A year in which most Jazz artists who've made the commitment to the Jazz-Rock Fusion or other avenues of fusionary musical expression were either gravitating back to the Jazz folds (e.g. Herbie Hancock, Marcus Miller) or fully committing their energies to the more commercially-rewarding and financially-gratifying realms of the Smooth Jazz movement.
January
BRUFORD Feels Good to Me
The first of the three Bruford albums from the late 1970s, Feels Good to Me is so tightly wound, so concisely constructed and precisely performed, that it almost scared me off upon first listen. (I bought it when it came out). The angular and often dissonant lead guitar work of Allan Holdsworth took me some getting used to--as did the vocal stylings of Annette Peacock (though I was much more quickly won over by her than I was by Holdsworth). The funky "non-keyboard" keyboard work of Dave Stewart--especially on that (in retrospect, amazing) opening song took me by surprise (I had not at this point been exposed to any Canterbury-style jazz fusion). I knew BRAND X and, of course, drummer extraordinaire Bill Bruford. I also had quite a challenge in having to process and accommodate bass player Jeff Berlin's amazing speed, dexterity, and melodic choice-making. All in all, this was a form and style of music that pushed all of my musical buttons; I was just not ready for it! And yet I persisted and continued to play and accumulate Bruford albums and anything and everything he touched over the next three decades. Every song here is jaw-dropping for the virtuosity of its musicians as well as for the innovation of its compositional twists and turns. Great work from a collective of very strong-willed virtuosi. No wonder it only lasted a couple of years. As for the album's Canterbury-ness, it's a bit of a stretch when compared to the music of Caravan and Khan, but it is quite comparable, in my opinion, to that of the more "serious," jazz-oriented Canterbury artists such as Gilgamesh, National Health and later Soft Machine. The material used for Feels Good to Me was recorded at Trident Studios in London, U.K., in August of 1977 and then released by Polydor Records on January 5, 1978.
Line-up / Musicians:
- Bill Bruford / drums and percussion (tuned & untuned), co-producer
- Allan Holdsworth / electric guitar
- Dave Stewart / keyboards, synths
- Jeff Berlin / bass
With:
- Annette Peacock / vocals (2,3,10)
- John Clark / electric guitar (11)
- John Goodsall / rhythm guitar (6)
- Kenny Wheeler / flugelhorn (3,7,9)
- Neil Murray / addit. bass
1. "Beelzebub" (3:22) an iconic song that many people identify with the Bruford experience. (8.875/10)
2. "Back to the Beginning" (7:25) great chorus among pleasantly sophisticated, unique, and memorable music (especially those iconic drum travels). Awesome slow-build to Allan's iconic guitar solo in the fifth and sixth minutes. (13.25/15)
3. "Seems Like a Lifetime Ago (Pt. 1)" (2:31) a surprisingly serene Canterbury/Alice in Wonderland-ish opening with Annette's gentle vocals a little too muted. Dave, too. Kenny Wheeler's trumpet play and Jeff's warbbly bass are about the only things up front and clear. (8.75/10)
4. "Seems Like a Lifetime Ago (Pt. 2)" (4:29) the real Bruford lets loose here with some wonderfully quirky (if dated) syncopation--letting Allan loose from his containment cell and giving Bill the freedom to realise some of his great ideas through a quartet of virtuosi. (9/10)
5. "Sample and Hold" (5:12) opening with Jeff Beck's drum line from Stevie Wonder's "Superstition" surprises, but all is alieved when the rest of the band joins in and takes a sudden left for the drive down the long hillside with Bill's xylophone and Dave's organ taking key rolls in the mix along with Fender Rhodes, what sounds like a fretted bass, and Allan's growling guitar taking part as a melody reinforcer and/or counterpuncher for much of the duration. The recurrent stop-and-restarts in the song's structural pattern allow for a lot of instrumental sound changes, especially from Dave and Bill but even from the effects Jeff employs on his bass. I've always liked the sophistication and convoluted paths and variable speeds used through the course of this song: it makes me think of the sudden and unexpected and events one used to encounter when driving in rural England back in the 1960s and 70s. (8.875/10)
6. "Feels Good to Me" (3:53) an almost-Disco beat quickly turns into something more New Wave/BUGGLES-like in which a surprisingly effective church-like melodic hook issued from Dave Stewart's organ is introduced (where it proceeds to worm its way into one's brain in the same way that an innocuous children's nursery rhyme does). By the time Allan Holdsworth enters in the third minute the layers of the song have beefed up and buried the main melody that one thinks one is now in the land of EMERSON LAKE and PALMER but Allan stops and the rest of the band raises the flag of that earworm melody again, retaining the ELP fullness, before coming round to a AH-assisted finish. Brilliant! (8.875/10)
7. "Either End of August" (5:24) opens with an emerging sound that sounds like it might become Weather Report's "Birdland" but then takes an unexpected turn onto some of Dave Stewart's territory (lots of experimental keyboard sounds being gently yet-unusually deployed here). Solos from Kenny Wheeler, Jeff Berlin, and Dave ensue before coming back around again for more demonstrative second and third times for each of the soloists. Kenny, Jeff and Dave really get most of the spotlight though none really shine the way Allan can (and finally does in the final 45 seconds). (8.6667/10)
8. "If You Can't Stand the Heat..." (3:26) Jeff Berlin on display over and between some cool Bruford tuned percussion work. Dave Stewart seems to exist more as a glue that forms the structure and Allan only enters with legato solos briefly in the first half of the second minute and then for an extended appearance from 1:39 to 2:39. Dave finally gets a little shine thereafter--thought partly in tandem with Bill's xylophone. (8.75/10)
9. "Springtime in Siberia" (2:44) an excellent Kenny Wheeler ballad/duet with Dave Stewart. (4.75/5)
10. "Adios a la Pasada (Goodbye to the Past)" (8:41) long synth and Fender Rhodes play over Jaco-like wandering fretless bass before Bill's driving drum track is slowly entered and lifted into the mix (though remaining far in the background--with Allan's guitar solo--for quite a long time). Around the three minute mark all instruments are finally at equal volume: fully present in the mix--just when Annette's whisper spoken voice starts to recite her uniquely worded poetry. At 3:40 the band rises to a level behind Allan's guitar while Annette pauses--but she soon returns, even singing in her unusual way over Allan and the band's full-volume play before the boys back down to let her return to her whisper delivery. More complex and unusual structural and chordal music in the fifth and sixth minutes with the mountaintop finally achieved around 5:42 whereupon every one regales at the amazing 360 degree panoramic views with each their own expressive release: Bill with lots of cymbal crashes, Annette by screaling her odd epithets, Allan emoting in an almost humble and forlorn melody, Dave and Jeff sounding awed and appreciative. (17.5/20)
Total Time: 46:58
88.45 on the Fishscales = B/four stars; an excellent example of the jazz fusion side of progressive rock music.
LEB I SOL Leb I Sol
I've been waiting a long time to write reviews of this Macedonian band's albums even though I felt an immediate attraction to and affinity for their music when I first discovered them six months ago. The band's self-titled debut album was recorded in 1977 and then released by the Yugoslavian label RTB in January of 1978.
Line-up / Musicians:
- Vlatko Stefanovski / guitar, vocals
- Nikola Dimusevski / keyboards
- Bodan Arsovski / bass
- Garabet Tavitijan / drums
1. "Devetka" (4:30) opening with guitarist Vlatko Stefanovski introducing the song's main melody a couple of times with minimal support from the rest of the band before he pauses a little to allow the rhythmatists to establish the main weave. When Vlatko starts back up he has the support of a funky weave from bassist Bodan Arsovski, drummer Garabet Tavitijan, and keyboardist Nikola Dimusevski who is multi-tasking with both clavinet and Fender Rhodes. Sadly, the song is faded out after only four minutes: it feels as if they're just getting started! Also, too bad the drums are mixed into the background. (9/10)
2. "Pod vodom" (4:58) a fast-movin' romp with some high speed Mahavishnu Orchestra/RTF-like soloing being traded between Vlatko and Nikola's MiniMoog. The funky bass is steady and in tandem with Nikola's supportive Fender Rhodes chords while the drums seem buried in the mix--given no electric boost. Still, very impressive musicianship. (9.25/10)
3. "Utrinska tema" (3:20) a gentler song that is set up to fully support Vlatko's plaintive Stevie Wonder-like vocal. At 2:15 a Carole King piano riff establishes the base for some fiery electric guitar soloing, which, again, sadly, is faded out rather than let play. (8.75/10)
4. "Kokoska" (5:00) opening with a show of drumming skill, Garabet gets much more notice when the other instruments are not present to drown him back into the background, but he's no Billy Cobham or Tony Williams. The rest of the band begins to make themselves known after about 90 seconds, establishing a poppy, almost-Disco jam before actually going Disco from the 2:30 mark on. The back-and-forth bounce between Garabet's two-step drum pattern and Nikola's clavinet support the fiery display of Vlatko's electric guitar, which leads the band through several sytlistic shifts before coming to a clean ending. Impressive play though not my favorite kind of song. (8.75/10)
5. "Nisam tvoj" (3:20) another watered down piece for the support of a pretty vocal performance (with some very nice harmony work from the background vocalists), there is a little keyboard soloing in the spaces between Vlatko's verses but otherwise this is not really a song meant to impress the jazz, rock, or jazz-rock fusion communities. (8.5/10)
6. "U senci" (3:44) an instrumental that plays out more like a hard-charging rock song despite its occasional Weather Report-like jazz sound palette. The drum and bass play here is two rudimentary though Garrabet's fills are impressive. (8.66667/10)
7. "Cudo za tri dana" (2:50) another simple song construct set up to support a vocal. I must admit that Vlatko's voice is very pleasant. He also has a gift for choosing melodies that are "Western" enough to easily pass through my nervous system, that is, to not sing in musical scales and melodies more typical to his native people's musical traditions. (8.75/10)
8. "Pesma o sonji H..." (5:09) a gentle Smooth Jazz instrumental that feels like something out of the Weather Report wheelhouse. Uncredited pan flute (or perhaps its just a keyboard), acoustic piano, and gentle jazz electric guitar lead the way in establishing the gentle melodies over the simple and spacious rhythm track. Nice but nothing to write home about. (8.666667/10)
9. "Damar" (3:28) Upbeat Smooth Jazz that sounds like The Allman Brothers joining forces with The Crusaders. Once again I hear impressive performances from the guitar and keyboards built over fairly rudimentary rhythm lines. (8.75/10)
Total Time: 36:16
Total Time: 36:16
After listening to this album a couple of times I remain unconvinced that Leb I Sol's drummer and bass player are in the same league as Nikola Dimusevski and Vlatko Stefanovski. What these two might be capable of with a rhythm section of true virtuosi.
87.87 on the Fishscales = B/four stars; an excellent display of Jazz-Rock Fusion's transition from its Third to Fourth Waves: the move from skillful fire and funky brimstone into the radio-friendly pop melody making of Smooth Jazz.
Line-up / Musicians:
A1. "Black Octopus Part 1 - Many Directions" (2:46) interesting avant garde music with Paul's musique concrète vocal performance over the top. (8.75/10)
- Paul Jackson / electric bass, acoustic bass (A1), vocals (A1, B1, B2)
- Alphonse Mouzon / drums
- Bennie Maupin / tenor sax, bass clarinet (A1)
- Herbie Hancock / piano, clavinet, synthesizer [Arp Odyssey] (A1)
- Bennie Maupin / tenor sax, bass clarinet (A1)
- Herbie Hancock / piano, clavinet, synthesizer [Arp Odyssey] (A1)
- Webster Lewis / electric piano (B1, B2)
- Ray Obiedo / electric guitar
- Webster Lewis / Hammond organ (A1, A2), synthesizer [Arp String] (B2), synthesizer [Yamaha Cs-80] (B2)
- Webster Lewis / Hammond organ (A1, A2), synthesizer [Arp String] (B2), synthesizer [Yamaha Cs-80] (B2)
- Mari Kaneko, Yuka Kamebuchi / backing vocals (A1, B1)
A2. "Black Octopus Part 2 - Eight Ways Of Love" (4:22) organ-led blues rock funk. (8.75/10)
A3. "Funk Times Three" (6:25) a walking-paced funk tune with organ, horns, and, of course funky bass and drums. The blues-soaked vocals make this sound more bluesy. (9/10)
B1. "Burning In The Heat (Of Your Love)" (7:59) more like a soul/R&B tune from the late 1960s (despite its near-Disco drum and bass lines). It starts out feeling/sounding quite like Thelma Houston's "Don't Leave Me This Way" and Luther Ingram's hit "(If Loving You Is Wrong) I Don't Want to Be Right" but then moves into something that feels like quite amateurish Disco-funk palette--and a bit of a rip off of early CHIC, ODYSSEY, and McFADDEN & WHITEHEAD. (13/15)
B2. "Tiptoe Thru The Ghetto" (5:36) more funk that sounds under-processed and amateurish--as if Paul was just learning bass techniques and how to manage and manipulate them with studio amplifiers, effects, and engineering techniques. The music and song is surprisingly good despite the poor sound quality--and Paul's amazing bass skills come through quite well (as well as those of Alphonse Mouzon, Herbie Hancock, and Bennie Maupin). (9.125/10)
Total time: 27:08
Back in the day we would have called this "an EP." The Y2K CD release contains an additional four songs that bring the album's length up over 40 minutes. I think the two most surprising things about this album (besides its length) are the amateurish sound quality given to the instruments (especially Paul's bass) and Paul's voice: it sounds like it belongs to an old Black man singing in the 1940s or 1950s.
88.41 on the Fishscales = B-/3.5 stars; a brief album of very interesting compositions with exceedingly good performances from Herbie's touring line-up at the time that were somehow rendered quite poorly by the studio equipment and engineering. Perhaps it should have been more well-attended to by the producer and engineers before being mixed, mastered, and released.
RIMONA FRANCIS Rimona Francis
Skilled scat vocalists like Ella Fitzgerald, Flora Purim, Urszula Dudziak, Minnie Ripperton, and the ladies of The Northettes (Barbara Gaskin, Ann Rosenthal, and Amanda Parsons) are a rare find, so when I heard the voice of Rimona Francis scatting around like Ula within the weaves of Miroslav's songs here, I had to check her out (and hear more). This is the only jazz/Jazz-Fusion album I was able to find and it is a beauty. Recorded in Villengen for MPS it included the support of the great dutch piano-keyboard player Jasper van 't Hof. The material for the album was recorded in 1977 while Rimona was living in New York City but not released by Germany's MPS label until early 1978.
Line-up / Musicians:
Line-up / Musicians:
- Rimona Francis / piano, vocals, composer
- Jasper van't Hof / piano, electric piano [Fender Rhodes], organ, synthesizers, co-composer (B4)
- Frank Tusa / bass, composer (B2)
- Buddy Williams / drums
- Barry Finnerty / guitar
- Leszek Zadlo / saxophones and flutes
- Stu Hacohen / arranger, composer (A1, B3)
A1. "Bulgarian Beans" (5:53) the first of arranger Stu Hacohen's two (and a half) compositions contributed to the album, it offers a mature, well-meted out whole-band arrangement over a syncopated and cramped four-note motif (think of the vamp in Andrew Lloyd-Weber's "The Temple" from the Jesus Christ Superstar original soundtrack). Aside from Rimona's expected wordless vocalese, there is Leszek Zadlo's soprano saxophone, Barry Finnerty's jazz electric guitar, and Jasper Van 't Hof's synthesizer and electric piano work that each make their way into the spotlight for brief appearances. (9/10)
A2. "Colours Of Excitement" (7:08) musically this is quite an excellent composition from Rimona: with great melodies, a great two-chord Latin Jazz-Rock Fusion tapestry on which the Latin rhythm tracks, keyboards and Leszek Ladlo's flute are even more compelling than Rimona's vocalese. It opens with synthesizer "nature sounds" and lovely jazz guitar supporting Rimona's airy little girl voice (singing her own lyrical, heart-felt homage to Mother Nature.) Then, two minutes in the full band kicks in, quickly establishing quite a rousing waltz-like motif within which Rimona now switches to her wordless vocalese as the lead instrument for the next couple of minutes. With a transition to Barry Finnerty's jazz guitar for the next solo (a great one!) I find myself musing that I'm really listening to the dulcet tones of the great Danny Thompson's famous French double bass (and muse), which he named "Victoria.") Really a lovely, top notch Jazz-Jazz-Fusion song. Easily the best song on the album; a GREAT Jazz-Rock Fusion song.(14.5/15)
A3. "Escape" (6:11) worded jazz vocals with minimal accompaniment from Frank Tusa's bass, Rimona's vocals are quite technical but marred by some pitchiness, and lyrics and melody lines that are, frankly, just a little too challenging for the untrained listener. Also, her voice fails to remain strong and crystalline--not unlike Northette singer Amanda Parson's singular flaw. The second half of the song (Rimona's own composition) features some of Rimona's dynamic piano play before settling back into her vocal with its oddly lined melodies. (Tellingly, this song found me conjuring up visions of Audrey Hepburn singing in er apartment window in the film Breakfast at Tiffany's.) (8.875/10)
B1. "Debka Druze" (3:22) an embellished and Stu Hacohen arranged version of the traditional Israeli folk song opens with some high-spirited almost classical-sounding vocal scatting--which is occasionally mirrored and doubled up melodically by the rest of the full band, but especially bassist Frank Tusa and guitarist Barry Finnerty. At the end of the first minute Rimona's voice drifts into a lower register of nasal tone-drones that sound as if she's trying to create Tuvan harmonic overtone throat singing, but then Barry jumps in there and the band takes off into a post bop-supported jazz electric guitar solo that feels as if it could be anyone from Wes Montgomery to Anthony Wilson, all the while Jasper van 't Hof is subverting all this traditional jazz sound with his synthesized low and high seething saw notes--which is fascinating. Nicely cobbled tune that makes me want to hear a more traditional rendering of this Middle Eastern dance song. (9/10)
B2. "Eulipia" (3:50) opens as a double bass solo that sounds like a bit of Eddie Gomez playing Chick Corea's "Spain." It's not until 2:50 that anyone joins composer Frank Tusa and, of course, it's Rimona singing in her unusual scatting style, as, apparently, she has been inspired to do by listening to Frank's soloing. A minute later and it's over. Nice work--though this is more traditional Ella Fitzgerald-like jazz than J-R Fusion. (8.875/10)
B3. "Five And Nine" (5:04) complex melodies voiced by Rimona through her dreamy voice and her piano keyboard open this one before the band jumps in at the one minute mark to offer a syncopated motif that seems to bridge several ethnic traditions: Caribbean, Brasilian, African, and, of course, Israeli. This happens to be the second of Stu Hacohen's true compositions and, like the album's opener, "Bulgarian Beans," it's a good one if rather syncopated and, thus, not as easy to engage in as Rimona's own compositions. Rimona backs away in the middle of the third minute, leaving space for Barry Finnerty to offer another fine guitar solo over the excellent and hypnotic rhythm work of Frank and Buddy. Leszek takes over in the next minute with a soprano sax for a bit before giving way to Rimona to finish it as she started. Finely crafted if not totally compelling. (8.875/10)
B4. "Gingi" (6:35) recorded live by Südwestfunk Baden-Baden at the 1977 Donaueschingen Music Festival, this is a duet of Rimona's child-like vocal musings and her equally-child-like explorations of the piano. Peppered throughout the performance are laughter and mouth noises as well as discordant and nonsensical piano note pairings. As this is given writing credit to Jasper van 't Hof, I'll assume that some of the keyboard sounds (perhaps all?) are being generated by Jasper himself--piano and synthesizers. Interesting and entertaining but not anything I care to revisit (unless to educate or surprise an unsuspecting listener friend of mine). (8.75/10)
A2. "Colours Of Excitement" (7:08) musically this is quite an excellent composition from Rimona: with great melodies, a great two-chord Latin Jazz-Rock Fusion tapestry on which the Latin rhythm tracks, keyboards and Leszek Ladlo's flute are even more compelling than Rimona's vocalese. It opens with synthesizer "nature sounds" and lovely jazz guitar supporting Rimona's airy little girl voice (singing her own lyrical, heart-felt homage to Mother Nature.) Then, two minutes in the full band kicks in, quickly establishing quite a rousing waltz-like motif within which Rimona now switches to her wordless vocalese as the lead instrument for the next couple of minutes. With a transition to Barry Finnerty's jazz guitar for the next solo (a great one!) I find myself musing that I'm really listening to the dulcet tones of the great Danny Thompson's famous French double bass (and muse), which he named "Victoria.") Really a lovely, top notch Jazz-Jazz-Fusion song. Easily the best song on the album; a GREAT Jazz-Rock Fusion song.(14.5/15)
A3. "Escape" (6:11) worded jazz vocals with minimal accompaniment from Frank Tusa's bass, Rimona's vocals are quite technical but marred by some pitchiness, and lyrics and melody lines that are, frankly, just a little too challenging for the untrained listener. Also, her voice fails to remain strong and crystalline--not unlike Northette singer Amanda Parson's singular flaw. The second half of the song (Rimona's own composition) features some of Rimona's dynamic piano play before settling back into her vocal with its oddly lined melodies. (Tellingly, this song found me conjuring up visions of Audrey Hepburn singing in er apartment window in the film Breakfast at Tiffany's.) (8.875/10)
B1. "Debka Druze" (3:22) an embellished and Stu Hacohen arranged version of the traditional Israeli folk song opens with some high-spirited almost classical-sounding vocal scatting--which is occasionally mirrored and doubled up melodically by the rest of the full band, but especially bassist Frank Tusa and guitarist Barry Finnerty. At the end of the first minute Rimona's voice drifts into a lower register of nasal tone-drones that sound as if she's trying to create Tuvan harmonic overtone throat singing, but then Barry jumps in there and the band takes off into a post bop-supported jazz electric guitar solo that feels as if it could be anyone from Wes Montgomery to Anthony Wilson, all the while Jasper van 't Hof is subverting all this traditional jazz sound with his synthesized low and high seething saw notes--which is fascinating. Nicely cobbled tune that makes me want to hear a more traditional rendering of this Middle Eastern dance song. (9/10)
B2. "Eulipia" (3:50) opens as a double bass solo that sounds like a bit of Eddie Gomez playing Chick Corea's "Spain." It's not until 2:50 that anyone joins composer Frank Tusa and, of course, it's Rimona singing in her unusual scatting style, as, apparently, she has been inspired to do by listening to Frank's soloing. A minute later and it's over. Nice work--though this is more traditional Ella Fitzgerald-like jazz than J-R Fusion. (8.875/10)
B3. "Five And Nine" (5:04) complex melodies voiced by Rimona through her dreamy voice and her piano keyboard open this one before the band jumps in at the one minute mark to offer a syncopated motif that seems to bridge several ethnic traditions: Caribbean, Brasilian, African, and, of course, Israeli. This happens to be the second of Stu Hacohen's true compositions and, like the album's opener, "Bulgarian Beans," it's a good one if rather syncopated and, thus, not as easy to engage in as Rimona's own compositions. Rimona backs away in the middle of the third minute, leaving space for Barry Finnerty to offer another fine guitar solo over the excellent and hypnotic rhythm work of Frank and Buddy. Leszek takes over in the next minute with a soprano sax for a bit before giving way to Rimona to finish it as she started. Finely crafted if not totally compelling. (8.875/10)
B4. "Gingi" (6:35) recorded live by Südwestfunk Baden-Baden at the 1977 Donaueschingen Music Festival, this is a duet of Rimona's child-like vocal musings and her equally-child-like explorations of the piano. Peppered throughout the performance are laughter and mouth noises as well as discordant and nonsensical piano note pairings. As this is given writing credit to Jasper van 't Hof, I'll assume that some of the keyboard sounds (perhaps all?) are being generated by Jasper himself--piano and synthesizers. Interesting and entertaining but not anything I care to revisit (unless to educate or surprise an unsuspecting listener friend of mine). (8.75/10)
Total time: 38:03
Rimona is bold and talented but often pitchy and not always as crystal clear as the above mentioned Sirens of Jazz/Jazz-Rock Fusion and Canterbury music.
The album, however, is recorded with the typical MPS pristineness though the drummer's toms and snare sound and feel muted, distant, and dull, and the compositions are all quite sophisticated and worthy of inclusion within the lexicon of Jazz-Rock Fusion's peak era of productivity.
90.50 on the Fishscales = A-/five stars; a bit of an odd duck, but still a minor masterpiece of jazzy Jazz-Rock Fusion.
90.50 on the Fishscales = A-/five stars; a bit of an odd duck, but still a minor masterpiece of jazzy Jazz-Rock Fusion.
ALPHONSE MOUZON In Search of a Dream (1978)
What a line-up! My expectations can't help but be elevated. In Search of a Dream was recorded in Stuttgart, Germany, at Zuckerfabrik, between November 20–24, 1977, for MPS Records, with the album bing released as a vinyl LP early in the next year.
- Alphonse Mouzon / drums, organ (1), electric piano (5, 9), co-producer
With:
- Philip Catherine / electric & 12-string acoustic (2, 5) guitars
- Joachim Kuhn / electric & acoustic pianos
- Stu Goldberg / piano (2), Mini Moog & organ (6), e-piano (6, 7)
- Bob Malik / tenor saxophone (2, 3, 5, 7, 9), funk box (9)
- Miroslav Vitous / electric & acoustic (3, 4) basses, Mini Moog & e-piano (4)
1. "Nightmare" (6:07) one of the Philip Catherine performances that reminds me that he probably should be considered among Jazz-Rock Fusion's greatest guitarists. Miroslav Vitous and bandleader Al really shine throughout this up-tempo Power Fusion tune as does pianist Joachim Kuhn. Al lays down an absolutely awesome drum solo in the third minute. (9.333/10)
2. "Electric Moon" (4:50) encroaching into the territories being explored by Third Wave J-R Fusion artists like Return To Forever, Nova, and Brand X, a slower, more television-soundtrack-oriented tempo is played while Stu Goldberg's keys, Miroslav's fretless "underwater" bass, and Al's drumming sound like NOVA's team of and Narada Michael Walden, respectively. Nice song with a very comforting sound palette. (9/10)
3. "Shoreline" (4:30) here's one that opens sounding like a Weather Report tune--complete with the Jaco-like fretless bass sound being played by Miroslav--but then at 0:45 the sax and keys take it into a more Jazzy motif but Miroslav's Jaco Pastorius-like bass play, Bob Malik's Smooth Jazz tenor sax, and Joachim's Chick Corea-like piano playing bring it back into a kind of Weather Report area. Thanks to Joachim's wonderful keyboard work I like this better than most WR songs. Al's work here is subdued, making his contributions practically negligible. (9.125/10)
4. "The Light" (3:21) violin-sounding bowed double bass is the featured instrument on this otherwise-RTF like song. Al's drumming are right in the Power Fusion category occupied by Lenny White and Narada Michael Walden. Nice. (9/10)
5. "The Unknown Journey" (4:00) opening with a two keyboard-arpeggiated chords within which guitar, bass, and drums drive us forward at a comfortable, leisurely pace while Bob Malik plays a sax line as the presenter of the main melody. Nice. I like Al's almost-aggressive play--even the crashing cymbals. Miroslav gets the second solo before an electric piano gets a turn. (Is that Al or Joachim?) Nice song--especially if you want to really get a listen to some great drumming. (9.25/10)
6. "The Ram And The Scorpio" (5:53) flying out of the gate like a bat out of Carlsbad, Al, Miroslav, Philip, Stu, and Joachim seem to be on an important delivery run as they collectively support solos from electric guitar, organ, and electric piano. As with the album's opener, Philip Catherine is really impressive. (Why couldn't he be more consistently impressive like this on every album I've heard him contribute to?) Stu Goldberg's organ play is also quite impressive and enjoyable and his MiniMoog duel with Philip is top notch. (9.25/10)
7. "In Search Of A Dream" (4:51) mellowing us out a little after those last few, we're almost in the comforting near-Smooth Jazz territory of Narada Michael Walden's solo career. But this turns out to be yet another showcase for the talents of Philip Catherine. (Which begs the question of why was his career so spotty: why weren't all of his contributions as a collaborator as good as this?) Al, Miroslav, and Joachim are so solid--each worthy of singling out. Unfortunately, Bob Malik's sax kind of lowers the bar by bringing the music into that Dave Sanborn area of schlocky Smooth Jazz. (9/10)
8. "Playing Between The Beat" (2:34) flanged drum soloing opens this and then continues for the song's duration with some clapping and vocalized percussive noises joining in the mix during the song's second half. Weird that it's taken me so long to appreciate Alphonse's skills and talent because he is good! (8.875/10)
9. "Nothing But A Party (incl. "Happy Birthday")" (3:58) group singing of "Happy Birthday" in a single room setting opens this before the band set up a Disco funk motif for multi-track sax harmonized melody to play over. Nice to hear that these guys can play funk and Disco--Philip Catherine rhythm guitar and wah-wah lead, Miroslav Vitous slappy funk bass and wah-wah bass, Alphonse Disco drums, and even Joachim Kuhn the chord-stylings required of the electric piano. Kind of cool! (9/10)
Total Time 40:04
Total Time 40:04
Finally Al has realized that his skill set enables himself to make music of the highest caliber of Jazz-Rock Fusion's Third Wave: as a Power Fusionist--especially if he surrounds himself with the right crew of collaborators. With this album he has accomplished that.
90.93 on the Fishscales = A-/five stars; a minor masterpiece of excellent Third Wave Jazz-Rock Fusion. Highly recommended for the EXCELLENT drumming, bass play, and lead guitar work.
90.93 on the Fishscales = A-/five stars; a minor masterpiece of excellent Third Wave Jazz-Rock Fusion. Highly recommended for the EXCELLENT drumming, bass play, and lead guitar work.
February
THE MUFFINS Manna/Mirage
Line-up / Musicians:
- Dave Newhouse / piano, organ, piccolo flute, alto & baritone saxophones, bass clarinet, whistle, percussion
- Tom Scott / piccolo, E-flat, alto & C-flutes, soprano, alto & baritone saxophones, B-flat & alto clarinets, oboe, soprano recorder, percussion
- Billy Swan / bass, piano, guitar, percussion
- Paul Sears / drums, gong, xylophone, vibes, percussion, "pots & pans", pennywhistle
With:
- Steven Feigenbaum / guitar (3,4)
- John Schmidt / baritone horn, tuba
- Doug Elliot / trombone
- Larry Elliott / trumpet (1)
- Greg Yaskovich / bubble trumpet (4)
Favorite songs: 4. "The Adventures of Captain Boomerang" (22:48) (38/45); 1. "Monkey with Golden Eyes" (4:02) (9/10), and; 3. "Amelia Earhart" (15:45) (25.5/30).
Total Time: 48:36
Though I'm familiar with this album after repeated listenings to recognize each song and smile, I do not seem to be able to recall the Muffins sound when I am away from their music--when I am just trying to conjure up the "essence" of the band and their sound. All nice music, eminently listenable--and enjoyable--just, for some reason, not memorable. This is why this album isn't higher in my personal favorites. I remember that "Hobart Got Burned" (5:56) is an example of the band venturing off into the more challenging and dissonant realms of free jazz--though it does come together in a somewhat cohesive flow for the second half. (8/10)
85.79 on the Fishscales = four stars; an excellent addition to any prog lover's music collection. I am sure that this album would be an eminently more enjoyable listening experience for fans coming from (or for) a true jazz background, as there is a lot of that. The performances are all exquisite: high in technical skill as well tightly orchestrated.
85.79 on the Fishscales = four stars; an excellent addition to any prog lover's music collection. I am sure that this album would be an eminently more enjoyable listening experience for fans coming from (or for) a true jazz background, as there is a lot of that. The performances are all exquisite: high in technical skill as well tightly orchestrated.
CHICK COREA The Mad Hatter
I've never been certain why this album has always, since I acquired it in 1978, maintained a very high place on my all-time list of Favorite Albums, but now, after examining it from the critical perspective of a music reviewer I think I have a better grasp of it.
Recorded in Los Angeles at Kundun Recorders in November of 1977, it was released by Polydor Records in 1978 on February 13.
Lienup / Musicians:
- Chick Corea / Piano, Electric Piano [Fender Rhodes], Synthesizer [Mini-moog, Poly-moog, Moog 15, Moog Sample & Hold, Arp Odyssey, Oberheim 8 Voice], Effects [Mxr Digital Delay, Eventide Harmonizer], Shaker [African Shaker], Marimba, Finger Cymbals, Cowbell
With:
- Eddie Gomez / Double Bass (4, 6, 8, 9)
- Steve Gadd / Drums (4, 6, 8, 9)
- Joe Farrell / Tenor Saxophone, Flute, Piccolo Flute
- Gayle Moran / Vocals
- Herbie Hancock / Fender Rhodes (9)
- Harvey Mason / Drums (3, 5)
- Jamie Faunt / Double Bass (3, 5, 7)
Horn Section:
- Trombone: Ron Moss
- Trumpets: John Rosenberg, John Thomas, Stu Blumberg
Strings:
- Cello: Dennis Karmazyn
- Violin: Charles Veal, Jr., Kenneth Yerke (9)
- Viola: Denyse Buffum, Mike Nowack (9)
1. "The Woods" (4:23) a wonderfully atmospheric, psychedelic, even appropriately-comedic collection of sounds and melodies to open Chick's 1977 rendering of Charles Dodgson's famous story. What a great, perfect opening (overture). Like a soundtrack to a book-on-tape. (10/10)
2. "Tweedle Dee" (1:10) piano and cello & strings; sounds very much like one of Yo-Yo- Ma and Edgar Meyer's "Goat Rodeo" pieces from the 21st Century. (5/5)
3. "The Trial" (1:43) Gayle Moran's singing of The Queen Hearts' famous line "Who stole the tarts was it the Kind of Hearts?" is fittingly quite annoying. Perfectly appropriate for this story! (5/5)
4. "Humpty Dumpty" (6:27) great jazz jam that sounds coming from Chick's piano, Eddie Gomez's double bass, Steve Gadd's drums, and Joe Farrell's tenor saxophone that feels more based in the realm of true jazz due to the double bass play but, it does cross over into the J-R Fusion style with Farrell's sax style and Gadd's nuanced drumming palette. The song also does kind of an "overture" job of presenting melody themes that will come up (repeatedly) in later songs. Awesome high-energy, melodic jazz piece! Man are these artists skilled and talented! One of the most tightly composed and performed (recorded) songs I've ever heard! (10/10)
5 "Prelude to Falling Alice" (1:19) Chick's piano, strings, metal percussives, and Gayle Moran (and, later, horns) present the ephemeral framework of the song that follows. (5/5)
6. "Falling Alice" (8:17) Horns are the opening mood and melody setter for this before Gayle brings us into the story. Chick's electronic keyboard play in the instrumental solo sections is at its absolute best but Gayle Moran, Joe Farrell (and the horn section), Eddie Gomez, and Steve Gadd's contributions make this one of my absolute favorite J-R Fuse songs of all-time. It's even better than any RTF song! (20/20)
7. "Tweedle Dum" (2:54) Chick's piano with the strings complement (with Jamie Faunt on double bass) and Gayle Moran's ghost-like vocalise make this an excellent buffer between the album's two highlights. (1010)
8. "Dear Alice" (13:06) Chick's piano arpeggio provides all the support necessary for both Eddie Gomez and Chick's right hand (not to mention Steve Gadd's amazing subtle support on the drum kit) to issue forth two minutes of some of the finest soloing you'll ever hear. At 2:45, Gayle returns to move forward the Alice story before stepping back to allow one awesome flute solo from Joe Farrell (while Chick, Eddie, and Steve continue to provide their amazingly nuanced support.) I LOVE Chick's rhythmic Latin melodies in the background! At 6:40 we bridge into Chick's turn at the lead. It takes a few cycles for him to warm up, but once he gets cooking in the (eighth minute) it's epic! And the support from and Joe, Eddie, and especially Steve is phenomenal. While not quite as mind-blowingly perfect as "Falling Alice" this is, for me, another highlight of the Jazz-Rock Fusion's "Classic Era." Steve's drum play over the final two minutes not only rivals, in my opinion, that of the famous "Aja" sequence but surpasses it! (24/25)
9. "The Mad Hatter Rhapsody" (10:50) Chick and Herbie going toe-to-toe using some of the album's previous themes and patterns. Chick is on piano and Herbie is playing a Fender Rhodes with Eddie Gomez, Steve Gadd, and the Joe Farrell-led horns (mixed masterfully with Chick's synth horns) bringing us a rollicking race-track tune with great solos from Chick's Minimoog, Herbie's Fender, The rhythm section is so tight--even when the dance rhythm turns slightly Disco! I'm not crazy about the little Latin motif in the eighth minute, but I LOVE the way they tie it up with Gayle taking us back to the "main melody" of the Alice songs. (19.25/20)
This is an album that I find so hard to find fault with. It may not be as free and unstructured as Bitches Brew or the Mwandishi albums but this musicianship of the very highest order as well as inspired compositional genius. It will be of no surprise to me if the metric ratings for this one come out extremely high.
