by Bizet or Ravel. The very-Spanish style is maintained in the second and third minutes as the full band shifts into full gear. Lenny's display of drumming is absolutely spell-binding--almost to the distraction of hearing the other amazing performances. Chick gets the first solo on his MiniMoog, but it's the battle between Stanley and Lenny that gets all of my attention. Al gets to jump in with Chick in the fifth minute: they're such an amazing duo, so well-synched. Great bridge at the end of the fifth minute leads into a very complex, showy tangent in which Lenny really gets to shine. At 5:52 there is a break that Chick jumps into with his electric piano, starting up a completely different motif--one that is laced and interlaced with incredible melodies. Wow! The rest of the band, I think, must be standing back, watching in awe--though somehow they are able to continue to be sporadically supportive. The final minute sees Chick taking the solo spotlight into a very dreamy passage before the band moves on to Part 2. (19/20)
B4. "Celebration Suite (Part 2") (5:30) Full band with everybody "hitting" big chords with all of their electronic effects (and Lenny absolutely killing it on le batterie!) so that Al can go off on one of those soaring solos that he would become so famous for. (Mid-blowing Lenny!) At the two-minute mark there is an oddly melodic bridge into a pause before everybody picks up the chase again--this time with everybody on full show-off mode: Stanley hitting some incredible bass chords, Chick manning multiple keyboards as if they were extensions of his 20 fingers and toes, and Lenny going absolutely crazy--all before a dramatic extended finale. (9.25/10)
Total Time: 42:53
91.60 on the Fishscales = A-/five stars; a minor masterpiece representative of the highest echelon of Jazz-Rock Fusion and yet the band is still gelling, the compositional excellence still eluding them at times.
Recorded in December of 1974 in Oslo's Arne Bendiksen Studio with Jan Erik Kongshaug sitting behind the engineering console, it was released during the following year by ECM--perhaps as late as September. Many consider this album as a defining moment--even one the crowning achievements--of Manfred Eicher's ECM label.
A1. "Oceanus" (10:58) a very cool, very fresh sound with Jon Christensen and Ralph Towner keeping busy on their respective instruments while Eberhard Weber almost drones away on his bowed electric bass (or cello) and Jan Garbarek fills the front with periodic exhalations from his sonorous tenor sax. The quartet amps up the intensity and volume a bit in the fifth minute before Ralph enters into a jazzy 12-string solo. I'm hard pressed to tell you whether or not the syncopated rhythm 12-string work is the same track with Ralph playing it all at once or whether there is a completely separate track dedicated explicitly to each (lead and rhythm). Jon Christensen's infinitely-nuanced cymbal and snare work is so patiently deployed, responding to Ralph's guitar work that it almost feels as if the two were joined at the brain. And Jan and Eberhard's contributions are so respectful, so reactive and ego-less. (I think that would be the quality I can claim to like best with regards to Jan's saxophone playing: his patient response to both external and internal "calls to action.") Brilliant and enjoyable song despite lacking much in the way of melody. (Weird to think that Eberhard's drone-like bass notes may have been the most melodic in the song--at least in terms of a Western sensibility of what is "melodic.") (18/20)
A2. "Visitation" (2:32) an exercise in Nature and primordial recreation. (4.333/5)
A3. "Drifting Petals" (6:56) Ralph on solo piano playing a playful, gentle, introspective pastoral tune is joined in the second minute by Jan's flute. In the third minute, drums, reverberated fretless electrified bass, and Ralph's 12-string guitar step forward to creepy-crawl an exercise in hypervigilance--one that each of these ECM masters are completely up to task. The whole-band dynamic interplay in the fifth minute--both loud and soft--provides a real emotional peak. And the return to gentle piano arpeggi and guitar flute for the final minute is a display of sheer perfection in symmetry. (13.75/15)
B2. "Winter Solstice" (3:58) Ralph playing near-Spanish style classical guitar with Jan meeting and matching him all along the way with his soprano sax. Man! These two are so in sync--so attuned! And both are definitely putting their full virtuosity on full display. Though I'm not such a fan of the melodies chosen/played by the two, I am so incredibly impressed by their astonishing timing in conveying them that I can't help but be won over. Standing ovations for this one! (9.75/10)
Total Time: 40:57
A1. "King Tut Strut" (8:38) nice smooth funky jazz not unlike the music of Bob James, The Crusaders, or The Brothers Johnson. Ray Matilla's congas all alone in the Left channel are a bit weird. Everybody in Jeremy's posse are talented but there is little innovation here. (17.625/20)
A2. "Gale" (2:35) now this one definitely sounds like BOB JAMES; smooth and polished. (4.375/5)
A3. "Ouanga" (7:58) a cool start with some great drums, bass, funky keys and rhythm guitar set up Jeremy for an inspired display of flutesmanship. Anthony Jackson's bass paired with Richie Beirach's heavily treated electric piano and the hard-driving percussion team of Alphonse Mouzon and Ray Mantilla make for an incredibly funky yet still jazzy team--one that serves Jeremy, Johnny Winter's guitar, and Richie Beirach's Fender Rhodes very well for their solos. A top notch J-R F tune--though more for that amazing rhythm track than for its solos. Johnny's guitar work reminds me at times of John Tropea's on Deodato's "Also Sprach Zarathustra." (14.25/15)
A4. "Mountain Dew Dues" (3:53) opening with some of Johnny Winter's deep Southern Swamp blues acoustic dobro guitar. He is soon joined by Jeremy and the rest of the song is a pure duet between the two. Interesting with outstanding musicianship, just not my cup of tea. (8.75/10)
B1. "Goose Bumps" (3:56) another great drumming and bass display as Richie and Jeremy try to keep up with Alphonse and Anthony. I'd say Jeremy and Alphonse win this one though both Anthony and Richie both raise the roof as the song goes along. (9/10)
B2. "Belly Up" (3:16) even more drumming virtuosity on display as Richie, Anthony, and Ray try to keep up and fit in. Band leader Steig does well (it's his composition)--especially in the second minute, though this really feels like Alphonse's show. Richie also steps up admirably in the third minute with that weirdly-effected Fender Rhodes (fast-twitch wah-wah?) (9.125/10)
B3. "Temple Of Birth" (2:14) a moving and cinematic tune that really puts Richie Beirach's keyboard skills on display despite Jeremy occupying the lead/spotlight from start to finish. Impressive. (4.875/5)
B4. "Shifte-Telle Mama" (9:39) a funk motif is quickly established using Anthony Jackson's bass line coupled with Richie Beirach's phase-shifted-wah-wah Rhodes bass chords. Alphonse and Jeremy join in, the latter using not one but two tracks for two different flutes, the former going crazy with his dynamics while the latter kind of exaggerates and plays off of the main melody with his two tracks. At 2:20 everybody shuts down, opening the stage up for a Ray Mantilla conga solo. In the fourth minute Jeremy joins Ray, mirroring his pace with his breathy flute notes until the rest of the band rejoins at the very end of the fourth minute, gradually picking up the pace until we feel as if we're on a freight train headed for the canyon crash. In the sixth minute Jeremy doubles his visibility by occupying two tracks, one staying rather low while the other goes a little higher. (The former could be his bass flute). I wish I knew what that effect that Richie Beirach was using on his Fender Rhodes was: it definitely adds a lot to the funk that Anthony and Alphonse are going for. Nice little drum solo near the end. (18/20)
B5. "Rupunzel" (2:51) opening with Richie tinkling around on the piano like he's Chick Corea. He's joined by Jeremy playing his bass flute around 0:30 and still it sounds like some exotic Chick Corea song even though it was composed by the two performers here. Impressive play from Jeremy on what sounds like it might be a challenging instrument to play. (9/10)
Total Time: 44:11
Alphonse's breakthrough funk album that is often cited as his best work. What a coup to get not one, not two, but three amazing guitarists both reaching the prime of their careers in Tommy Bolin and Lee Ritenour and Jay Graydon! The album was recorded April 4-10, 1974, at Wally Heider Studios in Los Angeles with Skip Drinkwater in the production seat, it was then released in March 1975 on Blue Note.
Line-up / Musicians:
- Allan Holdsworth / acoustic, electric & 12-string guitars
- Mike Ratledge / Fender Rhodes, Lowrey organ, AKS synthesizer
- Karl Jenkins / oboe, soprano sax, acoustic & electric pianos
- Roy Babbington / bass
- John Marshall / drums, percussion
With:
- Ray Warleigh / alto & bass flutes (12)
- "Hazard Profile" (5 part suite) (41.5/45):
1. Part 1 (9:18) introducing: ALLAN HOLDSWORTH, NUCLEUS, and Mike Ratledge! a song that not only cruises but grooves--and is relentless in both aspects! And the band is so tight! Holdsworth, of course, is impressive (though in a surprising Jan-Akkerman-kind of way), but Babbington and Marshall are almost equally so. Ratledge's "glue" that is is Lowrey organ really helps to hold it all together while at the same time directing the soloists with his oft-unexpected chords. Very interesting! And Holdsworth's similarity to the FOCUS guitarist's sound and style are really rather striking. In the seventh minute we get to hear a little Eef Albers-like style but it really isn't until the eighth minute that we get to start hearing any of the "destablized" notes that he becomes so well known for in the UK era and beyond. (19.5/20)
2. Part 2 (2:21) soft, delicate interlude of Karl Jenkins' piano and, later, Allan on acoustic guitar. Nothing really very interesting here much less innovative. (4/5)
3. Part 3 (1:05) a Jan Akkerman-like dramatic interlude over Ratledge's Lowrey, carrying forward the exact same chord progression and melody line of "Part 2" (4.5/5)
4. Part 4 (0:46) another transitory interlude in which the band takes have heavy, low-end-dominant approach to expressing the previous chords. (4.375/5)
5. Part 5 (5:29) with its repetitive base it sounds like something from a previous era of jazz-rock fusion--something from the earlier Tony Williams Lifetime, Miles Davis, Herbie Hancock, or even Mahavishnu Orchestra transition period from jazz to rock using standard two-chord blue-rock foundations to jam over. Karl Jenkins' heavily treated horns, Mike's AKS synthesizer, and Allan's soar and fly over the solid rhythm section of Marshall and Babbington (and Holdsworth). (8.875/10)
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6. "Gone Sailing" (0:59) opens with what sounds like an acoustic steel-string guitar (or Celtic harp), but then it turns into a more-advanced Steve Hackett-like guitar. Breathtaking! (5/5)
(27/30)
7. "Bundles" (3:14) sounding very Return To Forever-ish, this one launches with some very complex and intricate whole-band play, but then shifts into jam-formation using a two-bar riff from Babbington's bass repeated ad infinitum to support the soloing of Holdsworth and Jenkins. (9/10)
8. "Land Of The Bag Snake" (3:35) carrying seamlessly forward from the previous song as if it was just another stylistic shift into another motif that slowed down the previous one, Holdsworth continues soaring and racing around though with a muted effect on his horn-like guitar sound. Ratledge's Fender Rhodes work beneath is awesome. Marshall's ride cymbal is a little loud and Babbington's bass mixed a little fun, but this is a pretty good groove. (9.25/10)
9. "The Man Who Waved At Trains" (1:50) again, no separation from the previous song--as if the band just slides into this totally new, completely softer Weather Report/Chick Corea-like motif. Jenkins gets a turn to solo with his soprano sax, at times being shadow/mirrored by Holdsworth. (4.5/5)
Line-up / Musicians:
Five star songs: 8. "Freeway Jam" (4:58) (10/10); 6. "Cause We've Ended as Lovers" (5:42) (10/10); 9. "Diamond Dust" (8:26) (20/20); 3. "Constipated Duck" (2:48) (9/10); 4. "Air Blower" (5:18) (9/10), and; 5. "Scatterbrain" (5:40) (9/10).
Four star songs: the James Brown like 1. "You Know What I Mean?" (4:05) (8.75/10); the melodic funked up 2. "She's a Woman" (4:31)with its use of the Heil talk box that Peter Frampton would soon make mega-famous with his extensive use of it in his Frampton Comes Alive! January 1976 release (8.66667/10), and; 7. "Thelonius" (3:16) on which Steve Wonder's clavinet and Jeff's low-end "horn" guitar and Heil talk box take us on a ride that feels like a cross between Edgar Winter's "Frankenstein" and Jimmy Castor Bunch's "Troglodyte" songs. (8.875/10)
Total Time: 44:44
The album was recorded in November 1974 at Tonstudio Dierks and released on the Atlantic Records label in March.
- Donald Byrd / trumpet [solo], flugelhorn, vocals [solo]
- Gary Bartz / alto saxophone, clarinet
Backing Vocals – Fonce Mizell, Fred Perrin , Kay Haith (tracks: A3, A4), Larry Mizell, Lorraine Kenner (tracks: A1, A2, B1), Margie Evans (tracks: B3), Stephanie Spruill (tracks: A1, B1)
- Chuck Rainey / bass [Fender]
- Fonce Mizell / clavinet, trumpet
- Mayuto Correa / congas
- Harvey Mason / drums, bata [Batah drum], Jew's harp [mouth harp] (B1)
- David T. Walker / guitar
TOTO BLANKE Spider's Dance (1975)
The side project of German guitarist Hans Otto Blanke when not working with Jasper Van't Hof or with Pierre Courbois' ASSOCIATION P.C. This album finds the European virtuosi playing with Philadelphia expats John Lee (bass) and Gerry Brown (drums). The album was recorded and mastered at Conny's Studio in 1974 in Siegburg, Germany, on July 21-23, with the acoustic guitar parts recorded at "Studio Bero" in Münster on August 27 & 28. Vertigo Records released the album in April of 1975.
Line-up / Musicians:
- Toto Blanke / electric & acoustic guitars, composer & producer
With:
- Joachim Kühn / Fender electric piano
- Carmine Ugo "Charlie" Mariano / soprano saxophone, flute
- John Lee / bass guitar
- Gerry Brown / drums
2. "Intermission" (6:58) another song styled very closely after some of RETURN TO FOREVER's more quirky and dynamic constructs, this time with keyboard player Joachim Kühn's stylings sounding more akin to those of Chick Corea. (13.75/15)
3. "Rocbaron" (2:45) a Django Rhinehardt-styled acoustic guitar song solo by Toto definitely takes on a non-Django sound and style (and more Al Di Meola- and acoustic John McLaughlin sound) as it goes on. Excellent virtuoso guitar play! (9.75/10)
4. "Toto" (6:22) opens with two concurrently played tracks of Toto's electric guitar(s) playing wah-wah-ed arpeggi, soon along with John Lee's bass and Gerry's syncopated drums. Very cool! (Very "Discipline" like!) At 1:08 the hypnotic weave is broken by a crash into a slower procession of chunky-funky effected-bass, syncopated almost-military drums, and electric guitar arpeggi with Fender Rhodes electric piano support. (I hear no saxes or flutes.) The guitar soloing in the fourth minute reminds me very much of Larry CORYELL while Gerry Brown's drumming is like a mirror copy of the style and sounds of Lenny WHITE! In the fifth and sixth minutes the guitars return to two tracks weaving opposite one another, eventually speeding up to signal the band's transition into decay and finish. I really love this song--from multiple perspectives--maybe the drumming the most! (9.5/10)
Line-up / Musicians:
- Randy Brecker / trumpet, electric trumpet, flugelhorn, vocals (8), composer, arranger & producer
- Michael Brecker / tenor sax
With:
- Bob Mann / guitar
- Don Grolnick / keyboards
- David Sanborn / alto sax
- Will Lee / bass, vocals (5)
- Harvey Mason / drums
- Christopher Parker /drums (5)
- Ralph MacDonald / percussion
2. "Sponge" (4:05) organ chords, cymbal taps and snare snaps with heavily wah-wah-ed electric bass open this one before the tightly synchronized horn section and keys join in. Funk is oozing from this song as Randy's trumpet amicably duels with Don Grolnick's Odyssey Strings synth. The tight horn bank motif continues to pop up between the soloist's "verses"--one of which is given to Will Lee's very funky bass. (8.875/10)
Line-up / Musicians:
- Esteve Fortuny / electric & Spanish guitars
- Jordi Soley / piano, Fender Rhodes, Moog
- Joan Fortuny / soprano saxophone
- Carles Vidal / bass
- Josep Fortuny / drums, percussion
1. "Fesomies Urbanes" (5:26) awesomely rich Jazz-Rock Fusion of the funk-infused sort; a cross between Headhunters-era Herbie Hancock and Return To Forever. I love the support of the too-heavily-reverbed soprano saxophone by the electric wah-wah rhythm guitar and Fender Rhodes keyboard (they almost bury the sax!). Jordi Soley's Moog sound choice and play is very fresh/refreshing as well. Bass player Carles Vidal is solid though a bit too muted while drummer Josep Foruny is great in his pacing and support. (9/10)
2. "Lila" (4:17) water sounds beneath a soloing Spanish guitar open this one for about 40-seconds before bass, Fender Rhodes, and soprano sax join in with some very nice harmonic support. But it's the guitar that's the center and star of this show: displaying some pretty amazing skills in a kind of unique style along the way. The sax and Fender get some solo time in the third and fourth minutes, but, again, it's really Esteve Foruny's show on his Spanish guitar. (9/10)
3. "Capità Trueno" (10:16) back to RTF style and sound palette, though this time the guitar has a bit more Johnny Mac style to it--and the soprano sax certainly flavors the music differently than anything contemporary MO or RTF are doing. On this song the bass, electric guitar, and Fender Rhodes are mixed as if in the same universe while the sax and drums feel as if they're on different continents: the former a small church and the latter a distant tunnel of an underground cave system. Though all the musicians are competent at their instruments--and perform proving such--they really do not seem to always be "in the same song," that is, there's just a little too much separation and distance between the melodies and rhythms to make me feel a cohesive unity for this composition. Is it more mathematical--or more independent "free jazz" they're trying to merge within the RTF style? At 6:55 there is an interesting--and pleasant--shift in tempo and key which allows the sax a better bed over which to lay down his next solo. This is the first time in this song that I've felt as if the band had "come together" with a common vision for the song. The sax player is good--expressive and talented--but that weird, overly-reverbed sound is quite annoying. (17.5/20)
4. "Lalila" (1:16) more acoustic guitar play: either two or just one with a long-delayed echo effect employed. At the 0:45 mark Joan Fortuny enters with her soprano sax and then the song fades out! (4.25/5)
5. "Eufòria" (4:24) again the band seems to be trying to emulate the Return To Forever formula with guitar, drums, and bass propelling the song along while keyboards and sax add their own spices. At the same time, it's guitarist Esteve Fortuny who takes the first (and, it turns out, only) solo--one that is quite like Larry Coryell (in sound) and/or Corrado Restuci (in style) more than J. McLaughlin or Al Di. (8.75/10)
6. "L'harmoniosa Simfonia D'un Cos. Part 1" (4:17) opening with percussion bells and saxophone with spacious Fender Rhodes, bass, and guitar chords providing some accompaniment and mood-manipulation beneath. This one really sounds like the music that will represent the band NOVA either during the same year or just after this release. Unfortunately, despite the nice sound base, it never really develops much or takes off until "part 2." (8.875/10)
7. "L'harmoniosa Simfonia D'un Cos. Part 2" (3:39) the rhythm is added so that the song can move forward. It's a nice, city driving pace but it is highlighted by the top being down so the listeners can enjoy the sun, wind, and exo-urban scenery. Here all of the instruments seem to be in perfect synchrony while still supporting the soloing of Joan Fortuny's soprano sax. (9.125/10)
8. "El "bailaor" Còsmic" (4:22) a slow, spacey opening like something from a Larry Coryell album turns into a nice movin' bass-and-drum generated J-R F flight over which keyboard artist Jordi Soley gets a chance to show his stuff on his Fender Rhodes, that is, before guitarist Esteve Fortuny jumps in and takes over with his rather aggressive electric jazz guitar play. I like the more Latin (Catalàn?) rhythmic touches in the foundation. I also like the band's tightness on this one. (9/10)
9. "Tema Dels Carrers Radioactius" (1:50) another shaker and mover that shows the band firing on all cylinders--with fairly good precision timing, too. Too bad it's so brief. (4.5/5)
Total time 39:47
Smooth Catalan J-R Fusion of high calibur compositionally and seeming great ease from the musicianship. Recorded in Barcelona at EMI-ODEON studios during May 1975 for EDIGSA subsidiary Òliba Records, the album found public light later in the year. Apparently, the name of the band (and, therefore, album) is a political statement in and of itself as it references a famous landmark Spanish court decision from 1970 that ruled against a multi-national electricity company that was acting in Barcelona, and yet, unlike so many Catalan bands that popped up after the death of dictator Francisco Franco, this band was acting out before the Spanish ruler's December death.
Husband Michał Urbaniak recruits his usual high-profile band of musicians (the same lineup that would appear on his own first Arista album--which was to be released in the Spring of 1976 as Body English) to perform his compositions for his wife's unique wordless scat-plus vocals to soar. What an advantage: to have this kind of quality music beneath you to show off your individual skill! Urszula was recorded in New York for Arista by Michał in the summer of 1975 and then released toward the end of the year.
Line-up/ Musicians:
A2. "Visions" (5:40) gorgeous vocal jazz that sounds a lot like a mix of Stevie Wonder (the song's composer) and Lonnie Liston Smith. Nice vocal from Allen Murphy. (8.875/10)
B1. "Moment of Truth" (4:35) a nice little melodic bossa nova lite with gentle sax but concisely-edged bass, drums, and lead keyboard work. Very impressive musicianship if slightly oriented toward the easy listening market. (9.125/10)
B2. "Bismillahi 'Rrahmani 'Rrahim" (6:00) a Harold Budd composition long familiar to me due to its central presence on Harold's Pavillion of Dreams (which will be recorded--as an 18:23 version--with Brian Eno in 1976 though not released until 1978) which I've owned and loved since the early 1980s and has remained among my favorite 100 albums of all-time ever since. Those rolling major seventh chord arpeggios are what set my heart and soul in motion, express the core of my being. Marion does, by the way, perform the saxophone track on Harold's own album version. A great "first" run-through. (9.5/10)
B3. "Djinji" (9:45) on this gentle Latinized post-bop tune Marion lets us hear some of his more avant-garde-styled sax playing. Celestes and/or composer Bill Braynon's RMI electric piano get some spotlight between Fender Rhodes electric and non-electric pianos. I really like the electrified bop being maintained by the spirited rhythm section of Reggie Workman, Jimmy Hopps, Jose Goico, and Ed Blackwell. For Marion's second go round in the spotlight he stays quite firmly within both the chordal key as well as the main melody lines as opposed to the fiery wildness of his first excursion. A very interesting, engaging, and satisfying song. (18.75/20)
Total Time: 41:22
92.1875 on the Fishscales = A/five stars; a masterpiece of eminently enjoyable Jazz-Rock Fusion.
LARRY YOUNG Larry Young's Fuel (1975)
Recorded shortly before its release by Prestige Records, on April 24–26, 1975, at Fantasy Studios in Berkeley, CA.
A1. "Cosmic Chicken" (4:53) with bassist Peter Warren's sonically-altered bowed double bass sounds and John Abercrombie's equally-effected electric guitar sounds this song definitely starts the album with the kind of sonic experimentation that sets Progressive Rock and Jazz-Rock Fusion artists of the era apart from Jazz and Rock 'n' Roll bands--and with the addition of Alex Foster's chicken-scratch sounds from his saxophone, we get no reprieve from the weirdness. As a matter of fact, the only thing recognizable as "normal" in this song is Jack DeJohnette's drumming (which is incredible, top and bottom). Amazing song! (9.5/10)
A2. "One For Devadip And The Professor" (3:35) are we referring here to Carlos and Mahavishnu John? I think so. I love Jack's experimental Larry Fast minimalist keyboard play, Peter's murky bass, and John's searing guitar. This might be a fitting tribute chord-wise but sonically it's more fitting the spacey sounds that Khalid Yasin (Larry Young) or some of Santana and The MO's keyboard players were getting in the years previous. Very cool song! (9.6667/10)
A4. "Stratocruiser" (7:28) bass and drums turns into drums only by the second minute. The two-plus minute solo is impressive, of course, and Jack shows himself to be nearly as gifted as Billy Cobham at creating "music" and "melody" from his drum soloing, but it's when the rest of the band joins in that the music really becomes something more than a solo: at times it is as wild and dynamic as anything The Mahavishnu Orchestra ever did (especially with the combination of Jack's drums and John's McLaughlin-esque fire), and, at others it feels like structure-less chaotic free jazz. (13.75/15)
Line-up / Musicians:
- Frank Zappa / guitars, lead (4, 6, 9) & backing vocals, producer
- George Duke / keyboards, synthesizers, lead (1, 8, 9) & backing vocals
- Napoleon Murphy Brock / flute, tenor saxophone, lead (5, 8) & backing vocals
- Tom Fowler / bass
- Chester Thompson / drums, FX & voices
- Ruth Underwood / vibes, marimba, percussion
With:
- Captain Beefheart / harmonica (7)
- James Youman / bass (2)
- Johnny "Guitar" Watson / backing vocals (7, 8)
1. "Inca Roads" (live *) (8:45) an amazing song: its suite-like construct, incredible musicianship, and even out-of-this-world concept. Ruth Underwood, Chester Thompson, George Duke, Tom Fowler, and Frank Zappa are really that good! (20/20)
2. "Can't Afford No Shoes" (2:38) what starts out sounding like TODD RUNDGREN takes some turns Excellent musicianship from everyone involved: bassist James Youman, pianist George Duke, Chester Thompson, and raunchy Southern slide guitar from Frank. The homage to (parody of?) ZZ Top is quite prominent as well. (8.875/10)
AREA Crac! (1975)
THE CRUSADERS Chain Reaction (1975)
Line-up / Musicians:
A1. "Creole" (3:25) Soul-Funk-R&B delivered with some Jazz technique. I like the clavinet and bass work but not so much the synth bass. (8.75/10)
Swedish experimental Jazz-Rock Fusion with the help of Quartermass keyboard player Pete Robinson (later a member of Brand X). The band's only album was recorded at Europa Film Studios in Stockholm with Anders Henriksson producing and then released by CBS Records in February of 1975.
Line-up / Musicians:
- John Gustavsson / Fender electric bass
- Barry De Souza/ drum, trumpet
- Ola Brunkert / drums, percussion
Line-up / Musicians:
- John Gustavsson / Fender electric bass
- Barry De Souza/ drum, trumpet
- Ola Brunkert / drums, percussion
- Björn Jayson Lindh / flute, electric piano [Fender Rhodes]
- Janne Schaffer / guitar
- Pete Robinson / keyboards [Fender Rhodes, clavinet, organ, ARP 2600]
- Malando Gassama / percussion
- Pete Robinson / keyboards [Fender Rhodes, clavinet, organ, ARP 2600]
- Malando Gassama / percussion
1. "Bluegaloo" (6:25) a B+ funk track in a Herbie Hancock Headhunters style with successive solos from flute, electric guitar, drums and percussion, and electric piano (with flute and horn accents and embellishmnts). Nice jam with nice sound but there's really nothing very innovative from the soloists in terms of the sound or styles. (8.75/10)
2. "Woodchurch Sorceress" (1:50) creepy cinematic flute and percussion in-the-woods kind of stuff. (4.25/5)
3. "Kokt Tvätt" (5:51) flourish-filled launch into a repeating bar of odd rock-riffs arranged into a groove over which flute and electric piano solo and stuff. Not your typical Jazz-Rock Fusion; more like drawing from the older stuff of the earlier experimental work of Tony Williams, Freddie Hubbard, Herbie, and even Miles Davis. Nice drumming and percussion work. Pete Robinson and bassist John Gustavsson are a little too free and crazed for me. (8.75/10)
4. "The Nard Finished Third" (7:08) more funky like something from PARLIAMENT, WAR, or THE AVERAGE WHITE BAND than jazzy. Over the first few minutes it's all about the funk with little attention given to solos or jazziness. The third minute finally sees some soloing but this is all rock guitar (again like Parliament). I guess this reminds me also of Larry Coryell's eccentric Jazz Fusion. Again I must commend the percussion work of Malando Gassama and Ola Brunkert as well as dummer Barry De Souza (or is it Ola Brunkert on this one?). The flute play in the next section is quite flamboyant--more akin to that of Ian Anderson or Thijs van Lier than Joe Farrell or Hubert Laws. (13.25/15)
5. "Equator" (5:51) a quick-out-of-the-gate percussive sprint leads into a section of frenzy before the band finally settle into a still-frantically-paced and performed body akin to something John McLaughlin or Larry Coryell might have something to do with. Guitarist Janne Schaffer comes out of the first turn as the first true soloist before the percussion team takes over for a "solo" of their own. Then Pete Robinson, Janne Schaffer, and John Gustavsson start to trade barbs, back and forth, around the triangle, before settling into a side-by-side race of all-out soloing. The "chorus" brings the band back into harmony despite the frenetic energy feeding the soloing instincts of every one in the band. Wow! (9.25/10)
6. "Third Meter Stroll" (6:40) opens with lone bass acting as if he's trying to find his way through a cave system in the dark. Crazy-man Björn J'son Lindh joins in on his bat-fluttering flute while synthmeister Peter Robinson adds his own version of mammalian scurrying and fluttering action. The song goes on like this for the duration of the entire 6:40 as the hiker/spelunkerer continues down the tunnels on a steady if stop-and-go, look-and-listen, bump-and-learn mode. (8.875/10)
7. "The Visitor" (9:54) opening with an awesome deep thrum like the Talking Heads' "The Overload" within and over which guitar, percussionists, and wind instruments add their incidentals. Pretty cool--and, I'm sure, a lot of fun for the percussionists/sound effects artists! I wonder if Brian Eno or any of the Heads heard this song before heading into the Remain in Light sessions. (17.75/20)
Total Time 43:39
Total Time 43:39
Interesting for the wide variety of Jazz-Rock Fusion styles adapted here as well as for the experimentalism used to try to create a variety of cinematic moods.
88.91 on the Fishscales = B+/four stars; an excellent collection of experimental Jazz-Rock Fusion songs and tracks. A very interesting listening experience!
MAHAVISHNU ORCHESTRA Visions of the Emerald Beyond (1975)
An album in which all of John McLaughlin's recent influences can be felt: Jimi Hendrix, Carlos Santana, Shakti/Indian music, the Classical Impressionists, even the raw Larry Coryell sound. Released by Columbia Records in February of 1975, it was recorded in December of '74 at Electric Lady Studios under the guidance of co-production team of engineer Ken Scott and band leader John McLaughlin.
Line-up / Musicians:
- John McLaughlin / 6- & 12-string guitars, vocals
- Gayle Moran / keyboards, vocals
- Jean-Luc Ponty / violins (electric & baritone electric) (10 solo)
- Ralphe Armstrong / bass, double bass, vocals
- Michael Walden / drums, percussion, clavinet, vocals
With:
- Bob Knapp / flute, trumpet, flugelhorn, vocals
- Russell Tubbs / alto & soprano saxes
- Steven Kindler / 1st violin (5 solo)
- Carol Shive / 2nd violin, vocals
- Phillip Hirschi / cello
1. "Eternity's Breath Part 1" (3:10) taking a bit to get started, the band eventually establishes a Hendrix-like power motif over which some Indian scales are recited and repeated by the new soloists (Ponty and McLaughlin) and choral vocals perform. It's okay. Sounds a bit juvenile. (8.66667/10)
2. "Eternity's Breath Part 2" (4:48) more group chant vocals à la MAGMA over some complex but tightly performed group rock-jazz. McLaughlin takes the first solo--sounding very different from his "normal" self--more like Carlos Santana. He backs down into electric guitar power chords while Jean-Luc takes the next solo. Grand piano and strings and McLaughlin take the next motif before returning to the "love supreme" Hendrix group chant. Impressive play from everyone--nice composition. No wonder Jean-Luc took Ralphe Armstrong with him for his next three solo albums (Enigmatic Ocean, Cosmic Messenger, and A Taste for Passion). (9/10)
3. "Lila's Dance" (5:34) solo piano opens this one (and finishes it), leading into a nice little classical construct. At the end of the third minute the music takes a radical left into blues-rock in order for McLaughlin to take a wild Hendrix-like solo. Nice musicianship; I just don't really like the music. (8.875/10)
4. "Can't Stand Your Funk" (2:09) rhythm guitar, funk bass and drums, horns. Not much here, really; it's like an étude of a OHIO PLAYERS or early KOOL AND THE GANG song. (4.25/5)
5. "Pastoral" (3:41) birds introduce a piece that sounds Indian musicians taking on a Western classical composer (like Elgar or Delius)'s rendering of a traditional folk tune. Weird and, frankly, a little unexpected and out of place on a Mahavishnu Orchestra album. Yet well played! (9/10)
6. "Faith" (2:00) an unusual splicing of three different pieces, one that sounds like Larry CORYELL's abrasive guitar. (4.25/5)
7. "Cosmic Strut" (3:28) this one feels like a Jean-Luc Ponty composition: so funky and straightforward in the linear setup for a successive series of jazz solos. Confirmed by the presence of Jean-Luc himself in the "key" soloist's spot. I like the horn accents! And the clavinet and funk bass. Rudimentary for Jean-Luc, but it does all work. (9/10)
8. "If I Could See" (1:18) Gayle Moran's operatic voice over theatric strings, bass and horns. Like a big WHO rock opera kind of thing. Interesting. (4.5/5)
9. "Be Happy" (3:31) Bled into from the previous song (!!) we are off to the Jean-Luc Ponty races à la his great piece, "Egocentric Molecules," from Cosmic Messenger. The presence of John McLaughlin's pyroclastic guitar bolts makes it a bit different, though. Again, Jean-Luc takes the prime soloist's spot but he's challenged to a duel there by the Mahavishnu himself. It's pretty epic and awesome seeing these two go toe to toe. (I'm sure they both LOVED it!) Jean-Luc's song is simply the perfect vehicle for this. (9.5/10)
10. "Earth Ship" (3:42) a contrastingly gentle recovery song: very smooth and ambient with Fender Rhodes, gently walking bass, and soaring distant violin and flutes within which what sounds like Narada's voice singing as well as some bluesy McLaughlin guitar snippets. Nice! (9.25/10)
11. "Pegasus" (1:48) like instruments in a void: first fiery electric guitar strums followed by wafting violin swaths, ending with more of the percussive-like heavily-effected guitar strums. I find this one very interesting--worth further exploration. (4.75/5)
12. "Opus 1" (0:15) a quickly passing falcon is barely seen as it soars past.
13. "On the Way Home to Earth" (4:34) Narada Michael Walden puts together his best, most Lenny White-like drumming while John explores the sounds of his heavily-distorted guitar. A short break in the middle and then Michael is up and drumming again, this time with John's less-adulterated exploration of the upper-most frets of his electric guitar. It's very Hergest Ridge-like when the organ chords sneak up from underneath. I actually really like this one too despite it feeling, again, like an underdeveloped étude. (9.25/10)
Total Time 39:58
I couldn't agree with Ivan Melgar more: I always felt more engaged and satisfied by the second incarnation of the Mahavishnu Orchestra. The flash of the first incarnation never drew me back for reasons of pleasure, more for reasons of amazement and awe. And now, forty years later, I find Inner Mounting Flame and Birds of Fire hardly listenable, while Visions and Apocalypse have a warmth and friendliness that invite me in and keep me wanting to come back. Understand: Goodman, Cobham, Laird and Hammer are amazing and impressive instrumentalists but it was like they were all just waiting for their turn to flash--to solo--not really making music or songs; the second incarnation the MO seem more cohesive, playing memorable music, cohesive, repeatable songs. The first incarnation are jaw dropping amazing; the second incarnation produced music I want to listen to.
90.29 on the Fishscales = A-/4.5 stars; a very minor masterpiece of experimental jazz-rock fusion.
RETURN TO FOREVER No Mystery (1975)
Chick's second album with guitar phenom Al DiMeola completing the quartet lineup, no Mystery was recorded at The Record Plant in New York, during January of 1975 and then released on Columbia Records in February.
Line-up / Musicians:
- Stanley Clarke /Bass [Acoustic, Electric], Organ [Yamaha], Synthesizer, Vocals
- Lenny White /Drums, Percussion, Congas, Marimba
- Al Di Meola /Guitar [Electric], Acoustic Guitar
- Chick Corea /Piano [Acoustic], Electric Piano, Clavinet, Organ [Yamaha], Synthesizer, Drums [Snare], Marimba, Vocals
A1. "Dayride" (3:15) bouncy, joy-filled Latin Chick opening is quickly assisted by the full band (plus some nice percussion over dubs). It's really Chick's show for the first half of the song with everyone else performing tightly proscribed tasks (quite competently, I might add--even spectacularly in the case of Stanley). The vocals in the middle of the third minute are a bit of a surprise--but they work--and then the multiple downshifts for the finish are really cool. (8.8/10)
A2. "Jungle Waterfall" (3:15) a little more Hendrix-like with some funk in the bass and guitar strumming, the chorus is different: definitely more rock/R&B than is typical for RTF. In the end, with little soloing (Al gets a little spotlight in the final 30-seconds), this feels more like an étude--a whole band exercise in cohesion. (8.8/10)
A3. "Flight Of The Newborn" (7:20) more funk-oriented music with Al doing more of that surprisingly dirty wah-strumming that he'd been doing in the first two songs. The shifts and little individual flourishes start to become more the style than not with some great runs by Al and some stellar interplay between the other three: it's really an awesome display of top notch Jazz-Rock Fusion. Al is not at his fiery best--mostly due to his persistent allegiance to the distortion of the wah-pedal. Definitely the best display of Lenny's supreme talents on the album so far. The fifth minute is filled with some of Stanley's signature electric bass runs which are always astounding as well as lyrical, and then Chick gets to play on his MiniMoog while Al joins Stanley and Lenny to provide the steady yet-spacious support that allows Chick to be prominent. (13.5/15)
A4. "Sofistifunk" (3:20) some extremely funky keyboard play is accompanied by far simpler and surprisingly less-funkier drums, bass, and guitar. The band is cohesive but the style they're going for seems to escape me. If it's sophistication they're going for, they may have achieved it, but it just doesn't feel natural to the band as a whole--maybe to Chick and Lenny, but not so much Al and Stanley. (8.75/10)
A5. "Excerpt From The First Movement Of Heavy Metal" (2:45) classical grand piano opening that turns into sophisticated jazz at 0:28 and then Hendrix blues-rock at 0:50. Stanley's bass play is out-of-this-world awesome from the get go, seeming to play multiple styles all at the same time: R&B, slap, metal chords, and more. Ends with more of Chick's grandeliquent piano bombast. (9/10)
B1. "No Mystery" (6:06) one of the more fully-developed songs on the album and one that more fully conveys the individuality of each of the band members (especially Chick and Stanley in the first third). Acoustic instruments. Al and Stanley's bowed double bass occupy the third minute until Chick's piano chords bring the full band back together. (Lenny's playing percussion only.) Al Di Meola--the Al we've all come to know and love--takes the fourth minute, eventually sharing the spotlight with Stanley and Chick. It's always such a delight to see & hear J-R Fuse artists show off on their acoustic instruments. I love Lenny's marimba play mixed in with the others as they all stop-and-go with their virtuosic flourishes over the final minute. (9/10)
B2. "Interplay" (2:15) piano and bowed double bass open this one sounding almost avant garde. At 0:53 Chick and Stanley inject a more Latin direction, each performing at incredible speeds and ideations: a precursor to the amazing work they do on Romantic Warrior's "Medieval Overture." (4.75/5)
B3. "Celebration Suite (Part 1)" (8:25) opens like a prog rock opera or tongue-in-cheek version of an overture to a classical opera by Bizet or Ravel. The very-Spanish style is maintained in the second and third minutes as the full band shifts into full gear. Lenny's display of drumming is absolutely spell-binding--almost to the distraction of hearing the other amazing performances. Chick gets the first solo on his MiniMoog, but it's the battle between Stanley and Lenny that gets all of my attention. Al gets to jump in with Chick in the fifth minute: they're such an amazing duo, so well-synched. Great bridge at the end of the fifth minute leads into a very complex, showy tangent in which Lenny really gets to shine. At 5:52 there is a break that Chick jumps into with his electric piano, starting up a completely different motif--one that is laced and interlaced with incredible melodies. Wow! The rest of the band, I think, must be standing back, watching in awe--though somehow they are able to continue to be sporadically supportive. The final minute sees Chick taking the solo spotlight into a very dreamy passage before the band moves on to Part 2. (19/20)
B4. "Celebration Suite (Part 2") (5:30) Full band with everybody "hitting" big chords with all of their electronic effects (and Lenny absolutely killing it on le batterie!) so that Al can go off on one of those soaring solos that he would become so famous for. (Mid-blowing Lenny!) At the two-minute mark there is an oddly melodic bridge into a pause before everybody picks up the chase again--this time with everybody on full show-off mode: Stanley hitting some incredible bass chords, Chick manning multiple keyboards as if they were extensions of his 20 fingers and toes, and Lenny going absolutely crazy--all before a dramatic extended finale. (9.25/10)
Total Time: 42:53
91.60 on the Fishscales = A-/five stars; a minor masterpiece representative of the highest echelon of Jazz-Rock Fusion and yet the band is still gelling, the compositional excellence still eluding them at times.
RALPH TOWNER Solstice (1975)
Recorded in December of 1974 in Oslo's Arne Bendiksen Studio with Jan Erik Kongshaug sitting behind the engineering console, it was released during the following year by ECM--perhaps as late as September. Many consider this album as a defining moment--even one the crowning achievements--of Manfred Eicher's ECM label.
Line-up / Musicians:
- Ralph Towner / 12-string guitar, classical guitar, piano
- Eberhard Weber / cello, bass instrument
- Jan Garbarek / flute, soprano saxophone, tenor saxophone
- Jon Christensen / drums, percussion
- Eberhard Weber / cello, bass instrument
- Jan Garbarek / flute, soprano saxophone, tenor saxophone
- Jon Christensen / drums, percussion
A2. "Visitation" (2:32) an exercise in Nature and primordial recreation. (4.333/5)
A3. "Drifting Petals" (6:56) Ralph on solo piano playing a playful, gentle, introspective pastoral tune is joined in the second minute by Jan's flute. In the third minute, drums, reverberated fretless electrified bass, and Ralph's 12-string guitar step forward to creepy-crawl an exercise in hypervigilance--one that each of these ECM masters are completely up to task. The whole-band dynamic interplay in the fifth minute--both loud and soft--provides a real emotional peak. And the return to gentle piano arpeggi and guitar flute for the final minute is a display of sheer perfection in symmetry. (13.75/15)
B1. "Nimbus" (6:25) here is where I see fodder and inspiration for Pat Metheny's own solo acoustic guitar work. My favorite song on the album: it's absolutely gorgeous music. After 2:30 of exquisite solo acoustic guitar work the band is slowly coaxed into joining Ralph: first Jan's flute, then a slow entry of Jon' beautifully nuanced drumming, along with more tracks of Ralph's guitars and two tracks of Eberhard: one on bowed cello and one on upright double bass. Once full speed has been reached Ralph's awesome 12-string play is met face-to-face with Eberhard's dynamic double bass play and the entry of Jan's perfectly-balancing tenor sax. I don't always like Jan's work (or that of any saxophonist) but this is amazing--and powerful! Great, rousing band interplay over the course of those final couple minutes. Wonderful music even acoustic musicians can make thanks to the magic of multi-tracking! (10/10)
B2. "Winter Solstice" (3:58) Ralph playing near-Spanish style classical guitar with Jan meeting and matching him all along the way with his soprano sax. Man! These two are so in sync--so attuned! And both are definitely putting their full virtuosity on full display. Though I'm not such a fan of the melodies chosen/played by the two, I am so incredibly impressed by their astonishing timing in conveying them that I can't help but be won over. Standing ovations for this one! (9.75/10)
B3. "Piscean Dance" (3:33) funk in acoustic jazz?!? Jon Christensen and Ralph are definitely trying their best to demonstrate its possibility! Definitely a song that both impresses and endears both artists to me even more. (9.3333/10)
B4. "Red And Black" (1:12) electric guitar, volume-controlled whale sounds from Eberhard's electrified bass, and Ralph's acoustic guitar explorations--all coming together as if purely intended as an exploration of a certain sound possibility. (4.375/5)
B5. "Sand" (4:07) droning (and, probably, heavily-effected) sustained bowed cello notes joined by double bass notes with soprano sax splatterings and, eventually, Jon's funky drum play and effected 12-string guitar strums and gentle pickings all come together to create a sound palette that sounds remarkably similar to that which Corrado Rustici, Elio D'Anna, Percy Jones, Renato Rosset, and Narada Michael Walden will be creating for their 1976 NOVA album, Vimana. (9.33333/10)
Total Time: 40:57
I am emotionally and mentally blown away by the music Ralph and his virtuosic friends (and Manfred Eicher's production crew at ECM) have created for this album! I'm still blown away that they could create funk music without the employment of any electronic instruments!
92.79 on the Fishscales = A/five stars; a masterpiece of some of the finest, most creative guitar-centered acoustic jazz you are likely to ever hear. Definitely one of my favorite Jazz-Rock Fusion albums from the 1970s.
92.79 on the Fishscales = A/five stars; a masterpiece of some of the finest, most creative guitar-centered acoustic jazz you are likely to ever hear. Definitely one of my favorite Jazz-Rock Fusion albums from the 1970s.