98.41 on the Fishscales = A+/five stars; one of the finest jazz, jazz-rock fusion, or prog albums I've ever heard/known. In a rather unexpected twist of fate, The Mad Hatter is my highest rated and one of my Top 10 Favorite J-R Fuse albums of the "Classic Era"!
GONG Expresso II
Gong's third studio album since the departures of Daevid Allen and Steve Hillage, first since the loss of Mike Howlett and Didier Malherbe. The band's full commitment to Jazz-Rock Fusion is a sign of (and tribute to) the firm leadership of Pierre Moerlen. And, for all you percussion lovers, Mireille is back! And Curved Air's Darryl Way and the ghost-like presence of Allan Holdsworth are in. The album was recorded in London, England, in July and August of 1977 at Pye Studios and Matrix Studios (produced exclusively by the band) and then released by Virgin Records in February of 1978.
Line-up / Musicians:
- Hansford Rowe / bass, rhythm guitar (2)
- Mireille Bauer / marimba (1,2,5), vibraphone (3,4)
- Benoît Moerlen / vibes (1-6), xylophone & tubular bells (6), glockenspiel & claves (6), marimba & percussion (3)
- Pierre Moerlen / drums, glockenspiel & vibes (1), xylophone (2), tubular bells & timpani (5)
With:
- Allan Holdsworth / rhythm (1) & lead (3,4, 6) guitars
- Mick Taylor / lead guitar (1)
- Bon Lozaga / lead (2) & rhythm (3) guitars
- Darryl Way / violin (3,5)
- Francois Causse / congas (2-5)
1. "Heavy Tune" (6:22) a dull and plodding song that seems to exhibit an over-arching malaise or fatigue from the band (though more from the guitarists (including Allan Holdsworth) and bass guitarist Hansford Rowe, but even Pierre's drum playing seems lackluster and uninspired--leaving all his energy for his vibraphone play. Stupid KISS-like rock chord progression propelled by the rhythm guitarists' "power" chords. What a sad opening. (8.66667/10)
2. "Golden Dilemma" (4:51) maybe now they've awakened! But the main rhythm track/motif is still so bland/quitidian and rock-like--with a "Take Five"/"Living in the Past" sound and feel to it. Nice play from the tuned percussionists. (8.875/10)
3. "Sleepy" (7:17) opening with a peaceful yet mesmerizing arpeggio pattern on the vibraphone, Benoît Moerlen is soon joined by Mireille Bauer, also on vibes, then brother Pierre on the drum kit and Hansford Rowe's bass to create a very engaging weave. Allan Holdsworth and then Darryl Way take the first two solo spots on the electric guitar and electic violin, respectively. At 3:30 their is a switch in the baseline vibraphone weave over which Hansford's wah-wah-ed bass solos for nearly a minute. The drums rejoin at 4:45, cushioning the entrance of Darryl Way for a searing albeit brief solo before the rhythmatists again take control, amping up the tuned percussion weave before Hansford's bass redirects once again into a funkier, more straightforward repeating pattern--which serves the song until it's long fadeout end. Decent! (13.5/15)
4. "Soli" (7:37) another pleasant and engaging JEAN-LUC PONTY-like melodic weave opens this one over which Allan Holdsworth solos briefly as if from behind the stage. The two-person vibraphone rhythm section shifts to a quicker, faster-paced weave while Hansford Rowe provides a rather beautiful bass solo. In the third minute the music straightens out again so that both Benoît Moerlen and Mireille Bauer can solo on their vibes. The fifth minute is Holdsworth's. Over the same high-energy fast-paced motif he seems uninspired, unenthusiastic, or lost for the first 30 seconds, then he finally gets it: that it's his turn. His soloing finally begins to live up to the reputation he's been building for the past ten years: unusual melodies, furious runs, angular note choices. The whole band seem to get involved in carrying the melody forward during the last 50 seconds. Really nice finish. (13.375/15)
5. "Boring" (6:23) a simple, almost Orffian percussion weave is presented by the marimba and vibes while bass, violin, and tubular bells take turns rising into the spotlight. The most interesting thing on this song is the wonderful interplay between Hansford Rowe's chunky-fuzzy fretless bass and Darryl Way's violin. I also like the prominent role that François Causse's congas play in the mix. A top three song for me. (9/10)
6. "Three Blind Mice" (4:47) two vibe arpeggi repeated a few times opens this one before the rest of the band kicks in with a nicely energetic motif. The entrance of Allan Holdsworth distinctive guitar seems to signal a slow down and slight simplification for the rest of the band as Benoît and Mireille settle into a fairly simple four-chord pattern. Once Allan has finished (and left the building) the percussionists carry the song, kind of a weird song for the sudden disappearance of Mr. Holdsworth ("Allan has left the building"!). The two thirds of the song that was left to the rhythm section might be a sign of things to come. Not a bad song, just . . . pointless . . . like a practice jam. (8.875/10)
Total Time 37:17
A far-inferior album to their previous effort, Gazeuse!, the band seems to have lost their way--or at least band leader Pierre Moerlen. Yes, I have to say it: I find Pierre's performances throughout this album to be quite lackluster and unimpressive. On Gazeuse! I felt that his playing suddenly vaulted him into the conversation of greatest J-R Fuse drummers of the 1970s. Not anymore. I probably doesn't help that his drums were recorded the most poorly of any of the instruments: muddied and buried in the mix. Bad engineering! All of these disappointing elements lead me to wonder: Could it be that the loss of bass player Mike Howlett was more devastating to the band's core spirit than those of Daevid Allen, Gilli Smyth, and Steve Hillage? Not that Mike's replacement, Hansford Rowe is bad--he's not--it's just that the Moerlen brothers seem less inspired. Or, maybe it's the absence/loss of Didier Malherbe? Such a fun yet-calming presence. (Perhaps it's actually the dynamic between they and former-lover Mireille Bauer; we all know from the past two albums what a high her presence infused into the band.)
88.99 on the Fishscales = B/four stars; a very nice if somewhat disjointed representation of the more-mature form of GONG yet somehow disappointing when coming off of the highs of their previous album. Still, highly recommended.
AL DI MEOLA Casino
This is the album that followed Al's two most acclaimed solo efforts after leaving Chick Corea's ever-evolving RETURN TO FOREVER project. Casino was recorded in New York at Electric Lady Studios by John Snyder and Dave Palmer somewhere between May and September of 1977 and then released by Columbia Records on February 25, 1978.
Line-up / Musicians:
- Al DiMeola / electric guitar, acoustic guitar & mandolin (5), percussion (congas, bongos, castanets, handclaps) arranger & producer
With:
- Barry Miles / Yamaha organ, Minimoog, acoustic & electric pianos, marimba
- Anthony Jackson / bass
- Steve Gadd / drums
- Mingo Lewis / percussion (6), bongos & congas (3,4,6)
- Eddie Colon / percussion & timbales (6)
1. "Egyptian Danza" (5:57) a wonderfully eerie organ intro from Barry Miles sets the tone for something heavy that is intended, I'm guessing, to be spooky. Great mix of the bass, drums, and keys into the spce with Al. The "oasis interlude" in the second minute is a bit odd, but, then, so is the over-arching Latin feel and sound of this song about "Egypt." Nice work from Al, of course, on multiple tracks, but my favorite parts are his little flurries opposite Barry's organ and MiniMoog riffs. Also, this is the Steve Gadd I saw when I saw Jan Hammer and Al in concert about the time of this release or Splendido Hotel. (8.875/10)
2. "Chasin' the Voodoo" (5:05) the Mingo Lewis composition that exists in several places including Mingo's own solo album Flight Never Ending where it is called Frankincense. It's a hard-driving song often cruising along in a surprisingly straightforward time despite the prevalence of endless flurries of challenging moves like a game of lightning chess. Really, this is an amazing song; it just lacks engaging melodies except in a few places. (9/10)
3. "Dark Eye Tango" (5:25) a fairly even-tempoed song that starts out slow with a protracted intro before settling into a nice Latin groove. Great percussion play from Mingo Lewis while Al plays electric guitar with some less-than-usual spaciousness which seems to exhibit some emotion. I really like Al's more drawn out lead guitar playing: that's where he impresses me with his sense of melody as well as the sense that there is feeling being broadcast/channeled from his inner being. At the same time one can almost feel as if he's human playing at speeds that we humans can appreciate, process, and enjoy. (9.25/10)
4. "Señor Mouse" (7:21) a fairly recent Chick Corea song (from his and Gary Burton's 1973 album release, Crystal Silence) is here revived. Despite owning the albums on which Chick approaches this song and its variations, I have to admit that I do not recognize it or its melodies. In spite of this, the ease and spaciousness within the song's construct are greatly appreciated even if the melodies are not all that great. (13.25/15)
5. "Fantasia Suite for Two Guitars" (5:12) :
- a. "Viva La Danzarina"
- b. "Guitars of the Exotic Isle"
- c. "Rhapsody Italia"
- d. "Bravoto Fantasia"
In my opinion, this song might have contributed greatly to the turning of the tide of public opinion/disfavor that Al began to experience around this time. His machine-like technical skill and antiseptic sound production were already raising some negative feelings for being "too clean" and/or "soulless," but creating a song such as this in which he chooses to use his own guitar playing on multiple tracks to play off of--instead of the use of another player as he'd used on previous albums (like Paco De Lucia) or other instrumentalists of different instruments who possess comparatively equal skill--he was interpreted by some as exhibiting a level of arrogance that turned many off. I know when I saw the acoustic trio of he and John McLaughlin and Paco live in concert the two times I saw them, I came away feeling much greater affinity for the two elder statesmen (though some of this affinity I attribute to the use of nylon string guitars by John and Paco) because Al looked like it was work while John and Paco looked like it was an expression of joy and reverence for their medium and muse (music). At the same time, this suite is actually a very pleasant and beautifully-nuanced piece of music with several melodies feeling familiar enough from the classical and Latin music memories of my childhood. Perhaps it's also due to my enjoyment of Al's acoustic guitar play over his electric. (9.3333/10)
6. "Casino" (9:29) a brilliant 55-second intro leads into a catchy riff that, unfortunately, does not continue on to become the pace or melodic determiner of the first motif; instead this becomes much slower and lazier than expected--very much like that of the exotic strains of "Flight Over Rio" from his previous album. After the midpoint, the song just keeps getting softer and softer, more spacious and drawn out, with Al even giving way to a rather cheesy smooth/Calypso-like electric piano and percussion section in the seventh and eighth minutes. When the guitar maestro does return to reclaim the lead he chooses to have himself backed by some cheesy synthesizer strings before sliding into a lull at the 8:30 mark, which is then followed by a weird Bach/Who-like series of chords to finish. (17.5/20)
Total Time 38:29
Casino is a very polished album, eminently listenable, yet lacks something. I think it is the push and prodding that collaborators can have. Here it feels as if Al is definitely the boss: confident to the point of being cocky, taking the vast majority of the limelight, even multi-tracking his own instruments rather than giving away any of the show time to anyone else. (The album's "Fantasia Suite for Two Guitars" has two guitars, but they're both his: recorded in two tracks!) It is an album that at times exhibits almost-incredible skills and speeds from all of its musicians, offers enough scaled down, more-gentle material to help win me over. Where I seem to always fail to get into Al is in his choices of melody lines: they are rarely the kind that please my brain the way it was hard-wired by the likes of Mozart, Burt Bacharach, and Motown and Philly soul/R&B. Though Al has enlisted the help of amazing team of players, including Steve Gadd, Mingo Lewis, Eddie Colon, Barry Miles, and Anthony Jackson, the team are all subordinates; all are very respected in their field but none of them have been leaders--whereas on previous albums Al had hired help from seasoned veterans--some of whom were senior to him (and, therefore, more strong-headed). For Casino, gone are previous collaborators Jan Hammer, Lenny White, and Paco De Lucia (and before that, Chick Corea, Jaco Pastorius, and Stanley Clarke). And it shows: This is Al's show now. So what's wrong with that? the music comes out a little too proscribed, cerebral, even sterile. Don't get me wrong. It's impressive and clean and genius. It just lacks some kind of . . . soul. Or emotion.
89.611 on the Fishscales = B+/4.5 stars; if talent and skill alone could make a masterpiece, this would be the case here. Unfortunately, some of Al's choices for arrangement and song structure seem to get lost going down odd side-streets. Recommended but I would never consider this an essential acquisition for anyone's music collection.
JAN GARBAREK Places
I have been avoiding Jan Garbarek albums for a while and they're piling up: nine to go in order to complete his 1980s projects as bandleader. Wish me luck. (I'm going to need it!) This album was recorded in December of 1977, the original album being released by ECM in 1978.
- Bill Connors / guitar
- John Taylor / organ, piano
- Jan Garbarek / tenor, soprano & alto saxophones, composer
- Jack Dejohnette / drums
1. "Reflections" (15:05) a song that opens with sparse saxophone wailing over droning organ chords with nary a string or cymbal sound until the fifth minute when light ministrations of both (acoustic guitar strings and drum kit cymbals) join in. De Johnette and Connors both expand their footprints with snare and toms and guitar chords and legato runs in the sixth minute--Garbarek even clearing out while the two play off one another. Bill Connors on steel-stringed acoustic guitar sounds a lot like a cross between Al Di Meola and Larry Coryell: at times deceptively smooth, at others dynamically abrasive. Jan returns in the ninth minute as Bill returns to chord strumming and arpeggiation as Jack continues playing his funky syncopation. (Whatever happened to John Taylor? Oh! 11th minute: there he is!) The music is made far more interesting by Jack's drumming; I'm not sure I could bear it without. (Does Jan Garbarek ever play anything differently? I feel as if he's playing the same notes and style here that he did back in 1971 and will in 1986!) At 12:30 it sounds and feels as if the song were going into a long, slow fadeout but then the three melodists show themselves: at first very lightly but then with increasing presence. Meanwhile, Jack just keeps on keepin' on: grooving on that funky syncopated foundation. (26.25/30)
2. "Entering" (7:50) the sax and organ opening here sounds like we're being prepped for a heart-strings-pulling movie soundtrack. Connors takes the lead over from Garbarek at the 1:30 mark, but only for a few bars before Jan returns with the organ swelling slightly. Yes, it's a Burt Bacharach soundtrack to a schlocky rom-com like Arthur's Down in the Dumps. At 3:40 the intro finally ends and Jack joins in with some organ and guitar chords to set up a forward-moving pop-rock motif (slow). Jan takes the first verse, then Bill, then back to Jan. It's a duet! Kenny Loggins and Dionne Warwick! Smooth Jazz without any of the Jazz! (13/15)
3. "Going Places" (14:12) a little Pat Metheny-style take on Star Wars' "Main Theme." I do like this style for Bill Connors--and the atmospheric drumming (dominated by cymbal work) from Jack. It reminds me of Pat and Lyle's (and Nana Vasconcelos)' 1981 epic, "As Falls Wichita, So Falls Wichita Falls." And Jan's octave-oscillating sax play here actually works--doesn't bore or feel like finger nails on a chalk board. And John Taylor's long-sustaining organ chords feel very much in line with the stylings used by Lyle in "Falls." In the middle Bill's solo begins to sound a bit like a melodic John McLaughlin solo (Time Remembered: Bill Evans period)--which I fully endorse. And Jack seems to really be getting into it, which I always love. But then Jan starts blowing the Star Wars theme notes really hard and I find myself recoiling despite John and Jack's efforts to distract me. Raise your hand if you really like Jan Garbarek's sax playing! Anybody? Anybody?! See! Nobody! So why did he get so famous--and how did he get into ProgArchives when so many other deserving artists have not? (26.75/30)
4. "Passing" (11:18) same palette: organ, sax, acoustic guitar, drum kit, all seeming to celebrate the space they can create in opposition to their notes. Again, there is something that previews many of the softer, heavily-nuanced passages that Pat Metheny and Lyle Mays will become quite famous for in the next decade. Is this where they learned it? Were they just trying to emulate the Jan Garbarek effect? And, if so, why? What is so consuming about Jan's music (or playing) that people want to make stuff just like it?
My favorite part of this song are the occasional tidal swells of John Taylor's organ play--which, of course, Jack is quick to react and respond to. The very sudden ending is a bit bizarre but what can the consumer do? You get what you get! (18/20)
Total time 48:25
88.42 on the Fishscales = B/four stars; an interesting collection of drawn out, often cinematic or tension-filled spacious music that, for me, is made most tolerable by the presence of the great Jack De Johnette. The album seems most noteworthy to me for showcasing a style of music that future artists like Pat Metheny and Lyle Mays would be championing in parts of their compositions over the next ten to 15 years.
Total time 48:25
88.42 on the Fishscales = B/four stars; an interesting collection of drawn out, often cinematic or tension-filled spacious music that, for me, is made most tolerable by the presence of the great Jack De Johnette. The album seems most noteworthy to me for showcasing a style of music that future artists like Pat Metheny and Lyle Mays would be championing in parts of their compositions over the next ten to 15 years.
March
BILL CONNORS Of Mist and Melting
Bill's second solo album after leaving Return To Forever, on Manfred Eicher's ECM label; his first album with other collaborators--this one all acoustic. Recorded in December of 1977 at Talent Studio in Oslo, Norway, the album was released under the ECM Records label early in 1978.
Line-up / Musicians:
- Bill Connors / Acoustic Guitars
With:
- Jan Garbarek / Tenor & Soprano Saxophones
- Gary Peacock / Double Bass
- Jack DeJohnette / Drums
1. "Melting" (11:33) excellent jazz foundation from Bill's nylon string guitar's arpeggitions, Gary Peacock and Jack DeJohnette's exquisite more-traditional jazz work in the rhythm department, all set up to support and elevate the clear melody work of Jan Garbarek's tenor sax. Beautiful. In the sixth minute Bill finally steps into the spotlight as Gary and Jack continue their exquisite support. Such beautiful, fluid, and yet dynamic acoustic guitar playing! It's almost on a par with classical guitar virtuoso John Williams. Though Jack DeJohnette's drumming never sounds boisterous or ultramasculine, he does an amazing job of performing at an incredibly high level of skill: His play in the second half might even be called racy or piquant. If all jazz sounded as beautiful as this it might be my go-to choice of music. (18.75/20)
2. "Not Forgetting" (6:33) solo guitar on a John McLaughlin-playing-Bill Evans-level opens this before the rhythmatists join in with some sparse support. Jan's tenor is the first to solo--a little too strong or loud for fitting in with the others (in my opinion) but then Bill solos on a steel-string acoustic guitar as Gary very much plays off of him. All the while, Jack remains affixed to his cymbal work. Bill's unexpected and sometimes-obtuse chords used to support Jan's next solo are so reminiscent of the amazing support work that John McLaughlin creates on so many songs throughout his career. I can't say that I've heard many jazz guitar virtuosi perform on this kind of level. (9/10)
3. "Face In The Water" (6:25) spacious, more spacious, discordant, and avant-garde/free jazz than anything before lends to the thinking that this album and music (and ECM productions in general) may actually belong more in the straight jazz category than fusion. Impeccably and virtuosically performed, just not my favorite. (8.66667/10)
4. "Aubade" (9:38) another tune that starts out in a style that is more true jazz in its chordal and melodic patterning. In the second minute there is an almost-imperceptible shift into some gloriously gorgeous chords and melodies. But it doesn't last as Bill and Jan move back into pensive and discordant patterns while Jack's delicate cymbal play increases its pace and syncopated, expressive sophistication. No Gary Peacock bass (that I can hear) in the first five minutes though a second guitar track appears in that fifth minute. Again, Jack's drum contributions grow and increase in intensity despite still remaining in what one would call a "gentle" and "background" role. Jan returns around the six-minute mark for a turn on his soprano sax, really exploring some of the instrument's high notes for a stretch before leading everyone down into a quieter place so that Jack can have a solo. The man is so skilled, so creative, that it's hard to take in much less comprehend all that he offers to the listener. Amazing is the truest adjective one can apply. At the nine-minute mark we return to that catching little chord progression in order to usher out the song. Not a song that I will be drawn back to hear very often but one that definitely has my fullest respect and admiration. (18/20)
5. "Cafe Vue" (5:40) another more fully jazz expression within which each of the musicians seem to have looser, almost free-jazz compartments in which to act while Bill, and, later, Jan, solo using quite astringent or perhaps chromatic melody lines. Again, not my favorite: too much dissonance for my puny, unaccommodating brain. (8.666667/10)
6. "Unending" (7:33) another John McLaughlin-plays-Bill-Evans-like song with soprano sax, nylon string guitar and Gary and Jack's active and nuanced support. Not as pretty as the first time through ("Not Forgetting"). In fact, the overall palette is a bit too busy and too loud, making it very challenging to enjoy. (13/15)
Total Time 47:20
Total Time 47:20
This album just solidifies the proof that the combination of Manfred Eicher, ECM, acoustic jazz, and a band of exclusively high virtuosi is tough to beat. My issue with this album (and a lot of ECM albums and artists) is in the seriousness of the jazz music being played and expressed: they're just a bit too dense for me to enjoy (though I definitely appreciate them).
89.51 on the Fishscales = B+/4.5 stars; an excellent album of incredible performances of fully-jazz-oriented music that occasionally brushes onto the yard of the Jazz-Rock Fusion domain.
EBERHARD WEBER Silent Feet
A second quartet pulled together by Eberhard for some November recording dates in Ludwigsburg include previous quartet collaborators Rainer Brüninghaus and Charlie Mariano as well as Nucleus/The Soft Machine drummer John Marshall sitting in the place occupied by Jon Christensen on the previous year's Yellow Fields. Recorded in November 1977, it was released on ECM Records on March 1, 1978.
- Eberhard Weber / double bass
- Charlie Mariano / soprano saxophone, flute
- Rainer Brüninghaus / piano, synthesizer
- John Marshall / drums
2. "Silent Feet" (12:10) the song starts out slowly, with contemplative Eberhard and Rainer each soloing off of one another. The conversation seems to become more delicate for a bit while John steps in to play his supportive cymbals after the first two minutes. Then, as Rainer seems to be carving out some momentum with his piano melodies, John begins to lay down some very jazzed up rock drumming. Rainer's piano phrasing and chord selection seem so much more dynamic and confident than he did two years before. And Charlie Mariano seems to effortlessly carve out such (to me) beautiful, upbeat and positve melodies, that I find myself brimming with emotion (and my eyes with tears) as I listen and re-listen to this song. And then there's the amazing repeat-glitch motif that starts at the eight-minute mark--which John Marshall eventually takes advantage to add his creative cymbal play. But, disappointingly, in the 11th minute it develops into something more plodding, militaristic, and simplistic--almost pop musical like. The final minute is occupied with further development of this Mr. Rogers Neighborhood/"pop" theme by Rainer and Eberhard before drawing delicately to a close. (22.5/25)
3. "Eyes That Can See In The Dark" (12:19) there's that ocarina again! or is it an Indian flute? Both! accompanied by percussion noises coming from scratchings inside the body of a piano as well as those from odd metal percussion before real piano, real saxophone, real bass and bowed bass, and real cymbals from a drum kit set up take over the provision of slowly-developing, slow-played melody of long-held notes and delicate cymbal play in support. Finally, at 5:20, Rainer's piano and John's cymbal pattern signal a turn into some real jazz, which is joined by Eberhard's buoyant and bubbly "underwater" fretless double bass play. Rainer's play is beautiful but it is Eberhard's unusual and unique phrasings that pull on the listener's attention. Charlie finally re-enters at the eight-minute mark with a gorgeous soprano saxophone melody that is doubled up by Rainer's piano. John's drum play--especially the snare--is a bit too rock 'n' roll for me--especially as Charlie goes soaring into the stratosphere à la Jerome Richardson on Gino Vannelli's "Storm at Sunup." I love how beautifully-melodic all of the musicians stay with and in support of Charlie's wonderful play. Now this is the kind of jazz I can get into and really enjoy! At 11:15 John cuts out and Eberhard moves to bowing technique as the band return to long-held note play to the finish. There are some real exuberant and joy-filled parts of this song--especially when Charlie is flying around on his sax--and then there are the "artful" patches of theme-suiting play that was obviously created for theatric effect (the two-minute intro). Overall, I come away with a very positive feeling--having thoroughly enjoyed the six minutes of upbeat, uptempo, beautifully-melodic in the second half--especially the Charlie Mariano-led section. My favorite piece on the album. (23/25)
Total time 42:16
Line-up / Musicians:
- John Abercrombie / electric & acoustic guitars, electric mandolin
- Dave Holland / double bass
- Jack DeJohnette / drums, piano
1. "Opening" (16:19) there is a lot of textural experimentation over the course of the first four minutes--mostly coming from Jack DeJohnette's drums, a little from Dave Holland's bass play, while John Abercrombie takes quite a long time to introduce and then his very heavily-treated electric guitar (chorus, reverb, delay, and echo--thankfully no distortion). Amazingly the song maintains a rather steadily-increasing trajectory of development throughout the song--even managing to make a lot of noise with their highly-sophisticated weave (a weave that reminds me of peak-era 1980s Pat Metheny Group). Then the solos start in the second half with Dave's cymbal-supported bass solo occupying the eleventh and twelfth minutes before John and Jack jump forward to boost the energy: really complementing and augmenting Dave's continued buoyant enthusiasm. In the second half of the fourteenth minute Dave and John's play begins to stagnate and then fade (in volume) in order to make way for a sophisticated (as opposed to a showy or extra-dynamic) drum solo from Jack. All hands go to delicate mode for the wind chime bells finish. Cool song! Not what I expected from that long disorganized intro. (27.75/30)
2. "Reminiscence" (4:36) the boys here exploring their personal and rather separate improvised ruminations on Rodrigo's Adagio from "Concierto for Aranjuez." (9/10)
3. "Sing Song" (6:57) structured like a "Tea for Two" waltz using a sound palette that would become quite prevalent for the more traditional guitar jazz songs on Pat Metheny albums for that artist's entire career. I mean the sounds and stylings of all the musicians here are remarkable for sounding so close to those of Pat, Steve Rodby, and Paul Wertico! Beautiful and masterful. These guys know what they're doing even if the results aren't as dynamic as those of the Power Fusion bands like The Mahavishnu Orchestra, Return to Forever, and Eleventh House. (13.5/15)
4. "Nexus" (7:58) an unusual song that is rendered almost Third Stream Jazz-Rock Fusion for its David Torn-like guitar sounds and phrases used by John Abercrombie. I find it interesting that the most controlled and unexciting musician here is also the song's composer (Dave Holland). (13.75/15)
5. "Blue" (8:14) for this song Jack gives up his drummer's stool for the piano bench, playing the lead work while Dave and John respond and react to his musings. The song starts out as if Jack is trying to challenge and trick the others but then they seem to fall into line with forward motion for a while. Then, at the five-minute mark, Jack's collaborators step aside to watch as Jack solos, but they're soon back offering quite minimal/subtle support (Dave with his bowed bass). The music is quite lovely and evocative of many emotions and memories: some pastoral, some psychological. I like this very much but it is not background music. (14/15)
Total Time: 44:01
PAT METHENY GROUP Pat Metheny Group
2. "Phase Dance" (8:25) a song I always liked for its catchy, smooth poppy melody lines. Plus, it's a motile, moving piece of music that continues to reveal and excite the listener with its twists and turns and great melodies. Late-Seventies Jazz-Rock Fusion does not get much better than this. (20/20)
3. "Jaco" (5:40) I'm not feeling the feel of the title's referent--and Mark Egan is doing absolutely nothing (outside of Bob James' Gary King sound/styling) Also I don't get the move into the near-Disco beat for most of the second half. This is just stereotypic Smooth Jazz to me. (8.75/10)
4. "Aprilwind" (2:09) solo electric guitar picking that sounds like something that might have come from Pat's 1979 solo album, New Chautauqua (but probably wouldn't have made the cut). (4.375/5)
Line-up / Musicians:
- Steve Morse / Classical, electric & synth guitars
- Mark Parrish / keyboards
- Allen Sloan / strings
- Andy West / Alembic bass, Fender fretless bass
- Rod Morgenstein / drums, vocals (5)
1. "Take It Off The Top" (4:07) a perfect display of why I always thought this band more classic rock with prog and jazz elements than true progressive rock or Jazz-Rock Fusion: it sounds like a cross between ASIA and JAN HAMMER. And it's really not all that interesting, melodic, or impressive. (8.66667/10)
2. "Odyssey" (7:35) what starts out sounding like a modern Jan Hammer composition turns neo-classical in a KITARO or TOMITA even Eddie Jobson-UK way; not quite all the way to rock like Kansas (but could be if there were vocals/lyrics). The composition is quite modern and quirky in a jazz kind of way but full of an endless parade of little tangential solos, especially from violins. Interesting but a little too busy and pointless for my tastes. (13.125/15)
This 1978 release is a real late-comer to the First, Second, and Third Waves of the Jazz-Rock Fusion movement. Tales of Tomorrow contains more of the German guitar virtuoso's sound experimentations captured for publication. And to make things weirder: other than a guest string quartet, the entire album's music and sounds are created by Toto tout seul! At least some of the weirdness has been worked into fairly competent song structures. The album was recorded in February and then released by Bacillus Records in April of 1978.
Line-up / Musicians:
- Toto Blanke / electric & acoustic guitars, Roland synth guitar, bass, bouzouki, bandoneon, ring modulator, PPG synth & sequencer, drum machine, composer & co-producer
With:
- Jörg Kramer / violin (1, 3, 8)
- Makar Niedrig / violin (1, 3, 8)
- Marian Lale / viola (1, 3, 8)
- Thomas Schultze / cello (1, 3, 8)
- Herman Josephs / arranger & conductor
1. "Overture" (0:42) string quartet opener. Nothing Earth-shatteringly innovative or expressive. (But quite a contrast to that which is following!) (4.375/5)
2. "I'm A Stranger Here Myself" (4:22) sound 40 years ahead of its time with its computer-sounding early drum machine rhythms at the song's foundation. Then all the layers of affected guitar sounds woven above! If this is Jazz-Rock Fusion then Kraftwerk and Bill Nelson are members, too! (8.75/10)
3. "Aliso Samba" (4:06) opens with string quartet before Toto's bass and acoustic guitar join in and, eventually, take over. The solo acoustic guitar (with bass, rhythm guitar, and bandoneon support) is awesome. Strings rejoin and swell in the final minute as Toto wraps things up. A very pleasant, upbeat song! (9/10)
4. "Roland The Giant" (5:02) I love how adventurous Toto was: always exploring the furthest edges that new technologies could allow the music (and musician) to travel. Here he's preparing us for "Music for Vacuuming," Jon Hassell, and Adrian Belew as well as Annette Peacock's Sky-skating. (8.75/10)
88.61 on the Fishscales = B/four stars; an album of mixed energy and results: some are absurdly experimental--absolute frozen examples of what people were trying at the time (only, Toto chose to publish all of his experiments instead of learning from them for more mature future compositions), others are stunningly beautiful samples of Toto's guitar genius and skill.
Total time 42:16
It feels as if there has been significant maturation of the playing styles of Charlie, Rainer, and Eberhard in the two years since their previous quartet album, Yellow Fields, sessions. As much as I love the drumming of John Marshal with Nucleus and The Soft Machine, and as awesome as he is on the opening song, "Seriously Deep," I think Jon Christensen was a better fit for Eberhard's music. And yet, as a whole, I love the use of so many more-accessible melodies and themes on this album. I do have to add the approbatory comment that I can think of few jazz or predominantly-jazz albums that I've heard in my lifetime in which the whole-band's melodic sensibilities connects with me, personally, as well as this one. Though each long suite is jinxed by less-than-pleasing parts, the overall impression left on me after each listening of this album (or even each of its individual songs) is one of joy, excitement, and exhilaration, which says something, right? What's more, these sentiments have only increased with each and every listen to the music--with headphones and without! Could this be my favorite Eberhard Weber album of all-time? Until recently, I'd never even given much of a chance to any of Eberhard's albums because of my undying and devoted love of The Following Morning, but hearing his performances as a sideman on those
92.35 on the Fishscales = A/five stars; a masterpiece of mature and calculated Jazz-Rock Fusion that comes across as something totally fresh and unique. What a great trio are Eberhard Weber, Rainer Brüninghaus, and Charlie Mariano! True simpaticos!
LONNIE LISTON SMITH Loveland
Say goodbye to the Cosmic Echoes, hello Columbia Records. With this album, Lonnie eschews his wonderful team of collaborators of the past six years. The "cosmic" "expanding consciousness" pretense of his Cosmic Echoes years seems also on the outs, here choosing to try to reach to connect and entertain the pop-oriented masses, using more generic, humanized love themes in place of the celestial ones. This is also the album on which Lonnie introduces to the world the 18-year old bass phenom he discovered as a 16-year old, Marcus Miller! Marcus appears on songs 1, 3 & 4 of Side One. His talents are already prodigious. Released March 1, 1978.
Lineup / Musicians:
- Lonnie Liston Smith / Keyboards
- George Johnson / Drums
- Lawrence Killian / Congas, Percussion
- Ronald D. Miller / Electric guitars, acoustic guitar (B3)
- Donald Smith / Flutes (A1, A3, A4, B2), Vocals (A2, B1, B3)
- David Hubbard / Flutes (A1, A2, B2), Soprano Saxophone (A3, A4, B3, B4)
With:
- Marcus Miller / Bass (1, 3, 4)
- Al Anderson / Bass (B2, B3, B4)
A1. "Sunburst" (4:08) great start! Funky Smooth Jazz in the territory of masters like BOB JAMES and the LAWS family. Flute, funky bass, great near-Disco drums and percussion, with Lonnie's electric piano virtuosity on full display. I love that he is still so enamored of the continually-evolving technologies of electric keyboards. This is really a fun, zippy song! (9.125/10)
A2. "Journey into Love" (5:19) another slower BOB JAMES-like song over which brother Donald sings among the spacey keys, horn accents, and steady but deep and rich "Papa Was a Rolling Stone"-like bass. (8.875/10)
A3. "Floating Through Space" (4:35) so rich and lovely! One can just get lost floating in the psychedelic ether while supported by Marcus' steady, engaging bass line. (9.5/10)
A4. "Bright Moments" (6:43) built on engaging yet simple (watered down) Latin rhythms with Lonnie's piano pounding/accenting brilliantly right along with the rhythm section as David Hubbard's saxophone carries the main melody. I could listen to piano solos like this all day long! (9.25/10)
B1. "We Can Dream" (5:00) another funky rhythm-supported R&B song with Lonnie's brother Donald singing in his gorgeous Leon Thomas/Philip Bailey-like voice. The lyrics and melody used to deliver them aren't quite up to the quality of the music with its strings and horn arrangements. Even Lonnie's Fender solo is lacking a little zip and zest despite the ample support. (8.75/10)
B2. "Springtime Magic" (4:18) built around a two-chord strummed rhythm guitar sequence, the bass and flute almost immediately add something interesting to the mix, but the drums are a bit robotic and the rhythm guitar quickly fades into the realm of forgottenhood. Lonnie and the ethereal flutes (there are two of them) try to keep us entertained but even they fall short. (8.75/10)
B3. "Loveland" (3:30) now here's a song that seems to reach back into the old palette of magic that Lonnie and Donald had with the Cosmic Echoes. I love it when Donald sounds like Leon Thomas. So commanding! (8.875/10)
B4. "Explorations" (6:27) an arrangement of a horn bank opens this one, sounding almost like a Christmas Carole type of theme, but then super-fast funk bass kicks in with Lonnie's swirling electric piano and some solid CHIC-like rhythm guitar supporting David Hubbard's deep and rich soprano sax sound soloing up front. In a big surprise, an electric guitar solo takes over the third minute--Ronald D. Miller's tone taking on an ERNIE ISLEY or LARRY CORYELL like sound and style. Impressive! And he gets to keep the spotlight well into the fifth minute! Truly Herculean (in the Ernie Isley way). The song's main foundation is not very different from that of Eumir Deodato's "Superstrut" with some absolutely stellar funk bass and rhythm guitar play. And Lonnie doesn't even take a second of solo for himself: just funking things up with his heavily-processed electronic keyboards. In the end I realize how this song is built over the same chord and rhythm pacing as the album's opening song, "Sunburst." (9.125/10)
The music through out this album is smooth, very lush and engaging and very well crafted--and still jazzy in its foundations. These are really great songs, some of them probably ideal for the Discotheque or Adult Contemporary "Quiet Storm" or "Pillow Talk" night time radio play. It's like a step up from the Bob James and (Jazz) Crusaders productions of the time, similar to the music of the Laws brothers (Hubert and Ronnie), but even more mature and "polished."
90.31 on the Fishscales = A-/five stars; a minor masterpiece of very high quality Smooth Jazz.
GATEWAY Gateway 2
The trio of fairly conservative jazz virtuosos take on their second album together, this time presenting their own interpretations and variations of other songs and styles. Recorded in July 1977 at Talent Studio in Oslo, Norway, ECM finally released the album in March of 1978.
- John Abercrombie / electric & acoustic guitars, electric mandolin
- Dave Holland / double bass
- Jack DeJohnette / drums, piano
1. "Opening" (16:19) there is a lot of textural experimentation over the course of the first four minutes--mostly coming from Jack DeJohnette's drums, a little from Dave Holland's bass play, while John Abercrombie takes quite a long time to introduce and then his very heavily-treated electric guitar (chorus, reverb, delay, and echo--thankfully no distortion). Amazingly the song maintains a rather steadily-increasing trajectory of development throughout the song--even managing to make a lot of noise with their highly-sophisticated weave (a weave that reminds me of peak-era 1980s Pat Metheny Group). Then the solos start in the second half with Dave's cymbal-supported bass solo occupying the eleventh and twelfth minutes before John and Jack jump forward to boost the energy: really complementing and augmenting Dave's continued buoyant enthusiasm. In the second half of the fourteenth minute Dave and John's play begins to stagnate and then fade (in volume) in order to make way for a sophisticated (as opposed to a showy or extra-dynamic) drum solo from Jack. All hands go to delicate mode for the wind chime bells finish. Cool song! Not what I expected from that long disorganized intro. (27.75/30)
2. "Reminiscence" (4:36) the boys here exploring their personal and rather separate improvised ruminations on Rodrigo's Adagio from "Concierto for Aranjuez." (9/10)
3. "Sing Song" (6:57) structured like a "Tea for Two" waltz using a sound palette that would become quite prevalent for the more traditional guitar jazz songs on Pat Metheny albums for that artist's entire career. I mean the sounds and stylings of all the musicians here are remarkable for sounding so close to those of Pat, Steve Rodby, and Paul Wertico! Beautiful and masterful. These guys know what they're doing even if the results aren't as dynamic as those of the Power Fusion bands like The Mahavishnu Orchestra, Return to Forever, and Eleventh House. (13.5/15)
4. "Nexus" (7:58) an unusual song that is rendered almost Third Stream Jazz-Rock Fusion for its David Torn-like guitar sounds and phrases used by John Abercrombie. I find it interesting that the most controlled and unexciting musician here is also the song's composer (Dave Holland). (13.75/15)
5. "Blue" (8:14) for this song Jack gives up his drummer's stool for the piano bench, playing the lead work while Dave and John respond and react to his musings. The song starts out as if Jack is trying to challenge and trick the others but then they seem to fall into line with forward motion for a while. Then, at the five-minute mark, Jack's collaborators step aside to watch as Jack solos, but they're soon back offering quite minimal/subtle support (Dave with his bowed bass). The music is quite lovely and evocative of many emotions and memories: some pastoral, some psychological. I like this very much but it is not background music. (14/15)
Total Time: 44:01
The jazzier side of Jazz-Rock Fusion is here anchored in Jack DeJohnette's very classically-conservative jazz drumming as well as Dave Holland's clear adherence to traditional jazz bass sounds and stylings. Even John Abercrombie's electrified guitar is well-within the sound traditions of past guitar masters from the 1960s like Barney Kessel, Charlie Christian, and Wes Montgomery.
91.76 on the Fishscales = A-/five stars; another masterpiece (though of the minor type) from this trio of maestros. When you get three of the finest craftsmen of their particular instruments together, it feels as if expectations are raised, so it's nice when the band can deliver--as they do here.
91.76 on the Fishscales = A-/five stars; another masterpiece (though of the minor type) from this trio of maestros. When you get three of the finest craftsmen of their particular instruments together, it feels as if expectations are raised, so it's nice when the band can deliver--as they do here.
Forming his first "Group" with two musicians he had met and played while in Florida's University of Miami Frost School of Music and, later, under the supervision and mentorship of Gary Burton, plus Lyle Mays whom Pat had met in Kansas at the Wichita Jazz Festival (in 1974--where they both recognized immediately their musical kinship). The album was recorded in January 1978 in Oslo, Norway, and then released by ECM Records in March of 1978.
Line-up / Musicians:
- Pat Metheny / 6- & 12-string electric and acoustic guitars
- Lyle Mays / piano, autoharp, Oberheim synthesizer
- Mark Egan / fretless bass
- Dan Gottlieb / drums
- Pat Metheny / 6- & 12-string electric and acoustic guitars
- Lyle Mays / piano, autoharp, Oberheim synthesizer
- Mark Egan / fretless bass
- Dan Gottlieb / drums
1. "San Lorenzo" (10:16) one of Pat and The Group's perennial concert representatives, it does have an iconic feel (perhaps augmented by the way The Weather Channel used to stream Pat's works--including this song and the next--as part of the background/accompanying music to their animated and photography-populated meteorological screens). I've never been very impressed by the work of Mark Egan or Dan Gottlieb much: their work serves, holds space, supports, but it's not like the nuanced mastery that Steve Rodby and/or Paul Wertico (or Antonio Sanchez) convey in later configurations of the "Group." (17.75/20)
2. "Phase Dance" (8:25) a song I always liked for its catchy, smooth poppy melody lines. Plus, it's a motile, moving piece of music that continues to reveal and excite the listener with its twists and turns and great melodies. Late-Seventies Jazz-Rock Fusion does not get much better than this. (20/20)
3. "Jaco" (5:40) I'm not feeling the feel of the title's referent--and Mark Egan is doing absolutely nothing (outside of Bob James' Gary King sound/styling) Also I don't get the move into the near-Disco beat for most of the second half. This is just stereotypic Smooth Jazz to me. (8.75/10)
4. "Aprilwind" (2:09) solo electric guitar picking that sounds like something that might have come from Pat's 1979 solo album, New Chautauqua (but probably wouldn't have made the cut). (4.375/5)
5. "April Joy" (8:15) a group continuation (or variation upon) the main sound palette and theme of the previous song, Mark Egan's wonderful fretless bass work is soon a part of Pat's mix until the intro ends about 0:53. Then it's Pat's show on his chorus-and-delayed electric guitar: no fire but ample skill and melody. Lyle's piano work is quite nice too: always accenting and amplifying Pat's work. At 3:12 there is a dramatic "end" which is followed by a return to some delicate solo guitar picking for a minute before one of Lyle's signature synth sounds--the kind of round cor anglais sound--enters and shifts the balance of things for a bit. But then Pat returns to the lead as the rest of the band picks up a kind of laid back "Phase Dance"/"Theme from Hill Street Blues" motif beneath--which plays out to the song's end with Pat occupying the spotlight the whole time. (17.75/20)
6. "Lone Jack" (6:43) a weave of four more actively demonstrative musicians that manages to remain tight despite the relatively high speed and number of bridges and stop-gaps. This is probably the nicest work from the quartet as a whole: Dan, Mark, and Lyle are all as impressive as their leader (maybe moreso!). (9.125/10)
Total Time 41:28
Total Time 41:28
91.18 on the Fishscales = A-/five stars; a minor masterpiece of early-developing Pat Metheny and Group music--introducing some of the stylings and sounds that would become iconic to Pat and Lyle's work through the years.
DIXIE DREGS What If?
A band I only had the privilege of seeing live once--as a warmup act for YES--and it was with international competition winner Mark O'Connor playing violin in place of Allen Sloan (but I swear it was earlier than 1982 when he first appeared on a Dregs album). Mark was jaw-dropping amazing, as was Steve Howe clone Steve Morse. The material for the album was recorded early in 1978 and then released by Capricorn Records in March.
Line-up / Musicians:
- Steve Morse / Classical, electric & synth guitars
- Mark Parrish / keyboards
- Allen Sloan / strings
- Andy West / Alembic bass, Fender fretless bass
- Rod Morgenstein / drums, vocals (5)
1. "Take It Off The Top" (4:07) a perfect display of why I always thought this band more classic rock with prog and jazz elements than true progressive rock or Jazz-Rock Fusion: it sounds like a cross between ASIA and JAN HAMMER. And it's really not all that interesting, melodic, or impressive. (8.66667/10)
2. "Odyssey" (7:35) what starts out sounding like a modern Jan Hammer composition turns neo-classical in a KITARO or TOMITA even Eddie Jobson-UK way; not quite all the way to rock like Kansas (but could be if there were vocals/lyrics). The composition is quite modern and quirky in a jazz kind of way but full of an endless parade of little tangential solos, especially from violins. Interesting but a little too busy and pointless for my tastes. (13.125/15)
3. "What If" (5:01) slow, melodic, and a little quirky and sappy like a NOVA or Narada Michael Walden song, but very interesting for its melodic sensibilities and modern "latest-greatest" instrumental sound choices. All this electrification and synthesizer and effects processing just seems a bit too excessive. I'm missing the more natural, organic sounds of these instruments' originations. (8.75/10)
4. "Travel Tunes" (4:34) what starts as an interesting weave or reel of multiple instruments that I can hardly recognize for the way they've been processed and masked turns into a more Southern-hillbilly rock jam. Impressive performances across the board but this is an example of the beginning of the unhuman, processed sound that will become the dominant form in so much of the 1980s (8.875/10)
5. "Ice Cake"s (4:39) several quirky, near-classical, some unclassifiable, themes are worked into this song through instrumental palettes that vary from Rod Morgenstein southern-fried funk drum playing to Jeff Berlin-like bass playing with Allen Sloan's Eddie Jobson-like synthetic violin and keyboard sounds. Interesting and likable--even inviting me to come back for repeated listens. (8.875/10)
6. "Little Kids" (2:03) a nice little Irish folk jig performed between Steve Morse's classical guitar and Allen Sloan's violin-sounding violin and perhaps Mark Parrish's Vivaldi keyboard. The best song on the album due to its sound being the most pure. (4.75/5)
7. "Gina Lola Breakdown" (4:00) opening like an electrified hoedown from an episode of Hee Haw. Impressive performances all around: violin, country electric guitar, upright saloon piano, two-step bass line, and horse-step-like drum play. Man! Is Steve Morse talented! A great display of skills (delivered in an unadulterated way). (9/10)
8. "Night Meets Light" (7:47) an interesting weave that sounds classical Baroque while also hitting the second-incarnation Mahavishnu Orchestra and Jean-Luc Ponty buttons. Slowing it down the way it is here makes it feel disingenuous--like they're showing their potential for a New Age album or one of Christmas carols. The gated- or Simmons-sounding drums are also a little disturbing: as if noting the end of drums as we once knew them. (13.125/15)
Total Time: 39:46
Total Time: 39:46
This is a band that I never felt completely comfortable welcoming into the prog or J-R Fuse clubs (like Jan Hammer's solo stuff). The band's musicianship is never in question. I think they have an overall sense of melody that is quite foreign to me--one that does nothing to invite me in.
88.43 on the Fishscales = B/four stars; an excellent if enigmatic display of sophisticated sound and compositional skill: each of the song's sound palettes and styles are so hard to pinpoint or categorize.
April
TOTO BLANKE Tales of Tomorrow
This 1978 release is a real late-comer to the First, Second, and Third Waves of the Jazz-Rock Fusion movement. Tales of Tomorrow contains more of the German guitar virtuoso's sound experimentations captured for publication. And to make things weirder: other than a guest string quartet, the entire album's music and sounds are created by Toto tout seul! At least some of the weirdness has been worked into fairly competent song structures. The album was recorded in February and then released by Bacillus Records in April of 1978.
Line-up / Musicians:
- Toto Blanke / electric & acoustic guitars, Roland synth guitar, bass, bouzouki, bandoneon, ring modulator, PPG synth & sequencer, drum machine, composer & co-producer
With:
- Jörg Kramer / violin (1, 3, 8)
- Makar Niedrig / violin (1, 3, 8)
- Marian Lale / viola (1, 3, 8)
- Thomas Schultze / cello (1, 3, 8)
- Herman Josephs / arranger & conductor
1. "Overture" (0:42) string quartet opener. Nothing Earth-shatteringly innovative or expressive. (But quite a contrast to that which is following!) (4.375/5)
2. "I'm A Stranger Here Myself" (4:22) sound 40 years ahead of its time with its computer-sounding early drum machine rhythms at the song's foundation. Then all the layers of affected guitar sounds woven above! If this is Jazz-Rock Fusion then Kraftwerk and Bill Nelson are members, too! (8.75/10)
3. "Aliso Samba" (4:06) opens with string quartet before Toto's bass and acoustic guitar join in and, eventually, take over. The solo acoustic guitar (with bass, rhythm guitar, and bandoneon support) is awesome. Strings rejoin and swell in the final minute as Toto wraps things up. A very pleasant, upbeat song! (9/10)
4. "Roland The Giant" (5:02) I love how adventurous Toto was: always exploring the furthest edges that new technologies could allow the music (and musician) to travel. Here he's preparing us for "Music for Vacuuming," Jon Hassell, and Adrian Belew as well as Annette Peacock's Sky-skating. (8.75/10)
5. "Ostfriesisches Festtagsbegrabnis" (1:05) bandoneon and bouzouki. (4.25/5)
6. "Casablanca" (6:32) ring modulator and PPG sequencer open this one before Toto's George Harrison-toned electric guitar enters and begins his soloing. He's such a gifted, creative guitarist! It's too bad he got all obsessed with sound modification cuz he can really play! Weird manipulations of volume (performed, obviously, in the recording engineer's booth) make for an unfortunate cheap-sounding production. Too bad! Not even the Rodrigo-like Spanish guitar finish can save this one. (8.75/10)
7. "Rush Hour" (1:50) high-speed PPG sequencing with effects and volume modification while Toto's distorted electric guitar wails in the background (and through some other effects modifiers). (4.25/5)
8. "Pork Pie" (3:43) string quartet sounding very dire and serious open this one before turning George Martin/BEATLES-like. Synths and layers of electric guitars join in while Roland guitar synths and ring modulator provide the leads. Interesting ideas. (8.75/10)
9. "New Years Eve" (3:17) multiple layers of acoustic guitars playing some Spanish-themes and -styles give this a very AL DI MEOLA- and JOHN McLAUGHLIN-like feel and quality. Beautiful little song. In the second half, multiple layers of acoustic guitars: most of them strumming in a fast Latin/Spanish style while a steel-string acoustic provides the lead melody in fast time. (9/10)
10. "Flat Top And The U.S. Sad Cats" (9:11) mysterious bass line, volume-controlled bandoneon chords, over which two very different guitars solo: one wah-wahed that presents a very horn-like sound (though muted); the other more distorted and slightly compressed at the high-end that provides intermittent flourishes and machine gun blasts of runs while the cat-like sounding horn-guitar continues playing steadfastly over the fretboard. Again, very interesting but nothing I really want to hear repeatedly. (17.5/20)
11. "Sunday Morning The 26th Of February" (3:31) bandoneon cords and wonderful acoustic guitar soloing that sounds just like John McLaughlin playing with Zakir Hussain and the Shakti gang. Stunningly beautiful. Just like the Mahavishnu. (9.666667/10)
Total Time 43:21
Total Time 43:21
Though this is quite experimental, there is little to no fusion of jazz and rock going on here. As a matter of fact, with the collaboration of any other jazz or rock musicians, I'd be hard pressed to have much hope for such. I should have known better.
88.61 on the Fishscales = B/four stars; an album of mixed energy and results: some are absurdly experimental--absolute frozen examples of what people were trying at the time (only, Toto chose to publish all of his experiments instead of learning from them for more mature future compositions), others are stunningly beautiful samples of Toto's guitar genius and skill.
May
U.K. UK
In the summer of 1976, after most recent stints with Uriah Heep and Genesis, respectively, former King Crimson mates John Wetton and Bill Bruford met and began exploring ideas/scenarios to work together again. After several failed attempts (a Wetton solo album, a trio with Rick Wakeman, a reformation of King Crimson) the duo decided to form a quartet with each person bringing in a respected "ringer." Sometime late 1977, Wetton brought in former Roxy Music bandmate Eddie Jobson and Bruford brought in guitar phenom Allan Holdsworth with whom he was working on the first Bruford album (which would be released in January of 1978 as Feels Good to Me). The quartet convened in London at Trident Studios for recording dates in December of 1977 and January 1978. The E.G. record label would release the eponymously-titled album in May.
Line-up / Musicians:
- John Wetton / lead & backing vocals, bass
- Allan Holdsworth / acoustic & electric guitars
- Eddie Jobson / electric violin, keyboards, electronics (Yamaha CS-80)
- Bill Bruford / drums & percussion
- In the Dead of Night (Suite):
1. "In the Dead of Night" (5:35) such a memorable riff and melody. (9.75/10)
2. "By the Light of Day" (4:28) I am not, in general, a fan of the voice or singing style of John Wetton, but this is a great performance. Here we get to see, as well, how astute and talented the young pup, Eddie Jobson was--for the first two minutes with his keyboard work, then with some awesome electric violin soloing. The background vocals here are also notable for how well they work--and at such a subtle level. The final 90-seconds with its wonderful bridge from the vocal section into the multi-layered synth-dominated sections is astonishing. (10/10)
3. "Presto Vivace and Reprise" (3:06) full band returns with Bill and John holding down the fort while Eddie's keys go off--and then, of course, there is the return/reprise of the suite's original theme--with John's insistent voice and Allan's signatory guitar. Definitely an epic suite for the ages! (9.5/10)
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4. "Thirty Years" (8:03) an opening of synth wash chords and Allan's acoustic guitar play prefaces John's tender, almost introspective vocal (which sounds so much like Greg Lake). At 3:22 Allan, Eddie, and Bill leap out from behind the curtain with power and confidence unparalleled in the world of instrumental music at the time. Eddie's imitation of Allan's phrasing style on the keyboard is simply amazing. Then the axe-master himself is given a turn--and he just kills it. The motif at the end of the sixth minute is interesting for how short it lasts before the band shifts into something entirely different for John's final vocal delivery. Allan takes us out over a slowed down but ever-so-powerful support theme from the rest of the crew--until Eddie is left to clean things up with his synth (or violin) for the last few bars. (14/15)
5. "Alaska" (4:48) another impressive atmospheric opening by Jobson with his amazingly creative an mature synth skills--2:42 of it before anyone else joins in! But then, join in they do! With force and abandon--especially Bruford--while Jobson continues to dominate with multiple keys going at once. Wetton is rudimentary support and Holdsworth making only one brief appearance until YES-Fragile-like final 15 seconds (which is in reality only a bridge to the next song). (9.25/10)
6. "Time to Kill" (4:53) Bursting out of the primordial soup that was "Alaska" this song presents great force from all musicians, not the least of which is John Wetton's forceful voice, all the way to the 1:45 mark when everybody (except Bruford) drops back into a holding pattern for a JEAN-LUC PONTY-like electric violin solo from Jobson. I love Holdsworth's odd chord play and Bruford's autocratic time keeping beneath all of Jobson's pyrotechnics. The song's only weak spot is in its chorus--the choral background vocals. (9.75/10)
7. "Nevermore" (8:10) opening with some stellar acoustic guitar play from Holdsworth--both the support strums as well as the hyper-speed soloing, but then in the second minute we segue with Jobson's synths and violin into another power vocal section (with some pretty hokey lyrics). The song's best part are Holdsworth and Jobson's piano backing up Wetton's vocals with some pretty hot peppering in the third minute--though Jobson's synth play in the call-and-response instrumental section with Holdsworth in the fourth and fifth minutes is pretty iconic. Critically speaking, this is probably the best song--and perhaps my favorite--on the album. For years I had never been able to give Eddie Jobson his due, but now I am ready: he is the star (and Bruford the glue) of this landmark album! (15/15)
8. "Mental Medication" (7:25) Another solid song on all fronts, it seems to serve John Wetton's vocal prowess most, though everyone's contributions are stellar. The middle section of jazz-rock fusion sounds so much like so much of JEAN-LUC PONTY's during this period: Aurora through Individual Choice but especially Cosmic Messenger and beyond. (13.75/15)
Total Time 46:28
One of the high points of music in the second half of the 1970s. Jobson, Holdsworth, Bruford and Wetton gelled to create some incredibly haunting music--as well as some very fresh sounds. All of the soft parts are masterful and emotion-filled but are best because they forebode the imminent attack of BILL BRUFORD, Lord of the Drums. IMO, Holdsworth's best work. Ever. "Alaska," "Time to Kill," "Mental Medication," and the highlight of all, the "In the Dead of Night" Suite, are songs forever seared into my neural pathways. And another thing: How can young Eddie Jobson be so good! He was only 22 at the time of these recordings!
Listening to this album again as I write its detailed review makes me better comprehend some listeners'/reveiewers' proclamation of it as prog's last homage to the decade of amazing innovation and creativity that was just coming to its final (if reluctant) close.
95.79 on the Fishscales = A/five stars; a certifiable masterpiece of jazz-rock fusion expressive progressive rock music. An album of impressive music and unique, innovative sound. One of Top 10 Favorite Jazz-Rock Fusion Albums of the "Third Wave" of prog's "Classic Era."
ATILA Reviure
An album that came to my attention due to its high ratings and frequent reference by other PA members over the years. As the Spanish band's third and final album of their 1970s run, it is their most highly-developed, but I would urge music lovers to also check out their wonderful if slightly-less-mature 1976 release, Intención. The album was released in May of 1978 by Odeon Records.
Line-up / Musicians:
- Eduardo A. Niebla / lead guitar
- Miguel A. Blasco / rhythm guitar
- Benet Nogue / organ, Mellotron, piano, Moog, vocals, composer
- Juan Punyet / drums, percussion
With:
- Jean P. Gomez / bass
1. "Reviure" (9:56) starts off like a MAGMA song but then quickly moves into an ominously-chorded formative weave in which the musicians feel like they're figuring each other out, trying to find the common structure and space from which to launch into song. It's very Mahavishnu/RTF-like. At 2:15 they finally congeal--bursting forth into a fiery controlled chaos in which stops and starts are peppered with blistering soli from guitarist Eduardo Niebla as well as Benet Nogue's Moog. Drummer Juan Punyet is forceful and constant as is loud bassist Jean Gomez. A break at 4::50 leads into a keyboard riff that is repeated over and over as all the other instrumentalists join in with their own two-measure staccato melody lines, creating an complex and energetic weave which somehow turns smooth as Mellotron and organ join in. Another break and organ-supported "quiet" section at 6:40 leads to Benet Noque's first vocals. He sounds like Aldo Tagliapietra or one of the other RPI vocalist who like to used the distant reverb sound effect on their voice. In the ninth minute the band returns to full rock power, cruising along at a fast but safe speed until the second half of the tenth minute when everybody starts speeding up and speeding up, resulting in a "crash" into a spaceless void in which spacey sounds make you think the careening vehicle flew off into the cloudy heavens (which is, in fact, the start of the second song). (18.25/20)
- Eduardo A. Niebla / lead guitar
- Miguel A. Blasco / rhythm guitar
- Benet Nogue / organ, Mellotron, piano, Moog, vocals, composer
- Juan Punyet / drums, percussion
With:
- Jean P. Gomez / bass
1. "Reviure" (9:56) starts off like a MAGMA song but then quickly moves into an ominously-chorded formative weave in which the musicians feel like they're figuring each other out, trying to find the common structure and space from which to launch into song. It's very Mahavishnu/RTF-like. At 2:15 they finally congeal--bursting forth into a fiery controlled chaos in which stops and starts are peppered with blistering soli from guitarist Eduardo Niebla as well as Benet Nogue's Moog. Drummer Juan Punyet is forceful and constant as is loud bassist Jean Gomez. A break at 4::50 leads into a keyboard riff that is repeated over and over as all the other instrumentalists join in with their own two-measure staccato melody lines, creating an complex and energetic weave which somehow turns smooth as Mellotron and organ join in. Another break and organ-supported "quiet" section at 6:40 leads to Benet Noque's first vocals. He sounds like Aldo Tagliapietra or one of the other RPI vocalist who like to used the distant reverb sound effect on their voice. In the ninth minute the band returns to full rock power, cruising along at a fast but safe speed until the second half of the tenth minute when everybody starts speeding up and speeding up, resulting in a "crash" into a spaceless void in which spacey sounds make you think the careening vehicle flew off into the cloudy heavens (which is, in fact, the start of the second song). (18.25/20)
2. "Somni" (9:34) the suspended animation-voyage through the cloudy heavens continues with lots of weird psychedelic phenomena to observe and feel. It's really like being in a dream--or better, a drug trip--in which you are the astonished observer of so many unbelievable and totally random and disconnected things floating (or sometimes speeding) by you. The overwhelming feeling, though, is definitely childish delight and fearless amazement. In the seventh minute the music heavies when a distant vocal announces some change like a circus ringmaster. Very NEKTAR-like. The dirty bluesy guitar lead that ensues is over the ramped up music is also quite ROYE ALBRIGHTON-like, but then the rhythm section slows way down--holding on to the same melody and chords but slowing them down with their effects makingit seem as if the whole world--the observer's perspective--had suddenly moved into slow motion. And there it ends. Cool song with, as mentioned, elements that fell Nektar-ish, but also a pleasant and melodic feel (due a lot to the soothing constant of the gentle acoustic guitar strumming)--not quite Gong-like; more BRAINTICKET. Not as instrumentally flashy or complex as the previous song but quite engaging. (18.5/20)
3. "Atila" (11:56) opens with some coughing noises--as if from a drunk smoker--before keyboard arpeggio riff and bass line open things up. Within 30-seconds the band has congealed in a two-chord driving flow that sounds very much like the music coming from our current Cornwall-based Scottish favorites, THE EMERALD DAWN. In the fourth minute they slow down for a serene patch (probably to water the hourses) before drummer, bass, and keyboards begin to announce the time to recommence the procession. With the army on the road again, there are many constants in the march with plenty of small, light conversations going on within the phalanx. Another bridge in the sixth minute leads us into some landscape in which there are more challenging mountain paths, giving the soldiers not only a tougher journey but also some spectacular views of the land below them. This section culminates in rollicking downhill jaunt with an "I'm Just a Singer in a Rock 'n' Roll Band" sound, speed, and structure to it. Nice lead guitar and synth dual soloing in the eight minute just before an impressive drum solo to fill a minute or so (which, by the way, I'm very pleased at how clear/cleanly it was recorded). At the 10:30 mark the rest of the band rejoins, picking up the rapid pace of before but employing a different chord structure. Then shows up the monstrous ogre who, apparently, devours the phalanx of soldiers, leaving behind a windswept plain empty of not only humans but life as a while. I guess that's what Atila did! (22.5/25)
4. "Al Mati" (7:14) apparently, a very melodic rock song is needed to complete the story: a vehicle for a narrator to expound upon the lessons and morals of the story we've just been privy to. I have to admit that I do like this kind of RPI-like narrated story scape. Then, for the second half of the song, there is an instrumental divertimento in which the band members get to show off their chops a bit. (13.75/15)
Total Time: 38:40
The involvement of the keyboard player's contributions is amazing: he is involved everywhere and many times with multiple sounds/tracks going on at once. The lead guitarist is highly skilled but I do not always like his choice of "antiquated" sounds. The bass player and rhythm guitarist are both very good while the drummer has a lot of nice moves and energy he just doesn't always feel in sync with the rest of the band.
92.50 on the Fishscales = A/five stars; a minor masterpiece of energetic progressive rock. It is especially impressive how involved each and every one of the dextrous band members is at every turn, shift and straightaway.
IMÁN CALIFATO INDEPENDIENTE Califato Independiente
Complex, well-executed and interestingly-composed Andalusian jazzy progressive rock that borders on NeoProg at times with its lush keyboard washes. The material for Califato Independiente was recorded in February of 1978 at Estudios Kirios and then album released by CBS in May 1978.
Line-up / Musicians:
- Iñaki Egaña / bass and vocals
- Kiko Guerrero / drums
- Marcos Mantero / keyboards
- Manuel Rodrigue / guitar
1. "Tarantos del Califato Independiente" (20:46) a very long and drawn out intro which eventually culminates in some very nice HAWKWIND-like two-chord jazzy prog over which the electric guitarist and synth player take turns soloing with competency and Spanish-infused creativity. Too bad it took them seven minutes to get there! (Must be the effects of the hash.) At 9:40 there is a cymbal crash, stoppage, and reformulation to create a new motif that has a bit of a Reggae feel to it--though more of a GONG-like version of Reggae. At 11:40 there is a stoppage of keys and guitars as drummer and bass player begin a motif with some staccato syncopation played off and with one another. The rest of the band soon rejoins, continuing the staccato motif but quickly bringing a Moorish flavor to it--especially melodically. This turns Miles Davis Spanish in the fourteenth minute with the takeover of a synth horn in the lead. Then things break down into spacey/eerie synth and guitar textural sounds before bass and guitar begin forming a spacious nest for some organ and then vocalese (on two tracks). Very pleasant and relaxing. The vocalist (Iñaki Egaña) is very good! Around the 18-minute mark we return to full rock, albeit slow and atmospheric, for some nice electric guitar soloing from Manuel Rodrigue--which takes us pretty much to the end. This is definitely way more proggy than jazzy or jazz-rock fusion, despite its instrumental nature. It's a very nice construct. (36/40)
2. "Darshan" (8:30) a lush two-chord keyboard bed of wash that provide the comfortable backing for guitarist Manuel Rodrigue to solo. Then, four minutes into the song, there is a sudden shift in motif and tempo as Manuel slips into rhythm guitar role for Marcos Mantero to solo on his synth. The motif is blues but fast, like Country-Western, held down by some very solid drum and bass play. In the eighth minute things fall back into half time as the synth wash chords rejoin and the music plods along for some more guitar soloing. Proficient and disiplined soloing over some rather monotonous musics. They sound a little like 1990s NeoProg band KALABAN to me. (17.5/20)
3. "Cerro Alegre" (7:33) acoustic guitar solo opens before piano takes over. The rest of the band gradually joins in, figuring out their roles in the song, until finally shifting into a fully-planned motif with and harpsichord beneath some fiery electric guitar soloing. Another down-shift into a kind of mysterious spy-thriller soundtrack motif over which Marcos solos on his electric piano. When Manuel is given the lead again, the music is very thin, slow, and very synth washy, but his SANTANA-like solo is so clean and excellent it wouldn't matter what he was being accompanied by. Great stuff! More tempo and motif changes ensue for piano and Spanish themes to express. Wow! What a journey these guys just took me on! Worth many more listens. (14/15)
4. "Cancion de la Oruga" (5:32) the album's final song opens with some airy synth soloing over gently-picked acoustic guitars (multiple) before bassist Iñaki Egaña enters with his pleasant singing voice. There's a bit of a Renaissance "Trip to the Fair" feel to the chord and melody choices the band establishes after Iñaki's first verse (almost as if it has been lifted directly from the Sheherazade album!). Even when the band goes instrumental and heavy on the percussion its still feels like I'm listening to the creepy, eery parts of "Trip to the Fair," albeit a Spanish version. I have to admit, however, that the band has done a rather remarkable job of adapting this to their own instruments, language, and interpretation, thus, I'm going to give them credit and respect for the petit vol. (9/10)
Total Time: 42:21
An album that has some great musicianship if sometimes dull NeoProg foundations, I am very impressed with the band's dextrous and rather complete adoption of progressive rock forms and sounds.
90.0 on the Fishscales = B+/A-/4.5 stars; a near-masterpiece of jazz-infused progressive rock music.
ENERGIT Piknik
Very nicely composed, performed, and rendered Fourth Wave "Smooth" Jazz-Funk Fusion that definitely checks all the "Easy Listening" criteria. Three years after their exciting debut album, these Czech musicians hailing from the former Czechoslovakia release their second and final studio album. It was recorded early in the 1978 at Studio Dejvice, Prague, Czechoslovakia, and then released by the Panton label in May.