JEREMY STEIG Temple of Birth (1975)
An album of all-original compositions that was produced by Jeremy and released by Columbia Records in February of 1975.
Line-up / Musicians:
- Jeremy Steig / flute, flute [Armstrong bass]
- Anthony Jackson / bass guitar (A1 to B2, B4)
- Alphonse Mouzon / drums (A1 to B2, B4)
- Ray Mantilla / percussion, congas (A1 to A4, B2, B4)
- Ray Mantilla / percussion, congas (A1 to A4, B2, B4)
- Richie Beirach / piano [acoustic], electric piano
- Johnny Winter / guitars [acoustic & electric] (A1, A3, A4)
A2. "Gale" (2:35) now this one definitely sounds like BOB JAMES; smooth and polished. (4.375/5)
A3. "Ouanga" (7:58) a cool start with some great drums, bass, funky keys and rhythm guitar set up Jeremy for an inspired display of flutesmanship. Anthony Jackson's bass paired with Richie Beirach's heavily treated electric piano and the hard-driving percussion team of Alphonse Mouzon and Ray Mantilla make for an incredibly funky yet still jazzy team--one that serves Jeremy, Johnny Winter's guitar, and Richie Beirach's Fender Rhodes very well for their solos. A top notch J-R F tune--though more for that amazing rhythm track than for its solos. Johnny's guitar work reminds me at times of John Tropea's on Deodato's "Also Sprach Zarathustra." (14.25/15)
A4. "Mountain Dew Dues" (3:53) opening with some of Johnny Winter's deep Southern Swamp blues acoustic dobro guitar. He is soon joined by Jeremy and the rest of the song is a pure duet between the two. Interesting with outstanding musicianship, just not my cup of tea. (8.75/10)
B1. "Goose Bumps" (3:56) another great drumming and bass display as Richie and Jeremy try to keep up with Alphonse and Anthony. I'd say Jeremy and Alphonse win this one though both Anthony and Richie both raise the roof as the song goes along. (9/10)
B2. "Belly Up" (3:16) even more drumming virtuosity on display as Richie, Anthony, and Ray try to keep up and fit in. Band leader Steig does well (it's his composition)--especially in the second minute, though this really feels like Alphonse's show. Richie also steps up admirably in the third minute with that weirdly-effected Fender Rhodes (fast-twitch wah-wah?) (9.125/10)
B3. "Temple Of Birth" (2:14) a moving and cinematic tune that really puts Richie Beirach's keyboard skills on display despite Jeremy occupying the lead/spotlight from start to finish. Impressive. (4.875/5)
B4. "Shifte-Telle Mama" (9:39) a funk motif is quickly established using Anthony Jackson's bass line coupled with Richie Beirach's phase-shifted-wah-wah Rhodes bass chords. Alphonse and Jeremy join in, the latter using not one but two tracks for two different flutes, the former going crazy with his dynamics while the latter kind of exaggerates and plays off of the main melody with his two tracks. At 2:20 everybody shuts down, opening the stage up for a Ray Mantilla conga solo. In the fourth minute Jeremy joins Ray, mirroring his pace with his breathy flute notes until the rest of the band rejoins at the very end of the fourth minute, gradually picking up the pace until we feel as if we're on a freight train headed for the canyon crash. In the sixth minute Jeremy doubles his visibility by occupying two tracks, one staying rather low while the other goes a little higher. (The former could be his bass flute). I wish I knew what that effect that Richie Beirach was using on his Fender Rhodes was: it definitely adds a lot to the funk that Anthony and Alphonse are going for. Nice little drum solo near the end. (18/20)
B5. "Rupunzel" (2:51) opening with Richie tinkling around on the piano like he's Chick Corea. He's joined by Jeremy playing his bass flute around 0:30 and still it sounds like some exotic Chick Corea song even though it was composed by the two performers here. Impressive play from Jeremy on what sounds like it might be a challenging instrument to play. (9/10)
Total Time: 44:11
90.48 on the Fishscales = A-/five stars; a fine display of original, funked up Jazz-Rock Fusion featuring some great work from the members of the rhythm section, great engineering, and impressive flute playing from its leader.
March
ALPHONSE MOUZON Mind Transplant (1975)
Alphonse's breakthrough funk album that is often cited as his best work. What a coup to get not one, not two, but three amazing guitarists both reaching the prime of their careers in Tommy Bolin and Lee Ritenour and Jay Graydon! The album was recorded April 4-10, 1974, at Wally Heider Studios in Los Angeles with Skip Drinkwater in the production seat, it was then released in March 1975 on Blue Note.
Line-up / Musicians:
- Alphonse Mouzon / drums, ARP 2600 synth, Fender Rhodes (6), Farfisa organ, vocals, arranger & co-producer
With:
- Jay Graydon / guitar, ARP 2600 programming
- Tommy Bolin / guitar (solos 3,7,8)
- Lee Ritenour / guitar (solos 4-6)
- Jerry Peters / Fender Rhodes, Hammond B3 organ
- Henry Davis / bass
1. "Mind Transplant" (4:05) hard drivin' rock with a lot of funk reveals a side of Alphonse that I do not know! Impressive but issuing no memorable riffs, melodies, or solos to make it memorable. (8.75/10)
2. "Snow Bound" (3:05) another impressive rock-oriented album that kind of goes nowhere. (8.75/10)
3. "Carbon Dioxide" (4:38) great drumming beneath those rock guitar riffs from the very opening. When the musicians settle into a flowing groove at 0:45 Tommy Bolin gets to lead into the melody, but then there is a dramatic tempo shift around 1:30 that leads into a very-JEAN-LUC PONTY-sounding high-speed chase passage in which Tommy flies around the fretboard with the more-than-adequate support of second guitarist Jay Graydon. Jerry Peters's Hammond B3 gets the second solo but it's oddly mixed behind everyone else. (8.875/10)
4. "Ascorbic Acid" (3:26) impressive drum opening that leads into a song structure in which Alphonse's snare hits feel off-center, making for a kind of odd distraction throughout. On this song Lee Ritenour gets front billing while Jerry Peters plays some pretty awesome Fender Rhodes beneath. I really admire the incredible tightness of all of the musicians' performances. (8.875/10)
5. "Happiness Is Loving You" (4:09) a bit slower and more melody-oriented, it's another excellent twin-guitar exhibition--though Lee gets the credit as the guy with all the solos. Not a great song but it does have catchy melodies and some pretty great nuanced double-guitar work between Jay and Lee. (9/10)
6. "Some of the Things People Do" (3:40) vocal screams at the beginning let one know that we're in for a Afro-funk song that sounds very much like the recent music coming from EARTH WIND & FIRE (without the horns) or KOOL AND THE GANG and/or THE OHIO PLAYERS. Alphonse's singing voice is okay--he's got plenty of confidence and swag--it's just not a great pop song. (8.75/10)
7. "Golden Rainbows" (6:56) a spacey, cinematic song in the vein of the stuff JEFF BECK, THE ISLEY BROTHERS or NARADA MICHAEL WALDEN will be doing. Nice. (13.5/15)
8. "Nitroglycerin" (3:03) as the title indicates, this one is pretty explosive: more from Alphonse and bassist Henry Davis as much as from the twin guitarists and Jerry Peters. Sounds a lot like Jeff Beck's "Freeway Jam." (9.25/10)
Total Time: 33:06
An album that is most impressive for the dominance of its hard-rockin' lines and sounds to me more like the music that would be coming out of bands like RUFUS, The OHIO PLAYERS, and The BROTHERS JOHNSON.
89.12 on the Fishscales = B+/4.5 stars; a near-masterpiece of hard-drivin' Jazz-Rock Fusion.
- Alphonse Mouzon / drums, ARP 2600 synth, Fender Rhodes (6), Farfisa organ, vocals, arranger & co-producer
With:
- Jay Graydon / guitar, ARP 2600 programming
- Tommy Bolin / guitar (solos 3,7,8)
- Lee Ritenour / guitar (solos 4-6)
- Jerry Peters / Fender Rhodes, Hammond B3 organ
- Henry Davis / bass
1. "Mind Transplant" (4:05) hard drivin' rock with a lot of funk reveals a side of Alphonse that I do not know! Impressive but issuing no memorable riffs, melodies, or solos to make it memorable. (8.75/10)
2. "Snow Bound" (3:05) another impressive rock-oriented album that kind of goes nowhere. (8.75/10)
3. "Carbon Dioxide" (4:38) great drumming beneath those rock guitar riffs from the very opening. When the musicians settle into a flowing groove at 0:45 Tommy Bolin gets to lead into the melody, but then there is a dramatic tempo shift around 1:30 that leads into a very-JEAN-LUC PONTY-sounding high-speed chase passage in which Tommy flies around the fretboard with the more-than-adequate support of second guitarist Jay Graydon. Jerry Peters's Hammond B3 gets the second solo but it's oddly mixed behind everyone else. (8.875/10)
4. "Ascorbic Acid" (3:26) impressive drum opening that leads into a song structure in which Alphonse's snare hits feel off-center, making for a kind of odd distraction throughout. On this song Lee Ritenour gets front billing while Jerry Peters plays some pretty awesome Fender Rhodes beneath. I really admire the incredible tightness of all of the musicians' performances. (8.875/10)
5. "Happiness Is Loving You" (4:09) a bit slower and more melody-oriented, it's another excellent twin-guitar exhibition--though Lee gets the credit as the guy with all the solos. Not a great song but it does have catchy melodies and some pretty great nuanced double-guitar work between Jay and Lee. (9/10)
6. "Some of the Things People Do" (3:40) vocal screams at the beginning let one know that we're in for a Afro-funk song that sounds very much like the recent music coming from EARTH WIND & FIRE (without the horns) or KOOL AND THE GANG and/or THE OHIO PLAYERS. Alphonse's singing voice is okay--he's got plenty of confidence and swag--it's just not a great pop song. (8.75/10)
7. "Golden Rainbows" (6:56) a spacey, cinematic song in the vein of the stuff JEFF BECK, THE ISLEY BROTHERS or NARADA MICHAEL WALDEN will be doing. Nice. (13.5/15)
8. "Nitroglycerin" (3:03) as the title indicates, this one is pretty explosive: more from Alphonse and bassist Henry Davis as much as from the twin guitarists and Jerry Peters. Sounds a lot like Jeff Beck's "Freeway Jam." (9.25/10)
Total Time: 33:06
An album that is most impressive for the dominance of its hard-rockin' lines and sounds to me more like the music that would be coming out of bands like RUFUS, The OHIO PLAYERS, and The BROTHERS JOHNSON.
89.12 on the Fishscales = B+/4.5 stars; a near-masterpiece of hard-drivin' Jazz-Rock Fusion.
THE SOFT MACHINE Bundles (1975)
After two years off, Mike Ratledge, the only remaining member of the original Softs, pulls his previous lineup of former-NUCLEUS members together for one more time but this time recruiting one more recent NUCLEUS member into the fold: guitar phenom ALLAN HOLDSWORTH. What an injection of life and power he is! What results is one fine collection of jazz-rock fusion songs--one that is unfortunately often overlooked due to the band's previous history and, to many, disappointing evolution. (I think a lot of people had long given up on buying their new releases--myself included--which is sad as this is an absolutely stellar album.) The album was recorded in July of 1974 at Whitfield Street Studios in London and then released by Harvest Records on March 22, 1975.
After two years off, Mike Ratledge, the only remaining member of the original Softs, pulls his previous lineup of former-NUCLEUS members together for one more time but this time recruiting one more recent NUCLEUS member into the fold: guitar phenom ALLAN HOLDSWORTH. What an injection of life and power he is! What results is one fine collection of jazz-rock fusion songs--one that is unfortunately often overlooked due to the band's previous history and, to many, disappointing evolution. (I think a lot of people had long given up on buying their new releases--myself included--which is sad as this is an absolutely stellar album.) The album was recorded in July of 1974 at Whitfield Street Studios in London and then released by Harvest Records on March 22, 1975.
Line-up / Musicians:
- Allan Holdsworth / acoustic, electric & 12-string guitars
- Mike Ratledge / Fender Rhodes, Lowrey organ, AKS synthesizer
- Karl Jenkins / oboe, soprano sax, acoustic & electric pianos
- Roy Babbington / bass
- John Marshall / drums, percussion
With:
- Ray Warleigh / alto & bass flutes (12)
- "Hazard Profile" (5 part suite) (41.5/45):
1. Part 1 (9:18) introducing: ALLAN HOLDSWORTH, NUCLEUS, and Mike Ratledge! a song that not only cruises but grooves--and is relentless in both aspects! And the band is so tight! Holdsworth, of course, is impressive (though in a surprising Jan-Akkerman-kind of way), but Babbington and Marshall are almost equally so. Ratledge's "glue" that is is Lowrey organ really helps to hold it all together while at the same time directing the soloists with his oft-unexpected chords. Very interesting! And Holdsworth's similarity to the FOCUS guitarist's sound and style are really rather striking. In the seventh minute we get to hear a little Eef Albers-like style but it really isn't until the eighth minute that we get to start hearing any of the "destablized" notes that he becomes so well known for in the UK era and beyond. (19.5/20)
2. Part 2 (2:21) soft, delicate interlude of Karl Jenkins' piano and, later, Allan on acoustic guitar. Nothing really very interesting here much less innovative. (4/5)
3. Part 3 (1:05) a Jan Akkerman-like dramatic interlude over Ratledge's Lowrey, carrying forward the exact same chord progression and melody line of "Part 2" (4.5/5)
4. Part 4 (0:46) another transitory interlude in which the band takes have heavy, low-end-dominant approach to expressing the previous chords. (4.375/5)
5. Part 5 (5:29) with its repetitive base it sounds like something from a previous era of jazz-rock fusion--something from the earlier Tony Williams Lifetime, Miles Davis, Herbie Hancock, or even Mahavishnu Orchestra transition period from jazz to rock using standard two-chord blue-rock foundations to jam over. Karl Jenkins' heavily treated horns, Mike's AKS synthesizer, and Allan's soar and fly over the solid rhythm section of Marshall and Babbington (and Holdsworth). (8.875/10)
-
6. "Gone Sailing" (0:59) opens with what sounds like an acoustic steel-string guitar (or Celtic harp), but then it turns into a more-advanced Steve Hackett-like guitar. Breathtaking! (5/5)
(27/30)
7. "Bundles" (3:14) sounding very Return To Forever-ish, this one launches with some very complex and intricate whole-band play, but then shifts into jam-formation using a two-bar riff from Babbington's bass repeated ad infinitum to support the soloing of Holdsworth and Jenkins. (9/10)
8. "Land Of The Bag Snake" (3:35) carrying seamlessly forward from the previous song as if it was just another stylistic shift into another motif that slowed down the previous one, Holdsworth continues soaring and racing around though with a muted effect on his horn-like guitar sound. Ratledge's Fender Rhodes work beneath is awesome. Marshall's ride cymbal is a little loud and Babbington's bass mixed a little fun, but this is a pretty good groove. (9.25/10)
9. "The Man Who Waved At Trains" (1:50) again, no separation from the previous song--as if the band just slides into this totally new, completely softer Weather Report/Chick Corea-like motif. Jenkins gets a turn to solo with his soprano sax, at times being shadow/mirrored by Holdsworth. (4.5/5)
10. "Peff" (1:57) yet another slide--this time into fourth gear, yet while still holding on to the softer, gentler sound palette of the previous motif--a motif that reminds me of GINO VANNELLI's wonderful "Storm at Sunup" suite (form the album of the same name that won't come out for another six months). What starts out so great, however, eventually becomes stale and boring. (4.5/5)
11. "Four Gongs Two Drums" (4:09) a Carl Palmer-like drum and percussion exhibition. (8.75/10)
12. "The Floating World" (7:12) gentle Fender Rhodes doubled with Lowry organ provide a gently floating foundation for the first 55-seconds before Karl's oboe and guest Ray Warleigh's flute present an equally etheric melody line in harmonized tandem. Another Fender Rhodes comes forward at the three-minute mark as the keyboard weave seems to take on a thicker, more intentionally-disorienting polyrhythmic pattern while Babbington's steady bass stays just below the surface--as if anchoring the floating world above. Oboe and flute pick up the melody-giving again at the 4:15 mark. Very Alice in Wonderland-like--and very aptly titled. Great piece. (14.5/15)
Total Time: 41:55
Many people refer to this album as the Allan Holdsworth breakout album as he would go on to work with many of the jazz fusion superstars in the next couple of years. I believe that this "breaktrhough" is made possible by the amazing cohesion of the Nucleus support crew--Babbington, Marshall, and Jenkins. As a matter of fact, this album, in my opinion, should have a different band name cuz they're not really the Soft Machine (history says that with Bundles Ratledge had given the reins over to Karl Jenkins). They're more Nucleus but not Nucleus: they're really the Allan Holdsworth Debut Project.
92.38 on the Fishscales = A/four stars; an excellent masterpiece of evolving and eclectic jazz-rock fusion: on the level of Newcleus, Herbie Hancock, Chick Corea/Return To Forever, Tony Williams Lifetime, Jean-Luc Ponty, and Brand X, but NOT a Canterbury style album. Definitely in my Top 20 Favorite Jazz-Rock Fusion Albums of prog's "Classic Era."
11. "Four Gongs Two Drums" (4:09) a Carl Palmer-like drum and percussion exhibition. (8.75/10)
12. "The Floating World" (7:12) gentle Fender Rhodes doubled with Lowry organ provide a gently floating foundation for the first 55-seconds before Karl's oboe and guest Ray Warleigh's flute present an equally etheric melody line in harmonized tandem. Another Fender Rhodes comes forward at the three-minute mark as the keyboard weave seems to take on a thicker, more intentionally-disorienting polyrhythmic pattern while Babbington's steady bass stays just below the surface--as if anchoring the floating world above. Oboe and flute pick up the melody-giving again at the 4:15 mark. Very Alice in Wonderland-like--and very aptly titled. Great piece. (14.5/15)
Total Time: 41:55
Many people refer to this album as the Allan Holdsworth breakout album as he would go on to work with many of the jazz fusion superstars in the next couple of years. I believe that this "breaktrhough" is made possible by the amazing cohesion of the Nucleus support crew--Babbington, Marshall, and Jenkins. As a matter of fact, this album, in my opinion, should have a different band name cuz they're not really the Soft Machine (history says that with Bundles Ratledge had given the reins over to Karl Jenkins). They're more Nucleus but not Nucleus: they're really the Allan Holdsworth Debut Project.
92.38 on the Fishscales = A/four stars; an excellent masterpiece of evolving and eclectic jazz-rock fusion: on the level of Newcleus, Herbie Hancock, Chick Corea/Return To Forever, Tony Williams Lifetime, Jean-Luc Ponty, and Brand X, but NOT a Canterbury style album. Definitely in my Top 20 Favorite Jazz-Rock Fusion Albums of prog's "Classic Era."
JEFF BECK Blow by Blow (1975)
An album that I played till I had to replace it due to wear back when it came out, I had been a long-time and avid Jeff Beck fan (as I remain) before this release, I remember being quite surprised at the smooth, polished feel of this album, these songs--especially after more in-your-face rock albums like Truth, Beck-ola, Rough and Ready, Group (which we all called "orange"), and 73's Beck, Bogert and Appice, but then I also knew and loved his gorgeous work with Stevie Wonder on "Talking Book." He was by far and away my favorite guitarist at that time. This album made me appreciate Jeff's talent for control, restraint, and melody even more than his previous work. Plus it was an album that could be played as background music with a girl--which was essential at that point in my life. The song "Cause We've Ended as Lovers" remains one of the pinnacles of rock guitar musicianship--on a par with the legendary Roy Buchanan (a later discovery)--and one of the most beautiful instrumental rock songs ever created. "Freeway Jam" has always been one of my go-to pump you up songs. What a melodic hook and what guitar pyrotechnics! And "Diamond Dust" with its amazing orchestration has the emotional impact that I've rarely felt equalled besides Side One of Eberhard Weber's 1976 release, "The Following Morning." Pure gorgeousness. The contributions of producer George Martin (though many of which were denied due to record label contract disputes) are critical to the success of this album as are the uncredited contributions of funk by Stevie Wonder on clavinet, but it's Max Middleton's keys and the AMAZING drumming of 17-year old Richard Bailey that are the most essential. Blow by Blow was recorded in October of 1974 at George Martin's AIR Studios (Associated Independent Recording) in London, England, and then released on CBS' Epic Records on the 29th of March of 1975.
Line-up / Musicians:
- Jeff Beck / guitars
With:
- Max Middleton / keyboards
- Stevie Wonder / clavinet (7) - uncredited
- Phil Chen / bass
- Richard Bailey / drums, percussion
- George Martin / orchestral arrangements (5,9), producer
With:
- Max Middleton / keyboards
- Stevie Wonder / clavinet (7) - uncredited
- Phil Chen / bass
- Richard Bailey / drums, percussion
- George Martin / orchestral arrangements (5,9), producer
Four star songs: the James Brown like 1. "You Know What I Mean?" (4:05) (8.75/10); the melodic funked up 2. "She's a Woman" (4:31)with its use of the Heil talk box that Peter Frampton would soon make mega-famous with his extensive use of it in his Frampton Comes Alive! January 1976 release (8.66667/10), and; 7. "Thelonius" (3:16) on which Steve Wonder's clavinet and Jeff's low-end "horn" guitar and Heil talk box take us on a ride that feels like a cross between Edgar Winter's "Frankenstein" and Jimmy Castor Bunch's "Troglodyte" songs. (8.875/10)
Total Time: 44:44
While I have never considered this album a masterpiece (there are too many songs that I routinely skip--as I did even back then), it is a shining testament to an amazing artist--a guitarist with unsurpassed innovative creativity as well as a fearless ability to experiment, try new things, and grow. As I listen to the album in its entirety today--for the first time since the 1970s--I am shocked at how very like the work of the MAHAVISHNU ORCHESTRA and Eumir DEODATO this sounds. In 1974 this was, I realize, representative of its time, but it also feels quite ahead of its time in terms of the way if successfully fuses so many of the styles and sounds that were popular at the time. I'm also quite astonished at how little credit I've (or anyone has) given to bassist Phil Chen. He's amazing! Especially on Side One (which is the side I usually skipped).
93.04 on the Fishscales = A/five stars; without question this is a landmark album if only for the fact that it made guitar hero Jeff Beck into a household name. A timeless masterpiece of jazz fusion putting on display many of the styles popular at that time from one of, if not THE, best, most talented and gifted guitarists of all-time. Unfortunately, it is my personal opinion that, though this is technically a "Third Wave" Jazz-Rock Fusion album, that it is also one of the seminal albums for the upcoming "Smooth Jazz" phenomenon in which "jazz" or jazzified pop music became more accessible as a music for a wider audience of perhaps "low brain" public--a public who would not, under normal circumstances, give jazz music of any kind the chance to become part of their world much less the fabric of their beings.
PASSPORT Cross-Collateral (1975)
The album was recorded in November 1974 at Tonstudio Dierks and released on the Atlantic Records label in March.
Line-up / Musicians:
- Curt Cress / drums, electronic percussion
- Klaus Doldinger / soprano & tenor saxes, Moog, electric piano, Mellotron
- Wolfgang Schmid / bass, guitar
- Kristian Schulze / electric piano, organ
- Curt Cress / drums, electronic percussion
- Klaus Doldinger / soprano & tenor saxes, Moog, electric piano, Mellotron
- Wolfgang Schmid / bass, guitar
- Kristian Schulze / electric piano, organ
1. "Homunculus" (6:09) despite the solid bass play holding this one all together, there is a loose, free-jazz feel to the rest of the performances--and some weird effects being imposed upon the overall sound. Still, the skill levels of all of the individuals are fully on display and still impressive. (8.875/10)
2. "Cross-collateral" (13:38) now three songs in--and this one a long one (of epic length) I can only deduce that band leader Klaus Doldinger (and/or his collaborators) was either spread too thin (very busy) or out of fresh ideas because the music on this album so far has been quite lackluster: lacking both the creativity and complexity that the previous album had overflowing to the brim. The lack of inspired or fully-formed compositional ideas are effecting the energy and interest levels of the rest of the band, resulting in lackadaisical performances--which is sad cuz we know these guys can play! There is absolutely nothing in this song, anywhere, that would ever lead me to want to return to it for repeated listens! It's just a first-take free-for-all from the band's first practice session. Plus, where is Klaus? Where are the saxes? (25/30)
3. "Jadoo" (3:03) something with a more structure but no really interesting quirky ideas or great melodies. (At least the saxes are back--though some are a little-too-heavily-processed.) The drumming is the best element of this one. (8.75/10)
4. "Will-O'the-Wisp" (6:15) even trying to go back to some funk doesn't work: it's just too rudimentary; there's nothing new/fresh or creative here, just by-the-numbers playing. The sound palette is right, just totally uninspired performances. (8.75/10)
5. "Albatros song" (5:18) a one-minute all-keyboard intro leads into some light textural music full of synth strings and, eventually, Klaus's singular saxophone putting forth something that sounds very much like the smooth jazz coming out of the BOB JAMES production labs. (8.6667/10)
6. "Damals" (4:38) acoustic guitar and sparse (keyboard) bass and drum play supporting a plaintive (single) sax solo by Klaus. Nice but clearly representing the new Smooth Jazz form of expression. (8.75/10)
Total Time: 39:01
85.68 on the Fishscales = C+/three stars; a fair representation of the direction Jazz-Rock Fusion was moving by the end of 1975.
DONALD BYRD Stepping into Tomorrow (1975)
Recorded, once again, at Hollywood's Sound Factory under the production team of Larry and Fonce Mizell (Sky High) in November and December of 1974. Stepping into Tomorrow was released to the public in March of 1975.
Line-up/Musicians:- Donald Byrd / trumpet [solo], flugelhorn, vocals [solo]
- Gary Bartz / alto saxophone, clarinet
Backing Vocals – Fonce Mizell, Fred Perrin , Kay Haith (tracks: A3, A4), Larry Mizell, Lorraine Kenner (tracks: A1, A2, B1), Margie Evans (tracks: B3), Stephanie Spruill (tracks: A1, B1)
- Chuck Rainey / bass [Fender]
- Fonce Mizell / clavinet, trumpet
- Mayuto Correa / congas
- Harvey Mason / drums, bata [Batah drum], Jew's harp [mouth harp] (B1)
- David T. Walker / guitar
- John Rowin / guitar
- Rhonghea Southern / guitar (A4)
- Stuff 'N Ramjet / percussion
- Jerry Peters / piano [acoustic piano], organ
- Larry Mizell / synthesizer [Arp synthesizers], electric piano [Fender Rhodes], conductor, arranger
- James Carter / whistle [whistler]
A1. "Stepping Into Tomorrow" (5:11) such simplicity! Please, say it ain't so! Luckily, it's a great, very catchy groove, otherwise there's more similarity to the music of later HERB ALPERT (1981's Rise) and the Blackbyrds (due to the choral vocals)--which is fine if you're heading toward radio-friendly pop-oriented "Smooth Jazz." I like the keyboard experimentations being done by Larry Mizell and Jerry Peters--and the vocals are actually quite a bit better (recorded/engineered) than those on the Blackbyrds' albums. Whoever is doing those ultra-soprano vocalese above the rest has got some pipes! (Lorraine Kenner? Stephanie Spruill?) (8.875/10)
A2. "We're Together" (4:19) opening with an excellent and enticing "conversation" between Donald and Gary with piano, background female vocals, and background horns offering nice accents. I also like the scraping noise of the pick hitting the strings on the rhythm guitar. Unfortunately, the choir vocals end up occupying too much space: taking away from the instrumentalists. (8.875/10)
B1. "Think Twice" (6:10) more vocal smoothation, this time with Team Male alternating with Team Female over some very simple jazz-funk (though with another great bass line and some nice vocal melodies). Jerry Peter's bouncy piano and Gary Bartz's smooth sax are nice complements to both the vocals and Donald's trumpet. (8.75/10)
C2. "I Love The Girl" (3:53) piano and gentle percussion instruments open this before the band engages in some cinematic Burt Bacharach-like music behind James Carter's whistling. When Donald kicks in with his flugelhorn in the second minute it is over some loose funk in which laid back yet playful bass and steady drums amuse beneath Jerry's wildly-adventurous piano play. It's kind of shame that his piano is mixed so far back into the mix cuz it's really entertaining and interesting. (8.75/10)
C3. "You Are The World" (4:29) bongos, timbales, and two fast-strummed rhythm guitar chords repeated over and over precede the "you are the world" male choir pronouncements. Then the music travels into a funkier BARRY WHITE world with piano and wildly flailing wah-wah chord fast-strumming rhythm guitar. This is definitely early Disco. I don't dislike it; it feels so ready for radio! (Especially in Detroit town!) (9/10)
D2. "Design A Nation" (4:21) very pleasant Smooth Jazz with very relaxing vocal choir work, whispered female voice, smooth sax from Gary Bartz, and a great bass-led groove at its foundation. (9/10)
D3. "Makin' It" (3:49) a song with a little more zip and jazz in it despite the funk/R&B presentation.
The master of borrowing riffs and sounds from past masters has been caught: it's no longer working its magic as it once had. Is just my ears or has Chuck Rainey's bass playing (and volume) been curbed or downscaled from the levels and freedoms expressed on the previous album? I think this an unfortunate mistake on the part of both the composer, bandleader, and producers.
- Jerry Peters / piano [acoustic piano], organ
- Larry Mizell / synthesizer [Arp synthesizers], electric piano [Fender Rhodes], conductor, arranger
- James Carter / whistle [whistler]
A1. "Stepping Into Tomorrow" (5:11) such simplicity! Please, say it ain't so! Luckily, it's a great, very catchy groove, otherwise there's more similarity to the music of later HERB ALPERT (1981's Rise) and the Blackbyrds (due to the choral vocals)--which is fine if you're heading toward radio-friendly pop-oriented "Smooth Jazz." I like the keyboard experimentations being done by Larry Mizell and Jerry Peters--and the vocals are actually quite a bit better (recorded/engineered) than those on the Blackbyrds' albums. Whoever is doing those ultra-soprano vocalese above the rest has got some pipes! (Lorraine Kenner? Stephanie Spruill?) (8.875/10)
A2. "We're Together" (4:19) opening with an excellent and enticing "conversation" between Donald and Gary with piano, background female vocals, and background horns offering nice accents. I also like the scraping noise of the pick hitting the strings on the rhythm guitar. Unfortunately, the choir vocals end up occupying too much space: taking away from the instrumentalists. (8.875/10)
B1. "Think Twice" (6:10) more vocal smoothation, this time with Team Male alternating with Team Female over some very simple jazz-funk (though with another great bass line and some nice vocal melodies). Jerry Peter's bouncy piano and Gary Bartz's smooth sax are nice complements to both the vocals and Donald's trumpet. (8.75/10)
B2. "Rock And Roll Again" (6:09) smooth, smooth instrumental Soul music. Harkens back to the early 1960s in its simplicity. And there's that whistler dude James Carter who'll be so dominant on Side Two of the next album (Places and Spaces). Otherwise, this is really just a classic soul/DooWap tune on which the alto sax takes the place of the human voice. Donald must be feeling really nostalgic. (8.66667/10)
C2. "I Love The Girl" (3:53) piano and gentle percussion instruments open this before the band engages in some cinematic Burt Bacharach-like music behind James Carter's whistling. When Donald kicks in with his flugelhorn in the second minute it is over some loose funk in which laid back yet playful bass and steady drums amuse beneath Jerry's wildly-adventurous piano play. It's kind of shame that his piano is mixed so far back into the mix cuz it's really entertaining and interesting. (8.75/10)
C3. "You Are The World" (4:29) bongos, timbales, and two fast-strummed rhythm guitar chords repeated over and over precede the "you are the world" male choir pronouncements. Then the music travels into a funkier BARRY WHITE world with piano and wildly flailing wah-wah chord fast-strumming rhythm guitar. This is definitely early Disco. I don't dislike it; it feels so ready for radio! (Especially in Detroit town!) (9/10)
D2. "Design A Nation" (4:21) very pleasant Smooth Jazz with very relaxing vocal choir work, whispered female voice, smooth sax from Gary Bartz, and a great bass-led groove at its foundation. (9/10)
D3. "Makin' It" (3:49) a song with a little more zip and jazz in it despite the funk/R&B presentation.
Jew's harp, piano, clavinet, and percussion are key components beneath Donald and Gary's horns. (It has elements that sound quite a bit like Ronnie Laws' monster hit--also from 1975, "Always There.") I like the lively spirit of those contribution to the foundation. (9/10)
The master of borrowing riffs and sounds from past masters has been caught: it's no longer working its magic as it once had. Is just my ears or has Chuck Rainey's bass playing (and volume) been curbed or downscaled from the levels and freedoms expressed on the previous album? I think this an unfortunate mistake on the part of both the composer, bandleader, and producers.
Total time: 39:21
88.65 on the Fishscales = B/four stars; an excellent album of simplified Jazz-Rock Fusion that finds portents of Disco, Jazz-Funk, and Smooth Jazz in its weaves.
April
The side project of German guitarist Hans Otto Blanke when not working with Jasper Van't Hof or with Pierre Courbois' ASSOCIATION P.C. This album finds the European virtuosi playing with Philadelphia expats John Lee (bass) and Gerry Brown (drums). The album was recorded and mastered at Conny's Studio in 1974 in Siegburg, Germany, on July 21-23, with the acoustic guitar parts recorded at "Studio Bero" in Münster on August 27 & 28. Vertigo Records released the album in April of 1975.
Line-up / Musicians:
- Toto Blanke / electric & acoustic guitars, composer & producer
With:
- Joachim Kühn / Fender electric piano
- Carmine Ugo "Charlie" Mariano / soprano saxophone, flute
- John Lee / bass guitar
- Gerry Brown / drums
1. "Lady's Bicycle Seat Smeller" (7:00) sounds very much like RETURN TO FOREVER (in no small part due to Gerry Brown's pre-RTF drumming). The drums, bass guitar, and electric guitar play are so closely fitted to the RTF style, it is only the presence of Carmin Ugo Mariano's flute and Joachim Kühn's more Herbie Hancock-like keyboard playing style. (13.5/15)
2. "Intermission" (6:58) another song styled very closely after some of RETURN TO FOREVER's more quirky and dynamic constructs, this time with keyboard player Joachim Kühn's stylings sounding more akin to those of Chick Corea. (13.75/15)
3. "Rocbaron" (2:45) a Django Rhinehardt-styled acoustic guitar song solo by Toto definitely takes on a non-Django sound and style (and more Al Di Meola- and acoustic John McLaughlin sound) as it goes on. Excellent virtuoso guitar play! (9.75/10)
4. "Toto" (6:22) opens with two concurrently played tracks of Toto's electric guitar(s) playing wah-wah-ed arpeggi, soon along with John Lee's bass and Gerry's syncopated drums. Very cool! (Very "Discipline" like!) At 1:08 the hypnotic weave is broken by a crash into a slower procession of chunky-funky effected-bass, syncopated almost-military drums, and electric guitar arpeggi with Fender Rhodes electric piano support. (I hear no saxes or flutes.) The guitar soloing in the fourth minute reminds me very much of Larry CORYELL while Gerry Brown's drumming is like a mirror copy of the style and sounds of Lenny WHITE! In the fifth and sixth minutes the guitars return to two tracks weaving opposite one another, eventually speeding up to signal the band's transition into decay and finish. I really love this song--from multiple perspectives--maybe the drumming the most! (9.5/10)
5. "Spider's Dance" (4:33) a protracted Mahavishnu-like progression of chords from guitar and bass while Joachim's clavinet and Gerry's drums sky rocket all over the place beneath and around the plodding oddly-time-signatured stringed rhythm section. Charlie Mariano's flutes and saxes as well as another track devoted to Toto's lead guitar carry the smooth melody line to the song's conclusion. Quite exciting and noteworthy. (9.33333/10)
6. "Prelude" (0:58) strumming acoustic guitar receives some flange treatment. (4.5/5)
7. "Slight Touch Of Hepatitis" (14:28) using a sparse and rather spacious rhythm section from the bass à la Bitches Brew and the early Mwandishi albums, drummer Gerry Brown is free to explore wherever Spirit guides him as Charlie Mariano and Joachim Kühn go wild and crazy over the top--for the first five plus minutes, that is. Toward the fifth and sixth minutes John Lee's bass begins to become quite adventurous and interesting while Toto Blanke's lead guitar and Joachim's wah-wah-ed Fender Rhodes become increasingly angular, key-bending, and at times outright dissonant. The band reigns it in and thins out in the eleventh minute to allow for some pure Fender Rhodes solo time (though John Lee's very active bass is still unavoidably noticeable just beneath). Gerry's drumming is solid and fluid but feels, compared to the creative freedoms he was given in previous songs, more constrained and liming.
I'm sure this was a very cerebral and liberating song to perform--and the performances are certainly impressive for their virtuosic creativity--but my puny little brain happens to prefer the melodic commitments of the previous songs. (27/30)
Total Time 43:04
Total Time 43:04
Quite an excellent and creative album despite the obvious emulation and inspiration from Chick (and Herbie), Stanley, Al (and Larry), and Lenny. Evenso, these musicians are all at the top of their games--given further freedom and expressive boosts by wah-wah pedals and multiple track recording.
91.93 on the Fishscales = A-/five stars; a remarkable masterpiece of high-powered Jazz-Rock Fusion--one that every prog lover and J-R Fuse lover should experience!
THE BRECKER BROTHER The Brecker Brothers (1975)
Though they'd been trumpeting around NYC since the late 60s, this was the brass brothers' first attempt at leading their own band. The result is one of the early examples of what I call the Second Wave of the Jazz-Rock Fusion movement. The material for the brothers' debut band as bandleaders was recorded in New York City in January of 1975 at Todd Rundgren and Moogy Klingman's Secret Sound Studio and then released in April by Arista.
Line-up / Musicians:
- Randy Brecker / trumpet, electric trumpet, flugelhorn, vocals (8), composer, arranger & producer
- Michael Brecker / tenor sax
With:
- Bob Mann / guitar
- Don Grolnick / keyboards
- David Sanborn / alto sax
- Will Lee / bass, vocals (5)
- Harvey Mason / drums
- Christopher Parker /drums (5)
- Ralph MacDonald / percussion
1. "Some Skunk Funk" (5:50) with its horn section opening and funk play from the rhythm section this song sounds a lot like something from a Steve Wonder album of the same period (next year's Songs in the Key of Life, in particular). The horn arrangements are rather impressive, perhaps even unusual, while the play of the rhythm section is top notch funk and brothers Michael and Randy spew forth some pretty awesome, R&B-funky solos on their respective horns (as does 30-year old David Sanborn--who is here still fairly early in his long and esteemed career). While high on the funk and jazz scales, this one lacks the melodic hooks necessary to make it more memorable. (9/10)
2. "Sponge" (4:05) organ chords, cymbal taps and snare snaps with heavily wah-wah-ed electric bass open this one before the tightly synchronized horn section and keys join in. Funk is oozing from this song as Randy's trumpet amicably duels with Don Grolnick's Odyssey Strings synth. The tight horn bank motif continues to pop up between the soloist's "verses"--one of which is given to Will Lee's very funky bass. (8.875/10)
3. "A Creature Of Many Faces" (7:41) opening with some "older"-sounding horn charts, the song then surprises with a turn down Smooth Jazz Lane. Wah-wah-ed bass and rhythm guitar accompany the horn and keyboard synth on a rather insipid and very vanilla-melodied pop construct. The solos (alto and tenor saxes, trumpet, electric guitar) are also rather tame in a Herb Alpert kind of way: I mean, you can tell the players are skilled, but they've chosen to go for easy-listening melodies and hooks rather than test the proletariat brain of the masses with more complex lines. I get a frequent flood of acrid taste whenever the band congeals for its Burt Bacharach-like bridges between the solos--which is weird cuz I used to adore the horn arrangements on Burt Bacharach and Fifth Dimension songs as well as all those schlocky television show theme songs of the late Sixties and early Seventies. (13.125/15)
4. "Twilight" (5:44) cinematic horn section melody opens this one before Will and Ralph MacDonald's Latin percussion take us down a speeding highway, but then the whole band slips into what feels like a Matrix-like state slow motion. These two seemingly incompatible motifs continue to alternate over the course of the entire song, the faster one (with some very impressive bass, drum, and percussion play) allowing space for soloists like Dave Sanborn and Bob Mann to try to shine. In the end, the two very different motifs sour me. (8.75/10)
5. "Sneakin' Up Behind You" (4:54) just hearing those electronic percussion sounds of the Disco era activates my PTSD. And then, put on top of it, the AVERAGE WHITE BAND/RUFUS/TAVARES-like group vocals and you really get me wandering into a wormhole. This would've been a very popular song in the Disco's at the time (even later as this was 1975: quite early from full-fledged Disco music.) It jsut doesn't stand up as well 50 years later. (8.875/10)
6. "Rocks" (4:38) the funk here feels rather diminished by the constant injection of bursts from the CHICAGO-like big band jazz horn arrangements. When the soloists (Dave Sanborn and Michael Brecker, dueling) play, the horn section goes quiet, and these are the best parts of the song. The arrangements and performances are super-impressive but they don't always register very high on the enjoyment scale. (8.75/10)
7. "Levitate" (4:32) gentle, plaintive reverbed-trumpet opens this with minimal support coming from Don Grolnick's Fender Rhodes and Ralph MacDonald's electronic percussion "water drips." In the second minute spacious bass and drum play and horn section support join in, but the song proceeds as a very gentle, doleful and introspective late-night performance. Randy is so gifted. The song is amazing if not quite as engaging as one might expect (or hope for). (8.875/10)
8. "Oh My Stars" (3:14) a smooth Yacht Rock type of jazz-rock pop song with Randy singing the lead vocals in a kind of MICHAEL FRANKS-like voice. Nice Yacht Rock accompaniment and solos from all. Had Randy's voice been a little better--more experienced--this might have been an Adult Contemporary radio hit. (8.875/10)
9. "D.B.B." (4:46) some smooth jazz with very lightning fast and complex horn section accents and a pre-Disco beat. Saxophone takes the first solo. (I believe it is Dave Sanborn on his Alto.) Nice performances from one of jazz-rock fusion's stellar rhythm duos in drummer Harvey Mason and bassist Will Lee. Randy takes the next solo with an electronically-treated trumpet (called his "electric trumpet")--backed nicely by Bob Mann's active rhythm guitar. (8.875/10)
Total Time 43:24
Total Time 43:24
1975. This just feels so early for both Disco and Smooth Jazz, but I cannot deny it: They're both here on this album! Luckily, so are the incredible skills and prime funk.
88.42 on the Fishscales = B/four stars; an excellent example of some of the earliest Adult Contemporary Smooth Jazz despite its complex horn section performances. Recommended for any of you fans of the more commercial, radio-friendly side of late 70s Jazz-Rock Fusion.
FREDDY HUBBARD Polar AC
The veteran trumpeter was getting on board the jazz-rock fusion train, here using a virtual who's who of proven J-R Fuse musicians in his recording sessions: Ron Carter, Bob James, Hubert Laws, George Benson, Airto, though it was mostly the "Quiet Storm"-genre of radio shows that was playing "Jazz Lite" music like this. Released by CTI Records on April 18, 1975, despite the fact that Freddie had left Creed Taylor and CTI Records some time before, the label decided to take advantage to the growing amount of radio play "Jazz Lite" music like this was garnering. The material released here comes from previously-unreleased recording sessions with Creed and Rudy Van Gelder back as far as 1972 and 1973.
I originally purchased this album because of the lineup of collaborating artists (I was hugely into Bob James, the Laws brothers, and Ron Carter during this period) but also cuz Freddy was covering two of my all-time favorite soul/R&B songs--both made famous by The Stylistics: "People Make the World Go Round" and "Bethca By Golly, Wow." The former of which Freddie made the best version of the song I've ever heard: here, on Polar AC.
Freddy had been notably trying some of the new rock-infusions on his previous albums from the early 1970s, but had been using his own or the studio's musicians to do so, and they just were't getting it. So, for Polar AC he called in some of the heavy hitters--musicians who had served time on the front lines: with Miles and Tony--including the three drummers here, Jack DeJohnette, Lenny White, and Billy Cobham and percussionist/drummer Airto Moreira.
1. "Polar AC" (6:57) a Cedar Walton tune covered with the help of Jack DeJohnette on drums. (13.125/15)
2. "People Make the World Go Round" (5:50) Lenny White is the drummer on this one. A personal favorite. (10/10)
3. "Betcha By Golly, Wow" (8:09) a good song that actually gets better when Freddie starts to take liberties with the melody lines. (13.5/15)
4. "Naturally" (5:52) a Cannonball Adderly song helped out by Billy Cobham. The song even sounds like a nostalgic look back into the post-My Favorite Things 1960s. Even Hubert Laws' flute feels so Sixties. Pleasant and melodic with very solid traditional jazz play (and sounds) from Freddie's supporting musicians. (8.875/10)
5. "Son of Sky Dive" (13:20) a reconditioning of the title song from one of Freddie's first attempts to foray into the Jazz-Rock Fusion idiom--a more latin rhythm form released in 1972 on which he used a lineup that included Billy Cobham, Airto Moreira, Ray Barretto, Ron Carter, Keith Jarrett, Hubert Laws, and George Benson. This one's better. Lenny White was pretty good, too. Sounds and plays out like "Love Connection Version 1." I absolutely LOVE Lenny White's drum play as well as Ron Carter's bass and keyboard support from George Gables. This is great modern-day jazz without collapsing into the quagmire of an abyss of "Smooth Jazz." (27.5/30)
90.0 on the Fishscales = A-/4.5 stars; a near-masterpiece of jazz-rock fusion.