Line-up / Musicians:
- Jan Vytrhlík / bass
- Jiří Tomek / congas
- Jaromír Helesic / drums, percussion
- Lubos Andrst / guitars, composer
- Milan Svoboda / piano, electric piano, synthesizer [Arp], marimba
- Jan Vytrhlík / bass
- Jiří Tomek / congas
- Jaromír Helesic / drums, percussion
- Lubos Andrst / guitars, composer
- Milan Svoboda / piano, electric piano, synthesizer [Arp], marimba
- Rudolf Ticháček / soprano saxophone
- Bohuslav Volf / trombone
- Michal Gera / trumpet
- Bohuslav Volf / trombone
- Michal Gera / trumpet
- Zdeněk Zahálka / trumpet
Total time 37:31
1. "Drift (6:29) funky wah-wah rhythm guitar, funky bass, near-Disco (and near-Steve Gadd) drumming time machine, funky slurpy keyboard synths, and three-man horn section come together, one at a time, to provide a melodic base for eventual soloing from Lubos Andrst's electric guitar and, much later, Rudolf Ticháček's soprano saxophone and Milan Svoboda's Arp synthesizer. There is definitely a smoothness--and spacious, mathematical form--to this walking-man's funk which brings to mind artists like BOB JAMES and THE CRUSADERS. It's great, easy to listen to, but not (8.875/10)
2. "Stratus" (4:20) pretty piano-based syncopated music elevating both guitarist Lubos Andrst melody-making skill as well as drummer Jaromír Helesic's Harvey Mason-like talent. (8.875/10)
3. "Jarní rovnodennost" (3:45) acoustic guitar and piano dance delicately, almost nervously, around each other until Lubos launches into a two-track exposé of Spanish strumming with John McLaughlin-like lead over the top--all on steel-string acoustic guitars. This second motif lasts about 90 seconds before Lubos and Milan fall back into their awkward dance (like two love-at-first sight-ers first encountering each other on the dance floor of a 19th Century ball). Lovely. (9.25/10)
4. "Mobilis in mobili" (3:53) trying for the "heavier" side of Smooth Jazz-Rock Fusion with some TOM SCHOLZ (BOSTON)-like electric guitar channeled in over some more BOB JAMES-like music: Fender Rhodes, horn section, funk-syncopated rhythm section. Rudolf Ticháček adds some nice accents and flourishes with his soprano sax as does Milan Svoboda on the Fender. Nice music; weird combination of the Boston guitar and Bob James music. (8.875/10)
5. "Zapomenutý ostrov" (7:58) African folk instruments like berimbau open this with Fender Rhodes, bass, and congas, yielding an almost In a Silent Way sound and feel. In the second minute the band steps up, into a quick tempo, with congas and bass leading the way while sax, Fender Rhodes, and electric guitar take turns soloing. Now they're sounding more like a Third Wave J-R Fusion band practicing the forms and rules of bands like Mahavishnu Orchestra and Weather Report. In the fifth minute, then, things calm down so that muted horns and flourishes from Milan's Fender and Lubos' guitar can try to fill the near-empty space. It's pretty if rather formless and without flow--kind of like everybody is standing in the middle of a tar pit, playing their instruments from one place cuz they're stuck up to their knees in the mire.
Then they extract themselves from the muck and move forward in a lovely whole-group melody to the song's finish. Interesting and definitely creative! (13.5/15)
Then they extract themselves from the muck and move forward in a lovely whole-group melody to the song's finish. Interesting and definitely creative! (13.5/15)
6. "Rícní písek" (4:25) more sophisticated yet gentle-on-the-ears jazz-rock with great syncopation and special play from bass player Jan Vytrhlík and the percussionists over which sax and electric guitar solo from time to time. Overall, it's just a great groove for the listener to get lost in! (9/10)
7. "Piknik" (6:42) more funked up jazz-rock of the Jazz Crusaders type. This one lets the brass/horns have more air time (no pun intended, I think). Despite the Bob JAMES-like friendliness and accessibility, the musicians once again put on a show of most excellent skill, cohesiveness, and professionalism. Interesting to hear Milan's bird-like synthesizer chirps offsetting Jaromír Helesic's drum solo in the fifth minute. The band then reconvenes for one more drive to the album's end while Lubos' liquid lightning guitar runs and the horns take us out. Not the album's best song but still a display of excellent musicianship. (8.75/10)
Total time 37:31
Though often producing very easy-to-listen to "Smooth Jazz," these are top notch musicians pulling together to create wonderfully-skilled and nuanced jazz-rock fusion. Is there anything wrong with catchy melodies and memorable hooks in jazz music? I hope not. These guys are really good at it!
89.50 on the Fishscales = B+/4.5 stars; a near-masterpiece of excellent Fourth Wave Jazz-Rock Fusion aka "Smooth Jazz." These are some great compositions performed with highly nuanced, highly skilled musicians collaborating in a near-perfect ensemble. Highly recommended!
89.50 on the Fishscales = B+/4.5 stars; a near-masterpiece of excellent Fourth Wave Jazz-Rock Fusion aka "Smooth Jazz." These are some great compositions performed with highly nuanced, highly skilled musicians collaborating in a near-perfect ensemble. Highly recommended!
June
BILLY COBHAM Inner Conflicts
This time incorporating the talents of some old favorites along with the continued promotion of some of his new collaborators (including the Escovedo family), Billy continues to remain staunchly loyal to the principles of sophistication and quality of "peak era" Jazz-Rock Fusion. Inner Conflicts was released in June of 1978 by Atlantic Records.
Line-up / Musicians:
- Billy Cobham / drums, percussion, synthesizers, synthesizer programing
- Steve Kahn / guitar
- Steve Kahn / guitar
- John Scofield / guitar
- Don Grolnick / keyboards
- Don Grolnick / keyboards
- Dawilli Gonga (George Duke) / keyboards
- Alfonso [sp] Johnson / bass
- John Williams / electric bass, acoustic bass
- Ernie Watts / woodwinds
- Alfonso [sp] Johnson / bass
- John Williams / electric bass, acoustic bass
- Ernie Watts / woodwinds
- Michael Brecker / woodwinds
- Julian Priester / trombone
- Jimmy Owens / trumpet, flugelhorn
- Randy Brecker / trumpet
- Ruth Underwood / xylophone, marimba
- Pete Escovedo / timbales, latin percussion
- Sheila Escovedo / Latin percussion- Julian Priester / trombone
- Jimmy Owens / trumpet, flugelhorn
- Randy Brecker / trumpet
- Ruth Underwood / xylophone, marimba
- Pete Escovedo / timbales, latin percussion
- Jose Najeira / Latin percussion
A1. "Inner Conflicts" (10:49) Instead of one of Billy's stark drum solos that he occasionally enjoys placing on his albums, we have here an experiment with drums, programmed drums, and synthesizers all woven together. I do not have a problem with this--especially in light of the album's title. I do, however, find myself a little annoyed at the effects placed upon the drum sounds (like I did on the last song of the Billy's previous album. I find the flange effect particularly cool when the drummer is keeping time or when the song is fading in or out, but when the drummer is this active and nuanced it feels diminishing.) The manual synthesizer work is not very melodic nor is it sophisticated--not unlike Larry Fast's work on his Synergy albums or Patrick Moraz's The Story of I album. (17.625/20)
A2. "The Muffin Talks Back" (9:52) opening with quite an interesting (and somewhat distracting) combination of synths, rhythm guitar, and percussive creating a kind of funky Star Wars "Cantina" sound world, the music soon launches into a before smoothing out a bit in the second minute into a kind of Latin-Disco true Jazz-Rock Fusion song. The electric guitar solos (and rhythm play) seal the deal--bringing a two guitar "Prince of the Sea" feel to it like Lenny White's final song from Venusian Summer. (This marks the nth number of times my brain has noted similarities to Lenny's 1975-76 production in Billy's albums from the period soon after.) The performances from everyone involved are quite dynamic, especially the three percussionists and keyboard maestro Don Grolnick. The vocal interjections are a bit odd, as are Al[ph]onso Johnson's bass chords in the seventh and eighth minutes as well. The final two minutes feature an awesome electric guitar solo riding on top (or within the percussion weave) that I'm guessing is Steve Kahn's guitar. If you're a lover of wildly-full percussion work, this would be a great song for you to enjoy! (18.5/20)
B1. "Nickels And Dimes" (7:21) a very interesting and engaging song with multiple motifs each with its own tempo and melodies--the second one really putting Ruth Underwood (Zappa)'s xylophone and the amazing horn section to the paces. A highly complex funk weave. Wonderful stuff! The music smooths out a bit in the fourth minute with a nearly-straight-tempo pattern over which George Duke is given copious time and room to perform a nice Fender Rhodes solo. Then we turn to more percussion based section with bass, winds, and "distant" horns backing John Scofield's extended guitar solo. At 6:10 we return to the "Can't Get Next to You" Discofied motif for some excellent work from the horn section and some prime Billy Cobham drumming. (14.25/15)
B2. "El Barrio" (6:30) another Latin percussion-dominated intro weave that finally gives way at 3:00 to a
very pleasant Cubano-feeling motif in which whistles, timbales, bells, and bass are woven into a cheery, upbeat sound reminiscent of stereotypic Latin carnival. The welcome sound of Julian Priester's trombone is given the song's first solo, followed by a somewhat quieter guitar (mixed within the weave of the horn section) from Steve Kahn. Julian gets some shine again as the song ends. I would very much have preferred if this song had been extended! Too bad! (9.25/10)
very pleasant Cubano-feeling motif in which whistles, timbales, bells, and bass are woven into a cheery, upbeat sound reminiscent of stereotypic Latin carnival. The welcome sound of Julian Priester's trombone is given the song's first solo, followed by a somewhat quieter guitar (mixed within the weave of the horn section) from Steve Kahn. Julian gets some shine again as the song ends. I would very much have preferred if this song had been extended! Too bad! (9.25/10)
B3. "Arroyo" (4:15) a slower almost SANTANA-like song with more great interplay between the percussionists (including Billy) while Alphonso maintain's a steady melodic groove over the top within which George Duke's keys and John Scofield's acoustic guitar take turns offering smooth, steady solos (almost in deference to the awesome groove being maintained by the rhythmatists). Nice finish if a slight comedown from the highs of the other four songs. (9/10)
Total Time: 38:51
Total Time: 38:51
Once again I feel ever-so grateful that Billy Cobham remains firm and true in his commitment to the high principles of "peak era" Jazz-Rock Fusion: refusing to slide into the easy job of creating Easy Listening Smooth Jazz (which we know he is capable of). The man was and still remains a staunch promoter of high-class Jazz-Rock Fusion.
91.50 on the Fishscales = A-/five stars; another minor masterpiece of "peak era" Third Wave Jazz-Rock Fusion from one of the "true believers" of the movement.
MISSUS BEASTLY Space Guerilla
The boys of silliness are back--at least two of them (wind player Friedemann Josch and keyboard maestro Burkard Schmidl). Also, the band's number is down to a quartet as they have obviously gotten more comfortable with multi-tracking. The album was released by Schneeball Records in June of 1978.
- Friedemann Josch / wind
- Locko Richter / bass, violin
- Burkard Schmidl / keyboards, electric guitar, percussion, vocals
- Jan Zelinka / drums
1. "Space Guerilla" (10:48) a three-part suite in which the second movement is full of experimental keyboard work, while only the final super-fast, super-fun section is really high quality Jazz-Rock Fusion. (18/20)
2. "Guitar For Sale" (7:57) a murky, funky vehicle for some superb Al Di Meola/Jan Hammer-like guitar synth and/or synth play from keyboardist Burkard Schmidl (who is also providing the rich electric piano chords in the rhythm section beneath). My big question is: Is that really a guitar doing the soloing over the first three minutes or a synth mimicking a guitar?
Great sound and mix with the bass and drums sticking right out there with Burky's axe-like keyboard. At 3:50 everybody dials down their volumes for a delicate passage over which flute, piano (Possibly a very nice electric piano--which would be unusual for 1978 but, knowing German ingenuity, could be possible), and tuned percussion solo (mostly piano), carrying forward the same descending chord progression from the first half. Great "guitar" soloing in the first half, solid Jarrett-like piano solo in the second half. Odd, though to have it expressed like this in a two-part song. (13.5/15)
3. "Rahsaan Roland Kirk" (2:50) obviously a tribute to recently-deceased Indiana-born American sax and flute player of the same name. Multiple tracks of layers of flutes imbedded with multiple tracks of percussive voicings. Interesting. (4.5/5)
4. "Fuzzy, Don't Go To The Disco" (3:21) like an étude in funk. Can a Jean-Luc Ponty violin play funk? Can Burkard adapt to the clavinet. Can flute and sax accents supplant a brass section? etc. (8.75/10)
5. "Hoffmannstropfen" (6:04) another very mathematical and stringently-constrained construct that sounds like a study/practice session in funk mastery. Though I'll give them props for going further than Thijs Van Lier's FOCUS ever went. (8.75/10)
3. "Rahsaan Roland Kirk" (2:50) obviously a tribute to recently-deceased Indiana-born American sax and flute player of the same name. Multiple tracks of layers of flutes imbedded with multiple tracks of percussive voicings. Interesting. (4.5/5)
4. "Fuzzy, Don't Go To The Disco" (3:21) like an étude in funk. Can a Jean-Luc Ponty violin play funk? Can Burkard adapt to the clavinet. Can flute and sax accents supplant a brass section? etc. (8.75/10)
5. "Hoffmannstropfen" (6:04) another very mathematical and stringently-constrained construct that sounds like a study/practice session in funk mastery. Though I'll give them props for going further than Thijs Van Lier's FOCUS ever went. (8.75/10)
6. "Cose Dola" (5:17) a song whose music shows the band approaching, almost encroaching upon the new style taking over Jazz-Rock Fusion: commercially-driven Smooth Jazz. Competent but rather dull. (8.666667/10)
7. "For Flü" (6:57) piano and flute playing some frantic melodies at first together, then harmonically, at break-neck speeds. Then synth (synth guitar?) takes the rhythm section along a more Eastern European direction before flute rejoins to mirror Burkard's breathtaking melody lines. A quiet section in the third minute is filled with only solo piano and sonorous kazoo-like vocalese before flute rejoins. The two speed up, insidiously, until 4:35 when the rest of the band (the rhythm section) rejoins to support the crazy-fast drive through the Carpathian Mountains. Burkard rejoins a synth in place of his piano to duke it out with Friedemann's flute. Very impressive performances from the two remaining holdovers from the band's two previous albums. (13.5/15)
8. "King Garlic" (6:40) piano, electric bass, and simple yet-solid drumming present a powerful presence despite still retaining a bit of the lounge musicians' sound. I'm very much reminded of ANNETTE PEACOCK's "Real and Defined Androgens" from her X Dreams albums from this same year: the sound and structure and chords and drumming are so similar! Did one borrow from the other? I'd like to know since Annette's song is definitely one of my favorite songs of hers (and Bill Bruford's). (9/10)
Total Time: 49:54
Total Time: 49:54
The engineering of the sound on this album definitely shows a new era and new attitudes toward high-end and compression. (I don't like it.) The drums and bass feel muted and dull while the keyboards are so bright. Also, I hear much more effort going into the musicians attempts to "master" American funk.
89.12 on the Fishscales = B+/4.5 stars; a near-masterpiece of very solid Jazz-Rock Fusion. Highly recommended.
Two of France's most respected jazz/prog musicians must have been shacked up in an Alpine resort studio for two weeks due to a severe snow storm (back when the Alps still had snow). The album was released by Atlantic Records in June of 1978.
Line-up / Musicians:
- François Cahen / piano, electric piano, synthetizer
- Didier Lockwood / electric violin, mellotron, synthetizer
1. "Thank You Joe" (4:30) programmed drums and percussion lock in the rhythm track over which François Cahen and Didier Lockwood play their electronic synthesizers. The weave is slowly built to create a near-New Age confabulation on which only and tinny electric piano is recognizable as something near to real life sound. The result is pleasant if innocuous and almost rigid in its mathematical order. (8.75/10)
2. "Merci Guy" (1:00) dreamy electric piano notes/chords over which Didier plays a quiet little Jean-Luc Ponty like melody on his electric violin. (4.25/5)
3. "Lettre ouverte à M. Debussy" (8:15) swirling piano and violin runs up and down their scales eventually slows down into very dramatic ballet-music-like piece in which Didier soars Icarus-like with his violin over François' wildly animated pounding of piano chords. Could be nice as an accompaniment to some dance routine but it is not as exciting or fulfilling--or developed--for we rock music lovers. The performances of both musicians are impressive from both a jazz or classical perspective, but not as fulfilling as, say, a guitar duet with Paco De Lucia. (17.625/20)
4. "Obade à Jean Sebastien" (2:35) dreamy reverberating synth keyboard notes are accompanied by heavily-effected electric violin flights. Kind of like Vangelis with Jean-Luc Ponty--both being on the same page, electronically, in 1978. The rondo-like weave that ensues in the second minute is quite lovely. (9.625/10)
5. "Top Espace" (4:30) spacey, scratchy, soaring flights of violin over eerie spacey synths turns into staccato violin strokes as accompaniment/foundation for François' galactic synth flights. Now THIS is pretty cool--very creative and inventive in a proggy electronica way. I really love this song despite my looking for Jazz-Rock Fusion. (9.125/10)
6. "From Bella To Keith" (11:20) this song opens with some "distant" and heavily-effected electric violin notes screaling over François' swirling and pounding synthesizer/electric piano chords. The two sound like two scared boys trying to find one another in the eerie Schwarzwald, nervously continuing on their separate paths but quaking at every odd sound produced by the woods around them. Around the five-minute mark the two boys must see each other for François' play becomes quite Zeuhlish, using very pretty chord sequences to support Didier's equally ecstatic electric violin playing. While it is difficult for me to hear anything from an electric violin that doesn't conjure up my lifetime of Jean-Luc Ponty adoration, there are some very beautiful passages here: some performed together, as if in dance, others sounding very separate and independent. In the ninth minute the musical mood shifts again: as if the reunited brothers are now faced with the challenging prospect of finding their way home . . . in the dark. Or in a storm. Their dynamic playing is so much like the music that was coming out of Europe in the late 19th and early 20th Centuries (especially the Impressionists). Impressive and mature-feeling composition that works--especially with multiple listens (and my imagined storyline). (18.25/20)
7. "Rêves De Music" (3:50) back to the dreamy type of music that the album opened with as François twiddles around on his spacey synths while Didier swirls and morphs around in the atmosphere around him on his heavily-treated electric violin. (8.75/10)
Total Time 36:00
Total Time 36:00
This was a challenging album for me to get to know because it was so . . . two-dimensional (despite the use of multiple keyboards and multiple tracks at the hand of both musicians). Also, it was not as enjoyable to listen to for the continual straddling of Vaughan Williams' "Lark Ascending" violin runs with whatever it was that François Cahen was feeling went with it at the time. The spacey, New Age-like dreamy stuff was actually much easier (and more enjoyable) but definitely swayed the categorization of this toward prog and away from J-R Fusion.
89.99 on the Fishscales = B+/4.5 stars; an excellent album of experimental duets between two virtuosos of classical & jazz instruments who are both deep into experimentation with the world electronics and electronic effects. Highly recommended for those interested in the development and evolution of electronics in prog and Jazz-Rock Fusion.
HERBIE HANCOCK Sunlight
Herbie's personal infatuation with the vocoder and other voice-manipulation tactics and technical devices has given him the courage to sing--which he does! on almost every song! The lead vocals!! Recorded between August 1977 and May 1978, Sunlight was released by Columbia Records on June 15, 1978.
Line-up / Musicians:
- Herbie Hancock / Vocals, Backing Vocals, Electric Piano [Fender Rhodes], Clavinet [Hohner-d6], Piano, Synthesizer [Oberheim Polyphonic, Oboe 1, Yamaha Cp-30, Arp 2600, Mini-moog, Arp String Ensemble, Yamaha Polyphonic, Arp Odyssey, Poly-moog, Micro-moog, E Mu Polyphonic]
With:
- Byron Miller / bass (A1)
- Leon "Ndugu" Chancler / drums (A1)
- Wah Wah Watson / guitar (A1)
- Raul Reckow / congas (A1, A2, B2, B3)
- Ray Parker, Jr. / guitar (A1, B1)
- Paul Jackson / bass (A2, B1, B2)
- James Levi / drums (A2, B1)
- Bill Summers / percussion (A2, B1, B2, B3)
- Baba Duru / tabla (A2)
- James Levi / drums (A2, B1)
- Bill Summers / percussion (A2, B1, B2, B3)
- Baba Duru / tabla (A2)
- Bennie Maupin / soprano sax (B1)
- Harvey Mason / drums (B2)
- Jaco Pastorius / bass (B3)
- Tony Williams / drums (B3)
- Patrick Gleeson / Synthesizer [Additional Synthesizers] (B3)
And:
- Brass: Bobby Shew (tracks: A1 to B1), Garnett Brown (tracks: A1 to B1), Maurice Spears (tracks: A1 to B1), Robert O'Bryant, Sr. (tracks: A1 to B1)
- Strings: Emily Van Valkenburgh (tracks: A1 to B1), Lawrence Granger (tracks: A1 to B1), Linda Wood (2) (tracks: A1 to B1), Nathan Rubin (tracks: A1 to B1), Roy Malan (tracks: A1 to B1), Terry Adams (tracks: A1 to B1)
- Woodwinds: David Willard Riddles (tracks: A1 to B1), Ernest J. Watts (tracks: A1 to B1), Fred Jackson, Jr. (tracks: A1 to B1), Jack Nimitz (tracks: A1 to B1)
A1. "I Thought It Was You" (8:54) using melodies familiar to us from various theme songs to popular television shows plus a full brass section, Herbie & Co. explore the novelty side of Disco Pop music--here using a vocoder-like effect to modulate his singing voice. I hear a little of that which will become The Crusaders' "Street Life" in multiple aspects of this song. It's good--with the high-skill performances from all on board as one has come to expect from a Herbie production--just not great. As I said: it feels a little more like a novelty song. (17.75/20)
A2. "Come Running To Me" (8:23) using a whole different effect tool kit to modulate his voice on this one, Herbie adds his rather-pleasant and surprisingly-skilled voice to what feels like more of a Jazz-Pop song. A very pleasant, even relaxing and enjoyable, listening experience, the song comes across as less Smooth Jazz > Jazz-Rock Fusion > Jazz. (17.75/20)
B1. "Sunlight" (7:09) actually a pretty cool, very enjoyable song--structured over something that one might call funk-lite, Herbie's smooth vocal conveys some poetic lyrics, accented by the horn section, before moving into some scatting as the funk thickens a little. Ray Parker, Jr., Paul Jackson, and Bill Summers are essential to the success of the groove. LONG-time collaborator Bennie Maupin makes his only, albeit, brief appearance on the album in the middle. Herbie's own synth work in the second half is unusual and highly complementary to both his vocals and the funk motif. (14/15)
B2. "No Means Yes" (6:18) Harvey Mason, Bill Summers, Raul Reckow, and Paul Jackson make quite a team in the rhythm section--such virtuosic nuance represented--while the woodwinds, Fender Rhodes and lack of guitar all make quite the impact. Very cool song (despite its similarity to the slightly gentler work of Bob James)! (9.25/10)
B3. "Good Question" (8:31) a cool Latin jam that includes Tony Williams and Jaco Pastorius to give it the more serious jazz foundation that pianist Herbie was surely going for. The percussionist (Bill and Raul) and guest synthesizer guru, Dr. Patrick Gleeson (back from the old Mwandishi days) round out a rousing piece of jazz on which Mr. Hancock sounds like he's exploring the territory more commonly tread by contemporaries Chick Corea and Don Pullen. High speed and dynamic piano playing, to be sure! (18.125/20)
Total Time: 39:26
The transition over to easy listening, Adult Contemporary, Smooth Jazz seems pretty complete with this album despite the addition of a horn section and all of the compositions being Herbie's save one. The performances of the jazz musicians are all stellar--so polished and professional--and the compositions all quite mature and sophisticated, they're just falling more into conformation with the prevailing flow toward easy listening Smooth Jazz.
P.S. I can see how some people credit this album with helping to birth the Daft Punk-type of music of the 1990s and 2000s: Herbie seems quite intent on singing--and using massive distortion effects on his (actually-lovely) voice.
90.44 on the Fishscales = A-/five stars; a very nice contribution to Smooth Jazz which definitely helps legitimize the new direction that Jazz-Rock Fusion has evolved into.
MICHAL URBANIAK'S FUSION featuring URSZULA DUDZIAK Heritage
Recorded in Stuttgart at Tonstudio Zuckerfabrik in July and August of 1977 while the band was touring Europe, it was not released by MPS until June of 1978. Michał and Ulla have an absolutely killer band with them.
- Michał Urbaniak / Violin
- Urszula Dudziak / Vocals
- Kenny Kirkland / Keyboards
- Tony Bunn / Bass
- Lurenda Featherstone / Drums
1. "Heritage" (7:02) a slow introduction takes a minute to come together. When it does it is in the form of a traditional folk reel with a Celtic-sounding melody. But then things shift at the two-minute mark, with Michał using his plaintive violin to bridge us into a motif that uses two chords played with percussion on Tony Bunn's bass, which then sets up a long passage for some of Ulla's wordless vocalese: these some of the more slowed-down and wordlike riffs I've ever heard from her. The music slows in the fifth minute, giving Michał plenty of space to play his solo while slowly building his melodies and riffs. (13.375/15)
2. "Prayer" (3:20) feels like a Chopin étude with some vocal and percussive frivolity and tempo-shifting fun. The violin is Ponty-like, but the sound play is more Zappa like. I really like it--though it probably should have been a minute or half-minute shorter! (8.875/10)
3. "Vio-lines" (2:33) Michał playing his electric violin solo in a big echo chamber. He does a really outstanding job of "playing with" (or "off of") his echoed doppleganger. It's really nice to hear Michał with some passion back in his violin playing. (4.375/5)
4. "Stick it in" (7:58) a more up-tempo song, like the old days, with some funk and jazz and some of Michał's most dynamic violin playing in a long time. A sound palette and musical style very similar to that which Jean-Luc Ponty is developing at the same time (minus the presence of Ulla). A second high-speed motif with Ulla's fast-scatting matching Michał's violin is used three times or four times as a kind of chorus (or extended bridge). Kenny's Fender Rhodes solo in the seventh minute is a little more his own and less a Chick Corea imitation. (13.5/15)
5. "Cucu's Nest" (8:17) a very pleasant and melodic smooth jazz-funk tune in which Kenny Kirkland's Chick Corea-like Moog sounds a lot like Ulla's scat vocalizations. (17.75/20)
6. "Gaby's Mood" (3:21) this one opens up sounding just like one of Ulla's solo voce pieces that we've heard before: almost exactly like "Funk Rings" from her own 1975 solo album, Urszula--but then, about halfway through, she shifts into some more ethereal ambient vocal tactics. Nice. And smart. (8.875/10)
7. "Storks" (8:30) opening with emotive bass and drums supporting Kenny, Michał, and Ulla's gentle melody line turns into a violin solo with some pretty awesome bass and Fender Rhodes support--which shifts into double time around 1:20 and then a frenetic funk passage at 1:35 which persists in the form of a two-chord vamp shuffle for Ulla's exquisite vocal scat solo. Man! are Tony Bunn and Lurenda Featherstone in synch! And Tony's fretless bass play is makin' me wanna get up and dance! After another brief frenzy bridge Michał takes a turn up front--this time over the most recent up-tempo Latin motif. Ulla joins in during the sixth minute, playing off of Michał, but then Tony steps up and starts to play off of Ulla's funk staccato scats! So cool. Next up is Kenny Kirkland with a wonderful prolonged solo on the Rhodes. This is as powerful a Jazz-Rock Fusion as anything Chick Corea did in the 1970s. (18.5/20)
I have to say that this album shows Michał Urbaniak at his most showy, dynamic, and skillful in a long time. While there is a little Smooth Jazz being expressed here, it's far more filled with sophisticated, dynamic, top-tiered Second Wave Jazz-Rock Fusion than the smooth stuff--sounding like Jean-Luc Ponty circa 1979 and 1980 with far more sophistication and complexity in both the construction and performances of the songs (especially the long songs).
89.74 on the Fishscales = B+/4.5 stars; a near-masterpiece of super high quality Jazz-Rock Fusion. I guess Michał's not quite ready to submit to the pressure of conforming to the Smooth Jazz rage; he's still very committed to making high-quality power J-R Fusion!
MOIRA Crazy Countdown
Weird J-R Fuse that has more in common with artists like Frank Zappa and some of the other off-color German bands (like Embryo and Kraan). Also, I can't help but think that this album might have been composed and/or recorded some time earlier than this year becasue it just doesn't sound compatible with the instrumental sound palette or current stylistic choices of their contemporaries in 1978. The recording dates for the material that ended up on Crazy Countdown were in May of 1977 but it was not mixed until April of 1978 and probably released (by Schneeball Records) soon thereafter.
Line-up / Musicians:
- Jörgen Kanwischer / guitar
- Doctor Bogarth / keyboards
- Edgar Hofmann / soprano saxophone, flute
- Rainer Frank / bass
- Butze Fischer / drums
- Geoffrey Ramos / percussion
- Jörgen Kanwischer / guitar
- Doctor Bogarth / keyboards
- Edgar Hofmann / soprano saxophone, flute
- Rainer Frank / bass
- Butze Fischer / drums
- Geoffrey Ramos / percussion
1. "Para Jofrey" (8:05) flute, piano and wind chimes opens this with guitar lurking behind until Jörgen Kanwischer's electric is revealed at the end of the first chord progression. After another round of this introductory chord progression, the band settles into a spacious two chord groove with Latin rhythmic foundations and instruments providing the background for acoustic guitar and electric guitar and saxophone weirdness to solo over the top. At 2:54, as if by Divine providence, the band suddenly switches into more serious Fender Rhodes-supported jazz-rock motif over the Latin percussion over which Jörgen solos with his acoustic guitar (with chorus-only electric accompanying in the background). The electric seems to step delicately forward in the fifth minute only to be relegated to support for an organ and electric piano solo from "Doctor" Bogarth. At the six-minute mark the Fender steps to full frontal confidently soloing while Jörgen's electric provides some nice rhythm support behind. All the while, the Latin-bound rhythm section behind all this is rock solid, even fully entertaining in and of themselves. It's almost as if they're really Latins! A bit odd-especially in the sound engineering choices--but overall a pretty cool song. (13.75/15)
2. "Crazy Countdown" (5:55) opens with 75 seconds of breakfast/kitchen coffee percolation, pouring, and conversation coupled with African vocal rhythm talking, kitchen table utensil noises, and even a vocalist mentioning his California trip in English! Then, as if out of the percolator, the band bursts into full jazz-rock fusion with some fuzz guitar in the lead (sounding a bit like a kazoo!). In the third minute the instrumentalists get pretty serious with some Percy Jones-like bass from Rainer Frank and some searing fuzz lead guitar over the tight, syncopated rhythm section and hand play on the congas. This is a lot like Al Di Meola's early solo stuff with a little more melody involved (and less clean/sterile sound engineering). Next, a different motif takes over as the band cruises down a funky autobahn in support of a keyboard solo from the Doctor before then returning to a cycle of the first two motifs (as well as the breakfast table vocal percussion). (9/10)
3. "Smile" (5:41) some very quiet keyboard work opens this song--playing for about a minute and a half in this very subdued, though-dynamic fashion. Then the sound of a sitar notifies the band that there is going to be a launch into some discordant chords are employed in equally discordant (yet not repelling) sequences so that electric guitar, flute, and keys can solo. The way the drums and bass jump in at a more dynamic level late is pretty awesome (and powerful), taking a little away from the flutist's limelight but making the song that much more interesting. Too bad there isn't a little more variety in the three-chord foundation of this (until the very end), cuz it's very powerful. I love the band members' laidback confidence throughout. (8.875/10)
Side B
4. "Mata Meme" (5:45) odd volume pedal-controlled electric guitar experimentation over loosely improvised hand percussion play. The guitar play seems to morph in and out of Robert Fripp-like sustained loops and Al Di Meola-like speed riffs with several very convincing flourishes. Interesting and impressive though not necessarily top notch jazz-rock fusion. (8.875/10)
5. "Gemini" (4:12) a fast-strumming flanged acoustic guitar start with stop-and-start Mahavishnu-like pacing and structure unleashes a torrent of blistering Larry Coryell-like playing. The band keeps up the rather frantic Mahavishnu/Return To Forever-like pace and complexity through to the end even accommodating for a couple breaks for some solo acoustic guitar riffs. (9/10)
6. "Always Later" (6:34) sounds like a cut in from some jamming the band might have been doing on some old blues-jazz motifs. Even the saxophone solo in the lead position is playing with this old-time jazz flair and flourish. The performances are pretty cool despite the old feeling to the music. Then surprise of all surprises! About three minutes into the song the band suddenly shifts into a kind of disco-jazz mode, picking up the pace considerably, with funky synth, sax, and electric guitar taking turns soloing over the top. The chordal construction is still pretty rudimentary rhythm & blues jazz but the instrumentalists sure make it zing! The synth sound used is so unusual it could be wah-wahed--like something Jan Hammer or Thijs van Lier would come up with--practically sounding like an electric violin. The song races along with the engineer hand-volume-fading the soloists in and out of the "front" of the mix while drums and bass speed along. (8.875/10)
7. "Spain Mandala" (5:01) coming straight out of the blocks sounding incredibly like something off of one of Al Di Meola's first two solo albums--the Latin-infused power electric pieces or suites. Great imitation--even down to the Mingo Lewis percussion play and Al Di (though sometimes more Larry Coryell)-like solo guitar runs and injection of Spanish acoustic guitar towards the middle. (9/10)
Total Time 41:13
Despite some questionable recording choices, I find the rawness of these songs, played by very capable musicians, acting as if with quite a little humor and fun, quite charming and enjoyable. It seems as if the band's one and only wah-wah pedal was traded around amongst the electrically-miked instruments for different songs, which is a clever and entertaining experimentation.
89.83333 on the Fishscales = B+/4.5 stars; a near-masterpiece of clever, eclectic, and fairly innovative experimental jazz-rock fusion that I think every prog lover would enjoy hearing.
MARTIN KRATOCHVÍL AND JAZZ Q Zvesti
Martin Kratochvíl and company are experimenting with new sounds and simpler, more melody-oriented styles. The material for Zvesti was recorded at studio Dejvice, Prague, November 21 – December 4, 1977, and then released by Czechoslovakian label Supraphon sometime in 1978.
Line-up / Musicians:
- Martin Kratochvíl / piano, Rhodes, Minimoog D, ARP Omni, ARP 2 600
- Lubos Andrst / acoustic & electric guitars
- Premysl Faukner / bass
- Jirí Helesic / drums
- Jan Martinec / soprano saxophone (1,8)
- Martin Kratochvíl / piano, Rhodes, Minimoog D, ARP Omni, ARP 2 600
- Lubos Andrst / acoustic & electric guitars
- Premysl Faukner / bass
- Jirí Helesic / drums
- Jan Martinec / soprano saxophone (1,8)
1. "Klekánice" (6:20) some interesting multi-scenic cinematic music opens this with guitarist Lubos Andrst getting some extended solo time in the second and third minutes on his acoustic guitar. At 2:40, then, the band suddenly bursts forward into fourth gear, racing smoothly down a country highway, occasionally slowing down with an oft-repeated bridge in order to negotiate turns on the road. Then, at 4:20, the band stops with a really weird change in motif which turns out only to be a different bridge (maybe a covered bridge), but then it launches right back into the fourth gear motif for some proficient electric guitar work. An okay and interesting start to the album. At least this one's true Jazz-Rock Fusion.(8.875/10)
2. "Vzkřísení" (5:15) opens with a little BOB JAMES-like feel and sound before Lubos' bluesy electric guitar steers us into an unexpected direction. But it's Martin Kratochvíl's synth (MiniMoog D) that takes the real first lead: eschewing melody for the selected sound's ghostly effect while the rest of the band maintains the rock-solid three-chord foundation. At 3:38 Lubos bursts in again, trying to re-assert the fact that this is really supposed to be a blues-rock song. But then Martin takes the next solo on his Fender Rhodes. Some very interesting elements to this song but, in the end, it's just not anything very memorable. (8.75/10)
3. "Slépěj" (5:30) guitar leading straightaway over Fender Rhodes and the rest of the band, here they are obviously trying to deliver a "pop" like melody--one with memorable hooks in it--and they are pretty successful. I love Premysl Faukner's free and undisciplined bass play throughout. And Martin gois into some of the most jazzy keyboard play he uses on the whole album. Lubos' electric guitar play is wonderfully nuanced: He even goes through some fiery John McLaughlin and melodic Santana imitations before he stops. Definitely a top three song for me. (9.125/10)
4. "Jinotaj" (4:30) Martin's piano (electric but on its most "acoustic" setting) is joined by his MiniMoog, setting forth a slow-paced motif with long, sustained note play from the synth lead. Synth strings join in the second minute as the MiniMoog continues its explorations. Jazzy chord progression from the piano in the third minute leads to a temporary key change, and then back down to something lower for the fourth minute. Interesting. Almost a lullaby. Almost a nocturne or ballad. (8.75/10)
5. "Třísť" (4:30) two melody lines coming from guitar and Fender Rhodes create a dreamy weave that is then joined by the rest of the band with Martin adding the MiniMoog to the slow-and-steady rock and roll palette. Lubos takes the first extended solo. (8.75/10)
6. "Korouhvička" (4:30) high registers of two synthesizers playing fast arpeggios give the opening the sound of a flock of birds chirpping around. Guitar, bass, cymbals begin to add their slow melodic notes to the mix, then one of Martin's keyboards peels off to try to lead, but the big reveal of structured music comes at 2:27 with a surprising blues-based motif--which lasts less than a minute before the musicians back off, returning to the roosting birds motif of the first two minutes. Weird. (8.666667/10)
7. "Krůpěj" (4:50) more shlock and surprisingly simplistic music and syrupy melodies. I do like the weird effect given the bass. (8.75/10)
8. "Větroplach" (7:25) bass and MiniMoog open this one, as in "Tríst", making a two-melody weave. ARP strings join in support of Premusl and then chorused Fender Rhodes before the drums and full keyboard complement join in during the second minute. Again Martin and the leads are trying to create melodies that are pretty and memorable, but they err a bit too much on the side of pretty, sounding often like Spyro Gyra smooth jazz. A Steely Dan-like tangent is taken in the third minute as Jan Martinec's soprano sax returns for the second appearance on the album. Still, the chord progressions and support melodies are just too melodic: they've sacrificed rhythmic creativity (even Jirí Helsic's nuanced drum play) for "prettiness." (13/15)
Total Time 42:50
The sound choices and musical style choices made by the band do not work for me: the former is too experimental and rushed into, the latter too simplistic and easy--and the melodies are just too simple. Plus, there's just something weird about the overall sound engineering. The band's exploration of the possibilities of Jazz-Rock Fusion has only resulted in some middle-of-the road Smooth Jazz.
87.84 on the Fishscales = B-/3.5 stars; while exploring a lot of interesting ideas with a lot of interesting sounds, the songs on this album are very inconsistent in style, complexity, and sound quality. Not the best Jazz Q album to start with.
July
CHICK COREA Friends
Chick going back a decade with some of his oldest friends and collaborators. Here they guys choose to explore some of the hard bop of the pre- and early years of Jazz-Rock Fusion only using their wisdom and more modern equipment from ten years on. Polydor Records released Friends in July of 1978.
Line-up / Musicians:
- Chick Corea / Steinway acoustic grand piano, Fender Rhodes electric piano
With:
- Joe Farrell / soprano saxophone, tenor saxophone, flute
- Eddie Gómez / double bass
- Steve Gadd / drums
1. "The One Step" (6:05) a very sexy and spacious Smooth Jazz expression of some great melodies, ideas, using some superb jazz skills. If only all Smooth Jazz could have stayed as sophisticated, energetic, and jazzy as this tune! The performances of all four gentlemen are worthy of heaps of praise, but Steve Gadd's nuanced master work is especially smile-worthy. And I love Joe Farrell's smooth, never obnoxious soprano sax play. (10/10)
2. "Waltse for Dave" (7:32) piano, drums, fretless double bass (with some Fx?) establish a little swing action that reminds me of Burt Bacharach's "Wives and Lovers" (which earns the song points since Burt's song is already a favorite of mine). Joe joins in toward the end of the first minute with his mellifluous flute, teasing us with his flirtatious songbird-like melody making while Chick, Eddie, and Steve play quite playfully beneath. I have to say that it is so nice to hear jazz of this caliber being played with such joy and weightlessness! Chick and Eddie's solos are just as light and playful as Joe's making this another delightful song to hear--over and over. (14.25/15)
3. "Children's Song #5" (1:15) a little Burt Bacharach-like ditty with Joe's flute, Eddie's bass and Chick's piano chords all presenting and carrying the main melody as Michel Legrand would with Alexandre La Goya and Jean-Pierre Rampal. Some really nice work from Chick! (5/5)
4. "Samba Song" (10:00) this one sounds like a continuation (or scrapped cut) from the quartet's masterful work on the previous year's The Mad Hatter (my favorite Jazz-Rock Fusion album of all-time). On this one Joe gets to stretch out with his tenor sax while Chick spans the gap between the rhythmatists busywork with his inventive chord play and injections of flurries and flourishes. Chick then takes over the lead in the fourth minute. I have to say that I don't really like the way Eddie's bass sounds or is mixed into the sonosphere, yet his solo seventh minute is outstanding! And then the way they all come back together at 7:45 is so awesome! A shift at 8:15 into a vamp allows for a nice percussion solo from Steve. I'm really catching on as to why this album is so highly regarded (and cherished) among Chick Corea fans. (This is my first time hearing any of the songs on it.) (19/20)
5. "Friends" (9:26) a rather simple bass line with heavily-nuanced drum accompaniment and gentle Fender Rhodes chord play (in the left channel) prepares us for Joe's swallow-like flute play (in the right channel). Interesting sound engineering/mixing choices but I like them! Steve's play is interesting and often awesome throughout and I love the way Chick's electric piano playing becomes more animated in the minute before he takes over as the lead soloist. His solo in the fifth minute, however, sounds a little too milk toast/Bob James-ish: pretty but kind of schlocky--laking his usual creative and energetic flare. Eddie's bass is next and it's another really awesome solo: I really like the way his sound is engineered throughout this creative solo on the upper registers of his double bass. At 6:42 we return to the original form with Joe in the lead position while Steve, Eddie, and Chick feel totally locked into their performances. Great tune! (18.75/20)
6. "Sicily" (6:15) another tune--this one of the fast pace that was so frequently present on The Mad Hatter--that sounds like it came from the Mad Hatter sessions. Such spirited play from all of the musicians--especially Joe and Eddie. I mean, Joe's lead sounds as if he's ready to tear a hole in the stratosphere! Things stumble a little with Eddie's solo: he's trying to conform a little too much to the main melody that Joe had established (with Chick in full chordal support); it's just not my preferred style for him. The return to the opening motif in the fourth minute feels a bit out of synch--as if the foursome have lost a bit of their way--but they regain it just in time for Chick's Fender Rhodes solo in the fifth minute (though this time it's Steve's drumming that I'm drawn to attend to instead of Eddie or Chick). A nice solo even has some interesting slowed-down portions to give it some spice, and then we return to the opening motif with Joe back in his spot as leader--though Chick's keys are right there propelling the melody with Joe's flute. Nice finish! (9.125/10)
7. "Children's Song #15" (1:10) this one is a little off-kilter--as if the mood being captured is one of a unsteady toddler stumbling around on the garden grass after spinning around and around. (4.375/5)
8. "Cappucino" (8:39) a little looser and more-aggressively jazz-oriented in that there is less care given to listener-friendly melody-making and more expression of syncopation and dissonance and minor keys than any of the other songs on the album. It sounds to me more like the rising mayhem and chaos of an advancing hurrricane. The musicianship is awesome with everyone dialed in and committed to the less "friendly" mood and intent. Chick in particular is on fire with his animated play on the piano while Joe's soprano sax feels a bit drowned out within the mix. (18.125/20)
Total Time 50:22
93.93 on the Fishscales = A/five stars; a masterpiece of mostly-melodic Third Wave Jazz-Rock Fusion from one of the true masters of the genre accompanied by one of his favorite and strongest entourages of three.
LARRY CARLTON Larry Carlton
Line-up / Musicians:
A1. "Room 335" (5:36) as if the producer said, "Let's take advantage of your playing on Steely Dan's "Peg": almost a carbon copy of both the rhythm track and lead guitar sound as well as the melody-supporting chord progression--especially for the first minute, then things kind of go off in their own direction for a bit before coming back to center on that keyboard chord progression. Larry is quite talented if a bit too smooth and his guitar a bit under-processed for my tastes. Nice of Larry to offer solo time to Greg Mathieson. (8.875/10)
A2. "Where Did You Come From" (3:29) Larry sings! Here on an original song coming from his background singer William Smith and Eric Mercury he makes a legitimate contribution to the Yacht Rock movement. A very likable song in an AMERICA/PABLO CRUISE/MICHAEL FRANKS kind of way while the music is a bit more like PLAYER. (9.125/10)
A3. "Nite Crawler" (5:20) a solid, likable, and suitably-nuanced this one opens as if it could be something from PLAYER, The Doobie Brothers, or even The Allman Brothers. Abraham Laboriel's funky bass is pretty great as is Jeff Porcaro's solid drumming. Greg Mathieson's keyboard work, though technically great, is a bit too much saccharine for me (more like Bob James' work). (8.75/10)
B1. "Rio Samba" (6:57) another song that uses a keyboard-arpeggiated two-chord progression and fast-paced Latin-Disco rhythm track to support the soloists (Larry and a much more contrasting and subdued Greg Matheison). Nice lead guitar work from Larry and nice percussion work from Paulinho Da Costa.(13.5/15)
B2. "I Apologize" (4:18) the second song composition contributed by Larry's friends William Smith and Eric Mercury, this one has a much more Southern Rock twang to it as if it were something from The Atlanta Rhythm Section, Ozark Mountain Daredevils, Dave Mason, or Marshall Tucker Band. It's nice--like a lot of the fare from those bands mentioned. (8.875/10)
B3. "Don't Give It Up" (6:03) opens with a driving bass and drum line quite similar to Boz Scagg's "Lido Shuffle" which Greg and Larry proceed to light up with their electric piano and electric guitar, respectively. The melodies are a little too Southern Rock-ish for my taste, but fans of The Eagles, ZZ Top, or The Allman Brothers would probably love this. Greg does provide some nice organ work during his solo in the middle of the song. (8.75/10)
B4. "(It Was) Only Yesterday" (4:33) delicate Bob James (or Whitney Houston)-like electric piano- and Arp Synth strings-enriched ballad music over which Larry gives a solo that feels too much as if he's trying to emulate Jeff Beck's work on his classic "Diamond Dust" song from his popular 1975 album release, Blow by Blow. It's a fine performance and a fine song but, I can't help but wince at the near-plagiarism. (9/10)
Total Time: 41:33
89.66 on the Fishscales = B+/4.5 stars; a near-masterpiece of high-quality Smooth Jazz.
A1. "Angela (Theme From "Taxi")" (5:42) a sappy-saccharine song that even bugged me when it came out. (Having never owned a television, I've never seen a single episode of the iconic series.) I will grant a respectful acknowledgement of the skills exhibited by Bob and his studio crew to create such an universally-beloved song. (8.75/10)
A2. "Touchdown" (5:42) a pre-Disco or pseudo-disco song that I remember hearing in the discothèques but never really generated as much interest or participation from the dance crowds--most likely due to its lack of singing & lyrics as well to its more laid-back pace and feel. It did, I think, generate a growth in popularity for saxophonist Dave Sanborn. (8.75/10)
B1. "Sun Runner" (6:16) a great happy-go-lucky Jazz-Rock Fusion classic from a whole band with excellent performances from Hubert Laws, Ralph MacDonald, Earl Klugh, and, of course, Bob. Great song construct with sophisticated arrangements and awesome earworm chord progressions. (9.25/10)
B2. "Caribbean Nights" (9:22) highlights of this epic-length tune that I used to play to death in the early 1980s are 1)Hiram Bullock's vocal matching of his guitar solo in the opening section, 2) Bob's great Fender Rhodes play next, 3) the sublime dual performances of Earl Klugh's nylon string guitar with Hubert Laws masterful flute in the fifth and sixth minutes, 4) the whole-band recapitulation of the main theme in the seventh minute, and 5) the horn section with Hubert's swallow-like flute in the bridge before the finale (in which Ron Carter solos briefly with his piccolo bass). (19/20)
Total Time: 34:20
90.77 on the Fishscales = A-/five stars; a minor masterpiece of Smooth Jazz and one of the truly defining and exemplary samples of that new (and dominant) genre.
Total Time 50:22
93.93 on the Fishscales = A/five stars; a masterpiece of mostly-melodic Third Wave Jazz-Rock Fusion from one of the true masters of the genre accompanied by one of his favorite and strongest entourages of three.
The Crusaders' valued guitarist and vaunted L.A. studio musician makes his third attempt (one every five years) at a solo album--and he's still singing! (Maybe the influence of fellow L.A. superstar guitarist Glen Campbell has been rubbing off on him.) The album of all-original tunes was released by Warner Brothers Records on July 18, 1978.
- Larry Carlton/ electric guitar, vocals
- Jeff Porcaro / drums
- Abraham Laboriel / electric bass
- Greg Mathieson / keyboards
- Paulinho Da Costa / percussion
- Greg Mathieson / keyboards
- Paulinho Da Costa / percussion
With:
- William "Smitty" Smith / background vocals, co-composer (A2, B2)
A1. "Room 335" (5:36) as if the producer said, "Let's take advantage of your playing on Steely Dan's "Peg": almost a carbon copy of both the rhythm track and lead guitar sound as well as the melody-supporting chord progression--especially for the first minute, then things kind of go off in their own direction for a bit before coming back to center on that keyboard chord progression. Larry is quite talented if a bit too smooth and his guitar a bit under-processed for my tastes. Nice of Larry to offer solo time to Greg Mathieson. (8.875/10)
A2. "Where Did You Come From" (3:29) Larry sings! Here on an original song coming from his background singer William Smith and Eric Mercury he makes a legitimate contribution to the Yacht Rock movement. A very likable song in an AMERICA/PABLO CRUISE/MICHAEL FRANKS kind of way while the music is a bit more like PLAYER. (9.125/10)
A3. "Nite Crawler" (5:20) a solid, likable, and suitably-nuanced this one opens as if it could be something from PLAYER, The Doobie Brothers, or even The Allman Brothers. Abraham Laboriel's funky bass is pretty great as is Jeff Porcaro's solid drumming. Greg Mathieson's keyboard work, though technically great, is a bit too much saccharine for me (more like Bob James' work). (8.75/10)
A4. "Point It Up" (4:56) an up-beat, up-tempo anthemic-like tune that flies through several catchy melodic hooks and riffs while also showcasing Larry's fiery guitar skills for quite a considerable amount of time. Nice if a little formulaic and Disco-ish! (9.333/10)
B1. "Rio Samba" (6:57) another song that uses a keyboard-arpeggiated two-chord progression and fast-paced Latin-Disco rhythm track to support the soloists (Larry and a much more contrasting and subdued Greg Matheison). Nice lead guitar work from Larry and nice percussion work from Paulinho Da Costa.(13.5/15)
B2. "I Apologize" (4:18) the second song composition contributed by Larry's friends William Smith and Eric Mercury, this one has a much more Southern Rock twang to it as if it were something from The Atlanta Rhythm Section, Ozark Mountain Daredevils, Dave Mason, or Marshall Tucker Band. It's nice--like a lot of the fare from those bands mentioned. (8.875/10)
B3. "Don't Give It Up" (6:03) opens with a driving bass and drum line quite similar to Boz Scagg's "Lido Shuffle" which Greg and Larry proceed to light up with their electric piano and electric guitar, respectively. The melodies are a little too Southern Rock-ish for my taste, but fans of The Eagles, ZZ Top, or The Allman Brothers would probably love this. Greg does provide some nice organ work during his solo in the middle of the song. (8.75/10)
B4. "(It Was) Only Yesterday" (4:33) delicate Bob James (or Whitney Houston)-like electric piano- and Arp Synth strings-enriched ballad music over which Larry gives a solo that feels too much as if he's trying to emulate Jeff Beck's work on his classic "Diamond Dust" song from his popular 1975 album release, Blow by Blow. It's a fine performance and a fine song but, I can't help but wince at the near-plagiarism. (9/10)
Total Time: 41:33
89.66 on the Fishscales = B+/4.5 stars; a near-masterpiece of high-quality Smooth Jazz.
BOB JAMES Touchdown
Recorded At CBS Studios, New York / Soundmixers, New York City and released by Bob's own record label, Tappan Zee, on July 20, 1978. I commend Bob for finally putting together an album entirely made up of his own compositions. Bravo!
Line-up / Musicians:
- Bob James / electric piano [Yamaha Grand], keyboards [Fender Rhodes], synthesizer [Oberheim Polyphonic], piano [acoustic]; producer, arranged, conductor, composer
With:
Acoustic Guitar – Earl Klugh (tracks: A3 to B2)
Acoustic Guitar [Rhythm] – Richie Resnicoff (tracks: A3)
Alto Saxophone – Dave Sanborn (tracks: A2)
Alto Saxophone, Flute – Jerry Dodgion
Alto Saxophone, Flute, Oboe – Phil Bodner
Cello – Charles McCracken, Jonathan Abramowitz, Richard Locker, Seymour Barab
Contrabass Clarinet, Baritone Saxophone – Howard Johnson
Drums – Idris Muhammad (tracks: A1), Steve Gadd (tracks: A2 to B2)
Electric Bass – Gary King (tracks: A1, A2)
Electric Guitar – Eric Gale (tracks: A2, B2), Hiram Bullock (tracks: A2 to B2)
Electric Piano [Yamaha Grand], Keyboards [Fender Rhodes], Synthesizer [Oberheim Polyphonic], Piano [Acoustic] – Bob James
Flute – Hubert Laws (tracks: A3 to B2)
Flute, Clarinet, Tenor Saxophone – Harvey Estrin
Guitar – Hiram Bullock (tracks: A2 to B2)
Percussion – Mongo Santamaria (tracks: B2), Ralph MacDonald (tracks: A1 to B1)
Producer, Arranged By, Conductor, Composed By – Bob James
Soloist [Piccolo Bass] – Ron Carter (tracks: B2)
Soloist, Guitar – Eric Gale (tracks: A1)
Soloist, Guitar, Vocals – Hiram Bullock (tracks: B2)
Tenor Saxophone, English Horn, Flute, Oboe, Recorder – George Marge
Trombone – Alan Raph, Dave Bargeron, Wayne Andre
Trumpet – Jon Faddis, Mike Lawrence, Randy Brecker, Ron Tooley
Viola – Emanuel Vardi, Jean Dane , Sue Pray, Theodore Israel
Violin – Diana Halprin, Harold Kohon, Harry Cykman, Harry Lookofsky, Herbert Sorkin, John Pintavalle, Lewis Eley, Louis Gabowitz, Matthew Raimondi, Max Ellen, Richard Sortomme
About this releaseTappan Zee Records / Columbia – JC 35594 (US)
Acoustic Guitar [Rhythm] – Richie Resnicoff (tracks: A3)
Alto Saxophone – Dave Sanborn (tracks: A2)
Alto Saxophone, Flute – Jerry Dodgion
Alto Saxophone, Flute, Oboe – Phil Bodner
Cello – Charles McCracken, Jonathan Abramowitz, Richard Locker, Seymour Barab
Contrabass Clarinet, Baritone Saxophone – Howard Johnson
Drums – Idris Muhammad (tracks: A1), Steve Gadd (tracks: A2 to B2)
Electric Bass – Gary King (tracks: A1, A2)
Electric Guitar – Eric Gale (tracks: A2, B2), Hiram Bullock (tracks: A2 to B2)
Electric Piano [Yamaha Grand], Keyboards [Fender Rhodes], Synthesizer [Oberheim Polyphonic], Piano [Acoustic] – Bob James
Flute – Hubert Laws (tracks: A3 to B2)
Flute, Clarinet, Tenor Saxophone – Harvey Estrin
Guitar – Hiram Bullock (tracks: A2 to B2)
Percussion – Mongo Santamaria (tracks: B2), Ralph MacDonald (tracks: A1 to B1)
Producer, Arranged By, Conductor, Composed By – Bob James
Soloist [Piccolo Bass] – Ron Carter (tracks: B2)
Soloist, Guitar – Eric Gale (tracks: A1)
Soloist, Guitar, Vocals – Hiram Bullock (tracks: B2)
Tenor Saxophone, English Horn, Flute, Oboe, Recorder – George Marge
Trombone – Alan Raph, Dave Bargeron, Wayne Andre
Trumpet – Jon Faddis, Mike Lawrence, Randy Brecker, Ron Tooley
Viola – Emanuel Vardi, Jean Dane , Sue Pray, Theodore Israel
Violin – Diana Halprin, Harold Kohon, Harry Cykman, Harry Lookofsky, Herbert Sorkin, John Pintavalle, Lewis Eley, Louis Gabowitz, Matthew Raimondi, Max Ellen, Richard Sortomme
About this releaseTappan Zee Records / Columbia – JC 35594 (US)
A1. "Angela (Theme From "Taxi")" (5:42) a sappy-saccharine song that even bugged me when it came out. (Having never owned a television, I've never seen a single episode of the iconic series.) I will grant a respectful acknowledgement of the skills exhibited by Bob and his studio crew to create such an universally-beloved song. (8.75/10)
A2. "Touchdown" (5:42) a pre-Disco or pseudo-disco song that I remember hearing in the discothèques but never really generated as much interest or participation from the dance crowds--most likely due to its lack of singing & lyrics as well to its more laid-back pace and feel. It did, I think, generate a growth in popularity for saxophonist Dave Sanborn. (8.75/10)
A3. "I Want To Thank You (Very Much)" (7:09) opening with a kind of Rat Pack jazz-pop horn play before quickly succumbing to the Fender Rhodes and acoustic guitar Smooth Jazz sound that would become such signatures of both Bob and guitarist Earl Klugh. Awesome solo flute play in the fifth minute from Hubert Laws. (13.25/15)
B1. "Sun Runner" (6:16) a great happy-go-lucky Jazz-Rock Fusion classic from a whole band with excellent performances from Hubert Laws, Ralph MacDonald, Earl Klugh, and, of course, Bob. Great song construct with sophisticated arrangements and awesome earworm chord progressions. (9.25/10)
B2. "Caribbean Nights" (9:22) highlights of this epic-length tune that I used to play to death in the early 1980s are 1)Hiram Bullock's vocal matching of his guitar solo in the opening section, 2) Bob's great Fender Rhodes play next, 3) the sublime dual performances of Earl Klugh's nylon string guitar with Hubert Laws masterful flute in the fifth and sixth minutes, 4) the whole-band recapitulation of the main theme in the seventh minute, and 5) the horn section with Hubert's swallow-like flute in the bridge before the finale (in which Ron Carter solos briefly with his piccolo bass). (19/20)
Total Time: 34:20
90.77 on the Fishscales = A-/five stars; a minor masterpiece of Smooth Jazz and one of the truly defining and exemplary samples of that new (and dominant) genre.
August
JEAN-LUC PONTY Cosmic Messenger
I am fortunate to have seen J-LP a few times in concert in my lifetime--and this tour was the first of them. The concert's opening is forever etched in my mind as one of the most amazing concert memories of my life. Opening with the album's title song, Jean-Luc proceeds to strike such unearthly sounds--more like screams--from his electric violin that people on the floor were literally covering their ears, turning this way and that with panicked expressions on their faces, trying to figure out where this never-before-experienced sound was coming from. It was incredible.
The material for the studio album release of Cosmic Messenger was recorded at Cherokee & Chateau Recorders in Hollywood, California, and then released by Atlantic Records on August 10, 1978.
Line-up / Musicians:
- Jean-Luc Ponty / acoustic & electric violins (4- & 5-string), organ, synthesizer, Orchestron, producer
With:
- Joaquin Lievano / electric & acoustic guitars
- Peter Maunu / electric & acoustic guitars, guitar synthesizer
- Allan Zavod / acoustic & electric pianos, organ, synthesizers
- Ralphe Armstrong / fretted & fretless basses
- Casey Scheuerell / drums, percussion
1. "Cosmic Messenger" (4:38) will always be my favorite Jean-Luc song because of the-above-noted amazing concert reproduction. The rhythm section is so tight here--too bad most Americans have never heard of these individual musicians cuz they're great. (10/10)
2. "Art of Happiness" (4:33) great bass and guitar play on this pretty-one dimensional song. (8.75/10)
3. "Don't Let the World Pass You By" (6:23) great synth start with guitars fading into the weave. Drums and bass elbow their way in before lead electric guitar and bass double up to bring in the melody line over a 90-second arc. The band then shifts gears and direction into a very tight hard-drivin' groove within which Alllan Zavod gets the first solo--about a minute's worth of synth magic before he (or Jean-Luc) switches to another synth for yet another minute of great stuff. Then, at 4:10, Jean-Luc is allowed to finally step in with his electric violin. He is so good: taking Zavod's stuff and putting it to shame! An Allan Holdsworth-sounding electric guitar gets a chance at 5:20 with Zavod competing with him just beneath. Great song. Everybody chugging along on full cylinders. (9.5/10)
4. "I Only Feel Good With You" (3:05) a stunningly beautiful song (as Jean-Luc was able to do more than any other J-R Fuse artist), synths and keys over gently-supporting rhythm play from Armstrong and Scheuerell and the rhythm guitarists. (9.75/10)
5. "Puppets' Dance" (3:40) never a favorite as Jean-Luc allows his band to take the Funk Road. Ralphe is good here, but the cowbell is too much. Guitars and violin weave together at first but then back off for Ralphe to show off a bit before returning for a recapitulation of their weave before backing down for Jean-Luc to soar away on his e-violin. (8.66667/10)
6. "Fake Paradise" (5:41) the opening 20-second weave sets up a great foundation for the guitarists and violin to have their time in the sun. Ralphe Armstrong is great. At 1:10 everybody remains steadfast over a suddenly shifting rhythm track. Interesting! Then the band returns to the first weave for a synthesizer to take the first solo. Same rhythmic shift at 2:37 (must be intended as the "chorus") but this is when one of the electric guitarists is given the nod. At 3:55 everybody goes back to motif #1 for Jean-Luc's turn. (8.875/10)
7. "Ethereal Mood" (4:03) another one of Jean-Luc's hauntingly majestic beauties. Keys, guitar, bass, congas, second acoustic guitar, strumming, and then soaring electric violin à la the title song. At 1:34 Jean-Luc recommences his melodic solo but then, at 1:55, there is a wonderful short-shift of guitar strumming before everybody returns to the normal for some loose atmospheric violin play. The dramatic "short-shift" occurs two more times, at 2:49 to 2:57 and 3:08 to 3:18, to great effect as Jean-Luc continues to let us think he's fading off into the cosmos. Great song. (9.75/10)
8."Egocentric Molecules" (5:44) a high-speed classic--Casey Scheuerell's best--with one of the electric guitarists stepping up to take the first solo. After a reset bridge at the end of the second minute Ralphe Armstrong ably steps up to the fore giving us an electric bass solo for the ages. Wow! 3:10 reset. Now it's Jean-Luc's turn. Can/Will he be able to top Ralphe's amazing solo? I don't think so but he comes close, he just doesn't match Ralphe's two-note-at-a-time play. At the end of the fifth minute Ralphe's given room to go again, but he holds back due to the horn-like synth at play in the lower end. Incredible tune! Makes one realize how we've been holding our breathes for the past six minutes! (9.75/10)
Total Time 37:47
P.S. Has anyone ever considered all of the guys Jean-Luc has stood toe-to-toe with? Stephane Grappelli, Frank Zappa, George Duke, John McLaughlin, Narada Michael Walden, Jan Hammer, Alan Holdsworth, Daryl Stuermer, Peter Maunu, Joaquin Lievano, Al DiMeola, Stanley Clarke, Ralphe Armstrong, Randy Jackson, Rayford Griffin, Monty Alexander, Patrice Rushen and many more. He must be quite respected on his instrument in order to attract this kind of company.
93.18 on the Fishscales = A/five stars; a masterpiece of fully-electrified, amazingly engaging, Jazz-Rock Fusion--definitely a Top 5 Album from the "Third Wave" of prog's "Classic Era."
EDDIE HENDERSON Mahal
Recorded in 1978 at Wally Heider Studios in San Francisco, Mahal was released by Capitol Records on August 21, 1978.
- Eddie Henderson / trumpet, flugelhorn
With:
- Ray Obiedo / guitar
- Herbie Hancock / Fender Rhodes, clavinet, synths (ARP 2600/Strings Ensemble, Oberheim 8 Voice Polyphonic, Prophet-5, Mini Moog, Yamaha CS-80 Polyphonic)
- John Bowen / Strings Ensemble synth (1,6), Prophet-5 programming
- James "Mtume" Foreman / piano, congas (3,5)
- Bennie Maupin / tenor saxophone, saxello
- Julian Priester / trombone
- Hubert Laws / flute
- Paul Jackson / bass
- Howard King / drums
- Bill Summers / congas, percussion
1. "Butterfly" [Herbie Hancock] (8:05) a remake of the Herbie Hancock "classic" (even though it's only four years old) with its creator taking part in the modernized version (as well as several Mwandishi alumni and Bennie Maupin who was one of the original Headhunters, too!) I love all of the innovative sounds Herbie, synth specialist John Bowen, and guitarist Ray Obiedo are employing to funk-up and "modernize" the song. So funny to have these songs re-covered A) so soon after their initial entry into pop consciousness and B) by members of the original lineup now four years "older"! LOL! It's even been discofied a bit! Though it is definitely different than the original, it's still a great song. (Perhaps its just one of those songs that you can never ruin no matter how you choose to approach it.) (14/15)
2. "Cyclops" [James Mtume] (5:18) Eddie and his record company felt good enough about this song to have released it as a 45-single! It's definitely catchy--like the instrumental ear candy that many jazz fusion artists were turning toward at this time--before Jazz-Rock Fusion was being spilled over into Smooth Jazz, Disco Funk, Adult Contemporary, Yacht Rock, 80s R&B and Hip-Hop, and even New Age. It feels as if the piano chords in this song were lifted directly off of the master tapes for the 1984 Soul/R&B hit song "Hey DJ" by The World Famous Supreme Team. It is a great, fun, highly enjoyable listen. (9.333/10)
3. "Emotions" [Eddie Henderson] (4:59) gentle yet sophisticated with Paul Jackson's bass notes and bass harmonics forming much of the foundation with percussive drum play turning to full kit use in the second minute. Eddie's flugelhorn lead is quite melodic--quite like hearing a human voice pronounce its words quite intentionally. The involvement of the rest of the band seems minimal, other than Herbie's Fender Rhodes. (9/10)
4. "Prance On" [James Mtume] (5:16) another Mtume song that falls right into the Disco world that James would stick with throughout the 80s, there are CHIC-like clavinet, rhythm guitar strains, and background synth "strings" accents and flourishes that would become absorbed and exploited fully by Michael Jackson's songwriting/production crew from here (Off the Wall) through Thriller, but the bass is all disco and novelty Funk-Soul/R&B. Overall, it's a little too drawn out and monotonous. (8.875/10)
5. "Amoroso" [Bennie Maupin] (5:38) interesting funk R&B with some novelty sounds covered by some great percussion and trumpet play. Using a fairly dull, straightforward drum "program" the syncopation comes complete from the horns and bass teaming up to carry the melodic rhythm track while Herbie and muted Eddie solo among the flurries of other contributors sneaking in their inputs. (8.875/10)
6. "Mahal" [Eddie Henderson] (4:27) I'm not sure where Eddie was at this time in his life but I find it interesting that the three compositions credited to him on this album are all rather slow, gentle, and tender. Love? Loss? Sadness? Transition? How does the doctor use his music for therapy? There are wonderfully tender inputs from Herbie (muted clavinet), John Bowen (Oberheim strings), Julian Priester, and Paul Jackson on this lovely little tune. (9/10)
7. "Ecstasy" [Eddie Henderson] (3:25) dreamy Mr. Rogers' Neighborhood-like fairy dust coming from Herbie's JOHNNY COSTA-like Fender Rhodes is the only support Eddie uses to express his ruminative mood--like something from FRANK SINATRA's masterpiece of late-night regret, In the Wee Small Hours, or Freddie Hubbard on several of his song remakes on next year's The Love Connection. I really like contemplative songs like this: makes me think that some humans (without the aide of alcohol) are really thinking about their lives. A rather beautiful duet but not really anything contributing to the expansion of the Jazz-Rock Fusion idiom. (8.75/10)
Total Time: 37:08
90.44 on the Fishscales = A-/4.5 stars; a near-masterpiece of Third-entering-upon-Fourth Wave Jazz-Rock Fusion that illustrates that Eddie (and Herbie) are still committed to continuing to push the boundaries of that which is possible for the movement.
Total Time: 37:08
90.44 on the Fishscales = A-/4.5 stars; a near-masterpiece of Third-entering-upon-Fourth Wave Jazz-Rock Fusion that illustrates that Eddie (and Herbie) are still committed to continuing to push the boundaries of that which is possible for the movement.
September
The peak Weather Report lineup PLUS guest appearances from Tony Williams, Steve Gadd, Maurice Williams, Deniece Williams, John Lucien, and Manolo Badrena. Needless to say: Expectations are high! The band's eighth studio album was recorded between February and June of 1978 and then released by Columbia/CBS Records in September.
Line-up / Musicians:
- Joe Zawinul / piano, Rhodes 88, synths (ARP 2600, Oberheim polyphonic & Prophet 5), Mu-Tron Fx, kalimbas, Thumbeki drums, sleigh bells, melodica, hi-hat, voice (1), arrangements & co-producer
- Wayne Shorter / soprano & tenor saxophones, voice (1)
- Jaco Pastorius / bass, drums (1, 2), voice (1, 2, 5), timpani (2), arrangements & co-producer
- Peter Erskine / drums (1, 3, 7), hi-hat (3), voice (1)
With:
- Jon Lucien / voice (1)
- Manolo Badrena / voice solo (1)
- Maurice White / vocals (8)
- Deniece Williams / voice (8)
- Steve Gadd / drums (3, 8)
- Tony Williams / drums (5, 6)
- Alan Howarth / synth programming
1. "The Pursuit of the Woman With the Feathered Hat" (5:00) the Zawinul sound parade begins. They could do so much better than this! (8.6667/10)
2. "River People" (4:49) live or not, this just sounds like another of the band's endlessly-protracted themes to allow Joe to show off his keyboards' sound possibilities. Throw in the handclaps and disco drums and you get one boring song. (Can't imagine why Jaco would put up with this!) (8.6667/10)
3. "Young and Fine" (6:54) very repetitive, melodic in the quirky, upbeat way that only Weather Report (and maybe Jay Beckenstein's SPYRO GYRA) can be. At least the musicianship of the instrumentalists keep it interesting--on multiple levels. (13.5/15)
4. "The Elders" (4:20) another surprisingly insipid and bare-bones song construct on which the band's parade of "fresh" sounds gets put on display. (This song would seem to support the theory that by now all of the band members have caught M. Zawinul's "look at me" bug.) (8.6667/10)
5. "Mr. Gone" (5:20) the opening minute of this song sounds like something from the soundtrack of a 1970s Italian horror film. Then it turns to "bizarre circus environment" for the second and third minutes, using lots of "old" sounds and 1960s "robotic" sounds and noises to make their music. Interesting, entertaining, and laughable. (8.6667/10)
6. "Punk Jazz" (5:07) Finally! Jaco breaks free of his master's chains, leading Tony Williams on a journey worthy of his talents. But that's only the first minute, after that they break into an odd organ-backed sax solo like the femme fatale's theme in an old Guy Noir 1960s "Whodunnit?" film. The circus plodding that follows in the third and fourth minutes is unfortunate despite some nice play from Wayne and Jaco, but they've only gone and wasted the talents of one of the most skilled and dynamic drummers of all-time. (Twice in a row: two consecutive songs!) Still, it's kind of likable. (8.875/10)
7. "Pinocchio" (2:25) fade in fade out = a scrap of music from an extended jam that was deemed "worthy" of being included (to fill space). Steve Gadd's performance is amazing! (4.5/5)
8. "And Then" (3:20) like a gentle "good-bye" song--or even a lullaby. The contributions of EW&F's Maurice White and newcomer Deniece ("I've Just Got to Be Free") Williams seems totally wasted. (8.75/10)
Total Time: 37:15
Total Time: 37:15
Yeah, the fade in, fade out tactic only shows me that the band was just jamming, most likely exploring without structure, goals, or end in sight. Also, I fin myself annoyed and saddened that band-leader Joe Zawinul is still stuck in his "see what I can do" mode of changing the sound programs on his synthesizer keyboard every 20 seconds, trying to cram as many "new" and "unusual" sounds that he can into each and every song (without ever repeating them!) This tactic often serves only to make each song--or each section of a song--ridiculously drawn out. Two good songs in a band's prime years does not make for a great album. Making it through this album is like 37 minutes of waiting for a plane that's only later found out to have been cancelled. Mr. Gone! Too bad!