COMPANTIA ELÈCTRICA DHARMA Diumenge (1875)
Catalàn Jazz-Rock Fusion pioneers from Barcelona--this was their debut album, before they managed to imbed their J-R Fusion within more traditional Catalàn musical styles and instruments. Recorded on the 4th and 5th of February, 1975, at Estudis Gema 2 in Barcelona, the band helped produce this for both Edigsa and Zeleste record labels for its release in April.
Line-up / Musicians:
- Esteve Fortuny / electric & Spanish guitars
- Jordi Soley / piano, Fender Rhodes, Moog
- Joan Fortuny / soprano saxophone
- Carles Vidal / bass
- Josep Fortuny / drums, percussion
1. "Fesomies Urbanes" (5:26) awesomely rich Jazz-Rock Fusion of the funk-infused sort; a cross between Headhunters-era Herbie Hancock and Return To Forever. I love the support of the too-heavily-reverbed soprano saxophone by the electric wah-wah rhythm guitar and Fender Rhodes keyboard (they almost bury the sax!). Jordi Soley's Moog sound choice and play is very fresh/refreshing as well. Bass player Carles Vidal is solid though a bit too muted while drummer Josep Foruny is great in his pacing and support. (9/10)
2. "Lila" (4:17) water sounds beneath a soloing Spanish guitar open this one for about 40-seconds before bass, Fender Rhodes, and soprano sax join in with some very nice harmonic support. But it's the guitar that's the center and star of this show: displaying some pretty amazing skills in a kind of unique style along the way. The sax and Fender get some solo time in the third and fourth minutes, but, again, it's really Esteve Foruny's show on his Spanish guitar. (9/10)
3. "Capità Trueno" (10:16) back to RTF style and sound palette, though this time the guitar has a bit more Johnny Mac style to it--and the soprano sax certainly flavors the music differently than anything contemporary MO or RTF are doing. On this song the bass, electric guitar, and Fender Rhodes are mixed as if in the same universe while the sax and drums feel as if they're on different continents: the former a small church and the latter a distant tunnel of an underground cave system. Though all the musicians are competent at their instruments--and perform proving such--they really do not seem to always be "in the same song," that is, there's just a little too much separation and distance between the melodies and rhythms to make me feel a cohesive unity for this composition. Is it more mathematical--or more independent "free jazz" they're trying to merge within the RTF style? At 6:55 there is an interesting--and pleasant--shift in tempo and key which allows the sax a better bed over which to lay down his next solo. This is the first time in this song that I've felt as if the band had "come together" with a common vision for the song. The sax player is good--expressive and talented--but that weird, overly-reverbed sound is quite annoying. (17.5/20)
4. "Lalila" (1:16) more acoustic guitar play: either two or just one with a long-delayed echo effect employed. At the 0:45 mark Joan Fortuny enters with her soprano sax and then the song fades out! (4.25/5)
5. "Eufòria" (4:24) again the band seems to be trying to emulate the Return To Forever formula with guitar, drums, and bass propelling the song along while keyboards and sax add their own spices. At the same time, it's guitarist Esteve Fortuny who takes the first (and, it turns out, only) solo--one that is quite like Larry Coryell (in sound) and/or Corrado Restuci (in style) more than J. McLaughlin or Al Di. (8.75/10)
6. "L'harmoniosa Simfonia D'un Cos. Part 1" (4:17) opening with percussion bells and saxophone with spacious Fender Rhodes, bass, and guitar chords providing some accompaniment and mood-manipulation beneath. This one really sounds like the music that will represent the band NOVA either during the same year or just after this release. Unfortunately, despite the nice sound base, it never really develops much or takes off until "part 2." (8.875/10)
7. "L'harmoniosa Simfonia D'un Cos. Part 2" (3:39) the rhythm is added so that the song can move forward. It's a nice, city driving pace but it is highlighted by the top being down so the listeners can enjoy the sun, wind, and exo-urban scenery. Here all of the instruments seem to be in perfect synchrony while still supporting the soloing of Joan Fortuny's soprano sax. (9.125/10)
8. "El "bailaor" Còsmic" (4:22) a slow, spacey opening like something from a Larry Coryell album turns into a nice movin' bass-and-drum generated J-R F flight over which keyboard artist Jordi Soley gets a chance to show his stuff on his Fender Rhodes, that is, before guitarist Esteve Fortuny jumps in and takes over with his rather aggressive electric jazz guitar play. I like the more Latin (Catalàn?) rhythmic touches in the foundation. I also like the band's tightness on this one. (9/10)
9. "Tema Dels Carrers Radioactius" (1:50) another shaker and mover that shows the band firing on all cylinders--with fairly good precision timing, too. Too bad it's so brief. (4.5/5)
Total time 39:47
88.89 on the Fishscales = B+/four stars; a wonderful display of peak-era, somewhat Latin and Return To Forever-influenced Jazz-Rock Fusion. The family needs another year or two to polish their collective vision and timing skills, but I can only recommend this one highly!
May
BARCELONA TRACTION Barcelona Traction
Line-up / Musicians:
- Lucky Guri / piano, electric piano, synthezisers
- Jordi Clua / bass
- Francis Rabassa / drums
with:
- Pedrito Diaz / percussions
- Manel Joseph / percussions
1. "Has Vist Passar Els Ocells" (5:00) very solid and enjoyable melodic and smooth j-r Fusion. Great bass and percussion work beneath the melody-generating Fender Rhodes. (9/10)
2. "Modulacions" (6:03) 90 seconds of okay blues-jazz piano before anyone else joins in. okay. (8.5/10)
- Lucky Guri / piano, electric piano, synthezisers
- Jordi Clua / bass
- Francis Rabassa / drums
with:
- Pedrito Diaz / percussions
- Manel Joseph / percussions
1. "Has Vist Passar Els Ocells" (5:00) very solid and enjoyable melodic and smooth j-r Fusion. Great bass and percussion work beneath the melody-generating Fender Rhodes. (9/10)
2. "Modulacions" (6:03) 90 seconds of okay blues-jazz piano before anyone else joins in. okay. (8.5/10)
3. Estudi En Afro (7:15) Lucky Guri solos on his piano for the opening minute in a very Vince Guaraldi-like style. Then he takes a break while Jordi Clua establishes a bass line that Francis Rabassa plays off of until Lucky's synthesizer, organ, and electric piano can join in. Jordi's wah-wah-pedaled bass is very interesting (and slightly distracting). Two different yet smoothly-connected motifs alternate over the course of the next minutes with Lucky's soloing moving from instrument to instrument above the solid, creative, and interesting work of the rhythm section--until 4:25, that is, when everybody takes a sudden right turn down a steep hill so that Lucky can Bob James solo on his Fender Rhodes. I must say, I am increasingly happy with the way the band/producer/engineer have mixed the instrumental palette with the percussion, bass, and drums as distinctively clear and forward as the lead instruments. More synth and Fender Rhodes soloing before a dynamic piano finish. Nice! (13.5/15)
4. Sudamerica (7:25) Another pristine and (to my ears) perfect mix of the full band over a definite Latin (even, perhaps, South American) sound during which Lucky Guri gets the first extended lead and solo with his Fender Rhodes. This is followed by a couple brief stints given to Jordi Clua to shine on both his electric bass as well as his stand-up double bass. Francis Rabassa's drums and Padrito Diaz and Manel Joseph's percussion play, as usual, add so much to this--almost, at times, to the distraction of the "lead" keyboard instruments. The second, quick-paced motif that the band alternates between is so awesome--like the frenzied outro of some Latin jam--with Lucky hammering his piano with full chords in an awesome! (It reminds me of one of my favorite Jane Siberry songs, "Are We Dancing Now? (Map III)" from her 1989 album release, Bound by the Beauty.) This is definitely my favorite song on the album. (14.5/15)
5. "Foc I Pluja" (8:50) wind chimes and other percussion sounds with Fender Rhodes open this one. Drummer Francis Rabassa only enters with some delicate cymbal play in the second minute. At 1:38 Lucky Guri begins establishing a lullaby-like melody on his electric piano before he and the percussionist swell to serve notice to bassist Jordi Clua to enter. Drums follow and a nice Latin groove is established while Lucky moves into a chord play reproduction of some familiar pop melody. In the second half of the fourth minute the band subtly moves into a smoother, more sophisticated and jazz-like motif. Very cool how smoothly they made that transition! Now Lucky and Francis are both playing full-on jazz but then at 5:15 they kind of come back to a Bob James-like smooth jazz bridge before returning to the sophisticated motif for some wah-wah-effected bass soloing from Jordi. It's okay: melodic and quirky, but fails as a funk solo. Percussion and Fender take the next brief solos before Lucky returns to that familiar pop melody line while the rhythm section remains in fourth gear. But then at 7:40 a cymbal crash signifies the end of all instrumentalist's contributions save for Lucky's pensive chord play on the Fender Rhodes. Odd song! But interesting! Nice drum and percussion work, boys! (17.75/20)
Total Time 34:33
Total Time 34:33
It is rare that one encounters an album in which the drums, bass, and percussion are mixed so evenly forward with the other instruments in the sound palette. This really gives the percussionists a chance to not only be noticed but to shine! The steady, defined tracks with the smooth keyboard sounds and play of band leader Lucky Guri definitely render this album into the fray of the new "Smooth Jazz" domain--one of my new favorites from that category. And did I mention the great drumming of Francis Rabassa?
Line-up / Musicians:
- Jean-Luc Ponty / acoustic & electric violins, Violectra, strings synthesizer (3), arranger & producer
With:
- Patrice Rushen / piano, electric piano, organ, clavinet, synthesizer
- Dan Sawyer / guitar (excl. 8)
- Ray Parker, Jr. / guitar (4 & 5-solos, 8)
- Ralphe Armstrong / bass
- Leon "Ndugu" Chancler / drums, percussion, Roto toms
1. "Upon The Wings Of Music" (5:26) now here's the patented J-L Ponty sound! Thanks to bassist extraordinaire Ralphe Armstrong, the amazingly versatile (and grossly under-appreciated) keyboard player, Patrice Rushen, Jean-Luc's sound is richer, funkier, and way more modern than the electrified attempts he made on previous albums. But, hey! It's all about evolution--the willingness to try new things, adapt, and change, right? Great slap-funk bass from Ralphe with solid drumming from Ndugu. (9/10)
2. "Question With No Answer" (3:29) piano with multiple tracks of violin (a trick Jean-Luc would persist in trying and perfecting by the time Cosmic Messenger and Individual Choice roll around). Some of the violins are more effected than the others, some sounding almost acoustic. Patrice Rushen's bluesy piano provides the absolute perfect support for Jean-Luc's display of multiple personalities, but the addition of the electric bass and drums (mixed far too forward and loudly) is a mistake as their melody-making and rhythmic add-ons only distracts--especially in their total redundancy. (8.75/10)
3. "Now I Know" (4:27) slow and bluesy with a near-C&W ballad-like feel to it, the treated electric violin is very much in line with the sound that will dominate Jean-Luc's albums and music for the next decade. Nice laid back work from the rhythm section, even when Patrice steps up for an electric piano solo in the third minute. But the highlight is Jean-Luc's Violectra and synthesizer use--a first (as far as I know). Cool stuff! (8.875/10)
89.375 on the Fishscales = B+/4.5 stars; an excellent near-masterpiece of prime Jean-Luc Ponty music--the first to achieve that signatory sound that he would master for the next 20 years. There are, however, still kinks to work out--which makes sense since Jean-Luc has an entirely new entourage of collaborators and a brand new record company. But, the gate is open for his incredible run of 15 years of masterful albums.
This one was recorded at Rudy Van Gelder's studios in New Jersey during December of 1974 and January of 1975 and then released on May 29 by CTI Records. Bob seeks to solidify his place within the Jazz-Rock Fusion tidal wave.
Line-up / Musicians:
A1. "Take Me To The Mardi Gras" (5:50) a remake of the Paul Simon song, it is a nice smooth jazz arrangement but Eric Gale's sliding bass notes become rather irritating over the course of six minutes. I never before realized how this song provided the main melody for big hit by (8.75/10)
A2. "I Feel A Song (In My Heart)" (5:26) a Mary Sawyer and Tony Camillo composition that is here sung by Patti Austin. It was originally recorded by Sandra Richardson in 1971 and made a minor hit by Gladys Knight and the Pips in 1974. Here its jazzier rendering was intended to make waves on the jazz and pop charts. A nice rendition. (8.875/10)
B2. "You're As Right As Rain" (5:29) a rendition of a Linda Creed and Thom Bell tune that was first recorded by The Stylistics in 1972. The strummed acoustic guitar sound used here would also become one of Bob's signature elements of his songs as would the background strings teases and smooth/laid back Fender Rhodes. How he pulls off those delicate, "muted wind"-like wind/horn sounds I've never been able to figure out but, again, it is a sound that I only know from Bob James-involved albums. Very pleasant and definitely smooth: all that will become the core and essence of the Smooth Jazz movement of which Bob is a founder, mainstay, and prime example. (9/10)
Line-up / Musicians:
- Joe Zawinul / piano, Rhodes, Tonto & ARP 2600 synths, melodica (1,4), organ (2,6), steel drums (3), out (4), mzuthra (4), vocals (4), West African xylophone (4), cymbals (5), orchestration, co-producer
- Wayne Shorter / soprano & tenor saxophones, co-producer & mixing
- Alphonso Johnson / bass
- Leon Ndugu Chancler / drums, timpani, marching cymbals
- Alyrio Lima / percussion
1. "Man in the Green Shirt" (6:28) I really love the interplay of drumming, percussion, bass, and electric piano in this song. The horns are nice, and the weird synthesized Nature sounds entertaining, but it's the great coordination of high speed play from the rhythmatists that impresses and engages me the most. (9.375/10)
2. "Lusitanos" (7:24) opening with quirky comi-funk before synth, keys, and horns present a WR-type of melodic/chordal statement. Between regular repetitions of this chorded theme Wayne and Joe take turns adding their respective solos but the sonic field is so layered that it's almost full: practically burying any soloist's attempts. But then the band thins it out, keeping only the bare bones, so that Wayne and Joe can trade solos on soprano sax and piano, respectively--Joe even going so far as to solo twice: as if duelling with himself! Then Wayne takes a turn on his tenor sax: first within the full band weave, then with the open field laid out for him. No matter who's soloing, Joe is always adding quirky little sound injections from his circus collection of synth and hand tools. Alphonso Johnson's bass is creatively effected but it seems to handcuff him into playing some rather simple lines and a lot of single tone repetitions. (13.125/15)
88.63 on the Fishscales = B/four stars; an album of sophisticated, busy, multi-layered music that is often overly-gilded in what amounts to circus entertainment tricks. Too bad! I love the bones and basic constructs of a lot of this music.
90.36 on the Fishscales = A-/five stars; a minor masterpiece of very well composed, admirably performed, and excellently engineered Smooth Jazz that I think all prog lovers should give a listen to.
JEAN-LUC PONTY Upon the Wings of Music (1975)
A new, entirely American lineup supporting Jean-Luc for this, the first of his long association with Atlantic Records. Consequently, the sound of these songs is the first in the true entry to Third Wave Jazz-Rock Fusion. (Remember: in 1975 anything was possible!) Recorded in January of 1975 and then released on May 25, 1975.
Line-up / Musicians:
- Jean-Luc Ponty / acoustic & electric violins, Violectra, strings synthesizer (3), arranger & producer
With:
- Patrice Rushen / piano, electric piano, organ, clavinet, synthesizer
- Dan Sawyer / guitar (excl. 8)
- Ray Parker, Jr. / guitar (4 & 5-solos, 8)
- Ralphe Armstrong / bass
- Leon "Ndugu" Chancler / drums, percussion, Roto toms
1. "Upon The Wings Of Music" (5:26) now here's the patented J-L Ponty sound! Thanks to bassist extraordinaire Ralphe Armstrong, the amazingly versatile (and grossly under-appreciated) keyboard player, Patrice Rushen, Jean-Luc's sound is richer, funkier, and way more modern than the electrified attempts he made on previous albums. But, hey! It's all about evolution--the willingness to try new things, adapt, and change, right? Great slap-funk bass from Ralphe with solid drumming from Ndugu. (9/10)
2. "Question With No Answer" (3:29) piano with multiple tracks of violin (a trick Jean-Luc would persist in trying and perfecting by the time Cosmic Messenger and Individual Choice roll around). Some of the violins are more effected than the others, some sounding almost acoustic. Patrice Rushen's bluesy piano provides the absolute perfect support for Jean-Luc's display of multiple personalities, but the addition of the electric bass and drums (mixed far too forward and loudly) is a mistake as their melody-making and rhythmic add-ons only distracts--especially in their total redundancy. (8.75/10)
3. "Now I Know" (4:27) slow and bluesy with a near-C&W ballad-like feel to it, the treated electric violin is very much in line with the sound that will dominate Jean-Luc's albums and music for the next decade. Nice laid back work from the rhythm section, even when Patrice steps up for an electric piano solo in the third minute. But the highlight is Jean-Luc's Violectra and synthesizer use--a first (as far as I know). Cool stuff! (8.875/10)
4. "Polyfolk Dance" (5:12) yes, it's based on folk melodies, but the sound and pacing is all RETURN TO FOREVER--especially due to the presence and very up-front and center contributions of guitarist Ray Parker, Jr. I also love Patrice Rushen's fluid, free, and floating electric piano play between everything that the leads and rhythm section are doing. At 1:45 there is a surprise shift not only to a different road and speed but to a completely different vehicle! The opening was like riding in a van whereas now we've switched to a sports car. Several more tempo and motif switches occur fairly quickly, all the while Ralphe and Ndugu remain locked in while Patrice remains totally lax and fluid. Really cool teamwork! While nothing that Ray (or the other guitarist, Dan Sawyer) does is mind-blowing or innovative, he does a wonderful job of keeping up with and, often, matching melody lines with Jean-Luc. (9.25/10)
5. "Waving Memories" (5:43) solid Third Wave Jazz-Rock Fusion with some elements and motifs entering the realms of Jazz-Funk and Smooth Jazz. The main detriment to this song, despite its stellar performances, is the lack of defining melodies and sometimes disparate sound stylings that don't always mesh together so perfectly. (8.875/10)
6. "Echoes Of The Future" (3:09) heavily-treated/delayed & echoed synth violin partnered with heavily-treated muted guitar and deep synthesized violin washes. Though there might be guitar and keyboard synthesizer present, I suspect (knowing Jean-Luc's "I can do everything" penchant) that it's all multi-track stuff coming from his violins. It is, without question, however, pretty cool; a precursor to Cosmic Messenger's amazing opening title song. (9/10)
7. "Bowing Bowing" (4:53) nice four-chord vamp sound palette over which Jean-Luc and Patrice take turns soloing with their weirdest synthetic sounds. Even Dave Sawyer gets some time near the front as he mirrors and provides harmonic accompaniment to Jean-Luc's melody making with his electric guitar. Glad Jean-Luc finally gave the dude some exposure. Nice tune. (8.875/10)
8. "Fight For Life" (4:34) opens like some kind of wah-wah-ed ZZ TOP or LED ZEPPELIN song with a three-chord vamp set in place from the first note to support Jean-Luc and Ray Parker, Jr.'s solos. Unfortunately, Ray's solo in the third minute is way too distorted and flanged down. Then around 2:40 there is a very weird sudden gradual speed up--as if the 1950 Ford Fairlane's pedal is put to the metal. Once top speed has been achieved Jean-Luc really flies--like a hungry swallow--while the rhtyhm section holds super tight beneath. A weird song that has some truly awesome parts and some parts that leave me scratching my head. (8.875/10)
Total Time 36:38
Total Time 36:38
89.375 on the Fishscales = B+/4.5 stars; an excellent near-masterpiece of prime Jean-Luc Ponty music--the first to achieve that signatory sound that he would master for the next 20 years. There are, however, still kinks to work out--which makes sense since Jean-Luc has an entirely new entourage of collaborators and a brand new record company. But, the gate is open for his incredible run of 15 years of masterful albums.
BOB JAMES Two (1975)
Line-up / Musicians:
– Bob James / electric piano, clavinet, synthesizer [Arp Odyssey], organ [Yamaha Yc30]
– Eric Gale / bass; guitar (A1, A2, B1)
– Eric Gale / bass; guitar (A1, A2, B1)
– Steve Gadd / drums
With:
– Arthur Jenkins / percussion
- Ralph MacDonald / percussion
- Eric King / bass (A3)
– Andrew Smith / drums (A3)
– Patti Austin / vocals (A2)
– Hubert Laws / flute (B1)
– Rickie Resnicoff / guitar [solo] (A3, B2)
– Eddie Daniels / clarinet [solo] (A1)
– Tony Studd / trombone [solo] (A1)
– Tony Studd / trombone [solo] (A1)
And:
French Horn – Al Richmond, Jimmy Buffington , Peter Gordon
Trombone – Eddie Bert, Tom Mitchell , Wayne Andre
Trumpet, Flugelhorn – John Frosk, Lew Soloff, Marvin Stamm, Randy Brecker, Victor Paz
Violin – Charles Libove, David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Harry Cykman, Harry Glickman, Harry Lookofsky, Joe Malin, Matthew Raimondi, Max Ellen, Paul Gershman
Cello – Alan Shulman, Alla Goldberg, Tony Sophos , George Ricci, Jesse Levy, Seymour Barab, Warren Lash
French Horn – Al Richmond, Jimmy Buffington , Peter Gordon
Trombone – Eddie Bert, Tom Mitchell , Wayne Andre
Trumpet, Flugelhorn – John Frosk, Lew Soloff, Marvin Stamm, Randy Brecker, Victor Paz
Violin – Charles Libove, David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Harry Cykman, Harry Glickman, Harry Lookofsky, Joe Malin, Matthew Raimondi, Max Ellen, Paul Gershman
Cello – Alan Shulman, Alla Goldberg, Tony Sophos , George Ricci, Jesse Levy, Seymour Barab, Warren Lash
Vocals – Frank Floyd, Lani Groves, Zachary Sanders
A2. "I Feel A Song (In My Heart)" (5:26) a Mary Sawyer and Tony Camillo composition that is here sung by Patti Austin. It was originally recorded by Sandra Richardson in 1971 and made a minor hit by Gladys Knight and the Pips in 1974. Here its jazzier rendering was intended to make waves on the jazz and pop charts. A nice rendition. (8.875/10)
A3. "The Golden Apple" (7:20) one of Bob's compositions that is very symphonic and theatric--like an intro to a Broadway musical or a Bond film--with strings and full orchestra playing a very significant role over the opening two minutes. After that it smooths out into a jazz-rock tune with a hypnotic bass line supporting syncopated drumming, a dynamic electric guitar solo form Rickie Resnicoff, a (poorly recorded) piano solo, Arp Odyssey solo, all glued together by wonderfully-arranged symphonic bridges. It ends kind of strangely--faded out just as a synth solo is beginning, but I have to give a shout out to drummer Andrew Smith for his superlatively unusual and creative work. (13.5/15)
B1. "Farandole" (8:24) a jazzy rendering of a classical piece by George Bizet drenched with lots of horn blasts from the brass section and a fair amount of symphony support despite the jazz combo's funky rhythm track and Bob's soon-to-be-signatory Fender Rhodes play. Nice flute play from Hubert Laws. A little bombastic but still a pretty great composition rendered well. (17.75/20)
B2. "You're As Right As Rain" (5:29) a rendition of a Linda Creed and Thom Bell tune that was first recorded by The Stylistics in 1972. The strummed acoustic guitar sound used here would also become one of Bob's signature elements of his songs as would the background strings teases and smooth/laid back Fender Rhodes. How he pulls off those delicate, "muted wind"-like wind/horn sounds I've never been able to figure out but, again, it is a sound that I only know from Bob James-involved albums. Very pleasant and definitely smooth: all that will become the core and essence of the Smooth Jazz movement of which Bob is a founder, mainstay, and prime example. (9/10)
B3. "Dream Journey" (5:57) Bob's second and only other composition (two per album seems to be the pattern he's setting). The music is a pretty, cinematic/theatric blend of the funk-lite jazz-rock instruments with all that orchestral inputs can provide. In fact, I would use this song to cite how a master arranger of Elevator Music does it--on a par with the great Burt Bacharach! (9/10)
Total Time: 38:26
Total Time: 38:26
While the musical arrangements here are more sophisticated than many of those that will follow on his successive album output, there are more similarities to the jazzier works of the great orchestra arrangers of the era such as Burt Bacharach, David Axelrod, Eumir Deodato, Neil Yardley, Claus Ogerman, Michael Gibbs, and George Martin.
89.167 on the Fishscales = B+/four stars; an excellent album of orchestra-supported jazz-rock verging on the Smooth Jazz idiom. Definitely one of the few of Bob's albums that steers pretty close to the Third Wave of Jazz-Rock Fusion without having totally given in to the Smooth Jazz wave.
WEATHER REPORT Tale Spinnin' (1975)
Following the ground-breaking Mysterious Traveller--many prog and jazz-rock fusion lover's all-time favorite Weather Report studio release--was no small challenge. The Album was recorded in Hollywood between February and April 4, 1975, and then released by Columbia Records in May of 1975.
- Joe Zawinul / piano, Rhodes, Tonto & ARP 2600 synths, melodica (1,4), organ (2,6), steel drums (3), out (4), mzuthra (4), vocals (4), West African xylophone (4), cymbals (5), orchestration, co-producer
- Wayne Shorter / soprano & tenor saxophones, co-producer & mixing
- Alphonso Johnson / bass
- Leon Ndugu Chancler / drums, timpani, marching cymbals
- Alyrio Lima / percussion
1. "Man in the Green Shirt" (6:28) I really love the interplay of drumming, percussion, bass, and electric piano in this song. The horns are nice, and the weird synthesized Nature sounds entertaining, but it's the great coordination of high speed play from the rhythmatists that impresses and engages me the most. (9.375/10)
2. "Lusitanos" (7:24) opening with quirky comi-funk before synth, keys, and horns present a WR-type of melodic/chordal statement. Between regular repetitions of this chorded theme Wayne and Joe take turns adding their respective solos but the sonic field is so layered that it's almost full: practically burying any soloist's attempts. But then the band thins it out, keeping only the bare bones, so that Wayne and Joe can trade solos on soprano sax and piano, respectively--Joe even going so far as to solo twice: as if duelling with himself! Then Wayne takes a turn on his tenor sax: first within the full band weave, then with the open field laid out for him. No matter who's soloing, Joe is always adding quirky little sound injections from his circus collection of synth and hand tools. Alphonso Johnson's bass is creatively effected but it seems to handcuff him into playing some rather simple lines and a lot of single tone repetitions. (13.125/15)
3. "Between the Thighs" (9:33) the Weather Report circus show continues as Joe seems pretty set/obsessed with incorporating as many unusual quirky sounds and instruments into his songs as possible. So far in three songs, almost 24 minutes of music, there has really never a minute passed without some randomly fresh sound being injected haphazardly into the mix. It's almost like he's going for a citation in the Guinness Book of World Records for the most instruments played (or included) in a single song (or album). (Being a big fan of Andreas' Vollenweider's "busiest multi-instrumentalist I've ever encountered," Pedro Haldemann, as well as Pat Metheny's legion of upper-stage multi-instrumentalists, Mr. Zawinul may find that he has a little competition.)
So many times on this album I'm hearing riffs and samples that predict the cumulative breakout that 1977's "Birdland" will be for them.
The best funk and groove in this song is, for me, in the song's final minute. (17.75/20)
4. "Badia" (5:20) reaching into the orient for inspiration. (It's okay: the band had now been there--on their tours--several times.) Odd percussion, reeds, sqealy synth, pregnant bass couplets, cymbal play, and treated horn and mzuthra make for an interesting and very spacious weave. Melodica and oud are also prominent. How confusing it must have been for dynamic creatives like Alphonso Johnson and Leon Ndugu Chancler to have been so shackled like this. (8.75/10)
5. "Freezing Fire" (7:29) funk that finally taps the tremendous skill and potentialities of the relatively untested and untried bass funk master. A song that grooves and flows, feeling a little more like a Jazz-Rock Fusion tune, despite the continued barrage of incidentals injected as accents throughout the length of the song. Again, it's the drum 'n' bass unity that interests and impresses me, not the parade of creative sound injections that Joe (and Alyrio?) can muster. Just give me Alphonso and Ndugu and I'd be a happy camper! Great foundation; weird and "novelty" level entertainment. (But, Joe: I don't come to your albums for surprise and novelty: I come for the grooves and weaves!) (13.3333/15)
6. "Five Short Stories" (6:56) one of those interesting-but-ultimately-off-putting musical equations (or masturbatory exercises) that Joe and Wayne like to work through with their band. Slow and methodic, sometimes melodic; definitely cerebral and mathematical. Quite the challenge to stay engaged/interested--especially over seven minutes. (13/15)
Total Time: 43:10
Total Time: 43:10
The smooth, careful, and calculated side of Jazz-Rock Fusion, here presenting a lot of interesting ideas (many of which will be more fully developed on future albums). With Joe and Wayne monopolizing all of the compositional duties I think they still had not realized what they had on their hands with the recent acquisition of 24-year old bass genius Alphonso Johnson. As demonstrated on Eddie Henderson's Sunburst album that was recorded and released at about the same time as this one, the kid is nothing short of a creative genius; he has ideas, he has the chops to star--to lead--and he has a bag of his own compositions bursting at the seams (two of which ended up on that Sunburst album). Don't get me wrong: the compositions on Tale Spinnin' are all fine, mature, presenting ground for a lot of great performances and some rather memorable songs and riffs, they're just not quite as dynamic and powerful as those on Sunburst. I think it a terrible thing that Joe and Wayne "wasted" so much talent that came their way (though many would look at it as "mentored," "groomed," or "developed").
There is some great music here, just too much entertainment-oriented circus noise.
88.63 on the Fishscales = B/four stars; an album of sophisticated, busy, multi-layered music that is often overly-gilded in what amounts to circus entertainment tricks. Too bad! I love the bones and basic constructs of a lot of this music.
June
URSZULA DUDZIAK Urszula
Husband Michał Urbaniak recruits his usual high-profile band of musicians (the same lineup that would appear on his own first Arista album--which was to be released in the Spring of 1976 as Body English) to perform his compositions for his wife's unique wordless scat-plus vocals to soar. What an advantage: to have this kind of quality music beneath you to show off your individual skill! Urszula was recorded in New York for Arista by Michał in the summer of 1975 and then released toward the end of the year.
Line-up/ Musicians:
- Urszula Dudziak (Michal Urbaniak's Fusion) / Vocals, Percussion
- Basil Fearrington (Mtume, Stephanie Mills, Mary J. Blige) / Bass
- Gerald "Gerry" Brown / Drums
- Harold Ivory Williams / Electric piano, Keyboards
- Reggie Lucas / Guitar (solo A2)
- Joe Caro / Guitar
- Michal Urbaniak / Lyricon, producer
A1. "Papaya" (4:02) I'd never heard this song before checking this album out but I can definitely concede my comprehension as to why this received such world-wide acclaim and popularity; it's delightfully upbeat--like a Mary Tyler Moore Show theme song. It's Disco with absolutely excellent musicianship--especially from the rhtyhm guitarists and Urszula's husband's Lyricon. The vocal skills Ula shows in the third and fourth minutes put her in the company of some of the 21st Century's greatest acrobatic vocalists. (9/10)
A2. "Mosquito" (4:25) straight on funk--like the stuff being used to fill soundtracks of Black Exploitation films of the era. Ula's vocal work here sounds like something between underwater gargling and orgiastic ecstasy. Nice guitar solo from Reggie Lucas but the albums other solos, which, by default, seem to be credited to 19-year old Joe Caro, are much better. (8.875/10)
A3. "Mosquito Dream" (2:34) heavily-treated, multi-effected Irene Pappas/Donna Summer-like orgasm vocals left to their own spacey psychedelic drug scene. Interesting but not really great music. (4.333/5)
A4. "Mosquito Bite" (4:23) sounds like a Discofied version of high-speed jam of over which Urszula scats aggressively, almost violently, alternating (and duelling!) with some rather amazing heavily-treated electric guitar work which, until further notified, I'll attribute (as indicated in the credits on the liner notes) to 19-year old Joe Caro. Several instruments seem treated by flange and chorus pitch-shfiters--including Urszula's voice, the drums, and the lead guitar. (9/10)
A5. "Just The Way You Are" (3:22) a slow, three-plateau jazz-funk torch song (with English words) that sounds very much inspired by both Maria Mudaur and Minnie Ripperton's work of the same period. Sexy yet bird-like. What a talent! What I love most about the song is the tandem work of bassist Basil Ferrington and the guitarists. Really cool! (9/10)
B1. "Sno King" (4:34) opening with some really funky solo drumming that is quickly joined by the rest of the rhythm section to gradually establish the pedestrian music over which Ula and her guitarists will present the song's melody. It's nice, kind of a step up from the concurrent music being produced by the like of BOB JAMES and the Laws family. Great musicianship. Not my favorite song. (8.75/10)
B2. "Butterfly" (4:34) smooth and melodic--almost dreamy--very much in a LONNIE LISTON SMITH meets The NORTHETTES sound and form. Great instrumental performances on some heavily-drugged up instrumental sounds. Michał 's lyricon is a cool touch. The further the song goes on the more I'm reminded of NARADA MICHAEL WALDEN's albums from 1976 into the Eighties, though there is a little JEAN-LUC PONTY in the sound palette as well. (9/10)
B3. "Zavinul" (5:06) a very cool and unusual (innovative) sound palette with many unusually processed instruments forming a gorgeously dreamy music over which Urszula vocaleses in an unusually-pitchy/scratchy vocal. Is this meant to be something negative directed toward Joe? I wish I knew Urszula's intentions with this. (9/10)
B4. "Funk Rings" (2:24) Urszula performing a single-track solo vocal in which her percussion-imitating voice is sent through a Moog processor. Real cymbals, drums, and fretless bass join in in the second half. I really like this! (4.5/5)
B5. "Call Me Monday" (5:12) another jem of an Elysiac jazz-funk piece with Urszula fast-scatting with 19-year old Joe Caro on guitar and some more stellar drum and bass play (often bordering on the Disco fringes) from Gerry and Basil with Harold Ivory Williams' excellent keyboard play. I've heard Ula's vocals compared to ecstatic female expression of the "hedonistic era" that was the mid-1970s, drug or nature induced, perhaps even orgasm. As always, I think her expertise on her percussion instruments really contributes to her astonishingly controlled and skillful scatting runs and vocal sound variations. (9.25/10)
Total time: 40:36
Haters of this album probably don't like Minnie Ripperton, Annette Peacock, The Northettes, Gilli Smyth, or many of the 1960s Brazilian hits of Sergio Mendez, Herb Alpert, and Burt Bacharach as well some of the vocal experimentations of Flora Purim and Gayle Moran. All of this would be understandable. I just happen to like all of the above.
89.68 on the Fishscales = B+/4.5 stars; a near-masterpiece of Third Wave Jazz-Rock Fusion. Another of Michał Urbaniak's masterful productions. I love his music--the sound palettes his musicians and engineers create.
MARION BROWN Vista (1975)
A long-established disciple of avant garde jazz, Marion played with Sun Ra, and John Coltrane before establishing a solo career in which he would mentor/collaborate with young musicians like Bennie Maupin, Ronny Boykins, Rahied Ali, Anthony Braxton, and Chick Corea. Vista was recorded February 18-19, 1975, Generation Sound Studios, New York City for ABC Impulse!
Line-up / Musicians:
- Marion Brown / alto saxophone, wind chimes
- Reggie Workman / bass
- Jimmy Hopps / drums, cymbal
- Reggie Workman / bass
- Jimmy Hopps / drums, cymbal
- Ed Blackwell / drums, slit drum
- Bill Braynon / piano, celesta [celestes], electric piano [Rmi]
- Anthony Davis / piano, electric piano [Fender Rhodes]
- Stanley Cowell / piano, electric piano [Fender Rhodes], mbira
- Jose Goico / tambourine, congas, finger cymbals
- Harold Budd / celesta [celestes], gong
- Allen Murphy / vocals, bellsA1. "Maimoun" (7:31) an awesome composition of sophisticated, dynamic electrified jazz from Fender Rhodes player Stanley Cowell. (13.5/15)
A2. "Visions" (5:40) gorgeous vocal jazz that sounds a lot like a mix of Stevie Wonder (the song's composer) and Lonnie Liston Smith. Nice vocal from Allen Murphy. (8.875/10)
A3. "Vista" (7:47) opening with slow-travelling piano arpeggios and finger cymbals--sounding very much like something Harold Budd might have composed--this Marion Brown-credited composition eventually employs hand drums and bass before piano and drum cymbals join in to establish a polyrhythmic base for Marion to play over. Marion's soloing is staying quite low, using long-held, full notes, sounding very much, to my ears, like the saxophone style employed by Carlos Ward on Don Pullen's 1992 masterpiece, Kele Mou Bana. As a matter of fact, the whole song sounds remarkably like the title song of that album (which, unfortunately, begs the question: did credited composer Mor Thiam actually lift the song from this one to make "Kele Mou Bana"?). The song then bookends with a recapitulation of that simple opening motif. Such a pleasant, soothing song--like a summer lullaby. (14/15)
B1. "Moment of Truth" (4:35) a nice little melodic bossa nova lite with gentle sax but concisely-edged bass, drums, and lead keyboard work. Very impressive musicianship if slightly oriented toward the easy listening market. (9.125/10)
B2. "Bismillahi 'Rrahmani 'Rrahim" (6:00) a Harold Budd composition long familiar to me due to its central presence on Harold's Pavillion of Dreams (which will be recorded--as an 18:23 version--with Brian Eno in 1976 though not released until 1978) which I've owned and loved since the early 1980s and has remained among my favorite 100 albums of all-time ever since. Those rolling major seventh chord arpeggios are what set my heart and soul in motion, express the core of my being. Marion does, by the way, perform the saxophone track on Harold's own album version. A great "first" run-through. (9.5/10)
B3. "Djinji" (9:45) on this gentle Latinized post-bop tune Marion lets us hear some of his more avant-garde-styled sax playing. Celestes and/or composer Bill Braynon's RMI electric piano get some spotlight between Fender Rhodes electric and non-electric pianos. I really like the electrified bop being maintained by the spirited rhythm section of Reggie Workman, Jimmy Hopps, Jose Goico, and Ed Blackwell. For Marion's second go round in the spotlight he stays quite firmly within both the chordal key as well as the main melody lines as opposed to the fiery wildness of his first excursion. A very interesting, engaging, and satisfying song. (18.75/20)
Total Time: 41:22
92.1875 on the Fishscales = A/five stars; a masterpiece of eminently enjoyable Jazz-Rock Fusion.
Ever the champion of his local Newark musicians, Larry forges another album with his signature adventuring on experimental sounds through keyboard synthesizers.
Line-up / Musicians:
- Larry Young / Hammond organ, Fender Rhodes, piano, synths (MiniMoog, Freeman String), vocals (7), co-producer
With:
- Santiago Torano / guitar
- Fernando Saunders / bass
- Rob Gottfried / drums, congas, Korean gong, chimes
- Linda Logan / vocals (1, 3, 6)
1. "Fuel for the Fire" (6:07) hearing this song for the first time lends itself to a theory that Larry and his collaborators had encountered the musical talents of both Urszula Dudziak (through the music of husband Michal Urbaniak's NYC-based band) and Leon Thomas (through Pharoah Sanders). I like and appreciate Linda's wordless work but she's really doing nothing very extraordinary much less innovative. Also, some really nice foundational play from the Fuel lineup feels a bit wasted on the video game synthesizer that Larry seems fixated upon (which later gets turned into some nice Fender Rhodes play). This just feels like a rather boring trip down the New Jersey Turnpike. (8.75/10)
2. "I Ching (Book of Changes)" (6:25) sounds a bit like music to a 1990s video game that was created by fusing melodies from Oriental and Classical music into cartoon-like urban funk themes. The music is at times frivolous and even laughable--like a Charlie Chan movie or an episode from Bill Cosby and The Cosby Kids--but at the same time offering some rather remarkable, high-quality fusion as well as some very high quality musicianship. (8.875/10)
3. "Turn off the Lights" (7:03) Linda Logan is back to lead us through a late night sex dungeon. Her sultry, ultra-suggestive vocal rides along a funk rhythm motif within which Larry explores keyboard sounds with an adventurousness that rivals George Clinton or Joe Zawinul (or Billy Preston). Focusing on the music there is a lot of fun sound and play coming from Larry's fingers--and Linda's vocal performance is strong and refined--quite worthy as an urban singer representing the Betty Davis School of Feminist Funk. (13.375/15)
4. "Floating" (4:12) another instrumental with a street-cruisin' funk motif that seems founded in both classical music traditions as well as the latest urban trends. I'm also once again reminded of the Black Exploitation soundtracks and early video game soundtracks as Larry's lead synthesizer sounds ready to settle into an Atari game of Pong or Space Computer. Not enough adventure and variety to warrant this as a representative of a highly creative, but that might be explained by its compositional credit going to Fuel's young guitarist, Santiago Torano. (8.6667/10)
5. "H + J = B (Hustle + Jam = Bread)" (6:17) more great urban funk from Fernando, Rob, and Santiago. This organ-based funk song sounds like a vehicle for Fuel's percussionists over which Larry continued to explore (rather mindlessly) the variety of synthetic sounds available to him on his array of synthesizers. (8.75/10)
6. "People Do Be Funny" (3:42) the third and final song with vocalist Linda Logan once again features Larry noodling around beneath Linda's urban funk vocal as if he's oblivious to the rest of the crew and the potential for more. (8.667/10)
7. "New York Electric Street Music" (8:33) more nice foundational funk music (with some nice work from drummer Santiago Torano) which feels underdeveloped and, therefore, rather wasted as its only reason for existence is to serve as a cushion and propellant Larry's rather silly vocal and keyboard work. There is some rather cool incendiary lead guitar work peppered here and there within the music (the seventh minute, in particular). (17.5/20)
Total Time 41:39
It is unfortunate that so much great funk music feels rather wasted by Larry's rather singular and selfish preoccupation with the monofocus of playing George Clinton-like synth lines over and between the rhythm section and the vocals. This results in a collection of songs that feel tremendously under-developed; this could have been so much more!
87.74 on the Fishscales = C+/three stars; a collection of well-founded funk that sadly seems grossly one-dimensional and quite underdeveloped.
JACK DeJOHNETTE'S DIRECTIONS Cosmic Chicken (1975)
Line-up / Musicians:
- Jack DeJohnette / drums, keyboards
- Alex Foster / alto saxophone, soprano saxophone
- Peter Warren / bass
- Peter Warren / bass
- John Abercrombie / electric guitar
A2. "One For Devadip And The Professor" (3:35) are we referring here to Carlos and Mahavishnu John? I think so. I love Jack's experimental Larry Fast minimalist keyboard play, Peter's murky bass, and John's searing guitar. This might be a fitting tribute chord-wise but sonically it's more fitting the spacey sounds that Khalid Yasin (Larry Young) or some of Santana and The MO's keyboard players were getting in the years previous. Very cool song! (9.6667/10)
A3. "Memories" (5:58) I always forget how proficient Jack was on the piano--and how much he gravitated to it during this period of his life. I don't think he has quite the touch or dexterity of Chick or Herbie, but he's pretty good. Some of his legato runs sound a lot like Johnny Costa of Mr. Rogers' Neighborhood. Even his chord selection and progressions are far less adventurous than his amazing drumming. (8.75/10)
A4. "Stratocruiser" (7:28) bass and drums turns into drums only by the second minute. The two-plus minute solo is impressive, of course, and Jack shows himself to be nearly as gifted as Billy Cobham at creating "music" and "melody" from his drum soloing, but it's when the rest of the band joins in that the music really becomes something more than a solo: at times it is as wild and dynamic as anything The Mahavishnu Orchestra ever did (especially with the combination of Jack's drums and John's McLaughlin-esque fire), and, at others it feels like structure-less chaotic free jazz. (13.75/15)
B1. "Shades Of The Phantom" (6:13) a bass-heavy song that seems to be creating a kind of bridge between the power fusion bands like the Mahavishnu Orchestra, Larry Coryell's Eleventh House, Chick Corea's RTF, and Herbie Hancock (or Eddie Henderson)'s post-Mwandishi fare--until, that is, Jack turns it into a Keith Emerson-like organ concerto/exposition. Weird combo but I like both sections. (9/10)
B2. "Eiderdown" (5:35) piano jazz combo with smooth soprano sax up top over the ivory-tinkling piano, walking jazz double bass, and nimble jazz guitar play. It has a definite retro-Sixties Hard Bop sound and feel to it despite John Abercrombie's more modern note-bending and dynamics. (8.875/10)
B3. "Sweet And Pungent" (3:32) another song that starts and builds like a Mahavishnu Orchestra classic, building over some rock drumming and heavy bass chords and psychedelic guitar and bass sounds while Alex's tenor sax blasts and screams (with some effects?). Cool and powerful. (9.125/10)
B4. "Last Chance Stomp" (7:07) old time jazz with a modern drum kit and modern drum play? Interesting! Unfortunately, John Abercrombie does not quite have the Les Paul/Django/Charlie Christian sound and stylings mastered. (He IS a master but of more of the Coryell/McLaughlin era of Jazz guitarists.) At the half way point Jack does yet another "out of left field" drastic turn into a New Orleans-style jazz piano solo, but then a couple minutes later the rest of the band rejoins him, taking off into the stratosphere of speed-crazed free jazz before devolving into the "microphone/radio-muted" sound of old-timey jazz music to close it out. Interesting. Really a three-part, three-motif song (or suite) that may qualify as a "stomp" on all counts but is more like a Fun House of musical rooms to me. (13.25/15)
Total time: 44:21
91.02 on the Fishscales = A-/five stars; a minor masterpiece of rough and tumbling song experimentations. Though I will admit that this is definitely Jazz-Rock Fusion, the music here definitely pushes boundaries that would be beyond the comfort zones of most musicians--no matter what genre they were trained in, feel grounded in, or aspire to.