87.86 on the Fishscales = B-/3.5 stars; a disappointing collection of song offerings from a lineup of many Jazz-Rock Fusion all-stars--a lineup that seemed to promise something wonderful, could've been so much better.
JOHN McLAUGHLIN Electric Guitarist
An album of orphans that were recorded at various times and in various places throughout 1978 using almost a completely different lineup of musicians for each and every song. The album was produced by John McLaughlin in association with Dennis McKay. Sessions took place in early 1978, with specific dates ranging from January 16 to February 2, 1978, at Sound Mixer Studios in New York and Devonshire Studios in Hollywood. The album was released by Columbia Records on September 18, 1978.
- John McLaughlin / electric guitar
With:
- Billy Cobham / drums (1 & 6)
- Stu Goldberg / electric piano, organ and mini-moog synthesizer (1)
- Jerry Goodman / violin (1)
- Stu Goldberg / electric piano, organ and mini-moog synthesizer (1)
- Jerry Goodman / violin (1)
- Fernando Saunders / bass (1)
- Neil Jason / bass (2)
- Neil Jason / bass (2)
- Tom Coster / organ (2)
- Alyrio Lima / percussion (2)
- Armando Peraza / congas (2)
- Armando Peraza / congas (2)
- Carlos Santana / electric guitar (2)
- Michael Walden / drums (2)
- Alphonso Johnson / Taurus Bass Pedals and bass (3)
- Patrice Rushen / piano (3)
- David Sanborn / alto saxophone (3)
- Tony Smith / drums (3)
- Patrice Rushen / piano (3)
- David Sanborn / alto saxophone (3)
- Tony Smith / drums (3)
- Stanley Clark / acoustic bass (4)
- Chick Corea / piano and mini-moog (4)
- Jack DeJohnette / drums (4)
- Jack Bruce / bass (5)
- Tony Williams / drums (5)
1. "New York on My Mind" (5:45) with Billy Cobham and Jerry Goodman we have a bit of a mini-reunion of the First Incarnation of the Mahavishnu Orchestra. Stu Golberg is a perfect replacement for Jan Hammer while Fernando Saunders delivers a much more melodic and approach to the bass--which is actually quite nice. The song--and "Johnny"'s performance are way more blues-oriented than I've heard from the Mahavishnu for a long time. Though more subdued, it is nice to hear that heavy Mahavishnu Orchestra sound again. (9.125/10)
- Chick Corea / piano and mini-moog (4)
- Jack DeJohnette / drums (4)
- Jack Bruce / bass (5)
- Tony Williams / drums (5)
1. "New York on My Mind" (5:45) with Billy Cobham and Jerry Goodman we have a bit of a mini-reunion of the First Incarnation of the Mahavishnu Orchestra. Stu Golberg is a perfect replacement for Jan Hammer while Fernando Saunders delivers a much more melodic and approach to the bass--which is actually quite nice. The song--and "Johnny"'s performance are way more blues-oriented than I've heard from the Mahavishnu for a long time. Though more subdued, it is nice to hear that heavy Mahavishnu Orchestra sound again. (9.125/10)
2. "Friendship" (7:00) sounds half like a lost movement from FOCUS' "Hamburger Concerto" and half like a Latin carnival jam--which is probably due to the reunion of John with latest Santana lineup as well as Second Incarnation Mahavishnu drummer Narada Michael Walden. Though the jam feels very loose and unscripted (and the musicians seem far less inspired or "on" than they did on the 1973 Love Devotion Surrender collaboration), it is a nice sound palette to hear. (13.25/15)
4. "Do You Hear the Voices that You Left Behind ?" (7:39) the plaintive guitar sounds being plucked by John on this sleeper sound like he's trying to be JEFF BECK. Stanley Clarke, Chick Corea, and Jack De Johnette are impressive and a perfect match for the changing tempos that the song takes us through over the course of its nearly-eight minutes though I wish A) the tone of Stanley's bass would pop a little more, B) Chick's electric piano tone had a little more bite and volume to it, and Jack were also hitting his targets with a little more force (and, therefore, volume). This could have been an awesome RTF-like Power Fusion song had everybody just been a little louder. Stanley's double bass solo is quite impressive, as is John's Al Di Meola-like electric guitar solo, and then when Chick switches to Mini-Moog you finally have the dynamic snap that the song (and band lineup) seems to be promising. Jack is great but he feels kind of stuck in the acoustic Jazz world despite his band mates transition into more electronic expressions. (13.5/15)
5. "Are You the One ? Are You the One ?" (4:41) The Trio of Doom! (only with Jack Bruce in place of Jaco Pastorius). I love it from the very start due to the attention-commanding drumming (and perfect sound capture) of Tony Williams. Hearing John use a wah-wah pedal and talk box is something very special--and he's very good at it. The "chorus" sounds very much like a Weather Report riff/song--as does a lot of Jack's solo--while the vocal banter of the trio gives the impression that the band members are really having a fun time. However you look at this one, it is entertaining, fun, and quite impressive. Quite probably my favorite song on the album--certainly the most memorable. (9.375/10)
6. "Phenomenon: Compulsion" (3:21) just John and Billy Cobham (shades of 1971 when the two would jam with each other in the down times between takes on Miles Davis studio sessions and live concerts). The two really do have a neat relationship--an "interesting conversation," if you will. John, especially, really tears it up. I especially love the third minute when John starts doing chords like Pete Townsend and strings shredding like Adrian Belew. (8.875/10)
7. "My Foolish Heart" (3:22) a nice "old-fashioned" (despite the chorused use of heavy-reverb) solo guitar rendering of the great Victor Young and Ned Washington jazz standard from the classic 1949 film of the same name. Preview of John's amazing 1991 tribute to Bill Evans. Fine guitar playing--really using space well and never rushing anything; I just don't like the guitar tone John selected here. (8.875/10)
Total Time 37:18
Though the music is nice--even kind of crossing over into the Smooth Jazz engineering sounds--this is not my favorite tone/sound Johnny Mac has ever chosen for his electric guitar (and it's a sound that remains fairly constant throughout the course of the album). At the same time, I really do enjoy how each song perfectly represents a phase of John's 1970s career: Mahavishnu, Santana, Power Fusion, sound, style and technology experimentalist, as well as respectful lover of the old classics/standards.
89.71 on the Fishscales = B+/4.5 stars; a near-masterpiece of eclectic iterations of John McLaughlin bands and styles--which makes it feel kind of like a "Greatest Hits" album. Definitely a fun and interesting listen.
RONNIE LAWS Flame
Despite the co-production credit going to The Crusaders' Wilton Felder, this album has so much in common with the sound of Narada Michael Walden albums at this time. The rich keyboard and synthesizer work of Larry Dunn are, I believe, what really won me over with this album--that and the vocal participation of Ronnie's sisters, Debra and Eloise. Long-time Ronnie cast member, Roland Bautista continues to grow his supportive jazz guitar skills. United Artists Records released Flame on September 22, 1978.
Lineup / Musicians:
- Ronnie Laws / saxophones, flute, vocals, piano (A3, B4)
- Larry Dunn / ARP, clavinet, Fender Rhodes, Moog
- Bobby Vega / bass (A2, B1-B3)
- Pat Kelly / guitar (A2, A3, A4, B2. B4)
- Melvin Robinson / guitar (A1, B1, B3)
- Raymond Pounds / drums (A1, A2, B1-B3)
- Roland Bautista / guitar (A1, A2, B1, B3)
- Andrew Acosta / percussion (A1-A3, B1, B3)
- Roland Bautista / guitar (A1, A2, B1, B3)
- Andrew Acosta / percussion (A1-A3, B1, B3)
With:
- Art Rodriguez / drums (A3, B4)- Barnaby Finch / piano (B2, A3)
- Onija (Woody Murray) / vibraphone (B3)
- Louis Satterfield / bass (A4)
- Nate Morgan / piano (B4)
- Philip Bailey / vocals (A4)
- Eloise Laws / vocals (A1)
- Debra Laws / vocals (A1)
- Diane Reeves / vocals (A4)
- Eloise Laws / vocals (A1)
- Debra Laws / vocals (A1)
- Diane Reeves / vocals (A4)
- Debra Thomas / b vox (B1)
- Sylvia St. James / b vox (B1)
A1 "All for You" (3:04) (8.6667/10)
A2 "These Days" (4:35) funk with all the electro bells and whistles (literally!) and some treated soprano sax from the band leader. (8.75/10)
A3 "Flame" (7:06) one of my all-time favorite Ronnie Laws songs, I love the spaciousness and long, unhurried atmosphere. The electronic keys are wonderful but Pat Kelly's guitar work is wonderful. It does get a little overdrawn at times--and Ronnie's sax work never really does anything very dynamic; it's more about the structure and atmosphere. (13.75/15)
A4 "Living Love" (4:12) a nice Narada-sounding pop/R&B-oriented song featuring the vocals of Diane Reeves and Phillip Bailey (what a treat!) and some great melodic hooks by Ronnie's sax and flutes. (8.875/10)
B1 "Love Is Here" (4:53) here Ronnie shows the influence that The Isley Brothers' 1970s transition to heavy funk has had on him. A great tune that could have benefitted from one more motif instead of the long instrumental solo finish. (8.875/10)
B2 "Grace" (6:02) classic late-night groove over which Ronnie's flute reigns supreme! Great Bob James feel to this one. All of the musicians are completely attuned to the vibe Ronnie's trying to create. I love it!(9/10)
B3 "Joy" (5:34) has a bit of a Stevie Wonder feel to it (yet another of Ronnie's models/mentors). I'm very happy to hear Woody Murray's vibes as well as Ronnie's funked up flute-and-vocalese play. (8.875/10)
B4 "Live Your Life Away" (3:40) definitely has the design of a radio-friendly pop song--and no winds! Ronnie sings, plays electric piano and the synth bass. Another song that is oh-so close to the music that Narada Michael Walden was doing at the same time--especially the vocal (which I like). (8.75/10)
While Side One contains three songs that Ronnie co-wrote with his keyboardist Larry Dunn (and one cover), all of Side Two's songs are compositions of the band leader exclusively.
88.87 on the Fishscales = B+/4.5 stars; a near-masterpiece of genre-defining Smooth Jazz.
BILLY COBHAM Simplicity of Expression, Depth of Thought
As always, Billy Cobham fearlessly spreads his wings, incorporating any and all new styles and sounds, musicians and technologies into his purview--and always, always remaining steadfast in his commitment to providing seriously-crafted, fully-polished song. Columbia Records released the album in the U.S. and Canada in September of 1978 while the U.K. and European release was delayed until November.
Line-up / Musicians:
- Billy Cobham / drums, percussion, backing vocals (3, 5), co-producer
- Randy Jackson / bass; backing vocals (3, 5)
With:
- Kamal / lead vocals (1, 6)
- Ray Mouton / guitar (1-3, 5)
- Charles Singleton / guitar (1-3, 5), lead & backing vocals (3, 5)
- Steve Khan / 12-string guitar (2)
- Pete Mannu / guitar (4, 6)
- Mark Soskin / keyboards (1-3, 5)
- Joachim Kühn / Moog (4, 6)
- Alvin Batiste / clarinet (2), woodwind (3, 5)
- Eddie Daniels / tenor sax (1), woodwind (3, 5)
- Mike Mainieri / vibraphone (4)
- Jay Chattaway / arranger & conductor (1, 2, 6), co-producer
- Marvin Stamm / trumpet (1, 2, 6), flugelhorn (1)
- Mike Lawrence / trumpet (1, 2, 6), flugelhorn (1)
- Wayne Andre / trombone (1, 2, 6)
- Alan Ralph / trombone (1, 2, 6)
- George Quinn / trombone (1, 2, 6)
- Brooks Tillotson / French horn (1, 2, 6)
- Don Corrado / French horn (1, 2, 6)
- David Nadien / string section's concertmaster (1, 2, 6)
- Matthew Raimondi / strings (1, 2, 6)
- Richard Hendrickson / strings (1, 2, 6)
- Alfred V.Brown / strings (1, 2, 6)
- Peter Dimitriades / strings (1, 2, 6)
- Anahid Aiemian / strings (1, 2, 6)
- Louis Shulman / strings (1, 2, 6)
- Jonathan Abramowitz / strings (1, 2, 6)
2. "La Guernica" (8:05) a dramatic song with a Latin flare (especially coming from bass player Randy Jackson) that has become a concert and fan favorite of Billy's over the years, it has great performances from Billy (of course), guitarists Charles Singleton and Steve Kahn and keyboard player Mark Soskin. Though the inputs from the orchestra are rather minimal, I do like their presence. (15/15)
With:
- Kamal / lead vocals (1, 6)
- Ray Mouton / guitar (1-3, 5)
- Charles Singleton / guitar (1-3, 5), lead & backing vocals (3, 5)
- Steve Khan / 12-string guitar (2)
- Pete Mannu / guitar (4, 6)
- Mark Soskin / keyboards (1-3, 5)
- Joachim Kühn / Moog (4, 6)
- Alvin Batiste / clarinet (2), woodwind (3, 5)
- Eddie Daniels / tenor sax (1), woodwind (3, 5)
- Mike Mainieri / vibraphone (4)
- Jay Chattaway / arranger & conductor (1, 2, 6), co-producer
- Marvin Stamm / trumpet (1, 2, 6), flugelhorn (1)
- Mike Lawrence / trumpet (1, 2, 6), flugelhorn (1)
- Wayne Andre / trombone (1, 2, 6)
- Alan Ralph / trombone (1, 2, 6)
- George Quinn / trombone (1, 2, 6)
- Brooks Tillotson / French horn (1, 2, 6)
- Don Corrado / French horn (1, 2, 6)
- David Nadien / string section's concertmaster (1, 2, 6)
- Matthew Raimondi / strings (1, 2, 6)
- Richard Hendrickson / strings (1, 2, 6)
- Alfred V.Brown / strings (1, 2, 6)
- Peter Dimitriades / strings (1, 2, 6)
- Anahid Aiemian / strings (1, 2, 6)
- Louis Shulman / strings (1, 2, 6)
- Jonathan Abramowitz / strings (1, 2, 6)
1. "Bolinas" (4:25) percussion bells and bass notes open this before a smooth ISLEY BROTHERS-like funk groove sets up Kamal for his Ronald Isley-like vocal. Very, very nice Smooth Jazz that obviously has pop/radio aspirations with the vocals being central to it all. Great tenor sax solo from Eddie Daniels in the first half of the third minute, then we're back to the pop-Adult R&B music with Kamal commanding our attention with his great vocal. I mustn't forget to mention the wonderful presence of a full orchestra, under the direction of Jay Chattaway, the strings led by David Nadien. (9.3333/10)
2. "La Guernica" (8:05) a dramatic song with a Latin flare (especially coming from bass player Randy Jackson) that has become a concert and fan favorite of Billy's over the years, it has great performances from Billy (of course), guitarists Charles Singleton and Steve Kahn and keyboard player Mark Soskin. Though the inputs from the orchestra are rather minimal, I do like their presence. (15/15)
3. "Pocket Change" (6:30) another pop-oriented tune whose vocals, Donald Byrd/Blackbyrds-like group choral and solo style, fall more into the realms of Soul/R&B with a Black American perspective and humorous attitude. Lead vocalist Charles Singleton is rather weak when he tries for those Philip Bailey-like falsettos, but sufficient in the middle ranges. I don't mind this style of song but this particular example is nothing to get too excited about. (8.75/10)
4. "Indigo" (6:50) a Smooth Jazz/Disco Lite vehicle for Mike Manieri's vibes, guitarist Peter Maunu's "distant" twangy electric guitar, and keyboard maestro Joachim Kühn's Moog to solo. Very lite beach cabana/"Yacht" music. (13.125/15)
5. "Opelousas" (4:51) Billy's nuanced solo drumming opens this one before Randy Jackson's funk bass joins in to begin to create another Black-centrified R&B tune with Charles Singleton singing/rapping lyrics expressing the day-to-day issues and concerns of Black America in a fashion that sounds very much like future CAMEO. Excellent bass and drum play; okay song. (8.875/10)
6. "Early Libra" (7:13) electric piano (Joachim Kühn's Moog?) opens this mood-steering song that follows a very dramatic course from soulful Ronald Isley-like ballad to drum-and-orchestra crescendo before collapsing back into soulful plaintive-speak for the finish. Great musicianship throughout but the dramatic rollercoaster ride might have gone a bit over the top with Peter Maunu, Billy's, and the orchestra's big loud crescendo in the sixth minute. I like Kamal's vocal on this one even better than the album's opener (cuz I love the smooth voice of Ronald Isley and his imitators). (13.5/15)
Total Time 37:54
Though this album is flawed and dated it contains some amazing musicianship, not the least of which comes from Mr. Cobham himself, and, as other reviewers have rationalized, you can tell that Billy is fully invested in the music he is making: never shirking or shorting on commitment to fully-developed and fully-polished music (which is one of the things I've enjoyed about listening to any album bearing his name: that commitment to excellence).
91.44 on the Fishscales = A-/five stars; another minor masterpiece of eclectic Jazz-Rock Fusion that expresses Billy's unwavering devotion to releasing only first-class music.
Total Time 37:54
Though this album is flawed and dated it contains some amazing musicianship, not the least of which comes from Mr. Cobham himself, and, as other reviewers have rationalized, you can tell that Billy is fully invested in the music he is making: never shirking or shorting on commitment to fully-developed and fully-polished music (which is one of the things I've enjoyed about listening to any album bearing his name: that commitment to excellence).
91.44 on the Fishscales = A-/five stars; another minor masterpiece of eclectic Jazz-Rock Fusion that expresses Billy's unwavering devotion to releasing only first-class music.
MICHAL URBANIAK Ecstasy
Line-up / Musicians:
- Michał Urbaniak* / violin, strings [Oberheim Synthesizer], tenor saxophone, conductor
- Michał Urbaniak* / violin, strings [Oberheim Synthesizer], tenor saxophone, conductor
- Kenny Kirkland / piano [acoustic, Yamaha baby grand], electric piano [Fender Rhodes], Minimoog, Polymoog
- Zbigniew Namysłowski / alto saxophone- Anthony Jackson / bass guitar
- Pee Wee Ford / bass guitar
- Bernard Pretty Purdie* / drums
- Bernard Pretty Purdie* / drums
- Gary Mure / drums
- James Crab Robinson / guitar
- Crusher Bennett* / percussion
- James Crab Robinson / guitar
- Crusher Bennett* / percussion
- Arthur Jenkins / percussion
- Ralph Macdonald / percussion
- Othello / steel drums
Vocals [Lead]: Calvin Brown (A4, B1), Henry Jackson, James Crab Robinson*, Keith Keyboy Rose , Urszula Dudziak (A2, B2, B3, B4)
Vocals [Background]: Keith Keyboy Rose, Rickie Byars-Boger*Vocals [Lead]: Calvin Brown (A4, B1), Henry Jackson, James Crab Robinson*, Keith Keyboy Rose , Urszula Dudziak (A2, B2, B3, B4)
A1. "Body Rub" (4:42) group vocals over funk R&B music conjoins this song with music by funk R&B bands like The OHIO PLAYERS, PARLIAMENT, CAMEO, THE BROTHERS JOHNSON, SLY & THE FAMILY STONE,THE COMMODORES, The GAP BAND, KOOL & THE GANG, DAZZ BAND, GRAHAM CENTRAL STATION, EARTH WIND & FIRE, The ISLEY BROTHERS, and The AVERAGE WHITE BAND. (9/10)
A2. "Free" (4:45) I have to admit to being quite shocked that Michał didn't enlist his superhuman wife to attempt to cover the vocals of this iconic Deniece Williams song--on her own. The credits say she's there but I have to admit that I cannot distinguish her voice from those of the men around her. Still, it's a pretty good rendition: very funky and soulful in the same vein as the above funk R&B artists. (8.875/10)
A3. "Ecstasy" (3:02) this one sounds very much like EARTH, WIND & FIRE or The BROTHERS JOHNSON. (It may be a cover of one of their songs. It's definitely not a cover of The Ohio Players song of the same name.) It may be an original. Great song--with some awesome musicianship across the board (especially from the bass)--and some very creative and spirited electric violin play from Michał. Should've been a radio hit! (9.125/10)
A4. "Just A Funky Feeling" (5:22) stanky funk-blues that sounds like The O'Jays, War, Rufus, Kool & The Gang and many other Funk R&B bands. Great contributions from the percussionists, vocal team, bass player, and saxes. Another absolutely outstanding funk R&B song. You'd be hard-pressed to admit that the band leader and composer was a European white guy! (9.333/10)
B1. "Want's Ta Make You Feel Good" (5:41) this song definitely brings one deep into the fold of the KOOL & THE GANG/BROTHERS JOHNSON/EARTH, WIND & FIRE pocket of smooth, sexy/sultry Funk R&B. Again, I'm pinching myself: Michał Urbaniak! Who knew?! There's even some RICK JAMES in this one. If you love the funk of the late 1970s, you're gonna LOVE this! Awesome! You could not ask for better band and musicianship! (9.5/10)
B2. "A Day In The Park" (4:04) down to the beautiful Smooth Jazz that Michal also excels at--this one serving as a perfect vehicle for some of his wife Urszula's most beautiful vocals--this one worded! Ulla's work here reminds me very much of the work of Patricia Kaas and Deniece Williams--though not so much when she starts her bird like scatting in the third minute--but it's short-lived: she returns to worded singing, mirrored by the nice gentle male voice of either James Crab Robinson, Keith Keyboy Rose, or Rickie Byars-Boger. Lovely. (8.875/10)
B3. "French Kiss" (5:17) now settling into the Smooth Jazz territory pioneered by BOB JAMES and FREDDIE HUBBARD--only with Michał's sexy sax in the lead position. Nice! Nice slap bass play from Pee Wee Ford over Anthony Jackson's far-smoother mellow note play. The slightly-scattered ramped up "chorus" motifs detract a little from the flow and success of the song due to the instrumentalists' inability to stay synchronized with one another (unless it's intentional). It's just a little off-putting. (8.75/10)
B4. "Creation" (6:21) another smoother return to the Jazz-Rock Fusion foundations of Michał's past, here with some nice smooth funk bass and Fender Rhodes support from Anthony Jackson and Kenny Kirkland, respectively. Even Ulla seems at ease and fully on board with this one. (I'm suspecting that the heavier Funk R&B is neither in her interest or comfort zones.) Nice, steady, superior quality and caliber Jazz-Rock Fusion that is, perhaps, lacking a little energy or enthusiasm. (8.75/10)
Urszula's participation here is so minimal--and so muted--that it may have been an indication of A) her displeasure with the direction Michał was taking with their music, B) her dissatisfaction with their marriage, and/or C) her longing to go back to her homeland (Poland).
90.26 on the Fishscales = A-/five stars; a minor masterpiece of Jazz-Rock Fusion that contains five songs (our of eight) that represent some of the Seventies' highest quality Funk R&B--some of the greatest songs that you will ever hear (but probably haven't). A must hear album! Especially if you like Funk R&B!
October
JACK DE JOHNETTE New Directions
Line-up / Musicians:
- Jack De Johnette / drums, piano
- Jack De Johnette / drums, piano
- Eddie Gomez / bass
- John Abercrombie / guitars, mandolin
- Lester Bowie / trumpet
- John Abercrombie / guitars, mandolin
- Lester Bowie / trumpet
A2. "Where Or Wayne" (12:27) another highly-enjoyable and somehow fully-accessible song that seems more fitting of the musics released in the mid-Sixties by Miles Davis' Second Great Quintet. (24.25/25)
B1. "Dream Stalker" (5:56) What?! Another masterfully-rendered soundscape of atmospheric Jazz Fusion--one that, again, seems to have benefitted from ECM's work with nurturing the proclivities of bassist Eberhard Weber. It's gorgeous, it's dreamy, it's subtly sophisticated, yet always beautifully-gelled into a seamless weave. I love it! (9.75/10)
B2. "One Handed Woman" (10:50) with the experimental avant-garde/free jazz forays in the background of each and every one of these musicians, one could not help but expect at least one loosely-scripted free-for-all into four-way improvisation (five if you are allowed to count the two tracks laid down by Eddie Gomez: one for fast-walking double bass, the other for bowed bass play). John's chosen guitar tone is a little too quiet and, for my ears, staccato to fit this weave: it's like adding colored telephone cable wire to a weave of woolen fabrics. Lester's trumpet play, however, works for me. (The trumpet rarely sets me off--sometimes disappears in the mix but rarely ever disturbs me). Anyway, as I was saying: I knew that there had to be one of these. At least it's not one absent of melody or full of incomprehensible (to me) harmonic rules and sensibilities. (17.625/20)
B3. "Silver Hollow" (8:23) soft and spacious piano with muted trumpet notes straining to be heard from the background while Eddie and John gradually add their own inspiration from within the weave. Though John is playing both acoustic guitar (far in the background) his electric guitar tone during his brief solo appearances is definitely where the famous Pat Metheny tone comes from! Beautiful, John! Beautiful, Eddie! Beautiful, Jack! Beautiful, Lester! Another absolutely perfect song! (20/20)
Total Time: 46:31
Whereas most Jazz artists who've made the commitment to the Jazz-Rock Fusion or other avenues of fusionary musical expression, by 1978 they were either gravitating back to the Jazz folds (e.g. Herbie Hancock, Marcus Miller) or fully committing to the more commercially-rewarding and financially-gratifying realms of the Smooth Jazz movement, Jack, Eddie, and John seem to be as committed as ever to the continued explorations of that which Jazz-Rock Fusion can churn out. As result, they have come up with a string of post-1975 albums that stand up well to any and every innovative and pioneering album put out before. And now Pat Metheny seems primed and ready to join the bandwagon that only Chick Corea and Jack seem composed to adhere to . . . for the time being.
96.45 on the Fishscales = A/five stars; an indisputable masterpiece of quintessential Jazz-Rock Fusion; one of the finest albums to ever come out of the J-R F movement.
Line-up / Musicians:
- Bennie Maupin / saxophone [soprano, tenor], clarinet [bass], flute, marimba [bass], glockenspiel, synthesizer [Eu synthesizer, Computone Synthersizer Winddriver]
- Mike Sembello / acoustic guitar, guitar [electric]
- Abraham La Boriel / bass
- Mingo Lewis / congas, percussion [miscellaneous]
- Harvey Mason / drums
- Bobby Lyle / piano, electric piano, clavinet
- Patrick Gleeson / programming
- Beverly Bellows / harp (2)
- Onaje Allen Gumbs / arrangements (3-6), electric piano (5, 6)
- Derrick Youman / vocals (4)
1. "Nightwatch" (6:09) sophisticated jazz performed by very skilled musicians using all of the latest/most modern sound options which gives is the veneer of a smooth jazz song when, in fact, there is very little that is smooth or easy here. I mean everybody is skilled, everybody is using the latest sound technologies available to them, and nobody is slacking here. The beat coming from the rhythm section is very jagged and syncopated beneath Bennie's relatively smooth tenor sax play and no other solos are given, though everybody manages to shine (especially Harvey Mason, Bobby Lyle, Abraham La Boriel, and Mike Sambello on rhythm guitar). A song that gets better with each listen--and continues to reveal gems and surprises along the way. (9.25/10)
2. "Farewell To Rashan (Dedicated To Rashan Roland Kirk 1936 - 1977)" (3:34) A nice homage to a truly brave pioneer of jazz that sees Bennie playing the tenor sax while Bobby Lyle's electric piano fools around a little from underneath. (9/10)
4. "A Promise Kept" (5:46) this one opens with Bennie's soprano sax exploring some melodic lines in the way John Coltrane did when opening his A Love Supreme. But this is no "Acknowledgement," no, the band joins in during the first 30 seconds to reveal another funky, albeit jerky, quirky, and highly syncopated motif--one that has Harvey Mason really showing off his superior skills--while Bennie seems to fall into more of a support role (though he is still playing the lead). Unfortunately, we find everybody else kind of falling into a Bob James-kind of rut of holding fast to a fairly simple (and somewhat annoying) repeat pattern in support of Harvey (and Bennie). (8.875/10)
Line-up / Musicians:
- John Harmon / piano, composition, electric piano, orchestrated by, soloist, other
- Larry Darling / flugelhorn, synthesizer, soloist
- Kurt Dietrich / trombone, soloist, other
- Andy Waterman / engineer
- Mike Murphy / soloist, drums
- John Kirchberger / tenor saxophone, soprano saxophone, flute, soloist, other
- Mike Hale / soloist, trumpet
- Jeff Pietrangelo / soloist, trumpet
2. "Spring (Inspired By The Season For Ivan)" (8:25) pre-1980s Pat Metheny Group with some really strange dynamic arrangements! A very cool, mature composition of perfectly arranged group dynamics. A mighty nice representation of Spring--not unlike the music of Jay Beckenstein's SPYRO GYRA. (18/20)
3. "Mountolive (Inspired By The Literary Creation Of Lawrence Durell)" (5:14) opens like a dirge for a New Orleans funeral before turning cinematic and DON ELLIS ORCHESTRA fullness and light--and Randy Tico's funk. There's also some more je ne sais quoi-ness to this: like a BURT BACHARACH-itude or Brian ENOssification or BILL CONTI-ness. The massive drum solo paired with the New Orleans dirge doesn't really work for me but the rest is amazing (9.5/10)
4. "Come September (A Father's Farewell To His Five-year-old Son)" (2:54) lullaby electric piano is joined by solo bass trombone for this emotive, surprisingly dark opening. This one definitely develops cinematically though also very much like a collaboration between Weather Report and MAGMA, kind of like Blade Runner's "Blade Runner Blues" except done for trombone instead of flugelhorn. Weird to think this existed before and separate from Vangelis' composition of said soundtrack--which was composed with synthesizers but first published on vinyl by the New American Orchestra using Chuck Findlay's flugelhorn in the lead position. (9/10)
5. "Wizard (Musical Impressions Of J.R.R. Tolkein's Unforgettable Mage, Gandalf From "The Lord Of The Rings")" (10:55) moving straight from the intro of the previous song into this one with no delineation the music takes on many more standard jazz idiosyncracies--even Big Band era stuff--while also using the modern conventions championed by the likes of Chick Corea and Eumir Deodato. Lots of odd and unusual synth sounds--including on the percussion side of things--while the big band rhythm section and choral vocals join in. The drumming and interplay of the fretless bass and electric keyboards are, to my ear, essential anchors for the success of this piece. Everything is so well-conceived and precisely delivered! Plus, there is a "big cinema" classical music film score feel to many of the most dynamic parts--not unlike that which Chick Corea pulls off for his magnificent The Mad Hatter "opera." (19/20)
6. "Smile At The Foot Of The Ladder (A Musical Portrait Of Henry Miller's Clown/Saint August)" (5:02) gentle performed seamlessly over militaristic snare drumming for the first couple minutes before every thing goes Paul Desmond melodic/smooth jazz with Fender Rhodes, flutes, and choir vocal "Oooo"'s. Again, nice bass and subtle drumming play. I love when the horn section joins in over the Take Five"-like rhythm pattern and electric piano soloing. Return to the military snare drumming with muted horns to close out this wonderful song. (9.25/10)
7. "Brown Boy (A Bermudian Street Scene)" (7:21) a nice piece of sophisticated smooth jazz that Bob James and Joe Zawinul (and even Glenn Miller, Artie Shaw, and Benny Goodman) would have been quite impressed with. Great Jaco-like smooth fretless play in the seventh minute which is followed by quite a jovial, celebratory finish. (13.5/15)
Total Time 46:13
Line-up / Musicians:
- Vlatko Stefanovski / guitar, vocals
- Nikola Dimusevski / keyboards
- Bodan Arsovski / bass
- Garabet Tavitijan / drums, vibes
1. "Akupunktura" (4:08) Now here's a song. Keyboard work and bass play are a bit lite but the drumming is pretty good (so much better than the work on the band's debut album--and better recorded). Vlatko is carrying the song--especially when he (finally) hits full-speed at the end of the third minute. The cheesy rock ending again makes me think that this song is just a simple warmup construct: something that lets the band get synchronized and stretched out. (8.75/10)
2. "Kako ti drago" (3:58) a song that comes with a little ethnic folk spice--either Slavic or Caribbean. This is a true fusion of jazz and rock music: it might even qualify more as something proggy (like a Camel song). (9.125/10)
96.45 on the Fishscales = A/five stars; an indisputable masterpiece of quintessential Jazz-Rock Fusion; one of the finest albums to ever come out of the J-R F movement.
BENNIE MAUPIN Moonscapes
An album of Bennie Maupin compositions helped out by producer Patrick Gleeson and a top notch engineering crew at Los Angeles' Conway Studios as well as Bennie's buddy, Onaje Allen Gumbs with the arrangements of several of the songs. Also, Bennie, as always, has surrounded himself with a troupe of amazingly-skilled musicians for this studio album--many of whom I'd never heard of before but all of whom have earned my highest respect for their amazing performances. The material that was released by Mercury Records in 1978 was recorded in San Francisco throughout 1977 and 1978.
- Bennie Maupin / saxophone [soprano, tenor], clarinet [bass], flute, marimba [bass], glockenspiel, synthesizer [Eu synthesizer, Computone Synthersizer Winddriver]
- Mike Sembello / acoustic guitar, guitar [electric]
- Abraham La Boriel / bass
- Mingo Lewis / congas, percussion [miscellaneous]
- Harvey Mason / drums
- Bobby Lyle / piano, electric piano, clavinet
- Patrick Gleeson / programming
- Beverly Bellows / harp (2)
- Onaje Allen Gumbs / arrangements (3-6), electric piano (5, 6)
- Derrick Youman / vocals (4)
1. "Nightwatch" (6:09) sophisticated jazz performed by very skilled musicians using all of the latest/most modern sound options which gives is the veneer of a smooth jazz song when, in fact, there is very little that is smooth or easy here. I mean everybody is skilled, everybody is using the latest sound technologies available to them, and nobody is slacking here. The beat coming from the rhythm section is very jagged and syncopated beneath Bennie's relatively smooth tenor sax play and no other solos are given, though everybody manages to shine (especially Harvey Mason, Bobby Lyle, Abraham La Boriel, and Mike Sambello on rhythm guitar). A song that gets better with each listen--and continues to reveal gems and surprises along the way. (9.25/10)
2. "Farewell To Rashan (Dedicated To Rashan Roland Kirk 1936 - 1977)" (3:34) A nice homage to a truly brave pioneer of jazz that sees Bennie playing the tenor sax while Bobby Lyle's electric piano fools around a little from underneath. (9/10)
3. "Anua" (6:48) some really catchy melodic funk sets up for more of Bennie's solid horn play--this time from soprano sax and bass clarinet--traipsing outside the rest of the band's chord key and main melody lines as only a jazz musician can do. The performances of Abraham La Boriel, Mike Sambello, Bobby Lyle are so great that, again, repeated listens reveal more magic and great enjoyment each and every time. Great groove! Too bad they decided to fade it out as I could have listened to this one for a while longer. (14/15)
4. "A Promise Kept" (5:46) this one opens with Bennie's soprano sax exploring some melodic lines in the way John Coltrane did when opening his A Love Supreme. But this is no "Acknowledgement," no, the band joins in during the first 30 seconds to reveal another funky, albeit jerky, quirky, and highly syncopated motif--one that has Harvey Mason really showing off his superior skills--while Bennie seems to fall into more of a support role (though he is still playing the lead). Unfortunately, we find everybody else kind of falling into a Bob James-kind of rut of holding fast to a fairly simple (and somewhat annoying) repeat pattern in support of Harvey (and Bennie). (8.875/10)
5. "Just Give It Some Time" (4:45) opening with a nice guitar and electric piano chord sequence backed by gentle bass and drums over which Bennie plays one of the tamest, simplest melodic leads I've ever heard him play: it's like he's trying, for the first time that I can remember, to "sing" his instrument like a human voice. The real star of this song, however, is arranger and electric piano player Onaje Allen Gumbs: his play is so active and creative from start to finish. This is my first exposure to Bennie conforming to the peer pressures to create easy listening "Smooth Jazz." (8.875/10)
6. "Sansho Shima" (4:23) another sophisticated composition that demands some very challenging performances--especially from drummer Harvey Mason, electric pianist Onaje Allen Gumbs, and bass player Abraham La Boriel (not to mention Bennie's own performance on his soprano sax); nice to hear/see Bennie remaining true to the high standards of Jazz-Rock Fusion that he played such an important role in establishing (while working as a part of Herbie Hancock's Mwandishi lineup back at the beginning of the decade). (9.125/10)
7. "Crystals" (1:18) tenor sax soloing over spacey/atmospheric electric synth sounds. (4.375/5)
Total Time: 32:43
Total Time: 32:43
An album of surprisingly high musicianship (surprising due to the year and pressures in America to create simplistic Smooth Jazz).
90.71 on the Fishscales = A-/five stars; a minor masterpiece of tried and true sophisticated Jazz-Rock Fusion from a headstrong band leader that is hell-bent on staying the course set forth by the visionaries who created the genre.
90.71 on the Fishscales = A-/five stars; a minor masterpiece of tried and true sophisticated Jazz-Rock Fusion from a headstrong band leader that is hell-bent on staying the course set forth by the visionaries who created the genre.
MATRIX Wizard
The Wisconsin-based band's sophomore release: John Harmon's ascendance into the leadership role has progressed though Fred Sturm is still present. Also, fretless bassist Randy Tico has joined the crew while two of the original horn players have left. Wizard was recorded in August 1978 and then released by Warner Bros. on October 13, 1978.
Line-up / Musicians:
- John Harmon / piano, composition, electric piano, orchestrated by, soloist, other
- Larry Darling / flugelhorn, synthesizer, soloist
- Kurt Dietrich / trombone, soloist, other
- Andy Waterman / engineer
- Mike Murphy / soloist, drums
- John Kirchberger / tenor saxophone, soprano saxophone, flute, soloist, other
- Mike Hale / soloist, trumpet
- Jeff Pietrangelo / soloist, trumpet
- Fred Sturm / composition, orchestrated by
- Peter "Herb" Butler / technician
- Randy Tico / bass, soloist
- Peter "Herb" Butler / technician
- Randy Tico / bass, soloist
- John Simon / producer
- Matrix / producer
- Matrix / producer
1. "King Weasel Stomp" (6:22) a very funky fast-moving romp through some cinematic/game show theme music. Nice synth solo (from Larry Darling?) in the second minute as Randy Tico and the band support with changing thickness and tempos from behind. John Harmon gets the next solo on his electric piano with sparse accompaniment from Randy and drummer Mike Murphy until gentle horns join in from the background. Nicely done. Then Larry (or more likely, Jeff Peitrangelo) bursts into the fray with some boisterous trumpet play, upping the energy for all--a trend that carries forward to the song's finish. (9/10)
2. "Spring (Inspired By The Season For Ivan)" (8:25) pre-1980s Pat Metheny Group with some really strange dynamic arrangements! A very cool, mature composition of perfectly arranged group dynamics. A mighty nice representation of Spring--not unlike the music of Jay Beckenstein's SPYRO GYRA. (18/20)
3. "Mountolive (Inspired By The Literary Creation Of Lawrence Durell)" (5:14) opens like a dirge for a New Orleans funeral before turning cinematic and DON ELLIS ORCHESTRA fullness and light--and Randy Tico's funk. There's also some more je ne sais quoi-ness to this: like a BURT BACHARACH-itude or Brian ENOssification or BILL CONTI-ness. The massive drum solo paired with the New Orleans dirge doesn't really work for me but the rest is amazing (9.5/10)
4. "Come September (A Father's Farewell To His Five-year-old Son)" (2:54) lullaby electric piano is joined by solo bass trombone for this emotive, surprisingly dark opening. This one definitely develops cinematically though also very much like a collaboration between Weather Report and MAGMA, kind of like Blade Runner's "Blade Runner Blues" except done for trombone instead of flugelhorn. Weird to think this existed before and separate from Vangelis' composition of said soundtrack--which was composed with synthesizers but first published on vinyl by the New American Orchestra using Chuck Findlay's flugelhorn in the lead position. (9/10)
5. "Wizard (Musical Impressions Of J.R.R. Tolkein's Unforgettable Mage, Gandalf From "The Lord Of The Rings")" (10:55) moving straight from the intro of the previous song into this one with no delineation the music takes on many more standard jazz idiosyncracies--even Big Band era stuff--while also using the modern conventions championed by the likes of Chick Corea and Eumir Deodato. Lots of odd and unusual synth sounds--including on the percussion side of things--while the big band rhythm section and choral vocals join in. The drumming and interplay of the fretless bass and electric keyboards are, to my ear, essential anchors for the success of this piece. Everything is so well-conceived and precisely delivered! Plus, there is a "big cinema" classical music film score feel to many of the most dynamic parts--not unlike that which Chick Corea pulls off for his magnificent The Mad Hatter "opera." (19/20)
6. "Smile At The Foot Of The Ladder (A Musical Portrait Of Henry Miller's Clown/Saint August)" (5:02) gentle performed seamlessly over militaristic snare drumming for the first couple minutes before every thing goes Paul Desmond melodic/smooth jazz with Fender Rhodes, flutes, and choir vocal "Oooo"'s. Again, nice bass and subtle drumming play. I love when the horn section joins in over the Take Five"-like rhythm pattern and electric piano soloing. Return to the military snare drumming with muted horns to close out this wonderful song. (9.25/10)
7. "Brown Boy (A Bermudian Street Scene)" (7:21) a nice piece of sophisticated smooth jazz that Bob James and Joe Zawinul (and even Glenn Miller, Artie Shaw, and Benny Goodman) would have been quite impressed with. Great Jaco-like smooth fretless play in the seventh minute which is followed by quite a jovial, celebratory finish. (13.5/15)
Total Time 46:13
Newcomer Randy Tico's Jaco Pastorius-like fretless bass gives the band a further "in" with the trends int Jazz-Rock fusion as does some of the new synth sounds (like clavinet) and increase of Latin percussionism. Despite an overall movement toward funk and Jazz-Rock Fusion, there are still many signs that this is still an institutional "big band" orchestra. I love the citations of literary references and/or inspirations for each of the songs--and I LOVE the tight, professional sound of what sounds like a very disciplined, well-conditioned orchestra.
91.84 on the Fishscales = A-/five stars; an excellent addition of incredibly well-polished and sophisticated Jazz-Rock Fusion to any prog lover's J-R F collection.
November
LEB I SOL Leb I Sol 2
A band of super-talented musicians pull together a bunch of simply constructed songs over which they perform creatively and with great technical skill. This is the band's second release of 1978! Recorded earlier in the year, it was released by the RBT label in November of 1978.
- Vlatko Stefanovski / guitar, vocals
- Nikola Dimusevski / keyboards
- Bodan Arsovski / bass
- Garabet Tavitijan / drums, vibes
1. "Akupunktura" (4:08) Now here's a song. Keyboard work and bass play are a bit lite but the drumming is pretty good (so much better than the work on the band's debut album--and better recorded). Vlatko is carrying the song--especially when he (finally) hits full-speed at the end of the third minute. The cheesy rock ending again makes me think that this song is just a simple warmup construct: something that lets the band get synchronized and stretched out. (8.75/10)
2. "Kako ti drago" (3:58) a song that comes with a little ethnic folk spice--either Slavic or Caribbean. This is a true fusion of jazz and rock music: it might even qualify more as something proggy (like a Camel song). (9.125/10)
3. "Aber dojde donke" (4:49) Vlatko Stefanovski is extraordinary! And drummer Garabet Tavitijan has improved! Yay! At the same time, this is just a weird "song" (more like an étude or warm-up session that happened to get recorded.) Impressive guitar play over drum warmups doesn't earn top marks as an album representative. (8.5/10)
4. "Talasna duzina" (4:09) synth strings and electric piano support a bluesy lead guitar opening before a drum-and-cymbal crash signals the fulfillment of the mood-manipulating Soul motif over which Vlatko sings in a quite pleasant voice (in his native language). A very nice, solidly composed and rendered love song. I hope the "wave length" Vlatko is trying to reach with this one worked for his relationship. (8.875/10)
5. "Dikijeva igra" (4:09) a real rocker, spiced up with some jazzy nuances from the rhythm section and by the fact that it's an instrumental, but, really, it feels like a instrumental jam from some late 1960s pioneer of hard rock (or a Thin Lizzy instrumental.) I do like hearing the organ and vibes (as well as more testament to Garabet's improved drumming skills [and confidence]). (8.875/10)
6. "Uzvodno od tuge" (4:10) another gentle, pretty (soothing) ballad-like song construct, this time using slightly more nuanced musicianship than the previous "Talazna duzina," electric piano supporting pitch-bending synth solo and then, toward the end of the third minute, acoustic guitar solo. Too bad that it's only an instrumental as I found myself waiting for, expecting, vocals--otherwise, this is not really much of a Jazz-Rock Fusion song--not even a Smooth Jazz one! (8.875/10)
7. "Marija" (6:30) starts rather slowly, atmospherically, like a mature CAMEL song before jumping into the full band, full cruising speed CAMEL-like motif. This is a very solid full-band construct, with very solid united performances from the two rhythmatists, some nice keyboard support, and some excellently-constructed slow-building electric guitar play in the lead position. Nice piano solo from Nikola in the sixth minute. (9.75/10)
8. "Bonus" (1:34) acoustic guitar and singing. A bit like a Jimmy Page/Led Zepp song. (4.25/5)
Total Time: 34:02
Total Time: 34:02
A much better album in terms of equal quality of musicianship and recording sound quality than their debut.
89.333 on the Fishscales = B/four stars; an excellent display of skillful musicianship expressed through rather simplistic song constructs. Definitely an improvement over the band's debut.
89.333 on the Fishscales = B/four stars; an excellent display of skillful musicianship expressed through rather simplistic song constructs. Definitely an improvement over the band's debut.
December
CHICK COREA Secret Agent
Same year as Friends (which came out in July) this November release is definitely more pop/Fourth Wave Jazz-Rock Fusion oriented. (Pressure from the Polydor front offices?) Recorded on various dates throughout 1978, the album was released by Polydor Records on December 9, 1978.
Line-up / Musicians:
- Chick Corea / acoustic piano, Fender Rhodes electric piano, Hohner clavinet, Minimoog, Multimoog & Oberheim 8-voice synthesizers, backing vocals, percussion
With:
- Allen Vizzutti / trumpet, flugelhorn
- Bob Zottola / trumpet
- Ron Moss / trombone, bass trombone
- Jim Pugh / trombone, bass trombone
- Joe Farrell / flute, alto flute, bass flute, tenor saxophone, soprano saxophone
- Bunny Brunel / fretless bass
- Tom Brechtlein / drums
- Airto Moreira / percussion, hi-hat
- Charles Veal / violin, viola, backing vocals
- Carol Shive / violin, backing vocals
- Paula Hochhalter / cello, backing vocals
- Gayle Moran / lead vocals, backing vocals
- Al Jarreau / lead vocals
- Chick Corea / acoustic piano, Fender Rhodes electric piano, Hohner clavinet, Minimoog, Multimoog & Oberheim 8-voice synthesizers, backing vocals, percussion
With:
- Allen Vizzutti / trumpet, flugelhorn
- Bob Zottola / trumpet
- Ron Moss / trombone, bass trombone
- Jim Pugh / trombone, bass trombone
- Joe Farrell / flute, alto flute, bass flute, tenor saxophone, soprano saxophone
- Bunny Brunel / fretless bass
- Tom Brechtlein / drums
- Airto Moreira / percussion, hi-hat
- Charles Veal / violin, viola, backing vocals
- Carol Shive / violin, backing vocals
- Paula Hochhalter / cello, backing vocals
- Gayle Moran / lead vocals, backing vocals
- Al Jarreau / lead vocals
2. "Slinky" (5:42) here we get into the Smooth Jazz territory of Bob James, The (Jazz) Crusaders, and the Laws family (esp. Hubert and Ronnie) as well as Earl Klugh. An eminently enjoyable tune whose loud horn section takes one back to Chick's great The Mad Hatter album of a couple years before (my all-time favorite Third Wave Jazz-Rock Fusion album). The spacious structure and flute-with-Fender Rhodes melody presentation are so like the concurrent work of BOB JAMES, though. There's even a little MiniMoog homage at the end to the iconic RTF album, Romantic Warrior (also from 1976). (8.875/10)
3. "Mirage" (2:11) the orchestral arrangement of this pretty little filler is quite like the sound palette Chick and Claus Ogerman will put together to support Freddie Hubbard's upcoming 1979 release, The Love Connection. (4.375/5)
4. "Drifting" (4:09) a pretty little Yacht Rock motif that serves to support (and inspire) some of Chick's wife Gayle Moran's unique vocal stylings. Interesting to hear (and distinguish) the fretless bass of Bunny Brunnel in the mix. Nice little instrumental passage with horns and Joe Farrell's flute doubling up Chick's Fender Rhodes' melody lines. But, overall, there is nothing really remarkable about this song. (Maybe it's in the lyrics--which I don't hear.) (8.75/10)
5. "Glebe St. Blues" (6:58) a very STEELY DAN-sounding sound opens this before Gayle and Joe's tenor sax join in, alternating with one another in a blues/blues-rock fashion. At the end of the day, however, there is nothing so very special about this song (which is pretty much the same that I feel about most Steely Dan songs). (13.125/15)
6. "Fickle Funk" (5:05) an upbeat, uptempo song that feels as if the iconic drumming of Steve Gadd is paving the way, but it's not! It's Tom Brechtlein! He does a fine job while Chick, Bunny, and the horn section pull off another rather excellent J-RF rendering. Truly a J-R F song that has it all--plus more carry over from The Mad Hatter and one heckuva train of flugelhorn (Allen Vizzutti), trombone, and soprano sax solos in the second half while Bunny's going wild beneath them (though, in actuality, maybe they're trying to keep up with him). (9.25/10)
7. "Bagatelle #4" (3:34) one track solely devoted to Chick's somber Slavic classical piano chord play while his own "classic"/signature MiniMoog sound eventually solos over it. A "choir" of gospel blues choir singing soon joins in to accent and bridge the two. (8.875/10)
8. "Hot News Blues" (6:18) Chick's response to Bob James' "Celebrate Me Home" song on Kenny Loggins' album of that same name--here using up-and-coming vocal star Al Jarreau to sing the lead. (Al's 1978 album release, All Fly Home, his fourth release in three years, was about to rocket him into national spotlight--with regular singing appearances on Johnny Carson and three minor hits in "Thinking About It Too," "Fly," and "All.") Despite some great performances from Bunny Brunel and a great chemistry between Chick's Fender Rhodes and Al's jazzy scat voice, Al fails to take it to the heights I was expecting. In fact, one might argue that Chick's MiniMoog and the background gospel singers might have had greater success elevating this one to expected/hoped for heights. (8.875/10)
9. "Central Park" (5:22) a rollicking song to celebrate and commemorate the energy of New York's grand Central Park, obviously on a particularly lively and bustling summer's day. This is just a great whole-band celebratory jam with horns and percussionists working their magic on full speed and high vim and vigor. There's even a chorus of exuberant celebrants appearing in the fourth minute singing joyously while Chick, Bunny, Tom, Joe, and the horn section throw their own pep and merriment into the Latin weave. Album's don't often end on such a high note! (10/10)
Total Time 42:58
Though the album often feels like Chick conforming to pressures from the Polydor "head office," the quality of songwriting is still top top notch. (This is, after all, the one and only Chick Corea, folks!) Also, we'd almost gotten used to hearing albums from Chick that had consistent, start-to-finish themes or sounds whereas Secret Agent shows Chick's ability and talent for the creation of singular, stand-alone songs expressing quite a range.
90.0 on the Fishscales = A-/4.5 stars; though this might not be the greatest representative of peak era Jazz-Rock Fusion, it is a definite representative of superbly crafted and rendered Jazz-Rock Fusion songs: a variety pack, if you will. A new team of highly skilled creatives continues to uphold the incredibly high standard of music making that Chick Corea has now commanded for nearly a decade. Highly recommended!
PASSPORT Ataraxia (Sky Blue)
Oh, no! Gone are drummer Curt Cress and bass player Wolfgang Schmid! Let's see how Klaus does with replacements Willy Ketzer and Dieter Petereit (and new full-member on keys, Hendrik Schaper). At least he was able to keep percussionist Elmer Louis and his extraordinary guitarist brother, Roy. The album was released by Atlantic Records in December of 1978.
Line-up / Musicians:
- Klaus Doldinger / saxophones, flute, keyboards, Mellotron
- Willy Ketzer / drums
- Elmer Louis / percussion
- Roy Louis / guitar
- Guillermo G. Marchena / vocals, percussion
- Dieter Petereit / electric bass
- Hendrik Schaper / keyboards
1. "Ataraxia, Pt. 1" (2:55) truly a pastoral introductory piece--one with little to no development. (4.375/5)
2. "Ataraxia, Pt. 2" (5:23) In these first two pieces Klaus' new predilection toward rich keyboard textures in his music is accented by the significant contributions of newcomer Hendrick Schaper. There is almost a TANGERINE DREAM feel to this music--certainly to the sound palette--at least until the arrival of Klaus' saxophone at 2:20--which brings out the not-so-TD-sounding funk from bassist Dieter Petereit and the keyboardists. I like this music, the new keyboard-rich sound palette; I just lament the loss of the music's Jazz-Rock Fusion footings. (9/10)
3. "Sky Blue" (4:38) keyboard synth wash chordal opening--a sound that reminds me more of early synths (like those used by Vangelis at this time) --leads to a rock-heavy theme that sports a pretty awesome "recorder/flute" synth solo. I do not like the thinner, poorer quality of sound coming from the engineering team for this album; this is a much more rock 'n' roll-sounding engineering sound--like something from The Crusaders at about this same time. The synth sounds are all quite dated (and unprocessed?) I like it all but, again, I just feel sad for the drift away from the sounds that made Jazz-Rock Fusion its own unique sub-genre. (8.875/10)
4. "Mandrake" (4:27) okay, here at least we're back to a little of the funky that Bob James, Steely Dan, and the pop-rock-jazz artists are making popular in the States. With doubled-up (chorused?) sax leads and handclaps(?) This, to me, is still Jazz-Rock Fusion, though definitely of the lighter, Fourth Wave or "Smooth Jazz" version. Nice guitar soloing from Roy Louis. This must be what Klaus thinks the public want. Another very pleasant, likable song, if definitely more pop-oriented. (8.875/10)
5. "Reng Ding Dang Dong" (3:01) this one sounds like a funk-affected modification of early Terry Riley-like synth sounds--as if the array are all trying to break free of the minimalist sequence they are stuck in. Interesting! (4.5/5)
6. "Loco-Motive" (4:17) all sounds here but the Disco-lite bass and drums seem to be trying to create an I Robot-like ALAN PARSONS PROJECT song--only, here, the danceable, disco version! It's certainly entertaining--and likable--even when the DAVID SANBORN sax joins in for the third minute. Creative and yet perhaps a little too derivative. (8.875/10)
7. "The Secret" (5:05) the Weather Report sound and style is back! Sax, keys, and bass all exposing the opening chords/melodies in unison. At the one-minute mark they spread out and begin expressing new melodic streams in a harmonized, if still syncopated, fashion. Then, with the third minute's opening we move into a motif that feels as if borrowed straight from some of the quieter passages of NOVA's brilliant Vimana album ("Vimana," "Night Games" and "Driftwood"), but then it goes back to the poppier Weather Report mode as Klaus solos with his soprano sax. The final minute sees a total return to the Weather Report-like opening motif. It's okay, but, again, the sound quality is a bit disappointing--especially after a string of seven previous albums whose sound quality was among the greatest in the music industry. (8.75/10)
8. "Louisianna" (4:32) slowed down fair that might be trying to emulate a Louisiana sound or style but end up sounding completely like one of those blues DAVID SANBORN songs. A sad waste of space. (8.5/10)
9. "Algeria" (5:12) wild upbeat and up-temp Latin-/Caribbean-dominant music. Great percussion performances throughout the song with nice "big band"-like full-band-backed horn arrangements defining the bookends but leaving plenty of time for some spry and fun tenor sax soloing in the middle. Certainly a fun song. (9/10)
Total Time: 39:11
Total Time: 39:11
Though I admire Klaus' ever-adventurous spirit for being open to the exploration of many of the latest and current trends in music, I find the drop in sound quality of this album's production to be surprising--especially since I had, since 1971, upheld his albums as the gold standard in sound recording. What happened?
88.4375 on the Fishscales = B/four stars; a nice addition of diverse music that represents rather perfectly the the "awkward teen" years of the late 70s.
LONNIE LISTON SMITH Exotic Mysteries
Lonnie's second album since discarding his Cosmic Echoes (save for brother Donald) and his second for Columbia Records. Now 19-years old, full band member Marcus Miller gets to show off his talents as a bass player, arranger, and composer! Lonnie's conversion to a pop orientation, here both Disco, pop R&B and Smooth Jazz, is complete though there are still some very jazzy elements, threads, and arrangements within the songs--even among such smooth classics as "Quiet Moments." Marcus' two compositions, "Space Princess" and "Night Flower" both earned a lot of play: the former as a dance favorite at discotheques, the latter as another late night Adult Contemporary radio favorite. The album possesses excellent sound engineering and very engaging, mature, and skillful performances, especially in the richly-textured smooth jazz songs. Though hardcore jazz purists will detest this music, there can be no denying that Lonnie and company are master crafters of very engaging, eminently enjoyable music. The album was released by Columbia Records late in 1978--its second Lonnie Liston Smith studio album release of the year.
Lineup / Musicians:
- Lonnie Liston Smith / Piano, Electric Piano, Producer
- Marcus Miller / Bass
- Steve Thornton / Congas, Percussion
- Lino Reyes / Drums
- Ronald D. Miller / Guitars
With:
- Donald Smith / Vocals (A1), Flute (A4, B2, B4)
- David Hubbard / Flute (A4), Soprano Saxophone (B2, B4)
- Butch Campbell / Rhythm guitar (B1)
- Aurell Ray / 12-string guitar (B1)
A1. "Space Princess" (7:00) an awesome and very solid Disco dance tune with great fullness, flow, and vocals by both lead singer Donald Smith (Lonnie's brother) and the typical mix of Disco b vox. The "Copacabana" percussion palette in the instrumental fifth and sixth minutes is a bit distracting, but the vocal passages are quite winning. I can see why this would have been quite popular in the discotheques. (13.5/15)
A2. "Quiet Moments" (3:54) a stellar smooth jazz instrumental with a very simple but killer four-note piano melody and lush strings accompaniment (accomplished with one of Lonnie's keyboards?) Reminds me a lot of my father's smooth Ronnie Aldrich albums. Beautiful! (9.25/10)
A3. "Magical Journey" (4:58) more soulful funk/R&B smooth jazz that sounds very much like a cover of a pop song in the way Bob James or one of his stable of musicians might arrange. Solid, high quality; always nice to here Lonnie on the acoustic piano, but nothing ground-breaking here (other than some of Marcus Miller's bass licks and Lonnie's clavinet play). (8.875/10)
A4. "Exotic Mysteries" (5:00) rich lushness that sounds like it could be coming from one of Hubert Laws' lush funky albums of the same period (Flame). Between Marcus' bass play and Lonnie's Fender Rhodes, this song could really win, but there's just something "extra" missing. Not even the late-arriving flutes can elevate it (though they do in fact make it sound even more like something off of Hubert Laws' Flame). (8.875/10)
B1. "Singing for Love" (5:29) more smooth, easy listening jazz-funk with the always-welcome touch of brother Donald's vocals. However, neither the lyrics or melodies here are very good. In fact, it's almost like a repeat of the previous song: great palette and chemistry between the musicians but something intangible missing from the overall pastiche. It's almost like the band is struggling to find inspiring lyrics--forcing it when their "mind-expanding" slices of cosmic bliss from the Cosmic Echoes period were so successful (and, seemingly, effortless). Too bad cuz I do so love this sound palette. (8.75/10)
B2. "Mystical Dreamer (A Tribute to Miles Davis)" (6:00) lush keyboards supported by thin rhythm instrument presence opens this one before the band settles into a smooth jazz-funk motif with lots of subtleties coming from each and every one of the instrumentalists--as well as some cutting edge electronic piano effects--over which airy flutes soar peacefully. Lonnie's richly chorused and reverberated Fender Rhodes takes the lead in the third and fourth minutes. This would work if only the two-chord motif beneath would change, shift, or do something more interesting. (8.875/10)
B3. "Twilight" (1:28) (4.375/5)
B4. "Night Flower" (6:07) almost the same palette, feel, and sound as all of the Side Two songs! What happened to variation, Lonnie!? (8.75/10)
As a contributor to the "Classic" Jazz-Rock Fusion lexicon of the 70s, this is an excellent evidence of the skill and serious music-making attitude involved in the transition to Smooth Jazz though it also demonstrates a fairly complete and unapologetic commitment to said sub-genre of Jazz. It is without a doubt beautiful and still-sophisticated music!
89.0625 on the Fishscales = B/four stars; a lovely sound to have as background music behind your evening activities but nothing really remarkable beyond the opening two songs. Of course the real treat here is listening to the development of bass player Marcus Miller. What a talent!
MEDUSA Medusa
Lineup / Musicians:
- John Lee / bass
- Gerry Brown / drums, percussion
- James Batton / keyboards, vocals
- Eef Albers / guitar
- Darryl Thompson / guitar
- Jim Mahoney / guitar
- Cheryl Alexander / vocals
- Eric Tagg / vocals
A1. "Soul Free" (6:29) sounds like a cross between TOTO and KANSAS. Pushing a little too hard for the pseudo-prog rock side of AOR or "classic" rock. Fine musicianship, just a little over the top/pretentious. (8.75/10)
A2. "Heartburn" (4:14) the band's attempt at Led Zeppelin or AC/DC. Pretty good! (8.75/10)
A3. "Second-Hand Brain" (4:05) this is the band's attempt to close in on the heavy-hard-rock mixed-with-R&B sound of Chicago, The Jacksons, 38 Special, or Journey. The musicianship and production are great (as usual); the composition and melodies come up a little short. (8.75/10)
A4. "Our Love Is Surely Gospel" (4:13) taking a swing at a Country-Western R&B combo like the ATLANTA RHYTHM SECTION, DAVE MASOM, or (Kenny) Loggins (& Messina). This song could have earned some radio play. (8.75/10)
B1. "Medusa" (4:33) this one sounds like a R&B singer (think "The Trammps") over a Southern Rock band: it has worked in the past but never (in my recollection) to produce a major radio hit: Three Dog Night, Jeff Beck Group, Thin Lizzy, The Isley Brothers, early Parliament, and even (8.75/10)
B2. "Hit And Run Lover" (4:02) another attempt to put an aggressive R&B singer over some hard/standard rock. Despite the great vocals (lead and b vox) and awesome rock guitar solo, this one is too formulaic milk-toast rock 'n' roll. (8.6667/10)
B3. "You Leave Me Hangin'" (5:33) sounds too much like a cross between Bonnie Raitt's "Turn Down the lights" and a song from Burt Bacharach's soundtrack to the film Arthur. It's nice--actually, really nice (I really like Eric Tagg's BILL WITHERS-like performance)--it just can't compete with the musical and lyrical hooks of the hit parade. (8.875/10)
B4. "Mr. C.T." (3:57) a hard rockin', hard drivin' instrumental with some great guitar soloing, start to finish. It just lacks those hooks I keep talking about. (8.75/10)
Total time: 37:06
Despite great talent, I'm sorry to say that the only way that vocalists Eric Tagg and Cheryl Alexander were going to spawn a big hit were in the Soul/S&B markets--and the music here beneath their performances was not the type to generate interest/attention there. This is hard, classic rock music over which John and Gerry somehow thought R&B singers might work--as if they were going to create their own new niche on the Billboard charts. I commend them for dreaming big--and, as always, for their stellar musicianship (and production); I just think their vision was a bit delusional.
87.55 = on the Fishscales = B-/3.5 stars; an album of great sound and musicianship that unfortunately tries to combine R&B vocals with hard rock music. It just doesn't hit the marks.
ÉDITION SPÉCIALE Horizon Digital
French Jazz-Rock Fusers' third and final album presents a slightly altered lineup despite the essential core of guitarist Marius Lorenzini, keyboard wizard Ann Ballester, and drummer Alain Gouillard. All of the new members enlisted by producer Laurent Thibault are of equally high caliber with pedigrees including memberships in such bands as Magma and Gong. I also love to see how the French let women get involved to such high degree: they deserve it! They earn it! The album was recorded in August and September at Château d'Hérouville and then released by by RCA Records late in the year.
- Marius Lorenzini / guitar, synth, vocals
- Ann Ballester / keyboards, synth, vocals
- Francois Grillot / bass (1-6)
- Alain Gouillard / drums (1-6)
- Mireille Bauer / vibraphone, marimba, percussion
1. "Aurore" (5:42) cool two-part song with Mireille Bauer's vibraphone given one of the primary/prominent roles in the weave. I very much like the tone and style of play from guitarist Marius Larenzini and I find this weave with its multiple melodies competing and yet complementing with one another quite enjoyable. (9.125/10)
2. "Camara" (9:25) a similar style to the previous song despite the long intro and presence of French choral vocals. They create a great little weave here with very catchy melodies and swinging rhythm track. Do I hear a little similarity to Belgian band COS here? At the 3:20 mark the band shifts up a gear with a little Latin percussion added to the swing in order to guide and inspire the two synth soloists to strive upwards. At 4:28 we're back to the lighter, smoother COS- like vocal motif, perhaps slowed down a bit, now using some dramatic stop-and-start techniques to punctuate pauses and shifts. Very cool! And boy! can these musicians play! I am SO impressed! Though there is a definite Third Wave smoothness to the engineering and sound palette, the band is definitely carving out their path through the exciting funk of this still-fairly-new seb-genre of music (i.e. Jazz-Rock Fusion). Have I mentioned how impressive drummer Alain Gouillard and bassist François Grillot are on the bottom end? I love the harmonized duet between Mireille Bauer on the vibraphone and Ann Ballester on the electric piano during the closing minute. (19/20)
3. "Ma vie dégénère" (2:58) almost a standard rock song with more choral vocals in the fore. Not nearly as exciting as the previous songs (and not nearly as complex or jazzy). (8.4/10)
4. "Daisy" (7:04) again I'm hearing a much more modern kind of music--something more avant-garde than what the 1970s is usually like--though some of the jazzier Canterbury bands also come to mind during certain sections of this song. Opening with electric guitar and vibraphone arpeggiating a two chord sequence over and over, I am quite reminded of 2023's OIAPOK (almost exactly!) And this is 45 years before Pierre "Cheese" (Wawrzyniak) and company ever released an album! Lots of funky panning, both forward and back and then side to side, very quickly. I'm still quite blown away by the ballsy music and engineering. Could this have really been 1978? Also, the funk coming from both the bass play and the syncopation of the rhythm section as a whole in the middle section, is quite remarkable. Nice Steely Dan quality and familiarity to the keyboard and guitar parts. Wow! (14.25/15)
5. "Jungle's Jingle" (6:32) another odd, off-kilter song that has a very quirky Canterbury sound palette and a twist-and- turning bent to it not unlike Pierre Wawrzyniak's CAMEMBERT project of the 2010s. At 1:15 there is a little pause bridge for a reset before the band drops back into the hypnotically circular motif of the opening section. Odd synth and guitar sounds join the weave to present before 2:18 when a new motif is established, one that is still "circular" but now containing some MAGMA or SETNA-like menace in the feel of the weave. Again the lead instruments (guitar and synths) are put through some very strange futuristic sound-blender or something for several of the solos though vibraphone and piano or still within the realms of normalcy. I love the gutsy experimentalism these guys (and gals) are expressing! (9.25/10)
6. "Confluence" (4:46) a slow and very deliberate mathematical construction opens this one for the first 83 seconds before the band merges onto the autoroute while assuming a piano-led high cruising speed. The somewhat Latin- tinged weave is peppered with piano, synths, marimba and timbales performing the lead melody injections until a whole band chorus joins in spewing forth a wildly crazed African-sounding Babel-speak at 3:03--which starts out within the musical weave but gradually drives the instruments from the soundscape for a full 30 seconds of crazy a cappella time before everything comes to a full stop, leaving us with a sudden and surprising space with no sound! Crazy! Then, at 4:04, the hard-driving motif returns with a new Zeuhlish insistence (especially from the bass, drums, and guitar). This could quite easily have been something I might have heard on CAMEMBERT's two albums from the 2010s, Schnorgl Attahk and Negative Toe. but nothing I would ever have expected to have heard in 1978! I am stunned! (9.75/10)
Total Time 36:27
I am still stunned--even now after my fifth or sixth listen to this astonishing album! How?! . . . What?! . . . Where the heck did these cats come from? Where the heck did they get their ideas? I mean, there's only so much you can get from listening to Parliament, James Brown, Mandrill, Osibisa, Herbie Hancock, Weather Report, and/or Frank Zappa! How much of this ingenuity can be attributed to producer Laurent Thibault's genius?
93.03 on the Fishscales = A/five stars; a masterpiece of refreshingly original Canterbury- and Zeuhl-infused Jazz-Rock Fusion. I definitely consider this an essential addition to any so-called prog lover's music collection.
Other Significant 1978 Releases
HAROLD BUDD The Pavilion of Dreams
Harold Budd's collaboration with his friend Brian Eno starts here, with these compositions that he and Brian made in London several years after Harold had composed them for friends and students while he was teaching at California Institute for the Arts. The album was recorded in November 1976 at Basing Street Studios in London and then released by Brian's Obscure Records label sometime in 1978.