THE MOTHERS OF INVENTION One Size Fits All (1975)
Released on June 25, 1975 on the DiscReet label. Frank's cynical take on the Aquarian Age's preoccupation with aliens, outer space, and time travel.
Line-up / Musicians:
- Frank Zappa / guitars, lead (4, 6, 9) & backing vocals, producer
- George Duke / keyboards, synthesizers, lead (1, 8, 9) & backing vocals
- Napoleon Murphy Brock / flute, tenor saxophone, lead (5, 8) & backing vocals
- Tom Fowler / bass
- Chester Thompson / drums, FX & voices
- Ruth Underwood / vibes, marimba, percussion
With:
- Captain Beefheart / harmonica (7)
- James Youman / bass (2)
- Johnny "Guitar" Watson / backing vocals (7, 8)
1. "Inca Roads" (live *) (8:45) an amazing song: its suite-like construct, incredible musicianship, and even out-of-this-world concept. Ruth Underwood, Chester Thompson, George Duke, Tom Fowler, and Frank Zappa are really that good! (20/20)
2. "Can't Afford No Shoes" (2:38) what starts out sounding like TODD RUNDGREN takes some turns Excellent musicianship from everyone involved: bassist James Youman, pianist George Duke, Chester Thompson, and raunchy Southern slide guitar from Frank. The homage to (parody of?) ZZ Top is quite prominent as well. (8.875/10)
3. "Sofa No. 1" (2:39) bluesy piano rock sounding like Leon Russell or Dr. John opens this before Ruth's marimba bridges it to Bill Withers' "Lean on Me." George's synth paired with Frank's guitar at the end of the second minute is pretty cool. (4.625/5)
4. "Po-Jama People" (7:39) Frank employing his intimate/conspiratorial SLY STONE voice. Nice bluesy power rocker with some great lead guitar soloing as well as bass, piano, and drum play. I'm not sure what/who he's singing about. (13.75/15)
5. "Florentine Pogen" (live *) (5:27) quite a polished and complicated rocker with some very interesting vocal/lyric delivery work (from wind player Napoleon Murphy Brock and others). (9.125/10)
6. "Evelyn, a Modified Dog" (1:04) Franks singing a silly song over George Duke's spinette/harpsichord -sounding saloon tack/honky-tonk piano. (4.375/5)
7. "San Ber'dino" (5:57) redneck Rock 'n' Roll! Quite the Road House pleaser! (8.75/10)
8. "Andy" (6:04) another Zappa fan favorite that does impress me enough to keep coming back to it. If any of the songs on this album truly qualify for the Jazz-Rock Fusion categorization, this might be it--despite the swamp blues in the second minute. There are so many motifs explored in this song! And they're all incredibly complex and shifting constantly. Some amazingly virtuosic guitar playing in the fourth minute. (9.333/10)
9. "Sofa No. 2" (2:41) another solid blues-rock-based tune which uses George's Moog bass, piano, and German lyrics! Yes! The vocalists (Frank and George) sing auf Deutsch singen! I'm sorry, I can't help but both laugh and marvel! (9.125/10)
* Recorded at KCET TV Los Angeles (except guitar solo on 1 was recorded live in Helsinki 1974)
Total Time 42:54
* Recorded at KCET TV Los Angeles (except guitar solo on 1 was recorded live in Helsinki 1974)
Total Time 42:54
This is quite an unusual experience for me in the context of Frank's other 1970s work in that most of these songs feel finished, even polished!
92.06 on the Fishscales = A-/five stars; a minor masterpiece of . . . music; perhaps Frank's greatest album of the 1970s (or, at least, his most consistent collection of polished songs).
July
RONNIE LAWS Pressure Sensitive (1975)
The album that opened with the song that would launch and sustain a career, Pressure Sensitive was released in July of 1975 after having been recorded in Hollywood at Angel City Sound studios under the supervision of The Crusaders' Wayne Henderson.
Lineup / Musicians:
- Ronnie Laws / Soprano & Tenor Saxophones, Flute
- Clint Mosely / Bass
- Steve Guttierrez / Drums
With:
- Joe Clayton / Percussion [Flexitone] (A1), Congas (A1), Tambourine
- Roland Bautista / Guitar, Composer (A2, A3)
- Joe Sample (THE CRUSADERS / Electric Piano (A3), Clavinet (A4, B1), Piano (B1, B3)
- Jerry Peters / Synthesizer [String Ensemble] (A3, B2, B3), Arp (A4), Piano (B2)
- Mike Cavanaugh / Clavinet (A4), Electric Piano (A4), Composer (A3)
- John W. Rowin, Jr. / Guitar (B1, B2)
- Michael Willars / Drums (B2)
- Wilton Felder (THE CRUSADERS) / Electric Bass (B2)
A1 "Always There" (4:52) the iconic song that pretty much started a new genre of sax-led pop-radio instrumental music. Great rhythm guitar. (9.75/10)
A2 "Momma" (4:20) a composition by Ronnie's guitarist, Roland Bautista, has lyrics and very funky guitar, clavinet, and bass lines making it sound more like a early EARTH WIND & FIRE, WAR, or even Brothers Johnson song. I love Ronnie's free-flowing sax over/within throughout no matter if there's singing. Great instrumental performances throughout. Very cool smoothed out finale. (9.25/10)
A3 "Never Be the Same" (4:23) a gorgeous song with three keyboard players creating a sound that sounds like Minnie Ripperton and all that would become "Yacht Rock" and "Smooth Jazz." (9.25/10)
A4 "Tell Me Something Good" (4:50) instead of just imitating the RUFUS with Chaka Khan sound of this Stevie Wonder song, why not just cover the real thing! Genius! A song that always fascinated me (enough to provoke me to purchase the album) while I never truly liked it. The squeezy synth is a bit over the top for me. (8.75/10)
B1 "Nothing to Lose" (4:54) funky clavinet and Fender Rhodes from Joe Sample while guitarist John W. Rowin, Jr. fires away with his lead. Great solo work from Ronnie on the soprano sax. (8.875/10)
B2 "Tidal Wave" (4:08) a William Jeffery composition with great Fender Rhodes and synth strings play from Jerry Peters. Ronnie is so smooth over the top with his speedy deliveries! Also nice is the mature presence of Wilton Felder on the electric bass. (8.875/10)
B3 "Why Do You Laugh at Me" (3:55) a composition provided by producer Wayne Henderson (otherwise known as The [Jazz] Crusaders' trombonist). It's mellow and very straightforward--like a rock ballad from THE LITTLE RIVER BAND. (8.75/10)
B4 "Mis' Mary's Place" (3:32) one of Ronnie's originals opens with bass line and tambourine before twangy guitar, bouncing clavinet, bass and drums join in to create a very simple vamp over which Ronnie solos with an electronically-processed tenor sax. Too monotonous with its whole-song repetitiveness. (8.5/10)
I love the keyboard work of Jerry Peters and Mike Cavanaugh, the bass and keyboard contributions of The (JAZZ) CRUSADERS' Wilton Felder and Joe Sample, respectively, as well as the rhythm guitar work of Roland Bautista.
90.0 on the Fishscales = B+/4.5 stars; a near-masterpiece of early "Third Wave" Jazz-Rock Fusion from one of Smooth Jazz's pre-eminent masters.
THE NEW TONY WILLIAMS LIFETIME Believe It (released in October 1975)
An album that is as notable for luring guitar phenom Allan Holdsworth away from a pretty good gig with The Soft Machine as it is for being one of the legendary drummer's finest. The album was recorded in New York City in July of 1975 for Columbia Records and released in October. The two years spent with Tony (actually living with him in his NYC apartment!) have often been cited by Allan as the most transformative experience of his life.
Line-up / Musicians:
- Tony Williams/ drums, vocals, arrangements
With:
- Allan Holdsworth / guitar
- Alan Pasqua / piano, clavinet
- Tony Newton / bass
JOHN LEE & GERRY BROWN Mango Sunrise
European bound (The Netherlands) American ex-pats John Lee and Gerry Brown have assembled a band consisting of perhaps the very crème de la crème of Dutch musicianship--including guitar virtuosi Philip Catherine and Eef Albers and keyboardists Jasper Van't Hof and Rob Franken and even entice a couple of other seasoned American standouts in Mike Mandel (Larry Coryell's longstanding keysman) and Eric Tagg to participate on a couple of songs. The album was pieced together through three recording sessions in June & July of 1975--Dureco in The Netherlands, Morgan Studios in Brussels, Belgium, and Electric Lady Studios in NYC--but then mixed and mastered under Skip Drinkwater's supervision back in California for a Blue Note release later in the year.
Lineup / Musicians:
- John Lee / Bass, Clavinet (A3)
- Gerry Brown / Drums, Percussion
- Eef Albers / Electric Guitar
- Philip Catherine / Electric Guitar, Acoustic Guitar
- Rob Franken (Scope, Focus, Zbigniew Seifert) / Fender Rhodes, Synthesizer, (Synthesizer solos on A3, A4, B2, B3, B4, B5)
With:
- Eric Tagg (Beehive, Raibrow Tag, Lee Ritenour) / Clavinet, ARP Synthesizer (B1)
- Mike Mandel (Larry Coryell, Rough Silk, Naked City, Alphonse Mouzon) / Synthesizer (second ARP on B1)
- Japser Van't Hof (Association, Toto Blanke, Pork Pie, Placebo) / Clavinet (B4)
- Wah Wah Watson / Guitar (B4)
August
AREA Crac! (1975)
The second AREA album I'd ever heard (after Arbeit Macht Frei), there was so powerful of an impression made on me by this latter album that I failed to follow up by exploring other AREA albums for years. Luckily, I got unstuck and moved outward, into the band's other discography.
Coming two years and one album after Arbeit (with Caution Radiation Area having been released in 1974), the growth in musicianship, studio mastery, and tightened song-writing skills is quite noticeable here. While Arbeit shocked with musical and lyrical force and brashness (it was the band's debut release), Crac! supplies proof that this band is not just a political force but that it must be looked at and respected from a musicianship perspective as well. It is an album of astounding musicianship--virtuoso performances that rival anything else the jazz or jazz fusion worlds has ever created. The amazing thing is that this album stands up perfectly even today--it sounds as if it could have been made today. I will go even farther as to say that this album exceeds my heretofore respect and reverence for all-things Mahavishnu as I think the sound engineering and overall production far surpass those of any of the Mahavishnu Orchestra albums. And the musicians and compositions are so tight! Thus, I find myself wanting to proclaim Crac! as perhaps the best jazz-rock fusion album of all-time! And drummer Giulio Capiozzo may be the best jazz-rock fusion drummer I've ever heard!
1. "L'elefante bianco" (4:33) Demetrio's powerful voice opens the album right in your face as he and piano declare their intentions. By the end of the first minute we've apparently heard enough from Demetrio for the song catapults into a kind of jazzy version of fast-paced folk theme. At 2:30 we return to piano and voice, but this time the band gradually joins in and builds up into a modern rock variation of that amphetamine-laced Middle Eastern-tinged folk (or is it classical?) theme. Excellent musicianship and a great opener. (9/10)
2. "La mela di Odessa" (6:27) opens with a kind of SUN RA-spacey free-form jazz sound and style, that moves quickly into a drum and percussion display before harpsichord, Arp synth and electric bass join in and move the song into structure and drive. Nice TONY WILLIAMS/MAHAVISHNU feel to this one until, after 3:10, things shift to funk land. The clavinet, synths and horns are prominent along with Demetrio's commanding Zappa-like vocal performance--all in spoken form. So tight! Drummer Giulio Capiozzo is extraordinary (as is Demetrio). (9.25/10)
3. "Megalopoli" (7:53) opens with some play on the Arp synthesizer before Demetrio joins in with multiple tracks of his voice free-styling. Electric piano and bass clarinet join in the atmospheric play before a drum roll takes us out and into a new funky jazz excursion with a great melodic base. Demetrio's wordless vocal scatting over the top is, at first, like a substitute for a lead guitar or sax, but then gives way to an extraordinary jam between drums, bass, electric piano, organ, and synth. The Mahavishnu Orchestra was never this tight or well recorded! Incredible drumming! Why is this guy never included in the talk of the greatest of the greats? (15/15)
4. "Nervi Scoperti" (6:35) Every time I hear this song I think I am listening to one of the all-time greatest prog fusion songs ever created and that, thus, it has to be a product of Corea/RTF, Miles, Mahavishnu, Cobham, Williams, Weather Report, or even a straight jazz genius. But it's not. It's AREA! Astounding, stupendous, incredible, jaw-dropping performances from everybody in the band. What a band! This one deserves extra-credit for being exactly what I said: one of the very best jazz fusion songs of all-time. (11/10)
5. "Gioia e rivoluzione" (4:40) opens like a JOHN COLTRANE, TEMPTATIONS or MAGMA song before switching radically to an acoustic guitar-based, countrified jam. The lyric of Demetrio's vocal throughout is obviously meant to be the center of attention. Otherwise, it is an okay pop song for delivery to the common folk. (8.5/10)
6. "Implosion" (5:00) a little more Zawinal/Weather Report-ish than the previous jazz fusion masterpiece. More melodic and showcasing of individuals (especially the extraordinary bass player, Ares Tavolazzi). (10/10)
7. "Area 5" (2:09) an ejaculatory expression of free-form improvisational jazz. (4/5)
An album of astounding musicianship--virtuoso performances that rival anything else the jazz or jazz fusion worlds has ever created. The amazing thing is that this album stands up perfectly even today--it sounds as if it could have been made today.
95.36 on the Fishscales = A/five stars; a true masterpiece of progressive rock music--mostly cutting edge jazz fusion. Amazing! Definitely one of my Top 10 Jazz-Rock Fusion Albums of prog's "Classic Era."
1. "L'elefante bianco" (4:33) Demetrio's powerful voice opens the album right in your face as he and piano declare their intentions. By the end of the first minute we've apparently heard enough from Demetrio for the song catapults into a kind of jazzy version of fast-paced folk theme. At 2:30 we return to piano and voice, but this time the band gradually joins in and builds up into a modern rock variation of that amphetamine-laced Middle Eastern-tinged folk (or is it classical?) theme. Excellent musicianship and a great opener. (9/10)
2. "La mela di Odessa" (6:27) opens with a kind of SUN RA-spacey free-form jazz sound and style, that moves quickly into a drum and percussion display before harpsichord, Arp synth and electric bass join in and move the song into structure and drive. Nice TONY WILLIAMS/MAHAVISHNU feel to this one until, after 3:10, things shift to funk land. The clavinet, synths and horns are prominent along with Demetrio's commanding Zappa-like vocal performance--all in spoken form. So tight! Drummer Giulio Capiozzo is extraordinary (as is Demetrio). (9.25/10)
3. "Megalopoli" (7:53) opens with some play on the Arp synthesizer before Demetrio joins in with multiple tracks of his voice free-styling. Electric piano and bass clarinet join in the atmospheric play before a drum roll takes us out and into a new funky jazz excursion with a great melodic base. Demetrio's wordless vocal scatting over the top is, at first, like a substitute for a lead guitar or sax, but then gives way to an extraordinary jam between drums, bass, electric piano, organ, and synth. The Mahavishnu Orchestra was never this tight or well recorded! Incredible drumming! Why is this guy never included in the talk of the greatest of the greats? (15/15)
4. "Nervi Scoperti" (6:35) Every time I hear this song I think I am listening to one of the all-time greatest prog fusion songs ever created and that, thus, it has to be a product of Corea/RTF, Miles, Mahavishnu, Cobham, Williams, Weather Report, or even a straight jazz genius. But it's not. It's AREA! Astounding, stupendous, incredible, jaw-dropping performances from everybody in the band. What a band! This one deserves extra-credit for being exactly what I said: one of the very best jazz fusion songs of all-time. (11/10)
5. "Gioia e rivoluzione" (4:40) opens like a JOHN COLTRANE, TEMPTATIONS or MAGMA song before switching radically to an acoustic guitar-based, countrified jam. The lyric of Demetrio's vocal throughout is obviously meant to be the center of attention. Otherwise, it is an okay pop song for delivery to the common folk. (8.5/10)
6. "Implosion" (5:00) a little more Zawinal/Weather Report-ish than the previous jazz fusion masterpiece. More melodic and showcasing of individuals (especially the extraordinary bass player, Ares Tavolazzi). (10/10)
7. "Area 5" (2:09) an ejaculatory expression of free-form improvisational jazz. (4/5)
An album of astounding musicianship--virtuoso performances that rival anything else the jazz or jazz fusion worlds has ever created. The amazing thing is that this album stands up perfectly even today--it sounds as if it could have been made today.
95.36 on the Fishscales = A/five stars; a true masterpiece of progressive rock music--mostly cutting edge jazz fusion. Amazing! Definitely one of my Top 10 Jazz-Rock Fusion Albums of prog's "Classic Era."
Recorded at Wally Heider Studios in Hollywood, California and released by Blue Thumb Records in August of 1975.
Line-up / Musicians:
- "Stix" Hooper / drums, percussion
- Larry Carlton / guitar
- Joe Sample / keyboards, electric piano [Fender Rhodes], clavinet, synthesizer
- Wilton Felder / saxophone, bass
- Wayne Henderson / trombone, brass
- Larry Carlton / guitar
- Joe Sample / keyboards, electric piano [Fender Rhodes], clavinet, synthesizer
- Wilton Felder / saxophone, bass
- Wayne Henderson / trombone, brass
A2. "Chain Reaction" (5:35) a solid song with a great chorus., there's a little pre-Disco tension here, great drumming, and the presence of both Wayne's wonderful trombone and Larry's decisive guitar. (9/10)
A3. "I Felt The Love" (2:28) an excellent, STEELY DAN-like instrumental sound palette for this sweet little tune. (9.125/10)
A4. "Mellow Out" (2:44) nice, catchy R&B riffs in this Smooth Jazz tune with a cool step-up transition at the half way point. (4.375/5)
A5. "Rainbow Visions" (6:15) a very pleasant and relaxing Smooth Jazz tune with enough bridges and interesting solos to make it special. Very professional and polished. (9/10)
B1. "Hallucinate" (5:08) I can see a lot of people liking this song a lot because the instruments and the musicians' work are so visible, so professional, so skilled. It sounds a little too built around the chord and melody sequences of Seals & Crofts "Summer Breeze" for me to give it top marks. (9/10)
B2. "Give It Up" (2:56) here the band brings a very solid AVERAGE WHITE BAND sound and funk--including the sound of a "horn section." Larry Carlton's talent and skills are really on display with this one. (9.125/10)
B3. "Hot's It" (3:50) this one sounds like a cross between something by Dave Sanborn, Earth, Wind & Fire, and Ronnie Laws. It's good, solid, but it's missing something to make it special. (8.875/10)
B4. "Sugar Cane" (2:31) another crossover song that extolls the funk and a "full" (multiple tracks) horn section and multiple guitar tracks: this time between EWF, Stevie Wonder, and Paul Simon. Awesome "C" section bridge at the end of the second minute (though it also pre-dates GENESIS' "That's All"). (4.5/5)
B5. "Soul Caravan" (5:30) this one sounds like a cross of Average White Band with something by Stevie Wonder's Innervisions, though it also predates Boz Scaggs' Silk Degrees and some Steely Dan stuff as well as Al Jarreau's iconic "Roof Top Garden." My favorite song on the album. (9.25/10)
Total Time: 43:23
So many of the melodies, chord progressions, textures, and sound palettes expressed through these songs either blend things expressed by other artists but equally seem to announce the coming of many future songs--which is remarkable. Did The Crusaders really have these talents and effects?
Line-up / Musicians:
- Herbie Hancock / piano, Fender Rhodes, Hohner D6 Clavinet, synths (Oberheim Polyphonic, ARP Odyssey, Pro-Soloist, 2600 & String Ensemble)
With:
- David T. Walker / electric guitar
- Dewayne McKnight / electric guitar
- Melvin "Wah Wah" Watson / guitar, synthesizer, talkbox
- Bennie Maupin / bass clarinet, alto & bass flutes, saxello, tenor & soprano saxophones, percussion
- Stevie Wonder / harmonica
- Wayne Shorter / soprano saxophone
- Jim Horn / flute, saxophone
- Ernie Watts / flute, saxophone
- Richard Hyde / tuba, bass trombone
- Garnett Brown / trombone
- Bud Brisbois / trumpet
- Jay DaVersa / trumpet
- Louis Johnson / electric bass
- Paul Jackson / electric bass
- Henry Davis / electric bass
- James Gadson / drums
- Mike Clark / drums
- Harvey Mason / drums
- Bill Summers / percussion
1. "Hang Up Your Hang Ups" (7:27) a song some proclaim the greatest funk jam of all-time, Herbie's clavinet, Louis Johnson's bass, the solid drums and amazing horn arrangements really are amazing but it's the incredible rhythm guitar of Melvin "Wah Wah" Watson and the other guitarists that always get me. Great housecleaning music. Excellent, if slightly incongruous. piano solo in the final 90 seconds. I am hard pressed to imagine how won could make this a better song. (15/15)
2. "Sun Touch" (5:09) a sound palette that could serve as a late-nite "Pillow Talk" radio theme song is actually quite complex with some very intricate performances. The rhythm section seem to almost want to pause or delay the song but Herbie's Fender Rhodes keeps pushing it along. Brilliant! Then you get the addition of Wah Wah's guitar riffs and the horns the further you travel into it. (9.5/10)
Line-up / Musicians:– Lonnie Liston Smith / Keyboards
A2. "Love Beams" (4:07) beautiful lazy-day-I'm-in-Heaven float music over which Donald return his beautiful flute playing. A song that could be repeated ad infinitum for the creation of a state permanent bliss. (10/10)
A4. "Devika (Goddess)" (5:14) beautiful love funk as "told" through Dave Hubbard's sweet saxophone. Greg Maker's laid-back bass play is so uber-cool! (9.25/10)
B1. "Sunset" (4:10) gentle late-night love-lounging music, perfect for sitting with one's cocktail on the tropical vacation home's veranda watching the sunset. Evokes one's natural stress reduction. Could use a little more dynamics, variation, or development. (8.875/10)
TERJE RYPDAL Odyssey (1975)
Line-up / Musicians:
- Terje Rypdal / guitar, String Ensemble synth, soprano sax
With:
- Brynjulf Blix / organ
- Tornbjørn Sunde / trombone
- Sveinung Hovensjø / 4- & 6-string Fender basses
- Svein Christiansen / drums
2. "Midnite" (16:39) some great trombone, STEVE HILLAGE-like guitar soloing over a rather dull and monotonous repeating bass line and drum filling with Mellotron and synth-like strings and stuff coming from the organ and String Ensemble synth. Terje's searing guitar sounds a lot, to my ears, like the tone and style used perennially by THE EMERALD DAWN's Ally Carter. Yes, it's the Seventies and, yes, it's spacey sound experimentation, but couldn't Terje have had Sveinung Hovensjø mix up (or out of) that Reggae bass riff a bit? (26/30)
Total Time: 87:40
A1. "La rue" (4:23) the album's only track credited (partially) to drummer Alain Gandolfi, it opens with some very funky Herbie Hancock-like Fender Rhodes play before the band kicks in with some serious funk (especially from bass player Jean Grevet) as well as Mireille Dalbray's airy wisp of a voice breathing an incredibly playful-sexy vocal (in French). Her vocal is effected (and mutli-tracked) to create an effect that I've heard before--quite commonly--from French song-makers of that era--since they started putting effects on vocals from "yé-yé" artists like Sylvie Vartan, France Gall and Françoise Hardy. Chantale Goya would be the best example that I know of. At 1:12 Mireille stops singing and the electric piano of bandleader Alain Mion takes over (with Jean Grevet's bass right over his shoulder). Great jazz-funk! Alain Gandolfi is right there in the pocket with Alain and Jean. Though they're credited on the album, I hear no additional instrumentation until Alain Labib's sax at the end of the fourth minute--after Mireille has returned to the microphone. (9/10)
(Dixie) Dregs, Weather Report, and Nova-like jazz-rock from Austin, TX that was the launching vehicle for international guitar hero Eric Johnson. The album was recorded by Park Street in 1974 at Odyssey Sound studios in Austin during sessions in July and September and the released and distributed by the band themselves (as EGM Records) in the Fall (with no mastering!). The Rhino re-mastering and production for the CD release from 1998 did an amazing job at cleaning up and bringing to life the music on the old analog tapes.
Line-up / Musicians:
- Steve Barber / keyboards
- Bill Maddox / drums
- Eric Johnson / guitar
- Kyle Brock / bass
2. "Motion" (4:45) a much more smooth palette and more contemplative ECM/Narada Walden-like song construct with lots of lovely space and no hurry to finish or move anywhere quickly--and yet this is by no means a slow sleeper: there are dynamic flourishes and sudden and surprising contributions flitting in and out of the ethereal weave throughout the nearly five minutes of this--and axe-master Eric Johnson is nowhere near the dominatrix that he was in that opening song; no, this is a song of shared feeling and inspired spontaneity--and very interesting! (9/10)
Line-up / Musicians:
- Billy Cobham / percussion, synthesizer, arranger & co-producer
With:
- John Scofield / guitar
- Milcho Leviev / keyboards, arrangements (2, 8)
- Michael Brecker / saxophone (excluding song #3)
- Randy Brecker / trumpet (excl. 3), arrangements (5)
- Glenn Ferris / trombone (excl. 3)
- Larry Schneider / saxophone (1, 3)
- Walt Fowler / trumpet (1, 3)
- Tom Malone / trombone & piccolo (1, 3)
- Alex Blake / bass, arrangements (4)
- Rebop Kwaku Baah / congas (1, 3)
1. "Panhandler" (3:50) a funk song that demands a lot of its players--especially the horn section, but these professionals are at the absolute highest echelon in music's talent pool. The song is okay but more fascinating to listen to the horn section. (9/10)
2. "Sorcery" (2:26) another great groove, this one a little less funky, on which Billy once again places rigorous demands on his horn players. I think I'm catching on to Billy's focus on this album: to show off his skills as an arranger. (9.125/10)
4. "Thinking Of You" (4:12) exploring the smoother, Disco-er side of jazz-rock fusion with a rotating crew of individuals stepping up to lead, including, synth player Milcho Leviev, trombonist Glenn Ferris, sax player Michael Brecker, trumpeter Randy Brecker, and guitarist John Scofield all getting a little time up front. (8.75/10)
7. "A Funky Kind Of Thing" (9:24) solo drum play over the entire ten minutes! It always amazes me how Billy Cobham can create mood and funk with only himself and a drum set (and an engineering console). I can not think of many drummers who have this talent. (17.5/20)
LENNY WHITE Venusian Summer (1975)
An album offering quite a diverse palette of what Jazz-Rock Fusion was offering at the time of its making, the truly surprising element of these songs is how well they were composed and how amazingly well each song's multitude of tracks were recorded and mixed (not to mention performed). Recorded in June in New York at Electric Lady Studios and then added to at Patrick Gleeson's Different Fur studio in San Francisco in August, Nemperor Records published the album in November.
Line-up / Musicians:
Lenny White / Drums, Composer, Arranger, Producer
Doug Rauch / Bass
With:
Line-up / Musicians:
- Jukka Hauru / guitars
- Jukka Linkola / piano, synthesizers
- Esa Kotilainen / string synth
- Heikki Virtanen / bass
- Tomi Parkkonen / drums
- Teemu Salminen / flute, saxophones, clarinet
With:
- Pekka Pöyry / soprano & alto saxophones (1, 2)
- Pekka Pohjola / bass (1, 2)
1. "Enema Syringe" (5:45) what opens as a full minute of displaying MAHVISHNU ORCHESTRA fire turns RETURN TO FOREVER at 1:20 with the introduction of the MiniMoog. At 1:45 then it sleakly slides over into pure JAN AKKERMAN territory before morphing magically into LARRY CORYELL and then GEORGE DUKE to JOE ZAWINUL-led WEATHER REPORT for the finish. The accompanying bass, drums, and keyboard playing is nothing short of miraculous! Amazing! Even if it is a bit imitative and even plagiaristic, this is pure Jazz-Rock Fusion perfection! (10/10)
2. "When I Met My Wondergirl" (8:52) beautiful and spacious LONNIE LISTON SMITH-like Cosmic Music with some awesome JAN AKKERMAN-like tone and feeling up top, mixed with the piano, sax, and bass (this latter grâce à the addition of Pekka Pohjola). The exposition takes a long time of stop-and-go before finally settling down into a fairly straightforward flowing "ballad" in the fourth minute. Just following the work of the two bass players is pure bliss--such a humbling joy! (19/20)
Line-up / Musicians:
2. "Waiting" (2:13) interesting little loose piece with Dave's bass providing the focal material. Innocuous and forgettable. (Even as I just heard it two minutes ago.) (4.25/5)
Though virtuoso bass player Stanley Clarke was already a household name in the circles of those who knew jazz and Jazz-Rock Fusion, with this, his third "solo" album, we find him still under the influence of some of his more- established mentors and idols (like Chick Corea and John McLaughlin). At the same time, there are plenty of signs of his "coming into his own" as he leads many of the tunes on this album with his considerable (perhaps unequaled) soloing skills. The album was recorded and then released on November 18 by Nemperor Records.
1. "Silly Putty" (4:52) an interesting song that borders on the funky R&B that was all the rage in 1975 but really has its roots in the Blues-Rock that pre-dates the 1970s. Between Stanley, George Duke, and David Sancious the band has every weird funky chicken sound possible covered in this playful novelty tune. Not my favorite style, it still manages to entertain and, of course, display incredible musicianship. (Just wondering: Which came first: Lenny White's "Chicken- Fried Steak" or this?) (9.125/10)
2. "Journey to Love" (4:52) spacious southern rock that starts out with some high-pitched vocals (apparently as provided by Stanley and George) and then develops into something that sounds like a slowed down Mahavishnu Orchestra song. Horn section adds punctuating accents at the end of the singers' second verse signaling the start of the instrumental jam session that would unfold for the final two minutes of the song. I think the reason George Duke and David Sancious rarely get mentioned with the great sound-pioneers of the 1970s (like Jan Hammer, Chick Corea, or Herbie Hancock) is their tendency to explore/choose really odd sounds for their keys and guitars. (8.75/10)
3. "Hello Jeff" (5:16) this one definitely has both the JEFF BECK and RETURN TO FOREVER sound with Stanley in particular using those heavy, thick bass chords he became known for with Chick's band. The guitar shreding here (from Mr. Beck and recent discovery David Sancious [from Bruce Springsteen]) is other-wordly! I'm not a fan, however, of the sound rendering of Lenny White's drums--nor of the Al DI MEOLA-like main melody. The best parts of the tune are Jeff's solos and Stanley's finish. (8.875/10)
4. "Song to John, Part 1" (4:22) Chick Corea on piano, Stanley on his bowed double bass, and Mahavishnu John McLaughlin working his magic on an acoustic guitar. (Stanley must have received an "only if it's all acoustic" answer from the Mahavishnu when he asked for John's participation on this album's recording sessions--which would be in character for the Shakti-inspired guitarist at this time.) The song plays out like any/every John McLaughlin or Chick Corea song on acoustic instruments: virtuosic performances, great melodic sensibilities, and each artist inspiring the others to their highest levels of creativity. I just love all three of these artists when they're in acoustic mode! Chick's sense of melody is really so sublime--but so are those of Stanley and John--especially when supporting Chick in that fourth and fifth minute! (9.25/10)
5. "Song to John, Part 2" (6:09) the "lively" half of the suite--feels like a precursor to RTF's "The Romantic Warrior" (one of my ALL-TIME favorite songs!) from their upcoming album of the same name--though the second minute to the fourth has quite a little Django Reinhardt-Stéphane Grappelli energy and feel to it as well. How much fun must these guys have been having! Great jam! You will not find songs like these very often in the real world! (10/10)
6. "Concerto for Jazz/Rock Orchestra, Parts 1-4" (14:25) Messrs. Clarke, Duke, Sancious, and Gadd back for a gorgeous fifteen-minute suite--with the support of the full horn section in the (minutes). The opening three minutes is just synth, piano, and bass weaving a beautiful, contemplative atmosphere together to get the listener ready for . . . the "launch." At the three minute mark the full band jumps into electric world with bass, synth strings washes, Fender Rhodes, and drums creating a dynamic power motif within which David Sancious adds some searing lead guitar riffs in mini- crescendo moments. Things smooth out a bit in the sixth minute before George and Steve fall into support of a multi- sectional bass solo. (By multi-sectional I mean low end bass notes offset by high-end piccolo bass riffing.) This turns into more sustained searing electric guitar from David for about a minute in the ninth minute, culminating in a horn- section thickened section to fill the tenth minute--which leads to an odd break at 10:15 after which an AL DI MEOLA- like guitar-led Chick Corea patch ensues within which Stanley's machine gun bass play keeps up note for note with the same from David Sancious. The melody first exploded into the sonic field by the raging guitar-and-electric-bass duo is quite familiar but I can't place from where. The drumming in this "break out" passage are quite straight time rock 'n' roll as opposed to the rather funky, syncopated forms Steve was playing before the ten minute mark. The horns help amplify and multiply the fiery melody being ejaculated by David and Stanley until a crescendo and crashing trumpet scream at 12:15 re-opens the door for a very peaceful George Duke synth and electric piano after-the-storm section takes over to lead Stanley and the "strings" to a fadeout exit. A wild ride! Not so much a concerto as a RTF-like power suite! (27/30)
Total Time 39:21
Multi-instrumentalist David Sancious is quite a find! His guitar skills are virtuosic (as are his keyboard skills--as will be proved in near-future solo and collaborative albums) yet I've always felt that his sounds and melody choices are either too imitative of other greats of the era (like, here, Al Di Meola) or that they're too sweet, dense, or obtuse for me to ever be drawn into. However, here with Stanley he has found a partner who at least drives him to heights of the greats. George Duke feels too much the support mule on his three songs: rarely given the flashy solo time that David or Stanley himself take--which seems a waste. And Steve Gadd is great though sometimes feeling a bit the odd man out in terms of gelling perfectly within the weaves and styles set up by Stanley. For me, the Chick Corea-John McLaughlin- Stanley suite "Song for John" is the album's highlight with the opening song, as virtuosic and erudite as it is, proving to illustrate for me the fact that funk (my beloved funk) can be taken to outlandish extremes--barnyard, bawdy, or adolescent extremes.
91.25 on the Fishscales = A-/five stars; a display of creative song-making commensurate with the virtuosity of its participants. Perhaps not on quite as high or memorable of a level as some of the iconic themes and songs from the other Jazz-Rock Fusion classics of the time, but definitely fitting and deserving of the attention of any lover of virtuoso musicianship.
A2. "Wind Parade" (4:32) earworm music with a pretty lame lyric. But damn! It just won't leave the brain! I hate that this is the most memorable and my favorite song from this album! (9.25/10)
A3. "Dominoes" (4:32) bass chords and more J-R Fusion than smooth jazz or funk. Interesting! A top three song for me. (9/10)
B1. "Places And Spaces" (6:16) a little too repetitive but some awesome creative nuance-creation from several of the instrumentalists (percussion, Chuck Rainey's bass, Donald's flugelhorn, Skip Scarborough's electric piano) (9/10)
B2. "You And Music" (5:18) Smooth Jazz melody making, groovin' bass 'n' drum, over-the-top strings (that are actually pretty cool) thanks to arranger/conductor Wade Marcus, and a nice secondary motif of male-female joint and back-and-forth vocals. (9/10)
B3. "Night Whistler" (3:40) slay me with that rhythm guitar work! Some of those whistles sound like a distant woman screaming in distress! Otherwise, a pretty cool, chill song, with lots of layers of active musicians despite such a chill base. Hard to believe that all those "whistle" sounds are coming from one person (James Carter). (8.875/10)
B4. "Just My Imagination (Running Away with Me)" (4:36) a cover of the famous Temptations song of a decade earlier using choir vocals, the same weird whistles, piano, and Donald's flugelhorn over the classic Motown rhythm section. Even a little Disco drumming and "Shaft"/"Love Theme" rhythm guitar injected into the third minute. Nicely done! Interesting enough to qualify as one of my top three. (9/10)
Total Time: 35:51
Danish band with 4/5ths of the membership of SECRET OYSTER. This SteepleChase album release, recorded at Rosenberg Studios in Cøpenhagen, Denmark, in February, July, and November of 1973, did not reach the public until November of 1975.
Line-up / Musicians:
- Peter Friis Nielsen / bass, double bass [electric double bass]
- Ole Streenberg / drums
- Claus Bøhling / electric guitar
- Kenneth Knudsen / electric piano, piano
4. "Don't Know" (5:10) high-speed Jazz-Rock of the Mahavishnu/RTF nature with sound quality that reminds me more of CERVELLO's Melos: the effects used to process the lead guitar are already dated while the rhythmatists beneath the soloing electric guitar (including a track dedicated to wah-wahed rhythm guitar) have a bare Mwandishi-like sonic field. Nice discipline and skills on display. The foundational groove gets a little monotonous after … a minute or two--more like numbing. (8.875/10)
5. "Visitor" (3:23) more skills exhibitionism from the bass and drum players while Kenneth Knudsen wanders around his treated (wah-wah) Fender Rhodes and guitarist Claus Bøhling occupies the spotlight up top. Again Claus is using that odd combination of effects on his axe making him sound similar to some of Larry Coryell's sound incarnations. (8.75/10)
6. "Tied Waves" (5:24) gentle waves of sustained electric piano chords and fills spaciously (and melodically) open this one sounding like a pensive Herbie Hancock while Ole and Claus feel their way around from beneath (the latter sounding a bit like Eberhard Weber). There's actually something profoundly engaging about this--especially in the combination and interplay of the aqueous sounds coming from Peter's bass and Kenneth's keyboard. For some reason I have to give this unusual song a top three song commendation. (9/10)
Recorded at A&R Recording Studios, New York, N.Y. released by ATCO Records toward the end of the year. Sonny joins the husband-wife tour with a wife who can do those wordless Ella Fitzgerald, Urszula Dudziak, Flora Purim, Clare Torrey vocalese.
Line-up / Musicians:
- Sonny Sharrock / guitars
A1. "Apollo" (7:45) the first 1:40 of this is a little vamp over which Linda Sharrock performs some CLARE TORREY-like wordless vocalese. Then the band shifts into gear, speeding down the driveway and into traffic with some awesome clavinet play from Kenny Armstrong (on two tracks!) Billy Preston eat your heart out! Nice drumming from Buddy Williams. At 3:38 Sonny enters just as you might expect him: with some kind of creative innovation that no one else has really recorded (before Adrian Belew). Three minutes of this (over some damn fine drumming) yields (I would think) some sore fingers on the guitarist's right hand. Then the opening motif returns for Linda to vocalize over as if she's as tired from the opening shift and her husband's wild ministrations as everyone else. Interesting, to say the least. (13.375/15)
A2. "End of the Rainbow" (2:57) more vocalese, this time more tender like Ms. Purim, over some sleepy lullaby music from Fender Rhodes, synth strings, bass and atmospheric cymbal play. Sonny plays some rather conventional guitar in the space beneath and between Linda's voicings. (8.75/10)
A3. "Miss Doris" (9:14) more familiar, standard blues-rock over which Linda cackles like a chicken. At the one-minute mark the band shifts into second gear as Kenny and Sonny treat each their own tracks as if they are soloing alone. The fact that Sonny sounds like a keyboard and Kenny sounds like a soprano sax is only ameliorated by some fine drum and conga work from Buddy Williams and Sonny Bonillia, respectively. Linda rejoins in fourth minute where she proceeds to explore her animalistic sounds, screeches, and In the seventh minute Sonny takes over in a big way with what could be compared to David Torn-like guitar ministrations or Dave "Fuze" Fiuczynski's microtonal guitar. (17.5/20)
B1. "1953 Blue Boogie Children" (6:57) rumbling drums and percussion with insect-like tones over the top open this before honky-tonk piano music takes over. This pattern cycles over a couple of times before the band settles into a second gear ghetto cruise for some more unusual guitar playing (L channel microtonal, R channel unusual chord sequences). Until I heard the work of 21st Century microtonal guitar players the only thing I could compare this to would be some of the Hawai'in/Polynesia ukulele music I'd been exposed to. Linda joins the party with some of her semi-yodeling, semi-Lamaze screaming vocalese. (17.625/15)
B2. "Peaceful" (4:18) an angelic Gospel-Deodato opening with electric piano and percussion supporting synth voice chords and Linda's speaking-in-tongues Gospel keenings makes for a pretty if somewhat out-of-place tune. Aretha or Mahalia could do this, but then they'd have had to transition into a Gospel tune. Still, I like it; I like that someone put this kind of music to tape. (9/10)
B3. "Gary's Step" (8:22) there is some nice music in this song but most of it takes it out of the realm of Jazz-Rock Fusion, rendering it more akin to Americana music. (17.5/20)
Line-up / Musicians:
- Göran Frost / bass
- Michael Lindqvist / drums
- Jonas Lindgren / electric piano, violin
- Mats Anton Karis / flute
- Olof Söderberg / guitar
- Per Lejring / piano
- Thomas Brandt / saxophone
- Tommy Adolfsson (ARCHIMEDES BADKAR) / trumpet
- Bengt Ekevärn / trumpet
2. "Elhamokk" (9:45) the drumming is excellent, the coordinated delivery of lines and chords by the rest of the band quite extraordinary--like the synchronic timing of a big band. For some reason I hear a very strong hint of both Spanish and Balkan melodic traditions in this music. I also feel a bit of the high school band class in the performances--which makes the song get a little old and dull over it's ten minute length. (17.333333/20)
Too bad these guys A) didn't stay together (the bulk of the band members did reappear for one song ["Peter Yogurt = Peter Yoghourt"] as Berits Halsband on a 1980 Ton Kraft Records compilation album entitled Levande Music Från Sverige = Live Music from Sweden), B) didn't have a quality studio, engineer and/or producer for this album, C) didn't have the chance to polish and perfect their music, cuz this is wonderful stuff! It's not as exciting or rock-dynamic as Return To Forever or Mahavishnu Orchestra--rather, more mellow and melodic as was the habit of much of the northern Continent at the time. Too bad the solid and engaging rhytm tracks were often stifled into remaining so constant for so long.
88.17 on the Fishscales = B/four stars; an excellent if rather raw exposition of fresh if under-developed Jazz-Rock Fusion.
After producing one of the best proggy instrumental Jazz-Rock Fusion albums of all-time in Tilt, they decide to add vocals and try more melodic, and more funky tune constructions along with their usual Mahavishnu-like Power Fusion. Recorded in 1975 at Milano Sound Recording di Milano, Italia. It was then published by Cramps Records in December.
2. "Mirafiori" (5:55) the drummer is way too busy: as if he's either coked up or really feeling Ego-full of himself. Nice to hear that Gigi Venegoni and Giovanni Vigliar are still very much in sync with one another (on guitar and violin, respectively). Giovanni impresses in the second and third minutes while Furio Chirico's frantic KEITH MOON-like busy-ness almost fits in! Gigi Venegoni's following John McLAUGHLIN-like solo is also impressive. The ensuing section with its rather crazy effected-soprano sax solo makes the band sound like the upcoming NOVA albums with Corrado Rustici and Elio D'Anna. Obviously Mahavishnu Orchestra is the inspiration for both bands, so no use arguing about which came first. (8.875/10)
3. "Saper Sentire" (4:40) another really odd mélange of seemingly disparate styles (and sounds)--with vocals! Singer Gianfranco Gaza sounds like a 1970s version of LA COSCIENZO DI ZENO/NOT A GOOD SIGN lead singer Alessio Calendriello. (8.6667/10)
4. "Nove Lune Prima" (0:55) with this and the next three songs the band seem to be trying to reach back to a couple of years into the history of power Jazz-Rock Fusion. (4.5/5)
5. "Mescal" (5:16) as if right from The Inner Mounting Flame, we get to see/hear this band return to the realm of serious Jazz-Rock Fusion--with drummer Furio Chirico finally feeling as if he is in his comfort zone: channeling his inner Billy Cobham. (9.333/10)
6. "Mescalero" (0:35) a pretty, poignant bridge between "Mescal" and "Nove Lune Dopo". (4.75/5)
7. "Nove Lune Dopo" (2:39) great J-R Fusion using Jean-Luc Ponty-like melodies over Mahavishnu-like fire. Great drumming and bass play. (9.25/10)
8. "Dimensione Terra" (1:30) What sounds like the completion to the Mahavishnu-like suite of "Nove Lune Prima" through "Nove Lune Dopo". (4.5/5)
9. "Aria Pesante" (3:53) a vocal-centric song that has components that remind me of Wayne Shorter-led Weather Report as well as Broadway stage hippie music (the bouncing piano chord progressions). The instrumentalists on top are still performing as if they're a jazz rock ensemble--though here more in the Jean-Luc Ponty vein than the earlier Mahavishnu styles. (8.875/10)
10. "Consapevolezza Parte 1a" (3:22) more melodic JEAN-LUC PONTY-like Jazz-Rock Fusion; very high quality but also very melodic. Furio Chirico is a madman! (9.3333/10)
11. "Sagra" (3:06) this one sounds like a jazzified variation on the orchestral part of "MacArthur Park" or Caravan's "L'auberge du Sanglier/A hunting we shall go/Pengola/Backwards/A hunting we shall go (reprise)". Towards the end of the song, Luigi "Gigi" Venegoni goes JAN AKKERMAN/TODD RUNDGREN bat shit-crazy: spitting watermelon seeds from his machine gun axe over the high-speed race of the band beneath him. Impressive if a little odd and disjointed in its mix and stylistic commitments. (9.125/10)
13. "Rinuncia" (2:48) another pop-oriented tune that sounds quite Americanophilic, even crossing over into Southern Rock (and pop RPI)-like territory with the second half. Odd assortment of vocal performances scattered throughout. Nice bouncy bass and clavinet work supporting the Southern-Rock guitar soloing. (9.25/10)
Line-up / Musicians:
- Caroll Bérard / acoustic & electric guitars, percussion, vocals
- Réjean Yacola / piano, Fender Rhodes, Wurlitzer, clavinet, celesta, Minimoog, percussion, vocals
- Martin Murray / Hammond B3, Minimoog, Wurlitzer, Solina, saxophone, percussion, vocals
- Pierre Hébert / bass, percussion, vocals
- Gilles Chiasson / drums, percussion, vocals
3. "J'un oeil" (4:43) relies on the repetition of a very familiar poppy riff until the wonderful clavinet-backed choral-vocal section begins. At 2:10 we go back to the introductory repetitive riff for a bit, until it slows down with a spacey organ and high-register electric guitar melody take over. Switch back to the choral-vocal section for the last minute. At times this is very Yes Fraglie quirky and funky--and even humorous. (8.875/10)
5. "Potage aux herbes douteuses" (7:07) begins again very much like the AVERAGE WHITE BAND, shifts to a little GINO VANELLI coda, then back to the A part, coda B before shifting into second gear with a fun off-tempo section. This seems to be very much an exercise in band odd tempos, though the insidious climb up the scale is enjoyable and interesting. At 3:30 the choral enters for a different coda before the THIJS VAN LEER-like organ play takes us to an extremely FOCUS/CAMEL-like section--which then combines with the choral beautifully. Wonderful! Interesting ANT PHILLIPS-like end! (13.5/15).
Total Time 38:25
Line-up / Musicians:
- Carlo Pennisi / guitar, mandolin
- Antonio Marangolo / keyboards, clarinet
- Elio Volpini / bass, double bass
- Agostino Marangolo / drums, percussion
1. "Beneath The Geyser" (3:56) though opening with some solo electric piano play, the other musicians spring forth as if from a powerful geyser or volcano, creating a track with of melodic power J-R Fusion that sounds like a cross between the jazzier side of FOCUS and JEAN-LUC PONTY (sans violin, of course) and RETURN TO FOREVER. While most reviewers spend energy extolling the talents and virtues of drummer Agostino Marangolo, I'd like to commend his keyboardist brother, Antonio, for his impressive skill and rather mature ability to beautifully "fill" space with his chord play. In fact, all of the band members seem very skilled. An impressive opener. (9/10)
2. "South East Wind" (6:10) after a rather spacey and chaotic one minute intro this song turns into a very pleasant and interesting and mathematical exercise in King Crimsonian discipline as the band trace out a series of very demanding syncopations, the main one (which is also very GOBLIN-like) being very deliberate and proscribed, whereas the second one exhibits more of the high-speed fervor of RTF. (9.125/10)
3. "Across The Indian Ocean" (5:36) opening with jungle sounds and instruments as bass player Elio Volpini plays with harmonics before finally creating the melodic riff that paves the way for the others to join in. The two-part rhythm they settle on could have come from BILLY COBHAM's 1973 debut solo album, Spectrum, while the guitar play and sound palette sound more like something ALLAN HOLDSWORTH might have constructed/orchestrated. This is a very demanding piece technically for the musicians but they all pull it off marvelously and without weakness or hiccup--and while somehow managing to maintain a constantly-engaging element of tension and melody. (9.33333/10)
One of the most prolific bandleaders in the Jazz-Rock idiom is back with his second studio album expression through his Eleventh House medium. Mainstays include keyboard wizard Mike Mandel, drummer Alphonse Mouzon; the newcomers include bassist John Lee and trumpeter Mike Lawrence--both of whom give the performances of their lives--as well as guest musician (and song contributor) Steve Khan. The album was recorded and released in 1975.
2. "The Other Side" (4:35) what play from the rhythm section of Alphonse Mouzon and John Lee! Wow! John is really on fire with that bass! I think the playing of this rhythm section that pushes trumpeter Mike Lawrence to such heights. The use of effects like reverb and wah-wah on Mike's trumpet is very cool. Larry is great "sneaking in" among Mike and the rhythmatists until his solo in the fourth minute. Man! Is he hot! One of my favorite Larry Coryell solos ever, to be sure! There is NO flaw with this amazing song! (Thank you, Michael Lawrence!) (10/10)
3. "Diedra" (3:56) toning it down with a saccharine tune that still manages to convey some jazz and funk despite some smooth melodies and easy-going spaciousness. This song is just so well put together: everybody performing like absolute masters of their instruments, the song (composed by Mike Mandel) founded on a simple BOB JAMES-like formula but embellished subtly as only true professionals could do. (9/10)
4. "Some Greasy Stuff" (3:30) an Alphonse Mouzon compostion that sounds like a submission for a either television show theme song or a Disco cover for a Soul Train dance tune. It's good: the performances are all top notch and seem genuinely inspired; it's just that the song is a little . . . basic. (8.75/10)
6. "Suite" (5:32) (9.25/10):
- a) "Entrance" - the first of Side Two's five Larry Coryell compositions is running on high octane, multiple engines. I am super impressed with the piano-centricity of the song and the massively dense wall of sound of this Latin-sounding tune.
- b) "Repose" - the slow down is unexpected, sparsely populated (despite the oceanic fretless bass), taking a bit to set up for the trumpet melody setting with all of the subtle contributions of the other band members.
- c) "Exit" - the finale starts out like a Mexican fiesta party before settling into a Latin-jazz-rock motif to finish. I'm not quite sure what Larry was setting out to do with this "suite" but it is definitely of the highest caliber in terms of composition and performance.
Line-up / Musicians:
Lou Blackburn / Trombone, Leader [Shawn]
Donald Coleman / Conga, Bamboo Flute
Charles Jefferson / Trumpet, Flugelhorn, Kalimba
Gerald Luciano / Bass (Electric), Percussion, African drums [Domba]
Cephus McGirt / Drums
3. "Holz" (4:23) Donald Coleman's bamboo flute plays over a slow, spacious weave of African percussion instruments. Nice for an African processional, not much else. (8.25/10)
4. "Kenia" (6:49) electric line sets up the African melody that the group chants with an African choir vocal until about 45-seconds in the band kicks into what sounds like it could be full Juju music but then it takes a few turns and feels more Caribbean or Santana-like as active bass, cowbell, congas, and Charles Jefferson's flugelhorn take us into the Carnival. Muted trumpet and trombone join together for a few coordinated bank bursts before a round of African chanting signals a turn toward full Santana-like Jazz-Rock Fusion for Lou to solo over. All throughout Gerald Luciano remains quite nimble in dancing over the fretboard of his electric bass and drummer Cephus McGirt as well on his rock-expanded kit throughout the song. The song finishes with a minute of all percussion (and some chanting) with Gerald's dancing electric bass. (13.25/15)
Line-up / Musicians:
- Jotwin / vocals, cello
- Berndt Steiner / guitar, drums
- Georg Eckl / electric piano
- Eva Lutz / violin, cello
- Bewin / tenor saxophone
- Bernd Funk / percussion
1. "Nur Ein Klein Wenig" (3:12) a very classical exposition of jazz music from some musicians that sound very seasoned. The band includes both violin and cello with saxophone over a very solid drum and bass and percussion trio. Georg Eckl's electric piano becomes more prominent about half way through, just before a dramatic stops and restart in order to shift into a kind of beer-hall band tune with comic vocals reminding me of bands like Samla Mammas Manna. (8.875/10)
2. "Kurzes Hundeleben" (8:43) a well-formulated and well-executed two-part jazz exodus in which all of the proficient musicians themselves quite well. One can easily listen to each and every one of the individual musicians the entire way through this long song and be equally entertained and impressed. Plus, there is a DEODATO-like "Also Sprach Zarathustra" feel and palette to this song with electric piano, drums, and percussion creating quite an impressive foundation in and of themselves. Keyboardist Georg Eckl is quite impressive as are drummer Berndt Steiner and percussionist Bernd Funk. (19/20)
Line-up / Musicians:
- Frantisek Griglák / guitar
- Tomás Berka / electric piano, organ, synth
- Anton Jaro / bass, percussion
- Peter Szapu / drums, percussion
2. "Perpetuum II" (10:27) a long and oddly television-like intro of effects and low-key instrumental play that feels quite portentous but not quite threatening. Drummer Peter Szapu's increasingly-aggressive cymbal play at the end of the second minute signals an emergence from the primordial soup into something more structured and formed as Tomás Berka's odd marimba-sounding keyboard steps into the lead while Frantisek Griglák's guitar chords start getting louder and more sinister. A prolonged drum bridge in the fifth minute leads into a DOORS-like motif in which Tomás' keyboard choice switches to something more Canterbury-like (though no Canterbury keyboard player ever played this sound with such demonic feeling). Then the motif comes to a head with some very aggressive guitar shredding before turning down a much quieter one-way street for some pleasant storefront window shopping. Tomás' keyboard choice turns to organ with some high, piccolo-like note playing while Anton Jaro's underwater bass gets a turn to shine. Then mid-eighth minute the band turns onto a different street: driving against the flow of traffic! Yes, Frantisek's searing guitar play tells us how hard the upstream swimming is while the rest of the band drudges along in a heavy SABBATH-like motif. The 30-second finale finds everybody joining together to play a complex melody in a THIN LIZZY-like Celtic weave. Wow! Goblin on steroids! (18.25/20)
3. "Postavím si vodu na čaj (I'll Put The Kettle On)" (4:20) opening with a rock weave before settling back into a bucolic or dream-like tuned-percussion-like motif, they eventually settle back into a nice CAMEL-like rhythm track while Frantisek impresses in a very Andy LATIMER way. At 3:15 the band turns down a more ELOY, STARCASTLE, or even ALLMAN BROTHERS path for the final minute. Interesting mix--impressive play but not the most fluid construct or melody making. (8.875/10)
4. "Valčík pre krstnú mamu (Waltz For Godmother)" (7:03) blending an R&B/funk vibe with an Allman Brothers type instrument palette is quite creative and fresh. There are many moments that could also be construed as Focus-like Prog as well as Mahavishnu-like power fusion (and even some "Gates of Delirium"-like Steve Howe chaos at the end). And it all works! Brilliant! (14/15)
5. "Perpetuum III" (11:47) poorly recorded beach and wave sounds with Frantisek Griglák's Mahavishnu Orchestra "Birds of Fire" imitation building within as the drums, bass, and keys slowly build beneath. By the third minute the band is continuing on its Birds of Fire tribute with a "Resolution"-like resolution berfore peaking and switching into a Allman Brothers'-like jazz and bluesed up "Sweet Georgia Brown"-like passage. At 5:48 Frantisek's searing guitar bursts forth seeming to lead the band into something new, but instead sticking with the blues-jazz mock up for another half minute before turning down a bit of a BILLY COBHAM-like trail of funk through the mountain woodlands. Again Frantisek is in the lead with some impressive rock and almost-Mahavishnu-level guitar shredding. The rhythm tracksters remain iunwaveringly faithful in their support of their guitar leader, but their portion of the music starts to get a little stale as Frantisek remains unstoppable in his lead capacity. Despite my kudos to the band for attempting such a challenging mountain, I do not think they give the Mahavishnu Orchestra any competition. (I do not think that guitarist Frantisek Griglák is [yet] in the same league as the Mahavishnu.) (21.875/25)
Total Time 39:29
Line-up / Musicians:
- Larry Coryell / guitar, all instruments (4)
With:
- Mike Lawrence / trumpet (1, 3)
- Mike Mandel / electric piano & synth (1, 3)
- Danny Trifan / bass (1, 3)
- Alphonse Mouzon / percussion (1, 3)
- John McLaughlin / guitar solo (2, 5)
- Chick Corea / electric piano (2)
- Miroslav Vitous / double bass (2, 5)
- Billy Cobham / drums (2, 5)
2. "Tyrone" (11:38) impressive performances from a lineup of Jazz-Rock Fusion's All-Time Greats (John McLaughlin, Chick Corea, Billy Cobham, Miroslav Vitous, and of course, the Godfather of Fusion himself) on a song that never really invites the listener in. Eleven-and-a-half minutes is a long time to be sitting on the outside looking in, listening and waiting, hoping to get the magic ticket into the inneren Sanktum. But, for me, at least, it never comes. (17.5/20)
5. "Planet End" (8:45) back to the same combo of all-stars from the album's second song, "Tyrone," including Billy Cobham, Miroslav Vitous, and John McLaughlin. Since Larry and Miroslav get the initial leads we get to hear the wonderfully-creative chord-play of the Mahavishnu in the role of accompanist. As always, I find myself far more intrigued by John's "rhythm" guitar work than anyone else trying to solo or drive the song from the rhythm section. As a matter fact, there is a frame in the fourth minute where it feels as if drummer Billy Cobham actually loses his connection with the rest of the players! (Maybe he dropped a stick, cuz right after he gets back up to speed and really shows some amazing chops!) (17.5/20)
Total Time 34:10
Line-up / Musicians:
- Gaetano "James" Senese / saxophone, flute, vocals
- Mark Harris / keyboards
- Franco Del Prete / drums & percussion
- Anthony "Toni" Walmsley / bass
1. "Campagna" (7:56) most excellent Jazz-Rock Fusion, very current/up-to-date with the music coming out of America at the same time, spiced up quite nicely by James Senese's vocals and the MANDRILL, OSIBISA, and CYMANDE-like African-like group/choir vocal chants. James' sax and vocals even have a little of DEMITRIO STRATOS and JAMES BROWN's swaggy confidence. The rhythm section of Franco Del Prete and Toni Walmsley are so tight, so in sync, that it gives Fender Rhodes/synth player Mark Harris a lot of confidence to do his own shining thing. A most excellent, even anthemic opener. (14.25/15)
2. "'A gente 'e bucciano" (8:42) despite the smooth, gentle opening, this one breaks into some great, dynamic music in the third minute--after James' brief introductory vocal spurt--that is well rendered but is slightly diminished by James Senese's fair but not great vocal. (Why are the vocals on this song recorded so differently and more inconsistently than the other songs on the album? It's almost as if they were only added as an afterthought in the final production but never polished or processed with any care.) Toni's bass play is awesome--and I love how it's mixed so far forward in the sonicsphere. And Franco's drumming is right up there with Toni's as is Mark Harris's Fender Rhodes play. (17.625/20)
3. "Pensione floridiana" (3:32) horn section blow followed by repeated Fender Rhodes chord arpeggi open this before drums and bass join in and settle into a bluesy jazz-rock motif that sounds as if it should be the soundtrack theme for an American radio sitcom. Pleasant but almost innocuous. (8.875/10)
4. "Viecchie, mugliere, muorte e criature" (10:02) James Senese's raspy/gritty voice once again takes the forefront over this very solid Herbie Hancock music only, this time, it's quite fitting and winning--kind of in the same way that LE ORME's Aldo Tagliopietra and AREA's Dimitri could command the stage. I love his ballsy duel between his voice and his own saxophone in the fifth and sixth minutes. The band certainly does a great job of using multiple tracks to fill their sonic field. The ad nauseum repetition of the music tends to stagnate a little over time despite Mark Harris' excellent Fender Rhodes play and James' sax solos, spirited vocals, and multiple sax "horn section" track--most of which becomes more interesting in the song's wonderful final third. (17.75/20)
5. "Vico primo parisee n°8" (7:37) quite the dynamic bass lines on this Headhunters-like funk track! Everybody is playing at the top of their game: putting together a spirited Jazz-Rock Fusion tune that could mix right in there on any of Herbie's Headhunters albums. Mark and James also impress with their equally dynamic keyboard, sax, and whistle performances. In the second half they even manage to harken back to the earliest J-R Fusion masterpieces--like Bitches Brew! It's just such a great galloping groove--one that definitely puts on full display the talents/skills of all four of the musicians. (14.125/15)
6. "'O lupo s'ha mangiato 'a pecurella" (6:49) synth and sax play the melody-leading solos in the first minute of this more laid-back, spacious tune that reminds me of something from the earliest Weather Report albums. The melodies and weaves here are much simpler, sparse, and less familiar/pleasing to the radio/pop-trained Western ear. Even James' sax play is more similar to that of Wayne Shorter while the sparse note play from the independent musicians is constructed more harmonically, instead of melodically, like Weather Report. Then we run into the final two minutes with its percussion-supported street party "drunken" celebration before the band pulls back inside, into the studio, for a more tightly-performed closing. Interesting but, like the music of Weather Report, not my favorite expression of the panoply of idioms that make up Jazz-Rock Fusion. (13.25/15)
Total Time 44:38
90.0 on the Fishscales = A-/4.5 stars; quite possibly a masterpiece of Smooth Jazz but only a near-masterpiece of true Jazz-Rock Fusion.
HERBIE HANCOCK Man-Child (1975)
Recorded over several months dating back to 1974, at several different recording studios across America, it was released on August 22, 1975.
- Herbie Hancock / piano, Fender Rhodes, Hohner D6 Clavinet, synths (Oberheim Polyphonic, ARP Odyssey, Pro-Soloist, 2600 & String Ensemble)
With:
- David T. Walker / electric guitar
- Dewayne McKnight / electric guitar
- Melvin "Wah Wah" Watson / guitar, synthesizer, talkbox
- Bennie Maupin / bass clarinet, alto & bass flutes, saxello, tenor & soprano saxophones, percussion
- Stevie Wonder / harmonica
- Wayne Shorter / soprano saxophone
- Jim Horn / flute, saxophone
- Ernie Watts / flute, saxophone
- Richard Hyde / tuba, bass trombone
- Garnett Brown / trombone
- Bud Brisbois / trumpet
- Jay DaVersa / trumpet
- Louis Johnson / electric bass
- Paul Jackson / electric bass
- Henry Davis / electric bass
- James Gadson / drums
- Mike Clark / drums
- Harvey Mason / drums
- Bill Summers / percussion
1. "Hang Up Your Hang Ups" (7:27) a song some proclaim the greatest funk jam of all-time, Herbie's clavinet, Louis Johnson's bass, the solid drums and amazing horn arrangements really are amazing but it's the incredible rhythm guitar of Melvin "Wah Wah" Watson and the other guitarists that always get me. Great housecleaning music. Excellent, if slightly incongruous. piano solo in the final 90 seconds. I am hard pressed to imagine how won could make this a better song. (15/15)
2. "Sun Touch" (5:09) a sound palette that could serve as a late-nite "Pillow Talk" radio theme song is actually quite complex with some very intricate performances. The rhythm section seem to almost want to pause or delay the song but Herbie's Fender Rhodes keeps pushing it along. Brilliant! Then you get the addition of Wah Wah's guitar riffs and the horns the further you travel into it. (9.5/10)
3. "The Traitor" (9:36) now that's some funky bass, with excellent response from the drummer. Herbie's clavinet accents are so dextrous and never over done. The bass, guitar, and horns frisky additions in the second minute are so awesome! It's like we're listening to PARLIAMENT! Then you put Herbie's snarky synth soloing over the top and it's like Bernie Worrell or George Clinton himself were sittin' in! Wow! Never knew Herbie let himself go this funky! I love it! Seems like a preview of every funky hip hop act of the next twenty years--as well as a reflection of early Kool & The Gang, Ohio Players, and Brothers Johnson, and the new Isley Brothers sound. And the sound engineering is so incredible: every instrument is easily followable while the fullness of the collective weave is never tampered with. The instrumental choice I think I'd leave off would be that occasionally sustained Oberheim strings chord: the funk doesn't need it. Toward the end of the song, the bass solo beneath Wah Wah's "distant" talk box guitar play is awesome. (19.25/20)
4. "Bubbles" (8:59) a fairly simple and minimalist construction of basically five instruments: the melodic bass, the more-percussive drums, a single lead guitar, a horn player injecting a variety intermittent sounds, and Herbie with a wide barrage of subtly delivered keys (clavinet, Fender Rhodes, Oberheim strings, other synth flourishes). Amazing how little front man action there is: just little attention grabbers from a wide assortment of contributors, all pretty much delivered in flourishes and sudden outbursts. Cool! Highly entertaining to listen to just to try to catch all of the tremendous number of sounds injected into it. (17.75/20)
5. "Steppin' in It" (8:36) more funk coming from the bass and bass-synth departments with spacious drum-and-bass funk while accented by an active and unpredictable horn section and team of several rhythm guitarists. This reminds me of the theme song from Sanford and Son. In the fourth minute Herbie's Fender Rhodes steps into the forefront to give us some uninspired and unobtrusive soloing. Then, just as I was thinking for the third or fourth time how "Stevie Wonder"-like this all was, who should step into the spotlight but Stevie Wonder with his harmonica! This feels like something from Stevie's upcoming Songs in the Key of Life. And yet the song is given full compositional credit to Herbie! The two must have run into each other in 1974 or 1975 while recording their own musics at the same music studio on the West Coast (most likely Crystal Studios in Hollywood: where Stevie recorded most of SinKoL--including the song "As" which features Herbie on Fender Rhodes). As a matter of fact, I'll go so far as to guess that Stevie's harmonica part was added towards the end of the song's processing as I can still hear the "shadow" of Herbie's Fender Rhodes solo beneath Stevie's harmonica--indicating to me that originally Herbie's solo that was started around the three minute mark actually went fully through the song but then was later muted (or attempted to have been removed from the song) from the 4:10 mark onwards in lieu of Stevie's solo. Regardless of the accuracy of my deductions, neither performances do enough to lift this song up: the performances here are just not as energetic or spirited as those on the other songs on the album, thus, this is not my favorite: it's a little too BOB JAMES-thin for my preferences. (17.5/20)
6. "Heartbeat" (5:17) stomping bass and bass drums open this while guitars, keys and horns introduce their sound package for about 30 seconds before the train starts rolling. It's another soul-funky song that reminds one of earlier classic 1970s Soul/R&B music like that of Motown's The Temptations ("I Can't Get Next to You") or Four Tops (Ain't No Woman [Like the One I Got]). The performers are totally engaged and synched up for this one! Love to hear it when everybody's on board like this! Great drumming, great bass play, GREAT Herbie play, and great contributions from Bill Summers and the rhythm guitarists. (9.25/10)
Total Time 44:47
Total Time 44:47
An amazingly creative foray into the deepest funk territory I've ever heard a jazz artist ever go, and yet, at the same time, the jazzy core of improvisational interweaving of many instruments never suffers or is sacrificed--again, something that I've rarely (maybe never) heard to this level of perfection. I am truly shocked to have only discovered this album and hereby recognize it as one of the greatest testaments to the peak accomplishments of Jazz-Rock Fusion.
92.89 on the Fishscales = A/five stars; a masterpiece of funked-up Jazz-Rock Fusion; a true example of nearly perfect blending of Jazz-Rock and Jazz-Funk trends as they occurred in the mid-1970s. Though many people consider Herbie as a leader and innovator, I choose to think of him and his musical outpourings as an excellent barometer of the latest trends in J-R Fusion: he was always in the first wave of expressionists to come after the stones of innovation had been thrown by other artists and engineers--maybe he was (consistently) that first wave.
92.89 on the Fishscales = A/five stars; a masterpiece of funked-up Jazz-Rock Fusion; a true example of nearly perfect blending of Jazz-Rock and Jazz-Funk trends as they occurred in the mid-1970s. Though many people consider Herbie as a leader and innovator, I choose to think of him and his musical outpourings as an excellent barometer of the latest trends in J-R Fusion: he was always in the first wave of expressionists to come after the stones of innovation had been thrown by other artists and engineers--maybe he was (consistently) that first wave.
September
GÁBOR SZABÓ Macho (1975)
The Hungarian-born guitar virtuoso tries his hand at Bob James' style of smooth jazz-rock fusion. (While Gábor had played with Bob before, this was his first album using Bob as his producer.) Recorded in California at Kendun Recorders in Burbank and Westlake Audio in L.A. during April of 1975, Macho was released by Salvation Records in September. It is considered perhaps Gábor's most successful attempt at joining the Fusion bandwagon.
Line-up / Musicians:
Bass – Louis Johnson
Drums – Harvey Mason
Guitar – Eric Gale, Gabor Szabo
Keyboards – Bob James
Lyricon, Saxophone [Tenor] – Tom Scott
Percussion – Idris Muhammad, Ralph MacDonald
Trombone – George Bohanon
Trumpet – John Faddis
A1. "Hungarian Rhapsody #2" (6:52) music that is very much pre-Disco. The sound engineering is surprisingly weak--almost thin, with everything mixed so quietly, the background instruments (horns, drums, percussion) sounding as if they are way far in the distant background. These sound discrepancies are distracting enough (as is Louis Johnson's up-front bass play) as to leave me working very hard just give minimal attention to Gabor's guitar play--which is also detracted by coming from a plug-in acoustic guitar (the early models of which I found quite irritating for their artificial sound). (13.125/15)
A2. "Time" (5:38) dreamy Disney electric piano arpeggi open this before gorgeous blues-jazzy guitar enters bringing with it Fender Rhodes piano and bare-bones bass and drum accompaniment. At 1:20 there is a slight shift in key and motif, leading to a brief, slightly more dynamic "chorus." Gabor's melody in the verses is quite beautiful, even seductive. Bob James gets some solo time in the third minute on his electric piano while Harvey Mason and Louis Johnson support with some nice little touches and nuances. The closing vamp is the best part because it unleashes all of the musicians to add a little bit more to their performances--including Gabor. (9/10)
A3. "Transylvania Boogie" (5:31) clavinet, bass, drums, and percussion establish a funky-smooth motif over which Eric Gale adds his own unique guitar sound and style. Gabor inserts his sparsely-populated melody with his lead guitar sounding like a cross between George Benson and Earl Klugh. Not quite spooky enough to qualify as vampire music (though it does have its sexy/seductive elements), I must remember that Gabor is a native of the country that houses Transylvania. Tom Scott's solo on his electronic saxophone (the Lyricon) is nice--and then bookended by some horn section accents from he and John Faddis and George Bohanon. The song fades out before anything truly interesting can mount, but, c'est la vie! (8.875/10)
B1. "Ziggidy Zag" (5:58) strummed electric jazz guitar chord sequence is soon joined by mid-funky bass and drum lines and then blasts from the band's thin horn section. The motif that takes over in the second minute is very Bob James-like, as is Gabor's Earl Klugh-sounding solo style--at least for the first 30-seconds of his performance: after that his sound and style begin to take some distinctive characteristics. Bob James gets the second solo on his Fender Rhodes. I really like Louis Johnson's bass performance as well as the conga play of Idris Muhammad and Harvey Mason's drumming (though this latter is recorded rather poorly). "Distant" clavinet, Eric Gale guitar, and occasional "distant" horn blasts continute to pepper and fill the background through to the end. Nice tune. (8.875/10)
B2. "Macho" (9:13) after a protracted piano and percussion intro, the band establishes an okay attempt at a Latin pseudo-Chick Corea songscape--one that eventually succeeds in delivering on the promise of the tension residing in its impassioned "White Rabbit"/"Bolero"-like chord progression. Great performances all around--especially from Harvey Mason, Louis Johnson, and Bob "Chick" James as well as Ralph MacDonald and Idris . One of my favorite songs on the album--one of the true J-R Fusion tunes here. (18/20)
B3. "Poetry Man" (4:28) a highly-charged, almost-erotic rendition of Phoebe Snow's iconic radio hit. Great arrangement and recording--my favorite song on the album with its best performances though not quite what I'd call true Jazz-Rock Fusion. (9.25/10)
Total time: 37:40
I will also discount my rating of this album for its lack of original compositions (two covers, one Bob James song, one Harvey Mason song, and only two songs by the title artist--which happen to be the two best Jazz-Rock Fusion songs on the album); it is my opinion that the pressure to perform listener-friendly/recognizable covers of pop hits is one of the things that took the wind out of the sails of the Jazz-Rock Fusion movement--directed it onto the detour paths of Adult Contemporary, Smooth Jazz, and Yacht Rock.
89.50 on the Fishscales = B+/4.5 stars; a near-masterpiece of Fourth Wave Jazz-Rock Fusion.
LONNIE LISTON SMITH & The Cosmic Echoes Visions of a New World (1975)
Recorded with Bob Thiele in New York City at Electric Lady Studios, July 18-20, 1975, Visions was then published by Flying Dutchman Records in September.
- Greg Maker / Bass (A1, A2, A4, B1, B3, B4)
- Angel Allende / Bongos, Percussion (A1, A2, A3, A4, B1, B3, B4)
- Lawrence Killian / Congas, Percussion (A1, A2, A3, A4, B1, B3, B4)
- Art Gore / Drums (A1, A2, A4, B1, B3, B4)
- Wilby Fletcher / Drums (A1, A2, A4, B1, B3, B4)
- Reggie Lucas / Guitar (A1, B3)
- Dave Hubbard / Horns (A1, A2, B1, B3, B4), Soprano Sax (A4)
- Michael Carvin / Percussion (A1, A2, A4, B1, B3, B4)
- Ray Armando / Percussion (A1, A2, A4, B1, B3, B4)
- Clifford Adams / Trombone (A1, A3)
- Cecil Bridgewater / Trumpet (A1, B3)-
- Donald Smith / Vocals (A1, A3, B2), Flute (A2, B1, B4)
A1. "A Chance For Peace" (5:18) opens like a heavier, funkier version of Herbie Hancock's "Hidden Shadows" before Donald Smith's Vernon White-like vocal and horn accents join in to present a WAR-like tune. Great groove! It also sounds like it could come from something composed by Barry White for his Love Unlimited Orchestra or War's "Slippin' into Darkness." I love the wah-wah-ed rhythm guitar, the Arp strings, the usual multiple percussionists hard at work, and, of course, Lonnie's pedaled and oscillating Fender Rhodes. Donald's vocal performance is so unusual for him--that natural smooth beauty is ameliorated by trying the direct, hard-punching approach more common to Vernon White and War's Howard Brown. Great song! (9.333/10)
A2. "Love Beams" (4:07) beautiful lazy-day-I'm-in-Heaven float music over which Donald return his beautiful flute playing. A song that could be repeated ad infinitum for the creation of a state permanent bliss. (10/10)
A3. "Colors Of The Rainbow" (5:53) Donald and Lonnie lining up again to worship the Earth Goddess. Beautiful music that succeeds in chasing out any and all demons of stress and anxiety. (9/10)
A4. "Devika (Goddess)" (5:14) beautiful love funk as "told" through Dave Hubbard's sweet saxophone. Greg Maker's laid-back bass play is so uber-cool! (9.25/10)
B1. "Sunset" (4:10) gentle late-night love-lounging music, perfect for sitting with one's cocktail on the tropical vacation home's veranda watching the sunset. Evokes one's natural stress reduction. Could use a little more dynamics, variation, or development. (8.875/10)
B2. "Visions Of A New World (Phase I)" (2:08) roiling ocean piano bottom turns into a rainbow of flitting, flying notes, prompting Donald to join in singing in his usual celestial voice, soaring high above the piano as he goes beyond words. (4.625/5)
B3. "Visions Of A New World (Phase II)" (3:40) a percussion-fronted weave of gentle funk that suggests dancing--both slow dancing (with a partner) and fast dancing independently. The groove is definitely infectious, ending far sooner than the feet and core want it to. Could be another love theme to a scene in a Black sexploitation film. On a level near to that of Kool & The Gang's "Summer Madness." (9.125/10)
B4. "Summer Nights" (5:05) Man! can these guys match their music with their titles! Another great late night groove that seems to continue the mood set up by Side Two's opening song "Sunset." My guess is that the two were intended to kind of bookend the side as they do. Great work from Lonnie on both his Fender and his Arp strings play in support. I love the effects he's using on the Fender Rhodes on both his richly-textured left hand as well as the Vangelis Blade Runner-like lead up top. The use of Donald's very understated voice as a support instrument for the main melody as well as his almost-whispered slow repetition of the song title is so perfect! (9.25/10)
Total Time 34:55
Total Time 34:55
Some of the greatest smooth mood music you'll ever hear. There is not a lot of dynamic jazz here but there are very few albums or artists that you will ever hear who so master the gentle moods as Lonnie and the Echoes do here. There is such little need for flash here: as a matter of fact it would be a detriment to the perfection of this music if anyone involved was seeking ego stroking. There really are no egos here! Just a collective trying to administer peace and bliss to the world.
Line-up / Musicians:
- Ian Carr / trumpet, flugelhorn, piano, Moog, percussion
- Bob Bertles / soprano, alto & baritone saxophones, flute, voice, percussion
- Ken Shaw / electric & 12-string guitars, percussion
- Geoff Castle / keyboards, Moog, percussion
- Roger Sutton / bass, percussion
- Roger Sellers / drums, percussion
3. "Rachel's Tune" (7:05) a song with DEODATO-like charm and earworm grooves and riffs that sink in and won't let go, the funk, the jazz, the fusion, the radio-friendly AWB sound--they're all here. Bob Bertles gets the first solo on his soprano sax, (13.5/15)
92.61 on the Fishscales = A/five stars; a perfect album of Smooth Jazz: so smooth and yet somehow still maintaining the integrity of jazz through a gentle kind of funk. As a contingent of Jazz-Rock Fusion artists moves closer to the Smooth, Easy Listening, Adult Contemporary Jazz we find a few leaders in the group. Lonnie and his loyal band of Cosmic Echoes are in that leadership role and this album is one of the earliest and finest masterpieces of the movement.
NUCLEUS Snakehips Etcetera (1975)
Ian Carr continues onward in his relentless pursuit of expanding the horizons of all that is possible from his grand idea of fusing elements and styles of various musics into the jazz-rock idiom. Reelased by Vertigo sometime late in 1975.
Line-up / Musicians:
- Ian Carr / trumpet, flugelhorn, piano, Moog, percussion
- Bob Bertles / soprano, alto & baritone saxophones, flute, voice, percussion
- Ken Shaw / electric & 12-string guitars, percussion
- Geoff Castle / keyboards, Moog, percussion
- Roger Sutton / bass, percussion
- Roger Sellers / drums, percussion
1. "Rat's Bag" (5:51) a little "Space Race" blended with a little Cosby Kids funk into an Average White Band form. Great funk tune. (9.125/10)
2. "Alive And Kicking" (9:30) percussion play, saxophone play, with Moog bass and wordless vocalese coming from Bob Bertles provides two minutes of entertainment as Ian and the band "warm up." In the third minute the band emerges from the chaos and fog of the intro into a Marvin Gaye-like motif with horns, wah-wah rhythm guitar, congas and full-fretboard electric bass play all contributing to the dance-and-work-it pace and drive of this engaging tune. In the fifth minute, Ken Shaw is given the green light to launch into a solo that starts out kind of jazzy but becomes, over time, quite searing and soaring in its rock nature: Ken is really flying--urged on by the excellent support of bass, drums, percussion, Fender Rhodes and accenting horn section. The band moves back to the main theme in the eighth minute before a wild crash/crescendo of cacophonic choas is unleashed by all instruments, all at once, at the 8:00 mark. Out of this slowly, gradually, emerges a kind of minimalistic arpeggio weave from Ken with Ian soloing alone above it. A great tune. (18/20)
3. "Rachel's Tune" (7:05) a song with DEODATO-like charm and earworm grooves and riffs that sink in and won't let go, the funk, the jazz, the fusion, the radio-friendly AWB sound--they're all here. Bob Bertles gets the first solo on his soprano sax, (13.5/15)
4. "Snakehips Etcetera" (10:32) a great, melodic bass line is accompanied by congas and simple drum play to help found that which will become a Bitches Brew-like motif. The level of creative inputs into this song by each musician is off-the-charts virtuosic. (17.75/20)
5. "Pussyfoot" (4:06) flute in the lead over the rollicking Jazz-funk-fest offered by this one. It sounds quite Freddie Hubbard or Laws Family-ish. Bob can really play the flute! And the full-band support is great (if less creative than that which will emerge on this lineup's next album, Alleycat.) (9.125/10)
6. "Heyday" (7:45) down-home country 12-string guitar play opens this one sounding like something from one of Britain's early Folk Rock musicians is joined in the second minute by folk-jazz traps, multi-octave bass and Fender Rhodes lines. At 2:12 Ian and Bob join in (using multiple tracks) to form another thread made up of two different horn section lines. Meanwhile, Ken continues his 12-string legato until 4:25 when the horns break up the song's momentum and everybody switches to a new, more New-Wave/R&B motif over which Bob Bertles solos on his alto sax. A very pleasant, almost Brian Auger-laid-back-like motif that also harkens back to the blues rockers and jazz-rockers of the 1960s (Otis Redding, Wilson Pickett, the Memphis horns, Chicago, Blood, Sweat & Tears). Fun tune. (13.5/15)
Total Time: 44:49
Total Time: 44:49
Whilst a great album of individual performances and tons of creative experimentation, the band has yet to really gel into cohesive union; that would come with the next year's Alleycat. What I like best about this album is the comprehensive consistency from the rhythm section--especially Roger Sutton's excellent funk grooves, but the way they are all supported and enhanced by Roger Seller's drums, Geoff Castle's keys, and the ensemble's percussion contributions. It's a very consistent, high-level funk fest from opening note to the end of the penultimate song, "Pussyfoot." The two Rogers make one heck of a duo!
90.56 on the Fishscales = A-/five stars; a minor masterpiece of funky Jazz-Rock Fusion and a clear indicator of things that are to come.
October
THE NEW TONY WILLIAMS LIFETIME Believe It (1975)
An album that is as notable for luring guitar phenom Allan Holdsworth away from a pretty good gig with The Soft Machine as it is for being one of the legendary drummer's finest. The album was recorded in New York City early in 1975 for Columbia Records and released in October. The two years spent with Tony (actually living with him in his NYC apartment!) have often been cited by Allan as the most transformative experience of his life.
Line-up / Musicians:
- Tony Williams/ drums, vocals, arrangements
With:
- Allan Holdsworth / guitar
- Alan Pasqua / piano, clavinet
- Tony Newton / bass
1. "Snake Oil" (6:30) opening with a truly funked up bass, the surprisingly-raunchy guitar from Allan Holdsworth enters with Tony's surprisingly straightforward drumming to establish a foundational framework within which the band members work in their little nuances of extras until 1:40 when Allan begins a guitar solo of subtly varied guitar chords based on the foundational flow. The band is very tight but, again, surprisingly stiff and unadventurous--until Alan Pasqua starts a clavinet solo around the three-minute mark. Thereafter one can hear Tony start to loosen up and fly around his drum kit beneath the rigid form of his bandmates. In the sixth minute, Allan launches on a surprisingly controlled and "slow" solo for about a minute, and then the song just slow fades! Wow! Kind of weird--and definitely unexpected! (8.75/10)
2. "Fred" (6:48) one of Allan's compositions, it is surprisingly melodic and smooth--especially Allan Pasqua's keyboard parts (which Allan matches with his soft guitar chords for the first two minutes. Tony's play is nice. Electric piano gets the first solo--a surprisingly extended two minute jaunt during which Tony's drum play just gets more and more dynamic. Allan finally enters as the soloist at 3:45--but it's Tony again who garners all my attention--even after 4:25 when Allan finally starts to cook, it's Tony that I am enjoying the most. How can a drummer be this "melodic"? Nice guitar solo finally ends about 5:37 whereupon we reenter the lush keyboard-and-guitar chord sequence of the opening. Nice tune. Great drum display! My favorite. (13.75/15)
3. "Proto-Cosmos" (4:02) a nice driving jazz-rock tune on which Tony once again shines despite more-than-adequate performances from his band mates--just nothing as extraordinary or dynamic as Tony's play. (8.875/10)
4. "Red Alert" (4:39) opening with a rock sound that sounds like the sound palette of Edgar Winter's "Frankenstein." At the end of the first minute bass player Tony Newton is the only one left carrying the song forward as everybody else clears out for a stupendous Allan Holdsworth solo. This is the first time on the album that Allan has displayed any of the fireworks that we heard on his last album prior to this one, The Soft Machine's Bundles. Alan Pasqua gets the next solo on his electric piano in the second half of the third minute. I love how both Holdsworth and Newton (as well as Williams) embellish their own "support" play beneath Pasqua--this is the first time the three have done this to this degree. (8.875/10)
5. "Wildlife" (5:22) a slow, melodic arrangement with upper register electric piano and electric guitar presenting and carrying the BOB JAMES-like melody forward from the start. Holdsworth takes his time taking the first solo slot--and never hits third gear, just maintains and supports the basic melody, pretty much. Pasqua's clavinet is a nice second keyboard and Newton's bass play is the most loose and satisfying that we've heard beneath Pasqua's cool electric piano solo in the fourth minute. I LOVE how the bass and drum play--both fairly straightforaward and sedate--give the feeling of pushing: giving more power and even trying to push the pace up a notch. Really cool feeling! Otherwise, just a nice song. My second favorite song. (9/10)
6. "Mr. Spock" (6:15) another song that seems to have more of a rock and pop orientation--at least until the speed is finally established at the one-minute mark. In the second minute, Alan Pasqua takes the first solo with silence from Mr. Holdsworth beneath--which makes Tony's play even more noticeable. Nice bass play from Mr. Newton. Even Tony's straightforward play is filled with such nuance and subtlety! Holdsworth puts in a decent solo in the fourth minute with Pasqua now completely dropping out. Cool idea! Tony's solo play in the second half of the fifth minute (beneath Holdsworth somewhat annoying distorted three-chord guitar play) feels a little bit "amateurish" for its showy-ness. (8.87510)
Total time 33:36
Overall this is a nice album of almost proto-Smooth Jazz on which Tony Williams shows us some of the amazing power he controls in his most basic drum play. The rest of the quartet are adequate in their play but rarely jaw-dropping. The songs are a little too formulaic with the way in which they are set up to harbor a succession of individual solos (except for "Fred").
89.42 on the Fishscales = B+/4.5 stars; a near-masterpiece of jazz-rock fusion. The album recording experience that Allan Holdsworth credits for being the most significant learning experience of his musical career.
NOVA Blink! (1975)
Napolitano bands Osanna and Cervello unite (reuniting brothers Danilo and Corrado Rustici) for some groovin' jazz-rock fusion. Released by Arista Records in 1975 after being produced by Rupert Hine at Eel Pie Studios in London, England during August and September, Blink! probably reached the public in October or November.