Line-up / Musicians:
- Harold Budd / electric piano (1), piano & vocals (4), choir conductor (3), composer
With:
- Marion Brown / alto sax (1)
- Richard Bernas / celesta (1), electric piano (3)
- Gavin Bryars / glockenspiel (1,4), celesta (3), vocals (4)
- Maggie Thomas / harp (1-3)
- Howard Rees / marimba (1), vibes (4)
- Jo Julian / marimba (1), vibes & vocals (4)
- Michael Nyman / marimba (1,4), vocals (4)
- John White / marimba (1), percussion & vocals (4)
- Nigel Shipway / percussion (3)
- Lynda Richardson / mezzo soprano vocals (2), chorus vocals (3)
- Alison Macgregor / chorus vocals (3)
- Lesley Reid / chorus vocals (3)
- Margaret Cable / chorus vocals (3)
- Muriel Dickenson / chorus vocals (3)
- Ursula Connors / chorus vocals (3)
- Brian Eno / vocals (4), producer
1. "Bismillahi 'Rrahman 'Rrahim" (18:25) rich electric piano play that could be mistaken for some of the music Fred Rodgers made for his television show in Pittsburg is beautifully enhanced by marimba, harp, celesta, and saxophone, all of it receiving the Eno engineering touch (a lot of reverb). Is this where Vangelis got some inspiration for his soundtrack recordings for Ridley Scott's Blade Runner? Peaceful, dreamy, mesmerizing, and thoroughly relaxing, this could just be the music of Heaven. Though the song is consistent in its vibe, there are two motifs, the first dominated by Marion Brown's saxophone while the second gives the team of marimba players (four of them!) more attention--and it never really overstays its welcome (as many a satisfactorily rejuvenated massage client will attest). (37/40)
- Harold Budd / electric piano (1), piano & vocals (4), choir conductor (3), composer
With:
- Marion Brown / alto sax (1)
- Richard Bernas / celesta (1), electric piano (3)
- Gavin Bryars / glockenspiel (1,4), celesta (3), vocals (4)
- Maggie Thomas / harp (1-3)
- Howard Rees / marimba (1), vibes (4)
- Jo Julian / marimba (1), vibes & vocals (4)
- Michael Nyman / marimba (1,4), vocals (4)
- John White / marimba (1), percussion & vocals (4)
- Nigel Shipway / percussion (3)
- Lynda Richardson / mezzo soprano vocals (2), chorus vocals (3)
- Alison Macgregor / chorus vocals (3)
- Lesley Reid / chorus vocals (3)
- Margaret Cable / chorus vocals (3)
- Muriel Dickenson / chorus vocals (3)
- Ursula Connors / chorus vocals (3)
- Brian Eno / vocals (4), producer
1. "Bismillahi 'Rrahman 'Rrahim" (18:25) rich electric piano play that could be mistaken for some of the music Fred Rodgers made for his television show in Pittsburg is beautifully enhanced by marimba, harp, celesta, and saxophone, all of it receiving the Eno engineering touch (a lot of reverb). Is this where Vangelis got some inspiration for his soundtrack recordings for Ridley Scott's Blade Runner? Peaceful, dreamy, mesmerizing, and thoroughly relaxing, this could just be the music of Heaven. Though the song is consistent in its vibe, there are two motifs, the first dominated by Marion Brown's saxophone while the second gives the team of marimba players (four of them!) more attention--and it never really overstays its welcome (as many a satisfactorily rejuvenated massage client will attest). (37/40)
2. "Two Songs: Let Us Go Into The House Of The Lord / Butterfly Sunday" (6:26) Harold barely accompanies Maggie Thomas' concert harp while mezzo soprano Lynda Richardson supplies the soaring, angelic vocalese. Incredible chords played sporadically from the harp. (9.66667/10)
3. "Madrigals Of The Rose Angel: Rosetti Noise / The Crystal Garden And A Coda" (14:20) more gorgeous major seventh chords being played as arpeggi from the harp, marimba, and electric piano as the Budd-directed choir sings their amazing melodies. Celesta and other tuned and untuned metallic chimes and percussives add their important contributions over the middle section of the song. A little weak in its sparse and drawn-out finish, otherwise this is just an amazing masterpiece of heavenly music. (29/30)
4. "Juno" (8:26) minor chords from Harold's piano that preview some of his future work with Eno on their Ambient album series. The vocals on this one are different in that they come from a male ensemble of six. Marimbas, vibes, and chime percussion take over for the vocals in the middle section. (18/20)
Total time 47:37
One of my favorite albums of all-time, Brian Eno's collaboration with his friend Harold Budd starts here, with these university compositions Harold had made for friends at school. Every song here is a jewel, spanning a spectrum from jazz to classical with New Age and experimental overtones throughout. I am especially drawn in by the harp, saxophone (which I usually dislike) and, of course, the choral and solo female voices. A perennial favorite that I've been playing since the 70s, the album never strays far from my playlists--especially in my massage work--and I never fail to find elements and nuances that I thoroughly enjoy with each and every listen. Also, each and every song stands on its own as a masterpiece, while the album as a whole (short as it is coming in at under 36 minutes), also qualifies as such. Beautiful stuff--perhaps Harold's best compositions ever. (Major seventh chords rule!)
93.667 on the Fishscales = A/five stars; a masterpiece of jazz- and classically-infused ambient music that was actually composed before Brian Eno's celebrated creation of the Ambient Music sub-genre.
CHRIS HINZE - SIGI SCHWAB - EBERHARD WEBER - LALA KOVACEV Wide and Blue (1978)
Recorded February 1976 at Studio Barbarossa, München, Deutschland but not released until 1978 by the German label Musicians Record Company.
Line-up / Musicians:
- Chris Hinze / flute [alto], perscussion
- Eberhard Weber / bass, fretless bass
- Lala Kovacev / drums, percussion
- Sigi Schwab / guitar, berimbau- Eberhard Weber / bass, fretless bass
- Lala Kovacev / drums, percussion
A1. "Danielle" (5:50) beautiful music with Lala Kovacev playing drums with brushes, Sigi Schwab playing electric guitar a little like George Benson, Eberhard spilling his oozing bass notes all over the mix (especially when exquisitely entwined with Sigi) and Chris Hinze leading the melody play with his lilting, soaring flute. Beautiful song! (10/10)
A2. "Fatima" (7:05) opens with Eberhard's bass exaggerating his fretless pitch-variance and some Middle Eastern percussion instruments (clay drums, big djembe-like drum) and saz (or oud) which evolves into more of a Middle Eastern jam (sans bass) in the middle. Eberhard returns toward the end, first as fretless bass player, then as neck-squeaker while the Arabic jam session intensifies and crescendos at the end. I love it! (13.75/15)
A3. "Wide and Blue" (6:25) Lala on his drum kit for 1:15 before the rest of the band join in with a staccato blues chord progression, smoothing out into some nice smooth jazz patches before falling back into staccato-land. The next slide into the smooth motif they extend it into a nice swing so that Chris' flute, Eberhard's fretless, and Sigi's Benson-like guitar can play around: first Chris, then Sigi, all the while Eberhard and Lala sneaking around behind them like restless seconds on an improv stage. The weave writhing around within Sigi's chords around the five-minute mark are so cool! Then things smooth out at the end of the sixth minute for the polished finale. Very cool and unusual jazz! (9/10)
B1. "Tales From Nowhere" (10:30) another loose jam that feels loosely-structured over another George Benson Breezin'"Masquerade"-like melody. At 2:30 the band settles into a rhythm-structured pattern that feels soulful as Chris solos on his flute but then turns funky as Eberhard and Sigi (and Lala) turn up the attitude. Very cool! Lala really takes it to another level, almost taking all the light from the rest of the band! Were it not for the amazingly cool things each and every one of the others are doing he would win! But then, at 6:25, everybody breaks it down, leaving each of the "resting" musicians to throw spits and riffs into the pond while Eberhard continues funk-loading. Gradually Eberhard leads the group out of the muck and onto some high ground to strut around and show off their new Cosby Kids clothes and hats. Great stuff! Not ever what I was expecting from this band or album. (19.25/20)
B2. "Thanks for Being Being" (5:05) more beauty and height-seeking emotion being led by Chris' flute and amply supported (and perhaps grounded a bit) by the others. The problem with this song is that it never really goes anywhere--never really achieves Nirvana. (8.875/10)
B3. "Do It Nice for Me" (5:35) a much more normal, if laid back Soul-Jazz piece that has some really comforting African-American textures, harmonic elements, and other tricks to make it sound like a seductive walk through late night Atlanta or something but then it goes into more rock 'n' roll jamming for the second half. I find myself thinking/feeling of the jazzy, late night smooth jazz side of Kool & The Gang, The Brothers Johnson as well as a jazzy jam by War. Inviting ambiance. Nice. (9/10)
Total time: 40:30
As said above: NONE of this was anywhere near what I was ever expecting to come from this quartet--even despite knowing the world music directions Chris and Lala had both chosen since their travels in the East. And the stanky funk, smooth soul, and sophisticated-yet-subtle R&B these guys can put out there is just so amazing!
93.16667 on the Fishscales = A/five stars; a masterpiece of inventive and eclectic jazz-rock fusion that tips its hat to world music, smooth jazz, jazz-funk, soul-jazz, and even Kosmische Musik.
EX OVO PRO Dance Lunatic
Recorded & mixed at Tonstudio Bauer, Ludwigsburg September 1978 for Amayana Records, this is, unfortunately, the second and final offering from this band of talented, skilled musicians.
- Max Köhler / bass
- Harald Pompl / drums
- Hans Kraus-Hübner / piano, synthesizer
- Roland Bankel / guitar
- Mandi Riedelbauch / saxophone, flute, bassoon
1. "Dance Lunatic" (8:49) setting up a Disco-ish Shaft-like jazz-rock motif from the opening notes, the band doesn't really fully serve the song up until the one-minute and then 90-second marks. Bass and hi-hat dominated drums with minimal synthesizer and guitar inputs allow for a broad spaciousness for the swirly, oscillating space synth to float around and the other instruments to add their exploratory accents. Guitarist Roland Bankel takes the first solo. At 3:48 everybody settles back into a late-nite open space motif over which saxophonist Mandi Reidelbauch solos quite beautifully as keys, bass, and guitar add their gentle but effective support accents. around the 5:25 mark the band start to increase their additions, finding a center in a groovy funky pattern while Mandi continues his solo unfazed. At the end of the seventh minute, then, everybody cuts out except for the "distant" "background" keyboard play of Hans Kraus-Hübner. Remember the gorgeous Yacht Rock classic, "Harbor Lights" from Boz Scaggs? This gently, floating keyboard sound, playing style, and mood here is reminiscent of the work of David Paich (TOTO) on "Harbor Lights." Some excellent, disciplined and understated Jazz-Rock Fusion in this song. At times it sounds like PASSPORT, at others SPYRO GYRA or even a little STEELY DAN-ish. (19/20)
2. "Burning John" (4:28) creative and inflective jazz-rock fusion that has just the right amount of funk, jazz, rock, melody, twists and turns to keep it both interesting and engaging. I find this drummer (Max Köhler) to be quite impressive with the way he achieves so much with his incredibly subtle stick play on the cymbals, hi-hat, and snare. Guitarist Roland Bankel gives one of the more impressive jazz-guitar performances I've ever heard. (I am not really much of a fan of the traditional Wes Montgomery and Charlie Christian "jazz guitar" sound or stylings.) (9/10)
3. "Drowsy Day" (4:53) this smooth, spacious, and fairly simple song exists to support the pop-jazz saxophone play of Mandi Reidelbauch--who feels, more and more as the album goes on, like the band's leader and chief composer. (He's not. Those credits go to keyboard player Hans Kraus-Hübner for all songs but the next,) Drummer Max Köhler continues to really impress with his skill for never dominating yet filling all spaces with his clever and constantly-shifting nuances. (8.875/10)
4. "Poly Whole" (3:53) a song that sounds and feels very influenced by the music of both Weather Report and Larry Coryell (among others). The tone used by guitarist Roland Bankel is quite familiar: similar to that of contemporary Larry Carlton and early Pat Metheny. Not as cohesive or accessible of a song as the previous ones. (8.75/10)
5. "Moonfever" (7:53) a two part song, the opening 90-seconds kind of wandering around on the dancefloor before the band settles into a kind of Van Morrison "Moondance" motif over and within which Roland jazz-guitar solos in some more traditional jazz-guitar tones and effects. I like Hans' piano support from beneath--which turns into a full blown solo in the fourth minute as the band turns to a completely different, more jazzy motif with fast-walking bass beneath him. Another 90-degree turn at the five-minute mark, slowing things down for a pretty awesome, if over-extended, space-saw synth solo from Hans--which takes us out to the song's end (a fadeout). Though this is not my favorite song or style exhibited by the band on this album, it is impressively composed and performed. (13.75/15)
6. "All These Nights" (5:23) very spacious, "late night" melodic and contemplative jazz opens this for the first couple minutes, then bass player Max Köhler creates a riff that draws all of the rest of the band members into a cool little "loose" groove. All the while, Mandi Reidelbauch is playing his alto sax up front and center, doing a great job of matching his mood with that of the shifting musical styles and tempos beneath him--which, at 3:36 move into a more vacuum-like spaciousness motif--one that reminds me of the structure of the famous Frank Sinatra version of Ervin Drake's "It Was a Very Good Year." Interesting and, ultimately, another impressive composition rendered with full mood effect. (9/10)
7. "Blue Time" (4:55) spaced-apart guitar and electric piano chords open this one, supported by injections of cymbal play and Vangelis-like synth sax and real flute. Eventually, the song opens up as an electric piano solo piece--one that is floating in and out of blues chords and riffs but never really going full blues. The sound palette, style, and timing of this opening three and a half minutes make me wonder if Vangelis ever heard this song (and borrowed from it) before or during his composition of the Blade Runner original soundtrack. After that it makes a meagre attempt to move into a rhythm-backed slow jazz piece but then fairly quickly disintegrates back into the spacious synth, electric piano, and bass palette and form of the opening--for its ending. Interesting but feeling less "finished" and less creative in its compositional form that the rest of the album's rather impressive displays. (8.75/10)
Total Time 40:14
Total Time 40:14
Excellent sound engineering and smooth-on-the-verge-of-feeling-facile performances makes this music seem so satiny; it's just polished--by a great band of skilled professionals--a band that is on the verge of becoming a producer of Smooth Jazz, BUT they manage to deftly display their considerable jazz skills and creativity enough to keep themselves anchored in firmly in Jazz-Rock Fusion's Third Wave.
90.74 on the Fishscales = A-/five stars; I call this very much a masterpiece of late Third Wave Jazz-Rock Fusion. The skills exhibited by all of these performers feel to me similar to those of a master chef in a fine restaurant: engaging menu, great presentation, delicious, melt-in-your-mouth tastes with subtle yet very-satisfying undertones of flavor peppered with the perfect amount of never-over-done bursts of stimulation and character leaving a wonderfully-long-lasting glow of pleasure and contentedness. Highly recommended.
90.74 on the Fishscales = A-/five stars; I call this very much a masterpiece of late Third Wave Jazz-Rock Fusion. The skills exhibited by all of these performers feel to me similar to those of a master chef in a fine restaurant: engaging menu, great presentation, delicious, melt-in-your-mouth tastes with subtle yet very-satisfying undertones of flavor peppered with the perfect amount of never-over-done bursts of stimulation and character leaving a wonderfully-long-lasting glow of pleasure and contentedness. Highly recommended.
EX VITAE Mandarine
A seven-piece ensemble of very skilled jazz musicians that came together in Limoges, France to create some very intricate, creative, and complex jazz-rock fusion. The sad thing is that they only came together this one time: for this album. Amazingly, this album was self-released--released without the support of a record label!--back in 1978! The material for Mandarine was recorded in 1978 at Studio RGR in Paris, France, on September 15 & 16 and then self-published later in the year.
Line-up / Musicians:
- Jean Lars / bass
- Marc Millon / drums, percussion, vibraphone
- Jaen-Michel Philippe / electric & acoustic guitar
- Jacques Lars / electric guitar
- René-Marc Bini / keyboards
- Jean-Loup Marlaud / saxophone, clarinet, flute
- Alain Labarsouque / violin
1. "Vive-Versa" (6:15) the opening of this album opener lets the listener know straight off the bat that this band likes to explore sophisticated chord progressions through clear multi-instrumental weaves. I can hear a lot of what will become of the Maurin brother's NIL and THORK projects in this music despite its obvious jazz leanings. Dirty saxophone is given the lead throughout the second and third minutes yet the instrument is not really soloing so much as leading one domineering melody over the top of the complex weave or arpeggiated chords that the rest of the band is expressing through beneath. The band definitely uses some interesting and unexpected chord progressions, yet perform it all with such skill. The weaves are beautifully woven! I just wish the final 90 seconds had been a little more pleasant melodically. (9/10)
2. "Saxophonie" (15:25) very engaging despite its complexity, speed, and uniquity. The beautiful chord progression the band settles into during the second and third minutes has an immediate heart-wrenching effect on me due to it being the exact same as the foundational chords of LENNY WHITE's "Prince of the Sea." Also, the use of all percussive instruments (piano, drums, bass, vibraphone) to present the music over the course of the first four minutes is quite engaging. Then the music kicks into a full funky fast paced jazz-rock motif in which electric bass, drums, Fender Rhodes, jazz guitar, and sax do a great job of playing some HERBIE HANCOCK-like music. But then everything switches at the six-minute mark--picking up some more mathematical and folk-infused styles in order to express its true allegiance to the historically more-complex jazz styles of the past (as the French love). Violin enters as an electric guitar goes all under-water bubbly with its fast-played descending bass string arpeggios all set within the rich chords of René-Marc Bini's Fender Rhodes. This second half stuff continues to develop closer to being avant garde jazz than jazz-rock fusion--especially in the wild 14th minute--though they do continue to use all of the rock instrumentation of the first, more-melodic half. Definitely a very impressive, very creative song. And, despite its title, I found myself rarely listening to Jean-Loup Marlaud's saxophone play: there was just too much else going on that was far more interesting! (28/30)
3. "Gavarnie" (10:28) this song opens with some discordant descending chord progressions performed with mathematical skill that sounds very similar to the music created by Quebecois band CONVENTUM until it goes off on an almost Minimalist direction with bass and saxophone presenting some lead/soloing over the top. At 2:30 the music takes a turn, smoothing out a bit though continuing to explore minor and perhaps even chromatic scales and chord combinations (especially with the bass). Two guitars weave their arpeggiated chords within each other with great effect due to the slightly off-center harmonic values of their chords. Bass chords, lite cymbal play, aggressive sax, and electric guitar take turns soloing over the top--even at times, over one another--until the band succumbs to a slow fade starting around the six-minute mark. Left with distant arpeggiated electric guitar chords we are then treated to a show of fairly random percussion play of some metal objects like chimes and cowbells until the eight-minute mark when the rest of the band (bass, jazz drums, Fender Rhodes, sax) rejoin the still arpeggiating electric guitar to create a gentle, almost tender weave that could guide an infant to sleep. Very pretty! Another very, very interesting song that is, unfortunately, weakened by its obtuse chord choices as well as by the overly-simplistic metal percussion play in the sixth and seventh minutes. (17.5/20)
4. "Mandarine" (9:42) opening with some complex high-speed interplay between Marc Bini's piano and Jaen-Michel Philippe's steel-string acoustic guitar, the song then switches completely into a gentle, willowy duet of René-Marc Bini's vibraphone and Jean-Loup Marlaud's classical-sounding flute until 1:45 when wordless vocalese, vibes, and electric bass mirror each other in a four-note arpeggio for about 30 seconds. Then the band develops another smooth almost-Genesis-like passage that is founded in arpeggiated chords from electric piano and acoustic guitar. This reminds me of CONVENTUM. The music then continues morphing, now into an electric guitar version of the previous motif with flute and violin taking turns soloing over the top. The fifth minute is quite pleasant with the rich, warm play of the Fender Rhodes dominating, but then the band fly off into about five different directions with each instrumentalist soloing with little connection to one another for about 20 seconds but then they come back into the fold of the rich, warm Fender Rhodes, drums and intuitive bass helping to hold down the funky groove while flute, violin, and the two guitarists (acoustic and electric) take turns sharing the spotlight up front. The song then returns to a gentle repetition of a five chord progression with some solo embellishment to its end fadeout. An odd song that is very entertaining and engaging despite its frequent shifting and morphing. Rated up for creativity and sophistication. (18/20)
Total Time 41:50
A very interesting and respectable collection of highly-creative compositions performed with quite a little love and attentiveness. The songs only lack, at times, the melodic hooks that pleasure-oriented Western minds ofttimes seek (a pattern of choice that the French seem almost predisposed to). This album is also quite favorable due to its adherence to hard-line jazz structures and styles and not veering too far into the Smooth Jazz domain that is taking over J-R Fusion.
90.625 on the Fishscales = A-/five stars; a minor masterpiece of finely crafted and disciplined jazz-rock fusion that would be of great interest to any prog lover who loves complex, sophisticated instrumental performance.
CHUTE LIBRE Ali Baba
Rich Third or Fourth Wave Jazz-Rock Fusion from a short-lived French band that is notable for the prominence of trombones and flutes as well as for the presence of a core of three highly-skilled multi-instrumentalists. The album was recorded, mixed, mastered in France, and then released by EMI, all in 1978.
How can this band (and album) have no reviews posted here?!!!
- Patrice Cinelu / electric & acoustic guitars, cabasa (6), vocals (8)
- Olivier Hutman / piano, Fender & Yamaha CP30 e-pianos, clavinet, spinet, Hammond, synths (Micro Moog, ARP Odyssey, Hohner String Ensemble), vibes, string arrangements (3)
- Denis Barbier / flute, piccolo flute, alto, tenor & soprano saxes, double bass & harp (5), string arrangements (5)
- Oliver DeLaTaille / trumpet, bugle
- Philippe Simon / trombone, bass trombone
- Gilles Douieb / bass
- Umberto Pagnini / drums
- Mino Cinelu / percussion
With:
- Éric Letourneux / tenor sax (5)
- Raymond Betzi / percussion (1,5)
1. "Ali Baba" (5:10) quite solid and sophisticated Jazz-Rock Fusion that occasionally slips over into Smooth Jazz and instrumental rock. I like the prominent use of trombones as well as the core trio of band members' willingness to switch between multiple instruments during the course of a single song. (8.875/10)
2. "Trop Tard" (4:45) funk from the perspective of the Soul/R&B bands like the JBs, Tower of Power, and, more, Herbie Hancock's Headhunters. Well done! (9.5/10)
3. "Paysages D'Ur" (4:15) nice, smooth yet eminently sophisticated jazz-rock (9/10)
4. "Octopus" (2:48) back to the R&B-grounded Jazz-Rock Funk of the Listen to the electric bass play of Gilles Douieb! as well as the contributions of the horn section! Wow! (9/10)
5. "Cello" (4:48) funny to name a song after an instrument (one of the only) that does not exist in the repertoire of the band or their guests! A beautifully composed and "orchestrated" song that definitely continues the display of absolutely top notch Jazz-Rock Fusion. (9.25/10)
6. "E 330" (5:00) Oh. I get it! Alternating songs deeply rooted in the funk with other sophisticated yet-smoother song constructs. Me like! Here we have yet another amazingly superb funk song, this one founded well within the Latin traditions. The song's only weakness is that it gradually becomes smoother, more Latin melodic and less R&B funky as it progresses--especially as Olivier Hutman's piano takes the lead. It's not bad--the piano play is pretty--especially when woven with the acoustic guitar and flute--but it gets a little bland when he becomes the sole soloist (despite his similarity of style and sound to that of my well-loved favorite, Chick Corea). (9/10)
7. "Flipper Nana" (4:36) a song that has both swing and funk elements to it also presents more of that lovely trombone in the lead while the rest of the band actively and creatively supports from beneath (and beside). The oddly-muted horn section blasts at the two minute mark are awesome, preceding a nice flute solo, then, 30 seconds later the band shifts into a more traditional jazz motif with some excellent double bass walking from Denis Barbier and some great piano soloing from Olivier. Another switch in the second half of the fifth minute leads to some rock electric guitar shredding as the song heads slowly into its long fadeout finish. (9/10)
8. "Canaan Part 1" (4:20) more high-speed Jazz-Rock Fusion of the Headhunters kind with the skills on display that the Mahavishnu Orchestra would certainly have been proud if not envious. All I can say is, Wow! How can it be that this band has received absolutely no attention on either ProgArchives or JazzMusicArchives.com? Even the song-ending drum solo that begins in the second half of the fourth minute is done so tastefully--and does not feel like wasted time or space. (9/10)
9. "Canaan Part 2" (4:14) the band uses a chill, smooth funk motif as if to recover (or let the listener recover) from Part 1. The horn section sets the band up for an extended electric guitar solo backed by some wonderful electric piano chord play and intermittent riff-blasts from the horn section. While electric guitarist Patrice Cinelu does not, in my estimation, stand up to the mind-blowing expressions of the bass, drums, percussionists, and horns, he is quite good. (8.875/10)
Total Time 39:56
This is an album (and band) that has caught me TOTALLY off guard! Who knew France had instrumentalists, composers, engineers, and record companies that not only rivaled but equalled anything that was going on in the U.S. of A?!?! Not like this!
90.56 on the Fishscales = A-/five stars; a minor masterpiece of incredibly high quality funky Third Wave Jazz-Rock Fusion that definitely rivals anything coming out of the United States.
BELLA BAND Bella Band (1978)
An Italian band from Firenza that uses sophisticated, multi-part compositions with all of the bells and wihstles that the late 70s offers in terms of electronic gear and effects; drummer Mauro Sarti used to be in popular RPI band CAMPI DI MARTE. The album was recorded and released (by Cramps Records) in 1978.
Line-up / Musicians:
- Riccardo Cioni / clavinet, Fender piano, Omni Arp, Arp 2600
- Roberto Buoni / flute, saxophone, electric clarinet
- Luigi Fiorentino / guitar
- Mauro Sarti / drums
- Tonino Camiscioni / bass
1. "Fairadiesis" (6:45) the very tight, well-disciplined rhythm section sounds a lot like that of JEAN-LUC PONTY around this time. The whole song is based upon a very catchy melodic hook--one that sounds quite familiar from the world of pop music or cinema. Excellent! (13.75/15)
2. "Promenade" (10:45) a slow, almost B-movie cinematic start with Fender Rhodes chords and saxophone gives way to ANT PHILLIPS-like arpeggiated electric guitar chords at the end of the first minute. This guitar-dominated motif continues for while the Fender Rhodes, gentle cymbal play, and saxophone make subtle contributions in the background. Then, at the 2:15 mark everybody kicks into a melodic two chord motif with chunky bass and full drums jumping into the fore. This is kind of NOVA Vimana-like. At the end of the fifth minute the music suddenly switches into a more Latin/Caribbean-flavored movement with lots of fast moving staccato parts. The music almost enters the area of rock/rockabilly before finally slowing down to create a new, more somber and rich keyboard and sax-filled theme in which bass and guitar have some solo exposure. The final two minutes, then, show the band backing off into just Fender Rhodes for a bit before restarting a variation on the arpeggiated guitar-with-saxophone motif from the beginning. Interesting and very pleasant song to experience. (17.875/20)
3. "Porotopostrippa Sul Pero" (8:50) fast opening with sax, bass, guitar and keys all jumping in full volume before settling back into a jerky groove in support of keyboardist Riccardo Cioni's keyboard play--and I do mean play! The dude jumps around from keyboard to keyboard for a it before settling on an unusual synth sound for a good minute. Then the full band jumps back into a whole-band pastiche with guitars and saxes (multiple tracks, each) competing for lead until finally a clarinet is left to occupy the spotlight. Very interesting solo over some nice funk. (The bass and drums are definitely in The Zone!) Guitar and bass take the next leads, in tandem for the bit in which the guitarist takes to establish himself. Then there is another lull while Luigi Fiorentino preps himself mentally for an extended electric guitar solo--here using a heavily-processed sound for his axemanship. It's a very nice rock solo in the vein of Hiram Bullock or David Sancious. (17.75/20)
4. "Cipresso Violento" (5:20) Fender Rhodes and sax interplay on this spacious, slow-to-develop-and-define-itself Smooth Jazz song. At times it has a very distinctive STEELY DAN Aja ("Aja") sound and feel. After over two minutes of feeling their way around, the band finally settles into a very RTF "Duel of the Jester and the Tyrant"-like motif with heavy bass chords and repetition of a two chord form. The heavy speeding down the highway only lasts a minute or so before the song regresses to its patchy, pastoral exploratory style of the opening two minutes and then eventually closes. All in all, it's a nice song, with lots of very rich, pleasant, and engaging sounds, I just wish it would/could have established a little more structure and rhythm for a longer portion of its five-and-a-half minutes. (8.75/10)
Total Time: 31:40
A very interesting and engaging display of creativity and skill coupled with the melodic sensibilities and influx of electronic effects and sounds of the late 70s.
JOE FARRELL Night Dancing
A1. "Katherine" (6:36) Smooth Jazz all the way--even to the point of incorporating a small orchestra to accent and build the choruses and soloist's crescendos. The performances from the soloists and rhythm section on this Jeff Lorber composition are all solid though nothing so memorable as to want to write home about. (8.75/10)
A2. "Silver Lace" (8:15) slower paced with a style and Latinized sound palette that feels more like some of the excellent Smooth Jazz music of Eumir Deodato's, here Joe displays his flute talents. Nice work from Herbie Hancock on the electric piano and Lee Ritenour on the jazz guitar and nice melody leads and collectives from Joe and his doppleganger background vocalists, Andrea Robinson and Lynda Tucker Lawrence. (17.875/20)
LARRY CORYELL Difference
89.42 on the Fishscales = B+/4.5 stars; a near-masterpiece of sophisticated "Third Wave" Jazz-Rock Fusion that is definitely serving to help usher in the Smooth Jazz era
A 1978 release from Warner Bros. Records that shows wind conforming to the lure and pressures to produce accessible radio-friendly Adult Contemporary music, otherwise known as Smooth Jazz (or "elevator music").
Line-up / Musicians:
- Joe Farrell / saxophones [soprano and tenor], flute
With:
- Herbie Hancock / piano, electric piano (A1, A2, B2)
- Lee Ritenour / guitar (A1, A2, B2, B3, B4)
- John Guerin / drums (A1, A2, B2, B4)
- Herbie Hancock / piano, electric piano (A1, A2, B2)
- Lee Ritenour / guitar (A1, A2, B2, B3, B4)
- John Guerin / drums (A1, A2, B2, B4)
- Chuck Rainey / bass (A1, B2)
- Michael Boddicker / synthesizer, Clavinet (A1, B3)
- Oscar Brashear / trumpet (A1, B1, B2)
- Garnett Brown / trombone (A1, B1, B2)
- Chuck Findley / trumpet (A1, B2)- Garnett Brown / trombone (A1, B1, B2)
- Lew McCreary / bass trombone (A1, B1, B2)
- Robert W. Daugherty / bass (A2)
- Airto Moreira / percussion (A2), cuica (B2)
- Andrea Robinson / vocals (A2, B1)
- Lynda Tucker Lawrence / vocals (A2, B1)
- Victor Feldman / piano, electric piano (A3, B1, B4)
- Jay Graydon / guitar (A3, B1)
- Richard Greene & Beryl Marriott / violin, viola (A3, B4)
- Abraham Laboriel / bass (A3, B1)
- Jay Graydon / guitar (A3, B1)
- Richard Greene & Beryl Marriott / violin, viola (A3, B4)
- Abraham Laboriel / bass (A3, B1)
- Harvey Mason, Sr. / drums (A3, B1)
- Paulinho Da Costa / congas (A3, B1)- Richard Greene / violin & viola (A3, B4)
- Flora Purim / vocals (A3)
- Joe Romano / tenor saxophone (B1, B2)- Quitman Dennis / baritone saxophone (B1, B2)
- Mike Porcaro / bass (B3)
- Jeff Porcaro / drums (B3)
A2. "Silver Lace" (8:15) slower paced with a style and Latinized sound palette that feels more like some of the excellent Smooth Jazz music of Eumir Deodato's, here Joe displays his flute talents. Nice work from Herbie Hancock on the electric piano and Lee Ritenour on the jazz guitar and nice melody leads and collectives from Joe and his doppleganger background vocalists, Andrea Robinson and Lynda Tucker Lawrence. (17.875/20)
A3. "How Deep Is Your Love" (4:19) a cover of the BeeGees' monster hit serves as an unimportant addition to the world of elevator music and dentist office soundtracks. Joe and the band are smooth if schlocky--especially those stereotypic cheezy female b vocalists (Flora Purim) ghost-waifing the song's title and key lyric excerpts. (8.667/10)
A4. "Come Rain Or Come Shine" (3:24) solo sax. (8.6667/10)
B1. "Another Star" (5:30) a cover of a Stevie Wonder song that is fully Disco-fied but relegated to Smooth Jazz by the piano and sax stylings and choir of wordless background voices. Nice performances from Joe on sax as well as many of the studio professionals (8.875/10)
B2. "Casa De Los Sospensos" (7:30) a Joe Farrell original that presents the first truly exceptional song and high-level creative performances of the album. Nice drum and bass coordination from John Guerin and Chuck Rainey, respectively, as well as great keyboard work from Herbie Hancock. (9.333/10)
B3. "Night Dancing" (5:49) a Trevor Lawrence composition performed with a Jan Hammer-like electronically-up-to-date rhythm section of Jeff and Mike Porcaro, Michael Boddicker on synths and Lee Ritenour on rhythm guitar. The motif really propels Joe into one of his finer tenor sax performances. (9/10)
B4. "You're In My Heart (The Final Acclaim)" (3:13) a cover of the massive Rod Stewart hit with Joe's tenor sax taking the place of Rod's voice while the excellent line-up of L.A. studio musicians (plus violinist Richard Greene) back him. Pretty decent. For a schlocky Smooth Jazz tune, that is. (8.875/10)
Total Time: 43:39
Total Time: 43:39
88.94 on the Fishscales = B/four stars; a solid contribution of sophisticated Smooth Jazz.
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A collection of songs recorded in 1975 but not released until 1978 by Egg Records, half of the songs were recorded in Electric Ladyland Studios in New York City and half gathered from a live performance in Montreal, it includes a cast of Smooth Jazz all-stars, including: the Brecker Brothers, David Sanborn, guitarists Steve Khan, Glen Moore, and Arthur Rhames; Don Grolnick on keys, Will Lee on bass, and an unconfirmed appearance by Steve Gadd on one song. But, with a running time of only 31:24, it hardly seems worth it.
SONNY ROLLINS Easy Livin'
Recorded for Milestone Records in 1977 on August 3-6 but not released by Milestone Records until sometime in 1978, the musicians in the studio for these dates included some of Jazz-Rock Fusion's all-time greats, including: keyboardist George Duke, electric bass phenom Paul Jackson and his brother Charles on electric guitar, and percussion legend Bill Summers. The album contains three Rollins originals with three covers.
MICHAEL MANTLER Movies
Eight original songs produced by Carla Bley (not Manfred Eicher?!!) A studio recording done in Sweden for ECM Records back in March of 1977 but not released until early 1978. It included legends Steve Swallow, Larry Coryell, Carla Bley, and trumpeter Mantler. A critically-acclaimed and still highly-regarded jazz masterpiece.