Line-up / Musicians:
- Corrado Rustici / lead vocals, acoustic (2) & electric guitars
- Danilo Rustici / electric guitar
- Elio D'Anna / alto (2,3,6), soprano (1,3,5) & tenor (4,6) saxophones, flute (2)
- Luciano Milanese / bass
- Franco Lo Previte / drums
With:
- Morris Pert / percussion
1. "Tailor Made - Part 1 & Part 2 (5:09) what starts out sounding rather funky turns into driving blues-rock when the singing starts, but in the instrumental intervals between vocal passages it's highly-charged Jazz-Rock Fusion! Saxophonist Elio D'Anna is on fire but so is that rhythm section! What a temperamental song from these headstrong lads! (9.25/10)
2. "Something Inside Keeps You Down - Part 1 & Part 2 (6:11) opens as a kind of meandering, wandering "warm-up" or "practice" session turns into something quite else when Corrado Rustici enters singing in a high almost-falsetto voice. After two minutes, the singing shuts down and the band folds into a heavy rock motif that is anchored by some awesome deep bass playing and amazing drumming from Franco Lo Previte. Heavy and brooding but not bombastic or pedantic, this is very solid instrumental (9.25/10)
3. "Nova - Part 1 & Part 2 (7:10) opening with some funky rhythm guitar, Franco enters with some stunning drum work while everybody else settles into the rock 'n' roll groove. Elio takes the lead with some awesome sax screaming--on multiple instruments--while the guitars work out from beneath who's the lead and who's the rhythm. The brothers duke it out with Danilo shrieking out his more blues-anchored style before giving it up to Luciano Milanese's bass by way of short bursts from Elio and little brother Corrado with his fire-breathing machine gun. Elio gets another solo sixth minute which allows us to focus more on the different playing styles of the Rustici brothers: Danilo being all blues-orented while Corrado is so much more Mahavishnu--which is especially demonstrated when he finally lets loose in the final 30 seconds with some of his fire and brimstone. (13.5/15)
4. "Used to Be Easy - Part 1 & Part 2 (5:12) picked and strummed electricguitar chords over which Corrado starts singing in his higher-pitched vibrato voice that I'm so familiar with from my love of the band's Vimana album. The music beneath is sounds quite firmly founded in blues-rock, though you can tell from both his vocal and guitar that Corrado is very much interested in going a different direction (Elio, too); as a matter of fact, the rhythm section of Franco, Luciano, and Danilo all feel so firmly rooted in the blues-rock forms that this is the first time I'm conscious of the rift that must have led to their departure from the band. (8.66667/10)
5. "Toy - Part 1 & Part 2 (4:21) nice semi-funky rock with some jazzy elements coming from the rhythm guitar, lead sax, and drums (a bit)--the rest is more instrumental jam-band rock. By the time they get to the third and fourth minute the infectious groove has gotten so inside your being that the solos become quite enjoyable. I can't believe how 180 my view of this song became over the course of its four minutes! (9/10)
6. "Stroll On - Part 1 & Part 2 (10:33) hard-drivin', blistering-paced, near-metal blues rock with rather coarse and aggressive vocals from Corrado while the band races forward for the first six-and-a-half minutes, Luciano Milanese sounds very much like he's trying to match the speed and style of Percy Jones. Then they slow down a bit, allowing for a bit of space within which the various instrumentalists are able to clearly, patiently inject their solo--though the highlight of the entire song is Elio and Corrado's paired melody lines during the song's final two minutes; the two are in sync! (17.75/20)
Total Time 38:36
Interesting to contrast the two guitar styles of brothers Danilo and Corrado: the former is far more blues-rock oriented with lots of note bending and favoring a much more "dirty" sound while the latter is clearly a student/emulator of the technical wizardry of Mahavishnu John McLaughlin. At times Corrado's vocals sound so much like David Bowie! As accomplished as the musicians are, the sound engineering mix is not very enjoyable: the bass and drums are mixed farther forward than any of the other tracks! And Luciano Milanese is no Percy Jones (future member/contributor to the band) but he and drummer Franco Lo Previte are quite a force as a rhythm team. Though the music is often far too close to standard blues rock in both sound palette and style, I have come away very impressed with the power and presence of this album. I think the power of the music even helped me to cast aside my initial myopic orientation to only being open to Jazz-Rock Fusion. This is not Jazz-Rock Fusion. Still, it is my opinion, that the band's core trio's next move--to move to London, England, where they will use studio musicians in supporting rolls to record their next albums--is the best move they could have made.
89.89 on the Fishscales = B+/4.5 stars; a near-masterpiece of hard-driving technically-awesome jazz-infused bluesy rock 'n' roll music.
An album of cosmically-oriented guitar experimentation that was recorded in Norway at Arne Bendiksen Studio in Oslo in August of 1975 for ECM Records and then released on October 1.
Line-up / Musicians:
- Terje Rypdal / guitar, String Ensemble synth, soprano sax
With:
- Brynjulf Blix / organ
- Tornbjørn Sunde / trombone
- Sveinung Hovensjø / 4- & 6-string Fender basses
- Svein Christiansen / drums
1. "Darkness Falls" (3:28) searing, soaring guitar soloing over what sounds like a band spinning its wheels at the starting line for 80 seconds before the race is called, put on delay, so that Terje can play a little sax before returning to his axe. His soaring note play reminds me quite a little of STEVE HACKETT. Pretty amazing. My second favorite song on the album. (9.5/10)
2. "Midnite" (16:39) some great trombone, STEVE HILLAGE-like guitar soloing over a rather dull and monotonous repeating bass line and drum filling with Mellotron and synth-like strings and stuff coming from the organ and String Ensemble synth. Terje's searing guitar sounds a lot, to my ears, like the tone and style used perennially by THE EMERALD DAWN's Ally Carter. Yes, it's the Seventies and, yes, it's spacey sound experimentation, but couldn't Terje have had Sveinung Hovensjø mix up (or out of) that Reggae bass riff a bit? (26/30)
3. "Adagio" (13:10) slow shifting chord progressions from Brynjulf Blix's organ are soon joined by Sveinung's lingering bass notes and Terje's cinematic String Ensemble synth play. It's nice, kind of cool, though now quite dated (unless you're The Emerald Dawn). But then, this was the Seventies; below the Baltic Sea the Allemanders were doing a lot of exploration of what they were calling ((( Kosmisches Musik ))) for which songs like this certainly must qualify if only for their cosmic-spacey-ness. However, there is only so much cosmic noodling the above average listener can take! (21.75/25)
4. "Better Off Without You" (7:30) more cosmic organ and celestial cymbal play while Terje plays around with sustain effects while using the lower registers of his electric guitar. (13.375/15)
5. "Over Birkerrot" (4:42) a proper song! Sounds like Terje and company have caught some of the fire from The Mahavishnu Orchestra's Inner Mounting Flame! I LOVE the bass and drum play beneath Brynjulf's awesome Jan Hammer-like organ and Terje's aggressive distorted guitar. A GREAT power fusion song! My favorite song on the album. (9.5/10)
6. "Fare Well" (11:22) back to THE EMERALD DAWN-like Ally Carter guitar soloing over strings washes and spacey organ chords. I'm so grateful for this lineup's use of the trombone! It's an instrument of cosmic significance that was sadly underutilized in music during the 1970s. Soprano sax also plays a significant role in this one. (17.5/20)
7. "Ballade" (5:55) Tornbjørn Sunde's trombone soloing over electric bass and quiet drums open this until Terje tears into the bluesy fabric with some searing Craig Safan Thief-"Confrontation"-like guitar for a minute and a half. Then he abdicates to Tornbjørn's trombone for the song's final solo. (8.875/10)
8. "Rolling Stone" (23:54) everybody's Miles Davis references are very much warranted here as are the Larry Coryell and John McLaughlin ones, too. The GOBLIN-like cinematic organ is also really key to this song's sustained tension as is the Moog trombone, synth strings, and Sveinung's disciplined bass play (which is somewhat disguised in the mix by having so much going on around it--something that was, sadly, not present on "Midnite.") I love it in the 15th minute when Terje starts using the wah-wah more. My third favorite song on the album. Even though 24 minutes is a long time to sustain one groove and remain inspired, this song works on several levels--not the least of which is Brynjulf Blix's wonderful organ play. Plus, I like Tornbjørn's trombone much more than Miles' trumpet. (46.5/50)
Total Time: 87:40
Terje says he was experimenting with making songs in two steps with this, his first band: creating the baseline rhythm tracks first then adding the improvised layers over the top. I do apologize to both Ally Carter and Terje for the denigration of their guitar sound. I do understand, on a personal level, how one can become attached to a particular sound or two during periods of one's life as a musician. (I feel sorry for those artists that become involuntarily attached to a sound due to their fan base requesting/requiring it.)
90.59 on the Fishscales = A-/five stars; if not a completely consistent masterpiece of Jazz-Rock Fusion, Odyssey is a solid and exemplary album of 1970s guitar experimentation. It often qualifies more for Space/Psychedelic Music and Kosmisches Musik except for the GREAT power fusion song ("Over Birkerrot") and the Miles Davis copy, "Rolling Stone."
90.59 on the Fishscales = A-/five stars; if not a completely consistent masterpiece of Jazz-Rock Fusion, Odyssey is a solid and exemplary album of 1970s guitar experimentation. It often qualifies more for Space/Psychedelic Music and Kosmisches Musik except for the GREAT power fusion song ("Over Birkerrot") and the Miles Davis copy, "Rolling Stone."
CORTEX Troupeau bleu (1975)
French jazz-funk catchy fun female vocalists--in French!--from supernova Mireille Dalbray. Recorded June 15 &16 at Studio Damiens in Paris (in the western suburb of Boulogne) and released by Disques Espérance late in the year (1975), the band was the idea of songwriter-keyboardist Alain Mion, who posted leaflets advertizing for band members on walls, kiosks, and stores all over Paris. The result is pretty magical, if you ask me.
Lineup / Musicians:
- Mireille Dalbray / Vocals
- Alain Mion / Keyboards, vocals, lyrics, music, arrangements
- Alain Labib / Alto Saxophone
- Jean Grevet / Bass
- Alain Gandolfi / Drums, vocals, co-composer (A1)
- Jo Pucheu / Percussion
- Jean-Claude "Le Boeuf" d'Agostini / Guitar
A2. "Automne (Colchiques)" (2:35) the album's only song not credited to current band members for composition, it opens with a rapid full-band funk with some interesting dated synth in the lead instrument position behind Mireille's breathy yet precisely timed vocal. Despite its brevity, this is a fully-developed song. Very spunky. Mireille even gets to stretch out and blast out her pipes in the final minute. She's got power! (8.875/10)
A3. "L'enfant samba" (3:00) a kind of BOBBY CALDWELL/EARTH,WIND & FIRE pseudo-samba. Mireille returns to and I can finally hear the presence of Jo Pucheu's percussion and Jean-Claude "Le Boeuf" d'Agostini's rhythm guitar. Finally, Alain Labib's sax gets to shine (if only rather briefly). (8.875/10)
A4. "Troupeau bleu" (5:00) from the opening piano notes of this one you just know that it's something special. And then you get the delivery of an excellent even heart-wrenching multi-facetedd vocal from Mireille--backed to great effect during the chorus sections by Alain Labib's reverberated sax. Now this feels like a bossa nova. Plus, it's a very nuanced and well-constructed sophisticated song. And then, bonus! we get to hear, in the fourth minute, the first of Mireille's extraordinarily beautiful and acrobatic Northettes-like vocalese as a kind of additional "instrumental" solo. Extraordinary! My favorite song on the album. One of the best songs I've ever heard out of France! (11/10)
A5. "Prelude à 'Go Round'" (3:52) excellent playfulness between Alain's electric piano, Jean's funky bass, and Mireille's wordless vocalese. Mireille's command and effortless creation of melody are so stunning! What skill! What perfection! Not in the same league (or same style) as the amazing Urszula Dudziak, more like Amanda Parsons or Pascale Son. Such a cool song: so simply constructed and populated. And to top it off, Alain Labib gets to play a beautifully-nuanced sax solo in the final minute. Awesome! (9.75/10)
A6. "Go Round" (1:20) beautiful solo piano play. Hard to believe that this is the "meat" to the previous song's "prelude." (4.75/5)
B1. "Chanson d'un jour d'hiver" (5:20) some of the most melodically-rich smooth jazz-rock fusion. The piano play alone is worth the entire song but then add the wonderfully filling bass and drums and Mireille's NORTHETTES-like wordless vocalese into the mix and what you have is a kind of heart-wrenching result. Wow! (9.75/10)
B2. "Mary et Jeff" (2:40) feels like a variation on the previous song, only Discofied and without Mireille's presence. The drums and bass don't align very well with Alain's piano--nor do they seem fitting for the song's mood. Alain keeps using these chord progressions on his piano that are so gorgeous that they make my knees want to buckle. (9.125/10)
B3. "Huit octobre 1971" (4:22) opens sounding very, very much like something straight out of HATFIELD AND THE NORTH's studio jams leading up to their debut album, only funked up a little more by the bass and keys. Mireille's wordless vocalese sounds just like the airy angelic voice of Amanda Parsons, but Jean Grevet's in-your-face electric bass and Alain Mion's multiple keys are definitely the stars of this show. There's a little homage to Kool and the Gang's "Summer Madness" in Alain's long solo in the third and fourth minute--and then there is an awesome double-time final minute in which Mireille returns and steals the scene. Wow! (9.25/10)
B4. "Sabbat (1ère partie)" (1:00) bouncy clavinet and groovin' bass and drums unveils a HERBIE HANCOCK like funk party. It's happenin'! This then leads into . . . (5/5)
B5. "Sabbat (2ème partie)" (3:15) . . . a big bossa nova party scene using crowd noises and everything with lively percussion, Fender Rhodes, really moving bass, and Mireille's mutli-tracked voice delivering some fast moving happy Fender Rhodes-dominated music. Alain Labib's sax solo in the frenetic third minute really scores! Awesome stuff (and I am NOT a sax fan.) (9.25/10)
B6. "Sabbat (3ème partie)" (0:26) . . . and then you have the feeling of a big reveal: explosive like an orchestra-embellished motif, but then everything falls into line for . . . (5/5)
B7. "Madbass" (2:50) . . . another Discofied funky Head Hunters-like jam of danceable joy. Sax duplicates the bass line before Alain Mion's funky clavinet-like synth takes the lead. This is the best part: It's very jazz/Herbie-like. (9/10)
Total length: 40:03
Total length: 40:03
Such a great album, consistently top notch jazz-funk with a few touches of Canterbury magic thrown in for great measure.
94.46 on the Fishscales = A/five stars; a certifiable masterpiece of Third Wave Canterbury- and Headhunters-tinged Jazz-Funk. As an album that ranks among my top five Third Wave Jazz-Rock Fusion albums of the "Classic Era," I cannot recommend it more highly!
ELECTROMAGNETS Electromagnets (1975)
Line-up / Musicians:
- Steve Barber / keyboards
- Bill Maddox / drums
- Eric Johnson / guitar
- Kyle Brock / bass
With:
- Tomás Ramirez / saxophone (6)
- John Treanor / percussion (6)
1. "Hawaiian Punch" (6:00) the Bill Connors/Al Di Meola-like lead guitarist (Eric Johnson) is the lead instrument pretty much throughout this song despite its tight and very expressive and competent musicianship from all four of the band members. The heavily-syncopated final 90 seconds is quite revealing and supportive of this claim. (8.875/10)
2. "Motion" (4:45) a much more smooth palette and more contemplative ECM/Narada Walden-like song construct with lots of lovely space and no hurry to finish or move anywhere quickly--and yet this is by no means a slow sleeper: there are dynamic flourishes and sudden and surprising contributions flitting in and out of the ethereal weave throughout the nearly five minutes of this--and axe-master Eric Johnson is nowhere near the dominatrix that he was in that opening song; no, this is a song of shared feeling and inspired spontaneity--and very interesting! (9/10)
3. "Dry Ice" (5:05) this one has a heavier, much more JEFF BECK-like palette and feel with drummer Bill Maddox being given full exposure for the first two minutes before Steve Barber's clavinet, Kyle Brock's bass, and Eric's guitar become more domineering. Great jazz fusion of the highest caliber--in line with Todd Rundgren's Utopia, Return To Forever, Jan Hammer, and even Frank Zappa (and preceding Jeff Beck's landmark Blow by Blow album by a few months). (9.5/10)
4. Blackhole" (6:51) a very powerful and emotional song of the Mahavishnu style with very noteworthy-yet-cohesive performances from each of the individual musicians. RTF were rarely this united and interconnected (and Mahavishnu Orchestra never)! Again, the sound engineering is absolutely stunning as every instrument, every sound nuance is so crystal clear! I don't see how J-R Fusion ever got any better than this song! And why isn't Eric Johnson mentioned in every sentence with Al Di Meola, Bill Connors, and John McLaughlin?!!! (15/15)
5. "Salem" (4:30) slowing it down a bit and even taking on a little mediæval/folkish palette despite Eric Johnson's continued bold electric lead guitar, the band takes an unexpected twist with the central presence of vocal (whose John Wetton similarities give the music a more KING CRIMSON sound and feel). The drumming is so tight and precise! And Eric's solos are every bit as sharp and concise as Al Di's or Jan Akkerman's. There is also what sounds like a bowed instrument in this song--perhaps an electric violin--but it is not among the song credits which makes me think it could be either Eric Johnson's guitar or Kyle Brock's bass. (8.875/10)
6. "Minus Mufflers" (7:36) a more syncopated song structure gives this quite the Herbie Hancock/Miles Davis feel. Plus there is the presence of Tomás Ramirez' saxophone from the start. Quite the funky keyboard and bass work though Eric's lead guitar is still very fast and furious--reminding me quite a bit of Corrado Restuci's work on the NOVA albums as well as some Larry Coryell. Interesting! (13.5/15)
7. "Novia Scotia" (3:38) an evenly-paced, smooth-flowing construct that reminds me of several non-American bands of the era, like Focus and Allan Holdsworth. The staggered play of the four instrumentalists in the third minute is quite extraordinary and noteworthy--and then the band goes soft and smooth again. That back-and-forth shift of dynamics is quite reminiscent of Al Di Meola's future work as a solo artist. Seriously good! (9/10)
8. "Crusades" (8:01) Another song whose unusual form and structure lead me to compare it to Al Di Meola, Return To Forever, and Focus. Very cerebral and concentrated into the loosely-connected individual performances--much like NOVA and WEATHER REPORT were fond of doing. By the congealment of the middle of the song everybody is aligned in order to support the pyrotechnical exploits of guitarist Eric Johnson on his multiple tracks of axe play. Then, with about three minutes to go, the music shifts rather radically toward a cruising groove in order to support a frenetic solo by keyboard wiz Steve Barber. Despite Steve's wonderful display of skill and creativity, one cannot help but be distracted by the rhythm and lead flourishes of Eric's flashy guitar: he just has that Johnny Mac/Al Di "it factor." Weird mishmash of a song that is essential for its soloists and suite-like organization of multiple musical styles. (13.333/15)
Total Time: 46:26
Total Time: 46:26
Very nice, crystalline sound engineering. There is such a "later" (i.e. late 1970s early 1980s) quality to both the sound production and scope-creep of smooth jazz palettes in this music--sounds that really didn't exist back in 1973-4 even in the ECM or early Weather Report days. Were they really this much of
91.667 on the Fishscales = A-/five stars; a minor masterpiece of highly-developed and creatively-constructed jazz-rock fusion from four top caliber musicians.
BILLY COBHAM A Funky Thide of Sings (1975)
The first of a series of albums that Billy Cobham uses (with the inspiration of Bulgarian classically-oriented pianist/composer Milcho Leviev) to expose his commitment to seriously sophisticated musical composition. The album was released by Atlantic Records in October of 1975.
- Billy Cobham / percussion, synthesizer, arranger & co-producer
With:
- John Scofield / guitar
- Milcho Leviev / keyboards, arrangements (2, 8)
- Michael Brecker / saxophone (excluding song #3)
- Randy Brecker / trumpet (excl. 3), arrangements (5)
- Glenn Ferris / trombone (excl. 3)
- Larry Schneider / saxophone (1, 3)
- Walt Fowler / trumpet (1, 3)
- Tom Malone / trombone & piccolo (1, 3)
- Alex Blake / bass, arrangements (4)
- Rebop Kwaku Baah / congas (1, 3)
1. "Panhandler" (3:50) a funk song that demands a lot of its players--especially the horn section, but these professionals are at the absolute highest echelon in music's talent pool. The song is okay but more fascinating to listen to the horn section. (9/10)
2. "Sorcery" (2:26) another great groove, this one a little less funky, on which Billy once again places rigorous demands on his horn players. I think I'm catching on to Billy's focus on this album: to show off his skills as an arranger. (9.125/10)
3. "A Funky Thide Of Sings" (3:40) a steady bass line with rich percussion contributions that sounds a lot like a blend of the DAVE SANBORN and KOOL AND THE GANG approaches to funk is complemented by a slightly less star-studded horn section. Sax player Larry Schneider is asked to lead throughout a lot of it. (8.75/10)
4. "Thinking Of You" (4:12) exploring the smoother, Disco-er side of jazz-rock fusion with a rotating crew of individuals stepping up to lead, including, synth player Milcho Leviev, trombonist Glenn Ferris, sax player Michael Brecker, trumpeter Randy Brecker, and guitarist John Scofield all getting a little time up front. (8.75/10)
5. "Some Skunk Funk" (5:07) a great song (attributed to trumpeter Randy Brecker), demanding tremendous skill to pull off, that once again lacks that special ingredient that makes one want to hum along: you want to dance, you want to study and marvel at the individual musicians, but there's nothing you'll be haunted by in the hours or days afterward. (9/10)
6. "Light At The End Of The Tunnel" (3:37) stealing the melodic rhythm track from Motown Temptation's "Can't Get Next to You" and then trying to make it different with interesting horn and lead guitar play over the top is like stealing a car and then spray painting it a different color. The solo voce drum play at the very end is the highlight for me. (8.875/10)
7. "A Funky Kind Of Thing" (9:24) solo drum play over the entire ten minutes! It always amazes me how Billy Cobham can create mood and funk with only himself and a drum set (and an engineering console). I can not think of many drummers who have this talent. (17.5/20)
8. "Moody Modes" (12:16) cymbals, electric piano, electric bass, and synths open up to create a nice dreamy "late night" motif--which is joined (bubbly slightly burst) at the 90-second mark by the horns. Piano takes over in the middle of the third minute. The pianist. Milcho Leviev is, you might recall, an incredibly talented pianist, composer, and band leader with quite a pedigree and c.v. back in Bulgaria before Don Ellis lured him across the pond to co-lead his orchestra from 1970-75. Though Ellis was quite the promoter, molder, and mentor to young and foreign talent, Don's relationship with Milcho was prompted by his tremendous respect and admiration for the Bulgarian music traditions and compositional (and piano) prowess he exuded.
Billy began associating with Milcho in 1971 with the artist appearing on Billy's albums Total Eclipse (1974), this one, and Shabazz, a live album which would appear later in the same year as this one. Overall this long song plays out more like a soundtrack or classically-tinged suite than anything resembling anything else on Side One of this album. A marvellous song, though still lacking in melodic hooks and definitely lacking in infectious grooves. This one is for the intellectual music lover. (23.5/25)
Total time 44:32
Total time 44:32
A collection of demanding, sophisticated songs that all take considerable skill to perform but which somehow lack that special something that makes for a catchy earworm--a song that you want to push "repeat" for. Again, it feels obvious to me that Billy's focus on this album was most surely the task of proving he could write and arrange uber-sophisticated songs and then get the right team of musicians that he could then motivate to top-notch performances.
90.0 on the Fishscales = A-/4.5 stars; even though this isn't a favorite album--does not contain enough whistle-and-dancd along songs for my tastes--it is an album I have to rate up for the astounding skill level of the musical collaborators.
90.0 on the Fishscales = A-/4.5 stars; even though this isn't a favorite album--does not contain enough whistle-and-dancd along songs for my tastes--it is an album I have to rate up for the astounding skill level of the musical collaborators.
EDDIE HENDERSON Sunburst (1975)
Substitute George Duke for the legend, the master, Herbie Hancock, and young funkmaster Alphonso Johnson for Buster Williams, and Eddie Henderson has pretty much retained the entire Mwandishi lineup for this album. And like most of Jazz-Rock Fusion, the tides have continued to flow, now into the realm of all things funky while retaining the flexibility and virtuosity that is required of jazz musicians. The album was recorded in March & April of 1975 at Wally Heider Studios, San Francisco, California and then releases sometime later in the year.
Line-up / Musicians:
- Eddie Henderson / trumpet, cornet, flugelhorn
With:
- George Duke / Fender Rhodes, Clavinet, synthesizers (Minimoog, ARP Odyssey/String Ensemble)
- Bennie Maupin / bass clarinet, tenor saxophone, saxello
- Julian Priester / trombone, horn
- Alphonso Johnson / electric bass, effects
- Buster Williams / acoustic bass (7)
- Harvey Mason / drums
- Billy Hart / drums (7)
- Bobby Hutcherson / marimba (6)
1. "Explodition" (6:34) and go! We're off to the races: with one funky, fully-loaded, Young newcomer Alphonso Johnson sure does make an impression right from the start as he essentially-leads this song, setting it's tone, pace, and sound, from the opening note to its close. (9.25/10)
2. "The Kumquat Kids" (4:30) more stanky funk with clavinet and horns filling some of the space on the sides. There must be something in the new Kool-Aid cuz I've never heard normally-straight-and-narrow Eddie Henderson play with such abandon! It's as if he's taken a page from Miles but taken it two steps further. And I'm not even talking about the inundation of multiple special effects poured over multiple instruments in the soundscape. Wow! And I mean, Wow! (9.3333/10)
3. "Sunburst" (5:46) what an opening: drums and high-octave keys support a two-bass funk attack (or perhaps one bass and one bass synthesizer but methinks it really all Alphonso). 90 seconds of this before swayrling synths and cymbal crashings provide a little spacey hesitation and reset. The next passage, built over that opening motif, whirls and spirals around Harvey Mason's drums and Alphonso's bass(es) while Eddie lets loose with some ear-piercing trumpet blasts and riffs before being sucked into the quagmire of the tar pit that is the funky cosmic mess beneath him. Julian Priester's long trombone notes in the spacious whirlpool of the final 90 seconds are quite welcome: something to anchor one's sanity to. It's just that there's so much going on: the precedent set by those expanded lineups established by Miles' Bitches Brew and then perpetuated by Herbie Hancock's Mwandishi lineup lead to so many more layers to each and every song--which is great for re-listens and the creation of thick, lush, full soundscapes like this. (9.5/10)
4. "Involuntary Bliss" (6:49) Alphonso's bass is once again given the job (and honor) of opening up another song--establishing both pace, mood, and melody. This is simpler, slower, leaving lots of room for George Duke's keys to shine, Harvey Mason's drums to play, and a whole bunch of horn players to let their talents be "seen" and heard. While Eddie takes the first solo, playing some dreamy, long-held and reverberated notes, there are spaces for other musicians to shine: the horns as a section, George Duke on an extended MiniMoog solo, and a little Alphonso Johnson. (13.375/15)
5. "Hop Scotch" (3:52) it's as if the band had the idea of throwing themselves into the making of a big vat of NewOrleans gumbo with this one as there is a lot of funk and N.O. jazz being thrown at us--as if from multiple streams of "flavor" providers--often at the same time! Yeah, give me some of that gumbo! (9/10)
6. "Galaxy" (6:35) long-held spacey synth chords with long trumpet notes opens this for about 75 seconds before bass, drums, keys and the rest of the gang stumble in. The horn sounds being generated by Julian and Bennie are so unusual--though more like swamp insect sounds instead of radiotelescope signals. I love the presence of the marimba in this mix! Bennie Maupin is given the majority of the lead time for his saxello in the middle three minutes well the rest of the crew certainly entertain from beneath. What surprises me even more about this song is how funky it is while Alphonso does not play a funky bass! Instead he's playing an underwater bass that is far less domineering than his usual front-running funkbass. I like this song but it's not developed enough to receive high marks: it's more of a vamp showpiece for everyone to show their weirdest sounds. (8.875/10)
7. "We End in a Dream" (3:10) A long introduction that really shows little or goes nowhere takes a turn at the end of the second minute, establishing a mellow little weave through Alphonso (and Buster?), George, and Billy Hart on drums. And then it just dies. My guess is that Eddie and producer Skip Drinkwater didn't like enough of the new material Eddie's band had conjured up during the allotted paid for studio time so they resurrected something trite but satisfactory from the vaults of previous recording sessions (thus accounting for the presence of both Buster Williams and Billy Hart on this tune only). Not really a complete song, more like a two part idea being explored but never getting past its infancy. (4.375/5)
Total Time 37:16
I have the feeling that the practice and recording sessions for this album were quite limited--especially with respect to new hot-shot "star" Alphonso Johnson's availability--as there are four great funky Jazz-Rock Fusion songs (two of which are credited to Alphonso compositionally) followed by three loose, fun, highly-experimental "knock-around" songs, any one of which might not have made the final public release had there been more songs available "in the can." I can imagine that touring (and recording) with Weather Report would have been pretty demanding
91.01 on the Fishscales = A-/five stars; a minor masterpiece of funked up jazz but also like Alphonso Johnson's breakout album--despite the fact that he'd already participated in the recording of Weather Report's Mysterious Traveller as well as the world tour that followed, as well as the recording sessions of their followup album, Tale Spinnin', which was recorded and released at almost the same time as Sunburst. Those first five songs are so creative, so alive and entertaining, that I cannot recommend this album more highly.
November
LENNY WHITE Venusian Summer (1975)
An album offering quite a diverse palette of what Jazz-Rock Fusion was offering at the time of its making, the truly surprising element of these songs is how well they were composed and how amazingly well each song's multitude of tracks were recorded and mixed (not to mention performed). Recorded in June in New York at Electric Lady Studios and then added to at Patrick Gleeson's Different Fur studio in San Francisco in August, Nemperor Records published the album in November.
Line-up / Musicians:
Lenny White / Drums, Composer, Arranger, Producer
Doug Rauch / Bass
With:
Doug Rodrigues / Guitars (tracks: A1, A2, B2)
Raymond Gomez / Guitars (A1, B2)
Jimmy Smith / Organ (A1)
Onaje Allan Gumbs / Electric Piano, Clavinet (A2, A4, B2, B3)
David Sancious / Keyboards, Synthesizer [MiniMoog] (tracks: A2, A4)
Weldon Irvine / Organ (A2)
Patrick Gleeson / Synthesizer (A3, A4, B1)
Peter Robinson / Synthesizer (A3, A4)
Tom Harrell / Synthesizer, Flugelhorn (A3, B3)
Hubert Laws / Flute (A4)
Larry Young / Organ (B2)
Al Di Meola / Guitar (B3)
Larry Coryell / Guitar (B3)
A1. "Chicken-Fried Steak" (4:33) credited to New York City homeboys Doug Rauch and Doug Rodrigues, this is tight and funky music but not really great prog or jazz-rock. (8.75/10)
A2. "Away Go Troubles (Down The Drain)" (3:21) another song Lenny credits to the two NYC Dougs (and himself), this one is more sophisticated funk: there are several highly-demanding tracks woven together here in absolute vacuum-sealed tightness. The bass play alone seems near impossible! (8.875/10)
"The Venusian Summer Suite:
- A3. Part 1. "Sirenes" (4:28) lots of ethereal/heavenly synth and fluegelhorn play from keyboard triumvirate of Patrick Gleeson (Mwandishi synth master), Pete(r) Robinson (the same dude from QUARTERMASS, Swedish band ABLUTION, and BRAND X), and trumpeter Tom Harrell (the song's orchestrator). It's long and kind of dull but very space-cinematic and probably experimental song for 1975--kind of similar to the work Klaus Schulze was doing at the same time. A Lenny White composition! (8.75/10)
- A4. Part 2. "Venusian Summer" (6:38) the suite kicks into full form with a very engaging/infectious DEODATO-kind of cinematic funkness. The synth players (Gleeson and Robinson), clavinet (Robinson) and rhythm guitarists (uncredited), and, later, Hubert Laws' flute, David Sancious' MiniMoog, and Onaje Allan Gumbs' piano soloists are so locked in it's crazy! But it's free-flowing Doug Rauch that really drives this bus! (9.5/10)
B1. "Prelude To Rainbow Delta" (1:10) Patrick Gleeson doing some synthesizer magic as an intro-prelude to the next song (which it bleeds into). (4.5/5)
B2. "Mating Drive" (7:40) between the "support" work of organist Larry Young, clavinet player Onaje Allan Gumbs, and hyper-speed bass player Doug Rauch this Lenny White composition would suffice as an incredible song but then put over the top one of the greatest electric guitar performances of all-time from a relative newcomer in one Raymond Gomez (with a very strong Doug Rodrigues in close support/assistance) and this one qualifies as one of those Golden Tickets into Prog's Hall of Valhalla. And that's not even mentioning the dreamy final 90-seconds beneath which Lenny gets to really show off his chops (for once). Amazing amazing song! One of my favorite songs of all-time! Such creative vision! (16/15)
B3. "Prince Of The Sea" (11:37) a great song (and Lenny White composition) over which two of jazz-rock fusion's greatest/most influential guitarists go head to head. Opened slowly, almost like a pastoral float down a lazy, gentle stream, is the distant plaintive calls of a bird over some piano and flugelhorn work. The acoustic piano beneath it all is quite lovely. In the second half of the fourth minute one of the electric guitar gods (Larry Coryell) shows up to give his demo of his powers. Onaje Allan Gumbs' shows up with piano, electric piano and organ ofr a bit as some really fine rhythm guitar (DiMeola) seethes in the background. At the seven-minute mark he is finally let loose--and man does he let you know who the new kid on the block is! All other pretenders are now demoted to demi-god status! Organ notes the transition to the axe-to-axe cmbat at 9:00, with Larry in the Right channell and Al in the Left. Lenny and Doug Rauch are, all this time, observing from their sentinel posts, but even their own performances can't help but ramp up from the carry-over effect from the raging warriors. A minute later the two guitar gods agree to team up and, for a brief 40 seconds they are united, but then their independent energies can't help but take them into soaring heights before crashing down into the sea Definitely one of the fiercest one-on-one guitar battles you'll ever hear--and a great, great moment in the history of prog rock and jazz-rock fusion. (20/20)
I cannot fathom how anyone hearing this album could not be blown away by the musicianship here. Doug Rauch on bass, Lenny White on drums, along with a veritable who's who of jazz fusion all-stars guesting throughout, all playing as if their life depended on it. The song "Mating Drive" alone has got to be one of the greatest achievements in music performance with peak Lenny, Doug, Onaje Allan Gumbs, Doug Rodrigues, organist extraordinaire Larry Young, and the most under-recognized super guitarist of all-time, Ray Gomez, shredding the vinyl grooves with nothing but fire and brimstone! This album has it all: cinematic themes, four-keyboard electronica, funky fun, frenetic screams, players taxing their fingers and brains at break-neck speeds (check out Larry Coryell trying to keep up with Al Di Meola on "Prince of the Sea"). Another of my "closet favorites" from the 70s, this one has stood the test of time and remains one of my go-to albums for joy and exuberance. If you've never heard it, don't miss out! Venusian Summer has got some of the most amazing moments of virtuosity, passion, and beauty ever put to vinyl!
As a post script I have to add, again, for the sake of attracting attention, the number of INCREDIBLE individual performances here are so high caliber, so stunning, that this alone should make this a must listen--an album for study. As I said in my opening statement, I cannot fathom how anyone hearing this album--really listening with their fully-present self--could not be blown away by the musicianship here. There are very few albums that I've heard in my lifetime that achieve this level and number of "WOW! What the f¥¢∑ did I just hear?" responses. Plus, this may be the recorded peak of supernova bass player Doug Rauch's career! That alone, makes this a "can't be missed" listen.
95.55 on the Fishscales = A/five stars; a high-flyin' masterpiece of jazz-rock infused progressive rock music (this despite the funk of the first two songs). Definitely one of my Top 10 Favorite Jazz-Rock Fusion Albums of prog's "Classic Era."
"The Venusian Summer Suite:
- A3. Part 1. "Sirenes" (4:28) lots of ethereal/heavenly synth and fluegelhorn play from keyboard triumvirate of Patrick Gleeson (Mwandishi synth master), Pete(r) Robinson (the same dude from QUARTERMASS, Swedish band ABLUTION, and BRAND X), and trumpeter Tom Harrell (the song's orchestrator). It's long and kind of dull but very space-cinematic and probably experimental song for 1975--kind of similar to the work Klaus Schulze was doing at the same time. A Lenny White composition! (8.75/10)
- A4. Part 2. "Venusian Summer" (6:38) the suite kicks into full form with a very engaging/infectious DEODATO-kind of cinematic funkness. The synth players (Gleeson and Robinson), clavinet (Robinson) and rhythm guitarists (uncredited), and, later, Hubert Laws' flute, David Sancious' MiniMoog, and Onaje Allan Gumbs' piano soloists are so locked in it's crazy! But it's free-flowing Doug Rauch that really drives this bus! (9.5/10)
B1. "Prelude To Rainbow Delta" (1:10) Patrick Gleeson doing some synthesizer magic as an intro-prelude to the next song (which it bleeds into). (4.5/5)
B2. "Mating Drive" (7:40) between the "support" work of organist Larry Young, clavinet player Onaje Allan Gumbs, and hyper-speed bass player Doug Rauch this Lenny White composition would suffice as an incredible song but then put over the top one of the greatest electric guitar performances of all-time from a relative newcomer in one Raymond Gomez (with a very strong Doug Rodrigues in close support/assistance) and this one qualifies as one of those Golden Tickets into Prog's Hall of Valhalla. And that's not even mentioning the dreamy final 90-seconds beneath which Lenny gets to really show off his chops (for once). Amazing amazing song! One of my favorite songs of all-time! Such creative vision! (16/15)
B3. "Prince Of The Sea" (11:37) a great song (and Lenny White composition) over which two of jazz-rock fusion's greatest/most influential guitarists go head to head. Opened slowly, almost like a pastoral float down a lazy, gentle stream, is the distant plaintive calls of a bird over some piano and flugelhorn work. The acoustic piano beneath it all is quite lovely. In the second half of the fourth minute one of the electric guitar gods (Larry Coryell) shows up to give his demo of his powers. Onaje Allan Gumbs' shows up with piano, electric piano and organ ofr a bit as some really fine rhythm guitar (DiMeola) seethes in the background. At the seven-minute mark he is finally let loose--and man does he let you know who the new kid on the block is! All other pretenders are now demoted to demi-god status! Organ notes the transition to the axe-to-axe cmbat at 9:00, with Larry in the Right channell and Al in the Left. Lenny and Doug Rauch are, all this time, observing from their sentinel posts, but even their own performances can't help but ramp up from the carry-over effect from the raging warriors. A minute later the two guitar gods agree to team up and, for a brief 40 seconds they are united, but then their independent energies can't help but take them into soaring heights before crashing down into the sea Definitely one of the fiercest one-on-one guitar battles you'll ever hear--and a great, great moment in the history of prog rock and jazz-rock fusion. (20/20)
I cannot fathom how anyone hearing this album could not be blown away by the musicianship here. Doug Rauch on bass, Lenny White on drums, along with a veritable who's who of jazz fusion all-stars guesting throughout, all playing as if their life depended on it. The song "Mating Drive" alone has got to be one of the greatest achievements in music performance with peak Lenny, Doug, Onaje Allan Gumbs, Doug Rodrigues, organist extraordinaire Larry Young, and the most under-recognized super guitarist of all-time, Ray Gomez, shredding the vinyl grooves with nothing but fire and brimstone! This album has it all: cinematic themes, four-keyboard electronica, funky fun, frenetic screams, players taxing their fingers and brains at break-neck speeds (check out Larry Coryell trying to keep up with Al Di Meola on "Prince of the Sea"). Another of my "closet favorites" from the 70s, this one has stood the test of time and remains one of my go-to albums for joy and exuberance. If you've never heard it, don't miss out! Venusian Summer has got some of the most amazing moments of virtuosity, passion, and beauty ever put to vinyl!
As a post script I have to add, again, for the sake of attracting attention, the number of INCREDIBLE individual performances here are so high caliber, so stunning, that this alone should make this a must listen--an album for study. As I said in my opening statement, I cannot fathom how anyone hearing this album--really listening with their fully-present self--could not be blown away by the musicianship here. There are very few albums that I've heard in my lifetime that achieve this level and number of "WOW! What the f¥¢∑ did I just hear?" responses. Plus, this may be the recorded peak of supernova bass player Doug Rauch's career! That alone, makes this a "can't be missed" listen.
95.55 on the Fishscales = A/five stars; a high-flyin' masterpiece of jazz-rock infused progressive rock music (this despite the funk of the first two songs). Definitely one of my Top 10 Favorite Jazz-Rock Fusion Albums of prog's "Classic Era."
JUKKA HAURU Episode (1975)
Uber-talented guitarist Jukka Huaru is back with, unfortunately, his only other album as band-leader/featured soloist and composer. The sound and collaborators' inputs are much more cohesive on this album. Originally released in November 1975 for Love Records after being recorded at Finnlevy Studios, Helsinki, Finland, in September & October of 1975.
- Jukka Hauru / guitars
- Jukka Linkola / piano, synthesizers
- Esa Kotilainen / string synth
- Heikki Virtanen / bass
- Tomi Parkkonen / drums
- Teemu Salminen / flute, saxophones, clarinet
With:
- Pekka Pöyry / soprano & alto saxophones (1, 2)
- Pekka Pohjola / bass (1, 2)
1. "Enema Syringe" (5:45) what opens as a full minute of displaying MAHVISHNU ORCHESTRA fire turns RETURN TO FOREVER at 1:20 with the introduction of the MiniMoog. At 1:45 then it sleakly slides over into pure JAN AKKERMAN territory before morphing magically into LARRY CORYELL and then GEORGE DUKE to JOE ZAWINUL-led WEATHER REPORT for the finish. The accompanying bass, drums, and keyboard playing is nothing short of miraculous! Amazing! Even if it is a bit imitative and even plagiaristic, this is pure Jazz-Rock Fusion perfection! (10/10)
2. "When I Met My Wondergirl" (8:52) beautiful and spacious LONNIE LISTON SMITH-like Cosmic Music with some awesome JAN AKKERMAN-like tone and feeling up top, mixed with the piano, sax, and bass (this latter grâce à the addition of Pekka Pohjola). The exposition takes a long time of stop-and-go before finally settling down into a fairly straightforward flowing "ballad" in the fourth minute. Just following the work of the two bass players is pure bliss--such a humbling joy! (19/20)
3. "Waltz Bourgeois" (4:20) interesting near-avant garde music of not-so melodic but more harmonically-conscientious musical constructs. This is closer to true jazz and the future avant waves of Jazz/Jazz-Rock than any of the other songs on the album. (8.875/10)
4. "Episode (Santiago 11. 9. 73)" (12:37) Now we are definitely in advanced WEATHER REPORT territory, complete with some excellent Wayne Shorter-like soprano sax and Heikki Virtanen's Jaco-like bass thrumming. Even the percussion play sounds like Acuña/Alias/Badrena trio and the clavinet and other keys like Joe Zawinal. The only thing that sounds different is Tomi Salminen's drum play, which sounds far more Lenny White. But then Jukka's lead guitar work sounds so much like that of NOVA's Corrado Rustici. Great, rich Fender Rhodes sound from Jukka Linkola--which peaks with the awesome solo in ninth minute. This is then followed by a great LARRY CORYELL-like guitar solo. I love this Latinized song! Just when it sounds like it's drawing to a close in the eleventh minute, the military drums and droning low-end piano chord-pounding keep it going so that Jukka and Teemu can play out for another minute. (23.5/25)
5. "Elegy (for Victor Jara)" (4:11) here we get a cross between Al Di Meola and Jan Akkerman in guitar style and support sound palette performing a lovely little lushly-surrounded Spanish acoustic guitar [iece that eventually goes electric guitar in its second half (not unlike Jan's "Soft" and "Hard Vanilla" songs on Focus' Mother Focus album). (9.3333/10)
6. "Goodbye Pinochet" (3:05) more Latin-infused high-speed Jazz-Rock Fusion of the Chick Corea kind, even to the degree of Jukka Linkola's keyboard play and the excellent play from the rhythm corps, though Jukka's guitar play here sounds more like the Toto Blanke side of Jan Akkerman or even a little of Al Di Meola's plucky-muted stuff. A great, peppy, tightly-coordinated song! (9.5/10)
Total Time 38:50
Total Time 38:50
I can understand reviewers who disparage Jukka's conformity to the styles and sounds of the course that "standardized" (Third Wave) Jazz-Rock Fusion artists had taken, but I cannot help but extoll the amazing compositions and performances exhibited through this extraordinary lineup of musicians on this record. And, yes, Jukka's creativity on his 1972 debut was so high and so individualistic, but I am much happier with the overall orchestration and sound engineering of these compositions than those of Information. This is what "peak" Jazz-Rock Fusion should sound like!
93.19 on the Fishscales = A/five stars; a masterpiece of fully-formed, superlatively-engineered Third Wave Jazz-Rock Fusion. I feel so lucky to have been allowed to know this music!
93.19 on the Fishscales = A/five stars; a masterpiece of fully-formed, superlatively-engineered Third Wave Jazz-Rock Fusion. I feel so lucky to have been allowed to know this music!
JOHN LEE & GERRY BROWN Mango Sunrise
European bound (The Netherlands) American ex-pats John Lee and Gerry Brown have assembled a band consisting of perhaps the very crème de la crème of Dutch musicianship--including guitar virtuosi Philip Catherine and Eef Albers and keyboardists Jasper Van't Hof and Rob Franken and even entice a couple of other seasoned American standouts in Mike Mandel (Larry Coryell's longstanding keysman) and Eric Tagg to participate on a couple of songs. The album was pieced together through three recording sessions in June & July of 1975--Dureco in The Netherlands, Morgan Studios in Brussels, Belgium, and Electric Lady Studios in NYC--but then mixed and mastered under Skip Drinkwater's supervision back in California for a Blue Note release later in the year.
Lineup / Musicians:
- John Lee / Bass, Clavinet (A3)
- Gerry Brown / Drums, Percussion
- Eef Albers / Electric Guitar
- Philip Catherine / Electric Guitar, Acoustic Guitar
- Rob Franken (Scope, Focus, Zbigniew Seifert) / Fender Rhodes, Synthesizer, (Synthesizer solos on A3, A4, B2, B3, B4, B5)
With:
- Eric Tagg (Beehive, Raibrow Tag, Lee Ritenour) / Clavinet, ARP Synthesizer (B1)
- Mike Mandel (Larry Coryell, Rough Silk, Naked City, Alphonse Mouzon) / Synthesizer (second ARP on B1)
- Japser Van't Hof (Association, Toto Blanke, Pork Pie, Placebo) / Clavinet (B4)
- Wah Wah Watson / Guitar (B4)
A1. "Mango Sunrise" (5:17) incredible performances by all of the band members--with amazing cohesion and great melodic hooks and riffs. (9.25/10)
A2. "Breakfast of Champions" (4:03) powerful and well-performed--especially by the lead guitarist(s)--but the main theme, repeated ad nauseum, is too dull and distance-causing. (8.75/10)
A3. "Keep It Real" (5:21) acoustic guitars with electric bass and gentle drum play (mostly cymbals) opens this like the potential-energy-filled opening of LED ZEPPELIN's "Heartbreaker." Rob Franken's synth solo is the leader for the first 90 seconds but then there is a stop and resent as the band switches into a slowed-down recapitulation of the chorus theme of the same song while Eef and Philip show off their incredible skills. Gerry really fills it up as the Al Di Meola-like power choruses bridge the verse sections. Man! Are these musicians incredible! The final minute sees the band turning back to the same motif as the opening: acoustic guitars with synthesizer creating the melody over the top. (9/10)
A4. "Ethereal Cereal" (3:40) a nod to Stanley Clarke? or Larry Coryell? or The Allman Brothers? or Jean-Luc Ponty? or Ernie Isley? The speed limits are all blown away on this one as every musician in the weave is in overdrive. Wow! Did I say "wow!" yet? If only it had a little more variety in melody and dynamics. (9/10)
B1. "The Stop and Go" (3:12) another very tight, very impressive whole-band display of sophisticated complexity and virtuosity that somehow lacks enough variation and melodic hook to remain memorable. Dripping in the super funk of the time--the stuff that Herbie, Larry Young, Parliament, and Lenny White were championing. (8.875/10)
B2. "Her Celestial Body" (5:10) a slowed down, stripped-down sound palette that has great, haunting melodies and awesome bass, drumming, and keyboard performances. (9.125/10)
B3. "Pickin' the Bone" (4:00) another song with Al Di-era RTF-inspired choruses bridging some fairly smooth BOB JAMES-like Fender Rhodes-led verses. (8.875/10)
B4. "Magnum Opus" (5:09) to the races straight out of the gate with John hitting Percy Jones-level note speed, matched by Gerry's precise yet-nuanced drumming and some awesome rhtym guitar work. The ensuing electric guitar solos are out of this world with their speed, dexterity, and melodic sensibilities. If you told me that John, Gerry and company were inspired by Lenny White's "Mating Drive" for this song I would not be at all surprised. Lenny, Dougie Rauch, Ray Gomez, and Doug Rodrigues would all be clapping enthusiastically in their congratulatory approbation. (9.5/10)
B5. "Haida" (2:53) kind of an excerpt from a jam that, while impressive, really goes nowhere. (8.75/10)
Total time: 38:05
Unlike any other bands or musicians outside of the "Bitches Brew" circle of progenitors, John Lee and Gerry Brown get it: They understand fully and completely that which Jazz-Rock Fusion is all about; they unleash music that is fully in line with the fullest potential of the Jazz-Rock Fusion medium as defined by the likes of Herbie Hancock with his Headhunters, John McLaughlin with the second incarnation of his Mahavishnu Orchestra, Chick Corea, Stanley Clarke, Al Di Meola, and Lenny White with their Return To Forever and initial solo projects.
My one complaint with the albums on which Eef Albers and Philip Catherine team up is that I do not know which guitarist's style is which: they are both so fluid, so melodically-gifted, and both use similar sounds to project their guitar playing that I never feel certain which one is soloing at any given time.
90.14 on the Fishscales = A-/five stars; a minor masterpiece of breath-taking whole-group performances from a band of total virtuosi. It could've been better (more melodic, more memorable hooks and transitions) but the playing is so off the charts amazing that I cannot deny this as an absolutely essential representation of peak Third Wave Jazz-Rock Fusion.
GATEWAY Gateway (1975)
An ECM production of the collaborative music of three of the greatest jazz musicians to have graced the vinyl and plastic grooves of last 40 years of the 20th Century. Gateway was released in November of 1975.
Line-up / Musicians:
- John Abercrombie / guitar
- Dave Holland / double bass
- Jack DeJohnette / drums
1. "Back-Woods Song" (7:54) starts out sounding a bit like an ALLMAN BROTHERS song before the three start exerting their jazzy virtuosity. John Abercrombie, whom I've come to recognize as one of the greatest jazz guitarists ever, really puts on a display of CHET ATKINS-like virtuosic subtlety, also like Chet, often covering the low and middle ranges as well as rhythm--despite the fact that he's got one of the best rhythm sections ever assembled beneath him. The ECM sound is, as one comes to expect, incredibly well recorded, engineered, and rendered unto tape: it seems that every tiny little nuance of each players' performance is captured with pristine accuracy. Dave Holland is such a lyrical bass player that I don't for a minute lament the absence of vocals or words, and when he's soloing, we get to observe the creative/inventive rhythm strokes of Mr. Abercrombie--one of the areas that he excels in a way similar to that of John McLaughlin and Jan Akkerman. While I don't really like this style of music, I find myself sitting back while bathing in the enjoyment of hearing these fine musicians captured for all time, just for me. (13.75/15)- Dave Holland / double bass
- Jack DeJohnette / drums
2. "Waiting" (2:13) interesting little loose piece with Dave's bass providing the focal material. Innocuous and forgettable. (Even as I just heard it two minutes ago.) (4.25/5)
3. "May Dance" (11:04) a piece that sounds a lot like the old jazz of the 1960s when the free-jazz artists were really starting to take off. Jack sounds like he's doing the best job playing off of John's lead guitar work, but then Dave Holland is so adept, so attuned that he may be not only in perfect synchrony but also perhaps the lead instrument. Heck! I understand free-jazz so poorly that maybe Jack's the lead--or all three could be racing off in their own direction. What let's me know that the artists aren't too far out there is the fact that there is some cohesion in the form of the pacing. John's guitar play in the sixth minute is so bizarre it reminds me of the free-form guitar playing of Sonny Sharrock or Robert Fripp. We get a nice extended bass solo in the seventh and eighth minutes as Dave and Jack back off to provide only minimal assistance. When double bass players solo like this I feel that they're really just practicing scales and inventing inversions and chords, never really thinking in terms of melody. In the meantime Jack and John's subtleties are equally, if not more, mesmerizing. Oh, to be in their heads in order to gain some inkling of comprehension for what they are doing! Though this is not my favorite form of music, at least with this song I am able to stay with the guys: I'm not driven away by the dissonance or anarchic chaos. (17.75/20)
4. "Unshielded Desire" (4:52) this song starts out as a Jack DeJohnette drum solo (with emphasis on the cymbal play). John enters about 30-seconds in with some wah-wah-ed staccato machine gun note play, but I find myself still glued to Jack's performance. I'm astonished to find that over two minutes into the song it's still a duet: nary a sign of Dave Holland! And yet, it's brilliant! It's breath-taking! The edge of Jazz-Rock Fusion but fascinating! At the end of the fourth minute the boys turn on the rock afterburners and really charge it up! Wow! Terry Kath and Danny Seraphine: eat your hearts out! (9.5/10)
5. "Jamala" (7:47) delicate cymbal play with sparse- and subtle-ly played volume controlled electric guitar note play and quiet, mostly accenting bass far beneath. John hits some stunningly beautiful riffs and runs, providing just enough space in between to allow the simple listener, such as myself, time to digest the offerings. Such pristine clarity in the guitar notes (and cymbals)! Though the music of this song falls more into the realm of pure jazz, it is still quite accessible and totally enjoyable. On the version I have access to, this song is over seven minutes long--with the final three minutes spaciously evolving into some aggressive, distorted, more-rock-oriented guitar and band play for the final minute. Wow! Now that was unexpected! (13.875/15)
6. "Sorcery 1" (10:56) Jack, followed by a very melodic Dave Holland, establishing a song with some blues-rock attitude. I like it! John enters with the same aggressive, distorted guitar tone that snuck into the end of the previous song. Now this is cutting edge Jazz-Rock Fusion of the highest order! These three musicians are so gifted! To be able to deliver this kind of cohesive music while playing at such high levels of virtuosity--and making it all feel as if it's so EFFORTLESS! Incredible! John sounds as if Jimi Hendrix were gifted, and Dave as if Noel Redding had a clue, and Jack as if Mitch Mitchell had some skill and restraint! The musicians' performances are so mesmerizing that the song's eleven minutes pass by in the blink of an eye! Dave's intuition for holding back! Jack's intuition for providing such brilliant accent to John's guitar! And John! The dude that makes it all feel so Power Trio rock 'n' roll! Not a note wasted and yet not a note that isn't jaw-droppingly shocking! One of the best trio songs I've ever heard! Total perfection! (20/20)
Total Time: 44:46
Total Time: 44:46
Gateway's variety surprises me. The level of virtuosity coming from all three musicians even comes as a surprise. (I mean: I knew, but I never KNEW!) And then put that immaculate ECM production value from Manfred Eicher into the mix and you have an indisputable masterpiece of Jazz-heavy Jazz-Rock Fusion.
93.09 on the Fishscales = A/five stars; a total masterpiece of Jazz-Rock Fusion. If everyone heard that last song, "Sorcery I", alone, there would be a reshuffling of the greatest power trio songs of all-time. Step down Jimi, Eric, Larry, Stevie Ray, and Johnny Mac! There was a trio that was way better than you! And please, let's start adjusting our pantheon of guitar greats to include Mr. John Abercrombie at or near the very top!
93.09 on the Fishscales = A/five stars; a total masterpiece of Jazz-Rock Fusion. If everyone heard that last song, "Sorcery I", alone, there would be a reshuffling of the greatest power trio songs of all-time. Step down Jimi, Eric, Larry, Stevie Ray, and Johnny Mac! There was a trio that was way better than you! And please, let's start adjusting our pantheon of guitar greats to include Mr. John Abercrombie at or near the very top!
BUSTER WILLIAMS Pinnacle (1975)
The double bass player from Herbie Hancock's Mwandishi team decides to go out on his own to produce some Mwandishi-like jazz-rock fusion. Recorded in 1975 at Blue Rock Studios, August 6, 7, 11, and 14, it was published by the Muse label in November.
Lineup / Musicians:
- Buster Williams / basses, electric and acoustic
- Onaje Allan Gumbs / keyboards
- Billy Hart / drums
- Guilherme Franco / percussion
- Woody Shaw / trumpets (A3, B2)
- Earl Turbinton / soprano sax (A3, B1, B2), bass clarinet (A1, A3)
- Sonny Fortune / flutes, soprano sax (A1, A3)
- Suzanne Klewan / vocals (A2, A3)
A1 "The Hump" (11:26) a little too busy for my tastes--and the wind instruments are not so well recorded. As the song starts and slowly establishes its form and style (while the band leader solos on his Fender electric bass) I'm feeling as if I'm hearing the chords and melody of what will become Bob James' famous song, "Angela" (the theme song to the TV show, Taxi), but then when the full workup is accomplished the rest of the song sounds more like some of the playful funk jazz from Bill Cosby's Fat Albert and the Cosby Kids--on which Buster played, of course). Onaje Allan Gumbs creative and experimental "space synth" work sounds like something from the Star Trek television series soundtracks--and is the same that he used on the recording sessions for Lenny White's Venusian Summer in June. (17.66667/20)
A2 "Noble Ego" (6:52) an okay song with some excellent double bass exposition. The wordless group scat-chant vocals are a bit odd for their choice of syllables. Pianist Gumbs has obviously studied at the Chick Corea school of piano and keyboard play because his piano play as both accompanist and soloist mirror that of the Spanish Lepruchaun (even his spacey synth injections are similar to Chick's!) But the real star here is the master bass player. (13.33333/15)
A3 "Pinnacle" (4:41) Onaje Allan Gumbs' Fender Rhodes play is so rich and welcome. The electric bass and more-rock-formatted drums give this a true J-R Fusion feel. The choral chant vocals are fun in a spiritual way. The first half offers Billy Hart's exciting drum play, then the melodic keys and sax and Freddie Hubbard-like trumpet play steal the show. (8.875/10)
B1 "Tayamisha" (6:29) classic modal jazz between Buster and Billy (with some help from Guilherme Franco's percussion work) start this one out before the rest of the band join in. Onaje Allan Gumbs' piano, Earl Turbinton's soprano sax, and Buster's double bass take the traditional solo spots. Very nice jazz but not really much of a fusion with rock. (8.875/10)
B2 "Batuki" (14:10) the jewel of the album, it opens, of course, with some of Buster's dynamic and inventive double bass play, at the 45-second mark the rest of the band joins in to help Buster create a finely harmonized wave of gentle, melodic jazz. Sax, flutes, keys, and drums do an awesome job of establishing the song's Stevie Wonder-like weave before trumpeter Woody Shaw is given the first solo in the fourth minute. There is a double-timing of some of the instrumentation at the start of the fifth minute just as saxophonist Earl Turbinton is given his solo, but then everything slows way down and thins out for Buster's next solo in the sixth and seventh minutes--a solo that nears the EBERHARD WEBER sound standard that I love so much, supported by Onaje Allan Gumbs' dreamy flange-panned Fender Rhodes. It isn't until well into the tenth minute that Buster relinquishes the lead to allow Allan a chance to shine (wonderfully supported by both Billy Hart and Buster). In the end this is a great sounding song that only disappoints in its lack of sustained memorable melodies over the course of its 14-minutes. (27.5/30)
I don't know where Buster and the gang found this percussionist, Guillerme Franco (he'd previously worked with McCoy Tyner, Lonnie Liston Smith and Keith Jarrett), but I love his mischievous injections of odd and singular percussion instruments throughout--as well as his use of the Flexitone--the signatory open sound to Ronnie Laws' mega hit, "Always There."
Buster Williams is without a doubt a virtuoso of the double bass; it is sad how little mention or credit he is given for his contributions to so many great jazz and jazz-rock fusion albums--especially the six Mwandishi lineup albums of 1972-4.
88.53 on the Fishscales = B+/four stars; an excellent representative of the jazz-side of prog's "Classic Era" of Jazz-Rock Fusion.
STANLEY CLARKE Journey to Love (1975)
1. "Silly Putty" (4:52) an interesting song that borders on the funky R&B that was all the rage in 1975 but really has its roots in the Blues-Rock that pre-dates the 1970s. Between Stanley, George Duke, and David Sancious the band has every weird funky chicken sound possible covered in this playful novelty tune. Not my favorite style, it still manages to entertain and, of course, display incredible musicianship. (Just wondering: Which came first: Lenny White's "Chicken- Fried Steak" or this?) (9.125/10)
2. "Journey to Love" (4:52) spacious southern rock that starts out with some high-pitched vocals (apparently as provided by Stanley and George) and then develops into something that sounds like a slowed down Mahavishnu Orchestra song. Horn section adds punctuating accents at the end of the singers' second verse signaling the start of the instrumental jam session that would unfold for the final two minutes of the song. I think the reason George Duke and David Sancious rarely get mentioned with the great sound-pioneers of the 1970s (like Jan Hammer, Chick Corea, or Herbie Hancock) is their tendency to explore/choose really odd sounds for their keys and guitars. (8.75/10)
3. "Hello Jeff" (5:16) this one definitely has both the JEFF BECK and RETURN TO FOREVER sound with Stanley in particular using those heavy, thick bass chords he became known for with Chick's band. The guitar shreding here (from Mr. Beck and recent discovery David Sancious [from Bruce Springsteen]) is other-wordly! I'm not a fan, however, of the sound rendering of Lenny White's drums--nor of the Al DI MEOLA-like main melody. The best parts of the tune are Jeff's solos and Stanley's finish. (8.875/10)
4. "Song to John, Part 1" (4:22) Chick Corea on piano, Stanley on his bowed double bass, and Mahavishnu John McLaughlin working his magic on an acoustic guitar. (Stanley must have received an "only if it's all acoustic" answer from the Mahavishnu when he asked for John's participation on this album's recording sessions--which would be in character for the Shakti-inspired guitarist at this time.) The song plays out like any/every John McLaughlin or Chick Corea song on acoustic instruments: virtuosic performances, great melodic sensibilities, and each artist inspiring the others to their highest levels of creativity. I just love all three of these artists when they're in acoustic mode! Chick's sense of melody is really so sublime--but so are those of Stanley and John--especially when supporting Chick in that fourth and fifth minute! (9.25/10)
5. "Song to John, Part 2" (6:09) the "lively" half of the suite--feels like a precursor to RTF's "The Romantic Warrior" (one of my ALL-TIME favorite songs!) from their upcoming album of the same name--though the second minute to the fourth has quite a little Django Reinhardt-Stéphane Grappelli energy and feel to it as well. How much fun must these guys have been having! Great jam! You will not find songs like these very often in the real world! (10/10)
6. "Concerto for Jazz/Rock Orchestra, Parts 1-4" (14:25) Messrs. Clarke, Duke, Sancious, and Gadd back for a gorgeous fifteen-minute suite--with the support of the full horn section in the (minutes). The opening three minutes is just synth, piano, and bass weaving a beautiful, contemplative atmosphere together to get the listener ready for . . . the "launch." At the three minute mark the full band jumps into electric world with bass, synth strings washes, Fender Rhodes, and drums creating a dynamic power motif within which David Sancious adds some searing lead guitar riffs in mini- crescendo moments. Things smooth out a bit in the sixth minute before George and Steve fall into support of a multi- sectional bass solo. (By multi-sectional I mean low end bass notes offset by high-end piccolo bass riffing.) This turns into more sustained searing electric guitar from David for about a minute in the ninth minute, culminating in a horn- section thickened section to fill the tenth minute--which leads to an odd break at 10:15 after which an AL DI MEOLA- like guitar-led Chick Corea patch ensues within which Stanley's machine gun bass play keeps up note for note with the same from David Sancious. The melody first exploded into the sonic field by the raging guitar-and-electric-bass duo is quite familiar but I can't place from where. The drumming in this "break out" passage are quite straight time rock 'n' roll as opposed to the rather funky, syncopated forms Steve was playing before the ten minute mark. The horns help amplify and multiply the fiery melody being ejaculated by David and Stanley until a crescendo and crashing trumpet scream at 12:15 re-opens the door for a very peaceful George Duke synth and electric piano after-the-storm section takes over to lead Stanley and the "strings" to a fadeout exit. A wild ride! Not so much a concerto as a RTF-like power suite! (27/30)
Total Time 39:21
Multi-instrumentalist David Sancious is quite a find! His guitar skills are virtuosic (as are his keyboard skills--as will be proved in near-future solo and collaborative albums) yet I've always felt that his sounds and melody choices are either too imitative of other greats of the era (like, here, Al Di Meola) or that they're too sweet, dense, or obtuse for me to ever be drawn into. However, here with Stanley he has found a partner who at least drives him to heights of the greats. George Duke feels too much the support mule on his three songs: rarely given the flashy solo time that David or Stanley himself take--which seems a waste. And Steve Gadd is great though sometimes feeling a bit the odd man out in terms of gelling perfectly within the weaves and styles set up by Stanley. For me, the Chick Corea-John McLaughlin- Stanley suite "Song for John" is the album's highlight with the opening song, as virtuosic and erudite as it is, proving to illustrate for me the fact that funk (my beloved funk) can be taken to outlandish extremes--barnyard, bawdy, or adolescent extremes.
91.25 on the Fishscales = A-/five stars; a display of creative song-making commensurate with the virtuosity of its participants. Perhaps not on quite as high or memorable of a level as some of the iconic themes and songs from the other Jazz-Rock Fusion classics of the time, but definitely fitting and deserving of the attention of any lover of virtuoso musicianship.
DONALD BYRD Places and Spaces (1975)
Recorded at The Sound Factory in August and September of 1975 and then released by Blue Note in November.
Line-up / Musicians:
- Donald Byrd / flugelhorn, trumpet, vocals
- Ray Brown / trumpet
- George Bohannon / trombone
- Tyree Glenn / saxophone
- Chuck Rainey / bass
- John Rowin / guitar
- Harvey Mason / drums
- Craig McMullen / guitar
- King Errisson / conga
- James Carter / whistle
- Kay Haith / vocals
- Mayuto Correa - conga, percussion
- Skip Scarborough / electric piano
- Larry Mizell / piano, vocals, producer
- Fonce Mizell / clavichord, clavinet, trumpet, vocals- Ray Brown / trumpet
- George Bohannon / trombone
- Tyree Glenn / saxophone
- Chuck Rainey / bass
- John Rowin / guitar
- Harvey Mason / drums
- Craig McMullen / guitar
- King Errisson / conga
- James Carter / whistle
- Kay Haith / vocals
- Mayuto Correa - conga, percussion
- Skip Scarborough / electric piano
- Larry Mizell / piano, vocals, producer
- Wade Marcus / strings arranger, conductor
A1. "Change (Makes You Want To Hustle)" (5:07) a not-unusual for the times party opener turns BOB JAMES-like driving pre-disco funk-lite. Think "Fly Robin Fly" or Burt Bacharach's funky music from the film soundtrack for Arthur. (8.875/10)
A2. "Wind Parade" (4:32) earworm music with a pretty lame lyric. But damn! It just won't leave the brain! I hate that this is the most memorable and my favorite song from this album! (9.25/10)
A3. "Dominoes" (4:32) bass chords and more J-R Fusion than smooth jazz or funk. Interesting! A top three song for me. (9/10)
B1. "Places And Spaces" (6:16) a little too repetitive but some awesome creative nuance-creation from several of the instrumentalists (percussion, Chuck Rainey's bass, Donald's flugelhorn, Skip Scarborough's electric piano) (9/10)
B2. "You And Music" (5:18) Smooth Jazz melody making, groovin' bass 'n' drum, over-the-top strings (that are actually pretty cool) thanks to arranger/conductor Wade Marcus, and a nice secondary motif of male-female joint and back-and-forth vocals. (9/10)
B3. "Night Whistler" (3:40) slay me with that rhythm guitar work! Some of those whistles sound like a distant woman screaming in distress! Otherwise, a pretty cool, chill song, with lots of layers of active musicians despite such a chill base. Hard to believe that all those "whistle" sounds are coming from one person (James Carter). (8.875/10)
B4. "Just My Imagination (Running Away with Me)" (4:36) a cover of the famous Temptations song of a decade earlier using choir vocals, the same weird whistles, piano, and Donald's flugelhorn over the classic Motown rhythm section. Even a little Disco drumming and "Shaft"/"Love Theme" rhythm guitar injected into the third minute. Nicely done! Interesting enough to qualify as one of my top three. (9/10)
Total Time: 35:51
90.0 on the Fishscales = B+/A-/4.5 stars; a near-masterpiece of Jazz-Rock Fusion that should probably be counted as a minor masterpiece of the burgeoning Smooth Jazz domain.
CORONARIAS DANS Visitor (1975)
Line-up / Musicians:
- Peter Friis Nielsen / bass, double bass [electric double bass]
- Ole Streenberg / drums
- Claus Bøhling / electric guitar
- Kenneth Knudsen / electric piano, piano
1. "Se Det" (5:15) a song that opens as a kind of dreamy bass and Fender Rhodes duet with both musicians wandering rather aimlessly around their instruments for 90 seconds before settling into a pattern that the drummer and guitarist can join. Then it's keyboardist Kenneth Knudsen leading the way with his electric piano while the bass and drums gather momentum from beneath. The foundational pattern (especially the repeated bass riff) gets rather monotonous and, eventually, annoying. I wish Peter Friis Nielsen would change it up or at least embellish--at least a little bit! Ends with a Eumir Deodato-like dreamy chord overlay. (8.75/10)
2. "Morning" (8:13) thoughtful bass play over an open space which is soon permeated by equally gentle, almost wind-chime-sounding electric piano play. Bassist Peter Friis Neilsen sounds very much like Eberhard Weber: mysteriously floating over his long-neck fretboard, producing notes that seem to say so much more than that of a single pitch. Around the four-minute mark drummer Ole Streenberg's contributions (on mostly cymbals) begin to become more noticeable--as do those of Kenneth Knudsen's electric piano, with the keyboard eventually, slowly, supplanting the bass as the lead instrument. A not-unpleasant song that sounds nearer to free jazz but also has some of the palette of Herbie Hancock's Mwandishi-era music. (13.25/15)
3. "Esrom" (1:47) Peter Friis Nielsen's solo bass sounding like any bass solo ever despite his use of near-Eberhard Weber effects. Cool when it gets doubled up near the end. (4.375/5)
4. "Don't Know" (5:10) high-speed Jazz-Rock of the Mahavishnu/RTF nature with sound quality that reminds me more of CERVELLO's Melos: the effects used to process the lead guitar are already dated while the rhythmatists beneath the soloing electric guitar (including a track dedicated to wah-wahed rhythm guitar) have a bare Mwandishi-like sonic field. Nice discipline and skills on display. The foundational groove gets a little monotonous after … a minute or two--more like numbing. (8.875/10)
5. "Visitor" (3:23) more skills exhibitionism from the bass and drum players while Kenneth Knudsen wanders around his treated (wah-wah) Fender Rhodes and guitarist Claus Bøhling occupies the spotlight up top. Again Claus is using that odd combination of effects on his axe making him sound similar to some of Larry Coryell's sound incarnations. (8.75/10)
6. "Tied Waves" (5:24) gentle waves of sustained electric piano chords and fills spaciously (and melodically) open this one sounding like a pensive Herbie Hancock while Ole and Claus feel their way around from beneath (the latter sounding a bit like Eberhard Weber). There's actually something profoundly engaging about this--especially in the combination and interplay of the aqueous sounds coming from Peter's bass and Kenneth's keyboard. For some reason I have to give this unusual song a top three song commendation. (9/10)
7. "Sagittarius" (1:10) bumpin' electric piano over fully-formed "Latin" rhythm track. I respect Peter, Ole, and Kenneth for their attempt at infiltrating Chick Corea territory. (4.375/5)
8. "Which Witch" (8:48) opening with some angsty aggression, this one kind of awkwardly straddles a pseudo-funky rock style that sounds like some of the fusionary experiments of early Larry Coryell. The guitar is once again in the lead position while everybody else (including a track of wah-wah rhythm guitar) tries to keep the train running a top speed (without derailing). Definitely representative of an earlier, more formative stage of Jazz-Rock Fusion (like three or four years earlier). It's pretty good if you like to hear long soloing by a single instrument over some disciplined and nicely coordinated rhythmatists working hard beneath. In the final minute the straight-running train is given the signal to slow down, something the band does in an interesting, very cool way. (17.75/20)
Total time 39:10
Total time 39:10
Interestingly, there are several songs in which I can barely notice the presence of a guitar, which makes me wonder if this was really a trio with only occasional sessions using the credited guitarist.
88.38 on the Fishscales = B/four stars; an excellent display of creative, textural early-Seventies Jazz-Rock Fusion from some pretty talented and disciplined musicians.
SONNY & LINDA SHARROCK Paradise (1975)
- Sonny Sharrock / guitars
- Linda Sharrock / voice
- Dave Artis / bass
- Buddy Williams / drums
- Kenny Armstrong / keyboards
- Sonny Bonillia / percussion
- Buddy Williams / drums
- Kenny Armstrong / keyboards
- Sonny Bonillia / percussion
Total time: 39:32
Linda is talented. Sonny is from a different planet. Are the next Sonny and Cher? Michal and Ulla? Not even close!
87.5 on the Fishscales = C/three stars; an interesting collaboration that yields far too disparate sounds and stylings. Kudos to the couple for trying but the world could probably have survived without this contribution.
HERMANN SZOBEL Szobel (released in January of 1976)
18-year old Austrian piano prodigy Hermann Szobel came to the United States to contact his mother's brother, a shaker and mover in the music industry who was going by the name of Bill Graham. (Yes, that Bill Graham.) Legend has it that Hermann walked into the first studio he could find, which happened to be one in the middle of recording an album for and with Roberta Flack. Somewhere along the line he disrupted everything while proclaiming, "I am the greatest pianist in the world!" or something to that effect. Intrigued, the session musicians in attendance--which included bassist Anthony Jackson--urged the young man to demonstrate his skills. Apparently he blew everyone away, prompting several of the musicians to recommend him to Arista's top brass. He earned a contract--even getting beneath the prestigious umbrella of the big label, not just the small jazz-only subsidiary. Set up in a studio apartment on or near Times Square (thanks, Uncle Bill!), Szobel was set up with several musicians that other people thought would be a good fit for collaborating with the young genius. Whittled down to a quintet, the band rehearsed all Winter, Spring, and Summer of 1975, the band members practically living with Hermann until the album was finally recorded in October and November of '75 at The Record Plant. It was then released by Arista in January of 1976.
Line-up / Musicians:
- Hermann Szobel / piano
- Michael Visceglia / bass
- Bob Goldman / drums
- Dave Samuels / percussion, marimba, vibraphone
- Vadim Vyadro / tenor saxophone, clarinet, flute
December
BERITS HALSBAND Berits Halsband (1975)
Recorded for Forsaljud Records, August 10-17, 1975, in an old Swedish folk school in Hudiksvalls commune that was converted into a studio (Forsa Studio) in the same year that this record was made. This Swedish house band recorded this album live in the studio on a two-track tape recorder! The album was then released in December.
Line-up / Musicians:
- Göran Frost / bass
- Michael Lindqvist / drums
- Jonas Lindgren / electric piano, violin
- Mats Anton Karis / flute
- Olof Söderberg / guitar
- Per Lejring / piano
- Thomas Brandt / saxophone
- Tommy Adolfsson (ARCHIMEDES BADKAR) / trumpet
- Bengt Ekevärn / trumpet
1. "Myror I Köket" (11:45) Very brave and unique jazz-rock fusion with electric foundation and great Spanish/Latin-sounding trumpet play. Very engaging foundation and rhythm track as well. A delightful downshift at 5:40 allows space in the upper end for flute to be heard. Too bad these guys didn't get a few more chances to practice and refine this (or have multi-tracks for overdubbing). (23/25)
2. "Elhamokk" (9:45) the drumming is excellent, the coordinated delivery of lines and chords by the rest of the band quite extraordinary--like the synchronic timing of a big band. For some reason I hear a very strong hint of both Spanish and Balkan melodic traditions in this music. I also feel a bit of the high school band class in the performances--which makes the song get a little old and dull over it's ten minute length. (17.333333/20)
3. "Halvvägs Hildur" (19:00) has quite a Mwandishi-era Herbie Hancock feel to it with its sprawling length and excellent solos from guitarist Olof Söderberg and trumpeter Tommy Adolfsson (along with the consistently impressive drumming of Michael Lindqvist). Still hard to believe this was all recorded live, in one take, with no layering or overdubbing. The stylistic shift in the eighth minute into a more drummer-driven cruise machine makes a big difference in its power and engageability. Nice electric piano work and accents from the horn section. Again, the drumming is most impressive: it feels like a cross between Billy Cobham and Tony Williams. A full stop-and-shift in the 11th minute turns into a more pregnant earworm of a rhythm track over which horns and electric guitar begin an attempt to carry a melody forward together. Lot's of angular riffs thrown into the spaces between phrases as the bottom cruises along unperturbedly. The end is a bit of a disappointment. I liked that middle section the best. (35/40)
4. "Flaxöras Hemliga Återkomst" (8:40) a song that takes a little too long with its drawn out introductory motif to develop and turn into anything interesting--and then turns out to be a little more avant-garde than expected. Too bad the rhythm track wasn't allowed to develop a little more. (17.25/20)
Total Time 49:10
Total Time 49:10
88.17 on the Fishscales = B/four stars; an excellent if rather raw exposition of fresh if under-developed Jazz-Rock Fusion.
ARTI E MESTIERI Giro di Valzer Per Domani (1975)
After producing one of the best proggy instrumental Jazz-Rock Fusion albums of all-time in Tilt, they decide to add vocals and try more melodic, and more funky tune constructions along with their usual Mahavishnu-like Power Fusion. Recorded in 1975 at Milano Sound Recording di Milano, Italia. It was then published by Cramps Records in December.
Line-up / Musicians:
- Gianfranco Gaza / vocals
- Luigi "Gigi" Venegoni / guitar, ARP synth
- Beppe Crovella / acoustic & electric pianos, synths, spinet, celesta, clavinet, Hammond organ
- Giovanni Vigliar / violin, vocals, percussion
- Arturo Vitale / soprano & baritone saxes, clarinet & bass clarinet, vibes, clavinet, melodica, vocals
- Marco Gallesi / bass
- Furio Chirico / drums, percussion
1. "Valzer Per Domani" (2:12) swinging a bit like some hap-sappy melody-laden Broadway overture (sounding a bit like a variation on "My Favorite Things"). It's pretty and very catchy but something feels a bit off: as if the band is a bit off, a bit out of sync (especially the drummer) and as if they're having to dig into other people's ideas and melodies for material. (4.375/5)
- Gianfranco Gaza / vocals
- Luigi "Gigi" Venegoni / guitar, ARP synth
- Beppe Crovella / acoustic & electric pianos, synths, spinet, celesta, clavinet, Hammond organ
- Giovanni Vigliar / violin, vocals, percussion
- Arturo Vitale / soprano & baritone saxes, clarinet & bass clarinet, vibes, clavinet, melodica, vocals
- Marco Gallesi / bass
- Furio Chirico / drums, percussion
1. "Valzer Per Domani" (2:12) swinging a bit like some hap-sappy melody-laden Broadway overture (sounding a bit like a variation on "My Favorite Things"). It's pretty and very catchy but something feels a bit off: as if the band is a bit off, a bit out of sync (especially the drummer) and as if they're having to dig into other people's ideas and melodies for material. (4.375/5)
2. "Mirafiori" (5:55) the drummer is way too busy: as if he's either coked up or really feeling Ego-full of himself. Nice to hear that Gigi Venegoni and Giovanni Vigliar are still very much in sync with one another (on guitar and violin, respectively). Giovanni impresses in the second and third minutes while Furio Chirico's frantic KEITH MOON-like busy-ness almost fits in! Gigi Venegoni's following John McLAUGHLIN-like solo is also impressive. The ensuing section with its rather crazy effected-soprano sax solo makes the band sound like the upcoming NOVA albums with Corrado Rustici and Elio D'Anna. Obviously Mahavishnu Orchestra is the inspiration for both bands, so no use arguing about which came first. (8.875/10)
3. "Saper Sentire" (4:40) another really odd mélange of seemingly disparate styles (and sounds)--with vocals! Singer Gianfranco Gaza sounds like a 1970s version of LA COSCIENZO DI ZENO/NOT A GOOD SIGN lead singer Alessio Calendriello. (8.6667/10)
4. "Nove Lune Prima" (0:55) with this and the next three songs the band seem to be trying to reach back to a couple of years into the history of power Jazz-Rock Fusion. (4.5/5)
5. "Mescal" (5:16) as if right from The Inner Mounting Flame, we get to see/hear this band return to the realm of serious Jazz-Rock Fusion--with drummer Furio Chirico finally feeling as if he is in his comfort zone: channeling his inner Billy Cobham. (9.333/10)
6. "Mescalero" (0:35) a pretty, poignant bridge between "Mescal" and "Nove Lune Dopo". (4.75/5)
7. "Nove Lune Dopo" (2:39) great J-R Fusion using Jean-Luc Ponty-like melodies over Mahavishnu-like fire. Great drumming and bass play. (9.25/10)
8. "Dimensione Terra" (1:30) What sounds like the completion to the Mahavishnu-like suite of "Nove Lune Prima" through "Nove Lune Dopo". (4.5/5)
(92.38)
9. "Aria Pesante" (3:53) a vocal-centric song that has components that remind me of Wayne Shorter-led Weather Report as well as Broadway stage hippie music (the bouncing piano chord progressions). The instrumentalists on top are still performing as if they're a jazz rock ensemble--though here more in the Jean-Luc Ponty vein than the earlier Mahavishnu styles. (8.875/10)
10. "Consapevolezza Parte 1a" (3:22) more melodic JEAN-LUC PONTY-like Jazz-Rock Fusion; very high quality but also very melodic. Furio Chirico is a madman! (9.3333/10)
11. "Sagra" (3:06) this one sounds like a jazzified variation on the orchestral part of "MacArthur Park" or Caravan's "L'auberge du Sanglier/A hunting we shall go/Pengola/Backwards/A hunting we shall go (reprise)". Towards the end of the song, Luigi "Gigi" Venegoni goes JAN AKKERMAN/TODD RUNDGREN bat shit-crazy: spitting watermelon seeds from his machine gun axe over the high-speed race of the band beneath him. Impressive if a little odd and disjointed in its mix and stylistic commitments. (9.125/10)
12. "Consapevolezza Parte 2a" (1:12) drums, bass, and vibraphone make a light, airy little ditty that guitar, keys, and violin join. Beautiful! (5/5)
13. "Rinuncia" (2:48) another pop-oriented tune that sounds quite Americanophilic, even crossing over into Southern Rock (and pop RPI)-like territory with the second half. Odd assortment of vocal performances scattered throughout. Nice bouncy bass and clavinet work supporting the Southern-Rock guitar soloing. (9.25/10)
14. "Marilyn" (2:40) contemplative piano play that sounds as if Beppe Crovella is just playing around are eventually give way to frenetic drums, smooth clavinet chord play, and jazzy-Elio D'Anna/Jan Garbarek-like soprano sax play. An interesting étude-like mélange. I really like Beppe's piano instincts. (4.5/5)
15. "Terminal" (2:20) sustained vibraphone chords joined by bass and drums before Mahavishnu-like guitar and violin burst in with piano chord support. The two motifs alternate three times before the engineer executes the big fade. (4.625/5)
Total time 38:16
Total time 38:16
This album is so scattered--and it panders more to the pop/radio friendly world than the previous album but the ideas, sounds, performances, and experiments are all top notch/of the highest quality.
91.27 on the Fishscales = A-/five stars; a minor masterpiece of more broad-spectrum pop-considerate Jazz-Rock Fusion. Not as good as Tilt but nothing to be ashamed of.
91.27 on the Fishscales = A-/five stars; a minor masterpiece of more broad-spectrum pop-considerate Jazz-Rock Fusion. Not as good as Tilt but nothing to be ashamed of.
SLOCHE J'un oeil (1975)
Québecois band of jazz- and funk-oriented musicians release their first studio album. Recorded in July and August of 1975 at RCA Victor Studios in Montreal, the band's production of the album was overseen by Gaétan Desbiens before being released in December of the same year.
- Caroll Bérard / acoustic & electric guitars, percussion, vocals
- Réjean Yacola / piano, Fender Rhodes, Wurlitzer, clavinet, celesta, Minimoog, percussion, vocals
- Martin Murray / Hammond B3, Minimoog, Wurlitzer, Solina, saxophone, percussion, vocals
- Pierre Hébert / bass, percussion, vocals
- Gilles Chiasson / drums, percussion, vocals
1. "l" (8:52) starts very spacey with lots of synths playing around, as if trying to find a groove to attach themselves to. When the groove does arrive it sounds quite a bit like some Canterbury Santana--or maybe KHAN. Little keyboard interlude at the 4:54 mark brings us back to the searching chaos of the intro. The organ eventually directs everything into a kind of "Big Bang/Creation" crescendo. By 6:20 we're groovin' again--almost Motown-ish (the rhythm guitars--remind me of THE ISLEY BROTHERS, AVERAGE WHITE BAND, or WAR). Then the clavinet comes in! It's BILLY PRESTON! Fun song if a little dated. (17.5/20)
2. "Le kareme d'Eros" (10:50) begins like a piano bar player warming up his fingers with a bombastic pseudo-classic piece before getting into a CHICK COREA-like rhythm and style at the 1:10 mark. The melody established by the (Still) solo piano at 1:45 sounds a bit cinematic--as if to confirm that we are in the piano bar (with Billy Joel). At 3:15 the pianist starts to show off his classical licks à la KEITH EMERSON. At 3:45 a MAGMA-like choir makes quite an impressive (and welcomed) entrance--all over a repeating Chick Corea "Falling Aice" descending chord progression. Let the wild rumpus begin! The ensuing duelling electric guitar and keyboard sound very much like LARRY CORYELL'S performance on LENNY WHITE's forgotten classic Venusian Summer. Cool little bit. by 8:55 we've left that and gone into a more RETURN TO FOREVER-like passage. Interesting song that I'm not sure really works--even if it is supposed to portray little Cupid's random exploits. (17.75/20)
2. "Le kareme d'Eros" (10:50) begins like a piano bar player warming up his fingers with a bombastic pseudo-classic piece before getting into a CHICK COREA-like rhythm and style at the 1:10 mark. The melody established by the (Still) solo piano at 1:45 sounds a bit cinematic--as if to confirm that we are in the piano bar (with Billy Joel). At 3:15 the pianist starts to show off his classical licks à la KEITH EMERSON. At 3:45 a MAGMA-like choir makes quite an impressive (and welcomed) entrance--all over a repeating Chick Corea "Falling Aice" descending chord progression. Let the wild rumpus begin! The ensuing duelling electric guitar and keyboard sound very much like LARRY CORYELL'S performance on LENNY WHITE's forgotten classic Venusian Summer. Cool little bit. by 8:55 we've left that and gone into a more RETURN TO FOREVER-like passage. Interesting song that I'm not sure really works--even if it is supposed to portray little Cupid's random exploits. (17.75/20)
3. "J'un oeil" (4:43) relies on the repetition of a very familiar poppy riff until the wonderful clavinet-backed choral-vocal section begins. At 2:10 we go back to the introductory repetitive riff for a bit, until it slows down with a spacey organ and high-register electric guitar melody take over. Switch back to the choral-vocal section for the last minute. At times this is very Yes Fraglie quirky and funky--and even humorous. (8.875/10)
4. "Algebrique" (6:30) is a bit more cohesive and yet GENTLE GIANT- and YES-like in its structural shifts and staccato rhythms. An interesting ZAPPA-like part begins at the 2:10 mark, with synth and voices grabbing the listener's attention. At 3:28 begins a sudden foray into territory covered by TODD RUNDGREN'S UTOPIA's in "The Ikon." Luckily, they don't stay there long--though the drummer more and more sounds to me like a drummer from Todd's mid-70s posse. The heavier, more KING CRIMSON-esque final minute is my favorite part of this, my favorite song from this album. (9/10)
5. "Potage aux herbes douteuses" (7:07) begins again very much like the AVERAGE WHITE BAND, shifts to a little GINO VANELLI coda, then back to the A part, coda B before shifting into second gear with a fun off-tempo section. This seems to be very much an exercise in band odd tempos, though the insidious climb up the scale is enjoyable and interesting. At 3:30 the choral enters for a different coda before the THIJS VAN LEER-like organ play takes us to an extremely FOCUS/CAMEL-like section--which then combines with the choral beautifully. Wonderful! Interesting ANT PHILLIPS-like end! (13.5/15).
Total Time 38:25
This is a fairly recent discovery of mine, thus, as I go to rate it, I take into consideration both the impact it has on me today (a bit dated and immature) as well as my imagined impact the album would have had on me in the 70s or 80s (probably like Camel's Moonmadness.) I think it is a good album that has indications of a band that could (have) evolve into a great band. Like a funked up CAMEL or FRUUPP. 3.5
88.83 on the Fishscales = B+/4.5 stars; an excellent debut of very enjoyable funked up prog rock. Not quite pure Jazz-Rock Fusion but, at the same time, I consider the funky music here just jazzy enough to qualify for the Jazz-Rock Fusion lists.
Other 1975 Releases
ETNA Etna (1975)
A quartet of Sicilians that formed in 1971 as FLEA ON THE HONEY, then FLEA, now rename and recreate themselves one more time, this time with a melodic orientation to peak power Jazz-Rock Fusion. Recorded in 1975 in Roma at Catoca studios, the album was released later in the same year.
- Carlo Pennisi / guitar, mandolin
- Antonio Marangolo / keyboards, clarinet
- Elio Volpini / bass, double bass
- Agostino Marangolo / drums, percussion
1. "Beneath The Geyser" (3:56) though opening with some solo electric piano play, the other musicians spring forth as if from a powerful geyser or volcano, creating a track with of melodic power J-R Fusion that sounds like a cross between the jazzier side of FOCUS and JEAN-LUC PONTY (sans violin, of course) and RETURN TO FOREVER. While most reviewers spend energy extolling the talents and virtues of drummer Agostino Marangolo, I'd like to commend his keyboardist brother, Antonio, for his impressive skill and rather mature ability to beautifully "fill" space with his chord play. In fact, all of the band members seem very skilled. An impressive opener. (9/10)
2. "South East Wind" (6:10) after a rather spacey and chaotic one minute intro this song turns into a very pleasant and interesting and mathematical exercise in King Crimsonian discipline as the band trace out a series of very demanding syncopations, the main one (which is also very GOBLIN-like) being very deliberate and proscribed, whereas the second one exhibits more of the high-speed fervor of RTF. (9.125/10)
3. "Across The Indian Ocean" (5:36) opening with jungle sounds and instruments as bass player Elio Volpini plays with harmonics before finally creating the melodic riff that paves the way for the others to join in. The two-part rhythm they settle on could have come from BILLY COBHAM's 1973 debut solo album, Spectrum, while the guitar play and sound palette sound more like something ALLAN HOLDSWORTH might have constructed/orchestrated. This is a very demanding piece technically for the musicians but they all pull it off marvelously and without weakness or hiccup--and while somehow managing to maintain a constantly-engaging element of tension and melody. (9.33333/10)
4. "French Picadores" (4:26) switching to acoustic instruments the band pull off another RETURN TO FOREVER-like composition. Guitarist Carlo Pennisi's steel-string acoustic guitar sound and style is striking for its similarities to those of AL DI MEOLA. With the George Benson-like vocalese mirroring Carlo's melody play on his guitar, I am strongly reminded of the great Brazilian vocalists backing and carrying PAT METHENY's melodies throughout the 1980s and 90s.
The sudden appearance of a clarinet in the second half freaked me out cuz I thought it was Jean-Luc Ponty's electric violin!
Beautiful music, seemingly simple but virtuosically performed. Wow! I am really, REALLY impressed with this band! (9.5/10)
5. "Golden Idol" (8:59) starts rather gently before the band picks up a guitar-led TODD RUNDGREN's UTOPIA-like chord riff as if to introduce a second, more dynamic motif that they will be expanding upon later in the song. Antonio Marangolo's keyboards are just so rich--filling the sonic field so perfectly beneath and around the bass, drums, and guitars. And bass player Elio Volpini is so smooth and effortless despite flying around his fretboard. Guitarist Carlo Pennisi's almost-experimental/improvisational guitar play--with chords!--is wonderful (and, again, very FOCUS-like), and, of course, drummer Agostino Marangolo's performance is like money: so solid and flawless. So impressive for its intricacies yet, at the same time, so melodically-satisfying. What an extraordinary gift these guys have! (18/20)
6. "Sentimental Lewdness" (6:42) opening up with some very impressive drum play from Billy Cobham-like Agostino Marangolo, the band joins in with a very impressive rock-oriented RETURN TO FOREVER/FOCUS-like drag race before suddenly lifting off the ground into the air with a wonderful piano-based motif that gradually also accelerates into the high-speed motif the band started with. This also, somehow, mysteriously devolves back into the bluesy piano-based motif which then yields some experimental volume pedal-controlled guitar and keyboard chord play while Agostino shows his disciplined skills on his drums again. So MAHAVISHNU ORCHESTRA-like! What an interesting and unique song! After several listens I still can't figure out how the band was able to plan for and negotiate those imperceptible and yet seamless transitions between vastly-different motifs with their contrasting dynamics. (9.33333/10)
7. "Barbarian Serenade" (5:14) piano, double bass, lush cymbal play, and mandolin present and carry forward a Latin/Mediterranean melody and gradually supplement it with full drum support, electric bass, electric guitar, and even electric piano whilst maintaining the acoustic foundation and amazing melody. Wow! I am blown away! Absolutely the perfect song for an album's finale! What a compositional (and performance) achievement! (9.333/10)
Total Time: 41:03
Total Time: 41:03
This was one of the best discoveries and favorite albums to listen to and review since I started my deep-dive into "Classic Era" Jazz Rock Fusion. I'll have to repeat how impressive I find this album to be for its virtuosic intricacies while, at the same time, the band's ability to manage to present and maintain such melodic sensibilities. This is an album that I am so excited to be able to enjoy for years to come!
92.03 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music's Jazz-Rock Fusion sub-genre and definitely one of the best Jazz-Rock Fusion albums I've ever heard coming out of Italia!
THE ELEVENTH HOUSE Level One (1975)
Line-up / Musicians:
- Larry Coryell / guitar
- Mike Lawrence / trumpet, flugelhorn
- Mike Mandel / keyboards
- John Lee / bass
- Alphonse Mouzon / percussion
With:
- Steve Khan / 12-string guitar (1)
1. "Level One" (3:21) a Mike Mandel and Steve Khan composition that opens the album with something quite powerful--not unlike the impact of a Mahavishnu Orchestra song. Great hook, great play from all the musicians. Awesome start to the album! (9.5/10)
- Larry Coryell / guitar
- Mike Lawrence / trumpet, flugelhorn
- Mike Mandel / keyboards
- John Lee / bass
- Alphonse Mouzon / percussion
With:
- Steve Khan / 12-string guitar (1)
2. "The Other Side" (4:35) what play from the rhythm section of Alphonse Mouzon and John Lee! Wow! John is really on fire with that bass! I think the playing of this rhythm section that pushes trumpeter Mike Lawrence to such heights. The use of effects like reverb and wah-wah on Mike's trumpet is very cool. Larry is great "sneaking in" among Mike and the rhythmatists until his solo in the fourth minute. Man! Is he hot! One of my favorite Larry Coryell solos ever, to be sure! There is NO flaw with this amazing song! (Thank you, Michael Lawrence!) (10/10)
3. "Diedra" (3:56) toning it down with a saccharine tune that still manages to convey some jazz and funk despite some smooth melodies and easy-going spaciousness. This song is just so well put together: everybody performing like absolute masters of their instruments, the song (composed by Mike Mandel) founded on a simple BOB JAMES-like formula but embellished subtly as only true professionals could do. (9/10)
4. "Some Greasy Stuff" (3:30) an Alphonse Mouzon compostion that sounds like a submission for a either television show theme song or a Disco cover for a Soul Train dance tune. It's good: the performances are all top notch and seem genuinely inspired; it's just that the song is a little . . . basic. (8.75/10)
5. "Nyctaphobia" (4:03) Oh! Now we're trying some Billy Cobham-level funk furioso! The horns (which I assume owes some credit to keyboard maestro Mike Mandel) are epic! And then the music and musicians just keep driving the music into faster and more furious heights until finally settling into a race across the desert. This Alphonse Mouzon composition is so much superior to the previous one. It reminds me of some of the dramatic music from the first three Chicago albums. (9.3333/10)
6. "Suite" (5:32) (9.25/10):
- a) "Entrance" - the first of Side Two's five Larry Coryell compositions is running on high octane, multiple engines. I am super impressed with the piano-centricity of the song and the massively dense wall of sound of this Latin-sounding tune.
- b) "Repose" - the slow down is unexpected, sparsely populated (despite the oceanic fretless bass), taking a bit to set up for the trumpet melody setting with all of the subtle contributions of the other band members.
- c) "Exit" - the finale starts out like a Mexican fiesta party before settling into a Latin-jazz-rock motif to finish. I'm not quite sure what Larry was setting out to do with this "suite" but it is definitely of the highest caliber in terms of composition and performance.
7. "Eyes of Love" (2:35) an acoustic guitar solo piece. Larry can play some Americana! (and play it complexly, as is his nature). It's not "The Clap" or "Mood for a Day" but it's good. (9/10)
8. "Struttin' with Sunshine" (3:20) Larry launches the band into a rock song only throwing in a couple nearly-undetectable twists and stumbles (to make it not be in the 4/4 time it feels like it's in?) The music played by the rhythm section is a bit boring (though they manage to spice it up subtly) but the guitar, trumpet, and keys on top manage to keep it interesting/entertaining. Larry is just so talented! He jus t lets his skills work on such a subtle level! (You have to be really listening to really fully appreciate his genius). (8.875/10)
9. "That's the Joint" (4:03) a John Lee composition, unfortunately, has the stiff, one- or two-dimensional restrictiveness of his compositional style. Still the rest of the band do their best to make it interesting. (8.75/10)
Total Time 34:55
Total Time 34:55
This album starts out so fast, so hard, with such complexity, displaying such high levels of individual and whole band skill, that it's hard to get a breath in until Side Two. Even "Dierdre" has amazing things happening in it in almost every second of its four minutes. It's not until the album's last two songs that things begin to wane--as if the well is about to run dry; the candle is reaching the end of its wick. Icarus has gotten too close to the sun. This is yet another Larry Coryell album that I have to admit I came into with fairly low expectations but then get absolutely blown away: on so many levels! John Lee! Mike Lawrence! Mike Mandel! Steve Khan! Alphonse Mouzon (drumming, not necessarily composition). And the band leader's generosity in making sure that everyone feels encouraged to feel the freedom to FULLY express themselves!
91.62 on the Fishscales = A-/five stars; a minor masterpiece of high-caliber Jazz-Rock Fusion. If the entire album were as dynamic and impressive as the five best songs this would be one of the best J-R Fuse albums ever made!
MOMBASA African Rhythms & Blues (1975)
53-year old expat trombonist Lou Blackburn was living in Germany when he was wooed into trying to lead a band into adventuring in the new world of Jazz-Rock Fusion while, at the same time, celebrating the musical history and forms of Africa. Material for the album was recorded in Köln, Germany, on April 14, 1975, with H. Manfred Schmitz producing for Spiegelei Records--who released the album to the public later in the year.
Line-up / Musicians:
Lou Blackburn / Trombone, Leader [Shawn]
Donald Coleman / Conga, Bamboo Flute
Charles Jefferson / Trumpet, Flugelhorn, Kalimba
Gerald Luciano / Bass (Electric), Percussion, African drums [Domba]
Cephus McGirt / Drums
1. "Nairobi" (7:33) wah-wahed bass with drums and multiple percussion tracks creating an infectious groove over which trombonist Lou Blackburn solos. In the fourth minute trumpeter Charles Jefferson joins Lou for some harmonized horn banking before launching out on his own to dominate the fifth minute. Despite the electric bass, this song follows more of a traditional jazz form and sound. The play of the two soloists is solid but containing nothing to write home about whereas the bass and percussionists (and vocal leader) are pretty flashy. (13.5/15)
2. "Massai" (8:04) an okay song that feels more like an educational test for the band's unified syncopation and less of a dance or pop tune. (12.75/15)
3. "Holz" (4:23) Donald Coleman's bamboo flute plays over a slow, spacious weave of African percussion instruments. Nice for an African processional, not much else. (8.25/10)
4. "Kenia" (6:49) electric line sets up the African melody that the group chants with an African choir vocal until about 45-seconds in the band kicks into what sounds like it could be full Juju music but then it takes a few turns and feels more Caribbean or Santana-like as active bass, cowbell, congas, and Charles Jefferson's flugelhorn take us into the Carnival. Muted trumpet and trombone join together for a few coordinated bank bursts before a round of African chanting signals a turn toward full Santana-like Jazz-Rock Fusion for Lou to solo over. All throughout Gerald Luciano remains quite nimble in dancing over the fretboard of his electric bass and drummer Cephus McGirt as well on his rock-expanded kit throughout the song. The song finishes with a minute of all percussion (and some chanting) with Gerald's dancing electric bass. (13.25/15)
5. "Makishi" (2:36) bass, drums, and percussion (including clapping) provide a base for African call and response vocals. (4.375/5)
6. "Shango" (7:48) an African melody line is presented by Gerald's bass, within which Donald Coleman's congas and the two horn players weave their instruments. The musical weave smooths out so that the horn players can take turns soloing. The bass play takes the lead over the course of the song, really stepping into it in a jazzy Motown fashion, especially shining in the final two or three minutes. (13.5/15)
Total time: 37:15
The players are experienced and seasoned but the music of this first expedition is rather prosaic, more like simple jams based around traditional African rhythms and melodies from different regions and cultures of the continent. While Africa is trying to be celebrated here, it's really the electric bass, American brass, and variety of percussive instruments that should take the bows.
87.8333 on the Fishscales = B/four stars; a very interesting if under-developed idea for musical project. I look forward to a little growth as I move forward from this band's debut.
EXIL Fusionen (1975)
Individualistic fusion from Germany sounding like a big band treading into the world of Jazz-Rock Fusion. The album was recorded at Tonstudio Zuckerfabrik in Stuttgart, Germany, and released to the public in by Fhuzl Produktion somewhere in 1975.
- Jotwin / vocals, cello
- Berndt Steiner / guitar, drums
- Georg Eckl / electric piano
- Eva Lutz / violin, cello
- Bewin / tenor saxophone
- Bernd Funk / percussion
1. "Nur Ein Klein Wenig" (3:12) a very classical exposition of jazz music from some musicians that sound very seasoned. The band includes both violin and cello with saxophone over a very solid drum and bass and percussion trio. Georg Eckl's electric piano becomes more prominent about half way through, just before a dramatic stops and restart in order to shift into a kind of beer-hall band tune with comic vocals reminding me of bands like Samla Mammas Manna. (8.875/10)
2. "Kurzes Hundeleben" (8:43) a well-formulated and well-executed two-part jazz exodus in which all of the proficient musicians themselves quite well. One can easily listen to each and every one of the individual musicians the entire way through this long song and be equally entertained and impressed. Plus, there is a DEODATO-like "Also Sprach Zarathustra" feel and palette to this song with electric piano, drums, and percussion creating quite an impressive foundation in and of themselves. Keyboardist Georg Eckl is quite impressive as are drummer Berndt Steiner and percussionist Bernd Funk. (19/20)
3. "Die Gute Alte Anna" (5:33) here the band explores some of their native folk traditions using both FLAIRCK- and AFTER CRYING-like classical and jazz perspectives. Warm and intimate, this more acoustic music is inviting and highly engaging--even with the German folk vocals. Halfway through there is another radical shift into a more COMUS/SPIROGYRA-like aggression and abrasive humor vocals. I love it all! (9.25/10)
4. "Schuhe 1" (6:58) Beatnik jazz-like sound with heavy emphasis on the presence of percussion, saxophone, and electric piano. It even sounds like it's been recorded in an underground cave like a Beatnik black room. (13.5/15)
5. "Ohne Uns" (4:14) what started with the uptempo Beatnik jam that began at the end of the previous song here smooths out a bit to continue with a form that revolves around Jotwin's folksy singing before falling into some more fast-moving instrumental music rife with loud drums, hand percussion, and electric piano with saxophone and cello up front and center leading the melody play. Could this music have been heard by the Norwegian youngsters that became SEVEN IMPALE? (9.125/10)
6. "Seifenblasenleiden" (9:51) opens like a piece of classical music by a small orchestral chamber ensemble--even with the rock drums--before slowly morphing into a chamber version of, and variation on, the main, opening motif of King Crimson's "21st Century Schizoid Man." Eventually, the jazz nature of these musicians takes over and the song veers off into several interesting motifs: the first more loose and wild, the second more sedate and spacious with lots of room for improvisational inputs. At 6:25, in the middle of this slowed down section, cellist Jotwin enters with a singing voice that gives this song a feel very much like fellow German band ELOY. Violin, cello, electric piano, and tenor saxophone continue to give this song a very mellow jazz-rock feel--even when the tempo and intensity start to pick up in the eighth minute. I really love this song! It's a perfect illustration of the blend of classical, jazz, and pop that ends up becoming prog! (19.5/20)
Total Time 37:34
Total Time 37:34
I normally don't like saxophone but, like that in SEVEN IMPALE's aggressive progressive rock, I like this.
93.24 on the Fishscales = A/five stars; a very impressive masterpiece of jazz-rock fusion from a group of very well-seasoned musicians all coalescing quite wonderfully.
FERMÁTA Fermáta (1975)
The debut album from this Slovakian proggy Jazz-Rock Fusion band from Bratislavsk´y kraj, it was recorded in Czechoslovakia for Opus Records in 1975. Straight out of the gates they prove themselves to be not only extraordinary musicians but excellent composers as well.
Line-up / Musicians:
- Frantisek Griglák / guitar
- Tomás Berka / electric piano, organ, synth
- Anton Jaro / bass, percussion
- Peter Szapu / drums, percussion
1. "Rumunská rapsódia (Roumanian Rhapsody)" (5:52) opening the album with something that sounds very much like LED ZEPPELIN on prog rock steroids. Guitar noodling and organ virtuosity on full display as the two instruments wend and weave their way in and around one another for the first 1:45, then a quick change into a FOCUS-like motif allows everybody to show completely different skills: guitarist Frantisek Griglák sawing away on a lead while keyboard virtuoso Tomás Berka switches to Fender Rhodes electric piano in order to continue to impress. Another bridge at the end of the fourth minute leads into a URIAH HEEP-like motif with organ supporting some wild flurries from both Frantisek and himself while bass player Anton Jaro is on near-Percy Jones rapid speed. Impressive! (9.25/10)
2. "Perpetuum II" (10:27) a long and oddly television-like intro of effects and low-key instrumental play that feels quite portentous but not quite threatening. Drummer Peter Szapu's increasingly-aggressive cymbal play at the end of the second minute signals an emergence from the primordial soup into something more structured and formed as Tomás Berka's odd marimba-sounding keyboard steps into the lead while Frantisek Griglák's guitar chords start getting louder and more sinister. A prolonged drum bridge in the fifth minute leads into a DOORS-like motif in which Tomás' keyboard choice switches to something more Canterbury-like (though no Canterbury keyboard player ever played this sound with such demonic feeling). Then the motif comes to a head with some very aggressive guitar shredding before turning down a much quieter one-way street for some pleasant storefront window shopping. Tomás' keyboard choice turns to organ with some high, piccolo-like note playing while Anton Jaro's underwater bass gets a turn to shine. Then mid-eighth minute the band turns onto a different street: driving against the flow of traffic! Yes, Frantisek's searing guitar play tells us how hard the upstream swimming is while the rest of the band drudges along in a heavy SABBATH-like motif. The 30-second finale finds everybody joining together to play a complex melody in a THIN LIZZY-like Celtic weave. Wow! Goblin on steroids! (18.25/20)
3. "Postavím si vodu na čaj (I'll Put The Kettle On)" (4:20) opening with a rock weave before settling back into a bucolic or dream-like tuned-percussion-like motif, they eventually settle back into a nice CAMEL-like rhythm track while Frantisek impresses in a very Andy LATIMER way. At 3:15 the band turns down a more ELOY, STARCASTLE, or even ALLMAN BROTHERS path for the final minute. Interesting mix--impressive play but not the most fluid construct or melody making. (8.875/10)
4. "Valčík pre krstnú mamu (Waltz For Godmother)" (7:03) blending an R&B/funk vibe with an Allman Brothers type instrument palette is quite creative and fresh. There are many moments that could also be construed as Focus-like Prog as well as Mahavishnu-like power fusion (and even some "Gates of Delirium"-like Steve Howe chaos at the end). And it all works! Brilliant! (14/15)
5. "Perpetuum III" (11:47) poorly recorded beach and wave sounds with Frantisek Griglák's Mahavishnu Orchestra "Birds of Fire" imitation building within as the drums, bass, and keys slowly build beneath. By the third minute the band is continuing on its Birds of Fire tribute with a "Resolution"-like resolution berfore peaking and switching into a Allman Brothers'-like jazz and bluesed up "Sweet Georgia Brown"-like passage. At 5:48 Frantisek's searing guitar bursts forth seeming to lead the band into something new, but instead sticking with the blues-jazz mock up for another half minute before turning down a bit of a BILLY COBHAM-like trail of funk through the mountain woodlands. Again Frantisek is in the lead with some impressive rock and almost-Mahavishnu-level guitar shredding. The rhythm tracksters remain iunwaveringly faithful in their support of their guitar leader, but their portion of the music starts to get a little stale as Frantisek remains unstoppable in his lead capacity. Despite my kudos to the band for attempting such a challenging mountain, I do not think they give the Mahavishnu Orchestra any competition. (I do not think that guitarist Frantisek Griglák is [yet] in the same league as the Mahavishnu.) (21.875/25)
Total Time 39:29
I feel that this album expresses the band's appreciation for as well as mastery of its rock roots while only slightly verging into the Jazz-Rock Fusion and/or symphonic progressive rock lanes; this is a more a rock album by some very talented/skilled artists with Jazz-Rock Fusion aspirations. At this point in the band members' developments I feel that guitarist Frantisek Griglák is a bit behind that of his band mates--especially keyboard genius Tomás Berka. But just wait: he's coming along.
90.3125 on the Fishscales = A-/4.5 stars; a near-masterpiece or even a minor masterpiece of jazz-infused rock music.
ENERGIT Energit (1975)
Legit Jazz-Rock Fusion from Czechoslovakia that is quite mature and dextrous if somewhat derivative/imitative of the power fusion bands that formed in the USA and England a few years earlier. The band's only album was recorded in 1974 or 75 at Studio Dejvice and Mozarteum in Prague-Dejvice and then released by Supraphon Records in 1975.
Line-up / Musicians:
Jan Vytrhlík / Electric Bass
Emil Viklický / Electric Piano, Moog Synthesizer
Lubos Andrst / Guitar, Composer
Rudolf Ticháček / Saxophone [soprano and tenor]
Jiří Tomek / Congas (tracks: A, B2 to B4)
With:
Anatoli Kohout / Drums (tracks: B2)
Josef Vejvoda / Drums (tracks: A, B4)
Karel Jenčík / Drums (tracks: B1, B3)
A. "Ráno (Morning Part I)" (17:25) opens with a brooding Latin-based RETURN TO FOREVER-like MAHAVISHNU motif over which guitarist Lubos Andrst plays an impressive Jan Hammer-like solo for the third and fourth minutes. Bridge at 3:30 leads into a motif shift: this one being more syncopated and funky--especially from Jan Vytrhlík's bass and Emil Viklický 's electric piano. Also the conga play of Jirí Tomek stands out more in this passage as sax and electric piano try leading in the melody-making department while everybody else seems to be having a fantastic SANTANA-like jam beneath them. Rudolf Tichácek's soprano sax playing is okay: always coming in bursts, never smoothing out or choosing melody over dynamics. The next solo is from Emil's electric piano: his being a little smoother than Rudolf's but still conforming to the more-percussive staccato approach for its delivery. But, once he gets going he'll occasionally get into some runs or some cool chord progressions. At 10:20 there is a slowdown and break for transition into a slightly different motif for Lubos to take another try at the lead. His playing approach definitely treads more into the territory of John McLauglin and Larry Coryell, though my brain keeps hearing Jan Hammer more than any guitarist. I like the way Emil Viklický keeps prodding the soloists (not just Lubos) with his keyboard interjections--pushing them to go further than they might without him. In the fifteenth minute there is a complete deconstruction of the rhythm track while Lubos and Emil continue to play around a bit, then in the first half of the 16th minute the band returns to the opening RTF-like motif as Rudolf takes us out with his soprano sax. (31.25/35)
B1. "Paprsek Ranního Slunce (The Early Sunray)" (4:40) countrified jazz rock that sounds like Jay Beckenstien's SPYRO GYRA merged with the OZARK MOUNTAIN DAREDEVILS and DIXIE DREGS. Impressive guitar play begins around the two-minute mark and then seamlessly leads the band into a cool Mahavishnu-like motif switch. Now, this is great J-R Fusion! At least until it shifts back to BOB JAMES "Angela" territory at the four minute mark. Luckily it ends with some more of those impressive keyboard-and-electric guitar machine gun runs. (8.875/10)
B2. "Noční Motýl (Night-Butterfly)" (7:50) electric guitar harmonics open this, reinforced with electric piano play--which soon occupies two tracks, the two electric pianos using completely different settings. The more piano-sounding ep begins taking the lead from the guitar with some classical-like runs, but then, in the fourth minute a deep, pulsing, muddy foundation is committed to by the full rhythm section, which sets Emil Viklický off on a Fender Rhodes tirade before heavily-effected (Moog-sounding) electric guitar joins in and pushes his way to the front. A Moog synthesizer enters and begins competing with Lubos for the lead, dueling and playing off one another with a ferocity comparable to (yet never quite achieving the heights of) that of John McLaughlin and Jan Hammer. This doesn't last very long before the band devolves into a rich, Fender-dominated sound field for a lovely finish. Definitely a top three song for me. (13.75/15)
B3. "Apoteóza (Apotheosis)" (2:55) more Mahavishnu Orchestra-inspired Jazz-Rock Fusion that includes another presence of the Moog synthesizer. (8.875/10)
B4. "Ráno (Morning Part II)" (4:05) what starts out as a kind of a loose, unstructured unwinding for all of the instrumentalists turns into a simple conga solo for the fadeout finish. (8.66667/10)
Total Time: 36:55
89.27 on the Fishscales = B+/four stars; an excellent addition to any prog lover's music collection--especially if you like the dynamic Jazz-Rock Fusion of early versions/experimentations of the Mahavishnu Orchestra, Larry Coryell, and Return To Forever.
LARRY CORYELL Planet End (1975)
An album with a most impressive list of collaborators! This 1975 album is made of tracks left from 1970's Spaces sessions and 1974's Introducing Larry Coryell and the Eleventh House sessions. That is why we have two tracks with Eleventh House, two with McLaughlin, Miroslav Vitous and Billy Cobham, and one solo. The album was released by Vanguard Records sometime in 1975.
Line-up / Musicians:
- Larry Coryell / guitar, all instruments (4)
With:
- Mike Lawrence / trumpet (1, 3)
- Mike Mandel / electric piano & synth (1, 3)
- Danny Trifan / bass (1, 3)
- Alphonse Mouzon / percussion (1, 3)
- John McLaughlin / guitar solo (2, 5)
- Chick Corea / electric piano (2)
- Miroslav Vitous / double bass (2, 5)
- Billy Cobham / drums (2, 5)
1. "Cover Girl" (5:38) Larry and company with new and more electronic effects. (8.75/10)
2. "Tyrone" (11:38) impressive performances from a lineup of Jazz-Rock Fusion's All-Time Greats (John McLaughlin, Chick Corea, Billy Cobham, Miroslav Vitous, and of course, the Godfather of Fusion himself) on a song that never really invites the listener in. Eleven-and-a-half minutes is a long time to be sitting on the outside looking in, listening and waiting, hoping to get the magic ticket into the inneren Sanktum. But, for me, at least, it never comes. (17.5/20)
3. "Rocks" (4:48) the most melodic and yet most traditionally-jazz start to any song on the album, but then it takes off and speeds down the autobahn at breakneck speeds with all the abandon of a top-notch jazz-rock band that is intent on impressing. Nice funk coming from Mike Mandel's Fender Rhodes and some awesome semi-muted trumpet from Mike Lawrence. I really like this Randy Brecker composition. (So, where was Randy when his song was being recorded?) (9/10)
4. "The Eyes of Love" (3:21) an acoustic guitar piece that includes multiple tracks all performed by Larry. Nice even if it is a little more on the Hendrix & Bayou bluesy side for my likes. (8.875/10)
5. "Planet End" (8:45) back to the same combo of all-stars from the album's second song, "Tyrone," including Billy Cobham, Miroslav Vitous, and John McLaughlin. Since Larry and Miroslav get the initial leads we get to hear the wonderfully-creative chord-play of the Mahavishnu in the role of accompanist. As always, I find myself far more intrigued by John's "rhythm" guitar work than anyone else trying to solo or drive the song from the rhythm section. As a matter fact, there is a frame in the fourth minute where it feels as if drummer Billy Cobham actually loses his connection with the rest of the players! (Maybe he dropped a stick, cuz right after he gets back up to speed and really shows some amazing chops!) (17.5/20)
Total Time 34:10
To my ears and brain, this album feels like the dumping ground for a lot of "extras"--songs that failed to make other albums and were here collected, dusted off, merged onto one tape, and published. Nice performances by some very skilled and proficient jazz-rock fusion all stars but, ultimately, lacking any music or melodic in-roads for the Whereas the previous Larry Coryell album that I reviewed was one of my favorite and most enjoyable listening experiences in a long time, this album has set me back once again in my journey to love and enjoy the music and guitar playing of Larry Coryell, this album experience was more akin to those I've had in response to listening to Bitches Brew, Emergency!, or even the first Mwandishi album--too founded in the (still) foreign language that was 1960s Hard Bob jazz.
88.04 on the Fishscales = B/four stars; a solid display of jazz-heavy Jazz-Rock Fusion that sounds as if it comes from the earlier days of the movement rather than a true 1975 album would/should be; an album that is as dense and inaccessible to the ignorant outsider as any Hard Bop 60s album.
NAPOLI CENTRALE Napoli Centrale (1975)
High quality Jazz-Rock Fusion coming out of Naples, Italy but they're not even half Italian! They're made up of one-and-a-half Americans (Mark Harris and American-fathered "James" Senese), a Brit (Anthony "Toni" Walmsley), and only one-and-a-half Italians (Franco Del Prete and the maternal half of Gaetano "James" Senese). This was the lineup that produced their wonderful debut album whereas successive studio releases in the 1970s would only be able to retain songwriter and band leader James and Franco.
- Gaetano "James" Senese / saxophone, flute, vocals
- Mark Harris / keyboards
- Franco Del Prete / drums & percussion
- Anthony "Toni" Walmsley / bass
1. "Campagna" (7:56) most excellent Jazz-Rock Fusion, very current/up-to-date with the music coming out of America at the same time, spiced up quite nicely by James Senese's vocals and the MANDRILL, OSIBISA, and CYMANDE-like African-like group/choir vocal chants. James' sax and vocals even have a little of DEMITRIO STRATOS and JAMES BROWN's swaggy confidence. The rhythm section of Franco Del Prete and Toni Walmsley are so tight, so in sync, that it gives Fender Rhodes/synth player Mark Harris a lot of confidence to do his own shining thing. A most excellent, even anthemic opener. (14.25/15)
2. "'A gente 'e bucciano" (8:42) despite the smooth, gentle opening, this one breaks into some great, dynamic music in the third minute--after James' brief introductory vocal spurt--that is well rendered but is slightly diminished by James Senese's fair but not great vocal. (Why are the vocals on this song recorded so differently and more inconsistently than the other songs on the album? It's almost as if they were only added as an afterthought in the final production but never polished or processed with any care.) Toni's bass play is awesome--and I love how it's mixed so far forward in the sonicsphere. And Franco's drumming is right up there with Toni's as is Mark Harris's Fender Rhodes play. (17.625/20)
3. "Pensione floridiana" (3:32) horn section blow followed by repeated Fender Rhodes chord arpeggi open this before drums and bass join in and settle into a bluesy jazz-rock motif that sounds as if it should be the soundtrack theme for an American radio sitcom. Pleasant but almost innocuous. (8.875/10)
4. "Viecchie, mugliere, muorte e criature" (10:02) James Senese's raspy/gritty voice once again takes the forefront over this very solid Herbie Hancock music only, this time, it's quite fitting and winning--kind of in the same way that LE ORME's Aldo Tagliopietra and AREA's Dimitri could command the stage. I love his ballsy duel between his voice and his own saxophone in the fifth and sixth minutes. The band certainly does a great job of using multiple tracks to fill their sonic field. The ad nauseum repetition of the music tends to stagnate a little over time despite Mark Harris' excellent Fender Rhodes play and James' sax solos, spirited vocals, and multiple sax "horn section" track--most of which becomes more interesting in the song's wonderful final third. (17.75/20)
5. "Vico primo parisee n°8" (7:37) quite the dynamic bass lines on this Headhunters-like funk track! Everybody is playing at the top of their game: putting together a spirited Jazz-Rock Fusion tune that could mix right in there on any of Herbie's Headhunters albums. Mark and James also impress with their equally dynamic keyboard, sax, and whistle performances. In the second half they even manage to harken back to the earliest J-R Fusion masterpieces--like Bitches Brew! It's just such a great galloping groove--one that definitely puts on full display the talents/skills of all four of the musicians. (14.125/15)
6. "'O lupo s'ha mangiato 'a pecurella" (6:49) synth and sax play the melody-leading solos in the first minute of this more laid-back, spacious tune that reminds me of something from the earliest Weather Report albums. The melodies and weaves here are much simpler, sparse, and less familiar/pleasing to the radio/pop-trained Western ear. Even James' sax play is more similar to that of Wayne Shorter while the sparse note play from the independent musicians is constructed more harmonically, instead of melodically, like Weather Report. Then we run into the final two minutes with its percussion-supported street party "drunken" celebration before the band pulls back inside, into the studio, for a more tightly-performed closing. Interesting but, like the music of Weather Report, not my favorite expression of the panoply of idioms that make up Jazz-Rock Fusion. (13.25/15)
Total Time 44:38
There is a quality and style in the sound and music of this album that places me firmly in the 1972-74 period of ever-transitional Jazz-Rock Fusion being created by American Herbie Hancock and his late Mwandishi and early Headhunters periods.
90.39 on the Fishscales = A-/five stars; a minor masterpiece of mature, more-than-competent Jazz-Rock Fusion. Recommended to all lovers of Peak Era (Third Wave) Jazz-Rock Fusion.
Line-up / Musicians:
- Curt Cress / drums, percussion
- Dave King / bass
- Ack Van Rooyen / flugelhorn
- Volker Kriegel / guitar
- Kristian Schultze / keyboards
2. "From the Back" (4:30) the first of several very mathematically-organized funk songs comes across as a great exercise in individual discipline and whole-band cohesion. (8.875/10)
3. "Fields" (3:46) another tough song for musicians to perform smoothly despite its smooth and melodic guise: this is a tough song for individual musicians to toe the line to (as I hear mistakes from both Dave King and Volker Kriegel happening beneath Ack Van Rooyen's flugelhorn solo). Curt does manage to offer something with some beauty and serenity despite demanding so much of his musicians. (Maybe they all are having a blast playing these "études"?) (9.375/10)
4. "Shuffle On Out" (5:53) built around a blues bass line that Curt jazzifies with some key changes and subtle tempo shifts, giving Volker Kriegel two tracks to provide the lead over the top can be dangerous since he can fly, dance, and take it away, all without you suspecting that you've been hijacked. Interesting keyboard "takeover" in the fourth minute after Kristian's clavinet solo: he re-introduces the bass line before Dave King! Not my favorite song (or style/sound palette) but great work from Curt and the band to just be able to hold it together! (8.75/10)
5. "Delphine" (3:27) mathematical jazz-funk fusion. This is what one might expect from a drummer. And yet there are concerted efforts to present WEATHER REPORT-like melodies. One of the things I notice on this song was the nice combination of drums and percussion given by Curt. (8.875/10)
6. "'451271'" (3:35) another very mathematical arrangement that sounds as if the OHIO PLAYERS were getting into exploring complex time signatures and composed this song as a practice/learning tool. It's actually a pretty cool puzzle Curt has given his players. (8.875/10)
7. "No Answer" (3:46) slowed way down, exploring space in a Soul/R&B kind of way--like something KOOL & THE GANG or BOB JAMES might have done. Once again, when looked at from the perspective of getting good at solving mathematical problems, this one really works! Plus the added discipline needed to perform this flawlessly would be intense! (8.875/10)
8. "Movin' Right Along" (2:45) a funk jam the band must have been grooving to is here salvaged with a long fade in. Interesting construct with its rotating themes being injected by the various instruments while Dave King and Curt keep their heads down and focused. (8.875/10)
9. "Funk Off" (4:59) less funk and more WAR "Low Rider"-like rhythm and simple melody-making than I expected from that title! Interesting end to a very interesting album! (8.75/10)
Total Time 36:35
Line-up / Musicians:
- Frank Noya / bass, synths
- Fred Leeflang / saxophones, flutes, clarinet
- Nanning Van Der Hoop / drums, percussion
- Peter Schon / piano, clavinet, synthesizers, strings
1. "Fretless Fret" (4:48) a loose, contemplative COLTRANE-like excursion through several slow, spacious motifs that, eventually, lead straight into the next more-developed and far more dynamic song. (8.875/10)
2. "Tiro Tiro" (4:50) there is the strong feeling/presence of Weather Report and, later, in cluding a rather loose passage in the middle that borders on "free jazz" Well composed and performed sophisticated J-RFuse. Perhaps could've used more hooks. (8.875/10)
3. "For You Too" (2:43) sounds like a fun, quirky, pop-radio-oriented attention-getting tune similar to those some of the funk bands (and Weather Report) and artists like David Sanborn, Average White Band, and Jay Beckenstein's Spyro Gyro produced around this time. Light and engaging. (8.75/10)
4. "Matthew Welname" (5:25) using synth bass, flute and synthesizers provided the main melody lines over the top of Frank Noya's synth bass and Nanning Van Der Hoop's proficient drums (which are recorded a little out of sync with the rest of the instruments). With the joinder of clavinet and jazz bass in the second half the band is trying really hard to get into the funk but kind of miss the mark a bit with performances that feel just a bit too-tight (especially the bass). There are some nice performances and ideas here but something just falls short. (8.75/10)
5. "Dune Tune" (3:35) five chord ascending progression around which is built another Weather Report funk tune. The bass synth just isn't working for me, but the drumming here is OUTSTANDING! Nanning has definitely been practicing (and, here: channeling) his Billy Cobham chops! Synthesizer tries to engage us with a solo as electric piano continues playing that five-chord sequence every so often. In the third or fourth minute we finally get some suitable leadership: some excellent saxophone play from Fred Leeflang. This has the potential to be one great Jazz-Funk tune were they to have chosen a lead instrument other than that weird saw-synth. (9/10)
90.39 on the Fishscales = A-/five stars; a minor masterpiece of mature, more-than-competent Jazz-Rock Fusion. Recommended to all lovers of Peak Era (Third Wave) Jazz-Rock Fusion.
CURT CRESS CLAN CCC (1975)
One of the great drummers of the European scene in the 1970s: what Jaki Liebezeit was to the unfailing metronome Curt Cress was to bringing syncopation to the funk. The only "Clan" album to have ever reached daylight, it would take Curt another eight years to try his hand at leadership again.
Line-up / Musicians:
- Curt Cress / drums, percussion
- Dave King / bass
- Ack Van Rooyen / flugelhorn
- Volker Kriegel / guitar
- Kristian Schultze / keyboards
1. "Cyclone" (3:54) It takes a weird, slow-starting 90-seconds for this one to establish itself but we get it: this is a drummer's album. Nice band cohesion on this PASSPORT-like tune--with a fair amount of complexity and sophistication--and a lot more funk--than I was expecting! Kudos for Volker Kriegel for being able to adapt to and keep up with Curt's drumming (and his ideas). (8.75/10)
2. "From the Back" (4:30) the first of several very mathematically-organized funk songs comes across as a great exercise in individual discipline and whole-band cohesion. (8.875/10)
3. "Fields" (3:46) another tough song for musicians to perform smoothly despite its smooth and melodic guise: this is a tough song for individual musicians to toe the line to (as I hear mistakes from both Dave King and Volker Kriegel happening beneath Ack Van Rooyen's flugelhorn solo). Curt does manage to offer something with some beauty and serenity despite demanding so much of his musicians. (Maybe they all are having a blast playing these "études"?) (9.375/10)
4. "Shuffle On Out" (5:53) built around a blues bass line that Curt jazzifies with some key changes and subtle tempo shifts, giving Volker Kriegel two tracks to provide the lead over the top can be dangerous since he can fly, dance, and take it away, all without you suspecting that you've been hijacked. Interesting keyboard "takeover" in the fourth minute after Kristian's clavinet solo: he re-introduces the bass line before Dave King! Not my favorite song (or style/sound palette) but great work from Curt and the band to just be able to hold it together! (8.75/10)
5. "Delphine" (3:27) mathematical jazz-funk fusion. This is what one might expect from a drummer. And yet there are concerted efforts to present WEATHER REPORT-like melodies. One of the things I notice on this song was the nice combination of drums and percussion given by Curt. (8.875/10)
6. "'451271'" (3:35) another very mathematical arrangement that sounds as if the OHIO PLAYERS were getting into exploring complex time signatures and composed this song as a practice/learning tool. It's actually a pretty cool puzzle Curt has given his players. (8.875/10)
7. "No Answer" (3:46) slowed way down, exploring space in a Soul/R&B kind of way--like something KOOL & THE GANG or BOB JAMES might have done. Once again, when looked at from the perspective of getting good at solving mathematical problems, this one really works! Plus the added discipline needed to perform this flawlessly would be intense! (8.875/10)
8. "Movin' Right Along" (2:45) a funk jam the band must have been grooving to is here salvaged with a long fade in. Interesting construct with its rotating themes being injected by the various instruments while Dave King and Curt keep their heads down and focused. (8.875/10)
9. "Funk Off" (4:59) less funk and more WAR "Low Rider"-like rhythm and simple melody-making than I expected from that title! Interesting end to a very interesting album! (8.75/10)
Total Time 36:35
I have to admit that the music on CCC is far funkier than I would have ever expected from European white boys! There is a goodly amount of funk and syncopation but an odd lack of sophistication, a lack of "full" development on many of the songs. It's almost as if Curt contrived most of these rhythmically-challenging songs as a kind of test to his hired guns--as if confronting them with the task of successfully pulling off "competent" performances without embarrassing themselves. This makes me wonder how much tension the musicians felt during these studio practice and recording sessions; I can imagine a lot!
89.44 on the Fishscales = B+/4.5 stars; a strong display of whole band commitment to some challenging ideas and compositions--a near-masterpiece of funky Jazz-Rock Fusion. For the most part, I think they come through fairly shining. What might suffer a bit is the feeling of a lack of complete or "full" development on many of the song/études.
89.44 on the Fishscales = B+/4.5 stars; a strong display of whole band commitment to some challenging ideas and compositions--a near-masterpiece of funky Jazz-Rock Fusion. For the most part, I think they come through fairly shining. What might suffer a bit is the feeling of a lack of complete or "full" development on many of the song/études.
PUMPKIN Pumpkin (1975)
Some impressive Jazz-Rock Fusion from The Netherlands--this one containing musicians who, surprisingly, have no connection to any of the other renowned Dutch jazz, jazz-rock, fusion, or prog bands bands.
- Frank Noya / bass, synths
- Fred Leeflang / saxophones, flutes, clarinet
- Nanning Van Der Hoop / drums, percussion
- Peter Schon / piano, clavinet, synthesizers, strings
1. "Fretless Fret" (4:48) a loose, contemplative COLTRANE-like excursion through several slow, spacious motifs that, eventually, lead straight into the next more-developed and far more dynamic song. (8.875/10)
2. "Tiro Tiro" (4:50) there is the strong feeling/presence of Weather Report and, later, in cluding a rather loose passage in the middle that borders on "free jazz" Well composed and performed sophisticated J-RFuse. Perhaps could've used more hooks. (8.875/10)
3. "For You Too" (2:43) sounds like a fun, quirky, pop-radio-oriented attention-getting tune similar to those some of the funk bands (and Weather Report) and artists like David Sanborn, Average White Band, and Jay Beckenstein's Spyro Gyro produced around this time. Light and engaging. (8.75/10)
4. "Matthew Welname" (5:25) using synth bass, flute and synthesizers provided the main melody lines over the top of Frank Noya's synth bass and Nanning Van Der Hoop's proficient drums (which are recorded a little out of sync with the rest of the instruments). With the joinder of clavinet and jazz bass in the second half the band is trying really hard to get into the funk but kind of miss the mark a bit with performances that feel just a bit too-tight (especially the bass). There are some nice performances and ideas here but something just falls short. (8.75/10)
5. "Dune Tune" (3:35) five chord ascending progression around which is built another Weather Report funk tune. The bass synth just isn't working for me, but the drumming here is OUTSTANDING! Nanning has definitely been practicing (and, here: channeling) his Billy Cobham chops! Synthesizer tries to engage us with a solo as electric piano continues playing that five-chord sequence every so often. In the third or fourth minute we finally get some suitable leadership: some excellent saxophone play from Fred Leeflang. This has the potential to be one great Jazz-Funk tune were they to have chosen a lead instrument other than that weird saw-synth. (9/10)
6. "Depression" (7:05) more expert drumming on display as the synth bass fumbles his way over his keyboard trying to find a great melodic riff for the others to key into. So much potential here! Especially with the awesome gifts of Nanning Van Der Hoop's exquisite drumming and Fred Leeflang's disciplined and erudite sax phrases. At the end of the song I feel disappointed for having such a wonderful drum clinic go wasted like this. I am glad to see that of these musicians, Nanning Van Der Hoop managed to have a long and notable career in music. He is obviously quite gifted. (13.5/15)
7. "Go On" (4:54) the Weather Report-like jazz-funk on this one may present the audience with the most fully-formed, fully-developed, and satisfying song on the album. Even weak-link bass player Fred Noya nearly acquits himself of all previous crimes and deficiencies with his nearly-in-sync performance here! Great structure, melodies, chord progressions and key changes. I particularly enjoy the Jay Beckenstein-like performance of Fred Leeflang on the soprano sax. (9/10)
8. "Free At Last" (4:44) a two-part song that rocks, swings, and funks, giving Fred Leeflang the opportunity to show that he is, in the end, just another run-of-the-mill saxophone player: spitting out some truly despicable sounds and "melodies" with his considerable solo time. Too bad, cuz, once again, drummer Nanning Van Der Hoop shines and Fred Noya lays out another passable performance. (8.6667/10)
Total Time 38:04
Total Time 38:04
A collection of very interesting songs that feel quite obviously inspired by Weather Report. It is unfortunate that the exceptional talents of drummer Nanning Van Der Hoop and wind player Fred Leeflang are brought down by the unpolished skills of composer, keyboard player (and co-producer) Peter Schon and the apparently-tone-deaf Fred Noya. There is some great talent here, unfortunately it's disproportionately allocated among the four individuals in the band.
88.72 on the Fishscales = B/four stars; an excellent attempt at some solid Jazz-Rock Fusion that is, unfortunately, marred by inconsistencies and inadequacies. I so want to like this album--due in most part to my astonishment at the skills and performance of drummer Nanning Van Der Hoop--but it's just too flawed.
88.72 on the Fishscales = B/four stars; an excellent attempt at some solid Jazz-Rock Fusion that is, unfortunately, marred by inconsistencies and inadequacies. I so want to like this album--due in most part to my astonishment at the skills and performance of drummer Nanning Van Der Hoop--but it's just too flawed.
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